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Scottish Lady Mass
11th fascicle of W1
author of text

'A Scottish Lady Mass' (CDA67299)
A Scottish Lady Mass
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Movement 01: Introit: Gaudeamus omnes
Movement 02: Kyrie: Rex, virginum amator
Movement 03: Gloria: Per precem
Movement 04: Gradual: Propter veritatem
Movement 05: Alleluya: Ave Maria gratia plena
Movement 06: Alleluya: Virga florem germinavit
Movement 07: Sequence: Missus Gabriel de celis
Movement 08: Sequence: Hodierne lux diei
Movement 09: Offertory: O vere beata sublimis
Movement 10: Sanctus: Mater mitis
Movement 11: Sanctus: Christe ierarchia
Movement 12: Sanctus: Voce vita
Movement 13: Agnus Dei: Archetipi mundi
Movement 14: Agnus Dei: Factus homo
Movement 15: Communion: Principes persecuti sunt

Scottish Lady Mass
Musical traditions in Paris were to set the solo sections of responsorial chants; this meant that the Magnus liber organi consisted of settings of graduals and alleluyas for the Mass and responsories for Matins and Vespers. This is the repertory copied into W1, one assumes, at the behest of a member of Mauvoisin’s entourage. Local practices north of the Firth of Forth were much less specific. The eleventh fascicle of W1 consists of troped Ordinary items for the Mass (Kyrie, Gloria, Sanctus and Agnus Dei), tracts, sequences, offertories and other Proper items; there are no graduals, and the only point of overlap with the Parisian repertory is the alleluya.

Musical style differs radically between the Parisian and local parts of W1. The Parisian style of the Magnus liber organi is characterized by the careful combination of plainsong, sustained-tone organum (where the lower of the two parts is disposed in very long values and underpins a florid upper voice), discantus (where both voices move in a note-against-note measured counterpoint) and copula (which falls somewhere between the two). The music in the eleventh fascicle of W1 is largely written in a note-against-note style with the Parisian sustained-tone style much rarer and often reserved for cadential passages (the Gloria ‘Per precem’ is an example). Whether the note-against-note counterpoint is measured in the same way as Parisian discantus or whether it is to be performed more freely in the manner of the contemporary conductus repertory is an open question. The St Andrews style is simpler, more direct and – it might be argued – more accessible to the modern ear.

Although quite definitely not a liturgical reconstruction of a Lady Mass in St Andrews around 1230 or so, this repertory well reflects the liturgical inclusiveness of the musical culture that the cathedral engendered and that is to be found in W1. ‘Rex, virginum amator’, a troped Kyrie, is followed by the troped Gloria ‘Per precem’. ‘Missus Gabriel’ and ‘Hodierne lux’ are sequences, and further troped items are the Sanctus settings ‘Mater mitis’ and ‘Voce vita’ and the Agnus Dei ‘Factus homo’. This recording also includes two monophonic troped Ordinary items from the tenth fascicle of W1, ‘Christe ierarchia’ and ‘Archetipi mundi’; these last two works give a sense of the intellectual hothouse that the cathedral and its environs must have represented: the texts of both are stuffed full of subtle allusion and display a learnedness that extends to Greek.

It seems likely that performances of the St Andrews music were restricted to a couple of soloists with the schola participating only in those parts of the plainsong that were not set in polyphony. The same applies to the monophonic tropes, but there the balance between soloist and chorus is much more even.

from notes by Mark Everist © 2005

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