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800 Jahre Musikpflege in Heiligenkreuz

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800 Jahre Musikpflege in Heiligenkreuz >---— ‘77 L1W HEILIGENKREUZER Alois Heiligenkreuz 800 in I » Musikpflege (X) m I :::J r- 0 ~ - (J) 0 Ci) CD C m ZNiemetz -- CI) 0 z - Jahre A CD ce -- :0 3 '- m CD CD ...... "0 Ol c N :::J "~ ::T N m ...., :0 ...., CD <VERLAG ce CD m "CD :0 C CD »r N Ci) Umschlagbilder:Urnschlagbildet Vorwort Koberorgel und Giuliani-ChorgestühlGiuliani-ChOtgOStühl FederzeichungFedetzeichung von Professor Dr. Ing. Karl Simon König David FederzeichnungFederzeichnUng aus dem Heiligenkreuzer Psalterium Codex 66 (1200)(7200) Ursprünglich war vom Verlag eine Publikation ..„Orgeln Orgeln und Organisten in Heiligenkreuz"Heiligenkreuz beabsichtigt. Beim Sammeln der Unterlagen weitete sich das Thema zu einer Arbeit über die Musikpraxis in diesem Kloster, die man bis zu ihren Anfängen zurückverfolgen mußte. Dabei bildete das Antiphonar (CodextCodex 20) aus dem ersten stiftlichen Jahrhundert eine erer­ giebige Quelle für die Choralpflege. Sie gibt einen Einblick in die Schulung, die manche Mönche befähigte, als Cantor mit einer Gründungskolonie auszuziehen. Es wird inin dieser Studie versucht, nicht nur den Wandel im Musikgeschehen, wie er sich in Heiligenkreuz darbietet, aufzuzeigen, sondern auch einer dieser Musikpflege innewoh­innewoh nenden Strahlungskraft nachzugehen. BildernachweisBildernachWeiS Die Beziehungen zur WienWiener er Universität gestalteten sich schon seit ihrer Gründung - 77, 76, 85, 88, 713 Hermann Brühlmeyer, Baden - Wien, S.5. 11, 76, B5, BB, 113 sehr rege, bedingt auch durch das Cistercienserkolleg St. Nikolaus. Aus dieser Zeit sind - 726 Marzek & Co., Wien - Traiskirchen, S.5. 126 drei "Magistri„Magistri artium"artium‘ nachweisbar. Es ist naheliegend, daß die Geisteshaltung der Früh-Früh• 72, 779 Fr. Meinrad Tomann, S.5. 43, 47, 4B,48, 57, 72, 119 renaissance in der Musikpraxis ihren Niederschlag fand. Tiefere Spuren hatte die Zeit P. Albert Urban, S. 16,76, 69 nach der Glaubenserneuerung hinterlassen, gezeichnet durch schöpferische Persönlich•Persönlich Musikarchiv:MusikarchiV: die übrigen Aufnahmen keiten. In der Frühbarocke war es der inin Vergessenheit geratene P. Alberich Mazak (1609-1661),(1609—1661), später der in vielen Archiven nachweisbare Klosterkomponist Franz GerGer­ hard Pruneder (1696-1764)(1696—1764) und am Ende dieser Stilperiode P. Clemens Scheupflug (1731-1805),(1731—1805), dessen Requien (handschriftliche(handschriftliche Kompositionen) in manchen Pfarren bis zur Jahrhundertwende gesungen wurden. InIn das 20. Jahrhundert hinein reichen drei PriePrie­ sterkomponisten: Dr. Anton Faist und Dr. Rudolf Klafsky, die seit ihrer Sängerknabenzeit mit dem Hause eng verbunden waren, sowie der langjährige Regens chori, Dr. P. Norbert Hofer. Ebenfalls soll der großen Zahl derer gedacht werden, die von der Singschule her über die Musik im Kloster ihre Heimat fanden. Darunter waren nicht wenige, bei denen sich Berufung und Begabung paarten und die sich als Regentes chori, Organisten oder als Sänger in den Dienst des „Opus"Opus Dei‘Dei" steil­stell ten. Für die stets liebenswürdige Hilfe und freundlichen Hinweise sei den Herren Dr. Theo­Theo- phil