Hoort mijn Ghebet

from: Pieter Mannaerts: http://www.clemens500.be/en/overextra.html

Clemens's style remained northern, so without Italian influences. As far as we know, Clemens did not leave the Low Countries and - in contrast to many of his contemporaries - did not embark on an international career at foreign courts or institutions. This is most clear from his religious music (masses and motets), the style of which is largely contrapuntal with voices that are to a certain degree independent. Strict canon (the most radical version of counterpoint), however, is rare with Clemens. The resulting musical texture is often rather dense and compact, with only few breaks. This does not mean that Clemens had no consideration for the listener: a clear text setting and frequent textual repetitions ensure that the meaning of the text is not lost. The style of his French chansons is more transparent and is closer to the Parisian composers who gave new impulses to the genre, such as Claudin de Sermisy. Clemens's three- and four-part Dutch songs and his Souterliedekens are generally simpler in texture and were clearly intended for private use.