Zeilenzwischenspiele in Orgelbegleitungen zum Gemeindegesang
In the 18th and the earlier 19th century, it was common practice to add interludes between the hymn verses in the organ-accompaniment of the parish-singing. In recent essays these interludes are generally rejected. Their origin is to be seen in the chamber-musical accompaniment of the figured bass,...
| Authors: | ; |
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| Format: | Electronic Article |
| Language: | German |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Vandenhoeck & Ruprecht
1985
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| In: |
Jahrbuch für Liturgik und Hymnologie
Year: 1985, Volume: 29, Pages: 151-168 |
| Online Access: |
Volltext (lizenzpflichtig) |
| Parallel Edition: | Non-electronic
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| Summary: | In the 18th and the earlier 19th century, it was common practice to add interludes between the hymn verses in the organ-accompaniment of the parish-singing. In recent essays these interludes are generally rejected. Their origin is to be seen in the chamber-musical accompaniment of the figured bass, a practice which can still be recognized in the compositions of G. F. Kauffmann. Besides proper interludes, J. S. Bach also elaborated transitional forms to independent compositions including a chorale melody. A choral book from the Swiss town Langenthal, dated from 1782, contains short interludes, which we would however consider as preludes to the verses. It is neither sensible nor possible to revive the practice of the interludes, though we recognize a certain relationship in so-called "new accompaniment settings." |
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| ISSN: | 2197-3466 |
| Contains: | Enthalten in: Jahrbuch für Liturgik und Hymnologie
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