Antoine Busnoys Vídeos
compositor y poeta francés
- música clásica, música litúrgica
- Reino de Francia
- compositor, escritor, poeta
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2024-05-28
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Antoine Busnois 1430 1492 2014
Victimae Pascali Laudes - Antoine Busnois +••.••(...)) door Joli Cuer in Het Kloosterhuis, Sambeek (19 oktober 2014)
Antoine Busnois Guillaume Dufay Johannes Ockeghem Binchois Prez Nicolas Gombert Dolci 1430 1492
Antoine Busnois (1430 – 1492) è stato un compositore e poeta francese, appartenente alla Scuola di Borgogna del primo rinascimento. Famoso come compositore di musica sacra, in particolare mottetti, egli fu anche uno dei più rinomati compositori di chanson profane del XV secolo. Egli fu anche la figura preminente della tarda Scuola di Borgogna dopo la morte di Guillaume Dufay. La sua reputazione fra i contemporanei fu immensa; egli fu, probabilmente, il compositore più conosciuto in Europa fra Guillaume Dufay e Johannes Ockeghem. Della sua produzione sono pervenuti a noi due cantus firmus, due messe e otto mottetti (verosimilmente molte altre opere sono andate perdute). Scrisse molti pezzi di antifone Mariane e da molti è attribuita a lui la melodia originale da cui sono nate per imitazione diverse missae "l'homme armé". Stilisticamente, la sua musica può essere considerata una via di mezzo fra la semplicità e l'omofonia della scrittura di Dufay e Binchois e la pervadente imitazione di Josquin Des Prez e Nicolas Gombert. Egli usò l'imitazione molto talentuosamente, ma in alcune occasioni scrisse delle linee melodiche dolci e cantabili, ed ebbe una forte simpatia per gli accordi di terza anticipando la moda del XVI secolo. Fu un religioso, ma dovette essere piuttosto irrequieto, se per qualche sua scappatella amorosa gli fu vietato di dir messa; lui la disse ugualmente... e venne scomunicato! Il tema amoroso traspare spesso con una vena appena appena antifemminista dalle sue chansons. Non è un caso che una si intitoli "Terrible Dame". Anche nel brano qui proposto, che si trova in un canzoniere dei tempi di Lorenzo il Magnifico (morto lo stesso anno di Busnois) in Biblioteca Nazionale a Firenze (ed in altri pochi esemplari in altre biblioteche) gli attacchi alla donna non sono da poco: vile e abominevole... detestabile, traditrice... miserabile... gliene dice di tutti i colori. Lo si propone in trascrizione nelle due versioni presenti nel manoscritto: una della strofa principale a canone di tre voci acute; la seconda invece a più strofe (e con la strofa principale che torna come ritornello), sempre a tre voci ma di cui la più grave è senza testo. Da notare nel manoscritto "italiano" un probabile errore di trascrizione maccheronico da parte del copista in "Quasi tout tel en sa pratique" in loco di "Qui est tout tel en sa pratique". / Antoine Busnois (1430 – 1492) was an early renaissance composer from the Burgundian School. While also noted as a composer of motets and other sacred music, he was one of the most renowned 15th-century composers of secular chansons. He was the leading figure of the late Burgundian school after the death of Guillaume Dufay. He must not have kept women in too much a respect if he was denied to celebrate mass after beating to blood another priest for !lovers reasons"; he dared celebrating mass all the same and was excommunicated... But his love and hate for women comes out from his songs as well, like this chanson, proposed here in two versions, as a canon and as a motet; I transcribed it from the manuscript in the National Library in Florence, which contains some italianized words from ancient French, absent in versions found in other libraries. Spartito / Score: (http•••)
Josquin Prés Dufay Ockeghem Morales Palestrina Lockwood Busnois Pietro Aaron Regis Tinctoris Obrecht Brumel Carver Carissimi Petrucci Philip Glass Peter Phillips Sargent Fabre Vary 1500 1502 1523 1980
