88:, and stylistic similarities between the two composers suggests a relation. In addition, one of Caron's masses appears in a Cambrai manuscript dated to 1472 or 1473, the year before Dufay's death there. Caron may have been in Cambrai in the early 1470s and known Dufay, but even that is not certain. References to Caron in writings by music theorists appear as late as 1556, in the writings of German
65:
at Amiens cathedral in 1422 has now been shown to be misdated: his activity in Amiens is attested by numerous documents dating from 1459 to 1475 (when his father died). A document of 1473 names him "maistre Fremin le Caron," implying that he had a university master's degree, and that of 1475 names
77:, a common destination for composers from northern Europe: however many compositions by French composers made their way to Italian manuscripts without being carried there by their composers, so this is not certain.
61:. Attempts in the past to identify him with people named Philippe Caron and Jean Caron are therefore to be discarded. Furthermore, a reference to "Firminus Caron" as
282:
567:
247:
557:
144:, was extraordinarily famous, and was the second-most-widely distributed song in manuscript sources of the third quarter of the 15th century (
562:
217:
275:
202:
268:
237:
136:
Most of his secular songs were in French, and for three voices, and most survive from
Italian manuscripts. Most are
208:
Wegman, Rob C. (2011). "Fremin le Caron at Amiens: New
Documents". In Fitch, Fabrice; Kiel, Jacobijn (eds.).
460:
38:, and numerous compositions of his survive. Most of what is known about his life and career is inferred.
475:
291:
181:
24:
243:
404:
233:
149:
511:
465:
424:
378:
363:
338:
93:
69:
Some writers of the time, including
Tinctoris, praised Caron. Most of Caron's music survives in
47:
46:
Most musical manuscripts give his name only as "Caron." But his contemporary, the music theorist
117:
516:
358:
353:
343:
299:
213:
198:
153:
81:
32:
28:
501:
480:
455:
439:
429:
399:
368:
322:
307:
177:
David
Fallows: "Firminus Caron", Grove Music Online, ed. L. Macy (Accessed July 2–4, 2006),
165:
31:. He was highly successful as a composer and influential, especially on the development of
536:
526:
506:
485:
470:
317:
312:
185:
137:
122:
85:
51:
434:
409:
394:
373:
70:
100:, extravagantly praises Caron's music, but also mentions that he was poorly educated.
551:
521:
419:
190:
157:
89:
531:
109:
97:
35:
254:
129:
masses by several other composers. In Caron's setting the tune is transposed to
414:
133:
and elaborated considerably; the upper voices often sing in two-part imitation.
130:
152:, was the first). It is unusual among songs of the time in using very close
161:
54:
73:
manuscripts, leading to the hypothesis that he may have spent some time in
260:
66:
him "sire Fremin le Caron," meaning that he had been ordained a priest.
20:
50:
names him in three different treatises as "Firminus Caron" and the
74:
96:, whose writings are a rich source on 15th-century composers and
264:
164:, hypothesises that it may have originated as an instrumental
178:
57:
San Pietro B80 has "F. Caron" written above its copy of his
92:, indicating the spread and duration of his reputation.
108:
Caron left both sacred and secular music, including five
210:
115:
One of the earliest masses based on the famous tune
494:
448:
387:
331:
298:
140:, and most are in duple meter. One of his songs,
212:. Woodbridge: The Boydell Press. pp. 10–32.
276:
8:
121:is by Caron, and survives in an early 1460s
197:. New York, W.W. Norton & Co., 1954.
156:, and it seems to have initiated a trend.
283:
269:
261:
248:International Music Score Library Project
257:on the homepage of the Goldberg Stiftung
80:In 1472 and 1473, Caron is mentioned by
27:composer, and likely a singer, of the
568:15th-century Franco-Flemish composers
7:
14:
558:French male classical composers
172:References and further reading
1:
244:Free scores by Firminus Caron
234:Free scores by Firminus Caron
563:French Renaissance composers
238:Choral Public Domain Library
112:and numerous secular songs.
