adblocktest
Free sheet music
My account (login)



LIBRARY

Des Prez, Josquin Josquin Des Prez
France France
(1440 - 1521)
92 sheet music
16 MP3
62 MIDI







"For 20 years we provide a free and legal service for free sheet music.

If you use and like Free-scores.com, thank you to consider support donation.

About / Member testimonies


Harp Sheet music Harp Josquin Des Prez
Des Prez, Josquin: "Fors Seulement II" for Harp

"Fors Seulement II" for Harp
Josquin Des Prez




Annotate this sheet music
Note the level :
Note the interest :


ListenDownload MP3 (2.39 Mo)1103x 783x ViewDownload PDF : "Fors Seulement II" for Harp (2 pages - 132.14 Ko)496x
 

 
Now that you have this PDF score, member's artist are waiting for a feedback from you in exchange of this free access.

Please log in or create a free account so you can :





leave your comment
notate the skill level of this score
assign an heart (and thus participate in improving the relevance of the ranking)
add this score to your library
add your audio or video interpretation


Log in or sign up for free
and participate in the Free-scores.com community





Composer :Josquin Des PrezDes Prez, Josquin (1440 - 1521)
Instrumentation :

Harp

Style :

Renaissance

Arranger :
Publisher :
Josquin Des PrezMagatagan, Mike (1960 - )
Copyright :Public Domain
Josquin des Prez (1450/1455 – 1521), often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance. He is also known as Josquin Desprez and Latinized as Josquinus Pratensis, alternatively Jodocus Pratensis. He himself spelled his name "Josquin des Prez" in an acrostic in his motet Illibata Dei virgo nutrix. He was the most famous European composer between Guillaume Dufay and Palestrina, and is usually considered to be the central figure of the Franco-Flemish School. Josquin is widely considered by music scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime.

During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as Baldassare Castiglione and Martin Luther wrote about his reputation and fame; theorists such as Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection. He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales. More than 370 works are attributed to him; it was only after the advent of modern analytical scholarship that some of these mistaken attributions have been challenged, on the basis of stylistic features and manuscript evidence. Yet in spite of Josquin's colossal reputation, which endured until the beginning of the Baroque era and was revived in the 20th century, his biography is shadowy, and we know next to nothing about his personality. The only surviving work which may be in his own hand is a graffito on the wall of the Sistine Chapel, and only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara. The lives of dozens of minor composers of the Renaissance are better documented than the life of Josquin.

Josquin wrote both sacred and secular music, and in all of the significant vocal forms of the age, including masses, motets, chansons and frottole. During the 16th century, he was praised for both his supreme melodic gift and his use of ingenious technical devices. In modern times, scholars have attempted to ascertain the basic details of his biography, and have tried to define the key characteristics of his style to correct misattributions, a task that has proved difficult, as Josquin liked to solve compositional problems in different ways in successive compositions—sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity. Heinrich Glarean wrote in 1547 that Josquin was not only a "magnificent virtuoso" (the Latin can be translated also as "show-off") but capable of being a "mocker", using satire effectively. While the focus of scholarship in recent years has been to remove music from the "Josquin canon" (including some of his most famous pieces) and to reattribute it to his contemporaries, the remaining music represents some of the most famous and enduring of the Renaissance.

Fors seulement is a French chanson, popular as a basis for variations and as a cantus firmus. An early version is attributed to Ockeghem - this is sometimes called Fors seulement l'attente to distinguish it from his similarly titled Fors seulement contre. Brumel wrote a polytextual version, combining a tenor setting of Du tout plongiet with the words and superius from Ockeghem's Fors seulement l'attente for the baritone. Many versions of the chanson were produced including those by Ockeghem, Josquin, Pipelare, Verbonnet, Obrecht, Pirson, Brumel and Agricola. Mass settings include those by Ockeghem, Obrecht, Pipelare, and Carpentras.

The lyrics read (in English): "Except in waiting for death, There dwells in my faint heart no hope..."

Although originally written for Chorus (SATB), I created this arrangement for Concert (Pedal) Harp.
Source / Web :MuseScore
Added by magataganm the 2013-06-04


0 comment





Report problem


This sheet music is part of the collection of magataganm :
Harp Arrangements
arrangements pour harpe
Collection of Harp Arramgements
Sheet music list :
› "Élégie for Harp" - Harp
› "3 Salve Regina" for Oboe & Harp - Oboe, harp
› "A Carousel's Last Song" for Harp - Harp
› "Adelita" for Harp - Harp
› "Aeolian Harp Étude" in Ab Major for Harp
› "Alleluia" Harp Duet - 2 Harps (Duet)
› "Allemande" for Harp - Harp
› "Allemande" from the Suite in E-Minor for Harp - Harp
› "An Emigrant's Daughter" for Oboes & Harp - Oboe, harp
› "An Evening Hymn" for Oboe and Harp - Oboe, harp