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HISTORICAL ANTHOLOGY OF MUSIC

Oriental, Medieval, and Renaissance Music

Historical AntholoeyOF

'MUSICBY'

ARCHIBALD T.DAVISON ^ndwIUI APEL

ORIENTAL , MEDIEVAL and RENAISSANCE MUSIC

REVISED EDITION

HARVARD UNIVERSITY PRESSCAMBRIDGE, MASSACHUSETTS

Copyright 1946 and 1949

By the President and Fellows of Harvard College

Twelfth Printing, 1974

ISBN 0-674-39300-7

Printed in the United States of America

PREFACE

T|HEquery is sometimes raised as to why, in view of their acknowledged value, there are not more

.uuhologics of music; and why there is not at least one which may be said to be truly representative

in scope, or one which puts before the reader a reproduction of the material free from those com-promises which seem to be an inevitable feature of such compilations. Best qualified to answer this

question are those who have attacked the problem actively and who know from experience that the flawless

anthology of music belongs to that imagmary world m which lifetimes are at least twice as long as those

we now enjoy, where knowledge is boundless, where financial caution is unknown, where human error is

non-existent, and where publication is the plaything of idealists. Proceeding under such limitations as at

present exist, the editors of a work of this kind must, to the best of their ability, attempt to realize two ob-

jectives: first, the compilation of a body of music which, by itself and without regard to any practical useful-

ness, represents a comprehensive survey of the music of any given period; and second, the selection, wherechoice is possible, of material which will prove profitable to the most varied types of musical interest. Theeditors have striven to attain these two objectives, and—again with due regard for inescapable limitations—

they hope that in the main they have succeeded. If their ambitions have been realized, this volume should

prove useful alike to the musicologist, the amateur, the practical musician, the student, and the teacher; andas it illustrates the styles, idioms, and technical procedures typical of the periods represented, it should find

ready place as a textbook in courses in music history such as are offered in colleges and conservatories.

There is here a considerable amount of music which the editors believe has not heretofore appeared in

modern notation. Much, but by no means all of this, is drawn from the medieval period; and some of it,

certainly, has not been previously transcribed. A goodly portion of this "new" material is to be found in the

music of the twelfth to the fourteenth centuries, a period of the greatest significance, especially to advanced

students of music history. In view of Dr. Apel's experience in the medieval field it was agreed that he should

assume final responsibility for the music in that section, and the above-mentioned transcriptions are entirely his

work. These illustrations, like others which will be generally unfamiliar, were not chosen for their noveltv.

They were included because they seemed most representative.

In the highly controversial matter of editorial accidentals the editors have adopted the practice, ncrw' comingmore and more into general acceptance among scholars, of employing the utmost reserve. Those who feel that

reticence in this detail has been overemphasized may, of course, deal with the question of the accidentals as

they see fit.

Foreign texts arc translated, many of them quite literally. Such virtue as might be claimed for the paraphrase

has, in general, been consciously forsworn through the conviction that in a work of this nature the exact

meaning of each foreign word is more valuable than a statement of the approximate meaning of a whole

passage. Thus, taken by themselves, some of the translations may at a first reading appear baffling; but whenreferred to the original their sense, we hope, will become clear. There is a brief commentary for each number,

with reference to the source of the selection.

Reference will be found to phonograph records of a number of the selections. In order to supply these the

editors had recourse to the usual sources of information; but being aware of the rapidly changing catalogues of

the various phonograph companies, they make no pretense to thoroughness in this department of the work.

Furthermore, they have not even heard a measurable proportion of the records cited and they therefore wish

to disclaim any responsibility for the value of this feature. If the records are found to be useful, that will

certainly justify their mention.

The editors have been in agreement from the outset as to the principles which should govern the selection

of the examples. Each piece must be a complete composition or a whole movement from a larger work, as for

instance, the Agnus Dei from a Mass or the Secunda Pars of a motet. Each selection must illustrate something

historically or technically important. And underlying the whole procedure of choice has been the conviction

that no music should be offered, regardless of its historical or technical fitness, which could not lay claim to

consideration on grounds of artistic significance. Such slight departures from these principles as have been

VI

made represent no more than compromises inevitable in a volume subject to the normal limitations of space.

The first compromise—an obvious one—and so necessary as to be a compromise in name only, concerned

the reduction of scores to practical, readable size. Vocal scores of six or eight staves, orchestral pages of ten or

twelve, may present no difficulties to the expert musician; but for the average student they would render a

volume such as this relatively useless. The prime requirement is, of course, that all the notes of any selection

shall appear; and after that, that the music shall be available for as many grades of reading ability as possible.

But reduction unquestionably raises a difficulty; for it sometimes yields a bewildering array of stems which

are necessary for keeping clear the progress of several voices written on the same staff. Only where the persistent

use of the correct stemming would have produced a quite unreadable result, notably in certain passages of

No. 157, have the editors been willing to compromise with necessity. The editors feel that, under almost any

conditions, difficulties due to stemming are not comparable with those imposed in the reading of a full score.

Furthermore, to have issued the selected material in open score would have confined a comparatively small

segment of music history to a single volume and would have swollen the whole work to a library of

encyclopedic proportions.

