Du Fay (left), with Gilles Binchois

Guillaume Dufay (Du Fay, Du Fayt) (August 5, 1397? – November 27, 1474) was a Franco-Flemish composer and music theorist of the early Renaissance. Gilles Binchois, also known as Gilles de Binche or Gilles de Bins (c Events 642 - Battle of Maserfield - Penda of Mercia defeats and kills Oswald of Bernicia. Events 1095 - Pope Urban II declares the First Crusade at the Council of Clermont In Music, the Franco-Flemish School refers somewhat imprecisely to the style of polyphonic Vocal music composition in Europe in the 15th Music theory is the field of study that deals with the Mechanics of music and how Music works Renaissance music is European music written during the Renaissance, approximately 1400 - 1600 As the central figure in the Burgundian School, he was the most famous and influential composer in Europe in the mid-15th century. The Burgundian School is a term used to denote a group of composers active in the 15th century in what is now northern and eastern France, Belgium,

Life

Early life

From the evidence of his will, he was probably born in Beersel, in the vicinity of Brussels. Beersel is a Municipality located in the Belgian province of Flemish Brabant. Brussels (Bruxelles pronounced; Brussel pronounced) officially the Brussels Capital-Region, is He was the illegitimate child of an unknown priest and a woman named Marie Du Fayt. ^[1] Marie moved with her son to Cambrai early in his life, staying with a relative who was a canon of the cathedral there. Cambrai (Dutch Kamerijk; old spelling Cambray) is a French town and commune, in the Nord département, Soon Dufay's musical gifts were noticed by the cathedral authorities, who evidently gave him a thorough training in music; he studied with Rogier de Hesdin during the summer of 1409, and he was listed as a choirboy in the cathedral from 1409 to 1412. During those years he studied with Nicolas Malin, and the authorities must have been impressed with the boy's gifts because they gave him his own copy of Villedieu’s Doctrinale in 1411, a highly unusual event for one so young. In June 1414, at the age of only 16, he had already been given a benefice as chaplain at St. Originally a benefice was a gift of land ( Precaria) for life as a reward for services rendered Géry, immediately adjacent to Cambrai. Later that year he probably went to the Council of Konstanz, staying possibly until 1418, at which time he returned to Cambrai. In the Roman Catholic Church, the Council of Constance is the 16th Ecumenical council.

