Which church mode is it now?

In order to continue my invistigations to continue the reconstruction of the missing melodic lines, today I have digged myself in the system of Chruch Modes. My companion was (this time) Richard Hoppin's Medieval Music from which I would like to quote a few fragments as well, using them as footsteps towards my opinion on the "tonality" of Syon trure (note: however using the term "tonality" is definately not the best one to indicate the character of the range in the case of Medieval compositions, but I would stick to modern theoretical terms, so even non-early musicians will be able to understand more or less what I am talking about).

I have been thinking about this recently: which Church mode could the remaining melodic lines belong to? After all it would be essential to know this if I want to make a more or less valid reconstruction of the missing melodic lines. People were thinking about Church modes in the Middle Ages the same way as we think now our system of tonality, therefore Medieval composers were influenced by these modes. The Modality and the solmization system is definately much younger than the whole chant repertory, but at the time of Mesiter Alexander the system was already in use and his chant composer contemporaries used it: it was the music theory of the time. Therefore it is difficult to believe that vernacular composers could make themselves independent from the achievements of the earlier times. People listened to the music based on this system for two centuries in the church from before they would even be born until the day they died. This had undoubtedly an influence on their way of thinking and feeling about music. Just think about how much we are influenced by the music interpretations of the nineteenth-century in the beginning of the twentyfirst-century: we listened to it in our mothers womb and we (as well-educated musicians at the Conservatory) are listening to these interpretations, our teachers are showing us them as the best possible examples to follow.

I do not really wish to give here an extensive explanation of the Church Modes, but shortly: the system of Church modes consist of four pair of modes, these groups are identified by the Greek ordinal numbers: Protus, Deuterus, Tritus  and Tetrardus (see illustration below). Each pair has their own finalis (for example the finalis mode 1 and mode 2 is the "d"), and they consist of an authentic and a plagal scale with a range of an octave. These terms (plagal and authentic) are indicating the position of the finalis in the range of the particular modus (or tonus).

As a matter of range, according to Hoppin: "Not all melodies, of course, have a range of exactly one octave. Many of the chants, especially the older ones, move within the limits of a fifth or a sixth. Later melodies frequently have a range of an octave plus a third or a fourth. Even in melodies of restricted range, the note below the final is commonly used in all authentic modes except Mode 5. For listeneres accustomed to the leading tone in melodies associated with tonal harmony, it is curious to discover that plainchant composers evidently disliked the semitone below the final. In contrast to the usage in authentic modes, plagal melodies frequently extend one note above their basic octave. [...] Further extensions of the range can usually be explained as combinations of authentic and plagal forms, known to medieval theorists as 'mixed' modes."

The last possibility actually caught my attention. I was analysing the music material of Syon trure and I couldn't figure out which mode could this melody fit in? First I was suspecting that it might not fit in the modal system at all, but after reading Hoppin's chapter about the Church modes, but if I think about the last sentence of the fragment above, I have the feeling that in the case of Syon trure this might be the case: 'mixed mode'.
The range of "A" is f-C', and then "B" goes even higher, from C' to B' flat, which makes the whole range from f up to B' flat, and this is broader than an octave of a range, actually an octave plus a fourth. Although the use of B flats are not that often in Mode 5, if we assume, that Syon trure is in a "Tritus tonality", and we know that Meister Alexander knew the rules of composing very well, but he definately broke these rules, or rather to say he bends them... Then why not use a B flat in the melody he composed for Syon trure?

Well, this theory of mine definately needs further investigation, but at least I have a point that I might be able to use when I will finally recontruct the melody. I've taken a breve look at some other melodies by him and he does bend the rules so the result might suit his taste.
And one should not forget that composers (especially the ones with strong character, tending to free themselves from cliches) like to bend the rules of the certain compositional technique (see for example at the later composers Bach or Mozart).

