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

MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS
of the leading figures of early Humanism. A large section of his work De laboribus Herculis,
for example, is devoted to the ideas of the intrinsic musicality of poetry and cosmic
harmony, revealing Coluccio’s knowledge of Boethius’ and Augustine’s writings on music,
and also his familiarity with the principles of the mensural system. Other remarks can
be found in his correspondence, such as the idea (belonging to a long-established tradition)
that overindulgence in the pleasures of listening to music is both inappropriate and morally
reproachable.
However, this view stands in sharp contrast with the content of a little-known letter
in which Coluccio describes enthusiastically, and in detail, an unusual vocal performance
heard in Florence, connected to a newly-invented technique of singing. Coluccio’s exaltation
of this virtuoso performance reveals a totally different attitude towards the pure
pleasure of listening, and also an interest in more concrete aspects of musicmaking concerned
with the quality of sound and voice production. This letter is a remarkable document
that not only contributes to a more multifaceted picture of Coluccio’s views of music,
but also helps our understanding of practices that, although never recorded in music
sources and through notation, were an important part of the contemporary experience of
music-making.
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PLANCHART, Alejandro Enrique (University of California, Santa Barbara)
Historical and Liturgical Context of three Motets of Du Fay
Donnerstag/Thursday, 9.8., 9.45 Uhr, KuGe, SR 3
In 1952 Besseler showed that Pandolfo Malatesta renovated the cathedral of Patras in 1426,
and proposed that Du Fay’s motet, Apostolo glorioso, was composed for its rededication.
But the motet does not mention the cathedral or a dedication; it is simply a panegyric to
the apostle. The style of the motet does not fit with Du Fay’s works from 1426, but resembles
the earlier Missa sine nomine, which may date from 1424 (motives from it are cited in
Resveillés vous).
A new document shows that Du Fay was in Patras late in 1424. Now it is possible to
postulate that he went there with Pandolfo, and the motet is for the arrival of the
archbishop, which tallies better with the style of the work. The circumstances of Pandolfo’s
appointment explain the choice of the text, written as an Italian sonnet. The paper
will posit a probable author for the text.
In 1976 Planchart proposed that Du Fay’s Rite maiorem, was composed in Bologna
and the composer used a cantus firmus from the then lost office of St. James from San Giacomo
il Maggiore because the text of the cantus firmus is two lines of a rhymed metric
text: Ora pro nobis dominum / Qui te vocavit Iacobum, and the only piece surviving from the
office was the antiphon O doctor et lux hispaniae, with a rhymed text metrically compatible
with Ora pro nobis.
The summer volume of the antiphoner survived: it was hidden under an altar stone
in the 19 th century and upon its discovery it was so severely damaged that it could not be
consulted and was not listed in the catalogue with the manuscripts from San Giacomo. A
heroic restoration in 2003 has made it possible to consult it and Baroffio published a description
of the manuscript and of the office, but he was unaware of the connection to Du
Fay. This connection allows us to establish that Du Fay’s cantus firmus came from the
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