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Journal of the Alamire Foundation 8 (2016), No. 1 Abstracts Theme Brumel the Composer II Guest Editors: Wolfgang Fuhrmann and Immanuel Ott Brumel’s Masses: Lost and Found Wolfgang Fuhrmann This article offers a preliminary report on new evidence concerning two masses attributed to Antoine Brumel. First, the Missa Anthonii Brumelii sex vocum in the recently rediscovered choirbook Brno, Archiv mesta Brna, Fond V 2 Svatojakubská knihovna, Sign. 15/4 appears in two concordances (Herzog-­‐August-­‐Bibliothek Wolfenbüttel, Codex Guelfianus, A Aug. 2°, and Biblioteca Apostolica Vaticana, Cappella Sistina 57) under the name of Noel Bauldeweyn. Bauldeweyn seems to be the more likely composer. Second, a mass transmitted in the fragmentary partbook set Biblioteka Jagiellonska Kraków, Berlin Ms. Mus. 40634 [olim: Preussische Staatsbibliothek] is ascribed in the source both to ‘Anthonius Braun’ and to ‘Anthonii Brumel’; the question then arises of who the original author was: Brumel or the (otherwise undocumented) Braun. Only two voices survive of this four-­‐voice mass. Nonetheless, the work can be identified as an imitation mass on Antoine Busnoys’s chanson Vous marchez du bout du piè, and can be reconstructed at least partially with some confidence. On the basis of the stylistic features, an inclusion of the mass in the Brumel canon is tentatively advocated. Brumel’s Laudate Dominum de caelis and the ‘French-­‐Court Motet’ Matthew J. Hall The motet Laudate Dominum de caelis, copied in Vatican City, Biblioteca Apostolica Vaticana, Ms. Cappella Sistina 42 c. 1509-­‐12, is distinctive in Brumel’s output, bearing many of the hallmarks of the so-­‐called ‘Milanese’ style. This article addresses its sources, style, and technical construction in the context of some of Brumel’s other motets and in the context of Joshua Rifkin’s recent research on the French-­‐court motet around 1500, as exemplified by the motets of Josquin and Mouton. Analyses of local contrapuntal structures and of the motet’s overall form offer a view of Brumel’s working methods. These considerations lead to a picture of the motet as a product of Brumel’s engagement with a French-­‐court motet repertory in the first decade of the sixteenth century. Brumel’s Chansons in German Sources, and a Lost Voice Recovered Sonja Tröster The number of chansons ascribed to Antoine Brumel is small. As he was mostly active in France and Italy, it is surprising that more than half of this repertory is also present in sources from German-­‐speaking areas. This remarkable strand of transmission has hitherto not been investigated. This article presents new concordances for Brumel’s chansons and proposes channels of transfer to the German cultural sphere. The circumstances in which selected sources originated and the different ways in which some of the compositions were adapted are discussed. Of particular importance is the identification of a contrafact of Brumel’s Le moy de may in the manuscript Basel, Universitätsbibliothek, Ms. F.X.17-­‐20, as the chanson was previously believed to be only fragmentarily preserved in Florence, Conservatorio, Ms. Basevi 2442. This new concordance allowed the recovery of the missing bassus part of one of Brumel’s most interesting chansons. Free papers Style and Idea in Josquin’s Cueur langoreulx John Milsom Like most of his chansons for five or six voices, Josquin’s five-­‐voice Cueur langoreulx is built around a 2-­‐ex-­‐1 fuga-­‐canon. During its opening stages, however, the canon is in fact an ingenious 4-­‐ex-­‐1 structure made wholly from stretto fuga, in which each canonic voice, when reduced to first-­‐species counterpoint, follows its predecessor after a single note or unit. This study starts by surveying Josquin’s researches into the possibilities of stretto fuga in his music at large. It then proposes that their culmination at the start of Cueur langoreulx may arise from Josquin’s reading of the chanson’s literary text, which at face value speaks of the fulfilment of human love, but which might also celebrate the composer’s final attainment of a desired musical goal. A Sixteenth-­‐Century Example of Josquin Emulation: The Anonymous Missa Cueur langoreulx and its Source Zoe Saunders Among the twenty-­‐two anonymous masses contained in the so-­‐called Alamire manuscripts is an unedited canonic, five-­‐voice Missa Cueur langoreulx. The mass is unique to MontsM 766 (a manuscript thought to have been sent to Charles V in Spain). The model for this mass is identified as a chanson by Josquin des Prez and the relationship between the mass and its model is examined. An analysis of MontsM 766 suggests a purpose and theme of the manuscript, and situates the Missa Cueur langoreulx in the context of its sole source. In order to determine the composer’s working methods and to relate the mass to sixteenth-­‐century polyphonic tradition, this paper explores the anonymous composer’s treatment of his borrowed material, as well as the modal, mensural, and thematic structure of the mass in comparison to that of the chanson. In addition to bringing a previously unknown mass based on a little-­‐discussed chanson by a major Renaissance composer to attention, this study refines our knowledge of polyphonic borrowing and of techniques of canonic writing. Who Composed the Missa Cueur langoreulx? The Case for Mathurin Forestier John Milsom and Zoe Saunders The anonymous five-­‐voice Missa Cueur langoreulx, which survives uniquely in a manuscript emanating from the atelier of Petrus Alamire, is an early example of a mass based on a polyphonic work by Josquin des Prez. At its heart lies an ingenious suite of ever-­‐changing fuga-­‐canons that rework and develop the one on which Josquin structured his five-­‐voice chanson Cueur langoreulx. Through analysis of the canons and critical scrutiny of the polyphony, we conclude that the Missa Cueur langoreulx may be by the enigmatic Mathurin Forestier, an early sixteenth-­‐century composer who lacks a secure biography, but who is known from his attributed works to have had a keen interest both in complex canons and in Josquin’s music, and whose masses feature in a number of Alamire manuscripts. Research and Performance Practice Forum Reconstructing Antoine Brumel: How to Bring the Chanson Dieu te gart, bergere Back to Life Oliver Korte Antoine Brumel’s four-­‐part chanson Dieu te gart, bergere—a work regarded as ‘most advanced’ by Barton Hudson—has survived in one manuscript only, a set of partbooks of which the bassus has been lost. In order to enable performance of the piece, the article offers a reconstruction of the missing part. The specific strategies employed are discussed, and some general conclusions are drawn concerning possibilities and limitations of reconstructing music from around 1500.