DAS LOCHAMER LIEDERBUCH (The Locham Song Book) German Popular Songs from the 15th Century Martin Hummel, Baritone Ensemble Dulce Melos Marc Lewon
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DASLOCHAMERLIEDERBUCH(The LochamSong Book)
German PopularSongs from the15th Century
Martin Hummel,Baritone Ensemble Dulce MelosMarc Lewon
88.557803
Ensemble Dulce Melos
Established in 2003 by Marc Lewon (lute,Germany), Margit Übellacker (dulcemelos, Austria)and Yukiko Yaita (recorders, Japan), Dulce Melosis an international ensemble dedicated to theperformance of instrumental music of the MiddleAges and Early Renaissance. The struck andplucked strings together with the recorder, andcombined with the bowed strings of ElizabethRumsey (fiddle, Australia) and Uri Smilansky(fiddle, Israel) form a unique ensemble sound,ideally fit for this repertoire. The members of theensemble met as students in the medievaldepartment of the Schola Cantorum Basiliensis andthey have had many invitations to importantfestivals of early music, including the Freunde AlterMusik Basel, Flauto Fribourg, InnovAntiquaWinterthur, the Montalbâne International Days forMedieval Music and the Boston Early MusicFestival. The characteristic style of the ensemblederives from the balance of subtlety and virtuosity in musical style, marked by exuberant polyphonic movementsand individual virtuosity. Critical preoccupation with sources distinguishes the players as interpreters of early musicwho establish their own arrangements, suited to their personal instruments and the individual style of the repertoirein question. In doing so the different instruments are used to characterise the sound of the late Middle Ages. Theensemble is particularly involved in the reconstruction of long neglected instruments and their reintroduction intohistorical performance, among them the dulcemelos, from which the ensemble takes its name, a medieval form ofthe hammered dulcimer, the name of which means ‘sweet melody’ or ‘sweet sound’.
For more information please visit: www.dulce-melos.com
Ensemble Dulce Melos and Martin Hummel (far right)
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A New EditionParallel to this recording there is now a new performingedition of the Lochamer Liederbuch published in severalparts and with notes on performance by Marc Lewon,issued by Verlag der Spielleute, Reichelsheim/Germany. www.spielleute.de
Marc LewonEnglish Version: Keith Anderson
1 In the fifteenth century these include principally theGlogauer and Schedelsche Song Books and in thesixteenth century the numerous printed song books suchas that of Arnt von Aich and the famous collections of‘Frische teutsche Liedlein’ of Georg Forster.
2 The exact number of the songs can vary in thesecondary literature, since two of the songs are doubledand written out with slight variations and two melodiesare only rudimentary and included without title or text.
Martin Hummel
Martin Hummel was born in Freiburg im Breisgau into a musical family and had his musical training in Würzburgand at the Schola Cantorum Basiliensis with Kurt Widmer and René Jacobs. He further continued his musical studywith Margreet Honig, Peter Schreier, Hans Hotter and others, embarking on a career of song recitals and concertsthat has taken him to a number of European countries, to the United States and to Asia. He has taken part in firstperformances, sung baroque music under leading conductors and undertaken broadcasts and televisionengagements, in addition to his recordings for major record companies. He teaches at the WürzburgMusikhochschule.
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1 Wach auf mein hort der leucht dort her (Awake my treasure the dawn is here) 3:50Martin Hummel (baritone), Elizabeth Rumsey (viola d’arco), Marc Lewon (lute)(Arr. Marc Lewon with new diminutions by Elizabeth Rumsey)
2 Der winter will hin weichen (The winter will have to yield) 1:59Martin Hummel (baritone), Yukiko Yaita (recorder), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (gittern), Margit Übellacker (dulcemelos), (Diminutions on cantus-line by Yukiko Yaita)
3 Czart lip wie suß dein anfanck ist (Tender love how sweet is your beginning) 1:01Martin Hummel (baritone)
4 Verlangen thut mich krencken (Longing sickens me) 2:52Martin Hummel (baritone), Uri Smilansky (viola d’arco) (Improvised accompaniment by Uri Smilansky)
5 Mein hercz in hohen frewden ist (My heart rejoices greatly) 2:19Yukiko Yaita (recorder), Elizabeth Rumsey (viola d’arco)
6 Möcht ich dein wegeren (Would I desire you) 2:48Martin Hummel (baritone), Marc Lewon (lute), Yukiko Yaita (recorder),Margit Übellacker (hackbrett), Elizabeth Rumsey and Uri Smilansky (viola d’arco)(Diminutions on cantus-line by Yukiko Yaita and Margit Übellacker)
7 Do mit ein gut Jare / Der Summer (With a good year / The summer) 2:18Marc Lewon (lute), Margit Übellacker (dulcemelos), Yukiko Yaita (chekker) (Arr. Marc Lewon)
8 Ach meyden dw vil sene pein (Alas separation, torment so full of yearning) 4:31Martin Hummel (baritone), Marc Lewon (lute) (Polyphonic setting and arr. Marc Lewon)
