The Journal of Seventeenth-Century Music

A Tale of Two Cantors: Heinrich Grimm (1592–1637) and Thomas Selle (1599–1663) during the Thirty Years War – Footnotes

References

^[*] Joanna Carter Hunt (jchunt@admin.fsu.edu) holds degrees from the University of North Carolina at Chapel Hill, New York University, and Florida State University, where she currently serves as the Director of Undergraduate Studies for the College of Music. Her research has primarily centered on editing early modern theoretical documents on music and studying their historical contexts. She has also presented research on early modern representations of gender and madness, as well as narrative structures in nineteenth-century music and literature.

^[1] Hans Mednick and Benjamin Marschke, Experiencing the Thirty Years War: A Brief History with Documents (Boston: Bedford/St. Martin’s, 2013), 23.

^[2] For example, during the conflict rates of population loss in central and southern Germany ranged from about thirty to over fifty percent, while Holstein saw virtually no drop in its population. For more information on the complex causes of the war, see Peter H. Wilson, “The Causes of the Thirty Years War 1618–48,” The English Historical Review 123 (June 2008): 554–86, as well as his longer study, The Thirty Years War: Europe’s Tragedy (Cambridge, MA: Belknap Press of Harvard University Press, 2009).

^[3] Previous cantors in Magdeburg included Martin Agricola (1525–56), Gallus Dressler (1559–76), Leonhardt Schröter (1576–95), Friedrich Weißensee (1596–1616), Johann Bonus (1611–15), and Valentin Brettschneider (1615–17?). Prior to Selle’s tenure, the post in Hamburg was held by Eberhard Decker (1561–1605) and Erasmus Sartorius (1605–37). Following Selle’s death, Christoph Bernhard served as cantor until 1674.

^[4] Erich Keyser et al., Mitteldeutschland, Deutsches Städtebuch 2(Stuttgart: Kohlhammer, 1941), 595.

^[5] D-Hs ND VI 5126a includes two manuscripts from the mid-seventeenth century: Grimm’s “Instrumentum Instrumentorum, hoc est, Monochordum vel potius Decachordum” with marginalia in Selle’s hand, and Selle’s manuscript music theory primer “Kurtze doch gründtliche Anleitung zur Singekunst.” Grimm’s text contains an additional page with the title “Declaratio monochordi,” inserted later by a librarian.  See Joanna Carter, “A Study of Two Seventeenth-Century Teaching Manuals in Hamburg: Critical Editions and Translations of Thomas Selle’s Kurtze doch gründtliche Anleitung zur Singekunst (c. 1642) and Heinrich Grimm’s Instrumentum Instrumentorum, hoc est Monochordum vel potius Decachordum (1634)” (PhD diss., Florida State University, 2002).

^[6] An anthology compiled by Selle early in his career includes at least nine works by Grimm. The volume, which first came to light in 2003, contains a mixture of manuscripts and printed works by Selle, as well as transcriptions and prints of pieces by other composers. I am grateful to Thomas Synofzik and Juliane Pöche for providing information about the contents of the document, which is housed in D-SLk. A short description may be found in David Schröder, “Die Auferstehung des Thomas Selle,” May 2019, https://www.volksstimme.de/lokal/salzwedel/musikgeschichte-die-auferstehung-des-thomas-selle.

^[7] Selle mentions his source next to the title in his manuscript copy of the Passion: “Nota. Der gewöhnliche Accent ist außen Choral behalten v.[nd] der Chorus â 4. aus des Sel. H. Grimmii Edition hierzu gethan worden.“ (“The usual accent has been retained from the chorale, and the four-part chorus of the late Heinrich Grimm’s edition has been added here.”) For more information on Selle’s notations see Jürgen Neubacher, Die Musikbibliothek des Hamburger Kantors und Musikdirektors Thomas Selle (1599–1663): Rekonstruktion des ürsprünglichen und Beschreibung des erhaltenen, überwiegend in der Saats- und Universitätsbibliothek Hamburg Carl von Ossietzky aufbewahrten Bestandes, Musicological Studies and Documents 52 (n.p.: American Institute of Musicology; Neuhausen: Hänssler-Verlag, 1997), 30.

^[8] Otto Gibelius, Kurtzer/ jedoch Gründlicher Bericht von den Vocibus Musicalibus (Bremen: Jacob Köhler, 1659), 81.

