Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich

Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich

David Crook
Copyright Date: 1994
Pages: 312
https://www.jstor.org/stable/j.ctt7ztx7c
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    Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich
    Book Description:

    After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on motets, madrigals, and chansons written by such composers as Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music.

    Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre. In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest.

    Originally published in 1994.

    ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    eISBN: 978-1-4008-6378-5
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. i-viii)
  2. Table of Contents
    (pp. ix-x)
  3. Acknowledgments
    (pp. xi-xii)
  4. Abbreviations
    (pp. xiii-xiv)
  5. Pitch, Clef, and Chord Designations
    (pp. xv-2)
  6. CHAPTER 1 Introduction: Orlando di Lasso and the Polyphonic Magnificat
    (pp. 3-30)

    “I have gone through all his manuscripts and published works with the intention of putting to press in good order all the Magnificats, both published and unpublished, that I could find,” proclaimed Rudolph di Lasso in his dedication to the edition of one hundred of his father’s Magnificat settings that he issued in 1619.¹ With this enormous collection, Rudolph sought to provide a complete edition of his father’s Magnificats, just as he and his brother Ferdinand had done for their father’s motets in theMagnum opus musicumof 1604.

    The motet and the Magnificat are the only genres for which...

  7. PART I. LITURGICAL AND CULTURAL CONTEXTS
    • CHAPTER 2 Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms
      (pp. 33-64)

      Lasso’s numerous Magnificats and Masses, as well as a variety of smaller liturgical pieces, document the great extent to which his activity as a composer was devoted to the adornment of the Christian services of worship. Yet, the study of Lasso’s music in the context of the liturgical practice of the Bavarian court has received little attention. How, and to what extent, Lasso’s motets functioned within the liturgy remains perhaps the most vexing question, but our poor knowledge of the liturgical practice at court has limited our understanding of the social and ritualistic contexts even of those compositions known to...

    • CHAPTER 3 The Patrona Bavariae: Music and the Counter-Reformation in Bavaria
      (pp. 65-82)

      In 1616 Maximilian I of Bavaria provided the royalResidenzin Munich with a monumental new facade that had as its focal point a statue of the Madonna with the inscription “Patrona Boiariae.” In doing so he made public the central position the Virgin Mary had already held for some time, both in his government and in his personal devotions. As duke of Bavaria (1597–1651), elector and lord high steward of the Holy Roman Empire (1623–51), and founder and leader of the Catholic League during the Thirty Years’ War, Maximilian was a gifted political and military leader. He...

  8. PART II. COMPOSITIONAL PRACTICE
    • CHAPTER 4 The Representation of Psalm-Tone Categories in Imitation Magnificats
      (pp. 85-146)

      A well-established tradition of unambiguous assignment and classification within a closed system of eight musical categories distinguishes the sixteenth-century Magnificat from all other polyphonic genres of the period. Unlike genres such as the Mass, motet, and madrigal, the Magnificat was commonly provided with an explicit tonal designation. Indeed, during the course of the century, the arrangement of Magnificats into eight-tone cycles became the normal manner of organization in manuscript and printed sources. The reason for this convention was the liturgical performance of the Magnificat, which required that the tone of the Vespers canticle match the mode of its antiphon. A...

    • CHAPTER 5 The Intertextuality of Lasso’s Imitation Magnificats
      (pp. 147-210)

      When Orlando di Lasso began to write Magnificat settings derived from preexistent polyphonic compositions in the 1570s, he made an unprecedented break with a well-established tradition of Magnificat composition based on the elaboration of the monophonic psalm tones. Strictly speaking, Lasso’s polyphonically derived Magnificats are not the first of their kind. Two English examples—Robert Fayrfax’s MagnificatO bone jesuand Nicholas Ludford’s MagnificatBenedicta et venerabilis—survive from the first half of the sixteenth century.¹ The top voice of Clemens non Papa’s Magnificatoctavi toniderives from the top voice of various chansons by Clemens and other composers; the...

  9. APPENDIX 1: The Magnificat Set to Lasso’s Canticle Tone No. 2 (For Derivation of the Tone, See SWNR 13:xv)
    (pp. 211-212)
  10. APPENDIX 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition
    (pp. 213-218)
  11. APPENDIX 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension (Rituale Frisingmse [1673], Pp. 604–7)
    (pp. 219-220)
  12. APPENDIX 4: Correspondences between Lasso’s Imitation Magnificats and Their Model Compositions
    (pp. 221-278)
  13. Works Cited
    (pp. 279-288)
  14. Index
    (pp. 289-295)