Gothic Voices - The Spirits of England and France, vol. 5.pdf

8/12/2019 Gothic Voices - The Spirits of England and France, vol. 5.pdf

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AN ANONYMOUS ENGLISH MASS-SETTING FROMc 1440


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MISSA VETEREM HOMINEM can justly be regarded as thesister Mass to the Missa Caput which was recordedon Volume 4 ofThe Spirits of England and France(CDH55284). Volume 5 is a further development to the reper-toire of Gothic Voices in the exploration of polyphonic EnglishMasses of the fifteenth century and also includes some of themost outstanding lyrics from the wealth of Sarum chant.

Like the Missa Caput , the Missa Veterem hominemwaspart of a flood of English music which engulfed ContinentalEurope in the early to mid-fifteenth century. Both Masses turnup in the so-called Trent Codices, a series of seven manu-scripts which, with some eighteen hundred pieces, is by far thelargest repository of music to have survived from the firstthree-quarters of the century. As testimony to the remarkablebreadth of interest in English music,Veterem hominemeventravelled as far as eastern Silesia, or Bohemia, where it wascopied into the so-called Strahov manuscript; and if thequotation from the Mass in Morleys Plaine and Easie Introduction to Practicall Musickeof 1597 is anything to go byits breadth of transmission was matched by its longevity, as adidactic curiosity if nothing else.

Sadly this late fragment is the only source for the Mass tohave survived on its native soil: the insular copies which mustonce have existed clearly fell prey to the changes of fashionwhich, as for most English music of the period, in timerendered them obsolete for performance purposes. But for

a tiny handful of manuscripts, the glorious richness whichwas clearly English music in the early fifteenth century isrepresented in England now only by pitiful fragments drawn from sixteenth-century bookbindings.

h i f h d l

movement is built on the same borrowed melody. Bwritten for four voices with a low contratenor, a texthe time but which was soon widely adopted on theand both present thecantus firmustwice in each movementin so-called double cursus format, once each in tduple metre. In fact the structure and layout ofCaput andVeterem hominembecame the blueprint for a spate of fvoice Continental Masses in the 1450s, some of whtheir models so comprehensively that it is difficuimpossible to determine whether their composers wor Continental.

Even the borrowed melodies of the two Mass features in common: both derive from antiphons anin mode 7 on G. As in many early English Masses, tare deployed in identical rhythmic successions in ement, though differences in the lengths of rests and dthat some movements are longer than others. Onlongest movements in both cases is the Kyrie, for wMasses set the long troped Kyrie text Deus creator prescribed for performance on all principal and ma feasts in the Sarum and other English rites.

Across the rigid armature imposed by thecantus firmusthe anonymous composers lay glittering musical lineone voice, now another emerging above the surfatexture and carrying forwards a succession of rhysonorities. As John Caldwell has remarked, the pl

Veterem hominemis clothed in a bold and resourceful wmelody in the three accompanying voices, closely kany sacrifice of clarity.1

Like the Missa Caput the sheer confidence displayed byh h h f bid h


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line (the second voice down in the modern score) withanimated and syncopated passages which recall motets ofthe previous century such as Degentis vita(recorded on TheMedieval Romantics, Helios CDH55293) and it seems essen-tial for such music to be presented with velocity and drive.

As we rehearsedVeterem hominemand the Missa Caput we became increasingly convinced that we wished to renderthe music as a festive clamour, fast and loud, capturing whatmight have been done by four soloists, proud of their artfulcontribution to a major liturgical feast and, during the plain-

chant passages, itching to get up and make it. As with the Missa Caput we decided against a liturgical reconstruction,but to preserve the alternation of polyphony and plainsongsurely essential to a balanced experience of the polyphonic

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accustom the listener to monody. This, it is to bwill restore to theVeterem hominempolyphony some of theopulence it would have represented to its original a

The antiphon Doleo super te, Davids lament for Jonathareminds us just how many fine plainchant lyrics ththe Sarum books, lyrics which should be viewed amore than historical curiosities (the chants on whichbetter known polyphonic works are based) and whito be performed and judged as free-standing songbeauty. Doleo super tewas much admired, and is praised

one medieval theorist for its expressive and low-lyiThe responsoryGaude Maria virgo figures in a large num-ber of medieval miracle stories, many of which werein England during the lifetime of theVeterem hominem

2 I i ll d i d f i hi h i

TheVeterem hominemmelody (from the Antiphonale Sarisburiense)


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also used as the Kyrie of the Missa Caput , represents thestrongest proof that these masterworks are of English, ratherthan Continental, origin.

A note on the editionThe performance recorded here is based upon the edition of Missa Veterem hominemby Margaret Bent, Fifteenth-Century Liturgical Music, 11, Four Anonymous Masses, Early English

Church Music, 22 (London, 1979). I am grateful todiscussing some points with me. The recording dethe edition only in these respects: all the voices athroughout; and there are occasional changes to th ficta, none of them principled save that they reflect musicians involved in the recording found most gvoice and ear.

