   #copyright

Johannes Ockeghem

2007 Schools Wikipedia Selection. Related subjects: Performers and composers

   Ockeghem (with glasses) and his singers
   Ockeghem (with glasses) and his singers

   Johannes Ockeghem (also Jean de; surname Okeghem, Ogkegum, Okchem,
   Hocquegam, Ockegham; other variant spellings are also encountered) (c.
   1410, Saint-Ghislain, Belgium – February 6, 1497, Tours, France) was
   the leading composer of the second generation of the Franco-Flemish
   School. Ockeghem is often considered the most important composer
   between Dufay and Josquin des Prez, and was one of the most famous
   composers in Europe in the latter half of the 15th century.

Life

   The spelling of Ockeghem's name comes from a supposed autograph of his
   which survived as late as 1885, and as reported by E. Giraudet, a
   historian in Tours; the document has since been lost. In 15th century
   sources, the spelling "Okeghem" predominates.

   The birthdate of Ockeghem is controversial, and dates as early as 1410,
   and as late as 1430 have been proposed. The earlier date is based on
   the possibility that he knew Binchois in Hainaut before the older
   composer moved from Mons to Lille in 1423, and when Ockeghem was still
   a choirboy: Ockeghem would have to have been younger than 15 at the
   time. This particular speculation derives from Ockeghem's reference, in
   the lament he wrote on the death of Binchois in 1460, to a Binchois
   chanson dated to that time. The comment by the poet Guillaume Crétin,
   in the lament he wrote on Ockeghem's death in 1497, "it was a great
   shame that a composer of his talents should die before 100 years old",
   is also often taken as evidence for the earlier date.

   Recent research has shown that Ockeghem was born in the town of
   Saint-Ghislain; many older biographies state that he was either born in
   the town of his name or in the neighboring town of Dendermonde in East
   Flanders (now part of modern Belgium), part of the Duchy of Burgundy.
   Details of his early life are lacking. Like many composers in this
   period, he started his musical career as chorister, and the first
   record of his musical activity comes from the cathedral of Notre Dame
   in Antwerp, where he was employed in 1443 and 1444. Between 1446 and
   1448 he served Charles, Duke of Bourbon, in Moulins (France). Around
   1452 he moved to Paris where he served as maestro di cappella to the
   French court, as well as treasurer to the St. Martin cathedral in
   Tours. In addition to serving at the French court – both for Charles
   VII and Louis XI – he held posts at Notre Dame Cathedral and St.
   Benoît. He is known to have traveled to Spain in 1470, as part of a
   diplomatic mission, which was an attempt to arrange a marriage between
   Isabella of Castile and Charles, Duke of Guyenne (the brother of king
   Louis XI). After the death of Louis XI ( 1483), not much is known for
   certain about Ockeghem's whereabouts, though it is known that he went
   to Bruges and Tours, and he probably died in the latter town since he
   left a will there.

   Ockeghem probably studied with Gilles Binchois, and at the very least
   was closely associated with him at the Burgundian court. Since Antoine
   Busnois wrote a motet in honour of Ockeghem sometime before 1467, it is
   probable that those two were acquainted as well; and writers of the
   time often link Dufay, Busnois and Ockeghem. Although Ockeghem's
   musical style differs considerably from that of the older generation,
   it is probable that he acquired his basic technique from them, and as
   such can be seen as a direct link from the Burgundian style to the next
   generation of Netherlanders, such as Obrecht and Josquin.

Music and influence

   Very few of his works have survived: some 14 masses and a Requiem mass,
   5 motets, a motet-chanson (a deploration on the death of Binchois), and
   21 chansons. Thirteen of Ockeghem's masses are preserved in a late
   Fifteenth century Flemish manuscript known as the Chigi codex. His
   Missa pro Defunctis is the earliest surviving example of a polyphonic
   Requiem mass (a setting by Dufay, possibly earlier, has been lost). In
   addition to his small surviving output, some of the works attributed to
   him have been questioned: for example the amazing technical
   tour-de-force for 36 voices, Deo gratias is very likely by someone
   else, but this remains in dispute; and several of his chansons and
   motets, while anonymous in the sources, are attributed to him on
   stylistic grounds.

   A strong influence on Josquin Des Prez, Ockeghem was famous throughout
   Europe for his expressive music and his technical mastery. His
   technical prowess is demonstrated most clearly in the astonishing Missa
   Prolationum, which consists entirely of mensuration canons, and the
   'Missa cuiusvis', to be performed in different modes, but even these
   technique-oriented masterpieces demonstrate his insightful use of vocal
   ranges and uniquely expressive tonal language. Being a renowned bass
   singer himself, his use of wide-ranging and rhythmically active bass
   lines sets him apart from many of the other composers in the
   Netherlandish Schools.

   To commemorate his death, Josquin Des Prez composed the motet La
   déploration de la mort de Johannes Ockeghem, a setting of the poem
   Nymphes des bois by Jean Molinet.

Works

Masses

    1. Missa sine nomine
    2. Missa sine nomine (incomplete: only Kyrie, Gloria and Credo exist)
    3. Missa Au travail suis
    4. Missa Caput
    5. Missa cuiusvis toni
    6. Missa De plus en plus
    7. Missa Ecce ancilla Domini
    8. Missa Fors seulement (has not survived complete: only Kyrie, Gloria
       and Credo remain)
    9. Missa L'homme armé
   10. Missa Ma maistresse
   11. Missa Mi-mi (also known as the Missa quarti toni)
   12. Missa prolationum
   13. Missa quinti toni
   14. Missa pro defunctis (Requiem)

Motets

Marian antiphons

    1. Alma Redemptoris mater
    2. Ave Maria
    3. Salve regina

Others

    1. Intemerata Dei mater (possibly written 1487)
    2. Ut heremita solus

Motet-chanson

    1. Mort tu as navré/Miserere (lamentation on the death of Gilles
       Binchois, probably written in 1460)

Chansons

Three voices

    1. Aultre Venus estes
    2. Au travail suis (attrib: possibly by Barbingant)
    3. Baisiés moy dont fort
    4. D'un autre amer
    5. Fors seulement contre
    6. Fors seulement l'attente
    7. Il ne m'en chault plus
    8. La despourveue et la bannie
    9. L'autre d'antan
   10. Les desléaux ont la saison
   11. Ma bouche rit
   12. Ma maistresse
   13. Prenez sur moi
   14. Presque transi
   15. Quant de vous seul
   16. Se vostre cuer eslongne
   17. Tant fuz gentement resjouy
   18. Ung aultre l'a

Three or four voices

    1. J'en ay dueil

Four voices

    1. S'elle m'amera/Petite camusette

Recordings

     * Flemish Masters, Virginia Arts Recordings, VA-04413, performed by
       Zephyrus. Includes the Ockeghem Alma Redemptoris mater, the Obrecht
       Missa Sub tuum presidium, as well as motets by Willaert, Clemens
       non Papa, Des Prez, Mouton, and Gombert.

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