who$composed jenedemandedevous $(bolognaq16)?$ · 2014-07-30 ·...
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Who Composed Je ne demande de vous (Bologna Q16)?
Blake Howe [bhowe@lsu.edu] Louisiana State University
Southern Chapter Meeting of the American Musicological Society
The University of South Florida – 7 February 2014
1. A mysterious two-‐‑letter attribution above the superius of Je ne demande de vous [Je ne demano de vos]. (Bologna Q16, 89v)
Howe / 2
2. Summary of the multiple layers of Bologna Q16, showing two possible attributions. (Numberings adapted from Pease 1966.) editorial
pagination work number
comment
Layer 1 107 pieces in a single hand (1r–127v), including works elsewhere attributed to Agricola, Busnois, Martini, Morton, Ockeghem, et al.
8v At end of alphabetical index of Layer 1: finis/Do[minicus]. 1.4.8.7. marsilius.
89v–90r 80 Je ne demande de vous, with attribution to “J.p.”
127v 107 Marsilius writes finis at the bottom of the page, marking the end of his layer.
Later Additions 24 pieces in various hands (127v–154r)
146v–147r 126 Dux carlus (Charles the Bold?) appears in the position of the text incipit. (The same piece, with the new poetic incipit Madame, helas, is attributed to Josquin in the first printing of the Odhecaton.)
Howe / 3
3. Where was Layer 1 of Bologna Q16 completed? A summary of arguments and evidence found in Haberkamp 1968 (which first proposed Naples), Fuller 1969 and Bridgman 1991 (which offered Naples and Rome as possibilities), and Atlas 1975–76 and 1985 (which persuasively argued for Naples).
Bolgona Q16’s Italianate Features • Italian watermark (ca. 1484–88) • brief theory treatise in Italian (31r) • flawless spelling of Italian, flawed spelling of French (e.g., Je ne demano de vos)
Bologna Q16’s Spanish Features • in Layer 1, about seven pieces with Castilian incipits (six unique to Bologna Q16)
• La bassa castiglya (74v–75r), a two-‐‑part arrangement of La Spagna
Naples • Naples was under Aragonese control since 1442.
• Bologna Q16 is gathered into sexterns (a Neapolitan design).
• Bolgona Q16 includes a unique three-‐‑voice Missa L’homme armé, reflecting Neapolitan tastes.
Rome • Valencia-‐‑born bishop and future pope Rodrigo Borgia held sway within papal court.
• Bologna Q16 includes two watermarks used in Rome (1480s).
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4. Je ne demande de vous. Edition reproduced from Atlas 1985, and annotations adapted from Van Bentham and Brown 1991.
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5. Who composed Je ne demande de vous? A review of earlier suggestions, with disqualifying evidence shaded. (Prioris and Pullois were first suggested in Fuller 1969; Prioris was seconded in Fallows 1999. Josquin and Japart were first proposed in Atlas 1985, but Van Bentham and Brown 1991 strongly disputes any attribution to Josquin.) Jehan
Pullois Johannes Prioris
Johannes Japart
Josquin des Prez
1. Fits the letters “J. P.”
(Ja-‐‑Part, an unprecedented division of his name.)
(Jodocus Pratensis, an uncommon formulation of his name.)
2. Proximity to Naples and/or Rome, ca. 1487.
Wrong generation: Pullois left Rome for Antwerp in 1468 and died there in 1478.
“The Roman Prioris thus turns out [to] be a chimera….” (Dumitrescu 2012).
One Spanish piece in Sev/Par, likely a Neapolitan manuscript (1480s).
Unlikely (but not impossible: employment in Milan [ca. 1484–85] under Ascanio Sforza, who made trips to Rome and Naples).
Documented presence in Milan and Ferrara, ca. 1480, but nowhere else.
3. Reason for Marsilius to include attribution.
? ? ? (Japart was relatively obscure in the 1480s.)
Fame.
4. Stylistic similarity of Je ne demande to other works.
Dissimilar. Compelling stylistic similarities.
Different genres; limited stylistic similarities.
Firmly rejected on stylistic grounds by editors of New Josquin Edition.
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6. A chronology of Johannes de Stokem’s life and afterlife. Adapted from Quitin 1954, Seay 1957, Starr 1997, and Fallows 2009.
1455–81 rises through the ranks as singer at Liège Cathedral, where a traveling Johannes Tinctoris encounters him
mid 1480s employed at chapel of Matthias Corvinus, King of Hungary (recently married to Beatrice of Aragon, daughter of Fernando, King of Naples)
1482 or 1483 receives the dedication to Johannes Tinctoris’s De inventione et usu musicae, which mentions their prior correspondence and asks Stokem to extend his greetings to Queen Beatrice (i.e., Beatrice of Aragon).
