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Jean Mouton
c.1459 - 1522
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J. Mouton
Jean Mouton -also: Jean de Holloigue, Houllievigues; Motonis, Moto, Moton, Muton, Moutonac- (c.1459 - 30/10/1522), a French composer, from the dept. of Somme. He was a pupil of Josquin, teacher of Willaert. There is much unsure about the live of Jean Mouton. In 1502 he became a musician in the Hofkapelle of Louis XII and in 1510 his maître till he died in 1522. His oeuvre: 25 songs, 9 Magnificats, 15 masses and some 100 motetten.
Jean Mouton (real name Jean de Holluigue) was one of the most important motet South-Netherlandish composers of the mid Renaissance period. He was born near Holluigue nowadays Haut-Wignes about 1459. This area where he was born belonged to the Dukes of Burgundy. Nearly nothing is known about his youth and his musical education.
At the age of 18 or some older, Mouton was appointed as chorister and also appointed as a teacher of the choirboys in the church of Notre Dame in Nesle in 1477 in Picardie. In 1483 he achieved the position of maître de la chappelle/Maestro di cappella (cantor) there. Mouton was ordinated priest. In 1494-1495 Mouton worked as a singer in the cathedral of St. Omer. By 1500 Mouton worked in Amiens and in Grenoble for a short term before he served the French royal court under Queen Anne of Brittany (1477-1514) as magister capellae, and after her death as maestro di cappella under Louis XII (1462-1515) and Francis I (1494-1547). Furthermore Mouton was appointed canon - in absentia - at St. André in Grenoble and was appointed canon in his last years in St. Quentin where he died and was buried, which belongs too to the Dukes of Burgundy. In between Mouton had too a benefices in Thérouanne.
Mouton wrote both secular and sacred music for specific public and private royal functions, including royal weddings. The fame of Mouton was widely spread, and he was among the first composers to have an entire volume of his music published. This was done by the pioneer of music printing the Italian, Ottaviano dei Petrucci (1466-1539), who issued a book of his Masses in 1515. A large volume of his works survived, numbering over 100 motets, 15 masses, and more than 20 chansons. Another legacy of the fame of Mouton, having been the teacher of Adriaen Willaert (c.1488/90-1562), who became a famous composer of the South-Netherlandish style. Willaert generated great influence in Italian music of the high Renaissance in Venice with the remarkable Venetian choir-style, coro spezzati and was founder of the famous Venetian School.
Mouton tended to write calming, meditative music with smooth, flowing polyphony that means a continuous flow of vocal lines from beginning up to the end, with imitating of melodic lines in each voice in a counterpoint. As example we mention the splendid “Nesciens Mater “ set for eight voices. All compositions by Mouton are set in a modest way of developing and paving the way the music of the South-Netherlandish generations to follow. Although Mouton lived and worked in which we call today France he belongs in our opinion to the third generation of South-Netherlandish Renaissance composers, a very large number of craftsmen with enormous skills in Polyphonic writing spread all over Europe.
Author:Wim Goossens
Anna requiescat in pace/ Quis dabit oculis
Period:Early Renaissance
Composed in:1514c
Musical form:Motet for four voices
In memory of:Anne de Bretagne, queen of France
Label(s):Ligia Digital Lidi 0202122-03
Mirare MIR 446

