DOCSLIB.ORG

I Al the MULTIVOICE SACRED MUSIC of NICOLAS GOMBERT: A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION by Brandi Amanda Neal Bachelor of Arts in Music, University of South Carolina, 2003 Master of Arts in Music, University of Pittsburgh, 2006 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 al i UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Brandi A. Neal It was defended on April 1, 2011 and approved by James P. Cassaro, Adjunct Assitant Professor, Department of Music, Head, Theodore M. Finney Music Library Alan Lewis, Director of Music, Calvary Episcopal Church, Pittsburgh, Pennsylvania Don O. Franklin, Professor Emeritus, Department of Music Francesca L. Savoia, Associate Professor of Italian, French and Italian Languages and Literature Dissertation Advisor: Mary S. Lewis, Professor Emerita, Department of Music ii Copyright © by Brandi A. Neal 2011 iii THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION OF STYLE AND CONTEXT Brandi A. Neal, PhD University of Pittsburgh, 2011 This dissertation examines the sacred compositions for six or more voices by Nicolas Gombert (1495-1560). Two multivoice (six or more voices) compositional techniques emerged in sixteenth-century Europe. The first of these, the Italian double-choir (coro spezzato) technique, has received far more attention from scholars. This practice divided the vocal ensemble into two groups that sang either separately or together, and whose members remained consistent throughout the musical composition. The second technique, practiced by composers in northern Europe, also split settings into two or more vocal groups, but the members of the groupings constantly changed. This dissertation examines the second practice of multivoice writing in the sacred music of Gombert. My study is concerned with multiple issues essential in understanding Gombert’s works and their relationship to other techniques of vocal writing in the sixteenth century. Among these issues, I focus on compositional procedure and context, both historical and musical. I examine Gombert’s multivoice techniques across three sacred genres, motets, masses and his single complete octo tonorum cycle of Magnificats. I highlight the mechanical procedures of the pervading imitative style and how it may have been adapted to larger settings. I have found evidence of a distinct change in his compositional process in settings for more than six voices. Gombert’s motets demonstrate this change in procedure. Whereas his motets for six voices show procedures utilized in settings for four and five voices, the motets also demonstrate handling of vocal groupings that appears with greater frequency in his settings for iv more than six voices. To further contextualize Gombert’s music, I discuss how Gombert negotiates and adapts other styles and integrates them within his own. All of his multivoice masses, for example, integrate musical techniques and styles from the previous generation. The Magnificat cycle presents a unique opportunity to examine Gombert’s multivoice processes as a case study. Nicolas Gombert has been a murky figure and his works have been somewhat dismissed as compositional curiosities due to the density of his pervading imitation style. This dissertation sheds light on Gombert’s compositional processes and adds to our understanding of multivoice writing in the mid-sixteenth century. v TABLE OF CONTENTS PREFACE ................................................................................................................................. XVI 1.0 INTRODUCTION ........................................................................................................ 1 1.1 RESEARCH PROBLEM AND APPROACH................................................... 2 1.2 LITERATURE REVIEW ................................................................................... 4 2.0 MOTETS FOR SIX VOICES ................................................................................... 12 2.1 THE RESPONSORY FORM IN THE SIXTEENTH-CENTURY MOTET AND GOMBERT’S RESPONSORY-TEXT MOTETS FOR SIX VOICES ................ 14 2.1.1 Six-Voice Motets with Alleluia Refrains ...................................................... 16 2.1.1.1 Ego sum qui sum .................................................................................. 21 2.1.2 Through-Composed Six-Voice Responsory Motets .................................... 29 2.1.2.1 Si bona suscepimus .............................................................................. 29 2.1.2.2 Quem dicunt homines .......................................................................... 32 2.1.2.3 Omnis pulchritudo Domini .................................................................. 34 2.2 SETTINGS WITH CLASSICAL TEXTS ....................................................... 