Sacred Music, Plain-chant, 15th Century - Lux Perpetua REQUIEM (Century's recording : Marcel Pérès)
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Anthonius Divitis (1475-1530) - Antoine de Févin (1470-1511) REQUIEM.
Click to activate the English subtitles for the presentation (00:00-06:57)
LUX PERPETUA : REQUIEM
00:00 INTROïTUS - Requiem eternam
13:26 EPISTOLA BEATI PAULI APOSTOLI AD THESSALONICENSES
16:59 GRADUALE - Si ambulem in medio umbrae mortis
25:25 TRACTUS - Sitvit anima mea
28:10 TRACTUS - Fuerunt mihit lacrimae
31:19 EVANGELIUM SECUNDUM JOANNEM
35:20 OFFERTORIUM - Domine Ihesu Christe
53:00 AGNUS DEI
57:04 COMMUNIO - Lux eterna
1:00:04 TANTUM ERGO SACRAMENTUM - Anonyme
Dessus : Mathilde Daudy, Florencia Berdavid Hoecker, Marie Madeleine Moureau, Marie Langianni
Contre ténors : Jean Christophe Candau, Jean Etienne Langianni
Ténors : Marcel Pérès, Luc Terrieux
Basses : Jérôme Casalonga, Antoine Sicot
Direction : Marcel Pérès
Recorded in 2010 at France
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Known by the Latinised form (Divitis) of his name, Antoine Le Riche Gn Flemish, Antonius de Rycke) was born in Louvain around 1475. He began his career in Bruges and was ordained priest in 1501. In 1505 he joined the chapel of Duke Philip the Handsome of Burgundy in Brussels, where his colleagues included Pierre de La Rue and Alexander Agricola. He followed Duke Philip to Spain, where he remained until 1508. In 1510, he reappears as a singing master in the chapel ofAnne of Brittany. Among his colleagues there were Jean Mouton, Jean Richafort, and Claudin de Sermisy. After the death of Anne of Brittany in 1514 he was co-opted into the royal chapel of Francis l, where he remained until 1525. We know nothing of the rest of his life. He may have gone to Rome and perhaps died there around 1530.
Antoine de Févin
Antoine de Févin was perhaps born in Arras around 1470 and died in Blois late in 1511 or early in 1512. No document exists to shed light on his place and date of birth, his studies, or his ordination. He came from a family of minor nobility originally from Febvin-Palfart, near Saint-Omer (now in the Pas-de-Calais département of France). His father, Pierre de Févin, was lord of Graincourt and Garinet and alderman of Arras. Antoine de Févin was a prior and singer in the service of Louis Xll (1462-1515). Glarean, one of the great music theorists of the early sixteenth century, describes him as an 'imitator' of Josquin Desprez. This assertion is the source of the idea that Févin was a pupil and disciple of Josquin. He is mentioned in a lament by Crétin and a déploration by Jean Mouton, who was one of his colleagues at court. His name also appears in a motet by Pierre Moulinié. Rabelais regarded him as a distinguished musician.
Even if most musicologists today tend to attribute the work to Antoine de Févin, the truth is that we know nothing of the matter. The careers of Divitis and de Févin intersected. Divitis directed the chapel of the Queen, Anne of Brittany, and Févin that of King Louis Xll. At the funeral ceremonies for Anne of Brittany in 1514, the two establishments sang in succession: the third mass was performed by the King's choirmen, the fourth by the Queen's. Antoine de Févin had already been dead for two years. It is possible that the Requiem was sung on this occasion and that, since Divitis directed the Queen's chapel, an early sixteenth-century eyewitness attributed it to him. One might also surmise that the Requiem was composed by Divitis in memory of Févin, or for the funeral of Philip the Handsome, King of Castile, in But these are mere suppositions. The fact remains that the attribution to Divitis in the Occo Codex, which is a manuscript written with extreme care, can hardly be, as some musicologists suggest, a simple error due to scribal absent-mindedness. There must be a much more deep-seated
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