Balthasar Resinarius (born Balthasar Harzer; c. 1483 – 12 April 1544) was a German composer, and a Lutheran bishop, one of the first Lutherans in Bohemia.[1][2]
It is regarded as proven the Resinarius, listed by the music publisher Georg Rhau, is identical with the composer Balthasar Harzer, also listed by Rhau.[1][3] Harzer was born in Tetschen, Bohemia.[1] He received his musical education as a choir boy in the court chapel of King Maximilian I in Munich. He was also a pupil of Heinrich Isaac there.[1] In 1515, he was enrolled as Baldassar Harczer to study at the University of Leipzig. From 1523, he worked on the initiative of Johann VI. von Saalhausen [de] as a Catholic priest in his home town.[1] He got into a fierce dispute with a Lutheran preacher, in the course of which he turned to the Bohemian king for help while the other party sought help from Martin Luther himself.[1] It is not known whether this early and intense confrontation with the new faith led him to convert to Lutheranism. From 1534, he was active, under his Latin name Resinarius as Lutheran pastor.[1] He was bishop in Leipa from c. 1544 until his death.[3]
After Resinarius' death, the Renaissance humanist Georg Hansch, who lived in Leipa, published several commemorative publications ("Epitaphs") in memory of him; these present him as a kind and friendly, also helpful and with a beautiful voice talented person. In particular, Hansch repeatedly praises his striking, outstanding gift as a speaker and his theological scholarship and persuasiveness – with which he had won many followers for the Protestant teaching.
Importanceedit
As a composer, Resinarius is regarded as one of the most important representatives of the first Protestant generation. His works are only known through the publications of Georg Rhau. He was directly inspired to write these works by the latter, who also introduced him, in the preface to his Responsories, as an aged and hitherto unknown master. In his publication Encomion Musicae (1551), the author Johannes Holtheuser counted the composer among the most famous masters of his time. Especially noteworthy from the series of publications by Georg Rhau is the individual print of 1543 with compositions by Resinarius; this is, apart from a publication of the works of Sixt Dietrich [de], the only publication Rhaus with works by only one composer (individual print). These pieces by the master found a wide distribution due to the publication of Georg Rhau in relevant manuscripts of the 16th century.
The works of Resinarius correspond in content and composition in an excellent way to the efforts to provide music for the services of the early Lutheran church.[3] The composer's stylistic means are rather conservative: a clear and concise declamation oriented to the cantus firmus, a rhythmic and melodic balance, a frequently encountered parallel course of the voices among themselves and the absence of any articial counterpoint. These lead to an always clearly understandable text presentation with sometimes confessional forcefulness. Typical of his writing style are also numerous archaic elements (Landini cadence, cadences with double leading-tone, also empty sounds etc.). The Johannespassion by Resinarius is one of the few through-composed passions from the first half of the 16th century that is strictly based on the liturgical Passion tone. It also betrays both lyrically and musically, as does the St. Mark Passion by Johannes Galliculus, the model for the through-composed Passions by Jacob Obrecht and Antoine de Longueval. (around 1498 – 1525). If one compares them with the Passions of Longueval, for example, one notices the numerous internal cadenzas, which partly override the structure of the text.[4]
Workedit
The works of Resinarius are exclusively vocal music and are based, with one exception, on publications by Georg Rhau in Wittenberg:
4 hymns for four voices: "Caeduntur gladiis", "Deus tuorum militum", "Jesus corona virginum" and "Urbs beata Jerusalem", 1542, as Balthasar Hartzer
collection Responsoriorum numero octoginta de tempore et festis iuxta seriem totius anni, Libri duo. Primus de Christo, & regno eius, Doctrina, Vita, Passione, Resurrectione & Ascensione. Alter, de Sanctis, & illorum in Christum fide & Cruce for four voices, 1543, 2nd edition 1544[3]
30 chorale settings for four voices, 1544, including "Ach Gott, vom Himmel sieh darein", "Gelobet seist du, Jesu Christ" and "Nun komm, der Heiden Heiland"[3]
Introit "Deus misericordiam" for four voices, 1545
3 motets for four voices: Factum est autem, In principio erat verbum and Liber generationis, 1545
3 verses for two voices: Eya inquit Paulus, Tradiderunt and Vigilia te ergo, 1545 (not published by Georg Rhau)
J. Haudeck: Musik und Gesänge im Leipaer Bezirke, in Heimatkunde des politischen Bezirks Böhmisch-Leipa, Leipa 1904
W. Gosslau: Die religiöse Haltung in der Reformationsmusik, Kassel 1933
G. Pietzsch: Zur Pflege der Musik an den deutschen Universitäten, in Archiv für Musikforschung Nr. 3, 1938, pp. 302–330; Nr. 6, 1941, pp. 23–56 and Nr. 7, 1942, pp. 154–169
Inge-Maria Schröder: Die Responsorienvertonungen des Balthasar Resinarius, Bärenreiter, Kassel / Basel 1954
V. H. Mattfeld: Georg Rhaw’s Publications for Vespers, Brooklyn / New York 1966
B. M. Fox: A Liturgical-repertorial Study of Renaissance Polyphony in Bártfa Mus. Pr. 6 (a-d), National Széchényi Library, Budapest, dissertation at the University of Illinois 1977
Irmlind Capelle: Zur Verwendung des Passionstons in den durchkomponierten Passionen des 16. Jahrhunderts, insbesondere in der "Johannes-Passion" Leonhard Lechners, in Festschrift for A. Forchert, edited by G. Allroggen and D. Altenburg, Kassel among others 1986, pp. 61–76
K. von Fischer: Die Passion. Musik zwischen Kunst und Kirche, Kassel among others 1997.
balthasar, resinarius, born, balthasar, harzer, 1483, april, 1544, german, composer, lutheran, bishop, first, lutherans, bohemia, bornbalthasar, harzerc, 1483tetschendied, 1544, april, 1544leipaeducationuniversity, leipzigoccupationscomposer, lutheran, bishop,. Balthasar Resinarius born Balthasar Harzer c 1483 12 April 1544 was a German composer and a Lutheran bishop one of the first Lutherans in Bohemia 1 2 Balthasar ResinariusBornBalthasar Harzerc 1483TetschenDied 1544 04 12 12 April 1544LeipaEducationUniversity of LeipzigOccupationsComposer Lutheran bishop Contents 1 Life and career 2 Importance 3 Work 4 References 5 Further reading 6 External linksLife and career editIt is regarded as proven the Resinarius listed by the music publisher Georg Rhau is identical with the composer Balthasar Harzer also listed by Rhau 1 3 Harzer was born in Tetschen Bohemia 1 He received his musical education as a choir boy in the court chapel of King Maximilian I in Munich He was also a pupil of Heinrich Isaac there 1 In 1515 he was enrolled as Baldassar Harczer to study at the University of Leipzig From 1523 he worked on the initiative of Johann VI von Saalhausen de as a Catholic priest in his home town 1 He got into a fierce dispute with a Lutheran preacher in the course of which he turned to the Bohemian king for help while the other party sought help from Martin Luther himself 1 It is not known whether this early and intense confrontation with the new faith led him to convert to Lutheranism From 1534 he was active under his Latin name Resinarius as Lutheran pastor 1 He was bishop in Leipa from c 1544 until his death 3 He died in Leipa After Resinarius death the Renaissance humanist Georg Hansch who lived in Leipa published several commemorative publications Epitaphs in memory of him these present him as a kind and friendly also helpful and with a beautiful voice talented person In particular Hansch repeatedly praises his striking outstanding gift as a speaker and his theological scholarship and persuasiveness with which he had won many followers for the Protestant teaching Importance editAs a composer Resinarius is regarded as one of the most important representatives of the first Protestant generation His works are only known through the publications of Georg Rhau He was directly inspired to write these works by the latter who also introduced him in the preface to his Responsories as an aged and hitherto unknown master In his publication Encomion Musicae 1551 the author Johannes Holtheuser counted the composer among the most famous masters of his time Especially noteworthy from the series of publications by Georg Rhau is the individual print of 1543 with compositions by Resinarius this is apart from a publication of the works of Sixt Dietrich de the only publication Rhaus with works by only one