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™ Elslein Elsie
Elslein, liebes Elselein, Elsie, Elsie dear, MUSIC FROM wie gern wär ich bei dir. how I wish I were with you. So sein zwei tiefe wasser But waters deep between me wol zwischen dir und mir. and you keep us apart. THE TIME OF
Hoff, zeit werd es wol enden, Hope that time will end it, Hoff, glück werd kommen drein, hope that luck will enter in TILMAN RIEMENSCHNEIDER sich in alls guts verwenden, and change it all for the better, herzliebstes Elselein. Elsie, my dearest. Il Curioso • Hedos Ensemble • Bernhard Böhm
ª Es wolt ein Jäger jagen A huntsman went to hunt
Es wolt ein Jäger jagen A huntsman went to hunt vor jhenem holtz. by yonder wood. Was bgegnet im uff der heyden, What did he meet on the heath? drei frewlin hüpsch und stoltz. Three young ladies fine and proud.
Das ein das hieß Margretlin, One was called Gretchen, das ander Ursele, the second Ursula. das dritt das hat kein Namen, The third has no name; des Jägers will es sein. she wants to marry the huntsman.
Er nam sie bei der mitte He took her by the waist da sie am schwänksten war. where she was slenderest Schwangs hinder sich zurücke and swung her up behind him wohl auf sein hohes roß. onto his great horse.
Er fürt sie gar behennde He carried her quickly durch das grüne graß, over the green grass der grünen heyd ein ende to where the green heath ends, ghen Wirtzburg uf das Schloß. to the castle in Würzburg.
Translations by Sue Baxter
Music from the Time of Tilman Riemenschneider is a co-production with Bayerischer Rundfunk-Studio Franken
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1 Anonymous 9 Anonymous * Wir zogen in das Feld We went to war Mein Herz in Freuden sich erquicket 1:40 Groß Sehnen ich im Herzen trag 2:43 (My heart quickens for joy) (My heart is full of longing) Wir zogen in das Feld, We went to war, Lochamer Liederbuch, 1452–60 Schedelsches Liederbuch, c. 1460–67 wir zogen in das Feld, we went to war, da hett’ wir weder Säck’l noch Geld. and we had neither pack nor money. 2 Jean Mouton (before 1459–1522) 0 Anonymous Strampede mi Strampede mi Jamais 3:24 Ich tät mir auserwählen 2:11 alami presente al vostra signori,1 alami presente al vostra signori,1 (Never) (I chose for myself) alami presente al vostra signori. alami presente al vostra signori. Ottaviano Petrucci, ‘Harmonice Musices Schedelsches Liederbuch, c. 1460–67 Wir kam’ für Sibentod, We came to Sibentod, Odhecaton’, Canti A, Venice 1501 wir kam’ für Sibentod, we came to Sibentod, ! Anonymous da hett’ wir weder Wein noch Brot. and we had neither wine nor bread. 3 Anonymous Der gestreifft Dantz/Gassenhauer 2:04 Strampede mi… Strampede mi… Basse Danse ‘La Magdalena’ 2:51 (The strummed dance/Popular melody) Pierre Attaingnant, ‘18 basses danses garnies Early 16th century Wir kamen in Friaul, We came to Friuli, de recoupes’, Paris 1530 wir kamen in Friaul, we came to Friuli, @ Anonymous da hett’ wir allesamt voll Maul. and we all ate our fill. 4 Anonymous Se hyn mein hercz 3:39 Strampede mi… Strampede mi… Tourdion 1:23 (Away, my heart) Pierre Attaingnant, ‘18 basses danses garnies Schedelsches Liederbuch, c. 1460–67 Wir kam’ vor Benevent, We came to Benevento, de recoupes’, Paris 1530 wir kam’ vor Benevent, we came to Benevento, # Anonymous da het al unser Not ein End. and our suffering was over. 5 Anonymous Ich spring an diesem ringe 2:35 Strampede mi… Strampede mi… Basse Danse ‘La gatta’ 1:04 (I jump in this ring) Pierre Attaingnant, ‘18 basses danses garnies Lochamer Liederbuch, 1452–60 de recoupes’, Paris 1530 $ Johann Walter (1496–1570) 1 Wohl verderbt aus “Strombetta mi a-la-mi, presenti alla 1 Probably a corruption of “Strombetta mi a-la-mi, presenti 6 Anonymous Aus tiefer Not 3:01 mostra, Signori”; zu deutsch: “Trompetet a-la-mi, alla mostra, Signori”; in English: “Blow the trumpet, a-la-mi, Zenner, greiner, wie gefelt dir das? 1:13 (Out of the depths) erscheint zur Musterung, ihr Herren”. present yourselves for review, my lords”. (Scolding and bawling, how do you like that?) Geystliche gesangk Buchleyn, Wittenberg 1524 Glogauer Liederbuch, Glogau c. 1480 % Thomas Stoltzer (c. 1480–1526) 7 Heinrich Finck (1444/5–1527) Ich klag den Tag 1:44 Greiner, zanner 3:24 (I lament the day) (Bawling, scolding) Georg Forster, ‘Ein Auszug guter alter und neuer ‘Schöne, auserlesne lieder des hoch berümpten Teutscher liedlein’, Nuremberg 1539 Heinrici Finckens’, Nuremberg 1536 ^ Heinrich Isaac (c. 1450–55 to 1517) 8 Paul Hofhaimer (1459–1537) Innsbruck, ich muß dich lassen 2:14 Greyner, zanner, eifrer 1:21 (Innsbruck, I must leave you) (Bawling, scolding, railing) Georg Forster, ‘Ein Auszug guter alter und neuer Georg Rhaw, ‘Tricina latina, germanica, brabantica Teutscher liedlein’, Nuremberg 1539 et gallica’, Wittenberg 1542
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Die frewelein von francken, Now as to Franconian girls, & Thomas Stoltzer ∞ Anonymous dy sich ich alzeit gerne, I always have an eye for them, Entlaubet ist der Walde 1:42 Katzenpfote 1:12 Noch jn stien mein gedancken, they’re still in my thoughts, (The wood is bare of leaves) (Cat’s paw) sy geben süssen kerne. they give you sweet fruits. Georg Forster, ‘Ein Auszug guter alter und neuer Glogauer Liederbuch, Glogau c. 1480 Sy seind dy veinsten dirnen, They’re the finest lasses, Teutscher liedlein’, Nuremberg 1539 wolt got, solt ich jn zwirnen: God willing, I’ll twine one, § spynnen wolt ich lernen. but it was spinning I wanted to learn. Anonymous * Die frewelein von swaben Now as to Swabian girls, Anonymous Alle furf 1:19 dy haben gulden har, they have golden hair, Wir zogen in das Feld 2:33 (All five) so dürens frischlich wagen now here’s your second chance, (We went to war) Ottaviano Petrucci, ‘Harmonice Musices sy spynnen über lar, they spin at the hearth, Georg Forster, ‘Der ander theil kurtzweiliger guter Odhecaton’, Venice 1501–1508 der jn den flachs will swingen, and he who’d swing them the flax, frischer Teutscher Liedlein zu singen vast lustig’, der musz sein nit geringe, he can’t be your ordinary sort, Nuremberg 1540 ¶ Anonymous das sag ich euch fürwar. that I tell you indeed. Canto dei lanzi allegri 1:19 ( Anonymous (Song of the merry lansquenets) Die frewelein von Bayren Now as to Bavarian girls, Es solt ein man kein mole farn 0:56 Ottaviano Petrucci, ‘Harmonice Musices dy künnen kochen wol, they know how to cook, (A man shouldn’t ever travel) Odhecaton’, Venice 1501–1508 mit kesen vnd mit ayren and their cakes are full Glogauer Liederbuch, Glogau c. 1480 jr kuchen die sind vol. of cheeses and grains. • Jacob Obrecht (1457/8–1505) Sy haben schöne pfannen, They have beautiful pans, ) Anonymous Rompeltier (Rumfeltiere, Rumfeldaer) 1:02 weyter dann dy wannen, wider than the tubs, Der wallt hat sich entlaubet 2:10 Ottaviano Petrucci, ‘Harmonice Musices haysser dann ein kol. hotter than a coal. (The leaves in the wood have fallen) Odhecaton’, Canti B (?), Venice 1502 Lochamer Liederbuch, 1452–60 Den frewlein sol man hofiren Girls are meant for courting ª Anonymous alzeyt vund weil man mag, at all times and while one can, ¡ Anonymous Es wolt ein Jäger jagen 2:47 die zeyt dy kummet schire, the time, it’s coming soon, Ich sachs eins mals 1:41 (A huntsman went to hunt) es wirt sich alle tag, it happens every day. (I once saw it) Christian Egenolf, ‘Gassenhawerlin und Nw pin ich worden alde, Now I’m an old man Glogauer Liederbuch, Glogau c. 1480 Reutterliedlin’, Frankfurt c. 1535 (the same title zum wein musz ich mich halden and have for company my wine also appears under Matthias Greitter in Forsters all dy weyl ich mag. and will have all the while I can. ™ Anonymous Liederbuch, 1540) Elslein 2:49 Glogauer Liederbuch, Glogau c. 1480 $ Der CXXX. Psalm. De profundis clamavi Psalm 130. De profundis clamavi With thanks to CPO for (Aus tiefer Not) (Martin Luther) (Out of the depths) (Martin Luther) £ Erasmus Lapicida (c. 1440–45 to 1547) kindly licensing tracks Tandernaken 2:52 !