A critical edition of 'Missam hanc doubus Choris ac quatuor voce', 'Domine, salvum fac regem', and 'Ecce tu pulchra es', by Nicolas Forme

摘要

The first half of the seventeenth century in France represents an unusually transitional time in its musical development. The stile moderno, or modern style of using instruments and alternating musical forces, had become the musical standard in Italy just after the turn of the 17th century. Comparatively, this practice was being integrated into France's conservative compositional traditions much more slowly. France's conservative musical tradition was more firmly rooted in the stile antico. Unfortunately, very little of the music which depicts the emergence of this new style in France is available in a useful form today. Modern reference materials about this genre are sparse. One of the best is Denise Launay's Anthologie du metet latin polyphonique en France [1609--1661] This volume includes a few examples of choral music in the emerging modern style.;Nicolas Forme's Missam hanc doubus Choris ac quatuor voce with the traditional Domine, salvum fac regem and the motet Ecce tu pulchra es represent some of the better examples of the concertato style, which was an important practice of the stile moderno. This style put musical forces in alternation, a practice which had its roots in the Venetian, double-choir music from the beginning of the 17th century. Forme's Mass and motets were the precursors to what was to become known as the Grand Motet in France. They very likely inspired later French composers like du Mont, Lully, Charpentier, and LeLand, who would bring this genre into maturity in the latter half of the 17th century.;The purpose of this study was to create a study score of Forme's music by transcribing it modern notation and providing a practical context for modern day performance. In addition to the transcription, biographical information about the composer, Nicolas Forme, and description of the Mass style of the period is provided, along With selected performance suggestions of particular application to these works including the use of instruments, organ alternatim, vocal ornamentation, and possible transcription of the score based upon the local pitch standard in Paris during the first half of the seventeenth century. This study will create an introductory reference to the choral style of the early 17th century in France.