9 Mit ganczem willen wünsch ich dir (With all my heart I wish you) 3:03Martin Hummel (baritone), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (lute)(Improvised ornamentation by Uri Smilansky and Elizabeth Rumsey)
0 Mein trawt geselle vnd mein liebster hort (My trusted friend and my dearest treasure) 1:41Martin Hummel (baritone), Uri Smilansky (viola d’arco), Marc Lewon (gittern), Margit Übellacker (dulcemelos) (Arr. Marc Lewon)
! Anauois 1:51Marc Lewon (gittern), Margit Übellacker (dulcemelos) (New diminutions by Marc Lewon)
@ Paumgartner 6:00Elizabeth Rumsey and Uri Smilansky (viola d’arco) (Improvised diminutions by Elizabeth Rumsey and Uri Smilansky)
# Mein frewd möcht sich wol meren (My joy could become greater) 2:38Martin Hummel (baritone), Margit Übellacker (hackbrett) (Cantus-line by Margit Übellacker)
$ All mein gedencken dy ich hab (All the thoughts I have) 2:55Martin Hummel (baritone), Marc Lewon (lute), Margit Übellacker (dulcemelos) (Polyphonic setting and arr. Marc Lewon)
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there has a new setting. For this recording we fall back onthe original text of the Monk and bring together the laterthree-part version of the Lochamer Liederbuch with theinstrumental setting from the Buxheimer Orgelbuch.Similarly the three-part ¢ Des klaffers neyden iscombined in the recording with the matchinginstrumental version. For the realisation of the famous ™Der wallt hat sich entlawbet, a dialogue between twolovers, a very simple setting without further arrangementwas chosen. And finally with ( Ein vrouleen edel vonnaturen, also in three parts, is a composition included inthe present selection in which the text is carried not bythe tenor but by the upper part, and which originally tookits pattern from the rondeau form of the Burgundianchanson - textually, formally and in the kind of musicalcomposition. Since the text for a rondeau form in theLochamer Liederbuch is too incomplete, for therecording a version with adapted instrumental parts fromthe Buxheimer Orgelbuch has been constructed, whichnevertheless gives an impression of the earlier form andits characteristic repetitions.
A different degree of arrangement is offeredparticularly with the many monophonic song settings inthis recording: 3 Czart lip wie suß dein anfanck ist,given in the Lochamer Liederbuch with a single verse butin the Schedelsche Liederbuch actually in three partswith three verses is here, like % Ich sach ein pild Inplaber wat, given strictly according to the LochamerLiederbuch version in a very reduced interpretation forunaccompanied voice. Other monophonic songs areeither sparingly accompanied by instruments, as with thetranquil 4 Verlangen thut mich krencken, orheterophonically filled out with many partly improvisinginstruments, as in the spirited versions of the light-hearted ^ Ich spring an disem ringe, * Mir ist meinpfërd vernagellt gar and & Es fur ein pawr gen holz. Thelast of these appears in fragmentary form in themanuscript and includes only one short verse. Mentions
in other sources suggest, however, that this must havebeen, in its time, a favourite popular song.
Other songs notated monophonically are set for therecording in discrete counterpoint, such as $ All meingedencken dy ich hab and 9 Mit ganczem willen wünschich dir, with a simple fauxbourdon given to the latter andfollowed by the instrumental version. Others have anewly ornamented upper part, such as # Mein frewdmöcht sich wol meren and § Ich bin pey Ir, which, as thefinal piece of the recording, is arranged in the form of acantus firmus for a virtuoso basse danse with two veryspirited additional parts.
Judging from the way the instrumental part of theLochamer Liederbuch is written it is assumed that theseversions were arranged for a keyboard instrument. Sinceorganists and notably Conrad Paumann, however, alsohad command of other instruments and played, amongothers, harp, lute, fiddle, and recorder, it can be taken asa starting-point that in the tablature a style is reflectedthat could be used generally for instrumental music ofthis period. On the basis of the instrumental versions andof the Fundamentum organisandi the members of theensemble have undertaken the arrangement of the piecesfor their instruments and the provision of somediminutions for repetitions in the style of the LochamerLiederbuch. In this way there are, among others, newversions for 5 Mein hercz in hohen frewden ist, ! Anauois, @ Paumgartner (arranged in rondeau formfor this recording), ) Wilhelmus Legrant and ¡ Ellenddw hast. Under the title 7 Do mit ein gut Jare / DerSummer lie two versions of the same basic compositionin which the first offers a two-part intabulation from theinstrumental part of the song book - here interpreted as asolo on the plectrum lute - and the second version as atextless three-part version from the song section of themanuscript. With ∞ Benedicite almechtiger got we have,however, also included in the recording a solo versionwith a keyboard instrument.
