Antoine Brumel and His World of Musical Expression
It is no accident that the renowned French doctor and author François Rabelais (c. 1494-c. 1553) cited Brumel in his Quart livre des faicts et dicts héroîques du bon Pantagruel
(1552). Rabelais recalled among other things the "chantans
mélodieusement" that the "old masters" and Brumel, possessed. It is one
of the many accounts provided by observers inside or outside the world
of music underscoring the fact that Brumel was a well-known personality
in his day, someone more widely spoken and heard of (then?) than he is
today.
The Italian poet Teofilo Folengo (1496-1544)
described Brumel as one of the greatest and most celebrated singers of
his day in his Le Maccheronee, a chronicle which was drawn up
in Latin-Italian style. Eloy d'Amerval, a contemporary of Brumel and a
master vocalist and composer in Orléans, wrote a chronicle entitled Le Livre de la deablerie
at the end of the fifteenth century. When Eloy d'Amerval describes the
joy of paradise, Brumel is also mentioned: he is one of the greatest of
artists, one who delights paradise with "[...] quelque chanterie
nouvelle, doulce, plaisante, devoste et belle [...]" (a new style of
singing: sweet, pleasant, devout and beautiful). The eccentric Brumel
was also the subject of vehement dispute in musical circles. In his
tract Practica Musicae (1496), Franciscus Gafurius (1451-1522)
ascribed a compositional peculiarity to Brumel, namely, the setting of
the accompanying bass line a tenth below the upper voice. In 1553,
Gregor Faber (c. 1520-?) printed another product of Brumel's brilliant
imagination in his book Musices Praticae Erotematum Libri II - the Exemplum octo Modorum, in which each voice is written in a different mode!
During the whole of the sixteenth century much was said about Brumel.
Even in 1597, Thomas Morley referred to Brumel in his book A Plaine and Easie Introduction to Practicall Musicke
as one of the "practicians", whose works he had thoroughly analyzed in
order to learn the proper application of modes. In the third part of
his guide, Morley wrote, moreover, that only Josquin Desprez
(1440-1521) and Brumel were able to teach one everything about older
canonic techniques. The Swiss humanist and friend of Erasmus, Heinrich
Glareanus (1488-1563), repeatedly referred to Antoine Brumel in his
monumental work Dodekachordon (1547), calling him "extremely
traditional". Five of Brumel's compositions are cited as examples.
Glareanus referred to Brumel's mass De Beatissima Virgine as a masterpiece, "worthy of a great man".
The Venetian music printer Ottaviano Petrucci (1466-1539), the first
to print polyphonic music, published works by Brumel in his first
collection (Harmonice Musices Odhecaton A, 1501). A printed
collection followed in 1503 which was completely devoted to Brumel's
masses. In addition, it is noteworthy that Orlando di Lasso (1532-1594)
performed Brumel's monumental mass ET ECCE TERRAE MOTUS more than fifty
years after his death. Di Lasso, who performed the part of "tenor
secundus" himself, also prepared the performance and wrote the name of
each singer next to the corresponding staff in the score. The Munich
manuscript for this performance is the sole surviving copy of this
masterpiece by Brumel (with the exception of the Agnus Dei II).
Who was this Antoine Brumel? He was a difficult person in every
respect and a selfwilled and eccentric composer. A difficult
personality is not unusual for a musician, yet his idiosyncrasy was
recognized even in his own lifetime.
Brumel was born near
Chartres circa 1460 and was not a Burgundian subject. Like many of his
colleagues, he led an adventurous and restless life. Our first trace of
him dates back to 1483 when he was mentioned as a singer at the
cathedral of Chartres. Was it there, perhaps, that he adopted the
Gothic sense of line and the flamboyant (late Gothic) sense of space,
in order to retain and express them in his compositions? In Chartres,
Brumel quickly gained recognition and soon received a salary increase
"[...] à cause de son savoir" (on account of his knowledge). He
remained there for a further three years, resettling in Geneva in 1492.
