Johannes Ockeghem

(ca. 1420-97)

Career Summary

may have been born in Dendermonde, East Flanders
may have studied with Binchois at Burgundian court, but did compose a lament on Binchois's death in 1460
1443-44: sang in Antwerp at Church of Our Lady under Pullois
surfaced again in Moulins as member of 12-man chapel choir of Duke Charles I of Bourbon
from early 1450's to death served Charles VII, Louis XI and Charles VIII as chaplain, composer, and chapelmaster; treasurer of royal abbey of St. Martin in Tours
except from brief trip to Spain in 1470, spent remainder of his life as singer, choir-master, composer and teacher attached to royal court
composed little music: 10 complete Masses, earliest extant polyphonic Requiem, a handful of partial Masses and Mass fragments, less than 10 motets, about 20 chansons
however, what little there is, is considered to be fine music; fame based on his Masses

based half of his complete and partial Masses on CF technique (4 Masses)
plainchant creates formal structure; stated at least once in each movement
varies rhythmic shape of CF on successive appearances
system of proportional relationships among CF statements absent
rhythmically transforms CF so as to resemble other voices in its melodic contours and pace
4 independent voices, florid and equally fast-moving
"hidden-structure" from CF
individual voices non-imitative, non-repetitive "appear" to be continuous, independent

alternating duets and tuttis reinforce formal plan, as in Dufay
however, sometimes places CF in lowest voice: less concern with harmonic clarity and tonal planning
more concerned with independence of voices, contrapuntal complexity; reflects Gothic heritage, lack of Italian influence

two predominant melodic are supported by two slightly slower-moving voices, of which one states the CF (Kyrie #2)

-Missa Fors seulement : 3 mvts.; 5 voices; hides chanson CF; explore alternatives for employing CF technique

-Requiem paraphrases plainchant

remaining Masses free of borrowed material: uncharacteristic
non-imitative counterpoint from strands of endless melody
no single contrapuntal techniques; shifting textures; inventive
unity of mood imposes unique shape to each work
individual lines subordinate to total effect of interplay between voices
less tonally oriented than Dufay; avoids prominent cadences which establish tonality; modal style (Phyrigian avoids 5th as dominant)
techniques vary within any one section
subdivided larger sections of music into smaller units: phrases and half-phrases; not marked from one another by cadences, which are overlapped and disguised
drive to final cadence
recurring motto beginnings
many curious puzzles: "Mass in any mode", mensuration canons, crabs
"musical mysticism"

Alma redemptoris mater

Intemerata Dei mater

one of Ockeghem's longest and most striking motets
5 voices
low range of voices
no borrowed material; set each clause of text to long, irregularly shaped melodies combined into non-imitative texture
each phrase overlaps with others to create continuous stream of music
3 parts: in second part choral sonority is varied by using a series of trios, leading to a final section for all five voices
increases speed of each voice for "drive to the cadence"

20 or so
2 CF chansons:
lament on Binchois's death is chanson, rather than motet in spite of Latin CF in tenor
French ballade text governs work's structure
4 voices: superius dominates
fauxbourdon style pays homage to Binchois: considered to be old-fashioned
Petite camusette
S'elle m'amera je ne scay
most chansons are 3-voiced settings of rondeaux
a few bergerettes (1-stanza virelais)
several with 4 voices
simpler, more traditional
top voice dominates with tenor counter-melody
contra-tenor better integrated into texture than many earlier chansons
form determined by repetition scheme of the text, network of cadences on important scale degrees
melodies avoid sequences, motivic repetition; balance of highs against lows; long range thrust towards final goal
several arrangements of others' works