Missa Clemens et benigna
General Commentary
The two readings of the Missa Clemens et benigna
There are two extant transmissions of Caron's Missa Clemens et benigna: TrentC 89 (TrentC 89 Trento, Museo Provinciale d'Arte, Castello del Buon Consiglio, MS 89), ff. 378v-388r and ModE M.1.13 (ModE M.1.13 Modena, Biblioteca Estense e Universitaria, MS a M.1.13 — Lat. 456; olim V.H.10), item XII (ff. 140v-152r). Go to the sound files for these two versions.
On the basis that TrentC 89 may have been copied during the mid 1460s and ModE M.1.13 in the early 1480s, upwards of 15 years could separate the two readings. Interestingly, while Caron's four other known cycles appear in the VatS 51/14 complex (VatS 14 Città del Vaticano, Biblioteca Apostolica Vaticana, MS Cappella Sistina 14; VatS 51 Città del Vaticano, Biblioteca Apostolica Vaticana, MS Cappella Sistina 51), Clemens et benigna does not.
The setting is without attribution in the Trent transmission, however the title appears under the tenor of the Et in terra (f. 379v, stave 6), Patrem (f. 382v, stave 6) and Sanctus (f. 385v, stave 6). In the later reading, the work is attributed to Caron and with the title at the top of the opening folio (140v) as illustrated below:
The title appears under the tenor also on that folio, stave 7, and on two further occasions (also under the first stave for tenor lines: Et in terra, f. 141v, stave 7, and Patrem, f. 145v, stave 7).
The Trent reading, comprising most of the 33rd gathering of the source as it is now bound, is copied onto folios each drawn up with 8 staves; the Modena transmission onto folios each with 9 staves. The respective physical dimensions of the folios (Trent: ca. 315mm x 211mm; Modena: ca. 558mm x 385mm) have some bearing on the layout of music, and in specific detail, the distribution of music in these two sources is somewhat different. Of interest is the allocation of voices for those tenor tacet sections allotted to their own particular folios (the Domine Deus and Qui propter nos homines) which see Trent combine the S and CtA on verso sides and the CtB on a recto side. In Modena the format of superius/tenor on the verso and the contratenors on the recto pages is maintained, albeit with the lower four pentagrams on the verso sides left unfilled. As the table immediately below illustrates, however, there is to a fair degree a broad-level similarity.
TABLE I: Distribution of Music in the two transmissions of Caron's Missa Clemens et benigna.
Section | voices | TrentC 89 | ModE M.1.13 | Comments |
---|---|---|---|---|
Kyrie [I] |
4 |
collectively: 378v-379r |
collectively: 140v-141r | |
Christe |
4 | |||
Kyrie [II] |
4 | |||
Et in terra | 4 | 379v-380r | 141v-142r | |
Domine deus | 3 | 380v-381r | 142v-143r | tenor tacet; Trent: S/CtA verso; CtB recto. Modena: S verso; CtA/CtB recto |
Qui tollis | 4 | collectively: 381v-382r | 143v-144r | |
Cum sancto | 4 | 144v-145r | ||
Patrem | 4 | 382v-383r | 145v-146r | |
Qui propter nos homines | 3 | 383v-384r | 146v-147r | tenor tacet; Trent: S/CtA verso; CtB recto. Modena: S verso; CtA/CtB recto |
Crucifixus/Et resurrexit | 4 | 384v-385r | 147v-148r | Trent: Et resurrexit and Confiteor: thus no Crucifixus…sepultus est text; Modena: Crucifixus |
Et in spiritum | 3 | - | collectively: 148v-149r | tenor tacet; not transmitted in Trent; in Modena: Et in spiritum and Confiteor |
Confiteor | 4 | 384v-385r | ||
Sanctus | 4 | collectively: 385v-386r | collectively: 149v-150r | |
Pleni sunt | 3 | tenor tacet | ||
Osanna [I] | 4 | collectively: 386v-387r | collectively: 150v-151r | |
Benedictus - | 3 | Benedictus/Osanna [II] cast as one section. Trent: Benedictus not referred to in tenor; Modena: included in tenor as 12 brevis rests (only 9 required). | ||
Osanna [II] | 4 | |||
Agnus [I] | 4 | collectively: 387v-388r | collectively: 151v-152r | |
Agnus [II] | 4 | |||
Agnus [III] | 4 |
Both sources consistently transmit the following clefs: S — C1; CtA — C3; T — C3; CtB — F3. There is also a high degree of commonality in the sources' transmission of mensural signatures as table II below shows:
TABLE II: Distribution of mensural signatures in the two transmissions of Caron's Missa Clemens et benigna.
