![]() ![]() ![]() 2 Fischer served as prefect and lecturer at the monastery school (1683–6) and was prior of the convent (1686–91) he was also priest of the church in Buchkirchen, near Wels (1693–1725), about 25km away, which was looked after by the Benedictines of Kremsmünster. ![]() 1 That both of these pieces reveal a Salzburg connection is not accidental, since they were transcribed and adapted for the lute by Father Ferdinand Fischer (1652–1725), who had studied theology at the university in Salzburg from 1661 before entering the Benedictine monastery at Kremsmünster on 15 November 1677. The Kremsmünster collection is particularly noted for its preservation of works by composers known outside the lute repertory, including passacaglias by Heinrich Ignaz Franz Biber (from Sonatæ, Violino Solo (Salzburg, 1681) Sonata VI in C minor) and Georg Muffat (from Armonico Tributo (Salzburg, 1682), Sonata V in G major, for strings and continuo). There are 15 manuscripts in all, containing over 2,000 individual compositions, most of them without ascription.Įxisting historiographical work on 17th- and 18th-century lute music and its relationship with monastic life has focused on the Benedictine Abbey of Kremsmünster in Upper Austria, about 30km south of Linz. All of them date from around the first half of the 18th century, and are written in French tablature notation. ![]() The handwritten lute tablatures from the Cistercian abbey of Grüssau (Krzeszów, Poland since 1945) represent one of the largest surviving collections of music for the lute in so-called Baroque tuning ( f ′ –d ′ –a–f–d–A). Until now, his name has been associated only with the title-pages of two manuscripts from the Grüssau collection, but both are dedications copied by other scribes (though the music that follows in one of these sources is copied in his hand). Furthermore, among the works copied in this hand are seven pieces identified with the ‘HK’ monogram which may be the first identified autograph compositions by Kniebandl. Contemporary sources, including previously unexplored correspondence, suggest that these initials can be associated with Father Hermann Kniebandl, who also seems to have been one of the scribes represented in the collection-the first to have been identified in the entire collection up to now. I focus on a group of otherwise unknown compositions from these sources, all connected with the entwined monogram ‘HK’. The collection consists of 15 volumes of manuscript lute tablature, containing more than 2,000 pieces for Baroque lute. This article is concerned with one of the largest surviving collections of 18th-century lute tablature manuscripts, from the Cistercian abbey of Grüssau in Silesia (now Krzeszów, Poland). ![]()
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