Au Long De La Loire ENSEMBLE JACQUES MODERNE JOËL SUHUBIETTE Direction
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Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Les Pseaumes De David (Vol
CONVIVIUMchoir for renaissance·MUSICUM music Scott Metcalfe, music director Les pseaumes de David (vol. II) Les pseaumes mis en rimes francoise, par Clément Marot, & Théodore de Bèze (Geneva, 1562) Jan Pieterszoon Sweelinck (1562–1621) Claude Le Jeune (c. 1530–1600) Claude Goudimel (c. 1520–1572) Ps. 114 Quand Israel hors d’Egypte sortit 1. Clément Marot (poem) & Loys Bourgeois (tune), Les pseaumes mis en rimes francoise (Geneva, 1562) 2. Jan Pieterszoon Sweelinck, Livre second des pseaumes de David (Amsterdam, 1613) Ps. 127 On a beau sa maison bâtir 1. Théodore de Bèze (poem) & Loys Bourgeois (tune),Les pseaumes mis en rimes francoise 2. Sweelinck, Livre second des pseaumes de David Ps. 130 Du fonds de ma pensée 1. Marot & Bourgeois, Les pseaumes mis en rimes francoise 2. Claude Goudimel, Les 150 pseaumes de David (Paris, 1564) 3. Goudimel, Les cent cinquante pseaumes de David (Paris, 1568) 4. Sweelinck, Livre second des pseaumes de David Sweelinck: Motets from Cantiones sacrae (Antwerp, 1619) De profundis clamavi (Ps. 130) O domine Jesu Christe Ps. 23 Mon Dieu me paist sous sa puissance haute 1. Marot & Bourgeois, Les pseaumes mis en rimes francoise 2. Claude Le Jeune, Les cent cinquante pseaumes de David (Paris, 1601) 3. Le Jeune, Dodecachorde, contenant douze pseaumes de David (La Rochelle, 1598) intermission Ps. 104 Sus sus, mon ame, il te faut dire bien 1. Marot, Les pseaumes mis en rimes francoise 2. Claude Goudimel, Les 150 pseaumes de David 3. Goudimel, Les cent cinquante pseaumes de David 4. Sweelinck, Livre quatriesme et conclusionnal de pseaumes de David (Haarlem, 1621) Le Jeune: Two psalms from Pseaumes en vers mesurez mis en musique (1606) Ps. -
Album Booklet
Calvin Psalter Calvin Psalter Mon Dieu me paist Verses 1 & 3 harm. Claude Goudimel (c. 1505–1572) harm. Claude Goudimel Psalms by Verse 2 harm. Claude Le Jeune (1528–1600) 14. C’est un Judée (Psalm 76) [0:55] Claude Le Jeune (1528/30–1600) 1. Or sus serviteurs du Seigneur (Psalm 134) [2:20] Claude Le Jeune C’est un Judée (Psalm 76) Calvin Psalter Du dixiesme mode harm. Claude Goudimel 15. C’est un Judée proprement [2:30] 2. Mon Dieu me paist (Psalm 23) [1:10] 16. La void-on par lui fracassez [1:27] The Choir of St Catharine’s College, Cambridge 17. On a pillé comme endormis [1:53] Claude Le Jeune 18. Tu es terrible et plein d’effroi [1:28] Mon Dieu me paist (Psalm 23) 19. Alors ô Dieu! [2:09] Edward Wickham conductor Du quatriesme mode 20. Quelque jour tu viendras trouser [1:58] 3. Mon Dieu me paist [2:21] 21. Offrez vos dons à lui [1:28] 4. Si seurement, que quand au val viendroye [2:57] Calvin Psalter 5. Tu oins mon chef d’huiles [1:46] harm. Claude Goudimel 22. Dés qu’adversité (Psalm 46) [0:59] Calvin Psalter 6. Propos exquis (Psalm 45) [1:01] Claude Le Jeune Dés qu’adversité (Psalm 46) Claude Le Jeune Du neufiesme mode Propos exquis (Psalm 45) 23. Dés qu’adversité nous offense [2:22] Du troisieme mode 24. Voire deusent les eaux profondes [2:00] 7. Propos exquis [2:16] 25. Il est certain qu’au milieu d’elle [2:44] 8. -
Un Recueil Parisien De Psaumes, De Chansons Spirituelles Et De Motets (Ca
