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Eternal rest, perpetual light and the Last Judgement: Antoine Brumel’s Dies irae in the early Requiem tradition
Early Music Pub Date : 2020-12-07 , DOI: 10.1093/em/caaa062
David J Rothenberg

Antoine Brumel’s Missa pro defunctis is one of the earliest polyphonic Requiem settings, and the first by several decades to include the sequence, Dies irae. Whereas most chants in the Mass for the Dead were set c.1500 to the low-pitched, highly consonant polyphony that denoted mourning and penitence at the time, the Dies irae is a musical portrayal of the Last Judgement that might seem to demand more vivid polyphonic treatment. And yet Brumel’s setting, a grand alternatim movement, responds more to the formal regularity of the chant than to its text, which describes a terrifying scene much like what is seen in contemporaneous visual depictions of the Last Judgement. Indeed, Brumel’s most striking rhetorical moment comes not in the frightening early verses of the sequence but in its concluding plea to Christ that the dead be granted peace. Analysis of Brumel’s Dies irae in the context of his Missa pro defunctis, therefore, shows that early Requiem compositions, even at their most terrifying, serve first and foremost as functional pleas to God that the deceased be granted eternal rest and perpetual light.

中文翻译:

永恒的安息、永恒的光和最后的审判:安托万·布鲁梅尔在早期安魂曲传统中的死亡

Antoine Brumel 的Missa pro defunctis是最早的复调安魂曲之一,也是几十年来第一个包含序列 Dies irae 的场景。而在群众为死者最圣歌集Ç 0.1500的低调,高的辅音复音,当时表示哀悼和忏悔,芯片irae是最后的审判的音乐写照可能似乎需要更生动复音处理。然而布鲁梅尔的环境,一个伟大的交替运动,更多地响应于颂歌的形式规律而不是它的文字,它描述了一个可怕的场景,就像在同时期的最后审判的视觉描述中看到的那样。事实上,布鲁梅尔最引人注目的修辞时刻不是出现在这一系列令人恐惧的早期诗句中,而是出现在它对基督的最后恳求,让死者获得和平。因此,在布鲁梅尔的《死亡弥撒》( Missa pro defunctis)的背景下对布鲁梅尔的《死亡之死》的分析表明,早期的安魂曲作品,即使是最可怕的,也首先是作为对上帝的功能性恳求,让死者获得永恒的安息和永恒的光明。
更新日期:2020-12-07
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