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Sheet music

Original

Missa "Inclina Cor Meum". Philippe de Monte. A cappella. Sacred , Mass. Languages. Greek , Latin. SATTB. Crucifixus section of Credo is SSAA.

Translation

Missa "Inclina Cor Meum". Philippe de Monte. A cappella. Sacred , Mass. Languages. Greek , Latin. SATTB. Crucifixus section of Credo is SSAA.

Original

This Mass is a parody mass, based on the composer's own setting of Inclina cor meum for the same voicing. originally given as superius, altus, quintus, tenor, bassus. The Mass setting demonstrates de Monte's cleverness and skill in the parody style. the two principal themes of the motet are clearly defined, yet he almost immediately explores multiple ways of varying the thematic material. Of special note is the change in texture, highlighting the text at "crucifixus," and carrying through until the ebullient and dance-like entrance of "et in spiritum sanctum". Thinning the texture to a revoiced choir of SSAA for an extended 57 measures, de Monte begins this section with the sopranos in simple canon on a theme of "crucifixus etiam pro nobis" and the altos in canon on a counter theme for "sub pontio pilato" followed by imitative passages between all the voices on "passus et sepultus est" and "et resurrexit" returning to four-part, homophonic writing on "tertia die" and then repeating the canon pattern with a new theme on "et iterum venturus est" and "cum gloria judicare," homophonically cadencing on "cujus regni non erit finis". It is an exquisite mini-composition within the larger form of the Credo.

Translation

This Mass is a parody mass, based on the composer's own setting of Inclina cor meum for the same voicing. originally given as superius, altus, quintus, tenor, bassus. The Mass setting demonstrates de Monte's cleverness and skill in the parody style. the two principal themes of the motet are clearly defined, yet he almost immediately explores multiple ways of varying the thematic material. Of special note is the change in texture, highlighting the text at "crucifixus," and carrying through until the ebullient and dance-like entrance of "et in spiritum sanctum". Thinning the texture to a revoiced choir of SSAA for an extended 57 measures, de Monte begins this section with the sopranos in simple canon on a theme of "crucifixus etiam pro nobis" and the altos in canon on a counter theme for "sub pontio pilato" followed by imitative passages between all the voices on "passus et sepultus est" and "et resurrexit" returning to four-part, homophonic writing on "tertia die" and then repeating the canon pattern with a new theme on "et iterum venturus est" and "cum gloria judicare," homophonically cadencing on "cujus regni non erit finis". It is an exquisite mini-composition within the larger form of the Credo.