Biography of Meister Alexander (Part 1)

There are several ways of piecing together the biography of a particular Medieval composer. Thanks to literacy, written official documents remained to us from those times and sometimes their contemporaries mention them in their letters and so on (for example X heard that Y has a good working relationship with Z-nobleman, or anything like that, so we can trace back the name of the nobleman and try to figure out something about Y).

Unfortunately, we are not this lucky in Alexander's case. According to the most recent researches, we cannot find any of his names mentioned in official documents or contemporary literature. The only deductions can be made from his ouevre and his linguistic features; the last shows that he was probably from the Alemann regio, since he used that dialect. Little we know about his life, but there are certain allusions that he was active in the second half of the 13th-century (according to Oxford Music Online: events can be linked to his figure between 1247 and 1252 and between 1285 and 1288).
I would like to present here and example for the result of such deductions: one of the closest allusions is by F. Loewenthal mentioned in the article Die Lebenszeit de Wilden Alexander by Norbert Wagner, and there after citing the Strophe II 4 by Alexander:

Ein hirte enbant sín tobenden hunt.
des gét beschorn und ungesunt
manc schaf uf dürrer weide.
ein lieht erlasch ze Megenze sider;
do vlouc ein ar mit leide:
ze Pülle ein listic slange erstarp.
der Elbe minne der Rín erwarp;
daz vuogte ein tube ze Brunswíc.
sich vröute ein wolf der missetat
ze Swaben, daz in Beiern gat
ein staeter mul unrehten slíc.

Loewenthal indentifies 'hirte' (shepherd) and his 'tobenden hunt' (foolish dog) with Pope Honorius IV and his legate, Cardinal Bishop Johannes von Tusculum, who in 1286/87 became unpopular in Germany because of his arrogant financial claims and had to flee away from the country.

This was just an example how we can relate the content of his poems with the historical events of his time. He dresses up his criticism of the time in Biblical metaphores and pictures, which leads us to the conlusion that he might had got a good education for his time.

Capstone, cornerstone and keystone

The stone which the builders rejected has become the chief cornerstone.
(Psalms 118,22)

I would like to give a short explanation of the "capstone" which is mentioned in the first strophe:
"After that cry
for the capstone, for the only one
that would keep your walls firm."

At first glance one would never tell how comes the image of capstone into view in this case. To understand its important role among the symbols of this poem, we have to understand what is a capstone. A capstone or a cornerstone is an important element of buildings: this is the first stone, the first element they lay down when they begin to build a building. Laying this cornerstone always happens in ceremonial circumstances, showing: it is an important moment.

Also the cornerstone had a special significance in Israel back then, in the Biblical times: the way this stone was carved and laboured defined the how they built the building, the house or the temple afterwards. It was a huge and heavy stone, for example they used a prismatic, beautiful chalk as a cornerstone at building the Temple at Jerusalem. But the format of the cornerstone could be anything: square, cube, oblong, conical, etc. If they once laid the cornerstone they built and adapted the building exactly to its cornerstone.

The psalm verse I've mentioned above is from an important Psalm regarding the wait for the Messiah, as we can see it in Parabel of the Wicked Vinedressers (Matthew 21,33-46). Jesus Christ quotes Psalm 118: Jesus said to them: "Have you never read in the Scriptues: 'The stone which the builders rejected become the chief cornerstone. This was the Lord's doing and it was marvelous in our eyes.'? Therefore I say to you, the kingdom of God will be taken from you and given to a nation bearing the fruits of it. And whoever falls on this stone will be broken; but on whomever it falls, it will grind him to powder. (Matthew 21,42-43)
Jesus Christ is the cornerstone of the Christianity, and also the Peter in his first letter says: you also, as living stones, are being built up a spiritual house, a holy priesthood, to offer up spiritual sacrifices acceptable to God through Jesus Christ. (1Peter 2,5). He is the fundament on which our salvation has been built and based; and at the same time he's also the keystone (the last stone they place when they finish to build any kind of building).
Also worths to mention the passage by Zechariah: Who are you, O great mountain? Before Zerubbabel you shall become a plain! And he shall bring forth the capstone with shouts of “Grace, grace to it! (Zechariah 4,7), in which he refers the Messiah, therefore Jesus Christ.

