Mapping the post-Tridentine (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Participants' abstracts and biographies (in alphabetical order)

Todd Borgerding (Colby College, USA): Matthew, Mark, Luke, and John sing a motet

The counterreformation saw an explosion of literature directed at developing and improving the art of preaching in the Catholic Church. These books—sacred rhetorics, sermons and homilies, 'preachable discourses', exegetical works, and the like—often make reference to music, and sometimes specifically to . Their authors, usually noted preachers, write about music in several ways: in discussions about the power of music (typically references to the classics or scripture), descriptions of angelic choirs making music, and, of particular interest, in allegorical or metaphorical reference to the sorts of choirs they knew from their own experience—that is, choirs made up of humans, either living or historical.

This paper examines the writings of several of these authors, including Melchior de Huélamo’s Discorsos predicables sobre la Salve Regina (1601) and Juan Bautista de Madrigal’s Discursos predicables de las Domincas de Adviento y Fiestas de Santos hasta la Quaresma (1605), in which these discussions focus on the motet. These authors use the allegory of the choir of Evangelists, with the Holy Spirit as maestro de capilla, creating and singing a motet, in order to explain how scriptural texts are interdependent on each other. By reversing their analogy, we can better see how early modern preachers, and by extension, listeners to the counterreformation motet, understood this music as an inter- textual complex of word, counterpoint, and meaning.

Biography: Todd Borgerding holds degrees in musicology from the University of Minnesota (MA) and the University of Michigan (PhD), and has been a member of the faculties at Stony Brook University, The University of Wisconsin-Oshkosh, and Colby College, where he is currently Associate Professor of Music and teaches courses in Music History, Theory, and leads the Collegium. A Renaissance specialist, his research addresses a broad array of topics, including Iberian sacred music, rhetoric, sexuality, and improvisation. He is editor of Gender, Sexuality, and Early Music (Routledge 2002), and his articles appear in such journals as Musical Quarterly and collections such as Musical Childhoods and the Cultures of Youth (Wesleyan). His book on the Motet in Sixteenth Century Spain is forthcoming from the Univ. of Rochester Press.

Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Roger Bowers (Emeritus University of Cambridge): Users of printed collections of motets to sacred texts in Northern , c.1560-1610

The huge number of madrigal books issued in Italy c.1560-1610 demonstrates the existence of a substantial clientele of musically educated households as purchasers and users, and the publication of madrigals and contrafacta to religious texts indicates that lay tastes extended also to pieces of sacred character. Simultaneously the Roman church was undertaking a thorough revision of its authorised corpus of service-books. Close study indicates that these offered but few points at which the progress of the liturgical service might be punctuated or marked by the performance of motets (Matins none, High Mass two, Vespers one); and in 1588 the papacy’s Sacred Congregation of Rites was established to procure thorough compliance in the observance of the revised liturgy, so that any occurrence of (for instance) irregular deployment of motets as counterfeit antiphons to Vespers psalms (sometimes miscalled ‘antiphon-substitutes’) was promptly condemned.

Conceivably, therefore, the contemporaneous issue of great numbers of books of sacred motets was undertaken in expectation of satisfying a market lay as well as ecclesiastical, for performance at home by the devout as devotional exercises for domestic edification. Books published under fancily sentimental titles such as Riviera fiorita di concerti musicali and Giardino di spirituali concenti seem to have been aimed more at a domestic market than at any hard-bitten maestri di cappella in the churches. Volumes of Sacrae cantiones were presented not as exclusively ecclesiastical but as ‘sacred songs’, for singing in any environment; Motecta were offered as merely collections of brief pieces to sacred words, for performance anywhere.

Biography: Roger Bowers retired from his office of Reader in Medieval and in the University of Cambridge in 2005. His interest in all manner of aspects of the complex interactions between the composition of music in England, the nature of the forces which the Church and social elites saw fit to furnish for its performance, and the political and religious considerations applied by those whom the musicians were constrained to serve and please, is represented in his book English Church Polyphony: Singers and Sources from the Fourteenth Century to the Seventeenth (Aldershot, 1999). He also works on music in northern Italy around 1600, and on certain abiding problems of transcription, especially the understanding of the finer points of the notation of music composed between c.1500 and c.1630.

Antonio Chemotti (Ludwig-Maximilians-Universität München): Motets and liturgy for the dead in Italy, 1570-1650 Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

This paper draws on my doctoral research on polyphonic music pro mortuis in Italy between 1550 and 1650. Among this repertoire, it has been possible to identify a considerable number of motets. Some texts are chosen not because they are linked to the liturgy for the dead itself, but because they are traditionally connected to specific ritual moments (e.g. motets included in Requiem masses mainly display traditional texts for Elevation). Other times more specific texts are set, but they are not necessarily connected to the pertinent liturgical formularies. Sometimes they can instead establish meaningful links with other liturgical contexts (for example with the Holy Week, associated to death ritual by liturgists since Durand). Especially interesting are motets that use responsorial texts directly drawn from the office for the dead, and I will address the question whether this is a sufficient evidence to postulate a use within that liturgical context. Particular attention will be given to settings of the responsory Libera me Domine de morte aeterna: the comparison between compositions defined in the sources as 'motets' and those explicitly liturgical will also allow me to discuss the problematic distinction between liturgical and extra-liturgical compositions. In some cases, the boundary between the two appears to be blurred. Textual or stylistic parameters are not always decisive, making a clear classification a difficult undertaking.

Biography: Antonio Chemotti was born in Trento (Italy) in 1987. He studied at the faculty of Musicology of Cremona (Università di Pavia), where he graduated cum laude in February 2013, with a critical edition of the Kyries of the manuscript Trento 93. His master's thesis was awarded a prize by the Soprintendenza per i beni library della Provincia di Trento in October 2013. In 2014 it was published by the Istituto Italiano di Storia della Musica in the series Codici musicali trentini del Quattrocento, edited by Marco Gozzi. He is currently writing his Ph.D. dissertation on Italian polyphonic music pro mortuis (1550-1650) as a member of the International Doctoral Program Mimesis (Munich), holding a position as wissenschaftlicher Mitarbeiter at LMU Munich, funded by the Elite Network of Bavaria.

Dario De Cicco (Université de Genève & Università di Pavia): The texts of the motets for six voices by Orfeo Vecchi

Orfeo Vecchi (ca.1553-1603), a composer and presbyter of ‘clear fame’, was unquestionably one of the distinguished figures of sixteenth century vocal polyphony following the Council of Trent. His fame, which lasted for a long time after his death, should be ascribed as much to his prolific compositional activity, expressed almost exclusively in the sacred music field, as to his performing, given that he was active at one of the most important ecclesiastical locations in the Ambrosian Diocese: the Collegiate Church of Santa Maria della Scala in . His Motectorum liber tertius, 6vv (Milan: Tini and Besutio, 1598) represents one of the most important collections within Orfeo Vecchi's output, to the extent its motets were Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 later included in various anthological collections, both printed and handwritten. In particular, among the latter is the Pelplin Tablature that includes almost all the pieces, with faithful adherence to what the composer had actually written.

