Pipers and Drummers
In the representative arrangement of the Triumphzug, the procession begins with “Pfeyffer vnd Trumlslager” (pipers and drummers), among whom “Annthonj von Dornstet” is prominently mentioned in the written program.[12] Besides the military function of this ensemble, in combat and providing marching signals, the accompanying verses also mention the piper’s role in providing “kurtzweyl” (entertainment). This primarily refers to playing for dances at the court, as seen in numerous images in Freydal, another book project by Maximilian I with an autobiographical account of his journey to marry Mary of Burgundy.[13] A good impression of the importance of these musicians to Maximilian is given by a letter from 1495, in which he urgently requests the release of musicians detained in Worms due to unpaid debts and their immediate dispatch to Milan, “dann wir tanzen hie stetige an ain Pfeifer und auf ainer Stelzen” (as we dance here constantly without a piper and on one chopine shoe).[14]
[12] Appuhn 1979, 172 f.
[13] For a compilation of music-related illustrations, see Henning 1987, 69–94
[1] For information on the Triumphzug, its different versions, and its complex history, see Appuhn 1979 and Michel/Sternath 2012; on its significance for Maximilian, see Müller 1982; on the relationship between depiction and reality, see Polk 1992; The quotation comes from the earliest surviving formulation of the iconographic program of the Triumphzug in 1512 in » A-Wn Cod. 2835, fol. 3v.
[2] Koczirz 1930/31, 531 f.
[4] Nedden 1932/33, 27 (quotation from the Augsburg Baumeisterbücher of 1491, the council’s account books for income and expenses).
[5] See Simonsfeld 1895, 267 f.
[6] See Strohm 2009, 98.
[7] Quoted in Waldner 1897/98, 2.
[8] Treitzsaurwein 1775, 78.
[9] See Schwindt 2012.
[10] She received 50 guilders “zu Irer vnderhaltung vnd Zerung” (for her maintenance and living) in June 1520 when the court chapel was dissolved after Maximilian’s death; Koczirz 1930/31, 535.
[11] Such as “Hannsen pfeiffer vnnd matheusen Trumelschlacher”, who were expressly paid for their services “bei Tanz” at the 1491 carnival; Waldner, 1897/98, 52.
[12] Appuhn 1979, 172 f.
[13] For a compilation of music-related illustrations, see Henning 1987, 69–94
[15] See Gombosi 1932/33; Heinzer 1999, 92 ff.
[16] Polk 1992, 86 (with references from Augsburg archives).
[17] See Kirnbauer 2005.
[18] See Kirnbauer 2003, 243–248 (including the following).
[20] According to payments in the Augsburg (D-As) Baumeisterbuch 103 (1509), fol. 24v, and 104 (1510), fol. 28; kindly communicated by Keith Polk.
[21] See Jahn 1925, 10 ff., and Kirnbauer 2000, 25 ff.
[22] Kirnbauer 1992, 131.
[23] Nedden 1932/33, 31.
[24] See Polk 1989a; Polk 1989b.
[25] Hintermaier 1993, 38.
[26] See the letter from Paul Hofhaimer to Joachim Vadian on May 14, 1524; Moser 1966, 56.
[29] Nowak 1932, 84.
[30] Praetorius 1619, 148.
[31] So the wording in the formulation of the iconographic program in » A-Wn Ms. 2835, fol. 8v.
[32] See Welker 1992, 189–194.
[33] Aich 1515, title page of the tenor partbook; for dating, see Schwindt 2008, 117 ff.
[34] See Bernoulli/Moser 1930, v–vii; McDonald/Raninen 2018.
[35] See Brinzing 1998, 137–154; Filocamo 2009.
[37] » A-Wn, Mus. Hs. 41950; facsimile and description in Kirnbauer 2003. For lute tablatures of the next generation from the southern German-speaking area, see » H. Lautenisten und Lautenspiel (Kateryna Schöning).
[38] Gerle 1533, fol. IIv.
[39] See Moser 1966, 26 and 182, footnote 35.
[40] See Moser 1966, 137–140; Radulescu 1978, 66 f.; see also » C. Orgeln und Orgelmusik.
Recommended Citation:
Martin Kirnbauer: “Instrumentalkünstler am Hof Maximilians I.”, in: Musikleben des Spätmittelalters in der Region Österreich <https://musical-life.net/essays/instrumentalkunstler-am-hof-maximilians-i> (2016).