Renaissance and Baroque Music from Germany and Austria

Total Page:16

File Type:pdf, Size:1020Kb

Renaissance and Baroque Music from Germany and Austria Old Dominion University Collegium Musicum Old Dominion University Tony R. Auby, Sr. Ann Daiber Anne Bell Susan Earley Department of Music____________ Viola Berger Mary Friesen Mike Bjorklund Monte Gammon Presents Joseph Bürgler Natalia Kuznetsova Cheri Caleo Cathy A. Ogram Adelaide Coles Jay Taylor Renaissance and Baroque Music Dan Cudney Georgette Vitez Renz from Germany and Austria Joey Di Nardo Old Dominion University Collegium Musicum Old Dominion University Madrigal Singers & Joel Bading Joseph Kasper Old Dominion University Madrigal Singers Autumn Bailey Amy Kaus Emily Bjork Tyler Porter Corey Butler Kadie Queen Lee Teply, director India Dale Samuel Ramos Rebecca Goodman Jennifer Roberts Old Dominion University Sackbut Ensemble Sarah Goughnour Alysia Rowe Christian Harward Veronica Rozario Mike Hall, director Gavin Perry Henthorn Amanda Wall William Johnson Old Dominion University Sackbut Ensemble Mike Hall, director Pete Echols Jack Himmelman Greg Hausmann 2012 Madrigal Banquets Music and FOOD of Germany and Austria Friday, Nov. 30 and Saturday, Dec. 1 at 6:30 p.m. Tickets: $20 to $38 – Call 683-5305 Chandler Recital Hall, Go to odu.artstix.com Diehn Fine and Performing Arts Building November 6, 2012 7:30 PM Program Mike Hall, alto sackbut Intrada Johann Christian Pezel (1639-1694) Sonata a 7 (1659 Johann Heinrich Schmeltzer (c. 1620-1680) Allein Gott in der Höh’ sei Ehr’ The chorale will be sung in alternation with settings by: Michael Praetorius (1571-1621) Jan Pieterszoon Sweelinck (1562-1621) Johann Sebastian Bach (1685-1750) Sonata in C major Georg Philipp Michael Altenburg (1584-1640) Telemann (TWV 41: C 2) (1681-1767) Cantabile Grave * * * * * * * * * Allegro Tony R. Aube and Mike Bjorklund, recorders Ihr Musici, frisch auf! Hans Leo Hassler (1564-1612) So trinken wir alle Arnold von Bruck Menuet and Badinerie Johann Sebastian Bach (1500?-1554) (from the Orchestral Suite in b minor, (1685-1750) Heth sold ein meskin gain om Anonymous BWV 1067) wim (c. 1520) * * * * * * * * * Canzon a 6 (1609) Johann Hermann Schein (1586-1630) Still, Still, Still arr. Donald H. Ripplinger Sonata in d Anonymous th First movement (17 century) In dulci jubilo Fuga: Allegro Praetorius Third movement Bach Allegro Praetorius .
Recommended publications
  • The Organ Ricercars of Hans Leo Hassler and Christian Erbach
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • The Musical Heritage of the Lutheran Church Volume I
    The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945).
    [Show full text]
  • Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
    MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake.
    [Show full text]
  • Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C
    Prejeto / received: 3. 5. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.07 RECONSTRUCTING LOST INSTRUMENTS Praetorius’S Syntagma musicum and the Violin Family C. 1619 Matthew Zeller Duke University Izvleček: Knjigi De organographia in Theatrum Abstract: Michael Praetorius’s De organographia instrumentorum Michaela Praetoriusa vsebujeta and Theatrum instrumentorum provide valuable dragocene namige, ki pomagajo pri poznavanju clues that contribute to a new understanding glasbil iz družine violin okoli leta 1619; številna of the violin family c. 1619, many surviving ex- preživela glasbila so manjša, kot so bili izvirniki amples of which are reduced in size from their v 16. in 17. stoletju. Podatki o preživelih glas- sixteenth- and seventeenth-century dimensions. bilih – predvsem izdelki družine Amati – skupaj The record of surviving instruments – especially z metrologijo, sekundarno dokumentacijo in those of the Amati family – alongside metrologic, ikonografskim gradivom kažejo na to, da je documentary and iconographic evidence shows Michael Praetorius opisal veliko glasbilo, po that Michael Praetorius describes a large in- velikosti izjemno podobno violončelu (basso strument conforming remarkably well to the da braccio),kar je odličen primer predstavitve original dimensions of the basso da braccio glasbila iz družine violin in točne uglasitve, kot (violoncello), as well as furnishing an excellent so jih poznali v času izida Praetoriusovega dela. scale representation of the violin family as it was at the time of these works’
    [Show full text]
  • The Sackbut and Pre-Reformation English Church Music
    146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another.
