Archival searches carried out during recent decades have significantly changed the state of our knowledge about the circumstances surrounding the creation of the so-called Italian cappella of King Zygmunt III Vasa, who reigned in Poland in the years 1587-1632. It has been established on the basis of Vatican sources that its formation began earlier than has been thought until now. After the early turbulent years of governing Poland, and after a few months' stay in Sweden, following the death of his father, Jan III Vasa, Zygmunt was crowned as king of that country. With practically no chance of actually reigning in his homeland, he came back to Kraków in the autumn of 1594. Immediately afterwards he sent his secretary, Krzysztof Kochanowski, a nephew of the greatest Polish poet of the Renaissance period, Jan Kochanowski, to Rome. His mission was to recruit Italian musicians for the royal cappella. As a result of this enterprise, a group of 16 musicians left Rome for Kraków in February 1595. This group was headed by the newly engaged maestro di cappella, a prominent composer from the Palestrina school, Annibale Stabile, who unfortunately died either during the journey to Poland or soon after arriving in Kraków1. On 15th April 1594 Zygmunt III sent another representative to the Eternal City – canon Bartłomiej Kos, whose task it was to find a replacement for Stabile. With the support of Pope Clement VIII and his favourite cardinal Cinzio Aldobrandini, Luca Marenzio became the new maestro di cappella of the King of Poland. He set out from Rome on his journey to Kraków, with another group of musicians from Italy, in mid-October, and probably reached his destination at the end of November or in December of that year2.

Unfortunately we know very little about Marenzio's activities in Poland. We do not know the exact period of his stay at the Court of Zygmunt III; the only thing that we do know for certain is that in March 1596, at the head of a 22-strong group of musicians described as Italian3, he travelled from Kraków to Warsaw with Krzysztof Kochanowski as his „guide”.

He was there again in the autumn of 1596, during the visit of the papal legate, cardinal Enrico Caetani, sent there in connection with the negotiations regarding the anti-Turkish league.

It is not known when Marenzio left the court of the Polish king; spring of 1597 or 1598 is regarded as the probable date. Neither has it been possible to identify any secular works composed during the musician's stay in Poland4. Where his religious compositions are concerned, three of his polychoral motets (one for 8 and two for 12 voices) were published after his death in the, by now incomplete, collection Melodiae sacrae of Vincenzo Lilius (Kraków 16042); a number of other works was printed in German anthologies published in the early decades of the seventeenth century, and a few motets and Masses are known from manuscript sources from the same period preserved in Poland (in Gdańsk and Pelplin), in Germany (in Dresden and Berlin) and in Austria (in Vienna). Although some of these compositions are also known from manuscripts of Roman provenance, it is highly probable that at least a part of Marenzio's sacred works published or copied in the countries situated north of the Alps was created during his stay at the court of Zygmunt III Vasa5.

Since 1998, when musicologists first noted the report in the diary of Giovanni Paolo Mucante (master of ceremonies who accompanied cardinal Enrico Caetani during his legation to Poland during 1596-97) of a service in October 1596 at the collegiate church of St John the Baptist in Warsaw, during which the royal cappella under the direction of Marenzio performed his newly-written Mass in echo form6, researchers have unsuccessfully been trying to identify among the composer's extant works the one which would correspond to the description given by the author of the diary. It would have to be a Mass for two choirs, written in such a way that all the words are repeated by the one and the other choir in the form of an echo („fu cantata a duoi chori et tutte le parole erano replicate dall'uno et l'altro choro in forma d'ecco”- to quote Mucante's own words).

Roland Jackson has analysed all the sources available to him which transmit the Masses ascribed to Marenzio, both those whose authorship is certain, and the doubtful ones. For a variety of reasons he has rejected the possibility that one of them might be the composition described by Mucante. As a consequence, in the entry on Marenzio in the latest edition of The New Grove Dictionary of Music and Musicians, he expresses certainty that this Mass has been lost.7 However, it seems worthwhile to examine again those Mass cycles which correspond to Mucante's description of the distribution of parts, both in the cycles preserved in the sources quoted by Jackson, and in those which have so far been ignored.

The following Masses are eight-voice compositions with two-choir distribution, preserved in sources available to Jackson, and transmitted only as two-part (Kyrie and Gloria) versions: the incomplete (only part-books Sopranus II, Tenor I, Tenor II and Bassus extant) Missa super Jubilate Deo (Dresden, Sächsische Landesbibliothek, Ms Mus. Grimma 50 nr 1148); the also incomplete (tenor of the first choir and alto of the second choir missing) Missa super Ego sum panis vivus (Gdańsk, Biblioteka Polskiej Akademii Nauk, rkp. 4006 nr 549) and Missa super Iniquos odio habui (incomplete in manuscript sources: Gdańsk, Biblioteka Polskiej Akademii Nauk, manuscript 4006 No. 48 – tenor of the first choir and alto of the second choir missing, also there manuscript 4012 No. 108 – contains only the two organ parts; fully preserved in a printed version, but published as a composition by Georg Vintz, included in his collection: Missae ad praecipuos dies festos accomodatae, quinque, sex & octo vocibus [...] cum basso continuo. Erfurt 163010).

