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Gregor Aichinger
1564 - 1628
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G. Aichinger
Gregor Aichinger (1564 - 21/01/1628), a German organist and composer (born in Ratisbon).
Source:Grove's dictionary of music and musicians
Gregor Aichinger was a German composer and Priest. He studied in Ingolstadt and he served the Fugger bankers Family in Augsburg. In the years 1584-1587 he studied in Venice with Giovanni Gabrieli ( 1556-1612) and later in Rome. He cultivated the Venetian style and with his flowering counterpoint he shows the influence of Orlando di Lasso ( 1532-1594). He passed away in Augsburg where he was active as a singer and appointed Canon at the St. Gertrude in Augsburg. In Augsburg he worked together with Hans Leo Hassler (1564-1621). Aichinger was a prolific composer with at least 18 volumes of church music. Among others we mention:
"Liturgica, sive Sacra Officia ad omnes dies festos Magnae Dei Matris", (Augsburg, 1603); "Sacrae Cantiones", con IV V, VI, VIII, et X vocibus (Venice, 1590); "Tricinia Mariana" (Innsbruck, 1598); "Fasciculus Sacrae Harmoniarum" (Dillingen, 1606).
Author:Wim Goossens
Peccantem me Quotidie
Period:High Renaissance
Composed in:1598
Musical form:Motet a 4 vocibus
Text/libretto:Latin from Responsorium de Officium Defunctorum
The plainchant Peccantem me Quotidie is an old Responsorium/Respond from Matins of the Dead and is published in the Liber Usualis (ed. 1936 page 1797) after Lectio VII/Lesson VII. The plainchant Peccantem me quotidie is an old Respond. There are about 138 Responsoria known used during centuries in the Office of the Dead. It’s interesting here Aichinger uses as second part the Versicle of the Respond Domine quando veneris from the Matins of the Dead which is sung after Lectio/Lessons III.
More important the used Versicle Commissa mea Domine pavesco – see among others a setting by Filipe Magalhães ( c.1571-1652) and other Iberian composers her on site - is even known as Versicle no.34 from Matins of the Dead and described in the Responsories and Versicles of the Matins of the Dead. In a lot of sources this Versicle is even attached to four! different Responsories among others to the here discussed Respond Peccantem me quotidie especially found in Münster Germany 14th century in this case. See for instance the “Peccantem me Quotidie” set by Jacob Regnart (c.1540-1599) which uses the same Versicle “Commissa mea”. So in the German Region a well known combination. The choice of texts and the order in which they occur in the sources vary according to local uses! This motet Peccantem me Quotidie is written by Aichinger for four voces CATB in a fluent counterpoint style. Cantus starts followed by Altus, Tenor and Bassus. Aichinger uses the general used Respond text up to bar 53. From bar 54 Aichinger starts with the Versicle “Commissa mea ”. It’s interesting to follow Aichinger in its setting of this Versicle particularly where Aichinger repeats the same musical figure a sort of humble pleading in all voces (from bar 72 up to the end) with the same notes f-d-e-f in “Noli me condemnare”, “do not condemn me!” After that Achinger uses the same text and musical figures with some variations due to the chosen mode. This splendid setting ends in full a-Phrygian.
This motet consists out of 93 bars and is published in Sacræ Symphoniae quaternis, V. VI, VII, VIII, X, XII tam vocibus, quam intsrumentis. Editio NOVA, Nuribergae, apud Paulum Kaufmann, (1598).
Author:Wim Goossens

R.Peccantem me quotidie,et non me penitentem,
Timor mortis conturbat me.
Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.

V.Commíssa mea, Domine, pavesco, et ante te erubesco.
Dum veneris judicare,
Noli me condemnare,

R. Every day I sin and I am impenitent.
The fear of death troubles me:
For in hell there is no redemption.
Have mercy upon me, O God, and save me.

V.I begin to fear my transgressions,
and I blush before thee.
When thou shalt come to judge,
do not condemn me.
Contributor:Wim Goossens
Officium pro defonctis quinque vocibus
Period:Late Renaissance
Composed in:1615
Musical form:officium
Officium pro defonctis quinque vocibus, (for 5 voices) was published in Augsburg, 1615.
Source:Riemann Musik Lexikon
Early in the 17th century the Renaissance polyphonic style, in various modified forms, served for several decades as a principal medium for requiem composition. A fine example, in Palestrinian style, is G.F. Anerio's setting (published in 1614, and reprinted three times up to 1677), the 'introit' of which reveals an elegant use of chant paraphrase. Similar in approach, but with more archaic cantus firmus treatment, are the expressive settings of two of Victoria's successors, Duarte Lobo (Officium defunctorum, 1603) and J.P. Pujol (Requiem for four voices, before 1626). An important innovation, evident in a number of works, is the inclusion of an organ continuo part (with figured or unfigured bass), which allowed greater variations in texture and dynamics. Early examples include Aichinger's Requiem (1615; D-As) and settings, from 1619, by Antonio Brunelli and Jean de Bournonville.
Author:Steven Chang-Lin Yu