| A Little Background Music |
When Archbishop Max Gandolph wasn't busy burning witches and banishing
Protestants, he enjoyed good music. One of the great musicians attached to the
court during the time of our story was Heinrich Ignaz Franz von Biber, 1644 -
1704. Biber was one of the first truly great instrumental composers and perhaps
the best violinist of the 17th century. He was born on a large estate, where his
father was huntsman. By the mid 1660s, he was in the orchestra of Prince-
Bishop Karl Lichtenstein-Kastelkorn of Olmütz. Biber felt he could do better
elsewhere, and in 1670, he left without permission.
Protestants, he enjoyed good music. One of the great musicians attached to the
court during the time of our story was Heinrich Ignaz Franz von Biber, 1644 -
1704. Biber was one of the first truly great instrumental composers and perhaps
the best violinist of the 17th century. He was born on a large estate, where his
father was huntsman. By the mid 1660s, he was in the orchestra of Prince-
Bishop Karl Lichtenstein-Kastelkorn of Olmütz. Biber felt he could do better
elsewhere, and in 1670, he left without permission.
Biber obtained a job with the court of Max Gandolph in
Salzburg during the winter of 1670. Here, he won a series
of promotions: trainer of the cathedral choir boys, dean of
the boys' school and, finally, Court Kapellmeister, a post
Biber held until his death. In May 1672, Biber married, and
would lose no fewer than seven of his eleven children to
premature death. He was awarded a patent of nobility by
Emperor Leopold I in 1690.
Salzburg during the winter of 1670. Here, he won a series
of promotions: trainer of the cathedral choir boys, dean of
the boys' school and, finally, Court Kapellmeister, a post
Biber held until his death. In May 1672, Biber married, and
would lose no fewer than seven of his eleven children to
premature death. He was awarded a patent of nobility by
Emperor Leopold I in 1690.
Biber is best known to history for his violin music, however he also wrote two operas and much
religious music.Very little of Biber's music has survived. One massive work thought to be composed
by Biber was rescued by a horrifed Salzburg choirmaster who discovered that his grocer was
wrapping fish in sheets of the music. The Salzburg court employed scribes or copyists to write down
the various church music in the 17th and 18th centuries, and watermark evidence on the paper they
used often helps date compositions
religious music.Very little of Biber's music has survived. One massive work thought to be composed
by Biber was rescued by a horrifed Salzburg choirmaster who discovered that his grocer was
wrapping fish in sheets of the music. The Salzburg court employed scribes or copyists to write down
the various church music in the 17th and 18th centuries, and watermark evidence on the paper they
used often helps date compositions
During the early 1670s, Salzburg Archbishop Maximilian Gandolph actively promoted rosary
devotion in Salzburg and Biber wrote his Mystery or Rosary Sonatas, his most famous
compositions. The Salzburg archbishops loved grandiose services in the cathedral in which all
available musicians took part, and there were plenty of them. Not only were there many musicians
available, there were several other musical training institutions in Salzburg as well.
devotion in Salzburg and Biber wrote his Mystery or Rosary Sonatas, his most famous
compositions. The Salzburg archbishops loved grandiose services in the cathedral in which all
available musicians took part, and there were plenty of them. Not only were there many musicians
available, there were several other musical training institutions in Salzburg as well.
A 1682 engraving of the Cathedral shows a mass in progress with numerous instrumentalists and
vocalists in various locations around the building: at ground level, on both sides and also in the four
organ galleries, making "surround sound". Salzburg Dom
vocalists in various locations around the building: at ground level, on both sides and also in the four
organ galleries, making "surround sound". Salzburg Dom
The Prince-Bishop issued an arrest warrant for him (only to forgive him later). Biber hid out with an
instrument maker in the South Tyrol, Jakob Stainer, who spread the word that Biber was truly a
"formidable virtuoso."
instrument maker in the South Tyrol, Jakob Stainer, who spread the word that Biber was truly a
"formidable virtuoso."