From Cambrai to Italy and Savoy

From November 1418 to 1420 he was a subdeacon at Cambrai Cathedral. In 1420 he left Cambrai again, this time going to Rimini, and possibly Pesaro, where he worked for the Malatesta family. Rimini is a city in the Emilia-Romagna region of Italy and capital city of the Province of Rimini. Pesaro is a town and Comune in the Italian region of the Marche, capital of the Pesaro e Urbino province, on the Adriatic. The House of Malatesta was an Italian family that ruled over Rimini from 1295 until 1500, as well as (in different periods other lands and towns in Although no records survive of his employment there, several compositions of his can be dated to this period; they contain references which make a residence in Italy reasonably certain. It was there that he met the composers Hugo and Arnold de Lantins, who were among the musicians of the Malatesta household. Hugo de Lantins (fl 1420 &ndash 1430 was a Franco-Flemish composer of the late Medieval era and early Renaissance. Arnold de Lantins (fl 1420s d before July 2, 1432) was a Franco-Flemish composer of the late Medieval era and early Renaissance In 1424 Dufay again returned to Cambrai, this time because of the illness and subsequent death of the relative with whom his mother was staying. By 1426, however, he had gone back to Italy, this time to Bologna, where he entered the service of Cardinal Louis Aleman, the papal legate. Bologna (boloɲa from Latin Bononia, Bulåggna in Bolognese dialect is the capital city of Emilia-Romagna in northern Italy Louis Aleman (c 1390 - September 16 1450) was a French cardinal. While in Bologna he became a deacon, and by 1428 he was a priest. Deacon is a role in the Christian Church that is generally associated with service of some kind but which varies among theological and denominational traditions A priest or priestess is a person having the authority or power to administer religious rites in particular rites of sacrifice to and propitiation of a deity or deities Cardinal Aleman was driven from Bologna by the rival Canedoli family in 1428, and Dufay also left at this time, going to Rome. Rome ( Roma ˈroma Roma is the capital city of Italy and Lazio, and is Italy's largest and most populous city with more than 2 He became a member of the Papal Choir, serving first Pope Martin V, and then after the death of Pope Martin in 1431, Pope Eugene IV. Pope Martin V (c 1368 &ndash February 20, 1431) born Odo (or Pope Eugene IV (1383 &ndash February 23, 1447) born Gabriele Condulmer, was Pope from March 3, 1431, to his death In 1434 he was appointed maistre de chappelle in Savoy, where he served Duke Amédée VIII; evidently he left Rome because of a crisis in the finances of the papal choir, and to escape the turbulence and uncertainty during the struggle between the papacy and the Council of Basel. For the two French départements of the region of Savoy see Savoie and Haute-Savoie Savoy ( French Amadeus VIII ( September 4, 1383 &ndash January 7, 1451) was the son of Amadeus VII Count of Savoy and Bonne of Berry. The Council of Florence (originally Council of Basel) was an Ecumenical Council of Bishops and other ecclesiastics of the Roman Catholic Church Yet in 1435 he was again in the service of the papal chapel, but this time it was in Florence — Pope Eugene having been driven from Rome in 1434 by the establishment of an insurrectionary republic there, sympathetic to the Council of Basel and the Conciliar movement. Florence ( Italian: Firenze Florentia and Fiorenza) is the Capital City of the Italian region of Tuscany Conciliarism, or the conciliar movement, was a reform movement in the 14th and 15th century Roman Catholic Church which held that final authority In 1436 Dufay composed the festive motet Nuper rosarum flores, one of his most famous compositions, which was sung at the dedication of Brunelleschi's dome of the cathedral in Florence, where Eugene lived in exile. Nuper Rosarum Flores or Flowers of Roses/The Rose Blossoms, is an isorhythmic Motet composed in 1436 by Guillaume Dufay, to be performed at the Filippo Brunelleschi (1377 – April 15, 1446) was one of the foremost architects and engineers of the Italian Renaissance.

During this period Dufay also began his long association with the Este family in Ferrara, some of the most important musical patrons of the Renaissance, and with which he probably had become acquainted during the days of his association with the Malatesta family; Rimini and Ferrara are not only geographically close, but the two families were related by marriage, and Dufay composed at least one ballade for Niccolò III, Marquis of Ferrara. "Este" redirects here For the city see Este Italy. For Tolkien's fictional character see Estë. Ferrara is a city in Emilia-Romagna, northern Italy, capital city of the Province of Ferrara. In 1437 Dufay visited the town. When Niccolò died in 1441, the next Marquis maintained the contact with Dufay, and not only continued financial support for the composer but copied and distributed some of his music.

Return to Cambrai

The struggle between the papacy and the Council of Basel continued through the 1430s, and evidently Dufay realized that his own position might be threatened by the spreading conflict, especially since Pope Eugene was deposed in 1439 by the Council and replaced by Duke Amédée of Savoy himself, as Pope (Antipope) Felix V. An antipope ( Latin: antipapa) is a person who makes a widely accepted claim to be the lawful Pope, in opposition to the pope recognised by the Roman Amadeus VIII ( September 4, 1383 &ndash January 7, 1451) was the son of Amadeus VII Count of Savoy and Bonne of Berry. At this time Dufay returned to his homeland, arriving in Cambrai by December of that year. In order to be a canon at Cambrai, he needed a law degree, which he obtained in 1437; he may have studied at Turin University in 1436. One of the first documents mentioning him in Cambrai is dated December 27, 1440, when he received a delivery of 36 lots of wine for the feast of St. John the Evangelist; how long it took to drink them is not known.

