Ivo de Vento

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Ivo de Vento (* around 1544 in Antwerp ; † September 3, 1575 in Munich ) was a Franco-Flemish composer , organist and conductor of the late Renaissance .

Live and act

In the course of recruiting young singers from the Spanish Netherlands , perhaps by Orlando di Lasso , Ivo de Vento came to the ducal Bavarian court of Albrecht V in Munich in September 1556 or a little later . This results from payments made by the Bavarian court pay office to Ivo's father in Antwerp. Ivo first worked as a choirboy under the court conductor Ludwig Daser until September 1559 . After his voice broke , he was not dismissed because of his talent, but received a scholarship to study in Italy. So he stayed in Venice until 1563, where his teachers were probably Claudio Merulo , the organist at St. Mark's Basilica , and Annibale Padovano . Ivo de Vento returned to the Munich court as organist. The Italian influence on his music results, for example, from the six-part Battaglia , which appeared in a Venetian anthology from 1564. In Munich the court orchestra was now under the direction of Orlando di Lasso, and Vento received two Italian colleagues with equal rights as organist in the course of the expansion of the chapel. After his return he was accepted among the well-known composers at court, which is evident from his contributions to a choir book with six-part masses (1564/65); Works by him are also included in the collection of madrigals from 1569 and the follow-up volume from 1575.

In the summer of 1568, after his marriage to Renata von Lothringen , Crown Prince Wilhelm moved his residence to Landshut ; he set up a branch of the band there and made Vento music director. This position was taken over by Antonius Gosswin a year later ; the reasons for this are not known. Vento continued to function as organist, and the band boys, including Leonhard Lechner , remained under his direction. From the beginning of 1570 he worked again as an organist at the Munich court, months before the Landshut Chapel was dissolved. Even if it is not clear from the correspondence of Orlando di Lasso, Ivo de Vento could have studied with him, because his masses, which have survived in manuscript copies from the 1560s and 1570s, show this influence, and a certain number of motets his five-part Latinae cantiones (1570) are composed on texts that Lasso already set to music. Stylistically, however, he did not lean very much on Lasso. In the years after 1569 the composer showed unusual productivity; The Munich publisher Adam Berg published eleven musical collective prints, four of them with motets, six with German songs and one in four languages, the latter based on a comparable publication by Lasso. Ivo de Vento died in Munich, barely 31 years old, in September 1575; he left behind his wife and at least one son, Ferdinand de Venndo. He initially worked at the Munich court, from 1599 as a trumpeter with Archduke Ferdinand in Graz and finally in the service of Emperor Ferdinand II until his death in 1623 .

meaning

The main focus of Ivo de Vento's oeuvre lay on the motet (75 compositions) and the German song (109 compositions); there are also 4 masses, other sacred works and some other secular compositions by him. Vento's parody masses use motets and chansons by Orlando di Lasso as models or Lasso models. In the case of the motets, he does not adopt the type of text declamation , the rhetorical motifs and the metrical, compositional or tonal contrasts from Lasso, but instead he writes a sentence inspired by Gregorian chant that is based on linear counterpoint . Typical here are balanced movements in small steps and intervals with longer phrases and melismatic passages. Larger scales expand the vocal range of the individual voices, the movement is imitative , but of a loose density, dramatic constellations are avoided in favor of a flowing course and the classic four-part voice is preferred. Constructive techniques such as cantus firmus , canon , ostinato or sequence hardly occur. One third of the texts are from the Old Testament (almost only Psalms ), one third from the New Testament (preferably from the Gospels), or they are free practical poems from the Counter-Reformation ; the number of Mary motets is small.

In his song work, Ivo de Vento was clearly conservative in his text selection and preferred texts from the early 16th century, far more than the more recent Italian poetry of his time. He also proceeded more from the Pythagorean principle of pure music than from madrigal-like forms. In this way, his songs are less individually designed than Lasso's. In addition to the established five-part Lasso style, Vento also has four- and three-part songs, but also songs with six to eight voices. Here he also implemented modern tendencies of the three-part Villanella , two years before Jakob Regnart , as well as multi-choir songs in dialogue form based on the model of Christian Hollander . Numerous low-contrast songs show soft, melism-rich lines and an imitative network of sentences with many Phrygian and plagal cadences . All in all, Ivo de Vento has left a very diverse German-language song material for the most varied of occasions, for the most diverse line-ups and aesthetic directions. His songs had a significant influence on Leonhard Lechner and Hans Leo Hassler .

Works

Complete edition: Ivo de Vento. Complete works , 5 volumes, Wiesbaden 1998 and following; Volume 1 and 2: Motets, edited by August de Groote 1998; Volumes 3 and 4: German songs, edited by Nicole Schwindt 2002 and 2003; Volume 5: Four-language printing and other individual works, edited by August de Groote 2004.

