Surname
Batty
Given Name
—
Role
Composer
Musician
Active period
circa 1450 - circa 1480
Biography
Voir Dictionnaire
Batty
(fl c1450–80). Composer. Nothing is known of his life. His only two known compositions (both in CZ-Ps D.G.IV.47) are respectively three- and four-voice settings of the compline antiphon Regina celi. Both paraphrase the plainchant elaborately in the superius, and both make occasional use of imitation. Batty may be identifiable with Batten, whose sole surviving piece (in CZ-HKm II A 7) is a three-voice Sanctus whose superius either paraphrases an unidentified chant or merely cites fragments of plainchant melodies. All three works are indebted to the English idiom.
Both ‘Batty’ and ‘Batten’ may be misnomers, and it is not impossible that one or both of these names are central European ‘misspellings’; in this case they may perhaps be identifiable with Ludovicus Patier (who was at the Savoy court in 1454–5) or Luisot Patin (documented at Naples in 1480). However, both of the latter could equally well have been homonyms. A connection with the earlier composer H. Battre (represented in I-TRmp 87) seems less likely on the grounds of stylistic differences.
BIBLIOGRAPHY
M. Bouquet: ‘La cappella musicale dei duchi di Savoia, dal 1450 al 1500’, RIM, iii (1968), 233–85
R.J. Snow: The Manuscript Strahov D.G.IV.47 (diss., U. of Illinois, 1968)
A. Atlas: Music at the Aragonese Court of Naples (Cambridge, 1985)
BOB MITCHELL
Batty
(fl c1450–80). Composer. Nothing is known of his life. His only two known compositions (both in CZ-Ps D.G.IV.47) are respectively three- and four-voice settings of the compline antiphon Regina celi. Both paraphrase the plainchant elaborately in the superius, and both make occasional use of imitation. Batty may be identifiable with Batten, whose sole surviving piece (in CZ-HKm II A 7) is a three-voice Sanctus whose superius either paraphrases an unidentified chant or merely cites fragments of plainchant melodies. All three works are indebted to the English idiom.
Both ‘Batty’ and ‘Batten’ may be misnomers, and it is not impossible that one or both of these names are central European ‘misspellings’; in this case they may perhaps be identifiable with Ludovicus Patier (who was at the Savoy court in 1454–5) or Luisot Patin (documented at Naples in 1480). However, both of the latter could equally well have been homonyms. A connection with the earlier composer H. Battre (represented in I-TRmp 87) seems less likely on the grounds of stylistic differences.
BIBLIOGRAPHY
M. Bouquet: ‘La cappella musicale dei duchi di Savoia, dal 1450 al 1500’, RIM, iii (1968), 233–85
R.J. Snow: The Manuscript Strahov D.G.IV.47 (diss., U. of Illinois, 1968)
A. Atlas: Music at the Aragonese Court of Naples (Cambridge, 1985)
BOB MITCHELL