YEARBOOK OF THE ALAMIRE FOUNDATION
YEARBOOK OF THE ALAMIRE FOUNDATION YEARBOOK OF THE ALAMIRE FOUNDATION
PREFACE It is with pride, as well as a certain humility, that we present this Yearbook 6 of the Alamire Foundation. Thanks to the collaboration of many individuals and institutions both in Belgium and beyond, the Alamire Foundation has produced a large body of research and publications, held colloquia, and organised audience-oriented activities such as exhibitions, lectures, courses, CDs and concerts over its almost twenty-year history. Such achievements have only been possible through the investment of a great deal of - often anonymous - human capital. From the Alamire Foundation’s inception in 1991, the undersigned was managing director, a position held until 2001 when he went on to lead Resonant, Centre for Flemish Musical Heritage, handing the torch on to Bruno Bouckaert. Among the latter’s signal accomplishments was the organisation of the colloquium Bruges-Venice: Music in Two Urban Mosaics and the 17th International Congress of the International Musicological Society. As Final Editor he also took responsibility for compiling and editing the contributions in the present publication. The leadership of the Alamire Foundation passed to Bart Demuyt on 1 February 2008. There is no doubt that with his experience as a musician and leader of a number of early music ensembles, and also as the former director of the Flanders Festival Bruges - Musica Antiqua and the Concertgebouw Brugge, he will set the Foundation on a course towards a fruitful dialogue between musicology and performance practice, thus enriching our insights into the music of the Low Countries. This is completely in keeping with the original intentions of the organisation at its founding in 1991. It must be admitted that in recent years the resources of the Foundation have been over-stretched, even as the organisation has encountered unexpected financial difficulties. One result is that this Yearbook 6 is now past its due date. The patience of the authors and the readers has, however, given us the time and technology to realise the release of all the articles in a contemporary fashion on the internet (www.arts.kuleuven.be/alamire), in parallel with the paper edition. We shall continue our resolute choice for international quality in our publications and together with the new team we look forward to a bright future. Eugeen Schreurs General Editor 7
DRINKING MOTETS IN MEDIEVAL ARTOIS AND FLANDERS Mary E. Wolinski Western Kentucky University Most French motets of the thirteenth century are about courtly love and pastoral amorous adventures. However, a few of them deal with the pleasures of eating, drinking, gambling and the company of women. These hedonistic motets have a special historical importance because they describe life in the Middle Ages and particularly the lives of those connected with their creation. Some motets, for example, make chauvinistic statements, especially in regard to beverages. This can help to reveal the identity of the poet or patron. This article will demonstrate that such motets on the ‘good life’ also provide hints about the origin of the manuscript Wolfenbüttel, Herzog August Bibliothek, Codex Guelferbytanus 1099 Helmstadiensis (henceforth abbreviated as MS W2). Dating roughly from the mid-thirteenth century, 1 W2 is a comprehensive collection of polyphonic compositions, including liturgical organa, conductus, religious and moralistic Latin motets, and entertaining French motets. Indeed, it is among the earliest known anthologies of French motets. Much of its sacred Latin repertory comes from the Magnus liber organi, which was composed by Leonin and Perotin and sung in Notre-Dame Cathedral in Paris since the late twelfth century. W2 is generally thought to be French, however, its exact origin and destination have long remained unknown. This study is one step in attempting to identify its patron. We will translate and interpret certain motets whose meanings are crucial to this venture. Of over one hundred French motets in the Wolfenbüttel manuscript, only four concern food and drink. They are copied in the ninth fascicle, which contains French three-voice motets in which each voice has a different text. It is probably not a coincidence that the gustatory motets are organized in a way that distinguishes them from the majority of pieces, which are about courtly love and pastoral adventures. The four motets are ordered in two pairs. The first pair, on folios 197v–198v, appears near the beginning of the ninth fascicle, while the second pair, on folios 212v–214r, was copied later in the same fascicle. 1 For a discussion of its date and notation see T. PAYNE, Les Organa à deux voix du Manuscrit de Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 1099 Helmst., (Le Magnus liber organi de Notre- Dame de Paris, 6A-B), Les Remparts – Monaco, 1996, pp. xxiii–xxiv, xxxvii–li, lxvii–lxviii, lxxx–xciii. For a complete facsimile see L.A. DITTMER, Facsimile Reproduction of the Manuscript Wolfenbüttel 1099 (1206), (Publications of Mediaeval Musical Manuscripts, 2), Brooklyn, 1960. 9
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PREFACE<br />
It is with pride, as well as a certain humility, that we present this Yearbook 6 of the Alamire<br />
Foundation. Thanks to the collaboration of many individuals and institutions both in Belgium and<br />
beyond, the Alamire Foundation has produced a large body of research and publications, held colloquia,<br />
and organised audience-oriented activities such as exhibitions, lectures, courses, CDs and<br />
concerts over its almost twenty-year history. Such achievements have only been possible through<br />
the investment of a great deal of - often anonymous - human capital.<br />
From the Alamire Foundation’s inception in 1991, the undersigned was managing director, a position<br />
held until 2001 when he went on to lead Resonant, Centre for Flemish Musical Heritage,<br />
handing the torch on to Bruno Bouckaert. Among the latter’s signal accomplishments was the organisation<br />
of the colloquium Bruges-Venice: Music in Two Urban Mosaics and the 17th International<br />
Congress of the International Musicological Society. As Final Editor he also took responsibility<br />
for compiling and editing the contributions in the present publication.<br />
The leadership of the Alamire Foundation passed to Bart Demuyt on 1 February 2008. There is no<br />
doubt that with his experience as a musician and leader of a number of early music ensembles, and<br />
also as the former director of the Flanders Festival Bruges - Musica Antiqua and the Concertgebouw<br />
Brugge, he will set the Foundation on a course towards a fruitful dialogue between musicology<br />
and performance practice, thus enriching our insights into the music of the Low Countries. This is<br />
completely in keeping with the original intentions of the organisation at its founding in 1991.<br />
It must be admitted that in recent years the resources of the Foundation have been over-stretched,<br />
even as the organisation has encountered unexpected financial difficulties. One result is that this<br />
Yearbook 6 is now past its due date. The patience of the authors and the readers has, however, given<br />
us the time and technology to realise the release of all the articles in a contemporary fashion on the<br />
internet (www.arts.kuleuven.be/alamire), in parallel with the paper edition.<br />
We shall continue our resolute choice for international quality in our publications and together with<br />
the new team we look forward to a bright future.<br />
Eugeen Schreurs<br />
General Editor<br />
7
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