OCKEGHEM, JOHANNES. - Polyphonist, b. in Flanders ca. 1430, d. at Tours ca. 1495. In
OCKEGHEM, JOHANNES - J. O. and the singers of his chapel. 16th-century miniature - Paris, Bibliothèque nationale, ms. franç. 1537, f. 58v.(from La revue musicale, 5 [1933], pp. 32-33)
1443-44 he was a chorister in the cathedral of Antwerp; in 1446-48 he entered the service of the 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 of Tours. He made long journeys to Spain (1474) and to Flanders (1484).
He is considered the founder of the second Flemish school of polyphony (the Franco-Flemish school) of the 15th century. Of his vast artistic output the most important part was sacred music, which he, besides having composed 20 chansons, illustrated in admirable fashion with masses and motets. Following in Riemann's footsteps, much has been said of the principle of imitation as a basic element for O.'s music; imitative technique, in truth, was practiced on a vast scale throughout the entire Flemish period from its very rise, and finds in O. a worthy follower by the fact that he does not like to cut off all the voices at the same time; as though he feared silence, he gives a character of "eternally flowing" melody to his compositions.
Among the Masses built on a liturgicalcantus firmus, first place is held by Ecce Ancilla Domini (based on the antiphon Missus est Angelus Gabriel), while among the many others elaborated on a profane theme those entitled (from the homonymous chansons on which they are built) De plus en plus, Fors seulement, L'Homme armé, etc., stand foremost. Among the most famous motets, for artistic beauty and religious inspiration, special note should be made of the two antiphons Alma Redemptoris Mater and Salve Regina, together with the likewise Marian motet Intemerata Dei Mater.
On his death his pupils and others (J. Desprez, G. Cretin, etc.) composed laments and epitaphs, all praising the peculiar virtues of his exquisite art.
Bibliography5 worksM. Brenet, J. de O. maître de la chapelle des rois Charles VII et Louis XI, Paris 1893: 2nd ed., in Musique et musiciens de la vieille Franc
BIBL.: M. Brenet, J. de O. maître de la chapelle des rois Charles VII et Louis XI, Paris 1893: 2nd ed., in Musique et musiciens de la vieille France, ibid. 1911, pp. 21-82; J. De Marcy, Un musicien Romand: J. de O., Termonde 1895; D. Plamenac, Autour d'O., in La revue musicale, 9 (1928), pp. 26-47; A. Schering, Ein Rätselter O. 'L., in Kretschmar-Festschrift, Berlin 1918; M. Cauchie, Les véritables nom et prénoms d'O. M., in Revue de musicologie, 10 (1926, xvii), pp. 9-10.
Cervelli, Luisa. “Ockeghem, johannes.” In Enciclopedia Cattolica, vol. IX, coll. 59–61. Città del Vaticano: Ente per l’Enciclopedia Cattolica e per il Libro Cattolico, 1952. https://azioneromana.com/article/ockeghem-johannes.
MLA
Cervelli, Luisa. “Ockeghem, johannes.” Enciclopedia Cattolica, vol. IX, Ente per l’Enciclopedia Cattolica e per il Libro Cattolico, 1952, coll. 59–61. Azione Romana, https://azioneromana.com/article/ockeghem-johannes.
BibTeX
@incollection{ec9_ockeghem_johannes,
author = {Cervelli, Luisa},
title = {Ockeghem, johannes},
booktitle = {Enciclopedia Cattolica},
volume = {IX},
pages = {59--61},
note = {Cited by column},
publisher = {Ente per l’Enciclopedia Cattolica e per il Libro Cattolico},
address = {Città del Vaticano},
year = {1952},
url = {https://azioneromana.com/article/ockeghem-johannes}
}
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