Editing Josquin des Prez (section)

=== Masses ===
[[File:Josquin Missa BV Kyrie.jpg|thumb|upright=2.1|Manuscript showing the opening Kyrie of the ''[[Missa de Beata Virgine (Josquin)|Missa de Beata Virgine]]'', a late work. ''Rome, Biblioteca Apostolica Vaticana, Capp. Sist. 45, ff. 1v-2r''.]]

The [[mass (liturgy)|mass]] is the central rite of the Catholic Church, and polyphonic settings of the [[ordinary (liturgy)|ordinary]] of the mass—the [[Kyrie]], [[Gloria in excelsis Deo|Gloria]], [[Credo]], [[Sanctus]] and [[Agnus Dei]]—increased in popularity in the 14th century. From the 15th century, composers treated it as a central genre in [[Western classical music]] in accordance with greater demand.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses"}} By Josquin's time, masses were generally standardized into substantial, polyphonic five-movement works, making it difficult for composers to satisfy both liturgical and musical demands. Previous examples in the genre by composers such as Du Fay and Ockeghem were widely admired and emulated.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses"}}

Josquin and Obrecht led an intensive development of the genre.{{sfn|Lockwood|Kirkman|loc=§ para. 7}}{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses"}} Josquin's masses are generally less progressive than his motets—though he is credited with numerous innovations in the genre.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses"}} His less radical approach may be explained by most of the masses being earlier works, or the structural and textual limitations of the genre.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses"}} Almost all are for four voices.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§ "Works"}}

The ''Josquin Companion'' categorizes the composer's masses into the following styles:{{sfn|Sherr|2000|p=ix}}
* [[Canon (music)|Canonic]] masses, which contains one or more voices derived from another via strict imitation;
* ''[[Cantus firmus]]'' masses, in which a pre-existing tune appears in one voice of the texture, with the other voices being more or less freely composed;
* [[Paraphrase mass]]es, based on a popular [[monophonic]] song which is used freely in all voices, and in many variations;{{sfn|Sherr|2001|loc=§ para. 1}}
* [[Parody mass]]es, based on a polyphonic song, which appears in whole or in part, with material from all voices in use, not just the tune;{{sfn|''Grove''|2001}} and
* [[Solmization]] masses, named [[soggetto cavato]] by Zarlino, in which the base tune is drawn from the syllables of a name or phrase.{{sfn|Lockwood|2001|loc=§ para. 1}}

Josquin began his career at a time when composers started to find strict ''cantus firmus'' masses limiting.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} He pioneered paraphrase and parody masses, which were not well established before the 16th century.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} Many of his works combine the ''cantus firmus'' style with paraphrase and parody, making strict categorization problematic.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} Reflecting on Josquin's masses, Noble notes that "In general his instinct, at least in his mature works, seems to be to extract as much variety as possible from his given musical material, sacred or secular, by any appropriate means."{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}}

==== Canonic masses ====
[[File:Missa Sine Nomine - Kyrie I - Incipit.svg|thumb|upright=1.9|Opening of Josquin's ''[[Missa sine nomine (Josquin)|Missa sine nomine]]''[[File:Missa Sine Nomine - Kyrie I - Incipit Midi.midi]]]]

Josquin's predecessors and contemporaries wrote masses based on canonic imitation. The canonic voices in these masses derive from pre-existing melodies such as the "L'homme armé" song ([[Guillaume Faugues|Faugues]], Compère and [[Mathurin Forestier|Forestier]]), or chant ([[Antoine de Févin|Fevin]] and [[Pierre de la Rue|La Rue]]'s ''Missae de feria'').{{sfn|Bloxam|2000|p=196}} Josquin's two canonic masses are not based on existing tunes, and so stand apart from the mainstream. They are closer to the ''[[Missa prolationum]]'' written by Ockeghem, and ''Missa ad fugam'' by [[Marbrianus de Orto|de Orto]], both of which use original melodies in all the voices.{{sfn|Bloxam|2000|p=196}}

