Claudin de Sermisy

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Claudin de Sermisy (* around 1490 in France, † October 13, 1562 in Paris ) was a French composer , singer and cleric of the Renaissance .

Live and act

Both biographical information from benefice records and today's local naming, according to which "Sermisy" is an older name form, suggest that the composer's name comes from an area around Noyon in Picardy , although Ile-de-France like Burgundy were also suggested as possible regions of its origin. No information has come down to us about Claudin de Sermisy's early years. He is documented for the first time on July 19, 1508 as a singer at the Sainte-Chapelle in Paris; on that day he was the singer at the Chapelle Royale of King Ludwig XII. called. He obviously left his previous position in late autumn 1508, when King Ludwig, Queen Anne de Bretagne and the Duke of Bourbon withdrew the best singers for their private entourage there. According to papal documents of February 4 and June 8, 1510, Sermisy worked as a clergyman in the Diocese of Noyon and as a singer in Queen Anne's private chapel; in the same year he is mentioned as Prior at St. Jean in Bouguenais (Diocese of Nantes ). After Anne died in January 1514, her band dissolved and the singers switched to King Ludwig's band, which more than doubled its membership. When Ludwig died a year later (January 1515), Sermisy was one of the 23 singers at his funeral. After that, the band went with the composer on the successor to King Francis I on. Here he almost certainly accompanied his employer to Italy in the summer of 1515 and sang at mass with the royal chapel at the meeting of King Francis with Pope Leo X in Bologna from December 11 to 15, 1515 .

The outcome of the meeting was the Bologna Concordat between the Vatican and France. Pope Leo showed his generosity by rewarding several members of the king's company, for example on December 17th the royal conductor Antoine du Longueval († 1525) and the main composer Jean Mouton . On the following January 30, 1516 he granted a donation to "Claudio de Sermysy canonico Noviomensis" and four other royal singers, including the composer Jean Richafort , which allowed them to take over a special benefice. On March 31 of the same year, the Pope conferred the dignity of prior to the royal singer and organist Pierre Mouton . In a list of 34 royal band singers who were employed from October 1, 1517 to September 30, 1518, Sermisy's name immediately follows that of Jean Mouton. He probably also took part in the festive masses that took place on the occasion of the meeting of King Francis with the English King Henry VIII in the "field of the golden dress" from July 7th to 10th, 1520 and twelve years later in Boulogne between the 21st and October 29, 1532. At the latter meeting, the French royal band apparently also sang Sermisy's solemn motet “Da pacem domine”. Previously, in 1524, he exchanged the canon of Notre-Dame-de-la-Ronde in Rouen for a chaplaincy in the church of Camberon near Abbeville . Around 1525/26, Sermisy may have succeeded Antoine du Longueval as choir master ( maître et recteur ).

In 1533 the composer was named sous-maître over all musicians in the royal band; Cardinal François de Tournon , a close confidante of the king, as well as a diplomat, humanist and author of a text that Sermisy set to music, was in charge of the administration . As sous-maître he directed the performances of about 40 adult singers and six choirboys that the royal chapel owned during the 1530s and 1540s; In addition, he was responsible for the well-being of the boys and was in charge of the chapel's liturgical and musical books. In 1533 he maintained a canonical at the Sainte-Chapelle. In the position of maître Sermisy earned 400 livres in salary and in kind in 1533 , 600 livres from 1543 to 1545 and 700 livres annually from 1547. He held this office until around 1553 and shared the title and duties from 1543–1547 Louis Hérault de Servissas , briefly with Guillaume Belin and 1547–1553 with Hilaire Rousseau . In the course of his life, in addition to his income as Kapellmeister, Sermisy has accumulated a number of benefices at various churches in the country. He was perhaps also involved in the publication “Liber decimus quartus XIX musicas cantiones continet” (published in Paris 1539) by the composer Pierre de Manchicourt (around 1510 - 1562); The dedication letter is a poetic epistle with praise signed by Sermisys nephew, priest and canon in Vivier-en-Brie and priest to St. Samson in the Diocese of Le Mans . Sermisy died on October 13, 1562 and was buried in the lower chapel of the Sainte-Chapelle.

