Description
“Wol mich des Tages do mir alrerst worden kunt” reveals the lost sounds of the minstrel Reinmar von Brennenberg, presumably from a ministerial family from Brennberg Castle near Regensburg. This booklet presents all of Reinmar’s songs preserved in the Codex Manesse and the distinctive ‘Brennberger Ton’, the melody of which is preserved in the Kolmar song manuscript. Discover in this edition both original minstrel songs and those newly set to music by Frank S. Wunderlich in historical keys.
Historical context and musical tradition
The minnesang of the Middle Ages, to which Reinmar von Brennenberg contributed, is primarily known through text transmissions in composite manuscripts such as the Codex Manesse. The Große Heidelberger Liederhandschrift documents 25 verses by Reinmar spread over five songs. The melodies are rare, but reinterpreted here in traditional church keys, which allows for an authentic musical approach.
Reinmar’s life and legacy
Little is known about the life of Reinmar II, the presumed author. He came from a family that was closely linked to the history of Regensburg. The legends and historical events surrounding the Brennenbergs, including the tragic death of Reinmar III, are firmly anchored in regional culture and continue to influence the reception of his works to this day.
The art of dubbing
In “Wol mich des Tages do mir alrerst ist worden kunt”, Frank S. Wunderlich has taken on the task of setting the four Minnelieder and the Brennberger Ton to new music. These modern interpretations in Dorian, Phrygian, Lydian and Hypomixolydian keys offer a unique opportunity to experience medieval music on contemporary instruments such as the harp. Accompanied by chordal aids based on today’s harmony theory, these pieces are an enrichment for both historians and musicians.
Sources and academic diligence
The texts and melodies are based on meticulous research and editions such as “Die Sangesweisen der Colmarer Handschrift” by Paul Runge and “Die große Heidelberger Liederhandschrift” by Friedrich Pfaff, revised by Hellmut Salowsky. This scholarly thoroughness in “Wol mich des Tages do mir alrerst worden kunt” ensures a presentation that is both historically informed and musically inspiring.
Discover the sounds of the Middle Ages
Experience the fascination of medieval poetry and music through “Wol mich des Tages do mir alrerst worden kunt”. This music book is not only a cultural enrichment for music lovers and historians, but also a bridge that brings the past to life. It combines in-depth musicological research with a passion for historical music performance. Get your copy today and be enchanted by the sounds of Reinmar von Brennenberg.
Foreword
The monophonic Minnesang of the Middle Ages occupies an outstanding position in the art of song at that time. Unfortunately, only a few melodies have been preserved for the surviving song texts. Overall, the number of manuscripts with recorded melodies is remarkably low.
Minnesang has largely only survived as poetry for reading in the large collective manuscripts, such as the Great Heidelberg Song Manuscript (C), the Codex Manesse, compiled in Zurich in the first half of the 14th century.
In the magnificent manuscript just mentioned, 25 verses by Reinmar von Brennenberg are spread over five songs. The lament verse (Song IV, 13th verse) can be found in another Heidelberg manuscript (H).
Hardly anything is known about the biographical details of most of the minstrels. Reinmar von Brennenberg shares this fate with many of his fellow poets.
Reinmar von Brennenberg came from an Upper Palatinate family that named itself after Brennberg Castle (located around 20 km east of Regensburg). The Brennenbergs were ministers of the Bishop of Regensburg. It is not certain which of the four bearers of the name was the minstrel.
Reinmar I is documented between 1224 and 1236 and died in 1238.
His son Reinmar II is thought to be the author of these songs. Like his father, he is mentioned in documents in 1224 and 1236 and died in 1271, survived by four sons: Wirnto III, Reinmar III, Ruland and Bruno von Brennenberg.
Reinmar III was still a minor in 1272, shortly after the death of his father Reinmar II, and was murdered around 1276 during a feud with several henchmen of Regensburg citizens. Knowledge of this event inspired the painter to create a miniature of the Manessische Lieder manuscript, which precedes the song corpus. His violent death lived on as the Bremberger legend in numerous songs (ballads) until the 16th century (Artur Kopp, Bremberger-Gedichte, Vienna 1908).
The son of his brother Bruno von Brennenberg, Reinmar IV, born around 1280, is documented from 1295 and lived until 1326. He was already active at the time of the creation of the Great Heidelberg Song Manuscript, the main witness to the Brennenbergers’ songs. He is not considered a minstrel.
