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Samuel Mareschal – Der Genfer Psalter in Bearbeitungen für Tasteninstrumente

Series:

Ramona Hocker and Matteo Nanni

Angesichts der Tatsache, dass die reformierte Liturgie üblicherweise keinen Raum für selbständige Instrumentalmusik bietet, sind die hier nach den Quellen CZ-Pn Bludov R 18, CH-Bu F IX 47, CH-Bu F IX 48 edierten kompletten Bearbeitungen des Genfer Psalters, die der Basler Lehrer und Organist Samuel Mareschal (1554–1640) anfertigte, bemerkenswert. Zudem bieten die Sätze in ihrer dem Stegreifspiel nahen Faktur seltene Einblicke in die Musizierpraxis und Instrumentalpädagogik im Kontext von Universität und Schulwesen. Nicht zuletzt sind Mareschals Tabulaturen auch Zeugnisse privater Frömmigkeit der nachreformatorischen Zeit in Basel und in Mähren.
Der vorliegende Band enthält eine Edition der drei autographen Tabulaturhandschriften, die durch einen kurzen historischen Abriss, Quellenbeschreibungen, Anmerkungen zur Notation und Transkription sowie ein Lesartenverzeichnis mit weiteren Informationen zum Schreibprozess ergänzt werden.
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Introduction

Extract



This volume is a critical edition of the three autographs of Samuel Mareschal’s instrumental adaptations of the Genevan Psalter1 (also known as the Huguenot Psalter). These include two different versions that the Basel Minster’s organist adapted for keyboard instruments and notated in German tablature in 1593 and 1638–40 respectively. By and large, the two instrumental versions presented here are intabulations for keyboard instruments of the 150 Psalms and the Canticum Simeonis (“Nunc dimittis” or “Or laisse Createur”). Mareschal’s adaptations of the Genevan Psalter were written after the Reformation2: the Calvinist Reformation of Basel’s church initiated by Johann Jakob Grynaeus took place between the first and second adaptations. During his tenure, Grynaeus had also enforced a school system reform and expanded the Confession of Basel from 1534 into an extensive ecclesiastical order.3 Mareschal’s work was composed at a point in religious history when the City of Basel was turning to Calvinism while the areas in the surrounding diocese were being re-Catholicised. Therefore, it is striking that this did not involve any restrictions on church music practice and especially the playing of instruments by Basel’s churchwardens. In fact, it would seem that the importance of music was increasingly appreciated in the course of the “special path” of Basel’s Reformation history. Church music was accorded a role in the mediation of reformatory ideas and, with regard to the practice of private piety, deemed an instrument for the presentation and internalisation of the Reformed faith.4 The fact that Mareschal adapted the...

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