meaning

Claudin de Sermisy left behind an extensive church music oeuvre; nevertheless it has a firm place in music history primarily because of its 160 chansons . He founded together with Clément Janequin (around 1485-1558), this new breed of four-part vocal music, with his songs mostly in the years 1528-1533 in anthologies of Pierre Attaignant have appeared in Paris and therefore generally as "Parisian chansons" are referred to. His settings are perhaps influenced by the Italian Frottola , but certainly by the settings of popular songs by the composers Jean Mouton, Antoine de Févin and Johannes Ninot le Petit , and are still very much based on the musical style of the previous generation in the emotional expression of languishing courtly love ( Josquin Desprez , Pierre de La Rue and others). The chansons by Claudin de Sermisy are characterized by brevity in shape, four voices and a balance between upper agree stressed homo rhythmic sections and imitative loosened parts made, in addition also by a more text highlighting as a tone-painting text expression. They were extremely popular in their time and were distributed in countless reprints not only in France, but also in Germany, Italy and the Netherlands between 1530 and 1580. In addition, numerous arrangements of his early chansons were made, for example for solo voice and lute (published by Attaignant in 1529), but also for zither , viola , organ , clavichord and spinet , some as dance movements. Arrangements for keyboard instruments are e.g. B. in the so-called Mulliner manuscript. Sermisy's chansons and motets also served as models for masses ( parody mass ), magnificats , psalms , Noels and spiritual chansons by other composers, for example by Dominique Phinot (around 1510 - 1555) and Orlando di Lasso . The melody of the chanson "Il me suffit" (1529) has become the melody of the evangelical hymn " What my God wants, happens at all times " ( EG 364).

Sermisy's sacred work consists of 13 masses, 9 magnificats, 90 motets, a passion and several other liturgical compositions. His masses are consistently four-part, with the final section of five of these masses ( Agnus Dei III) being extended by a fifth part, as was common practice with Josquin , Mouton and their successors. Only the mass “Quare Fremduerunt” has five voices from the beginning and ends with eight voices. Sermisy's Passion and the Lamentations deserve special mention because they are among the very few works of this kind in France at that time. The Passion is based on the text of the Gospel of Matthew and is dramatic; the narrative passages and the words of Christ are held as chorals , while the other main characters and the interjections of the masses ("turbae") for two- to four-part choir appear in polyphonic form. The same method of alternation, similar to the division into soloists and choir in a court orchestra, is also used for the lamentations of Jeremiah , as well as the series of his eight Magnificat settings in the eight church modes . Sermisy's motets were in some cases political or casual; their text bases were mostly psalms, antiphons , responsories and centos . Most of them are four-part, with the exception of ten three-part pieces and an eight-part two-part motet. His Requiem is based on the traditional text and a cantus firmus , which is mostly in the tenor part ; it appeared in Attaignant's Messdruck of 1532, preceded the works of Johannes Prioris and Jean Richafort and could have been composed for the death of Queen Mother Louise of Savoy (1531).

During his lifetime, Sermisy was admired all over Europe. Its high reputation has also been confirmed by numerous poets and musicians. The composer Pierre Certon (around 1510-1572), a colleague Sermisy at the Sainte-Chapelle, dedicated to him in 1542 his motets book and wrote on Sermisy death, the six-part deploration "Musiciens, Chantres melodieux" in which he a "grand maistre expert him et magnifique compositeur [...] called le thrésor de la musique “. In September 1552, the publicist Maximilian Guillaud addressed the “excellent musicien monsieur maistre Claude de Sermisy” in his “Rudiments de musique practique” (published in Paris 1554), and the well-known poet François Rabelais put Sermisy in his prologue to the later editions of his "Quart livre" ( Lyon 1552) after Adrian Willaert , Nicolas Gombert , Jacobus Arcadelt and Clément Janequin in the younger choir by having him sing the cheeky quatrain "S'il est ainsi que coignée sans marche".

