F.j. Burmeister

Here you can find some tracks: "Música Poética: Musical-Rhetorical Figures in German Baroque Music"

http://books.google.it/books?id=p45OwxQB05YC&pg=PA182&lpg=PA182&dq=F.j.+Burmeister+musica&source=bl&ots=vF5d0eTc1K&sig=WbrGRqOQJe6iV7STBTYlISLRJec&hl=it#v=onepage&q=F.j.%20Burmeister%20musica&f=false

Thanks Natan, on page 93 there is what interests me

Now I just have to understand what the "F." stands for ...

... ok for Joachim

I know you have already resolved Rotore, but I am translating just a small piece for the enthusiasts because the good Burmeister is the father of rhetoric; in fact, the text reads:

"one of the first German authors who proposed an exhaustive terminology relating to rhetorical figures through the publication of three texts: Hypomnematum musicae poeticae (1599), Musica autoschediastike (1601) and Musica Poetica (1606)"

Rotore wrote:

there are correlations with Johann Rudolf Ahle...

Since someone has taken on Berg's Concerto, I can tell you that in the adagio (as Berg himself describes it to Schoengerg: Chorale Variations) the original melody of the chorale by Johann Rudolf Ahle (1625-73) is reflected, employed by Berg in the same "setting" of the words from that of F.J. Burmeister and thus reproduced in the score:

Es ist genug!

Herr, wenn es Dir gefällt,

So spanne mich doch aus!

Mein Jesus kommt:

Nun gute Nacht, o Welt!

Ich fahr’ in’s Himmelshaus.

Ich fahre sicher hin mit Frieden,

mein groBer Jammer bleibt darnieden.

Es ist genug

Es ist genug

Moved and impressed, thanks again to everyone