Dufay: Missa Se la face ay pale (Alpha Collection)
4/16/2007, 12 Tracks, 1:07:05
Featuring
Antoine Guerber
Philippe Roche
Diabolus in Musica
Guillaume Dufay
Did you know?
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Interpretation
This recording uses unaccompanied male voices, an interpretation choice considered particularly relevant for Dufay's Masses, as instruments were not used in the papal chapel or Cambrai Cathedral during his time.
Composer's Artistic Vision
Dufay frequently used the interlacing of several voices with similar tessituras as a musical signature, contributing to the elegance and homogeneity of his Masses.
Compositional Technique
Only the tenor part of Dufay's secular song 'Se la face ay pale' is reused completely in the Mass, serving as the basic musical material for its five sections.
Composition History
Guillaume Dufay's Missa 'Se la face ay pale' was composed at the court of Savoy between 1452 and 1458.
Compositional Technique
Dufay's compositions, like much 14th and 15th-century music, incorporate Pythagorean numerical ratios, Fibonacci sequences, and the golden ratio in their structure.
Compositional Technique
Dufay's Mass, like all his later Mass settings, is in four voices with clearly defined tessituras: tenor, contratenor, discantus, and bassus.
Composition History
The Mass takes its name from a secular song, 'Se la face ay pale', also composed by Dufay during his first stay at the court of Savoy in the 1430s.
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