Description
Under the motto “CANTUS ET TIBIA”, singing and flute playing, the collection created by Hermann Rieth extends over three volumes, covering a broad musical spectrum. This ranges from the high Middle Ages to the Renaissance in the first volume, continues into our time in the second and is supplemented in the third volume by ten further melodies arranged for several voices.
The special feature of the instruments
Hümmelchen and Dudey, small bagpipes characterized by their soft sound carried by a drone, are at the heart of the collection “Cantus et Tibia – Expanded”. As described by Michael Praetorius in 1619, they offer a special musical experience that is suitable for solo performances as well as for ensemble playing with flutes, violins, harps, cornamuses and gems horns. Their ability to support and accompany the singing gives the songs an unmistakable character.
Foreword and musical philosophy
In his foreword, Hermann Rieth emphasizes the versatility of Hümmelchen and Dudey and their ability to enrich pieces of music from different eras and genres. The collection “Cantus et Tibia – Expanded” is the result of shared musical experiences and aims to provide musicians with a repertoire that is suitable for historical instruments of the Renaissance and Baroque periods as well as for contemporary compositions.
Extensive collection and customizations
The third volume, “Cantus et Tibia – Expanded” contains an extended selection of songs that have been specially arranged for the tuning of Hümmelchen and Dudey in C/F. To make it easier to play together, the accompaniment parts for the first six titles have been printed separately. Three bonus tracks further enrich the collection and offer new musical discoveries.
Invitation to make creative music
“Cantus et Tibia – Expanded” is an invitation to all music lovers to explore the diverse sound worlds of historical and modern music. With the detailed notations and arrangements by Hermann Rieth, making music together becomes an enriching and inspiring experience.
Foreword
Hümmelchen and Dudey, these small, soft-sounding bagpipes from the Renaissance and early Baroque period, as described by Michael Praetorius, are wonderfully suited to making music together in small ensembles. They are also well suited to accompany vocals. It has now become clear that they not only have their place in the music of their heyday at the beginning of the 17th century, but can also make a convincing contribution to earlier music. The same applies to music from the Baroque period to the present day.
The collection presented here is a colorful mixture that was created while making music. Drones were not notated in early music or later, nor were instrumentations. It can be assumed that they were a natural part of the piece and that it was up to the musicians to add continuous tones to a piece. It was also common to sing drone notes.
The lineups were probably often based on the available opportunities. In the table of contents, the range of each voice is indicated after the title with quarter notes. The whole note denotes the root note. The casting suggestions can be handled very freely. Because the editor is a wind player, it comes to the proposals. Other instruments are also very suitable, such as fiddle or violin, harp, lute or guitar, organetto, cornamuse or mandolin, dulcian or bassoon.
The abbreviations mean:
Dud = Dudey or Hümmelchen
SG = Soprano cornet
AG = Alto cornet
TG = Tenor cornet
BG = Bass cornet
GBG = Great bass cornet
Bfl = Recorder
voc = Singing part
The indication accompaniment points to the parts which are included in part 2 as part excerpts.
Alta Trinita Beata: is a short lauda from the 15th century in Italian colloquial language of anonymous origin, first published by Charles Burney, London 1782.
It is certainly about time: the poet and theologian Bartholomäus Ringwaldt’s adaptation of the Dies Irae sequence, the Latin Mass for the Dead.
Laetatus Sum: Based on a two-part canon by A. Gumpelsheimer, an arrangement was created to which two further movements were added. Laetatus Sum is the beginning of 122. Psalms, a pilgrim song.
Now Westlin Winds: is an autumn song by Robert Burns, the poet who is still highly revered in Scotland today. A free translation is attached.
Wie lieblich ist der Maien: is a sacred spring song from the early Baroque period.
Where two or three in my name: is a two-part canon that serves here as the basis for a new arrangement.
The canon: by Hauptmann has been expanded and can still be played as a canon.
In the second part of this booklet the accompanying parts are reproduced separately so that you don’t have to turn the pages so often. This resulted in free pages. This allowed three bonus pieces to be recorded:
Zu newen jar: with the melody of the Mönch von Salzburg and a new accompaniment and Die blaue Flagge, a dance from northern Germany and a worthy conclusion
The night horn: in a two-part piece by the Mönch von Salzburg, to which he gave the subtitle: und ist gut zu blasen.
May the arrangements in this booklet be an inspiration for your own arrangements of further songs or pieces of music and at the same time give rise to joyful music-making.
Schwäbisch Hall, March 2021
Hermann Rieth
Author:in
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.
With getting to know the Hümmelchen and Dudeys a new intensification began: learning to play the bagpipes, attending courses and making a lot of music. Soon he and a friend began organizing the Schwäbisch Haller Sackpfeifertage. In the process, he developed an interest in early music, a preoccupation with old prints and manuscripts, and an extensive collection of pieces for Hümmelchen and Dudey was formed.
At the same time, instructors taught music theory and harmony in amateur courses. Small accompaniments and preludes were invented and tried out in the group. The pieces in this booklet emerged from these beginnings.
