Brumel, Antoine

The birthplace is not exactly known (researchers consider Brunelles, located west of Chartres as a possible candidate). In 1483-86, he sang in the Chartres Cathedral of Notre Dame, until 1492 he sang in the Cathedral of St. Petra in Geneva , approx. 1497 in Lana . In 1498-1500 he was the head of the chapel in the Notre Dame Cathedral, in 1506-10 he was chaplain at the court of Alfonso I d'Este in Ferrara (he was replaced by Jacob Obrecht at this honorary post). Reliable information about the last years of life has not been preserved. After the collapse of the chapel, d'Este allegedly remained in Italy, working in the churches of Faenza and Mantua . According to V. Galileo , Brumel as a member of a group of composers in 1513 received an audience with Pope Leo X. According to G. Glarean , the composer was familiar with Zhosken Depre (competed with him in skill) and lived to a "venerable age."

The most significant part of the heritage is polyphonic masses , in various techniques: traditional (on cantus firmus ), as in the Mass for the popular secular song L'homme armé , and avant-garde, which include the mass paraphrase (a melodic phrase or motive is carried out through the whole composition, similar to the later leitmotif ), as the mass of De beata virgine ^[1] , and the mass-parody (the fragment of the polyphonic texture is quoted in its entirety), as De dringhs , a parody of his own chanson ^[2] . In the mass of Sine nomine, for each part of the ordinar, new thematic material was used as a source. In the memorial mass ( requiem ) ^[3] for the first time as the cantus firmus the melody of the famous sequence Dies irae is used (the composer processed only the odd stanzas; see Alternatim ). All Brumel masses are four-voiced (which was traditional in his time), with the exception of Et ecce terrae motus , written in 12 voices.

Motets (about 30) and Brumel's chanson differ in stylistic variety. Some of them were written in a complex counter-punctual technique reminiscent of Okegem ’s compositions, and part — in a homorhythmic ( old-homophonic ) texture in the manner of polyphonic Italian songs (see Frottola , Villanella ) of the 16th century. The music of the “Italian” period is characterized by a recitative syllabic tongue twister, which (later) became the common place of the Renaissance madrigal . Among the compositions written for the instrumental ensemble is the treatment of the popular Flemish song “Tandernaken” (Brumel's “Tandernac”) ^[4] . According to some researchers, the famous song Fortuna desperata , which was attributed to A. Bunois , may belong to Brumel ^[5] .

Masses

1. De beata virgine (a4)
2. L'homme armé (a4)
3. De dringhs (a4)
4. Sine nomine (a4)
5. Berzerette savoyenne (a4)
6. Victimae paschali laudes (a4)
7. Missa pro defunctis (requiem, a4)
8. A l'ombre d'ung buissonet (a4)
9. Bon temps (a4)
10. Descendi in hortum (a4)
11. Dominicalis (a4)
12. Je nay deuel (a4)
13. Ut re mi fa sol la (a4)
14. Et ecce terrae motus (a12)

Motets and church music (sample)

1. Ave stella matutina
2. Ave, virgo gloriosa
3. Da pacem, domine
4. Exemplum octo modorum
5. Lamentationes: Heth. Cogitavit dominus
6. Languente miseris
7. Mater patris et filia
8. Nativitas unde gaudia / Nativitas tua, Dei genitrix
9. Nato canunt omnia
10. Noe, noe, noe
11. O crux, ave, spes unica
12. O domine jesu christe
13. Philippe qui videt me
14. Regina caeli laetare (2)
15. Sicut lilium inter spinas
16. Sub tuum praesidium

• Magnetix of the first tone
• Magnificat I tone
• Magnificat VI tone
• Credo (4 stand-alone essays)
• Benedictus 'fuga ex una'

Secular music

1. Amours, amours
2. Dieu te gart, bergere
3. Du tout plongiet / Fors seulement ( rondo )
4. En amours que cognoist
5. En ung matin
6. Esnu sy que plus porroie
7. Jamays
8. James que la ne peult estre
9. Je despite tous
10. Le my de may
11. Por vostre amour
12. Tandernac
13. Tous les regretz
14. Una maistresse
15. Vray dieu d'amour

Works attributed to Bruhmel

• Fortuna desperata
• Magnificat VIII tone

• Lloyd Jr Biggle . The Masses of Antoine Brumel. University of Michigan, Ph.D., 1953.
• Pierre Pidoux . Antoine Brumel à Genève (1486-1492) // Revue de musicologie 50 (1964)
• Wright C. Antoine Brumel and patronage at Paris // Music in medieval and early modern Europe: patronage, sources, and texts. Ed. by Iain Fenlon. Cambridge, Mass., 1981.
• Fallows D. A catalog of polyphonic songs, 1415-1480. Oxford, 1999.
• Owain Sutton . The mass music of Antoine Brumel. Manchester: University of Manchester, 2002.
• Amy Herrboldt, Olga Dolskaya-Ackerly . Humanistic influences on the career of Antoine Brumel. Thesis (MM). Kansas City, 2006.

• Discography of Antoine Brumel