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Choral Monuments
Choral Monuments
Studies of Eleven Choral Masterworks

DENNIS SHROCK

1
 1
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You must not circulate this work in any other form

and you must impose this same condition on any acquirer.

Library of Congress Cataloging-​in-​Publication Data

Names: Shrock, Dennis.
Title: Choral monuments : studies of eleven choral masterworks /
Dennis Shrock.
Description: New York, NY : Oxford University Press, [2017] |
Includes bibliographical references and index.
Identifiers: LCCN 2016052392| ISBN 9780190469023 (hardcover) |
ISBN 9780190469030 (pbk.) | ISBN 9780190469061 (oxford scholarly online)
Subjects: LCSH: Choruses—Analysis, appreciation. | Choral music.
Classification: LCC MT110 .S57 2017 | DDC 782.509—dc23
LC record available at https://lccn.loc.gov/2016052392

1 3 5 7 9 8 6 4 2
Paperback printed by WebCom, Inc., Canada
Hardback printed by Bridgeport National Bindery, Inc., United States of America
 CONTENTS

Acknowledgments xi
Introduction xiii

1. Josquin Desprez –​Missa Pange Lingua 1

BIO G R A PHIC A L A ND C OMPO SI T IONA L OV E RVIEW 1
S A L IE N T C OMPO SI T IONA L C H A R ACT E R I S T ICS 7
Imitation 7
Ostinatos 11
T HE MI S S A PA N G E L IN GUA 17
Structure and Parody Technique 17
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION S 21
Performing Forces 21
Meter, Tactus, and Tempo 23
Text Underlay 26
Musica Ficta and Musica Recta 30
Summary 33
SE L E CT E D BIBL IO G R A PHY 34

2. Giovanni Pierluigi da Palestrina –​Missa Papae Marcelli 36

BIO G R A PHIC A L A ND C OMPO SI T IONA L OV E RVIEW 36
T HE PA PAC Y A ND T HE C OUN T E R-​R EF OR M AT ION 41
T HE MI S S A PA PAE M A RC E L L I 49
Musical Characteristics 49
Legacy 54
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION S 57
Pitch and Performing Forces 57
Meter and Tactus 59
Oratorical Phrasing 63
Tempo 65

v
vi Contents

Musica Fictaâ•… 68
Summaryâ•… 70
SE L E CT E D BIBL IO G R A PHY â•… 70

3. Johann Sebastian Bach –╉B Minor Massâ•… 72

BIO G R A PHIC A L A ND C OMPO SI T IONA L OV E RVIEWâ•… 72
B AC H’S LU T HE R A N M A S SE Sâ•… 76
Parody Techniqueâ•… 77
T HE B MIN OR M A S Sâ•… 80
Parodiesâ•… 83
Compositional Rationaleâ•… 87
M A NU S CR IP T S , E DI T ION S , A ND PE RF OR M A NC E S â•… 88
F OR M A L A ND MU SIC A L S T RUCTUR E S â•… 91
Kyrieâ•… 92
Gloriaâ•… 94
Credoâ•… 98
Sanctusâ•… 102
Agnus Deiâ•… 104
Summaryâ•… 105
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 105
Performing Forcesâ•… 105
Meter and Tempoâ•… 111
Rhythmic Alterationâ•… 113
Ornamentationâ•… 114
Summaryâ•… 117
SE L E CT E D BIBL IO G R A PHY â•… 118

4. George Frideric Handel –╉Messiahâ•… 120

G E NE SI S A ND HI S TOR IC A L PE R SPE CT I V E â•… 120
H A NDE L’S C OMPO SI T IONA L PRO C E S S â•… 129
Speed of Writing, Parody Technique, and Revision of Worksâ•… 129
T HE L IBR E T TO OF ME S S I AH â•… 134
F OR M A L A ND MU SIC A L S T RUCTUR E S â•… 138
Instrumental Movementsâ•… 138
Recitativesâ•… 138
Solo Vocal Movementsâ•… 139
Chorusesâ•… 140
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 143
Performing Forces and Stage Set-╉up╅ 143
Volume, Timbre, Pitch, and Vibratoâ•… 147
 Contents vii

Metric Accentuationâ•… 149

Rhythmic Alterationâ•… 151
Recitativeâ•… 153
Ornamentationâ•… 155
Summaryâ•… 162
SE L E CT E D BIBL IO G R A PHY â•… 163

5. Joseph Haydn –╉The Creationâ•… 165

IN T RODUCT IONâ•…165
G E NE SI S A ND HI S TOR IC A L PE R SPE CT I V E â•… 168
T HE T EXT OF T HE CR E AT IONâ•… 174
MU SIC A L EXPR E S SIONâ•… 182
F OR M A L A ND MU SIC A L S T RUCTUR E S â•… 184
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 188
Editionsâ•… 188
Performing Forces and Stage Set-╉up╅ 191
Meter and Tempoâ•… 194
Metric Accentuationâ•… 195
Recitativeâ•… 197
Ornamentationâ•… 202
Summaryâ•… 205
SE L E CT E D BIBL IO G R A PHY â•… 206

6. Ludwig van Beethoven –╉Symphony no. 9â•… 207

IN T RODUCT IONâ•…207
G E NE SI S A ND HI S TOR IC A L PE R SPE CT I V E â•… 210
S C HIL L E R’S “A N DIE F R EUDE”â•… 217
F OR M A L A ND MU SIC A L S T RUCTUR E S â•… 220
EXPR E S SIONâ•…225
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 231
Tempoâ•… 231
Metric Accentuationâ•… 236
Orchestrationâ•… 240
Stage Set-╉u p╅ 243
SE L E CT E D BIBL IO G R A PHY â•… 245

7. Felix Mendelssohn –╉St. Paulâ•… 247

G E NE SI S A ND HI S TOR IC A L PE R SPE CT I V E â•… 247
R E C EP T ION OF S T. PAUL â•… 254
C OMPO SI T IONA L HI S TOR IC I SM â•… 256
T HE T EXT OF S T. PAUL â•… 258
viii Contents

F OR M A L A ND MU SIC A L S T RUCTUR E S â•… 262

Recitativesâ•… 263
Turba Chorusesâ•… 264
Ariasâ•… 264
Choralesâ•… 265
Chorusesâ•… 266
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 269
Introductionâ•… 269
Performance in German or Englishâ•… 272
Performing Forces and Stage Set-╉up╅ 272
Fermatasâ•… 275
Recitativesâ•… 277
Recommendationsâ•… 279
SE L E CT E D BIBL IO G R A PHY â•… 281

8. Johannes Brahms –╉Ein deutsches Requiemâ•… 282

G E NE SI S A ND HI S TOR IC A L PE R SPE CT I V E â•… 282
R E C EP T ION OF T HE R EQ UIE Mâ•… 287
T EXT S SE T BY BR AHMS R E L AT E D TO T HO SE OF T HE R EQ UIE M â•… 289
T HE T EXT S BR AHMS C HO SE F OR T HE R EQ UIE M â•… 294
MU SIC A L A ND F OR M A L S T RUCTUR E S â•… 300
Motifsâ•… 300
Mirror Constructionâ•… 305
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 308
Instrumentation, Timbre, and Vibratoâ•… 308
Metric Accentuationâ•… 310
Stage Set-╉u p╅ 312
Tempo Fluctuationâ•… 313
Summaryâ•… 320
SE L E CT E D BIBL IO G R A PHY â•… 320

9. Giuseppe Verdi –╉Messa da Requiemâ•… 322

IN T RODUCT IONâ•…322
G E NE SI S A ND HI S TOR IC A L PE R SPE CT I V E â•… 323
T HE T EXT OF T HE R EQ UIE M â•… 328
F OR M A L A ND MU SIC A L S T RUCTUR E S â•… 334
Structures Exhibited in Scoringâ•… 335
Structures of Individual Movementsâ•… 337
Structures Related to Melodic Designâ•… 340
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 342
 Contents ix

Rhythm and Expressive Markingsâ•… 342

Tempoâ•… 346
Performing Forces and Stage Set-╉up╅ 348
Summaryâ•… 352
SE L E CT E D BIBL IO G R A PHY â•… 353

