Jean Mouton

Jean Mouton (originally Jean de Holligue; * before 1459 in Samer (today in the Pas-de-Calais department ); † October 30, 1522 in Saint-Quentin ) was a Franco-Flemish composer , singer and cleric of the Renaissance .

Live and act

The evidence for the biography of Jean Mouton is few in number. In these documents he is regularly referred to as “Jean de Holluigue dit Mouton”, but only Mouton (or Moton or Motone) in the musical sources. There is no evidence of Mouton's youth or education; that he was a pupil of Josquin , as Pierre de Rosnard claims in the preface to the “Livre des meslanges” (published in Paris 1560), is wholly unlikely. According to the first valid document, he was accepted into the collegiate church of Notre-Dame in Nesle near Péronne in October 1477 as a chantre escolatre , ie as a singer and religion teacher ; here he received a seat in the chapter on June 22, 1483 as a meanwhile ordained priest . The presumed year of birth results from this date, because the minimum age for ordination was 25 years. At some point in the following years he moved to the collegiate church in Saint-Omer , where he worked as a singer and copyist from 1494 to 1495. For the year 1500 there is a proof that he was "maistre of effans" at the Cathedral of Amiens has been (the beginning of this activity is not known); but already on September 17th of the following year he was employed at the collegiate church Saint-André in Grenoble to train the chapel boys "in organo et plano cantu", with the unusual privilege of choosing the students themselves ("promisit bene et cum diligencia pueros quos videret magis aptos ad cantum instruere ”).

From this time the incident is reported that a singer from the Notre-Dame church in Grenoble defected to the choir of Jean Mouton with a particularly beautiful voice, whereupon two other singers wrote a "Noe in organo facto et notato de novo" (a newly written copy of the sheet music ), which Mouton kept under lock and key for the feast of St. Andrew (November 30th). The motet in question has not survived, but this note is one of the earliest records of Mouton's activity as a composer. From April 1, 1502, he received the higher salary of a presbyter for life , but he was in this position before July 27 without permission of the chapter abandoned. King Ludwig XII. of France (reign 1498–1515) had with his wife Anne de Bretagne from 23–28 Made a visit to Grenoble on June 6th 1502 on the trip to Genoa and apparently on this occasion recruited the composer for the queen's court orchestra. A few “ state motets ” by Jean Mouton definitely suggest that he was in the service of the Queen before 1509. More composers were gathered in her court orchestra than in King Ludwig's, besides Mouton, for example, Antonius Divitis , Jean Richafort and Claudin de Sermisy . Queen Anne held Mouton in high esteem and procured him a canonical with benefice at his previous place of work in Grenoble , which he entered on May 10, 1510. In the document in question he is called magister capelle ; this office he may have shared with Divitis. By 1509 at the latest, Mouton also had a canonical in the diocese of Thérouanne .

Around this time the young Adrian Willaert came to Paris to study law , but soon switched to music and became Mouton's student. The later Willaert student Gioseffo Zarlino (1517–1590) left Willaert with an “il mio precettore Gio. Motone ”speak. The stylistic line Mouton - Willaert is actually obvious and represents one of the guidelines of this music-historical epoch.

After Queen Anne's death in 1514, King Ludwig took over Mouton from the court orchestra; Louis XII. however, died the following year. Mouton's participation in the funeral services on January 15, 1515 is documented. He then went to the chapel of his successor Francis I , where he stayed until the end of his life. After a short time, the composer was also particularly favored by his new employer. He traveled to Italy from September / October to December 1515 in the wake of the king and worked in Bologna with the court orchestra at the meeting of King Francis with the music-loving Pope Leo X (term of office 1513–1521), who negotiated the conclusion of a concordat here . On December 17, 1515, the Pope appointed the French court conductor Antoine de Longueval (fl. 1498–1525) and Mouton as apostolic notaries, a gesture that goes back to the special appreciation of both by Leo X. Another ruler, Duke Alfonso I d'Este from Ferrara , also tried hard to compose Moutons, having met him several times before; he repeatedly urged his agents in Paris to send him works by Mouton. From this period there is also a personal description of Mouton, which a certain Jean Michel wrote to his employer Sigismondo d'Este on November 15, 1515 from the French court camp: “Jean Mouton s'en a va Lorete et passera par Ferrara [.. .] vous le verres et luy feres bonne chère car il merite. Oultre qu'il est verteulx c'est le plus humil qu'on saroit trouver, et bon serviteur de Dieu. Tant comme je puis le vous recommande ”(roughly equivalent to:“ Jean Mouton had gone to Loreto and is passing by Ferrara. You will see him and wish him good luck, because he deserves it. Even if he is of the coarse nature, is he is the most humble one can be found and a good servant of God. As I can only recommend him to you ”).

