82:, since a surviving letter indicates that his parents lived there, and the earliest records of his career show that he was the singing-master and teacher of the choirboys at the Onze-Lieve-Vrouw-op-de-rade confraternity, part of the Church of St. John in Ghent. He may have been part of a large musical family, since other musicians named d'Hondt, de Hondt, and Canis were active in Ghent,
94:. Canis's exact position in the chapel in the early 1540s has not been determined, but his reputation was good and continued to rise. During this period the musicians of the chapel rarely stayed in one place for long: they often traveled with the emperor, going to Italy, the Low Countries, or Austria as the occasion demanded. Court documents show that Canis went to places such as
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and written in short phrases, with only brief periods of imitation; and the Franco-Flemish, which was more polyphonic and imitative: the Franco-Flemish chansons were akin to the sacred music by the same composers. Canis used some features of the
Parisian chanson, including homophony, short rhythmic
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Contrasting with the elaborate polyphonic procedures he used in his sacred music, Canis's chansons show a mix of both
Netherlandish polyphony and French, particularly Parisian, simplicity. During the 1540s and 1550s there were two general types of chansons being composed: the Parisian, by composers
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procedures carried out with considerable skill. Imitation is often pervasive, and may be either strict or free; the time interval separating successive voices in imitation may be either very short or long. Canis also strove for contrast by varying his contrapuntal procedures in successive sections
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has been debated by musicologists for decades, since the contemporary mentions of the term are ambiguous and contradictory. Current consensus among music scholars is that the term refers to an innovative practice which began around the middle of the 16th century, both in composition and in
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In 1542, he was given the responsibility of taking four choirboys from the Low
Countries to Spain, the principal seat of power of Charles V, who by then was Holy Roman Emperor. This trip is his first documented association with the imperial chapel, the
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technique, in which Canis takes a line or two of music from a pre-existing chanson, including examples by
Janequin, Claudin de Sermisy, and Gombert, and reworks it in a contrapuntal texture much different from the original, but using the same words.
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will become even more fashionable now than before, , since Canis was not able to reconcile himself to it." He therefore considered Canis to be a composer in a conservative style. The date of this letter, 28 April 1555, is shortly before
141:; most of his music dates from the years 1542 to 1558, the period of his greatest activity at the imperial court. Not all was published, and some survives in manuscript copies which were made in either Germany or the Low Countries.
172:(15 October 1555). However, this was not the end of his musical career. He became a chaplain and canon in Kortrijk, at St. Maarten and Onze Lieve Vrouwkerk respectively. He died on 15 February 1562 in
168:. In 1555 he retired, probably because his employer and patron Charles V was about to abdicate; Canis's retirement occurred exactly one month before Charles gave over his powers in the Netherlands to
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Bruno
Bouckaert, 'Cornelius Canis (+1562) in Ghent and Lille. New biographical evidence', in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis LI (2001), pp. 83–102.
199:. The works list has grown in recent decades: three of the motets and two chansons are recent discoveries. All of his works are for from three to six voices. The two masses,
266:; that it was not a wide movement; and that it was principally a kind of music intended for connoisseurs. Cornelius Canis is one of the composers mentioned as
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Canis wrote both sacred and secular vocal music. No specifically instrumental music has survived, and he may not have written any.
274:. Shortly before Canis's departure from the imperial chapel, the Bavarian ambassador to Charles V wrote a letter to his employer,
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joined the musical establishment of
Albrecht V in Munich; Lassus was then, and remains now, the most famous practitioner of
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Bernstein, Grove online. The 1980 edition of the New Grove, by the same author, lists only 32 motets and 29 chansons.
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After retiring from the imperial
Habsburg chapel, Cornelius Canis became a chaplain at the church of St. Martin in
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58:, and he was one of the few composers of the time to write chansons in both the French and Franco-Flemish idioms.
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and organist Jean
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Albert
Dunning, "Musica reservata", Grove Music Online, ed. L. Macy (Accessed 12 August 2007),
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of the same composition, and by writing melodic lines which varied from short to wide-ranging.
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No specific records have survived documenting his early life. He was most likely from
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are both for six voices, while the motets and chansons all vary from three to six.
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units, and cadential formulae, grafting them onto an otherwise polyphonic fabric.
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A considerable body of music by Canis has survived, including two
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generation of Franco-Flemish composers, using a wide variety of
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Renaissance Music: Music in
Western Europe, 1400–1600.
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Canis's motets are written in the manner of the post-
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16:Franco-Flemish composer, singer and choir director
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144:Honors accumulated for Canis: he received royal
121:(overall music director) was merged with that of
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46:music establishment during the reign of Emperor
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34:composer, singer, and choir director of the
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444:New York, W.W. Norton & Co., 1998.
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521:Musicians from the Habsburg Netherlands
156:of two separate places: Notre Dame in
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406:Bernstein, Lawrence F. L. Macy (ed.).
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205:Missa super Salve celeberrima
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325:Egidius Kwartet (Et'Cetera)
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316:Missa Pastores loquebantur
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462:Music in the Renaissance
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105:Eventually Canis became
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347:Bernstein, Grove online
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468:W. W. Norton & Co.
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392:Dunning, Grove online
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536:Musicians from Ghent
412:. Grove Music Online
434:16 May 2008 at the
180:Music and influence
229:Claudin de Sermisy
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123:maistre des enfans
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476:978-0-393-09530-2
321:Leiden Choirbooks
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158:Middelburg
306:Tota Vita
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170:Philip II
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48:Charles V
458:(1954).
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302:chansons
223:such as
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162:Floresse
146:prebends
100:Augsburg
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