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MISSA ACCUEILLY M’A LA BELLE

GENERAL COMMENTARY

This unicum transmission of Caron’s Missa Accueilly m’a la belle is the first item in the principal layer of what is now the Vatican source Capella Sistina 51 — VatS 51, folios 6^v — 17^r (see Sources)[1]. It is one of several examples in this source and in the sister manuscript, VatS 14 (see Sources) where the two principal scribes, identified by Roth as copyists alpha and A[2], collaborated in the drawing up of the manuscript and the transcription of music and text[3]. In this case Hand A entered the text throughout and music on verso pages, and alpha completed the contratenor music on the recto sides[4]. The cycle is attributed to Caron centre top folio 6^v:

[graphic forthcoming]

and its title appears once under the opening stave of the tenor:

[graphic forthcoming]

The Missa Accueilly m’a la belle is Caron’s most ambitious setting, and for me is his most celebratory. Table I below, lists a composite of data including the sectional structure of the setting, folio distribution of music, mensural and modal signs, and clefs.

TABLE I: Sections, Folios, Mensural and Modal Signatures and Clefs in Caron’s Missa Accueilly m’a la belle.

Section	Folios	Mensural Sign	Voice	Modal Sign	Clef	Comments
Kyrie [I]	6^v	O	S		C¹
	7^r		CtA	one flat	C³	C², stave 2
	6^v		T	one flat	C³
	7^r		CtB	one flat	F³
Christe	6^v	¢	S		C¹
	7^r		CtA	one flat	C³
	6^v		T	one flat	C³
	7^r		CtB	one flat	F³
Kyrie [II]	7^v	Ø	S		C¹
	8^r		CtA	one flat	C³
	7^v		T	one flat	C³
	8^r		CtB	one flat	F³
Et in terra	8^v	O	S		C¹
	9^r		CtA	one flat	C³
	8^v		T	one flat	C³
	9^r		CtB	one flat	F³
Domine Deus	8^v	O	S		C¹	internal mensural shifts
Domine Deus	9^r	O	CtA	one flat	C³	internal mensural shifts
Qui tollis	9^v	¢	S		C¹
	10^r		CtA	one flat	C³
	9^v		T	one flat	C³
	10^r		CtB	one flat	F³
Patrem	10^v	O	S		C¹
	11^r		CtA	one flat	C³
	10^v		T	one flat	C³
	11^r		CtB	one flat	F³
Et resurrexit	11^v	O	S		C¹	internal mensural shifts
Et resurrexit	12^r	O	CtA	one flat	C³	internal mensural shifts
Et ascendit	11^v	¢	S		C¹
	12^r		CtA	one flat	C³
	11^v		T	one flat	C³
	12^r		CtB	one flat	F³	no mensural sign
Et unam	12^v	Ø	S		C¹
	13^r		CtA	one flat	C³
	12^v		T	one flat	C³
	13^r		CtB	one flat	F³
Sanctus	13^v	O	S		C¹
	14^r		CtA	one flat	C³
	13^v		T	one flat	C³
	14^r		CtB	one flat	F³
Pleni sunt	13^v	O	S		C¹
Pleni sunt	14^r	O	CtA	one flat	C³
Osanna [I]	14^v	¢	S		C¹
	15^r		CtA	one flat	C³
	14^v		T	one flat	C³
	15^r		CtB	one flat	F³	no mensural sign
Benedictus	14^v	¢	S		C¹
Benedictus	15^r	¢	CtA	one flat	C³
Osanna [II]	14^v	Ø	S		C¹
	15^r		CtA	one flat	C³
	14^v		T	one flat	C³	C², stave 10
	15^r		CtB	one flat	F³
Agnus [I]	15^v	O	S		C¹
	16^r		CtA	one flat	C³
	15^v		T	one flat	C³
	16^r		CtB	one flat	F³
Agnus [II]	15^v	¢	S		C¹
Agnus [II]	16^r	¢	CtA	one flat	C³
Agnus [III]	16^v	¢/O	S		C¹	O for dona…
	17^r		CtA	one flat	C³	O for dona…
	16^v		T	one flat	C³	O for dona…
	17^r		CtB	one flat	F³	O for dona…

As the above table illustrates, the modal signature of one flat in the lower three voices and the superius without is consistently transmitted. Clefs[5] are similarly consistent viz. CtB: F³; T: C³; CtA: C³; S: C¹, but for two exceptions (in the CtA, Kyrie [I] and T, Osanna [II]).

