Details

Autor(en) / Beteiligte

• Spracklan-Holl, Hannah

Titel

Noblewomen's Devotional Song Practice in 'Patiençe veinque tout' (1647–1655), a German Manuscript from the Mid-Seventeenth Century

Ist Teil von

• Context (Parkville, Vic.), 2022-01 (48), p.35-51

Ort / Verlag

Melbourne: University of Melbourne - Faculty of Music

Erscheinungsjahr

2022

Link zum Volltext

Quelle

EZB Electronic Journals Library

Beschreibungen/Notizen

• [...]none of the songs include the duchess's monogram, a date of composition, or other note stating her authorship; one or more of these notations are otherwise included for all songs in 'Patiençe veinque tout' that are of her own creation. Sophie Elisabeth's Engagement with Devotional Song and Her Early Musical Education Sophie Elisabeth made varied and significant contributions to the musical life of the Wolfenbüttel court during her marriage to Duke August 'the Younger' of Braunschweig-Lüneburg (15791666): she played an important role in the restructure of the court's Kapelle following the war using her own knowledge and the expertise of others; she wrote devotional songs and other sacred music, which was used in both public and private devotion in Wolfenbüttel; and she organised, wrote, and performed in court festive events, frequently also composing the music for these occasions. According to Brandanus Daetrius (1607-1688), some of the devotional music to which she contributed was 'used in both domestic churches and private devotion' at the time of her death.9 Two of the manuscript songbooks are entirely in Sophie Elisabeth's hand; the earliest, which she started during her early life at the court of Güstrow, consists of her arrangements of continuo songs including French airs de cour, while the later book, started in 1647 with the title 'Patiençe veinque tout,' contains devotional songs and sinfonías that she composed, as well as devotional songs that she received as gifts.10 For many Protestant noblewomen and consorts, including Sophie Elisabeth, devotional song practice was part of many aspects of their lives; alongside prayer, it accompanied almost every activity they undertook, and played an important role in their acts of intercession with God on behalf of their subjects.11 'Patiençe veinque tout' is the manuscript songbook in which the duchess's engagement with sacred music is most evident.12 The sacred music in the duchess's songbooks form part of a larger body of devotional literature that she wrote throughout her life, amounting to more than 2,600 pages as a whole.13 This literature, which reflects her personal piety but may have also been used in settings beyond her interior expression, contains the duchess's reflections on all aspects of her life, from her health, birthday, and harvests to political events happening around her.14 Devotional writings-including songs-were an important part of elite women's lives as a means of personal reflection, consolation, and edification; they also provided ways for these women to converse with God and express their piety to themselves and (sometimes) their court. Greater restrictions were subsequently placed on women's ability to move in the public sphere, and as a rule they were often prevented and discouraged from expressing themselves in this setting.17 Devotional songs thus provided a means of personal expression within a private domain viewed as appropriate for women to occupy.