Section | TrentC 89 | ModE M.1.13 | Comments |
---|---|---|---|
Kyrie [I] Christe Kyrie [II] | O ¢ O | O ¢ Ø | |
Et in terra | O | O | |
Domine deus | O | [O] | not included in Trent CtB; not redrawn in Mod. |
Qui tollis | ¢ | ¢ | C in Trent S |
Cum Sancto | Ø | Ø | |
Patrem | O | O | |
Qui propter | O | [O] | not included in Trent CtA; not redrawn in Mod. |
Crucifixus/Et resurrexit | ¢ | ¢ | |
Et in spiritum | - | [¢] | not redrawn in Mod. |
Confiteor | O | O | |
Sanctus | O | O | not included in Trent S |
Pleni sunt | O | [O] | not included in Trent S; not redrawn in Mod. |
Osanna [I] | ¢ | ¢ | |
Benedictus-Osanna [II] | O | O | not included in Trent CtA |
Agnus [I] | O | O | |
Agnus [II] | ¢ | ¢ | |
Agnus [III] | O | O |
There is less consistency in the transmission of modal signatures. The one-flat signature when it is included is always for both the altus and tenor; however as table III below shows, entire sections of the setting are copied without a signature.
TABLE III: Distribution of modal signatures in the two transmissions of Caron's Missa Clemens et benigna.
Section | Voice | TrentC 89 | ModE M.1.13 |
---|---|---|---|
Kyrie [I] | S | ||
CtA | one flat | one flat | |
T | one flat | one flat | |
CtB | |||
Christe | S | ||
CtA | one flat | one flat | |
T | one flat | one flat | |
CtB | |||
Kyrie [II] | S | ||
CtA | one flat | one flat | |
T | one flat | one flat | |
CtB | |||
Et in terra | S | ||
CtA | one flat | ||
T | one flat | ||
CtB | |||
Domine deus | S | ||
CtA | one flat | ||
CtB | |||
Qui tollis | S | ||
CtA | one flat | ||
T | one flat | ||
CtB | |||
Cum sancto | S | ||
CtA | one flat | ||
T | one flat | ||
CtB |
Patrem | S | ||
CtA | one flat | one flat | |
T | one flat | one flat | |
CtB | |||
Qui propter | S | ||
CtA | one flat | one flat | |
CtB | |||
Crucifixus/Et resurrexit | S | ||
CtA | one flat | one flat | |
T | one flat | one flat | |
CtB | |||
Et in spiritum (Mod. only) | S | ||
CtA | one flat | ||
CtB | |||
Confiteor | S | ||
CtA | one flat | one flat | |
T | one flat | one flat | |
CtB | |||
Sanctus | S | ||
CtA | one flat | ||
T | one flat | ||
CtB | |||
Pleni sunt | S | ||
CtA | one flat | ||
CtB | |||
Osanna [I] | S | ||
CtA | one flat | ||
T | one flat | ||
CtB | |||
Benedictus-Osanna [II] | S | ||
CtA | one flat | ||
T | one flat | ||
CtB | |||
Agnus [I] | S | ||
CtA | one flat | ||
T | one flat | ||
CtB | |||
Agnus [II] | S | ||
CtA | one flat | ||
T | one flat | ||
CtB | |||
Agnus [III] | S | ||
CtA | one flat | ||
T | one flat | ||
CtB |
The unusual configuration of signatures which sees a flat sign in the altus and tenor but not in the bassus is simply explained by fact that the pitch B2 is never visited. An interesting question is whether the omissions of signatures are simply scribal oversights or intentional. (Work on this is in progress — although preliminary research suggests that these exclusions are deliberate.) The major consequence of these inclusions or exclusions can be aurally compared as we have included both transmissions in our sound files: Clemens et benigna/Trent and Clemens et benigna/Modena. Listen the Gloria from Trent Gloria from Modena in the sound files.
