Magister Piero (c1300-c1350) was one of the earliest of Italian Trecento composers. This is a caccia with a bizarre text.
Bicinium of verse from the 23rd Psalm by Piplelare.
The Story of a Real Man was Sergei Prokofiev's last opera. Never performed in the United States, Collectio Musicorum presents a chorus from this fascinating work.
From Wikipedia:
The Story of a Real Man (Russian: Повесть о настоящем человеке, Povest' o nastoyashchem cheloveke) is an opera in four acts by the Russian composer Sergei Prokofiev, his opus 117.[1] It was written from 1947 to 1948,[2] and was his last opera.
The libretto, by the composer and Mira Mendelson, is based on the novel of the same name by Boris Polevoy; this in turn was based on the story of pilot Alexey Maresyev. The opera received its premiere on 3 December 1948 at the Kirov Theatre, Leningrad (now Saint Petersburg). The audience was made up of Soviet cultural officials who gave the work a poor reception. This was a great disappointment to the composer who had intended the opera to rehabilitate his reputation with the Communist authorities after he had been accused of "formalism" earlier in the year. As a result, performances of The Story of a Real Man were forbidden to the general public until after Prokofiev's death. It received its public premiere on 7 October 1960 at the Bolshoi Theatre, Moscow.
Scena by Henry Purcell (1659-1695) based on 1Samuel 28.
Victor
Pelissier was a French horn player and composer, who, born in France around 1755, fled that
country during its revolution, went to Haiti and fled that country during its
revolution, and ended up in the United States, where he composed for theatres
in New York and Philadelphia. He died, supposedly in Perth Amboy, NJ, around 1820.
The Credo de Sancto Johanne Evangelista is a work of grandiose proportions. It seems
to be intended for use on the Day of St. John, Apostle and Evangelist, December
27. The work is in five voice-parts and contains the plainsong antiphon Occurit
beato Johanni ab exilio,
which appears twice as a cantus firmus in the tenor. The antiphon is no longer
in the liturgy.
The text of this song was used by Shakespeare in Measure for Measure.
The song “Take, O Take
My Lips” was included in Shakespeare’s play, and the first verse of the song is
probably by him. The second verse,
although sometimes passed off as Shakespearean, was first performed in a play
with at least four authors called The
Bloody Brother dating from the first part of the 17th century
and this verse was probably written by John Fletcher. The composer John Wilson was around 30 years
younger than Shakespeare, and it is not known if this is the original melody
for the song, but it is certainly the best known.
From the notation, it is believed this was written and performed in Rome.
Das
Kappelslied………………………….……………………………….Huldrych Zwingli
Herr, nun heb den Wagen selb. Lord, hold now the wagon
yourself,
Schelb wird sunst all unser Fart, Or it will roll from the straight path.
Das brächt Lust der Widerpart, That would please our enemies
Die Dich veracht so freventlich. Who dare to despise you.
Schelb wird sunst all unser Fart, Or it will roll from the straight path.
Das brächt Lust der Widerpart, That would please our enemies
Die Dich veracht so freventlich. Who dare to despise you.
Gott erhöh den
Namen din O
God, praise to your name
In der Straf der bösen Böck! And defend us from the enemy.
Dine Schaf wiederum erweck, Wake your sheep with your voice
Die dich liebhabend inniglich. For they love you dearly.
In der Straf der bösen Böck! And defend us from the enemy.
Dine Schaf wiederum erweck, Wake your sheep with your voice
Die dich liebhabend inniglich. For they love you dearly.
Hilf, daß alle Bitterkeit Help us by letting all bitterness
Scheide fern, und alte Trüw Depart and let the old fidelity
Wiederkehr und werde nüw, Return and be renewed
Daß wir ewig lob singend dir! That we may eternally sing your praises!
Scheide fern, und alte Trüw Depart and let the old fidelity
Wiederkehr und werde nüw, Return and be renewed
Daß wir ewig lob singend dir! That we may eternally sing your praises!
