Jacob Obrecht Net Worth

Jacob Obrecht was born in Ghent, Belgium, Dutch, is Composer. Jacob Obrecht was one of the Franco-Flemish composers of the Renaissance era who earned great fame across Europe in his lifetime. However, soon after his death, his fame was somewhat eclipsed by Josquin des Prez, one of his contemporaries. The body of Obrecht’s work includes a number of 30 settings of the mass, and also motets for 3 and 4 vocal parts. His style of composition incorporated a frequent use of vertical chords. His work was quite distinct from Josquin’s, in the sense that it hardly maintained a single motivic pattern throughout a section and thus his counterpoint didn’t have a long-range function. One of the prominent characteristics of his work is that it has full and sonorous writing, parallel 10ths between outer voices, and an adept use of canon while keeping focus on root-position chords. Obrecht spent most of his career in Flemish cities. He was appointed as a composer in Italy by the duke and though, after the duke’s demise, he became unemployed, he continued to stay there until he succumbed to plague.
Jacob Obrecht is a member of Musicians

Age, Biography and Wiki

Who is it? Composer
Birth Place Ghent, Belgium, Dutch
Died On July 1505

💰 Net worth: Under Review

Some Jacob Obrecht images

Biography/Timeline

1504

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.

1505

While most of Obrecht's appointments were in Flanders in the Low Countries, he made at least two trips to Italy, once in 1487 at the invitation of Duke Ercole d'Este I of Ferrara, and again in 1504. Ercole had heard Obrecht's music, which is known to have circulated in Italy between 1484 and 1487, and said that he appreciated it above the music of all other contemporary composers; consequently he invited Obrecht to Ferrara for six months in 1487. In 1504 Obrecht returned to Ferrara, but on the death of the Duke at the beginning of the next year he became unemployed. In what capacity he stayed in Ferrara is unknown, but he died in the outbreak of plague there just before 1 August 1505.

2014

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

2015

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.