[Letter from Roland Jackson]Author(s): Roland JacksonSource: Journal of the American Musicological Society, Vol. 33, No. 1 (Spring, 1980), p. 211Published by: University of California Press on behalf of the American Musicological SocietyStable URL: http://www.jstor.org/stable/831212 .

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0 COMMENTS AND ISSUES - To the Editor of the JOURNAL:

STEVEN LEDBETTER S informative es- say, "Marenzio's Early Career,"' makes mention2 of two motets in the Newberry Library that I once tenta- tively proposed as early composi- tions by Marenzio.3 As Professor Ledbetter indicates, my article at- tempts to establish "close stylistic relationships between the motets of the Newberry manuscript and those in [Marenzio's] 1616 book" (i.e. the Sacrae cantiones). I would now like to modify this earlier supposition by pointing out that one of the motets in question, Et Jesum, turns out to be not by Marenzio but rather by To- mds Luis Victoria, and forms part of his eight-voice Salve Regina of 1576.4 The new finding bears out H. Diack Johnstone's opinions that the attribu- tion of this fragment and the other Newberry motet, Responsum accepit Simeon, to Marenzio was "highly sus- pect," an opinion I felt inclined to agree with in my subsequent edition of Marenzio's sacred music.6

Attempts to identify unknown works, even if they turn out to be misattributions, may have side bene- fits for scholarship. So, in this in- stance, my analysis of Et Jesum as stylistically close to Marenzio's Sac-

rae cantiones can be seen in retrospect as pointing up an unsuspected com-

poser relationship between Victoria and Marenzio. Both masters were in- deed active in Rome during the

1570s, and both were more governed by textual considerations than were Palestrina and members of his school. I have dealt further with this Victoria-Marenzio musical con- nection in a recent paper.7 In this

study I have explored a relationship between Marenzio's Domine quando veneris and Salve Regina (both in the Sacrae cantiones) and Victoria's motets of 1572 and 1576.These and other of Marenzio's fledgling motets, pre- sumably written in the 1570s, seem to have been composed under the

spell of Victoria. This is a hitherto

uninvestigated connection that in- vites further study.

Roland Jackson Claremont Graduate School

I This JOURNAL, XXXII (I979), pp. 304- 20.

2 pp. 312-3. 3"Two Newly-Found Motets by Ma-

renzio?", this JOURNAL, XXIV (197I), pp. 103-12. 4 Victoria, Opera omnia, ed. Philippo Ped- rell (Leipzig, 1902-13), VII, p. 120.

5 This JOURNAL, XXV (1972), p. 493. 6 Corpus mensurabilis musicae 72, I, p. xvi.

7 "Marenzio's Earlier Motets," prepared for Convegno europeo sul canto corale, X: Atti e docu- mentazioni (Gorizia, 1980?).

To the Editor of the JOURNAL:

COMMENTING ON MY ARTICLE on rhythmic patterns in the Allegro misterioso of Berg's Lyric Suite,1 Mi- chael Taylor2 offers a different pos- tulation from mine as to the meaning of the brackets written above the first violin part in measure 23. He

I "The Allegro misterioso of Berg's Lyric Suite: Iso- and Retrorhythms," this JOURNAL, XXX (i977), pp. 507-16.

2 This JOURNAL, XXXII (1979), PP- 170-2.

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