Gaspar Van Weerbeke

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Gaspar van Weerbeke New Perspectives on His Life and Music ISBN: 9782503584546 (pb) edited by Andrea Lindmayr-Brandl and Paul Kolb PRICE: DESCRIPTION: $65.00 (pb) Gaspar van Weerbeke was one of the most successful Franco-Flemish musicians of the second half of the fifteenth century, holding prestigious positions in the Sforza court in Milan, the Burgundian PUBLICATION DATE: court chapel, and the papal chapel in Rome. His compositions were widely transmitted in manuscript 28 November 2019 (pb) and print sources throughout Europe, and he was one of the best represented composers in the early Italian music prints of Ottaviano Petrucci. Despite the high esteem of his contemporaries, BINDING: Gaspar has up to now played only a peripheral role in Renaissance music historiography. This book Paperback is the first collection of research articles dedicated exclusively to the life and works of Gaspar. While the basic facts of Gaspar's life have long been known, the book fleshes out the details, presenting a PAGES: more differentiated and complex picture of his biography. Analysis of a wide range of Gaspar's 332 compositional output leads to new interpretations of his approach to different genres: masses, motets, and motet cycles. His relatively small quantity of songs is revisited in light of the confusion- ILLUSTRATIONS: both then and now-over the meaning and validity of their attributions. This book seeks to promote 19 b/w illus. further research on this composer and place him in his appropriate place in music history. PUBLISHER: Brepols Publishers IMPRINT: Brepols Publishers SERIES: Epitome musical READER INTERESTS: Music Renaissance Studies .

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Gaspar Van Weerbeke New Perspectives on His Life and Music Gaspar Van Weerbeke New Perspectives on His Life and Music
Gaspar van Weerbeke New Perspectives on his Life and Music Gaspar van Weerbeke New Perspectives on his Life and Music edited by Andrea Lindmayr-Brandl and Paul Kolb Centre d’études supérieures de la Renaissance Université de Tours / du Collection « Épitome musical » dirigée par Philippe Vendrix Editorial Committee: Hyacinthe Belliot, Vincent Besson, Camilla Cavicchi, David Fiala, Christian Meyer, Daniel Saulnier, Solveig Serre, Vasco Zara Advisory board: Andrew Kirkman (University of Birmingham), Yolanda Plumley (University of Exeter), Jesse Rodin (Stanford University), Richard Freedman (Haverford College), Massimo Privitera (Università di Palermo), Kate van Orden (Harvard University), Emilio Ros-Fabregas (CSIC-Barcelona), omas Schmidt (University of Hudders eld), Giuseppe Gerbino (Columbia University), Vincenzo Borghetti (Università di Verona), Marie-Alexis Colin (Université Libre de Bruxelles), Laurenz Lütteken (Universität Zürich), Katelijne Schiltz (Universität Regensburg), Pedro Memelsdor¦ (Chercheur associé, Centre d'études supérieures de la Renaissance–Tours), Philippe Canguilhem (Université de Toulouse Le Mirail) Layout: Vincent Besson Research results from: Auª rian Science Fund (FWF): P¬®¯°±. Published with the support of Auª rian Science Fund (FWF): PUB ®°³-G¬®. Cover illu ration: Image ®°³´¬µ°¯ © Giuseppe Anello – Dreamª ime.com Coat of arms of Ludovico Maria Sforza ISBN 978-2-503-58454-6 e-ISBN 978-2-503-58455-3 DOI 10.1484/M.EM-EB.5.117281 ISSN 2565-8166 E-ISSN 2565-9510 D/// Dépôt légal : F © ¸¹º, Brepols Publishers n.v., Turnhout, Belgium – CESR, Tours, France. Open access: Except where otherwise noted, this work is licensed under a Creative Commons Attribution 4.0 Unpor- ted License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ Printed in the E.
