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{{short description|Franco-Flemish composer (c1452–1518)}}
'''Pierre de la Rue''' ({{circa|1452}} – 20 November 1518), called '''Piersson''', was a [[Dutch School (music)|Netherlandish]] composer and singer of the [[Renaissance music|Renaissance]]. A member of the same generation as [[Josquin des Prez]], and a long associate of the [[House of Habsburg|Habsburg]]-[[Burgundian School|Burgundian]] musical chapel, he ranks with [[Alexander Agricola|Agricola]], [[Antoine Brumel|Brumel]], [[Loyset Compère|Compère]], [[Heinrich Isaac|Isaac]], [[Jacob Obrecht|Obrecht]], and [[Gaspar van Weerbeke|Weerbeke]] as one of the most famous and influential composers in the Netherlands [[polyphony|polyphonic]] style in the decades around 1500.
{{Use dmy dates|date=September 2019}}
[[File:Pierre de la Rue.jpg|thumb|Imaginary 19th-century depiction of la Rue]]

'''Pierre de la Rue''' ({{circa|1452}} – 20 November 1518) was a [[Franco-Flemish School|Franco-Flemish]] composer and singer of the [[Renaissance music|Renaissance]]. His name also appears as '''Piersson''' or variants of '''Pierchon''' and his toponymic, when present, as various forms of '''de Platea''', '''de Robore''', or '''de Vico'''.{{sfn|Meconi|2009}} A member of the same generation as [[Josquin des Prez]], and a long associate of the [[House of Habsburg|Habsburg]]-[[Burgundian School|Burgundian]] musical chapel, he ranks with [[Alexander Agricola|Agricola]], [[Antoine Brumel|Brumel]], [[Loyset Compère|Compère]], [[Heinrich Isaac|Isaac]], [[Jacob Obrecht|Obrecht]], and [[Gaspar van Weerbeke|Weerbeke]] as one of the most famous and influential composers in the Netherlands [[polyphony|polyphonic]] style in the decades around 1500.


==Biography==
==Biography==


===Early life===
===Early life===
La Rue was probably born at [[Tournai]], in modern [[Belgium]], and likely educated at the [[Tournai Cathedral|Notre-Dame Cathedral]] there, which had a substantial musical establishment. He may have been the son of Jean de la Rue, a master ''enlumineur'' of the town of Tournai.<ref>Meconi, 2003, p. 8</ref>
La Rue was probably born at [[Tournai]], in modern [[Belgium]], and likely educated at the [[Tournai Cathedral|Notre-Dame Cathedral]] there, which had a substantial musical establishment. He may have been the son of Jean de la Rue, a master ''enlumineur'' of the town of Tournai.{{sfn|Meconi|2003|p=8}}


While no records remain of his childhood, a Peter vander Straten (the Flemish equivalent of his name) is mentioned in the archives of the cathedral of [[St. Michael and St. Gudula Cathedral|Ste. Gudule]] in [[Brussels]] in 1469-1470, as an adult (tenor) singer; this is considered very likely to have been him.<ref>Meconi, 2003, p. 5</ref> In 1471 he was in [[Ghent]] at the Jacobskerk as a part-time singer, paid from the cathedral's miscellaneous fund, suggesting he was brought in for special performances of polyphony. Subsequently he was employed in [[Nieuwpoort, Belgium|Nieuwpoort]] in 1472, at the church of Onze-Lieve-Vrouw, probably initially as a temporary arrangement, but by the end of the year the church authorities hired him on a more permanent basis. He was no longer employed there by 1477/8 for his name had vanished from the account-book.
While no records remain of his childhood, a Peter vander Straten (the Flemish equivalent of his name) is mentioned in the archives of the cathedral of [[St. Michael and St. Gudula Cathedral|Ste. Gudule]] in [[Brussels]] in 1469–1470, as an adult (tenor) singer; this is considered very likely to have been him.{{sfn|Meconi|2003|p=5}} In 1471 he was in [[Ghent]] at the Jacobskerk as a part-time singer, paid from the cathedral's miscellaneous fund, suggesting he was brought in for special performances of polyphony. Subsequently, he was employed in [[Nieuwpoort, Belgium|Nieuwpoort]] in 1472, at the church of Onze-Lieve-Vrouw, probably initially as a temporary arrangement, but by the end of the year the church authorities hired him on a more permanent basis. He was no longer employed there by 1477/8 for his name had vanished from the account-book.


His whereabouts during the 1480s are not very well known, although there is a record that he worked at a place called "St Ode" (date and city not known), and also possibly at the cathedral at [[Cambrai]]. Previous biographies of La Rue place him in [[Siena]], [[Italy]] between 1483 and 1485; however it has been determined that the "La Rue" in the records there was a different singer. Pierre de la Rue probably never went to Italy, making him one of the few prominent Franco-Flemish composers of this generation never to travel there.<ref name="Meconi, Grove">Meconi, Grove</ref>
His whereabouts during the 1480s are not very well known, although there is a record that he worked at a place called "St Ode" (date and city not known), and also possibly at the cathedral at [[Cambrai]]. Previous biographies of La Rue place him in [[Siena]], [[Italy]], between 1483 and 1485; however, it has been determined that the "La Rue" in the records there was a different singer. Pierre de la Rue probably never went to Italy, making him one of the few prominent Franco-Flemish composers of this generation never to travel there.{{sfn|Meconi|2009}}


In 1489 he was paid by the Confraternity of the Illustre Lieve Vrouwe in 's-Hertogenbosch, again as "Peter vander Straten", and the document indicates that he had come from [[Cologne]], so he evidently had spent some time in Germany as a tenor singer. He remained at the Confraternity in 's-Hertogenbosch until 1492, at which time he simultaneously became a full member of the Confraternity, and joined the ''Grande chapelle'' of Holy Roman Emperor [[Maximilian I, Holy Roman Emperor|Maxmilian]]. He was to remain in the employ of the Habsburgs, and the ''Grande chapelle'', for the rest of his life.<ref name="Meconi, Grove"/><ref>Meconi, 2003, p. 10-13</ref>
In 1489 he was paid by the Confraternity of the Illustre Lieve Vrouwe in [['s-Hertogenbosch]], again as "Peter vander Straten", and the document indicates that he had come from [[Cologne]], so he evidently had spent some time in Germany as a tenor singer. He remained at the Confraternity in 's-Hertogenbosch until 1492, at which time he simultaneously became a full member of the Confraternity, and joined the ''Grande chapelle'' of Holy Roman Emperor [[Maximilian I, Holy Roman Emperor|Maxmilian]]. He was to remain in the employ of the Habsburgs, and the ''Grande chapelle'', for the rest of his life.{{sfn|Meconi|2009}}{{sfn|Meconi|2003|pp=10–13}}


