The vocal and choral music of the Renaissance provides a great wealth The Missa Pange lingua of of repertoire for the small mixed choir composed of young and most­ Josquin des Prez: ly untrained singers. The madrigal, An Approach to both in its performance with solo ensemble and with small choir, has Renaissance Performance Practice been a mainstay of high school and college programs for decades. by Barbara L. Hall Sacred music and particularly the mass setting, though no less suitable for such choirs, presents to decade, and even from perform­ Florentine Cathedral in 1502 the greater obstacles of language, of ance to performance. This article, fourteen singers were divided into musical style, and of performance then, seeks to suggest solutions to seven sopranos (five boys and two practice. Yet the masses of Josquin, these problems of performance adults) two altos, three tenors, and Victoria, and Palestrina, among based on one conductor's personal two basses.8 From the practical others, contain some of the most interpretation of the triad that links standpoint of today's mixed SATB powerful music of the Renaissance. historical, musical, and practical choir, an equal number of singers on In addition, an entire mass can pro­ factors. each part, unbalanced only in the vide the substantial core for a pro­ First, to perform a Renaissance case of a weaker group of voices in gram, thus relieving the problem of mass as a single musical entity any section, seems a good general a long succession of short unrelated defies the historical practice in rule. In fact, the young female works. which the mass was part of a larger soprano voice often has the The question of performance liturgy and was divided by other strongest and most developed tone practice can be divided into three sung and spoken portions into five rather than the weakest, thereby elements: historical authenticity, separate musical works.3 Some of nullifying the historical need to rein­ musical expressivity, and practical the decisions that must be made to­ foce this voice part. The use of at considerations. As concrete infor­ day for a concert performance of the least three voices but no more than mation on the historical practice of mass are predicated on the need for five or six per section avoids the pro­ the late fifteenth and early sixteenth variety that sustains the listener's as blems of too few to establish a blend centuries comes to light, we as per­ well as the performer's interest over and too many to maintain the clarity formers are constrained to incor­ a long span of time. The variation of .and purity of sound. Here the porate such material in the decision­ tone color, tempo, dynamics, phras­ historical precedent becomes making process that is performance ing, and articulation serves this end today's musical and practical solu­ preparation. Richard Taruskin in­ and may also serve to articulate the tion as well. sists that we have an "absolute in­ structure of the composition.4 The quality and characteristics of junction to take history into ac­ overall sound and hence of vocal We know with some accuracy how production as well are nearly im­ count," but he sees this demand as a many singers were employed at challenge that frees us from unques­ possible to document precisely. court chapels and cathedrals in Italy Himself a singer, Josquin was called tioned assumptions and guides our during Josquin's active years search for "the identification of per­ a "master of singers" by Glareanus (1460-1520), and that the numbers and surely demanded a particular formance style with the demands of were often determined by politics, the music."1 This "authenticity of vocal quality for the performance of wealth, and social custom rather his music. An exact contemporary conviction" rests on "knowing what 5 than by aesthetic preferences. The of Josquin, the theorist Franchinus you mean and whence comes that number ranged from four (one knowledge."2 Thus the responsibili­ Gafurius, offers an unusually clear singer on a part) in smaller chapels statement of what this idea! tone ty of the performer goes beyond in the 1470s to a total of thirty musicological research to the might have been: singers at the Sistine Chapel in ... in performing they should not thoughtful coordination of historical 6 1521. These are extremes; a tota I of project their voices with an and musical factors. fifteen to twenty-four singers was This task is made more liberating unusual and unsightly opening of more common, particularly in the their mouths, or with an absurd by the certain knowledge that for decades around the turn of the six­ loud bellowing when they strive the majority of works from teenth century.? after