Sanctus - No. 7 from Short Service

Sanctus - No. 7 from "Short Service" Sheet Music by William Byrd

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Chapelle du Roi , Alistair Dixon conductor. Chapelle du Roi, conducted by Alistair Dixon, give an inspired and historically informed performance of music composed by Tallis for use during the reformed services.

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The Cardinall's Musick , Andrew Carwood conductor. These most redolent of Tudor choral masterpieces here receive worthy performances of surpassing beauty. Track 5 on CDA [3'39] English. Track 7 on CDA [0'41] English. Track 8 on CDA [2'08] English.

Track 10 on CDA [3'16] English. Track 11 on CDA [1'59] English. Track 8 on CDA [3'13] English. Track 11 on CDA [4'37] English. Also purely instrumental compositions can be part of a mass celebration, e. In a liturgical Mass, there are other sections that may be sung, often in Gregorian chant. These sections, the "Proper" of the Mass, change with the day and season according to the Church calendar, or according to the special circumstances of the Mass. Ordinarium and proprium sections of a specific liturgical mass are not typically set to music together in the same composition.

The one major exception to this rule is the mass for the dead, or requiem.

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Following the distribution of the Sacrament, it is customary in most Lutheran churches to sing the Nunc dimittis. The earliest musical settings of the Mass are Gregorian chant. The different portions of the Ordinary came into the liturgy at different times, with the Kyrie probably being first perhaps as early as the 7th century and the Credo being last it did not become part of the Roman mass until In the early 14th century, composers began writing polyphonic versions of the sections of the Ordinary. The reason for this surge in interest is not known, but it has been suggested that there was a shortage of new music since composers were increasingly attracted to secular music, and overall interest in writing sacred music had entered a period of decline.

Two manuscripts from the 14th century, the Ivrea Codex and the Apt Codex , are the primary sources for polyphonic settings of the Ordinary. Stylistically these settings are similar to both motets and secular music of the time, with a three-voice texture dominated by the highest part. Most of this music was written or assembled at the papal court at Avignon. Several anonymous complete masses from the 14th century survive, including the Tournai Mass ; however, discrepancies in style indicate that the movements of these masses were written by several composers and later compiled by scribes into a single set.

The musical setting of the Ordinary of the Mass was the principal large-scale form of the Renaissance. The earliest complete settings date from the 14th century, with the most famous example being the Messe de Nostre Dame of Guillaume de Machaut. Individual movements of the Mass, and especially pairs of movements such as Gloria-Credo pairs, or Sanctus-Agnus pairs , were commonly composed during the 14th and early 15th centuries.

Complete Masses by a single composer were the norm by the middle of the 15th century, and the form of the Mass, with the possibilities for large-scale structure inherent in its multiple movement format, was the main focus of composers within the area of sacred music; it was not to be eclipsed until the motet and related forms became more popular in the first decades of the 16th century.

Most 15th-century Masses were based on a cantus firmus , usually from a Gregorian chant, and most commonly put in the tenor voice. The cantus firmus sometimes appeared simultaneously in other voices, using a variety of contrapuntal techniques. Later in the century, composers such as Guillaume Dufay , Johannes Ockeghem , and Jacob Obrecht , used secular tunes for cantus firmi.

This practice was accepted with little controversy until prohibited by the Council of Trent in Other techniques for organizing the cyclic Mass evolved by the beginning of the 16th century, including the paraphrase technique, in which the cantus firmus was elaborated and ornamented, and the parody technique, in which several voices of a polyphonic source, not just one, were incorporated into the texture of the Mass.

Paraphrase and parody supplanted cantus-firmus as the techniques of choice in the 16th century: Palestrina alone wrote 51 parody masses. Yet another technique used to organize the multiple movements of a Mass was canon.

Pierre de La Rue wrote four separate canonic masses based on plainchant, and one of Josquin des Prez 's mature Masses, the Missa Ad fugam , is entirely canonic and free of borrowed material. The Missa Sine nomine , literally "Mass without a name", refers to a Mass written on freely composed material. Many famous and influential masses were composed by Josquin des Prez , the single most influential composer of the middle Renaissance. By the time of Palestrina, however, most composers outside of Rome were using other forms for their primary creative outlet for expression in the realm of sacred music, principally the motet and the madrigale spirituale ; composers such as the members of the Venetian School preferred the possibilities inherent in the new forms.

Other composers, such as Orlande de Lassus , working in Munich and comfortably distant from the conservative influence of the Council of Trent, continued to write Parody Masses on secular songs. Monteverdi composed Masses in stile antico , the Missa in illo tempore was published in , one Messa a 4 da cappella in as part of Selva morale e spirituale along with single movements of the Mass in stile concertato , another Messa a 4 da cappella was published after his death, in The early Baroque era initiated stylistic changes which led to increasing disparity between masses written entirely in the traditional polyphonic manner stile antico , whose principal advancements were the use of the basso continuo and the gradual adoption of a wider harmonic vocabulary, and the mass in modern style with solo voices and instrumental obbligatos.