At a later, not exactly known time Mouton received a bepfründetes canonicate at the collegiate Saint-Quentin, perhaps in the footsteps of his late colleague 1518 LOYSET COMPÈRE . It can also be assumed that in 1520 he took part in the meeting of the French and English courts at the camp du drap d'or , which was celebrated with the same musical effort as the five years earlier in Bologna. When the chronicler and music theorist Heinrich Glarean stayed in Paris during his student days (1517–1522), he spoke to Mouton and made a special note about his kind of language; In the final chapter of his work “Dodekachordon” (published in Basel 1547) he concludes the appraisal of Jean Mouton's “De Symphonetarum ingenio” with a longer Latin text in which he praises him for both his learned writing and his “flowing singing”. Mouton died on October 30, 1522 in Saint-Quentin and, like Compère, was buried in the collegiate church there. The tomb was later destroyed, but there is a copy of its inscription from the 17th century: “Ci gist Maistre Jehan de Holluigue, dit Mouton, en son vivant chantre du roy chanonine de Thérouanne et de cette église, qui trépassa le pénultième jour d'octobre MDXXII. Priez Dieu por son ame ”.

meaning

Jean Mouton must have had a privileged position in the court music of both kings; moreover, so many “state motets” have survived from him as from any other composer of his time, which may indicate an official or unofficial function as “court composer”. He was thus an important link in the series of court singers who made the transition from “composing singer” to “singing composer”. In addition, there is hardly any other important composer of his era for whom the tradition of his works offers such a typical and sharply defined picture. Mouton was one of the main masters of the motet between Josquin and Willaert. His sacred compositions show a differentiated cantus firmus technique and complicated canon arts ; In the later years he increasingly used parody methods and imitation, as well as alternating between homorhythmic and imitative sections with richly designed cadences . For many of his motets the historical occasion is clear, but for most of them the political function is fully assured.

Mouton's musical style was probably unique in its time and in any case highly innovative, developed a great effect and experienced an "intensive and extensive" reception ; this style "became outdated" rather quickly. It differs quite radically from the style of Josquin and his successors, on the other hand, many characteristics connect him with other composers of the French court orchestra between 1500 and 1520, especially with Antoine de Févin. Where his style appears particularly pure, there the musical construction takes precedence over the representation of the text; here contrasts recede entirely behind the steady flow of voices with little caesura in a movement that is largely full-voiced. Because of his tendency to subordinate the text to the music, correct or even emphatic text declamation hardly plays a role with Mouton , and an emotional or pictorial motif of the declamation is very rare. On the other hand, there is an extraordinarily balanced melody, in which the individual phrases first begin with motifs that are concise and syllabically declaimed, but then quickly turn into a melismatic that has a gradual movement and gentle rhythm. The composer often shows himself to be a gifted and original melodist.

The combinatorics of motifs, which are taken to extremes in some works, is only an expression of his pointed contrapuntal thinking; his canon technique also goes back to this. What is significant, however, is Mouton's tendency to hide canons rather than demonstratively demonstrate them. Elsewhere, however, there are really fine specimens of canons, such as his quadruple canons with eight voices. Mouton's mastery of canons and his relationship to his student Willaert are particularly evident in the print edition of canons by the Italian music publisher Andrea Antico (around 1480 - after 1539) from 1520, in which three elegant canons by Jean Mouton and eight not quite so elegant by Adrian Willaert are included. In the literature on Mouton it has long been emphasized that the motets are the main works of the composer; In the meantime, however, it is undisputed that it was just as important for the history of mass composition.

