{"id":5104,"date":"2021-05-10T00:44:03","date_gmt":"2021-05-10T00:44:03","guid":{"rendered":"https:\/\/wsm.art.pl\/?page_id=5104"},"modified":"2021-05-10T00:49:21","modified_gmt":"2021-05-10T00:49:21","slug":"josquin-desprez-en","status":"publish","type":"page","link":"https:\/\/wsm.art.pl\/?page_id=5104","title":{"rendered":"Josquin Desprez EN"},"content":{"rendered":"\t\t
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Josquin DESPREZ (Josquin des Pr\u00e9s) c. 1450-1521<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Often referred to simply as\u00a0Josquin, was a French composer of the\u00a0Renaissance. He was the most famous European composer between\u00a0Guillaume Dufay\u00a0and\u00a0Giovanni Pierluigi da Palestrina, and is usually considered to be the central figure of the\u00a0Franco-Flemish School. Josquin is widely considered the first master of the high\u00a0Renaissance\u00a0style of\u00a0polyphonic\u00a0vocal music that was emerging during his lifetime.
During the 16th century, Josquin acquired the reputation of the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as\u00a0Baldassare Castiglione\u00a0and\u00a0Martin Luther\u00a0wrote about his reputation and fame, with Luther declaring that „he is the master of the notes. They must do as he wills; as for the other composers, they have to do as the notes will.”\u00a0Theorists such as\u00a0Heinrich Glarean\u00a0and\u00a0Gioseffo Zarlino\u00a0held his style as that best representing perfection. Many anonymous compositions were attributed to him by copyists, probably to increase their sales.\u00a0More than 370 works are attributed to him;\u00a0it was only after the advent of modern analytical scholarship that some of these attributions were challenged and revealed as mistaken, on the basis of stylistic features and manuscript evidence. In spite of Josquin’s renown, which endured until the beginning of the\u00a0Baroque\u00a0era and was revived in the 20th century, his biography is shadowy, and almost nothing is known about his personality. The only surviving work which may be in his own hand is a graffito on the wall of the\u00a0Sistine Chapel, and only one contemporary mention of his character is known.
Josquin wrote both\u00a0sacred\u00a0and\u00a0secular\u00a0music, and in all of the significant vocal forms of the time, including\u00a0masses,\u00a0motets,\u00a0chansons\u00a0and\u00a0frottole. During the 16th century, he was praised for his\u00a0melodic\u00a0gift and his use of technical devices. In modern times, scholars have attempted to ascertain the basic details of his biography, and have tried to define the key characteristics of his style to correct misattributions. This has proven difficult, as Josquin sometimes wrote in an austere style devoid of ornamentation, and at other times he produced music requiring considerable virtuosity.\u00a0Heinrich Glarean\u00a0wrote in 1547 that Josquin was not only a „magnificent virtuoso” (the Latin can be translated also as „show-off”) but capable of being a „mocker”, using satire effectively.\u00a0While the focus of scholarship in recent years has been to remove music from the „Josquin canon” (including some of his most famous pieces) and to reattribute it to his contemporaries, the remaining music represents some of the most famous and enduring of the Renaissance.<\/p>

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Josquin DESPREZ (Josquin des Pr\u00e9s) c. 1450-1521 Often referred to simply as\u00a0Josquin, was a French composer of the\u00a0Renaissance. He was the most famous European composer…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5104","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/wsm.art.pl\/index.php?rest_route=\/wp\/v2\/pages\/5104","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wsm.art.pl\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wsm.art.pl\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wsm.art.pl\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/wsm.art.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5104"}],"version-history":[{"count":7,"href":"https:\/\/wsm.art.pl\/index.php?rest_route=\/wp\/v2\/pages\/5104\/revisions"}],"predecessor-version":[{"id":5114,"href":"https:\/\/wsm.art.pl\/index.php?rest_route=\/wp\/v2\/pages\/5104\/revisions\/5114"}],"wp:attachment":[{"href":"https:\/\/wsm.art.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5104"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}