"Jean Maillard (compositeur)"@fr . "Jean Maillard (c. 1515 \u2013 after 1570) was a French composer of the Renaissance. While little is known with certainty about his life, he may have been associated with the French royal court, since he wrote at least one motet for them. Most likely he lived and worked in Paris, based on evidence of his print editions, which were prepared there. Since later in his career he set verse by Huguenot poet , as well as Cl\u00E9ment Marot, he may have either become a Protestant or had Protestant sympathies; this could explain his disappearance from Paris around 1570. If he did leave the city then, his destination is unknown. No record of him after that year has been found. Maillard is mentioned by Rabelais in Gargantua and Pantagruel, and also by Ronsard in his Livre des M\u00E9langes (1560 and 1572). He was evidently famous during his time, and many of his motets were used as source material for parody masses by composers as distinguished as Palestrina; in addition Lassus reworked some of his music. Claude Goudimel also used a secular chanson of Maillard's as source material for a mass. Six of Maillard's masses have survived, and two others are known to have been lost. Considerable other music of his has survived in printed editions, including eighty-six motets, settings of the Magnificat, lamentations, chansons spirituelles, and secular chansons. Stylistically, his sacred music is more closely related to the contemporary Franco-Flemish idiom of pervasive, dense, complex polyphony than to the relatively clear and succinct style of his fellow French composers. In particular, he used short motifs in close imitation, and often used strict canonic devices. About half of his motets are for four voices; the rest are for five or six, with one motet for seven voices. Many of his motets have the cantus firmus in long note values in the highest voice, while the other voices carry on in a polyphonic, imitative texture. His Missa pro mortuis was an early Requiem mass setting, and one of the only examples from France in the 16th century. Unlike his sacred music, his secular music was in the prevailing popular idiom of the 1540s."@en . . . . "Jean Maillard, n\u00E9 vers 1515 et mort apr\u00E8s 1570, est un compositeur fran\u00E7ais de la Renaissance, probablement actif \u00E0 Paris."@fr . . . . . . . . "1240511"^^ . . . . "3740"^^ . . . . . . . . . "Jean Maillard"@en . . . . . "Jean Maillard (c. 1515 \u2013 despr\u00E9s del 1570) fou un compositor franc\u00E8s del Renaixement. La vida de Jean Maillard \u00E9s molt poc coneguda. Deix\u00E0 una Missa ad imitationem moduli (Par\u00EDs, 1557), Cantiones sacrae sen motectae quatuor vocum (Par\u00EDs, 1561), i altres moltes composicions publicades en les col\u00B7leccions de l'\u00E8poca."@ca . . . . . . . . . . . . . "Jean Maillard, n\u00E9 vers 1515 et mort apr\u00E8s 1570, est un compositeur fran\u00E7ais de la Renaissance, probablement actif \u00E0 Paris."@fr . . . . . . . . . "Jean Maillard"@it . . "1067722674"^^ . . "Jean Maillard (1515 circa \u2013 dopo il 1570) \u00E8 stato un compositore francese di musica rinascimentale. Poche sono le informazioni certe sulla sua vita, potrebbe essere associato alla Corona francese soprattutto per un mottetto scritto in suo onere. Molto probabilmente visse e lavor\u00F2 a Parigi, tale affermazione \u00E8 basata principalmente sulle edizioni dei suoi scritti, che qui furono preparate. Verso la fine della carriera, lavor\u00F2 inoltre per il poeta ugonotto Guillaume Gu\u00E9roult."@it . "Jean Maillard"@ca . . "Jean Maillard (c. 1515 \u2013 despr\u00E9s del 1570) fou un compositor franc\u00E8s del Renaixement. La vida de Jean Maillard \u00E9s molt poc coneguda. Deix\u00E0 una Missa ad imitationem moduli (Par\u00EDs, 1557), Cantiones sacrae sen motectae quatuor vocum (Par\u00EDs, 1561), i altres moltes composicions publicades en les col\u00B7leccions de l'\u00E8poca."@ca . . . . . "Jean Maillard (c. 1515 \u2013 after 1570) was a French composer of the Renaissance. While little is known with certainty about his life, he may have been associated with the French royal court, since he wrote at least one motet for them. Most likely he lived and worked in Paris, based on evidence of his print editions, which were prepared there. Since later in his career he set verse by Huguenot poet , as well as Cl\u00E9ment Marot, he may have either become a Protestant or had Protestant sympathies; this could explain his disappearance from Paris around 1570. If he did leave the city then, his destination is unknown. No record of him after that year has been found."@en . . . . . . "Jean Maillard (1515 circa \u2013 dopo il 1570) \u00E8 stato un compositore francese di musica rinascimentale. Poche sono le informazioni certe sulla sua vita, potrebbe essere associato alla Corona francese soprattutto per un mottetto scritto in suo onere. Molto probabilmente visse e lavor\u00F2 a Parigi, tale affermazione \u00E8 basata principalmente sulle edizioni dei suoi scritti, che qui furono preparate. Verso la fine della carriera, lavor\u00F2 inoltre per il poeta ugonotto Guillaume Gu\u00E9roult. Come Cl\u00E9ment Marot, probabilmente si fece protestante o comunque matur\u00F2 simpatie per tale corrente religiosa. Ci\u00F2 pu\u00F2 spiegare il suo allontanamento da Parigi nel 1570, con destinazione sconosciuta, dopo il quale non si hanno pi\u00F9 notizie di lui. Maillard \u00E8 menzionato da Rabelais in Gargantua e Pantagruel, e da Ronsard nel suo Livre des M\u00E9langes (rispettivamente 1560 e 1572). Ci\u00F2 evidenzia come il compositore fosse celebre nel periodo, e molti dei suoi mottetti furono usati come materiale originario per messe parodistiche da compositori come Giovanni Pierluigi da Palestrina; inoltre rielabor\u00F2 alcune delle sue musiche. Claude Goudimel us\u00F2 inoltre una sua canzone secolare come base per la composizione di una messa. A noi sono giunte sei messe di Maillard (di altre due si conosce l'esistenza ma la musica \u00E8 andata perduta), 86 mottetti, magnificat, lamenti, canzoni spirituali e profane."@it . . . . . . . . . . . . . . . . . . . . . .