22:
183:
simple chordal accompaniment in the other voices, making them easily transcribable for lute. Indeed, this is exactly what happened to many of them, and in this respect La Grotte's chansons are like the later air de cour, which featured a voice accompanied by a lute. In addition, he combined duple and triple rhythms in irregular patterns, following the declamation of the text, in the manner of the composers writing
200:. His later chansons set a variety of poets, and some of the poems are religious, in contrast to the exceedingly secular content of the French chanson of the early and middle 16th century. Unusually for the time, La Grotte seems to have written no music in the specifically sacred forms, including the
182:
La Grotte's chansons were transitional in style between the mid-century French chanson and the air de cour, which was to be the predominant type of secular vocal music in France around 1600. Many of his chansons feature a prominent melody in the superius part (the highest voice) with a relatively
179:. This is one of only a handful of French pieces of the 16th century that was written specifically for keyboard. The overwhelming majority of keyboard compositions from 16th-century France are transcriptions of music for voices—especially chansons.
117:
Nothing is known about his early life; the first record of La Grotte's life is from 1557, when he was employed as a keyboard player (organ and spinet) to the King of
Navarre, Antoine de Bourbon, at
51:
271:
109:; in addition, he was one of very few French composers of the 16th century with a surviving composition written specifically for the keyboard.
276:
148:(whether he was successful is not known) and he went to Tours during the 1590 siege of Paris, where he stayed with the as-yet-uncrowned
246:
73:
118:
160:
La Grotte was known for his chansons, about 100 of which have survived, and also for his keyboard playing, especially on the
152:(Henri de Navarre). The rest of his career and circumstances of his death have not yet been investigated by biographers.
34:
44:
38:
30:
164:. While he is known to have written music for the organ, only one composition has survived: a four-part
55:
266:
261:
228:
Frank
Dobbins: "Nicolas de La Grotte", Grove Music Online, ed. L. Macy (Accessed January 2, 2006),
136:
His reputation as an organist seems to have been high; several writers in the early 1580s, such as
130:
149:
126:
185:
133:
in 1574, La Grotte acquired the prestigious post of 'vallet de chambre et organiste ordinaire'.
211:
Many of La Grotte's chansons were published again later in arrangements for voice and lute, as
242:
197:
137:
94:
176:
169:
165:
190:
196:
The first book of La Grotte's chansons (1569, for four voices) is based on the poetry of
144:, praised his playing. Between 1586 and 1589 he attempted to purchase land outside of
122:
255:
234:
216:
161:
98:
201:
141:
121:
in southwestern France. In 1562 he was given a position with the Duke of
106:
102:
93:) (1530 – c. 1600) was a French composer and keyboard player of the
205:
145:
15:
229:
43:but its sources remain unclear because it lacks
8:
241:. New York, W.W. Norton & Co., 1954.
97:. He was well known as a performer on the
129:, and when the Duke of Anjou became King
74:Learn how and when to remove this message
7:
219:, the famous French music printer.
14:
20:
272:French male classical composers
1:
277:French Renaissance composers
186:musique mesurée à l'antique
105:, as well as a composer of
293:
239:Music in the Renaissance
29:This article includes a
58:more precise citations.
230:(subscription access)
173:Ancor che col partire
215:, under the name of
87:Nicolas de La Grotte
131:Henry III of France
150:Henry IV of France
127:Guillaume Costeley
31:list of references
198:Pierre de Ronsard
138:La Croix du Maine
84:
83:
76:
284:
177:Cipriano de Rore
79:
72:
68:
65:
59:
54:this article by
45:inline citations
24:
23:
16:
292:
291:
287:
286:
285:
283:
282:
281:
252:
251:
225:
191:Claude Le Jeune
158:
115:
80:
69:
63:
60:
49:
35:related reading
25:
21:
12:
11:
5:
290:
288:
280:
279:
274:
269:
264:
254:
253:
250:
249:
232:
224:
221:
157:
154:
114:
111:
82:
81:
39:external links
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
289:
278:
275:
273:
270:
268:
265:
263:
260:
259:
257:
248:
247:0-393-09530-4
244:
240:
236:
235:Gustave Reese
233:
231:
227:
226:
222:
220:
218:
217:Adrian Le Roy
214:
209:
207:
203:
199:
194:
192:
188:
187:
180:
178:
174:
171:
167:
163:
155:
153:
151:
147:
143:
139:
134:
132:
128:
125:, along with
124:
120:
112:
110:
108:
104:
100:
96:
92:
88:
78:
75:
67:
57:
53:
47:
46:
40:
36:
32:
27:
18:
17:
267:1600s deaths
238:
213:airs de cour
212:
210:
195:
184:
181:
172:
159:
135:
116:
90:
86:
85:
70:
64:January 2023
61:
50:Please help
42:
262:1530 births
101:and on the
95:Renaissance
56:introducing
256:Categories
223:References
189:, such as
142:Jean Dorat
91:La Crotte
204:and the
170:madrigal
166:fantasia
107:chansons
168:on the
52:improve
245:
103:spinet
89:(also
206:motet
162:organ
156:Music
146:Paris
123:Anjou
99:organ
37:, or
243:ISBN
202:mass
140:and
113:Life
175:by
119:Pau
258::
237:,
208:.
193:.
41:,
33:,
77:)
71:(
66:)
62:(
48:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.