Guest
“Sometimes the compositional link to the sounds of heaven emerges as the fruit of careful interpretation, as in the example of Johannes Ockeghem’s lavish 36-voice canon, Deo Gratias. In 1969 Edward Lowinsky published an imaginative and compelling study that viewed Ockeghem’s unusual work as a mystical angel concert. Drawing on the traditional notions of angels’ musical attributes – the antiphony of alternating choirs, unending song that is always offered in divine praise with unity of voice – he deftly associates these attributes with the Deo Gratias canon. Ockeghem’s contrapuntal colossus combines four nine-voice canons, each sung by one voice part: a nine-voice treble canon overlaps with a nine-voice alto canon, which in turn overlaps with a nine-voice tenor canon, and so forth. It thus sonically embodies the antiphony of alternating choirs in a musical form – the canon – that is itself inherently circular, and thus potentially unending. Additional
