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205:, incorporating some of the lightness of the contemporary Italian secular music. Most of his masses are based on chanson melodies, which are stated clearly in the tenor voice, and the other voices usually move in a simple, occasionally parallel manner, related to the manner of Dufay or the other Burgundians. Once in a while Weerbeke uses
139:. After 1500 he was again in Rome singing in the papal choir. The last years of his life are obscure; he may have returned to the region of his birth, for he received appointments for posts at both
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but never in the paired manner of
Josquin or the pervasive manner of the later Franco-Flemish composers; his style of composition of masses is almost archaic in comparison to his contemporaries.
108:
to find more singers for his
Italian employer. Successful in his quest, he returned to Milan, and soon the Sforza chapel had one of the largest choirs in Europe. After the murder of
194:; but the bulk of his work is sacred vocal music. Attribution of the chansons is controversial, and many scholars believe them to have been composed by composers such as Josquin, or
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Weerbeke combined the styles of the
Italians with some of the older techniques of the Burgundians. He was almost alone among the
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His music was much esteemed, especially in Italy, where it represented perhaps the popular aesthetic as opposed to the
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For the next decade
Weerbeke seems to have been associated with several courts, including Milan, the court of
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style which was developing at the time, best exemplified by the music of
Josquin des Prez.
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in 1476, however, the singers mostly disbanded. Weerbeke then joined the papal choir in
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Canticum
Canticorum. In Praise of Love: The Song of Songs in the Renaissance
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Eric F. Fiedler, Die Messen des Gaspar van
Weerbeke, Tutzing, 1997
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Gaspar van
Weerbeke: New Perspectives on his Life and Music
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Croll, Gerhard; Lindmayr-Brandl, Andrea. L. Macy (ed.).
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252:Lindmayr-Brandl, Andrea; Kolb, Paul, eds. (2019).
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41:, but unique in his blending of the contemporary
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65:, evidently out of wedlock, and was educated at
286:The New Grove Dictionary of Music and Musicians
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167:composers in avoiding the smooth, imitative
337:. New York, W.W. Norton & Co., 1954.
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16:Musician and composer from the Netherlands
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369:Gaspar Online Edition in Humdrum format
201:In style, much of his motet writing is
104:In 1472 and 1473 he went back north to
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256:. Epitome musical. Turnhout, Belgium:
233:. Eufoda 1359. Contains recordings of
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1201:16th-century Franco-Flemish composers
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85:, where he joined the singers of the
37:. He was of the same generation as
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284:Article "Gaspar van Weerbeke", in
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1191:Belgian male classical composers
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675:Giovanni Pierluigi da Palestrina
355:The Gaspar van Weerbeke Project
73:, and he may have studied with
246:References and further reading
186:setting, and a setting of the
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418:List of Renaissance composers
364:at the University of Salzburg
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61:He was born somewhere in the
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1186:Belgian classical composers
241:est by Gaspar van Weerbeke.
190:, as well as a few secular
174:He composed sacred music:
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1048:Petrus Phalesius the Elder
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360:24 November 2016 at the
335:Music in the Renaissance
267:10.1484/M.EM-EB.5.117281
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858:English Madrigal School
316:(subscription required)
89:chapel, which included
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1211:People from Oudenaarde
700:TomĂĄs Luis de Victoria
504:Oswald von Wolkenstein
373:Verovio Humdrum Viewer
371:, scores viewable via
1206:Renaissance composers
720:Transition to Baroque
665:Pierre de Manchicourt
45:style with the older
750:Girolamo Frescobaldi
557:CristĂłbal de Morales
305:. Grove Music Online
239:Anima mea liquefacta
29:â after 1516) was a
868:Florentine Camerata
840:Composition schools
499:Gaspar van Weerbeke
302:Gaspar van Weerbeke
149:St. Maria ad Gradus
131:, and possibly the
20:Gaspar van Weerbeke
1063:Thomas Vautrollier
1043:Ottaviano Petrucci
1018:Pierre Attaingnant
1008:Hieronymus Andreae
815:Michael Praetorius
800:Claudio Monteverdi
790:Giovanni de Macque
785:Luzzasco Luzzaschi
755:Alfonso Fontanelli
645:Francisco Guerrero
620:Antonio de CabezĂłn
532:Thomas Crecquillon
514:Middle (1470â1530)
494:Johannes Tinctoris
434:Alexander Agricola
182:, motet cycles, a
95:Alexander Agricola
63:diocese of Tournai
1196:Flemish composers
1163:
1162:
760:Giovanni Gabrieli
587:Philippe Verdelot
484:Johannes Ockeghem
426:Early (1400â1470)
409:Renaissance music
277:978-2-5035-8454-6
75:Johannes Ockeghem
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1023:Vittorio Baldini
1000:Music publishing
775:Hans Leo Hassler
730:Gregorio Allegri
685:Cipriano de Rore
660:Vicente Lusitano
655:Orlando di Lasso
610:Jacques Arcadelt
577:Pierre de la Rue
572:Josquin des Prez
552:ClĂŠment Janequin
547:Antoine de FĂŠvin
537:Antonius Divitis
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39:Josquin des Prez
33:composer of the
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615:William Byrd
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489:Leonel Power
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307:. Retrieved
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214:contrapuntal
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188:Lamentations
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1181:1517 deaths
1176:1445 births
1084:Renaissance
1079:Early music
975:Netherlands
955:Elizabethan
810:Jacopo Peri
780:Alonso Lobo
740:John Cooper
602:Late (1530)
562:Jean Mouton
474:Jean Japart
464:Walter Frye
196:Jean Japart
110:Duke Sforza
35:Renaissance
27: 1445
1170:Categories
1109:Philosophy
1104:Literature
1072:Background
938:Traditions
914:Magnificat
904:Intermedio
848:Burgundian
309:29 October
220:Recordings
203:homophonic
184:Magnificat
169:polyphonic
67:Oudenaarde
47:Burgundian
924:Offertory
853:Colorists
715:Mannerism
207:imitation
155:in 1517.
118:Sixtus IV
49:style of
1145:Category
1122: â
985:Portugal
909:Madrigal
883:Venetian
358:Archived
192:chansons
137:Florence
106:Burgundy
1135:â
965:Germany
945:British
258:Brepols
145:Tournai
141:Cambrai
43:Italian
1155:Portal
980:Poland
960:France
950:Cyprus
929:Pavane
723:c.1600
341:
324:
292:
274:
225:2003:
180:motets
176:masses
133:Medici
116:under
97:, and
87:Sforza
1099:Dance
990:Spain
970:Italy
899:Carol
878:Roman
159:Music
153:Mainz
83:Milan
51:Dufay
919:Mass
717:and
367:The
339:ISBN
322:ISBN
311:2010
290:ISBN
272:ISBN
237:and
143:and
120:and
114:Rome
57:Life
1089:Art
262:doi
151:in
135:in
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260:.
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93:,
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24:c.
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