Lupus Hellinck

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Lupus Hellinck (* 1493 or 1494 in Axel (uncertain); † before January 14, 1541 in Bruges ) was a Franco-Flemish composer and singer of the Renaissance .

Live and act

Lupus Hellinck was accepted on May 24th 1506 as a choirboy at St. Donatian's Church in Bruges; at that time he was referred to as the son of Johannes Hellynck from the diocese of Utrecht . After his voice broke in 1511, he was released from choral work to attend school, but returned two years later, on November 16, 1513, as a church servant to St. Donatian. In December 1515 he left Bruges to study for the priesthood . The next information comes from Rome , where a Lupus Hellinch as a permanent member of the papal household submitted a petition on April 1, 1518 and applied for priestly ordination. On April 12th he received permission from the Curia to leave Rome to settle matters that were unspecified.

Hellinck returned to Bruges in autumn 1519 and was admitted to the choir of St. Donatian in his capacity as a priest on October 19. In 1521 he received the post of succentor at the Church of Our Lady in Bruges. He got the same position on June 17, 1523 at the main church of St. Donatian, which was connected with the tasks of choir management and teaching the choirboys. The following 17 years passed without any special events. On January 14, 1541, the composer's death was recorded in the documents of the cathedral chapter after his closest relatives submitted his will and arranged the details of his burial. A son Wulfkin is mentioned in his will.

meaning

After the composer usually only signed his works with “Lupus”, his distinction from the composer Johannes Lupi was a problem for a long time; this has largely been clarified through the work of the music historian Bonnie J. Blackburn (1970 and 1973). The distinction to the Lupo francese active in northern Italy is still open ; it is still considered possible that it is the same composer as Lupus Hellinck.

Among Hellinck's works, the mass compositions are the most important in terms of music history; they are exclusively parody masses based on originals mostly from French composers, whereby his parody technique differs from that of his contemporaries in some essential points. Like the masses, his motets are composed in a fully imitated movement. Despite the great contrapuntal density, the texts are clearly implemented in terms of motifs and the musical phrases are clearly structured. Many of the motets are settings of psalms . The stylistic closeness to his somewhat older contemporary Jean Richafort is unmistakable . Among Hellinck's six or so chansons , the piece “Je suis desheritée” has become one of the best-known and most popular chansons of the mid-16th century; Gombert , Orlando di Lasso and Palestrina used them as the basis for a mass composition. Hellinck's eleven German sacred songs were certainly commissioned by the Protestant Wittenberg publisher Georg Rhau , who had also commissioned Stephan Mahu , Arnold von Bruck and Ludwig Senfl with similar compositions .

