Hayne van Ghizeghem

Hayne van Ghizeghem (* around 1445 presumably in Ghizeghem near Ghent ; † before 1497 presumably in France) was a Franco-Flemish composer , poet , lutenist and singer of the early Renaissance .

Live and act

Hayne's birthplace and date are still unknown, but his name suggests that he comes from the village of Ghizeghem near Ghent (between Dendermonde and Aalst). The first direct evidence comes from invoices of the Count of Charolais, the later Duke Charles the Bold of Burgundy from 1457 and concerns a payment of "vingt-deux cus d'or de quarante-huits gros fait" to a singer of the court orchestra named Constans Breuwe de Languebroek for the maintenance and cloakroom of a "jeusne filz appelé Hayne van Ghizeghem, le quel icelui Sgr. a mis de moures avec lui ”for the period from November 1, 1456 to December 31, 1457. In the 1460s, Hayne entered the permanent service of the Burgundian court and held the post of“ chantre et valet de chambre ”(singer and valet ), but, like his colleague Adrien Basin , did not belong to the chapel; for 1467 and 1468 a payment of six sous per day is documented for him . In 1468 he accompanied his employer on his campaign against Liège and received an additional payment of 45 livres and 18 sous for equipping his equipage . At the end of the 1460s he was already famous as a composer and poet, although he had only written a few works by then (including "Amours, amours" and "De tous biens plaine"), presumably because the service at court had drawn him accordingly .

The Duke of Burgundy undertook the siege of the city of Beauvais in 1472 . Hayne was on the list of people who had followed him there. In the course of this change of location of the Burgundian duke, his meeting with the composer Robert Morton in Cambrai probably came about, which is described in the text of the anonymous rondeau “La plus grand chiere de jamais”. It may also have led to the consecration of Cambrai Cathedral on July 5, 1472; if so, Hayne must have met Guillaume Dufay , who was living there at that time.

Hayne van Ghizeghem worked at the Burgundian court at least until December 9, 1476; he and Adrien Basin accompanied the Duke of Burgundy on the campaign against Nancy , which ended in a heavy defeat for the Duke and for Burgundy. From this time onwards, there is no direct evidence of Hayne's further life in the tradition. There is little doubt today that he lived and composed after the 1470s, but it is difficult to determine where this was. Significant later works by Haynes show a certain connection with the court of the French king, which is why there is a certain likelihood of employment in the vicinity of the court there. This is also supported by the fact that some of Haynes' compositions, for which his authorship is not certain, were partly ascribed to other composers ( Jehan Fresneau , Johannes Ockeghem and Alexander Agricola ), whose activities at the French royal court at the end of the 15th century are undoubtedly established.

After Johannes Ockeghem died on February 6, 1497, the poet Guillaume Crétin (~ 1465–1525) described in his funeral poem "Deploration sur la mort d'Ockeghem" a heavenly choir that received Ockeghem in paradise and sang some of his masses ( Stanzas 209–220), with Hayne van Ghizeghem (alongside John Dunstable , Guillaume Dufay, Gilles Binchois , Constans and others) being a member of this choir. In the following stanzas 221–223 a scene is shown in which Ockeghem is honored by Hayne alone by singing his motet “Ut heremita solus” and accompanying on the lute. These representations testify that Hayne van Ghizeghem must have died before 1497.

meaning

It is certain that the chansons "Amours, amours" and "De tous biens plaine" were already available at the end of the 1460s, while the chansons "Plus n'en auray", "Gentilz gallans", "Les grans regrets", " De quatre nuyts ”,“ Penser en vous ”,“ Pour ce que j'ay jouy ”and“ La Regretée ”come from a later period, which have new characteristics compared to the earlier chansons. Overall, Haynes chansons do not rise above the standard of the Burgundian chansons of the time (duets of upper voice and tenor accompanied by a contratenor as bass), but he has developed this type to a maturity that motetic traits can be discerned in him. In his earlier pieces the upper part (melody) is preferred, the voices have no melodic material in common, and the rhythms are regular and uncomplicated. In his later pieces, the voices are related to each other using the method of imitation and the exchange of motifs, whereby the voices become rhythmically and melodically equivalent. The most progressive composition in this sense is “La Regretée”, where the main motif appears in practically every measure and every part begins with almost fugue-like imitations.

