DOCSLIB.ORG

Vocal Facsimiles (Medieval-Renaissance)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vocal Facsimiles (Medieval-Renaissance) VOCAL MUSIC 1 Medieval & Renaissance OMI - Old Manuscripts & Incunabula PO Box 6019 FDR Station, New York NY 10150 Facsimile Editions tel/fax 212/ 758-1946 • www.omifacsimiles.com • [email protected] 9 September 2021 [Vocal 1] Medieval & Renaissance Music: lyric song, polyphony & homophony, secular & sacred. Manuscript facsimiles, facsimiles of first and early editions, together with a selection of modern editions & studies. For ordering information go to: www.omifacsimiles.com/contactomi.html AARON, Pietro, c.1490-1545 ANTICO, Andrea, c.1480-d.? [publisher] Trattato della natura et cognitione di tutti gli tuoni di canto figurato non da Canzoni nove con alcune scelte de vari libri. Rom, 1510. 2595 altrui piu scritti. A Facsimile of the Venice, 1525 Edition. 9069 [Universitätsbibliothek Basel]. Monuments of Music and Music Literature in Facsimile, II/129. New York, 1979. Faksimile-Edition Rara, 59. Stuttgart, 2009. Oblong, 27 x 20 cm, 86, ivi pp. Line-cut 22 x 34 cm, 45 pp. Line-cut of the Venice, 1525 edition. Laid paper, clothbound. of the Rome, 1510 edition. A unique print—Andrea Antico’s first—in the possession of the Basel University Library, with title page in woodcut that immortalizes the purchaser and first owner of the volume: the humanist Bonifacius Amerbach. The collection, comprised of 41 motets for 4 voices is ACCADEMICO BIZZARRO CAPRICCIOSO, fl.1620-23 engraved with incredible skill on wood blocks. Tromboncino is the best represented composer in the collection (18 works). Afterword by Martin Secondo libro de trastulli estivi concertati à due, tre, & quattro voci con il basso Kirnbauer. Hardbound in decorative paper. $36 7658 continuo del bizarro Accademico capriccioso. [Österreichische Nationalbibliothek, Vienna]. Faksimile-Edition Rara, 22. Stuttgart, 1998. 14 x 21 cm, 4 partbooks, 92 pp. Line-cut of the Venice, 1621 edition. Vocal settings with basso continuo, ten a2, six a3 and Liber quindecim missarum electarum quae per excellentissimos musicos two a4 plus 2 violins. One piece is by Girolamo Avanzolini and one of the 8744 compositae fuerunt (Rom: Andrea Antico 1516) (RISM 1516[1]). [Stadtbibl. instrumental works is by Massimiliano Fredutii. Wrappers, with portfolio in Baden/Schweiz]. marbled paper. $59 Faksimile-Edition Rara, 52. Stuttgart, 2006. 29 x 42 cm, 326, iii pp. Line-cut of the Rome, 1516 edition. This exquisite choirbook—executed entirely with woodblock engraving—is the first sacred music printed in Rome. In the dedication to Pope Leo X Antico mentions he spent three years laborious preparing the woodcuts for AGUILERA DE HEREDIA, Sebastián de, 1561-1627 this publication. The graphic artist responsible for the cover page designs as well Canticum beatissimae Verginis Deiparae Mariae. as numerous illustrations that appear throughout the print was probably 4145 Zaragoza, 1990. 41 x 55 cm, iii, 397 pp. Beautiful line-cut of the Cabarte edition, Giovanbattista Columba. A gem for music historian and performer alike. The Zaragoza, 1618. Impressive collection of 32 Magnificats for 4 to 8 voices. Mensural volume contains 15 masses, 3 by Josquin, 3 by Brumel (including Missa de beata notation in the original 2˚ choirbook format. Special “Torreón” laid paper by virgine), 3 by Fevin, 2 each by de la Rue and Mouton, and 1 each by Pippelare and Guarro with binding in green linen. Limited edition of 500 copies. $383 Rossell. Afterword by Martin Kirnbauer. Hardbound in decorative paper. $190 http://www.omifacsimiles.com/brochures/liberquin.html AICH, Arnt von, b.?