Un recueil parisien de psaumes, de chansons spirituelles et de motets (ca. 1565) : Genève BGE Ms. Mus. 572. Laurent Guillo, Jean-Michel Noailly, Pierre Pidoux To cite this version: Laurent Guillo, Jean-Michel Noailly, Pierre Pidoux. Un recueil parisien de psaumes, de chansons spirituelles et de motets (ca. 1565) : Genève BGE Ms. Mus. 572.. Bulletin de la Société d’Histoire du Protestantisme Français, 2012, p. 199-233. hal-01216880 HAL Id: hal-01216880 https://hal.archives-ouvertes.fr/hal-01216880 Submitted on 22 Oct 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Laurent Guillo, Jean-Michel Noailly et Pierre Pidoux † Un recueil parisien de psaumes, de chansons spirituelles et de motets (ca. 1565) : Genève BGE Ms. Mus. 572. La Bibliothèque de Genève a acquis en 1993 un manuscrit musical du milieu du XVIe siècle, cou- vert d’une remarquable reliure à décor, proposé par la librairie ancienne Thomas-Scheler à Paris et dont l’origine peut être retracée à partir de 1827. Il est maintenant conservé sous la cote Ms. Mus. 572. Outre la description du volume et de son contenu, assez inhabituel, cette contribu- tion s’attachera à identifier quelle a pu être sa provenance 1. -
Une Jeune Pucelle 3’43 Se Chante Sur « Une Jeune Fillette »
menu tracklist texte en français text in english textes chantés / lyrics AU SAINCT NAU 1 Procession Conditor alme syderum 2’40 2 Procession Conditor le jour de Noel 1’20 Se chante sur « Conditor alme syderum » 3 Eustache Du Caurroy Fantaisie n°4 sur Conditor alme syderum 1’48 (Orgue seul) 4 Jean Mouton - Noe noe psallite noe 3’21 5 Jacques Arcadelt - Missa Noe noe, Kyrie 8’06 Alterné avec le Kyrie « le jour de noël », qui se chante sur Kyrie fons bonitatis 6 Clément Janequin - Il estoyt une fillette 3’01 Se chante sur « Il estoit une fillette » 7 Anonyme/Christianus de Hollande Plaisir n’ay plus que vivre en desconfort 4’03 Se chante sur « Plaisir n’ay plus » 8 Claudin de Sermizy Dison Nau à pleine teste 3’27 Se chante sur « Il est jour, dist l’alouette » 9 Claudin de Sermizy - Au bois de deuil 3’49 Se chante sur « Au joly boys » 10 Eustache Du Caurroy Fantaisie n°31 sur Une jeune fillette 1’48 (Orgue seul) 3 11 Loyset Pieton O beata infantia 8’20 12 Eustache Du Caurroy Fantaisie n°30 sur Une jeune fillette 1’37 (Orgue seul) 13 Eustache Du Caurroy Une jeune pucelle 3’43 Se chante sur « Une jeune fillette » 14 Guillaume Costeley - Allons gay bergiere 1’37 15 Claudin de Sermizy L’on sonne une cloche 3’35 Se chante sur « Harri bourriquet » 16 Anonyme - O gras tondus 1’42 17 Claudin de Sermizy Vous perdez temps heretiques infames 2’16 Se chante sur « Vous perdez temps de me dire mal d’elle » 18 Claude Goudimel Esprit divins, chantons dans la nuit sainte 2’16 Se chante sur « Estans assis aux rives aquatiques » (Ps. -
PMMS L'homme Arme' Masses Discography
Missa L’homme armé Discography Compiled by Jerome F. Weber This discography of almost forty Masses composed on the cantus firmus of L’homme armé (twenty- eight of them currently represented) makes accessible a list of this group of recordings not easily found in one place. A preliminary list was published in Fanfare 26:4 (March/April 2003) in conjunction with a recording of Busnoys’s Mass. The composers are listed in the order found in Craig Wright, The Maze and the Warrior (Cambridge and London: Harvard University Press, 2001), p. 288; the list is alphabetical within broad eras. In particular, he discusses Du Fay (pp. 175ff.), Regis (pp. 178ff.), the Naples Masses (pp. 184ff.), and Josquin des Prez (pp. 188ff.). Richard Taruskin, “Antoine Busnoys and the L’Homme armé Tradition,” Journal of AMS, XXXIX:2 (Summer 1986), pp. 255-93, writes about Busnoys and the Naples Masses, suggesting (pp. 260ff.) that Busnoys’s Mass is the earliest of the group and that the Naples Masses are also by him. Fabrice Fitch, Johannes Ockeghem: Masses and Models (Paris, 1997, pp. 