Hugo de Lantins

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Hugo de Lantins (* before 1400 in the Diocese of Liège ; † after 1430) was a Franco-Flemish composer and singer of the early Renaissance .

Life

There are no documents about the date and place of birth and about the career of Hugo de Lantins, just as little about the date of his death and his place of death. It is certain that he belongs to the same generation as Arnold de Lantins ; maybe he was his brother. There is a document which proves the presence of both Lantins on June 8, 1423 at the court of the Malatesta in Pesaro . Hugo de Lantins wrote compositions, the dedication of which indicates a close connection to at least three Italian patrons : to the Malatesta in Pesaro mentioned above, to the Colonna family in Rome , to the Doge Francesco Foscari in Venice and possibly to Pietro Emiliani, the bishop from Vicenza . Apparently there was also close contact with Guillaume Dufay after both he and Arnold de Lantins are mentioned in Dufay's song “Hé compagnons”.

The composition “Tra quante regïone” was evidently composed for Cleofe Malatesta's voyage (~ 1388–1433) on the occasion of her marriage to the ruler of Morea , Theodoro II. Palailogos (Dufay's motet “Vasilissa ergo gaude” was dedicated to the same event ). Hugo's compositions "Mirar non posso" and "Celsa sublimatur" / "Sabine presul" are related to the Roman Colonna family; here there are references to the battle of L'Aquila (June 1424) and to the city of Bari with its most important patron saint , after Antonio Colonna was viceroy of Apulia for a short time in 1424/25 . In honor of the Doge of Venice, a “Laudes regiae” was sung twice a year; Hugo wrote the motet "Christ vincit" for the Doge Francesco Foscari (1423-1457) for this occasion in 1423. The motet “O lux et decus Hispaniae”, probably for Bishop Pietro Emiliani in Vicenza , originated from this motet by counterfacturing around 1430 .

meaning

In the compositions of Hugo de Lantins, imitations play a central role, which run between the cantus and tenor part (occasionally also contratenor ). In the case of a single Gloria , written in a remarkably low pitch, two voices are continuously used as a canon in the fifth. Hugo's motets have a broad stylistic spectrum ( panisorhythmic style, opening with extensive echo imitations, moving cantus over three rhythmically simple lower voices and other forms). Imitation technique is also the basis of many of his songs, some of which also have special features: The song "Je suy exent" z. B. is a rather complex composition with its numerous changes in scaling and musical structure and the conflicting rhythms it contains. Overall, Hugo de Lantin's music is somewhat similar to Johannes Ciconia , and some of the simple melodies are reminiscent of the early works of Guillaume Dufay.

Works

  • Measurement sets
    • Gloria and Credo to three votes
    • Gloria I to three votes (paired in a manuscript with a Credo by Dufay)
    • Gloria II to three votes
    • Gloria III to three votes
  • Motets
    • “Ave gemma claritatis” to four voices
    • “Ave verum corpus” to four voices
    • "Celsa sublimatur" / "Sabine presul" for four voices (isorhythmic; city of Bari, St. Nicholas of Bari, St. Sabinus of Canosa)
    • "Christ vincit" to three voices (Francesco Foscari)
    • "O lux et decus Hispanie" to three voices (St. Jacobus, mostly counterfactual from "Christ vincit")
    • "... ram ..." (fragment of a Latin piece, attributed to Hugo de Lantins)
  • Songs as rondeaux
    • “A ma damme playsant et belle” with three voices
    • “Ce j'eusse fait ce que je pence” to three voices
    • "Chanter ne scay ce poyse moy" to three voices (attributed to Hugo)
    • “Grant ennuy m'est tres douce simple et coye” with three votes
    • “Helas amour que ce que endure” with three voices
    • “J'ay ma joye ben perdue” to three voices
    • “Je suy espris d'une damme amoureuse” with three votes
    • “Je suy exent entre aman pour amour” with three votes
    • “Joly et gay je me tenray” to two voices
    • "Mon doulx espoir mon souvenir" with three voices (attributed to Hugo)
    • "Plaindre m'escuet de ma damme jolye" for three voices (with included acrostic )
    • “Pour resjoyr la compaignie” with three votes
    • “Prendre couvint de tout en gré” with three voices
    • "Ung seul confort pour mon cuer resjoïr" to three voices (attributed to Hugo)
  • Songs as ballads
    • "Io sum tuo servo o dolze anima bella" to three voices (attributed to Hugo)
    • "Per amor de costey" (attributed to Hugo)
    • "Tra quante regïone et sol si mobele" with three voices (dedicated to Cleofe Malatesta)
  • Song as an Italian rondeau
    • "Mirar non posso ni conzerner dona" to three voices (dedicated to Vittoria Colonna)

Literature (selection)

  • Charles van den Borren: Hugo and Arnold de Lantins. In: Revue Belge de Musicologie No. 21, 1967, pages 29-35
  • J. Michael Allsen: Intertextuality and Compositional Process in Two Cantilena-Motets by Hugo de Lantins. In: Journal of Musicology No. 11, 1993, pp. 174-202
  • Robert Ralph Hutchins: Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liège: Lovanio, Nicolaus Natalis and Hugo de Lantins , dissertation at the University of California at Los Angeles 1999 (University Microfilms International, Ann Arbor / Michigan No. 99-17289), OCLC 66844262

Web links

swell

  1. ↑ J. Michael Allsen:  Lantins, Hugo de. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 10 (Kemp - Lert). Bärenreiter / Metzler, Kassel et al. 2003, ISBN 3-7618-1120-9  ( online edition , subscription required for full access)
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 5: Köth - Mystical Chord. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18055-3 .
personal data
SURNAME Lantins, Hugo de
BRIEF DESCRIPTION Franco-Flemish composer and singer of the early Renaissance
DATE OF BIRTH before 1400
PLACE OF BIRTH Diocese of Liège
DATE OF DEATH after 1430