Anne De Bretagne (1477-1514) and Music an Archival Study Stephen Bonime

Total Page:16

File Type:pdf, Size:1020Kb

Anne De Bretagne (1477-1514) and Music an Archival Study Stephen Bonime Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Dissertations and Theses 1975 Anne de Bretagne (1477-1514) and Music an Archival Study Stephen Bonime Follow this and additional works at: https://repository.brynmawr.edu/dissertations Part of the Philosophy Commons This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/dissertations/190 For more information, please contact [email protected]. Anne de Bretagne (1477-1514) and Music an Archival Study Stephen Bcnime March 1975 Submitted to the Faculty of Bryn Kawr College in partial fulfillment of the requirements for the degree of Doctor of Philosophy Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS LIST OF TABLES......... ............................ iii LIST OF ABBREVIATIONS........................... iv LIST OF SIGLA FOR MUSIC MA N U S C R I P T S.............. V LIST OF MANUSCRIPTS C I T E D ........................ vii INTRODUCTION ..................................... 1 Chapter I. MUSICIANS OF ANNE'S FIRST REIGN (1491-98) . 6 Singers Instrumentalists Etrennes and Entree's Music Manuscripts II. THE CHAPELLS ROYALE OF CHARLES VIII AND .. ■ I.OUIS X I I ............................... -27 Maltres de Chapelle Chantres: Charles VIII Chantres: Louis XII III. MUSICIANS OF THE CHAMBRE OF CHARLES VIII AND LOUIS XII . ................... 40 Evrard de La Chappelle Antoine de Hee La Ville, Morel, Delaire Riet, Bonnet Verjust (Estienne Guillot) Fresneau IV. MUSICIANS OF THE ECURIE OF CHARLES VIII AND LOUIS XII . .................... 51 Trumpets Tabourins Suisses Sacqueboutes and Haulxboys Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter Page V. ANNE'S MUSIC AND MUSICIANS, 1499-1514 .... 66 Mouton: 1500-03 1502-05: Mouton, Josquin; La Rue, Agricola Agricola: Transit Anna timor (1503-05?) 1507-10: New Chapel Singers and Masters Mouton: Non nobis Domine (1510) Mouton: Caeleste beneficium (15IO?) Other Motets for Anne (?) VI. THE ROYAL ENTREE IN PARIS,- 1467-1517 ....... 77 Notre-Dame Organists Charlotte (1467) and Marguerite (1483) Anne de Bretagne, 1492 Anne de Bretagne, 1504 Mary Tudor, 1514 Claude de France, 1517 VII. THE FUNERAL OF ANNE DE BRETAGNE.............. 95 Funeral Motets and Contemporary accounts Services at Blois and en route to Paris Services at Notre-Dame and St-Denis NOTES ............... 105 APPENDIXES A. Pietrequin Bonnel's contract as Chantre in the Savoy Chapel (October 1488 - September 1489) . 163 B. The Works of Pietrequin Bonnel and Fresneau, with their S o u r c e s ....................... .. 164 C. Judgment by Parlement granting Evrard de La Chappelle all benefits due him as Treasurer of St-Martin de Tours— which mentions the date of Oekeghem's death (Paris: Arch. nat.,X 1A.1505, fol. 239')................................. 165 D. Jean d'Auton, Cronicque of 1502, Ch. xxii: "D'ung nomme raaistre Evrard . " .....................166 E. Letters by Anne de Bretagne concerning Pregent de Jagu.......................................... 168 F. Notre-Dame's record of Anne's funeral services in Paris (Arch, nat., LL.132 bis, fols. 102-03). 169 G. Compositions for Anne de Bretagne: Original Sources and Modern editions .................. • 172 BIBLIOGRAPHY ................... ' ........... 174 li Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST CF TABLES Table Page 1. Manuscripts Containing Records of the Personnel and Expenses of Anne de Bretagne...... 5 2. Musicians Employed by Anne de Bretagne.. 