Defining the City ‘Trumpeter’: German Civic Identity and the Employment of Brass Instrumentalists, c.1500

Abstract

This article examines the employment of brass instrumentalists in German cities around 1500, as a reflection of the political circumstances of the epoch, where rivalry between the distinct components of the social hierarchy encouraged the assertion of power and status through musical patronage. Archival records and contemporary chronicles provide invaluable insights into the performances of civic brass instrumentalists, whether in the provision of signals (by the city watchmen or those who played alongside the cities’ troops) or for the entertainment of the citizens and their guests (within the civic instrumental ensembles – the Stadtpfeifer (‘town pipers’)). Although the use of ambiguous nomenclature in contemporary records can hinder a definitive understanding of the instruments used by these musicians, the musicians different duties within the city walls can often be inferred. Important insights can thereby be gained into the extent of the patronage of these civic brass instrumentalists, their roles within everyday city life, and their resultant contribution to the communication of civic strength to the populace and their guests.

Acknowledgements

The research for this paper was carried out as part of my work on the D.Phil. dissertation ‘Stadtpfeifer and Varende Lewte: Secular Musical Patronage in the Imperial Cities of Germany during the Reign of Maximilian I (1486–1519)’ (Oxford University, 2006), funded by an AHRC Postgraduate Award. I would like to thank Donald Burrows and Trevor Herbert for their advice during the writing of this article. In this study, original German texts are followed by the author's English translations in brackets. Quotations presented solely in English are taken directly from other scholars’ work, as cited

Notes

¹Many German city council records remain from the fourteenth century onwards, although often with parts missing. From the start, these provide a surprising level of detail regarding the employment of musicians in towns of different size and wealth, and allow a clear perception of trends in civic musical patronage. The records for the period around 1500 reflect the endeavours of the cities to maintain this employment of instrumentalists, and also the development of the network of musical personnel within the Holy Roman Empire, of which the cities were a crucial part. For the range of extant civic accounts see Keith Polk, German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice (Cambridge, 1992), 255–7.

²Polk, German Instrumental Music; Fritz Jahn, ‘Die Nürnberger Trompeten- und Posaunenmacher im 16. Jahrhundert’, Archiv für Musikwissenschaft, 7 (1925), 23–52; Ekkehart Nickel, Der Holzblasinstrumentenbau in der freien Reichsstadt Nürnberg, Schriften zur Musik, 8 (Munich, 1971); Martin Kirnbauer, ‘Die Nürnberger Trompeten- und Posaunenmacher vor 1500 im Spiegel Nürnberger Quellen’, Musik und Tanz zur Zeit Kaiser Maximilian I.: Bericht über die am 21. und 22. Oktober 1989 in Innsbruck abgehaltene Fachtagung, ed. Walter Salmen (Innsbruck, 1992), 131–42; Robert Barclay, The Art of the Trumpet-Maker: The Materials, Tools, and Techniques of the Seventeenth and Eighteenth Centuries in Nuremberg (Oxford, 1992).

³I would like to thank the civic archives of Augsburg, Bad Windsheim, Constance, Dinkelsbühl, Memmingen, Nördlingen, Nuremberg, Ravensburg, Regensburg, Schwäbisch Hall and Ulm for allowing access to their records.

⁴Although at this time Germany was divided into a number of smaller states, the terms ‘German’ and ‘Germany’ are used in this study to denote the same geographical region as the present-day country, incorporating Strasbourg, as well as a number of Swiss towns that renounced the Empire to join the Swiss confederacy around 1500.

⁵For details of musical patronage at Maximilian's court, see for example Franz Waldner, Nachrichten über die Musikpflege am Hofe zu Innsbruck nach archivalischen Aufzeichnungen, i: Unter Kaiser Maximilian I. von 1490–1519, Beilage zu den Monatsheften für Musikgeschichte (1897/8); Otto zur Nedden, ‘Zur Geschichte der Musik am Hofe Kaiser Maximilians I’, Zeitschrift für Musikwissenschaft, 15 (1932–3), 24–32; Othmar Wessely, ‘Archivalische Beiträge zur Musikgeschichte des Maximilianischen Hofes’, Studien zur Musikwissenschaft, 23 (1956), 79–134; Louise Cuyler, The Emperor Maximilian I and Music (London and New York, 1973); R. Damman, ‘Die Musik im Triumphzug Kaiser Maximilians I’, Archiv für Musikwissenschaft, 31 (1974), 245–89; Keith Polk, ‘Patronage, Imperial Image, and the Emperor's Musical Retinue: On the Road with Maximilian I’, Musik und Tanz, ed. Salmen, 79–88.