-# and )-™ of this CD Aus tiefer Not ich schrei zu dir, Out of the depths I cry to thee, In Andernach Herr Gott, erhör min Rufen; O Lord, hear my voice! Ottaviano Petrucci, ‘Harmonice Musices dein gnädig Ohren kehr zu mir Let thy ears be attentive Odhecaton’, Canti C, Venice 1504 und meiner Bitt sie öffnen; to the voice of my supplication! denn so du willt das sehen an, For if thou, O Lord, ¢ Anonymous was Sünd und Unrecht ist getan, shouldst mark iniquities, Der Vöglein Art 1:33 wer kann, Herr, vor dir bleiben? who could stand in your presence? (The way of the birds) Schedelsches Liederbuch, c. 1460–67
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Music from the Time of Tilman Riemenschneider (c.1460-1531) 6 Zenner, greiner, wie gefelt dir das? Scolding and bawling, how do you like that?
Tilman Riemenschneider was born about the year 1460 part of the northern possessions of the duchy of Zenner, greiner, wie gefelt dir das? Scolding and bawling, how do you like that? and grew up in a Germany that still belonged to the Burgundy. Germany was relatively slow to embrace the Ich wil bei dir am tisch sitzen I’ll sit at your table Middle Ages. The latest artistic currents flowed from latest developments, and it was a blind organist from und dein weib ins maul küssen, and kiss your wife on the lips – Flanders and Northern France, in particular from the Nuremberg, Conrad Paumann, who had an important wie gefelt dir das? how do you like that? rich Burgundian possessions of Antwerp and Bruges. In place, from 1450 onwards, in transmitting Franco- Italy a new world was dawning, but none of this was yet Flemish polyphony and its repertories to German familiar to Würzburg, a town then of six or seven audiences. A copy of his Fundamentum organisandi @ Se hyn mein hercz You have my heart thousand inhabitants, on the river Main, midway was bound together with a manuscript now called the between Frankfurt and Nuremberg. It was there that Lochamer Liederbuch (c.1452–60), which shows the Se hyn mein hercz, du auserweltes mein, You have my heart, my chosen, my dearest, Tilman Riemenschneider settled in 1483, became a earliest signs of the assimilation of the more subtle es will nur bey dir wesen. and its only wish is to be with you. master sculptor and set up his own workshop. northern polyphony into the German secular tradition. So will ich auch sunst anders nimands sein, You are my one and only, Unlike Dürer or Holbein, both of whom were Two other manuscripts of the period, the Schedel hylff, das ich mocht genesen. Help, that I may be healed. celebrities in their own time, Riemenschneider, now Liederbuch (1460–67) and the Glogauer Liederbuch Wann mich verlangen hot verwunt I’m wounded with desire, generally regarded as one of the leading German (c.1480), contain rather more substantial collections of den tag und nacht und alle stund, day and night and hour by hour, sculptors of the Late Gothic, was soon forgotten, with secular songs and sacred works. darumb, schonß lieb, mach mich gesunt so, my dearest, heal me, interest only reviving in the nineteenth century, by Songs have always been passed from one musician Und tew mir deine hulden kunt. and show me your homage. which time almost all his work had been destroyed, to another, and often the recipient likes to adapt or altered or at any rate removed from its original location. invent according to preference. The songs of this period Gedenck für war mich ander nicht helfen wil, Remember, you are my only help, Almost everything we know about his life, therefore, can be found spread over a wide area, presented in a und brengt mir nichts wen trauren. all else brings me nothing but sorrow. comes from public records, municipal accounts, variety of forms. Es solt ein man kein mole farn, for Meins gmüts zil wurd werlich gar zu vil My heart may have hoped too high, business contracts and details of payments. These example, is found in the Glogauer Liederbuch as a und mecht sein nicht von dauren. and its hope may not be meant to last. provide evidence of a successful master of his craft who three-part piece, author unknown. On this CD it is Solt es nit anders schicken sich, If it must be so, rose to a position of high esteem in the community. He played on instruments only (track 19), but the original so mecht ich nimmer frewen mich, then I’ll be happy no more, served not only on the lower council of the city of text contains the words rumpel an der Türe nicht. As a zu ganzer trewen bit ich dich. I pray you, trust me. Würzburg, but also four times on the much more result the same song sometimes went under the name Gewer mich frewlein miniclich. My dearest, help me and keep me. powerful upper council, where seven citizens (one of Rompeltier, and a four-part version by Obrecht with this them from the ranks of the craftsmen and artisans) title (track 28) was included in one of the earliest of all balanced the seven clergy chosen from the cathedral printed collections, produced by the Venetian printer # Ich spring an diesem ringe I jump in this ring chapter. Resentment smouldered constantly towards the Ottaviano Petrucci in 1502. church and its clergy, owing to their special privileges There is a positively international flavour to these Ich spring an diesem ringe I jump in this ring and exemption from the normal taxes. During the Petrucci collections, as recognised composers took des pesten, so ichs kan, as best as I can Peasants’ War, Riemenschneider joined with other popular melodies and incorporated them into a more von hübschen frewlein singen and sing of pretty girls members of the city council in refusing to allow their refined contrapuntal texture. In this way a robust tavern als ichs geleret han. so as I’ve learned. city to be used as a military base against the peasants, song such as Zenner, greiner (track 6) could find itself Ich raidt durch fremde lande, I rode through foreign lands, but the local prince-bishop had his revenge. In 1525 mixing in much more elevated company after do sach ich mancher hande, there I saw many a hand, Riemenschneider was subjected to prolonged transformation by two of the foremost German do ich dy frewlein vand. and that’s where I found the lasses. questioning and torture, after which part of his estates composers of the day, Heinrich Finck (track 7) and Paul were seized. Hofhaimer (track 8). Similarly, by the time such songs During the first half of the fifteenth century the as Wir zogen in das feld (track 18), Alle furf (track 26) finest breeding-ground for musical ideas was Flanders, and Canto dei lanzi allegri (track 27) had found their
