missa pange lingua texture

Some of these readings were copied in manuscripts produced in Josquin's lifetime or shortly thereafter; their provenance as well as their readings of the Missa Pange lingua offer a unique insight into the way Josquin's setting may have been transmitted throughout Europe in the first half of the 16th century. (-) - !N/!N/!N - 126 - MP3 - Stenov, 3. The sound-world of this setting is determined by the vocal ranges, which finally come closer to the modern practice of SATB (soprano, alto, tenor, and bass), especially if the music is transposed up a minor third, which it standardly has been in recent decades. 8 Following successful sign in, you will be returned to Oxford Academic. *#575453 - 0.06MB, 6 pp. With these basic elements, the composer weaves a web of astonishing refinement, in which every melodic and rhythmic element has its place. By choosing a model so brief and versatile, Josquin opened up a completely new world of musical referencing. - 2 10 Klenz p. 169: "Well known to students of counterpoint as an imposed cantus firmus, this sequence of notes is one of the most gnomic groupings of tones ever devised by Western music". 6 XVI-71/73, Cambrai, Bibliothque municipale, Impr. Nonetheless, apart possibly from Mater Patris, we are still referring to Josquins last mass, written when he was over 60. 6 pp. (-)- !N/!N/!N - 130 - Michrond, Trombone [8] Several passages in homophony are striking, and no more so than the setting of "et incarnatus est" in the Credo: here the text, "he became incarnate by the Holy Ghost from the Virgin Mary" is set to the complete melody from the original hymn which contains the words "Sing, O my tongue, of the mystery of the divine body. The ineffable motion of the spirit which results from our auditory experience connects us to this masterpiece across time. Its reading is in remarkable agreement with that in VatS16, but shares variant readings with JenaU 21 as well. [3] In these cases the source would not be obscured by the paraphrase; it was still easily recognizable through whatever ornamentation was applied. The middle parts still constantly overlap, but although they both have the same lowest note, there is a crucial difference of a third in their top notes. 140 is a more easily recognized cantus firmus work, a chorale cantata. - Enter your library card number to sign in. In this respect the very unsatisfying underlay of text in the Sanctus and the Agnus dei as transmitted by the 'Alamire' manuscripts may point to some earlier copying in haste. 2 *#572202 - 2.55MB - 2:47 - Agnus Dei, 2. Sanctus V. Agnus Dei, II. Bach's Cantata no. 10 *#622063 - 0.06MB, 2 pp. Its free-flowing polyphony, less rigorously canonic than that of his earlier works, is supple, expressive and extraordinarily beautiful, and contributes to a sonority that's unusually rich and luminous. Table 1: Variant readings in JenaU 21, VatS16 and MunBS 510 against BrusBR IV.922, Pre-existent material: Plainchant hymn Pange lingua gloriosi, treated as Find many great new & used options and get the best deals for CDGIM009 JOSQUIN DES PRS Missa Pange Lingua Missa La Sol Fa Re Mi CD Europ at the best online prices at eBay! The melody is sung in Latin . 6 He pioneered chanson and motet b. (-)- !N/!N/!N - 74 - Agarvin, Engraving Files (Lilypond) Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z. 6 Missa Pange lingua, here under its alternative title Missa De venerabili sacramento, in a manuscript from the 1520s ( Austrian National Library). Missa Gaudeamus represents Renaissance artistry at its most intense. Josquin Desprez - Pange lingua Mass, Gloria . When the Council of Trent prohibited the use of secular songs as sources for masses in 1562, a large corpus of music was no longer available to composers who had been ransacking it for parodies; those composers who followed the Council's dictates often returned to using monophonic hymns and plainsong, sources which suggested the paraphrase technique. The Benedictus is truly a bold conception, taking the now-customary method of conjoined duets a stage further, by having just two voices answering each other in the most fragile of conversations. 10 10 The more open sonority this gives is detectable, especially in transposition. The analysis portion of the chapter discusses Josquin's imitative technique, extensive use of ostinatos, and paraphrase of Gregorian chant. 6 Free shipping for many products! Mix - Josquin: Missa Pange lingua - Kyrie Josquin des Prez, Claudio Monteverdi, Orlande de Lassus, and more Bach: Mass in B minor - Kyrie I - Herreweghe pannonia77 377K views 4 years ago. Composers of masses in those regions developed styles independently, and in both areas tended to use variations of the cantus firmus technique. 