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Simposio Internacional Alexander Agricola: - Valladolid 1506

Universidad de Valladolid, Facultad de Filosofía y Letras, Aula Magna "Lope de Rueda"
Viernes 27 de Octubre de 2006, 09:00 - 20:30 horas


www.fyl.uva.es/~webmusic/cursos.htm


PROGRAMA

09:00 - 09:30 Recepción de participantes y entrega de documentación

09:30 - 10:00 Apertura del Simposio a cargo de Mª Antonia Virgili Blanquet, 
Catedrática de Historia de la Música (Universidad Valladolid)

10:00 - 10:45 Conferencia inaugural
LA CIUDAD DE VALLADOLID EN 1506
Julio Valdeón Baruque
Universidad de Valladolid

PONENCIAS DE LA MAÑANA
Moderador: Carmelo Caballero Fernández-Rufete (Universidad de Valladolid)

11:00 - 11:45 AGRICOLA Y SU MÚSICA EN LA PENÍNSULA IBÉRICA
Tess Knighton
University of Cambridge

12:00 - 12:30 Pausa café

12:30 - 13:15 AGRICOLA, IL CODICE DI SEGOVIA E UN'IPOTESI NAPOLETANA
Gianluca D'Agostino
Università di Napoli Federico II

13:30 - 14:00 Comunicación
EL 'AGER VALDOLETANUS' Y LOS ÚLTIMOS DÍAS DE ALEXANDER AGRICOLA
Rinaldo Valldeperas - Cecilia Nocilli
Universidad de Valladolid

PONENCIAS DE LA TARDE
Moderadora: Maria Caraci-Vela (Università degli Studi di Pavia)

16:30 - 17:15 AGRICOLA AND JOSQUIN
Rob C. Wegman
University of Princeton

17:30 - 18:15 ALEXANDER AGRICOLA'S THREE-PART SECULAR STYLE: A NORTHERN
TRICINIA?
Keith Polk
University of New Hampshire

18:30 - 19:00 Pausa

19:00 - 19:45 AGRICOLA AND THE RHIZOME: CONTRAPUNTAL PROCEDURES
Fabrice Fitch
University of Durham

20:30 Clausura del Simposio a cargo de Carmelo Caballero Fernández-Rufete,
Catedrático de Historia de la Música (Universidad Valladolid)


ABSTRACTS

AGRICOLA, IL CODICE DI SEGOVIA E UN'IPOTESI NAPOLETANA
Gianluca D'Agostino
Università di Napoli Federico II, Italia

Partendo dai documenti che attestano la presenza a Napoli di Alexander
Agricola sul finire del Quattrocento, ed analizzando il repertorio
trasmesso dal noto Cancionero de Segovia, una silloge che trasmette in
parte musiche legate alla corte aragonese di Napoli, la relazione prova ad
approfondire il rapporto esistente tra il repertorio di corte, la fonte
manoscritta ed il celebre compositore.

AGRICOLA AND THE RHIZOME: CONTRAPUNTAL PROCEDURES
Fabrice Fitch
University of Durham, U.K.

In an article shortly to appear in the Revue Belge de Musicologie, I
considered some aesthetic issues arising from Alexander Agricola's Mass
music, specifically in relation to his deployment of borrowed materials
("Agricola and the Rhizome: Towards an Aesthetic of the Late Cantus Firmus
Mass"). I argued there that Agricola's reputation in his own time must be
properly taken account of in modern-day evaluations of the musical
"landscape" at the turn of the fifteenth century. I proposed as an
aesthetic model the notion of the "rhizome", developed in the twentieth
century by Gilles Deleuze and Félix Guattari. This, with its related
concept of "arborescence", proposes in turn a framework within which
different types of discourse may be related to each other, not in simple
(binary) oppositional terms, but in a way that more accurately reflects
the manner in which different aesthetic tendencies co-exist within the
same culture. Thus there was room not only for Josquin's or Obrecht's
brands of "rational" organicism (to use Edgar Sparks' terminology)  but
also for what Ulrich Brätel described in 1536 as Agricola's "Verkartth,
auff frembdt manier".

