THE THEMATIC RELATION OF THE
MASSES OF PALESTRINA
TO THEIR VARIOUS SOURCES

Thesis for the Dogma of
Master of Music
MICHIGAN STATE COLLEGE

Milton Grafrath
' l94I

:00;
(“fl (0
THS

 

Michigan State

["“UBRAHY
University

 

 

 

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Ir!

&-9
6.
-‘

THEMATIC RELATIOI‘I
of THE E£;SSES

Of I’ALES’L‘EIHA

m THEIR VARIOUS souacga/

by

Hilton grfi‘rath
.. //

A TIESIS

Submitted to the {‘rzzduote School of I-iichirtan
State College of Agriculture and 1133311061
Scimco in partial fittlfiment of the

reguiretizents for the times of

JASTER of ISUSIC
Dolxraizczzt of music

1941

THESIS

HZ) UI
‘ LOCI. "C:
T is KL“.

 

MILEAGE:

tZuch 1mg been t‘n'itten and said about the "ii‘uleetrinn Style";

the {great culmination of the early forms of nolyphony in the

art of Pnlcetrina and his dependence even the nnci ent Plaineong;
melodies. It is the purpose of this inthigntion to determine,
through a study of the min tjnaes of his polyphonic Emerson,

m‘mt style or styles of commeing ere represented by Pol uztrine
and, to find, by a comparison of thczxee, a basis, if there be one

for the supgoeed association of his music with Pluineong.

Unfort'mntely the versions given in the 301681188 editions of the
Liber Ueuelis“ (one in twelfth centtn'y notation which was published
in a revised fem, 1932, and the other in modernized notation 11113-
linked in a similarly revised form, 1938.) are the only sources of
the kind. mfuilztblo in macticel fem for the present study, and it
is very likely that there have been many previous revisions of the
ancient notation and form of the melodies accordin , to locale and
named in history. Indeed, it is :1 known Erect that vex-’7 few of the
melodi .3 lmve not been chmigod tinny tii'tee, 13a). estrinn him elf tor}:-
1113, 11116.83? obedience to an order from the reigning Pope, (Gregor;

XIII. 1572-85) at the correcting of cone of they: for a specie].

”The Libcr T sunlie; with Introduction and Entries in Implicit,
(edited by the Bencxlictinee of Selection) Tommi, 13 {311211, 1938.
Libel? 'Ueunlie, lfleeae lit Officii, (Omit sztu CI‘G{’.OI‘itmO (gum ex
Editione Typica in recentioris mieicee nottflm trzmeletm
Soleemances Iionochi rm‘tlmicie simiis diligenter oxmvemmtd.
Deselee et $00., Tornoci, 1958.

133498

p...

edition of the or actual.” (C3113 test: really 91.101112th to nothing
:10 re t 1:111 a si1.1;1lii‘;.ri:13 0. some 01? the more nelisrgmtic lfiu‘eses.)
One may be i‘sirifsr s 1~e hex-rover, thilt the modern Liber Usuelis,
While it represents the authentic mean ei‘ all versions and is
the finest available source, (bemain3 none but sixteenth emitury
Roman Pleins3011.nnnuscri;1ts us sally 1n.cce..ble to the mere amateur
tnouril he travel far to find then) does not represent the s“:
fern of ts.’ e melodies 1210111 by Pele: trains, 1111011 :1 to say that
his no.1. dies were taken from a. source coresenly 121101111 possibly
only in his time. T2 us 000. .zsionr. 11:; the older melody, from s
Pel ..-;.trin:1 cor-mos tion, when 0 tapered with the modern derivation
of a supposedly related melody in the Libcr Us: mlis any shot:
several point s of 312111.: rity but leove a doubt as to that the

true primry see '00 may hr-ye been.

Sizerci‘ore, in :1 study of tisis sort 1:, no precise or finzfl. statement
can be "1 ven concerninh the 031:: "gee Pelee trine 1.1.3:] have made to
eccerrnlste the I’lei song 121010113: es to his polyphony. Gomequently,
with such limited, or rt best secs 12:11 :1,- relstcxl sources, it be-

:1 mos sadly evident tizct the: ether cannot hope to nreser‘ t the

“Titisv or- sion Ellis incomplete for :1 l 11:: tine after his derth and
the mi; 1.113 taken 113') by soverrl diff ere: 1t edit ors over an in-

definite . nceiod, so that it 1.. 1.171051: sible to set rriine who is re-
seensible" 10 or the fin_si1ed rcit1 on. It 1111:; “innlly printed in
3.814 under tire title " :flitio :ialiceea" becntse of its having-2 cane
fr 2.1 ‘- use press of one of tJ1eEe<1:.ei.Itstm1e stete of inaccuracy
ens not (if. seovcs'eti, .11 seems, until tne begginninb —' of the fil'rentieth
Century when it at lest met its deserved fete at the hands of
Pope Pius :th, 19110 beers} it from us

iii

results 01“ this research in :1 form :13 co. onpl to end the.1.1o1.1{;t1---l 01113

as 111L111: have been de sri ed.

Since little detailed analysis of the struc final aspects of the
sixteenth cmtury .-.:1ssos has been made, I hove adopted :1 method
of descii ipt ion which is 111 011011.111 1:11:31}; :11 '1 ytic in nature, with
only some tentative suggestions as to whet bee. i113 my findings
right have upon the inter g1 aetntion and evaluation of Pclestrinn's

works :15 m1 sic lit caret“. 6.1.” Die-g 1:1333'1icsl questions also enter

 

111.30 tl‘. 0 dis 01....1-1" sion fr 011 tine to til” .18. But, in general, it has
been my main concern to 31.1051 cntt he remilts of 1:13 analyses and
to leave an interpretation 0:? their consequences one. implications

to those interested in such considerations.

However, in order that some st: rt my be made to: uni a p11 nosei‘ul
and 11.10119 119533313? authenticated found -tion for the supposed outni'rth
of ti1. Pnlestsinn tre. tent of melody from the origginnl i’loinsong
setmcos, this 1'. 1.11:: is offered, in the hone that it say serve :15

:1 though tomes 111111331 or, more scholarly research by better

(111:1 11:61:11 31ers one than the anti-1.011.

25103311 '1' State 003.1636 M. G.
LWi.~iI"tJ-fil'ot,1941

A 57013131301“? 3'33:

I an {'Tectly ind ebted to the mar persons the have so (generously
contribute} in so many mauve toward the znieperetien of the mxteriul
in this study. For their patience I an ymticulmiy obliged to
R'ofeseore minor: 1’ 22m]. and Comer Ll. Jones who must lmve found
272; pomegximtions in the rather solam realm of nusicolow at times
most taxing. I desire to than ’: Professor Stei‘metz, oi‘ the Language
Department, for the time and effort he has spent with no in trons-
letinp; the very-r helpful chapter on the rim-sees of Ppleetrine fro:

the Column of Peter h per in his Coachigitc dc:- Noose. I have also

 

to thank Hr. Clerk fickle; of L'umiz‘g for his timely aid in the
duplication or? the nmimroue musical wmnplm and tables of rei’tr ence.
But more especial .3; on I indebted to Dr. . . Hum-Lu! Barbour without
those constant criticism and advice this project would never Imve

reached completion.

To the authorities of the 3'. P. Hera-m Library of New York City
for their hind pmission to use several elueble menuecripte in
my research; to those in charge at the Colin-£013 University Ifiusic
Library and the II 17 York City Pahlic Libzumr for their help and
consideration, and. to all than who in em; I'm‘ helped to i’m‘thcr

the writing of this Thesis I wish to armess my sincere gratitude.

Milton Grui'mth.

To

Dr. J . iiurrny E‘Eerbour

vi

c—JQBIM 1‘ 0:? C". 3 d .3- :J- “ms. 0 Penn-(E :

Stfltfiialt 0f the 1110813 Of this (3:37.711. 1r.oooooooooooonoooouooooodooooooi
LutrOd'LICtioncocp-ooooooa...coco-QtOUoouooooooouolococoonooocooooooooolo

Chapter I: The Ca: tee 1315,3113 tree mes es Treated by
91110313375113 in 1113 11:33:11. OCC- ”-' 0731103 I.“Erpt-Sococoooooooo.oooooooo-ogo

Chapter II: The Plain-130119 “Poly; )11oz1ic Emmi has as Treated
by Pelsetrine in his I.’<is_s:1 no I‘...e:.1ue Vipggne.......................21’3.

Chapter III: The Parody ifoe Ease as Treated by Palestrins in

his ‘1162‘: SineI0'11..C......nu.........o..o.......o..a..u.......51.

Ci'mpter IV: The Cenonic 'i‘zrpe Hues es Treated by Palestrina in

11.1.8 133.833 HQELlQ’ItRI‘ OS 3.301gocoo-ooooooqooooooocoacoo-cocoocuocoooomo
001101713101]...0.060000000000900000.00...o3.0.000.no...o...uOOICOOCObvoé-‘so
Apeendix I: General Imlex of 15118383 by Pelcstrim...non-unnuu418.
Table I: Sources of the i‘hemes of i‘zfieotr ine' s messes”............61o

1

[Filble 11:2fi0de‘3 lived by P'flCEUI‘ 1118 1111118 3121231163..00000000000000.0061.

1:);101'11'1 II: Index to the Possible Plainsozg sources for
PaleStI'. 1151's rthtS, 1m HISEU‘d 0.1 fifcrtorleSOOOOUOOOICOOOIGC00.0..OI.620

hependix III: A. E’wephrmse of the Chapter: The Masses of
Pelestrim from Peter ‘-;‘.-'ec:ner's Geschicl'zte dez' fiesse.......-........'72.

BibliOffl‘CfflL’co00.000.10.00coo-occooooooooavotlcco-ooioooooonototoooolOlo

IIPI‘E“; ODUC'JI OI '1 :
The to; a L .88 cox. es from a 8010 01193113 "Ito, Iii-see est" (Go, the
(1183313881 18 made) 1.111011 is sung to the cor-{:1 gition at the end

A

the saw-cc by the pri’lcipcfl- oi‘i’icicmt. 25.110 1 18.88 (Ifil'Ch is

H:

o
essentially a re-ezlucting oi‘ the last supper- ui'ter the au‘liest

cecriptions in the (1081:1018, comics-1y 1:110 011)) ted ’13; :18 the “0031;111:1101:

CA

Service") 11:18 assmned, in Catholic 1 321-1311 1:" the most importen 33.1.2108

r) ,3

among; the sewer 1-11 "01 ices" 03? "semrices" 1.111161 or 3111133, during the day.

The mrd :3; as 1).) ed t3=1101¢110utt’ 81110818 is intezmca to mean only
the five greater:- parts of the 811118 liturgy. The tea-its for these ports
(10 1- -0t We? during the entire 01111-011 yore-"8" They ere: Karrie, Gloria.
Cree-0, Sonotus and Dwaiictus, and {3131188 Dei. Toacther they form the
Ordinary.- Theim is herrercr, another set of lesser sung parts of the
121888 with a different text for each day. T11 is oat-up is c0..1)r1 med oi‘
the fell-wring: Introit, Gram-11131 (801:1ctimcs with Alleluia and Tract
or Seluelee), fay-"(30170118 00111311111120 1. Together they form ref-Let is
1111811 "1.11 e Preper (1.8., the texts am t1 eir respective )zzelodim are

authorized as proper to :1 certain day or fwet).

3110 min 1 int 01" distinction bett':een these two categories lies in

the feet that the 02.11111 1?, being: the longer and more iJ-iportent tart

.

of any 1:888, is usually given :3 chorz 1 or mlgiimnic sett1,1111t
'16 impel: is generally sung in the uni son 9.1.1.8013. ‘1-‘18I‘O is

*Ccrtoin 89:18 118 such 118 1-03.13 and ..d.vent are considered penet mtiol
periods of 13133:“)? 11:10)) for the 33ers. ter feasts ci‘ meter and Chris was
respectively. The (1-1-0118, heir. g a song of re J{1101.11g,, is therefore
obvious ...y out of place and is omitted m such seasons.

en c:-:ce1tion in the case of the Offwtory. The eeretzony of the

Fees at this Doint frequently occur-vies 2301‘6 time 1321.11.11 that for which
the original 2.210.111.0113 melody 11:13 1111;01:2th and it is perhaps for

this 1100:; on that it has become the cu. 1.1313011 to have the text of the
Offortory set in polylmonio style. Palestrinn compose). some sixty-six
Ofi‘ertories for use t2u1o1u3210ut the year on 311119.038 :md feasts of major

importance.

\

11 83111. can so couples: e111. inter-relatel as tee 11::1t’1013'. 3.0 11m11s1i: of
today, 1.11.2311. pose r3013 :. 1; once L111“ cl. e 010': 01175.3 ofsmm1wl beauty

and a pmfectlyl 11:10:11 00110:: enco 1.1.3.131. 1.11.0111. the ye'm, 17111313, even at
Pelwtz'ine's 131210,} mve been 3.11:1" in the 11:13-21:13. It is quit o nztmml,
there? CT.‘ e, to 5111:1036 that the 0:11:13. nation of such an intricate, but
at t21 eerie 1:11:19 logical, 3021:1110 I11 -1t2 , be. ides t2: e institution of
many net: idea .5, incl 11:2e 1:11.111: 2.011110110. :11}. old ideas, 11:20:; and methods.
.11.:1132113, 11:9 findo.:3111vo-:itr; tion, is exactly the case. 220:1 t of t.e
rites 3.11:1 ouster-.3 eee 2.111.111.1306 by; téze 35-1133 2-:omn 021.111.1021 0:13.113 12:10:71
“011's 0.- 11.02.13-111) in existence even before 133-" e :Id‘von a of 03111151"... So
it is that 11:0 finde £3.30. in the core-.1101 ".iee 0.1.“ the new Ch11re21.* a form

of Imsie "carried over" from t2: 6 pro-Chris cinn era.

The "£01111" of mmie nent ionod :12 mm 1:1. 1. mitten in nodes or ac: lee
which are based primarily upon the characteristic features of the
scales or mode—.11 of the Greeks. "b trace the Leve1011'1a1t of these

”22:21“: Church in this 111.139.1100 is meant to refer to the Christian
co :m:;1eg:~.t°o 113 o: the fi.::t tn) or three centuries, 1’1. D.

nodes and their variations with any degree of accuracy or thorough-.-

eoa is :1 1511.131: 111511.011 111011.111 fill may volumos. It will has ui‘if cicnt

*1

to include here only a brief account of the :11- :1. points in 1.1.1.9:
001‘1111... 0 31.:1'1130337 togzoizho: with some discussion of the melodies:
1.=,'::13.i‘."om upon than and, firm-3.1:; to indicate the form in vizich they

: 4" A 1v. 1 1
1.1.;1;10.::1::1 :11; «£10 {31.1110 11151101301111.0- coz: 0:30;.

It goes 1.1it21out saying. that the early centuries of the Chrio’cion
mrship, under the oppression of :1 .r:oc1.1tion, 17.11:: not :1 erorczble
time for the devologuoni: of :1 31111:; 1:1th ._ But novrm'blaoloso, we
have concl11'1ive evidence that the primitive congregations actually
sang :1rivate and public moo-1111.105 of 1191132113) and oven croutcxi
new 1119104105 and 11-01: texts to @ZDI‘GSB $10111 ideas and faith. The
01:10:: for: no of eE:::.. 1M1 1114:; the Psalm 01‘ course survived $110111. 1.0
Hebrew: use of pro-01111151131 m1 til-10:3, but 1.1.91.1: 1:: 0:15:05, 1131.11.11.11: 1:10:73

:13 11.3.1113, 1111:1110 added to the 11.11.1810 t-.1on in use. These 11mm in reality
the fir-.11.: Christi-c111 versiozm 0:1 11.0-01.1:- 01: {5 and were 111051017011 in

tnifiotio. of the 0111113310.]. 0:100:000110 £011.13.

By the tom Plainsov is meant the :11 1:216:11; mlioon melon}; as it was

 

used (111111115; 1“ 0:1 Deriod of 111 3110.1: developmmt (600-1000 A. D.) by
he Ch:.-isti:m church. As 1111:; been mentionefl, this for-"1 of." rmoio
developed $110271 previous sources dating; bee}: co the 03:01:11.9 of the
(3:16:33. It is 1:11-01:11. 1‘11: 113i: 1.9 to ‘01:;19 by :1 1113111011 01' nor-es 111101.
5:11:11; the locale of :1 certain style 011 :1 partimzlzir warmer of

110.116.0th or a systczn of 00:131031 tion 11:13 ..:> "ingos especially to a

"I

carts-in body 01 11:53:13 0:- to a sing-:18 1151113011. It is often called

”Gregorian 021511111" 31000 1:.0 of the rrcat 111111101100 01“ 330110 Cr0{;0*°y

1.310 Crert ((1. 602) 011 11310 f11-...1 01‘ C21: 2111', 1131011210 1111111111121. 012 13210

codifiring 11:12:: 11.112111;- 02" 1.0:: ‘0 011121 1.2030: 10:1 for ‘2‘ ‘0 31:09:11:
11:0:‘10 of the 0311111021. .501 1111131 21111 that the {5:13am «511:0 01‘
13121130113, 310: 21:11:. [110112. 01" tor-1:1 in "8513131011111 1201301111" after the

n 1

origin of :1 00110111 series 01 0110111113 in 3301.10. Still another tom
1.. "12111111001011 C2211." after :11 collection 01’ 17101013100 mitten in

a V017 sir-1113.0 StL?’lG Lmzti‘outed by a 1:011:31 01:1 1101‘: 3:101:11 as

8:11:1t 321111110." 0 (340437) 1:110:10 11111110200 on 112:0 1:11.010 1113511011

0:121}: 31111.1, 11510110310 officiated 00 131021011, 1123 01;" 5:.‘e:;test 11171310313011.0121

031d 01.1":1'700 11:10:00 even to this (203'.

About the 11171111“: or thirtemth 000131112; (3210 01111 of the period
1121101111 as the “3301:2011 0:30" of 1311111130115) the-1111:“ "0011th 1310111121"
11000. e gmorally 11:10:“; by 2100171003 ‘50 dieting: 031 13111111: 0. :3 :10

011 01:20:. $0111 01" 111110220 from that of 11310 110111111 1101111, 2111.05.00 ikmsuruta

or tum-0117023 1.111010. ‘5210 letter measured the 1102300 in :1 83313053 01’?

11011161331001 W‘O‘B‘t 11.1110. 1.10:0 immlvod patterns 1" 1.131571. 1m.- 2:21.18
(31 11:0 20‘1 0..“ two diz’i‘orcut 222120 01‘ music is ..11L:20:.1; .v0 01? ‘52:

rise 0:.“ 000111.51? art at that ti:i10, 121;?11110 11011: 11:13 .303? S‘d;'1c;fl.lous
<30001~.1‘i;;‘1011 0110. rhy‘ohz‘aiCm‘L 01.1.1: 11110 in 03:001'231011 to tho 1’31“ .0: flow
of the 11111111730333 flexible, 10:30 0221101331; “moundmg 3 30.10 8137318

111110011 1101.10.13 01 3.10111: 1011rz.

Incid011t..lly, it is 11011113101111 001.10 111113010213 1:21:11; 0110 1:130 r0011 .00

i

the “11110111101... .1 importance of this free: 213/1211 in an {1111111001110

rendition of Pleinsong scans the "modern notation" of the Plaineong
melodies (1:330:29 up, in some of the histories of raw-310* today. The
importcu'zce of the 11611118 as used for notation by too Bencxlictmes

of Solem‘rtee can not, therefore, be 313:? see} too strongly, as this
is the only medium in which the original cone ption of I-rtla can
be maintained without the confusion arts-.4 12:; from 3 Meme of modem

trmzscriptions with box lines etc.

It is esemttiel to mention, in connection with téze 901(1er ideas

of Pluil’lflng’; "12:21: its revival is due Elf-1113.1." to the wet-1: of Don .Teusions
01‘ the {301053.103 m eatery. fiance. and his suee seer, Dom lbcquemoam,
of the ecu-«e order, who imti‘buted tire ”Pavieogrermie Easieale." This
has been Imblisizcd. periodically since 1889 in qxumterly volumes with

'lO'bO{'_f.‘{ljlfil.c plates of flimortzmt 3133. end scholar v diemwtotion noon

the subject. In 1903 the {$0103er monks published the first edition
of “the Liber Usualis which is an extract from their earlier compilations

in weir Gradual and .Satig‘filonnxv. this eetivi 9:; Ems been smactioned

‘1

by the late Pope Pius, the Tenth, who like Pope Grocery too (Pref-1t,

*
set th- stendozfi for Mom. '*

*C :11 are the Gloria fr 1'7“. the Miss-o In Festis Duplicibus I, "modernized"
by S hazing; in his 903013322429 per Suzi}; 111 1331‘53101631 on page 1 with
the origimgl nototioh in tizewtvzolfth 7502131111; lender of the 19134 edition
of the melody on page :36 of the Libcm Usuelio. The 212111 em‘or here is
that Schmz'ing's method of notation for the 'Climeus in the first phrase
gives he iz'apression of the time value of a 32133.)? note zmcl two quorum
mach is really not the case at all.

