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=Mass=
=Mass=
[[Image:Mass.jpg|thumb|2008 Midnight Christmas Mass, St. Peter's]]
[[Image:Mass.jpg|thumb|2008 Midnight Christmas Mass, St. Peter's]]
The Roman Catholic ''Mass'' takes its name from the words spoken in Latin at the end of the ceremony:
The '''{{CC|Masses|Mass}}''' of the Western Church takes its name from the Latin words spoken at the end of the ceremony:


:''Ite, missa est.'' (Go, it is the dismissal.{{sup|[http://www.newadvent.org/cathen/08253a.htm]}})
:''Ite, missa est.'' (Go, it is the dismissal.{{sup|[http://www.newadvent.org/cathen/08253a.htm]}})


From the first millennium of the Common Era various texts from the Mass have been sung, first as plainchant (including [[Gregorian chant]], [[Ambrosian chant]], Mozarabic, and so on) and, beginning with the motets of Magister Leoninus and [[Perotin|Perotinus]], increasingly as homophonic music.
From the first millennium of the Common Era various texts from the Mass have been sung, first as plainchant (including [[Gregorian chant]], [[Ambrosian chant]], Mozarabic, and so on) and, beginning with the motets of Magister [[Léonin|Leoninus]] and [[Pérotin|Perotinus]], increasingly as homophonic or polyphonic music.


It was soon recognised that certain texts were more suitable for setting to music, since they were frequently recited on numerous occasions in the Church calendar, or in virtually every ceremony; these texts became known as the Ordinary, differentiating them from the Propers, which were items specific to the season, hour or the day.
Machaut's [[Messe de Notre Dame (Guillaume de Machaut)|''Messe de Notre Dame'']] is the first attributed work to include all the texts of the Ordinary of the Mass, that is those used at all services as opposed to the Propers or items specific to the particular ceremony. Such cyclic masses (a lower case m distinguishes musical settings from the ceremony itself) became a major genre during the Renaissance. A smaller number of plenary masses or {{CC|Mass propers|''propriae missae''}} set both Ordinary and Propers for a given Mass, and Isaac's [[Choralis Constantinus (Heinrich Isaac)|''Choralis Constantinus'']] was an ambitious project to set every item of the Propers.


After the reformation "Mass" was at first used by Lutherans but now the [[Book of Common Prayer]] term {{CC|Communion Services|Communion Service}} is widespread.


==Ordinary of the Mass==
==Ordinary of the Mass==
==={{Flag|Latin|show}} text===
==={{Flag|Latin|show}} text===
The Ordinary is usually understood to consist of the first five of the following texts, of which the ''Kyrie'', introduced to the west by Pope Sergius in the 8c., is in Greek rather than Latin:  
The Ordinary is usually understood to consist of the first five of the following texts, of which the ''Kyrie'', introduced to the west by Pope Sergius in the 8c., is in Greek rather than Latin:


#[[Kyrie|''Kyrie eleison'']]
#[[Kyrie|''Kyrie eleison'']]
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#''Ite missa est''
#''Ite missa est''


Separate musical settings of these movements were regularly composed as stand-alone movements, or as linked pairs (''e.g.'' a pair of ''Kyrie''–''Gloria'' or ''Sanctus''–''Agnus Dei''). The first composer to compose an entire cyclic mass setting, was the great Burgundian composer [[Guillaume de Machaut]], writing in the middle 1300s. Machaut's ''[[Messe de Nostre Dame (Guillaume de Machaut)|Messe de Notre Dame]]'' (Mass of Our Lady) includes all six movements listed above, including a setting of ''Ite missa est''.
The first entire cyclic mass setting by a single composer, [[Guillaume de Machaut]]'s ''[[Messe de Nostre Dame (Guillaume de Machaut)|Messe de Notre Dame]]'', includes all six movements listed above. Since the time of Machaut the vast majority of mass settings omit ''Ite missa est'' (the ''Missa brevis'' of Zoltán Kodály is a notable exception). Concluding with ''[[Domine salvum fac]] regem (ecclesiam, etc.) nostrum'' (Lord, save our King/Church…) has occasionally been sanctioned, and the [[Requiem|Mass of the Dead]] ends not with a dismissal but with chants to accompany the procession to the burial place.


