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E-book Gaspar van Weerbeke: Perspektives on his Life and Music

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Penilaian

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The known facts of Gaspar van Weerbeke’s life point to a composer who was one of the most successful and important of his lifetime. Born in the mid-fifteenth century in the city of Oudenaarde in the Burgundian Netherlands, now in the province of East Flanders, he occupied positions of prestige in the best-known musical institutions of the time: the Sforza court in Milan, the Burgundian court chapel, and the papal chapel in Rome. His music en-joyed widespread manuscript transmission, and he was one of the best-represented composers in the Venetian music prints of Ottaviano Petrucci, with one publication devoted exclusively to his works. Contemporary commentators from Franchinus Gaffurius to Guillaume Crétin mention his name alongside Josquin des Prez and others.For all of this, today he remains a somewhat peripheral figure, known primarily for his contributions to the Milanese motetti missales. His modern reputation is vastly overshad-owed by his Franco-Flemish contemporaries Henricus Isaac, Pierre de la Rue, Jacob Obrecht, and, of course, Josquin. Gaspar’s work has been the subject of two doctoral dissertations, only one of which was published as a monograph. The edition of his complete works, despite having been long planned, has only recently approached completion. Mostly because of this, very few of his compositions have been performed, let alone recorded.But it was not always going to be like this. Modern research on Gaspar began earlier and more earnestly than one might today have expected, alternating between potential break-throughs and disappointing setbacks. It is closely tied up with the twentieth-century history of musicology in Western Europe, with a focal point at the University of Göttingen. Gerhard Croll (b. 1927), the father of modern Gaspar research, introduced his doctoral dis-sertation with the remark that Gaspar’s life is relatively well documented compared to that of his contemporaries.1 This was indeed the case. When he submitted his dissertation at the University of Göttingen in 1954, quite a number of details concerning Gaspar’s biography were already known: that he was born in Oudenaarde; that he worked for the Sforzas in Milan; that he returned to the north on recruitment trips for singers; that he was briefly connected with the Burgundian court chapel; and that he was long active in the papal chapel.2Many of the pertinent documents were discovered by Edmond Vander Straeten (1826–95), a Belgian music historian who was born in the same city as Gaspar and lived there for the last fifteen years of his life. Vander Straeten studied classics, philosophy, theology, and com-position, and in 1853 he became the personal secretary of François-Joseph Fétis, the author of an extensive and ground-breaking music dictionary and director of the Brussels Conservatory.3Vander Straeten’s interest in local history was encouraged by the parallel interest of the gov-ernment of Belgium, then a young state, in promoting its past history as the Low Countries to build up a national identity. After several years of research at the Archives générales du Royaume (Algemeen Rijksarchief) in Brussels, Vander Straeten was sent to Italy, France, and Spain to plough through unsorted archival documents and find those which related to his home country.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

780.72 LIN g

Penerbit

France : Brepols., 2019

Deskripsi Fisik

333 hlm

Bahasa

English

ISBN/ISSN

9782503584553

Klasifikasi

780.72

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Musicology

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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