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Instead, he connects several documents that together establish him as an altar boy until 1466 in Cambrai—not at the cathedral, but at the collegiate church of St.
Géry—putting the young musician in direct contact with Guillaume Du Fay.
Following the traditional life-and-works model, in each chapter Fallows first considers the evidence establishing Josquin's place of employment in a given period, then discusses repertory he assigns to that time.
Fallows goes beyond summarizing his own or others' findings, instead creating a narrative out of disparate primary and secondary sources and elegantly filling gaps: where Josquin received his earliest training; where he was between the appointments to René d'Anjou and Ascanio Sforza; when he departed the Papal chapel, and where he was from then until 1503.
Josquin liked to solve compositional problems in different ways in successive compositions, as did Stravinsky more than 400 years later.
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.
Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! He is also known as Josquin Desprez, a French rendering of Dutch "Josken van de Velde", diminutive of "Joseph van de Velde" (""), and Latinized as Josquinus Pratensis, alternatively Jodocus Pratensis.
), often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance.