Oswald von Wolkenstein

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Oswald von Wolkenstein - Portrait from the Innsbruck manuscript from 1432 (song manuscript B)

Oswald von Wolkenstein (* around 1377 probably at Schöneck Castle in Pustertal / South Tyrol ; † August 2, 1445 in Merano ) was a singer, poet, composer and politician. His life and work can be viewed as exemplary for a knight of the late late Middle Ages . He was a diplomat in the service of the German Emperor Sigismund I and in those of the Görzer Meinhardiner .

Life

The life of Oswald is passed down in detail in many documents. With his often autobiographical songs, he made sure that his life was not forgotten. He had these songs immortalized in two preserved manuscripts .

Oswald was the second of three sons (and four daughters) of Friedrich von Wolkenstein and Katharina von Villanders . The Lords of Selva were in turn a younger line of the Lords of Villanders, an important noble family with ancestral seat in Villanders .

Oswald's Brixner memorial stone from 1408

All portraits show Oswald with his right eye closed. An examination of the skull from Oswald's grave found in 1973 revealed that it was a congenital malformation. The right eye socket was smaller than the left, which meant that the eyeball was constantly under pressure. This later resulted in paralysis of the eyelid muscle ( ptosis ). The "family history" ( Dieter Kühn ), according to which Oswald is said to have sustained an injury from an accident in an archery at the Trostburg when he was about eight years old, has now been disproved. The popularly rumored description of the loss of eye power in the defense of Greifenstein Castle (1423) is completely impossible, since Oswald is already depicted with one eye on the memorial stone at Brixen Cathedral from 1408.

Youth and wandering years

Oswald von Wolkenstein probably grew up in his presumed birthplace, Burg Schöneck , where his father was the castle captain of the Counts of Gorizia at the time of his birth . For a while, the family will have lived in their father's feudal castle, Wolkenstein Castle , a small cave castle in a rock face. Around 1382 Oswald's mother inherited from her father Ekhard von Villanders the Trostburg, a far more extensive property, which included around ten estates and 30 farms subject to interest, as well as two townhouses in Brixen . Oswald will have spent most of his childhood on the Trostburg.

At the age of ten (around 1387) he left his parents' house to serve as a squire and to travel the world:

It
goes without saying , do I have to do with toes , I want to see how those who shape ...

For several years Oswald traveled around in various countries , probably in the wake of a knight who wandered around. This was customary at the time for the son of a nobleman. It is noteworthy, however, how extensively he got to know the then known world, from Europe to Turkey to the Middle East and North Africa: His autobiographical song quoted above names Prussia, Russia, Tatarstan, Turkey, the Middle East, Italy, France , Spain, the Black Sea and Aragon; in the Hauenstein song he mentions other countries. In his poetry, Oswald gains comic effects from the contrast between his eventful travel life and his existence as a married father who is stuck in his home castle, as in the song Durch Barbarei, Arabia .

By barbarism, Arabia

Through barbarism , Arabia ,
through Hermani in Persia ,
through Tartari in Suria ,
through Romani in Türggia ,
Ibernia ,
I soon forgot.
Through Reussen , Prussia , Eiffenlant ,
towards Litto , Liffen , over Strant ,
towards Tennmarkh , Sweden , in Prabant ,
through Flanders , France , Engelant
and Schottenland
I have not measured for a long time,
through Arragon , Kastilie ,
Grenades and Afferen ,
from Portugal , Ispanie
unto the vinstern Steren ,
of Profenz gen Marsilie -
In races before Saleren ,
daselbs I beleib at the e,
my Ellend to mers as
vast Ungeren.
On a round kofel smal,
surrounded by a thick forest,
vil high mountains and deep valley,
stain, perennials, sticks, sneestangen
that I every day ane zal.
still aine does me pangen that
the klainen kindlin scarf passed
my oren thick
hand.

Oswald von Wolkenstein

After the death of the father returned Oswald (1399) to Tyrol and back there again in 1400 documented detectable. 1401–1402 he took part in the presumably unsuccessful Italian campaign of the German King Ruprecht of the Palatinate . During this time there was a dispute with his older brother Michael, who administered the parental inheritance and initially kept it to himself for years. It was not until 1407 that the legacy was shared between the brothers Michael, Oswald and Leonhard: Michael kept the Trostburg and Wolkenstein, Leonhard got properties near Aichach Castle in Kastelruth , which he later acquired, and Oswald received a third of Hauenstein Castle near Seis am Schlern , which also included numerous interest-bearing farms. The remaining two thirds belonged to Anna von Hauenstein, the wife of the knight Martin Jäger, which later led to a bitter feud .

Possibly even before his pilgrimage to the Holy Land , Oswald donated the (not preserved) Oswald Chapel in Bressanone Cathedral, including two parish offices, which was decorated with a fresco of his shipwreck on the Black Sea - the poet describes this shipwreck in two of his songs as a strange episode in his life, because he was able to save himself on a barrel of Malvasia wine. He transferred 18 of 36 of his leaseholds to this foundation; presumably it corresponded to a vow he had made in distress . In 1408, as preparation for a trip to Palestine, he commissioned the memorial stone at Brixen Cathedral, which shows Oswald as a crusader with a long pilgrim beard. After his return (1409/1410) from the Holy Land, in 1411 he acquired the right to live in a beneficiary house of the Augustinian canons of Neustift near Brixen, which he only rarely used.

In royal service

A high point in Oswald's life was his participation in the Council of Constance in 1415 in the suite of Duke Frederick IV of Tyrol; a picture of Oswald can also be found in Ulrich von Richental's chronicle of the council . In songs from the Constance period he criticizes Jan Hus , whom the council burned at the stake . There Oswald was accepted into the service of King Sigismund (the German king and king of Bohemia and Hungary) in February 1415 ; 300 Hungarian guilders are recorded as the annual salary in the certificate of appointment. A legation trip (to remove the schism ) took him via England and Scotland to Portugal. Oswald took part in the conquest of the Moorish city ​​of Ceuta , which is now part of Spain . This campaign was approved by the Church as a crusade and was granted privileges. Then Oswald traveled to Perpignan in the autumn of 1415 to join King Sigismund's entourage, who negotiated there for several weeks with King Ferdinand I of Aragon and the schismatic Pope Pedro de Luna about the latter's abdication. At the end of this negotiation period, Oswald von Wolkenstein (after the emperor and other members of the royal delegation) was awarded the Aragonese jug order ( "Orden de la Jarra" ), which he wears in full adjustment on his portrait from 1432. Previously, the Aragonese queen widow Margarete von Prades, the widow of Martin I of Aragon , had honored Oswald von Wolkenstein with golden rings for his singing skills. Dieter Kühn concludes from allusions in various songs as well as from chronicles and financial books that Oswald had stolen a gold-wrought and precious-stone-decorated ceremonial robe in Ceuta, perhaps in the palace of the governor Salah ben Salah , who had fled the city , which he then wore in Perpignan for singing performances and then sold it to the royal court there at a high purchase price. From the proceeds, he had given numerous creditors, including the king, some large loans and also received a considerable cash reserve for the rest of his life.

Sigismund's onward journey also took the Tyrolean singer to Paris , where Oswald stayed from March 1st to the end of April 1416. Oswald also used his stay to perform in front of the French Queen Isabeau ( Elisabeth of Bavaria ) and was rewarded by her for his singing skills with a diamond.

Various images document Oswald's closeness to the king at the time. A representation can be found on the reredos of the high altar in the Reinoldikirche in Dortmund , where Oswald is shown kneeling in front of Sigismund. Another graphic documentation of this closeness can be found with the Madonna of the Protective Cloak of Le Puy-en-Velay in southern France.

In 1417 Oswald was back in Constance, later in Tyrol. He joined the nobility union against the sovereign Friedrich IV of Tyrol .

Reconstructed copy of Oswald's full picture from manuscript A (original around 1425)

Also in 1417 Oswald married the noble Margareta von Schwangau . In 1420 or 1421 the couple moved to Hauenstein Castle. Oswald dedicated several songs to Margareta. They had seven children: Michael, Leo, Gotthart (died before February 1441), Friedrich (died 1456), Oswald II (died 1498), Maria and Ursula.

Dispute about Hauenstein

A dispute was already smoldering under Oswald's father over the ownership shares in Hauenstein Castle. He had taken over the third share from his father-in-law Ekhard von Villanders that he had bought in 1367 from the von Hauenstein family, who had run into financial difficulties. Friedrich von Wolkenstein had illegally confiscated two-thirds of the income from his co-owner, Anna von Hauenstein, who was married to the knight Martin Jäger and who probably lived on the Fahlburg , which she also owned . Oswald had received the share in the division of the estate from 1407 and immediately took possession of Hauenstein Castle. He also continued to collect the Jäger taxes for himself.

Martin Jäger had sent him numerous warnings and also started litigation, which did not lead to any result. In autumn 1421 he finally lured Oswald into a trap. Oswald's mistress of many years, Anna Hausmann , took part in the plot. The daughter of the Brixen schoolmaster was identified by the Wolkenstein biographer Anton Schwob as the fatal lover whom Oswald describes in several songs as the housewife . She invited him to a pilgrimage , at that time a common pretext for an extramarital amorous rendezvous. After a directory of 1418 she had debts to Oswald, which he probably the inherited from her Grotthof , a winery in the court Prösels had acquired and canceled its lease charges. At Hausmann's house he was kidnapped by Martin Jäger's henchmen. As a prisoner he was first brought to the Fahlburg. Presumably there he was tortured , among other things with screw boots. In several songs the poet describes the ordeal in detail, which is why he had to walk on crutches for a long time. (The discovery of his skeleton in Neustift and the subsequent forensic examination of the bones was able to prove the injuries from which Oswald, among other things , had suffered an inflammation of the periosteum on his left shin.)

Hauenstein Castle

Oswald's brothers then declared the feud to the hunter, who brought Oswald to Vorst Castle near Meran, which he managed for the Lords of Starkenberg , actually friends of the Wolkensteiners, to protect the Fahlburg from an attack by the Wolkensteiners. From there, Jäger turned to the Tyrolean sovereign, with whom Oswald was also in a longstanding conflict. Oswald, together with other representatives of the lower nobility, had ultimately unsuccessfully tried to curb the efforts of the sovereigns for more power. Oswald only came free after he had praised the so-called original feud , i.e. the abandonment of his resistance, and acknowledged the sovereign mediocrity of the sovereign. On December 17th, he was handed over to Duke Friedrich IV. In Innsbruck , from which he was only released in 1422 for an enormous guarantee of 6000 ducats for five months. The main guarantors were his brother Michael and his cousin Hans von Villanders; Oswald had to give the latter 2,000 ducats as well as mortgage and mortgage notes as security. However, since Oswald did not show up for the scheduled arbitration date at Castle Tyrol , the duke asked for the deposit to be paid out. Michael von Wolkenstein rejected this and explained the feud to him. Oswald fled to King Sigismund in Hungary , who had long had an argument with the duke. The king asked the duke in vain to return the guarantee document and even threatened him with imperial ban and an imperial war against Tyrol, but did not follow up on the announcements. A group of rebellious noblemen continued to fight the duke and the Wolkenstein brothers took part in the defense of the Starkenberg castle in Greifenstein in 1423 , about which Oswald wrote a song. In 1423 the aristocratic union dissolved, in December 1424 peace was concluded in a state parliament , in which only the Starkenberger and Oswald did not participate. Oswald withdrew to the county of Gorizia, where he had owned Neuhaus Castle as a lien since 1422 . Count Heinrich VI of Gorizia . used him as a judge, especially in property and inheritance issues.

