D?le d?t de l\'ann?1480, Barbireau se fait appr?er en tant que musicien et compositeur. Il se peut qu?il e?? ? attach? l??ise Notre-Dame d?Anvers depuis son enfance. D? au moins depuis 1482, l??ise fut au centre de sa vie. En 1484, il devint ma?e de chapelle de la future cath?ale, poste qu\'il occupa jusqu\'?a mort. Quoique Barbireau fut inscrit dans les livres de comptes de l??ise comme zangmeester (ma?e de chant) ou magister choralum depuis 1487. Il eut ce poste vraisemblablement d? depuis 1484-85, p?ode dans laquelle il versa, ?itre de magister, une contribution ?e capellan?\"Notre Dame du Nieuwwerk\", une fondation qui fut cr? pour les ma?es de chant. Le ch?ur que dirigea Barbireau, se composa ?ette ?que de 8 coraux et 12 chanteurs. Plusieurs Corps de m?ers anversois partag?nt la responsabilit?our le programme musicale du service divin. Chaque matin ? heures une messe fut chant? chaque soir les laudes. Le r?du ma?e de chant fut, entre autres, de veiller sur le bien-?e des coraux (les enfants de ch?ur), de les instruire dans la musique et les usages de l\'?ise et de les enseigner la morale et la d?nce : il dut les accompagner de l??ise au logement, o?s habit?nt avec leur ma?e de chant, et en sens inverse. Aussi, il dut veiller sur l?intonation des psaumes et des r?ns lors du service divin.

part de s?occuper de ses t?es ???ise principale d?Anvers, Barbireau eut ? en contact ?oit avec la cour de Maximilien Ier du Saint-Empire romain germanique. partir de 1486, il re? la mission du roi des Romains d\'?quer Guillaume de Ternay. En 1489, Barbireau demeura ?ois-le-Duc. Peut-?e, cette visite est ?ettre en rapport avec le long voyage qui le mena ?uda, o? arriva vers la fin de 1489 ou d?t 1490, avec dans sa poche une lettre de recommandation de Maximilien Ier. Il y fut pr?nt? la reine Beatrix d\'Aragon (1457-1508). En 1490-91, Barbireau retourna ?nvers, o? est d?d?e 7 ao?491. Il inclut dans son testament la femme qu?il maria apr?1487 et la fille qu\'il a eue avec elle, Jacomyne Barbireau (n?pr?1487, d?d?pr?1525).

Maximilien semble avoir appr??arbireau hautement et quand celui-ci alla ?uda en Hongrie en 1490, la reine Beatrix eut fait son ?ge.

Il semble que son ?t de sant??t?aible dans les neuf derni?s ann? de sa vie. Barbireau est d?d? Anvers, peu apr?son retour de Hongrie.
La biblioth?e de la (future) cath?ale d\'Anvers fut d?uite en 1556 suite ?es difficult?qui trouv?nt leur origine dans la R?rme protestante et ?a cause de laquelle la plupart des travaux de Barbireau furent perdus. Certaines compositions ont cependant ? conserv?, souvent dans des sources ?ang?s, y compris le Codex Chigi. Et l??uvre conserv?fait sans contredit preuve d?une qualit?xtr?ment ?v? En 2001, Rob Wegman nota dans le \"New Grove\" : Barbireau pr?nte un degr?e finesse dans le contrepoint et une inventivit?armonique et m?dique qui le rendent l??l de compositeurs tels que Isaac et Obrecht. Son style est ?oitement li? celui d?Isaac, un polyphoniste franco-flamand, qui passa la plus grande partie de sa carri? de compositeur dans des pays germanophones.

Deux messes ?uatre et cinq voix ont surv?. En outre, un Kyrie de P?es et un motet c?bre ?uatre voix, bas?ur le Cantique de Salomon, Osculetur me. La messe ?inq voix est compos?de fa? inhabituelle : les voix ont des parties divisi qui indiquent qu?au moins dix voix sont n?ssaires pour les chanter. Cette une composition dans laquelle la texture est pleine de contrastes, avec une polyphonie altern?de passages homophones, et des parties qui s?avancent plut?apidement pour s?entrelacer avec les parties qui s?avancent plut?entement. Le motet Osculetur fait usage de tessitures ?oix basse qui ne sont pas sans rappeler Ockeghem.

Parmi ses ?uvres profanes, dont deux tiers sont sur des textes en n?landais, la chanson ?rois voix Een vroylic wesen (une personne charmante), devint un tube. On la retrouve dans diff?nts arrangements, en Espagne, en Italie et en Angleterre ; Heinrich Isaac emprunta la m?die pour sa messe Fr?h wesen. Les trois chansons profanes furent d?ailleurs utilis? comme base pour des messes d\'Isaac et d?Obrecht.
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Jacques Barbireau (1455 - 1491)

Belgique
Jacobus Barbireau (also Barbirianus) (1455 ? August 7, 1491) was a Franco-Flemish Renaissance composer from Antwerp. He was considered to be a superlative composer both by his contemporaries and by modern scholars, however his surviving output is small, and he died young. Until the 1960s he was confused with another somewhat older composer named Barbingant; sources of the period often use variant spellings or omit first names of composers, making such confusion common. Barbireau was probably born in Antwerp, and both of his parents were citizens there. By 1482 he had attained the title of Master of Arts, so he likely went to university in the 1470s. He wanted to study with the famous humanist and musician Rodolphus Agricola, who was active at Ferrara in the 1470s and later Heidelberg, and several letters written by Agricola to Barbireau have survived; one of them gives useful clues about Barbireau\'s life. According to it, Barbireau was already active as a composer by 1484, and implies that his fame had not yet spread outside of his native Antwerp.

In 1484 Barbireau acquired the post of choirmaster at the cathedral in Antwerp, a position he was to keep until his death. Maximilian I, Holy Roman Emperor, evidently held him in high regard, and when Barbireau went to Buda in Hungary in 1490, Queen Beatrix also spoke highly of him. Evidently his health was weak for about the last nine years of his life. He died in Antwerp, not long after returning from Hungary.

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The library of the cathedral in Antwerp was destroyed by religious fanatics in 1556, probably destroying most of Barbireau\'s music. Some, however, has survived, mostly in foreign sources, including the Chigi Codex, and that which has survived is of outstanding quality. Writing in the 2001 New Grove, Rob Wegman notes \'Barbireau shows a degree of contrapuntal polish and melodic-harmonic resourcefulness that puts him firmly on a par with such composers as Isaac and Obrecht.\' Indeed his style is closely related to that of Heinrich Isaac, another Netherlander who spent much of his life working in German-speaking areas.

Two masses have survived, one for four and one for five voices, as well as a Kyrie for the Easter season, and a famous motet based on the Song of Solomon, Osculetur me, for four voices. The mass for five voices has an unusual arrangement where the voices have divisi parts, indicating that at least ten actual voices would be required to sing it. In this composition the textural contrasts are high, with homophonic passages alternating with polyphonic, and with fast-moving parts weaving around the slower-moving parts. The motet Osculetur me uses low voice tessituras reminiscent of Ockeghem.

Of his secular music, the song \'Een vroylic wesen\', for three voices, became a \'hit\' song all over Europe, appearing in numerous arrangements from places as far apart as Spain, Italy and England; Heinrich Isaac used it as the basis for his own Missa Fr?h wesen. Indeed all three of his surviving secular songs were used as the basis for masses, both by Isaac and Jacob Obrecht.

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Missa Virgo Parens Christi
Jacques Barbireau

Choral SATTB a cappella / 1 PDF /

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