Inviolata integra et casta es Maria for SATTB Choir Cover Image

Inviolata integra et casta es Maria for SATTB Choir: SATTB Choral

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Inviolata integra et casta es Maria for SATTB Choir Cover Image
Inviolata integra et casta es Maria for SATTB Choir: SATTB Choral

Inviolata integra et casta es Maria for SATTB Choir: SATTB Choral

By Josquin des Prez

Item: 98-NDC042
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Description

Josquin's 5 voice setting of the traditional Gergorian sequence to the Blessed Virgin could be called the quintessential work of his middle maturity. That it survives in even more print and manuscript sources than his celebrated Ave Maria attests to the esteem in which it was held in the 16th century. 

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Additional Details
Series: NDC Edition
Publisher: Edition Peters
Page Count: 20
ISBN10: 0-300-76688-2
ISBN13: 979-0-300-76688-1
UPC: 9790300766881
SKU: 98-NDC042

More about this title

About the Composer: Josquin des Prez

Josquin des Prez (c. 1450-1521) stands as one of the most influential composers of the Renaissance, a master whose motets and masses shaped the sound of sacred music across Europe for generations. His works demonstrate a profound understanding of text expression, imitative counterpoint, and harmonic sophistication that set him apart from his contemporaries and established him as a model for composers well into the 17th century.

Josquin's compositional output reveals a deep engagement with liturgical traditions and the expressive possibilities of polyphonic writing. His ability to balance structural clarity with emotional depth made his music valued not only by musicians of his own time but also by theorists and composers studying the foundations of compositional craft.

Why we love this

This work represents Josquin at his most assured, combining the contrapuntal mastery his generation admired with the kind of textual clarity and spiritual depth that made Renaissance sacred music transformative. The survival of this piece in more sources than even his Ave Maria speaks to its enduring power in the repertoire and its value as a touchstone for understanding Renaissance choral practice.

What to expect

The music unfolds with a luminous clarity, voices entering and interweaving as if in conversation. There is both architectural precision and profound reverence here—a carefully constructed homage that feels intimate rather than grand.

Who it's for

This octavo suits advanced high school choirs and college ensembles comfortable with Renaissance polyphony and its textural demands. Directors programming concerts that engage seriously with liturgical traditions or the history of sacred music will find this work both pedagogically rich and spiritually resonant.

How to get the most out of it

  • Shape each phrase according to the text's natural syntax rather than the bar line; Josquin's imitative entries often overlap across what modern notation marks as phrase boundaries.
  • Maintain transparent voicing in the overlapping points of imitation by adjusting dynamic weight between voice parts rather than exaggerating tempo changes.
  • Allow the harmonic sonorities to settle naturally at cadential moments; resist the impulse to rush toward harmonic closure.

How to use it

Pair this with other Renaissance sacred works to create a concert exploring Marian devotion across the 15th and 16th centuries, or program it as a centerpiece for a concert focused on Josquin's legacy and influence. Its liturgical connection also makes it suitable for sacred context performances during appropriate seasons of the church calendar.

Skills your students will build

  • Renaissance imitative counterpoint across four voice parts
  • Singing Latin sacred text with proper projection and clarity
  • Managing overlapping phrase entries without losing harmonic balance
  • Understanding cadential function in pre-tonal harmonic language
  • Sustaining polyphonic textures with independent voice leading

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