Works (vocal music)

  • Measure and measuring parts
    • Missa "Philomenia praevia" for four voices, based on a motet by Richafort
    • Missa Novem lectionum for four voices, based on Gregorian chant
    • Missa plorimum motetorum for four voices, based on: motets by Josquin, Gascongne, Conseil, Févin, Sermisy and anonymous
    • Requiem for four voices, based on a Gregorian chant
    • Missa “Domini est terra” with four voices, based on: Motet by Sermisy
    • Missa ad placitum (= Missa sur Fantaisie)
    • Missa “Tota pulchra es” for four voices, based on a motet by Sermisy
    • Missa “Domine quis habitabit” for four voices, based on a motet by Sermiosy
    • Missa “O passi sparsi” with four voices, based on: Canzona by Sebastian Festa
    • Missa ab initio for four voices, based on a Gregorian chant
    • Missa "Quare Fremduerunt gentes" for five voices, based on: Motet by Sermisy
    • Missa "Voulant honneur" with four voices, based on: Hanson von Sandrin
    • Missa plurimum modulorum for four voices, based on various chansons
    • Creed (fauxbourdon)
  • Other liturgical works
    • “Kyrie eleison” / “Parce famulis” with two to six voices
    • Lamentationes to four voices
    • [“Nunc dimittis] servum tuum Domine” to four voices
    • [“O salutaris Hostia] quae caeli” to four voices
    • Passio Domini secundum Mathaeum with two to four voices
    • [“ Resurrexi ] et adhuc tecum” to four votes
    • Magnificat primi toni with two to four voices
    • Magnificat secundi toni with two to four voices
    • Magnificat tertii toni with two, four and five voices
    • Magnificat quarti toni for two, four and five voices
    • Magnificat quinti toni to four to five voices
    • Magnificat sexti toni with two to five voices
    • Magnificat septimi toni for two, four and five voices
    • Magnificat octavi toni with two to five voices
    • Magnificat octavi toni for two, four and five voices
    • “Quia fecit” / “Esurientes” to two voices
    • “Fecit potentiam” / “Esurientes” with three voices
    • “Sicut locutus est” to three votes
  • Motets with secured authorship
    • “Adjuva me Domine” to three voices
    • “Ad te Domine levavi” to four votes
    • "Alleluia, o filii et filiae" for four voices
    • “Alleluya, Angelus Domini” for four voices
    • “Amen, et com spirito tuo” to four voices
    • “Asperges me, Domine” to four voices
    • "Aspice Domine de sede sancta" with four voices (also attributed to La Fage or Jacquet)
    • “Assuerus adamavit Ester” to four voices
    • “Astiterunt reges et terre” to four votes
    • “Audite reges et intelligite” with four votes
    • “Ave Maria ancilla Trinitas” to four voices
    • “Ave Maria gratia Dei” to three votes
    • “Ave sanctissima Maria mater” to four voices
    • “Beata viscera Mariae” with three voices
    • “Beatus vir qui non abiit” with four voices
    • “Benedic anima Domino” with four voices
    • “Benedictum sit nomen Domini” to three votes
    • “Cantate Domino canticum novum” for four voices
    • “Clare sanctorum senatus” to four votes
    • "Conceptio gloriosae Virginis Mariae" with four voices (cf. "Nativitas gloriosae Virginis Mariae")
    • “Confessor Dei sancte Nicolae” with four (?) Votes
    • “Congratulamini mihi omnes” to four voices
    • “Congregati sunt inimici” with four voices
    • “Da pacem Domine” to three votes
    • “Da pacem Domine” to four votes
    • “Deus in adjutorium meum” to four voices
    • “Deus misereatur nostri” to five votes
    • “Dignare me laudare te” to four votes
    • “Domine quis habitavit” to four votes
    • “Dominus rex omnipotens” to four voices
    • “Domini est terra” to four votes
    • "Ergo autem constitutus" to three votes (2nd part of "Quare Fremduerunt")
    • “Esto mihi Domini” with five votes
    • “Euntes ibant” to three voices
    • “Euntes ibant” to four voices
    • “Exurge quare obdormis” to four voices
    • “Gaudent in caelis animae” to four voices
    • “Girum caeli circuivi” to four voices
    • “Homo natus de muliere” to four votes
