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.

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Compare Stravinsky’s Mass of Guillaume de Machaut is not only known as perhaps the finest composer of the fourteenth century, but also as one of the finest French poets of the time. Guillaume de Machaut c. Recorded inthe group was at the peak of their power as a small vocal ensemble, and this is still one of the better versions available.

Machaut’s Messe de Nostre Dame : an overview

Top voice again is omitted. The way each part is kydie to complement each other through harmonic elements is well advanced anything else of the time, or even until the 16th century. From Wikipedia, the free encyclopedia. Why Guillaume composed it has been subject of a heated debate in musicological circles for some time. It is possible that Machaut was familiar with the Kyriee Massan even earlier polyphonic 14th-century mass setting in which each movement is believed to have been written independently by different composers.

Where the Kyrie 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.

There are currently fewer than a dozen recordings in the catalog; these do not include the one by Noah Greenberg and the New York Pro Musica, an iconic recording central to the early music revival. Three soloists sings same music with ornamentation.

Analysis Machaut’s Mass was certainly a landmark in musical history, but this Mass is far from being avant-garde merely for the sake of uniquity, it is considered to be one of the most advanced examples of choral polyphony in the history of music. This gesture by Machaut 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.

This, again, neutralises the timbre, where articulation as required by singing words may interfere somewhat with the harmonic palette. This is very informative. I prefer all male ensembles, singing one voice to a part, and this is not that kind of group.


However, at least within the movements, different volumes of text needed to be sung gives way for more variation in expression, to accomodate for a sparsity of syllables to sing, or a large amount of syllables to sing. The foundational music of Christian worship in medieval Europe was Gregorian chantwhich was monophonica single melodic line without accompaniment. Machaut’s Messe de Nostre Dame is for four voices rather than the more common three.

Messe de Nostre Dame (Guillaume de Machaut) – ChoralWiki

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. This form of Mass setting, of polyphony versus unison or organum had come to rise only in 14th century, though its development has its roots in gregorian chant and organum. There are no markings for dynamics in the score, and one could either chose to perform the piece ykrie dynamic variation, or to edit in their own dynamic contours.

This is a remarkably unified, and hence profoundly satisfying, account. By the mids this changed with the composition of Guillaume de Machaut’s Mass of Our Lady, the earliest known polyphonic setting of the Mass by a single composer. Messe de Nostre Dame”.

Missa de Notre Dame (Machaut, Guillaume de)

Tempos are slow in an attempt to convey spitiuality, I suppose. You are commenting using your Facebook account. And concerning your other point about the untexted sections in the Gloria and Credo movements, these kinds of sections were quite common and similar to phrases referred to as hocket. Since even before Machaut’s time, Mass settings would be always performed solely by mcahaut, and only until the development of the pipe organ did the concept of instrumental accompaniment to the consistent vocal timbre.

Timbre does not change throughout the Mass, as vocal settings do not involve a change in instruments, and tone of voice is not altered throughout, as this was not conventional, as the voice was the kurie effective instrument for the cathedral acoustics at the time.

PITCH This is perhaps is the element of music that is given the greatest emphasis in the construction of the mass, and it where most ground is broke in this piece. Although the textures which the ensemble consistently achieves are sonorous, they are neither fanciful, nor over-rich.

Three soloists sing new music polyphonically with ornamentation. Nor yet kyroe impose wayward, unnecessary color. But when listening to this mass, if it weren’t for the juicy harmonies, it is easy to see how it may be boring, as there is little variation in dynamics during the entire duration of the mass. The Gloria and Credo are repeatedly interrupted by little figures confined to the two lower voices when the upper voices rest ex.


The other four movements of Machaut’s mass are composed in motet style with mass text. He had a small home attached to the cathedral and from there devoted himself to writing music and poetry.

Perhaps because two or three generations ago it sounded so splendid, new — exotic, almost. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Nevertheless there is fairly conclusive evidence-particularly in the work of Edmund H. Regarding the use of instruments: On this CD we get a robust and highly convincing interpretation mavhaut the ever enterprising eight-person all male French group, Diabolus in Musica, under their director Antoine Guerber.

I will describe some that I think are among the best, as well as the most recent recordings. 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.

Kyrie from the Messe de Notre Dame ? Tempos change as appropriate to movement, though most tempos are of a moderate speed. Fallows addresses this point later in the same article: Stylistically it was utterly different from the other principal liturgical polyphonic form of the time, organumin which the voices usually moved at different speeds; in conductusthe voices sang together, in a style also known as discant.

Polyphonic settings of sections of the Ordinary of the Mass are found in an eleventh-century manuscript known as the Winchester Troperbut these focus on tropes added to the Kyrie and Gloriarather than on the Ordinary texts themselves.

Records later show kyris travelling throughout Europe in the retinue of John of Luxembourg, king of Bohemia. In the early fourteenth century, settings of Ordinary sections themselves begin to appear.

By he returned to Rheims and took up a career as a canon at the cathedral. Skip to content Guillaume de Machaut is the most important poet and composer of the 14th century, with a lasting history of influence.

Three soloists again sing with ornamentation. An example of this kind of scribally-created cycle is the Tournai Massso called from its appearance in a manuscript now in Tournai. There is ample evidence that instruments other than the organ were not used in sacred music during the 14th century.