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71-22,529

SCHIRMER, William Louis, 1941- SINFONIA LITURGIGA I. [Original Composition.]

The Ohio State University, Ph.D., 1971 Music

University Microfilms, A XERD\Company, Ann Arbor, Michigan

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED SINFONIA L1TURGIGA 1

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By

William Louis Schirmer, B.M.,M.M.

The Ohio State University 1970

Approved by

Adviser School of Music PLEASE NOTE:

Some pages have light and indistinct print. Film as received.

UNIVERSITY MICROFILMS. TABLE OF CONTENTS

Page

ACKNOWLEDGMENTS I i

VITA ...... H i

TABLE OF CONTENTS ...... iv

ABBREVIATIONS ...... v

INTRODUCTION ...... 1

Chapter

I. THE ORIGINS OF THE PARTS OF THE OF THE I/ASS...... 3

II. THE DEVELOPMENT OF THE ORDINARY AS A VEHICLE OF LITURGICAL AND ARTISTIC EXPRESSION WITH AN EXAM­ INATION OF SEVERAL LASSES OF DIFFERENT HISTORICAL PERIODS WITH REGARD TO TEXTUAL TREATMENT . . 28

III. AN ANALYSIS OF THE SINFONIA LITURGICA 67

APPENDIX ...... 106

BIBLIOGRAPHY 116 ACKMCWLEDGIENTS

Thanks are due those who have assisted me in tho preparation of this dissertation. First to be thanked are my advisor,

Dr* Marshall Barnes and Drs. Norman Pholps and Keith Hixter who helped to organize this work and whose helpful suggestions enhanced readability and coherence. Second, thanks are due the authors and whom I have cited in the course of this opus.

Third aro acknowledged the following publishers: Benziger

Bros., New York; B. Herder, St. Louis, Harvard University Press,

Cambridge, I-Iass.j University of Notre Dame Press, South Bend,

Indiana; Indiana University Press, Bloomington, Ind.; Oxford

University Press, London; and Boosey and llawkes, Ltd., Toronto.

Fourth, thanks arc due my wife and family— rry wife for typing the final draft and my family for bearing inconvenience during tho final frantic weeks of assemblage. Above all, thanks aro due to

Almighty God who gave me tho idea in the first place and who gave everyone concerned with this dissertation the strength and patience to see it through to completion. VITA

February 2f>, .... Born - Cleveland, Ohio

1963...... B.M. Theory, The Cleveland Institute of Music, Cleveland, Ohio

19&U...... B.M* Piano, The Cleveland Institute of Music, Cleveland, Ohio

1966...... M.M. The Eastman School of Music, Rochester, II. Y.

1968-1969 ...... Teaching Associate, The Ohio State University, Columbus, Ohio

1969-1970 ...... Title IV 1IDEA Scholar, The Ohio State University, Columbus, Ohio

FIELDS OF STUDY

Major Field: Musical Composition

Studies in Composition. Professors Marshall Barnes and Herbert Brucn

Studies in Theory and Musicology. Professors llorman Phelps, Keith Hixter, Richard Hoppin and B. William Poland

iii LIST OF ABBREVIATIONS

Apel GC-Willi Apel

DPL-Documenta Polyphoniae Liturgicae

ESW-Eranz Schubert’s Werke

IIiYH-Historical Anthology of Music

JHW-'s Werke

Jungmann EL-Josef Jungmann, S. J.} The Early

Jungmann HRR-Josef Jungmann, S. J., Tho Mass of the

LV-

Parsch TUI-Pius Parsch, S. J., The Liturgy of The Mass

Wagner GdH-Peter Wagner, Geschichte der Messe

C.-

Ed.-Editor introduction

The terra Mass has been the subject of scholarly debate, and no one appears to know for certain what the actual meaning of the word was. The conclusion that a majority of scholars have reached is that of the author of the definition of the term in Webster's New

International Dictionary. A pertinent excerpt reads as follows:

The eucharistic rite of the church; the of and ceremonies constituting the commemorative sacrifice of the Body and under the appearances of bread and wine...^

The author of the definition then lists the order of the Mas3 , both Ordinary and . There is a second definition of Hass vihich reads as follows:

The setting of certain portions of the Mass con­ sidered as a musical composition which, usually, includes the , Gloria (including the Gratias agimus, Qui tollis, Quoniam, Cum Sancto Spiritu), (including the Et incarnatU3, Crucifixus, Et resurrexit), (with ) Bene- dictus (also witli Hosanna), and the Agnus' l)ei...2

The Oxford English Dictionary gives the following data concerning the ecclesiastical meaning and use of the term:

1 Webster's Hew International Dictionary, (Second ed.) Springfield MassachusettsV Hcrriam-Smith, 19$7) p.l^lO.

2 Ibid.

1 2

It is now generally agreed that the L fatinj missa is a verbal substantive...from L{atiriJ mittere (pa, pple.) missus to send, send away, dismiss,... In the early centuries it had the general sense of 'religious service,'...although in an eminent sense, it always denoted the . The origin of the liturgical application has been much disputed. Isidore (d. 6 3 6 ) conjectured that the original reference was to the of the catechumens which was the preliminary to the eucharistic service. This explanation is not favoured by mo d e m scholars who consider the wider sense 'religious service* is more likely than the narrower sense to be the original. Seme think that missa at first denoted the solemn dismissoiy formula at' the end of the service, Ite, missa est, and hence came to be applied to the service-it­ self. Others...have suggested, on confessedly slender and doubtful evidence, that missa in sec­ ular use had some such sense as 'commission,1 * official duty,* and was therefore adopted as the rendering of Greek Leitourgia (See LITURGX), which had primarily a similar meaning, but in ecclesiastical language was used for 'religious service* and specifically for the Eucharist. Several other theories have been proposed, but none of them has gained wide acceptance among scholar s. 3

The definition as applied to music is virtually the same;

A musical setting of those parts of the Mass which are usually sung, viz. the Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus.i;

This paper will not deal with special Hasses such as that which is performed on Holy Saturday or the Mass for the Dead, but will con­ cern itself with the usual High Mass as done in seasons when all five parts of •the Ordinary are performed.

3 "Mass" in The Oxford English Dictionary VI, (Oxfords Clarendon Press, 1233) p.20'£.

1{ Ibid., p. 206. CmPTER I

THE ORIGINS CF THE PARTS OF THE

ORDIHftRY OF THE KfcSS

There seem to have been two different opinions of tho origin of the Kyrie eleison. The one says that the Kyrie is a vestige of the period when the Mass was celebrated in Rome using the .

The Latin language supplanted it around 300 A. D. This is evidently a viewpoint that Peter Wagner has espoused in his book Geschichte der

Hosse^-when he discusses the Kyrie. The other opinion is that the

Kyrie is of Eastern origin and cites as an authority the written account of the pilgrim Etheria, or Aetheria, dated about 390.

...The Gallician pilgrim lady Aetheria tells us about 390 how at Jerusalom at the end of one of the read a list of petitions and as he spoke each c£ the names, a crowd of boys stood and answered each time Kyrie eleison... Aetheria gives us the transcription eleison instead of the eleeson we might have e x p e c t e d . 2

There is further documentation from Antioch:

From Antioch at about the very same time there comes to us...the explicit ..."At each of these petitions which the pronounces, the people shall say Kyrie eloson (Greek lettering) especially the children73

1 Peter Wagner, Geschichte der Hesse I (Leipzig: Broitkopf & Ilaertel, 1913), 6.

2 Josef Jungmann, The Hass of the Raman Rite, translated by Francis Brunner, 1 (i.ew York: Rcnziger Bros., c195£.), 33lw

3 Ibid.

3 Jungmann rejects the first proposition (See Jungmann, The Early

Liturgy pp. 293)* The Kyrie eleison, then originated as a response

to petitions to Almighty God. Further elucidation and corroboration

is to be found in the following citation:

The deacon announced the intention briefly and succinctly, and the congregation expressed the peti­ tion with their Kyrie Eleison. Tlius was built up a popular form of which is still familiar to us under the title of a .... Pope Gelasius I (d. 1*96) introduced the Litany into the Fore-Hass to replace the older prayors of petition inserting it at the beginning of the service of. the Word of God, rather than in the former place of the peti­ tions at the beginning of the Sacrifice...* On only two days of the year was the whole Litany retained: on Holv Saturday and on the Saturday before Whit- Sunday, h

Tho Kyrie was also used in the Hozarabic rite. The manner of per­ formance was to have three boys sing Kyrie Eleison and then to havo the repeat it.£ An example follows:

.-!«-!-son (ii}> Orftft

k Pius Parsch, The Liturgy of the Hass, 3rd edition, translated and adapted by H.~E7 Wins tone, (London and St. Louis: Herder, ^1951), P* 79•

5 Higini Angles, "Latin Chant before St. Gregory" in New Oxford History of Wusic, revised edition, edited by* bom Anselm Hughes, '(London: Oxford University Press, 91955), 76. » . « » Ij

Ckri- ste fl05f<‘i| GflA4-$te ©e "Am

rfe c0&-[ii Hp*u}

Note the simplicity and narrow range. It is from post-Gregorlan times if Wagner is correct in this statement.

The insertion of the Christe eleison is ono of the changes of Pope Gregory Ij the repeat of the Kyrie eleison after the Christe, then, makes possiblo an aesthetically effective structure as a relation to the Holy . As were the psalmodic pieces of the Mass, the singing of tho Kyrie eleison was originally adapted in its expansion to the necessity of liturgical practice. Soon after Gregory, however, people found it expedient to condense the invocations {acclamationsf] to nine so that three Kyrie eleison, tliree Christe eleison and again three Kyrie eleison followed each other. 6

The litany was later dropped and the nine responses alone have survived.

The Gloria in Excels is, or Greater began in the fields of

Bethlehem. This angelic has been preserved in the account of St. Luke (Luke 2;ll;). There are later additions to the text which aro non-biblical, namely, from the text Laudamus Te until the end.

This text which includes the angelic Christmas Hymn was known as a

6 Wagner, Geschichte der Nesso, I, 6. 6

Fsalmus Idioticus, a psalm-like construction, but not directly excised from the . Another example Is the . The text was origi­ nally Greek and was brought to Rome from the Orient. St. Hilary is credited with having done this. It found its present place in the

Mass in 530 at the latest, as is evident by the Liber Pontificalia dated that year. At first only the Pope could use it on ordinary feast-days, the parish only being able to use it on Easter

Sunday, 7 Evidently the Gloria had a use in the .

Witness the following:

Gloria in excels is. When used, this hymn follows the Prat^ch'gendium (). In early days it was rarely used, and there are only three or four melodies for it in the books.®

Here is a description of the evolving Gloria:

The Gloria, like the Kyrie, was a popular element of prayer; it was something that the people them­ selves could sing. The text was little more than a series of acclamations, and the melody— even at a later date— was very simple. It was also used outside of the Hass, much as we use the Te Deum. 9

Wagner describes the Gloria thus:

• • • Its Greek forerunner, Doica en

7 Josef Jungmann, The Early Liturgy, trans. by ITancis Brunner, (Notro Dame, Indiana;' liotre Came University Press, 1959) p. 295*

8 Angles in IJOHH, II, 8£-86.

9 Jungmann, The Mas3 of the Roman Rite, II, 33®* notice reports that it was first incorporated into the Prime Mass at Christmas. Around 500 it was customary in the Sundry Mass and- the feast of the Martyrs if they wero held by the .... Only since the 11th century were tho priests and equally regarded in this matter. Its late incor­ poration into the Mass has stamped it with tho character of a festal song, which can be omitted in the case of suitable occasions. On numerous days the Gloria is currently omitted, totally missing from the days of penance and sorrow,*..*0

The texts of five versions of the Gloria show its evolution and development. They are contained on the following page:

10 Wagner, Geschichte der Messe, I, 7-8 8

Gloria in Excelsis Apostolic Constitutions (Syrian Version)H (l*th century Greek)12

Glary be to God in the highest Glory to God on high and and on earth peace on earth peace and joy and a good hope to men. among men. We warship thee, We praise Thee, We glorify thee we bless Thoo in lyrm3* Vie exalt thee, we glorify Thee Being who art from e ternity, we extol Theo, hidden and incomprehensible Nature, we adore Thee through Father, Son, and Holy Ghost. Thy excellent high . King of kings, and of , Thou, the true, unbe­ who dwellest in the excellent light, gotten, one God, Whom no son of man hath seen, nor can alone inaccessible because see, who alone art holy. of Thy great glory; (and) alone mighty, (and) alone immortal. Lord King of heaven We confess thee through the Mediator of God, Father Almighty our blessings, Christ, the Lord God, Father of Christ, Savior of the world and the Son of the Immaculate Lamb the Highest. Who takes away the sins of 0 Lamb of the living God, the world; who takest away the sins of the world, Receive our prayers. have on us. Thou who rulest the Thou who sittest at the right hand cherubim, of thy Father, For Thou alone art holy, receive our request. Thou alone the Lord Jesus, For thou art our God, The anointed of God, of and thou art our Lord, all creation, our King; and thou art our King, Through whom there is to and thou art our Savior, Thee glory, honour and and thou art the forgiver of our sins adoration. Amen. The eyes cf all men hang on thee, Jesus Christ. Gloiy to God tfcy Father and to thee and to tho Holy Ghost, for ever, Amen.

11 Jungoann, HRR, I, 3^8, 3l*9.

12 Barsch, The Liturgy of the Mass, p. 115. 9

Codex Alexandrinus Gloria in excelsis (£th Century Greck)13 (Bangor Codex)^

Glory to God on high 1 Glory to God in the highest and on earth peace and and peace on earth to men of ;joy among men. good will, Wo praise Thee, we bless Thee, 2 We praise Thee; wo bless Theej we adore Thee, we worship The05 we glorify we glorify Thee, Thee; we magnify Thee, wo give Thee thanks for Thy great glory 3 We give Thee thanks for Thy Lord King in heaven, great mercy (glory?), Lord, God, lather, Almighty, heavenly King, God the Father Lord, tho only begotten Almighty. Son Jesus Christ, and Holy Spirit, h Lord, orily-begottcn Lord God, , Son, Jesus CJirist, Holy Spirit Son of the father, of God. And we all say Amen. Who takest away the sins of the world, 5 Lord, Son of God the father, have mercy on us. Lamb of God, who takes away the Receive our prayers. sin of tho world, have mercy Thou who sittest at the on us, right hand of the father, have mercy on us. 6 Hear our prayer; you who sits For Thou alone art holy, at the right hand of God the Thou alone arc the Lord, father, have mercy on us. Jesus Christ, in the glory of the Father, 7 You alone are holy, You alone Amen, are the Lord, You alone are glorious with tho Holy Spirit in the glory of God the Father. Amen,

13 Ibid.

Ik Jungmann, KRR, I, 3U8, 3k9» Present Text (Latin version)

Glory to God on high and on earth peace to men of good will. We praise Thee, we bless Thee, we adore Thee, we glorify Thee, we give Thee thanks for Thy great glory. Lord, God, heavenly King, God the Father Almighty. Lord, the only be­ gotten Son, Jesus Christ, Lord God, Lamb of God, Son of the Father, Who takes t away the sins of the world, Receive our prayers. Thou who sittest at the right hand of the Father, have mercy on us. For Thou alone art holy, Thou alone art the Lord, Thou alone, 0 Jesus Christ, with tho Holy Ghost, art most high in the glory of God the Father. Amen.

1$ Parsch, The Liturgy of XL

A description of the musical aspects of the early Gloria reads as

follows:

• ••The oldest Gloria melodies had the character of syllabic recitation: it was a recitation performed with r aised voice rather than a chant. The richer melodies are of later date and show at the first glance that they were meant to be performed by the choir of singers.••• Ralph of Tongres says that the Gloria (and Sanctus) in the of Gregory tbe Great had only a feu notes;.• .16

Willi Apel discusses the structure of the Gloria thus:

The ,..hasa structure,.• consisting of an extended series of short and ever varying sentences,... Luke (2:lii),, .short expressions of praise to the Lord,...petitions for mercy...addressed to the i^ystic Lamb of God, and a final praise of Christ. Like the Kyrie, it was originally not a part of the Mass, but was probably sung during one of the Office Hours, perhaps in place of a Psalm. Tho psalmodic character of the text is clearly reflected in the music of what may be the old­ est Gloria melody that has come down to us..,. The entire melody is nothing but a reiter­ ated psalm tone, skillfully adapted to the phrases of the text which vary considerably as to the number of syllables:...17

With regard to the Roman practice of the intonation of the first line by the celebrant, the following reason is given by Jungmann citing the early cleric Amalar:

...and thus...one bishop begins and all the congregation for church! (ecclcsia) resounds with tho praise to God.lS

16 Peter Wagner, History of KLain Chant, translated by Agnes Orme and E. G. P. Wyat£7 I (London':'' and Society, In. d,J, p. 69.

