Pierre de Manchicourt: Difference between revisions

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'''Aliases:''' Mancicourt, Manchicurti
{{Aliases|Pierre de Mancicourt|Pierre de Manchicurti}}
==Life==
==Life==
'''Born:''' c. 1510, Béthune (then County of Artois, Habsburg Netherlands; now Pas-de-Calais, France)
'''Born:''' c. 1510, Béthune (then County of Artois, Habsburg Netherlands; now Pas-de-Calais, France)
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'''Biography'''
'''Biography'''


Few records of Manchicourt's life survive: what we know of his life and work is obtained primarily from publications of his works. The earliest known information indicates that in 1525 he was a choirboy at Arras. By 1539, he was provost at the cathedral in Tours, where he would have had access to a considerable library of the works of the great master, and previous incumbent, [[Johannes Ockeghem]]. For at least nine years, from 1545 to 1554, he held the post of ''maître de chapelle'' at Nôtre-Dame Cathedral in Tournai; [[Nicolas Gombert]], whose compositional influence is clearly evident in Manchicourt’s later works, was a canon of the Cathedral throughout Manchicourt’s tenure. On the death of the incumbent, [[Nicolas Payen]], in 1559, Manchicourt was appointed ''maestro de capilla flamenca'' (master of the Flemish chapel) at the court of Philip II in Madrid, which post he held until his death five years later. He was succeeded in 1565 by [[Jean de Bonmarché]], continuing an unbroken line of Flemish incumbents stretching back to [[Marbrianus de Orto]] in 1512. <br>  
Few records of Manchicourt's life survive: what we know of his life and work is obtained primarily from publications of his works. The earliest known information indicates that in 1525 he was a choirboy at Arras. By 1539, he was provost at the cathedral in Tours, where he would have had access to a considerable library of the works of the great master, and previous incumbent, [[Johannes Ockeghem]]. For at least nine years, from 1545 to 1554, he held the post of ''maître de chapelle'' at Nôtre-Dame Cathedral in Tournai; [[Nicolas Gombert]], whose compositional influence is clearly evident in much of Manchicourt’s output, was a canon of the Cathedral throughout Manchicourt’s tenure. On the death of the incumbent, [[Nicolas Payen]], in 1559, Manchicourt was appointed ''maestro de capilla flamenca'' (master of the Flemish chapel) at the court of Philip II in Madrid, which post he held until his death five years later. He was succeeded in 1565 by [[Jean de Bonmarché]], continuing an unbroken line of Flemish incumbents stretching back to [[Marbrianus de Orto]] in 1512. <br>


The fact that Pierre Attaingnant, publisher of the French Royal Court, devoted his fourteenth and final volume of motets in 1539 entirely to Manchicourt's work (an honour he bestowed on no other, and emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to the composer's reputation in his day. Around the time of his death, Manchicourt's highly polyphonic style of composition rapidly went out of fashion — a fate shared with his contemporaries [[Nicolas Gombert|Gombert]], [[Jacobus Clemens non Papa|Jacobus Clemens]] and [[Thomas Crecquillon]] — as the liturgical reforms of the Council of Trent took hold, marking the transition from the High Renaissance to the less florid Late-Renaissance style of Victoria and Palestrina.
The fact that Pierre Attaingnant, publisher of the French Royal Court, devoted his fourteenth and final volume of motets in 1539 entirely to Manchicourt's work (an honour emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to the composer's reputation in his day. Around the time of his death, Manchicourt's highly polyphonic style of composition rapidly went out of fashion — a fate shared with his contemporaries [[Nicolas Gombert|Gombert]], [[Jacobus Clemens non Papa|Jacobus Clemens]] and [[Thomas Crecquillon]] — as the liturgical reforms of the Council of Trent took hold, marking the transition from the High Renaissance to the less florid Late-Renaissance style of Victoria and Palestrina.


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{{Whatlinkshere}}
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===Sacred works===
===Sacred works===
Manchicourt’s sacred works appear in more than fifty printed collections and at least twenty hand-copied manuscripts, dating from 1532 through to the late 16th century. His surviving sacred output consists of nineteen masses, a mass section, a ''Magnificat'', 71 motets and two ''chansons spirituelles''. A further nine sacred works — polychoral psalm settings — are contained in a degraded manuscript in Zaragoza whose contents are not documented.
Manchicourt’s sacred works appear in more than fifty printed collections and at least twenty hand-copied manuscripts, dating from 1532 through to the late 16th century. His surviving sacred output consists of nineteen masses, a mass section, a ''Magnificat'', 71 motets and two ''chansons spirituelles''. A further nine sacred works — polychoral psalm settings — are contained in a degraded manuscript in Zaragoza ([http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=2491 E–Zvp Armario C-3, MS 14]) whose contents are not documented.


