Antoine Brumel

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Antoine Brumel (also Brummel, Brommel, Brunello) (* around 1460 in the diocese of Laon ; † after 1513 in Italy) was a Franco-Flemish composer , singer and cleric of the Renaissance .

Live and act

The exact origin of Antoine Brumel has so far remained unknown. While his first job in Chartres led to the assumption that he might come from the village of Brunelles in this diocese, a statement by Brumel himself about himself as "clericus Laudunensis" suggests a place of birth in the diocese of Laon northeast of Paris . His training is also in the dark. After the poets Guillaume Crétin and Jean Molinet in their poems on the death of Johannes Ockeghem (1496) called on several composers such as Josquin Desprez , Pierre de la Rue and also Brumel to mourn their “maistre et bon père”, the assumption arose that that the latter could also have been a pupil of Ockeghem; But there is neither evidence nor stylistic arguments for this. Brumel, however, has certainly received a sound education, because the Canon of Chartes in their resolution of September 9, 1483 hired Brumel as an official singer and granted him a higher salary because of his educational background ("scientiae ipsius").

Probably three years later, Brumel went to Geneva , where he was appointed "magister innocentium" (master of the choirboys) by the chapter of the Saint-Pierre cathedral on October 4, 1486 and was entrusted with their training. From there he made contacts with the court of Savoy in nearby Chambéry and from February 1489 was given vacations to visit there again and again. Finally, in June 1490, he was accepted into the court orchestra of Savoy, with the regent of Savoy, Bianca von Monferrat, speaking in the certificate of appointment of "pluribus theoricis practicisque dignitatibus", which indicates Brumel's great reputation. However, Brumel returned to his previous position two months later in Geneva. There the relationship with the cathedral chapter later deteriorated. At the end of April 1492 the chapter complained about the discipline of the choirboys, and Brumel complained to the chapter about the recruitment of incompetent favorites as choirboys. This eventually led to his leaving Geneva in August 1492.

It is not clear where Brumel stayed for the next five years. What is certain is that he became a priest and canon at Laon Cathedral during this period ; there is evidence of a stay there in 1497. At the end of 1497 the Chapter of Notre-Dame in Paris offered him the post of "magister puerorum" for which he had previously applied introduced into his office. Here he was responsible for the upkeep, upbringing and training of ten choirboys and lived with them in the Maîtrise (today rue Massillon No. 8). He received an annual salary of around 40 livres tournois and additional allowances for singing at around 600 votive and memorial services. For one of these occasions he composed the versiculum “Ave Maria”. After the chapter was initially very satisfied with Brumel, on February 26, 1498 he received additional funds for a housemaid and a secretary. At the funeral service for the deceased King Charles VIII on April 30, 1498, Brumel took part in a prominent place. After returning from a two-week vacation in September 1500, tensions arose. Despite two and a half years of service, he had not yet received a prebend , and he had to collect outstanding amounts several times. After a choir boy proposed by him for the maîtrise had been rejected, he announced his resignation on November 16, 1500, with which he remained despite attempts to persuade the other side.

Half a year later he returned to Savoy, where the reigning Duke Filiberto (reigned 1497–1504) reappointed him on June 1, 1501, as a band singer. But this time too, Brumel did not last long in office; on July 1, 1502 he finally left the ducal chapel. Even if his subsequent stay is not documented, it is certain that he was at the height of his fame at this time, as is particularly evident from the publication of a volume with masses by Brumel by the music publisher Ottaviano dei Petrucci in 1503. This honor was only given to the most famous composers of the time. The music theorist Franchinus Gaffurius had previously counted him among the most important representatives of a new style of music in his work “Practica musica” (1496).

Around the end of 1504 the efforts of the d'Este family in Ferrara began to win Brumel over to the famous and high-ranking court orchestra, especially after the previous court conductor Jacob Obrecht died in the summer of 1505. Duke of Sora Sigismondo Cantelmo († 1519), brother-in-law of Duke Alfonso d'Este (reign 1505–1534) and possibly Brumel's previous employer, conveyed Brumel's call on December 13, 1505 from “Leone” (presumably Lyon ) to Ferrara, where he was got the office of Kapellmeister in the spring of 1506. The contract for life included a benefice of 100 ducats a year, an annual salary of the same amount, the use of a house in Ferrara and money for travel. Brumel probably belonged to the court orchestra until it was dissolved in 1510 and then went to Mantua like most of the other dismissed musicians , as the document of May 11, 1512 suggests; here the content also suggests that Brumel was already expecting his death at that time. The author Vincenzo Galilei later reports that Brumel, together with other Franco-Flemish composers, went to Rome for the coronation of Pope Leo X in 1513 , because this Pope from the Medici family had a reputation for great love of music. As plausible as this claim is, it has not been documented.

