Johannes Tinctoris Credo Vidéos
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2024-04-20
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Johannes Tinctoris Dyer 1463 1472 1487 1511
Johannes Tinctoris gave Brain l'Alleud as his birthplace when he registered at the German Nation of Orleans University, which he entered on April 1, 1463. The name he used may have been a Latinized version of his actual vernacular name. His putative hometown is located 20 miles from Brussels, so he might have had a Dutch, French, Flemish, or German name, be it Tinctor, Teinturier, de Vaerwere, or Färbers, all of which have been used in writings about him. It is equivalent to the English Dyer, meaning a person who dyes things. All the original sources use Tinctoris. By the time he entered that university, he had already been a director of choir boys and was listed elsewhere in the register as a "venerabilis dominus magister." Around 1472, he entered the service of the King of Naples, Ferdinand I, and served as tutor to his daughter, Princess Beatrice. In his own writings, Tinctoris referred to himself in various ways, including "magister" and "cappellanus," implying that he eventually had a major, perhaps the top, supervisory position among the musicians. This is supported by the fact that in 1487, Ferdinand instructed him to take charge of recruiting singers from the establishments of other kings. There is some slight hint that he may have been in Rome and performed for the Pope, though the time and place of his death are unknown. The date above is inferred by musicologists from the fact that on October 12, 1511, one of his positions was transferred to another musician. Tinctoris is valued especially highly by musicologists as a theorist, the author of several treatises on music. These are exceptionally valuable for their systematic and clear explanation of much that was going on in music at the time. The most revered is Terminorum musicae diffinitorium, a listing of 299 definitions of current musical terms. In short, it is the first printed music dictionary. Four of his tracts discuss the mensural notation in use at the time. Another, Tractatus de notis et pausis explains the notes and their time values. Another work, of 51 chapters, exhaustively discusses the system of church modes. There is a book on lute playing and an exceptionally valuable book in three volumes on counterpoint. In addition, Complexus effectum musices is a philosophical work thoroughly discussing the poetics of the art, its esthetics value, its role in religion, its part in education and the treatment of illnesses, and its traditional powers. Most of these works are profusely illustrated with musical examples and citations to authorities from Plato and Aristotle to composers of Tinctoris' own time. A substantial number of examples are not attributed to anyone and it is clear that they were written by Tinctoris himself. In addition, Tinctoris published music outside the treatises, which he did sign, including sacred and secular vocal music characterized by gracefully flowing, though complex, polyphony. He was among the many composer who wrote a mass with the popular song L'homme armé as its cantus firmus; this is the Missa Cunctorum plasmator summus. During his time, he was extolled both as one of the most notable musicians of the time and as a great writer about music.
Josquin Prés Dufay Ockeghem Morales Palestrina Lockwood Busnois Pietro Aaron Regis Tinctoris Obrecht Brumel Carver Carissimi Petrucci Philip Glass Peter Phillips Sargent Fabre Vary 1500 1502 1523 1980
(http•••) "There were at least thirty-one Mass-settings based on the L’homme armé melody in the Renaissance period. The two by Josquin des Prés were written about half-way through the spectrum, between those of Dufay and Ockeghem on the one hand and the two each by Morales and Palestrina on the other. It is especially valuable to hear the Josquin settings together, since it is assumed that while writing the earlier of them, Super voces musicales, he conceived new compositional challenges which were to be confronted in Sexti toni. There is an extra merit in having a performance of Super voces musicales on disc, since I believe that, on account of its length and the tessitura of its voice parts, a concert performance of it complete would be virtually impossible. The earliest reliable source of the L’homme armé melody is a late-fifteenth-century manuscript in Naples, which contains six anonymous Masses based on the song. The text may be translated, ‘Fear the armed man. Word has gone out that everyone should arm himself with a haubregon1 of iron’, which may refer to a crusade against the Turks (see Lewis Lockwood in Grove, 1980). This Neapolitan version of L’homme armé poses two unresolved problems; whether it was originally a monophonic song or the tenor of a lost three-voice chanson; and whether it originally had any more verses, as the refrain structure rather suggests. Apart from the composers already mentioned, there were Mass-settings founded on L’homme armé by Busnois (who was said, by Pietro Aaron in 1523, to have been the original composer of the song), Regis, Tinctoris, Obrecht, Brumel, Mouton, de Silva, Carver and several others. The series was finally closed in the seventeenth century by Carissimi, who crowned the tradition with a twelve-voice work. At first hearing, the two Josquin L’homme armé Masses are worlds apart. One might guess that Super voces musicales was a medieval composition, and Sexti toni a mature Renaissance one. In fact the manuscript evidence is that they were probably both from Josquin’s so-called ‘middle’ period, which ended around the year 1500, though it is assumed that Super voces musicales was written first. They were both printed by Petrucci in 1502. [...] Josquin’s Mass Sexti toni (‘in the sixth mode’) is so called because he has transposed the melody to make its final note F (as opposed to the more normal G), giving it a major-key tonality. This element of transposition is one of the features borrowed from Super voces musicales, though there, as we have seen, it was turned into a constructional principle. The idea of stating the melody in retrograde has also been transferred from the other Mass, though instead of giving the direct and retrograde forms in consecutive statements as he did before, here in the third Agnus Dei Josquin states them both at the same time. These form the lowest two parts in a movement where the number of voice-parts has been increased from four to six, and the upper voices are in two paired canons at the unison. While this shows exceptional compositional virtuosity, the actual sound in this final Agnus Dei is most unfamiliar, suggesting, if anything, the methods of such modern minimalist composers as Philip Glass. The remainder of the setting seems more relaxed though, in fact, Josquin can be heard to be constantly trying out new speeds, new rhythms and new scorings for the L’homme armé tune, now complete, now with a few notes used as the basis for an ostinato pattern or a canon. The wide overall range of the four voice-parts brings to the writing the kind of sonority which is associated with Palestrina, and Josquin constantly uses this to imaginative effect, nowhere more memorably than at ‘Et resurrexit’ in the Credo. For showing all these different aspects of his extraordinary technique, this Mass must rank as one of the most accomplished productions of a composer long held to be the greatest writer of his time." (Peter Phillips) "Morales, Josquin and the L'Homme Armé tradition", article by Joseph Sargent: (http•••) Josquin Des Préz - Messes De L'Homme Armé (Naïve – E 8809) Maîtrise Des Pays De Loire, A Sei Voci Director: Bernard Fabre-Garrus (http•••) Score editor: Lucio Arese Source score retrieved from the Josquin Research Project (http•••) The syllabification for every voice is largely based on the present rendition by Fabre-Garrus's Maîtrise Des Pays De Loire, as well as the alterations used in the score. They may vary greatly from one execution to another. I. Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.
