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  1. 2 Muzyka

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  1. 1 Gancarczyk P.

  2. 1 Staehelin M.

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  1. 2 2004

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THE LINKS BETWEEN THE STRAHOV CODEX AND AUSTRIA AND THE IMPERIAL COURT OF FREDERICK III

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Gancarczyk P.
Muzyka
|
2004
|
vol. 49
|
issue 2(193)
79-88
EN
One of the most interesting research tasks relating to the Strahov codex (dated 1467-1470) is establishing its provenance. Until now the areas considered likely included eastern Silesia or the Bohemian-Silesian borderland (Plamenac, Snow), Moravia, particularly Olomutz and, more recently, the Catholic part of southern Bohemia (Cerny, Mrácková). In this paper the author discusses the links between the Strahov codex and Austria and the imperial court of Frederick III, which throw some light on the manuscript's provenance. Evidence for the existence of such links is provided by the following facts: 1) repertory and codicological kinship with the Trent codices, which has often been referred to in the literature; 2) repertory kinship with the older part of the Leopold codex (dated 1466-1470) - at various points in the Strahov codex one finds six of the works from the fascicle II of the Leopold codex; 3) the presence of 11 works by Johannes Touront who, according to a previously overlooked document, was chaplain to the court of Frederick III. Until this time we had no biographical data relating to Johannes Touront. However, a document dated 3rd July 1460 concerning this composer is preserved at the Vatican. The document tells us that: 1) Touront was chaplain to Emperor Frederick III in 1460; 2) he received a prebend at the Church of Our Lady in Antwerp; 3) he was a cleric of the Tournai diocese. The form of his surname used in the document ('Tourout') leads to supposition that he came from Thourout (now Torhout) in eastern Flanders (Tournai diocese). The new source gives us a reason why Touront's works were so popular in Central Europe, and its date coincides exactly with the date of the first records of his compositions in manuscripts Trent 89, Trent 88 and Schedelsches Liederbuch. It seems probable that the composer remained in this region for a while after 1460, as a number of his new works appeared around 1470 in the Strahov codex and in the Buxheimer Orgelbuch. The document also allows one to hypothesise that Touront might have had some closer connections with Antwerp at the time when Johannes Pullois was active there, particularly as, at an earlier time, a Johannes van Tourhout (d. 1438) was a singer in Antwerp. Perhaps he may have been a relation of our Touront (vel Tourout).
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PETRUS WILHELMI DE GRUDENCZ: NOTES ON THE COHERENCE OF HIS BIOGRAPHY, HIS WORK AND ITS TRANSMISSION

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Staehelin M.
Muzyka
|
2004
|
vol. 49
|
issue 2(193)
9-19
EN
Since a recent archival discovery it has been known that Petrus Wilhelmi de Grudencz was 'Friderici imperatoris cappelanus'. It is remarkable that, in spite of having worked as a composer, he was not named as an imperial 'cantor' in the document in question, which dates from 1452. This is surprising, because many chapel singers who were documented in the archives of the imperial residence would be called 'domini Federici romanorum imperatoris semper augusti cantor' expressly, or described in similar terms. Incidentally the latter also holds true, as shown by another new archival discovery, for Johannes Touront (the relevant text appears in the appendix of the paper), who was proved first as imperial singer, which finally explains the Central European transmission of his compositions. However, the difference in the descriptions of the two musicians also documents the different position of Petrus Wilhelmi at the imperial residence. The reason lies in the following institutional tradition: originally, members of a court 'capella' would include all those chaplains who took responsibility for spiritual life and, in consequence, also for the religious chant. However, as early as 1336, Pope Benedict XII had separated those chaplains who would embellish the divine service professionally from the entire 'capella', and Petrus Wilhelmi was not, unlike Touront and his colleagues, among those professional 'cantors'. This difference explains some of the idiosyncrasies in the biography of Petrus Wilhelmi - as far as those are identifiable: apparently, a 'cappellanus' was not obliged to keep compulsory attendance at the imperial residence, which might explain the sojourns of Wilhelmi in Wroclaw or Bialogarda to the west of Gdansk, evidence of which has been found in the archives. Further evidence is provided by some of the differences which appear in the transmission of musical works of Petrus Wilhelmi and Touront. These differences, rather than reflecting the geographical diversification of Central European sources, concern the types of manuscripts and repertories in which those works appear, and in this way their musical genres and styles. There must have been a determining relationship between the events in Wilhelmi's vita, his musical output and the transmission of his compositions, very much as in the case of Touront.
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