Johann Valentin Meder ja teised muusikud Riias ja Tallinnas Põhjasõja ja katkulaine ajal 18. sajandi algul / Johann Valentin Meder and Other Musicians in Riga and Tallinn During the Great Northern War and the Plague of the Early 18th Century

Abstract

Teesid: Muusikutele ja muusikaelule Riias ja Tallinnas Põhjasõja ajal pole muusikaloos kuigivõrd tähelepanu pööratud. Arhiiviallikad annavad siiski väärtuslikku teavet muusikaelu eri aspektide ja nende muutuste kohta sõja ja katku ajal, võimaldavad järeldusi muusikute toimetulekustrateegiate kohta ja lubavad kaudsemalt arutleda ka muusikute vaimse heaolu üle. Sõja mõju ei olnud üksnes pärssiv, näiteks lahinguvõite tähistati uute muusikateostega. Uurimus keskendub Riia ja Tallinna muusikutele, kellest tuntuim on Johann Valentin Meder (Riia toomorganist, varem töötanud ka kantorina Tallinnas).

The period of the Great Northern War has received little attention in music history. However, sources from a time of upheaval can offer remarkable information about the functioning of musical life, adaptation strategies and, indirectly, the mental well-being of musicians, which peacetime sources don’t offer to the same extent. The research questions were: what changes occurred during/as a result of the Great Northern War in Riga and Tallinn in musical life, in musicians’ work, and with coping strategies, and what hypotheses can be made about their mental well-being?

From the point of view of musical life, it makes sense to divide the period of the Great Northern War into three phases: 1) 1700–1709, mainly no direct conflict, but influences of war; 2) 1709–1710, siege, famine and plague; 3) 1711–1721, the phase after capitulation, the consequences of siege and plague.

1700–1709: rising pressure. Although the first phase of the war can be considered relatively calm for Riga and Tallinn, it immediately began to play a role in the everyday lives of musicians. The severe famine of 1695–97 and the death of King Carl XI of Sweden (1697) had a serious impact on musicians, who were banned from music making (usual in wartime). In Tallinn, a structural change in musical life took place in 1700 due to several factors: the City Council signed a contract with only one town musician, who had to take on journeymen and pupils.

Difficulties in earning money from professional work doubtless caused psychological pressure, which was also reflected in the departure of musicians. The shortage of musicians and singers became a problem both in Tallinn and Riga. Contributions increased and salaries were lower, especially after 1706. Increasingly, musicians began also to need other low-paid jobs. More troops were stationed in both cities, musicians had to accommodate soldiers, and (illegal) competition increased as the army also had many musicians. However, the war was not all restrictions, victories were celebrated with services and music composed for them, and there was a need for funeral music. Thus the Great Northern War had a direct musical outlet in the compositions of Johann Valentin Meder (1649–1719).

1709–1710: the critical period. Due to bombing, churches in Riga suffered damage, including the organs. Initially, services were held without music (as was customary in wartime). Remarkably, the City Council then ordered the organ to be played anyway, in order to inspire piety, apparently considering it important to support the inhabitants in this way.

Siege, famine and plague devastated Riga far more than Tallinn, although the mortality rate was unprecedented in both cities. In Tallinn, three of the four main musicians died: the cantor and the two main organists. In Riga, the cathedral cantor, the organist at St John’s church, and a number of city musicians died. In those days, the death of a master was immediately followed by social problems for his journeymen, pupils and colleges.

1711–1721: the period of consequences of siege and plague. The effects of the war on musicians and musical life, especially in Riga, were severe. The city was almost unable to pay salaries. Although the war was now being fought elsewhere, there was still a need to accommodate soldiers. Many musicians appealed for help, especially organists who had little or no other means of earning money. Meder received help from a patron, Friedrich Reichenbach, the organist of St Peter’s, and did minor jobs as a notary and scribe.

Some vacancies were filled both in Tallinn and Riga, some were merged, and incumbents had to take over other tasks. The most urgent need was to fill the posts of organists, who were needed for the services and who could take over the function of choirs that no longer existed in the liturgy.

From the middle of the decade on it became possible to build a choir. The post of cantor was filled in 1716 in Tallinn and 1717 in Riga. In the second half of the decade musical life (in Riga) normalised. In 1720-1721, both Riga and Tallinn restored the pre-plague institutional structure of musical life.

In summary, the Great Northern War hit musicians hard and many didn’t survive. However, musicians tried to prepare for times of crisis and tried to help themselves first. Coping strategies included the search for alternative and minor sources of income, the protection of privileges, and commissioned works (Meder). Finally, the music itself had a consoling function.