melodies, especially in the Josquin's time more than one style Usually these choirs were com­ divine mysteries. They should also of performance is historically possi­ posed of men and boys, with the ex­ spurn excessive vibrato and voices ble. The number of performers ception of the choir of the Sistine which are too loud, for they are not varied, the pitch at which the works Chapel which had only adult singers. compatible with other voices similarly pitched. lO were sung differed, the use of in­ In general, boys were used only on strumental accompaniment was the top part and often were joined by He also warns against "an ex­ fixed neither as to instruments used one or two adult male sopranos. travagant and indecorous move­ nor to their use at all, and tempos Perhaps because of the lighter boys' ment of the head or hands" since on­ and dynamic levels surely differed voices and falsetto tone of the men, ly "a well-modulated voice" pro­ from church to church, from decade the number of sopranos often was duces the desired tone.ll Hall is head of the music program at Cen­ twice as high as the number of any Experience confirms that a tone tre College Danville, Kentucky other part. For example, at the on the light, pure, and straight side February 1986 Page 5 improves the blend within each sec­ recorded performances.13 More than this reason, one or more tenors fre­ tion and within the group, purifies thirty years later, Noble would be quently join the altos for low the intonation, and projects the pleased to find the large number of passages; the reverse also solves the clarity of each linear strand of performances striving for this clari­ problem of high phrases in the tenor melody. This last pOint is particular­ ty. parts where, to keep the tone pure ly apt for the music of Josquin's The young undergraduate voices I and full enough, one or more altos time. The principle of composi­ work with achieve this light sound join the tenors. Since a soloistic tion-a counterpoint of equal without strain. The tenors and vocal color is avoided in all sections, voices-"should be mirrored in the sopranos use a light head tone while this crossing of color actually adds sound."12 In his 1953 survey of six­ the basses can use a fuller tone but to the blend and ease of projection teenth-century sacred music on with brightness for clarity in the low for each melodic strand. records, Jeremy Noble found that range. The altos have the most dif­ Because of the original disposi­ "the absence of this linear quality ficulty since their part often lies tion for men and boys, most ... is the most general failing" in the quite low in range and tessitura. For Renaissance sacred works are too low for performance by a mixed choir at original pitch. Again, the practical considerations are con­ gruent with historical precedent. Transposition up a major second and even up a minor third was not infrequent during the Renaissance.14 In addition, according to Peter Phillips "we cannot with any certain­ ty predict what pitch was considered to be normal."15 Only in cases of the association of a particular tessitura with a symbolic meaning, such as Performing Arts at Oberlin • Summer 86 the unusually low range of some Re­ June 15-August 9 quiem Mass settings, would a reasonable and practical transposi­ tion not serve the music. In my edi­ tion of Josquin's Missa Pange lingua Oberlin Conservatory the transposition is a third higher than the original score. However, in several performances the choir sang of Music Institutes the work a half step lower or a half step higher than notated; the higher pitch in particular produced better and Workshops overall intonation. Vocal Enrichment Institute The matter of instrumental ac­ July 6-July 12 companiment of sacred music also lacks definitive historical answers. • unique opportunity for intensive study of technical and The musicological con census is practical aspects of performance for high-school. college. against any instrument other than and private students and teachers of singing organ being used as part of a -Richard Miller. Director liturgical service. 16 Though there is Performing Arts at Oberlin Summer 86 includes eight no conclusive evidence that the organ actually accompanied the Conservatory workshops; the Oberlin Theater Institute with a singers, Frank D' Accone agrees with professional repertory company of American theater artists Professor Helmut Hucke that and members of the Royal Shakespeare Company as actor­ teachers; and the Ohio Ballet. For information. contact the Oherlin Conservatory of Music. Oherlin College. Oherlin. Ohio 44074. 216/775-8200. For the Baroque WHOLESALE Performance Institute. telephone 216/775-8268. GROUP AIR TRAVEL