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The Hedos Ensemble way into printed collections, now in contrapuntal dress, in the elaborate ceremonies. they had come a long way from the camps of the The German composer Heinrich Finck (1444/5- Harmut Hein: baritone • Bernhard Böhm: recorder, transverse flutes, bagpipe, rauschpfeife mercenary soldiers who, perhaps many decades earlier, –1527), probably born in Bamberg, was intermittently in Jürgen Hübscher: renaissance lutes, vihuela, percussion (spoons) • Michael Spengler: viola da gamba had been the first to sing them. the service of three Kings of Poland, finally, in 1510, Popular music in its original guise never needed to securing a position as Kapellmeister to Duke Ulrich of The Hedos Ensemble was established be committed to paper; everything could be learned and Stuttgart. There followed a period at the court of the in 1988 for the purpose of performing transmitted by ear. The nature of these written Emperor Maximilian I. In 1520 he was appointed ensemble music of the fifteenth arrangements was rather different. They were designed composer to the Salzburg Cathedral chapter, and finally to eighteenth centuries in various for a more educated audience, and would most often he made his home in Vienna, organizing a choral instrumentations. Singers (such as the have been heard played by the town musicians, or establishment at the Schottenkloster. In 1527 he baritone Hartmut Hein on this recording) Stadtpfeiferei, the ‘waits’, a term which recalled their became, for a short time, Court Kapellmeister to and instrumentalists join the core group original function as watchmen posted on the city towers, Ferdinand I. In the course of a long and varied life Finck of instrumentalists as required in order to whose duty it was to signal fire within the walls or wrote a great deal of music, of which four Mass settings, present an extensive as well as diverse danger without. In the course of time it became their motets, hymns, and secular songs survive. In these last, repertoire of chamber music from the main duty to provide music for the community: in Basel, in the form of tenor songs, he shows his preference for Renaissance to the Baroque. The name of a shawm-player’s oath from about 1500 states that the folk-song texts. the ensemble recalls hedonism, an ancient Greek doctrine which experienced a revival during the 18th century and town musicians will play ‘every Sunday after the An organist and composer Paul Hofhaimer was involved in the hightly varied musical elaboration of the themes of joy and suffering. The members of the sermon from the Richt Hall and after the evening meal (1459–1537) served at the court of Duke Sigmund of Hedos Ensemble feel that they live up to their name (‘hedos’ = delight, pleasure) in their playing style. from the Rhine Bridge, and at ceremonies in the Tyrol in Innsbruck, later combining this position with Herrenstuben before and after the banquets’. that of organist at the court of Maximilian I, who For such purposes it was essential to use the louder ennobled him in 1515. After Maximilian’s death in 1519 type of instruments, designed to be heard out of doors Hofhaimer served as organist at Salzburg Cathedral, Bernard Böhm and over the noise of diners, and so for the towns that holding that position until his death in 1537. He enjoyed could afford them a wind band of five players, three an unrivalled reputation as an organist, famous, in Bernhard Böhm is one of the most versatile artists on today’s international concert circuit, and is in demand both as shawms and two trombones, became the standard; a particular, for his improvisation, and exercised a recorder player and as a specialist on the various Baroque and Renaissance transverse flutes. In addition, he also smaller town would have to make do with only three. It considerable influence as a teacher. His surviving plays other period woodwind instruments such as the bagpipes, rauschpfeife and shawm in his remarkable solo was assumed, however, that players would be versatile compositions include keyboard intabulations, two concerts, as well as in programmes featuring Renaissance and early Baroque music. He gives concerts throughout enough to be competent on several instruments, often of liturgical organ compositions and a number of songs, a Europe and overseas, both as a soloist and with a variety of chamber ensembles. In recent years, Bernhard Böhm quite different kinds. Contemporary representations, form for which he was also much praised by has also made a series of CD recordings of solo and ensemble music, the latter mostly with Jürgen Hübscher or the without exception, show them performing without contemporaries. Hedos Ensemble. Bernhard Böhm takes courses and gives seminars internationally, and has been Professor of music, but since their repertoire was contrapuntal we A composer and poet, Johann Walter (1496–1570) Period Woodwind (specialising in recorder and transverse flute) at the Würzburg Academy of Music since 1979. may assume that the parts were memorised from a was a member of the Hofkapelle of the Elector of written score, with the customary embellishments Saxony. After the Elector’s death in 1525 he settled in improvised while performing. Torgau as choirmaster, encouraged by the support of Of the composers included by name in the present Martin Luther, before assuming, in 1548, the position of programme Jean Mouton (c.1457–1522) was born in Kapellmeister of the Dresden Hofkapelle, a position he northern France, where he worked for some 25 years held until 1554. He played an important part in the before becoming attached to the French court. He organization of Lutheran church music in Saxony, accompanied François I to meetings with Pope Leo X in notably through his hymn-book, the Geystliches Bologna (1515) and probably to that with Henry VIII at gesangk Buchleyn of 1524, to which Luther contributed the Field of the Cloth of Gold (1520); on both occasions a preface, and which was revised and enlarged in later the chapel choirs of both rulers played an important part editions. Walter also provided polyphonic repertoire,