The Lutheran Michael Praetorius composed a mass for double choir in the old style, which he published in in the collection of church music for the mass in Latin, Missodia Sionia. Composers such as Henri Dumont — continued to compose plainsong settings, distinct from and more elaborate than the earlier Gregorian chants.

A further disparity arose between the festive missa solemnis and the missa brevis , a more compact setting.

Composers like Johann Joseph Fux in the 18th century continued to cultivate the stile antico mass, which was suitable for use on weekdays and at times when orchestral masses were not practical or appropriate, and in 19th-century Germany the Cecilian movement kept the tradition alive. The Italian style cultivated orchestral masses including soloists, chorus and obbligato instruments.

It spread to the German-speaking Catholic countries north of the Alps, using instruments for color and creating dialogues between solo voices and chorus that was to become characteristic of the 18th-century Viennese style. The so-called "Neapolitan" or "cantata" mass style also had much influence on 18th-century mass composition with its short sections set as self-contained solo arias and choruses in a variety of styles.

The 18th-century Viennese mass combines operatic elements from the cantata mass with a trend in the symphony and concerto to organize choral movements. The large scale masses of the first half of the century still have Glorias and Credos divided into many movements, unlike smaller masses for ordinary churches. Many of Mozart's masses are in missa brevis form, as are some of Haydn's early ones.

Later masses, especially of Haydn, are of symphonic structure, with long sections divided into fewer movements, organized like a symphony, with soloists used as an ensemble rather than as individuals. The distinction between concert masses and those intended for liturgical use also came into play as the 19th century progressed. After the Renaissance, the mass tended not to be the central genre for any one composer, yet some of the most famous of all musical works of the Baroque, Classical, and Romantic periods are masses.

Many of the most famous of the great masses of the Romantic era were Requiem masses. Among the masses written for the Ordinary of the Mass are:. By the end of the 19th century, composers were combining modern elements with the characteristics of Renaissance polyphony and plainchant, which continued to influence 20th-century composers, possibly fueled by the Motu proprio Tra le sollecitudini of Pope Pius X. The revival of choral celebration of Holy Communion in the Anglican Church in the late 19th century marked the beginning several liturgical settings of Mass texts in English, particularly for choir and organ.

Pius X initiated many regulations reforming the liturgical music of the Mass in the early 20th century.

He felt that some of the Masses composed by the famous post-Renaissance composers were too long and often more appropriate for a theatrical rather than a church setting. He advocated primarily Gregorian plainchant and polyphony.

FOLIO: The Short Service

He was primarily influenced by the work of the Abbey of Solesmes. Some of the rules he put forth include the following:. These regulations carry little if any weight today, especially after the changes of the Second Vatican Council. Quite recently, Pope Benedict XVI has encouraged a return to chant as the primary music of the liturgy, as this is explicitly mentioned in the documents of the Second Vatican Council , specifically Sacrosanctum Concilium In the 20th century, composers continued to write masses, in an even wider diversity of style, form and function than before.

These are more often known as 'Communion Services', and differ not only in that they are settings of English words, [1] but also, as mentioned above, in that the Gloria usually forms the last movement.

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Sometimes the Kyrie movement takes the form of sung responses to the Ten Commandments, 1 to 9 being followed by the words 'Lord have mercy upon us and incline our hearts to keep this law', and the tenth by 'Lord have mercy upon us and write all these thy laws in our hearts, we beseech thee'.

Since the texts of the 'Benedictus qui venit' and the 'Agnus Dei' do not actually feature in the liturgy of the Book of Common Prayer , these movements are often missing from some of the earlier Anglican settings. Charles Villiers Stanford composed a Benedictus and Agnus in the key of F major which was published separately to complete his service in C.

With reforms in the Anglican liturgy, the movements are now usually sung in the same order that they are in the Roman Catholic rite, leading, according to some, to the musical integrity of the settings being somewhat compromised.

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Well known Anglican settings of the Mass, which may be found in the repertoire of many English cathedrals are:. From Wikipedia, the free encyclopedia. Retrieved 20 April The Cambridge Mozart Encyclopedia. Masses , Volume 2, Preface, pp. The Music and the Man , pp. University of California Press, Archived from the original PDF on Gregorian chants of the Roman mass of the Catholic Church. Mass of the Roman Rite of the Catholic Church. Vesting prayers in the sacristy Asperges me Vidi aquam in Eastertide.

Leonine Prayers Recessional hymn.

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Order of the Divine Service in Lutheranism. Acolyte bishop cantor choir crucifer deacon elder laity lector Pastor or Priest usher.

Preces and responses Magnificat Nunc Dimittis.

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