Antonicek, Herrn Dr. Otto Biba und Herrn Professor Dr. Alexander Weinmann gege­ dankt, ebenso Herrn Professor P. Hermann Watzl für die zur Verfügung gestellten Daten aus dem Stiftsarchiv. Nicht zuletzt bin ich dem Initiator, Förderer und Berater der Studie, meinem Bruder und Bibliothekar — Bibliothekar - Pater Paulus -,—‚ zu besonderem Dank verpflichtet. Stift Heiligenkreuz, Fest Kreuzerhebung 1977. Alois Niemetz ISBN 3-85105-104-13-85105-1041 © 1977 by HeiligenkreuzerReiligenkteuZer Verlag I?ruck:Druck: MissionsdruckereiMissionsätuCkerei SI.St. Gabriel, 2340 Mödling ____ I.1. VonVon derder GründungGründung bisbis 16001600 11.. DasDas monastischemonastische GotteslobGotteslob ImIm SpätsommerSpätsommer 11331133 schickteschickte dasdas CistercienserklosterCistercienserkloster MorimondMorimond1 1 (Burgund)(Burgund) eine Ko­Ko lonielonie vonvon zwölfzwölf MönchenMönchen unterunter FührungFührung desdes Abtes Godschalk,Godschalk, eines österreichischenösterreichischen Adeligen, inin diedie ersteerste österreichischeösterreichische CisterceCisterce HeiligenkreuzHeiligenkreuz.. Auf BittenBitten seines SohnesSohnes OttoOtto,, derder 11321132 imim KlosterKloster MorimondMorimond mitmit 1515 Gefährten denden Cistercienserhabit genommen hatte,hatte, stiftetestiftete MarkgrafMarkgraf LeopoldLeopold /11III.. amam OrteOrte Sattelbach imim Wienerwald das Kloster,Kloster, "das„das nunnun wegen des siegreichensiegreichen Zeichens unserer Erlösung H eile i Ii i geng e n k r e u z genannt 6 ‘•f ..‘ wurde".wurde. l~ "" Q" r r , • . StephanStephan Harding, derder drittedritte Abt von Citeaux, hatte, um der Reformbewegung feste um dnlct do csnøiha GrundlagenGrundlagen zu geben,geben, vorerst die liturgischen Texte vereinheitlicht, und dafür eine "Nor­ a: \:J , alu~m;~~~'aIur«i uanutncoidI‘ ~~du':~~'4~notba~~ zu vorerst die liturgischen Texte vereinheitlicht, und dafür eine „Nor ., malbibel"malbibel“' geschaffen.geschaffen. UmUm möglichstmöglichst authentischeauthentische und übereinstimmende Choralmelodien zu erhalten, schschickteickte er Mönche inin die SängerschuleSängerschule von MetzMetz,, dortdort die Gesänge sorgfäl•sorgfäl - ,~h_: ".,.1 ' ';J;J ~ ! A' ,. ‘.,. tigtig abzuschreiben. Seit Karl dem Großen war Metz künstlerischer Mittelpunkt des nörd• • J • • JI:. J '. fifIlttS• J\ ." abzuschreiben. Seit Karl dem Großen war Metz künstlerischer Mittelpunkt des nörd Uf;adttdamamustw a4trctainamu$ ~cviilcs fi'tuifin ~wc 4dtt:futVuamu& aanam&~ft.emis lichenlichen Frankenreiches. Deren Sängerschule war aus der römischenrömischen "Sc„Schola ho la cantorum"2cantorum“2 • '! ,, 'f9 r ,. · "" hervorgegangen und galt als treuetreue Bewahrerin der traditionellen römischen Gesänge und J ~. -J --J' · ."A.", t6 " ., • • ~, .. ihrerihrer Vortragsweise. Diese Melodien waren bereits hochentwickelte Musik, eine Musik, .." " ~ ~ • 7 . die sichsich imim Laufe ihrerihrer vielfältigen Geschichte aus kultischen Melodienmodellen zu øsuidflcO1 zu 11lbic,~ualltnb4ma11muatk aa~a4 eny aduoca.iduocL tatnOha1IIO$UL notba tllo& tu, O$wfu'ran, musikalischen Melodiebildungen entwickelt hattehatte.. Damit war die Möglichkeit zu neuen Formen nach musikalischen Gesetzmäßigkeiten gegeben. ,. ! ~ ~I\ ., 1 Es entstanden wahre Kunstwerke, wie das dem Hermanus Contractus (Heriman von *•Jj,, ‘ft Reichenau, 1013—1054) zugeschriebene • ~ 1 r.t.J. J Ji .,' '-r -. ~ fij. & JI. ,-,- Reichenau, 1013-1054) zugeschriebene "Salve„Salve Regina"3.Regina“3. "In„In diesen Schöpfungen hat du;dcs ocul41ioculoG 4(l,11O&amuttie-.dKsum~frudumutnm(- die abendländische Musik zum erstenmal ihren Klang frei und überzeugend verwirklicht. HHierier beginnt iihrehre GeschichteGeschichte.