Roland Jackson, hypothesising that Marenzio composed these works in Poland, states at the same time that „[they] are abbreviated settings, consisting of only Kyrie and Gloria, and so would not seem to have been suitable for an occasion such as Mucante is describing. [...] Furthermore, Kyrie-Gloria pairs were not typical of late 16th-century Rome. Each of these Masses makes use of choral exchanges, although none could be characterized as having «all the words ... repeated by one and the other choir»”11.

It is highly probable that the Masses in question were in fact written at the time when Luca Marenzio lived in the Commonwealth. King Zygmunt III would certainly have expected his maestro di cappella, with his earlier experience in both secular and religious polychoral compositions, to provide magnificent settings involving a multitude of performers for the Masses celebrated at the collegiate church in Warsaw. One can assume that these were also performed at Wawel cathedral in Cracow and in other, always Roman Catholic, churches. However, the supposition that the compositions in the extant sources (leaving aside the question of the missing voices) are transmitted in the shape given to them by Marenzio is simply not credible. What one can claim with a fair degree of certainty is that they testify to the practice familiar from Protestant centres, particularly from Gdańsk and various towns in Saxony and Silesia, where only Kyrie and Gloria, which were used in the Lutheran liturgy, were copied from Catholic Masses (at that time those usually contained, apart from the propria, Kyrie, Gloria, Credo, Sanctus, Benedictus (often together with Sanctus) and Agnus Dei). The example of Gdańsk music collections also demonstrates that the authors of copies of Masses from the Roman Catholic repertory did not limit themselves to copying Kyrie and Gloria, but introduced a variety of changes to these parts when adapting them to the needs of the cappellas performing at Lutheran churches. One cannot exclude the possibility that this is what happened also in the case of Marenzio's Masses for two choirs.

Another reason why – according to Jackson – Missa super Jubilate Deo from Dresden and the „Gdańsk” Missa super Ego sum panis vivus and Missa super Iniquos odio habui do not correspond to the description given by Giovanni Paolo Mucante is the fact that, although their settings do have an exchange of choirs, and the antiphonal choirs frequently repeat the same fragments of the text, not all the words are repeated by both choirs in this way. This reading of Mucante's report seems to be too literal. It is difficult to suppose that Marenzio would want to limit his possibilities as a composer by adopting such a principle without leaving room for other solutions. On the other hand, the repeatability and the echo effect achieved must have been unique enough for this composition to make a striking impression on its listeners.

Unfortunately, in the case of Missa super Jubilate Deo and Missa super Ego sum panis vivus the absence of some voices limits considerably the possibility of drawing unambiguous conclusions. However, it is difficult to miss the fact that in the second of these Masses the exchange of choirs with antiphonal repetitions is the basis of the construction of the whole Kyrie (both „Kyrie” and „Christe”), and in Gloria it is the basis of the musical setting of particular (but not all) words and phrases, namely: „gratias”, „agimus tibi”, „propter magnam”, „gloriam tuam”, „Filius Patris”, „Qui tollis”, „peccata mundi”, „quoniam”, „tu solus”, „in gloria”. An analogous compositional device can be found among the works of Marenzio published by Roland Jackson, but based on the authorial print of Georg Vintz from 1630; Missa super Iniquos odio habui, particularly in the first „Kyrie”, and in Gloria in the case of „propter magnam gloriam tuam”, „Domine Fili”, „unigenite”, „ad dexteram Patris”, „tu solus Sanctus”, „tu solus Dominus”, „tu solus”, „cum Sancto Spiritu”, „in gloria” and „Dei Patris”. Moreover, if one were to exchange the altos between the two choirs, the „Christie” and the second „Kyrie” in Kyrie would also be in the form of an echo.

Extensive parts of the composition are either identical or very similar in these settings. Examples 11 and 11a and 12 and 12a show consecutively the musical material from „Christe” and the second „Kyrie” from Marenzio's Mass, convergent with analogical sections of the Marenzio/Vintz Mass, but with the choirs reversed, and the alto of the first choir moved to the second choir and vice versa in the Mass known from the printed version. It also shows great similarity to the corresponding fragments of the Pelplin Mass, which, however, have undergone not only a reversal of choirs, but some abbreviations in „Christe” and an expansion in „Kyrie II”.

