His small but significant œuvre illustrates the mastery of the Flemish polyphonists in cantus firmus, canon, imitation, diminution and other learned techniques. Two of his Masses, on motets (like Antoine de Févin, and Jean Mouton, his colleagues in the French royal chapel, pioneering in the “parody mass”) by Jean Richafort and Alexander Agricola (who was his colleague under duke Philip the Fair), and some Mass movements and motets, were published in anthologies between 1514 and 1549.

His canon motet a 5 “Per lignum” “for the wood” of the Holy Cross illustrates his contrapunctic mastery (in a favorite formula of Josquin: strict canon in both inner parts, three other more freely in mainly imitative counterpoint) as does his “Salve Regina” (for Our Lady as Queen of Heaven), also a 5, on the profane Chanson rustique “Adieu mes amours” (which Josquin himself arranged a 4), making little use of the Gregorian original, unlike Johannes Prioris’ version of the similar Regina Caeli.

Recording

His Motet “Desolatorum consolatur” was recorded by The Orlando Consort on “The Toledo Summit”, Harmonia Mundi no. HMU 907328.