DE MANCHICOURT, Pierre (c.1510-1564) - Missa Non conturbetur cor vestrum

Obra de Lucas Cranach 'el jove' (1515-1586), pintor alemany (1)

- Recordatori de Pierre de Manchicourt -

En el dia de la commemoració del seu 451è aniversari de decés

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Parlem de Pintura...

Lucas Cranach 'el jove' (Wittenberg, 4 d'octubre de 1515 - Weimar, 25 de gener de 1586) va ser un polític i un pintor alemany. Fill menor del famós pintor Lucas Cranach 'el vell', es va formar amb el seu pare juntament amb el seu germà Hans Cranach. El seu estil primerenc va ser fidel al del seu pare centrant-se en producció d'obra religiosa, entre ella, la il·lustració de les Bíblies més importants del seu temps, la de Wittenberg i la de Leipzig. Va rebre nombrosos encàrrecs, entre ells, algunes taules amb temes mitològics i d'altres sol·licitades per l'Elector de Saxònia. Tot i el seu estil conservador, va ser reconegut com a bon retratista i d'escenes al·legòriques. Va morir a Weimar el gener de 1586.

Font: En català: No disponible - En castellano: Lucas Cranach 'el jove' (1515-1586) - In english: Lucas Cranach 'el jove' (1515-1586) - Altres: Lucas Cranach 'el jove' (1515-1586)

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Parlem de Música...

Pierre de Manchicourt (Béthune, c.1510 - Madrid, 5 d'octubre de 1564) va ser un compositor francès. Membre del cor de nens de la Catedral d'Arras el 1525, pocs detalls addicionals es coneixen de la seva joventut. A partir del 1539 va ser director del cor de la Catedral de Tours, el 1545 mestre del cor de nois de la Catedral de Tournai i maître de chapelle de la mateixa catedral anys més tard. El 1556 es va convertir en canonge de la Catedral d'Arras. Les dedicacions de les seves publicacions donen pistes de les seves connexions amb Claudin de Sermisy, amb Tielman Susato i amb l'arquebisbe Granvelle, un conegut mecenes. El 24 d'abril de 1559 va succeir a Nicolas Payen com a mestre de la Capella Flamenca de Felip II a Madrid on també es creu que va assolir el càrrec de la Capella Reial romanent en la ciutat espanyola fins la seva mort l'octubre de 1564.

OBRA:

Vocal secular:

Chansons:
Le neufiesme livre de [29] chansons, 4vv (Antwerp, 1545/R); B
24 other chansons, 2, 4–6, 8vv: 1533, 1538, 1543, 1544, 1544, 1545, 1545, 1546, 1550, 1553, 1555

Vocal religiosa:

Masses, magnificat:
Missa ‘Ceste une dure departie’, 4vv, E-MO 768 (on Sermisy's chanson); W ii
Missa ‘Congratulamini’, 4vv, MO 768; W ii
Missa ‘Cuides vous que Dieu’, 5vv, 1546 (on Richafort's chanson); W v
Missa de domina virgine Maria, 5vv, MO 772 (on Mass IX); W iv
Missa de ‘Retourner’, 4vv, MO 768; W ii
Missa de requiem, 5vv, MO 772 (on Requiem int); W iv
Missa ‘Deus in adjutorium’, 4vv, 1532 (on Sermisy's motet); W v, ed. in TM, ix (1974)
Missa ‘Ego flos campi’, 4vv, MO 768 (on Le Heurteur's motet); W ii
Missa ‘Gris et tannet’, 4vv, 1546, MO 768 (on Sermisy's chanson); W ii
Missa ‘Nisi Dominus’, 4vv, MO 768 (on Lhéritier's motet); W ii
Missa ‘Noe noe’, 4vv, MO 768 (on Mouton’s chanson); W ii
Missa ‘Non conturbetur’, 4vv, MO 768 (on own motet); W ii
Missa ‘Povre cuer’, 4vv, MO 768; W ii
Missa ‘Quo abiit dilectus tuus’, 4vv (Paris, 1556), MO (on own motet); W ii
Missa ‘Reges terrae congregati sunt’, 4vv, MO 768 (on Mouton's motet); W ii
Missa ‘Reges terrae’, 6vv, B-Br 27087 (on own motet); W iv
Missa ‘Se dire je losoie’, 4vv, E-MO 768 (on Gombert's chanson); W ii
Missa ‘Surge et illuminare’, 4vv, 1532; W v
Missa ‘Veni Sancte Spiritus’, 6vv, MO 772; W iv
Mass section: Domine Deus, 2vv, 1543; W v
Magnificat, 5vv, 1534, S v, ed. A. Smijers and A.T. Merritt, Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, v (Paris and Monaco, 1934–64)

