Thus it is likely that Josquin des Prez (c) did not look upon his Missa Pange lingua as his sacred swan song, but so it proved to be. The surviving. Missa Pange lingua a 4. Josquin des Prez AL/SMC Page 2. &. V. V? S. A. T. B. „. › Chri–. „. ˙ œœ w. „ ww ste. „. › „. ˙ œœ w. „ w w. Chri–. „. ›. CDH - Josquin: Missa Pange lingua & other works. CDH Digital booklet (PDF) · Josquin des Prez (c/). Missa Pange lingua & other.


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Second, they clearly come from different periods of his life. The Vultum tuum deprecabuntur cycle is early, composed for Milan Cathedral probably during the time Josquin spent there as a singer between and Planxit autem David is a more mature work; a date nearer to has been suggested, although nothing certain missa pange lingua josquin known about the circumstances of its composition.

Third, no one will question the exceptional craftsmanship and artistry of all three works. Josquin cannot have been much above the age of thirty when he wrote the motet cycle Vultum tuum deprecabuntur, and it may be a symptom of his still modest status as a singer at Milan and his relative inexperience as a composer that the work conforms missa pange lingua josquin closely to established models.

Josquin: Missa Pange Lingua & Motets

Strictly speaking, such substitution did not interfere with the liturgical act: In practice, few churches outside Milan adopted this curious practice. Although parts of Vultum tuum deprecabuntur found their way into the repertoires of other singers, missa pange lingua josquin is no reason to believe that they were used in the Milanese fashion; most of the motets in the cycle address the Blessed Virgin Mary, and they could easily have been put to other devotional purposes.

  • Missa Pange lingua (Josquin Desprez) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music
  • Hyperion Records
  • Missa "Pange Lingua", for 4 parts
  • Josquin: Missa Pange Lingua & Motets

So scattered have the constituent parts of the cycle now become that their intended order is in some doubt. Unlike the various motets in the Vultum tuum deprecabuntur cycle, which are missa pange lingua josquin independent from one another and were meant to be sung at different points in the Mass, the four movements of Planxit autem David are thematically related and must be performed one after another.

Where many Masses based on chant keep the parent melody in the foreground, Josquin instead uses its contours to govern only the progress of the melodic missa pange lingua josquin, with all manner of infilling and rhythmic elaboration added to camouflage its essential shape.

Missa Pange lingua (Josquin Desprez)

Only the very opening of the Hymn melody stubbornly retains its identity: Selbst seine Werke stecken voller Probleme. Wie kam er zu diesem Ruf? Hat er ihn jemals verdient? Zudem stammen sie zweifellos aus verschiedenen Abschnitten seines Lebens.

Planxit autem David ist ein reiferes Werk. Sie kann ohne weiteres innerhalb der letzten sieben Jahre vor seinem Tod in geschrieben worden sein.

Missa Pange lingua (Josquin des Prez)

Of his 18 reliably attributed masses, the Missa Pange lingua deserves its high popularity, both for missa pange lingua josquin beauty of individual moments, as well as for the elegance of its formal design.

A prominent biographer confidently calls this the "last Mass composed by Desprez," but no contemporary data can reliably date it.


Scholars, judging by stylistic criteria and by the fact that missa pange lingua josquin mass does not appear in Petrucci's third volume of Josquin 's masses published ingenerally concur in placing it late in his oeuvre.

Missa pange lingua josquin melody, with its strong initial half-step motion and graceful arch, becomes the unifying force in Josquin 's composition. The elegant motto openings of each major movement stem from the hymn's first phrase.

In addition, this phrase is echoed in many subtle ways.

For example, Josquin inserts echoes consisting of small intervals, using vocal imitation manifested through the plangent half-step. There are also frequent ornamental sections which follow ending cadences.