From a textual point of view, the motets are linked to the Roman Rite then in use at the Scaligeri collegiate church, and belong in their variety to various moments of the liturgical year, allowing us to assume, also on the basis of the composer's biographical data, an extra-liturgical use for the pieces. Every aspect of these polyphonic-vocal compositions (the text, the compositional patterns, the use, etc.) is linked to post-Council of Trent spirituality in the particular and totalizing Borromaic-Ambrosian reading of it, while each motet is in line with the path traced by the numerous composers who applied the Council of Trent notions, above all that of the aural intelligibility of texts. The motets in question are always interesting to listen to, and on analysis, attest Orfeo Vecchi's full achievement of that balance between creative vis, originality, and spirituality that has ever been the arrival point of the sacred musical art.

Biography: Dario De Cicco is a PhD candidate in musicology at the universities of Geneve and Pavia). He graduated in musicology at the Università di Pavia, and gained a diploma in piano, music education, choral music and choir direction. He specialized in music pedagogy at Italian and European educational training centres. He regularly publishes studies and researches on musicology/music education in various journals and holds training initiatives for the teaching staff at all levels of school. He collaborates with various scholastic institutions and musical associations, participating in the planning and coordination of projects of didactic experimentation in the field of music. He also collaborates with the Istituto Nazionale di Studi Verdiani in Parma. He teaches music pedagogy at the Conservatorio Statale di Musica 'Giuseppe Verdi' in Turin.

Megan Eagen (University of North Carolina at Chapel Hill): Psalms for a city hall: Gregorius Wagener’s Deutzsche Psalmen in Augsburg and Regensburg, 1565

Erfurt-based musician Gregor Wagener submitted to Regensburg with a dedicatory letter dated 18 August 1565 his Deutzschen Psalmen des Königlichen Propheten Davids, a collection of German-texted psalm motets. A nearly identical missive sent two weeks later to Augsburg further suggests that Wagener’s Protestant faith did not limit his perceived options for patronage by merchant-class authorities. This paper addresses the issue of confessional ambiguity, as reflected by Wagener’s offers of sacred music to a Catholic- majority council in Post-Tridentine Augsburg. Wagener’s dedication to Protestant Regensburg found in the print version of his collection indicates that confession played a role in the reception of his works. Yet composers of sacred music recognized Augsburg’s Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 secular ruling body as a viable sponsor; the presence of several similar missives sent to Augsburg between 1565 and 1569 suggests that the marketplace of para-liturgical works was not entirely dependent on local stances toward confession.

The identities of these composers, the genres of music they chose to submit, and their use of the German vernacular demonstrates that, even in the wake of the Council of Trent, borders between Protestant and Catholic, sacred and secular, and even northern and southern German polyphonic styles remained inchoate. Wagener’s compositional style in his Psalmen Davidis, alongside his engagement with contemporary exegesis in his dedication further reaffirms that otherwise-partisan cities were not resistant to Wagener’s clearly Protestant rhetoric. This paper illuminates the paradox that within an otherwise divisive religious environment, music was not ascribed the power to present an exegetical message.

Biography: Megan K. Eagen is a PhD candidate in the final stages of writing her dissertation at the University of North Carolina at Chapel Hill. She graduated magna cum laude and with honors from Iowa State University, with a B.M. in composition and a B.S. in physics and astronomy. She then completed a one-year MA program at the University of Chicago, where she wrote her master’s thesis on Marian devotionalism in Lutheran sacred works. Eagen was accepted into the MA / PhD program at UNC in 2008. Her second M.A. thesis, advised by Severine Neff, addresses the cross-fertilizing relationship between Arnold Schoenberg and Adolf Loos. Eagen has presented her work before a variety of audiences, including at the Arnold Schoenberg Summer Academy in Vienna (2012), the IMS Congress in Rome (2012), and the Medieval-Renaissance Music Conference in Birmingham (2014). Her doctoral study, advised by Anne MacNeil, examines the role of psalm motets in articulating cultural identities in Augsburg, 1540–1580. Eagen has won several grants, awards, and travel subsidies in support of this project, including a Research Award from UNC’s interdisciplinary Medieval and Early Modern Studies program and a full-year DAAD Fellowship.

Barbara Eichner (Oxford Brookes University): The honey-sweet preacher: Setting St Bernard’s poetry in a cross-confessional culture

In the wake of post-Tridentine religious renewal, the hymn Iesu dulcis memoria written by – or at least popularly attributed to – St Bernard of Clairvaux became popular as the poetic foundation for motets, sacred concertos and motet cycles. Its affective language and image-rich rhetoric made the Iubilus an attractive proposition for Catholic composers. In contrast to contemporary poetry written by the Jesuits spearheading the Counter- Reformation, St Bernard allowed Catholic musicians and listeners to reconnect the post- Tridentine Church with its medieval ‘Golden Age’. In addition to Jacobus Peetrinus (Il primo Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 libro del Iubilo di S Bernardo, 1588) active in Rome, Gregor Aichinger (Odaria lectissima, 1601), Christian Erbach (Mele sive cantiones sacrae, 1603) and the Praemonstratensian monk Christian Keifferer (Parvulus flosculus, 1610 ff.) set Iesu dulcis memoria in the charged confessional atmosphere of Southern Germany. However, the text was also increasingly attractive to Lutheran composers, who highlighted its Christological features, a tradition that continued into the second half of the seventeenth century. The paper will examine both Catholic and Protestant settings in their confessional contexts, showing how composers aimed their three- and four-part motets and sacred concertos at amateur ensembles in Latin schools, confraternities and private devotional circles.

Biography: Barbara Eichner studied Musicology, German Literature and Scandinavian Studies at the Ludwigs-Maximilians-Universität, Munich, and at the University of Southampton, and completed her DPhil at the University of Oxford, which has been published under the title History in Mighty Sounds in autumn 2012. She joined Oxford Brookes in September 2009 and is currently subject coordinator for the undergraduate music programme while teaching and researching on various aspects of music history. Together with her colleague Alexandra Wilson she is co-founder of the opera research cluster OBERTO. Barbara is also Honorary Research Fellow at Bangor University, where is part of the Centre for Research in Early Music (CREaM). Her research interest falls into two main areas: issues of music and identity, particularly (German) national identities in the nineteenth century, including the stage works of Richard Wagner and Richard Strauss; and music in nunneries and monasteries in the early modern era. She has published widely on both sixteenth- and nineteenth-century music and is a frequent speaker at national and international conferences.

