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Updated: May 12, 2025
She had received the greatest praise, she said, in the motet of the Blessed Virgin, by Josquin de Pres, in the noble song 'Ecce tu pulchra es'. Her teacher specially valued this master and his countryman Gombert, and his exquisite compositions were frequently and gladly sung at the Convivium.
Louis XII. Josquin, a celebrated composer, was appointed master of the chapel to Louis XII. of France, who promised him a benefice, but contrary to his usual custom, forgot him. Josquin, after suffering great inconvenience from the shortness of his majesty's memory, ventured, by a singular expedient, publicly to remind him of his promise, without giving offence.
This had happened during the execution of Josquin de Pres's "Ecce tu pulchra es'."
This had happened during the execution of Josquin de Pres's "Ecce tu pulchra es'."
This had happened during the execution of Josquin de Pres's "Ecce tu pulchra es'."
Josquin was a singer in the Sistine Chapel in 1484 and his first successes as a composer were obtained in Rome. Later he went to Ferrara where he wrote for the Duke Ercole d'Este his famous mass, "Hercules Dux Ferrariæ." But these activities of Josquin had little relation to the frottola.
The works of the masters, Okeghem, Dufay, Josquin des Pres, and others, are but prophecies in tone, announcing a realization of their ideal in the centuries yet to come, that ideal which they felt so particularly, yet could not express. The Wohltemperirte Clavier then marks the first great climax of musical art. The evolution was certain, and it consummated in a kindred mind.
Every student of the history of the art knows that many centuries were required to build up a technical praxis sufficient to enable composers to shape compositions in such a large form as the Roman Catholic mass. When the basic laws of contrapuntal technic had been codified, Josquin des Prés led the way to the production of music possessing a beauty purely musical.
What music, however ample, sorrowful or tender, is worth the "De Profundis" chanted in unison, the solemnity of the "Magnificat," the splendid warmth of the "Lauda Sion," the enthusiasm of the "Salve Regina," the sorrow of the "Miserere," and the "Stabat Mater," the majestic omnipotence of the "Te Deum"? Artists of genius have set themselves to translate the sacred texts: Vittoria, Josquin de Près, Palestrina, Orlando Lasso, Handel, Bach, Haydn, have written wonderful pages; often indeed they have been uplifted by the mystic effluence, the very emanation of the Middle Ages, for ever lost; and yet their works have retained a certain pomp, and in spite of all are pretentious, as opposed to the humble magnificence, the sober splendour of the Gregorian chant with them the whole thing came to an end, for composers no longer believed.
It was from such works that he advanced to the composition of the madrigal of which he was so famous a composer and which he raised to the dignity of an art work. The residence of Josquin des Prés in Italy doubtless had an immense influence on the development of the Italian madrigal, but at a period later than that of Poliziano's "Orfeo" and of the best of the frottole.
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