As for the later parts of the cycle which follow Kyrie and Gloria, we now have the material which makes it possible to conduct a comparative analysis of Sanctus and Agnus Dei from Marenzio's Mass from the Bohn collection, and the anonymous one from the Pelplin tablature. As has already been mentioned, the latter source does not give a Credo setting, and thus at present we know only one polyphonic realisation of the creed (beginning with the words „Patrem omnipotentes”, undoubtedly preceded in performance by chorally intoned „Credo in unum Deum”). In total it contains as many as 205 measures (about two-fifths of the whole work), showing clear links with Marenzio's motet, emphasised particularly in the early parts of the three traditionally recognized internal parts of Credo. Their similarity to the beginnings of the other links within the Mass works towards cohesion of the whole cycle.

One can claim with full confidence that in the realisation of the text of Credo the echo device plays a fundamental role. It runs through nearly two-thirds of the course, while the remaining third also contains segments in which consecutive fragments of the text are performed alternately by both choirs, by the whole ensemble or by one choir. This is what happens over 21 measures of the text with imitative structure, „Crucifixus etiam pro nobis sub Pontio Pilato passus, et sepultus est”. This section, however, is followed by „Et resurrexit”, which provides a contrast in terms of the distribution of parts, structure and, clearly, mood. It is wholly shaped by fast exchanges between the choirs, numerous repetitions of single words or two- and three-word phrases. This compositional device dominates until the end of this part and – apart from the setting of „Benedictus” (of which more below) – until the end of the cycle (see below, example 20).

A comparison of Sanctus and Agnus Dei of Marenzio's Mass with the anonymous version from the Pelplin tablature shows clearly that in the case of the latter we are dealing with partially reworked (selected fragments being developed) material of the first composition. In the anonymous source, the text of Sanctus has been interpreted in two sections which constitute closed wholes. The first, numbering a few measures, has the character of an invocation and is (apart from the exchange of altos and tenors within the second choir) fully convergent with the beginning of the setting familiar from the full cycle of Marenzio's Mass. It ends with an additionally composed cadence (which does not appear in Missa super Iniquos odio habui from the Bohn collection); cf. examples 16 and 17.

Sanctus secundum from Missa a 8 Super Iniquos repeats and develops material from the further course of this part from Marenzio's Mass. Moreover, both sources include as separate sections the homorhythmic choral realisations of the text of „Hosanna”, built on the echo principle. The setting of „Hosanna” from Marenzio's Mass cycle retains triple metre throughout. About two-thirds of this setting is repeated with no change in the analogous section of the Pelplin Mass, in which we also find new or reshaped musical material in duple metre. The setting of the first verse of Agnus Dei (there is no setting for the second verse in the tablature) is also for the most part convergent in the two versions, although in the anonymous one it is significantly abbreviated. It is characterised by the repetition by both choirs of the same sections of the text or single words (particularly frequent in the case of the phrase „peccata mundi”). The process of reduction of this section of Marenzio's Mass for the needs of the Cistercians involved removing a dozen or so measures from the middle section of its course, and linking the initial part with the cadence which closes the section. It is worth mentioning that in the full cycle, set polyphonically by the royal maestro di cappella, the echo principle (understood as repeating the same words or fragments of the text alternately by both choirs) is strictly adhered to in Agnus Dei. The first verse is dominated by fast exchanges, a half note apart (semibrevis in the original), as in example 18.

In the setting of the second verse of this text, which closes the composition, we find the largest number of repetitions of material exchanged between the choirs relative to other parts of the cycle.

However, since longer verbal-musical structures are involved, which are usually enclosed within the framework of two measures (two breves in the manuscript) and successively carried from choir to choir, the meaning and purpose of this procedure undergoes a change. There is a fading of the music, which corresponds to the word of the text, deepening it supplicatory tone.

The „Benedictus”, absent from the tablature (and undoubtedly sung monodically by the Cistercians), was arranged for a four-voice ensemble of sopranos and altos of both choirs, and maintained almost wholly within imitative structure in Marenzio's Mass cycle. In this way the composer referred to the continuing tradition of reducing the distribution of parts in the realisation of this text, and introducing as much contrast as possible between „Benedictus” and „Hosanna” sections.