ANDREW KIRKMAN and CHRISTOPHER P

1 John Caldwell,The Oxford History of English Music, i, The Beginnings toc1715(Oxford, 1991), p 1552 As we know from Cambridge, Sidney Sussex MS95. See Christopher Page, Marian Themes and Images in a Fifteenth-Centin Two Parts, Plainsong and Medieval Music, 5 (1996), pp 2344

All Hyperion and Helios compact discs may be purchased over the internet at

www.hyperion-records.co.ukwhere you can also listen to extracts from all recordings and browse an up-to-date catalogue

Recorded on 1317 July 1996Recording Engineer TONY FAULKNERRecording Producer MARTIN COMPTONExecutive Producers JOANNA GAMBLE, NICK FLOWERP Hyperion Records Limited, London, 1997C

Hyperion Records Limited, London, 2011(Originally issued on Hyperion CDA66919)Front illustration: Simeon, from a fifteenth-century Book of Hours


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1 Jesu, fili virginis Jesu, fili virginis, Jesus, son of a virgin,miserere nobis. have pity on us.

Jesu, of a maide thou woldest be born, Born thou were of Mary free,To save mankind that was forlorn, And thou diedest upon the rode tree,And all for oure miss; And all for oure miss.Miserere nobis. Miserere nobis.

Jesu, fili virginis Jesu, fili virginis [ forlorn: lost; miss: sin]

2 Doleo super teDoleo super te, frater mi Jonatha, I weep over you, Jonathan my brother,amabilis valde, super amorem mulierum; greatly loved, surpassing the love of woman;sicut mater unicum amat filium, as a mother loves her only son,ita te diligebam. so I loved you.Sagitta Jonathe nunquam abiit retrorsum,The arrow of Jonathan never fell back,nec declinavit clipeus eius de bello, nor did his shield retire from war,et hasta eius non est aversa. and his spear never turned in flight.

3 Gaude Maria virgoGaude Maria virgo cunctas hereses sola interemisti Rejoice, virgin Mary, you, alone, banished all heresies,que Gabrielis archangeli dictis credidisti.who believed the words of the archangel Gabriel.Dum virgo Deum et hominem genuisti While still a virgin you bore God and manet post partum virgo inviolata permansisti. and after the birth remained an inviolate virgin.Gabrielem archangelum scimus We know that the archangel Gabriel

divinitus te esse affatum; addressed you with divine prophecy;uterum tuum de Spiritu Sancto and we believe that your womb was impregnated

credimus inpregnatum; by the Holy Spirit;erubescat judeus infelix qui dicit let the wretched Jew blush who says

Christum ex Joseph semine esse natum. that Christ was born of the seed of Joseph.Dum virgo Deum et hominem genuisti While still a virgin you bore God and manet post partum virgo inviolata permansisti. and after the birth remained an inviolate virgin.

4 Deus creator omniumD i


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Christe, rex unice, O Christ, sole king,patris almi nate coeterne eleyson, O son coeternal with the kind father eleyson

qui perditum hominem salvasti, who saved mankind, being lost,de morte reddens vite eleyson giving life for death eleyson

ne pereant pascue oves tue lest your pastured sheep should perish, Jesu, pastor bone eleyson. O Jesus, good shepherd eleyson.Consolator spiritus supplices Consoler of suppliant spiritsymas te exoramus eleyson. below, we beseech thee eleyson.

Virtus nostra domine O lord, our strengthatque salus nostra in eternum eleyson, and our salvation for eternity eleyson,

summe Deus et une vite dona nobis tribueO highest and only God, grant to us the gifts of lifemisertus nostrique tu digneris eleyson. and have mercy upon us eleyson.

5 Kyrie: Deus creator omnium Missa Veterem hominem[For text see above]

6 Gloria Missa Veterem hominemGloria in excelsis Deo. Glory be to God on high,Et in terra pax hominibus bone voluntatis. and in earth peace, good will towards men.Laudamus te. Benedicimus te. We praise thee. We bless thee.Adoramus te. Glorificamus te. We worship thee. We glorify thee.Gratias agimus tibi propter magnam gloriam tuam.We give thanks to thee for thy great glory,Domine Deus, rex celestis, O lord God, heavenly king,Deus pater omnipotens. God the father almighty.Domine fili unigenite Jesu Christe. O lord the only-begotten son Jesu Christ.Domine Deus, agnus Dei, filius patris. O lord God, lamb of God, son of the father.Qui tollis peccata mundi, Thou that takest away the sins of the world,miserere nobis. have mercy upon us.Qui tollis peccata mundi, Thou that takest away the sins of the world,suscipe deprecationem nostram. receive our prayer.Qui sedes ad dexteram patris, Thou that sittest at the right hand of God the father,miserere nobis. have mercy upon us.Quoniam tu solus sanctus. For thou only art holy.Tu solus dominus. Thou only art the lord.Tu solus altissimus, Jesu Christe, Thou only, O Christ, with the Holy Ghost,

