"Out now: Totdat de wachter heeft gezongen, songs from the Gruuthuse manuscript"Neerlandistiek, 12-12-2018
Grondig onderzoekInstrumentalisten waren er tijdens de vijftiende eeuw genoeg, maar muzikale manuscripten die een eenduidig repertoire beschrijven voor instrumentale ensembles uit die tijd, zijn schaars. Het in (laat-)middeleeuwse muziek gespecialiseerde ensemble Aventure deed grondig onderzoek naar het Gruuthuse Manuscript. Het instrumentale repertoire op het album bevat arrangementen en polyfone ensemblestukken van rond de jaren 1450 tot 1470. De bewerkingen zijn óf instrumentale versies gebaseerd op al bestaande polyfone voorbeelden, óf omzettingen in monofone koralen.
Gruuthuse ManuscriptDe gedichten en liederen uit het Gruuthuse Manuscript vinden hun oorsprong in de stad Brussel van de jaren 1400. De verzameling is genoemd naar zijn latere eigenaar, Lodewijk van Gruuthuse. De liederen vormen het meest bekende deel uit de verzameling, en dan hebben we het over liefdesliederen, losbandige liederen en drinkliederen. Het manuscript bevat de grootste en tegelijkertijd meest uitgebreide Nederlandstalige liederenverzameling uit de Middeleeuwen. De vorm van de liederen duidt er ook op dat ze voor kenners bestemd waren. De dichter gebruikte bestaande vaste Franse dichtvormen uit de late Middeleeuwen, zoals de ballade, de rondeau en de virelai, de dichtvorm met twee rijmklanken en slechts twee of drie coupletten. Het uitgebreide spectrum van de gebruikte vormen is opmerkelijk.
Marco Magalhães studied recorder at the Conservatório de Musica do Porto with Pedro Couto Soares and Pedro Silva and on the Escola Superior de Música de Lisboa. He followed masterclasses with Peter van Heyghen and Kees Boeke, among others, and graduated from the Sweelinck Conservatory with Paul Leenhouts. He plays in the Royal Wind Music.
Ita Hijmans studied recorder with Jeanette van Wingerden and specialized at the Schola Cantorum Basiliensis (Switzerland) in medieval and renaissance music with Crawford Young and Kenneth Zuckermann. As artistic leader of Aventure and Foundation yellow crane, center for early music. Since 1992 she has been deeply engaged in conducting and researching especially late medieval music. She taught at various conservatoires as a guest lecturer in medieval music and did many courses in that area. Apart from her playing work for Aventure, she does the research and programming for the ensemble. She is a passionate musician and teacher and does nothing more than enthuse others for late medieval music.
She has published, among others, "The Recorderconsort ca.1500, Pictures, Extant Instruments and Repertoire", ed. Lasocki, 2005 and About Handschrift Koning: Between court and monastery, between north and south, late medieval music of the Dutch townspeople, in Historisch Tijdschrift Holland (2008).
Fumitaka Saito studied recorder with Michel Piguet at the Schola Cantorum Basiliensis, with Matthias Weilenmann and then with Walter van Hauwe at the Sweelinck Conservatory. He won prizes at the Blockflöten Symposium Calw in Germany and 'honorable mentions' at the Musica Antiqua competition in Bruges. He has performed in Europe and his native country of Japan and since 1984 has also been involved in recorder-making. Since 1992 he has been based in Amsterdam as a recorder builder.
Oswald von Wolkenstein was a German composer whose music bridged the Medieval and Renaissance eras; the last of the poet-musician knights whose monophonic music explored the ideal of courtly love, he also wrote polyphonic music in more contemporary forms. As noble "von" indicates, Oswald was from a knightly family of the Villanders line. The surname "von Wolkenstein" comes from the name of their property of Wolkenstein in Groednertal, South Tyrol (a mountainous Austrian province that was taken by Italy in World War II). As he was of high birth, there is some information available about his life; key events were written in family archives. Still, as is the norm with composers of the day, there are numerous gaps that can be filled in only imperfectly by extrapolation from his works. Oswald was a second son, which put him at a disadvantage, but also gave him freedom to pursue an adventurous life, and to enter the political sphere. He spent his youth as a page in service, which took him to various countries and gave him fluency in several languages. He became a diplomat for the league of Tyrolean nobles and for Emperor Sigismund and took part in several German councils.
His seat was Hauenstein castle near Bolzano, but in 1407 he inherited only part of Hauenstein itself, and spent the rest of his life in a property dispute with the other tenant, the family of Martin Jaeger. As a result of this dispute, and also because of political intrigues, he was imprisoned several times. Nevertheless, he fell in love with Anna Hausmann, the daughter of one of his adversaries in this dispute. He wrote several love poems to her, continuing even after his marriage to Margarete von Schwangau in 1417. He also wrote poems addressed to a "Barbara," but fortunately did not neglect to write love poetry addressed to his wife.
Oswald himself preserved a quantity of his own in two manuscripts designated "A" and "B." There is also a manuscript "C" that contains text but no music, and a few other sources. His songs are typically in AABB form, with arched, flowing melodic lines. There are some exceptions, such as Es komen neue mer gerant, which is a description of a military raid in northern Italy and is written in an almost parlando style, scoffing at the losers.
Oswald's poetry often drew on events he himself experienced or witnessed. The unusual fit between text and musical line in his music inspired a description of him as the "creator of the individual lied," which is ahistorical. Nor was he, as has sometimes been said, a Meistersinger, the German counterpart to the French troubador or trouvère. His music includes not only monophonic songs but also polyphony in three or four parts. Towards the end of his life he composed religious music in simple textures.
The Monk of Salzburg (German: Mönch von Salzburg) was a German composer of the late 14th century. He worked at the court of the Salzburg archbishop Pilgrim von Puchheim (1365–96) more than 100 Liederhandschriften (manuscripts) in Early New High German are attributed to him.
His name and monastic order is unknown; some of the introductions to the manuscript sources mention the names Herman, Johans, and Hanns and describe him as either Benedictine or Dominican. Despite this confusion, all the manuscripts that contain his works "agree that he was a learned monk who wrote sacred and secular songs".His compositions overcome the Minnesang traditions and even approached to recent polyphonic settings.
Out now: Totdat de wachter heeft gezongen, songs from the Gruuthuse manuscript
Beautifully arranged pieces that are played in an organic way. Especially in the top layer of the melody we hear sometimes the virtuoso passages that enhance the composition. Great how these wonderful musicians put this old music into the present with such an exciting result.
Music Frames, 07-12-2018