Josquin des Prez

(ca. 1440-ca. 1521)

Career Summary

modified central Renaissance language, creating flexible, expressive, and sensitive means of communication, which could be adapted to composers' musical ideas than ever before
first composer fully aware that music can be the art that most directly touches human sensibilities
transformed music; forged new techniques whose implications were not fully worked out until end of 16th C
High Renaissance
held in highest by his contemporaries
part he played in forging new style during its formative years at end of 15th C unknown
places of employment largely unknown
chronological placement of works is quite problematical
musicologists unable to associate works with specific life events
few compositions by Josquin in pre-1500 sources
early works?: may have been lost, or even destroyed by Josquin
Petrucci printed 3 volumes of Josquin's Masses after 1501
many works printed after his death; Masses, motets, and chansons appeared in Europe beginning in 1530's; untrustworthy readings
traveled extensively, worked in various cities
possibly studied with Ockeghem, as he based several compositions on his melodies, and wrote a lament on his death
appeared as a singer in Milan in 1459-1472
left Milan around 1479; joined Cardinal Ascanio Sforza's entourage; was introduced to Roman musical circles; subsequently Josquin joined Papal chapel, where he sang intermittently from 1486-1494, serving under Pope Innocent VIII and Pope Alexander VI
eventually became master of ducal chapel in Ferrara between 1503-04; left to take position as provost of Notre Dame in Conde-sur l'Escaut, where he remained until his death

Motet

100 survive
individuality displayed more clearly in Motet genre; unhampered by Mass Ordinary text; free to choose his own texts
displayed compositional inventiveness, expressive intensity at a higher level than his predecessors
embody innovations of his generation

Early motets: Milan (1459-ca. 79)

began writing in tradition of Dufay, Ockeghem
Illibata Dei virgo nutrix; Alma redemptoris mater / Ave Regina caelorum
long melismatic duos open
proportion of 2-3-part writing produces open, light texture, characteristic of much of Josquin's music
texture motivically unified, though voices move at varying rates of speed; sound layered
individual lines extremely melismatic
above mentioned works reflect characteristic mannerisms, while reflecting earlier composers' techniques

Middle motets: Rome (ca. 1480-1504)

series of motets represent "classical" formulation of his style
Ave Maria . . . virgo serena : best known of his works; exemplifies his mastery
each line of text receives new music, composed in points of imitation; in paired duets with or without imitation; or in homorhythmic style
opening points of imitation striking, unusual in simplicity, but flexible: order of entries, time interval, overlaps all modified, changed for each new section; interlocking sections in imitation provides groundplan capable of variety
unrelated phrases unified by tonal plan: cadences, sequences drive to V-I
melodic variants between couples
many antiphonal passages involve paired duos: stylistic mannerism led to more exploration of antiphonal effects by cori spezzati (divided choirs)
explored choral sonorities: lows vs. highs; full vs. half choirs; imitative polyphony vs. simple chords
new interest in sonority in general
text settings seem quite natural: lack extravagant melismas, reflect concern for text/music relationship
interest in text declamation, clarity of form by imitation techniques, cadential patterns, texture shape phrases into larger units
though contrapuntal, increasing awareness of harmonic implications
chordal texture, tonal orientation similar to contemporary Italian laude; relieved by occasional polyphony including paired duets, imitation
most sonorities are full triads; most cadences IV-I or V-I; melody subjugated to harmony
Italian influence apparent

Middle/Late motets

-series of motets in which 5-6 voices balance harmonic and contrapuntal elements

In Praetor rerum seriem: tenor & superius alternate phrases of text

various devices of construction expand and develop;
irregular, subtle rhythms, contrasting melodies, contrapuntal combinations
chordal passages interrupt counterpoint
melodies accompanied slightly differently on each successive appearance
counterpoint manipulated in service to the text: Planxit autem David

Late motets

earliest settings of complete psalms on a grand scale: Miserere mei, Deus; Memor esto verbi tui; De profundis clamavi
display Josquin's mastery of technique: fusion of Netherlandish counterpoint and Italianate harmony.
rather than reflect a break w/ Josquin's past, they extend/develop earlier tendencies
expressive; bind text and music
compact concise melodies are shorn of melismas; vividly interpret text
rhythms mirror text accents, contours emphasize important words and phrases
CF well integrated into texture

Summary

used all inherited techniques in his toolkit
-composed many motets over CF:
most structural device he inherited;

some stated in "classical" manner, but generally more of a complex plan involved;

CF associated with a text different from that sung by other voices;

sometimes alludes to secular melody;

ostinatos, free or strict; canonic cantus firmi;

some support counterpoint "in a luxurious way", others integrated into texture; variety of CF techniques did not restrict Josquin

many paraphrase plainchant:

technique does not influence structure;

chant as a repository for melodic ideas;

fragments for points of imitation;

motives dominate sections;

variation-chain sequence;

also merely alludes to chant

others free of borrowed material: successive points of imitation, or follow text;
imitative technique: series of interlocked sections; repetition
texts:

liturgy ( prescribed for Mass or Canonical Hours);

