“The So-Called Cyclic Mass of Guillaume de Machaut: New Evidence for an Old Debate.”
(The foundational music of Christian worship in medieval Europe was On this CD we get a robust and highly convincing interpretation from the ever enterprising eight-person (all male) French group, Diabolus in Musica, under their director Antoine Guerber.
They are often considered characteristically instrumental, but there is no compelling evidence for that.
Certainly the figures are difficult to sing clearly; but after all Machaut’s Mass is a difficult work. I was made aware of textless interludes (Eg. The Galpin Society Journal Vol.
Although the textures which the ensemble consistently achieves are sonorous, they are neither fanciful, nor over-rich. “Were Musical Instruments Used in the Liturgical Service during the Middle Ages?”. 36, No.
IMPORTANT PARENT INFORMATION.
Credo is now pursuing a Ph.D. in classical studies from the University of Pennsylvania.Subscribe to the Arts and Letters YouTube channelA scholar in the Glynn Family Honors program, Credo became interested in classics while studying Greek and Latin in high school.“Everything comes from classics. 118, No. Sometime before 1365 the French poet and cleric Guillaume de Machaut composed a new work including the five sections of the Mass Ordinary— Kyrie, Gloria, Credo, Sanctus, Agnus—plus the dismissal, the Ite Missa Est ("Go, the Mass is done").
The Notre Dame Hounds are a world-renowned ice-hockey & basketball development program. (Mark Sealey, MusicWeb International)Thanks you for your comment and interest in my article on this fascinating work by Machaut.http://www.oxfordmusiconline.com/subscriber/article/grove/music/51865Click to share on Tumblr (Opens in new window)And if you have access to a good library you can find these additional articles – (however, there are scores of others documenting the same fact):There is ample evidence that instruments other than the organ were not used in sacred music during the 14th century.
Machaut’s mass is generally a difficult work, and these sections account for merely a few examples of the demands of the work.By refusing to overplay their hands, by judicious restraint, and by meticulous articulation of every note in undemonstrative yet highly expressive phrasing Diabolus in Musica seems to have captured not only the rigor and joy which Machaut employed in this task. High School 101: A Parent's Guide.
I will describe some that I think are among the best, as well as the most recent recordings.Fallows addresses this point later in the same article:Click to share on Twitter (Opens in new window)In the liturgy of the Mass, the items of the Ordinary are not performed consecutively, but are separated from one another by prayers and chants. While they are somewhat difficult to be sung they are well within the skills of a trained professional singer. Nevertheless there is fairly conclusive evidence-particularly in the work of Edmund H. Bowles and James McKinnon-that the only instrument admissible in the Mass during the 14th century was the organ.”I prefer all male ensembles, singing one voice to a part, and this is not that kind of group. Would love to hear back. Martijn Cremers (University of Notre Dame)Fr. 204–224) Machaut’s Messe de Nostre Dame is for four voices rather than the Centers, offices, and initiatives that help the unit to achieve its mission include Student Development encompasses a wide range of departments to support our students’ growth and formation.
Yet as much as an object of beauty and wonder as a rather austere – No, restrained – service. ‘Diabolus in Musica’, by the way, implies the E-B (or the modern F-B) tritone, or augmented fourth, used throughout Western music to establish dissonance – the devil, to be kept out of music at all costs. Machaut’s Messe de Nostre Dame : an overview“Briefly stated, the problem is that it is a phenomenally exhausting piece to sing straight through without a break, so conductors have tended to alternate voices with instruments, particularly in the longest movements, the Kyrie and the Credo. The musical evidence contains nothing to contradict the available historical evidence which suggests that the Machaut Mass is purely vocal.”For the most part, these early Mass movements appear to have been written independently, and they survive in the manuscripts organized by text: i.e., a section of a group of the And concerning your other point about the untexted sections in the Gloria and Credo movements, these kinds of sections were quite common and similar to phrases referred to as hocket. Ultimately, it’s the perspicacity and skill of Guerber and his singers that makes this recording so successful and satisfying. The Musical Times, Vol. As much gentle and yet lavish breath as unselfconscious poise. Machaut’s unification of these items into an artistic whole is the earliest instance of an Ordinary of the Mass setting that is stylistically coherent and was also conceived as a unit.
(See Gombosi, O. The Gloria and Credo are repeatedly interrupted by little figures confined to the two lower voices when the upper voices rest (ex.2). “Guillaume de Machaut and His Mass: A Commemoration and a Review”. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another.
The group’s is a direct, intimate and penetrating approach.
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