Posted at 10.14.2018
Josquin des Pres is a prodigy from the late 15th century who presents a new quality level into Traditional western music. Little is known about him, without certain dates of beginning or loss of life. He set new standards how strong and significant the text in musical parts should be. While attaining popularity from Dukes and Kings, other authors started demonstrating despise towards him. He was one of the authors who valued their work too much and never even once travelled wrong. Affected by the Franco-Flemish Institution, he extended the school's custom. He now could be one of the most accepted renaissance authors.
1. Thesis: Why was Josquin's artwork making other contemporary artists of his time furious, but over time was accepted as a musical genius? Witnessing the influence he had over many compositors of his time, other great modern day authors proved jealousy and anger towards his popularity and style.
2. Advantages: Josquin des Pres
3. 1st Support: Josquin's music, wording and influences.
-Explaining Josquin's pieces
4. 2nd Support: Justifying the other authors' anger
-Describing a few of their work and skills
5. 3rd Support: Josquin's skills and musical character
-Explaining his techniques and masteries
6. 4th Support: Invisible text messages in Josquin's works
-Encrypted emails that he might have covered in his pieces
Topic: Also called Des Pres or Despres, French musical composer, was created, probably in Conde in the Hennegau, about 1445. He was a pupil of Ockenheim, and himself one of the very most learned musicians of his time. In spite of his great fame, the accounts of his life are vague and the dates contradictory. No composer in Traditional western music history, can be compared in relevance with Josquin, about whom, as an publisher very little is known. The most satisfactory set of his compositions -- comprising people, motets, psalms and other pieces of sacred music will be within Fetis. The most significant collection of his manuscript works, filled with no less than twenty people, is in the possession of the papal chapel in Rome. In his life span Des Prez was honored as an eminent composer. While all the gathered archival data pertaining to his biography has fixed the year and day of his loss of life, his time frame of birth can not be completely determined with all of the existing data about him. With preceding research, the generally accepted time of his birth was yr 1440. Some research (Strunk, Source Readings in Music Record) even shows likelihood of 'Des Prez' being only a nickname, and 'Lebloitte' being his true family name. Not all of his life journeys and whereabouts are recorded and documented. Never to be misplaced with a singer in the Cathedral of Milan in 1459 of the same name, as some biographies say (Richard Sherr, The Josquin Companion). Several years of his life he handed down in the Sforza's service, so that a friend of Cardinal of Cardinal Ascanio. You will find two notarial works that testify to Josquin's existence in Aix-en-Provence in 1477. There, he was a vocalist in the service of the titular Ruler of Sicily - Rend of Anjou. It's been saved that he was applied as the chapel grasp at the Este Courtroom in Ferrara. The final many years of his life he put in in Conde-sur-l'Escaut. There, he held the post of Provost of the Collegiate Church of Notre-Dame. His works weren't left unnoticed by other authors from that time, which brings us the question:
The attention he got made some people understand how amazing he's, and also made other designers mad. He had undeniably good skills, which made the jealousy of some to surface.
The reason why Josquin's fine art was so apparent and fostered such anger among other artist in that time, was its exceptional expressivity, which visited a far greater scope than anyone before him. His most powerful and audacious music is to be within his motets (which he previously discussed a 100 or so). The reason why his motets appear a lot more powerful than his Masses is the text - he previously much bigger liberty of word choice with the motets.
"He is the get good at of the notes. They must do as he wills; as for the other composers, they need to do as the records will" - Martin Luther on Josquin's artwork. Josquin always attempted to convey the meaning of what he established on a much higher level than other music artists of his time. Doubtlessly, brilliant strokes of this sort were those that transferred Martin Luther. Even though his personality was just a little challenging, that's what made him so popular, combined with the undeniable fact that he knew his own worth as he never accepted underpayments.
Even if Josquin towered above his contemporaries, that does not devalue their work. For, he was surrounded by a host of less luminaries, significant composers in their own right. Other more prominent names for the reason that time were authors like Heinrich Isaac and Pierre de la Rue. However, their works never mirrored their musical personalities, as they left simply a vague impression of persona and feelings in them. It could be said that they were just a bit more than carbon copies of Josquin. For example, Obrecht's music lacks the textural variety, rhythmic animation and psychological impact of Josquin, or for example the brooding whimsy of Ockeghem's, but it does have some warmth and quirky spontaneity that are immediately likeable. Alternatively, La Rue writes in a richly textured style full of contrapuntal artifice and somber dignity. The best of Josquin's contemporaries was certainly Heinrich Isaac - even more versatile and cosmopolitan than Josquin himself, and a expert of emotional penetration.
One of the other reasons, probably, why Josquin's work infuriated so many other musicians and artists in his time was his "parody" public in which complete contrapuntal complexes are borrowed from an earlier source. The chanson El grillo, using its imitation of the cricket, is an excellent jeu d'esprit, as is the light-hearted Scaramella va alla guerra.
Apart from the actual fact that as a innovator in the most important stylistic move of the High Renaissance, Josquin continuing to put music more and more at the service of text, Josquin's secular music is accordingly broad in its stylistic range, and it has even been suggested that a lot of it was designed for instrumental performance. Concern was also given to text in greater and more sophisticated ways, letting details of the structure of the poetry dictate components of the musical progression, a practice which at his best Josquin could perform in particularly unselfconscious and convincing ways. This brings us to the hypothesis, that, maybe the reason Josquin's sophisticated technique and skill was so hated by other authors in his time, just because he was a prodigy in that area. And unlike others, Josquin's following reputation rests both on his response to text and his development of pervasive imitation as a technique for straightforward settings able to support larger set ups. Others weren't as good in technique and some just weren't powerful enough musicians and artists to contend with this.
On the other palm, many artists, along with other have appeared up and still research to the works that Josquin has created. As mentioned above, his price was always a pitch higher than of all others, and also, he was not one that could play or create anything anytime. Despite having his frame of mind about his work, individuals he worked well for never hesitated to choose him above others.
Taken from research (Clutterham, Data for a Later Going out with), people acknowledge Josquin as a genius because of 1 or even more of the following reasons: his strategy, virtuosity, electric power, encrypted hidden communications or strongly described musical figure.
Through, and regardless of, all the analyses of motivic interpolation from or even to other pieces both by the composer himself and by other composers and the twisting and interpretations to which the words and even its letters have been subjected, we should first recognize that Josquin des Prez wrote a small stylistic masterpiece. Illibata Dei virgo nutrix is area of the complete works of Josquin des Prez which collection was started by Father Albert Smijers in the first part of this century. You start with Smijers, most printed analyses have placed Illibata among Josquin's earliest works, a group largely made up of motets composed before 1500. It really is a five-voice Tenor Marian motet built on two rhymed verses, which Josquin also authored. The band of compositions into which it is classified is the "least well described" group which "includes prayers, poems of devotion, sounds of praise, and the like, many of them addressed to or honoring "Christ or the Virgin Mary. "
The non-liturgical, non-Biblical verse may define the motet's usage as "intended for performance in ritual or votive services in royal chapels or collegiate churches. "