medieval.org
Stradivarius "Dulcimer" 33569, 2000
Stradivarius "Echo Series" 11013. 2006
1. Ballata “Resvellies
vous” [6: 43]
LF, GM, FF — flauto, 2 vielle,
arpa
Missa “Resvellies
vous”
2. Kyrie [3:21]
LF, GM, FF,
Coro — organo, 2 vielle, arpa
3. Gloria [6:20]
LF, GM, FF,
Coro — organo, 2 vielle, arpa
4. Credo [4:18]
LF —
organo, 2 vielle, arpa
5. Sanctus [4:48]
LF, GM,
FF, Coro — organo, 2 vielle, arpa
6. Agnus Dei [3:01]
LF, GM,
FF, Coro — organo, 2 vielle, arpa
Missa “Ave Regina cœlorum”
7. Kyrie [9:40]
LF, GM, FF,
MS — organo, 3 vielle, 2 tromboni
8. Gloria [7:45]
LF, GM, FF,
MS — 2 vielle, 2 tromboni
9. Credo [10:53]
LF, GM, FF,
MS — 2 vielle, 2 tromboni
10. Sanctus [7:54]
LF, GM,
FF, MS — organo, 2 vielle, tromba di tirarsi, tromboni
11. Agnus Dei [6:36]
LF, GM,
FF, MS — organo, 2 vielle, 2 tromboni
CANTICA
SYMPHONIA
Laura Fabris — soprano
Giuseppe Maletto - Fabio Furnari —
tenor
Marco Scavazza — baritone
Svetlana Fomina Maletto - Efix Puleo —
fiddles
Kees Boeke — recorder / fiddle (track 7)
Guido
Magnano — organ
Marta Graziolino — harp
Mauro Morini —
trombone / slide trumpet (track 10)
David Yacus —
trombone
CHOIR
Maria Silvia Maritano, Daniela Perlo, Anna
Traversa — soprano
Davide Longo, Fabrizio Longo — tenor
KEES
BOEKE
musical direction
GIUSEPPE
MALETTO
director
Si ringrazia per la gentile ospitalità Don
Lorenzo Rivoiro
Registrazione:
Chiesa della B.V. Maria del Monte
Carmelo al Colletto, Roletto (TO), 2-7/07/1999
Direttori di registrazione:
Kees Boeke, Claudia Cavina
Tecnico del suono: Davide Ficco
Pre-editing
Giuseppe Maletto, Svetlana Fomina Maletto
Montaggi digitali: Giuseppe
Maletto
Fotografia/Photo: Giancario Maritano
The Mass "Resvellies vous"
Dufay's first and last complete Mass
ordinaries bath are related to, if not, modelled after, separate compositions of
he own hand. However, the way these relationships are developed could not be
more different. Given the fact that both compositions were written at a time
distance of at least 40 years, in the period of incredible stylistic turmoil
that marked the transition from "medieval" to "renaissance music" this is of
course no surprise.
The fact that the Misse Sine Nomine (in
Besseler's edition) revealed itself to be the Missa "Resvellies Vous"
(demonstrated by David Fallows) links it to the earliest parody tradition
created by composers such as Zachara da Teramo and Bartolomeo da Bologne (Gloria
Fior Gentil, Gloria Rosetta, Credo Du Village, Credo
Morir desio etc.).
This "tradition" was established before the
creation as such of the complete Mass ordinary, or slightly later of the cyclic
Mass under the influence of English composers. It regarded principally coupled
Mass movements like Gloria-Credo and Sanctus-Agnus. Stylistically the Missa
Resvellies Vous strongly resembles the Gloria-Credo pairs 4 and 5 and Credo
1 (in the Besseler Edition of the Fragmenta Missarum) that I have
attributed to the pared 1420-1426 (see Fragmenta
Missarum...).