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% Ich sach ein pild In plaber wat (I saw a figure dressed in blue) 1:35Martin Hummel (baritone)
^ Ich spring an disem ringe (I dance in this roundel) 2:44Martin Hummel (baritone), Yukiko Yaita (Einhandflöte und Schlagbordun [pipe and string-drum]), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (lute), Margit Übellacker (hackbrett)(Diminutions by Yukiko Yaita and improvised arr. for ensemble by Dulce Melos)
& Es fur ein pawr gen holz (A peasent went to cut wood) 1:36Martin Hummel (baritone), Yukiko Yaita (recorder), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Margit Übellacker (hackbrett), Marc Lewon (gittern)(Diminutions and cantus-line by Yukiko Yaita and improvised arr. for ensemble by Dulce Melos)
* Mir ist mein pfërd vernagellt gar (My horse has been shoed poorly) 2:10Martin Hummel (baritone), Yukiko Yaita (Doppelflöte [double flute]), Margit Übellacker (dulcemelos), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (lute)(Diminutions by Yukiko Yaita and improvised arr. for ensemble by Dulce Melos)
( Ein vrouleen edel von naturen (A girl noble in nature) 3:00Martin Hummel (baritone), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (lute)
) Wilhelmus Legrant 2:08Yukiko Yaita, Elizabeth Rumsey, Uri Smilansky (recorders) (New diminutions by Yukiko Yaita)
¡ Ellend dw hast (Sadness you have) 2:47Margit Übellacker (hackbrett), Elizabeth Rumsey (viola d’arco) (New diminutions by Margit Übellacker)
™ Der wallt hat sich entlawbet (The trees are now bare) 3:44Martin Hummel (baritone), Elizabeth Rumsey and Uri Smilansky (viola d’arco)
£ Ellend dw hast 1:46Margit Übellacker (hackbrett), Marc Lewon (lute)
¢ Des klaffers neyden (The slanderer’s envy) 4:00Martin Hummel (baritone), Marc Lewon (lute), Margit Übellacker (hackbrett), Elizabeth Rumsey (viola d’arco) (New diminutions by Margit Übellacker)
∞ Benedicite almechtiger got (Blessing, Almighty God) 2:50Yukiko Yaita (chekker)
§ Ich pin pey Ir (I am with her) 3:18Martin Hummel (baritone), Yukiko Yaita (recorder), Margit Übellacker (dulcemelos) (Polyphonic setting by Uri Smilansky)
The editions for this recording were reconstructed and completed by Marc Lewon according to the facsimile of the manuscript and through parallel sources.
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(about 1460). A particular feature in the instrumental partof the Lochamer Liederbuch, as in the BuxheimerOrgelbuch, is the Fundamentum organisandi that in bothsources is attributed to Conrad Paumann. It deals with akind of composition and improvisation teaching forkeyboard instruments: with the guideline of the particularmelody of an invented lower part possibilities are offeredfor an improvised and decorated counterpoint as an upperpart. This kind of collection of examples has a longtradition in the performance of vocal improvisation. Forthe instrumental treatment of improvised counterpointPaumann’s Fundamentum with his systematic method is,however, something new and brings the instrumentalpieces of the Lochamer Liederbuch into a clearconnection with Paumann’s School. The intabulations ofthe instrumental part of the Lochamer Liederbuch aresometimes arrangements of monophonic and polyphonicpieces from the song section, thus providing a connectionbetween both halves of the manuscript; the repertoiresoverlap, but do not duplicate. From the appearance of thewriting and the contents it is clear that both parts, in anycase, belong together and the main writer, at least partly,deliberately made intabulations of pieces that he hadalready given as songs.
On the RecordingWhile the Lochamer Liederbuch includes polyphonicpieces - in which the part with the text as a rule lies in thetenor - most pieces in the song section are, nevertheless,notated monophonically. Both the way they are writtendown as well as the parallel existence of polyphonicversions and tablatures in other manuscripts shows thatmany of these melodies were either taken from apolyphonic context or that a polyphonic version of suchsongs was at least customary.
The present recording offers a representativeselection of monophonic and polyphonic songs from thefirst part of the Lochamer Liederbuch, as well asindividual instrumental versions from the second part. A
particular focus is given to richly varied interpretation inorder to provide different approaches for a stylisticallysuitable treatment of this repertoire. Alongsideinterpretations that keep very near to the originalwording of the source are versions formed by variouscombinations of original arrangements: monophonictenors are filled out polyphonically from other sources,upper parts are ornamented in the style of theinstrumental diminutions of the Fundamentumorganisandi, instrumental versions are placed by theirsong models or both are brought together inarrangements.
