![Pieter Mannaerts](https://0.academia-photos.com/8597/3034/19232854/s200_pieter.mannaerts.jpg)
Pieter Mannaerts
My specialization is in early music (chant, medieval and renaissance); a secondary research interest is the music of the 1920s-30s.
For a more complete list of publications, see the Orcid-link in my profile.
Address: Alamire Foundation
Abbey of Park, 1
3001 Leuven
Belgium
For a more complete list of publications, see the Orcid-link in my profile.
Address: Alamire Foundation
Abbey of Park, 1
3001 Leuven
Belgium
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At the bicentenary of Jacques-Nicolas Lemmens' birth, this article offers a brief overview and evaluation of Lemmens' contribution to plainchant and its revival in the nineteenth century.
to save the life and the hands of Paul Orlac, the protagonist in Robert Wiene’s silent film 'Orlacs Hände' (1924), sets himself an ambitious goal. In a successful operation, the world-famous pianist who lost both hands in a train crash is given the hands of a convicted murderer. It is Orlac’s impression that the hands live a life of their own, and that they drive him to commit crimes himself.
How important is it that Orlac is a pianist? Could he have been any other artist? And which image of the pianist as an artist is conveyed by Robert Wiene? A close reading and comparison of Wiene’s film and its literary source (Maurice Renard’s novel Les Mains d’Orlac, 1920) allows us to answer these questions in greater detail, while other contemporary films provide a further frame of reference.
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RESUMEN - “Salvar al artista tanto como al hombre”: el cirujano que se esfuerza por salvar la vida y las manos de Paul Orlac, el protagonista de la película muda Orlacs Hände (1924), de Robert Wiene, se propone un objetivo ambicioso. En una exitosa operación, el mundialmente famoso pianista que perdió ambas manos en un accidente de tren recibe las manos de un asesino convicto. Orlac tiene la impresión de que las manos tienen vida propia, y que le impulsan a cometer crímenes.
¿Qué importancia tiene que Orlac sea pianista? ¿Podría haber sido cualquier otro artista? ¿Y qué imagen del pianista como artista transmite Robert Wiene? Una lectura atenta y una comparación entre la película de Wiene y su fuente literaria (la novela Les Mains d’Orlac, 1920, de Maurice Renard) permiten responder a estas preguntas con mayor detalle, mientras que otras películas contemporáneas proporcionan un marco de referencia adicional.
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Palabras clave: Orlacs Hände, Las manos de Orlac, Robert Wiene, Maurice Renard, Pianista, Estatus del artista
The literature, both recent and older, on the phenomenon of liquescence demonstrates that many questions remain. because plainchant is music set to text, it should also be studied from the viewpoint of linguistics; in particular, questions regarding the exact meaning of liquescence may be illuminated by studying it from a phonetic approach.
The present contribution identifies several problems that have hindered a systematic study of liquescence. because the texts as found in the manuscripts are our primary source for studying their pronunciation, methodological choices for their transcription and discussion need to be made. The international phonetic alphabet is rarely used by musicologists, resulting in a literature that sometimes contains ambiguous discussions of pronunciation and lacks a clear metalanguage. In order to approach liquescence more systematically, we propose to introduce the notion of articulatory force, both on an articulatory and an acoustic level. We formulate three hypotheses:
1. The liquescent neume asks for a soft (lenis) pronunciation of the consonants it renders.
2. The soft variant can often be explained on the basis of a close reading of the text.
3. Scribal choices for the use of liquescent neume forms may have been inspired by didactic considerations.
In conclusion, the present contribution offers a number of examples taken from the graduals Saint Gall, Stiftsbibliothek 339 and 342, thus opening up the way to future analyses.
https://repertoire-explorer.musikmph.de/wp-content/uploads/vorworte_prefaces/4100.html
https://repertoire-explorer.musikmph.de/wp-content/uploads/vorworte_prefaces/1927.html
At the bicentenary of Jacques-Nicolas Lemmens' birth, this article offers a brief overview and evaluation of Lemmens' contribution to plainchant and its revival in the nineteenth century.
to save the life and the hands of Paul Orlac, the protagonist in Robert Wiene’s silent film 'Orlacs Hände' (1924), sets himself an ambitious goal. In a successful operation, the world-famous pianist who lost both hands in a train crash is given the hands of a convicted murderer. It is Orlac’s impression that the hands live a life of their own, and that they drive him to commit crimes himself.