Daniele V. Filippi (Schola Cantorum Basiliensis-Musik Akademie Basel): A cultural history of the motet in Milan

Milan at the time of Carlo and Federico Borromeo (ca. 1565–1630) was undoubtedly one of the main hubs for the implementation of Tridentine policies. It was also a remarkable centre for composing, printing, and performing sacred music (Kendrick 2002, Getz 2005 and 2013). In this paper I will try to map the motet as a genre against this background. After briefly delineating the pre-Tridentine history of the motet in Milan (from the so-called motetti missales of the late fifteenth century), I will present a series of micro case studies documenting the role of this genre in the city’s musical, liturgical, and ceremonial life. Touching upon such diverse incidents as the failed attempt on Carlo Borromeo’s life (1569), the local reprinting of Victoria’s Motecta (1589), and the Benedictine Serafino Cantone’s dedication of his polychoral Sacrae cantiones to Margaret of (1599), I will assemble Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 old and new materials which may help answering some of the conference questions regarding the texts, styles, and performances of the post-Tridentine motet.

Biography: Daniele V. Filippi studied musicology in Cremona, where he graduated with a dissertation on Palestrina’s Motecta festorum totius anni of 1563. His scholarly interests include early modern music and spirituality, historical soundscapes, and intertextuality. He has published books and articles on Gaffurio, Palestrina, Victoria, Marenzio, de Monte and G. F. Anerio, including the recent ‘Formal Design and Sonic Architecture in the Motet Around 1570. Palestrina and Victoria’ (in Tomás Luis de Victoria. Estudios/Studies, ed. Suárez- Pajares and Del Sol, Madrid, 2013). He has forthcoming articles in Early Music and Early Music History. In 2012–14 he developed the project ‘The Soundscape of Early Modern Catholicism’, which benefitted from a research fellowship from the Jesuit Institute at Boston College. Currently he is part of a research team funded by the SNSF and based at the Schola Cantorum Basiliensis working on 15th-century motet cycles.

Adriano Giardina (Freiburg Universität-Université de Lausanne): Is Versa est in luctum by Victoria an ‘early motet’?

Versa est in luctum for 6 voices is one of Tomás Luis de Victoria’s most famous works and one of the most admired in the polyphonic repertoire. This piece is included in the Officium defunctorum, the composer’s last opus, issued in Madrid in 1605. Thus, this motet is the last to be published. This paper wishes to show that in this piece the musician uses a polyphonic writing and a form already found in his 1572 motets, his first published edition. In particular, the composer again combines imitative and homophonic textures, alternates reduced and full vocal combinations, employs various durational rhythmic patterns and linearly unrolls textual units.

Moreover, Versa est in luctum is different from the other works of the Officium defunctorum and has a part in thoughtful organisation of the book with many musical idioms and writings. More specifically, the pieces which complete the Missa pro defunctis for 6 voices, namely, besides Versa est in luctum, the responsory Libera me for 6 voices and the lesson Taedet animam meam for 4 voices, differ from each other and from the mass itself on several levels.

Finaly, this paper will briefly reconsider the stylistic evolution of the motet in Victoria’s compositions.

Biography: Adriano Giardina is a supplying professor in musicology at the Université de Lausanne. As part as his job, he teaches at the Ecole Polytechnique Fédérale de Lausanne and at the Haute Ecole de Musique Vaud. He also teaches at the Fribourg Universität. His Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 research focuses mainly on Renaissance polyphony. He defended a doctoral dissertation in 2009 on the first motet book of Tomás Luis de Victoria. Furthermore, he conducts the Ensemble La Sestina, a vocal group specialized in sixteenth-century music.

Carlos Gutiérrez Cajaraville (Universidad de Valladolid): 'Noluit consolari'. Formal design and rhetorical aspects in two polyphonic laments by Bernardino de Ribera: Rex autem David and Vox in Rama.

Bernardino de Ribera (c. 1520 – Murcia, 2 September 1580) was appointed maestro de capilla at Toledo in 1563, leaving a similar post at Ávila Cathedral. Later, he was appointed maestro at Murcia Cathedral until his death in 1580. Today, Ribera is widely known to have coincided with a young Tomás Luis de Victoria in his years at Ávila, but his compositions shows great mastery and craft, making him a significant figure that deserves more consideration on his own right.

This paper will try to show the close attention Ribera paid to difficulties such as text expression and the relation between musical and rhetorical strategies in two of his motets: Rex autem David for five voices and Vox in Rama for seven voices, both of which stands out for its densely imitative textures, its exceptionally intense expressiveness and its careful construction. The exposition will include analytical details as well as more general information and arguments open to a more interdisciplinary discussion.

Biography: Born in 1988, he is a PhD student at the Universidad de Valladolid. As a musicologist, he has worked extensively on music of the sixteenth century, paying special attention to overlooked figures such as Francisco de Montanos and Bernardino de Ribera. As a singer, he is member of the award-winning chamber choir Alterum Cor, a group specialized in renaissance and baroque music. His interests go through renaissance to contemporary music, paying special attention to music analysis and theory, creative processes, interpretative practices and its contexts.

Erika Supria Honisch (Stony Brook University): The motet as historiographic form in imperial

From the perspective of Prague cathedral canon Jiří Barthold Pontanus, the future of the Catholic Church in could not have looked brighter in the years around 1600. In part, that is because the situation had been so bleak for so long: the Hussite Reformation had unseated the Prague archbishop in 1421, ushering in a 140-year sede vacante period. Agreements struck in the fifteenth century had given the Utraquists (followers of Jan Hus) Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 who formed the majority of the population freedom to worship, and Catholics had retreated to a handful of monasteries. By the time Pontanus moved from his native Most (Brück) to Prague’s St. Vitus Cathedral, however, a movement of Catholic renewal was gathering momentum: in 1556, the Jesuits arrived, in 1561 the Archbishop’s position was filled, and in 1583, the Habsburg Imperial court settled in at Prague Castle, in the shadows of St. Vitus Cathedral. Pontanus’s own future looked promising as well: by 1600, he was both provost of the cathedral chapter and Imperial poeta laureatus.

Yet Tridentine Catholicism posed a problem for Pontanus. Looking on a Kingdom where even Utraquist reformers had largely retained local liturgies, he embarked on a project to preserve what Trent threatened to sweep away. He dug through the cathedral archives and rescued manuscripts and relics from depopulated monasteries. Above all, he wrote: not only sermons, prayers, and vitae for local saints, in Latin, Czech, and German, but also motet texts for Imperial composers. In this paper I show how these texts—given potent expression in settings by the venerable Philippe de Monte and the ambitious young Carl Luython—formed history. Rooted in Bohemia’s sacred past and shaping its present, they made a case for renewed Catholic authority while defending the legitimacy of local religious practices.