^[9] Johann Walther, Musikalisches Lexicon (Leipzig: W. Deer, 1732), 292 (s.v. “Grimmius”). Available on the Internet Archive at https://archive.org/details/imslp-lexicon-walther-johann-gottfried/mode/2up.

^[10] Johann Mattheson, Das Beschützte Orchestre, oder desselben Zweyte Eröffnung (Hamburg: im Schillerischen Buchladen, 1717), 345–46. Available in a reprint ed.: Kassel: Bärenreiter, 1981; and on Internet Archive at https://archive.org/details/bub_gb_4CVDAAAAcAAJ.

^[11] In the “Anleitung zur Singekunst,” for example, Selle mentions Grimm, Calvisius, and Praetorius as musicians whose works provide further examples of the precepts he discusses.

^[12] The most important biographical studies of Grimm are Hermann Lorenzen, “Der Cantor Heinrich Grimm (1593–1637): Sein Leben und seine Werke mit Beiträgen zur Musikgeschichte Magdeburgs und Braunschweigs” (PhD diss., University of Hamburg, 1940); Otto Reimer, “Heinrich Grimm, ein mitteldeutscher Musiker,” in Festschrift Arnold Schering zu seinem 60. Geburtstag (Berlin: Gurlitt, 1937), 180–93; and Thomas Synofzik, Heinrich Grimm (1592/93–1637): Cantilena est loquela canens; Studien zu Überlieferung und Kompositionstechnik (Eisenach : Verlag der Musikalienhandlung Karl Dieter Wagner, 2000), originally presented as his PhD diss. (University of Cologne, 1998).

^[13] Grimm often used the initials H.G.H., or Henricus Grimmius Holzmindensis, to indicate his heritage in his works.  The monochord treatise also includes a reference to Holzminden as Grimm’s hometown on the opening page. For further speculation about Grimm’s early life and schooling, see Herbert W. Göhmann, “Ein Holzmindener macht Musikgeschichte,” Weg und Fähre: Kultur- und Freizeitjournal für das Weserbergland 10 (December 1993): 545–46. Göhmann has proposed that Grimm may have met Michael Praetorius at a cloister school he was attending in Riddagshausen or Amelungsborn, with which Praetorius had a formal connection.

^[14] Michael Praetorius, Musae Sioniae, part 5 (Wolfenbüttel: Fürstlicher Druckerei, 1607). The motet is Das alte Jahr ist nun vergahn. Praetorius writes “Henr.[icus] Grimm.[ius], discip.[uli] mei, pueri 14. annor &c.” For more information on connections between Praetorius and Grimm, see Joanna Carter Hunt, “Appropriating the Music Theoretical Concepts of Johannes Lippius: Heinrich Grimm’s Instrumentum Instrumentorum, hoc est, Monochordum vel potius Decachordum (1634), Michael Praetorius, and Textual Borrowing,” in Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell, ed. Allen Scott (Ann Arbor: Steglein, 2012), 247–63.

^[15] Lorenzen, “Der Cantor Heinrich Grimm (1593–1637),” 10: “Prorectore Laurentio Scheuerle S. S. Th Doctore et Professore immatriculati sunt sequentes: menso Julio 18 Henricus Grimmen Holzmindensis.”

^[16] Synofzik, Heinrich Grimm (1592/93–1637): Cantilena est loquela canens, 2–3. According to Synofzik, it is possible that Grimm became cantor as early as 1616 since church records for 1616–18 have been lost.  In addition to his teaching duties, the cantor was responsible for the polyphonic liturgical music in the Altstadt Churches of St. Johannis and St. Jacobi.

^[17] The Magdeburg administrator, Christian Wilhelm, lived in nearby Halle. Praetorius was certainly active in the area near Magdeburg when Grimm was cantor there.

^[18] Synofzik, Heinrich Grimm (1592/93–1637): Cantilena est loquela canens, 4; Ralph-Jürgen Reipsch, Heinrich Grimm (1593–1637): Kantor—Komponist—Theoretiker; anlässlich seines 400. Geburtstages (Stadt Holzminden and Arbeitskreis "Georg Philipp Telemann" Magdeburg, 1993), 6.

