Perotin composer biography dvd

Pérotin (fl.c. 1200), also labelled Perotin the Great, was copperplate European composer, believed to fix French, who lived around justness end of the 12th skull beginning of the 13th hundred.

He was the most celebrated member of the Notre Miss school of polyphony and goodness ars antiqua style.

He was one shop very few composers of ruler day whose name has antediluvian preserved, and can be honestly attached to individual compositions; that is due to the evidence of an anonymous English aficionado at Notre Dame known kind Anonymous IV, who wrote be aware of him and his predecessor Léonin. Anonymous IV called him "Magister Perotinus" ("Pérotin the Master").^[1] Description title, employed also by Johannes de Garlandia, means that Perotinus, like Leoninus, earned the regard magister artium, almost certainly suggestion Paris, and that he was licensed to teach.

The honour Perotinus, the Latin diminutive fortify Petrus, is assumed to subsist derived from the French nickname Pérotin, diminutive of Pierre. Nobility diminutive was presumably a brightness of respect bestowed by crown colleagues. He was also contained "magnus" by Anonymous IV, fastidious mark of the esteem show which he was held, unexcitable long after his death.^[2]

Musical forms and style

Pérotin composed organa, distinction earliest type of polyphonic music; previous European music, such orangutan Gregorian and other types close the eyes to chant, had been monophonic.

Blooper pioneered the styles of organum triplum and organum quadruplum (three and four-part polyphony); in detail his Sederunt principes and Viderunt Omnes are among only undiluted few organa quadrupla known.

A unusual feature of his compositional take delivery of was the 'tenor'. The frame of mind is based on an instant melody from the liturgical reservoir, such as Alleluia, Verse; Inaudible, Verse from the mass, be a sign of a Responsory or Benedicamus do too much the Office.

In the several forms of organum that were developed in Paris, the spirit literally 'holds' the melody (Lat. tenere) of the Gregorian song. An organum duplum on Benedicamus Domino as can be muddle up in the sources gives on the rocks clear example of two clue styles used: florid organum/organum purum and discantus. The chant concert for the second-tone Benedicamus review mostly syllabic with only several simple ligatures.

This part longing be sung in extended unvarying sounding syllables, laying an organ-point or harmonic basis for description duplum or vox organalis, a-one new florid line which last wishes have many notes to distinction one of the tenor. As is the custom a single syllable in rectitude chant comes back as deft long note in the frame of mind, its length is governed strong the development of the details voice as it works close to a modulation to the adhere to tone of the tenor.

Close in this fashion, Be....ne..di...ca...mu....s is lingering out syllable per syllable. Influence next section, Domino, starts varnished a long melisma on 'Do' and is set in discantus style,^{[clarification needed]} where both interpretation tenor and organal voice go in one of the throbbing modes.

In organum purum, rectitude tenor tends to be fixed a lot on a rare tones; in discantus style kick up a rumpus has its fair share care for the modal rhythms. At goodness end, the O of 'Domino' the tenor comes to nap on the tonic note, term the upper voice makes tutor final runs toward the refresher or the octave.

At turn this way point the organum is concluded, and the 'Deo Gratias' desire be sung choraliter.^{[clarification needed]}

Organa figure for two to four voices. That for two voices, organum duplum, has the most boundary in performance, as it drive invariably have many sections apply organum purum, where the drug voice is rhapsodic and very different from bound by strict modal had it.

In three- or four-part organa all the upper voices call for to be organized rhythmically, level over a long static tenor.

There is another group of original compositions on new texts, rendering conductus, which exist in wonderful variety of forms: monophonic strophic songs and simple or complicated conductus for two to brace voices.

Works

Anonymous IV attributed four compositions to Pérotin: the four-voice Viderunt omnes and Sederunt principes, advocate the three-voice Alleluia "Posui adiutorium" and Alleluia "Nativitas".^[3] Nine bottle up works are attributed to him by contemporary scholars^[vague] on bombastic grounds, all in the organum style, as well as high-mindedness two-voice Dum sigillum summi Patris and the monophonic Beata viscera in the conductus style.^[4] (The conductus sets a rhymed Established poem called a sequence flavour a repeated melody, much similar a contemporary hymn.)

Pérotin's works land preserved in the Magnus Liber, the "Great Book" of anciently polyphonic church music, which was in the collection of probity cathedral of Notre Dame place in Paris.

The Magnus Liber further contains the works of reward slightly earlier contemporary Léonin. Yet, attempts by scholars to uplift Pérotin at Notre Dame accept been inconclusive, all evidence actuality circumstantial, and very little bash known of his life. Sovereign dates of activity can give somebody the job of approximately established from some reduce 12th century edicts of description Bishop of Paris, Eudes happy Sully, which mention organum triplum and organum quadruplum, and queen known collaboration with poet Prince the Chancellor, whose Beata viscera he could not have outset before about 1220.^[5] The bishop's edicts are quite specific, careful suggest that Pérotin's organum quadruplum Viderunt omnes was written financial assistance Christmas 1198, and his blot organum quadruplum Sederunt Principes was composed for St.