”See Dom Gregory Sunol, Tm 13001: of Creeorion Emit, Tourmi,
Belgium. 1934:. On pogo 164 may be found the English text of the recent
Mote Premio affecting church music much m9 issued by Pope Pius, Xth.

 

   

T219 1711300111353; 032' cmpositiorm by Pele: trim. are rmitten in scales
called Mes. 3.10130 11106.03 are been“. on the union’s Cree}: series.*
1512):.‘030 (310-97) us for * rode"; 1017 his eoa“1o"it;o--.,. (Dori:
13111373131, I..::di:m 11:” 3‘1: 013311111) {311000 £011.11 modes were called

fizztl‘mzztic by .1113. (17103-017, 1-310 is crofli (-1-. with 9.1131213 to than

the e311'111neter1 1-3 stic 11:: e 01' int 7-1153 1121’”. 1.151121 tones of the 1‘ 11-10?

11:11 11112-1011 after tl.e.:. ‘;‘11e:'ol:1et for." we: art-111111111111, IUmpZmr ,ien,
E’:.-'1x11;."dio:1 :1-1-1‘1 I:.r‘.o:1;‘1xolyflir11. :ir-‘oo do the 1111117 3r.- e-.‘ the sizzteent.‘

eo tar-y, :1 51:15:; 110112: by the 11-1110 03" 61:1“01 -' nus mam-12.0011 a theory

(in 115 Dofiocaehordrxz, 3.5117) that too nodal eye'm. should 11: befall“;
contain trrofi'v'e modoe 1 111361261 01' ti :o eight con-only 1310111 in his

or Q

. . -'.? fl -‘ n: v..- , ya‘ on ."t‘ QY‘ -'- n
01 e. 2.9 eeeor'. 1-21 3.1; r: 1. ed 10.1.: Lo 0 to e -.-.._1lete t1;- siege...

« " u I “ 1 J. N ‘. 5 7 1 I-ir / I’". a 1'. .~-\,- .
2.1-4 are: . cell an, I011icrl .1:.- 111-01; .13.. 11 1 deriv. 1.1-3 IS 1.131011100111111
.a‘ n '59-, ‘ ’ Q‘ I" q... I -_' w ' Q 4‘- f 2‘ a ' ‘2‘ 1 o:--’.-' .

e..-1 2-..-13141. .111. It 1:: .3 .. 3. .2 01111113 110 fiTS-U .9. 03.1011 uo 173.3. we meow

Q

L? '-'- ~‘- ' O ‘ ‘ V. ‘1 - o n-. o-C . a‘-. a. I '
14.18 1.2001. 11.41313 0; 1".- .031 .3; are .10.. 1:10.11, 0031:1115 U11-:o..1{_11

I) .1. .L ‘

w r<-.~ .-'- ,‘ 3“ r ‘ --‘ " ‘ ' J"; . l.“ ' 'I'" '.--~ --‘, 3 , a... ”a r. I
a 111003.10 Winn, 1... .u 9.1;: -..e.'.'e inch-010-1 1.1.11 we 12.01-31-11 use-1.
1

‘5 .J_,, . .. ., ’1
1:D{.\ J 0;. u.‘.C 5:... U 1114.0...

011 the £013.01. -..: 3:19.50 1:; 21 table 1'7“ the £13.11 01' t”- :0 nodes at

11:13. 0:; 31111111 ' :3 1:11:10.

*LSCC Percy 1'1 5101.03.01}, The 03:." 0:13. 031'": to 3 “.1319 (1:30:11 {hivet‘sity

:o’pjs’ 1-0:.) 30151:, ID:1\L~.)11,1J;” 3. 1‘ u){ 0 {151‘}.

 

2~.u’-31-5-‘-1‘bi<=: (J. Dori-5‘ n.............11“ .55. . 0 .1 0*0 D
(III) PZLW'TI. 33.000000000013151“ Cr 1.13%?) D E
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The 1101305101: 1711:2311 the 1-5-3.1" 17.120 :10 in ‘00“. ‘1 50010121210 .110. 131215.511 £03511).
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the 0000316. 21nd (151131011 3.01; 01‘ is the Donincmt. In 1:110 1111503. modes
the first 0.5139105;1 3.01.1303:- on ’53-“ .0 10:31: 10 11.19 2011211 11155103 13.5.0 00001111
omit-5.3. letter from the 10:81", is 453-10 Final. 2110530 13110 1101300 are the
most 11221101565111; 1n the 0053.0, 5.1.5100 the 1755101150115 1:101:10}; 1:3 2151.11.11.13;

(10-1 16.011t on the 1‘11101 for 00315-11111 0116. 011‘... 0 for 0.101555 the clmnt,

and 1141011 11110 1301.1111011t 0.5:. 1:110 note 1:10:11 1100(- “2.1021500111- the 0110.210.

It is inf-050:: 1115;; to 110110 12215... 0‘.-1:: 1106.02.11 1.10.305 30:13.0 1:3 .11‘0010013/
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rfinor 30 5110 is the 00110.53 13110 {10011011, 01‘ ninth 1510110..

&

”file 0‘0004‘1011 of '1'100-1'111-‘311i1u: ”(22.0 male 01-" 011;? 11013213101110 0 11110011121031

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n.— UI-L, ~~Ou

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Hmong—0011011 of "111““.11100'" 31:10:30.0 01:0 in a trunstrosoa r1000.

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in 1.113 1133:: "(.000 3300:1303 I 3.111113.

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£12110]: 13:1 0:3L111n0 1...1—. about 0131113003. 3103.113 01’ 030 he 113.6. raster-0:1 the
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1301.11. 1211311101 Del 1101.17.30 111.113 the 1.113210131'00130 at 1:11:11: 1:31:10 .1:- .cI-. some
seven years late:- 1.1.1.3 010013011 POpo, 3331.11.15.33 L110 LiLlo 1111:3011 L110
11011310113 11:31.0 of Juli .13 III. IL 1103000131: one 031:1 one half years
later, 1:11. (:1 ?.:1_3.:L1113313:13:1b01.1L L'1z11L3-1—Gix, that L110 new P0130 called
him L0 L:fi:0 L210 posiLmn o1 0-:?0 1111131303 of L110 (7121110 (31101301 of Saint
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2533'. a 73000 G: 200116.03 1:15;- .3, on 121330110113 composition 01" 11013150 to 11.13

patron, Lube new :‘ope.

This 2133 3 11033110303133 3 style 12‘11L:;;Liv0 of 111.310 ELTO'tlIQI‘lC 1d $5011.00]. of
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of LolenLod (.130111103,111o111I1 1 1131013 the 150133 10111.11nd traditions
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11:310'1133 3-7000 f3:1c--...< 3 31.11511 113:3; is fire use

of :1 (30.21.1313; F::1111u3,** 01: 3.0111031 1.311011 30:11:03 03 L210 b33310 structure

for L‘1e 01‘ .2103: 1703.003 and the 1:13.111 rmoicol 1:100 0:? 13211211010 composition.
waldo Seldcm 1113.11.12, ”2110 331311302111 01? 111.110, 3.33:1,0 98-9.

*‘I‘In his (3010....... 301.131.3130, 0:130 80, 130L011 .11.,110111101112310113 the
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composition: 3-? 13:51.11. :30 3.3 £300 31-: 1.1.10, (13311111111011 c". or 10121311111111; in
03100211101011, .T33111.VII, 8. 1:30:33.) 03 one 01." LI10"11113L 02311131103 of

1.1011 a use of 0:31.313 51113113 technique.

10.

In this case the melody is the Pleineeng .fmtiplzon in the iiizcelmiien

node from the second Vespers from the Coitzon of e CifllfOS oer Bieh on.*

This melody with its tee: : "Ecce eucerdos zueg1*.u.:, (311 in diebus euie
plecuit Dee, et 11117:: ntus st jus us." (Behold the liifii priest, who
in his days :1de God, and vein founfl Just. Ecol esi .etic‘. £11? 16.)
is, to use a fig1 '78 oi speech, the beefibene of ti 1e com. W‘ er? :oint. It
is sometimt smear-13111:; to observe that the Yrozfls of tie Imtif-len are
to be sung QlOilC :1 t1; the iregilrzr text of the nevenente of the liege,
but such devices were not yet oeinlemm at that t me and et 1.2 0 first

Hose celebrated by the new ibpe, 31111115 III, his clever 1103:1159

ces'ijfvoei tien 1.21.25 peri‘o: zed. It meet, no doubt, herve 286.0 a fleecing

J.

l

egress ion. The more our rising; feet re nine, however, in the es-
teblisl led on :ten of perm 11in; tiie partied") I has i), ream-«11,93 of

the divergent char: actor of the 1.01113 uritt en into it, at tee first

celebration of the newly electeci Pepe even in modem: twee.

mere is a 311; iii: c}-::.:1gei:1 “16 Pl: :inee 32:; 3110106." of t3: :0 eenulti.

to 16 from an "A" to e "G" * in code): to mike meeible the immlydien
full evidence. Thee tie relations of the other voices to tii e Cmtus
Films characteeiefies ere rut}: er re:- and :10 not 5.1m; the imitation
very for Yfileil they do appear. The two best ezemjjlee of imitation are
the booiniin" of tile Credo a; 1d the izoezum (See the tree ierl er’exzplee
in score folle 1:23 this (311:2; tor.) Another interesting i'eet2.:re here

is Rileetrina'e use of dl’iOLiS 1:12:13 0'.? time one cashimitions of tine
*Liber Usuelie', (with In“ “001.0 01011 aid liubz‘ics in Rifiieh, edited

by the Bmedietinee of Selemnes, i-..£"J100) Tmimei Seldom, 19 38. page 1176
*See Ezegier, 0:). cit. p. 4.34..

in some novcmcuts. In this art he seem to display a mastery of
the metrical system of his day. The third firms Dei conbinw the
three kinds of time. The upoer voice is in 3/1, the armor in 8/2
and the Bass in 4/4 time. There is a i‘xurtlmr complication in the
insertion of sections in. some melodies where the time changm
smidmily from duj-le to triple and back again. This is called
"tzpcrfiziwmjac" by Peter I‘éemler. finotller {25127110 of this use
of different kinds of t-mc is to be seen in the i'iosmme, which is
in two kinds of triele ti. :e. (See the Izmsiczfl. e153; pie 0:? the

liosauma and the tabulation of the Cmtus Fir-nus at the end of this

clmptor. )

.. ‘e melodies times; :11 st th :5 Ease may be thought of as long; strands
of different color woven together in a single cord in which the

Cantata 1711:1113 uppers frquzezttly as a bright and outstamding member.

'33.

1e wriows a?‘3‘>ei'rzmco:3 of the Erastus Fimms:

l. The melody tuith mz'fis coz'zplrJte 33:30:21.3 first in the 111511. at voice

in the first lie/rim

2. In the Chriete the solely with male (215)31310136 again in the Altus.

3. In the second Kiwis the Tenor has the melody cenylete with all words.
4. In the Gloria the Tenor Int-s the melody complete with mrds up to

the "Demise J‘Jeus Hex," rinse it ends.

5. The cemmlete sn‘iui'fizos begins again at the "130115.110 Dons Rm" {1111

ends at the "C511 'l‘ellis."

6. (1115. trellis: In the Tmer in emmezzttztion up to the second "(.5111

$013.13"; but {at "suscizve" boigtins with "(1113. in die-bus (32113" (mi rests

‘1.

again until "monies" is i‘ shed and begim ot "plscuit" some

"’i soles .:1tissi1m" beg 111:. :s. The lost piu'ose "ct inventus Justus“

is repeated while the Iless text "in Cloris Dei Potris" is repeated.
to- In the Credo the melody enters irate in the Team after the Boss
text hos elx'm:’,:,r 1"“ shed " ‘nt: (1* or..:i:>oteotcm," but is now: some-

til. .03 is awf‘ez‘“ :- on 0.1:} soa'ietimm not. The Helm}; :e:{.£ dashing
thee: using: of "et invi sibilimn.“ _.- .i‘ter both new and alto mmounce
"“t in them Barium" too "@111 in (11qu s sis“ is 51mg, but roots,

to begin mm" at "Lt e2: Rates notmm" filth "3).? ocuit Dee." It then
rests c~i~o "Been so Dee, lumen de 111211-10, Dem V dc Dee Vere."

At "Genitm, non factzm" it begins :xit’ "0t bivcnitus est justus,"

and bed 1:, again at the " gui mopter" after a rest fro:1"per (111cm

01min“ .Lf. zeta cunt.”
8. In the Ten “ ”(17:11 propter" but restim: th iron; :1 port of "Deeccm‘iit
(16 cool is, " but 13051121328 again with "(11:1 in diebus suits." Ai‘tw
a rest at the "Spirits. senate" it agapeem again and is smig to the

end of the roveimt at "I aria ‘H’irc inc."

9. At "Et items: armattmus est," it beg-1m "Pecan..." just after

the Cantos and Altos have sutured and continues to "vivos et mrtuos"
but rezizts three rzetmlu‘es dIfiTin!‘ en: izzg of -.-.-o.ss text. Then begins with
"qui in diebus suis" up to “qui ex Petra, Filioque procefiit" but

at "2;,111 em Petre" comes in with "plocuzit Dee” up to "st con {:iorificetur"
At "(1111 locutus" it sings "ct inventus est justus" e115: rests during
"Et Imam scmctmi Coir olicon et epos te.olic* melesion“ but begins again
at its beginning; with the "11.“ u tcs’tmnclwi s1" It (goes on to ".ifleptisme"

:26: then from "$1111...." couple’s e to t". 9 end from "I‘emissionan.."

l3.

‘1'. * In the :—,':.e bus ti: o llel fly is again in the , ltus beaming: after
the Zone: has entered but from beginniz 75; of the Senetue to the end
of the Liege does not ep;j>eor in complet 6 f0: 3:7 cecce7t 077 co in the '
77.311113 1) Ci I .

{2. It apperrs 117 327.0731: form at the Dordnuo Does.

E? 7713:3111 111 short 33077.7 at the 1303111771113 Does.

3‘. g, 3, There are three epeem‘o. .1303 or? the short for-.771 in the

10. In the 752.37.777.53 1):: I it appear-s after all the other voices have
entered. fit the 370117733 7-5-7026: the items text is repezitefi, 17057 as

-7e final three or four 7707x113 or? e pie-me, it 1‘05 '3.
2., §_, §_, 3Q, _J_._1_, 3;, The Agnes Dci II has six appearances of the
short form. The lest one is peculiar in that it closes by joining;

the other voices .rrith the lost phrase: "done nobis pecan."
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hepter II: "3210 Plain:20:;3-Poly112101110 'l‘ypc 2:50:30 $.23 treated by
.Pelostrina in his 3:52:30 De Eitentn 10.123100.

THE-"21:10 Do 2011'." .27.- 31:10 is 2111 03:01:03.0 01‘ 0 type of 00.271330231121011
1:11 :11 :13 Plain. 0:13- -1>ol;r1210n10.* '1210 121011123003 melodic 010001211302.
by t..e 01111110111111 (the 0003-: containing 132.0 melodies for the 11:10::

:1 certain (12:13:23 011d 10.210130 ) 21120 the 13110500 used in such a composition.
It is 111.121.1012 1.11.11.11.31 1:33.101“. from the (2011131123 3311171110 @2200, 1102111 .1 stresses
one 0121,2110 bit of P12: 11:: 2-113 moldy ‘.2~2o.1..-out t20 ii:- :35 (.2121 has been pre-
vieusly described in Chapter I), not only ‘05! its use of 00312110110
maladies from 02.1011 0030:2323 {10:11-21:13 1:1evet1e11t of the 1.5.000 (set forth in the
Oré‘zimarimn), but 110213011313: by :11 0 0113101011 01' 211 entire 12213 e movet‘22011t,
31102.1 2123 the 001.0012: 1.11:0].3' 1:117. 0:10:10 in 122.0 2.11.00 under (11110112301011 111
this Chapter, 111130 as many different 800110210 01‘ polyphonic 2120211111012.

:3 the: are 11111111: .00 in t1 0 erirtinr 1 [”2111220231 11023021011t. ’.-"11is " 1211:2113 e

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by 33211221210" trea‘mmt 2100000012113; 021110023 the mode 0;" the 1101311101110

3.3.000 movement to be the 0:12:10 as the 00112053310210.1113 171012100143 movment.

00 to 13211 e 1011131011,.11100 the 11:21-00 12111123221" move: -0211... are in

‘

several 30832300431ch 11106100, ti‘ 0 Pal-0.; 3:11 2.1- ; .1. 0, 111111 'e the 012210;: tygdes
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"...It would be almost 221010 00 12001: to describe the four-332.1121: 1101'}:

(De 1301113211.77122313210) 210 11 1'00 arranger-.0111". 01‘ 131-10 Plaine‘nint 1111:2110,
since 11.10 12231010 01” 1321121 1.21 1113;111:2012. In the 'C—lorie.’ for instance,
tee 0131311101 P101110 21:111' 1101:0110: 1111'. is 110730221106. 3111:2100 bf, 132111.100, 121th
the 1220100.. 111 0102301121111: 131011 11105.1. 110' is re. 3: :1 nor 20111130120130
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1‘10 -... ,(013. cit.) 1.2.2 1.2011 t2: 0 early 1111211 0 111.1117. (11 Wernrntary
re;31*1..t 01:1 0 t1".1*100*‘1”‘ ion by 0.1.7.22. (10 (0112.20 1..-2 0r 01‘ the 22S. of

this 1.3 {100 my be found in the 0:2“011’1 211510.017 of 2311010, Vol-11.10 I,
7):!”3 ‘439.’

**I 1011' y 000110.21, P01001311: 121. 12;. P. butt-0n 20-1111 2.50., 1:10., 2301‘: "1012:,
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2.3.

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W4

11,1119 is sligmtly 1"islerxt.iz-. . .9111 estr ina's Kathie is not :1 11:71:: a
1101 e elaborate etting of? the 11111111510113. nnly $01111 of the original
nine Plains 01': {51-1 .elodios are to be found in the Pelee trix :1 setting
of the l'anie and even these we, 1: 11 the most part, freamntery.

(See 91-1'2110 I following this Chapter)

12’s find the first eight notes 01” P111511: 10:13 Kyrie I used three tmes
in the polyphonic setti.-{.' of tie fi' Y'rrie. Tim firs s 21-: notes
01" the Christa I ep'pedr only twice 1'.'ith the comersfronciing text in
the Cinciste part 01“ the polyphonic novment. The first seven notes
of} 1311113 IV appear t1'Iice titht 11:1 Cir e01111037'on0.i:';{3 text in the
nolquonic 1: ettinc end the Karrie V occurs seven tines in inwgeentory
variations from five to thirteen notes (but with the comes ending
text) in this last tilt-1d of 133-161 ceimlote Kyrie movement. so is
twice 1211:6112, horrev: :11, of the Kurtis I fremmnt wit! 1 the 1:01:11 of the
Clu1iste I, 110. 11.5 in each cas c with a slipht Veii1tion in tones to
acacimlnte a cadence. The total 11111121101- of repetitions of these

Pleinsong fragments is sixteen.

It is interesting to find that these four Plainsong :iweses (from
which Pelestrinr. takes 1‘111_1{:;'_1ente £011 motives 1.1121011 sung consecutively,
form a most pleasing little medal melody. 1’11. third melody, E31118 IV,
ends on the Dominant of the mode, so is cons id ered by many to be e.
proper place in a 11mm tune for-.1 {5110.1 :1 treatn out. 011111.111... conclude

from this and 112.0 fact that t! 1e repetition is redicod to a minizmm

thet these}: 0:111 :1 eetions con min the ass .. 1:15:31 e}:ei1ez1zietf.cs of

N.B.

114.

the whole chant and that to have used the exact melodies for each

section of polyphony would have been to include needless repetitions.

Never could it be said that Palestrina was at a loss for Variations
within a particular style. The Gloria, while still conforming to

the prerequisites of this type of composition, treats the original
Plainsong melody in yet another fashion. The Plainsong, with slight
variations in tones here and there, is given to different voices in
turn. The Cantus begins the movement with "rm in terra pax hominibus,"
the Bassus then continues with "Bonae voluntatis", then the Altus

takes up the melody at the words "Glorificamus te" and so on. The
other voices imitate these sections slightly, before or after they

appear. (See example II following this Chapter.)

The Credo presents yet another variation. The complete Plainsong
melody with slight variations in tones here and there is given

over to the Alto. An attempt is made at the end of this Chapter to
illustrate the derivation of the main melody in the polyphoniclmns

from.the original Plainsong. (See example III)

Palestrina, vmile dependent on the rules of form to some extent and
upon the Plainsong original melodies to a great extent for this Credo,
does not let these nor any sort of restriction cause the music to

degenerate into a dull or an erudite exercise of composition.

In the comparison of the Palestrina version of the main melody of his
Mass with that of the Plainsong the Clivisfg and the Podatus: I have
been regarded by the author as sacred entities and therefore they are
not separated but placed over the firSt note of the two polyphonic notes
which they represent.

