During the years 1420 - 1440 Dufay composed many pieces for ceremonial purposes, many of which show direct evidence of a particular patron, beneficiary or friend; the reference to the patron was often found in the form of an acrostic down the left hand margin of the poem. One such acrostic is the mysterious masculine name "Jehan de Dinant" that appears in the rondeau Je veuil chanter. Although there is a minstrel listed with that name at the Burgundian court, it is much too early to be the same person, and the only trace of this mysterious de Dinant is found here; it is one of many of these dedications that have not yet been traced to real people.

Dufay had spent several musically unproductive years in Rome, during which he was apparently too occupied with studies for a degree in canon law to compose. When he returned to composition, with a sudden flood of creativity, it was on the occasion of an extended visit to Savoy, beginning in 1433. For that reason, Je veuil chanter, a song of celebration, perhaps for May Day, is usually thought to have been composed at Savoy.

Further, the third stanza contains a pair of lines which seem to be a tribute to the rule of Savoy: "One would not know how to find a lady who pleases me better this side of Paymie." "Paymie" probably refers to "Pavie," a large Italian town lying just beyond the reach of Savoyian jurisdiction. In this cheerful chanson we are possibly hearing the composer relishing his return to his first love, music, and thanking in part these new patrons and colleagues who made possible that return.

Certainly, the music bears this speculation out. Its set in a lively, dancing meter, with appropriate stops and starts articulating the musical gestures that are themselves full of hockets. The two top voices follow each other in close imitation, taking turns leading. All three voices receive equal emphasis, each being brought to the forefront in turn. This gives the piece a balanced, slowly spinning, sculptural quality.

© Donato Mancini, All Music Guide