Compared with the sheer sonic magnitude of this Passion setting, the inherent drama of the choral characterizations, and the composer’s self-dramatization at the end, the use of “madrigalisms” like those in Mirabile mysterium is secondary and sporadic. There is a spectacular one at the very beginning of the third and last part of this grandiose work, however, and it is of an especially “literary” kind. At the first mention of the word “crucify” (Ex. 18-12), a really jarring harmony (a C♯-minor triad, we would call it) is introduced—simply for its shock-value, it might appear—as a way of underscoring the horror of the event.
- Citation (MLA):
- Richard Taruskin. "Chapter 18 Reformations and Counter Reformations." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 24 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-018004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 18 Reformations and Counter Reformations. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 24 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-018004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 18 Reformations and Counter Reformations." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 24 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-018004.xml