Music in Sainte-Chapelle
Johannes Ockeghem
His work, Arsenal 114, was made specifically for Sainte-Chapelle. It includes
“prescriptions for a complex series of daily memorials for the Virgin, the Relics, All Saints, St. Louis and the Peace, a full set of notated ferial hymn incipits, a list of characteristics of the intonations, mediations, and finals of the eight modes, a complete noted kyriale, a full list of foundations by canons and familiars of the king (though not Ockeghem) and a list of the customary distributions.“ [1] Ockeghem additionally included two choirbooks dedicated to Louis IX, created in 1471 opening with Noel. One mentions “organ playing and what may be polyphonic singing, it separates measured from non-measured chant and chant cum and sine neupmate, prescribes different dynamic levels and manner soft solo, choral, and alternate speech and song”. [1[ Many practices of Sainte-Chapelle and Notre Dame of Paris were similar, but the votive celebrations are what made them distinct from one another. This is from votive celebrations dictating where the votive celebrations, processions, and sacred plays would be located in Sainte-Chapelle, in either the upper or lower chapel. There additionally was no procession before mass in Sainte-Chapelle as there was at Notre Dame. |
Sample of music composed by Ockeghem
Contemporary music affiliated with Sainte-Chapelle
Classical music performance
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Sainte-Chapelle, The Tallis Scholars at St. Paul's cathedral |
References
1. Haggh, B. (1997). An Ordinal of Ockeghem's Time from the Sainte-Chapelle of Paris: Paris, Bibliothèque de l'Arsenal, MS 114. Tijdschrift Van De Vereniging Voor Nederlandse Muziekgeschiedenis, 47(1/2), 33-71.