S t S i it i l i D i t i hi h i h l f G d h f h


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Tu fabricator omnium, You, the maker of all thingsDiscretor atque temporum, and divider of the seasons,Fessa labore corpora give rest to our bodiesNobis quiete recrea which are exhausted with labour Ut dum gravi in corpore so that while we wait Brevi manemus tempore a little while in lowly body Sic caro nostra dormiat our flesh may sleepUt mens in Christo vigilet. so that our mind may keep watch in Christ.Te deprecamur supplices We beseech youUt nos ab hoste liberes; to free us from the enemy Ne valeat seducere lest he be able to seduceTuo redemptos sanguine. those redeemed by your blood.Gloria tibi domine, Glory be to you, lord,Qui surrexisti a mortuis, who rose from the dead,Cum patre et Sancto Spiritu, with the father and the Holy Spirit,In sempiterna secula. Amen. world without end. Amen.

8 Credo Missa Veterem hominemCredo in unum Deum, patrem omnipotentem, I believe in one God, the father almighty, factorem celi et terre, maker of heaven and earth,visibilium omnium et invisibilium. and of all things visible and invisible.

Et in unum dominum Jesum Christum, And in one lord Jesus Christ, filium Dei unigenitum. the only-begotten son of God,Et ex patre natum ante omnia secula. begotten of his father before all worlds.Deum de Deo, lumen de lumine, God of God, light of light,Deum verum de Deo vero. very God of very God,Genitum, non factum, begotten not made,consubstantialem patri: being of one substance with the father,per quem omnia facta sunt. by whom all things were made;Et incarnatus est de Spiritu Sancto and was incarnate by the Holy Ghost ex Maria virgine: et homo factus est. of the virgin Mary, and was made man.Et resurrexit tertia die, secundum scripturas. He rose again according to the scriptures,Et ascendit in celum: and ascended into heaven,sedet ad dexteram patris. and sitteth on the right hand of the father.


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9 A solis ortusA solis ortus cardine From the rising of the sunAd usque terre limitem, to the ends of the earth,Christum canamus principem, let us hymn Christ the king,Natum Maria virgine. born of the virgin Mary.Beatus auctor seculi The blessed creator of the world Servile corpus induit took on the body of a slaveUt carne carnem liberans, so that, freeing the flesh by becoming flesh,Ne perderet quos condidit. he might not lose the ones he founded.Caste parentis viscera Heavenly grace entersCelestis intrat gratia; the womb of his virgin mother;Venter puelle baiulat the womb of the girl bearsSecreta quae non noverat. secrets which she did not understand.Foeno jacere pertulit; He was laid in straw;Presepe non abhorruit he did not scorn the stableParvoque lacte pastus est and he through whom not even the bird of the air Per quem nec ales esurit. goes hungry is nourished with a little milk.Gaudet chorus celestium The choir of heaven rejoicesEt angeli canunt Deo: and the angels sing to God:Palamque fit pastoribus the shepherd, the creator of all things,Pastor, creator omnium. is made manifest to the shepherds.Gloria tibi, Domine, Glory be to you, Lord,Qui natus es de virgine, who was born of a virgin,Cum patre et Sancto Spiritu, with the father and the Holy Spirit,In sempiterna secula. Amen. world without end. Amen.

bl Sanctus and Benedictus Missa Veterem hominemSanctus, sanctus, sanctus dominus Deus sabaoth. Holy, holy, holy, lord God of hosts,Pleni sunt celi et terra gloria tua. heaven and earth are full of thy glory.

Hosanna in excelsis. Hosanna in the highest.Benedictus qui venit in nomine domini. Blessed is he that cometh in the name of the lord.Hosanna in excelsis. Hosanna in the highest.

bm Salvator mundi


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Adesto nunc propicius Come now, graciously,Et parce supplicantibus; and spare those who beseech you;Tu dele nostra crimina, abolish our sinsTu tenebras illumina and illuminate the darknessNe mentem somnus opprimat, lest dreams oppress the mind Nec hostis nos surripiat, and the enemy carry us away,Nec ullis caro petimus nor, we pray, that our bodiesConmaculetur sordibus. be stained by him with pollution.Te reformator sensuum We beseech you, reformer of the senses,Votis precamur cordium, with the deepest wishes of our heartsUt puri castis mentibus that we may rise from our beds pureSurgamus a cubilibus. with chaste minds.Deo patri sit gloria Let there be glory to God the father Eiusque soli filio and his only sonCum Spiritu paraclito with the Holy Spirit Et nunc et in perpetuum. Amen. now and for ever. Amen.

bn Agnus Dei Missa Veterem hominemAgnus Dei, qui tollis peccata mundi: O lamb of God, that takest away the sins of the world,miserere nobis. have mercy upon us.Agnus Dei, qui tollis peccata mundi: O lamb of God, that takest away the sins of the world,

miserere nobis. have mercy upon us.Agnus Dei, qui tollis peccata mundi: O lamb of God, that takest away the sins of the world,dona nobis pacem. grant us thy peace.

bo Christe, qui lux esChriste, qui lux es et dies Christ, you who are the light and the day,Noctis tenebras detegis take away the darkness of the night Lucisque lumen crederis and grant us the light of light Lumen beatum predicans. foretelling the blessed radiance.