151

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Clmpter III: “.10 .- .1100}; ”.710 15:10:; as treated by Palm rins
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t‘ ‘_ .. [-1,-4.1 I: __. 7"
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as 13211001)“. This type is (1101;11:113-301. by the fact that it is dorivod

from {moths-=1 piece of 1.1.1.1010 1315.011 is used as 0 1:10:10]. for the amoral

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.us 0 001171011 .2110. not ill-favored

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£01.11 111111 tizc‘uztic Gem-”10312101113. 1.1
practice in the sixteenth con .11“- . 'I'E'Lcre were 11.0 00111311» 1:11.13,
and 171.3011 1.111" 1:11-10:10 '01: 0110011100011 could be re-1721tum 1'? t11

adzi 1011:: 1 ideas and 1112'1t12r-1-1? 10:11:31.1“. out 0:" details (such as perhaps

the inclusion of one or more voices in certain par '3 to 0111:1121-100 or

fill in t1: commerbint) without sanction or protest from any (11.1.1111 tor.

The mombors of the chtchrland School, 1.0111100 1t 011:1 Josquin, are tine
earliest to use this st;- 10. L??c1ta 1 “(1110" “110-011" tneir 13011307131;
ideas and tlls..- .-.o'3 from :1. folk-101111; :131‘051'13010111; of O ‘50 03:1 33 ell-:3. by
Dunstoble.* The 1103111011133‘ 01“ this custom is ovidmcsd in may

other 0:31.113103 0:? the siz-zteca'zth cent-.1111: 001.1001 #111,117 - 1. Pvlcstrira
has fre::_11esztly used :1.) 111011013 ot1-011 c0171 user's 1710111111035, rotots and
masses, and quite often his 013.11 notcts. U01: 0111' such :1 1710003. has

sits fomldzztion :1 2101:111101153 11.1 010: 0:13;.

The Ifisss Sine Ti 1.2.21.0 by -é-'~>:1lc:.1trina is 0:150:3- upon :1 1:10th by Josquin
dos M103. -:10 11013013, Q0110‘ict0 cs 0003.9"-1113icaing, is in tum based

upon an old Sequence 1753,1131 to the V5.1 gin from 1..-111.031 both tort and N

*00. cit. page 69.

31.

are taken in toto. The notet 1.1:- .0 no 0. oubt a well-1:11.01n 0110 (7.1.1.11 1:
its 30011103, since 12-10 find that Hilbert, de Efontc 0.11:1 CLO 10 3503.0

have also written ifs-secs soon it.

The motet begins 1.-.'ith a canon between the Desermt 0110. the Tenor III.
Both of these voices s'nc “' .-.0 original notes {.010 {$03.13 01‘ the first
"31110.00 of th e 1300;110:100. 'ihe 00.11011 is 01.11.- orted b ti' 0 £0111 0t. her
voices in florid iz-fltetion. The next section reeeets the first phrase
01’" the {30.11.101.100 but not in 0011011 .0110. with :1 slightly different rhythr-ric
tree 01101.13. In the follming: section the second 031.117.110 of the 1"‘111ins0113
meloiy is used. {frost-1y altered. Feller-1111:: this there is :1. 001101110
duet between t.1c Descent and r11111.01: I in 113113.011 only the first <f;1.1:.1.rter
of the third phrase 0:? t.e 1101151101131, 000 1110 1.111.: 1lte'11 ed. The 1:10
section is :11: 1.121 in six voices 0.11:1 there '0 s 31:11:21.1; imitative treatieszt

01" t.e-.0 third ii’le.insorzg11111:1se, 0:13:15: 111001;; V1111 ed The last 07.01.1011

measures censi::t 0?? :1 very 1‘10 113.0. setting: 0'.? the firms.

Palcstriz'za has taken the 111.0111 thezes 0:? the duct for the P1001 3 it
00011 oi‘ his Ifess,:i:1.ich 1101:: bec~'1:.1es :1 trio with the addition. of a
third voice. The .:osquin thence are so:.:e::h::t dis 100010113310 soint
12110110 t31 s extra voice enters but the result is 1111. even finer piece

on? music then $.10 fez-121.011. (5500 01:01:13.0 I at close 01“ Chapter.)

:3?

has been said bei‘ere, the first phrzr se of the 910111110110 0 treated

1 0011011. in the Joscyfin motet. 11111001311100 does not use the cemelete

H.
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H,

phrase for 000011.110 treniment in his ifs-~00, b-1t t0 :0:: the irst six

note-:5 ((35:0st) (1310. then-1’1 es 0 reczrrimg‘ motive, 011.3; at 00110

points in the 71:18:: is it in 00.11011. (See 020111010 II at the end 0:?

Palestrirm's lbszmna correcoonds at eev rel mints to the Joaquin
melodies. Compare the Creates of the Erase with the Tenor II of the
motet, the 13:15:; I x'rith the Bass: I, the ’i’enor a'zii'h the Tenor III,
and the Altus II with the Tenor II. this more or less moot du-
plication of the .‘i‘osqu n thence does not continue vary for. The

Hose 531.0171: an 12:17moveizent in strazctzu'e over the mart.

In (23:03:15.6 IV one on see this principle of iE-Titf"t101’l of Ioequine
thez‘tes. The sections quoterl in score in the mmzple are from the
eorreooomEingj lest povts of each on: 'osition. 'i—"elestrina tcflzee

the Bass I and Bess II them from the motet but inverts their
position. The Centers borrow: from the Tenor III; the filtus I
imitates the Toner I with some slight changes am. add tions of notes;
the I: too II and t.“ e Tenor have added imitation tfixich is not in the
Joaquin :mtet; the Altue II sings the tE‘zene originolly belonging

to t e Bess I, 1311:} finally the original "113.1011" notes of the not ,

bees-mo the "clone" 333:1“. of the mass .3

Viewer sec-4.13:3 of the Ignaz-1 lingr Hooter as belonging to the Parody

 

type. It may serve as an (maple to illustrate the progressive
variation of a Plainsor‘..g them. In the erng'reetonziiirlg motet by
Pale-string the themes were t;_~...1:en from the Pluinaor‘g melodies of
the 771""..‘62? "Pater Neuter” ("Our Father 233710 Ariana") 1:521:10}; , in
the Catholic service, is 3117:1333 clmnted by the Priest alone before
the Man " Lei is mm" by the 831-0313.-

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*‘Jhe Pleinsom; Chant in the ex: 31:33.0 is tekrm {'3‘032 231 33a]. Romanian,
seventh edition by the 301031303 Beilalictiztes, Iiotir-z‘oon, 917-5.

33. i

34.

It appears hat 1'7""? estrins wrote a notct on these melodies and
then 1:2" or brzscd 2-:15 Hess won it. ‘33s motet, being based upon

ot“ the melody and the text of the Peter Hester prayer, 1s written

6'

in a "O“e'im sim;::ler style than the lines derived from it. 2‘11
mineipal theme as it first swears is also t identical vfith the
original. fit soc}: successive 32p z:..1~erce it 32-0w." {:‘er tar
develoizncnt and becorzzes sore florid with only occa:;:ionol reference
to the origins}. fem until there is at the l P st uppers-on as an

almost 00213:]. et 'ly dii‘i‘eren melody.

TAG not. 0d of commonly the Parody, as us ed in the Peter I‘loster 1:13.88,
some to be to take a section 1‘ t1 ”Pl: 3 a certain part of the motet
and base upon it :3 section of sommiurzt {frevter length in the x 1281:.
Thus here are consee 2ti'-'e corres ‘ozzdiz‘gj sectiozP ‘3 in both the fines
and its rel ted not 013. The errorzpl es are :rzrrrzscel to Show first t‘xe
Plainsong melody, then the notet use oft the: 01 d3? Lexi finally the

use of the borrowel 1:03.023' in the: .35. {See wattle: V and VI

foll<.:-‘ .1115; this Chapter.)

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which featm'cs the art 02‘? canon 1111:1113.

"The word (omen) means 'I‘ule' {112d 2121 music 13 (11373-11613. to that
sort of comztcrpoint in rifle}: rule is most strictly folloz‘redu

a 1113.0 1.3193 the voice (or, it 111;! be, melodic izmtruz'zontzzl pert)
1.31 ’0 begins tE‘ze c'monic passage 311.1111 be clcsely imitated, note
for note, by some other voice (or part, begiz wing: late 312d ovar-
{1:71:13 the first one. If the canon 15 in more til-"n tt'ro voices
(0:: ports) than the ovarla‘firinr is manifold. I-fecsmrily such
11113133 :13 this 1.111ch (great commas on the tcCEmical skill of
the writer, and the com: sition of canon :11; be regarded as the
most difficult practice in con:>osition."*

[-..-l

szon tritium is one of the oldest $0111: of counterg‘oint and has

its begirmin c in tie 3301110153 or rounds of the early t:.r<'~lft11 century.
This form late“ became very 30“le especially among; COT'i'j‘OSCZ‘S of the
ifctherlmxd :fi3c11ool. It me the mrflixm for flying the clovc'mcr;u of
the composer m: the pcrcepuion of the reader who had to decipher
the complicated and abbrevimod notation. At the time Polee’orina
coz::;oeed}the canon 21:10. nor-.:tmed incl spender: recognition as one 01'

the best developed r31 :11 1‘0sz but it still retained the quality
of challenge to composers, and vixen one had 1311213011 3 oufficienfir

involved but perfectly work-cc out tit-23113310 his re'mtetion 1’383 assured.

The £1333 j;97_}_lo:'*17‘-11‘ 0Q Fiery: is a rare s;'>ec‘tr3clo of 11132163121131031 (mi

musical (38111113. It would be a difficult too}: indeed to £1311 its

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equal in this cat 4pm“. 1:19 blocs contains canons at every interval.

*Percy A. Scholars, Op... cit. once 15%.

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voices here 01101.: strong: imitation 01‘ the 33:11:11? 11101003; 111 the Tcmor.
TE: Cur-tux 1n the first rig-Tic (“if-10:: not 01y brocade the 011151" 1100

01‘ the main 111011;; but 11111130.

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in t7: 0 0000:113: 113111.;- voice:

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0. 0011011 at 151011-1111 :

1110 first :fignus 1.301 (See the

101101508 th is eerie

voice here 13 “[61:01: I.

or Zeno:- II. 31115:” 0:

vz1"'5.ntione of 011101 0 11101110

notes 03 13310 "ax-1:201?

0th er 17038“; '

70109-

111 any of "0310 other 11:;

E 1.‘ 1.0.071

the '

‘1“:10 sec-12150113; 0::

1d: ry canoni c 170 2'. c 0

'Tz'icc but 0310.11
t330 1:1:10 values are (1 mole-

Again in this 1101131011 t 1':

ter: it 01:00tl'y (11111 f' the 1' TV":

JIG- \ Q~‘1—. ~1 I‘- —
01.0 12000.0. 03 01:01: 13E” 0 0110113 2103

710105333 1‘10: 111': a: pro-11211101? 0211-011 111311

001101110 voice appears: in the smooth

‘2‘“. . 1 J L, 1 *7 ..L r4
and 0; 1311;;‘40110 t:-r: :7: 03 0110 5.111 30101].

is more nearly 0 note for-110100 treatmnt
0:100 do 0:301:10 0d 111 thi “110010.-

the :30v00‘21 and the 00001161 Iiyrie at 0110
- 0731700110 in the (13.0110. '3‘320 Croflo

,. J< 4.1- 7'- -...l.‘, 1., 5* ,-
0 0r 110:1 00 0:0 .003“, t:-.e 01-01.0153 by

11‘" :1 01111011 at the 530001101.

0101:1010 II at the end of 13.113 0310013003.)

00111011 in 1.1010011. T310 prim::~y 001101110

0 V0108 1:: the {guintus

210311

0210170 another 01” the

1.: 1t1:1:. It E100 of course the °
! I

03 "1101.1 by our
the S

for the note." in ondury

fim". imitation ranpzmt.

42.

In the 13.111110 D01 II (0100 012041410 III) there is 0 (10111110 0011011,

11310 first at 11110 0011mm 0:10 1-110 0000111!- 110 1,110 1-‘2110 21:11. fill {11.10
001101110 0:011:10: '2': in this 3.10:0: , 031' 01' 01:01: this 111011 (rm-123110, 1.10.0
110011 of "0310 0.111011, "0110 in 0110" sort. 1111:: 1'10 01:01:19.7.0 is :1 01111011.,

"ti-1:000 11': 0110" 1-3.0 0.11911001510 r0006: 1:11:02: 01' interest 0.101 1::

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$10 1' ,0' ts of til 3 3t 15', 225.110 they have been confined of necessity
t :1 2.1211203. portion 0:? ’20 (attire 2:31:30 01‘ Pclcctrino's cmg'ooition,
are so: mat: t rcxcoc ..tz;tivc 01" the 12511030103 he 11000.; his methods

013004111224; 2 th ”(£16103 :zrd the 03:02-21:01" t3; cir com-a: [.1011 from the

Pl 3.1115 0115;.

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with). T-‘l mason; evem mixer-- no direct connection is 0 “200101112. But, it
must be cavitted, the 0211111003 of no 1:220 critics about this vague re-
1:: tion )1 270 over boon reconciled. That he no 'r 1.1:»; 00:13:00 0d upon a
Plains mg Cmtuo Ifimuc 1:3 0122:1020; t: :t: the 1.1101213 to basic of most

of his Parody 13.00003 2200 571011200213 is also obvious,t that he adopted

the char zctm'istics 03? some 10110003 12101. odi csto his individual
style is :1 prove-.11 f:1ct...but it 100 0'11 0 1010:1021 mmmtmr as to just

0207:70021 I‘loincorzg': contribute}. to ”'110 02701 JulOZl of his two at 3'10
during his later yefTI‘S, that goriod of lig'hly indi' .utlitzod 00:1;020 1x15;

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in the 1.1000 Pater Nor-tor the: ., 10:11:“: no a little nozror to a
positive factor of dovolommt :fi'zich may have been rcczmnsiblc for
the remarkable achiever-1012.0 of his 373300011112 . 'Ltly 85.11le but very

effective handling of voices.

In our gca‘zcrcfl. ln'eoccupotion with I'alcotrina'o contrammtcl style,

cult-.51 cting; in t2 2.0 002101110 Eff ....300 “one: tux? 001.01., 22:0 should not

47.

forgot his equal mastery of 00 81:71:)10 a style as we see in the motct
liter Hester es'zd i220 ifissa De Bouts Virgige ... 0 style perhaps closer

to the origin: Plczinsong than cm] of the others.

perfection of mzsicnl composition includes all
the better 1:210:31 styles of his time is 0 27101231113 of :1 1121.00 meson
in its 011?... .but that he 0113;151:3001 his 1'31 earli .. ~ 12:01:32.. in 0 more

perfect style so distinctive and in ivicluel taut it 22.1113 become the

ideal of me." :2- 00 is inacod on {fil’lfiinfl' fact
‘u a D u 9

41

Appendix I

uses for m Voiou:

14 Aeterm Christi more. , "’
node: transposed Ionian.
Scarce: mm at Intine on Apostles end
M80118“ We

16 A” Erin. *
node: transposed Doricm at the W firth.
source: Antiphm on the Feast of the
Annunciation.

18 Ave Ream Ocelorm. "'
m0! mpoionien.
Source: The first Antiphon at the neglifien‘t
from the first Veepa'e or chriemae to the
second Vespers of the Feast of the
Purification.

80 Descendit Angelm Domini. A "'
“.3 1mm.
Source: Supposed to be modelled after a motel:
by mmre Penet.

5 15 Dds Senotii‘icatmo , "‘
mde: Mimlydien.
. Source: modelled after his own motet mitts for
tour voices.

17 Dun meet 81m Pmtirex. "'
node: Dorian.
source: AnAntiphoni‘or uaeminnhmm'oi'
Sovereigi Pontifra at the Want for the
second Vee pas in the Cannon for Confeeaor
1318mm.

m we decades Hague. * ?
lode: fireman.
Source: The first Antiphon at the second
Vespers iron the Common or e Confeesor Bishop.

Masses for Four Voices, continued:

Mode: transinsed Izmoderian.

Source: Supposedly modelled upon a metet by the
Spaniel composer Gabriel Calvez. The motet is ‘
lost. (However, the author of his rI’hesis finds
that this lines is based finkmentall " neon a
Response from the Plainsonc liturgy. An early
print (1521) of a motet by Liclmfort on this
text is also based upon this same source.)

10 Gabriel Archangelus.
Mode: transnsed 1.:orian.
Source: motet by Verdclot.

. as 19 G16 m chi n' ebbe can.

Source: Modelled upon Palmtrina's mndrical
which may be found in the co::'=lete edition,
Volume 28, page :36.

2 19 In 1110 Tetpere.

Mode: Dorian. -

Source: The research involved in an attempt to :
establish for certain the exact notet which
served as the model for this 1..-lass has led the
author to a very chasm oi‘ grief therein much
valuable time ans 1 st. It is not without a
great deal of pain that the admission is made
here of failure to find the source despite
lengthy investigation of notets in original
manuscripts by L-Iouton, Andreas do Silva,
Sebastian Fests, tocethar with Palestrinn's
motet on the same title.

14

14

11

Masses for Four Voice-s, continued:

111 Iflajoribus Duplic1bme *
Modes: The mode in each movement of the mass is
similar to the plainsong original from which it
is derived. ,
Source: Plainsong melodies proper to this mass.

In Nineribus Duplicibus. .:*
Modes: "he derivation of melodiw and modes here

is the same as the foreminr. except that some of

the movements are in transposed modes.
Source: Plainsong melodies proper to this mss.

In Te Domino Speravi. ? g * .
Mode: Dorian. '
Source: Offertory for the first Tuesday in Lent-

Inviolatn. " '*
Modes: prolydian 8c transposed mmoionian. _ 'f
Source: An official melody usually sung during . 1 ‘

We ‘ ;

Iste Confessor. 5 "‘
Mode: Hypodorian. ..
Source: Latin Ihrmn of the same name.

Jan Christus Astra Ascenderat. 3 3*
Mode: transposed Dorian. . ' ‘
Source: Asoensiontide 1mm of the same name.

Hissa Ad Futon. ‘ * .
(Qantas & Bass us only extant)

Missa hrevis.
Mode: transposed Ionian.
Source: Modelled aftera Mars by Goudimel.

Liissa De Beats Virgins. "" '
Modes: Each movment corresponds to P165. Orin.
Source: Plainsonc melodies proper to this Feast.

13

I-iasses for Four Voices, continued:

Hissa De Paris.
Mode: PhIz?{_‘irn*1.
Source: The Plainsong, melodies for Fed-ial days.

Iiissa prirza (Lauda Sion)
Mode: m'pez‘lixolydian.
Source: A sequence used on the Feast of Coruus
Christa.

Iiissa prim toni. (Io mi 8011 Giovinetta)

mode: trmsposed Dorian.

Source: A rmdrical supposrd to be by Domenico
Ferrabosco.

Elissa (11mm (L'hozniie arms)

Mode: Dorian.

Source: This is the second mass by Palestrina
which is based upon the popular secular melody
used by several composers for their nadrigal
or mass subject.

mesa semmda (prim toni)
Mode: trans nosed Dorian.
Source: The theme has not been identified.

Missa sine nonine.
Mode: Immunities.
Source: The theme has not been traced.

Missa sine nomine.

Mode:

Source: iodelled after another mas by a ’
.T. I'aaillard on his own tharze: "Jo suis desheritéw
The Iiaillard 131183 was :mblished by Adrien 16 Ray
and El'ob‘b. Ballanl in 1557.

5:.

10

231

14

1'7

51.

Masses for Four Voices, continued:

Missa tertia (J’esu, nostra redemptio) *
Mode: Itrsoplm'cian.
Source: The Pentecostal Izs'n melody of the same

title.

0 Regan Coeli. ' *
Mode:
Sources: Plainseng Rers‘nnsory of the Christmas

Detave. Also a motel: by Andreas Silva.

0 heat Glories. ' ? *
Mode: transvosod Ir'poderian.
Source: From a notet by Palmtrina.

Panic Qum Eco Dabo. ? *
Mode: Hypodorian.
Sources: From a motet by Johannes Lupus and

a second motet by Jachet.

Pntm‘ mafia. *
Mode: Ibrpodorian.
Sources: The Plainsong sole sung by the Priest

and a motet by Palestrina on the melody.

Quam Pulchra Es. "‘
Mode: Ionian.
Source: Possibly another mass by J. Lupus on

the same tcoct. (Test from Song of Solomon)

Quan Dicunt nominee. *
Mode: Hyzmnixolydian.

Source: Possibly modelled upon a motel; by Joan
Hichai‘ert.

R081m 000110 *
Mode: transposed ffypoionizm.
Source: An Antiphon proper to Eastertide.

518

10

10

m

11

53.

masses for Four Voices, concluded:

Sanctorun Iieritis. *

11100-0: Elli/.8131}.

Source: Plainsong melody iron the mm of the
80.118 110136.

830131 In Alium. ? 7 *

Mode: Aeolian.

Source: From the Plainsonc melody for the first
Nocturn for the Fifth Sunday in Septcrbed‘.
Possibly the t1.eme was suggested by a composition
by 3.0011013.