In the vocal pieces it has seemed the part of wisdom to avoid repeating the text whenever coincidence of the

notes with the syllables to which they belong is self-evident. And this has seemed a particularly desirable

compromise in the case of reduced scores, where to have included every word would have needlessly cluttered

up a page already not innocent of complication. In spite of conscientious effort, no uniform system for indicating

word-omission has proved practicable, but we believe that such devices as the brace to indicate the use of the

same text by two adjacent voices and successive dots to signify text-repetition will be found sufficiently clear. In

all cases the editors have employed abbreviation of the text only where, they believe, ambiguity is impossible.

A compromise which dictated the use of expert copying instead of the customary printing process is one

which may bring some objection. Printing is doubtless more satisfactory, but it is also more expensive; and in

the opinion of the editors its superiority is not sufficiently marked to offset an advantage to the purchaser which

permits the sale of the volume at a relatively low figure.

All compromises with the exception of the last-mentioned have been of an entirely practical nature; that is,

they represent an effort to avoid visual complication and thus facilitate the reading of the score. In attempting

to achieve this end, however, the editors have occasionally found themselves unable to employ an entirely

consistent method of notation. Where three voices occupy a single staff, for instance, the voices absent from any

one measure will be accounted for by separate rests; where all the voices are silent, it has been thought

that one rest would prove an adequate substitute for three.

As the work progressed the editors have become convinced that adherence to the principles upon which the

project was founded would necessitate the distribution of the material through two volumes rather than one,

as originally planned: the first volume to include Oriental, Medieval, and Renaissance music; the second, now

in preparation, to continue to approximately 1800. Even so, division of the work into two volumes, while it has

solved one major editorial problem, has in no sense destroyed the persistent dilemma of what to choose and

what to omit from an initial list of very measurable proportions. The question has never been one of finding

enough illustrative material, but rather of deciding what, regretfully, must be left out. As a practical reinforce-

ment to the Anthology the authors have in mind the writing of a history of music and the issuing of records,

both based upon the contents of this volume and the one to follow.

A grant from the William F. Milton Fund of Harvard University has aided the editors substantially in

assembling the material; and for this they are deeply grateful. Another financial contribution, no less grate-

fully received, has been made by the Carl Schurz Memorial Foundation, Philadelphia. Hearty recognition is

offered for the generous assistance of those who have contributed much of value to this volume. Among

them are several to whom we are indebted for music which is the fruit of their own research. Following is

a list of these, together with the numbers they supplied us: Dr. Armen Carapetyan, No. 113; Professor Edward

Lawton, No. 161; Professor Oliver Strunk, No. 66; Professor Alfred Einstein, No. 158; Mr. Elmer Olsson,

Nos. 67 and 71; Mr. Alfred Zighera, No. 176. Advice regarding the selection of certain numbers has been

gratefully received from Professor Alfred Einstein, Dr. Manfred F. Bukofzer, Mr. Gordon Sutherland, and

Mr. Siebolt Frieswyk.

The bulk of the translating was done by Mr. Benjamin Bart, Teaching Fellow in Romance Languages in

Harvard University. Other translations were generously supplied by the following, all of Harvard University:

Professor Yuen Ren Chao, No. 2; Professor Walter E. Clark, No. 4; Professor Harry A. Wolfson, No. 8;

Vll

Professor Werner Jaeger, No. 7; Professor William C. Greene, No. 6; Professor Taylor Starck, Nos. 20, 24, 60,

81, 87, 93; and Professor George B. Weston, Nos. 47, 49, 54. 91, 95, 96, 125, 130, 131, antl 160. For the transla-

tion of No. 22a we are indebted to Miss Caroline B. Bourland of Boston; and to Miss Isabel Pope of Cam-

bridge for translations of Nos. 22b, 22c, 97, and 98.

Too much cannot be said for the skill and devotion of Mr. Alfonso Pasqualc of New York, on whom fell

the responsibility of making all the final copies, with the exception of five which are the work of Mr. John Scabia

of Boston.

During the years which have been occupied with the preparation of this volume the editors have been

constantly aware that all their ambitions could not be fulfilled. Especially have they feared that considering the

number of hands through which the manuscript must pass in the course of its preparation the hope of bringing

out a volume in which every note and every word should be presented with undeviating accuracy is not likely

to be realized. They will not be surprised, but they will be grateful, if readers will inform them of errors.

Whatever opinion may be held of the validity of the contents from the standpoint of inclusiveness, or of

educational or artistic value, it may be said sincerely that the editors have tried conscientiously to balance the

many factors involved, and to select and reject accordingly. Endeavoring to avoid what appeared to them to be

the shortcomings of previous anthologies, they have, at the same time, added what they believe to be some

features of positive value. Nor have they accepted the necessary compromises without trying to wring from them

what virtue they could. Their ablest apologist is, of course, the music itself. For that no excuses need be made.

Cambridge, Massachusetts For the editors,

December 1945 j^ 'Y D.

PREFACE TO THE REVISED EDITION

The musical material contained in the first issue of Volume i of the Historical Anthology of Music here

remains intact with one exception: No. 76, mistakenly ascribed to Obrecht, has been withdrawn and in its

place have been substituted Nos. 76a and 76b. We are grateful to Father Alex. J. Denomy, C.S.B., for the

translation of No. 76a.

In the preface to the first volume the editors forecast that fair percentage of errors which is an almost inevi-

table feature of the initial printing of a music collection. At the same time, the editors humbly besought users

of the book to notify them of any mistakes which might be discovered. The response to that request has been

most generous, and the editors wish to express their thanks to the following who have been especially help-

ful: Margaret Dewey, Western College, Oxford, Ohio; Charles Warren Fox and his seminar at the Eastman

School of Music, Rochester, New York; Charles Goodman, Grace Church Rectory, Y'antic, Connecticut;

A. Tillman Merritt, Harvard University, Cambridge, Massachusetts; Daniel Pinkham, Boston; Robert

Tangeman, Juilliard School of Music, New York City.

