Unifying Elements in the Masses of Josquin des Prez

Editor's note: This article is based on a presentation made at the Research Poster Session in Los Angeles at the 2005 ACDA National Convention. The topic is based on research that the author undertook during doctoral studies at the University of Oklahoma.

he primary purpose of the present research is to survey the unifying elements in the masses of Josquin des Prez,

and to determine how these techniques are employed to unify movements within the masses and unify each mass as an entire process. While it is impossible to survey the entire output of Josquin's masses in the scope of this column, unifying elements employed throughout his musical output will be highlighted through the analysis of a representative mass from each period: Early-L'ami Baudichon; Middle-Missa La, Sol, Fa, Re, Mi; and Late-Missa Pange Lingua. It is my wish that a survey of Josquin's unifying compositional techniques and

Jason Paulk is director of choral activities at Eastern New Mexico in Portales, New Mexico.

February 2006 • CHORAL JOURNAL

by

Jason Paulk

analysis of three representative masses will illuminate the performance possibili­ties of this vast body of choral repertoire, while also making the process of analyz­ing Renaissance music more palatable and less intimidating by relaying some formal compositional processes that are representative in choral music of the era. Deeper understanding will ensure that the conductors experience more in-depth and informed analysis, more efficient listen­ing experiences, and ultimately, stron­ger and more effective performances.

Specifics about Josquin des Prez's life and compositions are often debated among musicologists. It is generally agreed upon, however, that Josquin's compositional output can .be divided into three periods. Macey describes the early period as spanning from 1450 until around 1485, just before Josquin's entry into the Papal Chapel in Rome. 1 Charac­terized by abstract, melismatic counter­point, this period was likely influenced by Ockeghem and Dufay. Relationships between textual and musical phraseology are inconsistent. The middle period lasted until 1505, when Josquin accepted the post of Provost at Conde-sur-I'Escaut, Borgogne (now France). It is during this period that he developed and perfected the technique of imitation based on word­generated motifs. The late period lasted

until Josquin's death in 1521 at Conde,

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53

where he continued to strengthen the connective relationships between text and music.

Missa L'ami Baudichon The primary unifying elements found

in the Missa L'ami Baudichon are cantus firmus technique, Ionian modality, head motif technique, imitation, sequencing, melodic reiteration, harmonic unity, and metric unification. Some of these elements can be seen within individual movements of the mass, including cantus firmus tech­nique, imitation, sequencing, and melodic reiteration, while the use ofIonian modal­ity, head motif technique, harmonic unity, and metric unification can be seen at work throughout the entire composition. The Missa L' ami Balldichon is classified as a cantus firmus mass: a mass based on a pre-existing melody, usually sung in long notes in the tenor voice. In this case, the melody is based on a French secular ballad that reminds the contem­porary listener of the children's nursery

54

T

Ky - rie e - Ie - - son, __ Ky - rie e - Ie - - son,

T

Ky - rie e - Ie - son, Ky - rie e - Ie -

Figure 1. Josquin de Prez, Missa L'ami Baudichol1, "Kyrie," mm. 50-60. Cantus Firmus (Tenor)

rhyme tune Three Blind Mice. 2 As is the practice in cantus firmus masses of the early Renaissance period, Josquin confines the long notes of the L'ami Balldichon melody to the tenor voice in every section of the mass except the duets and trio. This is the primary uni­fying characteristic of the composition. (Figure 1)

structure as a whole serves as an impor­tant unifying characteristic. While the use of the Ionian mode in early Renaissance masses is not common, it is even less common in the mass output of Josquin, as evidenced by this single example of an Ionian mode mass setting in his entire output. The cantus firmus is found in its Ionian modality throughout, except in the Gloria in mm. 34-38, where it is modi­fied into a minor statement, with the use of the paraphrase Bb, A, G, in a G-minor

In every large-scale composition, the element of harmonic unity of individual movements and the harmonic unity of the

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CHORAL JOURNAL • February 2006

