Bartolino da Bologna
Bartolino da Bologna
Genres: italian, 15th century
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About Bartolino da Bologna
Bartolomeo da Bologna (... - 1427 ) was an Italian composer, active at the beginning of the 15th century in the transition period between the Middle Ages and the Renaissance. Very little is known about his life, but it is thought that he was originally from Bologna or its surroundings and appears to have spent part of his life in Ferrara . He was a Benedictine monk and may have been the prior of the church of San Nicolò in Ferrara; he was certainly an organist there in 1407 and it is documented that he was in the cathedral of the Este city at the beginning of 1427. It also seems that he was employed in the chapel of Antipope Giovanni XXIII in Bologna since one of his ballads ( Arte psalentes ) is probably dedicated to the singers of his choir. (He is frequently mentioned in manuscripts with the Latin name of "Bartolomeus de Bononia"). Bartolomeo is one of the few native Italian composers of the early 15th century whose works have survived with reliable attribution; many of the musicians in Italy during the fifteenth century were foreigners and only later, in the course of the century, were there many Italians in addition to composers from northern Europe. Only seven pieces by Bartolomeo have survived, all in three voices: two mass movements and five secular songs , including three ballads , a rondo and a virelai . Stylistically they are all linked to the ars subtilior , which flourished in Avignon , Bologna and in other regions governed by theantipope during the Western Schism . The two mass movements are among the first ever written to use the parody technique , i.e. multi-voice material from another source, in this case two of his secular songs, is recycled and placed in a different context. . That he is the first composer of parody movements Zacara da Teramo, who probably joined in the service in the chapel of John XXIII in Bologna, have used this technique is probably not a coincidence. Yet while Zacara clearly had influence on younger composers, the techniques used by both musicians in their parody movements are quite different - Zacara's are freer in the use of the borrowed material, while Bartholomew uses contiguous sections of the his profane music in the composition of new melodies.
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