Mapping the Motet in the Post-Tridentine Era

Mapping the Motet in the Post-Tridentine Era provides new dimensions to the discussion of the immense corpus of polyphonic motets produced and performed in the decades following the end of the Council of Trent in 1563. Beyond the genre’s rich connections with contemporary spiritual life and religious experience, the motet is understood here as having a multifaceted life in transmission, performance and reception. By analysing the repertoire itself, but also by studying its material life in books and accounts, in physical places and concrete sonic environments, and by investigating the ways in which the motet was listened to and talked about by contemporaries, the eleven chapters in this book redefine the cultural role of the genre. The motet, thanks to its own protean nature, not bound to any given textual, functional or compositional constraint, was able to convey cultural meanings powerfully, give voice to individual and collective identities, cross linguistic and confessional divides, and incarnate a model of learned and highly expressive musical composition. Case studies include considerations of composers (Palestrina, Victoria, Lasso), cities (Seville and Granada, Milan), books (calendrically ordered collections, non-liturgical music books) and special portions of the repertoire (motets pro defunctis, instrumental intabulations).

List of figures Music examplesList of tablesList of contributors AbbreviationsAcknowledgements The motet in the post-Tridentine world: an introduction ESPERANZA RODRÍGUEZ-GARCÍA AND DANIELE V. FILIPPI1 Proper to the day: calendrical ordering in post-Tridentine motet booksDAVID CROOK2 Motets, Vespers antiphons and the performance of the post-Tridentine liturgy in ItalyJEFFREY KURTZMAN3 Motets and the liturgy for the Dead in Italy: text typologies and contexts of performanceANTONIO CHEMOTTI4 Motets pro defunctis in the Iberian world: texts and performance contexts OWEN REES5 Palestrina’s mid-life compositional summary: the three motet books of 1569–75 NOEL O’REGAN6 Modality as orthodoxy and exegesis: strategies of tonal organisation in Victoria’s motets MARCO MANGANI AND DANIELE SABAINO7 Beyond the denominational paradigm: the motet as confessional(ising) practice in the later sixteenth century CHRISTIAN THOMAS LEITMEIR8 In search of the English motet KERRY MCCARTHY9 Songs without words: the motet as solo instrumental music after Trent JOHN GRIFFITHS10 The soundtrack for a miracle and other stories of the motet from post-Tridentine Milan DANIELE V. FILIPPI11 Mapping the motet in post-Tridentine Seville and Granada: Repertoire, meanings and functions JUAN RUIZ JIMÉNEZIndex of namesIndex of musical prints

Esperanza Rodríguez-García is currently a post-doctoral researcher at the Universidade Nova de Lisboa (Portugal), working with the project The Anatomy of Late 15th- and Early 16th-Century Iberian Polyphonic Music. She has held research positions at the IMR-University of London (as an Early Career Research Associate), the British Library-RHUL (as a researcher on the project ‘Early Music Online’) and the University of Nottingham (‘Leverhulme Early Career Research Fellow'). Her publications on various aspects of music of the Early Modern period include one music edition, one book and various articles on musical sources, musical institutions and their repertoires, historiography and book history. Her latest contribution (‘Authors, Books, and Readers: Tomás Luis de Victoria’s Missae, magnificat, motecta, psalmi et alia [1600]’) appeared in the volume Makers, Owners and Users of Music Sources before 1600 (ed. Tim Sheppard and Lisa Colton, Brepols, 2017). Daniele V. Filippi is is a Swiss National Science Foundation post-doctoral research fellow at the Schola Cantorum Basiliensis (University of Applied Sciences and Arts Northwestern Switzerland, Academy of Music, Basel, Switzerland). The motet has been part of his scholarly interests since his graduation at the University of Pavia at Cremona (1999) with a dissertation on Palestrina’s Motecta festorum totius anni of 1563. He has researched and published about several early modern composers, including Palestrina, Victoria, de Monte and G.F. Anerio. Among his recent publications are '"Audire missam non est verba missae intelligere…": The Low Mass and the Motetti missales in Sforza Milan' (Journal of the Alamire Foundation 9, no. 1 [2017]) and the book Listening to Early Modern Catholicism: Perspectives from Musicology, co-edited with Michael Noone (Brill, 2017). For more information, see www.selvarmonica.com/.