====Masses, mass section, Magnificat====
====Masses, mass section, Magnificat====
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{{top}}
{{top}}
*Missa ''Ceste une dure departie'' 4vv — <small>on [[Cest une dure departie (Claudin de Sermisy)|Sermisy’s ''chanson'']]</small>
*Missa ''Ceste une dure departie'' 4vv — <small>on [[Cest une dure departie (Claudin de Sermisy)|Sermisy’s ''chanson'']]</small>
*Missa ''Congratulamini'' 4(6)vv — <small>on an unidentified model</small>
*Missa ''Congratulamini'' 4(6)vv — <small>on [[Congratulamini mihi omnes (Claudin de Sermisy)|Sermisy’s motet]]? (see Note 1.)</small>
*Missa ''Cuidez vous que Dieu'' 5(6)vv — <small>on [[Cuidez vous que Dieu nous faille (Jean Richafort)|Richafort’s ''chanson'']]</small>
*Missa ''Cuidez vous que Dieu'' 5(6)vv — <small>on [[Cuidez vous que Dieu nous faille (Jean Richafort)|Richafort’s ''chanson'']]</small>
*Missa ''De retourner'' 4vv — <small>on an anon. ''chanson'' [in Attaingnant, RISM 1528/6]</small>
*Missa ''De retourner'' 4vv — <small>on an anon. ''chanson'' [in Attaingnant, RISM 1528/6]</small>
*Missa ''Deus in adjutorium'' 4(5)vv — <small>on [[Claudin de Sermisy|Sermisy]]’s motet</small>
*Missa ''Deus in adjutorium'' 4(5)vv — <small>on [[Claudin de Sermisy|Sermisy]]’s motet</small>
*''Missa de Domina Virgine Maria'' 5(6)vv — <small>on Mass IV, IX as in ''[[Liber Usualis]]''</small>
*''Missa de Domina Virgine Maria'' 5(6)vv — <small>on Mass IV, IX as in ''[[Liber Usualis]]''</small>
*Missa ''Ego flos campi'' 4vv — <small> on [[Guillaume Le Heurteur|Le Heurteur]]’s motet? (see Note (1))</small>
*Missa ''Ego flos campi'' 4vv — <small> on [[Guillaume Le Heurteur|Le Heurteur]]’s motet? (see Note 2.)</small>
*Missa ''Gris et tannet'' 4(5)vv — <small>on [[Gris et tenné (Claudin de Sermisy)|Sermisy’s ''chanson'']]</small>
*Missa ''Gris et tannet'' 4(5)vv — <small>on [[Gris et tenné (Claudin de Sermisy)|Sermisy’s ''chanson'']]</small>
*Missa ''Nisi Dominus'' 4(5)vv — <small>on [[Jehan L'Heritier|L’Héritier]]’s motet</small>
*Missa ''Nisi Dominus'' 4(5)vv — <small>on [[Jehan L'Heritier|L’Héritier]]’s motet</small>
{{middle}}
{{middle}}
*Missa ''Noe, noe'' 4(6)vv — <small>on [[Noe, noe psallite (Jean Mouton)|Mouton’s motet]]</small>
*[[Missa Noe, noe (Pierre de Manchicourt)|Missa ''Noe, noe'']] 4(6)vv — <small>on [[Noe, noe psallite (Jean Mouton)|Mouton’s motet]]</small>
*Missa ''Non conturbetur cor vestrum'' 4(5)vv — <small>on [[Non conturbetur cor vestrum (Pierre de Manchicourt)|his own (or Gosse’s?) motet]]</small>
*Missa ''Non conturbetur cor vestrum'' 4(5)vv — <small>on [[Non conturbetur cor vestrum (Pierre de Manchicourt)|his own (or Gosse’s?) motet]]</small>
*Missa ''Povre cuer'' 4vv — <small>on an anon. ''chanson'' [in Attaingnant, RISM 1528/4]</small>
*Missa ''Povre cuer'' 4vv — <small>on an anon. ''chanson'' [in Attaingnant, RISM 1528/4]</small>
*Missa ''Quo abiit dilectus tuus'' 4(5)vv — <small>on [[Quo abiit dilectus tuus (Pierre de Manchicourt)|his own motet]]</small>
*Missa ''Quo abiit dilectus tuus'' 4(5)vv — <small>on [[Quo abiit dilectus tuus (Pierre de Manchicourt)|his own motet]]</small>
*Missa ''Reges terrae I'' 4(5)vv <small>[E-Mo 768, c.1545–55]</small> — <small>on [[Reges terrae congregati sunt (Jean Mouton)|Mouton’s motet]]</small>
*[[Missa Reges terrae a 4 (Pierre de Manchicourt)|Missa ''Reges terrae'']] 4(5)vv <small>[E-Mo 768, c.1545–55]</small> — <small>on [[Reges terrae congregati sunt (Jean Mouton)|Mouton’s motet]]</small>
*Missa ''Reges terrae II'' 6vv <small>[B-Bcx 27087, c.1549]</small> — <small>on [[Reges terrae (Pierre de Manchicourt)|his own motet]]</small>
*[[Missa Reges terrae a 6 (Pierre de Manchicourt)|Missa ''Reges terrae'']] 6vv <small>[B-Bcx 27087, c.1549]</small> — <small>on [[Reges terrae (Pierre de Manchicourt)|his own motet]]</small>
*Missa ''Se dire je losoie'' 4(5)vv — <small>on [[Benedictus Appenzeller|Appenzeller]]'s ''chanson'' (see Note (2))</small>
*Missa ''Se dire je losoie'' 4(5)vv — <small>on [[Benedictus Appenzeller|Appenzeller]]'s ''chanson''? (see Note 3.)</small>
*Missa ''Surge et illuminare'' 4(5)vv — <small>on an unidentified model</small>
*Missa ''Surge et illuminare'' 4(5)vv — <small>on an unidentified model</small>
*Missa ''Veni Sancte Spiritus'' 6vv — <small>on [[Veni Sancte Spiritus|the Sequence for Pentecost]]</small>
*[[Missa Veni Sancte Spiritus (Pierre de Manchicourt)|Missa ''Veni Sancte Spiritus'']] 6vv — <small>on [[Veni Sancte Spiritus|the Sequence for Pentecost]]</small>
{{btm}}
{{btm}}
{{top}}
{{top}}
*''Missa de Requiem'' 5vv — <small>using chant settings of the Ordinary and Propers of the Mass for the Dead (Parisian Rite) as a ''cantus firmus'', similar to [[Missa pro defunctis (Jean Richafort)|Richafort's ''Requiem'']]</small>
*''{{NoCo|Missa de Requiem}}'' 5vv — <small>using chant settings of the Ordinary and Propers of the Mass for the Dead (Parisian Rite) as a ''cantus firmus'', similar to [[Missa pro defunctis (Jean Richafort)|Richafort's ''Requiem'']]</small>
*''Domine Deus'' 2vv — <small>mass fragment published in a collection of 2vv works [Gardano, RISM 1543/19] that includes mass fragments from other composers</small>
*''Domine Deus'' 2vv — <small>mass fragment published in a collection of 2vv works [Gardano, RISM 1543/19] that includes mass fragments from other composers</small>
*''Magnificat secundi toni'' 4(5)vv — <small>alternating verses of polyphony and Tone II chant, published in a collection of Magnificat settings [Attaingnant, RISM 1534/7]</small>
*''Magnificat secundi toni'' 4(5)vv — <small>alternating verses of polyphony and Tone II chant, published in a collection of Magnificat settings [Attaingnant, RISM 1534/7]</small>
{{btm}}
{{btm}}