." r=-l ,---::::::::J ~

s Ilia I

Ky ri e __ e - Ie - son, Ky -

r----- -----.... ----

---..., ------.. A

"" I I

Ky ri e __ e - Ie - son, Ky -

Figure 2. Josquin de Prez, Missa L'ami Baudichon, "Kyrie," ITllTI. 1-5.

intemal cadence. Another unifying technique that Jos­

quin employs is the use of a recUlTing musical phrase in the soprano and alto voices at the beginning of every major movement. This technique is a forerun­ner to the "head motive" technique that belongs to the generation of composers, including Byrd and Palestrina. Josquin includes not just a musical motive, but an entire musical phrase in both voices. The Soprano melody simply outlines the scale from c2 descending to c1, while the alto outlines the Ionian triad beginning on c1, descends to low g and cadences on c1. (Figure 2)

Josquin's procedures of polyphonic imitation aid greatly in the unification of each mass movement. The imita­tive texture is generally constructed of paired voices in imitation. In most instances, the imitative voice answers in an exact manner then moves to a free development nearer the ends of the musical phrase. A good example of paired voice imitation can be found in the Credo mm. 6-25, where the so­prano and alto begin in exact imitation for two measures after which each voice diverges into its own polyphonic path.

,.,. ----S illt]

-& n

B ~

teo Glo - ri - fi -

Head motive statement (Soprano and Alto)

Josquin's use of sequences in all of his masses is astounding. His ability to use sequencing without becoming monoto­nous displays his ingenuity. In the Credo at m. 129 ("Et ResulTexit"), he begins the use of the descending three note motive of the cantus firmus in the tenor voice with a long stretch of sequences that continue until m. 269. In this section, he shows that the old cantus firmus tech­nique that has been in existence for some time can be developed by beginning each statement on a different note of the Ionian scale. Another example of cantus firmus development is found in mm. 28-68 with a retrograde statement in the tenor voice.

Although the technique of motivic sequencing and reiteration evolves into a much greater unifying device in J osquin' s later masses, early examples can be seen in the Gloria of the Missa L' ami Baudi­chon (mm. 20-23 in the bass and soprano voices.) The descending pattem in the soprano voice from gl to c1 is reiterated three times, while the ascending pattem in the bass is reiterated twice. (Figure 3)

The metric unification between movements of the L'ami Baudichon is clear: each of the major movements is composed in tempus pelfectum- triple

I I

~ ,.., 19-

en

meter, with subsections altemating in tempus hnpelfectum-alla breve meter. As the intrinsic nature of these two meters suggests, the triple meter sections in the mass tend to move with quicker harmonic motion and greater rhythmic variety than the alla breve sections. The alla breve sections hint at homophonic textures at times, which become a standard technique of Josquin in later periods, especially in particularly reverent sections of textual declamation. This can be seen in the Glo­ria at m. 102 ("Qui sedes ad dexteram"). With regard to rhythmic unifying ele­ments in the Missa L' ami Baudichon, the listener would have the perception that the entire composition is very similar. The harmonic changes are slow, in every sec­tion, changing at the pulse of a half note.

Missa La, Sol, Fa, Re, Mi One of the most famous anec­

dotes associated with Josquin is re­lated to the composition of the Missa La, Sol, Fa, Re, Mi. Henricus Glareanus, the sixteenth-century Swiss theorist, relays a humorous story about the conception of Josquin's mass in his

-----(;; ~

-------

Figure 3. Josquin de Prez, Missa L'ami Baudichon, "Gloria," mm. 21-23. Melodic reiteration (Soprano and Bass)

February 2006 • CHORAL JOURNAL 55

tl tCiJ I .. s ......---:= I .. JD J err r F IF rTtr T J F r r Ii

Pie ni sunt cae Ii, Cae Ii

Figure 4. Josquin de Prez, Missa L'ami Baudichon, "Sanctus," mm. 28-32. Ostinato pattern beginning on different notes of the hexachord (Tenor)

