musica Dei donum
CD reviews
Minnesinger & Meistersinger
[I] "A Wind Blows from the East"
Drew Minter, voice, harp
rec: [n.d.], Stone Ridge, NY, Christ the King Episcopal Church
Bridge Records - Bridge 9372 (© 2011) (64'27")
Liner-notes: E; lyrics - translations: E
Cover & track-list
NEIDHART VON REUENTHAL (c1180-c1250):
Blozen wir den anger ligen sahen;
OSWALD VON WOLKENSTEIN (1377-1445):
Es seusst dorther von Orient (Kl 20);
Hans SACHS (1494-1576):
O küngin der parmherzigkeit;
WOLFRAM VON ESCHENBACH (c1170-c1220):
Titurel (exc)
[II] WALTHER VON DER VOGELWEIDE (c1170 - c1230): "Lieder von Macht und Liebe - Sangspruch & Minnesang"
Per-Sonat
rec: May 6 - 8, 2014, Heilsbronn, Zisterzienser Kloster (refectory)
Christophorus - CHR 77394 (© 2015) (71'25")
Liner-notes: E/D/F; lyrics - translations: D
Cover & track-list
[in order of appearance]
[Im Wiener Hofton] Mir ist verspert der saelden tor;
Der hof ze Wiene sprach ze mir;
Nachtanz;
Die welt was gelf rot unde bla;
Der mönch ze Toberlu (estampie; Gautier d'Espinal);
Bin ich dir unmaere (Baptiste Romain);
Estampie über den Goldenen Ton
[Im Reichston] Ich saz ûf einem steine;
Ich horte diu wazzer diezen;
Ich sach mit minen ougen (Wolfram von Eschenbach);
Under der linden (anon);
Nahtegal (Tobie Miller);
Prophetentanz (Marner);
Nemt, frouwe, disen kranz (Baptiste Romain)
[Im Unmutston] Der stuol ze Rôme;
Ahi wie kristenliche nu der babest lachet;
In nomine domini;
Do der sumer komen was (Meister Alexander);
Alrerst lebe ich mir werde (Palästinalied)
[Im langen Ton] Ich wil nû teilen ê ich far;
Sit mir din niht mer werden mac;
Man mac wol offenbare sehen;
Iferunge (Baptiste Romain)
Sabine Lutzenberger, soprano;
Elisabeth Rumsey, vielle;
Tobie Miller, hurdy gurdy, medieval flutes;
Baptiste Romain, vielle, bowed lyre, bagpipe
[III] "Percival's Lament"
Capilla Antigua de Chinchilla
Dir: José Ferrero
rec: Aug 29 & Sept 3, 2011, Chinchilla de Montearagón (Albacete), Iglesia de San Julián
Naxos - 8.572800 (© 2012) (54'25")
Liner-notes: E/S; lyrics - translations: E
Cover, track-list & booklet
anon (E, c1270):
Fowles in the frith;
anon (F, 13th C):
La ultime estampie royale;
CHRÉTIEN DE TROYES (fl c1160-1190):
D'amors, qui m'a tolu a moi;
HILDEGARD OF BINGEN (1098-1179):
Karitas habundat;
Laus Trinitati;
RIGAUT DE BERBEZILH (fl 1140-1162):
Atressi com Persavaus el temps que vivia;
TANNHÄUSER (fl mid-13th C):
Staeter dienest, der ist guot;
WALTHER VON DER VOGELWEIDE (c1170 - c1230):
Alrerst lebe ich mir werde (Palästinalied);
Ich saz ûf einem steine;
Under der linden;
WOLFRAM VON ESCHENBACH (c1170-c1220):
Do man dem edelen sîn gezeit (attr);
Was sol ein keyser ône recht (attr);
[Wolframs goldener Ton]
Luisa Maesso, voice, triangle, tambourin à cordes, bendir, bells;
Juan Francisco Sanz, voice, tambour, darbuke, bendir, bells;
José Ferrero, voice, harp, simphonie, psaltery, Anglo-Saxon lyre;
Ana Maria López-Pintor, fiddle, rabel, rebec;
Sergio Alonso, rabel, viol, tromba marina;
Alonso Sáez, Glastonbury pipe, gemshorn, medieval flute, chalumeau, organetto
[IV] FRAUENLOB (HEINRICH VON MEISSEN) (c1260? - 1318): "In vergessenen Tönen - Die Sangsprüche Meister Frauenlobs"
Sabine Lutzenberger, voice;
Norbert Rodenkirchen, medieval flutes, harp
rec: Dec 18, 2013 & Feb 26 - 27, 2014, Cologne, Topaz Studio
marc aurel edition - MA 20046 (© 2014) (46'33")
Liner-notes: E/D; lyrics (modernized) - translations: E
Cover & track-list
ADAM DE ST. VICTOR (?-1146):
Superne Matris;
DER KANZLER (13th C):
Got, schepfer aller dinge;
[In der Hofweise des Kanzlers];
DER UNVERZAGTE (fl late 13th C):
Junger man;
FRAUENLOB:
Daz ende sagt volkomenheit der dinge;
Des himels arzenie;
Ez jehnt die sehenes blinden;
Ich saz uf einer gruene;
[Im Leichton Frauenlobs];
Luft, wazzer, viur unt erde;
Man siehtin meiner vuende krame;
Mit jungen junc;
Swer minnen schilt vil vuehren;
Wer sagt mir das geverte;
Wort sint der dinge zeichen;
MEISTER ECKART (c1260-1328?):
Granum Sinapis (Adam de St. Victor);
[V] OSWALD VON WOLKENSTEIN (1377 - 1445): "The Cosmopolitan - Songs by Oswald von Wolkenstein"
Ensemble Leones
Dir: Marc Lewon
rec: April 2 - 5, 2013, Binningen, Heilig Kreuz Kirche
Christophorus - CHR 77379 (© 2014) (79'45")
Liner-notes: E/D/F; lyrics - translations: D
Cover & track-list