Brumel had previously taken a year's leave of absence to visit the Duke
of Savoy, who had offered him a position in Chambéry. In 1498, Brumel
was appointed Cantor Princeps for the choirboys at Notre Dame Cathedral
in Paris. Following a dispute with his employer in the same year, he
was forced to flee the city. He was later engaged as a singer in
Chambéry, where he remained for two years (1501-1502).
In
the meantime, Brumel's compositions had become known far beyond the
French national borders and he was thus summoned to Italy. From 1505 to
1510, he held the position of maestro di cappella (court music
director, at the court of Alfonso d'Este I in Ferrara, one of the
greatest centers of musical activity during the Italian Renaissance.
Brumel was offered a generous contract: a benefice of 100 ducats per
year, an annual salary of 100 ducats plus a house in Ferrara, and an
annual travel allowance of 50 ducats.
In regards to Italian
musical life, what Brumel found in Ferrara was unsurpassable. Alfonso
I's predecessor had already been termed "dell'arte nostro vero monarca"
(of the arts, our true monarch). The court continually exchanged
compositions and musicians with the other "Mecca" of music nearby, the
Gonzaga court in Mantua. Brumel's predecessor was none other than
Josquin, who left him a court chapel with 23 singers. Even Charles VIII
found, that "i migliori suonatori di piffero, flauto e trombone" were
to be found in Ferrara.
After his five years of service in
Ferrara, Brumel remained in Italy. He settled in Rome for some time,
where news of his reputation had preceeded him. One of the most
magnificent choral collections of the Vatican, The CHIGI-Codex,
contains works by Brumel. The Roman music printer Antico regularly
published his compositions from 1516 onwards. The fact that neither the
date nor the place of Brumel's death is known fits the picture of his
independent personality: through his music, he has attained immortal
status in the eyes of his biographers.
According to the
standards of his time, Brumel's music knows no boundaries, is daring
and never strictly academic. Whether this concerns imaginative musical
structures, the working-out of counterpoint or the writing of
repetitive forms - it is always more or less "outrageous".
The most fascinating of Brumel's works is without a doubt his
twelve-part mass ET ECCE TERRAE MOTUS. As already mentioned, this mass
survived as part of a manuscript prepared in Bavarian court circles
under the supervision of Orlando di Lasso. Di Lasso probably found this
music in Alfonso I's estate. He was fascinated by the visionary tonal
splendor of the piece, and he had the mass copied in a large choirbook
format suitable for the court chapel. The original was probably lost.
The copy is written most carefully and demonstrates typical
characteristics of a professional's handwriting. Melismatic elements of
the text (e.g. in the Kyrie) are completely absent. As the last three
pages of the manuscript are badly damaged, several parts of the Agnus
Dei I are missing. They have been reconstructed by signatories. This
task was facilitated by numerous indications of canons in the work and
the fact that twelve-part harmony based on triadic progressions only
offers a limited choice of notes to be used in any case. The Agnus Dei
II, missing from the Bavarian manuscript (or was it never performed by
Di Lasso?) was miraculously discovered in a manuscript kept in Denmark
during the sixteenth century which cannot be connected in any way with
Di Lasso's or Brumel's circles.
Brumel's twelve-part
harmony is not structured in a traditional manner, but rather is made
up of twelve equal voices that are divided according to vocal function
into four groups of three voices each. Each part has a characteristic
vocal register. Group I contains three superious parts. Group II is
made up of three high tenor voices (i.e. no countertenors), while Group
III consists of "normal" tenors and Group IV is composed of three bass
parts. Each of the three voices within each group comprises the same
vocal register; their lines constantly cross one another, however. In
addition, Brumel, who is especially interested in a daring, virtuosic
interplay of contrapuntal lines, employs the crossing of voices between
groups. In certain passages (e.g. in the Credo at the words
"invisibilium" and "sedet ad dexteram") a bass voice not only rises
above the entire tenor group, but even above all the countertenors, as
well.
The six tenor parts (three high and three "normal")
make up the tightly-structured core of the polyphony. Odd melodic
progressions and the crossing of voices are not unusual in these parts.
