(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS
BINYAMINI, Raz (Musicology Department, Tel-Aviv University)
Willaert’s “Musica Nova“ Reconsidered: Politics and the Arts in 16th-Century Venice
Freitag/Friday, 10.8., 14.30 Uhr, KuGe, SR 1
The paper reconsiders Willaert’s Musica Nova in the light of (1) the complex relationships
between myth and reality in 16th-century Venice; (2) Bembism, with its Platonic and Petrarchan
bias; and (3) Titian’s Venus paintings.
The two salient features of Willaert’s Musica Nova – its unique juxtaposition of sacred
motets and secular madrigals, and its novel application of motet-like texture – may be
illuminated when viewed against the fundamental nexus of the divine and the secular,
constitutive of both the Myth of Venice and Petrarch’s Canzoniere. Thus, Willaert’s elevation
of the madrigal may be viewed not only as an attempt to match music with the high
level of Petrarch’s poetics, but also as a subtle way of emblematizing a key point in Venetian
myth. Examining Willaert’s manipulation of biblical texts and his choice of Petrarchan
texts sheds further light on the relevance of the myth for understanding the composer’s
work and on the latter’s own assessment of the myth considering the devastating
political reality.
Perusing Willaert’s Musica Nova in light of Bembo’s Gli Asolani and Titian’s Sacred
and Profane Love reveals their conceptual affinity in grounding the relation between the
terrestrial and the celestial in the philosophical-poetical concept of Platonic-Petrarchan
Love, while revolving around Venus and the Virgin – the two feminine personae identified
with Venice according to its myth. Furthermore, in its adaptation of the spiritual concept
of the sonorous qualities of language, as formulated in Bembo’s Prose, Willaert’s musical
idiom should be understood as a reaffirmation of the myth by assuring means for
transcendence. This point is further supported when considering the spiritual elevation of
speech and sound in comparison to the concreteness of sight – as reflected in Petrarch’s
sonnets, in Bembo’s Gli Asolani, and in Titian’s Sacred and Profane Love and Venus and Cupid
with a Lute Player.
BOBETH, Gundela (Universität Wien)
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Die humanistische Odenkomposition im Spannungsfeld von Buchdruck und Handschrift:
Zur Rolle der „Melopoiae“ bei der Formung und Ausbreitung eines kompositorischen
Erfolgsmodells
Mittwoch/Wednesday, 8.8., 16.00 Uhr, KuGe, SR 1
Die 1507 von Erhard Öglin in Augsburg gedruckten Melopoiae sive harmoniae tetracenticae
super xxii genera carminum …, von Petrus Tritonius nach den konzeptionellen Vorgaben des
Conrad Celtis komponiert, gelten bis heute als Initialzündung, wenn es um die Verbreitung,
Rezeption und Eigenproduktion humanistischer Odenkompositionen geht. Für die
Vorbildhaftigkeit dieses Pionierdrucks sprechen nicht nur die Zahl der erweiterten Neuausgaben,
die der Öglinsche Druck noch bis in die zweite Jahrhunderthälfte hinein erfuhr,
sondern auch die offensichtlich von Tritonius inspirierten eigenen Kompositionen eines
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