The forms of Mass settings have varied hugely up to the present day. At various times in different countries, certain texts have been included or excluded according to the favour of church custom. Since the time of Machaut the vast majority of mass settings omit ''Ite missa est'', though it is found in some modern settings, for example, the ''Missa brevis'' of Zoltán Kodály. Replacing this text with a different musical setting, such as ''Domine, salvum fac regem nostrum'' or ''Domine, salvam fac ecclesiam nostram'' (Lord, save our King/Church…) has occasionally been sanctioned, and the [[Requiem|Mass of the Dead]] ends not with a dismissal but with chants to accompany the procession to the burial place.
The division of the text occasionally differs from the numbering above. The penitential text of the ''Kyrie'' invokes the Father (''Kyrie''), then the Son (''Christe''), and then God the Father again, but each petition is traditionally repeated three times. ''Kyries'' in 4 or 5 movements (such as Machaut's or the ''Missa in Tempore Paschali'' of [[Nicolas Gombert]]) presume an ''[[alternatim]]'' performance, in which plainchant or organ alternates with polyphony to preserve the 9-fold repetition. ''Gloria'' and ''Credo'' may also be treated in ''alternatim'' style, or else set complete but divided at various points into separate 'paragraphs'. ''Sanctus'' and ''Benedictus'' may be set continuously or separately; each finish with the exclamation ''Hosanna in excelsis!'' and the rubric "hosanna ut supra" ("Hosanna as above") instructs the singer to return to the music following the ''Sanctus'' for the final ''Hosanna''. The threefold ''Agnus Dei'' may be set in one, two, or three separate movements, the final "dona nobis pacem." having the same number of syllables as "miserere nobis".


The division of the text occasionally differs from the numbering above: the ''Agnus Dei'' having traditionally been recited three times, was often set in through-composed fashion, or in two or three separate movements. ''Sanctus'' and ''Benedictus'' each finish with the exclamation ''Hosanna in excelsis!'' (Osanna in the highest!), which has often led composers to recapitulate their musical ideas, or treat each text as separate movements with different musical ideas; for economy, some Mass settings will instruct the singer upon reaching the end of ''Benedictus qui venit in nomine Domini'' to return to the ''Sanctus'' for the final ''Hosanna''.
Mass cycles in 15th and 16th century England often omitted the ''Kyrie'', whose place was taken by a {{CC|Troped Kyries|Troped Kyrie}} proper to the feast. In the Church of England after the reformation, the name "Kyrie" was given instead to responses to the commandments: after the first nine commandments was to be sung [or said], "Lord, have mercy upon us, and incline our hearts to keep this law"; after the ninth was sung [or said] "Lord have mercy upon us, and write all these thy laws in our hearts, we beseech thee." English usage after the reformation also moved the "Gloria in excelsis" to the position of a Postcommunion canticle, and provided for the "Sanctus" but no "Benedictus", and omitted the "Agnus Dei".


Likewise, it is rare for composers to have written completely uninterrupted music for the long texts of the ''Gloria'' or ''Credo'', especially as these texts incorporate a variety of moods and subjects, and clearly lend themselves to cyclic as well as varied musical ideas. The penitential text of the ''Kyrie eleison'' traditionally invokes the Father (''Kyrie''), then the Son (''Christe''), and then God the Father again; but each petition may be repeated a number of times, so that a composition may be described as a 3-fold, 6-fold, or even a 9-fold ''Kyrie''. The ''Missa in Tempore Paschali'' of [[Nicolas Gombert]] unusually divides the ''Kyrie'' into four movements, including two central ''Christe'' sections; but this seeming anomaly is resolved when plainchant is introduced for the remaining five repetitions in a 9-fold ''Kyrie'', so that the chant and Gombert's polyphony alternate.
The term ''Missa brevis'' is used in numerous ways. It may be simply a 'hunter's Mass' or speedy setting of the whole Ordinary, a setting omitting the ''Credo'', a ''Missa ferialis'' or weekday mass omitting the ''Gloria'', or (particularly in Lutheran usage) either a ''Kyrie-Gloria'' or a ''Sanctus-Agnus'' pair.
 
<!--revision of text from here to comment that Bach b-minor is full Mass cycle. ns 4/3/06-->In a ''Missa brevis'', one or more of the movements, most often ''Credo'', and next most often (especially in Advent and Lent) the [[Gloria|''Gloria in excelsis Deo'']], are omitted. Mass cycles in 15th and 16th century England often omitted the ''Kyrie''. After the Reformation, most the Lutheran composers omitted all but the Kyrie and Gloria, and in the Church of England after the reformation, the name "Kyrie" was given to responses to the commandments, which the Book of Common Prayer provided was to be used at every service. After the first nine commandments was to be sung [or said], "Lord, have mercy upon us, and incline our hearts to keep this law"; after the ninth was sung [or said] "Lord have mercy upon us, and write all these thy laws in our hearts, we beseech thee." English usage after the reformation also moved the "Gloria in excelsis" to the position of a Post communion canticle, and provided for the "Sanctus" but no "Benedictus", and omitted the "Agnus Dei". <!--the longest text of the six above; or in the case of [[Johann Sebastian Bach|J.S. Bach's]] ''Mass in B minor'', [The Bach b-minor is a full Mass cycle, including Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei.] --> The ''Missa'' was taken by Lutheran composers to refer to just ''Kyrie'' and ''Gloria'', from Mass cycles.