===The ''Grande chapelle''===
===The ''Grande chapelle''===
The ''Grande chapelle'', the musical establishment of the Burgundian-Habsburg court, already had a distinguished history by the time [[Philip I of Castile|Philip the Handsome]] inherited it in 1494. This was the central institution of the [[Burgundian School]], the venue in which composers such as Dufay and Busnois had worked and already left a body of music; music by Ockeghem had also recently been copied into manuscripts associated with the group immediately before La Rue's hire. In addition, music by the composers favored the previous dukes of Burgundy such as [[Charles the Bold]] – Adrien Basin, Gilles Joye, Hayne van Ghizeghem, and Robert Morton – was also probably still being performed and studied. It was a formidable musical organization, equalling in quality the papal chapel in Rome itself, and its quality continued to improve into the 16th century, with the addition of composers such as [[Marbrianus de Orto]], [[Nicolas Champion]], [[Gilles Reingot]], [[Antonius Divitis]], and [[Alexander Agricola]].<ref>Meconi, 2003, p. 29-37</ref> This was the musical environment into which La Rue entered his full maturity as a composer.<ref>Meconi, 2003, p. 53-54; 78-79</ref>
The ''Grande chapelle'', the musical establishment of the Burgundian-Habsburg court, already had a distinguished history by the time [[Philip I of Castile|Philip the Handsome]] inherited it in 1494. This was the central institution of the [[Burgundian School]], the venue in which composers such as Dufay and Busnois had worked and already left a body of music; music by Ockeghem had also recently been copied into manuscripts associated with the group immediately before La Rue's hire. In addition, music by the composers favored by the previous dukes of Burgundy such as [[Charles the Bold]] – Adrien Basin, Gilles Joye, Hayne van Ghizeghem, and Robert Morton – was also probably still being performed and studied. It was a formidable musical organization, equalling in quality the papal chapel in Rome itself, and its quality continued to improve into the 16th century, with the addition of composers such as [[Marbrianus de Orto]], [[Nicolas Champion]], [[Gilles Reingot]], [[Antonius Divitis]], and [[Alexander Agricola]].{{sfn|Meconi|2003|pp=29–37}} This was the musical environment into which La Rue entered his full maturity as a composer.{{sfn|Meconi|2003|pp=53–54, 78–79}}


Once La Rue was engaged with the ''Grande chapelle'', he made two trips to [[Spain]]. On the second trip, in 1506, he was shipwrecked in the English Channel, and spent three months at the court of [[Henry VII of England]]. After two more years in Spain, in the service of [[Joanna of Castile|Juana of Castile]] – Joanna the Mad – he returned to the Netherlands in 1508, probably because Juana had been forced out of power (her husband, [[Philip I of Castile|Philip]], had died of typhus in 1506). Juana was inconsolable, unable to leave the corpse of her dead husband, and had become quite insane; why La Rue stayed as long as he did is not known, but it is not impossible that his dark, intensely expressive music was one of the few things that brought her solace. In addition, he was treated well. Juana promoted him to ''premier chapelain'', the head of the chapel, and paid him twice what the other singers received; paying the singers was apparently the one of the only practical administrative matters she was able to do during the period of her madness.<ref>Meconi, 2003, p. 39</ref>
Once La Rue was engaged with the ''Grande chapelle'', he made two trips to [[Spain]]. On the second trip, in 1506, he was shipwrecked in the English Channel, and spent three months at the court of [[Henry VII of England]]. After two more years in Spain, in the service of [[Joanna of Castile|Juana of Castile]] – Joanna the Mad – he returned to the Netherlands in 1508, probably because Juana had been forced out of power (her husband, [[Philip I of Castile|Philip]], had died of typhus in 1506). Juana was inconsolable, unable to leave the corpse of her dead husband, and had become quite insane; why La Rue stayed as long as he did is not known, but it is not impossible that his dark, intensely expressive music was one of the few things that brought her solace. In addition, he was treated well. Juana promoted him to ''premier chapelain'', the head of the chapel, and paid him twice what the other singers received; paying the singers was apparently one of the only practical administrative matters she was able to do during the period of her madness.{{sfn|Meconi|2003|p=39}}


On his travels with the ''Grande chapelle'' he met many of the other Franco-Flemish composers who were working at the same time (for instance, [[Josquin des Prez|Josquin]], [[Heinrich Isaac|Isaac]] and [[Robert de Févin]]) and these meetings may also have proved decisive on the development of his style.<ref>Staehelin, Grove</ref>
On his travels with the ''Grande chapelle'' he met many of the other Franco-Flemish composers who were working at the same time (for instance, [[Josquin des Prez|Josquin]], [[Heinrich Isaac|Isaac]] and [[Robert de Févin]]) and these meetings may also have proved decisive in the development of his style.{{sfn|Staehelin|1980}}


===Retirement and death===
===Retirement and death===
Between 1508 and 1514, the court stayed at [[Mechelen]] and [[Brussels]], rarely traveling. These are hypothesized to be the most productive years for La Rue as a composer, since he would have had the most free time, and spared the rigors of travel across Europe.<ref>Meconi, 2003, p. 107</ref> Shortly after Charles V came of age in 1515, the court resumed its travels; La Rue retired shortly after a huge tour of all the cities in the northern portions of Charles' kingdom. Likely he left his job during one of the chapel's visits to Kortrijk, in May or June 1516. He remained there until his death a little more than two years later. While his epitaph alludes to the possibility that he may have worked at the courts in [[France]] and [[Hungary]] at some time, no other corroborating evidence has been found; however there remain biographical gaps in the 1470s and 1480s: for example, the location of "St Ode" is not yet known.
Between 1508 and 1514, the court stayed at [[Mechelen]] and [[Brussels]], rarely traveling. These are hypothesized to be the most productive years for La Rue as a composer, since he would have had the most free time, and spared the rigors of travel across Europe.{{sfn|Meconi|2003|p=107}} Shortly after Charles V came of age in 1515, the court resumed its travels; La Rue retired shortly after a huge tour of all the cities in the northern portions of Charles' empire. Likely he left his job during one of the chapel's visits to Kortrijk, in May or June 1516. He remained there until his death a little more than two years later. While his epitaph alludes to the possibility that he may have worked at the courts in [[France]] and [[Hungary]] at some time, no other corroborating evidence has been found; however there remain biographical gaps in the 1470s and 1480s: for example, the location of "St Ode" is not yet known.


La Rue was relatively wealthy when he died, especially for a singer who was not an aristocrat, and details of his will and the subsequent events surrounding its disposition survive in detail. Not only did his executors find chests of money in his lodgings, but he had considerable income from his prebends, which distributed to many places, including relatives, charities, choirs, institutions; and he arranged for requiem masses to be sung every day for the month after his death, and a further 300 masses to be sung afterwards, in several different cathedrals. He asked to be buried on the left side of the altar in the church in Kortrijk, although the exact location can no longer be found, and the epitaph only survives in several partially contradictory copies. His epitaph indicates he was a thrifty, virtuous person, not "given to the crimes of Venus" (as, for example, composer [[Nicolas Gombert]], who was sent to the galleys for molesting a choirboy, [[Ghiselin Danckerts]], who was fired from the Sistine Chapel choir for being excessively "given to women", or [[Gilles Joye]], who wrote a mass based on the name of his favorite prostitute). La Rue seems to have been appreciated and well liked by his colleagues throughout his career.<ref>Meconi, 2003, p. 45-52</ref>
La Rue was relatively wealthy when he died, especially for a singer who was not an aristocrat, and details of his will and the subsequent events surrounding its disposition survive in detail. Not only did his executors find chests of money in his lodgings, but he had considerable income from his prebends, which he distributed to many places, including relatives, charities, choirs, institutions; and he arranged for requiem masses to be sung every day for the month after his death, and a further 300 masses to be sung afterwards, in several different cathedrals. He asked to be buried on the left side of the altar in the church in Kortrijk, although the exact location can no longer be found, and the epitaph only survives in several partially contradictory copies. His epitaph indicates he was a thrifty, virtuous person, not "given to the crimes of Venus" (as, for example, composer [[Nicolas Gombert]], who was sent to the galleys for molesting a choirboy, [[Ghiselin Danckerts]], who was fired from the Sistine Chapel choir for being excessively "given to women", or [[Gilles Joye]], who wrote a mass based on the name of his favorite prostitute). La Rue seems to have been appreciated and well liked by his colleagues throughout his career.{{sfn|Meconi|2003|p=45–52}}


