Thomas Elsbeth (? – after 1624) was a German composer
however, details of Elsbeth's life are few and vague.
Elsbeth was born in Neustadt, Franconia; his birth date
is totally unknown, although he did refer to himself as
"poor and old" in 1616. Since his early publications
were issued in Frankfurt an der Oder, he is thought to
have been an acquaintance of Bartholomäus Gesius, the
kantor there. He may have attended Viadrina University
in Frankfurt, though modern scholars have been unable
to sub...(+)
Thomas Elsbeth (? – after 1624) was a German composer
however, details of Elsbeth's life are few and vague.
Elsbeth was born in Neustadt, Franconia; his birth date
is totally unknown, although he did refer to himself as
"poor and old" in 1616. Since his early publications
were issued in Frankfurt an der Oder, he is thought to
have been an acquaintance of Bartholomäus Gesius, the
kantor there. He may have attended Viadrina University
in Frankfurt, though modern scholars have been unable
to substantiate this with archival research. He
dedicated a publication to the city councilmen of
Breslau, and may have spent time there. He also
published several books of works in Liegnitz after
1606, and so it is probable that he lived there for
some time. However, he is not listed in any of the
surviving city payrolls. He is presumed to have lived
in Jauer from 1616, and probably died there in or after
1624, the date of his last publications.
Elsbeth left a significant body of extant motets and
songs. Elsbeth's songs, of which there are about 100,
are for three to five voices; some are in a homophonic
style and others are set in a polyphonic chorale style.
He never took up use of the basso continuo, despite its
increasing popularity via Italy in the beginning of the
17th century. Of about 150 motets, most of the early
works are in Latin and most of the later in German. His
Evangelien collections are calendrical settings of the
Gospels, which together cover the entire church year.
The settings contain the text of the gospel reading for
the day as well as a short introductory phrase which
summarizes or sets the stage for the actual Biblical
passage.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Thomas_Elsbeth).
Although originally composed for Choir (SSA), I created
this Interpretation of "Now let us go and bid the
morning" for Flute Trio (2 Flutes & Alto Flute).
PARTITION