Ach senliches leiden (Kl 51);
Ain gút geboren edel man (Kl 43);
Bog de primi was dustu da (Kl 119);
Do fraig amors (Kl 69);
Durch abenteuer tal und perg (Kl 26);
Es seusst dort her von orient (Kl 20);
Freu dich, du weltlich creatúr (Kl 120);
Gar wunniklich hat si mein herz besessen (Kl 64);
Herz, prich (Kl 93);
Ich klag (Kl 108);
Mit gúnstlichem herzen (Kl 71);
Nu rue mit sorgen (Kl 121);
Stampanie (Baptiste Romain);
Wer ist, die da durchleuchtet (Kl 13);
Wes mich mein búl ie hat erfreut (Kl 55);
Wol auff, wir wellen slauffen (Kl 84);
Wol auff, wol an (Kl 75)
Els Janssen-Vanmunster, voice;
Miriam Andersén, voice, harp, cow horn, rattle;
Tobie Miller, voice, hurdy-gurdy, vielle à roue;
Marc Lewon, voice, plectrum lute, cistre, vielle;
Baptiste Romain, vielle, bagpipes
with: Liane Ehlich, medieval flute
These five discs bring us to the era of the Minnesinger and Meistersinger, roughly speaking the time from the 12th to the 15th century.
"Four German tales of the Middle Ages" brings us to the time of Minne- and Meistersinger. Neidhart von Reuenthal belongs to the first group. His songs are divided into two categories: summer and winter songs, which are distinguished by a different position of the main character. Blozen wir den anger ligen sahen is a summer song. Wolfram von Eschenbach was a Meistersinger; seven poems by him have been preserved, but no tunes. However, two are associated with him, including the melody for the epic poem Titurel. Drew Minter sings two fragments from this poem. Oswald von Wolkenstein is also rated among the Meistersinger and is one of the best-known poet/composers from the Middle Ages. Drew Minter sings Es seusst dorther von Orient. The youngest poet is Hans Sachs; more than 6,000 of his poems have come down to us. Among the Meistersinger it was customary to write lyrics to existing melodies, so-called Töne, which not only consist of a melody, but also metres and rhyme schemes. Sachs himself wrote 13 Meistertöne and one of these is allocated to the text O küngin der parmherzigkeit, a song about a miracle of the Virgin Mary. These German songs are monophonic; Minter accompanies himself on the harp, and this accompaniment is improvised, although probably prepared for this recording. Such songs should be performed in a declamatory manner; Benjamin Bagby (Sequentia) is a master of this art. Minter cannot hold a candle to him. His diction is not perfect, which is the reason the text doesn't come across as well as would be desirable. This is also due to Minter's rather wide and incessant vibrato. It is striking that the text is much better understandable and his vibrato is much less notable if he switches to his chest voice. If he had sung everything in the chest register, this recording would have been much better.
Walther von der Vogelweide is one of the Minnesinger; he is even the first historical source of the word minnesanc. He also made use of the Töne mentioned above. Unfortunately only a very few poems have been passed down with a melody; one of which is the famous Palästinalied. This sets artists the task to look for fitting melodies. The Ensemble Per-Sonat has selected melodies from various sources from the 14th and 15th centuries and tunes from Walthers own time. Some tunes were even newly composed in the style of the time. It is admirable how well the artists have settled in the sound world of Walther von der Vogelweide. The melody Baptiste Romain wrote for Nemt, frouwe disen kranz is particularly beautiful. The 'interpretations' - if that is the right word here - are very good. Sabine Lutzenberger's communication of the texts is incisive; with the help of the booklet one can easily follow the original texts. Fortunately a modern translation has been added; otherwise even German speakers would find it hard to understand the content of the poems. It is a shame that English translations are omitted. Some songs are performed unaccompanied, while in others various instruments are involved; these are played with fervour and technical assurance. Thanks to the efforts of the artists the poems of Walther von der Vogelweide can be enjoyed again according to the original intention: in a musical performance. Anyone who loves the music of the Middle Ages shouldn't miss this disc.