10. Igor Stravinsky –╉Massâ•… 354

G E NE SI S A ND HI S TOR IC A L PE R SPE CT I V E â•… 354
M A S SE S B A SE D ON HI S TOR IC MODE L S â•… 359
The Nineteenth Centuryâ•… 359
The Twentieth Centuryâ•… 361
S T R AVIN SK Y A ND MU SIC A L S T YL E S OF T HE PA S Tâ•… 365
Oedipus rex and Babelâ•… 368
Symphony of Psalms and Canticum sacrumâ•… 368
Mass and Cantataâ•… 370
F OR M A L A ND MU SIC A L S T RUCTUR E S OF T HE M A S Sâ•… 372
Kyrie and Agnus Deiâ•… 373
Gloria and Sanctusâ•… 374
Credoâ•… 377
Summaryâ•… 379
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 379
Text Settingâ•… 379
Performing Forces and Stage Set-╉up╅ 382
Summaryâ•… 386
SE L E CT E D BIBL IO G R A PHY â•… 386

11. Benjamin Britten –╉War Requiemâ•… 387

IN T RODUCT IONâ•… 387
G E NE SI S A ND HI S TOR IC A L PE R SPE CT I V E â•… 389
W ILF R E D O W E N A ND HI S POE T RY IN T HE WA R R EQUIE M â•… 394
MU SIC A L SYMB OL I SM â•… 401
S T RUCTUR A L SYMB OL I SMâ•… 409
Movement 1 –╉Requiem Aeternamâ•… 410
Movement 2 –╉Dies Iraeâ•… 412
Movement 3 –╉Offertoriumâ•… 414
Movement 6 –╉Libera Meâ•… 415
Supplementary Structuresâ•… 416
PE RF OR M A NC E PR ACT IC E C ON SIDE R AT ION Sâ•… 417
Performing Forcesâ•… 417
x Contents

Stage Set-╉u p╅ 418

Nationalities of the Vocal Soloists and Their Vocal Timbresâ•… 419
Acousticsâ•… 420
A DDE NDUMâ•… 420
SE L E CT E D BIBL IO G R A PHY â•… 422

Appendix: Score Dataâ•… 425

Indexâ•… 431
 ACKNOWLEDGMENTS

I wish to express heartfelt thanks to those of my many students and colleagues

who, with their high expectations and voracious appetites for information, have
motivated me to seek and acquire extensive knowledge of choral repertoire. While
I have always had, in the words of one of my early mentors, “a chronic enthusi-
asm” for all things choral, I am fortunate that a community of choral musicians
and enthusiasts has shared in my enthusiasm and has incited my fervor.
I am especially grateful for remarkable individuals who have, fatefully, been in
my life at critical times to aid me in my work and to make it possible for me to com-
plete projects at hand. For this book, Ryan Chatterton designed and executed all
the diagrams for the original and recommended stage set-​ups, and, in addition, he
was of regular assistance in helping me resolve ever-​so-​frequent computer issues.
Jonathan Hatley proofread every chapter of the book multiple times—​finding
typos, misattributions, and inconsistencies of spelling, and also recommending
various changes of presentation for greater clarity. Brian Nossamon, who desiring
that I publish a lecture on the Britten War Requiem I presented at an American
Choral Directors National Conference, gave me the idea for this book.
I also wish to thank and pay tribute to Suzanne Ryan, Editor in Chief of
Humanities at Oxford University Press, who has guided me through three books—​
holding me to high standards, responding with lightning speed to my every com-
munication, and faithfully supporting all my work.

xi
 INTRODUCTION

The eleven masterworks of this book were chosen to represent remarkable

compositions throughout the five major historical eras in Western culture—​
compositions that were consequential during their time and also significant in
their historical impact. Some of the works were groundbreaking (e.g., Josquin’s
Missa Pange lingua, Palestrina’s Missa Papae Marcelli, and Beethoven’s Symphony
no. 9) in that they introduced compositional techniques that would be emu-
lated in the future. Other works were summations (e.g., Bach’s B Minor Mass,
Mendelssohn’s St. Paul, and Verdi’s Messa da Requiem) in that they became para-
gons of past compositional styles. All of the works were epoch-​making; they came
to define the era in which they were composed, and they are considered to be
exceptional masterpieces today. The works, for the most part, have also been per-
formed regularly and recorded numerous times.
It is because the works are so revered and popular that I have been prompted
to write about them. A greater understanding about the composers, the composi-
tions themselves, and their performance histories will undoubtedly aid those who
interact with the works today—​from performers and audience members to histo-
rians and musical enthusiasts. Of course, because of the artistic stature and popu-
larity of the masterworks, many other books and articles have also been written
about them, and one might be of the opinion that nothing new or nothing of
import can now be added. This is not so. Considerable and significant information
can be appended to what has already been written, mostly about performance
practices but also about other topics as well, including particular histories that
illuminate the works, textual choices that provide insight into the composer and
his compositional style, and analyses that reveal the composer’s depth of struc-
tural comprehension.
Regarding histories, the information provided is focused on relevancies, begin-
ning with the genesis of the designated work in reference to the composer’s total
choral output and the work’s place within the musical environment and social
climate of its time. As examples, Palestrina is discussed in relation to the papacy
and Counter-​Reformation and Bach to circumstances of his employment, which

xiii
xiv Int roduc tion

often dictated the genres of his compositions. Historical discussion also includes
relevant focuses of the composers: Handel to opera, the major compositional
interest throughout most of his life; Mendelssohn and Stravinsky to historical
models; and Brahms to the specific nature of all the sacred texts he chose to set.
In addition, the discussion of compositional history addresses factors such as the
identified work’s public reception and critical response, both at the time of its
composition and in ensuing years; the history of score publications, detailing the
various differences between editions; essential compositional features of the work
that make it noteworthy; and the texts of the composition. The material regarding
textual treatment, which often includes the complete texts of the works being dis-
cussed, concentrates on primary concerns of the text’s usage, significant aspects
of texts separate from the music, and biographical details of librettists and poets,
if appropriate. For example, there is discussion of Friedrich von Schiller’s poem
“An die Freude” used by Beethoven in his Symphony no. 9, considerable discourse
on the texts Brahms selected for Ein deutsches Requiem and his other sacred works
in German, and examination of the poems of Wilfred Owen used by Britten in the
War Requiem. Each focus of history acts as a staging for discussion of the specific
composition being considered.
The analysis section of each chapter outlines and describes musical forms and
other types of compositional organization, including salient compositional char-
acteristics that directly relate and contribute to the work’s artistic stature. With
Josquin, the focus is on imitative technique, especially regarding motto repeti-
tion as a manifestation of a personal credo: “Qui perseveraverit salvus erit” (Who
persists will be saved); with Palestrina, on vertical sonorities that made his Mass
seem new, different, and acceptable to the mandates of the Council of Trent; with
Bach, assemblage of disparate movements and styles (stile antico and stile mod-
erno) to create a symmetrically balanced unity; with Handel, parody techniques
and choral structures that would be emulated by composers for generations after
him; with Haydn, text expression; with Beethoven, the relationship of the final
movement of the symphony to the previous movements and to an overall extra-​
musical message; with Mendelssohn, choral structures based on those employed
by Bach and Handel; with Brahms, symmetrical organization and structural unity
based on mottos, key relationships, and compositional forms; with Verdi, the
often overlooked but important matter of formal structures, which contribute
to the work’s aesthetic appeal; with Stravinsky, the combination of neo-​Gothic
and neo-​Renaissance styles as well as mirror structures; and with Britten, detailed
considerations of structural and musical symbolism that reveal the depth of emo-
tion in the War Requiem.
As regards performance practices and their consequential role in music, dis-
cussion is given to key elements of notational interpretation that affect the basic
fabric of the music. These include such issues as meter, pitch, tactus, text under-
lay, oratorical phrasing, and musica ficta/​musica recta in the compositions from
 Int roduc tion xv

