YEARBOOK OF THE ALAMIRE FOUNDATION

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70 KATELIJNE SCHILTZ VOICE BAR / BEAT SYLLABLE quintus 14 / 3 qu[am] cantus 14 / 4 qu quintus 15 / 1 Chr[isto] cantus 15 / 2 Chr quintus 15 / 3 [Chri]st[o] cantus 15 / 4 st altus 15 / 4 qu altus 16 / 2 Chr quintus 16 / 3 sp[ongia] tenor 16 / 3 qu altus 16 / 4 st tenor 17 / 1 Chr cantus 17 / 3 sp quintus 17 / 3 pr[essa] tenor 17 / 3 st altus 18 / 1 sp cantus 18 / 2 pr altus 18 / 4 pr tenor 19 / 1 sp quintus 19 / 4 qu tenor 20 / 1 pr bassus 20 / 1 qu quintus 20 / 2 Chr cantus 20 / 3 sp bassus 20 / 3 Chr quintus 20 / 4 st bassus 21 / 1 st cantus 21 / 2 pr bassus 22 / 2 sp quintus 22 / 3 sp bassus 23 / 2 pr quintus 23 / 3 pr Table 1. Consonantal combinations in the second verse of Adrian Willaert’s motet Laus tibi sacra rubens.
POLYPHONY AND WORD-SOUND IN ADRIAN WILLAERT’S LAUS TIBI SACRA RUBENS In the fourth line of Comes’s poem, ut quina emundans vulnera proluerat, which describes Joseph of Arimathea’s bathing and cleaning of Christ’s five wounds, two kinds of sounds dominate: the vowel u as well as two closely related classes of consonants, namely liquids (l and r) and nasals (m and n). In his polyphonic construction Willaert (See Example 2) highlights them both by successive and simultaneous means. The letter u, which is generally known to be the darkest vowel of the spectrum, occurs four times, usually on a stressed syllable: UT, eMUNdans, VULnera and proLUerat. On a horizontal level, the composer often tries to stretch this sound over different beats, by either using a melisma or a slightly longer rhythmic value. In addition, from the perspective of solmisation the syllables eMUNdans and proLUerat are often sung on fa. 17 It will also be noted that from bar 35 onwards the polyphonic texture is organised in such a way that this vowel constantly figures in one or more voices. This effect reaches a climax on the second beat of bar 44, where the four u-syllables are heard together: VULnera (cantus), UT (quintus), eMUNdans (tenor) and proLUerat (bassus). Although the prominent presence of the vowel u surely guided the melodic shaping of this verse, I believe it is still another sonic element that fundamentally influenced the organisation of Willaert’s polyphonic texture, especially when we compare it with his handling of the second verse. Whereas this line was mainly characterized by hard consonantal combinations, the fourth verse is striking because of its many soft consonants. If we now confront Willaert’s musical translation of the fourth line with that of the second one, a remarkable difference appears. The systematic alternation of entrances on the weaker and stronger parts of the measure – which proved to be the ideal tool for expressing the emotional and sonic content of the second verse – has given way to a much more mellifluous counterpoint, that not only carefully follows the rules of the metrical accentuation, but also seeks to heighten the effect of the soft consonants. This often results in the simultaneous presence of two (e.g. first beat of bar 38), three (e.g. third beat of bar 43) and even four (e.g. first beat of bar 44) of these consonants. In short, just as Comes translated the opposite emotional message of verses 2 and 4 by choosing a radically different sound pattern, Willaert uses a totally different polyphonic texture in order to stress this poetic effect. In the second part of his motet, the composer continues his extensive musical exploration of the poem’s sonic characteristics. At one point, however, Willaert clearly deviates from this intention. In bars 90–110 (See Example 3), i.e. shortly before the end of the piece, he exchanges the rich contrapuntal activity of the previous lines 17 For eMUNdans, see altus (b. 31), bassus (b. 33 and 38), quintus (b. 40), cantus (b. 43), altus (b. 44) and quintus (b. 45); for proLUerat, see altus (b. 34 and 37), cantus (b. 39), bassus (b. 40), tenor (b. 46) and altus (b. 47). VULnera as well is ocasionally sung on fa: cantus (b. 44), altus (b. 45) and bassus (b. 47). I wish to thank Jeffrey Kurtzman for his observations on this topic. 71
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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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TRIPLUM (TRANSLATION) Domine ainz q
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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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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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194 BERNHOLD SCHMID Bis Takt 20 sin
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196 BERNHOLD SCHMID Beispiel 9b: Nu
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198 BERNHOLD SCHMID beschriebenen G
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200 BERNHOLD SCHMID Anhang 2: Die Q
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202 BERNHOLD SCHMID 1610-2 RISM 161
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MUSIQUE ET POLITIQUE À FLORENCE DA
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Corsini, n° 28 Deh perche si rebel
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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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230 SUSAN LEWIS HAMMOND YEAR RISM C
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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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236 SUSAN LEWIS HAMMOND Harmonia ce
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238 SUSAN LEWIS HAMMOND Tra romor d
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240 SUSAN LEWIS HAMMOND of King Chr
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242 SUSAN LEWIS HAMMOND the product
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244 SUSAN LEWIS HAMMOND APPENDIX: C
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248 SUSAN LEWIS HAMMOND Symphonia a
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252 SUSAN LEWIS HAMMOND 1 The listi
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