Amor divinus – amor maternus : Salve Regina-Vertonungen im 17. Jahrhundert

Jiří Sehnal

doi:10.5817/MB2023-1-7

Amor divinus – amor maternus : Salve Regina-Vertonungen im 17. Jahrhundert

Roč.58,č.1(2023)

Jiří Sehnal

https://doi.org/10.5817/MB2023-1-7

Trvalý odkaz (handle):
http://hdl.handle.net/11222.digilib/digilib.78850

PDF (němčina)

Abstrakt

The antiphon Salve Regina was the most frequently set of the Marian antiphons. The text is attributed to the Benedictine Hermannus Contractus, who lived in the Reichenau monastery on Bodensee Lake Constance in the 11th century. There are two chorale settings: one of medieval Benedictine origin, and the other, most commonly used today, attributed to the French organist Henri Du Mont (1610–1684). In Moravia in the 17th century only the medieval melody was known, which was officially published in the Novae Agendae Olomucensis Directorium Chori (Brno 1695). The article deals with 16 (of originally 60) surviving settings of the Salve Regina from the second half of the 17th century, which are preserved in the music collection of bishop Karl Liechtenstein-Castelcorno in Kroměříž. Its composers included some names such as Bertali, Biber, Bulovský, Dolar, Mazák, Michna, Rittler, Schmelzer, Schober, Vejvanovský (originally 15 works), Vismari and Zacher. Only a few settings were influenced by the medieval chorale melody. Most of the compositions are independent of the chorale melody. Their goal was above all to have the text polyphonic in the musical style of the time without any special reference to narrate its content. However, there are also works that make the text emotional with the help of the then popular musical-rhetorical figures.

Klíčová slova:
Salve Regina; Kroměříž; Karl Lichtenstein-Castelcorno; medieval chorale; musical-rhetorical figures

Stránky:
111–123

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