Performed by organist James Wetzel
Pipelare's Magnificat, performed in memory of Dr. Ronald Cross, using his edition.
In the Magnificat, the
composer allows the voices to move within carefully considered vertical
sonorities. The Magnificat is in the Third Mode and is constructed in alternatim praxis through all twelve verses; i.e. the plainsong begins the first verse and then
alternates with polyphonic settings of the even verses. The first plainsong
formula for Tone 3, with the ending on A, remains in the superius part
throughout. Here Pipelare looks to the
future, not only in his careful treatment of dissonance but also in his sense of
balance both among the voice parts and in the phrase structures.
Complete performance of Pipelare's mass.
Kyrie
Gloria
Credo
Sanctus
Pipelare was a master of large complex structures, but that he did not need complicated organization to bring out his finest writing is nowhere more obvious than in his Missa de feria, which though simple in style contains some of his most memorable music. The Missa de feria is a simple setting for daily use based on plainsong Masses XV and XVIII. It is common for Ferial Masses to be based on these plainsong melodies.
Ein' Feste Burg -- In German and the first English translation
0 comments Posted by Collectio Musicorum at 6:57 PM
Of
all the myths that surround the story of Martin Luther, the one that he nailed
his 95 theses to the door of the church in Wittenberg is the most
pervasive. There is no record of the
story of the nailing until after Luther’s death. What really happened on Halloween in 1517 is
he sent a copy of this text to his superior.
Other stories about Luther deal with his music. It is safe to say that his hymn “A Mighty
Fortress” is the most famous hymn to have come out of Germany from the time of
the Reformation. The account of its
creation was forcefully recorded by the author Heinrich Heine, who converted to
Lutheranism as a young man, when he wrote
"A battle hymn was this defiant song, with which he and
his comrades entered Worms [April 16, 1521]. The old cathedral trembled at
these new notes, and the ravens were startled in their hidden nests in the
towers. This hymn, the Marseillaise Hymn of the Reformation, has preserved its
potent spell even to our days, and we may yet soon use again in similar
conflicts the old mailed words.
Heine was wrong. It
was not written at the time of the Diet of Worms in 1521, but 8 or 9 years
later. We will now perform Luther’s
original version of the hymn, based on his own manuscript, which has been reproduced
on the cover of your program. The printed English translation is by the British author Thomas Carlyle, and dates from the
beginning of the 19th century.
In 1539, Miles Coverdale published a collection of hymns called “Ghostly Psalms and Spiritual Songs.” This book contained the first translation into English of Luther’s Ein’ Feste Burg. However, due to the government’s attempts to stifle Lutheran ideas, only one copy of this book has survived. It is now in a library at Oxford University, and we are grateful that they provided a copy of the hymn, so we could perform it.
In 1539, Miles Coverdale published a collection of hymns called “Ghostly Psalms and Spiritual Songs.” This book contained the first translation into English of Luther’s Ein’ Feste Burg. However, due to the government’s attempts to stifle Lutheran ideas, only one copy of this book has survived. It is now in a library at Oxford University, and we are grateful that they provided a copy of the hymn, so we could perform it.
Ein Feste
Burg……………......................................................Martin Luther
*Ein feste Burg ist unser Gott, *A
safe stronghold our God is still,
ein gute Wehr und Waffen. A trusty shield and weapon;
Er hilft uns frei aus aller Not, He’ll keep us clear from all the ill
die uns jetzt hat betroffen. That hat us now o’ertaken.
Der alt böse Feind The ancient prince of hell
mit Ernst er’s jetzt meint, Hath risen with purpose fell;
groß Macht und viel List Strong mail of craft and power
sein grausam Rüstung ist, He weareth in this hour;
auf Erd ist nicht seinsgleichen. On earth is not his fellow.
*Mit unsrer Macht ist nichts getan, *With force of arms we nothing can,
wir sind gar bald verloren; Full soon were we down-ridden;
es streit’ für uns der rechte Mann, But for us fights the proper Man
den Gott hat selbst erkoren. Whom God himself hat bidden.
Fragst du, wer der ist? Ask you who is this same?
