O souverain pasteur et maistre
&
Pere �ternel qui nous ordonnes
set to music
Marot's two 'prandial prayers' (click
here for the texts) belong
to the favorites of composers, esp. among 'Flemish' composers (6 in the list
below). They always make who set both texts. NB: only he early Psalters contain
a melody (Geneva: the last with melody is 1551). Many of the entries in chanson
database Ricercar (University of Tours), and in Howard Slenk,
The Huguenot Psalter in the Low Countries (Ohio, 1965, unpublished diss., p.
194). They also are a stable element of the famous 'livre septiesme' (1567
onwards).
Benediction: O souverain pasteur
et maistre
Grace: Pere �ternel qui nous ordonnes
-
� 4: Antoine Mornable, Livre second contenant XVII
pseaulmes...(Paris: Attaingnant, 1546)
-
�
4: Tielman Susato, Unziesme livre
contenant vingt et neuf chansons amoureuses et deux pri�res (Antwerp:
Susato,1549)
-
� 4: Le Gendre, Premier livre de psalmes et cantiques en
vulgaire françoys (Paris: Fezandat, 1552)
-
� 4: Guillaume La Moeulle, Premier livre des
pseaumes... G.Gu�roult & autres... la plupart par G. de la Moeulle
(Gen�ve: Dubosc/Gueroult, 1554)
-
� 4: Loys Bourgeois, Pseaulmes LXXXIII de David, Le
cantique &c. (Lyon: Godefroy Beringen, 1554)
-
� 4: Jacob Clement
(Clemens non Papa, d. 1555) [first: Phal�se 1564 (Vanhulst 107)], Septiesme
livre des chansons a quatre parties, (Louvain, P. Phal�se, 1567); The
septi�sme livre, that is many reprints everywhere until 1644
and even occasionally afterwards.
-
� 4: Pierre Certon, Cinquante Pseaumes de David
(Paris: Le Roy/Ballard, 1555)
-
� 4: Barth�l�my Le Bel, Le second livre des Pseaulmes et
sentences tirees tant du psalmiste royal que des autres saincts prophetes:
mis en musique en forme de motetz, par divers excellens musiciens.(Gen�ve: Dubosc/Gu�roult, 1555)
Contains works by Arcadelt, Gindron, Goudimel, and Le Bel.
-
� 4: Ph. Jambe-de-Fer, Psalmodie de quarante et un
pseaumes royaux... (Lyon: Michel Dubois, 1559)
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� 5: Derick Gerard(e)
[Manuscript: British Library, Royal Appendix 31-35]
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� 4: Martin Peudargent,
Novi prorsus et elegantis libri musici, in quo continentur partim
suavissima ... Moteta ... latinae & gallicae 4, 5, 6-stemmige motetten
(D�sseldorf: Oridryus & Buysius, 1561). Unique copy lost in the war (?)
-
� 4: Claude Goudimel, Pseaumes de David.. (Paris: Le
Roy/Ballard, 1562)
-
�
3: Geert van Turnhout (or Gerardo � Turnhout):
Sacrarum ac aliarum cantionum trium vocum, (Louvain, P. Phal�se,
1569)
-
�
5: Andries Pevernage, chansons d�Andre Pevernage livre I, chansons spirituelles
(Antwerp, Plantin, Plantin, 1589) P1670
By the way: the two
earlier prandial prayers were set to music by Jean Crispel (published
by Phal�se, Louvain, in 1552: Quatriesme livre des chansons a quatre
parties..., repr. 1555): The 4 partbooks for these two songs I have collated
on one page (digital copy made available by the British Library: K.3.a.15). "Le
benedicite" and "La grace" as they are
labelled. Together with a modern transcription (SATB)
biographical info
excerpted from
Jacob Clement (non Papa)
b ?? d1556 ?
Clemens first
appears in the historical record with the publication of several chansons by
Attaingnant in Paris beginning in the late 1530s. The sobriquet 'non Papa' is
first recorded in 1542, the date of the attribution of Je prens en gre
(previously printed anonymously) in a set of manuscript partbooks belonging to
the Flemish merchant Zeghere de Male. In 1545 Clemens established a business
relationship with the Antwerp printer Susato, one of his chief publishers. In
Susato's Souterliedekens of 1556'7 the composer is called 'Jacobus Clement non
papa', thus connecting his usual designation with what was clearly his original
name, Jacob Clement.
Clemens was succentor at Bruges Cathedral from March 1544 until June 1545. The
chapter acts of the cathedral for 12 March 1544 mention 'Jacobus Clement Pbro'
(presbyter), and on 26 March Clemens was nominated succentor 'per modum probae';
the fact that he had to pass a proficiency examination indicates that he was
hardly known. He honoured the cathedral's patron with his Missa 'Gaude lux
Donatiane'. It is possible that he was subsequently appointed choirmaster to
Philippe de Croy, Duke of Aerschot, one of Charles V's greatest generals. Three
state motets, Carole, magnus eras, Caesar habet naves validas and Quis
te victorem dicat, point to a relation with Charles V from 1544 to 1549.