26 3. Manuscripts Containing Records of the Royal Ecurie, 1487-1509 ............ 64 4. Musicians of the Royal Ecurie, 1487-1509.... 65 5. Musical Mysteres in Paris Entries, 1484-1517 . 94 iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST 0? ABBREVIATIONS Manuscripts anci their repositories Arch. comm.: Archives coamunales (AC) Arch, dept.: Archives dfpartementales (AS) Arch, nat.: Archives Rationales (AN) Bibl. nran.: 3ibliotheque nunicipale (BrI) Bibl. nat.: Bibliotheque rationale (3N) I-Is (s). fr.: Kanuscrit (5) _ franpais Nouv. acq. fr.: -Touvelle(s) acquisition(s) frahcaise(s) Publ?: cations JAMS: Journal of the American Knsicologieal Society E1BG-: Husik in Geschichte and G-e^enuart KQ? Musical Quarterly French currency L.t.: livres tournois s.t.: sols tournois d.t.: deniers tournois L.p.: livres oarisis e*: ~cus s.p.: sols carisis d.p.: deniers oarisis — 1 Miscellaneous d.3.: dudit Seigneur S.S.: Isew Style 0.3.: Old Style iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OP SIGLA FOB. KtJSIC MAJJUSCRIITS Bologna 0.17 Bologna: Civico Mhseo 3ibliografico Musicale, Ms. Q.17 Bologna fl.19 Bologna: Civico Huseo 3ibliografico Musicale, Ms. Q.19 3ologna R.142 Bologna: Civico Museo Bibliografico Musicale, Ms. R.142 (Tenor part-book only) Copenhagen 1848- 0 Copenhagen: Kongelige Bibl., Ms. My. Sgl. Samling 1848-2 Florence. Magi.XII.59 Florence: Bibl* .Mazionale Centrale, Ms. Magi. X U . 59 (now Ms. Banco Rari 229) Florence. ife.gl.XIX.178 Florence: Bibl. STazionale Centrale, Ms. Magi. XIX. 178 Florence. Ricc.2556 ; Florence: Bibl. Riccardiana, Ms. 2556 Florence. Ricc.2794 Florence: Bibl. Riccardiana, Ms. 2794 rFlorenceJJ Medici Codex of 1518________________________________ * Florence: Bibl. Medicea Laurenziana, Ms. Acquisti e doni 666 London. Add.55087 J London: British Museum, Additional Ms* 55087 London. Roval 20.A.xvi London: British Museum, Roval Ms. 20.A.rvi CLondonpMs. Harley 5242 ■■ London; British Museum, Ms. Harley 5242 Medici Codex of 1518: see under "{[Florence^" Munich 528-551 Munich: universitatsbibl., Mss. 528-551 Paris 1597 EarisT Bibl* nat./ Ms. fr. 1597 Paris 2245 Paris: Bibl. nat., Ms. fr. 2245 Paris 12744 Paris: Bibl* nat., Ms. fr. 12744 Paris. Hivelle Paris: Bibl. G. Thibault, Hivelle de la Chausse'e chansonnier Rome. CG XIII.27 Rome: Bibl. Apostolica Vaticana, Capnella Giulia Ms. XIII.27 Rome. CS 25 Rome: Bibl. Apostolica Yaticana, Capnella Sistina Ms. 25 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Some. Pal. Lat. 1976-1979 Rome: Bibl. Apostolica Yaticana, Ess. Palatini Lat ini 1976- 1979 Rome, Cas.2856 Rome: Bibl. Casanatense, Es. 2856 Vienna 15491„ Vienna: 6’sterreichische Nationalbibl., Cod. 15491 Vienna 18810^ Vienna: Csterreichische Nationalbibl., Cod. 18810 Wash. B.C., laborde Washington, D Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST 0? MANUSCRIPTS CITED *mnsic manuscripts I. France A. Paris 1. Bibliotheque Rationale (3ibl. nat. or BE) a. Hanuscfits irancais (Ess, fr.): *1597. *2245, 2914. 2915. 2926. 2927. 2950. 5087. 5152. 4559. 5094-5101. 5750. 7355. 7556. 10576. *12744. 18557. 20685. 21449-21451. 25956. 24052. 25158. 52511 b. Nouvelles accuisitions franqaises (Nouv. acc. fr.): 24, 5245. 21155 c. Blancs lianteaur 49 d. V£ Colbert 54 2. Archives Rationales (Arch. nat. or All) a. Series J: 910r b. Series K: 550'-' c. Series KZ: 70, 75, 74, 76, 77, 82-89, 100, 240, 555. 416 — — d. Series LL: 152 bis. 622. 625 e. Series MM: 859 f. Series X 1A: 1499. 1505. 5. Bibliotheque de 1 ’Arsenal: Ms. 5224 4. Petit Palais: Ms. 3.665 5. Bibliothbcue Sainte-Genevilve: Ms. 5056 6 . 