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I.
Introduction
According to Garretson, the style of the mass cycle was not firmly
established until the fifteenth century. Consequently, Medieval composers of
the fourteenth century, like composer and poet Guillaume de Machaut (c.
130077), used eclectic techniques to set sacred texts, even the fixed
secular songs forms of the ballade, virilai and rondeau. Machauts Messe de
Nostre Dame, probably composed in the 1360s for Saturday celebrations of
the Lady Mass at Reims Cathedral, reflects that eclecticism. The Gloria and
Credo contain original melodic material set according to non-isorhythmic
techniques, including conductus or declamatory style, where the four voices
move together in a homophonic texture and the text is set syllabically. The
Kyrie, Sanctus, and Agnus Dei are isometric and based on the Gregorian
chant Kyrie cunctipotens genitor. In those three movements, the two upper
voices (triplum and motetus) move freely and floridly, while the two lower
voices (tenor and contratenor) move in sustained isorhythm.
In spite of the varied isorhythmic and conductus styles in the Messe de
Nostre Dame, Garretson points to Machauts use of rhythm as a unifying
feature. Melody and harmony are also used in recurring ways. Machaut uses
melodic cross relations when approaching cadences throughout the mass,
and all four voices stop at those cadential points. Machauts harmony shifts
regularly from pure fourths and fifths to more dissonant, dense textures of
seconds and sevenths.
Interestingly, the survival of the Messe de Nostre Dame is not coincidence.
Machaut meticulously collected and copied his compositions and poetry into
illustrated manuscripts for wealthy patrons. In fact, many of those
manuscripts have survived in near original condition. However, Schrock
doubts that later composers were influenced by the mass, or even knew of
its existence. Rather, it seems that the Renaissance approach to the mass
cycle developed independently of Machauts example.
Edition:
ISMLP
III.
means with or even doubling the vocal parts. The serpent, of the bassoon
family, could be used to accompany the bass voices in a mass. Organ
accompaniment also was commonly used to support the acapella texture of
sacred music. In St. Marks Basilica, for example, an organ was available in
each of the four corners to support multiple performance locations.
A.
Source: Hall
In order to preserve the unmetered feeling of imitative Renaissance
polyphony (save for naturally occurring stress from text emphasis), some
editions avoid bar lines. The fear is that modern bar lines -- which,
incidentally, were not invented until the end of the Renaissance period -might subconsciously encourage singers to place unnatural stress on every
metered downbeat, to think chordally (vertically) instead of melodically
(horizontally), or to look for cadences at phrase endings.
Indeed, imposing a harmonic conception upon the Missa Pange Lingua would
be inappropriate. In Renaissance choral music, cadences were often
obscured by overlapping phrases and staggered points of imitation. In
addition, cadences did not necessarily have a harmonic relationship to each
other. In this case, the mode of the Pange Lingua chant is E Phrygian, but the
polyphonic lines work together in Josquins setting to create a modality that
is most easily perceived as C Ionian. However, its hard for the modern
performer to read a score without any bar lines. A notational compromise
that many choral conductors favor places bar lines only between the staves,
allowing modern performers to see how the music vertically lines up without
interrupting the text within each of their lines.
Source: Hall
B.
Toward the end of the sixteenth century, Shrock asserts that a vertical
element appeared in the polyphony of such late Renaissance composers as
Giovanni Pierluigi da Palestrina (1525-1594). Palestrinas polyphony still
utilized points of imitation between individual lines. That horizontal element
emphasized the rhythmic and melodic behavior of each individual line.
However, Palestrina also paid attention to the resulting vertical sonorities in
the texture, as well as the clarity of the text.
Notably, the church may have exerted an influence in the movement toward
less dense, or vertically organized textures. The Council of Trent (1545-1563)
wanted to reform Catholic liturgies by promoting greater clarity of text in
sacred musical performance. The councils mandate was most likely a
response to the simple textures found in the chorales, Psalm settings, and
anthems that composed for the Protestant Reformation that had begun after
Martin Luther posted his Ninety-five Theses on the church door at Wittenberg
in 1517.
Edition:
Magagnan
IV.