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including Magnificat settings and motets. singer in the Court Kapelle in Heidelberg of the Elector Il Curioso Among the most important German composers of Ludwig V. He was then granted a benefice by Archduke his time, Thomas Stoltzer (c.1480-85–1526)was born in Ferdinand of Austria in the Schottenkloster in Vienna, Melanie Bogisch: recorder, flute, crumhorn, bombarde, rauschpfeife the Silesian city of Schweidnitz and was probably a where he was, for a short time, a colleague of Heinrich Johanna Klinger: recorder, flute crumhorn, bombarde, percussion pupil of Heinrich Finck. He served as a priest in Breslau Finck. Lapicida lived an exceptionally long life, its Nadine Merzbacher: recorder, crumhorn, shawm, percussion and in 1522 became magister capellae to the Hungarian length reflecting the changing patterns of composition. Johannes Kurz: recorder, crumhorn, bombarde, percussion court at Ofen, but seems to have had some sympathy His surviving works include liturgical settings and Bernhard Böhm: recorder, flute, crumhorn, rauschpfeife, shawm with the changes initiated by Martin Luther. Although German secular songs, polyphonic treatments of folk- Martin Hummel: baritone he set some Lutheran German texts, including a group songs, suggesting the influence of the Italian frottola. Bernhard Böhm: Director of four Psalms, the greater part of his work was for the A leading Netherlands composer, Jacob Obrecht traditional Latin Catholic liturgy, with a number of (c.1450–1505) was the son of a trumpeter in the city of The ensemble Il Curioso was formed in 1997 and its Latin hymns, 39 of which were included in Rhau’s Ghent. His earlier employment was not entirely aim is to revive the full spectrum of medieval, Lutheran Sacrorum hymnorum liber primus of 1542. satisfactory, and he was dismissed from his position as Renaissance and early Baroque music, from lively, Born in Flanders, Heinrich Isaac (c.1450–1517) was singing-master at Cambrai, where some problems also spur-of-the-moment dance music to the formal particularly active in Italy and the German Empire. emerged over his accounts. As a composer, however, he festive music written for special occasions in middle- After serving as a singer in Florence cathedral during was greatly admired, placed by Tinctoris, even as a class households, at court or in church. The the rule of Lorenzo de’ Medici, in 1497 he went to work young man, in the same class as Dufay and Ockeghem. ensemble’s choice of instruments is guided by at the court of Maximilian I in Vienna, employment that Most of his working life was spent in the Netherlands, historical practice, as documented or pictured in involved travel with the Hofkapelle and that allowed a but he was invited to the court of Ferrara during 1487-8 numerous sources, from the time of the medieval continued if intermittent connection with Florence, and went back there as maestro di cappella in 1504, minstrels to that of the professional town bands, where he died in 1517. His work provides a link only to die of the plague the following year. church and court-based ensembles. Authentic between the Netherlands, Italy and Germany. woodwind instruments such as recorders, crumhorns, The German composer Erasmus Lapicida (?1440-45 bombardes, shawms, flutes, rauschpfeifen and –1547), a priest, served from 1510 to about 1521 as a Hugh Griffith dulcians may be supplemented with brass, percussion and plucked instruments of the appropriate period. In recent years, Il Curioso has built up a full programme of concert appearances in Germany and neighbouring European countries and has recorded for radio and television.
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including Magnificat settings and motets. singer in the Court Kapelle in Heidelberg of the Elector Il Curioso Among the most important German composers of Ludwig V. He was then granted a benefice by Archduke his time, Thomas Stoltzer (c.1480-85–1526)was born in Ferdinand of Austria in the Schottenkloster in Vienna, Melanie Bogisch: recorder, flute, crumhorn, bombarde, rauschpfeife the Silesian city of Schweidnitz and was probably a where he was, for a short time, a colleague of Heinrich Johanna Klinger: recorder, flute crumhorn, bombarde, percussion pupil of Heinrich Finck. He served as a priest in Breslau Finck. Lapicida lived an exceptionally long life, its Nadine Merzbacher: recorder, crumhorn, shawm, percussion and in 1522 became magister capellae to the Hungarian length reflecting the changing patterns of composition. Johannes Kurz: recorder, crumhorn, bombarde, percussion court at Ofen, but seems to have had some sympathy His surviving works include liturgical settings and Bernhard Böhm: recorder, flute, crumhorn, rauschpfeife, shawm with the changes initiated by Martin Luther. Although German secular songs, polyphonic treatments of folk- Martin Hummel: baritone he set some Lutheran German texts, including a group songs, suggesting the influence of the Italian frottola. Bernhard Böhm: Director of four Psalms, the greater part of his work was for the A leading Netherlands composer, Jacob Obrecht traditional Latin Catholic liturgy, with a number of (c.1450–1505) was the son of a trumpeter in the city of The ensemble Il Curioso was formed in 1997 and its Latin hymns, 39 of which were included in Rhau’s Ghent. His earlier employment was not entirely aim is to revive the full spectrum of medieval, Lutheran Sacrorum hymnorum liber primus of 1542. satisfactory, and he was dismissed from his position as Renaissance and early Baroque music, from lively, Born in Flanders, Heinrich Isaac (c.1450–1517) was singing-master at Cambrai, where some problems also spur-of-the-moment dance music to the formal particularly active in Italy and the German Empire. emerged over his accounts. As a composer, however, he festive music written for special occasions in middle- After serving as a singer in Florence cathedral during was greatly admired, placed by Tinctoris, even as a class households, at court or in church. The the rule of Lorenzo de’ Medici, in 1497 he went to work young man, in the same class as Dufay and Ockeghem. ensemble’s choice of instruments is guided by at the court of Maximilian I in Vienna, employment that Most of his working life was spent in the Netherlands, historical practice, as documented or pictured in involved travel with the Hofkapelle and that allowed a but he was invited to the court of Ferrara during 1487-8 numerous sources, from the time of the medieval continued if intermittent connection with Florence, and went back there as maestro di cappella in 1504, minstrels to that of the professional town bands, where he died in 1517. His work provides a link only to die of the plague the following year. church and court-based ensembles. Authentic between the Netherlands, Italy and Germany. woodwind instruments such as recorders, crumhorns, The German composer Erasmus Lapicida (?1440-45 bombardes, shawms, flutes, rauschpfeifen and –1547), a priest, served from 1510 to about 1521 as a Hugh Griffith dulcians may be supplemented with brass, percussion and plucked instruments of the appropriate period. In recent years, Il Curioso has built up a full programme of concert appearances in Germany and neighbouring European countries and has recorded for radio and television.
