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34-539: The number of sources for this work is relatively high: two printed editions, four reprints and seven manuscripts. The [Missa] super Gaudeamus mass was first published in Misse Josquin ("Liber Primus Missarum Josquin ") (Venice, 1502) by Ottaviano Petrucci together with the masses L'homme arme. Super voces musicales , La.sol.fa.re.mi , Fortuna desperata , L'homme arme. Sexti toni , and reprinted in Rome in 1526. Among

68-470: A characteristic technique of the Burgundian School , use a paraphrased version of a plainchant tune in the highest voice. In these cases the source would not be obscured by the paraphrase; it was still easily recognizable through whatever ornamentation was applied. Dufay was probably one of the first to use paraphrase technique in the mass. His Missa Ave regina celorum (written between 1463 and 1474)

102-663: A fifth, is quoted rather unchanged in the cantus firmus at the tenor up to "Mariae Virginis" in the Kyrie , completely in the Gloria and the Credo . However, borrowings from this melodic material appear in all voices, most notably the Gaudeamus intonation appears in many variations (Planchart classifies 10 different variations,) in all voices, involved in ostinato passages (e.g. Kyrie I , Et in terra , Sanctus , Osanna , Agnus III ); other fragments of

136-618: A long time before it was first applied to the music of the Ordinary of the Mass. 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. John Dunstable 's Gloria is an example of this procedure, as are the two settings by Guillaume Dufay of the Marian Antiphon Alma redemptoris mater. Many compositions in fauxbourdon ,

170-487: A printer. Fossombrone being within the papal states, Petrucci applied for a patent with the Pope for the exclusive right to print music, which was granted for several years; however the Pope rescinded the patent when Petrucci failed to produce keyboard music, granting it instead to one of Petrucci's competitors at Rome. In 1516 papal troops ransacked Fossombrone, and Petrucci printed nothing for three years: most likely his equipment

204-486: Is commonly misidentified as the first book of sheet music printed from movable type . Actually that distinction belongs to the Roman printer Ulrich Han's Missale Romanum of 1476. Nevertheless, Petrucci's later work was extraordinary for the complexity of his white mensural notation and the smallness of his font, and he did in fact print the first book of polyphony using movable type . He also published numerous works by

238-454: Is similar to a cantus firmus mass in that the tune is in the tenor; however, it is paraphrased by elaboration (and he also includes bits of his own motet on that antiphon, foreshadowing the parody technique). 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 . By

272-585: The Harmonice musices odhecaton A (sometimes referred to as "the Odhecaton"), which is the earliest known example of printed polyphonic music. In the following years he continued to refine his technique, producing new editions and reprints every few months until 1509, when his activity was interrupted by the war of the League of Cambrai against Venice ; he departed the city for Fossombrone, where he resumed his activities as

306-541: The Phrygian mode in the Credo . Missa Gaudeamus : Scores at the International Music Score Library Project (features also a recording of the mass by Collegium Musicum, University of Kansas) Ottaviano Petrucci Ottaviano Petrucci ( Fossombrone , 18 June 1466 – Venice , 7 May 1539) was an Italian printer. His Harmonice Musices Odhecaton , a collection of chansons printed in 1501,

340-412: The staves , once for the music, and once for the words. Petrucci was highly successful at this enterprise; his publications are quite exact and beautifully executed. However, other printers using this method sometimes offset their prints slightly, which could result in notes being printed too high or too low on the staff – and thus jarringly incorrect for performers. Petrucci's method was soon superseded by

374-487: The 1480s. Because of its style the work is probably the earliest among the other masses based on a gregorian plainsong that Josquin started composing by the middle of his compositional career (the others being Ave maris stella , De Beata Virgine , Da pacem and Pange lingua ). By comparing four different versions of the Gaudeamus introit (taken respectively from the Graduale Romanum , the north Italian tradition of

