Josquin des Prez

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Josquin des Prez


(also J. Després or J. des Prés). Born circa 1440, in Picardy; died Aug. 27, 1521, in Condé-sur-1’Escaut. Franco-Flemish composer.

Josquin was probably a pupil of J. Ockeghem. The humanistic art of Italy, where he primarily worked, influenced the development of his creative outlook. He was a choirboy at the court chapel in Milan from 1474 to 1479, and at the Sistine Chapel in Rome from approximately 1486 to 1494. From 1495 to 1499 he directed the choir of the cathedral at Cambrai; in 1489 he directed a cathedral choir at Modena. In 1500, Josquin served at the court of Louis XII in Paris. From 1501 to 1503 he was the court choirmaster in Ferrara. He spent the last years of his life as a provost of a cathedral in Condé.

Josquin was one of the major composers of polyphonic music of the Renaissance. Having synthesized the achievements of the Netherlands school, he created innovative religious and secular works which closely resemble the intonations of folk songs. In masses, motets, and songs (French chanson and Italian frottole), he subordinated a refined polyphonic technique to new problems of expression. Spontaneity of feeling is expressed in the brightness and vitality of his musical compositions. His progressive and humanistic com-positions were important in the development of new tendencies in 16th-century European music. An edition of Josquin des Prez’s collected works is being published in Leipzig and Amsterdam (as of 1968, 54 installments had appeared).


lakovleva, E. G. Zhoskin de-Pre: Biograficheskii ocherk. Moscow, 1910.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Ludwig Finscher, writing in the second edition of Die Musik in Geschichte und Gegenwart ("Personenteil" volume 9 (2003)), uses the form "Josquin des Prez", noting that this form has gained acceptance into Western musicology albeit without particularly strong justification ("eigentlich ohne zureichenden Grund").
The latter is a period that covers--a bit generously at each end--what to historians of music not so long ago represented the High Renaissance in our art, epitomized in the career of Josquin des Prez (ca.
Finally, in addition to editing the collection as a whole, Todd Borgerding has contributed a fine essay, "Sic ego te dilegebam: Music, Homoeroticism, and the Sacred in Early Modern Europe," on "Sic ego te dilegebam," a Josquin des Prez motet that sets the future king David's lament on the death of Jonathan.
(Schola Philippi): Lord, for thy tender mercies' sake - anon; Missa Pange lingua - Josquin des Prez. Lent Prose: Miserere mei - Byrd.
Two Canzone in majestic Venetian polychoral style by the Italian composer Giovanni Gabrielli, a Ricercare by Andrea Gabrielli, an arrangement by Alkis Baltas of the highly expressive French chanson 'Mille Regretz' by the Franco-flemish composer Josquin des Prez, and the jubilant dance 'La Mourisque' by
The Lenten evensong will include music by William Byrd, Josquin des Prez, Gilles Binchois, Melchior Franck and Robert Ramsey.
The concert, presented by Music Worcester Inc., will also include summer-themed music by Benjamin Britten ("Flower Songs"), Leonard Bernstein, Irving Fine and Josquin des Prez.
It is striking that even a composer as important as Josquin des Prez (ca.
The music included several motets by Josquin des Prez and the Kyrie and Gloria from a lush and fantastic Mass written by the Flamand, Jacobus Barbireau for the court of Burgundy.
While Cumming takes a broad reportorial approach, John Milsom, in "Josquin des Prez and the Combinative Impulse," places a single piece at the center of his study, subjecting the five-voice Virgo prudentissima to his brand of "forensic analysis." By "forensic" he means analysis geared toward reconstructing the process of creating contrapuntal networks, particularly fuga and stretto fuga at various temporal and intervallic distances--whether in the presence or absence of borrowed material.
Music and Love and Fate," examines how those themes found expression in the music of such Renaissance masters as Josquin des Prez, Cipriano de Rore, Nicholas Gombert and Robert Morton.
Judd concludes her study with a reception history of the motet Magnus es tu Domine I Tu pauperum refugium by Josquin des Prez and an epilogue in which she reiterates her desire to know what music notation can mean when it is surrounded by theoretical text.