Impermanence
/ Lorelei Ensemble
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Sono Luminus DSL-92226
2018
[48:27]
1. Portum in ultimo [2:24]
ATO episcopus Trecensis | Codex CALIXTINUS (c. 1160-1173, Spain)
cc 107
2. “Vocalise I” from Windhorse [2:07]
Tōru TAKEMITSU (1930-1996)
Peter GILBERT (b. 1975) — from Tsukimi
3. “Ama no hara” [0:46] t: Abe no Nakamaro (ca 700-770)
4. “Akikaze ni” [0:48] t: Fujiwara no Akisuke (1090-1155)
5. “Tsuki mireba” [1:15] t: Oe no Chisato (9-10th century)
6. Rite maiorem Jacobum canamus / Arcibus summis miseri recluse [4:09]
Guillaume DU FAY (1397-1474) | t: Robert Auclou
7. Pour ce que point fu de la amere espine / A toi vierge me represente [4:01]
Anonymous | TURIN Codex, J.II.9, fol. 93v-94 (4/2) (15c., Cyprus/Italy)
8. O proles Hispaniae / O sidus Hispaniae [4:48]
Guillaume DU FAY (1397-1474)
t: Julian von Speyer, Magnificat antiphon for St. Anthony of Padua / Simon de Montfort
9. Qui patris atris honoris / Paraclite spiritus [3:08]
Anonymous | TURIN Codex, J.II.9, fol. 59v-60 (4/2) (15c., Cyprus/Italy)
Peter GILBERT (b. 1975) — from Tsukimi
10. “Nageke tote” [1:33] t: Saigyo Hoshi (1118-1190)
11. “Wata no hara” [1:56] t: Fujiwara no Tadamichi (1097-1164)
12. “Kokoro ni mo” [1:01] t: Sanjo In (976-1017)
13. Par grant soif clere fontainne / Dame de tout pris [4:13]
Anonymous | TURIN Codex, J.II.9, fol. 94v-95 (4/2) (15c., Cyprus/Italy)
14. Flos florum [3:34]
Guillaume DU FAY (1397-1474)
t: Anonymous | Analecta hymnica medii aevi – Herausgegeben von Clemens Blume und Guido M. Devres, XXXII
15. Sanctus in eternis regnans / Sanctus et ingenitus pater atque carens [3:37]
Anonymous | TURIN Codex, J.II.9, fol. 75v-76 (4/2) (15c., Cyprus/Italy)
16. Apostolo glorioso [3:07]
Guillaume DU FAY (1397-1474) | t: Malatesta dei Malatesti
Peter GILBERT (b. 1975) — from Tsukimi
17. “Hototogisu” [0:53] t: Fujiwara no Sanesada (1139-1191)
18. “Natsu no yo wa” [1:36] t: Kiyohara no Fukayabu (9-10th century)
19. “Vocalise II” from Windhorse [3:19]
Tōru TAKEMITSU (1930-1996)
LORELEI ENSEMBLE
Beth Willer — artistic director
Sarah Brailey — soprano
Margot Rood — soprano
Sonja Tengblad — soprano
Christina English — mezzo-soprano
Clare McNamara — mezzo-soprano
Sophie Michaux — mezzo-soprano
Stephanie Kacoyanis — contralto
Emily Marvosh — contralto
PRODUCER: Dan Merceruio
RECORDING, MIXING & MASTERING ENGINEER: Daniel Shores
EDITING ENGINEER: Dan Merceruio
PHOTOGRAPHY: Allana Taranto, Ars Magna Studio
GRAPHIC DESIGN: Caleb Nei
EXECUTIVE PRODUCER: Collin J. Rae
BLU-RAY AUTHORING: Stefan Bock, MSM-Studios
RECORDED AT: Church of the Redeemer, Chestnut Hill, MA
July 26-30, 2016
Mixed and mastered on Legacy Audio speakers.
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Recorded with Merging Technologies Horus.
Mastered with Merging Technologies Hapi.
Recorded in DXD at 24 bit, 352.8kHz in Auro-3D 9.1
Immersive Audio.
℗ & © 2018 Sono Luminus, LLC. All rights reserved.
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DSL-92226 — ℗ & © 2018 SONO LUMINUS, LLC. ALL RIGHTS RESERVED.
