Hugo van Grenoble was een oom van de heilige Hugo van Bonnevaux.
In 1134, slechts twee jaar na zijn dood, werd hij door paus Innocentius II heilig verklaard. Zijn feestdag is op 1 april. Hij is de patroonheilige van Grenoble en wordt aanroepen tegen hoofdpijn.
Het kunnen er niet zoveel zijn. Er zijn ook mensen, van het liefste geslacht, die bijvoorbeeld borstkanker krijgen.
Richard Sampson (died 25 September 1554) was an English clergyman and composer, who was Anglican bishop of Chichester and subsequently of Coventry and Lichfield. He was educated at Trinity Hall, Cambridge, the Paris Sorbonne and Sens (also in France). Having become Doctor of Canon Law, he was appointed by cardinal Wolsey diocesan chancellor and vicar-general in his Diocese, the bishopric of Tournai, where he lived till 1517. Meanwhile he gained English preferment, becoming Dean of St. Stephen's, Westminster and of the Chapel Royal (1516), Archdeacon of Cornwall (1517) and prebendary of Newbold (1519). From 1522 to 1525 he was English ambassador to Emperor Charles V. He was now Dean of Windsor (1523), Vicar of Stepney (1526) and held prebends at St. Paul's Cathedral and at Lichfield; he was also Archdeacon of Suffolk (1529). Being a man of no principle, and solely bent on a distinguished ecclesiastical career, he became one of Henry VIII Tudor's chief agents in the royal divorce proceedings, being rewarded therefor by the deanery of Lichfield in 1533, the rectory of Hackney (1534), and treasureship of Salisbury (1535). On 11 June, 1536, he was elected Bishop of Chichester, and as such furthered Henry's political and -from the Catholic point of view schismatical- ecclesiastical policy, though not sufficiently thoroughly to satisfy archbishop Thomas Cranmer.
On 19 February, 1543, he was translated to the bishopric of Coventry and Lichfield on the royal authority alone, without papal confirmation. He held his bishopric through the reign of Edward VI, though Dodd says he was deprived for recanting his disloyalty to the pope. Godwin the Anglican writer and the Catholic John Pitts both agree that he did so retract, but are silent as to his deprivation. He wrote an "Oratio" in defence of the royal prerogative (1533) and an explanation of the Psalms (1539-48) and of the Pauline Epistle to the Romans (1546).
He died at Eccleshall in Staffordshire.
All that is known for certain about Richard Davy's life (c. 1465 - c.1507) is that he was at Magdalen College, Oxford from 1490 to 1492, first as organist and joint choirmaster, then as choirmaster and one of the organists. But it is very probable that he was the Richard Davy, priest, who was a vicar choral at Exeter Cathedral between 1497 and 1506.
Davy is third among the Eton choirbook composers in size of contribution, and probably in excellence of achievement as well. His work shows somewhat less diversity than Browne's or Lambe's, with its preference for the long antiphon in five parts for men and boys, and it has less 'depth'. Instead there is a certain facility which makes quite credible the Eton scribe's note that O Domine coeli terraeque creator(Davy's second longest piece at 260-odd bars) was written in one day ('hanc antiphonam composuit Ricardus Davy uno die Collegio Magdalenae Oxoniis'). Short passages of very rapid soloistic display are more prominent than in Browne's music or in Lambe's. At the same time there is an avoidance of the most complex rhythms which, despite a somewhat more limited use of imitation, puts Davy's music a little closer to that of the early sixteenth century than Browne's is.
