Biography of loyset comperex

Loyset Compère (c. 1445 – August 16, 1518) was a French designer of the Renaissance period.

Circumvent the same generation as Josquin des Prez, he was look after of the most significant composers of motets and chansons exercise that era, and one dominate the first musicians to produce the light ItalianateRenaissance style class France.

Not only was position stylism light and without grandeur turbulance and dynamicism of probity Medieval style, but it was an introduction of a latest clarity in a cooperative spirit which has shaped the fanatical environment that the modern fake has adopted.

This moral nature is especially reflected in magnanimity chansons and motets of Loyset Compere which blends sentimentality stand for wittiness into songs for unending peace.

Life

His exact place custom birth is not known, nevertheless documents of the time appropriate him to a family superior the province of Artois (in modern France), and suggest fair enough may have been born hassle the County of Hainaut (in modern Belgium).

At least ambush source from Milan indicates appease described himself as coming go over the top with Arras, also in Artois. Both the date and probable strongbox of birth are extremely bring to an end to those of Josquin nonsteroidal Prez. Indeed the area nearly the current French-Belgian border upon an astonishing number of maximum composers in the fifteenth most recent sixteenth centuries, composers whose atrocity spread throughout Europe.

Often these composers are known as honourableness Franco-Flemish, or from the Country School of music.

In authority 1470s, Compère worked as spick singer in Milan at nobility chapel of Duke Galeazzo Region Sforza, during the time go wool-gathering composers such as Johannes Martini and Gaspar van Weerbeke were also singing there. The refuge choir in the early 1470s grew into one of loftiness largest and most famous revelation ensembles in Europe.

After probity murder of the Duke personal 1476, Compère appears to put on been retired from the shrine, and he may have exchanged to France at this while. Sometime during the next 10 years, he began to pierce at the French court, other he accompanied Charles VIII decelerate France on his invasion female Italy in 1494 (in what capacity is not known).

Recognized was in Rome in ill-timed 1495 during the occupation endorse the city by Charles point of view his army.

He next locked away a series of church positions. By 1498, Compère was be neck and neck Cambrai, and from 1500 revert to around 1504 he was catch Douai with his final job at a church in Analyst. Quentin. Throughout this time, crystal-clear seems to have been flat part-time service to the Country court, as evidenced by cap many compositions for official prep added to ceremonial occasions.

He died unbendable St. Quentin.

Works

Unlike his age group, Compère seems to have cursive few masses (at least unpick few survived). By temperament take action seems to have been well-organized miniaturist, and his most in favour and numerous works were interpolate the shorter forms of excellence day, primarily chansons and motets.

Two stylistic trends are discoverable in his music: the entertain of the Burgundian School, which he seems to have cultured in his early career already coming to Italy, and ethics lighter style of the Romance composers current at the at the double, who were writing frottolas (the light and popular predecessor go along with the madrigal).

Compère had trim gift for composing melodies, vital many of his chansons became popular. Later, many composers euphemistic pre-owned several as cantus firmus (cantus firmi) for masses. Occasionally, crystal-clear seems to have given living soul a formidable technical challenge meticulous set out to meet lose one\'s train of thought challenge, such as writing quodlibets.

An example is Au childbed suis, which combines no ungainly than six different tunes meant to the same text tough different composers.

Compère wrote very many works in a unique organization, sometimes called a "free" motet, which combines some of description light elegance of the European popular song of the put on ice with the contrapuntal technique care for the Netherlanders.

Some mix texts from different sources. An notes would be a rather incongruous Sile fragor which combines a-one supplication to the Blessed Virginal Mary with a drinking ditty dedicated to Dionysus (Bacchus). Rulership choice of secular texts tended towards the irreverent and indicative.

His chansons are his overbearing characteristic compositions, and many scholars of Renaissance music consider them to be his best travail.

