Karadar - Desprez, Josquin - Biografie compositori

Josquin Desprez è nato attorno al 1440 ed è morto a Condé-sur-l'Escaut, il 27 agosto 1521. Forse nativo nella regione di Vermandois, fu cantore alla Cattedrale di Milano nel 1459, rimanendovi sino al 1472; nel 1474 era cantore nella Cappella degli Sforza. Tra il 1476 e il 1504 fu al servizio del Cardinale Ascanio Sforza, che accompagnò probabilmente in un viaggio a Roma nel 1484. Il suo nome appare nel coro della Cappella papale già nel 1486, ma ci risulta che aveva lasciato il coro già nel 1501. Proprio in questo periodo passato in Italia, Josquin arrivò alla sua maturità artistica. Egli fu contemporaneamente anche in Francia, al servizio di Luigi XII, e si hanno notizie non certe di una sua collaborazione con gli Sforza in quel di Ferrara. A quel tempo fu uno dei Maestri di Cappella più pagati e apprezzati di tutto il mondo musicale: proprio in quel periodo lui scrisse le sue Messe più importanti e i Mottetti più belli. La peste del 1503 lo fece fuggire da Ferrara, città dove invece rimase Obrecht sino alla morte, avvenuta due anni dopo. L’anno successivo fu in Notre Dame, e in Austria negli anni fra il 1504 e il 1511. Morì nel 1521; molti suoi ritratti sono sopravvissuti, uno di essi attribuito a Leonardo da Vinci.

Josquin's works gradually became known throughout western Europe and were regarded as models by many composers and theorists.

Petrucci's three books of his masses (1502-14) reflect contemporary esteem, as does Attaingnant's collection of his chansons (1550).

Several laments were written on his death (including Gombert's elegy Musae Jovis), and as late as 1554 Jacquet of Mantua paid him tribute in a motet.

He was Martin Luther's favourite composer.

Generally, however, his first period (up to circa 1485) is characterized by abstract, melismatic counterpoint in the manner of Ockeghem and by tenuous relationships between words and music.

The middle period (to circa 1505) saw the development and perfection of the technique of pervasive imitation based on word-generated motifs.

This style has been seen as a synthesis of two traditions: the northem polyphony of Dufay, Busnois and Ockeghem, in which he presumably had his earliest training, and the more chordal, harmonically orientated practice of Italy.

His many motets span all three periods.

One of the earliest, the four-part Victimae paschali laudes (1502), exemplifies his early style, with its dense texture, lack of imitation, patches of stagnant rhythm and rudimentary treatment of dissonance.

Greater maturity is shown in Planxit autem David, in which homophonic and freely imitative passages alternate, and in Absalon, fili mi, with its flexible combination of textures.

His later motets, such as In principio erat verbum, combine motivic intensity and melodic succinctness with formal clarity; they are either freely composed, four-part settings of biblical texts, or large-scale cantus firmus pieces.

Transparent textures and duet writing are common.

Josquin's 18 complete masses combine elements of cantus firmus, parody and paraphrase techniques.

One of the earliest, L'ami Baudichon, is a cantus firmus mass on a simple dance formula.
Fortuna desperata, on the other hand, is an early example of parody.

Canonic writing and ostinato figures are features.

His last great masses, notably the Missa de beata virgine and the Missa "Pange lingua" were preceded by works in which every resource is deployed with bravura.

Josquin's secular music comprises three settings of Italian texts and numerous chansons.

One of the earliest, Cela sans plus, typifies his observance of the formes fixes and the influences of the Burgundian style of Busnois and Ockeghem.

Later works, such as Mille regretz, are less canonic, the clear articulation of line and points of imitation achieved by a carefull balanced hierarchy of cadences.

Some, like Si j'ay perdu mon ami, look forward to the popular 'Parisian' chanson of Janequin.

Compositore	Desprez, Josquin (ca. 1440-1521)
Immagine
Life	Josquin Desprez è nato attorno al 1440 ed è morto a Condé-sur-l'Escaut, il 27 agosto 1521. Forse nativo nella regione di Vermandois, fu cantore alla Cattedrale di Milano nel 1459, rimanendovi sino al 1472; nel 1474 era cantore nella Cappella degli Sforza. Tra il 1476 e il 1504 fu al servizio del Cardinale Ascanio Sforza, che accompagnò probabilmente in un viaggio a Roma nel 1484. Il suo nome appare nel coro della Cappella papale già nel 1486, ma ci risulta che aveva lasciato il coro già nel 1501. Proprio in questo periodo passato in Italia, Josquin arrivò alla sua maturità artistica. Egli fu contemporaneamente anche in Francia, al servizio di Luigi XII, e si hanno notizie non certe di una sua collaborazione con gli Sforza in quel di Ferrara. A quel tempo fu uno dei Maestri di Cappella più pagati e apprezzati di tutto il mondo musicale: proprio in quel periodo lui scrisse le sue Messe più importanti e i Mottetti più belli. La peste del 1503 lo fece fuggire da Ferrara, città dove invece rimase Obrecht sino alla morte, avvenuta due anni dopo. L’anno successivo fu in Notre Dame, e in Austria negli anni fra il 1504 e il 1511. Morì nel 1521; molti suoi ritratti sono sopravvissuti, uno di essi attribuito a Leonardo da Vinci.
Works	Josquin's works gradually became known throughout western Europe and were regarded as models by many composers and theorists. Petrucci's three books of his masses (1502-14) reflect contemporary esteem, as does Attaingnant's collection of his chansons (1550). Several laments were written on his death (including Gombert's elegy Musae Jovis), and as late as 1554 Jacquet of Mantua paid him tribute in a motet. He was Martin Luther's favourite composer. Generally, however, his first period (up to circa 1485) is characterized by abstract, melismatic counterpoint in the manner of Ockeghem and by tenuous relationships between words and music. The middle period (to circa 1505) saw the development and perfection of the technique of pervasive imitation based on word-generated motifs. This style has been seen as a synthesis of two traditions: the northem polyphony of Dufay, Busnois and Ockeghem, in which he presumably had his earliest training, and the more chordal, harmonically orientated practice of Italy. His many motets span all three periods. One of the earliest, the four-part Victimae paschali laudes (1502), exemplifies his early style, with its dense texture, lack of imitation, patches of stagnant rhythm and rudimentary treatment of dissonance. Greater maturity is shown in Planxit autem David, in which homophonic and freely imitative passages alternate, and in Absalon, fili mi, with its flexible combination of textures. His later motets, such as In principio erat verbum, combine motivic intensity and melodic succinctness with formal clarity; they are either freely composed, four-part settings of biblical texts, or large-scale cantus firmus pieces. Transparent textures and duet writing are common. Josquin's 18 complete masses combine elements of cantus firmus, parody and paraphrase techniques. One of the earliest, L'ami Baudichon, is a cantus firmus mass on a simple dance formula. Fortuna desperata, on the other hand, is an early example of parody. Canonic writing and ostinato figures are features. His last great masses, notably the Missa de beata virgine and the Missa "Pange lingua" were preceded by works in which every resource is deployed with bravura. Josquin's secular music comprises three settings of Italian texts and numerous chansons. One of the earliest, Cela sans plus, typifies his observance of the formes fixes and the influences of the Burgundian style of Busnois and Ockeghem. Later works, such as Mille regretz, are less canonic, the clear articulation of line and points of imitation achieved by a carefull balanced hierarchy of cadences. Some, like Si j'ay perdu mon ami, look forward to the popular 'Parisian' chanson of Janequin.

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