For centuries, the seven penitential psalms of David have played an important role that was not restricted to the Catholic Church. Popes such as Gregory the Great and Innocent III wrote commentaries about the penitential psalms - but also did Luther. Nevertheless, this compilation of texts that had once emerged from the spirit of late antiquity (a fact that is by no means obvious from a content-exegetical point of view) has largely fallen into oblivion. In the music of the Renaissance the seven penitential psalms of David played a role beyond liturgical conventions. It is the aim of my article to explore this phenomenon. What evoked the short-term interest in these rather marginal texts? It might be the fact that this unity of texts accredited by the church and outlining David both as an ideal figure as well as a sinner provided a chance for the recent "musica reservata" - i.e. for a vivid and true-to-life presentation of the texts. This made it possible to challenge the Church's grasp on all spheres of life through music and go unpunished. This holds true whether the composers or their patrons wanted to remain within the church or to support the agenda of the Reformation by means of music.
Personen: Bartelmus, R³diger
Bartelmus, R³diger:
¼Die¼ sieben Bu?psalmen: Davids Threnodiae Davidicae : ?berlegungen eines Alttestamentlers zum Umgang christlicher Theologen und Komponisten mit einer seit der Spõtantike als Einheit verstandenen Gruppe von sieben Psalmen / R³diger Bartelmus, 2014. - S.129-157
Einheitssacht.: Bibel und Musik