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Josquin Prez Glareanus Ottaviano Petrucci Sistine Chapel Choir 1450 1490 1493 1502 1521 1547 1822
*Sounds a major second lower than score* Missa La sol fa re mi Composer: Josquin des Prez (ca. 1450 - 1521) Performers: Cappella Pratensis, dir. Rebecca Stewart 0:00 Kyrie 2:55 Gloria 8:06 Credo 18:22 Sanctus 25:42 Agnus Dei / "The Missa La sol fa re mi is a musical setting of the mass by Josquin des Prez, first published in 1502. It is one of his most famous masses, and one of the earliest and most renowned examples of the soggetto cavato technique – the technique of deriving musical notes from the syllables of a phrase, in this case "Lascia fare mi" (Italian: "let me do it"). "Lascia fare mi" ("leave it to me", or possibly in a more idiomatic translation, "let me do it") was supposedly a common phrase used by an unknown aristocrat to get people to stop pestering him with requests or complaints. The story was first reported by Glareanus, writing in 1547, who went on to say, "and then [Josquin] went on to write an entire mass, an exceedingly elegant work, based on these same words: thus, 'La sol fa re mi.'" The musical syllables La-Sol-Fa-Re-Mi correspond to A-G-F-D-E in the "natural" hexachord, the six notes starting on C. There have been several attempts to date the mass, and opinions of Josquin scholars differ, placing it variously between the late 1470s and the 1490s. Ottaviano Petrucci published it in his first book of masses in 1502, one of the first books of music ever to be printed, which shows its importance and influence; indeed it was widely transmitted, in many other sources, in the early 16th century. The mass may have been written during Josquin's Roman period, for example between 1490 and 1493, while Josquin was singing in the Sistine Chapel choir. Its contrapuntal sophistication, as well as circumstantial evidence suggesting who the aristocrat may have been, perhaps indicate the later date. If the earlier date is correct, it would be the earliest mass ever written on solmization syllables; as it is, it is one of the earliest masses on a freely invented subject. [...] It is mainly in Phrygian mode, although with numerous shifts to Aeolian and Dorian. The La-sol-fa-re-mi figure saturates the texture, appearing more than 200 times within the course of the mass. Most of the time it is in the tenor, suggesting that it may have been originally drafted as a cantus-firmus mass early in Josquin's career, and later reworked as a paraphrase mass with the ostinato appearing in all voices in different permutations. Not only does the five-note figure appear throughout, but it appears in compositional permutations such as retrograde (Mi-Re-Fa-Sol-La), occasionally making palindromic figures as a result of retrogrades appearing immediately before or after statements of the figure in its original form. In addition, Josquin uses the figure in each of the three hexachords available to Renaissance music theory: the natural hexachord beginning on C (giving A-G-F-D-E for the figure), the "hard" hexachord beginning on G (giving E-D-C-A-B natural for the figure), and the "soft" hexachord beginning on F (giving D-C-B flat-G-A for the figure). Sometimes he swaps hexachords in mid-figure, a compositional trick visible on the page but difficult to hear. The motivic saturation characteristic to the piece, including use of permutations such as retrograde, is more commonly associated with music of the Second Viennese School than the Renaissance, but Josquin was not only an innovator: he was working with a motivic cell which was singularly well-suited to such treatment. [...]" Source: (http•••) / For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
Heinrich Isaac Josquin Prez Tedesco Heinrich Glarean Huygens 1450 1492 1517 1886
Heinrich Isaac (1450 – 1517) was a Renaissance composer of south Netherlandish origin. He wrote masses, motets, songs (in French, German and Italian), and instrumental music. A significant contemporary of Josquin des Prez, Isaac influenced the development of music in Germany. Several variants exist of his name: Ysaac, Ysaak, Henricus, Arrigo d'Ugo, and Arrigo il Tedesco among them. (Tedesco means "Flemish" or "German" in Italian). Little is known about Isaac's early life (or indeed his real name), but it is probable that he was born in Flanders, probably in Brabant. During the late 15th century, standards of music education in the region were excellent, and he was probably educated in his homeland, although the location is not known. Sixteenth-century Swiss music theorist and writer Heinrich Glarean claimed Isaac for Germany by dubbing him "Henricus Isaac Germanus", but in his will Isaac called himself "Ugonis de Flandria". A writer in the Milanese Revista critica della literatura italiana, June 1886, speculated that this patronymic 'Hugo's' might be connected to 'Huygens' and discovered the name "Isaacke" in the town archives of Bruges.This splendid, mournful "Lamento" he wrote for the funeral of Lorenzo il Magnifico, in Florence, in 1492.
