Christian Hollander

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Christian Janszone Hollander (* around 1512 possibly in Dordrecht ; † between January and July 1569 in Innsbruck ) was a Franco-Flemish composer , singer and conductor of the Renaissance .

Live and act

When researching Hollander's curriculum vitae, the music historians had the problem of the identity mainly of Christian and Johannes (Jean de) Hollander as a result of the attribution of two motets by the publisher Tielman Susato , and in the second place of a Sebastiaen Hollander, whose name is probably due to a misspelling comes. During his six years in Bruges, Johannes Hollander was second conductor at the Church of St. Salvator from 1538 to 1541 and then went to the Cathedral of St. Donatian , but lost his position in 1544 due to bad behavior. In more recent times, musicologists tend to mistake him for Christian Hollander's father, if there was any connection between the two. Christian's first documented appearance was his appointment as singing master at the Church of St. Walburga in Oudenaarde on June 1, 1549 as "Christiaen Janszone, gheseyed de Hollandere". Due to financial problems of his employer, his contract, which expired in 1557, could not be extended, and Christian left the city to look for another job.

At the end of 1557 he seems to have joined the court orchestra of Emperor Ferdinand I in Innsbruck and made a visit to Florence that same year ; In early 1558, a “preceptor of the musica from the Niderlandt” was recorded as newly arrived in the imperial account books. He is safely documented as a member of the band from 1559 and stayed there until the death of Emperor Ferdinand in 1564. He returned temporarily to the Netherlands at the beginning of 1565 and in the same year was admitted to the chapel of Archduke Ferdinand in Prague , where he already enjoyed a special reputation as “a famous musician and composer”. In 1568 he got permission to travel to Nuremberg with his wife and friend Johann Pühler . Pühler helped him there to have over 200 motets printed, including the collection “Newe teutsche ecclesiastical and secular songs”. In the same year he made a visit to Munich , but apparently fell seriously ill afterwards and probably died in the first half of 1569. On July 14, 1569, his widow was granted a pension. His name later appeared in two memorial poems by his compatriot Gerard de Roo , and he was listed in the “Ragionamenti accademici” by Cosimo Bartoli (1567) as “Christiano Olanda” from Antwerp.

meaning

A final appraisal of the compositions is not yet possible because the identities of the people with the name Hollander have not yet been fully clarified; in addition, many pieces are only signed with “Hollander” or “Hollandus”. In particular, Christian Hollander's trade fairs have not yet been examined in detail. In the motets published in the 1550s, the composer appears as the successor to Jacobus Clemens non Papa and Thomas Crécquillon . The most important characteristics of his works are through imitations , occasional reduction in the number of voices (thinning) in a piece, musical themes that are based on the text declamation , and he prefers a repetition of short motifs. The responsory motet “Dum transisset sabbatum” can be seen as a prime example of all these properties . The composer largely dispensed with the cantus firmus and ostinato techniques that were common before his time ; This does not apply to his famous motet “Saulus cum iter faceret”. In the motets printed by Gardano in 1568, a new developmental step appears in Hollander insofar as the imitation is more limited to the beginning of the motet; the rest comes in full-voiced counterpoint with a noticeable emphasis on homophony , for example in “Vitam que faciunt”. A preference for double-choir movements is evident in the occasional motets in honor of Ferdinand I, in which the text is almost completely syllabic , for example in “Austria virtutes aquilas”. In principle, Christian Hollander was the first Dutch composer to make an extremely important contribution to the German song and one of the first to transfer the principle of double-choir movements to the German song. On the other hand, only a few chansons have come down to us.