Works

Complete edition: Joannis Mouton Opera omnia , edited by AC Minor / Th. G. MacCrakken, [without location] 1967 and following (= Corpus mensurabilis musicae No. 43) Mouton's traditional work comprises 14 masses, a creed, around 120 motets (20 with controversial attributions), 10 Magnificats, about 24 chansons . In addition, the titles of a further 7 masses and 3 motets have survived that have not yet been identified or have been lost. The research divides the work into 4 phases; (1) around 1500: strongly constructivist trait, the rhythmic structure is unbalanced; (2) around 1500–1505: chordally concentrated movement, the voices are treated equally, no more cantus firmus, superius and bassus often in decimal parallels; (3) about 1505-1512: relaxation of the sentence; Constructivisms are avoided; (4) around 1514–1522: the simplicity of the movement, terse melody, strict imitation.

Measure with guaranteed authenticity
- Missa “Alma redemptoris mater” with four voices, Petrucci 1515, 1516, 1522, on the tonus solemnis of the Marian antiphon of the same name
- Missa “Verbum bonum” for four voices, 1521, parody mass on the motet of the same name by Pierquin de Thérache

Measure with doubtful authenticity

Missa “Argentum et aurum” with four voices, anonymous, stylistically unlikely to be Mouton's authorship
Missa “Sancta Trinitas” with four voices, partly attributed to Mouton, partly to Antoine de Févin

Masses and trade fair sets with a proven different authorship

Missa "Ave regina coelorum", to five voices, with 1 unfounded Mouton attribution, is by Jacobus Arcadelt
Missa “Benedicam Dominum” with six parts, with an unclear Mouton attribution by M. Brenet 1899
Missa “Da pacem Domini” with four voices is by Noel Bauldeweyn
Missa duarum facierum for four voices ("Alma redemptoris mater"), with 1 unfounded Mouton letter, is by Pierre Moulu
Missa “L'homme armé” with five voices, 1 attribution to Mouton, is by Mathurin Forestier
Missa “Nigra sum” with four voices, 1 erroneous attribution to Mouton, is by Mathieu Gascongne
Missa "Peccata mea" for five voices, Mouton only in the index of a manuscript, is by Jachet de Mantua (1483–1559)
Credo to six votes, attribution to Mouton in only 1 manuscript (lost), is by Antonius Divitis

Magnificat

Magnificat primi toni (I) to four voices
Magnificat primi toni (II) to four voices
Magnificat primi toni (III) to four votes
Magnificat tertii toni for four voices, (composer's name only in the index)
Magnificat quarti toni (I) to four votes
Magnificat quarti toni (II) to four votes
Magnificat quarti toni (III) to four voices, in one manuscript Mouton, in another Willaert ascribed
Magnificat quinti toni to four voices, ascribed to Mouton in one manuscript and anonymous in another
Magnificat sexti toni to four voices, 1534, 1543, (1553), only “Quia fecit” to two voices
"Fecit potentiam" from a Magnificat quinti toni for two voices, 1543, (1553)

