arranged for

guitarduetby

JeffryHamilton

Steele

Missa Pange Linguaby Josquin des Prz

PrismMusic4 Spring St.

Gloucester MA 01930978-282-3106

www.jeffrysteele.com

As heard on the CD album Guitara Illuminata (Centaur Records CRC 2384)

artwork by Carla Mattioli, Awakening Arts

Missa Pange Linguaby Josquin des Prz

arranged for guitar duet byJeffry Hamilton Steele

From the liner notes to the Centaur Records CD:

Of what little is known of the life of Josquin des Prz,a few details stand out that help form a picture of hisnature. He was born in Picardy (in France, close to theborder with Belgium) and distinguished himself as asinger in boyhood. That he grew to be considered one ofthe most valued composers of the day is evidenced by thehigher fees paid him compared with his contemporaries.That he valued the spiritual over the material is implicit inhis choice to spend his last period at the college of Cond,near his birthplace, when he might easily have held acourt position in any of a number of countries. He musthave sensed the conditions required for him to produce awork of the depth of Pange Lingua.

In this arrangement of what may have been Josquinsfinal work the original score has been transposed downby a minor third, both guitars having their strings tuned aswere the Renaissance lute and vihuela (the interval of themajor third now occurring between the third and fourthstrings instead of between the second and third strings).As it was common contemporary practice to performvocal music on these instruments, it is not surprising thatthis configuration lends itself idiomatically to the vocalpolyphony of that time. In fact, vihuela tablature arrange-ments of Josquins vocal music provide clues in questionsof musica ficta (sharps and flats added to the originalscore by performers in accordance with contemporarypractice) as there can be little doubt as to whether anote is sharped when the actual fret on which it is fin-gered has been indicated. [Although these arrangementsare from another region and produced by the next genera-tion]. Throughout most of the work, each guitar plays twoof the four voices the latter originally corresponding tocounter-tenor (alto), tenor, baritone and bass ranges.

I. The piece begins with the plainchant on which themass is based, Pange Lingua (O my tongue, proclaim themystery) whose text speaks of how Jesus concluded

in a marvelous manner his life on earth. It is playedonce each on the nylon and steel string guitars, twosuccessive verses being each heard in differentoctaves. The melody is in the phrygian mode a churchmode in the minor with a particularly dark intensity,owing to the second degree of the scale being a halfstep above the root note.

This is followed immediately by the Kyrie theshortest movement in most masses, having the briefesttext whose three sections are in 3/4 (Lord havemercy), 2/4 (Christ have mercy) and 3/4 (Lord havemercy) respectively. Here the first phrase (ten notes) ofthe plainchant melody is the basis for (what begins as) acanon at the fifth. Although printed editions do notmaintain the phrygian mode in each entering voice, Ihave taken the liberty of doing so (as was done in thefirst recording made of the Mass by the New York ProMusica). This makes for alternation between two phry-gian tonal centers, a fifth apart, throughout the Mass.

II. With the Gloria, a generic chant intro (Glory beto God on high) leads us into a similar treatment of theplainchant melody, followed by a playful exchangebetween voices on the two-word text phrases:Laudamus te. Benedicimus te. Etc... (We praise thee.We glorify thee.). This style continues through otherdeclarations of praise. When the text foreshadows theAgnus Dei (Qui tollis peccata mundi...), the meterswitches to 2/4 with a more plaintive canon that begins,this time, using the first four notes of the plainchant.With suscipe deprecationem (hear our prayer), wehear the first homophonic (all parts singing the samewords at the same time) moment in the mass thus far.Note how the plea misere nobis (have mercy on us) also to be heard in the Agnus Dei movement is dra-matized by an octave leap in the melody. The HolySpirit may have been a nimble one in Josquins view,for the music takes on a dance-like (dotted rhythm)

character for the Cum Sancto Spiritu that closes themovement.

III. The Credo begins in 2/4 with what can be inter-preted as a much embellished version of the first twophrases (21 notes) of the plainchant. Though very similarto the opening of the other movements, there is somethingparticularly declarative about the lines here, reflectingstrength of belief (I believe in one God, the fatheralmighty, etc.). The list of beliefs builds to a crescendowith the Qui propter nos homines (Who for us men, andfor our salvation, came down from heaven). There fol-lows the suddenly quiet peace of the Et incarnatus est(And became incarnate by the Holy Spirit), which clos-es with one of few cadences on the relative major. Playedby a single guitar, it is the most extended section ofhomophony in the Mass. This moment may be taken tosymbolize, musically, letting go of the struggle to predictour destinies and allowing God to come through fully (asdid Jesus when, at baptism, he became The Christ).

The plainchants first phrase is next invoked for thereverential Crucifixus (He was crucified also for us);the ascent to heaven is reflected in rising scales; and dot-ted rhythms return for sitting on the right hand of theFather. The Et in Spiritum Sanctum (I believe in theHoly Spirit...) section reaches its apex in a duet for thetwo upper voices. The meter then shifts to an unshakable3/4 meter for the acknowledgement of baptism, back to2/4 for the resurrection of the dead, and back to 3/4 forthe life of the world to come. The final Amen is a brieftape loop type canon such as will be given moreextended treatment in the dona nobis pacem that closesthe mass.

