Missa Prolationum: Kyrie
Johannes Ockeghem (c. 1410, Saint-Ghislain, Belgium – 6 February 1497, Tour… Read Full Bio ↴Johannes Ockeghem (c. 1410, Saint-Ghislain, Belgium – 6 February 1497, Tours, France) was the leading composer of the second generation of the Franco-Flemish School. Ockeghem is often considered the most important composer between Guillaume Dufay and Josquin Desprez.
Recent research has shown that Ockeghem was born in the town of Saint-Ghislain; many older biographies state that he was either born in the town of his name or in the neighboring town of Dendermonde in East Flanders (now part of modern Belgium), part of the Duchy of Burgundy.
Details of his early life are lacking: even his birth date is unknown, and is usually inferred from a comment by the poet Crétin, at the time of his death, that "it was a great shame that a composer of his talents should die before 100 years old". Like many composers in this period, he started his musical career as chorister, and the first record of his musical activity comes from the cathedral of Notre Dame in Antwerp, where he was employed in 1443 and 1444.
Between 1446 and 1448 he served Charles, Duke of Bourbon, in Moulins (France). Around 1452 he moved to Paris where he served as maestro di cappella to the French court, as well as becoming treasurer of the St. Martin cathedral in Tours. In addition to serving at the French court — both for Charles VII and Louis XI — he held posts at Notre Dame Cathedral and St. Benoît.
He is known to have traveled to Spain in 1470, as part of an attempt to arrange a marriage between Isabella of Castile and Charles, Duke of Guyenne (the brother of king Louis XI). After the death of Louis XI (1483), not much is known for certain about Ockeghem's whereabouts, though it is known that he went to Bruges and Tours, and he probably died in the latter town since he left a will there.
Ockeghem probably studied with Gilles Binchois, and at the very least was closely associated with him at the Burgundian court. Since Antoine Busnois wrote a motet in honor of Ockeghem sometime before 1467, it is probable that those two were acquainted as well; and writers of the time often link Dufay, Busnois and Ockeghem.
Although Ockeghem's musical style differs considerably from that of the older generation, it is probable that he acquired his basic technique from them, and as such can be seen as a direct link from the Burgundian style to the next generation of Netherlanders, such as Jacob Obrecht and Josquin.
Very few of his works have survived: some 14 masses and a Requiem mass, 9 motets and a song motet (a deploration on the death of Binchois), and 21 chansons. Thirteen of Ockeghem's masses are preserved in a late Fifteenth century Flemish manuscript known as the Chigi codex.
His Missa pro Defunctis is the earliest surviving example of a polyphonic requiem mass. In addition to his small surviving output, some of the works attributed to him have been questioned: for example the amazing technical tour-de-force for 36 voices, Deo gratias is very likely by someone else, but this remains in dispute; and several of his chansons and motets are anonymous in the sources, but attributed to him on stylistic grounds.
A strong influence on Josquin Desprez, Ockeghem was famous throughout Europe for his expressive music and his technical mastery. His technical prowess is demonstrated most clearly in the astonishing Missa Prolationum, which consists entirely of mensuration canons, and the Missa cuiusvis, to be performed in different modes, but even these technique-oriented masterpieces demonstrate his insightful use of vocal ranges and uniquely expressive tonal language.
Being a renowned bass singer himself, certainly his use of complex bass lines sets him apart from the other composers in the Netherlandish Schools.
To commemorate his death, Josquin Desprez composed the motet La déploration de la mort de Johannes Ockeghem, a setting of the poem Nimphes des bois by Jean Molinet.
Recent research has shown that Ockeghem was born in the town of Saint-Ghislain; many older biographies state that he was either born in the town of his name or in the neighboring town of Dendermonde in East Flanders (now part of modern Belgium), part of the Duchy of Burgundy.
Details of his early life are lacking: even his birth date is unknown, and is usually inferred from a comment by the poet Crétin, at the time of his death, that "it was a great shame that a composer of his talents should die before 100 years old". Like many composers in this period, he started his musical career as chorister, and the first record of his musical activity comes from the cathedral of Notre Dame in Antwerp, where he was employed in 1443 and 1444.
