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Antoine de Févin (c. 1470 – late 1511 or early 1512) was a French composer of the Renaissance. He was active at the same time as Josquin Desprez, and shares many traits with his more famous contemporary. Févin was most likely born in Arras, the son of an alderman. His brother Robert de Févin was also a composer. Most likely, Antoine left Arras in the late 1480s, though there is no evidence that he went to Italy, the most common destination for Franco-Flemish composers of the time. Sometime during the 1490s it is likely he became a priest (although there is no known documenation of that today), and he also may have obtained a master's degree at a university, since he is commonly known as maistre later in his life. By 1507 he was working as a singer and composer for Louis XII of France, who praised him highly. He died at Blois. All of Févin's surviving music is vocal. He wrote masses, motets and chansons. Stylistically his music is similar to Josquin's in its clarity of texture and design, and its relatively progressive nature: Févin evidently wrote in the most current styles, adopting the method of contrasting imitative sections with homophonic sections which came into prominence around 1490. Unlike Josquin, he was less concerned with the careful setting of text than with formal structure; his setting of individual words is occasionally clumsy, though his larger-scale structures are easy to follow. He also particularly liked the device of using vocal duets to contrast with t
Lute Works, 1517
The Gadfly (Original Score)

Divitis & De Févin: Lux Perpetua, Requiem

The Spy's Choirbook
Anne Boleyn's Songbook: Music & Passions of a Tudor Queen
The Music of Kings From the XI-XVI Centuries
de Févin: Requiem d'Anne de Bretagne
Villon To Rabelais - 16th Century Music of the Streets, Theatres, and Courts
Févin: Missa Ave Maria & Missa Salve sancta parens
Antoine de Févin: Chansons et motets (Arr. for Guitar)
Music of the Reformation (Ein feste Burg ist unser Gott)

Requiem d'Anne de Bretagne