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Fils de Lucas I, frère de Lucas II et de Pierre Bellère. Reçu imprimeur par octroi d'oct. 1553. Associé à son frère Lucas II dès cette date. Éditeur de musique en association avec Pierre Phalèse. Linguiste, traducteur de l'italien, du portugais et du latin en français. Auteur notamment d'un \"Onomasticon\" publié en 1553. Père de Balthazar, Jaspar et Lucas III Bellère. Décédé à Anvers en octobre 1595."]],["elementText",{"elementTextId":"43031"},["text","<a href=\"http://data.bnf.fr/12205911/jean_bellere\" target=\"_blank\">http://data.bnf.fr/12205911/jean_bellere</a>"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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He remained in this position until 1553 at least, after which time there are no clues as to his biography. As yet, it is unclear if Bonard is linked to the instrumentalist family of the same name working in Paris during the early seventeenth century or to the Italians Francesco and Iseppo Bonardo, whose music was published primarily by Scotto between 1564 and 1586. Apart from the extremely simple <em>Au jour, au jour</em>, with a guitar reduction by its printer Adrian Le Roy, all extant chansons were printed by Nicolas du Chemin. They show a preference for clearly articulated structures (especially AABA) repeating the last phrase, and for a quasi-homophonic style embellished to various degrees with some minor melismas. The exception is <em>J’ay tant souffert</em>: setting the shortest text, it is through-composed and reserves homophony to stress the word <em>Hélas</em>."]],["elementText",{"elementTextId":"43144"},["text","<a href=\"http://data.bnf.fr/14826254/laurent_bonard\" target=\"_blank\">http://data.bnf.fr/14826254/laurent_bonard</a>"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"46484"},["text","Aurigny, Gilles d’, <a href=\"https://catalogue.bnf.fr/ark:/12148/cb300403888.public\" target=\"_blank\"><i>Le Tuteur d’amour, auquel est comprise la fortune de l’Innocent en amours, composé par Gilles d’Aurigny, dict le Pamphille. Ensemble un livre où sont épistres, élégies, complainctes, épitaphes, chantz royaulx, ballades et rondeaux. Avec un aultre livre d’épigrammes</i></a> (Paris: Girault, Françoys, 1546)."]],["elementText",{"elementTextId":"46488"},["text","Cavicchi, Camilla, Marie-Alexis Colin, and Philippe Vendrix, eds., ‘Laurent Bonard’, in <a href=\"http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503536668-1\" target=\"_blank\"><i>La musique en Picardie du XIVe au XVIIe siècle</i></a>, Épitome musical (Turnhout: Brepols, 2012), p. 109, 112, 314, 364."]],["elementText",{"elementTextId":"46504"},["text","Dobbins, Frank, ‘Bonard [Bonnard, Bonart], Laurent’, ed. by Stanley Sadie and John Tyrrell, <em>The New Grove Dictionary of Music and Musicians</em> (London: Macmillan Publishers Limited, 2001), 848."]],["elementText",{"elementTextId":"46507"},["text","Durand, G., ‘La musique de la cathédrale d’Amiens avant la Révolution’, in <a href=\"http://catalogue.bnf.fr/ark:/12148/cb36601541f/PUBLIC\" target=\"_blank\"><i>La vie musicale dans les provinces françaises</i> </a>(Genève, 1972), 1-131 (spécif. 36, 71, 83-84)."]],["elementText",{"elementTextId":"46523"},["text","Lesure, François, and Geneviève Thibault, <em>Bibliographie des éditions d’Adrian Le Roy et Robert Ballard (1551-1598)</em> (Paris: Société française de musicologie : Heugel, 1955)."]],["elementText",{"elementTextId":"46524"},["text","Lesure, François, ‘Some Minor French Composers of the Sixteenth Century’, in <a href=\"http://catalogue.bnf.fr/ark:/12148/cb43226597p/PUBLIC\" target=\"_blank\"><i>Aspects of Medieval and Renaissance Music. A Birthday Offering to Gustave Reese</i></a>, ed. by Jan La Rue, Hans Lenneberg, Victor Fell Yellin, and Martin Bernstein (London: Oxford University Press, 1967), pp. 538–44."]],["elementText",{"elementTextId":"46537"},["text","Miller, Leta Ellen Zuckerman, ‘<a href=\"http://www.sudoc.fr/04540707X\" target=\"_blank\">The Chansons of French Provincial Composers, 1530–1550: A Study of Stylistic Trends</a>’ (unpublished Ph.D. diss., Stanford University, 1978)."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"43130"},["text","Bonard, Laurent (fl. 1547-1554). 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Parmi les rares documents connus sur sa vie, figure le traité <em>Scintille di musica</em> (1533) de Lanfranco : là le théoricien considère Hesdin comme un musicien moderne de très grand talent, aux côtés de Jacquet de Mantoue, Constanzo Festa et Adrian Willaert entre autres, évocation qui pourrait signifier qu'Hesdin a séjourné en Italie. D'ailleurs, parmi les œuvres d’attribution certaine (3 messes, 2 Magnificat, près de quinze motets et une dizaine de chansons, pour effectif de 3 à 5 voix), les messes et les motets ne présentent pas les mêmes caractéristiques selon qu’ils ont été diffusés par des sources françaises (comme le motet <em>Sancta et immaculata</em>) ou italiennes (par exemple la <em>Missa Benedicta es celorum regina</em>). 