17 Willi Apel, Gregorian Chant, (Bloomington, Indiana: Indiana University Press, 0256} p'.'hO?*

18 JUngmann, MTgj, I, 358 (footnote 59)• 12

AmalarTs reasoning is that first one appeared and then the heavenly host appeared in that order on Christmas night. The actual singing of the Gloria was begun by the whole angelic host; however, thus Amalar's attempt at scriptural justification of this practice appears to be somewhat suspect.

A plate of one of the oldest Gloria melodies may bo found in Tho notation of Medieval Music by Carl Parrish, plate I.

The next part of the Ordinary, the Credo evolved in form, content, and intent. Apel and Jungmann furnish us with information as to its original intent:

This symbol (the llicono-Conotantinopolitan ) was in uso at Constantinople a3 a baptismal creed for­ mula. Here on Good Friday it was also pronounced at public "worship while the bishop catechized the candidates for Baptisn....Provision was made for its being recited in both Latin and Greek.19

...Originally an individual confession of faith for those about to be baptized, its use within tho Mass is documented for the first time in Constantinople in the early sixth century,...20

This Credo is often called the Ilicene Creed, its basic formulation and its adoption having been effected at the Council of Hicea in 32$, Tho attributes and office of the Holy Spirit are missing, although the Holy

Spirit is mentioned and is thereby implicitly acclaimed as a Person of the Holy Trinity. I-Iore about tho formulation of this creed follows:

The symbol drawn up at Hicea, which concludes with the wards Et in Spiritum Sanctum — only an anathema follows — does not coincide with our Credo even in the foregoing parts. In the acts

19 Jungmann, HER, I h&7 (footnote 31).

20 Apel, Gregorian Chant, p. I|12. 13

of the Council of Constantinople no symbol what­ ever was handed doim and in the interval till Chalcedon (h^l) there is never a reference to any such profession of faith dravm up there. The only matter ascribed to the Synod at Constantinople is the expansion of the state­ ment regarding the Holy Ghost.^

The only name over used for the creed was "the confession of Nicea," but in various church provinces this creed was enlarged by various additions....One such expanded version was proposed to the Council of U5>1 by the repre­ sentatives of the imperial court as the con­ fession "of the 150 holy fathers."22

In his gleanings from primary and secondary sources, Jungmann cones up with this deduction:

In the Hiceno-Constantinopolitan symbol ire have a draft of a profession which, first of all the various forms in use in the episcopal cities of the East, gained the widest acceptance, particularly after the approval accorded it at the Council of Chalcedon..., Vie discover it (the draft), almost complete, about 37k in Epiphanius, and, in a slightly simpler form, about 3£0 in , who explained it to his candidates for . Wc may thus see in this basic text of tho Niceno- Constantinopolitanum the ancient baptismal of Jerusalem. Our Mass Credo thus had the same purpose which our Raman "Apostles' Creed" had, ...as a profession of faith before Baptism. That is the reason why even in its original foxro the Mass Creed, liko the Apostles', is set in the singular: Credo.23

Getting back to the situation of the development enlargement, and clarification of the Third Article of the Crodo, Jungmann has this to say regarding the necessity for expansion and clarification as a defense against erroneous and heretical teaching:

21 Jungmann, HRR, I, i|62.

22 Ibid., (footnote 3)

23 Jungmann, HHR, I, 1*62-63. lU

•••all the older baptismal professions contained only one assertion regarding the Holy Ghost: qui locutus est per prophetas. Everything else was occasiored'Tsy struggTe against the Macedonians who drew the conclusions inherent in the Arian doctrine of the Logos and denied also tho divi­ nity of the Holy Ghost. Still the more complete profession regarding the Holy Ghost in its present- day wording appeared.••in the symbol of St. Epiphanius even before the solemn condemnation of the heresy which t ook place at tho Council of Constantinople (381).2a

Next is a statement of the Credo. This statement is found in Jungmann

HRR, I, i;63, and the treatment accorded it is an attempt to show the stage-by-stage evolution that it went through in order to arrive at the state in which it is currently found.

In this analytic copy of the Niceno-Constantinopolitan Creed, the oldest sections of the Credo will be shown by regular lettering. The additions will be shown by italic and capital letters. Thus the growth and development of the Credo may be seen:

Credo in unum Deum, Patrem ornnipotontem, factorem coeli et terrae, visibilium omnium et invisibilium.

Et in unum Dominum Jcsum Christum, Illium Dei unigenitun et ex Patre natum ante omnia saecula, Deum de Deo, LUMEN DE LUHEffi, DEUM VEP.UH DE DEO VEHO, GEHITUI-I NON FACTUM, COMSUBSIAimALEM PATRI, per quern omnia facta sunt. QUI PROPTER NOG II01IIHES ET PROPTER NOSTRAM SALUTEM DESCEHDIT DE COELIS ET INCARIIATUS EST DS SPIRITU SAHCTO EX I-ftRIA VIRGINS ET homo f actus est. Crucifixus ETIAM PRO NOBIS SUB PONTIO PILATO, PASSUS ET SEFULTUS EST. ET resurrexit tertia die SECUNDUM SCP.IPTURAS, et ascendit in coelum sedet ad dextram Patris et iterum venturus est cum gloria iudicare vivos et mortuos, cuius regni non erit finis.

2k Ibid., p. l£

Et in unum Spiritura Sanctum, DQMttJUH ET VIVIEECANTEM, QUI EX PATRE EELIOQDE IROCEDIT, QUI CUM PATRE ET EILIO SH-IUL ADQRATUR ET COHGLCRIMCATUR, qui locutus est per prophetas. Et unam sanctam Catholicam ET APOSTOLICAL! Ecclesiam. CONEXTEOR unum baptisma in reraissionem peccatorum. Et EXPECTO resurrectionem MORTUCRUIl et vitam VENTURf-5AECULI. ALIEN,

Jungmann goes on to explain the different lettering. In the version above, the lettering has the following significance: The normal lettering is the Epiphanian text; the other lettering is indicative of the parts already attested to by Cyril of Jerusalem. Additions which did not survive in the present Niceno-Constantinopolitan Creed have not been included.

Although an attempt is made by Roman authors to point up the positive aspects of additions to what is now the Niceno-Constantinopolitan

C r e e d , 26 many of the additions were made to counter the problem of false doctrine with a positive antidote. Of the surviving ecumenical only the Athanasian contains anything resembling an anathema or a penalty clause for non-belief in its tenets.27 Nov; comes a cursory lode at the additions to the basic framework of the Niceno-

Constantinopolitan Creed. Jungmann cites the following excerpt for a beginning:

• ••In the christological section there are the words Deum verum de Deo vero, genitum non factum, consub- stantlalem Patri7 words with which"the Council of Nicea had countered the heresy of Arius. All the other statements circumscribing the divinity of Christ aro found in the baptismal confessions, and even where they are wanting in that of Jerusalem,

2$ Ibid., p. U63.

26 Jungmann, HER, I, itfOff., also li6U-6£.

27 "this is the catholic faith, which, unless a man believe firmly, he cannot be saved." 16

they are contained in the more ancient one of of Caesarae (d. 3hO)...28

Next comes an explanation of two more phrases:

The expression secundum Scripturas, as well as the words that follow,qui locu£us est per rophotas, corresponds to the" era of'the Apo- fogists’ of the 2 - 3rd century who were very much concerned to show the agreement between the acts of our Savior and the prophecies of the .^9

Next follows a translated quotation from the Catecheses of Theodore of

Mopsuestia which, in the context into which it is put, is an exegetical lock at a particular Greek term which is translated in the present-day version of the Niceno-Constantinopolitan Creed as “the Lord and giver of life."

...and in one Holy Spirit, the one proceeding (or who is proceeding) from (out of or out from are also possible renderings) tKe”Father, the living Spirit.

(, d. 1*28)30

The next phrase considered is the one currently translated as "the

Lord and giver of life," which Theodore of Mopsuestia*s statement resembles closely:

The Greek word kyrion which corresponds to the Latin Dominum seems to be meant as an adjective, like the preceding zhopion. It would then mean something like "divine"*. Er irk trine, "Beitrage", $1, explains the insertion of the wards as resting on the formula 'Eis 'agios, 'Eis l

28 Jungmann, ERR, I, 1*61*.

29 Ibid., p. 1*66, (footnote 18).

30 Ibid., (footnote 22). 17

Spiritus Sanctus. (The Father (is) Lord, the Son (is)' Lord, the Holy Spirit (is) Lord.)31

There was quite a bit of controversy with regard to the insertion of

the word "Filioque" into the Third Article of tho Credo. Witness the

following:

The Filioque, which corresponds to a theological confession already discussed in Augustine, was incorporated into the symbol in Spanish terri­ tories in the 5th and 6th centuries. Still there were Latin versions which did not contain this addition, and they were widely circulated. Even Pope Leo H I (d. 83.6) disapproved... its insertion. The Greeks opposed it since Fhotius (d. 869) claiming it to be heretical (See John 15:26 and 20:22 in this regard). Since the 11th century, however, it has had a firm place in the Latin text of tho Credo...According to W. 11. Feitz,... a formula of the confession of the Reman Church which is preserved in the Libor diurnus... have contained the FLLioque even before 1*00*. .32

The next statement to be considered reads "Who with the Father and the

Son together is worshiped and glorified."

The syndoxashomenon (concurrently praised} obvi­ ously to aBoVe aH*”a form of the doxology that has gained ground since the middle of the hth century: (Christus) moth1 >ou soi >e doxa syn 1agio(i) pneumati, CwrEK whom to" you isthe glory with the Holy Spirit}, by which the older di> *ou...en 'agio(i) pneumati Cthrough wham •••in~the Holy Spirit} was supplanted. It was directed against the Arians and the Mace­ donians ....33

The series of predications seems to have been dictated mainly by certain formal consider­ ations, as the Greek text indicates more dearly,...First three adjectives, to 1 agion, to kyrion, to zhopion, (the Holly One, the Davihe One tITe” living Onej then the

31 Jungmann, HER, I, U66 (footnote 23).

32 Ibid., p. I167 (footnote 2h).

33 Ibid., (footnote 25). 18

fuller statements.3^

For the sake of comparison, hero is A reconstructed version of a creedal basis for all oriental creeds. The reconstruction is that of

H. Lietzmann:

1 believe in one God, the Father, the Almighty, the Creator of everything visible and invisible.

And in one Lord Jesus Christ, the only begotten Son of God, who was born from the Father before all eons, through whom all was made, who for our salvation1 s sake became man, suffered and rose again on the third day and ascended into the heavens and will come again in majesty to judge the living and the dead.

And in the Holy Ghost.

(H. Lietzmann, '•Apostolicum*' in Die Religion in Geschichte und Gegenwart, 2nd edition, (l527)35

If tho reconstruction is accurate, the creedal statement is much simpler and less inclined toward a scholarly theological approach# Much more is taken for granted, or left unsaid.

The insertion of the Credo into the Mass did not occur in Rome until around loll*. Elsewhere, it was incorporated far earlier:

Timotheus, the Patriarch of this city (Constantin­ ople) (511 - 517)* a man whose thinking was tainted with Ilonophysitism, was the first to order the symbol recited at evoiy Hass. He did this in ordor to put his Catholic predecessors to shame and to emphasize his own zeal for the truth. This exam­ ple was soon aped everywhere in the Orient....36

One of those groups that followed the lead of Timotheus was the cult of the Hozarabic rite. It, however, had one significant difference

3l* Ibid., (footnote 26).

35 Jungmann, KRR, I, 1*61* (footnote 15).

36 Ibid., p. 1*68. in the weirding. The first person singular of the verbs had been

changed to first person plural, thus "Credo” in the Roman rite becomes

»Credemas11 in the Mozarabic. Angles states that it vias to be sung,

the order having been given by the Council of Toledo in £89.37

Evidently the Council of Toulouse followed suit in the same year.

Here is an excerpt of a Crederuus of that period, evidently of French

origin:30

E jc .1-2 Moxftre-kic.

A ...... “ ' ir 6 * • • * » TV fI t ■ ■ . i Z \ , . ------« ere ,n u.-hMjw D e - um po - tren o n — ni

A y -/,~s / A * - * 'a ... f — . p. * - & » — 1—•— — po - ten-ter*! rem ei ter - rae

37 Angles in JIOH-I. II, 88. 20

From 6:3 comes the next part of the Ordinary, the Sanctua.

In the Hebrew service of Avodat Hakodesh it appears as the Kedushah

and reads "Kodosh, kodosh, kodosh. Adonai tzeyoos (etc.).11 (Holy, Holy,

Holy is the Lord of hosts) Parsch gives us sane of the historic back­

ground of this ancient chant:

The Sanctus is an ancient liturgical possession, taken over from the synagogue. It occurs in all the ancient , though it is wanting in Hyppolitus. One suspects, however, that the omission is accidental, as it is even mentioned by (first century) as a prayer recited by the whole congregation.39

Jungmann is of a slightly different opinion:

The origins of the Sanctus in the are not fully dear. There is no Sanctus in the eucharistic prayer of l^rppolitus of Rome. On the other hand, even as early as the turn of the first century, it appears to have been part of the prayers of the Cliristian community right in Rome itself. For it is very surprising that Clement of Rome should not only cite the song itself ftom the vision of Isalas (Isaias 6:3) but also introduce it with the passage from Daniel 7:10, just as is done later in most of the liturgies of the Orient:••«h0

But, as seen above, he arrives at basically the same conclusion. He goes on further:

The triple Sanctus is to be found likewise in all tho other liturgies known to us, starting with the Euchologion of Scrapion and the Clementine liturgy. It is then but a step to assume that tho Sanctus had been already sung in the premotive Church. Perhaps the syna­ gogue served as a model, and so concurred in

39 Parsch, TLM, p. 223.

UO Jungmann, HRR, H , 132. some way in establishing its use.^3-

Wagner makes a deduction relative to the music to which the Sanctus

is set, concurring with Parsch and Jungmann as Tar as its use in

Christianity is concerned:

To primitive Cliristianity belongs the thrice- holy, the Sanctus, which forms the immediate setting forth of the in text and simple melody. Contrary to contemporary directions, it was intoned by the Celebrant and continued hy -the people present. The Roman liturgical books testify that the assisting clergy also represent the place of the congregation. The congregational singing in the case of the Sanctus held out the longest in the Gallician realm.^2

To the Sanctus was added the Benedictus based on Matt. 21:9. It lend3 llew Testament balance to the chant. Both Jungmann and Parsch concur as to its French origin.

The Benedictus...comes to the liturgy via Prance, where it was first introduced during the sixth century,... It must be realised, of course, that its proper place is before the Consecration. At High Mass it has been sung after the Consecration since the , owing to the length of tine required to sing the Sanctus chant.^3

...The Benedictus, must already been customary in the Reman Mass at least in the 7th century. For it appears in most MSS. of the Roman Canon, though not in all;• The earliest testimony for Gaul is presonted by Caesarius of Arles (d. 91*0),... The Eonedictus is also a permanent part of the Gallician Ilciss. For it is presupposed in the Post-Sanctus, which frequently begins with Vere Sanctus," vere

1*1 Ibid.

1*2 VJagner, Gdl l, I, 9.

1*3 Parsch, TLH, p. 22li. 22

benedictus Dcminus noster Jesus Chrlstus.... Also with preceding Osarnia in excels ijsjT. • or with a repetition of the Benedictus5 The same occurrence in the Mone"TIasses that probably originated in the 6th century,... In another place, namely, within the Com­ munion portion of the Mass, the Benedictus (Kt. 21:9 and Ps. 117:26) [MB - Vulgate Bible. Ps. 110:26 in other versions^ was certainly used in answer to Ta 'agia tois 'agioisj... Cthe holy thingsTor the Holy peopXeJ*.Wt

Parsch says thus about the and the word Sabaoth (cor­ ruption of the Hebrew tzevoos? Shabbat does not occur In this passage during the Jewish service):

The word3 Hosanna and Sabaoth are taken from the liturgy of the primitive Church in Jerusalem. They were not translated since they had acquired a peculiar meaning of their own which could no longer be expressed in translation.^5

Whether the Benedictus was added for the same reason as was the

Gloria Patri to the Intro it , namely to distinguish it from its

Jewish point of origin can only be conjectured.