Precamur, sancte domine, We beseech you, blessed lord,Defende nos in hac nocte; defend us this night;Sit nobis in te requies; let us have rest in you;Quietam noctem tribue give us peace this night


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Oculis somnum capiat; Let sleep come upon our eyes;Cor ad te semper vigilet; let the heart always be wakeful to you;Dextera tua protegat may your right hand protect Famulos qui te diligunt. those who love you.Deo patri sit gloria Let there be glory to God the father Eiusque soli filio, and to his only son,Cum Spiritu paraclito with the Holy Spirit Et nunc et in perpetuum. Amen. now and for ever. Amen.

bp To many a wellTo many a well have y goTo find water to wash me fro wo.I have ysought in many a side

To fynde water to wash me fro wo; Yet could y nought walk so wydeTo find water to wash me so.To many a well

I have herde speken of a well That well is mercy, I have heard say,Thereof springeth streames fele; And shall be without end;A man that thereof had his fill, Almighty God, to thee we pray,Of his woe should come his weal. Give us grace that well to find.

To many a well To many a well [ ysought : sought; fele: many;weal : happiness]

bq Sancta Maria virgoSancta Maria virgo Blessed virgin Mary intercede pro toto mundo, intercede for the whole world,Quia genuisti regem orbis. because you bore the king of the world.

br Mater ora filiumMater ora filium Mother, beseech your sonut, post hoc exilium, that, after this exile,nobis donet gaudium he may give us joy Sine fine. without end.


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Sumens illud Ave Receiving this Ave Gabrielis ore, from the mouth of Gabriel,Funda nos in pace, bring us to peace,Mutans nomen Hevae. reversing the name Eva.Solve vincla reis, Unbind the shackles of the accused,Profer lumen caecis, bring light to the blind,Mala nostra pelle, take away our misfortunesBona cuncta posce. and bring us every good.Monstra te esse matrem: Show yourself as mother;Sumat per te precem, may he who was yours,Qui pro nobis natus, born for us,Tulit esse tuus. receive our prayer through you.Virgo singularis, Unique virgin,Inter omnes mitis, gentler than all,Nos culpis solutos, make us gentle and chaste,Mites fac et castos. free from the bonds of sin.Vitam praesta puram, Bring us a pure life,Iter para tutum, prepare the true way,Ut videntes Jesum, so that, seeing Jesus,Semper collaetemur. we may rejoice for ever.Sit laus Deo patri, Let there be praise to God the father,Summo Christo decus, honour to Christ on high,Spiritui Sancto, to the Holy Spirit,Trinus honor unus. to all three one honour.

bt Beata mater JOHN DUNSTABLEBeata mater, et innupta virgo, Blessed mother, and unwed virgin,gloriosa regina mundi, glorious queen of the world,intercede pro nobis ad dominum. intercede for us with the lord.

bu Pange linguaPange lingua gloriosi Tongue, proclaim the mystery Corporis mysterium, of the glorious body,Sanguinisque pretiosi, and of the precious blood


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Nobis datus, nobis natus He is given to us, born for usEx intacta virgine, from a pure virgin,Et in mundo conversatus, and going wide in the world Sparso verbi semine, to spread the seed of the word Sui moras incolatus he closed his time hereMiro clausit ordine. in a wondrous fashion.In supremae nocte coenae On the night of the last supper,Recumbens cum fratribus, reclining with his brethren,Observata lege plene having fulfilled the law Cibis in legalibus, entirely in the meal,Cibum turbae duodenae he gave food to the twelveSe dat suis manibus. with his own hands.Verbum caro, panem verum By the word he makes his flesh to beVerbo carnem efficit, the true flesh, the true bread,Fitque sanguis Christi merum, and the blood of Christ was made of the wine,Et si sensus deficit, and if sense fails to grasp thisAd firmandum cor sincerum only faith can sufficeSola fides sufficit. to consolidate the true heart.Tantum ergo sacramentum There, bending, we venerateVeneremur cernui: this great sacrament:Et antiquum documentum and the old law Novo cedat ritui: gives way to the new:Praestet fides supplementum faith makes good Sensuum defectui. the defect of sense.Genitori genitoque Let there be praise and rejoicing Laus et jubilatio, to the father and the son,Salus, honor, virtus quoque let there be all hail, honour, might Sit et benedictio: and blessing also:

Procedenti ab utroque let there be equal praiseCompar sit laudatio. Amen. to him who proceeds from the two. Amen.


