The Franco-Flemish composer Jean Guyot (ca. 1520-1588) has remained little known among the generation after the death of Josquin Desprez. This may be because he went by so many different names, among them Jean de Châtelet, Castileti (the Italian form of the preceding), and Jean Guyot de Châtelet. His style resembles that of Nicolas Gombert, with large, dense works divided into a procession of points of imitation, but to judge from the motets recorded here, along with an unusual Te Deum divided into tiny text segments, he ...
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The Franco-Flemish composer Jean Guyot (ca. 1520-1588) has remained little known among the generation after the death of Josquin Desprez. This may be because he went by so many different names, among them Jean de Châtelet, Castileti (the Italian form of the preceding), and Jean Guyot de Châtelet. His style resembles that of Nicolas Gombert, with large, dense works divided into a procession of points of imitation, but to judge from the motets recorded here, along with an unusual Te Deum divided into tiny text segments, he had something of Josquin's uncanny sensitivity to text. Guyot did not travel to Italy like many of his contemporaries, but did go to Vienna later in life to take a position at the imperial Habsburg court, only to have it snatched away after the death of the emperor who hired him. His works were published by Tielman Susato and were distributed all over Europe. Sample the six-voice Accepit Jesus panem with its striking repetition of the words "in meam commemorationem" ("in remembrance of...
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