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The opening of Horace's 'Ode to Phyllis' (Ad Phillidern)
THE SECULAR LATIN MOTET
IN THE RENAISSANCE
Edited by
Richard Rasta11
With a Foreword by
Leofranc Holford-Strevens
The Edwin Mellen Press
Lewiston.Queenston•Lampeter
Library of Congress Cataloging-in-Publication Data
The secular Latin motet in the Renaissance / edited by Richard Rasta11 ; [with a]
foreword by Leofranc Holford-Strevens.
p. cm.
Papers presented at a conference.
Discography: p.
Includes bibliographical references and index.
ISBN-13: 978-0-7734-1404-4
ISBN-10: 0-7734-1404-5
1. Motets-15th century--Congresses. 2. Motets-16th century—Congresses. 3. Choral
music--I5th century--Congresses. 4. Choral music-16th century--Congresses. 5. Part
songs, Latin--15th century--Congresses. 6. Part songs, Latin--16th century--Congresses.
7. Latin poetry—Musical settings--Congresses. I. Rasta11, Richard.
ML180.S43 2010
782.4.8—dc22
2010035607
hors serie.
A CIP catalog record for this book is available from the British Library.
Front cover photo: The opening of Horace's 'Ode to Phyllis' (Ad Phillidem), beginning 'Est michi
nonumr. Montpellier University, Facultd de medecine, MS 14425, 11 50v, by permission
Copyright (cid:9) 2010 Richard Rastall
All rights reserved. For information contact
(cid:9)
The Edwin Mellen Press The Edwin Mellen Press
(cid:9)
Box 450 Box 67
(cid:9)
Lewiston, New York Queenston, Ontario
(cid:9)
USA 14092-0450 CANADA LOS ILO
The Edwin Mellen Press, Ltd.
Lampeter, Ceredigion, Wales
UNITED KINGDOM SA48 8LT
Printed in the United States of America
To Eleanor, Jim and Will
CONTENTS
Tables and illustrations
Foreword Dr Leofranc Holford-Strevens(cid:9) iii
Acknowledgements(cid:9) vii
Bibliographic note(cid:9) ix
1 SETTING THE SCENE: SETTING THE CLASSICS(cid:9) 1
Roger Brock
Appendix
Settings of Dulces exuviae(cid:9) 11
Settings of classical texts other than Dulces exuviae before c1600
(excluding metrical collections)(cid:9) 13
2 THE DURHAM VERSION OF PHILIPPE DE VITRY'S 0 CANENDA / REX QUEM/
REX REGUM (cid:9) 17
Joanna Melville-Richards
3 'KEEP TO THE LESBIAN FEET': SAPPliO, HORACE, GUIDO AND THE
RENAISSANCE SAPPHIC(cid:9) 37
David Wulstan
Excursus I: 'Syzygy', 'basis' and monochronos(cid:9) 93
Excursus II: The Anapaest(cid:9) 97
Excursus III: Elision and hiatus: the medieval performance of
hexameters and elegiacs(cid:9) 99
4 DICITE JD! THE AUTHENTIC TEXT OF NICOLAS GOMBERT'S MOTET FOR THE
BIRTH OF PHILIP II OF SPAIN(cid:9) 103
Stephen Ryle
5 TROMBONCINO, LHERITIER, VERDELOT: THREE POLYPHONIC SETTINGS
OF THE POEM CUM RIDES MIHI BASI UM NEGASTI (cid:9) 115
Piero Gargiulo
6 SECULAR LATIN MOTETS IN POST-TRIDENTINE ROME(cid:9) 135
Noel O'Regan
Appendix
Texts of motets(cid:9) 157
Editions of motets(cid:9) 159
Giovanni Pierluigi da Palestrina: Laetus hyperborean(cid:9) 161
Annibale Stabile: Sancte pater (cid:9) 189
Annibale Stabile: Quam bene magnanimos(cid:9) 209
Bibliography(cid:9) 227
Discography(cid:9) 239
Index(cid:9) 241
TABLES AND ILLUSTRATIONS
Tables
1(cid:9) Conflicting theories in the Ancient World(cid:9) 44
2(cid:9) Metric feet as described by Aristoxenus and Aristides Quintilianus(cid:9) 51
3 Horace and Quintilian on rhythm(cid:9) 61
4 Published settings of Cum rides mihi(cid:9) 116
5(cid:9) Published froltole on classical texts(cid:9) 118
6(cid:9) Contents of Palestrina's Motettorum quinque vocibus, liber quintus 1584 145
Figures
1 Patterns of sound and silence in 0 canenda / Rex quern / Rex regum(cid:9) 27
2 Sapphic rhythm(cid:9) 67
3 Horace's Sapphic?(cid:9) 69
4 Late rhythmic Sapphic(cid:9) 70
5(cid:9) Guido's tune for lit queant laxis(cid:9) 74
6(cid:9) Francisco Salinas. De Musica (1577), P. 362(cid:9) 79