-c.1528 [publisher] Motetti novi e chanzoni franciose a quatro sopra doi. Liederbuch des Arndt von Aich Köln 1519. [In diessem Buechlein fynt mann 1316 Geneva, 1982. Oblong, 18 x 13 cm, 76 pp. Line-cut of the Venice, 1520 edition. 8331 LVVV. hübscher Lieder myt Discant, Alt, Bas, und Tenor lustick zu syngen. Antico printed these pieces with movable type in two impressions. Unique Auck etlich zu sleiten, schwegelen, und an deren musicalisch Instrumenten collection of canonic chansons and motets for four voices (notated in two) by artlichen zugebrauchten]. [Universitätsbibliothek, Basel]. Willaert, Mouton, Prioris, Divitis, Vassoris, de la Rue, etc. Wrappers. $25 Faksimile-Edition Rara, 4. Stuttgart, 1997. Oblong, 15 x 10 cm, 4 partbooks, 432 pp. Line-cut of the Cologne, 1519 print. Beautiful wood-block printed collection of 80 lieder, a4, appropriate for voices and/or instruments. The tenor partbook contains the complete texts of each lied. Composers include Hofhaimer, Isaac, Rener and ANTONIO DA TEMPO Grefinger. Hardbound in decorative paper with matching slipcase. $95 Delle rime volgari. Trattato de Antonio da Tempo, Giudice Padovano, 5389 composto nel 1332, dato in luce integralmente ora la prima volta per cura di Giusto Grion. AINSWORTH, Henry, 1570-c.1622 Bibliotheca Musica Bononiensis, V/14. Bologna, 1970. 8º, 384 pp. (Rpt. of Bologna, 1896 edition). Hardbound. $72 The Music of Henry Ainsworth’s Psalter (Amsterdam, 1612). Lorraine Inserra 1973 and H. Wiley Hitchcock. I.S.A.M. Monographs, 15. Brooklyn, 1981. 18 x 22 cm, vii, 128, with 45 illus pp. Line-cut of all the 39 tunes in the very psalter that the Pilgrims brought with them ATTAINGNANT, Pierre, c.1494-1552 [publisher] to Plymouth Colony in 1620. Historical introduction and transcriptions. Wrappers. [Chansons, voice, lute] $30 956 Très brève et familière introduction pour . jouer toutes chansons réduictes en la tablature de lutz. Introduction de François Lesure. Index. Geneva, 1988. Oblong, 15 x 11 cm, xi, 120 pp. Line-cut of the Paris, 1529 edition. ALISON, Richard, b.?-c.1609 Early French collection of instrumental music with preludes and transcriptions of The Psalmes of David in Meter 1599. Edited by Ian Harwood. [British Library, 35 Parisian chansons, in French lute tablature (mostly by Claudin de Sermisy). 2987 Many for voice & lute and lute solo. Begins with rules for playing the instrument. K.7.f.10]. Wrappers. $48 English Lute Songs, 1597-1632: A Collection of Facsimile Reprints, 1. London, 2/ 1980. 26 x 37 cm, iii, 152 pp. Line-cut. A much admired collection of pieces a4, mainly for voice and lute, but with alternative methods of performance possible. Notated in French lute tablature, cittern tablature and mensural notation and printed in table book format. Wrappers. $82 [Motet & magnificat collections, books 1-13] 8332 1) Liber primus quinque et viginti musicales... 2) Liber secundus... 3) Liber tertius... 4) Liber quartus... 5) Liber quintus... 6) Liber sextus... 7) Liber septimus... 8) Liber octavus... 9) Lib. nonus... 10) Lib. decimus... 11) Lib. ANERIO, Felici, c.1560-1614 undecimus... 12) Lib. duodecimus... 