Philipp Friedrich Böddecker: Sacra Partitura

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Release Date: 24th May 2019
Catalogue No: CHR77433
Label: Christophorus
Length: 66 minutes

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Böddecker: Magnificat

Work length5:13

$1.00

$1.30

Knut Schoch
I Sonatori

Steigleder: Daß Vater unser - Variation No. 4

Work length1:11

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I Sonatori

Steigleder: Daß Vater unser - Variation No. 19

Work length1:25

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I Sonatori

Steigleder: Daß Vater unser - Variation No. 28

Work length1:25

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$1.30

I Sonatori

Böddecker: O Vatter aller Frommen

Work length4:14

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$1.30

Knut Schoch
I Sonatori

Steigleder: Daß Vater unser - Variation No. 40

Work length6:14

$1.00

$1.30

I Sonatori

Böddecker: Haec est Dies

Work length3:53

$1.00

$1.30

Knut Schoch
I Sonatori

Böddecker: Veni Salvator

Work length4:29

$1.00

$1.30

Knut Schoch
I Sonatori

Capricornus: Sonata in e

Work length5:18

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I Sonatori

Böddecker: Natus est Jesus

Work length4:29

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$1.30

Knut Schoch
I Sonatori

Böddecker: Sonata sopra 'la Monica'

Work length6:13

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I Sonatori

Böddecker: Deus, Deus meus

Work length5:41

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Knut Schoch
I Sonatori

Böddecker: Christ lag in Todesbanden

Work length4:07

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Knut Schoch
I Sonatori

Böddecker: Sonata Violino Solo

Work length8:10

$2.00

$2.60

I Sonatori

Böddecker: Laudate Dominum

Work length4:39

$1.00

$1.30

Knut Schoch
I Sonatori

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At the Collegiate Church in Stuttgart, the largest regional church in Württemberg (South Germany), and burial site of the Dukes of Württemberg, who lived in the neighbouring castle, a new organist was appointed in 1652: Philipp Friedrich Böddecker (1607-1683). His Sacra Partitura, a collection of eight motets and two sonatas, was printed in Strasbourg in 1651, when his negotiation with the church council had already begun. These compositions might have been decisive for Böddecker’s appointment, particularly as the composer dedicated the collection to the Duke’s musical sister, Duchess Sibylla.

The music is composed in typical concertante style, but influenced by Italian monody and Monteverdi’s seconda pratica. In his preface, Böddecker informs us that he would have “preferred to publish a work with more voices than just a voce sola,” but was forced to comply with the specifications of the ‘coffers’ and the publisher in the troubled times after the Thirty Years’ War. The compositional technique is not, however, a makeshift solution. On the contrary, Böddecker’s fine works fit into a style of music which had increasingly been flourishing in German-speaking regions since the first half of the century: the sacred concerto for small ensemble, placing a virtuous melody with great emphasis on the text above a richly scored basso continuo group.

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