Composers

Clément Janequin

Voice
Mixed chorus
Soprano
Alto
Tenor
Bass
Song
Chanson
Mass
Religious music
by popularity

#

10 Chansons19 Chansons nouvelles a quatre parties, Livre 830 Chansons nouvelles, Livre 319 Chansons polyphoniques

A

Aller m'y faut sur la verdureAmour vainc tout c’est chose tres certaineAu despartir triste deul appresséAu ioly, ioly, ioly ieu du pousse avantAu premier jour du joly moys de mayAu verd boys ie m'en iray seuleAyez pitié du grant mal que j’endure

B

Baisez moy tostBel aubépin verdissant

C

C’est a bon droit que mon cœur se lamenteCe faux amour d’arc et de flesches s’armeCe moys de mayCe n’est pas moy c’est vousCe tendron est si doulce choseChansons françaises polyphoniques à trois voixChantons, sonnons trompetes

D

De labourer je suys casséDe tes doulx yeulx fut distillé la goutteDictes sans peur ou l’ouy ou nennyDoulens regretz, ennuys, souspirs et larmes

E

Elle craint cela sur tout rienEn attendant son heureuse présenceEn fut il onc une plus excellenteEn la prison les ennuys de ce mondeEn m’en venant de veoir m’amye

F

Frere Lubin revenant de la queste

G

Guillot ung jour estoit avec Babeau

H

Hellas mon Dieu ton ire s’est tournéeHerbes et fleurs et vous, prez verdoyans

I

Il est permis trouver au lict s'amieIl estoit une filletteIl me suffit du temps passé

J

J’atens le temps ayant ferme espéranceJ’ay dict, j’ay faict pour sa beaultéJ’ay double dueil qui vivement me poinctJe ne fus jamais si aiseJehanneton fut l’aultre jour au marché

L

L’amour, la mort et la vieL’autre jour de bon matinL’ermaphrodite est estrangeL’espoir confus a plus hault desirerLa Bataille de MarignanLa chasseLa guerreLa JalouzieLa plus belle de la villeL'alouetteLas on peult juger clerementLas qu’on congneust mon vouloir sans le direLe Caquet des femmesLe chant des oiseauxLes chansons de la Guerre, la chasse, le chant des oyseaux, l'alouette, le rossignolLes Cris de Paris

M

M’amye a eu de Dieu le donMa fille, ma mere, venez a moyMa peine n’est pas grandeMadame a soy non aux aultres ressembleMartin menoitMartin menoit son porceauMissa super La batailleMy levay par ung matin

N

Non feray, je n’en feray rien

O

O cruaultéO dur amour qui cueurs humains faict cuyreO fortune n’estois tu pas contenteO mal d’aymer qui tous maulx outrepasseOr veit mon cueur en grand tristesseOu mettra l’on ung baiser favorableOuvrez moy l’huis

P

Petite nymphe folastrePleust a Dieu que feusse arrondellePlus ne suys ce que j’ay estéPourquoy tournez vous vos yeux

Q

Qu’est-ce d’amour, comment le peult on paindre ?Quant contremontQuelque frapart, homme de bonne miseQui veult d’amour scavoir tous les esbatz

S

Secourez moy, je suys toute pleumeuseSi come il chiaro soleSi de bon cueur j’ayme bien une dameSi Dieu vouloit pour chose bien nouvelleSi Dieu vouloit que je fusse arrondelleSi dung petit de vostre bienSi en aymant je pourchasse et procureSuivez tousjours l’amoureuse entrepriseSus approchez ces lèvres vermeillettesSy celle la qui oncques ne fut myenne

U

Un jour CatinUn jour Robin vint Margot empoingnerUn vieillart amoureuxUne belle jeune espouséeUne déesse en ce temps cyUne gay bergier prioit une bergiereUne nonnain fort belle et en bon pointUng compaignon joly et en bon poinctUng jour que madame dormoitUng mari se voulant coucherUng pélerin que les Turcs avoient pris

