Abstract |
After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, the author focuses on the forty parody or imitation Magnificats, which Lasso based on preexistent motets, madrigals, and chansons written by numerous composers, including Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, the author opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music. The author 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, the author 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, the author, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest. |