The present paper seeks to apply this model to Agricola's contrapuntal
procedures, and is conceived as part of a longer article. Its starting
point will be Agricola's most popular work, Si dedero, the most frequently
copied secular piece of the turn of the fifteenth century. I will then
consider aspects arising from this work that illuminate his contrapuntal
practices more generally.

AGRICOLA AND HIS MUSIC IN THE IBERIAN PENINSULA
Tess Knighton
University of Cambridge, U.K.

This paper will reassess the little that is known about the dissemination
of Agricola's music in the Iberian Peninsula in the light of his two
sojourns in Castile and through a study of the few surviving sources as
well as inventories of music books from the sixteenth century. It has been
suggested, by Reinhard Strohm and others, that the visits to the Spanish
kingdoms of Philip the Fair and his entourage in 1501-2 and 1506 had
relatively little impact on musical developments there. The validity of
this proposal needs to be considered in greater depth: has the almost
total loss of Iberian polyphonic sources from the period distorted our
view of history? What possibilities were there for musical exchange
between the ducal and royal chapels? The transmission to Spain and
Portugal of one of Agricola's most widely disseminated works, Si dedero,
will be analysed in an attempt to gain a more accurate picture of the
situation in the first half of the sixteenth century.

ALEXANDER AGRICOLA'S THREE PART SECULAR STYLE: A NORTHERN TRICINIA?
Keith Polk
University of New Hampshire, U.S.A.

Compositional style in secular music for three parts changed fundamentally
and quite rapidly between about 1475 and 1490. Two rather different
approaches can be traced; the first was an Italian one initially led,
evidently, by Martini, followed quickly by Isaac. By about 1490 several
composers, Agricola, Obrecht, and Brumel seem to have been exploring a
different vocabulary, apparently a more northern one. This paper will
examine more closely Agricola's place in these developments.

AGRICOLA AND JOSQUIN
Rob C. Wegman
Princeton University, U.S.A.

Braucht seltzam art verkarth / auf fremd manir, wie schier / thut Alexander 
füren
A singular art he uses, crooked, in strange manner, quite as Alexander leads 
the way.

These three lines, which conclude the poem "So ich betracht und acht" by
Matthaeus Greiter, are the nearest we have to a contemporary appraisal of
Agricola's music. Greiter's verdict seems to match that of modern
observers, who, beginning with Ambros, have consistently remarked on the
"strangeness" of Agricola's musical style. The impression of strangeness
is hard to miss: it permeates both his sacred and secular music, and is
not found, at least not to this degree, in the work of other composers.
One is tempted to think of it, following Greiter, as a personal style, and
perhaps as giving expression somehow to Agricola's personality and
temperament. Yet there is a handful of sacred works by Agricola that
radically depart from this "personal style," so much so, in fact, that one
might well question his authorship of these pieces. They must date from
the very last years of his life, probably not before 1500, and as I will
argue in this paper, are brilliant exercises in the middle-period style of
Josquin. I will consider two works in some detail: Transit Anna timor and
the first of the two Credos on Je ne vis onques la pareille. These works
shed light not only on the musical directions that Agricola was exploring
near the end of his life, but also on the dramatic impact that Josquin
must have had on other composers in the first years of the sixteenth
century.

EL 'AGER VALDOLETANUS' Y LOS ÚLTIMOS DÍAS DE ALEXANDER AGRICOLA
Rinaldo Valldeperas - Cecilia Nocilli
Universidad de Valladolid

Los documentos que hacen referencia a la muerte de Alexander Agricola
sugieren que el compositor y cantor belga "al séquito de Felipe El Hermoso
y Juana I de Castilla", falleció aquejado por una violenta fiebre en el
campo de Valladolid a mediados de agosto de 1506, a la edad de sesenta
años. Con estas coordenadas, siguiendo las crónicas españolas y flamencas
del segundo viaje de Felipe El Hermoso por España en 1506, así como los
relativos documentos diplomáticos, la comunicación propone algunas
hipótesis para esclarecer dónde y en cuáles circunstancias pudo haber
muerto Agricola.
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