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When some little time ago I was, through the kind offices of Mr. Herbert Antcliffe, invited by the members of the Musical Association to address them on the subject of Josquin des Prez I did not long hesitate in accepting this friendly invitation. For, although I am conscious that for many of you I have probably little that is new to say, it seemed to me a welcome opportunity of making propaganda in England for the works of that composer,1 a complete edition of which has been entrusted to me for preparation under the auspices of the Vereeniging voor Nederlandsche Muziekgeschiedenis, or Society for Netherlands History of Music.
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- Copyright © Royal Musical Association, 1926
References
1 Vereeniging voor Nederlandsche Muziekgeschiedenis (Society for Netherlands History of Music). “Works of Josquin des Prés,” edited by Dr. A. Smijers. Amsterdam, G. Alsbach & Co.; Leipzig, Fr. Kistner and C. F. W. Siegel; 1921 seq.Google Scholar
2 Cf. Ch. van den Borren, “Guillaume Dufay,” 1926, pp. 53–54.Google Scholar
3 E. de Coussemaker, “Scriptores de musica medii aevi,” IV, p. 154: “Quo fit ut hac tempestate facultas nostrae musices tam mirabile susceperit incrementum quod ars nova esse videatur, cujus, ut ita dicam, novae artis fons et origo, apud Anglicos quorum caput Dunstable exstitit, fuisse perhibetur.”Google Scholar
4 Cf. Riemann, H., “Geschichte der Musiktheorie im 9–19 Jahrhundert,” 1898, p. 141 et seq.; H. E. Wooldridge, “The Oxford History of Music,” II p. 91 et seq.; G. Adler, “Handbuch der Musikgeschichte,” 1924, p. 247.Google Scholar
5 F. de Ménil, “Les grands musiciens du Nord: Josquin de Prés,” Parts, 1897.Google Scholar
6 A Gastoué, “Josquin des Prés, ses précurseurs et ses émules,” in “La Tribune de 9t. Gervais,” 1921, pp. 201–223.Google Scholar
7 “La Tribune de St. Gervais,” 1922, pp. 164–165. A. Gastoué in the above-mentioned article also says: “C'est cette école, celle des musiciens du Nord, qu'on a, tour à tour, nommée ‘belge,’ ‘flamande,’ ‘néerlandaise’ ou ‘des Pays-Bas méridionaux,’ ‘franco-belge,’ et on reconnaitra que ce dernier nom est le plus exact—c'est cette école, qui a, peu à peu, créé l'art de la polyphonie vocale.”Google Scholar
8 Cf. A. Smijers. “Een kleine bijdrage over Josquin en Isaac” in the “Gedenkboek” presented to Dr. D. F. Scheurleer on his seventieth birthday, 1925, pp 313–318. The text reads as follows:—Google Scholar
9 Claude Hémeré, “Tabella chronologica decanorum, custodum canonicorumque regalis ecclesiae S. Quintini,” Lutetiae Parisiorum 1633, p. 163: “Josquinus a Pratis, can(onicus) S. Q(uintini). Fuit ille cantandi arte clarissimus. Infantulus cantor in choro S. Quintini, tum ibidem musicae praefectus, postremo magister symphoniae regiae.” The little that is known about the stay of Josquin at St. Quentin has been collected by Félix Raugel, “Josquin des Prés à la collégiale de Saint-Quentin. (Actes du Congress d'histoire de l'art, organisé par la Societé de l'histoire de l'art français, Paris, 26 septembre—5 octobre, 1921.” Paris, Presses universitaires, 1924.Google Scholar