Between 1446 and 1448 he served Charles, Duke of Bourbon, in Moulins (France). Around 1452 he moved to Paris where he served as maestro di cappella to the French court, as well as becoming treasurer of the St. Martin cathedral in Tours. In addition to serving at the French court — both for Charles VII and Louis XI — he held posts at Notre Dame Cathedral and St. Benoît.
He is known to have traveled to Spain in 1470, as part of an attempt to arrange a marriage between Isabella of Castile and Charles, Duke of Guyenne (the brother of king Louis XI). After the death of Louis XI (1483), not much is known for certain about Ockeghem's whereabouts, though it is known that he went to Bruges and Tours, and he probably died in the latter town since he left a will there.
Ockeghem probably studied with Gilles Binchois, and at the very least was closely associated with him at the Burgundian court. Since Antoine Busnois wrote a motet in honor of Ockeghem sometime before 1467, it is probable that those two were acquainted as well; and writers of the time often link Dufay, Busnois and Ockeghem.
Although Ockeghem's musical style differs considerably from that of the older generation, it is probable that he acquired his basic technique from them, and as such can be seen as a direct link from the Burgundian style to the next generation of Netherlanders, such as Jacob Obrecht and Josquin.
Very few of his works have survived: some 14 masses and a Requiem mass, 9 motets and a song motet (a deploration on the death of Binchois), and 21 chansons. Thirteen of Ockeghem's masses are preserved in a late Fifteenth century Flemish manuscript known as the Chigi codex.
His Missa pro Defunctis is the earliest surviving example of a polyphonic requiem mass. In addition to his small surviving output, some of the works attributed to him have been questioned: for example the amazing technical tour-de-force for 36 voices, Deo gratias is very likely by someone else, but this remains in dispute; and several of his chansons and motets are anonymous in the sources, but attributed to him on stylistic grounds.
A strong influence on Josquin Desprez, Ockeghem was famous throughout Europe for his expressive music and his technical mastery. His technical prowess is demonstrated most clearly in the astonishing Missa Prolationum, which consists entirely of mensuration canons, and the Missa cuiusvis, to be performed in different modes, but even these technique-oriented masterpieces demonstrate his insightful use of vocal ranges and uniquely expressive tonal language.
Being a renowned bass singer himself, certainly his use of complex bass lines sets him apart from the other composers in the Netherlandish Schools.
To commemorate his death, Josquin Desprez composed the motet La déploration de la mort de Johannes Ockeghem, a setting of the poem Nimphes des bois by Jean Molinet.
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Missa Prolationum: Kyrie
Johannes Ockeghem Lyrics
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The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@onaocn
Johannes Ockeghem (Saint-Ghislain, 1410 – Tours, 6 febbraio 1497) Alcune delle sue opere, accanto a composizioni di suoi contemporanei, sono incluse nella Harmonice musices Odhecaton (1501) del Petrucci, la prima collezione di musica da pubblicare utilizzando caratteri mobili.
Sono passati 250 anni da Perotinus e l'allontanamento emancipazione dal canto gregoriano è sempre più evidente. Ma cosa c'era stato prima? Aristosseno di Taranto individuò alla base del sistema musicale greco il tetracordo, una successione di quattro suoni discendenti compresi nell'ambito di un intervallo di quarta giusta.
Timoteo di Mileto che fu il protagonista della rivoluzione musicale del V secolo a. c. passò dal genere diatonico, a due nuovi generi: cromatico ed enarmonico, e alla costruzione della lira con non più di sette o undici corde, per consentire l'uso delle alterazioni (# b).
Con l'Ars nova si vengono via via a costituire 2 materiali sonori, il primo equivale alla scala pitagorica Immaginecon semitoni tra il terzo e quarto grado (Mi Fa) e il settimo e ottavo grado (Si Do), sensibili naturali appartenenti alla scala. Mentre sensibili estranee alla scala appaiono tra il primo e il secondo grado (Do# Re), il quarto e il quinto grado (Fa# Sol) e il quinto e sesto grado (Sol# La). Giri cadenzali dette clausole che abbiamo già incontrato.
