Guillaume de Machaut is the most important poet and composer of the to the Kyrie and Gloria, rather than on the Ordinary texts themselves. Kyrie. ex. Guillaume de Machaut, La messe de Nostre Dame: Ite, missa est. The Kyrie is built around the same cantus firmus as the Kyrie from the Faenza. Machaut’s Mass was certainly a landmark in musical history, but this Mass is far In the Kyrie, most melismas near a minute in length, drawing the duration of.
|Genre:||Health and Food|
|Published (Last):||3 October 2018|
|PDF File Size:||4.40 Mb|
|ePub File Size:||1.64 Mb|
|Price:||Free* [*Free Regsitration Required]|
Guillaume de Machaut – Messe de Nostres Dame
There was nothing – a repeating motive, or a similarity in compositional style – that tied the individual parts together. Views Read Edit View history. Naxos Early Music-Alte Musik 8. Machaut utilised one of the 12 modes available in Ars Nova, which, to Western ears, sounds Medieval, yet at the same time, the progressions are similar to what more modern classical music would have utilised, and certainly seems a little more volatile, and less cliched.
Ars nova Intabulation Virelai. Perhaps because two or three generations ago it sounded so splendid, new — exotic, almost.
Kyrie : Music from the Earliest Notations to the Sixteenth Century
The modern setting of the Mass would be much more spaced, using an upper voice in addition, however the cause of this could be the patriarchal nature of Medieval society, thus removing a soprano part, and machauh low quality of boy singers, eliminating the treble part. The macuaut are refreshingly slow, kygie and allow exposition of the importance, weight and impact of every syllable; for the words are of the utmost importance. Guillaume de Machaut is the most important poet and composer of the 14th century, with a lasting history of influence.
The hunchbacked and elderly Machaut appears to have truly been in love, a love that was unrequited. The Musical Times, Vol. Records later show him travelling throughout Europe in the retinue of John of Luxembourg, king of Bohemia.
The musical evidence contains nothing to contradict the available historical evidence which suggests that the Machaut Mass is purely vocal. These pieces borrow from other styles, especially the motetthe nascent polyphonic secular song, and the conductusa genre otherwise fading from the scene. This gesture by Mschaut imposed on the Ordinary a previously unconsidered abstract artistic idea, and potentially influenced composers throughout the ages to continue setting the Ordinary to stylistically coherent music.
For the most part, these early Mass movements appear to have been written independently, and they survive in the manuscripts organized by text: I prefer all male ensembles, singing one voice to a part, mahaut this is not that kind of group. See Robertson, Anne Walters.
By refusing to overplay their hands, by judicious restraint, and by meticulous articulation of every note in undemonstrative yet highly expressive phrasing Diabolus in Musica seems to have captured not only the rigor and joy which Machaut employed in this task.
Sometimes, a scribe would copy together a pair of musically-related movements usually Gloria-Credo or Sanctus-Agnusor even a complete cycle. Top voice again is omitted.
Listening Chart Guillaume de Machaut: Such practice is historically nearby to this mass, but understood from what historic sources there are to be different in the essentials. In his later years, Machaut set about the task of compiling his life’s work for posterity. I was made aware of textless interludes Eg. Email required Address never made public.
There is ample evidence that instruments other than the organ were not used in sacred music during the 14th century. But these wise musicians are also at one with the iyrie and innovative impact which the mass must have made when first sung. The first scholars felt that it was written for the coronation of Charles V in In the liturgy of the Mass, the items of the Ordinary are not performed consecutively, but are separated from one another by prayers and chants. In his later years he began a relationship with a young woman named Peronne.
Where the Maxhaut is homogeneous in texture, without much need for articulation and with a consistent dynamic for all 8 of its minutes, besides some welcome off-beat rhythmic deviation in the first Kyrie, the Gloria, with a vastly greater number of words and a shorter running time, is given a lighter treatment, with the exception of the 2-page ‘Amen’ melisma at its end.
Here, this mass is candidly assessed without the knowledge-enriched air of a regular music essay, but spiced up with a thrilling element of ignorant music student pretention. Precisely analogous figures appear in these voices and in the other two voices elsewhere in both movements at kyriie where all editors have agreed on a fully vocal homophonic rendering; moreover the text underlay, which is reasonably precise in the manuscripts, does not stop at those sections.
On this CD we get a robust and highly convincing interpretation from the ever enterprising eight-person all male French group, Diabolus in Musica, under their director Antoine Guerber. It holds its own with all other available recordings. If these are not instrumental interludes why do you suppose they are textless?
Missa de Notre Dame (Machaut, Guillaume de)
Yet without drawing any teeth: See below two excerpts from David Fallows. Fallows addresses this point later in the same article: As is usual, Paul Hilliard presents the music in a one-voice-to-a-part setting, and flawless singing. You are commenting using your WordPress. Kyrie from the Messe de Notre Dame ? It is possible that Machaut was familiar with the Tournai Massan even earlier polyphonic 14th-century mass setting in which each movement is believed to have been written independently by different composers.
In the Kyrie, most melismas near a minute in length, drawing the duration of the movement out to 8 minutes, the longest in the mass, where the volume of words is actually less than any other movement.
By he returned to Rheims and took up a career as a canon at the cathedral. Although the textures which the ensemble consistently achieves are sonorous, they are neither fanciful, nor over-rich. Retrieved from ” https: Why Guillaume composed it has been subject of a heated debate in musicological machqut for some time. Yet as much as an object of beauty and wonder as mwchaut rather austere — No, restrained — service. They are often considered characteristically instrumental, but there is no compelling evidence for that.
It is from their correspondence that we begin to have record of the notion of reading music from a notated score – a novel idea in the fourteenth century.