Sine Nomine Research Articles

Art Management in the Field of Academic Choral Art

Introduction. The choral art of Ukraine has strong age-old traditions that have become a part of the spiritual life of the Ukrainian people. At the same time, the realities of modern life dictate certain requirements regarding the improvement of the organization of choirs in the new conditions of life in society. Purpose and methods. The purpose of the article is to substantiate the theoretical foundations and develop practical recommendations for the formation of an effective system of art management in the organization of modern academic choral art, aimed at increasing the effectiveness of the functioning of choirs and artistic structures in Ukraine. The methodological basis of the research was dialectical, systemic, historical, cultural, interdisciplinary, and empirical approaches. Results. The conceptual foundations of art management are revealed. The state of active choirs in Ukraine is analyzed. An analytical comparison of two choirs was made: chamber choir “Kyiv” and amateur choir “Sine Nomine”. The management strategy of an artistic organization is based on the example of the chamber choir “Sine Nomine”. Conclusions. For the first time, a systematic and interdisciplinary approach to the article topic was applied. This made it possible to carry out a detailed structural, functional, and cultural analysis of choirs in Ukraine and to develop an effective strategy for their management. The significance of the obtained results lies in the addition of cultural and management sciences with new theoretical provisions regarding art management in the field of academic choral art, as well as the development of practical recommendations aimed at improving the management and increasing the efficiency of choirs in Ukraine.

Deus sine nomine: Dialectic as a Tool for the Christian Interpretation of Boethius’s Consolatio III, m. 9, by Adalbold of Utrecht

The Consolation of Philosophy by Boethius was not only widely read during the Middle Ages, but it was also frequently glossed, commented on, and discussed. The ninth poem of the third book, which offers a Platonic image of the creation of the cosmos and the governance over it, had a specific place in the reception of this Boethius’s work. Today we know of numerous debates about the possible interpretations of this poem and its Christian understanding, dating back at least to the 9th century. This paper deals with the commentary on this poem written by Adalbold of Utrecht († 1026). Attention is focused in particular on the role of dialectic in selected passages of this Adalbold’s text and on the inspirational sources of his dialectical knowledge. Specifically, the paper deals with the possibility of definition or description of God (Deus sine nomine), and arguments explaining the appropriateness or inappropriateness of conceptualizing God as the form of the highest good (forma summi boni).

Klasszikus, bibliai és középkori reminiszcenciák Petrarca Sine nomine-leveleiben

The aim of this study is to identify and analyze some classical, biblical and medieval literary reminiscences in Petrarch’s collection of satirical letters against the Papal court of Avignon, called Liber sine nomine. The examples examined illustrate how the poet combined the classical tradition with the Christian one and, thanks to the passages evoked, provided his own text with a further, political-polemical meaning. Moreover, the identification of an allusion to Virgil’s Aeneid allows a slight correction to be made to the critical text of the ninth epistle.

Three-voice textures in the mid-15th-century English Mass cycle

I n writing any form of polyphony, composers had to balance a range of priorities that formed a matrix of related and sometimes conflicting conventions governing contrapuntal possibilities. For works that utilize pre-existent materials in the form of cantus firmi or chant paraphrases, such as some Mass cycles, a further range of constraints is given by the very nature of this material. It is within this matrix of different compositional concerns that composers sought to develop their musical argument and to give voice to their own compositional identities. An understanding of style, be that pertaining to a composer or an entire national, chronological or generic group, can only be reached through an understanding of these competing compositional principles, how they were prioritized, and what room they allowed for individual answers to common compositional questions. The stated aim of the conference from which this collection of essays is drawn was to ‘face the music of medieval England’. The focus of this contribution is to provide a window through which we might do that, in the context of a small and self-contained repertory, namely the three-voice Mass cycle as cultivated in mid-15th-century England. This repertory has the advantage of boasting a wealth of scholarship that looks at different aspects of its contrapuntal handling. The discussion below brings together Andrew Kirkman’s comprehensive study of voice range with Margaret Bent’s work on grammatical function, as well as making some refinements based on an analysis of the nature of pre-existent material found in some of the repertory.2 This discussion offers new perspectives on some apparently unusual Mass cycles that appear to sit outside of the norms—perspectives which might shed light on issues of authorship, provenance and chronology. Specifically, I wish to turn my attention to issues of range and grammatical function within a particularly unusual anonymous Mass cycle from the Strahov Codex, the Veni creator spiritus Mass, and within three Sine nomine cycles by Bedyngham, Standley and Tik. My hope here is not just to face the music, but what stands behind it as well.