This revision represents a much closer approach to accuracy than did the first edition, and the editors

sincerely hope that readers will apprise them of any further changes which should be made in subsequent

printings.

Cambridge, Massachusetts For the editors,

September 1948 A. T. D.

CONTENTS

CHAPTER I

ORIENTAL AND GREEK MUSIC

Section hem Number Page Number

Oriental Music i-6 .... 3

Chinese; Japanese; Siamese; Hindu; Arabian; Jewish

Greek Music 7-8 .... 9Greek; Byzantine

CHAPTER II

EARLY MEDIEVAL MUSIC(400-1300)

Liturgical Monophony 9-16 .... 10

Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences

Religious and Secular Monophony i7~24 .... 14

Latin Lyrics; Troubadours; Trouveres; Minnesingers; Laude; Can-

tigas; English Songs; Mastersingers

Early Polyphony 25-29 .... 21

ParalleLOrganum; Free Organum; Melismatic Organum; Benedica-

mus Domino: Plainsong, Organa, Clausulae, Motets; Organum

Thirteenth-Century Polyphony . 30-39 • • • • 30

Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle;

Trope; Conductus

Thirteenth-Century Dances 40-41 .... 42

CHAPTER III

LATE MEDIEVAL MUSIC(1300-1400)

English 42 .... 44

Sumer Is Icumen In

French 43-48,56 . . . 45,60

Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude

Cordier; Guillaume Legrant

Italun 49-55)59 • • • 52,63

Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze;

Francesco Landini; Johannes Ciconia; Dances

XSection hem Number Page Number

English 57~58 . . . . 6i

School of Worcester; Organ Estampie

German 60 .... 64

Oswald von Wolkcnstein

CHAPTER IV

EARLY FIFTEENTH CENTURY

English 61-64 . . . • 65

John Dunstable; Lionel Power; Damett

French 65-72 .... 70

Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de

Lantins

CHAPTER V

LATE FIFTEENTH CENTURY

Flemish 73-78 .... 76

Johannes Ockeghem; Jacob Obrecht

French 79 .... 83

Loyset Compere

German 80-84 .... 84

Heinrich Finck; Conrad Paumann; Glogaucr Liederbuch; Adam Ile-

borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter

English 85-86 .... 89

Song; Robert Cornysh; Cooper

CHAPTER VI

EARLY SIXTEENTH CENTURY

Vocal Compositions 87, 89-98 ... 91

Heinrich Isaac; Josquin des Pros; Pierre de la Rue; Paulus Hofhaimer;

Giacomo Fogliano; Bartolomeo Tromhoncino; Jusquin d'Ascanio;

Canto Carnascialesco; Millan; Juan Enema

Instrumental Compositions 88, 99-105 . . 91, loi

Heinrich Isaac; Joanambrosio Dalza; Francesco Spinaccino; Arnoit

Schlick; F. de la Torre; Hans Week; English dompe; French pavane;

Hans Neusiedler

Vocal Compositions 106-114 . . . 108

Antoine de Fevin; Clement Janequin; Thomas Stoltzer; LudwigSend; Johann Walter; Arnold von Bruck; John Taverner; Adrian

Willaert; Nikolaus Gombert

Instrumental Pieces AND Lute Songs 115-124 . . . 120

Adrian Willaert; Girolamo Cavazzoni; Silvestro Ganassi; John Red-

ford; Luis de Milan; Luis de Narvaez; Miguel de Fuenllana; An-

riquez de Valderravano

XI

Section Item Number Page Number


Clemens non Papa; Claude Goudimel; Claude Ic Jeune; ThomasTallis; Cristobal Kforales; Costanza Festa; lacob Arcadclt; Ciprianodo Rorc; Louis Bourgeois

Instrumental Compositions I33~i37 • • ^44

Antonio dc Cabczon; Andrea Gabrieli; Claude Gervaise


Claude le Jeune; Francisco Guerrero

CHAPTER VII

LATE SIXTEENTH CENTURY

Vocal Compositions 140-152 ... 152

Giovanni Palestrina; Orlando di Lasso [Keyboard arrangement,Philips); Jacob van Werth; Philipp de Monte; Guillaume Costclcy;

Jacobus de Kerle; Tomas Luis de Victoria; William Byrd; GiovanniMaria Nanini

Instrumental Compositions 153-154 . . . 168

Claudio Merulo; Nicolaus Ammerbach; Giovanni Picchi


Luca Marcnzio; Jacob Handl; Giovanni Gabrieli; Giovanni Gastoldi;

Thomas Morley; Felice Anerio; Carlo Gesualdo; John Danyel; JohnDowland; Hans Leo Hassler; Gregor Aichinger; Michael Praetorius;

Melchior Franck; Thomas Tomkins; Thomas Wcelkes; Orlando Gib-

bons

Instrumental Compositions 167b, 173-181 . . 189, 198

Michael Praetorius; Giovanni Gabrieli; Giovanni Macque; Florentio

Maschera; Thomas Tomkins; John Munday; John Bull; Orlando Gib-

bons; Jean Titelouze; Jan Pieterszon Sweelinck

COMMENTARY AND TRANSLATIONS

Commentary, with Notes on the Sources 213

Translations of the Literary Texts 239

Oriental, Medieval, and Renaissance Music

I. Ancient and Oriental Music

I. Chinese

a. Entrance Hymn for the Emperor

5Un»

c. looo B.C.

