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Pierre Guédron

Pierre Guédron rose from comparative obscurity in the France provinces to be perhaps one of the most renowned and influential composers of the first seventeenth century France courtroom. His Airs de Cour, specifically, resonated using the modern courtly market and helped gasoline a remarkable Parisian vogue for the genre. The initial documentary proof his lifestyle comes by the end of his puberty: in 1583, Pierre was regarded as performing in the chapel from the Cardinal of Lorraine at Puy d’Evreaux, but his tone of voice had just damaged. He apprently continuing performing for the Cardinal until that gentleman was assassinated in 1588. 2 yrs later, Guédron used in the somewhat even more secular and courtly musical chapel of Ruler Henri IV, and he commenced a meteoric rise in the wonderful world of the courtroom. Even a uncovered report on his successive game titles and courtroom posts gives a concept of his climb: maître des chanteurs de la chambre, compositeur de la chambre du roi, (1601) valet du chambre du roi, maître des enfants de la musique, (1603) maître en la musique de la chambre de sa majesté, (1604) and lastly, in 1613, surintendent des musiques de la chambre du roi. In 1617, he might possess slipped into semi-retirement, by getting into the service from the Queen Mom, less subjected to the infighting of courtroom life; he passed away (presumably rich) in 1619 or 1620. While he was alive, his contemporaries praised him for his abilities like a performer, instructor, and composer as well; he remained in fashion for an extended period after his loss of life. His music betrayed some Italian affects (Caccini, obviously, came to courtroom for the marriage of Ruler Henri and Maria de’ Medici), such as for example expressive recitative plus some tests in basso continuo design, nonetheless it breathed French beauty to its end.

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