Johannes Tinctoris Vicars Dufay Ockeghem 1435 1460 1472 1511
Johannes Tinctoris (c. 1435 / 1511) was a Flemish composer and music theorist of the Renaissance. He is known to have studied in Orléans, and to have been master of the choir there; he also may have been director of choirboys at Chartres. Because he was paid through the office of petites vicars at Cambrai Cathedral for four months in 1460, it has been speculated that he studied with Dufay, who spent the last part of his life there; certainly Tinctoris must at least have known the elder Burgundian there. Tinctoris went to Naples in c. 1472 and spent most of the rest of his life in Italy. Tinctoris published many volumes of writings on music. While they are not particularly original, borrowing heavily from ancient writers (including Boethius, Isidore of Seville, and others) they give an impressively detailed record of the technical practices and procedures used by composers of the day. He wrote the first dictionary of musical terms (the Diffinitorium musices); a book on the characteristics of the musical modes; a treatise on proportions; and three books on counterpoint, which is particularly useful in charting the development of voice-leading and harmony in the transitional period between Dufay and Josquin. The writings by Tinctoris were influential on composers and other music theorists for the remainder of the Renaissance. While not much of the music of Tinctoris has survived, that which has shows a love for complex, smoothly flowing polyphony, as well as a liking for unusually low tessituras, occasionally descending in the bass voice to the C two octaves below middle C (showing an interesting similarity to Ockeghem in this regard). He wrote masses, motets and a few chansons. Tinctoris was also known as a cleric, a poet, a mathematician, and a lawyer; there is even one reference to him as an accomplished painter.
Jacob Obrecht Johannes Tinctoris Josquin Desprez Busnois Ockeghem 1450 1480 1484 1485 1487 1491 1492 1497 1498 1500 1501 1503 1504 1505
In 1480, the Neapolitan theorist Johannes Tinctoris listed Jacob Obrecht +••.••(...)) among the contemporary composers who had elevated the practice of music virtually to artistic perfection. In Obrecht's lifetime, the transmission of his music carried his fame across Europe: when the composer was only thirty, and before he had even set foot in Italy, two of his masses were in the repertoire of the Pope's Sistine Chapel choir. In 1487, the powerful Duke Ercole I of Ferrara mounted a strong campaign to recruit Obrecht into his personal service. By all contemporary accounts, Obrecht's compositional skill was known throughout Europe. After his premature death, however, and into our own time, he has remained in the shadow of his famous contemporary Josquin Desprez. Despite the lower trajectory both of Obrecht's career as a singer, and in posthumous publication, he deserves equal consideration as a founding father of the High Renaissance. Obrecht was born in 1450, the son of a professional trumpeter for the city of Ghent. His early education at a choir school, followed by priestly ordination and the completion, by 1480, of the Master of Arts degree, placed him on an ecclesiastical career track. His first appointment (in 1480) was Choirmaster for the Guild of Our Lady at Bergen op Zoom, followed in 1484 by an election as succentor for the influential Cathedral of Cambrai. But Obrecht returned under a cloud to the Netherlands, hired by the church of St. Donatian's in Bruges while still technically working for Cambrai. His career became a rotating cycle of employments (and some firings) in Flemish churches of Bruges +••.••(...); 1498-1500), Antwerp +••.••(...); 1501-1503), and Bergen op Zoom +••.••(...)). Though his music was being performed across the breadth of the Continent, it may be that Obrecht himself had a truly poor singing voice as well as a habit of neglecting his administrative and teaching duties, which together comprised the actual responsibilities of professional musicians in the church. Owing to Obrecht's compositional prowess, however, the Duke of Ferrara finally gave him more lucrative employment in Italy, in 1504; unfortunately, the composer died of the plague there less than a year later. The centerpiece of Obrecht's compositional output is a series of 30 settings of the Mass Ordinary, written under a number of different structural plans. From the early influence of the fluid music of Busnois and Ockeghem, he strives for a strongly moderated and rationally organized musical process. The facility and clarity of his contrapuntal writing is often highlighted by parallel-tenth motion in the outer voices; the careful elegance of his musical phrases by motivic repetition, and carefully prepared cadences. In this sense, he crafts his musical architectures in a highly tonal idiom, based on the audible progress of vertical harmonies. Obrecht can be fond of "Medieval" and hyper-rationalist constructions, such as music based upon complex frameworks of multiple and simultaneously sounding cantus firmus melodies; at the same time, many of his motets demonstrate a "progressive" concern for the rhetorical emphases in text. More information on the Mass: (http•••)
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