Dominique Phinot

Dominique Phinot (* around 1510; † between 1556 and 1561, probably in Lyon ) was a Franco-Flemish composer and singer of the Renaissance .

Live and act

Dominique Phinot probably came from France because the humanist Gerolamo Cardano called him “Gallus” in his Thenoston (1561); French was apparently his mother tongue as well. There is no information about his early days or his education. Little details are known about his life, only a few conclusions are possible. He spent the greater part of his life in Italy, as indicated by the fact that most of his works were printed in Italy. Dominique Phinot's earliest motets were published in Venice and Ferrara in 1538 and nine five-part motets are in the Mutetarum divinitatis collection(1543) was recorded by GA Castiglione. Two documents from the archives of the city of Urbino , dated March 26, 1545 and November 20, 1555, allow the conclusion that the composer was employed by Duke Guidobaldo II of Urbino, to whom Dominique Phinot dedicated a volume of motets in 1554 Has. In May 1554, the duke proposed him for the position of cantor of the cathedral there. In Lyon, the publishers G. and M. Beringen printed four extensive individual prints of motets and chansons for four to eight voices in 1547/48 ; Phinot's motets in general led to great recognition of his skills.

His works were reprinted by Antonio Gardano and Gerolamo Scotto in Venice, by S. du Bosc in Geneva , by Tielman Susato in Antwerp, and by Adam Berg and U. Neuber in Nuremberg . In the late 1540s, Phinot apparently had strong ties to Lyon, as indicated by dedication letters and passages in the chanson books printed there. After two of his “Salmi a versi con le sue riposte” ( Psalms ), in which the stanzas are alternately set to music by Phinot and Jachet de Mantua , were included in Adrian Willaert 's collection “Salmi vesperali” (Venice 1550) a well-founded conclusion about Phinot's acquaintance among the Venetian composers around Willaert. The aforementioned humanist Cardano also announced that the composer was executed in Lyon for homosexuality . The last reprint with Phinot's compositions appeared in 1618. The music theorist Hermann Finck put Phinot on a par with Nicolas Gombert , Thomas Crécquillon and Jacobus Clemens non Papa ( Practica musica , Wittenberg 1556), the church musician Pietro Ponti (1532–1595) cites Phinot's exemplary use musical technical means ( Ragionamento di musica , Parma 1588), and the music theorist Domenico Pietro Cerone (1566-1625), who particularly praised Phinot's way of composing, even said that even Palestrina would write in Phinot's style ( El Melopeo y Maestro , Naples 1613).

meaning

Dominique Phinot is attributed a total of 2 masses , 4 magnificats , 2 madrigals , over 60 chansons and around 90 motets. His eight-part motets, along with his Lamentations of Jeremiah, set between the polychoral style in the early 16th century and the real polychorality a development undue link at the end of the Renaissance. As example, the motet "Tanto tempore vobiscum sum" may be cited, long in the different There are passages in alternation of the choirs, the alternation is thematically standardized and contrasts between polyphony and homophony are created, so that a real double-choir dialogue arises. His church music is also similar to that of Nicolas Gombert in that his tightly woven polyphony is permeated and determined by imitation , for example in the responsory motets "Tua es potentia" and "Beata es virgo". Phinot's motets were admired by later composers; their influence can be clearly seen in the pieces "Ego sum" and "Si bona suscepimus" by Orlando di Lasso . Phinot's motet for two choirs "Iam non dicam" served as a model for parody masses by Jacob Handl and Bartholomäus Gesius , and the motet "Sancta Trinitas" was the model for the mass by Michele Varotto (1563). The Chansons by Dominique Phinot turn to the most common in his day compositional techniques and contain a variety of forms to express the text. The topics range from satires on clerical misconduct to love songs based on texts by Catullus and Ovid . They were published in two separate collections in Lyon in 1548.

Works

Complete edition: Dominici Phinot Opera Omnia , edited by Johann Höfler, Florenz / Neuhausen from 1972 (= Corpus mensurabilis musicae No. 59)

