To celebrate the th anniversary of the first printed organ music in , Kimberly Marshall released a recording of Arnolt Schlick’s Tabulaturen etlicher. Life. Born: c Died: after Biography. View the Wikipedia article on Arnolt Schlick. Musical settings of literary works. marks years since the first printed organ music was published by Arnolt Schlick. Kimberly Marshall brings these early works to life.

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There schllick two exceptions. It features sophisticated cantus firmus techniques, multiple truly independent lines up to five—and, in sxhlick case, ten—voicesand extensive use of imitation. Schlick’s treatise on organ building and organ playing, Spiegel der Orgelmacher und Organisten “Mirror of Organ Builders and Organists”was published in in Speyer by Peter Drach.

To this end, a line is printed in the margin, and the length of the pipe is given as being 16 times the length of that line.

However, that did not stop him from publishing his work. By using this site, you agree to the Terms of Use and Privacy Policy. The pieces are organized by difficulty, which reflects the didactic aspect of Tabulaturen.

Recent scholarship unearthed evidence of payments to other Electorate of the Palatinate musicians, made by Utrecht authorities, and although no mention of the court travelling to Utrecht in — has been found, it is entirely possible that it did happen.

No documents survive concerning Schlick’s apprenticeship. This file is part of the Sibley Mirroring Project. Creative Commons Attribution-NonCommercial 3.

Tabulaturen etlicher Lobgesang (Schlick, Arnolt)

He is grouped among the composers known as the Colorists. Highly regarded by his superiors and colleagues alike, Schlick played at important historical events, such as the election of Maximilian I as King of the Romansand was widely sought after as organ consultant throughout his career.

After this, Schlick disappears from history. Today, most scholars agree that the pipe would produce a sound slightly more than arnoolt whole tone below the present-day F.

Category:Schlick, Arnolt

Intabulation in french Lute-tablature g-Lute. Johannes von Soest and an otherwise unknown “Petrus Organista de Oppenheim” could be his teachers, as could Conrad Paumannif only for a sschlick time when he possibly visited Heidelberg in Unlike most preceding and contemporary organ composers, Schlick tends to use four voices rather than three, and in the first verse there are instances of two voices in the pedala technique unheard of at the time.


By he was the highest-paid musician at the court with a salary almost twice higher than that of the next-highest musician, and comparable to the salary of the court treasurer. The last known references to him are from ; the circumstances of his death are unknown.

To illustrate how an organ should be tuned, Schlick indicates the length of a pipe speaking Fschlicck bottom note of schlock compass.

Category:Schlick, Arnolt – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

The most discussed part of the Spiegel is its second chapter, which concerns organ pitch. Almost all songs are settings of German polyphonic Lieder on secular texts. Javascript is required for this feature. For example, Schlick’s setting of Maria zart a German song famously used by Jacob Obrecht for Missa Maria zart schlidk, one of the longest polyphonic settings of the mass Ordinary ever written splits the melody into thirteen fragments, treated imitatively one by one.

The ten-voice work is unique in organ repertoire, both for the polyphonic scope and the pedal technique. He was a much schlici organ consultant, and while his blindness prevented him from doing much of the construction he was closely associated with organ-builders as an advisor; schlickk tested new organs, performed widely, and was a strong influence among other composers at the time. Records of Schlick’s early life are sparse: Naxos Javascript not enabled.

He is best known for Spiegel der Orgelmacher und Organistenthe first Sch,ick treatise on building and playing organs. Thus, it predates the advances of Baroque music by about a hundred years, making Schlick one of the most important composers in the history of keyboard music.

The piece begins with a long two-voice section. Throughout his life, Schlick was in high demand as an organ consultant. The 2nd Version is a quart higher. Retrieved from ” https: In French lute-tablature Unisono. Intabulation in french Lute-tablature. Schlick apparently met Virdung in Worms in or and helped him in some way. It still breathes the strict spirit of the Middle Ages, which brought forth arolt many wonderful works, but new forces are already at work that lend this composition a novel fulness of expression and sound.


Schlick’s setting also sets itself apart by relying heavily on imitation, sequence and fragmentation of motives, techniques seldom employed so sch,ick in organ music of the day.

This job was apparently carried out during December —Januaryand a letter survives from about the same time, from Schlick to Bernardo ClesioBishop of Trent ; Schlick sent Clesio two sets of chorale settings.

Schlick can be seen as the first figure in a long line of development which culminated in the music of J. In other projects Wikimedia Commons. Schlick and his family lived in a house on arnoltt Burgweg, a path that led to the Heidelberg Castle although by Schlick had already inherited his father’s house schllck Heidelberg.

Ad te clamamus 2. Bach more than two hundred years later. Schlick himself noted the didactic aspect, writing that he “found and made a separate rule for each setting, which are so clear that it will be easy to set all chants in the same manner.

Schlick’s letter to Bernardo Clesio contains his only known late works: We know that he was present at one the diets at Wormseither in or at the famous diet of Schlick almost certainly met them, and probably played the organ at the performance of the Mass that took place during Philip’s visit. As is usual for lute intabulationsnone of Schlick’s settings are completely faithful to their models. Much of the zrnolt music is stylistically indistinguishable from contemporary vocal works by other composers; consequently, xchlick of the pieces may be intabulations of other composers’ works.