^[19] Lorenzen, “Der Cantor Heinrich Grimm (1593–1637),” 27. See also Riemann-Musik-Lexicon, ed. Wilibald Gurlitt, Hans Heinrich Eggebrecht, and Carl Dahlhaus, Personenteil, vol. 1 (Mainz: B. Schott’s Söhne, 1959), s.v. “Grimm, Heinrich.”

^[20] Lorenzen, “Der Cantor Heinrich Grimm (1593–1637),” 22.

^[21] Synofzik, Heinrich Grimm (1592/93–1637): Cantilena est loquela canens,1–3.

^[22] Reipsch, Heinrich Grimm (1593–1637): Kantor—Komponist—Theoretiker, 5. Other local dignitaries composed poems and laudatory texts for a volume honoring the wedding couple: Gamelia Honori Viri Praestantis Et Literatissimi, Pietate, in Distria … Dn. Heinrici Grimmii, Musici Magdeburgensium Ordinarii. Cum … Virginem Martham, … Dn. Petri Brandes … relictam Filiam, Solennem Nuptiarum festivitatem 26. Iulii Anno 1619. Magdeburg: Andreas Betzel, 1619. Digitized by D-B: https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN773135855&PHYSID=PHYS_0007.

^[23] See more about the exchange in Andreas Werckmeister, Musicae mathematicae Hodegus curiosus, oder Richtiger musikalischer Weg-Weiser (Frankfurt and Leipzig: Theodor Calvisius, 1687; reprint, Hildesheim: Olms, 1972), 108 and 127. The relationship between Baryphonus and Grimm is further explored in Benjamin Dobbs, “A Seventeenth-Century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades musicae” (PhD diss., University of North Texas, 2015).

^[24] Praetorius scholar Siegfried Vogelsänger, however, disputes the idea that Schütz, Schein, and Praetorius were present at the 1618 festival celebrating the reorganization of Magdeburg Cathedral’s music program. For further information, see Vogelsänger, Michael Praetorius “Diener vieler Herren”: Daten und Deutungen (Aachen: Alano, Edition Herodot, 1991), 89.

^[25] Heinrich Grimm, Tyrocinia seu exercitia Tyronum musica … ad 3 voces (Halle, 1624; 2nd ed., Leipzig: Johann Francks Erben, Samuel Scheib, 1632). The solmization treatise included in the volume is entitled “Kurzer Unterricht, Wie ein junger Knabe zum Solmisieren leicht angeführet werden könne.” Grimm also edited and provided commentary for the following works collected in a single volume: Seth Calvisius, Melopoiia sive Melodiae condendae ratio, quam vulgò musicam poëticam vocant, and Heinrich Baryphonus, Pleiades Musicae (Magdeburg: Johann Franck Erben, 1630).

^[26] Konrad Matthaei, Kurtzer, doch ausführlicher Bericht von den modis musicis ([Königsberg]: the author, 1652; Johann Reusner, 1658), 10–12.

^[27] The inscription reads: “Monochordum vel potius Decachordum ad utramque Scalam Diatonam scilicet et Syntonam, ut et ad usitatiora veterum Tetrachorda accurate delineatum ab Henrico Grimmio Magdeburgi primum Anno 1630 deinde Brunopoli revisum et auctum Anno 1634. Prid. Lucie absolut. (12. Dez. 1634).”  In addition to this statement, which mirrors the title page of Grimm’s manual, the decachord, now housed in the city museum in Braunschwieg, is inscribed with a rosette around the sound hole, other geometric figures, and references to the content of the accompanying text, as well as instructions for the user. Further descriptions of the instrument are available in Gert-Dieter Ulferts, Führer durch die Sammlung Historische Musikinstrumente (Braunschweig: Maul Druck, 1997), 55; Hans Schröder, Verzeichnis der Sammlung alter Musikinstrumente im Städtischen Museum Braunschweig (Braunschweig: Appelhans, 1928), 7–8; and Sabine Wehking, Die Inschriften der Stadt Braunschweig von 1529 bis 1671, Die deutschen Inschriften 56 (Wiesbaden: Reichert, 2001), 344–45.

^[28] Mednick and Marschke, Experiencing the Thirty Years War, 133–34.

^[29] Wilson, The Thirty Years War: Europe’s Tragedy, 470.

