Ars Antiqua
The transitional period between the school of Notre-Dame and Ars Nova is called “Ars Antiqua.” It spans from around 1250 to 1320. During this time, Notre-Dame lost its musical supremacy. Polyphony spread across Europe, and other musical centers became more active. The strained relations between the clergy and King Philip the Fair, the absence of charismatic figures, and the reluctance to engage renowned musicians explain this decline in quality. Additionally, architectural modifications to the cathedral in the 13th century likely deprived choristers of showcasing their art. Indirectly, the Sorbonne contributed to the revival of music at Notre-Dame. The renown and autonomy gained by the university dealt a fatal blow to the teaching of theology at Notre-Dame, causing the episcopal school to refocus on liturgical training.
Jean de Gerson (1363-1429), chancellor of the cathedral, wrote the first internal regulations for the school in 1408. He stated that “the community of children devoted to divine service is the most beautiful and fruitful part of the Church.” These regulations remained in force until the secular reform of 1807. They required the children to lead a quasi-monastic life and abolished the descant in favor of plainchant and counterpoint.
Music Masters and Organists
In the 14th century, teaching was completely reorganized. The first music masters appeared, taking over from the cantors who had previously ensured music education. Notre-Dame’s artistic staff included eight choirboys and eighteen men. Jacques de Villejuif, appointed in 1356, was the first known music master. The following year, a document recorded the presence of a permanent organ for the first time. This instrument had existed for several decades. The first known organist, Jean de Bruges, appeared in records in 1334. Renaud de Reims, the organist from 1392 to 1415, initiated the construction of the first organ at the back of the nave, created by Frédéric Schambantz.
Pierre Chabanceau de La Barre, organist from 1580 to 1600, was praised during his lifetime and remained notable. For a long time, organists, though often excellent musicians, were limited to brief improvisations between verses sung by the choir or cantors. Only the music masters of the school could compose motets, psalms, and choral masses.
These music masters enjoyed increasing prestige. A wind of novelty blew in 1498 with the appointment of Antoine Brumel. The future chapel master of the Duke of Ferrara brought with him a new form of Franco-Flemish polyphony. His stay in Paris marked his contemporaries. From 1507, Louis Vanpulaer continued in this new direction.
The Little Singers of Notre-Dame
Around 1550, Jacques Hérissant increased the number of students to twelve. The reputation of the Little Singers of Notre-Dame was such that in 1576, the Duke of Guise attempted to abduct the young student Ruffin, moved by his voice. Fortunately, the attempt failed. In 1628, a dispute arose between Louis XIII and the Cathedral Chapter over the child Michel Preux, who had been lent to the Louvre Chapel and whom the king was slow to return.
After the troubled times of the League, Abraham Blondet restored the choir’s brilliance. In 1606, he set to music a tragedy on the life and martyrdom of Saint Cecilia, “La Céciliade,” presented by his students with great success.