Diego de Moxena, the Liber sine nomine and the Council of Constance

On the 9th of July in 1415, Diego de Moxena, very likely a Castilian Franciscan active in the Council of Constance, wrote a letter to Ferdinand I of Aragon in which he urged him to attend the Council and to reconsider his support to Benedict XIII. Moxena’s missive reveals a particular use of the Liber sine nomine by Petrarch, already noticed by Isaac Vazquez Janeiro, but which calls forth closer attention. The document, being quite an early testimony in the history of Petrarch’s presence in Spain, makes use of the preface and the two first epistles of the Liber sine nomine not as a simple repertoire of maxims but as the very model on which the letter is written; besides, and most extraordinarily, the name of Petrarch is not even once mentioned throughout the text. Apart from that, this paper questions some of the sources put forward by Vazquez Janeiro and offers a new and revised edition of Fray Diego’s letter.

Henricus Isaac’s Lost Missa Je ne fay plus Found?

In a 1532 letter to Pietro Aron, Giovanni Spataro cites an unusual ligature in the Tenor of the Patrem in Isaac’s Missa de Je ne fays’. The mass, probably based on Gilles Mureau’s famous chanson Je ne fays plus, has up to now been considered lost. This study identifies Mureau’s chanson as the model of an anonymous Missa Sine nomine in the Kodex Leopold (Munich, Bayerische Staatsbibliothek, Mus. ms. 3154), and demonstrates that this is mass is identical to that described by Spataro: although the manuscript abandons the unusual ligature, it preserves its rhythm and melody, resulting in errors consistent with Spataro’s identification. Shared stylistics with Isaac’s Missae Argentum et aurum and Et trop penser and his motet Salve regina strongly favour Isaac’s authorship of the mass. The article also considers stylistic features that align the mass with works of Isaac’s thought to be early, as well as with pieces by his German contemporaries Fulda and Finck, and with Obrecht. All features taken together argue for adding this Missa Je ne fay plus to Isaac’s canon with confidence and suggest that it belongs to an early period of his career. This conclusion raises the question of whether it is possible to differentiate between career-long stylistic traits and those from different periods in Isaac’s works.

Spain Discovers the Mass

ABSTRACTSpain was a latecomer to the cyclic Mass, which began to develop there in the 1490s or late 1480s. A number of different strands in this process – free single movements, mix-and-match Masses, ferial Masses, imports, three-voice Masses, Missae sine nomine and the six cycles of Francisco de Peñalosa – can usefully be separated and laid at least tentatively onto a chronological framework on the basis of manuscript date and composer biography. The surviving evidence seems to show a tradition that arose with particular energy in the decade or so after 1500 and reached maturity within a single generation.

Petrarca De remediis utriusque fortunaejának recepciója a 16–18. századi magyarországi irodalomban

In the 14th–18th centuries Petrarch’s most widely disseminated work was De remediis utriusque fortunae. Petrarch’s Latin works had been known in Hungary since the 15th century and in the 18th century a real cult of De remediis can be traced, proved by the correspondence of contemporary aristocrats, scholars and politicians (e. g. István Brodarics, Farkas Kovacsóczy). His sonnets and the lines of Triumfi were often read, quoted, translated (e. g. by Bálint Balassi, Miklós Zrínyi); the Griselda, Boccaccio’s novel, known mainly in Petrarch’s Latin translation, also got translated into Hungarian (by Pál Istvánfi). His letters written in verse, as well as the Sine nomine collection, the Secretum and the De vita solitaria were certainly being read in Hungary. During the 17th–18th centuries Hungarian readers could get acquainted at first-hand with the name and works of the Italian humanist through the foreign printed editions of Petrarch’s writings. Writers, scholars, ecclesiastical leaders and others read and used these texts for both private and public purposes. In the 18th century De remediis was reedited eight times and its only complete translation so far was prepared between 1760 and 1762. The reception of De remediis is thus a highly important chapter in Hungarian spiritual history.