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LA MISSA VETEREM HOMINEM peut tre, juste titre,considre comme la messe sur de la Missa Caput ,enregistre sur le prcdent volume de cette mme srie.Le prsent volume, le cinquime, marque une progression durpertoire des Gothic Voices dans lexploration des messespolyphoniques anglaises du XVe sicle, et inclut galementquelques-uns des plus remarquables chants du riche rite deSarum.

Comme la Missa Caput , la Missa Veterem hominem fitpartie dun des flots de musique anglaise qui engloutirentlEurope continentale pendant la premire moiti du XVesicle.Ces deux messes figurent dans les Codex de Trente , unesrie de sept manuscrits, dont les quelque mille huit centspices constituent de loin le plus grand recueil de musique avoir survcu depuis les trois premiers quarts du XVe sicle.Preuve du remarquable intrt pour la musique anglaise, laVeterem hominemvoyagea jusquen Silsie orientale, ouBohme, o elle fut copie dans le manuscrit Strahov; et

le fait quelle soit en partie cite dans la Plaine and Easie Introduction to Practicall Musickede Morley (1597) attesteque sa longvit gala lampleur de sa transmission, au moinscomme curiosit didactique.

Malheureusement, seul ce dernier fragment permit lamesse de survivre sur son sol natal: les copies insulairesqui durent exister jadis furent, de toute vidence, la proiedes changements de mode et finirent par devenir obsoltes, linstar de lessentiel de la musique anglaise de lpoque.Except une minuscule poigne de manuscrits, la glorieuserichesse qutait manifestement la musique anglaise au dbutd XVe i l l A l d

1440, toutes deux firent partie de la premire matumesse surcantus firmus, procd conu en Angleterre, mimit avec enthousiasme en Europe continentale, d

chaque mouvement est construit sur la mme mlprunte. Toutes deux sont, aussi, crites pour quatreun contratenor grave (une texture rare lpoque, mlargement adopte en Europe continentale), et prcantus firmusdeux fois par mouvement, dans un form double cursusune fois dans une mesure terna fois dans une mesure binaire. En fait, la structure etment de ces deux messes devinrent le prototype desrie de messes quatre voix dans lEurope continannes 1450; certaines sont de si parfaites imitationdifficile, voire impossible, de dterminer si leurs cotaient dAngleterre ou dEurope continentale.

Mme les mlodies empruntes de laVeterem hominemet de laCaput possdent des caractristiques commuchacune drivant dantiennes et tant en mode 7,

Comme dans nombre de messes anglaises ancienmlodies se dploient dans des successions rythidentiques dans chaque mouvement, bien que des ddans les dures des pauses et des duos impliquecertains mouvements sont plus longs que dautres.deux cas, lun des mouvements les plus longs est le lequel les messes mettent en musique le long texte trcreator omnium , conformment aux prescriptionstation pour les ftes doubles de premire classe et doubles majeures, dans les rites de Sarum et les auanglais.

S l i id i lf l

LME DE LANGLETERRE ET DE LA FRANCE 5


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trois voix daccompagnement, tricot de faon serr, sansaucun sacrifice de clart .

A linstar de la Missa Caput , la Missa Veterem hominem

bnficia dune criture lassurance aigu, qui exclut le typedinterprtation tranquille actuellement appliqu la musiqueanglaise du XVe sicle. Un tel style semble par contre tout fait convenir certaines des antiennes mariales plus brveset contemplativesainsi Sancta Maria virgoou Mater ora filium, et est dsormais presque toujours utilis pour lamusique de Dunstable; mais, le matre de laVeterem hominemcre, en maints endroits, une ligne de contratenor (la deuximevoix des partitions modernes), avec des passages animset syncops, qui rappellent les motets du sicle prcdent,tels Degentis vita(enregistr sur le disque The MedievalR i H li CDH55293) il bl i l

une fte liturgique majeure, et dmangs, penpassages de plain-chant, par lenvie de se lever et dComme pour la Missa Caput , nous nous sommes prononc

contre une reconstruction liturgique mais avons intsouci de contraste, certaines des plus magnifiques econtemplatives hymnes du Sarum Use, mme delalternance de polyphonie et de plain-chantasscruciale pour lquilibre des mouvements polyphontreize premires pistes du prsent enregistrement consquent, conues comme un tout.

Le programme dbute avec Jesu, fili virginis, une mise enmusique, la tension caractristique, extraite du rdes carols anglais du XVe sicle, puis se poursuit avec tropices monophoniques, pour accoutumer lauditeur di Ai i d l l h i d

La mlodieVeterem hominem(extrait de l Antiphonale Sarisburiense)


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polyphoniques ultrieures, mieux connues), des chants quimritent dtre interprts et jugs comme des uvresindpendantes, dune grande splendeur. Doleo super te futnormment admir, et un thoricien mdival loue sa mlodie

grave, expressive.Le rponsGaude Maria virgo figure dans un grand nombrede miracles mdivaux, dont beaucoup circulaient enAngleterre, du vivant du matre de laVeterem hominem. Cettepice fut particulirement apprcie pour sa tessiture leve,et un miracle relate quun jeune homme la belle voixlinterprtait souvent, conformment aux canons dunecertaine glise cathdrale dItalie, comme un chant solistevirtuose. Nous le faisons suivre dune mise en musique, selonle plain-chant de Sarum, du trope de Kyrie Deus creator omnium, dont les paroles sont reprises dans le Kyrie de laMissaVeterem hominem. Ce long texte trop, ou prosula galement utilis comme Kyrie de la Missa

