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Carolus Luython, Collected Works

 

CAROLUS LUYTHON (1557/58–1620), Collected Works, edited by Carmelo Peter Comberiati and Nicholas Johnson.

Carolus Luython (ca. 1557—1620) spent most of his career as organist and composer at the Habsburg Imperial court in Vienna and Prague in the chapels of the Holy Roman Emperors Maximilian II and Rudolf II. His work is representative of the techniques of the late Renaissance, including examples of the expanded harmonic palette, as well as the alteration of imitative counterpoint and post-Palestrinian homophonic textures typical of the Counter Reformation. Luython is known for his instrumental works for keyboard, the well-documented conflict he had with Albrecht Rudner in the rebuilding of the Prague Cathedral organ between 1581 and 1590, and for his “clavicimbalum universal,” which after a visit to Luython, Michael Praetorius described in Syntagma Musicum, vol. 2, De Organographia (Wolfenbüttel: Elias Holwein, 1618) as having nineteen notes to the octave.
Luython’s major published vocal works comprise most of his oeuvre and include a book of five-voice madrigals on texts by Petrarch (Venice: Angelo Gardano, 1582), a collection of six-voice motets (Prague: George Nigrinus, 1587), a collection of six-voice sacred songs (Prague: George Nigrinus, 1603), a six-voice set of Lamentations for the Prophet Jeremiah (Prague: George Nigrinus, 1604), and a book of nine polyphonic Mass Ordinaries for three to seven voices (Prague: N. Straus, 1609). His works represent a broad cross section of genres in Vienna and Prague and how the tastes of these important Northern courts for Italian musical models was realized locally at the highest level and rewarded.

CMM 113-1 Cover

Contents and sample pages (PDF)

CMM 113, Vol. 1, Liber primus Missarum.

Edited by Carmelo Peter Comberiati and Nicholas Johnson.

CMM 113–1     978-1-59551-517-9
lv + 264 pp.   35 cm        $179.00

Luython's last published music, the Liber primus Missarum (Prague, 1609), contains nine polyphonic settings of the Ordinary of the Mass, which demonstrate cantus firmus and parody techniques based upon significant sacred and secular models available to the chapel. The collection pays homage to Luython’s mentor, Philippe de Monte, in the parody works and to Emperor Rudolf II in the seven-voice dedication Mass based upon a non-liturgical text that could represent a hermetic synthesis between astrological and mystical elements that were current in court culture. The collection also includes four settings identified as Quodlibet Masses by Luython, which were derived from unidentified models and constructed in a technique similar to the parody masses.

Contents
Acknowledgements   viii
Abbreviations   ix
Literature   x

Luython's Career in the Context of the Imperial Court (Comberiati)   xv
   Biographical Background   xv
   The Liber primus Missarum of 1609   xv
   The Dedication Mass   xix
   Parody Masses Modeled on Works by Philippe de Monte   xxi
   The Quodlibet Masses   xxvi
Imperial Music in the Context of Intellectual History (Johnson)   xxviii
   Hermetic Philosophy and Luython at the Court of Rudolf II   xxviii
   Hermeticism and Music in Rudolf's Prague   xxviii
   Hermeticism and Luython   xxxiii
Editorial Methods   xxxix
Critical Commentary   xl
Plates   xlv

Carolus Luython, Masses from the Primus liber Missarum and Their Models
1. Missa Septem Vocum, super Basim: Caesar vive   3
2. Missa Sex Vocum, super Filiae Hierusalem   36
      Filiae Jerusalem, nolite flere, Philippe de Monte   67
3.   Missa Sex Vocum, super Amorosi pensieri   72
      Amorosi pensieri, Philippe de Monte   103
4.   Missa Quodlibetica Sex Vocum   108
5.   Missa Quinque Vocum, super Ne timeas, Maria   145
      Ne timeas, Maria, Philippe de Monte   170
6.   Missa Quinque Vocum, super Tirsi morir volea   178
      Tirsi morir volea, Philippe de Monte   199
7.   Missa Quodlibetica Quatour Vocum   206
8.   Missa Quodlibetica Quatour Vocum, ad aequales   228
9.   Missa Quodlibetica Trium Vocum   247

 

2018-11-12  

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