Er heißt Jesus Christ, Christ Jesus is his name,
der Herr Zebaoth, The Lord Sabaoth’s Son;
und ist kein andrer Gott, He, and no other one,
das Feld muss er behalten. Shall conquer in the battle.
*Und wenn die Welt voll Teufel wär *And were this world all devils o’er;
und wollt uns gar verschlingen, All watching to devour us,
so fürchten wir uns nicht so sehr, We lay it not to heart so sore;
es soll uns doch gelingen. They cannot overpower us.
Der Fürst dieser Welt, And let the prince of ill
wie sau’r er sich stellt, Look grim as e’er he will,
tut er uns doch nicht; He harms us not a whit;
das macht, er ist gericht’: For why? His doom is writ;
ein Wörtlein kann ihn fällen. A word shall swiftly slay him.
*Das Wort sie sollen lassen stahn 8God’s word, for all their craft and force,
und kein’ Dank dazu haben; One moment will not linger,
er ist bei uns wohl auf dem Plan But, spite of hell, shall haves its course;
mit seinem Geist und Gaben. ‘Tis written by his finger.
Nehmen sie den Leib, And though they take our life,
Gut, Ehr, Kind und Weib: Goods, honour, children, wife,
lass fahren dahin, Yet is their profit small;
sie haben’s kein’ Gewinn, These things shall vanish all:
das Reich muss uns doch bleiben. The city of God remaineth.
ein gute Wehr und Waffen. A trusty shield and weapon;
Er hilft uns frei aus aller Not, He’ll keep us clear from all the ill
die uns jetzt hat betroffen. That hat us now o’ertaken.
Der alt böse Feind The ancient prince of hell
mit Ernst er’s jetzt meint, Hath risen with purpose fell;
groß Macht und viel List Strong mail of craft and power
sein grausam Rüstung ist, He weareth in this hour;
auf Erd ist nicht seinsgleichen. On earth is not his fellow.
*Mit unsrer Macht ist nichts getan, *With force of arms we nothing can,
wir sind gar bald verloren; Full soon were we down-ridden;
es streit’ für uns der rechte Mann, But for us fights the proper Man
den Gott hat selbst erkoren. Whom God himself hat bidden.
Fragst du, wer der ist? Ask you who is this same?
Er heißt Jesus Christ, Christ Jesus is his name,
der Herr Zebaoth, The Lord Sabaoth’s Son;
und ist kein andrer Gott, He, and no other one,
das Feld muss er behalten. Shall conquer in the battle.
*Und wenn die Welt voll Teufel wär *And were this world all devils o’er;
und wollt uns gar verschlingen, All watching to devour us,
so fürchten wir uns nicht so sehr, We lay it not to heart so sore;
es soll uns doch gelingen. They cannot overpower us.
Der Fürst dieser Welt, And let the prince of ill
wie sau’r er sich stellt, Look grim as e’er he will,
tut er uns doch nicht; He harms us not a whit;
das macht, er ist gericht’: For why? His doom is writ;
ein Wörtlein kann ihn fällen. A word shall swiftly slay him.
*Das Wort sie sollen lassen stahn 8God’s word, for all their craft and force,
und kein’ Dank dazu haben; One moment will not linger,
er ist bei uns wohl auf dem Plan But, spite of hell, shall haves its course;
mit seinem Geist und Gaben. ‘Tis written by his finger.
Nehmen sie den Leib, And though they take our life,
Gut, Ehr, Kind und Weib: Goods, honour, children, wife,
lass fahren dahin, Yet is their profit small;
sie haben’s kein’ Gewinn, These things shall vanish all:
das Reich muss uns doch bleiben. The city of God remaineth.
This is a recording of several
works by Conrad Rein, an almost-unknown but incredibly talented composer, who
began his career as a Roman priest in Nuremberg, where one of his students was
Hans Sachs, and, after his conversion to Lutheranism, ended up as a singer in
the court of the King of Denmark. Only
around 20 works by Rein have survived, all of them with Latin texts.