In March 1425, Michael and Oswald ended the dispute with their sister Martha von Liechtenstein-Karneid and paid her her inheritance. Wilhelm von Starkenberg gave up the fight against the duke in November 1426. Oswald, socially isolated as the last of the resistanceists from the aristocratic group, wrote his depressed song Durch Barbarei, Arabia in the winter of 1426/1427 . In 1427 Oswald was summoned to the state parliament in Bozen, secretly left the country, was picked up and taken as a prisoner to Vellenberg Castle near Götzens , then to Innsbruck. The intervention of his friends brought about a compromise. Martin Jäger received a severance payment, Hauenstein remained in the possession of Oswald, who, however, had to swear a primal feud and the heirs of the housewife, who had since died, received their farm back. Oswald had to commit himself to loyalty to the duke, who, however, kept the guarantee document in his hand. With reference to this, the surety Hans von Villanders refused to return the deposit money and the Pfandbriefe to Oswald. A dispute arose over this which was to last until Oswald's life. He declared the feud to the cousin, traveled to Heidelberg Castle in 1428 , where he was Count Palatine Ludwig III. asked for help and continued via Cologne to Westphalia , where he was sworn in as a free bishop of the Feme . Before the free chairs of Volmarstein and Arnsberg, he obtained Femebriefe against Hans von Villanders, which he ignored.

Further life

In 1429 Oswald got involved in the dispute between Brixen and the cathedral chapter with a punch he gave the new bishop of Brixen , Ulrich Putsch . In 1431 Oswald and his brother Michael moved to the Reichstag in Nuremberg . There he was accepted into the Dragon Order by King Sigismund . The badge of this exclusive order is also on display on his portrait from 1432. There is no evidence that he took part in the Hussite campaign that year. In 1432 he stayed at the court of King Sigmund in Piacenza and Parma and took part in an embassy to Rome , which was supposed to bring about and prepare the coronation of his employer by the Pope . At the coronation in May 1433, however, he probably did not take part, because at that time he accompanied the imperial ambassador to the council negotiations in Basel . The emperor died in 1437, and so did Duke Friedrich IV of Tyrol in 1439. Oswald was appointed to the commission of five respected men who compiled an inventory of the inheritance and were to keep it under joint lock for the underage son Sigmund .

In 1441 he quarreled with the farming communities on the Renon over pasturage rights. He had four cows confiscated, whereupon several hundred farmers planned to storm and burn his castle. But he learned of the plot, had the ringleader arrested and locked up and tortured at Hauenstein. In Brixen he had a written declaration posted publicly, which ended with the words: “Only this: I let the Rittner and all of their friends go to hell and the devil in the back of his black asshole before I get one of those for no reason Wanted to think up history - although I can certainly write poetry! "

In the disputes between the Tyrolean landscape and the guardian of the young Duke Sigmund, King Friedrich III. , Oswald rode to Sillian in February 1444 to negotiate a settlement . Since no comparison was reached, the defense committee of the state parliament, in which Oswald played an important role as "Verweser am Eisack and Pustertal ", decided to conquer Trento in order to prevent royal troops from marching into South Tyrol; on April 5th the city besieged by 3,000 soldiers surrendered.

In 1445 Oswald appeared in politics for the last time: He took part in the Landtag in Meran, where he died on August 2, 1445. On the same day, his wife handed the representatives of the countryside gathered there the two keys to the chests with the guardianship contract for the young Duke Sigmund and the inventory of the ducal treasure that had been entrusted to Oswald. Oswald was buried in the Neustift monastery near Brixen , whose patron (executor) he was appointed in 1434 at the Ulm Reichstag. In 1973 his grave was found there by chance during renovation work. To identify the bones, they were handed over to the University of Linz , which forwarded the skull to the forensic medicine institute of the University of Bern for an examination. The current whereabouts of the remains are unclear.

Oswald's sons continued the argument with Hans von Villanders. The eldest son Michael became canon in Brixen, the daughter Maria Nun in the Poor Clare Monastery in Bressanone , where, together with some other nuns, she tried to prevent monastery reforms in a dispute with Bressanone Bishop Nikolaus von Kues ;; later she moved to the Poor Clare Monastery in Merano , where she died as abbess in 1478 . The descendants of Oswald acquired the Rodenegg Castle near Brixen in 1491 , which is still owned by his direct descendants, the Counts of Wolkenstein-Rodenegg . (see Stammliste der Wolkenstein )

In 2011 the South Tyrolean Provincial Museum presented a special exhibition lasting several months in Tyrol Castle under the title "Ich Wolkenstein", in which, in addition to original song texts and contemporary artifacts , the reception of Wolkenstein by later painters and graphic artists was presented.

Oh sensual suffering

Ach senes suffering,
avoiding, envy, schaiden, we do that,
better if you sunk in the lake.
Delicate Minnik woman,
your body writes me and drives towards Josophat.
heart, must, sin, thought has become mat.
Death
will die , whether your grace will not help me
out of great need;
I will help you with my fear.
Your mündlin red
has awakened my greed so almost vil,
I was just waiting for the zil.