36 2.2.1 Secular Poetic Texts in Gombert’s Motets .................................................. 36 2.2.2 Qui colis Ausoniam: Historical Background and Musical Setting ............ 36 2.2.2.1 Gombert’s Motet Qui colis Ausoniam ............................................... 40 2.2.3 Musae Iovis ..................................................................................................... 53 vi 2.2.3.1 Gombert’s Motet Setting of Musae Iovis ........................................... 54 2.2.3.2 Form and the Cantus Firmus in Musae Iovis .................................... 58 2.3 MOTETS WITH EXTENDED SACRED TEXTS ......................................... 61 2.3.1 O Domine Iesu Christe ................................................................................... 61 2.3.2 Gombert’s Setting of O Domine Iesu Christe .............................................. 62 2.3.3 Salvator mundi, salva nos omnes ................................................................... 69 2.3.4 Groupings and Text in Salvator mundi, salva nos omnes ........................... 76 2.3.5 High-Low Groupings in the Secunda pars in Salvator mundi, salva nos omnes.. ......................................................................................................................... 81 2.4 SUMMARY CONCLUSION ............................................................................ 84 3.0 MOTETS FOR EIGHT OR MORE VOICES ........................................................ 87 3.1 GOMBERT’S EIGHT-VOICE MOTETS AND CONTRAFACTA .............. 88 3.1.1 The Je prens congie Complex: Attribution History and the Question of Polychorality ............................................................................................................... 88 3.1.2 A Return to the Question of Polychorality .................................................. 99 3.2 GOMBERT’S EIGHT-VOICE O IESU CHRISTE ...................................... 102 3.2.1.1 O Iesu Christe and Polychorality ..................................................... 103 3.2.1.2 Gombert’s Approach to Canon in O Iesu Christe .......................... 105 3.2.2 Possible Function ......................................................................................... 108 3.3 GOMBERT’S MOTETS FOR MORE THAN EIGHT VOICES ............... 113 3.3.1 The Ten-Voice Regina caeli ........................................................................ 113 3.3.2 Gombert’s Twelve-Voice Regina Caeli ...................................................... 117 3.3.2.1 The Setting ......................................................................................... 117 vii 3.3.3 Imitative Style .............................................................................................. 122 3.4 SUMMARY CONCLUSION .......................................................................... 124 4.0 MASS ORDINARY SETTINGS FOR SIX OR MORE VOICES ....................... 126 4.1 MISSA QUAM PULCHRA ES ........................................................................ 128 4.1.1 Bauldeweyn’s Quam pulchra es as Model.................................................. 128 4.1.2 Multivoice Approach in Gombert’s Missa Quam pulchra es ................... 134 4.1.3 Who was the Sacerdos Magnus? ................................................................ 139 4.2 MISSA TEMPORE PASCHALI ...................................................................... 143 4.2.1 Brumel’s Missa Tempore paschali as Model .............................................. 144 4.2.1.1 The Multivoice Settings .................................................................... 152 4.3 CREDO MASS MOVEMENT ........................................................................ 156 4.3.1 Credo Je prens congie .................................................................................. 158 4.3.1.1 Misattributed? ................................................................................... 165 4.4 SUMMARY CONCLUSION .......................................................................... 168 5.0 MAGNIFICAT SETTING ....................................................................................... 170 5.1 HISTORICAL BACKGROUND OF THE GENRE .................................... 170 5.2 GOMBERT’S OCTO TONORUM CYCLE ................................................... 174 5.2.1 The Question of Chronology and Purpose ................................................ 174 5.2.2 Gombert’s Setting ........................................................................................ 179 5.2.2.1 Magnificat quarti toni: Two Examples of the Treatment of the Caesura. ...........................................................................................................
Recommended publications

