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Lamentatio sanctae matris ecclesiae Constantinopolitanae
'' Lamentatio sanctae matris ecclesiae Constantinopolitanae '' ('Lament of the Holy Mother Church of Constantinople') is a motet by the Renaissance composer Guillaume Dufay.〔Modern edition: Besseler, Heinrich (ed.): ''Guilleelmi Dufay Opera Omnia'', vol. VI: ''Cantiones''. (=''Corpus mensurabilis musicae, 1''). Rome: American Institute of Musicology, 1964. p. xxviii-xxix, 19–21.〕 Its topic is a lament of the fall of Constantinople to the Ottoman Turks in 1453. Because of its Byzantine subject matter, it is sometimes grouped together with ''Vasilissa ergo gaude'', ''Apostolus gloriosus'' and ''Balsamus et munda cera'' as one of Dufay's "Byzantine motets".〔Margaret Vardell Sandresky, "The Golden Section in Three Byzantine Motets of Dufay", ''Journal of Music Theory'', Vol. 25, No. 2 (Autumn, 1981), pp. 291-306〕
==Historical context==
The motet probably belongs to a series of four Lamentations for the fall of Constantinople composed by Dufay and mentioned for the first time in one of his letters addressed to Piero and Giovanni de' Medici. The letter must have been written on February 22, 1454, although the exact year is not specified in the text.〔Hans Kühner, "Ein unbekannter Brief von Guillaume Dufay", ''Acta Musicologica'', Vol. 11, Fasc. 3 (Jul. - Sep., 1939), pp. 114-115〕 The musical score and the texts of the French Chanson and the Latin Cantus Firmus are found in two contemporary manuscript sources: Codex 2794 (fols. 34v-36r) of the Biblioteca Riccardiana in Florence, and MS 871N (fols. 150v-151r) in Montecassino.〔Sandresky, Margaret Vardell: The golden section in three Byzantine motets of Dufay. ''Journal of Music Theory'' 25 (1981): 291-306.〕
It is believed to have been composed in the context of the "Feast of the Pheasant", a banquet and extravagant political show organised in Lille by Philip the Good of Burgundy on 17 February 1454.〔Devereaux, Rima: Reconstructing Byzantine Constantinople: intercession and illumination at the court of Philippe le Bon. ''French Studies'' 59.3 (2005): 297–310. ()〕 Its purpose was to propagate the idea of a crusade for the recapture of the city. It is, however, unclear whether the piece was ever performed on that occasion. There are contemporary accounts of the banquet (notably the ''Memoirs'' of Olivier de la Marche, and the ''Chroniques'' of Mathieu d'Escouchy), which name and describe in much detail various pieces of music performed at it, but they fail to mention this piece.〔Spechtler, Franz Viktor: Lyrik des ausgehenden 14. und des 15. Jahrhunderts. Rodopi, 1984, p. 156〕 At one point in the show, according to the chronicles, an actor dressed as a woman in white satin clothes, personifying the Church of Constantinople (according to one hypothesis, played by Olivier de la Marche himself〔Edmund A. Bowles, ''Instruments at the Court of Burgundy (1363-1467)'', ''The Galpin Society Journal'', Vol. 6, (Jul., 1953), pp. 42-43〕) entered the hall of the banquet riding on an elephant, to recite a "''complaint and lamentation in a piteous and feminine voice''" (''"commença sa complainte et lamentacion à voix piteuse et femmenine"''). It has been surmised〔Whitwell, David: On music of the courts of Burgundy. ()〕 that this was the moment when Dufay's motet would have been performed; other authors have conjectured that it was merely a moment of inspiration and that the motet was actually written later.〔Cattin, Giulio, Alberto Gallo, Karen Eales: ''Music of the Middle Ages II''. Cambridge: Cambridge University Press, 1985. p. 104, proposes it was written a year later; Spechtler (''op.cit.'') merely states the time and context of its composition is unknown.〕
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