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MUSIC
It has something to do with sound ... And
Power And Luck And Hard Work And You (You always
get what you want, Youll never get what you want)
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FLEMISH MUSIC(15th 16th centuries)
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SOCIOCULTURAL IMPACT
BURGUNDY 1. Philip the Bold 2. John the
Fearless 3. Philip the Good 4. Charles the
Bold HABSBURG/SPAIN 5. Charles V 6. Philip
II
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SOCIOCULTURAL IMPACT
1. Flanders becomes part of the Duchy of Burgundy
(1369-1516) and its subsequent transfer to
Habsburg/Spain (1516-1609) - connections with the
papal court - artists are courtiers or clerical
civil servants - courtly prestige - mobility
Ex. G.Dufay Kamerijk - Pesaro - Rimini - Laon -
Rome - Ferrara - Savoy - Rome - Florence -
Bologna - Kamerijk ( Savoy/Turin/Genève/Besançon,
)
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Mille regretz de vous abondonner et deslonger
vostre fache amoureuse jay si grand deuil et
peine douloureuse quon me verra brief mes jours
deffiner. A thousand regrets to forsake you and
to escape your amorous temper I have such great
grief and sorrowful anguish that one will see me
shortly end my days.
Apetiser 1 Josquin des Prez (c1440-1521) Mille
regretz
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Brussel, Kon. Bibl. Albert I, 9092, f. 9
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Johannes Ockeghem Missa Ecce ancilla
domini (cantus - tenor) Roma, Bibl. Vat., Chigi C
VIII 234, f. 19v
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Josquin des Prez, Missa Ave maris stella
(altus - bassus) Brussel, Kon. Bibl. Albert
I, 9126, f. 2
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SOCIOCULTURAL IMPACT
1. Flanders becomes part of the Duchy of Burgundy
(1369-1516) and its subsequent transfer to
Habsburg/Spain (1516-1609)
2. Maîtrises (Kamerijk/Cambrai, Brugge, Luik,
Doornik, Antwerpen, )
3. Bookprint (Petrucci, Susato, Phalèse,
Waelrant, Plantin, )
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SOCIOCULTURAL IMPACT TECHNICAL MASTERY
1. Euphonic counterpoint
2. Bel canto avant la lettre
3. Technical virtuosity and intellectualism
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SYMBOLISM 1. Number-symbolism 2.
Visual/notational symbolism 3. Choice of cantus
firmus 4. Gematrics
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Nimphes des bois, déesses des fontaine
cantus firmus Requiem aeternam ...
Apetiser 2 Josquin des Prez (c1440-1521) Nimphes
des bois (La déploration de Jehan Ockeghem)
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Une puce j'ay dedans l'oreill' helas ! Qui de
nuit de jour me fretille me mord Et me faict
devenir fou, Nul remède n'i puis donner, Je
cours, deça, je cours dela, Ote la moy, retire
la moy, je t'en pri, O toute belle, secours
moy. Quand mes yeux je pence livrer au
someil, Elle vient me piquer, me démange, me
poingt Et me garde de dormir. Nul remède . . .
D'une vieille charmeresse aidé me suis, Qui
guérit tout le monde de tout guérissant, Ne ma
sçeu me guerir moy Nul remède . . . Bien je
sçay que seule peux guérir ce mal, Je te pri de
me voir de bon oeil, et vouloir Amolir ta
cruauté Nul remède . . .
Apetiser 3 Orlandus Lassus (1532-1594) Une puce
jay dedans loreille (chanson)
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SOCIOCULTURAL IMPACT TECHNICAL MASTERY
1. Euphonic counterpoint
2. Bel canto avant la lettre
3. Technical virtuosity and intellectualism
4. Equivalence of voices - simultaneous
composition - free use of the cantus primus in
all parts - imitation
5. New genres and forms
6. Outspoken modernist/renaissance tendencies
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RELIGIOUS MUSIC 1. secularisation (cantus
firmus -gt paraphrase -gt parody -gt free style) 2.
humanisation (music becomes expression of
emotion and avowment)
SECULAR MUSIC 1. gains recognition 2.
