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Dianne M. McMullen VENUSKRÄNTZLEIN: LATE-RENAISSANCE COURTLY POETRY AND MUSIC FOR A GODDESS Summary This essay presents the hypothesis that Johann Staden’s Venuskräntzlein,a collection of German secular songs and instrumental dances published at Jena in 1610, anticipates large-scale structures typical of later genres, such as the instru- mental suite and the Singspiel. Most collections of German secular music from the early seventeenth century have a miscellaneous order or else the pieces are group- ed by mode or the number of voice or instrumental parts. The author posits that withinStaden’s Venuskräntzlein one may find two Lied cycles. The first Lied cycle is easy to identify, since Staden labels its parts himself. Musical, textual, and poetic evidence support the identification of a second Lied cy- cle. Furthermore, there appears to be anoverarching structure for the two Lied cycles as a whole, a structure that is supported by both textual and modal analysis. Venus, the goddess of love and beauty, has captured the imagination of many writers, painters, sculptors, poets, and composers over the ages. Virgil’s Aeneid and Ovid’s Metamorphoses are classic sources for learning about the laughter-loving goddess. Her popularity during the Renaissance era was extraordinary. Shakespeare, Angelo Poliziano, Girolamo Falletti, and
Daphnis – Brill
Published: Jan 25, 2003
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