gimell.com
medieval.org
CDGIM 044
2011
Josquin des Prés (c.1440-1521)
Missa De beata virgine
1. Kyrie [4:25]
2. Gloria [9:53]
3. Credo [9:09]
4. Sanctus & Benedictus [7:47]
5. Agnus Dei I, II & III [6:49]
6. Credo quarti toni [9:23]
Cambrai Credo
7. Plainchant Ave maris stella [0:36]
verse 1
Missa Ave maris stella
8. Kyrie [2:49]
9. Gloria [5:06]
10. Credo [7:06]
11. Sanctus & Benedictus [7:54]
12. Agnus Dei I, II & III [5:01]
The Tallis Scholars
Peter Phillips
Missa De beata virgine
Soprano: Janet Coxwell, Amy Haworth
Alto: Caroline Trevor, Patrick Craig
Tenor: Mark Dobell, George Pooley, Christopher Watson
Bass: Donald Greig, Robert Macdonald
with
Kim Porter & David Gould in the Sanctus
and Simon Wall in the Credo and Agnus Dei
Credo quarti toni
Alto: Caroline Trevor, Patrick Craig
Tenor: Mark Dobell, George Pooley, Christopher Watson
Baritone: Stephen Charlesworth, Donald Grieg
Bass: Robert Macdonald, Tim Scott Whiteley
Plainchant
Christopher Watson
Missa Ave maris stella
Soprano: Janet Coxwell, Amy Haworth
Alto: Caroline Trevor, Patrick Craig
Tenor: Mark Dobell, George Pooley, Christopher Watson
Bass: Donald Greig, Robert Macdonald
Produced by Steve C Smith and Peter Phillips for Gimell Records.
Recording Engineer: Philip Hobbs.
Recorded in the Chapel of Merton College in the University of Oxford.
The performing edition for each Mass was prepared by Willem Elders and
the edition of the Credo quarti toni was prepared by Barton Hudson.
They were recorded with the kind permission of Koninklijke Vereniging
voor Nederlandse Muziekgeschiedenis (www.kvnm.nl)
Christ and Madonna by Robert Campin (c.1375/80-1444) from the John G
Johnson Collection, Philadelphia Museum of Art, is reproduced with the
permission of akg-images, London
The copyright in this sound recording, the notes, translations and
visual designs, is owned by Gimell Records.
(P) 2011 Original sound recording made by Gimell Records.
© 2011 Gimell Records.
With this recording we come to two of
Josquin’s most intense canonic Masses, both based on plainchant
themes. They make an intriguing pair. In his own lifetime the Missa
De beata virgine was probably the most performed piece that
Josquin had ever written; yet ironically it now presents interpreters
with some unusual challenges. The Missa Ave maris stella, by
contrast, is compact and fluent, the use of the chant melody always
beautifully clear – potentially a useful setting for modern
choirs in a liturgical setting. Both Masses show Josquin experimenting
with textures, motifs, mathematical constructs, anything that took his
fancy, never predictable – and creating a nightmare for people
today who want to try to date anything that Josquin wrote after his
earliest works, since there seems to be little actual maturing of the
style; just more experimentation within it. And to show how diverse he
could be with the same material, we have included a Creed which may
represent his first thoughts in setting a melody which later he set
twice more (see John Milsom’s note below).
The Missa De beata virgine survives in no fewer than
sixty-nine sources, at the last count, making it by far the most widely
disseminated of his Masses. Admittedly some of these are very
incomplete transcriptions, but in five important choirbooks it stands
as the opening number. This popularity is fascinating, since to us the
music lacks obvious unity. Nowadays we want a multi-movement polyphonic
Mass-setting to be bound together in an audible way, like a symphony or
a concerto; and in many settings from the sixteenth century this is
managed by using a model, whose main features are quoted regularly
throughout. But in De beata virgine the only unity is
provided by the very old-fashioned technique of quoting chants
associated with a common theme: in this case feasts of the virgin.
Thematic and even tonal unity are therefore sacrificed to liturgical
propriety: the fact that from the Credo onwards the four-part texture
is expanded to five, by means of canon, suggests that the work was not
even conceived as a complete musical unity, since the four-voice Kyrie
and Gloria do not have this device.
Paraphrased plainsong is the main constructional principle, using
chants in differing modes (in movement order: modes I, VII, IV, VIII,
VI). Indeed these modes are so varied that it has been suggested
Josquin was deliberately creating a virtuoso exercise in modal
relationships – making this the (unusual) raison
d’être for the whole enterprise. Maybe, though it certainly
leads to unpopular things for modern choirs like uneven voice-ranges
(and the Creed has to be transposed up a fourth to make it work at
all). So what are the rewards? They are subtle, but can be as evident
to us as they clearly were to the first listeners.
The main delight is in the canons, on which the five-voice movements
(the Credo, Sanctus and Agnus) rely. All three movements have two
chant-based voices in pure canon at the fifth; and to intensify the
impact of this Josquin decided on occasion to write triple-time
melodies over and around the canons. This led to the most famous
passage of all: the section in the Creed which begins at ‘Qui cum
Patre’. For theorists as far removed in time from Josquin as the
middle of the eighteenth century this proved to be irresistible
material, and it was quoted endlessly. The two tenor parts indulge in
simple canonic declamation, while the altos and basses take up the
music of both. Over this the sopranos sing a slow triplet melody of
effortless beauty. One can only guess at why so many writers, from
periods when polyphony had long since been a dead art, were so
impressed by this, but elegance in complexity must surely have been one
reason.
