Hodie vicarius Jesu Christi et Petri Successor Eugenius Hoc idem amplissimum Sacris templum manibus Sanctisque liquoribus Consecrare dignatus est. Filippo Brunelleschi had now crowned her with a momumental dome. The title of the piece stems from the name of the cathedral itself: Santa Maria del Fiore, or St. As its text relates, Dufays motet was composed for the consecration of Florence's great Cathedral, Santa Maria del Fiore, known colloquially as Il Duomo. Heinrich Besseler with revisions by David Fallows. While the compositional device of isorhythm was common in the fifteenth century, especially for large occasional pieces, 's choice of ratios here is unique for its complexity. Nineteenth-century musicologist claimed to have seen a sixteenth-century copy of a Tractatus de musica mensurata et de proportionibus by Du Fay, last documented as having been sold to a London book dealer in 1824.
Se trata, por tanto, de la mensuración en la que las longas y breves duran más de toda la obra. The color is taken from the plainchant Terribilis est locus iste, and they are identical, except that they are a perfect fifth apart. Instruments may have been used to reinforce the voices in actual performance for almost any of his works. In June 1414, aged around 16, he had already been given a as chaplain at St. This is unusual for isorhythmic motets, in which the sections normally become progressively shorter, but this proportional structure achieves its own equally effective balance. A central figure in the , he was regarded by his contemporaries as one of the leading composers in Europe in the mid-15th century.
The first of these sub-sections includes just the two upper voices bicinium , while the second not only is sung by all voices but also features the entry of the two instrumental tenor parts. Baldi, Introduction to Il Conto dell'esecuzione del testamento e l'Inventario dei beni di Guillaume Dufay, Miscellanea di Studi 6, a cura di Alberto Basso, Torino, Centro Studi Piemontesi: Istituto per i Beni Musicali in Piemonte 2006 , pp. In addition to his musical work, he was active in the general administration of the cathedral. Today the vicar of Jesus Christ and successor of Peter, Eugenius, has deigned to consecrate this same vast temple with his sacred hands and holy liquors. There the Cardinal of Venice would offer Mass and the Heir of St.
Igitur, alma parens Nati tui et filia Virgo decus virginum, Tuus te Florentiae Devotus orat populus, Ut qui mente et corpore Mundo quicquam exorarit Oratione tua Cruciatus et meritis Tui secundum carnem Nati Domini sui Grata beneficia Veniamque reatum Accipere mereatur. The two homographic tenors, which define the overall structural plan of the piece, are both based on a melody taken from the for the consecration of churches, Terribilis est locus iste 'Awesome is this place', Genesis 28:17 , a fifth apart and with different, interlocking rhythmic configurations. En algunos casos, los melismas, la complejidad de la textura, y aún más la politextualidad, oscurecen por completo la inteligibilidad del texto. Eugene at this time lived in exile at the nearby church of Santa Maria Novella. La obra, escrita a cuatro voces, cuenta con dos tenores.
Occasionally Du Fay used four voices, but in a number of these songs the fourth voice was supplied by a later, usually anonymous, composer. For example, the first talea and color uses the first stanza and most of the second, but the third talea and color only uses three lines of the fourth stanza. Compuesta para la consagración de la de Florencia por el papa en el año 1436, esta obra concebida por el flamenco constituye la culminación de la ciencia musical medieval, iluminada mediante un colorido armónico propio ya de la sensibilidad renacentista. The Oxford Companion to Music. His latest secular songs show influence from Busnois and Ockeghem, and the rhythmic and melodic differentiation between the voices is less; as in the work of other composers of the mid-15th century, he was beginning to tend towards the smooth polyphony which was to become the predominant style fifty years later. Chailley, Histoire musicale du Moyen Age.
Cada par de voces exhibe -como es habitual en la polifonía medieval- características muy distintas: Así, mientras las voces superiores se mueven en valores rápidos y sincopados, formando un tejido contrapuntístico constante, los tenores se mueven en valores lentos, entrecortándose entre sí para formar un imponente a cámara lenta. Score information: A4, 10 pages, 108 kB Copyright: Edition notes: version with original clefs also available. He likely stayed there until 1418, at which time he returned to Cambrai. Also, it is in itself a representation of the erection of the St. Nuper rosarum flores Ex dono pontificis Hieme licet horrida Tibi, virgo cœlica, Pie et sancte deditum Grandis templum machinæ Condecorarunt perpetim.
Moreover, the final isorhythmic section provides the usual drive to an accelerated finish by giving the upper voices the shortest note values in the piece , 117—18. He went to Turin in 1450, shortly before the death of Duke Amédée, but returned to Cambrai later that year; and in 1452 he went back to Savoy yet again. Sobre las mensuraciones el error debe ser de las fuentes que has manejado. Middleton: The American Institute of Musicology. Once again he established close ties to the court of Burgundy, and continued to compose music for them; in addition he received many visitors, including , , , and , all of whom were decisive in the development of the polyphonic style of the next generation. During the 15th century he was universally regarded as the greatest composer of his time, an opinion that has largely survived to the present day. He had left Rome because of a crisis in the finances of the papal choir while seeking to escape the turbulence and uncertainty during the struggle between the papacy and the.
Como vemos en la reducción que presentamos a continuación, los valores rítmicos están dispuestos de tal modo que ambas melodías se suceden de forma entrecortada, solapándose allí donde se forman intervalos perfectos de octava o de quinta -como si fueran las columnas y contrafuertes de una catedral-, a excepción de las notas finales, en las que llegan a formarse dos intervalos paralelos de tercera. Recently garlands of roses given by the Pope -despite a terrible winter— adorned this temple of magnificent structure forever dedicated in a pious and holy fashion to you, heavenly Virgin. A note in the margin in a manuscript held in the refers to a Musica which he wrote; no copy of the work itself has been found. La duplicación de la velocidad de los tenores no solo acelera el ritmo armónico de la sección, sino que genera una textura más homogénea, debido la mayor semejanza entre la figuración de los tenores y la de las voces superiores. When Niccolò died in 1441, the next Marquis maintained the contact with Du Fay, and not only continued financial support for the composer but copied and distributed some of his music. In 1424 Du Fay returned to Cambrai, because of the illness and subsequent death of the relative with whom his mother was staying.
In 1444 his mother Marie died, and was buried in the cathedral; and in 1445 Du Fay moved into the house of the previous canon, which was to remain his primary residence for the rest of his life. Puedes escuchar ambos tenores por separado y de forma simultánea. Roesner edited by David Butler Cannata, Gabriela Ilnitchi Currie, Rena Charnin Mueller, and John Luis Nadas, 121—43. Then the lower voices sing their melody in four different rhythmic configurations, by the application of different mensurations to each section. In a famous article, published in 1973, Charles Warren argued that this unique set of ratios corresponded to the large-scale architectural dimensions of the Cathedral -- nave, crossing, apse, and dome.