Scan 50
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
26 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Cramer, Caspar (b Themar, nr Meiningen; d ?Muhlhausen, probably in the 1650s) German schoolmaster, composer, poet and anthologist About 1640 he was a deputy headmaster at Langensalza and later a headmaster at Muhlhausen The only known work by him is the collection Animae saucitatae medela, das ist Kraftiges Tabsal einer betrubten Seele von sieben-ig geistlicher schoner und trostreicher Fest- Buss- und Begrabnuss-Lieder theils aus vornehmen Autorbis col- higt, theils selbstens in 4 Stimmen contrapunctswiese der lieben Schuljugend und anderen Gottseligen Herzen zu Saltza zu krafftigen Trost und gedeutlichen Nutzen gesetzt (Erfurt, 16414) This is one of numerous sacred collections produced in central Germany in the first half of the 17th century, consisting mainly of simple songs (contrapunctswiese means 'note-against-note'), which were intended for educational purposes in schools as well as for use during services Half of the 70 pieces in Cramer's volume are for burial services As many as 18 pieces come from Schein's Cantional of 1627, and Melchior Franck, Bartholomaeus Gesius, and Schutz are other well-known composers represented in it Cramer himself is represented by 20 signed pieces, whose melodies too he evidently wrote, and the volume may also include a few anonymous pieces by him Most of the songs are for four voices, but a few are for five, all are with continuo The book served as a model for similar collections, in particular the celebrated Cantionale sacrum first published at Gotha in 1646-8 one of two readings
2Cramer, Caspar (b Themar, nr Meiningen; d ?Muhlhausen, probably in the 1650s) German schoolmaster, composer, poet and anthologist About 1640 he was a deputy headmaster at Langensalza and later a headmaster at Muhlhausen The only known work by him is the collection Animae saucratae medela, das ist Kraftiges Tabsal einer betrubten Seele von sieben-ig geistlicher schoner und trostreicher Fest- Buss- und Begrabnuss-Lieder theils aus vornehmen Autorbis col- higt, theils selbstens in 4 Stimmen contrapunctswiese der lieben Schuljugend und anderen Gottseligen Herzen zu Saltza zu krafftigen Trost und gedeutlichen Nutzen gesetzt (Erfurt, 16414) This is one of numerous sacred collections produced in central Germany in the first half of the 17th century, consisting mainly of simple songs (contrapunctswiese means 'note-against-note'), which were intended for educational purposes in schools as well as for use during services Half of the 70 pieces in Cramer's volume are for burial services As many as 18 pieces come from Schein's Cantional of 1627, and Melchior Franck, Bartholomaeus Gesius, and Schutz are other well-known composers represented in it Cramer himself is represented by 20 signed pieces, whose melodies too he evidently wrote, and the volume may also include a few anonymous pieces by him Most of the songs are for four voices, but a few are for five, all are with continuo The book served as a model for similar collections, in particular the celebrated Cantionale sacrum first published at Gotha in 1646-8 one of two readings
4BIBLIOGRAPHY
5F F Koch Geschichte des Kirchenlieds und Kirchengesangs (Stuttgart rev, enlarged 3 1866 76), iii
6S Kummerle Enzyklopädie der evangelischen Kirchenmusik (Gutersloh, 1888)
7A Fischer and W Tumpel Das deutsche evangelische Kirchenlied des 17 Jahrhunderts (Gutersloh, 1908 R1964)
8W Tolle Grundformen des reformatorischen Schulliederbuchs vor wiegend um 1600 (Wolffenbuttel, 1936)
9W Braun 'Das Eisenacher Begräbniskantional aus dem Jahre 1653', Hb für Liturgik und Hymnologie, iv (1958 9) 122
10WALTER BLANKENBURG
