Missa Lhomme arm: Kyrie Ockghem

Missa Lhomme arm

Ockeghem

Anthony Carrella Music Historiography 1 eptem!er "#$ "%1&

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Anthony Carrella' Music Historiography' Analysis (aper eptem!er "%1&

Missa Lhomme arm: Kyrie Ockghem

)he piece * ha+e chosen ,or analysis is -ean .e Ockeghems Missa Lhomme arm: Kyrie /hich /as /ritten in 0rance in 1#12' )his /ork is the choral setting o, the Lhommean. Kyrie te3ts$ /hich !oth pre e3iste. this composition in ,orm o, monophonic song an. chant' )his /ork is inno+ati+e ,or its use o, rhythmic an. melo.ic content$ !ut the te3tual an. se4uential in,ormation pro+es to !e more sym!olic an. philosophical' )he Kyrie is 4uite the /ork o, polyphonic art' Ockeghem starts the listener o,, in per,ect ,i,ths$ !ut he !roa.ens the harmonic spectrum a great .eal !y mm' 1&' He uses a simple Kyrie theme in the soprano 5/hich inclu.es .otte. rhythms an. leaps o, thir.s6 to /ork o,, o,' Certain rhythmic an. melo.ic themes are han.e. o,, to each part !y measures t/o an. three sho/n !elo/' 0ig: 1 7otte. 8hythmic )hemes 5191&6 oprano Alto :ass

)his .otte. se4uence an. ,eel stays /ith us until the ca.ential point on mm' 1&$ !ut .oes encompass a lot o, the rhythmic te3ture o, the entire /ork in the oprano an. Alto line' 0ig: " 7otte. 8hythmic )hemes 51&9 en.6 " & # 2 ; omething * ,oun. +ery reminiscent o, this time perio. /oul. !e the ca.ential points' At the start an. en. o, e+ery phrase the line inclu.es open ,i,ths' Ockeghem starts simply$ !ut he mo+es through ,our +oice parts in polyphony$ an. su!tly en.s phrases in these simple open ,i,ths' * think this is ,or a ,e/ reasons' Our te3t is talking a!out <o.' Kyrie =leison$ Christe =leison translates to Lor. ha+e mercy$ Christ ha+e mercy'$ an. * think the ,eeling an. message o, this prayer is portraye. in the /ork' )he Christian Li,e is portraye. in this structure: e+ery thing starts an. en.s /ith <o.' )he phrases !egin in these simple open ,i,ths$ !ut mo+e on to .isplay comple3 rhythmic$ melo.ic an. harmonic se4uences$ /hich coul. sym!oli>e ones time on =arth' Ho/e+er in this liturgical tra.ition$ e+entually e+eryone /ill return to <o. some.ay$ /hich is represente. in those simple ,i,ths' *t is that psychology /hich * think makes the piece e3tremely philosophical' )hose ,i,ths pro+i.e a starting point$ an. a .estination$ /hich is really the premise o, /hat is sought a,ter in Church' 0igure &: Open 0i,ths in Ca.ential (oints 0inally$ * !egan looking at the ,orm o, this piece' *t is /ritten /ith a lot o, three' ?ot only .oes each measure ha+e three !eats$ !ut the entire piece has three ma@or sections' )his is a sym!ol o, the )rinity$ an. .enotes its liturgical an. religious +alue in an almost cryptic /ay' Another thing * recalle. /as that this ,orm o, contrapuntal /riting /as meant ,or the large 1

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Cathe.ral' )here /as no ampli,ication in 1#12$ so /riting in ,i,ths$ /ith melo.ies on top o, them must ha+e soure. in the high +aulte. an. stone ceilings o, a :asilica or Chapel' )he
Anthony Carrella' Music Historiography' Analysis (aper eptem!er "%1&

Missa Lhomme arm: Kyrie Ockghem

acoustical pro!lem /as sol+e. here$ allo/ing only nine or ten singers to soun. a!o+e an entire congregation' )he partials make all o, the .i,,erence' A lot o, ,antastic music /as /ritten .uring this time$ !ut * .o not think many people kno/ its true +alue' )hese pieces$ especially this Kyrie$ /ere meant to portray a certain .egree o, spiritual enlightenment an. /on.er' On the sur,ace$ /e .o see an. hear +ery !eauti,ully /ritten counterpoint$ !ut this music goes .eeper than that' omeones <o. an. !elie,s are /o+en into the ,a!ric o, the /ork through the te3t$ ,orm$ an. purpose$ an. it is +ery important to honor this @ust as much as its theoretical +alue'

Anthony Carrella' Music Historiography' Analysis (aper eptem!er "%1&