medieval.org
capilla.be
Eufoda 1232
1996
Jacob OBRECHT
1. Salve regina [11:28]
Petrus de LA RUE. Missa Alleluia
2. Kyrie [3:34]
3. Gloria [4:35]
JOSQUIN
4.. Gaude virgo [3:25]
Petrus de LA RUE. Missa Alleluia
5. Credo [7:30]
JOSQUIN
6. Huc me sidero [7:20]
Petrus de LA RUE. Missa Alleluia
7. Sanctus [7:56]
8. Agnus dei [6:53]
Matthaeus PIPELARE
9. Memorare, Mater Christi ~ Nunca fue pena
mayor [7:18]
CAPILLA FLAMENCA
SUPERIUS: Tom de Man, Steven Vanmol, Erik Buys, Stefaan de Winter
ALTUS: Jan Caals, Jan van Elsacker
BARITON: Lieven Termont, Ian Degen
BAS: Dirk Snellings, Paul Mertens
CANTATE DOMINO
superius: knapen afkomstig uit het koor Cantate Domino
van het St.-Maarteninstituut te Aalst
en voorbereid door EH Michaël Ghijs.
Opname:
Kapel van het Iers College, Leuven
Chapel of the Irish College, Leuven
Digitale opname en montage: Paul Beelaerts
Artistieke leiding: Jo Cops
© 1996 Davidsfonds/Eufoda, Blijde-Inkomststraat 79, B-3000 Leuven
Transcripties en toelichtingen bij Latijnse teksten: Andries
Welkenhuysen
Advies alteraties: Joep van Buchem
Leiding en musicologisch advies: Dirk Snellings, Eugeen Schreurs
Grafische vormgeving: Daniël Peetermans
Coverillustratie: Stefan Lochner, Driekoningentriptiek: Annunciatie
(detail),
Keulen, Dom, (foto: Joachim Blauel - Artothek)
Pag. 40: Koorboek van Margaretha van Oostenrijk, fol. 1,
Mechelen, stadsarchief
In 1496 Philip the Fair, son of Maximilian of Austria and grandson of
the illustrious Burgundian duke Charles the Bold, married Joanna of
Castile. This marriage created an empire ‘where the sun never
set’ and which emperor-to-be Charles V inherited after the death
of his father who, like his ancestors, had a particular liking for
music. The same was true for Margaret of Austria, Regent of the
Netherlands and Philip the Fair's sister, who also loved to hear
musical performances of a high standard.
Petrus Alamire, in his day a famous scribe and diplomat, produced,
together with his colleagues, numerous impressive and valuable music
manuscripts for the Burgundian court and these were often used as royal
presents. In 1503, for example, he copied ‘ung grant libre de
musicke’ for Philip the Fair. Later he entered the service of
Margaret of Austria and Archduke Charles who was to become Charles V.
For them too he continued to produce brilliant manuscripts which meant
that much excellent music became known at many pre-eminent European
courts and that the Burgundian-Habsburg court chapel enjoyed a hitherto
unheard-of fame. The polyphonic works on the present CD all feature in
manuscripts that were produced by Alamire.
The central piece in this recording is the monumental five part Missa
Alleluia by Margaret's court composer Pierre de la Rue. One of
today's sources for this work is MS 773 in the library of the Monastery
at Montserrat. It is possible that this manuscript was sent to Charles
V in Spain during the 1520s. It contains important parts of this mass,
but for the reconstruction of the whole mass it was also necessary to
consult the Choirbook of Margaret of Austria, which is still
kept in the town archives of Mechelen. The manuscript was probably
commissioned in 1515- 1516 by Maximilian for the coming of age of
Archduke Charles and it was later acquired by Margaret of Austria. It
is clear that this mass was known at several important European courts
with which the Burgundian-Habsburg courts in Brussels and Mechelen
entertained excellent relations, for there are still copies in
libraries at Jena (Court Chapel of the Elector Frederick the Wise of
Saxony who resided in Wittenberg), in Rome (Papal Chapel) and Vienna
(Maximilian's Habsburg Court Chapel).
