THE POLYPHONIC INTROITS OF TRENTO, ARCHIMO CAPITOLARE, MS 93: A STYLISTIC ANALYSIS Briao Edward Powcr A tbesis submitted ia conformity witb the requirements for the degree of Doetor of Philosopby Graduate Department of Music University of Toronto 8 Copyrigbt by Brian Edward Power 1999 National Library Bibliothéque nationale B+B of Canada du Canada Acqiiisitions and Acquisitions et Bibliographic Services services bibliogiaphiques 395 Wellington Street 395. rue Wellington Otîawa ON KiA ON4 Ortawa ON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichelfilm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT The Polyphonie latroits of Tnnto, Archivio Copiolure, M.93: A Stylistic Analysis Doctor of Philosophy, 1999 Brian Edward Power Graduate Department of Music, University of Toronto Trent 93, the most recently discovered of the Trent Codices (a large and well- preserved source of fifteenthcenhuy sacred polyphony) contains a lengthy grouping of polyphonic settings of introits, the first item in the Proper of the Mass. The scope of this collection is unprecedented, and is not approached again until the siaeenth century (in collections such as the Jenu choirbook, and Heinrich Isaac's Choralis constant»tus). Why were these pieces copied? Were they ever performed in Trent, and if so. in what particular circumstances? This thesis is an exploration of the cultural and ecclesiastical context of the Trent 93 introits, in combination with a survey of their liturgical placement, and an analysis of their stylistic characteristics, in the hope that such a study will help to unravel some of these problems. Chapter One of this thesis sets the geographical and liturgical context for the stylistic study and outlines the current scholarly situation regarding the Trent codices and their importance in the repertory, including relevant paleographical and analytical studies. Also included are Mme known facts (and some speculation), about the scnbal activity in mid fi fieenth-cenhiry Trent and the possible routes by which the music of the codices found its way to this northem Italian town. Chapter Two surveys the introits in Tr93 according to their liturgical function and the copying plan of the scribes. Chapter Three, the essence the thesis, discusses the introit as a musical genre, and examines the various stylistic characteristics of the repertory. The conclusions- reflect my thoughts on the level of compositional skill displayed in these pieces, and the likelihood that this music was performed from this source. This thesis supports the theory, first suggested by Gary Spilsted, that the introit cycle of Tr93 was originally intended to be a repository for future liturgical needs; however, based on the paleographic and stylistic evidence 1 have observed, 1 do not believe that this collection was ever used for its intended purpose. Nonetheless, it does present an intriguing snapshot of both the stylistic preferences and the scribal practices of mid fifieenth-century Trent. The writing of this thesis has ken supported by Doctoral Fellowships fiom the Social Sciences and Humanities Research Council of Canada, and the University of Toronto. An Associates of the University of Toronto Travel Grant provided financial assistance for the second of two research trips to Europe. Numerous individuals deserve my sincere thanks. Without any one of the followîng people the ultimate success of this project would have been in grave doubt: In Trent, Italy (1 994, 1995): d-ssa Carla Maturi, archival assistant at the Archivio Capitohre, greatly assisted me in the location and transcription of fifieenth- century documents; Lîbrarians Alessandra Facchinelli and Gabriella Graziadei, of the Biblioteca del Mureo Provinciale d'Arte, at the Castel10 del Buonconsigi io, provided much helpful assistance, as well as access to several relevant publications not generally available outside Trent; Domenica Primerano and Héctor Peralta provided similar help at the Museo Diocesano; Don. Emanuele Curzel, with whom 1 enjoyed some fniitful discussions at the Archivio Capitolare, veiy kindly gave me a disk copy of his Tesi di Lawea, allowing me access to otherwise unpublished local scholarship; and Don Livio Sparapani, Archivista of the Archzvio della Cu& Arcivescoviie. personal ly carried many large, heavy manuscripts (includ ing Tr93) from the A rchivio Capitolare, which was closed to the public on my second visit, to a reading room across town so that 1 could view them easily. Ln Florence, Italy (1 994): At the Harvard University Center for Italian Renaissance Studies at the Villa I Tatti, Professor Paul Gehl (of the Newberry Library, Chicago), visiting scholar, allowed