Biography: Born and raised on Vancouver Island (Canada) and now Assistant Professor of Music History and Theory at Stony Brook University (New York), Erika Supria Honisch received her PhD from the University of Chicago in 2011. From 2011 to 2012, she was a postdoctoral researcher at the University of Toronto, and she spent 2012 to 2014 teaching at the University of Missouri (Kansas City). Her research addresses the uses and meanings of sacred music in early modern Central Europe, with a focus on the Imperial court in Prague. A firm believer in international scholarly collaboration, she is co-editor, with Christian Leitmeir, of Music in Rudolfine Prague (Brill, 2017) and a founding member of Musica Rudolphina (http://bibemus.org/musicarudolphina/index_en.html ), a web-based collaboration bringing together scholars from Europe and North America. She is currently at work on a book tentatively titled Moving Music in the Heart of Europe, 1555–1648.

Walter Kreyszig (University of Saskatchewan & Universität Wien): Jacob Regnart, 'ein trefflich Kerll … ein gutter Musicus': His contribution to the post-Tridentine motet in the context of Orlando di Lasso’s recommendation

Next to Palestrina and Lasso, the principal contributors to the post-Tridentine motet, a number of other composers upheld this particular genre, among them Jacob Regnart (1540/1545-1599), whom Lasso, in his 1580 recommendation of Regnart for the position of Hofkapellmeister in Dresden, had praised as 'ein trefflich Kerll …und in Summa, es ist ein Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 gutter Musicus …' (Horst Leuchtmann, Orlando di Lasso Briefe, Wiesbaden 1977, p. 238). Unlike Palestrina’s prevalent quasi-homophonic writing and Lasso’s chordal declamation, often on short note values, set against alternating points of imitation, Regnart focusses on greater diversification of his compositional practice so as to readily respond to the nuanced rhetoric embedded in his motet texts, for example in Puer natus est, varying from dense contrapuntal textures with an omnipresence of all six voices to quasi-fugal imitations featuring the six voices in pairs of two, and only a brief passage in strict homophony, presumably in emulation of the musica reservata adopted from the Franco-Flemish School of Composition, as the last representative of this school. At the time of Lasso’s recommendation, Regnart had already published two important collections of motets (Munich, 1575; Nuremberg, 1577), in addition to a series of individual motets disseminated in several of his mixed-genre publications (Nuremberg, 1564, 1567; , 1568, Louvain, 1569). In that light, Lasso’s comments suggest his familiarity with Regnart’s manifold contributions, including the motet. Regnart made a significant contribution to the efflorescence of the motet in the years 1560-1610, a period which was marked by considerable diversification with regard to the plethora of compositional techniques employed, In light of Regnart’s close association with Lasso, it is all the more surprising that his contribution has been ignored in the context of the post-Tridentine motet (New Grove, 2001, Vol. 17, pp. 214-215; MGG, Sachteil, Vol. 7, cols 525-527) — a lacuna which will be the focus of this paper.

Biography: Walter Kreyszig is professor of musicology in the Department of Music and a member of the executive Committee of Classical, Medieval and Renaissance Studies Program, Department of History, at the University of Saskatchewan (Saskatoon, Canada) as well as Deputy Director General of the International Biographical Centre (Cambridge, England), a Fellow of the American Biographical Institute (Raleigh, North Carolina), and a member of the Center for Canadian Studies at the Universität Wien. His papers on pre- eighteenth century music and the history of music theory have been published in Dietrich Buxtehude and Samuel Scheidt (Saskatoon, 1988), Musicological Studies (Ottawa, 1990); Acta Musicologica (1993), Conference on Editorial Problems (Toronto, 1997), Jahrbuch des Stiftes Klosterneuburg (1997), Musik als Text (Kassel, 1998), Schriften des Händel-Hauses (Halle an der Saale, 2006); L’arte armonica: Studi e Testi (Rome, 2007); Supplementa Humanistica (Louvain, 2008), Music in Art (2010), and Interpreting Historical Keyboard Music (Farnham, Surrey, 2013). He is a life member of several societies, including the Renaissance Society of America, the American Musicological Society and the International Musicological Society

Jeffrey Kurtzman (Washington University in St. Louis): Vespers antiphons, motets and the performance of the post-Tridentine liturgy Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Ever since debates over the role of the motets sacri concenti in the Monteverdi Vespers of 1610 erupted in the 1960s, the role of motets as possible antiphon-substitutes or additions in the performance of the Vespers liturgy has been controversial. Part of the problem stems from our misunderstanding of the difference between the official liturgy of the Church as sanctioned in the Breviarium Romanum of 1568 and the performance of the liturgy in church services. But part of the problem also stems from antiphon and motet publications of the late 16th and first half of the 17th centuries, where composers and publishers themselves sometimes intermingled the genres and their roles. The questions, “When is a motet an antiphon?” and “Does the expansion of an antiphon text make it a motet?” may be more a problem of our own desire to establish clear categories than it was a issue for composers, publishers and maestri di cappella in the performance of the liturgy. This paper will survey Italian polyphonic antiphon publications of the 16th and 17th centuries as well as some motet books to illustrate what their contents tell us about the conception of the period’s composers and publishers about the role and potential flexibility of polyphonic antiphons and motets, and what this flexibility teaches us about the concept of the performance of a liturgy in contrast to the published liturgy itself.

Biography: Jeffrey Kurtzman earned his Ph.D. in musicology from the University of Illinois at Urbana-Champaign. His research, supported by fellowships and grants from the Guggenheim Foundation, NEH, ACLS, DAAD, and Martha Baird Rockefeller Fund for Music, is centered on Italian music of the 16th and 17th centuries, aesthetics, and criticism. Professor Kurtzman has published a book of essays on Monteverdi, a book of studies in 16th- and 17th-century Italian sacred music, books on the Monteverdi Vespers, critical editions of the Monteverdi Vespers, Monteverdi Masses, and a 10-volume series of Seventeenth-Century Italian Music for Vespers and Compline, a monograph on instruments in Venetian processions and ceremonies of the 16th and 17th centuries, and numerous articles on 16th and 17th-century Italian music. He is also editor of a forthcoming set of essays on Monteverdi, the General Editor of the Opera Omnia of Alessandro Grandi and General Editor for Special Projects of the Web Library of Seventeenth-Century Music. Together with Anne Schnoebelen he has published a detailed catalogue of some 1500 Italian prints of music for the Office and Holy Week, 1542-1735. Professor Kurtzman received Rice University's Phi Beta Kappa and George R. Brown awards for Excellence in Teaching. The founder of the international Society for Seventeenth-Century Music, he currently serves on the Editorial Boards of the Web Library of Seventeenth-Century Music and the Journal of Seventeenth-Century Music, and was recently named an Honorary Life Member by the Society. He also serves on the advisory boards of several early music performing ensembles and as a pianist, regularly performs chamber music in the St. Louis area. Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Tommaso Maggiolo (Independent Scholar): ‘Oreque dulcisono dulcia verba tulit’: Orazio Colombano’s celebrative and liturgical motets

Orazio Colombano (Verona 1554–Padua 1595) is still nowadays a neglected composer. His motet output consists of two complete published books (one for 5 voices, published in 1580, and one for 5-9 voices, issued in 1592) and other isolated works. All of them can be divided into two main groups:

1. Celebrative: the first 5 motets of the 1580 book, the opening motet of the 5-voice psalms (1584) and the first motet of the 1592 book.