==Music==
==Music==


===General character===
===Music and style, general characteristics===
La Rue wrote [[mass (music)|masses]], [[motet]]s, [[Magnificat]]s, settings of the [[Book of Lamentations|Lamentations]], and [[chanson]]s, a diverse range of compositions reflective of his status as the primary composer at one of Europe's most renowned musical institutions, surrounded by other similarly creative people. Some scholars have suggested that he only composed music for about the last 20 years of his life, mainly when he was in the imperial service; but it has proven difficult to date any of his works precisely, although it has been possible to suggest groupings based on a rough chronology.<ref>Meconi, 2003, p. 98</ref> Stylistically, his works are more similar to Josquin than to any other composer working at the same time. In fact, misattribution of doubtful works has gone both ways.
La Rue wrote [[mass (music)|masses]], [[motet]]s, [[Magnificat]]s, settings of the [[Book of Lamentations|Lamentations]], and [[chanson]]s, a diverse range of compositions reflective of his status as the primary composer at one of Europe's most renowned musical institutions, surrounded by other similarly creative people. Some scholars have suggested that he composed music only during the last 20 years of his life, mainly when he was in the imperial service; but it has proven difficult to date any of his works precisely, although it has been possible to suggest groupings based on a rough chronology.{{sfn|Meconi|2003|p=98}} Stylistically, his works are more similar to those of Josquin than to those of any other composer working at the same time. In fact, misattribution of doubtful works has gone both ways.


Yet there are some unique features to La Rue's style. He had a liking for extreme low voice ranges, descending sometimes to C or even the subterranean B flat below the bass staff; he employed more chromaticism than most of his contemporaries; and much of his work is rich in dissonance. He also broke up long, dense textures by inserting contrasting passages for two voices only, something done also by [[Johannes Ockeghem|Ockeghem]] and Josquin. He was one of the first routinely to expand vocal forces from the standard four, to five or six. One of his masses for six voices, the ''Missa Ave sanctissima Maria'', is a six-voice [[canon (music)|canon]], a technically difficult feat reminiscent of some of the work of Ockeghem. This is also the earliest six-voice mass known to exist.
Yet there are some unique features of La Rue's style. He had a liking for extreme low voice ranges, descending sometimes to C or even the subterranean B flat below the bass staff; he employed more chromaticism than most of his contemporaries; and much of his work is rich in dissonance. He also broke up long, dense textures by inserting contrasting passages for two voices only, something done also by [[Johannes Ockeghem|Ockeghem]] and Josquin. He was one of the first routinely to expand vocal forces from the standard four, to five or six. One of his masses for six voices, the ''Missa Ave sanctissima Maria'', is a six-voice [[canon (music)|canon]], a technically difficult feat reminiscent of some of the work of Ockeghem. This is also the earliest six-voice mass known to exist.


Canonic writing is a particularly important feature of La Rue's style, and he has been particular celebrated for this. He liked to write canons of considerable complexity, rather than restricting himself to simple imitation. The second of his two masses based on the [[L'homme armé]] tune begins and ends with [[prolation canon|mensuration canons]], canons in which all the voices sing the same material, but at different speeds; this is yet another feat of [[counterpoint|contrapuntal]] virtuosity worthy of Josquin or Ockeghem; indeed La Rue sometimes seemed to be in conscious competition with the more renowned Josquin. The closing Agnus Dei of this mass is the only known mensuration canon of the entire era for four voices, with all four voices singing the same tune.<ref name="Meconi, Grove"/><ref name="Meconi, 2003, p. 93-96">Meconi, 2003, p. 93-96</ref> La Rue wrote six pieces that are completely canonic from start to finish, including two masses, three motets, and a chanson; and he wrote three more masses, two motets, and three chansons which are based on canon but contain some free sections; and there are numerous other works which include canonic sections.<ref>Weaver, p. 135</ref> In his use of canons, he may have been influenced by Matthaeus Pipelare, who wrote an early canonic mass La Rue almost certainly knew, since it was part of the repertory of the Habsburg court chapel.<ref>Weaver, p. 136-7</ref>
Canonic writing is a particularly important feature of La Rue's style, for which he has been particularly celebrated. He liked to write canons of considerable complexity, rather than restrict himself to simple imitation. The second of his two masses based on the [[L'homme armé]] tune begins and ends with [[prolation canon|mensuration canons]], canons in which all the voices sing the same material, but at different tempi; this is yet another feat of [[counterpoint|contrapuntal]] virtuosity worthy of Josquin or Ockeghem; indeed La Rue sometimes seemed to be in conscious competition with the more renowned Josquin. The closing Agnus Dei of this mass is the only known mensuration canon of the entire era for four voices, with all four voices singing the same tune.{{sfn|Meconi|2009}}{{sfn|Meconi|2003|pp=93–96}} La Rue wrote six pieces that are completely canonic from start to finish, including two masses, three motets and a chanson; he wrote three more masses, two motets, and three chansons which are based on canon but contain some free sections; numerous other works include canonic sections.{{sfn|Weaver|2004|p=135}} In his use of canons, he may have been influenced by Matthaeus Pipelare, who wrote an early canonic mass La Rue almost certainly knew, since it was part of the repertory of the Habsburg court chapel.{{sfn|Weaver|2004|pp=136–137}}


===Masses===
===Masses===
La Rue also was one of the first to use the [[parody mass|parody]] technique thoroughly, permeating the texture of a mass with music drawn from all voices of a pre-existing source. Some of his masses use [[cantus firmus]] technique, but rarely strictly; he often preferred the [[paraphrase mass|paraphrase]] technique, in which the monophonic source material is embellished and migrates between voices.<ref name="Meconi, 2003, p. 93-96"/>
La Rue was one of the first to use the [[parody mass|parody]] technique thoroughly, permeating the texture of a mass with music drawn from all voices of a pre-existing source. Some of his masses use [[cantus firmus]] technique, but rarely strictly; he often preferred the [[paraphrase mass|paraphrase]] technique, in which the monophonic source material is embellished and migrates between voices.{{sfn|Meconi|2003|pp=93–96}}


La Rue wrote one of the earliest polyphonic [[Requiem Masses]] to survive, and it is one of his most famous works. Unlike later Requiems, it includes polyphonic settings only of the Introit, Kyrie, Tract, Offertory, Sanctus, Agnus, and Communion (the Dies Irae, often the center of gravity in more recent Requiems, was a later addition). This was the normal liturgical practice in the region of northern Europe in which he worked. This mass, more than many others, emphasises the low registers of voices, and even the lowest voices themselves.
La Rue wrote one of the earliest polyphonic [[Requiem Masses]] to survive, and it is one of his most famous works. Unlike later Requiems, it includes polyphonic settings of only the Introit, Kyrie, Tract, Offertory, Sanctus, Agnus, and Communion – the Dies Iræ, often the center of gravity in more recent Requiems, was a later addition. This was the normal liturgical practice in Gallican France and the region of northern Europe in which he worked. This mass, more than many others, emphasises the low registers of voices, and even the lowest voices themselves.