<small>''Notes:''</br>
<small>''NOTES:''</br>
(1) Despite Grove’s attribution, there appears to be no such motet by [[Guillaume Le Heurteur]] among his known works, nor any other surviving setting of ''Ego flos campi'' that predates the mass (the only surviving source dates from c.1545–55) and resembles its motifs. </br>
1.  Grove identifies no model, but there is very clear motivic correlation with Sermisy’s motet that was first published in 1539 and thus pre-dates the mass (which is annotated ‘1547’ in its source). Manchicourt based three other mass settings on works by Sermisy. </br>
(2) Although Grove states that [[Se dire je losoye (Nicolas Gombert)|Nicolas Gombert’s five-voice ''chanson'']] of the same name is the model, the motifs in the mass more closely resemble [[Benedictus Appenzeller]]'s four-voice setting: most notably, the opening phrase of the ''Kyrie'' — where direct quoting of the model is to be expected — is identical to the opening phrase of Appenzeller’s <i>chanson</i>. [[Thomas Crecquillon]] wrote a five-voice mass setting on the same Appenzeller <i>chanson</i>. </small>
2.  Despite Grove’s attribution, there appears to be no such motet by [[Guillaume Le Heurteur]] among his known works, nor any other surviving setting of ''Ego flos campi'' that predates the mass (whose only surviving source dates from c.1545–55) and resembles its motifs. </br>
3.  Although Grove states that [[Se dire je losoye (Nicolas Gombert)|Nicolas Gombert’s five-voice ''chanson'']] of the same name is the model, the motifs in the mass more closely resemble [[Benedictus Appenzeller]]'s four-voice setting: most notably, the opening phrase of the ''Kyrie'' — where direct quoting of the model is to be expected — is identical to the opening phrase of Appenzeller’s <i>chanson</i>. [[Thomas Crecquillon]] wrote a five-voice mass setting on the same Appenzeller <i>chanson</i>. </small>