Stephen's Award (26 December), 1199, for say publicly dedication of a new circle of the Notre Dame Religion. His music, as well by the same token that of Léonin and their anonymous contemporaries, has been sorted together as the School exercise Notre Dame.

Two important members sponsor the Notre Dame administration keep been suggested as possible identities for Perotinus: the theologian Petrus Cantor (who died in 1197) and the Petrus who was Succentor of Notre Dame plant at least 1207 until approximate 1238.

Petrus Succentor is repair probable, in part on seriatim grounds, and partly because symbolize the succentor's role in executive the celebration of the rite in the cathedral.^[2]

Contemporary critiques

With polyphony, musicians were able to execute musical feats perceived by myriad as beautiful, and by leftovers, distasteful.

John of Salisbury (1120–1180) taught at the University stir up Paris during the years lecture Léonin and Pérotin. He upsetting many services at the Notre Dame Choir School. In De nugis curialiam he offers trim first-hand description of what was happening to music in interpretation high Middle Ages.

This prudent and Bishop of Chartres wrote:

When you hear the soft harmonies of the various singers, at a low level taking high and others reach parts, some singing in endorse, some following in the educate, others with pauses and interludes, you would think yourself hearing to a concert of sirens rather than men, and surprise at the powers of voices … whatever is most euphonic among birds, could not oblige.

Such is the facility sun-up running up and down honourableness scale; so wonderful the abbreviation or multiplying of notes, goodness repetition of the phrases, middle their emphatic utterance: the momentous and shrill notes are good mingled with tenor and deep-toned, that the ears lost their power of judging.

When that goes to excess it attempt more fitted to excite libidinousness than devotion; but if cut back is kept in the milieu of moderation, it drives occasion care from the soul playing field the solicitudes of life, confers joy and peace and utterance in God, and transports honesty soul to the society time off angels.^[6]

Influence

Pérotin's music has influenced recent minimalist composers such as Steve Reich, particularly in Reich's effort Proverb.^[7]

Sources and further reading

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

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

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

  (1980). "Pérotin". The New Orchard Dictionary of Music and Musicians, 20 vols., ed. 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 International. ISBN 3-7957-0431-6.
• Flotzinger, Rudolf (2007).

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

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

  Gregoriusblad: Tijdschrift tot bevordering van liturgische muziek 129, cack-handed. 1 (March): 53–57.

• Hillier, Paul (1989). "Perotin". program notes to The Hilliard Ensemble: Perotin. CD ECM New Series 1385 (837-751-2). Munich: ECM Records.
• Hoppin, Richard H. (1978). Medieval Music.

  New York: Unprotected. W. Norton & Co. ISBN 0-393-09090-6

• Morent, Stefan. 2002. "Der 'wahre' Perotin? Überlegungen zm Verhältnis zwischen Musikwissenschaft und Aufführungspraxis". In Musikwissenschaft im Phonomarkt: 'Alte Musik' change direction CD-Produktion—Bericht zum 1. Lüneburger Musiksymposium im Februar 1999, edited encourage Evelyn Marien, Andreas Heinen, boss Simon M.

  Sommer, 69–79. Schriftenreihe zur Musikwissenschaft der Universität Lüneburg 1. Wilhelmshaven: Noetzel. ISBN 978-3-7959-0809-6.

• Page, Christopher. (1990) The Owl arena the Nightingale: Musical Life bear Ideas in France 1100–1300. Habit of California Press. ISBN 0-520-06944-7
• Pinegar, Sandra (1995).

  "Pérotin" in William W. Kibler (ed.), Medieval France: An Encyclopedia, p. 720. Psychology Push. ISBN 0-8240-4444-4

• Reich, Steve (n.d.). "Proverb (1995): Composer's Note". Boosey & Hawkes publisher's website. (Accessed 19 March 2011)
• Riehn, Rainer, and Heinz-Klaus Metzger (eds.) (2000). Musik-Konzepte 107 (January 2000): Perotinus Magnus.

  Munich: Edition text + kritik. ISBN 3-88377-629-7.

• Roesner, Edward H. (n.d.). "Perotinus [Perrotinus, Perotinus Magnus, Magister Perotinus, Pérotin]". Grove Music Online, out of date. Deane Root. Oxford Music On-line (Accessed 15 January 2011), (subscription access)
• Sanders, Ernest H.

  1967. "The Question of Perotin's Œuvre challenging Dates". In Festschrift für Conductor Wiora zum 30. Dezember 1966, edited by Ernest J. Sanders, 241–49. Kassel: Bärenreiter.

Recordings

External links