the Renaissance era, and rhythmic alteration, ornamentation, vibrato, and metric
accentuation in the Baroque-​and Classical-​era compositions. Issues of instru-
mentation, language, and attention to expressive markings are examined in the
more recent works. The topics of tempo (including tempo fluctuation) and per-
forming forces are discussed as they affect every composition in every era. Most
of the performance practices are discussed as separate topics under identified sub-
headings. However, some of the practices—​such as vibrato and vocal timbre—​are
subsumed under the general subheading of Performing Forces.
Examples of specific performance practices that are, I believe, of special conse-
quence to the manifestation of the works being discussed are oratorical shaping
of phrases with resulting syncopations in Palestrina’s Missa Papae Marcelli; orna-
mentation and meter as it affects tempo in Bach’s B Minor Mass; metric accentua-
tion and metrically free recitative in Handel’s Messiah and Haydn’s The Creation;
tempo based on character in Beethoven’s Symphony no. 9; timbre, vibrato, and
tempo fluctuation in Brahms’s Ein deutsches Requiem; articulation in Stravinsky’s
Mass; and disposition of forces and vocal styles in Britten’s War Requiem. Of spe-
cial interest to all the works is discussion, with primary source stage diagrams,
of the disposition of performing forces during premieres and other early perfor-
mances. These arrangements of performers reveal that the chorus was positioned
either in front of or beside orchestras for all the works of the Baroque, Classical,
and Romantic eras—​ for all the works of Bach, Handel, Haydn, Beethoven,
Mendelssohn, Brahms, and Verdi. Indeed, the chorus was in front of the orches-
tra for performances of Beethoven’s Symphony no. 9, and the chorus was on one
side of the stage and the orchestra on the other side for performances of Verdi’s
Messa da Requiem.
There is very little overlap or duplication of historical and analytical material
in the various chapters, and there has been no effort to relate one composer or his
works to another. Exceptions occur only when historians or the composers them-
selves make relationships. Performance practices are treated differently, however,
with coverage of some issues occurring in multiple chapters. These issues do not
include tempo and performer arrangements, the discussions of which are not rep-
licated from chapter to chapter. Other issues, such as musica ficta/​musica recta,
ornamentation, and instrumentation, are also given individualistic treatment
in each chapter. Metric accentuation and the consideration of recitative, on the
other hand, are performance practices that are similar from work to work and
era to era. As such, even though these topics have been treated individually in
each chapter, the information in all the chapters will likely contribute to a better
understanding of the topic and to its application in multiple compositions.
Quotations from primary sources—​those documents that are from the time
of the work’s composition and performance history—​are central to the studies.
Every attempt is made to convey historically accurate information and to provide
historical material that will aid the reader in understanding the compositions.
xvi Int roduc tion

Many of the primary sources, such as letters and performance reviews, are pub-
lished and readily available to the public, although in disparate and varied publica-
tions. The sources are brought together here for ease of comprehension and for
direct relationship to the works in question. The translations are mine.
All works are referred to by their most common names. In several cases
these names are in English even though the compositions were originally writ-
ten in another language. As examples, Haydn’s Die Schöpfung (The Creation) and
Mendelssohn’s Paulus (St. Paul) were composed in German but immediately trans-
lated into and performed in English. Also, both works have had a significant per-
formance life in both German and English. To refer to the works sometimes in one
language and sometimes in another is unwarranted and would be unnecessarily
cumbersome. The same practice of titles in English applies to the works of Bach.
Since his mass in the key of B Minor did not have a title at the time of its composi-
tion, but instead, various titles that describe the assemblage of mass movements,
the work is referred to, for convenience, as the B Minor Mass (in other publications
the Messe H-​Molle or Messe in h-​moll in German). For convenience, other works
of Bach are also referred to in English (e.g., St. Matthew Passion).
The scores used for reference represent the most historically informative and
scholarly editions currently available, for example: the 1995 Oxford University
Press edition of Haydn’s The Creation, edited by A. Peter Brown; the original 1868
Rieter-​Biedermann edition of the Brahms Ein deutsches Requiem, as annotated by
the composer himself; and the 1990 University of Chicago edition of the Verdi
Messa da Requiem, edited by David Rosen. The analyses are all original.
Musical examples generally refer to their location in full scores by means other
than measure numbers since many scores differ in this respect. For example, some
publications of the Josquin Missa Pange lingua have measures numbered continu-
ously throughout movements (such as the Gloria, Credo, and Sanctus), while other
publications have separate numbering for the various sub-​sections of the move-
ments. This is also the case with Palestrina’s Missa Papae Marcelli and Beethoven’s
Symphony no. 9, which has various numberings in the fourth movement. Haydn’s
The Creation is particularly troublesome in that virtually every publication differs
in the separation of movements as well as the numbering of measures. This situa-
tion is addressed and discussed in the Haydn chapter here.
Short bibliographies are included at the end of each chapter with listings of
sources the reader might wish to pursue for further study. The bibliographies are
not meant to represent every source consulted in the preparation of the studies.
Much of the material, such as historical information, is common to many sources.
I have been most fortunate throughout my career in having had multiple oppor-
tunities to encounter these and other choral masterworks, opportunities that
include lectures about the works in choral conferences and workshops, various
accounts of the works in articles and books, numerous classes taught to students
in diverse university settings, and performances I have attended and conducted.
 Int roduc tion xvii

Most important, however, has been the study of these masterworks. As I have
researched their histories and the state of music during their times, as I have read
about the works and their composers in historic primary source documents, and
as I have analyzed structures of the works and contemplated their compositional
individualities, I have come to comprehend and appreciate the exceptional monu-
mentality of the works in a more meaningful and profound way.
My goal and hope is that the readers about the masterworks here—​the schol-
ars, conductors, singers, instrumentalists, students, and enthusiasts—​will also
have a greater comprehension and appreciation of the works, and further, that
the knowledge of histories, analyses, and performance practices will result in
enhanced personal fulfillment and more meaningful performances.
Choral Monuments
 1

Josquin Desprez –​Missa Pange Lingua

God has preached the Gospel in music,
as can be seen in Josquin, from whom all composition flows.
—​Martin Luther

Biographical and Compositional Overview

Josquin Desprez (or Josquin des Prez, as is currently the spelling used by many
historians) was likely born between 1450 and 1455 in Burgundy near the pres-
ent-​day region of Hainaut in Belgium and also near Tournai. This region and sur-
rounding areas, today comprising western Belgium, the southwestern portion
of the Netherlands, and northern France, was culturally fertile during the early
years of the Renaissance. Royal courts fostered and supported the arts, nurturing
painters and musicians, and establishing what was then called Flanders or north-
west Burgundy as a center of high artistic activity. Philip III, called Philippe le Bon
(Philip the Good), was duke of Burgundy from 1419 to 1467 and creator of one
of the most lavish courts in Europe. His painters included Jan van Eyck (c.1390–​
1441), famous for the Ghent Altarpiece, and Roger van der Weyden (c.1399–​1464),
who painted two portraits of the duke. Composers at the court included Gilles de
bins Binchois (c.1400–​1460) and Guillaume Dufay (c.1397–​1474), both of whom
were at the court concurrently and were painted together in an illumination by
Peronet Lamy (died c.1453) that is contained in the epic poem Le champion des
dames by Martin le Franc (c.1410–​1461). Binchois and Dufay were considered the
most famous composers of their time, their works copied in numerous manu-
scripts and parodied by numerous later composers. Jean de (Johannes) Ockeghem
(c.1410–​1497), the most acclaimed European composer after Dufay and Binchois,
was also born in Flanders and likely spent some time at the Burgundian court
with Binchois under Philip III. Ockeghem spent most of his life, however, at the
French court under Charles VII, called le Victorieux (the Victorious); Louis XI,
called le Prudent (the Prudent); and Charles VIII, called l’Affable (the Affable).
Other notable Flemish composers born before or shortly after Josquin include
Antoine Busnois (c.1430–​c.1492), Loyset Compère (c.1445–​1518), Alexander

