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 H\u00fcmmelchen and Dudey, i.e. also with Gemshorn or Cornamuse. For each song, the appropriate drone is shown in the upper left corner.<\/p>\n
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.<\/p>\n
Cantus et Tibia – Volume 1″ begins with three songs from the Carmina Burana (CB). On this manuscript, the book of the same title by Ren\u00e9 Clementchik is a sound and easily accessible source. The text and melody of Neidhart’s “Meie, din” can be found in: E. Wei\u00dfner and H. Fischer; Die Lieder Neidharts; T\u00fcbingen, 1984. For the songs of Oswald von Wolkenstein, we refer to publications by Anton Schwob, Dieter K\u00fchn, Klaus J. Sch\u00f6nmetzler and Marc Lewon. <\/p>\n
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. <\/p>\n
H\u00fcmmelchen 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.<\/p>\n
H\u00fcmmelchen 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.<\/p>\n
“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 H\u00fcmmelchen, 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.<\/p>\n","protected":false},"excerpt":{"rendered":"
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