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Guillaume Du Fay (also Dufay, ca. 13971474) The most famous composer of his time
Traveled widely, serving as a chapel musician in Italy and southwestern France.
His travels allowed him to absorb many regional stylistic traits.
Resvellies vous (Awake and be merry, NAWM 36)
Composed in Italy to celebrate a wedding
French characteristics
Italian characteristics
Se la face ay pale (NAWM 38a)
Ballade, composed ten years after Resvellies vous
Three-voice
sacred works
English elements
added to the French and Italian traits
Du Fay set numerous motets and Office pieces for three voices.
The texture resembles that of a chanson, with the main melody supported by the tenor and
contratenor.
Example: Christe, redemptor omnium (NAWM 37)
Isorhythmic motets
For solemn public occasions, composers continued to use the then-archaic isorhythmic motet.
Nuper rosarum flores, 1436, was composed for the dedication of the dome of the Cathedral of
Santa Maria del Fiore in Florence.
Two isorhythmic tenor voices, both based on the same chant, evoke the two vaults used to
support the dome.
Du Fay was in the service of Pope Eugene IV, who officiated at the dedication.
Before 1420, except for Machauts, polyphonic settings of the Ordinary texts were composed as
separate pieces.
During the fifteenth century, composers began to set the Ordinary as a coherent whole.
Complete mass settings were often commissioned for specific occasions or significant
individuals.
Musical unity led to cyclic Masses: cantus firmus, motto,
Cantus firmus (or tenor) Mass
The principal type of mass by the mid-fifteenth century
The four-voice texture became standardized.
Cantus firmus treatment
Du Fays Missa Se la face ay pale, Gloria (NAWM 38b)
The cantus firmus appears three times; it is easily recognized in only the third appearance because the first two are
in longer durations.