Adrianus Petit Coclico

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Adrianus Petit Coclico 1552

Adrianus Petit Coclico (* 1499 or 1500 in Flanders , † after September 1562 in Copenhagen ) was a Franco-Flemish composer , singer and music theorist of the Renaissance .

Live and act

The assumption of his year of birth results from a woodcut portrait of the composer from 1552, in which "AETAT: LII" is noted, and the region of his origin comes from a self-testimony. However, there is no evidence of his curriculum vitae until 1545. He himself claims to have been a student of Josquin Desprez , moreover, to have been in the service of the French and English kings and Pope Paul III before converting to Protestantism . to have served in Rome . Today's music historians tend to the assumption that such information should serve more to stage oneself in order to support current petitions.

In September 1545 he enrolled at the University of Wittenberg and gave music lessons in the same town. In the following year, with the support of the university, he applied for a professorship with Elector Johann Friedrich von Sachsen, but was unsuccessful. From summer 1546 to summer 1547 he then taught at the University of Frankfurt an der Oder . Divorce proceedings from his time in Wittenberg were still pending, and Coclico went to Stettin for a short time . Subsequently, from 1547 to 1550, Coclico worked at the court of Duke Albrecht von Brandenburg in Königsberg , where he was referred to as "musicus" on the payroll. Here he got into theological controversy after a while and had to leave Königsberg in 1550 because of his undissolved marriage and a new relationship with a woman. At the end of this year he came to Nuremberg and was accepted into the house of the music publisher Johann Berg.

His collection of motets Consolationes in the style of the Musica reservata , which are mainly based on psalm texts , was probably created during Coclico's Nuremberg time ; his music theory treatise Compendium musices also appeared here . With financial support from the city council, he founded a school for music, French and Italian in Nuremberg, which had a different focus than the city's Latin schools; however, the subsidy was canceled again six months later. Coclico left Nuremberg in 1555 and went to Schwerin to the court of Duke Johann Albrecht I of Mecklenburg, where he stayed for a year. Finally he turned to Copenhagen, where from July 1556 he worked as a singer and musician in the court orchestra of King Christian III. was employed by Denmark, for whom he also wrote several motets. He died there six years later.

meaning

In his music-theoretical work Compendium musices , Coclico lays the main emphasis on the meaningful and grammatically-syntactically correct rendering of the word, which was taken up by many subsequent composers. For his statement that he wanted to bring back the so-called musica reservata with his treatise , he mainly used expressions of humanism . Literally he writes: “Vere musicus est et habetur, non qui de numeris, prolationibus, signis ac valoribus multa novit garrire et scribere, sed qui docte et dulciter cantit, cuilibet notae debitam syllabam applicans ac ita componit, ut laetis verbis laetos addat numeros et e contra "[=" Truly a musician is someone who does not know how to talk and write a lot about rhythms, relationships, signs and values, but who sings intelligently and beautifully, assigns the right syllable to every note and so on composed so that he writes happy rhythms for happy texts and accordingly the opposite (assigns sad rhythms to sad texts) ”]. Following on from the Roman rhetoric teacher Marcus Fabius Quintilianus (35 - 96 AD), who emphasizes the art of imitation in a chapter of his work on the three classical teaching methods of rhetoric ( Praeceptum, exemplum et imitatio [= rule, example and imitation ] ), Coclico names ars, exercitatio et imitatio [= teaching, practice and imitation ] as the most important properties of good rhetorical text treatment in the field of music . In the treatment of interpretations, he places particular emphasis on vocal technical skills. The treatment of canons is presented extensively. His treatise contains two to eight-part canons, among which an eight-part double choir in the Cancer canon deserves special attention. In his treatise, Coclico makes a distinction between counterpoint and composition, but gives no definition of these terms. Overall, apparently false claims by the author reduce the credibility of his statements, but they are an important source for the teaching of the musica poetica of his time. The 41 motets of the Musica reservata are of a peculiar expressiveness and give examples of his understanding of the word-tone relationship.

Works

  • Compositions (vocal music)
    • Individual print “Musica reservata. Consolationes piae ex psalmis Davidicis "to four voices (Nuremberg 1552)
    • "Disce bone clerices" with four voices (Königsberg 1558)
    • “Nulla quidem virtus” to five voices
    • “Si consurrexistis” with eight votes
    • “Venite exultemus Domino” to five voices
  • treatise
    • "Compendium musices" (Nuremberg 1552)

Literature (selection)

  • Marcus van Crevel: Adrianus Petit Coclico: Life and relationships of a Josquin student who emigrated to Germany , Martinus Nijhoff, The Hague 1940
  • ER Sholund: The Compendium musices by Adrian Petit Coclico , dissertation at Harvard University 1952
  • Georg von Dadelsen:  Coclico, Adrianus Petit. In: New German Biography (NDB). Volume 3, Duncker & Humblot, Berlin 1957, ISBN 3-428-00184-2 , p. 306 f. ( Digitized version ).
  • H. Leuchtmann: The musical interpretation of words in the motets of the Magnus Opus Musicum by Orlando di Lasso , Strasbourg and Baden-Baden 1959
  • B. Meier: The Musica Reservata of Adrianus Petit Coclico and Its Relationship to Josquin. In: Musica disciplina No. 10, 1956, pages 67-105
  • H. Erdmann: On Adrian Petit Coclico's stay in Mecklenburg. In: Die Musikforschung No. 19, 1966, pp. 20-27
  • TG Cooper: Two Neglected Aspects of Renaissance Motet Performance Practice. In: Choral Journal 27 No. 4, 1986, pages 9-12
  • R. Lorenz: Pedagogical Implications of musica practica in Sixteenth Century Wittenberg , dissertation at Indiana University 1995
  • Klaus W. Niemöller: On the paradigm shift in the music of the Renaissance: From numerus sonorus to musica poetica. In: literature, music and art in the transition from the Middle Ages to the modern age; Report on colloquia of the commission for research into the culture of the late Middle Ages 1989 to 1992, Göttingen 1995, pages 187–215
  • S. Sejane: Music in the Official Life and Court of Courland from the Creation of the Duchy Following the Downfall of the Order of Teutonic Knights to the Death Duke Jacob. In: Music History Writing and National Culture, edited by U. Lippus, Tallinn 1995, pp. 74-83

Web links

Commons : Adrianus Petit Coclico  - collection of images, videos and audio files

swell

  1. ↑ The music in past and present (MGG), person part Volume 4, Bärenreiter and Metzler, Kassel and Basel 2000, ISBN 3-7618-1114-4
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 2: C - Elmendorff. Herder, Freiburg im Breisgau a. a. 1979, ISBN 3-451-18052-9 .
personal data
SURNAME Coclico, Adrianus Petit
ALTERNATIVE NAMES Coclicus, Adrianus Petit
BRIEF DESCRIPTION Franco-Flemish composer, singer and music theorist of the Renaissance
DATE OF BIRTH 1499 or 1500
PLACE OF BIRTH Flanders
DATE OF DEATH after September 1562
Place of death Copenhagen