Loyset compere biography of george

Sometime during the next ten years he began to work at the French court, and he accompanied Charles VIII on his invasion of Italy in in what capacity is not known. He was in Rome in early during the occupation of the city by Charles and his army. Next he had a series of church positions. Throughout this time he seems to have been in part-time service to the French court, as evidenced by his many compositions for official and ceremonial occasions.

He died at Saint-Quentin. By temperament he seems to have been a miniaturist, and his most popular and numerous works were in the shorter forms of the day—primarily chansons and motets. Two stylistic trends are evident in his music: the style of the Burgundian School, which he seems to have learned in his early career before coming to Italy, and the lighter style of the Italian composers current at the time, who were writing frottolas the light and popular predecessor to the madrigal.

Occasionally he seems to have loyset compere biography of george himself a formidable technical challenge and set out to solve it, such as writing quodlibets an example is Au travail suis, which combines no less than six different tunes written to the same text by different composers. As a priest he received prebends in Cambrai and Douaiand a canonry at the collegiate church of Saint-Quentin, where he is buried.

His works include two Masses, individual Mass movements, three motetti missales cycles, twenty-three motets, five motet-chansons, forty-nine chansons, and two frottole which are quoted in a quodlibet of L. The religious works exhibit Italian as well as Franco-Flemish traits: sonorous chords, canonic writing, and advanced parody technique.

His chansons range from Burgundian types to the newer syllabic genre, with repeated notes and rapid declamation. Though not considered Josquin Desprez 's equal, he represents an important link between the generations of Okeghem and Attaingnant. Bibliography: Opera omniaed. American Institute of Musicology Rome — Die Musik in Geschichte und Gegenwarted.

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By temperament he seems to have been a miniaturist, and his most popular and numerous works were in the shorter forms of the day—primarily chansons and motets. Two stylistic trends are evident in his music: the style of the Burgundian Schoolwhich he seems to have learned in his early career before coming to Italy, and the lighter style of the Italian composers current at the time, who were writing frottolas the light and popular predecessor to the madrigal.

Occasionally he seems to have given himself a formidable technical challenge and set out to solve it, such as writing quodlibets an example is Au travail suiswhich combines no less than six different tunes written to the same text by different composers. Some mix texts from different sources, for instance a rather paradoxical Sile fragor which combines a supplication to the Virgin Mary with a drinking song dedicated to Bacchus.

His choice of secular texts tended towards the irreverent and suggestive. His chansons are his most characteristic compositions, and many scholars of Renaissance music consider them to be his best work. They are for three or four voices, and are in three general categories: Italianate, light works for four a cappella voices, very much like frottolas, with text set syllabically and often homophonicallyand having frequent cadences; three-voice works in the Burgundian style, rather like the music of Dufay ; and three-voice motet-chansonswhich resemble the medieval motet more than anything else.

In these works the lowest voice usually sings a slow-moving cantus firmus with a Latin text, usually from chant, while the upper voices sing more animated parts, in French, on a secular text. These are cycles of motets, in which each motet is to be sung in place of a section of the mass ordinary or one of the Proper chants. In the list, the motet is given along with the name of the Proper chant or mass ordinary section:.

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Loyset compere biography of george

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