Here is an early example of a plain-chant setting of the Sanctus.U6

ill* Jungmann, MRR, II, 136 (footnote Ip.)*

Parsch, ibid.

i|6 Apel, GC, p. Iil6 . 23 E y . 1 - 3

r ~ — — tA . t & W _ * - V — iJ ■■ w .... — n * ?cvn-C^(ijJ San-ctu* 0 0 k'MS ^ b c r 0tk pic- n* jawt* et&r- yp - San-ng Ifr C^f- gfS ffc -up-dtc--ii*f_ t^u'i ue-h(t 1___....

1 " * • * W 0 m 9 9, \ t # t/ ) # 9 a C*; t rci 9 for** "tu-ci in Nominel)otn/~ti( Hos

foeii G. C. p. Hf6>

More contemporary liturgical usage has, according to Jungmann, divided the Sanctus section from that of the Benedictus,

Although in the Hissale Romanum the Sanctus and the Benedictus appear' togctKer as a s angle song, the v/hich appeared in 1600 presumes that' 'the Benedictus will, not bo sung till after the consecration, • •• In recent tames, this rule has been raised to a general directive. This is obviously an attempt to accomodate to the canon a poly­ phonic style of song wherein the richer melody of the Sanctus (to which the first Hosanna is* attacHcH^n a thoroughly acceptable manner) stretches out to the consecration, while the Benedictus, along with tho second Hosanna, fills out the rest of the canon, b7 ------

1+7 Jungmann, ITCH, II, 137, 2k

The is based on three or four passages from the New

Testament - John 1:29, Mark 10:1:7, John ll;:27 and Phil* 1*:7* Research

into the origin of this part of the Ordinary has unearthed the fol­ lowing data:

Regarding the introduction of the Agnus Dei into the Roman Mass, the Liber pontificalis has this to toll: Pope Sergius* t XotJ1? - YOY/had decreed ut tempore confractionis dominici corporis "Agnus Eei" qui~Tollis peccata nundi*’Taserere nobfe" a clero et oopulo d ecantelur. (At tlie time of the fracture of the divine' body "Lamb of God who bears (takes away) the sin(s) of the world have mercy on us" is sung by tho priest and the peo­ ple (congregation)*5 The older Roman ordines direct that after the archdeacon has dis'tri"- buted the consecrated breads to the so that the can begin, he should give a signal to tho singers for the start of the Agnus Dei which is coupled with the frac­ t i o n ^

Rrom the standpoint of performance, Apel has this observation:

Here it (the Agnus Dei) was sung during the ceremony of the b'reaKCng of bread, originally by the entire congregation and the clergy* As ted to the schola, the professional singers

Jungmann stresses its use as a device to maintain interest during a period of preparation at the and the reason for the reduction of the number of repetitions to three.

Originally the one simple verse was repeated as often as necessaiy, just as the Xyrio eleison or the Christe eleison, as the case might be, could be repeated as often as one pleased. But when the time period necessitated by tho fraction fell out, the song itself ...gradually

1:8 Ibid., p. 333.

1:9 Apol GC, p. UlO. 2$

assumed the hallowed number three. The earliest testimonies to this change begin even in the ninth century. 50

The had the equivalent of the Agrns Dei to accompany the fraction and came into Western liturgies influenced by the Eastern

Church!

In the Byzantine rite, the fraction is also accompanied by a chant, the Koinonikon, and this chant occurs in all of those' Western rites which came under Eastern influence...* Formerly the Agnus Dei was repeated again and again as long as the' Traction lasted, and the ending was always the same: miserere nobis.51

Parsch tells about the insertion of the statement dona nobis pacem:

It was only later (presumably in the twelfth cen­ tury), when the fraction was greatly simplified, that the number of tines it (the Agnus Dei) was sung was reduced to three. According to pope Innocent IXI (d. 1216), the ending "dona nobis pacem11 fgrant us poacQ was subs ti tut ccTTbr miserere nobis after the third Agnus Dei during' a time- of great distress in*12id-church. There is evidence, however, that this e n d i n g was used during the twelfth c e n t u r y . 52

With regard to the above statement, Jungmann has a slightly different point of view;

Agnus Dei tropes with the concluding petition dona ndoTs pacem in the 10th century Tropers of St. I'artiaiy "Winchester, and fieichonau. Blume-Banister, Tropen des Hissale, I, p. 373* 385 (,n. 385 cod. A. B. C. Y.j n. 19 cod. A), otc.53

50 Jungmann, KRR, II, 338.

51 Parsch, mi, p. 290.

52 Ibid.

53 Jungmann, II2R, II, 338 (footnote 3 7 ). More data is given relative to the usage of the textual substi­ tution dona nobis pacem:

Originally the same plea, miserere nobis, was sung unchanged at every repetition, as is still done in the Lateran Basilica. But here and there even in the ninth and tenth century, and with increasing frequency in the eleventh, a substitution was made in the third place (except on Holy Thursday) try singing dona nobis pacem. The first occasion for this change was probably the transfer of the song to accom­ pany the .5u

Evidently secular history had some effect on the use and the meaning attached to the words dona nobis pacem:

Periods of external distress, which recur so often, would then probably lead to the retention of this petition for peace. Indeed, the whole Agnus Dei was regarded as a prayer for peace, and the prayer for external peace was thus appended to the affirmation of inward peace which was inherent in the cere­ mony of the kiss of peace, or else a special prayer to obtain peace was added to the dona nobis pacem, as the Salzburg Synod of 12131 decreed for a certain period...the clergy everywhere, throughout the year specified, were to say three Our Fathers, Verside, and the Oration Deu3 a quo sancta desidera (God, from wham (every or a)' holy desire, etc.) after the third "Agnus Dei,...or...a prayer for die deliverance of the Holy Land was added, as is attested in .55

Finally, two other liturgical circumstances still effect the

Agnus Dei:

In the Hass, as early as the eleventh century, the words dona eis requiem are substituted (for miserere nobis), and in the

5U Ibid., p. 338-39.

# Ibid., p. 339, 339 (footnote 1*3). third place requiem sempiternam. 56

On Holy Saturday the Agnus Dei is omitted altogether. This is because the Holy Saturday Mass is an example of the reten­ tion of an earlier form of the Hass rite in which the Agnus Dei was not included.£7

$6 Ibid.f p. 339.

£7 Parsch, TLH, p. 291. CHAPTER II

THE DEVELOPMENT OP THE M S S

O H D I M X AS A VEHICLE OP

LITURGICAL A1ID ARTISTIC EXPRESSION

WITH AH EXAMINATION OF SEVERAL

HASSES OF DIFFERENT HISTORICAL

PERIODS WITH REGARD TO

TEXTUAL TREATMENT

In viewing the Ordinary as an entity it nay bo wise to heed the advice of Peter Wagner:

If one takes tho Hass a3 a closed, cyclic form in itself, then history informs us that the design joining the five parts in a musical unity did not and could not have occurred to the composers of choral s ettings of the Ordinary. The component parts of the Ordinary were incorporated into the liturgy at too many different periods, likewise the chant-settings, and whenever more chant settings later appeared for each text, then it was harder for the authors to take such a view toward other melodies that they themselves completed artistically unified formulas of the Hass, or as creating such a unity in itself. During the Middle Ages, the Hass-chant did not know of any such (unified) Hass....-1-

As to the beginnings of the Hass, and thus by extension, the

Ordinary as a whole, Jungmann has this to says 2

1 Wagner, GdH, I, 22-23.

2 Jungmann, EL, p. 288.

28 29

The beginnings of the in Rome are ■wrapped in obscurity. VJhile we are fairly •well informed about the shape of the Mass during the period when it was celebrated in Greek,...it is only by a hypothetical recon­ struction that we can arrive at any descrip­ tion of the Mass at the time that it was translated into Latin. This transition from Greek to Latin must have occurred some time during the third century, but our sources are for the most part from the sixth and seventh centuries. ...V/e can establish the fact that the framework of the Roman Mass must have been essentially fixed and determined by the turn of the fifth centuiy.3

Eranz Zagriba has this to say about the actual work of the rewriting

of the Mass in Latin:

The act of transcribing the Greek language into the Latin is documented from the 6th century. This practice developed within the sphere of tho Western Church. This proves not only the text of the Latin pattern, but also its musical setting and its notation. The result cannot yet be made absolutely clear whether the composition of the Greek Mass was conceived in the Latin or the Greek liturgical language in the case of the celebration of Mass.h

In the eighth century, Roane \jas attempting to standardize the liturgy. The Ordinary was one of the strategic places upon which Rome exerted much ecclesiastical pressure because of its unchanging text.

Pepin and Charlemagne helped the Papacy enforce the liturgical changes to the Roman way of doing things in Erench territories as a part of a quid pro quo arrangement with the Papacy. Erom a historical standpoint,

3 Ibid., p. 289.

I; Eranz Zagriba, "Die Kesse in Grieschischer Sprache" in Die Husik in Goschichto und Gegenwart (Kassel: Biirenrcitcsr, ------Angles laments:

The suppression of the Gallician chant meant a...loss to the histoxy of music in Prance* Its abolition was due to different causes, of which tlie principal one was undoubtedly the Roman attempt of unifying the various liturgies of the West.*.. In (Pope) Stephen II went to Paris to crown Pepin, and on that occasion the superior attractions Of the Roman liturgy and chant induced the King — instigated also perhaps by his uncle — to request that the Pope would order the Frankish liturgy to be laid aside in favour of the Roman. Under Charlemagne the unification was completed. The Reman Pontiffs sent into Gaul books of their rite and singers from their schola; and very soon the Gallician books wore for­ gotten.5

He mentions the loss of the -melodies:

At the present time the Mozarabic melodies remain untranslatable. At the time they were beginning to be disused, diasiematic notation • ••was just coming into use; but the copyists did not...transcribe the music in the newer notation, so that while we can interpret an individual neune, we are ignorant of both pitch and interval.6

The professionals seemed to be usurping parts of the Mass meant for the congregation, and apparently the congregation was slipping

into a role of passive onlooker. Worse, a spiritual malaise seemed to be setting in. Witness this commentary:

...during the Carolingian period there was.• .an earnest endeavor to bring about an efficacious religious renewal in the whole population. This included organized participation of the faithful in...Holy Mass.... The people were urged to join

$ Angles, UOUH, H , 8L. 31

in singing the Kyrio and the Sanctus. The Carolingian clergy ^ere not only -fo "know the liturgy themselves...but they were also to disclose to the faithful the study of all religion and cults of #?

Some people wanted to hear new chant melodies set to the text of the Ordinary so they composed seme,

...new melodies...were composed, especially after the year 1 0 0 0 , melodies for those texts which were repeated at every Hass, the Ordinary. Up tintil this time the chants of the Ordinary. • .were little more than elevated speech, relieved by certain cadences. Every­ one could therefore take part in them.®

These newer chants had a few more notes and made greater technical demands upon the performer. For this reason, the professional musicians among the clergy began to assume more and more of the actual performance of the music.

The trained singers who sang the chants of the Eroprium would...as the chants of the Ordinary grew more ornate, gradually take over. This was the case with the Kyrie as early as the tenth and eleventh centuries. The songs of the fore-Hass thus assumed a greater importance than those of the Mass proper.?

The clerical takeover of the Mass-chants was almost complete by 11^0.

At high Mass the chant-texts are to be read by the celebrant (and the assistants)3 this we find stipulated for the first time in llJiQ in regard to the...Gloria, Credo, Sanctus and Agnus Dei. This is expressly ordered for all chant-texts for the first time about the

7 Jungmann, HER, I, G£-06.

8 Jungmann, HER, I, 12U.

9 Ibid. 32

middle of the thirteenth century, • • *1°

Apparently the German performers and bishops did not like all the melismatic ornamentation that was inserted into tho newer chant- melodics.

The long *.•seemed to have little appeal to German tastes. So new texts were created in which each syllable corresponded to a note of the given melody. This is the original form of the so-called tropes. They were sung as deco­ rative covering by one part of the choir, while the rest of the singers sang the foundation text to the same melody. In the tenth century they had spread everywhere, on festive occa­ sions accompanying first the Proper..., later on also the Ordinary...

Jacques Handschin gives a view of the actual performance of tropes:

...the troped plainsong is not intended for a soloist or for responsorial singing but is performed ty a choir, and consequently the trope itself is solo music. The plainsong and the trope are very near to each other in time, in fact they may be said to belong to the same stratum.^-2

Wagner traces the entrance of Qrganum into the l'ass Proper to

Carolingian Prance.

Since the Carolingian period the sources of experiments in a polyphonic music in the V/est, and from the 10th century come the oldest existing practical examples of Qrganum or.., Diaphony. The new art received an extensive cultivation in the Hcman lands and in England, although Germany was not so readily of a mind to admit it. The oldest evidence of a poly­ phonic Mass-song in Germany was found in the "golden Mass" which Abbot Hildebrand inserted

10 Ibid., I, 106.

11 Jungmann, MRH, I, 123.

12 Jacques Handschin "Tropes" in HOHH, U , l6f>ff . 33

at the Cloister of St. Godehard zu Hildosheim in the 11th century and were prohibited except for one time cm St. I-laiy*s day. 1'3

Here is an example of an early polyphonic setting of a Kyrie tropejlU

2 - i

£ 2-#- Cun-tens ge-ni'tor Pe-Ui p.pim-cre-a-t**"

— *-

lei-sfin CAri-jle D e-i‘ sf>fa-dorvir~t»s

,ei 5on Ah-4o-

1 rum so-cr*

* » » ,» ♦. * - » - U .

Ilonophony and co-existed as seen by YJagner's observations on

performance aspects of tropes. He is further more convinced that the

polyphonic sections were performed by soloists, thereby giving a

contrasting density and rarification to the acoustic result. This idea

13 Wagner, Gdll, I, 26.

Ill Wagner, Ibid., I, 29. 3U of a largo group of perfomers versus a small group of performers is found in virtually all Mass-settings from Machaut on.

The performed petitions of the Kyrie, which were not two-voiced were exclusively left to tho Choir. The combinations of polyphony with the tropes, however, which were the natural domains of the Soloists and not of the Choir, prove their characteristics of solo music .-*-5

It may be also that the performance of polyphonic music is more demanding technically, and that with soloists, the words are easier to hear.

Apel and Jungmann have this to offer with regard to the primitive

Hass-cycle, which did not include the Credo melody in its reckoning at first:

The oldest example of a chant Mass comprehending all its parts as a unit is one originating about the end pf the thirteenth century...the Missa do Angolis.16 '

Complete cycles of Kyrie - Gloria - Sanctus - Agnus Dei occur for"the- first time in of’ tKe'"thirteenth century, for instance, in a Dominican Gradual of 125U. (Monastery St. Jacques in Paris )17

The following are excerpts from the Missa de Angel is. llote the notivic interconnection between the component parts.3-8

1$ Wagner, GdM, I, 30.

16 Jungmann, MP.R, I, 125.

17 Apel, GC, p. 1:20.

18 Liber Usualis (Toumai, Belgium: Desclee, 1552), p. 37ff. 35

, ft 2*2 ^ ____ v (inyttrStan of

— 9--- 'f TT T1 -the ■* ^ T ” -— I -A — •v* --“--- R---- ff-~ -0-*-0-JB-tf- ______U------=------1- & \U,~ rt - £ Gto-rim ex-ce/-sis Dc-o Sevn&tZu/ ffaU of Gloria mS&rt) Agnus Del (Modified Rdjroyr&cU------U.------01 *>uncwi - 4 — ^ ---^— ~d) *» •» %» * 0"9-\r • ------— 4 . » * 9 *• ■ tr £** ci«* a /4 - ?»“« Oe -l

liturgical authorities were not unanimous in their acceptance of

polyphony into tho Mass* Here is evidence of a conservative opinion:

Even polyphony was restricted at first to the texts of the fore-Mass.... Likewise Nicholas of Cusa...as papal legato, wanted to restrict the use of the organ to the Hass of the Catechumens\... He made the same demand as Bishop of Brixen.l?