Biblical; prayers, devotional poetry, songs of praise, addressed to or in honor of Christ or the Virgin Mary

more than half of Josquin's 100-odd motet texts have been found in early liturgical
books: performed as part of Mass Proper as gospel lessons or as sequences; most
of them consist of psalms, antiphons, responsories, lessons and prayers: Offices;
psalms devotional, extra-liturgical
25 psalm settings: excellent
among the first to set psalms polyphonically: reflects changing liturgical practices,
but also allowed him to invent expressive music worthy of the exalted text

Mass

around 20 survive
show consummate craftsmanship, ability to build vast and magnificent sound structures
ritual character put little stress on subjective interpretation of text
length of Mass restricted composer from lavishing on single words, idiosyncratic readings of their meanings which shorter motets received
Masses display musical constructivist aspect of Josquin
complex structures of Masses may have occupied center of Josquin's attentions in his middle years
chronology, authenticity of Masses debatable
three categories according to compositional process:

1) Cantus Firmi (largest group)
2) paraphrases of pre-existing melody
3) two organized around cycles of canons (Missa Ad fugam, Missa Sine nomine)

Cantus Firmus Mass

preferred secular rather than sacred melodies for CF, as phrase divisions better serve large structures
monophonic popular tunes; single voices from polyphonic compositions; plainchant
two cantus firmi involve musical puns on solmization syllables:

Missa Hercules Dux Ferrariae

Missa La sol fa re mi ("Lass far a mi")

some CF follow strict rational plan a la Dufay: rigid mensural relationships govern time valued in recurring statements; proportional scheme
L'homme arme super voces musicales: tune sung at least once complete in each move-ment, but on ascending scale degrees:

C in Kyrie;
D (normal and retrograde) in the Gloria;
E (normal and retrograde) in Credo, etc. ;
mode of Mass remains same throughout Mass

L'homme arme sexti toni (in Hypolydian mode on F) employs more informal structural plan:

appears in tenor, bass, or superius, but not always in same rhythmic shape;
free melody interspersed between CF statements;
CF doesn't control structure as rigidly: informal attitude used in many of his Masses

attitude towards CF-technique changed with the years:

may date Masses on that basis;
rigid schemes early, felt free to vary later on

followed certain established conventions:

Christe sections contrast surrounding Kyries;
Christe transparent in texture, with greater proportion of 2-3 part counterpoint;
first phrase of Gloria, Credo intoned by celebrant before polyphony begins, a carryover from Gregorian Mass;
Gloria divided into two parts, Credo into three;
singled out section of Credo which describes Christ's incarnation, by setting words "Et incarnatus est" or "Et homo factus est" to block chords, slower values;
other similar conventions

frequent duets contrast texture;

long sweeps of melody;
short melodic motives carry motion forward, impetus;
lead up to highest point, descend down to starting point;
motives contradict regular metrical pulse: rhythms unfold in irregular units of 2-3 beats each, creating disembodied floating quality;
treated as sequences, contributing to forward motion

control of form: cadences, tonal plan
structure parallels syntax of text: new sectionsof music begin with new clauses of text;
relationship of each phrase to the others and to the whole is revealed by cadential hierarchy, network of motives, long-range planning of overall melodic contours
CF not single most important factor in organizing form of Mass
Josquin was inconsistent to the extent he used CF as repository of thematic material
for strands of polyphony, although it is often accompanied by fragments of itself
in imitation
occasionally approached parody technique

Chanson

75 secular pieces
thought of chanson as principal sort of secular music
besides motets, largest number of works consist of settings of French lyrical poems
3-6 voices: imitative counterpoint
freed himself from formes fixes repetition schemes
transformed chanson from its conventional texture of continuous layers of sound to one capable of greater variety in techniques, texture; express more moods, shades of thought, attain much greater depth, richness of effect
establishing chronology difficult
Petrucci published some of Josquin's chansons in Venice between 1501 and 1503; however, main corpus did not appear in print until 1545 by Tielman Susato
different techniques in setting lyrical poetry, which may be associated with different stages in his development: few rondeaux, chansons similar to Ockeghem; many polyphonic arrangements of monophonic popular tunes; series of somber, melancholy songs which are many-voiced, densely scored
some chansons not securely attributed to Josquin, as various sources attribute them to other composers
some chansons only give first few words; complete text must be sought in miscellaneous poetry anthologies
3 rondeaux of dubious origin;

Madame helas survives without any words save first phrase of text
Plusieurs regretz is authentically by Josquin with one stanza of text, rhyming aabba

canonic, through composed, points of imitation, CF associated with separate text
Josquin's generation first to use popular poems extensively: not high-brow; many arrangements of popular tunes
paraphrase borrowed melody rather than presenting it complete
put popular melodies in canons with themselves to form solid structural frameworks around which other voices could weave complex and varied webs
original inventions
arrangements of his predecessors' chansons: instrumental