2. Liturgical: the final Te Deum in the 1580 book and the remaining 22 motets of the 1592 book.

The first group contains motets on pious texts, possibly written by Colombano himself, that celebrate the dedicatees of the works. All texts are in Latin except the Italian spiritual madrigal Le note ond’io vesti’ quel puro canto which opens the 1583 Magnificats. Unfortunately, the 1580 first book is incomplete so we can completely appreciate only its text. The second group includes an ordinary series of motets: there are motets on penitential and Eucharistical texts, motets for Christmas, for the Virgin Mary, for the Saints, as well as motets for totius anni. In other words, this production covers most of the needs of a musical chapel of the time.

From what we know, Colombano never specified that he was adapting his compositional style to the lines of the Council of Trent. Nevertheless, it is necessary to underline that he was pupil of Costanzo Porta, a composer that clearly followed the suggestions of the Council. The paper aims therefore to analyse Colombano’s motets as a whole, beyond the most immediate differences of style between the two groups, in order to discover how ‘Tridentine’ they are.

Biography: Born in 1986, Tommaso Maggiolo graduated in modern clarinet at the Agostino Steffani Conservatoire in Castelfranco Veneto (Treviso). In 2009 he graduated in Musicology (BA) after preparing and presenting the thesis ‘Organization of the sound space in the Cantiones Sacrae by William Byrd’, and in 2012 he graduated in Musicology (MA) at Università di Pavia (Cremona) presenting the thesis ‘Li Dilettevoli Magnificat a 9 voci di Orazio Colombano, critical edition’, published in 2014 by the Centro Studi Antoniani of Padua. In 2013 he catalogued Siro Cisilino’s archive of early music transcriptions preserved in the Fondazione Giorgio Cini (Venice). He is now undertaking civil service at the Fondazione Giorgio Cini and he is taking care of the edition of Colombano’s opera omnia for the Centro Studi Antoniani.

Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Vladimír Maňas (Institute of Musicology of Masarykova univerzita): A case study: Nicolaus Zangius’ Cantiones sacrae a 6 (Vienna, 1612)

Based on new information about the life and works of Nicolaus Zangius, this paper will focus on several key questions regarding Zangius’ only collection of sacred motets. It will examine the structure and sources of the texts and the reasons for their selection, as well as presenting a structural analysis of the pieces. Within this collection of pieces a 6, Zangius often varies his musical texture, with many passages set to either a polyphonic texture with prominent dissonances or a homophonic texture reminiscent of instrumental works. His choice of keys seems to be related to his choice of texture.

In a broader context, the paper will examine the role of influential Lutheran composers at the turn of the 16th and 17th centuries, as well as the circulation or usage of their sacred music within the catholic liturgy in central Europe, even after 1620.

Biography: Graduated in musicology and history from the Faculty of Arts of Masarykova univerzita, where he also received a PhD in 2008 (‘Music activities of the religious confraternities in Moravia in early modern times’). He works at the Institute of Musicology of Masarykova univerzita as an assistant professor. His field of research is cultural history of Moravia in early modern times, including performance practice, religious brotherhoods, pilgrimages, and Marian devotion. He has collaborated in several research projects (Religious brotherhoods in the culture of Moravia in early modern times; Italian Opera of the 1st half of the 18th Century in Moravia, both supported by Czech Science Foundation). Currently he is a member of the ‘Musica Rudolphina’ project, which focuses mainly on the Moravian musical culture of the late Renaissance. As the leader of chamber choir ‘Ensemble Versus’ he is also responsible for several projects focused on music at the turn of the 16th and 17th centuries, including concerts dedicated to the music of Nicolaus Zangius.

Valeria Mannoia (Università di Pavia): The development of the polychoral motet in Bologna between the 16th and 17th centuries

At the end of the 16th century, Bologna was one of the most influential cities of the Papal States and it represented one of the major sites of interest in the cultural Italian landscape. A consolidated system of political and artistic collaborations connected the activities of its civic and liturgical institutions. One of the main cultural activities of the city was the musical production at the cappelle of the numerous religious institutions. The Concerto palatino cooperated in liturgical and paraliturgical musical events, adding several instruments to the existing ensembles. These multiple vocal and instrumental combinations enabled the creation of new sonic solutions that influenced the formal development of the Bolognese Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 motet between the end of the 16th century and the first decade of the 17th. The church of San Petronio represented the principal centre of musical innovation within this context.

The intense compositional activity of choirmasters - such as Andrea Rota e Girolamo Giacobbi - proves the intention to adapt the polychoral technique - cultivated elsewhere in Italy - to the local sphere. The first book of motets by Andrea Rota (1584) confirms an initial local interest for bichoral writing. His music provides evidence of formal and linguistic relations with Roman and Venetian models and demonstrates an undeclared requirement to find out sonic solutions adaptable to voices and instruments. At the beginning of the new century, Giacobbi’s Prima Parte di Salmi concertati a due e più cori (1609) fixed a new phase of experimental polychoral writing with basso continuo and instruments ad libitum.

Biography: Born in Catania in 1986, Valeria Mannoia took a Bachelor in Modern Literature (Università di Catania) and Baroque Violin (Conservatorio di Verona). She continued her studies and she graduated in Musicology (Università di Pavia) in December 2014, writing a thesis about Instrumental and vocal practice in Bologna in the early 17th century, with Rodobaldo Tibaldi. Her fields of interests are related to Early Music History, compositional technique in the 16th and 17th century, instrumental and vocal practice between the 16th and the 18th century. As a performer, she attended several masterclass about historical practice with Stefano Montanari, Olivia Centurioni, Elisa Citterio, Monika Toth and Amandine Beyer. Currently she collaborates with baroque ensemble and orchestras, such as Baroque orchestra of Civica Scuola di Musica Claudio Abbado (Milano), Cordes et Vents (Palemo), Baroque Orchestra ESMAE (Porto). She also collaborates with Sony and Brilliant records and with Pian e Forte editions.