===Motets and chansons===
===Motets and chansons===
Twenty-five motets by La Rue survive. They are mostly for four voices. While they use imitation, the technique is more likely to occur within sections and phrases rather than at their openings, unlike in the style of Josquin.<ref name="Davison25">Davison, 25</ref> Another stylistic feature characteristic of La Rue's motets is the use of ostinatos, which may be a single note, an interval, or a series of notes. In addition he uses germinal motifs – small easily recognizable patterns from which larger melodic units are derived, and which give unity to a composition.<ref name="Davison25"/> Overall the motets are complex contrapuntally, with the individual lines having a distinctive character, in the manner of Ockeghem. This is most true in the early works which were likely influenced by the older composer.<ref>Davison, 22-23, 25</ref>
Twenty-five motets by La Rue survive, being mostly for four voices. While they use imitation, the technique is more likely to occur within sections and phrases rather than at their openings, unlike in the style of Josquin.{{sfn|Davison|1962|p=25}} Another stylistic feature characteristic of La Rue's motets is the use of ostinatos, which may be a single note, an interval, or a series of notes. In addition he uses germinal motifs – small easily recognizable patterns from which larger melodic units are derived, and which give unity to a composition.{{sfn|Davison|1962|p=25}} Overall the motets are complex contrapuntally, with the individual lines having a distinctive character, in the manner of Ockeghem. This is most true in the early works which were likely influenced by the older composer.{{sfn|Davison|1962|pp=22–23, 25}}


More than half of the motets are on the subject of the Virgin Mary. La Rue was the first composer to write a Magnificat on each of the eight [[mode (music)|tones]], and additionally wrote six separate settings of the Marian antiphon ''Salve regina''.<ref name="Meconi, Grove"/> Most likely these are early works.<ref>Davison, 32</ref>
More than half of the motets are on the subject of the Virgin Mary. La Rue was the first composer to write a Magnificat on each of the eight [[mode (music)|tones]], and additionally wrote six separate settings of the Marian antiphon ''Salve regina''.{{sfn|Meconi|2009}} Most likely these are early works.{{sfn|Davison|1962|p=32}}


===Chansons===
===Chansons===
His thirty chansons show a diversity of style, some being akin to the late Burgundian style (for example, as seen in [[Hayne van Ghizeghem]] or [[Gilles Binchois]]), and others using a more current imitative [[polyphony|polyphonic]] style. Since La Rue never spent time in Italy, he never picked up the Italian [[frottola]] style which featured light, [[homophony|homophonic]] textures (which Josquin used so effectively in his popular ''El Grillo'' and ''Scaramella''), and which so charmed the other members of his generation.
His thirty chansons show a diversity of style, some being akin to the late Burgundian style (for example, as seen in the works of [[Hayne van Ghizeghem]] or [[Gilles Binchois]]), and of others using a more current imitative [[polyphony|polyphonic]] style. Since La Rue never spent time in Italy, he did not employ the Italian [[frottola]] style which featured light, [[homophony|homophonic]] textures (which Josquin used so effectively in his popular ''El Grillo'' and ''Scaramella''), and which so charmed the other members of his generation.


==Works==
==Works==


===Masses===
;Masses
# ''Missa Alleluia'' (5vv);
# {{lang|la|Missa ''Alleluia''|italic=unset}} (5vv);
# ''Missa Almana'' (4vv);
# {{lang|la|Missa ''Almana''|italic=unset}} (4vv);
# ''Missa Assumpta est Maria'' (4vv);
# {{lang|la|Missa ''Assumpta est Maria''|italic=unset}} (4vv);
# ''Missa Ave Maria'' (4vv);
# {{lang|la|Missa ''Ave Maria''|italic=unset}} (4vv);
# ''Missa Ave sanctissima Maria'' (6vv);
# {{lang|la|Missa ''Ave sanctissima Maria''|italic=unset}} (6vv);
# ''Missa Conceptio tua'' (5vv);
# {{lang|la|Missa ''Conceptio tua''|italic=unset}} (5vv);
# ''Missa Cum iucunditate'' (or ''iocunditate'') (4 and 5vv);
# {{lang|la|Missa ''Cum iucunditate''|italic=unset}} (or ''iocunditate'') (4 and 5vv);
# ''Missa de Beata Virgine'' (4vv);
# {{lang|la|Missa ''de Beata Virgine''|italic=unset}} (4vv);
# ''Missa de Feria'' (5vv);
# {{lang|la|Missa ''de Feria''|italic=unset}} (5vv);
# ''Missa de Sancta Anna'' (4vv);
# {{lang|la|Missa ''de Sancta Anna''|italic=unset}} (4vv);
# ''Missa de santa cruce'' (5vv);
# {{lang|la|Missa ''de Santa Cruce''|italic=unset}} (5vv);
# ''Missa de Sancto Antonio'' (4vv);
# {{lang|la|Missa ''de Sancto Antonio''|italic=unset}} (4vv);
# ''Missa de Sancto Job'' (4vv);
# {{lang|la|Missa ''de Sancto Job''|italic=unset}} (4vv);
# ''Missa de Septem Doloribus'' (5vv);
# {{lang|la|Missa ''de Septem Doloribus''|italic=unset}} (5vv);
# ''Missa de Virginibus'' (4vv);
# {{lang|la|Missa ''de Virginibus''|italic=unset}} (4vv);
# ''Missa Incessament'' (5vv), also known as ''Missa Sic deus & Non salvatur rex'', La Rue's longest mass cycle;<ref name="medieval">{{cite web |url=http://www.medieval.org/emfaq/composers/larue.html |title=Pierre de la Rue (c.1460-1518) - A discography |accessdate=2010-07-01 |publisher=medieval.org}}</ref>
# {{lang|la|Missa ''Incessament''|italic=unset}} (5vv), also known as {{lang|la|Missa ''Sic deus & Non salvatur rex''|italic=unset}}, La Rue's longest mass cycle;<ref name="medieval">{{cite web |url=http://www.medieval.org/emfaq/composers/larue.html |title=Pierre de la Rue (c.1460–1518) – A discography |access-date=1 July 2010 |publisher=medieval.org}}</ref>
# ''Missa Inviolata'' (4vv);
# {{lang|la|Missa ''Inviolata''|italic=unset}} (4vv);
# ''Missa Iste est Speciosa'' (5vv);
# {{lang|la|Missa ''Iste est Speciosa''|italic=unset}} (5vv);
# ''Missa Jesum Liate'' (4vv);
# {{lang|la|Missa ''Jesum Liate''|italic=unset}} (4vv);
# ''Missa L'homme armé I'' (4vv);
# {{lang|la|Missa ''L'homme armé I''|italic=unset}} (4vv);
# ''Missa Nunqua fué pena major'';
# {{lang|la|Missa ''Nunqua fué pena major''|italic=unset}};
# ''Missa O gloriosa Margaretha'' (4vv);
# {{lang|la|Missa ''O gloriosa Margaretha''|italic=unset}} (4vv);
# ''Missa O Salutaris Hostia'' (4vv);
# {{lang|la|Missa ''O salutaris hostia''|italic=unset}} (4vv);
# ''Missa Pascale'' (5vv);
# {{lang|la|Missa ''Pascale''|italic=unset}} (5vv);
# ''Missa Pro fidelibus defunctis'' (4-5vv);
# {{lang|la|Missa ''Pro fidelibus defunctis''|italic=unset}} (4-5vv);
# ''Missa Puer natus est'' (4vv);
# {{lang|la|Missa ''Puer natus est''|italic=unset}} (4vv);
# ''Missa Sancta Dei Genetrix'' (4vv);
# {{lang|la|Missa ''Sancta Dei Genitrix''|italic=unset}} (4vv);
# ''Missa Sine Nomine I'' (4vv);
# {{lang|la|Missa ''Sine Nomine I''|italic=unset}} (4vv);
# ''Missa Sub tuum praesidium'' (4vv);
# {{lang|la|Missa ''Sub Tuum praesidium''|italic=unset}} (4vv);
# ''Missa Tandernaken'' (4vv);
# {{lang|la|Missa ''Tandernaken''|italic=unset}} (4vv);
# ''Missa Tous les regretz'' (4vv).
# {{lang|la|Missa ''Tous les regretz''|italic=unset}} (4vv).