How important is it that Orlac is a pianist? Could he have been any other artist? And which image of the pianist as an artist is conveyed by Robert Wiene? A close reading and comparison of Wiene’s film and its literary source (Maurice Renard’s novel Les Mains d’Orlac, 1920) allows us to answer these questions in greater detail, while other contemporary films provide a further frame of reference.
--
RESUMEN - “Salvar al artista tanto como al hombre”: el cirujano que se esfuerza por salvar la vida y las manos de Paul Orlac, el protagonista de la película muda Orlacs Hände (1924), de Robert Wiene, se propone un objetivo ambicioso. En una exitosa operación, el mundialmente famoso pianista que perdió ambas manos en un accidente de tren recibe las manos de un asesino convicto. Orlac tiene la impresión de que las manos tienen vida propia, y que le impulsan a cometer crímenes.
¿Qué importancia tiene que Orlac sea pianista? ¿Podría haber sido cualquier otro artista? ¿Y qué imagen del pianista como artista transmite Robert Wiene? Una lectura atenta y una comparación entre la película de Wiene y su fuente literaria (la novela Les Mains d’Orlac, 1920, de Maurice Renard) permiten responder a estas preguntas con mayor detalle, mientras que otras películas contemporáneas proporcionan un marco de referencia adicional.
--
Palabras clave: Orlacs Hände, Las manos de Orlac, Robert Wiene, Maurice Renard, Pianista, Estatus del artista
The literature, both recent and older, on the phenomenon of liquescence demonstrates that many questions remain. because plainchant is music set to text, it should also be studied from the viewpoint of linguistics; in particular, questions regarding the exact meaning of liquescence may be illuminated by studying it from a phonetic approach.
The present contribution identifies several problems that have hindered a systematic study of liquescence. because the texts as found in the manuscripts are our primary source for studying their pronunciation, methodological choices for their transcription and discussion need to be made. The international phonetic alphabet is rarely used by musicologists, resulting in a literature that sometimes contains ambiguous discussions of pronunciation and lacks a clear metalanguage. In order to approach liquescence more systematically, we propose to introduce the notion of articulatory force, both on an articulatory and an acoustic level. We formulate three hypotheses:
1. The liquescent neume asks for a soft (lenis) pronunciation of the consonants it renders.
2. The soft variant can often be explained on the basis of a close reading of the text.
3. Scribal choices for the use of liquescent neume forms may have been inspired by didactic considerations.
In conclusion, the present contribution offers a number of examples taken from the graduals Saint Gall, Stiftsbibliothek 339 and 342, thus opening up the way to future analyses.
https://repertoire-explorer.musikmph.de/wp-content/uploads/vorworte_prefaces/4100.html
https://repertoire-explorer.musikmph.de/wp-content/uploads/vorworte_prefaces/1927.html
To order your copy, please visit www.centrumgregoriaans.be
Published in The Medieval Review, February 2016
der Poel (eds.), Het liederenhandschrift Berlijn 190.
Hs. Staatsbibliothek zu Berlin – Preußischer Kulturbesitz
germ. oct. 190. Hilversum: Verloren, 2013
Published in Queeste 22:2 (2015), 183-186.
In this paper, I propose to examine the role of the Belgian composer and organist Jacques-Nicolas Lemmens (1823-1881). Even though Lemmens persued an active career as a teacher and performer (he was a celebrated organist, pianist, and harmonium player), his plainchant-related output and his commitment to establish the École de musique religieuse (Mechelen, 1878) at the request of the Belgian church authorities demonstrate his strong allegiance to the religious sphere. After a brief assessment of Lemmens’ plainchant-related compositions, I will focus on his École d’orgue basée sur le plain-chant romain (1862) and its claims to being a Catholic plainchant-based organ method. These will be put in perspective by Lemmens’ theoretical and historical views on the repertory, its notation, and its musical features as expressed in his posthumous treatise Du chant grégorien. Sa mélodie, son rythme, son harmonisation (1886).
