Post-Tridentine liturgical change and functional music: Lasso's cycle of polyphonic Latin hymns

Zager, Daniel

doi:10.1017/cbo9780511551383.004

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“…26 Willartov ciklus himnusov pripada italijanski tradiciji praznikov in besedil, vendar vsebuje nekatere himnuse, ki so značilni le za beneško liturgijo, kot je poudaril denimo Daniel Zager. 27 Zato se najverjetneje v Gradcu niso peli vsi njegovi himnusi, temveč samo tisti, ki so ustrezali tamkajšnji liturgični praksi. Edini himnus, ki ne sodi v italijansko tradicijo, temveč v nemško, je A solis ortus cardine.…”

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Malo znan dvozborski ciklus himnusov iz ok. 1600

Grabnar

2018

De Musica Disserenda

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An early-seventeenth-century choirbook originating from Graz surviving in Ljubljana (SI-Lnr, MS 343) contains alongside other compositions thirty-one hymns by Francesco Stivori uniquely known from this source. Stivori's hymns form a cycle for the entire liturgical year. They follow a long tradition of polyphonic settings based on plainsong melodies, although they are set for a larger performing group than usual-eight voices distributed in two choirs. Polyphonic hymn settings in use earlier at the Graz court were not liturgically obsolete. It seems, therefore, that Stivori composed his own cycle to cater for the personal aesthetic needs of Archduke Ferdinand, who greatly favoured polychoral music.

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Malo znan dvozborski ciklus himnusov iz ok. 1600

Grabnar

2018

De Musica Disserenda

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‘Per mia particolare devotione’: Orlando di Lasso'sLagrime di San Pietroand Catholic Spirituality in Counter-Reformation Munich

Fisher¹

2007

J. R. Music. Assoc.

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In his magisterialLagrime di San Pietro(1595) Orlando di Lasso composed a cycle of 20 madrigals on texts by Luigi Tansillo on the theme of St Peter's denial of Christ and his subsequent remorse, capped by a Latin motet (‘Vide homo‘) representing the rebuke of the crucified Christ. TheLagrimemay be seen as a penitential gesture on Lasso's part, but a textual and musical analysis also suggests numerous parallels with contemporary Catholic spiritual exercises, particularly those of Ignatius of Loyola and Luis of Granada. The cycle thus takes its place in a broader Counter-Reformation discourse of meditation and penance.

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Post-Tridentine liturgical change and functional music: Lasso's cycle of polyphonic Latin hymns

Cited by 2 publications

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Malo znan dvozborski ciklus himnusov iz ok. 1600

Malo znan dvozborski ciklus himnusov iz ok. 1600

‘Per mia particolare devotione’: Orlando di Lasso'sLagrime di San Pietroand Catholic Spirituality in Counter-Reformation Munich

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