SEARCH RESULTS FOR: Ockeghem
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(Yo-an’-nes O’-ka-gem) c. 1425–97 Franco-Flemish composer Born in St Ghislain near Mons (now in Belgium), Ockeghem is first recorded as a singer at the Church of Our Lady, Antwerp, in 1443. He joined the French royal chapel in 1451, becoming chapel-master by 1454. In 1459 King Charles VII appointed him treasurer of the abbey of St Martin of Tours. ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(An-twan’ Bün-wa’) c. 1435–92 French composer Busnoys was a younger contemporary of Ockeghem and worked alongside him in Tours in the early 1460s, when he may already have been serving the future Duke Charles the Bold of Burgundy in an unofficial capacity. His association with the Burgundian court probably continued after Charles’s death in 1477, though evidence for this is ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

he is best known for his songs. He was a supremely gifted melodist, at times surprising, often charming and always memorable. He possibly had a formative influence on Ockeghem, who may have come into contact with him in his youth. The younger composer wrote a lament on Binchois’ passing, ‘Mort tu as navré de ton dart’ (‘Death ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

have tended to use only voices. Recommended Recording: Messe de Nostre Dame, etc., Hilliard Ensemble (dir) Paul Hillier (Hyperion) Introduction | Medieval Era | Classical Personalities | Johannes Ockeghem | Medieval Era | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Savoy, but then in 1458 returned to Cambrai, where he spent the rest of his life. In this last period he received many visitors, including Tinctoris, Ockeghem and Busnoys. Loyset Compère (c. 1445–1518) may also have been among them. His song En triumphant (‘In Triumph’) may have been written during this time, on the death of ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

produced the most authoritative body of theoretical writing on music of his time. He was familiar with current musical practices, and dedicated one of his treatises to his contemporaries Ockeghem and Busnoys. His surviving compositions testify to a musician of real inspiration. Recommended Recording: Missa L’Homme armé, Missa Sine nomine, Clerks’ Group (dir) Edward Wickham (Cyprès) Introduction | Medieval ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

equivalent of the rosary, and Josquin intended this as an artistic last will and testament. Here too, he was following a tradition established by his elders – both Ockeghem and Du Fay wrote motets with a similar valedictory purpose (Du Fay even stipulated in his will that his work be sung at his death-bed). Recommended Recording: Missa Hercules dux ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Renaissance and medieval music. Ockeghem’s Masses During the fifteenth century, the musical form that offered the greatest scope to an ambitious composer was the Mass. The Burgundian musician Johannes Ockeghem (c. 1420–97) composed 13 Masses, the technical ingenuity and expressiveness of which represent a high-water mark in the genre. Perhaps the most obvious difference between Ockeghem’s music and that ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

tune. This tune – often taken from a secular song – is called a cantus firmus (‘fixed melody’). One of the most famous examples is ‘L’homme armé’: Du Fay, Ockeghem, Busnoys, Josquin and Obrecht were among the earliest composers to write a Missa L’homme armé, a competitive tradition that continued in the sixteenth century. Some of the most prolific ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

modernist (Harrison Birtwistle, b. 1934, for instance, in his Carmen Arcadiae Mechanicae Perpetuum, 1984) and minimalist (Louis Andriessen, b. 1939: Hocketus). The canonic processes of Ockeghem find their way into the Requiem of 1963–65 by György Ligeti (1923–2006), and even the ‘Caput’ plainchant melody turns up in Unsichtbare Farben (‘Invisible Colours’) by Brian Ferneyhough (b. 1943). ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Mass composition. It is structured by a masterful series of proportional relationships and it influenced later continental composers to do the same: it was used as a model by both Ockeghem and Jacob Obrecht (c. 1450–1505). For these features, and for its sonorous texture, it was justly famous in its day, and it is perhaps one of the ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

the Hundred Years’ War. Attracted by its tunefulness and its simple form, composers began writing Masses using it as a cantus firmus. The first of these may have been Ockeghem, around 1450, but others soon followed suit. In fact, a sort of rivalry ensued as composers sought to outdo each other in presenting the tune in new ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Around this unpromising tune Josquin wove a beautiful Mass. One of Josquin’s most poignant works is the motet-chanson Nymphes des bois (‘Wood Nymphs’), composed in memory of his friend Johannes Ockeghem (c. 1425–97). In this four-voice piece, the top three parts sing a French text lamenting Ockeghem’s death while the bottom line serves as a cantus firmus, borrowing text ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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