Musurgia Universalis Sive Ars Magna Consoni Et Dissoni (2 Ergebnisse)

2 volumes bound in one. Folio. Full contemporary vellum with decorative device blindstamped to upper and lower boards within double inner rules with decorative cornerpieces, double outer rules, raised bands on spine. Profusely illustrated with musical examples printed typographically in diamond-head notation and with numerous decorative woodcut initials, head- and tail-pieces, illustrations, diagrams, tables, etc. throughout, including many of musical instruments. The plates are all finely engraved and illustrate a variety of musical instruments including the harpsichord, organ, strings, and winds. The musical examples include many different forms, including multiple contrapuntal part-writing. Vol. I 1f. (recto fine full-page engraved pictorial title by Baronius after a drawing by Paul Schor, incorporating a Canon Angelicus for 9 choirs of 36 voices, verso blank), 1f. (recto title with publisher's device incorporating a butterfly and lyre-like instrument, verso "Synopsis Mvsvrgiae Vniversalis in X. Libros Digestae"), 1f. (recto blank, verso fine full-page engraving of Leopold Guillaume, Archduke of Austria, by Paul Ponti after Paul Schor, dated 1649), 9ff. (dedication to Guillaume, "Praefatio I Ad Lectorem," "Praefatio II Ad eruditos Musicarum rerum Professores," etc.), 690 [!692] pp. With 10 engraved plates numbered I-X on 9ff. (plates IV and V printed together on a single leaf). Frontispiece slightly worn and browned, with lower blank outer corner lacking and 2" tear to lower portion repaired with archival tape; small portion of blank margin of pp. 319/20 lacking; blank lower outer corner of plate X lacking. Vol. II 1f. (recto fine full-page engraved plate by Petrus Miotte, verso blank), 1f. (recto title with publisher's device incorporating a raven and a scroll, verso "Tristychon in Tomum II"), 462 pp. + 6ff., 1f. (blank), 11ff. (indices), 1f. (errata and list of signatures). With 9 engraved plates numbered XIV-XXIII, two of which are folding (plates XIV and XX). Plate preceding title slightly cropped at head; small portion of outer margin of plate XIX lacking, just touching ruled border; tear to plate XX repaired with archival tape; small portion of outer margin of plate XXI lacking; very small portion of blank lower outer corner of plate XXII lacking; blank outer margin of plate XXIII slightly ragged; small hole to blank outer margin of pp. 161/62; small portion of upper outer corner of p. 207 lacking. With minor corrections in manuscript to notation on pp. 96, 105, 108, and 123. Contains a total of 24 engraved plates (21 numbered plus 3 unnumbered). Free front endpaper with monogrammatic initials to head with "John Brown" and "Joannes Brown" in early manuscript. Upper board detached; hinges splitting. Endpapers worn, browned at margins and with small tears and chips. Uniform light browning, a bit heavier to some leaves; very occasional foxing and small stains; some leaves very slightly trimmed at outer margin; occasional mispagination and other minor defects. Lacking two plates (numbers 11 and 12), printed on a single leaf. A very good, crisp, clean, wide-margined copy overall. First Edition of the first exhaustive encyclopedia of music, "one of the most influential of all music treatises and specially notable among those of the Baroque period." George J. Buelow in Grove Music Online Damschroder, pp. 139-140. Cortot, pp. 99-100. Hirsch I, 266. Gregory-Bartlett I, p. 135. Wolffheim I, 732. RISM BVI p. 449. An extraordinary undertaking by this Jesuit polymath, sometimes referred to as "the last Renaissance man," author of approximately 40 works in a diversity of disciplines. The Musurgia was an attempt to present the entire body of musical knowledge up to Kircher's time, and is particularly valuable for both its engraved plates of musical instruments and its inclusion of extensive musical examples, many of which are complete 16th and 17th century works chosen to illustrate various styles. The work is widely considered to have been a great success, with Kircher's wide-ranging and insightful scholarship. ". Musurgia universalis, one of the really influential works of music theory, was drawn upon by almost every later German music theorist until well into the 18th century. . Much of Kircher's contrapuntal doctrine derives from Zarlino, and in