ICON, SOURCE. , Pdf. , Pdf. , Midi. , Midi. , Mp3. , Music XML. The medieval composer Josquin des Prez wrote one of the most beloved songs of the last millennium: the four-part chanson “Mille Regretz!”. Josquin des Prés – “Mille Regretz” Joaquin des Prez (ca) is considered one of the greatest composers of the Renaissance period. Josquin is .
|Published (Last):||1 July 2011|
|PDF File Size:||15.44 Mb|
|ePub File Size:||17.5 Mb|
|Price:||Free* [*Free Regsitration Required]|
Widely popular in the first half of the sixteenth century, Mille regretz was reputed to be a particular favorite of the Holy Roman Emperor, Charles V — Indeed, the opportunistic Moderne made something of a habit of decorating his publications with the fleur-de-lys. The illustrations below show both the title page, and the verso of the title page, of a collection of plainsong masses entitled Missae familiares The first two lines of the song, in old French, read: A well-known polyphonic setting of the song was attributed to Josquin des Prez c.
Cristóbal de Morales
Morales quoted this tune, almost note for note, in the tenor voice at the opening of his mass see illustration of opening from Moderne volume belowmerely replacing the original secular French words with the sacred Greek text Kyrie eleison Lord have mercy. Perhaps even more important than quoting the tune in his KyrieMorales sets his entire mass in the same somber, predominantly minor mode. It lends an unmistakable melancholic charm both to the song and to the mass.
Gombert, moreover, actually worked during the s as a musician at the court of the music-loving Charles V, so the six-voice setting may well have been performed for the Emperor himself. Morales, too, chose to compose his Missa Mille regretz for six voices, two in soprano range, two in alto range, a tenor, and a bass.
Mille regretz, song for 4 parts | Details | AllMusic
In choirbook format, each voice appears consistently in the same sector of each double-page opening. In the following image of the first page opening of the mass from the Moderne volume, the two soprano voices appear opposite each other at the top, the two alto or high tenor voices below them, a low tenor on the bottom of the left-hand page, and the bass at bottom right.
Regrdtz main outer sections of all the movements of the mass are sung by all six voices. However, Morales often scores certain internal sections for smaller combinations of voices.
One such section is the Benedictusthe section sung by members of the Ensemble Plus Ultra in the video below: Benedictus qui venit in nomine Domini Blessed is he who comes in the josqun of the Lord. The Benedictus is sung by three of the six voices: Meanwhile, as seen in the following illustration from the Liber primus missarum, a verbal direction Benedictus tacet instructs each of the other three voices to remain silent until it is time for them to join again in the next ojsquin Osanna.
Here below is the opening of the Benedictusin modern notation, with the three separate voices scored together. Morales creates an imitative polyphonic texture by sharing the same small melodic figures, or points of imitation, among all three voices, layering and superimposing them in inventive ways.
The bass begins with the first of these figures A. It is then imitated by the tenor.
Mille regretz (Josquin Desprez) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music
The soprano next enters mills a new figure Bthat is not copied immediately, but is sung again twice later by the tenor and soprano, combined simultaneously with the third figure C sung by the bass. Menu Skip to content.
Figure 1 Hover over image to magnify.