Book your own air fare! Save Thousands of Dollars Call person to person collect - Dick Madsen (801) 272-8093 ET. WORLD TRAVEL,INC. 4685 So. Highland DrivelSalt Lake City, Utah 84117

PageS THE CHORAL JOURNAL "because of its privileged and un­ shadings, and adjustments of tem­ troverted tone and quicker tempo questioned position ... (the organ) po. Such suggestions have historical can be used here to close this first might therefore very well have precedent as well. Vicentino in his movement of the mass. become an integral part of 'a cap­ L'Antico musica (Rome, 1555) en­ 2. The litany of praise in the Gloria pella' performance.")? Howard courages choices of piano or forte, beginning "Laudamus te" Mayer Brown points out that the presto or tardo based on the words through "glorificamus te" gains Cathedral at Cambrai and the and nature of the text.20 Drawing an impact with a dynamic crescendo Sistine Chapel in Rome both ex­ analogy with good oratory he states: that confirms the gradually plicitly forbade the organ's use as an denser texture and the octave ex~ accompaniment t6 the singers and the composition sung with tension that caps this section in he concludes that: changes of tempo is more pleasing the highest voice. in its variety than that which is 3. After the homophonic passage most of the polyphony of the 15th sung without being varied all the "passus et sepultus est" that ends 21 and early 16th centuries set to way to the end. on a low, closed-position chord, a Latin words was probably per­ louder and crisp attack for the formed more often then by voices Beyond the single consideration of tempo, this statement reflects an at­ polyphonic "Et resurrexit" seems alone than by voices and in­ only natural. struments or by instruments titude toward performance practice 4. The Hosanna falls into two sec­ alone. IS that recognizes the need for ex­ pressivity and communication. tions: the opening duple-meter In practice, the a cappella choral Four short examples of how to duets between the lower and up­ sound can be beautiful and ex­ add variety may suggest other per pairs of voices, and the clos­ pressive, and can achieve absolute possibilities for expressive perform­ ing extended section in triple purity of intonation. What exactly an ance. meter in four-voice counterpoint. organ might play remains a question Whether one chooses a more mar­ answered only for later eras. The use 1. The second Kyrie begins with the cato articulation for the opening of other instruments-wind in­ upper voices and has an extended and more legato for the close as I struments being the ones most easi­ sequence in the middle. A did, or some other contrast of ly defended on historical brighter, louder, more ex- delivery, the resulting structural grounds-would add variety of col­ or. However, such variety may also be achieved by the adoption of a kind of vocal alternatim practice not College of Music, University of Colorado, Boulder unknown in the Renaissance. The Presents: alternation of tutti and soloists had been a practice as far back as the medieval era in monophonic/poly­ phonic exchanges and in the singing of responsorial texts. But it was also a normal practice in the singing of masses, most logically in duo or trio sections sung by soloists in contrast Methods and Principles to homophonic passages sung by the chorus. In Josquin's Missa Pange of Music Education lingua any or all of the following sec­ tions can be assigned to solo voices: Summer 1986 "Christe eleison" July 14-25 "Qui tolIis peccata mundi" up to ~odaly "Suscipe" (Gloria) "Qui sedes" up to "miserere nobis" Levels I, II, and III • 2 sem. hrs. graduate credit optional (Gloria) Course work may be applied to Kodaly Certification or "Genitum non factum" up to "Et Master of Music Education Degree, Kodaly Emphasis. incarnatus est" (Credo) "Et in spiritum" up to "Confiteor" STAFF: Jean Sinor, Mary Goetze (Credo) o Pedagogy "Pleni sunt coeli" (Sanctus) "Benedictus" o Children's Choir and Vocal Development "Agnus Dei II" • Solfege and Musicianship Training • Folk Song Analysis If the choir has five or six voices per section, a reduction to two or three • Special Topics voices can also achieve a similarly For Brochure, Certification Requirements and Housing effective contrast of color. Information, write to: Variety and textual expression Professor Gretchen Hieronymus Beall, College of Music, can both be served by using dif­ Box 301, University of Colorado, Boulder, CO 80309·0301 ferent articulations, dynamic

February 1986 Page 7 clarity justifies taking the liberty. Example 1. Kyrie II, Soprano, mm. 1.6.23

