Johannes Brassart - Das Leiden Unsers Herren Jhesu Christi (1460)

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Almost every page contains at least one colored illustration. A single full page illustration on page [86] of the crucifixion Signed by Johannes Braxatoris, an alias of contemporary Burgundian composer Johannes Brassart in Elwang (Ellwangen, Germany)Español:Johannes Brassart (también conocido como Jean Brasart) (c. 1400 – alredededor del 22 de octubre de 1455) fue un compositor del Renacimiento perteneciente a la llamada Escuela de Borgoña. Solamente se ha conservado música sacra de su autoría, toda ella representativa del estilo vigente a principios del Siglo XV.BiografíaSe sabe que Brassart nació en la ciudad de Lauw, región de Alsacia, aunque en fecha incierta. Entre 1422 y 1431 frecuentó la iglesia de San Juan Evangelista en Lieja, donde trabajó como acompañante vocal. A mediados de la década de 1420 visitó Roma, ciudad en la que se afincó hacia 1431, empleado en la capilla papal como cantante y probablemente como compositor. Su participación en el coro fue contemporánea a la de Arnold de Lantins y Guillaume Dufay.Durante esta época Brassart compuso el motete «O flos fragrans», que se popularizó al punto de aparecer en varios manuscritos de ese tiempo, así como «Te dignitas presularis».En 1432 Brassart viajó a Basilea, para actuar como cantante en la capilla del Concejo, y dos años después el emperador Segismundo lo empleó como rector de la capilla, puesto que ocuparía hasta 1443. En 1445 vuelve a Lieja, donde obtiene un puesto en la Iglesia de San Pablo. Un escrito del 22 de octubre de 1455 pidiendo súplicas por su alma permite datar su fallecimiento.ObraLa música que se conserva de este período es escasa, y muchos archivos de Lieja resultaron destruidos cuando Carlos el Temerario saqueó la ciudad en 1468. Sin embargo, algunas obras de Brassart se conservan, entre ellas 11 motetes, 8 introitos y varios movimientos de Misas.Sus composiciones son típicas del estilo temprano de la Escuela de Borgoña, e incluyen técnicas de fauxbourdon,1 isoritmia, y la habitual cadenza borgoñesa.2 A menudo utilizó la técnica del cantus firmus, y por lo general escribió las melodías en la voz aguda.Sus introitos se encuentran entre los ejemplos de polifonía más antiguos conocidos para esta sección de la liturgia.ReferenciasNotasFalso bordón (Faux-bordon): frecuente paralelismo 6-3 en dos voces que cantan sobre la melodía en la voz de tenor.Cadencia bajo tercera.BibliografíaMixter, Keith E.: «Johannes Brassart» en New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. Londres: Macmillan, 2001 [1980].Reese, Gustave: Music in the Renaissance. W. W. Norton, 1954. ISBN 0-393-09530-4Wright, Peter: «Johannes Brassart» en Grove Music Online, ed. L. Macy (consultado el 23-01-2005).DiscografíaArnold de Lantins: Missa Verbum Incarnatum. Capilla Flamenca, Psallentes. (Ricercar CD RIC 207) Contiene el motete Ave Maria de Johannes Brassart.English:Johannes Brassart (also Jean Brasart) (c. 1400 – before 22 October 1455) was a Burgundian composer of the early Renaissance. Of his output, only sacred vocal music has survived, and it typifies early 15th century practice.LifeHe most likely was born in the town of Lauw near Tongeren in the province of Limburg, though the date is only known approximately. From 1422 to 1431 he was at the church of St. Jean l'Evangéliste in Liège, where he was a succentor. In the mid 1420s he visited Rome, moving there in 1431, where he was employed in the papal chapel as a singer and probably as a composer as well; he was in the choir at the same time as composers Arnold de Lantins and Guillaume Dufay. During this period Brassart most likely composed the motet O flos fragrans, which was popular enough to appear in several manuscripts of the time, as well as Te dignitas presularis.In 1432 Brassart went to Basle, where he was a singer at the Council chapel, and two years later Emperor Sigismund employed him as rector of the chapel, a post which he retained until 1443.

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)

A Fiftecnth-Century German Evangelary

By MARGARET MUNSTERBERG Ju^ nyj'

THE Library has recently acquired a German manuscript

of the Passion intendecl for populär use rather than for

a church or monastery. It is a finely preserved folio vol-

ume of 109 paper leaves, with more than three hundred illus-

trations and an impressive full-page picture. The book was

written in the middle or latter half of the fifteenth Century; the

German script, two columns to a page, is in a strong, heavy

hand, with rubrics at the heads of sections. Initial letters are

painted red and green; a number enclose sketches of human

faces. Words have occasionally been crossed out and rewritten

;

at the end of the narrative the scribe has replaced the "Amen"in black ink with one in red.

No Compiler or scribe is named, but an epilogue of six leaves,

addressed to a friend named Jos[eph], is signed by Johannes

Braxatoris of Elwang[en], who may have been the Illustrator.

The expert arrangement of Gospel passages and the familiarity

with Church Fathers and scholastics, as well as the translation

from the Latin, suggest that the Compiler received help from

one of the monasteries of the city. This translation is forceful

and simple. A noteworthy characteristic is the frequent use of

Minne — a word associated with Minnelied (love song) rather

than with the Caritas of the Vulgate.

The narrative, which is based on all four Gospels, begins

with the Sunday before Palm Sunday and ends with the Resur-

rection. It is interwoven with commentary and quotations. In

his desire for systematic presentation, the Compiler often re-

sorted to enumeration. For example, there were four succes-

sive ways in which tlie enemies of Jesus plotted to kill him; for

four reasons Christ defended Mary Magdalene's act of anoint-

ing him; fifteen "great things" took place in the house where

the Last Supper was held; for seven reasons Christ bowed his

head on the Gross. "Da ist ein fraug" (there is a question) in-

troduces manj^ a passage of ingenious exposition; and signifi-

cant points are emphasized with the exhortation "Merck"(note!).

The passages beginning with "O" suggest the "seven Os"or "fifteen Os" of the sorrows of Mary in the Books of Hours.The portions pertaining to Mary are of special significance

since, in contrast to the fairly canonical representation of the

rest, they are leg-endary. In medieval Germany the populär

Marian literature took the form of the so-called Marienklagen

(Laments of Mary); and the "Unser Frauen Klage" (OurLad3r's Lament) of the thirteenth Century was especially popu-lär. Besides the lyrical expressions, there were the narrative

Marienleben (Lives of Mary), which had their sources in the

apocryphal Gospels. Most important among the latter is the

Protevangeliimi, or Gospel of James the Minor, designed espe-

cially for the glorification of Mary. Although not accepted bythe Roman Church in ancient times, from the sixth Century onthis gospel was used in medieval homilies. That it was taken

seriously at the time when the Library's volume was made ap-

pears from the Statement (on f.iSr.) : "As we read in the bookof the life of our Lord, which was written by St. James the

Minor, whom Scripture calls a brother of Christ . .."

The manuscript includes comments from more than forty

authorities. The prophets Isaiah and Jeremiah are each quotedat least nine times, the Psalms five times, and there are refer-

ences to Joshua, Solomon, Ezekiel, Job, and the historian Jo-sephits.^The most frequently consulted authority is St. Augus-

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