Crucifíxus
étiam pro nobis: sub Póntio Piláto He
was crucified for us under Pontius
passus, et
sepúltus est. Pilate;
suffered and was buried.
Benedicta sit Sancta Trinitas………………………………………….Conrad
Rein
Benedicta sit Sancta
Trinitas atque indivisa Unitas, Blessed
be the holy and undivided Trinity,
Confitebimur ei quia fecit
nobiscum, Thanks
to him because he made us,
Miseracordiam suum. Benedicamus patrem Of his own mercy.
Blessed be the Father
et filium cum sancto
spiritu. and
the Son with the Holy Spirit.
Gloria Patri et Filio et
Spiritui Sancto Glory
be to the Father, to the Son, and to
Sicut erat in principio,
et nunc et semper the
Holy Spirit. As it was in the beginning, is
Et in saecula
saeculorum. Amen Now and ever shall be, through all
ages.
Agnus
Dei……………………………………………………………………Conrad Rein
Agnus Dei, qui tollis peccáta mundi: Lamb of God, who takes away the
miserére nobis. Agnus Dei,
qui tollis peccáta. world’s sin, have mercy on us
mundi: dona nobis pacem. Lamb
of God…grant us peace.
1 Ecce
carissimi…………………………………………………………….John Taverner
Ecce mater nostra
Hierusalem cum Behold
our mother Jerusalem with
magno affect clamat ad
nos et dicet, great
compassion cries out to us and says
“Venite, filii mei
dilectissimi, “Come,
my most beloved sons,
Venite ad me.” Come
to me.”
T The first piece is a
rare work by John Taverner, one of the most gifted of English composers from
any time period. He was arrested early
in his career for his association with Lutherans, but was let go because he was
only a musician. This is a processional
in two parts, intended to be sung as priests entered the church.
O Lord God, the Heathen are Come into Thine Inheritance…William Child
O Lord God, the heathen come into thine inheritance: Thy holy temple have they defiled, and made Jerusalem an heap of stones. We are become an open shame to our enemies: a very scorn and derision unto them that are round about us. Lord, how long wilt thou be angry: shall thy jealousy burn like fire forever? O remember not, our old sins, but have mercy upon us;For thou art the Lord our God, and thou, O Lord, will we praise for evermore
2 As the Reformation
progressed in England, the puritan faction labored to take over both the church
and the government. This they
accomplished in 1642 and began to eliminate all choral singing and organ
playing in churches throughout Great Britain.
The composer William Child set these words from Psalm 79 to be performed
at the final choral service at Windsor Castle in 1644, not knowing if he would
ever again write music for the church.
As it turns out, Child lived to be 91 and lasted most of the 17th
century and went on to compose music for future coronations.
For a shoemaker, the 16th
century Meistersinger Hans Sachs is notable for two reasons—he wrote an
extremely large number of works—poems, songs, plays, tracts, etc.—estimated by
some to be around 6000. He also had two
operas written about him. Albert Lortzing
composed his opera, simply called Hans
Sachs, in 1840, and, of course, Sachs is the central Meistersinger in
Wagner’s opera celebrating that artistic movement, which dates from 1868. Not too many of his melodies have survived,
but this one was copied down by one of his students, and is so preserved. It is based on the 94th
Psalm.
Hört ir Christen
Hört ir christen ein
psalmenlit, Hear, O Christians, a sung psalm,
Das virundneuntzigst
feine, the
fine ninety-fourth,
O herr gott des die
rache ist, O Lord, God
of vengeance,
Des die rach ist alleine, O God of vengeance, shine forth!
Erschine, du richter auff erden Rise up, O judge
of the earth;
Erhebe dich und richt. repay to the proud
Vergilt dem hofferting unwert, what they deserve!
Nach seiner that o here, O Lord, how long shall the wicked,
Wie lang solten sich in der frist, how long shall the wicked exult?
All gotloss freien sere, They
pour out their arrogant words;
Und
dere, halstarrig und ubeltetter reden entwicht. all the
evildoers boast.
