life of guillaume dufay

As is the case with his motets, many of the songs were written for specific occasions, and many are datable, thus supplying useful biographical information. While in Cambrai he collaborated with Nicolas Grenon on a complete revision of the liturgical musical collection of the cathedral, which included writing an extensive collection of polyphonic music for services. Hear The Hilliard Ensemble perform Dufay's Moribus et genere; Vergene bella and Lamentatio sanctae matris ecclesiae Constantinopolitanae in London, 25 September 2010, Free access to high-resolution images of manuscripts containing works by du Fay from Digital Image Archive of Medieval Music, Free pdfs of New Dufay edition by Alejandro Planchart downloadble from Digital Image Archive of Medieval Music, Ave Regina Caelorum, the score at the classicaland.com. 1397. [5] His musical gifts were noticed by the cathedral authorities, who evidently gave him a thorough training in music; he studied with Rogier de Hesdin during the summer of 1409, and he was listed as a choirboy in the cathedral from 1409–12. Guillaume Du Fay (/djuːˈfaɪ/ dew-FY, French: [dy fa(j)i]; also Dufay, Du Fayt; 5 August 1397 – 27 November 1474) was a Franco-Flemish composer and music theorist of the early Renaissance. Often the harmonization used a technique of parallel writing known as fauxbourdon, as in the following example, a setting of the Marian antiphon Ave maris stella:[citation needed], Du Fay may have been the first composer to use the term "fauxbourdon" for this simpler compositional style, prominent in 15th century liturgical music in general and that of the Burgundian school in particular. He went to Turin in 1450, shortly before the death of Duke Amédée, but returned to Cambrai later that year; and in 1452 he went back to Savoy yet again. It was during the early 1440’s where he wrote his extensive collection of liturgic and polyphonic music. When he returned to Cambrai for his final years, he was appointed canon of the cathedral. He had many avid followers and listeners out of which a few prominent personalities were Ockeghem and Loyset Compere. [1] His music effectively synthesized a wide variety of styles: the Contenance angloise of John Dunstaple, the famous Missa Caput, and the techniques of his younger contemporaries Johannes Ockeghem and Antoine Busnois. A note in the margin in a manuscript held in the Biblioteca Palatina in Parma refers to a Musica which he wrote; no copy of the work itself has been found. Guillaume Dufay is believed to be born near Brussels. In June 1414, aged around 16, he had already been given a benefice as chaplain at St. Géry, immediately adjacent to Cambrai where studied under Nicolas Malin and Richard Loqueville. Marie moved with her son to Cambrai during his early years, and they stayed with a relative who was the tenet of a Cathedral at the time. In 1437 Dufay visited the town. Guillaume Dufay is another of those Franco-Flemish composers you might not have heard of but on whose music the stuff you really like is based. These include all genres common at the time: Mass Ordinaries, both individual movements and cycles, Mass Propers, motets, and minor liturgical works, as well as French chansons and settings of Italian texts. During those years he studied with Nicolas Malin, and the authorities must have been impressed with the boy's gifts because they gave him his own copy of Villedieu’s Doctrinale Puerorum in 1411, a highly unusual event for one so young. After this brief period of personal loss, he decided to journey to Bologna and immediately entered the service of ‘Cardinal Louis Aleman’. The contents of neither work are known.[1]. The illuminator of this depiction likely knew Du Fay and it is the best known of two surviving depictions of him. Pryer A, 'Dufay' in New Oxford Companion to Music, ed. [1], Cardinal Aleman was driven from Bologna by the rival Canedoli family in 1428, and Du Fay also left, going to Rome. Guillaume Dufay, Dufay also spelled Du Fay or Du Fayt, (born August 5, 1397?, Beersel, near Brussels, Burgundian Netherlands [now in Belgium]—died November 27, 1474, Cambrai, Bishopric of Cambrai [now in France]), Franco-Flemish composer noted for both his church music and his secular chansons.

In 1420 he left Cambrai for Italy – first to Rimini and then to Pesaro, where he worked for the Malatesta family. Simone Monge, Turin: Einaudi Editore (1997); ISBN 88-06-14672-6.

[1], After the abdication of the last antipope (Felix V) in 1449, his own former employer Duke Amédée VIII of Savoy, the struggle between different factions within the Church began to heal, and Du Fay once again left Cambrai for points south. [citation needed] Of Du Fay's masses, his Missa se la face ay pale and Missa L'Homme armé are listed on AllMusic as essential compositions. He was taught in those days by Nicholas Madeleine, and he received a copy of the Doctrinalein 1411 when he was only 14 years old. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and USA.gov, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). During this period, he composed one of his four celebrated ‘Lamentationes’ that he had created during the Fall of Constantinople in the year 1453. The illuminator of this depiction likely knew Du Fay and it is the best known of two surviving depictions of him. [citation needed], Du Fay composed in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music. [citation needed], Most of Du Fay's secular songs follow the formes fixes (rondeau, ballade, and virelai), which dominated secular European music of the 14th and 15th centuries. He had returned to Cambrai in the year 1425 following the death of one of his closest relatives with whom he and his mother were staying. Instruments may have been used to reinforce the voices in actual performance for almost any of his works. He had requested that his motet Ave regina celorum be sung for him as he died, with pleas for mercy interpolated between verses of the antiphon, but time was insufficient for this to be arranged. Most of Dufay's secular songs follow the formes fixes (rondeau, ballade, and virelai), which dominated secular European music of the 14th and 15th centuries. [citation needed], After an illness of several weeks, Du Fay died on 27 November 1474. The last 30 years of Dufay's life were centered on the Cathedral at Cambrai. After serving a brief stretch with the Cathedral, Dufay went on to study more music under another renowned gentleman called ‘Nicolas Mali’ who duly recognized his efforts and presented him with the prestigious ‘Doctrinale’ in the year 1411, which was never presented to a child earlier. Just before his death, he requested for his famous motet ‘Ave Regina Celorum’ to be sung to him on his death bed, but much before the preparations for his request were underway, Dufay breathed his last. Dufay grew to become a rich and powerful personality in the world of music. In 1437 Du Fay visited the town. He was not an innovator, with the exception of a … Privacy Policy. The constant skirmishes between the Papacy and the Council threatened Dufay’s career and with the hope of assuming office as Canon at Cambrai he would had to study law. [1] Later that year, on the evidence of music composed, and a later relationship with the Malatesta court, members of which he met on the trip, he probably went to the Council of Konstanz. He had left Rome because of a crisis in the finances of the papal choir while seeking to escape the turbulence and uncertainty during the struggle between the papacy and the Council of Basel.

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