Description
The sheet music collection “Advent and Christmas Carols”, compiled by Hermann Rieth, a renowned organizer of the Schwäbisch Hall Sackpfeifertage, comprises 36 carols from a period of 600 years. Earlier generations left us melodies and lyrics that were often accompanied by improvisational instrumentalists. This collection offers arrangements by various composers, mostly for several voices and in different musical arrangements for a lively interpretation of the songs.
Focus on historical instruments
The songs are specially adapted for historical wind instruments such as Hümmelchen or Gemshörner, which are characterized by a limited range and a restricted chromatic scale. These instruments, often used to accompany singers, enable an authentic rendition of the songs.
“Advent and Christmas carols” with variety and musical depth
From well-known melodies such as “Es kommt ein Schiff geladen” to lesser-known pieces such as the “Dreikönigs-Kanon”, the collection offers a wide range of songs. Historical pieces such as “There is no Rose” from the 15th century alternate with more modern compositions, making this collection a real listening experience.
Adaptive notation and flexible scoring
The notation of this collection of “Advent and Christmas carols” follows the historical sources, resulting in a versatile and adaptive notation. The pieces are arranged in such a way that they can almost always be played accompanied by a Hümmelchen. Scoring notes are merely suggestions and can be modified as desired to allow a cappella versions or purely instrumental interpretations.
The Christmas story told through music
The songs in “Advent and Christmas Carols” follow the course of the Christmas story – from the Annunciation to Mary to the Three Wise Men. Each song contributes to bringing the story to life through its musical and lyrical design.
Get in the mood for the Christmas season
“Advent and Christmas Carols” is not only a resource for musicians and ensembles, but also offers every music lover the opportunity to immerse themselves in the world of traditional Christmas music. Whether as accompaniment in a small circle or as part of a festive concert – these songs enrich every musical performance.
Your invitation to a musical celebration
With the “Advent and Christmas Carols” you not only acquire a collection of historically valuable pieces of music, but also an invitation to rediscover the Christmas season musically. This edition is ideal for anyone who wants to broaden their musical horizons and delve deep into the history and tradition of Christmas music. Get your copy now and enrich your musical repertoire with unique and versatile Christmas songs.
Foreword
This collection was created over a long period of time while singing and playing the bagpipes. The notation follows the sources according to which this booklet was compiled and is therefore not standardized. The same applies to spelling. The pieces are arranged so that a Hümmelchen can almost always play along. The casting instructions are only intended as suggestions and can be changed at will. It often makes sense to accompany vocals with instruments.
Pure a cappella or completely instrumental versions are also conceivable. In the Middle Ages, split sounds were popular, e.g. wind and string instruments together. At first there was no bass voice. In the Renaissance, the same instruments were preferred in one movement (e.g. recorder quartet) and polyphony with a bass part emerged.
Although drones are almost never notated, they are naturally part of the music. Drone sounds were not only heard when an instrument such as the hurdy-gurdy or bagpipes were involved. They were also played or sung on other instruments. The drone indications can be found above the pieces.
The songs follow the course of the Christmas story: Annunciation to Mary, Advent, Nativity, Magi.
Angelus ad virginem: A hymn particularly popular in England in the 13th to 15th centuries, transcribed from a manuscript and slightly revised for this edition.
Quando nascette: The movement is based on the tradition of the pifferari. They parade through the streets at Christmas time with chiaramella, a high, loud shawm, and zampogna, a large, loud bagpipe. The Zampogna has a separate chanter for each hand, each with a range of a fifth.
Omnes una gaudeamus: Found as a drinking song in two English carol collections.
The Christmas play: Based on one of the Oberufer Christmas plays. In the music by Leopold van der Pals, the singing of the Kumpanei is accompanied by the piano. Two songs were arranged for clarinet and bagpipes.
Pages 26 to 30 contain the songs from the Haller Hirtenspiel, which was written in 2004 and performed with schoolchildren as street theater. The performers were accompanied in their singing by recorders and bagpipes.
The Quempaslied (page 32) has been sung in churches as an alternating song in the run-up to Christmas since pre-Reformation times.
Holly and Ivy (holly and ivy) are English Christmas symbols.
At the end there are references and sources for individual songs.
My thanks go to the musicians with whom I was able to try out the pieces and to Klaus Knigge for letting me use his song sets. My heartfelt thanks to Hans Georg Lenzen. I am very pleased that his vignettes have given the magazine a festive glow. Many thanks to Marc Lewon for his new transmission of the ‘Angelus ad virginem’ and his careful examination of the manuscript. I would especially like to thank Friedhelm Capelle for his contribution to the Haller Hirtenspiel and his musical advice.
I hope that this booklet will give Christmas music-making a new impetus and also encourage you to continue your own search.
Schwäbisch Hall, November 2008
Hermann Rieth
Text on the back of the book
36 carols for the Advent and Christmas season, compiled for singers and pipers. Pfeiffer means wind instruments: flutes, reeds and also bagpipes.
In ancient times, songs were mostly passed down orally, often only the lyrics were written down, rarely a melody. An accompaniment was probably often improvised by instrumentalists but not written down. Written arrangements have been found since the Middle Ages, initially anonymously, then with the composer’s name.
This collection by the Schwäbisch Hall bagpiper Hermann Rieth contains original movements and arrangements by various composers from 600 years of European music history. Some songs are deliberately represented in several versions. The song movements have been selected and arranged in such a way that they can also be played on instruments such as Hümmelchen or Gemshörner, which only have a small range and a limited chromatic scale.
In keeping with the tradition of minstrels, these songs can of course also be accompanied by very different instruments: String instruments, plucked instruments or percussion instruments such as hammered dulcimer, bells, xylophone and others will produce interesting colorful sound versions. The main keys are F major, C major, D minor and D Dorian.
Author:in
Hermann Rieth
Hermann Rieth had recorder lessons with his mother as a child. Later, recorder lessons and playing became an essential compensation during his studies (mathematics and physics for the higher teaching profession) and the training period to become a hand weaver. As a teacher of handicrafts, he continued this passion in making music with students.
After getting to know the Hümmelchen and Dudeys, a new intensification began: learning the Dudel sackspiel, attending courses and making lots of music. Soon he and a friend began organizing the Schwäbisch Haller Sackpfeifertage. This led to an interest in early music, a preoccupation with old prints and manuscripts, and an extensive collection of pieces for Hümmelchen and Dudey.
The occupation with the repertoire of this booklet began already in school days with the program “Hello Folk”, which Walli Whyton hosted for the English soldier station. There, sounds of folk rock and Anglo-Saxon customs were heard alongside familiar ones. Some examples are included here at the end.
