FIG. 14-4 Ludwig Sennfl, drawn by Hans Schwarz in 1519.
A single excerpt, the final prayer (Ex. 14-7; compare Ex. 14-6e), will give an idea of the way sennfl
replaces Josquin’s spareness with opulence: note particularly how Josquin’s ascetic open fifths at the
concluding “Amen” have been enlarged into a gorgeous plagal cadence.
Even before Sennfl paid his tribute to Josquin’s emblematic motet, it had been reworked into an entire
Mass by Sennfl’s somewhat older, unhappily short-lived contemporary Antoine de Févin (ca. 1470–
1512). Most unusually, Févin was of aristocratic birth but nevertheless pursued a professional career as a
musician—which is to say, a career in service. He was a member of Louis XII’s musical establishment at
the time when Josquin is popularly supposed to have worked there, and it was on the basis of their
presumed relationship that Glareanus called Févin “Josquin’s happy follower” (felix Jodoci aemulator).
EX. 14-7 Ludwig Sennfl, Ave Maria...Virgo serena, mm. 76–80