Josquin Baston

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Josquin Baston (around 1515; † around 1576) was a Franco-Flemish composer of the Renaissance .

Live and act

Josquin Baston's exact dates of birth and death have not yet been determined; Nothing is known about the course of his life or the places where he worked. After his familiarity with the Dutch language is evident in several of his songs, music historians conclude that he was of Flemish descent and that he worked in the Netherlands for a longer period of time. The only direct evidence of his work is the publication of his works by the publishers Tielman Susato and Pierre Phalèse ; these also indicate a Dutch work. His composition of a funeral song for the death of the composer Johannes Lupi († 1539) speak for a closer relationship with the master from Cambrai , possibly also for a student body of Bastons.

The similarity in name to the musician Johann Baston (or Paston ), who worked at the courts in Vienna , Krakow and Dresden as well as in Denmark and Sweden from the 1550s to 1566 , has led to the question of the identity of the people. However, after the compositions of Johann Baston were handed down in Saxon, North German and Danish manuscripts and have been completely separated from the works of the Dutch Baston published by Susato and Phalèse, the manuscripts of the latter only surviving in South German, French and Italian sources, prevail today the plausible assumption that they are two different composers.

meaning

Today there is a considerable total oeuvre by Josquin Baston; As far as the tradition is known, this is limited to the compositional types of the motet and the French and Dutch song. However, because only a few new editions of Baston's works that are critical of the source have appeared so far, it is much more difficult to judge the work of this composer. His motets show the new declamatory sound style that began to spread in the Netherlands from the middle of the 16th century. In his chansons one encounters many sentence forms, ranging from chordal compositional techniques, song-like and repetitive themes to broad motet imitations and canonical duplications.

Works

  • Spiritual works with secured authorship
    • “Confitebor tibi domine” with five votes
    • “Congregati sunt inimici nostri” with six votes
    • "Conscientias nostras" (burned in 1914)
    • “Delectare in domino” with four votes
    • “Discedite a me omnes” with five voices
    • “Domini est terra” to four votes
    • "Eheu dolor" to six votes
    • "Factum est cor meum" to four votes (burned in 1914)
    • “Qui confidunt in domine” to five voices
    • “Si pauper nihil auferat” to four votes
    • “Virgo gloriosa Caecilia” with six votes
  • Spiritual works with uncertain authorship
    • “Christ resurgens a mortuis” to four votes; partly Baston, partly Jean Richafort , partly attributed to Heinrich Glarean , probably by Richafort
    • “Domine ne in furore” to four votes; partly attributed to Baston (burned in 1914), partly to Philippe Verdelot , partly to Josquin , partly to Thomas Stoltzer , partly anonymous, probably by Verdelot
    • “Dum transisset sabbatum” to five votes; partly Baston, partly attributed to Johannes de Cleve , partly anonymous, probably by Baston
    • 1 motet for four to six voices, published in Düsseldorf in 1561, has been lost since the Second World War
  • Spiritual works that can most certainly be ascribed to Johann Baston (Paston)
    • Missa “Keep me Lord” with five votes
    • “Only to you Jesus Christ” to three votes
    • “Aspice domine” to three votes
    • "Christ is risen, Christ was in death bonds" to five votes
    • “Emitte domine sapientiam” with three votes
    • “God is my light” to four votes
    • “Postquam consumati sunt” to three votes
    • “Sancta trinitas” to three votes
    • “Si bona suscepimus” to three voices
    • “Spes mea domine” with three votes
  • Secular French chansons
    • “Accordez moy que vestre soye” with five votes
    • “Au despartir mon cueur” to four voices
    • "C'est a grant tort qu'on dict" to four votes
    • “Contre raison me donnes martire” with four votes
    • “Crainte et espoir m'oppressant” to four voices
    • “Dame per ta rudesse” to four votes
    • “D'argent me plains” to four votes
    • “Doulce me memoire” with three votes
    • “Entre vous filles de quinze ans” to four voices
    • “Fors seulement rigueur torment” to four voices
    • “Je voy amy comme ailleurs” with four votes
    • “Languir me fais” with five voices
    • “Le bon espoir” to five voices
    • “Le content est riche” to three votes
    • “Long temps ya sous” with five voices
    • “Mon pauvre cueur qui sans” to four voices
    • “Mon triste cueur plain de melancolye” with four voices
    • “Puis que malheur me tient” with five (?) Voices
    • “Sans la changer constant” with four voices
    • “Sans ton secours” with five voices
    • "Si je sais dueil" (number of votes unknown, only bass and quintus preserved)
    • “Si loyal amour” to four votes
    • “Si mon languir t'est grant contentement” with four voices; Intabulation in Hortus musarum , Leuven 1552
    • “Si par aymer et souffir” to four voices
    • “Si tu te plains d'amour” with four voices
    • “Toutes le nuicts aussi vient” with four voices; on this counterfactor "Today is born God's Son"
    • “Triste confortée a tousjours” with three votes
    • “Ung souvenir me conforte et contente” with five voices
    • “Ung souvenir en fermete” to four voices
    • “Veuillant fuyr” to four voices
    • “Vivr 'en espoir” for four voices
    • “Vostre a jamais par heritage” with five votes
  • Chansons with dubious authorship
  • Dutch songs (all four voices)
    • "Een guild heeft syn"
    • "Een guild jent"
    • "Een meysken was vroech"
    • "Delicious beds"
    • "Lyden en verdraghen"
    • "Naelde, naelde"
    • "Damn u nu"

Literature (selection)

  • J. van Riemsdijk: De twee eerste musyckboekskens van Tielman Susato. In: Tijdschrift van de Vereniging voor nederlandse muziekgeschiedenis No. 3, 1888, issue 2.
  • D. von Bartha: Problems of Chanson History in the 16th Century. In: Zeitschrift für Musikwissenschaft No. 13, 1930–1931, pp. 507–530.
  • EE Lowinsky: The Antwerp motet book Orlando di Lasso's and its connections to the motets of the Dutch contemporaries , The Hague 1937.
  • U. Meissner: The Antwerp music printer Tylman Susato. A bibliographical study of the Dutch chanson publication in the first half of the 16th century , Berlin 1967 (= Berlin Studies in Musicology No. 11)
  • E. Zwolinska: Joannes Baston - Flemish compositor cantus at the court of the Jagiellonian king Zygmunt August. In: Festschrift for W. Elders, edited by A. Clement / E. Jas, Amsterdam 1994, pp. 215-219.

Web links

swell

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 2, Bärenreiter and Metzler, Kassel and Basel 1999, ISBN 3-7618-1112-8 .
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 1: A - Byzantine chant. Herder, Freiburg im Breisgau a. a. 1978, ISBN 3-451-18051-0 .
personal data
SURNAME Baston, Josquin
ALTERNATIVE NAMES Baston, Josef; Baston, Jasquin
BRIEF DESCRIPTION Franco-Flemish composer of the Renaissance
DATE OF BIRTH around 1515
DATE OF DEATH around 1576