12Cramer, David (b?1590 95, d probably at Hamburg, before 1666) German violinist and composer Rist, writing in 1666, referred to him as dead and mentioned that he had been an assistant to William Brade at Hamburg, which might mean that he had also been Brade's pupil, since Brade was in the service of the city of Hamburg from 1608 to 1610 and from 1613 to 1615, Cramer was associated with him presumably during those years Nothing is known of his later activities, though as a skilful violinist, and able composer he seems to have belonged to the Hamburg school of violinists and composers founded by Brade and continued by such men as Nicolaus Bruhns, Johann Schop (1) and Nathanael Schnittelbach He published a volume of four-part pieces for strings, Allerhand musikalische Stücke von Pavanen, Couranten, Intraden, Balletten auff 3 Discant Violen und ein Violagamba (Hamburg, 1631), the last surviving copy of which was lost in World War II. Apart from suites, it included a number of pieces with such titles as Melancholia, Patiutia, Inconstantia, Avaritia, Gaudium and Tristitia, which suggest that they were used for allegorical ballets Rist stated he published 'fine pieces to accompany comedies and tragedies' It is not possible to confirm whether this was indeed so, especially since, according to the dedication, the 1631 collection was intended 'to exercise the beginner', but from its title, Herodis Auszug ('Herod's March'), another piece in it, could have been written for a tragedy It and Avaritia (both in MMg, vn (1875), appx. 130) are lively pieces, with varying rhythms and changes of time Moser mentioned an Intrada mortuus that included diminutions on the melody of the song Von den zarten Jungfrauen In it Cramer used double stopping in 3rds, and in no 21, Speculator, he had double and triple stopping in all the violins simultaneously
14BIBLIOGRAPHY
151 Rist Die aller edelste Belustigung Kunst und Jugendliebenden (Hamburg 1666)
16A Moser Geschichte des Violinspiels (Berlin, 1923 rev and enlarged 2 1966 7)
171 Krüger Die Hamburgerische Musikorganisation im VIII Jahrhundert (Strasbourg, 1933)
18R Aschmann Das deutsche polyphone Violinspiel im 17 Jahrhundert (Zurich 1967)
19GEORG KARSTADT
21Cramer, J. B. London firm of music publishers and, formerly, piano manufacturers The firm was founded as Cramer Addison & Beale in 1824 when the pianist and composer J B Cramer (see CRAMER, §2) joined the partnership of Robert Addison and Thomas Frederick Beale (b ?1804 or 1805, d Chislehurst, 26 June 1863) With the addition of Cramer's name the publication of piano music became the firm's chief interest and in 1830 it bought many of the plates of the Royal Harmonic Institution, which gave it works by Beethoven, Clementi, Dussek, Haydn, Hummel, Mozart, Steibelt and others Italian songs and duets and English operas by composers such as Balle and Benedict were soon added to the catalogue
22In 1844 Addison retired and was succeeded by William Chappell (see CHAPPELL) and the firm then became known as Cramer, Beale & Chappell, or Cramer, Beale & Co In 1847 Beale also became the manager and director of the Royal Italian Opera at the rebuilt Covent Garden Theatre After the death of Cramer in 1858 and Chappell's retirement in 1861 George Wood (b ?1812 or 1813, d Hove, 22 Feb 1893), who was related to the Scottish music publishers, became Beale's partner, the firm then traded as Cramer, Beale & Wood, and also began the manufacture of pianos After Beale's death Wood continued the business as Cramer & Co (later Cramer, Wood & Co, and J B Cramer & Co), and the piano making side of the firm became predominant His nephews, John Wood and George Muir Wood, succeeded to the business on his death The firm was turned into a limited company in 1897 Many successful ballads appeared under the firm's imprint at the end of the century, and a series of ballad concerts was run by L J Saville from 1912 until World War II. The publishing firm of MITZLER was acquired in 1931 In the 20th century publishing became the firm's main activity once again, the piano business passed to Kemble & Co in 1964 Choral, piano and organ music are their specialities, with an emphasis on educational music
24BIBLIOGRAPHY
25F Kidson British Music Publishers, Printers and Engravers (London, 1900/R1974)
The computer misreads some letters and numbers. Where a name matters to you, read the scan.