, J t J|

- J

'

J It i t JI . i

J > 1 JiJt'iJn J t J

I- |J Jt Ji J t J Jn J t JiJ iJ Ji Jt J J n jT J|

IVumt And Wood blocUs

b. Instrumental piece for flute and guitar

.. .J

Modern

tf^p r i m ^m e=im h^ ^ ^^p^

»jtji|j]j t J

| j] J J j i

pp-i

rl^ijtu tp J i r^'f Jlff^r k

'r'^ l -'

^pp^

f^

^#ff ^3

^

2.. Japanese

Accompanied song

^m m mta-

6^ i ppw^^^

3. Siamese

Kham Horn (Sweet Words)

BcU chimes 1

j j1 I

Orchestral piece

4 O .^^^ M JS*'i--Jt-1» 1» 1^ WW

lags•: r

^ ^ j- J n .

T Jrn^ J

^[J

-^-

P"

'u

•r ^^a'-^^ <} r ;> n=f

s L-mygg

s;Sj'

E£dWtf5-£££r

^cr;.:£r'

tftf.^^^

mmrniir^

r^n jjfflpffi.j^

w r ^

f^^^

I4 4- J

,fi4^l P „^aiT

mclto rtt-4fiiarulo

4- Hindu

Saman:two versions

1. From the ancient notation.

2. From a phonographic recording.

thr« time*

iiUuUi^jj, ^'j J J-44ijjj jU j^^--U -o—»

—

V-- ^ m

Ka- t* ha-u.ha-u aj-ya-do-han[-ina] inur-ihl-nan-<li-i va- a- ra- tim pr- tltii»-)ia[-K] vais-va-ru-ram[-a] i*-taa

^fftf iJJ^'i^Jj, 'i J JJJ ' i jjj.ja-ta-ina-gnvm[-a] ka- \n.-[in-9sam-t5 ja wta.-tt thin ja-ni-nam ta] a- Mn-nakin- trS-an ja-na- ya»t-ta, de-vaf-lv3

eM twice

i niu iui' iui j j^'^Ji^.gi. j7 'j.'iu i J - J- ^J Ui J-j. JJJ3i -0- -m- -0- -m- ^ -9^

ha-u ha-u ha-u aj-ya-ctj-kimftna] Ij-ya-cLj- Ha- u va c aj- ya- (lo-kam[-ma]c ai-ya-dfl-ha- yn.

ha- ^ r.^ ham-mi

5. Arabian

Popular song

elwardu jtnha-tez. i-^riii innadi hadiek walru^nu. jtrtdaivL

't<ia heHnmastm* <|aa-^ <l«lc waMtmsu tiibahe za-ma- Uk wamAlqdtnerV

/ - / /

'abcdiU wa «"ta ja sajjadt ilmilik li c^ablckwa U t>a-d<rt4"

/(.Two i\n^lT^4^JMr

• J- i/ j J i'i i

-i

ja tftbtfna-

Drum. \i wnbcna-

vn- tawl- ta- ja

«—9^^. ;

rua- ri. 'a-

za - wissa-

la zcr-

S^yJ t ?fi-am»

S^ ^ j^^^f^Ba^Y^F*

T^inc.

^ ^ J rjirjJ a"t*

la Z42r-

'a-

web- natu za-

• •M?t- ta-ja

^ r J { 7 ^-5^ iAy*' I y

ii-'ar - hat'amiU fa- u

i> ^ r* 7

U'aUs-tiib

dir-

hi-

« 7 • 7 -«—y-

m %_^ --^

—

S^#^ ^ •~s—^—•~t«ms^^

m ^3m^ J jj î

Jj;jLirîjn~|j^j J m^ >1j j ji^

HItl

7 • y y

mi- bin. Jul-

W.

1 J^^J*y * y « y

ja. TftPte

JAmmjLjam«^y« y'T .uu.

ml ak^yi'yJ'y

mi-tnn. iul-

lr'-,j', Aiomnu. um-

with new ttfvt-

6. Jewish

a. Accents (Ta'amim), Syrian

b. Syrian intonation of the Pentateuch

*. . •* t- -^ ^ .1- . A

AUs-ju-rii mde teliol z.i^n( jiera-el uMj-jom<ra-Uheiit,int'{e-|ui. tu-hu Utwatfion IfmtS-M-tufeehcin KMSdlU'^

haf-pa-5a)i. Ulq/tlt-tenv aj-ûdai^ e-zoV ut'-balt^nt bajJ<iamiiMrbasMf H«tug-dd.-t«m«lhaniRidS^ u«-«l 4e-i£

]iima-zu-2ot minhaAdaui a.-i«rbissa£ wc-ai-iem, \a tt-'sc-u, tl miê-tah. bete ad booer.

c'. Ledovid boruh (Psalm 144): four versions

1. S«pha»\lic COriental)

fytmii JijjtP2. Se|7ltArdic ( Ccndon.)

5. AsHkeixaxtc (Contmetti^^l)

'^. AftHUenixit (Condon)

|'^v r JJJ'j'W^îg' ffr -^\rf}W^r fr^^ p g F Fr^le-do-vidboruka-do-nojisu- rv ham- la- nuzd jo-daj laluw et»-lw-o- ssaj la-mil- jumto Hasdi um-tsu- do-»si

7- Greek

a. First Delphic HymnA

c. 138 B.C.

