Obrecht, Jacob

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Flute Sheet music ⮞ Wind Quartet: Flute, Oboe, Clarinet, Bassoon ⮞ Jacob Obrecht

"Fors Seulement l'attente" for Woodwind Quartet
Jacob Obrecht

Wind Quartet: Flute, Oboe, Clarinet, Bassoon

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ViewDownload PDF : "Fors Seulement l'attente" for Woodwind Quartet (7 pages - 131.34 Ko)99x⬇

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ViewDownload PDF : Bassoon (63.23 Ko)

ViewDownload PDF : English Horn (64.19 Ko)

ViewDownload PDF : Flute (61.03 Ko)

ViewDownload PDF : Oboe (61.93 Ko)

ViewDownload PDF : Full Score (89.43 Ko)

Download MP3 : "Fors Seulement l'attente" for Woodwind Quartet 23x⬇ 229x

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Composer	Jacob Obrecht
Instrumentation	Wind Quartet: Flute, Oboe, Clarinet, Bassoon
Style	Renaissance
Arranger Publisher	MAGATAGAN, MICHAEL (1960 - ) Follow this artist 95 Contact
Copyright	Public Domain
Jacob Obrecht (1457/81 – 1505) was a Flemish-Dutch, Low Countries (greater Netherlands) composer. He was the most famous composer of masses in Europe in the late 15th century, being eclipsed by only Josquin des Prez after his death. What little is known of Obrecht's origins and early childhood comes mostly from his motet Mille quingentis. He was the only son of Ghent city trumpeter Willem Obrecht and Lijsbette Gheeraerts. His mother died in 1460 at the age of 20, and his father in 148...(+) Jacob Obrecht (1457/81 – 1505) was a Flemish-Dutch, Low Countries (greater Netherlands) composer. He was the most famous composer of masses in Europe in the late 15th century, being eclipsed by only Josquin des Prez after his death. What little is known of Obrecht's origins and early childhood comes mostly from his motet Mille quingentis. He was the only son of Ghent city trumpeter Willem Obrecht and Lijsbette Gheeraerts. His mother died in 1460 at the age of 20, and his father in 1488 in Ghent. Details of his early education are sparse, but he probably learned to play the trumpet, like his father, and in so doing learned counterpoint and how to improvise over a cantus firmus. He is likely to have known Antoine Busnois at the Burgundian court, and certainly knew his music, since Obrecht's earliest mass shows close stylistic parallels with the elder composer. Scholar, composer and clergyman, Obrecht seems to have had a succession of short appointments, two of which ended in less than ideal circumstances. There is a record of his compensating for a shortfall in his accounts by donating choirbooks he had copied. Throughout the period he was held in the highest esteem both by his patrons and by his fellow composers. Tinctoris, writing in Naples, singles him out in a shortlist of contemporary master composers — all the more significant because he was only 25 when Tinctoris created his list, and on the other side of Europe. Erasmus served as one of Obrecht's choirboys around 1476. While most of Obrecht's appointments were in Flanders in the Low Countries, he made at least two trips to Italy, once in 1487 at the invitation of Duke Ercole d'Este I of Ferrara, and again in 1504. Ercole had heard Obrecht's music, which is known to have circulated in Italy between 1484 and 1487, and said that he appreciated it above the music of all other contemporary composers; consequently he invited Obrecht to Ferrara for six months in 1487. In 1504 Obrecht returned to Ferrara, but on the death of the Duke at the beginning of the next year he became unemployed. In what capacity he stayed in Ferrara is unknown, but he died in the outbreak of plague there just before 1 August 1505. Combining modern and archaic elements, Obrecht's style is multi-dimensional. Perhaps more than those of the mature Josquin, the masses of Obrecht display a profound debt to the music of Johannes Ockeghem in the wide-arching melodies and long musical phrases that typify the latter's music. Obrecht's style is an example of the contrapuntal extravagance of the late 15th century. He often used a cantus firmus technique for his masses: sometimes he divided his source material up into short phrases; at other times he used retrograde versions of complete melodies or melodic fragments. He once even extracted the component notes and ordered them by note value, long to short, constructing new melodic material from the reordered sequences of notes. Clearly to Obrecht there could not be too much variety, particularly during the musically exploratory period of his early twenties. He began to break free from conformity to formes fixes, especially in his chansons. Of the formes fixes, the rondeau retained its popularity longest. However, he much preferred composing Masses, where he found greater freedom. Furthermore, his motets reveal a wide variety of moods and techniques. Obrecht wrote mainly sacred music—masses and motets and he also wrote some chansons. "Fors seulement" is a French chanson, popular as a basis for variations and as a cantus firmus. An early version is attributed to Johannes Ockeghem - this is sometimes called Fors seulement l'attente to distinguish it from his similarly titled Fors seulement contre. Source: Wikipedia (https://en.wikipedia.org/wiki/Jacob_Obrecht). Although originally composed for Chorus, I created this Interpretation of "Fors Seulement l'attente" for Woodwind Quartet (Flute, Oboe, English Horn & Bassoon).
	Added by magataganm, 12 Jan 2020