If the Missa De beata virgine is one of Josquin’s last
works, Missa Ave maris stella must be earlier, having been
published by Petrucci in 1505. If one believes in the characteristics
often ascribed to the middle-period works of creative artists, this
setting illustrates many of them. Here is a Mass based throughout on a
famous chant melody, building to three canons in each Agnus Dei. The
writing everywhere is smooth and assured, giving the impression that
Josquin was relaxing with techniques he had tried out before, in a more
youthful way. (This brasher style is attractively on display in the
‘Cambrai’ Creed, track 6, included here as an extra item.)
His handling of the chant melody Ave maris stella (a Hymn,
the first verse of which is sung here as track 7) is a model of how to
use motifs derived from a cantus firmus structurally over a long span.
This is sometimes done in imitation, but the cross-references are so
protean (one could almost say symphonic) that one comes away realizing
there is little fat on these bones. My favourite piece of motivic
tautness is the Amen of the Gloria. It only lasts nine bars but a whole
world of perfection is there: the motif presented firstly as a duet,
then a trio, then a pell-mell working in all four voices.
So tight is the compositional argument that the Agnus Dei canons are
upon the listener before he realizes it. In this sense the whole
setting might well be called a Missa Brevis. Strangely, it is only in
the Sanctus that Josquin allowed himself to expand the style, with an
unusually long trio at ‘pleni’, duets in the Benedictus and
a big Hosanna. The Agnus then immediately carries one off into a
different space, the central motif, which is well established by now,
turning over and over on itself like the music of the spheres. This is
surely Josquin at his most inventive and his most inspired.
© 2011 Peter Phillips
Exactly what music did Josquin compose? The
question is tricky for all manner of reasons. First, it now seems
likely that in the decades around 1500 more than one musician called
‘Josquin’ was actively composing, and it is sometimes hard
to know whether or not a specific piece is correctly by
‘our’ Josquin – which is to say, the man known from
documentary sources as ‘Jossequin Lebloitte dit Desprez’.
Second, the demand for new works by Josquin evidently outstripped
supply, and counterfeits were almost certainly being created both
during his lifetime and long after his death. Some of these forgeries
are fine pieces in their own right, but excellence is no proof that
they were written by ‘Jossequin Lebloitte dit Desprez’.
Third, reputedly a whole host of younger composers studied with
Josquin, and exercises could have been written during their
apprenticeships that bear traces of the master’s guidance or
intervention. Small wonder if such works should then bear attributions
to ‘Josquin’. Fourth, according to Heinrich Glarean,
Josquin released his new compositions to the public only after keeping
them to himself for deliberation and refinement. By implication, some
works may never have been finished to his own satisfaction, and would
have been available to few people if indeed anyone at all.
Into which of those categories might the Credo quarti toni
fall? This piece survives by the skin of its teeth, in a single
manuscript in Cambrai copied around the time of Josquin’s death.
Some authorities have questioned Josquin’s authorship on the
grounds that the piece was so little circulated; but Josquin did have
links with Cambrai stretching back to his childhood, and the manuscript
firmly ascribes this work to ‘Jossequin des Prez’. Moreover
it has been copied in the company of two Masses securely by Josquin,
the Missa Gaudeamus, which features earlier in the manuscript, and the
Missa De beata virgine, which is placed directly before the Credo,
again attributed to ‘Jossequin des Prez’. On these grounds,
Josquin’s claim to the Credo quarti toni really ought
to be taken seriously. But what of its musical content?
Some experts reckon the piece to be stylistically uncharacteristic.
Matters change, however, when it is viewed from the perspective of how
it was made. Its composer has taken one of the most familiar of all
medieval melodies, the plainchant formula commonly used to sing the
words of the Creed, and has miraculously converted this tune into a
tight canon for tenor and baritone. Both voices sing the outline
contours of the chant, but they start on different notes – the
tenor a fifth higher than the baritone – and at slightly
different times. To accompany them, the composer has added two superb
outer voices, an alto and a bass, both of which move athletically
through exceptionally wide ranges, sometimes singing very low,
elsewhere very high. Although the four voices perform together for much
of the time, in places the canon falls silent, leaving the alto and
bass to cavort on their own. And elsewhere it is the outer voices that
take a rest, the texture reducing to its conceptual backbone of
chant-based canon.
This work does possess a context of sorts. Two other Josquin Masses,
the Missa Sine nomine and the Missa De beata virgine,
also have canonic Creeds based on this plainchant melody; so it would
seem that Josquin tackled the same challenge three times over, arriving
at three different solutions. Moreover the Creeds of the Missa
Sine nomine and the Missa De beata virgine sometimes sound
remarkably similar to the Credo quarti toni, raising the
possibility that the Cambrai setting was a prototype that the later
Masses later cannibalized. In the Cambrai manuscript the Credo
quarti toni is copied immediately after the Missa De beata
virgine. Might Josquin therefore have drafted it to be part of
that Mass, but quickly rejected it, composing instead the five-voice
setting that then became standard? The theory has its appeal; but as so
often with Josquin, we may never know the truth.
© 2011 John Milsom