musica Dei donum
CD reviews
"Das Lochamer Liederbuch" (The Locham Song Book)
Martin Hummel, baritonea
Ensemble Dulce Melos
Dir: Marc Lewon
rec: Sept 26 - 28, 2005, Neumarkt, Konzertsaal Reitstadl
Naxos - 8.557803 (© 2008) (71'20")
Liner-notes: E/D; lyrics - translations: E/D
Cover, track-list & liner-notes
Scores
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Ach meyden dw vil sene peina;
All mein gedencken dy ich haba;
Anauois;
Benedicite almechtiger got;
Czart lip wie suß dein anfanck ista;
Der wallt hat sich entlawbeta;
Der winter will hin weichena;
Des klaffers neydena;
Do mit ein gut Jare / Der Summer;
Ein vrouleen edel von naturena;
Ellend dw hast;
Es fur ein pawr gen holza;
Ich bin pey Ira;
Ich sach ein pild In plaber wata;
Ich spring an disem ringea;
Mein frewd möcht sich wol merena;
Mein hercz in hohen frewden ist;
Mein trawt geselle vnd mein liebster horta;
Mir ist mein pfërd vernagellt gara;
Mit ganczem willen wünsch ich dira;
Möcht ich dein wegerena;
Paumgartner;
Verlangen thut mich krenckena;
Wach auf mein hort der leucht dort hera;
Wilhelmus Legrant
Yukiko Yaita, recorder, pipe, double flute, chekker, string-drum;
Elizabeth Rumsey, Uri Smilansky, recorder, viola d'arco;
Margit Übellacker, dulcimer;
Marc Lewon, gittern, lute
The so-called Lochamer Liederbuch is one of the most important collections of music of the renaissance in Germany. The name comes from the owner of the manuscript, Wolflein von Lochamer, who is assumed to have lived around 1500. But the manuscript has been put together about half a century earlier by a certain Frater Jodocus von Windsheim who entered his name into the book in 1460. It is assumed he put the collection together during his years as a student.
Also interesting is that he is from Nuremberg, which puts him into the circle of Conrad Paumann, the famous blind organist. This is especially important with regard to the interpretation. Most pieces are notated monophonically, but there was a widespread practice to perform this kind of pieces polyphonically by adding parts to the notated single part. As pretty much is known about Paumann's way of arranging music, for instance from the so-called Buxheimer Orgelbuch, which is connected to his 'school', this knowledge can be used to 'arrange' the monophonic pieces for a polyphonic performance.
In this recording a whole array of different kinds of 'arrangement' are used, which are explained at length in the booklet. In the process other sources are used, since a number of pieces from the Lochamer Liederbuch are also known from other manuscripts. In fact, many pieces were very popular and are found in various shapes. The manuscript contains 50 vocal items and 32 instrumental pieces; this disc presents a selection of mostly vocal pieces, interspersed by some instrumental pieces. The latter are mostly intabulations of vocal works.
Most pieces are of German origin, but there is also one from a composer of the Franco-Flemish school: Ein vrooleen edel van naturen. People who are acquainted with German sacred music of the 17th and 18th centuries will probably recognize Mein frewd möcht sich wol meren. The melody has later been arranged to fit the text Herr Christ, der einig Gotts Sohn, a hymn frequently used by, among others, Johann Sebastian Bach.
As far as I know never before a whole recording has been devoted to this manuscript. This is rather strange, considering the importance of this source and the quality and variety of the repertoire. And I really think it is time it is recorded in its entirety. In the meantime we should be happy about this generous selection of pieces from this book.
I have already referred to the various kinds of arrangement. Not everything is arranged: some pieces are performed exactly as they are written down. Of course, arrangements of music from this era always raise questions as how far one can go in adding parts or in merging parts from different sources. I leave it to the experts to debate this, but it is my impression that there is no need to be too afraid of arranging or adapting music like this. It is astonishing in how many different shapes popular pieces are handed down, which shows that it was very common practice to adapt pieces to the actual circumstances. And the fact that so few purely instrumental pieces from this time have come down to us can be explained from the widespread practice of improvisation. So if today's performers of this repertoire use their knowledge of the improvisational practices of that era, that seems completely legitimate.
And it is the performances by the instrumentalists of the Ensemble Dulce Melos which I have enjoyed most. Their command of their respective instruments (for instance viola d'arco, double flute, dulcimer and gittern) and their playing skills are impressive, and they play their parts with energy and finesse. Martin Hummel has a nice voice and sings this repertoire well, but I find his singing a bit too sophisticated and too 'modern'. Although he sings the texts in their original form it sounds like standard educated German. I think there is reason to perform these texts with some sort of regional colouring, with regard to pronunciation and the use of the voice. Probably the reader of this review will know the performances by Benjamin Bagby of the ensemble Sequentia. He uses specific vocal techniques as well as diction and pronunciation to sing old German songs. Before listening to this disc I heard a recording of texts by the South German poet Hugo von Montfort (1357-1423), set to music by mostly anonymous composers. That repertoire is from about the same region and not much older than what we find in the Lochamer Liederbuch. The performance by the Austrian singer Eberhard Kummer (ORF, 2007) could well be much closer to how it may have been sung at the time than what we hear here. I think there is still much work to do as far as the style of singing in this repertoire is concerned.
However, that should not withhold anyone from buying this disc. I don't know any other recording with such a wide selection of pieces from this manuscript and I am sure especially lovers of renaissance music will thoroughly enjoy this disc.
Johan van Veen (© 2008)