The internal mensural shifts in the CtA-S duos for the Gloria and Credo are:

Domine Deus:
S — shift from tempus perfectum cum prolatione imperfecta (O) to tempus imperfectum cum prolatione perfecta (C-dot) to tempus imperfectum diminutum per mediam cum prolatione imperfecta (¢) to proportio sesquialtera (coloration only)
CtA — shift from tempus perfectum cum prolatione imperfecta (O) to tempus perfectum diminutum per mediam cum prolatione imperfecta sub proportione sesquialtera (Ø on 2)

Et resurrexit:
S and CtA — shift from tempus perfectum cum prolatione imperfecta to proportio sesquialtera (3 with coloration)

VatS 51 transmits 20 manuscript accidentals, 8 of which are extra manum signs. The list below shows that but for two exceptions in the CtB, accidentals are exclusive to the upper-most line. The predominantly "major" modality of Accueilly is seemingly the principal factor governing this. All signs are b rotundum.

TABLE II: Manuscript Accidentals in Caron’s Missa Accueilly m’a la belle.

Mass Section	Voice	Edition reference: measure, note	VatS 51 reference: folio, stave, note	Comments
Kyrie [I]	S	13,1	6^v, 2, 19	extra manum
Christe	S	93, 2	6^v, 6, 40	extra manum
Kyrie [II]	S	107, 7	7^v, 2, 1
Et in terra	S	31,2	8^v, 3, 2	extra manum
Domine Deus	S	58,2	8^v, 6, 6	extra manum
Domine Deus	S	60,2	8v, 6, 17
Patrem	S	58,1	10^v, 5, 25
	S	92,3	10^v, 7, 52
	CtB	61,3	11^r, 9, 29
	CtB	65,1	11^r, 9, 44
Et resurrexit	S	108,2	11^v, 1, 8
	S	119,3	11^v, 3, 1
	S	125,4	11^v, 3, 32
	S	128,3	11^v, 4, 3
Et ascendit	S	221,1	11^v, 8, 28	extra manum
Et unam Sanctam	S	233,4	12^v, 2, 1	extra manum
Sanctus	S	10,1	13^v, 2, 4
Pleni sunt	S	71,2	13^v, 7, 19	extra manum
Osanna [I]	S	106,1	14^v, 2, 4
Agnus [I]	S	7,2	15^v, 1, 14	extra manum

The VatS 51 transmission of the Missa Accueilly m’a la belle is one of the most texted readings in that source. In this reading no voice is left with substantial textual omissions as Table 3 below shows. Most notable in this copy is the three-fold transmission of the Kyrie eleison text for the opening superius line, folio 6^v, staves 1-4. This occurs nowhere else in VatS 51 other than for a similar fully texted superius in the Kyrie [I] for the transmission of the Faugues setting Basse danse (f. 55^v, staves 1-4)[6].

TABLE III: Distribution of Text in Caron’s Missa Accueilly m’a la belle.

