Surname
Lannoy (de)
Given Name
Colin
Variant Name
Lanoy
Piero Francioso (di)
Launoy (de)
Lanoys
Lannoys
Place of birth
Lannoy
Role
Composer
Employee of a court chapel (musician)
Musician
Singer
Active period
1477 - 1477
Workplace
Dijon
Milano
Institution
Cappella ducale di Milano
Sainte-Chapelle de Dijon
Biography
Chapelle ducale de Milan, 1477. La date de son arrivée reste inconnue, mais il figure sur la liste des chanteurs de la chapelle qui bénéficient d'un sauf-conduit daté du 6 février, et qui s'apprêtent donc à quitter Milan suite à l'assassinat du duc Galeazzo Maria Sforza en décembre précédent (Merkley & Merkley 2002, A VÉRIFIER).
• Sainte-Chapelle de Dijon, 1477- ?. Il vint apparemment directement de Milan à Dijon, où il est mentionné le 16 avril 1477, recevant une portion de bénéfice (“De Colinet de Lannoy, chorial de ladite chapelle pour son institution et reception a une porcion de la chapellenie de l’oratoire que tenoit feu messire Baudot Villepenet, le mercredy 16e jour d’avril 1477, 4fr.” ; F-AD 21, G 1513, f. 162). La documentation (fort lacunaire pour les années suivantes) ne mentionne plus son nom ensuite mais le fait que l'obituaire mentionne sa sépulture dans l'église laisse entendre qu'il pourrait avoir fait une bonne partie, et peut-être toute sa carrière dans cette église (“Et etiam anniversarium magistri Johannis Boussard dicti Antitus ecclesie capellani qui jacet ante introitum capelle de La Trymoille prope sepulturam Colineti de Lannoy” ; F-AD 21, G 1167, f. 85v, obits du 6 juin).
Lannoy [Lanoy, Lanoys, Lannoys], Colinet [Colin] de
(d before 6 Feb 1497). French composer. On 6 February 1477 he was granted a safe-conduct to leave Milan along with several other musicians (including Martini, Jappart and Compère) following the assassination of Duke Galeazzo Maria Sforza the previous year. He may have been related to two singers active at the French royal court, Jehan (1447–68) and David (1461–75) de Lannoy. Guillaume Crétin's Déploration sur le trépas de Jean Okeghem indicates that ‘lannoys’ (presumably the composer) predeceased his famous contemporary. This last detail appears to rule out identification with one ‘Karolus de Launoy’, a choirboy at Bourges in 1472 who spent his early manhood in France, emigrated to Italy, eventually settled in Florence, married the sister of Henricus Isaac's wife, and died in 1506.
Colinet's song Cela sans plus (3vv; ed. Brown, no.98) was described by Gombosi (76–7) as ‘decidedly the weakest piece I have ever seen … a shabby, anaemic composition of minimal originality’; nevertheless it achieved considerable success, being adapted, expanded and used as the basis for masses by Martini and Obrecht. Possibly dating from the 1470s, it is ascribed to ‘Collinet de lanoy’ in I-Fn Banco Rari 229 and three other sources; a conflicting ascription to Josquin in I-Fn Magl.XIX.178 probably confuses the piece with an identically named song by that composer. Colinet's only other surviving song, the perhaps slightly later Adieu natuerlic leven mijn (4vv; ed. Lenaerts, 21), is one of several settings of the tune (by Edelinck and others).
A fragmentary mass cycle (3vv; Credo, Sanctus, Agnus Dei only) is given to ‘lanoy’ in CZ-HK II A 7. This source's ascriptions are of dubious reliability, and the ‘lanoy’ of the mass may refer to a different composer: possibly to one of the singers at the French royal chapel, or even to Karolus of Bourges (fragments of the Sanctus and Agnus Dei are transmitted anonymously in I-Rvat SP B80). While a possible pairing of the mass (which may date from the 1470s) with Ockeghem's Quinti toni cycle does suggest a possible central French origin, there are also stylistic affinities with the work of Martini (Colinet's colleague at the court of Milan) and with the two ascribed songs: all three works share uncomplicated, melodically driven textures, long drawn-out triadic points of imitation and a strong sense of harmonic polarity. These features, combined with a certain rigidity in the handling of the lowest voice, result in a slow rate of harmonic change, and a lack of sustained contrapuntal interest over extended passages. The overall impression is of a competent composer, if not of a consistently inspired one.
