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| Latest update: | 06-04-2024 |
Joannes Tollius
c.1550 - c.1620
The Netherlands
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| J. Tollius |
Joannes (Jan) Tollius, [Jan vanTol/Toll, Joannes Tollius van Amersfoort, Giovanni Tollius] (ca.1550 - ca.1620), a Dutch composer, who spent most of his life in Italy and worked later on at the Court in Denmark. Jan van Toll, Joannes Tollius was born in Amersfoort about 1550, the northern part of the Netherlands, province of Utrecht. His family was regarded and wealthy. Very little is known about his musical education and we see Jan Tollius as Musicus moderator, a Choir-master as from 1568 in the Holy-Mary Church/Chapel (Onze Lieve Vrouwe Kapel ) in Amersfoort. In about 1579/1580 ( the time of the Reformation) Tollius left Amersfoort and travelled to Italy. In the late 1583 Tollius was appointed Maestro di cappella at St Mary Cathedral in Rieti and in 1584 Jan Tollius was Maestro di cappella at the Cathedral in Assisi. Tollius was a priest and member of the Ordo Fratrum Minorum, was dismissed due to misconduct and later on in Padua rehabilitated. He left Assisi after some severe but unknown incidents and perhaps he stayed for a while in 1587 in Rome.
From 1588 to 1601 Tollius was a tenor-singer in the Chapel of the Bishop of Padua. He was a very distinguished and honoured musician but a man with a lot of deep troubles, like we see in this quote: “Jo: Tollius Amersfortius Musicus excellens, sed homo famæ sinisterioris.”
Nevertheless in Padua Joannes Tollius was a highly regarded composer where he served the Bishop. Even Claudio Monteverdi (1567-1643) quotes a madrigal Zefiro torna set by Tollius.
From 1590 up to 1598 five Books with only Motets and Madrigals by Tollius were published in Venice with two more where his compositions are published together with other composers. Two Books Motectorum (1591 and 1597) are dedicated to Aloisius Cornelius Bishop of Padua and another (1591) is dedicated to Tolius’ former musicians in Amersfoort: “Noblissisimus et excelletissimus Musicis Amorsfortiis.”
Those books are the only surviving witnesses of the settings by Joannes Tollius.
Furthermore in Padua Jan Tollius made acquaintance with the famous humanist Henrick van den Putte (Erycius Puteanus, 1574-1646) from Venlo, the Netherlands, who worked as professor in Padua and Milano. There were some contacts around 1597 with the Collegium Musicum of Amsterdam to whom Tollius in that same year dedicated a Book with six-part madrigals, dedication: “Amsterdamensium Musicorum Collegio.”
62 motets and 18 Madrigals are known and found in the mentioned Books. At least two Requiem motets have been seen.
At the beginning of the 17th century Tollius travelled to the North even not visiting the Netherlands. He settled in Denmark.
From 1601 to 1603 Johannes Tollius was as a high salaried singer in the Royal Chapel of Denmark at Copenhagen, the court of King Christian IV (1577-1648), King of Denmark and Norway. After 1603 nothing has been seen or heard in sources about Joannes Tollius. We only know that his inheritance has been notary arranged in Denmark by 11th May 1629, between his family among others his nephew Dirck van Toll and his nephew Johan van Toll out of Utrecht. Jan Tollius belongs to the fifth generation of a large number Netherlandish composers of the Renaissance, worth to be performed. It is uncertain when Tollius died.
| Author: | Wim Goossens |
Peccantem me quotidie
| Period: | High Renaissance |
| Composed in: | 1591c |
| Musical form: | Motet à 5 vocibus inaequalium |
| Text/libretto: | Latin from: Officium Defunctorum |
Text:
R. Peccantem me quotidie et non penitentem, Timor mortis conturbat me.
Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.
V. Deus, in nomine tuo salvum me fac,
et in virtute tua libera me.
R. Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.
Translation:
R. I who sin every day and am not penitent, the fear of death upsets me:
For in hell there is no redemption.
Have mercy upon me, O God, and save me.
V. God, in your name save me,
and in your virtue set me free.
R. For in hell there is no redemption.
Have mercy upon me, O God, and save me.
R. Peccantem me quotidie et non penitentem, Timor mortis conturbat me.
Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.
V. Deus, in nomine tuo salvum me fac,
et in virtute tua libera me.
R. Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.
Translation:
R. I who sin every day and am not penitent, the fear of death upsets me:
For in hell there is no redemption.
Have mercy upon me, O God, and save me.
V. God, in your name save me,
and in your virtue set me free.
R. For in hell there is no redemption.
Have mercy upon me, O God, and save me.
| Contributor: | Wim Goossens |
“Peccantem me quotidie” is a plainchant from the Responsorium de Officium Defunctorum Ad Matutinum. The “Peccantem me quotidie” is an old Responsorium, a Respond which is published in the old Liber Usualis page 1797 and is sung after Lectio VII in the third Nocturn. For older versions we refer to the Brunet Psalter and the gradual of Tours.