The opening 1 Wach auf mein hort der leucht dorther of Oswald von Wolkenstein - one of the few songs towhich an author can be ascribed - is also one of the firstpieces in the Lochamer Liederbuch and is given theremonophonically. The rendering presented here combinesthe song setting of the first part with the intabulationfrom the second part of the song book, with thecounterpoint of the instrumental version retained asaccompaniment to the sung verse. The wording of thepoem as well as details of the melody appear in themanuscript of the Lochamer Liederbuch version incontrast with the original version in the Oswaldmanuscripts - doubtless due to oral transmission - insimplified and possibly ‘eroded’ form. The monophonic8 Ach meyden dw vil sene pein has also been arrangedpolyphonically for this recording on the basis of apolyphonic instrumental version. The three-part 2 Derwinter will hin weichen breaks off in the manuscript inthe third verse. Although a completely transmitted textexists in another manuscript, for this recording thefragmentary version nearer to the source was chosen.Textual nuances are accentuated also in the similarlythree-part 6 Möcht ich dein wegeren through differentinstrumentations of the verses and newly ornamentedupper parts. 0 Mein trawt geselle vnd mein liebster hortgoes back to a text of the Monk of Salzburg, which isgiven only incomplete in the Lochamer Liederbuch and
8.557803 4
A Short Introduction to the ManuscriptThe Lochamer Liederbuch is counted today among themost important sources for German-language music inthe fifteenth century and is, for that reason, alsosomewhat controversially and not completelyappropriately described as ‘the first German song book’.
It is true that the manuscript corresponds in structureand content mostly to the concept of the later collectionsthat today are generally described as ‘German songbooks’1 and actually precedes them as the earliestcompletely surviving source from that time. Neverthelessit is different from these in one respect: instead ofexclusively polyphonic pieces it includes particularlymonophonic songs (or possibly the tenor lines oforiginally polyphonic songs) and does not use the laternotation customary in part-books. On the other hand itonly with difficulty draws a dividing line with the earliercollections of German songs or song texts such as theOswald codices or the mixed collections of poems thatgo back to the anthologies of the Minnesingers. Andfinally it must be called the ‘first surviving’ song book,despite the methods of transmission being arbitrary andsubject to chance - we cannot for a moment guess howmany such collections have been lost over the centuriesor lie still undiscovered in some corner or other.
Notwithstanding, the importance of the Liederbuchwith its altogether fifty anonymous melodies handeddown2 and thirty-two instrumental arrangements isundisputed. Apart from three Latin contrafacta that areincluded, practically all the songs have German texts,only nine are notated polyphonically and for only threecan authors be ascribed through parallel survivingsources: one poem of the Monk of Salzburg, one tenorof Oswald von Wolkenstein and one contrafactum on atenor of Gilles Binchois.
Contrary to obvious conjecture the LochamerLiederbuch, sometimes also known as the Locheimer
Liederbuch, stems neither from Locham nor Locheim.The name of the manuscript was first given in thenineteenth century and in fact due to an owner’s note onpage 37 - in the middle of the manuscript. There it says:‘Wolflein von Lochamer ist das gesenngk püch’ (Thissong book belongs to Wolflein from Lochamer). Thisowner and his entry are dated to a period around 1500.The book itself, on the other hand, was already inexistence in Nuremberg in the middle of the fifteenthcentury and was actually at first set up in two separateparts, written on paper, one part of songs, oneinstrumental. Researches into the manuscript haveshown that both were first written separately andbrought together at a later stage - yet apparently still bythe original owner of the manuscript itself. The greaterpart of the manuscript was drafted by this one hand anddrawn up about the year 1452, as some date entriesshow. After this point in time the parts were boundtogether and there followed additions from other hands,extended over the subsequent years. It is probable thatthe principal writer was Frater Judocus von Windsheim,who later, in the year 1460, entered his name into themanuscript. Apart from the song book there is noinformation on him, although there are conjectures abouthis identity. From the context it is, however, evident thathe must have studied and later entered the religious life.The main part of the song book was probably madeduring his student years. It is certain that he came fromthe Nuremberg region and was among the circle of thefamous blind organist and lutenist, Conrad Paumann -possibly he was himself even a pupil of Paumann.Evidently he could in any case play a keyboardinstrument and eventually himself also madearrangements for it (called ‘Intabulations’ or‘Tablatures’). Stylistically these instrumentalarrangements fit the so-called ‘Paumann School’, aspresented particularly in the Buxheimer Orgelbuch
Das Lochamer Liederbuch (The Locham Song Book)
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8.5578035
(about 1460). A particular feature in the instrumental partof the Lochamer Liederbuch, as in the BuxheimerOrgelbuch, is the Fundamentum organisandi that in bothsources is attributed to Conrad Paumann. It deals with akind of composition and improvisation teaching forkeyboard instruments: with the guideline of the particularmelody of an invented lower part possibilities are offeredfor an improvised and decorated counterpoint as an upperpart. This kind of collection of examples has a longtradition in the performance of vocal improvisation. Forthe instrumental treatment of improvised counterpointPaumann’s Fundamentum with his systematic method is,however, something new and brings the instrumentalpieces of the Lochamer Liederbuch into a clearconnection with Paumann’s School. The intabulations ofthe instrumental part of the Lochamer Liederbuch aresometimes arrangements of monophonic and polyphonicpieces from the song section, thus providing a connectionbetween both halves of the manuscript; the repertoiresoverlap, but do not duplicate. From the appearance of thewriting and the contents it is clear that both parts, in anycase, belong together and the main writer, at least partly,deliberately made intabulations of pieces that he hadalready given as songs.
