Alard du Gaucquier | |
---|---|
Born | c. 1534 Lille |
Died | c. 1582 (aged 47–48) |
Other names | Alard Nuceus |
Occupation(s) | kappellmeister, composer, teacher |
Alard du Gaucquier (c. 1534 – c. 1582) was a choirmaster at the Imperial Chapel of the Holy Roman Empire. [1] He began composing noted Magnificats and masses in 1574. [1]
According to the City Archives of Antwerp, Gaucquier was born in Lille sometime around 1534. [2] [3] Approximately in the year 1558 he entered the service of the Holy Roman Emperor, Maximilian II as a tenor singer. [2]
At the January 1567 death of Jacobus Vaet, Gaucquier was appointed interim Kapellmeister and was given a trial. Evidently Emperor Maximillian II did not find Gaucquier entirely suitable to the role, for he appointed his ambassador to Rome, Count Prospero d'Arco, to find a permanent replacement for Vaet, with a note expressing dissatisfaction with Gaucquier's performance. [4] He was indeed replaced by Philippe de Monte on 1 May 1568, [2] but the position of vice-Kapellmeister was created specifically for Gaucquier. [2] He was given a patent of nobility at the same time, acquiring a coat of arms depicting a nut tree. [3] In addition to his court duties he was music teacher to the younger sons of Maximilian. [3] [5] In 1578, he requested release from his employment after having served the Holy Roman Emperor for twenty years, [2] which was granted by Rudolf II along with a lifelong pension of 100 guilders. [3] He moved to the Netherlands to become a conductor for his former pupil, Matthias, while the latter was acting as Governor-General there. [2] [3] [5]
He received an invitation from Archduke Ferdinand II to become Kapellmeister at his Innsbruck court. [2] Gaucquier left Brussels on 29 October 1581 to accept this position but he never arrived there. [2] There is no further mention of Gaucquier until his widow was granted a pauper's pension of 50 florins in March, 1583. [2] [5]
In 1574 eight Magnificats, scored for four to six voices, were published in Venice. [3] A set of four masses scored for five to eight voices was published in Antwerp in 1581. [3] An additional four-voice mass has been attributed to him. [3] His works are in cantus firmus, with significant instances of indirect chromaticism and dissonant false relations. [3]