1
2 Choral Monuments

Agricola (c.1446–​1506), and Jacob Obrecht (c.1457–​1505). Busnois, who sang in

the Burgundian court under Charles I (the Bold) and Mary (the Rich), was hon-
ored with a lament on his death composed by Ockeghem, and Josquin used the
chanson Fortuna desperata by Busnois as the basis for a Mass. Compère was born
in Hainaut, near the place of Josquin’s birth, and served as a singer and chaplain
in the French court of Charles VIII; in addition, Compère was dean of the church
of Saint-​Géry, where Josquin likely sang as a choirboy. Agricola also served at the
French court under Charles VIII, and several of his Masses are parodies of chan-
sons by Busnois, Dufay, and Ockeghem. Finally, Obrecht parodied several compo-
sitions by Busnois, who was probably one of Josquin’s teachers. In Missa L’homme
armé, for instance, Obrecht arranged the notes of the L’homme armé tune exactly
as Busnois had arranged them in his Missa L’homme armé, with one exception.
Whereas Busnois had set the melody in inversion in the Agnus Dei, Obrecht set it
in retrograde inversion.
Josquin either knew of his contemporary Flemish composers or he worked
directly with them; he also parodied a number of their compositions. For exam-
ple, Josquin’s Missa D’ung aultre amer and the motets Tu solus qui facis mirabilia
and Victimae paschali laudes are all early works based on Ockeghem’s chanson
D’ung aultre amer. Furthermore, Alma redemptoris mater/​Ave regina celorum, one
of Josquin’s few polytextual motets, quotes the beginning of Ockeghem’s Alma
redemptoris mater; Josquin and Ockeghem are praised together in Compère’s 1472
motet Omnium bonorum plena; and Josquin composed an elegy on the death of
Ockeghem—​Nymphes des bois (also called La déploration de Johan. Ockeghem),
which employs the Requiem aeternam Gregorian chant as a cantus firmus. In this
elegy, considered to be one of the most profound of its kind, Josquin calls upon
the “nymphes des bois” (nymphs of the woods) and “chantres experts de toutes
nations” (expert singers of all nations) to mourn their dead master, “le vrai trésoir
de musique” (the truest treasure of music). Josquin even included his own name
in the elegy as well as the names of Compère and Antoine Brumel (c.1460–​1512).
Very little is known about Josquin’s early life. He probably sang as a choir-
boy at the church of Saint-​Géry in Cambrai and perhaps also as a choirboy at
the collegiate church of Saint-​Quentin, where Jean Mouton (c.1459–​1522) was
a singer and where Mouton and Compère are buried. It is certain that between
1475 and 1478 Josquin was a singer at the court of René, duke of Anjou, in
Aix-​en-​Provence. However, the following years are unaccounted for. It is pre-
sumed that he either sang at the French royal court under Louis XI (where he
would have encountered Ockeghem) or he may have been at the Italian court
of Cardinal Ascanio Sforza in Milan. It is most likely that Josquin was in both
places—​for a time at the royal court in France and then later at the Italian court in
Milan. It is known and confirmed that he was a singer in the papal choir in Rome
from 1489 until sometime during 1495 under popes Innocent VIII and Alexander
VI. Following local tradition with Vatican singers, Josquin carved his name on
the wall of the singers’ gallery of the Sistine Chapel (a photo of this graffito can be
 De sp re z –​ Mi ssa Pange L i ng u a 3

seen in a number of current published sources). It should be noted here that the
two skills of singing and composing were generally joined, with most composers
(including Palestrina later in the century) serving as singers in significant court
or church choral ensembles.
Because of political turmoil in Rome Josquin returned to the Sforza court in
1498 and then to the French court under Louis XII around 1500. In 1503 Josquin
went back to Italy for a one-​year appointment as maestro di cappella at the court
of Ercole I d’Este in Ferrara, where he most likely composed his soggetto cavato
Mass, Missa Hercules dux Ferrariae. In 1504, perhaps as a result of the outbreak of
the plague in Ferrara, Josquin moved to the northern French city of Condé-​sur-​
l’Escaut, very near the place of his birth, where he served as provost at the church
of Notre Dame until his death on August 27, 1521. He was buried in the choir of
the church, and he bequeathed his estate to the church, with the request in his will
that his motets Pater noster, qui es in celis - ​Ave Maria, gratia plena and Ave Maria …
virgo serena be sung in front of his house during annual processions on the anni-
versary of his death.
Josquin was, and is, considered to be the finest composer of the early
Renaissance. Before his appointment as maestro di cappella at the Sforza court in
Ferrara, an emissary of Duke Ercole was sent throughout Europe to look for the
best singer and composer. The emissary, Gian de Artiganova, wrote to the duke
in 1502,

I must notify Your Lordship that [Heinrich] Isaac the singer has been in
Ferrara and has made a motet on a fantasy entitled “La mi la so la so la mi”
which is very good, and he made it in two days. From this one can only judge
that he is very rapid in the art of composition; besides, he is good-​natured
and easy to get along with. To me he seems very well suited to serve Your
Excellency, much more than Josquin, because he gets along well with his col-
leagues and will compose new works more often. It is true that Josquin com-
poses better, but he composes when he wants to and not when someone else
wants him to, and he is asking for 200 ducats in salary while Isaac will come
for 120.

And confirming this, another of the duke’s emissaries, Girolamo da Sestola, wrote,

My Lord, I believe no Prince or King will have a better Chapel than you if you
send for Josquin, and Josquin will be the crowning of it.

Several sixteenth-​century composers, including Nicolas Gombert (c.1495–​

c.1560), wrote laments on Josquin’s death, and numerous composers, includ-
ing Adrian Willaert (c.1490–​1562), Cristóbal de Morales (c.1500–​1553), G. P. da
Palestrina (c.1525–​1594), and Claudio Merulo (1533–​1604) parodied his composi-
tions. Most notably, Ludwig Senfl (c.1486–​1543) parodied Josquin’s Ave Maria …
4 Choral Monuments

virgo serena by expanding Josquin’s original four voices to six and by lengthening
the composition considerably. Jean Richafort (c.1480–​c.1547) wrote a Requiem
in commemoration of Josquin, and the printer Ottaviano Petrucci (1466–​1539),
who never published more than one book each of any composer’s music, devoted
three books (published in 1502, 1505, and 1514) to Josquin Masses. Petrucci
also began each of his first three books of motets (1502, 1504, and 1505) with
a work by Josquin. In addition, the French printer Pierre Attaingnant (c.1494–​
c.1551) published many of Josquin’s chansons, and copies of Josquin’s works cir-
culated in manuscripts throughout Europe. For example, the Missa Una musque
de Buscaya and Missa Faisant regretz appear in Austrian manuscripts belonging
to the Hapsburg family, and five Josquin chansons are contained in albums that
belonged to Maximilian’s daughter Marguerite. As a final testament to Josquin’s
fame, Leonardo da Vinci (1452–​1519), who spent the final years of his life at the
French court of Francis I, called le Père et Restaurateur des Lettres (the Father
and Restorer of Letters), is the presumed painter of a portrait of Josquin, entitled
Portrait of a Musician now displayed in the Pinacoteca Ambrosiana in Milan.
Numerous authors praised Josquin and his musical abilities. The Italian dip-
lomat Baldassare Castiglione (1478–​1529) gave special mention of Josquin in
Il Cortegiano (The Book of the Courtier) published in 1528, and the German pub-
lisher Hans Ott (d.1546) wrote the following tribute to Josquin in the preface to
his Novum opus musicum of 1537.

All will easily recognize JOSQUIN as the most celebrated hero of the art of
music, for he possesses something that is truly divine and inimitable.

The Swiss music theorist Heinrich Glareanus (1488–​

1563) wrote in his
Dodekachordon of 1547,

No one has more effectively expressed the passions of the soul in music than
this composer, no one has more felicitously begun, no one has been able to
compete in grace and facility on an equal footing with him… . Josquin …
has brought forth nothing that was not delightful to the ear and approved as
ingenious by the learned, nothing, in short, that was not acceptable and pleas-
ing… . In most of his works he is the magnificent virtuoso.

