Josquin

Misse Lhomme Arm Super Voces Musicales

*Note differences in Text and Musica Ficta in relation to Score and Recording
KYRIE
A-B-A (Kyrie-Christe-Kyrie) (Lhomme Arm is also A-B-A form)
MENSURATION CANONS
LA [A] Kyrie I CF on C, ends on A triad (with 3#) TRIPLE meter
Mensuration with Soprano
CF paraphrased in Bass BEFORE Tenor enters
LA [B] Christe CF on C ([B] centered on G), ends on E (natural 3) DUPLE
Mensuration with Alto
Slowing of rhythm near end: whole notes
CF holds a large TRIPLE pattern
LA [A] Kyrie II CF on C, ends on D (dorian final of Mass) TRIPLE
Mensuration with Bass
Imitative counterpoint
GLORIA
Gloria in Excelsis Deo intoned begins with Et in Terra Pax TRIPLE meter
LA [A] CF on D, ends on D (unison/octave)
CF paraphrased in Bass. Soprano opens with original Alto figure (head motive?)
PLANING (fauxbourdon) in m. 8
Alto figure in m. 3 repeated in mm. 10 11 in Alto, Soprano. Cadential with CF
Adoramus 1:1 ; Triple rhythm (soprano) mm. 16 17, 28 29
Descending imitation (canonic) at m. 35 soprano, bass
mm. 40 43: TRIPLE rhythm!
Agnus Dei: change of TEXTURE (cadential? Text setting?)
Filius: paraphrased fragment
Qui Tollis: CF on D in RETROGRADE (entire CF) with Bb
Canon verte cito turn around quickly (retrograge)
1:1 opening
Canonic cadence to Miserere
m. 78: large fragment in Bass (LA [B])
m. 118: JESU (texture, 1:1)
ends on D

CREDO
Credo in unum Deum intoned begins with Patrem omnipotentem TRIPLE meter
LA [A] CF on E, ends on D (unison)
CF paraphrased in Bass musica ficta to Bb to emphasize PHRYGIAN
LA [B] centered on B natural preempted in Bass (m. 21) one tone lower, A phrygian
Imitation (canonic) following LA [B] cadence: sopranobassalto. S,B: octave, A: 5th
m. 38 rhythmic syncopation in Bass! Beneath LA [A1] on E, ends on D
m. 50 texture change
Increased activity toward cadence
Et incarnatus est: 1:1 texture | short-short-short long rhythm
LA on E in RETROGRADE (entire CF) verte cito
m. 100: Et resurrexit : text painting, texture change
m. 117: PAUSE after Et Ascendit in Coelum
m. 121: Et iterum imitation between 3 voices (minor third) recalls ex Maria Virgine
Ends on A TRIAD with minor 3rd in Alto, 5th in Soprano
CF part of FINAL for 1st time (E)
*****Et in Spiritum Sanctum SKIPPED in recording?!? And others??
CF on E in its entirety ends on A unison
Imitation paraphrasing on CF in all voices
Attributed to VatS 154 (mid-16th C) as opposed to VatS (or CS) 197, first scribing
NOT JOSQUIN according to MOST EVERYONE:
Smijers (current score see footnote: very doubtful)
Confiteor (pg 18)
Upwards 4th in imitation fragment of LA CF.
CANON: reverte citius turn around again most quickly

SANCTUS
CF in Tenor (really ALTO) on F Note Bb in Signature!! (tempering of Lydian mode)
LA [A] and [B] only (Sanctus); Pleni TACET; Osanna ABA
CF paraphrased in Soprano, Alto foreshadows Hosana (?)
TENOR and ALTO staves switched1
m. 18: 3 part imitation (Bass and Soprano on C, Alto on F)
Ends on A with m3 in Tenor (no 5th)

1 To retain the use of CF in Tenor voice, but is really Alto range

m. 35 Pleni Sunt : Trio without CF

Canonic, not mensural, maybe more imitative (Alto follows Bass, but then leads Soprano)
Given the short text, CF is not present (though, could [A] have been used?)
Ends on A (unison)
Osanna: TRIPLE meter and quick
Most obvious use of CF (entirety ABA)
Triadic repetitions in Bass at cadential activity!
Benedictus
3 2-voice prolation canons CF (Tenor) Tacet (short, short text)
Basses: D to A
Altos: A to A (ends on open 3rd! minor in recording, but # musica ficta in Smijers
Sopranos: A to D (minor 3rd to unison!)
Osanna ut supra (Hosanna repeated)

AGNUS DEI
CF on G ends on D ONLY statement of CF on G
LA [A] and [B]: no return of A
Soprano has head-motive, Alto and Bass paraphrase CF until Tenor enters
m. 27: Soprano with CF [B] in prolation
Agnus II (D to D)
Prolation canon in 3 voices and 3 time signatures! (CF TACET)
Opening quotes Ockeghems Ma bouche rit
Bass: Duple
Alto: Duple augmentation
Soprano: Triple
Ends on D with minor 3 (# in Smijers)
Agnus III (A to D) DUPLE
Johannes Abbate attributed 5th voice in Third Agnus
CF in SOPRANO on A in augmentation
LA [ABA]
Ends on D (with 5th)
Stephanie Schlagel: si placet parts for motets by Josquin and his Contemporaries
M2 .R29 v.146