==Proper of the Mass==
==Proper of the Mass==
Interspered in the ceremony of the Mass are the texts that change daily or seasonally, which are known as the ''Propers''. The Major propers are 3 collects of the day (following the Gloria, the prayer over the gifts, and communion), and the readings. The Minor propers include the the benediction and preface as well as the following antiphons sung by the choir:
Interspersed in the ceremony of the Mass are the texts that change daily, known as the ''Propers''. The Major Propers are 3 collects of the day (following the Gloria, the prayer over the gifts, and communion), and the readings. The Minor Propers include the the benediction and preface as well as the following antiphons sung by the choir:


'''{{CiteCat|Introits|Introitus}}:''' the ''Introit'' is sung as the procession of clergy enter the church at the start of the Mass. The ''Kyrie'' and ''Gloria'' follow on, and then (on Sundays and solemnities) two lessons, the first usually from the Old Testament (or the Acts of the Apostles during Eastertide) and the second, the Epistle, from the New Testament.
'''{{CiteCat|Introits|Introitus}}:''' the ''Introit'' is sung as the procession of clergy enter the church at the start of the Mass. The ''Kyrie'' and ''Gloria'' follow on, and then (on Sundays and solemnities) two lessons, the first usually from the Old Testament (or the Acts of the Apostles during Eastertide) and the second, the Epistle, from the New Testament.


'''{{CiteCat|Graduals|Graduale}}:''' The ''Gradual'' is in responsory rather than antiphon form, and hence occasionally called the '' '''Responsorium'''''. In the 1970 Ordinary Form it may be replaced with a Responsorial Psalm (which otherwise is sung or recited between the First Lesson and the Epistle). It is sung after the Epistle as the Gospel book is taken to the centre of the church, followed by the  
'''{{CiteCat|Graduals|Graduale}}:''' The ''Gradual'' is in responsory rather than antiphon form, and hence occasionally called the '' '''Responsorium'''''. In the 1970 Ordinary Form it may be replaced with a Responsorial Psalm (which otherwise is sung or recited between the First Lesson and the Epistle). It is sung after the Epistle as the Gospel book is taken to the centre of the church, followed by the


Gospel acclamation, usually an ''{{CiteCat|Alleluia verses|Alleluia verse}}'' but a ''{{CiteCat|Tracts|tractus}}'' during {{CiteCat|Lent}}, sung as the book is incensed. On important feasts this is followed by the
Gospel acclamation, usually an ''{{CiteCat|Alleluia verses|Alleluia verse}}'' but a ''{{CiteCat|Tracts|tractus}}'' during {{CiteCat|Lent}}, sung as the book is incensed. On important feasts this is followed by the


'''[[:Category:Sequence hymns|Sequentia]]''' (or ''Prosa''): Of over a thousand sequences in use before the Council of Trent, only 4 were retained in the 1570 missal: "[[Victimae paschali laudes|Victimæ Paschali]]" at {{CiteCat|Easter}}; "[[Veni Sancte Spiritus]]" at {{CiteCat|Pentecost}}; "[[Lauda Sion Salvatorem|Lauda Sion]]", for {{CiteCat|Corpus Christi}}; and the "[[Dies irae|Dies Iræ]]" during the Mass of the Dead ([[Requiem]]); "[[Stabat Mater|Stabat mater dolorosa]]" was restored in 1727. In 1970 the Second Vatican Council eliminated ''Dies irae'' and made all but the first two optional; the sequence's position was also moved in front of the Gospel Acclamation.
'''[[:Category:Sequence hymns|Sequentia]]''' (or ''Prosa''): Of over a thousand sequences in use before the Council of Trent, only 4 were retained in the 1570 missal: "[[Victimae paschali laudes|Victimæ Paschali]]" at {{CiteCat|Easter}}; "[[Veni Sancte Spiritus]]" at {{CiteCat|Pentecost}}; "[[Lauda Sion Salvatorem|Lauda Sion]]", for {{CiteCat|Corpus Christi}}; and the "[[Dies irae|Dies Iræ]]" during the Mass of the Dead ([[Requiem]]); "[[Stabat Mater|Stabat mater dolorosa]]" was restored in 1727. In 1970 the Second Vatican Council eliminated ''Dies irae'' and made all but the first two optional; the sequence's position was also moved in front of the Gospel Acclamation.


