Jacob de Senleches

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Jacob de Senleches (* in the 14th century; † in the 14th or 15th century) was a composer and harpist of the late Middle Ages.

Live and act

There is almost no direct evidence of the life of Jacob de Senleches. Its name could refer to the place Senleches (or Salesches) in the diocese of Cambrai . Senleches must have been in contact with the Aragonese heir to the throne Johann and the Aragonese court since at least 1378, because Johann asked about him and two other musicians who had moved to Bruges to attend the "minstrel's schools", a festival. There is a royal letter accompanying this trip dated March 17, 1378, issued to "J (aco) mi de sentluch". According to the manuscript Chantilly, f. 44v, identical to "Jacob de Senleches". It is also certain that Jacomi de Senleches worked at the royal court in Barcelona in 1378/79 and traveled from there to Flanders. He was known here under the name "Lo Begue" (the stutterer). Ursula Günther argues that "Jacomi lo Begue" is precisely the Senleches who were brought to the Castilian court from Aragon in 1379 on the recommendation of the Duke of Gerona: Senleches is mentioned in a document dated October 12, 1379 as "ministrer appellat Begue e son frare ". At the Castilian court, in the service of King John I of Castile, Senleches wrote his famous "Fuions de ci" (Let us flee from here) after the death of his young patroness, Queen Eleanor of Castile, who died on September 13, 1382. Senleches came 1383 back to Aragon, this time to Cardinal Pedro de Luna. He must have met Senleches in Castile. Pedro, the later antipope Benedict XIII. von Avignon (term of office 1394-1415), was in Castile for a long time in 1380/81 to campaign for the recognition of the antipope Clement VII . In 1383 Senleches is mentioned in Navarre as a recipient of a fee. In the Archivio General de Navarra there there is a note of August 21, 1383 by King Charles II (of the Evil One), patron also of Guillaume de Machaut: "Carlos II ordena ... 100 libras a Jaquemin de Sanleches, juglar de harpa, para regresar a donde seFinder el cardenal de Aragon, su maestro. " In 1391, 1392 and 1395 a "ministrer Sant Luch" is mentioned at the Aragonese court. What is certain is that Senleches was not in papal service in 1394 when the antipope Benedict XIII. resumed his office and re-founded his band, which Senleches had previously belonged to at times.

Another ballad, “En attendant, esperance confort”, is very similar in content to two other pieces from this period by Philipoctus de Caserta and Galiot . The latter composer, who cannot be traced outside of the Codex Chantilly (musée condé, Manuscript 1047), could also mean his possible employer Giangaleazzo Visconti . Senleches was associated with the Neapolitan campaign of Duke Ludwig von Anjou in the 1380s, after this act of war was supported by antipope Clement VII of Avignon and Bernabò of Milan . This gave rise to the assumption (Y. Plumley) that Senleches was based in Avignon during this time, while others (Reinhard Strohm) derived the assumption that these works were created in Milan. Jacob de Senleches' reference to Lombardy (northern Italy) is supported by his picture Virelais “La harpe de melodie”, which was copied in Pavia near Milan, in the territory of the music-loving Giangaleazzo Visconti. In addition, the continued dissemination of this work in northern Italy in the early 15th century is documented by many copies.

There is no information about the time and place of his death.

meaning

Only six songs by Jacob de Senleches have survived, but he is still considered the central figure of Ars subtilior in the late 14th century. The reason is its sophisticated rhythmic style, its innovations in notation (e.g. flags on the note stems to represent very short note values) and its artistic self-stylization. Four of his lyrics are in different ways about making music or about his own musical career. The majority of his pieces stand out because of their moderate to frequent use of syncopation , and in the double ballad "Je me merveil / Jay plusieurs foys" he complains about the amateur musicians of his time who were more into "forgery", ie more relocated to the imitation of role models would have to bring music in its own right.

Because of the time of his work and his outstanding position in the style of Ars subtilior, Jacob de Senleches, along with Johannes Ciconia , Thomas Fabri and others, is one of the forerunners and pioneers of Franco-Flemish music .