====Latin sacred motets====
====Latin sacred motets====
The 71 sacred motets attributed to Manchicourt include one with doubtful attribution (^^), one with doubtful attribution to another composer (^), four with unresolved conflicting attribution (?), and two ''contrafacta'' of other Manchicourt motets (°).
The 71 sacred motets attributed to Manchicourt include one with doubtful attribution (^^), one with doubtful attribution to another composer (^), five with unresolved conflicting attribution (?), and two ''contrafacta'' of other Manchicourt motets (°).
{{top}}
{{top}}
*{{NoCo|Accessit ad Jesum}} 5vv (2.p. Respondens autem Jesus)
*{{NoCo|Accessit ad Jesum}} 5vv (2.p. Respondens autem Jesus)
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*Laudem dicite Deo nostro 5vv (2.p. Laudate Dominum Deum)
*Laudem dicite Deo nostro 5vv (2.p. Laudate Dominum Deum)
*Lux de caelo adveniens 4vv (2.p. Te expectat chorus angelorum)
*Lux de caelo adveniens 4vv (2.p. Te expectat chorus angelorum)
*{{NoCo|Maria Magdalene}} 5vv (2.p. Cito euntes dicite discipulis)
*? {{NoCo|Maria Magdalene}} 5vv (2.p. Cito euntes dicite discipulis) – <small>attributed to [[Nicolas Gombert|Gombert]] in later sources </small>
*{{NoCo|Media vita in morte sumus}} 4vv (2.p. Sancte Deus, sancte fortis)
*{{NoCo|Media vita in morte sumus}} 4vv (2.p. Sancte Deus, sancte fortis)
{{middle}}
{{middle}}
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*{{NoCo|Osculetur me}} 6vv (2.p. Trahe me post te)
*{{NoCo|Osculetur me}} 6vv (2.p. Trahe me post te)
*Paratum cor meum 4vv (2.p. Exaltare in virtute)
*Paratum cor meum 4vv (2.p. Exaltare in virtute)
*{{NoCo|Pater peccavi I (5vv)|Pater peccavi I}} 5vv (2.p. Quanti mercenarii) <small>[[Sacrarum cantionum, liber 2 (Tielman Susato)|[Susato, 1546]]]</small>
*{{NoCo|Pater peccavi (5vv)|Pater peccavi}} 5vv (2.p. Quanti mercenarii) <small>[[Sacrarum cantionum, liber 2 (Tielman Susato)|[Susato, 1546]]]</small>
*? {{NoCo|Pater peccavi II (4vv)|Pater peccavi II}} 4vv (2.p. Quanti mercenarii) <small>[Berg & Neuber, 1546]</small> — <small> attributed to [[Jacobus Clemens non Papa|Clemens]] in later sources </small>
*? {{NoCo|Pater peccavi (4vv)|Pater peccavi}} 4vv (2.p. Quanti mercenarii) <small>[Berg & Neuber, 1546]</small> — <small> attributed to [[Jacobus Clemens non Papa|Clemens]] in later sources </small>
*{{NoCo|Peccantem me quotidie}} 4vv (2.p. Commissa mea pavesco)
*{{NoCo|Peccantem me quotidie}} 4vv (2.p. Commissa mea pavesco)
*Peccata mea, Domine 5vv (2.p. Quoniam iniquitatem)
*Peccata mea, Domine 5vv (2.p. Quoniam iniquitatem)
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*{{NoCo|Quo abiit dilectus tuus}} 4vv (2.p. Qualis est dilectus tuus)
*{{NoCo|Quo abiit dilectus tuus}} 4vv (2.p. Qualis est dilectus tuus)
*Quousque Domine 5vv (2.p. Et ne negligas)
*Quousque Domine 5vv (2.p. Et ne negligas)
*Recordare, Domine, testamenti 5vv (2.p. Quiescat Domine ira tua)
*{{NoCo|Recordare, Domine, testamenti tui}} 5vv (2.p. Quiescat, Domine, ira tua)
*{{NoCo|Reges terrae|Reges terrae congregati sunt}} 6vv (2.p. Et venientes invenerunt)
*{{NoCo|Reges terrae|Reges terrae congregati sunt}} 6vv (2.p. Et venientes invenerunt)
*{{NoCo|Regina caeli laetare}} 6vv (2.p. Resurrexit, sicut dixit)
*{{NoCo|Regina caeli laetare}} 6vv (2.p. Resurrexit, sicut dixit)
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====''Chansons spirituelles''====
====''Chansons spirituelles''====
These two ''chansons'' are a French paraphrase of [[Psalm 130]], and appear in one printed source as two parts of a single work:
These two ''chansons'' are a French paraphrase of [[Psalm 130]], and appear in one printed source as two ''partes'' of a single work:
{{top}}
{{top}}
*{{NoCo|Du fond de ma pensee|Du fond de ma pensée}} 4vv
*{{NoCo|Du fond de ma pensee|Du fond de ma pensée}} 4vv
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{{btm}}
{{btm}}


====Summary of secular works available at CPDL (listed automatically)====
====Summary of French ''chansons'' available at CPDL (listed automatically)====
{{#SortWorks:Secular music|cols=3}}
{{#SortWorks:Secular music&&Works in French|cols=3}}
{{CheckMissing}}
{{CheckMissing}}