62ff.), suggests that Ockeghem’s setting is the earliest. Craig Wright, op. cit. (p. 175), calls Du Fay’s the first setting. Alejandro Planchart, Guillaume Du Fay (Cambridge, 2018, p. 594) firmly calls Du Fay and Ockeghem the composers of the first two Masses, jointly commissioned by Philip the Good in May 1461. For a discussion of Taruskin’s article, see Journal of AMS, XL:1 (Spring 1987), pp. 139-53 and XL:3 (Fall 1987), pp. 576-80. See also Leeman Perkins, “The L’Homme armé Masses of Busnoys and Okeghem: A Comparison,” Journal of Musicology, 3 (1984), pp. -
Diamm Facsimiles 6
DIAMM FACSIMILES 6 DI MM DIGITAL IMAGE ACHIVE OF MEDIEVAL MUSIC DIAMM COMMITTEE MICHAEL BUDEN (Faculty Board Chair) JULIA CAIG-McFEELY (Diamm Administrator) MATIN HOLMES (Alfred Brendel Music Librarian, Bodleian Library) EMMA JONES (Finance Director) NICOLAS BELL HELEN DEEMING CHISTIAN LEITMEIR OWEN EES THOMAS SCHMIDT diamm facsimile series general editor JULIA CAIG-McFEELY volume editors ICHAD WISTEICH JOSHUA IFKIN The ANNE BOLEYN MUSIC BOOK (Royal College of Music MS 1070) Facsimile with introduction BY THOMAS SCHMIDT and DAVID SKINNER with KATJA AIAKSINEN-MONIER DI MM facsimiles © COPYIGHT 2017 UNIVERSITY OF OXFORD PUBLISHED BY DIAMM PUBLICATIONS FACULTY OF MUSIC, ST ALDATES, OXFORD OX1 1DB ISSN 2043-8273 ISBN 978-1-907647-06-2 SERIES ISBN 978-1-907647-01-7 All rights reserved. This work is fully protected by The UK Copyright, Designs and Patents Act 1988. No part of the work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the prior permission of DIAMM Publications. Thomas Schmidt, David Skinner and Katja Airaksinen-Monier assert the right to be identified as the authors of the introductory text. Rights to all images are the property of the Royal College of Music, London. Images of MS 1070 are reproduced by kind permission of the Royal College of Music. Digital imaging by DIAMM, University of Oxford Image preparation, typesetting, image preparation and page make-up by Julia Craig-McFeely Typeset in Bembo Supported by The Cayzer Trust Company Limited The Hon. Mrs Gilmour Printed and bound in Great Britain by Short Run Press Exeter CONTENTS Preface ii INTODUCTION 1. -
Repertories. Tinctoris, Gaffurio and the Neapolitan Context*
GIANLUCA D'AGOSTINO READING THEORISTS FOR RECOVERING 'GHOST' REPERTORIES. TINCTORIS, GAFFURIO AND THE NEAPOLITAN CONTEXT* In 1478 the Italian theorist Franchino Gaffurio moved to Naples. The two-year stay at the local Aragonese court was essential for his edu cation for he had the opportunity to meet Johannes Tinctoris, who by that time had completed many of his known treatises. It has long been recognized that Tinctoris deeply influenced Gaffurio's thoughts on sever al controversial topics, such as proportions and mensuration signs, and the mensura! treatment of counterpoint.' Echoes, and even literal quotations, of Tinctoris' statements and crit icisms resound in Gaffurio's famous Practica musicae in four books (Mi lan, 1496), and- even more strongly- in his two earlier versions of sin gle books of the Practica (book 2: Musices practicabilis libellus; book 4: Tractatus practicabilium proportionum), compiled as independent treatis es soon after his departure from Naples, in the early 1480s. Many years * This article is a revised and expanded version of a paper read at the Med-Ren Music Conference held in Glagow, July 2004. It is ideally linked to two previous articles on similar topics already appeared in these «Studi Musicali» (:XXVIII-1999; X:XX-2001). Wormest thanks are due to Bonnie J. Blackbum, Margaret Bent and David Fallows, for their many help ful suggestions and improvements. 1 On this subject see: F. ALBERTO GALLO, Le traduzioni dal Greco per Franchino Gaffu rio, «Acta Musicologica», XXXV, 1963, pp. 172-174; ID., Citazioni da un trattato di Du/ay, «Collectanea Historiae Musicae», N, 1966, pp. 149-152; ID., lntrod. -
