Philippe Rogier

Philippe Rogier (* around 1560 in Arras ; † February 29, 1596 in Madrid ) was a Franco-Flemish composer , singer and conductor of the late Renaissance .

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It is believed that Philippe Rogier received his first musical training at the cathedral in his native city; There is no evidence of his parents' home or his early days. His place of birth is derived from the title of a later print at the fair . Gérard de Turnhout , Kapellmeister of the capilla flamenca of King Philip II of Spain since 1571 , had recruited chapel boys for his chapel in the then Spanish Netherlands , traveled to Madrid in 1572 with Philippe Rogier and other young sopranos and introduced them to the royal court there. Because such singer recruitment was usually aimed at the 10-year-old singers, the approximate year of birth of Rogier results. In Madrid he was able to complete his musical training as a young singer. As a young adult, he was ordained priest before 1586 , after being listed among the chaplains in the chapel's membership lists from 1586 ; in the dedication of the motet print from 1595, the "S." for sacerdos after his name also attests to this status. During George de La Hèle's activity as Kapellmeister, he achieved the position of Vice Kapellmeister in 1584 and, after Hèle's death in 1586, that of Kapellmeister of the Spanish court orchestra.

On the occasion of the wedding of Charles Emanuel I of Savoy to Catherine , the daughter of King Philip II, in Saragossa in 1585 , Philippe Rogier composed the six-part mass Ave martyr gloriosa based on the motet of the same name by Jacobus Clemens non Papa and the eight-part motet In illo tempore accesserunt ad Jesum ; it was performed at the wedding reception. Both compositions have not survived. In 1590 the composer made a trip to Flanders to recruit new singers for his band. He had also commissioned one of his students, Géry de Ghersem (1574 / 1575-1630), in his will to publish five of his masses in print after the king had given financial assistance. This representative choir book was only published after the death of the Spanish king (September 1598) and was his successor Philip III. dedicated. Rogier enjoyed the special favor of his employer and received several benefices in his home country; in addition, in 1593 he received an annual pension of 300 ducats . He also trained several students at the court orchestra, in addition to Ghersem, for example, Matheo Romero , who later became his successor. At the end of February 1596, Rogier died in Madrid at the age of about 35.

meaning

Philippe Rogier's high reputation remained alive well into the 17th century. The Spanish poet Lope de Vega praised him in his 1630 poem Laurel de Apolo , and in 1669 Toledo Cathedral purchased six books of his compositions. Nevertheless, only about a fifth of Rogier's works have survived. In the catalog of the Portuguese court library in Lisbon at the time of King John IV , 243 works are listed, including 8 masses, 66 motets, 65 chansons and 71 villancicos . This library was destroyed in the 1755 earthquake; other works may have perished in the fire of the Madrid court chapel in 1734. Thus, the composer's rank can only be assessed on the basis of the narrow remaining part of his compositions, these are 7 masses, 18 motets, 4 canzons , 4 psalms and 2 instrumental pieces.

The Rogiers masses move between the traditional, linear Franco-Flemish style of Nicolas Gombert and the newer direction of polychoral with figured bass . His traditional parody masses , however, implement the respective template relatively freely and imaginatively. In the eight- and twelve-part works a monumental multi-choir comes into play; the twelve-part masses and motets probably correspond with the three organs in the Escorial , which were completed around 1590. These pieces are among the earliest examples of Spanish polyphony. The traditional linearly composed motets are based on the tradition of Gombert. In contrast, the instrumental movements, which were only discovered around 1995, appear extremely modern in their tonal colors and lively rhythm.

Works

Complete edition: Philippe Rogier, Opera omnia , edited by Lavern J. Wagner, Rome [1974] (= Corpus Mensurabilis Musicae 61)