Dufay was to remain in Cambrai through the 1440s, and during this time he was also in the service of the Duke of Burgundy. While in Cambrai he collaborated with Nicolas Grenon on a complete revision of the liturgical musical collection of the cathedral, which included writing an extensive collection of polyphonic music for services. Nicolas Grenon (c 1375 &ndash October 17 1456) was a French composer of the early Renaissance. In addition to his musical work, he was active in the general administration of the cathedral. In 1444 his mother Marie died, and was buried in the cathedral; and in 1445 Dufay moved into the house of the previous canon, which was to remain his primary residence for the rest of his life.

Travels to Savoy and Italy

After the abdication of the last antipope (Felix V) in 1449, his own former employer Duke Amédée VIII of Savoy, the struggle between different factions within the Church began to heal, and Dufay once again left Cambrai for points south. He went to Turin in 1450, shortly before the death of Duke Amédée, but returned to Cambrai later that year; and in 1452 he went back to Savoy yet again. This time he did not return to Cambrai for six years, and during that time he attempted to find either a benefice or an employment which would allow him to stay in Italy. Numerous compositions, including one of the four Lamentationes that he composed on the fall of Constantinople in 1453, his famous mass based on Se la face ay pale, as well as a letter to Lorenzo de'Medici, survive from this period: but as he was unable to find a satisfactory position for his retirement, he returned north in 1458. The Fall of Constantinople refers to the capture of the Byzantine Empire's capital by the Ottoman Empire on Tuesday May 29, 1453 (Julian Calendar Lorenzo de' Medici (January 1 1449 &ndash 9 April 1492 was an Italian statesman and de facto ruler of the Florentine Republic during the Italian Renaissance While in Savoy he served more-or-less officially as choirmaster for Louis of Savoy, but he was more likely in a ceremonial role, since the records of the chapel never mention him. Louis I ( Ludovico I or Lodovico I in Italian) ( Geneva, February 21, 1402 /1413 &ndash Lyon, January

Final years in Cambrai

When he returned to Cambrai for his final years, he was appointed canon of the cathedral. He was now the most renowned composer in Europe. Once again he established close ties to the court of Burgundy, and continued to compose music for them; in addition he received many visitors, including Busnois, Ockeghem, Tinctoris, and Loyset Compère, all of whom were decisive in the development of the polyphonic style of the next generation. Antoine Busnois (also Busnoys) (c 1430 &ndash November 6, 1492) was a French Composer and Poet of the early Johannes Ockeghem (also Jean de; surname Okeghem, Ogkegum, Okchem, Hocquegam, Ockegham; other variant spellings are also Johannes Tinctoris (c 1435 &ndash 1511 was a Flemish composer and music theorist of the Renaissance. During this period he probably wrote his mass based on L'homme armé, as well as the chanson on the same song; the latter composition may have been inspired by Philip the Good's call for a new crusade against the Turks, who had recently captured Constantinople. L'homme armé was a French secular song from the time of the Renaissance. Philip the Good (Philippe le Bon also Philip III Duke of Burgundy ( July 31, 1396 &ndash June 15, 1467) was Duke of Burgundy Constantinople (Κωνσταντινούπολις Konstantinoúpolis, or gr ἡ Πόλις hē Polis, Latin: la CONSTANTINOPOLIS He also wrote a Requiem mass around 1460, which is lost. The Requiem (from Latin requiem, accusative case of requies, rest or Requiem Mass (informally a funeral Mass also known formally (in Latin as the

After an illness of several weeks, Dufay died on November 27, 1474. He had requested that his motet Ave regina celorum be sung for him as he died, with pleas for mercy interpolated between verses of the antiphon, but time was insufficient for this to be arranged. Dufay was buried in the chapel of St. Etienne in the cathedral of Cambrai; his portrait was carved onto his tombstone. After the destruction of the cathedral the tombstone was lost, but it was found in 1859 (it was being used to cover a well), and is now in a museum in Lille. Lille (lil Rijsel is a city in northern France. It is the principal city of the Lille Métropole, the fourth-largest Metropolitan area in the country

Music and influence

Dufay was among the most influential composers of the 15th century, and his music was copied, distributed and sung everywhere that polyphony had taken root. Almost all composers of the succeeding generations absorbed some elements of his style. The wide distribution of his music is all the more impressive considering that he died several decades before the availability of music printing.

