The difficulties in compiling a works list for Josquin cannot be overstated. Because of his immense prestige in the early sixteenth century, many scribes and publishers did not resist the temptation of attributing anonymous or otherwise spurious works to Josquin. The German editor
Georg Forster summed up the situation admirably in 1540 when he wrote, "I remember a certain eminent man saying that, now that Josquin is dead, he is putting out more works than when he was alive."[2] Thus, the authenticity of many of the works listed below is disputed on stylistic grounds or problems with sources or both. This thorny issue has been taken up vigorously in the now nearly complete New Josquin Edition (NJE).
Missa Sine nomine (four voices; canonic mass, also titled "Missa Ad fugam" in later print)
Missa Une mousse de Biscaye (four voices; authorship doubted by some scholars, published as authentic in NJE)
Doubtful works:
Missa Allez regrets (printed in Werken by Smijers with reservations; considered authentic by Osthoff, otherwise doubted by many; possibly by Johannes Stokem)
Missa da pacem (four voices; authorship widely doubted; probably by Noel Bauldeweyn)
Missa Quem dicunt homines (4 voices, 5 in Agnus III). Only one source of this mass shows Josquin's autorship, but it is defended by some scholars like Rob C.Wegman because of the highest quality and crystal purity of its polyphony, which is characteristic of Josquin's late style.
Mass fragments
Credo Chascun me crie (= Des rouges nez)
Credo De tous biens playne
Credo Vilayge (I)
Credo Vilayge (II) (of doubtful authorship)
Credo [Quarti toni] (canonic) (of doubtful authorship except considered authentic by Urquhart)
Gloria De beata virgine
Sanctus De passione
Sanctus D'ung aultre amer
Motets
Absalon, fili mi (4vv) (attribution has been challenged; conjecturally attributed to
Pierre de La Rue)
Absolve, quaesumus, Domine/Requiem aeternam (6vv) (attribution has been challenged)
^Jesse Rodin, "A Josquin Substitution," Early Music 34.2 (2006), p. 246
^For the latest work on dating, see
Joshua Rifkin, Munich, Milan, and a Marian Motet: Dating Josquin's "Ave Maria ... virgo serena," Journal of the American Musicological Society 56.2 (2003), pp. 239–350