THE FLIGHT FROM INCEST AS A LATIN PLAY: THE "COMOEDIA SINE NOMINE", PETRARCH, AND THE AVIGNON PAPACY

The Comoedia sine nomine (sometimes cited as Columpnarium) is a seven-act play in Latin by an unknown author which survives in a single manuscript, Paris, Bibliotheque nationale de France, Lat. 8163.1 It is a most unusual classicizing adaptation of a plot which was very popular in the later Middle Ages, a combination of two widely used narrative motifs, the Flight from the Incestuous Father and the Falsely Accused Queen.2 Emile Roy in his 1902 edition assumed that the manuscript dated from the fifteenth century and was written in Italy, but in the view of Francois Avril of the Bibliotheque nationale, it was produced in the mid-fourteenth century at Avignon under Italian influence.3 I shall return later in this essay to the question of dating and provenance to argue that the text - or at least this particular manuscript of it - can be linked to Petrarch's circle in Avignon. It could of course have been composed considerably earlier than the surviving exemplar, but I believe that there are strong grounds for positing an Avignon provenance, and for speculating that although the plot is a well-known one, this particular version may be intended to allude to the papal schism.Plot and styleFirst I will consider the many ways in which the Comoedia is an unusual version of a popular, if disturbing, medieval narrative. The writer - or his source - has gone to a lot of trouble to rework the plot elaborately in classical terms, with a mish-mash of classical names.(I) The dying queen of the Carilli makes her husband King Emolphus swear only to marry a woman who looks exactly like her. He sends the court painters to travel the world and record possible candidates. (II) The people urge Emolphus to remarry; Princess Hermionides' nurse rashly remarks that her charge is the image of her dead mother. The king falls passionately in love with his daughter and decides to marry her. (Ill) Hermionides is horrified and wants to die. The nurse plots to save her: she persuades the king to delay the wedding until the gods have been placated, and escapes with the princess to Phocis. (IV) There they are taken in by Sophia, an old friend of the nurse and expert needlewoman. Hermionides is seen by the local king, Orestes, who falls madly in love with her. He sends Aphrodissa, a bawd, to negotiate for him, and they are secretly married.(V) Orestes' mother, Queen Olicomesta, is furious, as her son had foreseen. Orestes leaves for a tournament at Athens to pursue glory at Hermionides' urging, even though she is pregnant. (VI) When she bears a fine son, the messenger Epiphanius stays with Olicomesta en route to Athens, and while he is drunk the clever maid Pharia substitutes a letter announcing that the baby is an Ethiopian monster. This news makes Orestes sad, but he orders mother and child to be well looked after until his return. Again Epiphanius stops che'.i Olicomesta, and the letter is changed to order the killing of mother and baby. The faithful seneschal Coelius exposes the baby in a watertight cradle, and sends Hermionides into exile.(VII) The baby in its richly equipped cradle is found by Achironeus, a poor fisherman. He wants to adopt the child, but first consults the oracle of Apollo on Parnassus, after discussing the matter with his friend Amyclas. Their conversation is overheard by Orestes and his counsellor Regulus, who are on their way back from Athens, suspicious of recent events. Coelius too is suspicious and discovers the forged letter trick, which he reveals to Orestes and Regulus. Meanwhile Hermionides, wandering on Parnassus, meets a shepherd who urges her to consult the oracle. All the main characters then make for the oracle; Hermionides meets Achironeus the fisherman, hears his story, recognizes the baby as hers, and manages to recover him. The nurse, Orestes, and Coelius all overhear their conversation; Hermionides and Orestes are reunited. News arrives that Olicomesta and her maid are dead. The nurse announces that Emolphus is dead and that Hermionides has inherited the kingdom. …