⁶Sabine Žak, Musik als ‘Ehr und Zier’ im mittelalterlichen Reich: Studien zur Musik im höfischen Leben, Recht und Zeremoniell (Neuss, 1979). Žak also points to previous claims of the existence of privileges for other cities of the Empire, such as Frankfurt and Lübeck. Unfortunately, as Žak clarifies, there is no trace of these documents in the archives of these cities. See Žak, op. cit., 149.

⁷Karlsruhe, Generallandesarchiv, Sign.D.599, 1417 October 20 (Die Urkunden Kaiser Sigmunds 1410–1437, ed. Wilhelm Altmann, Regesta imperii, 11, 2 vols. (Innsbruck, 1896–1900), no. 2639), and Munich, Bayerisches Hauptstaatsarchiv, Augsburg RU 239, 1434 January 17 (Sabine Žak, Musik als ‘Ehr und Zier’ im mittelalterlichen Reich: Studien zur Musik im höfischen Leben, Recht und Zeremoniell (Neuss, 1979). Žak also points to previous claims of the existence of privileges for other cities of the Empire, such as Frankfurt and Lübeck. Unfortunately, as Žak clarifies, there is no trace of these documents in the archives of these cities. See Žak, op. cit, no. 9969), both quoted in Žak, Musik als ‘Ehr und Zier’, 150.

⁸Nuremberg, Staatsarchiv, Kaiserprivilegien Nr. 323, Urkunde 1431 July 13 (Die Urkunden Kaiser Sigmunds, ed. Altmann, no. 8700), and Ulm, Stadtarchiv, Urkunde A 1434 September 26 (Karlsruhe, Generallandesarchiv, Sign.D.599, 1417 October 20 (Die Urkunden Kaiser Sigmunds 1410–1437, ed. Wilhelm Altmann, Regesta imperii, 11, 2 vols. (Innsbruck, 1896–1900), no. 2639), and Munich, Bayerisches Hauptstaatsarchiv, Augsburg RU 239, 1434 January 17 (Sabine Žak, Musik als ‘Ehr und Zier’ im mittelalterlichen Reich: Studien zur Musik im höfischen Leben, Recht und Zeremoniell (Neuss, 1979). Žak also points to previous claims of the existence of privileges for other cities of the Empire, such as Frankfurt and Lübeck. Unfortunately, as Žak clarifies, there is no trace of these documents in the archives of these cities. See Žak, op. cit, no. 9969), both quoted in Žak, Musik als ‘Ehr und Zier’, 150., no. 10837), both quoted in Žak, Musik als ‘Ehr und Zier’, 150. The term ‘trombonist’ is used here to distinguish between the ‘trumeter’ and ‘pusawner’ of the original text. The use of this term is discussed in further detail later in this study.

⁹Prague, Národní Muzeum, MS X A 12, fol. 284^v. Quoted in Žak, Musik als ‘Ehr und Zier’, 163.

¹⁰Žak's archival references document the employment of trumpeters in German cities during the fourteenth century. See Prague, Národní Muzeum, MS X A 12, fol. 284^v. Quoted in Žak, Musik als ‘Ehr und Zier’, 122–3.

¹¹ Žak's archival references document the employment of trumpeters in German cities during the fourteenth century. See Prague, Národní Muzeum, MS X A 12, fol. 284^v. Quoted in Žak, Musik als ‘Ehr und Zier’, 161–2.

¹²Polk, German Instrumental Music, 48. In the north of the country, a number of cities subsidized ensembles classified as ‘city trumpets’ (rather than ‘Stadtpfeifer’), yet these appear to have had a dual purpose – performing as either trumpet ensembles or shawm bands. In the cities referred to in this present study, there is no trace of such a practice.

¹³Trevor Herbert, The Trombone (New Haven, CT, and London, 2006), 58 and 72.

¹⁴As Herbert explains, nomenclature of this period for brass instruments often stemmed from the Italian ‘tromba’ (hence ‘trumpet’) and the Latin ‘busine’ (resulting in the German ‘Posaune’). See Trevor Herbert, The Trombone (New Haven, CT, and London, 2006), 58 and 72, 56.

