Late sixteenth-century expression of syntax: Lassus's and Palestrina's "readings" of the Stabat Mater
Mich Mazzocco
Music 250 Project 2
3 April 1997
Somewhere in a Franciscan monastery during the thirteenth century, a simple and moving Latin poem was written, which became a source of musical inspiration for later composers, from Josquin des Prez to Francois Poulenc. Two of the greatest composers of the later sixteenth century, Orlando de Lasso and Palestrina, both set this text to music, and by examining and comparing specific choices they made in their compositions, we can get some idea of how each chose to "read" the poem, as Jessie Ann Owens describes in her article. It is important to regard each composer's work as a product of both his time and his individual style; by integrating these aspects with close musical analysis, we can get a sense not only of how de Lasso or Palestrina interpreted this text, but of the musical gestures which they employed to convey this interpretation to an audience.
The poem itself (Appendix 1) describes the emotional power of the scene of the Virgin Mary as she stood by the crucifixion, and begs the Virgin to let the believer share her suffering so that on the day of judgment Mary will protect him/her so that he/she may enter Paradise. It is written in trochaic metre, and is divided into 10 verses, each consisting of 6 lines organised in a rhyme scheme of aab aab. The verse is subdivided into two halves, each of which has two 8-syllable lines and a third line of 7 syllables. This shorter line at the end of each half verse, combined with the bringing back of the rhyme, work to emphasize the third line of each half verse. In many of the verses this line has a corresponding rhetorical significance, either describing physical aspects of the scene, as in the first verse, lines 3 and 6, or summarizing the action of the verse and focusing the believer's plea, as in line 3 of verse VII and the corresponding line of verse VIII. The piece moves from description of the scene to a direct appeal to the Virgin to share her (and Christ's) suffering, to the desired outcome of such communion; the culmination of the poem is in the last half of the last verse, and especially in the final line, "Paradisi gloria", the ultimate hope of every faithful Catholic. Although its rhyme and metrical schemes, as well as its repetitive vocabulary, are very simple, the Stabat Mater has an undeniable power to make us feel Mary's pain as well as the pain of the pious Christian. Presumably such an evocative text set to music could have a very strong spiritual power, as well as great musical beauty, and its appeal to composers is understandable.
The work was used in Roman liturgy as both a sequence and as a hymn; of interesting historical note is the fact that the Stabat Mater was actually dropped as part of the official Roman liturgy by the Council of Trent (543-63). It was not reinstated until the time of pope Benedict XIII in 1727. Lassus's version seems to have been printed in 1585, and Palestrina's manuscript setting was the private property of the Papal Choir, probably composed for Pope Gregory XIV (1590-92). It is unclear what function these pieces may have served, or how the Counter-Reformers may have regarded them, but both the composers and those who commissioned the works must have valued the poem enough to set it to music. The work is clearly designed to connect believers with the human side of both Mary and Jesus, and this fact combined with its vivid imagery may have been seen as spiritual detractions from the divinity of both figures. But this powerful imagery has an undeniably strong effect, particularly among audiences who knew the poem in the height of its popularity. In any case, both Palestrina ( who was devoted to the Roman Church) and Lassus saw fit to base a composition on the Stabat Mater. Just as the text served as a vehicle for powerful musical ideas for both composers, I would argue that these ideas serve to make statements about each composer's view of the poem as a syntactical and rhetorical entity.
When examining Lassus's treatment of the text, I chose to look first at his expression of explicit syntactical elements in the poem. Each half verse is a distinct grammatical unit, and Lassus treats it as such, providing a cadence at the end of every sentence. However, two sentences are interrogative, and it's interesting to look at the cadences Lassus chooses for these points in the work. In verse IIIA mm. 65-9, there cadence is avoided and never is held by all four voices simultaneously (A). The next sentence is also a question and the end of the musical phrase seems to end with a strange chromatic move in the soprano part mm. 77-81 (which I'm not sure is necessarily chromatic, unfortunately, since the Hilliard ensemble chooses not to perform it as such). Another important syntactical division which works within a poetic line is the comma. In verse IIB, several commas divide the lines into units, with the words "Quae morebat, et dolebat, Et tremebat, cum videbat," reinforcing the words both by similar structure and by rhyme repetition. At the beginning of each syntactical unit, Lassus sets one voice ahead of the others, setting it apart (B). This seems to be a repetition in miniature of the way in which he begins most verses with a similar structure; this gesture seems to be an important way for Lassus to declare a new musical and rhetorical idea. This perhaps culminates in the last verse, in which the entire choir 2 comes in on its own for a measure before choir 1 joins it.
