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23-661: While closely associated with the lyric genre Minnesang , its theme is not love, but rather the Spruch treated predominantly of rational, didactic and pragmatic issues, including, for example, socio-political commentary, topics related to moral or religious teaching and philosophy, practical wisdom, biographical material, praise of patrons, begging and much else besides. Where the texts offer general moral comment, they may also be considered gnomic poetry , while works directed at particular personages or issues are rather political poetry . The most important medieval collection of Sprüche

46-465: A definitive conclusion. The rhymes are not always pure: for example, Kürenberg rhymes zinne:singen and liep:niet . This distinguishes the Danubian poets from later Minnesänger. His poems were most likely written before the concept of ideal courtly love was formulated. As their subject they have a more direct and less stylized relationship. Some are in dialogue form ( Wechsel ). The best known poem

69-540: A native German tradition in the third quarter of the 12th century. This is referred to as the Danubian tradition. From around 1170, German lyric poets came under the influence of the Provençal troubadours and the French trouvères . This is most obvious in the adoption of the strophic form of the canzone , at its most basic a seven-line strophe with the rhyme scheme AB AB CXC, and an AAB musical structure (denoting

92-509: A strophic form identical to that later used in the Nibelungenlied , the "Nibelungenstrophe". His work is dated on literary-historical grounds to the earliest phase of Minnesang , around 1150–1160. Kürenberg's songs are preserved in two manuscripts: The text of the manuscripts is clearly defective in a number of places. The manuscripts do not group the strophes, and they are usually regarded as standing alone, rather than forming

115-599: Is called the Nibelungenstrophe (the Germanic long-line). In one of the poems a woman stands and listens to the song of one knight among all the others. The knight sings "in Kürenberges wise". She states that "either he must leave the country, or she will enjoy his love." The poet's response is to call for his horse and armour and flee. This lady is unique in the poetry of the time in that she wishes to compel

138-572: Is regarded as the period of Classical Minnesang with Albrecht von Johansdorf , Heinrich von Morungen , Reinmar von Hagenau developing new themes and forms, reaching its culmination in Walther von der Vogelweide , regarded both in the Middle Ages and in the present day as the greatest of the Minnesänger . The later Minnesang , from around 1230, is marked by a partial turning away from

161-508: Is the Jenaer Liederhandschrift (MS J), which also has a large number of Spruch melodies. The main poets working in this genre are: This article about a literary genre is a stub . You can help Misplaced Pages by expanding it . This Medieval music -related article is a stub . You can help Misplaced Pages by expanding it . Minnesang Minnesang ( German: [ˈmɪnəzaŋ] ; "love song")

184-629: Is the "falcon song". It is possible that both stanzas were spoken by a woman. His poetry, as well as that of Dietmar von Eist (Aist), suggest that there may have existed a poetic form indigenous to the Upper Germany/Austria territory before the impact of the Provençal influence. His poems contrast sharply with those of the later convention. So much so that some have been tempted to suggest that he disapproved of them. (But as Walsche says: This would be presuming too much). His poems are composed almost exclusively in an old Danubic form which

207-419: Is the key And you must ever be therein! The standard collections are 12th and early 13th century (up to Reinmar von Hagenau): 13th century (after Walther von der Vogelweide): 14th and 15th centuries There are many published selections with Modern German translation, such as Individual Minnesänger The two Minnesänger with the largest repertoires, Walther and Neidhart, are not represented in

230-772: The Minnesang tradition: Richard Wagner 's Tannhäuser and Richard Strauss ' Guntram . The following love poem, of unknown authorship, is found in a Latin codex of the 12th century from the Tegernsee Abbey . Dû bist mîn, ich bin dîn: des solt dû gewis sîn. dû bist beslozzen in mînem herzen. verlorn ist das slüzzelîn: dû muost immer drinne sîn! Du bist mein, ich bin dein: des(sen) sollst du gewiss sein. Du bist verschlossen in meinem Herzen. Verloren ist das Schlüsselein: du musst immer darin sein! You are mine, I am yours, Thereof you may be certain. You're locked away within my heart. Lost

253-560: The Occitan troubadours and northern French trouvères , but they are "an original German contribution to courtly lyric." In the absence of reliable biographical information, there has been debate about the social status of the Minnesänger . Some clearly belonged to the higher nobility – the 14th-century Codex Manesse includes songs by dukes, counts, kings, and the Emperor Henry VI . Some Minnesänger , as indicated by