Works

  • Masses with secured authorship
    • Missa “Christ resurgens” with four voices, based on the motet of the same name by Jean Richafort
    • Missa “Ego sum qui sum” with five voices, based on the motet of the same name by Jean Richafort
    • Missa “Iam non dicam” with four voices, based on the motet of the same name by Jean Richafort
    • Missa “In te domine speravi” with four voices, based on its own motet of the same name
    • Missa “Intemerata virgo” with four voices, based on the motet “Vultum tuum” by Josquin Desprez
    • Missa “Mater patris” with four voices, based on the motet of the same name by Antoine Brumel
    • Missa “Panis quem ego dabo” with four voices, based on its own motet of the same name
    • Missa “Peccata mea” with four voices, based on the motet of the same name by Jean Richafort
    • Missa “Surge propera” with four voices, based on the motet of the same name by Johannes Lupi
    • Missa “Surrexit pastor bonus” with five voices, based on the motet of the same name by Andreas de Silva
    • Missa “Veni sponsa Christi” with five voices, based on the motet of the same name by Jean Richafort
    • Missa “Virgo mater salvatoris” with four voices, based on an anonymous motet of the same name
  • Measuring uncertain authorship
    • Missa “Confitemini domino” with four voices, based on the motet of the same name by Jean Mouton , anonymously, attributed to Hellinck for stylistic reasons
    • Missa “Quem dicunt homines” with four voices, based on the motet of the same name by Jean Richafort, partly “Lupus”, partly ascribed to “Pierkin de Raedt”
    • Missa "Cum iocunditate", number of votes unknown, lost, attributed to "Lupus" or Johannes Lupi
    • Missa "Regina Coeli", number of votes unknown, lost, attributed to "Lupus" or Johannes Lupi
    • “Domine fili unigenite” with three voices in the first madrigal book by Jacobus Arcadelt, anonymous
  • Motets of sure authorship
    • “Beati omnes qui timent” to four voices
    • “Cursu festa dies” to five votes
    • “Ego sum panis vitae” to four voices
    • “Hodiernae lux diei” to four voices
    • “In te domine spreavi” to five votes
    • “John Iesu Christo” to four votes
    • “Laetetur omne saeculum” with four voices
    • “Mane surgens Iacob” to four votes
    • “Ne proiicias me” to five votes
    • “O veneranda martyrum” to five votes
    • “Panis quem ego dabo” to four voices
    • “Pater noster” to five votes
    • “Primo die Sabbatorum” to four votes
    • “Qui confidunt in domino” to five voices
    • “Usquequo domine oblivisceris” to four votes
  • Motets of uncertain attribution
    • “Jerusalem luge” to five votes, partly “Lupus”, partly “Caen”, partly attributed to Richafort, partly anonymous, probably by Jean Richafort
    • “In convertendo dominus” with four voices, partly ascribed to “Lupus”, possibly by Hellinck
    • "Jeronimus Vinders", anonymous, presumably from Hellinck
    • "Laudate pueri dominum" with five votes, attributed to "Lupus"
    • “Pontificum sublime decus” to five voices, partly “Lupus Hellinc”, partly “Jo. Lupi ”, probably by Johannes Lupi
    • "Rex autem David" to four voices, partly "Lupus", partly "Lafage", partly attributed to "Gascongne", partly anonymous, probably by Jean de La Fage
  • French chansons of sure authorship, all with four voices
    • "Honor sans plus"
    • "Nouvel amour le mien cueur"
    • "O attropoz viens bien tost"
    • "Quand l'amitié"
  • French chansons of uncertain attribution, four parts
    • “Je suis desheritée”, partly “Lupus”, partly “Cadéac” ascribed
    • "Vostre beaulté plaisante e lye", partly attributed to Gombert
  • Flemish songs for four voices
    • "Aenhoert al myn geclach"
    • "Compt all wt by twe by drye"
    • "Ianne moye al claer"
    • "Nieuwe almanack ende pronosticatie"
  • German sacred songs for four voices
    • "Oh our father who you are"
    • "Babylon by water rivers"
    • "I cry out to you in dire need"
    • "Capitan Lord God"
    • "Christ lay in the bonds of death"
    • "Adam's fall is completely corrupted"
    • "A Mighty Fortress Is Our God"
    • "We will happily sing Hallelujah"
    • "Man, you want to live happily"
    • "With Fried und Freud I go far there"
    • "Good for those who stand in fear of God"

Literature (selection)

  • Joseph Schmidt-Görg: Four masses from the XVI. Century on the motet "Panis quem ego dabo" by Lupus Hellinck. In: Kirchenmusikalisches Jahrbuch No. 25, 1930, pp. 76–93
  • H. Albrecht: Lupus Hellinck and Johannes Lupi. In: Acta musicologica No. 6, 1934, pages 54-65
  • RB Lenaerts: Les Messes de Lupus Hellinck du manuscrit 766 de Montserrat. In: Miscelánea en homenaje a Monseñor Higino Anglés, Volume 1, Barcelona 1958, pages 465-474
  • M. Antonowycz: The parody process in the Missa Mater Patris by Lupus Hellinc. In: Renaissance-Muziek 1400–1600, Festschrift RB Lenaerts, edited by J. Robijns, Löwen 1969, pages 33–38
  • Bonnie J. Blackburn: The Lupus Problem , dissertation at the University of Chicago 1970
  • J. Graziano: Lupus Hellinck: a Survey of Fourteen Masses. In: Musical Quarterly No. 56, 1970, pages 247-269
  • Bonnie J. Blackburn: Johannes Lupi and Lupus Hellinck: a Double Portrait. In: Musical Quarterly No. 59, 1973, pages 547-583
  • P. Macey: Italian Connections for Lupus Hellinck and Claude Le Jeune. In: Yearbook of the Alamire Foundation No. 3, 1999, pp. 151-163

Web links

Individual evidence

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 8, Bärenreiter and Metzler, Kassel and Basel 2002, ISBN 3-7618-1118-7
  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 .
  3. ^ The New Grove Dictionary of Music and Musicians , edited by Stanley Sadie, 2nd Edition, Volume 11, McMillan, London 2001, ISBN 0-333-60800-3
personal data
SURNAME Hellinck, lupus
ALTERNATIVE NAMES Hellynck, Lupus; Hellinc, Wulfaert; Hellync, lupus
BRIEF DESCRIPTION Franco-Flemish composer and singer of the Renaissance
DATE OF BIRTH 1493 or 1494
PLACE OF BIRTH unsure: Axel
DATE OF DEATH January 14, 1541
Place of death Bruges