Loyset Compère Motets (Orlando Consort)
Loyset Compere, an accomplished yet not very well-known composer of the 15th century, has been neglected as a figure in musical history. Historians through the ages have somehow left him out of most of their writings. Therefore, as modern researchers and discoverers, we have very little resources from which to gather information about Compere. In fact, even his date and place of birth are argued upon by historians. Thus, our study is limited to what we see on the pages of his music and what we glean from the music we hear (MCD 1490, Carapetyan).
It is believed that Compere wrote some motets for the French Royal court during his years there. Among these motets was the canon Asperges me Domine, a beautiful four-part canon in 4ths. It was written sometime between 1500-1505, although the exact date is not known for sure. This was towards the end of Compere's life when his experience as a composer was at its peak (Carapetyan and Finscher 255). The canon was a popular musical form of this period; however, a canon in 4ths was not. There are many aspects of this piece that make listening to it fascinating. The following pages will explore the intrigues of Aperges me Domine including its structure and its ties between music and text.
Asperges me Domine is broken up into three sections, each section starting with a solo chant from the superius voice. After the chant, each section then continues with a canon starting in one of the four voice parts.
The first section, which we will call section I, starts with the opening chant and ends with a strong cadence on measure 18. It uses six overlapping phrases to express the first sentence of text. The first canon starts with the bassus voice, but the starting voice changes throughout the piece. However, each canon, throughout, is sung at the fourth. There are four strong cadences, m. 2, m. 5, m.10, and m. 18, each marking the end of a thought in the text. There are also many other places that exhibit a kind of pseudo-cadence where the modern ear expects to hear a resolution, and the resolution is reached; however, movement among the middle parts nullifies the effect of the cadence. For example, in m. 12, the superius and the bassus parts seem to reach a cadence point, but the tenor and alto parts continue to move catching the listeners attention away from the cadence point.
The isorhythmic motet is a compositional style that emerged from the movement Ars Nova in the fourteenth century. It is defined based on the use of a talea, a repeated rhythmic pattern, to the main melody of a motet that is the color or the melodic pattern. Philippe de Vitry and Guillaume Machaut are the two most representative composers of this music style. Both composers wrote sacred and secular music in a variety of styles. For the purpose of analysis, the pieces Cum statua/Hugo, Hugo/Magister invidie composed by Philippe de Vitry in 1320 and Felix virgo / Inviolata / Ad Te Suspiramus composed by Guillaume de Machaut in 1360 will serve as a subject of comparison and contrast to determine the characteristics of isorhythmic motet from
This section represents a tranquil interval. It is a summer evening in the country and he hears two shepherds piping. The tranquil moment of the quiet summer evening alone with the pastoral duet fills his heart with an unfamiliar calm. Suddenly she appears and her appearance causes an emotional response of sorrowful loneliness. The 4th movement: March to the Scaffold.
The two pieces chosen for this paper are particularly famous and are recognizable audibly, if not by name, by the majority of western populations. Pachelbel’s Canon in D was virtually forgotten from the 1700’s until it was rediscovered in 1919 by Gustav Beckmann. It gradually gained publicity, and burst into the popular culture after being used as the score for a movie, it is now by far the most famous canon and of the most well known pieces of baroque music.
First of all, the text is well organized in terms of its unity. The piece has seven movements. According to Fuller, "The first and last movements adopt the text of an established mid-seventeenth-century chorale by Johann Rist. The middle movements have new text by an unknown poet who occasionally quotes or paraphrases middle stanzas of the chorale." Moreover, this unknown pot himself repeates some words in the text.
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...uadruplum”, for four voices. While more voices were added, there was still a constant drone that maintained the chant melody below. These changes in organum are featured in Perotinus’s Viderunt omnes. In addition to the added voices, there are rhythmic modes in the upper voices that repeat phrases.
At one point in the study of the Romantic period of music, we come upon
The harpsichord works by Rameau are not as extensive as the ones of Couperin. A total of some sixty pages over a period of some forty years.
Bie, Oscar. A History of the Pianoforte and Pianoforte Players. trans. by E. E. Kellett
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
I can be inconclusive (leaves the audience with the sense of more) or final (gives the audience the sense of end). The cadence is where the singer or instrumentalist pauses to take a breath. The first three cadences are inconclusive while the last cadence is always final giving the sense of closure for the piece. Between cadences you could find the climax which makes a striking effect. It is the high point in a melody line.
change when you go to one stanza from another. The climax of the poem is in the fourth stanza
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