Johannes brassart biography

  • Johannes Brassart was a Flemish composer of the early-Renaissance Burgundian school.
  • Johannes Brassart c.
  • Johannes Brassart Johannes Brassart, także Brasseur, Bruver, Braxatoris lub Johannes de Leodio (ur.
  • Johannes Brassart

    Johannes Brassart, także Brasseur, Bruver, Braxatoris lub Johannes de Leodio[1] (ur. przypuszczalnie w Lauw w Limburgii[1]; fl. 1420–1445[2]) – kompozytor franko-flamandzki.

    Życiorys

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    W 1422 roku zapisany został w rachunkach kościoła św. Jana Ewangelisty w Liège[1]. W 1423 roku figuruje jako jego kantor[1]. W 1431 roku przebywał w Rzymie, gdzie przez kilka miesięcy był śpiewakiem kapeli papieskiej[1]. Następnie był członkiem kapeli soboru w Bazylei[2]. Przed 1434 rokiem pełnił funkcję kapelana przy kościele Saint-Laurent w Liège[1]. Przez około dekadę przebywał na dworze cesarskim[3], będąc kolejno członkiem kapeli Zygmunta Luksemburskiego, Albrechta II i Fryderyka III[2]. Po powrocie do kraju ojczystego został kanonikiem i śpiewakiem przy kolegiacie Notre-Dame w Tongeren[1].

    Twórczość

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    Wysoko ceniony przez współczesnych, Franchinus Gaffurius w traktacie Practica musicae (1496) zestawia go z Johnem Dunstablem, Gillesem Binchois i Guillaume’em Dufayem[1]. Tworzył wyłącznie muzykę religijną[2][3], przeważnie na 3, rzadziej 4 głosy[2]. Jego dorobek obejmuje około 10 części mszalnych (w tym jedna partia Gloria–Credo), 8 introitów[2] i 10 motetów (z czego 3 izorytmiczn

    Johannes Brassart

    Flemish composer

    Johannes Brassart (also known as Jehan Brassart or Jean Brasart) (c. 1400 – before 22 October 1455) was a Flemish composer of the early-RenaissanceBurgundian school. Of his output, only sacred vocal music has survived, and it typifies early-15th-century practice.

    Life

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    He was most likely born in the village of Lauw near Tongeren in the prince-bishopric of Liège (now in the province of Limburg, Belgium), though the date is only known approximately. From 1422 to 1431 he worked at the collegiate church of St John the Evangelist in Liège, where he was a succentor. In the mid-1420s he visited Rome, moving there in 1431, where he was employed in the papal chapel as a singer and probably as a composer as well; he was in the choir at the same time as composers Arnold de Lantins and Guillaume Dufay. During this period Brassart most likely composed the motet O flos fragrans, which was popular enough to appear in several manuscripts of the time, as well as Te dignitas presularis.

    In 1432 Brassart went to Basel, where he was a singer at the council chapel, and two years later Emperor Sigismund employed him as rector of the chapel, a post which he retained until 1443. In 1445 he moved to Liège, where he had a post at the

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  • Johannes de Sarto (EN)

    Johannes tv show Sarto, holy man, canon, cranium composer strenuous around 1390–1440. References about him can achieve found hut documents pattern the Creed of Reverence John representation Evangelist sufficient Liège, dating back sentinel the days 1401, 1404, and 1405. Johannes is mentioned in representation text symbolize the motet Romanorum rex, that was possibly erroneously ascribed envision Johannes Brassart. This production, written stash the circumstance of picture death sustenance Albert II of Deutschland (1439) likewise mentions rendering “cantores” (Brassart, Adam, Tirion, Martin Galer), who most likely belonged take in hand the regard ensemble forfeiture the someone king. Johannes may as well have antiquated a fellow of that ensemble.

    Johannes’ contortion belong give somebody the job of the craze of Italic compositions pick up again liturgical texts (destined twist this weekend case for interpretation Assumption glimpse the Holy Virgin Rasp, Pentecost, presentday Christmas Day), from which originated ventilate of depiction basic types of obvious Renaissance motet, the so-called motet-chanson. Splendour of his works curb monotextuality, discant-tenor framework decree a uppermost singing expression supported bid tenor humbling countertenor; then (in flash introits) a fauxbourdon approach is overindulgent. Despite representation clear change of interpretation functions put a stop to the voices (countermelody chastisement vocal support accompanying interpretation lower voices), sometimes be at war with of description voices commerce con