Pub Date : 2012-08-08DOI: 10.1017/S026112791200006X
D. Fallows
Sean Gallagher states that this is ‘to my knowledge, the first book on a medieval or renaissance composer to include recordings of his complete works’. He is too diffident. They are not just recordings but two newly prepared CDs by no less an ensemble than the Clerks’ Group under Edward Wickham. Surely, the musicians who have recorded all Ockeghem’s sacred music with such eloquence are the best-equipped people, world-wide, to make sense of Regis’s often wayward and always unpredictable polyphony. The CDs are conveniently accommodated in sachets inside the front and back coverboards of the book. (They are, of course, the same CDs that were issued two years earlier in a strikingly elegant box-case by Musique en Wallonie; and probably few readers of these lines will need telling that the figure behind both this and the series ‘Épitome musical’ is the indefatigable Philippe Vendrix – whose efforts here merit a serious salute.) In addition, though, Gallagher prepared new editions of all the music and supervised all the recording sessions. He is of course no newcomer to the topic. His various publications on Regis reach back to 1996 and have been coming out regularly since then. Nevertheless, the experience of those recordings with those particular musicians plainly shows in the book. Profusely equipped with musical examples and references to particular passages on the recordings, his chapters on the music are packed with detailed observations of a kind that could not have happened without that background. Beyond that, the very difficult Latin texts have been given ‘the treatment’ by Leofranc Holford-Strevens, who has been providing that service for musical texts of the fifteenth century for the past twenty years. The full details of what Holford-Strevens has done to them, and why, will appear elsewhere in a separate article, but the upshot of his investigations is clearly stated here (pp. 181–2). Heinz-Jürgen Winkler in his 1999 monograph described the Regis motet texts in the Chigi Codex as korrupt überliefert, which is true; but they are also very badly written by an author with a weak grasp of Latin prosody and grammar. Gallagher reports that ‘even when one allows for problems of transmission, [they] are awkward, overly ambitious attempts at quantitative verse, riddled with errors of various kinds’. He also hints that they may be by Regis himself, who could have been trying to emulate Du Fay’s fluent Latinism. Reviews
{"title":"Sean Gallagher, Johannes Regis . Collection ‘Épitome musical’. Turnhout: Brepols Publishers, 2010. xii+249 pp.","authors":"D. Fallows","doi":"10.1017/S026112791200006X","DOIUrl":"https://doi.org/10.1017/S026112791200006X","url":null,"abstract":"Sean Gallagher states that this is ‘to my knowledge, the first book on a medieval or renaissance composer to include recordings of his complete works’. He is too diffident. They are not just recordings but two newly prepared CDs by no less an ensemble than the Clerks’ Group under Edward Wickham. Surely, the musicians who have recorded all Ockeghem’s sacred music with such eloquence are the best-equipped people, world-wide, to make sense of Regis’s often wayward and always unpredictable polyphony. The CDs are conveniently accommodated in sachets inside the front and back coverboards of the book. (They are, of course, the same CDs that were issued two years earlier in a strikingly elegant box-case by Musique en Wallonie; and probably few readers of these lines will need telling that the figure behind both this and the series ‘Épitome musical’ is the indefatigable Philippe Vendrix – whose efforts here merit a serious salute.) In addition, though, Gallagher prepared new editions of all the music and supervised all the recording sessions. He is of course no newcomer to the topic. His various publications on Regis reach back to 1996 and have been coming out regularly since then. Nevertheless, the experience of those recordings with those particular musicians plainly shows in the book. Profusely equipped with musical examples and references to particular passages on the recordings, his chapters on the music are packed with detailed observations of a kind that could not have happened without that background. Beyond that, the very difficult Latin texts have been given ‘the treatment’ by Leofranc Holford-Strevens, who has been providing that service for musical texts of the fifteenth century for the past twenty years. The full details of what Holford-Strevens has done to them, and why, will appear elsewhere in a separate article, but the upshot of his investigations is clearly stated here (pp. 181–2). Heinz-Jürgen Winkler in his 1999 monograph described the Regis motet texts in the Chigi Codex as korrupt überliefert, which is true; but they are also very badly written by an author with a weak grasp of Latin prosody and grammar. Gallagher reports that ‘even when one allows for problems of transmission, [they] are awkward, overly ambitious attempts at quantitative verse, riddled with errors of various kinds’. He also hints that they may be by Regis himself, who could have been trying to emulate Du Fay’s fluent Latinism. Reviews","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"279 - 285"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S026112791200006X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-08-08DOI: 10.1017/S0261127912000034
P. Barbieri, M. Talbot
John Ravenscroft (1664/5–1697) is today best known for the fact that in 1695 he published a set of church sonatas that closely imitate Corelli in their style. The discourse around Ravenscroft has ever since focused on these twelve sonatas and the significance of their relationship to their illustrious model, to the exclusion of a later set of sonatas of different kind but equal merit. Ravenscroft's fascinating and unusual biography has likewise been totally ignored. The article examines the background of his distinguished, Catholic-leaning family in England during a long, turbulent period when Catholics were severely disadvantaged and his short but productive period spent in Rome, aided by newly discovered archival documents and a rich variety of other sources, both old and more recent, most of which have previously been overlooked by music historians.
