188:. The Sanctus is unusual among Josquin's mass movements, for the five voices sing throughout without a break: normally Josquin breaks up the texture with passages in reduced scoring. Yet the texture is light, with the voices singing polyphonically only some of the time. In the closing Agnus, the chant is treated freely, and the texture is similar to that which Josquin used in his chansons. Both the Agnus and Sanctus cadence on C.
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139:'s 1514 book of Josquin's masses, his third such set; it has even been speculated that Petrucci himself may have put it together from an existing performance tradition. Most likely Josquin took the Gloria and Credo which he had already written, and then wrote a Kyrie to conform to the Gloria, and added a Sanctus and Agnus to go with the Credo, since the work's
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for
Saturday, a type that was popular around 1500. Since music for two of the movements – the Gloria and Credo – appeared independently in Vatican sources, circulating in 1503 or before, it has been presumed that the mass was assembled later from several parts, and most likely the five-voice portions
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The movements differ in their treatment of the source plainchant. The Kyrie has the chant in all voices, imitatively and paraphrased; the Gloria treats the chant as a cantus firmus, migrating it from voice to voice. Tonally, both movements end on G, and most of their cadences are on G or D. The
52:. Though formerly believed to have been a late composition due to stylistic reasons (Osthoff asserts 1513), evidence from Burchard’s Diary proves that the mass was written sometime before September 23, 1497. It was the most popular of his masses in the 16th century.
104:, one in which the original chants are elaborated, broken up, passed between voices, or sung in different voices simultaneously. The mass is one of only four that Josquin based on plainsong, and probably the second to last (the others are the
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The popularity of this mass in the 16th century may be due to its "sensuously appealing" surface texture, one which foreshadows the music of later composers such as
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the last. Distinguishing the last masses, and his late style period in general, was a general simplification and refinement: Josquin left behind the elaborate
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is unusual among
Josquin's masses in that the first two movements are for four voices, and the last three for five, with the fifth voice derived
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tune, and wrote music in which bringing out the meaning of the text, and having it understood, was more important than any virtuoso display.
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cadence on E, and uses canonic techniques more prominently than in the preceding movements. The overall sound is darker and reminiscent of
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coherence suggests that he conceived at least the first two movements, and then the last three movements together.
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122:; all of them involve, in some way, glorification of the Virgin Mary). All of the chants in the
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63:. Like most musical settings of the mass Ordinary, it is in five sections, or movements:
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artifice evident in the masses of the preceding period, such as the two he wrote on the
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211:: "Josquin des Prez", 12, Grove Music Online, ed. L. Macy (Accessed March 25, 2007),
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238:(Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986.
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were composed around 1510. The first appearance of the whole mass was in
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276:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
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Credo, the first movement for five voices, ends with a surprising
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was one of
Josquin's last three masses, with the others being the
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220:, "Masses on Plainsong Cantus Firmi", in Robert Sherr, ed.,
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272:(works), "Josquin Desprez," Howard Mayer Brown, "Mass", in
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are in praise of the Virgin Mary, and the whole is a
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162:. It was probably the earliest of the three, and
1056:A la Verge SantĂssima: Dues Lletretes a Una Veu
274:The New Grove Dictionary of Music and Musicians
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255:. New York, W.W. Norton & Co., 1954.
883:Maria, dich lieben ist allzeit mein Sinn
467:Missa L'homme armé super voces musicales
236:Music in the Middle Ages and Renaissance
17:
293:
7:
782:Hail Queen of Heaven, the Ocean Star
513:Inviolata, integra et casta es Maria
22:Manuscript copy from the papacy of
234:Harold Gleason and Warren Becker,
14:
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675:
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898:Nun, BrĂĽder, sind wir frohgemut
506:Ave Maria ... Virgo serena
224:Oxford University Press, 1999.
