Josquin’s Benedicta es, caelorum regina has been arranged for cello sextet by Hans Erik Deckert, who has had a prolific career in the fields of cello, conducting, . Benedicta Es, Caelorum Regina. Josquin des Prez & Early Music Consort of London & David Munrow. Show performers. COMPOSER: Josquin des Prez. The BBC work page for Motet ‘Benedicta es, caelorum regina’ by Josquin des Prez. Find upcoming concerts, watch performances, and learn more about the.
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Josquin ‘s fame in our time is founded upon his renown throughout Christendom in the later sixteenth century.
Benedicta Es, Caelorum Regina
His six-voice motet setting of the Marian benedivta Benedicta es, coelorum regina helped to cement that fame. It survives in at least twenty-four early manuscripts and printed collections of music; lutenists and keyboard players among them Antonio de Cabezon made numerous arrangements of it.
At least four mass settings, by WillaertGeorges de la Helle, Phillipe de Monteand Palestrina parody the Josquin motet; Jean Mouton composed a motet, on the same text, imitating the music’s style and melodic character. Cristobal de Morales wrote a mass quoting both from this motet and Mouton’s, possibly initiating a long tradition of Spanish double-parody mass settings.
A well-known piece of Gregorian chant provides the cantus firmus model for Josquin ‘s perennial favorite. Benedicta es was sung during the mass for a number of feasts of the Virgin Mary though the Joqsuin of Trent later removed this sequence from the liturgy.
The text falls into three pairs of stanzas, each pair linked by rhyme scheme and syllabification. It contains several felicitous passages which transcend the often stereotyped language of Medieval devotional poetry — for example, a mystical allusion to Mary as both daughter and mother of Jesus, and an elegant pun on “Son” and “sun,” which is in turn linked to Mary as the “stella maris,” “star of the sea.
Motet ‘Benedicta es, caelorum regina’
Josquin ‘s musical setting respects this poetic structure, marking most of the poetic lines with cadential articulation, and many with a change in voicing and texture. The first stanza itself is rhetorically closed by a threefold repetition of the same cadence in alternate duets, while the fifth is set apart from the fourth by a strong cadence and an jsoquin duo setting.
The final strophe looks towards our “coelesti patria” “heavenly homeland” in a brisk tripla section followed by an extended “Amen.
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Josquin: Benedicta es, a song by Josquin des Prez, The Tallis Scholars, Peter Phillips on Spotify
Giovanni Pierluigi da Palestrina. Josquin and the Lost Generation. Songs for the Holy Virgin from the 16th and 17th Centuries.