Johann Crüger: Praxis Pietatis Melcia. Edition and documentation of the work history

我们即将印刷的最后一卷，PPMEDW 11/1，也是由两卷组成，这一方面是由于相当大的数量，显然超过了前几卷，但另一方面也是出于内容的原因而推荐的。PPMEDW 11/1.1包含了该版本所使用的所有来源的详细书目信息，并结合了对各自历史、命运和理解的描述。描述丰富了许多图片复制品，有时也非常广泛的复制较大的通道，如前言，这是为了进一步支持努力理解赞美诗。其他来源的历史上的PRAXIS PIETATIS MELICA处理以类似的方式，例如请愿书的印刷商克里斯托夫龙格柏林法院获得特权。其中一些材料很难获得，相关的参考书目在许多方面已经过时。因此，结合大量的图像和文本复制以及在多年编辑工作的背景下对资料来源的评估，这卷文献可能对赞美诗和研究17世纪的虔诚和文化史具有重要意义。在本演示文稿中有两点应特别注意：第一，“第八版。“的PRAXIS PIETATIS MELICA从1659年提出，这已经失去了自19世纪中叶，其中只有非常模糊的知识存在，直到那时。在2019年夏天，PPMEDW的研究中心能够找到这个版本的一个以前完全未知的副本-一个可以被描述为耸人听闻的来源发现。另一方面，在编辑工作过程中获得的经验的背景下，实现了对1647年重要的第二版的重建，即第一部狭义上的PRAXIS PIETATIS MELICA，自第二次世界大战以来丢失。 PPMEDW 11/1.2包含了392个四部分歌曲乐章的完整版本，它们出现在1690年的PRAXIS PIETATIS MELICA的“Editio XXIV”中，该版本由柏林城市音乐家Jacob Hintze委托制作。他们中的一些人只是以前的基本cantus脚手架的替代品，但也有完全新的。在这方面，该版本是不寻常的，其组成体现了自己的一种接受房地产。然而，Hintze也指出，他能够利用Crüger的遗产。除了三个例外，这些机芯还没有现代版本。通过将准备印刷的PPMEDW 11/1卷分为两部分，这个版本与其他关于工作历史的文件不同。一个索引的人共同所有六卷结束工作。

The last volume of our edition to be printed, PPMEDW 11/1, again consists of two volumes, which is due on the one hand to the considerable volume that clearly exceeds the previous volumes, but on the other hand is also recommended for reasons of content. PPMEDW 11/1.1 contains detailed bibliographical information on all the sources used for the edition, combined with descriptions of their respective history, fate and understanding. Thedescriptions are enriched by numerous pictorial reproductions and also sometimes very extensive reproductions of larger passages, such as prefaces, which are intended to further support the endeavour to understand the hymnals. Other sources on the history of the PRAXIS PIETATIS MELICA are treated in a similar way, for example a petition by the printer Christoph Runge to the Berlin court to obtain a privilege. Some of this material has been very difficult to obtain, and the relevant bibliographies have proved to be out of date in many respects. As a result, but even more so in combination with the lavish reproductions of images and texts and the appraisals of the sources against the backdrop of years of editing work, this volume of documents is likely to be significant for hymnology and research into the history of piety and culture in the 17th century. Two points within this presentation should be particularly noted: Firstly, the "Editio VIII." of the PRAXIS PIETATIS MELICA from 1659 is presented, which had been lost since the middle of the 19th century and of which only very vague knowledge existed until then. In the summer of 2019, the PPMEDW's research centre was able to find a previously completely unknown copy of this edition - a source find that can justifiably be described as sensational. On the other hand, against the background of the experience gained in the course of the editing work, a reconstruction of the important second edition of 1647, the first PRAXIS PIETATIS MELICA in the narrower sense, lost since the Second World War, was achieved. PPMEDW 11/1.2 contains a complete edition of the 392 four-part song movements as they appear in the "Editio XXIV" of the PRAXIS PIETATIS MELICA of 1690, which was commissioned by the Berlin city musician Jacob Hintze. Some of them are merely replacements of previous basic cantus scaffolding, but there are also completely new ones. In this respect, the edition is out of the ordinary, and its compositions embody their own kind of reception of the estate. Nevertheless, Hintze also notes that he was able to draw on Crüger's estate. With only three exceptions, the movements are not yet available in modern editions. By dividing the volume PPMEDW 11/1, which is ready for printing, into two parts, this edition is distinguished from the other documents on the history of the work. An index of persons common to all six volumes concludes the work.