FROM THE DIRECTOR
Migration of peoples across borders has shaped the human experience for
millennia. While securing permanent shelter—a home—has
become a goal for the majority of individuals in our world, migration
remains one of our main strategies for survival. Today, tens of
millions of individuals live a nomadic lifestyle as hunter gatherers or
pastoralists. Pilgrims seek moral or spiritual significance through
extended physical journeys. Immigrants and refugees seek freedom,
stability, and safety in new communities and countries. Whether
physical or metaphysical, humanity survives by way of continuous
movement—our culture, beliefs, and histories are marked by
impermanence. This album is an exploration of that
concept—traveling between early and contemporary repertoires,
based in texts, melodies, and timelines that refuse to be conveniently
pinned down by norms.
Impermanence is the bedrock of Buddhist philosophy and practice:
continuous becoming as the truth of our existence. Buddhists consider
this ever-evolving reality to be undeniable and inescapable. All
temporal things—physical and mental—are subject to a
continuous cycle of decline, decay, and rebirth. Fully embracing this
concept is both humbling and freeing. It is particularly thrilling to
consider this perspective as an artist committed to creating and
delivering meaningful temporal experiences.
Music functions as a container of meaning, a vehicle we have used for
centuries to express and grapple with the ineffable. We want to capture
music—to write it down with a notation that clearly defines and
preserves our musical ideas for generations to come. Yet, we have
struggled to create a collection of symbols that can fully express our
intentions—intentions that go far beyond pitch and rhythm. As
Western notation systems have evolved, we have managed to refine this
musical language, with each innovation allowing us to translate ideas
in greater detail, and expand the possibilities of what could be
recorded and communicated by the composer, to the performer. With this
evolution came an ever-expanding musical vocabulary, new levels of
complexity, and an increased desire to prescribe performance practices
with the pen. But music resists this containment—the
possibilities precede and outlast the technology that seeks to write
them down. It is precisely this imperfection and constant evolution of
notation that has allowed great music to survive for centuries. It is
the unknown and the undefined corners of the score that keep us coming
back to re-interpret and re-invent ideas that well precede and defy
modern practice.
Recording is perhaps the most inflexible container of music we have yet
devised. Live performance is, after all, the ultimate expression of
musical impermanence: no two performances can ever be the same, even if
delivered by the same artists. In recording, the goal is often to be
absolutely consistent in terms of interpretation—tempo, dynamics,
color—so that different takes can be combined into a cohesive and
perfect musical “moment,” captured for posterity. In the
sessions for this album, however, I felt the repertoire resisting this
method. Of course, in rehearsal we model all of our artistic choices;
we plan for a product that we can predict. But in tracks predicated on
spontaneity and improvisation, such as the fifth movement of
Tsukimi, each take must stand alone as a single iteration of
that musical idea—it can’t be convincingly reconstructed
from multiple takes. In early motets, shaped by choices of tempo or
ficta, our preferences sometimes shifted between takes. And in both
cases, moments of complete silence or harmonic stasis (ideal
“seams” for splicing two separate moments together into
one) are hard to come by. And so, in the process of recording, we found
ourselves “continuously becoming,” as we grappled with a
repertoire that invited constant re-imagination.
I like to think of the “unknown” elements in both early and
new music as opportunities for bringing a piece into the present
moment. New music has no performance history, and often begs
conversations between the composer and the performer. In some early
music, we may never fully understand the composer’s intentions.
Our theories surrounding choices of tempo, ficta, and vocal tone, are
grounded in contemporary research (and, quite plainly, contemporary
bias), but the scores themselves leave significant room for
interpretation. Musica ficta (“false music,” in
early contrapuntal music) might be defined as “the introduction
by a performer of sharps, flats, or other accidentals to avoid
unacceptable intervals.” But scholars disagree—were these
“unacceptable intervals” horizontal or
vertical? Working from Alejandro Planchart’s new Du Fay
editions, I made a number of artistic choices, driven at times by a
modern understanding of Renaissance musical theory, and at times by my
own artistic preference. Accepting and wrestling with these unknown
elements is simply part of the process in approaching this stunning and
slippery repertoire. What is sure is Du Fay’s commitment to
innovation and evolution of musical style, particularly in regards to
sacred repertoire. Though he certainly pays homage to the traditions
that precede him, we can be certain he was never restrained by
expectations of his time.