'

9 Jfc-MyHi' He- U- tu>- na tu-thy- tW-irun hai. {a.- chc-ia Di-os e- ri- btv- nuju-mi thy-ga-trcs cw- o- le-nol.

\ih I*. P r« P P. I r > r r I r * -P > I J J J^^ l i N Il ^^^ll»* y=^^

Mo-U-te sytt-o- mil-men hi-na PtKn-oi-bott o- (la- ei-- sirv met- ]7se- tc chw- sc- o-tto-mjin., Hos a-na lii-ko-

\^^

c. Seikilos Sons ist century AD

8 Ho-sonzes ^hsi-nou.me-denho-lo-os sy ly- you-ou..Vro& o-li-aon a-es-H io z^-an, to ta- lo6he dnro-ncsa-val-tii-ci.

8. Byzantine Chant (13th Century)

a. Ode for Christmas

ek l(o-re* tri-bon M-ten |>o-lon. tl.-th«-6>n he-mttv, hen Uaf ou- «l- «n. i- sort te fia.- tri kal

bro- toift <l0-xa- zo- men.

b. Hymn from the Octoechos

^JF p P F4^i^^c;p g F p n r iiif'^ J rrp

^ ff i'u^'^' is i

Hym-nou- men ton «o-t«-ra, t#(t ck teft pir-ttw-tiou »ar- Iw- ttiawta, lii' lu-ma»aar «- itsu-ro- iha kai te trt-

ta he- m«-ra a+t - «»- t«,, dc-tou- ntc-nos tw-muv to ma-aA a- la- o*.

11. Early Medieval Music (400-1300)

A. Liturgical Monophony

9. Ambrosian Hymnsa. Aeterne rerum conditor: three melodies

1.

ti..,» ' . ' . . •« ' • m » —*- • i » •

JS_

^^ . .*^ ' • «I :'=E

1A«-ter-ti« K-nun. am-<litor, Hoctcin (ii.-em.-c]ue <}ul re- gia, €t tem^- rum. cUd teia-po-ra-, Ut ai-- le-v«9 fi- stv- cU,-«.»n..

10

b. Acterna Christi munera: two versions

^ J l lJ J I j. II

lo. Ambrosian Chant

Verse "Eructavit" of the Gradual "Speciosus Forma"1, In Ambrosian (Milanese) chant.

2. In Gregorian (Roman) chant.

€-Tu.-cta.- vit cor ma-

'^ ' ' #; » « r^; « » " « « .y *» r» *>^

bunv bo-

II. Gregorian Chant

Psalm 146 with antiphon

flctr*

^ -M*-tntfxltAtto

-w->-ttrmiivatia 4 E- • ^:="^*ii^

Lsida-bo. l.Lau-cU <ntma m«a Dc-mi-num, UiulabelXprnmum in vi - ta mc- a : pflUtm Pomtn« itw« du«m-dt-t4. iu-i-ro.

2. JwU ccnfwUr« in p-in-ci - jH-bu»: in {ilii» hwivnum tn qui- bus non iSf sa- luf,

9. Jeminu* eu»todit«il-w«-n««, p»|rill4met/ vtduam Sus-ci-pt ct" : ctviufcas to - rum iU-yer- (Lrt".

B SUrta pi — iri ct fi-li-o : at tpi ri- tu- i an- do,Sicut cr*t" mprinct|n« «* nutuct Mm- ptr: *< in tltcuU »Ae cu- Uj-ruttv. A- in«tv.

An^ipKon..

gtF^^ •

1Lau-<U-bo De-um ma- tun m w>tA KM- A •

II

11. Gregorian Chant

Gmduul: Haec dies

[SoleUli][Chorus]

fV;G>n£\-t'«-inirvi Po- mi- no,

[C'horvis]

»<\'lufl- nvam tn tae-

13. Gregorian Chant

Alleluia: Angelas Domini

[SoloUu] ^_^ [ChoruiJ^ ^

[SoloUtt]

^l- U- lu.-U. Al-U- Vu- ta. 7. An-a«- Im6 Do- mt-nt (kt-ccri-

[Ckcrus]

„_ I ^dlt- <1« cae- lo: ctac-ce- <l«ns re-vel- vit k- ^i- d<nv,ct ge-d*- bat su-p«r c-mtv.

14. Gregorian Chant

Responsorium: Libera me

j: iCHorne)

li -be - ra me.Po- mi- nc, ile mor-tc a«-Jcr- na^ vn Ji- e il-la tre- nea - ia: >3uan-i«cac- It mo-

;i!<.1 -

'• * * • '»>^. ^'* -rTj . ^

.' , n «> ~% .^^*..

T^ Dv-es il-ta, dt-e» i- rac, ca-Ui-ml-ta-ti* ct- miea-ri- ae, dt-esmaana ct a- -maraval- d«. Oiunw-

t5oU>) _^ (Chorus, repeat* ;(^-t)I f. . J , I ,»^-^

, »'* ^ » "*"

l ' ^-^-0II -v •^ ^

yRc-^u,v. em a«'ter-nant do-na e- i« Do- mi-na: et- \iue p<r.pc-tn- a lu- ce-Ai" «- ia. Ci- be- ra m«

1,- qnem-.

1.- ai>«»-

12

15- Gregorian Chant

a. Kyrie IV: Cunctipotens

le-i-aon(l) Ky-ri- e

b. Kyrie-Trope: Omnipotens

l«- i-eon.