3ibliothlque G. Thibault: *Nivelle de la Chaussle 3. Chambery: Arch. dept, de Savoie, Bonds rltrocldls de Turin, Inv. 124, SA. 5619, Supplement au compte (1 oct. 14S3 - 1 oct. 1439) ' C. Grenoble: Arch. dept, de l’Isere, G.447 D. Lyon: Arch, comm., 33.24, CC.556 B. Mantes' 1. Arch. dipt, de la Loire-Atlantique, B.208, B.210 2. Bibl. nun., Mss. 1555 (fr. 1174), 1557Tfr.~ir7o) F. Pontoise: Arch, mun., AA.i G. Tours: Arch. dipt. d ’lndre-et-IoSre, G.418, G.422, G.425 II. England A. London 1. British Museum a.*Additional Ms. 55087 b .*Royal Ms. 20.A.rvi c.*Ms. Harley 5242 d. Cottonian Ms. Vespasian II B. Cambridge: Magdalene College, Pepys Library, Ms. 1791 III. Austria A. Vienna 1. Csterreichische Nat ionalbibliothek a. Ms. 5410 (in 1841) o.*Cod. 15491 c.*Cod. 18310 N.B. for music manuscripts in other countries, consult list of their sigla (pp. v-vi) vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INTRODUCTION Anne de Bretagne, the duchess of Brittany for a quarter of a century and twice-crowned queen of France, gener­ ously patronized musicians and other artists throughout her thirty-seven years. In return she was honored musically by at least ,eight compositions that refer to her, quote her motto, or praise her directly. Besides rewarding outside performers, Anne employed a contingent of instrumentalists and maintained her own musical chapel— which included the composer, Pietrequin Bonnel; the organist, Pierre Mouton; and was directed in 1510 by Jean Mouton. This study focuses on the musicians of Anne's household and those of her successive husbands, Charles VIII (1491-98) and Louis XII (1499-1514); on music and manuscripts written for Anne de Bretagne; and on musical performances for her three ceremonial passages through Paris— both coronation entrees and her state funeral. La Laurencie's article on music at the court of Brittany^ paved the way for further research in this area. Though it contains several slight inaccuracies of detail, it clearly conveys the importance music held for
Recommended publications
  • Albret, Jean D' Entries Châlons-En-Champagne (1487)
    Index Abbeville 113, 182 Albret, Jean d’ Entries Entries Charles de Bourbon (1520) 183 Châlons-en-Champagne (1487) 181 Charles VIII (1493) 26–27, 35, 41, Albret, Jeanne d’ 50–51, 81, 97, 112 Entries Eleanor of Austria (1531) 60, 139, Limoges (1556) 202 148n64, 160–61 Alençon, Charles, duke of (d.1525) 186, Henry VI (1430) 136 188–89 Louis XI (1463) 53, 86n43, 97n90 Almanni, Luigi 109 Repurchased by Louis XI (1463) 53 Altars 43, 44 Abigail, wife of King David 96 Ambassadors 9–10, 76, 97, 146, 156 Albon de Saint André, Jean d’ 134 Amboise 135, 154 Entries Amboise, Edict of (1563) 67 Lyon (1550) 192, 197, 198–99, 201, 209, Amboise, Georges d’, cardinal and archbishop 214 of Rouen (d.1510) 64–65, 130, 194 Abraham 96 Entries Accounts, financial 15, 16 Noyon (1508) 204 Aeneas 107 Paris (1502) 194 Agamemnon 108 Saint-Quentin (1508) 204 Agen Amelot, Jacques-Charles 218 Entries Amiens 143, 182 Catherine de Medici (1578) 171 Bishop of Charles IX (1565) 125–26, 151–52 Entries Governors 183–84 Nicholas de Pellevé (1555) 28 Oath to Louis XI 185 Captain of 120 Preparing entry for Francis I (1542) 79 Claubaut family 91 Agricol, Saint 184 Confirmation of liberties at court 44, Aire-sur-la-Lys 225 63–64 Aix-en-Provence Entries Confirmation of liberties at court 63n156 Anne of Beaujeu (1493) 105, 175 Entries Antoine de Bourbon (1541) 143, 192, Charles IX (1564) 66n167 209 Bernard de Nogaret de La Valette (1587) Charles VI and Dauphin Louis (1414) 196n79 97n90, 139, 211n164 Françoise de Foix-Candale (1547) Léonor dʼOrléans, duke of Longueville 213–14 (1571)
    [Show full text]