If the strophe would stand by itself, we could say that the image of the capstone refers to Jesus Christ, and Zion could be the Church, but I have a hunch that the capstone is rather a symbol for something that is as firm as the fundament of Christianity.

The fact that Alexander demands to cry for the capstone "that would keep your walls firm" indicates a sensitive state of mind or emotional state and - of course - some sort of danger. He also names the reason why the capstone weakened, he says: The wind took with pincers its solidity.

The question is: what does the wind (as symbol) stands for, and what kind of danger awaits Zion?

New and refined translation of the first strophe

After a consultation about the first raw translation I made I have started to think through once again the translation of the first strophe. If I compare the first strophe with the second, I have to admit that the first one's meaning and function is more obvious than the second one. The first strophe might have a religious concern, but the second strophe is clearly secular: a love poem.

So here you go: the second and refined translation of the first strophe:

Sîon, trûre dîn burchmûre hât von schûre und von winde manigen stôz. Darnach weine dem ortsteine der alleine dîne wende tzusamne slôz: Den wînt nam abe mit tzangen sînen kloben, nû lâ toben daz volc, lâ die wahtaer slâfen! Der küninc ist ûf gegangen und sîn her an die wer owê wâfen, îmmer wâfen! Waz sol echt nu hie geschen? der künic wil sen wie sîn stat behüetet sî. Son engilt nicht wan der tôt – owê der nôt! – her ist mit tzôrne bî. Noch wachent alle vûr dem walle, wachent wol dâ man wachen sol!

Sion, mourn: your walls weakened from of the thunderstorms and the wind After that, cry for the capstone, for the only one, that would keep your walls firm. The wind took with pincers its solidity*; the folk raves now, and the ward sleeps! The king is gone out and his army is unarmed; Alas, to arms, always to arms! What should happen here now? The King wants to see that his city is safe. So there’s nothing except Death – alas! the danger! – he is here with anger. Still keep watching out for the walls... watch indeed keep watching where one needs to watch!

*viz. the capstone’s solidity, its power to keep the walls firm

Raw translation of the second strophe

 After translating the first strophe I was all fired up and later I began to translate the second strophe as well. I have already had the suspicion that the second strophe will not be as clear as the first was, but I have to admit, I had no idea how right I was about this.

So hereby I present to you the first raw translation of the second strophe of Sîon, trûre.

Owê, Minne, mîner sinne meisterinne, wâ hâstû si hin gesant?	Alas, Love, my mind, mistress, where have you gone?
Lâ mich schouwen mîne vrouwen; in den ouwen müez si werden mir bekant	Let me see my lady; in the stream she will have to recognize me.
Sô der meie sînen krâme schouwen lât unde in gât mit vil manigen liehten mâle	Like May let her stall be seen Through the many holes The siege machines have done,
Daz ist mir ein bernder sâme sender klage, sît ich trage den slac von den mẏnen strâle	It is for me a fertile seed Of painful sorrow, Since I bear with The strike of Love’s wounding dart
Wære ein man ê siech gewesen Er möchte genesen, Swenne ez allez hügende lebet	There was a man who was sick, He would liked to be cured, Then to live happily ever
Unders meien liehten zelt, Sô walt, sô velt Spilnde gegen dem lufte strebet	[Under the lights of May it tells so violent, so shallow, fighting a tournament against the air.]
Nu tuont ir wunder ungesunder mînen lîp, ich ensehe daz wîp.	Just do a miracle For the wounded Life I have, so I can see the woman.

