Search results
Results From The WOW.Com Content Network
The Miserere is one of Josquin's two "motto" motets, motets in which repetitions of a phrase are the predominant structural feature (the other is the five-voice Salve Regina of several years before). In the Miserere , the opening words of the first verse "Miserere mei, Deus", sung to a simple repeated-note motif containing only two pitches (E ...
Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) 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
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 other, Miserere mei domine, is based on Psalm 6, and again is reminiscent of Josquin's setting, which itself was composed in Ferrara two decades earlier. Later in his life Hellinck wrote 11 German chorale settings in a motet style. The chorale tune is in the tenor, but differs little from the other voices rhythmically.
Miserere, c. 1503 motet setting by Josquin des Prez; Miserere nostri, 1575 composition by Thomas Tallis; Miserere, 1630s musical setting by Gregorio Allegri; Miserere des Jésuites H.193 (1683-85), Miserere H.157 (1670), Miserere H.173 (late 1670s), Miserere H.219 (early 1690s ?), by Marc-Antoine Charpentier
Dating of the mass has been controversial, with some scholars proposing a mid-career date, for example during Josquin's Roman period (roughly 1489 to 1495), and other scholars, such as Gustave Reese, arguing for an earlier date, claiming that the contrapuntal complexity the mass shows is more typical of Josquin's early style, and that he simplified his method as he aged. [3]
Tenor of "Adieu mes amours" from Petrucci's Odhecaton. Adieu mes amours was a popular secular polyphonic chanson of the late 15th century. Many settings of this tune are in fact based on the c. 1480 setting by Josquin des Prez, in which the lower two voices are in quasi-canon, and the upper two voices are freer.
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.