  • measure up
    • Missa “Ad placitum” with four voices
    • Missa "Jesu nostra redemptio" with six voices, 1565
    • Missa “Je ne veulx riens” with four to five voices, around 1565–1570
    • Missa “Surrexit pastor bonus” with five voices, 1572, partly also attributed to Orlando di Lasso
  • Motets and other sacred works
    • "Latinae cantiones, quas vulgo motteta vocant, quatuor vocum, suavissima melodia, etiam instrumentis musicis attemperatae", 1569
    • "Latinae cantiones, quas vulgo motteta vocant, quinque vocum, suavissima melodia, etiam instrumentis musicis attemperatae", 1570, from it "Tribularer si nescirem" as a separate print 1580
    • "Liber motettorum quatuor vocum", 1571
    • "Mutetae aliquot sacrae quatuor vocum, quae cum vivae voci, tum omnis generis instrumentis musicis commodissime applicare possunt", 1574
    • "Quinque mutetae [...] quarum prior moteta novem [...] reliquot vero omnes quinque sunt vocum", 1575
    • “Grates nunc omnes” to five voices
    • "Letania" to four votes
    • Te Deum to four votes
  • Songs
    • “Newe Teutsche Liedlein with five voices which are very lovely to sing and to use on all sorts of instruments”, 1569, 1571, 1582
    • "Newe Teutsche Lieder with four, five and six voices wölche very lovely to sing and to use on all sorts of instruments", 1570
    • "Newe German songs with four voices sampt zwayen dialogues whose ayner with eighth the other with sibnen to sing very lovely and to use on all sorts of instruments", 1571, 1577
    • "Newe Teutsche Lieder Mit dreyen völche wölche to sing and to use on all sorts of instruments", 1572, 1577, 1583, 1591; Reprint of individual songs from this in Allerley Kurtzweilige Teutsche Liedlein, Nuremberg 1614
    • “Beautiful, unreadable new German songs with 4 voices that are not lovely to sing on their own, but can also be used on all sorts of instruments”, 1572
    • “Teutsche Lieder with five voices sampt a dialogue with eighth not to sing just lovely but also to use all kinds of instruments wisely”, 1573
    • "Quinque motetae [...] et quatuor Germanicae: quarum [...] posteriores duae Germanicae cantiones octo, reliquot vero omnes quinque sunt vocum", 1575
  • Madrigals, chansons and villanelles
    • 2 madrigals and 2 chansons in the anthology "Quinque motetae", 1575
    • Individual madrigals and villanelles in 8 manuscripts
  • Inauthentic work (misspelling)
    • "Rejoice in the woman of your youth" to five votes (not by Ivo de Vento)

Literature (selection)

  • Robert Eitner :  Vento, Ivo de . In: Allgemeine Deutsche Biographie (ADB). Volume 39, Duncker & Humblot, Leipzig 1895, p. 607.
  • Kurt Huber : Ivo de Vento (approx. 1540–1575) . Dissertation at the University of Munich, 1917
  • James Haar: "Pace non trovo": A Literary and Musical Parody . In: Musica disciplina , No. 20, 1966, pp. 95-149
  • Martin Rößler (editor): Ivo de Vento: Spiritual song sets , Neuhausen-Stuttgart 1973
  • P. Röckl: The musical life at the court of Wilhelm V at the Trausnitz Castle 1568–1579 . In: Negotiations of the Historical Association for Lower Bavaria , No. 99, 1973, pages 99–127
  • JM Ongaro: Venetian Printed Anthologies of Music in the 1560s and the Role of the Editor . In: H. Lenneberg (Ed.): The Dissemination of Music. Studies in the History of Music Publishing . Lausanne 1994, pp. 43-69
  • ML Göllner: Lasso's motets based on hymn texts and their parody masses by Ivo de Vento and Andrea Gabrieli . In: Congress Report Munich 1994, Munich 1996, pp. 87-100 (= Bavarian Academy of Sciences, Philosophical-Historical Class, Treatise New Series 111)
  • August de Groote: Ivo de Vento . In: Ignace Bossuyt (ed.): Orlandus Lassus and his time . Antwerp 1995, ISBN 90-6853-110-7 , pp. 295-314
  • Nicole Schwindt: »Philonellae« - The beginnings of the German Villanella between Tricinium and Napolitana . In: Michael Zywietz, V. Honemann, Chr. Bettels (ed.): Genres and forms of the European song from the 14th to the 16th century . Münster 2005, pp. 243–283 (= studies and texts on the Middle Ages and early modern times, No. 8)
  • Alexander Rausch: Vento (Fento, Defendo), family . In: Oesterreichisches Musiklexikon , online edition, Vienna 2002 and following, ISBN 3-7001-3077-5 ; Print edition: Volume 5, Verlag Österreichische Akademie der Wissenschaften, Vienna 2006, ISBN 3-7001-3067-8

Web links

Individual evidence

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 16. Bärenreiter and Metzler, Kassel / Basel 2006, ISBN 3-7618-1136-5
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 8: Štich - Zylis-Gara. Herder, Freiburg im Breisgau a. a. 1982, ISBN 3-451-18058-8 .
  3. ↑ In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians , Volume 26. 2nd Edition. McMillan Publishers, London 2001, ISBN 0-333-60800-3
personal data
SURNAME Vento, Ivo de
ALTERNATIVE NAMES Vento, Yvo de; Fento, Ivo de; Defendo, Ivo
BRIEF DESCRIPTION Franco-Flemish composer and bandmaster of the Renaissance
DATE OF BIRTH around 1544
PLACE OF BIRTH Antwerp
DATE OF DEATH September 3, 1575
Place of death Munich