Søren Frank, Migration and Literature: Günter Grass, Milan Kundera, Salman Rushdie, and Jan KjærstadMigration and Literature: Günter Grass, Milan Kundera, Salman Rushdie, and Jan Kjærstad. Søren Frank. New York: Palgrave Macmillan, 2008. Pp. ix+235.

<i>Søren Frank</i>, Migration and Literature: Günter Grass, Milan Kundera, Salman Rushdie, and Jan Kjærstad<i>Migration and Literature: Günter Grass, Milan Kundera, Salman Rushdie, and Jan Kjærstad</i>. Søren Frank. New York: Palgrave Macmillan, 2008. Pp. ix+235.

Redefining the motto in the fifteenth-century sine nomine Mass

ABSTRACTDuring the early years of the cyclic sine nomine Mass, before the invention of the cantus firmus Mass, the motto or head motive served as the principal means of unification. The motto has typically been characterised as a relatively uncomplicated single-voice or multi-voice unifying motive presented in the first few measures of each movement of a Mass Ordinary. This article challenges and expands common perceptions of the motto and proposes new vocabulary to aid in identifying mottos and associated repetition and variation techniques. Musical examples from the sine nomine Mass repertory dating between c.1420 and c.1466 (including the anonymous Missa Fa-ut and works by John Benet, Johannes Reson, Johannes Lymburgia, Barbingant and Jo. Bassere) reveal commonalities in motto construction and variation. These works employ multiple mottos, which, besides acting as initial gestures at the openings of movements, also serve to punctuate most subsections and are even found articulating certain words and phrases incorporated within the general contrapuntal fabric. By means of complex procedures of repetition and variation, composers applied a richer and more multifaceted approach to motto construction than previously recognised – a finding that has important ramifications for a deeper understanding of compositional approaches to repetition in cyclic Mass Ordinary settings of the early Renaissance period.

Lorenzo Candelaria . The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early Renaissance Toledo.(Eastman Studies in Music.)Rochester, N.Y. : University of Rochester Press . 2008 . Pp. x, 212. $55.00.

Liturgy, as well as being a vital ingredient in both the exercise of power and the construction of local identities, is fundamental to understanding how music and ceremony actually worked in early modern civic and devotional contexts. This was most obviously true of the period before the Council of Trent, when the church resolved to abolish all local liturgies less than two hundred years old. Even after Trent, festal calendars could be revised to incorporate new cults, while patron saints of minor importance in the Roman calendar continued to assume greater weight in their specific geographical and institutional environments, much as they had done in the years before reform. Lorenzo Candelaria's high-quality manuscript, finely illuminated in the Franco-Flemish style, is a characteristic expression of this dynamic. Copied between 1500 and 1520 for the Rosary Confraternity of the Dominican monastery of San Pedro Mártir in Toledo, most of whose members worked in the silk trade, its original layer mostly consists of chants for the Ordinary of the Mass together with a handful of sequences, antiphons, and tracts. Unusually for the period, most of the chants are decorated by tropes, ornamental additions to the basic chant which by this date had largely fallen out of use. To this central core of melodies, which establish Toledan usage, further additions were made in the course of the sixteenth century, among them further tracts whose texts are in accordance with the reformed Medicean Gradual of 1614–1615. Finally, a third hand has inserted two pieces of four-voice polyphony, probably towards the end of the sixteenth century; one is an unidentified setting of the “Et incarnatus est” section from the credo section of an unknown Mass based on the popular “L'homme armé” melody, the other the setting of the same text taken from the Missa Sine Nomine by Josquin Desprez, a major composer whose works continued to be disseminated in Spanish sources long after his death in 1520. Now in the Beinecke Library at Yale, which bought it from the Connecticut book dealer Laurence Witten, who sold a great deal of early printed and manuscript material, the Beinecke Kyriale is in fact the only source for any of Josquin's music in North America.

