236:, although less programmatic; his style in these works has also been described as more graceful and polished than that of the rival composer. Typically Sermisy's chansons are chordal and syllabic, shunning the more ostentatious polyphony of composers from the Netherlands, striving for lightness and grace instead. Sermisy was fond of quick repeated notes, which give the texture an overall lightness and dance-like quality. Another stylistic trait seen in many of Sermisy's chansons is an initial rhythmic figure consisting of long-short-short (minim-crotchet-crotchet, or half-quarter-quarter), a figure which was to become the defining characteristic of the
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is to be believed, but many musicologists consider the claim unreliable; at any rate he absorbed some of the older composer's musical ideas either early, or later, as he became acquainted with his music. Josquin was possibly at the French court between 1501 and about 1503, though this has never been
112:. By 1532 he was music director of the Royal Chapel, still under Francis I, who reigned until 1547. At this post he was expected to teach and care for the boys of the choir, as well as find talented singers to recruit. In 1533, in addition to his post at the Royal Chapel, he became a canon of the
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His interest in the sacred genres increased steadily throughout his life, corresponding to a decline in interest in secular forms, using the publication dates as a guide (actual dates of compositions are extremely difficult to establish for composers of this period, unless a work happened to be
247:(he set more verse by Marot than any other composer). Typical topics were unrequited love, nature, and drinking. Several of his songs are on the topic of an unhappy young woman stuck with an unattractive and unvirile old man, a sentiment not unique to his age.
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and other keyboard instruments, by performers from Italy, Germany, and Poland in addition to France. Even though
Sermisy was a Catholic, many of his tunes were appropriated by Protestant musicians in the next generation: even a
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found in French music of the period; the musical setting is simple, compared to his masses and motets, and he strove to make the words clearly understandable. The gospels chosen were those of
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definitely established, so a master-pupil relationship would have been possible then; Sermisy's whereabouts before 1508 are not known, but presence at the Royal Chapel was certainly possible.
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81:, where he was also a cleric. His birthdate is inferred from the date he joined the royal chapel; 18 was about the right age for such an appointment. In 1515 he went to Italy with
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in the early 16th century; in addition he was a significant composer of sacred music. His music was both influential on, and influenced by, contemporary
Italian styles.
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is evident, and
Sermisy's chansons themselves influenced Italian composers, since his music was reprinted numerous times both in France and in other parts of Europe.
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Most of his chansons are for four voices, though he wrote some for three early in his career, before four-voice writing became the norm. Influence from the
Italian
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Isabelle
Cazeaux, "Claudin d Sermisy", "The New Grove Dictionary of Music and Musicians", ed. Stanley Sadie. 20 vol. (London, Macmillan Publishers Ltd., 1980).
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By far
Sermisy's most famous contribution to music literature is his output of chansons, of which there are approximately 175. They are similar to those of
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Sermisy was well known throughout western Europe, and copies of his music are found in Italy, Spain, Portugal, England and elsewhere.
272:(Book 4) along with several other contemporary composers. Sermisy's music was transcribed numerous times for instruments, including
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Sermisy wrote both sacred music and secular music, and all of it is for voices. Of his sacred music, 12 complete
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he wrote earlier in his career. In addition he varied the texture in his composition by alternating
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449:(Music Literature Outlines Series I), p. 112. Bloomington, Indiana. Frangipani Press, 1986.
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among contemporary composers during his late career was dense, seamless, with pervasive
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Dont vient cela (#10 in
Attaingnant, P.: 37 Chansons musicales a quatre parties, nd)
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Gustave Reese, "Music in the
Renaissance". (New York, W.W. Norton & Co., 1954)
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For a while in the early 1520s
Sermisy was a canon at Notre-Dame-de-la-Rotonde in
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performances of various choral pieces by
Sermisy on Classical Music Archives
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In 1508 the young Sermisy was appointed as a singer in the Royal Chapel of
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when the Spanish sacked their city in 1559. In 1554 he also was given a
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The texts Sermisy chose were usually from contemporary poets, such as
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composed for a specific occasion). Since the prevailing style of
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33:(c. 1490 – 13 October 1562) was a French composer of the
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Sermisy wrote two of the few polyphonic settings of the
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he was one of the most renowned composers of French
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328:Changeons propos, c'est trop chante d'amours
490:. New York, W.W. Norton & Co., 1954.
169:sympathies; he seemed to remain a faithful
116:, which would have required him to live in
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101:, for which he wrote a ceremonial motet.
469:Isabelle Cazeaux, "Claudin de Sermisy",
447:Music in the Middle Ages and Renaissance
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291:Was mein Gott will, das g'scheh allzeit
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380:Vignon, vignon, vignon, vignette
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295:Il me suffit de tous mes maulx
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375:Tu disais que j'en mourrais
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359:Si mon malheur my continue
317:Aupres de vous secretement
91:Field of the Cloth of Gold
607:Tant que vivray midi file
520:Tant que vivray for Organ
349:Je ne menge point de porc
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319:(two parts)
280:as well as
214:St. Matthew
159:magnificats
95:Jean Mouton
35:Renaissance
632:Categories
583:media help
541:media help
199:polyphonic
122:St Quentin
403:Footnotes
258:Influence
183:imitation
179:polyphony
83:Francis I
79:Louis XII
49:Biography
306:Chansons
264:Rabelais
252:frottola
234:Janequin
228:Chansons
218:St. John
195:chansons
171:Catholic
167:Huguenot
99:Boulogne
59:Burgundy
43:chansons
620:in the
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599:at the
289:tune ("
238:canzona
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191:Gombert
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89:at the
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