David came up with a great drum part to complement the other instruments, I showed P his guitar part and we recorded a demo, which I liked a lot. I then showed them to David and P, the only other band members Crucifire had left. Once I had the first guitar riff, the drone part, everything came together quickly. So the next day, I recorded the guitar and bass parts. I had been listening to the 'Staring At The Sea' compilation and I realised when this song came up, it always had a profound emotional effect on me, and that I should try to capture that feeling in my own take on it. I was tired of the metal part of Crucifire's sound and was looking for one with more dynamics, more open and warmer, but still with plenty of bite. The work ends in triple time, ‘the rustling reeds repeating everything’ as if assessing Jacquet’s musical discourse, and the waters then ‘nod approval’ and become still, as so beautifully expressed in the final cadence.This is the daddy of them all, this is what started the 'Ahráyeph sound'.Īt the tail end of Crucifire, when the band was already a drug addled train wreck - myself included, I must confess, I came up with this adaptation of what is arguably The Cure's most famous song. Here Jacquet pays homage by embedding sections of five of Josquin’s most popular works into the polyphony: Praeter rerum seriem, Stabat mater, Inviolata integra et casta es, Salve regina and Miserere mei Deus. It begins ‘Let us recount, ye Muses, Josquin’s ancient loves’.
In the second part, Jacquet sings, as if to the sea, ‘artful verses with a antique sound’. In the first part of this tribute motet Jacquet places himself at the edge of a tempestuous Adriatic Sea, the waters unsettled and churning as he recalls the virtues of his deceased master here the polyphony is dense and offers a haunting feeling of the ebb and flow of rough waters. Little is known of his later movements, but Jacquet died in Mantua on 2 October 1559.ĭum vastos never made it into the composer’s collected works, published in the 1970s and ‘80s, though it appears in a set of partbooks published in Venice in 1554 by the Scotto Press ( Motetti del Laberinto, a cinque voci libro quarto) and has been especially prepared for this recording. Certainly Jacquet’s famous Aspice Domine is one of only two foreign works preserved in the so-called Peterhouse Partbooks, thought to have been compiled from the repertory of Magdalen College as it stood in the early 1540s. The composer was in Mantua intermittently between 15, and there is some circumstantial evidence to suggest that he might have been the ‘Master Jacquet’ who was employed at Magdalen College, Oxford, as Informator choristarum (Instructor of the Choristers, though a position regularly occupied by composers) at various times in the 1530s.
Jacquet was in later life active in Italy, and enjoyed the patronage of Ercole Cardinal Gonzaga (1505–63), Bishop of Mantua and papal legate to Charles V. Perhaps the most extraordinary tribute to Josquin, and one that is rarely performed today, is Dum vastos Adriae fluctus by the French composer, and yet another pupil of Josquin, Jacquet of Mantua (or Jacques Colebault, 1483-1559).
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