Oede de la Couroierie [Eude de Carigas; Odo de Corigiaria; Odon de Paris; Odon de Saint-Germain]
(d 1294). French trouvère. He acted as a clerc to Count Robert of Artois. In this capacity his activities, which often included delicate diplomatic missions, were documented from 1270 until his death in 1294. His will, registered in June of that year, provided for the maintenance of his mistress and two illegitimate daughters in addition to his widow and her three children. In the documents he is referred to as Odon de Paris and Odon de Saint-Germain; this indicates that although he spent most of his working life in Artois he was probably born in the Ile-de-France.
The five songs attributed to him are of interest largely because they are all modelled on songs by older trouvères; two are based on a song of Gace Brulé, who was active at the turn of the 13th century; a third is set to the melody of a song by Blondel de Nesle, who lived in the second half of the 12th century; a song by a near contemporary, Raoul de Soissons, was the source for yet another.
Edition: Trouvère Lyrics with Melodies: Complete Comparative Edition, ed. H. Tischler, CMM, cvii (1997) [T]
Chançon ferai par grant desesperance, R.216, T i, 11/2 [modelled on: ‘Au repairier que je fis de Provence’, R.624]
Desconfortés com cil qui est sans joie, R.1740, T ii, 135/3 [modelled on: Gace Brulé, ‘Desconfortés plain d'ire et de pesance’, R.233]
Ma derreniere veul fere en chantant, R.321, T xiii, 1175/2 [modelled on: Raoul de Soissons, ‘Rois de Navarre et sire de virtu’, R.2063]
Tout soit mes cuers en grant desesperance, R.215, T ii, 135/2 (modelled on: Gace Brulé, ‘Desconfortés plain d'ire et de pesance’, R.233]
Trop ai longuement fait grant consirvance, R.210, T v, 359/2 [modelled on: Blondel de Nesle, ‘A l'entrant d'esté’, R.620]
J. Spanke: ‘Die Gedichte Jehans de Renti und Oedes de la Couroierie’, Zeitschrift für französische Sprache und Literatur, xxxii (1908), 157–218
H.-H.S. Räkel: Die musikalische Erscheinungsform der Trouvèrepoesie (Berne, 1977), 215
For further bibliography see Troubadours, trouvères.
(b Reutlingen; d ?Augsburg, c1520). German printer. In 1491 he became a citizen of Basle, where he served his printer's apprenticeship. He was registered at the University of Tübingen in 1498 and joined the printer Johann Otmar, also a native of Reutlingen, with whom he moved to Augsburg in 1502. Here he printed works on a variety of subjects, some in collaboration with Otmar, some with Georg Nadler and some alone. They include several publications commissioned by Emperor Maximilian I.
In music Oeglin is known mainly for two collections: the four-part settings of 22 Latin odes by Petrus Tritonius (1507) and a group of 42 German songs and six Latin texts, also set for four voices (RISM 15121). Of a further collection of 68 German songs only the discant partbook survives (c15133). The books of German songs include the works of such composers as Isaac, Hofhaimer and Senfl, all associated with Maximilian's court, and thus reflect the court’s musical repertory. An excellent craftsman, Oeglin was the first German printer to use Petrucci's technique of multiple impression, although he reduced it to double impression by printing the lines and notes together. The songbooks are decorated with woodcuts by Hans Burgkmair.
P. Tritonius: Melopoeiae sive harmoniae tetracenticae super XXII genera carminum (1507); partial edn in Liliencron
… Gesangkbücher (15121); ed. in PGfM, ix (1880)
[Discant partbook of 68 German songs] (c15133) [for description and contents see Eitner]
MGG1 (B. Meier)
A. Schmid: Ottaviano dei Petrucci … da Fossombrone und seine Nachfolger im sechzehnten Jahrhunderte (Vienna, 1845/R), 171
R. von Liliencron: ‘Die horazischen Metren in deutschen Kompositionen des 16. Jahrhunderts’,VMw, iii (1887), 26–91
R. Eitner: ‘Ein Liederbuch von Oeglin’, MMg, xxii (1890), 214–17 [incl. description and contents]
R. Proctor: An Index to the Early Printed Books in the British Museum, ii/1 (London, 1903/R), 77–9
H.J. Moser: Paul Hofhaimer (Stuttgart and Berlin, 1929, rev., enlarged 2/1966)
A. Dresler: Augsburg und die Fruhgeschichte der Presse (Munich, 1952), 16–19
J. Benzing: Die Buchdrucker des 16. und 17. Jahrhunderts im deutschen Sprachgebiet (Wiesbaden, 1963, 2/1982), 14
MARIE LOUISE GÖLLNER
See Harahap, Irwansyah.
(b Annaberg, Erzgebirge, 2 Feb 1858; d Berlin, 1 Oct 1936). German woodwind instrument maker and clarinettist. He developed the clarinet of the German-speaking world to its modern state; this model is thus known as the Oehler system clarinet. His excellent instruments were still prized at the end of the 20th century. Oehler was trained as an organ builder and clarinettist, and set up a woodwind instrument making workshop in Berlin in 1887. For the clarinet he devised additional venting, making the tone and intonation of the Baermann clarinet more even, and designed a mechanism that enabled his new vent keys to operate extremely reliably and with very little additional work from the fingers (the 28 tone-holes of the Oehler system clarinet are controlled by the same number of keys as the 22 tone-holes of the Baermann system instrument). The mechanism for properly venting the forked b/f'' on the right hand is particularly complex, and Oehler worked through several versions before arriving at one that is reliable and effective in all three registers of the clarinet. He is also credited with the idea of making the table of the clarinet mouthpiece slightly concave, a design that ensured (especially in the case of a wooden mouthpiece) a good seal against the reed. Several important makers, most notably F. Arthur Uebel (1888–1963), and also Ludwig Warschewski (1888–1950), served apprenticeships with him and spread his ideas. Oehler was also a distinguished orchestral clarinettist whose last post was in the Berlin PO (1882–8).
O. Kroll: Die Klarinette (Kassel, 1965, Eng. trans., enlarged, 1968)
P. Weston: More Clarinet Virtuosi of the Past (London, 1977)