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Missa Prolacionum OCKEGHEM@600 $ Concert 9 Missa Prolacionum OCKEGHEM@600 $ Concert 9 SATURDAY, MARCH 9, 2019 Firs Church in Cambridge, Congregational SUNDAY, MARCH 10, 2019 S. Stephen’s Church, Providence Missa Prolacionum Of contrapuntal wizardry, subtlety and suavity OCKEGHEM@600 $ Concert 9 Tis season’s programs in Blue Heron’s Ock- Glarean, writing in the middle of the sixteenth Jean Mouton (before 1459-1522) eghem@600 projec feature the few works for century, relegated Ockeghem (whom he knew Ave Maria gemma virginum which Johannes Ockeghem was known in the as Okenheim, jus one of the many versions of sixteenth century. In the fall we encountered the composer’s name found in early sources) Johannes Ockeghem (c. 1420-1497) the Missa Cuiusvis toni, which may be sung in to the satus of a footnote to his ecsatic treat- Prenez sur moi vostre exemple amoureux • jm st pg any of three modes; today we present the song ment of Josquin, the anointed maser of the Prenez sur moi and the Missa Prolacionum, the next generation. Ockeghem frs a minature maserpiece of canon, the sec- Missa Prolacionum ond a canonic encyclopedia. A somewhat older composer was Kyrie 3 Gloria 3 Credo Okenheim, also a Belgian, who is Te rather detailed technical notes that follow said to have excelled everyone in this are intended to help the curious lisener appre- skill [of writing canons]. Indeed, he intermission is known to have composed a certain ciate something of what Ockeghem created in chatering song in 36 voices. We have Ockeghem the later two pieces. I want to emphasize, how- not seen it. He was certainly admirable Quant de vous seul je pers la veue • kl jm st ever, that one need not know anything about in invention and keenness of skill. He Ung aultre l’a, n’en querés plus • mr ms sm the compositional artifce that undergirds this also loved the katholika in song, that is, Les desleaulx ont la saison • mn mb sm music in order to be enchanted by its beauty. songs composed so that they could be Je n’ay dueil que je ne suis morte • mr kl st pg Ockeghem was as much a sensualis as he was sung in many ways [modis] according a man of formidable intellec. In the opinion to the will of the singers, yet so that the Ockeghem of his learned contemporary Johannes Tinco- relationship of the harmony and the Missa Prolacionum ris, Ockeghem’s works “exhale such sweetness consonances would be observed no Sancus 3 Agnus dei that in my opinion they are to be considered less; the following song of his is con- mos suitable, not only for men and heroes, but sidered the foremos of such a kind, in which song it is necessary that you Pre-concert talk in Cambridge by Sean Gallagher even for the immortal gods, Indeed, I never have ears. It is the Fuga trium vocum in (New England Conservatory of Music) hear them, I never sudy them, without com- Epidiatessaron (for so they seak now), ing away more refreshed and wiser.” Or, as the pos perfecum tempus. American musicologis Peter Urquhart puts it, Ockeghem’s canonic music is “as much calcu- Heinrich Glarean, Dodecachordon lated to please the ear as the eye.” (Basel, 1547), bk. 3, ch. XX, p. 454 Margot Rood, Kim Leeds, Martin Near Ockeghem@600 is Blue Heron’s long-term project to perform cantus the complete works of Johannes Ockeghem in a series of concert programs presented between 2015 and 2021. Professor Sean Within a few decades of Ockeghem’s death in In this passage, Glarean frs refers to Ockeg- Michael Barret, Jason McStoots, Gallagher joins Blue Heron as adviser for the entire project. 1497 tase had changed so thoroughly that his hem’s reputed skill at writing canons, men- Mark Sprinkle, Sumner Tompson music, at once intoxicatingly complex and be- tioning a 36-voice canon which he has not tenor & contratenor guilingly sensuous, began to seem unpleasing- seen. (Indeed, no such piece is known to exis, Blue Heron is funded in part by the Massachusets ly overcomplicated. He came to be regarded although a motet for 36 voices is praised in the Paul Gutry & Peter Walker Cultural Council, a state agency. a sort of wizard, as Sean Gallagher has said3 Déploration composed by Guillaume Crétin bassus BLUE HERON admired for the technical skill dislayed in a not long afer Ockeghem’s death.) He goes on Scot Metcalfe 950 Watertown St., Suite 8, West Newton, MA 02465 small handful of works, but not loved, as he to tell us that Ockeghem loved a type of music director & harp (617) 960-7956 • [email protected] • www.blueheron.org had been during his lifetime, for both