Editing Josquin des Prez (section)

== Legacy==
===Influence===
[[File:Josquin.jpg|thumb|upright=0.8|left|Imaginary Josquin portrait by {{ill|Charles-Gustave Housez|fr|lt=Housez}}, 1881{{sfn|MoC}}]]

Elders described Josquin as "the first composer in the history of Western music not to have been forgotten after his death",{{sfn|Elders|2013|p=29}} while John Milsom called him "the towering composer of the Renaissance".{{sfn|Milsom|2011|loc=§ para. 1}} Fallows wrote that his influence on 16th century European music is comparable to that of [[Ludwig van Beethoven|Beethoven]] on the 19th and [[Igor Stravinsky]] on the 20th century.{{sfn|Fallows|2020|p=349}} Comparisons with Beethoven are particularly common, though Taruskin cautions that:{{sfn|Taruskin|2010|loc=§ "What Legends Do"}}

{{blockquote|"Drawing parallels between [Josquin and Beethoven] is easy; doing so has become traditional in music historiography. Unease with this tradition has occasionally been expressed by those who see in it a danger to an unprejudiced view of Josquin and his time [...] To think of Josquin merely as a fifteenth- or sixteenth-century Beethoven would be like placing him behind the nearer figure and thereby obscuring him from view."}}

His popularity led to imitation by fellow composers, and some publishers (especially in Germany) misattributed works to him after his death to meet the demand for new Josquin compositions.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}{{sfn|Milsom|2011|loc=§ para. 3}} This inspired a well-known remark that "now that Josquin is dead, he is producing more compositions than when he was still alive".{{sfn|Elders|2013|p=30}}{{refn|The remark is variously attributed to the music publisher [[Georg Forster (composer)|Georg Forster]] in 1540 by {{harvtxt|Elders|2013|p=30}}, and to [[Martin Luther]] by {{harvtxt|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}.|group=n}} Fallows asserts that the issue was more complex than publishers attempting to increase their profits: similar names of composers and compositions caused confusion, as did works which quoted Josquin, or student works which imitated his style.{{sfn|Fallows|2020|p=349}} Josquin's pupils may have included [[Jean Lhéritier]] and [[Nicolas Gombert]]; Coclico claimed to be his student, though his statements are notoriously unreliable.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}

Numerous composers wrote laments after his death, three of which were published by [[Tielman Susato]] in a 1545 edition of Josquin's music.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}{{refn|Composers writing laments for fellow composers was a long-standing tradition in [[Medieval music|medieval]] and Renaissance music.{{sfn|Reese|1940|p=358}}{{sfn|Leach|2014|p=304}} Earlier examples include [[F. Andrieu]]'s ''Armes, amours/O flour des flours'' (1377) for Machaut, Ockeghem's ''Mort, tu as navré de ton dart'' (1460) for [[Binchois]] and Josquin's own ''Nymphes des bois'' (1497) for Ockeghem.{{sfn|Rice|1999|p=31}} See {{harvtxt|Rice|1999|p=31}} for a complete list of extant medieval and Renaissance laments.|group=n}} These included works by [[Benedictus Appenzeller]], Gombert, [[Jacquet of Mantua]] and [[Jheronimus Vinders]], as well as the anonymous ''Absolve, quaesumus'', while [[Jean Richafort]]'s requiem [[Musical quotation|musically quoted]] him.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Josquin's compositions traveled widely after his death, more so than those of Du Fay, Ockeghem and Obrecht combined.{{sfn|Elders|2013|p=229}} Surviving copies of his motets and masses in Spanish cathedrals date from the mid-16th century, and the Sistine Chapel is known to have performed his works regularly throughout the late 16th century and into the 17th.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Instrumental arrangements of his works were often published from the 1530s to the 1590s.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Josquin was described by Taruskin as the "master architect" of High Renaissance music,{{sfn|Taruskin|2010|loc=§ "Facts and Myths"}} and his compositions were parodied or quoted throughout Europe by almost every major composer of the later Renaissance, including Arcadelt, Brumel, [[Bartolomé de Escobedo]], [[Antoine de Févin]], [[Robert de Févin]], [[George de La Hèle]], [[Lupus Hellinck]], {{ill|Nicolle Des Celliers de Hesdin|ca|lt=Pierre Hesdin}}, Lassus, Jacquet, [[Claudio Merulo]], [[Philippe de Monte]], [[Pierre Moulu]], [[Philippe Rogier]], Palestrina, [[Cipriano de Rore]], [[Nicola Vicentino]] and Willaert.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}{{sfn|Elders|2013|pp=42–43}}

===Reputation===
====Commendation, decline and reconsideration====
[[File:L'homme arme agnus dei.jpg|upright=1.4|thumb|Agnus Dei II, from Josquin's ''Missa L'homme armé super voces musicales'', as reprinted in the ''Dodecachordon'' of [[Heinrich Glarean]]]]

There is little information on Josquin's reputation during his lifetime.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} His composition of masses was commended by [[Paolo Cortesi]], and the poet [[Jean Molinet]] and the music theorists Gaffurius and [[Pietro Aron]] wrote about his works.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Josquin's popularity during his lifetime is also suggested by publications: Petrucci's ''Misse Josquin'' of 1502 was the first single-composer mass anthology, and Josquin was the only composer whose masses merited a second and a third volume.{{sfn|Fallows|2020|p=193}}{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Fallows asserts that Josquin gained European renown between 1494 and 1503, since the Petrucci publications and references by Gaffurius and Molinet occurred during this time.{{sfn|Fallows|2020|p=193}} After Josquin's death, humanists such as [[Cosimo Bartoli]], [[Baldassare Castiglione]] and [[François Rabelais]] praised him, with Bartoli describing him as [[Michelangelo]]'s equal in music.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} Josquin was championed by the later theorists Heinrich Glarean and Gioseffo Zarlino,{{sfn|Wegman|2000|pp=21–25}} and the theologian Martin Luther declared "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."{{sfn|Burkholder|Grout|Palisca|2014|p=200}}

Upon the emergence of [[Baroque music]] in the 17th century, Josquin's dominance began to lessen.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} He was overshadowed by Palestrina, who dominated the pre-[[common practice period]] musical narrative, and whose compositions were considered the summit of polyphonic refinement.{{sfn|Higgins|2004|p=472}} Until the 20th century, discussion of Josquin's music was mainly limited to music scholars such as the theorists [[Angelo Berardi]] in the 1680s–1690s, and [[Johann Gottfried Walther]] in 1732.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} The late 18th century saw a new interest in Netherlandish music: studies from [[Charles Burney]], [[Johann Nikolaus Forkel]], {{ill|Raphael Georg Kiesewetter|de}} and [[François-Joseph Fétis]] gave Josquin more prominence.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}{{sfn|Elders|2013|p=41}} The music historian [[August Wilhelm Ambros]] described Josquin in the 1860s as "one of the towering figures of Western music history, not merely a forerunner of Palestrina but his equal",{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} and his research established the foundation for modern Josquin scholarship.{{sfn|Higgins|2004|p=454}} In the early 20th century, leading musicologists such as [[Alfred Einstein]] and [[Carl Dahlhaus]] largely dismissed Josquin.{{sfn|Higgins|2004|p=455}} Various publications then began to raise his status, beginning with a new edition of his complete works by [[Albert Smijers]] (1920s) and high evaluation by [[Friedrich Blume]] in the ''{{ill|Das Chorwerk|de}}'' series.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}} The [[early music revival]] raised Josquin's status, and brought the first major study on him by [[Helmuth Osthoff]] (Vol 1 1962/Vol 2 1965), an influential article by Lowinsky (1964),{{sfn|Lowinsky|1964}} and debates between the musicologist [[Joseph Kerman]] and Lowinsky (1965).{{sfn|Higgins|2004|p=455}} The 1971 International Josquin Festival-Conference firmly established Josquin in the center of Renaissance music, a position later cemented by Lowinsky's 1976 monograph.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}{{sfn|Higgins|2004|p=455}} The ''New Josquin Edition'' began publication in 1987.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§9 "Reputation"}}

====Skepticism and revision====
{{external media
| topic  = ''[[Ave Maria ... Virgo serena]]''
| video1 = [https://www.youtube.com/watch?v=kyGlFisv7Ng Performance] by [[Voces8|VOCES8]]
| video2 = [https://www.youtube.com/watch?v=xGkb5KFwx1I Performance] by [[Stile Antico]]
}}

