Abstracts - American Musicological Society

20
Friday morning
(1605), lJert (1556) and Pallavicino
(1605) ' -and
Palestrina . -72) '"t'i"- Luzzasct-l^ tt::1'
Palestrina (L5 Iz ) aro
i" . tn"ti;;: rhythrnic
.*"rirritrg their meLodic, h."tt:-1
^^*{ ^n
"nd and f ormal
examining the j-l meroqrc' "-'----;stion, and f ormal
)-anguage, i".er"g"] text text,declamaLrotr declarnation and .rre P-toj,: t--'iiff.rentiate ss^-onri at€ tne the
strictires structures and anq proPortions, P!uPvt , --tions . and ,.-A o.rr'l eValuate rrate
contrapuntal styles of these tradl
.-nrrnrl
;:;':;:;";;; .;'iJ;; iv reoo. (rnnova:i:::--:-:"'-:::l:'
'ii6o'^i".t"u" ";;;";;";'
o-f- -or'g""'i'ins
initative points
'
new forms of harmoniL organiiation, Lnd more consistent
synchronizatlon of harnoiic and metric events ' ) I find
tirat the regional traditions for setting
convivium" differed significantly fron one another from
their inception and t'hat these differences persisted
into the seventeenth centurY.
THE NUNC DIMITTIS OF ORLANDO DI LASSO
Peter Bergquist, University of Oregon
Ten settings of the are securelY
ascribed to orlando di Lasso, and two others are almost
certainly his. They survive only in choirbooks copied
for the Bavarian Hofkapelle during Lasso's tenure in
Munich. A11 are alternatin settings, with polyphony
for the three even-numbered verses. They fa11 into two
chronological groups : four from c ' 1565 - 1570 , all of
which use a Iltl]]g--.ClB-llL-i-q- tone as cantus f irmus, and
eight fron c. 1585 - 1592, one of which uses a cantus
firmus, the others being parodies of rnadrigals and
notets by Rore and Lasso. Discovery of the models for
the two unascribed parody Nunc dinittis greatly
strengthens the probability that Lasso composed them.
One of these rnodels is the first rnadrigal of Lasso's
cyc1e, Lagrime di San Pietro; this raises problerns of
chronology, since the Nunc dirnittis based on that
nadrigal appears in a manuscript dated some ten years
before the publication of the Lagrime.
The Nl4-g-g--.Cl4ilg-q- tones appear in the tenors of
the five cantus - firmus works , occas ionally pervading
the other voices. In the parody works the model is
most often quoted with Iittle change; the main
adjustments are rhythnic, in order to accommodate a
diiferent number of syllables. Verse 4, "Lumen ad
revelationem," in either type of setting is usually for
fewet voices and is most often freely composed'
Two settings that must be considered opera dubia
will also be examined. It will be shor^rn that an
antiptron, "Lumen ad rewelationem, " contrary to
Boettictrer's suggestion, is not a movemenc from an
otherwise lost Nunc dinittis '