Josquin Desprez and His Milanese Patrons

Matthews, Lora; Merkley, Paul

doi:10.2307/763971

Cited by 6 publications

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References 8 publications

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“…Most recently, Lora Matthews and Paul A. Merkley have discovered a group of exciting new documents about this singer. 35 Two of these are relevant to the present enquiry. One states that Josquin was a cleric of the diocese of Cambrai, which was also true of Josquin des Prez, according to a later papal document; but then Josquin was a common enough name in that part of France: it would be unwise to claim that an enormous diocese like Cambrai had only one cleric called Josquin in those years.…”

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confidence: 94%

“…Edward Lowinsky thought he had struck gold when he found that Galeazzo Maria procured a benefice for Josquin in 1473, writing in 1976 that This document changes at a stroke the whole biographical picture', since it showed Josquin earning considerably more than the pittance he received as a singer. 32 But it soon became clear that the duke was in fact attempting to do the same for all his singers, using it to attract singers from elsewhere; 33 it is by no means clear that the singer Josquin was enjoying any special privilege. Moreover, in 1993 Evelyn Welch produced the damning evidence of the stabling records of 1476: they showed that Weerbeke shared four horses with one other singer, Compere shared three, but Josquin shared only two.…”

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Josquin and Milan

Fallows

1996

Plainsong and Medieval Music

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Writing in 1882, Edmond Vander Straeten was the first to argue that the name ‘Juschino’ among the singers of Galeazzo Maria Sforza's household chapel referred to the composer Josquin des Prez. Assuming a birthdate in the early 1450s, Vander Straeten found it easy to understand why the young Josquin was at the bottom of the salary scale in 1475, the date of the documents. Soon afterwards, Eugenio Motta provided new evidence to support that identification and stretch Josquin's Milanese career to 1479. Since then the years in Milan have had a fixed and central place in all studies of Josquin's life.

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Josquin and Milan

Fallows

1996

Plainsong and Medieval Music

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Motette

Ackermann¹,

Atkinson²,

Bezič³

et al. 2002

Messe Und Motette

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Galeazzo Maria Sforza and musical patronage in Milan: Compère, Weerbeke and Josquin

Macey

1996

Early Music History

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Galeazzo Maria Sforza (1444–76), fifth Duke of Milan, set out when he acceded to power in 1466 to style himself as one of the most glorious of rulers and to make his court (in the words of the contemporary chronicler Bernardino Corio) one of ‘the most splendid in the universe’. Galeazzo, a contemporary of King Louis XI of France and Duke Charles the Bold of Burgundy, entertained grand designs of turning his ducal coronet into a king's crown and transforming Lombardy into a royal realm, just as Charles the Bold sought to elevate the duchy of Burgundy to a kingdom. The two dukes, as vassals of the Holy Roman Emperor Frederick III, relied on that monarch's power to bestow the kingly crown; both failed tragically in the end. As part of his design to impress his contemporaries with the princely splendour of his court, in 1471 Galeazzo focused his energies particularly on the ambitious project of developing the best musical chapel in Italy. During the course of the next two years he sent emissaries to the rulers of England, Flanders, France, Naples and his neighbour Savoy, seeking to hire (or borrow, in the case of Savoy) the best singers available. His cappella grew to include more than thirty singers, making it larger than any other in Italy, even the papal chapel.

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Josquin Desprez and His Milanese Patrons

Cited by 6 publications

References 8 publications

Josquin and Milan

Josquin and Milan

Motette

Galeazzo Maria Sforza and musical patronage in Milan: Compère, Weerbeke and Josquin

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