Surname
Cambius
Given Name
Seraphinus
Variant Name
Séraphin
Active period
1476 - 1491
Biography
Basilique Saint-Pierre de Rome, 1476-1491. Seraphinus Cambius* est identifié par Haberl comme soprano à Saint-Pierre de Rome à partir de cinq mentions: en 1476 (”Chanbius, supran”), 1484 (”Milvo Soprano qui venit in loco Cambii pro tribus mensibus” et “9. Christophoro SAncti Suprano pro quatuor mensibus, duc 4 et Cambio pro mense sept. duct. unum, et unum alium sibi de gratia donatum proter licentiam sibi datam.”), 1486 (“Seraphinus supr.”), 1488 (“Seraphinus”) et 1491 (“Seraphino Cambio”). (Haberl1888, p. 49-50).
Mais peu clair dans Reynolds 1995, index: Serafinus (soprano, possibly Seraphinus Baldesaris), 55 , 309
p. 55-56
and for 1485-89 a soprano named only Serafinus. This last is not Serafino dall'Aquila, the eminent poet-musician and familiar of Cardinal Ascanio Sforza, because he was in Milan with Sforza in 1487. But he could be one of the few Italian composers of church Polyphony in the latter Quattrocento, with two possible works: a structurally unorthodox Credo by Seraphinus in Per431, a Neapoli-
― 56 ―
tan manuscript from the 1480s; and a lauda by Seraphinus Baldesaris in Petrucci's Laude libro II (1508).[note: [66] Atlas, Music at the Aragonese Court of Naples , 131; see also Allan Atlas, "On the Neapolitan Provenance of the Manuscript Perugia, Biblioteca Comunale Augusta, 431 (G20)," 64-65; and Giulio Cattin, "Il repertorio polifonico sacro nelle fonti napoletane del Quattrocento," who disputes Atlas's identification of Per431 as the product of a Benedictine monastery; instead, he proposes a Franciscan origin on the basis of two Franciscan texts in the manuscript. Since I argue below (chapter 7) that Faugues worked at St. Peter's, it may also be relevant that the Seraphinus Credo quotes three voices from Faugues's Missa Je suis en la mer ; see Christopher Reynolds, "The Counterpoint of Allusion in Fifteenth-Century Masses," 234-36.
p. 202: Faugues's music was extremely well known in Italy by the 1470s, as indicated by his influence on Martini and on the Italian composer Serafino (who quoted from the Missa Je suis en la mer in his BolQ16 Credo),
p. 309: None of the singers potentially identifiable as composers were paid for scribal activities, not Bertrandus Vaqueras, Roberto Anglico, Serafinus, or Johannes Brunet.
p.338. Dans la liste des chanteurs par origine: Italie… Serafinus
Dans l’annexe II,
p. 331: Cambio: 3-half of Il/1476; 8/1478-9/1484; 6-7/1485; 9/1485-8/1486; 9-10/1488; 3/1489*. Sop. and cleric. Rpl. Bonomo
p. 335: Serafinus: 9/1485-2/1489. Sop.
Cambio: p. 50: Bonomo was joined by Christoforo Sancti, Hieronymus Johannes de Pazillis, and Cambio. A couple of Italians collected a wage of 2 ducats, Archangelo Blasio and Nicholas de Setia. Despite possessing the skills to join the papal chapel in 1475, Archangelo never matched the 3-ducat-per-month salaries of many of his northern colleagues
p. 334: Milvo: 10/1484-8/1485. Sop. For 10-12/1484 he sang "in loco" Cambio
Aucune autre mention de ce chantre n’est connue et, malgré la rareté de son prénom, rien ne permet de l’identifier à d’autres chanteurs, comme le Seraphinus Chambius* mentionné à Saint-Pierre de Rome entre 1476 et 1491.• Boulogne-sur-Mer, 1469. En avril 1469, “messire Seraphin Bochot, prebstre chantre demourant a Boulongne” reçoit un don de 42s de Charles le Téméraire, qui l’”avoit mandé pour oir sa voix” (B-AGR, CC 1924, f. 264v). Il ne fut manifestement pas retenu. (Fiala2002/PCR).
Mais peu clair dans Reynolds 1995, index: Serafinus (soprano, possibly Seraphinus Baldesaris), 55 , 309
p. 55-56
and for 1485-89 a soprano named only Serafinus. This last is not Serafino dall'Aquila, the eminent poet-musician and familiar of Cardinal Ascanio Sforza, because he was in Milan with Sforza in 1487. But he could be one of the few Italian composers of church Polyphony in the latter Quattrocento, with two possible works: a structurally unorthodox Credo by Seraphinus in Per431, a Neapoli-
― 56 ―
tan manuscript from the 1480s; and a lauda by Seraphinus Baldesaris in Petrucci's Laude libro II (1508).[note: [66] Atlas, Music at the Aragonese Court of Naples , 131; see also Allan Atlas, "On the Neapolitan Provenance of the Manuscript Perugia, Biblioteca Comunale Augusta, 431 (G20)," 64-65; and Giulio Cattin, "Il repertorio polifonico sacro nelle fonti napoletane del Quattrocento," who disputes Atlas's identification of Per431 as the product of a Benedictine monastery; instead, he proposes a Franciscan origin on the basis of two Franciscan texts in the manuscript. Since I argue below (chapter 7) that Faugues worked at St. Peter's, it may also be relevant that the Seraphinus Credo quotes three voices from Faugues's Missa Je suis en la mer ; see Christopher Reynolds, "The Counterpoint of Allusion in Fifteenth-Century Masses," 234-36.
p. 202: Faugues's music was extremely well known in Italy by the 1470s, as indicated by his influence on Martini and on the Italian composer Serafino (who quoted from the Missa Je suis en la mer in his BolQ16 Credo),
p. 309: None of the singers potentially identifiable as composers were paid for scribal activities, not Bertrandus Vaqueras, Roberto Anglico, Serafinus, or Johannes Brunet.
p.338. Dans la liste des chanteurs par origine: Italie… Serafinus
Dans l’annexe II,
p. 331: Cambio: 3-half of Il/1476; 8/1478-9/1484; 6-7/1485; 9/1485-8/1486; 9-10/1488; 3/1489*. Sop. and cleric. Rpl. Bonomo
p. 335: Serafinus: 9/1485-2/1489. Sop.
Cambio: p. 50: Bonomo was joined by Christoforo Sancti, Hieronymus Johannes de Pazillis, and Cambio. A couple of Italians collected a wage of 2 ducats, Archangelo Blasio and Nicholas de Setia. Despite possessing the skills to join the papal chapel in 1475, Archangelo never matched the 3-ducat-per-month salaries of many of his northern colleagues
p. 334: Milvo: 10/1484-8/1485. Sop. For 10-12/1484 he sang "in loco" Cambio
Aucune autre mention de ce chantre n’est connue et, malgré la rareté de son prénom, rien ne permet de l’identifier à d’autres chanteurs, comme le Seraphinus Chambius* mentionné à Saint-Pierre de Rome entre 1476 et 1491.• Boulogne-sur-Mer, 1469. En avril 1469, “messire Seraphin Bochot, prebstre chantre demourant a Boulongne” reçoit un don de 42s de Charles le Téméraire, qui l’”avoit mandé pour oir sa voix” (B-AGR, CC 1924, f. 264v). Il ne fut manifestement pas retenu. (Fiala2002/PCR).