Oswald von Wolkenstein

Tradition of the songs

The work of the songwriter Wolkenstein is essentially handed down in three manuscripts, which were created during his lifetime or shortly thereafter:

  • 1425 and 1427–1436: Wiener Liederhandschrift A (texts with notes) = Austrian National Library, Vienna, call number: Codex Vindobonensis 2777; Large folio volume, 66 parchment leaves, the main part completed in 1425 with a table of contents of 42 songs (= basic stock ). Supplements up to 1441: 108 lyrics and melodies; Author's portrait on the front of the inside cover.
    Facsimiles:
    • Oswald von Wolkenstein. Handwriting A in illustration. Edited by Ulrich Müller and Franz Viktor Spechtler. Private printing, Stuttgart 1974, DNB 208323708 .
    • Oswald von Wolkenstein. Manuscript A. Complete facsimile edition in the original format of Codex Vindobonensis 2777 of the Austrian National Library. Commentary by Francesco Delbono (= Codices selecti. LIX). Academic Printing and Publishing Establishment, Graz 1977, ISBN 3-201-00995-4 .
  • 1432 Innsbrucker Liederhandschrift B (texts with notes) = University and State Library of Tyrol, without signature, Innsbruck; Large folio volume, 48 parchment leaves, the main part completed in 1432, only a few additions until 1438: 118 song texts and melodies; Life-size half-length portrait on the cover sheet, the first lifelike portrait of a German poet.
    Facsimiles:
    • Oswald von Wolkenstein. Illustrations for tradition I: The Innsbrucker Wolkenstein manuscript B. Ed. By Hans Moser and Ulrich Müller. A. Kümmerle, Göppingen 1972 (= Litterae. Göppinger contributions to text history. 12), OCLC 804370 .
    • Oswald von Wolkenstein: Liederhandschrift B. Color microfiche edition of the Innsbruck manuscript, University Library, no sign. Introduction and codicological description by Walter Neuhauser. Ed. Lengenfelder, Munich 1987 (= Codices illuminati medii aevi. 8), ISBN 3-89219-008-9 .
  • Circa 1450 Innsbruck manuscript c (texts without notes) = Tiroler Landesmuseum Ferdinandeum, signature: FB 1950, Innsbruck; 115 sheets of paper, laid out around 1450: 116 lyrics without melodies and without a title picture; in the text sequence essentially a copy by B.
    Facsimile:
    • Oswald von Wolkenstein. Illustrations for tradition II: The Innsbruck Wolkenstein manuscript c. Edited by Hans Moser, Ulrich Müller and Franz Viktor Spechtler. With an appendix to the “Wolfenbüttel portrait” and to the O'svW death message from Hans-Dieter Mück. A. Kümmerle, Göppingen 1973 (= Litterae. Göppinger contributions to text history. 16), ISBN 3-87452-142-7 .

The manuscripts A and B were created on Oswald's own commission. Oswald himself also took part in the editing of the text of these manuscripts, as can be seen from numerous corrections and personal comments. Example: Under the recording of the song Kl 26 “Durch aub Abenteuer tal und perg” there is the following Latin comment in ms. A: “Ultimus versus est verissimus. Per oswaldum Wolckenstainer “ = The last verse is all too true. ( scil. noted) by Oswald Wolkenstein.

The places of manufacture cannot be documented. It is likely, however, that manuscripts A and B were made in the scriptorium (= writing workshop ) of the Augustinian canons of Neustift near Brixen. The poet had acquired a right of residence there and acted as the secular protector (= Vogt ) of the monastery. In addition, Oswald von Wolkenstein was buried in the monastery basilica, a privilege that, apart from the abbots, enjoyed only a few high-ranking personalities who had rendered outstanding services to the monastery.

The painters of the two pictures by the author have not yet been identified.

A total of 134 texts have survived in the two magnificent manuscripts as well as in isolated ancillary traditions, most of them in the barely divergent versions of manuscripts A (= Vienna ) and B (= Innsbruck ) from 1425 and 1432, respectively B the polyphonic notes are often reduced to note recordings of only 2 voices.

Both song collections are among the greatest book treasures of the Middle Ages. In the precious furnishings with portraits of the author and artistically demanding initials, in the calligraphic quality of the text and melody recording, Wolkenstein's songbooks also document a claim to the highest artistic quality. Since the author apparently had these magnificent manuscripts created at his own expense and also made the first song manuscript a gift to one of the dukes of Austria, the extraordinary artistic self-confidence of Oswald von Wolkenstein can also be measured. However, the generations immediately following no longer appreciated the status of his art. The Wolkenstein research sees this as one of the reasons why Oswald von Wolkenstein neither founded a school nor found a successor.

For interpretation

In contrast to the classic minstrels, Oswald von Wolkenstein was only rediscovered in the 20th century, since the romantic revivals of German poetry of the Middle Ages considered the peculiarities of his art of song to be incompatible with the models of high medieval classical music:

  • the novelty of his autobiographical poetry,
  • the suggestive power of his new language, the sensual perception mixed with images of local color and impressionistic sound paintings,
  • the humor, its ironic disillusionment effects, image montages and self-persiflage ,
  • the unauthorized use of the forms and motifs of classical minstrel,
  • the inner dissonances of his work, the sudden juxtaposition of unrepentant indulgent sensual joy and repentant desperate fear of the hereafter, the change from an insatiable urge to explore the world to resigned denial of the world,
  • the compositional art of his monophonic melodies and his polyphonic movements, in which Oswald for the first time recreated models of the French and Italian Ars Nova on a large scale .

In terms of content, Wolkenstein's poetry can be divided into three main subject areas: secular love poetry, sacred poetry, autobiographical songs.

Wolkenstein's love poetry comprises around a third of his more than 130 songs and proverbs. In contrast to the classic minnesang of the 12th and 13th centuries, song types with sensual or scenic love motifs dominate in Oswald's love poem, which, such as the day song and the pastourelle , are more of the marginal phenomena of minnesong, as well as completely new types of content such as New Year's greetings and love duets. In addition, Oswald von Wolkenstein sings about his named lover (and wife) Margarete for the first time in motifs, scenes and images full of tenderness. The poet increases this effect through his art of rhyming. This is especially the case with songs in which Wolkenstein, for example, transforms sensory impressions of birdsong, spring celebrations or delights in love into sound images.