Dufay wrote the ballata Resvellies Vous for the
occasion of the marriage of Carlo Malatesta and Vittoria Colonna on the 18th of
July 1423, and therefore it is clear that the Mass can be allocated too in this
same precise time frame. VVhether the Ballata constitutes the original
composition after which the mass was modelled, or vice versa is a question ta be
answered below. Written in the typical Italian cantilena style of the period,
with an independent florid vocal-instrumental top voice over a unified
tenor-contratenor pair, it displays however a however of very disparate
stylistic features that should be briefly discussed here. The form is classic,
AABC, with two complete strophes, in which C represents the Refrain: "Charle
gentil, c'on dit de Maleteste". Less usual is the strikingly symmetric set-up
with 23 breves for the A and C parts and 27 for the central B section. In more
detail, the piece develops as follows:
A. (Tempus Imperfectum,
prolatio malor)
1. Instrumental prelude with florid cadenza — 7
breves
2. First 2 text lines introduced by anticipating imitation — 7
breves (repeat A1, A2 with next two text lines)
3. Instrumental
postludiurn — 7 + 2 (final note) breves
B. (Tempus
perfectum, prolatio minor)
1. New text line + simple florid instrumental
cadenza— 4 +3 = 7 breves
2. New text line + florid instrumental
cadenza — 3 + 4 = 7 breves
3. New text line in dense three-part 6/8
imitation — 6 breves
(empus imperfectum, prolatio maior)
4.
Next text line in triplets over simple 3/4 tenors with excepoonal introduction
of c sharp in the Tenor at bar 47 (Golden Section?) — 6 + 1
breves
(Sup. Tempus perfectum, prolatio maior - T/Ct: Tempus perfectum,
prolatio minor.)
C. (4 Fermatae, tempus imperfecturn, prolatio
maior)
1. Charle Gentil: 4 blockchords with interval g'-g sharp''
(augmented octave) in Contratenor. (Golden Section) — 8 breves
2.
C'on dit de Maleteste + florid cadenza — 6 breves
3.
Instrumental postludium as in A3 — 7 + 2 breves
The ingredients
listed above make their appearance in the various parts of the Mass, not in a
systematic way, but rather as sources of inspiration.
As Alan W. Atlas
has pointed out in an extremely stimulating article (Gematria, Marriage
Numbers, and Golden Sections in Dufay's "Resvellies vous"). there might be a
whole set of numerical symbolical devises underlying the ballata. Without
entering into the gematric argument, which is always of a somewhat speculative
nature, it is however important toe point at some structural consequences of the
use of the Golden Section, the proportion obtained when a line is divided in
such a way that the smaller part is to the greater as the greater is to the
whole.
The division of the A and C sections, as Atlas correctly observes,
are placed at the beginnings of the instrumental postludium, or in the A section
at the "repeat" sign. The division of the whole ballata he places after 45
breves (Golden Section of the total 73) which I believe not significant (enough)
and erroneous. We have to take the full sounding form into account to find the
right pivot point here. Significantly, the inclusion or exclusion of the final
Longs at the end of sections A and C do not influence the final calculation. In
both cases thee sought after moment happens tu be the augmented octave between
Charle and gentil, exactly the middle of the four block chords, the most daring
progression in the piece. Te underline the correctness of this choice, we find
that even the GS division of the B and C sections as a whole falls again exactly
in the same place!
At this point it can hardly be a coincidence that the
opening of the Kyrie of the Mass cites precisely this audacious moment in its
contratenor, of course when the rules of musica ficta are correctly
applied. The significance is twofold. We have to apply the rules of ficta
"avec rigueur', counting on spicy and adventurous harmonic language (like f.e. n
the above mentioned Credo-Gloria 5 pair) and secondly the Ballata existed before
the Mass, or rather, the Mass was modelled alter the Ballata. What is explicitly
manifested in the song becomes implicit in the mass.