10 Fétis, “Biographie universelle des musiciens,” III, p. 279. F. de Ménil (o.c., p 11) does not doubt this for one moment: “Nous savons par les deux Déplorations écrites sur la mort d'Ockeghem … que notre musicien fut élève de cet illustre maître. Ceci est absolument indiscutable.” From the two Laments which are here given by de Ménil as examples, however, this does not appear with absolute certainty. M. Brenet in “Musique et Musiciens de la vieille France,” p. 63, is more cautious in judging: “Il ne faut pas conclure des vers où Crétin invite les musiciens à ‘lamenter nostre maistre et bon père,’ que ses artistes étaient tous les propres élèves d'Ockeghem. C'est là une sorte de licence poétique, ou plutôt un exemple de l'habitude où l'on est de grouper autour d'un nom glorieux d'autres noms paraissant constituer à un grand artiste un entourage de disciples. Ockeghem, par son talent, par ses oeuvres, fut un chef d'école; mais l'on ne doit pas entreprendre de désigner exactement quels furent, parmi ses successeurs, ses véritables élèves.”Google Scholar
11 E. van der Straeten, “La Musique aux Pays-Bas avant le XIXe siècle,” VI, pp. 18 et seq. On October 1st, 1475, Josquin (Juschino) received 20 quaterns of paper for a book that he was to make for the Duke's choir.Google Scholar
12 Haberl, F. X., “Bausteine für Musikgeschichte; III: Die Römische ‘Schola Cantarum’ un die pāpstlichen Kapellsanger bis zur Mitte des 16 Jahrhunderts,” pp. 56 et seq, 119 and 120.Google Scholar
13 Petrus Aaron, “Libri tres de institutione harmonica,” Bononiae, 1516. Liber tertius, caput X: Josquinus, Obret, Isaac et Agricola, cum quibus mihi Florentiae familiaritas et consuetudo summa fuit.”Google Scholar
14 E. van der Straeten. “La Musique aux Pays-Bas,” VI, pag. 77: “Mando a vostra Extia la ‘Salve Regina’ sapendo 10 quella esser desiderosa de havere; lo authore è Juschino. Ex Sancto Mattheo, 24 februari, 1502.”Google Scholar
15 “Opus Merlini Cocaii poetae Mantuani Macircicorum,” Amstelodami, apud Abrahum à Someren, MDCXCII. On page 299 is the following “Prophetia”:—
O ventura bonis felicia secla diebus,
Florida monstrabit cum musica sacra Leonis
Sub spe Pontificis, quantum sit grata tonanti!
Nascere Phoebei decus, ô Josquine, senatus,
Nascere, qui primos in hac arte merebis honores.
O felix Bido, Carpentras, Silvaque, Broyer,
Vosque leoninae cantorum squadra capellae:
Josquini quoniam cantus frifolabitis illos,
Quos Deus auscultans coelum monstrabit apertum:
Missa “super voces musarum, lassaque farmi
Missa super sextum, fortunam, missaque musque,
Missaque de Domina, sine nomine, duxque Ferrarie;
Partibus in senis cantabitur ilia: “Beata,
Hue me sidereo, se congé, praeter“—et illud
Compositum “Miserere,” Duca rogitante Ferrara.
Nascere Phoebeae laus ergo prima cohortis,
O Josquine, Deo gratissime, nascere mundo,
Compositure diu, quem clamet musica patrem!
Magnus adorabit tunc tua vestigia Brumel,
Johannes Motonus, Petrus de Robore, Festa
Constans, Josquinus qui saepe putabitur esse,
Tuque pater Franchine novas componere normas
Incipe, et antiquas remove, squallore sepultas“
A. W. Ambros, “Geschichte der Musik,” III, p. 12, will in place of “Missaque musque” read “Gaudeamusque.” It is evident, however, that the Mass “Una musque de Byscaia” is meant.
16 E. van der Straeten, “La Musique aux Pays-Bas,” VI, p 87.Google Scholar
17 Glareanus, “Dodekachordon, p. 468; Claude Hémeré, “Tabella chronologica, etc., p. 161; Claude Hémeré, “Augusta Vinmanduorum vindicata et illustrata,” p. 337: “Oblectatus Ludovicus musica vocum consonantia, cantores palatinos primus in praebendas Sanquintinenses introduxit, quas Reges praecedentes in solos ellemosynarios, summularios et alios officiales capellae suae, raro in cantores contulerunt Itaque, ab aevo praesertim Ludovici 12 i, et Canonicos et scholae cantus praefectos habuimus musicae peritissimos. Josqumum a Pratis, Carolum de Villari, Frumentinum, Ludovicum Compatrem, Bornouillaem, etc., scriptis suis notos posteritati.”Google Scholar