Program Notes
Ma maistresse: Songs, masses & a motet for My Lady Born in Saint Ghislain in the county of Hainaut (now in Belgium), probably around 1420, Johannes Ockeghem enters the historical record in 1443 as a vicaire-chanteur at the church of Our Lady in Antwerp, a modest appointment appropriate to a young professional singer. By 1446 he was working for Charles I, duke of Bourbon, and in 1451 he joined the chapel of Charles VII, king of France, whom he would serve for the rest of his career, residing mainly in Tours, where he held the prestigious and well-remunerated post of treasurer at the royal collegiate church of St-Martin. Ockeghem was esteemed by his contemporaries and successors as a master beyond compare, learned and skilled as both singer and composer, virtuous, generous, and kind. Johannes Tinctoris, in his Liber de arte contrapuncti of 1477, placed him at the head of an exalted list of composers whose works exuded divine sweetness: At this present time, not to mention innumerable singers of the most beautiful diction, there flourish, whether by the effect of some celestial influence or by the force of assiduous practice, countless composers, among them Johannes Ockeghem, Johannes Regis, Antoine Busnoys, Firminus Caron, and Guillaume Faugues, who glory in having studied this divine art under John Dunstable, Gilles Binchois, and Guillaume Du Fay, recently deceased. Nearly all the works of these men exhale such sweetness that in my opinion they are to be considered most suitable, not only for men and heroes, but even for the immortal gods, Indeed, I never hear them, I never study them, without coming away more refreshed and wiser. -
Faugues a Napoli, Ovvero “La Quadrangolazione Delle Fonti”
F RANCESCO R OCCO R OSSI Faugues a Napoli, ovvero “la quadrangolazione delle fonti” Perché parlare di Guillaume Faugues? l compositore quattrocentesco Guillaume Faugues gode oggigiorno di notorietà limi- tata – direi “di nicchia” – e solo recentemente, grazie a una nuova edizione critica dei suoi opera omnia1 e all’incisione di alcune sue messe,2 il suo nome sta uscendo da un I 3 ingiustificato oblio. Egli, infatti, condivide la sorte di moltissimi suoi contemporanei, la cui scarsa conoscenza è quasi sempre indipendente dalla caratura compositiva, bensì legata a imponderabili cause che nel corso dei secoli hanno determinato la scomparsa di testimoni musicali e fonti documentarie consegnandoci, pertanto, solo ritratti sbiaditi e parziali. Di Faugues, per esempio, ci sono note solo sei messe a 4 voci4 – Le serviteur, La basse danse, L’homme armé (in due versioni), Je suis en la mer e Missa vinus vina vinum –, non una chanson e nemmeno un mottetto, composizioni, queste, evidentemente perdute forse per sempre. Eppure egli fu un compositore per nulla secondario nella schiera dei cosiddetti “franco- fiamminghi”; già Sparks, per esempio, ne segnalò la statura compositiva insospettabilmente alta: «The two Masses of Faugues5 […] reveal him as an outstandingly progressive composer 1 Cfr. GUILLAUME FAUGUES, Opera omnia, a cura di Francesco Rocco Rossi, Fleurier, Éditions Musicales de la Schola Cantorum, 2014. 2 Cfr. GUILLAUME FAUGUES, Paradise Regained 1. The Sound and the Fury (Missae Le serviteur e Je suis en la mer), ORF, © 2007, SACD 3025, e GUILLAUME FAUGUES, Paradise Regained 2. The Sound and the Fury (Missae L’homme armé e Vinus vina vinum), ORF, © 2009, CD 3115. -