Sich herre sie haben dein folck erschlagen, They crush your people, O Lord, and
Dein erb gedemütiget hie. afflict your heritage.
Witwen fremdling wurgen sie in den tagen, They kill the
widow and the sojourner,
Dar zu die weisen dötten Sy, and
murder the fatherless;
Al die der herr sicht es nicht deine feinde sagen, and they
say, “The Lord does not see;
Und der got Jacob merck es nit, the God of Jacob does not
perceive.”
Hört ir narren auff erden, Understand,
Under dem folck ir thoren wist, O dullest of the people!
Wan wolt ir witzig werden, mit garden, Fools, when will you be
wise?
Der das Or hat gepflanzet solt He who planted the ear, does he
der hören nicht.
not
hear?
In the 1950s, the musicologist Paul Nettl pointed out the similarities between Luther’s hymn and one of the Meisterlieder of Hans Sachs, who wrote two sets of words for his Silberwiese—one sacred and one secular. This performance is of the latter.
Silberweise………………………………..……………………………….Hans
Sachs
Ich lob ein Brünnlein küle I
praise a cool little brook
Mit Ursprunges sufwühle which
starts in a bubbling spring,
Für ein gros Wasserhüle, higher
than a waterhole
Die keinen Urpsrung hat. which
has no spring of its own.
Sich allein muss beseschen
Such
a waterhole must depend
mit zufliessenden Bechen on
flowing streams to fill it,
Der Brünnlein mag ich
sprechen; I
must tell you,
Die Hül nit lang bestat. such a hole does not last long.
Wan von der Sunen grosser
Hirz When
the sun’s great heat
Im sumerlangen Tak in
summer’s long days
Die Hül wirt faul und gar
unnütz, the
hole becomes foul and very useless
Gewint bosen geschmak; and
it smells.
Sie trucknet ein, wirt
grün un gelb. It
dries up and becomes green and yellow.
So frischer sich das
Brunnlein selb But
the little brook remains fresh
Mit seinem Urseprunge, refreshed
by its spring,
Beleibet unbezwunge von
der Sune scheinuge, Unaffected by
the sun
Wirt nit faul noch mat. It
does not become foul or stagnant.
Medieval harp music performed by Christopher Preston Thompson
0 comments Posted by Collectio Musicorum at 5:47 PM
When Love and Beauty
“In the Catacombs” and “Brother, Thou Art Gone Before Us” from THE MARTYR OF ANTIOCH
I Will Sing of Thy Power, O God:
Tu Pauperum Refugium
El Grillo
Two
Pieces…………………………………………………………………Christopher Tye
Unde
nostris, eia, fave votis
Alleluia
Wagner's Rienzi takes place in the Middle Ages, and Collectio Musicorum performed two choruses from this early work as a compliment to our performance of medieval music related to Wagner's operas.
Jamer
is mir entprungen ach mein lait is veste. Grief
as a river rushes, pain I cannot still
Owe
clag hat betwungen overwhelms
me and crushes
Mein
sentes herrz ouf dirre linden este. my
longing heart upon this pleasant hill.
Hoher
mut trost vreude mus sich decken, Comfort,
peace, and happiness take flight;
Suftzen
trauren waine, sighs
and tears and sorrow
Wil
ich han um disen werden recken. shall
I have because of this fair knight.
A Minnelied by the historic Tannhaeuser
Ich
lobe ein wip
Ich
lobe ein wip, diu ist noch bezzer danne guot, I
love a woman who is kinder than kind,
Sist
schoene und ist noch schooner vil she’s
fair and is very beautiful and
und
hochgemuort, high
minded,
Si
hat vor allen valschen dingen sich behuot; she’s
kept herself from all false things
Ich
hort nie wip so wol geloben, I
have not heard of any woman
Also
man si tuot. equal
to her praise.
Isalde
wart so schoene nie, Isolde
was never so beautiful,
noch Djone, diu ein gütin was. Nor Trone, who
was a goddess.