Manuscript accidentals are almost exclusively restricted to either the uppermost line or the bassus — a matter not surprising given the nature of the modal signatures. A notable exception is a diesis transmitted in the Trent reading for the altus line of the Qui propter (see table below). The flat sign also appears in the altus for the Osanna [I] and Agnus [I] where the Modena reading does not include a flat signature. Collectively 21 accidentals are transmitted in the sources. As the table below shows, less than 50% correspond in both readings.
TABLE IV: Distribution of manuscript accidentals* in the two transmissions of Caron's Missa Clemens et benigna.
Mass Section | Voice | edition reference: measure, note | Trent reference: folio, stave, note | Modena reference: folio, stave, note |
---|---|---|---|---|
Kyrie [I] | S | 3,2 | 378v, 1, 4 | |
Christe | CtB | 18,2 | 141r, 6, 15 | |
CtB | 30,1 | 379r, 6, 21 | 141r, 7, 1 | |
Domine deus | CtB | 40,2 | 143r, 6, 4 | |
S | 47,3 | 380v, 2, 13 | 142v, 2, 19 | |
Qui tollis | S | 79,1 | 381v, 1, 17 | |
Cum sancto | CtB | 151,1 | 382r, 7, 31 | 145r, 6, 23 |
Patrem | S | 3,2 | 145v, 1, 3 | |
S | 51,3 | 382v, 4, 31 | ||
Qui propter | CtA | 60,1 | 383r, 5, 11 | |
CtB | 74,1 | 147r, 8, 11 | ||
Et in spiritum | CtB | 213,1 | 149r, 7, 19 | |
Sanctus | CtB | 20,1 | 386r, 5, 32 | 150r, 7, 1 |
Pleni sunt | CtB | 34,2 | 386r, 7, 14 | 150r, 8, 32 |
Osanna [I] | CtA | 53,1 | 151r, 1, 15 | |
CtB | 66,1 | 387r, 4, 29 | 151r, 5, 29 | |
Benedictus - | CtB | 87,5 | 151r, 7, 24 | |
Osanna [II] | CtB | 94,4 | 387r, 6, 18 | 151r, 8, 18 |
Agnus [I] | CtB | 14,2 | 388r, 5, 24 | 152r, 6, 23 |
CtA | 18,1 | 152r, 2, 16 | ||
Agnus [II] | CtB | 56,1 | 388r, 7, 20 | 152r, 8, 27 |
* all accidentals are a b rotundum other than the diesis in the Qui propter altus
In ModE M.1.13, three further signs are transmitted. In all cases these are "attached" to the upper most pitch (in this setting) of the superius range, F5, - this pitch technically being outside of the standard recta medieval gamut. Interestingly, the pitch is visited 9 times, but only 1/3 have the flat sign. (Further statistical data is currently being gathered on this matter with reference to the transmission of Caron's other works.)
As the table V below shows, neither reading enjoys a full transmission of text for all voices in all sections of the setting.