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CURRICULUM VITAE RICHARD FREEDMAN Professor of Music
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Abstracts for the Conference “Gaspar Van Weerbeke: Works and Contexts” Salzburg, June 29 to July 1, 2017
Abstracts for the conference “Gaspar van Weerbeke: Works and Contexts” Salzburg, June 29 to July 1, 2017 The Missa O venus bant as Song Cycle Clare Bokulich (Washington University in St. Louis) Most famous for his pioneering contributions to the Milanese motetti missales repertory, Gaspar van Weerbeke is known primarily for his sacred music. Our understanding of the composer’s secular output has been severely hampered by conflicting attributions and incomplete sources. A small portion of Gaspar’s resolutely sacred compositions, however, circulate in manuscripts comprised almost entirely of secular music. Examining the diverse generic guises in which Gaspar’s works circulate enhances our understanding of the composer’s output and contemporary reception. One of the most striking cases is the Missa O venus bant. The songbook Florence 229 preserves the “Et incarnatus est,” “Pleni sunt celi,” and “Benedictus” sections of this mass. Appearing successively and without text, these three-voice settings blend in with the works that surround them in the Florence manuscript. Though well camouflaged, the three-voice sections of Gaspar’s mass are not without parallel. Florence 229 contains similar reduced- texture settings from an additional two masses, and at least a dozen other manuscripts from the late-fifteenth century transmit three-voice mass sections in a largely secular context. We are accustomed to theorizing the relationship between songs and masses in terms of borrowing: indeed, the Missa O venus bant is based on a monophonic Flemish song. In such contexts, the song is usually portrayed as being elevated into the mass. But cases like the Missa O venus bant invert this paradigm, subsuming the mass into the world of secular song.
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DE ORTO/JOSQUIN Musique À La Chapelle Sixtine Autour De 1490
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Josquin Des Prez in Fact and Legend
Personal Prayer : Music from the Earliest Notations to the Sixteent... http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780... Oxford History of Western Music: Richard Taruskin See also from Grove Music Online Marian antiphon Guillaume Du Fay PERSONAL PRAYER Chapter: CHAPTER 13 Middle and Low Source: MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY Author(s): Richard Taruskin These Marian antiphon settings sound a conspicuously personal note that we have not previously encountered in liturgical music. That is another aspect of “middling” tone; but it accords well with the votive aspects of Marian worship, the component of the Christian liturgy that in those days was most intensely “personal.” That, too, was something that could be thematized by a knowing composer, especially a knowing churchman-composer. The supreme case in point for a fifteenth-century motet is the third and most splendid setting Du Fay made of the Marian antiphon Ave Regina coelorum, copied into the choirbooks of Cambrai Cathedral in 1465. It is as impressive a motet as Du Fay or anyone ever composed, but it is impressive in an altogether different way from his earlier large-scale motet settings. Where the isorhythmic Nuper rosarum flores (Ex. 8-8) had impressed by its monumentality, Ave Regina coelorum impresses with an altogether unprecedented expressive intensity—unprecedented, that is, within the motet genre. The personal and votive aspect of this motet are epitomized in a moving set of tropes that Du Fay interpolated into the canonical text of the antiphon, representing a prayer for his own salvation that he wanted sung at his deathbed, and that he wanted to go on being recited after his death in perpetuity, for which, a rich man, he provided an endowment in his will: Ave regina coelorum, Hail, O Queen of Heaven! Ave Domina angelorum, Hail, O Ruler of the Angels! Miserere tui Have mercy on labentis Dufaÿ Thy failing Du Fay, Ne peccatorum throw him not into the in ignem fervorum.
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A Collection of Georg Rhau's Music Editions and Some Previously
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AMS Newsletter August 2017
AMS NEWSLETTER THE AMERICAN MUSICOLOGICAL SOCIETY CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES VOLUME XLVII, NUMBER 2 August 2017 ISSN 0402-012X AMS Rochester 2017 9–12 November www.ams-net.org/rochester We welcome you this November to the AMS Annual Meeting in Rochester, New York. Rochester is a special place: the confluence of the Erie Canal and the Genesee River cre- ated an industrial boom in the early-to-mid nineteenth century and still provides “gorges” views today. Home to both Susan B. Anthony and Frederick Douglass, Rochester was at the forefront of social justice in the United States more than a century ago, a point to be Visit Rochester Credit: celebrated in more than one offering during the Annual Meeting. The Eastman School of Music, one of the world’s top institutions for both music research and performance, will play an important part in many of the meet- ing’s activities, as the Preliminary Program Rochester at night (pp. 11–25) reveals. While the AMS and Eastman may well porary art. The Italian organ replica housed traditional daytime performances (p. 26), but engage you 24/7, there’s plenty to do around there is played every Sunday at 1 and 3 p.m. we also have arranged concerts in connection Rochester if you need a respite. The Univer- For edgier art, you may wish to visit the with the Eastman School of Music, the artis- sity of Rochester’s Memorial Art Gallery has Rochester Contemporary Art Center (www. tic epicenter of our gathering. On Thursday an impressive collection that includes works rochestercontemporary.org).
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