Josquin des Prez [Josquin Lebloitte dit Desprez] (French pronunciation: [ʒɔ… Read Full Bio ↴Josquin des Prez [Josquin Lebloitte dit Desprez] (French pronunciation: [ʒɔskɛ̃ depʁe]; c. 1450/1455 – 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. 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. 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 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.
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, as Josquin liked to solve compositional problems in different ways in successive compositions—sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity. 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. 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.
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. 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 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.
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, as Josquin liked to solve compositional problems in different ways in successive compositions—sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity. 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. 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.
Absalon fili mi
Josquin des Prez Lyrics
We have lyrics for these tracks by Josquin des Prez:
Ave Maria Ave Maria, Gratia plena, Dominus tecum, Benedicta tu. As I …
ave maria ... virgo serena Ave Maria, gratia plena, Dominus tecum, Virgo serena. Ave c…
El grillo El grillo è buon cantore Che tiene longo verso. Dalle beve g…
El grillo è buon cantore El grillo è buon cantore che tiene longo verso. ¡Dale beve…
Inviolata integra et casta es Maria Inviolata, integra et casta es Maria: Quae es effecta fulgid…
Pange lingua Pange, lingua, gloriósi Córporis mystérium, Sanguinísque pre…
Tu solus qui facis mirabilia Tu solus qui facis mirabilia, Tu solus Creator, qui creasti …
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@johanndominik2032
It is one of the most tragic stories from the Old Testament (2 Sam 13-19). King David of Israel had a lot of children. Two of them were Salomon and Absalom. Salomon should once become the successor of David. Absalom was quite rebellious and formed an army against his father in order to become king over Israel. The whole situation escalated so that father and son went into a kind of civil war with each other. David commanded his troups to catch his son but to spare his life. After a wilde battle, David won. While Absalom was forced to retreat and rode back on his mule, he got stuck with his head between the limbs of a tree and hung their helplessly until Joab, the commander of King David's army, killed him. All Israel was happy that the civil war was over and public order was restored but as soon as King David learned that his son died in the battle, he burst into tears. No matter how bad their relationship has been in recent years, no matter how much misery Absalom brought to the Israelites, it was still his son. David was full of sorrow and spoke those words that Pierre de la Rue or maybe Josquin des Prez set to music. This explains why there are only male voices. This is a father mourning for his dead son.
Pierre de la Rue (1452-1518) or Josquin des Prez (1455-1521): Absalon, fili mi
Probably written for the funeral of Philip I of Castile (1478-1506), son of Emperor Maximilian I (1459-1519).
Absalon fili mi,
quis det ut moriar pro te, Absalon?
Non vivam ultra,
sed descendam in infernum plorans.
Absalon my son,
who grants me to die instead of you, Absalon?
I shall live no more,
but go down to hell, weeping.
2 Samuel 18:33 (cf. Job 7:16; cf. Psalm 54:16)
@andrewpearson1903
The other bass in my choir might be able to hit that Bb at the end. Exquisite, thank you for posting
@froschgrosch5247
The Bb1 at the end is actually audible, it's just very faint
@almiro44
Joquin des Près, mais conhecido como o principe dos compositores do Renascimento, um arranjo extremamente de harmonia rica numa época arcaica onde a música ainda estava em estado de evolução, acredito que os contrapontos de imitação evoluiu a partir de suas obras.
@anaclaudianunes4271
É perfeito !!!!
@anaclaudianunes4271
Bravíssimo!!
@slangelands4255
Bravo! The Db is a totally appropriate application of "una nota super la, semper est canandem fa", a late statement of a rule describing earlier practice.
@priscilamondlane6291
Bravo ❤️❤️❤️❤️
Can you send me the sheet?
Please.
God bless you.
@monscarmeli
I utterly refuse to unattribute this to the mighty Josquin.
@starless5668
I don't really care who actually wrote it - we will never find out for sure. Let's just enjoy the music.
@williamwhite2971
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