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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Josquin Desprez • A Marian Masterpiece

Dr. Alfred Calabrese · May 25, 2017

160 Mary AY IS MARY’S MONTH, and before it gets away from us, I would like to promote one of the most beautiful and truly great motets of the Renaissance, Josquin Desprez’ AVE MARIA…VIRGO SERENA.

In the monumental New Grove Dictionary of Music and Musicians (Stanley Sadie, ed., 1980), Gustave Reese and Jeremy Noble begin their entry on Josquin thusly:

“Josquin Desprez, one of the greatest composers of the entire Renaissance and certainly the most important before the second half of the 16th century, was born about 1440.”

This statement is not hyperbole, yet the name of Josquin today pales in comparison with those of Palestrina, Byrd, and even lesser composers of the era. His genius during his lifetime was, however, met with widespread recognition. His numerous masses and motets were regarded as models for composers of the day. The first important music publisher, Petrucci, dedicated three full books to Josquin’s Masses alone; no other composer was given more than one book. So admired was the motet Ave Maria…virgo serena, that it was placed at the head of Petrucci’s first motet collection, printed in 1502 (although it may have been composed as early as 1476).

The poem was well known in its day. Beginning with the ubiquitous Hail Mary, full of grace the Lord is with thee, the poem then commemorates the major events in the life of the Virgin: conception, birth, annunciation, purification, and assumption, all vividly depicted amongst the percolating polyphony. These events are then followed by a personal plea to the Blessed Mother, O Mother of God, remember me. Amen, sung to Josquin’s signature solemn homophony.

Listen to this motet, read the poem, and see if you don’t agree that this is a real masterpiece, and that Josquin Desprez belongs in the pantheon of the most important composers in history:

Translation :

Hail Mary, full of grace, the Lord is with thee, joyous Virgin. Hail thee whose conceiving, full of solemn gladness, fills heaven and earth with a new joy. Hail thee whose birth was to us a holy day, of thou who surpasses the shining light in the east, the very sun. Hail thy humanity, thy conception without a man, thou whose annunciation was our salvation. Hail thy true virginity, thy spotless chastity, thou whose purification was our expiation. Hail thee, most excellent in all angelic goodness, thou whose assumption was our glorification. O Mother of God, remember me. Amen.

(Translation by William Earle Nettles)


Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF • “Cantus Mariales” (192 pages)
    Andrea Leal has posted an absolutely pristine scan of CANTUS MARIALES (192 pages) which can be downloaded as a PDF file. To access this treasure, navigate to the frabjous article Andrea posted Monday. The file is being offered completely free of charge. The beginning pages of the book have something not to be missed: viz. a letter from Pope Saint Pius X to Dom Pothier, in which the pope calls Abbat Pothier “a man versed above all others in the science of liturgy, and to whom the cause of Gregorian chant is greatly indebted.”
    —Jeff Ostrowski

Quick Thoughts

    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski
    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski

Random Quote

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

Recent Posts

  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)
  • Grotesque Pairing • “Passion Chorale”
  • PDF Download • “Ubi Caritas” (SATB)
  • PDF • “Cantus Mariales” (192 pages)

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