In this case the composer Joannes Tollius – belonging to the fifth generation of Netherlandish composers – set this Respond “Peccantem me” for five voices (SATTB).
See the text part and the references below. The choice of texts and the order in which the Responds normally occur in the sources as we saw in the Renaissance period vary according to local uses. Tollius uses the general version. Tollius set this motet in imitative polyphonic counterpoint.
Tolius starts with an exceptional but imposing upward septime, repeated in all voices on the wording “Peccantem ”. An exceptional moving start of this motet with such a great and extraordinary word-painting and effect. Cantus followed by Quintus, Tenor, Bassus and at least in bar 9 Altus, but again the septime is repeated by Quintus in bar 13, Cantus bar 15, Bassus bar 16. Indeed a very impressive start of this respond. Here you see the influence of the Italian masters referring to the art of madrigals.
Word-painting is seen in “conturbat me”, bars 23 up to bars 28 with descending quarters. Tollius uses indeed more word-painting in the “Miserere mei/have mercy on me”, culminating with a full major chord with all five parts in homophonic style (bar 55) to underline those words in bars 45 up to 58 with moreover descending lines in “salva me” in nearly all voices. The first part of this Respond consists out of 60 bars. The second part of this Respond in fact the belonging Versicle starts with a descending line in “in nomine tuo” in all voices repeated up to bar 16.
In “libera me” there is some deep begging with again descending notes to save the person who is prayed for. The already mentioned “Miserere mei/have mercy on me”, is again in the mentioned homophonic style to underline those words in bars 57 up to 73 with besides descending lines in “salva me” in nearly all voices. The second part of this Respond consists out of 72 bars. Joannes Tollius follows the normal Gregorian rites with the chosen repeating from “Quia in inferno”. This work is published in Joannis Tollii Amorsfortii Belgae Motectorum quinque vocum liber secundus nuper editus. Venetiis apud Angelum Gardanum MDLXXXXI. Ded.: Aloisius Cornelius Episcopo Patavino Dignissimo, in 1591. See too the modern edition by Simon H. Groot, Amersfoort with music by Joannes Tollius like so many Netherlandish composers out of the Renaissance-period worth to be performed.
See the text part and the references below. The choice of texts and the order in which the Responds normally occur in the sources as we saw in the Renaissance period vary according to local uses. Tollius uses the general version. Tollius set this motet in imitative polyphonic counterpoint.
Tolius starts with an exceptional but imposing upward septime, repeated in all voices on the wording “Peccantem ”. An exceptional moving start of this motet with such a great and extraordinary word-painting and effect. Cantus followed by Quintus, Tenor, Bassus and at least in bar 9 Altus, but again the septime is repeated by Quintus in bar 13, Cantus bar 15, Bassus bar 16. Indeed a very impressive start of this respond. Here you see the influence of the Italian masters referring to the art of madrigals.
Word-painting is seen in “conturbat me”, bars 23 up to bars 28 with descending quarters. Tollius uses indeed more word-painting in the “Miserere mei/have mercy on me”, culminating with a full major chord with all five parts in homophonic style (bar 55) to underline those words in bars 45 up to 58 with moreover descending lines in “salva me” in nearly all voices. The first part of this Respond consists out of 60 bars. The second part of this Respond in fact the belonging Versicle starts with a descending line in “in nomine tuo” in all voices repeated up to bar 16.
In “libera me” there is some deep begging with again descending notes to save the person who is prayed for. The already mentioned “Miserere mei/have mercy on me”, is again in the mentioned homophonic style to underline those words in bars 57 up to 73 with besides descending lines in “salva me” in nearly all voices. The second part of this Respond consists out of 72 bars. Joannes Tollius follows the normal Gregorian rites with the chosen repeating from “Quia in inferno”. This work is published in Joannis Tollii Amorsfortii Belgae Motectorum quinque vocum liber secundus nuper editus. Venetiis apud Angelum Gardanum MDLXXXXI. Ded.: Aloisius Cornelius Episcopo Patavino Dignissimo, in 1591. See too the modern edition by Simon H. Groot, Amersfoort with music by Joannes Tollius like so many Netherlandish composers out of the Renaissance-period worth to be performed.
| Author: | Wim Goossens |
Hei Mihi, Domine
| Period: | High Renaissance |
| Composed in: | 1591c |
| Musical form: | Motet à 5 vocibus inaequalium |
| Text/libretto: | Latin from:Officium Defunctorum |
Text:
R. Hei mihi, Domine, quia peccavi nimis in vita mea:
quid faciam miser, ubi fugiam, nisi ad te, Deus meus?
Miserere mei, dum veneris in novissimo die.
V. Anima mea turbata est valde: sed tu Domine succurre ei.
R. Miserere mei, dum veneris in novissimo die.
Translation:
R. Woe is me, o Lord, for I have sinned exceedingly in my life:
Miserable, what shall I do, to which place
shall I flee, if not before Thee, my God?