Clemens was employed as sanger ende componist by the Marian Brotherhood
in 's-Hertogenbosch from 1 October to 24 December 1550. The motet 'ter eeren
onser liever vrouwen', which he offered to the brotherhood on his departure, is
no doubt his seven-voice Ego flos campi on a text from the Song of Songs. The
words 'sicut lilium inter spinas', which are given prominent homophonic
treatment, were the brotherhood's motto, and the use of seven voices (unique in
Clemens's work) embodies the symbolic Marian number seven. Some connection with
Leiden is apparent, for all six choirbooks of the St Pieterskerk (Municipal
Archives) dating from the mid-16th century contain works by Clemens: two masses
(including the Missa 'Or combien' with an ascription to Crecquillon), a cycle of
eight Magnificat settings and 34 motets; for one of the motets and the
Magnificat cycle these choirbooks are a unique source. It is almost certain,
however, that he was not choirmaster of the St Pieterskerk, and he may never
have been resident in Leiden. The year of Clemens's death has been a subject of
controversy. There are several reasons for supposing that he died in 1555 or
1556. Although he is still listed as a living composer in Hermann Finck's
Practica musica (1556), a manuscript copied in Antwerp in 1564/6 (B-LVu mus.4),
contains his motet Hic est vere martyr with the annotation, 'Ultimum
opus Clementis non Papae anno 1555 21 aprilis'. Ten of the souterliedekens
printed in 1556'7 in volumes devoted to him are actually by Susato. In 1556 the
first of Clemens's masses was published with a dedication written by the
publisher, Phal�se. In 1558 Jacobus Vaet published in Nuremberg his d�ploration
on Clemens's death, Continuo lacrimas, whose text suggests he met a violent end
('inclemens vis et violentia fati'). According to Sanderus (Flandria subalterna,
ii, Cologne, 1644) Clemens was buried at Dixmuiden, near Ypres.
Martin Peudargent
(b Huy, c1525/30; d
after 1587). Flemish composer. He was for much of his career in the service of
the Duke of Kleve as Kapellmeister. In his first work, published in 1555, he
referred to himself as 'musicus' in the court of Duke Wilhelm V of
J�lich-Kleve-Berg in D�sseldorf. Oridryus, in his treatise Practicae musicae
(D�sseldorf, 1557), referred to him in friendly terms and described him as
praefectum in the duke's chapel. Peudargent is known to have been present at
J'lich in 1585 for the marriage of Duke Johann-Wilhelm and the Margravine Jakobe
von Baden, and he was named by Gramin'us as the principal musician there. It is
clear that he remained for more than 30 years in the service of the Duke of
Kleve; by 1587, when he petitioned his master for assistance, he had become
blind and was no longer able to support his family.
Andries Pevernage
(b Harelbeke, nr
Kortrijk, 1542/3; d Antwerp, 30 July 1591). Flemish composer. On 21 January 1563
he was appointed choirmaster of St Salvator, Bruges, and on 22 September of the
same year he was named to a similar post at Onze Lieve Vrouwkerk, Kortrijk. He
remained in Kortrijk until 1577 although he held a prebend at St Willibrordus in
Hulst in 1564. In 1578 Kortrijk fell briefly to Calvinist rule. By the following
year Pevernage had secured the position of choirmaster at St Jacob, Bruges. This
city too fell to the Calvinists and Catholic services were suppressed there from
May 1581 until 1584. On 1 October 1584 he was reappointed to his former position
at Kortrijk and less than a year later became choirmaster at Antwerp Cathedral
where he remained until his death. He was buried by the cathedral's altar of St
Anne. Antwerp archives confirm that Pevernage rebuilt the music library
destroyed by the Calvinist rebellion and that he was active in humanist circles
surrounding the Plantin press.
Tielman Susato
(b c1510'1515, Soest, nr Dortmund; d ?Sweden, 1570 or later). Music
publisher, composer and instrumentalist, active in the southern Netherlands.
Some confusion has been caused by Susato's reference to Dutch as 'our mother
tongue' in his first book of Dutch songs (1551); however, this is logical
considering his residence of more than 20 years in Antwerp and the audience to
whom the print is addressed.In 1541 Susato formed a partnership with two Antwerp
printers, Hendrik ter Bruggen and Willem van Vissenaken; he probably served as
the compiler for Antwerp's first single-impression music book, Quatuor vocum
musicae modulationes, issued in 1542 under Vissenaken's name. Following a long
and complex lawsuit, Susato acquired all shares in the business and set up a
printing house on Twaalfmaandenstraat, moving to a newly built house called the
'Cromhorn' in 1551. Between 1543 and 1561 he published 22 chanson books (in two
series), 3 books of masses, 19 motet books (in two series) and 11 books in a
series entitled Musyck Boexken including two books of secular Dutch songs, one
book of dances arranged from popular songs, and eight books
of souterliedekens (psalm settings). A number of these publications were
reissued in later 'hidden' editions bearing the same date as the first.
