Cantus figuratusand monastic re-figuration in the late medieval Veneto
Jamie Reuland
Abstract In 1409 Ludovico Barbo arrived at the monastery of Santa Giustina in Padua, intent on its reformation. Since late fourteenth century, scriptorium had produced some most significant collections polyphonic music to survive from period, specialising copying avant-garde repertories Ars nova. Yet reforms sought introduce – based ideals he and a cohort Venetians been living out island S. Giorgio Alga eschewed outward ostentation, centred prayerful engagement with scene Christ's Passion. Barbo's initiatives would seem odds tradition secular polyphony cultivated years before his arrival. Official documents reform prohibit practice cantus figuratus paint picture uniformly spare aesthetic. Manuscript material evidence dependent houses tells different story, suggests that communities found use for monastery's musical past within reformed prayer meditation. Vestiges this appear unlikely places: Good Friday rituals himself worked strip accoutrement. The efforts individual monks, musicians scribes here Rolando da Casale, whose expertise enlisted new liturgical manuscripts, Johannes Preottonus emerge as telling examples ways which institutional histories come under pressure their actors.
Plainsong & Medieval Music