  • June 2015 Broadside
    T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
    [Show full text]
  • Troubadour Tales
    THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES EDWARD- S- SULLIVAN Troubadour Tales Troubadour Tales By Evaleen Stein With Illustrations By Virginia Keep Maxfield Parrish B. Rosenmeyer &? Edward Edwards Indianapolis The Bobbs-Merrill Company Publishers Copyright 1903 The Bobbs-Merrill Company ~Jdy~ Printed in the United States of America PRESS OF RRAUNWORTH It CO. BOOK MANUFACTURER* BROOKLYN, N. Y. To My Mother 631959 Contents THE PAGE OF COUNT REYNAURD i THE LOST RUNE 27 COUNT HUGO'S SWORD 76 FELIX I3 2 Troubadour Tales THE PAGE OF COUNT REYNAURD HOW HE EARNED THE FAVOR OF KING RENE AND WON A SILVER CUP FOR CLEVERNESS IN THE LATIN TONGUE " PIERROT! Pierrot! are thy saddle-bags well fastened ? And how fare my lutestrings ? Have a care lest some of them snap with jog ging over this rough bit of road. And, Pierrot, next time we pass a fine periwinkle thou hadst best jump down and pluck a fresh bunch for my Barbo's ears." The speaker, Count Reynaurd of Poitiers, patted the fluffy black mane of his horse Barbo, and loosened the great nosegay of blue flowers 2 TROUBADOUR TALES tucked into his harness and nodding behind his ears. Barbo was gaily decked out; long sprays of myrtle dangled from his saddle-bow, and a wreath of periwinkle and violets hung round his neck for the Count was not ; Reynaurd only a noble lord, but also a famous troubadour. That is to say, he spent his time riding from castle to castle, playing on his lute or viol, and singing beautiful songs of his own making.
    [Show full text]
  • A Renaissance Christmas St Martin's Voices Andrew Earis Director Available Until 16Th January 2021
    A Renaissance Christmas St Martin's Voices Andrew Earis Director Available until 16th January 2021 St Martin-in-the-Fields, Trafalgar Square London WC2N 4JJ www.smitf.org PROGRAMME ADVENT Vigilate – William Byrd (1543-1623) Canite tuba – Francisco Guerrero (1528-1599) NATIVITY Videte miraculum – Thomas Tallis (1505-1595) Ave Maria à 8 – Tomás Luis de Victoria (1548-1611) Angelus ad pastores ait – Raffaella Aleotti (c.1570-c.1646) Quem vidistis, pastores? – Richard Dering (1580-1630) O magnum mysterium – Victoria Videntes stellam magi – Orlando di Lasso (1532-1594) CHRISTMAS MORNING Verbum caro factum est à 6 – Hans Leo Hassler (1564-1612) Nesciens mater – Jean Mouton (1459-1522) O beatum et sacrosanctum diem – Peter Philips (1561-1628) Resonet in laudibus – Johannes Eccard (1553-1611) Puer natus est nobis – Byrd Hodie Christus natus est – Jan Pieterszoon Sweelinck (1562-1621) PROGRAMME NOTES by Charlotte Marino Vigilate William Byrd Byrd was an English composer of the Renaissance period and is widely considered to be one of the greatest British composers of all times. His Vigilate takes inspiration from the Italian madrigal traditions, resulting in colouring that is vivid, detailed and full of lulling suspensions. This piece is a beautiful example of Byrd’s compositional individuality and astonishingly consistent level of inspiration. Canite tuba Francisco Guerrero Francisco Guerrero was a Spanish Catholic priest and talented young composer of the Renaissance period. At age 17, Guerrero was appointed Maestro de Capilla at Jaen Cathedral, and a few years later he accepted a prestigious position in Seville. He established an exceptional reputation as a singer and composer even before his thirtieth birthday, with his music known for its powerful range of moods, from joy to despair, longing, elation and devotional stillness.
