Surname
Thérache (de)
Given Name
Pierrequin
Date of death
1535
Role
Composer
Musician
Active period
circa 1488 - 1535
Institution
Chapelle ducale de Lorraine
Biography
Louis & Pierre de Terasse, frères, sont petit vicaires à Cambrai du 9 avril 1488 au 14 mars 1491 (PlanchartPV).
Louis de Terasse: was a small vicar from 09 April 1488 to 14 March 1491 [LAN, 4G 7472 (1487-88), 6r; (1490-91), 7r], brother of Pierre de Terasse.
Pierre de Terasse: was a small vicar from 09 April 1488 to 16 April 1491 [LAN, 4G 7472 (1487-88), 6r; (1490-91), 7r], brother of Louis de Terasse.
Fétis affirme en 1844 que “Pierre de Thérache, musicien français de la chapelle de Louis XI, roi de France, suivant les comptes de cette chapelle (manuscrit de la Bibliothèque nationale de Paris, F 540 C du supplément) est connu par des motets…” Il s'agit manifestement là d'une coquille pour Louis XII
Cette cote n’apparaît pas dans l’ancien catalogue (selon Desaux 1998, p. 31) Cette cote est en fait l'actuel ms. fr. 7853 (ou, en fait, les mss. fr. 7852-7854). Ces registres ont été étudiés par Perkins et d'autres, mais Fétis produit des informations sur la chapelle de Louis XII que personne d'autre n'a localisé mais qui semblent crédibles (voir Bardemont *) Il faut donc penser que ces listes figurent dans le ms. fr. 7853.
Voir Dictionnaire
Thérache, Pierrequin [Pierquin] de
(b c1470; d 30 March 1528). French composer. His entire musical career seems to have been spent at the ducal court of Lorraine at Nancy, where he was master of the choirboys and trésorier in the local church of St Georges without significant interruption between October 1492 and 1527, becoming a canon of St Georges in 1505. In 1518 he was made maître de la chapelle privée at the court of Antoine, Duke of Lorraine. Indeed, no firm evidence survives that he ever left the ducal capital during his tenure there. Fétis's claim that Thérache had once been a singer with the royal court of France is unsubstantiated. Vincenzo Galilei, the late 16th-century Florentine music theorist, claimed that ‘P.ro de terache’ was among a group of famous Renaissance masters who gathered in Italy for the coronation of Pope Leo X in 1513, but this musician might possibly have been the Perroctus Terrache who then served as cantore at the ducal court of Savoy.
Thérache's apparent physical isolation did not prevent his works from enjoying wide distribution in manuscript and printed sources of France, Italy and the Netherlands; nor should it suggest that his musical style suffered from insularity. His two settings of sequence texts, Verbum bonum et soave and Clare sanctorum, rework the monophonic melodies upon which they depend in flowing, euphonious counterpoint typical of his contemporaries Josquin and Mouton. (The former was used as the model for a polyphonic mass by Mouton). Thérache's Magnificat, too, attends closely to the intonational formula typical of its genre and, adhering to the formal convention of its generation, sets only the even-numbered verses (which were doubtless sung in alternatim with the remainder of the text).
Thérache's cyclic masses reveal his skill with cantus firmus technique and demonstrate his evident awareness of the chanson tradition of the late 15th century. His use of individual melodic lines and at times of contrapuntal combinations) from chansons by Antoine Busnoys and Loyset Compère is both thorough and subtle. These works moreover contain repeated allusions to a fauxbourdon-like fabric that appears to have been a favourite device of Thérache's. This same signature returns in the Missa ‘Comment peult avoir joye’, a work preserved anonymously in a manuscript of the early 16th century, but which seems likely to be the Missa ‘Comment peult avoir joye’ cited by Nicolaus Wollick in his Enchiridion musices (Paris, 1512/R) as having been composed by ‘Pierrequin de Nancy’.
WORKS
Editions:Freedman [F]Selections from Motetti de la corona (libro primo) (Fossombrone, 1514), ed. R. Sherr (New York, 1991) [S]Missa ‘Comment peult avoir joye’, 4vv, F-CA 18; ascription based on stylistic evidence and c.f. borrowings from Josquin's chanson mentioned in Wollick's treatise [F]Missa ‘Fortuna desperata’, 4vv, E-TZ 3; c.f. borrowings from Busnois's chanson [Kyrie only ed. in F]Missa ‘O vos omnes’, 4vv, A-Wn 15945; c.f. borrowings from a work by Compère [F]Magnificat prima toni, 4vv, E-Tc 23 [F]Clare sanctorum senatus apostolorum, 4vv, 15141 [S]Gaude Maria, 4vv, A-Wn 15941 [F]Verbum bonum et soave, 4vv, I-Fl 666; ed. in MRM, iii-v (1968)
BIBLIOGRAPHY
FétisB
MGG1 (F. Lesure)
R. Freedman: Music, Musicians, and the House of Lorraine during the First Half of the Sixteenth Century (diss., U. of Pennsylvania, 1987)
RICHARD FREEDMAN
Louis de Terasse: was a small vicar from 09 April 1488 to 14 March 1491 [LAN, 4G 7472 (1487-88), 6r; (1490-91), 7r], brother of Pierre de Terasse.