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408-615: The 15th century, the north Italian tradition of the 11th century and the French tradition) Planchart notes motivic resemblances to the north Italian versions, suggesting that the composer was in northern Italy when composed the mass, basing on one of the local sources. B bringing similar examples taken from the works of Guillaume Dufay , he also points out as such strong resemblance to one particular source despite another could indicate that composers of that time did not necessary wrote down their cantus firmus from memory. Gaudeamus appears also to be

442-599: The Credo, 12 in the Sanctus and 27 in the Agnus Dei; as this numbers are far from proportional to the length of the various sections, Elders suggests an intentional and numerological plot behind the numbers of Gaudeamus statements in each section, as symbols related to the Book of Revelation , disclosing the profound inspiration of the work as a history of salvation. This enforces the thesis that

476-446: The Mass could be destined to All Saints' Day Liturgy; among the readings for that day stand the Book of Revelation (7:2-12) and the gospel is taken from Matthew (5) , the sermon of beatitudes . The mass presents sections written with different compositional techniques and style; the cantus firmus technique coexists with ostinato passages as well as more free counterpoint. The aforementioned Gaudeamus Omnes introit, transposed up

510-506: The beginning of the 16th century, it was becoming more common to use the paraphrased tune in all voices of a polyphonic texture. 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 . This mass

544-532: The chant can be heard in the other voices as well, e.g. in Kyrie II this is used by superius and bass to anticipate the entrance of the tenor on the same motif. The treatment of the cantus firmus itself is not uniform, as, often, the tenor, rather than sustaining the other voices with long notes, follows their rhythmic gestures (e.g. Christe , Kyrie II , second half of Gloria ). Similarly, in many sections an ordered imitative pattern flows into more free counterpoint as

578-434: The development of the paraphrase mass was Pierre de La Rue . 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. Later in the 16th century, paraphrase remained a common technique for construction of masses, although it

612-591: The first manuscript copies we mention the Kyrie copied by Johannes Orceau, for the Sistine Chapel, in Rome, dated between 1503 and 1512. Some sources misattribute the mass to Ockeghem : The Fugger manuscript A-Wn Cod. 11778 , probably copied in the 1520s by Pierre Alamire ascribes the mass to Ockeghem, as well as an 1836 manuscript in Leipzig by Moritz Hauptmann . Fétis , in his Biographie universelle des musiciens , under

646-467: The first, the Constance Gradual , printed about 1473, and works using movable type were printed beginning with Ulrich Han's Missale Romanum in 1476. He was, however, the first to print in quantity and the first to print polyphonic music, and the quality of his printings was outstanding. Petrucci's technique required three impressions; each sheet of music would be run through the presses once for

680-404: The innovations attributed to Pierre Attaignant , who developed and popularized the single-impression method of printing in 1528. The printing of music made possible the development of the first truly international musical style since the unification of Gregorian Chant in the 9th century. Printed music moved around Europe during the migration of Franco-Flemish composers from their home areas in

714-633: The key to assess the work's liturgical destination and spiritual inspiration. The introit is traditionally sung at the feast of the Assumption of the Virgin , connoting the work as a Marian mass, as Ave maris stella and De Beata Virgine. Traditionally, the choice of a liturgical cantus firmus makes the mass specific for a feast of a group of feasts (in this case, celebrations devoted to the Virgin Mary). However, Willem Elders has proposed an alternative interpretation of

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748-561: The masses of Obtrecht . The same author identifies two macro-units in the mass, evidencing close compositional procedures, one being the group of sections Kyrie, Sanctus and Agnus, the other being the Gloria and Credo; when coming to the tonal classification of the mass, Planchart avoids to classify simply the mass as in dorian mode transposed by a fifth on A, bringing examples of its modal richness and complexity (a typical characteristic among late 15th-century polyphony), for instance borrowings from

782-580: The modern day Low Countries to Italy , Germany , Spain , Poland and elsewhere; the polyphonic style of the Franco-Flemish became an international language, with later regional variations. Paraphrase mass A paraphrase mass is a musical setting of the Ordinary of the Mass that uses as its basis an elaborated version of a cantus firmus , typically chosen from plainsong or some other sacred source. It

