Lucis eterne　?Torino J.II.9写本のテノール・ミサとモテット?

日時　２０１０年９月２０日（月・祝）　１４：３０開場　１５：００開演
場所　近江楽堂　（東京オペラシティ　３F）
入場料　前売　３０００円　当日　３５００円
連絡先　04-2953-1459 (守谷)　gandharva.am@gmail.com

出演　櫻田智子　横町あゆみ　長尾譲（歌）
なかやまはるみ（フィーデル）
矢野薫（プサルテリ）
守谷敦（リコーダー・音楽監督）

演目　
Hodie scietis （グレゴリオ聖歌）
Kyrie eleison　（テノール・ミサ）
Gloria et in terra　（テノール・ミサ）
Lucis eterne - Veni Splendor　（モテット）
Credo in unum Deo　（テノール・ミサ）
Sanctus　（テノール・ミサ）
Agnus Dei　（グレゴリオ聖歌）
Natus in patris - Apparuit sol hodie　（モテット）
Je prens d’amour noriture　（ヴィルレ）
Tant sans douce noureture　（バラード）
他
（全曲作者不詳）

解説
今回の演奏会で取り上げるTorino J.II.9写本はその大部分が１５世紀初頭にキプロス島で作成されたであろうと考えられており、キプロス写本とも呼ばれています。このプログラムではこの写本の中からテノール・ミサとモテットを中心に世俗曲も加えてお送り致します。このテノール・ミサはこの写本が１４３４年にサヴォイアの地にもたらされた後に、写本に挿入されたものであり、音楽的スタイルは後期中世でありながらその構造にはテノール・ミサというルネサンス時代において大いに用いられることになる作曲技法がとられています。「中世の秋」と呼ばれるこの時代はまさに時代の交差点であり、中世とルネサンス、二つの様式が交錯する現象が様々なジャンルの芸術に見られます。この写本の中でもまさにこの交錯が行われているのです。これらの作品を楽しんでいただけたらと思います。


勉強会
中世音楽セミナー「基礎理論とキプロス写本」
講師　守谷敦
日時　２０１０年９月１５・２２・２９日（水）　１８：００?２０：００
場所　自由学園明日館　小教室（池袋駅徒歩５分）
定員　２０名
受講料　各回２５００円　（３回通しで予約された方は６５００円）
連絡先　04-2953-1459 (守谷)　gandharva.am@gmail.com

解説
中世音楽、特に１４世紀から１５世紀初頭にかけての音楽の勉強会です。当時の音楽理論書を紐解きながら実際の楽曲を分析し、当時の人々の目でこれらの楽曲に接する事をめざします。その上で今回はTorino J.II.9（キプロス写本）を取り上げ、写本という１つの「作品群」の歴史的コンテキストに於ける位置付けに関して考察します。個々の楽曲分析だけに終わらない総体的な分析を通し、この時代の音楽の全体像をつかむためのツールを提供します。

第１回（９月１５日）では、Prosdocimo de' BeldomandiのContrapunctus、Marchetus de PaduaのLucidarium、Johannes CiconiaのNova musicaを取り上げモード理論と対位法に焦点を当てる事になります。これらの理論書は実際の演奏の場において奏者の頭を悩ませるフィクタの選択についても多くのヒントを我々に与えてくれるでしょう。

第２回（９月２２日）では、特に今日Ars Subtiliorと呼ばれるジャンルに関して考察を行います。リズム的に非常に複雑なこの音楽に対する最初の疑問は「なぜ複雑なのか」ということでしょう。Phlippus de Casertaの論文やBerkeley写本を手がかりに、そしてキプロス写本からも実例を取り上げ実際に分析し、この複雑さへの意味付けを行っていきます。

第３回（９月２９日）では、キプロス写本の特にそこに含まれるテノール・ミサを取り上げ分析を行います。このミサが作られた背景、写本の中に於ける位置付けを行った上でミサ全体を通した視点での実際の楽曲の分析を行います。１つの楽曲に対して様々な角度から光をあて、当時の人々の目線でのこの楽曲のあり方というものに近づいていきます。

Two institutions, one exhibition

For the first time, the Royal Library of Belgium and the Bibliothèque nationale de France are combining their forces for the organisation of an exhibition of international renown by bringing together their masterpieces from the heydays of Flemish miniature art. The double exhibition, presenting different manuscripts at both locations, will start in Brussels (from September to December 2011) and will continue in Paris (from March to July 2012). In all, more than 140 illuminated manuscripts chosen from the most prestigious treasures will be shown to the public: some have not been exhibited for 50 years, whereas others will be shown for the first time ever. Precious miniatures from the collections of the Bibliothèque nationale de France will be presented in Brussels and vice versa.

