Pierre de Manchicourt: Difference between revisions
m (→Sacred works) |
m (→Latin motets: Correcting hyperlink) |
||
(2 intermediate revisions by the same user not shown) | |||
Line 7: | Line 7: | ||
'''Biography''' | '''Biography''' | ||
Few records of Manchicourt's life survive: information about his life and work is obtained primarily from contemporary publications of his works. The earliest known information indicates that in 1525 he was a choirboy at Arras. | Few records of Manchicourt's life survive: information about his life and work is obtained primarily from contemporary publications of his works. The earliest known information indicates that in 1525 he was a choirboy at Arras. By 1539, he he was provost at the cathedral in Tours, where he would have had access to a considerable library of the works of the great master, and previous incumbent, [[Johannes Ockeghem]]. For at least nine years, from 1545 to 1554, he held the post of ''maître de chapelle'' at Nôtre-Dame Cathedral in Tournai. On the death of the incumbent, [[Nicolas Payen]], in 1559, Manchicourt was appointed ''maestro de capilla flamenca'' (master of the Flemish chapel) at the court of Philip II in Madrid, which post he held until his death five years later.<br> | ||
The fact that Pierre Attaingnant, publisher of the French Royal Court, devoted his fourteenth and final volume of motets in 1539 entirely to Manchicourt's work (an honour he bestowed on no other, and emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to the composer's reputation in his day. Around the time of his death, Manchicourt's highly polyphonic style of composition rapidly went out of fashion — a fate shared with his contemporaries [[Nicolas Gombert]], [[Jacobus Clemens non Papa|Jacobus Clemens]] and [[Thomas Crecquillon]] — as the liturgical reforms of the Council of Trent took hold, marking the transition from the High Renaissance to the less florid Late-Renaissance style of Victoria and Palestrina. | The fact that Pierre Attaingnant, publisher of the French Royal Court, devoted his fourteenth and final volume of motets in 1539 entirely to Manchicourt's work (an honour he bestowed on no other, and emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to the composer's reputation in his day. Around the time of his death, Manchicourt's highly polyphonic style of composition rapidly went out of fashion — a fate shared with his contemporaries [[Nicolas Gombert]], [[Jacobus Clemens non Papa|Jacobus Clemens]] and [[Thomas Crecquillon]] — as the liturgical reforms of the Council of Trent took hold, marking the transition from the High Renaissance to the less florid Late-Renaissance style of Victoria and Palestrina. | ||
{{WikipediaLink}} | {{WikipediaLink}} | ||
Line 77: | Line 78: | ||
*[''[[Ite in orbem (Jacobus Clemens non Papa)|Ite in orbem]]'' 5vv (2.p. Signa eos)] — <small>doubtful attribution; attributed to [[Jacobus Clemens non Papa|Clemens]] in fifteen of sixteen sources</small> | *[''[[Ite in orbem (Jacobus Clemens non Papa)|Ite in orbem]]'' 5vv (2.p. Signa eos)] — <small>doubtful attribution; attributed to [[Jacobus Clemens non Papa|Clemens]] in fifteen of sixteen sources</small> | ||
*{{NoCo|Jubilate Deo|Jubilate Deo adjutori meo}} 6vv (2.p. Si dormiero) | *{{NoCo|Jubilate Deo|Jubilate Deo adjutori meo}} 6vv (2.p. Si dormiero) | ||
*{{NoCo|Laudate Dominum|Laudate Dominum, omnes gentes}} 6vv (2.p. | *{{NoCo|Laudate Dominum|Laudate Dominum, omnes gentes}} 6vv (2.p. Plaudite ergo, omnes gentes) | ||
*Laudem dicite Deo nostro 5vv (2.p. Laudate Dominum Deum) | *Laudem dicite Deo nostro 5vv (2.p. Laudate Dominum Deum) | ||
*Lux de caelo adveniens 4vv (2.p. Te expectat chorus angelorum) | *Lux de caelo adveniens 4vv (2.p. Te expectat chorus angelorum) | ||
Line 128: | Line 129: | ||
*{{NoCo|Du fond de ma pensee|Du fond de ma pensée}} 4vv | *{{NoCo|Du fond de ma pensee|Du fond de ma pensée}} 4vv | ||
{{middle}} | {{middle}} | ||
*{{NoCo|En Dieu me consolle}} 4vv | *{{NoCo|En Dieu me consolle|En Dieu [je] me consolle}} 4vv | ||
{{btm}} | {{btm}} | ||
====Summary of sacred works available at CPDL (listed automatically)==== | ====Summary of sacred works available at CPDL (listed automatically)==== | ||
{{#SortWorks:Sacred music|cols=2}} | {{#SortWorks:Sacred music|cols=2}} |
Revision as of 21:20, 9 September 2019
Aliases: Mancicourt, Manchicurti
Life
Born: c. 1510, Béthune
Died: 5 October 1564, Madrid
Biography
Few records of Manchicourt's life survive: information about his life and work is obtained primarily from contemporary publications of his works. The earliest known information indicates that in 1525 he was a choirboy at Arras. By 1539, he he was provost at the cathedral in Tours, where he would have had access to a considerable library of the works of the great master, and previous incumbent, Johannes Ockeghem. For at least nine years, from 1545 to 1554, he held the post of maître de chapelle at Nôtre-Dame Cathedral in Tournai. On the death of the incumbent, Nicolas Payen, in 1559, Manchicourt was appointed maestro de capilla flamenca (master of the Flemish chapel) at the court of Philip II in Madrid, which post he held until his death five years later.
The fact that Pierre Attaingnant, publisher of the French Royal Court, devoted his fourteenth and final volume of motets in 1539 entirely to Manchicourt's work (an honour he bestowed on no other, and emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to the composer's reputation in his day. Around the time of his death, Manchicourt's highly polyphonic style of composition rapidly went out of fashion — a fate shared with his contemporaries Nicolas Gombert, Jacobus Clemens and Thomas Crecquillon — as the liturgical reforms of the Council of Trent took hold, marking the transition from the High Renaissance to the less florid Late-Renaissance style of Victoria and Palestrina.
View the Wikipedia article on Pierre de Manchicourt.
List of choral works
Sacred works
Manchicourt’s sacred works appear in at least fifty printed collections from 1532 through to the late 16th century: his surviving sacred output consists of nineteen masses, a mass section, a Magnificat, 74 Latin motets (including one of doubtful attribution), and two chansons spirituelles:
Masses, mass section, Magnificat
|
|
|
|
Latin motets
|
|
Chansons spirituelles
These two chansons, published in one source as two parts of a single work, are a French paraphrase of Psalm 130:
Summary of sacred works available at CPDL (listed automatically)
Secular works
Manchicourt's surviving secular output includes 50 French chansons, appearing in at least sixteen publications including one devoted entirely to Manchicourt's works:
Summary of secular works available at CPDL (listed automatically)
Click here to search for this composer on CPDL
Publications
Three of the pre-eminent publishers of the mid-16th century each devoted one of their volumes to Manchicourt’s works:
- Motettorum, Book 14 (Pierre Attaingnant, Paris, 1539) contains 19 of his motets, for 4–6vv
- Neufiesme livre des chansons a quatre parties (Tielman Susato, Antwerp, 1545) contains 29 of his chansons, for 4–5vv
- Cantionum sacrarum liber 5 (Pierre Phalèse, Leuven, 1554) contains 14 of his motets, for 5–6vv
External links
Works by Pierre de Manchicourt in the Petrucci Music Library (IMSLP)