Philip van Wilder

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Philip van Wilder (* around 1500 in possibly Millam near Wormhout ; † February 24, 1554 in London ) was a Franco-Flemish composer and lutenist of the Renaissance who worked in England.

Live and act

Music historical research has not yet been able to gain any knowledge about Philip van Wilder's youth and training. The first documented information about him is the transfer of his residence to London in 1522, where he was listed as Phyllyp of Wylde, Frensshman , in the area of ​​the parish of St. Olav. There is also evidence that he had considerable income in money and in kind for a foreigner and musician . The royal number lists for the years 1525-1526 note him as Philipp Welder, mynstrell with the unusually high monthly salary of 50 shillings, although the date of employment at the royal court is not known due to a gap in the files. King Henry VIII also granted him a license to import dye plants from Toulouse and wine from Gascony . A list of court music members from 1529 lists him as a "lewter" with a monthly salary of 66 shillings and 8 pence, the highest payment for a court musician. In the same year he was named as a member of the Privy Chamber , a group of people tasked with accompanying and musically entertaining the king. The composer also accompanied the king on his various journeys inside and outside England. One of the most important was the meeting between King Henry and the French King Francis I at the end of October 1532 on the field between Calais and Boulogne , where the musicians of both courts entertained the royal entourage. On March 18, 1538, van Wilder received English citizenship, which allowed him to own land in England. He taught the king's children to play the lute: Princess Mary from 1537 to 1543 and Prince Edward in 1546. In 1540 he attained the rank of Gentleman of the Privy Chamber , a position of considerable influence.

In February 1537 he married a woman named Frances; on May 1, 1538 his eldest son Henry was born. Four other children, Edward, William, John, and Katherine, survived the composer. Henry later got the job of an instrumentalist in the court orchestra.

In the year of Henry VIII's death (1547), the composer officiated as Keeper of the Instruments and was thus head of instrumental music at the royal court (later called master of the King's music ). Even with the successor Edward VI. (Reign 1557–1553) van Wilder was highly regarded at the royal court and from 1551 had the task of recruiting boys' choirs for the royal chapel throughout England. After his death Philip was buried on the south side of the choir of his parish church St. Olav. This burial place was still there in 1733, but has since disappeared.

The musicians Matthew and Peter van Wilder also worked at the English royal court; they were probably related to Philip van Wilder. Mattew van Wilder may have been the father of Peter and Philip.

meaning

There are 55 compositions by Philip van Wilder in around 60 sources of English and continental origin; A clear influence of the composer can be seen from this source situation. He was the only composer of the early English Tudor period whose works appeared on the continent in the 16th century. The sources from continental Europe are predominantly anthologies that were printed between 1544 and 1598 in Antwerp , Augsburg , Paris and Leuven and mostly reproduce text and music in full, while the sources from England are generally textless instrumental arrangements for lute and keyboard instrument. Most of the traditional works by van Wilder are French chansons . One of his seven surviving motets exists as a copy from Padua , and two of his chansons were published in the Netherlands during his lifetime.

Van Wilder's musical style reflects the stylistic traditions of Franco-Flemish music as well as his adopted English home. In his traditional Latin motets there are those based on Josquin's example with the art of counterpoint and canonical voice guidance, while others are based on the style of pre-Reformation sacred music in England. Although the composer was an esteemed lute player, only one composition for lute has survived that is definitely from him, a Fantasia from the lute books by Matthew Holmes , and three other pieces that are likely to go back to him.

Works

Complete edition: Philip van Wilder. Collected Works, 2 volumes, edited by Jane A. Bernstein, New York 1991 (= Masters and Monuments of the Renaissance 4)

