“Musica Rigal vnd possetif”: Keyboard Instruments

Abb. Triumphzug Regal

„Musica Rigal vnd possetif“, Triumphzug, Holzschnitte 21 und 22 von Hans Burgkmair, 1517–18; koloriert von Joseph Hoeger, 1765. Universitätsbibliothek Graz.

The third musician carriage in the Triumphzug, titled “Musica Rigal vnd possetif” (Music: regal and positive organ) (» Abb. Triumphzug Regal) features only one musician: Paul Hofhaimer (1459–1537; » C. Orgeln und Orgelmusik; » I. Hofhaimer). The image also includes a realistic detail, a bellows operator, who operates the bellows of the positive organ, without whom any organ would remain silent until the invention of the electrically driven air supply. Behind Hofhaimer, more keyboard instruments can be seen hidden in transport cases (according to the text, one is supposed to be a regal, the other could be a clavicytherium—a keyboard instrument with upright strings and a plucking mechanism like a harpsichord). Hofhaimer had been associated with the Habsburgs as an organist since his youth, serving Maximilian from 1490 and often traveling with him; his lament about having to wander “ayn zigeyner” (like a gypsy) is famous (see » I. SL Life as an Emperor’s musician).[26] For this reason, portable keyboard instruments were necessary, but Hofhaimer also played on large church organs (» Orgel). On Maximilian’s behalf, he also supervised the construction of large organ works, such as in Innsbruck and Salzburg.[27] All these keyboard instruments had not only a practical musical function but also contributed to Maximilian’s reputation, as did the musicians who played them in his name. This is exemplified in the report of the envoys from Worms at the Imperial Diet in Cologne in 1505, describing Maximilian’s church attendance “mit sengern busunern pfyffern und orgeln und sunderdemselben mit aynem nüwen instrument der music uns gantz frembd kummen, auch demselben keynen nammen gebben” (with singers, trombonists, pipers, and organs, and also with a new musical instrument that was entirely unfamiliar to us and for which we had no name).[28] This is followed by a description of a regal with a greatly shortened resonator and reed pipes hidden inside the instrument’s body, making it seem to play without pipes. The sensation caused by such “new instruments” and the instrumental artists who played them is exemplified in the report on the festivities of the so-called Double Wedding in Vienna in 1515 (» D. Royal Entry):
“Hat der bischof von Wienn vnd kay. Ma. Capelln mit allerlay seitenspiln das hochambt gesungen / darunter vil newe vnd kunstliche saitenspil die man vor iar nit gehabt als das man Regal nennet vnd das ain Munch an alle pfeiffen erfunden / vnd aines das vogelgesang representiert / welche dan maister Paul organist der künstlichest in allen landen geschlagen hat.”[29]
(The Bishop of Vienna and the imperial chapel sang the High Mass with all kinds of instruments [saitenspil], including many new and artful instruments that had not been used before, such as the so-called regal without any organ pipes, invented by a monk, and another that imitated birdsong, which Master Paul, the most skilful organist in all lands, played.)

A similar understanding can be applied to the famous woodcut by Hans Weiditz, which shows Emperor Maximilian attending Mass (» Abb. Kaiser Maximilians Kapelle). Here, opposite the imperial singers, Hofhaimer sits at a striking organ instrument, the so-called “Apfelregal.” The curious name comes from the appearance of the pipes, “dass es wie ein Apfell vffm Stiel stehet” (which stand like an apple on a stem), that is, above the short reed pipes (the “stem”) stands a round resonator (the “apple”).[30] The otherwise quite loud regals thus sound softer and quieter, and look striking.

Abb. Kaiser Maximilians Kapelle

Kaiser Maximilian, die Messe hörend. Holzschnitt von Hans Weiditz, 1518.

Bildzitat: http://images.zeno.org/Kunstwerke/I/big/HL31487a.jpg