Firminus Caron

Firmin Caron (* around 1430 possibly in Amiens; † after 1480) was a Franco- Flemish composer probably, he worked about 1460-1480.

Life

His identification with a historical person has not yet succeeded. Probably you have him near Antoine Busnoys and Robert Morton, so looking within the Burgundian court chapel. It was demonstrated, however, that Caron, neither the above matrix le Caron, 1436-1474 sommelier de la chapelle of the Dukes of Burgundy, nor with Philippe Caron († 1509 ), who was in 1475 stadioniert with Morton and Busnoys before Neuss is identical.

According to the evidence of musical sources, Caron has perhaps studied in Cambrai, in any case there had connections ( 1472/73 was one of his exhibitions in Cambrai copied), and he probably knew Busnoys. Maybe he was in the service of Charles the Bold ( which is devoted in this case the song Vive Charloys ). Since up to a few songs Caron's compositions are delivered only in Italian manuscripts, is the presumption that he had spent some time in Italy, very likely. In fact, Christopher Reynolds has from 1460/61 to predating employment Caron in Rome made ​​probable.

The work

Measuring

  • Missa accueille m'a la belle;
  • Missa Clemens et benigna (probably Caron's Missa earliest );
  • Missa Jesus autem transiens;
  • Missa L' homme armé (probably copied in 1463 in Rome);
  • Missa Sanguis sanctorum;
  • Missa Thomas cesus ( preserved in the Vatican manuscript SP B 80 anonymous, Caron attributed ).

Chansons

  • Accueillie m'a la belle ( Rondeau );
  • C'est temps perdu ( Rondeau? );
  • Cent mille escu ( Rondeau );
  • Corps contre corps / Rambour luy / Cinq Solz ( Rondeau );
  • Cui diem vous (? Rondeau, also known as Kontrafaktur, Fuggir non posso ' get );
  • D'un tout que vous ainsy plaira ( Rondeau );
  • Helas que Pourra devenir ( Rondeau, also known as Kontrafaktur, Ave sydus ' get );
  • La tridaine a deux ( lost );
  • Le despourvu infortune ( Rondeau, also known as Kontrafaktur, Tanto l' afano ' get );
  • Ma dame qui tant ( Rondeau? );
  • Morir me fault ( Rondeau? );
  • Mort ou Merchi ( Rondeau, probably before 1463? );
  • O vie Fortunee ( Rondeau? );
  • Pour RegArt d' oeul somble ( Rondeau );
  • Pourtant se mon voloir ( Rondeau );
  • Se postage puys ma dame ( Rondeau? );
  • Se dOulx penser ( Rondeau? );
  • S'il est plus que je ne vous ainsy Voye ( Virleai );
  • Vive Charloys ( Rondeau? );
  • Vous le n'avez point cueur Certain ( Rondeau ).

Chansons dubious authenticity

  • Rose playsant ( Philippe Basiron, Caron, John Dusart );
  • Seulette suis sans ami ( partially attributed Caron ).

Appreciation

In the understanding of his contemporaries Caron was one of the greatest composers of the century. Loyset Compère has given the epithet Master cantilenarum (before 1474 ) Caron, John Dusart and Antoine Busnoys singer in his prayer. Hothby narrated Caron have cantilenas recentissimas written. From John Tinctoris Firminus Caron is finally provided with Johannes Ockeghem, Antoine Busnoys and John Regis in a row in 1477.

This assessment is confirmed by the Tinctoris modern musicology. Although Caron does not reach the depth of Ockeghem, not the contrapuntal subtlety Busnoys, but the clarity of its style and feel for the melody remarkable. Particular emphasis will be given to the design of the internal voices Caron. Approaches a musical interpretation of individual words are proved.

When looking at these fairs Caron is the contrapuntal play with paraphrases and quotations from their own and other chansons. The Missa Sanguis sanctorum quoted from O many Fortunee, the Missa L' homme armé Mort ou mercy, the Missa Clemens et benigna from the chanson Se postage per puys ma dame.

Robert Morton (composer) Johannes Tinctoris Integrated Authority File
335532
de