YEARBOOK OF THE ALAMIRE FOUNDATION

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64 KATELIJNE SCHILTZ Figure 2. Title page of Stephani Comitis Bellocassii Sylvula carminum, Bruges, 1544. terminology of phonetics) liquids and nasals: ut quiNa eMuNdaNs vuLNeRa pRoLueRat. If we now examine the content of both lines, it is certainly no accident that the second verse speaks of the ‘squeezing of the sponge’, whereas in the fourth verse the act of ‘cleaning and bathing’ Christ’s wounds is described. In short, the opposite emotional content of the two verses is accentuated by an equally opposite sonic content. Although lines 2 and 4 are very clear examples of this correspondence between meaning and word-sound, the same principles can be traced in the remaining eight verses. The crucial question now is of course what Willaert does with this text. In the following discussion, I would like to show how the expressive and sonic details of Comes’s poem by no means escape his attention. What is more, he not only seeks to translate, but also to intensify them by effective musical means. It will become clear that the use of a polyphonic texture allows Willaert to add a new dimension (both in the literal and figurative sense of the word) to the purely horizontal dimension of the written and/or spoken text. In other words, polyphony’s inherent capacity to combine different voices simultaneously proves to be an ideal medium for exploring and heightening the interaction between the emotional and sonic content of Comes’s poem. It must be said that scholars such as Dean Mace and Jonathan Miller have dealt with this topic, especially in light of Pietro Bembo’s Prose della volgar lingua, published in Venice in 1525. 9 But whereas they have concentrated their investigation on the Italian madrigal in general and the Venetian madrigal output in particular – especially works based on the poetry of Francesco Petrarca – I intend to show that a similar attention to word-sound can be found in the Latin motet as well. Furthermore, whereas both scholars have mainly focused on sixteenth-century literary theories, it 9 D.T. MACE, Pietro Bembo and the Literary Origins of the Italian Madrigal, in The Musical Quarterly, 55 (1969), pp. 65–86; J.M. MILLER, Word-Sound and Musical Texture in the Mid-Sixteenth-Century Venetian Madrigal, Ph.D. diss., University of North-Carolina at Chapel Hill, 1991. See also M. FELDMAN, City Culture and the Madrigal at Venice, Berkeley – Los Angeles, 1995.
POLYPHONY AND WORD-SOUND IN ADRIAN WILLAERT’S LAUS TIBI SACRA RUBENS Figure 3. Stephanus Comes’s poem in Stephani Comitis Bellocassii Sylvula carminum, Bruges, 1544. 65
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YEARBOOK OF THE ALAMIRE FOUNDATION
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Yearbook of the Alamire Foundation
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... NEC NON TYRONIBUS QUÀM EIUS AR
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DRINKING MOTETS IN MEDIEVAL ARTOIS
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TRIPLUM (TRANSLATION) Hare hare hye
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Page 13 and 14: TRIPLUM (TRANSLATION) Domine ainz q
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Page 17 and 18: TENOR (TRANSLATION) Domine tant ai
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CHANGE AND CONTINUITY IN TWENTIETH-
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ORLANDO DI LASSO ET AL.: ANEW READI
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ORLANDO DI LASSO ET AL.: A NEW READ
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(1) Son morto e moro e pur cerco mo
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(1) Latra traitora tu mi fai morire
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(1) Bona sera como stai core mio be
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THE TWO EDITIONS OF LASSO’S SELEC
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160 RICHARD FREEDMAN Lasso’s chan
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162 RICHARD FREEDMAN prints, but by
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164 RICHARD FREEDMAN It seems likel
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166 RICHARD FREEDMAN II, who ruled
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168 RICHARD FREEDMAN Authorial cont
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170 RICHARD FREEDMAN APPENDIX Docum
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172 RICHARD FREEDMAN Royaume que bo
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174 RICHARD FREEDMAN machen unnd ei
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176 RICHARD FREEDMAN prejudice both
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178 BERNHOLD SCHMID Lassos vierundz
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180 BERNHOLD SCHMID cepta (quae nec
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182 BERNHOLD SCHMID sei senza parol
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184 BERNHOLD SCHMID Beispiel 1a: Ko
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186 BERNHOLD SCHMID Beispiel 3a: Nu
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188 BERNHOLD SCHMID Beispiel 5: Num
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190 BERNHOLD SCHMID Beispiel 6: Num
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192 BERNHOLD SCHMID Mensur in Numme
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MUSIQUE ET POLITIQUE À FLORENCE DA
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MUSIQUE ET POLITIQUE À FLORENCE Po
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MUSIQUE ET POLITIQUE À FLORENCE N
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Corsini, n° 28 Deh perche si rebel
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MUSIQUE ET POLITIQUE À FLORENCE Ro
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MUSIQUE ET POLITIQUE À FLORENCE So
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MUSIQUE ET POLITIQUE À FLORENCE me
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MUSIQUE ET POLITIQUE À FLORENCE Le
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226 SUSAN LEWIS HAMMOND Figure 1. M
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228 SUSAN LEWIS HAMMOND PRODUCING M
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232 SUSAN LEWIS HAMMOND Figure 2. M
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234 SUSAN LEWIS HAMMOND The title p
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252 SUSAN LEWIS HAMMOND 1 The listi
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