    • “Impetum inimicorum” to four votes
    • “In te Domine speravi” to four voices
    • "Inclina Domine" with eight votes
    • "Laetatus sum" to four votes (cf. "Da pacem Domine" to 4)
    • “Lauda Sion salvatorem” to four votes
    • "Laudate Dominum omnes gentes" with six votes (partly attributed to Josquin)
    • “Michael archangele” to four voices
    • “Miserere mei domine” to four votes
    • “Misericordias Domini” with four votes
    • “Nativitas gloriosae Virginis Mariae” with four voices
    • “Nisi quia Dominus erat” to four votes
    • “Noe magnificatus est rex” to four voices
    • “Noe quem vidistis pastores” to four voices
    • “Nos qui vivimus” to four votes
    • “O Maria stans sub cruce” to six voices
    • “Partus et integritas” with four voices
    • “Praeparate corda vestra” with four voices
    • "Quare Fremduerunt gentes" to five votes
    • “Quis est iste” to five votes
    • “Quousque non reverteris pax” with four voices
    • “Regem archangelorum” with four votes
    • “Regi seculorum immortali” with four votes
    • “Regi seculorum immortali” (I) with three voices
    • “Regi seculorum immortali” (II) with three votes
    • “Regina caeli laetare” (I) to five voices
    • “Regina caeli laetare” (II) with five votes
    • “Salve regina misericordiae” to four voices
    • “Sancta Maria mater Dei” to four voices
    • “Sancti spiritus adsit nobis” with four voices
    • “Si bona suscepimus te manu” to four voices
    • “Spes mea ab uberibus” to three votes
    • “Surge illuminare Jerusalem” to four voices
    • “Sustinuimus pacem” to four votes
    • “Tota pulchra es anima mea” to four voices
    • "Tunc repletum" to three voices (2nd part of "Euntes ibant" to 3)
    • "Universae viae tuae" to three voices (2nd part of "Misericordias Domini")
    • “Veni sancte spiritus” to four voices
    • “Verba mea auribus percipe” with four voices
    • "Viderunt omnes" for three voices (2nd part of "Cantate Domino")
    • “Vidi turbam magnam” to four voices
    • “Virgines egregiae” with four votes
    • “Vox in Rama audita” to four voices
  • Motets of doubtful attribution
    • “Aspice Domine quia facta est” with four voices, attributed to Sermisy
    • “Ave sanctissima Maria mater” with six voices, partly Sermisy, partly attributed to Verdelot
    • “Deus regnorum” with four voices, partly Sermisy, partly ascribed to Gascongne
    • “Domine Deus omnipotens” with four voices, partly also attributed to Jacobus Arcadelt
    • “Nisi Dominus aedificaverit” with four voices, partly also attributed to Lhéritier and Le Heurteur
  • Madrigals
    • “Altro non e el mio amor” with four voices
  • Sermisy attributed Kontrafakta
    • "Averte faciem tuam" to four voices, counterfact of "Or combien est malheureux"
    • “Date siceram maerentibus” to five voices, counterfactual to Josquin's “Je ne me puis tenir”
    • "Jacta tuam curam super" for four voices, counterfact of "Vous perdez temps"
    • "Quis est homo qui desiderat" to four voices, counterfact of "Or sus amour"
  • Chansons with secured authorship (name in brackets: lyricist)
    • "Allez souspirs" to four voices ( Petrarca : Ite caldi sospiri)
    • “Amour me poingt” to four voices
    • "Amour me voyant" to four voices (Clément Marot)
    • “Amour passion” with four voices
    • "Amour voyant" to four voices (M. de Saint-Gelais or L. de Baïf)
    • “Amours partes” to four votes
    • “A tout jamais” to four voices
    • “Au departyr” to four votes
    • “Au joly boys” to four votes
    • “Aultre que vous” with four voices
    • "Aupres de vous" to three voices (attributed to Sermisy)
    • "Aupres de vous" to two voices (partly attributed to Sermisy, partly anonymous)
    • “Autant ailleurs” to four votes
    • "Ayez pitié" to four voices (C. Chappuis or A. Heroet)
    • "Bien heureuse" for four voices (Franz I, paraphrase after Petrarch)
    • "Celle qui m'a" for four voices (Clément Marot)
    • “Celle qui m'a” to three votes
    • “C'est à grant tort” to four voices
    • “C'est en amour” to four voices