Works

  • measure up
    • Mass "Casta novenarum iacet"
    • Missa "Je prens congie"
    • Missa super "I'm very happy"
    • 1 more Missa
    • Missa for four voices
  • Magnificats
    • 7 Magnificats, including 1 Primi to Septimi toni each
    • 2 Magnificats Octavi toni
  • Lamentations
    • “Lamentationes Hieremiae Prophetae” with five votes
  • Motets (order in descending order of votes)
    • “Scio quod redemptor” with nine votes
    • “Austria virtutes aquilas” with eight voices in Liber quintus & ultimus, Venice 1568
    • “Beati omnes qui timent” with eight voices
    • “Casta novenarum jacet aula subacta” for eight voices in Liber quintus & ultimus, Venice 1568
    • “Christ resurgens ex mortuis” to eight voices in Novi thesauri musici liber primus, Venice 1568
    • "Circumdederunt me" with eight votes
    • “Dum transisset sabbatum” to eight votes
    • “Inter natos mulierum” with eight votes
    • “OChristianum O ter quater” with eight votes, incomplete
    • "Respice propitius Domine" with eight votes
    • “Vos mea magnanimi” with eight voices in Liber quintus & ultimus, Venice 1568
    • “Audi filia et vide” with seven voices, incomplete
    • “Auxilium meum a Domino” for six voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Da poacem Domine” to six voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Exaudiat te Dominus” with six voices in Thesauri musici […], Nuremberg 1564
    • “Laudem dicite Deo nostro” with six voices in Sacrorum cantionum […] liber secundus, Antwerp 1555 / Nuremberg 1558
    • “Musica Dei donum” with six parts, incomplete
    • “Nobile virtutem culmen” to six voices in Liber quintus & ultimus, Venice 1568
    • “Nolite mirari quia veniet” with six voices in Novi atque catholici […] liber tertius, Venice 1568
    • “O Deus aetherae rector” with six voices, attributions to Chr. Hollander, Michael Vogler and Hollandus
    • “O Jacobum virtutibus” with six parts, incomplete
    • “Postquam consumati essent” to six voices in Novi thesauri musici liber primus, Venice 1568
    • “Quae iubet aeterni” with six votes
    • “Saulus cum iter facerent” to six voices in Novi atque catholici […] liber tertius, Venice 1568
    • "Sic Deus dilexit" with six voices, counterfactor from "Celle qui m'a tant"
    • “Susanna se videns” to six votes
    • “Te Deum patrem ingenitum” with six voices in Novum et insigne opus […], Nuremberg 1558
    • “Tota pulchra es” with six voices, counterfactor from “Susanna se videns”?
    • “Tres veniunt reges” for six voices in Novi thesauri musici liber primus, Venice 1568
    • “Verbum caro factum est” to six voices in Sacrorum cantionum […] liber primus, Antwerp 1554
    • "Vitam que faciunt" to six voices in Novi atque catholici [...] liber secundus, Venice 1568
    • “Agnosce Domine creaturam” to five voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Beatus athleta Christoforus” with five voices in Liber duodecimus […], Antwerp 1557
    • “Christe salus hominum” with five voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Domine ne memineris iniquitatum” with five voices in Thesaurus musici […], Nuremberg 1564
    • “Educ me o Domine” with five voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Ego sum panis vitae” to five voices in Sacrorum cantionum […] liber secundus, Antwerp 1556
    • “Excita potentiam tuam” for five voices in Novi thesauri musici liber primus, Venice 1568
    • “Inter natos mulierum” with five voices in Novi atque catholici […] liber tertius, Venice 1568
    • “Repleti sunt omnes” for five voices in Novi thesauri musici liber primus, Venice 1568
    • “Suscipiens Jesum in ulnas suas” to five voices in Liber septimus […], Antwerp 1553
    • “Valde honorandus est beatus Joannes” to five voices in Novi atque catholici […] liber tertius, Venice 1568
    • “Deus adjutor meus” to four voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Dominus Deus vester” for four voices in Tertia pars magni operis musici, Nuremberg 1559
    • “In nomine Ihesu” for four voices in Sacrorum cantionum […] liber primus, Antwerp 1556
    • “Ingenuit Susanna” to four voices
    • “Junior fui etenim senui” with four voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Laudate Dominum omnes gentes” with four voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Pater peccavi in ​​caelum” for four voices in Novi thesauri musici liber primus, Venice 1568
    • “Qui moritur Christo” to four voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Qui ex nihilo creasti nos” with four voices, only Bassus preserved
    • “Sic Deus dilexit mundum” to four voices in Novi atque catholici […] liber secundus, Venice 1568
    • “Ubi est Abel frater tuus” to four voices in Liber tertius sacrarum cantionum […], Düsseldorf 1556
  • Lost motet
    • "Dum aurora finem daret", number of votes unknown
  • Motets of doubtful attribution, all with five parts
    • “Benedic Domine domum istam” (Iohannes / Christianus) in Liber quintus […], Antwerp 1553
    • “Congratulamini mihi omnes”, also ascribed to Crécquillon, in Liber tertius cantionum sacrarum […], Löwen 1554
    • "Dum transisset sabbatum" ("Seb. Hollant") in Liber primus cantionum sacrarum [...], Leuven 1554
    • “Nigra sum sed formosa”, also ascribed to Crécquillon, in Primus liber septem decim continet […], Paris 1551
    • "O Domine Deus aeterna", number of votes unknown, incomplete
    • "Si ignoras te" (Ioannes / Chr. Hollander) in Liber sextus ecclesiasticarum, Antwerp 1553
  • Motets only preserved as tablature
    • “In tua perpetuas” with six voices
    • “Quia vidisti me Thoma” with five voices
  • Latin song
    • “Rusticus amabilem obsecrabat virginem” with four voices in [68 German, French and Latin polyphonic vocal movements], Nuremberg approx. 1550
  • Tricina (three-part instrumental movements)
    • "Triciniorum, quae cum vivae voci, tum omnis generis instrumentis musicis commodissime applicari possunt, fasciculus", Munich 1573
  • Chansons
    • “Celle qui m'a tant” with six voices, in Second livre des chansons […], Löwen 1553
    • “Forte fortune fors ung” to six votes in Premier livre des chansons […], Leuven 1553
    • “Quant je voi son cueur” with six voices
    • “Contente-toy de la fortune” to five voices in Second livre des chansons […], Löwen 1553
    • “Je l'ay aymé” to five votes in Premier livre des chansons […], Leuven 1553
    • “Plaisir nay plus” to four voices in L'unziesme livre contenant vingt […], Antwerp 1549
  • Songs
    • "Newe teutsche, ecclesiastical and secular songs, with four, five, six, siben and eight voices [...]", Munich 1570, reprint "New select German songs with four, five and more voices", Nuremberg 1574 and 1575

