Ezzolied

The Ezzolied stands at the beginning of the early Middle High German literature. With him is after about 100 years, from which we only Latin texts are received, the tradition of German poetry again. As vernacular " Cantilena de miraculis Christ," that is, as " a song about the miracles of Christ ," it contains a concentrated reproduction of Christian salvation history in rhyme and was likely in the Strasbourg amended ( Strasbourg hymn ) on a pilgrimage of the bishop Gunther of Bamberg to Jerusalem in the years 1064/65 sung.

It is delivered in two versions, the Strasbourg and the Vorauer, the longer Vorauer version in a prefixed input stanza the clergy Ezzo as a poet and the composer will ( possibly the later abbot of the monastery Michel Berg, 1082-1085 ) and the principal bishop Gunther lists of Bamberg. The 1057 to 1065 occupied tenure of the latter, and in particular the above-mentioned pilgrimage 1064/65 suggest that the " Ezzolied " was built around 1060.

Formation

The research has a wide variety of theories on the development of Ezzoliedes. Very common is the opinion that the Strasbourg hymn to the pilgrimage to Jerusalem was Gunther of Bamberg 1064/65 sung. Whether it was but intended explicitly for this trip was yet written or any other occasion, is questionable. It is also the theory that it originated as a festive cantata during a reform of the cathedral chapter. The inauguration of the regulated collegiate St. Gangolf in Bamberg in 1063 might have been the occasion for such a festival anthem.

About delivery and content

As mentioned above, the Ezzolied is important to us today in the form of two manuscripts before that vary, sometimes dramatically, in length and content. Also it is assumed that the longer Vorauer variant - was never designed for a vocal presentation - in contrast to Strasbourg.

The common abbreviations (S = Strasbourg, V = Vorau ) and verse numbering In order to facilitate a description ( Roman numerals at S and Latin at V ) used in the following.

Strasbourg tradition ( S) - Strasbourg hymn

S is dated as the older of the two traditions of the late 11th or early 12th century. It consists of 7 verses - eight lines 2 and 5 zwölfzeiligen - and should probably be incomplete.

The two identically structured stanzas SI and II prologue verses: SI turns to the addressee, namely herron ( fmhd. for princes, nobles ... ) (see all V2 ) and are subject and sources of S III -S VII to. S II reads like a call to prayer Christ, especially the light of God is emphasized. Guiding principles of the prologue verses seem eron ( fmhd. for fame, adoration, reverence ) and gnadon ( fmhd. for mercy, blessings, forgiveness ... ) to be while in the comparable verses of Vorauer version of consolation ( fmhd. for comfort ) and genade ( fmhd. for mercy, blessings, forgiveness ... ) is mentioned.

Subsequently, the creation of man (S IV), the Fall ( SV) and the subsequent sin night are described with their end announcing stars (S VI). With S VII, the promises and teachings of the patriarchs Abel, Enoch, Noah, Abraham, David, breaking the Strasbourg tradition from abruptly. Referring to the program specified in SI is assumed, however, that only one or two strophes. If you add the Strasbourg version the verse 13 of Vorauer version of all program requirements are fulfilled.

Vorauer tradition ( V) - Vorauer rhyme sermon

V came about in the first third of the 12th century. Probably the Strasbourg hymn served as a template and was built by an unknown agent to Vorauer rhyme sermon. Some researchers suggest that the proportion of the editor of V is greater than the Ezzos itself

V comprises a total of 34 sections of different lengths. The shortest has only has six rows during the longest 18 lines. The majority, however, is 12 lines.

• V 1 is the aforementioned introductory verse, the Ezzo as a poet, composer and will as bishop Gunther of Bamberg called as principal.
• V 2: All verses from the socket south are indeed incorporated subsequently into the socket V, but not simply taken over. As an example, the juxtaposition of V 2 and SI: While V 2 to "all " and turns of consolation and grace is spoken of, is limited to SI in its direct address to the nobles and emphasizes knowledge and fame.

• V 3 to V11: The issues and the source of S II will be slightly modified in V 3 and V 4, changed and expanded. V 5 is about the creation of man and is not found in version S in this form. V 6 and V 7 again correspond largely S III and S IV A final insertion is 8 V, where the paradise is imagined. 9 V to 11 V coincide again with SV -S VII

With V 12 of the surviving only in part V of the Ezzoliedes begins:

• V 12/13: Continuation of the series with Patriarch John the Baptist and the coronation: Christ's appearance on earth brings sun and day.
• V 14 to 25: 12 verses (12 was in the Middle Ages as a sacred number ) about Jesus Christ: Praise of Mary, birth, life, death, resurrection and effect of Christ's saving
• V 26 to V 34: After a brief reflection on the great prophets of the Old Testament follows an interpretation of the sacrificial death of Christ, and a link between the old and the new Testament. The last stanza V 34 praises the Trinity and ends the Strasbourg rhyme sermon with a confession of faith.

Musical settings

The original of will is not received, the Ezzolied but was edited in the 20th century by two central European composers:

The Swiss Willy Burkhard wrote to the early Middle High German text 1927 a motet for a four-to eight-voice choir ( op.19 ). Thirty years later, in 1957, the Austrian composer Johann Nepomuk David again took to the substance and created an oratorio for soloists, chorus and orchestra (op. 51).