The Caron Web Site - Missa Jhesus autem transiens

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MISSA JHESUS AUTEM TRANSIENS

GENERAL COMMENTARY

This unicum transmission of Caron’s Missa Jhesus autem transiens is preserved in VatS 51, folios 46^v — 55^r. (see Sources). It is the second of three cycles attributed to Caron in that source[1]. The Gloria onwards was copied by the scribe identified by Roth as Hand alpha[2]. An attribution to Caron appears at the top of the opening folio of the Gloria (f. 47^v) as illustrated below:

[image forthcoming]

Transmission of the Kyrie is curious. The script, both music and text, is by a different copyist, identified by Roth as Hand H[3]. This transmission is part of the second fascicle as the source is now bound (ff. 46^v-47^r) but an exemplar was seemingly not available to Hand alpha when he copied the remainder of the setting[4]. The opening of this cycle is the only one in the VatS 51/14 complex that does not contain an illumination of the stylised K for the superius Kyrie. Clearly there was insufficient room for such an adornment, and, as for the Cum Sancto and Confiteor sections, part of the CtB is copied onto the facing verso side — in this case for most of the Kyrie [II].

The title of the setting (always under the tenor) appears seven times in this transmission: for the Kyrie (f. 46^v, stave 7); Et in terra (f. 47^v, stave 8), Qui tollis (f. 48^v, stave 8); Patrem (f. 49^v, stave 9); Crucifixus (f. 50, stave 8); Sanctus (f. 51^v, stave 9); and Agnus Dei (f. 53^v, stave 9). Differentiation between Scribes H and alpha (both music and text) is clearly evident from the following images:

[image forthcoming: f. 46v, stave 7 and 48v, stave 8]

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 Jhesus autem transiens

Section	Folios	Mensural Sign	Voice	Modal Sign	Clef	Comments
Kyrie [I]	46^v	O	S	one flat	C¹
	47^r		CtA	one flat	C³
	46^v		T	one flat	C³
	47^r		CtB	one flat	C⁴
Christe	46^v	¢	S	one flat	C¹
	47^r		CtA	one flat	C³
	46^v		T	one flat	C³
	47^r		CtB	one flat	C⁴
Kyrie [II]	46^v	Ø	S	one flat	C¹
	47^r		CtA	one flat	C³	C⁴, staves 5 & 6
	46^v		T	one flat	C³
	47^r		CtB	one flat	C⁴	mostly on f. 46^v, staves 9-10
Et in terra	47^v	O	S	one flat	C¹
	48^r		CtA	one flat	C⁴/C³	C⁴: staves 1, 3 & 5; C³: staves 2 & 4
	47^v		T	one flat	C³	O/C/Ø
	48^r		CtB	one flat	C⁴
Qui tollis	48^v	¢/Ø	S	one flat	C¹	Ø: Cum sancto
	49^r		CtA	one flat	C⁴/C³	Ø: Cum sancto C⁴: staves 1 & 3; C³: staves 2 & 4-6.
	48^v		T	one flat	C³	Ø: Cum sancto
	49^r		CtB	one flat	C4	Ø: Cum sancto last 3^rd on f. 48^v, staves 9-10
Patrem	49^v	O	S	one flat	C¹	G²: stave 4
	50^r		CtA	one flat	C³	C⁴: last 10 notes of stave 2 and stave 3
	49^v		T	one flat	C³
	50^r		CtB	one flat	C⁴
Crucifixus	50^v	¢/Ø	S	one flat	C¹	Ø: Confietor
	51^r		CtA	one flat	C⁴/C³	Ø: Confiteor C⁴: staves 1,3 & 5; C³: staves 2, 4 & 6
	50^v		T	one flat	C³	C; Ø Confiteor
	51^r		CtB	one flat	C⁴	Ø: Confiteor — mainly on f. 50^v, staves 9 (C³) — 10 (C⁴)
Sanctus	51^v	O	S	one flat	C¹
	51^r		CtA	one flat	C4/C3	C⁴: staves 1 & 3; C³: staves 2 & 4
	51^v		T	one flat	C⁴	C³: stave 10
	52^r		CtB	one flat	C⁴
Pleni sunt	51^v	O	S	one flat	C¹	no O sign
Pleni sunt	52^r	O	CtB	one flat	C⁴
Osanna [I]	52^v	¢	S	one flat	C¹
	53^r		CtA	one flat	C4/C3	C⁴: stave 1; C³ stave 2
	52^v		T	one flat	C³
	53^r		CtB	one flat	C⁴
Benedictus	52^v	¢	S	one flat	C¹
Benedictus	53^r	¢	CtB	one flat	C³/C⁴	C³: stave 7; C⁴: staves 8-9
Osanna [II]	52^v	Ø	S	one flat	C¹
	53^r		CtA	one flat	C³
	52^v		T	one flat	C³
	53^r		CtB	one flat	C⁴
Agnus [I]	53^v	O	S	one flat	C¹
	54^r		CtA	one flat	C4/C3/C2	C⁴: stave 1; C³: stave 2, C²: stave 3
	53^v		T	one flat	C³
	54^r		CtB	one flat	C⁴
Agnus [II]	53^v	¢	S	one flat	C¹
Agnus [II]	54^r	¢	CtB	one flat	C⁴	C³: stave 8
Agnus [III]	54^v	¢/Ø	S	one flat	C¹	Ø for dona…
	55^r		CtA	one flat	C³	Ø for dona…
	54^v		T	one flat	C³	Ø for dona…
	55^r		CtB	one flat	C⁴	Ø for dona…

