A Treasury of Early Music
/ Haydn Society Records
VOLUME 1.
MUSIC OF THE MIDDLE AGES
medieval.org |
discogs.com
Haydn Society recording HSE / ST*HSE 7-9100 [LP-mono / stereo] |
CD 7-9100
1959 | 1963
Side 1
1. Redde mihi [5:16] PSALMELLUS
Schola Cantorum, conductor: Bernhard Lewkovitch
2. Popule meus [6:58] IMPROPERIA
Schola Cantorum, conductor: Bernhard Lewkovitch
3. Gaudete populi [3:39] ANTIPHON
Schola Cantorum, conductor: Bernhard Lewkovitch
4. Veni creator spiritus [3:07] HYMN
Schola Cantorum, conductor: Bernhard Lewkovitch
5. Infantem vidimus [5:03] LITURGICAL DRAMA
Schola Cantorum, conductor: Bernhard Lewkovitch
Side 2
6. Be m'an perdut [2:03] TROUBADOUR CANSO
| BERNART de VENTADORN
Baritone – Holger Nørgaard
7. Gran dereit' [3:40] CANTIGA
| ALFONSO X el SABIO
CSM 56
Baritone – Holger Nørgaard
8. Ogne homo [1:23] LAUDA
The University Choir of Copenhagen | Tenor
– Sven Erik Wedin | Conductor – Niels
Møller
9. Viderunt omnes [2:19] ORGANUM DUPLUM
| PEROTIN
The Chorus of the Danish State Radio | Baritone –
Otto Johnson | Conductor – Mogens Wöldike
10. Ave gloriosa mater—Ave virgo—Domino [2:27] MOTET
[ ::: Hu 101 ]
Tenor – Jørn Jørkov | Baritone – Arne Berg | Recorder – Niels Rosenberg | Viola da Gamba – Thomas Rosenberg
11. In seculum longum [1:46] INSTRUMENTAL MOTET
Viola da Gamba – Hans Erik Deckert, Jørgen Glode, Thomas Rosenberg
12. Je n'amerai autre—In seculum [1:38] VOCAL MOTET
Raudi Tejlbjørg – Contralto | Recorder – Niels Rosenberg
| Lute – Jytte Gorki Schmidt
Viola da Gamba – Thomas Rosenberg, Hans Erik Deckert, Jørgen Glode
1. PSALMELLUS: Redde mihi, for
the first Sunday in Quadragesima (Lent), of the Ambrosian Liturgy. This
is the first of four examples of chants from the four great liturgies
of early Christian times: Ambrosian, Gallican, Mozarabic, and Roman.
The Psalmellus is the Ambrosian equivalent of the Roman Gradual; it
comes between the Lesson and the Epistle. The highly florid melody of
this example is characteristic of the Psalmellus style; som syllables
are set tu very long melismas. The text of this Psalmellus us from
Psalm 51 — the opening Response is verse 12, the following section
(marked "Verse" is verse 1).
Source: London, British Museum, Antiphonarium Ambrosianum, Add. Ms. 34.209, fols. 167–168.
2. IMPROPERIA (the "Reproaches"): Popule meus,
for Good Friday, of the Gallican liturgy. This is a very ancient chant,
possibly of apostolic origin, which became part of the Gallican Mass in
the 6th century, and was taken over into the Roman liturgy in the 12th
century. The text is in both Greek and Latin, a vestige of a once
widespread usage during important feasts. The example is the first of
two large sections of the Improperia, and consists of three reproaches
by the Saviour, each followed by the refrain "Agios o Theos (O Holy
God) ... have mercy upon us".
Source: Liber usualis, p.704, Tournai, 1950.
3. ANTIPHON: Gaudete populi,
for Easter, of the Mozarabic liturgy. The Mozarabic rite of Spain was
supressed in the 11th century in favor of the Roman, but it is still
celebrated in Toledo. Its chant was written in a notation that so far
has remained undeciphered, but Spanish scholars have been able to
restore some of the melodies, such as this example, which is for the
Easter Communion. The text is a paraphrase of the Resurrection scene as
related in the las three gospels.
Source: Dom G. Prado, O.S.B., “Mozarabic Melodies”,
Speculum, 1928, p. 218.
4. HYMN: Veni creator spiritus, for
Pentecost, of the Roman liturgy. This, the most famous of all Latin
hymns, was written by Hrabanus Maurus, Archbishop of Mainz, in the 9th
century; the melody is believed to be from a much earlier period. In
the Octave of Pentecost, at Second Vespers, it follows the reading of
the scriptural account of the descent of the Holy Ghost. The hymn has
always been associated with ocassions of special significance.
Source: Liber usualis, p. 885, Tournai, 1950.
5. LITURGICAL DRAMA: Infantem vidimus.
Dramatic presentations of the Christmas and Easter stories, as well as
other stories from the Old and New Testaments, were common in the
church from the 10th to the 13th century. Their texts were in Latin,
and they were set to music similar in style to syllabic plainchant.
