Appenzell string music
Appenzell string music has a centuries-old tradition and is a musical reflection of this region and thus an identity feature of the country and people of the Appenzellerland . The level of awareness extends far beyond the national borders. It owes this not least to the joy in the polyphonic singing of the Appenzell musicians, which is often heard while making music. Appenzell string music is no country music , as it is still largely based on 19th century music. The string instruments were not displaced in Appenzellerland and are still taught and played very often there today. An “Original Appenzell String Music” consists of two violins , dulcimer , cello and double bass .
history
The beginnings go back to the 13th century. Heinrich von Sax , lord of the castle at Clanx Castle around 1270, can be regarded as the oldest singer and musician in the Appenzell region. The Manessische Liederhandschrift gives us 5 of his songs, as well as a full-page miniature (around 1320). As early as 1570, string instruments are mentioned that were used for dancing; It can be assumed that the dulcimer was used in addition to the violin. The oldest record of a row of cows can be found - processed into an artistic bicinie - by Georg Rhaw, 1545. This example is likely to be an instrumental version. «Appenzeller tantz, I am constantly on a fygen tree, wolt». It can be found in a manuscript from 1563. Two collections that were recently discovered and edited shed light on the musical era of the 18th century: little song books by Maria Josepha Barbara Brogerin, Appenzell, 1730. The collection contains songs from all of them Areas: religious and secular songs, dance of death and cattle rows. The oldest collection of dances from the Appenzell region should also date back to the 18th century. And the authorities had to intervene again and again (that is, buses were distributed): “1736, the 6th day of May, let the open at 20 thlr and dancers 10 thlr; the spilmann so he frömd to land out, but if he is a landtmann 3 thl [days] in the worst captivity. " The Alpstubeten were also banned several times. At the beginning of the 19th century, different generations of the Broger, Gonten family music appeared. The well-known group of singers called the «Böhlmeedle», also known as Gontner singers, also formed from their circles. Only recently has her diverse vocal repertoire come to the fore.
The best known representation of a formation of two is the “Alpstubete auf Soll, painting v. Emil Rittmeyer, 1865 ”. Around 1800, however, the triple formation with violin, dulcimer and bass / basset should have been common. Even today, an instrumentation with these three instruments is called "altfrentsch uufgmacht" (played in the old way). Playing with the hand organ has been documented in Appenzellerland since around 1850. Later the Schwyzerörgeli was added, which is still popular with many - especially young musicians - today. The inclusion of the piano as an accompanying instrument was and is always relevant whenever this instrument is available in dance halls and inns. There is little evidence that the guitar was also used as an accompanying instrument in dance music; on the other hand, like the chord zither , it was quite common for song accompaniment in the 19th century and until around 1920.
Performances by the Appenzell Quartet are often mentioned after 1860; the Appenzell String Quintet was formed from around 1892 to 1895, and since then this quintet has been called "Original Appenzell String Music" with two violins, dulcimer, cello and string bass. The standards that were set in the folk music area back then are still valid today. Many musicians still play and maintain their repertoire. String music has also been cultivated in Appenzell Ausserrhoden since the end of the 19th century. The focus is clearly on the Alder dynasty of string music , which celebrated its 125th anniversary in 2009. It all started in 1884 with the «Urnäscher Streichmusik», meanwhile the «Aldere» is already playing in the fifth generation. The formation was best known through Ulrich Alder (1922-2014), who, together with his eldest son Hansueli and Emil Zimmermann, Erwin and Arthur Alder, formed the fourth generation, traveled around the world and thus became an ambassador for Appenzell folk music culture and the entire Appenzellerland became.
distribution
But string music also really flourished in the Appenzell Vorderland: Several music groups were known from Wolfhalden , Rehetobel , Reute , Oberegg and Walzenhausen around 1900. One of these formations has held up to this day; it is the Appenzeller string music Schmid (Walzenhausen), which is now playing in the 5th generation. Emil Walser (1909–1972) also played an important role. He played the violin in the "Edelweiss Trogen" founded in 1913 and always had the best musicians (from Inner and Outer Rhodes) with him. In 1986 the name " Streichmusik Edelweiss " moved from Trogen to Herisau and replaced the former Düsel family band.
In the Appenzell central and hinterland, among others, the following formations cultivated string music after 1920 and helped it to flourish: Streichmusik Fürstenauer, Gais; String music Alpeglöggli, Herisau; Echo vom Säntis (Herisau-Urnäsch-Hundwil); String and yodel quartet “d'Appezeller”; Appenzell dulcimer and country chapel Jakob Alder, Hundwil / Herisau; “Alpeglöggli” string and yodelling sextet, Wilen-Herisau; String music Schwellbrunn, String music Hürlemann, Urnäsch; String music Bänziger , Herisau. Details of all these and other formations from Appenzell Ausser- und Innerrhoden are recorded in the databases of the Center for Appenzell Folk Music; it also has extensive image and sheet music.
Related
Music formations related to Appenzell string music are brass music , improvisation (called impromptu ), alphorn , yodelling , rugguusseli , zürli , ratzliedli , Betruf , Schölleschötte and Talerschwingen .