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| Latest update: | 06-04-2024 |
Antoine de Févin
1473 - 1512
France
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| A. de Févin |
Antoine de Févin -Antonius Divitis- (1474 - 01/1512), a Franco-Flemish composer, from Arras. He spent his last years as singer to Louis XII at Orléans and Blois. Glareanus dubbed him a 'happy imitator of Josquin'; certainly his church music (nine masses, one requiem, nearly twenty motets, Lamentations and Magnificats) was widely printed, and some of his masses parody Josquin motets. Another is based on his own attractively airy 4-part motet Sancta Trinitas.
Missa pro fidelibus defunctis
♫ 01. Introitus: Requiem aeternam
© Aeon AECD 1216
♫ 02. Kyrie Christe Kyrie
© Aeon AECD 1216
♫ 03. Graduale: Si ambulem
© Aeon AECD 1216
♫ 04. Tractus: Sitivit
© Aeon AECD 1216
♫ 05. Fuerunt mihit lacrimae
© Aeon AECD 1216
♫ 06. Offertorium: Domine Jesu Christe
© Aeon AECD 1216
♫ 07. Prefacio
© Aeon AECD 1216
♫ 08. Sanctus
© Aeon AECD 1216
♫ 09. Agnus Dei I, II, III
© Aeon AECD 1216
♫ 10. Communio: Lux aeterna
© Aeon AECD 1216
| Period: | Early Renaissance |
| Musical form: | mass |
| Text/libretto: | Latin mass |
| Duration: | 32'40'' |
| Label(s): | Mirasound Mira 299408 |
See also: Antoine Divitis. The Requiem Mass there mentioned is the same as this one.
It contains:
The nine movements of this Missa pro Fidelibus Defunctis are:
01. Introitus: Requiem aeternam
02. Kyrie Christe Kyrie
03. Graduale: Si ambulem
04. Tractus: Sitivit
05. Fuerunt mihit lacrimae
06. Offertorium: Domine Jesu Christe
07. Prefacio
08. Sanctus
09. Agnus Dei I, II, III
10. Communio: Lux aeterna
It contains:
The nine movements of this Missa pro Fidelibus Defunctis are:
01. Introitus: Requiem aeternam
02. Kyrie Christe Kyrie
03. Graduale: Si ambulem
04. Tractus: Sitivit
05. Fuerunt mihit lacrimae
06. Offertorium: Domine Jesu Christe
07. Prefacio
08. Sanctus
09. Agnus Dei I, II, III
10. Communio: Lux aeterna
| Source: | booklet of cd Aeon AECD 1216 |
♫ 01. Introitus: Requiem aeternam
© Aeon AECD 1216
♫ 02. Kyrie Christe Kyrie
© Aeon AECD 1216
♫ 03. Graduale: Si ambulem
© Aeon AECD 1216
♫ 04. Tractus: Sitivit
© Aeon AECD 1216
♫ 05. Fuerunt mihit lacrimae
© Aeon AECD 1216
♫ 06. Offertorium: Domine Jesu Christe
© Aeon AECD 1216
♫ 07. Prefacio
© Aeon AECD 1216
♫ 08. Sanctus
© Aeon AECD 1216
♫ 09. Agnus Dei I, II, III
© Aeon AECD 1216
♫ 10. Communio: Lux aeterna
© Aeon AECD 1216
In manuscripts at Vienna there are a mass O quam glorifica luce and a requiem.
| Source: | Grove’s dictionary of music and musicians |
This Requiem is known in five sources; two of them mention no composer, two attribute it to Antoine de Févin, one, the Occo Codex, to Antoine Divitis. It is recorded here in the version transmitted by an early sixteenth-century manuscript, the Occo Codex, a sumptuous, richly illuminated volume. The book was originally intended for use in worship at one of the oldest churches in Amsterdam, built in the fourteenth century on the site of a miracle which played a fundamental role in constituting the religious identity of Amsterdam. Occo was the name of the rich merchant who financed the production of the manuscript. It contains some fifteen masses by great composers of the fifteenth century.
Composed at the very end of the fifteenth century, shortly after Iohannes Ockeghem’s setting, this Requiem presents a perfect synthesis of the plainchant tradition and the supreme technical skills of the Franco-Flemish polyphonists who diffused their art throughout western Europe. It was discovered at the end of the twentieth century and has not yet received the full measure of attention it deserves. It is a luminous work. The plainchant melodies, constantly present, sculpted by the living flesh of the polyphonic texture, blaze, shine and reveal the inner energy that, cutting through the centuries, fashions the deployment of time.