Pierre de Terasse: was a small vicar from 09 April 1488 to 16 April 1491 [LAN, 4G 7472 (1487-88), 6r; (1490-91), 7r], brother of Louis de Terasse.
Fétis affirme en 1844 que “Pierre de Thérache, musicien français de la chapelle de Louis XI, roi de France, suivant les comptes de cette chapelle (manuscrit de la Bibliothèque nationale de Paris, F 540 C du supplément) est connu par des motets…” Il s'agit manifestement là d'une coquille pour Louis XII
Cette cote n’apparaît pas dans l’ancien catalogue (selon Desaux 1998, p. 31) Cette cote est en fait l'actuel ms. fr. 7853 (ou, en fait, les mss. fr. 7852-7854). Ces registres ont été étudiés par Perkins et d'autres, mais Fétis produit des informations sur la chapelle de Louis XII que personne d'autre n'a localisé mais qui semblent crédibles (voir Bardemont *) Il faut donc penser que ces listes figurent dans le ms. fr. 7853.
Voir Dictionnaire
Thérache, Pierrequin [Pierquin] de
(b c1470; d 30 March 1528). French composer. His entire musical career seems to have been spent at the ducal court of Lorraine at Nancy, where he was master of the choirboys and trésorier in the local church of St Georges without significant interruption between October 1492 and 1527, becoming a canon of St Georges in 1505. In 1518 he was made maître de la chapelle privée at the court of Antoine, Duke of Lorraine. Indeed, no firm evidence survives that he ever left the ducal capital during his tenure there. Fétis's claim that Thérache had once been a singer with the royal court of France is unsubstantiated. Vincenzo Galilei, the late 16th-century Florentine music theorist, claimed that ‘P.ro de terache’ was among a group of famous Renaissance masters who gathered in Italy for the coronation of Pope Leo X in 1513, but this musician might possibly have been the Perroctus Terrache who then served as cantore at the ducal court of Savoy.
Thérache's apparent physical isolation did not prevent his works from enjoying wide distribution in manuscript and printed sources of France, Italy and the Netherlands; nor should it suggest that his musical style suffered from insularity. His two settings of sequence texts, Verbum bonum et soave and Clare sanctorum, rework the monophonic melodies upon which they depend in flowing, euphonious counterpoint typical of his contemporaries Josquin and Mouton. (The former was used as the model for a polyphonic mass by Mouton). Thérache's Magnificat, too, attends closely to the intonational formula typical of its genre and, adhering to the formal convention of its generation, sets only the even-numbered verses (which were doubtless sung in alternatim with the remainder of the text).
Thérache's cyclic masses reveal his skill with cantus firmus technique and demonstrate his evident awareness of the chanson tradition of the late 15th century. His use of individual melodic lines and at times of contrapuntal combinations) from chansons by Antoine Busnoys and Loyset Compère is both thorough and subtle. These works moreover contain repeated allusions to a fauxbourdon-like fabric that appears to have been a favourite device of Thérache's. This same signature returns in the Missa ‘Comment peult avoir joye’, a work preserved anonymously in a manuscript of the early 16th century, but which seems likely to be the Missa ‘Comment peult avoir joye’ cited by Nicolaus Wollick in his Enchiridion musices (Paris, 1512/R) as having been composed by ‘Pierrequin de Nancy’.
WORKS
Editions:Freedman [F]Selections from Motetti de la corona (libro primo) (Fossombrone, 1514), ed. R. Sherr (New York, 1991) [S]Missa ‘Comment peult avoir joye’, 4vv, F-CA 18; ascription based on stylistic evidence and c.f. borrowings from Josquin's chanson mentioned in Wollick's treatise [F]Missa ‘Fortuna desperata’, 4vv, E-TZ 3; c.f. borrowings from Busnois's chanson [Kyrie only ed. in F]Missa ‘O vos omnes’, 4vv, A-Wn 15945; c.f. borrowings from a work by Compère [F]Magnificat prima toni, 4vv, E-Tc 23 [F]Clare sanctorum senatus apostolorum, 4vv, 15141 [S]Gaude Maria, 4vv, A-Wn 15941 [F]Verbum bonum et soave, 4vv, I-Fl 666; ed. in MRM, iii-v (1968)
BIBLIOGRAPHY
FétisB
MGG1 (F. Lesure)
R. Freedman: Music, Musicians, and the House of Lorraine during the First Half of the Sixteenth Century (diss., U. of Pennsylvania, 1987)
RICHARD FREEDMAN
Bibliography
Desaux 1998