Missa prolationum von johannes ockeghem biography
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Chapter Three: The High Renaissance
Introduction
In the early 1470s, music started to be printed using a printing press. Music printing had a major effect on how music spread for not only did a printed piece of music reach a larger audience than any manuscript ever could, it did it far more cheaply as well. Also during this century, a tradition of famous makers began for many instruments. These makers were masters of their craft. An example is Neuschel for his trumpets.
Towards the end of the fifteenth century, polyphonic sacred music (as exemplified in the masses of Johannes Ockeghem and Jacob Obrecht) had once again become more complex, in a manner that can perhaps be seen as correlating to the increased exploration of detail in painting at the time. Ockeghem, particularly, was fond of canon, both contrapuntal and mensural. He composed a mass, Missa prolationum, in which all the parts are derived canonically from one musical line.
In the early sixteenth century, there is a trend towards simplification, as can be seen to some degree in the work of Josquin des Prez and his contemporaries in the Franco-Flemish School, then later in that of Palestrina, who was partially reacting to the strictures of the Council of Trent, which discouraged excessively complex polyphony as
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(Yo-an’-nes O’-ka-gem) c. 1425–97
Franco-Flemish composer
Born in St Ghislain near Mons (now in Belgium), Ockeghem is first recorded as a singer at the Church of Our Lady, Antwerp, in 1443. He joined the French royal chapel in 1451, becoming chapel-master by 1454. In 1459 King Charles VII appointed him treasurer of the abbey of St Martin of Tours. This prestigious royal post suggests a certain influence, and a document of 1471 refers to him as ‘counsellor of the king’, giving an indication of his importance. He retained all his titles until his death on 6 February 1497.
Ockeghem’s securely attributed output is small in relation to his reputation: scarcely more than a dozen Masses, barely 20 songs, only a handful of motets. Yet he was undisputedly the leading composer of his generation. His style is as memorable as it is difficult to describe. He frequently disguised the music’s usual points of articulation, thus creating a seamless impression. His songs show him to be a sublime melodist; his Masses reveal a formal imagination of visionary power but he is best known for feats of technical skill, such as the Missa prolationum (‘Prolation Mass’).
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Missa Mi-Mi, Salve Regina,Alma redemptoris Johannes Ockeghem
Life
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