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Gaspar van Weerbeke
New Perspectives on his Life and Music
Centre d’études supérieures de la Renaissance
Université de Tours /
du
Collection « Épitome musical » dirigée par Philippe Vendrix
Editorial Committee:
Hyacinthe Belliot, Vincent Besson, Camilla Cavicchi, David Fiala,
Christian Meyer, Daniel Saulnier, Solveig Serre, Vasco Zara
Advisory board:
Andrew Kirkman (University of Birmingham), Yolanda Plumley (University
of Exeter), Jesse Rodin (Stanford University), Richard Freedman (Haverford College),
Massimo Privitera (Università di Palermo), Kate van Orden (Harvard University), Emilio
Ros-Fabregas (CSIC-Barcelona), omas Schmidt (University of Hudders eld), Giuseppe
Gerbino (Columbia University), Vincenzo Borghetti (Università di Verona), Marie-Alexis
Colin (Université Libre de Bruxelles), Laurenz Lütteken (Universität Zürich), Katelijne Schiltz
(Universität Regensburg), Pedro Memelsdor (Chercheur associé, Centre d'études supérieures
de la Renaissance–Tours), Philippe Canguilhem (Université de Toulouse Le Mirail)
Layout:
Vincent Besson
Research results from: Au rian Science Fund (FWF): P
.
Published with the support of Au rian Science Fund (FWF): PUB
-G .
Cover illu ration:
Image
© Giuseppe Anello – Dream ime.com
Coat of arms of Ludovico Maria Sforza
ISBN 978-2-503-58454-6
e-ISBN 978-2-503-58455-3
DOI 10.1484/M.EM-EB.5.117281
ISSN 2565-8166
E-ISSN 2565-9510
Dépôt légal :
D/
©
/
/
, Brepols Publishers n.v., Turnhout, Belgium – CESR, Tours, France.
Open access: Except where otherwise noted, this work is licensed under a Creative Commons Attribution 4.0 Unpor-
ted License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/
Printed in the E. U. on acid-free paper.
Gaspar van Weerbeke
New Perspectives on his Life and Music
edited by Andrea Lindmayr-Brandl and Paul Kolb
F
Acknowledgements
The production of this book has been enabled by support from the Austrian Science Fund
(FWF, Grant PUB 604-G26). We would also like to thank Bonnie J. Blackburn for her sub-
stantial contribution to improving this book. The title ‘copy-editor’ does not do her justice.
Contents
List of Figures
7
List of Music Examples
8
List of Tables
10
Notes on Contributors
11
Abbreviations
17
Introduction
21
Andrea Lindmayr-Brandl and Paul Kolb
part i. biographical aspects
1.
2.
3.
Seven Reasons for Italy: Gaspar van Weerbeke’s Career between Flanders, Milan, and Rome
35
Klaus Pietschmann
Weerbeke in Milan: Court and Colleagues
Paul A. Merkley
47
5
Belle promesse e facti nulla:
A Letter to Weerbeke and the Treatment of Singers in Florence and
Milan
59
Sean Gallagher
Gaspar Depicted? Leonardo’s Portrait of a Musician
73
Laure Fagnart
Gaspar van Weerbeke as a Member of the Burgundian Chapel
79
Grantley McDonald
Gaspar van Weerbeke and France: The Poetic Witness of Guillaume Crétin
87
Jeannette DiBernardo Jones
part ii. masses and motets
4.
5.
6.
7.
‘Under the Radar’ or ‘Caught in the Crossfire’? The Music of Gaspar van Weerbeke and its
Reception History
105
Fabrice Fitch
Weerbeke’s Stylistic Repertoire: New Insights from the Marian Motets
123
Agnese Pavanello
The Cycle as Modular Composition: The
Motetti missales
of Gaspar van Weerbeke
Fabrice Fitch
151
8.
9
10.
11.
12.
Another ‘Most laudable competition’? Gaspar, Josquin, Regis, and the Virgin in Distress
177
Wolfgang Fuhrmann
A New Mass and its Implications for Gaspar’s Late Mass Style
205
Paul Kolb
Petrucci’s Gaspar: Sources, Editing, and Reception
225
Andrea Lindmayr-Brandl

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