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* ''[[Cantionum sacrarum liber 5 (Pierre de Manchicourt)|Cantionum sacrarum liber 5]]'' (Pierre Phalèse, Leuven, 1554, reprinted 1558 and 1560) — <small> contains nine 5vv and five 6vv motets </small>
* ''[[Cantionum sacrarum liber 5 (Pierre de Manchicourt)|Cantionum sacrarum liber 5]]'' (Pierre Phalèse, Leuven, 1554, reprinted 1558 and 1560) — <small> contains nine 5vv and five 6vv motets </small>
Two manuscripts that contain only Manchicourt’s works are held in the library of the Benedictine monastery in Montserrat, Catalunya:
Two manuscripts that contain only Manchicourt’s works are held in the library of the Benedictine monastery in Montserrat, Catalunya:
*Montserrat, Biblioteca del Monestir, MS 768 ‘''Douze messe musicales composees par M.P. de Manchicourt''’ (Brussels, c.1545–55) — <small> from the court of Mary of Hungary (daughter of Philip the Fair and Juana of Spain, and Regent of the Netherlands 1531–55); contains twelve of his nineteen masses </small>
*Montserrat, Biblioteca del Monestir, MS 768 ‘''Douze messe musicales composees par M.P. de Manchicourt''’ (Brussels, c.1545–55) — <small> from the court of Mary of Hungary (daughter of Philip the Fair and Juana of Spain, and Regent of the Netherlands 1531–55); contains twelve of his nineteen mass settings </small>
*Montserrat, Biblioteca del Monestir, MS 772 ‘''Liber quatuor missarum musicalium nec non aliquot carminum ecclesiasticorum Petre de Manchicourt''’ (Madrid, c.1560) — <small> possibly copied by the composer himself during his tenure in the Court of Philip II; contains four masses, one 6vv motet, seven 5vv motets and three 4vv motets </small>
*Montserrat, Biblioteca del Monestir, MS 772 ‘''Liber quatuor missarum musicalium nec non aliquot carminum ecclesiasticorum Petre de Manchicourt''’ (Madrid, c.1560) — <small> possibly copied by the composer himself during his tenure in the Court of Philip II; contains four mass settings, one 6vv motet, seven 5vv motets and three 4vv motets </small>
Manchicourt's works also appear in the following 16th-century printed collections catalogued at CPDL:
Manchicourt's works also appear in numerous printed collections from 1532 to 1580, including the following that are catalogued at CPDL:
;Masses
*''[[Viginti missarum musicalium (Pierre Attaingnant)|Viginti missarum musicalium]]'' (Attaingnant, 1532) — <small> contains two mass settings, one of which opens the first of the seven volumes of this collection </small>
;Motets
*''[[Motteti del Fiore secundus liber cum quatuor vocibus (Jacques Moderne)|Motteti del fiore secundus liber cum quatuor vocibus]]'' (Jacques Moderne, Lyon, 1532) — <small> contains two 4vv motets </small>
*''[[Motettorum, Book 7 (Pierre Attaingnant)|Motettorum, Book 7]]'' (Attaingnant, 1534) — <small> contains one each 4vv, 5vv and 6vv Magnificat antiphons for Advent </small>
*''[[Motettorum, Book 7 (Pierre Attaingnant)|Motettorum, Book 7]]'' (Attaingnant, 1534) — <small> contains one each 4vv, 5vv and 6vv Magnificat antiphons for Advent </small>
*''[[Excellentiss. autorum liber primus quatuor vocum]]'' (Antonio Gardano, Venice, 1539, reprinted 1549) — <small> contains one 4vv motet </small>
*''[[Motettorum, Book 13 (Pierre Attaingnant)|Motettorum, Book 13]]'' (Attaingnant, 1535) — <small> contains one 5vv motet</small>
*''[[Quartus liber mottetorum ad quinque et sex voces (Jacques Moderne)|Quartus liber mottetorum ad quinque et sex voces]]'' (Moderne, 1539) — <small> contains two 5vv motets </small>
*''[[Fior de mottetti secundus liber cum quinque vocibus (Antonio Gardano)|Fior de mottetti secundus liber cum quinque vocibus]]'' (Antonio Gardano, Venice, 1539) — <small> contains two 5vv motets </small>
*''[[Musica quinque vocum liber primus (Nicolas Gombert)]]'' (Girolamo Scotto, Venice, 1539) — <small> contains one 5vv motet (attributed to Gombert) </small>
*''[[Motteti del Fiore tertius liber cum quatuor vocibus (Jacques Moderne)|Motteti del fiore tertius liber cum quatuor vocibus]]'' (Moderne, 1539) — <small> contains one 4vv motet </small>
*''[[Excellentiss. autorum liber primus quatuor vocum|Primus liber cum quatuor vocibus … Mottetti del frutto a quatro]]'' (Gardano, 1539, reprinted 1549) — <small> contains one 4vv motet </small>
*''[[Motectorum liber secundus quatuor vocum (Nicolas Gombert)|Motectorum Nicolai Gomberti liber secundus, quatuor vocum]]'' (Scotto, 1541) — <small> contains one 4vv motet (attributed to Gombert) </small>
*''[[Sacrarum cantionum, liber 2 (Tielman Susato)|Sacrarum cantionum, liber 2]]'' (Susato, 1546) — <small> contains one 5vv motet </small>
*''[[Sacrarum cantionum, liber 2 (Tielman Susato)|Sacrarum cantionum, liber 2]]'' (Susato, 1546) — <small> contains one 5vv motet </small>
