Josquin of the Meadows
Josquin of the Meadows born with Beaurevoir (Picardy) towards 1450 and died in Cop-on-the Scheldt the August 27th 1521, often simply indicated under the name of Josquin , is a type-setter free-Flemish of the Renaissance. He is also known as a Josquin Desprez , Francization of the Dutch Josken Van De Velde , diminutive of Joseph Van De Velde Latinized in Josquinus Pratensis or Jodocus Pratensis . This origin is disputed by Robert Wangermée who, on the basis of testimony of Ronsard (of which it underlines in the passing the musical culture), estimates that Josquin should be regarded as a Walloon He is the European type-setter most famous between Guillaume Dufay and Palestrina and is usually regarded as the central figure of the free-Flemish school. Josquin is largely regarded by the specialists as the first Master in the polyphonic style of high the Renaissance, music vocal which was going to emerge during its life.
During the 16th century, Josquin gradually acquired the reputation of larger type-setter of the time. The control of its technique and its expression were universally admired and imitated. Authors as various as Baldassare Castiglione or Martin Luther wrote about its reputation and of its fame. Theorists like Glaréan and Gioseffo Zarlino considered its style like best representing perfection.
It was admired so much that many anonymous compositions were allotted to him by copyists, probably to increase their sales. At least 374 works are assigned to him; it is only on arrival of the modern methods of analysis that some of these erroneous attributions could be revealed, on the basis of comparison with the characteristics of its style and its writing. The only work of its own hand which reached us is a graffiti on the wall of the Chapelle Sixtine and we know only one mention relative to its character in a letter with Hercules Ier d' Este, duke of Ferrare. The life of dozen minor type-setters of the Rebirth is documented better than that of Josquin.
He wrote sacred music and layman in all the clean vocal forms at the time and including/understanding masses, Motet S, Chanson S, and Frottole S. At the 16th century, he was praised for his important melody contribution and his use of clever technical devices. At the time modern, the specialists sought to supplement his biography and tried to define the principal characteristics of its style to correct the errors of attribution, tries particularly difficult. Like Stravinsky more than 400 years later, Josquin liked to solve compositionnelles difficulties in various manners in its successive works. He wrote sometimes in an austere style stripped of any ornamentation and composed of other times a music requiring a considerable virtuosity. Glaréan wrote into 1547 that Josquin was not only a " magnificent virtuoso" but that it was also capable of " moqueries" by using the very effective satyr of manner. During these last year, many specialists were concerned with withdraw works of the corpus of Josquin for the réattribuer with its contemporaries, that does not prevent it from being the most famous type-setter and most representative who reached us of the Rebirth.
Biography
Initially singer with collegial of Saint-Quentin (Aisne) then, of 1459 with 1472, to the cathedral of Milan (Italy), Josquin of the Meadows entered in 1474 to the service of Galeazzo Maria Sforza like cantore di Cappella . Between 1476 and 1504, it passed to the service of the cardinal duke Ascanio Sforza. Of 1486 and 1494, it was attached to the pontifical vault, but travelled much: Milan, Modena, Nancy, Paris, Pleasure… a time musician at the court of the king de France Louis XII, he was Master of chorus of the cathedral of Saint-Quentin in 1509. Towards 1500, it left Rome to enter to the service of the duke of Ferrare, auprès of which it will remain until in 1515. It was then named canon with Cop-on-the Scheldt until his death.
Birth and beginning of the career
One knows few things of the first years of the life of Josquin. Essence is especially deductive and speculative although many indices emerged from its works and the writings of contemporary type-setters or theorists and authors of the following generations. Josquin was born in an area placed under the authority from the dukes from Burgundy and probably in the Comté from Hainaut (the modern Belgium), or immediately after the border in the current France, since several times in its life he was considered legally as French. It a long time was confused with a man in the similar name, Josquin de Kessalia, was been born around the year 1440, which sang with Milan of 1459 to 1474, and died in 1498. It was shown that Josquin of the Meadows had been born around 1450 or later and had a few years not been in Italy before the years 1480.
