In terms of its subject matter, it is sometimes grouped together with Lamentatio sanctae matris ecclesiae Constantinopolitanae, Apostolus gloriosus and Balsamus et munda cera which are generically called Dufay's Byzantine motets.
[3] In earlier scholarship it was assumed that the motet's first performance had taken place on May 19, 1419, during the festivities prior to the marriage [4] Vasilissa, ergo gaude, Quia es digna omni laude, Cleophe, clara gestis A tuis de Malatestis, In Italia principibus Magnis et nobilibus, Therefore rejoice, princess, for you are worthy of all praise, Cleofe, glorious from the deeds of your Malatesta kin, leading men in Italy, great and noble, Ex tuo viro clarior, Quia cunctis est nobilior: Romeorum est despotus, Quem colit mundus totus; In porphyro est genitus, A deo missus celitus More glorious from your husband, for he is nobler than all; he is Despot of the Rhomaioi, he whom all the world reveres; he was born in the purple, sent by god from heaven Iuvenili etate polles et formositate
In terms of structure the composition has been compared with the mature work of Johannes Ciconia, a Franco-Flemish composer also active in Italy.
[7] Even though numerological mysticism which is often encountered in the Ars Antiqua seems to have been of minor importance in musical composition from the 14th century onwards,[8] there have been attempts to interpret the motet's texture and design from a symbolic-mystical viewpoint.
Dufay is known to have utilised similar devices such as gematria (a system of number symbolism drawn from the Pythagorean corpus) in other nuptial compositions.