^[30] Exitii Et Excidii Magdeburgensis Historia Relatio (n.p., 1631), fol. 3v: “Den fürtrefflichen Musicum/ Henricum Grimmium sol ein Jesuit/ der strack nach jhm gefraget/ hearaus gebracht.” See also Reipsch, Heinrich Grimm (1593–1637): Kantor—Komponist—Theoretiker, 8; and Werner Lahne, Magdeburgs Zerstörung in der zeitgenössischen Publizistik: Gedenkschrift des Magdeburger Geschichtsvereins zum 10. Mai 1931 (Magdeburg: Verlag des Magdeburger Geschichtsvereins, 1931), 139.

^[31] Liselotte Krüger, Die hamburgische Musikorganisation im XVII. Jahrhundert, 2nd ed., Sammlung musikwissenschaftlicher Abhandlungen 12 (Baden-Baden: Valentin Koerner, 1981), 61. Records for St. Katharinen Church in Hamburg indicate that Grimm (“Henrico Grimmio, Musico von Magdeburg”) received a payment for his services in 1631. D-Ha Archiv St. Katharinen A IV, b 4. Various scholars have asserted that Grimm fled directly to Braunschweig, but archival evidence places him in Hamburg for a short time before he settled there.

^[32] Lodovico Viadana uses the same text in a setting for one voice and basso continuo in his 1602 collection Cento Concerti Ecclesiastici. Another setting, by Gabriele Fattorini from 1600, for tenor, bass, and continuo, includes the entire text from Job 1:21 instead of the second half of the verse. For additional comparisons of their settings, see Synofzik, Heinrich Grimm (1592/93–1637): Cantilena est loquela canens,111–17.

^[33] D-BSstaV, Nr. 191 Musik I, 175: “Cantore Heinrich Grimm, einem ausgezeichneten Contrapunctisten, der nach Magdeburgs Verwüstungen sich nach Braunschweig flüchtete, wurde von Herzog Friendrich Ulrich eine freundliche Aufnahme.”

^[34] Heinrich Grimm, Vestibulum Hortuli Harmonici sacri (Braunschweig: Andreas Duncker, 1643). The extended publication information on the title page names Duncker as the printer with the financial support of both Huhstedt and Grimm’s son: “Typis Andreae Dunckeri, sumptibus Cunradi Gusthethi Schol. Mart. Cantoris, & Haeredum autoris. Anno MDCXLIII.”

^[35] St. Katharinen Church records for 1631 indicate that Grimm auditioned for the position and received a small payment for his efforts, but it appears that a cantor from Lübeck was chosen instead. D-BSsta F I 4: 118.

^[36]For example, D-BSsta F I 1 Kirchenrechnungen St. Martini Nr. 78, 25; D-BSstaF I 2 Kirchenrechnungen St. Michaelis, 21.1.1632.

^[37] Heinrich Grimm, Sacer septenarius musicus primus (Leipzig: Johann Francke and Samuel Scheibe, 1635); and Grimm, Prodromus musicae ecclesiasticae (Braunschweig: Balthasar Gruber, 1636).

^[38] A modern edition appears in Heinrich Grimm, Vestibulum hortuli harmonici sacri (Braunschweig, 1643); sowie ausgewählte Motetten und geistliche Konzerte zu zwei bis acht Stimmen, ed. Thomas Synofzik, Denkmäler Mitteldeutscher Barockmusik, ser. 2, vol. 8 (Leipzig: Friedrich Hofmeister, 2008).

^[39] Synofzik, Heinrich Grimm (1592/93–1637): Cantilena est loquela canens,269–456.

^[40] Jürgen Neubacher’s study of Selle’s library provides detailed information about the collection. See Neubacher, Die Musikbibliothek des Hamburger Kantors und Musikdirektors Thomas Selle (1599–1663).

