Missa pro defunctis (Antoine Brumel): Difference between revisions

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==Music files==
==Music files==
{{Legend}}
{{#Legend:}}
===Complete work===
*{{CPDLno|21644}} [[Media:Brumel_M_Pro_Defunctis.pdf|{{pdf}}]] [[Media:Brumel_M_Pro_Defunctis.mid|{{mid}}]]
{{Editor|Tim Risher|2010-05-21}}{{ScoreInfo|Letter|23|756}}{{Copy|CPDL}}
:'''Edition notes:'''


===''Introitus''===
===Individual movements===
*{{NewWork|2010-05-07}} '''CPDL #21582:''' [http://www.cpdl.org/wiki/images/f/f7/1Introitus.pdf {{pdf}}]
 
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|23|165}}{{Copy|CPDL}}
====''Introitus''====
*{{CPDLno|21582}} [[Media:1Introitus.pdf|{{pdf}}]]
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|6|165}}{{Copy|CPDL}}
:'''Edition notes:''' Note values are halved. Suggested accidentals are above notes.
:'''Edition notes:''' Note values are halved. Suggested accidentals are above notes.


===''Kyrie''===
====''Kyrie''====
*{{NewWork|2010-05-07}} '''CPDL #21583:''' [http://www.cpdl.org/wiki/images/e/e0/2Kyrie.pdf {{pdf}}]
*{{CPDLno|21583}} [[Media:2Kyrie.pdf|{{pdf}}]]
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|3|108}}{{Copy|CPDL}}
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|3|108}}{{Copy|CPDL}}
:'''Edition notes:''' Original pitch, note values are halved.
:'''Edition notes:''' Original key, note values are halved.


===''Sequentia''===
====''Sequentia''====
*{{NewWork|2010-05-07}} '''CPDL #21584:''' [http://www.cpdl.org/wiki/images/4/4c/3Sequentia.pdf {{pdf}}]
*{{CPDLno|21584}} [[Media:3Sequentia.pdf|{{pdf}}]]
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|7|218}}{{Copy|CPDL}}
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|7|218}}{{Copy|CPDL}}
:'''Edition notes:''' Note values are halved. Brumel used the same music for several verses; and I would think they are to be played in sequential order, therefore, that calls for a lot of jumping around in the score!
:'''Edition notes:''' Note values are halved. Brumel used the same music for several verses; and I would think they are to be played in sequential order, therefore, that calls for a lot of jumping around in the score!


===''Sanctus''===
====''Sanctus''====
*{{NewWork|2010-05-07}} '''CPDL #21585:''' [http://www.cpdl.org/wiki/images/4/4d/4Sanctus.pdf {{pdf}}]
*{{CPDLno|21585}} [[Media:4Sanctus.pdf|{{pdf}}]]
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|2|96}}{{Copy|CPDL}}
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|2|96}}{{Copy|CPDL}}
:'''Edition notes:''' Note values are halved.
:'''Edition notes:''' Note values are halved.


===''Agnus Dei''===
====''Agnus Dei''====
*{{NewWork|2010-05-07}} '''CPDL #21586:''' [http://www.cpdl.org/wiki/images/3/3e/5Agnus_Dei.pdf {{pdf}}]
*{{CPDLno|21586}} [[Media:5Agnus_Dei.pdf|{{pdf}}]]
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|3|92}}{{Copy|CPDL}}
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|3|92}}{{Copy|CPDL}}
:'''Edition notes:''' Note values are halved. I have written out the repeat of the first Agnus.
:'''Edition notes:''' Note values are halved. I have written out the repeat of the first Agnus.


===''Communio''===
====''Communio''====
*{{NewWork|2010-05-07}} '''CPDL #21587:''' [http://www.cpdl.org/wiki/images/2/2f/6Communio.pdf {{pdf}}]
*{{CPDLno|21587}} [[Media:6Communio.pdf|{{pdf}}]]
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|3|107}}{{Copy|CPDL}}
{{Editor|Tim Risher|2010-05-07}}{{ScoreInfo|Letter|3|107}}{{Copy|CPDL}}
:'''Edition notes:''' Note values are halved, but I changed the "cut time" time signature to "C", as the values were already quite short in this movement. I decided, however, to halve them, as I thought it would look odd in contrast to the other movements. This movement is also written at a higher pitch level than the previous movements, perhaps Brumel was employing a bit of word painting!  
:'''Edition notes:''' Note values are halved, but I changed the "cut time" time signature to "C", as the values were already quite short in this movement. I decided, however, to halve them, as I thought it would look odd in contrast to the other movements. This movement is also written at a higher pitch level than the previous movements, perhaps Brumel was employing a bit of word painting!