    • “C'est une dure departie” to four votes
    • “C'est une dure departie” to three votes
    • “Ceulx de Picardie” with four votes
    • "Changeons propos" to four voices (Clément Marot)
    • "Changeons propos" to three voices
    • "Chose commune" to four votes (Franz I.)
    • “Comme transy” to four voices
    • “Comment puis je” to four votes
    • "Content desir" to four votes
    • “Contentez vous” to four voices
    • “Contre raison” to four votes
    • “Contre raison” to three votes
    • “Corps s'esloignant” to four votes
    • “D'amours je suys” to two votes
    • "Dessoubz le marbre" to four voices (Franz I?)
    • "De vous servir" for four voices (O. de Saint-Gelais or B. d'Auriol)
    • "Dictes sans peur" to four voices (Franz I.)
    • "Dieu gart de mon cueur" for four voices (Clément Marot)
    • “Dieu la vouloit” to four votes
    • "Dont vient cela" to four voices (Clément Marot)
    • “Du bien que l'oeil” to four votes
    • “Elle a bien” to four votes
    • “Elle s'en va” to four votes
    • "Elle veult donc" to four voices (C. Chappuys?)
    • "En entrant en ung jardin" to four votes (Clément Marot)
    • “En esperant” to four votes
    • “Espoir est grant” to four votes
    • “Est-ce au moyen” to four votes
    • “Fait au failly” to four votes
    • “Fy fy d'amours” to four voices
    • “Gris et tenné” to four votes
    • “Hau hau hau le boys” to four votes
    • “Il est en vous” to four voices
    • “Il est en vous” to three voices
    • “Il est jour dit l'alouette” with four voices
    • "Il me suffit" for four voices (counterfactor: EG 364)
    • “Jamais ung cueur” with four voices, attributed to Sermisy
    • "J'atens secours" to four voices (Clément Marot)
    • "J'ay contenté" to four votes (Clément Marot)
    • “J'ay contenté” to three votes
    • “J'ay fait pour vous” to four votes
    • "J'ay le desir content" to four voices (Franz I or C. Chappuys or Margaret of Navarra)
    • “J'ay le desir content” to three votes
    • “J'ay par trop longuement aymé” with three votes
    • “J'ay prins aymer” to four votes
    • “J'ay pris pour moy le noir” to four voices
    • “J'ay sceu choisir” to four votes
    • “J'ayme bien mon amy” to four votes
    • "J'ayme le cueur" for four voices (Clément Marot)
    • “J'ayme le cueur” to three votes
    • “Je me vantoys” with four voices
    • “Je n'avais point” to four votes
    • “Je n'ay point plus d'affection” with four votes
    • "Je ne faiz rien que requerir" to four voices (Clément Marot)
    • “Je ne faiz rien que requerir” to three votes
    • "Je ne amount point de porc" to four votes
    • "Je n'ose estre content" to four votes (Franz I.)
    • “Je suis joyeulx” with four votes
    • “Je suis tant bien” to four votes
    • “Je veulx tousjours” to four votes
    • “Joyeulx adieu” to four votes
    • "Joyssance vous donneray" to four voices (Clément Marot)
    • “La la maistre Pierre” to four voices
    • "Languir me fais" for four voices (Clément Marot)
    • “L'ardant vouloir” to four voices
    • "Las me m'y plains" to four voices (Franz I.)
    • "Las que crains tu amy" to four voices (Franz I.)
    • “Le bien promis” to four votes
    • “Le content est riche” to four votes
    • "Le cueur de vous" for four voices (Clément Marot)
    • “Le cueur de vous” for two voices
    • “Le feu d'amour” to four voices
    • “Le grant ennuy” to four votes
    • “Le seul plaisir” to four votes
    • "Le vray amy" to four voices (M. de Saint-Gelais?)
    • "Les dames se sont tailladées" to four voices (refrain: "Hari bouriquet")
    • "Martin menoit" for four voices (Clément Marot)
    • "Mauldicte soit" to four votes (Clément Marot)
    • "Maulgré moy vis" to four voices (Franz I?)
    • “Mon cueur est souvent bien marry” with four voices
    • “Mon cueur gist tousjours en langueur” to four voices
    • "Mon cueur voulut" to four voices (Franz I?)
    • "N'auray-je jamais" with four voices (Rondel from "Jardin de Plaisance", 1502)
    • “N'espoir ne peur” to four voices
