Catch the Canon of Kasilag
The Ave Maria motif or theme for musical worship is widely popular. Composers such Gounod, Schubert, and Santiago have exhibited Ave Marias that are very memorable. Lucrecia Roces Kasilag, National Artist for Music 1989 (“National Artist - Lucrecia R. Kasilag.”, n.d), known primarily for her innovative combination of Filipino indigenous instrumentation with 20th century modern techniques (Salido, 2004), has composed an Ave Maria which is simple, memorable and stimulating, which defies her modern roots. To gain a deeper appreciation of Kasilag’s Ave Maria, it is contrasted to an Ave Maria taken from the Renaissance period, in particular, the Ave Maria of Josquin Des Prez.
Josquin Des Prez (1450/1455 – 1521) was a French composer during the Renaissance period (“Josquin des Prez.”, n.d.) and was hailed as the most prolific composer in the 16th century (“Josquin des Prez Biography.”, n.d.). His musical technique is considered a hybrid or blend of traditional forms and inovation from the prevailing conventional standard practices. Within the motet framework, Des Prez was re-known for “expressing sorrow in his very poignant harmonies.” Des Prez motets and masses have been described as having a modern sense of tonality for the Renaissance period (Gaur, 2014).
The Ave Maria by Des Prez is an interesting framework or basis to which one can review or better understand the various nuances of the Ave Maria of Kasilag. In exploring these two versions of Ave Maria, one can ascertain the interconnection of a contemporary 20th century piece which can very well find its roots and influences in an Ave Maria from the Renaissance period, such as that of Des Prez.
Background
The Ave Maria Virgo Serena by Josquin Des Prez is a motet composed for the Italian Court at Milan during the 15th century Renaissance period. Its language is in Latin, as is the language used for sacred music during this period. The Av
e Maria of Lucrecia Kasilag was written in 1950. However, since the theme is Ave Maria (Hail Mary in Latin), the language is also in Latin. Although both are written in Latin, the text is different. The Ave Maria of Kasilag is the more commonly known Ave Maria verse, followed by the Sancta Maria verse. However the Ave Maria of Des Prez uses a totally different text, perhaps more commonly used in the 15th century.
Form
The Ave Maria of Des Prez is a long composition of 10 pages in length. There are large musical sections, and new material is used in each section (Mindeman, n.d.). The Ave Maria of Kasilag is fairly short with 3 pages. The form is binary and can be viewed as A and B, or the two sections of: A part for Ave Maria and B part for Sancta Maria.
Harmony
In both the Ave Maria of Des Prez and Kasilag, one only hears consonance in the notes. There are no evidences of dissonant chords. It may be assumed that avoiding dissonance may be a means to achieving a sense of serenity. While consonance is conventional for the Renaissance period, dissonance is frequently used in modern pieces of the current contemporary age (Mindeman, n.d.). However, Kasilag does not employ dissonance in this piece.
Melody
The Ave Maria of Des Prez has several sections, and in each section, there is new melodic material. The first section is the only time all four voices (Soprano, Alto, Tenor, and Base) to sing the same melody motif of: sol, do, do, re, mi, do. This same melody is sung first by the soprano, then the tenor, then the alto and the base. The four voices use the canon or counterpoint technique where the four voices seem to be answering each other.
Although the melody does not repeat and there is a progression to the changing pattern, the key remains the same, and always begins with C and ends with C. The overall effect is a monotonous and hypnotic chanting sound, even with the many note patterns (Mindeman, n.d.).
The Ave Maria of Kasilag was written in 3 voices. There only two separate, distinct, and easily identifiable melodies: in the Ave Maria and then Sancta Maria. So the form can be viewed as A and B or the two sections of: A for Ave Maria and B for Sancta Maria.
Rhythm
The tempo or time signature for the Ave Maria of Des Prez is 2/4 time which is relatively slow. The rhythm is fairly consistent, except when there are slight variations to the tempo, such as: Rallentando (slowing down) measure 29, or Andantino (little faster than andante, slow walking pace) measure 93 or Lento (slow) in measure 108, or Tres Largo (very big, heavy, and slow) at measure 141, or for the last 4 measures, the end is conveyed with Tres Lent (very slow) (Mindeman, n.d.)
The tempo for the Ave Maria of Kasilag is the same tempo and time signature of 4/4, andante moderato (moderately slow) throughout the piece. The same slow tempo is very effective for sacred music. There is slight change in the tempo of the refrain (Sancta Maria portion) which is Con Moto (with movement).
The rhythmic changes for the Kasilag piece: in the section Ave Maria with the chord breaking accompaniment; the section of Sancta Maria asks for a dynamic of Con Moto (with movement) and Con Calore (with warmth); while the final section of Amen reverts to same style as the introduction with it majestic and march like chords.