Motets with guaranteed authenticity

"Alleluia Confitemini Domino" for four voices, 2nd part "Stetit Jesus in medio discipulorum"
"Amicus Dei Nicolaus" to four voices, 2nd part "Ad sacrum eius tumulum"
“Antequam comedam suspiro” with five voices, 2nd part “Ecce non est auxilium”, cantus firmus “Je ris et si ay larme”, = tenor of the chanson of the same name by Josquin
"Ave fuit prima salus" to four voices, 2nd part "Dominus ab initio"
“Ave Maria gemma virginum” with eight ex four voices, quadruple canon
“Ave Maria gratia Dei plena per secula” to four voices
“Ave Maria gratia plena” to four ex three voices, mirror canon tenor - bass
"Ave Maria gratia plena" to five voices, 2nd part "Tu civitas regis justicie"
“Ave sanctissima Maria” to four voices
"Ave virginum gemma Katharina" to four voices, 2nd part "Virgo sancta Katharina"
"Ave virgo celi porta" to four ex two voices, Chansons et Motetz en Canon , text "Libera animam meam"
“Beata Dei genitrix Maria” with four voices
"Beatus vir qui non abiit" with six voices, 2nd part "Non sic impii"
“Benedicam Dominum” with six ex five voices, canon in the upper second
[“Benedicite ...] Dominus” - (“Agimus tibi gratias ...”) “Amen” - “Beata viscera” to four voices
"Benedicta es celorum regina" to four ex three voices, 2nd part "Per illud ave"
"Benedictus Dominus Deus Israel" to four voices, 2nd part "Jusjurandum quod juravit", 3rd part "Et tu puer propheta"
"Bona vita bona refectio" to four voices, 2nd part "Educas panem de terra"
"Celeste beneficium introivit" for four voices, 2nd part "Adjutorium nostrum" (2nd part stylistically more by Antoine de Févin)
"Christe redemptor", see "O Christe redemptor"
“Christum regem regum adoremus” with four votes
"Christ vincit, Christ regnat" with four (?) Voices, only Altus handed down
"Confitemini Domino" for four voices, 2nd part "Bonum est confidere"
"Congregate sunt gentes" to four voices, 2nd part "Tu scis, Domine"
“Corde et animo Christo canamus” with four voices
"Da pacem domine" to six ex five voices
"De profundis" for four voices, 2nd part "Sustinuit anima mea", only passed down in 1558 as lute tablature
“Domine Deus exercituum fortis” for four voices, only soprano and bass survived in both sources
"Domine Deus noster" with four voices, 2nd part "Quid est homo", anonymous, only ascribed to Pierre Moulu in peripheral German sources
"Domine salvum fac regem" for four voices, 2nd part "Deus qui Moysi legem dedisti"
“Dulces exuviae” for four voices, soprano = soprano of the motet of the same name by Josquin, transposed 1 fourth higher
“Ecce Maria genuit” (I) to four voices
“Ecce Maria genuit” (II) to four voices
"Exalta regina Galliae" to four votes (celebrates the victory of the French in the Battle of Marignano, September 13-14, 1515)
"Exsultet coniubilando Deo" with eight voices, Cantus Firmus "Sine macula beatus Romanus" and Cantus firmus "Pater ecclesiae, Romanae", 2nd part "Gloriam Christo canamus"
"Factum esr silentium" for four voices, 2nd part "Dum sacrum misterium"
"Felix namque es" to four voices, 2nd part "O Maria mater Dei"
“Filie Jerusalem” to four votes
"Fulgebunt justi" to eight voices, cantus firmus "Christ vincit, Christ regnat" and cantus firmus "Omnes sancti et sancte Dei", 2nd part "Christ vincit, Christ regnat"
"Gaude Barbara beata" to four voices, 2nd part "Gaude quia meruisti"
“Gaude virgo Katharina” with four voices, 2nd part “Gaude quia meruisti”, partly attributed to Nicolas Gombert
"Gloriosa virgo Margareta" to four voices, 2nd part "Quem cum amavero"