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Dizionario Degli Editori Musicali Italiani, Tipografi, Incisori, Libraieditori</i> </a>(Firenze: L. S. Olschki, 1958), p. 219."]],["elementText",{"elementTextId":"46530"},["text","Sartori, Claudio, ‘Librai Editori’, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb326047535/PUBLIC\" target=\"_blank\"><i>Claudio Sartori. Dizionario Degli Editori Musicali Italiani, Tipografi, Incisori, Libraieditori</i></a> (Firenze: L. S. Olschki, 1958), p. 219."]],["elementText",{"elementTextId":"46533"},["text","Sartori, Claudio, ‘Tipografi’, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb326047535/PUBLIC\" target=\"_blank\"><i>Claudio Sartori. Dizionario Degli Editori Musicali Italiani, Tipografi, Incisori, Libraieditori</i></a> (Firenze: L. S. Olschki, 1958), p. 219."]],["elementText",{"elementTextId":"46539"},["text","Schmidt, Lothar, ‘Hesdin, (Nicolle des Celliers de)’, ed. by L. 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For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2"},["text","Persons"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","NAMES"],["description"],["elementContainer",["element",{"elementId":"52"},["name","CESR_person_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43752"},["text","CESR_person_00204"]]]],["element",{"elementId":"53"},["name","Creator | Surname, Given Name (date-date). Role"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43754"},["text","Doublet, Jean (c.1532-...). Composer"]]]],["element",{"elementId":"54"},["name","Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43755"},["text","Doublet"]]]],["element",{"elementId":"55"},["name","Given Name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43756"},["text","Jean"]]]],["element",{"elementId":"56"},["name","Given Name Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43757"},["text","Jean Doublet"]]]],["element",{"elementId":"57"},["name","Gender"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43758"},["text","male"]]]],["element",{"elementId":"58"},["name","Date of birth Qualif"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43759"},["text","circa"]]]],["element",{"elementId":"59"},["name","Date of birth Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43760"},["text","1532"]]]],["element",{"elementId":"61"},["name","Place of birth"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43761"},["text","Beauvais"]]]],["element",{"elementId":"65"},["name","Role"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43762"},["text","Composer "]],["elementText",{"elementTextId":"43763"},["text"," Organist"]]]],["element",{"elementId":"66"},["name","Active period beginning Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43764"},["text","1532"]]]],["element",{"elementId":"107"},["name","Active period ending Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43765"},["text","1536"]]]],["element",{"elementId":"68"},["name","Workplace"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43766"},["text","Beauvais"]]]],["element",{"elementId":"70"},["name","Biography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43767"},["text","Organist at Beauvais cathedral in 1532 (probably till 1540), where a new organ was built in 1531-1532 (Desjardin 1865, p. 73). Both chansons edited here were published by Attaingnant in 1536 and set quatrains of 10/11-syllable verses. While <em>Combien que jay</em> displays imitation of head motives of the various points throughout and a balanced form (aba) following the text structure, the texture of the through-composed <em>Je vouldroye bien</em> also employs paired voices and a higher degree of homophony. Embellishments intersperse its syllabic text setting mainly at the beginning. A third chanson is preserved incompletely in a manuscript dated 1552, presumably originating in the Low Countries."]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"46480"},["text","Cavicchi, Camilla, Marie-Alexis Colin, and Philippe Vendrix, eds., ‘Jean Doublet’, in <a href=\"http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503536668-1\" target=\"_blank\"><i>La musique en Picardie du XIVe au XVIIe siècle</i></a>, Épitome musical (Turnhout: Brepols, 2012), p. 127, 199, 278, 280, 313-314, 377."]],["elementText",{"elementTextId":"46498"},["text","Desjardins, Gustave, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb36482747m/PUBLIC\" target=\"_blank\"><i>Histoire de la cathédrale de Beauvais</i> </a>(Beauvais, 1865)."]],["elementText",{"elementTextId":"46522"},["text","Fenlon, Iain, ‘An Imperial Repertory for Charles V’, <i>Studi Musicali</i>, 13 (1984), 221–40."]],["elementText",{"elementTextId":"46528"},["text","Lesure, François, ‘Some Minor French Composers of the Sixteenth Century’, in <a href=\"http://catalogue.bnf.fr/ark:/12148/cb43226597p/PUBLIC\" target=\"_blank\"><i>Aspects of Medieval and Renaissance Music. A Birthday Offering to Gustave Reese</i></a>, ed. by Jan La Rue, Hans Lenneberg, Victor Fell Yellin, and Martin Bernstein (London: Oxford University Press, 1967), pp. 538–44."]],["elementText",{"elementTextId":"46531"},["text","Miller, Leta Ellen, ‘<a href=\"http://www.sudoc.fr/04540707X\" target=\"_blank\">The Chansons of French Provincial Composers, 1530–1550: A Study of Stylistic Trends</a>’ (unpublished Ph.D. diss., Stanford University, 1977)"]],["elementText",{"elementTextId":"46540"},["text","Miller, Leta Ellen, <a href=\"http://www.sudoc.fr/056255772\" target=\"_blank\"><i>Thirty-Six Chansons of French Provincial Composers (1529-1550)</i></a>, Recent Researches in the Music of the Renaissance, 38 (Madison: A-R Editions, 1981)."