Netherlands School (1425-1625 A. D.).
First Period, 1425-1512.
Chief masters: Ockeghem, Hobrecht, Brumel.
Second Period, 1455-1526.
Chief masters: Josquin des Près, Jean Mouton.
Third Period, 1495-1572.
Chief masters: Gombert, Willaert, Goudimel, De Rore, Jannequin, Arkadelt.
Fourth Period, 1520-1625.
Chief masters: Orlando Lasso, Swelinck, De Monte.
Johannes Ockeghem, the most accomplished writer of the first period, was born between 1415 and 1430, probably at Termonde in East Flanders. It is likely that he studied music under Binchois, a contemporary of Dufay. At any rate an Ockeghem was one of the college of singers at the Antwerp cathedral in 1443, when Binchois was choir master. About 1444 the youth entered the service of Charles VII. of France, as a singer. He stood high in the favor of Louis XI., who made him treasurer of the church of St. Martin's at Tours. There Ockeghem passed the remainder of his life, retiring from active service about 1490. He died about 1513.
Octavio dei Petrucci, of Fossombrone, invented movable types for printing music in 1502, and obtained a patent for the exclusive use of the process for fifteen years in 1513. By that time the advance in the mastery of counterpoint had left Ockeghem somewhat out of fashion; and it is, therefore, not remarkable that Petrucci's earliest collections contain nothing by this master. Not till years after his death was any mass or motet of his given to the world. Then only one was printed entire. This was his "Missa cujusvis toni," which was plainly selected because of its science. Extracts from his "Missa Prolationum" were used in theoretical treatises; and, indeed, Ockeghem's music seems generally to have been cherished wholly on account of the technical instruction which might be derived from it. The list of his extant compositions, as given in Scribner's "Cyclopedia of Music," is as follows:
"Missa cujusvis toni," in Liber XV., missarum (Petreius, Louvain, 1538); six motets and a sequence (Petrucci, Venice, 1503); an enigmatic canon in S. Heyden's "Ars Canendi" and in Glarean's "Dodekachordon"; fragments of "Missa prolationum" in Heyden's book and in Bellermann's "Kontrapunkt"; mass "De plus en plus," MS. in Pontifical Chapel, Rome; two masses, "Pour quelque peine" and "Ecce ancilla Domini," in the Brussels Library; motets in MS. in Rome, Florence and Dijon; six masses, an Ave and some motets in Van der Straeten; Kyrie and Christe, from "Missa cujusvis toni" in Rochlitz.
This list is probably correct except the six motets and a sequence set down as published by Petrucci in 1503. Ambros, who is always trustworthy and who mentions all these works and also three songs ("D'ung aultre mer," "Aultre Venus" and "Rondo Royal") and a motet ("Alma redemptoris") in MS. at Florence, did not discover any publications by Petrucci. The enigmatical canon was solved by Kiesewetter, Burney, Hawkins and other historians; but the solution believed to be most nearly correct is that of the profound contrapuntist and excellent historian, Fétis. Glareanus (Dodekachordon, p. 454) speaks also of a motet for thirty-six voices. This was, no doubt, originally written for six or nine voices, the other parts being derived from them by canons. It is not certain, however, that Ockeghem ever wrote such a work. The "Missa cujusvis toni" ("A mass in any tone," or scale, as we should say now) may have been written as an exercise for the master's pupils, as some historians conjecture, but it seems more probable that it was a natural outgrowth of the puzzle-building spirit of the time and of Ockeghem's especial fondness for displays of musical ingenuity. The peculiarity of the mass is that it employs in a remarkable manner all the church modes or scales. It was sung in Munich many years after Ockeghem's death and a corrected copy of it is still preserved in the chapel.
Fétis says: "As a professor, Ockeghem was also very remarkable, for all the most celebrated musicians at the close of the fifteenth and beginning of the sixteenth century were his pupils." In the "Complaint" written after his death by William Grespel, appear the following lines:
"Argicola, Verbonnet, Prioris,
Josquin des Près, Gaspard, Brumel, Compère,
Ne parlez plus de Joyeul chants, ne ris,