===Masses with uncertain attribution===
;Masses with uncertain attribution
# ''Missa Iste Confessor'';
# {{lang|la|Missa ''Iste Confessor''|italic=unset}};
# ''Missa L'homme armé II'' (4vv);
# {{lang|la|Missa ''L'homme armé II''|italic=unset}} (4vv);
# ''Missa Sine nomine II'' (4vv).
# {{lang|la|Missa ''sine nomine II''|italic=unset}} (4vv).


===Mass fragments===
;Mass fragments
# ''Kyrie in festo Paschale'';
# ''Kyrie in festo Paschale'';
# ''Kyrie Paschale'';
# ''Kyrie Paschale'';
Line 93: Line 97:
# ''Credo l'amour de moy'';
# ''Credo l'amour de moy'';
# ''Credo'';
# ''Credo'';
# ''Credo.
# ''Credo.''


===Motets===
;Motets
# ''Ave Regina coelorum'';
# ''Ave Regina cœlorum'';
# ''Ave sanctissima Maria'';
# ''Ave sanctissima Maria'';
# ''Considera Israel'';
# ''Considera Israel'';
Line 121: Line 125:
# ''Vexilla Regis-Passio Domini''.
# ''Vexilla Regis-Passio Domini''.


===Motets with uncertain attribution===
;Motets with uncertain attribution
# ''Absalom, fili mi'' (originally attributed to Josquin; gradual scholarly consensus emerging that this may be by La Rue);
# ''Absalom, fili mi'' (originally attributed to Josquin; gradual scholarly consensus emerging that this may be by La Rue);
# ''Domini est terra'';
# ''Domini est terra'';
Line 127: Line 131:
# ''Virga tua''.
# ''Virga tua''.


===Magnificats===
;Magnificats
# 8 [[Magnificat]]s for six voices
# 8 [[Magnificat]]s, of which 7 survive, for four (tones II, IV, V, VII, and VIII), five (tone VI) or six (tone I) voices


===Chansons===
;Chansons
# A vous non autre;
# À vous non-autre;
# Au fen d’amour;
# Au feu d’amour;
# Autant en emporte;
# Autant en emporte;
# Carmen in re;
# Carmen in re;
# Ce n’est pas jeu;
# Ce n’est pas jeu;
# Cent mille regretz;
# Cent mille regretz;
# De l’oeil de le fille;
# De l’œil de le fille;
# Dedans bouton;
# Dedans bouton;
# Dicte moy bergere;
# Dicte moy bergere;
Line 154: Line 158:
# Myn hert altyt heeft verlanghen;
# Myn hert altyt heeft verlanghen;
# Plorés, genicés, criés -Requiem;
# Plorés, genicés, criés -Requiem;
# Pour ceque je sius;
# Pour ceque je suis;
# Pour ung jamais;
# Pourquoy non;
# Pourquoy non;
# Pourquoy tant me fault; Pour ung jamais;
# Pourquoy tant me fault;
# Si le changer;
# Si le changer;
# Tant que nostre argent;
# Tant que nostre argent;
Line 163: Line 168:
# Trop plus secret.
# Trop plus secret.


===Chansons with uncertain attribution===
;Chansons with uncertain attribution
# Adieu comment;
# Adieu comment;
# Dueil et ennuy;
# Dueil et ennuy;
# Je n’ay regretz;
# Je n’ay regretz;
# Sailliés avant.
# Sailliés avant.

==Media==
*[http://bach.nau.edu/DeLaRue/OSalutaris.html O Salutaris Hostia] as interactive hypermedia at the [http://bach.nau.edu/ BinAural Collaborative Hypertext]


==Recordings==
==Recordings==
*''Pierre de La Rue: Portrait musical'', [[Capilla Flamenca]], Dirk Snellings (Musique en Wallonie, 2011, MEW 11059, 3 CDs). Includes four mass settings (''Missa de septem doloribus'', ''Missa Ave Maria'', ''Missa Sub tuum praesidium'' and ''Missa Alleluia''), motets and chansons.

"O Salutaris Hostia", Sacred Music of the Renaissance (Cantillation/Walker) ABC classics, 2003 (Australian Broadcasting Corporation 472 881-2)
*''The Complete Magnificats and Three Salve Reginas of Pierre de la Rue'', VivaVoce, Peter Schubert (Naxos 8.557896-97)
*''The Complete Magnificats and Three Salve Reginas of Pierre de la Rue'', VivaVoce, Peter Schubert (Naxos 8.557896-97)
*''Missa Incessament'', [[ensemble amarcord]], 2005 (Raum Klang "Edition Apollon" 10105
*''Missa Incessament'', [[ensemble amarcord]], 2005 (Raum Klang "Edition Apollon" 10105
*''Missa l'Homme Armé" - "Missa pro defunctis" (Requiem), ''Ensemble Clément Janequin, Harmonia Mundi, 1989/1996, HMT 7901296''
*''Missa l'Homme Armé'' – "Missa pro defunctis" (Requiem), ''Ensemble Clément Janequin, Harmonia Mundi, 1989/1996, HMT 7901296''
*"O Salutaris Hostia", Sacred Music of the Renaissance (Cantillation/Walker) ABC classics, 2003 (Australian Broadcasting Corporation 472 881-2)
* ''Missa Nuncqua fue pena mayor'' & ''Missa Inviolata'', The Brabant Ensemble/Stephen Rice (Hyperion CDA 68150, 2016)

==Notes==
{{reflist}}


==References==
==References==
*[[Gustave Reese]], ''Music in the Renaissance''. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4
* {{cite book |last=Reese |first=Gustave |author-link=Gustave Reese |year=1954 |title=Music in the Renaissance |edition=revised |publisher=[[W. W. Norton & Company]] |location=New York |isbn=978-0-393-09530-2 }}
*{{cite journal
*{{cite journal
| last = Davison
| last = Davison
Line 192: Line 198:
| date = January 1962
| date = January 1962
| jstor = 740214
| jstor = 740214
| doi=10.1093/mq/xlviii.1.19}}<!--| access-date = 17 December 2012-->
| issn =
* {{cite encyclopedia |last=Staehelin |first=Martin |author-link=Martin Staehelin |year=1980 |encyclopedia=The New Grove Dictionary of Music and Musicians |title=Pierre de La Rue |publisher=Macmillan Publishers Ltd. |location=Oxford |isbn=1-56159-174-2 }}
| accessdate = 17 December 2012}}
* {{cite encyclopedia |last=Meconi |first=Honey |year=2009 |orig-year=2001 |encyclopedia=[[Grove Music Online]] |title=La Rue [de Platea, de Robore, de Vico], Pierre [Perison, Petrus, Pierchon, Pieter, Pirson] de |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.16044 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000016044 }} {{Grove Music subscription}}
*Martin Staehelin, "Pierre de La Rue," in ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
*{{Cite book | first=Honey | last=Meconi | title=Pierre de la Rue | publisher=Grove Music Online | editor=L. Macy | url=http://www.oxfordmusiconline.com/public/book/omo_gmo | accessdate=29 October 2010 }} {{subscription required}}
* {{cite book |last=Meconi |first=Honey |year=2003 |title=Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court |publisher=[[Oxford University Press]] |location=Oxford |isbn=0-19-816554-4 }}
* {{cite book |last=Weaver |first=Andrew H. |editor-last=Meconi |editor-first=Honey |year=2004 |title=Early Musical Borrowing |chapter=Aspects of Musical Borrowing in the Polyphonic ''Missa de Feria'' of the Fifteenth and Sixteenth Centuries |publisher=Routledge |location=New York and London |isbn=0-8153-3521-0 }}
*Honey Meconi, ''Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court''. Oxford, Oxford University Press. 2003. ISBN 0-19-816554-4
*Andrew H. Weaver, "Aspects of Musical Borrowing in the Polyphonic ''Missa de Feria'' of the Fifteenth and Sixteenth Centuries." Honey Meconi, ed., ''Early Musical Borrowing.'' New York and London, Routledge. 2004. ISBN 0-8153-3521-0
*Nigel St. J. Davison, J. Evan Kreider and T. Herman Keahey: 1989-1998. ''Pierre de la Rue - Opera Omnia; [[Corpus Mensurabilis Musicae]] 97'', Nine Volumes, American Musicological Society, Hanssler-Verlag:
::Vol 1: AMS, Hanssler-Verlag, 1989: 37751 14807, 197pp
::1 Missa Alleluia
::2 Missa Almana
::3 Missa Assumpta Est Maria
::4 Missa Ave Maria
::5 Missa Ave Sanctissima Maria


