Josquin Desprez


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Jos·quin Des·prez

 (zhōz′kăN dā-prā′) 1440?-1521.
Franco-Flemish composer considered the greatest of the Renaissance. He is noted for both his liturgical and secular compositions.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.
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For this project, the ensemble's artistic director, Vojtech Semerad, compiled a program which features Palestrina's streamlined polyphonic-homophonic technique, the rich intellectual work of Josquin Desprez, and the motets of Burgundian authors who, in relation to Josquin, comprise the ideal source of inspiration for this Palestrinaesque synthesis.
Textbooks usually acknowledged that Josquin Desprez was also a singer, J.
Josquin Desprez, Antoine Brumel and Orlande de Lassus were truly European composers.
For the record, and at the risk of tiring the reader's patience, Osthoff used "Josquin Desprez" in 1965, and the published proceedings of the pioneering Josquin conference held in New York in 1971 used Josquin des Prez, which probably went a long way to establishing that name-form in the English-speaking world.
The program will include works by Josquin Desprez, Giovanni Palestrina, Claudio Monteverdi and Girolamo Frescobaldi.
A small choir, the early music consort Alamire, begins to sing a very beautiful piece of Renaissance music by composer Josquin Desprez. It is called Tu solus qui facis mirabilia (You Alone Can Work Wonders).
1450-1521) has never been the subject of a monograph in English; Helmuth Osthoff's two-volume Josquin Desprez (Tutzing, 1962-65), the only scholarly study published thus far, is out of date and was never translated into English.
It includes one of the most celebrated mass settings of the early Renaissance in Josquin Desprez's Missa L'Homme Arme (The Armed Man).
In what may be their most exciting recording to date, the newest release from A Sei Voci, Josquin Desprez: Missa Gaudeamus, Motets a la Vierge (Astree E 8612, rec 1997), provides a lucid illustration of both the advantages and possible pitfalls which may accompany a highly contextualized Mass reading.
By broadly organizing the volume's contents around sources and archives, the music of Du Fay (1397?-1474) and Josquin Desprez (ca.