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Clemens and Vivanco: A Concert of Early Music
From: Columbia University
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George SteelVox Vocal Ensemble |
EDITOR'S INTRODUCTION |
In early European music, both Franco-Flemish and then Italian art were major sources of musical influence. The former gained in importance in the fifteenth century, with musicians such as Jacob Climent, aka Clemens; the latter near the turn of the seventeenth century, with artists such as Sebastian de Vivanco, who incorporated Italian innovations such as the madrigal into the musical tradition. George Steel, executive director of Columbia University's Miller Theater, directs the Vox Vocal Ensemble in a performance of Clemens and Vivanco's music. |
Each song from the concert is accompanied by lyrics and program notes written by George Steel.
Venit Vox de Coelo (à 5) - Clemens
The story of the conversion of Saul.
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Veni Dilecte Mi (à 8) - Vivánco
Vivánco's music shows the influence of innovations from Italy.
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Pater Peccavi (à 8) - Clemens
This motet tells the story of the Prodigal Son's return.
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Christus Factus Est Pro Nobis (à 12) - Vivánco
With 12 voices, this is the largest scoring in the concert.
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Ego Flos Campi (à 7) - Clemens
This motet reveals Clemens' approach to the Song of Songs.
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Cantate Domino Canticum Novum (à 8) - Vivánco
Here, Vivánco paints a vivid image of jubilation.
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Ave Mundi Spes Maria (à 6) - Clemens
This penitential motet sets a prayer of self-abnegation.
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Magnificat (à 8) - Vivánco
This is a splendid setting of the Magnificat that alternates plainchant and polyphony.
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Fremuit Spiritus Jesu (à 6) - Clemens
One of Clemens's outstanding works, Fremuit tells the story of the raising of Lazarus.
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 he great age of Franco-Flemish musical preeminence began in the fifteenth century with composers like Johannes Ockeghem (c. 1410-1497) and Josquin Des Prez (c. 1440-1521). From this great beginning, the Franco-Flemish art flourished so greatly that succeeding generations of Franco-Flemish composers held the finest musical posts across Europe: Adrian Willaert (1490-1562) at St. Mark's in Venice, where his students included Zarlino, Cipriano de Rore and Andrea Gabrielli; Jacobus Vaet (1529-1567), succeeded by Philippe De Monte (1521-1603), in Vienna and Prague, working for Emperor Maximilian II; Nicholas Gombert (1495-1560) succeeded by Thomas Crequillon (c. 1480-c. 1557), working for Emperor Charles V in Spain; and finally, the celebrated Orlando de Lassus (1532-1594), who first worked at St. John's Laeteran in Rome and then in Munich. |
It was only in the second half of the sixteenth century that regional native-born students of the Franco-Flemish masters--thoroughly schooled in the Northern style--began to hold positions of preeminence in their home countries; with this change, regional accents became more pronounced in polyphonic music. As the sixteenth century passed into the seventeenth, Europe's musical center moved south from the Low Countries to Italy. |
Beyond a possible brief stint working for Charles V in Spain, Jacob Climent, aka Clemens "non Papa" (c. 1515-c.1556), spent most of his career at home in the Low Countries. He belongs to the generation following Josquin who fully integrated the older master's innovations into a seamless, polished polyphonic style. Where Josquin is a doorway from the medieval to the Renaissance style, Clemens is fully a Renaissance musician. His works are full of astonishing effects achieved through a contrapuntal craft that is impeccable but never routine. |
Clemens's name is often followed in manuscripts with the words "non Papa," meaning "not Pope [Clement]." Often described as a kind of joke, this nickname might have some political overtones as well. During Clemens's active career, there was a clash of dynasties involving, in Spain, the reigning Holy Roman Emperor, Charles V, himself Franco-Flemish by birth, and in Rome, Guilio de' Medici (the grandson of Cosimo Medici), known as Pope Clement VII (1523-1534). The composer's nickname is meant to distinguish him from this pope. |
During Clemens's early career, Charles V conquered Italy (after a long struggle), defeating an alliance of Francis I of France, Henry VIII of England, and Pope Clement VII. After a triumphal entry into Rome, Charles was crowned by the defeated Pope Clement as emperor and king of Italy. One can imagine, in all this acrimony, that when a scribe copied a work of music attributed merely to "Climent" or "Clemens" he might reasonably add the subscription "non papa" to avoid any misunderstanding. After a while, it seems, the name stuck. |
Sebastián de Vivánco (c. 1551-1622) was born almost exactly when Clemens died. While steeped in the teachings of the Franco-Flemish masters, his music belongs to the Italian-dominated second half of the sixteenth century. His predecessors in Spain included not only the many Franco-Flemish masters working for Phillip II and Charles V but also some local talents. Cristobal de Morales (1500-1553) was an early Spanish talent who moved to Rome, paving the way for the more famous Tomas Luis da Vittoria (1548-1611), who went to Rome later. Vivánco, along with Alonso Lobo (c. 1555-1617), was part of the last generation of Renaissance composers in Spain. |
His work bears the marks of Italian innovations, namely the madrigal and the polychoral traditions of Venice and Rome. For all these innovations, the contrapuntal techniques of the Franco-Flemish masters still held pride of place, even 50 years after Clemens's death. |
George Steel and Vox Vocal Ensemble are grateful to Professor L. Dean Nurenberger of Oberlin, whose work single-handedly brought to light the music of Vivánco. Professor Nurenberger graciously provided scores and his notes to put together this performance.
Many thanks to WNYC, a public radio station based in New York City (AM820/93.9FM), who recorded and broadcast the concert live from St. Paul's Chapel at Columbia University on March 28, 2000.
Credits for WNYC:
Recording Engineers: Edward Haber, Irene Trudel and Wayne Shulmister
Host: John Schaefer
Director: Paul Chuffo
Stage Manager: Chris Catanese
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