Since the newer music demanded a higher level of proficiency, the

training had to be more intensive. From a subordinate role, the singers

of the Schola Cantorum assumed more and more of the chanting of the liturgy. This only happened gradually, for even in the twelfth and

thirteenth centuries the clergy still had the dominant musical obligations.20

Turning now to a look at representative examples of music, here is

first an old untroped Kyrie melody cited by Apel:21

19 Jungmann, IOil, I, 12k (footnote 121).

20 Jungmann, I-1RR, I, 121; •

21 Apel, GO, p. U07• 3 6

& a - 3

P 0 , - 4 -----f- •*! " le-i-eon Ckn-jte e - la-i

Kif - r/- e - lg^ l~ fnnf tfT

and here is a discussion of the forms that a Kyrie chant might assume:

The simplest form consists of only one phrase that is repeated for every acclamation except the last, which may have a varied or even an entirely different melody. Another has the s ame melody being used for the six Kyrie Eleison, but a different one for the throe Cliriste eleison.... Yet other employ three melodies, one for each of the three main groups. Finally, there is a type in which each of the three main groups shows a ternary form, the same melody being used for the first and third acclamation of the group, a different one for the second. Nearly always the last phrase is varied, usually by the addition of a final m e l i s m a . 2 2

Apel discusses the treatment of the text in this period:

It may be noted that the medieval sources invariabDy treat the acclamation as con­ sisting of five syllables: Ky - ri - e - lei - son (with the on tKe micteCLe e.. not^of seven (Ky -ri-ee-le-i -“son), as in the modorn practice,23

An interesting question arises with regard to the treatment of the

Kyrie text. Tho Medieval practice cited by Apel elides the final e of Kyrie with the initial e of eleison. Two other contemporaneous

22 Ibid., pp. i;05>-06. 37

or slightly later variants are Kyr - ie - lei - son, or, as found in the

trope "Gott sei gelobet” Ky - ri - e - leis. The Renaissance settings

have six syllables, Ky - ri - e e - lei - son, and mary more recent

settings use seven syllables, Ky - ri - e e - le ~ i - son* As

mentioned earlier, the rendition of the Greek into Latin was based on

a different pronunciation of the original Koine Greek. (See Chapter I

in this regard). The Greek version of this word is formed from the verb

eleeo (I show mercy to, or I have mercy on, or upon). In the consonant-

vowel patterns of the Greek language, two short consecutive vowels which

do not have the function of a diphthong elide into one long vowel, hence,

the two consecutive Epsilons (short e's) elide into one Eta (long e)

shortening the verb by one vowel, (e - le - e - otoe-le-o).

Therefore the phrase Kyrie eleison contains six syllables according to

linguistic practice and the more recent practice of dividing the phrase

into seven syllables would represent a corruption of the verb eleeo*

From the standpoint of pronunciation it is easy to see how the rule for

the aforementioned elision came about. If, however, one takes the

original root-form of the verb as it has come down to us in paradigms of

the verb, there is a certain basis in fact for the retention of the extra

syllable in the word eleison.

Here are tiro Kyrie chants. The comparative sources are the untroped version in the Liber Usual is and the troped version in the

St. Martial Troper. 25

2k LU, p. 62ff*

25 Apel, GC, p. 1*32• 38

Liber OsuaUy

TT

*i 3* k*j - rj - g 0 — St.MartiatTrOP^^

,y- * **.'*#' #* • ■ m o 9

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-#-f

— »i2 . O e-l64-Sen S A l T ^ ->-»■ = r = » » t

i(2. K*(*ri- g — (ey-SO/| Re-ple-nos Spi-i-t-T** s«nr\-cto Dc- **s bo - *** S W - 39

<

1 - ri - g 6 — |e - i -

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*, * 9 t 9 *!' * 9 — /- ■

tA-fta-mas e-lesson

The Xollowing pieces are crcamplec oX Kyrie tropes in a polyphonic

setting. (See also the example from GdH cited earlier).26, 27

G r 2 - 5 ^ e r ex. ° S e9 T A s rm A *s +

ctf - 00

De- «■* o - 01 m - e r e - a - tor

T\ ^ V _ J > > » - r , , t letj - 9& <

26 Archibald Davison and W H l i Apel, comps, and eds,, Historical Anthology of Hnsic, X (Cambridge, Hass,: Harvard University Tresi7’BV n ^ “£3T“ ho

» A = t _ ------'—S . ' C H— --- h ,l ] - ±i. i - nuoi . Rtf. u«r- ij Ofi” **5 M* - ri­ tt? qw« de "if - pe re- ot - a pro- ctw-nt Mx- w -o**, . ti - p€ - ^nai pro mufl- ?

r f ' = n = i T - r - f ’= i = t * * zM = r * -

— n c%~i---- & = * — P r cm V m — a ? r,i— “ £■ \r t ~ ) * f f F f f, # t'f \ W f r | t y i i ’ ’.j i. p 1

**r le<| - $e*l

=Srs— h ( > }v r. — M — ^------= M ------

Concerning the aforementioned Wagner transcription, this is the accompanying discussion:

The two-voiced Kyrie Cunctipotens has this form, transcribed into modern notation - the original has letters*.** The liturgical chant lies in the lower part.... The tech­ nique of setting opens up the progressive tendency which abandoned parallel motion as the norm and instituted contrary motion.2°

The widespread use of tropes gave rise to another custom which was exemplified by, among other things, the rise of the llotre Dame group of polyphonists headed by Leonin and Perotin. Another practice viidch apparently was widespread for a time was the following:

*».travelling singers...were wont to sing their verses at llass super Sanctus et Agnus Dei.. * .warning voices were raised to sai'e-

28 Wagner, GdH, I, 29-30. Ul

guard the seriousness of the traditional ecclesiastical chant.*.29

One of those warning voices came from, a rather high place:

...one of the decretals of John XXII of 132k - 23...does not condemn polyphony outright hut does expressly forbid that the plainsong melodies be smothered triplis et motetis vulgaribus;...30

Here Is a more detailed look at the text of the Papal pronouncements

Sane followers of the new school, infatuated VTith the subdivision of tempora, devise some new notes and prefer to sing these instead of the old ones, so that is...infested ...with short notes. These people break up the melodies with hockets, debase them with dis cants, and load them with mototi and tripla in the vulgar style.31

The Pope goes on to say that concords of fourth and fifth are all right, but he prescribes serious penalties for showmanship in the performance of ecclesiastical music.

The attitude of the Papacy must have changed somewhat, however, at a later time. Witness the following bit of historical information:

When, in 1377, the papal court returned with Pope Gregory XI from Avignon to Rome, the papal singers brought the art of polyphony (as applied to the Hass) with thorn to Italy. Slowly the new art spread to other countries. It did not get the same joyous reception everywhere^ thus Swiss monasteries were very roserved in their attitude, and at St. Gall

29 Jungmann, MRS, I, 123-26.

30 Ibid., p. 126 (footnote 128).

31 Translated passage appears in Donald Jay Grout, A History of Wsstern Husic, (Hew fork: Horton, °1960), p. 117. it wag banned from divine service as late as 1 $ 6 C $ 2

There are some anonymous polyphonic settings of the cycle of the

Mass, These include the Credo. There are tiro complete cycles (Tournai

and Barcelona) and one incomplete (Toulouse), All date from the liith

century, but it is uncertain as to whether they antedate the Messe de

Ilotre Dame of Machaut (1361+) .33^ 3h

Looking back to the entrance of the Credo into the Mass, it was

the latest addition to the Mass. Even today it is not included in

the section of the Liber Usual is, being given, instead, in a sepa­

rate section. Only fair Credo melodies have been given the blessing

of the Raman church, hence, a cyclic monophonic setting of all five

parts of what is now the Ordinary does not exist. For an example of an

early Credo melocfcr, see Credo I in the Liber Usual is.

In the settings of the texts of the aforementioned Masses, the

composers are careful to see that there are no internal repeats of the

text and there is little if any offsetting of the text which would tend to obscure its comprehension. In these works there are no textual

omissions. In the Barcelona Mass, however, there is a Gloria trope

as well as a heavily-tropod Sanctus. According to the editor, Leo

Schrade, the Canti Firmi of the Barcelona Mass are non-liturgical. Tho

instrumentation which can be deduced would seem to suggest that the

Tournai Mass is 3-voiced with accompaniment with purely instrumental

32 Jungmann, HRR, I, 126.

33 Leo Schrado and Frank LI. Harrison, eds., Polyphonic Music of the ll;th Century, I (Monaco: Editions de Oiscau-Lyre, U3 passages marking the major sectional divisions. The Toulouse Mass appears to be for voice with two instrumental parts accompanying it.

There is a sharp break between the Sanctus and Benedictusin that part of theOrdinary. There is a trope mentioned in the Agnus Dei ofthe same work.

In the works of John Dunstable there are isolated parts of the

Mass, three pairings of Gloria and Credo and a pairing of a Sanctus and an Agnus Dei. There is an isorhytlcaic setting of the Ordinary, Kyrie wanting, and a on the chant Rex Seoul arum (again no Kyrie).

In these latter, there are 2-part passages interspersed between the normal 3-part harmony. There is no textual repetition other than that which is specified in the of the liturgy. There is one troped Gloria.

The omission of the Kyrie vas for tho fallowing reason:

Pram tho beginning of the history of the poly­ phonic Mass in England the Kyrie was left out of the scheme,...because on festivals it was sung with the particular trope laid down by the Ordinal, which made the Kyrie in some degree a part of the Proper.35

The Mass Rex Seculorun has no internal repetition of text and there are no omissions.36

Apparently Dunstable and indulged in the practice of telescoping the text for musical reasons such as the length of a

35 Erarik Llewellyn Harrison, Music in Medieval Britain, (London: Routledge and Kegan Paul, **15557, p. '251.

36 Husica Britannica, VIIE, (London: Stainer and , 1951-65), 1lU particular Tenor, etc. This practice was later frowned on by ecclesiastical authorities. Another practice that crept into being was that of deletion for purely musical reasons.37 Here is an example of the telescoping of a Credo text by Dunstable from the Kyrie and

Gloria Jesu Christe F H i Dei Vivi:3S

VOICE 1: Et iterun venturus est cum gloria VOICE 2: Et vivificantem qui ex Patre m i ­

VOICE ls judicare vivos et mortuos cujus VOICE 2 s oque procedit qui cum Patre et Fi­

VOICE ls regni non erit finis. Et in Spiri- VOICE 2 s lio simul adoratur et conglorifi-

VOICE ls turn Sanctum unum baptis- VOICE 2s catur qui locutus est per prophetas

VOICE lr ma VOICE 2 s et in unam sanctam catholicam et apo-

VOICE ls in remiss ionem VOICE 2 s stolicam ecclesiam in remissionem

(etc.)

The full text occurs, but it is rendered aurally unintelligible because of the concurrence of different-sounding words • An out­ right omission occurs in the Hiss a Fuit Hcno I&ssus ascribed to

Leonel Power.^?

VOICE Is Crucifixus etiam pro nobis sub Pon- VOICE 2: Et in unam sanctam catholicam et

37 The earliest record of such a condemnation was at the Council of Basel in llt31«

38 Document a Polyphoniae Lifargicae, Series I (Rome: Universal Society of S t .0 c c illa,' -1 j/3s0), Ho. 0.

39 DFL. Series I, Ho. VOICE 1: tio Pilato, passus ot sepultus est. VOICE 2: apostolicam ecclesiam Confiteor unum

VOICE 1: Et ascendit in celum sedet ad dexteram VOICE 2: baptisma in remissionem peccatorum

VOICE 1: Patris et expecto VOICE 2: et expecto

(etc.)

The. following text has been emitted:

Et resurrexit tertia die secundum Scriptures... Et in Spiritun Sanctum Dominun et viviflcantem qui ex Patre Filioque procedit, qui cum Patre et Filio simul adoratur et conglorificatur qui locu- tus est per prophetas...

Offsetting of text occurs in the Gloria at transcribed measure lltff.

A more severe occurrence happens at measure 2?ff., but the text is all there.

Omissions in the text, particularly in the Credo became increasingly common at the onset of the third decade of the fifteenth century, and ma­ ny of these omissions were made with Papal (or antipapal) favor. The

Caput question dealing with the head of the Church on earth, whether

Christ or the Pope gave rise to certain irregularities within the text of the Credo. So also did the abortive attempt at reconciliation and reunion between the Orthodox and Roman Churches. The Filioque in the third article, for example, was dropped in a conciliatory gesture by

Rome in an attempt to resolve a long-standing difference between the two churches mentioned earlier in this dissertation.^O

UO See p. 17* For an in-depth look at the reasons behind sanctioned deletions in the Credo, sec Ruth Hannas, "Concerning Deletions in the Polyphonic Hass Credo" in The American Husicological Society Journal (JAIS), V, 16U-86. With Dufay, the question of internal repetition of text begins.

In the early Hissa Sine N o m i n e , there is no such repetition, but the editor of the Mass Se la Mace ay B a l e , ^2 Heinrich Besseler, must either have found some internal repetition of text elsewhere in Dufay's urorics, or the practice of hocket must have been abandoned, for, although no extraneous repeats appear in the of the Kyrio, for example, Besseler inserts two repetitions into the tenor of the Kyrie, two into the Gloria, one into the Credo, and one into the Sanctus. In all fairness to the editor, however, the placement c£ words in the music of this period is difficult at best and just about impossible at worst. Drag an HLamenac writes:

The difference to be found in critical modern editions of the l£th and 16th centuries as regards the problems of barring and disposing the text underneath the music is regrettable indeed,^3

Imitative and rhytlimically independent lines as well as desired varieties of texture were some of the chief reasons behind the growth of internal repetition.

The following table shows the approximate count of internal repetitions of text:

JLp. Guillaume Dufay, Opera Cmnia, edited by Willem de Van and Heinrich Besseler,' I (Rome: American Institute of Musicology in Rome, 19U9-), 1-lli.

h2 Ibid., Ill, 1-22.

k3 , Collected Works, edited by Dragan Flamenac, II (New York: Columbia University Rress, 19h7), xiii. TABLE 1

HJTERHAL REPEAT OF TEXT

Composer K. G. c. s. A.D.

Kachaut 0 0 0 0 0

Dunstable 0 0 0 0 Rex Caelorum C,, Ed. c.► Ed. C. Ed. 0. Ed. C«, Ed

Dufay 0 2 0 2 0 1. 0 1 0 0 Se la Face ay Pale

Ockeghem^3) 0 15 h 6 1 6 1 16 0 16 Mi - mi

Ockeghem^) 0 0 0 0 1 0 1 0 0 0 Caput

Josquin(c) 0 32 liU 0 59 0 6 319 0 L 1 Homme Jtme^exti Toni

PalestrinaCd) 0 la 37 11 39 11 ia 32 38 26 Quam Pulchra Es ....

(a) Johannes Ockeghem, Collected Works, XI, Iff,

(b) Ibid., p. 37££m

(c) Josquin Des Pres, Vferken van Josgain Des Pres, edited by A. Smijers, XIV (Leipzig: C. F. W. Siegel, and Amsterdam: G. Alsbach, fL923-3X}).

(d) Giovanni Perluigi da Palestrina, The Complete Works of Gio­ vanni Perluigi da Palestrina, LI TMew 'fork: Kalmus, Iff.’ '

Another practice necessitated by imitative and rhythmically inde­ pendent counterpoint was that of offsetting the text. When one voice enters one or more pulses later than another, syllabic displacement is

inevitable with consequent loss of textual canprehensibility. Charles

Butler in a later treatise on 3iusic says that if there is offsetting

of text, that it should be repeated in order to give the hearer a

longer time-span in which to comprehend the portion of text.^* Such

offsetting of text is the exception in Machaut, Leonel and Dunstable,

reaches a middle ground in Dufay, and becomes the rule in Ockeghem,

Josquin and Palestrina.

Yet another possible reason for the repetition of internal text

comes from the abandonment of nelismatic settings of the Ordinary.

Melismas abound in Dunstable and Leonel, become less common in Ockeghem

and Josquin, and rather rare in Palestrina.

The disappearance of hocket also is a factor in the tendency

toward the repetition of internal text. This practice, so common in

Machaut, begins to become more rare in Dunstable and Leonel, and is gone

by the time of Dufay.

Tropes and all but four of the sequences were outlawed by the

Council of Trent. Internal repeats of text and offsetting were to remain. Hie following .event may have had something to do with the final attitude of the Council toward ecclesiastic music:

The compositions of the Fleming, Jacques de Korle, which were sung at the Rogations during the last period of the Council seem to have

Hi Charles Butler, The Principles of Musik (London: John Haviland, 1 6 3 6 ), p. h9

been decisive;... Palestrina’s first works were also becoming known.

