I can recall the first time I heard an example of the late-medieval multi-part liturgical canon. My first thought was: how can moderns believe that we listen to complicated music? Nothing can compare with this. If you haven’t heard anything like this – and you probably will not in your parish – you will be amazed. The first example here is Josquin’s Qui Habitat for 24 voices. The second example is Ockehem’s Deo gratis for 36 voices! Both are 15th century compositions. Both bring into question all conventional notions of the course of artistic progress.
4 Replies to “Multi-Part Music that Reaches to the Heavens”
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I recall performing the Tallis 40 Part motet, Spem in Alium, and recalling that it sounded like organized cacophony. Sadly it just seems like another attempt at a theoretical exercise that simply results in abuse. The real question for me is whether it belongs in the concert hall or the liturgy, so often what does happen should be reversed (concert hall vs. chapel). It is beautiful in its own way but not something that I would schedule in mass even if I had the forces to pull it off. Just a thought.
A friend of mine who sings polyphony, as do I (but he in a large concert-oriented chorus, me in a 40-voice parish choir), is wont to say that this kind of music is fun to sing but tires the ear as a congregant.
I admit, I also wonder how many ensembles existed at the time these pieces were written that were capable of executing them. I certainly don't hear them at my parish, but I secretly suspect that no one in 1520 heard them at their parishes either, unless they happened to live next door to Saint Mark's or something.
Jeffrey, I share your sentiments exactly. Medieval and Renaissance music raises my heart and soul to heaven in a way I can't express, especially Josquin. I never tire of hearing this music if it is performed well.