- Basel, Switzerland
- Andreas Wernli earned his PhD in Musicology with Kurt von Fischer at the University of Zurich, with a focus on music from the fourteenth century to the Early Baroque. He subsequently taught at both the University and Zurich Conservatory. In the 1980s, he served as Head of Music at the German Swiss Radio station (Radio DRS). For the past thirty years, We... moreAndreas Wernli earned his PhD in Musicology with Kurt von Fischer at the University of Zurich, with a focus on music from the fourteenth century to the Early Baroque. He subsequently taught at both the University and Zurich Conservatory. In the 1980s, he served as Head of Music at the German Swiss Radio station (Radio DRS). For the past thirty years, Wernli has been active as a freelance musicologist as well as in a variety of other fields. From 2012 to 2017, he participated in an extensive research project on "The Codex of Penitential Psalms of Albrecht V" (Bayerische Staatsbibliothek, Mus. Ms. A). Currently he is enjoying retirement. (2020)edit
The Codex of Penitential Psalms of the Bavarian Duke Albrecht V (1528–1579) might well be called the world's most beautiful musical manuscript. Kept in the Bavarian State Library in Munich under the signature Mus.ms. A, the two voluminous... more
The Codex of Penitential Psalms of the Bavarian Duke Albrecht V (1528–1579) might well be called the world's most beautiful musical manuscript. Kept in the Bavarian State Library in Munich under the signature Mus.ms. A, the two voluminous choir books of over 400 pages, measuring 60 x 44 cm, not only feature the "Septem Psalmi Poenitentiales", Orlando di Lasso's (1530/32–1594) masterpiece from ca.1559, but also the illuminations of Hans Mielich (1516–1573) and his workshop. Produced from 1560–1570, the codex is estimated to contain nearly 3500 miniatures. The thousands of details found in this extraordinary pictorial universe would be little known to us were it not for Samuel Quicchelberg (1528-1567), a Belgian humanist at the Munich court and co-producer of this 'Gesamtkunstwerk'. In his "Declaratio", a 600-page Latin manuscript in 2 volumes (1565/1570), he unveils a wealth of information expressly for those living "many centuries" after him.
The present paper contains parts of Quicchelberg's "Declaratio": the prefaces and conclusions of the two volumes as well as the commentaries to the first two penitential psalms. The two authors completed the first version of this working edition and German translation by Spring 2016 to serve the members of an interdisciplinary team investigating Mus.ms. A, which resulted in a conference in Munich 2017.
At the same time the publication of the conference report was under way the present paper, too, was being updated, because in the meantime all manuscripts in question have become available online and are linked page by page to the edition. To further enhance the reader's experience, Lasso's music can be heard via links to each opening of the choirbook. The edition is completed by references to the pertinent articles of the conference report.
The present paper contains parts of Quicchelberg's "Declaratio": the prefaces and conclusions of the two volumes as well as the commentaries to the first two penitential psalms. The two authors completed the first version of this working edition and German translation by Spring 2016 to serve the members of an interdisciplinary team investigating Mus.ms. A, which resulted in a conference in Munich 2017.
At the same time the publication of the conference report was under way the present paper, too, was being updated, because in the meantime all manuscripts in question have become available online and are linked page by page to the edition. To further enhance the reader's experience, Lasso's music can be heard via links to each opening of the choirbook. The edition is completed by references to the pertinent articles of the conference report.
This study presents the oeuvre of Adriano Banchieri, a Bolognese monk whose lifetime spanned the late Renaissance and early Baroque. Although the catalogue of his works lists no more than some fifty extant items, these are of an... more
This study presents the oeuvre of Adriano Banchieri, a Bolognese monk whose lifetime spanned the late Renaissance and early Baroque. Although the catalogue of his works lists no more than some fifty extant items, these are of an exceptional variety: two-thirds of them encompass almost every musical genre of Banchieri's time – sacred and secular, vocal and instrumental – as well as his writings on music theory and practice. The remaining third consists of literary works ranging from novels, satires, commedia dell'arte, letters and sacred writings, to texts on and in the Bolognese dialect.
Since its publication in 1981, this study has remained the only one to provide an extensive, detailed survey and analysis of specimens from every genre of the composer-performer-author’s output, focusing on his genuine contributions, models and examples in order to reveal their common background and to portray Banchieri's mindset as an artist and personality. Nearly all of the musical and literary specimens are published here for the first time in a modern edition.
Since its publication in 1981, this study has remained the only one to provide an extensive, detailed survey and analysis of specimens from every genre of the composer-performer-author’s output, focusing on his genuine contributions, models and examples in order to reveal their common background and to portray Banchieri's mindset as an artist and personality. Nearly all of the musical and literary specimens are published here for the first time in a modern edition.
Research Interests: Italian Literature, History of Music Theory, Commedia dell'arte, Claudio Monteverdi, Palestrina, Giovanni Pierluigi da, and 15 moreItalian dialects, Giovanni Maria Artusi, Gioseffo Zarlino, Bologna, Italian Renaissance Music, Luca Marenzio, Orazio Vecchi, Giovanni Gabrieli, Guido Reni, Italian Baroque Music, Giulio Cesare Croce, Lodovico da Viadana (1564 - 1645), Bertoldo, Betoldino e Cacasenno , Girolamo Diruta, and Spartitura
In seiner Erläuterung zum Bußpsalmencodex Albrechts V. bezeichnet Samuel Quicchelberg (1529–1567) den Codex als "Grundlegung zu einem Schauplatz des Wissens"– "fundatio theatri sapientiae". Ein kurzer Hinweis darauf, dass diese einmalige,... more
In seiner Erläuterung zum Bußpsalmencodex Albrechts V. bezeichnet Samuel Quicchelberg (1529–1567) den Codex als "Grundlegung zu einem Schauplatz des Wissens"– "fundatio theatri sapientiae". Ein kurzer Hinweis darauf, dass diese einmalige, monumentale Musik- und Bildhandschrift von Repräsentation, Andacht und biblischer Gelehrsamkeit zudem als Bildenzyklopädie ein Interface zu den wissenschaftlichen Strömungen ihrer Zeit darstellt. Deren allgemeine Schlagworte lauten unter anderem Anschaulichkeit, Vollständigkeit und Ordnung, und es wird gezeigt, wie sie sich bei Quicchelberg und im Bußpalmencodex konkretisieren. Damit erweist sich dieser als authentisches, komplett und intakt im Originalzustand erhaltenes Zeugnis für ein enzyklopädisches "theatrum sapientiae"; es wird auch angedacht, wie er als solches verwendet worden sein mag.
Aufgrund dieser neuen, enzyklopädischen Dimension wächst dem Bußpsalmencodex Albrechts V. in der heutigen Zeit ein außerordentliches Potenzial zu. Über die unerlässliche wissenschaftliche Erschließung und interdisziplinäre Forschung hinaus lässt er sich mit den heutigen digitalen Techniken in ein "theatrum digitale" umwandeln, das einer größeren Öffentlichkeit einen neuartigen, multimedialen Zugang zu einem vergangenen Zeitalter zu vermitteln vermag.
Aufgrund dieser neuen, enzyklopädischen Dimension wächst dem Bußpsalmencodex Albrechts V. in der heutigen Zeit ein außerordentliches Potenzial zu. Über die unerlässliche wissenschaftliche Erschließung und interdisziplinäre Forschung hinaus lässt er sich mit den heutigen digitalen Techniken in ein "theatrum digitale" umwandeln, das einer größeren Öffentlichkeit einen neuartigen, multimedialen Zugang zu einem vergangenen Zeitalter zu vermitteln vermag.