The P a p a c y apparently was earnestly trying to clean up the liturgical

practices, and many practices thought to be inviolate were deleted.

The members of the commission were not held back from doing away with added trimmings which the pious mind considered untouchable, like the already traditional Marian insertions in the Gloria in excelsis. Finally, it was because of the HSman'ist' artistic spirit that the council did nothing to hinder the polyphonic Church music which meanwhile had become strong and flourishing, and so left the road open for the great masterpieces of Church music.^6

About 1600 the Polychoral Mass began to become common. Palestrina

had written for a polychoral deployment of personnel, but it was

Giovanni Gabrieli and seme of his associates that really pursued the

polychoric style of writing with instrumental parts added.

Jungmann cites a positive ramification of liturgical composition

of an experimental nature:

Through the development of these various choral Masses, a road was opened to getting away from the traditional melodies. The texts were always the same, and their meaning could always be + explained even to people not knowing Latin;... Their constant repetition made their perfor­ mance rather easy.^7

The use of plain-chant tenors starts its decline with the

and disappears as a consistently-used device at about the end of the

Renaissance, In the Mas3 of Each, a plain-song tenor is used in the

IS Jungmann, MftR, I, 138.

U6 ibid., pp. 137-38.

U7 Jungmann, MRR, I, 127. setting of Credo in Unum Deum, but the bulk of the Mass uses no liturgical text in any recognizable way, shape, or form*

The next significant development was the use of more than one choir. While it is -true, that in the early days of the Mass-Chant,

Antiphons using two were sung, and the Church of St. Mark in

Venice had two. choir-lofts and two organs, it was not until the time of

Willaert and Rore that composition of Mass-settings of lasting conse­ quence began to appear. This practice was further developed by

Giovanni Gabrieli, and Masses for more than two choirs accompanied by large groups of instruments began to appear.

As an example of the polychoric Mass of a Giovanni Gabrieli- oriented composer, there is the Ilass Tu Es Petrus.1;8 This Mass I believe to have been composed for the Lateran Basilica because of a set of parts extant in the Lateran library and its use of the inton­ ation of the miserere nobis without the dona nobis pacera. This practice still exists today. Furthermore, the Bonedictus is omitted.

Jungmann views the impact of such a work with the eyes of a churchman:

The Mass was treated as self-contained. Music spread its gorgeous mantle over the via ole Mass, so that the other details of the rite scarcely had any significance. Encouraged by the mod­ erate attitude of the , it had developed into mighty proportions. The seven­ teenth and eighteenth centuries are marked by a plethora of new musical forms. Besides the organ, there were accompaniments by other instru­ ments...and often a single maty-voiced choir was not sufficient, but use was made of several

1*8 Honumenta Liturgiae Folychoralis, I (Rome: Universal Society of St. Cecilia, This setting is by Qrazio Bonevoli. choirs either answering each other or even blending together.1?

Pope Alexander VI must have thought that things were getting a little out of control, liturgically speaking - his control* Therefore, among other things, he put a stop to this practices

Texts which could be chosen at random*. .were transferred to other places in the Hass, and the proper especially was replaced by seme such songs. On the other side, the celebrant often tried to continue with the even while the choir was still singing the Credo, or to restrict the singing of the preface and the Pater Iloster to the initial words.. .to leave the rest for the music and the organ.5°

More unecclesiastic procedures were being effected according to some people* Laymen who knew more about music and who couldperform it better than the clergy were admitted to the choir and led the ecclesi­ astic music-msking. Jungmann reports:

Because of the religio-cultural situation it sanetimes happened that this church music, which had fallen more and more into the hands cf lay­ men, forgot that it was to subserve the litur­ gical action*..* Since*..(the liturgical setting) was but little understood, and because esthetic began to hold sway, the liturgy was not only submerged.•.but actually suppressed, so that even at this time there were festive occasions which might best be described as "chupch con­ certs with liturgical accompaniment. n->1

The problem of music usurping the focal point of the Iiass was not a new one. Here are two more instances of musical performance running

h9 Jbngmann, MRR, I, l^Q. into trouble with the church authorities:

•••The Cologne Provincial Synod of 1536 had to enjoin that the , symbol, preface, or Pater were not to be omitted or else shortened on account of the music*».likewise a Synod at Trier (151|9)*.*£2

The liturgical situation must have become rather lax in Pergolesi* s time or else the Masses were not performed under ecclesiastical auspices.

In the Majorthe chorus has the opening lines of the Gloria and Credo as well as the other three parts of the Ordinary. Nowhere to be found is the three times three construction of the Kyrie. More­ over, Pergolesi has shunned the inherent ternary construction of the

Kyrio, using instead a slow introduction for the first series of Kyrie eleison, a passing reference to a Christo eleison which is delineated by a solo voice, a few more Kyries and then a fast fugal section with

Kyrie eleison furnishing the textual material. This occurs in both completed Hasses, the one in D major and one that may have been com­ pleted by someone else, due to the literal repeat of the Kyrie music in the Agnus Dei and the piece ending on a V-chord. Ending a piece on a V-chord may have been a prankish idea on the part of Pergolesi, but at-this point I do not profess to have a definitive answer. The line dona nobis pacem is missing from one of the Masses and one wonders about the possibility of a composition of a Mass for the Lateran

Basilica. Prom Pergolesi’s biographical data, it is doubtful that a

52 Jungmann, MRP., I, ll*9 (footnote 1*3).

53 Giovanni Battista Pergolesi, Opera Qnnia, edited by F. Caffarelli, IV (Rome: Friends of Chamber Music, °1939), 61*ff. 53 church of the stature of the Lateran Basilica would accept a work of his.

It would appear that Pergolesi was more interested in composing a showpiece than in adhering to liturgical rubrics. For example, there is the aforementioned unorthocloxy in the Kyrie of the D-major

Hass.SU in the Gloria there is textual confusion at the second qui toll- is, where, after what appears to be an internal repeat of miserere nobis, the words suscipe deprecationem nostram immediately follow.55

The ensuing text reads Tu, qui cedes ad dexter am Patris,56 ^u being an extra-liturgical interpolation into the text. At this point, however, the bass continues on with qui tollis poccata mundi,57 sQ that a textual confusion via a telescoping effect occurs. A further inter­ polation happens just before Jesu Christe with the words tu solus.58

In the qui tollis section of the Gloria, the tempo marking is Vivace and the music has a buoyant character which supposes an unorthodox interpretation of that particular word-phrase. The initial line of the Gloria is executed by the whole chorus and the first line of the

Credo is intoned by a female voice (Soprano). This setting of the

Credo has the beginning direction Spiritoso which implies a lighter atmosphere than the one normally sought by a composer when s etting this part of the Ordinary. £9 There are quite a few bel canto pas­ sages in the solo sections.^ In the Dona nobis segment of the

& Ibid* 55 £££•> P* 90ff. $6 Ibid., p. 9Iff.

57 Ibid. 58 ibid., p. 9k. 59 Ibid., p. 103.

60 Ibid., pp. 01, 83, 93, 96, 125, 129. Agnus Dei, a situation arises where one syllable of the word dona must be omitted for rhythmic and accentual reasons. Pergolesi solves the problem by shortening dona to da,&- probably thinking that the con­ text will render the word clear to tho hearer even if the aural reception does not. Tu prefixes dona nobis on several occasions as an example of another extra-liturgical interpolation. ^2

Contemporaneous with Pergolesi, radical liturgical experimenta­ tion was in progress in Germany with the so-called Singmesse. Luth­ eran ascendancy may have in part necessitated this translation of the. gist of the Ordinary into the . Jungmann relates:

Tho Paderborn Hymnal of 1726 contains German songs for the Gloria, Sanctus, and Agnus Dei; finally the Speyer Hymnal of 1770 contains a Singmesse with German selections for all parts of the Ordinary...a midway sample is found in the Singmesse in the Lobklingende Harfo published 1730 by the Jesurt” mis­ sionary Anton Koniass.63

It appears that seme rather reputable composers contributed to the

Singmesse.

The best known example...is the Singmesse 1]Hier liegt vor deiner Kajestat" (Here before thy 1-fajestyTies),'’which appears with a first melody in the Landeshut Kymnal of 1777 and which, after acquiring a new set of melodies by Michael Haydn (d. 1 806) continues in use even today.

Apparently Josef Haydn tailored the character and content of his

61 Ibid., p. 13h> Tenor.

62 Ibid., p. 136, 130

63 Jungmann, KRK, I, 1$$ (footnote 7£).

6U Ibid* 55

Mass^settlugs to his patrons' tastes. The Nelsonmesse,65 Theresien- raesse^ and Kleine Orgelmesse omit the following portion of Credo text* ^7

Et in unam Dominum Jesum Christum Folium. Dei unigenitum

The Hass in time of War has the above text telescoped vrith another MM*. H K l 't part of the text^^ and the Mass of St. Bernard von Offida includes it in its entirety;^ likewise the last two Masses.70* 71

In the Nelsonmesse, (1798) the Kyrie Eleison has its text repeated more by reason of structural musical considerations rather than liturgical stipulations. There is but one Christe eleison in its entirety. All other music in this section uses the text Kyrie Eleison.

In the Gloria, especially at the text in gloria Dei Patris,72 repeats of internal text abound. The Credo has the above-mentioned omission and the first lines of the Gloria and Credo are sung by the chorus.73* 7k

The word omnium appears after invisibilium as well as visibilium in the First Article. 7$ The word Sanctus is sung four times by the chorus, three times in the initial statement and once more in an internal repeat.76 A case of reversion to an earlier portion of

65 Joseph Haydn, Joseph Haydn Werkc, edited by Jens Peter Larsen, 23, I H (Munich-fcluisbcrg; G." HenLe, 1958-), 65, measure 31ff*

66 Ibid., p. 197, meas. 17ff. 67 Ibid., 23, II, 5, meas. Iff.

68 Ibid., p. 121, meas. 6ff. 69 Ibid., p. 197, meas. I8ff.

70 Ibid., Vol. IV. 71 Ibid., Vol. V.

72 Ibid., in, 50-62, meas. 192£f. Solo begins; chorus repeats.

73 Ibid., p. 25ff. 7k Ibid., p. 63ff.

75 Ibid., p. 65, meas. 25. 76 Ibid., p. 93, meas. Iff. 56 text occurs in the Agnus Dei. The chorus has been singing the text dona nobis paccm for some time when Haydn suddenly uses the text

Agnus Dei qui tollis poccata imindi again.77

There are times when it appears that Plranz Schubert is seeing just how many different ways he can order phrases of text. An example of this practice may be observed in the Gloria of his Mass in I* Major

(10lii).78 xn the same Gloria there are large reversions (out-of-place repeats of earlier text-passages), purportedly to bring back earlier thematic m a t e r i a l , 79 so Schubert makes the text fit the musical design rather than vice versa. A flagrant example of this occurs at the end of the Gloria where the final text is Gloria in oxcelsis Deo and the pn thematic material is that of the opening section. The Credo for

Schubert is exactly that. In an attempt to show forth a personal testimony, he interpolates the word credo before certain points of dogma enunciated in the Credo.®1-

The Benodictus is a separate entity from the Sanctus. This is in keeping with the rubric decreeing that the Sanctus is sung before the and the Benedictus after. The Agnus Dei is split into two parts, as appears to be the custom in Pergolesi's time at the latest.

In this Mass, the text Agnus Dei qui tollis peccata mundi acts as an

77 Haydn, JlfrT, 23, III, 126, meas. 58ff.

78 Pranz Schubert, Mranz Schubert's v/erke, reprint of Breitkopf and Hartel Critical"'Edition of 1 ObU-97, 13, I (New York: Dover, °1965), 10ff.

79 Ibid., p. I5ff. 80 Ibid., p. & .

81 Ibid., pp. 58, 59, 65. introduction to the main part of the music, the Dona nobis, which is

a musical restatement of the Kyrie. At one point in the Dona, Schubert

interjects the word 0 before a statement of dona nobis paccm.^2 In

an appendix to the Mass, there is first a Dona composed a year later

which is not a repeat of the Kyrie; there is also another version of

tho Quoniam, a version which Schubert first composed and then rejected.

In this version, each acclamation is preceded by Quoniam Tu solus.83

In conclusion, then, Schubert has omitted none of the text. He has

sometime altered the order of phraseology and put in a few inten-

sifiers brought on perhaps by personal conviction on the one hand, and

musical exigencies on the other.

Deletions occur in the Hass in E-flat Major, (182 G). Specifi­

cally these phrases have been omitted: 1) Suscipe deprocationem

nostram, 2) Qui sedes ad dexter am Patrls^ 3) Jesu Christe.85 There

is a four-fold insertion of Gratias agimus Tibi into the Gloria text, 86

and the acclamation Glorificamus Te is repeated quite a number of times.

There is a reversion back to the opening line of the Gloria with the

Et in terra portion omitted and the acclamations restated*87 The phrase

Filins Patris is interpolated into tho text of the Gloria whero it reads

Agnus Dei.88 Three statement-complexes of Gloria in excelsis Deo,

three of Adoramus Te, three of Bonedicimus To, and threo of Glorificamus 58

Te appear in the first exposition of the text.®?> ?° Again Schubert interpolates the word crodo into the Credo.91 At one point in the

Credo he reverts to Et incarnatus est for thematic reasons?2 and the text beginning at conglorificatur is telescoped.93 The text of the

Osanna sections of the Sanctus read Osanna in excelsis Doo.?^ In the

Agnus Dei, the musical form dominates and dictates the liturgical.

The text Agnus Dei returns out of place liturgically (in the middle of the Dona section) but serves the formal purpose of restating part of the opening theme in the mediant minor of the key of the Agnus Dei

(C minor). The restatement of this theme in E-flat minor sets up a modulation via parallel mode which leads back to the key of the 1-lass,

E-flat major.?5

In the Bruckner llass in D minor, a return is made to the practice of beginning the Gloria with a priestly intonation, e. g. the C-loria begins with the text Et in terra paxj?6 likewise, the Credo is begun with the text Patrcm omnipotentem. 97 The number of internal repeti­ tions of text decreases in this work. In the Gloria there are 101

89 Ibid., pp. lf?3rS5.

90 A statement-complex or complex is a statement plus its frag­ mentary repeats (e." g* Kyri'o,' kyrie eleison is a statement- complex) .

91 ESVI, 13, H , 227, 223, 92 Ibid., p. 2UU-

93 Ibid., p. 256. 9k Ibid., p. 282 . 95 Ibid., p. 320ff.

96 , Anton Bruckner *s Saemtlicho Werke, XVI (Vienna: IIusikwissenschacFi^xchcr Verlag der Internationalen Bruckner- Gcsellscliaft, 1930-), 20.

91 Ibid., p. 82. $9 internal repeats. All but 13 of those are of the word Amen. 9 8 There is but one reversion and that is found in the Gloria where the text

Gratias agimus Tibi is inserted between Deus Pater omnipotens and

Domine Fili unigenito.99 Of the forty internal repeats within the

Credo, fifteen are of the word Amen. Each part has a Biblically sym­ bolic number of repeats of the word Amen, namely, Soprano, seven;

Alto six, or twice three; Tenor and Bass, nine or thrice three.1°°

In the Sanctus-Benedictus section, the bulk of the internal repeti­ tions occur on Osanna ff. or on Benedictus ff. In the Agnus Dei half of the internal repetitions are in the Dona Uobis.

The Ordinary remained stable and static during the nineteenth century, but late in the century under Pope Pius IX, a reform began to take shape which stressed standardized liturgical practice, particularly with respect to the performance of chant. JUngmann reports:

Gregorian Chant...was refurbished. There sire many differences to be found in the various editions and even at Rome there was no obligatory norm regarding the use and execution of tho chant, but at Solesmes it was made the object of learned study, so that its true form in the flourishing period...was once more re-ostablished.*..The chants of the Ordinarium nissae appeared in 1905.

This may have had some effect upon the Masses next cited.

