Identity and difference \u2013 Ockeghem’s Missa Cuiusvis toni<\/p>\n
The mass \u2018Cuiusvis toni\u2019 (\u2018in whatever key you want\u2019) suggests that it can be sung in all the church modes common at the time. However, when singing it, it turns out that, due to the counterpoint rules of the time, two versions, the Dorian and the Lydian, each require two Bs. These are identical to the Phrygian and Mixolydian versions. So \u2018in reality\u2019 there are only two versions. To modern ears, these are similar to our major and minor keys. Singing the identical musical text ultimately results in two versions that appear totally different. Ideally, there is one work, but in reality two versions are sung. The \u2018work\u2019 hovers, so to speak, in this field of tension.
\nThat is why I preceded the mass with the chanson \u2018Presque trainsi\u2019, which sings of the limbo state between death and life, the incomprehensible.
\nIn the performance, the two versions are intertwined and, according to the principle of slow listening, excerpts are placed at the beginning that clearly highlight the difference.<\/p>\n
The performance took place on 27 September 2025 as part of the concerts celebrating the 80th birthday of Gerd de Vries, who also made this concert possible.<\/p>\n
The ensemble L’Ultima parola sang:<\/p>\n
Axelle Bernage
\nBernd Oliver Fr\u00f6hlich (conductor)
\nJan Petryka
\nGuillaume Olry<\/p>\n
Here is the introduction to the concert:<\/p>\n
Einf\u00fchrung<\/a><\/p>\n The concert:<\/p>\n