About 1466, perhaps with died of his/her father, Josquin is designated as their heir by his uncle and his aunt, Gilles Lebloitte says Desprez and Jacque Banestonne, which give him the family name of Lebloitte. According to Matthews and Merkley, " of Prez" was a nickname.
According to Claude Hémeré, friend and librarian of the cardinal Richelieu whose testimony according to the registers of the basilica of Saint-Quentin date of 1633, Josquin became cantor in Saint-Quentin probably around 1460, and was in load of the music of the church.
It could have studied the counterpoint with Ockeghem, which it considerably admired during all its life: it is what suggests at the 16th century the testimony of Gioseffo Zarlino and Lodovico Zacconi and the eloquent lamentation of Josquin on the death of Ockeghem in 1497, Nymphes of wood /Requiem aeternam based on the poem of Jean Molinet. All the registers of Saint-Quentin were destroyed in 1669; however the cathedral was an important production center under royal protection for the music of all the area. Jean Mouton and Loyset Compère was buried there, and it is possible that the future relations between Josquin and the royal vault were initiated during its first experiments in Saint-Quentin.
The first traces of its engagements are dated April 19th, 1477, on a register proving that he was singer with the vault of Rene, duke of Anjou, with Aix-en-Provence where it remained certainly at least until 1478. There does not exist unquestionable trace of its displacements for the period going of March 1478 until 1483, but if it remained with the service of king Rene it surely followed the court to Paris in 1481 with the royal vault. One of the first motets of Josquin, the Misericordias Domini in aeternum cantabo , suggests a direct relationship with Louis XI. In 1483, Josquin turns over to Condé to claim the heritage of his/her uncle and his aunt who could be killed in May 1478 by the army of Louis XI who had locked up and burned alive the population in the church at the time of the seat of the city.
Milan
The period of 1480 to 1482 embarrassed the biographers: contradictory testimonys suggest, either that Josquin was always in France, or which it was already with the service of the family Sforza and in particular of Ascanio Sforza, which had been banished of Milan and resided temporarily in Ferrare or Naples.
The residence with Ferrare with the beginning of the year 1480 could explain the made up Missa Hercules dux Ferrariae for Ercole d' Este although it does not correspond stylistiquement to those of the date of 1503-1504 at which one locates usually Josquin at Ferrare. An alternative assumption is based on a Roman document of the middle of the 16th century describing the Hungarian court of the time and including Josquin like one of the musicians present; it suggests that Josquin would have passed part of this time to Hungary.
It is known that in 1483 or 1484, Josquin is with the service of the family of Sforza to Milan. Always with their service, it makes one or more voyages to Rome and probably also in Paris while in Milan it becomes acquainted with Franchini Gaffurio, maestro di cappella of the cathedral. In 1489, after a possible period of voyages, it is still in Milan which it leaves this year.
Rome
From 1489 to 1495, Josquin is member of the papal chorus, initially under Innocent VIII, and later with the advent of the Borgia, under the pope Alexandre VI. It then could be the subject of an exchange of singers with Gaspar van Weerbeke which left to Milan at the same time. It could be that it engraved itself in the wall of the Sixtine vault the “JOSQUINJ” recently discovered by workmen who restored the vault. It was usual that the singers engrave their name on the walls and of the hundreds of names were registered there for the period between. The probabilities are very strong so that Josquin is at the origin of this graffiti, in which case it would be about the only autograph which reached us.
The style of Josquin evolved to maturity for this period. As in Milan it had absorbed the influence of the profane music, in Rome it refines the technique of its sacred music. Several of its motets date from the years that it passed to the papal vault.
Departure of Rome, then France
As an exchange of letters between the Maison Gonzague and the Sforza family shows it, Josquin is most probably turned over to the service of Sforza around 1498. It undoubtedly did not remain a long time in Milan, since in 1499 Louis XII will imprison his former employers at the time of the conquest of Milan during the invasion of the north of Italy. Although documentation relative to its career with the turning of the century misses, one can think that Josquin returned to France at that time. It is undoubtedly before leaving Italy, that he wrote one of his compositions of music profane most famous, the frottola El Grillo based on psalm 30 In Dominates you speravi . This last composition can be an allusion veiled to the religious reformer Girolamo Savonarola which had been burned on roughing-hew it in Florence in 1498 and for which Josquin seems to have had a particular veneration. The text was the preferred psalm of the monk who left an unfinished meditation in prison of it before his execution.