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The Hedos Ensemble way into printed collections, now in contrapuntal dress, in the elaborate ceremonies. they had come a long way from the camps of the The German composer Heinrich Finck (1444/5- Harmut Hein: baritone • Bernhard Böhm: recorder, transverse flutes, bagpipe, rauschpfeife mercenary soldiers who, perhaps many decades earlier, –1527), probably born in Bamberg, was intermittently in Jürgen Hübscher: renaissance lutes, vihuela, percussion (spoons) • Michael Spengler: viola da gamba had been the first to sing them. the service of three Kings of Poland, finally, in 1510, Popular music in its original guise never needed to securing a position as Kapellmeister to Duke Ulrich of The Hedos Ensemble was established be committed to paper; everything could be learned and Stuttgart. There followed a period at the court of the in 1988 for the purpose of performing transmitted by ear. The nature of these written Emperor Maximilian I. In 1520 he was appointed ensemble music of the fifteenth arrangements was rather different. They were designed composer to the Salzburg Cathedral chapter, and finally to eighteenth centuries in various for a more educated audience, and would most often he made his home in Vienna, organizing a choral instrumentations. Singers (such as the have been heard played by the town musicians, or establishment at the Schottenkloster. In 1527 he baritone Hartmut Hein on this recording) Stadtpfeiferei, the ‘waits’, a term which recalled their became, for a short time, Court Kapellmeister to and instrumentalists join the core group original function as watchmen posted on the city towers, Ferdinand I. In the course of a long and varied life Finck of instrumentalists as required in order to whose duty it was to signal fire within the walls or wrote a great deal of music, of which four Mass settings, present an extensive as well as diverse danger without. In the course of time it became their motets, hymns, and secular songs survive. In these last, repertoire of chamber music from the main duty to provide music for the community: in Basel, in the form of tenor songs, he shows his preference for Renaissance to the Baroque. The name of a shawm-player’s oath from about 1500 states that the folk-song texts. the ensemble recalls hedonism, an ancient Greek doctrine which experienced a revival during the 18th century and town musicians will play ‘every Sunday after the An organist and composer Paul Hofhaimer was involved in the hightly varied musical elaboration of the themes of joy and suffering. The members of the sermon from the Richt Hall and after the evening meal (1459–1537) served at the court of Duke Sigmund of Hedos Ensemble feel that they live up to their name (‘hedos’ = delight, pleasure) in their playing style. from the Rhine Bridge, and at ceremonies in the Tyrol in Innsbruck, later combining this position with Herrenstuben before and after the banquets’. that of organist at the court of Maximilian I, who For such purposes it was essential to use the louder ennobled him in 1515. After Maximilian’s death in 1519 type of instruments, designed to be heard out of doors Hofhaimer served as organist at Salzburg Cathedral, Bernard Böhm and over the noise of diners, and so for the towns that holding that position until his death in 1537. He enjoyed could afford them a wind band of five players, three an unrivalled reputation as an organist, famous, in Bernhard Böhm is one of the most versatile artists on today’s international concert circuit, and is in demand both as shawms and two trombones, became the standard; a particular, for his improvisation, and exercised a recorder player and as a specialist on the various Baroque and Renaissance transverse flutes. In addition, he also smaller town would have to make do with only three. It considerable influence as a teacher. His surviving plays other period woodwind instruments such as the bagpipes, rauschpfeife and shawm in his remarkable solo was assumed, however, that players would be versatile compositions include keyboard intabulations, two concerts, as well as in programmes featuring Renaissance and early Baroque music. He gives concerts throughout enough to be competent on several instruments, often of liturgical organ compositions and a number of songs, a Europe and overseas, both as a soloist and with a variety of chamber ensembles. In recent years, Bernhard Böhm quite different kinds. Contemporary representations, form for which he was also much praised by has also made a series of CD recordings of solo and ensemble music, the latter mostly with Jürgen Hübscher or the without exception, show them performing without contemporaries. Hedos Ensemble. Bernhard Böhm takes courses and gives seminars internationally, and has been Professor of music, but since their repertoire was contrapuntal we A composer and poet, Johann Walter (1496–1570) Period Woodwind (specialising in recorder and transverse flute) at the Würzburg Academy of Music since 1979. may assume that the parts were memorised from a was a member of the Hofkapelle of the Elector of written score, with the customary embellishments Saxony. After the Elector’s death in 1525 he settled in improvised while performing. Torgau as choirmaster, encouraged by the support of Of the composers included by name in the present Martin Luther, before assuming, in 1548, the position of programme Jean Mouton (c.1457–1522) was born in Kapellmeister of the Dresden Hofkapelle, a position he northern France, where he worked for some 25 years held until 1554. He played an important part in the before becoming attached to the French court. He organization of Lutheran church music in Saxony, accompanied François I to meetings with Pope Leo X in notably through his hymn-book, the Geystliches Bologna (1515) and probably to that with Henry VIII at gesangk Buchleyn of 1524, to which Luther contributed the Field of the Cloth of Gold (1520); on both occasions a preface, and which was revised and enlarged in later the chapel choirs of both rulers played an important part editions. Walter also provided polyphonic repertoire,
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Music from the Time of Tilman Riemenschneider (c.1460-1531) 6 Zenner, greiner, wie gefelt dir das? Scolding and bawling, how do you like that?