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"43753"},["text","Doublet, Jean (c.1532-...). Composer"]]]]]]]],["item",{"itemId":"2700","public":"1","featured":"1"},["collection",{"collectionId":"2"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2"},["text","Persons"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","NAMES"],["description"],["elementContainer",["element",{"elementId":"52"},["name","CESR_person_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43779"},["text","CESR_person_00205"]]]],["element",{"elementId":"53"},["name","Creator | Surname, Given Name (date-date). Role"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43781"},["text","Du Caurroy, Eustache (1549-1609). Composer"]]]],["element",{"elementId":"54"},["name","Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43782"},["text","Du Caurroy"]]]],["element",{"elementId":"55"},["name","Given Name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43783"},["text","Eustache"]]]],["element",{"elementId":"56"},["name","Given Name Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43784"},["text","Eustache Du Caurroy"]]]],["element",{"elementId":"104"},["name","Variant Name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43785"},["text","Caurroy, Eustache"]],["elementText",{"elementTextId":"43786"},["text","Du Caurroy, François-Eustache"]],["elementText",{"elementTextId":"43787"},["text","Ducaurroy, Eustache"]],["elementText",{"elementTextId":"43788"},["text","Ducauvroy, Eustache "]]]],["element",{"elementId":"57"},["name","Gender"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43789"},["text","male"]]]],["element",{"elementId":"59"},["name","Date of birth Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43790"},["text","1549-02-04"]]]],["element",{"elementId":"61"},["name","Place of birth"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43791"},["text","Gerberoy"]]]],["element",{"elementId":"105"},["name","Date of death Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43792"},["text","1609-08-07"]]]],["element",{"elementId":"64"},["name","Place of death"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43793"},["text","Paris"]]]],["element",{"elementId":"65"},["name","Role"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43794"},["text","Composer "]],["elementText",{"elementTextId":"43795"},["text"," Singer "]]]],["element",{"elementId":"66"},["name","Active period beginning Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43796"},["text","1575"]]]],["element",{"elementId":"107"},["name","Active period ending Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43797"},["text","1609"]]]],["element",{"elementId":"68"},["name","Workplace"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43798"},["text","Beauvais "]],["elementText",{"elementTextId":"43799"},["text"," Paris"]]]],["element",{"elementId":"70"},["name","Biography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43800"},["text","François-Eustache Du Caurroy est baptisé le 4 février 1549 à Gerberoy, ville alors fortifiée, située à vingt-cinq kilomètres environ de Beauvais. En 1567, son père, prévôt et procureur du roi à Beauvais, devient le parrain du fils de Denis de Journy, facteur d'orgues de la paroisse Saint-Laurent. C'est peut-être à la cathédrale Saint Pierre de Beauvais, renommée dans le royaume pour la formation qu'elle offre aux enfants de chœur, que Du Caurroy reçoit une éducation musicale. Sa carrière semble avoir été tout entière consacrée à servir les rois de France – Charles IX, Henri III et Henri IV. En 1575, 1576 et 1583, le compositeur, alors lauréat du puy de musique d'Evreux, est décrit dans les registres du concours comme l'un des chantres de la chapelle royale. Dans les comptes établis pour cette dernière en 1578, il se trouve désigné comme haute-contre et sous-maître. En 1595, il reçoit le titre de \"Compositeur de la musique de la chambre du roi\" et porte aussi, en 1599, celui de \"compositeur de la musique de la chapelle du roi\". Quelques années plus tard, en 1602, il transforme son poste de haute-contre en poste de taille. Au cours des années 1580, il chante aussi dans la chapelle privée de Catherine de Médicis, mère d'Henri III."]],["elementText",{"elementTextId":"43801"},["text","Après le sacre d'Henri IV (1594), le compositeur multiplie les bénéfices ecclésiastiques. Le 7 août 1609, il meurt à Paris, et est inhumé dans l'Église des Grands Augustins, probablement parce qu'il faisait partie de la confrérie de Sainte Cécile, établie dans le couvent en 1575, par Henri III. Loué dès son vivant (notamment par la Croix du Maine qui, en 1584, dans sa Bibliothèque, loue en Du Caurroy les talents