Surname
Marville (de)
Given Name
Jacques
Variant Name
Marieville (de)
Date of death
before 1503-3-7
Active period
1456 - 1501
Biography
Une des carrières de chanteur les plus longues et les mieux connues: Naples 1456-1466 (mais peut-être seulement 1458, car en 1466, il est au service de l’évêque de Rieti, légat de Bologne et cardinal Capranica et affirme avoir chanté, devant Lorenzo, avec la chapelle du pape sans toutefois figurer sur aucun document romain. Lettres à Lorenzo de’ Medici, 15.9.1466, et une autre non datée, probablement de 1469 (Becherini 1941, p.94-99). Cathédrale de Sienne en 1468. A SP de rome de 1469 à 1471. Ferrare en 1472-73. Milan en 1474. Ferrare 1476-1501 (lettres relatant une tentative d’être employé à Mantoue).
Compte rendu dans le Journal des savants 1902 :
C n N ! sronici INTERJVO ALL'UN!VERSITÀ D! FERRARA, r e d a t t i d a GJOVANNJ MARTINELLI; en tête de ]'Annuario della Libera. Uni- vcrsilà di Ferras-a, anno scolastico 1899-1 900, I-Lv)U. - Giu- SERPEPARDI,Prof. nd B. Liceo di Ferrant.nJIroLïDol-TOJIALI CONFEJUTI DALLO STUDIO DI FERRARA NE! SEC. XV E XV!. - - Lucca. Tipogralin Alberlo Marchi, 1 901 . iii-fol.
EXTRAITDUJOURNALDESSAI'livrs.-FévrieretMars1902.
Le chanteur Jean Brehis est cité en 11175. Le 18 février 1482 , Antoine Baneston, (le Cambrai, chantre du duc de Ferrare, Guillaume de Lamyn, du diocèse de Liège, et Corneille Lanrent, de Lille, chanteurs du duc de Florence, assistent à la soutenance d'Arthur Maider. Le I o avril i L 88, 't Mathias de Pansus , duels Ferrarie canton. et ('rater Johannes de Ramundis , (le Frantia , ordinis minorwri , prelibali di icis cantor i sont témoins (les promotions de deux docteurs en méde- cine. Le musicien Jacquet de Marville est présent à des tidises en t 484. i4inpnimeur André Beaufort est cité en i 482 et t ZiBA.
8. BANEST0N (ANT01NE), de Cambrai, chantre du duc de Ferrare, témoin de la j,romolion d'Arthur Malder au grade (le doct. en 'médecine, 18 février 1487 (p. 7 5 ) . - Baneston est resté inconnu è F'étis; il ine figure pas dans la liste des musiciens de la eoni de Ferrare donnée par L. N. Cil tadel la dans ses iVotizie rclatire u Fer,vua , parte Il , 1864.
Ref
172. MABVILLE:(JACQUESDE), KJaclietusU'rancigena, cintor dwi.alis ' ,esttémoin de la promotion de Cataldo Porisia , 2 . 1 r é . 1484 (p. 6j). il est témoin de la pro- motion de Peter Weingfirtner, 4 mars 1484 ( p . Il est appelé alors «inc. de Marvilla, clericus Trevereitsis diocesis, rectoi' ecclesie S. Jacobi in borgo Ferrarie et cantor nostri dacis «. Il est témoin de la promotion (le N.ikolaus Siegvart , de, l3aden, 24 janv. i (p. 8 3 ) . 11 cst appelé alors « lachetus de Marvila, ducalis cantor, R. cccl. S. ,laeobi ultra Paduru',
174. MATIIIAS DE PARIS, n ducis Ferrarie cantor » , est, témoin des promotions d'Ulrich l'eher et de Niccolà Galeotto, in avril s488 (p. 83).— Le comte L. N. Gittadella (J\T0jj(. »t/UIIVC II l'Cfl'UI'a, Il, 1864, in-L,', p . 717) cite, é la date de
1494, « Mathias, conta clore in la chapel la delo illust i'issimo S' duclia «, mais il n'indique pas la patrie dc cet artiste.
• D’accone1961, p.323- Merkley p.68-70, 76, 92, 101, 115, 243.