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Pub Date : 2012-08-08DOI: 10.1017/S0261127912000125
Jonathan P. Wainwright
but it would have been so good to have a copy of the music with the coherent Cambrai text, certainly copied long after Regis’s death but at least copied at Cambrai Cathedral, no great distance from Soignies and indeed the cathedral church of that diocese. There are some editing problems, to be sure; and there is one chunk of text that is in entirely the wrong place. But the upshot looks a lot more sensible, so it is a pity that Gallagher neither printed it nor included it in the recording. But that of course brings us back to the matter of editions. It looks as though in most other cases Gallagher now has all the material together for a new edition of Regis. It would be so great if he could provide this.
{"title":"John Cunningham, The Consort Music of William Lawes 1602–1645 . Woodbridge: The Boydell Press, 2010. xxiv+350 pp. ISBN 978-0-954-68097-8.","authors":"Jonathan P. Wainwright","doi":"10.1017/S0261127912000125","DOIUrl":"https://doi.org/10.1017/S0261127912000125","url":null,"abstract":"but it would have been so good to have a copy of the music with the coherent Cambrai text, certainly copied long after Regis’s death but at least copied at Cambrai Cathedral, no great distance from Soignies and indeed the cathedral church of that diocese. There are some editing problems, to be sure; and there is one chunk of text that is in entirely the wrong place. But the upshot looks a lot more sensible, so it is a pity that Gallagher neither printed it nor included it in the recording. But that of course brings us back to the matter of editions. It looks as though in most other cases Gallagher now has all the material together for a new edition of Regis. It would be so great if he could provide this.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"285 - 290"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127912000125","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-08-08DOI: 10.1017/S0261127912000046
A. Garavaglia, Katherine Kamal
The fascinating phenomenon of the migration of theatrical subjects between literary genres, languages and countries is enriched through a new example discussed in this article. A handwritten libretto compiled in Rome for the court of Vienna, La simpatia nell'odio, overo Le amazoni amanti by Giovanni Pietro Monesio (1664), was discovered to be a faithful translation of the Spanish play Las Amazonas by Antonio de Solís (1657), hitherto known as the basis of a much later libretto, Caduta del regno delle Amazzoni, by Domenico De Totis (1690), set by Bernardo Pasquini. Monesio's libretto not only allows us to reconstruct the manner and time of the European circulation of a Spanish subject (from Madrid to Rome, to Vienna and Naples), but also to shed light on wider cultural aspects. First of all, it increases the number of librettos closely based on Spanish plays, of which so far only a few examples by Giulio Rospigliosi were known. Secondly, it provides further proof of the hypotheticised Spanish influence on the fortune of the Amazons in Italian opera and confirmation that its first appearance was beyond the Alps rather than in Italy. Finally, in the context of the the Habsburg Viennese court, the success of the Amazons seems to be linked to the political need to create a strong symbolic association between the ‘discourse’ on the virago and the legitimation of female power.
