• Separation of meal and eucharist (action of blessing bread and wine)

• Role of Presider develops

• Prayers are not standardized, each presider makes up his own

• "Eucharistia" prayer over the gifts of bread and wine

• Preparation, Prayer, Breaking Bread, Partaking

• Addition of scripture (still considered separate in some 12th C monasteries)

• Based on Synagogue service, optional

• Justin Martyr: Christians "worship God and sing songs of praise for creation and for all the means of prosperity, for the condition of peoples and for the change of seasons." [Apology, Ch. 13]

• Reference made to masses for the dead (requiem)

• Constantine's Edict of Toleration (313)

• Stricter regulation of the liturgy by local patriarchs results in origin

• of distinct liturgical traditions (language shifts from Greek to local

• language)

• Ambrosian Rite (Milan): development of hymns with tunes adapted from

• popular song and syllabic texts

• "Mulier taceat in eclesias" (Women must keep silence in church.)

• Rule of St. Benedict (Matins, Lauds, Vespers, Compline)

• Unity of Roman form (Gregory 590-604)

• Schola cantorum, rise of choir over congregation

• format for requiem becomes standardized

• fusion of Franconian and Roman elements

• classification of chant by intervallic relationship (modes classified in 11th C)

• tropes (develop into the 13th C, discarded at Council of Trent) Notker Balbulus

• parallel organum (Huchbald, "De harmonica institutione") is beginning of counterpoint

• Masses for the dead become common practice

• Addition of "Dies Irae" to Requiem

• Mass cycles

• Mass of Tournai - oldest polyphonic mass copied/preserved (not composed) as a unit;

• Four of five movements in conductus style for three voices

• Mass of Sorbonne - attempt at unity, Agnus Dei quotes from Kyrie and Sanctus, like a Parody, built on borrowed material

• Messe de Notre Dame: Machaut, (1364)

• earliest cyclic mass by a known composer

• polyphonic settings of the entire ordinary

• Gloria/Credo use conductus style (too many words)

• other sections use isorhythmic style (tenor divided in talea and color) and borrowed tunes (incomplete melodies)

• 4 voices

• motive found in all movements

• After 1450 -Renaissance

• Organize music using:

• cantus firmus (portion of borrowed tune, mostly secular)

• imitation (motive, canon, inversion, retrograde)

• parody (harmonic/melodic material from other sources)

• Modal music becomes more chromatic;

• Rhythm=tactus, a constant division of time;

• Harmony is the result of simultaneous sounding lines, lack concept of vertical, esp. in first half of century

• polyphony

• Types:

• Catholic Mass, Lutheran Chorale, Cantata, Mass, Calvin's psalter, Anglican anthem

•

• Dunstable (bridged gap between Medieval/Renaissance)

• song style approach to Mass

• 3 voice polyphony

• isorhythm used sometimes

• found in Old Hall Manuscript

• move to harmonic unity/homophonic style

• prefers conductus over motet

• controlled use of dissonance

• Ciconia

• masses with paired movements (e.g. Gloria and Credo),

• same mensuration, mode and number of voices

• responsorial

• performance between choral and unaccompanied duets in Mass

• lower 2 voices probably instrumental

• Burgundian School

• 1400-50

• top voice style, secular melodies

• triads/fauxbourdon (Dunstable influence)

• paired voices

• concern with unity (complete masses)

• polyphonic devices

• independent rhythm

• Dufay

• established all major forms of masses:

• cantus firmus, parody, freely composed

• innovations

• cyclic mass (unity in terms of a motivic cell)

• secular song as basis of mass

• adapted 4 part texture to mass

• wrote contratenor regularly below the tenor line (evolved into bass voice)

• dissonance on weaker beats

• use of imitation/crab canon

• Second Generation (1450-1490)

• 4th voice permanent

• tenor is an inner voice

• texture changes

• more chordal

• fuller sound (harmony)

• elided phrases

• Josquin

• concern with structural imitative counterpoint

• masses written in middle years

• most use cantus firmus as an organizational structure (mostly secular tunes)

• cyclic masses: Missa l'homme arme

• structure:

• movements are divided into sections with contrasting textures

• voices imitate within phrases

• correct accentuation of words (musica reservata)