Josquin's two canonic masses were published in Petrucci's third book of Josquin masses in 1514; the ''[[Missa ad fugam]]'' is the earlier of the two. It has a head-motif consisting of the whole first Kyrie which is repeated in the beginning of all five movements.{{sfn|Bloxam|2000|p=197}} The canon is restricted to the highest voice, and the [[pitch interval]] between the voices is fixed while the temporal interval varies between only two values; the two free voices generally do not participate in the imitation.{{sfn|Bloxam|2000|pp=197–198}} The precise relationship of Josquin's mass to de Orto's is uncertain, as is Josquin's authorship of the mass.{{sfn|Bloxam|2000|pp=198, 202}}{{sfn|Urquhart|2012}}

No questions of authenticity cloud the ''[[Missa sine nomine (Josquin)|Missa sine nomine]]'', written during Josquin's final years in Condé.{{sfn|Bloxam|2000|p=204}} In contrast to the inflexibility of the canonic scheme in the ''Missa ad fugam'', the temporal and pitch interval of the canon, along with the voices that participate in it, are varied throughout.{{sfn|Bloxam|2000|p=204}} The free voices are more fully integrated into the texture, and frequently participate in imitation with the canonic voices, sometimes preemptively.{{sfn|Bloxam|2000|p=206}}

====''Cantus firmus'' masses====
Prior to Josquin's mature period, the most common technique for writing masses was the ''cantus firmus'', a technique which had been in use for most of the 15th century. Josquin used the technique early in his career, with the ''Missa L'ami Baudichon'' considered to be one of his earliest masses.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} This mass is based on a secular tune similar to "[[Three Blind Mice]]". Basing a mass on such a source was an accepted procedure, as evidenced by the existence of the mass in Sistine Chapel part-books copied during the papacy of [[Pope Julius II|Julius II]] (1503–1513).{{sfn|Blackburn|2000|p=72}}

Josquin's most famous ''cantus firmus'' masses are the two based on the "[[L'homme armé]]" ({{lit|the armed man}}), a popular tune for mass composition throughout the Renaissance.{{sfn|Taruskin|2010|loc=§ "The Man At Arms"}} Though both are relatively mature compositions, they are very different.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} ''Missa L'homme armé super voces musicales'', is a technical tour-de-force on the tune, containing numerous [[prolation canon|mensuration canons]] and contrapuntal display.{{sfn|Blackburn|2000|pp=53–62}} Throughout the work, the melody is presented on each note of the natural hexachord: C, D, E, F, G and A.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} The later ''[[Missa L'homme armé sexti toni]]'' is a "fantasia on the theme of the armed man."{{sfn|Blackburn|2000|p=63}} While based on a ''cantus firmus'', it is also a paraphrase mass, for fragments of the tune appear in all voices; throughout the work the melody appears in a wide variety of tempos and rhythms.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} Technically it is almost restrained, compared to the other ''L'homme armé'' mass, until the closing Agnus Dei, which contains a complex canonic structure including a rare retrograde canon, around which other voices are woven.{{sfn|Blackburn|2000|p=64}}

====Paraphrase masses====
{{Quote box|width=300px|bgcolor=#E0E6F8|align=right|quote=
'''Paraphrase masses by Josquin'''{{sfn|Planchart|2000|p=89}}
<hr/>
: ''Early works''
* ''Missa Ave maris stella''
* ''[[Missa Gaudeamus]]''
<hr/>
: ''Later works''
* ''[[Missa de Beata Virgine (Josquin)|Missa de Beata Virgine]]''
* ''[[Missa Pange lingua]]''
|salign = left
}}

The [[paraphrase mass]] differed from the ''cantus firmus'' technique in that the source material, though still monophonic, could be (by Josquin's time) highly embellished, often with ornaments.{{sfn|''Grove''|2001}} As in the ''cantus firmus'' technique, the source tune may appear in many voices of the mass.{{sfn|Planchart|2000}} Several of Josquin's masses feature the paraphrase technique, such as the early ''[[Missa Gaudeamus]]'', which also includes ''cantus firmus'' and canonic elements.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} The ''Missa Ave maris stella'', also probably an early work, paraphrases the [[Marian antiphon]] of the [[Ave Maris Stella|same name]]; it is one of his shortest masses.{{sfn|Planchart|2000|p=109}} The late ''Missa de Beata Virgine'' paraphrases plainchants in praise of the Virgin Mary. As a [[Lady Mass]], it is a votive mass for Saturday performance, and was his most popular mass in the 16th century.{{sfn|Noble|1980|loc=§ "Works"}}{{sfn|Planchart|2000|pp=120–130}}