de compositeur et de théoricien), il reçoit après sa mort plusieurs hommages. Théoriciens – Salomon de Caus, Antoine Parran, Antoine Du Cousu, Marin Mersenne – et musiciens – Anibal Gantez, Nicolas Le Vavasseur entre autres – le considèrent comme le digne représentant français des théories développées au siècle précédent par Gioseffo Zarlino."]],["elementText",{"elementTextId":"43802"},["text","À&nbsp;l'exception de quelques chansons, imprimées dans des anthologies parisiennes et anversoises des années 1580 (Le Roy et Ballard) et 1590 (Pierre Phalèse), la majeure partie de son œuvre est imprimée à partir de 1609 : cette année-là, deux livres de motets présentent au total cinquante-trois pièces de trois à neuf voix ; l'année suivante, quarante-deux <em>Fantasies</em> instrumentales écrites à trois, quatre, cinq et six voix et les <em>Meslanges</em> (soixante-trois chansons françaises et latines de deux à sept voix) paraissent.&nbsp;À ces œuvres, il convient d'ajouter quatre messes au moins, éditées probablement vers 1609-1612. Trois d'entre elles, pour quatre voix, sont aujourd'hui perdues, mais nous connaissons la quatrième, la célèbre <em>Missa pro defunctis</em> à cinq voix (qui ne subsiste aujourd'hui que sous deux exemplaires datés de 1636)."]],["elementText",{"elementTextId":"43803"},["text","Dernier grand compositeur français de la Renaissance, Du Caurroy laisse une œuvre variée, tant par les genres exploitées que par les procédés mis en œuvre. Ainsi, sa messe de Requiem, comme certains textes de ses motets – qui figurent parmi les seuls témoignages de ce genre en France à la fin du 16e s.- le désignent comme l'héritier direct des compositeurs liés à la couronne de France durant la première moitié du 16e siècle (Brumel, Mouton, Sermisy, voire Certon) : en témoignent <em>Alleluya, alleluya o filii</em> (mis en musique avant lui par Prioris et Sermisy). Dans le même temps, il montre à plusieurs reprises dans ses motets qu'il connaît les œuvres de Josquin et de Willaert, œuvres qu'il possédait (au moins en partie). Ses motets sont le plus souvent à quatre ou cinq voix, au moment où la plupart des compositeurs écrivent pour cinq ou six voix, tandis qu'il pratique le double-chœur comme il était d'usage à Venise au milieu du 16e siècle. Si son écriture mêle contrepoint en imitation, contrepoint libre et écriture note contre note, elle présente peu de variations d'effectif, et c'est dans les pièces libres (totalement ou partiellement) de matériau préexistant qu'il manifeste sa plus grande inventivité. Obéissant aux injonctions des acteurs de la Contre Réforme concernant la bonne prononciation du texte, il est peut-être lui-même à l'origine de la présence d'accents sur certaines syllabes des textes latins qu'il met en musique."]],["elementText",{"elementTextId":"43804"},["text","Nombre de ses chansons témoignent aussi de son attachement à la polyphonie traditionnelle : Du Caurroy apprécie en effet les longs développements contrapuntiques (<em>Suzanne un jour</em>), parfois sur un matériau mélodique préexistant, tout comme les canons (<em>Le Seigneur, dés qu'on nous offense</em>). C'est cette écriture – louée par ses admirateurs – que l'on retrouve dans les <em>Fantasies,</em> genre que Du Caurroy semble parmi les premiers compositeurs français à pratiquer avec assiduité : son célèbre cycle pour trois à cinq voix, <em>Une jeune fillette</em> (fantaisies 29 à 33) est là pour en témoigner."]],["elementText",{"elementTextId":"43805"},["text","Un tiers de ses <em>Meslanges</em> et un cinquième de ses motets sont composés en musique mesurée à l'antique, comme l'illustrent l'hymne <em>Corporis ex medico</em> ou <em>Chevaliers généreux</em>; cette dernière est composée sur des vers écrits en 1590 par Nicolas Rapin, à l'occasion de la victoire d'Henri IV à la bataille d'Ivry (14 mars 1590). Parmi les poètes qu'il met en musique figurent, outre Nicolas Rapin, Philippe Desportes, poète de cour (<em>Pour vous aymer</em>)."]],["elementText",{"elementTextId":"43806"},["text","Enfin, l'importance de ses noëls dans son œuvre (une quinzaine au moins, de quatre à six voix) en fait l'un des premiers compositeurs à s'intéresser au genre sous une forme polyphonique. Ce faisant, avec ces pièces, il ouvre la voie à de nombreuses autres œuvres du même type, parmi lesquelles figurent les œuvres de M. A. Charpentier (<em>Noëls sur les instruments</em>, <em>Messe de Minuit</em>) et M. R. de Lalande (<em>Symphonie des noëls</em>)."]],["elementText",{"elementTextId":"43807"},["text","<a href=\"http://data.bnf.fr/13893461/eustache_du_caurroy\" target=\"_blank\">http://data.bnf.fr/13893461/eustache_du_caurroy</a>"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"46486"},["text","Cavicchi, Camilla, Marie-Alexis Colin, and Philippe Vendrix, eds., ‘François-Eustache Du Caurroy’, in <a href=\"http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503536668-1\" target=\"_blank\"><i>La musique en Picardie du XIVe au XVIIe siècle</i></a>, Épitome musical (Turnhout: Brepols, 2012), p. 5, 15, 110, 112, 127, 292, 317, 323-324, 346, 378."]],["elementText",{"elementTextId":"46493"},["text","Colin, Marie-Alexis, ‘<a