Dodecachordon. "Josquin, when he asked a favor of some influential person whose name I don't know, and this procrastina­tor repeatedly answered, in that broken tongue of the French, 'Laise faire moy', that is, 'leave it to me', then without delay [he] wrote a whole Mass, an exceedingly elegant work, based on these same words, thus: La, Sol, Fa, Re, Mi."3

leta of the time which began "Lassa far a mi,"4 is really of no consequence to the modern performer. Of consequence, is understanding the compositional tech­nique of employing solmization syllables as an ostinato cantus firmus in numerous Renaissance era masses.

Josquin composed three sogetto cavato dalle parole [subject carved from the words] masses: Missa Hercules Dux Ferrarie, with the solmization theme re, ut(do), re, ut(do), re, fa, mi, re; Missa Faisant regretz, represented by the theme fa, re, mi, re; and the Missa

Whether Josquin's mass was truly are­sponse to this "influential person's" pro­crastination to pay him more money, as some musicologists suggest, or whether it was based on the contemporary barzal-

56

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La, Sol, Fa, Re, Mi. Each solmization is taken from the vowels of the name or phrase upon which the title is based. In each of these solmization masses, the overriding unifying concept is the repeat­ed ostinato of the solmization syllables. The ostinato can be heard throughout the fabric of every voice part in the Missa La, Sol, Fa, Re, Mi. This tenor cantus firmus mass is worlds apart from the L' ami Bau­dicllOn in scope and in the use of cantus firmus compositional practice. The sol­mization ostinato is heard in every voice part, in nearly every permutation imagin­able, including retrograde, palindrome and alternating hexachord motives.

Josquin's creativity is not diminished simply because the melodic material is limited to five single pitches; the contrary seems to be the case. The following list serves as a guide to the varied techniques that Josquin employs to unify movements of the Missa La, Sol, Fa, Re, Mi, while also displaying great compositional facil­ity in his ability to vary the listener's aural experience from moment to moment: (1) pervasive saturation of the melodic mate­rial in every voice pali of a movement;

all other voices singing freely composed material; (3) an ostinato pattern begin­ning on different notes of the hexachord (e, f, g, a, b, c) (Figure 4); (4) beginning with free material and merging into exact statements of the ostinato; (5) exact state­mentSoffhe o-stiliato i:Iissolving into free material; (6) retrograde statements ofthe ostinato; (7) palindrome statements of the ostinato; (8) mutation of the ostinato so that the melodic pattern is similar but the intervals differ; and (9) the creation of new motivic material through the de­velopment of the original cantus firmus. While the procedures described above are the glue that holds the Missa La, Sol, Fa, Re, Mi together, there al'e still elements

CHORAL JOURNAL • February 2006

of other unifying principles at work. The main treatment of imitation is still paired voices in imitation, as is found in the Sanctus mm. 27-32 between the soprano and tenor. The only example of four-part imitation is found in mm. 54-57 of the Sanctus at the "hosanna," which com­mences with the ostinato figure in strict imitation for only four measures.

Although the overall texture of every movement is polyphonic, homophonic treatment of the text can be seen more in the Missa La, Sol, Fa, Re, Mi than in earlier mass settings. In the Credo, the "Et incarnatus est," mm. 55-82, as well as the "Et in spiritum sanctum," mm. 149-178, are set in a homopho­nic style, foreshadowing Josquin's later masses, in which he tends to set the same portions of text in homophony. Much of the harmonic malee-up of the Missa La, Sol, Fa, Re, Mi seems to be centered in the Aeolian (minor) mode, due to the natural fifth created with the pitches La-Re (a-d) when employing the solmiza­tion ostinato. However, it is obvious by Josquin's melodic treatment at each final cadence point, and by the frequency of final cadences on the pitch E, that the overriding modality is Phrygian. The final cadences of each major movement of the mass are as follows: Kyrie-E; Gloria­E; Credo-E; Sanctus-E; Agnus Dei-A. The metric unity of the La, Sol, Fa, Re, Mi is similar to L'ami Baudichon.

