Recevez ce mien petit labeur

Recevez ce mien petit labeur: Studies in Renaissance Music in Honour of Ignace Bossuyt

Mark Delaere
Pieter Bergé
Copyright Date: 2008
Published by: Leuven University Press
Pages: 312
https://www.jstor.org/stable/j.ctt9qf16q
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    Recevez ce mien petit labeur
    Book Description:

    After a distinguished career of more than 35 years, Ignace Bossuyt retired as professor at the Musicology Department of the University of Leuven on October 1st 2007. As an internationally recognised leader in the field of later-16th-century music, Bossuyt consolidated the department’s reputation as a centre of excellence in renaissance music studies. Articles in this volume deal with music from the period on which the dedicatee focussed his own research. Subjects discussed include newly discovered music by Philippe de Monte and Heinrich Isaac, humour in the motets of Orlando di Lasso, the beginnings of music history, compositional procedures in renaissance music, and Tinctoris’s art of listening. A wide range of methodological perspectives is offered, including historiography, reception studies, source studies, music analysis, music theory, style studies, and aesthetics of music. The publication is both a Festschrift in which distinguished specialists honour an outstanding colleague, and a Liber Amicorum compiled for a dear friend.

    eISBN: 978-94-6166-016-9
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. 3-6)
  2. Table of Contents
    (pp. 7-8)
  3. ‘Una cosa riuscita’: Ignace Bossuyt’s Academic Career
    (pp. 9-12)
    Mark Delaere and Pieter Bergé
  4. List of Publications by Ignace Bossuyt
    (pp. 13-26)
  5. Humor in the Motets of Orlando di Lasso
    (pp. 27-34)
    Peter Bergquist

    A brief definition of the motet in the sixteenth century would usually say that it is a composition that sets a sacred Latin text in a more or less polyphonic style for a vocal ensemble. A more extended definition would add that many composers in this period set secular Latin texts, commemorative, celebratory, or classicistic, in a similar manner, and that these compositions are also considered to be motets. None of these definitions speak to the possibility that a motet might contain humorous elements, and indeed humor is probably not something one would expect to find in such a work....

  6. A new source, and new compositions, for Philippe de Monte
    (pp. 35-48)
    Stanley Boorman

    A recently-discovered collection of manuscript and printed part-books, given to New York University by anonymous donors specifically for research by members of the Department of Music, contains two small fascicles devoted to music by Philippe de Monte.¹ The collection was acquired from a European dealer, and has every appearance of originating in Prague or a related area, in the years around 1600. No set of part-books is complete, though the fascicles to be discussed here are present in four books, of a set of at least six. Only Discantus, Altus, Tenor and Sextus are extant.

    These two fascicles are part...

  7. Heinrich Isaac and his Recently Discovered Missa Presulem ephebeatum
    (pp. 49-60)
    David J. Burn

    The discovery of a major new source is always exciting, especially when it contains previously unknown music, and still more so when that music is attributed to a recognized composer of the first rank. Among the most significant such recent finds for sixteenth-century music was the Czech National Library’s acquisition, in 1994, of a large paper choirbook from private hands.¹ The source contains eight four-voice mass-cycles, as well as choral settings of the responses during mass: 1. [Anon.,Missa Domenicalis]; 2.MISSA Hercules Dux Ferrarie Josquin; 3.Josquin Ave maris stella; 4.H: Isac Presulē Ephebeatū; 5.Isac Missa Carminum;...

  8. Josquin in the Sources of Spain. An Evaluation of Two Unique Attributions
    (pp. 61-70)
    Willem Elders

    Since Josquin des Prez spent a large part of his life in France – supposedly, he was born in the county of Vermandois (Picardy) – and, as far as we know, never set foot on Spanish or German soil, one would expect to find his musical legacy better represented in his homeland than in these two neighbouring countries.¹ The recension of his works and their sources that has been undertaken in the context of the new edition of his complete works (NJE), shows that fate has decided otherwise. Since however in Spain, unlike France, Germany, and Italy, no printed editions...

