August 6, 2013. Dufay and the early Renaissance, part 2. Last week we discussed, in broad terms, the period of music that is customarily called “Early Renaissance.” Today we’ll present three famous composers of that period, Dufay, Dunstaple and Binchois. What we find fascinating in their stories is how intertwined the European music culture of the time was, on a personal level and with musical ideas spreading from one country to another. All this in a war-torn Europe, which often seems so static to a contemporary observer.
The most famous Franco-Flemish composer of the mid-15th century, Guillaume Dufay was probably born in 1397. Exactly where is not clear: either around Cambrai, in what is now Northern France, or in Beersel, outside of Brussels. He was an illegitimate child of a local priest. His uncle was a canon at the cathedral of Cambrai, and the young Guillaume became a chorister there. His talents were noticed early on and he was given formal musical training. In 1420 Dufay moved to Rimini to serve at the palace of Carlo Malatesta, a famous condottiero. There he wrote church music – masses and motets – and also secular ballades and rondeaux. Dufay stayed in Malatesta’s service till 1424 and then returned to France, to Cambrai or maybe Laon. In 1426 Dufay went back to Italy, this time into the service of Louis Aleman, a French Cardinal who at that time was a papal legate in Bologna. Two years later Dufay moved to Rome and became a member of the papal choir. He remained in Rome till 1433; by then his fame had spread all around Europe. He left Rome to join the court of Amédée VIII, the duke of Savoy. In 1434 the duke’s son Louis married Ann of Cyprus, and many guests were invited to the wedding. One of them wasPhilip the Good, duke of Burgundy. In the duke’s retinue was Gilles Binchois. Apparently Dufay and Binchois met on that occasion, at least according to Martin le Franc, the same le Franc who coined the term La Contenance Angloise to describe the style of John Dunstaple, another famous contemporary. In 1435 Dufay returned to the papal court, which this time was in Florence, where Pope Eugene IV was driven by an insurrection in Rome. It was in Florence that Dufay composed one of his most famous motets, Nuper Rosarum Flores ("Recently Flowers of Roses"). It was written for the consecration of the Florence cathedral, Santa Maria del Fiore (Saint Mary of the Flowers) on March 25th, 1436. The great architect Filippo Brunelleschi had just completed the magnificent cupola, and the Pope himself presided over the festivities. Dufay returned to Cambrai around 1459 and lived there for the rest of his life, actively composing till the end. His life was a long one, for the time: he died on November 24th of 1474.
Gilles Binchois was born around 1400 in the city of Mons, which is now in Belgium and back then was the capital of the County of Hainaut. It later became part of the Duchy of Burgundy. During the Hundred Years’ War the Burgundians fought on the side of the English, and at some point even captured Paris. It’s known that around 1425 Binchois was in Paris serving William de la Pole, earl of Suffolk and one of the English commanders during the War. Around 1430 Binchois joined the court chapel of Philip the Good, the Duke of Burgundy and stayed there for many years. Philip loved music and hired many musicians and composers; Guillaume Dufay wrote for him. Philip didn’t have a permanent capital and moved his court between the palaces in Brussels, Bruges, Dijon and other cities of the Duchy; Binchois most likely traveled with the court. Eventually he retired to Soignies, just outside of Mons. He died in 1460. Binchois was considered the finest melodist of the 15th century (although some might argue that this honor belongs to John Dunstaple), and was, with Guillaume Dufay, the most significant composer of the early Burgundian (Franco-Flemish) School.
John Dunstaple was born around 1390 (a conjecture based on the timing of some compositions), probably in the town of Dunstable. He served in the court of John of Lancaster, a son of King Henry IV and a brother of Henry V. John led the British forces in many battles of the Hundred Year War with France (he was the one to capture Joan of Arc) and for a number of years was the Governor of Normandy. It’s likely that Dunstaple stayed with John in Normandy. From there his music spread around the continent. Considering that a major war was raging in France, it is quite remarkable. Dunstaple’s influence was significant, especially affecting musicians of the highly developed Burgundian school; the reason was both musical and political, as Burgundy was allied with England in its war against France. The poet Martin Le Franc, a contemporary of Dunstaple, came up with the term La Contenance Angloise, which could be loosely translated as “English manner” and said that it influenced the two greatest composers of Burgundy, Guillaume Dufay and Gilles Binchois. Le Franc wrote his treaties in 1442, by then Dunstaple was back in England, serving in the court of Humphrey of Lancaster, John’s brother. In addition to writing music, he also studied mathematics, and was an astronomer and astrologer. While not a cleric, he was associated with St. Albans Abbey. Dunstaple died in 1453. During the reign of Henry VIII England became Protestant, many monasteries – the main keepers of musical tradition – were "dissolved" and their libraries were ruined. Most of the English manuscripts of Dunstaple’s music were lost. Fortunately, many copies remained in Italy and Germany – evidence of Dunstaple’s international fame. About 50 compositions are currently attributed to him: two complete masses, a number of sections from masses that are otherwise lost, and many motets.
The portrait above, by Jan van Eyck from 1432of an unattributed sitter, is sometimes said to represent Dufay; other believe it to be Binchois.