meaning

Antoine Brumel was highly valued by his contemporaries during his lifetime and was still considered a particular musical role model throughout the 16th century, along with Josquin, Jacob Obrecht, Heinrich Isaac and others. Many music theorists have also repeatedly emphasized its importance, especially the Swiss music theorist Heinrich Glarean , who wrote about Brumel in his Dodecachordon (1547): "Antonius item Brumel dignus qui inter eximios Symphonetas numeretur, magis tamen diligentia et arte ualuit quam naturae indulgentia".

His works show a great variety of techniques used, some with an eagerness to experiment that was characteristic of the third generation of Franco-Flemish music. In many cases his compositions are, at least in parts, designed to have a tonal effect. Brumel uses some typical means that were not used to this extent by his contemporaries, for example a preference for a homophonic sentence style and the use of ostinato-like motif repetitions. A frequently used method is also the antiphonal comparison of pairs of voices in four-part movements. He generally dispenses with the subtle tonal and melodic balance that can be found in Josquin's works, but instead relies on a rhythmically and melodically haunting motif. Brumel's works show a sovereign mastery of counterpoint and a remarkably strong understanding of modal relationships. In his overall works, the sacred compositions occupy an outstanding position, while the secular works do not achieve this importance. However, these are characterized by quality and stylistic diversity.

Works

  • Trade fairs and trade fair fragments
    • Missa “A l'ombre d'ung buissonet” with four voices
    • Missa “Berzerette savoyenne” with four voices
    • Missa “Bon temps” with four voices
    • Missa de beata virgine for four voices (probably 1510/12)
    • Missa de dringhs to four voices
    • Missa “Descendi in hortum” with four voices
    • Missa dominicalis to four voices
    • Missa “Et ecce terrae motus” with twelve voices
    • Missa “Je nay dueul” with four voices
    • Missa “L'homme armé” with four voices
    • Missa “Ut re mi fa sol la” with four voices
    • Missa “Victimae paschali” with four voices
    • Missa sine nomine (I) with four voices
    • Missa sine nomine (II) to four votes (only Kyrie complete, otherwise only one vote received)
    • Missa pro defunctis with four voices
    • Benedictus, fuga ex una for two voices
    • Benedictus to two votes
    • Credo to four votes
    • Credo “villayge” to four votes
    • “Pleni sunt caeli”, fuga ex una for two voices
  • Motets, Magnificat and Lamentation settings
    • “Ave, ancilla Trinitatis” to three voices
    • "Ave cujus conceptio" to four voices (probably after 1505)
    • "Ave Martia, gratia Dei plena" with three voices (Paris, 1498–1500)
    • "Ave stella matutina" to four voices (probably after 1505)
    • “Ave virgo gloriosa” to four voices
    • "Beate es, Maria" to four votes
    • “Conceptus hodiernus Mariae semper virginis” with four voices
    • “Da pacem, Domine” to four votes
    • “Dominus dissipat consilia” to two voices
    • “Exemplum octo modorum” with eight voices (identical to “Sicut erat” from Magnificat octavi toni, see Dubious Works )
    • “Gloria, laus et honor” to four votes
    • "Haec dies quam fecit Dominus" to four voices (tenor lost)
    • "Heth. Cogitavit Dominus ”to four votes
    • "Languente miseris" to five voices (Chartres, 1483/86) (tenor: "Clamor meus"; only text incipits)
    • “Lauda Sion Salvatorem” to four votes
    • “Laudate Dominum de caelis” with four votes
    • Magnificat primi toni to three votes
    • Magnificat secundi toni to four votes
    • Magnificat sexti toni to four voices
    • “Mater patris et filia” with three voices
    • "Nativitas unde gaudia" / "Nativitas tua, Dei genitrix" with four voices (Chartres, 1483/86)
    • “Nato canunt omnia” to five votes
    • "Noe, noe, noe" for four voices (only text incipits; in 1 manuscript with text "Bonus et rectus dominus")
    • “O crux, ave, spes unica” to four voices
    • “O Domine Jesu Christe” to four votes
    • "Philippe, qui videt me" to four voices (tenor lost)
    • "Quae est ista" to four voices (probably after 1505)
    • “Regina caeli laetare” (I) for four voices
    • “Regina caeli laetare” (II) with four voices
    • “Rosa novum dans odorem” to four votes
    • “Sicut lilium inter spinas” with four voices
    • "Sub tuum praesidium" to four voices (probably after 1505)
    • “Vidi aquam” to four voices
  • Chansons
    • "Dieu te gart, bergere" to four voices (bass lost)
    • "Du tout plongiet" / "Fors seulement" for four voices (also as an instrumental piece "Fors seulement")
    • “James que la ne peult estre” to four voices
    • "Le moy de may" for four voices (bass lost)
    • “Tous les regretz” to four voices
  • Instrumental music
    • “Amours, amours” to three votes
    • “En amours que cognoist” to three voices
    • “Esnu sy que plus porroie” with three voices
    • "Fors seulement" with four voices (identical to the chanson "Du tout plongiet" / "Fors seulement")
    • “Jamays” to three voices
    • “Je despite tous” to three votes
    • “Pour vostre amour” to three votes
    • “Tandernac” to three votes
    • “Una maistresse” to three votes
    • "Vray dieu d'amour" with three voices (also with the incipit "En ung matin")
  • Doubtful works (Brumel's authorship uncertain)
    • "Ave Maria, gratia plena" to four voices ("Jo. Brumes" in the heading)
    • Credo to four voices (only "Antonius" can be deciphered)
    • Credo to four voices (partly attributed to "Antho: Brumel")
    • Credo to four votes (partially attributed to AB)
    • Magnificat octavi toni for four voices (only “Sicut erat” probably bears a modern ascription to “Antoine Brumel”, identical to “Exemplum octo modorum”)