subtilitas Glarean calls a katholikon which might be sung (ingenuity) and suavitas (sweetness). Heinrich in various ways (modi). As an example he pro- 2 3 vides the song Prenez sur moi, a canon (fuga) for example, or Row, row, row your boat. Tese Here the notes are preceded by a thicket of natures (albeit rather confusingly misaligned in three voices (trium vocum) at the harmonic are both simple canons in which four voices flats and sharps3and no clef to indicate on this frs sysem of music) that tell us in the interval of the upper fourth (in epidiatesseron) entering in turn sing the same melody begin- which notes fall on the lines and saces! At mos compac way possible what note each of and the time interval of one perfec breve (pos ning on the same pitch. A ffeenth-century leas, that is how modern eyes perceive it. To its three voices should sart on. Te frs voice perfecum tempus). Tis song, Glarean informs musician might describe that as a fuga quatuor a ffeenth-century musician, however, these is governed by a pair of fats or fas, one a ffh fats and sharps do not signify “accidental” in- above the other: in a scale of only natural us, “is considered the foremos of such a kind,” vocum in unisono. (And Frère Jacques, like Row, adding that in this piece “it is necessary that fecions of a note up or down, but are used notes, fa falls on C and F, and the singer begins row, row your boat, is a secies of canon that can you have ears”! But what did Glarean mean as a shorthand for the solmisation syllables fa on the note halfway between them, A. Te when he called Prenez sur moi a katholikon, and be sung forever simply by going back to the and mi, the fat representing fa and the sharp, second voice to enter reads a fa a ffh above why should this song in particular require the beginning, over and over again3a perpetual mi. (Medieval solmisation, ut-re-mi-fa-sol-la, a mi, which mus be F above B, and begins on singer to have ears? canon or round.) is the ancesor of our do-re-mi.) So these fats D. Te third reads mi above mi, B above E, and and sharps are acually three separate key sig- begins on G. A canon is a piece in which several parts are Te music can be notated with jus one line; generated out of one. Probably everyone read- the second voice sarts from the beginning ing this knows a canon or two3Frère Jacques, when the frs reaches the litle sign, and so on: Te three voices of Prenez sur moi and their fa-mi signatures Tis manuscript of Prenez sur moi omits the mark the entries.) From the las notes of each signs that would indicate when the second and part and the cadential formula they produce third voices are to enter, but it does include one can also easily deduce the harmonic in- Prenez sur moi, too, can be notated as one line poraries sill undersood, but that undersand- signs at the end of the piece that tell the sing- terval of the canon, which is the upper fourth: of music, but for centuries its notation posed ing was los over the next century or so and ers when to sop, and those signs are placed at that is, the second voice sarts on a note a a riddle. It was writen down in the ffeenth modern musicologiss sruggled with it until a disance of one perfec breve, pos perfecum fourth above that of the frs, and the third a century in a way that Glarean and his contem- relatively recently. tempus, jus as Glarean says. (Other sources do fourth higher sill. Te opening of Prenez sur moi resolved into score with modern clefs and the mi-fa semitone indicated Te opening of Ockeghem’s Prenez sur moi in the Copenhagen Chansonnier (Copenhagen, Det Kongelige Bibliotek, MS Tot 291 8˚, f. 39v, detail) 4 5 All three voices use the same scale of natural working out on a comparatively small scale a Canons in the Missa Prolacionum notes3the white notes on a piano. Te result procedure which is explored comprehensive- of this procedure is that the precise interval- ly in the Mass. As the table below shows, the No. of Harmonic Time How Time Interval lic content of the melody changes from voice Mass sysematically presents a series of can- Secion Voices Interval Interval Is Esablished to voice: a semitone in one voice may be an- ons at every harmonic interval from unison swered by a whole tone in another, a minor to ocave. Almos all the canons are double KYRIE third by a major third. Each of the three parts canons or canons 4 ex 2, in which two writen Kyrie I 4 ex 2 unison 2 perfec breves mensuration canon sings “a modally diFerentiated version of the parts generate four sounding parts.
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