According to Shrock, the Baroque era began in Italy in the 1580s with a
group of noblemen who wanted to emulate the attributes of Greek monody,
at least as they imagined it. The group, called the Florentine Camerata,
adopted vertical and homophonic textures in their effort to write vocal music
that was uncluttered texturally. Keyboard instruments, used to accompany
the solo vocal works, acquired an independent status. In new genres like the
cantata or opera, as well as in older genres like the motet and madrigal, a
common texture of the Early Baroque was solo voices and basso continuo
accompaniment, or melody and accompaniment. Renaissance composers
had conceived of music as melodically linear and imitative. However, Shrock
believes that the early Baroque texture of monody encouraged vertically
conceived harmonies and independent instrumental writing.
There were forces shaping the new aesthetic outside of Italy, as well. The
new music of the Protestant Reformation during the latter half of the
sixteenth century encouraged simplicity and accessibility, such as Martin
Luthers homophonic hymns. Leaders of the Roman Catholic Church followed
the trend, criticizing the complexities of Renaissance polyphony following the
Early Baroque
Shrock notes that the older style of the Renaissance era did not abruptly end
after 1600. The musical education of composers during the early
seventeenth century continued to be based on the principles of Renaissance
polyphony. Since the liturgies of the Catholic Church remained unchanged,
there was also a demand for the older style. Transitional composers like
Claudio Monteverdi (1567-1643) wrote in both Renaissance and Early
Baroque styles. Baroque Monteverdis operas and madrigals illustrate his
prowess in the new style of the Early Baroque, whereas his masses are
characterized by the linear imitative vocal polyphony of the Renaissance
style.
Monteverdis letters survive, and he is credited for being one of the first to
use the term seconda prattica, or second practice, to describe the early
Baroque emphasis of text over other musical elements, such as melody,
rhythm and texture. According to Oxford Music Online, the term prima
prattica originally referred to the stricter style of Palestrina and his Roman
contemporaries, where polyphony was more important than text. The
seconda prattica described the freer, more rhetorically expressive concertato
style of the north Italian composers. Other names, such as stile concertato
(contrasted style) and stile rappresentativo (representative style) were used
to denote specific characteristics of the new music. In Monteverdis
description, the seconda prattica style was characterized by vertical
sonorities, solo vocal melodies, and basso continuo accompaniment.
However, subsequent usage of the term has expanded beyond its original
context. Oxford Music Online observes that the term seconda prattica has
also been used to describe nearly every musical innovation of the early
Baroque, including monody, rhythmic regularity in Baroque arias, basso
continuo textures, as well as the new harmonic, vertical organization of
textures.
As the music director at St. Marks Cathedral in Venice for the last 30 years
of his life, Monteverdi was certainly called upon to compose sacred music. In
fact, the observance of daily mass at St. Marks created a specific demand
for musical settings of the Ordinary. Although Monteverdis correspondence
indicates he set several mass settings, only three survive. That number is in
sharp contrast to the 104 masses produced by his predecessor Palestrina
(152594). Shrock considers Monteverdis Missa da capella in G minor to be
the finest of the surviving mass settings. It was composed around 1650 and
is set for four voices and basso continuo. The music switches freely and
easily between contrapuntal and homorhythmic sections and also includes
quite a bit of melismatic writing.
Edition:
Jakobey
Interestingly, none of the surviving three masses illustrate the grand
Venetian innovation of cori spezzati, or divided chorus, as one might well
expect at St. Marks. The expectation dates back to Andrea Gabrieli (1510-85
.), who experimented with the spatial possibilities of St. Marks by placing
different groups of performers around the church for an antiphonal effect.
Music came to the audience from multiple directions, including organ
galleries, balconies, and platforms around the altar. According to Shrock, the
reverberant acoustic of St. Marks was perfectly suited to antiphony, and
chordal rather than polyphonic music. Although Monteverdi had
approximately 25 singers at his disposal, with an equivalent number of
instrumentalists available for festival days, his masses are not antiphonal.
Shrock suggests that antiphony may have been regarded as old fashioned by
the time of Monteverdis arrival at St. Marks.
B.
Late Baroque
harpsichord, organ, theorbo, or lute realized harmonies from the bass part. In
the prima prattica, the notated part generally followed the vocal bass part. In
the seconda prattica, the notated part outlined fundamental harmonies.
