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    C. Cavicchi, M.-A. Colin, P. Vendrix (dir.), La musique en Picardie du XIVe au XVIe siècle (Ignace Bossuyt)

    Francia-Recensio 2014/4 Frühe Neuzeit – Revolution – Empire (1500–1815)

    Camilla Cavicchi, Marie-Alexis Colin, Philippe Vendrix (dir.), La musique en Picardie du XIV e au XVI e siècle, Turnhout (Brepols) 2012, 455 p., 175 ill. (Épitome musical), ISBN 978-2-503-53666-8, EUR 100,00.

    rezensiert von/compte rendu rédigé par

    Ignace Bossuyt, Leuven

    In this era of specialisation, most works on broad topics are group efforts in which each author explores a specific theme. The resulting publications are often rich in depth and detail, but may suffer from a lack of structure and clear synthesis, as well as repetition and even contradiction. Success depends on talented editors, who maintain firm control to fit pieces from multiple hands to form a seamless whole.

    A very successful example of this group approach is » La musique en Picardie du XIV e au XVII e siècle « , edited by Camilla Cavicchi, Marie-Alexis Colin and Philippe Vendrix, three internationally renowned musicologists with links to the prestigious Centre d’études superieures de la Renaissance (CESR) in Tours. In about thirty thematic contributions, a team of experts sketches a fascinating image of musical culture in Picardie, a region in northern France which played a seminal role in the bloom of polyphonic music from the fourteenth to the seventeenth centuries.

    Wisely, the book’s contributors chose to keep chronological and geographic boundaries flexible. Pre-fourteenth century music is frequently discussed; for example, the work of the trouvères , including Gautier de Coincy from the Soissons region. This willingness to colour outside the arbitrary lines of time and place reflects the fact that Picardie (Picardy) was not an isolated cultural island. Intense relationships were maintained with » le Nord « (including Cambrai, home to leading figures such as Guillaume Du Fay and Josquin Desprez); the Île de France to the south; and surrounding regions. Here, choir schools hosted by religious institutions – city churches, abbeys and monasteries – played a vital role as musical centres where singers, composers and instrumentalists received a thorough education.

    From there, some graduates sought their fortunes in other lands; at the courts of royalty or nobility, or at major religious centres. The professionalism of such musicians as Antoine Brumel and Antoine Bruhier was highly esteemed, and their tendency to lead nomadic lives stimulated contact and knowledge sharing between musical centres. Relationships were further intensified by the fact that many musicians – who were often members of the clergy – frequently enjoyed lucrative appointments in multiple cities. A prime example is Philippe de Vitry, one of the leading figures in fourteenth century polyphony and music theory.

    At the heart of the book are richly documented contributions about musical life ( » Lieux de la musique « ) in the cities: Abbeville, Amiens, Beauvais, Laon, Noyon, Saint-Omer, Saint-Quentin, Senlis and Soissons. The exploits of such noteworthy figures as the composer and theoretician Petrus de Cruse (c. 1300) and the theoretician Vincent de Beauvais (first half of the thirteenth century) are explored in detail. The section » Pratiques, sources et repertoires « includes chapters about music for specific occasions (such as » puys « and » entrées « ), about preserved sources, and about organs. The final section » Formation et rayonnement « bundles contributions about musical training and Picardie’s reputation as a centre for musical recruitment.

    This impressive overview is completed by an alphabetical list of more than 500 (!) musicians from Picardie, each with a biographical summary. Many of these musicians are not found in the standard music encyclopaedias because of their limited role (for example as a choirboy) or their small musical production, making this book an excellent resource on lesser-known figures. For some figures in the list, only a handful of compositions have been preserved, meaning interest in them has been minimal until now.

    The attention paid to this repertoire is one of the book’s greatest strengths. Its value is further amplified by the accompanying CD, whose fourteen tracks provide a representative sampling of vocal polyphony during the Renaissance. The works of better-known composers such as Antoine Bruhier, Loyset Compere and Jean Mouton are on display next to rarely performed – but no less interesting – selections from Mathieu Sohier, Thomas Champion and Nicolas de Marle (including his complete » Missa O gente brunette « ).

    Also numerous are » unknown « composers who are well worth discovering, despite their limited œ uvre. These include French chansons by composers such as Nicolle des Celliers, Laurent Bonard and Vulfran Samin, who were published in Paris and Lyon.

    A recurring theme is the enormous loss of musical sources and archives. A small selection: » la Picardie a terriblement souffert dans le domaine archivistique « ; and » la pauvreté des ressources documentaires « (about organs); as well as » alors que les archives ont disparu en 1669 « (about Saint-Quentin). While such references may frustrate at times, the book more than compensates by reminding us to appreciate the treasures that have survived. Beautiful examples include the liturgical books with Gregorian chant (such as the brilliant Codex 239 from Laon); the polyphonic manuscripts preserved at the bibliothèque municipale in Cambrai, and the hs. 564 at the Musée Condé in Chantilly (another example of how this book looks beyond the boundaries of Picardie).

    » La musique en Picardie du XIV e au XVII e siècle « is destined to join the list of definitive standard texts in the field. It remains accessible, despite its heft (about 2.3 kilograms!). Its beautiful design is a credit to its publisher, Brepols, in Turnhout (Belgium), which enjoys a world-class reputation for creating attractive layouts. We look forward with good-natured impatience to a follow-up volume on music from neighbouring regions such as Hainaut and Nord-Pas-de-Calais.

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    PSJ Metadata
    Ignace Bossuyt
    C. Cavicchi, M.-A. Colin, P. Vendrix (dir.), La musique en Picardie du XIVe au XVIe siècle (Ignace Bossuyt)
    CC-BY 3.0
    Frühe Neuzeit (1500-1789), Hohes Mittelalter (1050-1350), Spätes Mittelalter (1350-1500)
    Frankreich und Monaco
    14. Jh., 15. Jh., 16. Jh., 17. Jh.
    4076132-0 4040802-4 4114653-0 4040847-4 4075128-4
    Picardie (4076132-0), Musik (4040802-4), Musikalische Ikonographie (4114653-0), Musikhandschrift (4040847-4), Musikleben (4075128-4)
    PDF document cavicchi_bossuyt.doc.pdf — PDF document, 114 KB
    C. Cavicchi, M.-A. Colin, P. Vendrix (dir.), La musique en Picardie du XIVe au XVIe siècle (Ignace Bossuyt)
    In: Francia-Recensio 2014/4 | Frühe Neuzeit - Revolution - Empire (1500-1815) | ISSN: 2425-3510
    URL: https://prae.perspectivia.net/publikationen/francia/francia-recensio/2014-4/FN/cavicchi_colin_bossuyt
    Veröffentlicht am: 17.12.2014 10:01
    Zugriff vom: 10.07.2020 05:47
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