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MEDII A.EVI DER Troubadours l SUMMA MUSICAE DER MUSIKALISCHE NACHLASS MEDII A.EVI DER TROUBADOURs HÉRAUs CIEIEREN VON BAND III qENNRICH FRIEDRICH PROLEqOMENA BAND XV COLLECTANEA BAND III HERAUSqEqEBEN voN FRIEDRICH qENNRICH FRI EDR,ICH qENNRICH DER MVSIKALISCHE NACHLASS DER TROVBADOURS PROLEqOM EN,A LANqEN BEI FRANKFURT LANqEN BEI FRANKFURT 19ó5 19ó5 Vorwort Eine Sammlung von Liedern aus dem 12.und 13, Jahrhundert 1àf3t Fragen aufsteigen, ùber deren Beantwortu.ng auch in Nachschlagewerken im all- gemeinen nicht viel zu finden ist. Die mit Melodien erhaltenen Lieder kónnen nicht Produkte des Zufalls sein, sie kcjnnen nicht der Eingebung einiger weniger genialer Kùnstler entsprungen, auch nicht Resultate planlosen Gestaltens sein, weil trotz der Vielheit der Erscheinungsformen Leitgedanken zu erkennen sind, nach denen bei ihrer Schòpfung verfahren worden ist. Verfahrensgrund- sàtze aber setzen voraus: Úbereinkunft unter den Autoren und diese wie- der: das Vorhandensein bewufiter Tràger der Musikkultur. Wer nun waren die Tràger der Musikkultur im Mittelalter, und was ver- danken wir ihrem Wirken? DaB der Inhalt der Lieder sich gegebenen Situationen anpafJt, ist selbst- verstàndLich, Wie aber kommt es, da8 Sànger verheirateten Frauen ge- genúber Liebesbeteuerungen aussprechen, dal3 sie òffentlich um sie wer- ben, ohne mit der christlichen Sittenlehre und also mit der allmàchtigen Kirche in Konflikt zu geraten? Auch die vielfàltigen musikalischen Formen, die in den Liedern zu beob- achten sind, werfén Probleme auf: wie sind sie entstanden und warum fùhlte man sich an sie gebunden? Ferner beschàftigen uns die Autoren, Dem Namen nach kennen wir viele von den Liedmelodien her, die im "Musikalischen NachlaBil veróffent- licht worden sind; doch was weiB man schon von ihnelr? A1s man am Ende des 13. und zu Beginn des 14, Jahrhunderts die Trou- badourlieder sammelte undaufzeichnete, gab man in einigen Hss den Lie- dern eine "Vita" mit, einen mehr oder weniger umfangreichen Lebensab- rin der einzelnen Autoren. Bei einigen besonders bemerkenswerten Lie- dern fùgte man "Razostt hinzu, Angaben ùber die Entsstehung, die Bedeu- tung oder ùber sonstige wissenswerte Daten des betreffenden Stúckes. Auch heute lzi8t die Ausgabe der Melodien der Troubadours unbefriedigt, Alle Rechte vorbehalten. wenn man von denAutoren der Lieder und ihrer Singweisen nichts weiter Die 'Úbertragungen sind geistiges Eigentum des kennt als den Namen. Was schon vermògen die einzelnen Namen auszu- Herausgebera ud unter6tehen dem Urheberge8etz. Reproduktionen jeglicher Art bedllrfen der Einwil- sagen? Uns vermutlich noch weniger als sie den Menschen im 14, Jahr- ligug des Hereuagebera. hundert sagen konnten. Copyrightby Friedrich cennrlch, Lmgen 1965, Deshalb mag eine Darstellung der Lebensumstànde der einzelnen Autoren und ihrer Umwelt der Ausgabe der Liedmelodien vorangestellt werden, die Gedankenwelt, aus der heraus die Werke geschaffen worden sind, auf- zuhellen und das EÍndringen in die Eigenart des Liedschaffens der ein- Inhaltsverzeichnis zelnen Autoren zu erleichtern. Allerdings werden unsere Darlegungen ùber das Leben und Wirken der Vorwort v Troubadours sich von den des Mittelalters weitgehend