¹⁵As Herbert explains, nomenclature of this period for brass instruments often stemmed from the Italian ‘tromba’ (hence ‘trumpet’) and the Latin ‘busine’ (resulting in the German ‘Posaune’). See Trevor Herbert, The Trombone (New Haven, CT, and London, 2006), 58 and 72, 56.

¹⁶Žak, Musik als ‘Ehr und Zier’, 151–6.

¹⁷References to the ‘horn’ in this article concern the basic trumpet, labelled ‘Thurner horn’ in Virdung's text, which had a bore of cylindrical tubing, rather than the conical tubing of the typical horn.

¹⁸For an overview of the main brass instruments in use from the fourteenth century to the early sixteenth, see Polk, German Instrumental Music, 47, and Howard Mayer Brown and Keith Polk, ‘Instrumental Music c.1300–c.1520’, The New Oxford History of Music, iii/1: Music as Concept and Practice in the Late Middle Ages, ed. Reinhard Strohm and Bonnie J. Blackburn (2nd edn, Oxford, 2001), 97–161 (pp. 136–7). For the development of the trombone from the Middle Ages, see Herbert, The Trombone, Chapter 3.

¹⁹Martin Agricola, Musica instrumentalis deudsch, fol. 16^r; The ‘Musica instrumentalis deudsch’ of Martin Agricola: A Treatise on Musical Instruments, 1529 and 1545, ed. William E. Hettrick (Cambridge, 1994), 16.

²⁰This may, however, be due to an oversight of the author, or a printing error. See The ‘Musica instrumentalis deudsch’, ed. Hettrick, 177 and 184, and Musica getutscht: A Treatise on Musical Instruments by Sebastian Virdung, ed. Beth Bullard (Cambridge, 1993), 74.

²¹Brown and Polk, ‘Instrumental Music’, 99.

²²In Augsburg the watchman Christian Spiegler appears in the Stadtpfeifer payment list for 1491. He is identified once again as a watchman of the city in the accounts for 1513 (see Augsburg, Stadtarchiv, Baumeisterbücher, Nr. 85, fol. 73^r, and Nr. 107, fol. 50^v). In Basle, there were around five watchmen who were assigned the duties of both the Stadtpfeifer and the field trumpeters from around 1514 following the demise of these groups. See Fritz Ernst, ‘Die Spielleute im Dienste der Stadt Basel im ausgehenden Mittelalter (bis 1550)’, Basler Zeitschrift für Geschichte und Altertumskunde, 44 (Basle, 1945), 79–236 (pp. 153–6).

²³Heinrich W. Schwab, Die Anfänge des weltlichen Berufsmusikertums in der mittelalterlichen Stadt: Studie zu einer Berufs- und Sozialgeschichte des Stadtmusikantentums, Kieler Schriften zur Musikwissenschaft, 24 (Kassel, Basle and London, 1982), 29–33. See also Edmund A. Bowles, ‘Tower Musicians in the Middle Ages’, Brass Quarterly, 5 (1961–2), 91–103, for details of the employment of civic watchmen.

²⁴Caroline Valentin, Geschichte der Musik in Frankfurt am Main vom Anfange des XIV. bis zum Anfange des XVIII. Jahrhunderts (Frankfurt am Main, 1906), 44. Valentin does not clarify the source of this information, although her study clearly reflects her use of the archival records of the city.

²⁵Basle, Staatsarchiv, Öffnungsbuch VII, 34, quoted in Ernst, ‘Die Spielleute’, 151.

²⁶Basle, Staatsarchiv, Jahresrechnung 1513/14, quoted in Ernst, ‘Die Spielleute’, 156.

²⁷Constance, Stadtarchiv, Säckelmeister Ausgabebücher 1495 (L1392), fol. 25^r.

²⁸Cologne, Stadtarchiv, ‘Register der Rentmeister über die Kleidung der städtischen Beamten und das Geschütz auf den Thoren und Thürmen. 1468 Mai 31’ (A V 85), quoted in Akten zur Geschichte der Verfassung und Verwaltung der Stadt Köln im 14. und 15. Jahrhundert, ed. Walther Stein, 2 vols. (Bonn, 1895), ii, 437–48 (pp. 438–9).

²⁹The instruments and performances of the military musicians and Stadtpfeifer are discussed later in this article.

