DAS GLOGAUER LIEDERBUCH (The Glogau Song Book) Songs, Comic Tales and Tails Sabine Lutzenberger, Soprano Martin Hummel, Baritone Marc Lewon, Lute Ensemble Dulce Melos Suite XI DAS GLOGAUER LIEDERBUCH § In feuers hitz (GLOG 221) (THE GLOGAU SONG BOOK) Ach reine zart (GLOG 243) Mole gravati criminum (GLOG 221) 3:59 Suite I Suite XII 1 Christ der ist erstanden (GLOG 124) 0:38 ¶ Der entrepris (GLOG 102) 2:21 2 Christ ist erstanden (GLOG 127) 0:47 3 Christ ist erstanden (GLOG 94) 1:09 Suite XIII • Lætare, Germania (GLOG 21) 1:08 Suite II ª Elslein, liebstes Elselein (GLOG 250) 2:18 4 Der ratten schwanz (GLOG 113) 1:57 Suite XIV Suite III º Auf rief ein hübsches freuelein (GLOG 251) 1:06 5 In præclare Barbaræ (GLOG 237) ⁄ Zenner, greiner, wie gefelt dir das (GLOG 88) 0:38 Beth – O wie gern (GLOG 285) O wie gern und doch entbern (GLOG 237) 4:09 Suite XV ¤ Groß senen / [Jʼay pris amours] (GLOG 286) 1:15 Suite IV ‹ Die welt, die hat einen tummen sin (GLOG 256) 4:15 6 Es solt ein man kein möle farn (GLOG 80) Rom peltier (ODH 25) 1:11 Suite XVI 7 All voll (GLOG 183) 1:09 › Die katzenpfote (GLOG 13) 1:05 fi [untitled] (GLOG 100) 3:12 Suite V 8 Der morgenstern, der ist uns aufgedrungen (GLOG 253) 2:02 Suite XVII 9 Ich sachs eins mals, den lichten morgensterne (GLOG 189, 53) 2:49 fl Nu bitten wir den heiligen geist (GLOG 123) 1:36 0 Die nacht, die wil verbergen sich (GLOG 249) 2:39 Suite XVIII Suite VI ‡ Der vöglein art (GLOG 217) 2:39 ! Der seiden schwanz (GLOG 8) 1:11 @ Zu aller zeit (GLOG 224) 3:01 Suite XIX ° Die eselskrone (GLOG 147) 1:44 Suite VII # Elende du hast umfangen mich (GLOG 134) 2:55 Suite XX · Tärste ich mit libe kosen (GLOG 220) 1:47 Suite VIII ‚ Ach got, wie ser zwingt mich die not (GLOG 252) 1:49 $ O rosa bella (1. Str., CORD 7) 1:58 a Der wächter an der zinnen (GLOG 248) 0:59 % O rosa bella (BUX 103) 1:50 ^ O rosa bella / In feuers hitz (GLOG 119) 1:37 The Early New High German sung texts, along with Modern German and English translations, & O rosa bella (BUX 39) 1:30 can be accessed at www.naxos.com/libretti/572576.htm * O rosa bella / Hastu mir die laute bracht (GLOG 117) 1:32 ( O rosa bella / Hastu mir die laute bracht (diminutions by Uri Smilansky) 1:46 ) O rosa bella / Wer da sorget (GLOG 118) 1:34 Abbreviations of Sources: ¡ O rosa bella (BUX 104) 1:30 ™ O rosa bella (2. Str., TR89 575) 1:45 GLOG = Glogauer Liederbuch / Glogau Song Book (Kraków, Biblioteka Jagiellońska, Ms. Mus 40098) Suite IX BUX = Buxheimer Orgelbuch / Buxheim Organ Book (Munich, Bayerische Staatsbibliothek, Cim. 352b) £ Ich bins erfreut (GLOG 246) ODH = Harmonice musices odhecaton A (Venice: Ottaviano Petrucci, 1501) Die libe ist schön (GLOG 227) 2:59 CORD = Chansonnier Cordiforme (Paris, Bibliothèque Nationale de France, Rothschild 2973 (I.5.13)) TR89 = Trent Codex 89 (Trento, Castello de Buonconsiglio, Monumenti e Collezioni Provinciali, (formerly MS 89) MS 1376. Suite X ¢ Der pfauen schwanz – Paulus de Broda (GLOG 22) 1:52 The abbreviations of the sources are according to David Fallows: A Catalogue of Polyphonic Songs, 1415-1480, Oxford: ∞ Der pfauen schwanz (GLOG 208) 0:54 University Press, 1999. The numbers following these abbreviations refer to the number of the piece in the source indicated as listed in the standard editions (e.g. GLOG 124 = Glogauer Liederbuch, piece number 124). Martin Hummel, Baritone The Glogau Song Book 135-7 @ ^ * ) £ § º ⁄ ‹ ‡ ‚ Songs, Comic Tales and Tails The musical history of central Europe contains an who usually played from memory, but educated Sabine Lutzenberger, Soprano abundance of forgotten treasures, among them the music enthusiasts or students, who could read mensural 2 3 7 9 $ ^ ) ™ • ª fl of the Glogauer Liederbuch. This manuscript contains 292 notation. Iconographical evidence for this practice is still songs, devotional chants, and instrumental pieces, which quite rare in the fifteenth century; illustrations after 1500 Ensemble Dulce Melos served a small monastic community in Lower Silesia as mostly show well dressed ladies and gentlemen, who daily entertainment around the year 1480. It was also have gathered to play and sing at a ʻprivateʼ concert. Yukiko Yaita used for Sunday worship – apparently it did not make Shortly after 1500 the first printed part-books appeared in Recorder 3 4 6 7 # % ¢ ∞ ¶ º ⁄ ‡ ° much difference. The collection itself tells of a joy in Italy and southern Germany. private music-making which has become rare today. Our three part-books were essentially written by a Chekker 8 ! ¡ ™ § › The pervading tone is quite intimate. Almost all the single hand. Expertise and care are evidenced in the Margit Übellacker pieces are in three parts, to be performed on three string unvaryingly clear writing, the inclusion of a precise instruments or sung in