The Cyclic Mass: Anglo-Continental Exchange in the Fifteenth Century

163 Pages·2019·1.77 MB·English

by  James Cook

The Cyclic Mass
England in the fi fteenth century was the cradle of much that would have a
profound impact on European music for the next several hundred years.
Perhaps the greatest such development was the cyclic c antus fi rmus Mass, and
scholarly attention has therefore often been drawn to identifying potentially
English examples within the many anonymous Mass cycles that survive in
continental sources. Nonetheless, to understand English music in this period
is to understand it within a changing nexus of two-way cultural exchange with
the continent, and the genre of the Mass cycle is very much at the forefront of
this. Indeed, the question of ‘what is English’ cannot truly be answered without
also answering the question of ‘what is continental’. This book seeks, initially,
to answer both of these questions. Perhaps more importantly, it argues that a
number of the works that have induced the most scholarly debate are best seen
through the lens of intensive and long-term cultural exchange and that the
great binary divide of provenance can, in many cases, productively be broken
down. A great many of these works, though often written on the continent, can,
it seems, only be understood in relation to English practice – a practice which
has had, and will continue to have, major importance in the ongoing history of
European Art Music.
James Cook is Lecturer in Early Music at the University of Edinburgh, UK.
He works mainly on early music and is especially interested in music of the
fourteenth to sixteenth centuries. He is particularly interested in the ways
in which musical cultures in this period interact and how expatriate groups
(merchants, clergy, and nobility) imported and used music. He is also interested
in the representation of early music on stage and screen, be that the use of ‘real’
early music in multimedia productions, the imaginative re-scoring of historical
dramas, or even the popular medievalism of the fantasy genre.
ROYAL MUSICAL ASSOCIATION MONOGRAPHS
Series Editor: Simon Keefe
T his series was originally supported by funds made available to the Royal
Musical Association from the estate of Thurston Dart, former King Edward
Professor of Music at the University of London. The editorial board is the
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The ‘Ars musica’ Attributed to Magister Lambertus/Aristoteles
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Magister Jacobus de Ispania, author of the Speculum musicae
Margaret Bent
Towards a Harmonic Grammar of Grieg’s Late Piano Music
Benedict Taylor
The Genesis and Development of an English Organ Sonata
Iain Quinn
The Regulation and Reform of Music Criticism in Nineteenth-Century
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Paul Watt
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The Cyclic Mass: Anglo-Continental Exchange in the Fifteenth Century
James Cook
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The Cyclic Mass
Anglo-Continental Exchange in the
Fifteenth Century
JAMES COOK
First published 2019
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2019 James Cook
The right of James Cook to be identifi ed as author of this work has been
asserted by them in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
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registered trademarks, and are used only for identifi cation and explanation
without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Cook, James (Musicologist), author.
Title: The early mass cycle in England and Europe / James Cook.
Description: Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series:
Royal Musical Association monographs ; 33 | Includes bibliographical
references and index.
Identifi ers: LCCN 2018029796 | ISBN 9781138487741 (hardback) | ISBN
9781351042383 (ebook)
Subjects: LCSH: Mass (Music)—15th century.
