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Johannes Ciconia

December 30, 2022

Johannes Ciconia (c. 1370 – between 10 June and 13 July 1412) was an important Flemish composer and music theorist of trecento music during the late Medieval era. He was born in Liège, but worked most of his adult life in Italy, particularly in the service of the papal chapels in Rome and later and most importantly at Padua Cathedral.

Part from Ciconia's Merçé o morte

Life

He was the son of a priest (also named Johannes Ciconia) and a woman of high social standing. Since at least three other men around Liège had that name as well, this has created biographical confusion, first solved by David Fallows in 1975. A Johannes Ciconia, probably the composer's father, worked in Avignon in 1350 as a clerk for the wife of Pope Clement VI's nephew. Another Johannes Ciconia is recorded in Liège in 1385 as a duodenus, generally identifying a person of young age; scholars agree that this is the composer himself.

Papal records suggest that Ciconia was in the service of Pope Boniface IX in Rome in 1391. His whereabouts between the early 1390s and 1401 are unknown. From 1401 until his death in 1412, he was connected to the cathedral of Padua in some capacity. However, it is unclear whether Ciconia arrived in Padua even earlier than 1401. His lament Con lagrime bagnadome is described in one source as written for the death of Francesco of Carrara - if this refers to Francesco il Nuovo ("the New"), it would date from after 1406; if, however, it was written for the death of Francesco il Vecchio ("the Old"), as scholars have assumed, this would place him in Padua as early as 1393. There is also the possibility of an intermediate stay in Pavia (as suggested by the scholars John Nádas and Agostino Ziino), on the grounds that this is where he would have connected with the House of Visconti and acquired knowledge of the ars subtilior style and the compositions of Philippus de Caserta quoted in his Sus un fontayne ("Under a fountain") (see below).[1]

Music

 
O Padua, sidus praeclarum
This is a motet performed using MIDI (2:37).
Problems playing this file? See media help.

Ciconia's music is an eclectic blend of styles. Pieces typical of northern Italy, such as his madrigal Una panthera, appear with pieces steeped in the French ars nova. The more complex ars subtilior style surfaces in Sus un fontayne. While it remains late medieval in style, his writing increasingly points toward the melodic patterning of the Renaissance, for instance in his setting of O rosa bella. He wrote music both secular (French virelais, Italian ballate and madrigals) and sacred (motets and Mass movements, some of them isorhythmic) in form. He is also the author of two treatises on music, Nova Musica and De Proportionibus (which expands on some ideas in Nova Musica). His theoretical ideas stem from the more conservative Marchettian tradition in contrast to those of his Paduan contemporary Prosdocimus de Beldemandis.

Although contrafacts and later manuscript sources of his compositions suggest that he was well known in Florence, his music is scarcely represented in major Florentine sources of the period; for instance, the Squarcialupi Codex contains nothing by Ciconia. But on the other hand, many of his motets and Mass movements are included in the manuscript known as “Bologna MS Museo Internazionale e Biblioteca della Musica Q15”.

Recordings

References

  1. ^ John Nádas and Agostino Ziino, The Lucca Codex (Codice Mancini): Introductory Study and Facsimile Edition (Lucca: Libreria Musicale Italiana, 1990), p. 43.

Further reading

  • Giuliano Di Bacco, John Nádas, Margaret Bent and David Fallows, "Ciconia, Johannes." S.v. in The New Grove Dictionary of Music and Musicians, 2nd Edition (London: Macmillan, 2001).
  • Suzanne Clercx (later Clercx-Lejeune), Johannes Ciconia: Un musicien liégeois et son temps (Vers 1335-1411), Vol. 1. La vie et l'œuvre, Vol. 2. Transcriptions et notes critiques (Bruxelles: Palais des Académies, 1960).
  • Albert Dunning, "Low Countries", Grove Music Online, accessed 28 October 2010 (subscription required).
  • Richard H. Hoppin, Medieval Music (New York: W.W. Norton & Co., 1978).
  • Philippe Vendrix, ed., Johannes Ciconia: musicien de la transition (Turnhout, Belgium: Brepols, 2003).
  • Arlt, Wulf [de] (1973). "The Development of French Secular Music during the Fourteenth Century". Musica Disciplina. 27: 41–59. JSTOR 20532157.{{cite journal}}: CS1 maint: multiple names: authors list (link)

External links

December 30, 2022
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Johannes Ciconia c 1370 between 10 June and 13 July 1412 was an important Flemish composer and music theorist of trecento music during the late Medieval era He was born in Liege but worked most of his adult life in Italy particularly in the service of the papal chapels in Rome and later and most importantly at Padua Cathedral Part from Ciconia s Merce o morte Contents 1 Life 2 Music 3 Recordings 4 References 5 Further reading 6 External linksLife EditHe was the son of a priest also named Johannes Ciconia and a woman of high social standing Since at least three other men around Liege had that name as well this has created biographical confusion first solved by David Fallows in 1975 A Johannes Ciconia probably the composer s father worked in Avignon in 1350 as a clerk for the wife of Pope Clement VI s nephew Another Johannes Ciconia is recorded in Liege in 1385 as a duodenus generally identifying a person of young age scholars agree that this is the composer himself Papal records suggest that Ciconia was in the service of Pope Boniface IX in Rome in 1391 His whereabouts between the early 1390s and 1401 are unknown From 1401 until his death in 1412 he was connected to the cathedral of Padua in some capacity However it is unclear whether Ciconia arrived in Padua even earlier than 1401 His lament Con lagrime bagnadome is described in one source as written for the death of Francesco of Carrara if this refers to Francesco il Nuovo the New it would date from after 1406 if however it was written for the death of Francesco il Vecchio the Old as scholars have assumed this would place him in Padua as early as 1393 There is also the possibility of an intermediate stay in Pavia as suggested by the scholars John Nadas and Agostino Ziino on the grounds that this is where he would have connected with the House of Visconti and acquired knowledge of the ars subtilior style and the compositions of Philippus de Caserta quoted in his Sus un fontayne Under a fountain see below 1 Music Edit O Padua sidus praeclarum source source This is a motet performed using MIDI 2 37 Problems playing this file See media help Ciconia s music is an eclectic blend of styles Pieces typical of northern Italy such as his madrigal Una panthera appear with pieces steeped in the French ars nova The more complex ars subtilior style surfaces in Sus un fontayne While it remains late medieval in style his writing increasingly points toward the melodic patterning of the Renaissance for instance in his setting of O rosa bella He wrote music both secular French virelais Italian ballate and madrigals and sacred motets and Mass movements some of them isorhythmic in form He is also the author of two treatises on music Nova Musica and De Proportionibus which expands on some ideas in Nova Musica His theoretical ideas stem from the more conservative Marchettian tradition in contrast to those of his Paduan contemporary Prosdocimus de Beldemandis Although contrafacts and later manuscript sources of his compositions suggest that he was well known in Florence his music is scarcely represented in major Florentine sources of the period for instance the Squarcialupi Codex contains nothing by Ciconia But on the other hand many of his motets and Mass movements are included in the manuscript known as Bologna MS Museo Internazionale e Biblioteca della Musica Q15 Recordings EditJohannes Ciconia Oeuvre integrale Huelgas Ensemble Pavane 1982 Johannes Ciconia Opera omnia La Morra and Diabolus in Musica ensemble Ricercar 2011 References Edit John Nadas and Agostino Ziino The Lucca Codex Codice Mancini Introductory Study and Facsimile Edition Lucca Libreria Musicale Italiana 1990 p 43 Further reading EditGiuliano Di Bacco John Nadas Margaret Bent and David Fallows Ciconia Johannes S v in The New Grove Dictionary of Music and Musicians 2nd Edition London Macmillan 2001 Suzanne Clercx later Clercx Lejeune Johannes Ciconia Un musicien liegeois et son temps Vers 1335 1411 Vol 1 La vie et l œuvre Vol 2 Transcriptions et notes critiques Bruxelles Palais des Academies 1960 Albert Dunning Low Countries Grove Music Online accessed 28 October 2010 subscription required Richard H Hoppin Medieval Music New York W W Norton amp Co 1978 Philippe Vendrix ed Johannes Ciconia musicien de la transition Turnhout Belgium Brepols 2003 Arlt Wulf de 1973 The Development of French Secular Music during the Fourteenth Century Musica Disciplina 27 41 59 JSTOR 20532157 a href Template Cite journal html title Template Cite journal cite journal a CS1 maint multiple names authors list link External links EditFree scores by Johannes Ciconia in the Choral Public Domain Library ChoralWiki Free scores by Johannes Ciconia at the International Music Score Library Project IMSLP Johannes Ciconia Discography at A Viola da Gamba Weblog Johannes Ciconia Discography at Musiciens Wallons Retrieved from https en wikipedia org w index php title Johannes Ciconia amp oldid 1091429485, wikipedia, wiki, book, books, library,

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