section	voice	VatS 51
Kyrie [I]	S CtA T CtB	Kyrie leyson Kyrie leyson Kyrie leyson Kyrie ley son Kyrie [title] leyson Kyrie ley son
Christe	S CtA T CtB	Christe leyson leyson Christe leyson Christe leyson Christe ley son
Kyrie [II]	S CtA T CtB	Kyrie ley son Kyrie ley son Kyrie leyson Kyrie leyson
Et in terra	S	Et in terra pax hominibus bone voluntatis laudamus te benedicimus te adoramus te glorificamus te Gratias agimus tibi propter magnam gloriam tuam domine deus rex celestis deus pater omnipotens domine fili unigenite ihesu christe
	CtA	Et in terra pax hominibus bone voluntatis laudamus te benedicimus te adoramus te glorificamus te Gratias agimus tibi propter magnam tuam domine deus rex celestis deus pater omnipotens Domine fili unigenite ihesu christe
	T	laudamus te benedicimus te domine deus rex celestis deus pater omnipotens domine fili unigenite ihesu christe
	CtB	laudamus te benedicimus te adoramus te glorificamus te propter magnam gloriam tuam domine rex celestis deus pater omnipotens domine fili unigenite ihesu christe
Domine deus	S	Domine deus agnus dei filius patris
	CtA	Domine deus agnus agnus dei filius patris
Qui tollis	S	Qui tollis peccata mundi miserere nobis Qui tollis peccata mundi suscipe deprecationem nostram Qui sedes ad dexteram patris miserere nobis Quoniam tu solus sanctus tu solus dominus tu solus altissimus ihesu christe Cum sancto spiritu in gloria dei patris Amen
	CtA	Qui tollis peccata mundi miserere nobis Qui tollis peccata Qui sedes ad dexteram patris miserere nobis Quoniam tu solus sanctus Tu solus dominus tu solus altissimus Cum sancto spiritu in gloria dei patris Amen
	T	Qui tollis Qui tollis peccata mundi ad dexteram patris miserere nobis Quoniam tu solus sanctus Cum sancto spiritu in gloria dei patris Amen
	CtB	Qui tollis peccata mundi miserere nobis Qui tollis peccata mundi suscipe deprecationem nostram Qui sedes ad dexteram patris miserere nobis Quoniam tu solus Tu solus dominus Tu solus Cum sancto spiritu in gloria dei patris Amen
Patrem	S	Patrem omnipotentem factorem celi et terre visibilium omnium et invisibilium Et in unum dominum ihesum christum filium dei unigenitum Et ex pare natum ante omnia secula Deum de deo lumen de lumine deum verum de deo vero Genitum non factum consubstantialem patri per quem omnia facta sunt qui propter nos homines et propter nostram salutem descendit de celis Et incarnatus est de spiritu sancto ex maria virgine et homo factus est Crucifixus etiam pro nobis sub pontio pilato passus est et sepultus est
	CtA	Patrem omnipotentem factorem celi et terre visibilium omnium et invisibilium Et in unum dominum ihesum christum filium dei unigenitum Et ex patre natum ante omnia secula deum de deo lumen de lumine deum verum de deo vero Genitum non factum consubstantialem patri per quem omnia facta sunt Qui propter nos homines et propter nostram salutem descendit de celis Et incarnatus est de spiritu sancto ex maria virgine et homo factus est Crucifixus etiam pro nobis sub pontio pilato passus et sepultus est
	T	Et in unum dominum
	CtB	Et in unum dominum ihesum christum filium dei unigenitum Et ex patre natum ante omnia secula deum de deo lumen de lumine Et incarnatus est de spiritu sancto Crucifixus etiam pro nobis
Et resurrexit	S	Et resurrexit tertia die secundum scripturas
	CtA	Et resurrexit tertia die secundum scripturas
Et ascendit	S	Et ascendit in celum sedet ad dexteram patris et iterum uenturus est cum gloria Iudicare viuos et mortuos cuius regni non erit finis et in spiritum sanctum dominum et viuificantem Qui ex patre filioque procedit Qui cum patre et filio simul adoratur et conglorificatur Qui locutus est per prophetas
	CtA	Et ascendit In celum sedet ad dexteram patris Et iterum venturus est cum gloria Iudicare viuos et mortuos Qui procedit Qui cum patre et filio simul adoratur et conglorificatur Qui locutus est per prophetas
	T	Et ascendit Qui locutus est per prophetas
	CtB	Et ascendit in celum sedet ad dexteram patris Cuius regni Qui ex patre filioque procedit Qui cum patre Qui locutus est per prophetas
Et unam sanctam	S	Et unam sanctam catholicam et apostolicam ecclesiam Confiteor unum baptisma in remissionem mortuorum Et expecto resurrectionem mortuorum Et vitam venturi seculi Amen
	CtA	Et unam sanctam catholicam et apostolicam ecclesiam Confiteor unum baptisma Et vitam venturi seculi Amen
	T	Et unam sanctam Confiteor unum baptisma Et vitam venturi seculi Amen
	CtB	Et unam sanctam catholicam Confiteor unum Et vitam venturi seculi Amen
Sanctus	S	Sanctus sanctus sanctus dominus deus sabaoth
	CtA	Sanctus sanctus dominus deus sabaoth
	T	sanctus sanctus dominus deus sabaoth
	CtB	Sanctus dominus deus sabaoth
Pleni sunt	S	Pleni sunt celi et terra gloria tua
	CtA	Pleni sunt celi et terra Gloria tua
Osanna [I]	S	Osan na In ex cel sis
	CtA	Osanna na In excelsis
	T	Osanna na In ex celsis
	CtB	Osanna In ex cel sis
Benedictus	S	Benedictus qui venit In nomine domini
	CtA	Benedictus Qui venit in nomine domini
Osanna [II]	S	Osanna na in ex celsis
	CtA	Osanna In ex celsis
	T	Osanna In ex celsis
	CtB	Osanna in ex celsis
Agnus [I]	S	Agnus dei qui tollis peccata mundi miserere nobis
	CtA	Agnus dei Qui tollis peccata mundi miserere nobis
	T	Agnus dei Qui tollis peccata mondi miserere nobis
	CtB	Agnus dei qui tollis peccata mondi miserere nobis
Agnus [II]	S	Agnus dei qui tollis peccata mondi miserere nobis
	CtA	Agnus dei Qui tollis peccata mondi miserere nobis
Agnus [III]	S	Agnus dei Qui tollis peccata mundi dona nobis pacem
	CtA	Agnus dei Qui tollis peccata mundi dona nobis pacem
	T	Agnus dei Qui tollis peccata mundi dona nobis pacem
	CtB	Agnus dei Qui tollis peccata mundi Dona nobis pacem

