Scan 82
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
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1Crocker, Richard L.
3He was a minorite. His five published works arose out of his activities as a church musician and teacher, information about which derives from the title-pages and dedications of three of them. In 1633 he was organist of S Francesco, Bologna, and in 1642 was master of the novices at the monastery at S Felice sul Panaro, Emilia. He is more important as a theorist than as a composer. His last and most mature theoretical work, the Geminato compendio, is, as its title suggests, in two parts; the first deals with cantus firmi, the second with the rubrics of the breviary.
5THEORETICAL WORKS
6Instructio novitiorum (Faenza, 1630)
7Breve discorso della perfezione del numero ternario (Modena, 1632)
8Geminato compendio ovvero Duplicata guida per giungere facilmente alla perfezione del canto piano, op 5 (Venice, 1642)
10WORKS
11Messa, e salmi concertati, 4vv, org, op 3 (Venice, 1633)
12Frutti musicali di messe tre ecclesiastiche, op 4 (Venice, 1642)
14BIBLIOGRAPHY
15G Tiraboschi Biblioteca modenese, ii (Modena, 1782), 196f
16G Gaspari Catalogo della biblioteca del Liceo musicale di Bologna, i ii, iv (Bologna, 1890-1905/R1961)
18GIUSEPPE VILCCHI
20Crocker, Richard L (lincoln) (b Roxbury, Mass., 17 Feb 1927). American musicologist. He graduated BA as Scholar of the House (Philosophical Orations) from Yale College in 1950, and completed the doctorate under Schrade in 1957 with a dissertation on the Limoges prosae. After teaching at Yale (1955-63), he became successively assistant professor (1963-7), associate professor (1967-71) and full professor (1971) at the University of California at Berkeley. He became known for his independent ideas in A History of Musical Style, and in 'The Troping Hypothesis', for which he was awarded the Alfred Einstein Memorial Prize by the American Musicological Society. In 1969 he received a Guggenheim Fellowship. His work at Berkeley in developing methods of teaching non-musicians deserves mention (see Listening to Music). Crocker's major scholarly contribution, however, is to the history and analysis of the medieval sequence, and his work on music theory and early polyphony has been important in providing the basis for a new understanding of principles of composition in the Middle Ages, particularly those connected with tonal order.
22WRITINGS
23The Repertoire of Prosae at St Martial de Limoges (diss., Yale U., 1957)
24'Musica Rhythmica and Musica Metrica in Antique and Medieval Theory', JMT, ii (1958), 2
25'Discant, Counterpoint, and Harmony', JAMS, xv (1962), 1
26Review of E. E. Lowinsky Tonality and Atonality in Sixteenth Century Music (Berkeley, 1961, rev 2/1962), JMT, vi (1962), 142
27'Pythagorean Mathematics and Music', Journal of Aesthetics and Art Criticism, xxii (1963-4), 189, 325
28A History of Musical Style (New York, 1966)
29'Aristoxenus and Greek Mathematics', Aspects of Medieval and Renaissance Music a Birthday Offering to Gustave Reese (New York, 1966), 96
30'The Troping Hypothesis', MQ, lv (1966), 183
31Review of N de Goede The Utrecht Prosarium (Amsterdam, 1965), MQ, lv (1966), 521
32'A New Source for Medieval Music Theory', Acta M, xxxix (1967), 161
33'Some 9th-century Sequences', JAMS, xx (1967), 367 402
34'Perché Zarlino diede una nuova numerazione ai modi', RIM, iii (1968), 48
35with A Basart Listening to Music (New York, 1971)
36'Hermann's Major Sixth', JAMS, xxv (1972), 19
37Review of M Huglo Les tonaires inventaire, analyse, comparaison (Paris, 1971), JAMS, xxvi (1973), 490
38'The Sequence', Gattungen der Musik in Einzeldarstellungen Gedenkschrift Leo Schrade, i (Berne and Munich, 1973), 269 322
39The Early Medieval Sequence (Berkeley and Los Angeles, 1977)
41'Agnus Dei', 'Credo', 'Gloria in excelsis Deo', 'Hucbald', 'Kyrie eleison', 'Mehsma', 'Sanctus', 'Sequence', §§1 9, 'Versus', Grove 6
42PHILIP BRETT
44Croes, Henri-Jacques de (b Antwerp, baptized 19 Sept 1705, d Brussels, 16 Aug 1786) South Netherlands composer, conductor and violinist. At the age of 18 (7 November 1723) he was named first violin at the St Jacques Church, Antwerp. In September 1729 he went to Brussels, where he entered the service of Prince Anselme-François of Thurn and Taxis. The prince held the monopoly of postal services in the Empire and had several residences, the most important being at Brussels and Frankfurt am Main and later at Regensburg; de Croes is mentioned in the prince's archives in Germany (in 1734, 1737-9 and 1742). By 1744 he was back in Brussels as a first violin in the chapel of Charles of Lorraine, whose sister-in-law, the Empress Maria Theresia, had made him governor of the Austrian Netherlands. In 1746 he became maître de chapelle at the court and directed the chamber music, for at that time the same musicians played in both chapel and court. There were six singers (two counter-tenors, two tenors and two basses) and 13 instrumentalists (six violinists, one violist, one cellist, one double bass player, two organists and two oboists), all of whom were French. For important festivals, the orchestra was augmented by the musicians of the most important collegiate church in Brussels, Ste Gudule (now the cathedral). De Croes remained master of music at the Brussels court until his death.
46Given de Croes's circumstances, it is not surprising that he composed both church music and chamber music (in particular sonatas and concertos). He was in no way an innovator: his style may be described as an interweaving of the French and Italian traditions, as might be expected in the South Netherlands at a time when musical forms were in a stage of transition between the Baroque style and the galant. In his trio sonatas, for example, he wrote in the Corelli tradition with a slow introduction and fugal allegro followed by a number of movements alternately slow and fast. In other sonatas he conformed to a more modern Italian pattern fast slow-fast, with a lighter texture and more ornate melodic lines. The divertissements belong to the tradition of the French suite, with an overture in dotted rhythm followed by dances. As in the Italianate sonatas, the texture is light and the decoration combines French ornaments with new fashions like the 'Mannheimer Vorhalt' and the Lombard rhythms common in contemporary German music. The solo concertos and the concerti grossi are in the contemporary three-movement Italian style but with the lighter texture that was then employed in France after the manner of J. M. Leclair. The trademarks of the Mannheim school are also present, giving the concertos a pre-Classical accent. De Croes was influenced by Corelli, Vivaldi, Tartini and even Handel, and his opening themes frequently bear close resemblance to their works.
48De Croes's extant church music includes several motets and fragments of masses, written for four voices and four instruments, with the usual tessituras; this was doubtless the force of the royal chapel and Ste Gudule. Despite the requirements of church music (particularly the masses), the idiom seems more instrumental than vocal. The instruments frequently double the voice parts or realize the figured bass in a fairly straightforward
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