Multiple melodic and chord-producing instruments could also be
interchanged, especially in the performance of multi-movement works like
oratorios. For example, the bassoon and harpsichord might have been used
in one movement, the violone and lute for another movement, and all
instruments combined for the most dramatic movements. A basso continuo
ensemble could even include both a harpsichord and an organ, used in
various combinations. According to Shrock, genre, availability of instruments,
texture of scoring, and character of drama determined instrumentation.
According to Butt, Baroque tempo was not absolute. Rather, a certain degree
of flexibility was permitted to express the text and emotional affect, as well
as suit the acoustical demands of the space. The floridness of the
contrapuntal line might also impose practical tempo limitations for vocalists.
According to Garretson, Italian markings like allegro, andante or adagio
indicated mood rather than exact tempi.
Dynamics were used in the Baroque to bring out thematic material, such as
fugal subjects, and to depict emotional affects. According to Garretson,
terraced dynamics happened naturally in Baroque music from the contrast
between solo and tutti sections, or single and double choruses, or the hand
stops on keyboard instruments. Yet according to McCoy, Baroque music is not
limited to terraced dynamics. Rather, the textual meaning and direction of
each melodic phrase could result in subtle dynamic contrasts. In addition, a
conductor might choose to use dynamics to highlight a fugal entrance or
other thematic material.
The Mass in B Minor by Johann Sebastian Bach is a masterpiece of Late
Baroque choral writing, as well as earlier prima prattica styles. For example,
seven movements of the work are in the imitative motet style of the
Renaissance, including the use of chant fragments handled in augmentation
as a cantus firmus in the Confiteor portion of the Credo. Seconda prattica
styles include ritornello arias, concertato expositions, and fugues.
The work known as the Mass in B Minor consists of all the Ordinary portions
of the Catholic mass. However, those portions were composed over a long
period of time, and only assembled as a complete work toward the end of
Bachs life. According to Butt, Bach completed the Kyrie and Gloria
sections of the in 1733 and dedicated them to August II, Elector of Saxony,
perhaps hoping to secure a court musician position at the Dresden court
(which was Catholic). The Sanctus had been composed earlier and performed
on Christmas Day in 1724. The remainder of the mass (Credo, Osanna,
Benedictus, Agnus Dei, and Dona nobis pacem) was composed between
1747 and 1749.
Bach was the cantor at the St. Thomas Church in Leipzig from1723 until his
death in 1750. As part of his official duties, Bach composed music for the
Lutheran services. Yet according to Steinitz, the Kyrie and Gloria were the
only parts of the Catholic Mass that Lutheran churches continued to sing to
music in eighteenth century Leipzig services. In addition, the length of the
Mass in B Minor made it impractical as functional service music; the Kyrie
and Gloria movements alone are about an hour. According to Shrock, no
performances of the complete work were given or planned during Bachs life,
and Bach did not rework or adapt the separate portions of the mass into a
new unified composition, like he had done with many other works. Even the
vocal scoring is disparate: SSATB chorus in the Kyrie and Gloria; SATB chorus
for most of the Credo and Osanna; and SSATTB in the Sanctus.
Why, then, did Bach complete the remaining mass movements in the final
years of his life? Prout believes that Bach composed the remaining
movements of his Mass in B Minor with his musical legacy in mind. Shrock
further suggests that Bach wanted to demonstrate his skill at writing in
diverse styles in a complete work, including the prima and seconda prattica
styles.
The opening of the Kyrie demonstrates why Garretson characterizes much of
Bachs writing as an instrumental approach to vocalism. After a vocal Adagio
section of four bars, the orchestra in measure five introduces a fugal theme
(see excerpt). Each of the five voice parts (two soprano lines, alto, tenor and
bass) also enters on that fugal subject through points of strict polyphonic
imitation, starting with the tenors in measure thirty. Garretsons
characterization of Bachs choral fugal writing as instrumental in quality is
thus given literal application in this Kyrie movement.
Edition:
Peters
Few phrasing and articulation marks are found in the Mass in B Minor.
According to Garretson, Baroque choral phrasing and articulation must be
informed by the text, the associated emotion or affect, the tempo, the
underlying harmonic structure, notes in immediate relation to each other, as
well as the acoustic demands of the performance space. Wolff points to C.P.E.