• Lockwood 1984, p.166-67, 183, 187. Récapitule sa carrière et cite de la lettre de 1466 où Jachet affirme que, bien qu’ayant servi deux rois de Naples et le pape, il a tjrs voulu vivre à Florence car il pourrait y “avoir des nouvelles de son pays tous les jours”. Un ambassadeur milanais qui auditionne Jachet avant son recrutement écrit au duc qu’il veut alors venir à Milan autant que ‘la mouche va vers le fruit’ (‘al mele va la mosche’). Dans sa lettre de 1500 où il demande au marquis de Mantoue de l’employer, alors qu’il vient d’être licencié après 29 ans “sans avoir manqué un jour à son poste dans la chapelle (de Ferrare)”, il rappelle qu’en 1483, un projet d’organisation d’une chapelle à Mantoue sous sa responsabilité avait été interrompu par la mort de Federico Gonzaga, père de Francesco à qui il écrit.Dans le PS de cette lettre, il indique “Je n’ai perdu ni ma voix, ni mon chant, excepté le falsetto que je n’ai jamais eu; je suis un chanteur par nature et je chanterai jusqu’à ma mort”.
• Reynolds 1995, p.48: Regarding Jachetto (known variously as di Rouen, di Marvilla, and di Lorraine), he may have sung at St. Peter's for as long as three years, from early 1469 through 1471. This possibility stems from a letter Jachetto wrote to Lorenzo de' Medici (21 March 1469) in which Jachetto reported that he had arrived in Rome the previous January, ostensibly to find some good singers for Lorenzo. Having located a tenor, three sopranos, and a contratenor (himself), he announced his readiness to lead them all to Florence.[46] Lorenzo apparently did not accept this offer; at any rate, when the St. Peter's records resume in March 1471 after a three-year hiatus, a Jachettus who sang contratenor was present. Idem, p.117-118: When Ercole d'Este set about building up his cappella of musicians in the early 1470s, St. Peter's provided several, all of them contras: Jachettus di Marvilla in 1472 / and 1473, and then probably also Johannes Marescalli and Rainaldus de Meis (if he is Rainaldetto Cambrai), who both arrived at St. Peter's in the fall of 1472 and then apparently sang together at Ferrara from 1474 to 1476. Idem p. 120-122: Cardinal Angelo Capranica was for a time a patron of the singer Jachettus di Marvilla in the years immediately before Jachettus came to St. Peter's in 1469. Jachettus's service with Capranica has been overlooked, eclipsed by his years with better-known Italian employers. The cities, courts, and churches on this journeyman's resume stretch up and down the Italian peninsula, covering the entire second half of the fifteenth century. Roughly in order, he is known to have served in Naples beginning in about 1455, and then Siena (1468), Rome (1469-71), Ferrara (1472-73), and Milan (1474), settling finally in Ferrara (1476-99) (Lockwood, p.166-67; Atlas, p. 37-38). But Jachet did not remain in Naples until his brief stop in Siena. There is more to glean from a letter he had written to Lorenzo de' Medici seeking his patronage (15 September 1466). In this letter it is plain that Jachettus had already left Naples, since he wrote from Bologna, where he said he served the bishop of Rieti, who was then Angelo Capranica. No mere bishop, Capranica had become a cardinal in 1460. More important, in 1458 he was named papal legate of Bologna, the governatore di Bologna e della provincia . Since Jachettus claimed to have come to Bologna recently with Cardinal Capranica, and to have passed through Florence on the way, he must have referred to the most recent of Capranica's periodic trips between Rome and Bologna, one that had begun in Rome five months before in early May 1466. In this same letter of 1466, Jachettus further claims to have sung "in the chapel of the Pope (so that seeing me your most honoured Lordship would recognize me)." (Frank D'Accone, "The Singers of San Giovanni in Florence during the Fifteenth Century," 321). His assertion is revealing of the close relations between musicians of popes and the cardinals traveling with them. Papal records, complete for this period, contain no reference to him; yet because Jachettus also implies that Lorenzo had seen him in the papal chapel, and would therefore recognize him, some credence must be given to his account. Before 1466 there are only two occasions when Lorenzo could have heard the papal singers: in 1459 when Pius II stayed in Florence from 25 April to 5 May on his way to Mantua, and on his return trip in January 1460, when, however, the papal entourage paused only for a night en route to Siena. On the former visit the elaborate entertainments included "theatrical performances, combats of wild beasts, races and balls." It is possible that the papal choir was augmented for the journey, but if so, this probably occurred on an informal basis, by drawing on singers who traveled with a cardinal. Among those cardinals making the trek to Mantua with Pius was Guillaume d'Estouteville, archbishop of Jachettus's native Rouen. But so too, at least for the return trip, was Capranica. Whether with Capranica, d'Estouteville, or some other church official, Jachettus's recollection of being in the "chapel of the pope" at a time when Lorenzo de' Medici would have seen him must refer to an incident from 1460 at the latest. Thus Jachettus did not remain long in Naples, perhaps leaving as early as 1458, after the death (in June) of his first known patron Alfonso I of Aragon. The following November in Rome, Plus II made Capranica the papal legate of Bologna.
