Within the rich spectrum of musical documents from medieval Bohemia, the corpus of tropes that survives in manuscripts from St George’s convent at Prague Castle is perhaps the most important. Forty-two Benedicamus Domino tropes appear in manuscripts from the monastery—one of the richest and most important female foundations in Central Europe, with a small community of nuns from noble families—most of them compiled at the end of the 13th and the first decades of the 14th centuries. The collection includes Benedicamus tropes that were circulating in the wider Central European territory, tropes that had their origins in the west and for which Prague constituted one of the furthest destinations within their dissemination, and a significant number of chants survive only in manuscripts from St George’s and may have had their origins in this milieu. These Benedicamus tropes exhibit a striking variety of forms and richness in their melodic material: a number of polyphonic tropes employ a Stimmtausch technique, others are wholly structured as strophic songs with or without refrains. Many of the trope texts indicate that they were meant to be sung by both male and female communities at St George’s, and their appearance in books with private prayers suggests that they may also have served an educational purpose.
{"title":"Benedicamus Domino tropes in the monastery of Benedictine nuns at St George’s, Prague","authors":"Hana Vlhová-Wörner","doi":"10.1093/em/caac053","DOIUrl":"https://doi.org/10.1093/em/caac053","url":null,"abstract":"\u0000 Within the rich spectrum of musical documents from medieval Bohemia, the corpus of tropes that survives in manuscripts from St George’s convent at Prague Castle is perhaps the most important. Forty-two Benedicamus Domino tropes appear in manuscripts from the monastery—one of the richest and most important female foundations in Central Europe, with a small community of nuns from noble families—most of them compiled at the end of the 13th and the first decades of the 14th centuries. The collection includes Benedicamus tropes that were circulating in the wider Central European territory, tropes that had their origins in the west and for which Prague constituted one of the furthest destinations within their dissemination, and a significant number of chants survive only in manuscripts from St George’s and may have had their origins in this milieu. These Benedicamus tropes exhibit a striking variety of forms and richness in their melodic material: a number of polyphonic tropes employ a Stimmtausch technique, others are wholly structured as strophic songs with or without refrains. Many of the trope texts indicate that they were meant to be sung by both male and female communities at St George’s, and their appearance in books with private prayers suggests that they may also have served an educational purpose.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44430707","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":"‘As unknown to me as a Bohemian village’: a retrospective of Czech Baroque music in recordings","authors":"R. Rawson","doi":"10.1093/em/caac075","DOIUrl":"https://doi.org/10.1093/em/caac075","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47460977","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}
Early Music, over the course of its 50 years, has become the prime forum for debate on music before 1800. The journal has fostered conversation, agreement and disagreement on a wide range of topics, the most hotly debated of which will be discussed here. Since its inception, Early Music has been a platform for musicologists to publish their research, for performers to discuss historical repertories and historical performance practices, and for both groups to review books, editions, recordings and events in the world of (primarily Anglophone) early music. This broad church of contributors, unique among scholarly journals, has meant that debate has ranged widely and beyond the usual confines of academic research. Also important has been the journal’s frequent issues (four each year) and variety of types of writing, including full-length articles, reviews and letters, which together have enabled debates to retain momentum and welcome the voices of anyone who has an opinion. The field of early music is perhaps especially ripe for debate, given that so much evidence has been lost and that any surviving evidence is frequently ambiguous, partial and contradictory. Key debates of the last 50 years have included the a cappella performance of medieval polyphony; the presence of falsettists in English 16th-century choirs; the performance pitch of Tudor polyphony and certain movements from Monteverdi’s Mass and Vespers of 1610; dotting in French overtures; the performance of conjunct quavers or semiquavers unequally outside of France in the 17th and 18th centuries; and the forces required to perform Bach’s choruses.