==Further reading==
::Vol 2: AMS, Hanssler-Verlag, 1992,: 37751 17962, 217pp
* Nigel St. J. Davison, J. Evan Kreider and T. Herman Keahey: 1989–1998. ''Pierre de la Rue – Opera Omnia; [[Corpus Mensurabilis Musicae]] 97'', Nine Volumes, American Musicological Society, Hanssler-Verlag.
::6 Missa Concepto Tua
::7 Missa cum Jucunditate
::8 Missa de Beata Virgine
::9 Missa de Feria
::10 Missa de Sancta Anna

::Vol 3: AMS, Hanssler-Verlag, 1992: 37751 18055, 236pp
::11 Missa de Sancta Cruce
::12 Missa de Sancto Antonio
::13 Missa de Sancto Job
::14 Missa de Septem Doloribus
::15 Missa de Virginibus

::Vol 4: AMS, Hanssler-Verlag, 1996: 37751 24012, 152pp
::16 Missa Incessament
::17 Missa Inviolata
::18 Missa Ista Est Speciosa
::19 Missa L'homme Arme I
::20 Missa Nunca Fue Pena Mayor

::Vol 5: AMS, Hanssler-Verlag, 1996: 37751 24020, 152pp
::21 Missa O Gloriosa Marharetha
::22 Missa O Salutaris Hostia
::23 Missa Pascale
::24 Missa Pro Fidelibus Defunctis
::25 Missa Puer Natus Est Nobis

::Vol 6: AMS, Hanssler-Verlag, 1996: 37751 21382, 134pp
::26 Missa Sancta Dei Genitrix
::27 Missa Sine Nomine I
::28 Missa Sub Tuum Praesidium
::29 Missa T'ander Naken
::30 Missa Tous Les Regrets

::Vol 7 AMS, Hanssler-Verlag, 1998: 37751 3008X, 183pp
::Mass Dubia
::D1 Missa de Septem Doloribus
::D2 Missa Iste Confessor
::D3 Missa L'homme Arme II
::D4 Missa Sine Nomine II
::D5 Missa Fortuna Desperata

::Vol 8: AMS, Hanssler-Verlag, 1998: 37751 18063, 145pp
::Magnificats
::Magnificat Tone I (Kirsch 855)
::Magnificat Tone II (Kirsch 856)
::Magnificat Tone IV (Kirsch 857)
::Magnificat Tone V (Kirsch 858)
::Magnificat Tone VI (Kirsch 859)
::Magnificat Tone VII (Kirsch 860)
::Magnificat Tone VIII (Kirsch 861)
::Magnificat Tone IV (Kirsch 719)
::Lamentationes

::Vol 9: AMS, Hanssler-Verlag, 1996: 37751 18071, 234pp
::Motets

==Notes==
{{reflist}}


==External links==
==External links==
{{Commons category}}
*{{IMSLP|La Rue, Pierre de|Pierre de La Rue}}
* {{DIAMM|pid=142|pname=Pierre de la Rue}}
*{{ChoralWiki}}
* {{IMSLP|La Rue, Pierre de|Pierre de La Rue}}
*''O salutaris Hostia'', motet: [http://www.acc.umu.se/~akadkor/early/IVA_Rue_Pierre%20de%20la.html live recording (mp3)] from Umeå Akademiska Kör, and [http://classicaland.com/fma.asp sheet music] transcription by Alessandro Simonetto
* {{ChoralWiki}}

* [https://pierredelaruescores787ad8.webflow.io Performing editions by W. Kempster]
<!-- English style, see Wikipedia:Categorization of people -->


{{Franco-Flemish School}}
{{Franco-Flemish School}}
{{Renaissance music}}
{{Use dmy dates|date=October 2010}}
{{Portal bar|Classical music|Biography|Music}}
{{Authority control}}


{{Authority control|VIAF=24787684|GND=122783166}}

{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
| NAME = La Rue, Pierre de
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = musician (composer)
| DATE OF BIRTH = c. 1452
| PLACE OF BIRTH =
| DATE OF DEATH = 20 November 1518
| PLACE OF DEATH =
}}
{{DEFAULTSORT:La Rue, Pierre de}}
{{DEFAULTSORT:La Rue, Pierre de}}
[[Category:1450s births]]
[[Category:1450s births]]
[[Category:1518 deaths]]
[[Category:1518 deaths]]
[[Category:15th-century Franco-Flemish composers]]
[[Category:Musicians from Tournai]]
[[Category:Renaissance composers]]
[[Category:Renaissance composers]]
[[Category:Franco-Flemish composers]]
[[Category:16th-century Franco-Flemish composers]]

[[Category:Year of birth uncertain]]

Latest revision as of 15:14, 4 December 2024

Imaginary 19th-century depiction of la Rue

Pierre de la Rue (c. 1452 – 20 November 1518) was a Franco-Flemish composer and singer of the Renaissance. His name also appears as Piersson or variants of Pierchon and his toponymic, when present, as various forms of de Platea, de Robore, or de Vico.[1] A member of the same generation as Josquin des Prez, and a long associate of the Habsburg-Burgundian musical chapel, he ranks with Agricola, Brumel, Compère, Isaac, Obrecht, and Weerbeke as one of the most famous and influential composers in the Netherlands polyphonic style in the decades around 1500.

Biography

[edit]

Early life

[edit]

La Rue was probably born at Tournai, in modern Belgium, and likely educated at the Notre-Dame Cathedral there, which had a substantial musical establishment. He may have been the son of Jean de la Rue, a master enlumineur of the town of Tournai.[2]

While no records remain of his childhood, a Peter vander Straten (the Flemish equivalent of his name) is mentioned in the archives of the cathedral of Ste. Gudule in Brussels in 1469–1470, as an adult (tenor) singer; this is considered very likely to have been him.[3] In 1471 he was in Ghent at the Jacobskerk as a part-time singer, paid from the cathedral's miscellaneous fund, suggesting he was brought in for special performances of polyphony. Subsequently, he was employed in Nieuwpoort in 1472, at the church of Onze-Lieve-Vrouw, probably initially as a temporary arrangement, but by the end of the year the church authorities hired him on a more permanent basis. He was no longer employed there by 1477/8 for his name had vanished from the account-book.