  • Sacred vocal works (alphabetical)
    • Motet "Aspice Domine quia facta est", 1st composition, for five voices (2nd part: "Plorans ploravit")
    • Anthem "Blessed art thou that fearest God" to five votes
    • Motet “Homo quidam fecit cenam magnam” with seven parts
    • Motet “Ite missa est” / “Deo gratias” with twelve voices
    • Motet “Pater noster, qui es in caelis” with four voices
    • Motet “Sancte Deus, sancte fortis” with four voices
    • Motet “Vidi civitatem sanctam” with six parts
  • Chansons (alphabetical)
    • “Amour me poingt, et si je me veulx plaindre” with four voices
    • “Amour, partez, je vous donne la chasse” with five votes
    • “Amour me va tout au rebors” with five voices
    • “Amy, souffrez que je vous ayme” to seven votes
    • “Arousez vo vi, vo vi, vo violette” to six voices
    • “Cest vester bruten” [“C'est votre beauté”?] To five votes
    • “De vous servir sur toutes je procure” with five voices
    • “Du bon du coeur, ma chiere dame” to six votes
    • “D'ung nouveau dart je suis frapé” with five votes
    • "Esperants" ["Esperant d'avoir quelque bien"?] To five votes
    • “Helas, madame, faites luy quelque bien” to five votes
    • “Je file quand Dieu me donne de quoy” with five votes
    • “Je me repens d'avoir aymé” with five voices
    • “Je ne fay rien que requerir” with five votes
    • “Las que feray” to five votes
    • "Lombany" ["L'homme banni de sa plaisance"?] To five votes
    • “Ma bouche rit et ma pensée pleure” with five voices
    • “Ma povre bourse” [“a mal au cueur”?] To four voices
    • "O dulks regard" ["O doux regard"?] To five votes
    • “Pour un plaisir qui si peu dure” to five voices
    • “Pour vous aymer j'ay mis toute me cure” with five voices
    • “Puisqu 'ainsi est que suis escondit” to four voices
    • “Si de beaucoup je suis aymée” with five votes
    • “Si vous voules” to five voices
    • “Un jeune moyne est sorti du couvent” with five votes
    • “Un jour un moine” to five voices
    • “Une nonnain refaite et en bon point” with five votes
    • “Vois commant” to five votes
  • Instrumental music
    • Fantasia con pause e senza pause for four voices for instrumental ensemble
    • Fantasia for lute solo
  • Works that have survived incompletely
    • Motet "Aspice Domine", 2nd composition, for six parts (2nd part: "Plorans ploravit")
    • Chanson “Du mal que je ay” with five (?) Or six voices
    • Chanson “En despit des envyeulx” with seven voices
    • Dutch chanson “Ik seg adiu” [“wi twee, wi moten divide”?] With seven voices
    • Two part books of an untitled composition, attributed to "m r phillips"
  • Doubtful and incorrectly attributed compositions to Philip van Wilder
    • “Ave Maria” with four voices, by Adrian Willaert , from his Musica quatuor vocum […] liber primus , Venice 1539, as the 2nd part of van Wilder's “Pater noster” with four voices
    • “Triste depart m 'avoit mis en douleur” with five voices, partly attributed to Nicolas Gombert , partly to van Wilder
    • “Madonna somm 'accorto” with five voices, anonymous, with collective letter to Philippe Verdelot , other attribution also to Giacomo Fogliano
    • “Qual 'iniqua mia sorte” with five voices, partly Jacquet de Berchem , partly attributed to van Wilder
    • "Philips Song" for lute solo, in the Braye Lute Book (Humphreys 2003)
    • "Dump" for lute solo, with a letter to "phili"
    • “Pavan” for lute solo, with a letter to “phillips”.

Literature (selection)

  • J. Noble: Le Répertoire instrumental anglais 1550–1585 , in: J. Jacquot, La Musique instrumentale de la Renaissance, Paris 1954, pp. 91–114
  • Jane A. Bernstein: Philip van Wilder and the Nederlandish Chanson in England , in: Musica disciplina No. 31, 1979, pages 55-75
  • David Humphreys: Philip van Wilder, A Study of His Work and Its Sources , in: Soundings No. 7 [recte 9], 1979/80, pages 13-36
  • Jane A. Bernstein: An Index of Polyphonic Chansons in English Manuscript Sources, c. 1530-1640 , in: RMA Research Chronicle No. 21, 1988, pp. 21-36
  • John M. Ward: Music for Elizabethan Lutes , 2 volumes, Oxford 1992
  • I. Bossuyt: The Art of Give and Take: Musical Relations between England and Flanders from the 15th to the 17th Centuries , in: The Low Countries 1993/94, pp. 39-50
  • A. Ashbee and D. Lasocki: A Biographical Dictionary of English Court Musicians, 1485-1714 , Aldershot 1998
  • M. Spring: The Lute in Britain: a History of the Instrument and Its Music , Oxford 2000
  • Philip van Wilder, Music for Lute and Chanson Transcriptions for One and Two Lutes and for Voice and Lute , edited by David Humphreys, S. McCoy and I. Harwood, Guilford 2003 (= Lute Society Music Editions)
  • Chr. Goodwin: Philip van Wilder's English Songs , in: Journal of the Lute Society No. 43, 2003, pp. 63-77
  • David Humphreys: Wilder and Byrd , in: Early Music Review No. 100, 2004, pages 26-28

Web links

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  1. ↑ David Humphreys:  van Wilder, Philip. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 17 (Vina - Zykan). Bärenreiter / Metzler, Kassel et al. 2007, ISBN 978-3-7618-1137-5 , Sp. 922-924 ( online edition , subscription required for full access)
  2. ↑ John M. Ward, Jane A. Bernstein:  Van Wilder, Philip. In: Grove Music Online (English; subscription required).
personal data
SURNAME Wilder, Philip van
ALTERNATIVE NAMES Weldre, Philip van; Wylder, Philip van; Vuildre, Philip de
BRIEF DESCRIPTION Franco-Flemish composer
DATE OF BIRTH around 1500
PLACE OF BIRTH uncertain: Millam at Wormhout
DATE OF DEATH February 24, 1554
Place of death London