    • “O combien est malheureux” with four votes
    • "O cruaulté" for four voices (Clément Marot)
    • "O doulce amour" to four voices (Franz I.)
    • “On en dira” to three votes
    • “O seul espoir” for four voices
    • “Or et argent voust” to four voices
    • "Or sus amour" for four voices (François de Tournon)
    • “Par fin despit” to four votes
    • “Par fin despit” to three votes
    • “Par son grant art” with four votes
    • "Par ton regart" for four voices (B. de Periers)
    • “Parle qui veut” to four votes
    • “Peine et travail” to six votes
    • “Pere de nous” to four votes
    • “Pilons, pilons, pilons l'orge” to four voices
    • “Por n'avoir onc” to four voices
    • “Pour ung plaisir” to four votes
    • "Pourtant si je suis brunette" to four voices (Clément Marot)
    • “Puisque fortune” to four voices
    • “Puisque sa foy” to four votes
    • “Puisqu'en amours” to four votes
    • “Puisqu'il est tel” to four votes
    • "Quant tu vouldras" for four voices (Franz I?)
    • “Qui du blason” to four votes
    • "Qui la vouldra" for four voices (A. Heroet)
    • “Qui peche plus” to four votes
    • “Qui se pourroit” to four voices
    • “Rigueur me tient” to four voices
    • "Secourez moy" for four voices (Clément Marot)
    • “Si j'ay du bien” to four votes
    • "Si j'ay du mal" to four votes (Clément Marot)
    • “Si j'ay eu du mal” to four votes
    • “Si j'ay pour vous” to four voices
    • "Si je viz en peine" for four voices (Clément Marot)
    • “Si le vouloir” to four voices
    • “Si mon malheur” to three votes
    • "Si ung oevre parfait" to four voices (Francis I or Margaret of Navarra)
    • “Si vous m'aymez” to four voices
    • “Sur le pont d'Avignon” with four parts, handwritten addition
    • "Tant que vivray" for four voices (Clément Marot)
    • “Ton cueur s'est bien tost repenti” to four voices
    • "Ton feu s'estaint" for four voices (Clément Marot)
    • “Tous mes amys” with four votes
    • “Tu disoys que j'en mourroys” to four voices
    • “Une bergerotte” to four votes
    • “Ung grant plaisir” to four votes
    • “Ung jour Robin” to four voices
    • “Venus partout” to four voices
    • "Vion, viette" to three votes
    • “Vive la serpe” for four voices
    • “Vivray-je tousjours en soucy” with four voices
    • “Vivre ne puis” to four voices
    • “Vostre oeil la deccu ma pensée” with four voices
    • "Voulant amour" to four voices (Franz I.)
    • "Vous perdez temps" for four voices (Clément Marot)
    • "Vous qui voulez" to four voices (Franz I.)
  • Chanson's doubtful attribution
    • “Amour est bien” with four voices, partly attributed to Certon, partly to Sermisy
    • “Amy souffrez” with three voices, partly attributed to D. Izagha, Le Heurteur, Sermisy or Pierre Moulou
    • “Aupres de vous” to four voices, partly Sermisy, partly attributed to Jacotin, probably by Jacotin
    • “C'est grand malheur” with four voices, probably not by Sermisy for stylistic reasons
    • “Je ne le croy” with four voices, partly attributed to Sandrin, partly to Sermisy
    • “Las qu'on congneut” with four voices (Franz I), partly attributed to Sandrin, partly to Sermisy
    • “Le cueur est bon” with four voices, partly anonymous, partly attributed to Sermisy
    • “Les yeulx bendez” with four voices (Francis I), partly attributed to Vermont, partly to Sermisy
    • “Long temps ya” with four voices (Clément Marot), partly attributed to Dulot, partly to Sermisy
    • “Mon petit cueur n'est point a moy” for two voices, partly attributed to Le Heurteur, partly to Sermisy
    • “Puisqu'elle a mis” with four voices, partly attributed to Crecquillon, partly to Sermisy
    • “Si mon malheur” with four voices, partly attributed to Pelletier, partly to Sermisy
    • “Si mon travail” with four voices, partly attributed to Sandrin, partly to Sermisy
    • “Trop tost j'ay creu” with four voices, partly Mornable, partly Sermisy
    • “Viens tost despiteux” with four voices, partly attributed to Benedictus Appenzeller, partly Jacotin, partly Sermisy

