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MEDIEVAL MUSIC Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart. Edited by Anna Zayaruznaya, Bonnie J. Blackburn, and Stanley Boorman. (Miscellanea, 9.) Middleton, WI: American Institute of Musicology, 2015. [xxvi, 854 p. ISBN 9781595515148. $130.] Music examples, illustrations, facsimiles, appendix, bibliography, indexes.
This volume is a tribute not only to a preeminent musicologist, but to a highly influential colleague, mentor, and teacher. Planchart is primarily a medievalist, so many of the contributions in this festschrift address that field, but even the outliers among its pages reflect the impact that Planchart has had on colleagues and former students who have pursued musicological subjects in other eras.
The festschrift opens with Fabrice Fitch's discussion of his compositional homage to Planchart, Agrícola IXa: Je nay dueil, for "solo cornetto muto." Fitch notes that Planchart, too, is a composer, and a list of the dedicatee's considerable body of compositions is given as part of a larger list of "Publications, Compositions, and Recordings by Alejandro Enrique Planchart" in the appendix. Following this homage, the editors have chosen to group the various contributions according to nine topics, all of which at one point or another have been the focus of Planchart's own wide-ranging scholarship. The first two categories, "Chant Transmitted and Reformed" and "Cults," reflect Planchart's lifelong engagement with chant and its contexts. In a wellargued article, Angelo Rusconi demonstrates that the Old Milanese hymn for the feast of Saint John the Baptist, Alma prophetae, must be one of the oldest extant Ambrosian chants, dating from no later than the sixth century. James Vincent Maiello writes about twelfth-century Alleluias and their tropes at Pistoia, explaining the impetus to update this repertory at the Cathedral of San Zeno as part of a larger campaign to make that institution competitive with others nearby. Michel Huglo and Barbara Haggh-Huglo summarize what is known about the medieval procession for Saint Agatha's feast day in the city of Florence. They correct a few details concerning the route of the procession after taking into consideration new building projects undertaken between the twelfth and thirteenth centuries, which were designed to accommodate the city's growing population. Thomas Forrest Kelly discusses an unrhymed musical Office for Saint Donatus found in the fourteenth-century Beneventan antiphoner I-BV MS...