Ottmar Nachtgall Vidéos
humaniste allemand
- orgue
- Allemagne
- musicologue
Dernière mise à jour
2024-06-01
Actualiser
Heinrich Isaak Hofhaimer Othmar Nachtgall Frölich Konrad Brumann Speyer Ioannes Buchner Kleber Berg Fridolin Sicher Ludwig Senfl 1459 1480 1483 1486 1490 1517 1519 1526 1537 1538 1543
Keyboard music at the Imperial Court of Maximilian I Heinrich Isaak - Henricus Isaac (1450ca-1517) 01 Ain frewlich Wesen (arr. Paulus Hofhaimer) +••.••(...):00 02 In pace in idipsum in C (2) 02:16 03 Ain frewlich Wesen (3) 07:21 04 Palle, palle (8) 09:42 05 Zwischen Perg und tieffe Tal (4) 12:15 Paulus Hofhaimer +••.••(...)) 06 Muteta (Adolf Blindhamer Tablature) (5) 14:15 07 Ich rewe und klag (6) 15:51 08 Fantasy on 'On freudt verzer' (3) 18:05 Othmar Nachtgall - Ottmar Luscinius +••.••(...)) 09 In patientia vestra (3) 20:39 10 Fortuna in fa (7) 22:31 11 Ain frölich Wesen (7) 25:17 Konrad Brumann - Conrad von Speyer (1480ca-1526) 12 Carmen in Sol (7) 27:24 13 Pleni sunt (4) 29:04 Ioannes Buchner +••.••(...)) 14 Recordare (Bonifatius Amerbach Tablature) (2) 31:12 15 Fortuna in ut (Leonard Kleber Tablature) (2) 37:12 16 Es gieng ein Man den Berg uff (Fridolin Sicher Tablature) (2) 39:30 17 Fortuna in mi (Fridolin Sicher Tablature) (2) 41:02 18 Veni creator spiritus - in Discant (4) 44:28 19 Conditor alme siderum - Choral in Basso (8) 46:01 20 Conditor alme siderum - Choral in Discant (8) 47:19 21 Expecta ung pauca (3) 48:39 22 Organ Mass - Kyrie - Alternating Versets (4) 50:17 23 Quem terra, pontus (3) 56:05 24 Sanctus ad trium Regum (4) 58:41 1486-1543 Ludwig Senfl +••.••(...)) 25 Ich schwing mein Horn (9) 1:00:12 26 Vita in ligno moritur (7) 1:01:24 27 Was wird es doch des Wunders noch (9) 1:04:09 28 Magnificat primi toni (1) 1:06:01 / TOTAL TIME PLAYING: 1:16:55 / Recorded with the following Virtual HAUPTWERK Sample Sets: Heppenheim, D, = (1), Smecno, CZ, = (2), Kiedrich, D, = (3), Kolozsvár, ROM, = (4), Forcalquier, F, = (5) Midwolda, NL, = (6), Zurek Great Baroque composite, = (7), Azzio, I, = (8), Altenbruch, D, = (9). / Maximilian I +••.••(...)), Duke of Tyrol, Burgundy, later Roman-German king and finally Roman-German emperor. Maximilian is praised as "Musenkuenig" by his contemporaries, his deeds are printed as "Weisskuenig". He is called "the last knight". His reform efforts, magnificent tournaments and wars cause great financial burdens. Nevertheless, the most powerful ruler in Europe knows how to duly represent his power everywhere. He succeeds in obliging even the best artists north of the Alps to the imperial court. The music is also becoming increasingly important for the courtly representation of Maximilian, because he knows about the effectiveness of the arts as instruments of his representation. The Emperor, who according to the tradition of his personal physician Cuspinianus is a unique music lover, likes to be in the company of his court musicians. Maximilian has recognized the calculus of power: that there is hardly any more effective propaganda than when artists around the world sing their praises. Not only did he take over the famous musicians at the Burgundian court, which specializes mainly in instrumental music, but also in 1490 the court orchestra of Siegmund "der Muenzreiche" of Tyrol and after the death of Friedrich III. in addition the Imperial "Hofmusikkapelle" of the emperor. Thus, the emperor now has an internationally respected ensemble, in which several outstanding musicians are active that today would be called world stars. 500 years ago - 1519 - this last Renaissance prince dies. After his death, Maximilian leaves his heirs not only a world empire, but also a huge debt mountain, and the consternation among the artists is great. Music always plays a big role in his life: he can enjoy it in private, dancing, masques and leisure. Soundful composer names combine with Maximilian I: Paulus Hofhaimer, Henricus Issac, Ludwig Senfl and many more. Several music manuscripts with Intabulations in old notation are handed down by these artists from his circle. Listening to this old organ music should make it possible for us to imagine with some imagination how it may have sounded 500 years ago on the courts of Central Europe ...
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