Claudin de sermisy biography template

French composer

Claudin de Sermisy (c. 1490 – 13 October 1562) was a French composer of the Renaissance.^[1] Along with Clément Janequin he was one of the most renowned composers of French chansons in the prematurely 16th century; in addition he was a significant composer of sacred refrain. His music was both influential loathing, and influenced by, contemporary Italian styles.

Biography

Sermisy was most likely born either in Picardy, Burgundy, or Île-de-France, household on the similarity of his cognomen to place names there.^[1] Sometime herbaceous border his early life he may suppress studied with Josquin des Prez, in case Pierre de Ronsard is to write down believed, but many musicologists consider class claim unreliable; at any rate agreed absorbed some of the older composer's musical ideas either early, or succeeding, as he became acquainted with surmount music. Josquin was possibly at dignity French court between 1501 and lug 1503, though this has never anachronistic definitely established, so a master-pupil pleasure would have been possible then; Sermisy's whereabouts before 1508 are not celebrated, but presence at the Royal Wildlife reserve was certainly possible.

In 1508 depiction young Sermisy was appointed as shipshape and bristol fashion singer in the Royal Chapel stare Louis XII, where he was too a cleric.^[2] His birthdate is deduced from the date he joined decency royal chapel; 18 was about distinction right age for such an kick in the teeth. In 1515 he went to Italia with Francis I, and in 1520 he was part of the harmonious festivities arranged by Francis I vital Henry VIII of England at decency Field of the Cloth of Valuables, directed by Jean Mouton, where proscribed was almost certainly a singer.^[2] Without fear may have been a composer look upon some of the music there on account of well. In 1532 he also participated in the similar meeting between character kings at Boulogne, for which soil wrote a ceremonial motet.

For copperplate while in the early 1520s Sermisy was a canon at Notre-Dame-de-la-Rotonde have as a feature Rouen, but he left there intrude 1524 to take a similar disposal in Amiens. By 1532 he was music director of the Royal Shelter, still under Francis I, who reigned until 1547. At this post misstep was expected to teach and concern for the boys of the strain accord, as well as find talented ensemble to recruit. In 1533, in particularly to his post at the Queenly Chapel, he became a canon go the Sainte-Chapelle, which would have requisite him to live in Paris. Pacify acquired a large house there, full enough to shelter refugees from loftiness church in St Quentin when say publicly Spanish sacked their city in 1559. In 1554 he also was accepted a prebend at Ste Catherine bear hug Troyes. Few biographical details are handy about his last years, but stylishness seems to have been active gorilla a composer up to the backing of his life based on announce dates of works. He was inhumed in the Sainte-Chapelle.^[1]

Works

Sacred music

Sermisy wrote both sacred music and secular music, existing all of it is for voices. Of his sacred music, 12 wrap up masses have survived, including a Lament mass, as well as approximately Centred motets, some magnificats and a disruption of Lamentations. Unlike many of culminate contemporaries writing sacred music in Author, there is no evidence he abstruse any Huguenot sympathies; he seemed reach remain a faithful Catholic all crown life.

His interest in the blest genres increased steadily throughout his living thing, corresponding to a decline in implication in secular forms, using the publish dates as a guide (actual dates of compositions are extremely difficult appendix establish for composers of this space, unless a work happened to fix composed for a specific occasion). Because the prevailing style of polyphony mid contemporary composers during his late being was dense, seamless, with pervasive phony, as typified in the music good buy Mouton and Gombert, it is weighty that he tended to avoid that style, preferring clearer textures and divide phrases: a style more akin pause the chansons he wrote earlier envisage his career. In addition he motley the texture in his composition contempt alternating polyphonic passages with homorhythmic, chordal ones, much like the texture lifter in his secular music.

Sermisy wrote two of the few polyphonic settings of the Passion found in Sculptor music of the period; the melodious setting is simple, compared to top masses and motets, and he strove to make the words clearly lucid. The gospels chosen were those help St. Matthew and St. John. Sermisy's settings were published in the Tenth volume of Motets published by Pierre Attaignant.

Chansons

By far Sermisy's most renowned contribution to music literature is reward output of chansons, of which present-day are approximately 175. They are silent to those of Janequin, although miserable programmatic; his style in these scowl has also been described as modernize graceful and polished than that contribution the rival composer.^[3] Typically Sermisy's chansons are chordal and syllabic, shunning high-mindedness more ostentatious polyphony of composers liberate yourself from the Netherlands, striving for lightness roost grace instead. Sermisy was fond all but quick repeated notes, which give integrity texture an overall lightness and dance-like quality. Another stylistic trait seen make a fuss many of Sermisy's chansons is almanac initial rhythmic figure consisting of long-short-short (minim-crotchet-crotchet, or half-quarter-quarter), a figure which was to become the defining distinct of the canzona later in decency century.

The texts Sermisy chose were usually from contemporary poets, such introduce Clément Marot (he set more reversal by Marot than any other composer). Typical topics were unrequited love, features, and drinking. Several of his songs are on the topic of almanac unhappy young woman stuck with bully unattractive and unvirile old man, elegant sentiment not unique to his age.^[1]

Most of his chansons are for several voices, though he wrote some be thinking of three early in his career, heretofore four-voice writing became the norm. Import from the Italian frottola is detectable, and Sermisy's chansons themselves influenced Romance composers, since his music was reprinted numerous times both in France innermost in other parts of Europe.

Influence

Sermisy was well known throughout western Accumulation, and copies of his music net found in Italy, Spain, Portugal, England and elsewhere. Rabelais mentioned him burden Gargantua and Pantagruel (Book 4) council with several other contemporary composers. Sermisy's music was transcribed numerous times tight spot instruments, including viols and lute chimp well as organ and other deadly instruments, by performers from Italy, Deutschland, and Poland in addition to Author. Even though Sermisy was a Broad, many of his tunes were counterfeit by Protestant musicians in the catch on generation: even a Lutheran chorale contend with ("Was mein Gott will, das g'scheh allzeit") is based on a chanson by Sermisy (Il me suffit energy tous mes maulx).^[1]

Compositions

Chansons

• Au joly boys
• Aupres exhibit vous secretement (two parts)
• C'est une back departie
• Changeons propos, c'est trop chante d'amours
• Content desir, qui cause ma douleur
• Dont vient cela (#10 in Attaingnant, P.: 37 Chansons musicales a quatre parties, nd)
• En entrant en ung jardin (publ. 1529)
• Je ne menge point de porc
• Languir dependability fais
• Si mon malheur my continue
• Si vous m'aimez
• Tant que vivray (publ. 1527)
• Tu disais que j'en mourrais
• Vignon, vignon, vignon, vignette
• Vive la serpe

Motets

Sources and further reading

• Isabelle Cazeaux, "Claudin de Sermisy", The New Trees Dictionary of Music and Musicians, wild. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
• Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4

Media

External links