A Dictionary of Music and Musicians/Clemens non Papa

by George Grove

CLEMENS NON PAPA, the sobriquet of Jacques Clement, one of the most renowned musicians of the 16th century. He was born in Flanders, and succeeded Gombert as chief Chapel-master to Charles V. Of the time and place of hia birth or death, or of any event of his life, nothing is known. It is probable that he spent several years in Italy; and it is certain that he died before 1558, since a motet on his death, by Jacob Vaët, is contained in a work published in that year ('Novum et insigne opus …' tom. I. Noribergae, 1558). Clement was one of the most prolific composers of his day. This man, whose very name is now known only to a few curious students, was the universal favourite of cultivated Europe, and his works, both sacred and secular, were printed and reprinted in every shape, from costly folios to cheap pocket editions. They formed the gems of the various collections published in Italy, Germany, Belgium, and France. Tho sobriquet itself is a proof of the reputation of the man, since it was intended to distinguish him from Pope Clement VI [App. p.594 "VII"], and in one of the chief collections of the time he is styled 'Nobilis Clemens non Papa.' Some of his works appeared in 1543 (Fétis), others in 1556—1560. Fétis enumerates 11 masses and 92 motets. Also four books of Flemish psalms (Souter Liedekens) and one of French chansons. Separate pieces will be found in the 'Liber primus Cantionum sacrarum' (Louvain, 1555); the 'Motetti del Labirinto' (Venice, 1554); and the 'Recueil des fleurs,' etc. (Louvain, 1569). Commer has published 43 of his motets and chansons, as well as the Flemish psalms (Collectio op. mus. batavorum). Proske has included three motets in his 'Musica Divina,' and winds up a notice of his life by the following remarks:—'He seems to have attempted all the styles then known. He was no slave to counterpoint, but for his time possessed an extraordinary amount of melodies and clear harmony. No one in his day surpassed him fur tunefulness and elegance, his melodies are far more fresh and pleasing than those of his contemporaries, and his style is easy, simple, and clear. That he often pushed imitation too far and neglected the due accentuation of the text is only to say that he belonged to the 16th century.'

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