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159:, unlike most of those by other composers of the same time, also use pervading imitation, although as is normal in a lighter form of music, they make considerable use of repetition (for example of the final phrase). Because they were imitative, it was Crecquillon's
107:. Crecquillon was retired by 1555, and most likely he died in 1557, probably a victim of the serious outbreak of the plague in BĂ©thune that year. The location of his burial remains a mystery, and no likeness of Crecquillon is known to exist.
192:(of Antwerp) published more music by him than by any other composer, which shows the extent of his reputation at the time, though his music is not as often recorded today as is that of many of the Netherlanders working at the same time.
195:
His name is pronounced "toh-MAH krehk-kee-YON." Some historical sources spell the composer's last name with an acute accent mark above its "e", then the composer's last name is actually pronounced "krayk-kee-YON."
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complexity. Unlike
Josquin, however, Crecquillon rarely varies his texture for dramatic effect, preferring smoothness and consistency.
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or merely a singer is still a matter of dispute; the surviving documents are contradictory. Later he seems to have held positions at
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55:. While his place of birth is unknown, it was probably within the region loosely known at the time as the
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144:, in almost all of his sacred works (the masses and motets), following the contemporary trend toward
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Very little is known about his early life. He was a priest and a member of the chapel of
Emperor
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293:, by Martin A. O. Ham (1998), published by the University of Surrey (a doctoral thesis).
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Beyond
Contemporary Fame. Reassessing the Art of Clemens non Papa and Thomas Crecquillon
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which provided some of the best models for the later development of the instrumental
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Thomas
Crecquillon in Context: A Reappraisal of his Life and of Selected Works
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Crecquillon's music was highly regarded by his contemporaries, and shows a
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265:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. (
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140:. Stylistically he uses points of imitation, rather in the manner of
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229:) were published in twenty volumes, between 1974 and 2011, by the
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169:, the instrumental form which developed directly from the
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99:, he seems never to have left his home region for
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29:, showing music by Thomas Crecquillon from 1569.
263:The New Grove Dictionary of Music and Musicians
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250:. New York, W.W. Norton & Co., 1954. (
118:smoothness which prefigures the culminating
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177:were arranged for instruments, especially
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220:International Music Score Library Project
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95:. Unlike many of the composers of the
614:16th-century Franco-Flemish composers
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216:Free scores by Thomas Crecquillon
206:Free scores by Thomas Crecquillon
609:Belgian male classical composers
231:American Institute of Musicology
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47:– probably early 1557) was a
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210:Choral Public Domain Library
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604:Belgian classical composers
280:. Turnhout: Brepols, 2005.
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186:Petrus Phalesius the Elder
59:, and he probably died at
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367:
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248:Music in the Renaissance
261:"Thomas Crecquillon."
497:Jacob Clemens non Papa
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619:Renaissance composers
512:Pierre de Manchicourt
328:Franco-Flemish School
97:Franco-Flemish school
75:, but whether he was
49:Franco-Flemish school
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146:pervading imitation
548:Giovanni de Macque
502:Thomas Crecquillon
461:Matthaeus Pipelare
415:Johannes Tinctoris
400:Marbrianus de Orto
375:Alexander Agricola
126:. He wrote twelve
103:or other parts of
77:maître de chapelle
34:Thomas Crecquillon
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22:Concert in the Egg
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553:Philippe de Monte
395:Johannes Ockeghem
390:Guillaume Faugues
25:, by follower of
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538:Orlando di Lasso
517:Cipriano de Rore
492:Jacques Arcadelt
476:Pierre de la Rue
466:Josquin des Prez
441:Antoine de FĂ©vin
436:Antonius Divitis
405:Johannes Prioris
359:Johannes Pullois
344:Guillaume Du Fay
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188:(of Leuven) and
142:Josquin des Prez
130:, more than 100
51:composer of the
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522:Adrian Willaert
507:Nicolas Gombert
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354:Antoine Busnois
349:Gilles Binchois
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276:Jas, Eric, ed.
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238:Further reading
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594:1500s births
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155:His secular
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599:1557 deaths
451:Jean Mouton
227:Opera Omnia
81:Dendermonde
53:Renaissance
45: 1505
588:Categories
150:polyphonic
124:Palestrina
120:polyphonic
38:Créquillon
122:style of
73:Charles V
67:Biography
175:chansons
161:chansons
157:chansons
137:chansons
112:harmonic
222:(IMSLP)
218:at the
208:in the
171:chanson
166:canzona
116:melodic
85:BĂ©thune
61:BĂ©thune
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269:
254:
200:Scores
132:motets
128:masses
105:Europe
91:, and
89:Leuven
101:Italy
93:Namur
282:ISBN
267:ISBN
252:ISBN
179:lute
148:and
114:and
36:or
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246:,
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42:c.
320:e
313:t
306:v
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40:(
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