Loyset Piéton
Loyset [Louis, Louys, Aloysis] Piéton was a composer of unknown origin, act… Read Full Bio ↴Loyset [Louis, Louys, Aloysis] Piéton was a composer of unknown origin, active in France and possibly Italy from the 1530s. He died in late 1536 or early 1537, probably in Dijon.
It was first believed (Fétis, 1866) that he was at Bernay in Normandy , but this assumption is incorrect.
Four archival documents [ 1 ] cite Piéton in Dijon between 1533 and 1536, as master of the children of the Sainte-Chapelle. He worked with Philippe Gaveaul, priest and master of children's grammar. His date of arrival at the Sainte-Chapelle and his previous career are not known.
in 1533, he was called master of the choirboys and had to give 10 pounds tournaments (lt) for the reception of his habit and the reception of the chappellenie of the Saint-Michel altar, sum of which the chapter left him for reasons not specified.
in 1535, he received a rent of 10 lt Claude Marc, merchant of Dijon, city, for a house located in Dijon near the Cordeliers, and subject to the tax of a chappellenie owned by him.
in 1536, he is quoted in the cleaning market of his children's mansion. He is also quoted in connection with repairs made to his house.
in 1537, Philippe Gaveaul received a chapelry freed by the death of Loyset Piéton. The latter had left debts to the church.
Piéton's works are almost exclusively sacred; they are dispersed in about thirty collections published between approximately 1530 and 1574.
His employment in Dijon explains why his works appeared first in Lyon and incidentally in Paris : his penitential psalms with Jacques Moderne around 1530-1532, then six other motets between 1532 and 1539 in three volumes of Motetti del Fiore by the same printer, while that another motet came off the presses of Pierre Attaingnant in 1534. From 1539, his works appeared mainly in Venice with Antonio Gardano and with Girolamo Scotto , and in Roman or Florentine manuscripts. His last original works appear in the 1550s and 1560s, unless of course his name has been usurped.
His fame as a Pedestrian was great enough that his works also appeared in Nuremberg , Wittenberg , Augsburg , Leuven or Antwerp . Similarly, the fact that half a dozen works have been transcribed for vihuela or lute is the clear sign of a certain celebrity. Bernstein points out that the works that accompany his only known song (published by Tielman Susato in 1543), as well as the polyphonic treatment of this song and of some motets, would reveal a Franco-Flemish origin.
It was first believed (Fétis, 1866) that he was at Bernay in Normandy , but this assumption is incorrect.
Four archival documents [ 1 ] cite Piéton in Dijon between 1533 and 1536, as master of the children of the Sainte-Chapelle. He worked with Philippe Gaveaul, priest and master of children's grammar. His date of arrival at the Sainte-Chapelle and his previous career are not known.
in 1533, he was called master of the choirboys and had to give 10 pounds tournaments (lt) for the reception of his habit and the reception of the chappellenie of the Saint-Michel altar, sum of which the chapter left him for reasons not specified.
in 1535, he received a rent of 10 lt Claude Marc, merchant of Dijon, city, for a house located in Dijon near the Cordeliers, and subject to the tax of a chappellenie owned by him.
in 1536, he is quoted in the cleaning market of his children's mansion. He is also quoted in connection with repairs made to his house.
in 1537, Philippe Gaveaul received a chapelry freed by the death of Loyset Piéton. The latter had left debts to the church.
Piéton's works are almost exclusively sacred; they are dispersed in about thirty collections published between approximately 1530 and 1574.
His employment in Dijon explains why his works appeared first in Lyon and incidentally in Paris : his penitential psalms with Jacques Moderne around 1530-1532, then six other motets between 1532 and 1539 in three volumes of Motetti del Fiore by the same printer, while that another motet came off the presses of Pierre Attaingnant in 1534. From 1539, his works appeared mainly in Venice with Antonio Gardano and with Girolamo Scotto , and in Roman or Florentine manuscripts. His last original works appear in the 1550s and 1560s, unless of course his name has been usurped.
His fame as a Pedestrian was great enough that his works also appeared in Nuremberg , Wittenberg , Augsburg , Leuven or Antwerp . Similarly, the fact that half a dozen works have been transcribed for vihuela or lute is the clear sign of a certain celebrity. Bernstein points out that the works that accompany his only known song (published by Tielman Susato in 1543), as well as the polyphonic treatment of this song and of some motets, would reveal a Franco-Flemish origin.
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