KYRIE: three
invocations, 7 + 7 + 8 breves long (cf. RV A1, 2.3) — 23
breves
CHRISTE: three invocations, 8 + 6 + 8 breves — 23
breves
KYRIE: three invocations (in tempus perfectum, prolatio
minor) (B1) — 23 breves
conclusion: dense canonic rhythms (cf. RV B3)
— 9 breves + longa
GLORIA: Et in terra: Tempus
imperfectum, prolatio minor, in stilo antico, syllabic solo voice plus
instrumental tenor/contratenor pair — 39 breves
instrumental
conclusion in dense rhythmic imitation in 6/8 (B3) — 23
breves
Domine Deus: idem (as Et in terra) - nobis — 39
breves
Qui tollis + Suscipe + instrumental conclusion —
8 + 7 + 19 breves + longa
Qui sedes: cites opening of RV adding
extra bar for "dexteram" — 7 + 1 breves
Quoniam: introduction
of texted tenor and contratenor based on RV refrain material (A3, C3) — 13
breves
leading up to
Jesu Christe: 4 blockchords like
Charle gentil, but modifying the augmented octave g'-g"sharp into a major
seventh g'-f"sharp. (Chris-te)
Cum sancto: as Qui sedes
+ instrumental postludium — 7 breves + 1 longa
AMEN: in my
opinion three invocations in simple note values in tempus perfectum, all
cadencing in G
1. in crescendo, climax — 5 breves
instrumental
interlude — 6 breves
2. in decrescendo, in canon stretto sup/ten. Ct
in temp. imp. — 4 breves
instrumental interlude in dense rhythmic
imitation (B3) — 3 + 4 + 4 breves
3. static around final G. — 6
breves + longa
CREDO: apparently the earliest composition
stylistically, with the least obvious relationships with the sang. Typical
recitando syllabic superius, very similar to Credo (Fragmenta
Missarum, 1). Tempus imp. Prol. min. It is interesting that these early
"minimalist", almost prayer-like visions of the Creed soon would become the
massive central "piéces of résistance' of the Mass, cf. Ave Regina
Coelorum, The before-rnentioned Gloria-Credo pair (FM. 5) composed during
this same period already very strongly hints in the new direction. One gets the
impression that it is almost possible in these early decades of the 15th century
to follow the stylistic developments year by year!
The most visible link tu
the Ballata is represented by the Tenor part, which basically is built on
variations upon a descending scale in G, like in the song.
At "ex Maria
virgine; et homo factus est" Dufay creates a precise rhythmical reference ta
the Amen 2 in the Gloria. Even more complex polyrhythmic
structures are built at "Et ascendit in caelum etc".
The closing
section "et in Spiritum etc" is again quiet and simple, including the
Amen.
The three main sections are all 52 breves long. The Amen in an
added 6 breves + longa.
SANCTUS: Three invocations: Chant. the
Kyrie headmotif, a reminiscence of the third Kyrie invocation —
12 + 11 = 23 breves
Dominus: increasing use of syncopating
rhythmical cell from the second bar in the B part of the Ballata — 7 + 7
breves
Pleni. Rhythm as in headmotif — 7 + 5
breves
Osanna: after a melodious start, hoquet-like interplay with
the syncopating rhythms — 5 +5 + 5 + 6 breves +
longa
Benedictus: Chant
Qui venit: Very clear references
to B1 and 2 of the Song.
Instrumental postludium — 22 breves +
longa
Osanna: ut supra.
AGNUS: three invocations,
always with Agnus Dei in chant.
1. Clever inversion of material in the
first 3 bars initially gives the impression of a problem-less stating of the
main theme (i.e descending from d" to g', and not the tritone g'sharp), ta then
suddenly presenting the augmented octave in the fourth measure. Peccata mundi
miserere recited in quiet note values — 5 + 6 + 5 breves +
longa
2. Retrograde presentation of the "alternative" major seventh in
Ct. Superius paraphrases Ballata and first Kyrie. Peccata mundi
miserere in quiet note values — 5 + 5 + 5 breves + longa
3. Clear
references ta B1, 2 and 3 of the song. I have surmised twofold invocations of
the Dona nabis pacem, in all three voices on the chorale-like melodies —
24 breves + longa
The Mass AVE REGINA CAELORUM
AVE REGINA CAELORUM (AR) |
AVE DOMINA ANGELORUM (AD) |
SALVE RADIX (SR)
EX QUA MUNDO LUX EST ORTA (EQ)
GAUDE GLORIOSA (GG)
SUPER OMNES SPECIOSA (SO)
VALE VALDE DECORA
(VV)
ET PRO NOBIS SEMPER CHRISTUM (PN)
EXORA
(EX)
The CANTUS FIRMUS
The Marian antiphon "Ave
Regina Ccelorum", a rather simple, repetitive chant not unlike a sequens,
is built of four basic constituent elements, that all have their important
functions in Dufay's incredibly sophisticated eiaborabon in the Mass:
a: The
initial typical chromatic phrase C-Bflat-A-B-G-A-C, and its simpler form
C-Bflat-A-G
b: The closing formula C-D-E-(D)-F-E-D-C
g: The
triad motif C-(D)-E-(F)-(E)-G and its return F-E-D-C-D-E-D-C
d: The
same return, but left open: F-E-D-C-D-E
The antiphon now is put together
as follows:
Ave Regina — a + b
Ave Domina — a +
b
Salve Radix — g
Ex Qua — a + b
Gaude gloriosa
— g
Super omnes — a + b
Vale Valdes — g +
d
Et pro nobis — free return
Exora — ornamented version
of b
As can be seen from the diagram above, each main Mass section
"uses up" the antiphon material in its entirety. This has been overseen by
Besseler and other scholars because of the melodic similarities between the
various text parts.