Lassus also made choices which reflect his own "reading" of the text, independently of syntactical indications. He often used voicing patterns to indicate these choices to us. The most obvious is the use of 2 choirs, which alternate in singing the verses until the tenth verse, which is sung by both choirs simultaneously, re-emphasizing its importance. In other areas, Lassus uses certain combinations of voices which seem to connote aspects of combination or co-operation in the text. In verse III 2 groups of 2 voices (first the upper, then the lower) alternate singing the first lines or line of the half verse, and then come together to finish it. These verses both are interrogative sentences and this alternation may indicate a depiction of the actual asking of the question "Quis est homo, qui non fleret/Christi Matrem si videret/In tanto supplicio?" mm. 57-69 (1). Similarly, in verse VIIB, beginning with the lower voices Lassus begins the verse "Juxta crucem tecum stare," then the upper voices sing "te libenter sociare,", and finally the two groups sing together "in planctu desidero." mm. 170-180 (2). This may reflect the poet's desire for dialogue and togetherness, his wish "to be freely joined" with the Virgin Mary. It might even be construed that the lower voices represented the poet himself, while the upper voices depicted Mary.
Another aspect of the piece in which Lassus exercises control over the musical "reading" of the text is tempo. There is one major tempo shift, in the second half of verse IX, in which the first choir moves into three for the words "Inflammatus et ascensus, Par te virgo sim defensus," and then shifts back to cut time for the last line, "In die judiici.", mm. 222-225 (3).
Lassus also uses repetition and canon as a means to stress certain, presumably important, words and phrases. The most striking example of the former is in the last line of the piece, which we have already identified as central to the text. In mm. 259-267, both choirs together (thus providing a volume increase) repeat the text in close succession with rich harmonic and rhythmic coloring (4). Canonic or imitative writing provides similar reinforcement of text by rhythmically and melodically repeating certain lines. This can be seen early in the piece for the word "animam" in mm. 15-16, where imitation is combined with a melismatic line which may well represent the breath of life itself (5).
One final and typically Lassian method for emphasizing text is word painting, which can be clearly seen at several points in the Stabat Mater. These include, mm. 42-4, a wavering melodic line on the word "tremebat" (6), weighty sinking (plus tenor repetition) of the word "dolorosa" in the opening line of the piece (7), and a similar, even clearer downward movement accompanying the word "dolentem" in mm. 77-9 (8).
Thus we can see how through emphasis of both syntactical elements inherent in the poem, and of rhetorical elements both built into the poem and of Lassus's own choosing, the composer has managed to create a spiritual itinerary for the pious listener, putting stress on certain words and feelings and leading ultimately to the climactic hope of heaven.
Giovanni Pierluigi, called Palestrina, generally had a different approach to composition than did Lassus. His work seemed to reflect the ideals of the Counter Reformation, of which he was an active proponent. His style is often described as seamless, creating a polyphonic framework within which harmony and balance reign. As Brown says (p. 285), Palestrina would "invariably take into account the proper accentuation of words, and even their meaning, but without heightening their rhetoric so emphatically that the continuous flow of polyphony is broken." Within this mode of thought one might expect that Palestrina's setting of the Stabat Mater would be more restrained and perhaps less attentive to the actual text than Lassus's. However, I find this to be untrue; it seems to me that Palestrina also took great note of the syntax and even the rhetoric of the poem, and made careful musical choices which reflect that fact. Perhaps this has something to do with the nature of the poem; it is quite long (unusual in Palestrina's work) and comprises a lot of different text to underlay. Within this extended format, however, the individual lines of the poem are quite short and blunt, which would have made it difficult to form the arching, harmonious lines which we see in other works by Palestrina. Formal constraints notwithstanding, however, the composer has created a work which is exceptionally beautiful and expressive.
In terms of musical expression of syntax, Palestrina follows many of the same patterns as Lassus. The verse pattern is illustrated well by the switching off of two choirs in a less measured way than in the Lassus, now switching after lines or sometimes half verses. I think it is significant, though, that Palestrina did not completely disassociate the verses as did Lassus: the latter composer seems in general to have focused on particular expressions rather than overall cohesion, whereas Palestrina seems always to have valued an overall sense of unity. The interrogation in verses IIIA, mm. 45-7 (A) and IIIB mm. 53-5 is less marked, although there is an interesting cadential modulation at the end of IIIB "Dolentem cum Filio?" from an A tonality to a D tonality by raising the inner voices, which makes the cadence less conclusive than it might otherwise be (B). More formal syntactical elements, however, are reflected in the music; notably the phrases divided by commas in verse IIB, mm. 29-38, are clearly brought out by the alternation of choirs for each phrase (C).
Palestrina also makes use of varied techniques for subjectively emphasizing certain parts of the text. The first is voicing; like Lassus, Palestrina sets the Stabat Mater for a double choir. He also uses different complex combinations of voices, and of soli and semi-choruses as well as the full chorus, to provide a range of tones. The combined choir is still used to add extra power to certain momentous phrases such as mm. 68-73 "Dum emisit spiritum" (1), and mm. 118-121 "Donec ego vixero" (2), to great effect. Combinations of specific voice parts are also used in the same places as Lassus and in a few other spots. In verse VIIB-VIIIA, mm. 122-141, a "high" group of voices describe the desire to "be freely joined" with the Virgin, and to weep with her at the cross (3). In the following 6 lines, mm. 142-160, we first see a similar combination is used for the lines "Passionis fac consortem/Et plagas recolere", asking to share in the Passion of Christ. Then in verse IXA lines are sung first by soprani, then by alti, and finally by the choir 2 bass with the text "Fac me plagis vulnerari,/Fac me cruce inebriari,/Et cruore Filii." (4), perhaps in a musical swell which echoes the narrator's desire to "be overcome".
