Picturing the Flute of Maximilian I: A Study of the Transverse Flute and its symbolic use as a political instrument in the Mummeries of Freydal
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04.04.2022
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Master
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11 - Student thesis
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Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis
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Basel
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Abstract
The mummeries, or masked dances, of Freydal (1512–1515), one of Maximilian's allegorical
autobiographies, are a realistic portrayal of a flamboyant form of courtly entertainment
denounced by the Church, and its colorful miniatures reveal thirty-five transverse flutes with
diverse sizes, bore-widths, and colors, reflecting a transitional decade in the history of the
flute. Noble ladies hosted these mummeries in their Frauenzimmer, where flutes and drums
were also important for dance practice. The flutes of Freydal appear mostly in ensemble with
drum, but also with trombone, other flutes, and singers, and historical records list dance and
military flutes separately, suggesting that the quality of Maximilian's flute-and-drum music
was closer to the revered alta capella than the military duo. Flutists, who were likely multiinstrumentalists
capable of doubling and reading notation, wear black silk masks and
matching costumes with Freydal's dancers, indicating an elevated social standing. By
attaching himself to transverse flutes in his paper propaganda, Maximilian evokes the glory
of crusade, local German tradition, and sensual, humanist ideals, thus marketing himself as
"the merriest king."
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English
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Yes
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Scarborough, H. (2022). Picturing the Flute of Maximilian I: A Study of the Transverse Flute and its symbolic use as a political instrument in the Mummeries of Freydal [Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis]. https://doi.org/10.26041/fhnw-4725