7(cid:9) Francisco Salinas. De Musica (1577), p. 361(cid:9) 80
8 Part of Thomas Campion's 'Come, let us sound with melody',
from Philip Rosseter's A Booke of Ayres (1601)(cid:9) 81
9 Opening of the Superius part of Byrd's Siderum rector, from
Thomas Tallis and William Byrd, Cantiones Sacrae (1575), no. 19(cid:9) 82
Musical Examples
(cid:9)
1 Triplum of 0 canenda / Rex quem / Rex regum 30
(cid:9)
Duplum of 0 canenda / Rex quern / Rex regain 31
11
3(cid:9) Est michi nonuni: Horace's `Ode to Phyllis'(cid:9) 76
4 Cantiga 10, Rosa dos rosas, opening(cid:9) 77
5(cid:9) Gloria bus et honor (chant)(cid:9) 101
6 Nicolas Gombert, Dicite in magni, bars 1-12(cid:9) 106
7 Bartolomeo Tromboncino, Cum rides mihi, bars 1-9(cid:9) 122-3
8 Extracts from Philippe Verdelot, Con l'angelico riso(cid:9) 126-8
9 Extracts from Jean Lheritier, Cum rides mihi(cid:9) 133-4
10 G.P. da Palestrina, Paucitas dierum, bars 43-53(cid:9) 143
Plates
Frontispiece
The opening of Horace's 'Ode to Phyllis' (Ad Phillidem), beginning 'Est
michi nonum': Montpellier University, Faculte de medecine, MS H425, f.
50v
1(cid:9) Boeotian aulete, from a relief at the Villa Albani, Rome
2 Marble slab describing the performance of Horace's Carmen saeculare in 17
BC (Museo de Terme, Rome)
3 Homer beating time: part of a relief by Archelaos of Priene, end of the 2nd
century BC (British Museum)
4 Pitch symbols and stigmai in the Orestes fragment (Vienna, P. Wien G2315:
the Rainer Papyrus)
5 Montpellier University, Faculte de medecine, MS H425, f. 51r: the
continuation of Horace's 'Ode to Phyllis' (Ad Phillidem)
FOREWORD
It is possible that the words 'Latin motet' suggest first of all a setting of a
religious text, perhaps based on the Bible or the liturgy, perhaps newly written;
but anyone who thought so would be overlooking a vast store of texts, some
written in syllabic or accentual rhythmi, others in classicizing metra, on whatever
subject it pleased the poet (who might or might not be the composer) to choose.
To take but a few examples: the motets in the expanded recension of the Roman
de Fauvel range from an address to King Philip V, by way of attacks on the dis-
graced courtier Enguerrand de Marigny, to general comments on the evils of the
times; the musician motets in which singers celebrate themselves and their
colleagues, of which we have a mid-fourteenth-century cluster but which is
exemplified in the late fifteenth century by Compare's Omnium bonorum plena;
Du Fay composed ceremonial motets in honour of Cleofe Malatesta's marriage to
the Despot of Morea, the entry into Rome of the Emperor Sigismund, and a treaty
between Berne and Fribourg, but also honoured the lovely ladies of Florence and
set a parody of a disputation on an old chestnut of marriage-law. It remained for
the Renaissance to add settings of classical poems (explored below in detail by
Roger Brock), thereby recovering for the current musical idiom a practice attested
by neumed manuscripts a few centuries back, of singing the Latin classics either
for instruction or for pleasure.
The setting of poems in classical metres, which had their own integrity as lexis
irrespective of their musical rhythmicization, raised the problem of relating the
longer and shorter notes of the music to the long and short syllables of the words.
As David Wulstan shows, we are imperfectly informed how this was managed in
classical antiquity; nineteenth-century attempts to impose the rhythmical
Description:This study of partsongs and soloistic music is concerned with the musical settings of classical verse. The work, the first of its kind, is a result of a collaboration between a classicist and a musicologist. This book studies, for the first time, the whole genre of the secular motet to Latin text in