Marcello Mazzetti and Livio Ticli (Palma choralis® Research Group & Early Music Ensemble; Università di Bologna): Canons regular in post-Tridentine musical landscape: Floriano Canale’s Sacrae cantiones of 1581.

The canon regular Floriano Canale (?1541–1st Oct. 1616 Brescia), more known for instrumental works such as Canzoni da sonare (1600), also published three motet-books for four (1581), five (1602) and six (1603) voices respectively, besides several collections that gather music for the Mass and the Office.

Our paper explores the possibility that, after long apprenticeships in Venice (where he was Willaert’s pupil perhaps between 1559-62), and Gubbio (where he was organist also outside of the Canons Regular Congregation), Canale started setting new trends in Italian printed sacred music, both influencing compositional techniques (as seen in the works by P. Falconio and O. Tigrini) and editorial strategies (as shown in prints’ frontispieces from the 1570-80s). Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Furthermore, we will argue that Canale’s Sacrae Cantiones of 1581 covered a central position within music publishing in Brescia: indeed, beyond three motet-books by G. Contino (Venice 1560) and two motet-books by C Antegnati (Venice 1575, Brescia 1581) – these latter unfortunately incomplete, Canale’s collection appears to be the only extant exemplar representing this particular genre in Brescia in the 1580s.

Along these lines, the present paper will explore the Sacrae Cantiones (1581) focusing on specific textual choices, stylistic and liturgical peculiarities, the context which produced them (the role of the Canons Regular in relation to patronage, circulation and reception of the repertoire, e.g. in Venice), Canale’s recommendations regarding organ accompaniment and their implications before the 'invention' of the bassus pro organo.

Biography: Marcello Mazzetti and Livio Ticli gained both a degree in Musicology (Cremona) and in Renaissance Polyphony at the Accademia Internazionale della Musica (Milan). As musicologists and musicians they carry on research on scholarly and performing contexts. They are adjunct professors in Early Music Pedagogy at the Università di Bologna, teaching solmization, historical counterpoint and improvisation/ornamentation to postgraduates and PhD students. One of their research fields concerns Renaissance plainchant and Canto Fratto (in cooperation with Giacomo Baroffio), and they have recently been researching on music and musical institutions in late 16th century Brescia. They are editorial members of the Encyclopaedia 'Storia Bresciana', dealing with printed sacred music in Brescia. They have written a book chapter within the collection 'Rinascimento musicale bresciano’ (Università di Pavia – Torre d’Ercole), presented the paper ‘Reconsidering Floriano Canale’s works and the role of Canons Regular in the late Renaissance’ at the MedRen in Birmingham (2014), and they are working on the critical edition of the ‘Sacrae cantiones quatuor vocibus decantandae’ by Floriano Canale, along with a study about his biography and compositional techniques. They are also directors of the new collection Corpus Canonicorum Regularium Ss. Salvatoris. Info: www.palmachoralis.org

Thomas Neal (Independent Scholar): Palestrina’s choice of texts for motets

It is widely accepted that until Pope Alexander VII’s Editto sopra le musiche (1665)––which legislated that only texts appointed in the Missal or Breviary should be sung in the liturgy–– composers exercised a large measure of flexibility in their choice of texts for motets, even when substituting texts which were part of the liturgy. Composers might set texts from the proper of the Mass; antiphons, lessons, or responsories from the Office; psalms or other passages from scripture; extra-liturgical devotional texts; or so-called ‘centonate’ texts comprising a patchwork of words from multiple sources. But there have been comparatively few attempts to examine in detail the types of text composers set; the ways in which Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 composers exercised their choice; and the way those choices related to the religious climate of the late sixteenth century.

In this paper I explore the textual aspects of the motets of Giovanni Pierluigi da Palestrina (c.1525–94). Which texts did Palestrina set? What types of text did he favour? What factors might have determined his choice of text? Palestrina makes for a good case study because he was among the most prominent and prolific composers of motets in the early decades of the Catholic reformation. His 300 or so motets, issued in nine printed editions between 1563 and 1593, were widely disseminated, performed, and emulated well into the mid- seventeenth century. They are especially representative of the Tridentine repertory, and therefore can be used to illustrate the ways taste developed with regard to choice of text during the first decades of the post-conciliar liturgical reforms.

Biography: Thomas Neal is a freelance researcher, editor, and performer of sixteenth- century polyphony. He has researched and written widely on music and liturgy in the late Renaissance, with a particular focus on the music of Giovanni Pierluigi da Palestrina. He studied music at Clare College, Cambridge, graduating BA (Hons) in 2012, with a dissertation on the manuscript LonBL Royal 8 G.vii; and MPhil in 2013, with a dissertation on the printed sources of Palestrina’s Vespers hymns. In Lent term 2013 he was elected the John Stewart of Rannoch Scholar in Sacred Music. Also a former Stanley Vann Scholar, earlier this year he was elected an Honorary Fellow of the Academy of St. Cecilia. In September 2014 Tom was appointed Director of Music at the Shrine Church of St. Augustine, Ramsgate (Ramsgate Abbey), having served as Organist there since July 2013.

In addition to the day-to-day provision of music for the liturgy, he directs the Shrine’s artists-in-residence, The Victoria Consort, in a busy schedule of concerts, tours, and recordings.

Andreas Pfisterer (Universität Regensburg): On imitation and compositional process in Palestrina’s Offertoria In most cases the compositional process of late-sixteenth-century music can be reconstructed only by analysis of the final musical text. The technique of imitation (in the traditional sense of ‘fuga’) has recently become a topic of renewed interest. John Milsom and Peter Schubert examined (in different ways) repeating contrapuntal combinations as the focal points of the construction that should have served as starting points of the compositional process. This contribution seeks to develop a complementary view by examining repeated soggetti in the sense of a complete melodic phrase for the complete relevant text section. This will be done with Palestrina’s five-voice offertory motets as example, concentrating on sections of the ‘minimal’ type with two subsections. Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Biography: Andreas Pfisterer studied Musicology and Latin Philology at Tübingen and Erlangen, he got his PhD from Friedrich-Alexander-University Erlangen-Nürnberg with a dissertation on the transmission of Gregorian chant, and his venia legendi from Universität Regensburg with a Habilitationsschrift on compositional techniques in the music of Lassus. Since 2003 he teaches at Regensburg University, also holding guest lectureships at Vienna and Hamburg.