Each major movement of the mass is composed in tempus perfectum, with the exception of the Credo, which is composed in aUa breve meter. In the

s lr.J

rc no - bis.

Credo, however, Josquin uses frequent changes in meter to highlight impor­tant sections of text and musical affect. For example, in measure 136 at "cujus regni non erit finis" [of his kingdom there will not be an end] he begins al­ternating triple and duple meters, with a recurrence of the triple meter three times in this overall aUa breve movement.

The rhythmic organization of La, Sol, Fa, Re, Mi is more varied than in the early masses. Josquin employs more dotted rhythms, shorter notes, and even recurring triplet motifs to add variety to the more intricate rhythmic texture. Examples of the recurring triplet rhyth­mic motif can be seen in mm. 82-84 and m. 109 of the Gloria; m. 46 of the Credo; m. 50 of the Sanctus; and m. 49 of the Agnus Dei Duo. (Figure 5)

Missa Pange Lingua Considering its synthesis of com­

positional devices that span Josquin's musical output, the Missa Pange Lingua is considered a late work. Musicologists agree that it is Josquin's latest mass set­ting. Some of the compositional devices that date this work and demonstrate the distinct differences in compositional language of the late period include: para­phrase technique of musical fragments from the original Pange Lingua chant material in every voice; close melodic imitation, not only between paired voices, but also in four voice imitative sections; the setting of particularly penitential sections of the text in a homophonic

r--3 -.., r-3 -----., r----3----,

I

Quo - ni - am lu so - Ius sane

Quo - ni - am lU so - Ius sane lUS,

Figure 5. Josquin de Prez, Missa L'ami Baudicholl, "Gloria," mm. 82-84. Recurring triplet motivic figure (SATB)

February 2006 • CHORAL JOURNAL 57

T fDJ J J 10 J J IS; JJ r p Ie er r I" J7] ~ ~

Ky - ri - e e - Ie i - son, e -

Figure 6. Josquin de Prez, Missa L'ami Baudichon, "Kyrie," mm. 1-5. Paraphrase of Pange Lingua fragment 1 (Tenor)

texture (ex. Gloria, m. 55-"miserere nobis," and m. 68-"suscipe deprecatio­nem"); the use of a quasi-cantus firmus technique in the Agnus Dei ill (mm. 88-107 in soprano); and the use of a quasi head motif technique throughout the composition. These differences dem­onstrate Josquin's evolution throughout his compositional output and highlight his individualized style of composition.

composition. Every major movement of the mass begins with a quotation of the opening four pitches of the chant. This technique unifies each section of the large-scale structure by drawing the lis­tener's attention immediately to the first musical material of each new section. Be­cause each of the movements would not have been heard contiguously, this served the function of keeping the listener's at­tention throughout the service. The Kyrie would have been followed immediately by the Gloria, but the Credo was not sung until the middle of the service and the Sanctus and the Agnus Dei came near the

Josquin's Missa Pange Lingua bases its primary musical material on the hymn of the same name for Vespers of C01pUS Christi. The paraphrased hymn mate­rial permeates the texture of the entire

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end,5 J osquin never states the entire chant note by note. He chooses, alternatively, to use the six fragments of the Pange Lingua hymn as the raw material for the structure of the mass by paraphrasing each one, (Figure 6)

Interestingly, Josquin calls upon the lis­tener to make another musical connection by paraphrasing the familiar Ascendit Deus chant-with its ascending scalar passage-in the second section of the Credo (m, 131),

Examples of imitation, including free imitation, strict imitation, free material that transitions into the paraphrased or cantus firmus material, and strict imita­tion that diverges into freely composed material, can be found throughout all three of Josquin's compositional periods, However, the unifying element of poly­phonic imitation also continued to evolve. The main difference in the treatment of paired voices in imitation throughout the Missa Pange Lingua is the technique of placing imitative voices closer in time to the preceding statements, creating a sense of urgency and rhythmic vitality. (Figure 7)