The high level of textual transmission in the VatS 51 copy strongly indicates that this setting was to be sung throughout (at least from this source) — a matter convincingly supported by the Sound files.

THE MODEL AND ITS APPLICATION

Caron’s Missa Accueilly m’a la belle takes as its model his own three-part chanson by the same title. (The sound file of this chanson can be heard by following this link and a diplomatic edition view by clicking on this link.)

[in progress]

Footnotes

Two additional layers were added to this source relatively early in its life. The first consisted of five missae fragmenta, with an anonymous setting of the Credo placed at the beginning of the source. The other "fragments" are two Credos by Vaqueras (ff. 183^v-187^r and 190^v-195^r), an anonymous Gloria (ff. 176^v-178^r) which was entered onto four spare pages between the last two items of the principal layer (also Credos, one by de Clibano, the other van Weerbeke), and another anonymous Credo (ff. 187^v-190^r). The second additional layer found at the end of the source as it is now preserved (ff. 196^v-215^r) is a reading of Obrecht’s Missa Salve diva parens – this copy being by the principal Hand of what is now VatS 63. [Back]
Roth, A. Studien zum Frühen Repertoire der Päpstlichen Kapelle unter dem Pontifikat Sixtus’ IV (1471-1484), Die Chorbücher 14 und 51 des Fondo Cappella Sistina der Biblioteca Apostolica Vaticana, Città del Vaticano, Biblioteca Apostolica Vaticana, 1991, pp. 51-98. [Back]
The other items in these two sources are: the L’homme armé setting by Busnoys (VatS 14, ff. 106^v-117^r), the Missa De plus en plus by Ockeghem (VatS 14, ff. 149^v-160^r), Heyns’ Missa Pour quoy = Missa Pour quelque paine (VatS 51, ff. 18^v-27^r) and the Missa Basse danse by Faugues (VatS 51, ff. 55^v-66^r). [Back]
op. cit., Roth, pp. 91-92. [Back]
Other than for the Kyrie [I] opening where the sign is placed on line 5, the modal signature is consistently drawn as an "octave" flat (line 1, space 4) for the CtB. [Back]
The VatS 51 transmission of the anonymous Missa Je ne demande includes in the S, Christe leyson, Christe, Christe leyson (f. 165^v, staves 4-6). [Back]

Contents

MISSA ACCUEILLY M’A LA BELLE

GENERAL COMMENTARY

THE MODEL AND ITS APPLICATION