Both a Latin and English version exist of the Mass in G Minor of

Ralph Vaughan W i l l i a m s . The Latin version is for performance in a

98 Ibid., p. 65, meas. l62ff. 99 Ibid., p. 38, meas. U8ff.

100 Ibid., p. 175, meas. 288ff. 101 Jungmann, MRR, I, 160.

102 Ralph Vaughan Williams, Mass in G Minor (London: Cur wen, 1922). Rcsnan church and the English version is Tor performance in an Anglican

Church. In this setting of the Ordinary, composed in 1922, there is a relatively clear declamation of the text. Internal repetition of text and offsetting occur infrequently. The opening lines of the

Gloria and Credo are intoned by a solo tenor. The -writing is expressive but subdued. It has little in common with the settings of

Pergolesi or Schubert, for example. In many cases the offsetting of text occurs on an internal repeat and the text has already been clearly apprehended. This work is experimental in that Vaughan Williams has attempted to compose an extended opus using nothing but major and minor triads for vertical sonorities. Whatever dissonance occurs is caused horizontally by such events as cross-relations, remote harmonic function, passing and neighbor tones, etc.

The Mass (191+8) of completely avoids the internal repetition of text in the Gloria and the Agnus Dei. The only repeat in the Credo is on Amen.-^03 Even when there are internal repeats of text, Stravinsky "sanctifies” the practice by using a word or complex three times or a multiple of three times. The only irregularity in the treatment of the text occurs in the last Chris'te complex of the

Kyrie where the second eleison is wanting.-*-^ The incipit of the

Credo is intoned by the priest, and, so is the Gloria according to an auditor of *a performance on Dec. 8, 19h9 in St. Joseph's Roman Catholic

103 Igor Stravinsky, Hass, (London: Boosey and Hawkes, 191+8) Rehearsal number 1+2’.

101+ Ibid., Measure before rehearsal number 1+. 6 1

Church.10^ The score which I consulted has the Gloria incipit por- » formed by an alto, solo preferred,1*^ One vocal technique employed by Stravinsky in this work is the accentuation of a vowel in process of being sung.10?

LVetce p a n t } Oi(*()

The brevity of the Stravinsky Mass setting makes the fragmentation of the larger parts of the Ordinary less necessary. There is no inde­ pendent Bcnedictus or Dona Ilobis * In this respect, Stravinsky, as he

10$ Walter Rubsamen's Contribution to “Current Chronicle" in The Musical Quarterly, XXXVI, 5&-0I;.

106 Stravinsky Mass, Rehearsal number lOff.

107 Ibid., Rehearsal number ll*. 62

himself has said, approaches the textual treatment of Machaut and Dufay.

What follows is a continuation of a table of internal repeats*

TABLE 1 (continued)

Composer K. G. C. S. A,]

Benevoli 5U# 80 1 6 6 21* 17 Tu Es Petrus

Pergolesi D Major 91 130 30 31 91

Haydn Nelsonmesse 72 178 96 1*6 91

Schubert F Major 1*0 175 13 22 51

Schubert E- H a t Major 25 178 219 133 82

Bruckner D Minor 1*6 101 1*0 1*6 31*

Vaughan VJilliains 1*5 37 19 1*1 20 G Minor

Stravinsky 23 0 1 21 0

■* (ed. 1) (other source add 10)

In looking for tendencies and trends among composers in their

handling of the Ordinary, certain preferences appear. Among the most

frequently-repeated sections of text are such places as Amen, dona nobis pacem, and Kyrie and Christe eleison. Amen can be repeated pacnc ad infinitum bocause the text is short and easily comprehensible. It

is highly susceptible to accentual manipulation and therefore can be used in almost any given rhythmic situation. Dona nobis pacem is some­ times used to counterbalance the length of the Agnus Dei. VJhen this is desired the problem of disparity in the length of the texts arises. 63

This, is tho principal reason behind the multiplicity of internal repeats of the words dona nobis pacem. The same problem also holds true for the

Kyrie. In a Mass-setting of large proportions, the limited amount of text is more noticeable in the Kyrie than in, say, tho Credo. When the Benedictus is a separate entity, there is the same problem between the Benedictus and the Sanctus as between the Dona Nobis and the Agnus; likewise between the Osanna when used as a separate entity and the

Sanctus.

Some passages are repeated for descriptive purposes. Such pas­ sages would include miserere nobis, descondit de coelis, ascendit in coelum and, to perhaps a lesser extent crucifixus and the series of acclamations in the Gloria. To this might be added such suggestive phrases as cujus regni non erit.

There are more reasons why composers engage in the internal repeti­ tion of text. One springs from liturgical necessity, for example, when the fraction^OS of the bread was still a reality, the Agnus Dei was concurrently sung. The time required for the fraction varied, so the

Agnus Dei was repeated ad libitum until the fraction was completed.

YJhen the various were still being sung, the number of Kyrie varied according to the number of petitions. The next reason is purely musical. If a composer wants to intensify a rhythmic or melodic pattern, the simplest way is to repeat it. Since the ensuing text may not fit the rhythm of the musical idea, it is very often necessary to repeat a portion of text even though the liturgical rubrics do not allow it. The telescoping of text may be dictated by necessities

108 See pgs. 2k, 25* supra. 6k

arising from the insufficient length of a Tenor or .

There may also be formal and proportional demands that will not

tolerate an end-to-end outlay of text. Repetition can also happon via

antiphony, but I prefer to think of antiphony as a special case of

offset text, since in unrepetitive antiphony no one person or group

repeats the same phrase of text tv/ice, save where liturgically ordered.

Reversion mentioned earlier, particularly in connection with Pergolesi

and Schubert, I interpret as a special case of internal repetition of

text.

Extra-liturgical insertions into the text such as those made by

Pergolesi and Schubert may happen for basically one of two reasons:

1) The necessity of adapting the text to a particular melodic-rhythmic

combination which will not accommodate itself to the text. 2) The desire upon the part of the composer to inject any intensification of his own personal beliefs. Perhaps an underlying reason for this practice is the quost for individuality and originality within a strict context.

In the case of the offsetting of text, imitative or rhythmically independent polyphony will almost inevitably result in offset text.

Imitation demands that one voice commence with the text and that at least one other voice enter at a lator time with exactly the same rhythm and melodic contour. While it is possible to enter at a later time with the text currently being sung by the lead voice (dux), many times it is impossible or musically undesirable. Under conditions of imitative polyphony what usually happens is that a certain segment of text is allotted each voice. The voice which starts first will end first# Another, entering later, will overlap the first voice and have some text left over when the first voice has finished liis segment.

Because of this time-lapse between the first and last entry, one of a number of things must happen: 1) Each voice sings its allotted text straight through and then drops out or goes on to a new text-segment.

2) If the composer wishes to reach a cadence at some point in that text segment, he, (a) omits part of the text in a voice which has entered later, thereby enabling it to overtake the lead voice or (b) repeats the text in the voices that entered earlier and enables these voices to wait for the later-entering voices to arrive at that textual point, or (c) the composer may elect to lengthen the time spent on each word-syllable fcy early-entering voices either via long note-values or by neumatic or melismatic writing, lion-imitative polyphony still presupposes a certain amount of rhythnic and melodic independence#

Therefore there is a tendency for the text to be offset at least part of the time. As Butler mentions in his treatise,10? the intelligi­ bility of offset text from one hearing in much less than that of a text-setting which has concurrent rhythm in all parts. Therefore, in the interest of added intelligibility, the phrase'of text thus polyphonically treated is likely to bo repeated one or more times#

One possible reason why not much objection is raised to the internal repeat and* offsetting of the text of the Ordinary is its familiarity and, perhaps, the opportunity for variety.

Another reason for the offsetting and internal repetition of text

109 See footnote UU supra. 66

is that the composer may want to set a particular word or passage

homophonically and then polyphonicalDy or vice versa. An example

of this practice is found in the following example:^0

E y . Z - 7 men, /I - "?rr- F5 E5Z © 57 T

Therefore X conclude that essentially four factors govern the

setting of the Ordinary: 1) The r]$rthnic, accentual, and liturgical

demands of the text; 2) The descriptive possibilities inherent in

the toxt; 3) The theological conditions stipulated either by the

composer himself or by someone else to the composer; U) The struc­

tural and horizontal-vertical considerations imposed by the composer upon the text.

110 Stravinsky, Mass, Rehearsal number h2 ff. CHA.PTER III

AN ANALYSIS OF TIE SINFONIA. LITUHGICA

Kroni the standpoint of internal repeat of text, the Sinfonia

Liturglca has the following distribution:

Kyrie Gloria Credo Sanctus Agnus Dei — 3 “ “35" ■ “Tr — 5T“ — SS—

A majority of the repetitions in the Gloria occur on the first line of text, the acclamations, and the Quoniam. In the Credo, they occur mostly around the text Crucifixus etiam pre nobis. In the Sanctus the large majority occur in the Osanna sections. Nineteen of the twenty repetitions in the Agnus Dei do not occur on the text dona nobis pacem.

Offsetting is frequent in the Osanna because of its fugal character, and also in the Kyrie. In the Gloria and the Credo the following practice is sometimes employed:^

(words only)

S. Cu rit nis —

A. jus e -- re e T* gni e fi — ~

B. non —

1 Credo, meas. 110

67 sometimes this:2

S. : Pa - tre qui ex Pa - tre A. ex Pa - tre Fi - li - o - que tre Fi - li - o - que T. que que B. li - o - que li - o - que Fi - li - o - que

There are no solo passages.

Even though it now would be liturgically correct to use the vernacular, I chose to use the Latin text for two reasons. First, it is more euphonious, and second, I wanted to juxtapose archaic language and present-day musical idiom. There is no plain-chant cantus f i r m s .

In choosing archaic language and pairing it with a present-day idiom,

I wish to show how man’s mode of address to God may assume contemporary mannerisms, but the needs and desires of the human race are ever the same.

In mary cases, internal repetition occurs a Biblical number of times. For example:3

TABLE 2

Statement Times Used

Gloria in excelsis Deo 7 et in terra hominibus bonae voluntatis 3 Laudamus Te 3

2 Ibid., meas. X2U—25*

3 Gloria, meas. 1-68. 69

Table 2 (cont'd.)

Statement Times Used

Benedieimus Te 3 Adoramus Te 3 Glorificamus Te 3 Gratias agimus Tibi 3

The ensuing duple-based statement of text is symbolic of the

mystery of Christ's dual nature.k

TA.HLE 2 (cont'd.)

Statement Times Used

Doraine Fili unigenite Jesu Cliriste it (2x2) Suscipe dcprecationem nostram It (2x2)

Two durational notations are used. The first is the conventional

system of note-values (whole-note, half-note, etc.) and the second is note-values of indeterminate length. The one value symbolizes time, the

other, eternity. The one symbolizes CJurist's liumanity, tlie other his divinity. The one symbolizes man in his temporal state, the other, man in his eternal state (See et vitam venturi saeculi).

The Kyrie has the following syllabication:

1) Ky - ri - e e - le - i - son 2) Kyr - ie 3) Ky - ri - e e - lei - son It) Ghri - ste e - le - i - son $) Cliri - ste e - lei - son

There are no textual interpolations and no omissions#

it Gloria, me as. 7

# Here is a macrostructural and micros tructural analysis of the music of the Sinfonia Liturcica I.

1* Kyrie

BTom a macrostructural vievipoint, the Kyrie serves as an intro­ duction to the symphony. Tripartite in form, the Kyrie is divided into these sections!

TABLE 3

Section Keasures a------T-TT* B 17 - 28 A' 29 - i;2

The microotructure of the Kyrie, and, indeed, of the entire symphony is derived from these motives: . Hx. V i

“1/-- :---- — — i i>6 .4 t?*)

VK , Ten" 71

^ r i e V».

What follows now is a descriptive analysis of motivic derivation and manipulation, thus, a microstructural analysis.

a. w 0*“ » ^ ’ T*a, Hfii

< ^ s± = pis f a n s mi.9

Khjirte f a b p—*

r'ff

TZ 72

______!______,.*L& . ... <. ----- # 0 ------<---- Q------£ - 4 - ) - p 3 - f ^ - ,.... 9 4 . L i • «. • T 8 T e n c >r m ' 0

\Lyrie ni. Ktjne yw.7-® C f ot . 4 5

tLyus. m\. tl

z j H Z £

M i r = ^ ^ f p li§ D7J-

io. 24#.

h Tbs V*\\ftt f

-‘5^- 1 “ £

Measures 2 9 - h 2 are a modified repeat of the first section, hence, no new motivic manipulations occur— just some variants of old ones,

2. Gloria

The movement is in sonata-allegro form. Here is one descriptions

TABLE U

Formal Event Pleasures EScposTtx6n'TrT ' T “ 3 I First Section 1-26 Transition 27 - 37 Second Section 37 - 51 71+

Table 1+ (cont'd.)

Formal Event Measures

Development. 52 - 78 Recapitulation 79 - 11*1+ Second Section 7 9 ~ 1 2 1 Transition 122 - 121+ First Section 125 - HjU

Another variant would be the following:

TABLE kli

Formal Event Measures Exposition (70l1 events as above) Development (Meas. 79 is a mock 52 - iol+ reprise)

Recapitulati on 10l+ - 11+1+ Second Section 10l+ - 121 (Other Sections have the durations shown above)

The themes are related to the Kyrie as follows:

16AriZ iw. I (rhythm otntifeci) Ex.3'3

i y S m m T ■

cfl., tw. JTff

Here is an example of the verticalization of the opening Kyrie motive:

4 75

n H H p p p g *-€ t & fb^Tutet

An example of the verticalization of the socond motive follows:

£ C E x . 3 - 5

r* ft n . S F p - j -r~ folj.

There is a parallel between measure 8 in the Kyrie and the second section of the Gloria (meas, 37ff)«

K^rie 8

Tho horizontal-vertical combination of measure 17ff. of the Kyrie fonns the basis for the horizontal-vertical sonorities of the principal section of the Gloria, building from a snail band of sound to a large one. At measures 89 - 9 k this motivic transformation occurs in the » instrumental parts:

£* • 3 “ 7

i = ± d ^ .

[ C f t o Z <*»•

/

S* £ i i £ * ^ 'M j f £ ?

<£?-g r i ? ~ The following transformation talcos place at measures 122 - 123.

It is derived from the second section.

& . 1-8

I a Jzc_

Measure 12li is a verticalisation of the following material:

dU-

~TO: £ p r * - + ih

The rest of the movement is a shortened and modified version of the first section.

There is a balanced emphasis upon both the exuberant first section and the contemplative second section, so I do not really think that a principal or subordinate theme or section exists in this setting of the

Gloria. The exuberant section dominates the Exposition and the con­ templative section, the recapitulation. 78

3 , Credo

The Credo is a multisectional work in a non-standard form. It is

dependent upon the text for its formal construction. Another factor

which effects contrast is the juxtaposition of slow sounds of indeter­ minate length and sounds of stipulated periodic duration.

In the statemont of the First Article, God is represented by

"eternal" (i. e., indeterminate) note-values with the exception of

Patrem omnipotentem in measures 2-3* At the place where the word

invisibilium occurs, it is rendered musically invisibilium (inaudibi- lium). The conductor conducts the measure and the chorus mouthes the

word inv is ib ilium, but no sound is to be heard.

The Second Article reveals Christ in His human and divine office

with appropriate durational notation. The crucifixus section commences with agitation described by a welter of violently clashing sounds featuring some quarter-tone dissonances and ends with a melodically microtonal interment.

The resurrexit section begins quietly in "eternal" note-values, now that Christ is no longer bound by time and space. Et ascendit in coelum makes its ascent and Et iterum vonturus- ost its descent.

Cum gloria reintroduces conventional durational notation, and from judicare on, an attempt is made to catch the agitation of the Pinal

Judgement .with its unerring and implacable justice.^ Cujus regni non erit finis again uses "eternal" note values.