And the Italian diplomat Cosimo Bartoli (1503–​1572) wrote in his Ragionamenti
accademici of 1567,

It is known that Ockeghem was, as it were, the first in his days to rediscover
music when it was almost extinguished, just as Donatello in his time breathed
new life into sculpture. It can be said of our Josquin, Ockeghem’s pupil, that in
music he was a natural prodigy, just as our own Michelangelo Buonarroti has
been in architecture, painting, and sculpture. For just as no one until now has
 De sp re z –​ Mi ssa Pange L i ng u a 5

rivaled Josquin as a composer, so Michelangelo still stands lonely at the sum-

mit of all those who have practiced his arts. Both have opened the eyes of all
those who rejoice in these arts or who will rejoice in the future.

The protestant reformer Martin Luther (1483–​1546) praised Josquin, stating

about Law and Gospel,

What is law is not done voluntarily; what is gospel is done voluntarily. In this
way God has preached the Gospel also in music, as can be seen in Josquin, from
whom all composition flows gladly, willingly, mildly, not compelled and forced
by rules… . Josquin is the master of notes, who must do as he wills; other
choirmasters must do as the notes will.

Finally, Charles Burney (1726–​1814) wrote in his General History of Music,

The laws and difficulties of Canon, Fugue, Augmentation, Diminution,

Reversion, and almost every other species of learned contrivance allowable in
ecclesiastical compositions for voices, were never so well observed, or happily
vanquished, as by Josquin, who may justly be called the father of modern har-
mony, and the inventor of almost every ingenious contexture of its constituent
parts, near a hundred years before the time of Palestrina, Orlando di Lasso,
Tallis, or Bird [i.e., Byrd].

Today, Josquin is considered to be the most important composer in the devel-

opment of imitative polyphony. He is especially noted for duet-​like pairing of
voices (usually soprano with alto and tenor with bass) and for the use of ostinatos.
His compositional output includes eighteen Mass cycles, 109 motets, and
seventy-​eight chansons and frottolas. All the early works exhibit traits of con-
struction techniques that were prevalent in the late years of the Medieval era. The
Masses and motets are based upon cantus firmi that are either mathematically
organized or formed from a notational puzzle, and the chansons are in the style
of formes fixes pieces by composers such as Guillaume Dufay.
Of the early Masses, Missa di dadi utilizes notational puzzles based on the
numbers of dots that appear on the faces of dice; Missa Hercules dux Ferrariae is a
soggetto cavato Mass with a cantus firmus constructed of the solmization pitches
(re ut re ut re fa mi re) that correspond to the vowels in the Mass’s title (the final
“ae” in the duke’s name is considered one letter and, therefore, set as the pitch
“re”); Missa Mater patris is a parody of the three-​voiced polyphonic song by Antoine
Brumel, who succeeded Jacob Obrecht at the Este court in Ferrara; and the cantus
firmus of Missa L’homme armé super voces musicales (the first of two Masses on
the popular song) is structured of successive steps of a hexachord presented in
various mensuration canons. In addition, the cantus firmus of Missa Fortuna des-
perata is formed from all three voice parts of an anonymous preexisting chanson.
6 Choral Monuments

Of the early motets, two are based upon entire melodies from preexisting chants
and chansons. Victimae paschali laudes - ​Dic nobis, Maria uses the Gregorian chant in
the alto and tenor voice parts as well as two chansons (Ockeghem’s D’ung aultre amer
and Ghizeghem’s De tous bien plaine) in the soprano voice, and Stabat mater - ​Eya
mater, fons amoris uses the tenor of Binchois’s chanson Comme femme desconfortée
as a cantus firmus in long notes. Other early motets utilize fragments of preexist-
ing material. Illibata dei virgo nutrix - ​Ave virginum decus hominum has a three-​note
cantus firmus ostinato, set to the solmization syllables “la mi la,” that is telescoped
proportionally as in motets by Dufay and Dunstable; Miserere mei, Deus has a can-
tus firmus built from a short fragment of chant that is repeated as an ostinato
on descending and ascending pitch levels; and the five-​voiced Salve regina - E ​ ya
ergo, advocata nostra has a cantus firmus comprised of the four-​note opening of the
chant melody on two pitch levels. The cantus firmus treatments in the latter two of
these motets are particularly noteworthy and are discussed in detail below.
Of the early chansons, Cela sans plus is in the form of a rondeau; Parfons regretz
is constructed on a cantus firmus in the middle voice part, with motifs that are
treated imitatively in the other parts; Adieu mes amours features two indepen-
dent voice parts over a double canon; and Petite camusette is entirely canonic. The
most popular chansons, both during the Renaissance and today, are the six-​voiced
Allegez moy and Baisez moy, and the Italian frottolas El grillo (with sounds of chirp-
ing crickets) and Scaramella (about an Italian folk hero going off to war). The also
popular Mille regretz is probably not by Josquin, and mention has already been
made of Nymphes des bois (aka La déploration de Johan. Ockeghem).
The later Masses and motets dispense with notational puzzles and preexisting
material limited to one cantus firmus voice part and, instead, they present musi-
cal material freely and in textures unified by statements of motifs or phrases that
pervade all voice parts. For example, the L’homme armé tune is stated in all voice
parts of Missa L’homme armé sexti toni, the solmization motif “la sol fa re me” is
presented hundreds of times throughout the fabric of Missa La sol fa re mi, and the
chant Pange lingua is paraphrased, imitated, and used as a head motif to unify the
entire texture of Missa Pange lingua. Similarly, imitative techniques permeate and
integrate the voice parts in the motets Praeter rerum seriem, De profundis, and In
principio erat verbum. In Pater noster, qui es in celis - ​Ave Maria, gratia plena Josquin
artfully combines a two-​voice canon derived from two Gregorian chants (one in
each movement) with polyphony based on the chants to form a cohesive imitative
texture. Two motets—​Gaude virgo mater Christi and Memor esto verbi tui - P ​ ortio
mea, Domine—​exhibit the voice pairing technique that was such an important
characteristic of Josquin’s late writing. Each motet is also in an ABA-​like struc-
ture: motifs used at the end of the motet are drawn from the motet’s begin-
ning phrase. Memor esto verbi tui - P ​ ortio mea is particularly interesting in that
it is almost entirely comprised of duet passages, including very short motif-​like
phrases that are in dialogue between the upper and lower voices. This dialogue
effect is noteworthy because the motifs are melodically and rhythmically almost
identical. In Ave Maria … virgo serena, Josquin’s most celebrated motet (circulated
 De sp re z –​ Mi ssa Pange L i ng u a 7

in thirteen manuscripts during the Renaissance era and praised by Glareanus in

his Dodekachordon), the six verses of the motet’s text are set in six different imi-
tative styles. Also of interest, Josquin closes the motet with a homophonic coda
in the form of a personal plea—​“O mater Dei, memento mei, Amen” (O mother
of God, remember me, Amen). The Missa de beata virgine, Josquin’s most popu-
lar Mass during the sixteenth century (appearing in fifty-​four sources during the
Renaissance), is also in an imitative style. However, because each movement is
based on a different Gregorian chant and the movements have varied scoring, the
Mass may be a compilation of movements rather than a unified work.
The Missa Pange lingua is Josquin’s final Mass, composed sometime after 1515
but not published until 1539, after Josquin’s death (the publication by Hans
Ott in Nuremberg). However, numerous copies of the Mass existed during and
shortly after Josquin’s lifetime. Following is a partial listing of the thirteen existing
manuscripts.

Brussels, Bibliotheque Royale, MS.IV-​922

Jena, Universitäts-​Bibliothèque, Cod.Mus.21
Leipzig, Bibliothek der Thomaskirche, MS.49
Milan, Biblioteca Ambrosiana, MS.Mus.E46
Munich, Bayerische Staatsbibliothek, Mus.MS.510
Rome, Biblioteca Vaticana, Cappella Sistina, MS.16
Rome, Cappella Giulia, MS.XII.2.C48
Vienna, National-​Bibliothek, MS.4809

Salient Compositional Characteristics

There are two compositional features that permeate Josquin’s writing and that
serve as hallmarks or identifying traits of his music. The first of these is imita-
tion between vocal parts, most often between two parts (both as the two parts
interact with each other and also as the two parts interact with two other parts),
but also between all parts in a pervasive manner. Josquin did not invent imita-
tive technique; forms of imitation occurred occasionally in incipient forms before
him. But in Josquin’s music, imitation became the norm and would continue
to be the defining textural style of writing in both sacred and secular composi-
tions throughout the remaining years of the Renaissance era. The second notable
compositional trait in Josquin’s music, repeated ostinato patterns, is specific to
Josquin and can be seen to represent his psyche as a composer and even perhaps,
as will be pointed out, his philosophy of life.