One tried to date some from the compositions of Josquin, such as instrumental the Vive the roy at the period around 1500 when it was in France. The motet Memor esto verbi tui servo tuo was, according to Heinrich Glarean, written in the Dodecachordon of 1547, composed as pleasant recall with the king to hold his promise to grant to Josquin a benefit which he had forgotten. According to the account of Glarean the operation succeeded: the court applauded and the king gave his benefit to Josquin. For its reception, Josquin has, says one, writes a motet on the text Benefecisti servo tuo, Domine to show its gratitude with the king.
Ferrare
Josquin probably remained with the service of Louis XII until 1503, when the duke Ercole I of Ferrare engaged it for his vault. One of the rare mentions relating to the personality of Josquin goes back to this time. An adviser of Hercules had recommended to the duke to rather engage Heinrich Isaac, which, more sociable and especially better laid out to negotiate, would cost definitely less (120 Ducat S against 200). The duke chooses Josquin however.
In Ferrare, Josquin wrote part of its most famous compositions, of which austere the Miserere , influenced by Savonarola, which was one of the motets most largely widespread of the 16th century, the motet virtuoso Virgo Salutiferi , completely on the other hand and undoubtedly the Missa Hercules Dux Ferrariae , written on a Cantus firmus derived from the musical letters in the name of the duke, a technique known as Soggetto cavato .
Josquin did not remain a long time in Ferrare. An epidemic of plague at the time of the summer 1503 brought the duke and its family to evacuate the city at the same time as two thirds of the citizens and Josquin left in April the following year to undoubtedly escape also the plague. Its substitute Jacob Obrecht, died in the epidemic during the summer 1505 and was replaced in 1506 by Antoine Brumel which remained with the vault until its dissolution in 1510.
Reprocess with Cop-on-the Scheldt
De Ferrare, Josquin turns over directly in its area of origin of Cop-on-the Scheldt, in the south-east of Lille on the current border between Belgium and France, and becomes, on May 3rd, 1504, provost of the collegiate church of Notre-Dame, a great musical center which it directs until the end of his life.
One is unaware of the answer which it could make in the chapter Cathédrale of Bourges which required of him to ensure the control of the children of its chorus in 1508: no register mentions its engagement in this place; the majority of the specialists suppose that it remained in Condé.
During the two last decades of its life, the fame of Josquin continued to be spread abroad. The novel methods of impression helped with a broader diffusion of its music. Josquin was moreover the preferred type-setter of the first printers: one of first publications of Petrucci, which is also the oldest impression devoted to the music of a simple type-setter who reached us, is a book of the masses of Josquin printed in 1502. This publication had success so much that Petrucci published new volumes of the masses of Josquin in 1504 and 1514 and arose them several times.
On its bed of dead Josquin asked to be recorded as a foreigner so that its property does not pass to the lords and to the ladies of Cop. This mean testimony was used to show that it was French of birth. It left in addition a gift so that its last motet, Pater noster, Ave Maria , is sung at the time of the passage of the processions in front of its house, and that a host is placed on the furnace bridge with the Virgin located on the place of the market. The Pater noster is perhaps its last work.
Music
The work of Josquin of the Meadows was widely diffused in Western Europe, in particular thanks to the incipient musical printing works. Master of the counterpoint, he was the first large musician of the Renaissance and one of the creators of the polyphonic Chanson. Until 1485, it rather used the counterpoint Mélismatique with the manner of Ockeghem. Its Laudes Victimae paschali (1502), constitutes an good example of its art of youth. Between 1485 and 1505, it tried to make the synthesis between the polyphonic tradition of Dufay or Ockeghem and the Italian harmony; the Anthem Planxit David or Absalon, fili semi shows a greater maturity. Its Motet S posterior, such In principio erat verbum , generally of arrangements with four parts of biblical texts, is mélodieux.