me to take advantage of his bibliographie knowledge and translation talents; Giovanni Ciapelli, fellow, and a lecturer at the University of Trento, kindly agreed to be a liaison for me afler my retum to Canada; and Dr Katherine Bosi, Music Librarian, was extremely kind and efficient in making many arrangements for me while 1 was in Italy. Sr Maria Stefania, of the Laboraforio di Restauro del Libro, at the Convento Santa Maria di Rosano, near Florence, shared with me her knowledge of the restoration process used with fifieenth-century manuscripts, and specific details about the restoration of Tr93. Most helpful of al1 were Professor Timothy McGee, visiting professor at the Villa i Tatti, and Bonnie McGee, for providing me with accommodation, transpomtion, and academic and moral support during my trip. At the University of Toronto, Graduate Department of Music: Professor James Kippen, co-ordinator of Graduate Studies, has been both accommodating and supportive, and has championed my cause on many occasions. The members of my Ph.D. advisory cornmittee have ken extremely helpful, enthusiastic, and patient throughout the various stages of my work: Professor William Bowen has been a source of advice and suppon for many years; Professor Timothy McGee, who took a special interest in my academic career at an early stage, has always been for me a font of academic knowledge, experience, and invaluable practical guidance; Professor Andrew Hughes has shared with me his expertise, and provided countless insightful suggestions throughout the research and writing process. 1 thank him particularly for his page-by-page detailed review in the final editing stages; this thesis is far stronger as a result of his sage editorial advice. I wish to thank the Department of Music and the Dean of the Faculty of Humanitses at Brock University, St. Catharines, Ontario, for easing my burden during the last year of writing by relieving me of certain teaching and administrative responsibilities. 1 am also gratefùl to Dr. Margaret Bent, of Al1 Souls College, Oxford University, for a fniitfùl e-mail correspondence, and to Professor Patrick Macey, of the Eastman School of Music, for his careful reading of the te* and for his many helpful and thought-provoking suggestions. On the home fiont: Mr. Peter Gardner, of St. John's, Newfoundland, was an early source of musical inspiration for me. I thank him for sparking and encouraging my first musicological interests. My parents, Edward and Maureen Power, whose enthusiasm and encouragement was constant from the very beginning, never doubted that 1 would succeed. The support and advice of my family and several close fhends often made it possible for me to cany on during times of uncertainty (the smallest fmily member demands a particular mention). Above al1 things is the love and inspiration of my wife, Erika Reiman, who was my constant sounding board during this process. In the end, 1 owe the completion of this thesis to her alone, for her brilliant proof reading, her encouragement and belief in my abilities, her patience and understanding, and the strongest possible support. 1 dedicate this work to her. Brian E. Power Toronto, 1 999 TABLE OF CONTENTS .- ABSTRACT 11 ACKNOWLEDGEMENTS iv TABLE OF CONTENTS vii LIST OF TABLES X LIST OF MANUSCRIPTS CITED xi ... CONVENTIONS USED IN THIS THESIS xi11 PREFACE xv Chanter 1: Introduction 1 A. Cultural and Ecclesiastical Context 1 B. The Musical Sources 7 1 .The Trent Complex: General introduction 7 2. The Tr93nr90 relationship 9 3. Polyphonie Introits in fifteenth-century sources 11 and concordances with Tr93 4. Pdeography, Repertory, and Dating of Tr93 16 Chanter 2: The Introit cvck of Tr93- A bricf inventory and description 25 A. Introduction 25 B. Description and liturgical placement of the rcpertory 29 1 .Christmas and Epiphany 29 2. Easter & Ascension 31 3. Pentecost & Trinity 33 4. The Remainder of the Year & Dedication of a Church 34 5. The Common of the Saints 35 vii 6. Saints: John the Baptist, Peter and Paul, Stephen, Lawrence 7. Feasts of the Blessed Virgin Chanter 3: A Structural and Stylistie Examioation of the Iatroie A. General Structure: liturgical and pcriormaoct considentions B. Texture and Iadcpendcncc of tbe Voica 1. Antiphons II. Psalm Verses and Doxologies C. Melodic Quality 1. The voices II. Function of the lower voices D. Harmoay and Cadences E. Mensuration and Rhythm 1. Conventional mensurations Il. Coloration III. Atypical mensural patterns IV. Typical rhythmic configurations 1. Hemiola 2. Openingfonnukae (incltrding rests) 3. Other uses of rests 4. Fennatas F. Fauxbourdon 1. The Introits of Johannes Brassart II. Typical usage in Tr93 III.