Mass D'ung aultre amer · Mass "D'ung aultre amer" De Glo o 8 ri a cel sis in ex ta ta ta tis tis...
Transcript of Mass D'ung aultre amer · Mass "D'ung aultre amer" De Glo o 8 ri a cel sis in ex ta ta ta tis tis...
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Josquin Des Pres
Kyrie
From Missarum Josquin liber secundus, Petrucci, Venice 1505
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ed. John Kelly
Josquin Des Pres
Gloria
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Mass "D'ung aultre amer"
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Music engraving by LilyPond 2.10.20—www.lilypond.org
ed. John Kelly
Josquin Des Pres
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ed. John Kelly
Josquin Des Pres
Agnus Dei
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Mass "D'ung aultre amer"
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Mass “D'ung Aultre Amer” by Josquin Des Prez
This is the only edition of this piece in the public domain intended for performers, as far as I know. It is based on the version in the Liber Missarum Josquin published in Venice by Petrucci in 1505.
The mass is based on a chanson by Johannes Ockeghem, Josquin's teacher. Its attribution to Josquin has been questioned but seems as reliable as we can expect; the New Josquin Edition regards it as Josquin's work, at any rate. It is notable for a couple of things: its brevity – the longest movement takes no more than five minutes, and the whole mass can be performed in fifteen – and the substitution of the motet “Tu solus qui facis mirabilium” for the Benedictus.
Suggested Accidentals (“Ficta”)
Each suggested accidental applies only to the note directly beneath it; it does not carry through the measure.
I follow Renaissance practices described in Anthony Newcomb's article “Unnotated Accidentals in the Music of the Post-Josquin Generation,” Toft's Aural Images of Lost Traditions, and other recent studies. The authors should not be blamed for any errors I've made, of course.
Renaissance composers, editors and publishers took it for granted that musicians would add accidentals; a few theorists urged composers to specify sharps, flats and naturals as thoroughly as we do today, but they were largely ignored. Composers seem to have accepted that performers would realize their works in diverse ways; Ghiselin Danckerts demonstrated at San Lorenzo in Damaso that “more than one solution to passages containing ambiguous pitch-content was feasible” (Toft, p. 41). Performers' practices, while generally based on the common theory of the time and broadly similar across Europe, incorporated local usages and tastes. I invite performers of this edition to add and remove accidentals as they please, as long as the parts remain singable and no one claims to have found the “correct” way.
The version I have put together here approximates, I believe, what might have been done in performance anywhere but in Germany, where musicians tended to follow modal scales more faithfully than musicians elsewhere. Following the method of Adrian Le Roy, I read each line by itself first and made appropriate changes, then considered the lines together and resolved any problems caused by the first step, following ten principles:
1. Melodies should be read and thought of in terms of hexachords.2. Any leap of a titone should be altered, usually by flatting one of the notes; filled-in contours
that span tritones should often be altered, depending on context and the rhythmic prominence of the tritone-forming pitches. Solmizing the melody in the appropriate hexachord will usually indicate which note should be altered and how. (I break this rule in m 110 of the Sanctus, but Josquin's writing there makes it so easy to break and so difficult to obey I'm inclined to think he wanted it broken.)
3. When a line ascends to la and immediately descends (e.g., the opening of Josquin's “Illibata virgo nutrix”), la should be flatted. This is a refined version of the familiar “Una nota” rule; in the list of added accidentals, I have abbreviated it “unicam notulam.”
4. Similarly, when a line descends to the seventh and turns up again, the seventh may be sharped unless it is doubled in another part; the sequences la-sol-la, sol-fa-sol, and re-ut-re may all be sung with the middle note sharped, in cadential situations and elsewhere.
5. Any vertical tritone between the lowest part and any other part should be altered. Vertical tritones between other parts need not be altered, unless for some other reason.
6. Perfect consonances should be approached by the closest possible intervals—e.g., a sixth resolving to an octave should be a major sixth, a third resolving to a unison should be a
minor third.7. Final chords are either unisons, open octaves, open fifths, or major triads.8. Look for clues from the composer. A possible alteration in one part may be obviated by the
presence of a note in another part which would clash with the altered pitch; sometimes these other notes seem to be there for no other reason.
9. Don't overvalue consistency. It's perfectly common and even desirable for accidentals to come and go, and for one part to alter a pitch while another leaves it alone.
10. Don't seek “correctness.” 16th-century authorities acknowledged that in some cases there was more than one acceptable solution, and recognized the performer's right to base some decisions on his own taste.
The result is pleasing to my ear, though I do not presume that it would have pleased a Renaissance ear.
There are two cadences in the Credo, at measure 56 and at the end, that modern ears may find jarring or even cheesy; in each case, the added accidental (a B-natural in the Altus) effects a sudden shift to the major mode. In the final cadence, the added accidental is absolutely necessary; it is more debatable in measure 56, but the presence of a double bar (section end) in the original score inclines me to treat the final chord there as subject to the open-or-major-finalis rule. I am confident that most musicians of the time would have agreed; whether musicians of our time agree is up to them.
