Muziekgeschiedenis, 2000). 10 For example, Josquin inserts echoes consisting of small intervals, using vocal imitation manifested through the plangent half-step. lacks Agnus Dei II; jumps from Agnus Dei I to Agnus Dei III. Willem Elders, NJE 4 (Utrecht: Koninklijke Vereniging voor Nederlandse Other. 2 the New Josquin Edition Critical Commentary: Masses based on Gregorian chants 0.0/10 2 Missa Di dadi shows Josquins passion for mathematical shenanigansand for gambling. Dure : 4968 secondesNombre de pistes : 14Piste 1 : Salve Regina a5Piste 2 : Pange, lingua, glorisiPiste 3 : Missa Pange lingua : KyriePiste 4 : Ave Maria, Virgo SerenaPiste 5 : Missa Pange lingua : GloriaPiste 6 : Inviolata, integra, et casta esPiste 7 : Missa Pange lingua : CredoPiste 8 : Vivrai je tousjoursPiste 9 : El grilloPiste 10 : Missa Pange lingua : Sanctus - BenedictusPiste 11 . These recordings are also available on the specially priced double album <hyperion:link album="CDGIM206">The Tallis Scholars sing Josquin</hyperion:link>. This edition must have functioned as model for the copying of the mass in the MSS Leipzig, Universittsbibliothek, MSS Thomaskirche 49/50, Regensburg, Bischfliche Zentralbibliothek, MS C100 and Rostock, Bibliothek der Wilhelm-Pieck-Universitt, MS Saec. [1], Dufay was probably one of the first to use paraphrase technique in the mass. Enter your library card number to sign in. Agnus Dei (-)- !N/!N/!N - 130 - Michrond, Trombone 2ndpublished: 1546Nrnberg: Hans Ott 10 4 A generation before him, the music of Dufay presented developing ideals of equal-voiced polyphony and of large-scale formal balance; later, Ockeghem exploited more of the imitative style and rhythmic intensity. The Benedictus is truly a bold conception, taking the now-customary method of conjoined duets a stage further, by having just two voices answering each other in the most fragile of conversations. 0.0/10 The third Agnus Dei is one of those crowning glory movements, summing up what has gone before, though this time Josquin did his summing without canon. Includes the 'Pangue lingua' hymn as an appendix. Sanctus / 5. 2 By the 1470s or 1480s, the first masses appear that use paraphrase in more than one voice: two examples survive by Johannes Martini, the Missa domenicalis and the Missa ferialis. 6 Apart from the absence of the original 'Pleni sunt celi,' the 'Benedictus' and the second Agnus dei sections, BrusBR IV.922 has no particular errors, but includes 8 unique readings: three melodic variants, one rhythmic substitution, two unique ligatures and two variant cadence formulas. Several movements, such as the Kyrie and Agnus Dei III which frame the cycle, derive their entire cadential and formal structure from the phrases of the hymn. A prominent biographer confidently calls this the "last Mass composed by Desprez," but no contemporary data can reliably date it. The Missa Pange lingua is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez, probably dating from around 1515, near the end of his life. 2 *#575453 - 0.06MB, 6 pp. Josquin Desprez: Messes - Pange lingua; De beata Virgine, Josquin des Prs: Missa Pange Lingua; Missa La Sol Fa Re Mi, Josquin Desprez: Missa Pange Lingua & Motets, Musica Sacra: Sacred Music through the Ages, The Great History of Belgian and Dutch Classical Music, Josquin: Missa Pange Lingua; Allegri: Missa Vidi turbam magnam. (-)- !N/!N/!N - 74 - Agarvin, Engraving Files (Lilypond) Indeed, during this period, it was the favored method of using Gregorian chants to construct masses.[6]. Do not use an Oxford Academic personal account. XVI C 4. Gloria 3. Analyses of the variant readings of the mass in BrusBR IV.922 against JenaU 21, VatS16 and MunBS 510 (see Table 1) seem to underline that transmission's isolated position. *#218223 - 0.32MB,? 2 After Pange lingua he finally turned away from this genre and began to concentrate on smaller forms in more than four voices. As such, the Missa Pange lingua is considered to be one of the finest examples of a paraphrase mass.