Jheronimus Vinders

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Jheronimus Vinders (active from 1510 to 1550) was a Franco-Flemish composer and singer of the Renaissance .

Live and act

Almost nothing is known about the life of Jheronimus Vinders. Neither the year of birth nor the year of death could be determined by music historians, not even where he was born and where he died. What is certain is that from June 16, 1525 to January 1526, he was singing master ( zangmeester ) at the then Janskerk (today St. Bavo Cathedral ) in Ghent , for the guild Onze-Lieve-Vrouwe-op-de- rade (Marian Brotherhood). The city of Ghent was then an outstanding musical center, which produced many important composers and singers. The identity of Vinders also results from the compositions he left behind, which show him as a master of the successor generation to Josquin Desprez .

meaning

The music of Jheronimus Vinders shows both progressive and conservative traits. The progressive style elements include the ubiquitous imitation of voices and paired voice guidance, which so typically characterize the works of Nicolas Gombert and Jacobus Clemens non Papa , while the strict adherence to the older cantus firmus technique in some five-part motets is one of the relatively outdated compositional methods heard. Sometimes he also combines the older with the newer spelling in the same work, for example in the mass, which is based on the then very well-known melody “Fors seulement”. Here he applies the cantus firmus technique as well as the parody technique . His special respect for Josquin is expressed in two of his works, namely in the mass “Stabat mater”, a parody mass based on Josquin's motet of the same name, and in the seven-part lament “O mors inevitabilis”, a funeral chant for Josquin's death in 1521. The composer's three traditional secular chants, all in Dutch, suggest that this was his mother tongue in bilingual Ghent. If he wrote French chansons, they have not survived; instrumental pieces have also not become known.

Works

  • measure up
    • Missa “Fit porta Christi pervia” with five voices, based on a Gregorian cantus firmus
    • Missa “Fors seulement” with five voices, based on chansons by Antoine de Févin and Matthaeus Pipelare
    • Missa “Myns Rankens bruyn oogen” with five voices, based on a secular Dutch song by Benedictus Appenzeller
    • Missa “Stabat mater” with five voices, based on the motet of the same name by Josquin
    • Missa "La Plus Gorgiase du monde" with four voices (authorship doubtful, anonymous, also attributed to H. Winters)
  • Motets
    • “Domini est terra” to four votes
    • “Assumpta est Maria” to five votes
    • “O mors inevitabilis” to seven votes
    • “Dominus regit me” to four votes
    • “Laudate pueri Dominum” with five votes
    • Magnificat to four votes
    • "Salve regina" for four voices (2 compositions)
    • “Salve regina” to five voices
    • "In illo tempore accesserunt ad Jesum" to four voices (fragment, authorship doubtful, partly also attributed to Pierre Moulu and Jean Mouton )
  • Songs
    • “Myns rankens bruyn ooghen” to six votes
    • “Och rat van aventueren” to four votes
    • “O wrede fortune” to four votes

literature

  • C. van den Borren: Geschiedenis van de muziek in de Nederlanden . Volume 1. Antwerp 1948
  • Eric Jas: Nicolas Gombert's ›Missa Fors seulement‹: A Conflicting Attribution . In: Revue belge de musicologie , No. 46, 1992, pp. 163–177
  • Willem Elders: Symbolic Scores: Studies in the Music of the Renaissance . Leiden 1994
  • Eric Jas: A Rediscovered Mass of Jheronimus Vinders? In: A. Clement, Eric Jas (eds.): Festschrift Willem Elders. Amsterdam 1994, pp. 221-243
  • Allan W. Atlas: Renaissance Music: Music in Western Europe, 1400-1600 . WW Norton & Co., New York 1998, ISBN 0-393-97169-4
  • Robert Eitner:  Vinders, Jories . In: Allgemeine Deutsche Biographie (ADB). Volume 39, Duncker & Humblot, Leipzig 1895, p. 760.

Web links

Individual evidence

  1. The Music in Past and Present (MGG), Person Part Volume 17. Bärenreiter and Metzler, Kassel / Basel 2007, ISBN 978-3-7618-1137-5