“." (Besseier)(Besseler) ,~ "J' _ ".'''' .... • •d' .~ ,\., 6'.... ,\ , If,t;j ~ .l --;-j.~\.. duk$41 4‘ t1Ob1Svo4"~~oßmdt;()ohS1*b1zz‘n oIrndez o dtmtnSdanns 0 1'1- 41-a 0o dula&."di il Die Choralreform (1134-1148)(1134—1148) AntiphOnat (Cod. 20) um 7220. "Salve„Salve Regina misericordiae"misericordiae“ aus dem Antiphonar (Cod. 20) um 1220. Das Metzer Antiphonar des Bischofs Chrodegang (8. ]h.),Jh.), 100 Jahre später nach der jüngsten römischen Vorlage korrigiertkorrigiert,, entsprach nicht den Vorstellungen der Reformer.Reformer. Dennoch erklärte die "„CartaGarta CaritatisCaritatis“" (1119)4(11 19) die Abschrift für alle Abteien als verbindverbind­ lichlich.. Mit diesen einheitlichen BüchernBüchern‘.,,Missale,: "Missale, Evangeliar, Epistolar,Epistolar, Kollektenbuch, GraGra- 1 Morimond (anlan der Grenze von Lothringen und der champagneChampagne gelegen), wurde als viertes Primarkloster, 1115, von Citeauxciteaux aus besiedelt. Im gleichen Jahr zog der hl. Bernhard in das dritte Primarkloster Clairvaux mit zwöltzwölf MönMön• chen einein.. 2 2 Die ScholaSchela cantorum war eine Körperschaft liturgischer Sänger mit der Autgabe,Aufgabe, die genormten Gesänge zu bewahren und zu verbreiten.verbreiten. 3 3 Die Antiphon wurde von den cisterciensernCisterclensern übernommen und gehörte inin manchen Klöstern schonschon 1218 zumzum täglichen Oftizium.Offizium. Über Bitten König Ludwigs des Heiligen 11216—1276)(1216--1276) bestimmten die Ordensväter 1251, das "Salve Regina“Regina" täglich nach dem Abendgebet zu singen. (NachlNach dem Sonderdruck aus „La"La Trappe“,Trappe", vgl. S.S. 87.187.) ImIm Codex 20 tindenfinden sich dazu keinerlei Hinweise.Hinweise. Hier steht das „Salve"Salve Regina“Regina" vollständig ausgeschrieben dreimal als „Salve ausgeschrieben dreimal als Magnificat-Antiphon und einmal als Benedictus-AntiphonBenedictus-Antiphon bei den viervier Marienfesten 12.(2. Februar, 25.25. März, 15.15. August, 88. September). ‘4 Carta caritatiscaritatis = Ordenavertassung.Ordensverfassung. Regelt die einheitlicheeinheitliche Disziplin, einheitlicheeinheitliche Auslegung der Ordensregel des heiligen Benedikt und gleichegleiche liturgischeliturgische Bücher fürfür die Neugründungen.Neugründungen. 2 3 l ausgearbeitet und in diesem Buch niedergeschrieben, was in Melodien und Texten un­un i ‚.:.Lt :a.1i ' ~J.!r;!1~~",~;Jp..!.~ .:.:~.~~~ ‚ 11J“r ‘ ‚41 tadelig ist und vom Generalkapitel bestätigt wurde. In der folgenden Vorrede (Praefatio), .‘ i ‚ ‚4,1 ‚4‘i i i ii (Praefatio), f(1 I. I fl .‘F4 t'tf 8 dt W“MM lt 111 lt.“«, tn_wdJøVtia~ nf1'!.,:,1k 1.,,. lt. .:~i,knn,,lr £ 1‚lt... .t..:.J.:.«• ~:.:,If,\ ~ ~‚ ‚ ‚ ‚‚‘ii. n t ‚.n 1% .1 JlII,,, J J I,,.tl'\11 die eigentlich ein Musiktraktat ist, werden die Änderungen ausführlich begründet (1).(7). Die ."'" ""'~'" ....u,,,.J lt n.u,t.a.w UI‘S • MW '7"1Fr
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