[6]. The form which contains a burden is what? 0.0/10 Genre: Sacred,Mass, Languages: Greek, Latin Therefore it looks as if the 'Alamire' scriptorium first obtained a copy of the mass in which the rather highly demanding settings for two soloists were replaced by other settings, and only somewhat later obtained a fair copy of Josquin's original version. of St. Victor of Paris, 13th century, with additions dated 1567). - Constant flow more feasible because of increased variation in rhythm. 6 The reading of the mass transmitted in the choirbook Munich, Bayerische Staatsbibliothek, Musiksammlung, Musica MS 510, possibly copied in Augsburg or Munich around 1513-1519, seems to confirm this picture. Everyone agrees that it is a late work, quite possibly Josquin's last mass, and in many ways his finest. (-)- !N/!N/!N - 182 - Anastassia Rakitianskaia, V. Agnus Dei 8 In those Ordinary movements with little text, the structure of melodic phrases in general leaves no doubt where repetition of text has been intended, particularly in the long-winded duos in the Sanctus. (-)- !N/!N/!N - 218 - Anastassia Rakitianskaia, Complete Score 10 10 Josquin's Missa Pange lingua is composed on material derived from the melody to which, from the 13th century onwards, Thomas of Aquinas's adaptation of a hymn by Venantius Fortunatus may have been most frequently sung. In VienNB 4809 most of the under-third cadences are suppressed, and several unpractical rhythmic substitutions as well as other unique readings have been introduced. - 1.1 The preferred date of composition has been after 1514, which was the year of Petruccis last book of Josquins masses, where it doesnt appear. During his lifetime, this was the most frequently performed piece that Josquin had ever writtenand it kept fascinating music scholars as far removed from Josquins time as the 18th century. This openness of scoring is unhindered by strict canon or clever mathematics of any kind. Josquin wrote two entirely canonic massesAd fugam, the earlier one, may be his most rigid and mathematically dense composition. In general, melodic continuation either follows the principle of one note to one syllable, or, within this stream, slightly emphasizes a particular word by a few extra notes, which may stress its particular meaning as well as the apparently French pronunciation of the text. - The slow abandonment of the chant as a starting point for the middle movements is unique. However, the introduction of a b-flat before the third note of the 'Pange lingua' motive at the start of the Credo (Bassus/Contra, mm. This page was last edited on 11 February 2023, at 00:44. - Album Rating: 5.0This is a hard piece to write about because in a lot of ways it feels like the apex of his abilities without doing any one thing especially incredibly, but I gave it the ol' college try anyhow. 4 Credo - [06:45] 04. Scholars, judging by stylistic criteria and by the fact that this mass does not appear in Petrucci's third volume of Josquin's masses (published in 1514), generally concur in placing it late in his oeuvre. 6 8 Given the quality of these unique readings, most of them may be the result of some performing practice outside the composer's control. 4 10 *#575454 - 0.10MB, 9 pp. *#575452 - 0.05MB, 4 pp. 0.0/10 Find many great new & used options and get the best deals for CDGIM009 JOSQUIN DES PRS Missa Pange Lingua Missa La Sol Fa Re Mi CD Europ at the best online prices at eBay! Josquin's moments of greatest compositional reserve, such as the stillness of "Et incarnatus est," or the bare canonic structure which opens the Benedictus, do not represent emotional withdrawal, but rather a greater serenity, on the one hand, and a feeling of expectancy, on the other. [2] Famous copyist Pierre Alamire included it at the beginning of one of his two compilations of masses by Josquin. With the Missa Pange lingua we finally come to a setting which has united rather than divided its commentators. "1 Equally distant from Josquin's original intentions is the reading of the Mass in the mid-16th-century MS Milan, Bibl. [7], Josquin uses imitation frequently in the mass, and also pairs voices; indeed there are many passages with only two voices singing, providing contrast to the fuller textures surrounding them. Its free-flowing polyphony, less rigorously canonic than that of his earlier works, is supple, expressive and extraordinarily beautiful, and contributes to a sonority that's unusually rich and luminous. - Ideas of Neo-Platonism were becoming popular; it was believed that consonant music could return harmony to the soul. [3][10], Building on Josquin's fugal treatment of the Pange Lingua hymn's third line in the Kyrie of the Missa Pange Lingua, the "Do-Re-Fa-Mi-Re-Do"-theme became one of the most famous in music history. 