  9. Old Testament Motets For The War Of Cyprus (1570-71)
    (pp. 71-82)
    Iain Fenlon

    Writers since Voltaire have contributed to an almost unanimous ironic chorus describing the victory of the forces of the Holy League over the Turkish armada at Lepanto, off Corfu, in October 1571, as an empty achievement, a great spectacle that led nowhere.¹ Yet whatever the judgements of history, the authentic period voice should be heard. For most contemporaries, the victory marked a decisive turning point in the fortunes of Christendom, a critical moment of enormous psychological importance in an historic struggle that, in recent years, the Christian west had seemed destined to lose. No matter what occurred in the following...

  10. Caron and Florence: A New Ascription and the Copying of the Pixérécourt Chansonnier
    (pp. 83-92)
    Sean Gallagher

    Biographical information on Firminus Caron is entirely lacking, but there is ample evidence that contemporaries recognized him as one of the major composers of the second half of the fifteenth century. Johannes Tinctoris, writing in the 1470s, consistently names him among the five musicians ‘most outstanding in composition of all those I have heard’ (the others being Ockeghem, Busnoys, Regis, and Faugues), and musical sources indicate that his chansons enjoyed wide circulation.¹ Indeed it seems likely his reputation stemmed mainly from his chansons, some of which number among the most popular of the period. When Tinctoris twice mentions specific works...

  11. The Officium of the Recollectio festorum beate Marie virginis by Gilles Carlier and Guillaume Du Fay: Its Celebration and Reform in Leuven
    (pp. 93-106)
    Barbara Haggh

    In 1457, Michael de Beringhen, a canon at Cambrai Cathedral, requested that a new Marian feast be added to the Cathedral’s liturgical calendar. Its purpose was to recall or recollect the six Marian feasts then celebrated there – her Conception, Nativity, Annunciation, Visitation, Purification, and Assumption – within one feast. He commissioned the texts and music for this new office, theRecollectio festorum beate Marie virginis, from two distinguished canons of the Cathedral, its dean, Gilles Carlier (c.1390-1472), who had left his mark at the Council of Basel, which had deputed him to Bohemia to resolve the Church’s disputes with...

  12. ‘Excellent For the Hand’: Writing on John Bull’s Keyboard Music in England
    (pp. 107-118)
    John Irving

    Without a doubt, keyboard music was one of England’s most glorious achievements during the periodc.1550-1630. Among the composers found in contemporary manuscript anthologies of this repertoire such as the famous Fitzwilliam Virginal Book¹, two names stand out above all the others: William Byrd (c.1540-1623) and John Bull (1562-1628). Whereas Byrd’s keyboard music has generally been regarded as rather ‘intellectual’ in quality, Bull’s has typically been noted for its virtuosity. Moreover, it is frequently assumed that these two qualities comprise a hierarchy of value in which virtuosity is the inferior partner and that Byrd’s achievement is the greater precisely because...

  13. Josquin, Willaert and Douleur me bat
    (pp. 119-130)
    Eric Jas

    It is remarkable to see how little attention has been paid to Willaert’s chansons in the musicological literature of the past twenty years. The 1980’s witnessed a promising start with Lawrence Bernstein’s edition ofLa Couronne et fleur des chansons, containing almost all of Willaert’s three-voice chansons.¹ Whereas Bernstein’s edition, and especially his thorough historical commentary, should have become an excellent point of departure for further in-depth research, it has remained, to this date, an isolated example of the kind of research that Willaert’s chansons deserve.²

    Of course such a lacuna cannot be remedied with a short contribution to a...

  14. Gardano’s Mottetti del Frutto of 1538-39 and the Promotion of a New Style
    (pp. 131-148)
    Mary S. Lewis

    Patterns of patronage, travels of musicians, and the impact of influential teachers were among the many factors that contributed to changes in musical styles during the sixteenth century. The advent of music printing and the cheaper single-impression printing process accelerated those changes and their dissemination. In exploring the role of printing in the spread of musical styles, the tastes and personal musical preferences of the music printers themselves warrant more attention from scholars than they have heretofore received. This paper will show how the musical preferences of one printer, Antonio Gardano, had an important impact on the dispersion of a...

