Pierre de Manchicourt Vidéos
compositeur franco-flamand
Commémorations 2024 (Décès: Pierre de Manchicourt)
- France, Pays-Bas des Habsbourg
- compositeur ou compositrice, maître de chapelle
streaming
Dernière mise à jour
2024-05-06
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Pierre Manchicourt Ockeghem Gombert Capilla Flamenca Huelgas Ensemble 1510 1525 1564
Pierre de Manchicourt (Béthune c. 1510 - Madrid October 5, 1564) was a Renaissance composer of the Franco-Flemish School. Little is known of his early life other than that he was a choirboy at Arras in 1525; later in life he had a succession of posts in Arras, Tours and Tournai, before going to Spain to be master of the Flemish chapel (capilla flamenca) at the court of Philip II, where he stayed for the remainder of his life. Similar to many composers of the early to mid 16th century, he predominantly wrote masses, motets and chansons. His motets are particularly significant as they show the three separate stages of early sixteenth century motet development, highly unusual to find in the work of a single composer. In his earliest motets one can hear the influence of Ockeghem; in his middle period works, the paired imitation style of Josquin; and in his late works the stylistic refinement, well-crafted melodic lines and pervasive imitation recall Gombert. Manchicourt is an excellent example of a Franco-Flemish composer who learned his craft and art in northern Europe, and then assisted in the diffusion of the style by traveling to another region and composing and performing there. The movement of these many skilled composers out of Flanders and northern France created what was one of the first truly international styles since the original diffusion of Gregorian chant during the reign of Charlemagne. He was succeeded as maestro de capilla by Jean de Bonmarché. Performers: Huelgas Ensemble - Paul Van Nevel
Tielman Susato James Allen Gähres Alva Liber Monteverdi Manchicourt Crecquillon Orlande Lassus 1551 1555 1571
Ulm Philharmonic James Allen Gähres, conductor Tielman Susato (c. 1510/15 – after 1570) 'La Mourisque' and Pavane 'La Bataille' 00:00 'La Mourisque' 00:54 Pavane 'La Bataille' Arr. for Symphony Orchestra. Live recorded during open public concert. Ulm, Germany Tylman Susato boldly pioneered the still-fledgling business of music printing in sixteenth century Antwerp, carrying one more element of progress to this Renaissance commercial center. He is best known for his numerous published anthologies of French chansons, including his own compositions in the genre, and his Souterliedekens, his "Reformed" editions of the Psalter in the Dutch vernacular. Yet his contributions to the burgeoning repertories of instrumental music are no less important. Susato, himself an accomplished "town minstrel" and player of most known wind instruments – sackbut, crumhorn, trumpet, and recorders – left a substantial number of dance arrangements for instrumental ensemble, in a time when the instrumentalists of Europe's leading cities were needing just such a repertory. The desires of their patrons and audiences were shifting from the simpler, improvised music of an earlier generation to more complex and musically rich arrangements of popular songs for ensembles of as many as four and five parts. Many of the arrangements he thus included in one volume in his printed series of 1551, Het derde Musyck Boexhen, the volume entitled Danserye. Among the pieces are his arrangement of the well-known "Moorish dance," the Moresca, or according to his table of contents, La Mourisque. Moresca in the sixteenth century referred to a type of "exotic" dance which referred in some way to the Moors (European Muslims). Oftentimes the dance even contained elements of battle-imagery, or swordplay, much as in the related English Morrish dances. A rare eyewitness account from the Renaissance describes one performance of such a dance, with the solo dancer performing energetic whirling paces, while dressed in blackface and with bells on his legs. The melody associated with this very dance is preserved in an early keyboard print, and is almost exactly that of Susato's La Mourisque. In Susato's hands, the cheerful and repetitive melody takes on a full yet unobtrusive texture. Both halves of the tune contain a melodic turn that aurally evokes the turning of the partners; the second section even repeats the turn thrice, though the repetition is more satisfying than dull. Susato's musical additions to the apparent predecessor include the full chordal texture and the changing of phrase repetitions to land each conclusively on the tonic. Warfare and battles were no less a feature of sixteenth century life than in our own time. Likewise, in the European Renaissance no less than in our own world, wars and rumors of war can inspire works of art both patriotic, sympathetic, and realistic or critical. Some interpreters of Pieter Bruegel's (c. 1525–1569) painting The Massacre of the Innocents see beyond the surface brutality of the Biblical story to possible reflections of actual events the painter witnessed during the 1560s crackdown by the Catholic Spanish rulers on local Dutch Protestantism. Likewise, the martial sound-imagery in a piece such as Tylman Susato's Pavan: La Bataille could contain some echoes of his real life. Charles V, upon his accession to the Empire in 1555, almost immediately began an anti-Protestant campaign in the Low Countries; a decade later, in the face of armed resistance under the Duke of Orange, he even dispatched an army with the notorious Duke of Alva at its head. Susato himself suffered the confiscation of his lands and those of all his family, though he was later cleared of the charges of heresy. Though Susato's Pavane 'La Bataille' (Battle dance), which he published in his 'Liber Primus Leviorum Carminum' of 1571, is set in bright major key, and follows the stately duple meter and simple formal structure of the underlying dance, some of its character cannot fail to evoke at least echoes of battle. Both melody and harmony use many repeated notes, a clear evocation to European audiences since the time of Monteverdi of the beating of drums and of warlike emotions. In addition, Susato crafts a melody that, when it does deviate from repeated notes, often uses triadic leaps that hearken to the fanfares of field trumpets. Susato manages thus to mingle the refined affections of the courtly dance with the brutality of the battlefield that remained part of the "gentleman's" expected life for centuries of European history. Often Susato dedicated his publications to prominent citizens of the town. Sometimes he devoted an entire volume to the works of one composer (for example Pierre de Manchicourt and Thomas Créquillon). Not surprisingly, he seems to have favored other Flemish composers as subjects for publication. He was also one of the first to publish music of the acclaimed late Renaissance composer Orlande de Lassus (1532–1594).
Pierre Manchicourt Ockeghem Gombert Capilla Flamenca Huelgas Ensemble 1510 1525 1564
Pierre de Manchicourt (Béthune c. 1510 - Madrid October 5, 1564) was a Renaissance composer of the Franco-Flemish School. Little is known of his early life other than that he was a choirboy at Arras in 1525; later in life he had a succession of posts in Arras, Tours and Tournai, before going to Spain to be master of the Flemish chapel (capilla flamenca) at the court of Philip II, where he stayed for the remainder of his life. Similar to many composers of the early to mid 16th century, he predominantly wrote masses, motets and chansons. His motets are particularly significant as they show the three separate stages of early sixteenth century motet development, highly unusual to find in the work of a single composer. In his earliest motets one can hear the influence of Ockeghem; in his middle period works, the paired imitation style of Josquin; and in his late works the stylistic refinement, well-crafted melodic lines and pervasive imitation recall Gombert. Manchicourt is an excellent example of a Franco-Flemish composer who learned his craft and art in northern Europe, and then assisted in the diffusion of the style by traveling to another region and composing and performing there. The movement of these many skilled composers out of Flanders and northern France created what was one of the first truly international styles since the original diffusion of Gregorian chant during the reign of Charlemagne. He was succeeded as maestro de capilla by Jean de Bonmarché. Performers: Huelgas Ensemble - Paul Van Nevel
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