Antoine Brumel (c. 1460 – 1512 or 1513) was a French composer. He was one o… Read Full Bio ↴Antoine Brumel (c. 1460 – 1512 or 1513) was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin Desprez, was one of the most influential composers of his generation.
Little is known about his early life, but he was probably born west of Chartres, perhaps in the town of Brunelles, near to Nogent-le-Rotrou, making him one of the first of the Netherlandish composers who was actually French. He sang at Notre-Dame de Chartres from 9 August 1483 until 1486, and subsequently held posts at St Peter's in Geneva (until 1492) and Laon (around 1497) before becoming choirmaster to the boys at Notre-Dame de Paris from 1498 to 1500, and choirmaster to Alfonso I d'Este at Ferrara from 1506, replacing the famous composer Jacob Obrecht who had died of the plague there the previous year. The chapel there was disbanded in 1510, after which he evidently stayed in Italy; several documents connect him with churches in Faenza and Mantua, where he probably died in 1512 or shortly after. He is known to have written at least one work after his dismissal from Ferrara (the Missa de beata virgine), and he may have still have been alive in 1513 since there is a mention in a treatise of Vincenzo Galilei that Brumel was one of a group of composers who met with Pope Leo X in that year; however since Vincenzo was writing more than a generation later and reporting second-hand, and no other corroborating evidence has been found, this account is not considered to be certain. Then again, Heinrich Glareanus, writing later about Brumel, indicated that he lived to a "ripe old age", so it remains possible that he lived longer, but records have not survived.
A Jachet Brumel was organist for the Ferrara court in 1543, and is presumed to be Antoine's son.
Brumel was at the center of the changes that were taking place in European music around 1500, in which the previous style of highly differentiated voice parts, composed one after another, was giving way to smoothly flowing, equal parts, composed simultaneously. These changes can be seen in his music, with some of his earlier work conforming to the older style, and his later compositions showing the polyphonic fluidity which became the stylistic norm of the Josquin generation.
Brumel is best known for his masses, the most famous of which is the twelve-voice Missa Et ecce terrae motus. Techniques of composition varied throughout his life: he sometimes used the cantus firmus technique, already archaic by the end of the 15th century, and also the paraphrase technique, in which the source material appears elaborated, and in other voices than the tenor, often in imitation. He used paired imitation, like Josquin, but often in a freer manner than the more famous composer. A relatively unusual technique he used in an untitled mass was to use different source material for each of the sections (mass titles are taken from the pre-existing composition used as their basis: usually a plainchant, motet or chanson: hence the mass is without title). Brumel wrote a Missa l'homme armé, as did so many other composers of the Renaissance: appropriately, he set it as a cantus firmus mass, with the popular song in long notes in the tenor, to make it easier to hear. All of his masses, with the exception of the highly unusual 12-voice Missa Et ecce terrae motus, are for four voices.
During the 16th century the most famous of Brumel's masses was his Missa de beata virgine, a paraphrase mass using elaborations of various plainchant melodies. According to Heinrich Glarean, writing in 1547, it was written in competition with Josquin, who simultaneously wrote his own Missa de Beata Virgine, and the two works are similar in style.
Brumel also wrote numerous motets, chansons, and some instrumental music. His style in these also evolved throughout his life, with his earlier works showing the irregular lines and rhythmic complexity of the Ockeghem generation, while the later ones used the smooth imitative polyphony of the Josquin style as well as the homophonic textures of the current Italian composers of popular songs (for example Tromboncino, who was in Ferrara at the same time as Brumel). One peculiar feature of Brumel's style is that sometimes he uses very quick syllabic declamation in chordal writing, anticipating the madrigalian fashion of later in the 16th century. This appears sometimes in the "Credo" sections of his masses – logically, since that section has the longest text, and if set similarly to the other sections to the mass, it can be disproportionately long.
Brumel's Missa pro defunctis for four voices, a late work, is notable for being the first Requiem to include a polyphonic setting of the Dies Irae. In addition, it is one of the earliest surviving Requiems: only Ockeghem's is earlier.
After Josquin Desprez, Brumel is considered one of the greatest composers of his generation. During his life, Ottaviano Petrucci published a book of his masses, and a number of other composers wrote pieces commemorating him after his death. His impressive 12-voice Missa et ecce terrae motus survives from a part-book in Munich of 1570, long after his death, evidently used for performances by Lassus.