Medea
swaz diu noch begie, Medea
also could not compare
Des
half mit wisheit frou Pallas. inspite
of Pallas Athena’s wisdom.
Juno
gap richheit durch die minne, Juno
gave riches through her love,
Dido
hete, daz wart geteilet überal. Dido
had it all, I have heard.
Latricia
diu lie sich tougenlichen sehen. Latricia
was seen secretly,
Palatrica
den frouwen vil der kinde stal. Palatrica
stole children from women.
Helen
was eins küneges wip, Helen
was a king’s wife,
Zuo
den kame in Discordia; and
she met Discordia;
Daz
giene in beiden anden lip, which
was for both a deadly thing,
Des
en galt ouch Amarodia. as it was
for Amarodia.
Ez
schuof en wip, daz Troia wart zerstoeret, A
woman once caused Troy’s destruction,
Diu
hiez Avenant. She
was called Avenant.
Lunet
diu was von hoher art, Lunette
was born into nobility,
Ir
vater derhiez Willebrant. her
father was called Willebrant.
Venus
ein apfel wart gegeben, To
Venus was an apple given,
Da
von so huop sich michel not; which
brought distress to all;
Dar
umbe gap Paris sin leben, Paris
was driven to death,
Da
lac ouch Menelaus tot. as
was Menelaus.
Sibille
was ein listic wip, Sibyl
was a wise woman,
Bider
Amabilia; as
was Amabilia;
Si riet
uf senatoren lip; they would advise senators,
Daz
tet diu leide Invidia. as did the unfortunate Invidia.
Frou
Blaschiflur diu was Frau Blanchiflor was
An
allen dingen kluoc in all things wonderful
Dar
umbe Walheis sit vil lange and Walheis for a long time
Wart
vertriben. was exiled.
Her
Gawan der den anker Gawain, who had an anchor
Werdecliche
truoc, on his shield,
Der
klagt, daz Iwein in dem was upset that Iwein
Fores
was beliben. did not leave the forest.
Sarmena
klagt, groz ungemach, Sarmena despaired, greatly,
Daz
Gamuret als müezic saz; that Gamuret was distant;
Ze
Kuraz sim it zorne sprach: To Kuraz she said,
“do
Lanzelet sich des vermaz. When Lancelot was courageous
Daz er mich raeche
an Parzival, he
would exact revenge for me upon Parzival,
Der
hector sine veste brach, who
Hector his walls broke,
Er
nam ze Karidol den gral, he
took to Karidol the grail,
Do
des Achilles niht enrach, and
Achilles couldn’t stop him.
So
richetz mir Kalogriant, So
Kalogriant avenges me
Swaz
Opris mirze leide tuot.” As
Opris unfortunately could not do.”
Tispe
was ein lion bekant, Thisbe
was called Lione,
Gen
Piramus so stuont ir muot. And
she wanted Piramus.
Diu
klare amie sprach zir massenie so: This
pretty woman addressed her followers:
“Min
cumpenie sol der storje wessen fro.” My
friends, you’ll like what is planned.”
Ginover
uz Britanjelant, Guinevere
from Britanny,
Die
Artus het ze wibe erkorn, who
became Arthur’s wife,
Die
man in hoher tschoie ie vant, from
a man received
Der
brahte uz Provenze ein horn. a
horn from Provence.
Von
Portigal ein petschelier, From
this Portuguese man
Daz
was so wunderlicher art, came
this wonderful thing,
Swer
dar uz tranc, der wandel hete, that
whoever drank from it, and was not virtuous,
Er
da mit begozzen wart. it
spilled on him.
Porchtram
diu was von Lunders Portharam
who was in Lunders
So
geboren her, born
there,
Daz
schuof dem Wigol gegen and
Wigol brought a spear
Dem
Provenzal ein sper. against the Provencals.
Her
Wigamur vor Kamvoleis Sir
Wigamur at Kamvoleis,
Wol
tet erz, als wirz han vernomen; we
have heard, did well there;
Gen
dem so heilt der Wigoleis, He
was opposed by Wigoleis
Der
was den froun ze dienste komen. who
came to serve the ladies.