composer individual print These pieces by the master found a wide distribution due to the publication of Georg Rhau in relevant manuscripts of the 16th century The works of Resinarius correspond in content and composition in an excellent way to the efforts to provide music for the services of the early Lutheran church 3 The composer s stylistic means are rather conservative a clear and concise declamation oriented to the cantus firmus a rhythmic and melodic balance a frequently encountered parallel course of the voices among themselves and the absence of any articial counterpoint These lead to an always clearly understandable text presentation with sometimes confessional forcefulness Typical of his writing style are also numerous archaic elements Landini cadence cadences with double leading tone also empty sounds etc The Johannespassion by Resinarius is one of the few through composed passions from the first half of the 16th century that is strictly based on the liturgical Passion tone It also betrays both lyrically and musically as does the St Mark Passion by Johannes Galliculus the model for the through composed Passions by Jacob Obrecht and Antoine de Longueval around 1498 1525 If one compares them with the Passions of Longueval for example one notices the numerous internal cadenzas which partly override the structure of the text 4 Work editThe works of Resinarius are exclusively vocal music and are based with one exception on publications by Georg Rhau in Wittenberg 4 hymns for four voices Caeduntur gladiis Deus tuorum militum Jesus corona virginum and Urbs beata Jerusalem 1542 as Balthasar Hartzer collection Responsoriorum numero octoginta de tempore et festis iuxta seriem totius anni Libri duo Primus de Christo amp regno eius Doctrina Vita Passione Resurrectione amp Ascensione Alter de Sanctis amp illorum in Christum fide amp Cruce for four voices 1543 2nd edition 1544 3 30 chorale settings for four voices 1544 including Ach Gott vom Himmel sieh darein Gelobet seist du Jesu Christ and Nun komm der Heiden Heiland 3 Introit Deus misericordiam for four voices 1545 3 motets for four voices Factum est autem In principio erat verbum and Liber generationis 1545 3 verses for two voices Eya inquit Paulus Tradiderunt and Vigilia te ergo 1545 not published by Georg Rhau Hymn Beatus author saeculi for four voices 4 other hymns for four voices References edit a b c d e f g Capelle Irmlind 2005 Resinarius Balthasar In Fischer Ludwig ed Die Musik in Geschichte und Gegenwart Vol 13 2nd ed Kassel Barenreiter Metzler ISBN 3 7618 1133 0 Marc Honegger Gunther Massenkeil Das grosse Lexikon der Musik vol 7 Herder Freiburg im Breisgau 1982 ISBN 3 451 18057 X a b c d e Eitner Robert 1889 Balthasar Resinarius Allgemeine Deutsche Biographie in German vol 28 Leipzig Duncker amp Humblot pp 245 246 Free scores by Balthasar Resinarius at the International Music Score Library Project IMSLP Further reading editJ Haudeck Musik und Gesange im Leipaer Bezirke in Heimatkunde des politischen Bezirks Bohmisch Leipa Leipa 1904 W Gosslau Die religiose Haltung in der Reformationsmusik Kassel 1933 G Pietzsch Zur Pflege der Musik an den deutschen Universitaten in Archiv fur Musikforschung Nr 3 1938 pp 302 330 Nr 6 1941 pp 23 56 and Nr 7 1942 pp 154 169 Inge Maria Schroder Die Responsorienvertonungen des Balthasar Resinarius Barenreiter Kassel Basel 1954 V H Mattfeld Georg Rhaw s Publications for Vespers Brooklyn New York 1966 B M Fox A Liturgical repertorial Study of Renaissance Polyphony in Bartfa Mus Pr 6 a d National Szechenyi Library Budapest dissertation at the University of Illinois 1977 Irmlind Capelle Zur Verwendung des Passionstons in den durchkomponierten Passionen des 16 Jahrhunderts insbesondere in der Johannes Passion Leonhard Lechners in Festschrift for A Forchert edited by G Allroggen and D Altenburg Kassel among others 1986 pp 61 76 K von Fischer Die Passion Musik zwischen Kunst und Kirche Kassel among others 1997 External links editLiterature by and about Balthasar Resinarius in the German National Library catalogue Free scores by Balthasar Resinarius in the Choral Public Domain Library ChoralWiki Portals nbsp Classical music nbsp Germany Retrieved from https en wikipedia org w index php title Balthasar Resinarius amp oldid 1218003378, wikipedia, wiki, book, books, library,