Tuotilo (d. c. 915)

•

1. Om-ni-po-t«ns gc-ni- tor, Dc-us am-ni-un\ crc-a-tor;e- ley- son. 1. CKri- stc> i?e- i Jor- ma, \nr-tu3a Fons ct 0- ri- 40 bo-ni,pi-e lux-auc per- en nis: c- Uy- son. iChri- stc, p»-tris &plcn-dor,or- bis3. Sil- vi - fi - cat pi-s-tas tu-a nos.ba-iie rec-tor:c- « ley- son. 3 Nc tu- a. dam- ne- tnur 3e-6u

pa-tri3-qutf so-pKi-a.: 4-la-psi re- pa-ra- tor: e

ley-son. 'Am-bo-rum sa-crum epi-ra-men ne-xus amor-que: e

-

ley-son. x^Pro-ca-iensfo-mas vi-tae,fon5pu-ri-fi-cans nos:e-fac^tu- ra i.*-«ui->«: e- ^ ley-son. J J K j

ley- son.ley- son.

5. Pur-ga-tor cul-pae,ve- nl-ae Lar-ji-tor op- ti-mc,of - fen-eas de- le, sanc-to nos mu-nc-re re-plc; e- Wy- son.

16. Sequences

a. Alleluia: Dominus in Sina, with Sequence: Christus hunc diem Notker Balbulus (d. 912)

ftlCWristusHuntdi-em jo-cimdumcun-ctiB con-cc-dat es-se Chri-sti-a-nis a-ma-to-ri - bus su-is. 2..0iri-ste 3«-6U, Ji-li De-i,3. Of - fi- ci-is tcAn-^c-li

8 me-di-a-tor natu-rae no-strae ac di-vi- nac,3cr-ra6, De-us. vi - si - ta- sti ae-ter-nus,ae-th<-ra no-vusho-mo trans-vo-lane.

at - i^ue nu-bes sti- pant ad pa-trem re-ver-eu-rum. Sed ()ue mi-rum, cum lac-tan-ti ad-huc stcl-la ti- H 6cr-wi-ret etAn-g«- Li f

'.I • . ^ g

V.Tu ho-di-c tcr - rc-Btri-bu» rem no-wamet dul-ccmd«-di-»tL, do-mi-ne, spe-ran-di coe-le-sti -a. t>. Qiun-ta gau-di-a tu-09 rc-

5 Te ho-mi-nem non £t£-<rum. levan-dc su-pn* St.- de-rc-as ma-tas reaum,ic-mine. 7. Quis de-di-sti cer-ne-re,teTT - a:

8 pUnt a-po-6to- los, 8. duamhi-la-res in coe-listi-bl se-cur-runt no-»l or-di-nos 10. Quern,Chn£te,bo-ne pastor, dignarc custodire.

coc- Los per-qe- re . 9. In hu-me-ris portanti di-u di»-p4r-»um a lu-pts jre-ijcm u-num

b. Victimae paschali laudes Wipo (r. icxDo-i05o)

I I_ ^ ...

Vi-c^i-mac pa-sdva-U lau-des im-mo-lcntChri-sti-a-ni. . A- gnusre de-mit- j- ws: Ckri-stui in-no-ccnd Hi-tri re-con-ci-U- a-vittlors ?t- vv-ta dw-el-U? con-fli->oe-rc mi- rando duxvi-tae morhi- us

. 1 . I . » « » .M -''^ 1 B •-in

pec-ca- t»- res. Dicno-bi» rtla-rt-a, quid vi-dt-stv tn vi- a.? 5«-pul- crum Chn-sti vi-itn-tis, et alo-ri-am^ I'i-di resurgcnKs.re- flnat vi- VU6. Ati-qe-U- cos te- 9tes,su- da-ri- um, cf \je- stes. 5w-rc- "fit Chri-stussfcs me- a : ore-ce-det su.-os uv6alt-te-am

-• • M—* • '

I • ^^Sct-inu»CKn-»tum eur-re-iri-aae am<7r-ta-i6\'e-re: tu no-bis, vi-cfcrKe>f, mv-6«- iv- r«. A- men. Al- Ic-lu- ia.

13

c. Jubilemus Salvatori Adam de St. Victor (nth century)

Ou.-Vv. W'tnufr SAt-va.-to-ri qutfm ce-U- sttfa Uu^flnt^ cHo- ft con-cor-d'i l«-ti-ci-A. Ver-Wun car-nv «>- tt- ni-+umj 6tc-t*t c- *'a.'t-

Pav dc Ctf- lo t\un-cl'A-iur, tar-ra «- U? fc-dc^- ri- tw-r, d.n.-^fl. lis tfc-clc-9i-a. Vir-oO pa- rit'fJ'c-i tcm-plum, ncc w- tf»Tt-plar

d. Sol oritur

j Us

1 8. Troubadours

a. Pax in nomine (Vers) Marcabru (d. c. i 150)

5 1. liv

5. ProWl-

tn tio-mi-na Do-mi-tu.! Fctz HUf- ca- bms I09 motx el so. Aa- jatxcju* itt: Cum no5 A £ait, per sa tlous- sor, Lo

tft di2 U -Qtut-oc Ca-i' Del yri-meinn. ho-tm? £«l- Vu7, A taneais-ai. C'lts a 0i«u no j>or-ta ho- nor. V«i-

J^J^JllJ' ^^ ^^^^^»reft

m^g S«ingn«_. Tms c«- Ic- sH - aus R"i?-tct dc •nos un- la- \7a- dor Cane £dr£ ou- tra- mar n.on rort taue Cn d£ lai clc-vesrem <jit ill cr a- mtcs co- fans Cab la vcr-tuV del la- va- dor Nos sc- ra JKe-sus co- mu,- rv&us, € tornem. los aar-

4r f rTr-}'c_r,rLCIf>^Jl: rrrr^'/^ !i

e 3o- sa- plias,

sso» a- trs6€ d'a.- quast ic sat- vos co- nort".