On the RecordingWhile the Lochamer Liederbuch includes polyphonicpieces - in which the part with the text as a rule lies in thetenor - most pieces in the song section are, nevertheless,notated monophonically. Both the way they are writtendown as well as the parallel existence of polyphonicversions and tablatures in other manuscripts shows thatmany of these melodies were either taken from apolyphonic context or that a polyphonic version of suchsongs was at least customary.
The present recording offers a representativeselection of monophonic and polyphonic songs from thefirst part of the Lochamer Liederbuch, as well asindividual instrumental versions from the second part. A
particular focus is given to richly varied interpretation inorder to provide different approaches for a stylisticallysuitable treatment of this repertoire. Alongsideinterpretations that keep very near to the originalwording of the source are versions formed by variouscombinations of original arrangements: monophonictenors are filled out polyphonically from other sources,upper parts are ornamented in the style of theinstrumental diminutions of the Fundamentumorganisandi, instrumental versions are placed by theirsong models or both are brought together inarrangements.
The opening 1 Wach auf mein hort der leucht dorther of Oswald von Wolkenstein - one of the few songs towhich an author can be ascribed - is also one of the firstpieces in the Lochamer Liederbuch and is given theremonophonically. The rendering presented here combinesthe song setting of the first part with the intabulationfrom the second part of the song book, with thecounterpoint of the instrumental version retained asaccompaniment to the sung verse. The wording of thepoem as well as details of the melody appear in themanuscript of the Lochamer Liederbuch version incontrast with the original version in the Oswaldmanuscripts - doubtless due to oral transmission - insimplified and possibly ‘eroded’ form. The monophonic8 Ach meyden dw vil sene pein has also been arrangedpolyphonically for this recording on the basis of apolyphonic instrumental version. The three-part 2 Derwinter will hin weichen breaks off in the manuscript inthe third verse. Although a completely transmitted textexists in another manuscript, for this recording thefragmentary version nearer to the source was chosen.Textual nuances are accentuated also in the similarlythree-part 6 Möcht ich dein wegeren through differentinstrumentations of the verses and newly ornamentedupper parts. 0 Mein trawt geselle vnd mein liebster hortgoes back to a text of the Monk of Salzburg, which isgiven only incomplete in the Lochamer Liederbuch and
8.557803 4
A Short Introduction to the ManuscriptThe Lochamer Liederbuch is counted today among themost important sources for German-language music inthe fifteenth century and is, for that reason, alsosomewhat controversially and not completelyappropriately described as ‘the first German song book’.
It is true that the manuscript corresponds in structureand content mostly to the concept of the later collectionsthat today are generally described as ‘German songbooks’1 and actually precedes them as the earliestcompletely surviving source from that time. Neverthelessit is different from these in one respect: instead ofexclusively polyphonic pieces it includes particularlymonophonic songs (or possibly the tenor lines oforiginally polyphonic songs) and does not use the laternotation customary in part-books. On the other hand itonly with difficulty draws a dividing line with the earliercollections of German songs or song texts such as theOswald codices or the mixed collections of poems thatgo back to the anthologies of the Minnesingers. Andfinally it must be called the ‘first surviving’ song book,despite the methods of transmission being arbitrary andsubject to chance - we cannot for a moment guess howmany such collections have been lost over the centuriesor lie still undiscovered in some corner or other.
Notwithstanding, the importance of the Liederbuchwith its altogether fifty anonymous melodies handeddown2 and thirty-two instrumental arrangements isundisputed. Apart from three Latin contrafacta that areincluded, practically all the songs have German texts,only nine are notated polyphonically and for only threecan authors be ascribed through parallel survivingsources: one poem of the Monk of Salzburg, one tenorof Oswald von Wolkenstein and one contrafactum on atenor of Gilles Binchois.
Contrary to obvious conjecture the LochamerLiederbuch, sometimes also known as the Locheimer
Liederbuch, stems neither from Locham nor Locheim.The name of the manuscript was first given in thenineteenth century and in fact due to an owner’s note onpage 37 - in the middle of the manuscript. There it says:‘Wolflein von Lochamer ist das gesenngk püch’ (Thissong book belongs to Wolflein from Lochamer). Thisowner and his entry are dated to a period around 1500.The book itself, on the other hand, was already inexistence in Nuremberg in the middle of the fifteenthcentury and was actually at first set up in two separateparts, written on paper, one part of songs, oneinstrumental. Researches into the manuscript haveshown that both were first written separately andbrought together at a later stage - yet apparently still bythe original owner of the manuscript itself. The greaterpart of the manuscript was drafted by this one hand anddrawn up about the year 1452, as some date entriesshow. After this point in time the parts were boundtogether and there followed additions from other hands,extended over the subsequent years. It is probable thatthe principal writer was Frater Judocus von Windsheim,who later, in the year 1460, entered his name into themanuscript. Apart from the song book there is noinformation on him, although there are conjectures abouthis identity. From the context it is, however, evident thathe must have studied and later entered the religious life.The main part of the song book was probably madeduring his student years. It is certain that he came fromthe Nuremberg region and was among the circle of thefamous blind organist and lutenist, Conrad Paumann -possibly he was himself even a pupil of Paumann.Evidently he could in any case play a keyboardinstrument and eventually himself also madearrangements for it (called ‘Intabulations’ or‘Tablatures’). Stylistically these instrumentalarrangements fit the so-called ‘Paumann School’, aspresented particularly in the Buxheimer Orgelbuch
Das Lochamer Liederbuch (The Locham Song Book)
557803bk Liederbuch US 15/11/07 2:51 pm Page 4
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there has a new setting. For this recording we fall back onthe original text of the Monk and bring together the laterthree-part version of the Lochamer Liederbuch with theinstrumental setting from the Buxheimer Orgelbuch.Similarly the three-part ¢ Des klaffers neyden iscombined in the recording with the matchinginstrumental version. For the realisation of the famous ™Der wallt hat sich entlawbet, a dialogue between twolovers, a very simple setting without further arrangementwas chosen. And finally with ( Ein vrouleen edel vonnaturen, also in three parts, is a composition included inthe present selection in which the text is carried not bythe tenor but by the upper part, and which originally tookits pattern from the rondeau form of the Burgundianchanson - textually, formally and in the kind of musicalcomposition. Since the text for a rondeau form in theLochamer Liederbuch is too incomplete, for therecording a version with adapted instrumental parts fromthe Buxheimer Orgelbuch has been constructed, whichnevertheless gives an impression of the earlier form andits characteristic repetitions.