href=\"http://www.sudoc.fr/066828295\" target=\"_blank\">Eustache Du Caurroy et le motet en France à la fin du XVIe siècle</a>’ (Ph.D., University of Tours, 2001)."]],["elementText",{"elementTextId":"46494"},["text","Colin, Marie-Alexis, ‘<a href=\"https://doi.org/10.2307/932897\" target=\"_blank\">Eustache Du Caurroy. Un compositeur français aux confins du XVIe et du XVIIe siècle</a>’, <i>Acta Musicologica</i>, 73.2 (2001), 189–258."]],["elementText",{"elementTextId":"46495"},["text","Du Caurroy, Eustache, <a href=\"https://catalogue.bnf.fr/ark:/12148/cb45128505s.public\" target=\"_blank\"><i>Les Oeuvres complètes</i></a>, ed. by Blaise Pidoux, Gesamtausgaben, 9 (New York: Institute of mediaeval music, 1975)."]],["elementText",{"elementTextId":"46508"},["text","Du Caurroy, Eustache, <a href=\"http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782252032800-1\" target=\"_blank\"><i>Preces ecclesiasticae</i></a>, ed. by Marie-Alexis Colin, Épitome musical (Paris: Klincksieck, 2000)."]],["elementText",{"elementTextId":"46514"},["text","Du Caurroy, Eustache, <a href=\"http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503514925-1\" target=\"_blank\"><i>Missa pro defunctis</i></a>, ed. by Marie-Alexis Colin, Épitome musical (Turnhout: Brepols, 2003)."]],["elementText",{"elementTextId":"46515"},["text","Du Caurroy, Eustache, <a href=\"http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503515922-1\" target=\"_blank\"><i>Meslanges</i></a>, ed. by Marie-Alexis Colin, Épitome musical (Turnhout: Brepols, 2010)."]],["elementText",{"elementTextId":"46516"},["text","Fétis, André, ‘<a href=\"http://www.sudoc.fr/149153449\" target=\"_blank\">Eustache du Caurroy: Preces ecclesiasticae ad numeros musices redactae, liber primus parisiis, 1609’</a> (unpublished Mémoire de maîtrise, Université Paris-Sorbonne, 1982)."]],["elementText",{"elementTextId":"46541"},["text","Fétis, François-Joseph, <em>Biographie universelle des musiciens et bibliographie générale de la musique</em>, 8 vols (Bruxelles: Méline, Cans et Cie, 1837)."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"43780"},["text","Du Caurroy, Eustache (1549-1609). Composer"]]]]]]]],["item",{"itemId":"2701","public":"1","featured":"1"},["collection",{"collectionId":"2"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2"},["text","Persons"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","NAMES"],["description"],["elementContainer",["element",{"elementId":"52"},["name","CESR_person_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43808"},["text","CESR_person_00206"]]]],["element",{"elementId":"53"},["name","Creator | Surname, Given Name (date-date). Role"],["description"],["elementTextContainer",["elementText",{"elementTextId":"43810"},["text","Du Chemin, Nicolas (c.1515-1576). 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Composer"]]]],["element",{"elementId":"54"},["name","Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44763"},["text","Marle"]]]],["element",{"elementId":"55"},["name","Given Name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44764"},["text","Nicolas de "]]]],["element",{"elementId":"56"},["name","Given Name Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44765"},["text","Nicolas de Marle"]]]],["element",{"elementId":"104"},["name","Variant Name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44766"},["text","Demarle, Nicolas de "]],["elementText",{"elementTextId":"44767"},["text"," De Marle, Nicolas de "]],["elementText",{"elementTextId":"44768"},["text"," Nicolas, Nicolas de "]]]],["element",{"elementId":"57"},["name","Gender"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44769"},["text","male"]]]],["element",{"elementId":"61"},["name","Place of birth"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44770"},["text","Noyon"]]]],["element",{"elementId":"65"},["name","Role"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44771"},["text"," Choirmaster"]],["elementText",{"elementTextId":"44772"},["text","Composer"]],["elementText",{"elementTextId":"44773"},["text","Performer "]]]],["element",{"elementId":"66"},["name","Active period beginning Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44774"},["text","1544"]]]],["element",{"elementId":"107"},["name","Active period ending Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44775"},["text","1568"]]]],["element",{"elementId":"68"},["name","Workplace"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44776"},["text","Noyon"]]]],["element",{"elementId":"70"},["name","Biography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"44777"},["text","De Nicolas de Marle, compositeur du milieu du XVIe siècle, tout ce que l’on sait est qu’en 1568, il était maître des enfants de chœur de Notre-Dame de Noyon. L’histoire éditoriale de ses œuvres se divise en deux périodes distinctes : une première, profane, où paraissent douze chansons, puis une seconde, religieuse, où sont publiées les trois messes."]],["elementText",{"elementTextId":"44778"},["text","Entre 1544 et 1554, douze chansons attribuées à « Marle » ou « de Marle » parurent