I have encountered many problems, because the text of the strophe is more complex than the other and also you cannot rely on the dictionary either. I'm not saying that you can rely on a dictionary when you translate something in general, but you would expect to find the right context of the expressions. For example in the sentence "unde in gât/mit vil manigen liehten mâle": unde is definately not unter. There's no such word as manigen, but you can find mangen which means siege machine. Or for instence the word mâle in this particular context has nothing to do with any possible the dictionary gives - malen, entwerfe im geiste, schminke, grenze ab or schreibe -, therefore we cannot apply a literal translation in this case. Although the final conclusion could be associated from the word "malen" which means to paint. So my conclusion was the following: the holes on the walls of Sion were not visible, but thanks to the siege machines (see previous entry for these siege machines) the holes now visible and not just imaginary - or so to say.

I think, I will have to think about this text a little bit more and find some other associations which would create a connection between the scrambled pieces of this puzzle.

Translation of the first strophe

I have searched for paraphrases of the lyrics, but I could not find any. After searching and searching, and waiting and waiting for articles and transcriptions, it turned out that there isn't any paraphrase of the original Mittelhochdeutsch lyrics. I was hoping to find one because I have seen the "Nachdichtungen" of Wizlaw von Rügen III (or IV, recently they proved that the minnesinger was actually the III), but I was mistaken. Although I have found an online Mittelhochdeutsch-Hochdeutsch Dictionary and with the help of this online dictionary and my current state of German (and of course Dutch, which helped me out very much). Thank God, that Dutch language stored some medieval German words or word forms.

And the result of my work is the following:

Sîon, trûre dîn burchmure hât von schûre und von winde manigen stôz.	Sion, mourn: your castle walls have trembled under the archers’ shots and the wind of siege machines’ missles.
Dû nach weine dem ortsteine der al eine dîne wende zesamene slôz:	Then weep for the cornerstone, for the one that already decided your Fate:
Abe nam der wint mit zangen sînen kloben. nû lâ toben daz volc, lâ die wahter slâfen	But take down the wind with pliers and put it into a birdcage. Now those unaware soldats, those watchmen are sleeping.
Unser künic ist ûf gegangen und sîn her an die wer. owê wâfen, îmmer wâfer!	Our King is gone out and his army is unarmed. Alas, to arms, always to arms!
Waz sol eht nu hie geschehen? der künic wil sehen wie sîn stat behüetet sî.	What should really happen now? The King wants to see how his people hold their ground.
Sô engilt niht wan der tôt – owê der nôt! – dem er ist mit zôrne bî.	For Death pays you nothing – Alas! the danger! – He is here now with anger.
Noch wachet alle vor dem walle, wachet wol dâ man wachen sol!	But keep watching on the walls, and watch well, the man’s duty to watch there.

This is not the final and ultimate translation, but a good start. I am still waiting for confirmation whether this translation is more or less correct or not.

Welcome!

...to the behind scenes blog of my critical edition of Sîôn trûre by der Wilde Alexander!

In this blog you can find all the background information I have found, which led me to reconstruct Sîôn trûre. So you can read about the origin of minnesang and the characteristics of their compositional style, German medieval poetry, biographical matters of der Wilde Alexander (a.k.a. Meister Alexander - according to the Jenaer Liederhandschrift) and details about the reconstruction process - all these things in the strict aspect of Meister Alexander.

There was a reason, he was called "wild": he lived the restless life of a vagabond and his lifestyle defines his compositional style and way of treating poetry. I will be able to show this to you, my dear Reader, after I discussed the fashion and traditions of his time. One could say, that reconstructing a piece by a composer who clearly did not follow the rules is impossible, but I would slightly disagree (at least, for now I disagree in theory) on this point of view. It is often told that The rules are there to break them - so did Alexander in his compositions. Therefore a possible way to reconstruct the missing melodic lines of Sîôn trûre is possibly this:

• find out the rules
• find out how Alexander broke them
• by reconstruction process first apply the rules and then break them

Sounds easy, right? Well, it is not... :)))