The Turin Codex (J.II.9) provides ample opportunity for exploration of
the unknown, both musically and historically speaking. Serving as one
of three primary sources of the ars subtilior (along with the
Chantilly Codex and the Modena Codex), it preserves and displays a
repertoire of extreme rhythmic and notational complexity. Long thought
to have been a repertory confined to the early fifteenth-century, and
primarily situated in Paris and Avignon in Southern France, recent
scholarship repositions the ars subtilior (“subtler
art”) as a prominent and flourishing repertoire in northern Italy
well into the 1430’s, overlapping at least partially with the
composition of Du Fay’s motets (all four included here composed
between 1420 and the late 1440’s). At this time, humanist circles
in Italy developed an interest in “northern” music, not
only leading to the copying of major sources of the ars
subtilior (such as J.II.9), but also the commissioning of new works
in the “old-fashioned” style. Presenting these dual-texted
Latin and French motets alongside the isorhythmic and cantilena motets
of Du Fay provide a window into the diversity of musical styles
cultivated in northern Italy during Du Fay’s time. Due to the
complexities of both the scholarship and the music itself, performance
of the Turin motets is rarely undertaken. We are pleased to present the
debut recording of three of the four motets included herein, selected
from this extensive and virtually untapped source of ars
subtilior repertoire.
I also believe that some of the “known” elements in early
repertoires are worth questioning and even upending, assuming proper
respects are paid to their origin. We know the motets of Du Fay and the
Turin Manuscript were never intended to be sung by women. But in the
21st century, we are able to offer this rebirth to a repertoire that
has long been reserved for male voices alone. Rather than remaining
attached to historic ideas and expectations, we have chosen to let go
of the gender norms that have limited access to this repertoire for
centuries. In doing so, the music too gains access to a more inclusive,
and therefore diverse, group of artists and their interpretation.
The repertoire on this album is rife with symbolism and metaphor that
further teases out concepts of impermanence, migration, and the
transient nature of musical language. From the wordless vocalises of
Takemitsu’s Windhorse depicting Tibetan nomads, to the
12th century polyphony of the Codex Calixtinus sung by pilgrims
traveling along the Camino de Santiago, to the dramatic shifts of
polyphonic style seen in the 15th century motets of Du Fay and the
Turin Codex, to Peter Gilbert’s settings of Japanese waka poetry
meditating on the phases of the moon—temporality is a common and
unmistakable thread. And I suppose if one accepts impermanence fully,
we might begin to see it in all of our work as artists.
The sand mandala, a practice of meditation in Tibetan Buddhism,
provides a poignant example of impermanence in creative work. An
intricate design is conceived and assembled by a team of monks over
days or even weeks, layering colored sands in an elaborate depiction of
the universe. Upon its completion, the sands are brushed into a pile
and spilled into a moving body of water to spread the blessings of the
mandala. And so stands this album, as a temporary but thoughtful
meditation on a collection of repertoire that is sure to make a mark in
its moment, but will just as sure evolve beyond this particular
artistic take.
—Beth Willer, 2018
PROGRAM NOTES
The CODEX CALIXTINUS (or Liber Sancti Jacobi, “Book of St.
James”) was compiled circa 1160-1175 for pilgrims traveling along
the “Camino de Compostela” or “Way of Saint
James” in Northern Spain. The five volume collection covers all
aspects of the pan-European pilgrimage route across Northern Spain, as
well as documenting the liturgical practices in the Cathedral at
Compostela. Its fifth and final book, “The Guide of the Medieval
Pilgrim,” includes ethnographic accounts of the communities along
The Way, as well as some of the earliest known polyphonic notation.
Portum in ultimo is one of several revolutionary works included
in the collection, defining it as an important bridge to the monumental
polyphonic tradition established at Notre Dame in the 12th and 13th
centuries, most notably by Léonin and Pérotin.