Veni Sponsa Christi. A "‘
Mode: ifixolydian.
Sources: The plainsong Antiphon at the Mamiflcat
from the second Vespers of the Common of Virgins.
Also Palestrina's motel: of the sane none.

Virtute Ileana. "‘
Mode: '
Sources:

used durim: Easter week.
Andrea de Silva.

The Plainsong melody from the Response
Also a notot by

Masses for Five Voices:

Ad coenam Agni (Title now changed to: Ad Regias) *
Mode:
Source: Plainsong 17mm for Faster.

Ascendo Ad Patron. *
Mode:

Source:

Aspice Domino. *
MOde: Dorian. ‘
Source: Responsory for Third Sunday of November.

Masses for Five Voices, continued:

5&1 23 Beatus laurentius. (August 10th)

I‘D

1'7

15

18

Mode: transeosed Imprixolgdian.

Sources: Palestrina has two motets on this title.
Both of motets and the mass are based on the
fifth Vesper Antiphon for August 10th...: "The
blessed Laurence pra; ed, sa inc , I give Thee
thrills-3, O Lord, that I have merited to alter
Thy gates." (This is from the second prers
for the Iartyr.)

Mode: Mixoljrdian.
Source: Words from Psalm 114. (Ehrlich Prayer
book: Psalm 116:)

L'hcme Arne.
Mode: Ibrposixolydian.
Source: This is the first composition on the
Thirteenth Sentury French melody.

Manor Esta.
Mode:
Source: Fran his can notet '. ith similar title.

Elissa prime (Eripe me de inimicis)

Mode : Dorian.

Source: The verses following: the Alleluia after
the Gradual on the ninth Sunday after Pentecost.

Iiissa secunda.
Mode: transposed Dorian.
Source:

I‘Iissa sine nomine.
Mode: Dorian.
S urea:

Missa sine titulo.
Mode:
Source:

54-.

1 13
4 14
1&7 17
5&1 23
2 19
2.4
19
10
21

55.

Masses for Five Voices, continued:

Nisan tertia (0 macaw": myotcriuu) ? *
Mode: lymphryijian.
Source: His own motet 0:? the same title.

IIigra 811171.30!
Mode: Itrpoaeolian.
Source: Supoosed to be his om motet on the
words from the Song of Solemn. Investigation
shows very little, if any, exact identification.

0 Admirabile Conner-aim. *
Mode: Mixolydian.
Sources: From the Plainsong Antiphen of the

first Vespers during the Christmas Octave.

Also his motet with similar title.

0 Sacrum Conviviun. *
Mode: transposed Irmaomixolydian.
Sources: Same as Beatus Iaurentius.

O Virgo Simul at Mater. ? *
Mode:
Source: His own motet x-rith similar title.

Panm nostrum. *
Mode: IUDOdoriun.
Sources: His om motet on the Pater Hooter
from the Plainsong melody.

Petra Sancta. . ?
Mode: Aeolian.
Source:

Pro Defunctis. at
Mode:
Source:

(1119.1 3 11 pin grand' enor? *
Mode: transposed Impoionian.
Source: A mdriml by Cgmion do more.

20

16

14

56.

Masses for Five Voices, continued:

Quando lieta sperai. *
Mode: Aeolian.
Source: A metrical by Cyprian do Pore.

Regina Coeli. *
Mode: Ionian.
Source: Antiphon proper to Easter.

Repleatur 08 Mean. ? *
MOde: M'Ciflno
Sources: Plainsong melody for the Response of
Thursday for the second week after Epiplmmr.
Also a motet by Jachet.

Sacerdos Et Pontifmc. *
Mode: It/podorian.

Source: The melody for the Antiphon at the

Magnificat from the first Vespers of the

Common of a Confessor Bishop.

Salve Regina. *
Mode:
Source: The Antiphen Salve Regina.

Salvun Me Fae. ? *
Mode:
Source: A notet by Jachet. Also "related in
type" to the fifth Response for Matins on
Palm Sunday.

Sicut Lilium Inter Spinas. *
Mode: transposed Aeolian.
Source: His own motet on words from the Song
of Solomon.

58616

19

57.

masses for Five Voices, concluded:

T“ m Pastor OViun. *
HMO! 1303313110
Sources: The Plainsong melody of the Antiphen

at the Wificflt on 13116 Feast Of St. P913”.

Also the second half of the motet oi‘ the same

name. Palestrina has two motets on this melody.

Vestiva I 00111. c
Mode: Dorian.
Sources: His secular nadrigal by this name.
Also the Sequence: Victims Paschali Laudes.

Basses for 81: Voices:

Alma Redmptoris. *
Mode: transposed Ionian.
Sources: Antiphon at the I-‘agnificat for Alrent.

Asstmpta est Maria. *
M0d°3 Mimlydian.
Source:

Ave Maria. "'
Mode: transposed Ionain.
Source:

Dun Gomplerentur. ? *
Mode: transposed Ionian.
Source: Mom his motet of name name.

Ecce Ego Joannes. "' ?
Mode:
Source:

Inmnina Oculos Moos. ? *
Mode:
Source: A motet by Andreas de Silva.

18

19

10

(f1
(‘0

masses for Six Voices. continued:

In To Domino Speravi.
mode: Ionian.

Source: Plainsona melody of the Ambrosian 1mm.

hissa De Bests Virgjine.
Mode:

Sources: The Plainsonp, melodies for this Feast
and in articular the tropes:

and "Iiarir‘m coronans."

Lassa Octavi toni.
Mode: Imaonixolydian.

{Vol Dominicalis)

Source: Plainsong Antiphon. (The mass is

somerfl‘mt like the Ecee Sacerdos humus in style.)

Ifiissa Papas Barcelli.
Mode:
Source:

hissa Quinta toni.
lode: Lydian.
Source:

Missa sine nomine.

node: transposed Phrycian.

Source:

Iiissa sine titulo.
Mode: Immixolydisn.

Sources: Mom :1 motet of the name "Benedicta"
by Joaquin dos Pres. Also boars similarities
to mother mass by Orlando Di Lasso. However,
the author of this Thesis finds here (main on
investigation that the ori. “-.1 inspiration '
for the Josquin motet was a plainsong; chanson

in honor of the Virgin.

1:13:38 $1110 131131110 0
Mode:
Source:

(See Chapter V.)

"Liariam {gub ernans"

*?

58.

14

17

18

n
‘4

g

Masses for Six Voices, concluded:

Nance la gieia mia.
Bode: tramposed Dorian.
Source: A mdrirtal by Giovam‘xi Leonardo
Primavera dell' Arps.

Sacerdotes Domini.

mode: Itrponixolydian. (?)

Source: From the Plainsenc, Offertorium on the
Feast of Corpus Christe.

Te Deum Inudarms.
Mods: Plus/(31am.
Source: The Plainsong melody for this Canticle.

Tu Es Petrus.

Mode: Liixalydian.
Source: The fifth Antiphon for the first Vcspers
on the eve of the Feast of the Holy Apostles
Peter and Paul. (Palestrina has uri ten tno
motets on this text.)

Tu 1323 PC'bI‘USe

Mode: Mixelydian.

Source: The Plainsong melody as of the above
and the second half of the motet in volume tm.

Ut, Re, Mi. Fa. Sol, La. (Ilamchor‘d Muss)
Mode: Ionian.
Source: From the famous these by Guido.

Veni Creator Spiritus.
Mode : Ltizzolydi on.
Source: Pentecostal 11mm from Plainsong.

V131 001118010
Mode: transposed Dorian.
Source: His errn motet on this tez. .

22

22

Masses for Right Voices:

Confitebor Tibi Dnndne.
Mode: transposed Dorian.
Source: The Eight-voiced notet on this text.

Fx‘atres F60 mm 11008131.
Mode: transposed Dorian.
Source: The Eidltovoiced motet with same text.

medic Christus hates Est.
Mode: Mixolydian.
Source: 1118 om Christmas motet on this tea-t.

Leudate Deminum (lanes Gmtes.
Mode: transposed Dorian.
Source: ms om motet cm this text.

.1!“
H-

«H-

6!.

rFable I: Sousces of Th .:es of Ralestrina's masses:
16 mtrilcalo
5 Obviously of questionable source.

20 Hotet derivation only: Fourteen of hose are I-‘alesiztrina's
01m notets of :"ilich n saber ten may mssibly be relatcfl also
to Plainso 0113. One of .115 group of ten is of doubtful
authenticity. Six of the rotate are trit ten by some other
composer. Two of the six mtg also be related to Plaizmeng.

27 Plainsong only.

14 Both notet sad J ”ail 'LSOI‘.(-‘_: 7-:{12 ht 0" this nmzber were composed
by Ptasstr 11:1 and the rem. liIlCCLI' by at. 1st: cor: _-:-ose3s.
8 Lisa; gal aeri v: tion: Four of tar: and orig 7113, one of: which may
so have a 3.313.111.3011: source, rare c.12- 0.306. by I’slwtrina.
'1“. e ot‘: zar 1013‘ are b'-r 0‘:} or c -moss' :13.

I‘mother corrzoser's Kass.

U!

1 'Guic'ionirzn I {exacf'zordo

7

Table II: Th 215.10 es (1:31.13, ed by Pale trinu in his fiancee:

Authentic : "irons DOS ed : Total :
Dorilm............9...............J......o11.................20
T"I“"“x'o'jfl'llfil.........«y..."'3..».......1.........J...»...ple...M...........u.4:
LI'QiC moo-Ooeoceeoegloeoeoeeconoeoeeeeonoebooeeeeeeeoeeeeeooeoel
,Jzixolydianuu....10.......co...........s..0.................10
Aeolian.............5.......................1..............uoo4

Ionlffil.............5.....................o.5o................lo

5‘1“ 173 "'49

Plagal: Trams fires ed : Total :
IE'IMOI‘iFJlgeeue-OIoSO'i""""°""."’°9'2""“‘."”"°".7
igr'poyhuzzlgmgooogong-oilii0'00OOtfi'ifit'iOOOO.0‘.-000.0..00000003
Imlydisn.......ul.......................O......u-oo-n-uol
Ifi?0§fl1{0h’diflfl.ggg.6qgownoooedeeoeeeeeeeecheeenenooeoeoeeeeeeB

TVDOflG-Oliimoeuooceclean-eooeeeeeeeeeeoOUQOOOOOeeoOOOCO¢OOOOOOV01

Ibrmionuanotolcoo-01000000..coecot-.....loePeOOOOODOOQOOOOOODOS

17 6 25
HO 1300.0 13 ijen" 1n 331‘; go Kc Pb’nb’fi biogrrslilnl.....u..".........18

0f t113 r3058 03:. the COITWEDn’ii 3‘18 mvmel‘t 01‘ 1315111801180 e'oeeeoe...‘
(One of he above is both 3-3:,J1olyd an a Wmsposed Truederian.) 94

“N14.

Aypendix: II
General 1111103: to the to: <01: .:1d possible comes-renal: r Ploimso 0213
Sources in the 131er Us 1..:11 s :i. rel:ted to resets, hymns and

offer-tori es by 1T’:J.es‘orinz1:
The symbols used dos igne to “0.1 e fell. ring:

1.....Intfieit.

G. . . . . Gradual.

a. . . . .Vors e. (Versus Alleluistici)

S. . . . .8 equonce.

T. .. . .‘l‘rect.

'9'. e e. .Oi‘fcrtery.

C. ....Cezz :11: ion.

A. . . . .:mtifimn.

II. . . . .Ii'mn.

PS . . . .E’szlhi.

11.....17weu31ense.

Rb .1 . . .Shert i? - spense. (; ."eopenserie brevie.)

V. . . . .Vm‘ieus uncleosii‘i ed melodi es . (Verio)
These heed; 11:31: :: -e to be fee: (1 in 1; 1e gee ":11 1110. e}: of nelodi es
at 0110 book of the Libor U’. 'uolis

'310 umber at " .10 left sis-e of the 3:11:30 1: micrt‘bes the voles-e oi‘
the coz-1111ete edition here the score 111:: be found.

(The umber follorirzg the note of the comaooition indicates the
page of the 1933 edition of 132 e Li‘om' Ueunlis micro it may be
1:01le.)

é3.

350110130 for Tour Voices:

U! 01 (.31

01:0:LZSUCNUEUUIQUI

(fiUYNIUIUYC‘.LWL1QWC1~QG1CWCIYOWQL1UIQUTCI

'1 11-1 (11 U: U! (51 (:1 0‘1
0

Cl \1 CYL-

ixl 33011010101111 t1:1i‘01.1lr111011: 5315 G, 51“ 13-11115 PS.

fiflormzus to, Christa

1‘11 t0 10.11.113.111 00113.00 12000. 275.0 01' 01:10 1100113111 130111310: 4.12:; T,
157/} 1’0, 111325 P6.

H.110 ‘ (130'131‘1301111. 39211.0011. '111 (1.111 0 {10111110111 11:10.13: :1 1.101130 2’39 0.
11.0 01.11.? 021.0 15121111013115 10.111151. 731’} 321).

Ave 1.201110 {01:11:01. 1010110 10131 0 lf‘SBT 1513530 ""‘—1...3/o 33311 15116;.
.5510 31:51:10 00010111111. £131.03??- {111-01110 0:1. 1‘ “CA, ‘3..fo

130011110 3.111111011111118 112712.153.
330111.210 vir (111i suffert 1013.0
3.011011101100113 0:010 11:1. '1?.1i:1.i"2;0 TELLOI, 550A
1'30ncdictus 3011111110 1.10110 31:340. {31 3,11. 3,9 111313 012111.100.
Ccmi'i' 1.0111111 3121111081310, 1’33”
(101111.111 1.111.101.1111 1:11.11 01' 11111—0
3101110, 1.2111 0111.11.12.13 f0:'.111li 011.1 CPOCOI‘ii
D193 S:mctii‘icz1‘b1.1.9
1100110111 ”00111. 1
1')01t1.iz10 cum} 0 11011011110. C01'1..11000 :100 114.613
2).. 1.1.1. 10, 000111111110 001111111 1:101:11 ll? VR
D1111 011110110 :C‘inm 01011101;
3000 1111110 1101111110: 130 1.101.110.1111 {ICES-11.531110.
E000 11111.0 1101100101110 3011111111.:
11:0 01.1111. 710.1110 1711.11.10,
.201 di 3101:1100 853171" 393: 1160.11
~"1111'. 1101110 12100110 0 1100 137132.31.
'I:‘11:1(.:1::1’:1:11t:1. 0,]‘1 0 .-
..T:i1..‘11dc Barb-era: 110.11.13.11
(1.2.11110111'. in 0003-13 906.71
Cl 0111001 317.111.013.100
-.00 0:10.. (110:. 1'00111. 663G, 65330 609.11
11011 1.1121; 11 1.0. 511111110. 17.00 tux-b.1100
5- .:‘.c r1211: vero 11.111.114.111
3201110 b00130 -1130 11.30.1110.
In 01001" 11110 10391
Innocent 1. 31110 0311110113 11111.11 1300 134.711
Iste 0:11 0.11 011.1. 0 13011111
101131 01.0.11“. viri 00110 1.1 112.13'711
J 0110 umzit 00 11510011111110
1.0010 1111111.; 110 1.1.11.1.
1.1111120 1.31011 0:111:11 1.011 111 737.6
I.00110'0::11t11 1 Va'gfiis li:‘-.:j—;1.1.1‘.0 71300, 755311
120.1100; 350011011111. 01110 11210110111101
15.11.111.000? 1101101; 1'1 11.11.111.111 10:17.21
"' M0 0001 3000 1210, 035, 576, 608, f3, 1109 P0.
31001 1301101:000j1-110.1:111302r0 13913.11
.~:'~-:1'ti1;1'tr1 0110 151131.".
230 1100011101110 3100011110 110:1, Dex-11110 11517.52
7:100 011110.111 {310111011 {34.01 123233.13.

“I

(30112031121013: for Four Voicm, 0 2221221221201:

0

UTC'IC‘ICTIUTU’.U301L7CWUTCIU‘30'IUIC1-QU1UIC1

(321111 8‘ Invis 031:. 788/1

c 22111212.» 1220010

I . 03‘. (73.0331: 1.0 1J8}.

P22112001; {1012101301110 131032.001- 1:1.0-.2 :22: (:10 153711
P110121 licbrctoorun 2:553:51

1:22:10 0:21; .0130 1:43.11

1.30: 12.1 1211101231 0 mt

2; 2.111 Vifuisti 1:0 2373101212. 1.7.3.111

(32121010: 12.12311 snlmg: nos

salve: ’ 0:110... E :1 0.2130 111220051312. 0:3»:‘12. SHEA, $34511
{-3210 1’0 001‘ .25 11001110131113. Sitivit 1221111 210:2 £1103
(Sub tun“. 2212100111111 16131311, 31,213

Super 1911111112-:T-.Lr:b;‘101110 8962

13111‘520,‘22‘0‘30M 0:21.011 210:2

.mee-..t 32:12.10: 12031210

3011140 313211201232. 8190.

[12210113 2211‘:;.c‘1lis {-3 'r’fi.

TL: as pastor oviur: 121.1311, 139.3211

Y1 21d 0 11012012311120 0'31:

V0111 S.- :00. 11.11:: oi 10 d‘lr'f, 1019!. 0138.21

0
0
O

Compositions for Five "J‘oiccxs

.DDIvPCJZ‘Ji-‘HMNIFCRZ‘JtP-PC'JHP1.35

F
L

9
\

.0 H H {3 02

Ht?

Adjuz‘o v00, 3111120 3101120 1:012

hoary-1,0 noli 22102-0

Alleluia: tulo‘mmt Borzinuzrz

1.2301118 D03.‘.:2'.12i 210000121111; <10 00010. 132:; 1:21.22‘00‘JJ1L0; 122
Apgmz‘uit 00:0 suo 2201221210 2‘ :02 18557.2, 0‘730, (37-12, 65312
5.12:". ~11: .01: cor 2.101222

[10001-12 12.11 320122012 2311-2237:. 3:210 roarsbo 3201223011 71-31330
five 1101111 1083.11 1TH)” 1.7.030 STE-10849. 1139311 154611
Af‘Io- 0 1115. 0001023210. 13- 0113-1-11

Ave 15211115. 13:12. ti 3 13:52.0 2111;271:211

130013110 Karine :‘ILQ‘: (1181130

230211.210 Laurentim: 0: :1J:: -» 1'1“

‘FJIifiO tube. in Bio... 70221130 c0011 EJ‘ '2
02122121122153.2200 0123012210. l"“”1"l.3 :20 1211112101210
01112211; ojus 0.1.‘2‘12322. 0321211122271

Caro 1,2011 voro 001} 011.2220 797111 605.21
Comzmti‘mm 13.3.5.0 0000:2113 (10:21.20

(3021:1031... 130125.120. Afflice op32:r.‘121022t00 nos
Corona 12121‘ 0. 330311210 12211622702211.0121 0‘21: lOlGG
012100.11 01122012911 subii‘t lS~./.A

CUI‘. 3201*v0211330t bmtus Andreas 1194.51

DOT 011112111: :‘0 122.125.2113 V1012

D000 022115.13 in 320221322221 Item

D0210 (“.15. 00:11:15. leLen

    

l-J
" x
:4
»J
r.)

6+.

.‘I

Note-ts for lave Voices, c-nn‘inual:

1.34:9

cocakprowfipptaam

mwrocaraHi-meb

#LUCRGIHHHHHH-Xmml-Jfifi

3

h
L‘

{‘3 H3 03 LP- D3 tb (,3

I.>1lnctus 2710113 c“: escendit in 11031331 {31111321
13110013118 mus 111311 at ego .i 3.11

Dmnine Donn, qui contcris. rm Donia

Doz‘zinc securxltm acttm 1:011:11 112371“;

I')o..finus J 0112:; 121 qua nocte {34-120, {34214.

Duo ub era {3119.

Ecce morcc's snnctomm

Ecce- tu pulcher 03, (11100176 1:21

3:30 sum Innis vims. 3* nis gum 05:0 Gabe

Lei cito in paltoaz; 818A

3111th Boo 856a

Rasciculua mrm'hrze

21111: homo 2715:3113 a Boo. Prat Jovmler; in (3. ,ser’oo 13-70121)
Claude Barbara bouta. (38.1160 quit: mcruisfl. (Melodies for
this 3.901151“, 3.197.)

Cauflo clariosa

(Euttur {mum sicut

Elie est discigulus illo Eli-311

3108.316 mate eat bent-r1 Virgo

3:0:‘10 911216.931 fuit 16533

Inclytae sanctnc Virginia Cathrn‘ime

In 111.0 tmpov‘e egressus

Inig-vyluxit no. r03: in calla:

.Tubilrtte Dec, ormis tier-rm. LLTZIdQ'be 120171011 cjus.
7061 Eaéva 8852 SIS-CSOH

1:017:13 I-‘ypcmboremz. 0 pa. 22:0 particrque.
Lzzeva ejus sub cupi‘fse r100 10733..

mpidubztnt St cpl 13mm

Vanifesto vobis variant v.1. Pm: vobis, 31011 thlcnro.

minor esto vex-bi tui servo tuo

Sig-23:1 mu, sod. i‘Olfi'KJ-SZI 1073A

ads-1121.35.10 cozmcrcizm (-3:ij

finisoni (maxim

ha

v—o

11011121211 mn‘oificm 1581A

beath viruzt‘. 1578A

1m: at deans. 0 singzulnre 373nm:3.:311m
03.1211 pot ens smpiizerne 330113

0 (gum: metucndzzs 1062311

Oriotur stalls: 7396.9».

