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Josquin Lebloitte dit des Prez was a composer of High Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of his predecessors Guillaume Du Fay and Johannes Ockeghem, he developed a complex style of expressive—and often imitative—movement between independent voices (polyphony) which informs much of his work. He further emphasized the relationship between text and music, and departed from the early Renaissance tendency towards lengthy melismatic lines on a single syllable, preferring to use shorter, repeated motifs between voices. Josquin was a singer, and his compositions are mainly vocal. They include masses, motets and secular chansons.
The Mass is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy, known as the Mass.
A parody mass is a musical setting of the mass, typically from the 16th century, that uses multiple voices of a pre-existing piece of music, such as a fragment of a motet or a secular chanson, as part of its melodic material. It is distinguished from the two other most prominent types of mass composition during the Renaissance, the cantus firmus and the paraphrase mass.
Johannes Ockeghem was a Franco-Flemish composer and singer of early Renaissance music. Ockeghem was the most influential European composer in the period between Guillaume Du Fay and Josquin des Prez, and he was—with his colleague Antoine Busnois—the leading European composer in the second half of the 15th century. He was an important proponent of the early Franco-Flemish School.
Antoine Brumel was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin des Prez, was one of the most influential composers of his generation.
"L'homme armé" is a secular song from the Late Middle Ages, of the Burgundian School. According to Allan W. Atlas, "the tune circulated in both the Mixolydian mode and Dorian mode ." It was the most popular tune used for musical settings of the Ordinary of the Mass: over 40 separate compositions entitled Missa L'homme armé survive from the period.
The Chigi codex is a music manuscript originating in Flanders. According to Herbert Kellman, it was created sometime between 1498 and 1503, probably at the behest of Philip I of Castile. It is currently housed in the Vatican Library under the call number Chigiana, C. VIII. 234.
In Renaissance music, the cyclic mass was a musical setting of the Ordinary of the Roman Catholic Mass, in which each of the movements – Kyrie, Gloria, Credo, Sanctus, and Agnus Dei – shared a common musical theme, commonly a cantus firmus, thus making it a unified whole. The cyclic mass was the first multi-movement form in western music to be subject to a single organizing principle.
The Missa Hercules dux Ferrariae is a setting of the Ordinary of the Mass composed by Josquin des Prez, and dedicated to Ercole d'Este I, Duke of Ferrara. The musical source material for the mass, the cantus firmus, is derived from the musical letters in the Duke's name, a technique called soggetto cavato.
A paraphrase mass is a musical setting of the Ordinary of the Mass that uses as its basis an elaborated version of a cantus firmus, typically chosen from plainsong or some other sacred source. It was a common means of mass composition from the late 15th century until the end of the 16th century, during the Renaissance period in music history, and was most frequently used by composers in the parts of western Europe which remained under the direct control of the Roman Catholic Church. It is distinguished from the other types of mass composition, including cyclic mass, parody, canon, soggetto cavato, free composition, and mixtures of these techniques.
The Missa Caput was a musical setting of the Roman Catholic mass, dating from the 1440s, by an anonymous English composer. It circulated widely on the European continent in the mid-15th century and was one of the best-loved musical works of the early Renaissance in Europe, judging by the number of copies that have survived, and the number of imitations it inspired. It was influential both for its use of a tenor cantus firmus which unified all the movements and for being the first extended composition with a freely composed bass line, a feature with extraordinary ramifications in music history. Among the many composers influenced by it are Guillaume Du Fay and Johannes Ockeghem.
Missa Papae Marcelli, or Pope Marcellus Mass, is a mass sine nomine by Giovanni Pierluigi da Palestrina. It is his best-known mass, and is regarded as an archetypal example of the complex polyphony championed by Palestrina. It was sung at the papal coronation Masses.
The Missa Pange lingua is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez, probably dating from around 1515, near the end of his life. Most likely his last mass, it is an extended fantasia on the Pange Lingua hymn, and is one of Josquin's most famous mass settings.
The Missa de Beata Virgine is a musical setting of the Ordinary of the Mass, by Renaissance composer Josquin des Prez. Though formerly believed to have been a late composition due to stylistic reasons, evidence from Burchard’s Diary proves that the mass was written sometime before September 23, 1497. It was the most popular of his masses in the 16th century.
The Missa Sine nomine is a setting of the Ordinary of the Mass by Renaissance composer Josquin des Prez. It is a work of his maturity, probably dating from the period after he returned to Condé-sur-l'Escaut in 1504. It is one of Josquin's only masses not to be based on pre-existing material, and like the Missa ad fugam, it is a canonic mass.
Marbrianus de Orto was a Dutch composer of the Renaissance. He was a contemporary, close associate, and possible friend of Josquin des Prez, and was one of the first composers to write a completely canonic setting of the Ordinary of the Mass.
The Missa prolationum is a musical setting of the Ordinary of the Mass by Johannes Ockeghem, dating from the second half of the 15th century. Based on freely written material probably composed by Ockeghem himself, and consisting entirely of mensuration canons, it has been called "perhaps the most extraordinary contrapuntal achievement of the fifteenth century", and was possibly the first multi-part work written with a unifying canonic principle for all its movements.
The Missa Gaudeamus is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez, probably composed in the early or middle 1480s, and published in 1502. It is based on the gregorian introit Gaudeamus Omnes and its setting is for four voices.
The Missa ad fugam is a musical setting of the Ordinary of the Mass by the composer Josquin des Prez, dating from the early 16th century.
References
- Ronald Cross, review of Capella Cordina recording directed by Alejandro Planchart, in The Musical Quarterly, Vol. 60, No. 1 (Jan., 1974), pp. 154-159
- Program notes to February 3, 2007 concert at UCLA [ permanent dead link ]
- Lewis Lockwood/Andrew Kirkman, Mass, II. Grove Music Online, ed. L. Macy (Accessed April 19, 2007), (subscription access)
- Jennifer Bloxam, "Masses on Polyphonic Songs", in Scherr, Richard, ed. The Josquin Companion. Oxford: Oxford Univ. Press, 2000. ISBN 0-19-816335-5.