Volume 3, no. 2: Spring 1997/Editor: William Summers / Webmaster: Michael O'Connor
From Left to right: Fr. Jose Lopez-Calo,
S. J., G. Grayson Wagstaff, Jane Hardie,
SPECIAL STUDY SESSION IN HONOR OF ROBERT J. SNOW: A RECAPITULATION
First, let me thank our three presenters, Bonnie Blackburn, Jane Hardie, and Jose Lopez-Calo, whose participation insures the highest level of scholarship as well as an international cast. I would also like to thank David Crawford for his leadership in editing Encomium Musicae: Essays in Honor of Robert J. Snow, and in organizing this special session. I am truly in awe of David's generosity in having given so much of his time to this project over the past two years.
My association with Robert Snow began during the second semester of my Master's degree at the University of Texas at Austin. Since that time, he has had a profound effect on my development as a scholar, teacher, and person.
While editing Encomium Musicae, David and I have been constantly surprised by the number of contributers who have stated that Bob literally gave them ideas for projects, contributed material, or was a major influence in their development as musicologists. This generosity was something that was evident to me even in the very first days of our association. The fact that he would spend hours with the most unprepared of graduate students insured that his students learned as much about dedication as they did about music history and scholarship.
During my days as a dissertation student, I heard him say many times that he had spent an entire day preparing materials to mail off to fellow scholars who had requested help. His decency and generosity were brought home to me at one point when I took care of his pets while he was away in Spain on a research trip. One of the pets was a particularly scrawny stray dog that Bob had decided would only eat cooked chicken, that is chicken cooked a certain way that the dog desired. It struck me that anyone who cared this much to be this meticulous with a stray dog must have a bottomless supply of energy and kindness.
Because he has shown similar care and enthusiasm for several generations of students, Prof. Snow has set a standard as a teacher and mentor of young scholars. His own superb scholarly works, as well as his efforts as a teacher, make this event truly a celebration of excellence.
G. Grayson Wagstaff
1996 saw the completion of Robert Snow's edition of Guatemala City MS 4, a project that Howard Brown, then General Editor of the Monuments of Renaissance Music, presented formally to the University of Chicago Press in 1988 with the remark that it "would be a jewel in the series in making clear the close connections between Spain and her colonies"; that was of course in view of the upcoming 500th anniversary of the discovery of America. Four years seemed plenty of time to complete the edition, but it was still in preparation when I took over as General Editor after Howard Brown's unexpected death in 1993.
Robert Snow and I engaged in a long and fascinating discussion on the problems presented in editing this manuscript. A major question concerned the accidentals: should we follow the sometimes quite adventurous accidentals that the seventeenth-century scribe had added, or preserve what the sixteenth-century composer had probably intended? In the end we followed the manuscript, but corrected impossible readings.
A related problem was the adaptation of the chant, none of which was given in the manuscript. By examining the polyphonic paraphrases of the chant (and discounting the accidentals added by the Portuguese scribe), Robert Snow determined which of the Spanish uses was being followed, and so the appropriate tone was incorporated in the edition.
Performance of this music is essential, and I would like to remind all here that the University of Chicago Press has taken the enlightened position, stated on the reverse of the title page: "The music transcriptions in this volume may be freely copied for performance."
WEEPING AND WAILING: LAMENTATIONS IN SPANISH SOURCES REVISITED.
Jane Morlet Hardie
Although the chant for the Lamentations of Jeremiah provided the cantus prius factus for a significant body of polyhonic compositions in the sixteenth century, little has been written about this chant as it appeared in Spain or elsewhere. Earlier studies concentrated on manuscript sources of the Lamentations and have left us with a very incomplete and possibly distorted picture of the material suggesting that a single "Spanish Tone"was known in addition to the supposedly more widely used "Roman Tone".
Robert Snow, in his new book on Holy Week Music in Guatemala City Cathedral Archive Music Ms 4, has finally begun to look anew at the Lamentations. While he is concerned primarily with Toledo versions in the changeover period pre- and post-Pius V (1568), he flags the need for more extensive work on the Lamentations found both in Spanish and wider European sources and contexts before the so-called standardization of the liturgy that followed the Reform of the Roman Rite.
This paper addressed the question of some material that is not "medieval," but which predates the Breviary of Pius V (1568), the starting point for Snow's study. Although as Snow rightly suggests, some of this later material evolved from common medieval prototypes, differences between versions in this "middle period" of flux between the medieval versions and the in principle standardization that occurred following the introduction of the Breviary of Pius V (1568), are often subtle. The interest for us lies in the fact that it is at this time that regional/local individuality may have been most marked, and it may be possible through the Lamentations to address some of the issues that this raises.
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