It creates thus a sense of extreme "completeness" of each
movement and in the end of the whole Mass, notwithstanding its extraordinarily
variegated texture.
The Mass opens we the 8 measure long polyphonic
headmotif that will reappear at the opening of each of the five main
sections. The Bassus pre-presents the CF a-section transposed at a fifth below,
anticipating the entry of the Tenor with the full statement a + b in the
basic key. Much later (at the very end of Agnus 2, it will be this transposed
version of a to crown the Miserere nobis in the Superius, the only
literal citation taken from the homonymous Motet, where it carries Dufay's name
(miserere supplicanti Dufay).
Kyrie: The anomalous form of the Kyrie presents a serious problem: Only
two polyphonic versions of the first Kyrie group and the Christe group are
documentad, with differing "montage" in the various Mss. Ta produce three
invocations we would have to introduce alternatim practice against which
several arguments can he held:
1. Musically, both the second Kyrie and Chaste
invocations are typically middle sections (of three) and not final
2. Which
part of the chant should we use?
3. Normal alternatim practice starts
with polyphony and then alternates with chant, by which system one has only one
polyphonic version of the Christe.
4. The remainder of the mass does flot use
alternatim.
The "Da Capo" method adopted for the recording is
certainly not totally convincing, again by the necessary repetition of the Ave
Regina cantus firmus. On the other hand, Ave Regina and Ave
Domina are indistinguishable... In the Christe, the Salve/Ex qua will
be merely repeated after the second invocation, which does not contain any
cantus firmus.
The second invocation of the Kyrie
introduces an idiosyncratic and seemingly instrumental idea: the inversion of
the g section of the CF. VVe have treated Mis as a trombetta
suggestion.
In Christe 1, the Contratenor pre-imitates the Tenor by
two measures and somewhat later the Superius paraphrases the a
motif.
The second Christe exists in two alternative versions: As a
canon in the unison with a special Bassus part (concordans cum fuga), or
without canon with a different Bassus part (concordans sine fuga). The
rising tetrachords (ut-re-mi-fa) relate ta the closing formula b of the
CF. The final tripla segment has echoes of a in its melodic
structure.
Kyrie 4: again trie Ct anticipates the CF by two measures,
proceeding however in triadic realms (inverted g). Also the Bassus seems
markedly instrumental, participating in the triadic games in its own way. This
is oven more outspokenly so in the next Kyrie a 3, where the Bassus
becomes Contratenor 2 (concordans si placet) against two freely imitating
upper voices.
The final heavy and rhythmically square Kyrie culminates
again in "trombetta" triads. At the crucial moment d in the CF
Dufay introduces a moment of soaring fauxbourdon in the lower
voices.
Gloria: after the formal 8 opening measures the two top
voices separate themselves from the lower pair of "accompanists" (Laudamus,
Adoramus). Glorificamus and Gratias agimus are both set as
Duos: voce 2 + 4, then voice 1 + 3.
At Domine Deus Rex coelestis full
polyphony is reintroduced ta contrast with the minimal duet, Domine Deus
Agnus Dei that follows. The closing bars are in triplets.
Oui
tollis, starting as a Duo in the lower voices, soon turns from C major to c
minor introducing the dark E flats that characterize the miserere nobis
moments, here and later. At the close the Bassus skilfully paraphrases the
transposed a idea to roturn to a final major. This very intense section
as a whole pre-announces the Miserere citation in Agnus 2.
Extremely
dense counterpoint characterizes the second Qui tollis, to suddenly
simplify at Oui sedes where the next Miserere nobis awaits us. At
this point Dufay brings the d ingredient (the open E endings in Vale
valde) of the CF to full fruition, by interrupting the polyphonic flow twice
with a fermata chord on A minor. Tu solus altissimus briefly recalls the
pared top voices of the beginning of the Gloria followed by a concise
massive homophonic Cum Sanctu Spiritu.
The final jubilant Duos in
triple time (again 1 + 3, 2 + 4) one a perfect copy of the other an octave
lower, combine the full ornamonted Exora version of b in the top
part with its simple closing formula aspect below.
