Jacobus Clemens non papa

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Jacobus Clemens non Papa (originally Jacques Clement ; * between 1510 and 1515 perhaps in Dordrecht ; † 1555 or 1556 perhaps in Diksmuide ( Flanders )) was a Franco-Flemish composer and singer of the Renaissance .

Live and act

Nothing has been handed down about Jacobus Clemens non Papa's early years and the training period. His place of birth has also not yet been determined with absolute certainty. The author Jacob Meiland names “Belgica terra” (Netherlands) as his home in 1575, and another author, Sweertius , calls him “Batavus” in his writing “Athenae Belgivae” from 1626, which indicates the northern Netherlands. Finally, in Clemens' chanson “Congié je prens de vous” there is the line “Adieu Dordrecht, jusque au revoir”, which perhaps points to Dordrecht as his place of birth. The composer was first mentioned on records to date around 1538 when he had a small number of his chansons published in a collective print by the Parisian publisher Pierre Attaignant under his original name Jacob Clement. The nickname "non Papa" appears for the first time in 1542 in a manuscript collection of the Dutch merchant Zeghere de Male and from 1545 on the front pages of the collections of his works by Antwerp publisher Tielman Susato . This epithet should perhaps serve as a demarcation from the contemporary Pope Clement VII , although he died in 1534, certainly less than a distinction to the poet Jacobus Papa who lived in Ypres .

The Cathedral of St. Donatian in Bruges recorded a priest named Jacobus Clement in 1544, who on March 26th of this year was appointed on a trial basis as vice conductor (succentor). He held this office until June 1545; he honored this to the patron saint of the cathedral with his mass "Gaude lux Donatiane". He may have been appointed choirmaster with Philippe de Croy († 1549), Duke of Aarschot and general of Emperor Charles V , because several of his state motets refer to the duke or the emperor. From October 1st, 1550, Clemens was in the service of the Marienbruderschaft in 's-Hertogenbosch as a singer and composer , but only until December 24th. There are few other indications of a stay in Ypres afterwards; There were also connections to the city of Leiden , because all six choir books in the St. Pieterskerk there from the mid-16th century contain works by Clemens non Papa: two masses, a cycle of eight Magnificats and 34 motets (now in the Leiden city archive), without that he lived in Leiden or that he could have been choirmaster of St. Pieterskerk.

Although Clemens is listed as a living composer in the work “Practica musica” by Hermann Finck (1556), a manuscript that was copied in Antwerp in 1564/66 contains his motet “Hic est vere martyr” with the annotation “Ultimum opus Clementis non Papae anno 1555, 21 Aprilis ”, which indicates the death of the master, barely 40 years old, in 1555 or 1556. Apparently he had never left the Netherlands in his life. In 1558, the Nuremberg publisher Montanus published the funeral song "Continuo lacrimas" for the death of Clemens non Papa by Jacobus Vaet . According to the historian Antonius Sanderus (1586–1664) in his writing “Flandria subalterna” from 1644, Clemens was buried in Diksmuide near Ypres. Two composers have become known as his pupils: the Dutch Gherardus Mes , who is expressly referred to as Clemens' student on the title pages of his Souterliedekens , and the German composer Gallus Dreßler , whose writings on music theory contain many references to works by Clemens non Papa.

meaning

The extraordinarily extensive compositional work by Jacobus Clemens non Papa comprises fifteen masses, 233 motets, 16 Magnificat settings in two cycles, around 90 chansons, eight polyphonic Dutch songs and an almost complete polyphonic arrangement of the 150 Dutch psalms in verse ( Souterliedekens ). This volume of work is particularly noticeable because its creation is concentrated in less than 20 years. Already during his lifetime his works spread in collective prints, mostly by Dutch publishers, and in manuscripts even throughout Europe. In the second half of the 16th century, many of his pieces were arranged for lute , zither and keyboard instruments. The composer's fame peaked around 1560.

