Arnold de Lantins

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Arnold de Lantins (* before 1400 in the Diocese of Liège , † before July 2, 1432 in Rome ) was a Franco-Flemish composer and singer of the early Renaissance .

Live and act

The currently known archival documents provide little information about the life of Arnold de Lantins; in particular, the date and place of birth are not recorded. In the early 1930s, a French ( Antoine Auda 1930) and a Belgian ( Charles Van den Borren 1932) musicologist agreed that Arnold and his relative (brother?) Hugo de Lantins might come from the village of Lantin ; today this belongs to the municipality of Juprelle 4 km north of Liège . This assumption is supported by the evidence that both composers were active on June 8, 1423 as "clergymen from Liège" in the court orchestra of the Malatesta family in Pesaro . In addition, Arnold is mentioned together with Hugo in the song "Hé compagnons" by Guillaume Dufay , which was written around the same time. Two of Arnold's songs contain notes showing that he was apparently in Venice in March 1428 .

For a few months (November 1431 to June 1432) Arnold de Lantins was employed as a singer together with Dufay and Guillaume de Malbecque in the chapel of Pope Eugene IV in Rome. Malbecque asked with a document of July 2, 1432 the parish of Fermes (Diocese of Liège ) to enfeoff him with Arnold's benefice ( benefice ), which documents the previous death of Arnold de Lantins.


Arnold de Lantins was described as an important composer by the two most important northern Italian authors of the time. A large part of his songs has come down to us in an Italian source, and in the tenor part book for this manuscript he appears in an outstanding position. His setting "Tota pulchra es" from the Song of Songs has been handed down in five different manuscripts, which is unusual for sacred compositions of this time.

Other pieces by Lantins are still in the fourteenth century tradition, especially where intricate rhythms are used; however, his continued use of melody arcs and the occasional use of the Fauxbourdon technique show the emerging stylistic change in the first third of the 15th century. His compositions are characterized by a particularly melodic writing, which is most clearly recognizable in his songs. Here, long, arched melodies often sound over a tenor or counter-tenor structure (example: the rondeau "Esclave a duiel"). His mass “Verbum incarnatum” (The word became flesh) is one of the first complete settings of the mass ordinary in music history.


  • Religious music
    • Mass “Verbum incarnatum” with three voices
    • Introitus “Salve sancta parens”, Kyrie, Sanctus and Agnus to three voices
    • Gloria and Credo (I) to three votes
    • Gloria and Credo (II) to three votes
    • Lauda “In tua memoria” with three votes
    • Song of songs “O pulcherrima mulierum” with three voices
    • Song of songs “Tota pulchra es” with three voices
  • Songs (unless otherwise stated, rondeau to three voices)
    • "Amours servir et honnourer" (New Year)
    • "Ce jour le l'an belle je vous supply"
    • "Certes belle quant de vous partiray"
    • "Esclave a duiel et forain de liesse"
    • "Helas é my ma dame et ma mestresse"
    • "Las pouray je mon martire celer"
    • "Ne me vuielliés belle oblier"
    • "Or voy je bien que je moray martir"
    • “Puis que je suy cyprianés”, ballad with three voices
    • "Quant je mire vos doulce portraiture" (composed in Venice in March 1428 according to a handwritten note)
    • "Sans despaisir et sans esmay"
    • "Se ne prenés de moy pité" (composed according to a handwritten note in March 1428 in Venice)
    • "Tout mon desir et mon voloir", ballad for three voices (New Year)
  • Inauthentic compositions (all three-part rondeau)
    • "Ce jour le doibt aussy fait la Saison" (May Day; certainly by Guillaume Dufay)
    • "Chanter ne scay ce poyse moy" (probably by Hugo de Lantins)
    • "Mon doulx espoir mon souvenir" (probably by Hugo de Lantins)
    • "Ung seul confort pour mon cuer resjoïr" (probably by Hugo de Lantins)

Literature (selection)

  • Charles Van den Borren: Hugo and Arnold de Lantins. In: Revue Belge de Musicologie No. 21, 1967, pages 29-35
  • Jean Widaman: The Mass Settings of Arnold de Lantins: a Case Study in the Transmission of Early Fifteenth-Century Music , Dissertation at Brandeis University 1988 (University Microfilms International, Ann Arbor / Michigan No. 8811137), OCLC 152372546

Web links


  1. J. Michael Allsen:  Lantins, Arnold de. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 10 (Kemp - Lert). Bärenreiter / Metzler, Kassel et al. 2003, ISBN 3-7618-1120-9  ( online edition , subscription required for full access)
  2. Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 5: Köth - Mystical Chord. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18055-3 .