Continuo = Basso Continuo, the bass of a composition for voices or instruments or both. It was always the lowest part, and was usually provided with figures, that the accompanist might be able to fill in the harmonies and keep the body of performers together. It was performed on the organ, or cembalo or regal, according to circumstances. The continuo of most of Bach’s cantatas was written out in two keys, to suit the two pitches in use, “Chorton” being a tone higher than “Kammerton.” All chamber music required the accompaniment of a cembalo in figured bass; and even if there were one or more “Cembali” obbligati a separate instrument would be employed for the continuo. In all Bach’s church compositions in which there is an organ obbligato part, there is another organ part for the continuo. The conductor stood near the organist, as may be seen in the frontispiece to Walther’s Lexicon.
Cornet, Cornetto, Zink, consisted of a curved wooden tube covered with leather and having holes for the fingers with a cup mouthpiece like a trumpet. Two cornets hang on the wall near the organ in Walther’s illustration.
Drese, Johann Samuel, 1654-1716, was organist of the Court at Jena, and afterwards Capellmeister at Weimar. He composed sonatas for the clavier, motets and operas.
Estomihi. Quinquagesima Sunday.
Figural Music. Florid music, or all church music that is not Plainsong, or its Lutheran equivalent the chorale-melody.
Florilegium Portense, a work containing 115 “cantiones selectissimas” of from four to eight voices, with figured bass for organ. A second part contained 150 “concentus selectissimas” of from five to ten parts. Published 1603 and 1621 by Bodenschatz, Cantor of Schulpforta, and Pastor at Rehausen. A complete catalogue is given in Groves’ Dictionary, vol. i. p. 253.
French Overture. A form of opera overture consisting of a slow introduction, followed by a fugue or fugato, and concluding with a slow movement. This form was applied to the clavier by Bach in the “Overture in the French style” (E. P. 208) of the B minor Suite or Partita.
Fux, Joh. Joseph, born in Styria, 1660, organist, Court composer, and Capellmeister at Vienna. A prolific composer of church music and opera, but he is best known by his theoretical works, amongst which is his Latin “Gradus ad Parnassum,” a treatise on composition, which has been through many editions.
Görner, J. Gottlieb, was appointed organist of the Nicolai Church at Leipsic in 1721 and was also head of a “Collegium Musicum” or musical society. In 1729 he succeeded Gräbner as organist of St Thomas. He was a mediocre musician, but put himself in rivalry with Bach, and is reported by Scheibe to have “by his rudeness asserted his pre-eminence among a large number of his equals.” He gave Bach a good deal of trouble by assuming the position and emoluments of director of music to the University; but they appear to have worked amicably together afterwards, and Bach, by will, appointed him guardian of his children, an office which he appears to have satisfactorily fulfilled.
Hammerschmidt, Andreas, born in Bohemia, 1611, organist of Freiberg, afterwards at Zittau. According to Gerber, one of the greatest of German contrapuntists. Walther gives a list of his compositions, which are mostly for the church. His “Musical discourses on the Gospel” were an important step in the development of oratorio.