The Temptation of Eve
The image of Eve in the Garden of Eden, inspired by a chapter in Genesis, will be the emblem of the exhibition. This figure of timeless beauty showing
the 'first woman' in her nakedness at the moment of original sin, comes from a copy of the Livre des sept âges du Monde, written around 1460. It is attributed to the painter and miniaturist Simon Marmion, born in Amiens (ca. 1425-1489), who was rightfully considered the 'Prince of illuminators' by his contemporaries.

Flemish miniatures
The flourishing of the manuscript
The 15th century, the Golden Century of Flemish miniature painting, represents a turning point in the history of the handwritten book. The Burgundian Era saw a flourishing without precedent of the art of illumination, of painting in books, in the Southern Low Countries. From the beginning of the reign of John the Fearless (1404) to the death of Mary of Burgundy (1482), rich towns such as Bruges, Ghent, Brussels, Valenciennes, Lille or Tournay became real breeding-grounds for scribes, bookbinders and miniaturists in a production of exceptional quality. Philip the Good and Charles the Bold, Dukes of Burgundy, the members of the Golden Fleece, the nobility, ecclesiastical dignitaries, the rich burghers in the towns, all sought the works of talented miniaturists like Liévin Van Lathem, Simon Marmion, Willem Vrelant, Jehan le Tavernier or the Master of Wavrin, names which in their age were as familiar as Roger Van der Weyden, Memling or the Master of Flémalle. Famous artists who gave the best of themselves illustrating chronicles, epics, chivalrous romances, hunt treatises or devotional texts and producing a series of masterpieces of our cultural heritage in which the artistic quality finds its equal only in its rarity. Never before had miniature art achieved such class.

The exhibition
In Brussels, the exhibition will propose an itinerary through various rooms which will guide the visitor slowly but unmistakably towards the discovery of the precious manuscripts themselves in the Nassau Chapel. The first rooms in the Houyoux Gallery will allow the visitor to find his way in medieval imagery, the typology of the texts and the miniatures, the history of Flemish miniatures, the rôle of the various collaborating artists and of those who paid for them.
A real journey deep into the world of 15th-century miniatures.

In Paris, the exhibition will be held in the François I Gallery at the François Mitterand building of the Bibliothèque nationale de France. It thus finds its place among a series of prestigious exhibitions focusing on medieval manuscripts such as Quand la peinture était dans les livres, Bestiaire médiéval and recently La Légende du roi Arthur. Following the first part in Brussels, the visitor will discover other works that the great miniaturists carried out for the Dukes of Burgundy and their book-loving courtiers. The itinerary here will allow the visitor to approach these exceptional documents very closely and to understand their production and the special characteristics of each artist.

Catalogue
On the occasion of this exhibition, a scholarly catalogue will be published in French, Dutch and English ? about 400 pages, 200 full colour illustrations ? under the direction of Bernard Bousmanne (Curator of the Manuscripts' Department, Royal Library of Belgium) and Thierry Delcourt (Director of the Département des Manuscrits, Bibliothèque nationale de France).
More than thirty specialists will contribute to this special book.




------------------------------------------------------------
Royal Library of Belgium

Houyoux Gallery and Nassau Chapel
Mont des Arts
1000 Brussel
Curators
Bernard Bousmanne
bernard.bousmanne@kbr.be
+32-(0)2-519.57.93
Sara Lammens
sara.lammens@kbr.be
+32-(0)2-519.53.98
www.kbr.be Bibliothèque nationale de France

Site François Mitterrand
Galerie François Ier
Quai François Mauriac ? 75013 Parijs
Curators
Ilona Hans-Collas
ilona.hans-collas@bnf.fr
+33-(0)153-79.39.33
Pascal Schandel
pascal.schandel@bnf.fr
+33-(0)153-79.39.33
www.bnf.fr

IMC 2011 Call for Papers
The eighteenth International Medieval Congress will take place in Leeds, from 11-14 July 2011.

If you would like to submit a session or paper proposal for the IMC 2011 complete the IMC Online Proposal Form below.

Please read the guidelines carefully before completing the IMC 2011 Proposal Form.

Session Proposal

Paper Proposal

Round Table Proposal

Paper proposals must be submitted by 31 August 2010; session proposals must be submitted by 30 September 2010. Hard copies of the proposal forms are available on request after 16 July 2010.

