Bordesholmer Marienklage

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The Bordesholmer Marienklage is a spiritual game from Bordesholm written in 1475/76 . It was written by the provost of the Augustinian Canons Monastery, Johannes Reborch .

Emergence

The Marienklage from Bordesholm is a folk piece written in Middle Low German with spoken and sung sections. Propst Reborch only recorded the foreword, the stage directions and some liturgical texts in Latin . It is unclear where Reborch wrote the piece; The Lamentation of Mary is bound together with other texts from Reborch's pen to form a codex . On one of these other sheets, Reborch noted that he finished the manuscript on December 23, 1476 in the Jasenitz monastery near Stettin (Jasenitz was a branch of the Bordesholmer Stift). It cannot be proven whether this note also applies to the Lamentation of Mary. It is known, however, that the Marian Lament was actually performed in Bordesholm immediately after it was written. One reason for the "invention" of this spiritual game is probably that the Augustinian Canon monastery in Bordesholm owned and exhibited a relic from the veil of the Virgin Mary, which is said to have been connected with an indulgence by Pope Sixtus IV Prayer in front of this relic promised a legacy of purgatory days.

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The crucifixion of Christ and his death are depicted. The lament is dedicated to the large figures of Mary in the Gospel of John , in which the three Marys sing movingly of their pain: Mary , Mary Magdalene and Mary Cleophas . A characteristic of a Mary's Lament is that the main focus is on Mother Mary, whose grief was easier to grasp for the audience than the suffering of Christ, and could therefore more easily serve as a model for the believers.

On the one hand, Reborch adhered strictly to the tradition of the Latin liturgies for the Passion Weeks as well as to texts from other Marian laments. On the other hand, he took up ways that were well known at the time and provided them with spiritual texts, for example with the Palestine song by Walther von der Vogelweide or the Great Tag of the Day by Count Peter von Arnberg . What also distinguishes the Bordesholmer Marienklage from other works of this genre is the use of free chants. The detailed stage directions are also unusual.

Performances and reception

At the very beginning of the manuscript, the provost stated how he imagined the performance: The Virgin Mary and four other actresses lead this lament on Good Friday before noon in the church in front of the choir on a slightly raised place or, in good weather, outside the monastery church.

The duration of the performances can probably be limited to about 14 years. Because in 1490 the Augustinian canons of Bordesholm joined the Windesheim congregation , a monastery reform aimed at internalization, which was shaped by the Devotio moderna . This lay movement fundamentally rejected scenic representations of biblical texts. In 1983/1987 Horst Appuhn suspected that this spiritual play also found a reflex in the Bordesholmer Altar , where the veil of Mary is particularly emphasized in the lamentation scene (as well as that of the Magdalena under the cross).

In modern times there have been numerous performances again. Mostly in edited versions. In 1920 the Germanist Wolfgang Stammler described this Bordesholmer Marienklage as "the most beautiful work that the veneration of Mary produced in the Middle Ages". Among other things, there is a revision by the Kiel music director Heinrich Johannsen from 1928, a Bordesholm version from 1982 and a Cologne version from 2008.

Furthermore, in April 1992, in cooperation with the WDR, a stage version of the Bordesholmer Marienklage by the Ensemble Sequentia was produced , which was performed in the Cathedral of Xanten under the direction of Franz-Josef Heumannskämper and in 1993 as a double CD detailed text supplement appeared. This was followed by further performances as guest performances in Milan and at the Holland Festival .

Original manuscripts

The original handwritten version of the Lamentation of Mary is still completely preserved. In addition to the sheet music and the numerous chants, these are also the particularly detailed stage directions. The work is now in the Kiel University Library ( Cod. Ms. Bord 53/3 - manuscripts from the Bordesholm collection ).

literature

  • Gustav Kühl : About the Bordesholmer Marienklage. Solta, Norden 1898, plus dissertation Kiel (introduction to the edition)
  • Bordesholmer Marienklage. edited by Gustav Kühl, In: Yearbook of the Association for Low German Language Research. 24, p. 1ff.
  • The Bordesholmer Marienklage by Johannes Reborch. Culture and beautification association Bordesholm eV, Bordesholm 1984.

Web links

Individual evidence

  1. ↑ Horst Appuhn: The Bordesholmer Altar , 2nd edition, Königstein i. Ts. 1987, p. 28
  2. ↑ See, however, Horst Appuhn: The Bordesholmer Altar , 2nd ed. Königstein i. Ts. 1987, p. 28
  3. ↑ ibid.
  4. ^ Jan Friedrich Richter : The Bordesholmer Altar (1521) , Königstein i. Ts. 2019, p. 21
  5. ↑ Bordesholmer Marienklage. In: Catalog of the University Library Kiel.