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.
Mille regretz
Josquin des Prez Lyrics
We have lyrics for 'Mille regretz' by these artists:
Owain Phyfe Mille regretz de vous habandonner Et d'eslonger votre fache…
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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@Simon.Gilbert.Violin
What a wonderful performance !
All voices sound so individual yet marry themselves so well with the others, enough to make it sound as a whole ; as One sound.
The lyrics as well spoken for the poetry of it to take its meaning
There's color, emotion, history, Music...
On top of that, it gives the idea of what Josquin's life would have sounded like.
In one word : Wonderful !
@raidenwave4219
Mille regretz de vous habandonner
Et d'eslonger votre fache amoureuse;
J'ay si grand dueil et paine douloureuse,
Qu'on me verra brief mes jours deffiner.
En français :
J'ai mille regrets de vous avoir abandonné
Et laissé votre visage aimant
J'ai un si grand chagrin et une telle peine douloureuse
Que bientôt mes jours se verront être comptés.
In english :
A thousand regrets for abandoning you
And leaving your loving face
I feel such painful sorrow and grief,
That soon my days will be seen to be numbered.
@czadferedgilhang6206
0:40 That tenor ornamentation, I keep on repeating it. Sounds so pleasing and hard to do
@jg5861
I don't think there is a performance of this song which gets anywhere near this one, with its subtlety, honesty and lovingly cared ensemble work. Thank you a million times. I would love to have an album of yours dedicated to Josquin chansons, which I think are still waiting for an ideal album. How about it?
@mwnyc3976
Great idea, but someone probably has to raise money to pay them to do it.
@quanxu1
Mille regretz for not hearing this amazing performance before
@WilliamFord972
The Phrygian mode makes this all the more sad, especially with what sounds like what should end with an A-major chord is actually an E-minor chord approached by a half step in the soprano.
@kanelbullenochkakan3118
Probably the best performance I've ever heard until now, lovely!
@YavorArseniev
Stunningly beautiful performance!
Had never heard the tenor line so gorgeously ornamented as Jacob has sung it here, or the bass as Elam has.
An absolute joy to listen to.
@pneumachina
this was absolutely incredible! beautiful voices, excelent control and a very exquisite use of dynamic and ornaments!
@NAETEMUSIC
Amazing. De Prez was one of the best exemplars of renaissance philosophy in music. Just beautiful.
@yeah8598
Painfully beautifull,great interpretation profetti