dans des anthologies des éditeurs parisiens : huit chez Pierre Attaingnant, en 1544 (1), 1545 (1) et 1550 (6), et quatre chez Nicolas Du Chemin, en 1550 (2), 1551 (1) et 1554 (1). La première, parue en 1544, met en musique une des épigrammes de Marot sur la beauté de Diane de Poitiers, maîtresse du futur roi Henri II, alors duc d’Orléans. Mais c’est bien en 1550 que Marle semble avoir accédé à une certaine notoriété, puisqu’Attaingnant insère six de ses chansons dans son 35e livre de chansons à quatre, tandis que Nicolas Du Chemin en publie deux autres, dans ses 1er et 8e livres de chansons. Avec six chansons insérées dans un seul et même volume d’Attaingnant, Marle rejoint un petit groupe de compositeurs « mineurs » à avoir bénéficié du même traitement, comme Le Heurteur ou Maillart dans les années 1530, puis Mornable, Villiers ou Du Tertre dans la décennie suivante. Cette reconnaissance pourrait bien être liée au succès la deuxième de ses chansons publiées, <em>Une bergère un jour</em> (1545), dont les concordances manuscrites et les rééditions montrent qu’elle jouit d’une bonne diffusion."]],["elementText",{"elementTextId":"44779"},["text","Après cette décennie de publications profanes parurent trois messes, deux en 1557 et 1559 chez Le Roy et Ballard, et la dernière près de dix ans plus tard, en 1568 chez Du Chemin. Si les pages de titre de 1557 et 1559 nous apprennent que l’auteur se prénomme Nicolas, ce n’est qu’avec celle de sa toute dernière publication, la Messe <em>O gente brunette</em>, que parut enfin une information à son sujet : il était alors prêtre (D. Nicolao de Marle) et occupait la charge de maître des enfants de chœur de l’illustre église de Noyon (<em>puerorum choralium insignis ecclesiae Novionensis [sic] moderator</em>). Les archives de Noyon ayant presque complètement disparu, sa carrière dans cette église n’a pu être retracée jusqu’à présent. Néanmoins, le fait que son nom n’ait été repéré nulle part ailleurs et la proximité du gros bourg de Marle, au nord de Laon, rendent probable l’hypothèse qu’il naquit dans la région et y passa une bonne partie, et peut-être l’intégralité de sa carrière, à l’instar de plusieurs compositeurs édités dans ces années, qui détinrent des charges similaires dans des cathédrales françaises, tels Jean Guyon à Chartres ou Pierre Cadéac à Auch."]],["elementText",{"elementTextId":"44780"},["text","Le nom de Marle est cependant tout sauf rare à cette période et se retrouve, malgré son ancrage picard, dans diverses régions de France. C’était surtout celui d’une grande dynastie de robe, bien connue à partir du XIVe siècle, qui donna un chancelier de France (Henri de Marle, seigneur de Versigny, premier président du Parlement de Paris, nommé chancelier en août 
1413 et égorgé lors du massacre des Armagnacs par les Bourguignons en 1418 — son frère Guillaume fut doyen de Senlis) et, jusqu’à la fin du XVIe siècle, de nombreux avocats et conseillers au Parlement, échevins et prévôts de Paris, et officiers royaux. Clément Marot écrivit l’épitaphe d’une descendante de la famille, Anne de Marle († ca. 1529), fille de Jérôme de Marle, seigneur de Luzancy. Mais rien ne permet d’imaginer à ce jour que le Nicolas actif à Noyon en 1568 ait eu un lien direct avec cette dynastie parisienne. Par contre, les quelques mentions d’une famille de Marle à Noyon même (Mathieu et Pierre, respectivement maire de Noyon de 1487 à 1491 et abbé de Saint-Éloi de 1471 à 1507) laisse penser qu’une ancienne branche cadette de la dynastie s’était installée dans la ville. En l’absence de toute trace documentaire du compositeur, il y a tout lieu de penser qu’il est issu de cette famille noyonnaise."]],["elementText",{"elementTextId":"44781"},["text","La musique de Nicolas de Marle révèle un compositeur accompli, parfois inspiré. Ses chansons, composées sur des dizains (n° 2, 4, 6, 7, 8, 11 et 12) ou des huitains (n° 1, 3, 5, 9, 10) de décasyllabes (sauf le n° 4, en octosyllabes), adoptent toutes la forme musicale la plus fréquente à l’époque, avec reprise initiale de la musique pour les vers 1-2 et 3-4, la dernière section étant parfois reprise. Seul le texte de sa première chanson est connu par une source littéraire, puisqu’il reprend exactement celui paru en 1538 dans l’édition des œuvres de Marot publiée à Lyon par Étienne Dolet (Du Chemin imprima une chanson de Certon sur ce texte dans son premier livre [1550/7], où figure également une chanson de Marle). Au départ de la production de Marle figurent trois chansons (n° 2, 4 et 5) qui relèvent du genre narratif grivois brillamment illustré par Clément Janequin. <em>Une bergiere ung jour</em> (n° 2) doit sans aucun doute son succès à la verve de son texte et à son illustration musicale imaginative de la « cornemuse », particulièrement réussie, et du « tambourin joly ». Entre autres réminiscences janequiniennes, l’exhubérance finale, aux mots « frappe dessus ! », rappelle les imitations sur « Serre Martin ! » que Janequin avait imaginées à la fin de sa version de Martin menoit son pourceau au marché (parue en 1535). Une autre version de Frere Jehan (n° 4), attribuée à « H. Fresneau », fut imprimée à Lyon en 1544 par Jacques Moderne (1544/9). Le reste des chansons de Marle, sur des textes amoureux d’une qualité poétique inégale, relèvent du style élégant mis au goût du jour par Sandrin. <em>Vive sera pour jamais n'estre morte</em> (n° 9, sur un texte déjà mis en musique par Du Tertre en 1543 [1543/11]) est la seule à présenter un incipit ternaire en ø3, apparemment caractéristique des années 1540 (pas moins de treize des cinquantes chansons de Pierre Sandrin débutent ainsi)."]],["elementText",{"elementTextId":"44782"},["text","La première messe publiée par Marle s’inscrit dans un ensemble de quatre messes parodies sur la célèbre chanson <em>Je suis deshéritée</em> publiées à Paris entre 1556 et 1558, dans un climat de vive concurrence éditoriale entre les firmes Du Chemin et Le Roy &amp; Ballard. Le 20 août 1556, Nicolas Du Chemin fut le premier à faire paraître une messe de Jean Guyon sur cette chanson, suivie en 1557 d’une messe de Gombert. Cette même année, Le Roy et Ballard publient la messe de Nicolas de Marle et, l’année suivante, celle de Jean Maillard. La célébrité de la chanson qui sert de modèle à ces quatre messes, sans doute de Pierre Cadéac, est attestée par un grand nombre de réédition et par le fait qu’elle inspira encore deux messes à Lassus (1583) et Palestrina (1593). Le modèle de la deuxième messe de Marle, <em>ad imitationem moduli Panis quem ego dabo</em>, est inconnu. Si ce répons de la fête-Dieu suscita de nombreux motets, le plus fameux ayant été composé vers 1530 par Lupus Hellinck, aucun ne peut être mis en relation avec la musique de Marle. Des trois messes de Marle, la messe <em>O gente brunette</em> est la plus séduisante et la plus singulière. Elle fait partie du nombre limité de messes polyphoniques prenant pour modèles des chansons profanes, une pratique qui, en 1568, n’était vraiment plus en odeur de sainteté puisque les théologiens contre-réformateurs du Concile de Trente venaient, en 1562, de réaffirmer l’interdiction de mêler tout élément profane à la polyphonie liturgique. En outre, la chanson de Mithou, parue en 1548, que Marle choisit comme modèle n’est pas seulement profane, mais passablement grivoise, car la « gente brunette » du titre est décrite « Toute nue en la couchette,/ Blanche et nette,/ Tant doulcette,/ Pour jouer au jeu d’amours ». Au-delà de cette pratique qui, si elle n’était pas la norme, n’avait rien d’exceptionnel (Lassus composa une vingtaine de messes sur des chansons, dont une petite moitié franchement lestes), Marle imagine pour cette messe un discours homorythmique, concis et équilibré, qui exploite pleinement les belles qualités mélodiques de son modèle, en lui ajoutant même quelques couleurs harmoniques originales."]],["elementText",{"elementTextId":"44783"},["text","<a href=\"http://data.bnf.fr/13897105/nicolas_de_marle\" target=\"_blank\">http://data.bnf.fr/13897105/nicolas_de_marle</a>"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"46499"},["text","Cavicchi, Camilla, Marie-Alexis Colin, and Philippe Vendrix, eds., ‘Nicolas de Marle’, in <a href=\"http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503536668-1\" target=\"_blank\"><i>La musique en Picardie du XIVe au XVIIe siècle</i></a>, Épitome musical (Turnhout: Brepols, 2012), p. 398."]],["elementText",{"elementTextId":"46511"},["text","Colin, Marie-Alexis, ‘Marle, Nicholas de’, ed. by L. Finscher, <i>Die Musik in Geschichte und Gegenwart</i> (Kassel: Bärenreiter, 1994), col. 1111-1112."]],["elementText",{"elementTextId":"46512"},["text","Dobbins, Frank, ‘Marle, Nicholas De’, ed. by Stanley Sadie and John Tyrrell, The New Grove Dictionary of Music and Musicians (London: Macmillan Publishers Limited, 2001), 874."]],["elementText",{"elementTextId":"46518"},["text","Maugis, Édouard, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb30909765m/PUBLIC\" target=\"_blank\"><i>Histoire du Parlement de Paris: de l’avènement des rois Valois à la mort d’Henri IV</i></a>, 3 vols (Paris: A. Picard, 1913)."]],["elementText",{"elementTextId":"46527"},["text","Miller, Leta Ellen, ‘<a href=\"http://www.sudoc.fr/04540707X\" target=\"_blank\">The Chansons of French Provincial Composers, 1530–1550: A Study of Stylistic Trends</a>’ (unpublished Ph.D. diss., Stanford University, 1977)."]],["elementText",{"elementTextId":"46532"},["text","Miller, Leta Ellen, <a href=\"http://www.sudoc.fr/056255772\" target=\"_blank\"><i>Thirty-Six Chansons of French Provincial Composers (1529-1550)</i></a>, Recent Researches in the Music of the Renaissance, 38 (Madison: A-R Editions, 1981)."]],["elementText",{"elementTextId":"46543"},["text","Sars, Maxime de, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb34201069g/PUBLIC\" target=\"_blank\"><i>Noyon à travers l’histoire</i></a> (Chauny: Impr. A. 