the registers SAT or ATB, also alphabetical index and the distinct marking of separate Dulcemelos 1 6 8 ! ¡ £ ¢ § ⁄ ‹ › ‚ a transposed or mixed for voices and instruments, if numbers, often by coloured initials. The music notation is Hackbrett &™ ª necessary. Many of the numbers, especially the songs remarkably competent. Who was this scribe and producer with texts, are very short, as if they should only be taken of the manuscript, and who were its first users? Elizabeth Rumsey as an inducement for longer improvisation. Additional The Glogauer Liederbuch was found and first Renaissance gamba 1-3 5-7 0 @ # ^ * ) ™ £ ∞ § •-¤ fi-a verses, often missing in the manuscript, might be sung described in 1874 in the Berlin Royal Library. The name from memory. The collection contains many settings of Glogauer Liederbuch was given to it later, because it $% ( ™ Viola dʼarco songs which were popular at the time, the well-known contains a note, written in the sixteenth century, which Uri Smilansky main melody of which was to be performed in the upper describes the cathedral of Glogau (Głogów) as its owner. register (discantus) or by the main voice in the middle It has long been thought that the manuscript originated in Viola dʼarco 2-7 0 @ # % ( ¢ ∞ ¶-¤ fi fl ° · a register (tenor), while the other voices contribute Glogau and might have belonged to the townʼs grammar Marc Lewon counterpoint, ornament, and harmonic accompaniment. school. The manuscript disappeared after 1945, but re- Some of the melodies occur several times in different emerged in 1977 in the Biblioteka Jagiellońska of Kraków, Plectrum lute 4 8 9 ! & ¢-¶ ‹ ° contrapuntal arrangements. The pieces are not ordered where it is kept today. A complete edition in four volumes Gittern *¡ £¤ ›‡ by genre or function, much less by sacred or secular and a facsimile edition have been published. Viola dʼarco 5 0 $ ™ fi · content; rather, they are set down as a colourful mixture. As early as the 1930s there had been speculation The performers sang or played all over the place, as it that the manuscript might have a connection to a certain Renaissance guitar 6 ⁄ were, enjoying the change and recurrence of musical clerical user, Andreas Ritter (ca. 1445-1480) from forms. Grünberg (Zielona Góra). This is because a humorous Instruments and Makers: It is important to recognize that the Liederbuch does and satirical motet in the volume (Probitate eminentem), not consist of a single volume, but of three separate part- composed by the Bohemian musician Petrus Wilhelmi de Marc Lewon: Plectrum lute – Stephen Gottlieb, London (UK) 2001; Gittern – George (Philip) Stevens, Lydd (UK) 2004 books (descant, tenor, contratenor). The Glogauer Grudencz (b. 1392), refers to him. It can, of course, not be Viola dʼarco – Richard Earle, Basel (CH) 2009; Renaissance guitar – Julian Behr, Wyhlen (D) 2005 Liederbuch is the oldest known set of part-books from discounted that Wilhelmi wrote the motet on somebody Yukiko Yaita: Tenor recorder – Francesco Li Virghi, Orte (I) 2003; Renaissance alto recorder – Yukiko Yaita, Yokohama (JP) 1998 central Europe. This form of music book was meant for a else and that the name of Andreas Ritter was only Chekker – Martin Gust, Windhorst (D), 2001 small group of equal musicians, not for a cathedral chapel substituted in the text of our manuscript, but the ironical Margit Übellacker: Dulcemelos – Bernd Maier, Freiburg (D) 2003; Hackbrett – Alfred Pichlmaier, Fraunberg (D)1993 or an instrumental ensemble at court; the music was not statements in the motet, concerning this ʻoutstanding Elizabeth Rumsey: Renaissance gamba – Robert Foster, Wiveliscombe (UK) 2001; Viola dʼarco – Richard Earle, Basel (CH) 2005 played from memory, but read from the part-book. The gentlemanʼ, tally strikingly with Ritterʼs known biography. Uri Smilansky: Viola dʼarco – Richard Earle, Basel (CH) 2007 users were musical amateurs: not professional musicians, He was said to have been just as fond of alcohol and women as he was of the monastic life. Ritter was engaged regina celorum, mater regis angelorum, which was to be II. The collection contains several pieces known as VI. This group is set in the Lydian mode. The German at Glogauʼs cathedral school until ca. 1465, and then sung regularly in the monastery by the pupils of the city ‘Schwanz’, i.e. tail, which probably designates them as strophic song Zu aller Zeit [Always] – a so-called ʻcourtly became canon at the Augustinian collegiate foundation in school, according to the foundation script, turns out to be dances (‘schwanzen’ was a word derivation of ‘tanzen’, songʼ – is given with its full text, which is added to from Sagan (Żagań). Grünberg, Glogau, and Sagan are the famous antiphon of the same title by the Englishman i.e.