Josquin: Missa Gaudeamus, Missa L'ami Baudichon

Josquin is known as the most adventurous composer of his time-the one who could turn his hand to any challenge. This restless, searching intellect is on display in every one of his Mass settings, yet few offer as great a contrast as Missa Gaudeamus and Missa L'ami Baudichon. Missa Gaudeamus represents Renaissance artistry at it's most intense. Largely based on the first six notes of a substantial chant melody, it deploys mathematics in a number of clever, but rewardingly audible ways. Written for the Feast of All Saints, this is high art. By contrast Missa L'ami Baudichon represents Renaissance artistry at it's most skittish. Based on just three notes, which sound to an English ear distractingly like the opening of Three Blind Mice, it makes few demands on the listener outside enjoying a luminous C major sonority. This comes close to low art-a vulgar reference to female genitals comes twice in the French-language text originally attached to it's very secular model.