Description
The presented collection “Cantus et Tibia – Volume 1” was created while making music. Beginning with the high Middle Ages, songs follow right up to the heyday of our bagpipes. Some of the polyphony dates from the period when the songs were written. Often, however, they developed their own accompaniment to a melody while singing and playing. The instrumental part is always kept in ambitus, key and chromaticism in such a way that it can be performed with Hümmelchen and Dudey, i.e. also with Gemshorn or Cornamuse. The appropriate drone is shown at the top left of each song.
CANTUS ET TIBIA, singing and flute playing – this is the motto of the newly published, two-part compilation of songs by Hermann Rieth. But tibia doesn’t just mean flute, but rather wind instrument. The first part leads from the High Middle Ages to the Renaissance, the second continues up to the present day.
Historical sources and inspiration in “Cantus et Tibia – Volume 1”
Cantus et Tibia – Volume 1″ begins with three songs from the Carmina Burana (CB). The book of the same title by René Clementchik is a well-founded and easily accessible source on this manuscript. The text and melody of Neidhart’s “Meie, din” can be found in: E. Weißner and H. Fischer; Die Lieder Neidharts; Tübingen, 1984. For the songs of Oswald von Wolkenstein, reference should be made to publications by Anton Schwob, Dieter Kühn, Klaus J. Schönmetzler and Marc Lewon.
Flexibility in implementation
Of course, these accompanying parts in “Cantus et Tibia – Volume 1” can also be played by recorder, violin or another melody instrument. And – according to old tradition – the musicians may feel free to deal with the material. Melodies can be played and accompanying parts sung in “Cantus et Tibia – Volume 1”. Purely instrumental versions are just as conceivable as acapella performances. Pre-written or improvised preludes and interludes can be enriching.
The versatility of Hümmelchen and Dudey
Hümmelchen and Dudey are versatile instruments: solo, in duet or in a quiet ensemble with flutes, violins, harp, cornamuse, gemshorn. The drone sound of the small bagpipes has a special charm when accompanying singing. The instrument matches the human voice well in terms of both timbre and volume. The lack of dynamic possibilities of the bagpipe demands a different voice leading from the singer and gives the songs a special character.
Hümmelchen and Dudey, as Michael Praetorius described them in 1619, are instruments of the late Renaissance and early Baroque. They were certainly also played before and for a while after. From today’s perspective, it is interesting to experience how the soft sound of the bagpipes, supported by a powerful drone, fits in with music from times when these instruments were not yet known or were no longer played.
“Cantus et Tibia – Volume 1″ by Hermann Rieth is a fascinating musical journey through time, spanning the high Middle Ages to the Renaissance. This collection enriches the repertoire of Hümmelchen, Dudey and other wind instruments with songs that can be interpreted both instrumentally and vocally. Rieth’s work encourages a creative approach to historical melodies and offers a bridge between past musical culture and today’s musicians. Cantus et Tibia” brings the rich tradition of polyphony to life and makes it accessible, making it an indispensable work for lovers of historical music.
Foreword
CANTUS ET TIBIA, singing and flute playing – this is the motto of the two-part compilation of songs. Tibia does not only mean flute but rather wind instrument. The first part leads from the High Middle Ages to the Renaissance, the second continues up to the present day.
Hümmelchen and Dudey are versatile instruments: solo, in duet or in a quiet ensemble with flutes, violins, harp, cornamuse, gemshorn. The drone sound of the small bagpipes has a special charm when accompanying singing. Both the timbre and the volume of the instrument are well suited to the human voice. The lack of dynamic possibilities of the bagpipe demands a different voice leading from the singer and lends the songs a special character.
Hümmelchen and Dudey, as Michael Praetorius described them in 1619, are instruments of the late Renaissance and early Baroque. They were certainly also played before and for a while after. From today’s perspective, it is interesting to experience how the soft sound of the bagpipe, supported by a powerful drone, fits in with music from times when these instruments were not yet known or were no longer played.
This collection was created while making music. Beginning with the high Middle Ages, songs follow right up to the heyday of our bagpipes. Some of the polyphony dates from the period when the songs were written. Often, however, they developed their own accompaniment to a melody while singing and playing. The instrumental part is always kept in ambitus, key and chromaticism in such a way that it can be performed with Hümmelchen and Dudey, i.e. also with Gemshorn or Cornamuse. The appropriate drone is shown at the top left of each song.
It begins with three songs from Carmina Burana(CB). The book of the same title by René Clementchik is a well-founded and easily accessible source on this manuscript. The text and melody of Neidhart’s “Meie, din” can be found in: E. Weißner and H. Fischer; Die Lieder Neidharts; Tübingen, 1984. For the songs of Oswald von Wolkenstein, reference should be made to publications by Anton Schwob, Dieter Kühn, Klaus J. Schönmetzler and Marc Lewon.
Of course, these accompanying parts can also be played by recorder, violin or another melody instrument. And – in keeping with old tradition – the musicians may feel free to deal with the material. Melodies can be played and accompanying voices sung. Purely instrumental versions are just as conceivable as acapella performances. Pre-written or improvised preludes and interludes can be enriching.
My thanks go to Elke Rieth for patiently rehearsing and making music together, Vito Susca for the text translation of “Sia laudato”, Georg Bildstein for the cover picture and Sigrun Karle for proofreading.
February 2019
Hermann Rieth
Author:in
Hermann Rieth
had recorder lessons with his mother as a child. Later, recorder lessons and playing became an essential balance during his studies (mathematics and physics for the higher teaching profession) and during his training as a hand weaver. As a crafts teacher, he continued this passion for making music with his pupils. After getting to know the Hümmelchen and Dudeys, a new intensification began: learning to play the bagpipes, attending courses and making lots of music. He soon began organizing the Schwäbisch Hall Sackpfeifertage with a friend. 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.