Have mercy on me when. Thou shalt come at the latter of all days.
V. My soul is greatly troubled; intercede upon me, o Lord!
R. Have mercy on me when. Thou shalt come at the latter of all days.
R. Hei mihi, Domine, quia peccavi nimis in vita mea:
quid faciam miser, ubi fugiam, nisi ad te, Deus meus?
Miserere mei, dum veneris in novissimo die.
V. Anima mea turbata est valde: sed tu Domine succurre ei.
R. Miserere mei, dum veneris in novissimo die.
Translation:
R. Woe is me, o Lord, for I have sinned exceedingly in my life:
Miserable, what shall I do, to which place
shall I flee, if not before Thee, my God?
Have mercy on me when. Thou shalt come at the latter of all days.
V. My soul is greatly troubled; intercede upon me, o Lord!
R. Have mercy on me when. Thou shalt come at the latter of all days.
| Contributor: | Wim Goossens |
“Hei mihi Domine” is a plainchant from the Responsorium de Officium Defunctorum, Ad Matutinum. The “Heu mihi, Domine” is an old Responsorium, a Respond which is published in the old Liber Usualis page 1791 and is sung after Lectio V in the secund Nocturn.
In this case the composer Joannes Tollius – belonging to the fifth generation of Netherlandish composers – set this Respond “Heu mihi Domine” for five voices (SATTB).
See the text part and the references below. The choice of texts and the order in which the Responds normally occur in the sources as we saw in the Renaissance period vary according to local uses. Tollius uses in this case the general version. Tollius set this motet generally in imitative polyphonic counterpoint. Tolius starts in the prima pars with Cantus, followed by Altus, Quintus, Tenor and Bassus. In this setting by Tollius you see the influence of the Italian masters referring to the art of madrigals. Word-painting is seen all over this piece; In “fugiam” Tollius uses with three parts long musical lines, followed by another three part-combination, but Tollius uses indeed more specific word-painting in the “Miserere mei/have mercy on me”, with a full major chord in homophonic style to underline those words in bars 51 up to 57. The first part of this Respond consists out of 69 bars.
The second part of this Respond the Versicle “Anima mea” starts with Bassus with a descending quarter followed by Tenor, Quintus, Altus and Cantus.
In “fugiam” and “valde” Tollius uses in all parts long musical lines. The already mentioned “Miserere mei/have mercy on me”, is again in the same homophonic style to underline those words in bars 36 up to 41. The second part of this Respond consists out of 53 bars.
Tollius uses some fine sharps to underline the meaning of the words. Joannes Tollius follows the normal Gregorian rites with the chosen repeating, but in this case starts the prescribed repeating of a part of the Respond unusual with “Miserere mei” followed by “Dum veneris”. This work is published in Joannis Tollii Amorsfortii Belgae Motectorum quinque vocum liber secundus nuper editus. Venetiis apud Angelum Gardanum MDLXXXXI. Ded.: Aloisius Cornelius Episcopo Patavino Dignissimo, in 1591. But see too the modern edition by Simon H. Groot, Amersfoort with music by Joannes Tollius like so many Netherlandish composers out of the Renaissance-period worth to be performed.
See the text part and the references below. The choice of texts and the order in which the Responds normally occur in the sources as we saw in the Renaissance period vary according to local uses. Tollius uses in this case the general version. Tollius set this motet generally in imitative polyphonic counterpoint. Tolius starts in the prima pars with Cantus, followed by Altus, Quintus, Tenor and Bassus. In this setting by Tollius you see the influence of the Italian masters referring to the art of madrigals. Word-painting is seen all over this piece; In “fugiam” Tollius uses with three parts long musical lines, followed by another three part-combination, but Tollius uses indeed more specific word-painting in the “Miserere mei/have mercy on me”, with a full major chord in homophonic style to underline those words in bars 51 up to 57. The first part of this Respond consists out of 69 bars.
The second part of this Respond the Versicle “Anima mea” starts with Bassus with a descending quarter followed by Tenor, Quintus, Altus and Cantus.
In “fugiam” and “valde” Tollius uses in all parts long musical lines. The already mentioned “Miserere mei/have mercy on me”, is again in the same homophonic style to underline those words in bars 36 up to 41. The second part of this Respond consists out of 53 bars.
Tollius uses some fine sharps to underline the meaning of the words. Joannes Tollius follows the normal Gregorian rites with the chosen repeating, but in this case starts the prescribed repeating of a part of the Respond unusual with “Miserere mei” followed by “Dum veneris”. This work is published in Joannis Tollii Amorsfortii Belgae Motectorum quinque vocum liber secundus nuper editus. Venetiis apud Angelum Gardanum MDLXXXXI. Ded.: Aloisius Cornelius Episcopo Patavino Dignissimo, in 1591. But see too the modern edition by Simon H. Groot, Amersfoort with music by Joannes Tollius like so many Netherlandish composers out of the Renaissance-period worth to be performed.
| Author: | Wim Goossens |