Dufay wrote in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music. For other uses see Mass (disambiguation The Mass, a form of sacred musical composition, is a choral composition that In Western music, motet is a word that is applied to a number of highly varied choral musical compositions The Magnificat (also known as the Song of Mary) is a Canticle frequently sung (or spoken liturgically in Christian church services A hymn is a type of Song, usually religious specifically written for the purpose of praise adoration or Prayer, and typically addressed to a deity/deities Fauxbourdon (also Fauxbordon, and also commonly two words Faux Bourdon) &ndash French for false bass &ndash is a technique This article is about the musical term See Antiphon (person the orator of ancient Greece A ballade (French for "ballad' pronounced bah-LAHD refers to a one-movement musical piece with lyrical and dramatic narrative qualities A virelai is a form of Medieval French verse used often in Poetry and Music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to reinforce the voices in actual performance for almost any portion of his output. In his lifetime, Dufay wrote seven complete masses, 28 individual Mass movements, 15 settings of chant used in Mass Propers, three Magnificants, two Benidicamus Domino settings, 15 antiphon settings (6 are Marian antiphons), 27 hymns, 22 motets (13 are isorhythmic) and 87 chansons. Assigning works to Dufay based on alleged stylistic similarities has been a favorite pastime of musicologists for at least a hundred years, judging from the copious literature on the subject.

Masses

At the beginning of Dufay's career, the cyclic mass — the setting of all the sections of the Mass Ordinary by a single composer, unified by a common musical means, such as a cantus firmus — was in its infancy. In Renaissance music, the cyclic mass was a setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie Gloria In Music, a cantus firmus ("fixed song" is a pre-existing Melody forming the basis of a polyphonic composition. By the end of his career, the cyclic mass had become the predominant and most substantial form of sacred music composition in Europe.

Dufay's first complete cyclic masses, the Missa sine nomine and the Missa S Jacobi, were written before 1440, and contain possibly the earliest use of fauxbourdon. In addition, most of Dufay's early mass composition used the "head motif" technique, i. Head-motif (German Kopfmotiv) refers to an opening musical idea of a set of movements which serves to unite those movements e. the beginnings of sections shared a common, and easily identifiable, musical idea. However, by the 1450s, Dufay's masses were much influenced by the English style (for example, the music of John Dunstaple); his masses of this period mostly use cantus firmus technique, and also isorhythm, as in his motets. John Dunstaple or Dunstable (c 1390 &ndash December 24, 1453) was an English composer of polyphonic Music of the late The archaic head motif technique he left behind. Still later in the period Dufay began to use a more seamless contrapuntal technique with occasional imitation, a style which foreshadowed the work of Obrecht and Ockeghem. In music imitation is when a musical gesture is repeated later in a different form but retaining its original character Jacob Obrecht (1457/1458 &ndash late July 1505 was a Dutch composer of the Renaissance. One late mass, the Missa 'Ave regina' , based on a Marian antiphon setting of that name he wrote in 1463, uses all of the techniques Dufay used during his career, and may have been written as a deliberate summation. Marian antiphons are a group of sacred devotional songs in the Gregorian chant repertory of the Roman Catholic Church sung in honor of the Virgin Mary.

Dufay's late masses are all tenor masses, i. e. the cantus firmus is in the tenor. While this style originated in England with composers such as Leonel Power and John Dunstaple, Dufay brought it to the continent. Leonel Power (1370 to 1385 &ndash June 5 1445) was an English composer of the late Medieval and early Renaissance eras

Motets

Most of Dufay's motets were relatively early works, and he seems not to have written any during the last thirty years of his life. In Western music, motet is a word that is applied to a number of highly varied choral musical compositions His motets were apparently not intended for liturgical use, but instead were written for specific occasions, sometimes considerably ceremonial ones. This gives biographers extremely valuable data, since many can be dated exactly.