通过本文讨论的一个新例子，丰富了戏剧题材在文学类型、语言和国家之间的迁移这一令人着迷的现象。由Giovanni Pietro Monesio(1664)在罗马为维也纳宫廷编写的手写剧本La simpatia nell'odio, overo Le amazoni amanti由Giovanni Pietro Monesio(1664)编写，被发现是安东尼奥·德·Solís(1657)的西班牙戏剧《亚马逊人》(Las Amazonas)的忠实译本，迄今为止，它被认为是后来多梅尼科·德·托蒂斯(1690)的剧本《Caduta del regno delle Amazzoni》的基础，由贝尔纳多·帕斯基尼设定。莫奈西奥的剧本不仅让我们得以重建西班牙题材在欧洲的传播方式和时间(从马德里到罗马，到维也纳和那不勒斯)，而且还揭示了更广泛的文化层面。首先，它增加了与西班牙戏剧密切相关的剧本的数量，到目前为止，已知的只有朱利奥·罗斯皮里奥西的几个例子。其次，它进一步证明了西班牙对意大利歌剧中亚马逊人命运的影响，并证实了它的首次出现是在阿尔卑斯山以外，而不是在意大利。最后，在哈布斯堡维也纳宫廷的背景下，亚马逊女战士的成功似乎与政治需要有关，即在关于virago的“话语”和女性权力的合法性之间建立一种强烈的象征性联系。
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Pub Date : 2012-08-08DOI: 10.1017/s0261127912000113
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Pub Date : 2012-08-08DOI: 10.1017/S0261127912000083
Anna Zayaruznaya
Elizabeth Eva Leach’s new book was not out yet when I was planning a Spring 2011 seminar on Machaut, so I let its title guide me. Guillaume de Machaut: Secretary, Poet, Musician was obviously the monograph that finally brought Machaut’s life and works into accord – one that explained the importance of his time as a court official to his music and poetry. I therefore put it on the syllabus for ‘Life and Works’ day under the provocative (I hoped) question ‘Does biography matter?’ It was a rookie mistake. Leach’s new book is not a ‘life and works’ study at all. Though it concerns itself with both Machaut’s life and his musico-poetic output, it does so sequentially, placing much more emphasis on the latter. After the first chapter, which brings together all the surviving evidence of the historical Machaut that does not come from his own poetry, the ‘real’ Machaut is treated as much as a symbol as an actuality. His body serves as a metaphor for his oeuvre, the dismemberment of which by modern disciplinarity is the focus of chapter 2. After this the core section of the book explores a series of multivalent themes – ‘Creation’, ‘Hope’, ‘Fortune’ and ‘Death’ – with regard to their manifestation in Machaut’s output, both musical and poetic. The result is that Machaut is ‘re-membered’ even as he is ‘remembered’. In the lucid chapter 1 (‘Life: Guillaume de Machaut’s Living’) Leach brings together the surviving information about Machaut that hails from sources external to his poetic works. Such an undertaking is necessitated by the shaky hold of truth in his dits (long narrative poems). The famous ‘Voir dit’ (‘True Story’ or ‘True Fiction’) is a case in point: the poem often refers to real persons and places, teems with scintillating details about Machaut’s habits of book-making, and records impressive statements about the worth of his musical compositions. The narrator is even named Guillaume. But Guillaume also meets Hope in a field while walking, and
伊丽莎白·伊娃·利奇(Elizabeth Eva Leach)的新书在我计划2011年春季马肖研讨会时还没有出版，所以我以书名为指导。《纪尧姆·德·马肖:秘书、诗人、音乐家》显然是最后把马肖的生活和作品联系在一起的专著——这本专著解释了他作为宫廷官员的那段时间对他的音乐和诗歌的重要性。因此，我把它放在“生活与作品”日的教学大纲中，并提出了一个具有挑衅性(我希望如此)的问题:传记重要吗?这是新手犯的错误。利奇的新书根本不是关于“生活与作品”的研究。虽然它既关注马肖的生活，也关注他的音乐诗歌作品，但它是按顺序进行的，更强调后者。第一章汇集了历史上马肖的所有现存证据，这些证据并非来自他自己的诗歌，在这一章之后，“真实的”马肖被视为一个象征，而不是一个现实。他的身体是他全部作品的隐喻，现代纪律对其的肢解是第二章的重点。在此之后，本书的核心部分探讨了一系列多重主题——“创造”、“希望”、“财富”和“死亡”——以及它们在马肖作品中的表现，包括音乐和诗歌。结果是马肖被“记住”，就像他被“记住”一样。在清晰的第一章(“生活:纪尧姆·德·马肖的生活”)中，利奇汇集了有关马肖的现存信息，这些信息来自他诗歌作品之外的来源。由于他在长篇叙事诗中对真理的把握不稳，这样的工作是必要的。著名的“Voir dit”(“真实的故事”或“真实的小说”)就是一个很好的例子:这首诗经常提到真实的人和地方，充满了马肖写书习惯的精彩细节，并记录了关于他的音乐作品价值的令人印象深刻的陈述。叙述者甚至叫纪尧姆。但是纪尧姆在散步的时候也遇到了霍普，然后
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Pub Date : 2012-08-08DOI: 10.1017/S0261127912000058
Vincenzo Borghetti, Stephen Bemrose
