The Music of Juan De Anchieta by Knighton Tess;Kreitner Kenneth;

Author:Knighton, Tess;Kreitner, Kenneth;
Language: eng
Format: epub
Publisher: Taylor & Francis (CAM)
Published: 2019-02-26T16:00:00+00:00

Example 3.8 In passione Domini (anon.), mm. 62–77.

This striking approach to the setting of this particular phrase—“acetum, fel, arundinem”—might indicate that the motet was sung at the moment when this occurred in the Passion as recalled during contemplation of the Monument on Good Friday, a practice observed in chapels and churches throughout the Iberian Peninsula. The enumeration of the instruments of the Passion, not only the vinegar and gall but also the crown of thorns, cross, nails, spear, and wounds, would also make this setting appropriate to the mass of St. Gregory, and so an aural counterpart to depictions thereof, but further research is needed into this aspect of devotional practice in court circles.52

It was briefly discussed at the start of this chapter that, given the almost certainly erroneous attribution to Compère of O bone Jesu by Petrucci, other motets by Spanish composers might be preserved in non-Iberian sources either anonymously or with erroneous attributions. The anonymous motets of Petrucci’s Motetti B have already been mentioned in this context, as being stylistically similar, but it is difficult to identify any single motet as “Spanish.” I have elsewhere proposed that the lament Musica quid defles on the death of Alexander Agricola preserved in Georg Rhau’s Symphoniae Jucundae of 1538 might well be attributable to a Spanish composer such as Anchieta.53 Agricola died in Spain in the late summer of 1506, while in the service of Philip the Fair, and Anchieta was closely associated with the Burgundian chapel choir at that time (see Chapter 1). The hommage to Agricola, with its opening exordium, through-composed structure based on textual phrasing, the use of the rhetorical devices such as those found in Anchieta’s Passion-related motets—declamatory homophony and the use of rests in all voices—as well as the short-breathed exchanges, varied in vocal texture and, at times, was fleetingly imitative, and the type of cadential progressions, all point toward a piece by a Spanish composer, possibly by Anchieta himself. The opening of the motet provides a good point of reference (Example 3.9).

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