Johannes Lupi

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Johannes Lupi (* around 1506 in Cambrai ; † December 20, 1539 there ) was a Franco-Flemish composer of the Renaissance .

Live and act

His hometown Cambrai was decisive for Johannes Lupi's youth; Here he was accepted as a choirboy at the Notre-Dame Cathedral around 1514 and thus experienced an education at one of the most important ecclesiastical music centers in Western Europe. After his voice broke in 1521, the Cambraier cathedral chapter sent him to a local preferred school ("Collège des bons enfants"). The following year, on August 28, 1522, he enrolled as a student at the philosophical faculty of the University of Leuven , where he studied one of the four paedagogia for four years . He then returned to Cambrai and was accepted on June 18, 1526 as parvus vicarius at the cathedral choir under its director Jean Rémy (called Descaudin ), who was perhaps also his teacher. A year later, Rémy retired and Lupi was promoted to Magister puerorum , one of the most important musical offices at the cathedral. Here he became magnus vicarius on April 8, 1530 and was ordained a subdiaconate on April 11 of that year. Later he received several admonitions from the cathedral chapter because of a lack of discipline among the choirboys and because of his difficulties in keeping within the financial framework. But he was so highly valued that he was able to stay in his office after the assurance of an improvement.

Johannes Lupi suffered from an illness from 1535, which was not mentioned in detail, and because of it could not perform his functions until 1537; he finally died of this disease at the end of 1539 at the age of only about 33. Although he was not ordained a priest , his wish to be buried in the cathedral was granted because of his services as an outstanding musician. In his honor, his predecessor Jean Rémy founded an annual funeral mass . The composer Josquin Baston , perhaps a student of Lupi, wrote the six-part funeral music “Eheu dolor” on his death.

Identity and meaning

The similarity of the composer's name to that of Lupus Hellinck caused confusion and assignment problems until several years ago; In the meantime, both the biographies and the attribution of the compositions can largely be distinguished. No compositions have survived by two other contemporary musicians named Johannes Lupi.

Since Lupi has only received two masses , music researchers suspect that he paid little attention to this genre. Stylistically, he comes very close to his contemporary Nicolas Gombert at the trade fairs . His composition of motets is much larger ; a large part of it appeared posthumously in the individual print “Chori Sacrae Virginis Mariae” by the publishing house Attaignant & Jullet from the year 1542. This genre is dominated by a richly varied, complex and thoroughly imitated , mostly five-part contrapuntal movement, in which the melodies predominantly flow melismatically and in which the care in setting the text and striving for thematic unity are particularly noticeable. In his style of motets, Lupi moves on the border between the Franco-Flemish and the French compositional style.

This also applies to his chansons , which range from early, more melancholy pieces to more lively later works, which then come closer to the homophonic Parisian chanson. In his five-part chansons in particular, counterpoint and imitation have great weight and are sometimes closely related to his motets; here Lupi proves to be a master of traditional polyphony . Johannes Lupi's chansons later served as models for masses and other compositions by Pierre de Rocourt, Orlando di Lasso , Jean de Hollande, Tilman Susato and Claude Gervaise .

Works

Complete edition: Johannis Lupi Opera omnia , edited by Bonnie J. Blackburn, without a location 1980–1989 (= Corpus mensurabilis musicae No. 84 / 1–3); Part 1: Musicae cantiones, Part 2: Motets, Part 3: Masses and chansons.