It remains difficult to identify the author, as there are no chronological references or other historical allusions in the songs. Only the obituary for the deceased minnesingers of stanza 13 in song IV could provide a clue: This stanza is thought to have been composed around the middle of the 13th century (Günther Schweikle, Minnesang, Stuttgart/Weimar 1995). Whether Reinmar is the author of this verse has been questioned in some quarters
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The highest probability of identifying the minstrel in question falls on Reinmar II. Reinmar sees himself in the tradition of those minstrels whom he mentions in his laudatory obituary. He is well acquainted with their skills and finds much inspiration from them, especially from Ulrich von Singenberg, whom he places first in this verse and sings about in two verses. Other motifs in his songs can be traced back to Reinmar (“the old man”), Heinrich von Morungen and Walther von der Vogelweide.
Four minstrel songs (without melody) and an unusual tune (song IV), the so-called “Brannenberger” or “Bremberger” tune, whose melody is preserved in the Kolmar song manuscript (t) fol. 672 and in several other sources.
The other melodies (wise) are all written in the so-called church modes commonly used in the Middle Ages: Dorian, Phrygian, Lydian and Hypomixolydian. For an appropriate accompaniment, for example on the harp, these settings are accompanied by chord figures as an aid to careful harmonization due to the unfamiliar keys for some instrumentalists. The letter symbols are based on the tonal major-minor system in use today.
The transcription of the chant in the first part of this booklet is based on the editions: Die Sangesweisen der Colmarer Handschrift, ed. by Paul Runge, Leipzig 1896, reprint Hildesheim 1965. The singable melodies to poems in the Manessische Liederhandschrift ed. by Ewald Jammers with the collaboration of Hellmut Salowsky, Wiesbaden 1979.
The texts (wort) are taken from: Die große Heidelberger Liederhandschrift in getreuen Textabdruck, ed. by Friedrich Pfaff, 2nd ed. and erg. Edition edited by Hellmut Salowsky, Heidelberg 1995. With regard to some corrections to the text and the lament verse (song IV, 13th verse), I follow the text edition published by Carl von Kraus: Deutsche Liederdichter des 13. Jahrhunderts. Vol. I: Text, Volume II, Commentary, edited by Hugo Kuhn, 2nd edition, revised by Gisela Kornrumpf. Tübingen 1978.
Only a few clear errors and distortions are conjugated in the print. Additions are indicated by round brackets. If a final e comes before a final vowel, it usually loses its syllable value, i.e. it is elided. Syllables may be omitted in shortened lines of text; these are indicated by a + in front of the line of text.
Frank S. Wunderlich
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Frank S. Wunderlich
Frank S. Wunderlich is a fascinating personality who has immersed himself deeply in the world of medieval music. Born in Giessen/Upper Hesse in 1960, he began his musical journey as a boy soprano with the “Pueri Cantores St. Bonifatius” in Giessen. This experience laid the foundation for his later love of medieval music.
Frank spent a year in a Cistercian monastery, where the daily care of the time-honored Cistercian choir awakened his passion for medieval music. After graduating from high school, he studied philosophy, musicology and theology in Frankfurt am Main and Würzburg. He successfully completed his studies in Catholic theology in 1986.
Frank has lived on the Lower Main since 1988, first in Großheubach and now in Lützelbach. His love of medieval music remained unbroken and he deepened his knowledge in special courses. Frank is not only a lover of medieval music, but also an active part of this scene.
He co-founded the group “Vogelfrey und unvuortzaget” in 1995 and played in smaller groups such as “Bluomenrot” and “Vrouwenheide” from 2001 onwards. He also published various song cycles by minstrels, including that of the 13th century minstrel Von Obernburg.
Frank’s discography is impressive and reflects his dedication to medieval music. He has taken part in numerous recordings and was named Minstrel of the Year in 2005. His musical journey took him to various locations, including Spangenberg Castle, Falkenstein Castle in the Harz Mountains and Trifels Castle in the Palatinate, where he celebrated the beauty of medieval music.
However, his deep connection to medieval music goes far beyond his career. Frank is the deanery representative for liturgy and church music and leads a choral choir. Medieval music is not only a professional aspect, but also a personal balance to his other tasks.
Frank S. Wunderlich finds an inner power in medieval music that is inherent in the old melodies. His passionate dedication and deep respect for this musical tradition make him an important figure in the world of medieval music.