The best known of Josquin's paraphrase masses, and one of the most famous mass settings of the Renaissance, is the ''Missa Pange lingua'', based on [[Pange lingua gloriosi corporis mysterium|a hymn]] by [[Thomas Aquinas]] for the [[Vespers of Corpus Christi]]. It was probably the last mass Josquin composed.{{sfn|Planchart|2000|pp=130, 132}} This mass is an extended [[Fantasia (music)|fantasia]] on the tune, using the melody in all voices and all parts of the mass, in elaborate and ever-changing polyphony. One of the high points of the mass is the ''et incarnatus est'' section of the Credo, where the texture becomes homophonic, and the tune appears in the topmost voice. Here the portion which would normally set—"Sing, O my tongue, of the mystery of the divine body"—is instead given the words "And he became incarnate by the Holy Ghost from the Virgin Mary, and was made man."{{sfn|Planchart|2000|p=142}} Noble comments that "The vigour of the earlier masses can still be felt in the rhythms and the strong drive to cadences, perhaps more so than in the ''Missa de Beata Virgine'', but essentially the two contrasting strains of Josquin's music—fantasy and intellectual control—are so blended and balanced in these two works that one can see in them the beginnings of a new style: one which reconciles the conflicting aims of the great 15th-century composers in a new synthesis that was in essence to remain valid for the whole of the 16th century."{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}}

====Parody masses====
{{Quote box|width=300px|bgcolor=#E0E6F8|align=right|quote=
'''Parody masses by Josquin'''{{sfn|Bloxam|2000|p=152}}
* ''[[Missa Di dadi]]'' ([[Robert Morton (composer)|Morton]])
* ''Missa D'ung aultre amer'' ([[Johannes Ockeghem|Ockeghem]])
* ''Missa Faisant regretz'' ([[Walter Frye|Frye]])
* ''Missa Fortuna desperata'' (?{{refn||name=Busnois|group=n}})
* ''Missa Malheur me bat'' ([[Johannes Martini|Martini]] or [[Abertijne Malcourt|Malcourt]])
* ''Missa Mater Patris'' ([[Antoine Brumel|Brumel]])
|salign = left
}}

Du Fay was one of the first to write masses based on secular songs (a parody mass), and his ''Missa Se la face ay pale'', dates to the decade of Josquin's birth.{{sfn|Bloxam|2000|p=151}} By the turn of the 16th century, composers were moving from quoting single voice lines, to widen their reference to all voices in the piece.{{sfn|Bloxam|2000|p=151}} This was part of the transition from the medieval ''cantus firmus'' mass, where the voice bearing the preexisting melody stood aloof from the others, to the Renaissance parody masses, where all the voices formed an integrated texture.{{sfn|Bloxam|2000|pp=151–152}} In such masses, the source material was not a single line, but motifs and points of imitation from all voices within a polyphonic work.{{sfn|''Grove''|2001}} By the time Josquin died, these parody masses had become well established and Josquin's works demonstrate the variety of methods in musical borrowing during this transition period.{{sfn|Bloxam|2000|p=151}}