816-569: The most fruitful period of his life for publishing music was the period between 1501 and 1509, during which he published the three volumes of chansons (the Odhecaton being the first), 16 books of masses , five books of motets , 11 anthologies of frottole and six books of music for lute. The last publication is dated 1520. Petrucci was not the first music printer in Europe – a number of liturgical works with woodcut music were printed before 1500, with

850-685: The most highly regarded composers of the Renaissance , including Josquin des Prez and Antoine Brumel . He was born in Fossombrone (Pesaro), and probably was educated at Urbino . Around 1490 he went to Venice to learn the art of printing, and in 1498 he petitioned the Doge for the exclusive right to print music for the next 20 years. The right was very probably granted, since no examples of printed music from other Venetian printers are known before 1520. In 1501 he produced his first book of music, 96 chansons, as

884-458: The pre-existing material in addition to cantus firmus anticipates the paraphrasing technique which will be widely adopted in the last Missa Pange lingua . Regarding the style of the mass, Jeremy Noble says it "combines cantus-firmus techniques and those of ostinato with vigour and inventiveness" while Planchart stresses the "abundance of melodic and rhythmic invention that seems to grow unchecked by any rational plan" and relates its style to

918-529: The section develops (e.g. in Christe , second section of Credo (Et incarnatus) , Sanctus ). A recurrent, oscillatory pattern between two pitches (e.g. superius, tenor in Kyrie I , superius in Gloria , tenor in Et in spiritum ) which is another distinctive melodic element of many passages in the mass, can be derived from a similar treatment of words such as omnes and domino in the introit. This less rigid utilization of

952-463: The voice relative to Ockeghem, cites a manuscript of the Kyrie and Christe of a messe [..] intitulée Gaudeamus published by Kiesewetter in 1834; however, such authorship had been later amended by Kiesewetter in his 1848 edition of the History of the modern music of western Europe . There are no manuscript sources that can be dated before 1502, and Planchart suggests that the mass can be dated around

986-403: The work: the same introit, with textual variations, is sung at other saints celebrations, for instance the Mass of St. Agata (the original version) and, most notably, for All Saints celebration. The motif made up by the first six notes of the introit, which makes up the word Gaudeamus , is the most recognizable melodic material, and can be recognized 6 times in the Kyrie, 14 in the Gloria, 2 in

1020-588: Was a common means of mass composition from the late 15th century until the end of the 16th century, during the Renaissance period in music history, and was most frequently used by composers in the parts of western Europe which remained under the direct control of the Roman Catholic Church . It is distinguished from the other types of mass composition, including cyclic mass , parody , canon , soggetto cavato , free composition, and mixtures of these techniques. Musical paraphrase, in general, had been used for

1054-489: Was destroyed. The competitor who took Petrucci's printing privilege away from him in Rome, Andrea Antico , also took over his printing business in Venice in 1520. During the 1520s Petrucci seems to have made his living managing a paper mill. In 1536 he returned to Venice at the request of the civic authorities there, and assisted them in printing Greek and Latin texts. A total of 61 music publications by Petrucci are known. By far

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1088-466: Was employed far less frequently than was parody technique. Palestrina used paraphrase technique in 31 of his masses, second only to parody, which he used in 51. Most of his masses based on hymns are paraphrase masses. In these works, the source hymns are often presented in a condensed form. When the Council of Trent prohibited the use of secular songs as sources for masses in 1562, a large corpus of music

1122-540: 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. Indeed, during this period, it was the favored method of using Gregorian chants to construct masses. Paraphrase masses were written relatively infrequently in England and Germany, especially after

1156-413: Was probably composed near the end of Josquin's life, around 1520. In the Missa pange lingua , all voices carry variants of the hymn, with the beginnings of successive phrases marking points of imitation in the mass. All voices are given equal weight, and the score achieves a motivic unity which was a significant change from previous practice. Another composer of Josquin's generation who was important in

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