General information
Josquin lived for one transitional period in the history of the music. The styles changed quickly, partly thanks to displacements of the musicians between the various areas of Europe. Many Scandinavian musicians settled in Italy, heart of the Rebirth, attracted by the patronage of arts exerted by the Italian nobility then, of return in their country, often brought back with them the ideas whose they had been subject to the influence. The sinuous musical line of the generation of Ockeghem, the contrapuntic complexity of the Netherlanders, the homophonic texture of the Italian laude, the profane music started to be melted in a unified style. Josquin was the figurehead of this process which leads to the formation of an international musical language whose most famous representatives were Palestrina and Roland de Lassus.
Its first works of sacred music compete with contrapuntic and decorative complexity, with the melismatic lines of Ockeghem and its contemporaries but, at the same time as he learned his contrapuntic technique, surrounded by the Italian popular music in Milan, he acquired an idiom Italianizing for his profane music. Towards the end of its creative long career which embraced 50 years of productions roughly, it developed a simplified style in which each voice of a polyphonic composition exposes a movement free and regular, and in which it gives an special attention as well to a clear organization of the text as to its alignment with the musical reasons.
While other type-setters were influential on the development of the model of Josquin, particularly towards the end of the 15th century, it itself became the most influential type-setter in Europe, particularly after the development of the music printing, which was convergent with the years of its output of maturity and peak. While other type-setters contributed to the influence of his style, particularly at the end of the 15th century, it became itself the most influential type-setter in Europe, especially after the development of the impression of the music which corresponds to its years of maturity and stronger production and without which its influence would surely not have been also decisive.
Many compositionnelles practices “modern” were born during the time around 1500. Josquin made a broad use of “cells in reasons” in its compositions, short, with the easily recognizable melody fragments, passing from voice in voice in a contrapuntic texture giving him an interior unit according to an organisational principle practiced without interruption of approxivement 1500 until our days.
Josquin wrote in all the current important forms at the time like the masses, the motets, the songs or the frottoles. It even contirbué with the development of a new form, the Motet-song, whose it left at least three examples. Some of its parts moreover were probably planned for an instrumental execution. Each field of its production can still be subdivided according to the form or the hypothetical period of composition. The dating of works of Josquin remains still problematic, the specialists having led to a consensus only on one minority in compositions.
Masses
Josquin wrote towards the end of the period during which the mass was the prevalent form of sacred music in Europe. Such as it had developed during the 15th century, the mass was a long form with multiple sections, a structure and an organization inenvisageables for the other forms like the Motet. Josquin wrote some of the examples most famous of the kind, using for the majority a cyclic organization.
Although one finds the various techniques in each composition, one can classify the masses of Josquin according to the following categories:
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Mass on cantus firmus, in which a preexistent air appears, most of the time unchanged, in one of the voices, other voices being more or less freely made up;
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Mass in paraphrase, in which a preexistent air is used freely in all the voices and a great number of variations;
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Mass-parody, in which a preexistent song with several voices appears, entirely or partly, with the material of all the voices, not only air;
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Soggetto cavato, or solmisation, in which the air is drawn from the syllables of a name or a sentence (for example the ground F D semi based on the syllables of Lascia fare semi (" leave me faire" , a used sentence by an unknown guard, in a context around of which were born much from legends);
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gun, in which a whole mass is based on the canonical techniques and where no preexistent material was identified.
The majority of these techniques, in particular the paraphrase and the parody, were standardized during first half of the 16th century; Josquin was really a pioneer, and what was perceived as a mixture of these techniques by recent analyzes is actually the process by which they were created what was perceived as mixing these techniques by late observers was really the process by which they were created
Josquin liked the canonical techniques enormously, like much of other type-setters of its generation, and the gun appears in the totality of its masses to the exclusion sometimes of any other structural device.