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  • Missa "Philippus Secundus Rex Hispaniae" with four voices
  • Missa “Inclita stirps Jesse” with four voices, based on the motet of the same name by Jacobus Clemens non Papa
  • Missa “Dirige gressus meos” with five voices, based on a model by Thomas Crécquillon
  • Missa “Ego sum qui sum” with five voices based on a model by Nicholas Gombert
  • Missa “Inclina Domine aurem tuam” with six voices, based on a model by Cristóbal de Morales in the collection Missae sex Philippi Rogerii atrebatensis […] , Madrid 1598
  • Missa "Domine Dominus noster" in 2 versions: eight voices for 2 choirs and 2 organs, and twelve voices for 3 choirs and 3 organs
  • Missa “Domine in virtute tua” with eight voices based on a model by Giovanni Pierluigi da Palestrina
• Motets
  • “Caligaverunt” to six voices
  • “Cantantibus organis” with six voices
  • “Cantate Domino” for six voices
  • “Clamavi ad te” to four voices
  • “Da pacem” to five votes
  • “Dominus regit me” to four votes
  • “Inclina cor meum” to four voices
  • “Laboravi” with six votes
  • “Paries quidam filium” with five voices
  • "Peccavi" to six votes
  • “Regina celi” with eight votes
  • “Sancta Maria” to six ex five voices
  • “Sit gloria Domini” with six voices
  • “Vias tuas Domine” for six voices, in the collection Sacrarum modulationum quas vulgo motecta appellant, liber primus , Naples 1595
  • “Cantate Domino canticum novum” with five voices
  • “Da pacem Domine” to six out of five votes
  • “Descendit angelus Domini” with five votes
  • “Heu mihi Domine” with five votes
  • “Justus es Domine” with five votes
  • “Verba mea auribus percipe” with five voices
  • “Laudate Dominum in sanctis eius” with eight voices in two choirs
  • “Verbum caro factum est” with twelve voices in 3 choirs and basso continuo
  • “Videntes stellam” with twelve voices in 3 choirs
  • “Dixit Dominus” with five votes
  • “Salva nos Domine” to four voices
• Other sacred works
  • "Cinco lecciones" (Responsory of the Office of the Dead)
  • “Credo quod redemptor meus vivit” with five votes
  • “Domine si fuisses hic” to five votes
  • “Erat Jesus ejiciens” to five votes
  • “Modicum et non videbitis me” with five votes
  • “Tedet animam meam” with five voices
  • 5 psalm verses with five voices each
• Chansons
  • “Amour et la beauté” with five votes
  • "Leal amour" to five votes
  • “Tout le plaisir” to six votes
  • “Veu que de vostr 'amour” with six voices
• Instrumental music
  • Five movements of five voices, attributed to Rogier
  • 14 more movements of five voices and 15 more movements of six, probably by Rogier, partly by his students

Literature (selection)

• P. Becquart: Quatre documents espagnols inédits relatifs à Philippe Rogier. In: Revue belge de musicologie, No. 14, 1960, pp. 126–129.
• Lavern J. Wagner: The Life and Times of Flemish Boy Chorists in 16th Century Spain. In: Caecilia, No. 91, 1964, pages 35-47
• P. Becquart: Musiciens néerlandais à la Cour de Madrid: Philippe Rogier et son école. Brussels 1967 (= Académie de Belgique, Classe des Beaux-arts, Mémoires XIII / 4.)
• Lavern J. Wagner: Music of Composers from the Low Countries at the Spanish Court of Philipp II. In: P. Becquart, H. Vanhulst (Ed.): Musique des Pays-Bas ançiens - musique espagnole ancienne. Leuwen 1988, pages 193-214
• D. Kirk: Instrumental Music in Lerma, c. 1608. In: Early Music, No. 23, 1995, pp. 393-408.
• D. Kirk: Rediscovered Works of Philippe Rogier in Spanish and Mexican Instrumental Manuscripts. In: D. Crawford (Ed.): Commemorative Robert J. Snow. Hillsdale / New York 2002, pp. 47-74.

Web links

• Works by and about Philippe Rogier in the catalog of the German National Library
• Sheet music and audio files by Philippe Rogier in the International Music Score Library Project
• Sheet music in the public domain by Philippe Rogier in the Choral Public Domain Library - ChoralWiki (English)

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1. ↑ Ludwig Finscher:  Rogier, Philippe. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 14 (Riccati - Schönstein). Bärenreiter / Metzler, Kassel et al. 2005, ISBN 3-7618-1134-9  ( online edition , subscription required for full access)
2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 7: Randhartinger - Stewart. Herder, Freiburg im Breisgau a. a. 1982, ISBN 3-451-18057-X .