Gheerkin de Hondt (also Gheerken, Gheraert, Gerit, Gerrit, Gheerart, Gerryt de Hont) was a Dutch singer, choirmaster, and composer of polyphonic songs. [1]
Despite the enormous popularity of his songs, very little biographical information survives. He was probably born c. 1495, [2] the son of a Jacob de Hondt; [3] if this was the Jacob who was guardian of the choirboys in Bruges in the 1530s, [4] this may imply he was a native of Bruges. He was appointed choirmaster in Delft's Nieuwe Kerk in mid-1521 but left at the end of 1523; he was re-appointed to the post in 1530. [5] He left Delft 18 months later to take up the equivalent position at the church of Sint-Jacob in Bruges, where he remained until 1539. [6] In December 1539 he became choirmaster of the Marian brotherhood in 's-Hertogenbosch, where he remained until he left in 1547, apparently dismissed for failing to take adequate care of the choirboys. [7] It appears he went to Friesland, but he disappears from the historical record at this point - although Diehl asserts that there is a record of his death in the Bruges archives in 1562. [8]
Of his compositions 5 mass settings, 4 motets and 9 songs survive, [9] most of them preserved in the songbook of Zeghere van Male (Cambrai MS 125-128), [10] [11] 1542. At least one other mass is known to have been lost. A single song was printed by Pierre Phalèse in 1553 & 1556. [12]
Josquin Lebloitte dit des Prez was a composer of High Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of his predecessors Guillaume Du Fay and Johannes Ockeghem, he developed a complex style of expressive—and often imitative—movement between independent voices (polyphony) which informs much of his work. He further emphasized the relationship between text and music, and departed from the early Renaissance tendency towards lengthy melismatic lines on a single syllable, preferring to use shorter, repeated motifs between voices. Josquin was a singer, and his compositions are mainly vocal. They include masses, motets and secular chansons.
John Taverner was an English composer and organist, regarded as one of the most important English composers of his era. He is best-known for Missa Gloria tibi Trinitas and The Western Wynde Mass, and Missa Corona Spinea is also often viewed as a masterwork.
Guillaume Du Fay was a composer and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. Considered the leading European composer of his time, his music was widely performed and reproduced. Du Fay was well-associated with composers of the Burgundian School, particularly his colleague Gilles Binchois, but was never a regular member of the Burgundian chapel himself.
Jacobus Clemens non Papa was a Netherlandish composer of the Renaissance based for most of his life in Flanders. He was a prolific composer in many of the current styles, and was especially famous for his polyphonic settings of the psalms in Dutch known as the Souterliedekens.
Jacob Obrecht was a Flemish composer of masses, motets and songs. He was the most famous composer of masses in Europe of the late 15th century and was only eclipsed after his death by Josquin des Prez.
Pierre de Manchicourt was a Renaissance composer of the Franco-Flemish School.
Pierre de la Rue was a Franco-Flemish composer and singer of the Renaissance. His name also appears as Piersson or variants of Pierchon and his toponymic, when present, as various forms of de Platea, de Robore, or de Vico. A member of the same generation as Josquin des Prez, and a long associate of the Habsburg-Burgundian musical chapel, he ranks with Agricola, Brumel, Compère, Isaac, Obrecht, and Weerbeke as one of the most famous and influential composers in the Netherlands polyphonic style in the decades around 1500.
Jean Leleu, most commonly known by the latinized version of his name, Johannes Lupi, was a Franco-Flemish composer of the Renaissance. A representative of the generation after Josquin, he was a minor but skilled composer of polyphony who was mainly active in Cambrai.
Nicolas Grenon was a French composer of the early Renaissance. He wrote in all the prevailing musical forms of the time, and was a rare case of a long-lived composer who learned his craft in the late 14th century but primarily practiced during the era during which the Renaissance styles were forming.
Johannes Regis was a Netherlandish composer of the Renaissance. He was a well-known composer at the close of the 15th century, was a principal contributor to the Chigi Codex, and was secretary to Guillaume Dufay.
Lupus Hellinck was a Flemish composer of the Renaissance. He was a prominent composer of masses, as well as German chorales and motets. Although he was a Roman Catholic all of his life, his music shows evidence of sympathy for the Protestant Reformation, and three of his motets—including a famous setting of In te domine speravi—were probably inspired by the prison writings of the martyred reformer Girolamo Savonarola.
Antonius Divitis was a Flemish composer of the Renaissance, of the generation slightly younger than Josquin des Prez. He was important in the development of the parody mass.
The decade of the 1530s in music involved some significant events, publications, compositions, births, and deaths.
George de La Hèle was a Franco-Flemish composer of the Renaissance, mainly active in the Habsburg chapels of Spain and the Low Countries. Among his surviving music is a book of eight masses, some for as many as eight voices. While he was a prolific composer during his time in Spain, much of his music was destroyed in 1734 in the burning of the chapel library in Madrid.
Arnold von Bruck was a Franco-Flemish composer of Renaissance music, active in several Habsburg courts. He was one of the most famous and influential composers in German-speaking areas during the first half of the 16th century, the period of the Protestant Reformation; however, he seems to have remained a Roman Catholic.
Benedictus Appenzeller was a Franco-Flemish singer and composer of the Renaissance, active in Bruges and Brussels. He served Dowager Queen Mary of Hungary for much of his career, and was a prolific composer of vocal music, both sacred and secular, throughout his long career.
Pierre Clereau was a French composer, choirmaster and possibly organist of the Renaissance, active in several towns in Lorraine, including Toul and Nancy. He wrote both sacred and secular vocal music, in Latin, French, and Italian. Among his many compositions is a Requiem mass, as well as some sacred songs influenced by the Huguenot psalm style; he is not known, however, to have converted to Protestantism.
Cornelius Canis was a Franco-Flemish composer, singer, and choir director of the Renaissance, active for much of his life in the Grande Chapelle, the imperial Habsburg music establishment during the reign of Emperor Charles V. He brought the compositional style of the mid-16th century Franco-Flemish school, with its elaborate imitative polyphony, together with the lightness and clarity of the Parisian chanson, and he was one of the few composers of the time to write chansons in both the French and Franco-Flemish idioms.
The Mass for Four Voices is a choral Mass setting by the English composer William Byrd (c.1540–1623). It was written around 1592–1593 during the reign of Queen Elizabeth I, and is one of three settings of the Mass Ordinary which he published in London in the early 1590s.
Mattheus Le Maistre or Matthaeus Le Maistre was a Flemish Renaissance choirmaster and composer who is best known for his time in Dresden. His music was superior but in no way progressive, influential in both Counter-Reformation and Lutheran courts.