DICTIONARY OF MUSIC - El Atril

FINCK FINCK 41
'Circa annum 1480 et aliquanto post alii
exstiterunt praecedentibus (niusicis) longe prae-
stantiores. lUi eiiim in docenda arte non ita
ininiorati sunt, sed erudite Theoricam cum
Practica conjunxeruut. 4nter hos sunt Henricus
rinck, qui non solum ingenio, sed jiraestanti
etiam eruditione excelluit, durus vero in stylo.'
and soon after 1480 musi-
(Ch. i. p. 3 ; 'About
cians appeared far superior to their predecessors,
who did not give so much time to teaching the
art, but skilfully combined theory with practice.
Among these were [others and] Heinrich Finck,
who excelled not only in talent, but in learning.
He was, however, hard in style.')
Heinrich Finck's compositions Avere printed
only twenty years before Practica Musica,
with the title : Schone ausserlesne lieder, des
hochberum[iten Heinrici Finckens, sampt andern
newen liedern, von den fiirnemsten diser kunst
gesetzt lustig zu singen, und auffdie Instrument
dienstlich. Vor nie im druck aussgangen.
1536. (In the Tenor part-book only) Gedruckt
zu Niirenberg durch Hieronymuni Formschneyder.
Four part-books, obi. 4to, in the Munich
Hofbibl. and in Zwickau Ratsschulbibl. Of
the iifty-tive compositions, the lirst thirty are
by Heinrich Finck ; only six are to sacred
words. No. 1, 'Christ ist erstanden ' is for
five, the others for four voices. In vol. 8 of
the Piibl. dlterer prak. u. theoret. Musikicerke,
1879, Eitner reprints these compositions in
score, with the exception of No. 2, 'In Gottes
Namen faren wir ' (publ. in score by R. Schlecht,
Gcsrh. clcr Kirchcniiiudk, 1871, Musikbeilage,
Ko. 44) ; No. 11, ' Freu dich du werte Christenheit'
(publ. in score by C. v. "Winterfeld, Der
evang. KirchcngesoMg, 1843, I. Musikbeilage,
No. 12); and No. 18, ' Ich stund an einem
morgen ' (publ. in score by R. v. Liliencron,
Die liistorisclicn Volkslicdcr, 1865, IV. Beilage
7). Eitner notes that there is no Cantus firmus
in Finck's secular songs, he composed his own
Tenor, only in ' Ich stund
'
an einem morgen
and ' Oreiner, zanner,' does he use the melodies
of folk-songs. The German songs, of which
* Ach hertzigs hertz '
is a characteristic example,
are marked l.iy great freedom of expression,
sympathy, and feeling. The motets are more
fettered by their century ; although tlie ' Christ
ist erstanden ' for five voices is one of Finck's
finest pieces of work, as a rule in his sacred
music, ingenious handling of the counterpoint
outweighs harmonious beauty. This p'^rhaps
aci.-ounts for Hermann Finck's stricture in
Practica Musica 'durus vero in stylo.'
Compositions in printed works :
1. Ein new geordnct kUiiatllch Lautcnb\ich. In zweii Theyl
getheylt. Nlirnberg. Hansen Newsidler. iry.lG. H. F.'s uaisic in
the second part inchidea 'Ich stund an einem morgen.' (Vogel,
Eitner.)
2. Sec-Tiiidu3 tomus novi operis mweici, 6, 5, & 4 vociiin. 15-38,
(Johannea Ottocivis Noribergensisl. No. 40, |i.) Magnua eatu Doraine,
pauperum refugium, for four voioe.'*. Although the tnnaic is
(ii. ) Tu
here attributed to Finek, it is printed in Glarean'a Dodecachnrdon,
1647, p. 221, aa the work of Joaquin des Pr^s. It was also published
by Fetrucclln 1504, p. '2Tt. but without the composer's name, Kitner
includes it in vol. 8 of the J'ublikation, etc. 1879, but auya the
authorship is doubtful.