Tempo changes, repetition of words, and imitation are also employed by Palestrina. In VA, mm. 74-93, solo choir moves to 3/2 time for the entire half verse. It seems possible to me that Palestrina here is reflecting the description of the Virgin as "fons amoris" and that the triple meter is used to make the music surge just as water surges from a fountain, helping both the narrator and the listener to "feel the force of grief" (5 for a sample). Later in the piece there is a big ritardando from m. 177 to the end of the piece, which helps build the soaring, timeless atmosphere of Paradise. In this particular phrase, the words "Paradisi gloria" are repeated several times and usually at each entry the word "paradisi" is reinforced by musical imitation in two or more parts (6). There is also use of canon in mm. 169-174 of verse XB between the second choir on the words "Fac me cruce custodiri" and the first choir on the words "Morte Christi praemuniri" (7).
Looking at Palestrina's treatment of individual words, we can see that although there is not as much word-painting as in the Lassus, there is still attention paid to each word. As Brown states, Palestrina generally does obey the rules of accentuation, and in the Stabat Mater we can see that generally if the division of a word involves uneven beats, the stressed syllable of the word will have the longest note, as in the word "peccatis" mm. 55-6, and "tormentis" in 59-60. Our final musical excerpt illustrates that Palestrina does engage in word-painting, although using rather less vivid colours than Lassus: in one example, mm. 17-20, the word "transivit" is giving a relatively long arching line, unusual in this piece, echoing the trajectory of the sword which pierced Jesus's body (8).
Through such close musical examination of different settings of the Stabat Mater, we can try to identify some of the musical gestures and the interpretive framework of Lassus and Palestrina during the late 16th century. We've seen that, despite their general differences of style, both tended to pick out the same spots in the text for particular attention, and both often resorted to the same or similar methods to highlight such spots. I think it is especially interesting that the composers both chose to set the text for a double choir. This common choice reflects, I think an awareness of the dialogues inherent in the poem, very personal and very spiritual communication, and communion, between 2 people. As well the overt links between the poet's voice and the Virgin, and the performer and the listener, we see the humanity and tragedy of the rapport between Mary and Jesus, and, for the Renaissance Catholic, a sense of a profound and ultimate dialogue between him or herself and the divine through prayers like the Stabat Mater.
SOURCES
Brown, Harold Mayer (1976). Music In the Renaissance. Englewood Cliffs, NJ: Prentice Hall.
Owens, Jessie Ann. "Palestrina as Reader: Motetes from the Canticum Canticorum".
Sadie, Stanley, ed. (1980). The New Grove Dictionary of Music and Musicians. Macmillan: London.
MUSICAL EXCERPTS
Lassus: MCD 1777 Track 1 (Hilliard Ensemble)
(A) IIIA, mm. 65-9: 4.02-4.16 "In tanto supplicio?"
(B) IiIB, mm. 39-47: 227:254 "Quae morebat, et dolebat,/Et tremebat, cum videbat"
(1) IIIA, mm. 57-75: 3.34-4.16 "Quis est homo, qui non fleret,/Christi matrem si videret,"
(2) VIIB, mm. 170-180: 10,46-11,18 "Juxta crucem tecum stare,/Te libenter sociare,"
(3) IXB, mm. 222-25: 13.59-14.13 "Inflammatus et accensus,/Per te virgo sim defensus,"
(4) XB, mm. 259-267: 16.07-16.46 "Paradisi gloria"
(5) IB, mm.15-6: 0.56-1.01 "animam"
(6) IIB, mm. 42-4: 2.42-2.48 "tremebat"
(7) IA,mm. 4-6: 0.13-0.23 "dolorosa"
(8) IIIB, mm. 77-9: 4.42-4.50 "dolentem"
Palestrina: MCD 96 Track 1 (Musica della Cappella Sistina)
(A) IIIA, mm. 45-7: 2.45-2.54 "In tanto supplicio?"
(B) IIIB, mm. 53-5: 3.16-3.26 "Dolentem cum Filio?"
(C) IIB, mm. 29-38: 1.42-2.06 "Quae morebat, et dolebat,?et tremebat, cum videbat,"
(1) IVB, mm. 68-73: 4.12-4.40 "Dum emisit spiritum."
(2) VIIA, mm. 118-121: 6.36-6.49 "Donec ego vixero,"
(3) VIIB-VIIIA, mm. 122-141 " Juxta crucem tecum stare,/Te libenter sociare,"
(4) VIIIB, mm. 142-160 "Fac ut portem Christi mortem,/Passionis ejus sortem,/Et plagas recolere."
(5) VA, mm. 74-93"Eja Mater, fons amoris,/Me sentire vim doloris,"
(6) XB, mm. 177-end "Quando corpus morietur,/ Fac ut animae donetur,/ Paradisi gloria, Paradisi gloria."
(7) IXB, mm. 169-174 "Christe, cum sit hinc exire,/ Da per Matrem me venire,/Ad palmam victoriae."
(8) IB, mm. 17-20 "transivit"