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seLf-citation and seLf-Promotion: zarLino and the Miserere tradition1* Katelijne Schiltz Through Patrick Macey’s extensive research of Josquin des Prez’s Miserere mei Deus, the historical context of this monumental motet, especially its connection with the Savonarolan reform movement and its repercussions at the Este court of Ferrara have received major attention.2 Above all, Macey has shown how this piece generated a whole cluster of compositions throughout the sixteenth century, that bear musical, structural and/or textual references to Josquin’s work.3 One of the main elements of this intertextual web includes the use of Josquin’s ‘soggetto ostinato’ – either literally or with slight variations – by composers such asAdrian Willaert, Cipriano de Rore, and Nicola Vicentino, who were all connected with the Este court at a certain point of their careers.4 Macey’s discoveries have brought to light a highly intriguing reception history, to which other scholars have also contributed.5 In the present article, I wish to add yet another piece of evidence to the afterlife of this Miserere tradition. I will focus on two less-known motets by Gioseffo Zarlino, Miserere mei Deus and Misereris omnium, that were both published in the collection Modulationes sex 1 It is a great pleasure to dedicate this article to Ignace Bossuyt. With vivid memories of his fascination with Josquin’s Miserere mei Deus from the Leuven music history and analysis seminars, I wish to add a small contribution to its reception history. A shorter version of this text was presented at the Utrecht Colloquia in the Musicologies (January 2007) and at the Medieval and Renaissance Music Conference in Vienna (August 2007). I am grateful to Bonnie J. Blackburn, Cristle Collins Judd, and Frans Wiering for reading an earlier draft of this article and for their helpful comments. 2 See his ‘Savonarola and the Sixteenth-Century Motet’, Journal of the American Musicological Society, 36 (1983), 422-52; Josquin’s Miserere mei Deus: Context, Structure and Influence (Ph.D. dissertation, University of California, Berkeley, 1985); Bonfire Songs: Savonarola’s Musical Legacy (Oxford, 1998); ‘Josquin and Musical Rhetoric: Miserere me, Deus and Other Motets’, in Richard Sherr (ed.), The Josquin Companion (Oxford, 2000), 485-530. 3 Many of these pieces have been edited in Savonarolan Laude, Motets, and Anthems, ed. Patrick Macey (Recent Researches in the Music of the Renaissance, 116; Madison, 1999). 4 Macey, Josquin’s Miserere mei Deus, 157: ‘Josquin’s soggetto established itself as a kind of musical topos during the sixteenth century’. 5 e.g. Bojan Bujic, ‘Peccantem me quotidie: Gallus’s Homage to Josquin?’, in Dragotin Cvetko and Danilo Pokorn (eds.), Jacobus Gallus and His Time (Ljubljana, 1985), 70-81; Ludwig Finscher, ‘aus sunderem Lust zu den überschönen Worten. Zur Psalmkomposition bei Josquin Desprez und seinen Zeitgenossen’, in Hartmut Boockmann, Ludger Grenzmann, Bernd Moeller , and Martin Staehelin (eds.), Literatur, Musik und Kunst im Übergang vom Mittelalter zur Neuzeit. Bericht über Kolloquien der Kommission zur Erforschung der Kultur des Spätmittelalters 1989-1992 (Göttingen, 1995), 246-61; Patrick Macey, ‘Italian Connections for Lupus Hellinck and Claude Le Jeune’, in Eugeen Schreurs and Bruno Bouckaert (eds.), Giaches de Wert (1535-1596) and his Time. Migration of Musicians to and from the Low Countries (Yearbook of the Alamire Foundation, 3; Leuven and Peer, 1999), 151-63. KateliJne schiltz 212 vocum (Venice, 1566).6 It will be shown not only how they inscribe themselves in the intertextual network that was initiated by Josquin, but also how they can be linked to the Ferrarese court in general and Duke Alfonso II in particular. Miserere Mei Deus and Misereris oMniuM AlthoughZarlinoismainlyknownforhistheoreticalwritings,healsocomposed motets and a number of madrigals.7 A first book of motets was published in 1549 under the title Musici quinque vocum moduli and has received attention in musicological literature because of its careful text underlay and the modal labels that were attached to the individual pieces.8 In 1566, one year after Zarlino’s appointment as chapel master of St Mark’s in Venice, the collection Modulationes sex vocum was printed by Francesco Rampazetto.9 It consists of thirteen pieces, all of which (except for Exaudi Deus orationem - Scrutati sunt iniquitates) contain a canon for two or three voices. Some of the canonic inscriptions are relatively straightforward technical instructions, others are conceived as enigmatic sentences. The book closes with a seven-part Pater noster - Ave Maria, which had already appeared in the collection of 1549.10 Miserere mei Deus and Misereris omnium share a number...

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