Pérotin

Anonymous IV names seven titles from a Magnus Liber—including Viderunt omnes, Sederunt principes and Alleluia Nativitas—that have been identified with surviving works and gives him the title Magister Perotinus (Pérotinus the Master), meaning he was licensed to teach. It is assumed that Perotinus was French and named Pérotin, a diminutive of Peter, but attempts to match him with persons in contemporary documents remain speculative.

• Name — Pérotin • Other Names — Perotinus, Perrotinus, Perotinus Magnus, Magister Perotinus • Occupation — Composer • Known for — Polyphony • Notable Works — Viderunt omnes, Sederunt principes, Alleluia Nativitas

• Illustration — Notre-Dame and the rest of Paris in the background of a c. 1452–1460 illuminated manuscript by Jean Fouquet Pérotin, about whom little is known, most likely lived around the end of the 12th and beginning of the 13th century and is presumed to have been French. The closest thing to a contemporary account of his life comes from two much later reporters: a brief mention attributed to the music theorist Johannes de Garlandia in his De Mensurabili Musica, and four mentions in the works of a late 13c English student known as Anonymous IV. At one stage Anonymous IV was thought to be a pupil of Johannes de Garlandia, but this is unlikely, and the name is a misnomer, derived from the title of notes by Charles-Edmond-Henri de Coussemaker, Anonymus IV. These were probably notes taken by the student in a lecture. including this paragraph: These rules were used in many older books; this was so during and after the time of Perotinus the Great. Nevertheless, they did not know how to distinguish these notes from those which will be presented shortly. This was so even since the time of Leo, because two ligated notes were put for the durational value of a brevis longa, and in a similar manner, three ligated notes were quite often used for a longa brevis, longa. People say Maître Leonin was the best composer of Organum (optimus organista), he composed the Great Organum Book for the gradual and antiphonary in order to prolong the divine service. This book remained in use until the time of the great Perotin who abridged it and composed clausules and sections that were many in number and better because he was the best composer of descant (optimus discantor). This Magister Perotinus made the best quadrupla, such as Viderunt and Sederunt, with an abundance of striking musical embellishments [colores armonicae artis]; likewise, the noblest tripla, such as Alleluia, Posui adiutorium and [Alleluia], Nativitas etc. He also made three-voice conductus, such as Salvatoris hodie, and two-voice conductus, such as Dum sigillum summi Patris, and also, among many others, monophonic conductus, such as Beata viscera etc. The book, that is, the books of Magister Perotinus, were in use in the choir of the Paris cathedral of the Blessed Virgin up to the time of Magister Robertus de Sabilone, and from his time up to the present day. There have been many speculative attempts to identify Pérotin with members of the Notre Dame administration, but these have not generally been accepted. Of the several people with that name (Petrus) that have been suggested, the commonest are Petrus Cantor (died 1197), who was a theologian, and another Petrus who was Succentor at Notre Dame ca. 1207–1238. Of these two, Petrus Succentor has been suggested as more probable, in part on chronological grounds, and partly because of the succentor's role in overseeing the celebration of the liturgy in the cathedral (whose choir was dedicated 1182), but this is purely speculative, resting on an assumption that the composer held some important rank in the cathedral hierarchy. Pérotin is considered to be the most important member of the Notre Dame school of polyphony, a group of composers working at or near the cathedral in Paris from about 1160 to 1250, creators of the ars antiqua style. The dates of Pérotin's life and works have long been a subject of debate, but are generally thought to be from about 1155/60 (or earlier) to around 1200/05 (or later), based on the evolution of French choral writing during this time (see Works), in particular, his apparent absence from the flowering of the French motet that occurred after 1210. Pérotin was one of very few composers of his day whose name has been preserved, and can be reliably attached to individual compositions, most of which have been transcribed. Anonymous IV called him Magister Perotinus (Pérotinus the Master). The title, employed also by Johannes de Garlandia, means that Perotinus, like Léonin, earned the degree magister artium, almost certainly in Paris, and that he was licensed to teach. However, only Anonymous IV employed the epithet Perotinus Magnus (Perotinus the Great). The name Perotinus, the Latin diminutive of Petrus, is assumed to be derived from the French name Pérotin, diminutive of Pierre. However "Petrus" was one of the most common names in the Île-de-France during the High Middle Ages, making further identification difficult. The diminutive was presumably a mark of respect bestowed by his colleagues. The title Magnus was a mark of the esteem in which he was held, even long after his death.

Léonin compiled his compositions into a book, the Magnus liber organi (Great Organum Book), around 1160. Pérotin's works are preserved in this compilation of early polyphonic church music, which was in the collection of the cathedral of Notre Dame in Paris. The Magnus liber also contains the work of his successors. In addition to two-part organa, this book contains three- and four-part compositions in four distinct forms: organa, clausulae, conducti and motets, and three distinct styles. In the organum style the upper voices are highly mobile over a tenor voice moving in long unmeasured notes. The discant style has the tenor moving in measured notes, but still more slowly than the upper voices. The third style has all voices moving note on note, and is largely limited to conductus. The surviving sources all commence with a four-voice organal setting of the Christmas Gradual, Viderunt omnes fines terrae (All the ends of the earth have seen), believed to be Pérotin's, as most likely did the original Liber. However, the manuscripts and fragments that survive date well into the thirteenth century, meaning that they are preserved in a form notated by musicians working several generations following Léonin and Pérotin. This collection of music constitutes the earliest known record of polyphony to have the stability and circulation achieved earlier by monophonic Gregorian chant.