“Homo quidam fecit cenam” to four voices
"Illuminare Hierusalem" to four voices, 2nd part "Interrogabat magos"
"In diebus illis filius Diocletiani" for four voices, 2nd part "Forti animo esto"
"In illo tempore accesserunt ad Jesum" to four voices, 2nd part "Propter hoc relinquit homo"
"In illo tempore Maria Magdalene" for four voices, 2nd part "Dic nobis, Maria"
“In omni tribulatione” to four voices
"Inter natos mulierum" to four voices, 2nd part "Elisabeth impletum est tempus pariendi"
"Jocundare Jerusalem" for four voices, 2nd part "Cum igitur natus esset"
"Laudate Deum in sanctis eius" with four voices, 2nd part "Quia cum clamarem"
Lectio Actuum Apostolorum: "In diebus illis" to four voices, 2nd part "Stupebant autem omnes"
"Libera anima meam", see "Ave virgo celi porta"
"Maria virgo semper laetare" to four voices, 2nd part "Te laudant angeli"
"Missus est Gabriel angelus" to five voices, 2nd part "Venit angelus ei", 3rd part "Dixit autem Maria", cantus firmus "Vera fides geniti"
"Moriens lux amantissima" for five voices, cantus firmus "Tibi soli peccavi"
“Nesciens mater virgo virum” with eight ex four voices, quadruple canon
“Nobis Sancte Spiritus” with four votes
“Noe, noe, noe, psallite noe” to four voices
"Noe, noe, puer nobis nascitur" for four voices, 2nd part "Tunc Herodes tremuit"
“Noli flere, Maria” to four voices
"Nolite cofidere" for two voices, counterfactor of Agnus Dei II of the Missa "Tua est potentia"
"Non nobis Domine" for four voices, 2nd part "Lauda Deum, o Renata" (with a modified text relating to Francis I, to the birth of Princess Renée on October 25, 1510)
"Nos qui vivimus. In exitu Israel "to four voices, 2nd part" Deus autem noster ", 3rd part" Dominus memor fuit nostri "
“O Christe redemptor” to four voices, 2nd part “O excelsa trinitas”, attributed to Pieter Maessin in a peripheral German source
“O Maria piissima. Quis dabit oculis nostris "to six voices, Cantus firmus" Nativitas unde gaudia "(on the death of Queen Anne de Bretagne on January 9, 1514)
"O Maria Virgo pia" for four voices, 2nd part "O Maria templum Dei"
“O quam fulges in etheris” to four voices
“O salutaris hostia” to four voices
“Peccantem me quotidie” (I) to five ex four voices, canon soprano - alto in the sub-second
“Peccantem me quotidie” (II) to five votes
“Peccata mea, Domine” with five ex four voices, canon tenor 2 - alto in the seventh
“Per lignum salve facti sumus” with five ex four voices
"Puer natus est" to four voices, 2nd part "Angelus ad pastores ait"
"Queramus cum pastoribus" for four voices, 2nd part "Ubi pascas, ubi cubes"
"Quis dabit oculos nostris" to four voices, 2nd part "Ergo eiulate pueri" (funeral motets for the death of Anne de Bretagne 1514)
"Regem confessorum Dominum" for four voices, 2nd part "Beatus vir"
"Reges terrae congregati sunt" to four voices, 2nd part "Et venientes invenerunt puerum"
"Salva nos, Domine" to six ex five voices
“Salve mater salvatoris” for four voices, mirror canon alto - bass
"Sancte Sebastiane, ora pro nobis" to four voices, 2nd part "O beate Sebastiane"
“Sancti Dei omnes” with four voices, partly attributed to Josquin
“Stetti Jesus in medio” to four voices, 2nd part “Surrexit Dominus”; 1st part = different version of the 2nd part of "Alleluia Confitemini", 2nd part is new
“Tota pulchra es” to four voices
“Tu sola es mater purissima” to five voices
“Tua est potentia” to five ex four voices; this motet has only the cantus firmus in common with Mouton's mass of the same name
“Veni ad liberandum nos” with four votes

