Josquin des Prez

Josquin des Prez

Source: HOASM

Born Josquin Lebloitte in circa 1450-55 (some sources 1440) in the Duchy of Burgundy (modern Belgium), like most composers of the Renaissance, Josquin des Prez was of the Franco-Flemish School (not an institution, but a loose group of musicians hailing from the area). His actual surname may have been Lebloitte, des Prez arising of a nickname. He is also referred to as Josquin (Joseph) Deprés [Catholic Encyclopedia of 1913]. The musical Renaissance in Europe was largely a Flemish and French affair. Josquin was among a few who took the developments of the Burgundian and Franco-Flemish schools south to the Renaissance in Italy. Josquin composed both sacred and secular music, largely Masses, motets and chansons greatly popular at the time. He joins Heinrich Isaac and Jacob Obrecht among other composers associated with the High Renaissance circa 1495 to 1525, and was probably the most favored of the three as it has remained to this day.

As for Josquin, is thought to have begun his career in music as a choirboy in Saint-Quentin about 1460. He may have studied counterpoint under Ockeghem or only used compositions by the latter as a basis for some of his own works. The earliest date that Josquin is found in a codice (manuscript compilation) was once thought to have been the Leopold Codex Munich 3154 of 1476. That has since been amended to possibly 1485, those parts of the Leopold now thought to have been appended later. He was, however, probably composing in the seventies and by 1477 was a singer for the Duke of Anjou at his chapel in René. He may have remained with the Duke as the latter moved his chapel from René to Paris in 1481, where he is otherwise said to have also been a member of the court chapel of King Louis XI. But his movements are vague during that period. He might have also already acquired the patronage of the Sforza family in Ferrara as early as 1480. The Stabat Mater Website yields a date of 1480 for 'Stabat Mater Dolorosa' which is probably in association with the chapel of Louis XI as is his motet, 'Misericordias Domini'. But dating Josquin is a formidable task, one example of which is his 'Missa Hercules Dux Ferrariae'. He may have written this Mass in 1480 while in the service of the Duke Sforza of Milan on a visit to Duke Ercole d'Este I of Ferrara. That a convoluting path in itself, he might also have written it on a visit to Hungary. 'Missa Hercules Dux Ferrariae' is otherwise dated to 1503-04 on stylistic grounds at a time when he was more certainly in Ferrara near the end of the Duke's life in 1505.

Samples of Josquin below descend chronologically only so far as possible. If composition dates aren't known then manuscript dates (MSS) are used. Though not always, eventual inclusion in manuscripts is often years after the fact. Manuscripts are per the CMME Project or DIAMM. Beyond manuscripts are scores printed in movable type by such as Octavio Petrucci beginning in 1501. Books published by Petrucci fit right at the navel of the high Renaissance, but they are anthologies of works composed largely twenty to perhaps even thirty years prior to publishing. Works of about the same period descend alphabetically. Directory numbers (NJE) are per the thematic 'The New Josquin Edition' published by Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (1919-2017). 'Missa Hercules' appears to have been published in Petrucci's 'Missarum Liber 2' of 1505 before getting copied into later manuscripts. 'Stabat Mater Dolorosa' was based on the tenor of Binchois’ 'Comme femme desconfortée' of thirty years or so before.

'Ave Maria ... Virgo serena'   Motet composed by Josquin des Prez   NJE 23.6

'Ave Maria, gratia plena, Dominus tecum, virgo serena'

'Hail Mary, full of grace, The Lord is with you, gentle virgin'

1480 or so while in service to the Duke of Milan

'Missa Hercules Dux Ferrariae'   Mass composed by Josquin des Prez    NJE 11.1

A 4 except 'Agnus Dei' a 6

Possibly 1480 as dedicated to Duke Ercole I d'Este of Ferrara aka Duke Hercules

Also dated to c 1503-04 as included in Petrucci's 'Missarum Liber 2' of 1505

'Stabat Mater Dolorosa'   Motet a 4 composed by Josquin des Prez   NJE 25.9

'Our Lady of Sorrows'

Possibly 1480 or so while in the service of King Louis XI

Josquin may have remained with the Sforzas into 1484 upon their earlier move to Milan. His name was beginning to get around by that time, six of his chansons copied into the Casanatense Chansonnier I-Rc 2856 of c 1485-90. From 1489 to 1495 Josquin was a member of the papal choir in Rome. He was probably in France from 1497 into 1498, associated, though not employed, with the court of Charles VIII (Château d'Amboise) until the latter's death in 1498, then perhaps Charles' successor, Louis XII. It was there that he likely composed his lament, 'Nymphes des bois', upon the death of his elder colleague, Johannes Ockeghem.

'Nymphes des bois, deesses des fontaines'   Lament a 5 composed by Josquin des Prez

'Wood-nymphs, goddesses of the fountains'   NJE 29.18

Probably 1497 in Paris upon the death of Johannes Ockeghem (6 Feb 1497)

Josquin was back with the Sforza family in Milan in 1498 until 1499 when Louis XII invaded northern Italy and imprisoned his Sforza patrons. Church reformer, Girolamo Savonarola, whom Josquin admired, had been burned at the stake in Florence in 1498. Charles' invasion wouldn't be the end of the Sforzas, but what had been the fairly powerful House of Sforza would vanish in 1535 when Francesco II Sforza died without progeny. Be as may, Josquin probably wrote the frottola, 'El Grillo', while with the Sforzas in Milan. Among his musical associates at that time was one Carlo Grillo whose last name translates to "cricket" which is reflected in the text painting of the work.