The Missa Jhesus autem transiens is the only setting of Caron’s known cycles to include a one-flat modal signature in all voices. In the main, clefs are consistent in the CtB, T and S; but alternate between C⁴ and C³ in the CtA. The CtA situation (which also includes one C² clef) is predicated by the wide ambitus of this voice (an octave plus a 5^th) and the apparent policy of the VatS 51 scribes to greatly limit leger lines wherever possible. The high tessitura of the CtB in this setting accounts for the C⁴ clef in that voice.

The Missa Jhesus autem transiens is the only mass cycle by Caron that employs a canonic tenor. The instruction, which applies to both the Gloria and Credo, appears on folio 47^v, stave 7:

[image forthcoming]

Reading "Recte sursum quartam superad[d]e colori / post color aufert remeando per dyapente / ut prius hinc iterus cum pausis tolle colores"[5], the instruction basically requires that, after the tenor has been sung as written, it then be sung backwards and in inversion at the 5^th but without the colored notes (all in dupla proportio — as indicated by the mensural sign C) and then forwards again, also without colored notes and without rests (in the mensural sign Ø). In applying this directive, the following structural schema is produced:

Et in terra/Patrem: sung as written in O
Qui tollis/Crucifixus: sung in retrograde with inversion at the 5^th, with no black notes and in augmentation by a factor of 2
Cum Sancto/Confiteor: sung forwards at written values without black notes and rests in Ø.

13 manuscript accidentals (listed below in Table II) are included in this reading. But for one diesis symbol, all are b rotundum — only one of which is an "extra manum" sign.

TABLE II: Manuscript Accidentals in Caron’s Missa Jhesus autem transiens.

Mass Section	Voice	Edition reference: measure, note	VatS 51 reference: folio, stave, note	Comments
Et in terra	CtA	27,6	48^r, 3, 24	b rotumdum
	CtA	31,4	48^r, 3, 40	b rotundum
	CtB	32,3	48r, 9, 3	b rotundum
	CtB	50,2	48r, 10, 14	b rotundum
Qui tollis	CtA	70,4	49r, 1, 29	b rotundum
Qui tollis	CtB	69,1	49r, 7, 21	b rotundum
Patrem	S	27,1	49^v, 4, 4	extra manum
Patrem	CtB	33,1	50r, 8, 37	b rotundum
Crucifixus	S	167,1	50^v, 7, 8	diesis
Crucifixus	CtA	138,1	51r, 4, 21	b rotundum
Benedictus	CtB	130,1	53r, 8, 3	b rotundum
Benedictus	CtB	152,4	53r, 9, 16	b rotundum
Agnus [III]	CtB	107,1	55r, 7, 23	b rotundum