    [Show full text]
  • Amherst Early Music Festival Directed by Frances Blaker
    Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away.
    [Show full text]
  • Instrument Descriptions
    RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.
    [Show full text]
  • The Parish of St. Vincent Ferrer and St. Catherine of Siena
    THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Reverend Peter Martyr Yungwirth, O.P., Pastor James D. Wetzel, Director of Music and Organist EIGHTEENTH SUNDAY IN ORDINARY TIME August 1, 2021 PRELUDE Johann Sebastian Bach PASTORALE IN F MAJOR, BWV 590 (1685-1750) I. Prelude II. Allemande III. Aria IV. Gigue INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Psalm 69 (70):2, 3, 4 Chant, mode vii Deus in adjutorium meum intende: O God, come to my assistance; Domine ad adjuvandum me festina: O Lord, make haste to help me; confundantur et revereantur inimici mei, let my enemies be confounded and ashamed, qui quaerunt animam meam. who seek my soul. V. Avertantur retrorsum et erubescant, V. Let them be turned backward and blush for shame, qui volunt mihi mala. who desire my ruin. SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE Roman Missal Mass GLORIA Roman Missal Mass 2 COLLECT Draw near to your servants, O Lord, and answer their prayers with unceasing kindness, that, for those who glory in you as their Creator and guide, you may restore what you have created and keep safe what you have restored. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, God, for ever and ever. Amen. 3 LITURGY OF THE WORD FIRST READING Exodus 16:2-4, 12-15 The whole Israelite community grumbled against Moses and Aaron. The Israelites said to them, “Would that we had died at the Lord’s hand in the land of Egypt, as we sat by our fleshpots and ate our fill of bread! But you had to lead us into this desert to make the whole community die of famine!” Then the Lord said to Moses, “I will now rain down bread from heaven for you.
    [Show full text]
  • Adobe Photoshop
    Theorie und Praxis der Kasualdichtung in der Frühen Neuzeit Chloe Beihefte zum Daphnis Herausgegeben von Barbara Becker-Cantarino – Mirosława Czarnecka Franz Eybl – Klaus Garber – Ferdinand van Ingen Knut Kiesant – Ursula Kocher – Wilhelm Kühlmann Wolfgang Neuber – Hans-Gert Roloff – Alexander Schwarz Ulrich Seelbach – Robert Seidel – Jean-Marie Valentin Helen Watanabe-O’Kelly BAND 43 Amsterdam - New York, NY 2010 Theorie und Praxis der Kasualdichtung in der Frühen Neuzeit Herausgegeben von Andreas Keller, Elke Lösel, Ulrike Wels und Volkhard Wels The paper on which this book is printed meets the requirements of "ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence". ISBN: 978-90-420-3104-3 E-Book ISBN: 978-90-420-3105-0 ©Editions Rodopi B.V., Amsterdam - New York, NY 2010 Printed in The Netherlands VORWORT Die hier versammelten Beiträge zur Theorie und Praxis der Kasual- dichtung in der Frühen Neuzeit sind das Ergebnis einer Tagung, die vom 27. bis 29. Juni 2008 von den Mitarbeitern des Lehrstuhls für Neuere deutsche Literatur (Frühe Neuzeit) der Universität Potsdam im Haus der brandenburgisch-preußischen Geschichte in Potsdam veran- staltet wurde. Die Veranstalter und damit auch die Herausgeber dieses Bandes danken der Deutschen Forschungsgemeinschaft für die finan- zielle Unterstützung der Tagung und den “Chloe”-Herausgebern für die Aufnahme in die Reihe. Wie die Tagung, so sei auch dieser Band Knut Kiesant zu seinem 65. Geburtstag gewidmet. Die Beiträge zeigen in der Vielfalt der besprochenen Texte das un- endlich wandelbare Antlitz der ‘Göttin Gelegenheit’. Dabei sind nun unversehens auch die Aufsätze dieses Bandes “Gelegenheitstexte” geworden – nämlich zu Ehren Knut Kiesants.