Peter Poulos (Independent Scholar): Victoria and the motet in Genoa: Models and influence

Tomás Luis de Victoria’s Missae … Liber secundus of 1592 contains three imitation masses that are linked musically through the use of borrowed material from multiple models not textually related. This compositional technique (and the extent of these intertextual relationships) is considered particularly unique among musical works of the Renaissance and an innovative feature of the compositional style of Victoria. This paper illustrates that this strategy was utilized by the composer Simone Molinaro who, along with other Genoese composers of the time, was well acquainted with the music of Victoria. In his compositions O sacrum convivium and Duo seraphim clamabant, Molinaro models the polyphonic structures of parallel text phrases in Victoria’s settings reflecting the prevailing concept of imitatio of the time. However, in the first three works that open his Motectorum (1597) Molinaro expands upon the traditional practice of musical borrowing in a manner reminiscent of the older master by incorporating in these works a polyphonic complex borrowed from Victoria’s responsory O vos omnes. The resulting intertextual relationships underscore and unite the theological symbolism of the sung motet texts. Finally, this paper discusses the striking correspondences in borrowed source, structural modeling and ritual function between Molinaro's setting of Versa est in luctum (1597 and 1604) and that by Victoria (1605) suggesting the possible existence of an earlier version by Victoria or that he drew inspiration from the work published by Molinaro.

Biography: Peter Poulos completed his doctoral studies in musicology at the University of Cincinnati, College-Conservatory of Music, with a dissertation on the life and sacred music of the Genoese composer Simone Molinaro. Dr. Poulos has continued to pursue the study of Italian music and culture of the late sixteenth and early seventeenth centuries and has presented his research at conferences in the U.S. and in Italy. In 2013 Dr. Poulos received the First Prize in the V Concorso Internazionale di Musica Barocca, Principe Francesco Maria Ruspoli for his essay on Genoese patrons in Rome, which will be published in a forthcoming edition of the Miscellania Ruspoli. He is also the winner of the 2010 Early Music Scholars Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Competition and a recipient of the Janet Levy Award for Independent Scholars from the American Musicological Society.

Esperanza Rodríguez-García (Leverhulme Early Career Fellow-The University of Nottingham): Readership for motet books: Tomás Luis de Victoria’s Motecta festorum totius anni (1585)

From the beginning of the Renaissance, and according to the hierarchy of musical genres formulated by the theorist , the motet laid midway between liturgical and secular genres regarding varietas, artifice and gravity. By the end of the sixteenth century, readers probably shared this perception favoring motets to an extent similar to that of the madrigal (if we can infer this from the evidence provided by prints and librarians’ inventories). As a popular genre, hence targeting a market as wide as possible, motet printed books adopted the cheaper and more manageable partbook format also used for madrigals.

In this context, the publication of Victoria's Motecta festorum totius anni (Rome, 1585) in folio choirbook format raises fundamental questions concerning readership and the nature of motets. It is true that folio choirbook format was becoming Victoria's trademark, and also that Rome was one of the few centers where sacred music was issued in choirbooks. But it is not less true that Victoria published his previous motets in partbook format, that there is only one other book of motets published in folio in the last half of the sixteenth century (’ Patrocinium musices, 1573), and that folio choirbook format was still a rarity associated to luxury and personalized editorial projects.

This paper will revise Victoria’s authorial voice through his approach to his creative endeavor, elucidating the contextual, cultural, artistic, and financial circumstances that influenced his decisions in putting together his book of motets.

Biography: Esperanza Rodríguez-García studied musicology in Barcelona (Spain) and Manchester (UK), where she wrote a PhD on the composer Sebastián Raval and the historiography of Spanish composers in Italy. She has published on manuscript music transmission, ecclesiastical musical institutions and historiography. Her current three-year project supported by the Leverhulme Trust ('Creating, marketing and distributing music in the Renaissance: Tomás Luis de Victoria') addresses the development of a sense of authorship in late-sixteenth century composers through the study of printed music books. Her future research will engage with recreating historical urban soundscapes for modern audiences. Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Juan Ruiz Jiménez (Independent Scholar): Mapping the motet in post-Tridentine Seville and Granada: Meaning, function and works.

Seville and Granada were, at the end of the sixteenth century, two of the most emblematic and populated cities in the Crown of Castile. Seville, described as Nova Roma and Babylon, was at the zenith of its economic grandeur; Granada was disturbed by the events of the Moorish rebellion of the Alpujarras, but also pervaded with an atmosphere of religious exaltation as the result of the discovery of singular documents, the Sacromonte lead books, and the presumed relics of some early Christian martyrs, including St. Cecilio who is traditionally considered to be the first bishop of Granada (1st century BC). Both cities had dense networks of ecclesiastical institutions, secular and regular, which in the case of Granada had spread virally planned by the monarchy and meant to reaffirm its Christian identity. This proposal is inserted into an ambitious project currently in progress: ‘Mapping Early Modern Granada and Seville’s Soundscape Digitally’. Its main aim is to test the potential use of a new created interface design as a generator of studies within the framework of urban musicology. Starting from its interactive library of historical music events, I will explore the meaning that the word motet had in the aforementioned temporal and geographical coordinates for both musicians and dilettantes, clergy and laity, from different social backgrounds. I am going also to locate on historical maps the works and the contexts in which motets were present in order to highlight their multi-functionality and performance diversity that ranged from a cappella to a strictly instrumental rendition.

Biography: Juan Ruiz Jiménez obtained his PhD from the Universidad de Granada in 1995. In 2007 he published his book La Librería de Canto de Órgano: Creación y pervivencia del repertorio del Renacimiento en la catedral de Sevilla. His research and publications focus mainly on sacred and instrumental music in early modern Spain. He is currently working on different aspects of Urban Music in Seville city and is preparing an extensive study about the impact of musical endowments in the development of the ritual, musical forces and the creation of repertory in this city. He is one of the team members involved in writing the Historia de la Música en España e Hispanoamérica, published by Fondo de Cultura Económica.

Daniele Sabaino (Università di Pavia) and Marco Mangani (Università di Ferrara): Modality as orthodoxy and innovation: Strategies of tonal organization in Victoria and Palestrina

T.L. de Victoria’s 1572 Motecta is a collection modally ordered. However, an inspection of their tonal types, together with the analysis of their internal cadences, shows a very idiosyncratic tonal organisation of the collection. In fact, Victoria (1) does not make use of Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 any of the ‘most problematic’ tonal types (according to the classification proposed by these authors in an article published in 2008 Acta Musicologica); (2) reduces the possible cadential goals to the cadentiae principales of each mode (with rare occurrences of cadentiae minus principales); (3) adopts very clearly the eight-mode system; and (4) gives a distinct and substantial role to the Tenor voice in the establishment of the authentic vs plagal dimension of each composition (even when no cantus prius factus is used). All these factors, taken together, determine a one-to-one correspondence between tonal types and modes extremely uncommon in sixteenth-century polyphony. In this way, Victoria seems to configure a programmatic and intentional ‘modal orthodoxy’ integrated in his compositional style and not in conflict with other innovative traits of his technique. This orthodoxy, far from being a passive ‘conservative’ tendency, can be seen as a stylistic peculiarity intentionally pursued. In this respect, a comparison between Victoria and Palestrina is extremely revealing, given that recent research has shown how the latter composer is not so ‘modally orthodox’ as the historiographical vulgate imagined in the past. This paper – in the context of the conference’s second heading (Style / The compositional process) – will therefore examine the different paths the two composers followed in order to reconcile orthodoxy and innovation on the matter.