A different degree of arrangement is offeredparticularly with the many monophonic song settings inthis recording: 3 Czart lip wie suß dein anfanck ist,given in the Lochamer Liederbuch with a single verse butin the Schedelsche Liederbuch actually in three partswith three verses is here, like % Ich sach ein pild Inplaber wat, given strictly according to the LochamerLiederbuch version in a very reduced interpretation forunaccompanied voice. Other monophonic songs areeither sparingly accompanied by instruments, as with thetranquil 4 Verlangen thut mich krencken, orheterophonically filled out with many partly improvisinginstruments, as in the spirited versions of the light-hearted ^ Ich spring an disem ringe, * Mir ist meinpfërd vernagellt gar and & Es fur ein pawr gen holz. Thelast of these appears in fragmentary form in themanuscript and includes only one short verse. Mentions
in other sources suggest, however, that this must havebeen, in its time, a favourite popular song.
Other songs notated monophonically are set for therecording in discrete counterpoint, such as $ All meingedencken dy ich hab and 9 Mit ganczem willen wünschich dir, with a simple fauxbourdon given to the latter andfollowed by the instrumental version. Others have anewly ornamented upper part, such as # Mein frewdmöcht sich wol meren and § Ich bin pey Ir, which, as thefinal piece of the recording, is arranged in the form of acantus firmus for a virtuoso basse danse with two veryspirited additional parts.
Judging from the way the instrumental part of theLochamer Liederbuch is written it is assumed that theseversions were arranged for a keyboard instrument. Sinceorganists and notably Conrad Paumann, however, alsohad command of other instruments and played, amongothers, harp, lute, fiddle, and recorder, it can be taken asa starting-point that in the tablature a style is reflectedthat could be used generally for instrumental music ofthis period. On the basis of the instrumental versions andof the Fundamentum organisandi the members of theensemble have undertaken the arrangement of the piecesfor their instruments and the provision of somediminutions for repetitions in the style of the LochamerLiederbuch. In this way there are, among others, newversions for 5 Mein hercz in hohen frewden ist, ! Anauois, @ Paumgartner (arranged in rondeau formfor this recording), ) Wilhelmus Legrant and ¡ Ellenddw hast. Under the title 7 Do mit ein gut Jare / DerSummer lie two versions of the same basic compositionin which the first offers a two-part intabulation from theinstrumental part of the song book - here interpreted as asolo on the plectrum lute - and the second version as atextless three-part version from the song section of themanuscript. With ∞ Benedicite almechtiger got we have,however, also included in the recording a solo versionwith a keyboard instrument.