6 There are also frequent ornamental sections which follow ending cadences. 4 Sanctus5. Society member access to a journal is achieved in one of the following ways: Many societies offer single sign-on between the society website and Oxford Academic. 4 10 Everyone agrees that it is a late work, quite possibly Josquin's last mass, and in many ways his finest. 0.0/10 Simon Lohet,[11] Michelangelo Rossi,[12] Franois Roberday,[13] Johann Caspar Ferdinand Fischer,[14] Johann Jakob Froberger,[15][16] Johann Caspar Kerll,[17] Johann Sebastian Bach,[18] and Johann Fux wrote fugues on it, and the latter's extensive elaborations in the Gradus ad Parnassum[19] made it known to every aspiring composeramong them Wolfgang Amadeus Mozart, who used its first four notes as the fugal subject for the last movement of his Symphony No. Stylistically, the Missa Pange Lingua is the summit of Josquin's work in the genre. This became the fundamental modus operandi for serious composers of the 16th century. XML score data: Kyrie, Gloria, Credo, Sanctus, Agnus dei. *#218223 - 0.32MB,? (-)- !N/!N/!N - 1289 - Anastassia Rakitianskaia, PDF typeset by editor (-)- !N/!N/!N - 5019 - Reccmo, Engraving files (MusiXTeX) 6 Free shipping for many products! *#572203 - 3.79MB - 4:08 - Performance practices include numbers, types, and placements of singers; meter, tactus, and tempo; text underlay; and musica ficta and music recta. 6 6 Read Ivan Moody's portrait of the ensemble and their journey with Josquin. Dure : 4968 secondesNombre de pistes : 14Piste 1 : Salve Regina a5Piste 2 : Pange, lingua, glorisiPiste 3 : Missa Pange lingua : KyriePiste 4 : Ave Maria, Virgo SerenaPiste 5 : Missa Pange lingua : GloriaPiste 6 : Inviolata, integra, et casta esPiste 7 : Missa Pange lingua : CredoPiste 8 : Vivrai je tousjoursPiste 9 : El grilloPiste 10 : Missa Pange lingua : Sanctus - BenedictusPiste 11 . 6 2 From about 1516 onwards the 'Alamire' scriptorium in Mechelen started the copying of several isolated fascicles, which around 1520 were assembled into a choirbook, today MS BrusBR IV.922. - (-)- !N/!N/!N - 134 - Michrond, Bass trombone Advertising space is available as well. *#575456 - 0.07MB, 6 pp. 2 2 2 Josquin des Prez's masses are works of towering genius, notable for the purity and expressiveness of their musical language. An almost identical reading of the mass in the choirbook Jena, Thringer Universitts- und Landesbibliothek, MS 21, copied in the same scriptorium between 1521 and 1525, makes it highly probably that the readings in BrusBR IV.922 and JenaU 21 may have been copied from twins, originating from the same exemplar, but each with additional annotations which may have slightly differed from each other. Title: Missa Pange Lingua Composer: Josquin des Prez Number of voices: 4vv Voicing: SATB Genre: Sacred , Mass Languages: Greek, Latin Instruments: A cappella Manuscript 1523 in D-Ju MS 21, no. 3/18), and the incorporation of melodic lines that clearly demand for a b-flat fa super la, invite more careful exploration of the setting, in order to locate these isolated escapes from the Phrygian hemisphere. The work is tightly organized, with almost all of the melodic material drawn from the source hymn, and from a few subsidiary motifs which appear near the beginning of the mass. Description: For information, refer to the Mass page. For example, Josquin inserts echoes consisting of small intervals, using vocal imitation manifested through the plangent half-step. 10 2 This page was last edited on 11 February 2023, at 00:44. Anastassia Rakitianskaia (2019/6/3), 4 more: II. The Missa Pange lingua is regarded as one of Josquin's last works due to its omission from Ottaviano Petrucci's three Josquin mass volumes, particularly the final one published in 1514. In those Ordinary movements with little text, the structure of melodic phrases in general leaves no doubt where repetition of text has been intended, particularly in the long-winded duos in the Sanctus. For terms and use, please refer to our Terms and Conditions - Derived from a hymn called pange lingua. Since the style of the composition points to a rather late work by Josquin, singing of the mass may have been restricted for a period to the church of Cond. Sanctus / 5. Missa Mater Patris exemplifies Josquins late-in-life, daring simplicity: gone is the dense polyphonic argumentinstead we hear light, open textures delivered with a good deal of wit, even playfulness. Download and print in PDF or MIDI free sheet music for Missa Pange Lingua by Josquin des Prez arranged by saintandr for Tenor, Bass voice, Baritone, Voice (other) (Men's Choir) Browse Learn. Apart from