The spiritual songs account for around a quarter of his work. Measured by the length of the text, the sacred part of the song makes up almost half of Oswald's complete works. Oswald himself attached great importance to sacred song poetry, as he opened each of his song collections with a group of sacred songs. His sacred song poetry receives a lot of attention from today's interpreters. In this area, the poet succeeded in lyrically and musically significant songs. Thematically, Wolkenstein's sacred songwriting is shaped by the predominant piety movements of his time. Therefore, with Oswald, as in the religious life of the 15th century , the focus is on the veneration of Mary and the so-called " Four Last Things " (death, Last Judgment , heaven and hell). In his courtly Marian Prize songs, for example, he developed a completely new style of private devotion. As a means of representation for this new form of intimate and personal Marian piety , Oswald von Wolkenstein has created a new, sensual language, similar to the one in love poetry. This opens up new dimensions of religious experience in which body and soul are equally captured and the boundaries between the human and the divine seem to be abolished. In this respect, Oswald's Marienlieder unfold a very similar effect to the late Gothic devotional pictures of the so-called “Beautiful Madonnas”, whose spiritual suggestive power is known to be triggered by components of sensual perception. Wolkenstein made his experiences in captivity an occasion for haunting conscience research, conjuring up his fears and distresses of conscience in vivid pictures, so that the impression of immediate descriptions of experiences arises. In this respect, the poet succeeds in creating individual psychograms of his inner world even in such types of song, a religiously motivated introspection .

The rest of his lyrical work is made up of the group of autobiographical songs. These poems are among the most original song texts by Oswald von Wolkenstein, as they can hardly be broken down into traditional song genres unless they can be assigned to other sacred or secular song types. Each of the autobiographical songs shows itself to be a sui generis song type . In these songs, Oswald stages episodes of his eventful life in ever new variations to narrative songs or descriptions of situations with great fascination. Here Wolkenstein thematizes the interesting ups and downs of his life: his knight and love adventures, some of them erotic very clear, his open battles as well as his private quarrels and above all his extensive travels through Europe, Africa and Asia, whereby the poet made his artistic appearances in effectively staged in the circles of foreign knight and princely societies. The travel songs in particular deserve special attention, as in these poems Wolkenstein describes the regions of the world traveled with their different topographies , people, languages ​​and customs from their own perspective and with self-acquired knowledge of the world. For example, the travel impressions from Spain, France, Hungary, Italy and other Mediterranean regions convey images full of local color that are unique even in the poetry of these nations. On his travels, he claims to have learned up to ten foreign languages ​​(according to his own statement), and his virtuoso handling of language is evident in some of the lyrics in which he mixes up to seven languages. In modern Slovene studies, especially sprinkles in his texts from “ Windischen ” (as the Slovene language was called at the time) aroused a certain interest with regard to the reception potential of this language in the late Middle Ages.

Wolkenstein described his instruments as follows: “Also, I fidlen trummen paugken whistle” - meaning fiddle, trumpet, timpani and recorder or transverse flute. A one-handed flute with three holes that was held and played with the left hand while the right hand was beating a small drum on the belt with the mallet was popular for accompanying singing. He probably played the trumpet and kettledrum as a military musician on campaigns. His voice is likely to have been a strong, "pronounced high-pitched baritone with a tendency towards tenoral voices". The range reached an undecimal , almost an octave and a half. His song compositions show a high level of technical security, there are fourth jumps, difficult interval sequences and even seventh jumps.

Impact history

Cesar Bresgen wrote the oratorio Visiones amantis (The Wolkensteiner) in 1951 . He used melodies and texts by Oswald von Wolkenstein to trace his life. It was performed semi-staged in 1952, the staged premiere took place in 1971.

The German composer Wilfried Hiller and the Austrian playwright Felix Mitterer created a musical picture of their almost 600 years older colleague with the opera-like work Wolkenstein, called “A Life Ballad” , which premiered in 2004 at the State Theater in Nuremberg .

Eponyms

In 1998 the asteroid (8316) Wolkenstein was named after him.

Trivia

Hiking trophy of the Oswald von Wolkenstein ride (2007)

The South Tyrolean towns of Seis am Schlern , Völs , Prösels Castle and Kastelruth - the historical world of Oswald von Wolkenstein - have been jointly organizing the largest alpine horse show, the Oswald-von-Wolkenstein-Ritt , since 1983 . The equestrian game is based on medieval equestrian tournaments and is divided into the disciplines of labyrinth, ring jump, obstacle gallop and slalom.

The Oswald-von-Wolkenstein-Weg, a five-kilometer circular route with 15 stations in the Schlern-Rosengarten Nature Park, begins on the outskirts of Seis am Schlern . It gives visitors playful access to the history of the namesake. The stage destination of the circular route includes the ruins of Hauenstein Castle , which from 1427 was the sole property of Oswald von Wolkenstein.

literature

expenditure

New High German transmissions

  • Oswald von Wolkenstein: A selection from his songs. Ed., Translated and explained by Burghart Wachinger. Langewiesche-Brandt, Ebenhausen 1964. [Licensed edition under the title:] Songs. Middle High German and New High German. Selection. Reclam, Stuttgart 1967, ISBN 3-15-002839-6 .
  • for these worlds pleasure. Body and life songs. Transferred and ed. by Hubert Witt. Insel, Leipzig 1968.
  • All songs and poems. Translated into New High German by Wernfried Hofmeister. A. Kümmerle, Göppingen 1989, ISBN 3-87452-749-2 .
  • Franz Viktor Spechtler: Oswald von Wolkenstein: Complete Poems. Wieser, Klagenfurt 2007, ISBN 978-3-85129-670-9 .
  • Gerhard Ruiss: Oswald von Wolkenstein. Songs. Re-seals.
  • Hans Moser: As light as a feather. Oswald von Wolkenstein - songs and adaptations. Edition Laurin, Innsbruck 2012, ISBN 978-3-902866-05-9 .