Most of Susato's
publications are anthologies of works by Flemish composers active in the Low
Countries and at the Imperial Court; the chanson and motet books were published
in series organized by mode and voicing. Among those issued in single-composer
editions were Susato himself as well as Thomas Crecquillon, Orlande de Lassus,
Clemens non Papa and Josquin Des Prez. Josquin's Septiesme livre des
chansons (1545), issued 24 years after the death of the composer, is the
earliest published source for 23 chansons; this has raised questions concerning
Susato's source for the works and the accuracy of his attributions. Susato
published Lassus's so-called 'op.1', a collection of chansons, madrigals,
villanesche and motets, as an added book in his first chanson series (Le
quatoirsiesme livre, 1555), and he later issued a motet book by Lassus as well.
His eight books of Dutch-texted metrical psalm settings (Souterliedekens)- four each by Clemens non Papa and his student Gherardus Mes
- were intended for
home devotional use.
As a composer
Susato wrote over 90 chansons, many of which parody well-known French and
Flemish models. Two books (1544 and 1552) contain two- or three-part didactic
settings, and other larger-voiced settings are expanded parodies in imitative
style of famous chansons. Many of Susato's chansons are arranged in groups of
textually and musically related works called responses and replicques while his
dance collection (1551) features simple four-voice arrangements of well-known
chansons set in homophonic style, probably intended for amateur performance. His
motets are well-crafted in imitative polyphony; In illo tempore (1545) is the
basis for his only mass, and Salve quae roseo decora (1540) is an occasional
work in praise of the city of Antwerp.
Geert van Turnhout
(b Turnhout, c1520;
d Madrid, 15 Sept 1580). Flemish composer, active in Spain, elder brother of the
composer Jan van Turnhout. The family name was originally 'Jacques', as
Spiessens has shown. In his early career he held positions at the church of Our
Lady, Antwerp, and at the church of St Gummarus, Lier, where he became ma'tre de
chapelle in 1559. He entered holy orders, though no date for his ordination is
established. In 1562 Turnhout became music master of the Confraternity of Our
Lady at the church of Our Lady, and ma'tre de chant there in 1563. In 1564 he
composed a Te Deum for the entry into Antwerp of Margaret of Austria, Regent of
the Low Countries. Looting by iconoclasts destroyed the music collection and
organs at the cathedral in 1566, and in the following years Turnhout copied out
masses, motets etc., to replace what had been lost. He also presided over the
commission which examined the new organs constructed by Gillis Brebos.
Through the Duke of Alva as intermediary, Philip II of Spain engaged Turnhout on
2 May 1571 as maestro de capilla of the Capilla Flamenca in Madrid. After a
delay of over a year Turnhout travelled to Madrid, bringing with him, as was
customary, a group of singers from the Low Countries. His name is first noted as
maestro de capilla in November 1572. There is little record of Turnhout's
activities during his eight years in Spain. He was held in high esteem by Philip
II, as is shown by the many prebends granted to him.
Gerarde Derrick (fl c1540'80).
Flemish composer, active in England. Nothing is known about his origins, musical
upbringing or career outside England. During the third quarter of the 16th
century he was associated with Henry Fitzalan, 12th Earl of Arundel (d 1580),
and Arundel's son-in-law and heir John, Lord Lumley (d 1609). Details of the
connection are lacking; it is unclear whether music was Gerarde's main interest
or occupation, and claims that he served as Arundel's composer-in-residence or
choirmaster are unproven. Evidence of Gerarde's residence in England can be
gleaned from six sets of manuscript partbooks, most of which are devoted
exclusively to his own compositions. All six sets, which can be placed in
chronological order on grounds of handwriting and notation, were owned either by
Arundel or Lumley, and in 1596 formed part of the celebrated library at Nonsuch
Palace. Four of them survive intact (GB-Lbl Roy.App.17-22, 26-30, 31-5 and
49-54), the others are incomplete (Lbl Roy.App.23-5 and 57). No trace remains of
a manuscript described in the 1596 Nonsuch inventory as -A rolle of Cannons of
Dethick Gerrarde-.
Approximately 170 compositions by Gerarde survive, scored for between four and
ten voices. With the exception of the tentatively attributed instrumental pieces
in Lbl Roy.App.74-6, all are vocal, the majority of them with Latin or French
words. There are no masses or Magnificat settings, and few motet texts derive
from the Roman Catholic liturgy. Gerarde's early works favour continuously
imitative polyphony; pieces found only in his later partbook sets often make
greater use of homophonic textures and less rigorously imitative techniques.
Gerarde also composed several Italian madrigals, two English-texted pieces (one
of which, Lorde be my Judge, is a metrical psalm setting), and one work,
Pandalidon, in an apparently invented language. No collected edition of
Gerarde's music has yet been attempted. |