Mass on cantus firmus
Before at the period of maturity of Josquin, the technique of the most widespread writing of the masses was the cantus firmus, already of use during the major part of the 14th century. It is the technique used by Josquin at the beginning of its career in the mass the friend Baudichon , probably his first mass. This mass is based on a bawdy song. That a mass based on such a source is an allowed process is shown by the existence of the mass in the book of partitions of the Sixtine Vault of the period of the papacy of Jules II (1503-1513)
The two most famous masses on cantus firmus of Josquin are those based on the man armed, the favorite air for the composition of masses during all the Rebirth. The first, Missa the man armed super voces musical , is a technical feat of ingenuity containing of many contrapuntic guns of proportion and displays. It is most famous by far of its masses. The second, Missa the man armed sexti toni , is a " imagination on the topic of the man armed . Although based on a cantus firmus, it is also a mass in paraphrase, by the fragments of the air which appear in all the voices. Technically it relatively sober, is compared with the other mass on the man armed , until the Agnus Dei final, which contains a structure out of complex gun with a rare gun reversed around whose the other voices are woven.
Masses in paraphrase
The technique of the paraphrase differs from the technique of the cantus-firmus by 'origin of the material which, although it is always composed of a monophonic original, is often embell by ornaments. As in the technique of the cantus-firmus, the air of origin can appear in several voices of the unit.
Among the most famous works of Josquin, several of its masses of Josquin use the technique of the paraphrase. The Missa Ave husbands stella , one of the first probably going back to its years in the chorus of the Sixtine Vault, paraphrase the Antienne mariale of the even name; it is also one of shortest of its masses. The Missa de Beata Virgine paraphrase of the Plainsong S of praises to the Virgin Mary; it is a votive mass for the celebration of Saturday and its most popular mass at the 16th century.
By far most famous of the masses of Josquin using the technique, and one of most famous of all the time, were the Missa pange lingua is based on the anthem of Thomas d' Aquin for Corpus Christi Vespers. It is probably the last mass composed by Josquin. This mass is a Fantaisie prolonging the air by using the melody in all the voices and all the parts of the mass in a refined polyphony and always changing. One of the culminating points of the mass is the and incarnatus is Creed, where the text becomes homophonic and where the air appears in the highest voice; here the part which would give normally Chante, O my language, the mystery of the body divin" is replaced by the words " and it was incarnated by the Holy Spirit, was born from the Virgin Mary and was made homme".
Mass-parodies on popular songs
In the mass-parodies, the material of origin was not a simple line but a whole text, often that of a popular song. Several works of Josquin concern this category vaguely, like the Missa Fortuna desperata , based on a song with three votes Fortuna desperata (undoubtedly of Antoine Busnois); the Missa Malheur beats me (based on a song allotted sometimes to Obrecht, Ockeghem, or, more probably, with Abertijne Malcourt); and the Missa MATER Patris , based on a motet with three votes of Antoine Brumel. The Missa MATER Patris which does not contain any more least allusion to the cantus firmus is probably the first true mass-parody to have been made up. The technique of the parody was going to become the method of the most frequent composition of the masses until the end of the 16th century although the mass gradually fell in disuse while the attraction for the motet developed.
Masses on solmized syllables
The oldest known mass of a type-setter employing this method of composition - the Soggetto cavato - is the Missa Hercules Dux Ferrariae , that Josquin probably wrote with the beginning of the year 1480 for powerful the Ercole I, duke of Ferrare. The notes of the firmus of cantus are drawn from the musical syllables of the proper name of the duke: Re - C - Re - C - Re - F - Mid- Re. Another mass using this technique is the Missa the ground F Re semi , based on the musical syllables contained in " Lascia fare mi" (" let me make! "). According to the history reported by Glaréan in 1547, an unknown aristocrat was accustomed to moving away the creditors with this expression, and Josquin immediately wrote an “excessively elegant” mass on top adapting this parade.
Masses out of gun
The prevalence of the masses out of gun went increasing in the last part of the 15th century century. The first examples are celebrates it Missa prolationum made up entirely of guns of proportion, the Missa the man armed with Guillaume Faugues, whose cantus firmus is presented out of gun to the downward fifth, and the Missa AD fugam of Marbrianus de Orto, based on guns freely composed with the fifth between the higher voice and tenor voice. Josquin uses the gun in Osanna and Agnus Dei (III) of the Missa the man armed sexti toni , in all the Missa Sine nominates and in the three final movements of the Missa Of beata virgine . The Missa the man armed super voces musical comprises guns of proportion in the Kyrie, Benedictus, and Agnus Dei (II).