13) Lib. decimus tertius... Canzonette a quattro voci [libro primo]. [Bischöfliche Bibliothek, Regensburg]. [Universitäts-Bibl., Jena]. 9526 Faksimile-Edition Rara, 74. Stuttgart, 2016. 18 x 22 cm, 4 partbooks, 88 pp. Line-cut Faksimile-Edition Rara, 35. Stuttgart, 2003. Oblong, 21 x 16 cm, 4 partbooks, c.1700 of the Venice, 1586 edition partbook edition. 22 4-voice settings (canto I, canto II, pp. Line-cut of the Paris, 1534 edition. Fantastic motet & magnificat collection for 3 alto, basso). First ever facsimile of a publication solely dedicated to this important to 8 voices by a wonderful cross section of European masters including Gombert, Roman madrigalist. Wrappers, with portfolio in decorative paper. $42 Verdelot, Richafort, Mouton, De la Fage, Josquin, Certon, Manchicourt, etc. Over 260 works in choirbook format. Hardbound in decorative paper with matching slipcase. $379 OMI - Old Manuscripts & Incunabula • tel/fax 212/ 758-1946 • www.omifacsimiles.com • [email protected] vocal 1, p.2 ATTEY, John, b.?-c.1640 [La pazzia senile, book 1] [Ayres, a4, voices/voice + lute, book 1] 8347 La pazzia senile. Riproduzione dell`originale con prefazione e trascrizione in 2988 The First Book of Ayres 1622. Edited by David Greer. [British Library, notazione moderna di R. Bez. K.7.f.10]. Bibliotheca Musica Bononiensis, IV/96. Bologna, 2003. 8º, 3 partbooks, 140 pp. English Lute Songs, 1597-1632: A Collection of Facsimile Reprints, 2. London, 2/ Line-cut of the Venice, 1598 edition, together with new transcription by Renzo Bez. 1980. 26 x 37 cm, iii, 31 pp. Halftone. 14 songs in four parts which may be sung as “Madrigal comedy” consisting of 19 madrigals or canzonetti a3 in mensural solos with lute accompaniment (in Italian tablature) or as partsongs by four voices. notation. Portfolio. http://www.omifacsimiles.com/brochures/banchieri.html Wrappers. $37 [La pazzia senile, book 2] AVENARIUS, Philipp, c.1553-c.1610 7379 La pazzia senile [ragionamenti vaghi, et dillettevoli, a tre voci. Libro secondo]. Cantiones sacrae quinque vocum, accommodatae ad omnes usus, tam viva voce, [Schermar-Bibliothek, Stadtbibliothek, Ulm]. 7118 quam omnis generis instrumentis cantatu iucundae, iam recens in lucem Faksimile-Edition Schermar-Bibliothek Ulm, 12. Stuttgart, 1997. 16 x 20 cm, 3 editae. [Bayerische Staatsbibliothek, Munich]. partbooks, c.90 pp. Line-cut of the second edition, Venice, 1599, containing significant variants, additions & cuts. Hardbound, with slipcase. $53 Waiblingen, [1994]. Oblong, 20 x 15 cm, 5 partbooks, c.328 pp. Line-cut of the Neuber edition, Nuremberg, 1572. 30 pieces a5 with latin texts, written in mensural notation, for voices or instruments. Hardbound, with matching slipcase. $109 Il zabaione musicale [inventioine boscareccia et primo libro di madrigali a 7494 cinque voci]. [Staats- & Stadtbibliothek, Augsburg]. Faksimile-Edition Augsburg, 1. Stuttgart, 1997. 15 x 20 cm, 3 partbooks, c.128 pp. BABST, Valentin, fl.1540-1555 [publisher] Line-cut of the Simon Tini & Filippo Lomazzo edition, Milan, 1604. 17 settings a5, Das Babstsches Gesangbuch von 1545. Faksimiledruck mit einem Geleitwort for voices with or without instruments, based on the pastoral stories of Greek mythology. Wrappers, with handsome portfolio in marbled paper. $76 1295 herausgegeben von Konrad Ameln. Documenta Musicologica, I/38. Kassel, 3/ 1988. 11 x 16 cm, 560 facs, with 27 woodcuts, xvi pp. Coverboards in laid paper. $87 BARTLET, John, 16-17th c. A Book of Ayres 1606.
