Album insights
The piece Missa Puisque je vis, once attributed to Dufay by Laurence Feininger in 1963, has remained on the fringes of the Dufay canon. Recent research findings suggest the validity of Feininger's attributions due to external evidence, emphasizing his expertise and the significance of his insights at the time. Listening to the Mass indeed reinforces the plausibility of Feininger's theory, as it embodies a style reminiscent of Dufay's musical language. The Missa Puisque je vis shares similarities with the Missa Ecce ancilla Domini, showcasing an open texture and melodically clear elegance.
Both the Missa Puisque je vis and the early 15th-century masses are based on courtly songs praising an unattainable lady, transformed within the Mass into honoring the Virgin Mary, the most crucial mediator of human souls. This transition from general reverence to specific intercession characterizes many Marian motets of the era including Compère's Omnium bonorum plena, which incorporates a worldly song in plea, echoing a similar sentiment of devotion and admiration. This motet, expressing a sense of brotherhood and care, features references to prominent singers, notably Dufay.
Our ongoing quest for motets embodying the same vigor, virtuosity, and individuality highlighted in Antoine Busnois' style is reflected in two works: Concede nobis, Domine and Salve maris stella. These pieces, possibly composed in the 1470s or 80s, exhibit a unique formal coherence pre-Josquin. Salve maris stella, a cryptic plea to Mary for a true hero named "Charolus" and "Henricus," may reflect historical events, possibly related to Henry VII of England's channel-crossing endeavors.
Moreover, a detailed analysis of Dufay's own composition reveals a deep-rooted prayer resonating through centuries in Western musical history. Composed in the mid-1460s, this work reflects Dufay's personal plea for a shorter time in purgatory, echoing his funeral instructions in his will. The intimate setting of Dufay's final motet further demonstrates his innovative approach to Marian antiphon settings, incorporating personal touches while venturing into unusual tonalities ahead of his time.
Andrew Kirkman © 2003