Early Polyphony - Viderunt Omnes

For this week's listening I wanted to focus on the development of Viderunt Omnes.


Viderunt Omnes - Leonin (1163-1190)

A few developments from the Viderunt Omnes plainchant:

1. Polyphony - 2 parts are now present. The bottom holds out long notes taken from the original chant (cantus firmus) and a higher voice embellishes. I was able to follow along with the lower part because I was looking at the "score" while listening, but I probably wouldn't be able to recognize the cantus firmus because it is lengthened significantly.

2. Effect on the listener - the words are no longer the most important thing in the listening experience, the melisma is so long that the words are hardly understood.  The intention seems to me is either to impress the listeners with the higher voice part, or to put them in a more meditative state.

3. Sections - the chant has been stretched to such an extent that every few words of the original chant start a new section.

4. The plainchants do come back in between the sections, probably to get back to the original intention.

5. The purpose of the chant now seems to be more artistic then functional.


Viderunt Omnes - Perotin (1180-1225)

(I am actually very familiar with this piece since I wrote an expansion on it, transforming the parts to be played by woodwinds and adding another part to it. I called it "Viderunt Omnes and Friends")

Here are some further developments:

1. Polyphony - 4 parts. The lower holds the original cantus firmus notes while the upper three voices embellish in counterpoint.

which brings me to...

2. Counterpoint - there is a more complex thought in terms of how all 4 parts are sounding together and a real mastery in part writing is coming though.

3. Pulse - there is a sense of pulse and beat, it is easy to translate it to modern notation and feel a more even sense of phrase.

4. Imitation - the 3 upper parts use patterns that repeat as is, in variation and expansion. As more complex rhythms are introduced they are developed as imitation by the other voices and rhythmic patterns old and new mix together to create an evolving and lush sound.

5. Length - If Leonin expanded a few words into its own section that lasts about 2 minutes, Perotin is taking this farther by expanding 2 words to last as long at 5 minutes.

6. Effect on the listener - I am left impressed at the part writing technique and enjoying the lush sound and development of material. This is not a meditative, or a praying experience. It may still a religious experience to those who find it listening to music, but it is not a religious experience through text.

7. The plainchant does make an appearance in between the sections probably to bring the listener to the original intent.

In case you are interested in my expansion, here it is. Unfortunately I don't have a good recording of it. I dropped the low cantus firmus line because it is not a fun part for woodwinds and I didn't find it necessary for my purposes. I used the original upper 3 voices as an accompaniment that reminded me a lot of minimalist texture. I often displaced octaves to create a more rangy sound. The flute melody is added on.