Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre. In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest.
Originally published in 1994.
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Table of Contents
Pitch, Clef, and Chord Designations
Ch. 1 Introduction: Orlando di Lasso and the Polyphonic Magnificat 3
Pt. I Liturgical and Cultural Contexts
Ch. 2 Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms 33
Ch. 3 The Patrona Bavariae: Music and the Counter-Reformation in Bavaria 65
Pt. II Compositional Practice
Ch. 4 The Representation of Psalm-Tone Categories in Imitation Magnificats 85
Ch. 5 The Intertextuality of Lasso's Imitation Magnificats 147
Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2 211
Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition 213
Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension 219
Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions 221
Works Cited 279