  • The Tallis Scholars I

    The Tallis Scholars I A Secrest Artists Series Event 7:30 pm, Thursday , March 29, 2007 Wait Chapel, Wake Forest University secrest artists series Winston-Salem, North Carolina ••• The Tallis Scholars Peter Phillips, director Soprano Tenor Tessa Bonner Andrew Carwood Janet Coxwell Nicholas Todd Chris Watson George Poo ley Alto Bass Patrick Craig Dona ld Greig Caro line Trevor Robert Macdonald Messa a quattro voci da capella ................. Claudio Monteverdi ( 1567-1643) Peccantem me quotidie ........ ,.... ,..... Giovanni Pierlu.igi Palestrina {1525-1594) Oum complerentur .............. , ............ G iovanni Pi erluigi Palestrin a INTERMISSION Media vit a ............................ N icolas Gombert ( 1495-1560) Media vita .......................... Orlande de Lassus (1532-1594) Stabat juxt a ....... , ...................... John Browne Magnifi cat IV ................... ... Nicolas Gombert In North America, The Tallis Scholars are managed by: International Arts Foundation, Inc. 201 West 54th Street, Suite lC New York, NY 10019 www.internationalartsfoimdation.com The Tallis Scholars record for Gimme ll Records www.gimmell.comwww.thetallisscholars.co.t,k The Tallis Scholars American Tour - 24th March to 1st April GregSkidmore One of the unique features of the history of Renaissance music was the variety with which the basic compositiona l idea of vocal polyphony was mterpreted in different countries and at different times. Tonight, the Tallis Scholars present music written over a span of over 140 years by compos- ers from varymg national backgrounds, and it will be possible to see both contrasts and similarities m their music. Most consider Claudio Monteverdi to be a Baroque composer. Even though his introduction of the seconda prattica has long been considered a watershed moment in the history of music, Monteverdi wrote in an older style, called prima prattica, throughout his life.
  • RSU-072 Manchicourt — Faulte D'argent A8.Pdf

    RSU-072 Manchicourt — Faulte D'argent A8.Pdf

    Faulte d'argent Pierre de Manchicourt (c.1510–1564) Susato, Le treziesme livre contenant vingt et deux chansons nouvelles (6 & 8 vv) [Antwerp, 1550] " " ! $ ' ! SUPERIUS - ! * PRIMUS ! % ! ( $ # $ # # , Faul te d'ar gent, c'est ! ) $ ' " ! " SUPERIUS * SECUNDUS ! ! ( ( ( , % " " ) ' ! CONTRATENOR ! )* ! % ! ( ( ( " " ! ! ! QUINTA PARS ! )* ! % ! $ # # # # Faul te# d'ar gent,# c'est# dou# # leur non pa# ! ( &'" ! ! TENOR ! + * PRIMUS ! % ! ( ( ' # 8 Faul ! $ " ! !% # TENOR + SECUNDUS $ # & * ! % ! ( # & # # 8 Faul te d'ar gent, c'est# " !% ! ) $ ! BASSUS /* [PRIMUS] ! " ! ( ( ( ! ) ($'" ! BASSUS / * [SECUNDUS] ! " ! ( ( ( . 4 " - ' % #0 & # # # $ # 1 $ dou leur non pa rei lle, ! % ( ( $ # $ # # Faul te d'ar gent, c'est ! % ( $ $ # # # # Faul te# d'ar gent, c'est dou# leur non pa# % $ 0 ( ( rei # & # # lle,$ # # # # % # # # # # $ # #0 & & & & 8 te d'ar gent, c'est dou leur non pa & rei ! % & # # # # & & & $ $ # 8 dou#0 leur non# #pa rei& lle, c'est $ # # & & # " ( ( # # Faul te d'ar gent, c'est " ( ( ( ( . RESOLUT Editions RSU–072 © 2021 • Andrew Fysh, Canberra AU • CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/) 2 Faulte d'argent Manchicourt 8 - ' ! % ( ( # # # # # c'est dou leur non pa † " #$% # # % # # # # & & $ # & & & # & & # dou leur non pa rei lle, & # ❲non pa rei ' % $ $ $ ( ( rei lle, % ( #0 c'est$ dou# leur# non# pa & rei# # # lle,$ ' ! ! % $ ' # # & & $ $ # 8 lle, non pa rei lle, non % # # # # & & # $ $ ' ( 8 dou leur non pa rei lle, & " #0 & & & & # # #0 & & & $ # # # $ dou leur non pa rei lle, " " ! $ $ # $ # # # # # # # . Faul te d'ar gent, c'est dou leur non pa rei # 12 - ' ' ! % & & $ # # # $ # rei # & & lle, c'est ' ' ! % # # # # # & & # & & lle,$ ❳ c'est dou leur non pa rei & & ! % 0 $ c'est# dou# leur# non# pa# & # # # rei#0 & $ ! % ' ( ( ' $ c'est# ! % #0 & & & # $ ' # # # # # 8 pa rei lle,$ c'est dou leur non pa ' ! % # # # # # # $ # # # $ 8 c'est dou leur non pa rei lle. " ! # # & & & & # # # #0 & $ ' ! # c'est dou leur non pa rei lle, c'est " ' ! $ #0 & # # # # $ .
  • Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume

    Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume

    Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources).
  • Direction 2. Ile Fantaisies

    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.
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
  • Multiple Choice

    Multiple Choice

    Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance.
  • Antonio De Cabeçon (Castrillo Mota De Judíos 1510 – Madrid 1566)

    Antonio De Cabeçon (Castrillo Mota De Judíos 1510 – Madrid 1566)

    Antonio de Cabeçon (Castrillo Mota de Judíos 1510 – Madrid 1566) Comiençan las canciones glosadas y motetes de a cinco Fol. 136-158v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 Second part: 13 canciones and 1 Fuga (or Tiento) in 5 voices transcribed for keyboard instrument or harp and arranged for recorders or other instruments with introduction and critical notes by Arnold den Teuling Keyboard instrument or harp 2017 1 2 Introduction to the edition of the remaining part of Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father’s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 on the page which also contains the “erratas”. The Obras contain an extensive and very useful introduction in unnumbered pages, followed by 200 folio’s of printed music, superscribed in the upper margin “Compendio de Musica / de Antonio de Cabeçon.” A facsimile is in IMSLP. The first editor Felipe Pedrell (1841-1922), Hispaniae Schola Musica Sacra, Vols.3, 4, 7, 8, Barcelona: Juan Pujol & C., 1895-98, did not provide a complete edition, but a little more than half of it. He omitted the intabulations, “glosas”, of other composers, apparently objecting a lack of originality to them. He also gave an extensive introduction in Spanish and French. This edition may be found in IMSLP too. Pedrell stopped his complete edition after folio 68 (of 200), and made a selection of remaining works.
  • A Conductor's Analysis of Selected Motets by Rihards Dubra Kevin Doyle Smith Louisiana State University and Agricultural and Mechanical College, Ksmit43@Lsu.Edu

    A Conductor's Analysis of Selected Motets by Rihards Dubra Kevin Doyle Smith Louisiana State University and Agricultural and Mechanical College, [email protected]

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 The ts yle of meditation: a conductor's analysis of selected motets by Rihards Dubra Kevin Doyle Smith Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Smith, Kevin Doyle, "The ts yle of meditation: a conductor's analysis of selected motets by Rihards Dubra" (2004). LSU Doctoral Dissertations. 1235. https://digitalcommons.lsu.edu/gradschool_dissertations/1235 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE STYLE OF MEDITATION: A CONDUCTOR’S ANALYSIS OF SELECTED LATIN MOTETS BY RIHARDS DUBRA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fullfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Kevin Doyle Smith B. S., Eastern Nazarene College, 1994 M. S. M., Emory University, 1999 August 2004 Acknowledgements Thank you to my family, Mendy and Brendan, for all of the sacrifices that you both have made to help me achieve my goals and live my dreams. Without your love, support, and understanding none of this would have been possible. Thank you to Ken Fulton, Sara Lynn Baird, Allison McFarland, Bill Grimes, and Jindong Cai for their dedication to this research and to me.
  • Josquin Des Prez: Master of the Notes

