Page:Pratt - The history of music (1907).djvu/107

 '''47. Third Group of Masters.'''—Immediately following the preceding group or interlocking with it was a third group which belongs partly to the 16th century. On the one hand, the extraordinary skill in the niceties of polyphonic technique continues and is still sometimes pedantically overemphasized. But, on the other, under the lead especially of Josquin des Près, Okeghem's greatest pupil, a new drift set in toward beauty and sentiment as the crown of musical learning. While the final culmination of the Netherlanders' art waited for certain later masters, the group now in view helped to make an important transition from the comparatively archaic styles of the 15th century to the more flowing and emotional ones of the 16th. The line between the two groups is not easy to draw, but as we move forward into the next generation after Okeghem, we begin to feel the peculiar stimulus that the new century certainly gave to all music, so that in the works of these masters we catch the quality of enduring vitality and elevation by which the whole 16th century is characterized. The art of music was beginning to take a place side by side with the arts of design.

It is usual, following a single and rather ambiguous reference, to name several composers as actually pupils of Okeghem. These may well be grouped together as exhibiting a maturer style.

Josquin des Près (d. 1521) was by far the greatest. He was born about 1445, probably at Condé in Hainaut, went to Italy, where he held important posts at several courts and in the Papal Chapel till towards 1500 (the exact dates are disputed), when he went to Paris as choirmaster. His Italian life seems to have associated him with Florence, Ferrara, perhaps Milan and Modena, as well as Rome. He is to-day represented by a larger number of works than any earlier composer, including manifold specimens in all the usual forms. His style still arouses delight, since it is not only full of technical skill, but charged with a delicate appreciation of the sense of the text and of tonal beauty and richness. He exercised a profound influence upon succeeding writers, many of whom were his pupils.

Pierre de La Rue (d. 1518) was born in Picardy, was in the Burgundian Chapel from 1492, was prebendary at Courtrai and Namur, and enjoyed high esteem, as is shown by the unusual care lavished upon the MSS. of his works. He excels most of his contemporaries in profundity and seriousness.

Antoine Brumel was born in French Flanders, was employed by the Duke of Sora at Lyons and from 1505 by the Duke of Ferrara. He was a prolific composer, with less warmth than Josquin and less depth than La Rue, but with as great command of method as either.

Loyset Compère (d. 1518) was also of Flemish birth, perhaps from St. Quentin, where he died as canon. From his remaining works it appears that his genius had a peculiarly romantic and tender quality.