This last example raises the ques­ tion of coordinating successive pro­ portions, here q: followed by a sec­ tion in ~. Though I chose to accom­ modate the triple meter to the duple Example 2. Kyrie II, Soprano, mm. 1·6. (0.= 0) I tend to agree with Richard Taruskin who states that probably the practices of the Renaissance were multifarious, ranging from careful mathematical proportionali­ ty to the looser piu or meno mosso. 22 Another and even more signifi­ all parts according to a consistent signature. This practice does a great cant rhythmic problem arises from metric pattern set at the beginning disservice to the independent and the modern score which usually bars in the form of a modern time asymmetrical flow of each in­ dividual line. A short example notated in two different ways will il­ lustrate the problem. "Where in the world will you go for an encore?" 1. Using a strict ~ signature the sec­ ond Kyrie opens in the soprano as shown in Example 1 (here transposed up a third from the original). This notation syn­ copates the rhythm between measures 2 and 3,4 and 5, and in the middle of measure 2 (where the third beat is not clear) and measure 5 (where beats 2 and 3 are not clear). 2. An alternate unbarred version .,ot this same passage with phrase RUSSIA MEXICO 'SPAIN HAWAII marks suggests the natural ACAPULCO MADRID OAHU OF LIBERTY assymetric flow of the music. (Ex­ YUCATAN COSTA DElSOL . MAUl UNVEILING MEXICO CITY GRANADA KAUAI FESTivrrIEs ample 2) This latter version highlights the irregular units of • Outstanding • Endorsed by from royal comrneritsl through certairi dates. for all your performances Mexico palaces in clinicS, and . . Encore and "Encore travel needs . two and three. gives integrity to • inspection Government Spain and workshops: publicity performances while pladng trips available • Muchmore Russia-to such interface provided in "are well a strong the rhythmic figure J J'and its • Prestigious than a travel World's Fairs is rarely recognition attended by emphasis on augmentation to J J at the invitations agency allowed in of your enthusiastic the perfor- • Experience ...... mostfesti-. acceptance . audie~ces mancesand cadence. • Guaranteed, Encore vals: LOcal Because and tours are educational In a 1952 review of recordings Ot­ publicized carefully officials. and Encore does ,IVailable value of your perf~rmafi(;es inspeds each . dignitaries not depend . yearrouI1d. tour. to Gombosi states the case for a • Educational perfonnance AdjudiCatorS will attend On other' ...... rhythmic notation faithful to site from the can also be special ban- performing Encore is not Encore Palace of provided to quets in your groups to be a mere travel Performing Renaissance precepts with per· Fine Arts to enhance honor_By .youraudi- agency:ltisa Tours suasive clarity. orphanages; your trip and application; encewe do', tour manage- 1275 Fort from World will be aVail- special invita- not restrict ;mentcom- Union Blvd. ... the (modern) notational picture Cup soccer able for tions are your tour to· panyacting Suite 220 tends to obscure the musical half times to available as your Midvale, impresario Utah 84047 meaning and there are still some Inside Utah spots of rattling syncopations ... (801)566-4454 The polyrhythmic texture is in full bloom and conveys that living quality. that richness of life and movement. that expressive abun­ dance that is the lifeblood of Jos­ quin's intricate simplicity.24 For practical reasons. though against my truest wishes (which

Example 3. Hosanna, mm. 1-4.