• balance polyphonic style with importance of text

• development of motives

• contrasts movements

• Gloria/Credo similar

• Sanctus: reduce number of voices

• Agnus Dei: separate invocations by number of voices

• approaches parody by borrowing more than one voice

• Credo: fantasy on plainsong

• extends and transforms tune in three sections

• organized imitation

• approaches word painting (e.g.chordal "confiteor" and melismas on "saeculi")

• Obrecht: 25 masses, mostly cantus firmus

• Isaac: Missa l'homme arme

• Mouton: ingenious organization in masses - canons, paraphrasing

• Ockeghem

• equality of voices becomes important (independent melodic lines)

• non-imitative/non-repetitive, bass part goes lower

• Missa Mi-Mi (juxtaposed hexachords)

• Missa in Cuius Toni (movable clefs, performable in a variety of modes)

• Missa Prolationem (multiple meters)

• Thicker texture

• equality of all voices

• bass develops into harmonic foundation (harmony is a series of unrelated triads)

• concern with experimentation of sonorities

• completely polyphonic approach

• dense style

• development of national styles

• introduction of music printing

• Gombert

• concept of parody mass

• elaboration of borrowed material

• Willaert: polychordal style

• Clemens non Papa,

• Organ mass

• alternates between singing and playing during mass movements

• composer: Cavazzoni

• coincides with the rise of instrumental music

• Palestrina (1525-94)

• wrote 103 masses

• conservative, introspective (objective/impersonal), somber

• continues Netherland school of modal, diatonic music

• equality of voices, long, overlapping phrases

• conservative harmony

• restrained use of text painting, correct accentuation of words important

• Missa Aeterna Christi Munera

• a paraphrase mass

• based on Ambrosian hymn (hymn paraphrased in top voice)

• four parts

• careful preparation/resolution of dissonance

• changes in sonority

• mostly syllabic text

• Also wrote

• parody, cantus firmus (long notes in tenor) and freely composed masses

• Veni sponsa Christi

• Lassus

• parody and cantus firmus (tenor) masses

• alternation between monody and polyphony

• concerned with text painting to create effects (long notes on "aeternam")

• use of chromatic and non-harmonic tones

• Victoria

• 20 Masses

• progressive style, free use of dissonance/progression harmony
text painting

• wrote paraphrase and parody masses

• Byrd (1543-1623)

• masses for 3, 4, 5 voices

• not much use of borrowed material, imitative polyphony instead (Gradualia, 1605)

• prominent motive at the beginning of each movt.

• remained a Catholic throughout his life, though worked for Anglican church

• experimentation with tuning and temperment

• text becomes important (Greek declamation develops into opera; vers mesuré - correct accentuation)

• textural experimentation diminishes equality of voices

• Establishment of tonality (modality in use until 1680)

• interval of 7th used more frequently

• texture governed by melody/bass line (harmonic)

• originally revolted against polyphony, became more contrapuntal as time went on

• one composition=one emotion

• Monteverdi (transitional composer)

• 1610 parody mass on Gombert motet

• 2 other masses are extant

• Council of Trent

• allows three styles in the church:

• Stilo antico (consecrated style)

• a cappella

• tries to recreate music from a previous era

• very dry rhythmically

• basso sequente doubles the lowest voice part

• counterpoint conceived vertically

• Polychoral

• melodic ideas kept simple

• effect of multiple choirs more important

• Concerto style

• Venetian poly-choral compositions

• Mass in France

• Mass of lesser importance

• During Louis XIV reign (1630s-1715)

• Fr. composers were infl. by the King’s taste and court.

• He preferred low Mass (spoken)

• Other pieces were placed in the service by court composers such as Lully, and his contemp. (motets) in the Messe basse solenelle.

• Mass in England

• troubled times of Charles I (1625-1649) and the Commonwealth (1649-1660) under Cromwell

• all Catholic music became attacked by the Anglicans and Presbyterians.

• Mass in Germany

• Thirty Years Wars (1618-1648)

• religious and political struggles reduced the Mass outputs for cathedrals.

• Antonio Lotti (c. 1667-1740) Venice, St. Mark’s

• bridged gap between old contrapuntal style and the operatic, dramatic style of the 17th c. Many of his Masses contain chromaticism (i.e. "Crucifixus" performed out of Mass today)

• Fux, Joseph (1660-1741)

• 50 Masses for Imperial Court in Vienna

• Gradus in Parnassum (1725): rules for counterpoint in the style of Palestrina.

