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Time does not exist for Don Perosi. When he courteously wished to praise French musicians, the first name he chose as if it were that of a contemporary was that of Josquin, and then that of Roland de Lassus, who seems to him so great and profound a musician that he admires him most of all. And Don Perosi's universality of style is a trait that is Catholic as well as Italian.
Germany in the course of two centuries produced at least eight or nine; Russia three within the last fifty years. In France centuries elapse between the appearance of a Josquin des Prés in the fifteenth century, a Rameau in the eighteenth, a Debussy in the early twentieth.
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