Motets
The style of the motets of Josquin evolved since the strictly homophonic compositions with groups of agreements and a syllabic declamation of the text to extremely ornamented contrapuntic imaginations, with the psalms combining these extremes with figures rhetorics and a textual painting announcing the future development of the madrigal. Many of its motets is written for four votes, normalizes compositionnelle around 1500, but Josquin was also a considerable innovator by writing motets for five and six votes. No motet beyond this size was allotted to him.
Almost all the motets of Josquin are framed in a compositionnelle constraint; they are not written freely. Some use a cantus firmus as device of unification, some are out of gun, others use a being repeated movement from one end to another, others still employ several of these methods. The motets which use the gun can be roughly divided into two groups: those in which the gun clearly indicated like front being is heard and appreciated for itself and another group in which the gun is present but almost impossible to hear and seems to be written for the pleasure of the eyes.
Josquin frequently employed the imitation in its motets, in particular in pair, with sections connected with fuguées exposures reproduced in the successive lines of the text. One finds an example in his introduction of the Dominus regnavit (psalm 93), for four votes: each line of the psalm starts with a voice singing only a new air, quickly followed by the entry of the three others in imitation.
Josquin was a pioneer in the polyphonic arrangement of the psalms entering a broad proportion of the motets of its last years. Few type-setters before Josquin had written such arrangements. Belong to these arrangements celebrates it Miserere , written in Ferrare in 1503 or 1504 and most probably inspired by the recent execution of the monk reformist Girolamo Savonarola, Memor esto verbi tui , based on the psalm 119, and two arrangements of the De profundis (psalm 130), often regarded as most significant of its achievement.
Instrumental songs and compositions
In the field of the profane music, Josquin left many Chanson S Frenchwomen for three to six votes, a handle of known Italian profane songs under the name of Frottole and some parts probably planned for an instrumental execution. The problems of attribution arise in a way much acuter with the songs than with its other forms of production: whereas approximately seventy songs with three or four votes were published under its name of alive sound, only six on at least about thirty songs with five or six votes being allotted him circulated under its name in same time. Many attributions added after its death are regarded as dubious and a considerable work was completed in the last decades of the 20th century to correct them on bases stylistics.
Josquin probably composed its first songs in Northern Europe under the influence of type-setters like Ockeghem and Busnois. With the difference of those however, he forever rigorously respected conventions of the fixed forms - rigid reasons and the complex repetition of the rondo, Virelai, and ballade - he on the contrary often wrote his first songs into strict imitation, a process shared with several of his crowned works. He was one of the first type-setters of songs to write all the parts with voice equalizes and much its songs contain points of imitation to the manner of the motets. However it used the melody repetition, in particular on the texts rhymes and much of its songs a lighter texture and a tempo faster have than its motets.
Josquin often uses in its songs a cantus firmus, sometimes a popular song whose origins cannot be recalled any more, as in If I avoye Marion . Other times it employ an air associated at the origin with another text or it freely composes a whole song without any apparent external material. Another technique which it sometimes used was to take a popular song and to write it like a gun with itself, in two votes of medium, then to write a new melody material above and around for a new text: it used this technique in one of its more famous songs, Faulte of money , sung by a man who awakes with the bed with a prostitute, mown and incompetent to pay it.
Some of its songs were undoubtedly conceived to be played instrumentalement. That Petrucci published number of them without text confirms this like an obviousness; moreover, some of the parts, (for example Lives the roy in the shape of brass band), contain a writing idiomatic instrumental than for the voices.
The most famous songs of Josquin largely circulated in Europe. Its Lament on the death of Ockeghem, Nymphs of wood/Requiem aeternam, Thousand regretz (of which attribution with Josquin was recently questioned), Plus nulz regretz and I complains is among most known.