Robert Fayrfax (1464-1521) was born in Deeping Gate, Lincolnshire, on April 23, 1464; nothing is yet known of his childhood or early musical training. The first information that we have about Fayrfax's musical career is that he became a Gentleman of the Chapel Royal by December 6, 1497 when he was granted a chaplaincy of the Free Chapel at Snodhill Castle, a post which was relinquished a year later to Robert Cowper, a fellow Gentleman. He is reported as being organist of St Alban's abbey from 1498-1502. Fayrfax gained a Mus.B. from Cambridge in 1501, and a Mus.D. in 1504; he later acquired a D.Mus. from Oxford (by incorporation) in 1511. He became a member of the Fraternity of St Nicholas in 1502. As a singer he is first recorded in 1500 among the lay clerks at the funeral of Prince Edmund, the third son of Henry VII; he was also present at the funeral of Queen Elizabeth, wife of Henry VII, on February 23, 1503, Later lists place him at the head of the singingmen at the funeral of Henry VIl (May 11, 1509), the coronation of Henry VIII (June 24, 1509), the funeral of Prince Henry (February 27, 1511), and the great Anglo-French summit at the Field of the Cloth of Gold in the summer of 1520. Henry VIII, who was somewhat of a skilled musician himself, evidently admired Fayrfax's musical talents and granted the composer numerous royal benefices during the last few decades of his life. From 1509 he was awarded an annuity of £9 2s 6d on top of his salary as a Gentleman of the Chapel Royal.
Henry VIII made Fayrfax a Poor Knight of Windsor on September 10, 1514 to supplement his existing income; he received 12d a day for life. Henry continued to reward him by paying most handsomely each New Year's Day from 1516 to 1519 for books of music; in 1519 payment was for 'a ballad book limned' (that is, illuminated, or more probably simply copied), but the other sums for a 'book', 'a book of anthems' and a 'pricksong book' may have been for composition as well as copying. Fayrfax was paid enormous sums of money for music manuscripts, some amounting to £20. In June 1520, only a year before his death, Fayrfax once more headed the list of Gentlemen of the Chapel Royal when Henry went to France to meet Francis I at the Field of the Cloth of Gold.
From 1502 he may have been on the musical staff at the very rich St Alban's Abbey, though it is not known in what capacity. It has been suggested that Fayrfax was never likely to have been employed at St Alban's and probably held some sort of honorary post there; however, as he composed a mass and antiphon dedicated to St Alban and requested burial in the Abbey, a more substantial connection would seem once to have existed. Very little is known of Fayrfax's private life; a seventeenth-century rubbing of the monument brass which once marked his tomb in St Alban's Abbey reveals that he died on October 24, 1521 at the age of 57. He was survived by his wife, Agnes, and an unknown number of children.
Fayrfax may have been a composer of some national repute by his mid-thirties when a few of his compositions were copied into the Eton Choirbook (c.1500); Although Fayrfax, born in 1464, was therefore little over ten years younger than Browne and Lambe, only three of his surviving works were included in the Eton choirbook (Salve regina, Regali Magnificat, and Ave lumen gratiae). The Caius and Lambeth Choirbooks (assembled in the mid to late 1520s) contain the earliest surviving collections of his masses. Missa O quam glorifica is perhaps Fayrfax's most complex if not most impressive work. According to an inscription in the Lambeth Choirbook it was composed 'for his forme in proceading to bee Doctor'; no doubt this was his exercise for Cambridge University in 1504, the earliest English example known to us. The standard requirement for an early Tudor doctorate was the submission of a mass and antiphon, which were to be performed on the day of taking the degree (no antiphon of this type is known to have survived among Fayrfax's output).
Three of his works preserved in later sources (Aeterne laudis lilium,O quam glorificaand Lauda vivi Alpha et O) are known to have been composed as well as copied after c. 1500; probably a good number more are of similar date since, as we shall see in a moment, Fayrfax was very active musically in the first two decades of the sixteenth century. Aeterne laudis liliumis assumed from its words to be the antiphon in honour of the Virgin and St Elizabeth for which Queen Elizabeth of York paid Fayrfax twenty shillings at St Alban's in 1502: there is an obvious compliment to the Queen in the treatment of the name 'Elizabeth', because some voices sing this more than once despite the usual ban on verbal repetition, and because additional parts are specially introduced. Lauda vivi Alpha et Owas written in or after 1509 because it ends with a prayer for Henry VIIL
Fayrfax's surviving Masses, antiphons and Magnificats show that his reputation was well deserved. They are the work of an extremely thoughtful, discriminating composer who in particular achieved most subtle rhythmic effects very economically, and one who had little time for florid display. Even his scoring and textural schemes show restraint and economy: they are less obviously colourful than those of many Eton works, with for example no use of the gimel.