TABLE V: Distribution of Text in the two transmissions of Caron's Missa Clemens et benigna
Section | Voice | TrentC 89 | ModE M.1.13 |
---|---|---|---|
Kyrie [I] | S CtA T CtB | Kyrie eleyson Kyrie Kyrie Kyrie | Kyrie leyson Kyrie leyson Kyrie leyson Kyrie leyson |
Christe | S CtA T CtB | Christe eleyson Christe Christe Christe | Christe leyson Christe leyson Christe leyson Christe leyson |
Kyrie [II] | S CtA T CtB | Kyrie eleyson Kyrie Kyrie Kyrie | Kyrie leyson Kyrie leyson 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 | Et in terra pax hominibus bone uoluntatis Laudamus te benedicimus te Adoramus te glorificamus te gratias agimus tibi |
CtA | Et in terra | Et in terra pax hominibus bone uoluntatis Laudamus te gloriam tuam | |
T | [title] | Laudamus te [title] | |
CtB | Et in terra | ||
Laudamus te gloria | |||
Domine deus | S | Domine deus rex celestis deus pater omnipotents Domine fili unigenite ihesu christe Domine deus agnus dei filius patris | Domine deus rex celestis deus pater omnipotents domine fili unigenite iesu christe domine deus agnus dei filius patris |
CtA | Domine deus rex celestis | Domine deus rex celestis deus pater omnipotens domine fili unigenite iesu christe domine deus agnus dei | |
CtB | Domine deus rex celestis | Domine deus rex celestis | |
Qui tollis | S | Qui tollis peccata mundi miserere nobis qui tollis peccata mundi suscipe deprecationem nostram Qui sedes ad dexteram patris miserere nobis Tu solus dominus | Qui tollis peccata mondi miserere nobis qui tollis peccata mondi suscipe deprecationem nostram Qui sedes ad dexteram patris miserere nobis tu solus dominus tu |
CtA | Qui tollis | Qui tollis peccata | |
T | Qui tollis | Qui tollis deprecationem nostram qui sedes ad dexteram tu solus altissimus | |
CtB | Qui tollis | Qui tollis | |
Cum sancto | S | Cum sancto spiritu in gloria dei patris amen | Cum sancto spiritu in gloria dei patris amen |
CtA | Cum sancto spiritu | Cum sancto spiritu in gloria | |
T | Cum sancto | Cum sancto spiritu | |
CtB | Cum sancto spiritu | Cum sancto spiritu | |
Patrem | S | Patrem omnipotentem factorem celi et terre visibilium omnium | Patrem omnipotentem factorem celi et terre uisibilium omnium |
et inuisibilum | |||
et in unum dominum ihesum christum | et in unum dominum iesum christum | ||
filium dei unigenitum | |||
Et ex patre natum ante omnia secula deum de deo lumen de lumine deum verum de deo vero | et ex patre natum ante omnia secula deum de deo lumen de lumine deum uerum de deo uero | ||
Genitum non factum | |||
consubstantialem patri per quem omnia facta sunt | consubstantialem patri per quem omnia facta sunt | ||
CtA | patrem omnipotentem | Patrem omnipotentem factorem celi | |
T | patrem [title] | ||
Uisibilium omnium [title] unum dominum iesum | |||
CtB | patrem omnipotentem | ||
Uisibilium omnium | |||
Qui propter | S | Qui propter nos homines et propter nostram salutem descendit de celis Et incarnatus est de spiritu sancto ex maria virgine et homo factus est | Qui propter nos homines et propter nostram salutem descendit de celis et incarnatus est de spiritu sancto ex maria uirgine et homo factus est |
CtA | Qui propter nos homines | Qui propter nos homines et propter nostram de spiritu sancto ex maria | |
CtB | Qui propter nos homines | Qui propter nos | |
Crucifixus/Et resurrexit | 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 resurrexit tertia die secundum scripturas et ascendit in celum sedet ad dexteram patris et iterum uenturus est cum gloria iudicare uiuos et mortuos cuius regni non erit finis | ||
CtA | Crucifixus etiam pro nobis cuius regni non | ||
Et resurrexit | |||
T | Crucifixus et sepultus est | ||
Et resurrexit | |||
CtB | Crucifixus etiam | ||
Et resurrexit | |||
Et in spiritum | S | Et in spiritum sanctum dominum et uiuificantem qui ex patre filioque procedit qui cum patre et filio simul adoratur et conglorificatur qui loctus est per prophetas et unam sanctam catholicam et apostolicam ecclesiam | |
CtA | Et in spiritum sanctam dominum et uiuificantem simul adoratur | ||
CtB | Et in spiritum simul | ||
Confiteor | S | Confiteor unum baptisma in remissionem peccatorum Et expecto resurrectionem mortuorum et vitam venturi seculi | Confiteor unum baptisma in remissionem peccatorum et expecto resurrectionem mortuorum et et uitam uitam uenturi seculi |
amen | amen | ||
