In a recent article Michael Shields had proposed a hitherto unnoticed canon in the oeuvre of Oswald von Wolkenstein. He argued that the third section of “Ir alten weib” (Kl 21) was intended as a “fuga” because the transmission in WolkA (A-Wn 2777, fol. 12r-v) features strange and seemingly functionless clef-changes. They would, however, be in the right places if they were meant to mark the entrance of a second voice and the beginning of the ouvert ending (for a comprehensive discussion and a transcription of the piece, see Shields, Hidden Polyphony). The resulting canon in two-voices works in a rustic kind of way with dissonances similar to those found in the canon “Martein, lieber herre” by the Monk of Salzburg:
Shields noted other remarkable features of this song, particularly in its text: one verse appears to quote the humanist Giustiniani (c1383-1446) and the contemporary Italian practice of accompanying songs in this tradition with string instruments such as the lira da braccio and the cetra: “und freut mich vil fúr Jöstlins saitenspil.” (“and delights me much more than Giustiniani’s songs performed on the fiddle.”) Furthermore, the song text has an unusual amount of musical allusions, even for Oswald, quoting—apart from Giustiniani and the “saitenspiel”—dancing, singing, a musical form (“hofeweis”, used here in the double meaning of “courtly manner” and “Hofweise”, a meistersinger genre) and birdsong. Finally, Shields noticed a close proximity to the Neidhart genre, especially in the first strophe. Furthermore, Oswald’s song text can be found anonymously and with some additions in the late Neidhart-Fuchs prints from Augsburg (1495), Nuremberg (1537) and Frankfurt (1566) and thus shows that late 15th century compilers considered the text to be from a Neidhart song.
This claim can be substantiated with some additional observations: Continue reading