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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Just listen to the King’s Singers version on Youtube: It’s sure that the sound of Musescore’s Choir Ahs isn’t appropriate for this ll much too slow in responsebut this is not a reason to slow down its tempo. Haben Sie einen guten Mann?
Passereau – Il est bel et bon
Additional features of Passereau’s chansons include the use of quick declamation, chordal passages with occasional polyphony, generally syllabic word setting, satirical and ribald subjects, and catchy rhythms.
The Best Books of Genre Vocal Music Classical. Monique Rio submitted Chansons de la Renaissance.
PDF also includes If music be the food of love by Purcell. Creative Commons Attribution Non-commercial 3. John IV of Portugal.
Looking for beautiful books? In French lute-tablature Unisono. OK, thanks for pointing me to these sources.
Web page content is available under the CPDL copyright license ; please see individual editions for their copyright terms.
Most of them were “rustic” in character, similar to patter songsusing onomatopoeiadouble entendresand frequent obscenitya common feature of popular music in France and the Low Countries in the s.
Il est bel et bon
This work contains a popular Renaissance chanson which is partly onomatopoeic. Since details of his biography are spotty, it is difficult to determine how much lost work there may be. Views Read Edit View history. Verleih uns Frieden Felix Mendelssohn.
Vienese Splendour Italian Renaissance Music. Passereau ‘s unassuming little text echoes the gossip of a pair of French peasant women.
Il est bel et bon (Pierre Passereau) – ChoralWiki
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 I chansons of the day, they are letting the birds give their own ribald commentary on rustic sexual morals or the lack thereof. Marco Gallo submitted The score can be downloaded in the format of your preference: He doesn’t scold me, or beat me either.
Contents 1 Performances 1.