![]() ![]() Following Josquin, he favors the large two-part motet structure (AB:CB) in which the close of each part employs identical music and text. In the motets where long passages are often little more than an ongoing imitation of the same motive, he alters each repetition. Gombert avoids constructive techniques such as phrase repetition, canon, and cantus firmus. As a result, his pieces sound "fuller" and more "harmonic" than those of the previous generation. Unlike Josquin, whose music has an airy quality resulting from numerous rests given to all parts, Gombert avoids them by keeping all voices singing almost continuously. But while the older man merely added it to a battery of other structural devices, Gombert restricted Practica musica student edition full#He avoids rests and his composition is both full of harmony and imitation." Imitation was not new with Gombert, for Josquin had made it an important part of musical architecture. Most of these compositions support Finck's opinion that Gombert "has shown to all composers the method of writing imitation…. Gombert's extant works comprise 41 French chansons, 8 Magnificats, 159 motets for four to six voices, and 10 Masses. Since Finck speaks of him as alive in 1556, but he is no longer listed the following year in the records of Tournai Cathedral, it can be assumed that he died sometime in 1556 or 1557. The Hapsburgs rewarded the composer with income from several large churches, including those at Courtrai and Tournai. 28, 1540, when he is no longer mentioned in the chapel archives.ĭuring these years Gombert and the choir accompanied the Emperor on many trips to Spain, Italy, Austria, Germany, and Flanders. He performed these duties until shortly before Dec. By 1529 Gombert was charged with training the royal choristers and composing music for court and chapel functions. 2, 1526, written in Granada, Spain, where Charles was temporarily sojourning. Gombert's name first appears on a rolle des benefices of Oct. Gombert spent a large part of his creative life in the imperial chapel of Charles V. If the German music theorist Hermann Finck ( Practica musica, 1556) is correct when he names Gombert a student of Josquin des Prez, such training probably occurred at Condé, where Josquin ended his illustrious career. One edition of his four-voice motets with the ascription Nicolai Gomberti Flandri Brugensis… identifies his birthplace as Bruges, but other indirect evidence suggests the town of La Gorgue in Flanders. Almost nothing is known of the origin and early training of Nicolas Gombert. ![]()
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