In late 17th- and early 18th-century London, English versions of the comédies-ballets by Molière and Lully were received with great applause. Yet translators had necessarily converted the rhythm, rhyme and song of the French plays, which is why most of Lully’s tunes seem to have been lost in translation, replaced by newly composed songs. Focusing on Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672), this article examines source evidence suggesting that in this case some of Lully’s vocal and instrumental movements may well have survived crossing the Channel—and it also reveals that Ravenscroft must have been able to draw on eyewitness accounts of Lully as an on-stage performer in Le Bourgeois gentilhomme (1670). An Appendix briefly considers 18th-century revivals of Le Bourgeois gentilhomme and its ‘Turkish Ceremony’ in London.
{"title":"Lost in translation? Tracing Lullian tunes in Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672)","authors":"Hanna Walsdorf","doi":"10.1093/em/caae030","DOIUrl":"https://doi.org/10.1093/em/caae030","url":null,"abstract":"In late 17th- and early 18th-century London, English versions of the comédies-ballets by Molière and Lully were received with great applause. Yet translators had necessarily converted the rhythm, rhyme and song of the French plays, which is why most of Lully’s tunes seem to have been lost in translation, replaced by newly composed songs. Focusing on Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672), this article examines source evidence suggesting that in this case some of Lully’s vocal and instrumental movements may well have survived crossing the Channel—and it also reveals that Ravenscroft must have been able to draw on eyewitness accounts of Lully as an on-stage performer in Le Bourgeois gentilhomme (1670). An Appendix briefly considers 18th-century revivals of Le Bourgeois gentilhomme and its ‘Turkish Ceremony’ in London.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142180063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The state of the Teutonic Order in Prussia, or Ordensstaat (1228–1525), belongs to those ‘vanished kingdoms’ which—devoid of any contemporary heirs—remain on the margins of historical narratives about music. The aim of this article is to describe polyphonic practices in medieval Prussia on the basis of archival and musical sources. Although the information they contain is of a fragmentary character, referring mainly to the first half of the 15th century, it does indicate that a variety of music was cultivated: from simply polyphony in chant notation to international Ars Nova. Outside the major ecclesiastic centres, conditions for the cultivation of polyphony could have existed at the court of the Grand Master, at which musicians—mostly instrumentalists—from across Europe appeared. Particular attention is devoted in the article to fragments from the Gdańsk Library of the Polish Academy of Sciences (Ms. 2153a) which contain works in the style of Central European polyphony, belonging to the genres of motet, cantio and rotulum. These and other sources indicate that the culture of medieval Prussia should be seen from the perspective of various European connections, and not as Germanic or Polish culture, as has often occurred in the past.
{"title":"Music in a vanished kingdom: medieval polyphony in the Teutonic Order state in Prussia","authors":"Paweł Gancarczyk","doi":"10.1093/em/caae026","DOIUrl":"https://doi.org/10.1093/em/caae026","url":null,"abstract":"The state of the Teutonic Order in Prussia, or Ordensstaat (1228–1525), belongs to those ‘vanished kingdoms’ which—devoid of any contemporary heirs—remain on the margins of historical narratives about music. The aim of this article is to describe polyphonic practices in medieval Prussia on the basis of archival and musical sources. Although the information they contain is of a fragmentary character, referring mainly to the first half of the 15th century, it does indicate that a variety of music was cultivated: from simply polyphony in chant notation to international Ars Nova. Outside the major ecclesiastic centres, conditions for the cultivation of polyphony could have existed at the court of the Grand Master, at which musicians—mostly instrumentalists—from across Europe appeared. Particular attention is devoted in the article to fragments from the Gdańsk Library of the Polish Academy of Sciences (Ms. 2153a) which contain works in the style of Central European polyphony, belonging to the genres of motet, cantio and rotulum. These and other sources indicate that the culture of medieval Prussia should be seen from the perspective of various European connections, and not as Germanic or Polish culture, as has often occurred in the past.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142180064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The motet Huc me sydereo by Josquin des Prez appears in both five- and six-voice versions, having led scholars to debate which version is authentic to the composer’s original conception. The authoritative New Josquin Edition presents the motet in its six-voice version; in the critical commentary, editor Bonnie Blackburn defended it as Josquin’s original. More recently, Joshua Rifkin has demonstrated on stylistic and source-critical grounds that the five-voice version was original, with a sixth voice having been added later. In this article, I present new findings on the manuscript St Gallen 464, an important early source for Huc me sydereo, which reinforce arguments defending the authenticity of the five-voice version. I show that the origin of the sixth voice can be isolated to a trio of sources produced on the Italian peninsula in the 1510s, all but eliminating Josquin as a candidate as its author. Moreover, through a new identification of the original scribe and owner of St Gallen 464, I shed new light on that manuscript’s date and provenance. In so doing, I demonstrate how the study of musical sources and transmission can carry direct importance for essential performance decisions.