Bachs own writing about the unmarked, but understood, approach to
Baroque articulation:
In general the briskness of allegros is expressed by detached
notes and the tenderness of adagio by broad, slurred notes. The
performer must keep in mind that these characteristic features of
allegros and adagios are to be given consideration even when a
composition is not marked, as well as when the performer has
not gained an adequate understanding of the affect of a work.
In the Mass in B Minor, the opening Kyrie is marked Largo. However,
although articulation may be less detached in slower tempos, Wolff cautions
that it would be inappropriate for the vocal parts to sing the entire fugal
subject with a legato phrasing. It would also be equally inappropriate to
mechanically detach each note. In practice, the fugal phrase is often
articulated by phrasing the melismatic le of eleison in paired eighth
notes, starting with the upper neighbor tone. Yet a sense of the entire
melodic shape, or cantabile, must also be maintained in each phrase. Since
the fugal subject is also fairly long, questions about appropriate breath points
might arise. If the text or music does not permit a pause, such as during a
long melismatic phrase, Wolff advises taking a breath by shortening dotted
notes or before syncopated notes, if doing so wont disrupt the rhythm.
mass (K427) and the famous Requiem (K626) were composed after he had
settled in Vienna as a freelance musician, composer and teacher. As with
Mozarts other works, the catalogue numbers originally assigned by Ludwig
von Kchel in his W.A. Mozarts Werke are used to refer to the masses.
With the exception of the unfinished Missa K427 (Great Mass in C minor),
which is in cantata style, Mozarts masses nearly divide evenly into missa
brevis or solemnis categorizations. The orchestral scoring is modest in the
brevis masses and more full in the solemnis settings. Interestingly, however,
none of the Salzburg masses is scored for violas, perhaps reflecting Mozarts
opinion of the staffing limitations or players at the Salzburg court. In
addition, all eleven of the masses composed for the Salzburg court are under
forty-five minutes in duration, per the request of Archbishop Colloredo.
Despite their brevity, Mozart did not rely on overlapped or telescoped texts
in these masses, as Haydn had done in his missae brevis. Most also divided
into six movements (Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus
Dei), with tempo markings to expressively set portions of the text.
Mozart observed several customs of the Classical era in his Salzburg mass
settings. For example, the Gloria and Credo consist of three connected
sections and end with fugues. The Dona nobis pacem portion of the Agnus
Dei reprises music from the Kyrie. Most movements do not have arias or
extended solo passages, although a quartet of soloists is sometimes used to
exchange material with the chorus. In addition, the movements are often
based upon symphonic forms, most frequently sonata and rondo. Mozart also
used three trombones to frequently play colla parte, or double, with the alto,
tenor, and bass choral parts. This excerpt from the Missa Brevis in D (K 194)
is a representative example.
the brevis type. It has reduced scoring, set only for strings and organ, and
the Gloria and Credo movements are in one section and tempo.
A unique feature in the solemnis masses, perhaps foreshadowing the textual
liberties that would be taken by later Romantic composers, is Schuberts
nonliturgical opening to the Gloria and Credo movements. The opening text
phrases Gloria in excelsis Deo and Credo in unum Deum are set
musically rather than given to the liturgist to intone. In addition, all of the
masses contain textual deletions. According to Shrock, Schuberts surviving
letters and accounts indicate that he had a negative view of the Catholic
Church. Thus, it is possible that Schubert editorially deleted certain texts
from that mass that he apparently did not believe in or support.
At least two of the masses were composed in the Liechtental church, where
Schubert sang in his youth. The first mass was premiered in October 1814.
As with Schuberts other works, the masses are catalogued by D numbers,
assigned by the historian Otto Erich Deutsch and indicated in F. Schubert:
Neue Ausgabe smtlicher Werke.
According to Shrock, the Romantic era began in the 1820s when composers
began to push the boundaries of Classical forms and conventions such as
length, scoring and performance practice. Instead of restraint, the new
classical aesthetic valued grandiosity, freedom, and expressive individuality
over textual selection and treatment.