Composed at the very end of the fifteenth century, shortly after Iohannes Ockeghem’s setting, this Requiem presents a perfect synthesis of the plainchant tradition and the supreme technical skills of the Franco-Flemish polyphonists who diffused their art throughout western Europe. It was discovered at the end of the twentieth century and has not yet received the full measure of attention it deserves. It is a luminous work. The plainchant melodies, constantly present, sculpted by the living flesh of the polyphonic texture, blaze, shine and reveal the inner energy that, cutting through the centuries, fashions the deployment of time.
| Author: | Marcel Pérès |
In the first two decades of the 16th century, polyphonic requiem settings became increasingly common. Early settings include those by Richafort, Antoine de Févin (also ascribed to Divitis), Engarandus Juvenis and Escobar.
| Author: | Steven Chang-Lin Yu |
Requiem d'Anne de Bretagne
| Period: | Early Renaissance |
| Musical form: | mass |
| Text/libretto: | Latin mass |
| Duration: | ca.50' |
| In memory of: | Anne de Bretagne |
| Label(s): | Zig-Zag Territoires ZZT 110501 |
| Aeon AECD 1216 |
This Messe de Requiem contains:
01. Introit: Requiem aeternam 6:13
02. Kyrie 2:56
03. Graduel: Si ambulem in medio umbrae mortis 2:55
04. Verset: Virga tua 2:29
05. Tractus: Sitivit anima mea 3:05
06. Fuerunt mihi lacrimae 2:54
07. Misere mei Domine 3:12
08. Offertoire: Domine Jesu Christe 4:57
09. Verset: Hostias et preces tibi, Domine 1:52
10. Quam olim Abrahae 1:18
11. Sanctus 2:57
12. Benedictus 2:02
13. Coeur Désolez: Dies illa, dies irae 4:14
14. Agnus Dei 4:05
15. Communion: Lux aeterna luceat eis, Domine 2:50
16. In paradisum 1:34
01. Introit: Requiem aeternam 6:13
02. Kyrie 2:56
03. Graduel: Si ambulem in medio umbrae mortis 2:55
04. Verset: Virga tua 2:29
05. Tractus: Sitivit anima mea 3:05
06. Fuerunt mihi lacrimae 2:54
07. Misere mei Domine 3:12
08. Offertoire: Domine Jesu Christe 4:57
09. Verset: Hostias et preces tibi, Domine 1:52
10. Quam olim Abrahae 1:18
11. Sanctus 2:57
12. Benedictus 2:02
13. Coeur Désolez: Dies illa, dies irae 4:14
14. Agnus Dei 4:05
15. Communion: Lux aeterna luceat eis, Domine 2:50
16. In paradisum 1:34
"The notes in the booklet of the cd (Zig-Zag Territoires ZZT 110501) reproduce a detailed description of Queen Anne's funeral and about the singing of a Missa pro defunctis. But the name of the componist is not specified. So the editor explains that the musicians "would naturally have drawn on their repertory". He goes on to enumerate the surviving works of the period : Prioris, Richafort, Pierre de la Rue, Brumel, etc. And then: "For musical reasons we have chosen to evoke the funeral...through Fevin's Missa pro defunctis..."
So, not only that Fevin died before Anne, but there is not even proof that the work was performed at her funeral. Though there is no proof to the contrary either."
| Author: | Arye Kendi |
On the death of Anne of Brittany, her husband King Louis XII honoured her with exceptional funeral ceremonies lasting forty days, which sealed forever her image as Queen of France and Duchess of Brittany. As he prepared this programme centring on the Missa pro defunctis of Antoine de Févin, and read the exceptionally vivid narrative by the herald of Anne of Brittany (whom her subjects nicknamed simply ‘Bretaigne’!), Denis Raisin Dadre realised that beyond all this official mourning staged by the royal authority, there was also a silent sorrow, that of the Bretons who had lost their duchess and were also in the process of losing their duchy’s independence. He wanted to make the voices of the people heard behind the voices of the king’s singers, and so he asked Yann-Fañch Kemener to contribute some traditional Breton gwerzioù. These solo songs act as a counterpoint to the complex polyphony which expresses all the pomp of royalty. His voice allows us to hear the Breton people, so attached to their Duchess Anne who had bequeathed them her heart and who are still extraordinarily attached to her today.
| Source: | http://outhere-music.com/store-ZZT_110501 |
| Contributor: | Arye Kendi |
Anne, Duchess of Brittany (25/01/1477 – 09/01/1514), also known as Anna of Brittany (French: Anne de Bretagne; Breton: Anna Vreizh), was a Breton ruler, who was to become queen to two successive French kings. She was born in Nantes, Brittany, and was the daughter of Francis II, Duke of Brittany and Margaret of Foix. Her maternal grandparents were Queen Eleanor of Navarre and Gaston IV, Count of Foix. Upon her father's death, she became sovereign Duchess of Brittany, Countess of Nantes, Montfort and Richmont and Viscountess of Limoges. In her time, she was the richest European woman.
| Anne de Bretagne (dedicatee) |