Jacquet de Berchem

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Jacquet de Berchem (* around 1505 in Berchem near Antwerp , † around 1565 probably in Monopoli near Bari ) was a Franco-Flemish composer and conductor of the Renaissance .

Live and act

The Lute Player by Caravaggio (1596). One of the sheet music in the picture is from a secular composition by Jacquet de Berchem.

No information has survived about the early years of Jacquet de Berchem and his musical training. Possibly during the 1530s he went to Venice to study with Adrian Willaert , the founder of the Venetian school. He stayed here for several years and got to know other composers. The dedication of a collection of five-part madrigals by him shows that Berchem was the amorevole domestico of the young Venetian nobleman Giovanni Bragadino († 1570). Further information comes from his secular Latin motet “Unica lux Venetum”, which contains an enthusiastic homage to a certain Marcantonio . This could have been Marcantonio Trevisano (around 1475 - 1554), a music lover who became Doge of the Republic of Venice in 1553 . In his Venetian days, individual madrigals were published in collections with the works of other composers; in 1546 his first madrigal book was published with exclusively his own works.

In the same year 1546 Jaquet de Berchem left Venice and served for some time at the Cathedral of Verona as maestro di cappella . However, the preface to his collection of four-part madrigals shows that his employer was Andrea Marzato , a "gentilhuomo napolitano" who was governor of Monopoli for some time in the first half of the 16th century. On the other hand, the composer dedicated his first, second and third “libro del capriccio” to Duke Alfonso II d'Este of Ferrara , which indicates that he had also tried to get a job at the court of Ferrara. Berchem met his future wife, Giustina de Simeonibus from a noble family, in Monopoli near Bari and married in 1553; he had two children with her. There he also spent the last years of his life.

meaning

The main importance of Jaquet de Berchem, together with the work of Jakob Arcadelt , Costanzo Festa and Philippe Verdelot , results from his more than 200 compositions of the type of the early Italian madrigal. These pieces were included in numerous compilations and were very well known in his time. In the fourth book of his main work Gargantua et Pantagruel , the French poet François Rabelais de Berchem counted among the most famous composers of his time; he was also mentioned in the writings of Italian and Spanish authors. His activity was reflected in prints of the "Cinquecento" from around 1538 to 1563. Previously published compositions which are only marked with “Jacquet” are attributed to the composer Jacquet de Mantua (1483–1559) according to the current state of music-historical research .

In Berchem's secular work, his lively relationship to a variety of musical styles is evident; he also quite often uses musical material from other masters. In some of his early madrigals the strong influence of the frottola can be seen. The five-part works, on the other hand, show more the contrapuntal spelling of the Franco-Flemish type. Beginning with the year 1542, he used a rhythmically livelier style using syncope ; to reinforce the expression in his madrigals, he occasionally used daring dissonances , as well as chromatic lines to clarify texts. The twelve chansons that were written in his earlier time , of considerable stylistic diversity, partly show a dense contrapuntal setting based on Franco-Flemish models, partly they are reminiscent of the Paris chansons because of the repetitions, because of the distinctive rhythms and the predominance of the homophonic movement. He is also considered to be the first musician to use the term Capriccio for a composition , and to combine madrigals into a cycle. Likewise, madrigals are arranged in several of his anthologies according to modal principles.

Jacquet de Berchem was less prominent with sacred compositions: only two masses and a few motets can certainly be ascribed to him; they appeared in print at the beginning of his career. The masses are parody masses based on earlier chansons, while two of his motets are conservative in style, revealing his starting point in traditional techniques.