Quen. a- our ov- zon et- en. sort".

b. Be m'an perdut (Canzo) Bernart de Ventadom (d. 1195)

... i - ' ^!i»»«- - riin-i' i mri!ii.nnt rm i rrp i ' « m-i iigii

8 Se m'an. per-dut lay en- ve& Vcn- ta- dom Ttuk tn^v a- mic po6 ma dona no ma- ma.Non ay ra- zon que icu. ia mays Lai torn Tant es vas mi bra-va e nos re- cla- -ma.

.I

J J .^\j s J \JTTi J

I

rrp J

I

<» d \0 -IJ JiJ^JQiJi-QlNJ JI-SJ JTjjiJiJJ

tot iorn me fit sem- blan. i- rat e mom Caren. s'a-mormi de- Iwtj cm so- jorn. £ dc res als nos

• « « • « 1^.

^^^^ Ji ^ Jicu- ra nis cla- ma.

c. Reis glorios (Canzo): three rhythmic interpretations

1. (Angles)

Guiraur de Bornelh (d. c. izio)

^ii ijJ

iJ f3^Jijnr ir.iHirm^ i J;i i ,j I ijJ i j,i^ 3=^*fi3

2. (Ceroid)Qu'en

S_ (Besseler)

ij i jJ

iJ jJ

i

rJJ^ uA^ i JJ ii:ii

\itrti-r^i^ m*—&

Sl.Keis ^lort-os, vc - rai lums e clar- tatz 3.AI

Z Deue pc-de-rofi, ten- her, gl a vos platz^

<u 4vm- panK St- as ii- xelsa- iu- da,

15

• Queu non U vi pos Id nctti. fc

d. Kalenda maya (Estampie)

I i ; J J

^-^41^^^ÎJ J J L

îr i r H' P#

Raimbault dc \'aqueiras (d. izoy)

ir-3 J, j^ -L

<k aU- ' ya 5.1»<

|0 I

*

1. Ka- Un- <la maya Nt fu«Uts<i« fa- ya Ni chanzdau-zalK >Ji flors df QlaT^ ya 5.J)cl1. Son es c|uc'mpla- y'a,Pros ilom.- tva fliw.- ya, Tiv ou'un y- snelk M«s- sa- taicf a- ya +. Pla

vo- stre bclKCbrszcr no- vclh flu'a-

\nors maya 5. € ja- ya €'m. tru- ya Na vos dom-na vc- ra- ya.

tra- ya , it». £ cha- ya Pc i^la- ya 'Lqe-los ans quc'm nu- stra- ya.

19. Trouveres

a. J.i nuns hons pris (Ballade) Richard Cocur-de-Lion (1 i5~~i 199)

g l.Danun hong tirts ne <U- ra sa rai- son A-droi-te- mcnt, sc d<J- iart-te-mant njn. S.Hon- te t a-vron.t,6e per ma re -ati-2.TTUi*|ar ct- tort pM«Hl fai-t^j chan-con, Wlout at a- mi*^ maie p- vre sunt U don.

"^

g con. 5u.i ca dcua y- vers prts.

h. Quant voi (Ballade) Perrin d Agincourt

F^l-Qiwrnt voi en. Ua fin. d'cs- tey Ca fuvL - Ic cha.- oir xa ^ 7 , . , ... .

2.Etr la grant jo- li - v«- tc' D'oi- seaux re- me- noir ^•*-"'"S ^>- ^^ chan-ter vo- lovr brev- g

<,u«Jc ne E«6C- Lsi-^ a. Carce-le

#-.£

a- ct4.L i«. ttvou-trov- c Li- ge- msttt-, M'cn a Jatf com.- man-d£-m2nt,&

chan-te- rat: Et <ûartV nxi-ia.- me plai.- ra Jou: a- vrai.

c. Douce dame (Ballade)

»^'^'^ ^' 7^ **"' *^" "»'-»«' "Rw-woL qu* tr^ faut?" VNevous <ax cltaut- tl?" "Fi,Tiuu- vaisou- kl."a.mon cucr v«m* doins saju re- tral-rc: "Sen ca h>l <U- fcut."

