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Josquin "Ave verum corpus", modern edition, intonation markings

Some of the participants here may know of my researches into intonation for new choral works:  recently I spent a great deal of time with a Josquin work, to see if the same ideas would work for much older music. 
 
Free pdf edition of Part I of Josquin's five part "Ave verum corpus" now available from my Hartenshield Music website.
 
(Another version, with old notation, is available from cpdl.org, by C. H. Giffen, and I consulted his edition a great deal.)
 
I tried to explain as clearly as possible the intonation markings used, in an appendix, and footnoted places where the intonation implied musica ficta.
 
 
 
Anyone that tries this with their choir, I'd love to hear about it!
 
ps I should be adding part 2 and part 3 shortly; they'll be spelled as above with 2 or 3 instead of 1.
 
William Copper
 
on August 29, 2013 7:12pm
Tuned rehearsal recordings now posted too.  The S-A-T-B-B voicing could be done by men's choir (with a countertenor section that can reach D5 comfortably).   Each rehearsal recording has the relevant voice louder and the other voices soft. 
 
Discantus (soprano/countertenor) voice 1:  http://www.hartenshield.com/Josquin_Ave_verum_a5_I_v1.mp3
 
 
 
 
 
on August 30, 2013 10:05am
Thanks so much for this, William. I will love to try it when I get the rigth group together.
Anna
on August 30, 2013
Good luck with it, Anna.  It's beautiful music.   I wonder if it wouldn't work very well with a very small group of sopranos on discantus, a very small group of tenors on altus, a very small group of basses on bass, and many masses of modestly blessed singers on the tenor and altera vox part, with those very limited ranges. 
 
Part 2 is coming soon, also beautiful, and bringing interesting new musica ficta choices...
on September 2, 2013 7:52am
Part 2 draft now posted.   Pdf at http://www.hartenshield.com/J_Ave_a5_part2_draft.pdf  .  Requires musica ficta in several places; anyone with experience in deciding about musica ficta please express your opinions privately or publicly -- there are a few places I'm still debating about. 
 
Draft recording of this beautiful section at http://www.hartenshield.com/Josquin_Ave_verum_a5_G_part2.mp3 (a place or two the recording is slightly wrong, will fix soon). 
 
Updated recording of part 1 on Soundcloud  http://soundcloud.com/williamcopper/ave-verum-corpus-a5-by-josquin
and here on choralnet at http://choralnet.org/paint/425043/Ave+verum+corpus+a5+by+Josquin+-+part+1.mp3 ; either should be a faster download than from my website.
on September 2, 2013 10:42am
Part 2 finished; very close to the draft posted earlier: 
 
Recording linked above now corrected.
 
Rehearsal or study recordings for part 2:
 
 
Perhaps I fool myself, but it seems to me that SINGING these, voice at a time, is a very good argument for considering intonation in your performances!
 
William
on September 4, 2013 5:26am
Final update on this project.   New recordings of part 1-3, using a reverberation from a cathedral with a reverb time approximately equal to the 'perfection' of the piece (three longa durations, three tempora). 
 
 
The score finalized and now has a preface, free-for-use copyright statement,  and some discussion about how to apply intonation choices and musica ficta.  
 
 
Sing in tune!
on September 20, 2013 8:12am
Singing from a part is a different thing than singing from score.   Attached the original partbooks, especially valuable for those who may wish to rethink some of the text placement, and modern partbooks, for the singing-alone-in-harmony experience.
 
 
Original partbooks are linked below.  The "altera vox" follows tenor in canon at the fifth.
 
 
on January 23, 2014 12:16pm
For efficient access, these Josquin recordings are on Soundcloud, much faster than the hartenshield.com website.   The score has been accessed many, many times: please do let me know if you use it, and if you try to use the intonation system.
 
 
I hope to update them shortly, the mp3 formats uploaded originally degrade the sound considerably.
 
William
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