'''{{CiteCat|Offertories|Offertorium}}:''' after ''Credo'' and intercessions, the ''Offertory'' is sung as the elements of bread and wine are brought to the altar, leading to the prayer of consecration known as the ''Canon'', sung by the priest(s) (con-)celebrating the Mass, which incorporates the ''Sanctus'' and ''Benedictus''. The celebrant then re-enacts the last supper, reciting the words with which Christ shared the bread and wine with the apostles, leading to the ''Agnus Dei''.  
'''{{CiteCat|Offertories|Offertorium}}:''' after ''Credo'' and intercessions, the ''Offertory'' is sung as the elements of bread and wine are brought to the altar, leading to the prayer of consecration known as the ''Canon'', sung by the priest(s) (con-)celebrating the Mass, which incorporates the ''Sanctus'' and ''Benedictus''. The celebrant then re-enacts the last supper, reciting the words with which Christ shared the bread and wine with the apostles, leading to the ''Agnus Dei''.


'''{{CiteCat|Communions|Communio}}:''' the ''Communion'' text is then sung as the bread and wine are shared amongst the congregation. After the communion is finished and closing prayers concluded, the ''Ite missa est'' concludes the Mass.
'''{{CiteCat|Communions|Communio}}:''' the ''Communion'' text is then sung as the bread and wine are shared amongst the congregation. After the communion is finished and closing prayers concluded, the ''Ite missa est'' concludes the Mass.


The Vatican II reforms added a third Old Testament lesson to the Epistle and Gospel, separating the Gradual from the Alleluia. Nowadays the Latin Gradual is usually replaced by the '''gradual psalm''', a sort of 'fourth lesson'.
The Vatican II reforms added a third Old Testament lesson to the Epistle and Gospel, separating the Gradual from the Alleluia. Nowadays the Latin Gradual is usually replaced by the '''Responsorial Psalm''', a sort of 'fourth lesson'.


==Other items associated with the Mass==
==Other items associated with the Mass==


Besides the Ordinary and the Proper, there were at various times and in some places, other texts associated with the Mass which also occasionally received musical treatment. These included certain items always said before Mass by the Priest; in some places it was a custom to bless water and sprinkle it upon the congregation, accompanied by an antiphon "Asperges me" – "Purge me with hyssop and I shall be clean; wash me and I shall be whiter than snow", and Psalm verse, "Have mercy upon me O Lord, according to thy great goodness", both drawn from Psalm 50 (51 V). During Easter time, this was replaced by a different antiphon, drawn from Ezekiel 47, the "Vidi aquam", "I beheld water proceeding from the temple, form the right side thereof, alleluia: and everything, whithersoever the waters of life shall come, shall be healed, and they shall say, alleluia, alleluia", and a verse from Psalm 118, (119 V) "O give, give thanks unto the Lord for He is gracious, because His mercy endureth forever." In either case, the Psalm verse was followed by the "Gloria Patri", and the antiphon was repeated.
Besides the Ordinary and the Proper, other texts associated with the Mass occasionally received musical settings. These include the blessing of water before Mass and sprinkling of it upon the congregation, accompanied by an antiphon ''[[Asperges me]]'' (or during {{CC|Easter|Eastertide}} ''[[Vidi aquam]]''). The opening Rite of Confession includes the prayer called the ''[[Confiteor]]'' immediately before ''Kyrie''; the "Confiteor" has been occasionally set to music, for a choir.<!--this seems dubious to me, though a title by Richafort looks worth chasing-->


It has also been also customary for the Mass to be preceded by a rite of confession, one of the prayers of which is a confession deriving called the "Confiteor"; the "Confiteor" has been occasionally set to music, for a choir, as first the Priest celebrating confesses to the servers, and then the servers repeat the confession with minor changes to the Priest.
Some Masses on special days call for extra proper items. These include antiphons for the Procession with Palms on {{CC|Palm Sunday}} for which Palestrina, Victoria and Schubert provided choral settings, and from which "[[Hosanna to the Son of David]]'' derives. Another day with extra antiphons is {{CC|Maundy Thursday}}, where the washing of feet is accompanied by singing.