TŌRU TAKEMITSU describes the process of nomadic migration that shaped
his composition: “Wind Horse is a divination practiced by
Tibetan nomads, for deciding where they should next go and live. Over a
vast tableland of open space, there is stretched a rope to which are
tied and hung various pieces of cloth of all colors from their folk
costumes. A gust of wind comes along, causing rustling sounds through
the cool clear air of the plateau. The nomads commence moving in the
direction which the cloths tied to the rope are blown. This rope is
called ‘Wind Horse.’” Excerpted from the larger work,
Vocalise I and Vocalise II unfold entirely without text.
Spare, angular counterpoint alternates with thick, mesmerizing vertical
sonorities. In the second vocalise, the lines eventually arrive at an
exceptionally tonal melody—the quotation of a Bantu lullaby.
Through rhythmically symmetrical gestures, we are lulled to a place of
stability and rest, both musically and spiritually.
PETER GILBERT’s setting of eight Japanese waka poems serves as
the structural and conceptual framework of the album. Showcasing an
individual vocalist in each movement, Gilbert devises a cohesive yet
disparate collection of miniature musical moments that resist
traditional musical categorization, exploring the flexible and illusive
nature of the vocal instrument, and the ideas within the poetry itself.
Gilbert writes: “Translated as ‘Moon Viewing,’
TSUKIMI is a traditional Japanese celebration of the full moon dating
back to the Heian period (roughly 800-1200 AD). The Heian era was a
great era for Japanese literature and saw the revival of native waka
poetry. The waka became more concise at this point, bearing only five
lines: three of 5-7-5 syllable lengths (which would eventually stand
alone as the hokku) and two final lines of 7 syllables each. A
famous anthology of the time, the Ogura Hyakunin Isshu, brings together
100 great poems of the time by different poets. Powerful and condensed,
they leverage the broad-reaching contemplations of Buddhism to create
moments which are simultaneously descriptive, intellectual and
spiritual in their beauty. The moon is one of Buddhism’s great
symbols. Itself a surface of reflection, it makes a wonderful mirror
for the concept of the illusion of the senses. This sense of the
illusory nature of our experience of life is summarized by a single
word in Japanese: ukiyo, which translates as “floating
world” but really implies the world of the senses hovering all
around us. The Ogura Hyakunin Isshu is full of such remarkably dense
imagery. For me, reading them in a foreign language, the poems
themselves are especially like the moon’s light: reflections
beyond my grasp that illuminate the world about me in magically
ethereal hues—emotional, ephemeral, slipping back into
invisibility.”
The motets of GUILLAUME DU FAY are among the most celebrated works of
the 15th century. Spanning across decades, they serve as a uniquely
diverse and defining repertory of the Early Renaissance. The
compositional virtuosity and discipline displayed in his more archaic
isorhythmic motets (Rite maiorem Jacobum / Artibus summis miseri
and Apostolo glorioso / Cum tua doctrina) lie in sharp
contrast with his more modern cantilena motets. In works such as
Flos florum and O proles Hispanie / O sidus Hispanie one
can observe a remarkable fluidity of both style and form. The freedom
and unpredictability of these works is not only unique to Du
Fay’s oeuvre, but to the entire repertory of the 15th century.
Yet, the composition of these four works, all written between 1420 and
1440 in northern Italy, follow no predictable or linear pattern of
stylistic evolution. Flos florum in fact precedes both Rite
maiorem and Apostolo glorioso in its composition, with O
proles Hispanie following two decades later. It seems clear that
“older” compositional styles, such as the isorhythmic
motet, remained present alongside the development of a more
“modern” style, rather than one following the other.
The mysterious and unattributed TURIN CODEX (J.II.9), also originating
in the early 15th century, offers a glimpse into the remarkable
fluidity of people and culture between the European continent and
Cyprus—an island whose late-medieval culture bore the influence
of not only Greek, Italian, and French cultural groups, but also
Armenian and Turkish. The extensive repertory of the Turin
Codex—including plainchant, polyphonic mass settings, dual-texted
motets, and secular songs—certainly originated at this unique
crossroads of the East and West, at the French court under the rule of
King Janus of Cyprus. The origin of the manuscript itself, however, is
highly-contested. Recent scholarship by Karl Kügle1 links the
Turin Codex to singer-composer Jean Hanelle as a key contributor to the
copying (and perhaps composition) of the entirely
“anonymous” manuscript. Hanelle’s permanent residence
on Cyprus for much of the early 15th century is confirmed by records of
his arrival with Charlotte of Bourgon from Cambrai in 1411, his
appointment at Nicosia Cathedral in 1428, and his long-time service as
chapel master to the King of Cyprus at the Lusignan Court. Overseeing
the royal music during his tenure with the King, his own compositions
may very well have been included in the Turin Codex.2 However,
Hanelle did not remain in Cyprus exclusively during this period. On a
trip to the continent in 1434 (likely toting the entire repertory
of the Cypriot-French court), Hanelle was reunited with Du Fay at
Savoy, whom he almost certainly knew from their time at Cambrai
Cathedral before 1411. Recently recruited to Savoy from the papal
chapel, and well-connected within the musical “scene,” Du
Fay would have served as an excellent professional resource to the
newly-relocated Hanelle. It was likely during this time in Italy that
Hanelle copied the Cypriot-French repertoire of Lusignan into the
collection we now know as J.II.9.