18 Johannes Manlius, “Locorum commumum collectanea,” Basileae, 1563 Tomus III, p. 93: “Josquinus, vivens Cameraci, cum quidam vellet ei in suo cantu adhibere colores seu coloraturas, quas ipse non composuerat, mgressus est chorum, et acriter increpavit ilium, omnibus audientibus, addens: Tu asine, quare addis coloraturam? Si mihi ea placuisset, inseruissem ipse. Si tu velis corrigere cantilenas recte compositas, facias tibi proprium cantum, sinas mihi meum incorrectum. Quoties novam cantilenam composuerat, dedit earn cantoribus canendam, et interea ipse circumambulabat, attente audiens, an harmonia congrueret. Si non placeret, ingressus: Tacete, inquit, ego mutabo.”Google Scholar
19 This church was destroyed in 1793. The epitaph here given was found by V. Delzant in a MS. in the library at Lille, entitled: “Sépultures de Flandre, Hamault et Brabant,” p. 53.Google Scholar
20 Franciscus Sweertius Antverp., “Athenae Belgicae, sive Nomenclator infer. Germaniae scnptorum, qui disciplinas philosophical, ‥ et musicas illustrarunt.” Antverpiae, apud Gulielmum a Tungris, 1628, p. 495. This epitaph was afterwards also applied to Palestrina: cf., R. Casimiri, “Giovanni Pierluigi da Palestrina,” Roma, 1918, pp. 35–36.Google Scholar
21 Opmeer, P., “Opus Chronographicum,” Antverpiae, 1611, p. 440, s.: “Conspicitur Josquinus depictus Bruxellis in D Gudulae in tabula arae dextrae ante chorum, honesta sane facie ac blandis oculis.”Google Scholar
22 “Denkmäler der Tonkunst in Oesterreich.” VII, p. 111; facsimile, p. VIII.Google Scholar
23 G. Crétin, “Déploration sur le trépas de Jean Okeghem musicien, premier chapelain du roi de France et trésorier de St. Martin de Tours, remise au jour, précédée d'une introduction biographique et critique et annotée par E. Thoinan. Paris, 1864.Google Scholar
24 Ch. van den Borren,” Guillaume Dufay,” Bruxelles, 1926, p. 76 et eq.Google Scholar
25 “Practica Musicae utriusque cantus” excellentis Franchini Gaffori Laudensis, Brixiae, 1502. Liber Tertius, caput Duodecimum. “Tinctoris, Gulielmus Guarneni, Jusquin Despret, Gaspar, Alexander Agricola, Loyset, Obrech, Brumel, Isaac, ac reliqui iocundissimi compositores.”Google Scholar
26 “Libri tres de institutione harmonica,” Liber Tertius, caput X.Google Scholar
27 “Tractato di Musica” di Giovanni Spataro, Vinegia, 1531. Cap. XVIII: “Josquim de Spiriet (!) et Gaspar dignissimi compositon”; capitolo XXI: “Josquin Despret, optimo de h compositori del tempo nostro”Google Scholar
28 “Practica Musica” Hermanni Finckii, Vitebergae, 1556. Fol. Aijr: “Floruit tunc etiam Josquinus de Pratis, qui vere Pater Musicorum dici potest, cui multum est attribuendum; antecellit enim multis in subtilitate et suavitate, sed in compositione nudior, hoc est, quamvis in invemendis fugis est acutissimus, utitur tamen multis pausis.”Google Scholar
29 “Dodekachordon,” Basileae, 1547. Liber III, Caput XXIIII.Google Scholar
30 “Vierteljahrsschrift fur Musikwissenschaft,” X, p. 275.Google Scholar
31 Claude Hémeré, o.c., p. 358: “Sacri rhythmi Stabat Mater in pervigilio Paschalis notis musicis Josquini à Pratis in Ecclesiae navi sub vesperam decantandi, Charleto scholastico instituente. Ejusdem rhythmi musice item concinendi, feria quaque sexta quadregesimali n sacello Laurentano, per N. Cappetum canonicum.” Cf. Raugel, F., o.c.Google Scholar
32 “Compendium musices,” descriptum ab Adriano Petit Coclico, discipulo Josquim de Pres. Impressum Norimbergae, MDLII. fol. F. ijv.Google Scholar
33 The text was set out above: “O mors inevitabilis,” etc. The composition of H Vinders is in seven parts; the Tenor primus and the Sexta Pars sing a Gregorian melody, while in Quinta Pars and Bassus the death knell sounds for Josquin. Anent the imitation of bells see Joh Tinctoris. “Liber de arte Contrapuncti (de Coussemaker, “Scriptores,” IV, p. 151).Google Scholar