Caput , apporte la preuve la plus convaincante de anglaise, et non continentale, de ces chefs-duvre

Note sur ldition

La prsente interprtation repose sur ldition de MissaVeterem hominemtablie par Margaret Bent, Fifteenth-Century Liturgical Music, 11, Four Anonymous Masses, inEarly Church Music, no22 (Londres, 1979). Je suis reconaissant au Dr Bent davoir discut certains points Lenregistrement ne se dpartit de son dition quasuivants: toutes les voix comportent un texte debout, et certains changements occasionnels affecten fictaditoriales, qui ne font que reflter ce que les mimpliqus dans le prsent enregistrement trouvrengracieux, tant pour la voix que pour loreille.

ANDREW KIRKMAN et CHRISTOPHER PTraduction HYPERION


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MISSA VETEREM HOMINEM kann zu Recht als dieSchwester der Missa Caput bezeichnet werden, diein der vorherigen Ausgabe vonThe Spirits of England and France zu hren war. Im Zusammenhang mit derErforschung der polyphonen englischen Messen des 15. Jahr-hunderts ist Band 5 ein weiterer Beitrag zum Repertoire dergotischen Stimmen und umfat einige der auerordentlichstenTexte aus dem Schatz der Gesnge von Salisbury.

Ebenso wie die Missa Caput war auch die Missa Veterem hominem ein Teil der Flut an englischer Musik, die daskontinentale Europa in der ersten Hlfte des 15. Jahrhundertsberschwemmte. Beide Messen tauchen in den sogenanntenTrienter Kodexen auf, einer Gruppe von sieben Manuskripten,die mit etwa achtzehntausend Stcken das bei weitem grteerhalten gebliebene Musikrepertoire aus den ersten 75 Jahrendes Jahrhunderts darstellen. Da dasVeterem hominemsogarbis nach Ostschlesien und Bhmen gelangte, wo es als dassogenannte Strahov-Manuskript kopiert wurde, bezeugt das

seinerzeit erstaunlich weitreichende Interesse an englischerMusik. Wenn man dem Zitat aus der Messe in Morleys Plaine and Easie Introduction to Practicall Musicke(Klare undeinfache Einfhrung in die praktische Musik) aus dem Jahre1597 glauben darf, so entspricht ihr Verbreitungsradius ihrerLanglebigkeit, wenn auch nur als didaktische Kuriositt.

Bedauerlicherweise ist dieses letzte Fragment der einzigeAnhaltspunkt fr diese Messe, der die Zeiten in seinemUrsprungsland berdauerte: Die englischen Kopien, die einstexistiert haben mssen, fielen ganz eindeutig den Mode- undStilvernderungen zum Opfer. Wie der Groteil der damaligen

li h M ik d i ll hli h l b h l d f

Die Missa Veterem hominemhat jedoch noch wesentlichmehr mit der Caput-Messe gemeinsam als nuenglischen Ursprung: Diese beiden Werke hneln si

in ihrem Aufbau, da man sie regelrecht als Gesbezeichnen kann. Beide wurden vermutlich zwiscund 1450 geschrieben und waren Bestandteil deausgereiften Form derCantus firmus-Messe, einer Form, die inEngland entwickelt und mit Begeisterung auf demkopiert wurde, und in der alle Stze auf der gleichenMelodie aufgebaut sind. Zudem sind beide StckStimmen mit einem tiefen Contratenor geschrieben jener Zeit selten gebrauchte Struktur, die jedoch bAnklang auf dem Kontinent fand. Beide Messen pdenCantus firmuszweimal pro Satz im sogenanndoppelten Cursus, jeweils einmal im Zweier- beweise Dreiertakt. In der Tat dienten die Struktur undvonCaput undVeterem hominemin den 1450er Jahren alsModell fr eine Flut von vierstimmigen kontinenta

Einige dieser Messen sind so exakte Kopien ihrer Ves schwierig, ja fast unmglich ist, die HerkunKomponisten zu bestimmen, d. h. festzustellenenglischen oder kontinental-europischen Ursprung

Selbst die entlehnten Melodien der beiden MessGemeinsamkeiten auf: Beide stammen von Antiphstehen im 7. Modus auf G. Wie bei vielen frhen Messen werden die Melodien auch hier in jedemidentischen rhythmischen Aufeinanderfolgen dargedie Unterschiede in der Pausen- und Duolnunterschiedliche Satzdauer hinweisen. In beiden FK i i d l S f d i b id M

DER GEIST ENGLANDS UND FRANKREICHS 5


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musikalische Linien; anfangs nur mit einer Stimme, doch danntaucht eine zweite an der Strukturoberflche auf und trgt eineFolge von Rhythmen und Klngen vor. Wie John Caldwell

bemerkte, ist der Choral vonVeterem hominemin eingewagtes und phantasievolles melodisches Gewand der dreiBegleitstimmen gekleidet, das zwar sehr fein gewebt ist, jedoch nichts von seiner Transparenz einbt.