Biographies: Daniele Sabaino is professor of Modality and Medieval Notation at the Department of Musicology and Cultural Heritage of the Università di Pavia/Cremona. He haspublished historical, philological and analytical essays on music from the Middle Ages to the 17th century, on Juan Caramuel Lobkowitz and on past and present relationships between music and liturgy. He is the editor of Marcantonio Ingegneri’s motets in the composers’s Collected Works.

Marco Mangani, formerly researcher at the Faculty of Musicology of the Università di Pavia/Cremona, is now researcher at the Department for Humanities of the Università di Ferrara. He has written essays on Renaissance polyphony and on Italian instrumental music of the 18th and 19th centuries, and a book on Boccherini.

Diane Temme (Bangor University): The homophonic psalm-motet and late sixteenth-century liturgical psalmody

There is a clear distinction to be made in the style and function of psalm-motets and liturgical psalmody; nonetheless, an explosive surge in the publication of polyphonic psalmody, mainly in falsobordone settings of the late-sixteenth century, demonstrates an increasing popularity in the use of homophony as a musical backdrop for the recitation of psalm text. The development of the psalm-motet generally points to the Psalms for their expressive potential; however, psalm-motets interpreted in homophonic style restrict the Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015 focus mainly on the declamation of the text, limiting expressive musical gestures. As one of the most prolific figures in the composition of post-Tridentine motets, Orlando di Lasso’s psalm-motets, in particular, are representative of either type: Imitative polyphonic settings with a strong focus on text expression are contrasted by declamatory homophonic textures. The latter includes a small sub-class of succinct austere homophony which stylistically resembles office psalmody. Two such psalm-motets, Domine, quid multiplicati sunt (Ps. 3) and Deus in adiutorium meum intende (Ps. 69), contained in Munich, Bayerische Staatsbibliothek, Mus. Ms. 11, reflect a stylistic trend in Lasso’s psalm-motets which can be reasonably pinned to the final years of the 1570s from dated manuscript, first appearance in print (1582), and a similar motet Domine, Dominus noster (Ps. 8) probably composed around the same time. This study will account for this distinct style by reconsidering contextual clues, by placing these motets within a larger practice of sixteenth-century psalmody including falsobordone and the homophonic style cultivated by his contemporaries such as Meiland, Lechner, and Gallus, and testing to what extent this compositional style responds to Post-Tridentine trends.

Biography: Diane Temme is a PhD candidate at Bangor University, studying under the supervision of Christian Leitmeir. Her dissertation titled, ‘Lasso’s Psalm Settings in Sixteenth Century Tradition’, which explores facets of Latin and German psalm settings, is set to be completed in 2015. Diane holds degrees from Bangor University and the University of Nebraska-Lincoln in Music and German Languages and Literature.

Philip Weller (The University of Nottingham): Lasso motet prints within the post- Tridentine era

This paper will explore the question: what might new motet prints ('Erstausgaben' in LV) have signified for a composer such as Lasso in the Counter-Reformation era? There was of course a veritable European industry that had grown up around the reissue and repackaging of Lasso motets since the first pieces had appeared in 1555-6. But this paper concerns the new collections that came out among the much larger numbers of ‘late motet books’ (Boetticher) that were published in the last decade and more of Lasso's life, up to and including the now relatively famous Graz Cantiones sacrae sex vocum of 1594 (Widmanstetter). Public dedications and honorific gestures to eminent individuals doubtless played an important role, but moral, religious and other personal aims were surely also significant, as, perhaps, were more modern – to recent scholarship somewhat less fashionable – factors such as the aesthetic idea of the varied, well-structured collection that embodies, or gives voice to, a primarily artistic purpose. Mapping the post-Tridentine motet (ca. 1560-ca. 1610): Text, style and performance The University of Nottingham, 17-19 April 2015

Biography: Philip's chief research specialism has been centred on French music of the 17th and 18th centuries, especially the history of opera between Lully and Gluck. This area relates both to his studies of the French tradition in general (extending as far as Debussy and Messiaen) and to his interest in opera as a genre. He has also published extensively on medieval and renaissance music, including recent articles on Lassus (quatercentenary conference proceedings, 1996), Binchois (Music and Letters, 1996) and medieval/ renaissance historiography (JAMS, 1997). His other research interests include the field of music and language, and the related topics of the lied and mélodie.

Sergi Zauner (Universität des Saarlandes): Where did the ‘proper’ style go? Polychoral motets and psalms by Tomás Luis de Victoria and his contemporaries

With regard to their formal and stylistic features, Spanish motets and psalms settings of the most part of the sixteenth century are clearly divergent genres. The musical differences are due principally to textual and liturgical issues, notably the formal characteristics of the texts, and the performance practices called for in different liturgical contexts. That is to say, psalm settings typically display articulation in short musical units, reflecting the succession of verses and the alternation with plainchant, whereas motets generally show a through- composed form, with all lyrics sung in polyphony. Other differences are however dictated by the principle of decorum, that is, the close association between liturgical function and the appropriate degree of musical elaboration. With the arrival of the polychoral style, late in the century, these differences become less marked or even disappear. Indeed, the application of compositional resources typical of that style would end up affecting a degree of stylistic and formal homogenization between them. In order to shed some light on this development, and to address the questions that it arises, I propose to examine selected works from Tomás Luis de Victoria’s print Missae, Magnificat, Motecta Psalmi, & alia quam plurima (Madrid, 1600), and to relate them to works by other contemporary Spanish composers.

Biography: Sergi Zauner holds a PhD from the Universitat Autónoma de Barcelona on the topic fabordón in sixteenth-century Spanish sources. Since 2012 he has worked as Lecturer in music at the Universität des Saarlandes, Saarbrücken. He is a member of the Societat Catalana d’Estudis Litúrgics and a participant in the project Léxico musical del Renacimiento (Tours, Centre d’Études Supérieures de la Renaissance). His publications include ‘Lamentaciones de Jeremías en Barcelona: tradición cantollanista pretridentina y apuntes sobre el contexto de interpretación del género polifónico a finales del siglo XVI’ (2010) and ‘Salmodia romana en España antes del Concilio de Trento’ (2013).