Performed on April 22nd, 2019 at the Bales Organ Recital Hall at the University of Kansas by Jacob Hofeling in his second DMA organ recital.
Another monumental figure in the north German tradition of organ playing was Matthias Weckmann (1616-1674). Having studied with a number of influential organ composers, such as Jacob Praetorius, Heinrich Schutz, and Heinrich Scheidemann, Weckmann was well suited to be the organist at the Jacobikirche in Hamburg. From his different teachers, he excelled at the Italian polyphonic style of writing of Froberger and Frescobaldi, as well as Praetorius and Sweelinck’s motivically motivated counterpoint. His music also features a truly north German flavor, especially in his flamboyant cadences and ornamental features.
The partita on the Magnificat Secundi Toni shows his excellence at creating musical interest throughout multiple variations. Weckmann introduces the theme in the tenor, using double pedal with the right foot playing the tune of the magnificat while the left foot harmonizes the bass line. The second variation takes the form of an ornamented chorale with brilliant flourishes of notes in the right hand.
Fragments, or motives, derived from the theme are used throughout in the accompaniment and bass line. The third variation uses a clever canon at the octave between the bass and soprano voices, all mixed together with evocative chromaticism and dissonance that creates a gentle, sighing sensation. The fourth and final variation places the theme in the soprano line against a dense leaping accompaniment figure. Interestingly, he changes meter part way through. The piece ends with a increasingly dissonant chromatic cadence that resolves in a refreshing manner.
Негізгі бет Музыка Matthias Weckmann Magnificat Secundi Toni
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