The French composer Josquin des Prez was among the most prolific of his time, writing in genres that included masses, motets, chansons and frottole. Much of his output is sacred music, in which he cultivated and developed a highly sophisticated style of complex polyphony. Active during the high Renaissance, he was the central figure of the Franco-Flemish School.[1]
Manuscript copy from the papacy of Pope Leo X showing the opening Kyrie of Josquin's Missa de Beata Virgine
The difficulties in compiling a works list for Josquin cannot be overstated. Because of his immense prestige in the early sixteenth century, many scribes and publishers did not resist the temptation of attributing anonymous or otherwise spurious works to Josquin. The German editor Georg Forster summed up the situation admirably in 1540 when he wrote, "I remember a certain eminent man saying that, now that Josquin is dead, he is putting out more works than when he was alive."[2] Thus, the authenticity of many of the works listed below is disputed on stylistic grounds or problems with sources or both. This thorny issue has been taken up vigorously in the now nearly complete New Josquin Edition (NJE).
Masses
Missa Ad fugam (canonic, four voices)
Missa Ave maris stella (Rome, 1486–1495) (four voices)
Missa D'ung aultre amer (four voices; authorship doubted by some scholars, published as authentic in NJE)
Missa de Beata Virgine (around 1510) (four voices in parts I–II, five voices in parts III–V)
Missa Di dadi (=N'aray je jamais) (four voices; authorship doubted by some scholars, published as authentic in NJE)
Missa Faisant regretz (four voices)
Missa Fortuna desperata (four voices)
Missa Gaudeamus (four voices)
Missa Hercules Dux Ferrariae (Ferrara, 1503/04) (four voices, six in Agnus III)
Missa La sol fa re mi (four voices)
Missa L'ami Baudichon (four voices)
Missa L'homme armé sexti toni (four voices, six in Agnus III)
Missa L'homme armé super voces musicales (four voices)
Missa Malheur me bat (four voices, six in Agnus III)
Missa Mater patris (four voices; authorship doubted by some scholars on stylistic grounds, published as authentic in NJE)
Missa Pange lingua (Condé, around 1514) (four voices)
Missa Sine nomine (four voices; canonic mass, also titled "Missa Ad fugam" in later print)
Missa Une mousse de Biscaye (four voices; authorship doubted by some scholars, published as authentic in NJE)
Doubtful works:
Missa Allez regrets (printed in Werken by Smijers with reservations; considered authentic by Osthoff, otherwise doubted by many; possibly by Johannes Stokem)
Missa da pacem (four voices; authorship widely doubted; probably by Noel Bauldeweyn)
Mass fragments
Credo Chascun me crie (= Des rouges nez)
Credo De tous biens playne
Credo Vilayge (I)
Credo Vilayge (II) (of doubtful authorship)
Credo [Quarti toni] (canonic) (of doubtful authorship except considered authentic by Urquhart)
Gloria De beata virgine
Sanctus De passione
Sanctus D'ung aultre amer
Motets
Absalon, fili mi (4vv) (attribution has been challenged; conjecturally attributed to Pierre de La Rue)
Absolve, quaesumus, Domine/Requiem aeternam (6vv) (attribution has been challenged)
Jesse Rodin, "A Josquin Substitution," Early Music 34.2 (2006), p. 246
For the latest work on dating, see Joshua Rifkin, Munich, Milan, and a Marian Motet: Dating Josquin's "Ave Maria ... virgo serena," Journal of the American Musicological Society 56.2 (2003), pp. 239–350
Finscher, Sherr, p. 264n
Sources
Fallows, David. Josquin. Turnhout: Brepols Publishers, Second edition, 2020, ISBN978-2-503-56674-0.
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