Renaissance Masses, 1440-1520

Caput
	Anonymous: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Alejandro Planchart, ed., Missae Caput (New Haven, Conn.: Dept. of Music, Graduate School, Yale University, 1964), 1-52. Earliest datable source: TrentM 93, fols. 126v-128r, 236v-238r, 297v-299r (1451-52).
	Jacob Obrecht: Kyrie Gloria Credo Sanctus Agnus Dei Agnus Dei alterum Edition: Jacob Obrecht, New Obrecht Edition, gen.ed. C. J. Maas, 18 vols. (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983-1999), 2: 33-85.
	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), 2: 37-58. Earliest datable source: TrentC 88, fols. 286v-295r (1460-62).

Carminum
	Heinrich Isaac: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Heinrich Isaac, Missa Carminum, ed. Reinhold Heyden, Das Chorwerk, 7 (Wolfenbüttel and Berlin: Georg Kallmeyer, 1930).
	Jacob Obrecht (“Plurimorum carminum” I): Kyrie Gloria Credo Sanctus Edition: Jacob Obrecht, New Obrecht Edition, gen.ed. C. J. Maas, 18 vols. (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983-1999), 10: 1-44. The songs used by Obrecht in this Mass can be heard in order in a single sound file (total duration 37:48). Timings are as follows: Kyrie [0:00] Dufay/Binchois Je ne vis onques la pareille; [1:11] an. Bon temps; [1:35] an. Ou le trouveray; [2:26] an. Ha! cueur perdu et desollé. Gloria [6:10] unidentified; [6:47] unidentified; [8:03] Busnoys Une filleresse/S’il y a compagnon / Vostre amour; [9:45] Busnoys, Joye me fuit; [11:28] Compère/Pietrequin, Mais que se fut secretement; [12:27] unidentified. Credo [13:14] Ockeghem, S’elle m’amera; [14:28] an. Je ne porroie plus celer; [16:14] unidentified; [17:20] Josquin Adieu mes amours; [19:45] Busnoys Acordés moy; [22:18] Bosfrin Et trop penser. Sanctus [23:36] Barbireau, Scoen lief; [26:18] Busnoys Mon mignault/Gracieuse; [27:37] Hayne Ce n’est pas jeu; [30:09] Quant je vous dys; [31:26] Basin Madame, faites moy savoir; [33:07] Busnoys J’ay mains de bien.
	Jacob Obrecht (“Plurimorum carminum” II): 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), 10: 47-90. The songs used by Obrecht in this Mass can be heard in order in a single sound file (total duration 12:08). Timings are as follows: Kyrie [0:00] Barbireau, Scoen lief. Gloria [0:51] Rubinus, Entre Paris et Saint Quentin. Credo [3:27] Martini, La Martinella. Sanctus [6:54] Compère A qui diraige mes pensees. Agnus Dei [9:30] Compère Le renvoy.
	Jacob Obrecht (“Plurimorum carminum” III): Kyrie Gloria Credo Sanctus - Agnus Dei* Source: SienBC K.I.2 , fols. 148v-155v (1490s). Edition: Timothy J. Dickey, “Reading the Siena Choirbook: A Re-appraisal of the Dating, Musical Repertories, And Marian Performance Context of the Manuscript Siena, Biblioteca Comunale degli Intronati, MS. K.1.2” (Ph.D. diss., Duke University, 2003), 387-404. The final section of the Credo is a contrafactum of Jacob Obrecht’s Sullen wij langhe in drucke moeten leven. Other, unidentified, songs that may have been incorporated in their entirety as contrafacta can be heard by clicking here. Several more models have been identified by Joshua Rifkin in his marvelous article, “A Song Mass in Siena,” Journal of Musicology, 24 (2007): 447-76. Professor Rifkin’s discoveries have considerably strengthened the case for Jacob Obrecht’s authorship, and have opened up several promising paths of further enquiry. Update (8 Oct. 2008): the third section of the Credo [5:00-6:26] sounds like it is missing a top voice, possibly one that was meant to be derived canonically from the cantus firmus (which is stated in the bass). A closer look reveals that the cantus firmus does indeed make perfect counterpoint with itself at the upper fifth, after a delay of one breve (first audio example). However, this does not solve the problem of the Credo section, since the canon would cause several awkward clashes (second audio example). Nor do parallel tenths work. Does anyone have a suggestion? * The Sanctus and Agnus Dei are fragmentary.

Cela sans plus
	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), 13: 1-44.

Christus surrexit
	Anonymous: Gloria Credo Sanctus Edition: Laurence Feininger, ed., Monumenta Polyphoniae Liturgicae Sanctae Ecclesiae Romanae (Rome: Societas Universalis Sanctae Ceciliae, 1948- ), Ser. 1, Vol. 2, No. 3 (1951). Source used for this recording: TrentC 89, fols. 342v-349r (c.1460-63).

Clemens et benigna
	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: 41-66. Source used for this recording: TrentC 89, fols. 378v-388r (c.1460-63). Alternative recording of this Mass on the Caron Website.

Coda de pavon see: Pfauenschwanz

Comment peult avoir joye
	Heinrich Isaac: Kyrie Gloria Credo Sanctus Agnus Dei Edition: Heinrich Isaac, Opera omnia, ed. Edward R. Lerner, 8 vols. to date, Corpus mensurabilis musicae, 65 ([s.l.:] American Institute of Musicology, 1974- ), 6: 78-104.

Crucis
	Johannes Regis (lost): Copied at Cambrai Cathedral in 1464; Jules Houdoy, Histoire artistique de la cathédrale de Cambrai, ancienne église métropolitaine Notre-Dame (Lille: Danel, 1880), 195.

Crux fidelis

Anonymous:
Kyrie Gloria Credo Sanctus Agnus Dei
Source: VienNB 11883, fols. 30r-41r.
The Tenor is underlaid with the antiphon text in the Kyrie, suggesting a Northern French or Netherlands composer. Perhaps this setting originated in the context of Holy Cross veneration at Bruges. Generally, however, and especially towards the ends of sections, the Tenor is treated with extreme flexibility, and fully partakes in the richly imitative counterpoint, as does the Bass. The style is characterized by a high tolerance for the dissonant frictions that result from voice-parts pursuing their own linear logic. This is not a sign of incompetence (as it would have been in mid-fifteenth-century music), but is typical of Northern Mass polyphony written after the 1490s. The extensive use of tempus perfectum seems to rule out a date much beyond the early years of the sixteenth century. The Mass is breathtaking, and unquestionably the work of a supremely gifted and accomplished composer. The front page of the gathering in VienNB 11883 carries, underneath the title of the Mass, an inscription that may spell the composer’s name (Augustinus?).

Cueur languereulx
	Anonymous: Kyrie Gloria Credo Sanctus Agnus Dei Source: MontsM 766, fols. 135v-154r. I am most grateful to Zoe Saunders for allowing me to use her transcription of this Mass.