♫ Quis dabit oculis
© Mirare MIR 446
Quis dabit oculis, Naenia in Funere Annae Britannae Galliarum Reginae
Quis dabit oculis is a four parts (ATTB) motet written on the death of Queen Anne of Brittany ( 1477-1514), wife of Louis XII. It is a funeral motet. This motet is a slow and very dignified piece. It’s utterly compelling in its atmospheric simplicity which Mouton renders all the more moving by using simple homophonic chords every time the text mentions Anna’s name ( in Bar 83-84 , 87-88, 169-171). In this funeral motet Mouton genuinely mourned her passing away. This motet is divided in three movements.
In the prima pars the canon is set by Mouton in the Altus and the Tenor II. At the end (bars 62-71) Mouton uses homophonic phrases. In the secunda pars Mouton mixed up polyphonic phrases with homophonic phrases. Sometimes in ‘Heu nobis domine’ Mouton uses in this secunda pars double canonical technique (Tenor I and Bassus) alternated with homophonic chords.
In the tertia pars the canon is set by Mouton in the Altus and Tenor II. As from bar 169 Mouton starts with the last remembrance of Anna of Brittany ‘Requiescat in pace”.
This motet is published in Selecti aliquot moduli...liber primus (1555) and in Motetti de la corona/libero tertio, Ottaviano Petrucci, 1519.
Author:Wim Goossens
Prima pars
Quis dabit oculis nostris fontem lacrimarum?
Et plorabimus die ac nocte coram Domino?
Britannia, quid ploras?
Musica, cur siles?
Francia, cur inducta lugubri veste
moerore consumeris?

Who will give to our eyes a well of tears?
And shall we weep day and night before the Lord?
Brittany, why do you lament?
Music, why are you silent?
France, why dressed in clothes of mourning
do you waste away in sorrow?

Secunda pars
Heu nobis, Domine, defecit Anna,
gaudium cordis nostri.
Conversus est in luctum chorus noster,
cecidit corona capitis nostri.

Woe to us, Lord, for Anne is gone,
the joy of our hearts.
Our song is turned into mourning,
and the crown has fallen from our heads.

Tertia pars
Ergo eiulate pueri, plorate sacerdotes,
ululate senes, lugete cantores,
plangite nobiles, et dicite:
Anna requiescat in pace. Amen.

Therefore cry out children, weep priests,
howl old men, mourn singers,
lament noblemen, and say:
May Anne rest in peace. Amen.
Contributor:Wim Goossens
Anne de Bretagne
Peccantem me Quotidie
Period:Early Renaissance
Composed in:1514c
Musical form:Motet à 5 vocibus
Text/libretto:Text/libretto: Latin from Responsorium de Officium Defunctorum
Label(s):DBX 11358

♫ Peccantem me Quotidie
© Psalmus PSAL 020
The plainchant Peccantem me Quotidie is an old Responsorium/Respond from Matins of the Dead and is published in the Liber Usualis (ed. 1936 page 1797) after Lectio VII/Lesson VII. The plainchant Peccantem me quotidie is an old Respond. There are about 138 Responsoria known used during centuries in the Office of the Dead. In this case Mouton didn’t use the belonging Versicle Commissa mea Domine pavesco.
This motet Peccantem me Quotidie is written by Mouton for five voices SSATB in a imitative counterpoint style. Contratenor starts followed by Tenor, Bassus, Superior II and Superior I. Contratenor and Bassus start with the same phrase, so did Tenor and Superior I with another Phrase.
Mouton underlines the words ‘conturbat me’ in the Bassus (Bar 44-47) with brevi/longa notes.
The Superior I and Superior II follow each other one tone (secunde) higher or lower in a canon during the whole composition. The canonic cantus firmus technique is a distinguishing mark in the compositions by Mouton. Nearly all the musical ornaments in this Peccantem me quotidie are set by Mouton in the three lower voices: Contratenor, Tenor and Bassus. We hear homophonic sonorities in ‘quia inferno’ and in ‘miserere mei’. The long closing “et salve me’ , ‘and save me’ as from bar 77 is a musical pleading - seen the text - with a lively smoothly flowing character. This serene setting of this Peccantem me quotidie ends in full d-Dorian. This motet consists out of 93 bars and is published in Motettorum liber tertius: Viginti musicales quinque/sex/vel octo vocum motetos habet/ Paris, Attaignant, 1534.
Author:Wim Goossens
R.Peccantem me quotidie,et non me penitentem,
Timor mortis conturbat me.
Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.

R. Every day I sin and I am impenitent.
The fear of death troubles me:
For in hell there is no redemption.
Have mercy upon me, O God, and save me.
Contributor:Wim Goossens