Das starke Selbstvertrauen, das der meisterhafte Kom-ponist von Missa Veterem homineman den Tag legt (unddas auch in der Missa Caput sprbar ist), untersagt jeneruhiggelassene Vortragsweise, die heutzutage hufig aufenglische Musik aus dem 15. Jahrhundert angewandt wird.Ein solcher Stil scheint fr einige krzere, beschaulichereAntiphone wie Sancta Maria virgooder Mater ora filium

d d i d h f b ll f di M ik

Mittelalters zu hren ist). Solche Musik erforderteine schnelle und schwungvolle Vortragsweise.

Whrend unserer Proben vonVeterem hominemund der

Missa Caput wurde der Wunsch in uns immer strkeMusik in einen festlichen Klamauk umzuwandeln, laut, und jene Aufgaben auf uns zu vereinen, die von vier Solisten htten getragen werden knnSolisten, die stolz auf ihren knstlerischen Beitragbedeutenden liturgischen Fest sind und whrend dpassagen darauf brennen, aufzuspringen und ebeBeitrag zu leisten. Wie bei der Missa Caput entschieden wiruns auch in diesem Falle gegen eine liturgischestruktion, doch um den Wechsel von Polyphonie uzu wahrender zweifelsohne unbedingt notwendA h i d l h S i h

Die Melodie vonVeterem hominem(aus dem Antiphonale Sarisburiense)


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des 15. Jahrhunderts, nmlich Jesu, fili virginis, fortgesetzt,gefolgt von drei monophonen Stcken, um den Zuhrer aufMonodie einzustimmen. Dies wird derVeterem hominem-Polyphonie, so wollen wir hoffen, etwas von dem Reichtum

und der Flle zurckgeben, in deren Genu ihr ursprngliches,zeitgenssisches Publikum gekommen wre.Die Antiphon Doleo super te, Davids Klagelied fr

Jonathan, erinnert uns wieder daran, wie viele hervorragendeChoraltexte die Salisbury-Bcher in sich bergenTexte, dieals viel mehr als nur historische Kuriositten (die Chorle, aufdie sich sptere und bekanntere polyphone Werke aufbauen)gewertet werden sollten, und die es zudem verdienen, alsunabhngige Lieder von groer Schnheit gewrdigt undaufgefhrt zu werden. Doleo super tewurde einst groeBewunderung zuteil, und von Theoretikern des Mittelalterswird sie aufgrund ihrer expressiven und einfachen Melodiegepriesen.

Das ResponsoriumGaude Maria virgo findet in zahlreichenmittelalterlichen Wundergeschichten Erwhnung, von denen

viele zu den Lebzeiten desVeterem hominem-Komponisten inEngland erzhlt wurden. Das Responsorium wurde besonderswegen der hohen Lage seiner Vokalstimme bewundert, undeine der Wundergeschichten erzhlt, da es oft von einem jungen Mann mit einer herrlichen Stimme zu den Kanons einer

gewissen Kathedrale in Italien als virtuoses Sololiewurde. Es schliet sich nun eine Salisbury-Chorades Kyrie-Tropus Deus creator omniuman, dessen Worteerneut im Kyrie von Missa Veterem hominemverwendet

werden. Dieser lange tropierte Text oder Prosa, ddas Kyrie von Missa Caput eingesetzt wird, stellt den durcschlagendsten Beweis dafr dar, da diese Meisenglischer, und nicht kontinental-europischer Herk

Ein Kommentar zu dieser AusgabeDie hier aufgenommene Auffhrung sttzt sich auf MissaVeterem hominem-Edition von Margaret Bent, aus Fifteenth-Century Liturgical Music, 11, Four Anonymous Masses(Liturgische Musik des 15. Jahrhunderts, 11, Vier uMessen), Frhe englische Kirchenmusik, 22(London, 1979).Ich mchte Dr. Bent meinen Dank fr die ErrterAspekte aussprechen. Die Aufnahme weicht nur inHinsicht von der Edition ab: Alle Stimmen sind dmit Text belegt, und es wurden gelegentliche Ver

der Editionen vorgenommen, von denen keine grundauer da sie ein Spiegelbild dessen sind, was nachder an dieser Aufnahme beteiligten Musiker der Sdem Ohr am meisten schmeichelt.

ANDREW KIRKMAN und CHRISTOPHER bersetzung MANUELA HBN

Wenn Ihnen die vorliegende Aufnahme gefallen hat, lassen Sie sich unseren umfassenden Katalog von Hyperion-

Ein Exemplar erhalten Sie kostenlos von: Hyperion Records Ltd., PO Box 25, London SE9 1AX, oder senden Sie un info@hyperion- records.co.uk . Wir schicken Ihnen gern gratis einen Katalog zu.

