An Early-Seventeenth-Century Collection of Sacred Vocal Music and Its Augsburg Connections

By Charteris, Richard | Notes, March 2002 | Go to article overview

An Early-Seventeenth-Century Collection of Sacred Vocal Music and Its Augsburg Connections


Charteris, Richard, Notes


Despite extensive study of the sixteenth and seventeenth centuries, relatively little is known about the repertories of specific churches of the time, and about how their music was acquired and used. One institution about which valuable information has emerged in recent years is the Lutheran Church of St. Anna in Augsburg. In particular, understanding of the church's musical life was augmented with my discovery of some printed music editions purchased in June 1618 by Adam Gumpelzhaimer (1559-1625), the music director of St. Anna's church and school for forty-four years. (1) Gumpelzhaimer purchased the materials for St. Anna and itemized them, together with their prices, in Augsburg, Staatsund Stadtbibliothek, Autogr. 54. In view of limited information about the day-to-day planning of St. Anna's collection, the 1618 document provided new evidence about how Gumpelzhaimer organized its purchases. Additional insight was gained into his management and use of the collection as well as his musical interests as a res ult of uncovering most of the actual printed editions. Further information about these matters can now be reported in view of my discovery of an inventory with a larger number of early music printed editions than those cited in the 1618 document. Rather then being located in Augsburg, the new inventory is found in the Musikabteilung mit Mendelssohn-Archiv of the Staatsbibliothek zu Berlin PreuBischer Kulturbesitz. This new document, which is the focus of the present article, adds substantially to our knowledge of Gumpelzhaimer's collecting activities for St. Anna and his contribution to its musical life.

Before studying the document and its music, it may be useful to place the inventory into perspective by reviewing salient details about Gumpelzhaimer and other major collectors in Augsburg. In recognition of his birth in Trostberg in Upper Bavaria, Gumpelzhaimer stylized his name as "Adamus Gumpelzhaimerus Trostbergensis [or 'Trosberga'] Boius [or 'Bavarus']." His musical training was undertaken at the Benedictine Abbey of St. Ulrich and St. Afra in Augsburg, where one of his teachers was Jodocus Entzenmuller. In 1581 Gumpelzhaimer was appointed cantor and preceptor at the Lutheran Church and School of St. Anna, Augsburg, positions he held until his death in 1625. He collected a large quantity of music by his contemporaries, for both himself and St. Anna, as well as copying a considerable number of their works, something that is well illustrated in his score-books located in Berlin and Cracow. (2) Toward the end of his life he sold many of his music manuscripts and printed editions to St. Anna, and documented them in a catalog of its music holdings; (3) sadly, many items from his library are now lost. (4) Perhaps Gumpelzhaimer's most famous publication was his Compendium musicae... (Augsburg: Valentin Schonig, 1591; RISM A/I, G 5116), (5) which deals with the rudiments of music and reflects the methods he used in the instruction of students at St. Anna. The book, which underwent thirteen editions between 1591 and 1681, provides both German and Latin versions of its text as well as including many music examples by various composers, himself included. He was a major contributor to Augsburg's musical life and published a large quantity of sacred vocal music. (6)

Apart from its churches, Augsburg's most prominent music collectors during the sixteenth and seventeenth centuries were a group of successful entrepreneurs. These included Hans Heinrich Herwart (1520-1583), most of whose collection was purchased in 1585 and 1594 by Duke Wilhelm V of Bavaria and is now found in the Bayerische Staatsbibliothek, Munich; (7) Johann Jakob Fugger (1516-1575), whose collection passed into the hands of his patron, Duke Albrecht V of Bavaria, and is now located in the same library; (8) three other members of the Fugger family, Raimund (1528-1569), his brother Georg (1518-1569), and the latter's son, Philipp Eduard (1546-1618), whose collections eventually came to reside in the Osterreichische Nationalbibliothek, Vienna; (9) and Marcus Welser the younger (1558-1614), whose music collection is now found in libraries in Augsburg and Regensburg.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

An Early-Seventeenth-Century Collection of Sacred Vocal Music and Its Augsburg Connections
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.