Tato událost zahajuje nově ustanovený cyklus online přednášek věnovaných středověké a renesanční hudbě ve střední Evropě a jejímu aktuálnímu výzkumu
Early Music in Central Europe: Local Elements – Transregional Connections – International Research,
organizovaný společně projekty
"Staré mýty, nová fakta: české země v centru hudebního dění 15. století" (MÚA AV ČR – FFUK),
"CANTUS PLANUS in Slovakia": Local Elements – Transregional Connections (Ústav hudební vědy, Slovenská akademie věd),
"Monumentum": Digital Music Fragmentology (Ústav pro hudební vědu, Výzkumné centrum pro humanitní vědy, Budapešť, Maďarsko).
Abstract
When Gilles Carlier, from Cambrai Cathedral was deputed by the Council
of Basel to negotiate with the Hussites in Prague, he spent several weeks in
the city and region. A hymn text he composed for Lauds of the office Tenebre
diffugiunt for the new Cambresian feast of the “Recollectio festorum beate
Marie Virginis” includes the phrase Dominum inclusum miles adorat; ipsum
patriarcham lumen illustrat (The Soldier here is John the Baptist who adores
the Lord in his mother‘s womb; the Patriarch is Zacharias) and a responsory
for Matins tells of Elizabeth saying that she will go to the mountains and see
the Verbum (Christ, who would still be in his mother’s womb). These texts,
with a theme not in Jenštein’s Visitation office or in the Bible suggest that
Carlier saw paintings of the Visitation in Bohemia or Hungary which depict
the unborn John in Elizabeth’s womb facing the unborn Christ in his mother’s
womb. Such paintings include several in the St. Agnes monastery museum,
such as the Ringhoffer Heimsuchung from Vyšší Brod of ca. 1420–30, in
which the texts from the Gospel of Luke Beatam me dicent omnes generationes
(Luke 1:48) and unde michi hoc ut veniat [sic] (Luke 1:43) are inscribed next
to the image of Elizabeth, also texts used several times in Carlier’s office. Here
the babies in the wombs face each other and are praying. Such images do not
survive from France, but were found in southern Germany and especially
in isolated locations in Central Europe. After situating Carlier’s texts in the
history of such paintings, I will suggest that Carlier’s stay in Prague and
its region led to other features in the design of his new office, notably to
comparisons and associations of the three mothers, Anne, Elizabeth, and
Mary. Finally, I argue that he also introduced an antiphon for St. Anne from
Prague at Cambrai Cathedral, that an antiphon for St. Catherine from Prague
may have led to his choice of the final Magnificat antiphon of his office, and
that he may even have brought a book of psalms in Hebrew that was used,
exceptionally, in the ceremony of the Dedication of Cambrai Cathedral in 1472.