instrumental music evolves towards an independent
category
gt Mass Music for the officium Secular music in
Latin Secular music in the vernacular Regretz-ch
anson Instrumental music
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Gilles De Bins (Binchois) (c1400-1460) Chanson
De plus en plus Johannes Ockeghem
(c.1425-1497) Missa de plus en plus - Kyrie
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FIFTEENTH CENTURY
from middle ages to renaissance
from north to south
from line to solid
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The search for suavitas
Guillaume Dufay (1397 - 1474)
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FIRST FRANCO-FLEMISCH SCHOOL - LEADING
MUSICIANS Generations I-III 15th century
Guillaume DUFAY (c1400-1474)
Gilles BINCHOIS (c1400-1460)
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The search for form
Johannes Ockeghem (ca. 1410 - 1497)
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FIRST FRANCO-FLEMISCH SCHOOL - LEADING
MUSICIANS Generations I-III 15th century
Guillaume DUFAY (c1400-1474)
Gilles BINCHOIS (c1400-1460)
Johannes OCKEGHEM (1410/20-1497)
Antoine BUSNOIS (c1430-1492) Johannes MARTINI
(c1440-1498) Johannes REGIS (c1430-c1485) Hayne
van GHIZEGHEM (c1445-1497)
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The search for synthesis
Josquin des Pres (ca1440 - 1521)
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FIRST FRANCO-FLEMISCH SCHOOL - LEADING
MUSICIANS Generations I-III 15th century
Guillaume DUFAY (c1400-1474)
Josquin des PREZ (c1440-1521)
Gilles BINCHOIS (c1400-1460)
Heinrich ISAAC (c1450-1517) Jacob OBRECHT
(1457/8-1505) Pierre de la RUE (c1460-1518) Alexan
der AGRICOLA (c1446-1506) Loyset COMPÈRE
(c1445-1518) Antonius DIVITIS (c1470-c1530) Antoin
e de FÉVIN (c1470-1511/1512) Johannes PRIORIS
(c1460-1512/1514) Antoine BRUMEL
(c1460-c1515) Matthaeus PIPELARE
(c1450-c1515) Johannes TINCTORIS
(c1435-1511) Gaspar van WEERBECKE (c1445-1517)
Johannes OCKEGHEM (1410/20-1497)
Antoine BUSNOIS (c1430-1492) Johannes MARTINI
(c1440-1498) Johannes REGIS (c1430-c1485) Hayne
van GHIZEGHEM (c1445-1497)
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SIXTEENTH CENTURY
from teacher to colleague
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The conquest of space
Adriaen Willaert (1480/1490 - 1562)
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FIRST FRANCO-FLEMISCH SCHOOL - LEADING
MUSICIANS Generations IV - V 16th century
Adriaan WILLAERT (c1490-1562)
Nicolaas GOMBERT (c1495-c1560) Jacob Clemens NON
PAPA (c1510-1555) Thomas CREQUILLON
(1480/1500-1557) Cypriano de RORE
(1515/16-1565) Nicolas PAYEN (c1512-1559) Pierre
de MANCHICOURT (c1510-1564) Arnold von BRUCK
(c1500-1554) Jacobus VAET (c1529-1567) Jakob BUUS
(c1500-1565) Jacquet van BERCHEM (c1505-1565) Jan
NASCO (c1510-1561)
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Example 2 Nicolaas Gombert (c1495-c1560) De
profundis Agnus Dei III a 12 (Missa Tempore
paschali)
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Example 2b Arvo Pärt !! De profundis (1980)
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Finale
Orlandus Lassus (1532-1594)
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FIRST FRANCO-FLEMISCH SCHOOL - LEADING
MUSICIANS Generations IV - V 16th century
Adriaan WILLAERT (c1490-1562)
Orlandus LASSUS (1532-1594)
Philippus de MONTE (1521-1603) Giaches de WERT
(1536-1596) Philippe ROGIER (c1561-1596) Alexander
UTENDAL (c1543/45-1581) Jacob REGNART
(1540/45-1599) Ivo de VENTO (c1543/45-1575) Baldou
in HOYOUL (1548/49-1594) Johannes de FOSSA
(c1540-1603) Gerard van TURNHOUT
(c1540-1580) Georges de la HÈLE
(1547-1586) Jacobus de KERLE (1531/32-1591) Jean
de CASTRO (c1540/45-c1600) Franciscus SALES
(c1550-1599) Hubertus WAELRANT (1516/17-1595) Andr
eas PEVERNAGE (1543-1591)
Nicolaas GOMBERT (c1495-c1560) Jacob Clemens NON
PAPA (c1510-1555) Thomas CREQUILLON
(1480/1500-1557) Cypriano de RORE
(1515/16-1565) Nicolas PAYEN (c1512-1559) Pierre
de MANCHICOURT (c1510-1564) Arnold von BRUCK
(c1500-1554) Jacobus VAET (c1529-1567) Jakob BUUS
(c1500-1565) Jacquet van BERCHEM (c1505-1565) Jan
NASCO (c1510-1561)
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Vide homo, quae pro te patior Behold, man,
what I suffer for you I cry unto you, you for
whom I die Behold the agonies that I
endure Behold the nails that transpierce
me There is no pain like that of the cross And
great as this outward pain might be, The inner
pain is even worse, To have experienced such
ingratitude from you.
Example 4 Orlandus Lassus (1532-1594) Vide homo,
quae pro te patior (Motet)
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