Josquin's music, much of which is both difficult and remote in time and place, often attracts performers who try to clarify a certain aspect of it. Yet some of his music -- the chanson Mille regretz (A thousand regrets), for example -- are not difficult at all and speak a basic emotional language clearly across the centuries. This was Josquin's genius: in the words of theorist Glareanus, quoted in the booklet here, "there was nothing in this field that he could not do." The booklet essay by conductor and Cambridge ...
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Josquin's music, much of which is both difficult and remote in time and place, often attracts performers who try to clarify a certain aspect of it. Yet some of his music -- the chanson Mille regretz (A thousand regrets), for example -- are not difficult at all and speak a basic emotional language clearly across the centuries. This was Josquin's genius: in the words of theorist Glareanus, quoted in the booklet here, "there was nothing in this field that he could not do." The booklet essay by conductor and Cambridge University professor David Skinner entertainingly introduces Josquin and the problems surrounding his oeuvre for general listeners. There are some terrific anecdotes gleaned from recent scholarship. Luther's famous remark that "Josquin is the master of the notes . . . while other composer must do as the notes dictate" is here, but even better is a story touching on Josquin's popularity in his own time, and especially after his death: one nobleman commented that now that Josquin was dead, he...
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