Tunder - Preludium in G Minor (K.N. 207-15, 207-16/4)

2022-8-21

John Brombaugh and Associates, Opus 25 (1981), Fairchild Chapel, Oberlin Conservatory 

FRANZ TUNDER 

Preludium in G Minor (K.N. 207-15, 207-16/4) 

This performance combines the fragmented Preludium which is attributed to Franz Tunder in the Lüneburg tablatures, Musica antica practica K.N. 207-15, with the third of four Preludia by the Marienkirche organist and predecessor of Buxtehude, and the fourth of five pieces which appear in the tabulature classified as K.N. 207-16 (this collection contains the four extant Tunder Preludia and one other anonymous prelude. Perhaps it was composed by the ascertained copyist of the manuscript, Heinrich Baltzer Wedemann). 

It is extremely unlikely that this re-imagined Preludium is actually authentic. After all, the scribes of both tablature books are not credited, and they may well be the same person, which would eliminate all chance that the differences are due to the tastes of different individuals. Even though the fragmented Preludium is more elaborate than the introduction of any of the four extant Preludia, there are interesting characteristic similarities between the fragmented section, the rest of the exposition of 207-16/4, and the concluding section. But one has to imagine that if K.N. 207-16/4 was a more primitive copy of an extant Preludium which was copied faithfully but incompletely in K.N. 207-15, then the rest of the piece would surely not be identical to how it appears in K.N. 207-16/4. Instead, this performance is presented as an experiment to imagine a continuation of the fragmented Preludium. Assuming that it was in fact a fully-composed piece by Franz Tunder and not just a draft for improvisations or a counterpoint exercise, it would surely have been more florid and elaborate than any of the extant Preludia, and may have in fact been not just a shorter work like a Preambulum but actually a multi-movement work like those by Buxtehude or like the Preludia which the fragmented Preludium are placed next to in K.N. 207-15 (The Weckmann "Dorian" Praeambulum Primi toni a 5, and an anonymous Preludium in multiple sections which has stylistic qualities not unlike those of Weckmann or Tunder). 

Pictured is a detail of the right 3 stained glass windows in the chancel of Fairchild Chapel, which were built by the Willett Stained Glass Company, Philadelphia. Of these windows, the following is said: "In the center lancet are the two sacraments of the Church. Above, our Lord is instituting the Last Supper the night before He was betrayed. The disciples are seated with their Master about a horseshoe shaped table typical of those used at the time. Christ is breaking the bread, that symbol of the Word made flesh. Among the twelve disciples seated around the table only Judas is shown in back view. He is ready to sneak out to betray his Master. He is holding the disciples' money bag in his capacity as steward of the group, for whom he did the purchasing of supplies. The predella symbolizes the sacrament of Baptism. Shown is the Agnus Dei, of Lamb of God, crowned with a three rayed nimbus, indicating dinivity. He is carrying the banner of the Church Triumphant, while above his head is the baptismal escallop shell with water descending. / Right of center, above St. Luke, the scene is that of Christ speaking with the woman of Samaria at the well, an incident typifying the more intimate ministry of Christ. The Chi Rho appears again at the top, here surmounting the world. Out of a chalice the living water pours fourth, a symbol of the ministry of Christ. / At the extreme right, above St. John, is the crucified Christ. Kneeling at His feet are the beloved disciple John and His mother Mary. Above the cross are symbols of the Passion, the crown of thorns and nails." 

With this, I would like to wish you a happy Easter, Ramadan mubarak, and happy Passover. I hope this Preludium by Franz Tunder will be deemed appropriate for the celebration of the resurrection of Jesus Christ.