His whereabouts during the 1480s are not very well known, although there is a record that he worked at a place called "St Ode" (date and city not known), and also possibly at the cathedral at Cambrai. Previous biographies of La Rue place him in Siena, Italy, between 1483 and 1485; however, it has been determined that the "La Rue" in the records there was a different singer. Pierre de la Rue probably never went to Italy, making him one of the few prominent Franco-Flemish composers of this generation never to travel there.[1]

In 1489 he was paid by the Confraternity of the Illustre Lieve Vrouwe in 's-Hertogenbosch, again as "Peter vander Straten", and the document indicates that he had come from Cologne, so he evidently had spent some time in Germany as a tenor singer. He remained at the Confraternity in 's-Hertogenbosch until 1492, at which time he simultaneously became a full member of the Confraternity, and joined the Grande chapelle of Holy Roman Emperor Maxmilian. He was to remain in the employ of the Habsburgs, and the Grande chapelle, for the rest of his life.[1][4]

The Grande chapelle

[edit]

The Grande chapelle, the musical establishment of the Burgundian-Habsburg court, already had a distinguished history by the time Philip the Handsome inherited it in 1494. This was the central institution of the Burgundian School, the venue in which composers such as Dufay and Busnois had worked and already left a body of music; music by Ockeghem had also recently been copied into manuscripts associated with the group immediately before La Rue's hire. In addition, music by the composers favored by the previous dukes of Burgundy such as Charles the Bold – Adrien Basin, Gilles Joye, Hayne van Ghizeghem, and Robert Morton – was also probably still being performed and studied. It was a formidable musical organization, equalling in quality the papal chapel in Rome itself, and its quality continued to improve into the 16th century, with the addition of composers such as Marbrianus de Orto, Nicolas Champion, Gilles Reingot, Antonius Divitis, and Alexander Agricola.[5] This was the musical environment into which La Rue entered his full maturity as a composer.[6]

Once La Rue was engaged with the Grande chapelle, he made two trips to Spain. On the second trip, in 1506, he was shipwrecked in the English Channel, and spent three months at the court of Henry VII of England. After two more years in Spain, in the service of Juana of Castile – Joanna the Mad – he returned to the Netherlands in 1508, probably because Juana had been forced out of power (her husband, Philip, had died of typhus in 1506). Juana was inconsolable, unable to leave the corpse of her dead husband, and had become quite insane; why La Rue stayed as long as he did is not known, but it is not impossible that his dark, intensely expressive music was one of the few things that brought her solace. In addition, he was treated well. Juana promoted him to premier chapelain, the head of the chapel, and paid him twice what the other singers received; paying the singers was apparently one of the only practical administrative matters she was able to do during the period of her madness.[7]

On his travels with the Grande chapelle he met many of the other Franco-Flemish composers who were working at the same time (for instance, Josquin, Isaac and Robert de Févin) and these meetings may also have proved decisive in the development of his style.[8]

Retirement and death

[edit]

Between 1508 and 1514, the court stayed at Mechelen and Brussels, rarely traveling. These are hypothesized to be the most productive years for La Rue as a composer, since he would have had the most free time, and spared the rigors of travel across Europe.[9] Shortly after Charles V came of age in 1515, the court resumed its travels; La Rue retired shortly after a huge tour of all the cities in the northern portions of Charles' empire. Likely he left his job during one of the chapel's visits to Kortrijk, in May or June 1516. He remained there until his death a little more than two years later. While his epitaph alludes to the possibility that he may have worked at the courts in France and Hungary at some time, no other corroborating evidence has been found; however there remain biographical gaps in the 1470s and 1480s: for example, the location of "St Ode" is not yet known.

La Rue was relatively wealthy when he died, especially for a singer who was not an aristocrat, and details of his will and the subsequent events surrounding its disposition survive in detail. Not only did his executors find chests of money in his lodgings, but he had considerable income from his prebends, which he distributed to many places, including relatives, charities, choirs, institutions; and he arranged for requiem masses to be sung every day for the month after his death, and a further 300 masses to be sung afterwards, in several different cathedrals. He asked to be buried on the left side of the altar in the church in Kortrijk, although the exact location can no longer be found, and the epitaph only survives in several partially contradictory copies. His epitaph indicates he was a thrifty, virtuous person, not "given to the crimes of Venus" (as, for example, composer Nicolas Gombert, who was sent to the galleys for molesting a choirboy, Ghiselin Danckerts, who was fired from the Sistine Chapel choir for being excessively "given to women", or Gilles Joye, who wrote a mass based on the name of his favorite prostitute). La Rue seems to have been appreciated and well liked by his colleagues throughout his career.[10]

Music

[edit]

General character

[edit]

La Rue wrote masses, motets, Magnificats, settings of the Lamentations, and chansons, a diverse range of compositions reflective of his status as the primary composer at one of Europe's most renowned musical institutions, surrounded by other similarly creative people. Some scholars have suggested that he composed music only during the last 20 years of his life, mainly when he was in the imperial service; but it has proven difficult to date any of his works precisely, although it has been possible to suggest groupings based on a rough chronology.[11] Stylistically, his works are more similar to those of Josquin than to those of any other composer working at the same time. In fact, misattribution of doubtful works has gone both ways.

Yet there are some unique features of La Rue's style. He had a liking for extreme low voice ranges, descending sometimes to C or even the subterranean B flat below the bass staff; he employed more chromaticism than most of his contemporaries; and much of his work is rich in dissonance. He also broke up long, dense textures by inserting contrasting passages for two voices only, something done also by Ockeghem and Josquin. He was one of the first routinely to expand vocal forces from the standard four, to five or six. One of his masses for six voices, the Missa Ave sanctissima Maria, is a six-voice canon, a technically difficult feat reminiscent of some of the work of Ockeghem. This is also the earliest six-voice mass known to exist.

Canonic writing is a particularly important feature of La Rue's style, for which he has been particularly celebrated. He liked to write canons of considerable complexity, rather than restrict himself to simple imitation. The second of his two masses based on the L'homme armé tune begins and ends with mensuration canons, canons in which all the voices sing the same material, but at different tempi; this is yet another feat of contrapuntal virtuosity worthy of Josquin or Ockeghem; indeed La Rue sometimes seemed to be in conscious competition with the more renowned Josquin. The closing Agnus Dei of this mass is the only known mensuration canon of the entire era for four voices, with all four voices singing the same tune.[1][12] La Rue wrote six pieces that are completely canonic from start to finish, including two masses, three motets and a chanson; he wrote three more masses, two motets, and three chansons which are based on canon but contain some free sections; numerous other works include canonic sections.[13] In his use of canons, he may have been influenced by Matthaeus Pipelare, who wrote an early canonic mass La Rue almost certainly knew, since it was part of the repertory of the Habsburg court chapel.[14]

Masses

[edit]

La Rue was one of the first to use the parody technique thoroughly, permeating the texture of a mass with music drawn from all voices of a pre-existing source. Some of his masses use cantus firmus technique, but rarely strictly; he often preferred the paraphrase technique, in which the monophonic source material is embellished and migrates between voices.[12]

La Rue wrote one of the earliest polyphonic Requiem Masses to survive, and it is one of his most famous works. Unlike later Requiems, it includes polyphonic settings of only the Introit, Kyrie, Tract, Offertory, Sanctus, Agnus, and Communion – the Dies Iræ, often the center of gravity in more recent Requiems, was a later addition. This was the normal liturgical practice in Gallican France and the region of northern Europe in which he worked. This mass, more than many others, emphasises the low registers of voices, and even the lowest voices themselves.

