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BIBLIOTHÈQUE
Ockeghem, Johannes Johannes Ockeghem
France France
(1420 - 1497)

1 Partition
1 MP3





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Partitions Hautbois Hautbois, Cor anglais, Basson Johannes Ockeghem
Ockeghem, Johannes: "Canon in Epidiatessaron" for Double Reed Trio

"Canon in Epidiatessaron" for Double Reed Trio
Johannes Ockeghem



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Compositeur :Johannes OckeghemOckeghem, Johannes (1420 - 1497)
Instrumentation :

Hautbois, Cor anglais, Basson

Genre :

Renaissance

Arrangeur :
Editeur :
Johannes OckeghemMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Johannes Ockeghem (1410/1425 – 1497) was the most famous composer of the Franco-Flemish School in the last half of the 15th century, and is often considered the most influential composer between Guillaume Dufay and Josquin des Prez. In addition to being a renowned composer, he was also an honored singer, choirmaster, and teacher. The spelling of Ockeghem's name comes from a supposed autograph of his which survived as late as 1885, and was reproduced by Eugène Giraudet, a historian in Tours; the document has since been lost. In 15th-century sources, the spelling "Okeghem" predominates.

Ockeghem is believed to have been born in Saint-Ghislain, Netherlands (now Belgium). His birthdate is unknown; dates as early as 1410 and as late as 1430 have been proposed. The earlier date is based on the possibility that he knew Binchois in Hainaut before the older composer moved from Mons to Lille in 1423. Ockeghem would have to have been younger than 15 at the time. This particular speculation derives from Ockeghem's reference, in the lament he wrote on the death of Binchois in 1460, to a chanson by Binchois dated to that time. In this lament Ockeghem not only honored the older composer by imitating his style, but also revealed some useful biographical information about him. The comment by the poet Guillaume Crétin, in the lament he wrote on Ockeghem's death in 1497, "it was a great shame that a composer of his talents should die before 100 years old", is also often taken as evidence for the earlier birthdate for Ockeghem.

In 1993, documents dating from 1607 were found stating that "Jan Hocquegam" was a native of Saint-Ghislain in the County of Hainaut, which was confirmed by references in 16th century documents. This suggests that, though he first appears in records in Flanders, he was a native speaker of Picard. Previously, most biographies surmised that he was born in East Flanders, either in the town after which he was named (present-day Okegem, from which his ancestors must have come) or in the neighboring town of Dendermonde (French: Termonde), where the surname Ockeghem occurred in the 14th and 15th century. Occasionally, Bavay, now in the Nord department in France, was suggested as his birthplace as well.

Details of his early life are lacking. Like many composers in this period, he started his musical career as a chorister, although the exact location of his education is unknown: Mons, a town near Saint-Ghislain that had at least two churches with competent music schools, has been suggested. The first actual documented record of Ockeghem is from the Onze-Lieve-Vrouwe cathedral in Antwerp, where he was employed in June 1443 as a "left-hand choir singer" ("left-handers" sang composed music, "right-handers" sang chant). He probably sang under the direction of Johannes Pullois, whose employment also dates from that year. This church was a distinguished establishment, and it was likely here that Ockeghem became familiar with the English compositional style, which influenced late 15th-century musical practice on the continent.

Ockeghem was not a prolific composer, given the length of his career and extent of his reputation, and some of his work was lost. Many works formerly attributed to him are now presumed to be by other composers; Ockeghem's total output of reliably attributed compositions, as with many of the most famous composers of the time (such as Josquin), has shrunk with time. Surviving reliably attributed works include some 14 masses (including a Requiem), an isolated Credo (Credo sine nomine), five motets, a motet-chanson (a deploration on the death of Binchois), and 21 chansons. Thirteen of Ockeghem's masses are preserved in the Chigi codex, a Flemish manuscript dating to around 1500. His Missa pro Defunctis is the earliest surviving polyphonic Requiem mass (a possibly earlier setting by Dufay has been lost). Some of his works, alongside compositions by his contemporaries, are included in Petrucci's Harmonice musices odhecaton (1501), the first collection of music published using moveable type..

Source: Wikipedia (https://en.wikipedia.org/wiki/Johannes_Ockeghem).

Although originally composed for Chorus (SSA), I created this Interpretation of the Canon in Epidiatessaron (Canon a fourth above) for Double-Reed Trio (Oboe, English Horn & Bassoon).
Ajoutée par magataganm le 2020-01-13



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Cette partition est associée à la collection de magataganm :
bois
bois
arrangements à vent
Liste des partitions :
› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Haubois et basson
› "Élévation ou Communion" from "L'Organiste Moderne" for Oboe & Harp
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Hautbois, Cor anglais, Basson
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings






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