Guillaume Dufay: Ave maris stella (hymn, a3) – Play streams in full or download MP3 from Classical Archives (), the largest and best. Ave Maris Stella – Guillaume Dufay. By Guillaume Dufay, Jordi Savall, La Capella Reial De Catalunya, Hespèrion XXI. • 1 song, Play on Spotify. 1. Last night I started listening to some renaissance music and at first it sounded very foreign to me. I was especially fascinated by [this piece].

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In other projects Wikimedia Commons. It was there that he met the composers Hugo de Lantins and Arnold de Lantins, who were among the musicians of the House of Malatesta marie. InDufay visited the town. This could be due to the fact that in the Kyrie, there are four voices as opposed to three in the Ave Maris Stella.

The harmonizations developed differently, namely above and below the cantus firmus and at what intervals. Vol 5, pp While in Bologna he became a deaconand by he was ordained priest. It’s important that we get such posts taken down ASAP, so in addition to reporting, please stell the mods if you see someone breaking Rule 2.

Inhe left Cambrai again, this time going to Rimini, and possibly Pesaro, where he worked for the family of the House of Malatesta. During the 15th century he was universally regarded as the greatest composer of his time, an opinion that has largely survived to the present day.

Wikimedia Commons has media related to Guillaume Dufay. Dufay’s late masses are all tenor masses, such as the cantus firmus is in the tenor. One late mass, the Missa ‘Ave regina,’ based on a Marian antiphon setting of that name he wrote inuses all of the techniques Dufay used during his career, and may have been written as a deliberate summation. I think that’s pretty obvious so I don’t think that’s what you meant by missing 5ths and 3rds in some chords.


Soon Dufay’s musical gifts were noticed by the cathedral authorities, who evidently gave him a thorough training in music. He also wrote a handful of Italian ballata, almost certainly while he was in Italy. Also, Dufay was probably influenced by the English style which made extensive use of those intervals. A central figure in the Burgundian Schoolhe was regarded by his contemporaries as one of the leading composers in Europe in the midth century. I know it’s about 2 centuries too early, but I thought there was a similar ‘chordal’ style in England which I believe was late Renaissance.

I was especially fascinated by this piece though and started to wonder why. Du Fay was one of the last composers to make use of late-medieval polyphonic structural techniques such as isorhythm[9] and one of the first to employ the more mellifluous harmonies, phrasing and melodies characteristic of the early Renaissance.

The middle voice is a fourth lower than the highest voice.

More by Guillaume Dufay

His motets were apparently not intended for liturgical use, but instead were written for specific occasions, sometimes considerably ceremonial ones. Sometimes this pattern is broken, mostly at the beginnings and endings of phrases, or at other structural points, or sometimes just for a variation in texture.

This time he did karis return to Cambrai for six years, but attempted to find either a benefice or an employment which would allow him to stay in Dufau.

They contain references which make a residence in Italy reasonably certain. IOW, actually there were still “holdovers” from the Modal era still happening in the early Tonal era.


Typically he used the rondeau form when writing love songs. She moved with her son to Cambrai early in his life, staying with maeis relative who was a canon of the cathedral there. Almost all composers of the succeeding generations absorbed some elements of his style.

Dufay: Ave Maris Stella | MUSC Musical Styles S14 Wiki | FANDOM powered by Wikia

Retrieved 19 December While in Cambrai, he collaborated with Nicolas Grenon on a complete revision of the liturgical srella collection of the cathedral, which included writing an extensive collection of polyphonic music for services.

Dufay was among the most influential composers of the fifteenth century, and his music was copied, distributed and sung everywhere that polyphony had taken root. InDufay again returned to Cambrai, this time because of stellla illness and subsequent death of the relative with whom his mother was staying.

His latest secular songs show influence from Busnois and Ockeghem, and the rhythmic and melodic differentiation between the voices is less; as in the work of other composers of the midth century, he was beginning to tend towards the smooth polyphony which was to become the predominant style fifty years later. Both versions have plain chant in the odd verses and three voices in the even verses, with identical cantus and bass melodies. The difference between the two versions is the third voice, which in one case is the altus performing a fauxbourdon on the cantus, while in the other version the tenor is xufay an independent melody.