~"'t.. ).1~ --Cc F~J0~ -UJ L __ -.!-J.L..L.:.:.:.F-- p"=~ -~=;; ~_ - --~ - I ~ - ~ -- I ~ - --1 -- - I I I I I I '- ~r·fr·r!~r-t':"L~-:?"__ .- 7'w1q. - . IJ -_: r.:.. P_ -.=1 (-I. _"-~:"'_';';' -~.. ~b. .--. -'::_~'.-. -- ==_-_~'.~~:. _-::::~ -=--=- .. _ Page 8 THE CHORAL JOURNAL would have everyone except the conductor reading from partbooks), I add mensurstriche (barlines that reach between staves but do not U mlU. VelfSu.fty of cross the staves) which facilitate rehearsal. Example 3 from the Department of Music Hosanna, though admittedly more cluttered visually than the usual modern barring, gives each line a announces four tenure track faculty positions beginning 1986/87: freedom of rhythmic flow and clear­ ly illustrates the rhythmic DffiECTOR OF CHORAL· ACTIVITIES polyphony between voices that Duties: Supervise and coordinate department choral activities and recruit for program; conduct two choral ensembles; teach undergraduate conducting or Gombosi describes. In the absence choral rehearsal methods, graduate courses in choral conducting/literature (all of published editions that adopt this years). rhythmic approach, I have had to Required: Doctoral degree and college teaching experience or the equivalent in resort to making my own editions of professional background. Preference given to candidates with public school Renaissance music, but the results teaching experience. in performance have been well Rank and salary: Commensurate with experience. worth the time spent. This article has certainly not MUSIC EDUCATION (two positions) solved all the problems of perform­ Candidates will be selected who complement one another in their teaching specialties in order to secure the most desirable combination. Instrumental or ing sacred music of the vocal specialists. Teaching areas common to both positions may include: Renaissance. Rather, it has sug­ undergraduate methods and pedagogy courses, supervision of student teachers. gested that the solutions to these Continued affiliation with and activity in professional organizations is deemed problems may best be found in the important in each candidate. coordination of historical fact, musical sensitivity, and practical Graduate Music Education position (Masters and Ph. D. compromise. Understanding of the programs) text, of the principle of contrapuntal Supervise graduate research and expansion of graduate course offerings. composition, and of the vocal Teach.graduate program courses and undergraduate instrumental pedagogy. technique and resources of the high­ ReqUired: Doctoral degree, college and public school teaching experience. school or college singer, can be Candidate should have a continuing interest in research. Rank and salary: Commensurate with experience. reconciled with musicological research and enlivened with musical Undergraduate Music Education position (Secondary insights gained by thorough study of Certification program) Administer undergraduate program including refinement and expansion of the score. Only then can the per­ curricu,lum. Teach undergraduate courses in methods and pedagogy. former hope to achieve the "authen­ SUpeTVlse student teachers. ticity of conviction" characteristic of Required: Doctoral degree or progress toward the degree and public school any fine performance. teaching experience. . Rank and salary: Commensurate with experience. Footnotes ASSISTANT DIRECTOR OF BANDS (Eleven-month I Richard Taruskin, in his contribution to iUlPointrnenU "The Limits of Authenticity: A Discussion," Duties: Direct the Marching and Pep Bands coordinating with the Director of Early Music 12, no. 1 (February 1984): 10·11. Bands for the musical preparation of and recruiting for these ensembles; 2 Ibid., p. 3. 3 That the composer of the mass setting supervise show design as well as musical arranging and undergraduate/graduate considered it a unified work, however, is clear assistants for band and auxiliaries; conduct the Concert Band winter and spdng from the use of structurally unifying devices quarters; teach instrumental pedagogy courses in specialty. such as cantus firm us, motto openings, and Required: Masters degree and public school teaching experience. modal and cadential planning. Demonstrated success with marching .imSl concert band programs and literature. 4 See Cecil Isaac's review of a performance Specialty in brass or woodwinds. of the Missa Pange lingua by the Pro Musica Rank: Instructor or Assistant Professor. directed by Noah Greenberg in The Musical Salary: commensurate with experience. Quarterly XLVII (October 1961): 562-565. 5 Frank D'Accone, "The Performance of Sacred Music in Italy during Josquin's Time, Screening of applicants will commence February 15 but searches will c. 1475-1525," in Proceedings of the Interna­ remain open until filled. tional Josquin Festival-Conference, New York, 1972 (London, 1975), p. 602. The University of Utah is an affirmative action, equal opportunity 6 Ibid., pp. 603, 607. employer. Women and minorities are encouraged to apply 7 Ibid., pp. 605, 607; Thomas Warburton, "Editing and Performing Josquin's Mass," in Josquin Des Prez: Missa Pange lingua, edited For further information write or call: Dr. Ed Thompson, Chairman Department of Music -FOR CHANGE OF ADDRESS­ 204 DGH University of Utah, Salt L~ke City, Utah 84112 Be sure to notify the Editor at: (801) 581-6765 P.O. Box 6310, Lawton, OK 73506