Text Underlay
For its time, the Petrucci 1505 edition is comparatively generous with text underlay; in the Gloria and Credo it is usually easy to see which words go with which notes (at least in the 16th-century editor's opinion – Josquin's has not been preserved). I have some doubts about the Superius' underlay at the end of the Credo, but that's definitely what's in the score. In other movements, and in the Tenor part throughout, you're on your own. I have filled in text for the Tenor; in the Credo, I have had to condense the its text severely – there just weren't enough notes. Elsewhere, I have underlaid text as seemed natural and singable, trying as much as possible to observe the Renaissance theorists' dictum that melismas should coincide with penultimate syllables. As with the suggested accidentals, performers are welcome to make their own changes.
John KellyBerkeley, California25 July 2007
Accidentals
Kyrie
m6, Superius: subsemitone (sst) cadence to G
m7, Altus: unicam notulam
m7, Tenor: reading line in soft hexachord; also avoids mi-contra-fa with Altus
m10, Altus: avoid descending tritone melodic contour
m15, Superius: unicam notulam
m17, Altus: avoid descending tritone melodic contour
m18, Tenor: suprasemitone (sast) cadence to D
m22, Altus: reading line in soft hexachord (note fall to B-flat in following measure)
m24, Tenor: reading line in soft hexachord, avoiding ascending tritone melodic contour
m25, Bassus: reading line in soft hexachord, avoiding ascending tritone melodic contour
m26, Bassus: reading line in soft hexachord, avoiding descending tritone melodic contour
m27, Superius: reading line in soft hexachord, avoiding descending tritone melodic contour
m29, Superius: reading line in soft hexachord, avoiding descending tritone melodic contour
m29, Tenor: reading line in soft hexachord
m31, Altus: reading line in soft hexachord, avoiding descending tritone melodic contour
m32, reading line in soft hexachord, avoiding ascending tritone melodic contour
m33, Altus (no alteration): sst
m36, Altus: unicam notulam
m39, Tenor: reading line in soft hexachord, avoiding a4/d5 with Altus (Tenor is lowest voice here)
m39, Altus: avoid ascending tritone melodic contour
m42, Bassus: reading line in soft hexachord
m46, Superius: re-ut-re; sst cadence on G
Gloria
m7, Tenor: reading line in soft hexachord
m10, Superius: unicam notulam, also avoiding a4/d5 with Bassus
m20, Altus: reading line in soft hexachord (note descent to B-flat)
m26, Altus: reading line in soft hexachord
m28, Tenor (no alteration): avoiding a4/d5 with Superius (Tenor is lowest voice here)
m30, Tenor: reading line in soft hexachord (note descent to B-flat)
m31-32, Superius: reading line in soft hexachord (note descent to B-flat)
m33, Bassus: reading line in soft hexachord
m37, Tenor: reading line in soft hexachord
m38, Altus: reading line in soft hexachord
m44, Bassus: 6-5-1 cadence in Josquin typically flats 6; also avoids a4/d5 with Superius
m44, Altus: agree with Bassus; reading line in soft hexachord
m45, Superius: sst Landini cadence to G
m45, Altus: avoiding descending tritone melodic contour
Credo
m6, Superius: sst cadence on G
m7, Tenor: reading line in soft hexachord
m8, Altus: sst cadence on G, also re-ut-re
m12-13, Altus: unicam notulam
m15, Superius: unicam notulam
m23, Tenor: unicam notulam
m34, Tenor: sst cadence on G
m37, Tenor: reading line in soft hexachord; avoid mi-contra-fa with Altus (Tenor is lowest voice here)
m41, Bassus: reading line in soft hexachord (note drop to B-flat in next measure)
m42, Bassus: E-flat in original edition
m44, Superius: sst cadence on G
m46, Superius: unicam notulam
m47, Altus: avoiding tritone leap from preceding B-flat; also possible unicam notulam
m49-55, Altus: reading this as an extended sol-la-sol, therefore unicam notulam
m55, Superius: avoiding tritone leap
m56, Altus: section finalis in major mode
(Note: m49-56 can be treated in at least three ways: Altus E's unaltered throughout, with major-mode finalis; Altus E's flatted throughout with minor-mode finalis; Altus E's flatted throughout with major-mode finalis. I've opted for the last, partly because it agrees with my own understanding of the traditions, partly because the New Josquin Edition does. To my ear the the other versions sound acceptable too.)
m62, Superius: sst cadence on G
m63, Tenor: reading line in soft hexachord; avoiding fleeting a4/d5 with Bassus
m71, Altus: sst cadence on G
m74, Superius: sst cadence on D
m79, Tenor: unicam notulam; sast cadence on D
m79, Superius: agreeing with Tenor
(Note: an argument could be made for leaving both E's unaltered and raising the C and B-flat in the Superius for an sst cadence on D. The first objection I can see to this is that the Tenor must then sing an ascending tritone melodic contour. The Tenor's line moves slowly enough that this might not be too difficult. But the second – admittedly speculative – objection is that Josquin may have wanted a pair of similar-but-not-identical cadences in the Superius: the first at m74-75, the second here. The first cadence finishes the text concerning the Son; the second helps begin the text
concerning the Holy Spirit. A pair of similar but not identical cadences in the Superius may have been Josquin's way of illustrating a point of theology – or of enjoying repetition with variation.)