Tilman Riemenschneider was born about the year 1460 part of the northern possessions of the duchy of Zenner, greiner, wie gefelt dir das? Scolding and bawling, how do you like that? and grew up in a Germany that still belonged to the Burgundy. Germany was relatively slow to embrace the Ich wil bei dir am tisch sitzen I’ll sit at your table Middle Ages. The latest artistic currents flowed from latest developments, and it was a blind organist from und dein weib ins maul küssen, and kiss your wife on the lips – Flanders and Northern France, in particular from the Nuremberg, Conrad Paumann, who had an important wie gefelt dir das? how do you like that? rich Burgundian possessions of Antwerp and Bruges. In place, from 1450 onwards, in transmitting Franco- Italy a new world was dawning, but none of this was yet Flemish polyphony and its repertories to German familiar to Würzburg, a town then of six or seven audiences. A copy of his Fundamentum organisandi @ Se hyn mein hercz You have my heart thousand inhabitants, on the river Main, midway was bound together with a manuscript now called the between Frankfurt and Nuremberg. It was there that Lochamer Liederbuch (c.1452–60), which shows the Se hyn mein hercz, du auserweltes mein, You have my heart, my chosen, my dearest, Tilman Riemenschneider settled in 1483, became a earliest signs of the assimilation of the more subtle es will nur bey dir wesen. and its only wish is to be with you. master sculptor and set up his own workshop. northern polyphony into the German secular tradition. So will ich auch sunst anders nimands sein, You are my one and only, Unlike Dürer or Holbein, both of whom were Two other manuscripts of the period, the Schedel hylff, das ich mocht genesen. Help, that I may be healed. celebrities in their own time, Riemenschneider, now Liederbuch (1460–67) and the Glogauer Liederbuch Wann mich verlangen hot verwunt I’m wounded with desire, generally regarded as one of the leading German (c.1480), contain rather more substantial collections of den tag und nacht und alle stund, day and night and hour by hour, sculptors of the Late Gothic, was soon forgotten, with secular songs and sacred works. darumb, schonß lieb, mach mich gesunt so, my dearest, heal me, interest only reviving in the nineteenth century, by Songs have always been passed from one musician Und tew mir deine hulden kunt. and show me your homage. which time almost all his work had been destroyed, to another, and often the recipient likes to adapt or altered or at any rate removed from its original location. invent according to preference. The songs of this period Gedenck für war mich ander nicht helfen wil, Remember, you are my only help, Almost everything we know about his life, therefore, can be found spread over a wide area, presented in a und brengt mir nichts wen trauren. all else brings me nothing but sorrow. comes from public records, municipal accounts, variety of forms. Es solt ein man kein mole farn, for Meins gmüts zil wurd werlich gar zu vil My heart may have hoped too high, business contracts and details of payments. These example, is found in the Glogauer Liederbuch as a und mecht sein nicht von dauren. and its hope may not be meant to last. provide evidence of a successful master of his craft who three-part piece, author unknown. On this CD it is Solt es nit anders schicken sich, If it must be so, rose to a position of high esteem in the community. He played on instruments only (track 19), but the original so mecht ich nimmer frewen mich, then I’ll be happy no more, served not only on the lower council of the city of text contains the words rumpel an der Türe nicht. As a zu ganzer trewen bit ich dich. I pray you, trust me. Würzburg, but also four times on the much more result the same song sometimes went under the name Gewer mich frewlein miniclich. My dearest, help me and keep me. powerful upper council, where seven citizens (one of Rompeltier, and a four-part version by Obrecht with this them from the ranks of the craftsmen and artisans) title (track 28) was included in one of the earliest of all balanced the seven clergy chosen from the cathedral printed collections, produced by the Venetian printer # Ich spring an diesem ringe I jump in this ring chapter. Resentment smouldered constantly towards the Ottaviano Petrucci in 1502. church and its clergy, owing to their special privileges There is a positively international flavour to these Ich spring an diesem ringe I jump in this ring and exemption from the normal taxes. During the Petrucci collections, as recognised composers took des pesten, so ichs kan, as best as I can Peasants’ War, Riemenschneider joined with other popular melodies and incorporated them into a more von hübschen frewlein singen and sing of pretty girls members of the city council in refusing to allow their refined contrapuntal texture. In this way a robust tavern als ichs geleret han. so as I’ve learned. city to be used as a military base against the peasants, song such as Zenner, greiner (track 6) could find itself Ich raidt durch fremde lande, I rode through foreign lands, but the local prince-bishop had his revenge. In 1525 mixing in much more elevated company after do sach ich mancher hande, there I saw many a hand, Riemenschneider was subjected to prolonged transformation by two of the foremost German do ich dy frewlein vand. and that’s where I found the lasses. questioning and torture, after which part of his estates composers of the day, Heinrich Finck (track 7) and Paul were seized. Hofhaimer (track 8). Similarly, by the time such songs During the first half of the fifteenth century the as Wir zogen in das feld (track 18), Alle furf (track 26) finest breeding-ground for musical ideas was Flanders, and Canto dei lanzi allegri (track 27) had found their