several copying errors, its reading offers both resolved and newly added ligatures and quite a host of rhythmic substitutions, which for the most part have little impact on the placement of text. *#218222 - 0.02MB, 2 pp. [5] Most of his masses based on hymns are paraphrase masses. Pange lingua is more like Malheur me bat than Sine nomine, with the modelhere monophonicsubsumed into the prevailing texture with all the sophistication shown in Malheur me bat, and arguably quite a bit more. Towards cadences between two or more voices in imitation, the leading voice may approach the close of its line with a short improvisation on a foregoing melodic element, or by a subtle embellishment that not infrequently functions as exclamation sign. 6 (-)- !N/!N/!N - 163 - Michrond, Trumpet 2 Several movements, such as the Kyrie and Agnus Dei III which frame the cycle, derive their entire cadential and formal structure from the phrases of the hymn. "Pange lingua gloriosi corporis mysterium" (Ecclesiastical Latin: [pande liwa loriosi korporis misteri.um]) is a Medieval Latin hymn attributed to Saint Thomas Aquinas (1225-1274) for the Feast of Corpus Christi. 10 *#218221 - 0.03MB, 2 pp. 0.0/10 10 [1] It was not available to Ottaviano Petrucci for his 1514 collection of Josquin's masses, the third and last of the set; additionally, the mass contains references to other late works such as the Missa de Beata Virgine and the Missa Sine nomine. Josquin's Missa Pange lingua is composed on material derived from the melody to which, from the 13th century onwards, Thomas of Aquinas's adaptation of a hymn by Venantius Fortunatus may have been most frequently sung. Like Josquin, he began with the cantus firmus technique, and continued to use it for most of his life; but he began to elaborate the source material, eventually integrating it into multiple voices of a polyphonic texture where all the voices had equal weight. Josquin's Missa Pange Lingua incorporates this compositional technique. (-)- !N/!N/!N - 164 - Michrond, ZIP typeset by arranger The reading of the mass transmitted in the choirbook Munich, Bayerische Staatsbibliothek, Musiksammlung, Musica MS 510, possibly copied in Augsburg or Munich around 1513-1519, seems to confirm this picture. Select your institution from the list provided, which will take you to your institution's website to sign in. Features triple meter and imitative polyphony. 8 0.0/10 The madrigal, An Approach to both in its performance with solo _ . made copies of the setting, and distributed those copies among colleagues? 8 Genre: Sacred,Mass, Languages: Greek, Latin Switch back to classic skin, Creative Commons Attribution-NonCommercial-NoDerivs 4.0, Creative Commons Attribution Non-commercial Share Alike 3.0, Creative Commons Attribution-NonCommercial 4.0, http://imslp.org/index.php?title=Missa_Pange_lingua,_NJE_4.3_(Josquin_Desprez)&oldid=3443377, Pages with commercial recordings (BnF collection), Creative Commons Attribution-ShareAlike 4.0 License. Michrond (2012/5/12), Content is available under the Creative Commons Attribution-ShareAlike 4.0 License Take a look at this works in the Online Art Guide. Since 1981, the group has made more than 40 critically acclaimed recordings on its own record label, Gimell; its 1987 recording of Josquin's Missa Pange Lingua and Missa La Sol Fa Re Mi won Gramophone's coveted Record of the Year. 2 This album won the Gramophone magazine Record of the Year Award in 1987, the first time an independent label received this prestigious award. Musical paraphrase, in general, had been used for a long time before it was first applied to the music of the Ordinary of the Mass. 8 10 Oxford University Press is a department of the University of Oxford. 10 By the 1470s or 1480s, the first masses appear that use paraphrase in more than one voice: two examples survive by Johannes Martini, the Missa domenicalis and the Missa ferialis. Moreover, its reading of the mass includes far more copying errors than the other copies of the mass from the scriptorium. 4 Everyone agrees that it is a late work, quite possibly Josquins last mass, and in many ways his finest. This difference really does help to define this piecein all the other masses, even the late ones, these parts peak on the same note or within a note of each other. 