{"title":"Fifty years of debate in <i>Early Music</i>","authors":"Joseph W Mason","doi":"10.1093/em/caad014","DOIUrl":"https://doi.org/10.1093/em/caad014","url":null,"abstract":"Early Music, over the course of its 50 years, has become the prime forum for debate on music before 1800. The journal has fostered conversation, agreement and disagreement on a wide range of topics, the most hotly debated of which will be discussed here. Since its inception, Early Music has been a platform for musicologists to publish their research, for performers to discuss historical repertories and historical performance practices, and for both groups to review books, editions, recordings and events in the world of (primarily Anglophone) early music. This broad church of contributors, unique among scholarly journals, has meant that debate has ranged widely and beyond the usual confines of academic research. Also important has been the journal’s frequent issues (four each year) and variety of types of writing, including full-length articles, reviews and letters, which together have enabled debates to retain momentum and welcome the voices of anyone who has an opinion. The field of early music is perhaps especially ripe for debate, given that so much evidence has been lost and that any surviving evidence is frequently ambiguous, partial and contradictory. Key debates of the last 50 years have included the a cappella performance of medieval polyphony; the presence of falsettists in English 16th-century choirs; the performance pitch of Tudor polyphony and certain movements from Monteverdi’s Mass and Vespers of 1610; dotting in French overtures; the performance of conjunct quavers or semiquavers unequally outside of France in the 17th and 18th centuries; and the forces required to perform Bach’s choruses.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136195130","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":"Performing medieval narrative and song","authors":"Richard J. B. Robinson","doi":"10.1093/em/caad019","DOIUrl":"https://doi.org/10.1093/em/caad019","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43942101","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}
A second excursion into Mouton’s work for Stephen Rice and The Brabant Ensemble, Jean Mouton: Missa faulte d’argent & motets (Hyperion cda68385, issued 2022) features motets and a Mass drawn from manuscript and print sources. Some 100 motets, 15 Masses, nine Magnificats and around two dozen chansons by Mouton survive, and Rice observes in his notes that little has been recorded. That a composer of Mouton’s calibre and fame be so sparsely recorded certainly justifies this effort by Rice and his singers. Josquin’s contemporary, Jean Mouton (before 1459–1522), spent his early years in north-western France before his steady climb through the ranks of French church musicians. He had stints in Amiens and Grenoble before joining the royal court in the early 16th century, where he remained in service. Contemporaries suggested a stylistic connection between Mouton and Josquin, but modern scholars note that although both carried the same compositional toolbox, each had his own approach to text and music. Contemporaries and modern scholars agree on Mouton’s craft and steady, flowing melodies, characteristics confirmed by this recording. Motets and Mass alike unfold with few vocal or compositional fireworks. Others have noted that Mouton’s music reflects a stronger interest in contrapuntal interplay than perfect text-setting, and one can sometimes hear an awkward stress or a slightly off-kilter phrase. Nonetheless, this recording puts on display the full range of Mouton’s mastery of Renaissance counterpoint—expertly deployed cantus firmus, finely dovetailed imitation, varied and contrasting part pairings, and more.
{"title":"Lustrous songs and delicate dances","authors":"Jeffrey Noonan","doi":"10.1093/em/caad018","DOIUrl":"https://doi.org/10.1093/em/caad018","url":null,"abstract":"A second excursion into Mouton’s work for Stephen Rice and The Brabant Ensemble, Jean Mouton: Missa faulte d’argent & motets (Hyperion cda68385, issued 2022) features motets and a Mass drawn from manuscript and print sources. Some 100 motets, 15 Masses, nine Magnificats and around two dozen chansons by Mouton survive, and Rice observes in his notes that little has been recorded. That a composer of Mouton’s calibre and fame be so sparsely recorded certainly justifies this effort by Rice and his singers. Josquin’s contemporary, Jean Mouton (before 1459–1522), spent his early years in north-western France before his steady climb through the ranks of French church musicians. He had stints in Amiens and Grenoble before joining the royal court in the early 16th century, where he remained in service. Contemporaries suggested a stylistic connection between Mouton and Josquin, but modern scholars note that although both carried the same compositional toolbox, each had his own approach to text and music. Contemporaries and modern scholars agree on Mouton’s craft and steady, flowing melodies, characteristics confirmed by this recording. Motets and Mass alike unfold with few vocal or compositional fireworks. Others have noted that Mouton’s music reflects a stronger interest in contrapuntal interplay than perfect text-setting, and one can sometimes hear an awkward stress or a slightly off-kilter phrase. Nonetheless, this recording puts on display the full range of Mouton’s mastery of Renaissance counterpoint—expertly deployed cantus firmus, finely dovetailed imitation, varied and contrasting part pairings, and more.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135244751","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":"Elegant anthems by Thomas Tallis","authors":"K. McCarthy","doi":"10.1093/em/caad016","DOIUrl":"https://doi.org/10.1093/em/caad016","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49465130","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":"A turning point for Telemann scholarship?","authors":"Paul Newton-Jackson","doi":"10.1093/em/caad020","DOIUrl":"https://doi.org/10.1093/em/caad020","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44692836","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":"True Orpheus of the city of Rome","authors":"A. Howard","doi":"10.1093/em/caad015","DOIUrl":"https://doi.org/10.1093/em/caad015","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44602769","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":"The evolution of Early Music","authors":"M. Bent","doi":"10.1093/em/caac071","DOIUrl":"https://doi.org/10.1093/em/caac071","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49622692","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 Music and materiality—1","authors":"T. Knighton","doi":"10.1093/em/caac070","DOIUrl":"https://doi.org/10.1093/em/caac070","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44636272","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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