The Rosary Cantoral—Ritual and Social Design in a Chantbook from Early Renaissance Toledo (review)

Reviewed by: The Rosary Cantoral—Ritual and Social Design in a Chantbook from Early Renaissance Toledo Michael Noone The Rosary Cantoral—Ritual and Social Design in a Chantbook from Early Renaissance Toledo. By Lorenzo Candelaria. (Eastman Studies in Music, v. 51.) Rochester, NY: University of Rochester Press 2008. [xx, 212 p. ISBN: 9781580462051. $55.00.] Illustrations, music examples, bibliographic references, index. The “Rosary Cantoral” of this study’s title is a sobriquet coined by the author to refer to a parchment choirbook that was acquired by Yale University’s Beinecke Rare Book and Manuscript Library as part of a larger purchase from the Connecticut book dealer Laurence Witten in 1989; it now bears the shelf mark MS 710. The manuscript’s dimensions, huge even by the standards of Spanish cantorales, and its incorporation of a brief excerpt from Josquin’s Missa Sine nomine almost guaranteed that the manuscript would be brought to the attention of the curators of such institutions as the Beinecke. In 1990 the manuscript was introduced to scholarship by Craig Wright in an unpublished paper presented at a conference in honor of David Hughes at Harvard University. Wright not only authenticated the manuscript’s ascription of a four-voice Et incarnatus to “Jusquin,” but he also gave a thorough physical description of the source and presented a preliminary conspectus of the manuscript’s contents. By identifying concordances for the troped texts and chants, Wright convincingly proposed a Spanish provenance, even venturing the more specific possibility of Burgos. He identified and discussed the possible significance of such decorative elements as Christ’s five wounds often accompanied by the textual incipit of Psalm 50, Miserere mei, and depictions of the life of Hercules. Since serious research on early modern Spanish music sources continues to be hindered by their notorious inaccessibility, the presence of such an important manuscript in a modern research library, supported by Wright’s thorough preliminary study, provided an ideal topic for the doctoral dissertation from which the volume under review grew. Although the author candidly acknowledges that sections of his book have already appeared in print in a handful of articles, he seems less forthcoming to reveal the study’s first incarnation as a dissertation in 2001 (“The ‘Rosary Cantorales’ of Early Modern Spain: An Interdisciplinary Study in Attribution” [Ph.D. diss., Yale University, 2001]). Nevertheless, many of the errors that appeared in the dissertation have now been corrected. In essence, The Rosary Cantoral presents the author’s conclusion that Beinecke MS 710 was commissioned ca. 1500 by a lay confraternity devoted to the rosary and closely associated with the Dominican house of San Pedro Mártir in Toledo. In his introduction, Lorenzo Candelaria claims that a cantoral “is a large plainchant manuscript for a religious institution” and that “in modern Spanish usage” it is distinguished from a libro de coro, a term that “refers to a book consisting of polyphonic music (as opposed to plainchant) that is usually liturgical.” Since the word makes what I believe to be its English language debut in his title, it might be just as well to consider for a moment the definition the author asserts. In fact, the distinction he proposes—one based upon content (plainsong or polyphony)—contradicts both the dictionary of the Spanish Royal Academy, where cantoral is defined as libro de coro, and the Diccionario de la música española e hispanoamericana (Emilio Casares Rodico, ed. [Madrid: Sociedad General de Autores y Editores, 1999–2002], 3:101), where Fernández de la Cuesta explains that the cantoral is also called libro de coro, libro coral, and libro de facistol. Any suggestion that Candelaria is concerned here with usage rather than dictionary definitions, no matter how impeccably authoritative they might be, is immediately refuted in the author’s own bibliography (p. 203) where the plainsong choirbooks commissioned by Philip II for his newly constructed monastery-palace of the Escorial are referred to as cantorales in a study by Vicente Rabanal and as libros corales by Samuel Rubio. The fact that Bordonau (Revista de archivos, bibliotecas y museos 71 [1963]: 243) [End Page 777] refers to the same manuscripts as libros de coro ought to caution us...