The following table lists the distribution of text in the VatS 51 transmission of the Missa Jhesus autem transiens. Notable is the omission of the Qui sedes ad dexteram patris miserere nobis in the Qui tollis section. Also of interest is the apparent play on words from the antiphon text: [Jhesus autem transiens] per medium illorum ibat. In context of the canonic tenor, which is provided only for the Et in terra, per medium illorum ibat (in the Patrem and Crucifixus tenor, ff. 49^v, stave 9 and 50^v, stave 8) is seemingly used as the reference back to the canonic instruction on folio 47^v, stave 7.

TABLE III: Distribution of Text in Caron’s Missa Jhesus autem transiens.

section	voice	VatS 51
Kyrie [I]	S CtA T CtB	Kyrie eleyson Kyrie eleyson [title] Kyrie eleyson Kyrie eleyson
Christe	S CtA T CtB	Christe leyson Christe leyson Christe eleyson Christe eleyson
Kyrie [II]	S CtA T CtB	eleyson Kyrie eleyson Kyrie eleyson Kyrie eleyson
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 domine deus agnus dei filius partis
	CtA	Et in terra pax hominibus bone voluntatis Laudamus te Benedicimus te Adoramus te glorificamus te Gratias agimus tibi propter magnam tuam gloriam domine deus rex celestis deus pater omnipotens Domine fili unigenite ihesu christe Domine deus agnus dei filius partis
	T	[title]
	CtB	Et in terra pax hominibus bone voluntatis Laudamus te Benedicimus te Adoramus te glorificamus te Gratias agimus tibi propter magnam gloriam tuam domine rex celestis deus pater omnipotens domine fili unigenite ihesu christe domine deus agnus dei filius patris
Qui tollis	S	Qui tollis peccata mundi miserere nobis Qui tollis peccata mundi suscipe deprecationem nostram quoniam tu solus sanctus Tu solus dominus tu solus altissimus jhesu christe Cum sancto spiritu in gloria dei patris Amen
	CtA	Qui tollis peccata mundi miserere nobis Qui tollis peccata mundi miserere nobis Qui tollis peccata mundi suscipe deprecationem nostram Quoniam tu solus dominus Tu solus altissimus jhesu chrsite Cum sancto spiritu in gloria dei patris Amen
	T	[title]
	CtB	Qui tollis peccata mundi miserere nobis Qui tollis peccata mundi suscipe deprecationem nostram quoniam tu solus sanctus Tu solus dominus Tu solus altissimus jhesu christe Cum sancto spiritu in gloria dei patris Amen
Patrem	S	Patrem omnipotentem factorem celi et terre visibilium omnium et invisibilium et in unum dominum jhesum christum filium dei unigenitum et ex pare natum ante omnia secula deum verum de deo vero lumen de lumine deum verum de deo vero qui propter nos homines et propter nostram salutem descendit de celis Et incarnatus est de spiritu sancto natus ex maria virgine et homo factus est
	CtA	Patrem omnipotentem factorem celi et terre visibilium omnium et invisibilium et in unum dominum jhesum 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 incarnatus est de spiritu et homo factus est
	T	Jhesus autem transiens per medium illorum ibat
	CtB	Patrem omnipotentem factorem celi et terre visibilium et invisibilium Et in unum dominum jhesum 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 omnia facta sunt Qui propter nos homines et propter nostram salutem descendit de celis Et incarnatus est de spiritu sancto ex maria virgine
Crucifixus	S	Crucifixus etiam pro nobis sub pontio pilato passus et sepultus est Et resurrexit tertia die secundum scripturas Et ascendit in celum sedet ad dexteram patris Et iterum venturus 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 Et unam sanctam catholicam et apostolicam ecclesiam Confietor unum baptisma in remissionem peccatorum Et expecto resurrectionem mortuorum Et vitam venturi seculi Amen
	CtA	Crucifixus etiam pro nobis sub pontio pilato passus et sepultus est Et resurrexit tertia die secundum scripturas Et ascendit in celum sedet ad dexteram patris Et iterum venturus est cum gloria iudicare viuos et mortuos cuius regni Et in spiritum sanctum dominum et viuificantem qui ex patre filioque Et unam sanctam catholicam et apostolicam ecclesiam Confiteor unum baptisma in remissionem peccatorum Et expecto resurrectionem mortuorum Et vitam venturi seculi Amen
	T	Jhesus autem transiens per medium illorum ibat
	CtB	Crucifixus etiam pro nobis sub pontio pilato passus et sepultus est Et resurrexit tertia die secundum scripturas Et ascendit in celum sedet ad dexteram patris Et iterum venturus est cum gloria iudicare viuos et mortuos Cuius regni non erit finis Et in spiritum sanctum dominum et viuificantem qui ex patre filioque procedit Et unam sanctam catholicam et apostolicam ecclesiam Confiteor unum baptisma in remissionem peccatorum Et expecto resurrectionem mortuorum Et vitam venturi seculi Amen
Sanctus	S	Sanctus Sanctus Sanctus dominus deus sabaoth
	CtA	Sanctus Sanctus Sanctus dominus deus sabaoth
	T	[title] Sanctus Sanctus dominus deus sabaoth
	CtB	Sanctus sanctus sanctus dominus deus sabaoth
Pleni sunt	S	Pleni sunt celi et terra gloria tua
Pleni sunt	CtB	Pleni sunt celi et terra gloria tua
Osanna [I]	S	Osanna in ex cel sis
	CtA	Osanna in ex celsis sis
	T	Osanna in excelsis
	CtB	Osanna in excelsis
Benedictus	S	Benedictus qui venit in nomine domini
Benedictus	CtB	Benedictus qui venit in nomine domini
Osanna [II]	S	Osanna in excelsis
	CtA	Osanna in excelsis
	T	Osanna in ex celsis
	CtB	Osanna in excelsis
Agnus [I]	S	Agnus dei qui tollis mundi miserere nobis
	CtA	Agnus dei qui tollis peccata mundi miserere nobis
	T	[title] Agnus dei qui tollis peccata mundi miserere nobis
	CtB	Agnus dei qui tollis peccata mondi miserere nobis
Agnus [II]	S	Agnus dei qui tollis peccata mundi miserere nobis
Agnus [II]	CtB	Agnus dei qui tollis peccata mundi 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

