The Missa Se la face ay pale uses the tenor of Dufay’s own chanson as its structural cantus firmus. The distribution of the phrases of this tenor throughout the. Dufay Missa Se La Face Ay Pale – Kyrie & Gloria The Hilliard Ensemble full. Composer: Guillaume Dufay was born in Cambrai, France and became one of the. Instruments: A cappella. Published: Description: This chanson is the source of the cantus firmus for Missa Se la face ay pale. External websites.

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Share paale facebook twitter tumblr. I believe in the Holy Spirit, the Lord, the giver of life: She is the most regal woman that one could look upon.

On the third day he rose again in accordance with the scriptures. Another commonly known work by Dufay is “Nuper rosarum flores. Et in Spiritum Sanctum Dominum, et vivificantem: You take away the sins of the world, have mercy on us. Crucifixus etiam pro nobis: The text itself and the use of Latin indicate the setting of a Mass Ordinary. I believe in one holy, catholic and apostolic Church.

Retrieved from ” http: English composers early in the century had begun to experiment pake devices for the musical unification of all five movements of the Mass Ordinary. Et ascendit in caelum: I acknowledge one baptism for the forgiveness of sins.

Missa Se la face ay pale, for 4… | Details | AllMusic

However, the fact that the mass is based off of a love song was not common for this time period. The basis of the piece is the previously discussed polyphonic ballade, a secular love song, which was common for cyclic masses in the early Renaissance. Melodic motives are established and reused throughout the piece. If my face is pale the reason is love. Qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per Prophetas. If I have a heavy load of sorrow to carry, it’s that this love is painful for me to bear.


Retrieved December 11, from Encyclopedia. Don’t show me this message again. He shall come again in glory to judge the living and the dead: You sit at the right hand of the Father, have mercy on us. Its courtly text speaks in clever, punning rhymes of the pale-faced, dejected lover. This jolly concluding passage, as well as the modal clarity of major-key cadences throughout the cycle, make Dufay ‘s Se la face ay pale Mass the most joyful sounding of his group of four late cantus firmus settings.

Upper Saddle River, NJ: A cyclic mass is a unified polyphonic setting of the entire Mass Ordinary, where each of the five parts have a unifying element, commonly a melodic theme.

If, as seems possible, it came into existence to celebrate a grand public event, perhaps a dynastic wedding, then there could be no more thought-provoking demonstration of the mutually interdependent relations of the transient requirements of social culture and the universal purposes and beauties of art.

Leonel Power ‘s Missa Alma redemptoris and John Dunstable ‘s Missa Rex seculorum, as well as anonymous settings of the Missa veterem hominem and the Missa Caput, all present a single cantus firmus melody in the tenor voice in each mass movement, after the fashion of the isorhythmic motet; other English masses essay tunes borrowed from secular song.

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Palle ‘s Missa se la face ay pale most likely is the earliest surviving mass setting to do both.

Missa Se la face ay pale

Hosanna in the highest. In the Kyrie, Sanctus, and Agnus Dei, this cantus firmus is given once over the course of each movement, with duo sections punctuating the structure; the “wordier” movements Gloria and Credo give the tenor melody three times each.

The piece is more smooth, with a lyrical quality and less sudden dissonances that were common in the Medieval period. That is the principal one, And for me so bitter is loving that into the sea I want to send myself. A large difference is the genre. Missa Se la face ay pale composer. Se la face ay pale La cause est amer.

Missa Se la face ay pale – Hyperion Records – CDs, MP3 and Lossless downloads

Holy, holy, holy, Lord God of power and might. Et resurrexit tertia die secundum scripturas. The influence Dunstable had on Dufay is seen in the sweet style, employing both thirds and sixths and a more closed chordal structure. One can only guess at what might have been the very special significance the earlier chanson had for the Savoy court.

For our sake he was crucified: Cadences are commonly filled with the added third, moving away from the open fifths and octaves found in the medieval period.