  15. La Frottola antica e la Caccia. Indizi di un recupero formale e stilistico nella prima metà del Cinquecento
    (pp. 149-162)
    Francesco Luisi

    Nell’ambito della musica italiana fiorita nell’ultimo Quattrocento e assunta agli onori della stampa da Ottaviano Petrucci tra il 1504 e il 1514 con i suoi undici libri di frottole, non si trova mai dichiarato il ricorso alla trecentesca forma della caccia. A ben vedere, tuttavia, non si trova alcun cenno anche alle altre forme dell’ars nova italiana, e cioè al madrigale e alla ballata. I titoli delle sillogi di Petrucci propongono una terminologia formale di sintesi che assume la denominazione ‘frottola’. A tale termine, utilizzato in guisa di compendio per un genere assai diffuso sul quale si concentra un intento...

  16. Die Entstehung der musikalischen Geschichte. Historisierung und ästhetische Praxis am Beispiel Josquins
    (pp. 163-178)
    Laurenz Lütteken

    Zu den Auffälligkeiten der EnzyklopädieDie Musik in Geschichte und Gegenwartgehört der Umstand, dass es wohl ein Lemma „Musikgeschichtsschreibung“ gibt, nicht aber eines zur „Musikgeschichte“.¹ Damit ist zwar einem Umstand Rechnung getragen, den schon Ranke und Droysen trennte, nämlich der Vorstellung, dass Geschichte nicht einfach da ist, wie Ranke glaubte, sondern, mit Droysen, ein Konstrukt erst ihres Interpreten.² Wenn auch Droysen selbst bezweifelte, dass dieses Modell für eine Geschichte der Kunst überhaupt tauglich sein könne,³ so stellt sich dennoch die Frage, woraus sich unter diesen Prämissen eine ‚Geschichte der Musik’ eigentlich zusammensetzt und wie jene ‚Tatsachen’ beschaffen sind, die...

  17. Notations modales au seizième siècle
    (pp. 179-194)
    Nicolas Meeùs

    Bien que la théorie des types tonals de Harold Powers¹ ait attiré l’attention, il y a plus d’un quart de siècle déjà, sur les particularités de la notation au seizième siècle, et bien que celles-ci aient fait déjà l’objet d’études approfondies,² les contraintes de la notation modale ne paraissent pas encore entièrement élucidées. Powers mentionne par exemple «le choix de l’une ou l’autre de deux combinaisons de clefs de plus en plus standardisées, dites ‘chiavette’ et ‘chiavi naturali’»,³ mais, en réalité, nous ne savons ni jusqu’à quel point ces combinaisons (qui ne sont jamais formellement décrites dans les textes théoriques...

  18. Notes from an Erasable Tablet
    (pp. 195-210)
    John Milsom

    How did sixteenth-century composers go about the task of writing down their extended polyphonic works? This question has been asked before, not least by Jessie Ann Owens in her important book onComposers at Work: The Craft of Musical Composition 1450-1600; and no one could disagree with her broad conclusion that there was probably ‘no single “compositional process” for music of this period’. How a composer worked would have ‘depended on factors such as his skill level, the kind of space he had available for writing, the number of voices, the conventions of genre, and demands of style’, together with...

  19. Self-Citation and Self-Promotion: Zarlino and the Miserere Tradition
    (pp. 211-226)
    Katelijne Schiltz

    Through Patrick Macey’s extensive research of Josquin des Prez’sMiserere mei Deus, the historical context of this monumental motet, especially its connection with the Savonarolan reform movement and its repercussions at the Este court of Ferrara have received major attention.² Above all, Macey has shown how this piece generated a whole cluster of compositions throughout the sixteenth century, that bear musical, structural and/or textual references to Josquin’s work.³ One of the main elements of this intertextual web includes the use of Josquin’s ‘soggetto ostinato’ – either literally or with slight variations – by composers such as Adrian Willaert, Cipriano de...