While scant usage of homophonic "'""".~,u" can masses, Josquin alternates homophonic and polyphonic sections with much more freedom in the Missa Pange Lin­gua. As can be seen in the Gloria, mm, 55-60 and mm, 67-72, the transition from _poly.phonyJ.o homopllOny seems to transition simply and elegantly, (Figure 8),

The unifying element of cantus firmus technique is examined in detail in the first two sections of this column, As previ­ously discussed, Josquin's paraphrased melodic material is based on the Pange Lingua hymn, although it is employed in a distinctly different manner than cantus firmus technique of earlier periods. This composition is estimated to have been

CHORAL JOURNAL • February 2006

S

Qui se des ad dex - Ie - ram Pa tris,

A

stram. mi-se-re-re_ ::::::;;----...

T

Qui se des ad dex - Ie - ram Pa lris,

B

Figure 7. Josquin de Prez, Missa L'ami Baudicholl, "Gloria," mm. 74-78. Close melodic imitation )SATB)

s

mi - se - re - re __ no bis. ____ _

mi - se - re - re no bis. __

T

di, _____ _ mi - se re - re no bis.

B~~~~~~g~~~~

Figure 8. Josquin de Prez, Missa L'ami Baudicholl, "Gloria," mm. 54-60.

composed in 1513,6 at which time the cantus firmus technique would have been considered out of fashion. The old practice of cantus firmus mass settings gives way to a synthesis of compositional techniques that display more creativity and variety in form and scope. The only example of the traditional cantus finnus technique can be found in the Agnus Dei ill, mm. 88-107, in the soprano voice, as the entire first stanza of the Pange Lingua hymn is paraphrased in long note values.

The Missa L' ami Baudichon demon­strated the unifying principle of head motif technique clearly. In the Missa Pange Lingua, Josquin begins everyone of the five major movements with a para­phrased statement of the first four notes of the Pange Lingua hymn. The notes e - e - f - e serve as the head motif throughout

February 2006 • CHORAL JOURNAL

Polyphony transitioning to Homophony (SATB)

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the composition in every instance except in the Credo, where it is paraphrased e - e - e - f - e.

Harmonic treatment of the Pange Lin­gua chant is varied and colorful. While the Pange Lingua chant modality itself is E Phrygian, Josquin skirts the issue of a consistent Phrygian modality in his mass setting. The overall structure of the chant is kept intact with quotations throughout the entirety of the mass, creating struc­tural unity between each head motif, and the polyphonic lines work together to create a harmonic structure that is most easily perceived as C Ionian. Josquin may have chosen this avenue of harmonic treatment due to the intrinsic harmonic implication in the chant itself. For ex­ample, with one minor adjustment in the sixth and final fragment of the chant, the final descent could continue from the dto c and the listener would feel perfectly "at home," perhaps even more so to modem ears, with this tonic resolution. Josquin's first cadence of the Kyrie an·ives on a C major chord, setting precedent for what

will follow in all movements of the mass. Of the three strong cadences in the first movement, two resolve to C major chords and the final cadence moves to G major: the dominant of C. J osquin continues this pattern throughout each movement of the mass to allow for a tonic-dominant relationship to be developed between C and G, which could not otherwise be explored had he used an E tonicization because of the F natural that would have been employed in the dominant chord of that key. 7

The metric and rhythmic unification of the Missa Pange Lingua is similar to that found in the earlier masses. However, one recognizes more freely shifting meters from alla breve to tempus perfectum; for example, the triple meterin m. 183 of the Credo, which alternates two times with the alIa breve marking. In the Sanctus, the "hosanna" text at m. 104 is modified from alIa breve to triple meter in order to allow the joyous nature of the text an opportu­nity to dance. Similarly, the "Benedictus" section that follows returns to duple