*''[[Sacrarum cantionum, liber 3 (Tielman Susato)|Sacrarum cantionum, liber 3]]'' (Susato, 1547) — <small> contains two 4vv motets </small>
*''[[Sacrarum cantionum, liber 3 (Tielman Susato)|Sacrarum cantionum, liber 3]]'' (Susato, 1547) — <small> contains two 4vv motets </small>
*''[[Sacrarum cantionum, liber 4 (Tielman Susato)|Sacrarum cantionum, liber 4]]'' (Susato, 1547) — <small> contains one 4vv motet </small>
*''[[Sacrarum cantionum, liber 4 (Tielman Susato)|Sacrarum cantionum, liber 4]]'' (Susato, 1547) — <small> contains one 4vv motet </small>
*''[[Psalmorum selectorum, tomus 1-4 (Johann vom Berg)|Tomus secundus psalmorum selectorum quatuor et plurimum vocum]]'' (Johann vom Berg & Ulrich Neuber, Nürnberg, 1553) — <small> contains one 4vv motet </small>
*''[[Ecclesiasticarum cantionum quatuor vocum, liber 2]]'' (Susato, 1553) — <small> contains one 4vv motet </small>
*''[[Ecclesiasticarum cantionum quatuor vocum, liber 2]]'' (Susato, 1553) — <small> contains one 4vv motet </small>
*''[[Ecclesiasticarum cantionum quatuor vocum, liber 3]]'' (Susato, 1553) — <small> contains two 4vv motets </small>
*''[[Ecclesiasticarum cantionum quatuor vocum, liber 3]]'' (Susato, 1553) — <small> contains two 4vv motets </small>
*''[[Ecclesiasticarum cantionum quatuor vocum, liber 4]]'' (Susato, 1554) — <small> contains one 4vv motet </small>
*''[[Ecclesiasticarum cantionum quinque vocum, liber 5]]'' (Susato, 1553) — <small> contains three 5vv motets </small>
*''[[Ecclesiasticarum cantionum quinque vocum, liber 5]]'' (Susato, 1553) — <small> contains three 5vv motets </small>
*''[[Ecclesiasticarum cantionum quinque vocum, liber 7]]'' (Susato, 1553) — <small> contains one 5vv motet </small>
*''[[Ecclesiasticarum cantionum quinque vocum, liber 7]]'' (Susato, 1553) — <small> contains one 5vv motet </small>
*''[[Ecclesiasticarum cantionum quinque vocum, liber 14]]'' (Susato, 1553, reprinted 1557 and 1558) — <small> contains four 5vv motets </small>
*''[[Ecclesiasticarum cantionum quatuor vocum, liber 4]]'' (Susato, 1554) — <small> contains one 4vv motet </small>
*''[[Ecclesiasticarum cantionum quinque vocum, liber 9]]'' (Susato, 1554) — <small> contains one 5vv motet </small>
*''[[Ecclesiasticarum cantionum quinque vocum, liber 9]]'' (Susato, 1554) — <small> contains one 5vv motet </small>
*''[[Sacrarum cantionum … quinque et sex vocum, liber 1|Sacrarum cantionum quinque et sex vocum, liber 1]]'' (Hubert Waelrant & Jan de Laet, Antwerp, 1554) — <small> contains one 5vv and one 6vv motet </small>
*''[[Evangelia dominicorum et festorum dierum tomus primus (Berg and Neuber)| Evangelia dominicorum et festorum dierum tomus primus]]'' (Berg & Neuber, 1554) — <small> contains one 5vv motet </small>
*''[[Motetti del laberinto libro secondo (Girolamo Scotto)|Motetti del laberinto libro secondo]]'' (Scotto, 1554) — <small> contains one 4vv motet </small>
*''[[Cantionum sacrarum liber 1]]'' (Phalèse, 1554, reprinted 1555) — <small> contains one 5vv motet </small>
*''[[Cantionum sacrarum liber 1]]'' (Phalèse, 1554, reprinted 1555) — <small> contains one 5vv motet </small>
*''[[Cantionum sacrarum liber 2]]'' (Phalèse, 1554, reprinted 1555) — <small> contains one 6vv motet </small>
*''[[Cantionum sacrarum liber 2]]'' (Phalèse, 1554, reprinted 1555) — <small> contains one 6vv motet </small>
Line 233: Line 249:
*''[[Cantionum sacrarum liber 4]]'' (Phalèse, 1554, reprinted 1555 and 1557) — <small> contains one 4vv motet </small>
*''[[Cantionum sacrarum liber 4]]'' (Phalèse, 1554, reprinted 1555 and 1557) — <small> contains one 4vv motet </small>
*''[[Cantionum sacrarum liber 8]]'' (Phalèse, 1555, reprinted 1556 and 1558) — <small> contains one 5vv motet </small>
*''[[Cantionum sacrarum liber 8]]'' (Phalèse, 1555, reprinted 1556 and 1558) — <small> contains one 5vv motet </small>
*''[[Sacrarum cantionum … quinque et sex vocum, liber 1|Sacrarum cantionum quinque et sex vocum, liber 1]]'' (Hubert Waelrant & Jan de Laet, Antwerp, 1554) — <small> contains one 5vv and one 6vv motet </small>
*''[[Evangelia dominicorum et festorum dierum tomus secundus (Berg and Neuber)|Evangelia dominicorum et festorum dierum tomus secundus]]'' (Berg & Neuber, 1555) — <small> contains one 4vv motet </small>
*''[[Psalmorum selectorum, tomus 1-4 (Johann vom Berg)|Tomus secundus psalmorum selectorum quatuor et plurimum vocum]]'' (Johann vom Berg & Ulrich Neuber, Nürnberg, 1553) — <small> contains one 4vv motet </small>
*''[[Evangelia dominicorum et festorum dierum tomus tertius (Berg and Neuber)|Evangelia dominicorum et festorum dierum tomus tertius]]'' (Berg & Neuber, 1555) — <small> contains two 5vv motets </small>
*''[[Evangelia dominicorum et festorum dierum tomus sextus (Berg and Neuber)|Evangelia dominicorum et festorum dierum tomus sextus]]'' (Berg & Neuber, 1556) — <small> contains three 4vv motets (one of which is attributed here to Gombert) and one 6vv motet </small>