5 Matt. 2£:lff. 79

# When the Third Article refers specifically to the divine office of the Holy Spirit, eternity, baptism, bodily resurrection and the unity of Christ's Church, the indeterminate notation of duration is used* When it speaks of the Holy Spirit being in the world and influencing human beings, sounds of conventionally-notated duration are employed. The rest of the Credo-setting is in conventional durations until et vitam venturi saeculi where the "eternal" notc- valucs appear once again and end the movement*

TABLE $

Section Measure

Introduction 1 - 9 A 1 0 - 10 B 19 - 29 A' 30 - U6 C U7 - a D 62 - 88 B* 89 ~ 96 E 97 - 110 A 1 1 1 - 118 B 119 - 131 F 132 - 138 D . 139 - Ihh A - D 1\6 - 1 <£ A - D 1 6 6 - 17U B 1 7 6 - 177

The credo contains five sonic entities: steady-state a-periodic sonic blurs (AB), speech (S), steady a-pcriodic frequencies of definite pitch (AF) periodic blurs (FB), and conventionally notatod sounds or periodic frequencies of definite pitch (PF). A descriptive 8 0 use of these various sonic entities is as follows:

TABLE 6

Measure Entity Measure Entity

1 AB - S 93 - 9S AF 2 - 3 PB 96 - 97 PB k - 7 AP 98 - 109 PP 8 - 9 PB 110 AF 10 - 18 PP 111 - 118 PF 19 - 2h AP 119 - 120 AF 25 - 72 PF 121 - 123 PF 29 AP 121* - 125 AF 72 - 7$ PB 126 - 132 PF 76 - 89 PP 132 - 137 S - PB 89 - 90 AP 138 - lii3 PB 91 - 92 PF 11*3 - 171* PF 160 - 162 PB 1?6 - 177 AF 177 AB

In dealing with the microstructure of the Credo, an attempt will be made to show the motivic connections between the Credo and the preceding movements.

In.2 Creiom-I# 3 - J 0 81

oJL o * , 4 f . ^uwiton E = &

, Credo GAcrvui Credo

tn |~p ~~ ^ ~ jj o l :zo y — 'i:^t~ ~ ifem SL=r^ ,^ „ 0 g -i. O L 4 ^ ' 1— —L

w h -v i 'i.. ------— ----- — L- 4 — 1

fyne m 1 cVtfio m» 5 Cf. ftt Jno&t

h '— ' - K f X V rfn 7 p ’S L f e g . i t ± —

Credo m . 5

3 Z 5 ± T f r * 82

Free invars tan of

Credo ^ T*

— Ite- j £ " 7 = k \ EE 4- 1 J T©~

Credo f? «*.4ut(KAfec( Credo m, t9 id: > 4 - t e -i- -o— t- fit = f e -fcrr *—I X^oers ton m . 7

53 — ^ h i H- (f*) Credo m . 2 0 Credo rn.20 1 e =3_ f c t a t e r ^ H z g z ^ z b i ^ t D q z i Z-

JZfi. ^ ______C/> kijNi On. 5j Iff. ipc ,-foi 2 -hr -t r Q - * r J— b e - ^ 83

Measure 21 is a harmonic inversion of measure 20 with one note

(the B-flat) missing for textual and acoustic reasons.

Credo rn.22

± il

:p t

Crfido r*w23 :3=EE P i - •in 0

± 5 Ef C r e d o 2 4 Credo Mi 2?

— t|J— n — f x = x

rev^i. IH.15

2 $ r

w

Cf- flftb /W.Z5 3f—tF^— f-f— f -s W r E 3 c S f £ i JL ±2

'W m ■fl-tt*** J«U :5$: -0-4- g 4-0- i ... M r ' ^ o ^ o l ‘Ut Sty'll +1 L-sJ Ci)_f « -<£--[ — r~*4— £ f r ^ r * f a _ j — r~ i 1 ?|r-lfr'* <^-13 rfFigfef g^'VJ 07©JJ

E 3

i_z 'vu/ op**!? 4Z Ef^E# j j w

19 8$

|i^nc *.,*7 Credo t*‘S0-fjr

Credo m, C? 2 m. t-2 { j

PiCC. Tin.) Tkfcfl' F,s- c **• it>i 6 3

m bo fro ‘ b D F r - Jm O - -t- ± 2=1 * * ° & > ‘ mm Credfi biff bo^* Credo & 7 0 ’ 3 > iKfefcJx*^ ^ r‘c 54-51) m

Ccf, 2) “ra-

O i CO

C r e d o w.Tb I ft Cre*e i*.opF

:grq~r 3 = 1 I*/»•» <%. ^fr*0 R^tr^ofVe. m . 7 9 Cf. C X ’do n. 80

j g a w v Ai+o

Credo rrt.82 Itjne m . 8 Crt&o /n. 65 fcf.m 7 Iff) - 8^ k T

+ |i 1. I' 3 +-‘ #!?» I 7 c .*q dfjp. J I P A€«6 00^7?*/ I*44' fOtrit C ^ m . ^ ,9i j ^ y

§ £ z :ze m Sop, f Wo Credo m>9lff, 87

m* 93 5 T7- n: , r0terck«,e f V lc oU £ 1 £ boi o — i------

Measure 91; is the same as measure 5 and measure 9 $ is the retro­ grade of measure 93*

C o m .% l^rle ikA & . 3 ' IZ

/" \ t>f f ■■ fi 3 , > f --- _4- T- - t —T-j— 4 p - r r _^i------Unncr fte^ueot'/ bond onxt+ed.^

■ (TO !(pO — i m ±5± I n.I04)F. A ± _ 1§2 g Tew., V/o, e+c. Credo r^. lOfrie m ,7 f ^ n e *H*4

i z i ±jrfc o fi . $ 1 fc-zr 88

At A l^rie *d m.2 Credo m, III FT i a &

||» I, b

£ 3 $ (c f, C*e&c> w • $ff.) ^

------S.0 _ — 4 * ------— e - r -fc_ — ------. V n £ >

^ lu I//*, b -a- ) o ; bo I " il R I------V-Q , ' h A r h ------A ;• <7:-r/ ) f ■ (/■ "• »7f>H ' U p \ .... ( / U f I/ V , / 1 V * f f c *--!- - - \? ' ■ f a ~ . )------= ^ - ft. i s m.(2Z a c & t • f - if f - h. IL £ - b r C — - tfllq 5 0 , ° i W ! **) --H ------43- - = 4 = — & = ■ * " C * J v ^ “ 1' H ^ b W*U>. 89

,.11*1 E 3

j r Q

m ./Z£

? _ 17P 7 & r f t>T 9 * fl~¥frpv 'rtf ?bfe P 0.D, Cr. Ti'mp* /------1 r I /W ft L M H I » __ t1— i ' 7 ft ' jpo ;... # 0 1 - f)—I1 W * v*' 2 ' i f ii If- i ? -— K- - J , U p t > — # o \$o-- i--- $^P O" " -* — 1?~*---

Measure 13 Off. comes from the same motivic source as measure 71^* To continue -

,v» 143 fF if. t a ^ b - t v t KJ ■ 0 '-T' To ------i f e - r ------5— 1 a ', /'*' o .lk» HA rv A n ." hr , v \ * j - y i y»f-' ^ ------— )gQ— - / w « M ■f- 2— i i ------#------.-1------■ — . {-■■“ ------« * < 4 W+1 Tfo. p; Q* *1 N 90

Measure lli3 (anacrusis)If. comes from measure lOff. The following rhythm begins in measure lh7:

fc*. 3-1^ m . 1 5 - 2 # m. 147 ff* ■ f c f f l P = ^ ^ r = 3 g frg— I- of liurlt m.t Bns, lA* fit*. m. Ityff Hfe- #er ± E m ■^zr ■/ p g r in, 155 f

t o 1 4*0- 1 = S S 5 T

-ba­

rn. 157

* 3 0 -Or -te*-

« 1 » K ^ ’ ’ ■ 0 UT* -#l •>Op. 10,199 nor ft L0^_ bP£n ,i— F * — t------1--- = & -> » ---- V jr j■ *> - • — — 1 = ^ — y j *---- j — 1---0------tfie - ry, •# TT"

rt). l59fF(C*Kfrf« **•£ (Ju^) I&PD\ 91

* -1,162 1--- r~ 0-r-o 1-- »- g S»a4

l>-0- h - b o \o ~ T o r-t>Q ; fro 4 T B ±

i J « tree— • bo >L

XT

rn,W

7 ' > 1L 1 ] if# ^ y K -H • + 3 (■>> rbfT-j-: , I A— |-T 4 - f j H ’^- i -

Ih tc rc /i^ e TKtcrckanoe ------j— ------— t------1— Q ------1— i...... it o ... S jz r i d T'fe?: - h & e -

(ire&o ^jTff r i f;T t n y TfT* Tot-) l/|a. , t S » - f y r'e m -l7^ V CF. < W m T f 34-* 3 f -f*. 9 r ip*i l l f r i t , ^ * L - » br ^ r \ ,— fer»>,^7 U _ f yg-U------i M § 92

— 0 t?p----

' o t J w J 1 ? ' ' Vnl pjuuntxA^

— “9*— -— If-— — r

- 2 — t Mk r

Measure 173 is a repeat of measure 93* The last measure uses the steady-state sonic blur found in the opening measure with the following super imposition:

, £ x* 3-/5 ^ t______

- :o t e t e t e - - L z ±2Z t e - t e

U. Sanctus

The Sanctus employs moods of contemplative awe, exuberant praise, quioter adoration, and a return to the exuberant praise* The Macro­ structure is as follows:

TABLE 7

Section Measures A 1 - d “ B 9 - 3 3 A' 33 - iiU B Uh - $9 The B sections comprise a fugue*

An examination of the microstrueture follows:

E T T ^ 7 6 m.1 i

fUfUC Hi *-

- * ^ b »* » » fro ~~

— V PO W .. ; {to-----Un; 3 fr° 1 bo , ■ ~ 7

The fugal sections are based on the following subject:

Il ^ v u fn,f Ibiei# , Ejt j z s n

^ . L , j i » f The form of the first fugal section is as follows:

TABLE 8

Event Measure

Exposition 9 - 2h Subject in Tonic 9-12 Subject in Subdominant 12 - 1$ Episode 1 $ - 1 6 Subject in Subdominant 17 - 20 Subject in Tonic 21 - 2k Episode 2$ Subject in Dominant 26 - 29 Subject in stretto recto and inversio 30 - 33

A list of polyphonic associates and their relation to previous material

is as follows:

B e 3-IB fn. 13

¥ f itrri y-l ‘Iftf

This is a variant of the subject so it has a common motivic basis,

m . l IL^rio i*n. 1 I f f ) qJ^

tn w.20

m. 20 @ ^ 9$ The vertical sonic blocks and other melodic fragments accompanying

the first statement of the subject are as follows:

0c. 3- ^

#Q -h©- §5 5 s +

1 1 | 2

V- -#e- -Sf T7 3 = ± i?*- b*

m .12# r n fe? i i i -4- I— J U-J

, „ ti*jrj€i,n^' w.7 IHiJ* , >- . , i/n jp -.jjrfSL-i i , f = - — ,

- ¥ ■

The Benedictus portion of the Sanctus is based on these motives:

£*. % - l \ j^puum.y v-wiste* /^ne/«,2 (ITaj vf*#-#*,! - o t B L 1 $ L -gzr r b °

At measure U$ the fugue resumes. The subject is manipulated in the following ways: 96

TABLE 8 (cont'd.)

Event Measure

Stretto recto vs. inversio and retro vs, retro inversio U5 - h9 Episode h 9 - $ 0 Stretto as above, but in opposite pairs of voices 5 1 - 5 h Quadruple stretto in recto 5 5 - 5 9

The lone associate is this melodic phrase:

EV ?-« Ifrt. * «ie «•

5. Agnus Dei

The Agnus Dei has a from which grows out of textual and psycho­ logical considerations. The words Agnus Dei are set in an atmosphere of frantic desperation^ qui tollis grows like a cancer, starting small and growing into a domineering presence. Thereby is the spread of sin over man's entire being depicted. Miserere nobis is set as a desperate humanity begging a sympathetic Christ for forgiveness from the total iniquity which permeates mankind. The final resolution occurs at the words dona nobis pacem. A highly dissonant sonority at the beginning of this textual passage gradually relaxes to an open fifth, showing

God's affirmative answer to the pleas of guilt-ridden but believing man.

One might call the farm of this movement through-composed with motivic resemblances effecting structural unity as opposed to a pre-existing form. Pursuing the view, then, that whatever macro- structural entity exists is solely the result of microstructural interactions and relationships, the microstructural analysis will

given first.

& . 5 - Z 5 /}qnU5 m .I 1 W . § u r Cf Credp at ChAAtihxaS

4 'iff m r« e p . & 3 3 s fa?" vr trcn f jnr (*- Xu!#,

n-y. q c a L ^ ______j— e,

L j M * , - ~ ■/ rbtr~ ^ p- - i— «

Hhv * ^

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Tho ensuing miserere nobis is motivioally related to measure 17ff» of the Kyrie. Keasure 31ff • is based on the opening statement of the

Gloria, measures 1 - U, and measure 3Uff« has the following derivation:

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The qai tollis peccata mundi passage (measures $7 - 5 8) is shorter than that which occurred earlier (measures 7 “ 10).

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If there is to bo a pre-conceivcd form to be imposed upon this movement, there are at least two possibilities. The first follows the text and has the form ABC ABC ADD with the following distribution of durations: 105

TABLE 9

Section Measures Text

A 1 - 7 Agnus Dei B 7-12 qui tollis poccata mundi C 13 - lU miserere nobis

A 15 - 17 Agnus Dei B 18 - 20 qui tollis peccata mundi

C . 21 - 1*8 miserere nobis

A h 9 - 52 Agnus Dei B 53 - 61 qui tollis peccata mundi D 62 - 76 dona nobis pacem

The second possibility is that it could be a kind of sonata-allegro form with this distribution:

TABLE 10

Formal Event Measures Exposition 1 - I k Development 1 5 - k n Recapitulation a 9 - 61 Coda 62 - 7 6

The extensive use of the £ idea (see table at top of page) in the development section would preclude its use in the recapitulation even if the text were not considered. Ite, missa est. APPENDIX

Since the Ordinary of the Homan l-Iass sums up the cardinal tenets of Christianity, such as a Triune God, a Vicarious Atonement by the

God-man Jesus Christ, Baptism, God's holiness, His pre-eminence in all things, the mystery of Christ's dual nature, etc., it would seem proper to present a table of a statement-by-statement exposition of the

Ordinary with the accompanying scriptural application.

K Statement Scriptural Application

I Kyrie eleison God, be merciful to me, a sinner. Luke 18:13* R Withhold not thou tliy tender mercies from me, I 0 Lord,... Ps. hO:H

E Christe eleison Jesus, Son of David, have morcy on me. Ilk. 10:1-7

Gloria in excelsis Deo Glory to God in the et in terra pax homini- highest and on earth bus bonae voluntatis. peace among men with G whom he is pleased. Luke 2: ill L Laudamus Te Praise ye the Lord Ps. 150:1 0 Bonedicimus Te Bless the Lord, 0 my R soul. Ps. 103:1

I Adoramus Te You shall have no other gods before me. Ex. 20:3 A Glorificamus Te Hot unto us, 0 Lord,... but unto thy namo give glory,.., Ps. 115:1

1 0 6 107

Gratias agimus tibi 0 give thanks to the Lord.,, Ps. 107:1

propter magnara gloriam tuam Thine, 0 Lord is the greatness and the power and the glory, and the victory and the majesty; 1 Chron. 29:11a

G Domine Deus Rex coelestis ...for all that is in the heavens and the earth is L Thine; Thine is the kingdom, 0 Lord, and Thou are exal­ 0 ted as head above all. H Chron. 29:11b R Truly your God is a God of gods and a Lord of I king3,... Dan. 2:1*7

A Deus Pater omnipotens With God all things are possible. Matt. 19:26. Hallelujahl For the Lord I our God the Almighty reigns. Rev. 19:6 N Domine Fili unigenite For God so loved the world Jesu Christe that he gave his only- E begotten Son, that whoever believes in him should not X perish, but have everlasting life. John 3:16 c Domine Deus The Lord said to m y lord, E '•Sit at my right hand till 1 make your enemies your L footstool." Ps. 110:1 My Lord and my God... S John 20:28 In the beginning was the I Word, and the Word was with God, and the word was God. S John 1:1 For to us a child is born, to us a Son is given. •• D and his name shall be called "Wonderful, Counsellor, E mighty God, Everlasting Father, Prince of Peace." 0 Is. 9:6 108

G Agnus Dei Behold the Lamb of God who takes away the sin L ■of the worldj John 1:29 Worthy is the Lamb who 0 was slain.•• Rev. 5:12

R Filius patris Truly this was the Son of God. Me. 15:39 I Whoever confesses that Jesus is the Son of God, A God abides in him and he in God. I John h:l5 You are ny Son, today I I have begotten you. Ps. 2:7 You are tho Christ, the Son N of the living God. Matt. 16:16

Qui tollis peccata mundi ...the Lamb of God who E takes away the sin of the world! John 1:29 X ...the Lord has laid on him the iniquity of us C all. Is. 53:6

