Missa Inclina cor meum (Philippe de Monte): Difference between revisions
(added general notes and edition notes from PDF, fixed formatting) |
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Revision as of 01:37, 31 May 2008
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Complete work
CPDL #17034:
- Editor: Paul R. Marchesano (added 2008-05-30). Score information: Letter, 43 pages, 828 kbytes Copyright: CPDL
- Edition notes: This edition is presented at the original pitch; however note values have been halved and time signatures adjusted for modern convention. The relatively brief 30-measure Agnus Dei is lacking a traditional "Part II", thus the underlay has been adjusted inserting "dona nobis pacem" at the conclusion of the movement. For liturgical use, the entire movement could be repeated replacing "Miserere nobis" with "dona nobis bacem" throughout.
Individual movements
Kyrie
Finale 2007
- Editor: Paul R. Marchesano (added 2008-05-30). Score information: Letter, 5 pages, 165 kbytes Copyright: CPDL
Gloria
Finale 2007
- Editor: Paul R. Marchesano (added 2008-05-30). Score information: Letter, 9 pages, 192 kbytes Copyright: CPDL
Credo
Finale 2007
- Editor: Paul R. Marchesano (added 2008-05-30). Score information: Letter, 17 pages, 319 kbytes Copyright: CPDL
Sanctus
Finale 2007
- Editor: Paul R. Marchesano (added 2008-05-30). Score information: Letter, 4 pages, 127 kbytes Copyright: CPDL
Benedictus
Finale 2007
- Editor: Paul R. Marchesano (added 2008-05-30). Score information: Letter, 3 pages, 98 kbytes Copyright: CPDL
Agnus Dei
Finale 2007
- Editor: Paul R. Marchesano (added 2008-05-30). Score information: Letter, 3 pages, 113 kbytes Copyright: CPDL
General Information
Title: Missa "Inclina Cor Meum"
Composer: Philippe de Monte
Number of voices: 5vv Voicing: SATTB (Crucifixus section of Credo is SSAA)
Genre: Sacred, Mass
Languages: Greek, Latin
Instruments: a cappella
Published:
Description: This Mass is a parody mass, based on the composer's own setting of Inclina cor meum for the same voicing (originally given as superius, altus, quintus, tenor, bassus). The Mass setting demonstrates de Monte's cleverness and skill in the parody style: the two principal themes of the motet are clearly defined, yet he almost immediately explores multiple ways of varying the thematic material. Of special note is the change in texture, highlighting the text at "crucifixus," and carrying through until the ebullient and dance-like entrance of "et in spiritum sanctum". Thinning the texture to a revoiced choir of SSAA for an extended 57 measures, de Monte begins this section with the sopranos in simple canon on a theme of "crucifixus etiam pro nobis" and the altos in canon on a counter theme for "sub pontio pilato" followed by imitative passages between all the voices on "passus et sepultus est" and "et resurrexit" returning to four-part, homophonic writing on "tertia die" and then repeating the canon pattern with a new theme on "et iterum venturus est" and "cum gloria judicare," homophonically cadencing on "cujus regni non erit finis". It is an exquisite mini-composition within the larger form of the Credo.
External websites:
Original text and translations
For information, refer to the Mass page. For texts and translations, see the individual pages: