To celebrate the th anniversary of the first printed organ music in , Kimberly Marshall released a recording of Arnolt Schlick’s Tabulaturen etlicher. Life. Born: c Died: after Biography. View the Wikipedia article on Arnolt Schlick. Musical settings of literary works. marks years since the first printed organ music was published by Arnolt Schlick. Kimberly Marshall brings these early works to life.
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Intabulation in french Lute-tablature g-Lute. He emphasizes that each stop should have a distinct sound, easily distinguishable from all others, and that performers should make good use of contrasting registrations.
Today, most scholars agree that the pipe would produce a sound slightly more than a whole tone below the present-day F. Schlick’s Christe is more loosely constructed: Schlick’s book begins with a preface in three parts: Intabulation in french Lute-tablature.
This file is part of the Sibley Mirroring Project. Facsimile editions of the treatise appeared as early as In other projects Wikimedia Commons.
Schlick’s letter to Bernardo Clesio contains his only known late works: Quotations from these sources support Schlick’s own views: As for the year of birth, since Schlick married in and described himself as “an old man” byhe was probably born in — Because most of my Intabulations are never heard before, I decided to make a simple computer synthesized audio file for hearing control.
Schlick’s Benedictus and Christe are three-voice settings of mass movements. After this, Schlick disappears from history. However, that did not stop him from publishing his work.
The antiphon is in the discantus in the first setting, in the tenor in the second, and in the bass in the third. In another schllck was employed in his place. Almost all songs are settings of German polyphonic Lieder on secular texts.
HOASM: Arnolt Schlick
Records of Schlick’s early life are sparse: Views Read Edit View history. The last known references to him are from ; the circumstances of arnilt death are unknown. This job was apparently carried out during December —Januaryand a letter survives from about the same time, from Schlick to Bernardo ClesioBishop of Trent ; Schlick sent Clesio two sets of chorale ranolt.
Schlick was of the utmost importance in the early history of organ music in Germany. Schlick’s treatise on organ building and organ playing, Spiegel der Orgelmacher und Organisten “Mirror of Organ Builders and Organists”was published in in Speyer by Peter Drach.
The piece begins with a long two-voice section. Schlick was apparently held in very high regard by his superiors. There are two exceptions. Only two copies survive to this day,  but the book has long been recognized as one of the most important of its kind.
The changes range from addition of modest ornaments, as in Nach lust or Vil hinderlistto insertions of new material, as in Mein M.
Movements 2 and 3 Ad te clamamus and Eya ergo begin by treating the cantus firmus imitatively, and the opening of Eya ergo constitutes one of the earliest examples of fore-imitation:. Schlick himself noted the didactic aspect, writing that he “found and made a separate rule for each setting, which are so clear that it will be easy to set all chants in the same manner.
The anolt work is unique in organ repertoire, both for the polyphonic scope and the pedal technique.
Retrieved from ” http: Much of the other music is stylistically indistinguishable from schlicm vocal works by other composers; consequently, some of the pieces may be intabulations of other composers’ works.
Tabulaturen etlicher lobgesang is the earliest extensive source of German lute music and also one of the earliest published collections of lute music known. Other organ pieces in Tabulaturen employ a variety of methods, most relying on imitation with the notable exception of Primi toniwhich is also unusual for its title, which merely indicates the tone, but not the cantus firmus.
By he was the highest-paid musician at the court with a salary almost twice higher than that of the next-highest musician, and comparable to the salary of the xchlick treasurer. To this end, a line is printed in the margin, and the length of the pipe is given as being 16 times the length of that line. Ad te clamamus 2. Schoick three Da pacem settings also look to the future, because, although Schlick does not refer to them as a cycle anywhere in Tabulaturenthe placement of cantus firmus suggests that the three settings are part of a large plan.