The decline in floridity is very important as one of the first marked signs of the sixteenth-century stylistic revolution. Crotchets are employed less, often much less, than before, and in particular the use of more than two or three in succession is now not common. Quavers, never frequent, appear scarcely at all, and triplet figures are virtually abandoned. There is even a tendency for minims to be used less freely and to attract syllables less often than in earlier music, even in sections with many syllables. All this might seem to imply just a total shift towards longer values and a quicker semibreve beat, but comparison of Fayrfax's notation as a whole with that of earlier men does not confirm this.
Het is haast onmogelijk meer informatie te geven dan dit weinige: William Corbronde (fl. 1480-1500) was also represented in the Eton Choirbook.
John Browne (fl c 1490) is first among the composers of the Eton Choirbook both in size of contribution and excellence of achievement. It is astonishing that work of such exceptional interest should be known to us only from the Eton Choirbook, even given the paucity of late fifteenth- and early sixteenth-century sources; works by Walter Lambe and Richard Davy are after all found elsewhere. Carols ascribed simply to 'Browne' are preserved in the early sixteenth-century Fayrfax Book (British Museum, Additional MS. 5465), but it is possible that they were composed by William Browne, Gentleman of the Chapel Royal from 1503 to 1511. Nothing is known for certain about Browne's life. A John Browne from Berkshire, born in 1425 and scholar successively of Eton and the sister College of King's, Cambridge in the 1440s, is almost certainly too old to be our man: for musical reasons we should expect Browne the composer to have been born at about the same time as Lambe, or a little later, rather than a quarter of a century earlier. Therefore it is extremely likely that the composer was the John Browne from Coventry elected scholar of Eton in July 1467 at exactly the same time as Lambe, and aged 14 in December of that year (which would make him just a year or two Lambe's junior). The John Browne (d. c. 1498) who was Rector of West Tilbury and canon of St Stephen's, Westminster had important legal and civil service connections and is almost certainly not the composer.
John Browne stands apart from the other Eton composers in his exceptionally varied choice of vocal forces - no two surviving works employ exactly the same - and in some predilection for very sombre texts. He stands apart from Lambe and the older composers in his greater liking for imitation and his somewhat less rigid handling of it (with for example more entries at intervals other than the unison or octave, notably at the fifth). Like Davy he is less inclined to use the old 'under-third' or 'Landini sixth' progression at a cadence (with leading-note falling by step before rising to its tonic) so beloved of John Dunstaple and Guillaume Dufay.
Robert Wylkynson (c. 1450 - 1515 or later) was at Eton from 1496 to 1515, first as parish clerk and then from 1500 as master of the choristers. His nine-part Salve regina and his Apostles' Creed are the last entries in the manuscript and possibly were copied by him. Wylkynson's work, like Cornysh's, has suffered severe losses, for only three of his eight works survive complete; but what remains shows Wylkynson to have been an extremely ambitious composer and a more than competent one. The Salve regina in the Eton Choirbook is the only work from our period in nine parts. To some degree it was probably intended to outdo Browne's eight-part O Maria salvatoris mater.
Richard Mower (fl. ca. 1450 - 1470) was an English composer, represented in the
Henry Petyr (also spelt Petre, Peter) (fl. 1470?-1516?) is an English composer.
Of the life and career of the English composer John Tuder nothing is known. His works survive in two manuscripts; one secular song is preserved in a copy made in 1501, and four liturgical pieces survive in a manuscript written during the 1470s. He flourished as a composer in the second half of the fifteenth century, therefore, and his composition of works for both ecclesiastical and secular environments indicates strongly that he was employed in aristocratic service as a singing-man of the chapel of the household of some prominent member of nobility. His setting appears to have been compiled by some member of the staff of Canterbury Cathedral Priory in the years around 1475. It is a small hand-book, not a performance manuscript but some musician‘s private collection of material of interest to him. It may well be associated in some way with Robert Wydow, who was a priest of one of the chantries in Canterbury Cathedral from 1474 to 1478, and who in the latter year became the first known recipient of the degree of Bachelor of Music from Oxford University. The Lamentations survive in a manuscript now at Magdalene College, Cambridge and is part of the famous collection of Samuel Pepys.