The high second tenor has the same register, for the most part, as the
third tenor and goes down to a low A. The high tenor parts are called
countertenors in the manuscript, but should not be confused with what
today is considered the characteristic countertenor voice. The Tenor
III part, in contrast, extends down to a low F and lies lower at that
point than all the bass lines. It is hard to imagine the vocal
virtuosity Brumel was envisioning while composing this mass. Melodic
leaps of an octave regularly occur. The vocal ranges are pushed to
extremes and some passages are only performable by using Renaissance
vocal techniques such as falsetto and changes in vocal color.
The twelve-part mass is built on a cantus firmus derived from the
beginning of the Easter antiphon ET ECCE TERRAE MOTUS. Brumel actually
restricts his cantus firmus material to the first seven tones of the
antiphon. Further tones are added only in the cantus firmus of the
Agnus Dei IL Brumel adopted the G mode from Gregorian chant. All parts
of the mass were composed in the seventh mixolydian mode with the
exception of the Christe and the Agnus Dei II, both of which constitute
middle sections and end on C chords.
Although the
seven-tone cantus firmus appears in various kinds of small
configurations, its basis is a three-voiced canon in long note values
for the Tenor I and II and the Bass III parts. Brumel composed the most
sophisticated but also the most cabbalistic cantus firmus canon for the
Agnus Dei I. The Tenor II begins the "Et ecce terrae motus" on G
(gg-e-g-a-gg). This passage is sung a tone higher with each repetition
until the cantus firmus is finally sung at its original pitch level
(dd-h-d-e-dd). The Cantus III and Bassus III parts imitate this passage
exactly; however, they begin at a fourth above (c1) and at a
fifth below (c). At the point where the three-voiced cantus firmus
canon appears, Brumel's composition is written in twelve parts. An even
more varied form of twelve-part writing, alternating between groups of
voices, is employed by Brumel in some sections containing no cantus
firmus. Three sections are not conceived for twelve voices: the "Pleni
sunt caeli" and the Benedictus (Sanctus fragments) are for eight
voices, whereas the Agnus Dei II is for six voices. Brumel often
employs changes in tempo indicated by mensuration signs, which give the
composition a relief-like structure. Thus, the three sections of the Kyrie
move in increasingly faster tempi. The first Kyrie section is written
in a majestic tempus perfectum, the Christe section in a more
"down-to-earth" alla breve, while the final Kyrie section is notated in
a fast tempus diminutum. The Agnus Dei I (and consequently, also the
Agnus Dei III) is composed in this virtuosic, turbulent mensuration as
well.
Apart from the fact that Brumel's composition
contains the most prominent architectonic structures in flamboyant late
Gothic art, it represents, in another sense, a true stroke of luck.
Brumel's music for this mass avoids the sonoric qualities common to the
fifteenth century, such as fauxbourdon and Burgundian cadential
formulas. Instead, he composes counterpoint of a very tonal character,
in which, for example, the third is treated as a stable consonance. The
fact that Brumel writes the final chord of the Christe (on C) with no
less than six E's is characteristic of the manner in which he employs
thirds in the context of cadential harmonies. In this way, Brumel's ET
ECCE TERRAE MOTUS, written in flamboyant, late-Gothic style goes beyond
the boundaries of the imitational counter-point of his day. The
composer could not have chosen a better cantus firmus: this
counterpoint is also very pleasing to the ear.
Brumel was
one of the first composers to write a polyphonic Requiem Mass. Its
sequence for the DIES IRAE, DIES ILLA is the first recorded polyphonic
setting of this text in the history of music. Brumel composed the
odd-numbered verses of the sequence polyphonically, doing so in such a
way as to portray fully both the severity of the text with its
apocalyptic vision, as well as the meditative character of the
Gregorian chant. Here, we do not encounter the enlightened spirit of
the Renaissance as in the twelve-part mass, but rather a man of the
Middle Ages with his archaic tonal language and his subtle cadences.
All polyphonic cadential chords end on the open fifth, that is, without
a third. Brumel leaves the realisation of the even-numbered verses of
the sequence to the discretion of the interpreter. These passages are
performed on this recording employing one of the many possible methods
of improvisation that the professional singer of the fifteenth century
had at his disposal: the fauxbourdon technique.
Paul van Nevel
(Translation: Gery Bramall)