³⁰‘Ordnung des Mendel <schen> 12 Brüder Stifft in der Carthaußen von a <nn > o 1388’ (Nuremberg, Stadtarchiv, MI No. 54), in Das Hausbuch der Mendelschen Zwölfbrüderstiftung zu Nürnberg: Deutsche Handwerkerbilder des 15. und 16. Jahrhunderts, Textband, ed. Wilhelm Treue et al. (Munich, 1965), 33–60 (p. 33).

³¹The text of this illustration reads: ‘Anno domini 1509 Jarnn am sampstag noch lucia umb veßper zeit starb wilhelm mair der ein goltschmidt gewesßenn ist vnnd lange zeit der hernn turner unnd pey 12 tagenn inn disßem almusßenn gewesßen vnnd der 255 pruder gewesßenn ist’ (‘In the year of Our Lord 1509, on the Saturday following St Lucy's Day at the time for Vespers, Wilhelm Mair died, who was a goldsmith and for a long time watchman, and was for 12 days in this almshouse and was the 255th brother’).

³²As Keith Polk notes, the watchmen were paid considerably less than their Stadtpfeifer counterparts and were generally regarded as being of lesser status (see Polk, German Instrumental Music, 111). Karl Bücher comments that the watchmen of Frankfurt worked as beltmakers, tailors and shoemakers; see his Die Berufe der Stadt Frankfurt am Main im Mittelalter (Leipzig, 1914), 38. The connection between the trade of goldsmith and the work of brass instrumentalists is elucidated by Trevor Herbert in The Trombone, 66, and by Maurice Byrne in ‘The Goldsmith–Trumpet-Makers of the British Isles’, Galpin Society Journal, 19 (1966), 71–83. Herbert and Byrne discuss the commonly shared trades of goldsmith and brass-instrument maker in fifteenth- and sixteenth-century London and Siena.

³³‘Heinrich Deichsler's Chronik 1488–1506’, Die Chroniken der fränkischen Städte: Nürnberg, ed. Historische Commission bei der Königliche Academie der Wissenschaften, 5 vols. (Leipzig, 1874), v, 545–709 (p. 703).

³⁴Constance, Stadtarchiv, Säckelmeister Ausgabebücher 1497 (L1394), fol. 39^r.

³⁵‘Vllrich thrumetter ist besteltt’ in the accounts of 1498. See ‘Heinrich Deichsler's Chronik 1488–1506’, Die Chroniken der fränkischen Städte: Nürnberg, ed. Historische Commission bei der Königliche Academie der Wissenschaften, 5 vols. (Leipzig, 1874), v, 545–709 (p. 703)., Säckelmeister Ausgabebücher 1498 (L1395), fol. 39^r.

³⁸Johann Jacob Fugger, Spiegel der Ehren des Hochlöblichen Kayser- und Königlichen Erzhauses Österreich, ed. Sigmund von Birkin (Nuremberg, 1668), 966.

³⁶Nuremberg, Staatsarchiv, Rep. 54/16, fol. 233^r.

³⁷See, for example, Nuremberg, Staatsarchiv, Rep. 54/16, fol. 233^r., Rep. 54/17 (1471), fol. 214^r; Rep. 54/18 (1478), fol. 229^r; Rep. 54/19 (1482), fol. 210^v; Rep. 54/19a (1483), fol. 173^r.

³⁹Basle, Staatsarchiv, Erkanntnisbuch I, fol. 126^v, quoted in Ernst, ‘Die Spielleute’, 153.

⁴⁰Otto zur Nedden, Quellen und Studien zur oberrheinischen Musikgeschichte im 15. und 16. Jahrhundert (Kassel, 1931), 71.

⁴¹Cologne, Stadtarchiv, ‘Wachtordnung. 1462 Winter und 1463 Nov.’ (MS A IV 104), quoted in Akten zur Geschichte der Verfassung und Verwaltung der Stadt Köln, ed. Stein, ii, 392–7 (pp. 396–7).

⁴²Frankfurt am Main, Stadtarchiv, Bürgermeisterbücher 1463, fol. 3^v, quoted in Bücher, Die Berufe der Stadt Frankfurt am Main, 131.

⁴³Frankfurt am Main, Stadtarchiv, Bürgermeisterbücher 1479, fol. 71^r, quoted in Bücher, Die Berufe der Stadt Frankfurt am Main, 37.

⁴⁴Polk, German Instrumental Music, 49. The slide trumpet appears to have developed by the early fifteenth century, the single slide attached to the mouthpiece allowing for greater fluidity of performance. The adoption of the double slide did not occur until later in the fifteenth century.

