You could say that the Butt has peaked my interest. In fact I will say it, because its funny, and the explosion of German Lutheran compositions during the baroque period is not something I initially considered to be theologically motivated. Coupled with the social interplay between many famous North and Central German baroque composers that I’ve found, I think that I have a very skewed conception of their compositional motivations.
This brings me to Johann Adam Reincken’s Hortus musicus, at the beginning of which he penned a Latin forward and extensive cover page describing the “sacred garden of music” that he is tries to create in his suite. He uses this garden as an allegory throughout the suite, and Ulf Grapenthin links the well constructed fugues within the sonatas of the work to monumental buildings crowned with “Soli Deo Gloria.” To me, this proclaims an intrinsic link between music (even secular/instrumental) and the divine. I hope to look more into Reincken’s Hortus musicus to reveal more musical “proof” of these compositional theologies, and compare them to the composers of the time like J.S. Bach, and Buxtehude, who were all comparing works and communicating.
In my initial research I have run into the monumental problem of the Germans. It seems that they speak German. Which I cannot read. It is apparent that finding English books and articles on my in-depth subject within the baroque period will take some digging, both on the musicology side, and the theological side. Luckily, I already have the Butt reading to get a start on the theological interpretation of Reincken’s instrumental works, and if nothing else I can try to justify my argument through the interpretation of instrumental works, which obviously aren’t in need of translation.