N.B.: In order to hear the linked examples, you will need a CD ROM drive, the application "CD Link Kernel" and the CD "Missa Pastores quidnam vidistis" performed by the Tallis Scholars published by Gimell Records LTD, CDGIM 013 (Haverford CD number 244).

 

Using the Parody Mass as a Compositional Technique

After the Josquin era, there was tremendous uncertainty about the development of new approaches to music, and every composer had a different idea. Jacob Clemens non Papa (ca. 1510-56/8?), one of the greatest Renaissance composers of the Post-Josquin generation, addressed the problem of maintaining a lengthy composition without it becoming tiresome. The Catholic Ordinary, with its prolonged text, requires great skill to set coherently to music. Although the piece may not be "performed" contiguously, some unifying characteristic is required. In the past, cyclic Masses were held together by a cantus firmus common to each movement of the Mass. Other solutions included canonic devices, or the use of divided phrasing to articulate the text more clearly, allowing the text serve as the structural element. Clemens, however, chose to utilize the Parody Mass technique for all of his Masses. In this technique, he takes melodic material from a previously composed motet (often his own), and utilizes them differently throughout the Mass. In some cases the old material is very recognizable, in others it is more disguised. But, it serves as a useful skeleton onto which a more coherent and fluid form can be built.

For this paper, I will examine the motet "Pastores quidnam vidistis" and the Kyrie movement of the parody Mass that is based on it.

The Kyrie, which is divided into three distinct sections by each line of the text, uses material most closely related to the motet than any other movement in the Mass. The opening is derived directly from the opening of the motet, using the ascending fifth (or fourth in the "tonal response" voices) followed by mostly scalar material. Although not completely identical, the voicing gives a similar texture. Entrances differ slightly, however. In the motet, the first three voices enter in close succession, with the fourth somewhat behind and the bass line six and a half "measures" from the beginning. In contrast, the opening voice of the Mass sings alone for a measure and a half, after which the other voices enter in rapid succession, with the exception of the bass line again, which enters after five full measures of rest. The material after the entrance develops somewhat differently than that of the motet, although the overall texture and pervading harmonic language remains similar.

Listen to the motet's opening: Example 1.

Listen to the Mass's opening: Example 2.

The next motet-derived motivic unit used in the Mass is an ascending third followed by descending scale of four notes. This motive occurs in measure 15 of the alto part from the motet, and is used several times in the opening Kyrie. It initially appears in an isolated spot in measure 7 in the alto voice, and is later more pronounced in measures 23-24 and 26 in the tenor part. This four note figure is also developed in both the motet and in the Mass, and, although used less frequently than the descending figure in both works, is an important parallel between the two pieces.

In addition, a rhythmic motive is common the two works. In measures 25-26, the alto part introduces a dotted quarter followed by three eighth notes. Although not used literally in the Mass, it appears in inversion in the bass in combination with a variation of it in the second soprano in measures 17-18. Some might argue this last gesture is too vague to be compared, appearing frequently in many works not related to these, but since it follows on the same chronological scheme after the use of descending four note motive in both the motet and this section, I believe it to be a relevant point.

The Christe Eleison section also contains explicit references to the motet. The opening melody of this section is derived from the melodic material used in the motet's "annunciate nobis" section; the entrances, voicing, and pitches are identical in both pieces, and only the rhythms of the notes vary (measures 17-21 in the motet and 29-32 in the Mass). This makes structural sense; this new motivic material is used for the second lines of text in both pieces. Another closely related part of this section occurs in measure 46 of the Mass. This descending eight note pattern in the two highest voices clearly comes from measures 41-42 of the motet in the second and third voices. Measures 28-30 of the motet seem to serve as the main harmonic structure for measures 52-54 of the Mass. The Mass's follow-through is cadential, however, whereas the melody continues without closure in the motet. The bass and alto are identical in these analogous measures, and second soprano from the motet is the top line in the Mass. The rest of the parts are freely derived in the Mass, but the prevailing harmonies are retained.

Listen to the opening of the Mass's Christe Eleison: Example 3.

Listen to the analogous excerpt of the motet: Example 4.

In the final Kyrie, Clemens does something a bit different than he had in the preceding two sections. Previously, the main motivic material was derived from corresponding parts of each piece. That is, the first line of text of motet was analogous to the first line of text in the Mass and similarly with the second line. However, this third line of Mass text has material from the seventh line of the motet's text. The opening motive of the final Kyrie (measures 59-62) is directly derived from measures 83-86 of the motet. The development of this material goes in a different direction, but is always closely related to the opening motive.

Listen to the opening of the Mass's final Kyrie Eleison: Example 5.

Listen to the similar section of the motet: Example 6.

The most interesting aspect of this Mass movement is the conclusion. The material in this culminating phrase a very subtle rewrite of the second half of the final line of the motet's text serves as the material for the Mass. The voices do not enter simultaneously, but instead in a staggered fashion with freely derived material surrounding them. The first literal quotation occurs in the tenor part during measure 84 and continues until measure 95. This corresponds almost identically with measures 93-105 in the motet. The second soprano part of the Mass corresponds similarly with the first soprano part in the motet for a while (measures 84-89 in the Mass with 94-98 in the motet). But, after this, what was the in the first soprano in the motet jumps to the first soprano in the Mass (measures 89-96 in the Mass correspond with measures 99-105 in the motet). Meanwhile, the Mass's second soprano, having lost the melody it began, picks up the material from the motet's second soprano line at the same time the first soprano "steals" its line back (measures 89-96 of the Mass are the same as 99-105 in the motet, just like the above example). The bass line for the Mass joins in the imitative parody in measures 85-96 (corresponding almost literally with measures 95-105 in the motet). This leaves only the alto, who picks up the parody later in measure 89 and follows it almost identically until the end in 96, leaving out only a few ornamental eighth and sixteenth notes (these measures are analogous to measures 98-105 in the motet). However, while the Mass ends at measure 96, the motet concludes in a more decisive way two measures after the parody ends in measure 107. This is probably because the motet is a piece in and of itself, and not part of a larger whole, and, therefore, requires a more conclusive ending. This extremely complex and cleverly contrived parody, which is nearly literal by measure 89 of the Mass, is nonetheless subtle because of the way it eases in from the previous six measures.

Listen to the ending of the Motet: Example 7.

Listen to the ending of the Kyrie movement of the Mass: Example 8.

 

Although the Mass is closely related to the motet, it nonetheless remains a unique composition. While the material in the Mass is similar to that of the motet, and, at times is nearly identical, the scale and direction of the Mass makes its use of motet material a constructive device rather than simply a disguised repetition of the same music.

 

 

Motet Text:

 

Pastores quidnam vidistis,

annunciate nobis in terris.

Natum vidimus, et choros angelorum.

collaudantes Dominum

et dicentes:

Gloria in altissmis Deo,

et in terra pax hominubs bonae voluntatis.

 

Translation:

Shepherds, tell us,

what on earth have you seen?

We have seen the new-born Son,

and choirs of angels

praising the Lord together, and saying:

"Glory to God in the highest,

and on earth peace to men of good will."

 

Mass Text:

Kyrie, eleison.

Christe, eleison.

Kyrie, eleison.

 

Translation:

Lord, have mercy.

Christ, have mercy.

Lord, have mercy.