Benedictus Appenzeller Alexander Blachly Heinrich Glarean Gioseffo Zarlino Ockeghem Busnoys Lassus Palestrina Pomerium Festival Musica Holland Festival Festival Oude Muziek Utrecht 1455 1485 1521 1558 1972 1998
From the sacred motet for five voices "Verbum caro factum est" by Josquin Des Prez +••.••(...)). The motet is sometimes attributed to Benedictus Appenzeller +••.••(...)). Performed by Alexander Blachly & Pomerium; from the album: "Pomerium – Musical Book Of Hours" (1998). (http•••) (http•••) "During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as Baldassare Castiglione and Martin Luther wrote about his reputation and fame, with Luther declaring that "he is the master of the notes. They must do as he wills; as for the other composers, they have to do as the notes will." Theorists such as Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection. He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales. More than 370 works are attributed to him; it was only after the advent of modern analytical scholarship that some of these attributions were challenged, and revealed as mistaken, on the basis of stylistic features and manuscript evidence. Yet in spite of Josquin's colossal reputation, which endured until the beginning of the Baroque era and was revived in the 20th century, his biography is shadowy, and virtually nothing is known about his personality. The only surviving work which may be in his own hand is a graffito on the wall of the Sistine Chapel, and only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara. The lives of dozens of less revered Renaissance composers are better documented than that of Josquin." (http•••) "POMERIUM was founded by Alexander Blachly in New York in 1972 to perform music composed for the famous chapel choirs of the Renaissance. (The name—medieval Latin for “garden” or “orchard”—derives from the title of a treatise by the 14th-century music theorist Marchettus of Padua, who explained that his Pomerium in arte musice mensurate contains the “flowers and fruits” of the art of music.) Widely known for its interpretations of Du Fay, Ockeghem, Busnoys, Josquin, Lassus, and Palestrina, the 15-voice a cappella ensemble has performed for numerous international festivals, including the Festival di Musica Sacra Bressanone e Bolzano (Brixner Initiative), the Tage Alter Musik festival in Regensburg, Germany, the Flanders Festival Antwerp, and the Holland Festival Oude Muziek Utrecht." (http•••)
Josquin Desprez Grillo Clément Janequin Dominique Visse Jean Paul Fouchécourt Philippe Cantor Antoine Sicot Headley Guillaume Dufay Palestrina Heinrich Glarean Gioseffo Zarlino Stravinsky Mocker 1440 1450 1455 1521 1547 1988 2003
00:00 - La plus des plus - violes 01:23 - Cueurs désolez - cantus et violes 03:08 - Cueur langoreulx - 2 voix et violes 05:09 - El grillo - 4 voix et luth 06:47 - Vous l'arez s'il vous plaist - 3 voix et violes «Josquin ist der noten meister, die habens müssen machen, wie er wolt; die anderen Sangmeister müssens machen, wie es die noten haben wöllen.» (Martin Luther) / Ensemble 1. Clément Janequin: dir. Dominique Visse, haute-contre Bruno Boterf, Jean-Paul Fouchécourt, ténors Philippe Cantor, Josep Cabré, barytons Antoine Sicot, basse Claude Debóves, luth Ensemble 2. Les Eléments: Ariane Maurette, Nanneke Schaap, René Stock, Erin Headley, violes Enregistrement février 1988 Direction artistique et prise de son: Pere Casulleras Illustration: Cranach, Portrait de femme (détail) (P) 1988, 2003 Harmonia Mundi France www.harmoniamundi.com HMA 1951279 / Josquin des Prez (French pronunciation: [ʒɔskɛ̃ depʁe]; c. 1450 to 1455 / 27 August 1521), often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance. He is also known as Josquin Desprez and Latinized as Josquinus Pratensis, alternatively Jodocus Pratensis, although he himself expressed his preferred spelling of his name, Josquin des Prez, in an acrostic in his motet Illibata Dei virgo nutrix.[2][3] He was the most famous European composer between Guillaume Dufay and Palestrina, and is usually considered to be the central figure of the Franco-Flemish School. Josquin is widely considered by music scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime. During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as Baldassare Castiglione and Martin Luther wrote about his reputation and fame; theorists such as Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection.[4] He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales.[5] At least 374 works are attributed to him;[6] it was only after the advent of modern analytical scholarship that some of these mistaken attributions have been challenged, on the basis of stylistic features and manuscript evidence. Yet in spite of Josquin's colossal reputation, which endured until the beginning of the Baroque era and was revived in the 20th century, his biography is shadowy, and we know next to nothing about his personality. The only surviving work which may be in his own hand is a graffito on the wall of the Sistine Chapel, and only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara. The lives of dozens of minor composers of the Renaissance are better documented than the life of Josquin.[7] Josquin wrote both sacred and secular music, and in all of the significant vocal forms of the age, including masses, motets, chansons and frottole. During the 16th century, he was praised for both his supreme melodic gift and his use of ingenious technical devices. In modern times, scholars have attempted to ascertain the basic details of his biography, and have tried to define the key characteristics of his style to correct misattributions, a task that has proved difficult. Josquin liked to solve compositional problems in different ways in successive compositions, as did Stravinsky more than 400 years later. Sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity.[8] Heinrich Glarean wrote in 1547 that Josquin was not only a "magnificent virtuoso" (the Latin can be translated also as "show-off") but capable of being a "mocker", using satire effectively.[9] While the focus of scholarship in recent years has been to remove music from the "Josquin canon" (including some of his most famous pieces) and to reattribute it to his contemporaries, the remaining music represents some of the most famous and enduring of the Renaissance.[10] (http•••)
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