composer
Gregor Peschin (c. 1500-c. 1550) was a Bohemian composer. He received his musical education in the court chapel in Budapest, serving there until 1526. From 1527 to 1539 he was ...
related works
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK
Psalm 119 : for mixed choir / Kris Oelbrandt; translation Kees Waaijman
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK4
composition
Two Masses & A Sacred Song : for 4-5 voices / Gregor Peschin, Johannes Lupi; transcribed and edited by Cees Wagemakers
Other authors:
Lupi, Johannes
(composer)
Wagemakers, Cees
(editor)
Description:
The Bavarian State Library (Bayerische Staats Bibliothek in Munich, Germany) has a unique collection of large folio format choirbooks from the Bavarian court music ensemble, predominantly from the time of Orlando di Lasso serving as court music director. Several splendidly illustrated choir books originally belonged to the personal collection of the Bavarian dukes. The most beautiful one is the collection of motets by Cipriano de Rore for Duke Albrecht V, also available at Donemus (D 16092). Choirbooks have all the parts on two facing pages, in contrast to the part books for each voice that we see mostly in Renaissance editions. So a page turn had to come at the same moment for all the voices. Often in these books one cannot find a date of origin, neither the name of the composer. Sometimes one can derive the composer from the style of other works appearing in the book. But often it is a guess.
Two of the three works in this book in the Bavarian State Library with the title ‘3 Sacred Songs’ have the name of the composer mentioned. The Sacred Song (motet) ‘Saulus autem’ has no indication of a composer. All the three works are from different scribes: the Peschin Mass is meticulously calligraphed like so many of the Bavarian choirbooks, the Lupus Mass is a clumsy handwritten book in comparison. The motet Saulus however is calligraphed, but in a denser, narrower way. Therefore it is a bit of a guess to attribute the motet to either of the two other composers. Nevertheless I think Peschin is the culprit. The motet has several movements and resolutions that strongly remind to Peschin.
All the three works are written in the post-Josquin style, but not too close to Josquin. There are much less 2-voiced imitations than we see in Josquin and his followers.
Cees Wagemakers, 2018