He lived from until Bent et al. He composed twelve surviving motets. It lies within the beginnings of the stylistic changes from Ars Anitqua.
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This blog was born out of the " things" challenge on Livejournal. More information on the challenge can be found here. Tuesday, May 8, Garrit Gallus I mean, I was going to hear people sing motets!
And play recorder consort music! And, as anyone who goes to a Renaissance Faire knows, I got none of that. This Ars Nova "New Art" music of the 14th century acquired much more polyphonic many-voiced sophistication than earlier music, thanks in part to advances in notation.
Composers could move beyond simple rhythmic modes that had followed the monophony of plainchant. Now, composers during this time got a little carried away with this new-found freedom, sometimes so completely obliterating the text that folks who listened probably had no idea what the songs were about. Some had each singer singing a different, related text. And some even had them singing in different languages!
Craziness, I tell you! Ok in all seriousness, as soon as I learned about them, I fell totally in love with the whole concept of the isorhythmic motet. What the hell is that? Sure no problem. Let me try to explain this! Isorhythm is made up of two parts: 1 A repeating pattern of rhythms called the talae 2 A repeating pattern of pitches called the color Often the rhythm would be one amount of notes and the pitches would be a different amount of notes, thus causing them to overlap until finally coming back together.
In general, the work would take longer to cycle through the pitches than to cycle through the rhythms for instance, the color might be 28 notes long while the talae only 4 notes; that means it would take 7 repetitions of the talae before the color is completed! Fun, right? Ok maybe only for theory nerds. At any rate, above the tenor were often 2 sometimes more voices that moved in free-form against them, creating that polyphony I was talking about earlier.
These voices are called the motetus and triplum. The tenor voice, by the way, is sometimes played on instruments and sometimes sung. People nowadays are unclear as to which is historically accurate both may have been.
Here is the translation of the text. TRIPLUM The rooster Gaul chatters with bitter weeping; indeed the whole flock mourns, for it is stealthily being betrayed by the satrap even as it keeps watch.
And the fox, like a grave-robber, flourishing with the cunning of Belial, reigns with the full consent of the lion himself. Alas, what anguish! Behold how the family of Jacob once again flees from another Pharoah: no longer able, as before, to follow the path of the Jews, it weeps.
In the desert it is tortured by hunger, its arms and armour lack a helper. If it cries out it will be despoiled; the voice of the wretched exiles, near death, is harsh. O sad chattering of roosters!
Since the blindness of the lion is subject to the shadowy deceit of the treacherous fox, whose arrogance encourages sin, otherwise what is left of your honour slips away and will continue to slip away: with only late avengers it will soon turn into villainy. MOTETUS My mind is bent to tell of bodies changed anew: that evil dragon whom glorious Michael once conquered thoroughly with the miraculous power of the cross, again is living, now fortified with the grace of Absalom, gloating with the eloquence of Ulysses, armed with the teeth of a wolf as a soldier in the army of Tersitis - in fact changed into a fox.
Deprived of his sight by deceit, the lion is subject to this ruling fox, who sucks the blood of lambs, sates himself with chickens, and never stops; rather he thirsts on. He comes to weddings with his hunting dogs. Woe to chickens and woe to the blind lion; but in the end, woe to the dragon when he must face Christ!
At least both texts were in Latin? You can listen to the work on youtube here. Posted by.
De Vitry- Garrit Gallus/In nova fert/Neuma (c. 1315)- Isorhythmic Motet (A. Ford)
Филипп Де Витри
Garrit gallus - In nova fert (Vitry, Philippe de)