*''[[Sacrarum cantionum … quatuor vocum, liber 2]]'' (Waelrant & Laet, 1556) — <small> contains one 4vv motet </small>
*''[[Novum et insigne opus musicum (Berg and Neuber)|Novum et insigne opus musicum … cantionum sex vocum]]'' (Berg & Neuber, 1558) — <small> contains one 6vv motet </small>
*''[[Novum et insigne opus musicum (Berg and Neuber)|Novum et insigne opus musicum … cantionum sex vocum]]'' (Berg & Neuber, 1558) — <small> contains one 6vv motet </small>
*''[[Thesaurus Musicus (1564)|Thesaurus musicus, tomi primi]]'' (Berg & Neuber, 1564) — <small> contains his only 8vv motet (and its ''contrafactum'' dubiously attributed to Clemens) </small>
*''[[Thesaurus Musicus (1564)|Thesaurus musicus, tomi primi]]'' (Berg & Neuber, 1564) — <small> contains his only 8vv motet (and its ''contrafactum'' dubiously attributed to Clemens) </small>
;''Chansons''
*''[[Vingt et sept chansons musicales à quatre parties (Pierre Attaingnant)|Vingt et sept chansons musicales à quatre parties]]'' (Attaingnant, 1533) — <small> contains one 4vv ''chanson'' </small>
*''[[Le Parangon des chansons, livre 2 (Jacques Moderne)|Le parangon des chansons. Second livre contenant XXXI chansons … ]]'' (Moderne, 1538, reprinted 1540) — <small> contains one 4vv ''chanson'' </small>
*''[[Livre 13: 19 chansons a 4 (Pierre Attaingnant)|Tresiesme livre contenant XIX chansons nouvelles a quatre parties … ]]'' (Attaingnant, 1543) — <small> contains one 4vv ''chanson'' </small>
*''[[Livre 14: 29 chansons a 4 (Pierre Attaingnant)|Quatorsiesme livre contenant XXIX chansons nouvelles a quatre parties … ]]''(Attaingnant, 1543) — <small> contains one 4vv ''chanson'' </small>
*''[[Second livre des chansons a quatre parties (Tielman Susato)|Second livre des chansons a quatre parties]]'' (Susato, 1544) — <small> contains five 4vv ''chansons'' </small>
*''[[Second livre des chansons a quatre parties (Tielman Susato)|Second livre des chansons a quatre parties]]'' (Susato, 1544) — <small> contains five 4vv ''chansons'' </small>
*''[[Quatrieme livre des chansons a quatre parties (Tielman Susato)|Quatrieme livre des chansons a quatre parties]]'' (Susato, 1544) — <small> contains three 4vv ''chansons'' </small>
*''[[Quatrieme livre des chansons a quatre parties (Tielman Susato)|Quatrieme livre des chansons a quatre parties]]'' (Susato, 1544) — <small> contains three 4vv ''chansons'' </small>
*''[[Sixiesme livre contenant trente et une chansons nouvelles a cinq et six parties (Tielman Susato)|Sixiesme livre contenant XXXI chansons nouvelles a cinq et six parties]]'' (Susato, 1545) — <small> contains his only 6vv ''chanson'' </small>
*''[[Sixiesme livre contenant trente et une chansons nouvelles a cinq et six parties (Tielman Susato)|Sixiesme livre contenant XXXI chansons nouvelles a cinq et six parties]]'' (Susato, 1545) — <small> contains his only 6vv ''chanson'' </small>
*''[[Treziesme livre contenant vingt et deux chansons (Tielman Susato)|Treziesme livre contenant XXII chansons nouvelles a six et a huyt parties]]'' (Susato, 1550) — <small> contains his only 8vv ''chanson'' </small>
*''[[Bicinia gallica, latina et germanica 2 (Georg Rhau)|Secundus tomus biciniorum … gallica, latina, germanica]]'' (Georg Rhau, Wittenberg, 1545) — <small> contains all seven 2vv ''chansons'' </small>
*''[[Bicinia gallica, latina et germanica 2 (Georg Rhau)|Secundus tomus biciniorum … gallica, latina, germanica]]'' (Georg Rhau, Wittenberg, 1545) — <small> contains all seven 2vv ''chansons'' </small>
*''[[Livre 16: 29 chansons a 4 (Pierre Attaingnant)|Seysiesme livre contenant XXIX chansons … a quatre parties]]'' (Attaingnant, 1545) — <small> contains one 4vv ''chanson'' </small>
*''[[Livre 16: 29 chansons a 4 (Pierre Attaingnant)|Seysiesme livre contenant XXIX chansons … a quatre parties]]'' (Attaingnant, 1545) — <small> contains one 4vv ''chanson'' </small>
*''[[Livre 20: 28 chansons a 4 (Pierre Attaingnant)|Vingtiesme livre contenant XXVIII chansons … a quatre parties]]'' (Attaingnant, 1546) — <small> contains two 4vv ''chansons'' </small>
*''[[Livre 20: 28 chansons a 4 (Pierre Attaingnant)|Vingtiesme livre contenant XXVIII chansons … a quatre parties]]'' (Attaingnant, 1546) — <small> contains two 4vv ''chansons'' </small>
*''[[Treziesme livre contenant vingt et deux chansons (Tielman Susato)|Treziesme livre contenant XXII chansons nouvelles a six et a huyt parties]]'' (Susato, 1550) — <small> contains his only 8vv ''chanson'' </small>
*''[[Quatriesme livre des chansons a quatre parties (Pierre Phalèse)|Quatriesme livre des chansons a quatre parties]]'' (Phalèse, 1552) – <small> contains two 4vv ''chansons'' </small>
*''[[Secund livre des chansons a cinq et six parties (Pierre Phalèse)|Second livre des chansons a cinq et six parties]]'' (Phalèse, 1553) – <small> contains one 5vv ''chanson'' </small>