⁴⁵Nuremberg, Staatsarchiv, Rep. 52b, Nr. 269, pp. 142–4, cited in Kirnbauer, ‘Die Nürnberger Trompeten- und Posaunenmacher’, 133 and 138.

⁴⁶Frankfurt am Main, Stadtarchiv, Stadtrechenbuch, fol. 86, cited in Valentin, Geschichte der Musik, 45.

⁴⁷Valentin, Geschichte der Musik, 44–5.

⁴⁸Nuremberg, Staatsarchiv, Rep. 54/181, fol. 144^r.

⁴⁹Nuremberg, Staatsarchiv, Rep. 54/181, fol. 144^r., Rep. 54/181, fol. 264^v.

⁵⁰Nuremberg, Staatsarchiv, Rep. 54/181, fol. 144^r., Rep. 54/181, fol. 264^v., Rep. 61a (Briefbücher des Rates) 74, fol. 121^v.

⁵¹Frankfurt am Main, Stadtarchiv, Stadtrechenbuch, fol. 40^v, quoted in Valentin, Geschichte der Musik, 43.

⁵²Nuremberg, Staatsarchiv, Rep. 54/20, fol. 211^v.

⁵³Konrad von Megenberg, Yconomica, trans. Christopher Page, ‘German Musicians and their Instruments: A 14th-Century Account by Konrad von Megenberg’, Early Music, 10 (1982), 192–200 (p. 194).

⁵⁴‘Nürnbergs Krieg gegen Albrecht von Brandenburg: Heer- und Kriegswesen’, Chroniken der fränkischen Städte: Nürnberg, ed. Historische Commission bei der Königliche Academie der Wissenschaften, ii, 244–70 (p. 248).

⁵⁵Frankfurt am Main, Stadtarchiv, Bürgermeisterbücher 1464, fol. 85^v, quoted in Bücher, Die Berufe der Stadt Frankfurt am Main, 41.

⁵⁶Frankfurt am Main, Stadtarchiv, Bürgermeisterbücher 1465, fol. 48^r, quoted in Bücher, Die Berufe der Stadt Frankfurt am Main, 41.

⁵⁷‘Die Theilnahme Nürnbergs am Reichsfeldzuge 1474, 1475’, Chroniken der fränkischen Städte: Nürnberg, ed. Historische Commission bei der Königliche Academie der Wissenschaften, iv, 411–40 (p. 414).

⁵⁸See, for example, Nuremberg, Staatsarchiv, Rep. 60a, Nr. 393, fol. 3 ^r(1501), and Rep. 60b/7, fol. 191 ^r (1502).

⁵⁹See Schwäbisch Hall, Stadtarchiv, Rep. 4/a11–a18.

⁶⁰See, for example, Nuremberg, Staatsarchiv, Rep. 54/24, fol. 168^v.

⁶¹Basle, Staatsarchiv, Wochenausgabenbuch 24 October 1489, 892, and 31 October 1489, 893; Heitersheimerfehde 1489 (Politisches J 5), Nr. 6 and Nr. 8, quoted in Ernst, ‘Die Spielleute’, 127 and 190–1.

⁶²‘Jahrbücher des 15. Jahrhunderts’, Chroniken der fränkischen Städte: Nürnberg, ed. Historische Commission bei der Königliche Academie der Wissenschaften, iv, 45–386 (p. 241).

⁶³‘ “Cronica newer geschichten” von Wilhelm Rem. 1512–1527’, Die Chroniken der schwäbischen Städte: Augsburg, ed. Historische Commission bei der Königliche Academie der Wissenschaften, 7 vols. (Leipzig, 1896), v, i–281 (p. 135).

⁶⁴Basle, Staatsarchiv, Wochenausgabenbuch, 16 August 1494, 234, quoted in Ernst, ‘Die Spielleute’, 129.

⁶⁵Basle, Staatsarchiv, Wochenausgabenbuch, 27 April 1504, quoted in Ernst, ‘Die Spielleute’, 129.

⁶⁶Basle, Staatsarchiv, Wochenausgabenbuch, 29 August 1506, quoted in Ernst, ‘Die Spielleute’, 124.

⁶⁸Anthony Baines, ‘Fifteenth-Century Instruments in Tinctoris's De inventione et usu musicae’, Galpin Society Journal, 3 (1950), 19–26 (pp. 20–1).