(http•••) "There were at least thirty-one Mass-settings based on the L’homme armé melody in the Renaissance period. The two by Josquin des Prés were written about half-way through the spectrum, between those of Dufay and Ockeghem on the one hand and the two each by Morales and Palestrina on the other. It is especially valuable to hear the Josquin settings together, since it is assumed that while writing the earlier of them, Super voces musicales, he conceived new compositional challenges which were to be confronted in Sexti toni. There is an extra merit in having a performance of Super voces musicales on disc, since I believe that, on account of its length and the tessitura of its voice parts, a concert performance of it complete would be virtually impossible. The earliest reliable source of the L’homme armé melody is a late-fifteenth-century manuscript in Naples, which contains six anonymous Masses based on the song. The text may be translated, ‘Fear the armed man. Word has gone out that everyone should arm himself with a haubregon1 of iron’, which may refer to a crusade against the Turks (see Lewis Lockwood in Grove, 1980). This Neapolitan version of L’homme armé poses two unresolved problems; whether it was originally a monophonic song or the tenor of a lost three-voice chanson; and whether it originally had any more verses, as the refrain structure rather suggests. Apart from the composers already mentioned, there were Mass-settings founded on L’homme armé by Busnois (who was said, by Pietro Aaron in 1523, to have been the original composer of the song), Regis, Tinctoris, Obrecht, Brumel, Mouton, de Silva, Carver and several others. The series was finally closed in the seventeenth century by Carissimi, who crowned the tradition with a twelve-voice work. At first hearing, the two Josquin L’homme armé Masses are worlds apart. One might guess that Super voces musicales was a medieval composition, and Sexti toni a mature Renaissance one. In fact the manuscript evidence is that they were probably both from Josquin’s so-called ‘middle’ period, which ended around the year 1500, though it is assumed that Super voces musicales was written first. They were both printed by Petrucci in 1502. [...] Josquin’s Mass Sexti toni (‘in the sixth mode’) is so called because he has transposed the melody to make its final note F (as opposed to the more normal G), giving it a major-key tonality. This element of transposition is one of the features borrowed from Super voces musicales, though there, as we have seen, it was turned into a constructional principle. The idea of stating the melody in retrograde has also been transferred from the other Mass, though instead of giving the direct and retrograde forms in consecutive statements as he did before, here in the third Agnus Dei Josquin states them both at the same time. These form the lowest two parts in a movement where the number of voice-parts has been increased from four to six, and the upper voices are in two paired canons at the unison. While this shows exceptional compositional virtuosity, the actual sound in this final Agnus Dei is most unfamiliar, suggesting, if anything, the methods of such modern minimalist composers as Philip Glass. The remainder of the setting seems more relaxed though, in fact, Josquin can be heard to be constantly trying out new speeds, new rhythms and new scorings for the L’homme armé tune, now complete, now with a few notes used as the basis for an ostinato pattern or a canon. The wide overall range of the four voice-parts brings to the writing the kind of sonority which is associated with Palestrina, and Josquin constantly uses this to imaginative effect, nowhere more memorably than at ‘Et resurrexit’ in the Credo. For showing all these different aspects of his extraordinary technique, this Mass must rank as one of the most accomplished productions of a composer long held to be the greatest writer of his time." (Peter Phillips) "Morales, Josquin and the L'Homme Armé tradition", article by Joseph Sargent: (http•••) Josquin Des Préz - Messes De L'Homme Armé (Naïve – E 8809) Maîtrise Des Pays De Loire, A Sei Voci Director: Bernard Fabre-Garrus (http•••) Score editor: Lucio Arese Source score retrieved from the Josquin Research Project (http•••) The syllabification for every voice is largely based on the present rendition by Fabre-Garrus's Maîtrise Des Pays De Loire, as well as the alterations used in the score. They may vary greatly from one execution to another. I. Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): B...