There were two high trumpet towers in the Hohensalzburg erected in 1465 and 1506 from which
there was a spectacular view of the surrounding countryside. At night, a huge lantern was hung from
the upper tower and during the day a flag. When people approached the fortress, they were spotted
from the towers and announced with horns and trumpets which signalled the soldiers in the fortress
as well as the townsfolk below of approaching friends or foe. Hence, visitors to Salzburg describe the
deafening roar of gun salvos, trumpets and drums heralding their approach mixed with the heavenly
sounds of concerts in progress. The royal trumpeters also played to entertain, not only from the
trumpet towers, but at the court, in front of the Rathaus, at the church and the convent and in front
of the houses of the elite, all for a reward of coins, while members of the Salzburg court orchestra
played the music of the greats in the grand rooms and chambers of the Salzburg court and at festivals
and celebrations.
there was a spectacular view of the surrounding countryside. At night, a huge lantern was hung from
the upper tower and during the day a flag. When people approached the fortress, they were spotted
from the towers and announced with horns and trumpets which signalled the soldiers in the fortress
as well as the townsfolk below of approaching friends or foe. Hence, visitors to Salzburg describe the
deafening roar of gun salvos, trumpets and drums heralding their approach mixed with the heavenly
sounds of concerts in progress. The royal trumpeters also played to entertain, not only from the
trumpet towers, but at the court, in front of the Rathaus, at the church and the convent and in front
of the houses of the elite, all for a reward of coins, while members of the Salzburg court orchestra
played the music of the greats in the grand rooms and chambers of the Salzburg court and at festivals
and celebrations.
St George's chapel at the fortress Hohensalzburg in Salzburg was built during the reign of Archbishop
Leonard von Keutschach (1495 to 1519) and inaugurated on August 21, 1502. Although during the
Middle ages, many towns, cities, monasteries and cloisters had mechanical organs built into their
gates and towers, the only organ to have survived in its entirety until today is the so-called “castle
horn” organ at Hohensalzburg, the organ which von Keutschach had built in order to communicate
with the inhabitants of the town in a method akin to the use of alpine horns in the valleys. The
“castle horn” woke the townsfolk up at 4AM and signaled their bedtime at 7PM. It also reminded
everyone of the Archbishop's power over them.
Leonard von Keutschach (1495 to 1519) and inaugurated on August 21, 1502. Although during the
Middle ages, many towns, cities, monasteries and cloisters had mechanical organs built into their
gates and towers, the only organ to have survived in its entirety until today is the so-called “castle
horn” organ at Hohensalzburg, the organ which von Keutschach had built in order to communicate
with the inhabitants of the town in a method akin to the use of alpine horns in the valleys. The
“castle horn” woke the townsfolk up at 4AM and signaled their bedtime at 7PM. It also reminded
everyone of the Archbishop's power over them.
In 1672, Archbishop Max Gandolph had a chaplain's house built and attached to St Georg's Chapel
in which there was additional space to house a music school and living quarters for the teacher. The
Choirboys' Institute housed, fed, educated and clothed about sixteen choirboys who sang in the
Cathedral, all at the court's full expense. Here they were taught by court musicians such as Biber.
Through most of the seventeenth century, there were at least seventy-five to eighty cathedral and
court musicians and about fifty regularly performing vocal music.
in which there was additional space to house a music school and living quarters for the teacher. The
Choirboys' Institute housed, fed, educated and clothed about sixteen choirboys who sang in the
Cathedral, all at the court's full expense. Here they were taught by court musicians such as Biber.
Through most of the seventeenth century, there were at least seventy-five to eighty cathedral and
court musicians and about fifty regularly performing vocal music.
Archbishop Pilgrim II from Puchheim (reigned from 1365-1396) was the first archbishop to actively
sponsor music and composition, and from the 15th century on, music at the fortress Hohensalzburg
drifted down from on high and greeted everyone from the wealthy patrician to the beggar in rags.
sponsor music and composition, and from the 15th century on, music at the fortress Hohensalzburg
drifted down from on high and greeted everyone from the wealthy patrician to the beggar in rags.
Salzburg employed a number of eminent composers through the centuries, among them Heinrich
Finck, Paul Hofhaimer, Heinrich Biber, Georg Muffat, Johann Ernst Eberlin, Giuseppe Francesco
Lolli and of course, Leopold Mozart and later his son Wolfgang. The composition and performance
of cathedral music was the principal mission of court musicians. Positions included a Kapellmeister,
a vice-Kapellmeister, composers and several instrumentalists (violinists, viola players, cellists, double
bassists, keyboard players, oboists, flautists, bassoonists, horn players, trombonist and more). There
were then the singers and the choir, all sometimes constituting over a hundred performers in total.