Little is known about his early life, but he was probably born west of Chartres, perhaps in the town of Brunelles, near to Nogent-le-Rotrou, making him one of the first of the Netherlandish composers who was actually French. He sang at Notre-Dame de Chartres from 9 August 1483 until 1486, and subsequently held posts at St Peter's in Geneva (until 1492) and Laon (around 1497) before becoming choirmaster to the boys at Notre-Dame de Paris from 1498 to 1500, and choirmaster to Alfonso I d'Este at Ferrara from 1506, replacing the famous composer Jacob Obrecht who had died of the plague there the previous year. The chapel there was disbanded in 1510, after which he evidently stayed in Italy; several documents connect him with churches in Faenza and Mantua, where he probably died in 1512 or shortly after. He is known to have written at least one work after his dismissal from Ferrara (the Missa de beata virgine), and he may have still have been alive in 1513 since there is a mention in a treatise of Vincenzo Galilei that Brumel was one of a group of composers who met with Pope Leo X in that year; however since Vincenzo was writing more than a generation later and reporting second-hand, and no other corroborating evidence has been found, this account is not considered to be certain. Then again, Heinrich Glareanus, writing later about Brumel, indicated that he lived to a "ripe old age", so it remains possible that he lived longer, but records have not survived.
A Jachet Brumel was organist for the Ferrara court in 1543, and is presumed to be Antoine's son.
Brumel was at the center of the changes that were taking place in European music around 1500, in which the previous style of highly differentiated voice parts, composed one after another, was giving way to smoothly flowing, equal parts, composed simultaneously. These changes can be seen in his music, with some of his earlier work conforming to the older style, and his later compositions showing the polyphonic fluidity which became the stylistic norm of the Josquin generation.
Brumel is best known for his masses, the most famous of which is the twelve-voice Missa Et ecce terrae motus. Techniques of composition varied throughout his life: he sometimes used the cantus firmus technique, already archaic by the end of the 15th century, and also the paraphrase technique, in which the source material appears elaborated, and in other voices than the tenor, often in imitation. He used paired imitation, like Josquin, but often in a freer manner than the more famous composer. A relatively unusual technique he used in an untitled mass was to use different source material for each of the sections (mass titles are taken from the pre-existing composition used as their basis: usually a plainchant, motet or chanson: hence the mass is without title). Brumel wrote a Missa l'homme armé, as did so many other composers of the Renaissance: appropriately, he set it as a cantus firmus mass, with the popular song in long notes in the tenor, to make it easier to hear. All of his masses, with the exception of the highly unusual 12-voice Missa Et ecce terrae motus, are for four voices.
During the 16th century the most famous of Brumel's masses was his Missa de beata virgine, a paraphrase mass using elaborations of various plainchant melodies. According to Heinrich Glarean, writing in 1547, it was written in competition with Josquin, who simultaneously wrote his own Missa de Beata Virgine, and the two works are similar in style.
Brumel also wrote numerous motets, chansons, and some instrumental music. His style in these also evolved throughout his life, with his earlier works showing the irregular lines and rhythmic complexity of the Ockeghem generation, while the later ones used the smooth imitative polyphony of the Josquin style as well as the homophonic textures of the current Italian composers of popular songs (for example Tromboncino, who was in Ferrara at the same time as Brumel). One peculiar feature of Brumel's style is that sometimes he uses very quick syllabic declamation in chordal writing, anticipating the madrigalian fashion of later in the 16th century. This appears sometimes in the "Credo" sections of his masses – logically, since that section has the longest text, and if set similarly to the other sections to the mass, it can be disproportionately long.
Brumel's Missa pro defunctis for four voices, a late work, is notable for being the first Requiem to include a polyphonic setting of the Dies Irae. In addition, it is one of the earliest surviving Requiems: only Ockeghem's is earlier.
After Josquin Desprez, Brumel is considered one of the greatest composers of his generation. During his life, Ottaviano Petrucci published a book of his masses, and a number of other composers wrote pieces commemorating him after his death. His impressive 12-voice Missa et ecce terrae motus survives from a part-book in Munich of 1570, long after his death, evidently used for performances by Lassus.