this and some other respects Musurgia universalis presents a synthesis of 16th- and 17th-century Italian and German compositional practices. A specifically German feature, however, is the description of the affective nature of music, in which Kircher brought the concept of musica pathetica into relation with the formal constructive elements of rhetorical doctrine. . His ideas concerning the classification of musical styles, based on sociological as well as national characteristics, are also original and important for the study of Baroque music. . Although he was apparently not a practising musician he was able to identify the best music composed and performed in his own (and earlier) times. In Musurgia universalis he quoted frequently extensive music examples from composers such as Agazzari, Gregorio Allegri, Carissimi, Froberger, Gesualdo, Kapsberger, Domenico Mazzocchi and Morales. Other aspects of his treatise that contribute to an understanding of 17th-century musical thought include the lengthy discussions of acoustics, musical instruments, . the history of music in ancient cultures and the therapeutic value of music." George J. Buelow in Grove Music Online "Kircherattempted to compile in this book all the musical knowledge available in his day, making it the first exhaustive encyclopedia of music. For musicologists it has long been an invaluable source of information on baroque concepts of style and composition.Kircherwrote theMusurgiaat the time of the great transition when the old Renaissance polyphony, still in use in the Church, was giving way to the new baroque style in secular music, most notably in opera.Kircherreveals an astounding kn.

Erste Ausgabe von Kirchers Hauptwerk zur Musiktheorie. Dünnhaupt 2332,8. De Backer-S. IV, 1051, 11. MGG VII, 938. Wolffheim I, 732. Eitner V, 369. Reilly, Athanasius Kicher S. 136 ff.: We may . be astounded that the printer was able to produce such a complex and magnificent two volume work in less than one year, with . its numerous wood cuts and engravings and its hundreds of pages of musical scores. Kircher was assisted by another helper also, far better qualified than Viva. This was the Italian composer Antonio Maria Abbatini, Maestro di Capella at the Lateran and later at the Gesù, the main Jesuit church in Rome. . As usual, Kircher intended to give his readers a full value for their investment, and so he began his treatise with a fundamental discussion of the anatomy and nature of sound and of the voice . A very fine section on the anatomy of the ear and the vocal organs follows, in which he well-illustrated comparsion is drawn between the structure of the human and animal ears and mouths. He compares the voice to pneumatic musical instruments , and so is led into what he admits is a digression. . The second book is given to a study of the history of music, from the ancient Hebrews to the present day. He treats of the music of the Jews in great detail, illustrating many of their instruments and discussing among other topics the psalms of David. . The greater portion of this first volume deals with the theory of music, harmony, musical instruments, composition. It contains page after page of musical scores, illustrating the points of theory. Obviously here he was assisted by Abbatini . and experts have been grateful for the examples of the instrumental music of Frescobaldi, Froberger and other composers of the seventeenth century. His fine plates of musical instruments are also of value to the historian. . The second volume of Musurgia Universalis treats less of theory and more of practical matters than did the first volume. In the three books which make up the volume, Kircher includes his mathematical system for composing music, descriptions of the many ingenious musical instruments he had invented or adapted . - Der besondere Wert der Musurgia Universalis liegt in der reichhaltigen Überlieferung von Quellenmaterial zur Musik seit der Renaissance, mit ausführlichen Zitaten aus Werken von Agazzari, Frescobaldi, Froberger, Kapsberger, Monteverdi, Morales und anderen sowie den hervorragenden instrumentenkundlichen Abhandlungen mit Kupfern. - Schönes Exemplar, teils etw. fleckig, vereinzelt etw. angeschmutzt bzw. wasserrandig. *** *** Copyright: Matthaeus TRUPPE Buchhandlung & Antiquariat - Stubenberggasse 7 - A-8010 Graz - ++43 (0)316 - 829552 *** *** Sprache: Deutsch.