Everything about Minnesang totally explained
Minnesang was the tradition of lyric and
song writing in
Germany which flourished in the
12th century and continued into the
14th century. People who wrote and performed Minnesang are known as
Minnesingers (Minnesänger). The name derives from the word
minne,
Middle High German for
love which was their main subject, and an individual song was a
minnelied. The
Minnesänger were similar to the
Provençal troubadours and northern
French trouvères; they wrote love poetry in the
courtly love tradition in
Middle High German in the
High Middle Ages.
Social Status
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 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 Husen, for example, 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 Minnesingers are also noted for their epic poetry, among them
Henric van Veldeke,
Wolfram von Eschenbach and
Hartmann von Aue.
History
The earliest texts date from perhaps 1150, and the earliest named Minnesänger are
Der von Kürenberg and
Dietmar von Aist, clearly writing in 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 Northern 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 a musical AAB structure, 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, which is especially likely where there are significant commonalities of content. Such songs are termed
contrafacta. 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 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 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.
Melodies
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 the songs in a form other than the original one. Additionally, it's 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.
There are a number of recordings of Minnesang using the original melodies, as well as Rock groups such as
Ougenweide
performing songs with modern instruments.
Later developments
In the 15th century Minnesang developed into and gave way to the tradition of the
Meistersingers. The two traditions are quite different, however (Minnesingers were mainly aristocrats, while Meistersingers were merchants, for example).
At least two
operas have been written about the Minnesang tradition:
Richard Wagner's
Tannhäuser and
Richard Strauss'
Guntram.
Notable Minnesänger
Danubian Lyric
Early Courtly Lyric
Friedrich von Hausen
Kaiser Heinrich VI
Heinrich von Veldeke or Henric van Veldeke
Classical Minnesang
Albrecht von Johansdorf
Gottfried von Strassburg
Hartmann von Aue (1170-)
Heinrich von Morungen
Reinmar von Hagenau (- ca. 1210)
Süßkind von Trimberg
Walter von der Vogelweide
Wolfram von Eschenbach
Later Minnesang: 13th Century
der Regenboge
Friedrich von Sonnenburg
Gottfried von Neifen
Heinrich von Meissen (Frauenlob) (1250/1260-1318)
Hugo von Montfort
Konrad von Würzburg (1220/1230-1287)
Neidhart von Reuental (1st half of the 13th century)
Otto von Botenlauben
Reinmar von Zweter (1200-after 1247)
Der Tannhäuser
Ulrich von Liechtenstein (ca. 1200-1275)
Walther von Klingen (1240-1286)
Later Minnesang: 14th Century
Johannes Hadlaub (End of 13th century - 1340)
Muskatblüt
Oswald von Wolkenstein
Famous Minnelied
The following love poem, of unknown authorship, is found in a latin codex of the 12th century from the Tegernsee monastery.
Middle High German original
» Dû bist mîn ich bin dîn.
des solt dû gewis sîn. » dû bist beslozzen
in mînem herzen. » verlorn ist das sluzzelîn.
dû muost immêr darinne sîn!
Modern German
» Du bist mein, ich bin dein,
dessen sollst du gewiss sein. » Du bist verschlossen
in meinem Herzen, » Verloren ist das Schlüsselein-
du musst immer darin sein.
English
» You are mine, I'm yours
Of that you may be sure » Deep within my heart
You're safely locked away » But I've lost the key
And there you'll ever stay
Further Information
Get more info on 'Minnesang'.
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