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276-576: The barons (" Freiherren ") in the hierarchical ordering of the Manesse Codex, the only known house of this status and name is documented in the Breisgau in the 11th Century. He more probably belongs to families of his name with vassal status (" Dienstmann "), attested in the area along the Danube around Melk and Linz in the mid-12th Century. A Danubian origin is also supported by his use of

299-542: The earliest Minnesänger . Fifteen strophes of his songs are preserved in the Codex Manesse and the Budapest Fragment. Since his given name remains unknown ("Der" is not a name but a demonstrative pronoun ), it is impossible to identify him in historical records. His social status also remains uncertain and the place name Kürenberg (literally "Mill Hill") is not uncommon. Although he is placed among

322-443: The following generation's poetry. The "Falkenlied" Ich zôch mir einen valken mêre danne ein jâr. dô ich in gezamete als ich in wolte hân und ich im sîn gevidere mit golde wol bewant, er huop sich ûf vil hôhe und floug in anderiu lant. Sît sach ich den valken schône fliegen: er fuorte an sînem fuoze sîdîne riemen, und was im sîn gevidere alrôt guldîn. got sende si zesamene die gerne geliep wellen sin! I brought up

345-430: The knight's love and seeks to fulfill the promised eroticism of the knight's song. Strangely, one is left with the feeling that the knight was shocked to have been taken seriously. Der von Kürenberg paints bold images with few words and creates men and women who are bold and confident. The impression he leaves seems more true to what one might expect the men and women of a warrior-aristocracy to be like than that portrayed in

368-404: The multi-strophe poems typical of later Minnesang. However, the first two strophes, which differ in form from the rest, seem to for a "Wechsel", that is a song with a strophe from each of a pair of lovers. The two strophes of the "Falkenlied" ("falcon song") clearly belong together. Possibly other pairs of strophes belong together, even though separated in the manuscripts, but this is not amenable to

391-408: The refined ethos of classical Minnesang and by increasingly elaborate formal developments. The most notable of these later Minnesänger , Neidhart von Reuental introduces characters from lower social classes and often aims for humorous effects. Only a small number of Minnelied melodies have survived to the present day, mainly in manuscripts dating from the 15th century or later, which may present

414-519: The repetition of large segments), but capable of many variations. A number of songs from this period match trouvère originals exactly in form, indicating that the German text could have been sung to an originally French tune. For example, Friedrich von Hausen 's "Ich denke underwilen" is regarded as a contrafactum of Guiot de Provins 's "Ma joie premeraine". By around 1190, the German poets began to break free of Franco-Provençal influence. This period

437-615: The songs in a form other than the original one. Additionally, it is often rather difficult to interpret the musical notation used to write them down. Although the contour of the melody can usually be made out, the rhythm of the song is frequently hard to fathom. In the 15th century, Minnesang developed into and gave way to the tradition of the Meistersänger . The two traditions are quite different, however; Minnesänger were mainly aristocrats, while Meistersänger usually were commoners. At least two operas have been written about

460-436: The standard collections, but have editions devoted solely to their works, such as: For these and some other major Minnesänger (e.g. Morungen, Reinmar, Oswald von Wolkenstein) there are editions with parallel Modern German translation. Introductory works for an English-speaking readership Der von K%C3%BCrenberg Der von Kürenberg or Der Kürenberger (fl. mid-12th century) was a Middle High German poet and one of

483-448: The title Meister (master), were clearly educated commoners, such as Meister Konrad von Würzburg . It is thought that many were ministeriales , that is, members of a class of lower nobility, vassals of the great lords. Broadly speaking, the Minnesänger were writing and performing for their own social class at court, and should be thought of as courtiers rather than professional hired musicians. Friedrich von Hausen , for example,

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506-559: Was a tradition of German lyric- and song-writing that flourished in the Middle High German period (12th to 14th centuries). The name derives from minne , the Middle High German word for love, as that was Minnesang 's main subject. People who wrote and performed Minnesang were known as Minnesänger ( German: [ˈmɪnəˌzɛŋɐ] ), and a single song was called a Minnelied ( German: [ˈmɪnəˌliːt] ). The Minnesänger are comparable to

529-569: Was part of the entourage of Friedrich Barbarossa , and died on crusade . As a reward for his service, Walther von der Vogelweide was given a fief by the Emperor Frederick II . Several of the best-known Minnesänger are also noted for their epic poetry, among them Heinrich von Veldeke , Wolfram von Eschenbach and Hartmann von Aue . The earliest texts date from perhaps 1150, and the earliest named Minnesänger are Der von Kürenberg and Dietmar von Aist , clearly writing in

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