Description
The presented collection “Cantus et Tibia – Volume 1” was created while making music. Beginning with the high Middle Ages, songs follow up to the heyday of our bagpipes. The polyphony dates in part from the period in which the songs were written. Often, however, their own accompaniment was developed to a melody while singing and playing. The instrumental part is always kept in such a way in terms of ambitus, key and chromaticism that it can be performed with Hümmelchen and Dudey, i.e. also with Gemshorn or Cornamuse. For each song, the appropriate drone is shown in the upper left corner.
CANTUS ET TIBIA, singing and flute playing – this is the motto of the newly published, two-part compilation of songs by Hermann Rieth. Here tibia means not only 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). On this manuscript, the book of the same title by René Clementchik is a sound and easily accessible source. 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, we refer 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 performance. Previously notated or improvised preludes and interludes can be enriching.
The versatility of Hümmelchen and Dudey
Hümmelchen and Dudey are versatile instruments: solo, in a duet or in a quiet ensemble with flutes, violins, harp, cornamuse, gemshorn. The drone carried sound of the small bagpipes has a special charm when accompanying singing. In terms of both timbre and volume, the instrument is a good match for the human voice. 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 describes them in 1619, are instruments of the late Renaissance and early Baroque. Surely they were 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. Here tibia means not only 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 a duet or in a quiet ensemble with flutes, violins, harp, cornamuse, gemshorn. The drone carried 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 gives the songs a special character.
Hümmelchen and Dudey, as Michael Praetorius describes them in 1619, are instruments of the late Renaissance and early Baroque. Surely they were 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.
The presented collection was created while making music. Beginning with the high Middle Ages, songs follow up to the heyday of our bagpipes. The polyphony dates in part from the period in which the songs were written. Often, however, their own accompaniment was developed 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. For each song, the appropriate drone is shown in the upper left corner.
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, we refer 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 any other melody instrument. And – according to old tradition – the musicians may feel free to deal with the material. Melodies can be played and accompaniments sung. Purely instrumental versions are just as conceivable as acapella performance. Previously notated 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 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.