Renaissance Masses, 1440-1520: An Online Repertorium of Polyphonic Masses Composed in Europe in 1440-1520 (review)

Reviewed by: Renaissance Masses, 1440–1520: An Online Repertorium of Polyphonic Masses Composed in Europe in 1440–1520 Robert Terrio Renaissance Masses, 1440–1520: An Online Repertorium of Polyphonic Masses Composed in Europe in 1440–1520. Web site created by Rob Wegman. Contributors: Bonnie Blackburn, Carlo Bosi, Jennifer Eberhardt, Harry Elzinga, Laura M. Hedden, Karen Olive. http://www.princeton.edu/%7Erwegman/mass.htm. [Requires a Web browser and MP3 player]. For information regarding the scope of this column, consult the headnote in the September 2005 issue (p. 188 of this volume). All Web sites accessed 22 February 2006. As librarians, we are constantly challenged to teach students how to evaluate content available on the Internet. Audio resources present particular challenges, since the material is not textually based. There are also the usual concerns of authenticity, credentials of the author, and inaccurate content that need to be corroborated in textual Web sites. Verifying all of these parameters is a very transparent process in Rob Wegman's Web site dedicated to Renaissance Masses of the fifteenth and early sixteenth centuries. Rob Wegman has an impressive scholarly record indeed. Currently associate professor of music at Princeton University, his academic associations are many and varied. His homepage enumerating his academic pursuits can be viewed at: http://www.princeton.edu/~rwegman/. Wegman also brings a much needed enthusiasm to Renaissance-era vocal music. In the statement of purpose for the site, Wegman affirms "the aim of this web site is to allow interested users to develop familiarity with the vast but little-known riches of Renaissance Mass composition." Although many scholarly editions of Renaissance vocal music have been published, the ability, or even motivation, to actually realize these scores has been woefully lacking, mainly for financial reasons. Only a very narrow range of the appreciable repertoire is heard today. It was not uncommon for people of the time to hear hundreds of Mass settings, yet today's commercial recordings of this repertoire represent a handful of composers generally regarded as part of the canon: Josquin, Ockeghem, Obrecht, Isaac, or Dufay (Rob Wegman, e-mail message to Robert Terrio, 14 December 2005). Wegman sets out to address this situation by making MIDI recordings of a large number of Renaissance Masses freely available on the Internet. The site design is well thought out: a scrollable listing of the Masses is positioned in the center of the page, with each entry listed alphabetically by title. Since there is a high probability that visitors will want to browse the content during their first visit, this is an especially logical choice. Visitors can browse by composer, manuscripts, and alphabetized titles. Lastly, there is a key to the number of Masses that have been completed or are in process. As of December 2005, there are 150 settings either in process or completed. Additionally, users can browse by Sine nomine, or literally "Masses without name." One thing missing is a link back to the home page. Once the user has gone several levels into the site, he may have to use his browser's back button to return to the initial page. It cannot be overemphasized that this is a true work of scholarship. For each entry, Wegman provides source and edition information, and other pertinent information for each work as warranted. For example, one of Matthaeus Pipelare's Masses had been previously known as Sine nomine, until approximately two years ago, when a student [End Page 1026] (Adam Gilbert) working on his dissertation attributed its model to a song by Busnoys. Another example of Wegman's thoroughness is the entry for Nicolas Carlir's Missa Salve sancta parens, where he provides information on stylistic changes of the period in which it was written, and on what those changes may mean for the likely dating of this setting. He also hypothesizes about performance practice: "Was there a tradition at Antwerp of singing Lady Masses with expanded choral forces?" Mensuration signs and parts of the work that were left incomplete are also noted. This illustrates more than a passing interest in simply posting MP3 files of these works and leaving it at that. The site illustrates exhaustive knowledge and energetic enthusiasm for the...

