The Germanic Lands
16th-century sources of “instrumental” repertoire:
Vienna Öst. Nb. MS 18810, Munich MS 328-331, and the Regensburg Partbooks
More joys and headaches of working from original sources:
clefs, time signatures, note values, ligatures and musica ficta
Renaissance Jukebox: Becoming familiar with popular tunes of the Renaissance
to hone our skills with mode, solmization and musica ficta
Performance Practice according to Michael Praetorius:
combinations of instruments, clefs and transposition
We’re still cruising along the Autobahn as we continue with our study of German sources of instrumental music from the 16th century. We will be looking specifically at settings of popular tunes found in Vienna MS 18810 from the Fall workshop as well as Munich MS 328-331, both of which were compiled in Munich between 1524 and 1533 by the same scribes and share many of the same works. Additionally, the so-called Regensburg Partbooks group together vocal pieces specifically chosen for instrumental performance. This collection gives us a unique glimpse into ensemble performance practice of the time, as many of the pieces were annotated in the musicians’ hand indicating specific instrumentation.
Special attention will also be given to Michael Praetorius’ discussion of performance practice, as recorded in his exhaustive treatise on music the Syntagma Musicum of 1619. We will focus on his treatment of the sackbut, dulcian and shawm consorts, where he discusses the combinations of these instruments, clef selections and transpositions.
The first half of each day will be dedicated to technique and performance practice. The first hour will consist of a warm-up session in conjunction with the popular tunes from the German Renaissance – playing them and owning them. The second half of the morning will be spent on the discussion and practice of reading original notation, work with mode and solmization, and performance practice according to Praetorius. Selections from all three sources listed above will be provided in both original and modern notation, though a strong emphasis will be placed on working from the original notation, as was begun in the Fall. This will allow us to see the music in a new light and leave us faced with the musical and theoretical decisions that would have confronted Renaissance musicians .
Afternoons and evenings will consist of coached playing sessions in mixed groups of sackbuts and double reeds, pursuing the repertoire contained in the three selected collections mentioned above.