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VENUSKRÄNTZLEIN: LATE-RENAISSANCE COURTLY POETRY AND MUSIC FOR A GODDESS

VENUSKRÄNTZLEIN: LATE-RENAISSANCE COURTLY POETRY AND MUSIC FOR A GODDESS 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Daphnis Brill

VENUSKRÄNTZLEIN: LATE-RENAISSANCE COURTLY POETRY AND MUSIC FOR A GODDESS

Daphnis , Volume 32 (1-2): 18 – Jan 25, 2003

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0300-693X
eISSN
1879-6583
DOI
10.1163/18796583-90001162
Publisher site
See Article on Publisher Site

Abstract

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

Journal

DaphnisBrill

Published: Jan 25, 2003

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