Aesthetics Sine Nomine

Research Article| January 01 2005 Aesthetics Sine Nomine Warren Ginsberg Warren Ginsberg Search for other works by this author on: This Site Google The Chaucer Review (2005) 39 (3): 234–240. https://doi.org/10.2307/25094289 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Warren Ginsberg; Aesthetics Sine Nomine. The Chaucer Review 1 January 2005; 39 (3): 234–240. doi: https://doi.org/10.2307/25094289 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectivePenn State University PressThe Chaucer Review Search Advanced Search The text of this article is only available as a PDF. Copyright © 2005 by The Pennsylvania State University. All rights reserved.2005Copyright 2005 The Pennsylvania State University Article PDF first page preview Close Modal You do not currently have access to this content.

Review: Mourning Into Joy: Music, Raphael, and Saint Cecilia, by Thomas Connolly

Book Review| April 01 2001 Review: Mourning Into Joy: Music, Raphael, and Saint Cecilia, by Thomas Connolly Mourning Into Joy: Music, Raphael, and Saint Cecilia, by Thomas Connolly. New Haven: Yale University Press, 1994. xv, 355 pp. Alejandro Enrique Planchart Alejandro Enrique Planchart Alejandro Planchart is Professor of Music and director of the collegium at the University of California at Santa Barbara. His recordings of Josquin's Missa Sine nomine and of Marenzio's Madrigals for six voices are scheduled for release in early 2002. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2001) 54 (1): 140–146. https://doi.org/10.1525/jams.2001.54.1.140 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Alejandro Enrique Planchart; Review: Mourning Into Joy: Music, Raphael, and Saint Cecilia, by Thomas Connolly. Journal of the American Musicological Society 1 April 2001; 54 (1): 140–146. doi: https://doi.org/10.1525/jams.2001.54.1.140 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search This content is only available via PDF. © 2001 by the American Musicological Society. All rights reserved.2001 Article PDF first page preview Close Modal You do not currently have access to this content.

Josquin, La Rue, Obrecht et alia

Postscript The discography of Italian music at the turn of the 15th century is particularly well served at the moment. Early music readers will note with pleasure the CD-reissue of the Huelgas Ensemble's Johannes Ciconia: l'oeuvre integrale (Pavane ADW 7345/6/7, rec 1980). Though uneven in execution, the very nature of Van Nevel's enterprise is testament to its value-and its finest interpretations are very fine indeed. Two more recent offerings from Italian groups survey Ciconia's native peninsular contemporaries: Mala Punica's Musica cantilena: liturgical parody in Italy, 138o-1410: Matteo da Perugia-Zaccara da Teramo (Erato o63o-17o69-2, rec 1996) interrogates the links between the Mass music of these two composer, in a manner similar to the cross-references evinced in the ensemble's secular discs. The Perugiabased ensemble Sine Nomine's more plainly titled Zachara: cantore dell'antipapa (Quadrivium SCA 027, rec 1992) concentrates on his songs. Many of Yolanda Plumley's comments concerning Mala Punica's previous recordings also apply to its new Mass disc, which strikes me, however, as more rigorously conceived and convincingly executed. Sine Nomine, like Mala Punica, combines both voices and instruments, but its sound is dominated by the distinctive tones and stylish (if idiosyncratic) delivery of its female vocalists, Gloria Moretti and Alessandra Fiori; the lower range of its cast is much less secure. The disc includes an authoritative