  • measure up
    • Missa "Mijn vriendinne" for four voices, musically related to the anonymous Missa "Amica mea" (1443)
    • Missa “Philomena praevia” with four voices, based on the four-part motet of the same name by Jean Richafort
  • Motets and other sacred works with guaranteed authorship
    • “Ad nutum Domini” with six votes
    • “Adoremus regem magnum Dominum” with five votes
    • "Alleluia. Ego dormivi ”to five votes
    • "Angelus Domini apparuit Zachariae" to five voices (in one source attributed to Jacquet de Berchem , in all other Lupi)
    • “Apparens Christ post passionem” with five votes
    • “Ave verbum incarnatum” with six voices
    • “Beata es Maria quae Dominum” with five voices
    • "Benedictus Dominus Deus Israel" to four voices (basis of the mass of the same name by Gheerkin de Hondt )
    • “Domine quis habitavit in tabernaculo” to four votes
    • “Expurgate vetus fermentum” with five votes
    • “Felix namque es sacra virgo Maria” to five voices
    • “Gaude proles speciosa” to five votes
    • “Gaude tu baptista Christi” to five votes
    • “Gregem tuum, o pastor eterne serva” to five voices
    • “Hodie Christ natus est” to five votes
    • “Isti sunt viri sancti” to five votes
    • “Nisi Dominus aedificaverit domum” with four votes
    • “Nos autem gloriari oportet” with five votes
    • “O florens rosa” to six voices
    • “Pontificum sublime decus” with five votes
    • "Quam pulchra es et quam decora" for four voices (basis of the masses of the same name by Jacobus Clemens non Papa and Dominique Phinot )
    • “Quem terra pontus” / “Ave maris stella” / “O quam glorifica” with six voices
    • “Salve celeberrima virgo” with eight votes
    • “Sancta Dei genitrix” with five votes
    • "Spes salutis pacis portus" with four voices (basis of the mass of the same name by Jacobus Clemens non Papa)
    • “Stella maris luminosa” with five votes
    • “Stirps Jesse virgam produxit” with five voices
    • "Surge propera amica mea" to four voices (basis of the mass of the same name by Lupus Hellinck)
    • “Te Deum laudamus” to four voices
    • “Tu Deus noster suavis” to five votes
    • “Veni electa mea” for four voices
    • “Vidi speciosanm sicut columbam” with five votes
    • “Virginibus sacris sit vox” with five voices
    • “Virgo clemens et benigna” with six votes
  • Chansons with guaranteed authorship
    • "A jamais croy recouvrer mon adresse" to four votes (on the motto of Robert de Croÿ, Bishop of Cambrai)
    • “Au joly boys sur la verdure” with five votes
    • “C'est und dure departie” to four votes
    • “Changer ne puis et aultre ne désire” with four voices
    • “Contraincte suis de reveler” with four votes
    • “Dueil double dueil, renfort de depaisir” with six voices
    • “En revenant de Noyon” with four votes
    • “Les fillettes de Tournai” with four voices
    • “Il me souffit de tous mes maulx” to four voices
    • “Il n'est trésor que de lyesse” to four voices
    • “Jamais ung cuer qui est d'amour embrasé” with four voices
    • “J'ay trop d'amours et peu de récompense” with four voices
    • “Jectés-moy sur l'herbette mon amy gratieulx” to four votes
    • “Joyeulx recueil et gracieulx adresse” with five votes
    • “Mon povre cueul plain de douleurs” to four voices
    • “O vin en vigne” for four voices
    • “Plus revenir ne puis vers toy, ma dame” to four voices
    • “Pour ung semblan que une dame m'a faict” to four votes
    • "Puisque j'ay perdu mes amours" with five voices (model for the chansons of the same name by Claude Gervaise and Tilman Susato and for the mass of the same name by Orlando di Lasso)
    • “Quant j'estoys jeune fillette” with four voices
    • “Reviens vers moy qui suis tant desolée” with four voices
    • “Se j'ay eu du mal ou du bien” to five votes
    • “Vostre gent corps, doulce fillette” with five votes
    • “Vous sçavez bien, ma dame souveraine” with four votes
    • “Vray Dieu qu'amoureux ont de peine” to four voices
  • Motets and sacred works with uncertain authorship
    • "Christ factus est" with five voices (partly attributed to Lupi, partly to Thomas Crécquillon )
    • "Dum fabricator mundi" with five voices (attributed to "Fr. Lupino" in treble and bass)
    • "Ergo ne conticuit vox illa" to five voices (only once ascribed to Lupi, perhaps by Lupus Hellinck for stylistic reasons)
    • "Pastores loquebantur ad invicem" with five voices (twice ascribed to Lupi, but perhaps not by him for stylistic reasons)
    • "Quam pulchra es et quam decora" to four voices (partly attributed to Lupi, partly to Jean Mouton , partly anonymous)
    • "Quem vidistis pastores" with four voices (only ascribed to Lupi in the index of a source)
    • "Quis est iste qui progreditur" to five voices (only once ascribed to Lupi, in all other sources Claudin de Sermisy )
  • Chansons with uncertain authorship
    • "Dueil double dueil" to four voices (once attributed to Lupi, in most sources N. des Celliers d'Hesdin, probably from the latter)
    • "Je suys desheritée" with four voices (partly attributed to Lupus, partly to P. Cadéac; based on Orlando di Lasso's chanson of the same name)
    • "Malgré moy suis en prison" with four voices (from an unknown source, attributed to Lupi in the 19th century)
    • "Ma pouvre bource a mal au cueur" for four voices (partly Lupi, partly attributed to Beaumont)
    • "Plus oultre j'ay voulu marcher" for four voices (based on the motto of Emperor Charles V, attributed to Lupi, but not related to his mass of the same name)
    • "Se je suis en tristesse" with six voices (ascribed to Lupi, but probably not by him for stylistic reasons)
  • Song of uncertain authorship
    • "Pluschen van Brusel hestoy gheset" for four voices (handed down without text, but possibly from Lupus Hellinck)

Literature (selection)

  • H. Albrecht: Lupus Hellinck and Johannes Lupi. In: Acta musicologica No. 6, 1934, pages 54-65
  • J. Delporte: Jean Leleu (dit Lupus ou Lupi: 1506-1539). In: Musique et liturgie No. 22, 1938/39, pages 61–66, 81–85 and 101–105
  • Bonnie J. Blackburn: The Lupus Problem , dissertation at the University of Chicago 1970
  • Craigh Wright / R. Ford: A French Polyphonic Hymnal of the 16th Century: Cambrai, Bibliothèque municipale, MS 17. In: Festschrift Ch. W. Fox, edited by JC Graue, Rochester 1979, pp. 145-163
  • P. Urquhart: Cross-Relations by Franco-Flemish Composers after Josquin. In: Tijdschrift van de Vereniging voor nederlandse muziekgeschiedenis No. 43, 1993, pages 3-41
  • LD Plant: A Study of Selected Renaissance Settings of the Medieval Latin Hymn Ave Maris Stella from L. Power to Cl. Monteverdi , dissertation at the University of Cincinnati 1997

Web links

swell

  1. ^ The Music in Past and Present (MGG), Person Part Volume 11, Bärenreiter and Metzler, Kassel and Basel 2004, ISBN 3-7618-1121-7
  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 .
  3. ^ The New Grove Dictionary of Music and Musicians , edited by Stanley Sadie, 2nd Edition, Volume 15, McMillan, London 2001, ISBN 0-333-60800-3
personal data
SURNAME Lupi, Johannes
ALTERNATIVE NAMES Leleu, Jehan; Leleu, Jennot
BRIEF DESCRIPTION Franco-Flemish composer of the Renaissance
DATE OF BIRTH around 1506
PLACE OF BIRTH Cambrai
DATE OF DEATH December 20, 1539
Place of death Cambrai