OCKEGHEM, JOHANNES. - Polyphonist, b. in Flanders c. 1430, d. at Tours c. 1495. In 1443-44 he was a chorister in the cathedral of Antwerp; in 1446-48 he entered the service of Duke Charles of Bourbon at Moulins as a singer in that chapel; from 1454 for more than 40 years he served, first as composer and first chaplain, then as master of the chapel, Charles VII, Louis XI, and Charles VIII; from 1459 until his death he was treasurer of the abbey of St. Martin at Tours. He made long journeys to Spain (1474) and Flanders (1484).
He is considered the founder of the second Flemish school of polyphony (Franco-Flemish school) of the 15th century. Of his vast artistic output the most important part was sacred music, which he, besides composing 20 chansons, illustrated admirably with masses and motets. Following Riemann, much has been said of the principle of imitation as a fundamental element in O.’s music; the imitative technique, in truth, was practiced on a large scale throughout the entire Flemish period from its very beginning, and finds in O. a staunch follower in that he does not like to cut off all the voices at the same time; as if fearing silence, he gives a character of melody and tender flow to his compositions.
Among the Masses constructed on a liturgical cantus firmus, the Ecce Ancilla Domini (based on the antiphon Missus est Angelus Gabriel) stands first, while among the many others elaborated on secular themes those entitled (from the homonymous chansons on which they are built) De plus en plus, Fors seulement, L'Homme armé, etc., are preeminent. Among the motets most famous for artistic beauty and religious inspiration, special note must be made of the two antiphons Alma Redemptoris Mater and Salve Regina, along with the motet, also Marian, Intemerata Dei Mater.
On his death his pupils and others (J. Desprez, G. Cretin, etc.) composed laments and epitaphs, all extolling the peculiar virtues of his exquisite art.