The Capet Mass And The Caput Mass

“Agnus Dei” of Guillaume Machaut’s Notre Dame Mass and the “Kyrie” of Palestrina’s Pope Marcellus Mass is similar in that both have a polyphonic texture throughout the piece. The pieces have three different sections that repeat the same text. Both pieces also call forth the spirit of a Gregorian Chant. Not only are they polyphonic, but also they are part of the five sung prayers of the Ordinary Mass. Both pieces have inspired some of the greatest chorale work.

In the sixteenth century, the Protestant Church of England was using new music and hymns that would still be used today. According to “Elizabethan”, this time was the “high point in the English Liturgical Style”. The Mass Ordinary was created in the fifteenth century. There are five sections that go in a cycle basing each movement on the same musical material. The five sections, according to Raeburn, include Kyrie, Gloria, Credo, Sanctus, and Agnus Dei (11). For more somber religious events, such as funerals, a requiem mass would be used. This mass was relatively peaceful and the melody would tend to wander. Ongaro tells un in his book “Music of the Renaissance” that choirs in this era had up to sixteen members that would dance, sing, and act (32). Religious music was the work of many composers that would give us hymns and musical works that we use

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Wolfgang Amadeus Mozart was one of the archetypal classical composers, along with Franz Haydn. He composed over 600 works, including choral, symphonic,

Giovanni Gabrieli was a legendary composer of the 16th century. As the fundamental structure and ideas of the Catholic Church were being challenged by the Protestant Reformation and the Counter-Reformation, Gabrieli’s compositions were given the opportunity to be successful and influential to music in the coming centuries. His works helped to transform not only church music of the Catholic Church, but also secular music as well. Giovanni Gabrieli wrote significant works that ultimately shaped the rise of the symphony, including the development of purely instrumental works, the art of orchestration, and the concerto style. Without his innovations in composition, it is arguable that instrumental music would not have developed as quickly, or developed

Sacred music played a prominent part in ritual of the church. Motets and hymns became a part of Mass. The motet became a sacred form with a single Latin text. Motets in praise of the Virgin Mary were extremely popular because of the many religious groups devoted to Marian worship. Josquin Desprez, a popular master of the motet and influencer of many composers, composed more than a hundred motets and numerous secular pieces.

The Classical time period, which spanned a length of seventy years, from 1750 to 1820, was very different in nature from its predecessor, the Baroque time period. The Baroque era featured works that were ornamentally elaborate, where the artists and composers centered their works on a big, bold style that was dramatic in its composition. Artists and composers transferred strong feelings of tension and emotion into their works and it was common for there to be some type of action or movement happening within the work. Those who lived in the Classical time period, valued simplicity and wanted to return to the ideals of the Greeks. Therefore, the Classical time period is characterized by clear structural clarity, simplicity, smoothness, and symmetry. However, though the works took a step back from the grand movement of the Baroque era, the composers and artists of the Classical time period did lay out a tuneful and elegant style in their music and art. Out of the Classical era came many renowned artists and composers, two of those whom are artist Sir Thomas Lawrence and composer Ludwig van Beethoven (“NYU”).

During the nineteenth century, the musical canon emerged as a list of works permanently established as being of the highest quality. While music was commonly only heard once or twice, canons were significant enough to be heard over and over again. In Lecture 5, Beethoven's "Heroic" 3rd Symphony was shown to be critiqued as being too heavy and long, unendurable, and not entertaining. In "Museum Pieces," J. Peter Burkholder indicates that the only works appropriate to be performed were museum pieces, or musical works with lasting value, because of their distinctive musical personality, familiarity, and preservation of works of revered dead composers (Burkholder).

One of the greatest composers of music, even though it was only slightly notated at the time, was Guillaume de Machaut (d. 1377), “one of the undisputed pinnacle geniuses of Western music…” His most famous piece was the four-voice Mass of Notre Dame, which maintained his reputation through the changes in fashion (Roberge). After almost a millennium’s worth of music was composed and contributed, the style of music began to change with the next era.

Some of the most well known composers came to be in the in the classical music period. Ludwig van Beethoven was one of the composers, along with other greats of the time like Haydn and Mozart, which helped to create a new type of music. This new music had full rich sounds created by the new construction of the symphony orchestra.

His composition has never been recovered. Johannes Ockeghem () completed his requiem composition before 1500. Other requiems from the 16th Century include Brumel, Prioris, Palestrina, Anrio, and Victoria. Between 1470 and 1600 forty-one requiem mass compositions have been preserved. The Baroque period brought about new and exciting changes for the musical world. Requiems from this period include Bournonville (1619) and Brunelli (1619). Claudio Monteverdi, Giovanni Grillo, and Francesco Usper collaborated to produce the requiem that performed at the funeral mass of Cosimo II de’ Medici in 1621. This requiem was the first to include instrumental sections. The Baroque composers produced 325 known requiem compositions. The Classical period composers produced 250 requiems. These include Pasiello (1789), Mozart (1791), Carlo Campioni (for Empress Maria Theresia), and Giuseppe Bonno, whose requiem is said to use the “longest setting of the sequence in the 18th Century. (Cave)” The Romantic Period produced the largest amount of requiems. Included in the 620 requiems published between 1825 and 1910 are Berlioz (1837), Verdi (1874), Liszt, Sant-Saens, Bruckner, Dvorak, Faure (1887), Henschel (1902). Within the realms of 20th Century music there were 335+ requiems produced. The three most famous are the Durufle (1947), Benjamin Britten War Requiem (), and the Andrew Lloyd Webber (1985).

In the later years of his life, Renaissance humanist Francesco Petrarca (1304-74) remarked: “There is no lighter burden, nor more agreeable, than a pen.” In many ways, the positions taken on the liturgy by Cardinal Diego Fernandez de Quiñone, (1482-1540) the Council of Trent, (1545-63) and by St. Pius V (1504-72) represent the Catholic Church’s embrace of Humanistic ideas. The effects of this embrace were manifold: attempts were made at the Council of Trent to limit the elaborateness of the music of the mass to insure clarity of text, Additionally, attempts to thin out and order the breviary were undertaken by Cardinal Quiñone and Pope Pius V However, Pius X’s (1835-1914) attempts to distribute a new Psalter

The masses in the religious services had to be sung a cappella in this specific order or it was considered a disgrace and ruined the sacred pieces. The high priests of the Catholic churches were very strict on how the sacred music was sung and preserved.

The animation of classical music began to increase; the transition was a natural growth of what comes before. Never before in history had it been possible to move from one kind of tempo, to another so naturally, with such grace. The kind of rhythmic transition is the touch stone of classical style (Rosen 60). For the classical composer, the Perpetuum Mobile1, where adding it, creates another challenge the composer has to overcome to achieve the added desire to break up the rhythmic texture of the piece and to create the tension required to add a dramatic force.

Secular music and music intended for mass both played important roles in medieval culture. For a while, the only music was made for worship. There were certain themes and purposes that shaped church music to be the way that it was and the same with non-religious music, each had a purpose. There are characteristics of each that separate them from each other and then some characteristics that make them one. One would not be the same today without the other. These styles of music served as a source of inspiration for later music to come.