Imitation
As mentioned earlier, imitative polyphony was uncommon before Josquin. In
the works of Dufay, for instance, the various parts of a composition rarely trade
8 Choral Monuments

compositional material. Instead, the voice parts are generally independent, with
rhythmic and melodic characteristics of the Medieval era. As an example, the
tenor part of Missa L’homme armé is a cantus firmus in long note values entirely
based on the original tune, the bass part shares none of the tune and is somewhat
faster rhythmically, and the two upper parts are even faster moving, with material
that only sporadically participates in imitation between the voice parts. In Dufay’s
Missa Se la face ay pale, a paraphrase Mass based on the composer’s chanson of the
same name, a head motif begins each movement and is imitated in the two upper
voice parts—​but only for the duration of the motif. Otherwise, there are several
slightly longer passages of imitation in the “Benedictus” duet and in the second
“Agnus Dei” trio. Ockeghem’s Missa Mi-​mi is similar in having just a few imita-
tive passages, most notably duet imitation between the upper and lower voices
at the “Pleni sunt coeli” text of the Sanctus. The remainder of the Mass is, for
the most part, texturally dense, however, with all voice parts scored simultane-
ously and without imitation. On the other hand, there are quite a few duet pas-
sages in Ockeghem’s Missa Caput, although these are not imitative either within
the duets or with the other voices, and the canons that exist in Dufay’s Gloria ad
modum tubae and Ockeghem’s Missa prolationum, while exhibiting imitation in a
formal sense, are not considered to be imitative as the term is used to describe
Renaissance polyphony.
Josquin’s compositions, in contrast to those of his predecessors, are often
replete with imitative passages. In the motet Illibata dei virgo nutrix - ​Ave virgi-
num decus hominum composed in 1489, for example, most of the phrases in the
motet’s first part begin with imitation between two voices, and some phrases of
text involve imitation between more voices. For instance, four voices participate
in imitation at the beginning of the first phrase and also at the beginning of the
antepenultimate phrase (at the text “roborando”), and three voices are involved
in imitation at the beginning of the third phrase. These phrases, by the way, begin
with words, as an acrostic, that spell Josquin’s name (seen in the boldface letters
below, I serving as J, and V serving as U):

Illibata dei virgo nutrix (Unimpaired virgin nurse of God),

Olympi tu regis o genitrix (Olympus king, oh mother),
Sola parens verbi puerpera (sole parent of the word),
Quae fuisti Evae reparatrix (who repaired Eve’s damage),
Viri nefas tuta mediatrix (for the wicked you intercede),
Illud clara luce dat scriptura (this is clear in the scriptures).
Nata nati, alma genitura (Born of your son, bountiful birth),
Des ut laeta musarum factura (grant that the muses),
Praevaleat hymnus, et sit ave (may make joyful hymns),
Roborando sonos, ut guttura (strengthening the sound they make),
Eflagitent, laude teque pura (with urgent praises),
Zelotica arte clament ave (with the zeal of art crying hail).
Another random document with
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tiernas y turbadas; allí lágrimas y
risas, ruegos y promesas, y sobre
todo Amor que lo sazonaba. No
fué sola esta vez la que Mendino
y Elisa por aquella parte se
hablaron; pero no todas Mendino
llevó á Siralvo que le
acompañasse, porque sabía que
el humilde pastor no lo era en
pensamientos. Andaba
furiosamente herido de los
amores de Filida, Filida que por
lo menos en hermosura era
llamada sin par y en suerte no la
tenía; y como los días con la
ocupación del ganado y el recelo
de Vandalio y sus pastores (á
donde Filida estaba) no le daban
lugar á procurar verla ni oirla, iba
las noches y descansaba á vista
de sus cabañas, y algunas veces
veía á la misma Filida, que en
compañía de sus pastoras salía á
buscar la frescura de las fuentes,
y entre los árboles cantaba, y
haciéndose encontrado con ellas,
no se esquivaba Filida de oirle ni
de entender que le amaba, que
bien sabía de Florela, pastora
suya, con quien Siralvo
comunicaba su mal, y de cuantos
más al pastor conocían, que
cabía en su virtud su deseo. Esto
entendía Mendino, y lastimoso de
estorbarle, muchas noches se iba
solo á hablar á la hermosa Elisa,
entre las cuales una el
sospechoso Padileo le acechó y
le vido, y fué por mejor que,
celoso y desconfiado, sin decir la
causa de su movimiento, pidió
luego por mujer á la hermosa y
discreta Albanisa, viuda del
próspero Mendineo, hija del
generoso rabadán Coriano, que
en la ribera del Henares vivía, y
allí desde las antiguas cabañas
de su padre apacentaba en la
fértil ribera 1.000 vacas, 10.000
ovejas criaderas y otras tantas
cabras en el monte al gobierno de
su mayoral Montano, padre de
Siralvo, pastor de Mendino. Esta
famosa empresa consiguió
Padileo, y en conformidad de los
deudos de una y otra parte, partió
del Tajo, acompañado de los
mejores rabadanes dél, y el
mismo Mendino, que muy deudo
y amigo era de la gentil Albanisa,
y desposado y contento, con el
mayor gassajo y fiesta que jamás
se vido entre pastores, volvió del
Henares con la cara esposa,
enriqueciendo de beldad y valor el
Tajo y su ribera; desta suerte
quedó contento Mendino y
pagado Padileo, y Elisa, pagada y
contenta; y como de nuevo
comenzó Mendino en sus
amores, y forzosamente á fingir
con Filis y Elisa con Galafrón, que
no les importaba menos que el
sossiego, y sin más industria
dellos, el viejo Sileno asseguró su
pecho, y el trato como primero y
con más deleite tornó en todos y
los placeres y fiestas lo mismo,
porque para cualquier género de
ejercicio había en la ribera
bastantíssima compañía: en
fuerza y maña, Mendino, Castalio,
Cardenio y Coridón; en la divina
alteza de la poesía, Arciolo, Tirsi,
Campiano y Siralvo; en la música
y canto, con la hermosa Belisa,
Salio, Matunto, Filardo y Arsiano,
aunque á la sazón Filardo,
enamorado de la pastora Filena y
celoso de Pradelio, andaba
retirado, con mucho disgusto de
todos, que nadie probaba su
amistad que no le amasse por su
nobleza y trato; pero de muchas
bellas pastoras favorecido, amaba
á sola Filena y sola ella le
aborrecía, siendo verdad que otro
tiempo le estimaba; pero cansóse
el Amor, como otras veces suele,
y con todo esso Filardo, tan
cortés y leal que se escondía á
aquejarse, y en la mayor soledad
encubría sus celos; solos estaban
Coridon y Mendino junto á una
fuente, que al pie de una vieja
noguera manaba, cubierta por la
parte del Oriente de una alta roca,
que alargando la mañana
gozaban de más frescura y
secreto, cuando por un estrecho
sendero vieron venir á Filardo,
buscando la soledad para sus
quejas, y al mismo tiempo fueron
dél sentidos; y viendo ocupado el
lugar que él buscaba, quiso
volverse, pero los dos no lo
consintieron, antes Mendino le
rogó que llegasse, y llegado,
Coridón le pidió que tañesse, y
tañendo ambos le incitaron al
canto, que, comedido y afable, no
se pudo excusar, ni aquí su
canción, que fué ésta:

