Gregorian chant is named after St. Gregory I , during whose papacy — it was collected and codified. Charlemagne , king of the Franks — , imposed Gregorian chant on his kingdom, where another liturgical tradition—the Gallican chant—was in common use. During the 8th and 9th centuries, a process of assimilation took place between Gallican and Gregorian chants; and it is the chant in this evolved form that has come down to the present. The Ordinary of the mass includes those texts that remain the same for each mass.
The chant of the Kyrie ranges from neumatic patterns of one to four notes per syllable to melismatic unlimited notes per syllable styles. The Gloria appeared in the 7th century. The psalmodic recitation, i. Later Gloria chants are neumatic. The melodies of the Credo, accepted into the mass about the 11th century, resemble psalm tones. The Sanctus and Benedictus are probably from apostolic times.
Throughout his massive ouvre of music in four European languages, Lassus remained ever careful to depict every nuance of his text: not only rhythm and structure but also subtle shades of meaning and allusion. His well-known motet for five voices, Tristis est anima mea, offers a particularly rich example. First published in , the intensity of the motet's text expression gained it enough popularity to warrant re-publication in a posthumous publication by Lassus ' two sons.
In Tristis est anima mea, Lassus was responding to the intense drama inherent in his Biblical text. The text, liturgically appropriate to be sung on Maundy Thursday, reports some of Jesus' words to his disciples in the Garden of Gethsemene, prior to his Passion Matt.
Just Lassus the madrigal composer might react to the pathos inherent in a dialogue between parting lovers, he employs every musical gambit possible to embody the emotional content of this sacred dialogue in his motet.
Imitation based upon the saddest musical interval of them all, a half-step, dominates the motet's opening; harmonically, frequent suspensions and suspensions that behave in musically surprising ways characterize the progression. As Lassus brings the first musical phrase to a conclusion "unto death" , he does so on a "mournful" plagal cadence and reaches a chord missing its third and thus sounding quite empty. Jesus' words ask the disciples to wait and watch with him, and the composer reflects these verbs in upward suspensions a pun on sustinete and more active melismas vigilate.
A dramatic and rhetorical change of texture announces "You will see the crowd," and the crowd's action of "encircling" Jesus circumdabit me appears in Lassus ' serpentine melody here. Two more musical puns complete the motet: Lassus sets Jesus' words "you will flee" fugam to 11 statements of a musical fugue, one for each of the disciples except Judas. The increased melodic activity of the final phrase has been interpreted as evoking the ceremonial sprinkling of seeds of wheat mola over Jesus the sacrificial victim who goes to be "immolated.
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Le chant des abbayes. See all formats and editions Hide other formats and editions Price. Motets and other musical settings based on the responsory:. From Wikipedia, the free encyclopedia. Redirected from Tristis est Anima mea. Bach and the German Motet.*Deller Consort, Alfred Deller ADD,