Reflecting on the sentiment that Josquin was "the greatest composer of his generation, and the most important, innovative, and influential composer of the late 15th and early 16th centuries", Sherr notes growing dissent from that position in the early 21st century.{{sfn|Sherr|2017|loc=§ "Introduction"}} Josquin's 2001 article in ''[[Grove Music Online]]'' lists fewer than 200 works attributed to him,{{sfn|Macey|Noble|Dean|Reese|2011|loc=§ "Works"}} down from more than 370.{{sfn|Wegman|2000|p=28}} These revisions of Josquin's ''oeuvre'' have compromised some earlier scholarship which analyzed Josquin's style with works now not considered his.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§10 "Works: canon and chronology"}} Major revision has also occurred in Josquin's biography, with entire portions of it being rewritten due to Josquin having been confused with people with similar names.{{sfn|Sherr|2017|loc=§ "Studies That Significantly Revised Josquin's Biography"}}{{refn|Sherr cited numerous articles as milestones in revising Josquin's biography, including {{harvtxt|Fallows|1996}}, {{harvtxt|Kellman|1976}}, {{harvtxt|Lockwood|1976}}, {{harvtxt|Matthews|Merkley|1998}}, {{harvtxt|Roth|2000}} and {{harvtxt|Starr|1997}}{{sfn|Sherr|2017|loc=§ "Studies That Significantly Revised Josquin's Biography"}}|group=n}} Controversy has arisen about the extent of Josquin's influence; there is no doubt about his importance in Western music, but some scholars have contended that the extent of his reevaluation has unrealistically [[Apotheosis|apotheosized]] him over his contemporaries.{{sfn|Macey|Noble|Dean|Reese|2011|loc=§10 "Works: canon and chronology"}}{{sfn|Sherr|2017|loc=§ "Problems: Character and Posthumous Reputation"}}{{sfn|Higgins|2004|pp=444–445}} Wegman asserts that Obrecht was more highly regarded in Josquin's time, to which Noble has noted that Josquin's prestigious positions, publications and employers "scarcely looks like the career of an unregarded composer".{{sfn|Macey|Noble|Dean|Reese|2011|loc=§10 "Works: canon and chronology"}} Reflecting on the dispute, Sherr has concluded that Josquin's reputation is somewhat lessened, but on the basis of his most admired and firmly attributed works "he remains one of the towering figures in the history of music".{{sfn|Sherr|2017|loc=§ "Introduction"}}<ref>[[#Sherr Introduction|Sherr 2000]], p. 10</ref>

Since the 1950s, Josquin's music has become central to the repertoire of many [[early music ensemble|early music vocal ensemble]]s and has been increasingly featured in recordings, with those by the [[Hilliard Ensemble]], [[Orlando Consort]], and [[A Sei Voci]] recommended by critics in the ''1001 Classical Recordings You Must Hear Before You Die'' (2017) survey.{{sfn|Rye|2017|p=32}}{{refn|See {{harvtxt|Urquhart|2000|loc=Appendix B (Discography)}}, and {{harvtxt|Charles|1983|p=127}}, for comprehensive discographies|group=n}} [[The Tallis Scholars]] have recorded all of Josquin's masses, and won the [[Gramophone Classical Music Awards|''Gramophone'' "record of the year"]] in 1987 for their recording of ''Missa Pange lingua'', the only early music group to do so.{{sfn|Rye|2017|p=32}}{{sfn|Higgins|2004|p=444}} Josquin's presence in 21st-century scholarship remains strong; he was the subject of [[David Fallows]]'s major monograph (2009), which is currently the standard biography for the composer, and he and Machaut were the only pre-Baroque composers to have entire chapters in Taruskin's ''[[Oxford History of Western Music]]'' (2005).{{sfn|Taruskin|2010|loc=§ "What Legends Do"}}{{sfn|Sherr|2017|loc=§ "Biographies and Overviews"}} The 500th anniversary of Josquin's death in 2021 was widely commemorated.{{sfn|Ross|2021}}{{sfn|Woolfe|2021}}