The mass is based on an ‘Alleluia’ melody which has so far
not been identified, but which features in each section. In the various
sections complicated canon techniques were applied, such as
augmentation (under the motto ‘Crescit in duplo’ the cantus
firmus is performed in halved note values) and retrograde (performing
the melody backwards, under the motto ‘Vade retro
Sathanas’). This work is full of hidden symbolism - the canon
techniques, ‘musica ficta’, miniatures that illuminate the
work - which can be appreciated particularly by the performing
musicians. By using a single cantus firmus in this mass and the
application (although limited) of a head-motif, de la Rue has succeeded
in creating a certain uniformity in the diversity of the five mass
sections. The composition is generally polyphonic, but
through-imitation is rare. Certain parts of the text are stressed by
the use of ‘noems’, short homophonic passages where the
polyphony is interrupted and the understanding of the text is
facilitated by a declamatory style. The composer used this rhetorical
technique in essential parts such as the ‘Gloria’, for
example to the text of ‘Domine Fili unigenite’ (the Son
born as one) or to the passage ‘qui sedes at dexteram
Patris’ (who sits at the right hand of the Father), here with an
alternation between high and low voices. In the ‘Credo’ too
there is homophonic writing in the passage ‘simul adoratur’
and again when the ‘Hosanna’ is sung for the last time. The
mass is concluded with a magnificent ‘Agnus Dei’, and here
de la Rue put the cantus firmus in the ‘superius’, which
was normally always in the tenor part.
Most motets on this CD are linked to the Virgin Mary and the focus is
on her joy as well as her grief. First there is Jacob Obrecht's Salve
Regina, a six-part setting of the Marian antiphon with the same
name. Following the tradition at the Burgundian court such Salve's
were often performed for Marian brotherhoods during daily or weekly
evening lauds. We opted for an alternatim version whereby the
plainchant is adapted rhythmically to the polyphonic parts. A source
where this work can be found is a special Alamire manuscript in the
Bayerische Staatsbibliothek in Munich (MS 34), with only Salve
settings. It is worth noting that there are instructions for the use of
boys’ voices (‘pueri’) in the upper parts. Two of the
motets were found in a Brussels choirbook (Royal Library, MS 9126). The
presence of Philip the Fair's and Joanna of Castile's coats of arms as
well as several miniatures point to the fact that these motets were
probably copied for them. The first one, Josquin Desprez's Gaude
Virgo, is fairly short. Mary's five (earthly) delights are sung
here in a style which can be called typical for Josquin, for example
because of the recurring use of duos. In the second motet from the
Brussels choirbook, also by Josquin, the link with Mary is not so
strong. The subject here is Jesus Christ's death at the cross, which
obviously caused much pain to Mary. A four-part version appears in the
Brussels codex, but other sources show the addition of a cantus firmus
(‘Plangent eum’, an antiphon for the lauds on Easter
Saturday) and a sixth voice. It is this last version which you can hear
in this recording. It is a fairly extensive work in two sections, and
very expressive for its day. It is also worth noting the somewhat
unusual key change from the ‘prima pars’ to the
‘secunda pars’, which emphasizes the word
‘felle’ (with black bile).
The impressive seven-part motet Memorare Christi by Matheus
Pipelare deals with Mary's seven sorrows. It is a grand composition
which appeals to the imagination, partly because of the - for that time
- extensive number of voices. The cantus firmus is the Spanish lament
‘Nunca fué pena mayor’, the lyrics of which were
written by the grandfather of the Duke of Alva, the infamous governor
of the Netherlands. The well-known four-part setting of this Spanish
work has in several sources been attributed to Juan Wrede, presumably a
Fleming who worked in Spain. In Pipelare's work only the tenor is used,
in long note values. This Memorare-Nunca comes from the
Brussels MS 215-216 and the theme of the whole manuscript is clearly
the Virgin Mary's sorrows, for besides the Memorare there are
two masses for the seven sorrows of Mary as well as Josquin's Stabat
Mater. It seems that these motets also had to help to achieve the
salvation of the soul, judging from the heading of the Memorare:
‘Matheus Pipelare pie memorie’ (sing this motet in pious
memory of Matheus Pipelare). Another peculiarity is that the seven
voices are entitled, from high to low voice, ‘primus dolor’
(superius), ‘secundus dolor’ (triplum) etc. down to the
‘septimus dolor’ (bassus) - something which was very
unusual.
Finally, a brief word about performance practice. When interpreting
these works much thought and experiment has gone into the ‘musica
ficta’ phenomenon (sharpening and flattening certain notes
according to well-defined rules). We have consciously not avoided a
number of awkward clashes, not only because musicological research has
made further advances in this respect but also because we are convinced
that they enhance musical expression.