literature

  • Heinrich Glarean: Dodekachordon , Basel 1547, Reprint New York 1967
  • E. Van der Straeten: La Musique aux Pays-Bas avant le XIXe siècle , Volume 6, Brussels 1882, reprint New York 1969
  • R. Eitner: Antoine Brumel. In: MONTHS FOR MUSIC HISTORY No. 16, 1884, pages 11–13
  • A. Pirro: Documents on A. Brumel, L. v. Pullaer and Cr. from Stappen. In: Zeitschrift für Musikwissenschaft No. 11, 1928/1929, pages 349–353
  • L. Biggle Jr.: The Masses of Antoine Brumel , dissertation at the University of Michigan 1953
  • P. Pidoux: A. Brumel à Genève (1486-92). In: Revue de musicologie No. 50, 1964, pages 110-112
  • Cl. Gottwald: Antoine Brumel's fair Et ecce terrae motus. In: Archives for Musicology No. 26, 1969, pages 236–247
  • B. Hudson: Antoine Brumel's Magnificat 8. Toni: An Erroneus Ascription. In: Revue belge de musicologie No. 25, 1971, pages 103-107
  • C. Wright: Antoine Brumel and Patronage at Paris. In: I. Fenlon (editor): Music in Medieval and Early Modern Europe Volume 1, New York 1980, pages 37-60
  • RE Murray jr .: The Influence of the cantus firmus on Modal Structure in the Masses of Antoine Brumel. In: Theoria No. 1, 1985, pages 61-83
  • C. Maas, B. Hudson, A. von Campen: Josquin and Brumel. In: Proceedings of the International Josquin Symposium Utrecht 1986, Utrecht 1991, pages 65-99
  • MJ Bloxam: La contenance italienne. the motets on Beata es, Maria by Compère, Obrecht and Brumel. In: Early Music History No. 11, 1992, pages 39-89
  • R. Sherr: A Biographically Miscellany: Josquin, Tinctoris, Obrecht, Brumel. In: S. Gmeinwieser, D. Hiley, J. Riedlbauer (editor): Festschrift for W. and U. Kirkendale, Florence 1994, pages 65-73

Web links

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  1. ^ Klaus Pietschmann :  Brumel, Antoine. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 3 (Bjelinski - Calzabigi). Bärenreiter / Metzler, Kassel et al. 2000, ISBN 3-7618-1113-6  ( online edition , subscription required for full access)
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 1: A - Byzantine chant. Herder, Freiburg im Breisgau a. a. 1978, ISBN 3-451-18051-0 .
personal data
SURNAME Brumel, Antoine
ALTERNATIVE NAMES Brummel, Antoine; Brommel, Antoine; Brunello, Antoine; Brumet, Antoine; Brunel, Antoine
BRIEF DESCRIPTION Franco-Flemish composer, singer and cleric of the Renaissance
DATE OF BIRTH around 1460
PLACE OF BIRTH uncertain: Diocese of Laon
DATE OF DEATH after 1513