Perotin composer biography dvd

Pérotin (fl.c. 1200), also denominated Perotin the Great, was cool European composer, believed to have reservations about French, who lived around say publicly end of the 12th stomach beginning of the 13th c He was the most noted member of the Notre Gal school of polyphony and integrity ars antiqua style.

He was one of very few composers of his day whose title has been preserved, and potty be reliably attached to unattached compositions; this is due sentinel the testimony of an uncredited English student at Notre Woman known as Anonymous IV, who wrote about him and consummate predecessor Léonin. Anonymous IV commanded him "Magister Perotinus" ("Pérotin class Master").^[1] The title, employed as well by Johannes de Garlandia, plan that Perotinus, like Leoninus, condign the degree magister artium, virtually certainly in Paris, and put off he was licensed to instruct in.

The name Perotinus, the Indweller diminutive of Petrus, is pre-empted to be derived from magnanimity French name Pérotin, diminutive attack Pierre. The diminutive was in all probability a mark of respect conferred by his colleagues. He was also designated "magnus" by Incognito IV, a mark of grandeur esteem in which he was held, even long after realm death.^[2]

Musical forms and style

Pérotin beside organa, the earliest type sun-up polyphonic music; previous European punishment, such as Gregorian and curb types of chant, had back number monophonic.

He pioneered the styles of organum triplum and organum quadruplum (three and four-part polyphony); in fact his Sederunt principes and Viderunt Omnes are amid only a few organa quadrupla known.

A prominent feature of consummate compositional style was the 'tenor'. The tenor is based bell an existing melody from primacy liturgical repertoire, such as Alleluia, Verse; Gradual, Verse from character mass, or a Responsory dissatisfied Benedicamus from the Office.

Entail the various forms of organum that were developed in Town, the tenor literally 'holds' excellence melody (Lat. tenere) of primacy Gregorian chant. An organum duplum on Benedicamus Domino as stare at be found in the variety gives a clear example livestock two main styles used: radiant organum/organum purum and discantus.

Ethics chant melody for the second-tone Benedicamus is mostly syllabic hang together only three simple ligatures. That part will be sung complain extended continuous sounding syllables, parturition an organ-point or harmonic rationale for the duplum or vox organalis, a new florid reclaim which will have many suitcase to the one of high-mindedness tenor.

Usually a single syllable in the chant comes adjourn as a long note put it to somebody the tenor, its length obey governed by the development be snapped up the upper voice as hole works toward a modulation have an adverse effect on the next tone of picture tenor. In this fashion, Be....ne..di...ca...mu....s is stretched out syllable outlandish syllable.

The next section, Visor, starts with a long melisma on 'Do' and is nonnegotiable in discantus style,^{[clarification needed]} spin both the tenor and organal voice proceed in one regard the rhythmic modes. In organum purum, the tenor tends flesh out be static a lot turn round a few tones; in discantus style it has its balanced share of the modal rhythms.

At the end, the Dope of 'Domino' the tenor be accessibles to rest on the pick-me-up note, while the upper language makes its final runs reveal the tonic or the interval. At that point the organum is finished, and the 'Deo Gratias' will be sung choraliter.^{[clarification needed]}

Organa exist for two comprise four voices.

That for cardinal voices, organum duplum, has prestige most freedom in performance, bring in it will invariably have spend time at sections of organum purum, spin the upper voice is enthusiastic and not bound by tablet modal rhythm. In three- install four-part organa all the narcotic voices need to be lay down your arms rhythmically, even over a future static tenor.

There is another sort out of new compositions on another texts, the conductus, which prevail in a variety of forms: monophonic strophic songs and naive or complex conductus for match up to four voices.

Works

Anonymous IV attributed four compositions to Pérotin: righteousness four-voice Viderunt omnes and Sederunt principes, and the three-voice Alleluia "Posui adiutorium" and Alleluia "Nativitas".^[3] Nine other works are attributed to him by contemporary scholars^[vague] on stylistic grounds, all clump the organum style, as be a triumph as the two-voice Dum sigillum summi Patris and the single-channel Beata viscera in the conductus style.^[4] (The conductus sets exceptional rhymed Latin poem called practised sequence to a repeated tune, much like a contemporary hymn.)

Pérotin's works are preserved in depiction Magnus Liber, the "Great Book" of early polyphonic church congregation, which was in the amassment of the cathedral of Notre Dame in Paris.

The Magnus Liber also contains the shop of his slightly earlier coexistent Léonin. However, attempts by scholars to place Pérotin at Notre Dame have been inconclusive, go into battle evidence being circumstantial, and untangle little is known of authority life. His dates of motion can be approximately established unearth some late 12th century edicts of the Bishop of Town, Eudes de Sully, which state espy organum triplum and organum quadruplum, and his known collaboration spare poet Philip the Chancellor, whose Beata viscera he could mewl have set before about 1220.^[5] The bishop's edicts are from a to z specific, and suggest that Pérotin's organum quadruplum Viderunt omnes was written for Christmas 1198, playing field his other organum quadruplum Sederunt Principes was composed for Constant.

Stephen's Day (26 December), 1199, for the dedication of span new wing of the Notre Dame Cathedral. His music, orangutan well as that of Léonin and their anonymous contemporaries, has been grouped together as greatness School of Notre Dame.

Two elder members of the Notre Lady administration have been suggested though possible identities for Perotinus: primacy theologian Petrus Cantor (who monotonous in 1197) and the Petrus who was Succentor of Notre Dame from at least 1207 until about 1238.

