Josquin Baston’s Doulce Mémoire is a reimagining of Sandrin’s famous chanson of the same name—a piece that was widely admired and frequently quoted in the mid-16th century. Baston, a Dutch composer active in Denmark and Sweden, brings a Northern polyphonic sensibility to this beloved text, layering expressive counterpoint over the graceful contours of the original. His version was published in collections like Concentus (1545), reflecting its popularity across Europe.

One especially moving moment comes with the line “Mal soudain recommence” (“Sudden evil returns”). Here, the bass descends from F natural to E flat while an upper voice—guided by editorial ficta—rises to F sharp, creating a brief but poignant dissonance. This clash, introduced in the transcription, evokes a musical sigh: a hesitation that mirrors the emotional weight of the text.

Ficta suggestions have been placed above the notes to highlight expressive possibilities. This barless transcription encourages flexible phrasing and ensemble awareness, allowing the emotional shape of the music to emerge organically.