Album insights
Jean Mouton (around 1459–1522) holds significant historical importance, although his music remains largely unrecognized today. Born near Samer in Pas-de-Calais, Mouton began his singing career in 1477 in Nesle before becoming the maître de chapelle in 1483. Working in various locations over the years, including Grenoble and Amiens, Mouton eventually joined the chapel of Queen Anne de Bretagne, where he spent the last two decades of his life in prosperous circumstances. His services continued with Anne's husband, King Louis XII, and later with his son-in-law and successor, King Francis I.
In addition to his tenure at the French court, Mouton garnered favor with the music-loving Pope Leo X, who appointed him as Apostolic Notary. Holding multiple benefices, Mouton’s career flourished, with appointments in Grenoble, Saint-Quentin, and Thérouanne. He provided music instruction, with notable student Adrian Willaert, who later served at Venice's St. Mark's Basilica for 35 years.
This recording includes Mouton's eight-part compositions, notably the intricate Nesciens mater. The motet showcases a refined canon structure with unparalleled musical mastery. Similarly complex is Ave Maria, gemma virginum, featuring an octave canon with a mournful tone fitting the text's plea for Mary's intercession. Exsultet coniubilando, potentially crafted for Leo X, stands out as an early "state motet" for eight voices, exhibiting intricate counterpoint and ancient notation.
Mouton's Verbum bonum et suave, a lengthy motet, references a sequent chant dating back to the 11th century. Structured antiphonically with significant cadences, the motet celebrates the Annunciation, showcasing Mouton’s skillful polyphony. Two additional pieces, Inviolata, integra, et casta es, Maria, and Fulgebunt iusti, were not included in the recording due to uncertainties surrounding their authorship.
Moreover, there are two four-part motets: Factum est silentium dramatizes the battle of Archangel Michael with the Dragon, while Bona vita, bona refectio invites a jovial gathering. Mouton's legacy includes 15 complete Mass settings, with Missa Tu es Petrus showcasing his innovative approach by incorporating a higher-placed cantus firmus sung by female voices for depth and texture variations. Mouton’s Mass compositions, distinct from Josquin's techniques, underscore his individuality among Renaissance composers.