The motet was composed by Isaac in 1507 while he was in Constance for the imperial Reichstag of that year, which was organized to prepare for the coronation (which would happen in 1508 in Trento) of Maximilian I as Holy Roman Emperor.

The Latin text, as written by Zlatkonia, expanding on the antiphon, is as the following:[9] Prima pars Virgo prudentissima, quae pia gaudia mundo Attulit et sphaeras omnes transcendit et astra Sub nitidis pedibus radiis et luce chorusca Liquit et ordinibus iam circumsaepta novenis Ter tribus atque ierarchiis excepta supremi Ante Dei faciem steterat patrona reorum.

Dicite, qui colitis splendentia columina Olympi, Spirituum proceres, Archangeli et Angeli et almae Virtutesque throni, vos principum et agmina sancta, Vosque potestates et tu dominatio coeli, Flammantes Cherubin verbo Seraphinque creati, An vos laetitiae tantus perfuderit umquam Sensus ut aeterni matrem vidisse tonantis Consessum, coelo terraque marique potentem Reginam, cuius numen modo spiritus omnis Et genus humanum merito veneratur, adorat?

Hoc tibi devota carmen Georgius arte Ordinat Augusti cantor rectorque Capellae, Sclatkonius praesul Petinensis, sedulus omni Se in tua commendat studio pia gaudia, mater.

Part 1 When the most wise Virgin, who brought holy joy to the world, rose above all the spheres and left the stars beneath her shining feet in gleaming, radiant light, she was surrounded by the ninefold Ranks and received by the nine Hierarchies.

Part 2 You, Michael, Gabriel and Raphael, we beg you to pour out to her chaste ears our prayers and entreaties for the sacred Empire and for Maximilian the Emperor.

The antiphon and the motet evoke the Song of songs 3:11: "Egredimini et videte filiae Sion regem Salomonem in diademate quo coronavit eum mater sua in die disponsionis illius et in die laetitiae cordis eius" ("Go forth, ye daughters of Sion, and see King Solomon in the diadem, where with his mother crowned him in the day of his espousals, and in the day of the joy of his heart.

[13] Other than Dürer's Feast of the Rosary, Rothenberg opines that the idea of the motet is also reflected in the scene of the Assumption seen in the Berlin Book of hours of Mary of Burgundy and Maximilian.

It is also a self-consciously constructivist piece that looks back to the repertoire of tenor motets pioneered by Guillaume Du Fay, Johannes Ockeghem, and most prominently by Iohannes Regis"[clarification needed] and "an extraordinarily impressive work with a seemingly inexhaustible amount of invention".

[1] Charles Edward Trinkaus [Wikidata] and Heiko Oberman comment that, "Virgo prudentissima is one of the noblest compositions of its type written during the early Renaissance and it is the epitome of the paraliturgical motet.

"[15] The book Boston Early Music Festival & Exhibition notes that the motet is "monumental and unmistakably imperial in effect" while the work O Maria, mater Christi (by the same composer) feels intimate and personal.