Kyrie Gloria Credo Sanctus Agnus Dei
Edition: James Thomson, ed., Les oeuvres complètes de Philippe (?) Caron, 2 vols. (Brooklyn, N.Y.: The Institute of Mediaeval Music, 1976), 1: 1-40.
Alternative recording of this Mass on the Caron Website.
| Accueilly m’a la belle | |
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Firminus Caron: Kyrie Gloria Credo Sanctus Agnus Dei Edition: James Thomson, ed., Les oeuvres complètes de Philippe (?) Caron, 2 vols. (Brooklyn, N.Y.: The Institute of Mediaeval Music, 1976), 1: 1-40. Alternative recording of this Mass on the Caron Website. |
| Ad fugam | |
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Josquin des Prez: Kyrie Gloria Credo Sanctus Agnus Dei [Sanctus and Agnus Dei according to JenaU 31] Edition: Josquin des Prez, Werken, ed. Albert Smijers, (Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1927-69), I. iii. 61-91 (Aflevering 28, Missen 14). |
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Marbrianus de Orto: Kyrie Gloria Credo Sanctus Agnus Dei Source: VatS 35, fols. 103v-109r and 205v-207r (c.1487-88). I am most grateful to Laura M. Hedden (Princeton University) for allowing me to use her transcription of De Orto’s Mass. |
| Adieu mes amours | |
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Jacob Obrecht: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Jacob Obrecht, New Obrecht Edition, gen.ed. C. J. Maas, 18 vols. (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983-1999), 1: 1-29. Kyrie II quotes Et trop penser at 3:58 to end. Janos Bali has pointed out that the Benedictus quotes Meskin es u cutkin ru. David Fallows has pointed out, in his commentary to NJE 28.3, that the entry of T and B in Agnus Dei I matches the first entry of those voices in Mouton’s four-part setting of Adieu mes amours |
| Alleluya | |
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Jean Mouton: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Joannes Mouton, Opera omnia, ed. Andreas C. Minor, 4 vols. to date, Corpus mensurabilis musicae, 43 ([Dallas]: American Institute of Musicology, 1967-), 1: 1-36. |
| Allez regretz | |
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Anonymous: Kyrie Gloria Credo Sanctus Source: VerBC 756, fols. 96v-105r. I am most grateful to Zoe Saunders for allowing me to use her transcription of this Mass. |
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Loyset Compère: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Loyset Compère, Opera Omnia, ed. Ludwig Finscher, Corpus Mensurabilis Musicae, 15 ([Rome]: American Institute of Musicology, 1958- ), 1: 26-50. |
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Josquin des Prez: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Josquin des Prez, Werken, ed. Albert Smijers, (Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1927-69), I. iv. 61-82 (Aflevering 43, Missen 20). The Mass is ascribed in JenaU 21 (c.1521-25) to “Jo. de Pratis,” which by any reasonable prima facie interpretation must refer to the composer whose name was rendered in Latin as “Iosquinus de Pratis” (Coclico; H. Finck), “Iodocus à Pratis” (Calvisius), or “Iodocus Pratensis” (Glarean; Salinas). More on the Mass itself in Murray Steib, “A Study in Style, or Josquin or Not Josquin: The Missa Allez regretz Question,” Journal of Musicology, 16 (1998): 519-44, which effectively disposes of the contrived stylistic case against Josquin’s authorship. Late twentieth-century Josquin scholarship will probably be remembered forever for its fanatical zeal to discover more and more “spurious” works in the Josquin canon, and the amount of special pleading that has gone into rationalizing those putative discoveries, to the point even of dismissing hard evidence out of hand. In the case of Missa Allez regretz (one of many Josquin settings to have been peremptorily excluded from the New Josquin Edition), the rationalisation, in the recent New Grove worklist, was: “rhythm and treatment of model untypical.” |
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Johannes Prioris: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Johannes Prioris, Opera omnia, ed. T. Herman Keahey and Conrad Douglas, Corpus Menurabilis Musicae, 90, 2 vols. (Neuhausen-Stuttgart: American Institute of Musicology, Hänssler-Verlag, 1982-1985), 1: 47-70. There is a close stylistic connection between the Missae Allez regretz by Prioris and Josquin, much like the connection between Josquin’s and De Orto’s Ad fugam Masses recently noted by Jennifer Bloxam in The Josquin Companion. The Prioris setting survives in VatS 35 of c.1487-90; Josquin’s Mass would appear to date from the 1490s. |
