Josquin des Prés Fors seulement Vídeos
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Antoine Brumel Alexander Agricola Johannes Ockeghem Josquin Desprez Scaramella Basevi David Munrow Shield 1505 1510
Du tout plongiet / Fors seulement 0:06 Original song for 4 male voices 2:37 Instrumental arrangement for recorders and harp PROGRAM NOTES: This beautifully textured masterpiece by Antoine Brumel (or possibly Alexander Agricola based on the eccentric ornamentation) contains some unusual features for that period. It excludes any soprano or alto parts, and the lowest voice dips to an incredible 2 Cs below middle C or C2). The score would most aptly fit a TBBB quartet. Additionally, it interweaves two different French tunes into one. The "Du tout plongiet" of Antoine Brumel supplies the outer voices (tenor, baritone and low bass) while the cantus (or superius) from "For seulement, l'actente que je meure" by Johannes Ockeghem is transposed down an octave plus a whole tone into the second baritone range. As in other parody pieces, this complex work consists of a straightforward cantus firmus line in the middle voice and 3 other lines with intricately ornamented lines. It is reminiscent of Agricola's 6 part version of "Fortuna desperata" or Josquin Desprez's reworking of "De tous biens pleine" for 4. Although printed in the early decades of the 16th century, the song may have originally been composed in the late 15th century - perhaps before or around the time of Ockeghem's death. Some of the cadential formulas in "Du tout plongiet" were rather "retro" by the 1510s. It also has a rhythm that is highly irregular and unpredictable like older 15th century works and less like contemporary works like Josquin's "Mille regretz" or "Scaramella." "Du tout plongiet" comes to us from two sources: the Chansonnier of Margaret of Austria (a.k.a. Bibliothèque royale de Belgique ms 228) and the Basevi Firenze ms 2439. As was common for books gifted to nobility, the Brussels ms 228 is one of the exquisitely illuminated manuscripts of the Franco-Flemish Renaissance. I have included in this video some samples of the richly drawn figures that adorn the original manuscript pages. The French text for this piece was entered, as previously, using the Vocaloid voice encoding program from Yamaha. In this second version of this video, I changed the voice encoder from the English Cyber Songman to the Spanish Bruno. I also used the generally accepted 16th century variant of the vowel pair "oi" "way" instead of "wa." I added the instrumental arrangement using the iPhone app MusicStudio2. The recorders are playing one octave higher than the voices in order to fit the range of instruments in that period. Contrabass recorders were still more than a century away. French text: Du tout plongiet au lac de desespoir, Trouve me suis sans attente n'espoir D'avoir jamais des biens de Fortune; Mais, se trouver puis scayson oportune, Je me assairay d'en quelque chose avoir. Translation (from David Munrow) Plunged deep in the lake of despair, I can neither expect nor hope ever to enjoy Fortune's gifts. But if I have the opportunity, I shall endeavour to enjoy some. / LIST OF ILLUSTRATIONS: 1. The superius line from "Du tout plongiet", Brumel / Agricola, Brussels ms 228 2. Musicians in the Garden of Pleasure, Roman de la Rose, Anon. Flemish, Harley ms. 4425 3. The initial "A," Brussels ms. 228 4. You or Death, detail from ornamental shield, c1480 5. The initial "T." Brussels ms 228 6. The tenor line from "Du tout plongiet" 7. Coronation of the Virgin, detail of angels with recorders, Master of the Lyversberg Passion, c1460 8. Initial "S" in the form of a dragon, Brussels ms 228 9. Lady receiving love letters, Roman de la Rose, Anon. Flemish, Harley ms. 4425 10. Initial "M," Brussels ms 228 11. Musical instruments from Brumel's time, detail of a viola da braccio, recorder, trumpet, double pipes and vihuela (wood inlay), Palazzo Ducale, 1505 12. Initial "C," Brussels ms 228
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.