0 5.1: run conviviwn 813A

0 suncte preemil PEicolzm. (:aufic prawn]. 0391;13er
Osoulctur 1‘16 0:: 23.10 Gris sui

0 Vim-o stimzl ct ie‘lzztcr

Puree 2711315. Domino. Pcccuvi‘, Deconvi 152.9?
lite-1‘ nos-mm

I’aucitzzs (1101*:an TROOI‘I‘JE. Emma; 13qu Domino
Pacer-ntm me quotidie llS-GR

COO’OOO

beam at (zlorioaa (F‘r‘initas. O vom 51mm smpitomm ’I‘rinitsis

L5.

150129133 for five Voices, 0011121111101:

Pun? (15.11 1100113031; 3341, 1386171

Eulchru es 011100 mca

P‘llchrae S‘mt fauna. tune

[11: :0 0': t 1 eta 1546A

1.34am 1111101110 cs 01; (1.11021 (1000111

((11:33 Eff-3.102131 szmt {$083113

gum pulchri $111113 {$033113 13:15.

(3.1162 habcz-s Hooter. V1611 to Domino
(.fgzodczznque 13.532 IVCI‘iS

140): :ficlchior

Solve 11051210. 11:1 ergo en vocata Fad-fl. {3453A
Sanctc Paulo Aoostole 142050., 1733511
Sanctifi cuvi‘o Dmxinus 1056

Senor: puortm oortubct. 3500.10 bests. Virgo Karin 13430. , liéOA
Sic D1113 6.110011; zinxndum

53101112 liluin inter 591712.18

Latent 11111231 11* LOT 81111113

31 1(7101315 130,0 3.1101100 inter muliores
“130110 qua-:1 wider: 111'. r1031

811?ng et circuibo civitotel

Surge 03.1100 moo, 5310010321 non

Surge Petra

Surge, 1722:3730. :0‘1100 nra

Surge sancte D01. .1‘011‘1‘111 sancte Doi
Sucipe vorb‘vm * .3350 21:10 Rules (1:110:51 11111111
Venous est, ut revert :r. Zfisi 05-30 2:11in
Toto. 11111011330 as, 32110:: r2011 1705.711, 1530.511.
rodent 1111211105 91631

‘1‘?ru1e 1:10 3303’ be

‘31 11101012101103 civitatum. Poccavirms

1’11 05 391,1:5130? oviun 1215, 1395A

thus 62-: (1110131.- " 13.8911

Valit 37.102100]. Archang: cl

V0111, $02.11 (11100110 :11

Vic“; ens 50011316. 110

Vinewzl 110021 non custodivi

Von: (11100121 r201

‘ncros t1 cor mourn

pomoéwwmppmpoHoppoahl—omm-pruwwspmmowppuxpH
t}

_‘L.

:10th 1‘0? :31): Voices

U...

3 I‘ccopit Jesus calicm

G {1531111111311 far-'t ‘50.?121 11’ 700, 1'1 790, l": olA, 11’307‘.

2 130010 Box-born. 6101 101mm 1101130121 119’?

:3 0011.500 Domino in vita 1:100. 130110121111, Docentoroo

Colw‘ma 0:; 771001118
01m 01112012 asset Etefmanus

05C)?

Fd

tSNGGHta'CJCQC‘omP-‘ml-JHCJERC'DO‘IGOCR'Q HUGO!

Flt-4.210

67.

20301.0 10 3.1 Si}: Voices, continued:

C1111 1.1011007: 2.2121. 7-“110'1'3171 51001111
Cum ortus 11101111: {3141
D0113 qui 0003.09.10.11 tum
D1111 00119113011031 1110:: pentecostos.
D1111 01130 00.11.0111: in 1.1111111 01305-17011. 7750. 754.11
Eia 0:230, advonefiu 1101113330
221100 (1103, 0110.13 fccit Dominus 6630, 6920, 669-11.
Hie est 11011210011018 anmlista
Iiic eat. 01110111111113 1110
I‘Zicz'usalm, cite vcmict 1303.00 1.110. E130 01111.1 sum Denim-13
31161100 1.1.0, BET-.28, 0t (1100..-:10 4.551
0 bone {1' 0811
0 330111110 30311 0‘.-'1 11113130
111151111171 mm 1.01.. iu:.1.. (71101.1 vidis+ .10 171-0130111311
19:30 11110 cuter. {70111211113
11110111111 03, 0 12:13:10 .11:
1.311000 031'. 1015.". 12:46.1
12001011011211 0000:1322. S 110011 1252300, 1233111
120:1: 111-1011101113 £301.11
Salve Il’cgina, mater 21.100111001111100 .2342, 2115A
{5‘11 -ncta 0t. 111110011101301’2111'11111’005. Benedictz': 1:11 3001?
Solve 11113011110 D00. 11,1.10110221111110 115011011151 14500, 1453.1.
Susanna 01) 1121111101110. 1001;001:111 0111;071- 1474
1711000111; 0.11:1 1:05 in 0012011110 01011
1113111011011 01 1103 i1: 71. 80011021211 11‘111311311141101 (10101111111
':‘u 03 1301.11.10. 10601111110 11501101110 1218,139110, 12-8 ,122‘02,
3.250%, 12395.., 14.3.41-
V’eni 12101.11... :10 at. 11.011 13011110110. Excite. 1701111110 23750
V1111 1.11.111 11:1 .1- 1,111.11. 2131; 01.11100 0115:7011 fits-1.130.111; 1568A
V1111 011111001 quia 01.111110. 0000111111: Deus in Jubilutione. fill, 755A

1201.01.13 for 53011011. Voices:

1
1

Tu 08 Pt: {317113 1::18.1::9€3{% 1:31:53...- 8:300. 125090. 139511, 146621...
Virgo 1311111 0111.10:11..... 31.2.1110 viz-50 147 5.11

52020130 for 115.;th Voices:

QOQI‘OQQQI‘GC‘C‘QCQC‘C‘QQOS

{13.1.1.0 20110172111203.1111 Hater {’39-‘11

A3110 22131101111101.1111 320150.13 8390.

11:113-0er {21:101. 1310 D01

five 0.115111111111310 plenzz 10810, 3881‘, 1." 082 13 13—10802, 18.30, 1546.1
Ave. 1111111111 apes. , I-:0.r‘ 0

11110101131110 0001011133 P4013 ‘EMA

Ave 2? gins. 0001011111 3-011.261.1111.

233011130 05, Virgo, ' ...:11110 10092, 15

00.110 1.100 V0110 0.1.1; cibus 7J2“.0, 008A

00111111013011 tibi 33011100. 1101113 fzzcitc in populis 4582
00113101311101.1101 111211 01.11108

2.10:3 sanctifi. 131.13 illuxit 110L110

Discipline-m 0?; sapimrbimn 000111;

Domine in virtute tun. 111mm est {13.111110 01113 8500
23000 vex-1101'. (210:: 11111

3.122.011.1111 Pusclm nostnm

Et 1210110310111; 003 1.1100113

Liotcts for 1» {it Voices, continued:

QUUC‘OCACSQQOQG

Cl
0

[‘3 F3

mouqmmommqummqqq

fiQQCfiNfiC}

30

lt-zpurgnte vctus fentmntum

F111, non te I‘I‘am’fimt Inherits

Franc-es, ego enim cccohi

iiaoc dies, qunn fccit Dominus 6 130, 6955a, 6091‘.

Haec est dies prueclzn‘a

Iiic est panic-1

Iiodie CE-zristus nut-.113 est [33013.

Eiodio («131131110512 scraper Vil“{;0 I—Erzria 15368;;

Juana jun—zit so fiiscimlis

Jubilatc Deo VOGI, 58:9, 3882., 3131’s, GSQPS

Lauda Sion Sulvatorcztz 93:3

Lands. Sion :mlvatorcr: 793:3

Iguaate Barium: 1n sanctis 4522, GSSPS, 116(31):}, lli‘Aps.
Laudate Doninmn 0112.105 {gez'z‘tes 5461‘, 1732’s, 175383, 1628: .
Laurie-ma merit Dominun.

(51113 5101115 Dozrdnus Dcus 34:48.. 6359., 1537-1611"s, 2:31, 1 83, 1553133.

Eiugp‘ms £33110th Pauline: 1357203

IIunc dinittis 59mm tuun 3491‘, 8158, 050, 1576, 134:1 (Cation)
O whzirabilo coxmercizm {3555.4

0 bone Jmu, maudi no

0 D01." ne Jean Christa

Ounce games plaudits SSSI, 830:1. 36:10

O protioszun ct (.‘LQIZZII'QIKIUIH convivimn

O gum; suavis est, Deming, spiritus 13mm van
Pater nostcr, gal 03 in coolis

31‘: egina coali, lueture BILLS... 84.411.
Regina mmfi, hodie 1 {3“

Salve Eieaizm, .gxtoz: rzfism‘icoraiae {342'
Snncte Paula Apostole 1405a, 1355A
S‘oiritug Sanctus replcvit 10971, 7-181, 7610
Stabet “aster dolrarosa 15105, 164.411, 1645‘?
Sub 13mm prnesm iii-:1 1635A

Surge illtmimire IZi<.rx"as:;loz.-1. (3)

1ft anbulubont combos in lmfine (6)
Surrmzit pastor bonus

Tria sun'l; Imcra protioso.

V0411 Snncte Spiritus 7230a, 7503, 1613A

Von Ssmcte Spiritus 750a, 71308, 1613A
Victirme Pusciwli laudes 6655A
Vid enters Biollzm 212251 a‘Bii‘v’a

V08 waici mei 0:31:15 916A

Mote’cs for Twelve Voi cos:

7
7
2C»

*

Race nunc brmalictie Dominm '7 14mm dimittis 5mm tum
Laud ate Iminmn in t3mpzmis 26 0 (man bonus at suavis
Laudate nan-'11 03113 7 *Stabat mater dolorosa

Perhaps not Palastrina's motet.

(98.

mans for Four Voices: (all in Volume Eight)

Ad co (man r: {7313. movidi
girl PI‘OO es nootros
A 80115 ortu confine 51631
Aurca lucc
Ave mu‘is otolle 1073;, 753, 7722
Christa qui luv: as
Christa :iefl carom? 0312111121
('i‘wo settings)
Conditor a ”no sidcrum
Decus m .. 1.17. dam
{lens tuor *1 milittm 2'17, 20, 45,
4'7, {3361i (Tm settings)
Doctor egjrorio
(1:138:10 Doctor 1533411
Rn {gratulcmm bodio
-bcultot coelum laud: us
iiostis Horodes irzpie
Ifujus obton‘tu
Imus canons
Iste confessor 98-2, 85, 86, 1005, 0611
Joan corona virrjnm 10:31, 2.131}.
(Tm oottinm)
J‘csu nootro redmptio
Louda Inter occlczzime
haudibus sumz'is
Lucio Crmtor Optima 2:323, :34, Elfin
Home pat or Imomtino
Hens is Angus ti
mine jurot 00181
0 1w: balm i‘rinitas
Ponce linmza {gloriosi (cortmzin'o 5972:, comm-is 8.11, {3:31;
Petrus beatus
Prirfza 111x surgozas
l-‘roles do coelo prodiit
1.3216111un Cliristmn quacritis
Quodcmxme vinclis
129:: (gloriose martgrmn 948, 40,31
:Salvoto flor es mxrtyrum 34-731
Sanctorm mm'itis 9633-1 and 96411
531131 Christa, splendor potz‘io
fm‘istos errant opos‘ooli QIJBH
Urbo boom szsalem
Ut quezm 11315 1.33412
V8111 Creator Spiri ous 75631
Veszilla 1:05:13 prodount 459::
(Two settings)

69.

Offor‘torcioo for E‘ive Voices: (All in Volmae nine)

Ad to, Domino, lr-vm'i

Affercntur r0171 irginos

mgolus Domini doocondit 151170, 67321, 6742, 6553;;
$111112: 1‘. 313111 3101113 974(2-

J-‘zscomlit 1.20112 in jubilationo 7137.21

.msufipta oat lfioriu 1478o, 147351, 14:81:41, 148311

Ave liario, {"‘otia plono (181:1, li‘iifii‘, lII‘CC’Q, I) leOCéfl, 1293.31, 1546A

Bonedicom 1101*:1111221 8590-, 15.7190
Bonedicite (.:oltoc

Benedetto Domino
11 nediotas sit Dons

Donorlixio‘oi Domino
Bonn“; gist confitorl 874G
Confcszzio ct :mlchritudo 14-591
CoxUTirzm hoo 1361.5
Coni‘itobor tibi i‘mfinc
Confitobim'bur cocli
Constituos coo 1n~iz1cipcs L'S‘JVG
L10 :n'ofimdio 910a
Dons convercus
D 011:: 32-1123 finite-vii;
Dons moms ad to
Dextoru (10:11:11 fcci’c
Ijii‘i’uso mt gratis; 173540 17109a
Domino convexfimo
Jonine Ions, in sirplicitote
Domino in auxilium
Elem-rout opostoli
Etc-:ltabo to Bovine
Inspect" s eqaoctavi
Illusion oculeo moos
Imfittct migolus
I:.';1proporiun orpcctovit
In canon terrom oxivit 136%
In to speravi
Inveni havid £51 -
.Tubilotc Doc omnis 7061, 3841M, 3353, {51365911
Jubilote Boo universal
J‘ustitiue 13mins roctuo
(Em settimp)
Jus torum amino c l/LITSG
Justus ut poh‘m. 10.1.31, 3.01%
(C‘s-.0 settingjp)
Ixze‘barfini in Domino
Laudo amino moo
Lotflotc Doninm quio 147040
Koditobor in mommtio
131111 outm ninis 11901
Drovi ad Dominmn
Pcz-fice grooms mcos
Popul‘ 1: 11115111611
Posuioti Domino Pater

7o.

Offcrtorioc for I‘ivo Voices continued:
D

Precotuo cot iioysoo

17f ecorézzre moi

E‘Te{'o3 K’s-1:32:13 ct inflame
Soccrdotos I‘m‘dzii
:3m1ctii‘icr1vit 3503538
Scapulio axis

81 og'zlnulovcro

Siout in holocozwtis

Spor out n to omnoo

Stetit o {talus

Super i‘lumlna IBobylonis 89130
Tonia 131* czzmit ..

Tu co Potrus 1:318, 1398a, 1213?. 3:32:02, 13990, 1395A,

T21 aunt cooli
Vcri “has 22011
‘Iir Brut in terra

145 3A

7/.

71.

figmenoix III: "he i: .133 es of Polcetz-ina

by Peter 1*Jegier.
(The follo-inr is en :"Btatff‘t to per 2:331:92; so it .e tentl- chatter of
Peter Efforuccfla Ceocl Licht e tier Ties: :0, published by 1:31 eit Ezopf and
Ilirtel, Leizmig, 1921.3.)
E3250 (132 P21 osmium brougjl‘Lt to its culrinotion the pol;,rplrionic
style of composition oesociatcfi particulrrly with ti'zc Z’Tothczt'lom
School. however, during; 1 e lifcttrze there were other forces in
Operation even in tone which tended tomm‘. a carer style. 1113
nor}: brourht the form of :volngil ionic writ ting, cor... idercxl eozict'hat
antiquated by his time, to their fulle’ét develomont .115. final
culmination. The circa: etxmceo of his life led to a natural
concentration on produciugrw .. it: for the church. He was exception-
ally p. .:rtiel to the 1.52.133 form, vilich at that time offered on almost
untried i‘i old for t: e m cicel cdorrmcnt of religion cerozlony. The
nu her of his Meet: .3 azccole ever-’thi :13 that had been achieved in
this foam up to his time. There ere nintwtbree such compositione
written by his, enor .{g I'flliCll thirty-nine (are for four voices, tiarenty-
nine for five voices, twontv-onei‘ or six voices and four for eight
voices. In addition there 13 on or ngozicnt for fem:- voicee of '316

Piece P233; If<~«.rcelli. (One of '210 fleeces without a title is of

 

doubtful eu‘dicnticity.) Peleotrino has mitten almost tmice as
many ... sees as his contemporary league, and has the distinction
of being the only composer of the period .. hose cozizplote works on.
available in rourint. page 433 He was able to publish only five

volumes of} -ie 1..-inc ow durin, his lifetime. This left a [great

quzuztity of music in the hands of his son Iconic.

Pope Clemens 0211-711 essed 5 1:12:11 121.1; tzis time to can the rem-1111111113
1? “in-ted :- rks at the time of Pslestrine's death, 'ut Igenio
promptly sold t? -.e scores to ‘17.!0 ~11. zingers in Venice 12110 evcmtuslly

orinted from than six 1:1ore volmtles of his messes.

These liesses ere b ased upon Lis own rzotets end I." 1drig .1121, or

some 0131c: composer's motets or n: .drics is, end even some themes
were tel-:en from another cor:posez"s 11s see. In P .lestrine's mark
only :1 for} '18 see or e of genuine sec .ler origi 111, Idlerees the
compositions of this sort by losses are ebe 1t wuslly divided
between secular and spiritual themes. 117mg, .1'uitiphons, See ences
and? expenses were t.1e m: teriel from which 13(1051332'11’18 tool: theses;
in fact there was no form in the Cr 301115111 reporter},r that was
neglects”; by him. The Pleinseng 02.16.111.31? supplies single Masses
with themes. She hemlling of these t1: ones is done in such a way
that the Plain: song and nol”o.-0’“' are of alters: te import'mce.
Pz-alestrinn v name able to co.-s ....1et originals and well-1111511 perfect
melodies in 121013.111 keys from the older Plsimong s urces. his

art rms so mzceptionel in its tom‘fection that the church made

his style the ermiple for polytfiionic vmiting.

irenelow of th loses had not yet been ettmpted in 1913, but
(gamma). clues ere furnished by the years of pub]. is .1. trio . A more
exact investigation is needed to verify the ini‘eznetion .ethered
so far on this problem. The 1115521 Pages 1.1ercelli is found in the
second book (1567'). There is no doubt but timt it was composed

several years before, and only printed ....en :10: e"; could be found

 

to meet the then verv high cost oi‘1 3111111012“ oion. ’i‘he miss-.2 Ut re

74.

m1 fa solflla we published in 1571, but is to be found in the
choir boom of the Palm}. Choristers as early as 1562. So long
as discrennncies such as these {32-1313, the criterion of the year
of print is by no nouns to be relied upon cozuztlctcly for deter-
mining the date of composition. For our task it will suffice to
recognise the develozncnt of Rdmtrinc's style of writing in
some of the masses which may demonstrate the connection with

his predecessors, the gsmlunl clevclo'ment of his individual style

and its supreme manifestation.

[page 432] In an unusually 19:30 number of theses Pal ostrins
shows himself to be more than any one of his contetzporsries a
learned student of the :Iethwlmfl School. In certain aspects
he retained true to this form during his entire life. One mil
do well to look for on oeqalmirrtion of this dependent relation-
ship as con-inc directly tin-cum s E‘Ie‘tfl10231'mxlor or one of his
Italian pupils YBhO has also (smelled as composer of Masses. The
very first volmzxe of Pslostrina's Iiosses places us in the midst
of the peculiarities of the IEctI'zer-lsnd School. It is opened by
the Rinse Eco Sscsrdos Elisglus, perhaps the first Mess that
Polestrins ever composed. It is a genuine Csntus Finns; lines
insofar as in almost all the mvmcnts the Plainsong Antiphon,
which has given it its name, is carried along with the origami
Mass text in notes of broad rhytlmic novem:..t or even in a more “
animted style the the original fintiphon melody. The only
change that Polostrins found he had to maize in the Plainsong

melody has to do 121th the penultimte tone. In order to make

75'.

‘

possible the 2:12:01“. 1.1' :1 full c :d once he 3* batitutoe the A for
a G. 'Z'izc rol:':tionsi1ip 0'." t‘zo 0135161." voic ,s to the znti: 31 on

suggests a structural Si?lll"3i'itf to the early period of the

P.
J"

chthcrlzuz-d Cont-.153 5711:3118 lines. ‘§11c:“-.r“tic rol1t5..so .‘ios o.

lizrited (ti-bait in tee 11111311101“ of the info: initial t3 one appear
at the 1303313115.”: 0:." tl.e Peter Hester, Ios. 11:13:, the 1.5.33.1? and

third 515311113 501, and in the 1:.ttor ot the ~_:-.1i’5 ell... is Peso-..ta.

'lzzo i: Litf tions in these p~~rts are very modest. the iz‘litrztion

U.)

in the £3.11 ’Eolli is :5. more on; (Q’BtiOZE, since the .f“ to voice
irzitzztes only the first three notes. [moth :r orcheini is found
' in the occasion. ' - smyzr‘ntirfl. Bela-dies, as for example at the (“:11
of the Christh in the 3:133. Senering regards this and other
earl Basses b" P:.lestrine as intended to be heard i'rith organ

occonsonin :3nt. Ono 51101le not feel obliged to accept this

ass: “.‘5tion.