Der Hyperion Katalog kann auch unter dem folgenden Internet Code erreicht werden:www.hyperion-records.co.uk


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The Spirits of England and FranceGOTHIC VOICESCHRISTOPHER PAGE director Also available

Volume 1Music of the later Middle Ages for Court and ChurchCompact Disc CDH55281Unalloyed pleasure Once again a superb recordingthat stimulates, that charms (Gramophone) Ententecordiale at its best. Glorious music ( BBC Music Magazine)Unqualified rapture ( American Record Guide) Beautifulperformances of gorgeous, accessible music. Marvellousall the way. All should rush and buy (Classic CD)Volume 2Songs of the trouvresCompact Disc CDH55282I found myself extraordinarily moved this is a CD thatgrabs you and hangs on to the end ( Early Music Review )

Radiantly beautiful music the whole CD is one ofunalloyed delight (Classic CD) This is quite simply thebest recording ever of the trouvere literature ( American Record Guide) Outstanding ( BBC Music Magazine)Volume 3Binchois and his contemporariesCompact Disc CDH55283Deeply moving and magical (Gramophone) Another

compelling release in this seriesup to Gothic Voicesusual standard ( BBC Music Magazine)Volume 4Missa Caput and the story of the Salve regina


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CDH55285

The Spirits of England and F 5Missa Veterem hominemand other fifteenth-century English music

1 Jesu, fili virginis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .a b c [244]2 Doleo super te . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .e [136]3 Gaude Maria virgo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .b [304]4 Deus creator omnium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .d [255]

5 Kyrie Deus creator omnium Missa Veterem hominem . . . . . . . . . . . . . . . . . . . . . . . .a b c e [533]6 Gloria Missa Veterem hominem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .a b c e [450]7 Jesu salvator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .d [218]8 Credo Missa Veterem hominem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .a b c e [449]9 A solis ortus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .d [330]bl Sanctus and Benedictus Missa Veterem hominem . . . . . . . . . . . . . . . . . . . . . . . . . . . .a b c e [528]bm Salvator mundi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .d [238]bn Agnus Dei Missa Veterem hominem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .a b c e [455]bo Christe, qui lux es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .d [207]

bp To many a well . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .c d e [522]bq Sancta Maria virgo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .b c d [133]br Mater ora filium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .a c f [123]

bs Ave maris stella . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . f [228]bt JOHN DUNSTABLE (c 13901453) Beata mater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .a c f [249]bu Pange lingua . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .d [354]

NOTES EN FRANAIS + MIT DEUTSCHEM KOMMENTAR


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HE L I O

S

C DH

5 5 2 8 5

H E L I O S

C D H 5 5 2 8 5 T

HE

S P I R I T

S O F E

N GL

A N D A N D

F R A N C E

5

G OT HI C

V OI C E S .

C HR I S T

O P HE R

P A GE

T H E

S P I R I T S O F E N G L A N D

A N D F R A N C E

5

G O T H I C V O I C E S .

C H R I S T O

P H E R P A G E

The Spirits of England and France 5Missa Veterem hominemAn anonymous English Mass-setting fromc 1440and other fifteenth-century English music

1 Jesu, fili virginis[244] 2 Doleo super te[136]3 Gaude Maria virgo[304] 4 Deus creator omnium[255]5 Kyrie Deus creator omnium Missa Veterem hominem [533]6 Gloria Missa Veterem hominem [450] 7 Jesu salvator[218]8 Credo Missa Veterem hominem [449] 9 A solis ortus[330]bl Sanctus and Benedictus Missa Veterem hominem [528]bm Salvator mundi[238]bn Agnus Dei Missa Veterem hominem [455]bo Christe, qui lux es[207]

bpTo many a well

[522] bqSancta Maria virgo

[133]br Mater ora filium[123] bs Ave maris stella[228]bt JOHN DUNSTABLEBeata mater [249] bu Pange lingua[354]

GOTHIC VOICESCHRISTOPHER PAGE director

MADE IN FRANCE

CDH55285

Duration 65'23

A HYPERION RECORDING

DDD

Recorded on 1317 July 1996Recording Engineer TONY FAULKNER

Recording Producer MARTIN COMPTONExecutive Producers JOANNA GAMBLE, NICK FLOWER

P Hyperion Records Limited, London, 1996C Hyperion Records Limited, London, 2011

(Originally issued on Hyperion CDA66919)

Front illustration: Simeon, from a fifteenth-century Book of Hours

A surpassingly lovely collection of music to be heard and marveled at.The singing is incredibly moving. Buy it ( Fanfare , USA)

Gothic Voices - The Spirits of England and France, vol. 5.pdf

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Transcript of Gothic Voices - The Spirits of England and France, vol. 5.pdf