Antoine Brumel Johannes Ockeghem Alexander Agricola Josquin Desprez Basevi David Munrow Shield Dragon 1495 1505
Du tout plongiet / Fors seulement 0:06 Original song for 4 male voices 2:33 Instrumental arrangement for recorders and harp PROGRAM NOTES: This beautifully textured masterpiece by Antoine Brumel (or possibly Alexander Agricola based on the eccentric ornamentation) contains some unusual features for that period. It excludes any soprano or alto parts, and the lowest voice dips to an incredible 2 Cs below middle C). The score would most aptly fit a TTBB quartet. Additionally, it interweaves two different French tunes into one. The "Du tout plongiet" of Antoine Brumel supplies the outer voices (tenor, baritone and low bass) while the superius from "For seulement, l'actente que je meure" by Johannes Ockeghem is transposed down an octave plus a whole tone into the second tenor range. As in other parody pieces, this complex work consists of a straightforward cantus firmus line in the middle voice and 3 other lines with intricately ornamented lines. It is reminiscent of Agricola's 6 part version of "Fortuna desperata" or Josquin Desprez's reworking of "De tous biens pleine" for 4. Although printed in the early decades of the 16th century, the song may have originally been composed in the late 15th century - perhaps before or around the time of Ockeghem's death. Some of the cadential formulas in "Du tout plongiet" were rather "retro" by the 1510s when the earliest copies were made. It also has a rhythm that is highly irregular and unpredictable like some older 15th century works and unlike the later Franco-Flemish works such as Josquin's "Mille regretz." "Du tout plongiet" comes to us from two sources: the exquisite Chansonnier of Margaret of Austria (a.k.a. Bibliothèque royale de Belgique ms 228) and the Basevi Firenze ms 2439. As was common for books gifted to aristocratic patrons, the Brussels ms 228 is one of the mostly elaborately illuminated manuscripts of the Franco-Flemish Renaissance. I have included in this video some samples of the richly drawn, often satirical, figures that adorn the original manuscript pages. The French text for this piece was entered, as previously, using the Vocaloid voice encoding program from Yamaha. In this second version of this video, I changed the voice encoder BRUNO to MAIKA. I added the instrumental arrangements using the iPhone app MusicStudio2. The recorders are "playing" one octave higher than the voices in order to fit the range of the instruments in that period. Contrabass recorders were still more than a century away. French text: Du tout plongiet au lac de desespoir, Trouve me suis sans attente n'espoir D'avoir jamais des biens de Fortune; Mais, se trouver puis scayson oportune, Je me assairay d'en quelque chose avoir. Translation (from David Munrow) Plunged deep in the lake of despair, I can neither expect nor hope ever to enjoy Fortune's gifts. But if I have the opportunity, I shall endeavour to enjoy some. / LIST OF ILLUSTRATIONS: 1. The superius (Tenor 1) line from "Du tout plongiet", Brumel / Ockeghem, Brussels ms 228 2. Musicians in the Garden of Pleasure, Roman de la Rose, Anon. Flemish, Harley ms. 4425, c1490 3. The initial "A," Brussels ms. 228 4. You or Death, detail from ornamental shield, c1480 5. The initial "T." Brussels ms 228 6. The tenor (Tenor 2) line "For seulment" from "Du tout plongiet" 7. Initial "C," Brussels ms 228 8. Coronation of the Virgin, detail of angels with recorders, Master of the Lyversberg Passion, c1460 9. Initial "S" in the form of a dragon, Brussels ms 228 10. Musical instruments from Brumel's time, detail of a viola da braccio, recorder, trumpet, double pipes and vihuela (wood inlay), Palazzo Ducale, 1505 11. Initial "M," Brussels ms 228
Josquin Desprez Estes Grillo Johannes Ockeghem Clément Janequin Dominique Visse Jean Paul Fouchécourt Philippe Cantor Antoine Sicot Headley Ensemble Clément Janequin 1440 1521
Josquin Desprez. Adieu, mes Amours - Chansons * Douleur me bat * Adieu mes amours * Plusieurs regretz * Petite Camusette * Mille regretz * En non saichamt * J'ay bien cause * Nimphes, nappés * Ile fantazies * La plus des plus * Plus n'estes ma maistresse * Cueurs désolez * Plaine de dueil * Fortuna desperata * Faute d'argent * Cueur langoreulx * Fors seulement * Je me complains * Si congié prens * Tenez moy en vos bras * El grillo * Si j'ay perdu mon amy * Parfons regretz * Vous l'arez s'il vous plaist * Allégez moy * Déploration sur la mort de Johannes Ockeghem (Nymphes des bois) ENSEMBLE CLÉMENT JANEQUIN - Dominique Visse, contre-ténor - Bruno Boterf, ténor - Jean-Paul Fouchécourt, ténor - Philippe Cantor, baryton - Josep Cabré, baryton - Antoine Sicot, basse - Claude Debôves, luth ENSEMBLE LES ELEMENTS - Ariane Maurette, viola - Nanneke Schaap, viola - René Stock, viola - Erin Headley, viola
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