February 1986 Page 9 by Thomas Warburton (Chapel Hill, NC: The and Letters 39, no. 1 (January 1958): 156_ 20 Nicola Vicentino, L 'Antico musica, University of North Carolina Press, 1977), p. 14 See Hugh Benham, "Some Performance translated by Carl MacClintock in Readings in 10; Nanie Bridgman, "On the Discography of Problems," in Latin Church Music (London, the History of Music in Performance (Bloom­ Josquin and the Interpretation of his Music in 1977), and David Wulstan, "The Problem of ington, IN: Indiana University Press, 1979), Recordings," in Proceedings of the Interna· Pitch in 16th-Century English Vocal pp.77-78. tional Josquin Festival·Conference, New York, Polyphony," Proceedings of the Royal Music 21 Ibid., p. 78. 1972 (London, 1975), p. 639. Association 93 (1966/7): 97. 22 Taruskin, p. 12. 8 D'Accone, p. 612. 15 Phillips, p. 195. 23 The examples are from my own edition 9 Bridgman, p. 638. 16 D'Accone, p. 615; Howard Mayer Brown, based on my transcription of Biblioteca 10 Franchinus Gafurius, Practica musicae. "<:horal Music in the Renaissance," Early Vaticana, Cappella Sistina, MS. 16. This Translated and edited by Irwin Young Music 6, no. 2 (April 1978): 164. transcription also served as the basis for (Madison: The University of Wisconsin Press, 17 D'Accone, p. 618. Thomas Warburton's edition of the work 1969), p. 160. 18 Brown, p. 164. (Chapel Hill, NC: The University of North II Ibid., p. 61. 19 Rene Bernard Lenaerts, "Musical Struc­ Carolina Press, 1977). 12 Peter Phillips, "Performance Practice in ture and Performance Practice in Masses and 24 Otto Gombosi, "Review of Records," 16th-Century English Choral Music," Early Motets of Josquin and Obrecht," in Pro­ Musical Quarterly 35 (October 1952): 134. Music 6, No.2 (April 1978): 196. ceedings of the International Josquin Festival­ 13 Jeremy Noble, "Sixteenth-Century Conference, New York, 1972 (London, 1975), Music on Records_ I: Sacred Music," Music p.625.

POSITION AVAILABLE RUTGERS, THE STATE UNIVERSITY OF NEW JERSEY, CONDUCTOR/MUSIC DIRECTOR of the Schola Cantorum, a 150-voice adult CAMPUS AT NEWARK symphonic chorus in the San Francisco Bay Area. Founded in 1964 by Royal Stan· presents a ton. Duties include four concerts per season; weekly evening rehearsals. Orchestral experience a must. Salary: $12,000 - $15,000 per year. Start about 7/1/86. New Jersey Interested candidates should call: Frank Zampino (408) 744-6501 (Day) Choral (415) 964-1658 (Evening) or The Schola Cantorum Office (415) 324-0922 Festival Paul Crabtree March 1-15, 1986 Featuring Guest Conductor Max Pommer Music Director, University of Leipzig Neues Bachishes Collegium Musicum, Leipzig

Symposium RWOOI Virtuoso Orchestra RW0Q4 Virtuoso! RW014 Holy, Holy, Holy Conductor Grammy Award Winner Music of the Christian faith Choral MusiC in Eastern Europe; The Bach Durufle: Three Dances Traditions in Leipzig and in America. RW0l8 Starlight Chorale Copland: Rodeo RW0Q6 Joy to the World Great Opera Choruses FRIDAY, MARCH 6 Gold Record RWOO5 House of the Lord RW020 Vaughn Williams: Mass in Guest speakers: Songs of many faiths GMinor; Bach: Christ Max Pommer, Alfred Mann, Thomas Dunn, RW027 I Dream of Jeannie (Digital) Stephen Foster/Folk Songs Lag in Todesbanden Ray Robinson RW009 Best of the Roger Wagner RW033 Folk Songs of the Frontier Sponsored by the New Jersey Chorale Christmas Carols RW042 Pope Marcellus Mass Favorite cowboy songs Committee for the Humanities Palestrina RWOlI0 Christmas Festival RW0l6 Walton: Belshazzar'S Feast RWQ46 America, the Beautiful RW022 Vive La France Gala Concert RWOO3 Voices of the South (Digital) Favorite songs of France Old songs and spirituals SUNDA Y, MARCH 8, 6:00 p.m. RW029 Sea Chanties Cathedrai' of the Sacred Heart, RW047 Plaisir D'Amour (Digital) RW013 Echoes From A16th Century European And American Songs RW026 Reflections Newark, New Jersey Cathedral A selection of old favorites.

For brochure please write All Selections $10.00 Each ~ John Eric Floreen Plus U.50 per order for postage and handling. Please list the selections you wish to order order Festival Director by number and title. Note after each whether you want records or cassette tapes. Add $1.50 Bradley Hall, Music Department to the total cost of each order for postage and handling. Be sure to enclose your NAME and NOW! ADDRESS and the total dollar amount. Make check or money order payable to: Rutgers, The State University ~ of New Jersey Wagner Enterprises, 5930 Penfield Ave., Woodland Hills, Ca. 91367. (818) 887-2335 Newark, New Jersey 07102 Please allow 4 weeks for delivery. Catalog brochure sent upon request.

Page 10 THE CHORAL JOURNAL