2 For librarians and administrators, your personal account also provides access to institutional account management. Music 1. Reccmo (2012/4/12), Gloria Last edited on 15 February 2021, at 04:12, https://en.wikipedia.org/w/index.php?title=Paraphrase_mass&oldid=1006852821. 0.0/10 (-)- !N/!N/!N - 495 - Agarvin, PDF typeset by editor Moreover, a number of unique variant readings have been introduced. *#572203 - 3.79MB - 4:08 - 2, ed. The Missa Pange lingua by Josquin des Prez is a cantus firmus Mass; each movement begins with a few notes of successive phrases of the Good Friday hymn. Probably one of the first mass settings Josquin ever wrote, Missa Une mousse de Biscaye perhaps shows the late-medieval origins of his musical language more clearly than any other of his masses. 2 [8] Several passages in homophony are striking, and no more so than the setting of "et incarnatus est" in the Credo: here the text, "he became incarnate by the Holy Ghost from the Virgin Mary" is set to the complete melody from the original hymn which contains the words "Sing, O my tongue, of the mystery of the divine body. 4 (-) - !N/!N/!N - 132 - MP3 - Stenov, 6. Josquin des Prez's masses are works of towering genius, notable for the purity and expressiveness of their musical language. [3] 2 6 Free shipping for many products! His Missa Ave regina celorum (written between 1463 and 1474) is similar to a cantus firmus mass in that the tune is in the tenor, however it is paraphrased by elaboration (and he also includes bits of his own motet on that antiphon, foreshadowing the parody technique). 0.0/10 4 Features triple meter and imitative polyphony. *#575456 - 0.07MB, 6 pp. (-)- !N/!N/!N - 12195 - Pgfeller, PDF typeset by editor He composed fluently and well in every contemporary genre of music, sacred and secular. 8 Paraphrase. 1-5 Missa Pange lingua It is probably Josquin's last mass settingbut it is definitely one of his best With the Missa Pange lingua we finally come to a setting which has united rather than divided its commentators. 4 4 Some of these readings were copied in manuscripts produced in Josquin's lifetime or shortly thereafter; their provenance as well as their readings of the Missa Pange lingua offer a unique insight into the way Josquin's setting may have been transmitted throughout Europe in the first half of the 16th century. Its free-flowing polyphony, less rigorously canonic than that of his earlier works, is supple, expressive and extraordinarily beautiful, and contributes to a sonority that's unusually rich and luminous. 2 (-)- !N/!N/!N - 57 - Agarvin, ZIP typeset by editor Composer: Josquin Title: "Kyrie" from "Missa Pange Lingua" Date: 1514 Period: Renaissance Genre: Mass Rhythm, meter, and texture: Varied, flowing rhythms, in line with how Renaissance music favored varying rhythmic independence for the melodic lines. Josquin wrote 18 mass settings during his lifetime and created a unique compositional method and sound world for each of them. Josquin - Missa Pange lingua & Missa La sol fa re mi. In addition, this phrase is echoed in many subtle ways. - Ecce Sacerdos Magnus, WAB13 - [05:39] Download Link Isra.Cloud The Choir of St John's Cambridge - Franz Liszt: Missa Choralis / Anton Bruckner . While he was working at the court of Ferrara, Italy, Josquin wrote an entire mass setting based on the name of his employer, Duke Ercole I. *#575455 - 0.08MB, 9 pp. 8 Apart from the long duets at Pleni sunt caeli and Agnus II (which both seem like canon at times but are not strict), the most arresting writing comes in the Benedictus, Hosanna, and Agnus III. If anything is fascinating in the composer's setting of the Ordinary text, it is certainly the way in which he has conceived from this material a melodic framework in which the declamation of the text remains crystal-clear.