Adam Rener

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Adam Rener (also Adam von Lüttich ; * around 1482 in Liège ; † around 1520 in Altenburg ) was a Franco-Flemish composer and singer of the Renaissance .

Live and act

There is no information about the early days of Adam Rener, especially about his youth. He was first mentioned in 1498 in the list of six mutant choirboys in the choir of King Maximilian I in Innsbruck , from which his approximate year of birth can be determined. In 1500 he went to Burgundy "ad studium" . It does not appear from this evidence that a university degree was meant; Rener could just as easily have further developed his musical skills in the Burgundian court orchestra. This is also indicated by the fact that he was referred to as a composer after his return to the Habsburg court in 1503.

After the death of Adam Singer ( Adam von Fulda ) in 1505, there was no competent musician at the Electoral Saxon court of Friedrich the Wise in Torgau . From 1507 Rener took over the leadership of the court orchestra there, which developed into an important center of church music under him in the following years. The documents about his activity in Torgau end in 1517. His name appears for the last time in the court archive in Altenburg for the year 1520.

meaning

Through the work of Adam Rener, the court orchestra of Frederick the Wise of Saxony (reign 1486–1525) reached an international level. In addition to the work of Heinrich Isaac , the advanced style of Franco-Flemish music reached Germany soon after 1500 through his work. Under his direction, an extensive collection of liturgical choral music (the Jena Choir Books) was created in Saxony . In these choir books, Rener's own works are only partially identified as such. As far as the collections were published by the Wittenberg music publisher Georg Rhau , the authorship of the compositions is noted in more detail.

Adam Rener's musical style follows on from Heinrich Isaac's compositional style and can be easily compared with the style of Isaac's student Ludwig Senfl . Particularly in his Propriums compositions, which are tied to a cantus firmus , Rener's masterful mastery of the musical movement becomes evident, which here combines elegance with beauty of sound ( Franz Körndle ).

Works

Complete edition: Adam Rener, Gesamtausgabe / Collected Works II / 1–2 , edited by Robert L. Parker, Brooklyn / New York 1964–1976.

  • Measurement ordinaries
    • Missa de Beata Virgine for four voices
    • Missa Carminum I and II for four voices
    • Missa [“Veci la danse”] to four voices
    • Missa “Adieu mes amours” with four voices
    • Missa “Alma Redemptoris mater” with four voices
    • Missa Dominicalis for four voices ( Credo by Antoine Brumel )
    • Missa Octavi toni for four voices
    • Missa paschalis for four voices ( Kyrie , Gloria alternatim, Sequence , Sanctus , Agnus Dei )
  • Proprien
    • Intro: “Puer natus est” (I), “Suscepimus”, “Puer natus est” (II), “Ecce”, each with four voices
    • Alleluja: "Felix es sacra virgo", "Maria Dei genitrix", "Dies sanctificatus" (I), "Dies sanctificatus" (II), each with four voices
    • Sequences: "Rochi patris ob honorem" with four to five voices, "Ave praeclara maris stella" with four to six voices, ["Natus"] (I), ["Natus"] (II), ["Festa"], “Grates nunc omnes”, each with four voices
    • Communiones: "Viderunt" (I), "Viderunt" (II), "Vidimus", each with four voices
  • Songs
    • “Ach ainigs ain” to four votes
    • “My highest fruit” to four votes
  • Works attributed by Georg Rhau
    • Psalms: “Ad Dominum”, “Laetatus sum”, “Lauda Hierusalem”, “Laudate Dominum”, each with four voices
    • Responsory: "Qui totum subdit" (= "sum trinitati") to four votes
    • Hymns: “A solis ortus cardine” with three voices, “Qui paracletus” [= “Veni creator spiritus”], each with four voices
    • Magnificat octo tonorum to four voices
    • Introit: “Puer natus est” to four voices
    • Alleluja: "Dies sanctificatus", "Vidimus stellam", each with four voices
    • Evangelium ad Missam: “Postquam impleti sunt dies” to four votes
    • Sequences: [“Festa Christi omnis”], [“Natus ante saecula”], each with four voices
    • Communiones: "[Viderunt] omnes", "[Vidimus] stellam", each with four voices

Literature (selection)

Lexicons
  • Theodor Wilhelm Werner : Adam Rener's Magnificat compositions . In: Archiv für Musikwissenschaft 2, 1920, pp. 195–265 ( digitized version ).
  • Jürgen Kindermann: The Adam Reners fairs. A contribution to the history of music in the early 16th century , dissertation University of Kiel 1962
  • Robert L. Parker: The Polyphonic Songs of Adam Rener. In: Festschrift for Paul A. Pisk , edited by J. Glowacki, Austin 1966, pp. 38–56
  • NS Josephson: The Origin and Development of the Missa de Beata Virgine. In: Kirchenmusikalisches Jahrbuch 57, 1982, pp. 37–43
  • T. Noblitt: Obrecht's Missa sine nomine and It's Recently Discovered Model. In: Musical Quarterly 78, 1982, pp. 102-127
  • LT Woodruff: The Missa de Beata Virgine c. 1500-1520 , dissertation North Texas State University 1986
  • Jürgen Heidrich: The German choir books from the court orchestra of Frederick the Wise. A contribution to Central German sacred music practice around 1500 (= collection of musicological treatises no. 84). Baden-Baden 1993.
  • Hans-Joachim Böttcher : "Re (i) ner (gen .: Lüttich u. Composer), Adam", in: Important historical personalities of the Dübener Heide (= series of publications of the Arbeitsgemeinschaft für Mitteldeutsche Familienforschung 237). Leipzig 2012, p. 82.

Web links
personal data
SURNAME Rener, Adam
ALTERNATIVE NAMES Reiner, Adam; Adam of Liege; Adam Renerus Leodiensis
BRIEF DESCRIPTION Franco-Flemish composer and singer of the Renaissance
DATE OF BIRTH around 1482
PLACE OF BIRTH Liege
DATE OF DEATH around 1520
Place of death Altenburg