«Diverse Voci…» 14 in Copertina: Modena, Biblioteca Estense, Ms
«Diverse voci…» 14 In copertina: Modena, Biblioteca Estense, ms. α.M.5.24, c. 32r: Matheus de Perusio, Le greygnour bien que nature UNIVERSITÀ DI PAVIA DIPARTIMENTO DI MUSICOLOGIA E BENI CULTURALI CARA SCIENTIA MIA, MUSICA STUDI PER MARIA CARACI VELA a cura di ANGELA ROMAGNOLI, DANIELE SABAINO, RODOBALDO TIBALDI E PIETRO ZAPPALÀ * * EDIZIONI ETS «Diverse voci…» Collana del Dipartimento di Musicologia e Beni culturali Università di Pavia Comitato scientifco Elena Ferrari Barassi, Maria Caraci Vela, Fabrizio Della Seta, Michela Garda, Giancarlo Prato, Daniele Sabaino La pubblicazione è stata realizzata con il contributo dFM © Copyright 2018 EDIZIONI ETS Piazza Carrara, 16-19, I-56126 Pisa [email protected] www.edizioniets.com Distribuzione Messaggerie Libri SPA Sede legale: via G. Verdi 8 - 20090 Assago (MI) Promozione PDE PROMOZIONE SRL via Zago 2/2 - 40128 Bologna ISBN 978-884675180-5 ISMN M 979-0-705015-37-9 Cara scientia mia, musica.indb 4 09/09/18 19:26 (Foto Gianfranco Negri) INDICE Tabula gratulatoria XIII Giancarlo Prato Prefazione XV Maria Caraci Vela – Nota biografica XVII Nota dei curatori XIX Elenco delle pubblicazioni di Maria Caraci Vela XXI Elenco delle tesi curate da Maria Caraci Vela XXIX Sigle delle biblioteche XXXV TOMO I TESTI Luigi Galasso L’armonia delle sfere celesti in un frammento di Vario (157 Hollis; F 2 Schauer) 3 Sandra Martani Un esempio di notazione ecfonetica del sistema post-classico: il manoscritto Alex. Patr. gr. 10 (a.D. 1338) 15 Marco D’Agostino Tradition and innovation in the Greek printed book of -
Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol
Mid-Fifteenth-Century English Mass Cycles in Continental Sources, vol. 1 James Matthew Cook Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2014 Abstract Fifteenth-century English music had a profound impact on mainland Europe, with several important innovations (e.g. the cyclic cantus firmus Mass) credited as English in origin. However, the turbulent history of the Church in England has left few English sources for this deeply influential repertory. The developing narrative surrounding apparently English technical innovations has therefore often focussed on the recognition of English works in continental manuscripts, with these efforts most recently crystallised in Curtis and Wathey’s ‘Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory’. The focus of discussion until now has generally been on a dichotomy between English and continental origin. However, as more details emerge of the opportunities for cultural cross-fertilisation, it becomes increasingly clear that this may be a false dichotomy. This thesis re-evaluates the complex issues of provenance and diffusion affecting the mid-fifteenth-century cyclic Mass. By breaking down the polarization between English and continental origins, it offers a new understanding of the provenance and subsequent use of many Mass cycles. Contact between England and the continent was frequent, multifarious and quite possibly reciprocal and, despite strong national trends, there exists a body of work that can best be understood in relation to international cultural exchange. This thesis helps to clarify the i provenance of a number of Mass cycles, but also suggests that, for Masses such as the anonymous Thomas cesus and Du cuer je souspier, Le Rouge’s So ys emprentid, and even perhaps Bedyngham’s Sine nomine, cultural exchange is key to our understanding.