La Rue Masses

The La Rue complete edition continues apace with the issue of these three volumes containing the remaining 15 Masses. (See also vols.2 and 3 with ten Masses, reviewed by John Milsom, Early music, xxi (1993), PP.479-82.) Again most of these Masses have not been available before in a modern edition, and certainly have never been presented with such a depth of scholarly commentary. Indeed, these books are as magnificent as the previous ones, both for the music they contain and for the encyclopaedic erudition shown by the editors. As one might expect from a composer of this period, the majority of Masses by La Rue (c.1460-1518) are based on plainchant, although there are also five Masses based on secular models, four of which are printed here. The contents are: vol.4, Missae Incessament, Inviolata, Ista est speciosa, L'homme arme I, Nunca fue pena mayor; vol.5, Missae 0 gloriosa Margaretha, 0 salutaris hostia, Pascale, Pro fidelibus defunctis, Puer natus est nobis; vol.6, Missae Sancta Dei genitrix, Sine nomine, Sub tuum praesidium, T'andernaken, Tous les regretz. The chanson Incessament mon povre cueur lament by La Rue himself provides the model for the first of these Masses (ex.1). Here we have a fine five-voice work, written by a master craftsman and worth anyone's while to sing. As with all works in the Opera omnia, the edition is based on a single source deemed by the editors to be the best and closest to what La Rue probably originally wrote. A diagrammatic, dated filiation of sources is always provided: in this case, nine of the 12 sources are so displayed, and it is of great interest to see that Masses such as this were copied in sumptuous manuscripts as late as the mid1540s. Munich C (also containing the Missa pro fidelibus defunctis) was copied in 1543-4 for the Bavarian chapel, and it is worth reminding ourselves that Lassus was shortly to begin his long and influential tenure there, where, among other things he is known to have performed Brumel's mighty Missa Et ecce terrae motus (and why not also masterpieces by La Rue?). The early four-voice Missa Nunca fue pena mayor, in the Phrygian mode, based on the famous and tuneful villancico by Urreda, has become rather a personal favourite, since my publication (with the villancico) of the Mass of he same name by a Spanish contemporary of La Rue, Francisco de Peialosa (c.1470-1528). La Rue was a member of the chapel of Philip the Fair and accompanied him to Spain in 1501-3 and 1506 (where Philip died). We do not know where La Rue came across this Spanish song by the Flemish musician Urreda, who worked in Spain in the 1470s and 1480s, but it seems very likely that Nunca fue pena mayor was well known in many parts of Europe long before it was printed by Petrucci in 1501. It is fascinating to speculate which composer wrote his Mass first, and whether perhaps each knew the other's work. (Pefialosa's is certainly very Franco-Flemish in style.) Strangely, the present editor makes no mention in his commentary of the existence of Pefialosa's Mass, although he does refer to another proposed Nunca fue pena mayor Mass (copied in a Portuguese manuscript, Coimbra, Biblioteca Geral da Universidade, MM12); however, this unattributed and unnamed Mass shows no convincing signs that it is based on the villancico. Ex.2 shows the opening of La Rue's Sanctu : the two upper voices paraphrase the superius of the

Giovanni Priuli'sMissa sine nomineand the legacy of Giovanni Gabrieli

Abstract Giovanni Priuli was a colleague of Giovanni Gabrieli's during the latter's final years. Their musical kinship runs deeper than has hitherto been recognized. Striking resemblances between the Kyrie of Priuli's Missa sine nomine, his only known composition from the years of his affiliation with Gabrieli, show that Gabrieli served his younger colleague as musical mentor, inspiration, and model. They also illuminate the performance practice of polychordal works, the transmission and reception of the Venetian polychoral repertoire north of the Alps, and the chronology of several of Gabrieli's late works.

Giovanni Priuli'sMissa sine nomineand the Legacy of Giovanni Gabrieli

Abstract Giovanni Priuli was a colleague of Giovanni Gabrieli's during the latter's final years. Their musical kinship runs deeper than has hitherto been recognized. Striking resemblances between the Kyrie of Priuli's Missa sine nomine, his only known composition from the years of his affiliation with Gabrieli, show that Gabrieli served his younger colleague as musical mentor, inspiration, and model. They also illuminate the performance practice of polychordal works, the transmission and reception of the Venetian polychoral repertoire north of the Alps, and the chronology of several of Gabrieli's late works.