The Spes salutis masses of 's-Hertogenbosch MS 75 and Clemens non Papa : a comparative study

Abstract

[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT AUTHOR'S REQUEST.] The life and work of famed sixteenth-century Franco-Flemish composer Jacobus Clemens non Papa (ca. 1510-ca. 1555) remain confounding to date or to locate geographically with any confidence. His visit to the Marian confraternity known as the Illustre Lieve Vrouwe Broederschap [Illustrious Blessed Lady Confraternity] in the Dutch town of s'-Hertogenbosch in late 1550 -- where he presented a Mass on 1 October of that year -- is well documented. This work will establish that this work was most likely his Missa Spes salutis, an imitation Mass derived from a motet of Johannes Lupi (ca. 1506-1539 ). An anonymous composition in the 's-Hertogenbosch Confraternity's choirbooks -- found at the end of the book of ten Masses known as 's-HerAB 75 -- is the only other known Ordinary with the Spes salutis title and is based on the same model. The works share numerous aspects of form and style, suggesting strongly not only that Clemens was aware of this work, but that he also based characteristics of his own respective Mass on this composition. A comparative study of the two Spes salutis Masses illuminates the stylistic relationship between Clemens and his anonymous predecessor, while also substantiating the dating of Clemens's own work. This stylistic analysis will also reveal how Clemens non Papa adapted his established motet methods of counterpoint and text expressiveness to the genre of the Mass.