3 Trium vocumcarminaadiversiamusiciscomposita. Kilrenberg,
Hieron. Fomiachneider. 16^8. No. 22, fur three voices, without
words.
4, Ein ausszug guter alter und newer Teutschur Liedlein {G.
Forstor). ^U^nbe^g. Johan Petreio. 15.*Ji). No. 7. ' Ach hertzigs
' hertz (no composer's name) and No, 87, 'Kuiitachaft mit dir' (\sith
compoaer's name F. Holfheymer). They are Noa. 8 & 29 in Finck's
SchiJne ausserlesne Lieder fur four voices.
Der ander Theii, kurtzweiliger guter fiiacher Teutscher Uedlein.
NUrnberg. Johan I'etreium. 1540. No. 63 'Der Ludel und der
Henuel (with ' composer a name L. Heidenhamerj is No. 10 in Schone
ausserleane Lieder,
5, teiicroruni hymnorum. Liber primus. Vitebergae. GeorgP,haw.
1542. Twenty-two motets, in which ancient church melodies forni
the Cantua firmus. Eitner rcpiinted five of them in i'ublikution,
etc. 1879. vol. 8.
6, Coneentus 8, 6, 5, & 4 vocum omnium jucundissimi. (Sigia,
Salblinger) Auguatae ViiKlelicorum. Fh. Ulhardua. 1645. No.2;i"'0
Domine JeBuChriate.' in seven movements, for four voices. Ambros
describen this as an exceptionally beautiful work, the 'seven
greetings of the Buttering Redeemer ' are
full of deep devotion and feeling ;
in fact seven short motets
in the last part two more voices
join ' in a canon in Epidiapasou post duo tempora.'
7, Officiorum (ut vocant) de nativitite, etc. Tonius primus. Vitebergae.
G. Rhaw. 1545. f. 51 'Puer natus eat nobis'— ' Cantite
Domino '^' Grates nunc omnes reddamua '— ' Huic oportet ut canamus,'
for four voices.
8, Erotemata musices practicae . . . collecta ab Ambrosio Wil-
phlingaedero. Noribergae, C'hr. Heuasler. 1563, p. 160. One musical
example from the mass ' ' Sub tuunj praesidium for two voices.
9, Suaviasimae et jucundissimae harmoniae: 8, 5, & 4 vocum, ex
duabua vocibus. . . Clemente Stejjhaui Buchavenae. Noribergae.
Th, Gerlatzenum. 15C7. No. 12, ' ' Dies est laetitiae for four voices,
Reprinted by Eitner in Publikation. etc. 1879, vol. 8.
In MS. ; Augsburg Eibl. Cude.>L 142«, one motet for four voices.
(Sch letterer'a Cat. p. a. I
Basle Eibl. ' Ich atund an einem morgen ' for four voicua.
Berlin kijnigl. Eibl.CodexZ21,motetsfor four voices: 1. Misereatur
Dominus, 2, Ave JesuC'hriste, S.Deo dicamua, 4-Gloria laus, S.Lieber
her santh peter. (Eitner.)
Breslau Stadtbibl. MS. 03, Introit in four movements : Fuer natua
est nobis, etc. for four voices (Bohn's Caf.\. See above. No. 7.
Kbnigsberg Bibl. J/^S. 4. 24. Four moteta, Nos. 43, 53, 89, and 90,
for four voices. (Eitner.)
Leipzig Uuiversitiitsbibl. Codex MS. 1494, Der Mensuralcodex
des Magister Nikolaua Apel vonKonigshofen. 1504. Described by Dr.
Hugo Eiemann, Klrche-nniusikdlUches Jahrbuch. 1897. Music by
Heiiiricus Finck :—two copies of " ' Et adhuc tecum sum (2nd part),
'Domine probasti me' for four voices; and 'Wer ych ayn faick'
for four voices, identical with music in the Berlin MS. Z 21, Ko, 95,
' without name of compoeer, to the Latin words Invicto regi jubilo.'
Also five songa f