    [Show full text]
  • Of) Seventeenth Sunday After Pentecost (Ef
    SUNDAY , O CTOBER 6, 2019 TWENTY -SEVENTH SUNDAY IN ORDINARY TIME (OF) SEVENTEENTH SUNDAY AFTER PENTECOST (EF) Clergy Reverend Mark Moriarty, Pastor Reverend James McConville, Parochial Vicar Deacon Nathan Allen Sunday Masses Saturday 5:15 pm (Vigil Mass that fulfills the Sunday obligation) 6:30, 7:30 am (Latin EF Low Mass), 8:30, 10:00 am (Latin OF High Mass), 12 Noon Weekday Masses 6:30 am Monday through Friday 5:15 pm Friday, 8:00 am Saturday (Sung Latin Mass) During the school year, there are Masses on most Tuesdays and Thursdays (and occasionally on another day) at 8:45 am Holy Days of Obligation Watch bulletin for Mass schedules Confessions Fridays 4:00 -5:00 pm (Chapel) Saturdays: 4:00 -5:00 pm (Upper Church) and 8:00 -9:00 pm (Chapel) Every Tuesday following the 7:00 pm Novena (Chapel) Adoration and Devotions Tuesday: 7:00 pm Novena to Our Lady of Perpetual Help (Chapel) 7:30 pm Confessions, Chaplet of Divine Mercy and Holy Rosary First Wednesday of each month, 7:15 am to 8:45 am, Benediction and Adoration Saturday: Exposition of the Blessed Sacrament from 4:00 p.m. until 5:00 pm Benediction (Upper Church) Sunday: 3:00 pm Vespers during Exposition of the Blessed Sacrament and concluding with Benediction (Upper Church) Parish Office Hours Monday – Thursday: 8:00 am – 4:00 pm Friday: 8:00 am – Noon Contact Information Parish Office 535 Thomas Avenue 651.925.8800 offi[email protected] School Office 530 Lafond Avenue 651.925.8700 offi[email protected] Rev.
    [Show full text]
  • Inhal! Seite Geschichtliche Einleitung XXIX
    Inhal! Seite Geschichtliche Einleitung XXIX Erstes Buch. Alte deutsche Leise 3 Von der Geburt Christi (Gelobet seist du, Jesu Christ) . 3 Off erlieb (Christ ist erstanden) 3 Abendmahl (Gott sei gelobet und gebenedeiet) 4 Von der Himmelfahrt Christi (Christ fuhr gen Himmel) ... 4 Pfingstlied (Nun bitten wir den heiligen Geist) 4 Am Fest der heiligen Dreifaltigkeit (Das helfen uns die Namen drei) 5 O du armer Judas 5 Kreuzleis (In Gottes Namen fahren wir) 5 Veni sancte spiritus (Komm, heiliger Geist, Herre Gott) ... 6 Media vita (Inmitten in des Lebens Zeit) 6 Ymnum dicamus domino (Gott sagen wir Gnade- und Ehrendank) 6 Ave Maria (Ave Maria, ein Ros' ohn alle Dorn) 7 Spervogel (der ältere) . 8 Das Crlösungswerk (Er ist gewaltig und ist stark) .... 8 Hartmann von Aue 9 Kreuzlied (Dem Kreuze ziemet frommer Mut) 9 Walther von der Vogelweide 11 Morgensegen (Mit Segen laß mich heut erstehn) 11 Gott, hilf und vergib (Du hochgelobter Gott, wie selten ich dich Preise) 11 Kreuzigung 1 (Sünder, du sollst der großen Rot bei dir gedenken) 12 Kreuzigung 2 (Der Blinde sprach zu seinem Knechte: „Du sollst kehren") - 12 Der große Sturm (O weh, vernehmt's gewiß, es kommt ein Sturm) 12 Im gelobten Lande (Nun erst leb ich ohne Fährde) .... 13 Gottfried von Straßburg 16 Von der Armut (Kind, und wollte dich das Glück auch meiden) 16 Unbekannter Verfasser 18 Lied von der Gottesminne (Wer Gottes Minne will erjagen) 18 Reinmar von Zweter 22 Gott aller guten Dinge Ursprung (Gott, Ursprung aller guten Ding) 22 Der Marner 22 Sieh nach allen Seiten (Sieh, Sünder, an die Straßen) .
    [Show full text]