Dale Carr | Magnificat Quinti Toni by Jean Titelouze performed by Dale Carr in Zeerijp on 12 Sept., 1980 @dalecarr6361 | Uploaded July 2023 | Updated October 2024, 3 hours ago.
Magnificat Quinti Toni {pub. 1626} by Jean Titelouze {1562/3 - 1633}
performed by Dale Carr on the organ in Zeerijp {prov. Groningen} on 12 Sept., 1980
{here versets 5-7 ; for the 1st 3, visit youtube.com/watch?v=Zo_hD5Dzg8E }
It's a pity that Titelouze's works are seldom played, and thus little known, outside of France. His hymns & Magnificat verses are beautiful organ music, deserving of closer study than can be attempted here. His publication of Magnificat settings in 1626 included 7 versets, 1 in each mode, based on plainchant melodies. In each of his settings of the Magnificat, Titelouze provided an alternative setting for the verse Deposuit potentes, in order to make the works suitable for the Benedictus {which has for all intents and purposes the same melody but has one more verse}. He also suggests the possibility of shortening the versets by leaving off their 2nd §s. Here I have played all of each verset, but have omitted the 1st setting of ‘Deposuit’.
The 5th-mode melody, like the others, is in 2 phrases: the 1st is an ascending triad on f, that is f-a-c - and then some more depending on the text of the verse in question. The 2nd phrase is a short melodic figure c-d-b-c-a - and then some more depending on the text of the verse in question.
The plainchant melodies derive from a time before our modern concepts of major & minor keys, which are roughly similar to those of Titelouze. He treats the melodies as subjects for modern music of his time, ergo in major & minor keys, more or less. This implies, for him, frequent use of b𝄬, though often with a nod to the original b𝄮.
Many of Titelouze's organ works using plainsong melodies treat the melody as a cantus firmus, i.e. in long notes. This is the case in several of his magnificat versets, but not in those for the 5th tone, which are composed more or less as motets in which all parts have notes of roughly equal value.
Since Titelouze is writing in a post-modal style, he seems to feel free to use 'real' & 'tonal' forms of his subjects, much as Bach or other later composers would do. The intervals of the tonal form are adjusted to fit the harmonic context. This means that instead of a triad f-a-c, spanning a perfect 5th, Titelouze might choose c-d-f, spanning a perfect 4th instead, without a guilty conscience.
Verset 5 {Deposuit potentes, alter ver.}:
In this verse Titelouze continues the development away from the strict melody as subject that is apparent in the 1st 3 versets. Here the 1st subject {youtu.be/-myNYxhPoMY?t=22} seems to be based on the inversion of the melody, c-a-f rather than f-a-c. The 2nd subject {youtu.be/-myNYxhPoMY?t=98} remains close to the plainchant melody, beginning in close stretto, i.e. with the entries overlapping each other at close intervals. The verset concludes {youtu.be/-myNYxhPoMY?t=126} with a sublime coda.
Verset 6 {Suscepit Israel ; Tria.}:
Begins {youtu.be/-myNYxhPoMY?t=162} with a triadic subject which is treated in 3 voices rather than the usual 4. The pace accelerates as 𝅘𝅥𝅮 and later 𝅘𝅥𝅯 become more and more frequent. After {youtu.be/-myNYxhPoMY?t=222} the subject and the imitative texture are abandoned.
The subject of the 2nd § {youtu.be/-myNYxhPoMY?t=240} seems to have no relationship with the plainchant ; but it is introduced, as in the previous verset, in close stretto. Later {youtu.be/-myNYxhPoMY?t=255} this new subject is briefly adapted to the increasing pace of movement in 𝅘𝅥𝅯, before being abandoned as the pace completely dominates the character of the verse.
Verset 7 {Gloria Patri & Filio}:
Begins {youtu.be/-myNYxhPoMY?t=305} with the tones of the {inverted} triad filled in to form a descending scale of 5 tones in 𝅗𝅥 {mostly}, followed by the 2nd § {youtu.be/-myNYxhPoMY?t=349} which uses a similar subject in 𝅘𝅥. All is in close stretto, ending with a majestic coda.
