Antonius Janue
Encyclopedia
Antonius Janue (fl. ca. 1460) was an Italian composer of the Renaissance
. He was one of few known Italian composers of polyphony
in the middle of the 15th century, and left one of the few manuscripts of the time in the composer's own hand, showing erasures and corrections.
in 1462, and he is probably the "Antonius de Jan." referenced in the archives of the Genoese
ducal palace in 1456; "Janue" has been interpreted as meaning "of Genoa." If these are the same person, he would seem to have been an active composer in northern Italy in the 1450s.
He may have been a priest, given the common use of the "p." prefix in the manuscript sources, and also considering that he seems to have written only sacred music.
Janue probably compiled the manuscript I-Fn 112bis, now in the Biblioteca Nazionale Centrale
in Florence
. The manuscript contains pieces by Guillaume Dufay
, Gilles Binchois
, John Dunstaple, and others, in addition to 16 pieces attributed to Janue himself. Since he has more pieces in the manuscript than anyone else, including the most famous names of the time, and many of the pieces signed "Janue" contain erasures and emendations, it is presumed that he was not only the copyist but did some of his composing during the compilation process. Many of the changes are reductions in complexity, suggesting that he was revising the works for less advanced singers. It has been suggested that the manuscript was put together in Genoa, since his name appears on the payment register of the Genoese ducal palace in 1456, as receiving an annual salary.
, two settings of the Magnificat
, two processional hymn
s, and a laude
. Stylistically they are polyphonic, usually for three voices, and rather simple in texture compared to the work of the Burgundian
and Franco-Flemish
composers of the same time. Janue often writes in fauxbourdon
(in a similar manner to Dufay and Binchois), and occasionally uses imitation. Transcriptions of Janue's music in modern notation usually have to use irregular meters in order to capture his metrical freedom.
Some of his works, for example the setting of the Magnificat on Tone VI, were probably intended as replacements for equivalent settings by Dufay – perhaps because the originals were too hard for inexperienced singers.
Renaissance music
Renaissance music is European music written during the Renaissance. Defining the beginning of the musical era is difficult, given that its defining characteristics were adopted only gradually; musicologists have placed its beginnings from as early as 1300 to as late as the 1470s.Literally meaning...
. He was one of few known Italian composers of polyphony
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
in the middle of the 15th century, and left one of the few manuscripts of the time in the composer's own hand, showing erasures and corrections.
Life
Little is known with certainty about his life. He may be the same as Antonio da Genova, a musician who worked in FerraraFerrara
Ferrara is a city and comune in Emilia-Romagna, northern Italy, capital city of the Province of Ferrara. It is situated 50 km north-northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located 5 km north...
in 1462, and he is probably the "Antonius de Jan." referenced in the archives of the Genoese
Genoa
Genoa |Ligurian]] Zena ; Latin and, archaically, English Genua) is a city and an important seaport in northern Italy, the capital of the Province of Genoa and of the region of Liguria....
ducal palace in 1456; "Janue" has been interpreted as meaning "of Genoa." If these are the same person, he would seem to have been an active composer in northern Italy in the 1450s.
He may have been a priest, given the common use of the "p." prefix in the manuscript sources, and also considering that he seems to have written only sacred music.
Janue probably compiled the manuscript I-Fn 112bis, now in the Biblioteca Nazionale Centrale
National Central Library (Florence)
The Biblioteca Nazionale Centrale di Firenze is a public national library in Florence, the largest in Italy and one of most important in Europe, one of the two central libraries of Italy, along with the Biblioteca Nazionale Centrale of Rome.-History:...
in Florence
Florence
Florence is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area....
. The manuscript contains pieces by Guillaume Dufay
Guillaume Dufay
Guillaume Dufay was a Franco-Flemish composer of the early Renaissance. As the central figure in the Burgundian School, he was the most famous and influential composer in Europe in the mid-15th century.-Early life:From the evidence of his will, he was probably born in Beersel, in the vicinity of...
, Gilles Binchois
Gilles Binchois
Gilles de Binche , also known as Gilles de Bins , was a Franco-Flemish composer, one of the earliest members of the Burgundian School, and one of the three most famous composers of the early 15th century...
, John Dunstaple, and others, in addition to 16 pieces attributed to Janue himself. Since he has more pieces in the manuscript than anyone else, including the most famous names of the time, and many of the pieces signed "Janue" contain erasures and emendations, it is presumed that he was not only the copyist but did some of his composing during the compilation process. Many of the changes are reductions in complexity, suggesting that he was revising the works for less advanced singers. It has been suggested that the manuscript was put together in Genoa, since his name appears on the payment register of the Genoese ducal palace in 1456, as receiving an annual salary.
Music
Thirteen pieces are attributed directly to Janue in the I-Fn 112bis manuscript: eight hymns for VespersVespers
Vespers is the evening prayer service in the Western Catholic, Eastern Catholic, and Eastern Orthodox, Anglican, and Lutheran liturgies of the canonical hours...
, two settings of the Magnificat
Magnificat
The Magnificat — also known as the Song of Mary or the Canticle of Mary — is a canticle frequently sung liturgically in Christian church services. It is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn...
, two processional hymn
Processional hymn
A processional hymn is a chant, hymn or other music sung during the Procession, usually at the start of a Christian service although occasionally during the service itself. The procession usually contains members of the clergy and the choir walking behind the processional cross...
s, and a laude
Laude
The lauda or lauda spirituale was the most important form of vernacular sacred song in Italy in the late medieval era and Renaissance. Laude remained popular into the nineteenth century....
. Stylistically they are polyphonic, usually for three voices, and rather simple in texture compared to the work of the Burgundian
Burgundian School
The Burgundian School is a term used to denote a group of composers active in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy. The main names associated with this school are Guillaume Dufay, Gilles Binchois,...
and Franco-Flemish
Franco-Flemish School
In music, the Franco-Flemish School or more precisely the Netherlandish School refers, somewhat imprecisely, to the style of polyphonic vocal music composition in Europe in the 15th and 16th centuries, and to the composers who wrote it...
composers of the same time. Janue often writes in fauxbourdon
Fauxbourdon
Fauxbourdon – French for false bass – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. Guillaume Dufay was a prominent practitioner of the form, and may have been its inventor...
(in a similar manner to Dufay and Binchois), and occasionally uses imitation. Transcriptions of Janue's music in modern notation usually have to use irregular meters in order to capture his metrical freedom.
Some of his works, for example the setting of the Magnificat on Tone VI, were probably intended as replacements for equivalent settings by Dufay – perhaps because the originals were too hard for inexperienced singers.
Works
- Lucis Creator optime
- Christe Redemptor omnium
- Crucifixum in carne (1) (anon in source; attrib)
- Crucifixum in carne (2) (anon in source; attrib)
- Gloria laus et honor
- Hostis Herodes impie
- Deus tuorum militum
- Iste Confessor Domini
- Jesu, corona Virginum
- Quem terra pontus
- Ut queant laxis
- Magnificat (Tone V)
- Magnificat (Tone VI) (anon in source; attrib)
- Magnificat (Tone VII)
- Magnificat (Tone VIII) (anon in source; attrib)
- O redemptor, sume carmen (anon in source; attrib)
- Pange lingua (anon in source; attrib)
- Sanctorum meritis inclyta gaudia (anon in source; attrib)
- Verbum caro factum est