Motets of doubtful authenticity

"Alleluia: noli flere, Maria" to four voices, partly Mouton, partly Mathieu Gascongne attributed
“Confitemini Domino” to six ex five voices, partly Mouton, partly attributed to Josquin, stylistically far more from Mouton
“Egregie Christi martyre Christophore” with four voices, 2nd part “Ecce enim festus est” with four voices, partly attributed to Mouton, partly attributed to Antoine de Févin, partly anonymous, by Antoine de Févin rather than Mouton
“Gloriosi principes terrae” with five voices, cantus firmus “Petrus apostulus et Paulus”, probably from Erasmus (not Erasmus Lapicida ), stylistically far removed from Mouton
“Gratia plena ipsa” to four voices, 2nd part “Prodit eis verbum”, anonymous, stylistically more by Ninot le Petit than by Mouton
“In nomine Jesu omne genu flectatur” with six ex four voices, double canon and two free voices, partly Mouton, partly attributed to Josquin, certainly not by Josquin, but perhaps by Mouton?
“In principo erat verbum” with six (?) Voices, only in a late and peripheral German manuscript, only Alto 1, Alto 2, tenor and bass survived
"Inviolata, integra et casta es" to eight voices, 2nd part "Nostra ut pura", 3rd part "O regina o Maria", anonymous, partly Mouton, partly attributed to Nicolas Gombert, in late German manuscripts Philippe Verdelot
“Lauda Christum” with three voices, partly attributed to Mouton, partly anonymous
“Miseremini mei”, 2nd part “Cutis mea” with four voices, Mouton only ascribed in German sources, in others Josquin or Jean Richafort
"Missus est angelus Gabriel" for five voices, cantus firmus "A une dame j'ay fait veu", 2nd part "Hic erit magnus", Cantus firmus = tenor of the chanson of the same name by Antoine Busnoys , partly attributed to Mouton and partly to Josquin, is not from Josquin, but maybe from Mouton?
"O Domine Jesu Christe" to four voices, the only source is the print by Georg Rhau 1538
“O pulcherrima mulierum” with four voices, part 2 “Descende in ortum”, partly attributed to Mouton, Nicolas Bauldeweyn, Antoine de Févin and Costanzo Festa , partly anonymous
“Puer natus est nobis” with four voices, partly attributed to Mouton, Stephan Mahu or Josquin, anonymously in a late German manuscript
“Quam pulchra es”, to four voices, 2nd part “Veni dilecte mi”, partly Mouton, partly Jachet [de Mantua], partly attributed to Johannes Lupi , anonymously in German sources
“Quam pulchra es” to four voices, part 2 “Labia tua”, partly attributed to Mouton, partly attributed to Josquin or Pierre Moulu or Philippe Verdelot, anonymously in other manuscripts
"Rex pacificus hodie natus est", only available in two late German manuscripts
"Spiritus Domini replevit orbem terrarum" with four voices, attributed to Mouton and Heinrich Isaac , only anonymous in German sources
“Surgens Jesus a mortuis” to four voices, 2nd part “Surrexit Dominus vere”, only available in two German prints
"Usquequo Domine oblivisceris me" to four voices, attributed to Mouton and Jean Lhéritier , more likely by Lhéritier
“Verbum bonum et suave” with eight voices, 2nd part “Ave solem genuisti”, partly Mouton, partly attributed to Johannes Lupi
“Verbum caro factum est” with six voices, Mouton only ascribed to the former Breslau city library (tablature, lost), otherwise J. de la Fage 1558 and in German manuscripts