Dufay and the early Renaissance, part 2, 2016
August 6, 2013. Dufay and the early Renaissance, part 2. Last week we discussed, in broad terms, the period of music that is customarily called “Early Renaissance.” Today we’ll present three famous composers of that period, Dufay, Dunstaple and Binchois. What we find fascinating in their stories is how intertwined the European music culture of the time was, on a personal level and with musical ideas spreading from one country to another. All this in a war-torn Europe, which often seems so static to a contemporary observer.
The most famous
Franco-Flemish composer of the mid-15th century, Guillaume Dufay was probably born in 1397. Exactly where is not clear: either around Cambrai, in what is now Northern France, or in Beersel, outside of Brussels. He was an illegitimate child of a local priest. His uncle was a canon at the cathedral of Cambrai, and the young Guillaume became a chorister there. His talents were noticed early on and he was given formal musical training. In 1420 Dufay moved to Rimini to serve at the palace of Carlo Malatesta, a famous condottiero. There he wrote church music – masses and motets – and also secular ballades and rondeaux. Dufay stayed in Malatesta’s service till 1424 and then returned to France, to Cambrai or maybe Laon. In 1426 Dufay went back to Italy, this time into the service of Louis Aleman, a French Cardinal who at that time was a papal legate in Bologna. Two years later Dufay moved to Rome and became a member of the papal choir. He remained in Rome till 1433; by then his fame had spread all around Europe. He left Rome to join the court of Amédée VIII, the duke of Savoy. In 1434 the duke’s son Louis married Ann of Cyprus, and many guests were invited to the wedding. One of them wasPhilip the Good, duke of Burgundy. In the duke’s retinue was Gilles Binchois. Apparently Dufay and Binchois met on that occasion, at least according to Martin le Franc, the same le Franc who coined the term La Contenance Angloise to describe the style of John Dunstaple, another famous contemporary. In 1435 Dufay returned to the papal court, which this time was in Florence, where Pope Eugene IV was driven by an insurrection in Rome. It was in Florence that Dufay composed one of his most famous motets, Nuper Rosarum Flores ("Recently Flowers of Roses"). It was written for the consecration of the Florence cathedral, Santa Maria del Fiore (Saint Mary of the Flowers) on March 25th, 1436. The great architect Filippo Brunelleschi had just completed the magnificent cupola, and the Pope himself presided over the festivities. Dufay returned to Cambrai around 1459 and lived there for the rest of his life, actively composing till the end. His life was a long one, for the time: he died on November 24th of 1474.
Gilles Binchois was born around 1400 in the city of Mons, which is now in Belgium and back then was the capital of the County of Hainaut. It later became part of the Duchy of Burgundy. During the Hundred Years’ War the Burgundians fought on the side of the English, and at some point even captured Paris. It’s known that around 1425 Binchois was in Paris serving William de la Pole, earl of Suffolk and one of the English commanders during the War. Around 1430 Binchois joined the court chapel of Philip the Good, the Duke of Burgundy and stayed there for many years. Philip loved music and hired many musicians and composers; Guillaume Dufay wrote for him. Philip didn’t have a permanent capital and moved his court between the palaces in Brussels, Bruges, Dijon and other cities of the Duchy; Binchois most likely traveled with the court. Eventually he retired to Soignies, just outside of Mons. He died in 1460. Binchois was considered the finest melodist of the 15th century (although some might argue that this honor belongs to John Dunstaple), and was, with Guillaume Dufay, the most significant composer of the early Burgundian (Franco-Flemish) School.
John Dunstaple was born around 1390 (a conjecture based on the timing of some compositions), probably in the town of Dunstable. He served in the court of John of Lancaster, a son of King Henry IV and a brother of Henry V. John led the British forces in many battles of the Hundred Year War with France (he was the one to capture Joan of Arc) and for a number of years was the Governor of Normandy. It’s likely that Dunstaple stayed with John in Normandy. From there his music spread around the continent. Considering that a major war was raging in France, it is quite remarkable. Dunstaple’s influence was significant, especially affecting musicians of the highly developed Burgundian school; the reason was both musical and political, as Burgundy was allied with England in its war against France. The poet Martin Le Franc, a contemporary of Dunstaple, came up with the term La Contenance Angloise, which could be loosely translated as “English manner” and said that it influenced the two greatest composers of Burgundy, Guillaume Dufay and Gilles Binchois. Le Franc wrote his treaties in 1442, by then Dunstaple was back in England, serving in the court of Humphrey of Lancaster, John’s brother. In addition to writing music, he also studied mathematics, and was an astronomer and astrologer. While not a cleric, he was associated with St. Albans Abbey. Dunstaple died in 1453. During the reign of Henry VIII England became Protestant, many monasteries – the main keepers of musical tradition – were "dissolved" and their libraries were ruined. Most of the English manuscripts of Dunstaple’s music were lost. Fortunately, many copies remained in Italy and Germany – evidence of Dunstaple’s international fame. About 50 compositions are currently attributed to him: two complete masses, a number of sections from masses that are otherwise lost, and many motets.
The portrait above, by Jan van Eyck from 1432of an unattributed sitter, is sometimes said to represent Dufay; other believe it to be Binchois.