In style they are isorhythmic, using a structural method which had been in use already for more than a hundred years; and in addition they are compositions of considerable complexity, with the isorhythm often occurring in all voices. Isorhythm (from the Greek for "the same rhythm" is a musical technique that arranges a fixed pattern of pitches with a repeating Rhythmic pattern Sometimes the sections of the motets themselves are carefully contrived to have a symbolic value, such as in the motet Nuper rosarum flores, written for the dedication of Brunelleschi's dome to the cathedral in Florence on 25 March 1436, in which the proportions of the sections exactly match the supposed proportions of Solomon's Temple. Dufay himself probably took part in this performance, and an eyewitness account attests to the presence of numerous string and wind players at the performance, who filled the chamber with their sounds during the impressive ceremony; likely they also accompanied the motet. Dufay evidently thought enough of his own motet to quote its coda at the end of the last isorhythmic motet he ever wrote, Fulgens iubar, in 1447.

Dufay also composed four laments on the fall of Constantinople (1453). Only one of these survives, (O tres piteulx/Omnes amici eius), written sometime between 1454 and 1457. While technically not classed as a motet, it has a similar texture and uses a cantus firmus.

Chant settings and fauxbourdon

Many of Dufay's compositions were simple settings of chant, obviously designed for liturgical use, likely as substitutes for the unadorned chant, and can be seen as chant harmonizations. Often the harmonization used a technique of parallel writing known as fauxbourdon, as in the following example, a setting of the Marian antiphon Ave maris stella:

The beginning of Dufay's setting of Ave maris stella, in fauxbourdon. The top and bottom lines are freely composed; the middle line, designated "fauxbourdon" in the original chant, follows the top line but exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave.

Dufay may have been the first composer to use the term fauxbourdon to describe this style, which was prominent in 15th century liturgical music, especially that of the Burgundian school.

Secular music

Most of Dufay's secular songs follow the formes fixes (rondeau, ballade, and virelai), which dominated secular European music of the 14th and 15th centuries. Formes fixes (English fixed forms) are French poetic forms of the fourteenth and fifteenth centuries which were translated into musical forms This article is about the poetry form For other uses see Rondeau. He also wrote a handful of Italian ballata, almost certainly while he was in Italy. The ballata (plural ballate) is an Italian poetic and Musical form, which was in use from the late 13th to the 15th century As is the case with his motets, many of the songs were written for specific occasions, and many are datable, thus supplying useful biographical information.

Most of his songs are for three voices, using a texture dominated by the highest voice; the other two voices, unsupplied with text, were likely played by instruments. Occasionally Dufay used four voices, but in a number of these songs the fourth voice was supplied by a later, usually anonymous, composer. Typically he used the rondeau form when writing love songs. 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 mid-15th century, he was beginning to tend towards the smooth polyphony which was to become the predominant style fifty years later.

A typical ballade is Resvellies vous et faites chiere lye, which was written in 1423 for the marriage of Carlo Malatesta and Vittoria di Lorenzo Colonna^[2] (Carlo was a son of Malatesta dei Sonetti, Lord of Pesaro. Vittoria was the niece of Pope Martin V). ^[3] The musical form is aabC for each stanza, with C being the refrain. The musical setting emphasizes passages in the text which specifically refer to the couple being married.

Influence

Dufay was one of the last composers to make use of medieval techniques such as isorhythm ^[4], but one of the first to use the harmonies, phrasing and expressive melodies characteristic of the early Renaissance ^[5]. His compositions within the larger genres, masses, motets and chansons, are mostly similar to each other; his renown is largely due to what was perceived as his perfect control of the forms in which he worked, as well as his gift for memorable and singable melody. During the 15th century he was universally regarded as the greatest composer of the time, and that belief has largely persisted to the present day.

