Hayne van Ghizeghem, Ayne, Haine, Scoen H., *ca. 1445 probably Gijzegem (near Ghent), †between 1472 and 1497, a Burgundian composer, singer and instrumentalist (lutenist?).
He was a member of the court of Charles, Count of Charolais (later Charles the Bold). In 1456, the prince entrusted him to the care of the court singer Constans d’Utrecht, from whom Hayne presumably learnt music. From the second half of 1467 until 6 July 1472, Hayne’s name appeared in the list of singers and courtiers in the accounts of the Burgundian court. Literary sources from 1468 record Hayne’s stay in Cambrai, where he was to perform alongside Robert Morton as an instrumentalist. He took part in Charles’s military campaigns alongside the court: in 1468 in the campaign against Liège (?), and in 1472 at the siege of Beauvais. Hayne’s subsequent fate is unknown. The absence of any mention of Hayne in court records might suggest that he died during the siege, whilst the increase in the number of compositions unknown prior to 1480 in manuscripts originating from the French court might suggest that he was at the French court in the 1480s and 1490s; neither of these hypotheses is confirmed by the sources. Based on a reference by G. Crétin in his 1497 elegy on the death of Ockeghem, it can be assumed that Hayne died shortly before 1497.
Hayne’s songs have been preserved in numerous manuscripts of various origins from the 15th and 16th centuries, as well as in later sources (including arrangements), some of which specify the author, others with a different attribution, and some anonymously. Some (Alez regretz and De tous biens plaine) have survived in 25 manuscript and printed versions. Several songs served as a basis for compositions by other authors (e.g. De tous biens plaine by L. Compère, H. Isaac, Josquin des Prés and others). Hayne’s output, exclusively secular and limited to polyphonic songs with French texts, represents the mature style of the Burgundian School. These songs are characterised by three-voice harmony, a predominance of even metres, concept of a treble-oriented voice texture, tonal uniformity, moderate use of imitation, and rondo forms. Hayne was – alongside A. Busnois – one of the leading figures of the Burgundian chanson, and some of his works are classic examples of the genre (e.g. Alez regretz, Mon souvenir, De tous biens plaine).
Literature: O. Gombosi Ghizeghem und Compère. Zur Stilgeschichte der burgundischen Chanson, in: Studien zur Musikgeschichte, commemorative book of G. Adler, Vienna 1930, reprint 1971; F. Feldmann Zwei weltliche Stücke des Breslauer Codex 2016, “Zeitschrift für Musikwissenschaft” XIII, 1930–31; J. Marix Hayne van Ghizeghem. Musician at the Court of the 15th-century Burgundian Duke, “The Musical Quarterly” XXVIII, 1942; B.R. Posner Life and Works of Hayne van Ghizeghem, Princeton 1972 (dissertation).
Compositions:
Alez regretz, song for 3 voices (dedicated to John II de Bourbon)
Amours amours, song for 3 voices
Ce n’est pas jeu, song for 3 voices
De quatre nuys, song for 3 voices
De tous biens plaine, song for 3 voices
De vous amer, song for 3 voices
La plus grand chiere de jamais, song for 3 voices
La regretée, song for 3 voices
Les grans regretz, song for 3 voices
Mon souvenir, song for 3 voices
Penser en vous, song for 3 voices
Pour ce que j’ay jouy, song for 3 voices
A la audienche, song for 4 voices, uncertain authorship
De vous servir, song for 3 voices, uncertain authorship (Jean Fresneau?)
Elle en est, song for 3 voices, uncertain authorship
Gentil gallans, song for 3 voices, uncertain authorship
J’ay bien choisi, song for 3 voices, uncertain authorship
Je say tout, song for 3 voices, uncertain authorship
Plus n’en array, song for 3 voices, uncertain authorship
Se une fois, song for 3 voices, uncertain authorship
Suis venu, song for 3 voices, uncertain authorship
Se je vous esloigne, song for 3 voices, uncertain authorship (Alexander Agricola?)
Among the most important sources for Hayne’s songs are manuscripts of French origin: Paris, Bibliothèque Nationale, call number 2245; London, British Library, call number Roy 20. XVI; Florence, Biblioteca Riccardiana e Moreniana, call number 2794; Washington, Library of Congress, call number M 2.1.L25 Case; as well as the collection Harmonice musices odhecaton A and its part 2 Canti B, Venice 1501, O. Petrucci, 2nd ed. 1503, 3rd ed. 1504 (book A only), the Glogauer Liederbuch (Glogau Song Book) from ca. 1477–88, Berlin, Staatsbibliothek, call number 40098, manuscript from the late 15th century, Wrocław, University Library, call number 2016
Editions:
Hayne van Ghizeghem Opera omnia, ed. B. Hudson, «Corpus Mensurabilis Musicae» LXXIV, Rome 1977
O. Petrucci. Harmonice musices odhecaton A, eds. H. Hewitt, I. Pope, Cambridge (Massachusetts) 1946
