Page 82 - ESSENTIAL LISTENING TO MUSIC

Example 4.3 > imitation ˙
S.&4˙˙˙˙˙ w ∑ ∑ ∑˙.œ
4A-ve Ma-ri - a, ˙˙ Gra- - V4∑∑˙˙˙˙w∑∑
4 A-ve Ma-ri-a, ˙˙ T.V4∑∑∑∑˙˙˙˙ w
?4 A-ve Ma-ri-a,
B. 4 ∑ ∑ ∑ ∑ ∑ ∑ ˙ ˙ ˙ ˙
A - ve Ma -
Josquin also sometimes has one pair of voices imitate another—the tenor and bass, for example, imitating what the alto and soprano have just sung, as highlighted by the arrows (Example 4.4).
Example 4.4 > paired imitation &Ó˙˙˙˙œœœœ˙œw ∑ ∑
A-ve cu-juscon-cep - ti-o, ˙˙˙œœœœ˙w
A.
S.
VÓ˙ Ó ˙.œ A. ˙ œ
VwA-vecu-juscon-cep ti-o, ˙˙ ∑∑∑Ó
tc.]
˙œ
[e
T.
e cu - ? ∑∑∑ÓA-v˙˙
˙œœ
B.w ˙
A - ve cu - jus con-cep
jus con- cep
Josquin builds his Ave Maria much as a humanistic orator would construct a persuasive speech. The work begins with a salutation to the Virgin, sung in imitation. Thereafter, a key word, “Ave” (“Hail”), sparks a succession of salutes to the Virgin, each making reference to one of her principal feast days during the church year (Conception, Nativity, Annunciation, Purification, and As- sumption). Along the way the music overtly mimics the text; for example, on the words “Coelestia, terrestria, nova replet laetitia” (“Fills heaven and earth with new joy”), Josquin raises the pitch of all voices excitedly. Then he takes this ges- ture one step further, literally jumping for joy, by leaping upward an octave on the Latin laetitia (“joy”). At the end of the motet comes a final exclamation, “O Mater Dei, memento mei. Amen” (“O Mother of God, be mindful of me. Amen”). These last words are set to striking chords, with each syllable of text receiving a new chord. The chordal, homophonic treatment allows this final phrase to stand out with absolute clarity. Here Josquin declaims the basic principle of musical
60 chapter four music in the middle ages and renaissance
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