Literature (selection)

  • E. Van der Straeten: La musique aux Pays-Bas , Volume 2, Brussels 1872
  • Robert Eitner:  Hollander, Christian . In: Allgemeine Deutsche Biographie (ADB). Volume 12, Duncker & Humblot, Leipzig 1880, p. 749 f.
  • H. Leichtentritt: History of the Motet , Leipzig 1908
  • W. Senn: Music and theater at the court of Innsbruck. History of the court orchestra from the 15th century to its dissolution in 1748 , Innsbruck 1954
  • F. Noske: Christiaan Janszoon Hollander en zijn Tricinia. In: Tijdschrift van de Vereniging voor nederlandse muziekgeschiedenis No. 18, 1959, pages 170-180
  • Helmut Osthoff: The Dutch and the German Song (1400–1640) , Tutzing 1967
  • J. Haar: Cosimo Bartoli on Music. In: Early Music History No. 8, 1988, pp. 37-79
  • W. Elders: Symbolic Scores. Studies in the Music of the Renaissance , Leiden 1994
  • Barbara Boisits: Hollander (Hollandere, Hollandre), Christian. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 2, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2003, ISBN 3-7001-3044-9 .

Web links

swell

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 9, Bärenreiter and Metzler, Kassel and Basel 2003, ISBN 3-7618-1119-5
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 4: Half a note - Kostelanetz. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18054-5 .
  3. ^ The New Grove Dictionary of Music and Musicians , edited by Stanley Sadie, 2nd Edition, Volume 11, McMillan Publishers, London 2001, ISBN 0-333-60800-3
personal data
SURNAME Hollander, Christian
ALTERNATIVE NAMES Hollander, Christian Janszone; Hollande, Christiaan; Hollandus, Christian; Hollandre, Cristian
BRIEF DESCRIPTION Franco-Flemish composer, singer and bandmaster of the Renaissance
DATE OF BIRTH around 1512
PLACE OF BIRTH unsure: Dordrecht
DATE OF DEATH between January 1569 and July 1569
Place of death innsbruck