^[41] The most comprehensive study of Selle’s life and works is Siegfried Günther, “Die geistliche Konzertmusik von Thomas Selle nebst einer Biographie” (PhD diss., University of Gießen, 1935).  Other important biographical studies include Amalie Arnheim, “Thomas Selle als Schulkantor in Itzehoe und Hamburg,” in Festschrift zum 90. Geburtstage seiner Exzellenz des wirklichen Geheimen Rates Rochus Freiherrn von Liliencron, ed. Hermann Kretschmar (Leipzig: Breitkopf and Härtel, 1910; reprint, Westmead, UK: Gregg, 1970), 35–50, and Franz Josef Ratte, “Thomas Selle: Leben und Werk zwischen Tradition und Innovation,” in Thomas Selle (1599–1663): Beiträge zu Leben und Werk des Hamburger Kantors und Komponisten anläßlich seines 400. Geburtstages, Mitteilungsblatt Hamburger Bibliotheken 19 (Herzberg: Traugott Bautz, 1999), 194–232. The most recent and welcome addition to this list is Juliane Pöche, Thomas Selles Musik für Hamburg: Komponieren in einer frühneuzeitlichen Metropole, Musica Poetica 2 (Bern: Peter Lang, 2019), originally presented as her PhD diss.  (University of Hamburg, 2017).

^[42] The manuscript copy of Selle’s Opera omnia is housed in D-Hs under the number Cod. in scrin. 251. More information about the exact contents of the complete works may be found in Holger Eichhorn, “Thomas Selles ‘Opera Omnia’ im Spiegel ihrer Druckvorlagen,” in Jahrbuch alte Musik 2 (1993): 131–91.

^[43] In the Objectio section of his “Anleitung zur Singekunst” Selle mentions that he has been motivated by Calvisius for the past twenty-eight years. While it is possible Selle could have been inspired by the theoretical works of Calvisius rather than a professional encounter with him, other evidence suggests that Selle was a pupil at the Thomasschule in Leipzig under both Calvisius and Schein, his successor. For example, many of Selle’s compositions contain stylistic traits common to Schein, and Selle seems to have used the Leipzig choir as a model for the Hamburg Cantorei.

^[44]For example, we know from the preface that the poems of an early collection, Concertatio Castalidum, hoc est Musicalischer Streit (Hamburg: Hering, 1624), were written by Selle.

^[45] Thomas Selle, Drey schöne Ding (Rostock, 1623). Although this print is no longer extant, it is apparent from Selle’s statement on a now-lost manuscript exemplar (formerly D-Hs ND VI 991,1) that the work was published in Rostock. In 1910 Amalie Arnheim reported that the manuscript copy included the following comment in the composer’s own hand: “Ist gedruckt gewesen zu Rostock 1623, weil aber alle Exemplaria damals distrahiret, ist dieses geschriebene an dessen statt hingelegt.” Arnheim, “Thomas Selle als Schulkantor in Itzehoe und Hamburg,” p. 37.

^[46] Thomas Selle, Concertatio Castalidum, and Deliciae Pastorum Arcadiae, hoc est Arcadische Hirten Freud (Hamburg: Hering, 1624). Manuscript realizations of the basso continuo parts are found among Selle’s personal copies, D-Hs Scrin. A/592 and A/592. For a complete list of Selle’s oeuvre see Jürgen Neubacher, “Übersicht der handschriftlich oder gedruckt überlieferten Werke von Thomas Selle,” in Thomas Selle (1599–1663): Beiträge zu Leben und Werk des Hamburger Kantors und Komponisten anläßlich seines 400. Geburtstages, 384–88.

^[47] For example, one poem was written by Jacob Praetorius, organist in Heide during Selle’s tenure there.

^[48] Since the conflict between Denmark and lower Saxony erupted in 1625, the effects of the Thirty Years War were felt earlier in the northwestern region of Germany.

^[49] Thomas Selle, Hagio-Deca-Melydrion, voice part 2 (Hamburg: Lorenz Pfeiffer, 1627), preface.

^[50] See, for example, the dedications in Heinrich Schütz, Erster Theil Kleiner Geistlichen Concerten (Leipzig: Ritzsch, 1636) and Heinrich Schütz, Anderer Theil Kleiner Geistlichen Concerten (Dresden: Bergen, 1639). English translations are available in A Heinrich Schütz Reader: Letters and Documents in Translation, ed. Gregory S. Johnston (Oxford: Oxford University Press, 2013), 106, 111.

^[51] For a comprehensive discussion of Thomas Selle’s compositions during the Thirty Years War, see Barbara Wiermann, “Musik zu Zeiten des Dreißigjährigen Krieges: Thomas Selles Schaffen in Wesselburen,” in Thomas Selle (1599–1663): Beiträge zu Leben und Werk des Hamburger Kantors und Komponisten anläßlich seines 400. Geburtstages, 243–57.