    [Show full text]
  • The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions
    Center for Basque Studies Basque Classics Series, No. 6 The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions by Philippe Veyrin Translated by Andrew Brown Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support obtained by the Association of Friends of the Center for Basque Studies from the Provincial Government of Bizkaia. Basque Classics Series, No. 6 Series Editors: William A. Douglass, Gregorio Monreal, and Pello Salaburu Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2011 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover and series design © 2011 by Jose Luis Agote Cover illustration: Xiberoko maskaradak (Maskaradak of Zuberoa), drawing by Paul-Adolph Kaufman, 1906 Library of Congress Cataloging-in-Publication Data Veyrin, Philippe, 1900-1962. [Basques de Labourd, de Soule et de Basse Navarre. English] The Basques of Lapurdi, Zuberoa, and Lower Navarre : their history and their traditions / by Philippe Veyrin ; with an introduction by Sandra Ott ; translated by Andrew Brown. p. cm. Translation of: Les Basques, de Labourd, de Soule et de Basse Navarre Includes bibliographical references and index. Summary: “Classic book on the Basques of Iparralde (French Basque Country) originally published in 1942, treating Basque history and culture in the region”--Provided by publisher. ISBN 978-1-877802-99-7 (hardcover) 1. Pays Basque (France)--Description and travel. 2. Pays Basque (France)-- History. I. Title. DC611.B313V513 2011 944’.716--dc22 2011001810 Contents List of Illustrations..................................................... vii Note on Basque Orthography.........................................
    [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]
  • Animal Life in Italian Painting
    UC-NRLF III' m\ B 3 S7M 7bS THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA PRESENTED BY PROF. CHARLES A. KOFOID AND MRS. PRUDENCE W. KOFOID ANIMAL LIFE IN ITALIAN PAINTING THt VISION OF ST EUSTACE Naiionai. GaM-KUV ANIMAL LIFE IN ITALIAN PAINTING BY WILLIAM NORTON HOWE, M.A. LONDON GEORGE ALLEN & COMPANY, LTD. 44 & 45 RATHBONE PLACE 1912 [All rights reserved] Printed by Ballantvne, Hanson 6* Co. At the Ballantyne Press, Edinburgh / VX-/ e3/^ H67 To ©. H. PREFACE I OWE to Mr. Bernhard Berenson the suggestion which led me to make the notes which are the foundation of this book. In the chapter on the Rudiments of Connoisseurship in the second series of his Study and Criticism of Italian Art, after speaking of the characteristic features in the painting of human beings by which authorship " may be determined, he says : We turn to the animals that the painters, of the Renaissance habitually intro- duced into pictures, the horse, the ox, the ass, and more rarely birds. They need not long detain us, because in questions of detail all that we have found to apply to the human figure can easily be made to apply by the reader to the various animals. I must, however, remind him that animals were rarely petted and therefore rarely observed in the Renaissance. Vasari, for instance, gets into a fury of contempt when describing Sodoma's devotion to pet birds and horses." Having from my schooldays been accustomed to keep animals and birds, to sketch them and to look vii ANIMAL LIFE IN ITALIAN PAINTING for them in painting, I had a general recollection which would not quite square with the statement that they were rarely petted and therefore rarely observed in the Renaissance.