Classifi cation: LCC ML3003 .C69 2019 | DDC 782.32/3209024—dc23
LC record available at https://lccn.loc.gov/2018029796
ISBN: 978-1-138-48774-1 (hbk)
ISBN: 978-1-351-04238-3 (ebk)
Typeset in Times New Roman
by Apex CoVantage, LLC
Contents
List of fi gures and examples vii
Abbreviations xi
Acknowledgements xiii
1 The Mass cycle, insularity, and cultural exchange 1
2 The rise of the Mass cycle 19
3 Style and structure in the mature English Mass cycle 41
4 Mass cycles between English and continental practice 75
5 The Du cuer je souspier Mass 103
Conclusions and new directions: the strange disappearance
of English music 129
Bibliography 133
Index of compositions 143
Index of sources 145
General index 147

Figures and examples
FIGURES
2.1 An overview of the mensural and textural groundplan of the
Fuit homo missus Mass 29
2.2 An overview of the mensural and textural groundplan of the
Dunstaple/Power/Benet S ine nomine Mass 30
2.3 An overview of the mensural and textural groundplan of
Dunstaple/Power’s Rex seculorum Mass 31
2.4 The mensural schema of Dunstaple/Power’s R ex seculorum
Mass 33
2.5 The mensural schema of the Dunstaple/Power/Benet S ine
nomine Mass 33
2.6 The Gloria, Credo, Sanctus, and Agnus of the anonymous
Salve sancta parens Mass 35
EXAMPLES
3.1a Quem malignus spiritus , Kyrie, bb. 1–6 ( FCLM , II) 64
3.1b Quem malignus spiritus , Gloria, bb. 1–5 ( FCLM , II) 64
3.1c Quem malignus spiritus , Credo, bb. 1–5 ( FCLM , II) 64
3.1d Quem malignus spiritus , Sanctus, bb. 1–5 (F CLM , II) 64
3.1e Quem malignus spiritus , Agnus, bb. 1–5 ( FCLM , II) 64
3.2a Fuit homo missus , Kyrie, bb. 1–5 ( FCLM , II) 65
3.2b Fuit homo missus , Gloria, bb. 1–5 ( FCLM , II) 65
3.2c Fuit homo missus , Credo, bb. 1–6 ( FCLM , II) 65
3.2d Fuit homo missus , Sanctus, bb. 1–4 ( FCLM , II) 65
3.2e Fuit homo missus , Agnus, bb. 1–6 ( FCLM , II) 65
3.3 Power, Salve Regina , bb. 22–6 (Monson 1975) 66
3.4 The English fi gure (Kirkman 1995, 166) 67
3.5a Le Rouge, S o ys emprentid , Kyrie, bb. 48–9 ( DTÖ , 120) 68
3.5b Le Rouge, S o ys emprentid , Agnus, bb. 14–15 ( DTÖ , 120) 68
3.6a Christus surrexit , Gloria, bb. 121–2 (Gottlieb 1958) 69
3.6b Christus surrexit , Credo, bb. 55–6 (Gottlieb 1958) 69
5.1a Du cuer je souspier , Kyrie, bb. 1–5 ( DTÖ , 120 ) 109
5.1b Du cuer je souspier , Gloria, bb. 1–6 ( DTÖ , 120 ) 109
5.1c Du cuer je souspier , Credo, bb. 1–6 ( DTÖ , 120 ) 109
5.1d Du cuer je souspier , Sanctus, bb. 1–5 ( DTÖ , 120 ) 109
5.1e Du cuer je souspier , Agnus, bb. 1–5 ( DTÖ , 120 ) 109
5.1f Du cuer je souspier , Credo, bb. 84–6 (D TÖ , 120 ) 109
5.2a Du cuer je souspier , Kyrie, bb. 1–10 ( DTÖ , 120 ) 110
5.2b Du cuer je souspier , Kyrie, bb. 11–13 (D TÖ , 120 ) 111
5.2c Du cuer je souspier , Kyrie, bb. 20–4 ( DTÖ , 120 ) 111
Figures and examples
5.2d Du cuer je souspier , Kyrie, bb. 27–32 ( DTÖ , 120 ) 111
5.3 Du cuer je souspier , Gloria, bb. 1–6 ( DTÖ , 120 ) 111
5.4a Le serviteur , Kyrie, bb. 30–1 (Wegman 1991) 112
