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archive, he may have been one of the most influential northern musicians on the development of the later
Palestrina style. In addition, since his work appears in numerous manuscripts of the 16th century—at least 66, as well as 45 printed collections—and in areas as far apart as Spain, Austria,
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Most of the motets are based on standard liturgical material: psalms, devotional hymns, responsories, and so forth. Most are in a single section, with the remainder being in two parts. Occasionally L'Héritier wrote for many independent parts: for example,
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between 1520 and 1532. No details are known about Isaac's life, nor is it known whether or not the L'Héritiers were part of the same family, but Isaac is known to be the composer of at least three chansons which were published by music printer
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All the remaining records of L'Héritier's life come from Italy, so he may have stayed there. After a stay in
Ferrara, Duke Alfonso gave him leave to go back to France, but it is not known if he went; the next record of his life is from
114:, the French church in Rome. Since much of his music appears in Roman manuscripts of this time, he was probably very active as a composer during these years. In 1522 he left Rome and probably went to
66:, a relationship which most likely occurred while Josquin was at the French royal court in the years after 1500 (exact years for Josquin's stay there have not been established). In 1506 he went to
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1508–1532) and Isaac (fl. around 1540). The former was also from the Pas-de-Calais and may be related to Jean; he was a singer at the Sainte-Chapelle from 1508, and was in the service of
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style in Italy in the early 16th century, along with
Willaert. Since L'Héritier was mainly a composer of sacred music, and worked in Rome, leaving numerous compositions in the
193:. The later works contain more evenly spaced imitation, and more equality of voices, and more smoothness of counterpoint than the earlier works. Often L'Héritier varied
157:, claimed to have studied with him, and additionally a book of L'Héritier's motets was published in Venice in 1555. A note written by the papal legate in
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The remainder of L'Héritier's life is obscure. He maintained ties with
Ferrara, as evidenced by his publications there, and he may have been in
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173:, of which there are records of 48, not all of which survive. Some of them have been attributed to other composers, including
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62:, but little is known about his early years. According to a note by an Italian contemporary, L'Héritier was a pupil of
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passages, a technique for achieving variety which was common among many Franco-Flemish composers of the time.
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Only two secular songs by L'Héritier have survived, including one based on an extremely erotic secular poem (
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213:(One of three settings of this text), was familiar to Palestrina, who used it as source material for his
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Bohemia, and Poland, in addition to France and Italy—his influence seems to have been considerable.
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Leeman L. Perkins, "Jean Lhéritier", Grove Music Online, ed. L. Macy (Accessed
December 30, 2005),
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and other spellings also exist) (c. 1480 – after 1551) was a French composer of the
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There were two other French musicians of the 16th century named L'Héritier: Antoine (
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L'Héritier was one of the leading figures in disseminating the
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is for nine voices (four to six was the norm). Another motet,
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118:, where he was recorded as a singer in the chapel of the
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A four-part setting of the Mass
Ordinary also survives.
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in late 1505 to take
Obrecht's place as choirmaster to
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family in May 1525. In July 1525 L'Héritier went to
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161:indicated that L'Héritier was still alive in 1552.
274:The New Grove Dictionary of Music and Musicians
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293:. New York, W.W. Norton & Co., 1954.
126:, where he worked in some capacity for the
328:International Music Score Library Project
38:. He was mainly famous as a composer of
149:or Venetian territories later, since
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54:Jean l'Héritier was a native of the
334:Free scores by Jean l'Héritier
106:in 1514. In 1521 and 1522 he was
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138:, who awarded him at least five
102:, where he was in the employ of
354:French male classical composers
32:Lhéritier, Lirithier, Heritier
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324:Free scores by Jean Lhéritier
222:Cum rides mihi basium negasti
359:French Renaissance composers
338:Choral Public Domain Library
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291:Music in the Renaissance
169:L'Héritier mainly wrote
78:, who died in Ferrara's
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112:San Luigi dei Francesi
305:(subscription access)
56:diocese of Thérouanne
136:François de Clermont
70:, his first trip to
369:16th-century deaths
207:Locutus est Dominus
165:Works and influence
108:maestro di cappella
310:2008-05-16 at the
243:Other L'Héritiers
183:Philippe Verdelot
16:(Redirected from
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128:Bishop of Verona
92:Alfonso I d'Este
64:Josquin des Prez
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215:Missa nigra sum
175:Adrian Willaert
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179:Jean Mouton
36:Renaissance
348:Categories
268:References
199:homophonic
195:polyphonic
191:Palestrina
104:Pope Leo X
82:of 1505.
44:Palestrina
264:in 1541.
253:Charles V
217:of 1590.
211:Nigra sum
140:benefices
58:, in the
308:Archived
336:in the
330:(IMSLP)
326:at the
236:Vatican
187:Josquin
159:Avignon
120:Gonzaga
88:Ferrara
76:Obrecht
68:Ferrara
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181:, and
171:motets
147:Venice
124:Verona
116:Mantua
80:plague
40:motets
197:with
72:Italy
295:ISBN
278:ISBN
262:Lyon
189:and
132:Auch
100:Rome
50:Life
260:in
249:fl.
224:).
110:at
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30:(
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