V

Va rossignol, amoureux messagerVivons folastres

À

À ce Joly Moys de May
Wikipedia
Clément Janequin (c. 1485 – 1558) was a French composer of the Renaissance. He was one of the most famous composers of popular chansons of the entire Renaissance, and along with Claudin de Sermisy, was hugely influential in the development of the Parisian chanson, especially the programmatic type. The wide spread of his fame was made possible by the concurrent development of music printing.
Janequin was born in Châtellerault, near Poitiers, though no documents survive which establish any details of his early life or training. His career was highly unusual for his time, in that he never had a regular position with a cathedral or an aristocratic court. Instead he held a series of minor positions, often with important patronage. In 1505 he was employed as a clerk in Bordeaux, to Lancelot du Fau, who eventually became Bishop of Luçon; he retained this position until du Fau's death in 1523, at which time he took a position with the Bishop of Bordeaux. Around this time he became a priest, though his appointments were rarely lucrative; indeed he always complained about money.
After 1530 Janequin held a succession of posts in Anjou, beginning as a singing teacher to the choirboys at the cathedral at Auch, and progressing to maître de chapelle at the singing school at Angers Cathedral. Around this time he attracted the attention of Jean de Guise, the patron of Erasmus, Clément Marot, and Rabelais; it was a welcome career boost, and, in 1548, with the additional assistance of Charles de Ronsard (the brother of poet Pierre de Ronsard), he became curate at Unverre, not far from Chartres. During this time he lived in Paris. By 1555 he was listed as a "singer ordinary" of the king's chapel, and shortly thereafter became "composer ordinary" to the king: only one composer (Sandrin, also known as Pierre Regnault) had previously had this title. In his will, dated January 1558, he left a small estate to charity, and he complained again of age and poverty in a dedication to a work published posthumously in 1559. He died in Paris.
Few composers of the Renaissance were more popular in their lifetimes than Janequin. His chansons were well-loved and widely sung. The Paris printer Pierre Attaingnant printed five volumes with his chansons. La bataille, which vividly depicts the sounds and activity of a battle, is a perennial favorite of a cappella singing groups even in the present day.
Janequin wrote very little liturgical music: only two masses and a single motet are attributed to him, though more may have been lost. His 250 secular chansons and his (over 80) psalm settings and chansons spirituelles — the French equivalent of the Italian madrigale spirituale — were his primary legacy.
The programmatic chansons for which Janequin is famous were long, sectional pieces, and usually cleverly imitated natural or man-made sounds. Le chant des oiseaux imitates bird-calls; La chasse the sounds of a hunt; and La bataille (Escoutez tous gentilz), probably the most famous, and almost certainly written to celebrate the French victory over the Swiss Confederates at the Battle of Marignano in 1515, imitates battle noises, including trumpet calls, cannon fire and the cries of the wounded. Onomatopoeic effects such as these became a commonplace in later 16th century music, and carried over into the Baroque era; indeed "battle music" was to become a cliché, but it first came into prominence with Janequin.
In addition to the programmatic chansons for which he is most famous, he also wrote short and refined compositions more in the style of Claudin de Sermisy. For these he set texts by some of the prominent poets of the time, including Clément Marot. Late in his life he wrote the Psalm settings based on Genevan tunes. Since there is no documentary evidence, the question of whether he sympathized with the Protestants remains unanswered.
French composer Jehan Alain composed a piece for organ based on a theme by Janequin (Variations sur un thème de Clément Janequin, 1937)
—, Le caquet des femmes. Rouart, Paris 1925 —, Les cris de Paris, Florilège du concert vocal de la Renaissance. (3) 1928 —, Quinze chansons du XVIe siècle. 1926 —, Un psaumes à quatre voix. Dans "Cauchie Maurice, "Mélanges de musicologie offerts à M. Lionel de La Laurencie", Droz, Paris 1933
—, chansons (Attaingnant 1528). in "Maîtres musiciens de la Renaissance française" (VII) 1898 —, 31 chansons d'Attaingnant. in "Maîtres musiciens de la Renaissance française" ( V), Paris 1897 [5 chansons] —, La Fleur des musiciens de P. de Ronsard. Paris 1923 [trois chansons; édité précédemment par Jean Tiersot dans "Sammelbände der Internationalen Musikgesellschaft (IV) 1902 / 1903, p. 119-128] —, L'alouette (avec les 5 voix de Claude Le Jeune). Leduc, Paris 1900 —, Répertoire populaire de la musique de Renaissance. Senart, Paris 1914 [ Hélas mon dieu] —, Messe La Bataille. Salabert, Paris 1947 —, Florilège du concert vocal de la Renaissance. (1) 1928 (4 chansons)
—, Anthologie de la chansons parisienne au XVIe. Éditions de l'Oiseau-Lyre; Monaco 1952 [5 chansons]