Today, part two of two episodes featuring one work: the so-called Bordesholmer Marienklage.
The Bordesholmer Marienklage, named after Bordesholm, where the manuscript was kept in the Augustinian monastery, is a passion play. In the Middle Ages, it was customary to depict the relevant events vividly at the important feasts of the Christian year. Such liturgical plays consisted of an alternation of spoken and sung texts. In addition to Latin, the vernacular could also be used. Such is also the case in the Bordesholmer Marienklage; the vernicular used here is the so-called Middle Low German.
What is special about this passion play is that the focus here is not the suffering and death of Jesus, but the sadness of his mother Mary. These Marienklagen have been known since the 13th century. They are based on the idea that it might be easier for spectators to identify with her sadness than with the suffering of Jesus.
Who put the lyrics on music is unknown. They used existing melodies, both liturgical and secular.
anonymous (1475/76)
1. Bordesholmer Marienklage (part 2)
Sequentia conducted by Barbara Thornton, Benjamin Bagby
(cd: “Bordesholmer Marienklage” – deutsche harmonia mundi 05472 77280 2, 1993)
in addition:
anonymous (Codex Las Huelgas)
2. In hoc ortus occidente
Baptiste Romain, viola.
(cd: “Invisible – Gesänge der Zisterzienserinnen” – Christophorus CHR 77430, 2018)
Picture: part of the manuscript of the Bordesholmer Marienklage (library Christian-Albrechts-Universität, Kiel)
