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THE PARODY TECHNIQUE IN THE WORKS OF RENAISSANCE COMPOSERS FROM THE GDANSK AREA

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Leszczynska A.

Musicology Today

2006

vol. 3

75-92

In manuscripts written in Gdansk and Elblag at the turn of the 16th and 17th centuries from 'Biblioteka Gdanska' of the Polish Academy of Sciences and from the University Library in Torun there is a number of masses of the parody type. Most of them are copies of compositions printed in Western Europe, but some are works of musicians with links to Royal Prussia. Two Masses by Johannes Wanning and two by Johannes Celscher exemplify different approaches to the technique. The latter's 'Missa Domine quid multiplicati sunt' is a parody of the 16th century motet by Orlando di Lasso. Of Wanning's two Masses, one refers to a Palestrina's madrigal, the other, 'Missa Dormiend ung iour', is interpreted by the authoress as referring both to a Verdelot's madrigal and a chanson by Orlando di Lasso, which makes it a rare example of such an approach. Methods and character of the quotations, specific features of the parody technique, as well as some formal devices are discussed in the four Masses, as well as in relation to other Mass repertoire of the Gdansk area.

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THE PARODY TECHNIQUE IN THE WORKS OF RENAISSANCE COMPOSERS FROM THE GDANSK AREA