⁶⁷Crumhorns and recorders tended to be played as complete consorts of like instruments rather than being added to the basic shawm band. See Polk, German Instrumental Music, 113.

⁶⁹For recent studies of the development of the slide brass instrument see, for example, Peter Downey, ‘The Renaissance Slide Trumpet: Fact or Fiction?’, Early Music, 12 (1984), 26–33; Keith Polk, ‘The Trombone, the Slide Trumpet and the Ensemble Tradition of the Early Renaissance’, Early Music, 17 (1989), 389–97; Ross W. Duffin, ‘The Trompette des menestrels in the 15th-Century Alta Capella’, Early Music, 17 (1989), 397–404; Herbert W. Myers, ‘Slide Trumpet Madness: Fact or Fiction?’, Early Music, 17 (1989), 383–9; Peter Downey, ‘“In tubis ductilibus et voce tubae”: Trumpets, Slides and Performance Practices in Late Medieval and Renaissance Europe’, Music and the Church, ed. Gerard Gillen and Harry White, Irish Musical Studies, 2 (Blackrock, 1993), 302–32; and Herbert, The Trombone.

⁷⁰Trevor Herbert highlights the importance of iconography for the understanding of the performances of the alta capella in The Trombone, Chapter 3.

⁷¹Memmingen, Stadtarchiv, Ratsprotokolle, 1510 (8. Mai) – 1511 (17. Okt), fols. 7^v and 17^v.

⁷²Memmingen, Stadtarchiv, Ratsprotokolle, 1510 (8. Mai) – 1511 (17. Okt), fols. 7^v and 17^v, Kaiserliche und Koenigliche Mandate, StadtA MM A 001/01, 1502.

⁷³Schwäbisch Hall, Stadtarchiv, Rep. 4/a13, not foliated.

⁷⁴ Schwäbisch Hall, Stadtarchiv, Rep. 4/a13, not foliated., Rep. 4/a13–a14, not foliated.

⁷⁵Nuremberg, Staatsarchiv, Rep. 54/181, fol. 111^v.

⁷⁶ Nuremberg, Staatsarchiv, Rep. 54/181, fol. 111^v., Rep. 54/181, fols. 115^r–117^v.

⁷⁷ Nuremberg, Staatsarchiv, Rep. 54/181, fol. 111^v., Rep. 54/181, fols. 115^r–117^v., Rep. 60a, Nr. 237, fol. 3^r.

⁷⁸ Nuremberg, Staatsarchiv, Rep. 54/181, fol. 111^v., Rep. 54/181, fols. 115^r–117^v., Rep. 60a, Nr. 237, fol. 3^r., Rep. 60a, Nr. 288, fol. 9^v.

⁷⁹German musicians were in particular demand during this period; see Keith Polk, ‘Innovation in Instrumental Music 1450–1510: The Role of German Performers within European Culture’, Music in the German Renaissance: Sources, Styles and Contexts, ed. John Kmetz (Cambridge, 1994), 202–14. One noteworthy case of this pre-eminence occurred in Florence in 1443, where the resident wind ensemble was dismissed, to be replaced by a new group consisting of four German musicians from Cologne, Basle, Constance and Augsburg. See Timothy McGee, The Ceremonial Musicians of Late Medieval Florence (Bloomington, IN, 2009), 163–4.

⁸⁰Although Neuschel's appointment documents date from 1491 and 1499, he does not appear in the council's payment lists until after the second date. This therefore raises the question of whether the initial appointment of 1491 was actually implemented. See Nuremberg, Staatsarchiv, Rep. 54/181 (city accounts), and Rep. 2a, Losungsamt, 35 neue Laden, Nr. 1840 and 1817 (Neuschel's documents of appointment).

⁸¹Nuremberg, Staatsarchiv, Rep. 54/181 (accounts for 1515), fol. 583^r: ‘hannsen Neuschel unserm trumeter […] als er an K hof gefodert ward’ (‘to Hans Neuschel, our trumpeter, as he was requested by the imperial court’); Augsburg, Stadtarchiv, Baumeisterbücher, Nr. 109 (accounts for 1515), fol. 28^v: ‘Hannsen Newschlin Kay May. Busaner’. In 1508, the Council of Nuremberg also reported that: ‘dem Neuschel, trummeter, ist vergönnt, die vaßnacht bey hertzog Fridr. von Sachssen ze sein’ (‘Neuschel, trumpeter, is granted to spend Shrovetide at the court of Duke Friedrich of Saxony’); Nuremberg, Staatsarchiv, Rep. 60a, Nr. 486, fol. 9^r.