Credo
Antoine Brumel Lyrics
We have lyrics for 'Credo' by these artists:
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Biermösl Blosn Diridari diridari.. Credo in pecuniam Diridari kratz i zam…
C. Gounod Credo in unum Deum, Patrem Omnipotentem Deum de Deo, Lumen d…
Carlos Mejía Godoy (Participa Jorge Vargas Johnston) Yo creo en vos, Cristo …
Carlos Mejía Godoy y Los De Palacagüina Creo señor firmemente Que de tu pródiga mente Todo este mund…
Concido Credo che dio abbia perso la strada Credo che l'uomo…
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E.Van Nevel - Currende Consort - Capella Sancti Michaelis Credo di essere diventato grande ei Non credo alle stronzat…
Ede Staal Ik vroag de wind mor dij verstaait mie nait Ik vroag…
Egokid Io credo nella Trinit' Ragione Cuore e Volont' di agire o…
Elis Regina Caminhando pela noite de nossa cidade Acendendo a esperanca…
Elsa Baeza Creo Señor firmemente, Que de Tu pródiga mente, Todo este mu…
Elza Soares Minha fé quem faz sou eu Não preciso que ninguém me…
Enrique Morente No me mueve, mi Dios, para quererte El cielo que me…
Evident Noc jak noc jak zwykle nie przespana Długopis w ręku kartka…
F44.3 El credo de un valiente No se mide por fuerza Si no,…
Falsabandera Puedes creer en lo que quieras puedes creen incluso en dios …
Farben Lehre Nie będę ślepo wierzył w nic Nie będę działał wbrew sumieni…
Fe Credo in unum Deum, Patrem omnipoténtem, Factorem cæli et te…
Fish I watch the TV every night; I stay awake by satellite. I…
Franco Battiato Credo in unum Deum Patrem omnipotentem Factorem caeli et t…
G. Dufay CREDO Libérate ya de los falsos profetas Te quieren tener en…
Giorgia Cancellerò il passato per non tornare indietro Mentre riguar…
Harry Christophers/The Sixteen Credo in unum Deum Patrem omnipotentem, factorem caeli et t…
I.S.B. Arguer's Credo I don't want to argue with you Somebody's pro…
Iztok Mlakar "Elvira, dej enu flašku na mizu!" "Ma počakte nu malo, sej…
Javier Álvarez Aquí a esta hora, en este bar las seis, seis y…
Javier Alvarez Aquí a esta hora, en este bar Las seis, seis why…
Jean-Patrice Brosse Chœur grégorien du Val-de-Grâce Jacques des Longchamps François Le Roux Por donde vallas iré Con una venda en los ojos…
Jennifer Rush Credo Salve deum kyrie eleison I believe in the life…
John Michael Talbot I believe in God the Father I believe in Jesus Christ…
Karl Richter / J.S. Bach / Münchener Bach-Orchester Especially do I believe in the Negro race: in the beauty…
KÜCHE - Fish I watch the TV every night; I stay awake by satellite. I…
L-Tone (Non credo, non credo, non credo) (Non credo, non credo, non…
Lord of the Lost We give our hearts to the Lord Of The Lost We…
Los Fronterizos Padre todopoderoso Creador de cielo y tierra Creo en Dios …
Los Fronterizos Chorus & Orchestra Che colpa ho Che Dio non ti abbia dato Un sorriso credibile…
Los Joáo Creo señor firmemente, que de tu pródigamente todo este mund…
Luis Enrique Ascoy Ahora más que nunca, y contra la opinión de tantos, entre…
Magna Canta Credo Credo Credo In domine patri Et spiritui sancti Credo…
Malchus Kolejny dzień kolejne wyzwanie Wyzwanie Kolejny krok kolejny…
Malignus Youth Running around in circles Trying to get ahead Looking for he…
Mango Il gusto dell'amore è un altare, Ed io sono l'ostia…
Mercedes Sosa [Artist] Padre Todo Poderoso, Creador de cielo e tierra(2x) En Jes…
Metatrone Certo non è una falsità L'amicizia nuova che Porta il fiume …
Mia Martini Credo Che sia tutta una storia Per la povera gente…
Milton Nascimento Caminhando pela noite de nossa cidade Acendendo a esperança…