Since all these composers are connected to the Burgundian court, we
have opted for a Franco-Flemish pronunciation, which corresponds to the
prosodic aspects, something which becomes very clear in, for example,
the Memorare's homophonic passages. Finally, in the cantus
firmus settings the texts that are sung are those of the original
melodies, which can mean that sometimes two different texts are sung at
the same time. This may not make these texts easier to understand, but
it offers the extra dimension of symbolism which was so typical for the
music of that period. It puts de la Rue in a transitional period
between the late Middle Ages and the Renaissance, being as much a
traditionalist (symbolism, the simultaneous use of different texts) as
an innovator (five-part polyphony, textual expression).
Eugeen Schreurs
Translation: Paul Rans, Nell Race
JACOB OBRECHT
SALVE REGINA
Salve Regina is an eleventh century antiphon. This sensitive
Marian song became widely used as a liturgical evensong. St. Bernard
(1090-1153) wrote extensively on this song and his monks used it in
their daily service. Jacob Obrecht set the later, best-known version of
the text to music, where the word ‘mater’ was added in the
first verse and the word ‘virgo’ at the end.
The text is here ordered into two times eight ‘cola’ in
order to do justice to the medieval rhyming prose. The spelling of the
Latin text is that of the Munich manuscript (Bayerische
Staatsbibliothek, Musiksammlung, MS 34, fol. 43b-49).
JOSQUIN DESPREZ
GAUDE VIRGO
Twelfth century song on the joys of Mary with six tercets in rhythmic
trochaic dimeters. The first two verses end with a paired falling
rhyme, while the third verse shows the same rising rhyme
‘-io’ in each of the six stanzas. Stanzas 1 to 5, which all
begin with ‘Gaude’, tell about the five joys of the earthly
life of the Virgin Mary: the annunciation, the birth, the resurrection,
Christ's ascension to heaven and her own ascension. In the first stanza
Mary's conception is thought - as so often in the medieval tradition -
to have occurred ‘per aurem’: Christ was conceived through
the word of the angel which entered ‘through her ear’. The
transcription of the Latin text adheres to the manuscript's medieval
spelling (Brussels, Royal Library, MS 9126, fol. 178b-180).
JOSQUIN DESPREZ
HUC ME SIDEREO
Song of Christ on the cross, ascribed to the ecclesiastical writer
Johannes Trithemius OSB (1462-1516), abbot of Sponheim and
Würzburg. Six classical elegiac distichs (dactylic hexameter +
pentameter), divided into three quatrains. Stanzas 1 and 3 are the
words ofJesus on the Cross, stanza 2 reflects the thoughts of the poet.
The transcription of the Latin text respects the spelling in the
manuscript (Brussels, Royal Library, MS 9126, fol. 172b-174).
MATHEUS PIPELARE
MEMORARE, MATER CHRISTI
Late medieval song on the seven sorrows of Mary. There are ten stanzas,
each one with four rhythmic trochaic dimeters, rhyming in pairs
(aa-bb). Only the second half of the seventh stanza - voluntarily? -
breaks the rhythm. The seven sorrows of Mary are Simeon's prediction
(stanza 1), the flight to Egypt (2), the search for the young Jesus
(3-4), the road to Golgotha (5-6), Jesus's death at the cross (7), the
mourning (8) and the burial ofJesus (9). The incipit
‘Memorare’ is identical to the well-known prose prayer
‘Memorare, o piissima Virgo Maria’, but that is the only
parallel. However, there are quite a few textual echoes from the
‘Stabat Mater’, especially in stanzas 6 to 10. Apart from a
few necessary corrections, the text of the Latin is that of the
Brussels manuscript (Royal Library, MS 215-216, fol. 33b-38).
JUAN WREDE
NUNCA FUÉ PENA MAYOR
For the ‘Memorare, Mater Christi’, only the incipit
‘Numquam fuit pena maior’ is given as cantus firmus in the
Brussels manuscript (Royal Library, MS 215-216, fol. 33b). This refers
to the 15th century Spanish love lament ‘Nunca fué pena
mayor’, written by Don García Alvarez de Toledo, Duke of
Alva (grandfather of the infamous governor of the Netherlands). The
text of the first half of this song has been borrowed from Helen
Hewitt's critical edition in Harmonice Musices Odhecaton A
(Cambridge, Mass., 1942), pp. 226-227.