Abstract
Abstract Obrecht’s mature style seems to have emerged quite suddenly in the late 1480s; watermark evidence indicates that it had reached full bloom by 1491-3, with such works as Fortuna desperata and Rose playsante. The idiom in these and other mature works is so distinct from everything we have seen so far that a break with the past rather than a smooth transition must be suspected. This major turning-point in Obrecht’s creative career cannot be dated with accuracy, but several influences and pressures may have co-operated to bring it about: the fundamental reconsideration of his stylistic premisses during the critical phase (1486-8), fresh impulses from the Ferrarese musical environment (1487-8), and the increased demand for new mass settings that he faced on his return to Bruges in 1488 (see Ch. 6).
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