Leonhard Lechners durchkomponierte geistliche Liedmotetten

Leonhard Lechners kompositorische Individualität zeigte sich bezeichnenderweise in mehrstimmigen deutschen Liedern, und zwar in geistlichen Liedern. Vor allem seine meist mehrteilig durchkomponierten geistlichen Liedmotetten, die wohl allesamt dem Gebrauch im lutherischen Raum zuzurechnen sind, stel...

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Bibliographic Details
Main Author: Jang, Dong-Woog
Format: Doctoral Thesis
Published: Philipps-Universität Marburg 2010
Online Access:PDF Full Text
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Table of Contents: Leonhard Lechner´s compositional individuality appeared typically in German Lieder for several voices, namely in sacred Lieder. Above all his sacred Liedmotetten usually through-composed in several parts which are probably to be added all to the use in the Lutheran space show an overriding summit in the history of the Liedmotette about 1600. The present analysis of 25 sacred through-compositions is made up of two main parts which treats the first part four chorale arrangements of which text and melody of a chorale form the basis. It is shown how different way goes round Lechner in these only four compositions with the model "chorale arrangement". Besides, the single analyses over and over again are integrated by the comparison with other arrangements of the Lieder in the type-historical connection. The second part treats 21 through-composed sacred Liedmotetten which do not fall back on a melody presentation. The analysis encloses the following aspects for every piece: Description and arrangement of the text, formal arrangement of the composition, sentence technical features, ratio of the setting to the text, tone paintings and affect expression. Where it is possible, in the analyses looks come along at the type-historical context, on parallel settings and compositions of similar texts. The preference of madrigalesque characters is worked out by the analytic investigation of sacred 25 through-compositions as a characteristic feature in the text treatment as well as the variety of the imitation technology and it is shown how Lechner to technologies of the tone painting and the change of homo and polyphonic passages helps itself as he varies by choral splitting tonally and closely composes along the text. A development in the works of Lechner can be held on above all in view on the contact with imitations from which Lechner increasingly more sparing use makes what tight on one changede claim might go back to the text comprehensibility.