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to Rouen to work on the cathedral organ. The result of this collaboration was referred to by contemporary critics as the best organ in France. This instrument and
Carlier's later work in France defined the French classical organ. Titelouze occasionally collaborated with Carlier on various
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Although French organs already had colorful solo stops at the time, Titelouze did not use them. According to the prefaces of both collections, he was concerned with making his pieces easier to play and playable by hands alone. Titelouze goes as far as suggesting, in the preface to
346:. In most versets, counterpoints to the hymn melody engage in imitation or fore-imitation, and more often than not they are derived from the hymn melody. All of the pieces are in four voices, except the canonic versets, which use only three.
188:, published from 1634 to 1637. Although the strict polyphonic style of Titelouze's music soon disappeared from French organ music, his influence was still felt for some time after his death. As an example, the Parisian composer and organist
409:. Most fugue subjects are derived from the chant; there are many double fugues and inversion fugues in the collection. Four-voice polyphony is employed throughout the collection. The music is much more forward-looking than in the
227:. The hymn in the tenor is highlighted. The outer voices form a canon at the octave; in the other two canonic versets in the 1623/4 collection, Titelouze created canons at the fifth (and the hymn is in the soprano voice , or bass
62:. His style was firmly rooted in the Renaissance vocal tradition and as such, was far removed from the distinctly French style of organ music that developed during the mid-17th century. However, his hymns and
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suggested that the surname
Titelouze may be of English or Irish origin (more specifically, derived from "Title-House"), but recently this supposition has been disproven, and "Titelouze" is now linked to "de
435:. In this inversion fugue (the subject is highlighted with shades of blue), like in much of the rest of the collection, Titelouze's musical language is more progressive than in any of the 1624 hymns.
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practice is used: the hymn melody either migrates from one voice to another, with or without imitative inserts between verses, or is treated imitatively throughout the piece. In three versets (
157:. The same year, due to health problems, Titelouze partially retired from his organist position (although he kept the post until his death). In 1626, he published a second organ collection,
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161:, that contained eight Magnificat settings. In 1630, he received another award from the Académie des Palinods and was made "Prince des Palinods". He died three years later.
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Titelouze's surviving output comprises two collections of organ pieces. These are the first published collections of organ music in 17th century France. The first,
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119:. His work was not limited to Rouen: he also acted as organ consultant and helped with the installation and repair of important instruments in various cities.
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of the mode, and so, Titelouze writes, the organist can shorten any verset during the service by substituting this cadence with one on the
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Save for the introductory ones, all of the versets are fugal. Most feature two main points of imitation: the first concludes on the
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in 1562/3 (his exact date of birth is unknown) and educated there; by 1585, he entered the priesthood and served as organist of the
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instruments. In 1604, Titelouze was naturalized French (at the time, Saint-Omer, where
Titelouze was born, was part of the
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361:. There are seven versets in each setting, presenting the odd-numbered versets of the canticle, with two settings of
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settings are the earliest known published French organ collections, and he is regarded as the first composer of the
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184:. Seven letters survive from their correspondence, dated from 1622 to 1633. Titelouze gave Mersenne advice on
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accompaniment. Other versets are only occasionally cast in this form. More frequently the 16th century
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In the preface, Titelouze explains that this structure makes these
Magnificat settings usable for the
50:(c. 1562/63 – 24 October 1633) was a French Catholic priest, composer, poet and organist of the late
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Le
Magnificat ou Cantique de la Vierge pour toucher sur l'orgue suivant les huit tons de l'Église
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Hymnes de l'Église pour toucher sur l'orgue, avec les fugues et recherches sur leur plain-chant
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The city of Rouen in 1610. Titelouze spent most of his life here, working as organist of the
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in one of the voices, usually the bass, while the other voices provide
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2) the melody in one voice is accompanied by two voices that form a
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Free scores (and midi files) by J. Titelouze at the
Mutopia Project
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In 1600, Titelouze invited the famous Franco-Flemish organ builder
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Howell, Almonte & Cohen, Albert (2001). "Jehan
Titelouze". In
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200:. Some three hundred years later, the composer inspired one of
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Jehan
Titelouze: a short biographical sketch and analysis of
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Note sur la généalogie et la famille de l'organiste
Titelouze
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Complete opera in the edition of
Alexandre Guilmant in 1897
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86:, where Titelouze worked from 1588 until his death in 1633.
131:). In 1610, he was appointed one of the Rouen Cathedral's
572:. Translated by Hans Tischler. Indiana University Press.
444:, to alter the music if it is too difficult to play.
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Listen to the last verset of Titelouze's setting of
417:for an excerpt from one of the inversion fugues).
300:Every hymn begins with a verset with a continuous
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606:The New Grove Dictionary of Music and Musicians
582:Geschichte der Orgel- und Klaviermusik bis 1700
196:(literally "in Titelouze's style") in his 1685
135:. In 1613, he won his first award from Rouen's
142:The year 1623 saw publication of Titelouze's
223:. Opening bars of Titelouze's 3rd verset of
146:, a collection of organ settings of various
139:, the Académie des Palinods, for his poems.
718:https://www.youtube.com/watch?v=iy-SEQiasrg
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687:International Music Score Library Project
237:(1623, 2nd edition in 1624), contains 12
58:periods. He was a canon and organist at
427:. Bars 10–13 from the second setting of
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111:later that year and in 1588, succeeded
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353:, published in 1626, contains eight
306:: the hymn melody is stated in long
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381:Deposuit potentes, second setting
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485:Problems playing this file? See
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378:Deposuit potentes, first setting
342:3) one of the voices provides a
788:French male classical organists
778:French male classical composers
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584:by Bärenreiter-Verlag, Kassel.
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683:Free scores by Jean Titelouze
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287:Sanctorum meritis (3 versets)
198:Livre de musique pour l'orgue
748:French Renaissance composers
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783:17th-century male musicians
628:Silbiger, Alexander. 2004.
281:Exsultet coelum (3 versets)
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630:Keyboard Music Before 1700
591:, RdM, xi, pp. 171–5.
580:. Originally published as
290:Iste confessor (3 versets)
164:Titelouze was a friend of
284:Annue Christe (3 versets)
278:A solis ortus (3 versets)
194:Ă la maniere de Titelouze
99:". Titelouze was born in
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609:(2nd ed.). London:
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552:Silbiger 2004, 106.
543:Apel 1972, 500–502.
129:Spanish Netherlands
115:as organist of the
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144:Hymnes de l'Eglise
113:François Josseline
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511:1930 for details.
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178:philosopher
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394:Benedictus
369:Magnificat
355:Magnificat
334:, in two (
182:theologian
148:plainchant
101:Saint-Omer
64:Magnificat
54:and early
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48:Titelouze
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97:Toulouse
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109:Rouen
44:Jehan
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