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Il y exerce la fonction de prêtre, avant de se voir proposer la direction de la Maîtrise de Notre-Dame de Paris, poste qu'il honore le 5 août 1533 en tant que <em>magister puerorum chori</em>. Toutefois, Mathieu Sohier semble nourrir l'envie de retourner à Noyon. À partir de 1539, il endosse des responsabilités supplémentaires en devenant chanoine de la cathédrale de Noyon, et en obtenant un bénéfice ecclésiastique à Vincy (aujourd'hui Vincy-Reuil-et-Magny). De plus, il demande à être libéré de ses fonctions à Notre-Dame dès le 17 avril 1545, demande rejetée pendant trois ans, jusqu'au 2 janvier 1548, date à partir de laquelle Mathieu Sohier est probablement retourné à Noyon jusqu'à sa mort. L'ensemble de la production musicale de Mathieu Sohier, imprimé à Paris entre 1534 et 1556, présente une polyphonie contrapuntique qui procède par imitations successives de motifs mélodiques. Cette écriture complexe et animée laisse peu de place à l'homorythmie et conduit à des dissonances dont les résolutions peuvent parfois présenter quelques maladresses. Si les thèmes mélodiques des deux chansons semblent originaux, les trois motets sont construits à partir des mélodies de plain-chant des antiennes grégoriennes. Ces trois motets ainsi que les trois messes <em>Le cueur est mien</em>, <em>Ave regina caelorum</em> et <em>Et resurrexit</em> ont été composés lorsque Mathieu Sohier était en poste à Notre-Dame de Paris, et ont certainement eu pour but de servir la liturgie de la cathédrale. Deux des chansons attribuées à V. Sohier – <em>O cueur ingrat</em> et sa « réponse » <em>De moy jouyr</em> - sont imprimées l'une à la suite de l'autre par Pierre Attaingnant en 1545 dans le <em>Dixhuyctiesme livre contenant xxviij chansons nouvelles tres musicales</em>. Composées pour quatre voix sur un texte lyrique, elles présentent la même forme (AABAA)."]],["elementText",{"elementTextId":"45856"},["text","<a href=\"http://data.bnf.fr/14984519/mathieu_sohier\" target=\"_blank\">http://data.bnf.fr/14984519/mathieu_sohier</a>"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"46500"},["text","<p>Attaignant, Pierre, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb428212815/PUBLIC\" target=\"_blank\"><i>Treize Livres de motets parus chez Pierre Attaingnant en 1534 et 1535</i></a>, ed. by Albert Smijers and Arthur Tillman Merrit (Monaco: L’Oiseau Lyre, 1963).</p>"]],["elementText",{"elementTextId":"46502"},["text","Bernstein, Lawrence F., ‘Mathieu and Valentin Sohier : A New Pair of Renaissance Doppelmeister’, in <a href=\"http://catalogue.bnf.fr/ark:/12148/cb35160831z/PUBLIC\" target=\"_blank\"><i>A Musical Offering: Essays in Honor of Martin Bernstein</i></a>, ed. by Edward Henry Clinkscale and Claire Brook (New York: Pendragon press, 1977), pp. 25–44."]],["elementText",{"elementTextId":"46503"},["text","Bornstein, Andrea, <a href=\"http://www.sudoc.fr/056255535\" target=\"_blank\"><i>Il Primo libro a due voci de diversi autori: (Venezia, 1543)</i></a>, ed. by Antonio Gardane (Bologna: UT Orpheus, 1994)."]],["elementText",{"elementTextId":"46506"},["text","Cavicchi, Camilla, Marie-Alexis Colin, and Philippe Vendrix, eds., ‘Mathieu Sohier’, in <a href=\"http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503536668-1\" target=\"_blank\"><i>La musique en Picardie du XIVe au XVIIe siècle</i></a>, Épitome musical (Turnhout: Brepols, 2012), p. 153, 159, 160, 167, 313, 320, 409."]],["elementText",{"elementTextId":"46513"},["text","Chartier, François-Léon, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb342192900/PUBLIC\" target=\"_blank\"><i>L’Ancien Chapitre de Notre-Dame de Paris et sa maîtrise</i></a> (Paris: Perrin, 1897)."]],["elementText",{"elementTextId":"46517"},["text","Colin, Marie-Alexis, and Frank Dobbins, ‘Sohier, Mathieu ; Sohier, Valentin ; Sohier’, ed. by L. Finscher, <i>Die Musik in Geschichte und Gegenwart</i> (Kassel: Bärenreiter, 1994), col. 1001."]],["elementText",{"elementTextId":"46519"},["text","Delporte, Jules, <em>‘</em>L’<em>Agnus</em> de la messe<em> Vidi Speciosam</em> de Mathieu Sohier’, <a href=\"http://www.sudoc.fr/03876444X\" target=\"_blank\"><i>Revue liturgique et musicale</i></a>, 19 (1935), 109–15."]],["elementText",{"elementTextId":"46520"},["text","Delporte, Jules, ‘Le <em>Regina Coeli</em> de Mathieu Sohier’, <a href=\"http://www.sudoc.fr/03876444X\" target=\"_blank\"><i>Revue liturgique et musicale</i></a>, 20 (1936), 64–65."]],["elementText",{"elementTextId":"46521"},["text","Heartz, Daniel, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb352677515/PUBLIC\" target=\"_blank\"><i>Pierre Attaingnant: Royal Printer of Music, a Historical Study and Bibliographical Catalogue</i></a> (Berkeley, Los Angeles: University of California press, 1969)."]],["elementText",{"elementTextId":"46535"},["text","Lesure, François, ‘Sohier’, ed. by F. Blume, <i>Die Musik in Geschichte und Gegenwart : allgemeine Enzyklopädie der Musik</i> (Kassel: Bärenreiter, 1949), col. 827."]],["elementText",{"elementTextId":"46544"},["text","Wright, Craig, <a href=\"http://catalogue.bnf.fr/ark:/12148/cb36955363q/PUBLIC\" target=\"_blank\"><i>Music and Ceremony at Notre Dame of Paris, 500-1550</i></a> (Cambridge, New York, Melbourne: Cambridge University Press, 1989)."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"45831"},["text","Sohier, Mathieu (c.1500-c.1560). 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