Tristran
erwarp die künegin von Maroch, Tristan
won the queen of Morocco,
Als
wir hoeren sage, as
we have heard said,
Ein
moerin was diu heidenin, a
Moorish heathen,
Der
alden suln wir hie gedagen. Let’s
say no more of it.
Und
logen mine guoten, And
praise my love,
Die reinen,
wolgemuoten, who
is full of fun,
Swa
si get an dem tanze who
is ready to dance
Mit
ir rosenkranze, wearing
her crown of roses,
Dar
obe ein ander krenzel, and
with the crown
Ein
wiz gevalden swenzel; a
white shawl;
Ir
har gelich dem golde, her
hair is like gold,
Als
ez got wünschen solde, as
ever God would have wished,
Krus
alsam die siden: her
curls are like silk:
Man
mehte si wol liden; one
must adore her;
Swa
minne waer genaeme, wherever
love is,
Diu
liebe da wol zaeme. she
should be.
Von
Oriende unz z’Occidende From
the Orient or Occident
Wart
nie schoener wip geborn a more
beautiful woman was never born
Ich
han die guoten, wolgemuoten I
have the good one picked
Iemer
mer ze troste erkorn. Always
to be my comfort.
Des
ensol ich melden, I
shouldn’t say
Seht
daz zaeme niht, it wouldn’t be good,
Wan
der sim it minen ougen ane siht, but when I look at her with my eyes,
Dem
muoz si wol gevallen I find she is the best
Ze
wunsche vor in allen. compared to the others.
Ich
lobe ir zuht, ir güete, I praise her goodness and looks,
Ir
staete, ir hochgemüete. her state, her station.
Ir
lip der ist so wolgestalt: Her shape is so lovely:
Swer
bi ir solde warden alt, whoever grows old around her,
Der
hat der werlte lop vil gar, will have the world’s praise,
An
ir ist niht vergezzen, and she will not be overlooked,
Ze
wunche is si gemezzen. she is perfect.
Uf
ir hüfel überal, About her hips,
Da
sol ein borte ligen smal, hangs a small piece of cloth,
Vil
wol gesenket hin ze tal, like a sash,
Da
man ir reitet an dem sal. that waves when she dances in the
hall.
Da
ist ir lip gedrollen, She is as shapely
Ze
wunsche wol die vollen. as one could wish.
Volge
mir, sam tuon ich dir, Follow me, and I will do,
Herzeliebiu
reine, your every desire,
Du
guote du süeze! Good and sweet!
Tuost
du daz, so wirt mir baz, Whatever you want, it will please
me,
Daz
dich got fristen müeze! And you God has blessed!
Wolgemuoten, lat
die guoten iu behagen! All
of you happy people, she deserves your praise!
Si
solvon rehter arte der eren krone tragen. She
has earned the crown of honor.
Swa si get zuo der
linden mit wolgemuoten kinden, When in
the linden tree’s shade with nice youth,
Da zimt ir wol daz
reien, si zieret wol den meien. she
likes to dance in the May.
Ir zimet wol daz
lachen, daz kan si suoze machen. She
laughs so sweetly.
Nu dar! Nemet war,
was diu liebe springet, Now
there, see where the lovely one dances,
Vor mir, nach mir,
swie der seite erklinget. In
front of me, behind me, however the string sounds.
Gestricket wol ze
prise, ze licken also lise. She
should earn a prize, she is so beautiful.
Hie nimt der tanz
ein ende, Here
the dance shall end,
Swer uns die
fröude wende whoever
would take away our joy,
Den vermiden rosen
un alle zite losen dislikes
roses and other flowers
Und aller
vogelline sanc! as
well as birdsongs!
Mich twinget, daz
mich e da twanc. My
pain has returned,
Nu singe ich aber
hei! but
I still sing “hei,”
Hei a nu hei! “Hei”
and now “hei”
Nu ist dem
videlaere Now
the fiddler stops
Sin videlbogen
zwei! because
his bow has broken!
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