Finck, Paul Hofhaimer, Heinrich Biber, Georg Muffat, Johann Ernst Eberlin, Giuseppe Francesco
Lolli and of course, Leopold Mozart and later his son Wolfgang. The composition and performance
of cathedral music was the principal mission of court musicians. Positions included a Kapellmeister,
a vice-Kapellmeister, composers and several instrumentalists (violinists, viola players, cellists, double
bassists, keyboard players, oboists, flautists, bassoonists, horn players, trombonist and more). There
were then the singers and the choir, all sometimes constituting over a hundred performers in total.
In the country, musical instruments included the goat’s horn, alphorn, willow pipe, jingle bells, whips,
thunder sticks and a stick and chain. Other objects joined in the merry making, such as aged brass
instruments, pans and pot lids and violin-dulcimers or Hackbretts.Similar to a hammered dulcimer,
the German Hackbrett evolved from the string drum early in the 15th century which was said to have
originated long beofre in Persia. It was a rectangular instrument strung with metal strings and struck
with two hammers. Also used were harps, zithers, fiddles and (later) hurdy-gurdys and accordions.
thunder sticks and a stick and chain. Other objects joined in the merry making, such as aged brass
instruments, pans and pot lids and violin-dulcimers or Hackbretts.Similar to a hammered dulcimer,
the German Hackbrett evolved from the string drum early in the 15th century which was said to have
originated long beofre in Persia. It was a rectangular instrument strung with metal strings and struck
with two hammers. Also used were harps, zithers, fiddles and (later) hurdy-gurdys and accordions.
It is recorded that throughout the alpine regions, song was heard everywhere, from the farmhands
singing while doing their chores to impish boys singing bawdy songs in the village. Dancing was
equally as popular whenever allowed and many an inn in the major towns had its own dance hall
even in the 15th century, and theater halls served as dance halls in the 16th and 17th centuries in
some areas. Even schools and parsonages were sometimes put to use as dance halls. Under Duke
Sigmund and Emperor Maximilian, royal guests enjoyed the dance, and some heads of government
actually encouraged the burghers to dance in the 16th century.
singing while doing their chores to impish boys singing bawdy songs in the village. Dancing was
equally as popular whenever allowed and many an inn in the major towns had its own dance hall
even in the 15th century, and theater halls served as dance halls in the 16th and 17th centuries in
some areas. Even schools and parsonages were sometimes put to use as dance halls. Under Duke
Sigmund and Emperor Maximilian, royal guests enjoyed the dance, and some heads of government
actually encouraged the burghers to dance in the 16th century.
| A Little Mountain Music |
The songs of the Salzburg area farmers and especially the salt miners was not as formal, but was still
an integral part of their lives. Their songs expressed the daily threat of danger, but also joy in their
work. Numerous folksongs and tales from the various mining regions resounded through the ages as
well, many of which have long since vanished from memory. The mountainfolk always sang and
danced, making music out of easily available implements.
an integral part of their lives. Their songs expressed the daily threat of danger, but also joy in their
work. Numerous folksongs and tales from the various mining regions resounded through the ages as
well, many of which have long since vanished from memory. The mountainfolk always sang and
danced, making music out of easily available implements.
But dances were sometimes boisterous on
such occasions as church dedication days,
and were often stopped at the instigation of
Jesuit missions. In January, 1663 the Bishop
of Trent prohibited dances in general in a
decree that threatened to punish anyone,
including the musicians, who went to a ball.
Before becoming Archbishop of Salzburg,
Bishop Leopold Firmian vehemently
attempted to curtail the much loved dancing.
None of the bans, however, stopped young
people from dancing on mountain meadows.
such occasions as church dedication days,
and were often stopped at the instigation of
Jesuit missions. In January, 1663 the Bishop
of Trent prohibited dances in general in a
decree that threatened to punish anyone,
including the musicians, who went to a ball.
Before becoming Archbishop of Salzburg,
Bishop Leopold Firmian vehemently
attempted to curtail the much loved dancing.
None of the bans, however, stopped young
people from dancing on mountain meadows.
