Recently, biographers of Josquin des Prez have been playing a game something akin to “Where’s Waldo?” In this case, it is “Who’s Josquin?” Thirty years ago. For other Ave Maria settings by Josquin, see the disambiguation page. Description: This 4-part Ave Maria of Josquin des Prez was extremely. There are 3 different works beginning Ave Maria by Josquin des Prez, the best known being: Ave Maria Virgo serena a 4, the basis for.

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Ave Maria … Virgo serena, a 6 (Josquin des Prez)

For other Ave Maria settings by Josquin, see the disambiguation page. Share on facebook twitter tumblr. Web page content is available under the CPDL copyright license ; please see individual editions for their copyright terms.

O Mater Dei, memento mei. The opening section declaims the four phrases of text, in order. The work was composed during Despgez service at the North Italian court at Milan. Local details in texture and counterpoint often directly relate to the syntactic affect of the text, like the sudden expanse of homophonic harmonies during “solemni plena gaudio”.

Josquin treats each strophe of the main body of the poem as a syntactic unit unto itself, roughly comparable and balanced in length with the others. This page was last edited on 2 Augustat Privacy policy About ChoralWiki Disclaimers.


The lines are punctuated by structural cadences, presenting the text in a temporary repose. From Wikipedia, the free encyclopedia.

Ave Maria … Virgo serena (Josquin des Prez) – ChoralWiki

Motetti a cinque voci Compositions by Josquin des Prez. Compositions by Josquin des Prez Renaissance music Motets.

Retrieved from ” https: This page was last edited on 7 Mayat Thus the composer locates each structural cadence in a progression of increasing power, saving the strongest, most perfect cadence consisting only of fifths and octaves for the very end — the prayer which Josquin sets to a slow-moving, completely homophonic texture, set apart from the preceding music by an arresting pause.

Articles lacking in-text citations from May All articles lacking in-text citations Pages using infobox song with deprecated parameters Articles with hAudio microformats. Marienmotetten von Josquin Desprez und Ludwig Senfl. While the regularity of imitation initially articulates the phrases, the middle verses exemplify the articulation from contrasts in texture. Hail, glorious one In all angelic virtues, Whose Assumption Was our glorification. Hail, thou whose Conception, Full of great joy, Fills heaven and earth With new gladness.

By using this site, you agree to the Terms of Use and Privacy Policy. Ave preclara omnibus angelicis virtutibus, cujus fuit assumptio nostra glorificatio.


Views Read View source View history. Missa Hercules Dux Ferrariae; Motets. The theme of syntactic imitation is exemplified by each strophe in the poem, comparable and balanced in length with the others.

Ave Maria … Virgo serena (Josquin des Prez)

Other Ave…serena texts have been set by Mouton and Regis. Each strophe is further punctuated by structural cadences which bring the large sections of music to temporary repose; the lengthier the repose and the greater the degree of “perfection” in the harmony, the more powerful the punctuation.

Ludwig Senfl also wrote a 6-part Ave Maria parody based on this piece. Duets alternate with one another a characteristic and favorite textural gambit of Josquin’sand with a texture of duet plus an accompanying third voice. It is Josquin’s earliest dateable work.

Ave pia humilitas, Sine viro fecunditas, Cuius Annuntiatio Nostra fuit salvatio. Hail Mary, full of grace, The Lord is with thee, serene Virgin.