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

我们印刷的最后一卷，PPMEDW 11/1，也是由两卷组成，这一方面是因为相当大的数量明显超过了前几卷，但另一方面也是因为内容原因而被推荐的。PPMEDW 11/1.1载有该版本使用的所有来源的详细书目信息，以及对它们各自的历史、命运和理解的描述。许多图画复制品丰富了描述，有时也有非常广泛的较大段落的复制品，如序言，目的是进一步支持理解赞美诗的努力。关于Praxis Pietatis Melica历史的其他资料也以类似的方式处理，例如印刷商Christoph Runge向柏林法院请愿，要求获得特权。其中一些材料很难获得，相关书目在许多方面都已过时。因此，结合大量的图像和文字复制，以及在多年编辑工作的背景下对来源的评估，这一卷文件很可能对17世纪的赞美诗和虔诚和文化史的研究具有重要意义。在这次介绍中，有两点值得特别注意：一是《编辑》。从1659年的Praxis pietatis Melica被提出，这是自19世纪中叶以来一直丢失，在此之前只有非常模糊的知识。2019年夏天，PPMEDW的研究中心发现了一个以前完全不为人所知的版本--这一消息来源可以被描述为耸人听闻。另一方面，在编辑过程中获得经验的背景下，重建了自第二次世界大战以来遗失的重要的1647年第二版--狭义上的第一本Praxis Pietatis Melica。PPMEDW 11/1.2包含392首四声部歌曲乐章的完整版本，这些乐章出现在1690年由柏林音乐家雅各布·辛策委托创作的Praxis Pietatis Melica的“Editio XXIV”中。其中一些仅仅是以前基本的Cantus脚手架的替代品，但也有全新的脚手架。在这方面，版本是不寻常的，它的构成体现了他们对遗产的一种接受。尽管如此，欣策也指出，他能够利用克鲁格的遗产。除了三个例外，这些机芯还没有现代版本。通过将即将印刷的PPMEDW 11/1卷分成两部分，本版本有别于关于这部作品历史的其他文件。所有六卷的共同人物索引结束了这部作品。

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 Some of this material has been very difficult to obtain, and the relevant bibliographies have proved to be out of date in many respects.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.