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Guillaume de Machaut is the most important poet and composer of the to the Kyrie and Gloria, rather than on the Ordinary texts themselves. Kyrie. ex. Guillaume de Machaut, La messe de Nostre Dame: Ite, missa est. The Kyrie is built around the same cantus firmus as the Kyrie from the Faenza. Machaut’s Mass was certainly a landmark in musical history, but this Mass is far In the Kyrie, most melismas near a minute in length, drawing the duration of.

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Sometimes, a scribe would copy together a pair of musically-related movements usually Gloria-Credo or Sanctus-Agnusor even a complete cycle.

Three soloists sing new music polyphonically with ornamentation.

Listen to the lines and varying intensities of the Gloria [tr. Notify me of new comments via email. This acoustic enhances the music-making. The style of the conductus was usually rhythmic, as befitting music accompanying a procession, and almost always note-against-note. This gesture by Machaut imposed on the Ordinary a previously unconsidered abstract artistic idea, and potentially influenced composers throughout the ages to continue setting the Ordinary to stylistically coherent music.

Messe de Nostre Dame (Guillaume de Machaut)

Perhaps this makes more sense in a 14th century context, and within the acoustics that this mass would be sung in. Yet without drawing any teeth: 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. Guillaume de Machaut and Reims: Do you have any supporting maachaut for this rather bold statement?


Machaut’s Messe de Nostre Dame is for four voices rather than the more common three. 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.

According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. In the Kyrie, most melismas near a minute in length, drawing the duration of the movement out to 8 minutes, the longest in the mass, where the volume of words is actually less than any other movement.

Of course, in terms of rhythm polyphony is utilised in several different ways.

Missa de Notre Dame (Machaut, Guillaume de)

The hunchbacked and elderly Machaut appears to have truly been in love, a love that was unrequited. Nor yet kydie impose kyrje, unnecessary color. It is possible that Machaut was familiar with the Tournai Massan even earlier polyphonic 14th-century mass setting in which each movement is believed to have been written independently by different composers. An example of this kind of scribally-created cycle is the Tournai Massso called from its appearance in a manuscript now in Tournai.

I was made aware of textless interludes Eg. Three soloists repeat music with some ornamentation. The top voice triplum is omitted. You are commenting using your WordPress. Fallows addresses this point later in the same article: By Macchaut de Machaut, midi instrumental version.


My stance on this issue is changed and I have some reading to do. Guillaume de Machaut c. Three soloists again sing with ornamentation.

Messe de Nostre Dame (Guillaume de Machaut) – ChoralWiki

You are commenting using your Facebook account. Views Read Edit View history. Where the Kyrie is homogeneous in texture, without much need for articulation and with a consistent dynamic for all 8 of its minutes, besides some welcome off-beat rhythmic deviation in the first Kyrie, the Gloria, with a vastly greater number of words and a shorter running time, is given a lighter treatment, with the exception of the 2-page ‘Amen’ melisma at its end.

Records later show him travelling throughout Europe in the retinue of John of Luxembourg, king of Bohemia. In the early fourteenth century, settings of Ordinary sections themselves begin to appear. Mood and aura can still be altered despite the consistency of timbre. Recorded inthe group was at the peak of their power as a small vocal ensemble, and this is still one of the better versions available.

These pieces borrow from other styles, especially the motetthe nascent polyphonic secular song, and the conductusa genre otherwise fading from the scene.