5.4b Le serviteur , Sanctus, bb. 19–20 (Wegman 1991) 112
5.4c L’homme armé , Kyrie, bb. 57–60 (Wegman 1991) 112
5.4d L’homme armé , Credo, bb. 28–30 (Wegman 1991) 112
5.4e L’homme armé , Credo, bb. 43–6 (Wegman 1991) 112
5.4f Je suis en la mer , Credo, 32–4 (Wegman 1991) 112
5.4g Je suis en la mer , Credo, 95–8 (Wegman 1991) 113
5.5a Veterem hominem , Kyrie, bb. 1–5 (Gerber 1998) 114
5.5b Veterem hominem , Kyrie, bb. 6–10 (Gerber 1998) 114
5.5c Veterem hominem , Kyrie, bb. 74–80 (Gerber 1998) 114
5.5d Veterem hominem , Gloria, bb. 15–17 (Gerber 1998) 114
5.6a Power, Salve Regina , bb. 22–6 (Monson 1975) 115
5.6b Power, Ibo Michi , bb. 8–10 (Monson 1975) 115
5.6c Dunstaple, Gloria S piritus et alme , bb. 48–51 (Monson 1975) 115
5.6d Dunstaple/Power, Gloria R ex seculorum , bb. 120–3
(Monson 1975) 115
5.7 Du cuer je souspier , Gloria, discantus and contratenor, bb.
43–5 ( DTÖ , 120 ) 115
5.8 Du cuer je souspier , Kyrie, discantus, bb. 63–5 (D TÖ , 120 ) 115
5.9 Frye, Flos regalis , Credo, bb. 56–60 ( FCLM , III) 116
5.10a Du cuer je souspier , Gloria, discantus and contratenor,
bb. 6–8 ( DTÖ , 120 ) 116
5.10b Du cuer je souspier , Gloria, discantus and contratenor,
bb. 13–17 ( DTÖ , 120 ) 116
5.10c Du cuer je souspier , Sanctus, discantus and contratenor,
bb. 13–17 ( DTÖ , 120 ) 117
5.11a Du cuer je souspier , Kyrie, bb. 19–21 ( DTÖ , 120 ) 117
5.11b Du cuer je souspier , Kyrie, bb. 39–42 ( DTÖ , 120 ) 117
5.11c Du cuer je souspier , Credo, bb. 55–6 ( DTÖ , 120 ) 118
5.12a Du cuer je souspier , Kyrie, discantus, b. 8 ( DTÖ , 120 ) 118
5.12b Du cuer je souspier , Kyrie, contratenor, b. 107 (D TÖ , 120 ) 118
5.12c Du cuer je souspier, Gloria, contratenor, b. 12 (D TÖ , 120 ) 119
5.12d Du cuer je souspier , Gloria, discantus, b. 16 (D TÖ , 120 ) 119
5.13a Plummer, S ine nomine , Credo, bb. 39–46 ( FCLM , III) 119
5.13b Plummer, S ine nominee , Sanctus, bb. 57–60 ( FCLM , III) 120
5.14 Du Fay, Ave regina celorum Mass, Credo, discantus and
contratenor, bb. 25–38 (CMM 1, Vol. 3 ) 120
5.15a Du cuer je souspier , Kyrie, contratenor, bb. 14–15
( DTÖ , 120 ) 121
5.15b Du cuer je souspier , Gloria, discantus, bb. 34–5 (D TÖ , 120 ) 122
5.15c Du cuer je souspier , Gloria, discantus, bb. 47–8 (D TÖ , 120 ) 122
5.15d Du cuer je souspier , Gloria, discantus, bb. 58–9 (D TÖ , 120 ) 122
5.15e Du cuer je souspier , Gloria, discantus, bb. 82–3 (D TÖ , 120 ) 122
5.15f Du cuer je souspier , Credo, discantus, bb. 31–2 (D TÖ , 120 ) 122
5.15g Du cuer je souspier , Sanctus, discantus, bb. 82–3 ( DTÖ , 120 ) 123
viii
Figures and examples
5.15h Du cuer je souspier , Sanctus, contratenor, bb. 93–4
( DTÖ , 120 ) 123
5.15i Du cuer je souspier , Sanctus, discantus, bb. 96–7
( DTÖ , 120 ) 123
5.15j Du cuer je souspier , Agnus, contratenor, bb. 57–8
( DTÖ , 120 ) 123
5.16a Caput , Agnus, bb. 45–6 ( FCLM , VI) 124
5.16b Caput , Agnus, bb. 78–9 ( FCLM , VI) 124
5.16c Caput , Agnus, bb. 128–9 (edition consulted: F CLM , VI) 124
ix