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Johann Beer
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Johann Beer
Johann Beer (1655-1700) gilt in der Literaturgeschichte der Frühen Neuzeit als der begabteste Nachfolger Hans Jacob Christoffel von Grimmelshausens und zugleich als eines der großen Erzähltalente einer barocken und grotesken Menschlichkeit. Der musikalisch begabte Autor, dessen Eltern als Protestanten früh aus Österreich vertrieben wurden, erhielt eine gründliche musikalische Ausbildung im Benediktinerkloster in Lambach 1662-1665 und bei den Augustiner Chorherren in Reichersberg 1665-1669. Diese Ausbildung und das damit einhergehende Nebeneinander protestantischer und katholischer Traditionen sollte den Autor bis ans Ende seines Lebens deutlich prägen. Neben seiner Tätigkeit als Musi...
The Musician in Literature in the Age of Bach
Analysing novels and autobiographies from Bach's Germany, this book presents new insights into the lives, mindset and status of musicians.
German Winter Nights
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Women, Medicine and Theatre 1500–1750
Well illustrated, accessibly presented, and drawing on a comprehensive range of historical documents, including British, German and other European images, and literary as well as non-literary texts (many previously unconsidered in this context), this study offers the first interdisciplinary gendered assessment of early modern performing itinerant healers (mountebanks, charlatans and quacksalvers). As Katritzky shows, quacks, male or female, combined, in widely varying proportions, three elements: the medical, the itinerant and the theatrical. Above all, they were performers. They used theatricality, in its widest possible sense, to attract customers and to promote and advertise their pharmac...
Laughter in the Middle Ages and Early Modern Times
Despite popular opinions of the ‘dark Middle Ages’ and a ‘gloomy early modern age,’ many people laughed, smiled, giggled, chuckled, entertained and ridiculed each other. This volume demonstrates how important laughter had been at times and how diverse the situations proved to be in which people laughed, and this from late antiquity to the eighteenth century. The contributions examine a wide gamut of significant cases of laughter in literary texts, historical documents, and art works where laughter determined the relationship among people. In fact, laughter emerges as a kaleidoscopic phenomenon reflecting divine joy, bitter hatred and contempt, satirical perspectives and parodic intentions. In some examples protagonists laughed out of sheer happiness and delight, in others because they felt anxiety and insecurity. It is much more difficult to detect premodern sculptures of laughing figures, but they also existed. Laughter reflected a variety of concerns, interests, and intentions, and the collective approach in this volume to laughter in the past opens many new windows to the history of mentality, social and religious conditions, gender relationships, and power structures.
Theories of Fugue from the Age of Josquin to the Age of Bach
An analysis of the history and methodology of the pre-Bach baroque fugue.
Bach and the Meanings of Counterpoint
In Bach's Germany musical counterpoint was an art involving much more than the sophisticated use of advanced compositional techniques. A range of theological, cultural, social and political meanings attached themselves to the use of complex procedures such as canon and double counterpoint. This book explores the significance of Bach's counterpoint in a range of interrelated contexts: its use as a means of reflecting on death; its parallels to alchemy; its vexed status in the galant music culture of the first half of the eighteenth century; its value as a representation of political power; and its central importance in the creation of Bach's image in the nineteenth and twentieth centuries. Touching on a wide array of contemporary literary, philosophical, critical, and musical texts, the book includes new readings of many of Bach's late works in order to re-evaluate the status and meaning of counterpoint in Bach's work and legacy.
The Necessity of Music
Cover -- Copyright page -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- Part I: Places -- 1 How German Is It? -- 2 Music in Place -- 3 Musical Itinerancy in a World of Nations -- 4 Music at the Fairs -- Part II: People -- 5 Mendelssohn on the Road -- 6 A.B. Marx's Cosmopolitan Nationalism -- 7 Schumann's German Nation -- 8 The Musical Worlds of Brahms's Hamburg -- Part III: Public and Private -- 9 What Difference Does a Nation Make? -- 10 Men with Trombones -- 11 Women's Wagner -- 12 Hausmusik in the Third Reich -- 13 To Be or Not to Be Wagnerian in Leni Riefenstahl's Films -- 14 Saving Music -- Notes -- Index
Musical Authorship from Schütz to Bach
Explores the meanings of the term 'author' for seventeenth-century German musicians, examining how compositions were made and used.