Summer 1486 briefly employed at SS Annunziata in Florence
September 1486– September 1487
listed on papal chapel rosters, alternating some months with “Jo. de Pratis”
4 October 1487
“supplication for a canonry at the cathedral of Erlau in Hungary that had been held by the recently deceased papal singer ‘Johannes de Prato, alias Stockem’” (Starr 1997, 54n24)
ca. 1492
three chansons (I-‐‑Fn Banco Rari 229)
1501–04
several chansons in Petrucci’s Odhecaton and Canti C
early 1500s
an Ave maris stella included in theory treatise on proportion (Seay 1957)
ca. 1525
Clamavi ad Dominum (D-‐‑Kl 24) by “Jo. de Pratis” and Missa Allez regretz (D-‐‑Ju 21) by “Jo. de Pratis +”
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7. Excerpts from Stokem’s chansons from the early 1490s. Reproduced from Brown 1983. Serviteur soye de par vous retenu (mm. 18–25) • I-‐‑Fn Banco Rari 229, 159v–160r [anonymous, with incipit Hellas dame] • Petrucci’s Canti C, 116v–117r [attributed to “Jo. Sthokem”]
Je suis d’Alemagne (mm. 23–25) • I-‐‑Fn Banco Rari 229, 167v–168r [anonymous] • Petrucci’s Canti C, 119v–120r [attributed to “Jo. Sthokem”]
Howe / 8
Selected Bibliography Atlas, Allan W. 1975–76. The Cappella Giulia Chansonnier: Rome, Biblioteca Apostolica Vaticana,
C.G. XIII.27. 2 vols. Brooklyn, NY: Institute of Mediaeval Music. Atlas, Allan W. 1985. Music at the Aragonese Court of Naples. Cambridge: Cambridge
University Press. Bridgman, Nanie. 1991. Manuscrits de musique polyphonique, XVe et XVIe siècles: Italie.
Répertoire international des sources musicales, ser. B/IV, vol. 5. Munich: G. Henle Verlag.
Brown, Howard Mayer, ed. 1983. A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale MS Banco Rari 229. 2 vols. Chicago and London: University of Chicago Press.
Dumitrescu, Theodor. 2012. “Who Was ‘Prioris’? A Royal Composer Recovered.” Journal of the American Musicological Society 65 (1): 5–66.
Edwards, Warwick. 1981. “Songs without Words by Josquin and His Contemporaries.” In Music in Medieval and Early Modern Europe: Patronage, Sources, and Texts, edited by Iain Fenlon, 79–92. Cambridge: Cambridge University Press.
Fallows, David. 1999. A Catalogue of Polyphonic Songs, 1415–1480. Oxford: Oxford University Press.
Fallows, David. 2001. “Petrucci’s Canti Volumes: Scope and Repertory.” Bäsler Jahrbuch für historische Musikpraxis 25: 39–52.
Fallows, David. 2009. Josquin. Turnhout: Brepols. Fuller, Sarah. 1969. “Additional Notes on the 15th-‐‑Century Chansonnier Bologna Q16.”
Musica Disciplina 23: 81–103. Haberkamp, Gertraut. 1968. Die weltliche Vokalmusik in Spanien um 1500. Tutzing: H.
Schneider. Pease, Edward. 1966. “A Report on Codex Q16 of the Civico Museo Bibliografico Musicale
(Formerly of the Conservatorio Statale di Musica ‘G. B. Martini’), Bologna.” Musica Disciplina 20: 57–94.
Quitin, José. 1954. “Les Maîtres de Chant de la Cathédrale St. Lambert, à Liège au Xve et XVIe siècles.” Revue belge de Musicologie 8 (1): 5–18.
Seay, Albert. 1957. “An Ave maris stella by Johannes Stochem.” Revue belge de Musicologie 11 (3–4): 93–108.
Starr, Pamela. 1997. “Josquin, Rome, and a Case of Mistaken Identity.” The Journal of Musicology 15 (1): 43–65.
Van Bentham, Jaap, and Howard Mayer Brown, eds. 1991. New Josquin Edition, vol. 27, Secular Works for Three Voices. Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis.
Woodley, Ronald. Johannes Tinctoris: Complete Theoretical Works. Early Music Theory. http://www.earlymusictheory.org/Tinctoris/ (accessed 1 January 2014).
Many thanks to the Baton Rouge Early Vocal Ensemble (Lucas Jameson, Mallory Simien, and Andrew Owen, directed by William Plummer of the University of Louisiana at Lafayette) for recording Je ne demande de vous.
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