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From Serra to SanchoMusic and Pageantry in the California Missions$
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Craig H. Russell

Print publication date: 2009

Print ISBN-13: 9780195343274

Published to Oxford Scholarship Online: September 2009

DOI: 10.1093/acprof:oso/9780195343274.001.0001

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Music for the Mass

Music for the Mass

A Spectrum of Artistic Invention

Chapter:
(p.294) Chapter 6 Music for the Mass
Source:
From Serra to Sancho
Author(s):

Craig H. Russell

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195343274.003.0007

The mass held a privileged role as the artistic core of the California repertoire. Mass settings ranged in style from the three “easy” quartet settings for Mary—and three “intermediate” duet settings for Holy Week—to virtuosic Classical settings for choir and orchestra. Although there was considerable variety, there also was a standardized repertoire of mass settings that was shared by the various missions. The normative core contained such stalwarts as the introspective Misa del quarto tono and its ultrapopular “Gloria simple”; the hypnotic Misa del quinto tono (also known as the Misa de Cataluña), with its pulsations of homorhythmic chord changes; the two-voice Misa de la Soledad, with its conspicuous thematic unity; and the erudite and sophisticated Misa Solemne. Narciso Durán's importance is emphasized, but the assertion that he composed much of this literature is disputed. Martín de Cruzelaegui's role as possible composer of the Misa Viscaína is explored.

Keywords:   mass, Mass Ordinary, Misa del quarto tono, Misa del quinto tono, Misa de Cataluña, Misa de la Soledad, Misa Solemne, Narciso Durán, Martín de Cruzelaegui, Misa Viscaína

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