• Bach

• composed 5 Masses (even though Lutheran)

• some just Kyries and Glorias (for Lutheran service)

• B minor Mass (1747-49) mostly compiled from earlier compositions

• fits liturgical framework but too long for actual service: a concert piece

• "cantata mass" (separation of Mass movts into shorter sections with concertato principles for contrast).

• Synthesis of all the features of the day:

• Contrapuntal

• concerted mvts

• concertato style

• choral fugues;

• a.c. style (tonal)

• competition and cooperation of voices and instruments

• concerted fugue: combines fugal procedure with soloists

• contrasted opening of Credo and Confiteor are in stile antico

• "Et in unum Dominum, Et in spiritum sanctum" and Benedictus

• modern style that contrasts sharply with the more conservative sections

• Most expressive moments of Mass are in the center of the Credo

• "Et in carnatus est" - hovering motive symbolizing the Spirit

• "Crucifixus" - over bass ostinato

• "Et resurrexit" - sharp contrast; great joy (from Good Fri. to Easter)

• Form becomes driving force

• three part forms dominate (balance and symmetry)

• emphasis on top voice, less on bass

• well-articulated melodies (clear phrases) based on triadic harmony

• two approaches:

• Mozart (Italian style)

• lyrical lines, contrasts two themes in sonata form

• Haydn

• motivic

• sonata is monothematic

• constant rhythmic change

• silence becomes important

• slower harmonic rhythm (I-V-I);

• development of sonata form

• Haydn

• 12 masses

• develops the five-movement form from Ordinary

• shorter masses

• "Missa Brevis" simpler style

• homophonic texture

• not as influenced by orchestral style

• more concerned with declamation of text

• time constraints keep it short

• occasional pieces

• Six Late Masses: (1796- 1802) all 4 soloists, 4-voice choir and orch.

• Mass in Time of War (1796)

• Lord Nelson Mass (1798)

• more influenced by instrumental style

• not as concerned with text

• full complement of winds

• Kyrie sonata form with intro

• Theresa Mass

• Creation Mass

• more emphasis to wind inst.(1802)

• Cherubini

• Requiem in Cm

• Requiem is formalized in the 18th C, influenced by opera, becomes more solemn, dramatic

• Mozart

• 18 Masses

• most from early years

• later masses are more operatically conceived

• more concern with text painting

• more contrapuntal writing (complying with the wishes of the Cardinal)

• half of Masses are Missa Brevis type

• completed by student

• musical considerations outweigh liturgical

• Mass in Cm K. 427 based on classic aesthetics but infused with Baroque techniques and styles; unfinished by Mozart;

• KYRIE

• ABA (Cm-Eb-Cm) two ideas imply sonata form

• soprano solo=operatic influence

• GLORIA

• in C

• for chorus

• Baroque counterpoint

• festive rhythms, trumpet writing

• A (Glory to God) is diatonic

• B (peace on earth) chromatic and polyphonic

• "laudamus te" soprano solo in aria da capo form (two ideas, I and V tonality)

• "gratias, domine" uses dotted rhythms (Baroque) binary form

• "qui tollis"

• Baroque chorus

• through composed

• constant development of ideas

• dotted rhythms

• polychoral approach (two choruses at end)

• "Jesu Christe" like a Baroque Prelude and Fugue

• CREDO

• similar in style to Gloria

• chorus and orchestra start,

• long soprano aria at "et in carnatus"

• SANCTUS/BENEDICTUS

• ABA

• Sanctus large polychoral movement (prelude to Hosanna),

• Hosanna is a large fugue

• Benedictus, 4 soloists and chorus

• return to the Hosanna

• Coronation Mass, K 317 -(1779)

• best known of missa solemnis type

• SATB soloists, choir and orch

• much homophonic writing for choir

• some imitative parts, mostly for quartet.

• Kyrie: melodic line for sop. returns in Agnus Dei (Dona Nobis pacem) for musical unity; other movts. have instrumental forms.

