Grove's dictionary of music and musicians

—
STADEN STADEN 665
are sustained for nearly their full value, and
separated by a scarcely appreciable interval.
On stringed and wind instruments indeed they
are frequently not separated at all, but are
attacked with a certain slight emphasis which
is instantly weakened again, so as to produce
almost the effect of disconnection ;
on the pianoforte,
however, they must of necessity be separated,
though but for an instant, and they are
played with a close, firm pressure, and with but
little percussion. The following is an example
of the use of Tnezzo staccato, with its rendering,
as nearly as it is possible to represent it in
notes :
Beethoven, Sonata in C, Op. 53.
Written. ^ T "^^ ^
g|gg^g^^g=
Marcaio ma piano.
gpflH^fHip^
When a movement is intended to be staccato
throughout, or nearly so, the word is usually
written at the commencement, with the tempoindication.
Thus Mendelssohn's Prelude in B
minor, op. 35, No. 3, is marked 'Prestissimo
Staccato,' and Handel's chorus, 'Let us break
their bonds asunder, ' is ' Allegro e staccato. ' p. T.
STADEN, JoHANN, was born at Nuremberg
in 1581 (not 1579, as stated in the Quellen-
Lexikon). From 1603 to about 1616 he was in
the service of the Margrave Christian Ernst of
Kulmbach and Bayreuth as Court-Organist. In
1616 he returned to Nuremberg, where he received
the appointment of organist, first to the
St. Lorenz - Kirche, and shortly afterwards to
the more important St. Se bald -Kirche, in
which latter post he remained till his death,
Nov. 15, 1634. Staden occupies a place of some
importance in the transition period of musical
history at the beginning of the 1 7th century,
when German musicianship was endeavouring
to combine with the older style of pure vocal
music the advantages of the newer style of instrumental
accompaniment with its greater freedom
of harmonic modulation. Staden, however,
was on the whole more conservative and less
enthusiastically progressive than his contemporaries
Michael Praetorius and J. H. Sohein,
not to mention Heinrich Schiitz. His publications
were fairly numerous, though all are not
preserved complete. There are six of church
works proper, partly with Latin, partly with
German texts, entitled respectively, Harmoniae
'
Sacrae pro festis praecipuis' 4-8 voc, 1616 ;
' Harmoniarum sacrarum. continuatio '1-12 voc,
'
1621 ; Kirchen-musik,' 1 Theil mit 2-14 St.,
1625; 'Kirchen-musik,' 2 Theil zu 1-7 St.,
mit violen und anderen Inst., 1626 ;
'Harmoniae
'
novae ' 3-12 voc, 1628 ;
Harmoniae Variatae,'
1-12 voc, 1623. In these works three styles of
church music are represented : the pure vocal
Motet, in which Basso Continuo is not required ;
the Motet with only Basso Continuo ;
and tlie
Sacred Concerto with obbligato accompaniment
and instrumental preludes and interludes denominated
respectively Symphonies and Eitornelli.
Another series of Staden's publications
,
consists of sacred music on German texts intended
more for private or domestic performance,
a kind of music which would seem to have been
much in vogue among the Nuremberg citizens
of those days. His chief publication of the sort
is expressly entitled ' Haus-musik, ' which originally
appeared in four separate parts in 1623-28,
and afterwards in a complete edition in 1646.
This work contains 118 mostly short and comparatively
simple pieces a 3-4 for voices, or instruments
ad libitum, in a few cases instruments
ohbligati. Another work of the same kind, a
little more elaborate, is entitled ' Musicalischer
Freuden- u. Andachtswecker oder geistliche Gesanglein
' zu 4-6 St. , 1630. Other works belonging
to the same class entitled Hertzentrosts-
'
Musica,' 1630, and 'Geistlicher Music- klang,'
1633, contain mostly Lieder for one voice only
with continuo accompaniment for organ, lute,
or theorbo. Several of Staden's Lieder found
their way into later Chorale - Books. Another
department of Staden's activity as a composer
consists of secular songs and instrumental
dances. Three collections of secular songs a 4-5
with an appendix of insti'umental dances appeared
1606, 1609, and 1610. Two other
collections of dances alone, Pavanes, Galliardas,
Courantes, etc., appeared 1618 and 1625. A
comprehensive collection of instrumental works
by Staden was published posthumously in 1643,
containing not only dances, but pieces described
as Sonatas, Symphonies, and- Canzonas. Staden
would appear to have been incited to the composition
of these instrumental works by his
official connection for a time with the Stadtpfeifer
or town musicians of Nuremberg. It
only remains to add that a recent volume (Jahrg.
viii. Bd. i.) of the Denkmaler der Tonkunst
in Bayern contains a selection of Staden's vocal
works, including ten Latin Motets a 4-8 and
twenty-five German pieces a 3-8, with a full
biographical and critical introduction. A selection
from his insti-umental works is promised in
a succeeding volume. j. E. M.
STADEN, SiGMUND Gottlieb (or Thbophil),
son of Johann Staden, was born in 1607. At
the age of thirteen he was sent by the town
authorities of Nuremberg, at the request of his
father, to receive further musical instruction
from Jacob Baumann, Organist and Stadtpfeifer
or town musician of Augsburg. This might
seem strange, considering that Johann Staden
was himself a more distinguished musician
than Baumann, but Baumann appears to have
had during his lifetime a greater reputation as
2 u