    Josquin Des Prez: Master of the Notes

    James John Artistic Director P RESENTS Josquin des Prez: Master of the Notes Friday, March 4, 2016, 8 pm Sunday, March 6, 2016, 3pm St. Paul’s Episcopal Church St. Ignatius of Antioch 199 Carroll Street, Brooklyn 87th Street & West End Avenue, Manhattan THE PROGRAM CERDDORION Sopranos Altos Tenors Basses Gaude Virgo Mater Christi Anna Harmon Jamie Carrillo Ralph Bonheim Peter Cobb From “Missa de ‘Beata Virgine’” Erin Lanigan Judith Cobb Stephen Bonime James Crowell Kyrie Jennifer Oates Clare Detko Frank Kamai Jonathan Miller Gloria Jeanette Rodriguez Linnea Johnson Michael Klitsch Michael J. Plant Ellen Schorr Cathy Markoff Christopher Ryan Dean Rainey Praeter Rerum Seriem Myrna Nachman Richard Tucker Tom Reingold From “Missa ‘Pange Lingua’” Ron Scheff Credo Larry Sutter Intermission Ave Maria From “Missa ‘Hercules Dux Ferrarie’” BOARD OF DIRECTORS Sanctus President Ellen Schorr Treasurer Peter Cobb Secretary Jeanette Rodriguez Inviolata Directors Jamie Carrillo Dean Rainey From “Missa Sexti toni L’homme armé’” Michael Klitsch Tom Reingold Agnus Dei III Comment peut avoir joye The members of Cerddorion are grateful to James Kennerley and the Church of Saint Ignatius of Petite Camusette Antioch for providing rehearsal and performance space for this season. Jennifer Oates, soprano; Jamie Carillo, alto; Thanks to Vince Peterson and St. Paul’s Episcopal Church for providing a performance space Chris Ryan, Ralph Bonheim, tenors; Dean Rainey, Michael J. Plant, basses for this season. Thanks to Cathy Markoff for her publicity efforts. Mille regretz Allégez moy Jennifer Oates, Jeanette Rodriguez, sopranos; Jamie Carillo, alto; PROGRAM CREDITS: Ralph Bonheim, tenor; Dean Rainey, Michael J. Plant, basses Myrna Nachman wrote the program notes.
  • Stile Antico Josquin

    Stile Antico Josquin

    Boston Early Music Festival in partnership with The Morgan Library & Museum present Stile Antico Josquin: Father of the Renaissance Ave Maria…virgo serena Josquin des Prez (ca. 1450–1521) Kyrie from Missa Pange lingua Josquin Vivrai je tousjours Josquin El grillo Josquin Inviolata, integra et casta es Maria Josquin Gloria from Missa Pange lingua Josquin Mille regretz Josquin Salve regina a5 Josquin O mors inevitabilis Hieronymus Vinders (fl. ca. 1525) Agnus Dei I and III from Missa Pange lingua Josquin Dum vastos Adriae fluctus Jacquet de Mantua (1483–1559) Friday, February 26, 2021 at 8pm Livestream broadcast Filmed concert from All Saints Church, West Dulwich, London, England BEMF.org Stile Antico Helen Ashby, Kate Ashby, Rebecca Hickey, soprano Emma Ashby, Cara Curran, Eleanor Harries, alto Andrew Griffiths, Jonathan Hanley, Benedict Hymas, tenor James Arthur, Will Dawes, Nathan Harrison, bass This concert is organized with the cooperation of Knudsen Productions, LLC, exclusive North American artist representative of Stile Antico. Stile Antico records for Decca. PROGRAM NOTES Our program tonight is devoted to the wonderful music of Josquin des Prez, marking 500 years since his death in 1521. Josquin was unquestionably a star in his own time: no lesser figure than Martin Luther praised him as “the master of the notes,” while for the theorist Glarean, “no one has more effectively expressed the passions of the soul in music…his talent is beyond description.” So what is it about Josquin that exerted such a spell on the generations that followed—and which still speaks so eloquently to us today? Much about Josquin’s biography and career remains shadowy: it isn’t always possible to pin down where he was working, and—with a few exceptions—the chronology of his works can only be attempted on stylistic grounds.
  • The Transcriber's Art – #51 Josquin