Literature (selection)

  • M. Brenet: Claudin de Sermisy (1490 [?] - 1562) d'aprés de nouveaux documents. In: Guide musical No. 44, 1898, pp. 95-98
  • The same: Les Musiciens de la Sainte Chapelle du Palais , Paris 1910, Reprint Geneva 1973
  • F. Lesure: Autour de Clément Marot et de ses musiciens. In: Revue de musicologie No. 33, 1951, pages 110-119
  • S. Fornaçon: Claudin de Sermisy. In: Musik und Gottesdienst No. 9, 1955, issue 1, pages 4–8
  • JA Parkinson: A Chanson by Claudin de Sermisy. In: Music and Letters No. 39, 1958, pages 118-122
  • G. Allaire: The Masses of Claudin de Sermisy , dissertation at Boston University 1960
  • I. Cazeaux: The Secular Music of Claudin des Sermisy , dissertation at Columbia University 1961
  • HM Brown: The Genesis of a Style: the Parisian Chanson, 1500-1530. In: Chanson and Madrigal 1480–1530, edited by J. Haar, Cambridge / Massachusetts 1964, pages 1–87
  • G. Allaire: Les Messes de Claudin de Sermisy (c. 1490–1562). In: Revue de musicologie No. 53, 1967, pages 28-40
  • D. Heartz: Pierre Attaignant. Royal Printer of Music , Berkeley 1969
  • L. Bernstein: The "Parisian Chanson" Problems of Style an Terminology. In: Journal of the American Musicological Society No. 31, 1978, pp. 193-240
  • JT Brobeck: The Motet at the Court of Francis I. , dissertation at the University of Pennsylvania 1991
  • Same: Some "Liturgical Motets" for the French Royal Court: a Reconsideration of Genre in the Sixteenth-Century Motet. In: Musica disciplina No. 47, 1993, pages 123-157
  • The same: Musical Patronage in the Royal Chapel of France under Francis I (r. 1515–1547). In: Journal of the American Musicological Society No. 48, 1995, pp. 187-239
  • Same: Style and Authenticity in the Motets of claudin de Sermisy. In: Journal of Musicology No. 16, 1998, pp. 26-90
  • Frank Dobbins, Marie-Alexis Colin:  Sermisy, Claudin, de. In: MGG Online (subscription required).
  • C. Cazaux: La Musique à la court de François I er , Paris 2002
  • Thomas Schmidt-Beste: Text declamation in the motet of the 15th century , Turnhout 2003

Web links

swell

  1. ^ The Music in Past and Present (MGG), Person Part Volume 15, Bärenreiter and Metzler, Kassel and Basel 2006, ISBN 3-7618-1135-7
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 7: Randhartinger - Stewart. Herder, Freiburg im Breisgau a. a. 1982, ISBN 3-451-18057-X .
  3. ^ The New Grove Dictionary of Music and Musicians , edited by Stanley Sadie, 2nd Edition, McMillan, London 2001, ISBN 0-333-60800-3
personal data
SURNAME Sermisy, Claudin de
ALTERNATIVE NAMES Cermisy, Claude de; Sermizy, Claudin de; Sernisy, Claudin de
BRIEF DESCRIPTION French composer, singer, bandmaster and clergyman of the Renaissance
DATE OF BIRTH around 1490
PLACE OF BIRTH France
DATE OF DEATH October 13, 1562
Place of death Paris