Milton Nascimento & Tacuabé Coração americano Um sabor de vida e morte A espera na fila…
Mr. Sid Tome la decisión De irme y no volver Tu ausencia me hablo Me…
Münchener Brahms-Chor Allegro maestoso Credo in unum Deum. Patrem omnipotentem, fa…
Nana Mouskouri Creo, Señor, firmemente Que de tu pródiga mente Todo este mu…
Nek Credo alla gente che è intorno a me Anche se…
Nick Jaina I don't want to learn to code I want to…
Oslo Gospel Choir Jeg tror på Gud Fader, den allmektige, himmelens og jorden…
P.O.N.D. Lo so io son così Non come credi te Ma è meglio…
Parisi Guarda gli uccelli del cielo Volano in alto senza preoccupar…
Pepe Aguilar Ft. Tiziano Ferro Por donde vayas iré Con una venda en los ojos Lo que…
Pooh (Facchinetti-Negrini) Credo negli anni che ci aspettano n…
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Quimantu Credo Creo en Dios padre, creador del cielo si y de…
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Sharif & Alba No caeré si sigo sin perder la fe, Más allá de…
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Tales Of Evening Rossz korban ébredt, egy angyal talán, A világ, mit látott, …
The Electric Prunes Credo in unum Deum, in unum Deum Credo in unum Deum,…
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ThouShaltNot Under my eyes Under my clothes of basest cloth Under the i…
Uncore United Lass mich die Dinge akzeptieren die ich nicht ändern kann Gi…
Various Artists В этот серый скучный вечер Я тебя случайно встретил Я позвал…
W Kiedy S…
Włochaty Kiedy słyszysz o Anarchii coś cię śmieszy coś cię bawi Bo…
Zivert Если не по себе Значит не с тем Значит не там мы…
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@awhiteangel
Beautiful.
@lacolombe2534
ANTOINE BRUMEL { CHARTRES vers 1460~ vers 1520 FERRARE } MISSA A 12 VOIX " ET ECCE TERRAE MOTUS " CREDO {ca 1497} ~ ENSEMBLE CLÉMENT JANEQUIN & LES SACQUBOUTIERS DE TOULOUSE ~ DOMINIQUE VISE DIRECTOR ~. Magnifique version de cette MISSA a 12 voix de ANTOINE BRUMEL, une merveille de la musique de la Renaissance, voix vocale de l'ensemble CLÉMENT JANEQUIN et SACQUBOUTIERS de TOULOUSE grandiose bravo. Compositeur dès début de la Renaissance. On s'appuie traditionnellement sur un passage de la Déploration sur la mort de OCKEGHEM, de CRETIN, pour supposer que BRUMEL en fut un élèves. La première trace le concernant 1483 indique que l'ecclésiastique ANTHONIUS de BRUMEL est devenu un HORARIUS et MATUTINARIUS, chanteur des offices de jour et de nuit à Notre-Dame de Chartres . Il recoit de ce fait la plus importante rémunération. De 1486 à 1492, il est à la maîtrise des Innocents de Saint-Pierre Genève. En 1489-1490, il est la cour du duc de Savoie, à Chambéry, mais reprend sa charge à Genève. En 1498, il dirige la formation musicale des enfants à Notre-Dame de Paris. Un conflit relatif à l'engagement d'un jeune chanteur met fin à son service parisien. De 1501 à 1502 est chanteur a la cour des Ducs de Savoie à Chambéry. En juillet 1505, après des négociations menées par le duc de SORA , SIGISMOND CANTELMO, il devient maitre de chapelle D' ALFONSO 1er, à FERRARE. Il quitte FERRARE en 1510, un document du 11 mai 1512 indique que BRUMEL est archiprêtre des églises unies de Saint-Jean-en-Libye, de FAENZA. Il est peut-être à MANTOUE à la même période. Le document semble indiquer que BRUMEL est malade ou même mourant. Son oeuvre une quinzaine de messes, 34 motets, 3 magnificat, une quinzaine de chansons profanes. La mélodie tient une grande place dans ses compositions. Merci pour ce chef-d'œuvre de la musique de la Renaissance de ANTOINE BRUMEL, compositeur éternel grandiose sublime.