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Josquin des Prez - Missa Pange lingua (2 interpretations)

Missa Pange lingua Composer: Josquin des Prez (ca. 1450 - 1521) Performers (first version): Métamorphoses; Biscantor!, dir. Maurice Bourbon Performers (second version): Vocal Ensemble Cappella, dir. Tetsuro Hanai 0:00 Kyrie (Métamorphoses) 3:29 Gloria (Métamorphoses) 8:12 Credo (Métamorphoses) 14:48 Sanctus; Benedictus (Métamorphoses) 23:59 Agnus Dei (Métamorphoses) 31:49 Kyrie (Cappella) 35:21 Gloria (Cappella) 40:30 Credo (Cappella) 48:18 Sanctus; Benedictus (Cappella) 56:54 Agnus Dei (Cappella) _________________________________________________________________ "[...] Pange lingua was a late work, possibly Josquin’s last mass-setting, not published until after his death, in 1539. The change in style is immediately apparent. In the middle of his life, Josquin often liked to tax his powers of invention by setting himself difficult puzzles to solve, but later he relaxed until he came to perfect a freer kind of music. In the case of Pange lingua, widely acknowledged as one of his masterpieces, this freedom takes the form of ‘a fantasy on a plainsong’ (Gustave Reese). In both settings Josquin’s mastery of vocal texture may be fully admired: many of his contemporaries needed five or six voices to achieve the kind of sonority which he could conceive with four. By taking a plainsong melody for his setting entitled Pange lingua, Josquin gave himself much more scope than in La sol fa re mi. However, he decided to extend this freedom by writing such expansive vocal lines that it is sometimes impossible to tell whether the melody is being ‘paraphrased’ or not. At any rate it was in this work that Josquin finally made the art of imitation, by which all the voices must be treated as being equal, of primary importance. This technique had profound repercussions for later Renaissance music throughout Europe. The Pange lingua chant was originally intended as a hymn for the feast of Corpus Christi. It may be heard clearly in Josquin’s setting in the soprano part of the final Agnus Dei where it at last emerges in recognizable form. Elsewhere it tends to be the soprano part which makes the most obvious references to the melody, for instance in the Kyrie, at the beginning of the Gloria and at the ‘Et incarnatus est’. For the rest, fragments appear and disappear, either forming part of longer, quite new melodies, or abbreviated into one of Josquin’s characteristically terse rhythmic units. In this way he achieved the variety of expression which has led to this mass being so widely admired." ~Peter Phillips Source: https://www.hyperion-records.co.uk/dc... "The hymn on which the mass is based is the famous Pange Lingua Gloriosi, by Thomas Aquinas, which is used for the Vespers of Corpus Christi, and which is also sung during the veneration of the Blessed Sacrament. The mass is the last of only four that Josquin based on plainsong (the others are the Missa Gaudeamus, a relatively early work, the Missa Ave maris stella, and the Missa de Beata Virgine; all of them involve, in some way, praise of the Virgin Mary). The hymn, in the Phrygian mode, is in six musical phrases, of 10, 10, 8, 8, 8, and 9 notes respectively, corresponding to the six lines of the hymn. The work is tightly organized, with almost all of the melodic material drawn from the source hymn, and from a few subsidiary motifs which appear near the beginning of the mass. As such, the Missa Pange lingua is considered to be one of the finest examples of a paraphrase mass. [...] Josquin uses imitation frequently in the mass, and also pairs voices; indeed there are many passages with only two voices singing, providing contrast to the fuller textures surrounding them. While the movements begin with quotations from the original, as the movements progress Josquin treats the Pange lingua tune so freely that only hints of it are heard. Several passages in homophony are striking, and no more so than the setting of "et incarnatus est" in the Credo: here the text, "...he became incarnate by the Holy Ghost from the Virgin Mary..." is set to the complete melody from the original hymn which contains the words "Sing, O my tongue, of the mystery of the divine body." Rather than being a summation of his previous techniques, as can be seen in the last works of Guillaume Dufay, Josquin's mass synthesizes several contrapuntal trends from the late 15th and early 16th centuries into a new kind of style, one which was to become the predominant compositional manner of the Franco-Flemish composers in the first half of the 16th century." Source: https://en.wikipedia.org/wiki/Missa_P... _________________________________________________________________ For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.