10 Its free-flowing polyphony, less rigorously canonic than that of his earlier works, is supple, expressive. (-)- !N/!N/!N - 124 - Agarvin, Complete Parts (transposed down a 5th) 0.0/10 Agnus Dei I and III from Missa Pange lingua Josquin Dum vastos Adriae fluctus Jacquet de Mantua (1483-1559) Friday, February 26, 2021 at 8pm . The Missa Pange lingua is considered to be Josquin's last mass. "1 Equally distant from Josquin's original intentions is the reading of the Mass in the mid-16th-century MS Milan, Bibl. In addition, Josquin pioneered the techniques of word-painting that played an important role in the music of the late Renaissance. - 2 4 2 *#572205 - 7.09MB - 7:45 - 8 This mass is based on the hymn Pange Lingua Gloriosi Corporis Mysterium by Thomas Aquinas (ca.1225-1274). *#572204 - 6.51MB - 7:06 - melody, placed ostentatiously in long notes at the top of the texture. Most likely his last mass, it is an extended fantasia on the Pange Lingua hymn, and is one of Josquin's most famous mass settings. This slow abandonment of the chant as a starting point for the middle movements is also unique. This national publication, issued monthly, contains articles and columns of a scholarly and practical nature in addition to reviews of newly released CD recordings, books, and printed music. editing, a complete list of the manuscripts' contrasting readings has been included in Composing For The Pope: A Church Music Primer. 4 2 (-)- !N/!N/!N - 476 - Michrond, PDF typeset by arranger Shibboleth / Open Athens technology is used to provide single sign-on between your institutions website and Oxford Academic. It was common in the early and middle 15th century for a work such as a motet to use an embellished plainchant melody as its source, with the melody usually in the topmost voice. If you believe you should have access to that content, please contact your librarian. The Kyrie of Mass in G Major begins with a lovely, meditative fugue - a real "throw-back" movement, drawing on the contrapuntal tradition of the . The 1539 publisher even added the hymn's text under the notes at this point. Access to content on Oxford Academic is often provided through institutional subscriptions and purchases. 10 Josquin wrote two entirely canonic massesAd fugam, the earlier one, may be his most rigid and mathematically dense composition. Josquin's moments of greatest compositional reserve, such as the stillness of "Et incarnatus est," or the bare canonic structure which opens the Benedictus, do not represent emotional withdrawal, but rather a greater serenity, on the one hand, and a feeling of expectancy, on the other. A personal account can be used to get email alerts, save searches, purchase content, and activate subscriptions. Yet one of these twins must have included a rather peculiar anomaly: in BrusBR IV.922 Josquin's rather long and sophisticated two-voice settings of the 'Pleni sunt' and 'Benedictus' are replaced by shorter settings, taken over from the Missa Es hat ein sinn by Mathieu Gascongne. For texts and translations, see the individual pages: https://www.cpdl.org/wiki/index.php?title=Missa_Pange_lingua_(Josquin_des_Prez)&oldid=1686352, Pages using DynamicPageList parser function, Free choir training aids for this work are available at. Paraphrase masses were written relatively infrequently in England and Germany, especially after the Protestant Reformation. [1], Dufay was probably one of the first to use paraphrase technique in the mass. The third Agnus Dei is one of those crowning glory movements, summing up what has gone before, though this time Josquin did his summing without canon. Rhythm. 8 View the institutional accounts that are providing access. To be precise the first nine bars of the first Kyrie are based on the first phrase of the hymn. 0.0/10 (-)- !N/!N/!N - 1763 - Reccmo, Engraving files (MusiXTeX) 0.0/10 In other Hosannas (Ave maris stella, Malheur me bat) he swopped between them quickly, or even had them both going at the same time; but here the sections are substantial and demarked. 1986 American Choral Directors Association (-)- !N/!N/!N - 214 - Anastassia Rakitianskaia, IV. Benedictus - [05:04] . 10 0.0/10 10 Their readings also include additional editorial reworkings. (-)- !N/!N/!N - 57 - Agarvin, ZIP typeset by editor 10 Like most musical settings of the mass Ordinary, it is in five parts: Most of the movements begin with literal quotations from the Pange lingua hymn, but the entire tune does not appear until near the end, in the last section of the Agnus Dei, when the superius (the highest voice) sings it in its entirety, in long notes, as though Josquin were switching back to the cantus-firmus style of the middle 15th century. *#203160 - 0.01MB,? True to its name, Missa La sol fa re mi is based entirely on the notes represented by these five solmization syllables on the medieval scale. An innovator of the first order, he was the principal architect of the "point of imitation" style, in which a motif introduced in one voice is imitated in another, then another, enabling the polyphonic texture to grow from a pair of voices to four, five or six before a cadence is reached and the process begins again with a new round of entries. The achievements of Flemish artists like Hans Memling would influence the development of Renaissance painting for generations to come. The most famous example from the early 16th century, and one of the most famous paraphrase masses ever composed, was the Missa pange lingua by Josquin des Prez, which is an extended fantasia on the Pange Lingua hymn for Corpus Christi by Thomas Aquinas. Choose this option to get remote access when outside your institution. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide, This PDF is available to Subscribers Only. The Gramophone magazine Record of the Year in 1987, the first time an independent label won this prestigious award. The effect is curiously cathartic, as though the listener, having been "teased" throughout, is finally allowed to enjoy the Although slightly edited, the setting's reading in the anonymous print of 1559, Missa super Pange Lingua, may also be a late descendent from an early copy. A prominent biographer confidently calls this the "last Mass composed by Desprez," but no contemporary data can reliably date it. *#218224 - 0.02MB - 2:38 - 100%. Jeremy Noble: "Josquin des Prez", 12, Grove Music Online, ed. Missa Choralis (S.10) [00:31:58] 01. "Missa Pange Lingua" is a choral piece composed by Josquin des Prez, a prominent composer of the Renaissance period. of St. Victor of Paris, 13th century, with additions dated 1567). *#575452 - 0.05MB, 4 pp. However, the introduction of a b-flat before the third note of the 'Pange lingua' motive at the start of the Credo (Bassus/Contra, mm. basis of melodic lines and points of imitation, Cambrai, Bibliothque municipale, Impr. 10 Michrond (2012/5/12), Complete Score Here you will find options to view and activate subscriptions, manage institutional settings and access options, access usage statistics, and more. lacks Agnus Dei II; jumps from Agnus Dei I to Agnus Dei III. Jan van Eyck, The Ghent Altar (1432, detail) artinflanders.be (photo: Hugo Maertens, Dominique Provost). Gloria With their recording of Missa Pange lingua in 1986, Peter Phillips and The Tallis Scholars began one of the most ambitious projects in recording history. 4 Performance practices include numbers, types, and placements of singers; meter, tactus, and tempo; text underlay; and musica ficta and music recta. 14452, f. 243r-v (Gradual 0.0/10 10 Can a Renaissance mass be composed by the throw of dice? 10 One of the earliest readings of the complete mass seems to be preserved in the Vatican choirbook MS Cappella Sistina 16, copied in Rome around 1515-1516 by Claudius Gellandi for use by/in the Cappella Sistina. Apart from a few mistakes and some alternative cadential formulas, it delivers a reading of the Mass which, in principle, is quite in agreement with its reading in VatS16. *#203159 - 0.09MB, 7 pp. - Notes 4 Was it perhaps one of the singers in Cond who (secretly?) the New Josquin Edition Critical Commentary: Masses based on Gregorian chants The institutional subscription may not cover the content that you are trying to access. 2 Robin Leaver writes that these four Lutheran Masses all use a "symmetrical, five-movement Gloria in which a central movement (in BWV 236 a duet) is framed by two arias and two choruses.". The fact that it suddenly appears in seven sources throughout Europe around 1515, all originating a long way from where Josquin was, might suggest a considerably earlier date of composition. 8 6 The simple summary is this: Josquin des Prez's final mass, the Missa Pange lingua, feels like a culmination, and a conscious one at that.Written around 1515 and published after the composer's death in 1521, the mass dates from Josquin's residency at Cond-sur-l'Escaut, a commune in northern France where he spent the final 17 years of his life as a church provost. The composition is a setting of the ordinary of the Mass, which includes the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. 6 (-)- C*/V*/V* - 14202 - ctesibius, PDF scanned by ctesibius This is the kind of simplicity that can inspire a composer who has tried it all. However, given that by this time Josquin was living back in Cond-sur-lEscaut, a long way from Fossombrone (where Petrucci was), it is quite possible that he wrote the mass earlier than 1514, which Petrucci didnt know. 4 Building on the simplest four-note motif imaginable, Josquin creates some of his most densely argued and thrilling polyphony in the Missa Faysant regretza world of protean, swirling references and repetitions. (-)- !N/!N/!N - 216 - Anastassia Rakitianskaia, III. As such, the Missa Pange lingua is considered to be one of the finest examples of a paraphrase mass.