乔斯昆-德-普雷兹（Josquin des Prez）的圣歌《Huc me sydereo》有五声部和六声部两种版本，曾引起学者们对哪种版本才是作曲家原作的争论。权威的《新乔斯昆版》（New Josquin Edition）以六声部版本介绍了这首主题曲；编辑邦妮-布莱克本（Bonnie Blackburn）在评论中将其视为乔斯昆的原作。最近，约书亚-里夫金（Joshua Rifkin）从文体和源流批判的角度证明，五声部版本是原版，第六声部是后来添加的。在本文中，我介绍了对圣加仑 464 号手稿的新发现，该手稿是《Huc me sydereo》的重要早期资料来源，它加强了为五声部版本的真实性辩护的论据。我的研究表明，第六声部的起源可以归结为 15 世纪 10 年代意大利半岛的三组资料，从而排除了乔斯昆作为作者的可能性。此外，通过对圣加仑 464 号手稿的原始抄写员和所有者的新鉴定，我对该手稿的日期和出处有了新的了解。在此过程中，我展示了对音乐来源和传承的研究如何对重要的演出决策产生直接影响。
{"title":"More on the scoring of Josquin’s Huc me sydereo and the manuscript St Gallen 464","authors":"Brett Kostrzewski","doi":"10.1093/em/caae005","DOIUrl":"https://doi.org/10.1093/em/caae005","url":null,"abstract":"The motet Huc me sydereo by Josquin des Prez appears in both five- and six-voice versions, having led scholars to debate which version is authentic to the composer’s original conception. The authoritative New Josquin Edition presents the motet in its six-voice version; in the critical commentary, editor Bonnie Blackburn defended it as Josquin’s original. More recently, Joshua Rifkin has demonstrated on stylistic and source-critical grounds that the five-voice version was original, with a sixth voice having been added later. In this article, I present new findings on the manuscript St Gallen 464, an important early source for Huc me sydereo, which reinforce arguments defending the authenticity of the five-voice version. I show that the origin of the sixth voice can be isolated to a trio of sources produced on the Italian peninsula in the 1510s, all but eliminating Josquin as a candidate as its author. Moreover, through a new identification of the original scribe and owner of St Gallen 464, I shed new light on that manuscript’s date and provenance. In so doing, I demonstrate how the study of musical sources and transmission can carry direct importance for essential performance decisions.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141872424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Early musicking in its own words and images","authors":"David R M Irving","doi":"10.1093/em/caae006","DOIUrl":"https://doi.org/10.1093/em/caae006","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141827275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Musical culture in early modern Ferrara","authors":"Caroline Gill","doi":"10.1093/em/caae017","DOIUrl":"https://doi.org/10.1093/em/caae017","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141652048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aspects of early English music","authors":"Erik Bergwall","doi":"10.1093/em/caae022","DOIUrl":"https://doi.org/10.1093/em/caae022","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141658586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mysticism in Jewish and Christian literature","authors":"Alexandre Cerveux","doi":"10.1093/em/caae019","DOIUrl":"https://doi.org/10.1093/em/caae019","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141656873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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