IL EST BEL ET BON PASSEREAU PDF

Pierre Passereau (fl. – ) was a French composer of the Renaissance. Along with He liked to use nonsense syllables, often in imitation of animals, as in Il est bel et bon, his most popular piece, which imitates the clucking of chickens . Check out Il Est Bel Et Bon by The King’s Singers & Pierre Passereau on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on by the Choral Public Domain Library (). Edition may be freely distributed, duplicated, performed or recorded. tou. tes. – d’un.

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Pierre Passereau was not merely another pretty musical face in the middle of the sixteenth century.

Il est bel et bon, commere, mon mary (Chansons musicales, Paris 1534)

Passereau ‘s music was enjoyed not only in Paris, but also in London and Venice, and Rabelais apparently approved of his work. Passereaj he frequently declined to contribute to the more serious and lyrical genre of the hip “Parisian” chanson as championed by SermisyPassereau demonstrated no less skill in the more upbeat style of Janequin ; he favored the popular rustic — and often bawdy — texts.

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Passereau ‘s unassuming little text echoes the gossip of a pair of French peasant women. The speaker claims that her husband is fine and gives her no trouble: Passereau chooses an extremely light, and even dancelike, musical style to set this rustic dialogue. Despite the imitative entries of the first melody faint echoes of the earlier “Netherlandish” chanson stylethe music proceeds in bouncy phrases, simultaneously echoing the patter of the peasants’ discourse, and kl evening dances at which they may flirt.

Il est bel et bon (Pierre Passereau) – ChoralWiki

The first textual mention of the two women is left to the two highest voices twiceand their gossip speeds along until the one word “pleasures” rings out clearly. After the wife’s true reason for contentment is in the open, the text continues to discuss the clucking of barnyard hens, and Passereau mimics it by allowing the voices to reiterate the first syllable of “coquette”; not only are the singers presenting a clear onomatopoeia for the birdsong, as with so many French chansons of the day, they are letting the birds give their own ribald commentary on rustic sexual morals or the lack thereof.

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Pierre Passereau – Wikipedia

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