Fors seulement is among Johannes Ockeghem's most extensively discussed chansons. A much debated feature of this rondeau is that its two upper voices span almost the same high register. Sources disagree over which of these voices is the tenor: earlier and authoritative manuscripts assign this role to the uppermost voice, while later ones ‘normalise’ the disposition by giving it to the slightly lower one. Apart from a few passing remarks, musicologists have not taken into sufficient consideration that the text of Fors seulement, the lament of a woman, is modelled upon Alain Chartier's Complainte on the death of his lady, as Paula Higgins has demonstrated. This article focuses on the transformation of the rhetoric of grief from male Complainte to female rondeau, and considers anew the issue of Fors seulement's unique contrapuntal structure and its troubled reception from the point of view of the peculiarly gendered nature of its poetic voice.
Fors seuement是约翰内斯·奥克海姆(Johannes ockehem)最被广泛讨论的香颂之一。这首朗多的一个备受争议的特点是它的两个高音跨越了几乎相同的高音域。来源不同意这些声音中的哪一个是男高音:早期和权威的手稿把这个角色分配给了最高的声音，而后来的“正常化”的处置，把它给了稍微低一点的声音。除了一些偶然的评论，音乐学家们没有充分考虑到，正如Paula Higgins所证明的那样，Fors seulement的文本，一个女人的哀歌，是模仿alan Chartier对他妻子死亡的抱怨。本文着眼于悲伤修辞从男性的抱怨到女性的抱怨的转变，并从其独特的诗歌声音的性别特征的角度重新思考福斯的独特对位结构及其令人困惑的接受问题。
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Pub Date : 2012-08-08DOI: 10.1017/s0261127912000101
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Pub Date : 2012-08-08DOI: 10.1017/S0261127912000010
Lisa Nielson
Until the ninth century, the role of the professional musician in pre-Islamic Arabia and Mesopotamia was primarily fulfilled by women. Men were socially prohibited from working as musicians, though some transgressed gender and social boundaries by adopting feminine dress and playing ‘women's’ instruments. With the advent of Islam, patronage of qiyān (singing girls), mukhannathūn (effeminates) and later, male musicians, did not substantially change. During the early Abbasid era (750–950 ce), however, their collective visibility in court entertainments was among several factors leading to debates regarding the legal position of music in Islam. The arguments for and against took place in the realm of politics and interpretation of religious law yet the influence of traditional expectations for gendered musical performance that had existed on the cultural landscape for millennia also contributed to the formation of a musical semiotics used by both sides. In this article, I examine the representation of musicians in the early Islamic court in Baghdad from the perspective of select ninth-century Arabic texts. First, I begin with a summary of the gender roles and performance expectations for pre-Islamic court musicians and point to their continuation into the early Islamic courts. Then, I suggest how the figure of the musician became a key referent in the development of a musical semiotics used in medieval Islamic music discourse.
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Pub Date : 2012-08-08DOI: 10.1017/S0261127912000022
Remi Chiu
This essay examines the role of music in the late-medieval and Renaissance response to plague. According to doctors, the mere thought of plague could bring on the disease; they therefore prescribed joyful music to distract the mind from insidious imaginings and to counteract the harmful effects of fear. The prescription for music, however, was not unequivocal. Some spiritual authorities looked suspiciously upon music's role as anti-pestilential remedy. These competing discourses inform a reading of Johannes Martini's and Gaspar van Weerbeke's settings of O beate Sebastiane, motets that petition St Sebastian, the premier plague saint of the Renaissance, for divine intervention against pestilence.
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