• Focus in Germany (Black Forest), affects other areas like ripples in water

• Nature is a focal point

• night, gothic, supernatural

• distant past (Greek/Roman)

• "Weltschmerz" a serious view of life (photographs of the time)

• exoticism of time and/or place

• realism (paintings)

• boundlessness

• cult of the ego (worship the virtuoso)

• expansion of form and harmony

• explore meter, tonality, dynamic, tempo shifts

• Schubert

• 6 Masses

• Came from a Roman Catholic family but not an ardent church-goer

• First four masses between 1814-1816

• Mass in G is one of these

• Mass in A-flat

• lyrical, longer than earlier comps.

• soloists, choir, orch

• Mass in E-flat - 1828 last year of his life

• more dramatic

• more choir

• more involved orchestral writing

• Beethoven

• wrote 2 masses, both on commission:

• Mass in C (1807, Prince of Esterhazy), symphonic style, solemn;

• Missa Solemnis (1819-23)

• Archduke Randolf, who became a bishop

• written during third period (introspective),

• interaction of soloists, chorus and orchestra

• use of fugues (studies Zarlino, imitative counterpoint) in major sections

• expansion of forms, harmonic language

• "Et in carnatus est" in Dorian mode

• 6/8 time gives pastoral feel (like 6th Symphony)

• nature is a romantic ideal

• "Dona nobis pacem"

• chorus shouts "pacem" with trumpet war calls - conflict

• orchestral interludes with sharp accents/violent dissonances

• choir and soloists calm the storm/battle;

• music operates on a public level (end to war) and a personal level (Beethoven's deafness/custody battle)

• inscription by composer before "Dona nobis pacem" (Plea for inner and outer peace)

• He believes in the power of Reason to reveal Truth (18th c. Classicist)

• Berlioz

• Requiem (1837)

• huge forces (400 musicians performed at premiere)

• mastery of orchestration

• more a result of patriotism (French Revolution) than ecclesiastical ties

• Brahms

• Ein Deutches Requiem "German (human) Requiem"

• Composer selects own texts from Bible

• uses traditional forms

• sonata-allegro, fugue, counterpoint, mixed modes, chromatic 3rd relationships

• focus on subdominant

• 7 movts.

• Perfect Arch form F - b-flat - D - E-flat - G - C - F

• chorus - chorus (use of fugue) - solo - chorus - solo - chorus

• (fugue) - chorus

• Liszt

• 4 Masses,

• Festival Mass (or Grand Mass) (1855)

• for the consecration of a cathedral in Hungary,

• Elaborate setting for four soloists, four voice choir, large orch, and organ ala Berlioz

• Uses thematic transformation

• also a mass (1867) for the coronation of the king of Hungary;

• he describes his approach to sacred music (1834) as "devotional, strong, and drastic, uniting on a colossal scale the theatre and the church, at once dramatic and sacred, splendid and simple, ceremonial and serious, fiery and free, stormy and calm, translucent and emotional."

• Influenced by the Cecilians however and in 1848 his Mass for Men’s Voices and Organ uses reform principles.

• Verdi

• Requiem (1874)

• Dramatic, for friend, Manzoni

• operatic solos

• Saint-Saens

• Requiem (1878)

• eight movements

• chant would have been interpolated for "Absolve, Domine" and opening of "Offertory"

• solo voices function more as quartet than soloists, creating a concertante effect

• sighing motive throughout

• very romantic melodic writing

• sudden dynamic contrasts

• Faure

• Requiem (1888)

• Ordered, restrained music, written for common use, low strings reminiscent of Brahms (no record of direct relationship)

• "requiem" rest set very deliberately throughout

• omits "Dies irae" and "Benedictus"

• includes "Libera me" from Office of the Dead & "In paradisum," a prayer en route to the gravesite

• rest and peace overtake wrath and judgement

• Bruckner

• Cecilian movement, promotes restoration of past (16th C a cappella style and chant) and oratorio form (Handel); masses and symphonies share musical themes

• D minor Mass (1864) & F minor Mass (1867)

• both subject to numerous revisions

• his largest choral work

• uses some Gregorian themes.