E miserere nobis Jesus, Master, have mercy upon us. Luke 17:13 1 Suscipe deprecationem ...we have an Advocate with 5 nostram the Father, Jesus Christ the righteous. I John 2:1 I ...Truly, truly, I say to you, if you ask anything S of the Phther He will give it to you in my name. John 16:23 D Qui sedes ad dextram The Lord said unto my Lord, E patris Sit thou down at my right hand until I make thine ene­ 0 mies thy footstool. Ps. 110:1

Tu solus sanctus I am God and not man, the Holy One in your midst. Hos. 11:9 ...Be ye holy, for I am holy. I Pet. 1:16 The God of Abraham, and of Isaac, and of Jacob, the God of your fathers hath glorified his Son Jesus j whom ye delivered up, and denied him in the presence of Pilate, when he was determined to let M m go. But ye denied the Holy One and the just, and desired a murderer to be granted unto youj Acts 3:13-11*

Tu solus Dominus For who is God but the Lord? II Sam. 22:32 You shall have no other gods before He. Ex. 20:3 The Lord is God; there is no other besides him. Deut* 1*:35

Tu. solus altissimus Therefore God has highly Jesu Christe cxaltod him and bestowod on him a name which is above every name,... Phil. 2:9

cum Spiritu Sancto The Grace of the Lord Jesus Christ and the love of God and the fellowship of the Holy Spirit be with you all* II Cor. 13tilt • ••in the name of the Father and of the Son and of the Holy Spirit. Hatt. 28:19 And tho Spirit of God was moving over the face of the waters. Gen, 1:2

in Thine, 0 Lord, is...the glory. II Chron. 29:11a

Araon For the promises of God find their Yes in him. That is why we utter the Amen through him, to the glory of God. II Cor. 1:20 n o

C Credo in unum Deum Hear, 0 Israel; the Lord our God is one Lord. Deut. 6 i k R Patrem omnipotentem ...For the Lord our God Al­ E mighty reigns. Rev. 19:6

D Factor em coeli et terra In tho beginning God created the heaven and the earth. 0 Gen. 1:1

Visibilium omnium et A n things were made invisibilium through him, and without him was not anything made that was made. John 1:3

Et in unum Dominum Jesum (see earlier) Ps. 110:1, Christum John 1:1, Is. 9:6. ...and now, Father, glorify Thou lie in Thy presence with the glory I had vath Thee before the foundation of the world. Jolin 17 :5

Filium Dei unigonite (See references under Domini et ex patre natum F n i unigenite in the Gloria)

ante omnia saecula (See John 17:5 supra) Jesus said unto them, Verily, verily I say unto you, Before Abraham was, I am. John 8:58

Deum de Deo I and my Father are one. John 10:30

Lumen de lumine God is light, and in him there is no darkness at all I John 1:5

Deum verum de Deo vero And tliis is eternal life, that they may know Thee the only true God and Jesus Christ whom Thou hast sent. I glorified Thee on earth, having accomplished the work which Thou gavest me to do; .and now, Father, glorify Thou me in Thy own presence with the glory which I had with Thee before the world was made. John 17:3-*5 Ill

C Gonitum non factum You are my Son; today X liave begotten you. Ps, 2:7 R Consubstantialem patrem X and my Father are one. E John 10:30

D Per quem omnia facta sunt (Gen. 1:1, John 1:3 supra.)

0 Qui propter nos homines And there is salvation in ot nostram salutem no one else, for there is no other name under heaven given among men by "which c we must be saved. Acts li:12 o descendit de coelis Ho one has ascended into hoaven but he "who descended n from heaven, the Son of Man,... John 3:13 t' ot incarnatus est ...for unto you is born d. this day in the city of David a Savior which is Christ the Lord. Luke 2:11 And the “Word became flesh and dwelt among us, full'of grace and truths we have boheld his glory, glory as from the only Son from the Father. John l:lU

de Spiritu Sancto ex And Mary asked the angel, Maria Virgin© "How can this be, since I have no husband?" And the angel said to her, "The Holy Spirit will come upon you, and the power of the Most High will overshadow you; therefore the child is to be called holy, the Son of God." Luke l:3l|-35

et homo factus est (John 1:1U supra)

Crucifixus And they crucified him and divided his garments among .thorn to decide what each man should take. Mk. l£:2U And when they were come to the place, which is called Calvary, there they crucified him,... Luke 23:33 1 1 2

C etiam pro nobis For God has not destined us for wrath, but to .obtain R ■Salvation, through our Lord Jesus Christ who died for us E so that whether we wake or sleep we might live with D him. I Thess. 5:9-10

0 sub Pontio Pilato So Pilate, wishing to sat­ isfy the crowd, released for them Barabbasj and having scourged Jesus, he delivered him to be crucified. Mk. 15:15 o pas s u e And Jesus uttered a loud n cry and breathed his last. Mk. 15:37 t> et sepultus est And Josoph took the body, d. and wrapped it in a clean linen shroud, and laid it in M s own tomb.... Matt. 27:59-60

Et resurrexit tertia die "Thus it is written that secundum Scrioturas Christ should suffer and on the third day rise from the dead. lie. 2li:i+6

et ascendit in coelis And when he had said this, as they were looking on, he was lifted up, and a cloud took him out of their sight. Acts 1:9

Sedet ad dextram Patris (See Ps. 110:1 at suscipe deprecationom nos tram in'" tKer,Glori‘a)* \;e have a High Priest, one who is seated at the right hand of the majesty in heaven. Hcb. 8:1 But he, being full of the Holy Ghost, looked up steadfastly into heaven, and saw the glory of God and Jesus standing on the right hand of God. Acts 6:£5 113

C ot iterum venturus est cum Y/hen the Son of Man comes gloria in his glory and all the R -with him, then will he sit on his throne of £ glory. Matt. 2^sip. T h i s Jesus who was taken up from you into heaven will come in the same way 0 as you saw him go into heaven. Acts 1:11 c judicare vivos et For the Son of Man is to mortuos come -with his angels in the o glory of his Father, and then he will repay every man for 21 what he has done. Matt. 16:27 t« cujus regni non erit His dominion is an ever­ d. finis lasting dominion which shall not pass away and his kingdom one which shall not be destroyed. Dan. 7 : 2 h Hie kingdom of this world has become the kingdom of our lord and of his Christ. Rev. 11:15

Et in unum Spiritum (See cum Spiritu Saneto) Sanctum in the Gloria supra.

Dcminum ot vivificantem Truly, truly I say unto you, unless one is born of water and of the Spirit, he cannot enter the kingdom. John 3:5

qui ex Ratre Pilioque ...He breathed on them and procedit said to them, Receive the Holy Spirit. John 20:22 And they wore all filled with the Holy Spirit and began to speak in other tongues as the Holy Spirit gave them utterance. Acts 2 t k

qui cum Patre et Filio And I will pray the Father simul adoratur et con- and he will give you another glorificatur Counselor to be vrith you forever, even the Spirit of truth whom the world cannot receive because it neither llU

c sees M m nor knows him; you know him, for he dwells R with you and will be in you, John lii:l6-17 E qui locutus est per All Scripture is given D prophetas by inspiration of God.., XI Tim. 3sl6 0 Mon moved by the Holy Spirit spoke from God. II Pet. 1:21 c Et in unan sanetarn ...on this rock will I o catholicam et apostolicam build lit/- Church, and the ecclesiam gate of hell shall not n prevail against it. Matt. 16:18 t* ...He died for all... II Cor. 5:15 d. For just as tho body is one and has many members, and all the members of the body, though many, are one body, so it is with Christ. For by one Spirit were you baptised into one body - Jews or Greeks, slaves or free - and all were made to dr ini: of one Spirit. I Cor. 12:12-13

Confiteor unum baptisma (John 3:5* See Domlnum et in reraissionem peccatorum vivificantem. supra) Go therefore and" make disci­ ples of all nations, bapti­ zing them in the name of the Father and of the Son and of the Holy Spirit. Matt. 28:19

et expecto resurrectionam For I know that my Redeemer mortuorum lives and at last he will stand upon the earth and af- tor my skin has thus been de­ stroyed, then from my flesh I shall see God, whom I shall see on my side, and my eyes shall behold and not another. Job 19:25-27 HfcdtJ CO C £3 O >• WCK30g|t>(fl pi cf |3 o O QtJWfdO ft i peccata peccata mundi Dona nobis paccm nobis Dona Miserere nobis Miserere tollisqui Dei Agnuc Benedictus qui qui in Benedictus vcnit gloriam tuam magnan ncoiine Domini Deus Sabaoth Dominus sanctus, sanctu3Sanctus, Amen Pleni sunt coeli et coeli terra sunt Pleni sna Osanna in excelsOsanna, is et et vitara saeculi venturi

And the of peace God, And ry peace I give to I you;..*peace ry hearts and minds in and heartsin Christ minds standing, irill your keep which all passes under­ eu. Phil.U:7 Jesus. John lit:27 PeaceI leave youjwith at 21:2a Matt. Blessed comeswho is Blessed he 21:?b Matt. •and them Igive eternal life, in the in ofthe name Lord Heaven and of Lord hosts. isthe holy, Holy, holy John rr^i John rr^i (Kark 10:!;7, See Kyrie) Hocanna in Hocannathe in highest. fTygoy I. 6:3 Is. Thyof glory. (Seecrui of Gloria tollis the earth are full whole follow they and them,know me; tfcrsheep and I hear my voice, and oneshallnoand them snatch they and nevershall perish, ence). u fm ad Johnout of 10:27-28 my hand. (See of Gloria refer­ for Amen -----

n$

BIBLIOGRAPHY

I. Books:

• Apel, Willi# Gregorian Chant. Bloomington, Ind.: Indiana Univers ity fee's s,

Butler, Charles. The Principles of Husik. London: John Haviland, 16357

Grout, Donald Jay. A History of Western Ilusic. New York: Horton, c1960.“

Harrison, Frank Llewellyn. Ilusic in Medieval Britain. London: Routlcdge and Kcgan Paul", cl£53 •

Jungmann, Josef. The Early Liturgy. Translated by Francis Brunner, C. 557 P.. JJotrc Dame, Ind.: University of Notre Dame Press, 1939*

, The Mass of the Roman Rite. Translated by Francis Brunner, 2 vols. IJcvj York: 3enziger Bros., c1955*

Parsch, Pius. The Liturgy of the Mass. 3rd edition. Translated and adaptetPby n. E. VJTnstone. London and St. Louis: B. Herder, c1937*

Wagner, Peter. Gcschichte der Messo. 1 vol.. Leipzig: Brcitkopf and Haertel, ~l9l3'*

, History of Plain-Chant. Translated by Agnes Ctrme and liV'GT P.Hyatt. London: Hlainsong and Medieval Ilusic Society, Cn. d.J

II. Articles:

"Mass'* in The Oxford English Dictionary 10 vols. with supplement and bibliography, London: Clarendon Press, 1933* VI 203, 206. "Mass'* in Webster *s Mew Tntcrnational Dictionary. 2nd edition. Springfield, Mass.: Mcrriam Smith, 1937* p* 1310.

1 1 6 117

The New Oxford History of Music. 1| vols to date. London; Cbd'ord"VnivcrsiiyTi’ass, 1957-• Vol. II contains Higini Anglos. '’Latin Chant Before St. Gregory" and Jacques Handschin. "Tropes."

Rubsamen, VJalter. Contribution to "Current Chronicle" in Musical Quarterly. XXXVI (1950). 58l-8lj.

Zagriba, JTanz. "Die 1-Iesse in Griechischor Sprache" in Die Musik in Geschichte und Gegonwart. ll; vols. to date. Kassel; iBarenrciter, l9U^-» 158-16 7 .

H I . Music:

Bruckner, Anton. Anton Bruckner's Sibntliche VJerke. 17 vols. to date. Vienna: J'fusilcwisscnschaitiicheF V erlag der internationalen Bruckncr-Gcsellscaft, 1950-• Vol. XVI contains the Hesse D-moll edited by Leopold Nowak. *"

Davison, Archibald and Apel, Willi, comps, and eds. Historical Anthology of Music. 2 vols. Cambridge, Hass.: Harvard- University Press, 19U6-50. Vol. I contains two anonymous Kyrie tropes, one on page 27 and the other on page UO.

Documenta Polyphoniae Liturgicae. 1 series in 2 vols. Rome* International Societyoi* ii't. Cecilia, 1950. Vol. II contains Dunstable, Kyrio and Gloria Jcsu Fili Dei V.ivi and Loonel Power (asc.) Hiss a 1‘Uit Homo Missus .

Des Pres, Josquin. Werken van Josquin Des Pres. Edited by A. Smijers. llTvoIs". Leipzig: C.r'.U. Siegel, and Amsterdam: G. Alsbach, U-925-313 • Vol. XIV contains the Hissa L*Homme Arme Sexti Toni.

Dufay, Guillaume. Opera Omnia. Edited by Willem de Van and Heinrich Besseler. “S'vols. to date. Rome: American Institute of Musicology in Rome, 19U9-* Vol. II contains Hissa Cine Nomine and Vol. H I contains Missa Se'ta Pace ay‘ PaleT

Haydn, Joseph. Joseph Haydn y/erke. Edited by Jens Peter Larson. 32 scries to dato'.J fSxnxch-Duisberg: G. Kenle, 1958-• Series 23 contains the following Hasses: Hissa Brevis Sancti Joannes de Deo, Hissa in Tempore Belli, t-iissa Sancti Bcrnardi von of fida,"'Hissa in Angustiis, (Kelsonmcssc)', Tiicrcsicnmosse, and MassestH and 12. Edited by Glinter Thomas. 110

.Monument a L iturgiae Polychoral is: Ordinarium M issae. 18 v o l s . t o date" Home: Universal Society of St. C e c i l i a , 1950-. Vol. I contains Oraaio Benevoli, Hissa Tu Es Petrus. Edited by Laurenco Feininger.

Musica Britannica. 2 b vols. London: Stainer and Bell, 195>l-6£. Vol. VIII contains Dunstable, The V/orks of John Dun3tabic, edited by Manfred Bukofzer containing Hissa R ex Scculorum.

Ockeghem, Joannes. Collected Works. Edited by Dragan Plamenac. 2 vols. Hew Yorlcl Columbia University Press, 19b?• Vol. II contains Missa Mi-ni and .

Palestrina, Giovanni Perluigi da. The Complete V/orks of Giovanni Perluigi da Palestrina. 57 vols. "1fev7Yorkl ITalr,ius,“Cp. d.}. VolTl.1 contains Missa Quam Pulchra Es.

Pcrgolesi, G. B. Opera Ctnnia. Edited by F. Caffarelli. 5 vols. Rome: Friends ojTC hamber Music, 1939-bO. Vol. IV contains the Masses in C Major and D Major.

Schrade, Leo and Frank LI. Harrison, eds. Polyphonic Music of the llth Century. 5 vols. to date. Monaco: ' Editions de'Oiseau-Lyrec19£6~. V o l. I contains Anonymous French Mass Cycles of the Ordinarium Hissaeu Vol. Ill contains Machaut, La Hesse de No'stre Dame

Schubert, Franz. Franz Schubert's v/erke. Reprint of Breitkopf and Haertcl Critical’ Edition of ldbl-97• 21 series. Hew York: Dover, c196£. Series 13, Vol. I contains Mass in F major and series 13, vol. II contains Mass in E-fXat"liaj'or.~

Stravinslcy, Igor. Mass. London: Boosey and Haukes, 19U8.

Vaughan W illia m s , Ralph. Hass in G Minor. London: Curwcn, 1922. PERFORMANCE NOTES

The sound is l / k tone below indicated pitch.

Tho sound is l / k tone above indicated pitch.

Execute as many different frequencies as possible between tho outer lim its (in this c a s e A* a n d C11). Sustain either until cub- off is indicated by conductor or amplitude drops below audibility.

V/ithin the time-span of a half-note, execute a double glissando in opposite motion. The glissando lines apply only to the outer frcquoncy lim its. Those performers executing the interior part of the sonic blur aro to hold their frequency and enter into the glissandi only when they hear their frequency being reached by the outer parts, (e. g.) Go from a sonic blur on B^-a to one on d-f via a glissando in the timo-span of a lialf- n o te *

Spealc the text. Pitch is indeterminate. (Found in vocal parts only) Execute these blurs within the allotted timo-span (e. g.- two eighth-notes). IP

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