An Antiphon is very often an introduction to another item; for example, the Introit consists of an Antiphon, one or more Psalm verses, the "Gloria Patri", and a repetition of the Antiphon. However, there are proper texts associated with processions which are appended to Mass on special days, and these are also known as antiphons. These processions include the Procession with Palms, on Palm Sunday. Palestrina and Victoria both provided choral itmes of some of these, one of which is the "Pueri Hebraeorum". (The children of the Hebrews, bearing branches of Palm and Olive, went out to greet the Lord, saying "Blessed is he that comes in the name of the Lord.); Gibbons and Weekes both composed settings of another Procession text, "Hosanna to the Son of David. Blessed is he that comes in the name of the Lord."
=Settings by composers=
The Choral Public Domain Library has editions of upwards of 400 masses, either complete settings or mass sections, which are listed in the [[:Category:Masses|Mass category]], including works by the following composers:


Another day with proper antiphons is Maundy Thursday, where it is the custom in some places for the superior to wash the feet of some of the members of the congregation, accompanied by antiphons, "'A new commandment I give unto you, that you love one another as I have loved you', says the Lord" accompanying the verse from Psalm 118 (119 V) "Blessed are those that are undefiled and walk in the way of the Lord". Another antiphon associated with Maundy Thursday is "Ubi caritas", "Where charity and love are, there is God".
==Mediæval and Renaissance masses==
===Gregorian masses===
The numbering (and in most cases the grouping together of movements) of the [[Gregorian chant]] masses originated in the late 19c; their titles reflect the {{CC|Troped Kyries}} once associated with them.
{{Top}}
*Missa I Lux et origo
*Missa II Fons bonitatis
*Missa III Deus sempiterne
*Missa IV Cunctipotens
*Missa V Magnae Deus
*Missa VI Rex genitor
{{mdl|3}}
*Missa VII Rex splendens
*Missa VIII [[Missa de Angelis (Gregorian chant)|de Angelis]]
*Missa IX Cum jubilo
*Missa X
*Missa XI [[Missa XI Orbis factor (Gregorian chant)|Orbis factor]]
*Missa XII
{{mdl|3}}
*Missa XIII
*Missa XIV
*Missa XV
*Missa XVI [[Kyrie XVI (Gregorian chant)|(Kyrie)]]
*Missa XVII
*Missa XVIII [[Sanctus XVIII (Gregorian chant)|(Sanctus]], [[Agnus Dei XVIII (Anonymous)|Agnus)]] [[Sarum Plainsong Mass (Anonymous)|Sarum use]]
{{btm}}


One other group of choral music often associated with Mass are antiphons associated with the Mother of God
===Anonymous masses===
:
Many single mass movements (see [[:Category:Mass fragments]]) are found in 14/15c sources; [[Messe de Nostre Dame (Guillaume de Machaut)|Machaut's mass]] was preceded by 3 anonymous french cyclic settings.
 
{{Top}}
=Settings by composers=
*[[Messe de Tournai (Anonymous)|Messe de Tournai]]
The Choral Public Domain Library has editions of upwards of 400 masses, either complete settings or mass sections, which are listed in the [[:Category:Masses|Mass category]], including works by the following composers:
*[[Messe de Toulouse (Anonymous)|Messe de Toulouse]]
*[[Messe de Barcelone (Anonymous)|Messe de Barcelone]]
*Trent 88 [[Gloria (tr88) (Anonymous)|Gloria]] & [[Credo (tr88) (Anonymous)|Credo]]
*[[Kyrie de Beata Virgine (Anonymous)|Kyrie de Beata Virgine (Trent 88)]]
*[[Missa 'Grüne Linden' (Anonymous)]]
*[[Missa Christus surrexit (Anonymous)]]
{{mdl|3}}
*[[Missa Esclave puist adevenir (Anonymous)]]
*[[Missa ferialis (Anonymous)|Missa ferialis (Grenada 17c)]]
*[[Missa Fons bonitatis (Anonymous)|Missa Fons bonitatis (Trent 89)]]
*[[Missa Puiskemor (Puisque m'amour) (Anonymous)]]
*[[Missa Se tu t'enmaries (Anonymous)]]
*[[Missa Trium Vocum (Anonymous)]]
{{mdl|3}}
*[[Sanctus & Agnus (Anonymous)|Sanctus 'anglicanus' & Agnus (Trent 87)]]
*[[Kyrie (16th cent. English) (Anonymous)|Kyrie (16th cent. English)]]
*[[Kyrie Magne Deus (Anonymous)|Kyrie Magne Deus (Trent 89)]]
*[[Kyrie Magne Deus (tr93) I (Anonymous)]]
*[[Kyrie Magne Deus (tr93) II (Anonymous)]]
*[[Missa I (Anonymous)|Missa I (Trent 91)]]
*[[Missa seraphica (Anonymous)]]???
{{btm}}


==Mediæval and Renaissance composers==
===Mediæval and Renaissance composers===
<table width="100%" border="0" cellpadding="0" cellspacing="0">
<table width="100%" border="0" cellpadding="0" cellspacing="0">
<tr><td valign="top" width="33%">
<tr><td valign="top" width="33%">
Line 73: Line 118:
*[[Giovanni Francesco Anerio]]
*[[Giovanni Francesco Anerio]]
*[[Giovanni Matteo Asola]]
*[[Giovanni Matteo Asola]]
*[[Antoine Barbé]]
*[[Jacques Barbireau]] (?)
*[[Jacques Barbireau]]
*[[Jean de Bournonville]] (16)
*[[Jean de Bournonville]]
*[[Antoine Brumel]] (15)
*[[Antoine Brumel]]
*[[William Byrd]] (3)
*[[William Byrd]]
*[[Manuel Cardoso]]
*[[Manuel Cardoso]]
*[[Rodrigo de Ceballos]]
*[[Rodrigo de Ceballos]]
*[[Giovanni Paolo Cima]]
*[[Giovanni Paolo Cima]]
*[[Pierre Clereau]]
*[[Rodrigo de Ceballos]]
*[[Pierre Colin]]
*[[Jacobus Clemens non Papa]] (15)
*[[Giovanni Croce]]
*[[Pierre Colin]] (26)
*[[Josquin des Prez]]
*[[Giovanni Croce]] (3 vols.)
*[[Juan Esquivel]]
*[[Juan Esquivel]] (at least 7)
*[[Georg Florius]]
*[[Georg Florius]] (2)
*[[Andrea Gabrieli]]
*[[Andrea Gabrieli]]
*[[Giovanni Gabrieli]]


</td><td valign="top" width="33%">
</td><td valign="top" width="33%">


*[[Giovanni Gabrieli]]
*[[Simone Gatto]] (7?)
*[[Simone Gatto]]
*[[Nicolas Gombert]] (10)
*[[Nicolas Gombert]]
*[[Jean Guyon]] (2)
*[[Jean Guyon]]
*[[Francisco Guerrero]] (19)
*[[Francisco Guerrero]]
*[[Adam Gumpelzhaimer]]
*[[Adam Gumpelzhaimer]]
*[[Jacob Handl]]
*[[Jacob Handl]]
*[[Hans Leo Hassler]]
*[[Hans Leo Hassler]] (8)
*[[Marco Antonio Ingegneri]]
*[[Marco Antonio Ingegneri]]
*[[Jacobus de Kerle]]
*[[Josquin des Prez]] (~18)
*[[Orlando di Lasso]]
*[[Jacobus de Kerle]] (10)
*[[Duarte Lobo]]
*[[George de La Hèle]]
*[[Guillaume de Machaut]]
*[[Pietro Lappi]]
*[[Nicolas de Marle]]
*[[Orlando di Lasso]] (70)<!--? per SWNR-->
*[[Philippe de Monte]]
*[[Duarte Lobo]] (
*[[Cristóbal de Morales]]
*[[Carl Luython]]
*[[Jean Mouton]]
*[[Jean Maillard]]
*[[Jacob Obrecht]]
*[[Nicolas de Marle]] (3)
*[[Johannes Ockeghem]]
*[[Philippe de Monte]] (7?)
*[[Giovanni Pierluigi da Palestrina]]
*[[Cristóbal de Morales]] (22)
*[[Jean Mouton]] (17)


</td><td valign="top">
</td><td valign="top">


*[[Robert Parsons]]
*[[Jacob Obrecht]] (32)
*[[Johannes Ockeghem]] (15, incl. fragments)
*[[Giovanni Pierluigi da Palestrina]] (105)
 
*[[Mogens Pedersøn]]
*[[Mogens Pedersøn]]
*[[Francisco de Penalosa|Francisco de Peñalosa]]
*[[Francisco de Penalosa|Francisco de Peñalosa]]
*[[Michael Praetorius]]
*[[Michael Praetorius]]
*[[Adam Reiner]]
*[[Adam Rener]]
*[[Cipriano de Rore]]
*[[Cipriano de Rore]]
*[[Pietro Roselli]]
*[[Pietro Roselli]]
*[[Sampson]]
*[[Jehan Sarton]]
*[[Johann Stahel]]
*[[Johann Stahel]]
*[[Thomas Stoltzer]]
*[[Thomas Stoltzer]]
*[[Thomas Tallis]]
*[[Thomas Tallis]]
*[[John Taverner]]  
*[[John Taverner]]
*[[Giovanni Valentini]]
*[[Giovanni Valentini]]
*[[Ludovico da Viadana]]
*[[Ludovico da Viadana]]
*[[Tomás Luis de Victoria]]
*[[Tomás Luis de Victoria]] (20)
*[[Gasparo Villani]]
*[[Manuel de Zumaya]]
*[[Manuel de Zumaya]]