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meter in order to engender the solemnity and reverence of the text "blessed is he who comes in the name of the Lord." The most unique unifying element in

the Missa Pange Lingua is Josquin's treatment of rhythmic drive and motivic persistence at cadential points. A prime example of this technique can be seen in the opening Kyrie. The harmonic rhythm of this movement begins in slow half­note motion, but quickly turns frenetic at mm. 12-16 with the persistent use of a major and minor third motive and the ascending five note motive in every voice part except the tenor. Another example of the rhythmic drive to the cadence can be seen at the end of the Kyrie in mm. 65-70, aided by the persistent repetition of motivic sequencing in every voice part. (Figure 9)

The overall structural expansion of the Missa Pange Lingua should be noted. While it is similar to the other masses that have been analyzed in respect to the setting of five movements of the ordinary of the mass, it is markedly different in scope. The Kyrie, Gloria, and Credo are constructed in the same manner as the earlier masses. The Sanctus is given more credence with its division into four distinct musical sections, including: four­voice "sanctus"; duo "pleni sunt coeli"; four-voice "hosanna"; and duo "bene­dictus". The Agnus Dei is also expanded to include three distinct sections: Agnus

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Conclusion The unifying elements that Jos­

quin employs in each of his masses can be seen in continual development throughout-each-. analysis.-It _should prove helpful at this point to review the unifying elements that have been ex­amined in a somewhat different format. In order to make clear which unifying elements are most important in Renais­sance choral music, the following outline should be of assistance. While it is cer­tainly not exhaustive, the outline serves to orient conductors, with the aid of a basic analytical tool, to the choral music ofthe Renaissance. By providing a primary ref-

CHORAL JOURNAL • February 2006

s --- son. _____________ _ 1;----------------------------------- ---- ---A

- son. Ky ri - e e - Ie - son.

T

--- --- ----son. _____________ _

Figure 9. Josquin de Prez, Missa L'ami Baudichon, "Kyrie," mm. 65-70. Persistent motivic repetition and driving cadential pattern (SATB)

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NOTES

1 Patrick Macey, "Josquin des Prez." the New Grove Dictionmy of Music Online;

ed. L. Macy; available from <http:// www.G·rovemusic.com> (accessed September 16, 2002.

2 Edward Lowinsky. "Josquin des Prez." Ed. Edward Lowinsky. p 63-64. Oxford University Press. New York! Toronto, 1976.

3 James Harr. "Josquin des Prez." Ed. Edward Lowinsky. p 564. Oxford University Press. New York/Toronto, 1976.

4 Ibid., p. 565. 5 Thomas Warburton, "Missa Pange Lingua:

An Edition, with Notes for Performance and Commentary," University of North Carolina Press, 1977.

6 Alejandro Planchart. "The Josquin Companion." Ed. Richard Sherr. p. 130. Oxford University Press. Oxford, 2000.

7 Saul Novack, "Fusion of Design and Tonal Order in Mass and motet: Josquin Desprez and Heinrich Isaac," Music

Forum, USA, (no. 2; 1970), 187-263.

February 2006- CHORAL JOURNAL

I. Melodic Unification a. Paraphrase Technique; Cantus Firmus Technique; Solmization

Ostinato technique; Head Motif technique; Parody, etc. b. Procedures of Imitation

1. free imitation 2. strict imitation 3. strict imitation giving way to free development material 4. sequences

c. Motivic Development d. Voicing-polyphonic vs. homophonic e. Use of other Cantus Prius Factus (previously made songs)

II. Harmonic Unification a. Modal design based on

1. key relationships 2. tonal regions of cantus firmus and freely composed

material 3. harmonization of melodic material

III. Metric Unification a. tempus perfectum (3) / tempus imperfectum (2)

IV. Rhythmic Unification a. Harmonic Rhythm b. Cadential Rhythmic Patterns c. Rhythmic Motive Development

V. Structural Unification a. Musical sections of the ordinary of the mass b. Analysis of the commencement, musical climax,

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