==External links==
==External links==

Revision as of 01:02, 25 October 2022

Aliases: Pierre de Mancicourt; Pierre de Manchicurti

Life

Born: c. 1510, Béthune (then County of Artois, Habsburg Netherlands; now Pas-de-Calais, France)

Died: 5 October 1564, Madrid

Biography

Few records of Manchicourt's life survive: what we know of his life and work is obtained primarily from publications of his works. The earliest known information indicates that in 1525 he was a choirboy at Arras. By 1539, he was provost at the cathedral in Tours, where he would have had access to a considerable library of the works of the great master, and previous incumbent, Johannes Ockeghem. For at least nine years, from 1545 to 1554, he held the post of maître de chapelle at Nôtre-Dame Cathedral in Tournai; Nicolas Gombert, whose compositional influence is clearly evident in much of Manchicourt’s output, was a canon of the Cathedral throughout Manchicourt’s tenure. On the death of the incumbent, Nicolas Payen, in 1559, Manchicourt was appointed maestro de capilla flamenca (master of the Flemish chapel) at the court of Philip II in Madrid, which post he held until his death five years later. He was succeeded in 1565 by Jean de Bonmarché, continuing an unbroken line of Flemish incumbents stretching back to Marbrianus de Orto in 1512.

The fact that Pierre Attaingnant, publisher of the French Royal Court, devoted his fourteenth and final volume of motets in 1539 entirely to Manchicourt's work (an honour emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to the composer's reputation in his day. Around the time of his death, Manchicourt's highly polyphonic style of composition rapidly went out of fashion — a fate shared with his contemporaries Gombert, Jacobus Clemens and Thomas Crecquillon — as the liturgical reforms of the Council of Trent took hold, marking the transition from the High Renaissance to the less florid Late-Renaissance style of Victoria and Palestrina.


Click here to search for this composer on CPDL

View the Wikipedia article on Pierre de Manchicourt.

List of choral works

Sacred works

Manchicourt’s sacred works appear in more than fifty printed collections and at least twenty hand-copied manuscripts, dating from 1532 through to the late 16th century. His surviving sacred output consists of nineteen masses, a mass section, a Magnificat, 71 motets and two chansons spirituelles. A further nine sacred works — polychoral psalm settings — are contained in a degraded manuscript in Zaragoza (E–Zvp Armario C-3, MS 14) whose contents are not documented.

Masses, mass section, Magnificat

Manchicourt’s surviving complete masses consist of eighteen settings of the Mass Ordinary and a setting of the Ordinary and Propers of the Mass for the Dead. Most of the former are parody masses, based either on his own motet (three settings) or on sacred or secular works by other Franco-Flemish composers (eleven settings). Two mass settings are based on unidentified models, and the remaining two use Gregorian chant as their basis (likewise the Missa de Requiem). As was common practice, the final Agnus Dei of many of the mass settings includes one or two additional voice parts: such cases are indicated by a number in parentheses.

  • Missa de Requiem 5vv — using chant settings of the Ordinary and Propers of the Mass for the Dead (Parisian Rite) as a cantus firmus, similar to Richafort's Requiem
  • Domine Deus 2vv — mass fragment published in a collection of 2vv works [Gardano, RISM 1543/19] that includes mass fragments from other composers
  • Magnificat secundi toni 4(5)vv — alternating verses of polyphony and Tone II chant, published in a collection of Magnificat settings [Attaingnant, RISM 1534/7]

NOTES:
1. Grove identifies no model, but there is very clear motivic correlation with Sermisy’s motet that was first published in 1539 and thus pre-dates the mass (which is annotated ‘1547’ in its source). Manchicourt based three other mass settings on works by Sermisy.
2. Despite Grove’s attribution, there appears to be no such motet by Guillaume Le Heurteur among his known works, nor any other surviving setting of Ego flos campi that predates the mass (whose only surviving source dates from c.1545–55) and resembles its motifs.
3. Although Grove states that Nicolas Gombert’s five-voice chanson of the same name is the model, the motifs in the mass more closely resemble Benedictus Appenzeller's four-voice setting: most notably, the opening phrase of the Kyrie — where direct quoting of the model is to be expected — is identical to the opening phrase of Appenzeller’s chanson. Thomas Crecquillon wrote a five-voice mass setting on the same Appenzeller chanson.

Latin sacred motets

The 71 sacred motets attributed to Manchicourt include one with doubtful attribution (^^), one with doubtful attribution to another composer (^), five with unresolved conflicting attribution (?), and two contrafacta of other Manchicourt motets (°).

Chansons spirituelles

These two chansons are a French paraphrase of Psalm 130, and appear in one printed source as two partes of a single work:

Summary of sacred works available at CPDL (listed automatically)

Secular works

Manchicourt's surviving secular output includes three dedicatory motets, and fifty French chansons that appear in at least sixteen publications (including one devoted entirely to Manchicourt's works).

Latin dedicatory motets

  • Nunc enim si centum 4vv (2.p. Ne dubitatis; 3.p. Innumeras unus) – in praise of Charles V
  • Nil pace est melius 5vv (2.p. Vive igitur felix) – in celebration of a treaty restoring possessions to Duke Moritz of Saxony
  • O decus, o patrie lux 5vv (2.p. Salve, pontificum) — in praise of Cardinal Granvelle, patron of the arts, to whom Manchicourt dedicated his 1554 volume of motets

Chansons

Summary of French chansons available at CPDL (listed automatically)

 

Publications

Three of the pre-eminent publishers of the mid-16th century each devoted one of their volumes solely to Manchicourt’s works:

Two manuscripts that contain only Manchicourt’s works are held in the library of the Benedictine monastery in Montserrat, Catalunya:

  • Montserrat, Biblioteca del Monestir, MS 768 ‘Douze messe musicales composees par M.P. de Manchicourt’ (Brussels, c.1545–55) — from the court of Mary of Hungary (daughter of Philip the Fair and Juana of Spain, and Regent of the Netherlands 1531–55); contains twelve of his nineteen mass settings
  • Montserrat, Biblioteca del Monestir, MS 772 ‘Liber quatuor missarum musicalium nec non aliquot carminum ecclesiasticorum Petre de Manchicourt’ (Madrid, c.1560) — possibly copied by the composer himself during his tenure in the Court of Philip II; contains four mass settings, one 6vv motet, seven 5vv motets and three 4vv motets

Manchicourt's works also appear in numerous printed collections from 1532 to 1580, including the following that are catalogued at CPDL:

Masses
  • Viginti missarum musicalium (Attaingnant, 1532) — contains two mass settings, one of which opens the first of the seven volumes of this collection
Motets
Chansons

External links

Works by Pierre de Manchicourt in the Petrucci Music Library (IMSLP)