| Almana | |
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Pierre de La Rue: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Nigel St. John Davison, J. Evan Kreider, and T. Herman Keaney, eds., Pierre de La Rue: Opera Omnia, 9 vols., Corpus mensurabilis musicae, 97 (American Institute of Musicology, 1989- ), 1: 46-84. |
| Alma redemptoris mater | |
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Anonymous (TrentC 87): Kyrie Gloria Edition: Gareth Curtis, ed., Fifteenth-Century Liturgical Music IV: Early Masses and Mass-Pairs, Early English Church Music, 42 (London: Stainer and Bell for The British Academy, 2001), 75-90. |
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Leonel Power: [Kyrie*] Gloria Credo Sanctus Agnus Dei Edition: Lionel Power, Mass Alma Redemptoris Mater, ed. Gareth Curtis (Newton Abbot: Antico Editions, 1982). * Missing Kyrie supplied by Rob Wegman. |
| Amor tu dormi | |
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Bernardus Ycart (lost). Mentioned by Franchinus Gaffurius in Tractatus practicabilium proportionum (c.1482). See Clement A. Miller, “Early Gaffuriana: New Answers to Old Questions,” Musical Quarterly, 56 (1970): 367-88, at 379. |
| Assumpta est Maria | |
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Pierre de La Rue: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Nigel St. John Davison, J. Evan Kreider, and T. Herman Keaney, eds., Pierre de La Rue: Opera Omnia, 9 vols., Corpus mensurabilis musicae, 97 (American Institute of Musicology, 1989- ), 1: 85-115. |
| Auleni | |
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Agricola / Aulen / Cuvenor: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Aulen, Missa, Das Chorwerk, 31 (Wolfenbüttel: Möseler Verlag, 1934). |
| Au travail suis | |
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Johannes Ockeghem: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Johannes Ockeghem, Collected Works, ed. Dragan Plamenac, 3 vols. (Philadelphia, Pa.: American Musicological Society, 1947-1992), 1: 30-41. |
| Ave maris stella | |
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Anonymous (VatS 49): Kyrie Gloria Credo Sanctus Agnus Dei Source: VatS 49, fols. 110v-119r. I am grateful to Bonnie Blackburn for sharing a copy of Laurence Feininger’s transcription of this Mass, on which this recording was based. The composer of this brief but agreeable setting employs mensural transformation and (in the Christe) retrograde, and splits up, distributes, and treats the successive plainchant phrases in a way that recalls Obrecht’s famous segmentation technique (in such Masses as Je ne demande, Malheur me bat, Si dedero, Maria zart, Rose playsante, and, if it is his, N’aray-je jamais). Still (and for what it is worth) the music does not sound especially “Obrechtian” to my ear, certainly not compared to settings in which his musical sensibility seems positively to leap out, like the anonymous Sine nomine Mass in VatS 49, or the stunning Agnus Dei of the anonymous Missa Spiritus ubi vult spirat. Yet the style of the Gloria and especially of the Credo remind one very strongly of Alexander Agricola’s stunning Credo Je ne vis onques I. |
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Josquin des Prez: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Josquin des Prez, Werken, ed. Albert Smijers, (Amsterdam: Vereniging voor Nederlandse Muziekgeschiedenis, 1927-69), I. ii. 1-18 (Aflevering 15, Missen 6). |
| Ave regina celorum | |
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Gaspar van Weerbeke: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Archivium musices metropolitanum Mediolanense, 16 vols. (Milan: Veneranda Fabbrica del Duomo di Milano, 1958- ), 9: 95-147. |
| Ave regina . . . mater regis | |
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Jacob Obrecht: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Jacob Obrecht, New Obrecht Edition, gen.ed. C. J. Maas, 18 vols. (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983-1999), 1: 31-69. |