Requiem (Ockeghem)
Encyclopedia
The Requiem, by Johannes Ockeghem
(c.1410 – 1497), is a polyphonic
setting of the Roman Catholic Requiem Mass, the Missa pro defunctis, the Mass for the dead. It is the earliest polyphonic
setting of the Requiem Mass to have survived, and remains one of Ockeghem's most famous and often-performed compositions. A setting by Guillaume Dufay
, probably written before Ockeghem's for use by the Order of the Golden Fleece, has not survived.
Ockeghem's Requiem is unusual both compared to his other works, and to other settings of the Requiem. Stylistically, the movements are all very different from each other; each uses a paraphrase
technique for the original Gregorian chant
, something Ockeghem did rarely; and the selection of movements is unusual compared to other Requiem masses.
It is for four voices, and is in five parts:
Since it lacks a Sanctus
, Communion
, and Agnus Dei, most scholars consider it to be incomplete. The work survives in only one source, the Chigi Codex
. Since this collection seems to have been intended as a complete collection of Ockeghem's music, the absence of these movements was probably due to their either not being available to the copyist, or not available in the condition required. Blank opening sections in the codex also imply that at least one other movement, probably a three-voice setting of the Communion in a more sedate style recalling the opening Introit, was originally intended to close the work. Two other Masses in the codex, Ma maistresse and Fors seulement appear to be missing movements as well.
The style of the work is austere, as befitting a setting of the Mass for the Dead; indeed the lack of polyphonic settings of the Requiem until the late 15th century was probably due to the perception that polyphony was insufficiently sober for such a purpose. Portions of the work, especially the opening Introit, are written in a style reminiscent of the first half of the 15th century, with the chant in the topmost voice, and the accompanying voices singing mostly in parallel motion in a fauxbourdon
-like manner. Within the movements, there are subsections for two or three voices which provide contrast with the fuller four-voice textures that surround them and provide a sense of climax. This procedure is typical of Ockeghem.
The closing movement, the Offertory, is the most contrapuntally
complex, and may have been intended as the climax of the entire composition.
Precise dating of the Requiem has not been possible. Richard Wexler proposed 1461, as this was the date of the death of Charles VII
, a monarch to whom Ockeghem owed a debt of gratitude, and for whom he would likely have composed a Requiem. (If this date is correct, the Requiem could predate Dufay's, the date of which is also speculative.) Others have suggested that Ockeghem may have composed it instead for the death of Louis XI
in 1483, or even towards the end of his own life; poet Guillaume Crétin
alludes to the composition of a possibly recent Requiem in his Déploration, written on the death of Ockeghem.
Johannes Ockeghem
Johannes Ockeghem was the most famous composer of the Franco-Flemish School in the last half of the 15th century, and is often considered the most...
(c.1410 – 1497), is a polyphonic
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
setting of the Roman Catholic Requiem Mass, the Missa pro defunctis, the Mass for the dead. It is the earliest polyphonic
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
setting of the Requiem Mass to have survived, and remains one of Ockeghem's most famous and often-performed compositions. A setting by Guillaume Dufay
Guillaume Dufay
Guillaume Dufay was a Franco-Flemish composer of the early Renaissance. As the central figure in the Burgundian School, he was the most famous and influential composer in Europe in the mid-15th century.-Early life:From the evidence of his will, he was probably born in Beersel, in the vicinity of...
, probably written before Ockeghem's for use by the Order of the Golden Fleece, has not survived.
Ockeghem's Requiem is unusual both compared to his other works, and to other settings of the Requiem. Stylistically, the movements are all very different from each other; each uses a paraphrase
Paraphrase mass
A paraphrase mass is a musical setting of the Ordinary of the Mass, using as its basis an elaborated version of a cantus firmus, typically chosen from plainsong or some other sacred source...
technique for the original Gregorian chant
Gregorian chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic liturgical music within Western Christianity that accompanied the celebration of Mass and other ritual services...