Six works are generally attributed to Josquin which borrow from polyphonic pieces,{{sfn|Bloxam|2000|p=152}} two of which also include canonic features.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} One of these—the ''[[Missa Di dadi]]'', which includes a canon in the "Benedictus"—is based on a chanson by [[Robert Morton (composer)|Robert Morton]] and has the rhythmic augmentation of the borrowed tenor part indicated by [[dice]] faces, which are printed next to the staff.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}}{{sfn|Bloxam|2000|pp=152–153}} Canon can also be found in the "Osanna" of the ''Missa Faisant regretz'' which is based on [[Walter Frye]]'s ''Tout a par moy''.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} The ''Missa Fortuna desperata'' is based on the popular three-voice Italian song ''[[Fortuna desperata]]''.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}}{{refn|The song survives anonymously in most sources. The attribution to Busnois, which exists in a single late source, is not generally accepted.{{sfn|Bloxam|2000|p=165}}|name=Busnois|group=n}} In this mass, Josquin used each of the Italian song's voices as ''cantus firmi'', varying throughout the work.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} A similar variation in the source material's voices is used in the ''Missa Malheur me bat'', based on a chanson variously attributed to Martini or [[Abertijne Malcourt]].{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} The dating of ''Missa Malheur me bat'' remains controversial, with some scholars calling it an early composition, and others a later one.{{sfn|Bloxam|2000|p=185}} The ''Missa Mater Patris'', based on a three-voice motet by [[Antoine Brumel]], is probably the earliest true parody mass by any composer, as it no longer contains any hint of a ''cantus firmus''.{{sfn|Reese|1954|p=240}} ''Missa D'ung aultre amer'' is based on a popular chanson of the same name by Ockeghem, and is one of Josquin's shortest masses.{{sfn|Bloxam|2000|pp=159–160}}{{refn|Both the ''Missa Mater Patris'' and the ''Missa D'ung aultre amer'' may be spurious works; they were both rejected by Noble, but accepted by the editors of the ''New Josquin Edition''.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§ "Works"}}|group=n}}

====Solmization mass====
A solmization mass is a polyphonic mass which uses notes drawn from a word or phrase.{{sfn|Lockwood|2001|loc=§ para. 1}} The style is first described by Zarlino in 1558, who called it ''soggetto cavato'', from ''soggetto cavato dalle parole'', meaning "carved out of the words".{{sfn|Lockwood|2001|loc=§ para. 1}} The earliest known mass by any composer using solmization syllables is the ''Missa Hercules Dux Ferrariae'', which Josquin wrote for Ercole I.{{sfn|Merkley|2001|pp=578–579}}{{sfn|Noble|1980|loc=§ "Works"}} It is based on a ''cantus firmus'' of musical syllables of the Duke's name, 'Ercole, Duke of Ferrara', which in Latin is 'H'''e'''rc'''u'''l'''e'''s D'''u'''x F'''e'''rr'''a'''r'''ie''''.{{sfn|Lockwood|2001|loc=Ex. 1}}{{sfn|Taruskin|2010|loc=§ "What Josquin Was Really Like"}} Taking the solmization syllables with the same vowels gives: {{nobreak|Re–Ut–Re–Ut–Re–Fa–Mi–Re}}, which is {{nobreak|D–C–D–C–D–F–E–D}} in modern nomenclature.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}}{{sfn|Blackburn|2000|p=78}} The ''Missa Hercules Dux Ferrariae'' remains the best known work to use this device and was published by Petrucci in 1505, relatively soon after its composition.{{sfn|Taruskin|2010|loc=§ "What Josquin Was Really Like"}}{{sfn|Lockwood|2001|loc=§ para. 2}} Taruskin notes that the use of Ercole's name is Josquin's method of memorialization for his patron, akin to a [[portrait painting]].{{sfn|Taruskin|2010|loc=§ "What Josquin Was Really Like"}}

The other Josquin mass to prominently use this technique is the ''[[Missa La sol fa re mi]]'', based on the musical syllables contained in '{{lang|fr|laisse faire moy}}' ("let me take care of it").{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Essentially the entire mass's content is related to this phrase, and the piece is thus something of an [[ostinato]].{{sfn|Macey|Noble|Dean|Reese|2011|loc=§12 "Masses: (ii) Complete masses"}} The traditional story, as told by Glarean in 1547, was that an unknown aristocrat used to order suitors away with this phrase, and Josquin immediately wrote an "exceedingly elegant" mass on it as a jab at him.{{sfn|Blackburn|2000|p=78}} Scholars have proposed different origins for the piece; Lowinsky has connected it to the court of Ascanio Sforza, and the art historian Dawson Kiang connected it to the Turkish prince [[Cem Sultan]]'s promise to the pope to overthrow his brother [[Bayezid II]].{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}