Trivia

The Dutch towns of Amsterdam and Eindhoven, together with the small Scottish town of Linlithgow have streets named after Dufay. Amsterdam (pronounced) is the capital and largest city of the Netherlands, located in the province of North Holland in the west Eindhoven ( is a Municipality and a city located in the province of Noord-Brabant in the south of the Netherlands, originally at the confluence

The early music ensemble Dufay Collective is named for the composer. The Dufay Collective is an early-music ensemble from the United Kingdom, specializing in Medieval and Renaissance music.

Sound samples

Se la face ay pale

Hear a performance of Dufay's celebrated ballade Se la face ay pale performed by ASTERIA

Problems listening to the file? See media help.

References

• David Fallows, "Dufay", revised edition. London, J. M. Dent & Sons, Ltd. : 1987. ISBN 0-460-02493-0
• Massimo Mila: "Guillaume Dufay", ed. Simone Monge, Torino, Einaudi Editore, 1997, ISBN 8-806-14672-6
• Massimo Mila: "Guillaume Dufay", Torino, G. Giappichelli Editore, 1972-73, 2 voll.
• Charles Hamm, "Guillaume Dufay", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd. , 1980. ISBN 1-56159-174-2
• Mark Lindley and Graeme Boone, "Euphony in Dufay. Mark Lindley (1937- is both a noted musicologist and more recently an historian of modern India Harmonic 3rds and 6ths with explicit sharps in the early songs", in the 2004 Jahrbuch des Staatlichen Instituts für Musikforschung, Berlin
• Gustave Reese, Music in the Renaissance. Gustave Reese ( November 29 1899, New York City – – September 7 1977, Berkeley California) was an American New York, W. W. Norton & Co. , 1954. ISBN 0-393-09530-4
• Alejandro Planchart: "Guillaume Du Fay", Grove Music Online ed. Alejandro Enrique Planchart (born July 29, 1935) is a Venezuelan - American musicologist, conductor and composer L. Macy (Accessed July 17, 2005), (subscription access)
• Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986. ISBN 0-89917-034-X
• Guillaume Dufay, Opera omnia (collected works in six volumes), ed. Heinrich Besseler with revisions by David Fallows. Corpus mensurabilis musicae CMM 1, American Institute of Musicology, 1951-1995. Further info and sample pages
• Craig Wright, Dufay at Cambrai: Discoveries and Revisions. Journal of the American Musicological Society, XXVIII (I975)
• F. Journal of the American Musicological Society is the official journal of the American Musicological Society. Alberto Gallo, tr. Karen Eales, Music of the Middle Ages (II). Cambridge: Cambridge University Press. 1977 (original Italian edition) and 1985 (English). ISBN 0-521-28483-X
• E. Dartus, Un grand musicien cambrésien - Guillaume Du Fay. Préface de Norbert Dufourcq. Extrait du tome XCIV des Mémoires de la Société d'Émulation de Cambrai. Cambrai, 1974
• Van den Borren (I), Guillaume Du Fay, son importance . . . . Mémoires de l'Académie royale de Belgique, t. II, fasc. 2, 1926
• Van den Borren (II), Guillaume Du Fay, centre de rayonnement. . . Bulletin de l'Institut historique belge de Rome, fasc. XX. Bruxelles, Rome, 1939
• J. Chailley, Histoire musicale du Moyen Age. Paris, P. U. F. ,1950

Notes

1. ^ Planchart, Grove
2. ^ Newberry Consort programme note
3. ^ Programme note, with historical content by Dufay scholar Alejandro Planchart
4. ^ Munrow D, Notes on recording of 'Se la Face ay Pale', Early Music Consort (1974)
5. ^ Pryer A, 'Dufay' in New Oxford Companion to Music ed Arnold (1983)

External links

• Guillaume Dufay free scores in the Choral Public Domain Library (ChoralWiki)
• Free scores by Guillaume Dufay in the Werner Icking Music Archive (WIMA)
• Ave Regina Caelorum, the score at the classicaland.com