• measure up
  • Missa “Quam pulchra es” with four voices, on a motet by Johannes Lupi
  • Missa “Si bona suscepimus” with four voices, on a motet by Claudin de Sermisy
• Motets (in order of appearance)
  • “Exsurge, quare obdormis” to five voices, 1538
  • “Ne derelinquas me, Domine” to five voices, 1538
  • “Pater peccavi in ​​caelum” with five votes, 1538
  • "Spiritus meus attenuabitur" with five voices, 1538
  • “O altitudo divitiarum” for four voices, 1538
  • “Osculetur me osculo oris sui” for four voices, 1538
  • “Virga Jesse floruit” to four voices, 1539
  • “Homo quidam fecit cenam” for five voices, 1541
  • “Aspice Domini” for five voices, 1543
  • “Ave virgo gloriosa” for five voices, 1543
  • “Caecus sedebat secus viam” with five voices, 1543
  • “Congregatae sunt gentes” for five voices, 1543
  • “Deus in nomine tuo” with five votes, 1543
  • “Illuxit nobis dies” to five votes, 1543
  • “Non turbetur cor vestrum” with five voices, 1543
  • “Videns dominus flentes” to five votes, 1543
  • "Liber primus mutetarum quinque vocum", Lyon 1547 and Venice 1552
  • "Liber secundus mutetarum, sex, septem, et octo vocum", Lyon 1548, including among others:
    • “Jam non dicam vos servos” with eight voices
    • “O sacrum convivium” with eight voices
    • “Sancta Trinitas” with eight votes
    • “Tanto tempore vobiscum sum” with eight voices
  • “Ego sum panis vitae” for five voices, 1549
  • “Illuminare Hierusalem” to five votes, 1549
  • “Angustiae mihi sunt undique” for four voices, 1549
  • “Tanto tempore vobiscum sum” for four voices, 1549
  • “Valde honorandus est” to four votes, 1549
  • “Vidi speciosam” for four voices, 1549
  • “Memor fui nocte nominis tui” with three voices, 1553
  • “Panis quem ego dabo” to five voices, 1553
  • "Liber secundus mutetarum quinque vocum", Pesaro 1554, Venice 1555
  • “Cerne meos ergo gemitus” with six voices, 1583, intavolated
  • numerous other motets also in handwritten tradition
• Chansons
  • "Premier livre contenant trente et sept chansons", Lyon 1548, including among other things:
    • “Laissez cela” to four votes
    • “Taisez-vous donq” to four votes
    • “Adieu Loyse” to eight votes
    • “Vivons, m'ayme” to eight votes
  • "Second livre contenant vingt et six chansons", Lyon 1548, including:
    • “Je l'hay perdu” to four votes
    • “Mort et amour” to four voices
    • “Quand je pense au martire” with four voices
    • “Par un trait d'or” with eight votes
    • “Qu'est-ce qu'amour?” To eight votes
• Madrigals
  • “S'in veder voi, madonna” to six voices, 1541
  • “Simili a questi smisurati monti” for eight voices, 1561

Literature (selection)

• R. Casimiri: Un accenno poetico a Giosquin e Finoto di F. Spinola. In: NA No. 8, 1931, pages 143-145
• PS Hansen: The Life and Works of Dominico Phinot , dissertation at the University of North Carolina 1939
• PS Hansen: The Double-Chorus Motets of Dominique Phinot. In: Renaissance News No. 3, 1950
• VL Saulnier: Dominique Phinot et Didier Lupi, musiciens de Clément Marot et des marotiques. In: Revista de musicología No. 43, 1959, pages 61-80
• J. Höfler: Dominique Phinot and the Beginnings of Renaissance Poychoral Music. In: Jugoslovenska muzicka revija No. 100, 1969, pages 497-515
• CA Miller: Jerome Cardan on Gombert, Phinot and Carpentras. In: Musical Quarterly No. 58, 1972, pages 412-419
• Roger Jacob: Dominique Phinot Cultural Aspects of the Renaissance. In: Festschrift O. Kristeller, Manchester 1976
• AF Carver: Cori Spezzati: the Development of Sacred Polychoral Music to the Time of Schütz , 2 volumes, Cambridge 1988
• F. Dobbins: Music in Renaissance Lyons , Oxford 1992
• Roger Jacob: The Chansons and Madrigals of Dominique Phinot , dissertation at the University of Aberdeen 1998
• F. Piperno: L'immagine del Duca. Musica e spettacolo alla corte di Guidubaldo II duca d'Urbino , Florence 2001

Web links

• Works by and about Dominique Phinot in the catalog of the German National Library
• Sheet music and audio files by Dominique Phinot in the International Music Score Library Project
• Sheet music in the public domain by Dominique Phinot in the Choral Public Domain Library - ChoralWiki (English)
• Dominique Phinot in the Dutch online encyclopedia ENCYCLO.NL

swell

1. ↑ The music in past and present (MGG), person part volume 13, Bärenreiter and Metzler, Kassel and Basel 2005, ISBN 3-7618-1133-0
2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 6: Nabakov - Rampal. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18056-1 .