Die Musikforschung

Besprechungen

2024-09-15T22:10:32+02:00

Zum Gedenken an Klaus Wolfgang Niemöller (1929–2024)

2024-09-15T21:53:25+02:00

Sammartini, Mysliveček, Haydn

2024-09-15T21:57:23+02:00

Giovanni Battista Sammartini’s name has been consistently prominent in the discourse on the origins of the concert symphony, whether hailed as a pioneer of the genre or deemed a merely marginal figure in its development. It has hardly been recognized, however, that an anecdote first shared 1809 in Georg August Griesinger’s Biographische Notizen über Joseph Haydn and later in Le Haydine by Giuseppe Carpani – who was most likely the original source of the story – played a conspicuous role in shaping the perception of Sammartini and his compositional output. In this anecdote, Josef Mysliveček spontaneously identified Sammartini’s quartets or symphonies as a source of inspiration for Haydn, which the composer strenuously denied. Discussing examples from roughly one-and-a-half centuries of scholarly writing about Sammartini, the article traces the anecdote’s impact and suggests that it not only prompted the composer’s incorporation into the discourse on the early symphony in the first place, but also profoundly influenced the way his music was perceived and contextualised from the nineteenth century onwards.

Zur Rezeption von Heinrich Schütz in der Jugendmusikbewegung

2024-09-15T22:04:17+02:00

This article examines how journals of the “Jugendmusikbewegung” (Youth Music Movement, or Singing Movement) shaped and promoted the reception of Heinrich Schütz. It was mainly through the medium of magazines that the Youth Music Movement was able to set the tone in the reception of Schütz during the years of the Weimar Republic. For this reason, several magazines from the years 1920 to 1933 were systematically searched for articles on Schütz. Three aspects in particular were examined: Firstly, the “Singkreise” (singing circles), which formed a core of the Youth Music Movement, but also stood in contrast to the more theologically and church musically oriented currents within the Schütz movement; secondly, the “Neue Schütz-Gesellschaft” (New Schütz Society) and its Schütz Festivals, which remained in declared hostility to the bourgeois cult of genius and were the central instrument for making Schütz a figurehead of the Youth Music Movement; thirdly, the Bärenreiter publishing house and its young director Karl Vötterle, who managed to gather all branches of the Youth Music Movement – including the Schütz movement in a prominent position – into his publishing house.