DES PR$S, JOSQUIN (c . 1445–1521), also called DEPRES or DESPREZ, and by a latinized
See also:form of his name, JODOCUS PRATENSIS Or A
See also:PRATO, French musical composer, was
See also:born, probably in Conde in the Hennegau, about 1445 . He was a
See also:pupil of Ockenheim, and himself one of the most learned musicians of his
See also:time . In spite of his
See also:great fame, the accounts of his
See also:life are vague and the
See also:dates contradictory .
See also:Fetis contributed greatly towards elucidating the doubtful points in his Biographie universelle . In his early youth Josquin seems to have been a member of the
See also:choir of the collegiate
See also:church at St Quentin; when his
See also:voice changed he went (about 1455) to Ockenheim to take lessons in counterpoint; afterwards he again lived at his
See also:birth-place for some years, till
See also:Sixtus IV. invited him to Rome to teach his
See also:art to the musicians of Italy, where musical know-ledge at that time was at a low ebb . In Rome Des Pres lived till the
See also:death of his
See also:protector (1484), and it was there that many of his
See also:works were written . His reputation
See also:grew rapidly, and he was considered by his contemporaries to be the greatest
See also:master of his age .
See also:Luther, who was a
See also:judge, is credited with the saying that " other musicians do with notes what they can, Josquin what he likes . " The composer's
See also:journey to Rome marks in a manner the transference of the art from its Gallo-Belgian birthplace to Italy, which for the next two centuries remained the centre of the musical
See also:world . To Des Pres and his pupils Arcadelt, Mouton and others, much that is characteristic in
See also:music owes its rise, particularly in their influence upon
See also:Italian developments under Palestrina . After leaving Rome Des Plies went for a time to
See also:Ferrara, where the duke Hercules I. offered him a home; but before long he accepted an invitation of
See also:Louis XII. of France to become the chief
See also:singer of the royal
See also:chapel .
According to anotheraccount, he was for a time at least in the service of the emperor Maximilian I . The date of his death has by some writers been placed as early as 1501 . But this is sufficiently disproved by the fact of one of his finest compositions, A
See also:Dirge (Deploration) for Five Voices, being written to commemorate the death of his master Ockenheim, which took place after 1512 . The real date of Josquin's decease has since been settled as the 27th of
See also:August 1521 . He was at that time a
See also:canon of the
See also:cathedral of Conde (see Victor Delzant's Sepultures de Flandre, No . 118) . The most
See also:list of his compositions—consisting of masses, motets, psalms and other pieces of sacred music—will be found in Fetis . The largest collection of his MS. works, containing no less than twenty masses, is in the possession of the papal chapel in Rome . In his lifetime Des Pres was honoured as an eminent composer, and the musicians of the 16th century are loud in his praise . During the 17th and 18th centuries his value was ignored, nor does his
See also:work appear in the collections of Martini and Paolucci .
See also:Burney was the first to recover him from oblivion, and
See also:Forkel continued the task of rehabilitation .
See also:Ambros furnishes the most exhaustive account of his achievements .
An admirable account of Josquin's art, from the rare point of view of a modern critic who knows how to allow for modern difficulties, will be found in thearticle " Josquin," in
See also:Dictionary of Music and Musicians, new ed. vol. ii . The Repertoire des chanteurs de St
See also:Gervais contains an excellent modern edition of Josquin's Miserere .
EARL OF DERWENTWATER
BARON FRANCOIS DE BEAUMONT DES ADRETS (C. 1512-1587...
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