As a result of comparing all three versions of Missa super Iniquos odio habui known to us today which are complete in respect of the number of extant voices25, one can claim that, apart from employing or refraining from using the alternatim technique, the basic difference between them concerns the greater or lesser use of the echo effect in the musical settings of the text of ordinarium missae. We can assume that the earliest version, the one which most probably reflected the wishes of the composer, Luca Marenzio, was the Mass recorded in manuscript Mus. ms. Bohn 94 No.11, less than three years after the composer's death. This is the version which will be regarded here as the point of departure, the original work which was subjected to a variety of abbreviations and reworkings in the years which followed. The print version and that in the tablature manuscript may have been written even twenty or more years later than the copy in Bohn's collection. The changes which they introduce seem to move away from the original in two opposite directions. In the Marenzio/Vintz Mass the aim seems to be to limit the number of repetitions of words and phrases and their exchanges between the choirs, while the anonymous Missa a 8 Super Iniquos, on the contrary, seeks to expand it. The distribution of the text between the choirs in the three versions being compared is shown in the diagram below. In it, 1 refers to the first choir, 2 – to the second choir, and 1 + 2 – to both choirs singing together.

Example 20: a/ Luca Marenzio: Missa super Iniquos odio habui, b/ Luca Marenzio/Georg Vintz: Missa super Iniquos odio habui, c/ Anonym: Missa a 8 Super Iniquos

– Comparison of distribution of text between choirs

The above comparison demonstrates that the echo effect clearly dominates in all parts of Marenzio's Mass cycle with the exception of Gloria. However, even here it could be claimed that parts set according to the echo principle take up over half of its course, in spite of the relatively large amount of text which is not alternately repeated by each choir. As has already been mentioned, in order to set the very long text of Credo, the composer employed a variety of procedures and diversified the structure and the distribution of parts, but the greatest amount of space (two-thirds of measures) has been devoted to the exchanges of repeated sections of the text between two choirs singing separately. In the subsequent parts the echo principle is not only the dominant but – with the exception of „Benedictus” – the only device. To sum up, there does not seem to be any doubt that a work constructed in this way may be regarded as composed in „echo form”.

The author of the setting transmitted in the printed version, Georg Vintz, attempted to break out of this form, and its predominantly homorhythmic character. However, he limited himself in this task to very simple devices, which did not demand either compositional skills or creativity. Musical material of two of the preserved sections of Marenzio's Mass cycle and those from the Vintz anthology is almost identical. Differences shown in example 20, concerning mainly „Christe eleison” and „Kyrie II”, result from periodic exchange of voices between choirs, which disturbs the homorhythm maintained in these parts of Marenzio's composition. The musical realisation of Gloria is nearly identical in the two versions which are being compared. The difference in the distribution of text between choirs found in the setting of the text „Domine Deus, Agnus Dei, Filius Patris” is also a result of introducing in the Mass by Marenzio/Vintz an exchange of voices between choirs over the space of a few measures (alto from the first choir becomes the alto of the second choir and vice versa). Thus in place of choirs singing alernately in a homorhythmic structure there appears a tutti part with an imitative structure.

The contribution of the anonymous composer to the version of the Mass notated in the Pelplin tablature was significantly greater. His purpose was to adapt the extensive Mass cycle, originally meant to be performed during large-scale prolonged church celebration by a large ensemble, to the liturgical needs of a Cistercian monastery. The duration of the composition was limited by having it performed in the alternatim manner, and also by shortening some polyphonic sections. Instead, alien sections were introduced, which show no connection either to Marenzio's Mass or to his motet (two additional settings of „Kyrie”), and a number of fragments from the original version of the Mass were expanded to constitute separate sections. The latter solution involves increasing the use of the echo principle in the composition. It was introduced most extensively in Gloria, where, as has been shown, the exchange of text between the choirs in Marenzio's work is least frequent. In the anonymous version we find multiple repetitions of words which in the Masses of Marenzio and Marenzio/Vintz appear only once (see „glorificamus te”, examples 21 and 22). Reducing the ensemble to four voices of sopranos and altos (as in „Benedictus” from Marenzio's cycle) in the initial part of this section of the Pelplin Mass is another device worthy of our appreciation.

In the case of „Tu solus Altissimus” from Gloria ( a phrase which in the case of Masses by Marenzio and Marenzio/Vintz appears once in both choirs) the version from the Pelplin tablature is striking not only because of the multiple exchange of choirs repeating the same words, but also because the voice ensembles are introduced after an interval of a half note (semibrevis in the original) – that is, at a distance regarded as characteristic for polychoral Roman compositions from the end of the sixteenth century. Another striking feature of the composition is that there are no literal verbal-musical repetitions and there is constant variation of harmony so that, in spite of such numerous repetitions, the section does not sound monotonous.

The formal cohesion of Marenzio's Missa super Iniquos odio habui cycle depends to a significant degree on the use in different sections of melodic material and/or harmonic structures from his motet Iniquos odio habui reworked in a variety of ways. The exposition of the motet, and the cadences which close the first and second parts of the work, and which constitute the point of departure for a number of internal cadences and all the closing parts of the cycle, are employed most frequently.