Beyond its French songs, he wrote at least three parts in the manner of Italian the Frottola, a form of popular song which he had to meet during his Milanese years. One finds among those Scaramella , El grillo , and In dominates you speravi . They have a texture much simpler than its French songs, being almost uniformly syllabic and homophonic, and are among its productions most frequently sung.
Motets-songs
In Milan, Josquin wrote several examples of a new type of parts developed by the type-setters of the place, the Motet-song. These compositions were of a texture very similar to the songs of the 15th century century on the model of the Forme fixes , except that with the difference of these completely profane works, they contained a song derived from the Latin cantus firmus in lowest of the three votes. The other voices, in French, sang a profane text having a symbolic system report/ratio with the text crowned in Latin or constituting a comment of this one. Three motets-songs known of Josquin, That you madame/In pace , With dead/Monstra you ess matrem , and Fortune destrange plummaige/Pauper sum ego , are similar stylistiquement to those of the other type-setters of the vault of Milan like Loyset Compère and Alexandre Agricola.
Influence
The fame of Josquin crossed all the 16th century century, still growing several decades after its death. Zarlino, writing in the years 1580, always quoted Josquin in example in its treaties of composition. The reputation of Josquin decreased only after the beginning of the period baroque with the decline of the pre-tonal polyphonic style. During the 18th century and 19th century, it was eclipsed by Palestrina, type-setter of the Roman École late, whose music considered as the height of polyphonic refinement was codified by theorists like Johann Fux; However, during the 20th century, the reputation of Josquin was hardened so much so that the specialists again regard it as " largest and most famous of the type-setters of sound époque". According to Richard Sherr, writing in the introduction of the Josquin Companion , about the reduction of the number of guns of Josquin due to the correction of erroneous attributions, " Josquin will survive because its best music is really as splendid as everyone always said that it était".
Since the Fifties, the reputation of Josquin was amplified by the diffusion of the recordings, thanks to the emergence of units specialized in the execution of the vocal music of the 16th century of which much put in the middle of their repertory the music of Josquin
List works of Josquin of the Meadows
The difficulties of census of works of Josquin are not exaggerated. Because of its immense prestige at the beginning of the 16th century, much of copyists and editors did not resist temptation to allot to Josquin anonymous works if they are not forgeries. The German editor Georg Forster admirably summarized the situation by writing in 1540: " Now that Josquin died, it produces more works than when it was alive. The authenticity of several of works listed below is thus disputed.
Masses
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Missa Ave husbands stella (Rome, 1486-1495) (4 votes);
- Missa de Beata Virgine (5 votes);
- Missa Di dadi ( aray I never ) (4 votes; disputed attribution)
- Missa Making regretz (4 votes);
- Missa Fortuna desperata (4 votes);
- Missa Gaudeamus (4 votes);
- Missa Hercules Dux Ferrariae (Ferrare, 1503-1504) (4 votes, 6 in Agnus III);
- Missa the ground F Re semi (4 votes);
- Missa the friend Baudichon (4 votes);
- Missa the man armed sexti toni (4 votes, 6 in Agnus III);
- Missa the man armed super voces musical (4 votes);
- Missa Malheur beats me (4 votes, 6 in Agnus III);
- Missa MATER patris (4 votes; disputed attribution)
- Missa Pange lingua (Cop, about 1514) (4 votes);
- Missa Sine nominates (4 votes; mass out of gun, originally titrated " Missa AD fugam");
Dubious attribution:
- Missa AD fugam (4 votes)
- Missa Da pacem (4 votes)
- Missa musky of Biscay (4 votes)
- bitter Missa Of ung aultre (4 votes)
Fragments of Masses
Debatable authenticity, except for the Creed Of all goods playne: "
Credo Chascun shouts me (Of the reds nose) ;
Motets
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Absalon, fili semi (4voix) (challenged attribution; perhaps Pierre of the Street)
- Exonerates, quaesumus, Domine/Requiem aeternam (6voix) (challenged attribution);
- Alma redemptoris to subdue ;
- Alma redemptoris to subdue/Ave Regina caelorum ;
- Ave Maria, gratia plena… benedicta you (4voix);
- Ave Maria, gratia plena… Virgo serena (Milan 1484/85);
- Ave munda spes, Maria (does not appear in the first edition of complete works);
- Ave nobilissima will creatura ;
- Ave verum corpus natum ;
- Benedicta be, caelorum Regina ;
- Christum ducem, which per crucem (4voix);
- De profundis clamavi (4voix) (undoubtedly composition of middle of period: attribution called in question);
- De profundis clamavi (5voix) (late composition);
- Dominates exaudi orationem meam ;
- Dominates, in fuore tuo (4voix);
- Dominates, not secundum peccata will nostra (2-4voix; for Rome);
- Ecce, you will pulchra are, amica mea ;
- Factum is autem ;
- Gaude virgo, MATER Christi ;
- Homo quidam fecit cenam magnam ;
- Honor, disappointed, imperium ;
- Huc me sydereo descendere jussit Olympo (5voix);
- Illibata Dei virgo nutrix ;
- In exitu Israel de Aegypto ;
- In illo in time assumpsit Jesus doudecim disciplus ;
- Iniquos odio habui (4voix, only the parts of tenor survived);
- In principio erat Verbum (authenticity called in question);
- Inviolata, integrated and casta be, Maria ;
- Jubilate Deo omnis terra ;
- Liber generationis Jesu Christi ;
- Magnificat quarti toni (allotted to Josquin on the bse of the style);
- Magnificat terii toni (allotted to Josquin on the bse of the style);
- Memor esto verbi tui ;
- Miserere mei Deus (Ferrare, 1503);
- Misericordias Domini in aeternum cantabo (France, 1480/83);
- Missus is Gabriel angelus AD Mariam Virginem ;
- Mittit AD virginem ;
- Monstra you ess matrem ;
- O admirabile commercium (started from a cycle of 5 motets);
- O bone and dulcissime Jesu ;
- O Dominates Jesu Christe (started from a Passion in 5 sections);
- O virgo prudentissima ;
- O virgo virginum ;
- Pater noster, which are in caelis (Cop, 1505-1521);
- Planxit autem David ;
- Praeter rerum seriem ;
- Which edunt me adhuc ;
- Which habitat in adiutorio altissimi ;
- Which velatus facie fuisti (started from Passion in 6 sections);
- Salvo Regina (4voix) ;
- Salvo Regina (5voix, 1502) ;
- Stabat MATER ;
- You lumen, you splendor ;
- You solus which facus mirabilia ;
- Usquequo Dominates oblivisceris (allotted to me on the basis of style; only preserved part);
- C Phoebi radiis ;
- Veni, sancte spiritus (also allotted to Forestier);
- Victimae paschali laudes ;
- Virgo prudentissima ;
- Virgo salutiferi (Ferrare, 1504/05);
- Vultum tuum deprecabuntur (cycle of Passion in 7 parts) (1480s).
Motets-songs
-
With dead/Monstra you ess matrem ;
- Fortune destrange plummaige/Pauper sum ego;
Songs
-
Per hour that I you ;
- In the shade of ung buissonet, the matinet (3voix);
- Good-bye my loves ;
- Good-bye my loves (6voix gold 7voix);
- Kissed moy, my doulce amye (4voix);
- Beautiful, for the love of you ;
- Bergerette savoyenne ;
- That without more ;
- How peult to cut joye ;
- Cueur langoreulx ;
- Of all goods plain (3voix);
- Of all goods plain (4voix);
- My mouth laughs and my cuor cries ;
- Thousand Regretz (4 votes);
- My mary defamed me ;
- ess not ung grant to desplaisir ;
- Nymphs of wood (lament written for the death of Johannes Ockeghem);
- Nymphs, tablecloths/Circumdederunt me ;
- Parfons regretz ;
- Small camusette;
- Recordans of my will signora ;
- Regretz without end;
- Lives the roy (instrumental part written for Louis XII);
- will arez it to You, if it you plaist ;
- You will not arez it ;
- textless (4voix).
Frottole
-
El Grillo ;
- In Dominates you speravi per trovar pietà ;
- Scaramella goes went will guerra .
Audio documents
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