Matthaeus Pipelare

from Wikipedia, the free encyclopedia

Matthaeus Pipelare (* around 1450, † around 1515) was a Franco-Flemish composer and choir master of the Renaissance .

Live and act

Since the name "Matthaeus" was very likely the composer's baptismal name, his identity to musicians of his time with similar family names is secured. On the whole, reliable information about his résumé is very sparse. Music historians suggest that it could have come from Leuven , but there is no evidence yet. The account books of his later employment show that, coming from Antwerp , he started his service in the Illustre Lieve Vrouwe Broederschap (Marienbruderschaft) in 's-Hertogenbosch on March 14, 1498 and worked in this position until April 30, 1500 . All further statements about his life are at best plausible assumptions, but without real evidence.

For example, Pipelare's mass “Floruit egregius infans Livinius in actis” suggests, according to the music researcher Mary Jennifer Bloxam (1991), that he was in service in the city of Ghent before joining the Marian Brotherhood, perhaps in the 1460s or 1470s , because there St. Livinius was one of the main saints of the local liturgy and the chorales used in Pipelares mass were also in use there. However, Livinius was also venerated in other cities in what was then the Netherlands, where the same chorals were sung, e.g. B. in Zierikzee . After all, like Jacob Obrecht from Ghent, Pipelare composed masses that use several cantus firmi at the same time. Further assumptions are derived from the style and tradition of the “Fors seulement” mass, namely a relation of this composition to the impending election of Emperor Charles V in 1519 and a relation of the composer to the Habsburg court in the Netherlands at that time. However, there is no evidence of such a connection.

From the writing workshop of Petrus Alamire come three manuscripts in which the name of Matthaeus Pipelare is provided with a cross; in what is presumably the oldest of these three, the words “pie memorie” precede the cross. Since this manuscript is dated between 1512 and 1516, the composer must have died after 1510, but before 1516.

meaning

Certain compositional features in Pipelare's masses correspond to the epoch after Antoine Busnoys (Jacob Obrecht, Josquin , Pierre de la Rue and others) with conservative, non-Italian style features. He makes only sparing use of imitations ; if there is an opening motif, it is usually limited to this, especially if sections are only in two parts, as in the frequent duets . Short contrapuntal episodes , clearly delimited by cadence and clearly contoured by key, are typical for him, as are sequences and ostinati . A clear exception is the Missa da feria , where a noticeable striving for tightening leads to an extensive chordal declamation and the composer deviates from the techniques described above. In his motets (without Magnificat ) and in one of the Credo settings, the stylistic features described appear less consistently (fewer sequences and ostinati etc.). The predominantly occurring cantus firmus principle rarely permeates an entire composition; also parodies are rarely applied. The chansons by Matthaeus Pipelare correspond to the homophonic style of secular music, as it was common between 1490 and 1510; Only the French chanson “Ballade Vray dieu d'amours ” , for example, has a fixed form .

Most of Pipelare's works were not widely used; a notable exception to this were the mass “L'homme armé” as well as mass and chanson (2nd version) on “Fors seulement”, of which up to 13 have been passed down and were performed until the 1530s. Pipelare was mentioned by the author Claudius Sebastiani (* 1540) in his "Bellum musicale" ( Strasbourg 1563) and above all by the music theorist Andreas Ornitoparchus (around 1490 - around 1517) in his work Musicae activae micrologus ( Leipzig 1517), in the he calls him one of the seven extraordinarily capable composers whose works “flowed from the spring of the arts”.

Works

Complete edition of the works: Matthaeus Pipelare, Opera omnia , three volumes, edited by R. Cross, without location information 1966–1967 (= Corpus mensurabilis musicae No. 34, volume 1: motets and secular works, volumes 2 and 3: masses)

