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Josquin's setting of the Miserere was influential not only as a psalm setting, but as an example of how to approach the text of Infelix ego. Later in the 16th century, composers who specifically set the words of Savonarola, such as Adrian Willaert , Cipriano de Rore , and Nicola Vicentino , all of whom wrote motets on Infelix ego , used Josquin ...
Missa Quem dicunt homines (4 voices, 5 in Agnus III). Only one source of this mass shows Josquin's authorship, but it is defended by some scholars like Rob C. Wegman because of the highest quality and crystal purity of its polyphony, which is characteristic of Josquin's late style.
The length, and the sustained notes of the cantus firmus, refer both to the "cry for mercy" aspect of the Agnus Dei text, which cries to the Lamb of God to take away the sins of the world, and to the trumpet motif and text "On a fait partout crier" from the original L'homme armé tune, calling the listeners to arms. [6]
Settings of individual penitential psalms have been written by many composers. Well-known settings of the Miserere (Psalm 50/51) include those by Gregorio Allegri and Josquin des Prez; yet another is by Bach. Settings of the De profundis (Psalm 129/130) include two in the Renaissance by Josquin. [citation needed]
In 1977, Leon Schidlowsky composed a work that he called Misa Sine Nomine and dedicated to the Chilean human rights activist Victor Jara; the text is a juxtaposition of part of the mass ordinary with both Bible verses in Hebrew and contemporary texts, and he wrote it for different combinations of narrator, choirs, organ and percussion.
The Missa Di dadi, also known as the Dice Mass or Missa N'aray je jamais mieulx, is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez, probably dating from around 1480.
Text: Mille regretz de vous abandonner Et d'eslonger vostre fache amoureuse, Jay si grand dueil et paine douloureuse, Quon me verra brief mes jours definer. In Modern French: Mille regrets de vous abandonner et de m'éloigner de votre visage amoureux. J’ai si grand deuil et peine douloureuse qu’on verra vite mes jours prendre fin. English ...
Although Josquin's two canonic masses were published together in Ottaviano Petrucci's third book of the composer's masses in 1514, The Missa ad fugam is clearly the earlier of the two. It has a head-motif consisting of the entirety of the first Kyrie which is literally repeated in the beginning of all five movements. [ 1 ]