Hostname: page-component-77c89778f8-m42fx Total loading time: 0 Render date: 2024-07-22T13:32:14.905Z Has data issue: false hasContentIssue false
  • English
  • Français

Introit antiphon paraphrase in the Trent Codices: Laurence Feininger's confronto

Published online by Cambridge University Press:  14 July 2009

David Fallows
Get access

Extract

It is well known that when Father Laurence Feininger died in 1976 he left a substantial body of unpublished material. Edward Lowinsky has argued powerfully that “an enormous obligation rests on the national and international associations of musicology to undertake the publication of Feininger's scholarly estate and to bring it to the full use and enjoyment of the musical and musicological world”.

Type
Research Article
Information
Journal of the Plainsong & Mediaeval Music Society , Volume 7 , January 1984 , pp. 47 - 77
Copyright
© The Plainsong and Medieval Music Society 1984

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Notes

[1] Lowinsky, Edward E.: ‘Laurence Feininger (1909–1976): Life, Work, Legacy’, The Musical Quarterly 63 (1977), pp.327–66, on p.360 CrossRefGoogle Scholar.

[2] Like many of Feininger's surviving papers, the confronto is now the property of Danilo Curti-Feininger, who is Feininger's adoptive son and now lives in Feininger's old home at Trent. I am grateful to Signor Curti-Feininger for having allowed me access to these materials and for encouraging the present publication.

[3] The most comprehensive listing of Feininger's publications is in Curti, Danilo: ‘K.J. Laurence Feininger’, Studi Trentini di Scienze Storiche 55 (1976), pp.64–72, on pp.69–72 Google Scholar.

[4] Repertorium cantus plani, I: Antiphonaria (Trent, 1969)Google Scholar; II: Gradualia (Trent, 1971)Google Scholar; III: Antiphonaria, Prelo, Excusa (Trent, 1975)Google Scholar.

[5] These amount only to a few scattered settings in the manuscripts Ao and Em (see list of abbreviations). For some reservations about Dangel-Hofmann's book see the brief but wide-ranging review by Kovarik, Edward in Notes 33 (1976–1977), pp.589–91Google Scholar.

[6] Some of the considerations are outlined in Bent, Margaret: Fifteenth-Century Liturgical Music: II Four Anonymous Masses, Early English Church Music, xxii (London, 1979), pp.x–xi Google Scholar.

[7] Series II: Proprium Missae, Tomus I: Auctorum anonymorum missarum propria XVI, quorum XI Gulielmo Dufay auctori adscribenda sunt, adiunctis nonnullis fragmentis ex codicibus tridentinis olim in Archivio Cathedralis nunc autem in Castello Boni Consilii conservatis exarata (Rome, 1947).

[8] See Lowinsky, op.cit., p.338.

[9] For a summary of the current position on these works, see Fallows, David: Dufay (London, 1982), pp.182–91 and 231–2Google Scholar.

[10] See MPL ii/1, p.VIII.

[11] Danilo Curti-Feininger kindly informs me that he has seen no surviving evidence of drafts for the book.