Description
The collection “Kinderlieder”, carefully compiled by Hermann Rieth, brings together 11 enchanting children’s songs that have been specially arranged for the bagpipes Hümmelchen and Dudey in C/F tuning. But not only these instruments are used here; the pieces can also be performed as soloists, duets or ensembles with a variety of other instruments such as flutes, violins, harps and more.
The magic of the little bagpipes
Hümmelchen and Dudey, versatile instruments, offer a unique musical experience in solo performances, duets or in a quiet ensemble with flutes, violins, harp, cornamuse and gemshorn. Its drone-like sound is perfectly suited to the human voice and lends the songs a very special character due to the lack of dynamic possibilities of the bagpipe. These instruments from the late Renaissance and early Baroque period, as described by Michael Praetorius in 1619, enrich the musical experience with their historically rooted yet timelessly beautiful sound.
Foreword by Hermann Rieth: An immersion in the world of music
In the foreword to “Kinderlieder”, Hermann Rieth takes us on a journey through the world of music, from the historical significance of minstrels to timeless questions and stories told through the songs. From the curiosity and joy that music brings to our lives to the profound reflections on death and the nocturnal journey to the land of dreams, this collection offers a rich palette of emotions and experiences.
A varied selection of songs
- “Aufzug der Spielleute” & “Wo wohnt der liebe Gott?”: Two examples that show how music can enrich our perception of the world and faith.
- “Two Sparrows” & “The Cuckoo and the Donkey”: songs that explore nature and its stories with humor and lightness.
- “Bertold Biber” & “Quodlibet”: From funny animal life to sociable music-making – these songs offer variety and fun.
- “To Stop the Train” & “Evening Song”: Stories and reflections that tell of the little adventures and tranquillity of the evening.
- “Night Song” & “Rain”: The journey through the night and the soothing sound of rain offer comfort and peace.
- “Old A’bram Brown”: A song that addresses the inevitability of death and yet leaves a positive memory.
Thanks to Phillippa Köttner-Robertson
Special thanks go to Phillippa Köttner-Robertson, whose illustrations not only enrich the “Kinderlieder” booklet, but also bring the songs presented to life visually.
A call to make music together
Hermann Rieth’s collection “Kinderlieder” is aimed not only at young musicians, but also at parents and grandparents who sing and make music with children. The illustrated stories and songs serve as a bridge to open up a home world full of music and fantasy to children.
This collection is more than just a book of sheet music; it is an invitation to dive into the world of music together and to discover and share the joy of making music.
Foreword
“Elevator of the minstrels.” Before radio was invented and the Internet came into the world, they were more common. They came from far away and brought some variety to the city and news from abroad. Sometimes they looked strange or had something sinister about them. But at the same time, people were curious and enjoyed the music.
“Where does the good Lord live?” Not only in heaven! It can be found everywhere if you just calm down and develop the right perspective.
“Two sparrows:” They live in my garden, by the house, in the elderberry. She makes a lot of loud noises and talks all day long. He is slightly grumpy and flies his own way. But then he happily sits next to her on the fence and they chat and bicker together – or with the neighbors. They always have something to say – until they realize that small green tips are emerging from the fresh bed.
“The cuckoo and the donkey.” It’s an old competition, but as if everything had been forgotten over the year, it starts all over again every spring.
“Bertold Biber” is a delightful exaggeration and the story we are told is fun. Perhaps some of this is true: in recent years, beavers have been coming ever closer to humans and conquering river and stream valleys.
“Quodlibet” is an old form of singing different songs together, one after the other or at the same time, until a merry jumble is created. You can also contribute new inventions – a sociable game to celebrate.
“To Stop the Train.” Now it’s getting serious! The text was in the English railroad under the emergency brake. There was a small hollow in the wall through which a red chain was stretched – close enough to touch. But woe betide anyone who pulls it for no reason! The punishment followed immediately.
“Evensong.” Every day we embark on a journey into another world. Sometimes it’s not a short walk and we make small stops with our senses at the birds and the rivers, in the wind and rain. As we drift along lightly, the big words of wise people lose their weight.
“Nightsong.” It’s about the same journey. Are we still thinking about the things of the day or are we already dreaming? In a fantastic way, the impressions mix together to form wonderful images, right up to the white clouds with which we float away lightly.
“Rain.” Then we woke up in the dark. And we listen to the rain, comfortably warm from our bed. And we can hear the wind howling from our warm shelter. And we are not alone.
“Old A’bram Brown” has died. Death has no horror. It is simply part of it. We will never see A’bram again. That’s how it is. But we remember him with his long coat and the many buttons. So his image remains with us.
My special thanks go to Phillippa Köttner-Robertson, who enriched the booklet with her illustrations.
Dear parents and grandparents, dear adults who sing and make music with children! This was a small attempt to set the mood for the following songs. Children need pictorial stories to feel at home in the world and the more coherent the pictures are, the better. Then no further explanations are needed.
With this in mind, I wish you happy music-making.
Hermann Rieth, Schwäbisch Hall in May 2021
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.
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. In the process, a small fund of children’s songs was found as a by-catch.