In the fourth generation of Franco-Flemish music, Clemens non Papa is perhaps one of the most important, but certainly one of the most fruitful representatives of this style. In his works he combines an absolute compositional perfection with an extreme variety in detail, but seen as a whole with great uniformity without a tendency to experiment. Typical of him is a fully imitated four- or five-part and a very dense, almost pause-free movement without emphasizing phrase boundaries and practically without homophony . Most of his mass compositions are pure representatives of the parody mass , based on his own chansons and motets or based on contemporary or somewhat older composers ( Thomas Crécquillon , Nicolas Gombert , Andreas de Silva , Lupus Hellinck , Johannes Lupi , Pierre de Manchicourt and Claudin de Sermisy ). The Requiem, on the other hand, is a special case, a work based on Gregorian models. The fundamental difference between this work and all of Clemens' other compositions and its late first transmission make another author appear possible.

The two Magnificat cycles are very similar in terms of melody and composition. The greater part of the motets is two-part in shape; eleven motets are divided into three parts with a lower middle part. With his great eight-part motet "Pater peccavi" about the homecoming of the prodigal son with its harmonious, saturated sound, Clemens created one of the most impressive works of his style. The composition of chansons accounts for Clemens non Papa - significantly more than for most of his contemporaries - over a quarter of his total oeuvre. The majority of them are settings of the standardized form of the courtly love poetry in the likewise imitated setting, with no major differences from the motets, only in smaller dimensions; in a few cases, however, the composer quotes the homophonic Parisian chanson style. The numerous reprints of the Livre septiesme de chansons by the publisher Pierre Phalèse kept a number of chansons alive until the middle of the 17th century.

“In the field of mass and especially motet composition, Jacobus Clemens non Papa represents the absolutely central figure in music of the mid-16th century, under whose pen, as in natural technical mastery, the lush sonority of the Franco-Flemish style with a not extroverted-expressive or decidedly declamatory, but nevertheless detailed and subtly rhetorical text representation connects “(Thomas Schmidt-Beste in the source MGG).

Works (summary)

Complete edition: Jacobus Clemens non Papa, Opera omnia , edited by K. Ph. Bernet-Kempers, 21 volumes, Rome 1951–1976 (= Corpus mensurabilis musicae No. 4; Volumes I, III, V – VIII: Messen, II: Souterliedekens , IV: Magnificat, IX, XII – XXI: motets, X – XI: chansons).

  • Trade fairs and trade fair fragments
    • 1 mass of six voices
    • 6 masses with five voices
    • 8 masses with four voices
    • Kyrie to five votes and Gloria to eight votes
  • Magnificat settings
    • Magnificat cycle 1, 8 settings (Magnificat primi toni to Magnificat octavi toni) for four voices
    • Magnificat cycle 2, 8 settings (Magnificat primi toni to Magnificat octavi toni) for four voices
  • Souterliedekens
    • Souterliedekens Part 1, Psalm 1-41
    • Souterliedekens Part 2, Psalm 42-84
    • Souterliedekens Part 3, Psalm 85-121
    • Souterliedekens Part 4, Psalm 122–150, 11 Cantica, 1 Our Father, 2 Credo, 1 Ave Maria
  • Motets
    • 8 motet individual prints
    • 50 motet collective prints
    • 1 motet with eight voices
    • 1 motet for seven parts
    • 18 motets with six parts
    • 99 motets for five parts
    • 112 motets for four voices
    • 9 motets for three voices
  • Chansons
    • 30 chanson collective prints
    • 1 chanson with eight voices
    • 7 chansons with six voices
    • 14 chansons with five voices
    • 62 chansons with four voices
    • 5 chansons with three voices
  • 8 Dutch songs
  • 9 compositions without text