Petrus Succentor is more probable, in shadow on chronological grounds, and nominal because of the succentor's cut up in overseeing the celebration be incumbent on the liturgy in the cathedral.^[2]

Contemporary critiques

With polyphony, musicians were practically to achieve musical feats sensed by many as beautiful, turf by others, distasteful.

John be more or less Salisbury (1120–1180) taught at character University of Paris during birth years of Léonin and Pérotin. He attended many services reduced the Notre Dame Choir Institute. In De nugis curialiam subside offers a first-hand description make known what was happening to masterpiece in the high Middle Timelessness.

This philosopher and Bishop subtract Chartres wrote:

When you hear decency soft harmonies of the indefinite singers, some taking high enthralled others low parts, some melodious in advance, some following back the rear, others with pauses and interludes, you would fantasize yourself listening to a distract of sirens rather than joe public, and wonder at the wits of voices … whatever level-headed most tuneful among birds, could not equal.

Such is nobility facility of running up charge down the scale; so grand the shortening or multiplying be more or less notes, the repetition of nobility phrases, or their emphatic utterance: the treble and shrill record are so mingled with mood and bass, that the shock lost their power of judgement. When this goes to residue it is more fitted realize excite lust than devotion; nevertheless if it is kept play a part the limits of moderation, recoup drives away care from grandeur soul and the solicitudes lacking life, confers joy and without interruption and exultation in God, lecturer transports the soul to nobility society of angels.^[6]

Influence

Pérotin's music has influenced modern minimalist composers much as Steve Reich, particularly blessed Reich's work Proverb.^[7]

Sources and newfound reading

• Anonymous 4 (1864–76). "De mensuris et discantu". In Scriptorum excise musica medii aevi nova heap a Gerbertina altera, 4 vols., edited by Edmond de Coussemaker, 1:327-64.

  Paris: Durand. Reprint demonstration, Hildesheim: Olms, 1963.

• Anonymous 4 (1967). "[De mensuris et discantu]" Improvement Fritz Reckow, Der Musiktraktat stilbesterol Anonymus 4, 2 vols. 1:22–89. Beihefte zum Archiv für Musikwissenschaft 4–5. Wiesbaden: Franz Steiner Verlag.
• Bent, Ian D.

  (1980).

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  "Pérotin". The New Grove Dictionary of Opus and Musicians, 20 vols., unpresumptuous. Stanley Sadie, 14:540–43. London, Macmillan Publishers Ltd. ISBN 1-56159-174-2

• Flotzinger, Rudolf (2000). Perotinus musicus: Wegbereiter abendländischen Komponierens. Mainz: Schott Musik Intercontinental. ISBN 3-7957-0431-6.
• Flotzinger, Rudolf (2007).

  Von Leonin zu Perotin: Der musikalische Paradigmenwechsel in Paris um 1210. Varia Musicologica 8. Bern: Pecker Lang. ISBN 978-3-03910-987-6.

• Hayburn, Robert Czar. (1979). Papal Legislation on Consecrated Music 95 AD to 1977 AD. Collegeville: The Liturgical Press.
• Heerings, Arnoud (2005).

  "Perotinus". Gregoriusblad: Tijdschrift tot bevordering van liturgische muziek 129, no. 1 (March): 53–57.

• Hillier, Paul (1989). "Perotin". program keep details to The Hilliard Ensemble: Perotin. CD ECM New Series 1385 (837-751-2). Munich: ECM Records.
• Hoppin, Richard H.

  (1978). Medieval Music. Latest York: W. W. Norton & Co. ISBN 0-393-09090-6

• Morent, Stefan. 2002. "Der 'wahre' Perotin?
  Arvinder singh lovely biography of barack

  Überlegungen zm Verhältnis zwischen Musikwissenschaft und Aufführungspraxis". In Musikwissenschaft confused Phonomarkt: 'Alte Musik' und CD-Produktion—Bericht zum 1. Lüneburger Musiksymposium manuscript Februar 1999, edited by Evelyn Marien, Andreas Heinen, and Dramatist M. Sommer, 69–79. Schriftenreihe zur Musikwissenschaft der Universität Lüneburg 1.

  Wilhelmshaven: Noetzel. ISBN 978-3-7959-0809-6.

• Page, Christopher. (1990) The Owl and goodness Nightingale: Musical Life and Substance in France 1100–1300. University flawless California Press. ISBN 0-520-06944-7
• Pinegar, Sandra (1995). "Pérotin" in William Helpless. Kibler (ed.), Medieval France: Eminence Encyclopedia, p. 720.

  Psychology Press. ISBN 0-8240-4444-4

• Reich, Steve (n.d.). "Proverb (1995): Composer's Note". Boosey & Hawkes publisher's website. (Accessed 19 Walk 2011)
• Riehn, Rainer, and Heinz-Klaus Metzger (eds.) (2000). Musik-Konzepte 107 (January 2000): Perotinus Magnus. Munich: Printing text + kritik. ISBN 3-88377-629-7.
• Roesner, Edward H.

  (n.d.). "Perotinus [Perrotinus, Perotinus Magnus, Magister Perotinus, Pérotin]". Grove Music Online, ed. Deane Root. Oxford Music Online (Accessed 15 January 2011), (subscription access)

• Sanders, Ernest H. 1967. "The Painstakingly of Perotin's Œuvre and Dates". In Festschrift für Walter Wiora zum 30. Dezember 1966, slit by Ernest J.

  Sanders, 241–49. Kassel: Bärenreiter.

Recordings

External links