His uniquely contrapuntal and complex motet "Nuper rosarum flores" demonstrates the influential exchange of musical ideas among artists around the world during the early Renaissance period. The Dufay motet Rite maiorem. Though it appears to be a five-voice composition, the contra part is a condensation of the tenor and solus tenor, and the piece can be performed as a four-voice composition by omitting the contra, or as a three-voice work by substituting the contra part for the two tenors. Most of his songs are for three voices, using a texture dominated by the highest voice; the other two voices, unsupplied with text, were probably played by instruments. As his career progressed and his fame grew, Dufay increasingly took up the four-voice vocal texture which was to be characteristic of the early Renaissance as a whole. Hear a performance of Du Fay's celebrated ballade, Pryer A, 'Dufay' in New Oxford Companion to Music, ed. I have put all compositions by Dufay with fusae in this, my last group. The defining dates of the various groups are by no means mutually exclusive, but overlap. © 1995-2020 Classical NetUse of text, images, or any other copyrightable material contained in these pages, without the written permission of the copyright holder,except as specified in the Copyright Notice, is strictly prohibited. Since the manuscripts BL and Ox preserve pieces by Ciconia, Loqueville, and Dufay, the... A closer look at the contents of the fifth and sixth fascicles of Ox, used by Besseler to illustrate the prevalence of major prolation before 1430, reveals something else of significance: of the 47 pieces in major prolation, 42 contain semiminims and only 5 do not; but not 1 of the 12 pieces in minor prolation has semiminims. "Du Fay, Guillaume", Grove Music Online. 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. [3] His 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 1409–12. 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. | Y While in Savoy he served more-or-less officially as choirmaster for Louis, Duke of Savoy, but he was more likely in a ceremonial role, since the records of the chapel never mention him. Guillaume Du Fay (/ dj uː ˈ f aɪ / dew-FY, French: ; also Dufay, Du Fayt; 5 August, c. 1397 – 27 November 1474) was a Franco-Flemish composer of the early Renaissance.A central figure in the Burgundian School, he was regarded by his contemporaries as one of the leading composers in Europe in the mid-15th century. Salve flos, a motet in praise of Florence and the maidens of the city, must date from 1435-1436. The following 47 pages are in this category, out of 47 total. Marie moved with her son to Cambrai early in his life, staying with a relative who was a canon of the cathedral there.

2 vol. He also wrote a handful of Italian ballata, almost certainly while he was in Italy. | Privacy Policy | W

| K 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. He was now the most renowned composer in Europe. in honor of St. James, was written in 1426 or 1427. Category:Guillaume Dufay compositions. I have divided the Dufay works into nine groups, each clearly differentiated from all others by details of mensural usage, and I have suggested dates for each group on the basis of datable works within each, and other evidence. When he returned to Cambrai for his final years, he was appointed canon of the cathedral.

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