Lewis Lockwood
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780195378276
- eISBN:
- 9780199852376
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195378276.003.0026
- Subject:
- Music, History, Western
In later years, the development of wider musical and diplomatic contacts broadened the motet literature available to the chapel. So did the increasingly international character of the chapel itself, ...
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In later years, the development of wider musical and diplomatic contacts broadened the motet literature available to the chapel. So did the increasingly international character of the chapel itself, as it came under the leadership of musicians of the stature of Josquin and Obrecht. Among the handful of motets by Martini himself, one can distinguish several types. His wedding motet for Ercole and Eleonora, “Perfunde coeli rore”, is a four-voice tenor motet with absorption of the cantus firmus into the active texture. Meanwhile, the motet “Virgo salutiferi” is one of the largest and most fully developed of Josquin’s Marian motets. The later Ferrarese tradition of motets using the “Miserere” refrain involves not only the authority of Josquin but the continued veneration of Savonarola, especially in the 1530s and 1540s.Less
In later years, the development of wider musical and diplomatic contacts broadened the motet literature available to the chapel. So did the increasingly international character of the chapel itself, as it came under the leadership of musicians of the stature of Josquin and Obrecht. Among the handful of motets by Martini himself, one can distinguish several types. His wedding motet for Ercole and Eleonora, “Perfunde coeli rore”, is a four-voice tenor motet with absorption of the cantus firmus into the active texture. Meanwhile, the motet “Virgo salutiferi” is one of the largest and most fully developed of Josquin’s Marian motets. The later Ferrarese tradition of motets using the “Miserere” refrain involves not only the authority of Josquin but the continued veneration of Savonarola, especially in the 1530s and 1540s.