Works

  • measure up
    • Missa "Mort et fortune" with four voices, about the chanson of the same name by Nicolas Gombert
    • Missa “Mort ou merci” with five voices, about the chanson of the same name attributed to Adrian Willaert
  • Spiritual motets
    • “Ave virgo gloriosa” to five voices, Ferrara 1539
    • “Factum est verbum” for six voices, Venice 1542
    • “Hodie in Jordane” with six voices, Nuremberg 1555
    • “In te signis radians” with six voices
    • “O felix regina” with five voices
    • “O lux et decus Hispaniae” with five votes
    • “Peccantem me quotidiae” to six voices
    • “Qualis es dilecta mea” with six voices, Venice 1539
  • Secular motets
    • “Unica lux Venetum” for four voices, Venice 1549
  • Lost motets
    • “Audite insulae” to six votes
    • “Gaude et laetare” to five votes
  • Six-part secular madrigals
    • “Il sol giamail non vidde”, Venice 1546
    • “Modanna se volete”, Venice 1541
    • "S'amor non è"
    • “Tanto mi piacque”, see “Alla dolc 'ombra” for five voices
  • Five-part madrigals in individual prints ( Madrigali a cinque voci [...] libro primo , Venice 1546)
    • "Come del gran pianet '"
    • "Come havrà vita amor" (Cassola)
    • "Con pura bianca neve"
    • "Così ti donn'il ciel"
    • "Crudel do pure"
    • "Deh cara la mia vita"
    • "Deh com'è spenta"
    • "Donna che veramente"
    • "D'un altro fuoco"
    • "Fuggite 'l sono" (Petrarch)
    • "Hor cruda hor pia"
    • "Hor date orecchie"
    • "Hor mi scacci"
    • "L'alto mio amor"
    • "L'infinità beltà"
    • "Ma non me 'l tolse" (Petrarch)
    • "Mai non vo più cantar" (Petrarch)
    • "O felici occhi miei"
    • "Perchè non date"
    • "Poiche aunt nemiche"
    • "Torment mort 'è strana più" (Cassola)
    • "Quei at pensier"
    • "Quel rossignol" (Petrarca)
    • "Questi ch'inditio fan" (Ariosto)
    • "Scende there at vostri tatting"
    • "Si è debile" (Petrarch)
    • "Voi ch'ascoltate" (Petrarch)
  • Mainly five-part madrigals in collective prints
    • Madrigal cycle "Alla dolc'ombra" with five voices, including:
      • “Non vid'il mondo si leggiadri rami” with five voices
      • “Un lauro mi difese” to three votes
      • “Però più ferm 'ogni'hor” with four voices
      • “Selve sassi campagni” with five votes
      • “Tanto mi piacque” with six voices
    • “Consumandomi vo” to five votes
    • “Deh s'io sentisse” to five votes
    • Madrigal cycle "Hai lass'io mi credea" with five voices, including:
      • “O miracol d'amor” to five votes
      • “Ma s'io non posso” to five voices
      • “Ma più tosto vorrei” to four votes
      • “Deh s'io sentisse” to five votes
      • “Quanto sarei felice” to five voices
    • “Ite caldi sospiri” to five votes
    • “Lasso che desiando” with five voices
    • “Ma s'io non posso” to five votes, see “Hai lass'io mi credea” to five votes
    • “Madonna poi ch'uccider” to five votes
    • “Non vid'il mondo si leggiadri rami” with five votes, see “Alla dolc'ombra” with five votes
    • “O amorose mamelle” to five votes
    • “O miracol d'amor” to five votes, see “Hai lass'io mi credea” to five votes
    • “Qual iniqua mia sorte” to five votes
    • “Quanto sarei felice” to five votes, see “Hai lass'io mi credea” to five votes
    • “Se foste voi dal mondo” with five voices
    • “Se una fede amoroso” to five votes
    • “Selve sassi campagni” with five votes, see “Alla dolc'ombra” with five votes
    • “Volgendo gli occhi” “Alla dolc'ombra” with five voices
  • Four-part madrigals in individual print from Il primo libro de gli madrigali, a quatro voci , Venice 1555
    • "A qualunque animal" (Petrarch)
    • "Al più cocente raggio"
    • "Alma diletta sposa" (Cassola)
    • "Ben mille volte" (Cassola)
    • "Chiunque in petto"
    • "Cogliete delle spine"
    • "Con lei fuss' io" (Petrarch)
    • "Deh perchè so presto"
    • "Dolor ch'hai fatto"
    • "Donna se voi volete"
    • "Et io da che" (Petrarch)
    • "Giovene Donna" (Petrarch)
    • "Glorioso pastore"
    • "Hor vedi amor" (Petrarch)
    • "Io mi sento" (Cassola)
    • "Io non saprei" (Cassola)
    • "Nasce dal pensier mio"
    • "Non credo che" (Petrarch)
    • "Non muto qualità"
    • "Non vidd 'il sol giammai"
    • "Occhi pianger'e tu" (Cassola)
    • "O dolci sguardi" (Petrarch)
    • "Prima ch'i torni" (Petrarch)
    • "Quando fra l'altre donne" (Petrarch)
    • "Quando la sera" (Petrarch)
    • "Se la mia donna" (Cassola)
    • "Si vario 'l mio"
    • "Vagh 'augelletto" (Petrarch)
    • "Vist'ho più volt '" (Cassola)
    • "Voi pur udite"
  • Four-part madrigals in individual print from Primo, secondo et terzo libro del capriccio [...] con la musica da lui composta sopra le stanze del Furioso [...] a quattro voci , Venice 1561 (therein 94 madrigals); The following pieces are handwritten in modern score notation from the end of the 19th or beginning of the 20th century
    • "Aspro core" (2nd part: "Vivo sol di speranza")
    • "Misero lui" (2nd part: "Et beato colui")
    • "O dolci sguardi"
    • "Non credo che pascesse"
    • "Troppo fallò"
    • "O s'io potessi"
  • Four-part madrigals in collective prints
    • "Altro non è 'l mio amor"
    • "Amar 'un sol' amante"
    • "Aspro cor'e selvaggio"
    • "Chi vuol veder"
    • “Ma più vorrei”, see “Hai lassio mi credea” for five voices
    • "Misero lui sopra tutti"
    • “O s'io potessi”, ascribed to Arcadelt, ascribed to de Berchem in later reprints
    • “Perchè non date voi”, ascribed to Arcadelt, ascribed to de Berchem in later reprints
    • “Però più fermo”, see “Alla dolc 'ombra” for five voices
    • "Pungete dardo", ascribed to Arcadelt, ascribed to de Berchem in later reprints
    • “Qual anima ignorante”, ascribed to Nollet, ascribed to de Berchem in most of the later prints
    • “Quando son più lontan”, ascribed to Ivo [Barry], ascribed to de Berchem in most of the later prints
    • "Quante lagrime lasso"
    • "Quell'ardente desir"
    • “Ragion 'è ben”, ascribed to Arcadelt, ascribed to de Berchem in later reprints
    • “Sapete amanti”, ascribed to Arcadelt, ascribed to de Berchem in later reprints
    • "Troppo scarsa, Madonna", ascribed to Ivo [Barry], ascribed to de Berchem in most of the later prints
    • “Vostra fui”, ascribed to Arcadelt, ascribed to de Berchem in later reprints
  • Three-part madrigals
    • “Un lauro mi difese”, see “Alla dolc'ombra” for five votes
  • Chansons
    • “Celle qui est” to four voices
    • "Jehan de lagny" to four votes
    • “Las qu'on” to five votes
    • “Las que mon dueil” to four voices
    • “L'aultre jour je vis un galland” with four voices
    • “Ma fille disoit” to four voices
    • “Plus ne suis” to four votes
    • “Que feu craintif” to four voices
    • “Si envieulx” to four votes
    • “Sur tous amans” to four voices
    • “Ung moins amant” to five votes
    • “Veu le grief” to five votes