⁸²Reproduced in Uta Henning, Musica Maximiliana: Die Musikgraphiken in den bibliophilen Unternehmungen Kaiser Maximilians I. (Neu-Ulm, 1987), 130.

⁸³Polk, German Instrumental Music, 77.

⁸⁴Augsburg, Stadtarchiv, Baumeisterbücher, Nr. 81 (accounts for 1488), fol. 16^r: ‘Augustin Kaysers Busaner’; Nr. 89 (accounts for 1495), fol. 27^r: ‘Augustin Schubinger der K M^t Trumbett^r’; and Nr. 93 (accounts for 1499), fol. 22^v: ‘Augustin Pfeiffer […] des Ro. Künigs dien^r’. See also Nuremberg, Staatsarchiv, Rep. 54/181 (accounts for 1516), fol. 617^v: ‘Augustin K M^t lautenist’. For details of Augustin's other places of employment see Keith Polk, ‘Augustein Schubinger and the Zinck: Innovation in Performance Practice’, Historical Brass Society Journal, 1 (1989), 83–92, and ‘The Schubingers of Augsburg: Innovation in Renaissance Instrumental Music’, Quaestiones in musica: Festschrift Franz Krautwurst zum 65. Geburtstag, ed. Friedhelm Brusniak and Horst Leuchtmann (Tutzing, 1989), 495–503.

⁸⁵See Nuremberg, Staatsarchiv, Rep. 54/182 and Rep. 54/183.

⁸⁶Nickel, Der Holzblasinstrumentenbau, 71–2.

⁸⁷Nuremberg, Staatsarchiv, Rep. 60a, Nr. 782, fol. 9^v.

⁸⁸Munich, Bayerische Staatsbibliothek, Ana 396, Gerhard Pietzsch, Nachlass: Augsburg 1518 and 1520.

⁸⁹Nördlingen, Stadtarchiv, Kammerrechnungen 1499–1512.

⁹⁰See Nuremberg, Staatsarchiv, Rep. 54/181 (accounts for 1513), fol. 547^r, and Rep. 52b/306 (Nürnberger Neubürgerverzeichnis 1496–1534), fol. 92^r.

⁹¹Dettelbach served in the Nuremberg ensemble until 1520. See See Nuremberg, Staatsarchiv, Rep. 54/181 (accounts for 1513), fol. 547^r, and Rep. 52b/306 (Nürnberger Neubürgerverzeichnis 1496–1534), fol. 92^r., Rep. 54/182, fol. 83^v, for his final payment by the council there; see also Nördlingen, Stadtarchiv, Kammerrechnungen 1522, fol. 20^v, and Des J. Neudörfer, Schreib- und Rechenmeisters zu Nürnberg, Nachrichten von Künstlern und Werkleuten daselbst aus dem Jahre 1547, ed. Georg Wolfgang Karl Lochner (Vienna, 1875), 168.

⁹²Nördlingen, Stadtarchiv, Kammerrechnungen 1499–1512.

⁹³Munich, Bayerisches Hauptstaatsarchiv, Reichsstadt Regensburg, Urkunden, 1498 XII 11 (F.630), and 1500 X. 2 (F.632).

⁹⁴Regensburg, Stadtarchiv, Literalien 438a (Ambtpuech 1507), fol. 3^r.

⁹⁵ Regensburg, Stadtarchiv, Literalien 438a (Ambtpuech 1507), fol. 3^r., Bürgerbuch 3 (1500–20; record dated ‘vor 1508’), p. 759 (fols. 132^v–133^r ).

⁹⁶Augsburg, Stadtarchiv, Ratsbuch Nr. 11, 26 July 1490, 110.

⁹⁷This picture forms part of an illustrated manuscript of c.1550, which commemorates the customary Shrovetide festivities of Nuremberg – the Schembartlauf.

⁹⁸Numerous entries in council records and contemporary chronicles refer to the Stadtpfeifer's involvement in these entertainments and the tenacious control of the city councils.

⁹⁹For details of the Hochzeitsordnungen, see Rainer Gstrein, ‘Tanzmusik-Ensembles zur Zeit und am Hofe Kaiser Maximilians I.’, Jaarboek van het Vlaamse Centrum voor Oude Muziek, 3 (1987), 79–96.

¹⁰¹Fugger, Spiegel, 952.