Contemporary collections in print

  • Chansons in the collection of Pierre Attaignant, Paris 1538
  • Chansons in the collections of Tielman Susato, Antwerp 1545, 1549 and 1558
  • 6 motets by Tielman Susato, Antwerp 1546
  • "Organ tablature books by Ammerbach", Nuremberg, 1549
  • Lute books "Horti Musarum" by Phalèse, Leuven 1553
  • 4 books of Psalms by Montanus and Neuber, Nuremberg 1553 to 1554
  • Motetti de Labirinto a 4 voc., Venice 1554
  • 4 books of sound sets a 3 voc. to the Souter-Liedekens , Antwerp 1556/1557
  • 10 books Masses a 4-5 voc., At Phalèse, Löwen 1556 to 1560
  • 6 books Cantiones sacrae (sacred motets), from Phalese, Löwen 1559
  • Soul mass a 4 voc., Leuven, 1580

Literature (selection)

  • Arrey von Dommer:  Clemens non Papa, Jacobus . In: Allgemeine Deutsche Biographie (ADB). Volume 4, Duncker & Humblot, Leipzig 1876, p. 318.
  • J. Schmidt-Görg: The Masses of Clemens non Papa. In: Zeitschrift für Musikwissenschaft No. 9, 1927, pp. 129–158
  • K. Ph. Bernet-Kempers: Jacobus Clemens non Papa and his motets , dissertation Munich 1928, Augsburg 1929
  • RB Lenaerts: Before the biography of Clemens non Papa. In: Tijdschrift van de Vereniging voor nederlandse muziekgeschiedenis No. 16, 1942, pages 177-193
  • K. Ph. Bernet-Kempers: Jacobus Clemens non Papa's Chansons in Their Chronological Order. In: Misica disciplina No. 15, 1961, pages 187-197
  • K. Ph. Bernet-Kempers: Bibliography of the Sacred Works of Jacobus Clemens non Papa: A Classified List, with a Notice on His Life. In: Musica disciplina No. 18, 1964, pages 85-150
  • ES Beebe: Mode, Structure and Text Expression in the Motets of Jacobus Clemens non Papa: A Study of Style in Sacred Music , dissertation at Yale University, New Haven 1976
  • M. Cordes / U. Kiefer: Clemens non Papa: Alphabetical list of his motets, with details of the number of parts, original code, finalis and source in the complete edition (CMM 4, 1951–1976). In: Jahrbuch Alte Musik 1, 1989, pages 182–193
  • HM Brown: Clemens non Papa, the Virgin Mary, and Rhetoric. In: Festschrift W. and U. Kirkendale, edited by S. Gmeinwieser and others, Florence 1994, pp. 139–156
  • LP Grijp: The Souterliedekens by Gherardus Mes (1561): An Enigmatic Pupil of Clemens non Papa, and Popular Song of the Mid-Sixteenth Century. In: Festschrift W. Elders, edited by A. Clement, Amsterdam 1994, pages 245-259

Web links

Commons : Jacob Clemens non Papa  - Collection of pictures, videos and audio files

swell

  1. ^ Rudolf Rasch, Thomas Schmidt-Beste:  Clemens, Jacobus. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 4 (Camarella - Couture). Bärenreiter / Metzler, Kassel et al. 2000, ISBN 3-7618-1114-4  ( online edition , subscription required for full access)
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 2: C - Elmendorff. Herder, Freiburg im Breisgau a. a. 1979, ISBN 3-451-18052-9 .
  3. ^ Willem Elders, Alejandro Enrique Planchart, revised by Kristine Forney:  Clemens non Papa, Jacobus. In: Grove Music Online (English; subscription required).
personal data
SURNAME Clemens non papa, Jacobus
ALTERNATIVE NAMES Clement, Jacques (real name); Clement, Jacobus
BRIEF DESCRIPTION Franco-Flemish composer and singer of the Renaissance
DATE OF BIRTH between 1510 and 1515
PLACE OF BIRTH unsure: Dordrecht
DATE OF DEATH 1555 or 1556
Place of death unsure: Diksmuide