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| Latest update: | 06-04-2024 |
Caspar Vincent
c.1580 - 1624
Belgium / The Netherlands
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| C. Vincent |
Caspar Vincent/Vincentius (c.1580 - 1624), a Netherlandish composer (fifth generation) who probably came from St. Omer. Unfortunately nothing is known about his youth and his first teachers. But he worked at the Imperial Court in Austria where he was a pupil of the famous Philippe de Monte (1521-1603), which was the famous appointed choirmaster “Kapellmeister” in Vienna and Prague in 1568. Vincent worked further as an organist in Speyer (c1602-1615) and in Worms. Later on he was the appointed organist at the cathedral of Würzburg where he died in 1624. Vincentius published and edited together with cantor, composer and editor Abraham Schadäus (1566-1626) in several anthologies 432 works by 114 different composers. Schadäus and Vincentius organized these volumes according to the liturgical year, but not exclusively for either Catholic or Lutheran contexts. In those anthologies we will see another Respond-pieces by far unknown composers but practising the ‘coro spezatti’ style. Vincentius music appeared in anthologies among others 25 pieces in the first volume Promptuarum musicum (vol. 1, liber primus), Strasbourg, 1611.
| Author: | Wim Goossens |
Adesto dolori meo
| Period: | Late Renaissance |
| Composed in: | 1611 |
| Musical form: | motet à 8 vocibus |
| Text/libretto: | Latin out Responsorium de Officium Defunctorum |
| Duration: | 4'17'' |
Adesto dolori meo is a text and a plainchant out the Responsorium de Officium Defunctorum and here composed by Vincent for eight voices (SATB SATB) but here in ‘coro spezzati’ double choirs technique, which was not very usual in that time in the Responds. The Adesto dolori meo is an old Responsorium. There are about 138 Responsoria de Officium Defunctorum known and used during centuries in the Office of the Dead. They are all well ordered and this is number 3. This text is found and used in the Otto of Riedenburg’s Pontifical. It is a brilliant representative of the German attitude towards death in the major office between 1060-1084.
Vincent/Vincentius uses from the beginning a very imposing double choir style with some contrapuntal elements in it. The double choir-style is of course influenced by his master Philippe de Monte (1521-1603), Vincent starts with Choir 1. Vincent uses a lot of measure-fluctuation in using 3/2 and 2/2 measures. But interesting to see too how Vincent uses double/paired short imitative themes even through the two choirs in the first 16 bars. And that’s amazing. In “in cithara” as well in “et cantatio” Vincent uses word-painting in using long combinations of eighth notes (see bars 26 to 45). In “mea in plorationem” Vincent uses dramatic declining chromatic lines in the upper voice in both choirs. (See bars 39-49). Vincent uses further a lot of accidentals flats and sharps in this piece. The texture in the 3/2 measure is more in a modestly style. This total works consists out of 55 bars. Here we see too the high skills of the Netherlandish composers.
This setting by Vincent Adesto dolori meo was published in Promptuarum musicum (vol. 2, liber secundus), Strasbourg, 1612.
| Author: | Wim Goossens |
Text of this Responsorium:
Adesto dolori meo, O Deus, nimium fatigor,
et cecidit in luctum Cythara mea,
et cantatio mea in plorationem.
Translation:
I am consumed with my grief, O God,
I am too much tormented;
My harp has fallen into mourning,
And my singing into weeping.
Adesto dolori meo, O Deus, nimium fatigor,
et cecidit in luctum Cythara mea,
et cantatio mea in plorationem.
Translation:
I am consumed with my grief, O God,
I am too much tormented;
My harp has fallen into mourning,
And my singing into weeping.
| Contributor: | Wim Goossens |