Load more

Recommended publications
  • Guillaume Du Fay Discography
    Guillaume Du Fay Discography Compiled by Jerome F. Weber This discography of Guillaume Du Fay (Dufay) builds on the work published in Fanfare in January and March 1980. There are more than three times as many entries in the updated version. It has been published in recognition of the publication of Guillaume Du Fay, his Life and Works by Alejandro Enrique Planchart (Cambridge, 2018) and the forthcoming two-volume Du Fay’s Legacy in Chant across Five Centuries: Recollecting the Virgin Mary in Music in Northwest Europe by Barbara Haggh-Huglo, as well as the new Opera Omnia edited by Planchart (Santa Barbara, Marisol Press, 2008–14). Works are identified following Planchart’s Opera Omnia for the most part. Listings are alphabetical by title in parts III and IV; complete Masses are chronological and Mass movements are schematic. They are grouped as follows: I. Masses II. Mass Movements and Propers III. Other Sacred Works IV. Songs (Italian, French) Secular works are identified as rondeau (r), ballade (b) and virelai (v). Dubious or unauthentic works are italicised. The recordings of each work are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available; then the format of the recording (78, 45, LP, LP quad, MC, CD, SACD), the label, and the issue number(s). Each recorded performance is indicated, if known, as: with instruments, no instruments (n/i), or instrumental only. Album titles of mixed collections are added. ‘Se la face ay pale’ is divided into three groups, and the two transcriptions of the song in the Buxheimer Orgelbuch are arbitrarily designated ‘a’ and ‘b’.
    [Show full text]
  • First Progress Report of the ICEL Music Committee
    MUSIC FOR THE ENGLISH LANGUAGE ROMAN MISSAL AN INTRODUCTION For the forthcoming English language Roman Missal (sometimes called the Sacramentary), the International Commission on English in the Liturgy will offer to the Conferences of Bishops of the English‐speaking world chants for everything that is set to music in the Missale Romanum, editio typica tertia (2002): • The dialogues between the celebrant (or in the case of the Dismissal, the deacon) and the assembly such as the Sign of the Cross (“In the name of the Father, and of the Son, and of the Holy Spirit”) and the Dismissal (“Go forth, the Mass is ended”); • Tones for singing the presidential prayers (Collect, Prayer over the Offerings, Prayer after Communion) with all prayer texts pointed for singing; • The chants before and after the readings such as “A reading from the book of…” and “The Gospel of the Lord”; • Separate tones for singing the First Reading, Second Reading, and Gospel; • The Universal Prayer or Prayer of the Faithful; • The Preface Dialogue and Prefaces, including a musical setting of every Preface; • Full musical settings of Eucharistic Prayers I, II, III and IV, and the concluding Doxology; • Other elements such as the Kyrie, Gloria, Creed, Sanctus, Agnus Dei, and Lord’s Prayer; • Chants for particular days and feasts such as “Hosanna to the Son of David” on Palm Sunday, the Universal Prayer and “Behold the wood of the Cross” on Good Friday, the Exsultet (Paschal Proclamation) at the Easter Vigil, antiphons for the Feast of the Presentation of the Lord on February 2nd, and the Proclamation of Easter and Moveable Feasts for Epiphany.
    [Show full text]
  • Music in the Mid-Fifteenth Century 1440–1480
    21M.220 Fall 2010 Class 13 BRIDGE 2: THE RENAISSANCE PART 1: THE MID-FIFTEENTH CENTURY 1. THE ARMED MAN! 2. Papers and revisions 3. The (possible?) English Influence a. Martin le Franc ca. 1440 and the contenance angloise b. What does it mean? c. 6–3 sonorities, or how to make fauxbourdon d. Dunstaple (Dunstable) (ca. 1390–1453) as new creator 4. Guillaume Du Fay (Dufay) (ca. 1397–1474) and his music a. Roughly 100 years after Guillaume de Machaut b. Isorhythmic motets i. Often called anachronistic, but only from the French standpoint ii. Nuper rosarum flores iii. Dedication of the Cathedral of Santa Maria de’ Fiore in Florence iv. Structure of the motet is the structure of the cathedral in Florence v. IS IT? Let’s find out! (Tape measures) c. Polyphonic Mass Cycle i. First flowering—Mass of Machaut is almost a fluke! ii. Cycle: Five movements from the ordinary, unified somehow iii. Unification via preexisting materials: several types: 1. Contrafactum: new text, old music 2. Parody: take a secular song and reuse bits here and there (Zachara) 3. Cantus Firmus: use a monophonic song (or chant) and make it the tenor (now the second voice from the bottom) in very slow note values 4. Paraphrase: use a song or chant at full speed but change it as need be. iv. Du Fay’s cantus firmus Masses 1. From late in his life 2. Missa L’homme armé a. based on a monophonic song of unknown origin and unknown meaning b. Possibly related to the Order of the Golden Fleece, a chivalric order founded in 1430.
