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    Published: 2022-11-23
    Vol. 38 No. 3 (2017)

    Theological and Rhetorical Context of the Word and Music in “Salve coelestis Pater” Vocal Concerto by Franz Tunder (1614-1664) for Solo Bass, Violin and Basso Continuo

    Zbigniew Stępniak
    Seminare. Learned Investigations
    Section: History
    https://doi.org/10.21852/sem.2017.3.15

    Abstract

    The composer, Franz Tunder (1614-1664), during the 25 years of his serving as an organist and musical life animator in St. Mary’s Church in Lübeck, was a forerunner of the last generation of the Hanseatic Baroque and a great master of this style. He created organ masterpieces and vocalinstrumental compositions. One of them is a church concerto composed to the Protestant adaptation of the Latin lyrics of Salve Regina antiphon, it is Salve coelestis Pater masterpiece for solo bass, violin and basso continuo. The author of this article, as an educated singer (bass, basso profondo voice) and theologist (Catholic priest), indicates the connections between word and music in the broadly conceived performative aspect. Starting with the theological analysis of the verbal text he points out the rhetorical meaning of the broadly conceived musical measures, in particular the ones present in the melodic line of the solo bass voice.

    Keywords:

    music, early music, Baroque, vocal music, singing, bass, antiphon, prayer, theology

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    Citation rules

    Stępniak , Z. (2022). Theological and Rhetorical Context of the Word and Music in “Salve coelestis Pater” Vocal Concerto by Franz Tunder (1614-1664) for Solo Bass, Violin and Basso Continuo . Seminare. Learned Investigations, 38(3), 193–207. https://doi.org/10.21852/sem.2017.3.15

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