Line 151: Line 200:
*[[Marc-Antoine Charpentier]]
*[[Marc-Antoine Charpentier]]
*[[François Couperin]]
*[[François Couperin]]
*[[Christoph Demantius]]
*[[Giovanni Grossi]]
*[[Giovanni Grossi]]
*[[Isabella Leonarda]]
*[[Isabella Leonarda]]
Line 160: Line 210:


*[[Johann Theodor Roemhildt]]
*[[Johann Theodor Roemhildt]]
*[[Vicent Rodríguez Monllor]]
*[[Giovanni Felice Sances]]
*[[Giovanni Felice Sances]]
*[[Domenico Scarlatti]]
*[[Domenico Scarlatti]]
Line 211: Line 262:
*[[Carl Ludwig Drobisch]]
*[[Carl Ludwig Drobisch]]
*[[Antonín Dvořák]]
*[[Antonín Dvořák]]
*[[L. B. Est]]
*[[Stefan Stocker]]
*[[Gabriel Fauré]]
*[[Gabriel Fauré]]
*[[Robert Führer]]
*[[Robert Führer]]

Revision as of 07:47, 26 October 2021

Mass

2008 Midnight Christmas Mass, St. Peter's

The Mass of the Western Church takes its name from the Latin words spoken at the end of the ceremony:

Ite, missa est. (Go, it is the dismissal.[1])

From the first millennium of the Common Era various texts from the Mass have been sung, first as plainchant (including Gregorian chant, Ambrosian chant, Mozarabic, and so on) and, beginning with the motets of Magister Leoninus and Perotinus, increasingly as homophonic or polyphonic music.

Machaut's Messe de Notre Dame is the first attributed work to include all the texts of the Ordinary of the Mass, that is those used at all services as opposed to the Propers or items specific to the particular ceremony. Such cyclic masses (a lower case m distinguishes musical settings from the ceremony itself) became a major genre during the Renaissance. A smaller number of plenary masses or propriae missae set both Ordinary and Propers for a given Mass, and Isaac's Choralis Constantinus was an ambitious project to set every item of the Propers.

After the reformation "Mass" was at first used by Lutherans but now the Book of Common Prayer term Communion Service is widespread.

Ordinary of the Mass

Latin.png Latin text

The Ordinary is usually understood to consist of the first five of the following texts, of which the Kyrie, introduced to the west by Pope Sergius in the 8c., is in Greek rather than Latin:

  1. Kyrie eleison
  2. Gloria in excelsis Deo – sometimes called the Great Doxology
  3. Credo in unum Deum – Symbolum Nicenum, i.e. the Nicene Creed.
  4. Sanctus – Benedictus
  5. Agnus Dei
  6. Ite missa est

The first entire cyclic mass setting by a single composer, Guillaume de Machaut's Messe de Notre Dame, includes all six movements listed above. Since the time of Machaut the vast majority of mass settings omit Ite missa est (the Missa brevis of Zoltán Kodály is a notable exception). Concluding with Domine salvum fac regem (ecclesiam, etc.) nostrum (Lord, save our King/Church…) has occasionally been sanctioned, and the Mass of the Dead ends not with a dismissal but with chants to accompany the procession to the burial place.

The division of the text occasionally differs from the numbering above. The penitential text of the Kyrie invokes the Father (Kyrie), then the Son (Christe), and then God the Father again, but each petition is traditionally repeated three times. Kyries in 4 or 5 movements (such as Machaut's or the Missa in Tempore Paschali of Nicolas Gombert) presume an alternatim performance, in which plainchant or organ alternates with polyphony to preserve the 9-fold repetition. Gloria and Credo may also be treated in alternatim style, or else set complete but divided at various points into separate 'paragraphs'. Sanctus and Benedictus may be set continuously or separately; each finish with the exclamation Hosanna in excelsis! and the rubric "hosanna ut supra" ("Hosanna as above") instructs the singer to return to the music following the Sanctus for the final Hosanna. The threefold Agnus Dei may be set in one, two, or three separate movements, the final "dona nobis pacem." having the same number of syllables as "miserere nobis".

Mass cycles in 15th and 16th century England often omitted the Kyrie, whose place was taken by a Troped Kyrie proper to the feast. In the Church of England after the reformation, the name "Kyrie" was given instead to responses to the commandments: after the first nine commandments was to be sung [or said], "Lord, have mercy upon us, and incline our hearts to keep this law"; after the ninth was sung [or said] "Lord have mercy upon us, and write all these thy laws in our hearts, we beseech thee." English usage after the reformation also moved the "Gloria in excelsis" to the position of a Postcommunion canticle, and provided for the "Sanctus" but no "Benedictus", and omitted the "Agnus Dei".