Similar to the high level of textual transmission in the VatS 51 copy of the Missa Accueilly m’a la belle (see separate Commentary on this Mass), the mainly comprehensive inclusion of text for Jhesus… strongly indicates that this setting was to be sung throughout — see Sound files.

THE MODEL AND ITS APPLICATION

Caron’s Missa Jhesus autem transiens takes as its model the Vespers antiphon (no. 1) sung on Monday in the third week of Lent[6].

[in progress]

Footnotes

The other two are the Missae Accueilly m’a la belle (ff. 6v-17r) and Sanguis sanctorum (ff. 81v-88r). [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. 66-73. [Back]
ibid., pp. 94-95. [Back]
For further disccusion on this see: Roth, ibid., pp. 175-178. [Back]
I am grateful to Dr Jason Stoessel for providing the reading of this canon and the following translation: "From the outset add on a fourth above the colour [note]; afterwards remove the colour while going back(wards) by the fifth, from there, like first iterated, take away the colours along with the rests". Dr Stoessel notes that 1) the MS reading "superade" must be an erroneous form of superadde, although it is possible that the MS reading is a neologism combining the suffix "super" with "ade" (imperative of adire: "to go to"); 2) in the last line of the canon, cum with this ablative form (which is clearly not an action or circumstance) denotes the ablative of accompaniment, so the meaning of the "cum pausis…colores" is consistent with "colores et pausas". [Back]
The Liber Usualis, Desclée & Co., Paris, 1959, (Copyright 1956, Desclée & Co., Tournai), p. 1089. [Back]

Contents

MISSA JHESUS AUTEM TRANSIENS

GENERAL COMMENTARY

THE MODEL AND ITS APPLICATION