584:
195:Music in the Renaissance
142:Helas que pourra devenir
461:Jacob Clemens non Papa
125:manuscript along with
476:Pierre de Manchicourt
292:Franco-Flemish School
184:May 16, 2008, at the
179:(subscription access)
146:De tous biens plaine
150:Hayne van Ghizeghem
104:Music and influence
512:Giovanni de Macque
466:Thomas Crecquillon
425:Matthaeus Pipelare
379:Johannes Tinctoris
364:Marbrianus de Orto
339:Alexander Agricola
94:Johannes Tinctoris
59:Missa L'homme armé
48:Johannes Tinctoris
545:
544:
517:Philippe de Monte
359:Johannes Ockeghem
354:Guillaume Faugues
219:978-1-84383-619-3
160:, writing in the
23:1460–1475) was a
575:
502:Orlando di Lasso
481:Cipriano de Rore
456:Jacques Arcadelt
440:Pierre de la Rue
430:Josquin des Prez
405:Antoine de FĂ©vin
400:Antonius Divitis
369:Johannes Prioris
323:Johannes Pullois
308:Guillaume Du Fay
285:
278:
271:
262:
223:
583:
582:
578:
577:
576:
574:
573:
572:
548:
547:
546:
541:
537:Giaches de Wert
527:Philippe Rogier
507:Carolus Luython
490:
486:Adrian Willaert
471:Nicolas Gombert
444:
383:
327:
318:Antoine Busnois
313:Gilles Binchois
294:
289:
253:Edition of the
230:
220:
207:
186:Wayback Machine
174:
106:
86:Guillaume Dufay
44:
12:
11:
5:
581:
579:
571:
570:
565:
560:
550:
549:
543:
542:
540:
539:
534:
529:
524:
519:
514:
509:
504:
498:
496:
495:5th generation
492:
491:
489:
488:
483:
478:
473:
468:
463:
458:
452:
450:
449:4th generation
446:
445:
443:
442:
437:
435:Jean Richafort
432:
427:
422:
417:
412:
410:Heinrich Isaac
407:
402:
397:
395:Antoine Brumel
391:
389:
388:3rd generation
385:
384:
382:
381:
376:
374:Johannes Regis
371:
366:
361:
356:
351:
349:Firminus Caron
346:
344:Loyset Compère
341:
335:
333:
332:2nd generation
329:
328:
326:
325:
320:
315:
310:
304:
302:
300:1st generation
296:
295:
290:
288:
287:
280:
273:
265:
259:
258:
251:
241:
229:
228:External links
226:
225:
224:
218:
205:
188:
173:
170:
105:
102:
82:Loyset Compère
63:primus musicus
43:
40:
17:Firminus Caron
13:
10:
9:
6:
4:
3:
2:
580:
569:
566:
564:
561:
559:
556:
555:
553:
538:
535:
533:
530:
528:
525:
523:
522:Jacob Regnart
520:
518:
515:
513:
510:
508:
505:
503:
500:
499:
497:
493:
487:
484:
482:
479:
477:
474:
472:
469:
467:
464:
462:
459:
457:
454:
453:
451:
447:
441:
438:
436:
433:
431:
428:
426:
423:
421:
420:Jacob Obrecht
418:
416:
413:
411:
408:
406:
403:
401:
398:
396:
393:
392:
390:
386:
380:
377:
375:
372:
370:
367:
365:
362:
360:
357:
355:
352:
350:
347:
345:
342:
340:
337:
336:
334:
330:
324:
321:
319:
316:
314:
311:
309:
306:
305:
303:
301:
297:
293:
286:
281:
279:
274:
272:
267:
266:
263:
256:
252:
249:
245:
242:
239:
235:
232:
231:
227:
221:
215:
211:
206:
204:
203:0-393-09530-4
200:
196:
192:
191:Gustave Reese
189:
187:
183:
180:
176:
175:
171:
169:
167:
163:
159:
158:David Fallows
155:
151:
147:
143:
139:
134:
132:
128:
124:
120:
119:
113:
111:
103:
101:
99:
95:
91:
90:Hermann Finck
87:
83:
78:
76:
72:
67:
64:
60:
56:
53:
49:
41:
39:
37:
34:
30:
26:
22:
18:
532:Jacobus Vaet
348:
240:(ChoralWiki)
209:
194:
145:
141:
135:
127:L'homme armé
126:
118:L'homme armé
116:
114:
107:
98:music theory
79:
68:
62:
58:
45:
36:counterpoint
16:
15:
415:Jean Mouton
131:Dorian mode
29:Renaissance
552:Categories
84:alongside
162:New Grove
154:imitation
55:choirbook
33:imitative
255:chansons
182:Archived
138:rondeaux
250:(IMSLP)
246:at the
236:in the
166:fantasy
123:Vatican
71:Italian
52:Vatican
216:
201:
110:masses
25:French
148:, by
75:Italy
214:ISBN
199:ISBN
42:Life
21:fl.
554::
193:,
168:.
284:e
277:t
270:v
222:.
19:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.