und grund- "Vitaett Inhalt sverzeichnis YII sàtzlich unterscheiden. Anekdoten und romanhaft aufgemacht, Legenden, Verzeichnis der Abkúrzungen spielten damals eine wichtige Rolle. Jene gewifS interessant und unter- Zeitschriften und Sammelwerke vII gestalteten Person eines haltsam Berichte dienten mitunter dazu, die Verzeichnis der ,ófter zitierten Literatur VIII Troubadour mit einem Schleier von Abenteuerlichkeit zu umhù1len, der die WirkUchkeit verdeckte. Die TrÈiger der Musikkultur im Mittelalter 1 Der Ursprung des Minnesangs Etwa 800 Jahre zurùckliegende, selten in Urkunden festgelegte, aber I Die Autoren und ihre Umwelt 37 durch Legenden oft zweckumgestaltete Mitteilungen fúhren bei der Er- forschung der Lebensumstànde der Troubadours leicht auf Abwege. A1- Anmerkungen B3 tere Darstellungen sind ófter dieser Versuchung erlegen. Verzeichnis der zitierten Lieder 85 Namenregister 87 Das Leben der Autoren mit all seinen Schattierungen von Lust und Leid Wort- und Sachregister 90 muf3 herausgeschiilt werden aus der núchter'nen Deutung ihrer Werke, aus ihrer Verbindung mit anderen Autoren, aus dem Dienstverhàltnis des Einzelnen zu seinem Dienstherrn, aus der Zeitgeschichte. Mógen auch einige begùterte hohe Herren, HerzÒge und Grafen die Lied- Iiteratur mit den Frùchten ihrer MufJestunden bereichert haben, das Gros der Lieder, die Glanzstùcke der provenzalischen Literatur rùhren von nicht aristokratischen, von Berufsdichtern her, die nicht mit irdischen Abkúrzungen gesegnet, Gùtern die darauf angewiesen waren, mit ihrer Kunst ihren Le- der Zeitschriften ùnd Sammelwerke bensunterhalt zu verdienen, und dies oft hart genug. Wenn sie einen Mà- zen, einen Gónner gefunden hatten, war es selbstverstàndlich, dalS sie dalS gastlichen seinelnteressen zu vertreten, sie zumindest derDame des Deutsche Vierteljahrsschrift fùr Literaturwissenschaft und DVLG Hauses ihren Dank in Form von Liedern abzustatten hatten. Dieses Motiv Geistesgeschichte Endes den meisten.rtMinneLiedern" zugrunde; haben letzten liegt sie mit Literarhist orisch -musikwis sens chaftliche Abhandlungen Abhandl zu tun. echten Liebesliedern nichts Musikwissenschaftliche Studien -Bibliothek stBibl Manch eine Quelle làBt sich finden, aus der man schópfen kann. Doch Summa Musicae Medii Aevi Sum sinnlos wàre es, aus der Aneinanderreihung der Minnelieder eines Au- Zeitschrift fùr romanische Philologie ZrPh tors sein Innenleben, sein Dichten und Trachten rekonstruieren zu wol- Zeitschrift fùr Musikwissenschaft ZMw len: man hàtte die bindende Macht der Konvention au6er Acht gelassen. Die Biographien berùcksichtigen nur die in der Ausgabe der Melodien vertretenen Autoren, von denen einige in der EnzyklopàdierrDie Musik in Geschichte und Gegenwartrr veróffentlicht wurden. Die in ['] beigefúg- ten Zahlen verweisen auf Literaturangaben am SchlufJ der Darstellung. Ein Verzeichnis der in den Abhandlungen erwàhnten Lieder, ein Namen- sowie ein Wort- und Sachregister beschlieBen den Band, F. Gennrich VI vlI Die Tràger der Musikkultur im Mittelalter Yerzeichnis der ófter wiederkehrenden Literatur _ Wenn die Kunst zu einem Kulturfaktor im Leben eines Volkes werden Brinkmann, H. Entstehungsgeschichte des Minnesangs, ín DVLG 8 Brinkmann soll, dann bedarf dies der bewulSten Fórderung: einer sinnvollen Unter- Burdach, K. Úber den Ursprung des mittelalterlichen Minnesangs, Burdach stùtzung und eÍner zielbewuf3ten Lenkung des Kunstwollens. Das kann nur Liebesromans und Frauendienstes, in rrVorspiel, ge- Aufgabedes Staates oder sonst einer grofie Teile des Volkes umspannen- sammelte Schriften zur Geschichte des deutschen Gei- den Gemeinschaft sein, wie sie etwa die Kirchen darstellen. Es darf sich stes" Buchreihe der DVLG 1 Halle (1925) dabei nicht um die ProtekÍion des ein oder anderen Kùnstlers handeln, Chabaneau, C. Les biographies des troubadours en langue provengale, Chabaneau sondern um die Fórderung eines ganzen Kunstzweiges im Interesse der Toulouse (1885) Hebung des Volksganzen. Kùnstler, Kunstgemeinden, Staat und Kirchen Gennrich, F. Der musikalische NachlafJ der Troubadours, in Sum III I bzw. II bilden die Trager der Kunst als Kulturfaktor. und VI Wie war es nun in dieser Beziehung im Mittelalter? - Wer kam damals Die Kontrafaktur im Liedschaffen des Mittelalters, in GKofa als Tràger der Frage? Sum XII Musikkultur in GrundriB einer FormenLehre des mittelalterlichen Lie- GForml Nachdem das westrómische Reich unter den Anstùrmen der Germanen des, Halle (1932) zum Erliegen gekommen war, trat die Kirche in kultureller Hinsicht die Lateinische Liedkontrafaktur, in StBibl 11 (1950) GlLkofa Erbschaft des zerfallenden rómischen Reiches an, verfúgte sie doch ùber eine Organisation und ùber Kràfte, die dieser Aufgabe gewachsen waren. Lo Gai Saber, 50 ausgew:ihlte Troubadourlieder, in StBibl GLGS 18/rs (1e59) Sofern die Germanen Wert auf die Erhal.tung kultureller Gùter in den von ihnenbesetzten Teilen des ròmischen Reiches legen wollten, konnte ihnen Sieben Melodien zu mittelhochdeutschen Minneliedern, in GSieb ZMw 7 (t9241 65 die Bereitwilligkeit der Kirche, in dieser Richtung zu wirken, nur will- kommen sein, wàren sie doch von sich aus nicht in der Lage gewesen, Troubadours, Trouvères, Minne- und Meistergesang, in GTroub rrDas Musikwerk" Kóln diese Aufgabe zu ùbernehmen. Aus dieser ursprtinglichen Zwangslage bildete sich im Lauf der Zeit ein sich von selbst verstehender Auftrag Lommatzsch, E. Leben und provenzalischen Troubadours, Lo bzw,II Lieder der I dal3 Berlin I (19s?), il (1959) heraus, so die weltliche Maclrt, selbst als sie in Gegensatz zur Su- prematie der Kirche trat, nie den Primat der kulturellen Fùhrung der Mùller, G. Ergebnisse und Aufgaben der Minnesangsforschur^g, in Miiller Kirche in Frage gestellt hat. DVLG 5 (1927) 116 Pillet, A. u. Carstens, H. Bibliographie der Troubadours,Halle.(1933) Pi]l So wurde die Kirche damals die alì.einige Tràgerin von Bildung und Wis- senschaft Ribera, J. Discursos leidos ante la Real Academia Espafiola en la RibDÍsc und sorgte ftir eine einigermafJen zentral ausgerichtete geisti- recepcion publica, Madrid (1912) ge Kultur. DaB sie sich auch der Pflege der Musik annahm, deren Wert gottesdienstlichen La Musica andaluza medieval en las ianciones de Tro- RibMus fúr die engeren Handlungen, also fùr die Liturgie, sie vadores, Troveros y Minnesinger, 3 Fasc. Madrid (1923- schon frùhzeitig erkannt hatte, und deren Bedeutung
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  • Bibliography
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