  20. Beati omnes, qui timent Dominum à 5. Oder: Von den Schwierigkeiten, Orlando di Lassos Motetten zu edieren
    (pp. 227-238)
    Bernhold Schmid

    Kein Komponist des 16. Jahrhunderts war zu Lebzeiten weiter verbreitet als Orlando di Lasso. Aus den Jahren 1555 bis 1687 sind über 470 Einzel- und Sammeldrucke mit seinen ca. 1200 gedruckten Werken erhalten (wohingegen nur ca. 160 Sätze zeitgenössisch ausschließlich handschriftlich überliefert sind). Vor allem einzelne Chansons brachten es auf etwa 30 und mehr Drucke: So istJe l’ayme bien31 Mal gedruckt, davon allein im Jahr 1570 dreimal. Zu den 28 Drucken fürSusanne un jourkommen noch 22 Ausgaben in Tabulatur. Und so manche Chanson wurde mehrfach kontrafaziert.¹ Auch die Motetten waren zum Teil außerordentlich weit verbreitet: So...

  21. Über ‚Nationalstile’ in der Motette des 16. Jahrhunderts
    (pp. 239-252)
    Thomas Schmidt-Beste

    „Der Stil der Kirchen und Höfe ist und bleibt bis zum Ende des 16. Jahrhunderts ein internationaler Stil.“¹ Dieses Diktum Ludwig Finschers aus einem Aufsatz über „Die Entstehung nationaler Stile in der europäischen Musikgeschichte“ (1984) könnte die Suche nach ‚nationalen’ Elementen in der Musik des 16. Jahrhunderts von vornherein als vergebliche Liebesmühe erscheinen lassen. Der imitativ-polyphone Stil der Komponisten, die seit der berühmten, von Raphael Georg Kiesewetter und François-Joseph Fétis beantworteten Preisfrage „Welke verdiensten hebben zich de Nederlanders vooral in de 14e, 15e en 16e eeuw in het vak der toonkunst verworven?“ aus dem Jahr 1826² als ‚Niederländer’ figurieren³ (heute...

  22. An Unknown Organ Manuscript with Mainly Magnificat-Settings by Lassus (1626)
    (pp. 253-268)
    Eugeen Schreurs

    Very few organ manuscripts from the Low Countries from before 1650 have been preserved.¹ Among the rare exceptions of such manuscripts intended for church use are ‘Liège, Université, Bibliothèque, 153 (olim 888) (Liège Organ book)’ (Liber fratrum cruciferorum leodiensium), compiled for the Crutched Friars of Liege, and ‘London, British Library, Add.29486’ (1618), of unknown destination, containing preludes in all eight modes and alternatim Mass and Magnificat settings.² We know from numerous archival accounts that the organ was frequently used in church services, either alone or as accompanist of a vocal ensemble — often described in the archives as ‘het singen...

  23. La musique et l’éducation des jeunes filles d’après La montaigne des pucelles / Den Maeghden-Bergh de Magdaleine Valéry (Leyde, 1599)
    (pp. 269-278)
    Henri Vanhulst

    Au seizième siècle, de nombreux manuels de conversation bilingues paraissent dans les Pays-Bas méridionaux. Ils présentent le même texte, qui est généralement conçu sous la forme d’un dialogue, en néerlandais et en français, les deux versions étant imprimées l’une en regard de l’autre. Les objectifs de ces ouvrages ne sont manifestement pas toujours les mêmes : alors que certains auteurs abordent les sujets les plus variés et donnent un vocabulaire de base utile aux situations les plus courantes de la vie quotidienne, d’autres poursuivent un but plus ambitieux et ne s’adressent nullement aux débutants. Certains proposent même des vocabulaires tellement...

  24. Johannes Tinctoris and the Art of Listening
    (pp. 279-298)
    Rob C. Wegman

    If there is one day in the life of Johannes Tinctoris about which I would love to know more, it is that fateful day, some time around 1480, when he was visiting Bruges and found himself listening to two blind viol players. Tinctoris, at the time, was in his mid-forties, and he had served for almost ten years as the chief musician at the royal court of Naples. During that decade he had published an impressive series of music treatises – treatises that had won him a reputation as the pre-eminent authority on music of his age. Yet for all...

  25. Contributors
    (pp. 299-306)
  26. Index of Names
    (pp. 307-312)