This one, for Christmas, portrays in dialogue the Magi bearing gifts,
Herod's command for the slaughter of the innocents, and includes a Hymn
of the Prophets, foretelling the rule fo the new King.
Source: Einsiedeln, Stiftsbibliothek, No. 367.
Side 2
6. TROUBADOUR CANSO: Be m'an perdut — Bernart de Ventadorn (d.
1195). This example, and the two following it, are characteristic
secular monophonoic pieces of the 12th and 13th centuries. No. 6
is a love-song by one of the greatest medieval lyricists, in the
Provençal language of Southern France. The melody is in the form
of the rounded chanson (A, A, B — with a return of the final phrase
at the end of B). The melody is repeated strophically for each six
verses (only two of which are sung in the recording), and the whole
ends with an envoi, or conluding section, addresssed to the person for
whom the song is written.
Source: Milan manuscript known as Chansonnier G, fol. 14. (C. Appel, Bernart von Ventadorn, Halle, 1915).
7. CANTIGA: Gran dereit' — Alfonso el Sabio (1221-1284). The fabled shrine of Santiago de Compostella [sic]
is the source of this song, which is one of a collection of over 400
cantigas compiled by King Alfonso X of Spain, who himself composed many
of them, including this one. The cantigas relate various miracles of
the Virgin Mary. This one tells how she rewarded a monk who had
dedicated certain Psalms to her, each of which began with one of the
five lettes of her name (Maria). Of the six verses comprising the
cantiga, nos. 1, 2, and 6 are recorded.
Source: El Escorial, T.j.I, fol. 32.
Modern edition: H. Anglès, ed., La musica de las Cantigas de
Santa Maria del Rey Alfonso el Sabio, II, Cantiga LVI, p. 64.
8. LAUDA: Ogne homo (13th-14th
c.). The religious revivals of Europe in Europe in the 13th century
inspired many songs of popular religious fervor. Among the various
national songs of this kind, the Italian lauda is especially
significant for having awakened a native lyricism, and in starting a
special Italian genre which led ultimately towar the oratorio.
According to its notation, this piece seems almost certainly to be in
duple meter, a noteworthy faeture for its time, and one whiche reflects
both its popular origin and its national character. Its subject is the
praise of the cross.
Source: Biblioteca Nazionale Centrale of Florence, Ms.
Magliabechiano II, I, 122, fols. 25 and 25.
9. ORGANUM DUPLUM: Viderunt omnes
— Leonin (12th c.). This example, and the three following it,
illustrate various phases of the 12th and 13th century polyphony.
Viderunt is a typical organum duplum, consisting of a Gregorian cantus
firmus in notes of seemingly indefinite length (excepts for a measured
section towards the end), above which there has been added a highly
melismatic part, whose original notation appears to indicate a free
rhythm in certain passages, but a strict modal rhythm in others.
Organum duplum is the oldets style of the school of polyphonic
composition which flourished in Paris in the 12th and 13th centuries.
Source: Wolfenbüttel 677, fol. 21. Facsimile edition of this
manuscript is J. Baxter, An Early St. Andrews Music
Manuscript, London, 1931.
10. MOTET: Ave gloriosa mater—Ave virgo—Domino
(13th c.). This composition represents a stage in the development of
the motet (the most important polyphonic style of the 13th century) in
which three different levels of rhythmical activity are carried on
among the three voices: a simple repeated rythmic pattern in the tenor,
a more varied movement in the middle voice, and a still livelier
movement in the top voices. The use of related but different texts in
the two upper voices is characteristic. The tenor cantus firmus is a
rhythmicized plainchant segment taken from the salutation Benedicamus Domino.
Source: Bamberg, Staatsbibliothek, Ed. IV 6, fol. I.
11. INSTRUMENTAL MOTET: In seculum longum
(13th c.). This example is in three parts, and, like nos. 9 and 10, has
a rhythmicized segment of plainchant as a tenor (in this case,
from the Gradual Haec dies).
The upper parts make consistent use of the device of "hocket" — i.e.,
the breaking up a melody into single notes o very short figures,
performed in quick alternation between two parts. The tenor melody
comes to an end halfway through the piece, and is then repeated, but
begins on a different part of the repeated rhythmical pattern.
Source: Bamberg, Staatsbibliothek
12. VOCAL MOTET: Je n'amerai autre—In seculum (13th c.). This
composition is identical with no. 11 except that a fourth voice, with a
secular text, has been added above it. The added part differs from the
character of the original lower voices not only in having words, bul
also in its melodic flow and its variety and smoothness and rhythm, as
opposed to the often syncopates inner voices. Examples 11 and 12
illustrate the medieval technique of composing by "layers" of melodic
lines.
Sources: Bamberg, Stiftsbibliothek, Ed. IV 6, fol. 63v. |
Montpellier, Fac. des Médecins H 196, fol. 1v.