Compte rendu dans le Journal des savants 1902 :
C n N ! sronici INTERJVO ALL'UN!VERSITÀ D! FERRARA, r e d a t t i d a GJOVANNJ MARTINELLI; en tête de ]'Annuario della Libera. Uni- vcrsilà di Ferras-a, anno scolastico 1899-1 900, I-Lv)U. - Giu- SERPEPARDI,Prof. nd B. Liceo di Ferrant.nJIroLïDol-TOJIALI CONFEJUTI DALLO STUDIO DI FERRARA NE! SEC. XV E XV!. - - Lucca. Tipogralin Alberlo Marchi, 1 901 . iii-fol.
EXTRAITDUJOURNALDESSAI'livrs.-FévrieretMars1902.
Le chanteur Jean Brehis est cité en 11175. Le 18 février 1482 , Antoine Baneston, (le Cambrai, chantre du duc de Ferrare, Guillaume de Lamyn, du diocèse de Liège, et Corneille Lanrent, de Lille, chanteurs du duc de Florence, assistent à la soutenance d'Arthur Maider. Le I o avril i L 88, 't Mathias de Pansus , duels Ferrarie canton. et ('rater Johannes de Ramundis , (le Frantia , ordinis minorwri , prelibali di icis cantor i sont témoins (les promotions de deux docteurs en méde- cine. Le musicien Jacquet de Marville est présent à des tidises en t 484. i4inpnimeur André Beaufort est cité en i 482 et t ZiBA.
8. BANEST0N (ANT01NE), de Cambrai, chantre du duc de Ferrare, témoin de la j,romolion d'Arthur Malder au grade (le doct. en 'médecine, 18 février 1487 (p. 7 5 ) . - Baneston est resté inconnu è F'étis; il ine figure pas dans la liste des musiciens de la eoni de Ferrare donnée par L. N. Cil tadel la dans ses iVotizie rclatire u Fer,vua , parte Il , 1864.
Ref
172. MABVILLE:(JACQUESDE), KJaclietusU'rancigena, cintor dwi.alis ' ,esttémoin de la promotion de Cataldo Porisia , 2 . 1 r é . 1484 (p. 6j). il est témoin de la pro- motion de Peter Weingfirtner, 4 mars 1484 ( p . Il est appelé alors «inc. de Marvilla, clericus Trevereitsis diocesis, rectoi' ecclesie S. Jacobi in borgo Ferrarie et cantor nostri dacis «. Il est témoin de la promotion (le N.ikolaus Siegvart , de, l3aden, 24 janv. i (p. 8 3 ) . 11 cst appelé alors « lachetus de Marvila, ducalis cantor, R. cccl. S. ,laeobi ultra Paduru',
174. MATIIIAS DE PARIS, n ducis Ferrarie cantor » , est, témoin des promotions d'Ulrich l'eher et de Niccolà Galeotto, in avril s488 (p. 83).— Le comte L. N. Gittadella (J\T0jj(. »t/UIIVC II l'Cfl'UI'a, Il, 1864, in-L,', p . 717) cite, é la date de
1494, « Mathias, conta clore in la chapel la delo illust i'issimo S' duclia «, mais il n'indique pas la patrie dc cet artiste.
• D’accone1961, p.323- Merkley p.68-70, 76, 92, 101, 115, 243.
• Lockwood 1984, p.166-67, 183, 187. Récapitule sa carrière et cite de la lettre de 1466 où Jachet affirme que, bien qu’ayant servi deux rois de Naples et le pape, il a tjrs voulu vivre à Florence car il pourrait y “avoir des nouvelles de son pays tous les jours”. Un ambassadeur milanais qui auditionne Jachet avant son recrutement écrit au duc qu’il veut alors venir à Milan autant que ‘la mouche va vers le fruit’ (‘al mele va la mosche’). Dans sa lettre de 1500 où il demande au marquis de Mantoue de l’employer, alors qu’il vient d’être licencié après 29 ans “sans avoir manqué un jour à son poste dans la chapelle (de Ferrare)”, il rappelle qu’en 1483, un projet d’organisation d’une chapelle à Mantoue sous sa responsabilité avait été interrompu par la mort de Federico Gonzaga, père de Francesco à qui il écrit.Dans le PS de cette lettre, il indique “Je n’ai perdu ni ma voix, ni mon chant, excepté le falsetto que je n’ai jamais eu; je suis un chanteur par nature et je chanterai jusqu’à ma mort”.