-- ABSTRACT --
The 'Codex Grey' (Ms. Grey 3.b.12) was probably copied in a North-Italian Benedictine abbey in the first years of the sixteenth century and contains 85 compositions on Latin and Italian texts. Despite its appearance as a collection of motets and laude, at least 24 of them are contrafacts of French chansons, Italian laude, a Dutch song, and Latin motets and mass movements. With the exceptions of Agricola and Isaac, no composers are mentioned in the codex, but Giulio Cattin has identified 28 pieces as compositions by Busnoys, Tromboncino, Weerbeke, and others. In this paper, I will consider the dynamics between the 'source' and 'target' languages and genres mentioned above, compare them to those in similar collections, and propose a re-evaluation of the manuscript's strategically stated liturgical function as a 'liber quadragesimale' (fol. 2r). As an example, I propose a brief analysis of the only contrafact of a Dutch song in the collection, the motet 'Nolite sanctum dare' (no. 78, fol. 119r). The motet is the only known Latin contrafact of Agricola's 'In minen zin', and its Latin text raises questions about, among other things, the piece's performance and its liturgical function and use. Answering them may bring us closer to understanding the 'preaching' and 'study' to which scribe aspires in his opening motto (fol. 1r).
***
Giuseppe Becce è un personaggio pieno di paradossi: collaboratore, da compositore come anche da attore, di Fritz Lang, Friedrich Wilhelm Murnau, Robert Wiene e Leni Riefenstahl, i più famosi registi del suo tempo. Oggi il suo nome è totalmente sconosciuto; emigrato a Berlino (per motivi di carriera), nella patria fu condannato a morte; in pieno modernismo ed espressionismo degli anni 20 del cinema tedesco, continuò ad operare uno stilo romantico tardivo (per non dire ‘in ritardo’).
Questa figura emminente del periodo tra le due guerre, vi sarà presentata in questa conferenza su base di frammenti musicali e cinematografici.
***
Giuseppe Becce is een personage vol paradoxen. Omdat zijn naam vandaag niet langer bekend is, terwijl hij als componist (en acteur!) wel met de grootste filmregisseurs van zijn tijd samenwerkte – Fritz Lang, Friedrich Wilhelm Murnau, Robert Wiene en Leni Riefenstahl. Omdat hij als Italiaan emigreerde naar Berlijn om daar carrière te maken, en daarna in zijn thuisland ter dood werd veroordeeld. Omdat hij ondanks alle modernisme en expressionisme in de film van de jaren 1920 eigenlijk in een laat- (of zelfs ‘verlate’) romantische stijl bleef componeren.
Aan de hand van muziek- en beeldfragmenten laat deze lezing u kennismaken met deze eminente figuur uit het interbellum.
"De luister van het gregoriaans"
Luistercursus Davidsfonds, Diksmuide
Also read during a conference organised by Alamire Foundation / KU Leuven at Conference Center Elzenveld, August 22, 2010.
This paper discusses the musical and historical significance of liturgical chant in honor of local saints, and takes as an example the cult of saint Dympna (also Dimpna or Dymphna), a seventh-century Irish princess who became the patron saint of the mentally ill in the city of Gheel. Dympna's cult is documented firmly from the mid-thirteenth century, when a 'vita' was written by the canon, Peter of Cambrai. The surviving music (office and mass chants) that was sung in honour of Dympna remains anonymous, and can be found only in a number of local manuscripts and fragments. Through stylistic analysis of text and music, and comparison with similar compositions from the region, this paper aims at determining an approximate date of composition. Furthermore, it will be asked what the historical and hagiographic significance is of the mass chants and the 'historia' (liturgical office). Finally, an eye is cast on the post-medieval reception of the legend and cult of Dympna in various regions in Europe at various times.