Kyrie Eleison - No. 1 from Missa Papae Marcelli

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After the Council of Trent a commission of cardinals was established, meeting in Rome in and to consider the question of church music. Legend has it that, as in Pfitzner's opera Palestrina, the composer's work was heard, with others, as an example of what could be done to provide intelligibility in a polyphonic context.

The work was, in any case, published in in Palestrina's second collection of Mass settings. In the end, however, the Council did not specifically condemn the use of a secular cantus firmus, although there had been a general injunction against music that was 'lascivious or impure'. Polyphonic structures in music of the period, it should be added, were often built on an existing melody, taken in sections and treated imitatively by voice after voice. While this so-called cantus firmus was often derived from plainchant, it could equally well be drawn from secular compositions of one sort or another.

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While the Council of Trent may have limited musical excesses, it certainly did not put an end to the use of secular sources of material. The Missa Papae Marcelli is for the most part for six voices, entering in close imitation in the opening Kyrie eleison.

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Credo in unum Deum 4. Rate this Album. Thou that sittest at the right hand of the Father, have mercy upon us. Most of this music is vocal and much of it is sacred, but there is also much secular music, and more surviving instrumental mainly dance music than you might imagine. Editor Raffaele Casimiri Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis.

The Christe eleison brings an immediate element of homophonic writing at the outset, as pairs of voices answer each other before a fuller texture is explored, and the final Kyrie allows the voices to enter in imitation. The Gloria is in general syllabic and often homophonic in its treatment of the text, as is the Credo, in which the initial cantus firmus is at first heard from the first bass.

Palestrina continues to explore the possibilities of contrasted groupings of voices, using a quartet for the words Crucifixus etiam pro nobis, before the six-voice Et in Spiritum Sanctum. The Sanctus finds a place for melismata, a number of notes allocated to one syllable, while the Benedictus is given to four voices.

ciebellcirto.tk There is a full polyphonic texture in the Agnus Dei, with an element of canonic writing in the second Agnus. Palestrina's Missa Aeterna Christi Munera is principally for four voices and takes its title from the Matins hymn of the Common of the Apostles, with a melody now found in a modified form as the Hymn for Terce on Solemn Feasts, Nunc Sancte nobis Spiritus.

Missa Papae Marcelli (Palestrina, Giovanni Pierluigi da)

The Mass was published in Rome in in the fifth collection of Palestrina's Mass settings. The Gloria has a due admixture of the homophonic writing necessary in the wordier texts of the Mass and there is similar clarity of writing within the imitative textures of the setting of the Credo.

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In contrast to the four-voice Sanctus, the Benedictus is set for three voices, joined by the fourth voice for the Hosanna in excelsis. The first theme, that has served as a basis for the first Kyrie, the Sanctus and the Hosanna, is used for the Agnus Dei, with the final Agnus Dei allotted to five voices. His first book of Masses was published in , with a dedication to the Pope, and the following year he joined the Cappella Sistina, but the death of the Pope and three weeks later of his successor Pope Marcellus, was followed by the enforcement of the rule of celibacy for members of the Sistine Chapel, under the rule of Pope Paul TV, and Palestrina's dismissal, with other married members of the chapel.

Pope Marcellus Mass | work by Palestrina | ovpirenhartche.gq

He now became maestro di cappella of S Giovanni in Laterano St John Lateran , retaining his position until his resignation in A period of employment at S Maria Maggiore followed, with the opportunity to undertake further work in the service of Cardinal Ippolito II d'Este and to enhance still further his reputation as a composer. From until his death in he was again at the Cappelia Giulia, remaining there in spite of attempts by other patrons to induce him to enter their service.

The Council of Trent, assembled in to bring about a reformation of ecclesiastical and liturgical practice, reflected common humanist aims in its insistence on the clarity of words in liturgical music. In popular legend Palestrina has been credited with saving polyphony, against its opponents in the Council who favoured plainchant, by his composition of the Missa Papae Marcelli.

Whatever the truth of the story, the Mass certainly demonstrates the possibility of intelligibility of the familiar words in liturgical music in more florid styles. His knowledge of and interest in the traditional plainchant of the Church is exemplified in the task he undertook in of revising the chant of the Graduate Romanum and the Antiphonate, work that he left unfinished at his death. There has been controversy about the dating of the Missa Papae Marcelli.

Kyrie - Missa Papae Marcelli - Palestrina

Pope Marcellus, who had expressed an intention to reform church music so that the words could easily be heard and understood, reigned only for three weeks in early If the Mass was written during his pontificate, then it must be dated to If it was in memory of Pope Marcellus or simply a tribute in accordance with his principles, it could have been written at a later date. After the Council of Trent a commission of cardinals was established, meeting in Rome in and to consider the question of church music.

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Legend has it that, as in Pfitzner's opera Palestrina, the composer's work was heard, with others, as an example of what could be done to provide intelligibility in a polyphonic context. The work was, in any case, published in in Palestrina's second collection of Mass settings.

In the end, however, the Council did not specifically condemn the use of a secular cantus firmus, although there had been a general injunction against music that was 'lascivious or impure'. Polyphonic structures in music of the period, it should be added, were often built on an existing melody, taken in sections and treated imitatively by voice after voice.

While this so-called cantus firmus was often derived from plainchant, it could equally well be drawn from secular compositions of one sort or another. While the Council of Trent may have limited musical excesses, it certainly did not put an end to the use of secular sources of material. The Missa Papae Marcelli is for the most part for six voices, entering in close imitation in the opening Kyrie eleison. The Christe eleison brings an immediate element of homophonic writing at the outset, as pairs of voices answer each other before a fuller texture is explored, and the final Kyrie allows the voices to enter in imitation.

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The Gloria is in general syllabic and often homophonic in its treatment of the text, as is the Credo, in which the initial cantus firmus is at first heard from the first bass. Palestrina continues to explore the possibilities of contrasted groupings of voices, using a quartet for the words Crucifixus etiam pro nobis, before the six-voice Et in Spiritum Sanctum. The Sanctus finds a place for melismata, a number of notes allocated to one syllable, while the Benedictus is given to four voices.

There is a full polyphonic texture in the Agnus Dei, with an element of canonic writing in the second Agnus. Palestrina's Missa Aeterna Christi Munera is principally for four voices and takes its title from the Matins hymn of the Common of the Apostles, with a melody now found in a modified form as the Hymn for Terce on Solemn Feasts, Nunc Sancte nobis Spiritus.

The Mass was published in Rome in in the fifth collection of Palestrina's Mass settings. The Gloria has a due admixture of the homophonic writing necessary in the wordier texts of the Mass and there is similar clarity of writing within the imitative textures of the setting of the Credo.