Obrecht Jacob Obrecht

Jacob Obrecht (also Hobrecht; 1457/8^[1] – late July 1505) was a Low Countries (greater Netherlands) composer of Low Countries Renaissance music. He was the most famous composer of masses in Europe in the late 15th century, being eclipsed by only Josquin des Prez after his death.

Works

Obrecht wrote mainly sacred music—masses and motets—and he also wrote some chansons.

Combining modern and archaic elements, Obrecht's style is multi-dimensional. Perhaps more than those of the mature Josquin, the masses of Obrecht display a profound debt to the music of Johannes Ockeghem in the wide-arching melodies and long musical phrases that typify the latter's music. Obrecht's style is an example of the contrapuntal extravagance of the late 15th century. He often used a cantus firmus technique for his masses: sometimes he divided his source material up into short phrases; at other times he used retrograde versions of complete melodies or melodic fragments. He once even extracted the component notes and ordered them by note value, long to short, constructing new melodic material from the reordered sequences of notes. Clearly to Obrecht there could not be too much variety, particularly during the musically exploratory period of his early twenties. He began to break free from conformity to formes fixes, especially in his chansons. Of the formes fixes, the rondeau retained its popularity longest. However, he much preferred composing Masses, where he found greater freedom. Furthermore, his motets reveal a wide variety of moods and techniques.

In his Missa Sub tuum presidium, the number of voice parts in the five movements increases from three in the Kyrie, to four in the Gloria, and so on up to seven in the Agnus Dei. The title chant is clearly heard in the top voice throughout the work, and five additional Marian chants are found in movements other than the Kyrie. His late four-voice mass, Missa Maria zart (tender Maria), tentatively dated to around 1504, is based on a devotional song popular in the Tyrol, which he probably heard as he went through the region around 1503 to 1504. Requiring more than an hour to perform, it is one of the longest polyphonic settings of the Mass Ordinary ever written.

Despite working at the same period, Obrecht and Ockeghem (Obrecht's senior by some 30 years) differ significantly in musical style. Obrecht does not share Ockeghem's fanciful treatment of the cantus firmus but chooses to quote it verbatim. Whereas the phrases in Ockeghem's music are ambiguously defined, those of Obrecht's music can easily be distinguished, though both composers favor wide-arching melodic structure. Furthermore, Obrecht splices the cantus firmus melody with the intent of audibly reorganizing the motives; Ockeghem, on the other hand, does this far less.

Obrecht's procedures contrast sharply with the works of the next generation, who favored an increasing simplicity of approach (prefigured by some works of his contemporary Josquin). Although he was renowned in his time, Obrecht appears to have had little influence on subsequent composers; most probably, he simply went out of fashion along with the other contrapuntal masters of his generation.