110:, a relatively early work, the
1086:Noi vogliam Dio, Vergine Maria
1:
888:Maria durch ein Dornwald ging
460:Missa L'homme armé sexti toni
858:Freu dich, du Himmelskönigin
853:Es kommt ein Schiff, geladen
827:Ye Watchers and Ye Holy Ones
453:Missa Hercules Dux Ferrariae
100:for each movement, and is a
40:is a musical setting of the
26:showing the opening Kyrie. (
878:Maria, breit den Mantel aus
777:Bring Flowers of the Rarest
218:Alejandro Enrique Planchart
1193:
1167:Masses by Josquin des Prez
1035:Vespro della Beata Vergine
1013:Quem terra, pontus, sidera
863:Gegrüßet seist du, Königin
848:Es ist ein Ros entsprungen
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843:Den Herren will ich loben
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407:
253:Music in the Renaissance
976:Missa de Beata Virgine
817:The Seven Joys of Mary
736:Alma Redemptoris Mater
432:Missa de Beata Virgine
222:The Josquin Companion.
148:Missa de Beata Virgine
124:Missa de Beata Virgine
113:Missa Ave maris stella
57:Missa de Beata Virgine
37:Missa de Beata Virgine
31:
1129:Catholic Marian music
1023:Stabat Mater speciosa
868:Glauben können wie du
812:The Holly and the Ivy
647:Franco-Flemish School
591:August Wilhelm Ambros
474:Missa La sol fa re mi
354:Planchart, p. 129-130
213:(subscription access)
21:
1071:Deus ti salvet Maria
410:List of compositions
345:Planchart, p.124-125
42:Ordinary of the Mass
1116:VaggsĂĄng till Jesus
1040:Virgo Prudentissima
914:Angelus ad virginem
822:What Child Is This?
802:Mary, Did You Know?
741:Ave Regina caelorum
657:Gaspar van Weerbeke
626:Bonnie J. Blackburn
1101:Queen of the Waves
1091:O Maria, Deu maire
1049:in other languages
991:O magnum mysterium
981:Missa Pange lingua
873:Lasst uns erfreuen
787:I syng of a mayden
767:A Virgin Unspotted
481:Missa Pange lingua
164:Missa Pange lingua
159:Missa Pange lingua
137:Ottaviano Petrucci
119:Missa Pange lingua
93:It uses different
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1172:Renaissance music
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1076:Gabriel's Message
986:Missa sine nomine
893:Mariae Wiegenlied
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685:
652:Johannes Ockeghem
631:Klaus Pietschmann
488:Missa sine nomine
363:Planchart, p. 130
336:Planchart, p. 121
324:Planchart, p. 120
193:CristĂłbal Morales
186:Johannes Ockeghem
153:Missa Sine nomine
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956:Ave maris stella
807:O Mary of Graces
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581:Gioseffo Zarlino
576:Heinrich Glarean
559:Nymphes des bois
538:Adieu mes amours
401:Josquin des Prez
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268:(biography) and
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107:Missa Gaudeamus
102:paraphrase mass
28:Vatican Library
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1003:O sanctissima
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552:Mille regretz
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266:Gustave Reese
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261:0-393-09530-4
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249:Gustave Reese
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244:0-89917-034-X
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1177:Marian hymns
1144:
1106:RĂu RĂu ChĂu
1018:Stabat Mater
975:
961:Evviva Maria
751:Salve Regina
746:Regina caeli
720:Marian hymns
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303:Noble, Grove
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270:Jeremy Noble
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209:Jeremy Noble
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173:L'homme armé
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168:contrapuntal
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1066:Bogurodzica
1061:Axion Estin
924:Bach/Gounod
132:Votive Mass
61:canonically
46:Renaissance
1161:Categories
1134:Theotokion
966:Magnificat
760:in English
203:References
116:, and the
24:Pope Leo X
1008:O sodales
996:Lauridsen
919:Ave Maria
836:in German
728:Antiphons
545:El Grillo
128:Lady Mass
95:plainsong
88:Agnus Dei
48:composer
1145:Category
1081:MĹŤ Maria
939:Schubert
934:Bruckner
907:in Latin
680:Category
569:Scholars
520:Miserere
182:Phrygian
156:and the
640:Related
83:Sanctus
949:Vierne
498:Motets
417:Masses
280:
259:
242:
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130:, the
98:chants
73:Gloria
1028:Verdi
944:Verdi
929:Biebl
288:Notes
141:modal
78:Credo
68:Kyrie
44:, by
278:ISBN
257:ISBN
240:ISBN
226:ISBN
195:and
146:The
55:The
34:The
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