A Josquin substitution

Rodin, Jesse

doi:10.1093/em/cal002

Early Music

2006

DOI: 10.1093/em/cal002

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A Josquin substitution

Jesse Rodin¹

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Cited by 2 publications

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THE LUTHERAN IDENTITY OF JOSQUIN’SMISSA PANGE LINGUA: RENAISSANCE OF A RENAISSANCE MASS

Tierno

2017

Early Music History

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In sixteenth-century Germany, both Catholics and Lutherans circulated and performed Josquin’sMissa Pange lingua, even though its model, the hymnPange lingua, was associated with Eucharistic practices that were exclusively Catholic. This source-based study reveals how Lutherans selected theMissa Pange linguafor performance over other available masses and adapted it for their liturgical and pedagogical needs. Two printed sources of the mass offer perspectives on how Lutherans might have negotiated the polemical rituals and theology associated with theMissa Pange linguaalongside an aesthetic interest in the work. The intention of this study is not to de-emphasise the connection between theMissa Pange linguaand its borrowed melody or the initial Catholic identity of the mass. Rather, the Lutheran identity of theMissa Pange linguaprovides an additional layer to the early reception history of this work and a case study of the Lutheran appropriation of Catholic music.

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THE LUTHERAN IDENTITY OF JOSQUIN’SMISSA PANGE LINGUA: RENAISSANCE OF A RENAISSANCE MASS

Tierno

2017

Early Music History

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“When in Rome……”: What Josquin Learned in the Sistine Chapel

Rodin¹

2008

Journal of the American Musicological Society

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Only recently has our ever-changing image of Josquin's life and career come into sharper focus. With the composer's date of birth pushed forward by ten or perhaps as many as fifteen years and the importance of Milan as the first stop on his Italian tour now fading, it looks increasingly as though Josquin's first compositional maturity occurred while he was a singer in the Sistine Chapel choir in Rome (ca. 1489–at least 1494). The new biographical picture also points toward an unfamiliar possibility: that Josquin learned something from the music of his contemporaries. In particular, he seems to have engaged closely with compositions by his “Roman” colleague Marbrianus de Orto (d. 1529). Through an examination of music by de Orto and Josquin likely composed in Rome, I have uncovered a series of close musical connections between the composers. It is now clear, for instance, that the cantus firmus treatment in Josquin's Missa L'homme armé super voces musicales is dependent on de Orto's. Josquin's tenor motet Illibata Dei virgo nutrix (a 5) may also owe something to de Orto's example, as may his four-voice setting of the song Si j'ay perdu mon amy. Josquin and de Orto are even united in their unusual preference for certain contrapuntal and melodic strategies. All of this suggests that de Orto played a pivotal role in Josquin's compositional development, and calls for a revised historiographical model with which to frame studies of the elusive Josquin des Prez.

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A Josquin substitution

Cited by 2 publications

References 6 publications

THE LUTHERAN IDENTITY OF JOSQUIN’SMISSA PANGE LINGUA: RENAISSANCE OF A RENAISSANCE MASS

THE LUTHERAN IDENTITY OF JOSQUIN’SMISSA PANGE LINGUA: RENAISSANCE OF A RENAISSANCE MASS

“When in Rome……”: What Josquin Learned in the Sistine Chapel

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