Tournai Fair

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The Mass of Tournai is a polyphonic setting of the Mass from the France of the 14th century . It is preserved in a manuscript from the library of Tournai Cathedral .

background

Before the 15th century , most of the settings in the Mass Ordinary were grouped according to movements . For example, both the Ivrea Codex and the Apt Codex contain sentences of the Mass and these sentences are grouped so that all of the Kyries and all of the Glorias are together and so on.

The priest or cantor who selected the music for the service selected a phrase from each group to be sung, and each could be used in combination with any other. The Tournai Mass is the first known mass that was written in a manuscript as if it were a single, uniform setting of the entire ordinarium.

From the 13th and early 14th centuries, three other similarly composed masses have survived: the Toulouse Mass, the Barcelona Mass and the Sorbonne Mass (also known as the Besançon Mass). All of these masses are anonymous, and musicological research shows that they are all compilations of works by several composers .

The fair

The Tournai Mass consists of six movements, each with three parts.

  • The Kyrie is written in Franconian notation and is stylistically typical of the practice of the mid to late 13th century.
  • The Gloria has a freer rhythmic interplay than the Kyrie, which is characteristic of the development of the Ars Nova . It ends with a big amen using the Hoquet technique. It probably dates from around 1325 to 1350.
  • The Credo is in a simple contrapuntal style and must have been a popular setting, as it can be found in three other surviving manuscripts, including the Apt Codex.
  • The Sanctus is Franconian in style and notation, like the Kyrie.
  • The Agnus Dei is also Franconian.
  • The motet to the text Ite, missa est ends the mass. This motet can also be found in the Ivrea Codex.

Because of the great differences in style and notation and because no basic musical structure (such as a common cantus firmus or a parody mass) was established between the movements of the mass , it is assumed that the Tournai mass will last fifty or more years composed independently by several musicians and later put together by a scribe for performance as a whole. The first known mass that was conceived and composed as a single uniform work is the Mass de Nostre Dame by Guillaume de Machaut , who probably knew the Mass of Tournai and used it as a model. The Tournai Mass was first described by Edmond de Coussemaker in his report “Une Messe du XIIIe Siecle” (“A 13th Century Mass”) from 1869 (his name “13th century” is now considered incorrect). Anne Walters Robertson hypothesized that the mass was not used for the liturgy , but rather for an " Annunciation drama " to celebrate the Virgin Mary .

Recordings

  • Tournai Mass (13th-14th Century). Marc Honegger (dir.). Christophorus.
  • Musica Viva Munich, Vol. 4. La Messe de Tournai (arr.Hans Blümer, prepared by Pierre Boulez). rec. 1960. Col Legno, 2000.
  • Capella Antiqua Munich. Missa Tournai around 1330. Motets around 1320. Telefunken, 1967.
  • Schola Cantorum of the Church of St. Mary the Virgin: Charpentier, Mass pour le Samedy de Pasques; Delalande; Fair de Tournai; Messe de Toulouse. Musical Heritage Society, 1979.
  • Pro Cantione Antiqua. Missa Tournai. Missa Barcelona. Harmonia Mundi IC 065-99-870, 1980.
  • Ensemble Vocal Guillaume Dufay. Anonymous du XIVe Siècle: Messe de Tournai; Guillaume de Machaut: Fair de Nostre Dame. Erato STU 71303, 1981.
  • Ensemble Organum. Fair de Tournai . Harmonia Mundi 7901353, 1991.
  • Trio Mediaeval. Words of the Angel . ECM, 2001.
  • Tonus Peregrinus. The Mass of Tournai / St. Luke Passion . Naxos, 2003.
  • Clemencic Consort, Choralschola of the Vienna Hofburg Chapel. La Messe de Tournai. Las Huelgas Codex | Codex Musical de las Huelgas. Oehms, 2005,
  • Ensemble De Caelis. Missa Tournai. Ricercar, 2008.

Note edition

  • Charles Van den Borren (Ed.): Missa Tornacensis (= Corpus mensurabilis musicae. 13). American Inst. Of Musicology, Middleton, Wisc. 1957.

literature

  • Higinio Anglès: Una nueva versión del Credo de Tournai. In: Revue belge de Musicologie. 8 (1954), pp. 97-99, JSTOR 3686494 .
  • Jean Dumoulin, Michel Huglo, Philippe Mercier, Jacques Pycke (eds.): La Messe de Tournai: une messe polyphonique en l'honneur de Notre-Dame à la Cathédrale de Tournai au XIVe siècle (= Publications d'histoire de l'art et d'archéologie de l'Université Catholique de Louvain. 64. Musicologica neolovaniensia. Musica sacra. 2; Tornacum. 4). Archives du Chapitre Cathédral, Tournai 1988.
  • Irene Guletsky: The Four 14th-Century Anonymous Masses: Their Form; the Restoration of Incomplete Cycles; and the Identification of Some Authors. In: Acta Musicologica. 81 (2009), pp. 167-227, JSTOR 23075159 .
  • Richard H. Hoppin: Medieval Music. WW Norton & Co., New York 1978, ISBN 0-393-09090-6 .

Web links

Individual evidence

  1. ↑ Codex Ivrea, In: Gotische-Polyphonie
  2. ↑ Kevin N. Moll: Folio Format and Musical Organization in the Liturgical Repertoire of the Ivrea and Apt Codices . In: Early Music History . tape 23 , 2004, pp. 85–152 , JSTOR : 3874767 ( limited preview in Google Book search).
  3. ↑ Richard Taruskin : The Oxford History of Western Music . Volume I. Oxford University Press, Oxford 2005, ISBN 0-19-522270-9 , p. 316.
  4. ^ Anne Walters Robertson: Remembering the Annunciation in Medieval Polyphony . In: Speculum . tape 70 , 1995, pp. 275-304 , 295-296 , JSTOR : 2864894 . Quoted from: Andrew Kirkman: The Cultural Life of the Early Polyphonic Mass, Medieval Context to Modern Revival . Cambridge University Press, Cambridge 2010, ISBN 978-0-521-11412-7 ( limited preview in Google Book Search).