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'MISSA SUPER INIQUOS ODIO HABUI A 8' - A WARSAW MASS IN ECHO FORM BY LUCA MARENZIO?

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Przybyszewska-Jaminska B.

Muzyka

2004

vol. 49

issue 3(194)

3-39

Archival searches revealed the circumstances surrounding the departure of Luca Marenzio (in October 1595) from Rome for Poland. They also documented (unfortunately only for the autumn of 1596) his activities as a composer and as maestro di cappella of King Sigismund III Vasa. We are still not certain of the duration of Marenzio's career in Poland, or which of his compositions originate from this period. It seems highly probable that because of the King's religiosity this kind of composition dominated Marenzio's work in Poland. In 1998 musicologists turned their attention to a description of a Mass performed in October 1596 at the collegiate church of St John the Baptist in Warsaw, found in the diary of Giovanni Paolo Mucante, master of ceremonies who accompanied cardinal Enrico Caetani during his legation in Poland in 1596-97. During this Mass the royal cappella, under the direction of Marenzio, played his new Mass in echo form. Since then researchers have been trying, so far unsuccessfully, to identify the composition corresponding to this description. It would have to be a Mass for two choirs, written in such a way that all the words are repeated by the first and the second choir in the form of an echo. The authoress re-analyses from this aspect those Mass cycles which correspond to Mucante's description in respect of the performers involved, and which are preserved in sources of Gdansk and Saxon provenance only as two-part cycles (Kyrie and Gloria). The article also takes into account two transmissions of Missa super Iniquos odio habui which have not been taken into consideration previously. The transmission regarded as basic is the full Mass cycle, designed for performance by two choirs, is recorded in a manuscript which until the Second World War belonged to Stadtbibliothek in Wroclaw, and at present is to be found in Staatsbibliothek Preussischer Kulturbesitz in Berlin, signed with the name of Luca Marenzio. Another source of Missa super Iniquos odio habui which has not been considered by researchers so far is the anonymous Missa a 8 Super Iniquos, recorded in the third volume of the Pelplin tablature, dating from 1620-30 (now held at Biblioteka Wyzszego Seminarium Duchownego in Pelplin), The comparison procedures show that the main principle used in Missa super Iniquos odio habui is the repetition (occasionally a number of times) of single words or short formulae in turns by the two choirs singing separately, and often additionally as tutti. This procedure creates an effect which can be described as the echo effect. Therefore Missa super Iniquos odio habui from the Berlin manuscript is not only the single complete version of this composition by Marenzio known today but - in the opinion of the authoress - the version closest to the composer's intentions. In conclusion she reminds that the composition has been preserved in relatively numerous transmissions written in the seventeenth century in the area of the Commonwealth of Poland of that day and in neighbouring Silesia. It had also been published in nearby Saxony which strongly supports the hypothesis that the Mass was composed during Luca Marenzio's stay at the court of Sigismund III, or at least was at that time included in the repertory of the royal cappella. She also considers it highly likely that it was this polychoral Mass cycle which was heard in the collegiate church of St John the Baptist in Warsaw when Giovanni Paolo Mucante was there.

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1 Muzyka

1 Przybyszewska-Jaminska B.

1 2004

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'MISSA SUPER INIQUOS ODIO HABUI A 8' - A WARSAW MASS IN ECHO FORM BY LUCA MARENZIO?