CtA | Confiteor unum bapstisma | Confiteor | |
T | Confiteor unum baptisma | Confiteor baptisma | |
resurrectionem mortuorum | |||
CtB | Confiteor unum baptisma | Confiteor | |
Sanctus | S | (S)Anctus Sanctus Sanctus dominus deus sabaoth | Sanctus Sanctus Sanctus dominus deus sabaoth |
CtA | Sanctus | Sanctus dominus | |
T | [title] | Sanctus Sanctus | |
CtB | Sanctus | Sanctus Sanctus | |
Pleni sunt | S | Pleni sunt celi et terra gloria tua | Pleni sunt celi et terra gloria tua |
CtA | Pleni sunt | Pleni sunt celi et terra | |
CtB | Pleni sunt celi | Pleni sunt | |
Osanna [I] | S | Osanna in ex celsis | Osanna in ex celsis |
CtA | Osanna | Osanna in ex | |
T | Osanna | Osanna in ex | |
CtB | Osanna | Osanna | |
Benedictus - | S | Benedictus qui venit in nomine domini | Benedictus qui uenit in nomine domini |
CtA | Benedictus | Benedictus qui uenit in nomine | |
CtB | Benedictus | Benedictus qui uenit | |
Osanna [II] | S | Osanna in excel sis | Osanna in ex celsis |
CtA | Osanna | Osanna in | |
T | Osanna | Osanna in ex | |
CtB | Osanna | Osanna in | |
Agnus [I] | S | Agnus dei qui tollis peccata mundi miserere nobis | Agnus dei qui tollis peccata mundi miserere nobis |
CtA | Agnus dei | Agnus dei | |
T | Agnus | Agnus dei peccata mundi | |
CtB | Agnus | Agnus dei | |
Agnus [II] | S | Agnus dei qui tollis peccata mundi miserere nobis | Agnus dei qui tollis peccata mundi miserere nobis |
CtA | Agnus | Agnus dei qui | |
T | Agnus | Agnus dei miserere | |
CtB | Agnus | (A)gnus dei | |
Agnus [III] | S | Agnus dei qui tollis peccata mundi Dona nobis pacem | Agnus dei qui tollis peccata mundi dona nobis pacem |
CtA | Agnus | Agnus dei nobis pacem | |
T | Agnus dona nobis | Agnus dei qui | |
CtB | Agnus | Agnus dei |
Noteworthy are the differences in the respective transmissions of the Credo that see the omission of article 9 in the 3rd section and no transmission of articles 13, 14 and 15 in the Trent reading. Other than the major textual omissions in the Trent transmission of the Credo and some further fragments of the Articles of Faith, both sources see a fully texted upper line. In both sources the three lower voices transmit incipts, with the Modena reading including additional cues from time to time particularly in the trio sections.
The inclusion of the Et in spiritum…, Qui cum Patre…, and the Et unam sanctam… in the Modena reading is of considerable interest as it may point to catechesis-specific and historic-specific factors governing localised liturgical practice. (Further research into this matter is also underway, and we would be grateful for readers' thoughts on this.) From both an architectural and a musical-setting point of view, the inclusion of these articles in the Modena transmission is also of great interest.
Articles 13, 14 and 15 are set as a trio (i.e. without tenor). Looking at the macro-structure of this setting as transmitted in Trent and illustrated below, this additional trio seems out of place:
Kyrie — in three sections: all à 4
Gloria — in four sections: à 4, à 3, à 4, à 4
Credo — in four sections: à 4, à 3, à 4, à 4
Sanctus — in four sections: à 4, à 3, à 4, à 4
Agnus Dei — in three sections: all à 4
As Table II above confirms, the extra section in the Modena transmission is also outside the mensural superstructure.
Further, the nature of the setting is at odds with the other trios: the Domine deus and the Qui propter. The textures in both these sections are polyphonically conceived. The Et in spiritum clearly resides in a more homophonic approach with little rhythmic invention.
All palaeographic and codicological elements clearly indicate that the Et in spiritum was not an addition to the manuscript after the main body of the setting had been copied and thus we can with some confidence assume it was part of the exemplar.
Interpreting the above elements as a conglomerate, therefore, might yield the idea that not only was the Et in spiritum not part of the original setting — as indeed the Trent transmission suggests, but also it was not written by Caron: rather perhaps specifically written (by whom still to be considered) for the purposes of fulfilling the need of including a full setting to be sung in the chapel of the Ferrara duke, Ercole I. If this is so, then perhaps the inclusion of the Crucifixus in Modena, but not in Trent, is also in part disclosed.