[The cataloguing project Musikalische Quellen (9.-15. Jahrhundert) in der Österreichischen Nationalbibliothek (Musical Sources (9th-15th Century) in the Austrian National Library), conducted by Alexander Rausch and Robert Klugseder at the Austrian Academy of Sciences, has made the Linz Fragments available online in high-resolution images. All links to the source including a preliminary inventory by Reinhard Strohm go to the homepage of this project. The image rights lie with Robert Klugseder who took the photos.]
Heýa ho nún wie si grollen
In his article “Die vierstimmige Bearbeitung (um 1465) eines unbekannten Liedes von Oswald von Wolkenstein”, in: Jahrbuch der Oswald von Wolkenstein-Gesellschaft 4 (1986/87), pp. 163-174 Reinhard Strohm had already plausibly ascribed the cantus firmus of the four voice setting “Heýa, heýa nu wie si grollen” to Oswald von Wolkenstein. The polyphonic setting, attributed to Nicolaus Krombsdorfer, can be found in Trent89 (I-TRmn 89, fol. 388v-389r), in the Braccesi-Chansonnier (I-Fn Banco Rari 229 (formerly Magl.XIX 59), no. 166) and in a fragmentary state on Linz Fragment 2 (A-LIb 529, Fragment 2). The Linz version of the setting differs only in slight details and unlike the version in Trent does not provide a text underlay.
Contrary to what a first impression might suggest, the transmission in Linz is nearly complete. Admittedly, the bassus breaks off at some point and a large part of the remaining bassus notation is only partly legible due to the trimming of the page, but by using the parallel transmission one can get a fairly safe reading of almost the entire music. Only about half a line of the bassus voice turns out to be missing. Since the composition is of importance to our Musical Life project and since it shares a folio with the interesting “J’ay pris amours” setting on Fragment 1 which was identified earlier in this blog I would like to give a transcription here. The missing parts of the notation are yet again coloured grey.
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