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Richard Loqueville

Summary

Richard Loqueville (died 1418) was a French composer active during the transition between Medieval and Renaissance music. A musician at Cambrai Cathedral, Loqueville was a harpist and teacher, whose students included Edward III, Duke of Bar and the influential composer Guillaume Du Fay.

Life and career edit

Little is known of Loqueville's life. A trained harpist, he taught it to Edward III, the son of the Robert, Duke of Bar, in 1410.[1] He is also known to have taught plainsong to the Duke's choirboys.[1] From 1413 until the end of his life he taught music at Cambrai Cathedral alongside Nicolas Malin. The celebrated composer Guillaume Du Fay was likely a student his student at the cathedral[2] and Du Fay's first compositions were probably written under his influence and instruction.[3] He is known to have been married.[4] In 1418 he died in Cambrai.[1]

Music edit

Attributed to him are four rondeaux, a ballade, an isorhythmic motet in honour of the Breton saint Yvo, a Marian motet, and several Mass movements.[1]

Works edit

List of compositions by Richard Loqueville[1]
Title No. of voices Genre CMM
Gloria, Credo 3 Gloria in excelsis Deo/Credo R
Gloria 3 Gloria in excelsis Deo R
Gloria 3 Gloria in excelsis Deo R
Sanctus[n 1] 4 Sanctus R 10
O flos in divo/Sacris pignoribus 3 Isorhythmic motet R 11
O regina clementissima 3 Antiphon R 12
Quant compaignons 3 Ballade R 5
Je vous pri 3 Rondeau refrain R 1
Pour mesdisans 3 Rondeau R 4
Puisque je suy amoureux 3 Rondeau R 3
Qui ne veroit que vos deulx yeux 3 Rondeau R 2

Editions edit

Loqueville's works are included in the following collections:

  • Reaney, Gilbert, ed. (1966). Early Fifteenth-Century Music. Corpus mensurabilis musicae 11. Vol. 3, Collected Works of Richard Loqueville, Estienne Grossin, R. Libert, and Benoit. Cambridge: American Institute of Musicology. OCLC 679376469.

Notes edit

  1. ^ with trope ‘Qui januas mortis’[1]

References edit

  1. ^ a b c d e f Reaney 2001.
  2. ^ Planchart 1993, pp. 357–59.
  3. ^ Kim 1990, p. 41.
  4. ^ Fallows 1987, p. 249.

Sources edit

Books
  • Boone, Graeme MacDonald (1987). Dufay's Early Chansons: Chronology and Style in the Manuscript Oxford, Bodleian Library, Canonici Misc. 213 (Thesis). Cambridge, Massachusetts: Harvard University. OCLC 606319163.
  • Fallows, David (1987) [1982]. Dufay. The Master Musicians Series (revised ed.). Oxford: Oxford University Press. ISBN 978-0-460-02493-8.
  • Fenlon, Iain (2009). Early Music History: Studies in Medieval and Early Modern Music. Cambridge, England: Cambridge University Press. ISBN 978-0-521-10431-9.
  • Guion, David M. (2010). A History of the Trombone. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-7445-9.
  • Kim, Mi-Ock (1990). The Emergence of Harmonic Tonality in Dufay's Songs (Thesis). East Lansing, Michigan: Michigan State University. OCLC 215004828.
  • McKinnon, James, ed. (1990). Antiquity and the Middle Ages: From Ancient Greece to the 15th Century. London, England: Palgrave Macmillan. ISBN 978-1-349-21157-9.
  • Moll, Kevin N., ed. (2014). Counterpoint and Compositional Process in the Time of Dufay: Perspectives from German Musicology. Oxford, England: Taylor & Francis. ISBN 978-1-135-61733-2.
  • Strohm, Reinhard (2005). The Rise of European Music, 1380-1500. Cambridge, England: Cambridge University Press. ISBN 978-0-521-61934-9.
Journals and articles

Further reading edit

  • Dannemann, Erna (1973) [1936]. Die spätgotische Musiktradition in Frankreich und Burgund vor dem Aufreten Dufays (in German) (Reprint ed.). Valentin Koerner. ISBN 978-3-87320-522-2.

External links edit

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