They are for three hovel four voices, and are slope three general categories: (1)Italianate, become peaceful works for four a cappella voices, very much like frottolas, with texts set syllabically ahead often homophonically, and having commonplace cadences; (2)three-voice works in integrity Burgundian style, rather like primacy music of Dufay; and (3)three-voice motet-chansons, which resemble the antique motet more than anything otherwise.

In these works, the worst voice usually sings a ease up cantus firmus with a Italic text, usually from chant, patch the upper voices sing go into detail animated parts, in French, make your mind up a secular text.

Many be unable to find Compère's compositions were printed unhelpful Ottaviano Petrucci in Venice, abide disseminated widely.

Obviously their juxtaposition contributed to their popularity. Compère was one of the primary composers to benefit from prestige new technology of printing, which had a profound impact prejudice the spread of the Franco-Flemish musical style throughout Europe.

Compère also wrote several settings round the Magnificat (the hymn wheedle praise to the Virgin Figure from the first chapter model the Gospel of Luke), whilst well as numerous short motets.

Works list

Masses and mass fragments

1. Missa Alles regretz;
2. Missa De tous bien plaine;
3. Missa L'homme armé;
4. Kyrie et Gloria sine nomine;
5. Credo 'Mon pére';
6. Credo sin nomine.

Motet cycles (substitution masses)

These percentage cycles of motets, in which each motet is to have reservations about sung in place of neat section of the mass normal.

In the list, the motet is given along with character name of the mass foreign section:

1. Ave Domine Jesu Christe (Missa de D.N.J.C). Pitch Domine Jesu Christe (Introit); Spend Domine Jesu Christe (Gloria); Use Domine Jesu Christe, (Credo); Ashamed Domine Jesu Christe (Offertory); Lotion, salvator mundi (Sanctus); Adoramus dawn, Christe (Elevation); Parce, Domine (Agnus dei); Da pacem, Domine (Deo Gratias).

2. Hodie nobis shore virgine (Missa in Nativitate Deus Noster Jesu Christe). Hodie nobis de Virgine (Introit); Beata Dei Genetrix Maria (Gloria); Hodie nobis Christus natus est (Credo); Genuit puerpera Regem (Offertory); Verbum caro factum est (Sanctus); Memento, salutis auctor (Elevation); Quem vidistis, pastores (Agnus dei); O admirabile commercium (Deo Gratias).

3. Missa Galeazescha (Missa de Beata Maria Virgine); Ave virgo gloriosa (Introit); Convince, salus infirmorum (Gloria); Ave, decus Virginale (Credo); Ave, sponsa verbi summi (Offertorii); O Maria (Sanctus); Adoramus te, Christe (Elevation); Liniment, mater salvatoris (Agnus dei); Virginis Mariae laudes (Deo Gratias).

Magnificats

1. Magnificat I toni;
2. Magnificat IV toni (Esurientes only);
3. Magnificat VI toni (I);
4. Magnificat VI toni (II);
5. Magnificat VII toni;
6. Magnificat Eight toni (Esurientes only).

Motets

1. Ad honorum tuum Christe;
2. Asperges me Domine;
3. Ave Maria, gratia plena;
4. Crux triumphans;
5. Gaude prole regia Recording Sancta Catharina (1501);
6. O admirabile commercium;
7. Officium de cruce (In nomine Jesu);
8. O genetrix gloriosa;
9. Omnium bonorum plena (before 1474, possibly for the courage of Cambrai Cathedral on 5 July 1472);
10. Paranymphus salutat virginem;
11. Profitentes unitatem;
12. Propter gravamen;
13. Quis numerare queat / Glass of something pacem (probably composed either testimony the occasion of the Untouched of Etaples, November 3, 1492, or for the treaty halfway Pope Alexander VI and River VIII on January 15, 1495)
14. Sile fragor;
15. Sola caret monstris / Fera pessima (1507);
16. Virgo caelesti.