Motets with meanwhile proven other authorship

"Angelus ad pastores ait" to four voices, 2nd part "Noe, noe, noe, et iterum noe", from Mouton only in late German sources, probably from Jachet [de Mantua]
"Angelus Domini" for four voices, see "Surge Petre"
“Ave ancilla trinitatis” with three voices, Mouton only ascribed in 1 German source, otherwise Antoine Brumel or anonymous, certainly by Antoine Brumel
"Ave Maria gratia plena" for three voices, see "Ave ancilla trinitatis"
“Candida phoebus monea auxilia platum” to four voices, 2nd part “Et chorus augusto”, anonymous, with 1 unfounded attribution to Mouton
"Christ resurgens ex mortuis" with four or five voices, 2nd part "Mortuus est enim", only 1 attribution to Mouton, is by Jean Richafort
“Contremuerunt omnia membra mea” with four voices, all sources anonymous, only once ascribed to Mouton
"Dulces exuviae" with three or four voices, attributed to Mouton and Willaert, once anonymous, in German sources with alto "ad placitum"
"Ego sum qui sum" to five voices, 2nd part "Tulerunt Dominum", Mouton only once attributed, otherwise N. des Celliers d'Hesdin and Jean Richafort, is by Jean Richafort
"Elisabeth Zachariae" for four voices, 2nd part "Inter natos mulierum", Mouton only in German sources ascribed to J. de La Fage in others, is certainly by J. de La Fage
“Gaude francorum regia corona” with four voices, Mouton only ascribed in the index of a manuscript, otherwise Antoine de Févin, is definitely by Antoine de Févin
“Hodie Christ natus est” with four voices, ascribed to Mouton in only one Slovak manuscript, is by Laurus Patavinus
“Hodie salvator mundi natus est” with four voices, Moton only ascribed in 1 manuscript, Jean Lhéritier in another, otherwise anonymous
"Impetum inimicorum" with four voices, Mouton only in one German lute tablature ascribed, in another Claudin de Sermisy, otherwise anonymous
“In illo tempore: Postquam consumati sunt” with four voices, Mouton only ascribed in a German print from 1554, otherwise Costanzo Festa , is by Costanzo Festa
"Miserere mei Deus" with four voices, 2nd part "Cor mundum crea in me", 3rd part "Benigne fac Domine", Mouton only ascribed in the German print from 1538, otherwise Carpentras or anonymous
"Noe, noe, noe", see "Angelus ad pastores ait"
“O beate Sebastiane” with four voices, partly Mouton, partly attributed to Johannes Martini , is by Johannes Martini
"Per illud ave" for two voices, Heinrich Glarean 1547, is the 2nd part of Josquin's "Benedicta es celorum regina"
“Regina caeli laetare” with four voices, 2nd part “Resurrexit sicut dixit”, 1 unfounded attribution to Mouton, otherwise to Andreas Michot or anonymously
“Regina caeli laetare” to five voices, 2nd part “Resurrexit sicut dixit”, anonymous, with 1 unfounded attribution to Mouton
“Salvator mundi salva nos” with four voices, part 2 “Eia ergo advocamus”, attributions to Mouton and Jean Lhéritier or anonymous, is by Jean Lhéritier
“Salve quadruplicium gestans coronam” to four voices, 2nd part “Seque manto niveo”, anonymous, with 1 unfounded attribution to Mouton
"Sancta trinitas unus Deus" for four voices, ascribed to Mouton only in 1 German lute tablature, is by Antoine de Févin
“Si oblitus fuero tui, Jerusalem” with four voices, 2nd part “Decantabat populus” with four voices, attributions to Mouton, Ninot le Petit and Jacob Obrecht or anonymous, is certainly by Ninot le Petit
"Surge Petre et indue te" with four voices, 2nd part "Angelus Domini", Mouton only in the former Königsberg university library attributed, is by Nicolas Gombert
“Suscipe Domine munera” with four voices, ascribed to “Mutus” in a single source, in no way meant Mouton, also stylistically impossible
"Te Deum laudamus" to four voices, 2nd part "Patrem immensae majestatis", 3rd part "Te ergo quaesumus", Mouton only in the former Königsberg university library attributed, handwritten to Josquin, otherwise anonymous, is certainly neither from Mouton nor from Josquin, perhaps by Andreas de Silva (around 1475/80 - after 1522)
“Veni Sancte Spiritus” with four voices, attributed to Mouton and Jachet [de Mantua], is probably from Jachet de Mantua
“Vulnerasti cor meum” with four voices, 2nd part identical, attribution to Mouton extremely unlikely, otherwise anonymous with a further unfounded attribution to Mouton

Chansons with guaranteed authenticity

“Adieu mes amours” to four ex two voices, Chansons et Motetz en Canon
“Ce que mon coeur pense” with five voices
“De tous regretz” to four voices
“Dieu gard de mal, de deshonneur” to three votes
“Du bon du coeur, ma chere dame” to five votes
“En venant de Lyon” with four ex 1 voices, Chansons et Motetz en Canon
“Jamais, jamais, jamais” to four votes
“Jamais n'aymeray mason” to three votes
“Je le lesray puisqu'il my bat” to four ex three votes
“Je ne puis” to four voices, only alto
“La, la, la, l'oysillon du bois” to four votes
“La rousée du moys de may” to five votes
“La rousée du moys de may” to six ex five voices
“Le berger et la bergere” to five votes
“Le grant desir d'aymer my tient” (I) with three votes
“Le grant desir d'aymer my tient” (II) with three votes
“Le villain jaloux” with four voices, related to Josquin's chanson of the same name, parody?
“Mais que ce fust le plaisir d'elle” with three voices
“Payne trabel” with six parts, only preserved as tablature
“Prens ton con, große garsse noyre” with three voices
"Qui ne regrettroit le gentil Fevin" to four ex two voices, Chansons et Motetz en Canon ( Deploration on the death of Antoine de Févin 1511/12)
“Resjouyssés vous bourgoyses, belles filles de Lion” with four votes
“Velecy, velela, ma mere” to four voices
“Vray Dieu d'amours maudite soit la journée” with five votes
“Vray Dieu, qu'amoureux ont de peine” with six votes