8.5578033
% Ich sach ein pild In plaber wat (I saw a figure dressed in blue) 1:35Martin Hummel (baritone)
^ Ich spring an disem ringe (I dance in this roundel) 2:44Martin Hummel (baritone), Yukiko Yaita (Einhandflöte und Schlagbordun [pipe and string-drum]), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (lute), Margit Übellacker (hackbrett)(Diminutions by Yukiko Yaita and improvised arr. for ensemble by Dulce Melos)
& Es fur ein pawr gen holz (A peasent went to cut wood) 1:36Martin Hummel (baritone), Yukiko Yaita (recorder), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Margit Übellacker (hackbrett), Marc Lewon (gittern)(Diminutions and cantus-line by Yukiko Yaita and improvised arr. for ensemble by Dulce Melos)
* Mir ist mein pfërd vernagellt gar (My horse has been shoed poorly) 2:10Martin Hummel (baritone), Yukiko Yaita (Doppelflöte [double flute]), Margit Übellacker (dulcemelos), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (lute)(Diminutions by Yukiko Yaita and improvised arr. for ensemble by Dulce Melos)
( Ein vrouleen edel von naturen (A girl noble in nature) 3:00Martin Hummel (baritone), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (lute)
) Wilhelmus Legrant 2:08Yukiko Yaita, Elizabeth Rumsey, Uri Smilansky (recorders) (New diminutions by Yukiko Yaita)
¡ Ellend dw hast (Sadness you have) 2:47Margit Übellacker (hackbrett), Elizabeth Rumsey (viola d’arco) (New diminutions by Margit Übellacker)
™ Der wallt hat sich entlawbet (The trees are now bare) 3:44Martin Hummel (baritone), Elizabeth Rumsey and Uri Smilansky (viola d’arco)
£ Ellend dw hast 1:46Margit Übellacker (hackbrett), Marc Lewon (lute)
¢ Des klaffers neyden (The slanderer’s envy) 4:00Martin Hummel (baritone), Marc Lewon (lute), Margit Übellacker (hackbrett), Elizabeth Rumsey (viola d’arco) (New diminutions by Margit Übellacker)
∞ Benedicite almechtiger got (Blessing, Almighty God) 2:50Yukiko Yaita (chekker)
§ Ich pin pey Ir (I am with her) 3:18Martin Hummel (baritone), Yukiko Yaita (recorder), Margit Übellacker (dulcemelos) (Polyphonic setting by Uri Smilansky)
The editions for this recording were reconstructed and completed by Marc Lewon according to the facsimile of the manuscript and through parallel sources.
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A New EditionParallel to this recording there is now a new performingedition of the Lochamer Liederbuch published in severalparts and with notes on performance by Marc Lewon,issued by Verlag der Spielleute, Reichelsheim/Germany. www.spielleute.de
Marc LewonEnglish Version: Keith Anderson
1 In the fifteenth century these include principally theGlogauer and Schedelsche Song Books and in thesixteenth century the numerous printed song books suchas that of Arnt von Aich and the famous collections of‘Frische teutsche Liedlein’ of Georg Forster.
2 The exact number of the songs can vary in thesecondary literature, since two of the songs are doubledand written out with slight variations and two melodiesare only rudimentary and included without title or text.
Martin Hummel
Martin Hummel was born in Freiburg im Breisgau into a musical family and had his musical training in Würzburgand at the Schola Cantorum Basiliensis with Kurt Widmer and René Jacobs. He further continued his musical studywith Margreet Honig, Peter Schreier, Hans Hotter and others, embarking on a career of song recitals and concertsthat has taken him to a number of European countries, to the United States and to Asia. He has taken part in firstperformances, sung baroque music under leading conductors and undertaken broadcasts and televisionengagements, in addition to his recordings for major record companies. He teaches at the WürzburgMusikhochschule.
8.557803 2
1 Wach auf mein hort der leucht dort her (Awake my treasure the dawn is here) 3:50Martin Hummel (baritone), Elizabeth Rumsey (viola d’arco), Marc Lewon (lute)(Arr. Marc Lewon with new diminutions by Elizabeth Rumsey)
2 Der winter will hin weichen (The winter will have to yield) 1:59Martin Hummel (baritone), Yukiko Yaita (recorder), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (gittern), Margit Übellacker (dulcemelos), (Diminutions on cantus-line by Yukiko Yaita)
3 Czart lip wie suß dein anfanck ist (Tender love how sweet is your beginning) 1:01Martin Hummel (baritone)
4 Verlangen thut mich krencken (Longing sickens me) 2:52Martin Hummel (baritone), Uri Smilansky (viola d’arco) (Improvised accompaniment by Uri Smilansky)
5 Mein hercz in hohen frewden ist (My heart rejoices greatly) 2:19Yukiko Yaita (recorder), Elizabeth Rumsey (viola d’arco)
6 Möcht ich dein wegeren (Would I desire you) 2:48Martin Hummel (baritone), Marc Lewon (lute), Yukiko Yaita (recorder),Margit Übellacker (hackbrett), Elizabeth Rumsey and Uri Smilansky (viola d’arco)(Diminutions on cantus-line by Yukiko Yaita and Margit Übellacker)
7 Do mit ein gut Jare / Der Summer (With a good year / The summer) 2:18Marc Lewon (lute), Margit Übellacker (dulcemelos), Yukiko Yaita (chekker) (Arr. Marc Lewon)
8 Ach meyden dw vil sene pein (Alas separation, torment so full of yearning) 4:31Martin Hummel (baritone), Marc Lewon (lute) (Polyphonic setting and arr. Marc Lewon)