FILARDO
Vuestra beldad, vuestro
valor, pastora,
contrarios son al que su fuerza
trata,
que si la hermosura le
enamora,
la gravedad de la ocasión le
mata;
los contentos del alma que os
adora,
el temor los persigue y
desbarata,
lucha mi amor y mi
desconfianza,
crece el deseo y mengua la
esperanza.
Los venturosos ojos del que
os mira,
os juzgan por regalo del
tormento,
y el alma triste que por vos
suspira,
por rabia y perdición del
pensamiento;
essa beldad que al corazón
admira,
esse rigor que atierra el
sufrimiento,
poniéndonos el seso en su
balanza,
sube el deseo y baja la
esperanza.
Aunque me vi llegado al fin
de amaros,
ningún medio hallé de
enterneceros,
que como fué forzoso el
desearos,
lo fué el desconfiar de
mereceros;
el que goza la gloria de
miraros
y padece el dolor de
conoceros,
conocerá cuán poco bien se
alcanza,
rey el deseo, esclava la
esperanza.
Si propia obligación de
hermosura
es mansedumbre al alma que
la estima,
y al fuerte do razón más
assegura,
tantos peligros voluntad
arrima,
vaya para menguada mi
ventura,
pues lo más sano della me
lastima;
mas si holgáis de ver mi mala
andanza,
viva el deseo y muera la
esperanza.
Bien muestra Amor su mano
poderosa,
pero no justiciera en mi
cuidado,
atando una esperanza tan
medrosa
al yugo de un deseo tan
osado,
que en cuanto aquél pretende,
puede y osa,
ella desmedra, teme y cae al
lado,
que mal podrán hacer buena
alianza
fuerte el deseo y débil la
esperanza.
La tierna planta que, de
flores llena,
el bravo viento coge sin
abrigo,
bate sus ramas y en su seno
suena,
llévala y torna, y vuélvela
consigo,
siembra la flor ó al hielo la
condena,
piérdese el fruto, triunfa el
enemigo;
sin más reparo y con mayor
pujanza
 persigue mi deseo á mi
esperanza.

Cantó Filardo, y Mendino quedó

de su canción muy lastimoso.
Coridón no, que estaba ausente
de su bien, y cuantos males no
eran de ausencia le parecían
fáciles de sufrir. Cada uno siente
su dolor, y el de Filardo no era de
olvidar que era de olvido, y ahora,
después de haber alabado su
cantar tan igual en la voz y el arte,
los tres pastores se metieron en
largas pláticas de diversas cosas,
y la última fué la ciencia de la
Astrología, que grandes maestros
della había en el Tajo; allí estaba
el grave Erión, de quien después
trataremos; el antiguo Salcino, el
templado Micanio, con otros
muchos de igual prueba; mas
entre todos, Filardo alabó el gran
saber de Sincero, y la llaneza y
claridad con que oía y daba sus
respuestas: por esto le dió gran
gana á Mendino de verse con
Sincero, que muchos días había
deseado saber á dónde llegaba el
arte destos magos; y como
Filardo dijo que sabía su morada,
los tres se concertaron de
buscarle el día siguiente, antes
que el Sol estorbasse su camino,
con lo cual tomaron el de sus
cabañas, donde cada uno á su
modo passó el día y la noche, y
ya que el alba y el cuidado del
concierto desterraron el sueño,
Coridón y Filardo buscaron á
Mendino, cuando él salía de sus
cabañas á buscarlos, y
escogiendo la vía más breve y
menos agra passaron el monte, y
á dos millas que por selvas y
valles anduvieron, en lo más
secreto de un espesso soto
hallaron un edificio de natura, á
manera de roca, en una peña
viva, cercado de dos brazas de
fosso de agua clara hasta la mitad
de la hondura; aquí quiso Filardo
merecer la entrada, y sentado
sobre la hierba sacó la lira, á cuyo
son con este soneto despertó á
Sincero:

FILARDO
Si me hallasse en Indias de
contento,
y descubriesse su mayor
tesoro
en el lugar donde tristeza ó
lloro
jamás hubiessen destemplado
el viento;
Donde la voluntad y el
pensamiento
guardassen siempre al gusto
su decoro,
sin ti estaría, sin ti que sola
adoro,
 pobre, encogido, amargo y
descontento.
¿Pues qué haré donde
contino suenan
agüeros tristes de presente
daño,
propio lugar de miserable
suerte;
Y adonde mis amigos me
condenan,
y es el cuchillo falsedad y
engaño,
y tú el verdugo que me das la
muerte?

Con el postrero acento de Filardo

abrió el mago una pequeña
puerta, y con aspecto grave y
afables razones los saludó y
convidó á su cueva. Pues como
fuesse aquello á lo que venían,
fácilmente acetaron, y por una
tabla que el mago tenía en el
fosso, que sería de quince pies en
largo, hecha á la propia medida,
passaron allá y entraron en aquel
lugar inculto, donde lo que hay
menos que ver es el dueño. Aquí
en estas peñas cavadas solo vivo
y solo valgo, y aunque no á todos
comunico mi pecho, bien sé,
nobles pastores, que sois dignos
de amor y reverencia; mas vos,
Coridón ausente, y vos, Filardo
olvidado, perdonaréis por ahora, y
vos, Mendino, oid quién sois y lo
que de vos ha sido y será, que
dichoso es el hombre que sabe
sus daños para hacerles reparo y
sus bienes para alegrarse en
ellos; y viendo que Mendino le
prestaba atención, en estas
palabras soltó su voz el mago:

SINCERO
Cuando natura con atenta
mano,
viendo el Sér soberano de do
viene,
el ser que el hombre tiene y es
dechado,
dó está representado, y junto
todo,
quiso con nuevo modo hacer
prueba
maravillosa y nueva, no del
pecho,
cuyo poder y hecho á todo
excede,
pero de cuánto puede y
cuánto es buena
capacidad terrena en
fortaleza,
en gracia, en gentileza, en
cortesía,
en gala, en gallardía, en arte,
en ciencia,
en ingenio, en prudencia y en
conceto,
en virtud y respeto, y
finalmente,
en cuanto propiamente acá en
el suelo
una muestra del cielo sea
possible,
con la voz apacible, el rostro
grave,
como aquella que sabe cuanto
muestra
su poderosa diestra y sola
abarca,
invocando á la Parca
cuidadosa,
«Obra tan generosa se te
ofrece,
le dice, que parece
menosprecio
hacer caudal y precio de otra
alguna
de cuantas con la luna se
renuevan,
ó con el sol se ceban y fatigan,
ó á la sombra mitigan su
trabajo;
tus hombros pon debajo de mi
manto,
obrador sacrosanto de tu
ciencia,
y con tal diligencia luego
busca
aquel copo que ofusca lo más
dino,
que después del Austrino al
mundo es solo;
de los rayos de Apolo está
vestido
de beldad, guarnecido de
limpieza,
allí acaba y empieza lo infinito,
es Ave el sobrescrito sin
segundo,
á cuyo nombre el mundo se
alboroza,
de Mendoza, y Mendoza sólo
suena
donde la luz serena nos
alegra,
y á do la sombra negra nos
espanta;
agora te adelanta en el estilo,
y del copo tal hilo saca y
tuerce,
que por más que se esfuerce
en obra y pueda,
mi mano nunca exceda en otra
á ésta».
Dijo Natura, y presta al
mandamiento,
Lachesis, con contento y
regocijo,
sacó del escondrijo de Natura
aquella estambre pura, aquel
tesoro,
ciñó la rueca de oro, de oro el
huso,
y como se dispuso al
exercicio,
la mano en el oficio, assí á la
hora
la voz clara sonora á los
loores:
«Oid los moradores de la tierra
cuánta gloria se encierra en
esta vida,
que hilo por medida más que
humana;
aquí se cobra y gana el bien
passado,
que del siglo dorado fué
perdido
este bien, escogido por
amparo
de bondad y reparo de los
daños
que el tiempo en sus engaños
nos ofrezca;
porque aquí resplandezca la
luz muerta,
la verdad halla puerta y la
mentira
cuchillo que la admira y nos
consuela,
y la virtud espuela, el vicio
freno,
en quien lo menos bueno al
mundo espante:
crece, gentil Infante, Enrique
crece,
que Fortuna te ofrece tanta
parte,
no que pueda pagarte con sus
dones,
pero con ocasiones, de tal
suerte,
que el que quiera ofenderte ó
lo intentare,
si á tu ojo apuntare el suyo
saque
y su cólera aplaque con su
daño;
del propio y del extraño serás
visto,
y de todos bien quisto,
Infante mío;
mas ¡ay! que el desvarío del
tirano
mundo cruel, temprano te
amenaza,
tan áspero fin traza á tus
contentos,
que tendrás los tormentos por
consuelo;
cuando el Amor del suelo lo
más raro
te diere menos caro, hará trato
que tendrás por barato desta
fiesta
lo que la vida cuesta; mas
entiende
que si el Hado pretende darte
asalto,
y que te halles falto de la
gloria,
do estará tu memoria, el cielo
mismo
te infundirá un abismo de
cordura,
con que la desventura se
mitigue,
que aunque muerte te obligue,
cuando á hecho
rompa el ínclito pecho de tu
padre,
de claro aguelo y madre á
sentimiento,
y el duro acaecimiento que te
espera
de que á tus ojos muera la luz
bella,
de aquella, digo, aquella que
 nacida
será tu misma vida muertos
ellos,
serás la Fénix dellos; crece
ahora,
que ya la tierra llora por
tenerte,
por tratarte y por verte y será
presto».
Dijo Lachesis esto, y yo te
digo,
que tú eres buen testigo en lo
que ha sido,
y si en lo no venido no
reposas,
esfuérzate en las cosas que te
ofenden,
que en el tiempo se entienden
las verdades
y el franco pecho en las
adversidades.