If you would like to apply for an IMC bursary, to help with the cost of the Registration and Programming Fee, accommodation and meals at the IMC, please see the link below. You should submit your Bursary application at the same time as your paper or session proposal.

Bursary Application Form

Call for Papers/Sessions - International Medieval Congress 2011
As the global economy attempts to recover from the recent staggering economic downturn, and scholars and journalists describe the enormously uneven concentrations of wealth that took place in the decade preceding that downturn, it seems only natural to turn our scholarly gaze to issues of wealth and poverty in the Middle Ages. For that reason, the IMC has chosen for 2011 the special thematic focus:

Poor...Rich

How uneven was the distribution of wealth in medieval communities and polities? How was the distribution of wealth affected by environmental and commercial cycles of paucity and plenty? How was wealth amassed and then redistributed? What were the topographies of wealth and poverty? How permeable were the physical and symbolic boundaries between rich and poor? In what ways did both church and secular authorities attempt to deal with the moral and practical problems arising from poverty and the uneven distribution of wealth?

Areas of discussion could include:

charity, macro- and micro-economic studies
archaeological evidence for different economic strata, nutrition, social structures and social mobility
vagrancy and homelessness
the rich and the poor in literature
concepts of 'expensive' and 'cheap'
rural v. urban poverty
involuntary and voluntary poverty
religions and religious orders and their approach to poverty and wealth
tax structures and their affects on the distribution of wealth
social value of (manual) labour/work
spiritual poverty
concepts or perceptions of relative wealth or poverty
luxury, conspicuous consumption and magnificence
sumptuary laws, health and treatment of the sick
moral attitudes towards individualism
excessive living, gluttony, avarice, envy, and begging.

CALL FOR PAPERS : Last Orders - The Art and Architecture of Religious Orders in England, c.1350-1540

The Courtauld Institute of Art

Somerset House, Strand, London WC2

In contrast to the arts of the so-called 'golden age' of English religious life during the High Middle Ages, the visual culture of subsequent generations of monks, nuns, and canons has received little attention. Recent scholarship, however, has challenged the long-held consensus that the Late Middle Ages was a period of decline for the monastic and religious orders in England and elsewhere in Europe. Many historians now argue that monasticism adjusted adeptly to changing social, devotional, and economic practices and several important studies have recently devoted to this period of monastic patronage. Nevertheless, many aspects of monastic art and architecture remain largely unexplored. These include the role of continuity within orders, the expression of particular institutional and confessional identities, and the importance of innovation. The Last Orders symposium seeks to generate discussion on these questions and others, and we welcome proposals for papers on all aspects of monastic art and architecture in late medieval England.

Questions addressed might include, but are not limited to:

-What evidence does art and architecture provide for continuity or change in late-medieval monastic life?

-What were the motivations of monastic patrons?

-Was there anything distinctive about the art and architecture of the individual orders?

-What consciousness of earlier traditions do late-medieval works reveal?

-What roles did the Reformation and early modern antiquarianism play in shaping subsequent attitudes to late-medieval monastic art?

-How can developments in England to be related to those elsewhere in Europe?

-What kinds of connections and distinctions existed between the cultural practices of laypeople and those of the monastic and religious orders?

This symposium welcomes proposals from doctoral students and established researchers. Proposals of not more than 250 words (for 15 minute papers) should be sent to Michael Carter at michael.carter@courtauld.ac.uk by 1 November 2010.

日仏美術学会第115回例会のお知らせ
　
日仏美術学会第115回例会を下記のように開催いたします。奮ってご参加下さい。
　
日時：2010年7月2日（金）午後5時-7時30分
場所：日仏会館　5階501号室（東京都渋谷区恵比寿3-9-25）
　
　
総合タイトル：
「キリスト教の宗教実践と美術：写本と祭壇の装飾を中心に」
　
黒岩三恵（立教大学異文化コミュニケーション学部）
「ドミニコ女子修道会における信仰の実践とイメージ：ポワシー、サン・ルイ王立女子修道院における彩飾写本の事例をめぐって」
　
奈良澤由美（プロヴァンス大学中世地中海考古学研究所）
「南フランスの初期中世の彫刻装飾について　─サン・ベルトラン・ドゥ・コマンジュで発見された葡萄模様の祭壇テーブル（６世紀制作）を中心に」
　
司会：木俣元一（名古屋大学）
　
　
◆日仏美術学会◆
〒150-0013　東京都渋谷区恵比寿3-9-25　日仏会館内
Tel/Fax:03-3280-2415
e-mail：art-francojaponais○digital△email△ne△jp
　
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