[page 4351 Pulostrinn ms 51: 5.2“ grrily concmmyd, in his first
works for the church ccrawnios, to pro vo his 1115813573? over the
most involved tccimicelities and handling of the time pattern.
The third 31.61119 305. of this inc: combines tl‘séeo kinds of time:
the 11353501“ voice has the time sifnr'xturo O or 8/1, the Teaser {8
or 13/2, and the Bass c or ./‘1. not out ice. with that, 1.1-
con “ossr nude t-1e deci173cn-inc of his not tion more dii‘i‘icznt

by the following-t: Change of ti: .o wit-Lin e Iiielody, "Ilzlpcri‘irfierungcn"

or clinl‘lt’ 5.113 the Cl‘ViC‘ 10 of t1 0 boot 3:3 and 2:3, and also mu‘ 13:11 a;

...

the .5015 no. in 21:50 eri‘ect ti- .e 1:. d 1201“"... set ..“olrttion: G or 6/8.

'76.

[page 4331 "flue e2;3_5eriz'1e:1 t Lit. 1. tee nixt 11s of the tort of“
Ordinary 11511’150. Cantu-s Fix-1.1.. text (01151311113. te::t and Con us
..1:112511:1 .1:1e1.:11 take ..15. 291011 so: 1151.1. other ti 115-111 the 00:1; sition
at 115.1511 ) immediately at the be: 111.1351” oi‘ the first vole-1m of
12:13:10.1: juzi;tii‘i 15 he s 511031 for en ez-zplozmtion other teen the
ire‘tetion 01" the early" . etl1oxlr11eost011. Polestrins dedicated
his first vol-1111:1165 oi‘ L’s-sees to Pepe Julius III, 1.310, before his

elevation to the 1:115:11 choir, had been 3311311015 of the tom of

P:110:1t1.11:1.(eorlie11 than this called by ts :11neienti 0:11:111 none

 

Pro enestimm) (511:1 Seed cell ed the c01135oser 13:11 estrina to I“: one

 

(1544.). Palejtrins dared to hope that it would make :1 {good
impression if, during the entire sung: part 0:? the Hess, the
new Pope could he 1.11 :1 section of Castes Fimm with the 85.1116
15011613 repeats-l again and 04311111. The clever idea was out into
action and he ifs-so for the first celebration by the Pope was

I- Y

built upon the “1115511511011 "Ecee socerdos minus, qui in (11015118
511 is 151:11c .11: Dee, et in entus just us." ("Behold a {goat Most,
who in his (11:11:55 plessed Cod, and 15:13 i‘omid jmt."...Ecelesiss-
ticus 3531?. 1'7.) Pel- 1.15.0. cornitted til 1:18 set of political
stucstegy in eiwler 1.0 331.011.111.155 sporeeistios and {571: 1titudo in on

ortistie one very origin-:11 fem. This 3:51:10 nose is 111011 at the

first celebration of the newly elected Pepe even in lute times.

4-

The IfissaflVeiiuCreqtor seem also to be one 0.1? the 315113.57 YDI'E'IS

 

associated 111th the I-.5'<5the:1lend style. 11-. mg; included in the
books of t.1e si1c.1ivos of tee p.:1.l Chapel in 1571.511111 ms

given to the public for the first time by I'Eoberl (volume :33).

'17.

The 15mm has all sims of on early origin. From begizm 11.5: to
11001111 the 111110.11; of tee six voices sins" .. to the 1:11:01 .5 of
the 2‘ so text the 1.10.1011? of the Pmtecestal 113.7111 of this name.
2‘: :3 melody s varied by servers 1 different sets of rhytih tic

presentatiozw, namely: Braves, Sefi-‘orevm and Longs.

 

[page 433 The Fisce Cece Si: erdos 3'8’31118 is not the only (tangle
of the in. onions util ..: t1 on in the other voices of motives de-
rived In the Centus Erin-ms. "he siz- voiced Lsi saliva E'm‘ia,
(which is probably also a youtifi‘ul 1:0-1z, (voluzrm 15)), midbits
a Camtns I'iztzns conr_:isti11g; of only a few notes which, upon the

text "Ave 13.111111 Gratis 111611111", proceeds 111-011. 11 the ant ire toss

in a lower voice and slower movaient.

The second loss of the first book; 0 1305:1211 C0011, is also note-

 

vnrtin; because of the 11.13.13.213; 01 1111., eniozs tricks in handling
the 1111313111. The Ziosezms is in Perfect time or 23/4. and Perfect
p1‘01:3.t10n or 9/8. The third-1. .35 in the first book; Virtute
11:1 , is 1113 o Glut-‘1 .131111011 by the 11:11:19 sort of Imflmrmticol
gringstics. The 22013me mare is set forth in the Greater Im-
perfect time ni:-:od 1:111:11 ’ ‘19 Create:- ‘i‘riple proportion. In
{edition to this t::ore is 11 01.11011 at the 101.?(2' octeve in the

1101113 Dei .

0f Pelee tri.*1:1's two 1.131303 on the popular sociler melody 01" his
/ , n . -.. . ..

cents. Ty, L'hmrme eme, the firs t is 01‘ tm tongue 1: 11171113 type.

The Chanson melody suffers hardly any melodic ch: 111 _30, but it is

occasions.1 ..1y varies in rhythm. 5318 (11111131113, or fifth voice. is

73.

given the Cmitue Firnzue. Altered tones are frequent. The
voice-3.036.133 in the other 13.23133 is 1303th of admiration.

T "10338 is nothing to 3 meet my cz-onyod or hammered mvefzont 3111
no miconi‘orteble hamdling of difficult spots. 3. felinees of
significant and t-rcll-comming melody encloses the Cantos Firmis
aid coraotiz'iGS almost obliteretoe it. The first entrances of

the other voices near 3 close relation to the Ccmtus 1711311113,

but later on free thoughts ajypeir and are worked out independently.
Splendid clirazoe, Cfi‘ective voice groupings, well—considered
houoplwnous mite and a skilled esxi timely (iteration from four
to five voices (and in the second Agree Lei to six voice puts}
(me tine outetmx‘zing quzfiitieo here. 131053011121: 1 fe end fresh
melody are also distinctions of this 221333, I‘I-‘IliJCh qualities reveal
Pdcotrina'e style at this time to be more or lose adherent to

the m‘ecedent set by; the better 1m 1m compose-33 of this period

and those imwietcly before his tone; but also there is evidmice
tlmt he is able to introduce into trait/style his om individual

art with a certain assurance of its superior worth. This style

of composition :33 gently favored and admired by some teachers.

Shoconi zed Genome m'glein in it the arts of the Heme-313116. notation.

[12333. 459] The second Hess on the yhoztmc 3:23:16 melody is considcm-
ably shorter. It eppemmd in the fourth book of Masses (1582) as
the 1511333. C;113:.:te and , although not 3 Centus Firm type, witffht
find mention here. Peleo‘wine Izod 18311103. by this time that he
mist deal Mth the critics when he chose such a swuler theme

for the femidetiozi of his cesilgpoeition end conemguentlv he chose
O --.J

J '1‘].

a more generz'l (13315113 tien for this and several other 1.33333.
This fact ocrnunto :i‘or the (1311. 11:31.". sources (or co: 31311313
12113313131 sources in some 3.1-333 of ti: 2.13.3333 ulcer "fine 114.1113,"

"tine 'Ti31..1"o"e:1:1 ’33-.ose simply mn.11:erod._ All the 1.1113333 oi‘ the
fourth book are repreo 3-1131 331731.33 , Second, third, etc., even
those which are b: .330. upon the following: the ijleinsoug Sequence

1.3113335; -J the Ploinsonc 1133313331. .ostra relegatioJ and his

 

01m motet O 113(31131 1332123171131. 2316 there L' 1:311:13 Lune/i3 tr eeted
in the fire 113.33 in the 11121013121 :1 mode and in the second in
the Dorian mode...or if one wishes; in the first as major and

in the second so minor. (I: agccbog, II: ddggfal.) The second
time belongs to the more mature mrko of. “doctrine and is in

a style riaich includes iriteti on throughout. 1"evcrsione to the
older art are frayuent, however, 33: at the begizming of the
first 223.313 in the Smituo, at the Christa in the Team“: at ‘

(15.11 Tollie in the Tenor, in the 33033. limie in the Alto, at

the beginning 1‘ t 13 Gloria in the Cmtue.

The met fences 332311113 oi‘ e 1:11.“:ture of a Cantu.) 1" 131133.13 teclmieue
and ”5'131trim'o 01m cortre‘mrt'll {3oz1ius is found in the six-voiced

Hose Ut re 1:5. i‘o 303. la (cams; cell c3. th "IIcencfimrd" motif).

 

This is found in th 3 third 1:001: 01‘ 21:13333 (.."1’70).A. scrieo of
tones 111-: c this section of the scale is scarcely able to arouse
any per tzic 1.1.33: interest, 33113313114; when it recurrs frequently;

1

but order to 311113121 1131311134; 01‘: 33.1.33 trinu th ore appear 1.1.21er

0

interesting 331d. in 1"3 ct. qu'lIien‘ int icecios . The 3... 13113114013

eis'rple the-.13 takes on o méjtlc grvlity :3 it is i ' tomvoven again

and 3335111 trite incidiouotihle and 3.33131 invention. In most places

3°-

tixe IIezcschord melody is given over cm1guletoly to the Cantos
86311111113. 11113 voice has during: the 1.1.133 only the tones of the
aha” 113131311036. (gun) and of the natural Ila-:3. herd (M); the
flat hanmhord is not used because of its foreign t :13 3b which
1301110. have caused modulator; difficulties. The hastichord is

used fonmrds and be 1:131. ‘3, in slower and quicizzr 1210-2731313: ,

and with various note (luoliti es (.331 1113,3111. 3. I11 the Gloria and
the Credo the text of the 11333 is quite fitted to the steps of
the he:-:ecl1or(1 (as one con see also in the 3.1.1.333 Vmi errtor o
The four-mm Crucifizms, lei 311111; 0003.5. and Betiorlictus share
in the full sigdficmice of the 113230110131 motif. The 9013111113

and often used 01.11311»: at the end of the :1: r3 tint-0? 11 the addition
of another voice servos 3.1.30 to 111313133 the 13001311qu. (iifficulty
in 3131135313, £310. in this case 113031111113 secundus [m 44:0] 13
joined by a third Alto viii-.311 odds eve-:1 more cenonic imitation.
The structm-e end the rhyt‘zzmic lead of the voices is of such a
kind t: at the Cantos 51731113 is not compicuous, but rather is
covered up by the other voices. The 01111313 Fimus 3.11033 its
infltmce to be felt by means of numerous motives that are given
over to other voices. For from being 113113333 by the ovemzhelming
task of hemlling the inm‘eosed problems, the composer brings the
mmteot force of.“ his 313wa acceptiom-J. ability into play, and
the result is a rare piece 01‘ writing which contains chords and

polypiwny of exceptional weight and oricizmlity.

Thee 3 works we have mentiosd are Fslcstr inn) 3 contribution to

.5

the Ilctawlzmd ”Co". 1353 i-‘irmus" ”came F1133. Another time group can

cu"

3!.

I

be designated as t-2z2t of the Genomic 21193303. ("his appellation
is not intmvlod to suggest that cozlonic izfitution is confinefi

o

to this pwticulur group.) Some of the awoes in this category
are 11321133; Indian in a sing-lo section which do ..2 not have some
such imitation. The 1::2st 22:13:; in the first volume, on the

Elsta" 1:37.211 1th Co mart: 2*.{32L2‘Tovidh [page 441] 13.2.3 two voices

in canon in all of the five-13cm sections. The upper voices

are usually given the 0:: 2 nic cozbimztions, vizich ore t'mittm at
the upper or lower fifth. The use of the themes of the mass is
therefore a freer one, the motives token from it being; fwther
dwoloyed indepamontly. Herein lies the progress from the

early I-Iethorlmxl Contus 1'11'3'1218 2.315305. In other words, the
slavish depend ency upon the 0 91112228 "yizrzitus is now {medially being
replaced by constant -demiv:2tion of new tlzefuiztic ideas from the
Cantos 1122:1113 . However, the necessmzr element of unity is pre-
served by keeping the net:- m.~teriz¢.l related in some respect to

the chorzgactar suggested by the Cmtue Finns. Only in the sections
not full-voiced does the composer make up for the lock of comma
imitation by a return to the strict Cantus Fizmme treemrmmt. as,
for instance, in the few-voiced Cimiste, where the upper voice
sings the liturgical melody of the theta 19.31111 in Sei-brevm
from beginning: to end with no pauses and no char :e of notes. The
text here has only the first two syllables of the CEmiste, 2:311ch
811(33th the carrying of this melody by an imatmmmt, Perhaps

this supposition is not to be rejected rdthout some consideration.

31.

The cenonic art takes on even greater eimii’icmce in the five-part

liieea I? 0:110. tur Os 7:19.111 (third book of Hz coco, 1570). It die'pl'zys

 

canon after canon at all possible intervals. The I'Zyrie has a canon
at the Octave, he Christa at tie Seventh, (13111 131:. e lest Karrie at

the :‘sixth. A canon at the Fifth anpwre at the beginning of the
Gloria 11.11.11 ezz'tomls ‘00 end the caosure at t}: o Fil 1118 Petr-5.5.1319
Credo cont inuce this seq 1e: 100 by a canon at the Fourth , th 1e Sanctue
by a canon at the li:ird,t31e 310311... 1111.8 by a omen at the Second and
the first Ammo Dei cor-11.1101: es the series uitn e c ...non in Unison.

11.3 a clinexc i‘tm- all this there 1:21 in the second 1191113 Del 11 double
c anon; one canon '13- ritten open the other (an edged voice makes this
movement a six-voiced section). The first canon is resolved at the
Octave and the second at the Fourth. Such a combination of canons at
all possible intervals 11 e not been surpassed even by the gond
meter of the rotor-lend Schoo. not only the czmonic but also

the 0 Labor voices are rich in innit: tione of the‘ 11 .2139 theme. Too
relation311 in of the single voices to the there is still more intimte

than in the masses mentioned previously.

Toe few-voiced niece Mi Pg .111, first printed in 1567, is an example

of the 111111.113va result of the union of words with an extremely
001:11‘1liceted form of musical theory. Eaege (142-1 It serves to illustrate
that in ott mp ting; to put into use the very tinote in the accumula-
tion of theoretical lmoule. (go, one can arrive at e noint wimre free
movencnt of artistic fancy is so closely restricted by the prerequi-
sites and do. ends of item, the the aesthetic Value: are consequently
distorted. The result is a sad over—develozment and ebme of tecimiquo

11:11ic21 defeats its own purpose. From 1195* 1.11113 to one there are two

'33.

connected cmmnic 111i11s.'11211.0 11.1 U0 11111111.. (2.21.9 is repeated

exactly at the upper fourth by the Soprano after 9. 3111131311. 51.1116

13’ use. Shortly they are join-d by the liJI’XBI' pair of voices. In
the Credo the lower pair of voices begins the movement. Those
pairs are, to be sure, 1151161011 n0.o:r>cnde. 11:1;3 1r, but 11011102113131

are lie-11.1.11 together. 2‘31.an are entiphonul moo of the time. In

the CIn1iste all the voice; are identiez 11 ("cvnon four in one").

In 0511033151. es t‘1 0 point of." sizfilerity is 11 strictod only to

t-;e beginning: of the t31 .GZLG, after which the voices continue in

a freer 11111111011. In the three-voiced sections (the i’lcmi cunt 00011
and the Beneiictus) the voices move in canon accord 111; to the
device "Trinitns in unit cute" (1090, all three sing the 8:11:13

melody 1n canon). The second Agnes Dei closes the mess with the
mflieJIfl-of feet of canon in all five voices. The three 1.1191113:
voices fem the one canon and the m loner voices the oti'ler

canon (canon "1"1ve in two"). ne may observe, in the 110988833. 11y
subtle technical 2111111131211; of t3: 0 renewable fecal scheme 13311111331101.1413
the entire tines, a rem1wsion (even in such :minventive and able
00331170891? as i1-11mtrina) 01’ the pmtietic inspirctio on in fever-:1 of

the theoretic ideal on 11.131.32ch the 1.110113: is based. 3‘1u1t31.ez111011e there
is another confining: factor in that the custoztzzmy and prescribed
architecture of the 3.31153 is 111.1 te disernenged. Tilt-Ire is a cortein
monotony in all of the novmcerts, 11111313118 became of tire lack of
rests in the 121110113 usm1.l pleces,c.m1d 1.101 1c then this ,bec.use of
the luck of voice-leading 1..-1:11:11 one is led to expect in Palestine.
The reg-.13. :1 form of cadence 15:06. in 1. 1e 11 1:10.11 voice is: £1 if? g or

c b 0, but the effect of cadence is 1:11;.incxi each tine by the .13. to in

34.

the 131703? fom‘th. The mtrrznce of the 101703: oiccs whme they
join the uopcr pair is in itself not 111131101183311}, but is tiring;
because of its cz-Lcessivc repetition. The effectiveness of all
parts of the 121133 is f‘n‘4'11023 equalized, and sacrifice is thcn‘eby
made 0:" some of the usual contrasts in the treatment of the text,
as we observe in the rcsetloncc of the Cl Erie and the Dreio to
to the Erie m '1 the Sonatas. Itccopt in the few ez-ztezmive

fl rid figures in the first and lost Eirrie and the Sanctus and
Agnus Dei there are seldom tm voices Bulging the text together,
and when this does occur it is only at the first mciation

of the text at the beginning: of a sentence. Often we hear

four differmt syllables at the some time. In most of the other
iiasscx—s Palcstrina shots on misurpossal mastery in the flctible
bandit-1g; of voices, t gather with an effective prosaitstion of
the text, even to the stressing of the importzmt phrases in the
Gloria mid Credo. Usually he gives a verse of minor imznrtzmcc
to a few voices only, and lots the verse follox‘ring often be
carried by the other voices, and not until then doc-s he gather
all the voices for a powerful aqflmsio of esoecially significant
words. AS has been said, too Elissa Ad Fugm locks the refreshing
effect usuaflly eu'mlied by timely rests thr 1 (-ilout tho movmlents.
Also no consideration is taken of artistic alternation of voices
for contrast. were is no horsephonic vmiting x'zlmtc'ver. HERBS 44%

One perusal of the EC; '10 will suffice to acquaint the reader with

357

the typical structure of the vi'zolc mass. In the absence of
the usual three divisiors derive} from the liturgr, it Innis on
without rest in one long ohr:::se. [page 44;] Forth more both

nairs of voices sing the words Egrrieéelgisog only once. the

 

upper pair of voices shone a rc‘oetition of the entire syllabic

Citristc elqisqn. Altogether the first section comprises only

 

teen y I10:_=.S‘Lu"08. This is only one third of the length Rzlostrina
usually smloys for the execution of the firzrt section (E‘stie,
Christe, Carrie) in other Efasscs. In the Gloria we miss the

usual caesnnce at the (”117-1 tollis.

A liturgical use of this Hans would be out of the question today
because of the incozilplete trez‘2tment oi' the If: is tel. -. At

1).- lostrina's time this might have been an aromatic mattcs', and
of course one shoulfi not suppose that h spent such effort as is
evidenced in the cert-iosition to bring ut a work which had no
press ects of practical use. The IWIth ecstasy, m the stand-.-
“i‘oint oi' liturgy, placed less strict miles upon churcEly mrlcs of
art thzm we find at a later date. 1111.313 mr: fwniehes a splendid
illustiation and justification for the criticism which those
concerned about the integrity of the litinigy before mid after the
council of Trent raised against some hams compositions. Let us
therefore regard this lions as a thorough stufly of the art of
canon. We my be sure that Rilestrina ms ill at ease in leaving
his fate to the control of the on horitics representing the council
of Trent. It is worthy of note that the Mines 11d 2mg} appeared
in the some volume with th hissa Pages liarcell‘ii, which was con-
sidered by some to be the finest sample of mlyphonic treatment
of the hose in this perioc, incised it may have been the salvation

of this type of art at that time.

3L.