Nei manoscritti antichi (canto gregoriano dal VII secolo d. c.) per riconoscere l'altezza dei suoni erano utilizzate le lettere alfabetiche. Due di queste C e F corrispondevano rispettivamente al Do e al Fa.
Il secondo materiale sonoro sempre basato sulla scala pitagorica ma sulla scala di Fa, ha semitoni tra il terzo e quarto grado (La Sib) e il settimo e ottavo grado (Mi Fa), sensibili naturali appartenenti alla scala. Mentre sensibili estranee alla scala appaiono tra il primo e il secondo grado (Fa# Sol), il quarto e il quinto grado (Si Do) e il quinto e sesto grado (DO# Re). Ecco perchè troviamo dopo la chiave il Sib nell'armatura sul pentagramma, altra novità di rilievo rispetto al precedente tetragramma.
Ockeghem fu il primo compositore a scrivere canoni utilizzando gli intervalli di seconda, terza, sesta e settima in modo continuativo. Assenti salti di settima, ascendenti di sesta M, molti quelli d'ottava.
Uno dei più famosi contrappunti del 15 ° secolo è la sorprendente Missa prolationum, che consiste interamente di canoni mensurali, in cui ogni sezione esplora una prolatione diversa e/o una diversa distanza tra le voci e velocità relativa di ciascuna voce.
Valori di nota per mensurale fiamminghi
http://es.wikipedia.org/wiki/Notaci%C3%B3n_mensural
Testo trascritto dall'originale qui, click su complete score
http://imslp.org/wiki/Missa_Prolationum_(Ockeghem,_Johannes)
Compaiono 4 chiavi antiche Sib al Tenor e al Bassus
Superius-Tempus imprfectus prolatio minor=2 brevi=4 minime. Motivo Fa Do Fa La Mi Fa Mi Do Do, ripreso dal Motivo del Contratenor (punctus contra punctum)
Contratenor-Tempus imprfectus prolatio minor=3 brevi=6 minime. Motivo Fa Do Fa La Mi Fa Mi Do Do
Tenor-Tempus imprfectus prolatio major=2 brevi=6 minime. Motivo Fa La Fa Do La Fa Do Do Do La La
Bassus-Tempus imprfectus prolatio major=3 brevi=9 minime. Motivo Fa La Fa Do La Fa Do Do Do La La, ripreso dal Motivo del Bassus (punctus contra punctum)
Ovvero un'opera di ingegneria musicale (punctus contra punctum) a 4 parti che sarà di modello ai posteri (J S Bach, Arte della fuga).
Prima pagina
Fa La Fa Do La Fa Do Do Do La è l'equivalente del "silenzio" militare nella modernità, a parte ciò nota di curiosità. Impianto su materiale sonoro 2 al Bassus e al Tenor, scala pitagorica di Fa (vedi sopra), niente accidenti alle 2 voci superiori libere di cadenzare a volte nel primo altre nel secondo modo
Seconda pagina
le imitazioni procedono come iniziato ma con varietas maggiore, diminuzione temporale e velocizzazione conseguente. Bellissimi gli effetti di eco che ne conseguono.
Terza pagina
Chiusa verticale magistrale Fa Fa Do Fa
Il resto a voi.
@seuradu8065
Johannes Ockeghem is een ware schepper van muzikale perfectie. Dankzij deze ongelooflijke componist hebben we vandaag partituren in de kerk in barokschrift.
@ColonelFrank07
You put that last scene in there knowing all us poor desperate music students would be cramming in our chants the night before our history exams, didn't you? you caught me, well played.
@hollycampbell3412
i low key thought i was hallucinating for a second, like i know it's late but i didn't think it was THAT late
@WillMartinez1999
New Mexico State
@brynkirsch5195
UCLA
@user-uj9bk9rv2i
@@hollycampbell3412 😆 one tone lowered key can actually make someone doubt their own brain's function😅 such are the struggles of having perfect pitch!
@anagator3051
It’s due in an hour for me 🙃 it’s almost 7 am
@JollyBard
That ending! Perfectly appropriate since it's now almost 2 a.m. and I definitely should be sleeping.
@user-rg3tc9de2f
Antoine Beaudet f
@MountainDewGirl
Remember