Label: ASV Digital - CD GAU 1004 • Format: CD Compilation • Country: UK • Genre: Classical • Style: Classical, Baroque, Medieval, Contemporary, Religious
The techniques of the parody Mass were over one hundred years old by the time they were taught to the young Tomas Luis de Victoria. From the work of Josquin 's generation, through the early sixteenth century, composers used motets and secular music as well to unify their settings of the five movements of the Mass Ordinary.
Major sections of the Mass should begin by quoting the model's opening phrase, and similar internal motives should further weave the Mass together. But Victoria's publication of nine Masses included several which bent the parody "rules" nearly to the point of ignoring them. His Mass on the motet O quam gloriosum, though clearly unified in the sonic world of A Chance In Tme - Andy Ross His Orchestra And Chorus ,featuring Jureen DSilva, Jimmy Dawn - Pop Sin five movements, treats its model so loosely as to appear freely composed at times.
This Mass, though based on Victoria's own motet O quam gloriosum for All Souls' Daydoes not even use the motet's opening phrase, as would be expected in the parody tradition; rather, it treats the second incise of text, "in quo cum Christo" as the principal model motive which appears at the head of several but not all movements.
The powerful and joyous opening series of chords in the Funny, Funny - The Sweet - Die Großen Erfolge Einer Supergruppe may have seemed too distinctive, or too limiting to the resultant Mass movements.
Instead, Victoria composes five movements which Missa O Quam Glorifica - Benedictus (Excerpt) - Various - Codex Gaudeamus several smaller motives derived from other parts of the motet.
The most common are a pair of motives - one rising through a melodic fourth, the other descending a third Missa O Quam Glorifica - Benedictus (Excerpt) - Various - Codex Gaudeamus reascending to tonic - which together set the model's concluding text, "quocumque ierit. This memorable passage appears several times in the Mass, even bookending the entire setting by being quoted almost verbatim to close both the Kyrie and Agnus Dei, the first and last movements.
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