Editions with newer melody reconstructions

  • Johannes Heimrath, Michael Korth (ed.): Frölich shouted as well as we do. Oswald von Wolkenstein. Heimeran, Munich 1975, ISBN 3-7765-0204-5 (paperback edition: Oswald von Wolkenstein. Songs from the Middle Ages. Fischer, Frankfurt am Main 1979, ISBN 3-596-22955-3 ).
  • Oswald von Wolkenstein. The songs Middle High German-German. In: Text and melodies retransmitted and commented by Klaus J. Schönmetzler. Vollmer, Munich 1979, ISBN 3-87876-319-0 (complete edition, well suited for singing, but the sheet music is based on the modern translation).
  • Oswald von Wolkenstein. Songs. Early New High German / New High German (= Reclam UB . 18490). Selected texts edited, translated and commented on by Burghart Wachinger. Melodies and musical sets edited and commented by Horst Brunner. New edition. Reclam, Stuttgart 2007, ISBN 978-3-15-018490-5 (best suited for singing with the original text).

Biographical and secondary literature

  • Yearbook of the Oswald von Wolkenstein Society . Founded in Marbach am Neckar in 1980; has been published in Dr. Ludwig Reichert Verlag, Wiesbaden, ISSN  0722-4311 .
  • Karen Baasch, Helmuth Nürnberger : Oswald von Wolkenstein. With self-testimonials and picture documents (= rororo picture monographs. 360). 2nd Edition. Rowohlt, Reinbek 1995, ISBN 3-499-50360-3 (also: Baltica, Flensburg 1995, ISBN 3-934097-29-4 ).
  • Christian Berger (Ed.): Oswald von Wolkenstein. The reception of an international song repertoire in the German-speaking area around 1400. With an edition of eleven selected songs (= Rombach Sciences. Voces series. Volume 14). Rombach Verlag, Freiburg i. Br./Berlin/Wien 2011, ISBN 978-3-7930-9646-7 .
  • Albrecht Classen: The autobiographical poetry of the European late Middle Ages . Studies on Hugo von Montfort, Oswald von Wolkenstein, Antonio Pucci, Charles d'Orléans, Thomas Hoccleve, Michel Beheim, Hans Rosenplüt and Alfonso Alvarez de Villasandino (=  Amsterdam publications on language and literature . Volume 91 ). Rodopi, Amsterdam 1991, ISBN   90-5183-248-06  ( defective ) .
  • Franz Daxecker: The injuries to Oswald von Wolkenstein's right eye. In: Reports of the Natural Science-Medical Association in Innsbruck. Volume 83, Innsbruck 1996, ISSN  0379-1416 , pp. 325-330.
  • Sieglinde Hartmann : Oswald von Wolkenstein today: Traditions and innovations in his poetry. In: Yearbook of the Oswald von Wolkenstein Society. Volume 15, 2005, pp. 349-372.
  • Sieglinde Hartmann: Gothic images of the Madonna and the poetry of Mary by Oswald von Wolkenstein. In: word unde know, sing and say. Festschrift for Ulrich Müller on the occasion of his 65th birthday (= Göppingen work on German studies. No. 741). Edited by Ingrid Bennewitz. A. Kümmerle, Bamberg 2007, ISBN 978-3-87452-995-2 , pp. 71-92.
  • Sieglinde Hartmann: Oswald von Wolkenstein. In: Kindlers Literature Lexicon. 3rd, completely revised edition. Edited by Heinz Ludwig Arnold. Stuttgart / Weimar 2009, Volume 12, ISBN 978-3-476-04000-8 , pp. 418-420.
  • Sieglinde Hartmann: German love poetry from Minnesang to Oswald von Wolkenstein or the invention of love in the Middle Ages (= introduction to German medieval literature. Volume 1). Under redakt. Employee by Michael Schurk. Dr. L. Reichert Verlag, Wiesbaden 2012, ISBN 978-3-89500-847-4 .
  • Mathias Herweg: Oswald von Wolkenstein. A singer's life on the move. In: Karl-Heinz Braun , Mathias Herweg, Hans W. Hubert, Joachim Schneider, Thomas Zotz (eds.): The Council of Constance. Essays. 1414-1418. World event of the Middle Ages. Theiss Verlag, Darmstadt 2013, ISBN 978-3-8062-2849-6 , pp. 58-63.
  • Joseph Freiherr von Hormayr: About Oswald von Wolkenstein and his family. In: Tiroler Almanach for the year 1803. Vienna 1803, pp. 85–125. [Continued under the title:] About Oswalden von Wolkenstein and his family. In: Tiroler Almanach for the year 1804. Vienna 1804, pp. 127–159.
  • Dirk Joschko: Oswald von Wolkenstein. A monograph on the person, work and research history. A. Kümmerle, Göppingen 1985, ISBN 3-87452-617-8 .
  • Egon Kühebacher (Ed.) On behalf of the South Tyrolean Cultural Institute: Oswald von Wolkenstein. Contributions to the philological and musicological conference in Neustift near Brixen 1973 (= Innsbruck contributions to cultural studies. German series. Volume 1). Institute for German Philology at the University of Innsbruck, Innsbruck 1974, ISBN 3-85124-053-7 (Philological-Musicological Conference, Vahrn-Neustift 1973).
  • Dieter Kühn : Me Wolkenstein. A biography. Extended new version. Fischer Taschenbuch-Verlag, Frankfurt am Main 2011, ISBN 978-3-596-19008-9 .
  • Hans Moser, Ulrich Müller: On today's pronunciation of the texts of Oswald von Wolkenstein. In: Yearbook of the Oswald von Wolkenstein Society. 19, 2012, ISSN  0722-4311 , pp. 455-472. ( PDF; 92 kB , pagination different)
  • Hans-Dieter Mück: Me Wolkenstein. Volume 1: 1377-1445. Catalog for the exhibition at Tirol Castle. Edited on behalf of the South Tyrolean State Museum for Cultural and State History, Castle Tyrol. Athesia publishing house, Bolzano 2011, ISBN 978-88-8266-812-9 .
  • Hans-Dieter Mück, Ulrich Müller (Hrsg.): Collected lectures of the 600th anniversary of Oswald von Wolkenstein, Seis am Schlern 1977: “Dem Edeln unserm sunderlieben getrewn Hern Oswaltten von Wolkchenstain” (= Göppingen work on German studies. 206). A. Kümmerle, Göppingen 1978, ISBN 3-87452-352-7 .
  • Ulrich Müller (Ed.): Oswald von Wolkenstein (= Paths of Research . Volume 526). Scientific Book Society, Darmstadt 1980, ISBN 3-534-07516-1 .
  • Ulrich Müller, Margarete Springeth (ed.): Oswald von Wolkenstein. Life - work - reception. Walter de Gruyter, Berlin / New York 2011, ISBN 978-3-11-020782-8 .
  • Jürgen Rauter (Ed.) With the collaboration of Elisabeth Höpfner: Oswald von Wolkenstein. Literary tradition, variation and interpretation based on selected songs. Aracne Editrice, Rome 2009, ISBN 978-88-548-2803-2 .
  • Walter Röll:  Oswald von Wolkenstein. In: New German Biography (NDB). Volume 19, Duncker & Humblot, Berlin 1999, ISBN 3-428-00200-8 , p. 636 f. ( Digitized version ).
  • Joseph Schatz:  Oswald von Wolkenstein . In: Allgemeine Deutsche Biographie (ADB). Volume 44, Duncker & Humblot, Leipzig 1898, pp. 137-139.
  • Meinolf Schumacher : "A wreath for the dance and a dash through the bill". To Oswald von Wolkenstein “I feel ain animal” (Kl 6). In: Contributions to the history of the German language and literature . 123, 2001, pp. 253-273 ( PDF; 8.4 MB ).
  • Franz Josef Schweitzer: The Hussite songs of Oswald von Wolkenstein against the background of the Bohemian reform movement and revolution. In: Yearbook of the Oswald von Wolkenstein Society (JOWG). 9 (1996/97), ISSN  0722-4311 , pp. 31-43.
  • Anton Schwob : Oswald von Wolkenstein. A biography (= series of publications by the South Tyrolean Cultural Institute. Volume 4). Athesia, Bozen 1977, ISBN 88-7014-073-3 .
  • Johannes Spicker: Oswald von Wolkenstein - The songs. Erich Schmidt Verlag, Berlin 2007, ISBN 978-3-503-09826-2 .
  • Hubert Stuppner: Oswald von Wolkenstein - love, cunning and passion , Athesia Verlag Bozen 2014, ISBN 978-88-8266-991-1 .