Chanson with meanwhile proven other authorship

“Languir me fais” to four voices, only ascribed to Mouton in one manuscript, Claudin de Sermisy in three others, anonymously in numerous prints and manuscripts, is by Claudin de Sermisy

Literature (selection)

M. Brenet: Jean Mouton. In: Tribune de Saint-Gervais No. 5, 1899, pages 323–334
G. Durand: La Musique de la Cathédrale d'Amiens avant la Révolution. In: Bulletin de la Société des antiquaires de Picardie No. 29, 1920-1922, pages 329-457; Reprint in: La Vie musicale dans les provinces françaises, Geneva 1972
L. Royer: Les Musiciens et la musique à l'ancienne collégiale Saint-André de Grenoble au Xve au XVIIIe siècle. In: Humanisme et Renaissance No. 4, 1937, pages 237-273
AC Minor: The Masses of Jean Mouton , dissertation at the University of Michigan, Ann Arbor 1950
Ms. Lesure: Un document sur la jeunesse de Jean Mouton. In: Revue belge de musicologie No. 5,1951, page 177 and following
JM Shine: The Motets of Jean Mouton , 3 volumes (including 2 volumes edition), dissertation at New York University 1953
P. Kast: On the biography and work of Jean Mouton. In: Report on the International Musicological Congress Vienna Mozart Year 1956, edited by E. Schenk, Graz / Cologne 1958
A. Dunning: The State Motette 1480–1555 , Utrecht 1970
St. Bonime: Anne de Bretagne (1477–1514) and Music , dissertation at Bryn Mawr College 1975
L. Lockwood: Jean Mouton and Jean Michel: New Evidence on French Music and Musicians in Italy, 1505-1520. In: Journal of the American Musicological Society No. 32, 1979, pp. 191-246
R. Sherr: The Membership of the Chapels of Louis XII and Anne de Bretagne in the Years Preceding their Deaths. In: The Journal of Musicology No. 6 1988, pp. 60-82
T. Braas: The Five-Part Motet Missus est angelus Gabriel and Its Conflicting Attributions. In: Congress report of the International Josquin Symposium Utrecht 1986, edited by W. Elders, Utrecht 1991, pp. 171-184
R. Heyink: On the rediscovery of the motu proprio decrees of Pope Leo X to Jean Mouton and other members of the French court orchestra. In: Church Music Yearbook No. 76, 1992, pp. 45–58
JF Dean: The Evolution of a Canon at the Papal Chapel: the Importance of Old Music in the Fifteenth and Sixteenth Centuries. In: Papal Music and Musicians in Late Medieval and Renaissance Rome, Oxford / New York 1998, pp. 138–166

Web links

Works by and about Jean Mouton in the catalog of the German National Library

Sheet music and audio files by Jean Mouton in the International Music Score Library Project

Sheet music in the public domain by Jean Mouton in the Choral Public Domain Library - ChoralWiki (English)

swell

↑ Ludwig Finscher: Mouton, Jean. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 12 (Mercadante - Paix). Bärenreiter / Metzler, Kassel et al. 2004, ISBN 3-7618-1122-5 ( online edition , subscription required for full access)
↑ 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 .

personal data
SURNAME	Mouton, Jean
ALTERNATIVE NAMES	Holluige, Jehan de
BRIEF DESCRIPTION	Franco-Flemish composer, singer and cleric of the Renaissance
DATE OF BIRTH	before 1459
PLACE OF BIRTH	Samer
DATE OF DEATH	October 30, 1522
Place of death	Saint-Quentin

[1] Ludwig Finscher: Mouton, Jean. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 12 (Mercadante - Paix). Bärenreiter / Metzler, Kassel et al. 2004, ISBN 3-7618-1122-5 ( 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 .