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Johannes Ockeghem Guillaume Dufay Josquin Prez Binchois Petrucci Jean Molinet Johannes Lupi Odhecaton 1410 1423 1425 1430 1440 1450 1460 1497 1500 1501
Johannes Ockeghem (1410/1425 – 6 February 1497) was the most famous composer of the Franco-Flemish School in the last half of the 15th century, and is often considered the most influential composer between Guillaume Dufay and Josquin des Prez. In addition to being a renowned composer, he was also an honored singer, choirmaster, and teacher. Ockeghem is believed to have been born in the walloon city Saint-Ghislain, Netherlands (now Belgium). His birthdate is unknown; dates as early as 1410 and as late as 1430 have been proposed.The earlier date is based on the possibility that he knew Binchois in Hainaut before the older composer moved from Mons to Lille in 1423. Ockeghem would have to have been younger than 15 at the time. This particular speculation derives from Ockeghem's reference, in the lament he wrote on the death of Binchois in 1460, to a chanson by Binchois dated to that time. In this lament Ockeghem not only honored the older composer by imitating his style, but also revealed some useful biographical information about him. The comment by the poet Guillaume Crétin, in the lament he wrote on Ockeghem's death in 1497, "it was a great shame that a composer of his talents should die before 100 years old", is also often taken as evidence for the earlier birthdate for Ockeghem. Ockeghem was not a prolific composer, given the length of his career and extent of his reputation, and some of his work was lost. Many works formerly attributed to him are now presumed to be by other composers; Ockeghem's total output of reliably attributed compositions, as with many of the most famous composers of the time (such as Josquin), has shrunk with time. Surviving reliably attributed works include some 14 masses (including a Requiem), an isolated Credo (Credo sine nomine), five motets, a motet-chanson (a deploration on the death of Binchois), and 21 chansons. Thirteen of Ockeghem's masses are preserved in the Chigi codex, a Flemish manuscript dating to around 1500. His Missa pro Defunctis is the earliest surviving polyphonic Requiem mass (a possibly earlier setting by Dufay has been lost). Some of his works, alongside compositions by his contemporaries, are included in Petrucci's Harmonice musices odhecaton (1501), the first collection of music published using moveable type. Dating Ockeghem's works is difficult, as there are almost no external points of reference, except of course the death of Binchois (1460) for which Ockeghem composed a motet-chanson. The Missa Caput is almost certainly an early work, since it follows on an anonymous English mass of the same title dated to the 1440s, and his late masses may include the Missa Ma maistresse and Missa Fors seulement, in view of both his innovative treatment of the cantus firmus and his increasingly homogeneous textures later in his life. Ockeghem used the cantus firmus technique in about half of his masses; the earliest of these masses use head-motifs at the start of the individual movements, a common practice around 1440 but one that had already become archaic by around 1450. Two of his masses, Missa Ma maistresse and Missa Fors seulement, are based on chansons he wrote himself, and use more than one voice of the chanson, foreshadowing the parody mass techniques of the 16th century. In his remaining masses, including the Missa Mi-mi, Missa cuiusvis toni, and Missa prolationum, no borrowed material has been found, and the works seem to have been freely composed. Ockeghem would sometimes place borrowed material in the lowest voice, such as in the Missa Caput, one of three masses written in the mid-15th century based on that fragment of chant from the English Sarum Rite. Other characteristics of Ockeghem's compositional technique include variation in voices' rhythmic character so as to maintain their independence. A strong influence on Josquin des Prez and the subsequent generation of Netherlanders, Ockeghem was famous throughout Europe for his expressive music, though he was equally renowned for his technical prowess. Two of the most famous contrapuntal achievements of the 15th century include his Missa prolationum, which consists entirely of mensuration canons, and the Missa cuiusvis toni, designed to be performed in any of the different modes, but even these technique-oriented pieces demonstrate his uniquely expressive use of vocal ranges and tonal language. Ockeghem's use of wide-ranging and rhythmically active bass lines sets him apart from many of the other composers in the Netherlandish Schools, and may be because this was his voice range. Ockeghem died in Tours, France on 6 February 1497. To commemorate his death, Josquin des Prez composed the motet La déploration de la mort de Johannes Ockeghem, a setting of the poem Nymphes des bois by Jean Molinet. An unusually large number of laments appeared after Ockeghem's death. Some of the authors of these poems included Molinet and Desiderius Erasmus; Johannes Lupi provided another musical setting.
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