The only known fact about Mathurin Forestier (c. 1500-1535) is that there indeed had been a composer under this name - at least there are extant manuscripts with his supposed works. I say supposed because out of the two masses recorded on this disc one has been attributed also to Josquin Desprez (Baises Moy, based on the latters' chanson by the same name) and the other - L'Homme Arme - to Jean Mouton. At any rate, it is an honour for a composer to be confused with either of those two. Grove article below.
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French composer.
Lowinsky suggested he was the same person as Mathurin Dubuysson, a singer in
the Ste Chapelle, Paris, between 1489 and 1513. If Forestier was close in age
to the composers whose sacred music appears with his in manuscripts from the
Netherlandish court scriptorium, he was probably born around 1470 and may have
died as late as the 1530s. These works (all ed. in CMM, civ, 1996) include
three Masses (Missa ‘Intemerata virgo’, 4vv, on the third and fourth
sections of Josquin’s Vultum tuum; Missa ‘Baises moy’, 5vv, on
Josquin’s chanson; and Missa ‘L’homme armé’, 5vv, also attributed to
Mouton) and two motets on sequence texts (Alma chorus domini, 4vv; and Veni
Sancte Spiritus, 6vv, also attributed to Josquin) which reveal a fondness
for canonic textures reminiscent of Josquin and Mouton, most remarkably in the
final section of the Missa ‘L‘homme armé’, a canon for seven voices out
of one on the well-known melody.Three
four-voice chansons in a more modern style (L‘aultre jour en ung jardin
in 1538, and Frere Bidault and O cruaulté qui m’as mis
in 1541) appear in sources later than any of the Mass manuscripts
and may therefore have been written by a different man, especially since no
first name is given for their author. Similarly, the earlier, untexted,
three-voice setting of La hault d’alemaigne in 1504,
attributed simply to ‘Mathurin’, may be by yet someone else, though no other
composers of either name are currently known.
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