• Reynolds 1995, p.48: Regarding Jachetto (known variously as di Rouen, di Marvilla, and di Lorraine), he may have sung at St. Peter's for as long as three years, from early 1469 through 1471. This possibility stems from a letter Jachetto wrote to Lorenzo de' Medici (21 March 1469) in which Jachetto reported that he had arrived in Rome the previous January, ostensibly to find some good singers for Lorenzo. Having located a tenor, three sopranos, and a contratenor (himself), he announced his readiness to lead them all to Florence.[46] Lorenzo apparently did not accept this offer; at any rate, when the St. Peter's records resume in March 1471 after a three-year hiatus, a Jachettus who sang contratenor was present. Idem, p.117-118: When Ercole d'Este set about building up his cappella of musicians in the early 1470s, St. Peter's provided several, all of them contras: Jachettus di Marvilla in 1472 / and 1473, and then probably also Johannes Marescalli and Rainaldus de Meis (if he is Rainaldetto Cambrai), who both arrived at St. Peter's in the fall of 1472 and then apparently sang together at Ferrara from 1474 to 1476. Idem p. 120-122: Cardinal Angelo Capranica was for a time a patron of the singer Jachettus di Marvilla in the years immediately before Jachettus came to St. Peter's in 1469. Jachettus's service with Capranica has been overlooked, eclipsed by his years with better-known Italian employers. The cities, courts, and churches on this journeyman's resume stretch up and down the Italian peninsula, covering the entire second half of the fifteenth century. Roughly in order, he is known to have served in Naples beginning in about 1455, and then Siena (1468), Rome (1469-71), Ferrara (1472-73), and Milan (1474), settling finally in Ferrara (1476-99) (Lockwood, p.166-67; Atlas, p. 37-38). But Jachet did not remain in Naples until his brief stop in Siena. There is more to glean from a letter he had written to Lorenzo de' Medici seeking his patronage (15 September 1466). In this letter it is plain that Jachettus had already left Naples, since he wrote from Bologna, where he said he served the bishop of Rieti, who was then Angelo Capranica. No mere bishop, Capranica had become a cardinal in 1460. More important, in 1458 he was named papal legate of Bologna, the governatore di Bologna e della provincia . Since Jachettus claimed to have come to Bologna recently with Cardinal Capranica, and to have passed through Florence on the way, he must have referred to the most recent of Capranica's periodic trips between Rome and Bologna, one that had begun in Rome five months before in early May 1466. In this same letter of 1466, Jachettus further claims to have sung "in the chapel of the Pope (so that seeing me your most honoured Lordship would recognize me)." (Frank D'Accone, "The Singers of San Giovanni in Florence during the Fifteenth Century," 321). His assertion is revealing of the close relations between musicians of popes and the cardinals traveling with them. Papal records, complete for this period, contain no reference to him; yet because Jachettus also implies that Lorenzo had seen him in the papal chapel, and would therefore recognize him, some credence must be given to his account. Before 1466 there are only two occasions when Lorenzo could have heard the papal singers: in 1459 when Pius II stayed in Florence from 25 April to 5 May on his way to Mantua, and on his return trip in January 1460, when, however, the papal entourage paused only for a night en route to Siena. On the former visit the elaborate entertainments included "theatrical performances, combats of wild beasts, races and balls." It is possible that the papal choir was augmented for the journey, but if so, this probably occurred on an informal basis, by drawing on singers who traveled with a cardinal. Among those cardinals making the trek to Mantua with Pius was Guillaume d'Estouteville, archbishop of Jachettus's native Rouen. But so too, at least for the return trip, was Capranica. Whether with Capranica, d'Estouteville, or some other church official, Jachettus's recollection of being in the "chapel of the pope" at a time when Lorenzo de' Medici would have seen him must refer to an incident from 1460 at the latest. Thus Jachettus did not remain long in Naples, perhaps leaving as early as 1458, after the death (in June) of his first known patron Alfonso I of Aragon. The following November in Rome, Plus II made Capranica the papal legate of Bologna.
Bibliography
Atlas 1985
D’Accone 1961
Lockwood 1972