34 Cf. W. Barclay Squire, “Who was Benedictus?” (“Sammelbände der I.M.G., XIII, p. 264 et seq.). According to Barclay Squire this composition is by Benedictus Appenzelder and not by Benedictus Ducis.Google Scholar
35 Maurice Cauchie, “L'Odhecaton, Receuil de musique instrumentale.” (“Revue de musicologie,” IX, p. 148 et seq.).Google Scholar
36 H Riemann, “Handbuch der Musikgeschichte,” II/I, p. 400.Google Scholar
37 “Sammelbände der I.M.G.,” IX, p. 625 et seq.Google Scholar
38 G. Schünemann, “Zur Frage des Taktschlagens und der Text behandlung in der Mensuralmusik” (“Sammelbände der I M.G.,” X, p. 73 et seq.).Google Scholar
39 Schering, A., “Takt und Sinngliederung in der Musik des 16. Jahrhunderts.” (“Archiv für Musikwissenschaft,” II, p. 465 et seq.).Google Scholar
40 Cf. inter alia “Handbuch der Musikgeschichte,” II/I, p. 33 ct seq.Google Scholar
41 E.g., in “Les Maîtres musiciens de la Renaissance française.”Google Scholar
42 “Third Congress of I.M.G.,” Vienna, 1909, p. 109 et seq.Google Scholar
43 Riemann, H., “Verloren gegangene Selbstverständlichkeiten in der Musik des 16 and 17 Jahrhunderts.” Langensalza, 1907.Google Scholar
44 Cf. inter alia Springer, H., “Der Anteil der Instrumentalmusik an der Literatur des 14–16 Jahrhunderts” (“Zeitschrift der I.M.G,” XIII, p 265 et seq.); Hugo Leichtentritt, “Einige Bemerkungen über Verwendung der Instrumente im Zeitalter Josquin's” (ibid., XIV, p. 359 et seq.); A. Schering, “Zur Orgelmesse” (ibid., XV, p. 11 et seq.); Th. Kroyer, “A Capella oder Conserto?” (“Festschrift” für H. Kreltzschmar, Leipzig, 1918, p. 65 et seq.); Th. Kroyer, “Zur a cappella-Frage” (“Archiv für Musikwissenschaft,” II, p. 48 et seq.)Google Scholar
45 One compares merely the titles of many works about 1550: “Zeer. lustich om singhen ende spelen op alle musicale instrumenten; convenables tant à la voix comme aux instruments,” etc., by M. Seiffert, “Niederländische und englische Gesellschaftsmusik um 1600.” (Bulletin de la Société Union Musicologique,” 1922, p. 23).Google Scholar
46 Smijers, A., Die kaiserliche Hofmusik-kapelle von 1543 bis 1619.” Wien, 1922, p. 64. Philippus de Monte berichtet über den zustand der orgl in der Prager Schlosskhirchen: '… Die orgl ist von dem gewöhnlichen ton umb eine semitonium oder halbe stimb verrukht, welches der capelln eine grosse ungelegenheit gibt, dermassen, das sie zu zeiten anstatt singens, schreien muss. Daher denn auch erfolgt, dass wenn man hat wollen etwas zusammen stimen, wie nechstermals geschen als ier kais. Maj. das gülden fliess empfangen, da eine mess von drei chören gesungen und allerlai instrument darein gangen, gemelte orgl darumben, das sie umb eine halbe stimb zu hoch, not gebraucht werden mögen, sunder man sich ier kais. Maj. regals mit grosser ungelegenheit behelfen müssen.”Google Scholar
47 Guido Adler, “Methode der Musikgeschichte,” Leipzig, 1919, p. 87.Google Scholar
48 The principal literature is set out by Johannes Wolf, “Handbuch der Notationskunde,” Leipzig, 1913, I, p. 438 et seq.Google Scholar
49 Einstein, A., “Augenmusik im Madrigal” (“Zeitschrift der I.M.G.” XIV, p 8 et seq.).Google Scholar
50 Cf. Vincent d'Indy, “Cours de composition musicale,” I, p. 156 sq.; Hugo Leichtentritt, “Geschichte der Motette,” Leipzig 1908, p. 60; H. Besseler, “Studien zur Musik der Mittelalters” (“Archiv für Musikwissenschaft,” 1927, p. 171).Google Scholar
51 E. de Coussemaker, “Scriptores,” III, p. 273 et seq.Google Scholar
52 Kurt Huber, “Ivo de Vento” (circa 1540–1575), Lindenburg im Allgau, 1918; O. Ursprung, “Josquin des Prés” (“Bulletin de la Société ‘Union musicologique,’” VI, p. 12, p. 46).Google Scholar
53 “Musica Practica” by Ramis de Pareia, ed. Joh. Wolf, Leipzig, 1901, p.98, note 3.Google Scholar