Jacobus Vide

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Jacobus Vide (* around 1395; † shortly before September 23, 1441 ) was a Franco-Flemish composer , singer , organist and Burgundian court official of the early Renaissance .

Live and act

Jacobus Vide was a cleric from the Tournai diocese . His name first appears in the archives of Notre-Dame Cathedral in Paris in 1405; he was probably a choirboy there, but the name given here is uncertain. What is certain is that on the basis of a decree by Antipope John XXIII. (Term of office 1410–1415) in a letter dated May 28, 1410 to the chapter of St. Donatian in Bruges was granted a benefice , into which he was then installed on October 27 of this year. This Pope has only been recognized by the Duke of Burgundy. The benefice mentioned, however, passed to the papal singer Robert Sandewyn on January 24, 1411. There is a likelihood that Jacobus Vide stayed in Italy in the following period, perhaps in the papal chapel of Alexander V or John XXIII, but this is not documented. In December 1423 he was first referred to as "valet de chambre" (chamberlain) at the court of Philip the Good (term of office 1419–1467) and in 1428 as secretary. Despite his talent as a composer, Vide was never a member of the Duke's court orchestra, but apparently, in addition to his administrative duties, his private musician. With his appointment as secretary he received a small organ worth 22 guilders, which was probably intended for the court orchestra; since 1426 he had been entrusted with teaching some choirboys. In this connection there is perhaps his tangible dispute with Pierre Poncin , the “magister puerorum” at Saint-Pierre in Lille , during which he wounded him and was then arrested by the Chapter. The Duke then asked the Chapter in writing to release Vide again and promised to do justice.

After 1433 Jacobus Vide is no longer mentioned in the Burgundian court accounts. However, between 1433 and 1437 there were several petitions addressed to the Pope in which he referred to himself as the ducal secretary and advisor and was also called that by the duke. On April 15, 1433, Vide was elected provost to St. Gertrudis in Nivelles ; but this election was apparently irregular because he had to pay a fine on April 30 for "fructibus male perceptis" after his appointment had been unsuccessfully challenged by Jehan Bont and Gilles d'Escornaix. Vide owned canons in many cities (St. Peter in Leuven , Anderlecht , Château de Namur, Thourotte and others) and chaplain fruition to St. Waudru in Mons and the Hebregge Hospital in Ghent ; In 1435 he was also a canon in Thérouanne . In the summer of 1434 Duke Philip the Good sent him to Florence as an envoy to Pope Eugene IV . Vide has referred to himself in all petitions since September 2, 1434 as "baccallarius in decretis".

In a request of September 24, 1441, the cleric Jehan Gilles from Liège and papal scriptor asked for the canonical to St. Gertrudis in Nivelles, which had become vacant after the death of Vide, "cubicularius" of the Pope.

meaning

Among the eight compositions by Jacobus Vide, seven rondeaux have survived, a genre that was particularly popular with the Burgundian dukes. The melodic invention shows a special quality here, and they also show a graceful motif and careful text declamation. Short musical phrases are linked by overlapping cadences ; the special charm of this courtly art arises from frequent dissonances, cross rhythms and a considerable variability. Some of the pieces have been revised several times, but it is unclear whether this was made by the composer. The rondeau “Las! j'ay perdu “(Oh! I lost my…) is in two voices, whereby the Oxford copyist also created a system of lines for the third part ( contratenor ) with the beginning of the text, without notes being entered. This has led to speculation that the improvisation skills of a skilled singer should be deliberately given space for the execution of the third voice. In the only existing tradition, the piece “Amans doubles” is recognizable as four-part, but the third and fourth parts (triplum and contratenor) neither match each other nor easily with the two upper parts.

Works

  • "Amans doubles", Rondeau for four votes (?)
  • “Espoir m'est venu conforter”, a rondeau with three voices
  • “Et c'est assés”, a rondeau for two voices
  • "Read! j'ay perdu mon espincel ", Rondeau for two voices (?)
  • “Puisque je n'ay plus de maystresse”, a rondeau with three votes
  • “Vit encore ce faux dangier”, a rondeau with three voices
  • "Il m'est si grief", Rondeau to three votes
  • “Qui son cuer met a dame”, chanson with three voices

Literature (selection)

  • J. Marix: Les Musiciens de la cour de Bourgogne au XVe siècle (1420−1467) , Paris 1937
  • The same: Histoire de la musique et des musiciens de la court de Bourgogne sous le règne de Philippe le Bon (1420−1467) , Strasbourg 1939
  • J. Toussaint: Les Relations diplomatiques de Philippe le Bon avec le Concile de Bâle (1431−1449) , Leuven 1942
  • Gustav Reese: Music in the Renaissance , Verlag WW Morton & Co, New York 1954, ISBN 0-393-09530-4
  • Craig Wright: Music at the Court of Burgundy, 1364-1419: a Documentary History , Henryville 1979
  • W. Arlt: The contribution of the chanson to a problematic history of composing: “Las! j'ay perdu… "and" Il m'est si grief "by Jacobus Vide , in: Festschrift for HH Eggebrecht, edited by W. Breig and others, Wiesbaden 1984, pages 57-75
  • Same: Italy as a productive experience of Franco-Flemish musicians in the 15th century , Basel 1993
  • David Fallows: A Catalog of Polyphonic Songs, 1415-1480 , Oxford 1999
  • B. Bouckaert: Enkele nieuwe inzichten over de stichting van een koralenschool in de collegiale kerk van Sint-Petrus te Rijsel door Philips de Goede (1425) , in: Musiqua antiqua no. 17, 2000, no. 2, pages 53-62

Web links

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  1. ^ The Music in Past and Present (MGG), Person Part Volume 16, Bärenreiter Verlag Kassel and Basel 2006, ISBN 3-7618-1136-5