Credo: follows
the initial stops of the Gloria, resulting in a long canonic duo by the
two upper (singing) voices.
At Genitum, the moment of reintroduction
of the CF (Ave Domina), "normal" full polyphony is re-established. The top
voices resume their canonic and rather florid Duo at Qui propter until
Salve radix announces the moment of Et incarnatus in slow moving,
four part writing and coming ta a full close at the end of the CF.
An
almost chaotic Crucifixus section follows, that, rhythmically fully
incorporates the Ex qua cantus firmus in its texture.
The trio Et
ascendit clearly draws on the tetrachord motif ut-re-mi-fa (and
fa-mi-re-ut), and closes with a big climax in triple time.
Dufay in all
likelihood considered the next phrases central in the test of the Mass: Et
(credo) in spiritum sanctum, dominum et vivificantem, qui ex patre filioque
procedit. The intense. almost recitative like setting of the top voices over
the Cantus Firmus/Bassus pair gives this impression. It s followed by text-less,
abstract and musically distant duo material - a reflection, a meditation almost
- then hesitatingly picked up by some voices. A very unexpected citation of
transposed a in the Basses triggers a madly polyrhythmic Duo between
Superius and CF at the words Simul adoratur...
Solud straightforward
rhythms cheracterize the Confiteor section coming however ta a halt at
the d moment in Vale valde. Et expecto resurrectionem,
immediately following, has the four voices in four different time frames,
proceeding as a brief duo then trio (mortuorum). The closing Et vitam
venturi is identical with the end of the Gloria.
In the
Sanctus and Agnus, Guillaume's treatment of the antiphon becomes
progressively more audacious. Although each fragment is present, the
fragmentation, rhythmical stretching or compression, and crossing over into
other voices make the original CF at times almost unrecognisable. The decidedly
heterogeneous character of the other material, bath melodically and
rhythmically, and the lack of text in these last sections (against a wealth of
music!) make the choices of text underlay and instrumentation quite delicate.
Especially at this point one gets the impression that the ms. copies that have
survived all these centuries are really "short scores", a condensation of a much
richer reality that existed in the mid 15th century. It is for that reason that
in my opinion, it is not solely a matter of "interpreting" this music but rather
of literally reconstructing its reality, in a process similar to the
reconstruction of the action in a Shakespeare play from subtle clues in the
dialogue.
The Sanctus features during its three invocations the
glorious reappearance of the trombetta motif, then slides smoothly into
the Dominus, Deus Sabaoth where it gradually looses grip on the
CF.
The canonic Duo Pleni slowly builds up a climax via Gloria
tua towards the first Osanna, which takes off brilliantly and
chaotically with the trombetta in Contratenor. A brief instrumental
bridge leas to in excelsis where the closing formula b now appears
in all four voices (in variouss imitations).
The quiet beginning of
Benedictus recalls somehow the little far-away duo in the Credo.
Always in close imitation it proceeds more lively ta close with a triplet rhythm
tchat initially paraphrases the closing formula.
The second Osanna is
almost an enhanced version of the first, of course with a different CF
(Vale). Extremely dense in ligatures, it presents itself as a solid block
that stops "dead" after a cadential blue seventh on the d chord. Four
bars of instrumental interlude lead seamlessly into the in excelsis, a
binary restatement of the previous one.
With Agnus 1 we return to
the sonorities of the first two Kyries (as was the tradition in a way).
To prepare for the Miserere Dufay stops the b CF at the thirrd
note E, and turns it into a d moment (with fermata and rest). Then
Miserere nobis is sang almost note against note in all voices in tempus
imperfectum (color).
Agnus 2 begins a duo in the mood of
Benedictus, then speeds in further duos through the remaining parts of
the CF to suddenly quiet clown with the last six notes of exora. Here
then appears the extraordinary Miserere nobis from the motet. Apart from
the before mentioned (and not particularly obvious!) "Dufay" citation in the
superius this fragment bears no relationship to the rest of the Mass. It must
mean that it is a real citation as such. It means the motet existed before,
where the fragment makes perfect sense in the contour of the whole.
Agnus
3 takes the CF from Gaude gloriosa once more to the end, in highly
complex counterpoint throughout. Three invocations: 6 measures a4, 6
measures a3, 3 measures a3. Qui tollis in triple metro
lands gloomily on the d chord.
