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Minnesang (German:[ˈmɪnəzaŋ]ⓘ; "Love song") was a tradition of German lyric- and song-writing that flourished in theMiddle High German period (12th to 14th centuries). The name derives fromminne, theMiddle High German word for love, as that wasMinnesang's main subject. People who wrote and performedMinnesang were known asMinnesänger (German:[ˈmɪnəˌzɛŋɐ]ⓘ), and a single song was called aMinnelied (German:[ˈmɪnəˌliːt]ⓘ). TheMinnesänger are comparable to theOccitantroubadours and northernFrenchtrouvères, but they are "an original German contribution to courtly lyric."[1]
In the absence of reliable biographical information, there has been debate about the social status of theMinnesänger. Some clearly belonged to the highernobility – the 14th-centuryCodex Manesse includes songs by dukes, counts, kings, and the EmperorHenry VI. SomeMinnesänger, as indicated by the titleMeister (master), were clearly educated commoners, such as MeisterKonrad von Würzburg. It is thought that many wereministeriales, that is, members of a class of lower nobility,vassals of the great lords. Broadly speaking, theMinnesänger were writing and performing for their own social class at court, and should be thought of ascourtiers rather than professional hired musicians.Friedrich von Hausen, for example, was part of the entourage ofFriedrich Barbarossa, and died oncrusade. As a reward for his service,Walther von der Vogelweide was given afief by the EmperorFrederick II.
Several of the best-knownMinnesänger are also noted for their epic poetry, among themHeinrich von Veldeke,Wolfram von Eschenbach andHartmann von Aue.[1]
The earliest texts date from perhaps 1150, and the earliest namedMinnesänger areDer von Kürenberg andDietmar von Aist, clearly writing in a native German tradition in the third quarter of the 12th century. This is referred to as the Danubian tradition.
From around 1170, German lyric poets came under the influence of the Provençaltroubadours and the Frenchtrouvères. This is most obvious in the adoption of thestrophic form of thecanzone, at its most basic a seven-line strophe with the rhyme scheme AB AB CXC, and an AABmusical structure (denoting the repetition of large segments), but capable of many variations.
A number of songs from this period matchtrouvère originals exactly in form, indicating that the German text could have been sung to an originally French tune. For example,Friedrich von Hausen's "Ich denke underwilen" is regarded as a contrafactum ofGuiot de Provins's "Ma joie premeraine".[2]
By around 1190, the German poets began to break free of Franco-Provençal influence. This period is regarded as the period of ClassicalMinnesang withAlbrecht von Johansdorf,Heinrich von Morungen,Reinmar von Hagenau developing new themes and forms, reaching its culmination inWalther von der Vogelweide, regarded both in the Middle Ages and in the present day as the greatest of theMinnesänger.[3]
The laterMinnesang, from around 1230, is marked by a partial turning away from the refined ethos of classicalMinnesang and by increasingly elaborate formal developments. The most notable of these laterMinnesänger,Neidhart von Reuental introduces characters from lower social classes and often aims for humorous effects.
Only a small number ofMinnelied melodies have survived to the present day, mainly in manuscripts dating from the 15th century or later, which may present the songs in a form other than the original one. Additionally, it is often rather difficult to interpret themusical notation used to write them down. Although the contour of themelody can usually be made out, therhythm of the song is frequently hard to fathom.
In the 15th century,Minnesang developed into and gave way to the tradition of theMeistersänger. The two traditions are quite different, however;Minnesänger were mainly aristocrats, while Meistersänger usually were commoners.
At least twooperas have been written about theMinnesang tradition:Richard Wagner'sTannhäuser andRichard Strauss'Guntram.
The following love poem, of unknown authorship, is found in a Latincodex of the 12th century from theTegernsee Abbey.
| Middle High German | Modern German | English |
|---|---|---|
Dû bist mîn, ich bin dîn: | Du bist mein, ich bin dein: | You are mine, I am yours, |
The standard collections are
12th and early 13th century (up to Reinmar von Hagenau):
13th century (after Walther von der Vogelweide):
14th and 15th centuries
There are many published selections with Modern German translation, such as
Individual Minnesänger
The twoMinnesänger with the largest repertoires, Walther and Neidhart, are not represented in the standard collections, but have editions devoted solely to their works, such as:
For these and some other major Minnesänger (e.g. Morungen, Reinmar, Oswald von Wolkenstein) there are editions with parallel Modern German translation.
Introductory works for an English-speaking readership
Media related toMinnesang at Wikimedia Commons| Authors |  | |
|---|---|---|
| Poems and songs | ||
| Carl Orff | ||
| Related | ||