Motets:
Liber decimus quartus XIX musicas cantiones continet, 4–6, 8vv (Paris, 1539; enlarged 2/1545 as [22] Modulorum musicalium primus tomus); M, W vi
Liber quintus [13] cantionum sacrarum, 5, 6vv (Leuven, 1554); W vi
28 other motets, 4, 5, 6vv: 1534, 1535, 1539, 1546, 1546, 1547, 1547, 1549, 1553, 1553, 1553, 1553, 1554, 1554, 1554, 1554, 1554, 1554, 1556, 1556; 26 in W i, 4, ed. A. Smijers and A.T. Merritt, Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, vii, xiii (Paris and Monaco, 1934–64)
9 psalms, E-Zs

Font: En català: Pierre de Manchicourt (c.1510-1564) - En castellano: No disponible - In english: Pierre de Manchicourt (c.1510-1564) - Altres: Pierre de Manchicourt (c.1510-1564)

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Parlem en veu pròpia o en veu d'altri...

The masses fall into two (probably chronological) groups: the first consists of those printed in 1532 and those in the manuscript Montserrat 768 (copied 1546), which are primarily parody masses; the second consists of those found in Montserrat 772 (copied 1560), which paraphrase plainsong melodies and reflect the conservatism of Philip II and his court. In the The Missa de domina virgine Maria, based on mass IX of the Liber Usualis, the Gloria is enhanced by the addition of troped phrases relating to the Holy Spirit and the Virgin Mary. Missa de requiem, a paraphrase of the introit Requiem aeternam and not a Requiem mass, is conspicuous for the numerous long notes which slow its pace. Manchicourt's motets represent three different stages in motet composition from the early decades of the 16th century to the 1550s. His early works, such as the six-voice O virgo virginum, have the attenuated lines and full textures of Ockeghem; Josquin's influence is clearly shown in Ne reminiscaris and Probe me Deus, with their shorter phrases and voice-pairings. Manchicourt's mature style is reflected in such works as Ave virgo gloriosa and O intemerata, which are closer in style to the works of Gombert and Clemens non Papa, combining eloquent and finely wrought melodies with constantly varying imitative techniques. Many of his motet texts are liturgical but three are secular and relate to political figures: O decus praises Granvelle; Nil pace est melius hails a treaty restoring possessions to Duke Moritz of Saxony; and Nunc enim si centum exalts Charles V. Most of the sacred texts are responsories or antiphons, so that many motets have two parts with a refrain, in the form aBcB. He varied his material in these refrains with intricate patterns of voice-exchange. Nine motet texts concern the Virgin and seven are from the Song of Solomon; one important feature of these 16 is the emphasis on full textures for five and six voices. In his late motets for five, six and eight voices, high and low groups are occasionally contrasted antiphonally, an expansion of the earlier duet technique. His pairing technique in his mature works differs from Josquin's in that all parts are usually active after the first pair's entrance. Often a prima pars begins with the pairing of a single motif between two voices and the secunda pars with imitative pairing of two different motifs in four voices. Manchicourt sometimes treated the cantus firmus canonically and sometimes as an ostinato. Skilful expressive devices characterize many motets, particularly Congratulamini omnes and Si bona suscepimus. Many of Manchicourt's chansons show the complex textures and motivic structure of the Flemish tradition (e.g. Par trop aymer and L'homme qui est), but a few, such as Mon seul espoir and J'ay veu le cerf, are Parisian in style with transparent polyphony and often chordal openings.

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Gaudiu i compartiu! 

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Informació addicional... 

INTÈRPRETS: Choir of the Church of the Advent; Edith Ho
AMAZON: DE MANCHICOURT, P. - Choral Music Vol.1

IMSLP: Pierre de Manchicourt (c.1510-1564)

CPDL: Pierre de Manchicourt (c.1510-1564)

SPOTIFY: DE MANCHICOURT, P. - Choral Music Vol.1

Tant si us ha agradat, com si no, opineu, és lliure i fàcil!