This kind of late medieval polyphonic a capella music for male voices literally comes from another world. It took me some time to forget the strangeness and to get into the music. But now I am enchanted by the magic of these voices and recognize it as the sublimely beautiful religious music that it is, leading to deep contemplation.
Guillaume de Machaut (c. 1300/1305-1377) was born in Reims, the city where he died in 1377 after holding a number of politically influential positions, including secretary to the Count of Luxembourg and the King of Bohemia. He was highly esteemed and received several benefices, including the canonry of Reims Cathedral in 1337.
At that time, Reims was the flourishing center of a wealthy county, a busy trading city, and a spiritual stronghold. According to ancient custom, the French kings were crowned here.
The title of the mass refers to the title of Our Lady to whom the cathedral of Reims, where Guillaume de Machaut worked, is dedicated.
The composition probably dates from around 1360. The once widespread assumption that the occasion for the composition was the coronation of King Charles V (May 19, 1364) is now considered unlikely, since Guillaume was present at the coronation as a canon of Reims Cathedral and did not mention a performance of his mass in his report on the event. The mass is not preserved in a liturgical collection, but in illuminated manuscripts of Guillaume's compositions.
The Mass consists of six parts. In addition to the later common Ordinary parts Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, the Mass, like the older Messe de Tournai, contains an Ite, missa est set to music.
Two different compositional techniques alternate in the measure cycle. In the Kyrie, Sanctus, Agnus Dei, and Ite, missa est, the isorhythmic motet style prevails, with a Gregorian melody as the cantus firmus in the tenor. The Gloria and Credo, on the other hand, are strictly homophonic, without reference to Gregorian chant; only the Amen endings are polyphonic again because of the festive closing effect.
Listen to: Ensemble Gilles Binchois, conducted by Dominique Vellard.