—Beth Willer, 2018
1 Kügle, Karl. “Glorious Sounds for a Holy Warrior: New
Light on Codex Turin J.II.9.” Journal of American Musicological
Society, Vol. 65, No. 3 (Fall 2012)
2 Kügle goes so far as to suggest Hanelle as the sole composer of
the works included in J.II.9, or one of only two (perhaps also Gilet
Velut). If in fact this repertory can be attributed entirely to
Hanelle, Fügle hypothesizes, “the codex offers us a
quasi-single-author collection that quantitatively approaches or
exceeds the oeuvre of such famous figures in fourteenth- and early
fifteenth-century music history as Guillaume de Machaut and Guillaume
Du Fay.”
LORELEI ENSEMBLE
Beth Willer, Artistic Director
Heralded for its “warm, lithe, and beautifully blended”
sound (New York Times) “impeccable musicality” (Boston
Globe) and unfailing display of the “elegance, power, grace and
beauty of the human voice” (Boston Music Intelligencer),
Boston’s Lorelei Ensemble is recognized nationally for its bold
and inventive programs that champion the extraordinary flexibility and
virtuosic capability of the human voice. Lorelei is an all-professional
vocal ensemble, comprising nine women whose expertise ranges from early
to contemporary repertoire, and whose independent careers as soloists
and ensemble singers across the globe lend to the rich and diverse
vocal palette that defines the ensemble’s thrilling delivery of
“exact, smooth, and stylish” programming (Boston Globe).
Under the direction of founder and artistic director Beth Willer,
Lorelei has established a remarkable and inspiring artistic vision,
curating culturally-relevant and artistically audacious programs that
stretch and challenge the expectations of artists and audiences alike.
Lorelei has commissioned and premiered more than fifty new works since
its founding in 2007, while also exposing and reinventing early works
of the Medieval, Renaissance, and Baroque repertoires. Driven by their
mission to advance and elevate women’s vocal ensembles and enrich
the repertoire through forward-thinking and co-creative collaboration,
Lorelei partners with established and emerging composers to create new
works that point toward a “new normal” for vocal artists,
and women in music.
Based in Boston, Lorelei frequently joins forces with local artistic
organizations to the enrich the city’s vibrant music scene.
Collaborating ensembles include the Boston Symphony Orchestra,
Tanglewood Music Center, A Far Cry, Boston Modern Orchestra Project,
Odyssey Opera, Grand Harmonie, Boston Percussion Group, and Juventas
New Music. In addition to its work in and around Boston, Lorelei
maintains a national touring schedule, enjoying performances on
numerous concert series and at venues and institutions across the
country. Appearances include Carnegie Hall, the Metropolitan Art
Museum, Isabella Stewart Gardner Museum, Tanglewood Festival of
Contemporary Music, Trinity Wall, Five Boroughs Music Festival,
Rockport Chamber Music, Chamber Music Columbus, Duke Performances,
Schubert Club of St. Paul, Louisville Chamber Music Series, Monadnock
Music Festival, Kent Hall Masters Series, and guest appearances at
state and national conferences. Educational residencies have included
work with young artists at Harvard University, Bucknell University,
Yale University, Duke University, Macalester College, Pittsburg State
University, Mount Holyoke College, Hillsdale College, Keene State
College, Pennsylvania Girlchoir, Connecticut Children’s Chorus,
and Providence Children’s Chorus.
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