^[52] Selle apparently met Rist in about 1630. According to the preface of Johann Rist, Neüe musikalische Fest-Andachten (Lüneburg: Johann and Heinrich Stern, 1655), Rist and Selle had been good friends for twenty-four years. For this collection and his own Sabbathische Seelenlust (Lüneburg: Stern, 1651), Selle composed 110 melodies with basso continuo.

^[53] Johann Rist, Das AllerEdelste Leben der gantzen Welt: Vermittels eines anmuthigen und erbaulichen Gespräches (Hamburg: Naumann, 1663), 166. Digitized by D-Mbs: https://reader.digitale-sammlungen.de/resolve/display/bsb10576818.html.  Also in D-Hs Scrin. A/ 1867.

^[54] Johann Girbert, Vom Lauff der Welt: Erste Oratorische Deutsche Abhandlung (Mühlhausen: Hüter, 1644).

^[55] The preface reads “Izehoae Holsatorum ipsa Dominica Trinitatis Anno 1630.”  Thomas Selle, “Monomachia harmonico-latina … congressus posterior,” manuscript, D-Hs ND VI 491, 2.

^[56] Karl Seitz, Aktenstücke zur Geschichte der früheren lateinischen Schule zu Itzehoe 2 (Itzehoe, G.J. Pfingsten, 1889), 51–53.  In the official invitation, the mayor said the following about the audition and assumption of cantoral duties: “Wan wir dan an deßen Artis Musicae heute erwießener proba ein begnüegen getragen, vnndt dannenhero denßelben in Cantorem hujus Scholae unanimiter elegiret, Alß wollen wir denßelben zu besagtem Cantorat, Selbiges officium vff baldt einstehende Ostern würgklich anzutreten….”

^[57] The school was referred to as the St. Johanis Schule or the Johanneum.

^[58] Brian Stewart, “Georg Philipp Telemann in Hamburg: Social and Cultural Background and Its Musical Expression” (PhD diss., Stanford University, 1985), 19–20.  For more on the history of Hamburg in the seventeenth century, see also Eckart Kleesman, Geschichte der Stadt Hamburg (Hamburg: Hoffmann und Campe, 1981).

^[59] Krüger, Die hamburgische Musikorganisation im XVII. Jahrhundert, 51.

^[60] Günther, “Die geistliche Konzertmusik von Thomas Selle nebst einer Biographie,” 39. All but five of Selle’s sacred compositions can be considered works for the Lutheran liturgy.

^[61] Ratte, “Thomas Selle: Leben und Werk zwischen Tradition und Innovation,” 226–28. The St. John Passion is scored for three soloists, five-part chorus, solo violin, a five-part orchestra, and basso continuo. The Evangelist is accompanied by two bassoons during his recitative passages. For more information on Selle’s Passion compositions, see Juliane Pöche, “ ‘Tausend himmlische Singer’ und der ‘rote Faden der Verurteilung’: Instrumentale und Besetzungs-Konzeption in den Passionen Thomas Selles,” in Beitragsarchiv zur Jahrestagung der Gesellschaft für Musikforschung Halle/Saale 2015: “Musikewissenschaft: Die Teildisziplinen im Dialog” (Mainz: Schott, 2016), https://schott-campus.com/wp-content/uploads/2016/09/poeche_konzeption-selle.pdf.

^[62] See for example Werner Braun, rev. Jürgen Neubacher, in Grove Music Online, s.v. “Selle, Thomas,” published 2001.   

^[63] In 1608 the number of performances of contrapuntal music was increased from six times a year to once a month in each of the main churches. Krüger, Die hamburgische Musikorganisation im XVII. Jahrhundert, 50–51.

^[64] D-HsND VI 5126a. I have published a facsimile with English translation: Anleitung zur Singekunst of Thomas Selle: An Introduction, Edition, Translation and Facsimile, trans. and ed. Joanna Carter, Music Theorists in Translation 17 (Ottawa: Institute of Mediæval Music, 2006). See also n. 5 above. Portions of the present discussion of Selle’s biography rely on material I first published in Anleitung zur Singekunst of Thomas Selle.

