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.
Tu solus qui facis mirabilia
Josquin des Prez Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tu solus Creator, qui creasti nos,
Tu solus Redemptor, qui redemisti nos
Sanguine tuo pretiosissimo.
Ad te solum confugimus,
In te solum confidimus
Nec alium adoramus,
Ad te preces effundimus
Exaudi quod supplicamus,
Et concede quod petimus,
Rex benigne.
D'ung aultre amer,
Nobis esset fallacia:
D'ung aultre amer,
Magna esset stultitia et peccatum.
Audi nostra suspiria,
Replenos tua gratia,
O rex regum,
Ut ad tua servitia
Sistamus cum laetitia
In aeternum.
The lyrics of the song Tu solus qui facis mirabilia are a hymn of praise and worship addressed to God, specifically Jesus Christ as redeemer and savior. The opening line "Tu solus qui facis mirabilia" means "You alone who do wonders" and acknowledges God's power and greatness. The following lines "Tu solus Creator, qui creasti nos, Tu solus Redemptor, qui redemisti nos" further underscore the divine nature of Jesus Christ, as the creator of all things and the redeemer of humanity through his precious blood.
The song continues with expressions of devotion and trust in Christ, as the only true object of worship and the source of salvation. The lines "Ad te solum confugimus, In te solum confidimus, Nec alium adoramus, Jesu Christe" affirm the singers' faith in Christ and their rejection of any other false gods or idols. The next verse "Ad te preces effundimus, Exaudi quod supplicamus, Et concede quod petimus" is a supplication to Christ, asking him to hear and grant their prayers and desires. The final verse "Audi nostra suspiria, Replenos tua gratia, O rex regum, Ut ad tua servitia Sistamus cum laetitia In aeternum" is a plea for God's grace and for the strength to serve him joyfully forever.
Overall, Tu solus qui facis mirabilia is a deeply religious and emotional work that reflects the piety and devotion of its time. The use of Latin, the language of the Catholic Church, further underscores the religious significance of the piece. The song is a testament to the power of faith and the belief in the redemptive power of Christ, as well as an expression of the desire for a life of service to God.
Line by Line Meaning
Tu solus qui facis mirabilia,
You alone are the one who performs miracles,
Tu solus Creator, qui creasti nos,
You alone are the Creator, who created us,
Tu solus Redemptor, qui redemisti nos
You alone are the Redeemer, who redeemed us
Sanguine tuo pretiosissimo.
By Your most precious blood.
Ad te solum confugimus,
To You alone we flee,
In te solum confidimus
We trust only in You
Nec alium adoramus,
We worship no other,
Jesu Christe.
Jesus Christ.
Ad te preces effundimus
We pour out prayers to You,
Exaudi quod supplicamus,
Hear our pleading,
Et concede quod petimus,
And grant what we request,
Rex benigne.
Gracious King.
D'ung aultre amer,
To love another,
Nobis esset fallacia:
Would be deception for us,
D'ung aultre amer,
To love another,
Magna esset stultitia et peccatum.
Would be great folly and sin.
Audi nostra suspiria,
Hear our sighing,
Replenos tua gratia,
Fill us with Your grace,
O rex regum,
O King of Kings,
Ut ad tua servitia
So that we may stand with joy
Sistamus cum laetitia
In Your eternal service.
In aeternum.
Forever.
Contributed by Aria K. Suggest a correction in the comments below.
@CarltonJWilkinson
Such a beautiful performance of an extraordinary work. Love this. FYI to anyone interested: recent research has dramatically altered the early part of Josquin’s timeline. Best guess now is he was born in 1450-53, and only came to Milan in 1484. It’s of little moment to lovers of his music, but simply recasts his evolution as an artist.
@monteverdi1567
Thank you for sharing this beautiful, other-worldly performance of this unusual and beautiful motet. One expects nothing less than perfection from the Hilliard Ensemble, or form Josquin, and this satisfies that expectation, and then some. Thank you again for sharing it!
@asiakusy
It's wonderful. These artists do the job ❤ of my dreams!
@hubertgachoud3353
Superbe ! Quelle découverte.
Encore merci et bravo et bonne continuation.
@shawniemar
This is so haunting and beautiful.
@Cietche
Quelle version exceptionnelle !
@TulioHav
Sumamente hermoso
@philippelelievre3692
une telle grâce qu'il faut beaucoup d'humilité pour essayer d'investir ce chant...l'élévation de l'âme et de l'esprit...
@Archiluth14
Vraiment c'est une beauté diaphane!
@saraysuarezmontoya916
Enamorada de esta pieza😍