Works

  • Ballads, three-part
    • "En attendant, Esperance conforte"
    • "Fuions de ci"
    • "Je me merveil / Jay plusieurs foys" (double ballad)
  • Virelais, three-part
    • "En ce gracieux tamps"
    • "La harpe de melodie"
    • "Tel me voit"

literature

  • Johannes Wolf : History of the mensural notation from 1240-1460. Prepared according to the theoretical and practical sources. Leipzig 1904. Unchanged reprint: Olms, Hildesheim 1965 (includes the parts historical representation , musical script samples from the 13th to 15th centuries and transmissions ).
  • Higinio Anglés: Cantors and Ministrels in the service of the kings of Catalonia-Aragon. In: Wilhelm Merian (Ed.): Report on the musicological congress in Basel in 1924. Organized from 26 to 29 September 1924. Breitkopf & Härtel, Leipzig 1925.
  • Willi Apel: The Notation of Polyphonic Music 900–1600. The Medieval Academy of America, Cambridge, Mass. 1942, pages 422-425 and example 61 (En attendant Esperance conforte)
    German: The notation of polyphonic music. 900-1600. Leipzig 1962. New edition: Breitkopf & Härtel, Wiesbaden 2006, ISBN 3-7651-0180-X .
  • Ursula Günther : Datable ballads of the late 14th century I. In: Musica disciplina. Volume 15, 1961, ISSN  0077-2461 , pages 39-61.
  • Ursula Günther: On the biography of some composers of the Ars Subtilior . In: Archives for Musicology . No. 21, 1964, ISSN  0003-9292 , pages 172-199.
  • Nors S. Josephson: The concordances on “En nul estat” and “La harpe de melodie”. In: The music research . Volume 25, 1972, ISSN  0027-4801 , pages 292-300.
  • Willi Apel: La harpe de melodie. In: Willi Apel (Ed.): Scritti in onore di Luigi Ronga. Riccordi, Milan 1973, pp. 27-32.
  • María del Carmen Gómez Muntané: La música en la casa real catalana-aragonesa durante los años 1336-1432. 2 volumes. Bosch, Barcelona 1979, ISBN 84-7162-794-9 .
    Volume 1: Historia y Documentos.
    Volume 2: Música.
  • Ursula Günther: Jacob de Senleches. In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians . London 1980.
  • Andrew Tomasello: Music and Ritual at Papal Avignon 1309-1403. Dissertation. Yale University 1983. UMI, Ann Arbor, Mich. 1983, ISBN 0-8357-1493-4 .
  • Reinhard Strohm : La Harpe de Melodie, or the work of art as an act of appropriation. In: Hermann Danuser (Ed.): The musical work of art. History, aesthetics, theory; Festschrift Carl Dahlhaus on the occasion of his 60th birthday. Laaber, Laaber 1988, ISBN 3-89007-144-9 .
  • Reinhard Strohm: Filippotto Da Caserta , Ovvero I Francesi in Lombardia. In: Fabrizio Della Seta, Franco Piperno (eds.): In cantu et in sermone. For Nino Pirrotta on his 80th birthday. Olschki, Florenz 1989, ISBN 88-222-3641-6 , pages 65-74.
  • Wulf Arlt : Machaut , Senleches and the anonymous set of songs "Esperance qui en mon cuer s'embat". In: Hermann Danuser, Tobias Plebuch (Hrsg.): Music as text. Volume 1: Main presentations, symposia, colloquia. Bärenreiter, Kassel 1998, ISBN 3-7618-1401-1 , pages 300-310.
  • Susan Rankin: Observations on Senleches' "En attendant esperance". In: Hermann Danuser, Tobias Plebuch (Hrsg.): Music as text. Volume 1: Main presentations, symposia, colloquia. Bärenreiter, Kassel 1998, ISBN 3-7618-1401-1 , pages 314-318.
  • Jason Stoessel: Symbolic innovation: the notation of Jacob de Senleches. In: Acta musicologica . No. 71, 1999, ISSN  0001-6241 , pages 136-164.
  • Anne Stone: The Manuscript Modena, Biblioteca Estense , Alpha.M.5.24. Introductory Study and Facsimile Edition. LMI, Lucca 2003, ISBN 978-88-7096-331-1 .

Web links

swell

  1. ↑ Music in the past and present , Person Part Volume 9 (MGG). Bärenreiter Verlag, 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 .
personal data
SURNAME Jacob de Senleches
ALTERNATIVE NAMES Jacomi; Jacob Senleches; Jacomi Senleches; Jacopinus Selesses
BRIEF DESCRIPTION Composer and harpist of the late Middle Ages
DATE OF BIRTH before 1382
DATE OF DEATH after 1395