The era began by expanding upon traditional forms, like sonata, fugue, ABA
forms and even mass settings. For example, Schubert had already made
textual deletions in his masses. Ludwig van Beethoven (1770-1827) also
late masses and contains the customary six movements (Kyrie, Gloria, Credo,
Sanctus, Benedictus, and Agnus Dei), many of which are based on classical
era symphonic forms. The scoring is for a standard orchestra and a quartet of
soloists in dialogue with an SATB chorus. Several additional conventions of
the symphonic mass are also observed: the Gloria and Credo movements
end with fugues; the solo writing in the Benedictus is mostly for quartet; the
music of the Kyrie returns at the end of the Agnus Dei; and the orchestra
weaves brief sections of independent orchestral passages into the texture.
In 1809, Beethoven acquired an annuity for life funded by Archduke Rudolf,
Princess Lobkowitz, and Prince Kinsky. When Rudolf was made a cardinal and
also Archbishop of Olmtz in Moravia in 1819, Beethoven began composing
his Missa solemnis, op. 123, as a dedication. Completed in 1822, the mass is
epic in length. Nearly every phrase of text is emphasized in each movement,
often with numerous repetitions and dramatic expressive markings. Every
movement is far longer than its Classical era counterpart and divided into
multiple sections, some with subsections, including an orchestral prelude
separating the Sanctus and Benedictus. The instrumental writing is equally
dramatic. Shrock characterizes the violin solo in the Benedictus as
approaching concerto proportions in both technical virtuosity and length. The
third section in the Agnus Dei features trumpets and timpani set to militarylike motifs and solo recitatives. According to Shrock, Beethoven considered
the mass his greatest work, perhaps evidenced by Beethovens inscription on
the mass, Von Herzen Mge es wieder zu Herzen gehn (From the heart
May it again go to the heart).
Edition:
Gibson
VII.
According to Shrock, the Modern era is unlike all previous historical musical
eras in that it does not have a unifying stylistic characteristic. It began with a
search for something new. The expanded forms, scoring and highly
chromatic harmonies of the Romantic era had been stretched to the limit, if
not exhausted. In the desire for a new form of communication, and perhaps
in reaction to the dominance of Austrian-German composers during the
Romantic era, countries offered their own alternatives to functional harmony.
Nationalism, then, is partly the reason for the divergent response to
Romanticism. In France, composers like Claude Debussy (1862-1918) and
Maurice Ravel (1875-1937) began using chords just for their color. Their
approach became known as Impressionism, which Shrock characterizes as
juxtaposing higher tertian harmonies in nontraditional ways to produce
effects of color, moving chords in parallel motion, and varying short motifs to
express the specific content of textual phrases. In Germany, Arnold
Schoenberg (1874-1951) broke with tonality by using all twelve tones of the
chromatic scale equally in serialism. In fact, the twentieth century is
abundant with various -isms, as composers sought for new ways of
expression (minimalism, pandiatonicism, primitivism, neo-Classicism,
tintinnabulism, aleatoricism, etc.).
Composers in many countries also incorporated folk idioms into their music,
including music from non-Western cultures. Shrock observes that Asian
elements became particularly evident in music of the early modern French
composers, and American jazz styles were incorporated into the textures of
twentieth-century German works. Many mass settings have also used folk
material. The Misa Criolla by Ariel Ramirez is a 1964 setting based on the
music of native Argentinian folk dances. The scoring is for T solo, SATB
chorus, percussion (including native Andean instruments), and keyboard. The
Missa brevis by Zoltan Kodaly (18821967), composed in 1948, uses modal
harmonies and imitative textures to invoke Hungarian music of past
centuries.
Finally, as in previous eras, twentieth century composers also contributed to
mass traditions by writing in older styles. Notable examples include neoMedieval masses by Igor Stravinsky (1882-1971) and neo-Renaissance a
cappella masses by Ralph Vaughan Williams (1872-1958), Francis Poulenc
(1899-1963), Vincent Persichetti (1915-1987) and Paul Hindemith (18951963).
Works Cited
Aamot, Kirk. "A Renaissance Revival: Restoring Ornamentation in
Contemporary Choral Performance." The Choral Journal 41.1 (2000): 217.
Alwes, Chester. Palestrinas Style: The Art of Balance. The Choral Journal
35.1 (1994): 13-32.
Bach, Johann Sebastian. Hohe Messe in H-Moll. New York, Frankfurt: C. F.
Peters (1940).
Butt, John. "Bach's Mass in B Minor: Considerations of its Early Performance
and use." The Journal of Musicology 9.1 (1991): 109-23.