[6]. 0.0/10 8 - This isolated Roman transmission of the mass suggests that only in the second decade of the 16th century did a copy of Josquin's mass become known in circles directly related to the Vatican. The way in which he took a plainchant hymn (written by Thomas Aquinas for the feast of Corpus Christi) and divided its six short phrases so straightforwardly among all four voice-parts had profound repercussions for later Renaissance music throughout Europe. 8 Of his 18 reliably attributed masses, the Missa Pange lingua deserves its high popularity, both for the beauty of individual moments, as well as for the elegance of its formal design. In any case, one of these early copies may have traveled to Rome, where it seems to have been treasured immediately. This source-based study reveals how Lutherans selected the Missa Pange lingua for performance over other available masses and adapted it for their liturgical and pedagogical needs. Title: Missa Pange Lingua ctesibius (2009/12/4), Kyrie (-) - !N/!N/!N - 221 - MID - Reccmo, Gloria In these sections it is fascinating to rediscover the composer's step-wise presentation of text. - Subscriptions are available to libraries. This page was last edited on 11 December 2022, at 02:45. A CATHOLIC MASS FOR A MEDIEVAL CULT. 0.0/10 Click the account icon in the top right to: Oxford Academic is home to a wide variety of products. Do not use an Oxford Academic personal account. It is distinguished from the other types of mass composition, including cyclic mass, parody, canon, soggetto cavato, free composition, and mixtures of these techniques. [3], The hymn on which the mass is based is the famous Pange Lingua Gloriosi, by Thomas Aquinas, which is used for the Vespers of Corpus Christi, and which is also sung during the veneration of the Blessed Sacrament. Missa Di dadi shows Josquins passion for mathematical shenanigansand for gambling. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Typically, access is provided across an institutional network to a range of IP addresses. Josquin's fame during his lifetime was such that many works were attributed to him that weren't his, making posterity's effort to assess his stature somewhat more difficult. This mass was probably composed near the end of Josquin's life, around 1520. It is also sung on Maundy Thursday during the procession from the church to the place where the Blessed Sacrament is kept until Good Friday. The Hosanna is also extraordinary, with its deliberate change from duple to triple time. With the Missa Pange lingua we finally come to a setting which has united rather than divided its commentators. J. Peter Burkholder: "Borrowing"; Honey Meconi, "Pierre de La Rue"; Grove Music Online, ed. Although including a number of editorial reworkings, the reading in Toledo, Biblioteca Capitular, MS B.16, copied 1542 in Toledo, may be a later descendent of the Roman tradition as transmitted in VatS16. Within the setting's variety of combinations of these elements - by way of an extremely balanced counterpoint - not a single note merely functions as a filler. 0.0/10 4 Album Rating: 5.0This is a hard piece to write about because in a lot of ways it feels like the apex of his abilities without doing any one thing especially incredibly, but I gave it the ol' college try anyhow. 0.0/10 Some societies use Oxford Academic personal accounts to provide access to their members. 6 Josquin Desprez has enjoyed the highest esteem both of his contemporaries (Martin Luther called him the "Master of the Notes"), and of music historians since his day. Josquin's Missa Pange lingua is composed on material derived from the melody to which, from the 13th century onwards, Thomas of Aquinas's adaptation of a hymn by Venantius Fortunatus may have been most frequently sung. 6 Josquin Desprez - Pange lingua Mass, Kyrie (Mass) a. 8 Josquin - Missa Pange lingua & Missa La sol fa re mi. 0.0/10 2 10 8 2 On the contrary, the various transmissions in these Alamire manuscripts suggest that, prior to their copying, performances of the setting outside the direct control of the composer had made clear that its various two-voice sections either were too demanding for the average singer, or that these sections did not suit his taste; hence the alternative sections in BrusBR IV.922. Gloria 3. [2] Famous copyist Pierre Alamire included it at the beginning of one of his two compilations of masses by Josquin. Included also is an overview of Josquins Masses, with focus on his final Massthe Missa Pange lingua, composed sometime after 1515 but not published until 1539, after Josquins death.

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