Josquin Despré's fame outlived his death in 1521 and was particularly widespread in Germany, where numerous works by other composers circulated under his name. Some of these questionable compositions exhibit stylistic parallels to pieces now attributed to other composers. Many music lovers nevertheless long considered these works authentic, and their assessment continues to shape our understanding of Josquin.
This new CD offers the audience the opportunity to form their own opinion. It juxtaposes pieces from Josquin's official catalog with those now attributed to other masters. Although it was financially lucrative to publish dubious works as Josquin's compositions, attributing music to one's name was often seen as a mark of exceptional quality. The works presented, whether by Josquin himself or his contemporaries, reflect individual styles and musical creativity.
The authorship of the opening motet "Inter natos mulierem," in honor of John the Baptist, remains uncertain. Regardless of its composer, this magnificent piece rightfully holds its place in the repertoire. The lament motet "Planxit autem David" impresses with its expressive setting of the text and meditative tone colors; the tone is more contemplative than mournful, yet the artistic power remains palpable.
For Othmar Luscinius, Nicolas Craen was a prime example of modern compositional art, which is reflected in his motet "Tota pulchra es." Similarly, "Verbum bonum et suave" is valued for its unresolved authorship—a testament to Josquin's high standing. The attribution of "Veni sancte spiritus" to a lesser-known contemporary underscores the quality and complexity of this work.
"De profundis" is variously attributed to Josquin or another composer and, regardless of the question of authorship, is highly regarded by Glareanus. "Ave caro Christi caro" is now considered a work by Noel Bauldeweyn, whose musical expressiveness enriches the motet. "Recordare, virgo mater" is also only tentatively attributed to Josquin, but it remains fascinating nonetheless.
"Pater noster / Ave Maria" is considered the epitome of Josquin's artistry. The intimate connection between these two Christian prayers lends the interpretation extraordinary depth. Josquin himself wished for this piece to be played in processions in front of his house—a sign of his deep connection to his own music and his enduring fame.