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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 ...
Magnificat quarti toni (attributed to Josquin on stylistic grounds) Magnificat tertii toni (attributed to Josquin on stylistic grounds) Memor esto verbi tui; Miserere mei Deus (Ferrara, 1503) Misericordias Domini in aeternum cantabo (France, 1480/83) Missus est Gabriel angelus ad Mariam Virginem; Mittit ad virginem; Monstra te esse matrem
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]
Miserere (Latin imperative of misereor 'have mercy' or 'have pity') may refer to: Psalm 51 , referred to as "Miserere" because of its opening words, "Miserere mei, Deus" Music
Psalm 51, one of the penitential psalms, [1] is the 51st psalm of the Book of Psalms, beginning in English in the King James Version: "Have mercy upon me, O God".In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 50.
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 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.