Matheus Pipelare (ca.1450 - ca.1515), a Flemish/Netherlands composer who belonged to the third Netherlands generation. Very little is known about his life. His first name is unknown and the chosen name is from his father which we saw in and deducted out the archives of the Illustrious Confraternity of our Lady at ‘s-Hertogenbosch. Matheeussz that means sun of Matheus Pipelare spent part of his early life in Antwerp. Unlike many of his contemporaries, many of whom traveled to Italy, Spain or elsewhere over Europe, he seems never to have left the Netherlands, the Low Countries. Certain is in March 1498 up to June 1500 Pipelare has had a position as Chapel-master “Zangmeester” and composer at the Illustrious Confraternity of our Lady at ‘s-Hertogenbosch called in Dutch “Illustre Lieve Vrouwen Broederschap”. He was the successor of Nicasius de Clibano (fl 1457-1497). It’s certain he taught the choristers. It could be before this appointment Pipelare was from 1491 a singer at the cathedral “Notre Dame “ of Antwerp with Chapel-masters Jacques Barbireau (c.1455-1491) and Jacob Obrecht. (1457/58-1505). In June 1500 Pipelare left ‘s- Hertogenbosch and he was succeeded by Nicolas Craen Cc.1440-1507). Unfortunately no other sign of live has been found. Perhaps he stayed at the Hapsburg court in Malines or Brussels, appearing in various publications originating at the Habsburg court there. His work was published in the Netherlands (Brussels), Italy (Florence), Austria (Vienna), Germany (Jena, Regensburg and Munich) and Spain (Segovia). The works survived in manuscript and in a large number of anthologies. Pipelare died in between 1512 and 1518. Pipelare composed as far as known now 10 Masses, 1 Missa pro Defunctis, 6 Motets, 7 Chansons in French and Dutch, 1 Magnificat tertii toni and 1 Credo. A lot of archives where Pipelare worked are unfortunately destroyed we mean Antwerp and ‘s-Hertogenbosch. The most compositions are for four voices. Some religious works are written for five voices. But the Motet ’Memorare Mater Christi’ is for seven voices. To every part-voice indication in the voice book is added with dolor (sorrow) so Pipelare has noticed primus dolor etc. Is there a missing Missa pro Defunctis?
A part of a Gradual out of the Office of the Dead the Versicle “Virga tua et baculus tuus “ written by Pipelare for two voices has been found. This part is found in Bicinia gallica, latina, germanica, ex praestantissimis musicorum monumentis collecta, & secundum seriem tonorum disposita. Tomas primus. Studioso musiciae...- Wittenberg, G. Rhaw, 1545. 2 vol. This phrase belongs without any doubt to ‘Si Ambulem’ the Gradual from the Office of the Dead. This Si Ambulem Gradual was in the 15th and 16th century used by Netherlands composers like Ockeghem (c.1420-1497), Divitis (c.1473-c.1528), Antoine de Févin (1473-1512), Prioris (c.1460-c.1514), Richafort (1480-1547), Claudin Sermisy (c.1490-1562), Pierre de Manchicourt (c.1510-1564) and Lassus (1532-1594) as we saw. According to circumstances I like defendable - so did van Dijk (1973) and Smijers (1937) and New Groves (2007), some doubt by (Susan Lempert 2004) - this Virga tua et baculus tuus could be a part of a Missa pro Defunctis which has been lost. We have some arguments. First it was normal practice at the Illustrious Confraternity of our Lady at ‘s-Hertogenbosch in the time of Pipelare to sing Polyphone Requiem Masses at least four times per year. Second not any other Respond of the Office of the Dead or part of it has been found in the surviving works of Pipelare. Third not any other two part composition has been found in the work of Pipelare. Fourth the same part ‘Virga tua et baculus tuus ipse me consolata sunt’ is even in one source doubtfully attributed to Pierre de la Rue. But reference is made to a setting of a Gradual by Pipelare from a Requiem and the Cantus-firmus is out of the plainchant ‘Si ambulem’. The Requiem by De la Rue of 1506 even has not a ‘Si Ambulem’ version. No doubt this ‘Virga tua et baculus tuus ipse me consolata sunt’ is by Pipelare. Fifth and not only that, the Cantus-firmus is the plainchant of the Gradual out of the Office of the Dead. Sixth if we translate this part it means: “Thy rod and Thy staff they comfort me”. Hardly to believe this translated Latin text was a stand alone motet, compared to the other text used by Pipelare. We are of the opinion this ‘Virga tua et baculus tuus ipse me consolata sunt’ is not a part of a single motet by Pipelare but is a part of the Gradual belonging to a Requiem Mass. It’s defendable Pipelare wrote a Requiem Mass which has been lost and the surviving part ‘Virga tua et baculus tuus’ is the only evidence of the theses. Happy chance surviving Masses showing us ingenious craftsmanship of Pipelare. Pipelare wrote in all diversity from polyphony to homophonic style.