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Die frewelein von francken, Now as to Franconian girls, & Thomas Stoltzer ∞ Anonymous dy sich ich alzeit gerne, I always have an eye for them, Entlaubet ist der Walde 1:42 Katzenpfote 1:12 Noch jn stien mein gedancken, they’re still in my thoughts, (The wood is bare of leaves) (Cat’s paw) sy geben süssen kerne. they give you sweet fruits. Georg Forster, ‘Ein Auszug guter alter und neuer Glogauer Liederbuch, Glogau c. 1480 Sy seind dy veinsten dirnen, They’re the finest lasses, Teutscher liedlein’, Nuremberg 1539 wolt got, solt ich jn zwirnen: God willing, I’ll twine one, § spynnen wolt ich lernen. but it was spinning I wanted to learn. Anonymous * Die frewelein von swaben Now as to Swabian girls, Anonymous Alle furf 1:19 dy haben gulden har, they have golden hair, Wir zogen in das Feld 2:33 (All five) so dürens frischlich wagen now here’s your second chance, (We went to war) Ottaviano Petrucci, ‘Harmonice Musices sy spynnen über lar, they spin at the hearth, Georg Forster, ‘Der ander theil kurtzweiliger guter Odhecaton’, Venice 1501–1508 der jn den flachs will swingen, and he who’d swing them the flax, frischer Teutscher Liedlein zu singen vast lustig’, der musz sein nit geringe, he can’t be your ordinary sort, Nuremberg 1540 ¶ Anonymous das sag ich euch fürwar. that I tell you indeed. Canto dei lanzi allegri 1:19 ( Anonymous (Song of the merry lansquenets) Die frewelein von Bayren Now as to Bavarian girls, Es solt ein man kein mole farn 0:56 Ottaviano Petrucci, ‘Harmonice Musices dy künnen kochen wol, they know how to cook, (A man shouldn’t ever travel) Odhecaton’, Venice 1501–1508 mit kesen vnd mit ayren and their cakes are full Glogauer Liederbuch, Glogau c. 1480 jr kuchen die sind vol. of cheeses and grains. • Jacob Obrecht (1457/8–1505) Sy haben schöne pfannen, They have beautiful pans, ) Anonymous Rompeltier (Rumfeltiere, Rumfeldaer) 1:02 weyter dann dy wannen, wider than the tubs, Der wallt hat sich entlaubet 2:10 Ottaviano Petrucci, ‘Harmonice Musices haysser dann ein kol. hotter than a coal. (The leaves in the wood have fallen) Odhecaton’, Canti B (?), Venice 1502 Lochamer Liederbuch, 1452–60 Den frewlein sol man hofiren Girls are meant for courting ª Anonymous alzeyt vund weil man mag, at all times and while one can, ¡ Anonymous Es wolt ein Jäger jagen 2:47 die zeyt dy kummet schire, the time, it’s coming soon, Ich sachs eins mals 1:41 (A huntsman went to hunt) es wirt sich alle tag, it happens every day. (I once saw it) Christian Egenolf, ‘Gassenhawerlin und Nw pin ich worden alde, Now I’m an old man Glogauer Liederbuch, Glogau c. 1480 Reutterliedlin’, Frankfurt c. 1535 (the same title zum wein musz ich mich halden and have for company my wine also appears under Matthias Greitter in Forsters all dy weyl ich mag. and will have all the while I can. ™ Anonymous Liederbuch, 1540) Elslein 2:49 Glogauer Liederbuch, Glogau c. 1480 $ Der CXXX. Psalm. De profundis clamavi Psalm 130. De profundis clamavi With thanks to CPO for (Aus tiefer Not) (Martin Luther) (Out of the depths) (Martin Luther) £ Erasmus Lapicida (c. 1440–45 to 1547) kindly licensing tracks Tandernaken 2:52 !-# and )-™ of this CD Aus tiefer Not ich schrei zu dir, Out of the depths I cry to thee, In Andernach Herr Gott, erhör min Rufen; O Lord, hear my voice! Ottaviano Petrucci, ‘Harmonice Musices dein gnädig Ohren kehr zu mir Let thy ears be attentive Odhecaton’, Canti C, Venice 1504 und meiner Bitt sie öffnen; to the voice of my supplication! denn so du willt das sehen an, For if thou, O Lord, ¢ Anonymous was Sünd und Unrecht ist getan, shouldst mark iniquities, Der Vöglein Art 1:33 wer kann, Herr, vor dir bleiben? who could stand in your presence? (The way of the birds) Schedelsches Liederbuch, c. 1460–67
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1 Anonymous 9 Anonymous * Wir zogen in das Feld We went to war Mein Herz in Freuden sich erquicket 1:40 Groß Sehnen ich im Herzen trag 2:43 (My heart quickens for joy) (My heart is full of longing) Wir zogen in das Feld, We went to war, Lochamer Liederbuch, 1452–60 Schedelsches Liederbuch, c. 1460–67 wir zogen in das Feld, we went to war, da hett’ wir weder Säck’l noch Geld. and we had neither pack nor money. 2 Jean Mouton (before 1459–1522) 0 Anonymous Strampede mi Strampede mi Jamais 3:24 Ich tät mir auserwählen 2:11 alami presente al vostra signori,1 alami presente al vostra signori,1 (Never) (I chose for myself) alami presente al vostra signori. alami presente al vostra signori. Ottaviano Petrucci, ‘Harmonice Musices Schedelsches Liederbuch, c. 1460–67 Wir kam’ für Sibentod, We came to Sibentod, Odhecaton’, Canti A, Venice 1501 wir kam’ für Sibentod, we came to Sibentod, ! Anonymous da hett’ wir weder Wein noch Brot. and we had neither wine nor bread. 