Creating a new edition of the Missa Tempore paschali forces one to confront the extensive parallelisms found in the collected works edition and to consider a set of questions that are comparable to those raised by musica ficta in Gombert’s music: is an aggressive editorial stance justifiable when stylistic norms are exceeded, or might the composer have intended these unusual patterns? Answers emerge from the dense eight-voice Credo and twelve-voice Agnus dei II that both maintain our preconceptions about the style, and challenge them deeply. A new source for the Agnus dei II enriches our understanding of the editorial issues, the connection with Brumel's “Earthquake” mass, and our appreciation of the mass as a whole.
Issues of Counterpoint in Gombert’s Missa Tempore paschali
Peter Urquhart is an associate professor of musicology and theory at the University of New Hampshire. He studies problems of pitch, counterpoint, and structure in Renaissance music, and his articles have appeared in the Dutch Tijdschrift, the Journal of Musicology, Early Music, and elsewhere. His editions have been performed by Paul Hillier, the Orlando Consort, and the Tallis Scholars. Work supported by the National Endowment for the Humanities and Institute for Advanced Study includes a book about accidentals in Franco-Flemish music and a seventh recording by Capella Alamire.
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Peter Urquhart; Issues of Counterpoint in Gombert’s Missa Tempore paschali. Journal of Musicology 1 July 2015; 32 (3): 410–439. doi: https://doi.org/10.1525/jm.2015.32.3.410
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