BIBLIOGRAPHY
O. Gombosi: Jacob Obrecht: eine stilkritische Studie (Leipzig, 1925)
R. Lenaerts: Het nederlands polifonies lied in de zestiende eeuw (Mechelen, 1933)
E.E. Lowinsky: ‘Ascanio Sforza's Life: a Key to Josquin's Biography and an Aid to the Chronology of his Works’, Josquin des Prez: New York 1971, 31–75, esp. 40
H.M. Brown, ed.: A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale, MS Banco Rari 229 (Chicago, 1983)
L.L. Perkins: ‘Musical Patronage at the Royal Court of France under Charles VII and Louis XI (1422–83)’, JAMS, xxxvii (1984), 546–57
R.C. Wegman: ‘An Anonymous Twin of Johannes Ockeghem's Missa Quinti Toni in San Pietro B 80’, TVNM, xxxvii (1987), 25–48
P. Higgins: ‘Tracing the Careers of Late Medieval Composers: the Case of Philippe Basiron of Bourges’, AcM, lxii (1990), 1–28, esp. 15
A. Kirkman: The Three-Voice Mass in the Later Fifteenth and Early Sixteenth Centuries: Aspects of Style, Distribution and Case-Studies (New York, 1995)
F. Fitch, ed.: Colinet de Lannoys: Mass and Songs (Paris, 1999)
FABRICE FITCH
• Sainte-Chapelle de Dijon, 1477- ?. Il vint apparemment directement de Milan à Dijon, où il est mentionné le 16 avril 1477, recevant une portion de bénéfice (“De Colinet de Lannoy, chorial de ladite chapelle pour son institution et reception a une porcion de la chapellenie de l’oratoire que tenoit feu messire Baudot Villepenet, le mercredy 16e jour d’avril 1477, 4fr.” ; F-AD 21, G 1513, f. 162). La documentation (fort lacunaire pour les années suivantes) ne mentionne plus son nom ensuite mais le fait que l'obituaire mentionne sa sépulture dans l'église laisse entendre qu'il pourrait avoir fait une bonne partie, et peut-être toute sa carrière dans cette église (“Et etiam anniversarium magistri Johannis Boussard dicti Antitus ecclesie capellani qui jacet ante introitum capelle de La Trymoille prope sepulturam Colineti de Lannoy” ; F-AD 21, G 1167, f. 85v, obits du 6 juin).
Lannoy [Lanoy, Lanoys, Lannoys], Colinet [Colin] de
(d before 6 Feb 1497). French composer. On 6 February 1477 he was granted a safe-conduct to leave Milan along with several other musicians (including Martini, Jappart and Compère) following the assassination of Duke Galeazzo Maria Sforza the previous year. He may have been related to two singers active at the French royal court, Jehan (1447–68) and David (1461–75) de Lannoy. Guillaume Crétin's Déploration sur le trépas de Jean Okeghem indicates that ‘lannoys’ (presumably the composer) predeceased his famous contemporary. This last detail appears to rule out identification with one ‘Karolus de Launoy’, a choirboy at Bourges in 1472 who spent his early manhood in France, emigrated to Italy, eventually settled in Florence, married the sister of Henricus Isaac's wife, and died in 1506.
Colinet's song Cela sans plus (3vv; ed. Brown, no.98) was described by Gombosi (76–7) as ‘decidedly the weakest piece I have ever seen … a shabby, anaemic composition of minimal originality’; nevertheless it achieved considerable success, being adapted, expanded and used as the basis for masses by Martini and Obrecht. Possibly dating from the 1470s, it is ascribed to ‘Collinet de lanoy’ in I-Fn Banco Rari 229 and three other sources; a conflicting ascription to Josquin in I-Fn Magl.XIX.178 probably confuses the piece with an identically named song by that composer. Colinet's only other surviving song, the perhaps slightly later Adieu natuerlic leven mijn (4vv; ed. Lenaerts, 21), is one of several settings of the tune (by Edelinck and others).
A fragmentary mass cycle (3vv; Credo, Sanctus, Agnus Dei only) is given to ‘lanoy’ in CZ-HK II A 7. This source's ascriptions are of dubious reliability, and the ‘lanoy’ of the mass may refer to a different composer: possibly to one of the singers at the French royal chapel, or even to Karolus of Bourges (fragments of the Sanctus and Agnus Dei are transmitted anonymously in I-Rvat SP B80). While a possible pairing of the mass (which may date from the 1470s) with Ockeghem's Quinti toni cycle does suggest a possible central French origin, there are also stylistic affinities with the work of Martini (Colinet's colleague at the court of Milan) and with the two ascribed songs: all three works share uncomplicated, melodically driven textures, long drawn-out triadic points of imitation and a strong sense of harmonic polarity. These features, combined with a certain rigidity in the handling of the lowest voice, result in a slow rate of harmonic change, and a lack of sustained contrapuntal interest over extended passages. The overall impression is of a competent composer, if not of a consistently inspired one.
BIBLIOGRAPHY
O. Gombosi: Jacob Obrecht: eine stilkritische Studie (Leipzig, 1925)
R. Lenaerts: Het nederlands polifonies lied in de zestiende eeuw (Mechelen, 1933)
E.E. Lowinsky: ‘Ascanio Sforza's Life: a Key to Josquin's Biography and an Aid to the Chronology of his Works’, Josquin des Prez: New York 1971, 31–75, esp. 40
H.M. Brown, ed.: A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale, MS Banco Rari 229 (Chicago, 1983)
L.L. Perkins: ‘Musical Patronage at the Royal Court of France under Charles VII and Louis XI (1422–83)’, JAMS, xxxvii (1984), 546–57
R.C. Wegman: ‘An Anonymous Twin of Johannes Ockeghem's Missa Quinti Toni in San Pietro B 80’, TVNM, xxxvii (1987), 25–48
P. Higgins: ‘Tracing the Careers of Late Medieval Composers: the Case of Philippe Basiron of Bourges’, AcM, lxii (1990), 1–28, esp. 15
A. Kirkman: The Three-Voice Mass in the Later Fifteenth and Early Sixteenth Centuries: Aspects of Style, Distribution and Case-Studies (New York, 1995)
F. Fitch, ed.: Colinet de Lannoys: Mass and Songs (Paris, 1999)
FABRICE FITCH
Bibliography
D’Accone 1961