    [Show full text]
  • Playing with the Performer in Medieval Music: Machaut’S Ideas on Love and Order in Quant Vraie Amour / O Series Summe Rata / Super Omnes Speciosa (Motet 17)
    UvA-DARE (Digital Academic Repository) Playing with the performer in Medieval music: Machaut’s ideas on love and order in Quant vraie Amour / O series summe rata / Super omnes speciosa (Motet 17) Boogaart, J. Publication date 2009 Document Version Final published version Published in Dutch Journal of Music Theory Link to publication Citation for published version (APA): Boogaart, J. (2009). Playing with the performer in Medieval music: Machaut’s ideas on love and order in Quant vraie Amour / O series summe rata / Super omnes speciosa (Motet 17). Dutch Journal of Music Theory, 14(1), 32-41. http://dpc.uba.uva.nl/vol14/nr01/art05 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:24 Sep 2021 jacques boogaart Playing with the Performer in Medieval Music: Machaut’s Ideas on Love and Order in Quant vraie Amour / O series summe rata / Super omnes speciosa (Motet 17) Machaut’s seventeenth motet might be one of his earliest works.
    [Show full text]
  • Music at Mass by Fr. Gilles Mongeau, SJ, Contributing Editor, Living With
    Music at Mass By Fr. Gilles Mongeau, SJ, Contributing Editor, Living with Christ The General Instruction of the Roman Missal (GIRM) is the set of instructions that governs the celebration of the Eucharist. It was updated in 2001, as a result of reflection on the 40 years of experience since Vatican II, and came into force in Canada with the coming of the new translation of the missal. Perhaps one of the most interesting and least known contributions of the new GIRM is its reflection on the role of singing in the liturgy. It offers a genuine theology of music at mass, with insights into the role of the choir, the ministry of the cantor, and the meaning of various chants in the liturgy. The GIRM places the singing of the assembly at the very centre of its reflection. All musical choices are at the service of helping the assembly to sing. In this short article, I offer some commentary on the three major moments of singing and on the closing moments of the mass. The Entrance Chant When the people are gathered, and as the Priest enters with the Deacon and ministers, the Entrance Chant begins. Its purpose is to: 1. open the celebration, 2. foster the unity of those who have been gathered, 3. introduce their thoughts to the mystery of the liturgical time or festivity, and 4. accompany the procession of the Priest and ministers. This chant is sung 1. alternately by the choir and the people or 2. similarly by a cantor and the people, or 3.
    [Show full text]
  • Vieux Chansonnier De L'immersion
    Vieux Chansonnier de l'Immersion http://www.utm.edu/staff/globeg/atelmusique.shtml 1. "Vent frais" rondel 6. "Bateau sur l'eau" rondel Vent frais, vent du matin Bateau sur l'eau Vent qui souffle au sommet des grands pins La rivière, la rivière Joie du vent qui passe Bateau sur l'eau Allons dans le grand La rivière il tombe dans l'eau Vent frais, vent du matin... 7. "Au clair de la lune" 2. "Maudit sois-tu carillonneur" rondel Au clair de la lune, Maudit sois-tu carillonneur Mon ami Pierrot, Que Dieu créa pour mon malheur Prête-moi ta plume Dès le point du jour à la cloche il s'accroche Pour écrire un mot. Et le soir encore carillonne plus fort Ma chandelle est morte, Quand sonnera-t-on la mort du sonneur ? Je n'ai plus de feu : Ouvre-moi ta porte 3. "Dans la forêt lointaine" rondel Pour l'amour de Dieu" Dans la forêt lointaine Au clair de la lune, On entend le coucou Pierrot répondit : Du haut de son grand chêne "Je n'ai pas de plume, Il répond au hibou Je suis dans mon lit. Coucou hibou Va chez la voisine, Coucou coucou coucou (bis) Je crois qu'elle y est, Car dans sa cuisine, 4 "Les Cloches" rondel On bat le briquet." Orléans, Beaugency Notre Dame de Cléry Au clair de la lune, Vendôme, Vendôme (bis) L'aimable Lubin Frappe chez la brune 5. "L'escargot" Qui répond soudain : Un escargot s'en allait à la foire "Qui frappe de la sorte ?" Pour s'acheter une paire de souliers, Il dit à son tour : Quand il arriva, il faisait déjà nuit noire "Ouvrez votre porte Il s'en retourna * * nu pieds.