==General Information==
==General Information==
Line 37: Line 43:


{{Voicing|4|ATTB}}<br>
{{Voicing|4|ATTB}}<br>
{{Genre|Sacred|Masses|sort=Brumel, Antoine}}
{{Genre|Sacred|Requiems|sort=Brumel, Antoine}}
{{Language|Latin}}
{{Language|Latin}}
'''Instruments:''' {{acap}}<br>
{{Instruments|A cappella}}
'''Published:'''
{{Pub|1|}}


'''Description:''' The ''Missa pro defunctis'' first appeared in a collection of masses released by Andreas de Antiquis in 1519; It must have achieved a certain amount of fame, as it appeared again in another collection, put together by Giacomo Junta in 1522.
'''Description:''' The ''Missa pro defunctis'' first appeared in a collection of masses released by Andreas de Antiquis in 1519. It must have achieved a certain amount of fame, as it appeared again in another collection, put together by Giacomo Junta in 1522.


Brumel's ''Missa pro defunctis'' for four voices, a late work, is notable for being the first Requiem to include a polyphonic setting of the ''Dies Iræ''. Each movement is apparently based on a plainchant, but not all can be identified today. The unknown chants are in the ''Christe'', ''Sanctus'' and ''Agnus Dei''; the others can be found in the Liber Usualis.
Brumel's ''Missa pro defunctis'' for four voices, a late work, is notable for being the first Requiem to include a polyphonic setting of the ''Dies Iræ''. Each movement is apparently based on a plainchant, but not all can be identified today. The unknown chants are in the ''Christe'', ''Sanctus'' and ''Agnus Dei''; the others can be found in the Liber Usualis.
Line 48: Line 54:
'''External websites:'''
'''External websites:'''


==Text and translations==
==Original text and translations==
{{MassText|Requiem}}
{{MassText|Requiem}}


[[Category:Sheet music]]
[[Category:Sheet music]]
[[Category:Renaissance music]]
[[Category:Renaissance music]]

Revision as of 17:09, 23 June 2019

Music files

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Complete work

  • CPDL #21644:     
Editor: Tim Risher (submitted 2010-05-21).   Score information: Letter, 23 pages, 756 kB   Copyright: CPDL
Edition notes:

Individual movements

Introitus

  • CPDL #21582:   
Editor: Tim Risher (submitted 2010-05-07).   Score information: Letter, 6 pages, 165 kB   Copyright: CPDL
Edition notes: Note values are halved. Suggested accidentals are above notes.

Kyrie

  • CPDL #21583:   
Editor: Tim Risher (submitted 2010-05-07).   Score information: Letter, 3 pages, 108 kB   Copyright: CPDL
Edition notes: Original key, note values are halved.

Sequentia

  • CPDL #21584:   
Editor: Tim Risher (submitted 2010-05-07).   Score information: Letter, 7 pages, 218 kB   Copyright: CPDL
Edition notes: Note values are halved. Brumel used the same music for several verses; and I would think they are to be played in sequential order, therefore, that calls for a lot of jumping around in the score!

Sanctus

  • CPDL #21585:   
Editor: Tim Risher (submitted 2010-05-07).   Score information: Letter, 2 pages, 96 kB   Copyright: CPDL
Edition notes: Note values are halved.

Agnus Dei

  • CPDL #21586:   
Editor: Tim Risher (submitted 2010-05-07).   Score information: Letter, 3 pages, 92 kB   Copyright: CPDL
Edition notes: Note values are halved. I have written out the repeat of the first Agnus.

Communio

  • CPDL #21587:   
Editor: Tim Risher (submitted 2010-05-07).   Score information: Letter, 3 pages, 107 kB   Copyright: CPDL
Edition notes: Note values are halved, but I changed the "cut time" time signature to "C", as the values were already quite short in this movement. I decided, however, to halve them, as I thought it would look odd in contrast to the other movements. This movement is also written at a higher pitch level than the previous movements, perhaps Brumel was employing a bit of word painting!

General Information

Title: Missa Pro Defunctis
Composer: Antoine Brumel

Number of voices: 4vv   Voicing: ATTB

Genre: SacredRequiem

Language: Latin
Instruments: A cappella

First published:

Description: The Missa pro defunctis first appeared in a collection of masses released by Andreas de Antiquis in 1519. It must have achieved a certain amount of fame, as it appeared again in another collection, put together by Giacomo Junta in 1522.

Brumel's Missa pro defunctis for four voices, a late work, is notable for being the first Requiem to include a polyphonic setting of the Dies Iræ. Each movement is apparently based on a plainchant, but not all can be identified today. The unknown chants are in the Christe, Sanctus and Agnus Dei; the others can be found in the Liber Usualis.

External websites:

Original text and translations

For information, refer to the Requiem page. For texts and translations, see the individual pages:

Intr: RequiemKyrie • Tr: Absolve DomineDies irae • Off: Domine Jesu ChristeSanctus & BenedictusAgnus Dei • Comm: Lux aeterna