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"Fitch, Fabrice"
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AGRICOLA ixb: Je n'ay dueil, for solo tenor sackbut
Here, Fitch offers this composition in support of the view that, as with any musical repertory, the continued relevance of 'early music' to contemporary society cannot be taken for granted, but requires critical scrutiny and practical demonstration. The dialogue between these functions, which has characterized Early Music from the start, is as necessary now as it was 40 years ago. Her agricologies series has expanded beyond the viol and string quartet books originally conceived to include other instrument types and combinations. Agricola IXb forms part of a constellation of related settings for solo wind instruments, reinterpreting the materials from which Agricola IX (for small Renaissance chamber ensemble) is derived. These are taken from the opening phrases of the three upper voices of Je n'ay dueil que je ne suis morte, Ockeghem's four-voice rondeau. The piece is therefore the mirror image of Alexander Agricola's own reworking, Je n'ay dueil qui de vous ne viengne, which uses only the opening phrase of the model's lowest voice.
Journal Article
\Who Cares Who is Speaking?\ An Essay in Style-Criticism
The ability to distinguish between composers' styles has in the past been deemed a mark of musical literacy. Modern commentators cannot have the intimate familiarity with musical style that its native practitioners took advantage of. But if such fine distictions were possible at one time, surely musicians can aspire to a comparable degree of ability today. Musicology's concern with matters of ascription and attribution has at times been great. But if the methodological risks involved are viewed as a particularized facet of the study of musical style, those risks are more easily diffused. This article aims to demonstrate a \"conjuntive\" stylistic assessment sketched by previous writers; and a \"disjunctive\" one best seen as part of a wider framework of stylistic reference. At the center of this framework stands a composer whose musical legacy has proved singularly difficult to determine: Johannes Ockeghem.
Journal Article
‘Recercar’ – The Collaborative Process as Invention
This article explores the notion of artistic collaboration between performer and composer, a topic that has attracted some attention but whose methodology might be thought to preclude objective discussion by the participants themselves. Although our report can make no claims to objectivity either, it attempts a critical reflection on a specific collaboration between the two authors as composer and performer, respectively. Cast in a dialogical format, it traces the genesis of a composition by Fabrice Fitch for speaking cellist, Per Serafino Calbarsi II: Le Songe de Panurge, written in 2002–3 and premiered in London in October 2006. The collaboration first evolved as a constant exchange of ideas in which concept, technique, and realization were held in fine balance. The piece engages a variety of frames of reference. If its stance in relation to the instrument clearly draws on certain contemporary traditions, for example Lachenmann’s musiqueconcrète instrumentale, other aspects draw on earlier idioms, notably a specialized instance of scordatura, and the use of a spoken text (from the third book of Rabelais’s Pantagruel) that recalls Marin Marais’s Tableau de l’opération de la taille. The interferences and resonances between these influences pose aesthetic questions that are explored within the piece and its performance, while remaining open for the analyst and audience. Finally, the ‘extended techniques’ employed posed specific notational problems. The resulting score navigates a path between tablature and ‘traditional’ notation, in which the emphasis between what is heard and what is played shifts constantly. This hybrid status, we imagine, constitutes a challenge not only for the performer, but for the analyst as well.
Journal Article
Hearing John Browne’s motets: registral space in the music of the Eton Choirbook
John Browne's pre-eminence among the composers of the Eton Choirbook has been asserted in many works of reference. This study offers a detailed investigation into his handling of the antiphon form to which the manuscript is the most substantial witness. These readings of the music (which are also 'hearings') focus in particular on his large-scale, richly scored motets with trebles: O Maria salvatoris mater, Stabat mater and the six-voice Stabat virgo mater Christi. It is here argued that an important dimension of Browne's work is a particularly sophisticated approach to the articulation of the Eton motets' 'panel structure'. This is achieved in a number of ways that effect both short- and long-term connections within the form. This discussion also expands on Hugh Benham's remarks on the use of textural contrast within the style of the Eton composers as a whole.
Journal Article