Iudochus de Picardia and Jossequin Lebloitte dit Desprez: The names of the singer(s)

Journal of Musicology

Volumn 16, Issue 2, 1998, Pages 200-226

  Matthews, Lora ^a   Merkley, Paul ^a  

^a NONE

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EID: 61449156064     PISSN: 02779269     EISSN: None     Source Type: Journal    
DOI: 10.2307/764140     Document Type: Review

References (20)

1. Even though some of the interpretation in the articles to which we refer here has been partly overtaken by new documentary findings, we are interested in some of the arguments and lines of reasoning, certain points of which come under discussion below, for the 1470s. In order to discuss the records, the interpretation of which has been and will continue to be controversial, we refer in this paper to the Milanese Josquin of the 1470s alternatively as Josquin and "Iudochus de Picardia." The most complete summary of the arguments (as they stood) for two Josquins is in David Fallows, "Josquin and Milan," Plainsong and Mediaeval Music V/1 (1996), 69-80,
2. where he assembles a case for questioning the current biography, suggesting that the Josquin in Milan, whose known records went up to 1479 at the time the article was written, was not Josquin Desprez. Sartori, "Josquin des Prés, cantore del Duomo di Milano," Annales musicologiques IV (1956), 55-83,
3. Suzanne Clercx, Revue Belge de Musicologie XI (1957), 157-58) have suggested birthdates of ca. 1445, this does not greatly diminish what he contends to be problematic because of the development of the composer's reputation and the lack of commentary on his great age by contemporaries, especially the Ferrarese recruiter in 1502.
4. That the musician's remuneration and position in court did not measure up to scholars' expectations was articulated and discussed by Edward E. Lowinsky, "Ascanio Sforza's Life: a Key to Josquin's Biography and an Aid to the Chronology of his Works," in Josquin des Prez: Proceedings, 1971 (London, 1976), eds. Lowinsky and Bonnie Blackburn, 31-75.
5. There may be some resonance in Pirrotta's remark with the ducal reprimand of March 1473, in which Galeazzo threatened to incarcerate the singer Iuschino: Matthews and Merkley, "Josquin Desprez and his Milanese Patrons," Journal of Musicology XII/4 (1994), 440-41.
6. There is additional evidence that Galeazzo's court was a harsh and uncompromising environment (for further discussion see Gregory Lubkin, A Renaissance Court: Milan under Galeazzo Maria Sforza, Berkeley, 1994).
7. Vatican, Archivio segreto, Registers of Supplication 698, folio 4, published in Merkley, "Patronage and clientage in Galeazzo's Court, Musica e Storia IV (1996), 148-51.
8. Regarding Josquin Desprez's association with the regions of France, including Hainaut, the Vermandois and Picardy, especially for documentary notices and discussion concerning his birth place, see Herbert Kellman, "Josquin and the Courts of Netherlands and France," Proceedings 1971, 208;
9. AS Milan, Potenze sovrane, sforzesco 1634 n. 17, published in Lowinsky, 35.
10. AS Milan, Potenze estere Francia, Sforzesco 544 n. 7, published in Matthews and Merkley, 458-59.
11. See Yves Esquieu, "La musique à la cour provençale du roi René, Provence historique XXXI (1981), 301.
12. In Matthews and Merkley 1994 we suggested that Josquin could have accompanied Cordier and some other singers to France in February of 1477, and had enough time to make the trip to Aix. For the expectative, Françoise Robin, "Josquin des Prés au service de René d'Anjou," Revue de musicologie LXXI (1985), 180-81. Josquin was not required to be present for the expectative.
13. Kellman, "Josquin and the Courts of Netherlands and France," Proceedings 1971, 208. The estates of "unregistered aliens" devolved to the Lady of Condé. Kellman, ibid., 207, writes that Josquin may have obtained his position in Condé as a result of a three-way exchange with his predecessor, Pierre Duwez, and Compère.
14. Patrick Macey, "Misericordias Domini and Louis XI," Early Music, 163-78.
15. Thomas L. Noblitt, "Die Datierung der Handschrift Mus. Ms. 3154 der Staatsbibliothek München," Die Musikforschung XXVII (1974), 36-56.
16. Lewis Lockwood, op. cit., 224-26.
17. Cf. Lowinsky 1971. His service with Ascanio has been, until now, predicated on the attributions to "Josquin d'Ascanio" in Petrucci's prints of In te domine speravi and El grillo, and on Serafino Ciminelli's sonnet to "Josquin, his companion in music."
18. There are four notices in 1508 in which the canons of the cathedral of Saint Etienne in Bourges were looking for Josquin in Picardy (to employ him as master of the choir boys): Paula Higgins, "Musical 'Parents' and their 'Progeny': The Discourse of Creative Patriarchy in Early Modern Europe," in Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, eds. Jessie Ann Owens and Anthony M. Cummings (Michigan, 1997), 174.
19. See Pamela F. Starr, "Josquin, Rome, and a Case of Mistaken Identity," The Journal of Musicology XV (1997), 43-65.
20. Frank D'Accone, ed., Siena, Biblioteca Comunale degli Intronati, MS K.I.2 facsimile edition and introduction (New York, 1996), v.