Ganoso anduvo Mendino de oir á

Sincero, y valiérale más no
haberlo hecho, porque una vez le
oyó y mil se arrepintió de haberle
oído. Imprimióse una imagen de
muerte en su corazón, que si
juntamente en él no estuviera la
de Elisa, cayera sin duda en el
postrer desmayo. Cruel fué
Sincero con Mendino en afirmarle
lo que fuera possible ser tan falso
como verdadero, mas pocos hay
que encubran su saber, aunque el
mostrarlo sea á costa del amigo.
Tal quedó el pastor, que no fué
poco poderse despedir del mago,
que con ofertas y abrazos salió
con ellos hasta passar el soto,
donde se quedó, y ellos volvieron
á la ribera, que al parecer de
Mendino ya no era lugar de
contento, sino de profundo dolor,
con quien anduvo luchando
muchos días por no poderle
excusar y por hacerlo de que
Elisa lo sintiesse. ¡Oh cuántas
veces el leal amador mostró
placer en el rostro, que en el alma
era rabia y ponzoña, y cuántas
veces su risa fué rayo, que
penetraba su pecho y aun los
mismos ratos de la presencia de
Elisa, que en muerte y afrenta le
fueran consuelo, le eran allí
desesperación, y así no tenía
gusto sin acibar ni trabajo con
alivio! «¿Es possible, decía, que
la celestial belleza de Elisa ha de
faltar á mis ojos, y que muerta
Elisa yo podré vivir, y mis
esperanzas juntas con Elisa se
harán polvo que lleve el viento?
Primero ruego á la deidad donde
todo se termina que mude en mí
la sentencia, y si no, yo me la doy,
Elisa, que ya que no sea
poderoso para que no mueras,
serélo á lo monos para no vivir».
Estas y tales razones decía
Mendino á solas con la boca, y
acompañado con el corazón, y
Elisa, inocente destos daños,
siempre se ocupaba en agradarle
y engañar á Galafrón, como
Mendino á Filis. Tres veces se
vistió el Tajo de verdura, y otras
tantas se despojó della, en tanto
que Elisa sin sobresalto, y
Mendino siempre con él, gozaron
de la mayor fe y amor que jamás
cupo en dos corazones humanos,
y al principio del tercero invierno,
cuando el fresno de hoja y el
campo de hermosura, juntamente
se despojó de vida el corazón de
Mendino no olvidado, no celoso ni
ausente menos que del alma,
porque adoleció Elisa de grave
enfermedad é inútiles los
remedios de la tierra, aquella
alma pura, buscando los
celestiales, desamparó aquel velo
de tan soberana natural belleza,
dejando un dolor universal sobre
la haz del mundo y una ventaja de
todo en el pecho del sin ventura
pastor, que aun para quejarse no
le quedó licencia, solo por la
soledad de los montes buscaba á
Elisa, y en lágrimas sacaba su
corazón por los ojos; allí, con
aquellas peñas endurecidas,
comunicaba su terneza, y en ellas
mismas ponía sentimiento. Con él
lloraron Siralvo, Castalio y
Coridón. Con él lloraron los
montes y los ríos; con él las
ninfas y pastoras, mas nadie
sentía que él lloraba. Gran
pérdida fué aquélla, y grande el
dolor de ser perdida, y muchos
los que perdieron. Esto se pudo
ver por las majadas de Sileno,
donde no quedó pastor que no
llorasse y gimiese, y
desamparando las cubiertas
cabañas, passaban la nieve y el
granizo por los montes las
noches, y por los yermos los días,
mayormente en el lugar do fué
Elisa sepultada, en una gran
piedra coronada de una alta
pirámide, á la sombra de algunos
árboles, y á la frescura de
algunas fuentes, todos los
rabadanes, pastoras y ninfas de
más estima cubrieron sus frentes
con dolor y bañaron con lágrimas
sus mejillas en compañía del
anciano padre, donde Mendino,
que más sentía, era quien menos
lo mostraba, por el decoro de
Elisa y el estorbo de Filis, y así
apartado, donde de nadie podía
ser visto ni oído, satisfacía á su
voluntad en lágrimas sin medida y
en quexas sin consuelo; y cuando
el bravo dolor le daba alguna
licencia, cantaba en vez de llorar,
y peor era su canto que si llorara,
que cuando el triste canta, más
llora, y más Mendino, que desta
suerte cantaba:

MENDINO
 Yéndote, señora mía,
queda en tu lugar la muerte,
que mal vivirá sin verte
el que por verte vivía;
pero viendo
que renaciste muriendo,
muero yo con alegría.
En la temprana partida
vieja Fénix pareciste,
pues tu vida escarneciste
por escoger nueva vida:
sentiste la mejoría,
y en sintiéndola volaste,
mas ay de aquel que dejaste
triste, perdido y sin guía;
y entendiendo
que te cobraste muriendo,
se pierde con alegría.
El árbol fértil y bueno
no da su fruto con brío
hasta que es de su natío
mudado en mejor terreno;
por esto, señora mía,
en el jardín soberano
te traspuso aquella mano
que acá sembrado te había;
y entendiendo
que allí se goza viviendo,
muero aquí con alegría.
Bien sé, Elisa, que convino,
y te fué forzoso y llano
quitarte el vestido humano
para ponerte el divino;
mas quien contigo vestía
su alma, di, ¿qué hará,
ó qué consuelo tendrá
quien sólo en ti le tenía,
si no es viendo
que tú te vistes muriendo
de celestial alegría?
En esta ausencia mortal
tiene el consuelo desdén,
no porque te fuiste al bien,
mas porque quedé en el mal;
y es tan fiera la osadía
de mi rabiosa memoria,
que con el bien de tu gloria
el mal de ausencia porfía;
pero viendo
que el mal venciste muriendo,
al fin vence el alegría.
Es la gloria de tu suerte
la fuerza de mi cadena,
porque no cesse mi pena
con la presurosa muerte,
que ésta no me convenía;
mas entonces lo hiciera
cuando mil vidas tuviera
que derramar cada día;
pues sabiendo
la que ganaste muriendo,
las diera con alegría.
Vi tu muerte tan perdido,
que no sentí pena della,
porque de sólo temella
quedé fuera de sentido;
ya mi mal, pastora mía,
da la rienda al sentimiento;
siempre crece tu contento
y el rigor de mi agonía;
pero viendo
que estás gozosa viviendo,
mi tristeza es alegría.