9 Mit ganczem willen wünsch ich dir (With all my heart I wish you) 3:03Martin Hummel (baritone), Elizabeth Rumsey and Uri Smilansky (viola d’arco), Marc Lewon (lute)(Improvised ornamentation by Uri Smilansky and Elizabeth Rumsey)
0 Mein trawt geselle vnd mein liebster hort (My trusted friend and my dearest treasure) 1:41Martin Hummel (baritone), Uri Smilansky (viola d’arco), Marc Lewon (gittern), Margit Übellacker (dulcemelos) (Arr. Marc Lewon)
! Anauois 1:51Marc Lewon (gittern), Margit Übellacker (dulcemelos) (New diminutions by Marc Lewon)
@ Paumgartner 6:00Elizabeth Rumsey and Uri Smilansky (viola d’arco) (Improvised diminutions by Elizabeth Rumsey and Uri Smilansky)
# Mein frewd möcht sich wol meren (My joy could become greater) 2:38Martin Hummel (baritone), Margit Übellacker (hackbrett) (Cantus-line by Margit Übellacker)
$ All mein gedencken dy ich hab (All the thoughts I have) 2:55Martin Hummel (baritone), Marc Lewon (lute), Margit Übellacker (dulcemelos) (Polyphonic setting and arr. Marc Lewon)
Das Lochamer Liederbuch
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DASLOCHAMERLIEDERBUCH(The LochamSong Book)
German PopularSongs from the15th Century
Martin Hummel,Baritone Ensemble Dulce MelosMarc Lewon
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Ensemble Dulce Melos
Established in 2003 by Marc Lewon (lute,Germany), Margit Übellacker (dulcemelos, Austria)and Yukiko Yaita (recorders, Japan), Dulce Melosis an international ensemble dedicated to theperformance of instrumental music of the MiddleAges and Early Renaissance. The struck andplucked strings together with the recorder, andcombined with the bowed strings of ElizabethRumsey (fiddle, Australia) and Uri Smilansky(fiddle, Israel) form a unique ensemble sound,ideally fit for this repertoire. The members of theensemble met as students in the medievaldepartment of the Schola Cantorum Basiliensis andthey have had many invitations to importantfestivals of early music, including the Freunde AlterMusik Basel, Flauto Fribourg, InnovAntiquaWinterthur, the Montalbâne International Days forMedieval Music and the Boston Early MusicFestival. The characteristic style of the ensemblederives from the balance of subtlety and virtuosity in musical style, marked by exuberant polyphonic movementsand individual virtuosity. Critical preoccupation with sources distinguishes the players as interpreters of early musicwho establish their own arrangements, suited to their personal instruments and the individual style of the repertoirein question. In doing so the different instruments are used to characterise the sound of the late Middle Ages. Theensemble is particularly involved in the reconstruction of long neglected instruments and their reintroduction intohistorical performance, among them the dulcemelos, from which the ensemble takes its name, a medieval form ofthe hammered dulcimer, the name of which means ‘sweet melody’ or ‘sweet sound’.
For more information please visit: www.dulce-melos.com
Ensemble Dulce Melos and Martin Hummel (far right)
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Playing Time71:20
Described as ‘the first German song book’, Das Lochamer Liederbuch (The Locham SongBook) is one of the earliest collections of German songs and instrumental compositions,assembled in the 1450s. This recording includes a representative selection of monophonicand polyphonic songs ranging in mood from tender love songs such as Der wallt hat sichentlawbet, to blessings for the changing seasons (Der winter will hin weichen / DerSummer) and dance songs. The instrumental versions are performed on long neglectedand reconstructed instruments from the late Middle Ages such as the dulcemelos, thename of which means ‘sweet melody’ or ‘sweet sound’.
Martin Hummel, Baritone *Ensemble Dulce Melos • Marc Lewon
Recorded in the Konzertsaal Reitstadl, Neumarkt, Germany, from 26th to 28th September, 2005 Producer: BR Studio Franken, Germany • For a more detailed track list please see pages 2 & 3 of the booklet.
Booklet Notes: Marc Lewon (English version by Keith Anderson)Cover Picture: Bildnis eines Gelehrten by Quentin Massys (c. 1465–1530)
(Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main, Germany)
1 Wach auf mein hort der 3.50leucht dort her *
2 Der winter will hin weichen * 1.593 Czart lip wie suß dein 1:01
anfanck ist *4 Verlangen thut mich krencken * 2:525 Mein hercz in hohen frewden ist 2:196 Möcht ich dein wegeren * 2:487 Do mit ein gut Jare / 2:18
Der Summer8 Ach meyden dw vil sene pein * 4:319 Mit ganczem willen 3:03
wünsch ich dir *0 Mein trawt geselle vnd mein 1:41
liebster hort *! Anauois 1:51@ Paumgartner 6:00
# Mein frewd möcht sich 2:38wol meren *
$ All mein gedencken dy ich hab * 2:55% Ich sach ein pild In plaber wat * 1:35^ Ich spring an disem ringe * 2:44& Es fur ein pawr gen holz * 1:36* Mir ist mein pfërd 2:10
vernagellt gar *( Ein vrouleen edel von naturen * 3:00) Wilhelmus Legrant 2:08¡ Ellend dw hast 2:47™ Der wallt hat sich entlawbet * 3:44£ Ellend dw hast 1:46¢ Des klaffers neyden * 4:00∞ Benedicite almechtiger got 2:50§ Ich bin pey Ir * 3:18
(The Locham Song Book)DAS LOCHAMER LIEDERBUCH
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