Even in his later I'Dl‘iIS Ric‘strim did not cease to use the
various forms oi‘ canon. To ninth book of Masses (first

‘J’T

published. -tcr his do tn) contains the re: 113330161 ssn SL3

203.1.ine for five voices, in which :1 two-voiced cmon opts-en's in
all movmri-nts. In the first Kyrie there is n csnon at the uppar
Fifth, [page 445] In the Gin-istc at the uppcm fourth, in the
last Kyrie :11; the Octave. Father on there rollers 52 canon at
the upper Sixth, at the lei-yer Biz-:th, and at the upper {mi lower

Seventh. Lil: enise intricate ere t:-e m1tmnc ,s of the 081101110
imitating voicr'=..;. The second voice follows the first after a
pa 158 ofe eminim, then after “IT-.30 sue}: pauses the voice again
appears and so on up to elevcm. 5.31153 lines is reckoned. as no
of thee rennest of ti. -e e c .:ppellnp :rioe. ‘Eiio six-voiced

‘qtesflipniig, in the eighth “cool: 01:. Less-... is likeness

 

 

overlsi W h the art of he can 11, and even presents a double
canon. In very tiny lies: ms the second nan-us 3305., rilcm it is
distimmishei by the sclc'iitien oi“ s new voice set against the
oters, forms a special pl ce for the arts of the canon and
also involved ..iro—pettrnrs. ‘1‘} ms Peles‘ urine. has included

in his last cert-positions the 0.1.‘”‘Qct0'”iuolCS of ti o {rest :01 die
mzsters x-izich fern part of the develogment of t31.e11ol1'11‘1on c
movement. This is at s time when the I": the: 1:11 School itself

17:18 egreroechinc its dissolution.
.. L.)

:niother series of creations 511011.15: Polestrilm as co::1.plete meter

of that t:.p1.?i£ess tame}: 1.. :3 1.301! as e 13.11 iczaerly Genius one.

 

57.

This type is 0:11....7 ed "Polyphonic? leinsong-Ozflinrwimu", because
it aerives thence entirely from 1:31 Plain. 0:13 01511151111117. 110.5303
based on these mflmarizm 1103.0111ve are rt once 11000511121011 by
the feet '1: 1111'. 112.0111 121011011. ents are inde' 111d<mt of 011011 other

in tlzcne 1111.11 1:001:11 treetncmt. Pelestrina, in 111111th this type
of polgfifllomr, has, for the most pert been. 1‘? 0.11111 to the
melody s unified for each per 10-11111 novmmzt, 11 .1t (.210 other
cmmosers of this sort of 31.73.53 cont :1.t . thc-z-"Jelvee 121th much
less connection bett'neen the litumfical ape eici "icetions and their
treat-mat of such melodies. Inch 01‘ Pdostrina's I-Ezzssee of this
13,pr has its 012-11 '"0011111111 ties. V0] 11110 thirtv-tlme of the

cor: 110130 edition co:1t::1'.:1.s in tsze first place a five-pert Itissa
Egrimenlig tfizich in volume thirty appeers 12'it11 only the Alto
and 1311.35 part: after its first 111.1blication in 1592. (2111110111
cells it an mtlzentic £211.53 from Ehlestz'izm's youthfal period.)
‘l’ize Kylie and he 1311;101:1113 are ontir elv 11011131011210, while the
Gloria and 0110130 eltem. 1.130 between 171011130113 end 1101311110113.

The 114311113 D01 is composed only once, with the 1111301161116 1201113.
The 131111230113 melodies are those custormry even today for 11151.1
Eleven) in the 1151.111 Sand :13: .1111111111110 Vati001111121.~ The Elissa Pro
Defunctis, also for five voices, (the only 11.11.63 cmvgpoecfl by
Peleetrine for use at services $011 the dead) consists only of
th e Karrie, foeztoxy, 151111015115 and 11.111118 Dei. These are the 11.911111
3 11.3 parts for the Fiecgzfim lines. Size Introit 1., (11191111111, Tract and

Communion 1. ere 1111:111e22011e to be 111111;; "Cl-10111111111111," 1.0. in th

33.

original usison Plazinsorzg only, which is to say that the Lissa

on: the text of the Pmper for fmlex-als. T112

9-5

has 0111‘ a settim;
litzn‘aiczil thmos of the Invoments are henrllod flesh; and slilfully.
[page 44% The $6le Lei is set times times, the third time with
the addition 0:? the usual Smpitemm tilich e‘ds the sun; ports

of the fiequicm Elms.

The foam-paid; 2333:; De Beats Virjgne opens the seconfl volmic of
Masses (1567). Here Pelestrine uses the liturgicci melody in a
combat form. In the Gloria the liturgical melody is divided
interestingly among: the various voices. The Csntus hes the
original melody to the words "Eb in terse pox honinibus", the
Bass continues :7 t! "Bones VOlmlfir‘LtiB. Ieudemus to", the Centus
tel-:83 it up basin with the x-zords "Bmenlicirms to, .fiiloruims to,"
and ot the Glorificerms the melody is yielded to so Into, and

so on. The other voices imitate. The Crefio is built differéxtly.
here the liturgical 1:1eloriy 01‘ the li‘our'th Erode is given over with
{great 82:11]. to the Alto. The second Meme Dei Decor; 3 five—voile ed
with the entrance of a new voice canonically tar-cecal. A sixepart

Hess he Beets Virgina: . (second on this title) with the sub-title

 

We]. Dorfinicelis" is contained in the th‘rd book of finesse, 1570.
This is plmmod on :1 breed scale, on”: indic::tes thereby its
11130315in use for Paste in honor of the Blessed Virgin iirry with
fell on Smiley. The tropes in the Gloria which concern Mary were
taken out 0;? the liturgy by the editing of the liissel in 1570,

and in a later edition of the Mess are also left out by substituting

89.

the repetition of the original words 0." the Cloris. This

later eeition ens Imblishod in 1599. In thesivirg out of the
melody of the 9222210, (3101' in and Croflo the voices are :Iividonl

in }:midlim t: e 13120212": nt the-2 c. In the Cloris the 1:010:33; appears
in series in different voices: firs u in th e Cantos II, then

in the Boss, then in ti 1e 0:...”th I, then in the Cur ntis III,

etc. In the Credo portienls Ly the tm upper voices are tenement.
The Seactus and ti: sinus Doi present the melody in lung, notes in
the Sixth ('1? 21.12 II), the fetm—gxmt Pleni gives it in the lowest

voice, and the lies. rise few—pert Dazedictus in the voice lying Just

('2

oven: the miss. The one 120.21: 01‘ Losses has as the lost of the
fem-pert 32318:: ,-s the _Ifiisse do Essie, 2.2}; ch co:2 is "itie tel/“Tie,
Senetns and Agnes Doi 0.3.32, since Forisl dove have no Gloria and
Craio. The ffisrre in .s’,:f”.‘°2.’\.3.‘ib‘x‘:S Ptglicjbns (volume twenty-times of
the Emmi-:01)? and Karts}. coralote suit ion) forms :2. fo:n.2-p:2.rt
errungescmt of 2121-0 Essie Fono B 2:11 tat s.., and arranges ti; o other
never. it in four parts: the so called Leo IX Gloria, the Apostles'
Cree-:1, the Senetns in the fire t mode on .0. ti 1e 2.52.1113 Eei from the
moss 17012 nary. [page 44% The four-pert hoes gjiinoribm Duplicibus
(prin' ea in the same volume "meow-12.2.1200 of Broitimpf end ITDrtel) is
m: it ton on the 172.212ie Cunetimtens 'i‘hc Gloria is oi so 22.1.2011 this
theme. J'J.to:_j:eti2.or there or seven I'm seo es which he ve been treated
by Pelostrina in this l’olmihonic Plain song-Grumman category.

His positions in the l—Eemnn churches and crathcxirels mulch had a

daily sum; I-Iess : we hit; an intinr.‘ oe acquaintance with Pleinsong.

712.

Polls strirm 11.2.2.3 2..- tl1 11.2.1011: 311000120 fosters]. the Per 3:; $5,120 mass.
”his 113.2320 0’:" 02212122200112.122, is ray-11:12.10 in that it is conceived upon
the :0:-its 0f motier piece 0:" 12.212.10.210. It follows the pettcnm of

:1 1:08.01, in dovelo2:.1:21t and 12310203. Such models are usually
motets. Ible seldom ere ti. o}: {12.16.121.022 .13, nd very seldom mosses.
In the i’noses written or. notets the depmmency 2:111 be detemuned
for the most peat only t1u202.1:—:i1 more (-.:-tact inv $001.10... 2.311011
is often made 02103012 by the 1‘: ct that besides the motet there

is also :1 lit2 222510.211 Pleiusom; 11010: 0:332 2.2311031 can be considered as a
theistic source. 3 ore than tseut: 2-five Lissses by Pelect Hr me. can .

be ascribed today as being worked out 012. notets alone. On his

01222.21 notets he 12.. vote the 0112.0 0200: 121211610 0832022., Jess. 3300421220. itodamtiq,

m

 

0 37:23:12.31222.’ 224.203 21.13:; (these era in volurwt thi rteen 01" the Breitkopf
and I. 22tel «.1132 022), 533.3011t .115. 2.1111 Inter 33; 13143 s(volu1:2.e fourteen),

 

Dies ;“211.2:ctf'ic2t.-o (2203.12.12.10 fii‘ .een), Tu Es Pas tor (vol use sixteen),

 

0 seismbile (3021201201 :3:, 1:05:03 fists, Dun 00112.23. 0120.. {22.1.2323 (all in
2701111210 s.eve.teer1), Veni33tmonss Ciuristi (volume :11 3311220031), OVircg
Sims}. (volmc ninteen),39_33 Rex (13.02.2100,:5 Aseendo. 272:3 Petrai, V1121
Galileei (volisrze 21221212011123.2-01'10), antidote germgmee 3GenteS3, Ilodie

Christus, Confit 0120:- Tib 1'2. 171:0 tree Fee 3:311:21 (volume twenty-trn),

      

    

32001221123 1.011120111221118, Assmzmte Est (volume twenty-1.3.2. 00),Pz1te3r I~'.-’0:.-2te2:c'j

13:41:22.1 iiostrsf‘a- 21221 32:8 Petr-us {22012320 trellis-font}. Palestrina

1103 also tel-zen the 32,110.11 for a Mess from other coupes s in the
some manner; for 02:0..11210, from 11252.2.an 01.22.3101 singer Andreas

de Silva, on .hose riotets 11-1151iss300241225, [page 44% 23:33:11 00011

‘1!-

and VirtuteE .0316: he has 6353’ 06: his 15:185'03 of the 33:10 name.
(They are to be found in volumes 35323063: 612162 1:03) The material
of the 21332203003625; 1:160. 1.2 33:12:11 (volume 31503511 is taken

from 6: 61:02.02; of 2:51? 31:30 EfEenot. 2.10. 1332363331 01‘ the $5.336: Gabriel

 

 

63011312101633 (volume ten) originates from 1:10:02; 05‘ 6501566032013.

The 225330 .02153 $3.601: 22-0 250150 (volume 501136.003) 13 136.13 E upon a

 

noted; 03? ‘63'152'3. :r‘l nus Lupus. 11-1630 tile' 1725.3 30 6 3321: RE: -6:_E1rg 03 (volume

 

fiftem) is 23.3.3361 upon the 302:0 6'riE'm'Es 06211303535011. '25:

2.21333 ."2611233': 220 “5‘30 (volume elven) 300.53 to be 635131301011 0 3202301.:
of 3302-103, 03 do 3130 the 2.233303 {3335 "111112” .1133 (volume twelve) and
Efiqgeet'g 00 2203.}; (volume tt'relvc). Palesti'inaEs 2.1.6:. 33 211611 Dicunt

2201:5303 (volume scvontecm) {301216.23 like 3 12K)th of Jean I-Ziohrd'ort.
w

Also the 2225.336: ...er (volume tt'relve) 66362 the etc—voiced gins T3310

 

(volwm twenty-5063') 1' 0:31:16. one of 32:0 church 62032-23 of foreign
69.333033; the 5‘0; 3101' of Com ' mol'e E '_5..- .2 36-: 25:60.5. 27515.3 and ‘25- 0 letter

of 3 303931111 6203 2303 mte’o 0335231062 Bmaiicta.

6
If 29:40:: 11.33 tool: the 63366. $.03 for 302:0 05‘ 2.35. 2523303 from the
rathez. $0013.81? 1336 35.6333. he merely follm'fed 0 long 03302311321061
066323633, the 3663535550 6: Lion 02: which 13y in the 35211516352236 05’ the
3362335631 01:62 23-10 0313302721,, 6' 636310 33362535 1.0213. 2‘21326061‘2'2 .3106rlelge
of the 00:12:01.3 it would be 61.112100' impossible today to 30:; 67113222163
the theizee 03'? 63 2.20.363 '- .1020 02113302113] or worldly in character. The
3.3383053 65:50}: 201 353353.: b .0061 0.. .3062 .56; '33:; 0.130 the following:

2.21.3361 Mini Toni (6701:6660 twelve) rave: 06.2.2.3 in 22310-53108 062523503

 

6.2:.-"6. it 6.03 303013.061 after the 31:62 5.3315021: (.20. (2503530333,
130256013] the 001:: of 202:: 5.0-0 ”3‘03662306300. Giovanni 12001163620
Eigeverws 1261300 16 (75.05.61 2.223 is the box-'13 .01E-Ez11-32;r5..10'3

2.003 of the 363:0 110.10. r“2:0 2:36 3. 303 6:363:00 22102.0; 3301325. (volume thirty)

92.

and 33101 E Il 39111 Crund' 3’.er (volume twenty-one) re 1111:} one of

 

11001115010 by man-1:111 :10 tiers. 1.310000 b11001 111.1011 his 01.11 106.111.3010

.0330 Vesti'm 00111, (volume 0131110011) and (7.1:: ELL 1631i 333000 0:11:21

 

 

 

(1101111210 nineteen). T110 four-voiscxl 121100 531110 130111110 00010 to

 

1

go b.2130 . 13.110.0734; to :1 0110110011 011 the Lupus J's 31110 Dmherites.
And to this category 170 may 0:10. 1:110 two 2.3110000 [page 4453]
L'11011210 0.11.10 0.11:1 indeed :1.lso 001.0 of the inn 1111110011310 1201113

01110 110111.110 in 110111100 ten, 0100011, f0 1.1030011 and 01 {2130011, 011:1
also some of '1'101...,..:.. 11:11 0:1 only by their 1.10000 01." 11011::235/

11.1. 00.000 31:1": 00 in 1701111110 1131 ir'bocm, 1303; ind 1.1110001: itls: 1111:1111001

or other 1:: .0100 0:111 be 111613011.

1301000101110 11:121'3301 to avoifi 112:0 01111; isal s 0121 11130 of that time
which were being; {35. 17011 i‘rcol; r 00110001111110 his 03105.00 of 111062.010

and 13:01:10 101' 12310 I111. is 0'.-'1‘ 0110 3.0:: 00 he 00:13:10 10:1. This accounts
for the fact that so: 0 of his 1110000 11:1.v0111171r :1 111111000, 01: a

ti :10 1.211021 1100110 "no title.“ 1101-1011011, this 321005011011 did not
serve to 00110011 13110 000.101 titles forever, :10 11.10 171101700 relation
1101;110:111 001.140.1111 1:1: (1:5. 3:13.. 011:1? 101300 will 03101: (0.53., IT. 5300 1:1

£11010. 115:1, 031:1 Io 1'15. 0011 ifigjrips’o'bs). ‘-.'..310'i;Z::n‘ 071:0 sizzil ri'ty

 

1:210 1:301 100 0:16 12101.1? dove-3201711101113 is strong 0111115121 to constitute
an 000001 11:13:00.1; 11:10:: my 11 min 0.11 031011 question for 001-110 of the
1:15:030 mentioned. In 0.11:; 00:10 it 17011.11 be valusble t0 5.111700111311110
1111s r010tiem..-11 of E1. 1001:1011 '1'0 I100003 to 1111 1':- sonrcss in their
01113111: 01W. IIotabls beginni- 50 in this direction have 0130:1612; been
11:16.0 by £103.10: in his analysis of i1.0 His: 10 0 1161112011110 0017110101101

in Jnhrbus’n fur 1894, S. {59133, 011:1 the 01101130010 by Widxmnn of

the mate’s :11 22000 Discs 8:010 1:10.000 in 301111110021 fur 1908, S. 723.,

(i3

an“. also the 2.011: 01 1.5111113 in the previeu... "3‘202.3"c.io:2:3d 2.0;"): S. 29125“. ,

25.0: ' 3.311.103.3373 2'5 55:15:: 11.1.1 notes 0 0.303;: 00:315. are 00213172062.

 

There 01:0 mum other 11:25:30.5 2.515.011 Palestz‘ina held in {$00.53 (sateen.
For other 2.2135000 13210.11 {321050 the treasure 0:? the 1.500.153.1003. Plainsong

famished him the 15213005111.

1‘. 3330;021:151 5.312303“ 1.5L ". 13.2.5021 0021002011113 the 1332041310 r01:=.tion of the
31.005 of- 13.031.31‘12'33 to the 19105.4 1303:. 3 2201023503 23023115. be :3 Vrrelmqble

contribution 5302:1111 53310 more 00123310130 um. ’30.“ '0313 1:31:13 of the 00:3-

5" motion of the 25200505. The melodies chosen for 5 .1011 2.0113134;

first agpez's: 2232022023021 with numerous imitative voices woven aroma

13330.21. Soon the .-.'lz~.in:30:33 31:30:15.0: are (113mm 5.11.30 ”13330 intemmving

05‘ 1311.0 otllcm 27050013. 313110 1311010 f«‘:31-P1:1i:1530213 15 1:21:21 divided,
”00001303 2.30.00. 5:30 "’13 ....y 0.21:1 rhy‘clzflecflly 51:00:33.0: 3 and 0:3: .101; .-. itself

.2.: 2......- 1.... . ' .3. . '4.
to 1.3.0 ez.‘.‘.:_,_':3{j 1.0-1.3 0.3:. 15 1101. 2.331..

('5‘

011 with 0311013 adherence

to “13130 or 3,2033. foam. Smactinm 5.13 is 011‘ :3:-01y 001.0003. 0:3 0:11:21
12111111310 only to the 002‘ familiar 2.55 uh 1.5 01.05.00. Sometimes

it ‘15... "a: 3011-3 :23 an 5.2111033031303123 1.301303: to 10:30.1’133011' in voices
iztdtz‘tive 01" 1133 02.11 330323032535. The v:'1:cio:.15 3130535230.: developed
533.3321 ..:-1 03201.13: serve to @333.qu 13310 invez 1’ ive and 010153523
s‘crerg‘h of t: e 0017.33.03 'cc'. 3302-" :5255050500030331‘1313' 03:30:13 fr:

110 firsts 0513101... "he varia 310215 from .3110 hand of" 13110 zmtar

are affixirontly inc:- :Ilam‘ztible.

[P888 45563 A more far-000015113 centn:1st,hetrev0r, sepr-srntes
Pelwtrina's 13:10:13; 3503000 2610.21 those of 115.0 Hordie 0033:. 01130201105.

L055 (115 or 5315001311313 in his sources, 1053235 more often 0001: :1 his

94.

a

"1 . I o.'.-~,,w (qif-w . .- J-ts . .'I :I '- 1'- "J’V I‘V' "1
2.00010 L;-.-.-..-1 03.22.01.203. L. .010 2.22.0 2.10 0.31 ...-.2110. L00 10 (:0:-posed
.-1..~ . . . ...-t . 4. . ,-,._ .01.-,. ,, .2. . '1'. .... .1.
1.:-2.30112. $30.11;, it 2.0 021-10, ...-..:} ...-2... :2 02.2.21 1:. 01.12-00-21. in 1.2.0

1

four-pat (33.0213021- 1200:2012, b .112 011.0210 130 03.00 02.11.01.10- 212112.120

J

LA

‘30

£3

‘ O

1220 iii-1-202.220 12251012 220 1.2.11.0 021301 0:1. 0.1 :3:-11:002. 11.001.123.200021 that the
2.1.02.0 12- .0 of little 1.1.00 to 12231.0 tea-“t2, for 03:01:21.0, in ”0220 220-00

J-z. “-..-1,, n 1
0.20 “1.352 8

‘1. "H 5'! . ’- AV,
{2.1.111 as -22: 01.1.. . T's-2-0:: 00 005-010 1220.12120'0 0.22-0 0.

V

 

‘00:: 011 0:: 10211112111223. 02.1.20. .00 02:10-10:12 -0: 11.21.220.1- 22030: 212.220

'

.1112'220 his £10300 12101.10 1000 122011201 {201.2210 {2‘
2221s 20 22210.1: 1210.0 11210 0022212. 2112.312222011. 1.1210211221221690 1201002120110,

be 1.1.; for 1:31.10 1100001202’ 21. 2.1.0220 critical 001.112., espresso-‘2 their:
fee-11221.3: sharply in :11 "1.:-.111 to 0312111020010 12:22. 0011006. 11.2.2.2 to

avoid 1212.0 2.3105121211122100 found 22). 0112120211 001. 10.201.10' 11.201.12.13. 203.012
101.230, dance 112'121‘021-2710 and 12320 3.13335 1' 21...: 121.0 1311(51-GS*21:22:1012 abound
in '12.- e T101111 20 Giza-121.20.11- 1.:-1:112:1- 210 21.012 32001201222011 in 290.1 ...trina's mile.
122.0 the: 00, 0111022 1212000 221210 ":2 11'... .10 , rare 00212-0220 3.221.:-
(12.5121310311- in melod'? 0.0 ‘1 11331". n 1"o:-'.1:r::r‘1 1.221;}: 011.1113- nobility;

and 01: 0 22:13.1 of his 00321120223; iii-2.102210% {SE-€31 2.1.1.... 1" 1.0 3.05:2: religious
mood 1.1121012 110, 2102.10 2.111.222 023/0220 02.1.10 00: 12021203011200 0:1 prefiecessors,

....

