Noel Bauldeweyn

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Noel Bauldeweyn (* around 1480; † around 1530 in Antwerp ) was a Franco-Flemish composer and singer of the Renaissance .

Live and act

Most of Noel Bauldeweyn's life path has remained unknown so far. The year of his birth and death can only be estimated indirectly and approximately. After the name Bauldeweyn appeared more frequently in Antwerp around 1500, his place of birth was suspected there. The only secure evidence of his activity is a note in the capitular files of the Church of St. Rombaut in Mechelen , where it is said that a "Natalis Balduini" worked here as magister cantorum in the succession of Jean Richafort from 1509 to 1513 . That he held a position of such high standing in a church which was a musical center and which was also used by the Burgundian court orchestra indicates that he must have been at least 25 years old at the time. In 1513, Nicolas Champion took Bauldeweyn's place at St. Rombauts, but the circumstances of his departure and where he went are unknown.

The extraordinarily wide distribution of his compositions, ranging from Italy, Bohemia, the Netherlands to Spain, suggests that he may have been traveling, but it is not known during what period of his life he did so; the obvious development of his style from an early to a late musical language suggests that he was active as a composer for decades.

meaning

On the one hand, Bauldeweyn's style shows the contrapuntal style of the late 15th century, which was somewhat antiquated for the time, with occasional rough dissonances , as well as the imitation and canonical spelling of Josquin des Prez and his successors. In his overall oeuvre, the setting of the ordinance of the Mass has a prominent meaning, whereby there is an obvious relationship between his mass “Quam pulchra es” and the mass of the same name by Nicolas Gombert . A stylistic feature of this group of works is, among other things, the economical use of the six-part full sound. In the 16th century the five-part mass "En douleur en tristesse" was probably Bauldeweyn's most popular creation; The widespread melody template certainly contributed to this popularity. This work also largely contains the constructivist canon principle. The four-part mass “Da pacem Domine” was ascribed to Josquin des Prez for a long time and is therefore also included in the Josquin Complete Edition. Source and style-critical studies from 1972 and 1995 have shown Noel Bauldeweyn's authorship.

Works

  • measure up
    • Missa “A voce mutata” with four voices
    • Missa “Da pacem Domine” with four voices
    • Missa “En douleur en tristesse” with five voices
    • Missa “Inviolata integra et casta es” with five voices
    • Missa “Myn Kurbens bruyn oghen” to four voices
    • Missa “Quam pulchra es” with six voices
    • Missa “Sine nomine” with six voices

Furthermore, an intabulation with the title "Fantasia [...] de una missa de Baldoin" in the "Libro de música" by Enríquez de Valderrábano ( Valladolid 1547) indicates a previously unknown mass by Bauldeweyn.

  • Motets
    • “Ad dominum cum tribularer” to five (?) Votes; only treble get
    • “Exaltabo te Deus meus” with four votes; only secunda pars received
    • “Gaude Dei genitrix” to four voices
    • “Gloriosus Dei Apostolus Bartholomaeus” to four votes
    • “Quam pulchra es” to four voices
    • "Qui diligitis Dominum" to three voices (= Benedictus of the Missa "En douleur en tristesse")
    • "Salve regina" to six voices (treble quotes the treble of the chanson "Je n'ay dueil" by Johannes Ockeghem )
    • “Sancta Maria virgo virginum” with six votes
    • "Si vos manseritis" to two voices (= "Et ascendit" of the fair "En douleur en tristesse")
    • "Stabat virgo iuxta crucem" with six voices ( quartos missing)
    • “Sum tuus in vita” with five votes
    • “Tu Domine universorum” with six voices
  • Secular songs
    • “Oh God, who should I complain to” to five votes (= “En douleur en tristesse”); Intabulation in Hans Newsidler : "A new artificially arranged lute book", Nuremberg 1536
  • Doubtful works (Bauldeweyn's authorship unsecured)
    • “Oh help me layd”, secular song with four voices, attributed to Josquin or Pirson
    • “Ave caro Christi cara”, motet with four voices, attribution also to Josquin, sources speak for Bauldeweyn
    • “Benedicam Dominum”, motet with five voices, attribution also to Thomas Stoltzer , but presumably by Bauldeweyn

Literature (selection)

  • G. van Doorslaer: Noel Baudoin, maitre de chapelle-compositeur, 1480 (?) - 1529. In: De gulden passer / Le compas d'or No. 8, 1930, pages 167-180
  • Gustave Reese : Music in the Renaissance , WW Norton & Co. Verlag New York 1954, ISBN 0-393-09530-4
  • EH Sparks: The Music of Noel Bauldeweyn , New York 1972 (= American Musicological Society Studies and Documents No. 6)
  • G. Persoons: Kapelmeesters van de Onze-Lieve-Vrouwkerke te Antwerp. Overzicht from 16e. dead 19e. eeuw , Antwerp 1978
  • K. Fourney: Music, Ritual, and Patronage at the Church of Our Lady, Antwerp. In: Early Music History No. 7, 1987, pp. 1-57
  • B. Nelson: Pie memorie. In: The Musical Times No. 136, 1995, issue 1829, pages 338-345
  • Allan W. Atlas: Renaissance Music: Music in Western Europe, 1400-1600 , WW Norton & Co., New York 1998, ISBN 0-393-97169-4

Web links

swell

  1. The Music in Past and Present (MGG), Person Part Volume 2, Bärenreiter Verlag Kassel and Basel 1999, ISBN 3-7618-1112-8
  2. Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 1: A - Byzantine chant. Herder, Freiburg im Breisgau a. a. 1978, ISBN 3-451-18051-0 .