The term Missa brevis is used in numerous ways. It may be simply a 'hunter's Mass' or speedy setting of the whole Ordinary, a setting omitting the Credo, a Missa ferialis or weekday mass omitting the Gloria, or (particularly in Lutheran usage) either a Kyrie-Gloria or a Sanctus-Agnus pair.

Proper of the Mass

Interspersed in the ceremony of the Mass are the texts that change daily, known as the Propers. The Major Propers are 3 collects of the day (following the Gloria, the prayer over the gifts, and communion), and the readings. The Minor Propers include the the benediction and preface as well as the following antiphons sung by the choir:

Introitus: the Introit is sung as the procession of clergy enter the church at the start of the Mass. The Kyrie and Gloria follow on, and then (on Sundays and solemnities) two lessons, the first usually from the Old Testament (or the Acts of the Apostles during Eastertide) and the second, the Epistle, from the New Testament.

Graduale: The Gradual is in responsory rather than antiphon form, and hence occasionally called the Responsorium. In the 1970 Ordinary Form it may be replaced with a Responsorial Psalm (which otherwise is sung or recited between the First Lesson and the Epistle). It is sung after the Epistle as the Gospel book is taken to the centre of the church, followed by the

Gospel acclamation, usually an Alleluia verse but a tractus during Lent, sung as the book is incensed. On important feasts this is followed by the

Sequentia (or Prosa): Of over a thousand sequences in use before the Council of Trent, only 4 were retained in the 1570 missal: "Victimæ Paschali" at Easter; "Veni Sancte Spiritus" at Pentecost; "Lauda Sion", for Corpus Christi; and the "Dies Iræ" during the Mass of the Dead (Requiem); "Stabat mater dolorosa" was restored in 1727. In 1970 the Second Vatican Council eliminated Dies irae and made all but the first two optional; the sequence's position was also moved in front of the Gospel Acclamation.

Offertorium: after Credo and intercessions, the Offertory is sung as the elements of bread and wine are brought to the altar, leading to the prayer of consecration known as the Canon, sung by the priest(s) (con-)celebrating the Mass, which incorporates the Sanctus and Benedictus. The celebrant then re-enacts the last supper, reciting the words with which Christ shared the bread and wine with the apostles, leading to the Agnus Dei.

Communio: the Communion text is then sung as the bread and wine are shared amongst the congregation. After the communion is finished and closing prayers concluded, the Ite missa est concludes the Mass.

The Vatican II reforms added a third Old Testament lesson to the Epistle and Gospel, separating the Gradual from the Alleluia. Nowadays the Latin Gradual is usually replaced by the Responsorial Psalm, a sort of 'fourth lesson'.

Other items associated with the Mass

Besides the Ordinary and the Proper, other texts associated with the Mass occasionally received musical settings. These include the blessing of water before Mass and sprinkling of it upon the congregation, accompanied by an antiphon Asperges me (or during Eastertide Vidi aquam). The opening Rite of Confession includes the prayer called the Confiteor immediately before Kyrie; the "Confiteor" has been occasionally set to music, for a choir.

Some Masses on special days call for extra proper items. These include antiphons for the Procession with Palms on Palm Sunday for which Palestrina, Victoria and Schubert provided choral settings, and from which "Hosanna to the Son of David derives. Another day with extra antiphons is Maundy Thursday, where the washing of feet is accompanied by singing.

Settings by composers

The Choral Public Domain Library has editions of upwards of 400 masses, either complete settings or mass sections, which are listed in the Mass category, including works by the following composers:

Mediæval and Renaissance masses

Gregorian masses

The numbering (and in most cases the grouping together of movements) of the Gregorian chant masses originated in the late 19c; their titles reflect the Troped Kyries once associated with them.

  • Missa I Lux et origo
  • Missa II Fons bonitatis
  • Missa III Deus sempiterne
  • Missa IV Cunctipotens
  • Missa V Magnae Deus
  • Missa VI Rex genitor

Anonymous masses

Many single mass movements (see Category:Mass fragments) are found in 14/15c sources; Machaut's mass was preceded by 3 anonymous french cyclic settings.

Mediæval and Renaissance composers

Baroque composers

Classical composers

Romantic composers

Early 20th century and modern composers

Other languages

CPDL also has a number of masses set in the vernacular language of various countries: see Category:Vernacular Masses.

Other links

See the Wikipedia articles Mass (liturgy) and Mass (music).

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