基本説明
This study explores the religious and social functions of Italian laude during Savonarola's time in Florence. A complementary CD features first time recordings of most of these pieces.
Full Description
Fra Girolamo Savonarola had a profound effect on the political and moral life of Florence in the 1490s, and his legacy lived on during the century after his execution in 1498, not just in Florence but in Ferrara and beyond the Alps, as far as Paris, Munich, and London. This study reconstructs contexts and musical settings for the popular tradition of sacred laude that were sung during the Savonarolan carnivals in 1496, 1497, and 1498. It further examines a broad network of patronage for the courtly tradition of Latin motets that provided elaborate musical settings for Savonarola's meditations on Psalms 30 and 50. The friar's success in Florence can be partially attributed to his adoption of sacred laude (and the tunes of bawdy carnival songs) that had been promoted by Lorenzo de' Medici. The texts of the old carnival songs were suppressed, but the music was adapted to laude with texts that proclaim the friar's prophecy of castigation and renewal. The citizens could thus internalize Savonarola's message by singing it.
Savonarola himself wrote several lauda texts, and their musical settings are reconstructed here, as well as those for an underground tradition of laude written to venerate him after his execution. Part II turns to the courtly tradition and the Latin motet. Several Catholic patrons, scattered from Ferrara to France to England, were drawn to the friar's prison meditation on Psalms 30 and 50, and they commissioned elaborate musical settings of the opening words of both. A dozen motets on the friar's psalm meditations can be traced from composers such as Willaert, Rore, Le Jeune, Lassus, and Byrd. Savonarola's highly personal texts inspired some of the most moving musical settings of the sixteenth century, in spite of the Church's unfavourable attitude toward the friar's disruptive example, which had set a precedent for Protestant reformers such as Martin Luther.
Contents
List of Illustrations; List of Tables; List of Music Examples; Compact Disk, Contents; Abbreviations; Introduction; PART I THE POPULAR TRADITION: CARNIVAL SONG TO LAUDA; 1. Ecce quam bonum: Savonarola as Prophet and Reformer; 2. Precursors: Florentine Music under Lorenzo de' Medici; Serafino Razzi's Libro primo delle laudi spirituali as a Central Musical Source; 3. Laude for Savonarolan Carnivals and Other Celebrations, 1496-1498; 4. Savonarola Against and For Music: Elaborate Polyphony versus the Italian Lauda; 5. Ecce quam bonum II: Laude by Piagoni in Veneration of Savonarola; PART II THE ART TRADITION: MUSICAL SETTINGS OF SAVONAROLA'S MEDITATIONS ON PSALMS 50 AND 30; 6. The Reception of Savonarola in Italy and Beyond the Alps; 7. Ecce quam bonum III: France and Florence; Richafort, Mouton, Verdelot, and Galli; 8. Savonarola and Two Dukes of Ferrara: Ercole I d'Este and Josquin's Miserere; Ercole II d'Este and Infelix ego by Willaert and Rore; 9. Cardinal Francois de Tournon and Infelix ego by Simon Joly; 10. Cardinal Ippolito II d'Este and Savonarolan Motets in Italy and France: Vicentino, Palestrina, Hellinck,and Claude Le Jeune; 11. Motets on Savonarola's Psalm Meditations in the Low Countries and Germany: Clemens non Papa, Lassus, and Reiner; 12. Savonarola's Psalm Meditations in England: Cranmer, Hunnis, Mundy, Ravenscroft, and Byrd; Epilogue; Appendices; Bibliography; Index; CONTENTS OF CD; Carnival Songs and Laude; 1. Lorenzo de' Medici, Sian galanti di Valenza; 2. Anon., Visin, visin, visin Feo Belcari, Giesu, Giesu, Giesu; 3. Lorenzo de' Medici, Berricuocoli donne e confortini; 4. Anon., Viva, viva in nostro core; 5. Filippo Cioni, Viva christo e chi le crede; 6. Girolamo Benivieni, Viva ne' nostri cuori; 7. Anon., Voi toccate la chiavetta; 8. Girolamo Benivieni, Non fu mai el piu bel solazzo; 9. Girolamo Benivieni, lo vo darti anima mia; 10. Fra Girolamo Savonarola, Giesu sommo conforto; 11. Fra Girolamo Savonarola, Che fai qui, core?; 12. Fra Girolamo Savonarola, In su quell'aspro monte; 13. Fra Girolamo Savonarola, Giesu dolce conforto; 14. Fra Girolamo Savonarola, Alma che si gentile; 15. Fra Luca Bettini, Ecce quam bonum; 16. Fra Benedetto Luschino, La carita e spenta; 17. Suor Caterina de' Ricci, Da che tu m'hai dimostro; 18. Anon., Ecce quomodo moritur; 19. Fra Serafino Razzi, Vergini deh lasciate; 20. Fra Serafino Razzi, Piagendo i miei peccati; MOTETS; 21. Jean Richafort, O quam dulcis/Ecce quam bonum; 22. Philippe Verdelot, Letamini in domino/Ecce quam bonum; 23. Adrian Willaert, Infelix ego; 24. Simon Joly, Infelix ego; 25. Claude Le Jeune, Tristitia obsedit me; 26. Clemens non Papa, Tristitia obsedit me; ENGLISH SONG AND VERSE ANTHEM; 27. William Hunnis, Ah, helples wretch; 28. William Mundy, Ah, helples wretch; EASTMAN CAPELLA ANTIQUA, PATRICK MACEY, DIRECTOR