, something Ockeghem did rarely; and the selection of movements is unusual compared to other Requiem masses.
It is for four voices, and is in five parts:
- Introitus: Requiem aeternam
- Kyrie
- Graduale: Si ambulem
- Tractus: Sicut cervus desideratPsalm 42Psalm 42 op. 42 "Wie der Hirsch schreit" is a composition by Felix Mendelssohn composed in 1837/38 for soloists, mixed choir and orchestra....
- Offertorium: Domine Jesu Christe
Since it lacks a Sanctus
Sanctus
The Sanctus is a hymn from Christian liturgy, forming part of the Order of Mass. In Western Christianity, the Sanctus is sung as the final words of the Preface of the Eucharistic Prayer, the prayer of consecration of the bread and wine...
, Communion
Communion (chant)
The Communion is the Gregorian chant sung during the distribution of the Eucharist in the Roman Rite Catholic Mass. It is one of the antiphonal chants of the Proper of the Mass, and the final chant in the proper...
, and Agnus Dei, most scholars consider it to be incomplete. The work survives in only one source, the Chigi Codex
Chigi codex
The Chigi codex is a music manuscript originating in Flanders. According to Herbert Kellman, it was created sometime between 1498 and 1503, probably at the behest of Philip I of Castile. It is currently housed in the Vatican Library under the call number Chigiana, C. VIII...
. Since this collection seems to have been intended as a complete collection of Ockeghem's music, the absence of these movements was probably due to their either not being available to the copyist, or not available in the condition required. Blank opening sections in the codex also imply that at least one other movement, probably a three-voice setting of the Communion in a more sedate style recalling the opening Introit, was originally intended to close the work. Two other Masses in the codex, Ma maistresse and Fors seulement appear to be missing movements as well.
The style of the work is austere, as befitting a setting of the Mass for the Dead; indeed the lack of polyphonic settings of the Requiem until the late 15th century was probably due to the perception that polyphony was insufficiently sober for such a purpose. Portions of the work, especially the opening Introit, are written in a style reminiscent of the first half of the 15th century, with the chant in the topmost voice, and the accompanying voices singing mostly in parallel motion in a fauxbourdon
Fauxbourdon
Fauxbourdon – French for false bass – is a technique of musical harmonisation used in the late Middle Ages and early Renaissance, particularly by composers of the Burgundian School. Guillaume Dufay was a prominent practitioner of the form, and may have been its inventor...
-like manner. Within the movements, there are subsections for two or three voices which provide contrast with the fuller four-voice textures that surround them and provide a sense of climax. This procedure is typical of Ockeghem.
The closing movement, the Offertory, is the most contrapuntally
Counterpoint
In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent . It has been most commonly identified in classical music, developing strongly during the Renaissance and in much of the common practice period,...
complex, and may have been intended as the climax of the entire composition.
Precise dating of the Requiem has not been possible. Richard Wexler proposed 1461, as this was the date of the death of Charles VII
Charles VII of France
Charles VII , called the Victorious or the Well-Served , was King of France from 1422 to his death, though he was initially opposed by Henry VI of England, whose Regent, the Duke of Bedford, ruled much of France including the capital, Paris...
, a monarch to whom Ockeghem owed a debt of gratitude, and for whom he would likely have composed a Requiem. (If this date is correct, the Requiem could predate Dufay's, the date of which is also speculative.) Others have suggested that Ockeghem may have composed it instead for the death of Louis XI
Louis XI of France
Louis XI , called the Prudent , was the King of France from 1461 to 1483. He was the son of Charles VII of France and Mary of Anjou, a member of the House of Valois....
in 1483, or even towards the end of his own life; poet Guillaume Crétin
Guillaume Crétin
-Life:He was treasurer of the Sainte-Chapelle de Vincennes, then cantor of the Sainte-Chapelle de Paris and ordinary almoner to Francis I of France....
alludes to the composition of a possibly recent Requiem in his Déploration, written on the death of Ockeghem.