Texture
The Ave Maria of Des Prez is polyphonic in texture composed for four voices. This is an acapella piece (without instrumental accompaniment). The voices are meant not to stand alone but to be in consonant with each other. For the most part, Des Prez also utilizes imitative counterpoint. However, there is also chordal harmony in certain 2 measure sections. There is also a variety of density in texture. Sometimes it is thin or has a combination of two voices, and this is seen with how Des Prez uses different combinations of voices: soprano and tenor parallel to bass and alto or soprano and alto parallel to tenor and bass. Or, the density can be thick with all four voices meeting together (Mindeman, n.d.).
On the other hand, the Ave Maria of Kasilag is homophonic in texture, but the density is also thick, as it was made for three voices. Because of the homophonic texture, the overall single melody line is memorable or easily grasped.
Word Painting
The character of the Ave Maria of Des Prez indicates that the piece is spiritual. The words or lyrics chosen and the slow pace of this song, lends to the sacred nature of the Ave Maria. The musical repeated pattern lends itself to meditation, serenity, and devotion. This song is a prayer of supplication, asking the Virgin to remember the one who is praying or singing this Ave Maria. To highlight on this plea, the concluding lyrics are O Mother. Remember me. (O Mater Dei, Memento Mei.) (Mindeman, n.d.) The Ave Maria of Kasilag is also a supplication, asking the Virgin Mary to pray for sinners (Ora Pronobis Pecatoribus).
Accompaniment
As mentioned earlier, the Ave Maria of Des Prez has no instrumental accompaniment since it is a acapella choral piece where the four voices are intended to accompany each other. Des Prez is gifted in the syllabication of music
. There is no exhibition of high notes to distract the listener and to change the focus from object of prayer who is God to the human singer. The highest note is a fa, which can be sung effortless for a solemn effect.
Although the Ave Maria of Kasilag can also be performed without the accompanying instrument, the beauty of the music will be entirely with the piano accompaniment since it was composed for piano and voice. The piano part has a great role for the music’s essence because the composer is also a gifted pianist and noted for her newly discovered harmonies. For example, Kasilag does not use the conventional C, G, D. chord; but, she changes the chord pattern, which turns out to be very stimulating and interesting. In the Kasilag piece, each piano note has a purpose. It would also be beautiful to perform this piece with voice, piano, and perhaps a string instrument like a violin. Kasilag’s Ave Maria is well crafted and very much appropriate for sacred music. It is beautifully qualified to be sung or performed at a wedding or any church special event.
Conclusion
The exercise of comparing a Filipino composition with its European counterpart, lends to the reader a depth of understanding that perhaps can not be achieved, had the analysis of the composition come from a single dimension or perspective. In dissecting the Des Prez piece, one gains a greater appreciation of the beauty of the Kasilag piece, even in it’s simplicity. In both cases, both versions of Ave Maria emphasize and fulfil the chief purpose or role of sacred music, which is to gain a better perspective of the majesty of God.
Works Cited
Avalin, Nixin. “SLRC_Kasilag's Ave Maria.mpg.” YouTube, 11 May 2010, https:// www.youtube.com/watch?v=tLocL5m4nBY.
Gaur, Aakanksha. “Josquin Des Prez.” Britannica.com, Encyclopedia Britannica, Inc., 19 June 2014, www.britannica.com/biography/Josquin-des-Prez.
“Josquin des Prez.” bbc.co.uk, BBC, https://www.bbc.co.uk/music/artists/ bd941ba5-703b-44ec-8f56-1028cb0e30b3
“Josquin des Prez Biography.” thefamouspeople.com, The Famous People, https:// www.thefamouspeople.com/profiles/josquin-desprez-432.php
Mindeman, John. “Ave Maria Analysis.” JohnMindeman.com, Weebly, www.johnmindeman.com/uploads/8/1/2/8/8128270/ave_maria_analysis.
“National Artist - Lucrecia R. Kasilag.” Gov PH, National Commission for Culture and the Arts, gwhs-stg02.i.gov.ph/~s2nccagovph/about-culture-and-arts/culture-profile/national-artists- of-the-philippines/lucrecia-r-kasilag/.
PhilTA. “Josquin Des Prez - ‘Ave Maria... Virgo Serena.’” MuseScore.com, MuseScore, 24 Jan. 2018, musescore.com/user/2749876/scores/4873863.
Salido, Caroline B. “Our Own Voice.” Oovrag.com, Oovrag, July 2004, www.oovrag.com/ essays/essay2004b-4.shtml.
Scholachicago. “Ave Maria...virgo serena (Josquin).” YouTube, 9 Dec. 2011, https:// www.youtube.com/watch?v=XaT3tcXZg0c