• orchestra given themes of its own, independent of choral material

• dramatic orch. grandeur roused opposition of Cecilians

• Mass in E minor

• wind band; no solos

• Dvorak

• Requiem and Stabat Mater

• Delius, Frederick (1862-1934)

• A Mass of Life (1904-5)

• Neitzsche poetry

• Wagerian chromaticisms

• not Mass text

• Stravinsky

• Mass (1948)

• influenced by Machaut (written during neo-Classic period)

• concern with styles and forms of the past

• blocks of sound

• polyphonic texture

• short melodic fragments

• interest in rhythm continues (contemporary with Rake's Progress)

• Penderecki

• Dies Irae

• use of choral babbling, gregorian motifs

• striking contrasts

• major triads

• intense dramatic effects

• Janacek

• Glagolithic Mass

• Czech, Nationalistic

• E. Orthodox

• whole-tone melodies

• Vaughan Williams

• Mass in G minor (c. 1922)

• 4 soloists, 8 -part choir, a cappella

• liturgical

• chordal, imitative

• some cori spezzati tech. and concertate

• some series of fauxbourdon chords; reflective of Tudor age

• Martin, Frank

• Mass for Double Chorus (1926, rev. 1971)

• early work of this Swiss composer, before he used 12-tone technique

• double choir, a.c.

• Poulenc

• Mass in G (1937)

• a.c. choir

• omits Credo

• meter changes, triadic and dissonant

• melodic angular skips

• "impersonal" expression

• Zoltán Kodály

• Missa Brevis (1948)

• some plainsong influences, mixed choir/organ (orchestrated later)

• Thompson, Randall

• Mass of the Holy Spirit (1955-6)

• English setting; a.c. choir

• tonal, direct, diatonic, melismatic, and chordal, some imitative

• "Glory Be to God"

• Walton

• Missa Brevis (1966)

• for Coventry Cathedral

• Kyrie (Greek) rest in English for Anglican service

• no Credo

• lots of m2 dissonance

• Henry, Pierre

• Las messe de Liverpool (Mass for Liverpool, 1967)

• used musique concrete

• produced by voice, cello, flute and synthesized sounds

• Bernstein

• Mass (1971)

• ballad tunes, chorales, blues singers, Ivesian brass bands, medieval conductus

• focuses on "crisis in faith"

• called work "Theater piece"

• bi-partisan commitment to show biz and Scripture (Watkins, p. 653)

• Tavener, John

• Celtic Requiem (1969)

• turning to old liturgies in search of expression of modern man’s predicament

• Requiem for Father Malachy (1972)

• based on 7 note cell

• 6 male singers and chamber ensemble

• based on monophonic chant

• Pärt, Arvo

• Missa Syllabica (1977)

• Tinntinnabuli techniques

• Berliner Messe (1990)

• SATB soli or chorus, organ or strings

• Lloyd Weber

• Requiem (1984)

• tenor & soprano soloists, chorus and orch.

• Larsen, Libby , Missa Gaia: Mass for the Earth (1992)

• SATB and SSA Choirs, oboe, percussion, string quartet, four-hand piano

• text from Bible, Native American Poets, medieval mystic Meister Eckhart and others

• Addresses human beings‚ relationship to the Earth

• Ramirez, Missa Criolla (c. 1970)

• Trad. text

• Mexican infl

• some ethnic instruments, choir, Tenor solo

• Basler, Missa Kenya

• uses some taped African tribal music with choir

• INTROIT

• Developed early in Egyptian tradition, where psalms were prescribed to

• be read as people gathered

• Early tradition in Roman liturgy, solemn occasions had the choir sing while the clergy processed

• KYRIE (Greek)

• Litany, adapted from the Eastern Church by the 6th C

• incensing was also adopted from Eastern rites (Coptic, Byzantine, Maronite)

• Number of petitions: 7th C until the pope stopped, 8th C nine (3 Kyrie, 3 Christe, 3 Kyrie)

• ACT OF PENANCE

• Adopted from Western Syrian rite

• dates to the early 2nd C Didache (confession of sins before eucharist)

• Old Gallican Mass

• priests and deacons prostrate themselves to call down God's forgiveness

• Roman liturgy in Gallo-Frankish territory

• three points of penitence

• beginning

• after Gospel

• before Communion

• GLORIA

• Hymn of praise modeled on the scriptural canticles, no fixed metrical rules

• Greek version appears in 380

• 5th C Rome: includes Gloria on Sundays with pope, New Testament Codex (almost exact current text)

