Bladmuziek
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Uitgavenummer:
MS-43
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edited by Giorgio Bussolin and Steffano Zanus Fortes
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Johannes Martini (Leuze, ca. 1440 - Ferrara, 1497), as many of his colleagues of Franco-Flemish origin, spent most of his life in Italy. Many documents testify to his presence in cities like Ferrara and Milan: an act of 1474 mentions him along with Loyset Compère and Josquin Des Prés in the cappella of Duke Galeazzo Maria Sforza. There is also evidence of his trips to Rome and Mantua, where probably Isabella d'Este was his pupil around 1492. Although connected mainly to the court circles of northern Italy, Martini's fame was actually quite widespread, as proven by the introduction to an anonymous treatise written in Seville in 1480 with the title Ars mensurabilis et immensurabilis cantus, in which the author places Martini among the 11 most important composers of the last forty years. It is not certain that he also spent time in Verona; the presence of some of his sacred and profane compositions in the mss. 757, 758 and 759 of the Biblioteca Capitolare of that city can be proof of the fame acquired by Martini, but also of the frequent contacts among the Veronese musical environment and that of central-northern Italy.
The compositional style is similar to that of the generation of musicians to which Martini belonged, approaching Dufay's harmonic solutions (in particular in chansons for 3 voices) and the rhythmic and contrapuntal ones by Ockeghem (in chansons for 4 voices). These aspects are also found once again in sacred compositions, including the Masses Coda de pavon, Or sus or sus, Cucu, Hymns, Psalms and Magnificats.
This edition of the Magnificat for four voices is based on a version contained in the Verona manuscript, Biblioteca Capitolare, cod. DCCLVIII (I-VEcap 758). This codex belongs to a collection of eight Renaissance music manuscripts owned by the Biblioteca Capitolare, all probably possible to relate to the Verona area and containing mainly sacred polyphonic compositions meant for the major sections of the Mass and the Liturgy of the Hours. The main evidence of the sacred repertory contained in them makes it possible to hypothesize a link between these codices and the Scuola degli Accoliti, an institution connected to the cathedral of Verona, which probably used the codices during its activities.
The ms. 758 contains only the even verses of the canticle published here, while the odd verses are copied in the manuscript Milan, Archivio della Fabbrica del Duomo, Librone I (I-Md 2269). Thus, it is possible to hypothesize that the original composition was performed by double choir, as in the case of the twin manuscripts of the Biblioteca Estense of Modena (I-MOe M.1.11 and I-MOe M.1.12) in which each group of singers followed their own codex containing half of the compositions. Nevertheless, it is not certain that in Verona and Milan they followed this practice, since normally the compositions present in the above-mentioned manuscripts prescribed the alternation of verses in the Gregorian style with those performed polyphonically.
Componist(en):
Uitgever('s):
Uitgavenummer:
MS-43
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ISBN:
9790215318762
Volgnummer:
201323
Thema('s):
Overige informatie:
edited by Giorgio Bussolin and Steffano Zanus Fortes