Hayne van Ghizeghem enjoyed particular fame and esteem during his lifetime as a poet and above all as a composer. Some of his works were widespread; this includes in particular the chanson “De tous bien plaine” - possibly the most popular piece in the entire Franco-Flemish repertoire. In addition, compositions and motifs of his works were used as foreign cantus firmus in chansons, motets and masses by Loyset Compère (motet "Omnium bonorum plena"), Johannes Tinctoris , Alexander Agricola, Heinrich Isaac , Josquin des Prez , Johannes Prioris , Johannes Ghiselin , Antoine Bruhier , Ludwig Senfl and Bartolomeo degli Organi . In addition, his name appears in literary, music theory and musical works of the 15th and 16th centuries ( Eloy d'Amerval , Pietro Aron , François Rabelais ).

Works

• Works with reliable attribution
  • "A l'audience", Rondeau cinquain for four voices (only in Italian sources; quoted from Haynes Chanson Allez, regrets; maybe not real)
  • “Allez, regrets”, Rondeau cinquain for three voices, text by John II of Bourbon
  • “Amours, amours”, Rondeau cinquain with three voices
  • "Ce n'est pas jeu", Rondeau quatrain with three voices, partly attributed to Ockeghem
  • “De quatre nuyts”, Rondeau cinquain with three votes
  • “De tous biens plaine”, Rondeau quatrain with three voices
  • “De vous aymer”, Rondeau cinquain with three voices
  • "Gentilz gallans", Rondeau quatrain to three votes
  • “Je sçay tout”, Rondeau cinquain to three voices
  • “La Regretée”, Rondeau cinquain layé with three voices
  • "Les grans regrets", Rondeau quatrain with three voices, partly attributed to Alexander Agricola
  • “Mon souvenir”, Rondeau quatrain with three voices
  • “Penser en vous”, Rondeau quatrain with three voices
  • “Plus n'en auray”, Rondeau quatrain (?) To three votes
  • “Pour ce que j'ay jouy”, Rondeau quatrain to three voices
  • “Si une fois puis recouvrir”, Rondeau quatrain to three voices, only the refrain preserved
• Doubtful and lost works
  • “Chi dit on benedicite”, Rondeau cinquain with three voices, probably by Antoine Busnoys
  • “De vous servir”, Rondeau cinquain for three voices, probably by Jehan Fresneau
  • "D'ung aultre amer" (lost)
  • “Elle en est”, Rondeau cinquain with three voices, anonymous, attributed to Hayne for stylistic and codicological reasons
  • “J'ay bien choisi” Rondeau quatrain (?) To three voices, probably by Antoine Busnoys
  • “Je suis venu”, a rondeau with three voices, unclear form, probably by Antoine Busnoys
  • “Se je vous eslonge”, Virelai with three voices, probably by Alexander Agricola

Literature (selection)

• Otto Gombosi : Ghizeghem and Compère: On the style history of the Burgundian chanson. In: Festschrift for G. Adler, Vienna / Leipzig 1930, Reprint Vienna 1971, pages 100–106
• J. Marix: Hayne van Ghizeghem, Musician at the Court of the 15th-Century Burgundian Dukes. In: Musical Quarterly No. 28, 1942, pages 276-287
• HM Brown: The Transformation of the Chanson at the End of the Fifteenth Century. In: Congress report of the International Musicological Society Ljubljana 1967, Kassel and others / Ljubljana 1970, pp. 78–96
• G. Montagna: Caron, Hayne, Compère: a Transmission Reassessment. In: Early Music History No. 7, 1987, pages 107-157
• C. Goldberg: What is Compère quoting? Topos, quotation and paraphrase in the Regrets chansons by Hayne van Ghizeghem and Loyset Compère. In: Festschrift for L. Finscher, edited by A. Laubenthal, Kassel 1995, pages 88-99
• David Fallows: A Catalog of Polyphonic Songs 1415-1480 , Oxford 1999

Web links

• Works by and about Hayne van Ghizeghem in the catalog of the German National Library
• Hayne van Ghizeghem in the Dutch online encyclopedia ENCYCLO.NL
• Edition of the chansons at the Goldberg Foundation

swell

1. ^ The Music in Past and Present (MGG), Person Part Volume 8, Bärenreiter Verlag Kassel and Basel 2002, ISBN 3-7618-1118-7
2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 4: Half a note - Kostelanetz. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18054-5 .