Yet one of these twins must have included a rather peculiar anomaly: The piece is also simply aesthetically beautiful. Its reading is in remarkable agreement with that in VatS16but shares variant readings with JenaU 21 as well. In contrast to these readings, the Roman choirbook MS Santa Maria Maggiore 26copied by several scribes between andfurnishes a heavily-edited reading of the mass, in which under-third cadences are ommitted, ligatures resolved and a large number of rhythmic substitutions introduced.
The reading of the mass transmitted in the choirbook Munich, Bayerische Staatsbibliothek, Musiksammlung, Musica MSpossibly copied in Augsburg or Munich aroundseems to confirm this picture. Moreover, its reading of the mass includes far more copying errors than the other copies of the mass from the scriptorium.
In this respect the added editorial ficta in the score, as related to this particular aspect, is primarily meant as a stimulant for personal investigation.
Towards cadences between two or more voices in imitation, the leading voice may approach the close of its line with a short improvisation on a foregoing melodic element, or by a subtle embellishment that not infrequently functions as exclamation sign.
And yet, with such complete impregnation of the work by the substance of the chant model, Josquin hardly misses an opportunity to enhance with symbolism and text-painting his presentation of the Mass Ordinary text. It also utilizes voice pairings in much more direct.
In those sections with much text, the opening of a phrase is sung to a minimum of notes, which strictly follows the declamation of the text. Given that Josquin sets each movement in very similar ways using the chant melody as a basis, a brief examination of the Kyrie will serve as a consistent basis for the entire mass.
The Roman version of the Pange lingua hymn was the basis for a famous composition by Renaissance composer Josquin des Prezthe Missa Pange lingua. In the Gloria, for example, at the text "Qui tollis peccata mundi," Josquin thins out the texture to a severe canon, which stands out from the preceding moments.
Missa Pange Lingua Tallis Scholars.
The last two verses of Pange lingua Tantum ergo are often separated out. In addition, this phrase is echoed in many subtle ways. Edit Missa Pange Lingua is a cantus firmus mass which uses the Pange Lingua chant as the basis for each movement. And the texture shifts instantly to a contrasting and introspective affect upon the cry "miserere nobis.
The mass features voice pairings, but they are often staggered and also include the other voices intoning other lines.
The voices are often duet-ing in syllabic structure and are fairly homophonic in the motet. The music has the potential to become stale and repetitive, as each movement utilizes this chant, but Josquin comes through in the imaginative ways he uses the same material.
But in Josquin and his close contemporary Obrecht the so-called "Netherlandish" style of the High Renaissance reached an early plateau. Moreover, the second Agnus dei, also for two voices, is not included in the manuscript.
Observations Edit This piece has intrigued me since I first began to study music history several years ago. The Roman tune was originally part of the Gallican Rite. 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.
Their readings also include additional editorial reworkings. Another specific stylistic gesture found in this movement occurs at the text Rex effudit in original plainsong lyric. In any case, one of these early copies may have traveled to Rome, where it seems to have been treasured immediately.
The better known is a Phrygian mode tune from the Roman liturgy, and the other is from the Mozarabic liturgy from Spain. The work features the typical five movements of the Ordinary of the Mass and excludes the Ite Missa Est, an omission that had practically become universal for most mass settings by this time.
There are two plainchant settings of the Pange lingua hymn.Music Example 1: Hymn, Pange lingua Like most hymns, Pange lingua is rather simple in style, consisting of six brief phrases.
Again typical for the hymn, the range is limited, being no more than an octave (d'-d)-this is music the entire community had to sing. Missa Pange Lingua is a cantus firmus mass which uses the Pange Lingua chant as the basis for each movement.
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Jump to: navigation, search. Contents. 1 Music files. Complete Mass; Individual movements. Kyrie; Kyrie & Gloria; 2 General Information; 3 Original text and translations; Music files.
L E G E N D Disclaimer How to download; ICON SOURCE Pdf: Midi: Music XML: Finale: Zip file. Start studying "Kyrie" from Missa Pange Lingua".
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