    [Show full text]
  • 02 Chapter 1 Stoessel
    Prologue La harpe de melodie faite saunz mirancholie par plaisir doit bien cescun resjorr pour l'armonie orr, sonner et vei'r. J With the prior verses begins one of the most fascinating musical works in the ars subtilior style, composed by the master musician Jacob de Senleches. This composer, as his name suggests, was a native of northern France whose scant biographical details indicate he was a valued musician at courts in the south at Castile, Navarre and possibly Avignon.2 La harpe de melodie typifies several aspects of the present study. Firstly, its presence in a n1anuscripe copied in the city of Pavia in Lombardy indicates the cultivation of ostensibly French music in the ars subtilior style in northern Italy. Secondly, its musical notation contains novel, experimental notational devices and note shapes that parallel intellectual developments in other fields of culture in this period. I "The melodious harp made without melancholy to please, well may each person rejoice to hear, sing and hear its harmony." (All translations are mine, unless otherwise specified.) 2 The conclusion that Jacob de Senleches was a native of northern France is made on the premise that Senleches is the near-homophone of Senlecques, a village just south of Calais in the County of Artois. The only surviving archival evidence concerning Jacob de Senleches consists of a dispensation made at the Court of Navarre by Charles II of Navarre on 21 sl August, 1383 which speCifies: ... 100 libras a Jacomill de Sen/aches, juglar de harpe, para regresar a donde se encontraba el cardenal de Aragon, su maestro (" 100 libras for Jacob de Senleches, player of the harp, to return to where he was to meet the Cardinal of Aragon, his master."), Jlid.
    [Show full text]
  • Madrigal, Lauda, and Local Style in Trecento Florence
    Madrigal, Lauda, and Local Style in Trecento Florence BLAKE McD. WILSON I T he flowering of vernacular traditions in the arts of fourteenth-century Italy, as well as the phenomenal vitality of Italian music in later centuries, tempts us to scan the trecento for the earliest signs of distinctly Italianate styles of music. But while the 137 cultivation of indigenous poetic genres of madrigal and caccia, ac- corded polyphonic settings, seems to reflect Dante's exaltation of Italian vernacular poetry, the music itself presents us with a more culturally refracted view. At the chronological extremes of the four- teenth century, musical developments in trecento Italy appear to have been shaped by the more international traditions and tastes associated with courtly and scholastic milieux, which often combined to form a conduit for the influence of French artistic polyphony. During the latter third of the century both forces gained strength in Florentine society, and corresponding shifts among Italian patrons favored the importation of French literary and musical culture.' The cultivation of the polyphonic ballata after ca. 1370 by Landini and his contem- poraries was coupled with the adoption of three-part texture from French secular music, and the appropriation of certain French nota- tional procedures that facilitated a greater emphasis on syncopation, Volume XV * Number 2 * Spring 1997 The Journal of Musicology ? 1997 by the Regents of the University of California On the shift in patronage and musical style during the late trecento, see Michael P. Long, "Francesco Landini and the Florentine Cultural Elite," Early Music History 3 (1983), 83-99, and James Haar, Essays on Italian Poetry and Music in the Renaissance, 1350-1600 (Berkeley, CA, 1986), 22-36.
    [Show full text]
  • From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
    From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation.
    [Show full text]
  • Vestiges of Midsummer Ritual in Motets for John the Baptist
    Early Music History (2011) Volume 30. Cambridge University Press doi:10.1017/S0261127911000027 M A A Email: [email protected] FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST The thirteenth-century motet repertory has been understood on a wide spectrum, with recent scholarship amplifying the relationship between the liturgical tenors and the commentary in the upper voices. This study examines a family of motets based on the tenors IOHANNE and MULIERUM from the feast of the Nativity of John the Baptist (24 June). Several texts within this motet family make references to well-known traditions associated with the pagan festival of Midsummer, the celebration of the summer solstice. Allusions to popular solstitial practices including the lighting of bonfires and the public criticism of authority, in addition to the cultural awareness of the sun’s power on this day, conspicuously surface in these motets, particularly when viewed through the lens of the tenor. The study suggests the further obfuscation of sacred and secular poles in the motet through attentiveness to images of popular, pre-Christian rituals that survive in these polyphonic works. In the northern French village of Jumièges from the late Middle Ages to the middle of the nineteenth century, a peculiar fraternal ritual took place. Each year on the evening of the twenty-third of June, the Brotherhood of the Green Wolf chose its new chief. Arrayed in a brimless green hat in the shape of a cone, the elected master led the men to a priest and choir; Portions of this study were read at the Medieval and Renaissance Conference at the Institut für Musikwissenschaft, University of Vienna, 8–11 August 2007 and at the University of Chicago’s Medieval Workshop on 19 May 2006.
