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Aspects of text and performance

Ian Rumbold and Reinhard Strohm

The French language is virtually avoided in the Leopold codex. Only four French text incipits occur, indicating borrowed melodies. 21 pieces entirely lack text and title; for a few others the omitted text can be inferred (no. 33, De tous biens) or a cantus firmus remains unidentified (the large bipartite motet ‘P’, no. 56). Many other items, particularly in the second section, have extremely little underlaid text, not only in the lower voice-parts and for Mass Ordinary sections or antiphons whose words are well-known, but also for motets such as O propugnator miserorum (no. 80), the second part of which is notated entirely without words; no other source of this specially written text is known today. The majority of the insufficiently texted compositions are motet-like in form, not secular songs whose words might have been familiar.

The avoidance of French songs contrasts with the repertory of the ‘Linz fragments’ (A-LIb Ms. 529), which, despite being a much smaller, incomplete source, contain eight of them. It is tempting to conclude that the Linz fragments came from a courtly manuscript, used partly by foreign musicians, whereas the Leopold codex served a school environment. Textless pieces, however, are found in both these sources, raising the question whether they were used by instrumentalists.[31] The musical establishments of Archduke Siegmund and King Maximilian had ample use for skilled instrumentalists.[32] Performative collaboration between singers, trombonists and cornettists (musica alta) is documented, for example, in descriptions of the Innsbruck liturgical services of 1503 (» I. Kap. Church music at St Jacob’s). In secular surroundings, players of soft instruments would serve together with solo singers at any time, using secular, sacred and motet-like pieces alike.

It remains to be considered whether textless pieces or voice-parts might have been vocalised or even sung with words after rehearsal under the instructions of a teacher or cantor. That some expert knowledge needed to be applied before the notated music could be performed seems borne out also by some cases of a singular textual adaptation or rewriting. The unique variant ‘Natus sapientia’ of the well-known prayer text ‘Patris sapientia’ may be such a case. Isaac’s motet Argentum et aurum is structurally built upon a single text sentence, whose liturgical melody is repeated throughout the work. The Leopold scribe, however, added an extra responsory text which fits the feast (of St Peter and Paul), but its plainsong is absent from the layout of the music: a secular composition was transformed here into a liturgical motet.[33]