As I mentioned in my previous post, the research project The Renaissance Musical Work: Fundamentals, Repertoires and Practices, carried out by the Contrapunto team, is based on the study of ‘other’ sources, environments and kinds of music that are little used in general music historiography. Now, I would like to present some of these.
In this third and final post in the series, David turns his attention to another figure from the circle of Pilgrim von Puchheim. Although Wilderich de Mitra spent only a few years in Salzburg itself, his influence was considerable and shines a light on the tangle of ecclesiastical and political connections that passed through Salzburg in the later fourteenth century.
In my last post I looked at artworks from the castle at Runkelstein in what is now northern Italy inspired by popular courtly romances and epics. In this piece, I turn to murals from around the same period in Vienna inspired by the rather different court poet, Neidhart von Riuwental, and in rather less grand surroundings…
Fourteenth-century courtly society may have been more intolerant of ‘sodomitical acts’ than earlier in the Middle Ages, with sodomites, traitors and heretics now bracketed together as deadly sinners. By contrast, in the eleventh and twelfth centuries, a unique tradition of passionate Christian friendship developed in clerical writing. Friendship was seen as the highest form of human relationship, helping you to learn how to know and love God. And these friendships could have a consciously erotic element to them.