Everything about Jacobus De Kerle totally explained
Jacobus de Kerle (
1531/
1532 -
1591-01-07) was a
Flemish composer and organist of the late
Renaissance.
Life
Kerle was trained at the monastery of St. Martin in
Ypres, and held positions as a singer in
Cambrai and choirmaster in
Orvieto, where he also became organist and
carillonneur. After entering the priesthood, he began having his music printed, including a 1561 collection of
psalms and
Magnificat settings in
Venice. He was commissioned to write
Preces Speciales for the
Council of Trent, which he completed by 1562, and visited the city during the time of the Council in his travels with
Cardinal Otto, though he didn't take part in their discussions regarding music.
In 1565, he was appointed director of music at Ypres Cathedral, though he'd lose this position after being
excommunicated in 1567 due to a dispute with another priest. From there he moved to Rome and then to
Augsburg, where he was offered a position in 1568 as vicar-choral and organist at the Augsburg Cathedral by Cardinal Otto. He stayed there until 1574, when was passed over for the open
Kapellmeister position at Augsburg. After leaving Augsburg in 1575, his whereabouts are unknown until 1579, when he appears in the registers of the Cambrai Cathedral; he continued to move often late in his life, accepting positions in
Mons,
Cologne, Augsburg again,
Vienna, and finally
Prague, where he lived from 1583 until his death in 1591.
Works
All of Kerle's extant music is vocal polyphony, and it combines the stylistic elements of the
Franco-Flemish school of the generation after
Josquin (exemplified by composers such as
Adrian Willaert and
Nicolas Gombert) with that of late Renaissance Italian composers such as
Palestrina. Kerle didn't make as much use of simple
homophony and direct text-setting as did many of his post-
Tridentine contemporaries, such as Palestrina and
Vincenzo Ruffo, nor did he often employ the heavy chromaticism of the late 16th-century
madrigal, and his compositions display a measure of restraint and clarity that mark them as heavily indebted to Northern
contrapuntal practice.
His surviving works include
masses for four and five voices (he is known to have composed six-voice masses, but these have been lost),
motets,
psalms,
hymns, and sacred songs. Very little of his secular vocal music has survived; a print of madrigals and one of settings of
Petrarch are both lost, though one book of six-voice secular songs is extant, as well as a number of pieces in surviving print and manuscript collections.
Further Information
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