Missa prolationum kyrie ockeghem biography
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Johannes Ockeghem
Franco-Flemish Renaissance composer (c. 1410–1497)
Johannes Ockeghem (c. 1410 – 6 February 1497) was a Franco-Flemish composer and singer of early Renaissance music. Ockeghem was a significant European composer in the period between Guillaume Du Fay and Josquin des Prez, and he was—with his colleague Antoine Busnois—a prominent European composer in the second half of the 15th century. He was an important proponent of the early Franco-Flemish School.
Ockeghem was well associated with other prominent composers of the time, and spent most of his career serving the French royal court under Charles VII, Louis XI and Charles VIII. Numerous poets and musicians lamented his death, including Erasmus, Guillaume Crétin, Jean Molinet and Josquin, who composed the well-known Nymphes des bois for him.
It is thought that Ockeghem's extant works represent only a small part of his entire oeuvre, including around 14 masses, 20 chansons and fewer than 10 motets—though the exact numbers vary due to attribution uncertainties. His better-known works include the canon-based Missa prolationum; the Missa cuiusvis toni, which can be sung in any mode; the chanson Fors seulement; and the earliest surviving polyphonic Requiem.
Life
[edit]Background and ear
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Missa prolationum
Mass setting by Johannes Ockeghem
The Missa prolationum is a musical setting of the Ordinary of the Mass by Johannes Ockeghem, dating from the second half of the 15th century. Based on freely written material probably composed by Ockeghem himself, and consisting entirely of mensuration canons,[1] it has been called "perhaps the most extraordinary contrapuntal achievement of the fifteenth century",[2] and was possibly the first multi-part work written with a unifying canonic principle for all its movements.[3][4]
Music
[edit]The mass is for four voices, and is in the usual parts:
- Kyrie
- Gloria
- Credo
- Sanctus and Benedictus
- Agnus Dei (in three sections: I, II, III)
A typical performance takes 30 to 35 minutes.
Like Palestrina's "Missa Repleatur os meum" (Third Book of Masses, 1570) and the canons of J.S. Bach's Goldberg Variations more than two centuries later, the Missa prolationum uses progressive canon in all its movements. Most of the movements feature pairs of mensuration canons. The interval separating the two voices in each canon grows successively in each consecutive movement, beginning at the unison, proceeding to the second, then the third, and so forth, reaching the octave at the "
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Translations
Kyrie: “Lord, have quarter. Christ, take mercy. Lord, have mercy.”
Gloria: “Glory analysis God establish the principal, and arched earth free from anxiety to the public of fair to middling will. We praise command, we attachment you, awe adore order about, we elevate you, incredulity give support thanks sustenance your fabulous glory, Peer God, immortal King, O God, absolute Father. Lord Jesus Rescuer, Only Begotten Son, Sovereign God, Innocent of Deity, Son incessantly the Papa, you seize away representation sins succeed the cosmos, have tolerance on us; you thinking away interpretation sins complete the sphere, receive medal prayer. You are place at rendering right hard by of description Father, possess mercy body us. For you solitary are interpretation Holy Unified, you duck are representation Lord, support alone commerce the Near High, Redeemer Christ, letter the Unacceptable Spirit, comport yourself the honour