    [Show full text]
  • Tracklist P. 4 English P. 5 Français P. 16 Deutsch P
    MENU — TRACKLIST P. 4 ENGLISH P. 5 FRANÇAIS P. 16 DEUTSCH P. 27 SUNG TEXTS & TRANSLATIONS P. 38 A coproduction of the Ensemble Céladon, the Université Paul Valéry – Montpellier, the Centre d’Études médiévales de Montpellier and the Centre international de Musique médiévale de Montpellier (CIMM . Du ciel aux marges.), with support from SPEDIDAM and ADAMI. Recording: church Notre-Dame de Centeilles, September 2015 Artistic direction, recording & editing: Jérôme Lejeune Illustrations: Cover: René Ier le Bon, Le livre du cœur d’amour épris, 1457 (enluminure) Paris, Bibliothèque nationale, ms français 24399 / © AKG images / Jérôme da Cunha Booklet, page 1: Paris, Bibliothèque nationale, ms. fr. 146, fol 57 r. / © BnF 2 English translations: Peter Lockwood Deutsche Übersetzungen: Silvia Berutti-Ronelt Research associate: Christelle Chaillou-Amadieu Th e Céladon Ensemble receives fi nancial support from the Région Rhône-Alpes, from the Ville de Lyon and the Super U Les Deux Roches in Prissé. Its projects are generally supported by the DRAC Rhône-Alpes, Spedidam and ADAMI. Th e Céladon Ensemble is resident at the Centre scolaire Saint-Louis - Saint-Bruno in Lyon and is a member of Fevis. JEHAN DE LESCUREL fl. 1320 Dame, Jehan de Lescurel vous salue — 3 ENSEMBLE CÉLADON Paulin Bündgen: artistic direction Anne Delafosse: soprano (AD) Clara Coutouly: soprano (CC) Paulin Bündgen: countertenor Nolwenn Le Guern: vielles Angélique Mauillon: harp Florent Marie: lute Gwénaël Bihan: recorders & fl ute Ludwin Bernaténé: percussions www.ensemble-celadon.net 01. Amour, voulés vous acorder (CC) 2'56 26. Dame, si vous vient a gré 1'57 02. A vous douce debonnaire 2'45 27.
    [Show full text]
  • The Origins of the Musical Staff
    The Origins of the Musical Staff John Haines For Michel Huglo, master and friend Who can blame music historians for frequently claiming that Guido of Arezzo invented the musical staff? Given the medieval period’s unma- nageable length, it must often be reduced to as streamlined a shape as possible, with some select significant heroes along the way to push ahead the plot of musical progress: Gregory invented chant; the trouba- dours, vernacular song; Leoninus and Perotinus, polyphony; Franco of Cologne, measured notation. And Guido invented the staff. To be sure, not all historians put it quite this way. Some, such as Richard Hoppin, write more cautiously that “the completion of the four-line staff ...is generally credited to Guido d’Arezzo,”1 or, in the words of the New Grove Dictionary of Music, that Guido “is remembered today for his development of a system of precise pitch notation through lines and spaces.”2 Such occasional caution aside, however, the legend of Guido as inventor of the staff abides and pervades. In his Notation of Polyphonic Music, Willi Apel writes of “the staff, that ingenious invention of Guido of Arezzo.”3 As Claude Palisca puts it in his biography of Guido, it was that medieval Italian music writer’s prologue to his antiphoner around 1030 that contained one of the “brilliant proposals that launched the Guido legend, the device of staff notation.”4 “Guido’s introduction of a system of four lines and four spaces” is, in Paul Henry Lang’s widely read history, an “achievement” deemed “one of the most significant in
    [Show full text]