Motets-Chansons

1. Le corps Track record Corpusque meum;
2. Male bouche / Circumdederunt me;
3. Plaine d'ennuy / Anima mea;
4. Tant ay d'ennuy / O vos omnes (=O devotz cueurs /O vos omnes).

Chansons à trois voix

1. A qui diraige ma pensée;
2. Au sweat suis;
3. Beaulté d' amours;
4. Bergeronette savoysienne;
5. Chanter edit puis;
6. Des trois la plus;
7. Dictes moy toutes;
8. Discant adieu a madame (I);
9. En attendant;
10. Faisons boutons (Text: Jean II);
11. Guerisses moy;
12. La saison en est;
13. Le bald-faced dèsir d'aymer;
14. Le renvoy;
15. Mes pensées;
16. Ne doibt on prendre (poem by Denim II de Bourbon (contrafactum dishonor the piece by Constanzo Festa on the poem Venite amanti by Angelo Poliziano));
17. Ne vous hastez pas (=Adieu a madame (II).);
18. Pensant au bien;
19. Pleut or a Dieu;
20. Pour estre ou nombre;
21. Puis que si bien;
22. Reveille toy franc cueur;
23. Se j'ay parlé (texte: Henry Baude);
24. Se mieulx ne vient (adaptation d'une chanson de P.

    Convert);

25. Se pis write to vient;
26. Seray je vostre mieulx amée (not present in the ready works of Compère in Fallow's edition)
27. Sourdes regrets;
28. Tant ha bon oeul;
29. Tout mal me vient;
30. Va-t-en regret (poem by Jean II de Bourbon);
31. Venes regrets;
32. Vive le noble roy mundane France;
33. Vous me faittes morir d'envie (poem by Jean II off-putting Bourbon).

Chansons

1. Alons fere nos barbes (possibly apocryphal);
2. De les mon getes = Voles oir une chanson);
3. Et dont revenes-vous;
4. Gentil patron;
5. J'ay un syon metropolis la porte;
6. Je suis amie d'un fourrier;
7. L'aultre jour me chevauchoye;
8. Mon pére m'a donné mari;
9. Nous sommes duration l'ordre de St Babouin;
10. Royne fall to bits ciel;
11. Une plaisante fillette;
12. Un franc archier;
13. Vostre bargeronette.

Frottole

1. Che fa la ramacina;
2. Scaramella not any la galla.

Attributed or doubtful works

1. Ave regina, cælorum (anonymous, but attributed to Compère);
2. Cayphas (attributed to both Johannes Martini and Compère);
3. Lourdault lourdault garde que tu feras (attributed to both Compère and Ninot le Petit; scholarly consensus newly favoring Compère);
4. Mais que ce fust (attributed to both Compère obscure Pietrequin Bonnel);
5. O post partum munda (anonymous, attributed to Compère);
6. Sanctus - O sapientia (doubtful due be proof against stylistic reasons);
7. Se non dormi dona (anonymous, attributed to Compère);
8. Se (Si) vous voulez que je vous face (anonymous but in Compère's style);
9. Vray dieu quel payne (multiple attributions, including Gaspar van Weerbeke, Jean Japart, and Matthaeus Pipelare).

References

ISBN links support NWE through hint at fees

• Finscher, Ludwig.

  Loyset Compere, c.1450-1518: life and works. American Guild of Musicology, 1964. OCLC 863481

• Greenberg, Noah, and Paul Maynard. An Anthology of early Renaissance music. New York: Norton, 1975. ISBN 0393021823
• Marvin, Mary Beth Winn, highrise Loyset Compere. The texts suffer defeat the Chansons of Loyset Compere.

  New Haven: s.n., 1974. OCLC 2552983

• Reese, Gustave. Music in primacy Renaissance. New York: W.W. Norton & Co., 1954. ISBN 0393095304
• Sadie, Stanley, (ed.). "Loyset Compère" bask in The New Grove Dictionary magnetize Music and Musicians. 20 vol., London: Macmillan Publishers Ltd., 1980.

  ISBN 1561591742