Louis VII was succeeded by his son Philip II in 1179 and his reign was marked by integration and revision of the cultural shifts that had transpired under his father. It was during this time that the compositions of Pérotin first appeared, and a shift towards a more predominant discantus style. Pérotin is best known for his composition of both liturgical organa and non-liturgical conducti in which the voices move note on note. He pioneered the styles of organum triplum and organum quadruplum (three and four-part polyphony) and his Viderunt omnes and Sederunt principes et adversum me loquebantur (Princes sat and plotted against me) Graduals for Christmas and the feast of Saint Stephen's Day (26 December) respectively are among only a few organa quadrupla known, early polyphony having been restricted to two-part compositions. With the addition of further parts, the compositions became known as motets, the most important form of polyphony of the period. Pérotin's two Graduals for the Christmas season represent the highest point of his style, with a large scale tonal design in which the massive pedal points sustain the swings between consecutive harmonies, and an intricate interplay among the three upper voices. Pérotin also furthered the development of musical notation, moving it further from improvisation. Despite this, we know nothing of how these works came about. In addition to his own compositions, as noted by Anonymous IV, Pérotin set about revising the Magnus liber organi. Léonin's added duplum required skill, and had to be sung fast with up to 40 notes to one of the underlying chant, as a result of which the actual text progressed very slowly. Pérotin shortened these passages, while adding further voice parts to enrich the harmony. The degree to which he did this has been debated due to the phrase abbreviavit eundem by Anonymous IV. Usually translated as abbreviate, it has been surmised that he shortened the Magnus liber by replacing organum purum with discant clausulae or simply replacing existing clausulae with shorter ones. Some 154 clausulae have been attributed to Pérotin but many other clausulae are elaborate compositions that would actually expand the compositions in the Liber, and these stylistically resemble his known works which are on a much grander scale than those of his predecessor, and hence do not represent "abbreviation". An alternative rendering of abbreviavit is to write down, suggesting that he actually prepared a new edition using his better developed system of rhythmic notation, including mensural notation, as mentioned by Anonymous IV. Two styles emerged from the organum duplum, the "florid" and "discant" (discantus). The former was more typical of Léonin, the latter of Pérotin, though this indirect attribution has been challenged. Anonymous IV described Léonin as optimus organista (the best composer of organa) but Pérotin, who revised the former's Magnus liber organi (Great Organum Book), as optimus discantor referring to his discant composition. In the original discant organum duplum, the second voice follows the cantus firmus, note on note but at an interval, usually a fourth above. By contrast, in the florid organum, the upper or vox organalis voice wove shorter notes around the longer notes of the lower tenor chant.

• Illustration — Pérotin's monophonic Beata viscera from Wolfenbüttel 1099 (W2) MS Anonymous IV identified seven works, that he presumably considered worthy of singling out, and these represent the only direct attribution. Subsequent authors have attributed works on stylistic and chronological grounds. These include Friedrich Ludwig (1910), Heinrich Husmann (1940), Hans Tischler (1950) and Ethel Thurston (1970). Husmann added an additional nine three-part organa, and five clausula to which Ludwig added numerous other clausula. Other authors have attributed all the three-part organa in the Magnus Liber to Pérotin, which is unlikely. Nevertheless, two of the only three known four-part organa can be attributed to him. Key: Anonymous IV (A), Johannes de Garlandia (G), Tischler (Ti), Thurston (Th), Husmann (H). Numbers refer to folios in the F manuscript of the Magnus liber. • Four-part organa • Viderunt omnes, continued with organal motet Homo cum mandato (A)(Ti)(Th)(H) F1 • Sederunt principes, with organal motet De Stephani roseo (A)(Ti)(Th)(H) • Sederunt principes, continued with organal motet Adesse festina (A)(Th)(H) • Three-part organa • Alleluia nativitas (A)(Ti)(Th)(H) F31 • Alleluia, Posui adiutorium (A)(G)(Ti)(H) F36 • Alleluia, Dies sanctificatus (Ti) • Alleluia, Pascha nostrum (Ti)(H) • Alleluia, Dilexit Andream (H) • Stirps Yesse (Ti) • Virgo (Ti)(H) • Sancte Germane(H) • Terribilis(H) • Exiit sermo (H) • Conductus • French conductus motet Se i'ai ame: Ex semine (Th) • 3 part Conductus Salvatoris hodie (A)(Ti)(Th)(H) F307 • 2 part Conductus Dum sigillum summi patris (A)(Ti)(Th)(H) F344 • 1 part Conductus Beata viscera Marie virginis (A)(Ti)(Th)(H) • 5 Benedicamus Domino (Ti) (3 (H)) • 3 part clausulas • In odorem (H) • Et illuminare (H) • Et gaudebit (H) • Et exaltavi (H) • 2 part clausulas (numerous (H)) • Doubtful • 4 part Clausula Mors (H)