janequin - Synonyms for janequin | Synonyms Of janequin

Examples of "janequin"
Ensemble Janequin : Messe l’homme armé DE LA RUE La Barca BANCHIERI
Dominique Visse (born 30 August 1955) is a French countertenor and founder of the Ensemble Clément Janequin.
Vincent Bouchot (born 1966 in Toulouse) is a French composer and musicologist. For many years, he sang as baritone with the Ensemble Clément Janequin.
Choral Music - Northern Arizona University Chorale and Chamber Singers. Music of Paul Hindemith, Clement Janequin, Oliver Messiaen, Knut Nystedt, and Sid Robinovich. June 1989. NACM 01
The Ensemble Clément Janequin is a French early music ensemble founded in 1978 and specializing in the chansons of the Renaissance and early Baroque.
He also enjoys an extensive career singing with various leading ensembles performing music of the middle-ages and the renaissance. Among these ensembles are the Huelgas Ensemble, Mala Punica, Daedalus, Doulce Memoire, Clément Janequin, A Sei Voci, Gilles Binchois.
Michel Laplénie is a French tenor, and conductor of the baroque choral Ensemble Sagittarius (founded 1986) and other ensembles. He was one of the founding members of both Ensemble Clément Janequin and Les Arts Florissants.
The firm published some of the earliest modern editions of Renaissance vocal music by Antoine Brumel, Goudimel, Janequin, Mouton, and Lassus. This was made possible though the patronage of an Alexandrian industrialist, Négib Sursock in 1924.
François Rabelais immortalized Arcadelt in the introduction to Book IV of "Gargantua and Pantagruel", where he includes the musician between Clément Janequin and Claudin de Sermisy as part of a choir singing a ribald song, in which Priapus boasts to the gods on Mount Olympus of his method of using a mallet to deflower a new bride.
Janequin wrote very little liturgical music: only two masses and a single motet are attributed to him, though more may have been lost. His 250 secular chansons and his (over 80) psalm settings and "chansons spirituelles" — the French equivalent of the Italian "madrigale spirituale" — were his primary legacy.
Some of Canis's chansons use a cantus-firmus technique, in which Canis takes a line or two of music from a pre-existing chanson, including examples by Janequin, Claudin de Sermisy, and Gombert, and reworks it in a contrapuntal texture much different from the original, but using the same words.
Claudin de Sermisy (c. 1490 – 13 October 1562) was a French composer of the Renaissance. Along with Clément Janequin he was one of the most renowned composers of French chansons 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.
Clément Janequin (c. 1485 – 1558) was a French composer of the Renaissance. He was one of the most famous composers of popular chansons of the entire Renaissance, and along with Claudin de Sermisy, was hugely influential in the development of the Parisian chanson, especially the programmatic type. The wide spread of his fame was made possible by the concurrent development of music printing.
Few composers of the Renaissance were more popular in their lifetimes than Janequin. His chansons were well-loved and widely sung. The Paris printer Pierre Attaingnant printed five volumes with his chansons. "La bataille", which vividly depicts the sounds and activity of a battle, is a perennial favorite of "a cappella" singing groups even in the present day.
French musical domination of Europe ended during the Renaissance, and Flemish and Italian musicians became more important. Later French composers of the Renaissance include Nicolas Gombert, Pierre de La Rue, Pierre de Manchicourt, Claude Goudimel, Pierre Certon, Jean Mouton, Claudin de Sermisy, and Clément Janequin. The French chanson became popular during this time, and was exported to Italy as the canzona.
His second label, Valois, recorded Sándor Végh and his Végh Quartet, and discs of Clément Janequin and Amours de Ronsard with the Ensemble Polyphonique de Paris of the composer Charles Ravier. Ravier returned to Bernstein in the 1970s to make two recordings of the "Meslanges" of Lassus, the second of them deeply problematic.
Passereau's chansons are mostly light-hearted affairs, similar in content to the Italian "frottola," although no direct influence from the earlier popular Italian form has been reliably demonstrated. He liked to use nonsense syllables, often in imitation of animals, as in "Il est bel et bon", his most popular piece, which imitates the clucking of chickens. This composition was sung as far away as Venice. While Passereau may have gotten the idea from Janequin, who was writing onomatopoeic chansons as early as 1515 ("Il est bel et bon" was published in 1534), its popularity rivaled that of the music of Janequin, and printer Pierre Attaingnant devoted a book entirely to the music of the two composers (in 1536). It is possible that Francis I, who knew Passereau from his service at the French court, recommended the composer to the printer.
The programmatic chansons for which Janequin is famous were long, sectional pieces, and usually cleverly imitated natural or man-made sounds. "Le chant des oiseaux" imitates bird-calls; "La chasse" the sounds of a hunt; and "La bataille" ("Escoutez tous gentilz"), probably the most famous, and almost certainly written to celebrate the French victory over the Swiss Confederates at the Battle of Marignano in 1515, imitates battle noises, including trumpet calls, cannon fire and the cries of the wounded Onomatopoeic effects such as these became a commonplace in later 16th century music, and carried over into the Baroque era; indeed "battle music" was to become a cliché, but it first came into prominence with Janequin.
Commemorating the event are a bas-relief of the Battle of Marignano by Pierre Bontemps, which decorates Francis I's tomb at Saint-Denis; a painting by Antoine Caron for Fontainebleau (now at the National Gallery of Canada, Ottawa); and the most famous musical composition of Clément Janequin, the chanson "La guerre". The Swiss hero Hans Bär appears in a fresco on the tower of the Basel City Hall.
Since 1990 he has concentrated on solo performances and his role as lutenist in the Ensemble Clément Janequin, directed by Dominique Visse. Eric Bellocq accompanies Dominique Visse with the jazz pianist François Couturier in recitals of music ranging from Machaut to Berio; and with the juggler Vincent de Lavenère has created the staged show Le chant des balles - an encounter of early music, improvisation and juggling.