Minnesänger & Meistersinger - Andrea von Ramm et al.

Ensemble: Andrea von Ramm et al. Album: Minnesänger & Meistersinger - Lieder Um Konrad von Würzburg Video: Wirnt van Gravenberg, Wigalois LTK 537 • Andrea von Ramm was born in Estonia in 1928, she studied music theory, composition, musicology and singing in Freiburg, Munich and finally in Milan. She founded the Studio der frühen Musik ensemble in Cologne in 1960 with instrumentalists Thomas Binkley and Sterling Jones. She was among the first interpreters to seek the philological execution of the works to recreate the atmosphere they had at the time of their composition. This stemmed from her profound musicology studies conducted before starting her career as a professional singer. Andrea von Ramm, in addition to singing, also played some musical instruments such as the dulciana and the portative organ. She died in 1999 in Munich, leaving behind a fabulous career as a musicologist and pioneering musician of early music, as well as more than fifty discographic productions. A brief introduction to Minnesänger and Meistersinger: Minnesanger derives from minne, that it means “love“, and sanger “singer“. They were similar to the Occitanian troubadours and northern French trouvères in that they wrote love poetry in the tradition of courtly love. The earliest named Minnesänger are from 1150 and were Der von Kürenberg and Dietmar von Aist. From around 1170, German lyric poets came under the influence of the Provençal troubadours and the French trouvères. This is most obvious in the adoption of the strophic form of the canzone. A number of songs from this period match troubadours and trouvère originals exactly in form, indicating that the German text could have been sung to an originally French tune, which is especially likely where there are significant commonalities of content. Such songs are termed contrafacta, for example: Friedrich von Hausen’s “Ich denke underwilen“ is regarded as a contrafactum of Guiot de Provins’s “Ma joie premeraine“ or “Nuenburg Nun Ist Niht Mêre Min Dedinge“, present in this record, is a contrafactum of “Pois Tornaz sui en Proensa“ by Peire Vidal. By around 1190 with Albrecht von Johansdorf, Heinrich von Morungen, Reinmar von Hagenau, minnesanger began to break free of Franco-Provençal influence. This period is regarded as the period of Classical Minnesang, reaching its culmination in Walther von der Vogelweide, regarded both in the Middle Ages and in the present day as the greatest of the Minnesänger. The later Minnesang, from around 1230, is marked by a partial turning away from the refined ethos of classical minnesang and by increasingly elaborate formal developments. The most notable of these later Minnesänger, Neidhart von Reuental introduces characters from lower social classes and often aims for humorous effects. In the 15th century, Minnesang developed into and gave way to the tradition of the Meistersänger (German for “master singer“). The two traditions are quite different, however; Minnesänger were mainly aristocrats, while Meistersänger usually were commoners • 1 Die Meister Habent Wol Gesungen (im ’Langen Ton’) - Barthel Regenbogen 2 Hofton/Ein Hövescher Hunt/Dem Adelam von Rôme/Ein Lob Geblüemet Vert/Mir Ist Als Ich Niht Lebende Si - Konrad Von Würzburg 3 Nuenburg Nun Ist Niht Mêre Min Dedinge (Contrafactum of Pois Tornaz sui en Proensa by Peire Vidal) - Rudolf Von Fenis 4 Gevîolierte Blüete Kunst (Totenklage Auf Konrad Im ’Zarten Ton’) - Heinrich von Meißen 5 Aspis-Ton/Aspis Ein Wurm Geheizen Ist/Der Karge Rîche Vert von Hûs/Nieman Ist âne Bresten Gar - Konrad Von Würzburg 6 Willekomen, Sumerweter Süeze! - Neidhart von Reuental 7 Von Allen Singern (in Marners ’Langem Ton’) - Lüpold Hornburg 8 Morgenwîse/Winter Uf Der Heide Bluomen Selwet/Wart Ie Bezzer Iht/Daz Die Milten Alsô Früegen Sterbent - Konrad Von Würzburg • Buy: 🌻 The monetization of this channel is disabled to offer the highest possible listening quality. Please support the channel with a free donation: