Josquin des prés josquin des prez - joel cohen - missa pange lingua

The most complete list of his compositions—consisting of masses, motets, psalms and other pieces of sacred music—will be found in Fétis. The largest collection of his MS. works, containing no less than twenty masses, is in the possession of the papal chapel in Rome. In his lifetime Des Prés was honoured as an eminent composer, and the musicians of the 16th century are loud in his praise. During the 17th and 18th centuries his value was ignored, nor does his work appear in the collections of Martini and Paolucci. Burney was the first to recover him from oblivion, and Forkel continued the task of rehabilitation. Ambros furnishes the most exhaustive account of his achievements. An admirable account of Josquin’s art, from the rare point of view of a modern critic who knows how to allow for modern difficulties, will be found in the article “Josquin,” in Grove’s Dictionary of Music and Musicians , new ed. vol. ii. The Répertoire des chanteurs de St Gervais contains an excellent modern edition of Josquin’s Miserere .

It uses different plainsong chants for each movement, and is a paraphrase mass , one in which the original chants are elaborated, broken up, passed between voices, or sung in different voices simultaneously. The mass is one of only four that Josquin based on plainsong, and probably the second to last (the others are the Missa Gaudeamus , a relatively early work, the Missa Ave maris stella , and the Missa Pange lingua ; all of them involve, in some way, glorification of the Virgin Mary). [2] All of the chants in the Missa de Beata Virgine are in praise of the Virgin Mary, and the whole is a Lady Mass , the Votive Mass for Saturday, a type that was popular around 1500. [3] Since music for two of the movements – the Gloria and Credo – appeared independently in Vatican sources, circulating in 1503 or before, it has been presumed that the mass was assembled later from several parts, and most likely the five-voice portions were composed around 1510. The first appearance of the whole mass was in Ottaviano Petrucci 's 1514 book of Josquin's masses, his third such set; it has even been speculated that Petrucci himself may have put it together from an existing performance tradition. [4] Most likely Josquin took the Gloria and Credo which he had already written, and then wrote a Kyrie to conform to the Gloria, and added a Sanctus and Agnus to go with the Credo, since the work's modal coherence suggests that he conceived at least the first two movements, and then the last three movements together. [4]

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