Motets and chansons

[edit]

Twenty-five motets by La Rue survive, being mostly for four voices. While they use imitation, the technique is more likely to occur within sections and phrases rather than at their openings, unlike in the style of Josquin.[15] Another stylistic feature characteristic of La Rue's motets is the use of ostinatos, which may be a single note, an interval, or a series of notes. In addition he uses germinal motifs – small easily recognizable patterns from which larger melodic units are derived, and which give unity to a composition.[15] Overall the motets are complex contrapuntally, with the individual lines having a distinctive character, in the manner of Ockeghem. This is most true in the early works which were likely influenced by the older composer.[16]

More than half of the motets are on the subject of the Virgin Mary. La Rue was the first composer to write a Magnificat on each of the eight tones, and additionally wrote six separate settings of the Marian antiphon Salve regina.[1] Most likely these are early works.[17]

Chansons

[edit]

His thirty chansons show a diversity of style, some being akin to the late Burgundian style (for example, as seen in the works of Hayne van Ghizeghem or Gilles Binchois), and of others using a more current imitative polyphonic style. Since La Rue never spent time in Italy, he did not employ the Italian frottola style which featured light, homophonic textures (which Josquin used so effectively in his popular El Grillo and Scaramella), and which so charmed the other members of his generation.

Works

[edit]
Masses
  1. Missa Alleluia (5vv);
  2. Missa Almana (4vv);
  3. Missa Assumpta est Maria (4vv);
  4. Missa Ave Maria (4vv);
  5. Missa Ave sanctissima Maria (6vv);
  6. Missa Conceptio tua (5vv);
  7. Missa Cum iucunditate (or iocunditate) (4 and 5vv);
  8. Missa de Beata Virgine (4vv);
  9. Missa de Feria (5vv);
  10. Missa de Sancta Anna (4vv);
  11. Missa de Santa Cruce (5vv);
  12. Missa de Sancto Antonio (4vv);
  13. Missa de Sancto Job (4vv);
  14. Missa de Septem Doloribus (5vv);
  15. Missa de Virginibus (4vv);
  16. Missa Incessament (5vv), also known as Missa Sic deus & Non salvatur rex, La Rue's longest mass cycle;[18]
  17. Missa Inviolata (4vv);
  18. Missa Iste est Speciosa (5vv);
  19. Missa Jesum Liate (4vv);
  20. Missa L'homme armé I (4vv);
  21. Missa Nunqua fué pena major;
  22. Missa O gloriosa Margaretha (4vv);
  23. Missa O salutaris hostia (4vv);
  24. Missa Pascale (5vv);
  25. Missa Pro fidelibus defunctis (4-5vv);
  26. Missa Puer natus est (4vv);
  27. Missa Sancta Dei Genitrix (4vv);
  28. Missa Sine Nomine I (4vv);
  29. Missa Sub Tuum praesidium (4vv);
  30. Missa Tandernaken (4vv);
  31. Missa Tous les regretz (4vv).
Masses with uncertain attribution
  1. Missa Iste Confessor;
  2. Missa L'homme armé II (4vv);
  3. Missa sine nomine II (4vv).
Mass fragments
  1. Kyrie in festo Paschale;
  2. Kyrie Paschale;
  3. Credo Angeli Archangeli;
  4. Credo de villagiis;
  5. Credo l'amour de moy;
  6. Credo;
  7. Credo.
Motets
  1. Ave Regina cœlorum;
  2. Ave sanctissima Maria;
  3. Considera Israel;
  4. Da pacem, Domine;
  5. Delicta juventutis;
  6. Gaude virgo mater;
  7. Lauda anima mea Dominum;
  8. Laudate Dominum omnes gentes;
  9. O Domine Jesu Christi;
  10. O salutaris hostia;
  11. Pater de caelis Deus;
  12. Quis dabit pacem;
  13. Regina coeli;
  14. Salve mater salvatoris;
  15. Salve regina I;
  16. Salve regina II;
  17. Salve regina III;
  18. Salve regina IV;
  19. Salve regina V;
  20. Salve regina VI;
  21. Santa Maria virgo;
  22. Si dormiero;
  23. Te decet laus;
  24. Vexilla Regis-Passio Domini.
Motets with uncertain attribution
  1. Absalom, fili mi (originally attributed to Josquin; gradual scholarly consensus emerging that this may be by La Rue);
  2. Domini est terra;
  3. Lamentationes Hieremiae (von Mahu);
  4. Virga tua.
Magnificats
  1. 8 Magnificats, of which 7 survive, for four (tones II, IV, V, VII, and VIII), five (tone VI) or six (tone I) voices
Chansons
  1. À vous non-autre;
  2. Au feu d’amour;
  3. Autant en emporte;
  4. Carmen in re;
  5. Ce n’est pas jeu;
  6. Cent mille regretz;
  7. De l’œil de le fille;
  8. Dedans bouton;
  9. Dicte moy bergere;
  10. D’ung altre aymer;
  11. D’ung desplaisier;
  12. En espoir vis;
  13. En l’amour d’un dame;
  14. Forseulement;
  15. Forseulement;
  16. Iam sauche;
  17. Il fault morir;
  18. Il viendra le jour;
  19. Incessament mon povre cueur;
  20. Las que plains tu;
  21. Ma bouche rit;
  22. Myn hert altyt heeft verlanghen;
  23. Plorés, genicés, criés -Requiem;
  24. Pour ceque je suis;
  25. Pour ung jamais;
  26. Pourquoy non;
  27. Pourquoy tant me fault;
  28. Si le changer;
  29. Tant que nostre argent;
  30. Tous les regretz;
  31. Tous nobles cueurs;
  32. Trop plus secret.
Chansons with uncertain attribution
  1. Adieu comment;
  2. Dueil et ennuy;
  3. Je n’ay regretz;
  4. Sailliés avant.

Recordings

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  • Pierre de La Rue: Portrait musical, Capilla Flamenca, Dirk Snellings (Musique en Wallonie, 2011, MEW 11059, 3 CDs). Includes four mass settings (Missa de septem doloribus, Missa Ave Maria, Missa Sub tuum praesidium and Missa Alleluia), motets and chansons.
  • The Complete Magnificats and Three Salve Reginas of Pierre de la Rue, VivaVoce, Peter Schubert (Naxos 8.557896-97)
  • Missa Incessament, ensemble amarcord, 2005 (Raum Klang "Edition Apollon" 10105
  • Missa l'Homme Armé – "Missa pro defunctis" (Requiem), Ensemble Clément Janequin, Harmonia Mundi, 1989/1996, HMT 7901296
  • "O Salutaris Hostia", Sacred Music of the Renaissance (Cantillation/Walker) ABC classics, 2003 (Australian Broadcasting Corporation 472 881-2)
  • Missa Nuncqua fue pena mayor & Missa Inviolata, The Brabant Ensemble/Stephen Rice (Hyperion CDA 68150, 2016)

Notes

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  1. ^ a b c d e Meconi 2009.
  2. ^ Meconi 2003, p. 8.
  3. ^ Meconi 2003, p. 5.
  4. ^ Meconi 2003, pp. 10–13.
  5. ^ Meconi 2003, pp. 29–37.
  6. ^ Meconi 2003, pp. 53–54, 78–79.
  7. ^ Meconi 2003, p. 39.
  8. ^ Staehelin 1980.
  9. ^ Meconi 2003, p. 107.
  10. ^ Meconi 2003, p. 45–52.
  11. ^ Meconi 2003, p. 98.
  12. ^ a b Meconi 2003, pp. 93–96.
  13. ^ Weaver 2004, p. 135.
  14. ^ Weaver 2004, pp. 136–137.
  15. ^ a b Davison 1962, p. 25.
  16. ^ Davison 1962, pp. 22–23, 25.
  17. ^ Davison 1962, p. 32.
  18. ^ "Pierre de la Rue (c.1460–1518) – A discography". medieval.org. Retrieved 1 July 2010.

References

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Further reading

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  • Nigel St. J. Davison, J. Evan Kreider and T. Herman Keahey: 1989–1998. Pierre de la Rue – Opera Omnia; Corpus Mensurabilis Musicae 97, Nine Volumes, American Musicological Society, Hanssler-Verlag.
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