Jean Maillard

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 Guillaume Guéroult, as well as Clément 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 Mélanges'' (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. Provided by Wikipedia
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Exactly solved models : a journey in statistical mechanics : selected papers with commentaries (1963-2008) / by Wu, F. Y. (Fa Yueh)
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Modulorum Ioannis Maillardi the five-, six-, and seven-part motets by Maillard, Jean 1538-1572, Maillard, Jean 1538-1572
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Modulorum Ioannis Maillardi the five-, six-, and seven-part motets by Maillard, Jean 1538-1572, Maillard, Jean 1538-1572
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PATREM A Io. MAILLARD. cum octo vocibus, nunc primum in lucem aeditum by Maillard, Jean 1538-1572, Maillard, Jean 1538-1572
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Les écoles de filles à Meyssac by Maillard, Jean
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Transmettre et diffuser les textes anciens au XVIe siècle by Maillard, Jean-François
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Bibliothèque Musicale des Ducs d'Aiguillon by Maillard, Jean-Christophe
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La France des humanistes. Hellénistes by Maillard, Jean-François
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L'enseignement bilingue aujourd'hui by Duverger, Jean, Maillard, Jean-Pierre
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Vincent d'Indy le maître et sa musique ; la Schola Cantorum by Maillard, Jean 1926-1985, Maillard, Francine
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Determination de la proprete des sables par les methodes de l'essai d'equivalent de sable et de l'essai au bleu de methylene by Estoup, Jean-Marie, Maillard, Jean-Louis
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Adam de la Halle perspective musicale by Maillard, Jean 1926-1985
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Guide français de l'enseignement international by Maillard, Jean-Pierre, Malingre, Daniel
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Essai sur l'esprit du héros baroque (1580-1640) Le même et l'autre by Maillard, Jean-François
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Lais et chansons d'Ernoul de Gastinois by Maillard, Jean 1926-1985
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Evolution et esthétique du lai lyrique des origines à la fin du XIVeme siècle Seminaire de musicologie by Maillard, Jean 1926-1985
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Coutumes musicales au moyen âge d'après le Tristan en prose by Maillard, Jean
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Dieu est de retour la nouvelle évangélisation de la France by Maillard, Jean-Baptiste
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Monsieur, frère du roi, mécène by Maillard, Jean-François
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