  • Measure and trade fair set
    • Missa de feria for four voices
    • Missa “Dicit Dominus: Nihil tuleritis in via” for four voices, Cantus firmus: tenor of a probably polyphonic composition
    • Missa “Floruit egregius infans Livinius in actis” with four voices, cantus firmus and texts from the Office of St. Livinius
    • Missa "Fors seulement" with five voices, cantus firmus from Pipelare's chanson of the same name (2nd version)
    • Missa "Johannes Christi care" / "Ecce puer meus", Cantus firmus: sequence and antiphon for St. John the Evangelist
    • Missa “ L'homme armé ” with four voices
    • Missa "Mi mi" to four voices
    • Missa "Omnium carminum" for four voices (fragment, only Altus and Bassus preserved)
    • Missa sine nomine (I) with four voices
    • Missa sine nomine (II) with four voices
    • Credo de Sancto Johanne Evangelista to five voices, Cantus firmus: Antiphon for St. John the Evangelist
  • Motets
    • "Ave castissima" for four voices (text: only text principle)
    • "Ave Maria [...] virgo serena" with five voices ( contratenor II lost, but reconstructed)
    • "Exortum est in tenebris" to four voices (= "Fors seulement" II)
    • "Hic est vere martyr" with four voices (only preserved as tablature )
    • "Laudate, pueri, Dominum" with four voices (= "Osanna" of the Missa sine nomine I)
    • Magnificat tertii toni to four voices (only even-numbered verses set to music)
    • "Memorare mater Christi" with seven voices (Cantus firmus: tenor from "Nunca fué pena major" by Johannes Urreda )
    • "Salve regina" to five voices (only even-numbered verses set to music)
    • "Sensus carnis mors es" to three voices (= Agnus Dei II of the Missa "Mi mi")
    • “Virga tua et baculus tuus” for two voices (probably a fragment of a missing Missa).
  • Flemish songs and French chansons
    • "Een vrolic wesen" to four voices (soprano = soprano of the chanson of the same name by Jacques Barbireau )
    • "Fors seulement" (I) for four voices (alto = tenor of the chanson of the same name by Johannes Ockeghem )
    • “Fors seulement” (II) to four votes
    • "Ic weedt een molenarinne" for four voices (paraphrase of a folk song)
    • “Mijnsießskins bruyn ooghen” to three votes
    • "Morkin ic hebbe" to four voices (Text: only text principle)
    • “Vray dieu d'amours confortez l'amoureux”, ballad for four voices (text: only text incipit; preserved in 2 versions).
  • Unidentified, lost, dubious and spurious works
    • Magnificat (tertii toni?) And a mass for three voices, mentioned in the inventory of the library of R. Fugger the Younger
    • Missa “super Pipilare” with eight votes, anonymous, former Wroclaw City Library; apart from the title, the mass cannot be attributed to Pipelare for stylistic and chronological reasons (manuscript: 1597)
    • “Vray dieu quel paine”, partly attributed to Pipelare, partly attributed to Loyset Compère (“Gaspart”), probably not by Pipelare

Literature (selection)

  • R. Cross: M. Pipelare: a Historical and Stylistic Study of His Works , PhD thesis at New York University 1961
  • The same: The Life and Works of M. Pipelare. In: Musica disciplina No. 17, 1963, pages 97-114
  • The same: The Chansons of M. Pipelare. In: Musical Quarterly No. 55, 1969, pages 500-520
  • LF Bernstein: Notes on the Origin of the Parisian Chanson. In: The Journal of Musicology No. 1, 1982, pp. 275-326
  • Mary Jennifer Bloxam: In Praise of the Spurious Saints: the Missae Floruit egregiis by Pipelare and La Rue. In: Journal of the American Musicological Society No. 44, 1991, pages 163-220 (on this Rob C. Wegman, in: Journal of the American Musicological Society No. 45, 1992, pages 161-164; MJ Bloxam, in: same , Page 166 and following)
  • The Treasury of Petrus Alamire. Music and Art at Flemish Court Manuscript , edited by H. Kellman, Gent / Amsterdam 1999
  • V. Borghetti: Da Ockeghem a Pipelare: i percorsi del rondeau “Fors seulement” , dissertation at the University of Pavia 2001
  • The same: Il manuscritto, la messa, il giovane imperatore. The messa "Fors seulement" by M. Pipelare e la politica imperiale della Casa d'Austria. In: Imago musicae No. 20, 2003, pages 65-107
  • The same: Petrus Alamire and the Missa "Fors seulement" by M. Pipelare. In: The Burgundian-Habsburg Court Complex of Music Manuscripts (1503–1535) and the Workshop of P. Alamire, Congress Report 25.– 28. November 1999, Löwen / Neerpelt 2003, pages 309–324 (= Yearbook of the Alamire Foundation No. 5)

Web links

Sources and individual references

  1. ↑ Vincenzo Borghetti:  Pipelare, Matthaeus. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 13 (Paladilhe - Ribera). Bärenreiter / Metzler, Kassel et al. 2005, ISBN 3-7618-1133-0  ( online edition , subscription required for full access)
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 6: Nabakov - Rampal. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18056-1 .
  3. ↑ Thierry Levaux: Le Dictionnaire des Compositeurs de Belgique du Moyen Age à nos jours , page 499, Editions: "Art in Belgium" in 2006, ISBN 2-930338-37-7
  4. ↑ Andreas Ornithoparchus: Musicae activae Micrologus on IMSLP
personal data
SURNAME Pipelare, Matthew
BRIEF DESCRIPTION Franco-Flemish composer of the Renaissance
DATE OF BIRTH around 1450
DATE OF DEATH around 1515