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Brumel was a top composer in the Franco-Flemish tradition during the time of <a href="spotify:artist:31f23hmZawdqgp0sECAzE8">Josquin</a> and <a href="spotify:artist:0e7j7UZLXvRC62EozoSTc5">Obrecht</a>. Brumel was a pupil of <a href="spotify:artist:31f23hmZawdqgp0sECAzE8">Josquin</a>, and historically significant as the first truly French composer to be associated with the court in Burgundy. Much of his fame rests on the 12-voice Missa Et ecce terrae motus, which was to be cited until the end of the sixteenth century and led to the composition of more laments on his death than were received by his contemporaries <a href="spotify:artist:0e7j7UZLXvRC62EozoSTc5">Obrecht</a>, Mouton, and Agricola combined.
Brumel's style in this Mass (and in much of his work) is primarily chordal, largely eschewing contrapuntal intricacy and making sparing use of imitation. As such, his style has more in common with the later Renaissance style as exemplified by <a href="spotify:artist:0BS8IrFmvK1tXenMULjwem">Palestrina</a> than the style of <a href="spotify:artist:5bk4CYx5KyU34CeJmoJEaO">Ockeghem</a> or <a href="spotify:artist:31f23hmZawdqgp0sECAzE8">Josquin</a>. The Missa Et ecce terrae motus ("Earthquake Mass") is hence historically significant for its style which is somewhat anticipatory of later developments and for its through-composed 12 voices, that produce massive blocked chordal structures. On the whole, Brumel's music should appeal those who enjoy the later Renaissance style who will, no doubt, find this an interesting example of earlier large chordal music sparse in contrapuntal ideas.
Brumel's style in this Mass (and in much of his work) is primarily chordal, largely eschewing contrapuntal intricacy and making sparing use of imitation. As such, his style has more in common with the later Renaissance style as exemplified by <a href="spotify:artist:0BS8IrFmvK1tXenMULjwem">Palestrina</a> than the style of <a href="spotify:artist:5bk4CYx5KyU34CeJmoJEaO">Ockeghem</a> or <a href="spotify:artist:31f23hmZawdqgp0sECAzE8">Josquin</a>. The Missa Et ecce terrae motus ("Earthquake Mass") is hence historically significant for its style which is somewhat anticipatory of later developments and for its through-composed 12 voices, that produce massive blocked chordal structures. On the whole, Brumel's music should appeal those who enjoy the later Renaissance style who will, no doubt, find this an interesting example of earlier large chordal music sparse in contrapuntal ideas.
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