• Frankish liturgy

• became regular part of liturgy, later augmented by tropes

• Middle Ages

• used like "Te Deum"-a hymn for solemn feasts

• COLLECT

• Sums up the introductory rites

• Gallic roots

• ALLELUIA

• cf. sequence

• CREED

• Based on articles of faith developed in 4th C church councils, ratified in mid-5th C

• Early 6th C Eastern liturgical origins

• Appeared at Spanish synod as early as 589, spread throughout west (except Rome) by 9th C

• supposed to be read (chanted) by all

• indicated a plain recitation tone

• became a popular form for vocal embellishment and polyphony

• HOLY

• East Syrian anaphora of Addai and Mari based on Jewish tradition

• Well-known in west by 4th C, but not universal in 5th C (Hippolytus does not have it)

• Roots as a congregational hymn, reflected in ancient melodies being simple recitation tones

• A special form of the Mass

• Missa pro defunctis (Mass for the Dead).

• Some of the Proper chants are made invariable and are grouped with selected chants of the Ordinary

• Introit

• Kyrie

• Gradual

• Sequence

• Offertory

• Sanctus with Bendictus

• Agnus Dei

• Communion.

• The form is derived from the first words of the Introit: "Requiem aeternam" monophonic Chant

• Renaissance

• Earliest extant Polyphonic Setting by known composer: Ockgeghem

• By 13th c. were regularly sung

• Baroque

• Classical

• formalized in 18th c. infl. of opera, more dramatic

• Cherubini, Requiem (1816) for commemoration of execution of Louis XVI

• Mozart, Requiem: finished by student

• Schubert

• Romantic

• Berlioz, Requiem (1837)

• grand scope

• masterful orchestration

• spatial distrib. of brass

• great contrast in dynamics

• G.P.s at beginnig

• with all its added forces still has some very intimate sections

• dramatic use of modulation

• desc. chromatic vocal lines

• Agnus Dei reprises opening movt.

• Ends with soft winds and 8 timpani

• Brahms

• Ein deutches Requiem (1868)

• consolation for the living

• texts from Luther’s German version of Old and New Testaments selected by Brahms himself

• uses traditional forms

• 7 movts. in perfect arch form

• Verdi

• Manzoni Requiem

• Saint-Saens

• Requiem, solo quartet, choir, orch

• brilliant orchestration

• beautiful melodies

• soloists active throughout

• very dramatic

• Dvorak

• Requiem (1891) for four soloists, choir, orch

• instrumental conception

• Faure

• Delius, Frederick (1862-1934)

• Requiem (1914-16)

• "dedicated to soldier’s who fought in WWI"

• pantheism not religious

• Neitzsche poetry

• not successful

• Durufle: Requiem

• Britten

• War Requiem (1962)

• on poems by Wilfred Owen and the Mass

• STB soloists, SATB, boys choir, orch and chamber orch.

• Bells

• toll f# and c (tritone) important symbolically

• friend and foe/ hunter and hunted

• music on three planes

• foreground is tenor and bari. soloists and chamber orch. on Owen’s poems

• middle ground is full orch, choir and sop solo singing Latin text of Requiem

• background is boys voices and organ in the distance of a calm liturgical style presiding over the chaos

• III. Offertorium in amazing writing; "Quam olim Abrahae" is fugal in G major

• almost "happy" scherzo effect which is intercut with the Abraham story with the two soldiers taking parts of Abraham and Isaac.

• Writing sim. to Canticle

• II. Abraham and Isaac

• Ligeti, Gyorgy

• Hungarian composer

• Requiem uses clusters, "clouds", canon

• Penderecki

• Dies Irae for the victims of Hiroshima (not really a Requiem, see oratorio)

• Polish composer

• Polish Requiem (1980-84)

• uses allusions to Verdi for political reasons

• conservative choral writing

• Rutter

• uses some other texts like "Psalm 23" and "Out of the Depths"

• Stravinsky

• Requiem Canticles (1966)

• A,B, chorus, orch. some 12 tone tech.

• his last opus

• contains all of his styles

• a mini- or pocket Requiem

• Lloyd Weber

• Requiem (1984)

• t, s, soloists, chorus and orch.