Performers: Catherine Padaut (soprano), Raoul Le Chenadec (countertenor), Thierry Bréhu (tenor), James Gowings (bass), Bernard Fabre-Garrus (bass), Eugène Ferré, Charles-Edouard Fantin (lutes); Sabine Weill, Armelle Brouard, Pierre Hamon, Nicolas Stroesser (recorders)
Playing time: 49'
Recording date: July 1995
Clément Janequin was of the highest possible influence in modifying the nature of the French chanson heading into the middle 16th century. Along with introducing many lighter themes & motivic devices (such as the onomatopoeia in tracks #4 & #21), the primary contrapuntal disposition was changed to 4-voices with the main line in the highest voice. In some ways, this lightening of idea and texture can be seen as a continuation of the rustic style begun by such composers as Compère & Josquin.
Although Janequin did occupy church positions, his output is overwhelmingly secular: 250 songs, 2 masses, 1 motet have survived. Janequin's chansons survive in quality editions, most originating from Attaingnant in Paris. Altogether, this was known as the Parisian style of chanson and differs from those published in other parts of France at this time.
The present recording contains a nice selection of Janequin's most famous songs, along with some contemporary instrumental arrangements (all but track #5 based on Janequin's material). The relationship between the emerging chanson form and the instrumental & dance forms can be perceived. The recorder arrangements are quite interesting in this sense.
Janequin's most important contemporary in the Parisian style was Claudin de Sermisy (c.1490-1562). A recording featuring both:
Other recordings featuring Janequin's songs:
A fine recording of Janequin's surviving sacred music:
After Janequin, the next French secular composer to project a broader technical significance was Claude Le Jeune (c.1528-1600), who developed new ideas on rhythm. A quality recording devoted to Le Jeune's most important song cycle:
Finally, surveys featuring broader repertory:
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Todd M. McComb