IV. Like the Kyrie and Gloria, the Sanctus begins in3/4 with the first phrase of the plainchant, its first briefsection coming to repose in a plagal (IV-I) cadence on therelative major. Pleni sunt coeli (Heaven and earth arefull of your glory) is set to fiery canonic writing in thetwo upper voices where imitations come as close as onebeat apart often defiant of meter. In fact, breaking freeof time signature constraints is a musical device Josquinappears to use more often the further from earth he wouldlike to take us as one may experience in the followingOsanna in excelsis.

To balance the earlier duet, the next section,Benedictus qui venit (Blessed is he who comes in thename of the Lord), is sung by the two lower voices. Thebass voice pauses, as though a mountain climber, to heareach of his initial phrases echoed by the baritone. Seekingthis voice from the next mountain, he hikes towards it;and thus we hear the time between echoes decreasing.Could this be Josquins depiction of the journey towards

God: how we seek the being who produced the echo wehave been hearing, only to find that He was singing tous from within? As is customary, the Sanctus closeswith a reprise of the Osanna.

V. Also beginning in 3/4, the Agnus Dei (Lamb ofGod) quotes the first three notes of the plainchant butthen surprises us on the fourth note by jumping down tothe sixth degree of the scale rather than the seventh (aswe have heard in every previous instance) temporari-ly transforming the earthly melancholy and struggle feltin the phrygian minor mode into the heaven-bound rela-tive major. Though we may be led to expect that thissection will cadence on the major, in the penultimatebeat Josquin brings us back into minor. The middle sec-tion is an extended duo between the two higher voices,played on the solo classical guitar, in 2/4. Like the Plenisunt coeli duo (from the Sanctus), the voices at firsthave canon entrances four beats apart, but intensityincreases as each voice becomes more anxious to beheard and soon the entrances are coming only one beatapart. On the first miserere nobis (have mercy on us)of this section, we twice hear a yearning phrase thatJosquin will reinvoke near the close of the movement.

In the final section, each voice enters three beatsapart (in 3/4) with one Agnus Dei each, pathos leantby wrenching half-step dissonances. Here, only threenotes of the plainchant remain intact, beyond which themelody has a new shape emphasizing or giving in tothe gravity of the root note. The meter immediatelyshifts to 2/4 as the treble voice begins the first six notesof the plainchant in augmentation (lengthened note val-ues) a technique Josquin used throughout his earliermasses but only chose this single instance to employ inthis one. After the usual qui tollis peccata mundi (whotakes away the sins of the earth) we are led into thedona nobis pacem (grant us peace). Josquin appears toevoke three consecutive and distinct moods with eachstatement of this famous prayer: reticence (when thevoices are paired), heroism (repeated notes followed bya brief descent culminating in the aforementionedyearning phrase), and, finally, bliss. The sense ofinner peace evoked by this closing canon is at the sametime plaintive, as if leaving behind the emotional inten-sity of human existence upon reaching the Kingdom ofHeaven.

While this arrangement was recorded on two classicalguitars, to help distinguish the lines of polyphony one wasstrung with Thomastik rope-core steel strings (which are opti-mized for nylon-string guitars). Fingering has been left to theplayers. While straightforward in most cases, a few largestretches will be required to maintain the independence ofvoices when they come to a unison.

Jeffry Hamilton Steele

JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 1 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 18 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 19 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 20 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 21 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 22 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 23 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 24 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 25 - 1998 Prism music www.jeffrysteele.com

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JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 26 - 1998 Prism music www.jeffrysteele.com

JOSQUIN DES PREZ Missa Pange Lingua arr. by Jeffry Hamilton Steele - 27 - 1998 Prism music www.jeffrysteele.com

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Prism musicCurrent Titles

SOLO GUITARLes Cinq Doigts (8 movements) Igor Stravinsky

Prelude Nos. 4 & 15 (from Op. 28) Frdric Chopin

Third Cello Suite (6 movements) J.S. Bach

Sin PalabrasUnicornio/Rabo de Nube Silvio Rodriguez (Cuba)Para Amarnos con el Mundo Salvador Cardenal Barquero (Nicaragua)Erev Shel Shoshanim IsraelAgnus Dei 1310 England

Semper Dowland John Dowland25 newly arranged works by the English Renaissance master

Voice of Creation Jeffry Hamilton SteeleStream at SunriseSamba de los NiosJacobs Dream (for guitar with tape)Sunset Reverie

Solo Guitar Suite from Jeffry Hamilton SteeleClear Away: A Fishermans Farewell

GUITAR DUETMissa Pange Lingua (5 movements) Josquin des Prz (c.1440-1521)Missa Hercules (5 movements) Josquin des Prz

GUITAR, VIOLIN/VIOLA, FLUTE, PENNYWHISTLE,VOICES & PERCUSSION (with dancers)

Clear Away: A Fishermans Farewell Jeffry Hamilton Steele(complete score)

The Clear Away Songbook Jeffry Hamilton Steele(Just the songs from Clear Away: A Fsihermans Farewell)

Prism Music 4 Spring St. Gloucester MA 01930 978-282-3106http://jeffrysteele.com