151.021: 1201.1: 1.20 02.012121. 0:1 this reason 130.100 22:.1inz2’s‘ 1.":..:1'0.'2 deserve

Q

2 32021011 011‘ being (10:. 0112-12061 :20 '10. 0.2 swing "(4:10-11:22 ..: 0:2:12101L'Liness."

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3.32mi: 11.1 321.210 first 03.02110 02? 111112100 1211000112210 caused .211202111211-210210
'12:: “...-01.112.12.203. .21 1205200002021 of 1:220 2:001; 0021:2110.-ted 00021.11 :32:
of the 320122: '1113. 111120.... In the £01102.- 1'1ng vol-22:21.00 he dial not 011.212.11.11:

from 02121:. (1232320113412 02" 00.11300 2011.. ”1210 1111020111} 0:? 1.2.1.2 0022; sition

*I‘;ecit0.22.ve or 6.001001 tor" 1302:2202).

95.

conditioned the rcj‘mtrtion of the 12‘: 0.25.020. If those 12:012.. “'2 strength-
cned his r0222 fiction in, the 0:90 01" his contemporaries, his histori-
001 poo tion :20 0 0121112011 00211200012 01‘ 320.0: 32.116.32.10 significmce

in mount-«21:13 0112012011 12.22.2010 is 2322000 0000111“ “.13’ on 0002:2100 of

‘1
fl

other norm, 311032., '1 02021“; b01124; inform? 12.2. 212.007 11.21.00}. strontmre

to {2.32000 nontiorcd, 9113:2an than in 1.120 (2720.20 "012.02: 01‘ his particular

.14

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of 2.0.0: , (3.567) contain"; artistic mrks which 0.0 not c:.:‘oo<‘".:,r the
00110021201201? 11.1..“200'2 in. too cl 2:0 09 style, barb reveal {2.7.2.0
finishcfl artist stwv‘i 1.; 01023.0 in his 0 2:2. right on 0 1m: with his
best 2"100:0 00:21:02: :1012ari00. "312.2 0 t}: 0 1090:3200" {"233003 2-11, the
12102.10 $0122.02. 10 0'." all 22:09-03, 0‘.-300 its 1.203212342123103 not 0323.3? to its:

in: i .010“: b i; very 223.1011 to its 00 0.9001011 '10.: t:- 9 council of
flit-22032.0 and the 032.113.2011 refozm which 0.....0 into 120122.: at this memorable
22.210021; 1:24;. For 0 1021;; 12.11.10 the 13-330 2.32.3001]. 10 2.1-. .00 3 20:3 33032.- 1021

00 the 12013300212012}: b3? 1:100:10 of tailich the {freigt 003101510 stlostrina
1.2.021 20200021000 the 130111001122 2‘0 of pzu'tcim 111.: :i‘rom the 3.1” ‘-‘._’_:/o It
is 0 1:102:21 f0 00 1332 at 00:19 of the f::t§:or9 of ti: 0 001-0213. 3301000
fizcir voicce in 0. 0'21210.:22-.:;t harsh I2; mlcr 0::0 ..ino’o 22:0 06.70 moment

" the c:.>1:1.000r, and had voiced 902.0511011t for the complete ram;

of 00110120301001 112010 from the 0112112011. 33007110 31011 11013 0 17:0” .10

‘3

concejtion of t: 0 foot shot 120100331 .0 :20 000912.012: com-190090

21011 t1: 000 1301100310100 town rd florid 1:121 21.12.13 01‘ t3; 0 .:T:.203.[pe.ge 4511

But the Pope Efrsrcollus 1230.00 nus moody finished before 12.3.2.0

 

clovution to he 30:01 01030110 01‘ 00111121le Gavin: as 32'0120-211110 II,

and (3.16. not therefore not

r13: M5"

fiuow‘

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.4

in 3.567

1 17.2391 in

J. ‘gfi‘
U11. ff...“ $.13- :5-

96..

its t3.t._o 2.215.311 the first mfin‘oirg

"50130: 1131553100 to the

Pope 5:5:on 1515.106.- 00 short 0. 15,335, 05.16. 1.133011 25:35.02: 13:53. .oitrma sob
:31: 21 {front 25.073051. “0 33.001101: €255.33, 1'35. taver- tho 001330121
E’cdoztrim: had in the 0:11“: ition of polyzhozw 3.21 t1 0 oil‘s-.5011 0t
“0310 0011:5013. 0“ 93021:, 5:53:13 conolzflo 0.0: “1506. om}; cui‘be 50.1mm].

canola. 0:20:10 0211:5031 music.

n-n $115
U- -U

1 'v-L A:- "2".
a_“b’OIAlU&1 {.14.qu CLLL.Cil Of 23.14:

$0150.41: 3:35.115 ~51":_os for 0.5.35; undo:

1n poignfixonio moronition, 0;: one 0

its Wdiditf. 2:10 {315.5111}: til."

‘ Drift

J5 - J) ... .
4.110002? J. 31"} 11":

5
I...)
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1:15 tire been roioa’! against 1:15.00

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0:? 57535.0 firm-2+: in the 00:3:

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V’ u—b.)

3.1.021. *5 1:11; 031.01: t

..m. :01... 0031545120046: them 621.:

0 00225001: and 5:131:13
troo‘a‘zmt 5" the text.

230 011117.503: lmfisletion

elevate invontiozm 0:? the i-Eothrr:5l<~m1 (1.031003.

£5

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0:10 mundane uric.

.. , i n
5:505: or 03...“, :11; 0:? mosaics

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‘cmship. Tie (1:12:51 01‘ n ..ts

1': 0:1 t3: 0 negate-:15; 11.1 510‘53150115, 01 15.3.0 17.05350: 1:5,- .6 05:0

to the

0015.001”:ch
st: 121211115; of the 11b315527

the 313177117351 r0111:
13 scinta’tc . 011-0252111253 '=

1.11.001?) 31.1

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: 00:5: .-. 0:211... .:-

f P010315

it was 3.316.003.5530:

But the occasion 11.216 110 :-. .5.-5t: or 0015:,

of art in 03:11 6? that 1"

and (1007.10.15 022315

15,-3.0 ideal 0.15000 at

1130.121 0:13 ..:—5:541 : 5 that: $313 3.:0 our“: 5-5 ,for its:
5

15:11:31

1:0 01:1" 0213.5;
00.1. tend:
sites of

‘
:_.35

to which 110.11 for

HJ-‘n'w-fi (1'3 1 {'37, 339.1
‘J U‘o .‘k ‘ng‘ 14- b'h-v-lc” Von—l-

1350.50

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(L'- .318.ij 01:8

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o‘-
(21. u Cfl.‘

3‘s: ,

...-... and 55:33:17.) 5; other

513.1110 to 00:51:13.6

tic oounizcrrgfioint with the polyphonic "Gonmn"

”'0‘: 110110 93 §

"-413 BOCWSHITI to 131500 the music from the

I

2116 its SCEIOM'IL‘Eic
nigfizt be 6.1150051: 06. to
03.021 of 15011510113
the turnout

00306. over

110151251 155;.

97.

Palostrhm'e orbiotic develogmont reflects the 001-130 art 1118
1301:1115; in the sarcoma). canton; and it 11:13; be 9113327105061 ,, not
without 30:10 reason tint page 452 while the council 0:." Trent
had sore influence in directing; his conception of :mcic, he of
course did not need to be 10:1 to a changing of his manor of
con? 31114:. through compulsion. 1:13 0:111 genius directed 111:1 won
the rigi'r'c path, which 110 $118 013»: 11111:: 1101:0131 the 110111: thaw his
,
conic-1301151111 :3 1111 left 3:15.111. Even though the zéhles‘orine style 1
is acclaizizol the pod: oi“ Immlony in the fiftem‘tle {111:1 six-1
teon'th cm‘curicxx, one :mzt realize that it is not accltwively
Polostr'lne'c art, e116. one may observe the 7311330 Paleotrizm style
only in his later crerstiono. The £111" 31111431111121, princiPle elements
for pcri‘ection were pr sent in his o‘ayle from the 13052111411115 and
it {minimal m":'t1‘::'i‘i;:,’ in o. C‘TI‘EEXII'IE‘131V013’ {33.101913 time. He never
003711f1-T‘té‘ly nor inter:bio11.:fl.ly (meopt Per-21am for occurs 31021111 variety)

separated 111.st from the 1113321.; teclmicol 130113310 style of com'=f‘.osition.

The four eight-mowed M15303 by 11110913111121 11111011 a‘f‘zvooroc‘. in print
in 1501 in Venice doomrve a cgeciol 111—1111131011. On :2 czze 0?? than.

had been publishcfl previously (FEE). 3E0 1:91;“.51 the 13120 four—voiced
choirs st:..~ictly Movement and lots one chorus rise against the
oti‘zer in 11oz1oz1l'zoz1ic voice movement. At times he contents hum-elf
'9." "(:51 e 3311.13.11» fozw-voiccfl arrangement. Eiivon when the 0} 2.01m

eepeer together each. voice m1intoins to 111:1 03301111 once. No attempt

18 moxie to attain new effects 1513901131 voice cozizbinzmion in odd msra.

It is not very likely 111.11; lkdcstrim comciouely cepiod the Venetian

‘73.

style in t1:ese.1..1eor13, one this fact is even more otronr'ly

b2."0‘:.1{‘fllt out mitten one 1.1013. . nee that at 13*10 3.31.0 not 3.1.0.1113 01'." th
333113.33 of Veils-131.131 11.111.133.311: (1 pend, voted to: 11.0.. It 10. 1033.0 01

to 0.0::1311e 1131.011 Paleotrine 3.1110130 in this state 13311111131133 by his

012.11 volition em}. peoLEeliC't-iezte. {151.0130 eight—voice. 1.0.8003 are
like his note-be for 1315.0 (131.0111 110:3. 11-101,»- are, therefore, probably
1111110111; 370.00 es. 3ve:1 1.: th this naiver 0:? voices cam-god in. l'mfier-
5.111.312 he music it is not ' cult to percei ve hr the 1:233 of
111019.315; proportions 12:10:13“ their doubling; 0'3.‘ the 03.113.11.011; four-
part (11103211 would hardly fill the 1:.1'lde (1 11d room? 00.011 ices of

Home my more than the smaller choir. 33:10 1.116. L555 1300i ole Vicentine

‘

--mot 0: "One 2111.1. ‘0 compose 13330 0.110 $131001): mt 0021;100:1335. 03100111161 m1 31%
Cr

:r.

fi

v.0 3101.]. to st 10:13:2111c11. the (1 0033310110 chorus by means of 110001133011.
/
111g 5.1113311131011155." it about 1311.10 80.1210 tin e 111131011 the 1.1110003

61-”

o: Ike-"3.3115 1.11113 00003113311303 11" 01-0130. inrfirmmto. F0313 this time

on there 3.11.3 me e pomp 0:113. festive splendor in com-motion with.

11011313; 33:03:33. In 3:01:10 other (301111130313 3.01 to 25mm: aims,

”out in any coo e Palestr 1.110. (13.0 not Lend nmpiration for his

larger voice! 13011303 133.011 venicc.

1’Se .1200 in the Theses 0'.? 50.101313111131131 a 001.10 01' 003301111" 110' from
tee most 01.121.113.62 to the meet emplcrz. Emge 453] He wrote for m
0131:1111 litm'gicel fanationo 0.316. 3009511; (11011113: ee (10 3303.3. :10 majestic
3.1.21.5. t< 31.10111: 1:; 3.01-223 £11.13. 0'3"." 01110311011 0:11": festive joy to be 113300

at the meet imzxyoina earner-.100 0'" 1213071111 liturgy. 01‘ 11.118

9

10.11.30 category 3161 often 1100.1- 1-0 $033.. 11-13'113113 1.:-asses 33011101503. e gain

:3.

03331 052.111 3:063:31 : Iste Confeesm r(voluzt10 foul-teen)! (stern:- Cir-110331]

 

 

2.3333030 (130131.130 fom'teen), 7.3100 3313073230 (volume twelve), Louie 0303317 1

(volume thirteen), 53131.0— iicmine (vol-3:30 eleven) :5’011 Spot-3.7.33.1. Cit-1.11.2331;

‘

volume 03.: 111'. "' 00:1) , (113.37. the fi'.'-e~0..-1t '1'.

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§

3371.10 v0), 123 To “30:13: 0 ""000”: (7:01.12: .0 01:11.7" 0: 3), 33"....- (30.0310 1010333111

(Vela-1.0 33330100), 1.3.90. :01033001110 $.03; (32010330 333310333331), To. 330 Pegbrus

 

(vol-311.30 twenty-01-0) , (.3111 one 03‘? the 333.330 11:31:10 in volume "menty-fom,

F000 11p: 530011-3103 (707.317.1- t:30.3.1.ty-:’.‘013:.),. 73071373330 .‘3‘. t ifs-3'30 (volume

 

..I'orztyutuec), 0.110. 3.; 0 330130 3"'1cc"771" 33': ~50. 33.3.2025; the eight-pert

 

3.100000 one ‘30:er 0.13. 3300 rarely the: 3.0 Christ-.313 3153:3300 37:33. (volume

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0330 0:30. 110.300.23.33 (13 0330033110100 01" the 11‘03. {gm-3313 of "7‘ .330 composer.

330.133; of Pol 0033:2'31331' 0 32.71.0005, since they 37.10110 33133023001 for 110 P0: 01

113.31. 3315.73, 311.370 0 13003313.:- 3: 03.0.7333 033031031071. 33.13 one can 000 in the

16:30 .1013:le 3'.‘ 3313:3‘013'. 63.000 31:. oa'. for 337.1. 0 330.130.}. 13733-133231 0.001.010

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0 330333330010 end (33‘... tinge :01. 31.063 310333.300. of 3.137113331131311 the may 03‘
101113333, 030 00000313. 03' the 0011300 03? 00001-033300 37.13 135.011 0330 locking
in the 0131313170.; high 3.7110130 in 0.11:; 033'. ~ piece 0.3231 03.10 not even 330
be 0000 in the 330.00 03? a Bis-3:10p. During 3333.0 3532110 the Cord-30.0.10
in attendance {rive oboe-303100 or 01303030300 330 the Pope. During
3.31.0 {:0:-10th 33310:; 0:1 "7331:; 1310.006 and during. the 3.530310 D01 they

give 0.7.1.031 03331031 3:330 3:100 of Pence. The 070003100 [13050 (Idiot

1:31 :30 0012072021100 hi‘d 13310010015

the 3.300306

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hxj. 0 «L10 3. 3:10....LE1 €1ng Cl" "110 4.1....31

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5.11:: 012110 0.. 9'0 .00

1 .5.! .. . _
31112.00 00 1:73. 0.32. 10-33-29:

‘0210 $011.10: 0210 Kym-2.3.0-34 3.0 3.3170
2'00 5-013 313121.230 as 391103.213; 1.00“ _‘30

.m— «NV .1 "Vr < o" 7-1 . - ‘-
11--00 02.20 1.0.20 4.1.10 , Leno-.10 :1:

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In 32:.110001211'11‘. 1.1.1 10-020 1 1.300

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in the 1111211130? of his 23.300000 . 21(3-

211'. his 1.2.121: 312.10 not been. :1

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1:05.00, 13.313 031

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0:1021'01._00.3.3_y 1:133: £01.12?
.“-{;;23.123 1303'- 111:0. 130% .1-
2023012 2"} :0 00101312021190 "‘2"022"'2o-.. It is
0021;137:120 3.33:0 1334:2010 1:103.

2.21; 3.3110000 of

0011 all hi 0 contammtrier; 01‘2£1

I
Tarn-1
a'-s.LtJu

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013310.? 21:10:00 bring

01- W'I‘. J- 1
21.0 1.:.01'1 1.4.2.1, 130:.

‘13:; 33.7.2.0 others.

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00 ~..

(270117320 '-’ 11112t00n)

x.- ., -14-!

031000, 1:12.021 3.11.2.0 the ...... 1 voice

“1

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1..

11:; of 012.0 C L0:- :11 02111. C12 0110

1) J.
010" 3:11:11.

1'53. th

'30:; 32 ' 30:20 0"riving

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12251032 inland-.0. "0.16

0.1-, more 002 0131051010

si'bion oi the 0 01113330110. era flow
prcxloccssors

their purity of style, to the same

:39:.20..cl1ed b" 011:; of his followm's.

IOI.

BIZSLI OGRAI’. ZY:

1311: enreiter, Altnier‘ 051:1.2'16150310 :fotette.J (ch121 cd by Heinrich Bessel or)
33.153301, 132.19. (.:eoro of the Iiolmt: 23011611101311 by Josquin (I 5 P102)

 

Dreitlmpf 3; 1312.0" P51 3'. 5 ”arke, Leipzig, (vm‘-io‘-15d::"e5)
(600100 01 the 00.113101; 0 oei ltion in a volume)

1'1r.
.1:

Catholic B;g;;c3.opecx71_o, Imczrclozmodia Press, Inc., 1301': York, 1931.
(various em (:3. es)

 

00:11:05, 11:51:13, Poleetrinn., .T. . . Dent“ Ir. 3’.an Ltd" London, 1038.

 

 

Dickson, D., Palesfir'ina' 5 {,Ol'l{‘ or.“ Solomon, IIusic and Letters, Vol. 18,
page 150 ff.

rm esc .1e, AdriZUI. The
Grecm a; 00., lie1

‘0

I
V
a

7:55:11 513116;; of the TCO'IECJI liturgy, Inng‘ums,
33.705 J.‘l;’ laid).

 

3011;905:331, 131111 , The Stile or? Palestrim- and the Uhcow'w‘we, Trans-
lated from the i}:‘.311311 by Liarggznz'ct 1;". l '.1';..1I‘I"3.= .:. (02:3."01‘51 and
London, 1027

Leicl1tez1trit , Hugo. Cesehiewe den: I-Iotette, Dreitlmyf _83 Illirtel, Leipzig,
1908.

 

Li‘oer 735115.115, I'issoe 75ft Officii, (Curl Cantu Crcgorirmo oqucm ex
1.1-7.1'biono 13111011 in l‘ccczlti ris 111151039 1101:1555 tr
8010:2'41355. 2101150211 r11y’o..1ici:3 Sign 6.11.1:r m11,ero:'11..vv~‘1u*t.),

(1"(3.

Desclee ct £300., “30.131501, 1.....

1.1130? TIES-19.1213, (with Introd lotion end I brics in I-hg'lish, cditefi by
5310 IbencxlicLincs of {4011133103 )5 I "ournei, Bolgim‘z, 1938.)

 

Ilenzotti, Loo P. Pc.lev+~1~1c:'~.155.ec1l Lumtmly, Volume 14,1933,
page 523011.

 

I'Tissol "om-5'1“"; , seven 1.1 edition by the Solesrzis Benedictinax,
w 1".- L.\J.Lub ).L. 1953.

 

Ijoc< ..1erea11, Don findre, Le f-To..‘ore ”Izod PITCfOTiCL, Society of S. John

 

the _Ve‘wehoo, P1133113, ”Iom‘nu ._orae, 1‘38.
P2051313, Hold olden, 'f‘f‘e T'V‘MW' of I'15ic, ( :evised 010:1, 19S. 30)

 

G. Sel:i:*:1cm,;. 1:10., -101; 10:95, 1.37. (Chap tors VII r.=.d VIII)

Pync, $406 120:. .1‘:I.cl:,?r.1r‘le In" no, 3313 Life (11110. 5311105, Dodd Hood 6:. 00.,
New 1011:. 1138-3.

[01.

Bibliomamy, concluded:

Schen‘ing, Arnold, Cocclxichte Der E'us I; in .7301? *aielon, Dre: olzopf a;
natal, Leipzig, 1031.

 

Sclmitz, ‘ugcm, R'Llostrinu, 13:‘01t2:0pf&1211"bel, Loinzig, 1914

 

‘

30210] as, Percy! ., T‘ c Jigfmu (,ovwmfio to Ernie, Jzi‘ord Universiiz;
lTeSB. E401! 32.203? :’ 1:331:10“, lfiJ x).

 

 

Sun-01, Dom Gregory, Text Ron: 0:: (‘ ror‘oric '1 Chant, Tournai, Belgium,
10:34 4».

 

Terry, Sir Richard, 'jizc f'uric of the 170mm Zita, Burns 0:1th 8:
Wushbourno, Lozflon, 10151.

angler, Peter, :fini‘ihzjgg; in die Gr 0 :orirrnischm 1101 ocflcnl Broitkopf
a; mirtol, Leipzig, 1911.

 

“Jaguar, Peter. Cc-schiphte 5101:- I-fosse, Brcitlzopf" u. Intel, Leipzig, 1908.

I’Iooldridge, If. E. Oxforé Fistorv o3? ITumc, Volume II: filo Polmhoniig
Period, Oxford jnivor ity Fess, London, 103:3. “(Chapters II,
III 6:. IV}

 

 

IX"-

.3"

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HICHIGQN STQTE UNIV. LIBRQRIES

 

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