The third disc links up to these two: the Capilla Antigua de Chinchilla included both Wolfram von Eschenbach and Walther von der Vogelweide in its programme, and added pieces by another German poet: Tannhäuser. The theme of their disc the Holy Grail. The search for the Holy Grail was an important issue in the Middle Ages, and that includes poems, such as Wolfram von Eschenbach's Parzival. The music, which can be found on the CD 'Percival's Lament', comes from the same time, but the content of most pieces is not directly connected to the topic of the Holy Grail. We find allusions to Parzival in the opening piece, Staeter dienest, der ist guot by Tannhäuser, as well as in D'amors, qui m'a tolu by Chrétien de Troyes - performed instrumentally here - and in Atressi com Persevaus by Rigaut de Berbezilh. The programme also includes pieces by Hildegard of Bingen and anonymous compositions. All items are monophonic, but performed with various voices and/or instruments. There is nothing wrong with this performance practice as such, but the participation of instruments is exaggerated. This disc is another example of percussionitis, I'm afraid. Why should a percussion instrument be used in almost every piece? The use of several instruments also makes the texts hard to understand. The choice of instruments is questionable. In two pieces by Wolfram von Eschenbach a bendir, a North African percussion instrument, is used. This is historically untenable. And again, like in the case of Drew Minter, it needs to be noted that in no way Benjamin Bagby's level of communication is achieved. Luisa Maesso sometimes sings with a rather large vibrato which is completely out of place here. The repertoire is quite interesting and the Capilla Antigua de Chinchilla is a good ensemble, but the interpretation is debatable. The texts - partially translated into English - can be downloaded from the Naxos page, but the link on the rear inlay is wrong. The correct link is given in the header.
How to make a voice and an instrument cooperate in a convincing manner is demonstrated by Sabine Lutzenberger and Norbert Rodenkirchen. They devote themselves for the second time to the work of poet/singer Heinrich von Meissen (c1260-1318), also called Frauenlob, a transitional figure between Minnesang, which centres on the subject of love, and the Meistergesang which focuses on social, political and moral topics. This is also the case in the Sangsprüche which are presented here. In the booklet Frauenlobs Sangspruch is characterised as a "contemplative art form". The titles of the various poems are followed by an indication of their tenor: "contemplation on honor" or "contemplation on art". They are sung on Töne which he himself has written. They are known under names such as langer Ton (long tone) or grüner Ton (green tone). Sabine Lutzenberger's delivery is excellent; the texts are clearly understandable. Even so it is regrettable that the original texts are not included in the booklet; we get only a modern translation. Norbert Rodenkirchen plays a second part on the medieval flute or the harp and also performs some pieces instrumentally. As an addition to the programme we hear a text by Meister Eckhart, one of the great medieval mystics. This inclusion makes sense because of the strong affinity between him and several texts by Frauenlob. He didn't compose any melodies; the text is sung to music by Adam de St. Victor. This second disc with music by Frauenlob is the first I have heard. It is a most impressive one, and anyone listening to it will certainly want to have the first disc as well.
With the last disc we return to the poet/composer who was also included on the first disc and who is one of the best known and most colourful personalities of the Middle Ages: Oswald von Wolkenstein (c1376-1445). Already at the beginning of the revival of interest in medieval music his songs were performed and recorded. That certainly has to do with the fact that we know much more about him than about most poets and musicians of his time. He is mentioned not only in documents, but we also have protraits of him and many of his songs have a personal character, for instance when he tells about his life or specific events. That makes his biographer Dieter Kühn suggest that he should be counted to the early Renaissance rather than the Middle Ages. Despite this 'modern' trait he is in a sense old-fashioned: his songs are mainly about love, and because of that they are rooted in the tradition of Minnesang. This disc includes several items that are little known. That is partly due to the problems in regard to the notation of these poems which modern performers have to solve. It is interesting that Kühn also indicates that some texts of a graphic nature which have earned Oswald the reputation of being a roughneck, turn out to be much more subtle if they are performed in his own musical musical settings. This is underlined here through the subtle interpretations by the Ensemble Leones. The singers have attractive voices, and especially in the two-part canons the perfect blend of the two sopranos Els Janssens-Vanmunster and Miriam Andersén is of great importance. Very nice is also how Marc Lewon tells the story of Oswald's imprisonment in Innsbruck (Durch abenteuer tal und perg) in the manner of a bard. The ensemble shows restraint in the use of instruments. This repertoire always runs the risk of being made too colourful, but that temptation has been resisted. The booklet contains a detailed explanation of each piece; the texts can be downloaded from the website of the ensemble, but unfortunately without translations in English. This disc is one of the best with Oswald's music that I know, and an essential addition to the discography of music from the Middle Ages and the Renaissance.
Johan van Veen (© 2015)
Relevant links:
Norbert Rodenkirchen
Ensemble Leones
Per-Sonat