By Willem Elders
Josquin des Prez and His Musical Legacy is the main up to date contribution to the learn on probably the most very important and the world over well-known composers of the Renaissance. This booklet bargains authentic info at the composer in addition to insights into his 16th-century and sleek reception, a survey of the resources of his track, and a dialogue of the thorny factor of authorship. Willem Elders, the most unusual students of Josquin's song, additionally discusses the effect of Gregorian chant as a resource of suggestion and explains a few of the elements of Josquin’s symbolic language. each one person paintings, together with a few of these within the outdated Josquin variation now thought of inauthentic) gets a brief dialogue of proper contextual elements and fascinating musical good points. levels and lengths are given for every paintings. the fashion is tailored to the pro musicologist in addition to to the song lover and performer.
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Additional resources for Josquin des Prez and His Musical Legacy: An Introductory Guide
Ecce tu pulchra es (NJE 14. 6) The motet survives in eleven assets: 3 published books and 8 manuscripts. additionally, one resource includes an association for lute. The scoring is for 4 voices with the subsequent levels: d1–f2 (superius), a–d2 (altus), a–b1 (tenor), d–f1 (bassus). size: ninety six measures. this article is predicated on excerpts from The tune of Songs besides: 1:12-16 (Septuagint 1:15-17); 2:1-2 and four: five. those verses include a discussion among the groom and the bride. Judging through the variety of assets during which the motet is preserved, it loved a few acceptance. except Italy, it used to be additionally identified in Spain and Germany. The song is freely composed, and on numerous events short textual content passages are emphasised. for instance, the road “Ecce tu pulcher es, dilecte mi” (Behold thou paintings reasonable, my loved) is determined to dam chords. different passages, resembling “Ego flos campi” (I am the flower of the field), seem in an imitative surroundings, sung successively by means of bassus, 1 2 See NJE vol. 14, advent to the track, p. XIV. wondering the reliability of the earliest resource for the motet, London eight G. VII, Peter Urquhart indicates an initially clef-less notation, a notation that will no longer necessitate any modulation; see ‘Another Impolitic statement on Absalon, fili mi’, in JM 21 (2004), 343–380. 129 josquin des prez and his musical legacy tenor, superius and altus. The discussion among the groom and the bride can't be famous within the scoring, yet cadences mark the alternation among the lyrical expressions of tenderness. planxit autem david (NJE 14. nine) The motet survives in 7 resources: 3 published books and 4 manuscripts. additionally, one resource includes an association for lute. The scoring is for 4 voices with the subsequent levels: g–d2 (superius), c–g1 (altus), Bflat–f1 (tenor), F–c1 (bassus). size: 331 measures. The textual content of this nice, bipartite motet relies on II Samuel 1:17-27, the place King David laments the dying of Saul and Jonathan, father and son, either slain within the conflict opposed to the Philistines within the mountains of Gilboa (Fig. 31). three The textual content is split into brief words and the song is typically contemplative, at different occasions plaintive in personality. The polyphonic texture adjustments continually: superbly formed melodies trade with passages in homophony, the latter preceded by way of a common leisure. The traces “Incliti Israel ... ” (The illustrious of Israel are slain upon thy mountains) and “filie incircumcisorum” (the daughters of the uncircumcised) are set to the sombre sound of fauxbourdon. within the 3 traces that commence with the phrases “Quomodo ceciderunt? ” (How are the valiant fallen? ) in m. fifty five, 244 and 311, Josquin rates the Gregorian recitation tone of the Lamentations of Jeremiah, that are sung within the reliable Friday liturgy. surely he was once incited to take action by way of their exact commencing notice, “Quomodo [sedet sola]” (How doth the town take a seat solitary! ) (Ex. 37). Heinrich Glarean (see p. 37–38) concludes his reviews at the motet as follows: determine 31: the 1st a part of the tenor voice of Planxit autem David.