¹⁰⁰Žak, Musik als ‘Ehr und Zier’, 165.

¹⁰²For further details of the Pfeifergericht, see Johann Henrich Hermann Fries, Abhandlung vom sogenannten Pfeifer Gericht (Frankfurt am Main, 1752), and Žak, Musik als ‘Ehr und Zier’, 139–43.

¹⁰³Worms, Stadtarchiv, Eidbuch, fol. 86 (oath of the sixteenth century), quoted in Quellen zur Geschichte der Stadt Worms, iii: Monumenta Wormatiensia: Annalen und Chroniken, ed. Heinrich Boos (Berlin, 1893), 231–2 (p. 232).

¹⁰⁴ Worms, Stadtarchiv, Eidbuch, fol. 86 (oath of the sixteenth century), quoted in Quellen zur Geschichte der Stadt Worms, iii: Monumenta Wormatiensia: Annalen und Chroniken, ed. Heinrich Boos (Berlin, 1893), 231–2 (p. 232).

¹⁰⁵Fritz Reuter, ‘Pfeifer, Trompeter, Posauner: Quellen zur Wormser Musikgeschichte’, Der Wormsgau, 10 (1972–3), 29–49 (p. 37).

¹⁰⁶Fries, Abhandlung vom sogenannten Pfeifer Gericht, 212–27.

¹¹⁰Berlin, Staatsbibliothek Berlin Preußischer Kulturbesitz, MS germ. fol. 492, quoted in Roller, Der Nürnberger Schembartlauf, 215.

¹¹¹Nuremberg, Stadtbibliothek, MS Nor.K.444, fol. 62r, quoted in Samuel L. Sumberg, The Nuremberg Schembart Carnival (New York, 1941), 164. The ‘N: Statpfeiffer’ mentioned in this account most probably refers to Hans Neuschel.

¹⁰⁷ Figure 4 presents an illustration from one of the many manuscripts that commemorated the Nuremberg Shrovetide festivities.

¹⁰⁸Nuremberg, Stadtbibliothek, MS Nor.K.444, fol. 103^r, quoted in Hans-Ulrich Roller, Der Nürnberger Schembartlauf: Studien zum Fest- und Maskenwesen des späten Mittelalters (Magstadt, 1965), 218–19. It is again indeterminable whether trumpets or trombones are intended here – the significance of the brass instrumentalists, however, is clear.

¹⁰⁹Therese Bruggisser-Lanker, ‘Die Stadtpfeifer von Nürnberg im 16. Jahrhundert: Ikonographische und quellenkritische Hinweise zur Aufführungspraxis’, Schweizer Jahrbuch für Musikwissenschaft, n.s., 10 (1990), 43–72 (pp. 46–7).

¹¹²Vienna, Österreichische Nationalbibliothek, ser. nova 2977, in Roller, Der Nürnberger Schembartlauf, 216.

¹¹³Vienna, Österreichische Nationalbibliothek, ser. nova 12757, in Roller, Der Nürnberger Schembartlauf, 216.

¹¹⁴‘Etliche Geschichten: 1488–1491’, Chroniken der fränkischen Städte: Nürnberg, ed. Historische Commission bei der Königliche Academie der Wissenschaften, v, 707–33 (p. 732).

¹¹⁵‘Bernhard Rorbach's Liber gestorum’, Frankfurter Chroniken und annalistische Aufzeichnungen des Mittelalters, ed. Richard Froning, Quellen zur Frankfurter Geschichte, 1 (Frankfurt am Main, 1884), 181–223 (p. 216).

¹¹⁶ ‘Bernhard Rorbach's Liber gestorum’, Frankfurter Chroniken und annalistische Aufzeichnungen des Mittelalters, ed. Richard Froning, Quellen zur Frankfurter Geschichte, 1 (Frankfurt am Main, 1884), 216–17.

¹¹⁷This performance, including the early use of the mute, is discussed in Žak, Musik als ‘Ehr und Zier’, 129–30.

¹¹⁸Hans Neuschel is similarly described as ‘trumpeter of the honourable council’ in the contemporary descriptions of the Nuremberg Shrovetide festivities (see note 110).

¹¹⁹Polk has commented on the performance of two groups of musicians here: an ensemble of three men who sang the tenor while a lutenist played the discant, and the more unusual combination of trombonist, who most probably took the tenor line, with another lutenist, who again performed the discant; see his German Instrumental Music, 29.