3 Anonymous Der gestreifft Dantz/Gassenhauer 2:04 Strampede mi… Strampede mi… Basse Danse ‘La Magdalena’ 2:51 (The strummed dance/Popular melody) Pierre Attaingnant, ‘18 basses danses garnies Early 16th century Wir kamen in Friaul, We came to Friuli, de recoupes’, Paris 1530 wir kamen in Friaul, we came to Friuli, @ Anonymous da hett’ wir allesamt voll Maul. and we all ate our fill. 4 Anonymous Se hyn mein hercz 3:39 Strampede mi… Strampede mi… Tourdion 1:23 (Away, my heart) Pierre Attaingnant, ‘18 basses danses garnies Schedelsches Liederbuch, c. 1460–67 Wir kam’ vor Benevent, We came to Benevento, de recoupes’, Paris 1530 wir kam’ vor Benevent, we came to Benevento, # Anonymous da het al unser Not ein End. and our suffering was over. 5 Anonymous Ich spring an diesem ringe 2:35 Strampede mi… Strampede mi… Basse Danse ‘La gatta’ 1:04 (I jump in this ring) Pierre Attaingnant, ‘18 basses danses garnies Lochamer Liederbuch, 1452–60 de recoupes’, Paris 1530 $ Johann Walter (1496–1570) 1 Wohl verderbt aus “Strombetta mi a-la-mi, presenti alla 1 Probably a corruption of “Strombetta mi a-la-mi, presenti 6 Anonymous Aus tiefer Not 3:01 mostra, Signori”; zu deutsch: “Trompetet a-la-mi, alla mostra, Signori”; in English: “Blow the trumpet, a-la-mi, Zenner, greiner, wie gefelt dir das? 1:13 (Out of the depths) erscheint zur Musterung, ihr Herren”. present yourselves for review, my lords”. (Scolding and bawling, how do you like that?) Geystliche gesangk Buchleyn, Wittenberg 1524 Glogauer Liederbuch, Glogau c. 1480 % Thomas Stoltzer (c. 1480–1526) 7 Heinrich Finck (1444/5–1527) Ich klag den Tag 1:44 Greiner, zanner 3:24 (I lament the day) (Bawling, scolding) Georg Forster, ‘Ein Auszug guter alter und neuer ‘Schöne, auserlesne lieder des hoch berümpten Teutscher liedlein’, Nuremberg 1539 Heinrici Finckens’, Nuremberg 1536 ^ Heinrich Isaac (c. 1450–55 to 1517) 8 Paul Hofhaimer (1459–1537) Innsbruck, ich muß dich lassen 2:14 Greyner, zanner, eifrer 1:21 (Innsbruck, I must leave you) (Bawling, scolding, railing) Georg Forster, ‘Ein Auszug guter alter und neuer Georg Rhaw, ‘Tricina latina, germanica, brabantica Teutscher liedlein’, Nuremberg 1539 et gallica’, Wittenberg 1542
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™ Elslein Elsie
Elslein, liebes Elselein, Elsie, Elsie dear, MUSIC FROM wie gern wär ich bei dir. how I wish I were with you. So sein zwei tiefe wasser But waters deep between me wol zwischen dir und mir. and you keep us apart. THE TIME OF
Hoff, zeit werd es wol enden, Hope that time will end it, Hoff, glück werd kommen drein, hope that luck will enter in TILMAN RIEMENSCHNEIDER sich in alls guts verwenden, and change it all for the better, herzliebstes Elselein. Elsie, my dearest. Il Curioso • Hedos Ensemble • Bernhard Böhm
ª Es wolt ein Jäger jagen A huntsman went to hunt
Es wolt ein Jäger jagen A huntsman went to hunt vor jhenem holtz. by yonder wood. Was bgegnet im uff der heyden, What did he meet on the heath? drei frewlin hüpsch und stoltz. Three young ladies fine and proud.
Das ein das hieß Margretlin, One was called Gretchen, das ander Ursele, the second Ursula. das dritt das hat kein Namen, The third has no name; des Jägers will es sein. she wants to marry the huntsman.
Er nam sie bei der mitte He took her by the waist da sie am schwänksten war. where she was slenderest Schwangs hinder sich zurücke and swung her up behind him wohl auf sein hohes roß. onto his great horse.
Er fürt sie gar behennde He carried her quickly durch das grüne graß, over the green grass der grünen heyd ein ende to where the green heath ends, ghen Wirtzburg uf das Schloß. to the castle in Würzburg.
Translations by Sue Baxter
Music from the Time of Tilman Riemenschneider is a co-production with Bayerischer Rundfunk-Studio Franken
8.557138 12 557138 inlay USA 16/11/04 2:22 pm Page 1 NAXOS NAXOS Tilman Riemenschneider was born in the mid-fifteenth century and grew up in a Germany that still belonged to the Middle Ages. He is now regarded as one of the leading German sculptors of the Late Gothic period, although interest in him was only revived in the nineteenth century. The music on this recording, played here on copies of original instruments of the period, is UI RMTETM FRIEMENSCHNEIDER OF TIME THE FROM MUSIC largely taken from German song-books, collections of works current in the late 15th century. DDD RIEMENSCHNEIDER OF TIME THE FROM MUSIC They offer a wide spectrum of music of the time, ranging from dances to marches, tavern songs, religious songs of entreaty, songs of suffering and of love. 8.557138
Music from the Time of Tilman Playing Time RIEMENSCHNEIDER 60:25 (c.1460-1531)
1 Anon.: Mein Herz in Freuden ^ Heinrich Isaac: sich erquicket 1:40 Innsbruck, ich muß dich lassen 2:14 2 Jean Mouton: Jamais 3:24 & Thomas Stoltzer: Entlaubet ist der Walde 1:42 3 Anon.: Basse Danse ‘La Magdalena’ 2:51 * Anon.: Wir zogen in das Feld1 2:33 4 Anon.: Tourdion 1:23 ( Anon.: Es solt ein man kein mole farn 0:56 5 Anon.: Basse Danse ‘La gatta’ 1:04 ) Anon.: Der wallt hat sich entlaubet* 2:10 6 Anon.: Zenner, greiner, wie gefelt dir das?1 1:13 ¡ Anon.: Ich sachs eins mals* 1:41 7 Heinrich Finck: Greiner, zanner 3:24 ™ Anon.: Elslein*2 2:49 8 Paul Hofhaimer: Greyner, zanner, eifrer 1:21 £ Erasmus Lapicida: Tandernaken 2:52 www.naxos.com Made in Canada German sung texts with English translations h 9 Anon.: Groß Sehnen ich im Herzen trag 2:43 ¢ Anon.: Der Vöglein Art 1:33 & 0 Anon.: Ich tät mir auserwählen 2:11 ∞ Anon.: Katzenpfote 1:12 ! Anon.: Der gestreifft Dantz/Gassenhauer* 2:04 § Anon.: Alle furf 1:19 g @ Anon.: Se hyn mein hercz*2 3:39 ¶ Anon.: Canto dei lanzi allegri 1:19 2005 Naxos Rights International Ltd. # Anon.: Ich spring an diesem ringe*2 2:35 • Jacob Obrecht: $ Johann Walter: Aus tiefer Not1 3:01 Rompeltier (Rumfeltiere, Rumfeldaer) 1:02 1 % Thomas Stoltzer: Ich klag den Tag 1:44 ª Anon.: Es wolt ein Jäger jagen 2:47 Il Curioso (Martin Hummel, Baritone 1) Hedos Ensemble * (Harmut Hein, Baritone 2) Bernhard Böhm A full track list can be found on pages 2 and 3 of the booklet 8.557138 8.557138 Recorded at Kloster Brombach, Mainfränkisches Museum, Würzburg, from 28th to 30th September, 2003 Co-production with Bayerischer Rundfunk, Studio Franken, Germany • Booklet Notes: Hugh Griffith Cover Picture: “Self-portrait”, 1495/99 (detail from the predella, right image field, of the St Mary Altar Creglingen) by Tilman Riemenschneider (AKG-Images / Erich Lessing)