Many of the works of Pierre de la Rue have been mistakenly ascribed to Josquin des Prez. A comparison of key compositional techniques in their four-voice masses may reveal why this error occurred so frequently. Few differences in cantus firmus treatment can be found between the composers, with both using the borrowed material fairly literally, in extended note values, as the basis for an ostinato pattern, or as a basis for melismatic elaboration. Both composers make frequent use of the motto technique as a means of unification within masses. In their early parody masses, both composers tended to borrow from individual voices rather than an entire polyphonic source, although La Rue borrowed more heavily from all voices later in his career. Since their treatment of borrowed material is similar in many cases, an examination of differences in melodic development is more useful for distinguishing between the styles of these two composers.

Works: Josquin: Missa L'homme armé (370, 371), Missa L'homme armé super voces musicales (370, 371): La Rue: Missa L'homme armé (370, 371), Missa Cum jucunditate (371, 373), Missa Puer natus (371), Missa Nunqua fué pena maior (371, 372): Josquin: Missa Allez regretz (371), Missa Ave maris stella (371), Missa Ad fugum (371), Missa Di dadi (371), Missa L'ami Baudichon (371), Missa Malheur me bat (372), Missa Fortuna desperata (372), Missa Mater patris (372), Missa Hercules Dux Ferrariae (372), Missa La sol fa re mi (372), Missa Faisant regretz (372); La Rue: Missa Incessament (372), Missa Ave sanctissima Maria (372, 375), Missa Almana (373, 374).

Sources: Hayne van Ghizeghem: Allez regretz (371); Ockeghem: Malheur me bat (372); Busnois: Fortuna desperata (372).

Index Classifications: 1400s, 1500s

Contributed by: Sherri Winks