Sound carrier

  • Oswald von Wolkenstein: 11 songs. LP (25 cm, mono); Archive production of the Deutsche Grammophon Gesellschaft, Hanover 1956.
  • Early Music Studio London, Thomas Binkley (dir.): Oswald von Wolkenstein. LP / CD; EMI, Cologne 1972 (republication: 2000).
  • Doris Linser, Kurt Equiluz a. a .: Oswald von Wolkenstein. LP; The old factory, TELDEC, Hamburg 1974.
  • Wilfried Jochims, Michael Schäfer, Tom Kannmacher : I Oswald von Wolkenstein. LP / CD; Aulos, Viersen 1977 (republication 2016).
  • Bärengässlin : Oswald von Wolkenstein - Frölich shouted as well as we did. LP / CD; plans, Dortmund 1978 (republication: 2001).
  • Hans Peter Treichler : Oswald von Wolkenstein. Songs of wine and love. LP; Gold Records Music and Word. 1979.
  • Ensemble for Early Music Augsburg: Oswald von Wolkenstein - A selection of 24 songs. LP / CD; Christophorus, Freiburg 1988.
  • Sequentia : Oswald von Wolkenstein. Songs. CD; deutsche harmonia mundi, Munich 1993.
  • New London Consort, Philip Pickett (dir.): Oswald von Wolkenstein. Knightly Passions. CD; Decca, London 1996.
  • Eberhard Kummer : Oswald von Wolkenstein. It complies. CD; Preiser, Vienna 1998.
  • Les Menestrels: Oswald von Wolkenstein and his Italian contemporaries. CD; Arte Nova, 1998.
  • Ensemble Alta Musica, Berlin: Wolkenstein. CD; carpe diem, Berlin 2002.
  • Andreas Scholl , Shield of Harmony: Oswald von Wolkenstein. Songs of Myself. CD; harmonia mundi, Arles 2010.
  • Ensemble Unicorn, Michael Posch: Frolich, tender, gentle… - Oswald von Wolkenstein: love songs. CD; Raumklang, Goseck 2011.
  • Sabine Lutzenberger , Bernd Oliver Fröhlich, Joel Frederiksen: Oswald von Wolkenstein - reflections. CD; deutsche harmonia mundi - sony music, Fischbeck 2013.
  • Ensemble Leones, Marc Lewon : The Cosmopolitan - Songs by Oswald von Wolkenstein. CD; Christophorus, Heidelberg 2014.

Web links

Wikisource: Oswald von Wolkenstein  - Sources and full texts
Commons : Oswald von Wolkenstein  - Collection of images, videos and audio files

swell

Secondary

Individual evidence

  1. ↑ Dieter Kühn: I Wolkenstein. Extended new version, Fischer Taschenbuch-Verlag, Frankfurt am Main 2011, ISBN 978-3-596-19008-9 , pp. 233 f., 374 ff., 701 ff. Kühn gives (op. Cit., P. 234) the assumption of the Ophthalmologist Eberhard Kleeberger said it was a secondary ptosis caused by an injury.
  2. ↑ Kühn, p. 15 ff.
  3. ↑ Quoted from: Karl Kurt Klein (Ed.): The songs of Oswald von Wolkenstein (= Old German Text Library. Vol. 55). 4th edition. reworked by Burghart Wachinger. de Gruyter, Berlin 2015, ISBN 978-3-11-033503-3 , pp. 138–140.
  4. ↑ Kühn, pp. 267-270, 344-348, 721-722.
  5. ↑ Wolfgang Rinke: The panel painting “Indictment, interrogation and condemnation of Jesus” in St. Reinoldi in Dortmund. At the same time a contribution to the iconography of Oswald von Wolkenstein. In: Yearbook of the Oswald von Wolkenstein Society. Volume 4, Marbach a. N. 1987, ISSN  0722-4311 , pp. 175-199.
  6. ↑ See the article by Sieglinde Hartmann: A new photo testimony of Oswald von Wolkenstein? The Madonna of Le Puy-en-Velay and the Song of Mary in France. With an examination of the history of costume by Elisabeth Vavra . In: Yearbook of the Oswald von Wolkenstein Society. Volume 13. Frankfurt am Main 2001/2002, ISSN  0722-4311 , pp. 297-332.
  7. ↑ Lucia Esther Momo, Rita Müller: Margarethe von Schwangau - The wife of Oswald von Wolkenstein. Munich, Grin 2005, ISBN 3-638-93749-6 .
  8. ↑ Dieter Kühn : I Wolkenstein. A biography. Extended new version. Fischer Taschenbuch-Verlag, Frankfurt am Main 2011, ISBN 978-3-596-19008-9 , p. 18 ff., P. 418 ff.
  9. ↑ Kühn, pp. 416, 488, 519.
  10. ↑ Kühn, pp. 714–717, gives many comparative figures: for example, the large trading city of Nuremberg paid the emperor an annual imperial tax of 2000 guilders, and in 1428 Würzburg bought a siege troop's deduction for 5000 guilders. In this era, guilders and ducats were considered equivalent.
  11. ↑ Kühn, p. 460 f.
  12. ↑ Kühn, pp. 538-559.
  13. ↑ Kühn, pp. 662-676.
  14. ↑ Kühn, pp. 699-704.
  15. ↑ Kühn, pp. 652-656.
  16. ↑ Ich Wolkenstein ( Memento of July 24, 2011 in the Internet Archive ) (PDF; 1.3 MB). Special exhibition in Schloss Tirol 9 July – 27. November 2011. In: dorf-tirol.it, accessed on October 2, 2016 (Flyer).
  17. ↑ Quoted from: Karl Kurt Klein (ed.): The songs of Oswald von Wolkenstein (= Old German Text Library. Volume 55). 4th edition, revised by Burghart Wachinger. de Gruyter, Berlin 2015, ISBN 978-3-11-033503-3 , p. 152 f.
  18. ^ Burghart Wachinger: Mixture of languages ​​with Oswald von Wolkenstein. In: Journal for German Antiquity and German Literature. 106, 1977, pp. 277-296, JSTOR 20656221 .
  19. ↑ Nikolai Mikhailov: Early Slovenian language monuments. The handwritten period of the Slovene language (XIV century to 1550) . Rodopi, Amsterdam / Atlanta 1998, pp. 64–67 ( limited preview in Google Book Search).
  20. ↑ Elisabeth Seitz Shewmon: 103. Early vernacular development: Slovenian. In: Karl Gutschmidt , Sebastian Kempgen , Gerold Ungeheuer , Herbert Ernst Wiegand (eds.): The Slavic languages. An international handbook on its structure, history and exploration. Volume 2 = The Slavic Languages. An International Handbook of their Structure, their History and their Investigation . Volume 2 (= Handbooks of Linguistics and Communication Science [HSK]. Volume 32 = Handbooks of Linguistics and Communication Science . Volume 32 = Manuels de linguistique et des sciences de communication . Volume 32. Co-named by Gerold Ungeheuer. Ed. By Herbert Ernst Wiegand). de Gruyter Mouton, Berlin / Munich / Boston, Mass. 2014, ISBN 978-3-11-017153-2 , pp. 468–473 (= pp. 1403–1407 of the complete edition, vols. 1–2). here: p. 470 ( facsimile in the Google book search; articles partly in German, partly in English; here: in German, abstract in English).
  21. ↑ Kühn, pp. 193-196.
  22. ↑ Cesar Bresgen: Visiones amantis (The Wolkensteiner). Ludus tragicus in six pictures after poems and wise men by Oswald von Wolkenstein. Scenic furniture by E. Gärtner. Litolff, Frankfurt am Main / London / New York. Edition Peters, Frankfurt am Main / London / New York 1962, DNB 400141590 (performance material); DNB 100157950X (piano reduction).
  23. ^ The International Planet Center: Minor Planet Center (MPC). In: minorplanetcenter.net, accessed October 2, 2016.
  24. ↑ The Oswald von Wolkenstein ride. In: ovwritt.com, accessed October 2, 2016.
  25. ^ Oswald von Wolkenstein Weg ( Memento from May 23, 2016 in the Internet Archive ). In: suedtirol.info, accessed on October 2, 2016.
  26. ↑ Hauenstein ruins. In: suedtirol.info, accessed on October 2, 2016.
personal data
SURNAME Oswald von Wolkenstein
BRIEF DESCRIPTION medieval poet, composer and diplomat
DATE OF BIRTH around 1377
PLACE OF BIRTH uncertain: Schöneck Castle , Pustertal , South Tyrol
DATE OF DEATH August 2, 1445
Place of death Meran