    [Show full text]
  • Direction 2. Ile Fantaisies
    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
    [Show full text]
  • University of Southampton Research Repository
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Katarzyna Kosior (2017) "Becoming and Queen in Early Modern Europe: East and West", University of Southampton, Faculty of the Humanities, History Department, PhD Thesis, 257 pages. University of Southampton FACULTY OF HUMANITIES Becoming a Queen in Early Modern Europe East and West KATARZYNA KOSIOR Doctor of Philosophy in History 2017 ~ 2 ~ UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES History Doctor of Philosophy BECOMING A QUEEN IN EARLY MODERN EUROPE: EAST AND WEST Katarzyna Kosior My thesis approaches sixteenth-century European queenship through an analysis of the ceremonies and rituals accompanying the marriages of Polish and French queens consort: betrothal, wedding, coronation and childbirth. The thesis explores the importance of these events for queens as both a personal and public experience, and questions the existence of distinctly Western and Eastern styles of queenship. A comparative study of ‘Eastern’ and ‘Western’ ceremony in the sixteenth century has never been attempted before and sixteenth- century Polish queens usually do not appear in any collective works about queenship, even those which claim to have a pan-European focus.
    [Show full text]
  • Why We Play: an Anthropological Study (Enlarged Edition)
    ROBERTE HAMAYON WHY WE PLAY An Anthropological Study translated by damien simon foreword by michael puett ON KINGS DAVID GRAEBER & MARSHALL SAHLINS WHY WE PLAY Hau BOOKS Executive Editor Giovanni da Col Managing Editor Sean M. Dowdy Editorial Board Anne-Christine Taylor Carlos Fausto Danilyn Rutherford Ilana Gershon Jason Troop Joel Robbins Jonathan Parry Michael Lempert Stephan Palmié www.haubooks.com WHY WE PLAY AN ANTHROPOLOGICAL STUDY Roberte Hamayon Enlarged Edition Translated by Damien Simon Foreword by Michael Puett Hau Books Chicago English Translation © 2016 Hau Books and Roberte Hamayon Original French Edition, Jouer: Une Étude Anthropologique, © 2012 Éditions La Découverte Cover Image: Detail of M. C. Escher’s (1898–1972), “Te Encounter,” © May 1944, 13 7/16 x 18 5/16 in. (34.1 x 46.5 cm) sheet: 16 x 21 7/8 in. (40.6 x 55.6 cm), Lithograph. Cover and layout design: Sheehan Moore Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9861325-6-8 LCCN: 2016902726 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is marketed and distributed by Te University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Table of Contents Acknowledgments xiii Foreword: “In praise of play” by Michael Puett xv Introduction: “Playing”: A bundle of paradoxes 1 Chronicle of evidence 2 Outline of my approach 6 PART I: FROM GAMES TO PLAY 1. Can play be an object of research? 13 Contemporary anthropology’s curious lack of interest 15 Upstream and downstream 18 Transversal notions 18 First axis: Sport as a regulated activity 18 Second axis: Ritual as an interactional structure 20 Toward cognitive studies 23 From child psychology as a cognitive structure 24 .
    [Show full text]
  • Of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun
    Court in the Market: The ‘Business’ of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun Hee Cho Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Jun Hee Cho All rights reserved ABSTRACT Court in the Market: The ‘Business’ of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun Hee Cho This dissertation examines the relations between court and commerce in Europe at the onset of the modern era. Focusing on one of the most powerful princely courts of the period, the court of Charles the Bold, duke of Burgundy, which ruled over one of the most advanced economic regions in Europe, the greater Low Countries, it argues that the Burgundian court was, both in its institutional operations and its cultural aspirations, a commercial enterprise. Based primarily on fiscal accounts, corroborated with court correspondence, municipal records, official chronicles, and contemporary literary sources, this dissertation argues that the court was fully engaged in the commercial economy and furthermore that the culture of the court, in enacting the ideals of a largely imaginary feudal past, was also presenting the ideals of a commercial future. It uncovers courtiers who, despite their low rank yet because of their market expertise, were close to the duke and in charge of acquiring and maintaining the material goods that made possible the pageants and ceremonies so central to the self- representation of the Burgundian court. It exposes the wider network of court officials, urban merchants and artisans who, tied by marriage and business relationships, together produced and managed the ducal liveries, jewelries, tapestries and finances that realized the splendor of the court.
    [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]