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• Personalities
• Classical
• Composer
• Medieval Era

(Zhel Bansh-wa’) c. 1400–60 Franco-Flemish composer Binchois spent his formative years in Mons (now Belgium) and appears to have led a remarkably static life. In the late 1420s he joined the itinerant Burgundian court chapel, and served there with distinction until his retirement in the early 1450s, continuing to draw a pension until his death. Although he left a substantial ...

• Personalities
• Classical
• Composer
• Medieval Era

impact on the composers of the next generation. His Mass L’homme armé (‘The Armed Man’) was one of the most influential works of the period. Recommended Recording: Missa L’homme armé, Binchois Consort (dir) Andrew Kirkman (Hyperion) Introduction | Medieval Era | Classical Personalities | Johannes Ciconia | Medieval Era | Classical ...

• Personalities
• Classical
• Medieval Era
• Troubadour

Europe, thus initiating the tradition of the trouvères. Recommended Recording: The Courts of Love, Sinfonye (dir) Stevie Wishart (Hyperion) Introduction | Medieval Era | Classical Personalities | Gilles Binchois | Medieval Era | Classical ...

• Personalities
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• Composer
• Medieval Era

and Supremum est mortalibus (1433), all written for papal occasions. In 1433 he was recruited by the Duke of Savoy, at whose court he is known to have met Binchois and Martin Le Franc. He returned to the papal chapel for two years but was back in Savoy in 1437. The principal backdrop at this period was the Schism, ...

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• Composer
• Medieval Era
• Poet

formes fixes. Also important is the way the melodies demonstrate how older elements of composition and performance became part of the emerging compositional style. Recommended Recording: Fontaine de Grace, Binchois Ensemble (cond.) Dominique Vellard (Virgin/Erato) Introduction | Medieval Era | Classical Personalities | Francesco Landini | Medieval Era | Classical ...

• Personalities
• Classical
• Composer
• Medieval Era

perhaps his most famous work, the Mass Rex seculorum (‘King of Ages’), isorhythmic motets and some songs. He is reputed to have influenced the styles of Du Fay and Binchois, who, according to one writer, took on the contenance angloise in emulation of him. This may have had to do with the triadic nature of Dunstaple’s musical ...

• Personalities
• Classical
• Composer
• Renaissance

of Italian music, unlike those of Isaac. Instead, he preserved and developed the Franco-Flemish style long cultivated by Burgundian composers such as Antoine Busnoys (c. 1435–92) and Gilles Binchois (c. 1400–60). Travelling extensively with the court, he passed this style on to other musicians, especially Spaniards like Juan de Peñalosa (c. 1515–79) and Escobar. Recommended Recording: Missa ...

• Styles & Forms
• Classical
• Medieval Era

.’ Donald Grout and Claude V. Palisca Leading Exponents Hildegard of Bingen Leonin Perotin Philippe de Vitry Guillaume de Machaut Francesco Landini Johannes Ciconia John Dunstable Guillaume Du Fay Gilles Binchois Medieval Style Unaccompanied chanted recitations of the liturgy in Latin, with one syllable extended across two or more notes, are characteristic of medieval church music. Introduction | Classical ...

• Arts & Culture
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• Medieval Era

focused in the courts of the Low Countries (e.g., Lille, Bruges and Brussels). The dukes had the finest chapel of their age, employing musicians such as Binchois and Busnoys and, later Alexander Agricola (c. 1446–1506); the Burgundian tradition merged with that of the Spanish court to produce one of the most important institutions of the Renaissance. ...

• Inside the Music
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• Medieval Era

first coined by the poet Martin Le Franc in his poem ‘Le Champion des Dames’ (c. 1440–42), in which he described new French music and implied that Du Fay and Binchois had ‘taken on the contenance angloise and followed Dunstaple’. Although the poet did not define the term, the text immediately before this passage speaks of the ‘elegant concord’ in ...

• Styles & Forms
• Classical
• Renaissance

assimilating cosmopolitan musical influences and helping to disseminate their style. Du Fay wrote in most of the major forms of his day (notably the Mass, motet and chanson), while Binchois is known chiefly for his chansons. They were followed by Ockeghem, whose Mass settings developed the richly woven contrapuntal textures that characterize Netherlandish polyphony, and Josquin, whose ...