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Masses from the Renaissance: Look and Listen |
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Pierre de la Rue |
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On this page: 2 credos, 8 masses (2 versions of 1) Missa Alleluya Source: MechAS s.s., ff. 95v-110r (For additional sources see: CMME) Voices: 5- discantus/contratenor/tenor [primus]/tenor [secundus]/bassus Kyrie (Kyrie [I], Christe, Kyrie [II]) Gloria in excelsis (Et in terra, Qui tollis) Credo in unum deum (Patrem, Et resurrexit) Sanctus (Sanctus, Pleni sunt- discantus/contratenor/bassus trio, Osanna [I]=[II], Benedictus- contratenor/tenor [secundus]/bassus trio) Agnus dei (Agnis [I], Agnus [III]) Missa Ave maria Source: MechAS s.s., ff. 49v-62r (For additional sources see: CMME) Voices: 4- discantus/contratenor/tenor/bassus Kyrie (Kyrie [I], Christe, Kyrie [II]) Gloria in excelsis deo (Et in terra, Qui tollis) Credo in unum deum- 5 voices: discantus/contratenor/tenor [primus]/tenor [secundus]/bassus (Patrem, Crucifixus) Sanctus (Sanctus, Pleni sunt- discantus/contratenor/bassus trio, Osanna [I]=[II], Benedictus- discantus/contratenor/bassus trio) Agnus Dei (Agnus [I], Agnus [III]) Missa Conceptio tua Source: MechAS s.s., ff. 34v-48r (For additional sources see: CMME) Voices: 5- discantus/contratenor/tenor [primus]/tenor [secundus]/bassus Kyrie (Kyrie [I],Christe, Kyrie [II]) Gloria in excelsis deo (Et in terra, Qui tollis) Credo in unum deum (Patrem, Et resurrexit) Sanctus (Sanctus, Pleni sunt- discantus/contratenor/bassus trio, Osanna [I]=[II], Benedictus- discantus/contratenor duo, In nomine- tenor [secundus]/bassus trio) Agnus dei (Agnus [I], Agnus [III]) Missa de beata virgine. sex vocum. = Missa Ave sanctissima maria Source: JenaU 4, ff. 8v-14r (For additional sources see: CMME) Voices: 6- altus, contratenor, bassus transmitted: remaining three voices derived in canon. Kyrie (Kyrie [I], Christe, Kyrie [II] Gloria in excelsis deo (Et in terra, Qui tollis- bassus duo, Qui sedes) Credo in unum deum (Patrem, Crucifixus- altus duo, Et resurrexit- bassus duo, Et iterum) Sanctus (Sanctus, Pleni sunt- bassus duo, Osanna [I]=[II], Benedictus- altus/bassus quartet) Agnus dei (Agnus [I], Agnus [III]) Missa De Feria Source: MechAS s.s., ff. 81v-94r (For additional sources see: CMME) Voices: 5- discantus/contratenor/ tenor [primus]/tenor [secundus]/bassus: transmitted as 4 voices with tenor [primus] realised at the 5th above from tenor [secundus] in the Kyrie [I], Kyrie [II], Et in terra, Qui tollis, Patrem, Et incarnatus est and Agnus [III]; tenor [secundus] from tenor [primus] at the 5th below in the Christe, Crucifixus and Agnus [I]; tenor [primus] from tenor [secundus] at the 4th above in the Sanctus; tenor [secundus] from tenor [primus] at the 4th below in the Osanna [I]=[II]. Kyrie (Kyrie [I], Christe, Kyrie [II]) Gloria in excelsis deo (Et in terra, Qui tollis) Credo in unum deum (Patrem, Et incarnatus est, Crucifixus) Sanctus (Sanctus, Plen sunt- contratenor/bassus duo, Osanna [I]=[II], Benedictus- discantus/contratenor/bassus trio) Agnus dei (Agnus [I], Agnus [III]) Missa de sancta cruce Source: MechAS s.s., ff. 63v-80v (For additional sources see: CMME) Voices: 5- discantus/contratenor/tenor primus/tenor secundus/bassus Kyrie (Kyrie [I], Christe, Kyrie [II]) Gloria in excelsis deo (Et in terra, Qui tollis) Credo in unum deum (Patrem, Er resurrexit) Sanctus (Sanctus, Pleni sunt- discantus/contratenor/bassus trio, Osanna [I]=[II], Benedictus- discantus/contratenor/tenor [secundus]/bassus quartet) Agnus (Agnus [I], Agnus [III]) Missa Incessament Source: JenaU 4, ff. 90v-101r (For additional sources see: CMME) Voices: 5- discantus/contratenor/tenor [primus]/tenor [secundus]/bassus: transmitted as 4 voices with tenor [primus] realised from bassus canon throughout Kyrie (Kyrie [I], Christe, Kyrie [II]) Gloria in excelsis deo (Et in terra, Qui tollis) Credo in unum deum (Patrem, Et incarnatus est, Et resurrexit) Sanctus (Sanctus, Pleni sunt- discantus/contratenor duo, Osanna [I]=[II], Benedictus- discantus/contratenor duo) Agnus Dei (Agnus [I], Agnus [III]) Source: JenaU 8 ff. 6v-25r (For additional sources see: CMME) NOTE: There are few music variants between this and the JenaU 4 transmission. Noteable, however, is the pitch variant (discantus, Agnus [III], m. 111,1) and the minor coloration "correction" (contratenor, Agnus [III], mm. 121-122). These two transmissions, from the same scriptorium - the Alamire workshop and chronologically very close- ca. 1512- ca. 1518, offer some interesting differences in underlay from time to time. I have slightly increased tempi to enhance the polyphonic flow. Voices: as above Kyrie (as above) Gloria in excelsis deo (as above) Credo in unum deum (as above) Sanctus (as above) Agnus dei (as above) Missa Pascale Source: MechAS s.s., ff. 16v-33r (For additional sources see: CMME) Voices: 5- discantus/contratenor/tenor [primus]/tenor [secundus]/bassus-baricanor Kyrie (Kyrie [I], Christe, Kyrie [II] Gloria in excelsis deo (Et in terra, Qui tollis) Credo in unum deum (Patrem, Et resurrexit) Sanctus (Sanctus, Pleni sunt- discantus/contratenor/baricanor trio, Osanna [I]=[II], Benedictus- tenor/baricanor duo, In nomine- discantus/contratenor duo) Agnus Dei (Agnus [I], Agnus [III]) Patrem L'amour du moy Source: JenaU 8, ff. 1v-4r (For additional sources see: CMME) Voices: 4 - discantus/contratenor/tenor/ bassus Credo in unum deum (Patrem, Et incarnatus est) Patrem sex vocum Source: VatS 36, ff. 90v-96r (For additional sources see: CMME) Voices: 6 - discantus/triplum/contratenor/tenor/tenor/ bassus Credo in unum deum (Patrem, Et incarnatus est, Crucifixus)
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