m82, Superius: reading line in soft hexachord, also unicam notulam
m82, Altus: avoid double-leading-tone cadence
m83, Bassus: avoid tritone leap
mm84 & 86, Tenor: reading line in soft hexachord
m89, Bassus: avoid tritone leap
m89, Altus: agree with Bassus; reading line in soft hexachord
m90, Tenor: sst cadence on G
m93, Tenor: reading line in soft hexachord; avoid a4/d5 with Superius (Tenor is lowest voice here)
m100, Superius: sst Landini cadence on G
m101-104, Superius & Altus: reading lines in soft hexachord to avoid descending tritone melodic contour
m105, Altus: major-mode finalis
Sanctus
m7, Tenor: reading line in soft hexachord
m13, Superius: reading line in soft hexachord
m15, Altus: unicam notulam
m21, Superius: sst cadence on G
m23, Tenor: unicam notulam
m26, Tenor: sst cadence on G
m28, Altus: sst cadence on D
m30, Tenor: reading line in soft hexachord (B-flat in next measure)
m42, Bassus: avoiding descending tritone melodic contour
m43, Superius: avoiding descending tritone melodic contour
m44, Superius: sst cadence on G
m53, Superius: approaching cadence on B-flat
m58, Bassus: E-flat in original edition
m59, Altus & Bassus: E-flat in original edition
m66, Bassus: avoiding descending tritone leap
m71, Bassus: 6-5-1 cadence formula
m80, Altus: reading line in soft hexachord
m81, Superius: sst cadence on G
m85, Bassus: reading line in soft hexachord, avoiding a4/d5 with Tenor
m86, Bassus: continuing to read line in soft hexachord
m87, Tenor: sst cadence on G
m88, Altus: reading line in soft hexachord, avoiding a4/d5 with Tenor
m89, Altus: continuing to read line in soft hexachord
m90, Superius: sst cadence on G
m94, Altus: reading line in soft hexachord
m94, Bassus: avoiding mi-contra-fa with Altus
m98, Superius: sast cadence on D (with Bassus)
m99, Altus: major mode for section finalis
m101, Bassus: unicam notulam, also avoiding descending tritone melodic contour
m102, Tenor: sst cadence on G
m101, Tenor: unicam notulam, also avoiding descending tritone melodic contour
m102, Altus: reading line in soft hexachord
m103, Superius: sst cadence on G
m108, Bassus & Altus: reading both lines in soft hexachord; Bassus line can be seen as kind of extended 6-5-1 cadence figure.
m109, Tenor & Altus: reading both lines in soft hexachord
m110, Bassus & Altus: as in m108. This is one of those passages that give editors fits. My treatment differs from the NJE's, in which the Altus E is natural (unlike preceding E's) to avoid a tritone leap down to A and the Bassus E is likewise natural to avoid a clash with the Altus. The NJE is theoretically correct there, but as a singer I don't find that particular tritone leap awkward. Of course I have no idea how it would have felt to a 16th-century singer, but the Superius has just sung an A in the octave above (m110) and will do so again at the cadence, so the Altus singer has plenty of help. Still, as Toft observes, doubled E's in Dorian cantus mollis cadences were generally left unaltered – by rights, this should be a subtonal cadence to D (a subsemitonal cadence would require alteration of the Soprano and Tenor B's and the Tenor's C – i.e., too much alteration). But, while there is some latitude for reading the Altus in the hard hexachord (allowing E to be read as mi, i.e. E-natural, from m108 through m111) the Tenor line really cannot be read in any but the soft hexachord, so its E in m109 must be read as fa, i.e. E-flat, so the cadence must be suprasemitonal. Performers are invited to try different treatments, including those with mi-contra-fa collisions, and see how they like them.
m112, Altus: unicam notulam
m113, Superius: sst cadence on G
Agnus Dei
m4, Bassus: avoiding d5 descending contour from preceding measure's B-flat (this incurs a stepwise a4 descent from this measure's A, but the B-flat is rhythmically more important than the A)
m7, Tenor: reading line in soft hexachord
m22-23, Superius: reading line in soft hexachord
m24, Altus: reading line in soft hexachord
m25, Tenor: reading line in soft hexachord
m29, Altus: reading line in soft hexachord
m30, Tenor: reading line in soft hexachord
m32, Tenor: reading line in soft hexachord
m33, Bassus: avoiding vertical a4/d5 with Tenor
m42, Tenor: avoiding vertical a4/d5 with Altus (Tenor is lowest voice here)
m44, Superius: to avoid descending melodic tritone contour
m45, Superius: NJE doesn't have the E on the second half-note; instead, the D at the beginning is a whole note.
m46, Bassus: avoiding a4 descent to B-flat in next measure
m48, Bassus: reading line in soft hexachord
m49, Altus: E on first beat follows B-flat in preceding measure, so must be flatted.
m49, Bassus: 6-5-1 cadence formula
m49, Superius: sst cadence on G
m50, Altus: descending line from B-flat; altering E to avoid tritone contour
m51, Altus: unicam notulam