Modern editions

  • Jachet Berchem, Il primo libro di madrigali a quattro voci (1555), a cura di Galliano Ciliberti e Giovanni Rota, Bari, Florestano Edizioni 2010

Literature (selection)

  • Alfred Einstein : The Italian Madrigal , Princeton 1949
  • Dale Hall: The Italian Secular Vocal Works of Jacquet Berchem , Dissertation at Ohio State University 1973
  • G. Nugent: The Jacquet Motets and their Authors , Dissertation at Princeton University 1973
  • Dale Hall: Jacquet Berchem and His "Capriccio". In: Studies in Music (Australia) No. 12, 1978, pages 35-44
  • Dale Hall: An Unknown Example of Modal Ordering in Cinquecento Music. In: Studies in Music (Australia) No. 21, 1987, pp. 1-9
  • Jeremy Haar: The "Capriccio" of Giachet Berchem: A Study in Modal Organization. In: Musica disciplina No. 42, 1988, pages 129-156
  • JA Taricani: The Early Works of Jacquet de Berchem: Emulation and Parody. In: Revue belge de musicologie No. 46, 1992, pp. 53–79

Web links

swell

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 2, Bärenreiter and Metzler, Kassel and Basel 1999, ISBN 3-7618-1112-8
  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 Berchem, Jacquet de
ALTERNATIVE NAMES Berchem, Jakob van; Berchem, Giachet de; Berchem, Giachetto de
BRIEF DESCRIPTION Franco-Flemish composer and bandmaster of the Renaissance
DATE OF BIRTH around 1505
PLACE OF BIRTH Berchem
DATE OF DEATH around 1565
Place of death uncertain: Monopoli