Peccata mundi still in triple
time, but more homophonically moving in minims, shows a last poignant glow of
the cross relation
Bflat-B natural that is inherent in the Ave Regina
theme. Dona nobis pacem returns to duple time, note against note against
the quintessentially (b) reduced Exora.
Recent research,
notably by musicologists Rob C. Wegman and Alejandro E Planchart, has pinpointed
the date of composition of Dufay's last opus to the very end of his life between
1471 and 14/2. The mass fulfilled the double purpose of the celebration of the
solemn fast of Saint Mary of the Snow on the 5th of august, a date probably
related to his date of birth, and the creation of an obituary mass to
himself
In the ten years following its composition, the Mass was already
copied into manuscripts found in centres as distant as Modena, Poznan, Trent and
the Vatican, each of them adapting and modifying the Cambrai original according
ta local liturgical needs and possibilities. It is in this light that we should
regard our present proposal of the masterpiece, as yet another version adapted
to the musical needs and possibilities of the year 2000.
© Kees Boeke,
2000
INCIPIT | VOICES TIME |
CANTUS FIRMUS | HEADMOTIF | PARAFRASE | OTHER | BREVES | TOT |
KYRIE | |||||||
KYRIE 1 | 4 O | AR | yes |
no | 27 | ||
KYRIE 2 | 4 O | AD | no | triad gecg (CT) | 12 | ||
KYRIE 3 | 4 O | AR | = Kyrie 1 | 27 | 68 | ||
CHRISTE 1 | 4 C | SR-EQ (AR in Sup) | no | 25 | |||
CHRISTE 2 | 3 C | (AR in tripla in Sup) | no | canon (S/S)+T | 19 | ||
CHRISTE 3 | 4 C | SR-EQ | = Christe 1 | 25 | 69 | ||
KYRIE 4 | 4 O | GG-SO | parafr. | triad gecg (CT) | 20 | ||
KYRIE 5 | 3 O | concordans si | placet (T) | triad ceg (T) | 16 | ||
KYRIE 6 | 4 O | VV-PN | no | triad gecg (CT) | 16 | 52 | |
189 | |||||||
GLORIA | |||||||
ET IN TERRA | 4 O | AR-AD | yes | Gratias CF | Duos (Gratias) | 41 | |
DOMINE DEUS R | 4 O | SR-EQ | no | 19 | |||
DOMINE DEUS A | 2 C | no | canonic | 16 | |||
QUI TOLLIS | 4 C | GG-SO | no | AR (miserere nobis, | initial canon duo | 7+8+15 | |
quintessential) | (TB) | (30) | |||||
QUI SEDES | 4 C | VV-PN (Cum Sancto) | no | 7+8+10+ | |||
IN GLORIA | EX | jubilo duos amen | +18+4 (47) | 153 | |||
CREDO | |||||||
PATREM | 4 O | AR-AD | yes | til Genitum | "2 voice/2 instr." | 38+15 | |
QUI PROPTER | 4 O | SR-EQ | no | til et incarnatus | canonic Duo | 20+35 | |
ET ASCENDIT | 4 C | GG-SO | no | til et in Spiritu | Trio tetrachord | 23+14+26 | |
ET UNAM | 4 C | VV-PN | no | 38 | 209 | ||
ET VITAM | EX | jubilo duos amen | |||||
SANCTUS | |||||||
SANCTUS | 4 O | AR-AD | yes | triad gec (CT) | 37 | ||
PLENI | 4 O | SR-EQ | no | duo, trio, a 4 | 20+6+6 | ||
OSANNA | 4 O | GG-SO | parafr. | |
triad gec (CT) | 27 | |
BENEDICTUS | 2 C | no | closing formula | canonic | 30 | ||
OSANNA | 4 C | VV-PN | no | tetrachord | 8+18 | 152 | |
EX (in all voices) | |||||||
AGNUS | |||||||
AGNUS 1 | 4 O | AR-AD | yes |
37 | |||
AGNUS 2 | 3 C | Duos: continuous mix of | |||||
SR-EQ-GG-SO-VV-PN | no | motet Miserere | tetrachord inversion | 34+11 | |||
(quintessencial) | Duos + Trio (Miser.) | ||||||
end "Dufay" = | AR transposed | ||||||
AGNUS 3 | 4 C | GG-SO-VV-PN-(EX) | no | closing formula | polyrhythmic | 15+7+10 | 114 |