Magnificat Quinti Toni {pub. 1626} by Jean Titelouze {1562/3 - 1633}
performed by Dale Carr on the organ in Zeerijp {prov. Groningen} on 12 Sept., 1980
{here versets 5-7 ; for the 1st 3, visit youtube.com/watch?v=Zo_hD5Dzg8E }
It's a pity that Titelouze's works are seldom played, and thus little known, outside of France. His hymns & Magnificat verses are beautiful organ music, deserving of closer study than can be attempted here. His publication of Magnificat settings in 1626 included 7 versets, 1 in each mode, based on plainchant melodies. In each of his settings of the Magnificat, Titelouze provided an alternative setting for the verse Deposuit potentes, in order to make the works suitable for the Benedictus {which has for all intents and purposes the same melody but has one more verse}. He also suggests the possibility of shortening the versets by leaving off their 2nd §s. Here I have played all of each verset, but have omitted the 1st setting of ‘Deposuit’.
The 5th-mode melody, like the others, is in 2 phrases: the 1st is an ascending triad on f, that is f-a-c - and then some more depending on the text of the verse in question. The 2nd phrase is a short melodic figure c-d-b-c-a - and then some more depending on the text of the verse in question.
The plainchant melodies derive from a time before our modern concepts of major & minor keys, which are roughly similar to those of Titelouze. He treats the melodies as subjects for modern music of his time, ergo in major & minor keys, more or less. This implies, for him, frequent use of b𝄬, though often with a nod to the original b𝄮.
Many of Titelouze's organ works using plainsong melodies treat the melody as a cantus firmus, i.e. in long notes. This is the case in several of his magnificat versets, but not in those for the 5th tone, which are composed more or less as motets in which all parts have notes of roughly equal value.
Since Titelouze is writing in a post-modal style, he seems to feel free to use 'real' & 'tonal' forms of his subjects, much as Bach or other later composers would do. The intervals of the tonal form are adjusted to fit the harmonic context. This means that instead of a triad f-a-c, spanning a perfect 5th, Titelouze might choose c-d-f, spanning a perfect 4th instead, without a guilty conscience.
Verset 5 {Deposuit potentes, alter ver.}:
In this verse Titelouze continues the development away from the strict melody as subject that is apparent in the 1st 3 versets. Here the 1st subject {youtu.be/-myNYxhPoMY?t=22} seems to be based on the inversion of the melody, c-a-f rather than f-a-c. The 2nd subject {youtu.be/-myNYxhPoMY?t=98} remains close to the plainchant melody, beginning in close stretto, i.e. with the entries overlapping each other at close intervals. The verset concludes {youtu.be/-myNYxhPoMY?t=126} with a sublime coda.
Verset 6 {Suscepit Israel ; Tria.}:
Begins {youtu.be/-myNYxhPoMY?t=162} with a triadic subject which is treated in 3 voices rather than the usual 4. The pace accelerates as 𝅘𝅥𝅮 and later 𝅘𝅥𝅯 become more and more frequent. After {youtu.be/-myNYxhPoMY?t=222} the subject and the imitative texture are abandoned.
The subject of the 2nd § {youtu.be/-myNYxhPoMY?t=240} seems to have no relationship with the plainchant ; but it is introduced, as in the previous verset, in close stretto. Later {youtu.be/-myNYxhPoMY?t=255} this new subject is briefly adapted to the increasing pace of movement in 𝅘𝅥𝅯, before being abandoned as the pace completely dominates the character of the verse.
Verset 7 {Gloria Patri & Filio}:
Begins {youtu.be/-myNYxhPoMY?t=305} with the tones of the {inverted} triad filled in to form a descending scale of 5 tones in 𝅗𝅥 {mostly}, followed by the 2nd § {youtu.be/-myNYxhPoMY?t=349} which uses a similar subject in 𝅘𝅥. All is in close stretto, ending with a majestic coda.