^[65] D-Ha 361-1 Scholarchat V 1 c, fol. 4r: “Weil die kirchen in Hamburg weitleufftig vnd groß sein, vnd die gantze Crafft der Music auf dem Texte beruhet, Alß hat zur Concertat=music der Cantor höchst von nöhten 2 Bassisten, 2 Tenoristen, 2 Altisten, vnd 4 Discantisten, vnd diese müßen aufs wenigste, fertig, Manierlich vnd fein reine singen vnd die worte fein deutlich au[s]sprechen können. Zu Muteten müßen derer noch einmahl so viel sein, wo anders die music sol krafft haben. Alß 4 Bassisten, 4 Tenoristen, 4 Altisten 4 Discantisten vnd dieselben müßen auch alle fertig vnd reine singen können. Zur vollen Capella zubesetzen werden genommen; groß= vnd kleineSchüler aus der Schule; Item die Gymnasiasten, die in etwas singen können, wie auch die knaben aus dem weisenhause.”

^[66] Transcriptions of all extant letters appear in Jürgen Neubacher, “Thomas Selle als Organisator der Kirchenmusik,” in Thomas Selle (1599–1663): Beiträge zu Leben und Werk des Hamburger Kantors und Komponisten anläßlich seines 400. Geburtstages, 279–322.

^[67] Selle even required that the singers sign a contract stating that they would abide by these rules. Krüger, Die hamburgische Musikorganisation im XVII. Jahrhundert, 71.

^[68] Krüger, Die hamburgische Musikorganisation im XVII. Jahrhundert, 71.

^[69] One evening, in a blatant show of disrespect, the members of the Cantorei became unruly, broke into his house, and threw him out of the window. Staatsarchiv of Hamburg, Ministerium File, III A 1 d, quoted in Krüger, Die hamburgische Musikorganisation im XVII. Jahrhundert, 76: “welches oft wilde Gäste, dem Cantor seinen gebührlichen Respect und Autoritas nicht zollen, wie wol vor diesem sie sich unterstanden haben, indem sie ihm bei nachtschlafender Zeit die Fenster ausgeworfen und das Haus gestürmet haben.”

^[70] Available in a modern edition: Thomas Selle, Lobet den Herrn in seinem Heyligthum, ed. Alexander Cvetko, Musik zwischen Elbe und Oder 18 (Beeskow: Ortus, 2007).

^[71] Dorothea Schröder, “Friedensfeste in Hamburg 1629–1650,” in Der Krieg vor den Toren: Hamburg im Dreißigjährigen Krieg 1618–1648, ed. Martin Knauer and Sven Tode, Beiträge zur Geschichte Hamburgs 60 (Hamburg: Verein für Hamburgische Geschichte, 2000), 341. See manuscripts D-Hcb S/654, vol. 1, 562, and Chronik S/659, vol. 1, 480.

^[72] Michael Gottlieb Steltzner, Versuch einer zuverläßigen Nachricht von dem kirchlichen und politischen Zustande Der Stadt Hamburg in den neuen Zeiten: Nehmlich von Käyser Ferdinand des II biß auf die Zeiten Käyser Leopold des I. Dritter Theil, nebst einem vollständigen Register (n.p., 1773), 610-11. Digitized by D-Hs, http://resolver.sub.uni-hamburg.de/kitodo/PPN657494526. For a detailed examination of the festivities, see Alexander J. Cvetko, “Thomas Selles Konzert ‘Lobet den Herrn in seinem Heyligthum’: Zur Frage nach der Uraufführung und der Datierung der Feierlichkeiten zum Westfälischen Frieden 1648 und 1650 in Hamburg sowie zur Überlieferung des ‘Trommeten Chor(es),’ ” Zeitschrift des Vereins für hamburgische Geschichte 90 (2004): 5–33.

^[73] Wiermann, “Musik zu Zeiten des Dreißigjährigen Krieges: Thomas Selles Schaffen in Wesselburen,” 251–57. See her example of Surrexit Christus.

^[74] D-Hs Special Collection Portrait 23, p. 190.

^[75] Gisela Jaacks, Hamburg zu Lust und Nutz: Bürgerliches Musikverständnis zwischen Barock und Aufklärung (1660–1760) (Hamburg: Verein für Hamburgische Geschichte, 1997), 9.