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Josquin Baston
c.1520 - 1576
Belgium / The Netherlands
No picture
J. Baston
Josquin Baston [Johan Paston?] (c.1520 - 1576) is a Netherlands’ composer coming out of the Low Countries who worked and spent a lot of his time - as his predecessors did - out that region. He belongs to the fourth generation of Netherlands composer. As so often nothing is known about the youth of Baston and his education. Perhaps he was a pupil of Johannes Lupi in Cambrai (c.1506-1539). It is uncertain whether Josquin Baston was even known as Johannes Baston, because in certain Danish sources is mentioned Johan Paston or Johan Baston. Are Joannes and Josquin Baston identical? Josquin/Johannes Baston nevertheless a Baston served at the Austrian court, Saxony, the Polish court 1552-1553, and later on at the Danish court of Christian III 1553-1559 and after the death of King Christian III to Swedish court of Erik XIV from 1559 a few years later. Bastons earliest works have been published in the Netherlands and some of them are in the Dutch language. A number of his works, chansons and madrigals were published in Salblinger's Concentus (1545), and in the "Leuven Collection" (Phalèse, 1554). So did Susato. In 1551 the famous Antwerp printer Tielman Susato began a publication of his Musyck boexken, a series devoted to Dutch-texted polyphonic music. This was the most serious attempt by a sixteenth-century publisher to popularize this genre. Books 1 and 2 - het ierste en tweetste Musyck Boexken - contain 55 amoreuse liedekens written for four voices in the contrapuntal style of the Netherlands generation. Het ierste en tweetste Musyck Boexken include some English part-songs by Josquin Baston. Some of this part-songs are still today performed. Baston joined the Danish court with the Netherlands Franciscus Marcellus Amfortius (1557-1571) and Arnoldus de Fine (c. 1530 - 1586) the latter court organist to the Danish Queen Dorothea (1556 – 1560) and later appointed Master of the Royal Chapel (1571 – 1586). Amfortius was from 1557 ‘sangmester’ to the court of Christian III. Baston used in his motets declamatory style which came into fashion in the mid-16th century. In his chansons he used splendid Netherlands’ contrapuntal style.
Author:Wim Goossens
Eheu dolors / Requiem aeternam
Period:Early Renaissance
Composed in:1545
Musical form:Motet a 6 vocibus
In memory of:the composer Johannes Lupi
This composition is a six part motet for the first published in 1545 and has a subtitle ‘Déploration de Lupus’. We saw and already mentioned in this Requiem-survey site several lament/deploration settings: Josquin des Prez for Ockeghem (1497) ; Nicolas Gombert (c.1521), Jheronymus Vinders, for Josquin (1521) ; Certon for Claudin de Sermisy (1562) ; Jacob Vaet for Jacobus Clemens (1556) ; Jacob Regnart for Jacob Vaet (1568) and there are others not mentioned falling out of the scope of this Requiem site. The term Déploration is international accepted to define compositions inspired on the death of a composer. This motet ‘Eheu dolors/ Requiem aeternam/Déploration de Lupus’ is written by Josquin Baston (c.1520-1576) probable at the occasion of the death of LUPUS Hellinck (c.1496-1541) in 1541 in Bruges or of the Death of Joahnnes Lupi in 1539. Lupus Hellinck was choirmaster at Notre Dame in Bruges from 1521 to 1523, and choirmaster at St. Donatian in Bruges from 1523 to his death in 1541.
On the other hand this Lament could be written on the occasion of the Death of Johannes Lupi – Jehan Le Leu - (1506-1539) who worked and died in Cambrai (Kortrijk). It is said and argued Josquin Baston was one of the known pupils of Johannes Lupi. Johannes Lupi was among others from 1527-1537 with some intervals Chapelmaster in Cambrai. He died at young age. In the literature Lupus is mentioned as the most possible dedicatee. This motet by Baston is written for six voices (CCTTBB). In his 6-part lamentation on the death of the above mentioned 'Lupus' the two middle voices (TT) repeat the Gregorian Introit plainchant Requiem aeternam - out of the rite Missae Pro Defunctis Liber Usualis p. 1807 - in canon six times with different counterpoints. In different sources this Lamentation has been found. P. Ulhard in 1545 published this lamentation, Ulhard, Concentus 8, 6, 5 & 4 vocum, Augsburg, 1545 and is now preserved in Paris. This Lament has been reprinted in Maldeghem's Trésor, 1876 XII – 142. The original manuscript probably belonging to the famous Falkenstein collection is since 1894 preserved in Paris at Bibliothèque du Conservatoire de Paris.
Author:Wim Goossens
Confitebor tibi, Domine
Period:Early Renaissance
Composed in:1549c
Musical form:Motet à 5 vocibus
Text/libretto:Latin from a Responsorium de Officium Defunctorum
This Confitebor tibi is an old Responsorium. There are about 138 Responsoria de Officium Defunctorum, Responds from Office of the Dead known and used during centuries in the Office of the Dead. They are all well ordered, this is number 118. But Josquin Baston used the belonging Versicle ‘Et eripuisti’ number 90 too. The use of all Responds vary per region and they were used all over. Europe. This Respond is in use in Otto of Riedenburg’s Pontifical-ordinal, but be aware these series are absolutely exceptional and used in the German and Austrian region in which Josquin Baston worked. This motet is written by Baston for five parts and it was originally published by Scotto and by Gardano, both printers in Venice in 1549 in Primo libro de motetti a cinque voci da diversi eccellentissimi musici composti et non piu stampati, novamente posti in luce, et con somma diligentia coretti. Come a' cantanti sarcra 2. manifesto. - Venezia, G. Scotto, 1549. 5 vol. and Il terzo libro di motetti a cinque voci di Cipriano de Rore, et de altri excellentissimi musici, novamente ristampato, con una bona gionta de motetti novi. - Venezia, A. Gardane, 1549. 5 vol.
Author:Wim Goossens
Text: Confitebor tibi Domine

R. Confitebor tibi Domine Deus in toto corde meo:
et honorificabo nomen tuum in aeternum,
quia misericordia tua domine magna est super me.
V. Et eruisti animam meam ex inferno inferiorium

R. I will praise thee, O lord, with my whole heart:
and I will glorify thy name for evermore,
for great is Thy mercy toward me.
V and thou hast delivered my soul from the lowest hell.
Contributor:Wim Goossens