Composer, Singer. Most often referred to as "Claudin". A leading member of the Franco-Flemish School of Renaissance music, celebrated for his songs. Claudin was probably born in Picardy, Burgundy, France. He joined the Royal Chapel (La Sainte-Chapelle) in Paris as a singer in 1508, was named its music director in 1532 and appointed a Canon there the following year. After 1547 he also shared the duties of choirmaster. He traveled extensively and sang before England's Henry VIII at the Field of the Cloth of Gold in 1520. At his death he left a considerable estate. Claudin was an exceptional melodist and one of the earliest composers to emphasize this aspect of his music; his use of polyphony was restrained and subservient to the central musical idea. This is exemplified in his songs, some 170 of which survive, nearly all for three or four voices. The best of them deal with love (seemingly unhappy whether requited or not) and drinking, and have an infectious dance-like quality. Thirty are set to texts by his favorite poet, Clement Marot. Much anthologized in 16th Century Europe, Claudin's tunes were so popular they were transcribed for instruments and adapted into Parody Masses and even a Protestant chorale (a distinction he may not have appreciated, being a staunch Catholic). His mature years were devoted mainly to sacred pieces that display the same economy and melodic freshness as his songs. They include a Requiem (1532), a St. Matthew Passion, 11 Masses, 110 motets, eight Magnificats, and a set of Lamentations for Holy Week services.
Composer, Singer. Most often referred to as "Claudin". A leading member of the Franco-Flemish School of Renaissance music, celebrated for his songs. Claudin was probably born in Picardy, Burgundy, France. He joined the Royal Chapel (La Sainte-Chapelle) in Paris as a singer in 1508, was named its music director in 1532 and appointed a Canon there the following year. After 1547 he also shared the duties of choirmaster. He traveled extensively and sang before England's Henry VIII at the Field of the Cloth of Gold in 1520. At his death he left a considerable estate. Claudin was an exceptional melodist and one of the earliest composers to emphasize this aspect of his music; his use of polyphony was restrained and subservient to the central musical idea. This is exemplified in his songs, some 170 of which survive, nearly all for three or four voices. The best of them deal with love (seemingly unhappy whether requited or not) and drinking, and have an infectious dance-like quality. Thirty are set to texts by his favorite poet, Clement Marot. Much anthologized in 16th Century Europe, Claudin's tunes were so popular they were transcribed for instruments and adapted into Parody Masses and even a Protestant chorale (a distinction he may not have appreciated, being a staunch Catholic). His mature years were devoted mainly to sacred pieces that display the same economy and melodic freshness as his songs. They include a Requiem (1532), a St. Matthew Passion, 11 Masses, 110 motets, eight Magnificats, and a set of Lamentations for Holy Week services.
Bio by: Bobb Edwards
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