    The Transcriber's Art – #51 Josquin

    The Transcriber’s Art – #51 Josquin des Prez by Richard Yates “Take Five. There's a certain piece that if we don’t play, we’re in trouble.” —Dave Brubek It was a familiar situation: deep in the stacks, surrounded by ancient scores, browsing for music that might find artful expression through the guitar. Perusing pages of choral music, I was suddenly struck by the realization that what I was doing was precisely what lutenists 400 years ago had done. While not exactly déjà vu, there was a strong sense of threading my way along paths first explored centuries ago. And if I was struggling with this source material, did they also? What solutions did they find and what tricks did they devise? What can we learn from them to help solve the puzzle of intabulating Renaissance vocal polyphony? The 16th century saw the gradual evolution of musical ideals that culminated in the works of Giovanni Pierluigi da Palestrina (1525–94). Polyphonic music was to be a smooth, effortless flow of independent voices. Predominant stepwise movement emphasized continuity of individual lines but without drawing undue attention to any particular one. Dissonance was largely confined to the weak beats and passing tones or softened through suspensions. With its unique capacity for continuous modulation of timbre, pitch and volume, the human voice was exquisitely suited to this style. The articulation of syllables, true legato and subtle, unobtrusive portamento that connects phonemes and that is inherent in singing all facilitated the tracking of voices through a closely woven texture. Renaissance choral music is inextricably bound up with, and dependent on, the qualities of human voice.
  • Meerstemmigheid in Beeld Polyphony in the Picture

    Meerstemmigheid in Beeld Polyphony in the Picture

    Zeven meesterwerken uit het atelier MEERSTEMMIGHEID IN BEELD van Petrus alamire seven masterPieces from the workshoP of Petrus alamire POLYPHONY IN THE PICTURE DAVID J. BURN MEERSTEMMIGHEID Zeven meesterwerken uit het atelier IN BEELD van Petrus alamire DAVID J. BURN (RED./ED.), IGNACE BOSSUYT, STRATTON BULL, FABRICE FITCH, HONEY MECONI & EMILY THELEN seven masterPieces from the workshoP POLYPHONY of Petrus alamire IN THE PICTURE Dirk Snellings in memoriam inhoud contents 7 Voorwoorden / Forewords Herman Vanden Berghe, Philip Heylen 9 Inleiding / Introduction David j. Burn & Bart Demuyt 16 Matthaeus Pipelare (c. 1450–c. 1515),Memorare mater Christi | Ignace Bossuyt Brussel, Koninklijke Bibliotheek van België / Brussels, Royal Library of Belgium, Ms. 215-216 46 Pierre de la Rue (c. 1452–1518), Missa de septem doloribus beate Marie Virginis | emily thelen Brussel, Koninklijke Bibliotheek van België / Brussels, Royal Library of Belgium, Ms. 6428 78 Pierre de la Rue (c. 1452–1518), Missa Alleluia | Honey Meconi Mechelen, Stadsarchief / Mechelen, City Archive, Ms. s.s. 110 Pierre de la Rue (c. 1452–1518), Missa Ista est speciosa | Stratton Bull Brussel, Koninklijke Bibliotheek van België / Brussels, Royal Library of Belgium, Ms. 15075 150 Alexander Agricola (c. 1456–1506), Missa In myne zyn | Fabrice Fitch Brussel, Koninklijke Bibliotheek van België / Brussels, Royal Library of Belgium, Ms. 9126 182 Anon., Proch dolor | David J. Burn Brussel, Koninklijke Bibliotheek van België / Brussels, Royal Library of Belgium, Ms. 228 210 Antoine de Févin