Medieval Books - Page 6

The Lyrics of Richard De Semilli: A Critical Edition and Musical Transcription (Medieval and Renaissance Texts and Studies)

Susan M. Johnson

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The Madrigals of Michelangelo Rossi (Monuments of Renaissance Music)

Michelangelo Rossi

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Editorial Review:

Michelangelo Rossi's two books of five-voice polyphonic madrigals are among the most expressive works of their kind ever composed. Showing the influence of Gesualdo, the madrigals were probably written in Rome between 1624 and 1629, when Rossi was in the service of Cardinal Maurizio of Savoy. They were apparently never published, and there is only one complete manuscript source, which once belonged to Queen Christina of Sweden and now forms the principal source for Brian Mann's critical edition.

In his extensive introduction, Mann considers in detail the biographical, cultural, and stylistic milieu in which the madrigals were written. The scholarly edition of the music, based on a thorough examination of all the known sources, includes a complete critical commentary.

Mann's work on Rossi's madrigals has already helped revive interest in them. In 1998 a CD recording of Book I appeared on the Virgin label, performed by Il Complesso Barocco under the direction of Alan Curtis, and based on this critical edition.

Medieval Music: The Sixth Liberal Art (Toronto Medieval Bibliographies, 4)

Andrew Hughes

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Mediterranean Culture and Troubadour Music (Studies in Central and Eastern European Music, 1)

Zoltan Falvy

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Minstrels & Angels

Gwen Montagu

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Editorial Review:

A comprehensive survey of medieval carvings of musicians in churches and cathedrals spanning the entire length and breadth of England, Minstrels & Angels is illustrated with over 120 photographs from the C. R. & Harriet Nicewonger archive.

The Monophonic Songs in the Roman de Fauvel

Samuel N. Rosenberg, Hans Tischler

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Editorial Review:

The Roman de Fauvel describes the career of Fauvel, a horse-like figure whose overweening ambitions lead the writer to lament the evils of the world. He excites the attentions of the rich and powerful, presumes to court Lady Fortune, and provokes all kinds of outrage and grief. His very name is an anagram for Flaterie, Avarice, Vilanie, Variété (fickleness), Envie, and Lacheté (cowardice). A long poetic narrative enlivened by polyphonic and monophonic songs, chants, and pictures, the Roman makes use of allegory and satire to express vehement moral criticism of the late medieval royal court and Church.

This is the first modern, critical edition of the monophonic songs collected in the Roman de Fauvel in the early fourteenth century. Samuel N. Rosenberg and Hans Tischler set out to establish and interpret the lyrics and music of all the monophonic pieces, some seventy in all. Accompanying the full poetic and music texts are their English translations from the original Latin and French. This edition represents the kinds of close collaboration between philologist and musicologist that the Fauvel songs call fro but have never before received. Illustrating a wide variety of form and styles—including chivalric love songs, dance pieces, ballades, rondeaux, and nonsense compositions—The Monophonic Songs in the Roman de Fauvel is an extraordinary valuable anthology of music and a treasure trove of information about the period.

The Motet in England in the Fourteenth Century (Studies in Musicology, 94)

Peter M. Lefferts

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Music and Instruments of the Middle Ages: Studies on Texts and Performance (Collected Studies, Cs562.)

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Editorial Review:

The studies assembled in this work include Medieval writings of many kinds - sermons, books of theology, epics and romances, as well as technical treatises on music - containing a wealth of information about the music and instruments of the Middle Ages.

Music and Poetry in the Middle Ages: A Guide to Research on French and Occitan Song, 100-1400 (Garland Medieval Bibliographies)

Margare Switten

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Editorial Review:

This important and timely bibliography brings modern critical and theoretical work to bear on medieval music and literature, primarily poetry. Entries include material on performance practice and styles, reflecting the enormous growth of interest in early music soloists and ensembles and medieval instruments. Switten covers the period from the eleventh century to approximately 1500 and cites entries in French, Italian, German, and English, thus encompassing the entire field of medieval music and literature for students and scholars.

Music in Medieval and Early Modern Europe: Patronage, Sources and Texts

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Editorial Review:

This volume consists of original papers first read at King's College, Cambridge, in 1979 at an international conference on medieval and Renaissance music. The contributors are distinguished in a wide variety of musicological interests but all are concerned in one way or another with pursuing the most urgent and promising directions for research in early music history. The result, far from being merely a further collection of essays applying well-tried approaches to familiar material, constantly seeks to expand the scope of musicology itself, and many of the contributions arc inter-disciplinary in method. The four main topics of the conference were carefully chosen, with some editorial control exercised for each session. This is reflected in four sections of closely related papers in the book. Two of these are concerned with the patronage of music: by the Church in fifteenth-century England, Italy and France, and in a broader context in Italy from 1450 to 1550. A group of essays on sixteenth-century instrumental music separates these, and the book concludes with five papers on theories of filiation as applied to music sources from the tenth to the sixteenth century.