Inside—and outside—Illibata: composition, context and chronology in a famous Josquin motet

Abstract

Opinions remain divided on the date of Illibata Dei virgo nutrix, the motet with the famous acrostic spelling the name Josquin des Prez. Some writers see it as a product of the composer’s years at the papal chapel, 1489–94; others would move its origin considerably earlier, even to 1466–75. The only real foothold we have comes from a Vatican copy made in the mid-1490s. Advocates for an early date see the music as particularly close to the works of Du Fay, Busnoys and Johannes Regis; those supporting a Roman origin point to a trend there during Josquin’s tenure towards similarly ‘archaic’ motets. In both instances, the writers have sought a context in the music of other composers. The present study turns the focus inward to seek a context within the development of Josquin himself. Despite the uncertainty that scholars find in Josquin chronology at every turn, careful analysis of compositional procedure offers a way of breaking the apparent logjam over what everyone recognizes as one of the most significant works of its era.