•juen- 61. est- qu«fe- mi?" °Ja m'a- mourtna te Uj. ral."

l6

d. En mn dame (Rondeau)

I. .

l. €n. ma (Lung at intgtnoncuCT ICf wonpgn-ttr. ^N'enpftr-K-nat a rwiiuer^^^n itia iame at itii^ mon cu«r. ST Si mont- *w<-pri« &t vair

. * , I. .

d'otil fa vv-ant- »t'cUr:7. €nnia Jwgat mi« tnaneuerftft tnottpgn-acr. J l.^-.T. £k tna dame ai. mtg won, aier Z.9. Ct ingn ytn- '

5. Men. par- ti- ivt a nul fucr t>. Vt - ant cFclpar5. Si mont' sor- pria »t vair cell

e. Vos n 'aler (Rondeau) Guillaume d'.\iniciis

1t-T- Vg» "'a- "T "?t- g «^ comjc faz. 2.8. Ng vo9, tvzvoa n't sa-vgi a- Wn Mg l>os , ne vos -n t ga- vgz a-

5. Bant~ m't fait- e- te sou- pi5. Biau oe ves- ti- at mtcuz 3« pa-ra ' '

- kr.rcr.

f. Cest la fin (Virelai)

I- A

1-5. Ccfrt ta. fm , Vgv qtAtf nua ^*-- c,jk- nte- rju^ . 4. ^ftt- U iue «n. mift lea frcs,

g. E, dame jolie (Virelai^

nion cutr sans £w-c«ir lllet en \'e8- trc bat- It-t S.e, is- maJO- It- ..~:i -——i^y^r; ,

,.— — — • .- ——-r

4. 5i tor- m«ntma-ori- e Lt cuntU mall aa-m«tr Kc par sa si- qno- rt

Kg ne sat vo pgtr.

Rlc CO- vicnfr chan- tgir

:

1. So- vant me voiv con- pVai-qnani' €1: an mon cu«r do- lo- sant Du- nc ma- lai- it-

5.Dont- toui U mous an a- mant Doit a- voir U cucr jo- tanV Cui. tcUi. malt mait-tri.

h.Pour mon cuer (Rotrouenge)

J L TWr mott cn«r re- W- e- cter XWd tt- n« chan- ^on fe- rg, % Cer- tc6 ja dtfltT i- •m«r tt«,

° iChtn-ter vou» vwctl eanz. ten.- cl«r O'tt - ne mult d«- bon-nat- re, 5 S« U. ams de-voit a- voir brut-3. (W i'ai- m« ie cugr en- tier Or dont dec autl t. -pat- re.

^ ee- rat la* Car clc a trv»-toitt won etter yrie an. sex Ux.6ter Igs brae St a- vrai. jc d« sa £a- me mgc dg 'Vta..

i. Espris d 'ire (Lai) Guillaume le Vinier

>!.£«- pri» (Tire gt da- mour.Plaina ma hau-<e fc>- Iffur, Dont jai- joig et pa- oitr TW de mil &tg cascua jour.1eu6 est ma vi- e.

ZJoie ai de ma tris-tour 6t dugl <ie ma bau.- daur. Bi«n pgrt" de mon mtl- lour Quantpouriotget pcurdou.courDg moitnia ft- e

17

tr^

JIlj. ijJ J 1 ^ J J J ^ ^ ^^S ^1 TIt» dfiu-ce a- mi- iz, Ulais hiensasi' ven-iî- c Pc mot a cest tour, 1. Dor-oucl guir-pir Vos

ifluaiit »a compiiani- c, ITlc vec ct, dc- W - C , TlWt nw sanS «- ("our; 2. Ki co- \'c-nir \-i

iVen cas-cun «sr U- a, tt vers moi i- ri- a fbur croi - »tra m i- rour 5. MaC-c's a - tr Ivl

'tinaw-ki sV-mi-U- <!, 6n. 3a St- ano-ri- c tlUmlt-a- crois*^ s'o- nroir.

» prot, fail- Ur Fait pris fft vail-lan-cc 1 Car s'or-gttcr par aa l)cu-bati-ce Veut vos-trc biau-tu tra- ir

Utt. nut-sir Puet plus qu'il tv'a- van- cc, i. A pc- tit" dc <ks- pc- i^tt- c<? ttlcs-tuct tar-ottr al wu>-rir;

a- mfin- rtr Pui»t VD- tVe vail- latt-ce. 3. fit" si quic jc fairizcn-£sn- cc QuariJ-cc vos os î-ao- vrir,

'.DontpUiS £(2- rics ma ijrc- ttin-ce S'al U)iia "W vo- lufs hair.

»1. Se- lone ma d«- vt- sc, tn«s-tu«ta- vtf- nir IVov

,rj,n I iHriJi

1.A nu. haute im- prt- sc, U mo-ranV tan-Qnir.

3. A mors, Ui fain- tt - sc lU'a fait- en- lai- dir.

_—I—:

^' - -—

'

^ -—'— '

Tt"•ov kc £i«r- te brv- se, Hu en tle-ve- rCvr Tx-tie ct £ran-

8 cht- »e, 5a-vna en. mot mi- se Vie «n liu de mort; Sortant Otf

[^[^r^^J ll

Sliu de mort; Sortant dtf con-£jrt Fin mon des-eoi-t".

2.O. Minnesingers

a. Swa eyn vriund Spervogel (nth century)

r r r r'f^+^f r rcrfr' nr r ir^^rrir r-' ^-^ r r rSura cyn vruuul cU«i arul«m. vrittivde bt-ae-stat Tlltt' aantz^tv fruMxri gar an alle missetat, Ca t'st" d^s vritind^s

•^^ r r r T^r r g^P^ r r i f r r'^

;^^ ^^§^wife flut". Bern, cr 9t« wtlltcKUcW tut*, Daz. &i« qelv-chc emandet* kclert,D«m. merct" stek Aax ku.nne.

^P !r r Cr? r;!?^^Swa vrttinda eynander viaaa. ttvnk, Dai ist t-xm. tnt-chel ivunne.

b. Nu al 'erst (Bar) Walther von der Vogelvveide (d. 1130)

yfp.-#^^fff=tL^_^^^^1- Km. al-Srst Icbe ich. mtr wer-dc Stt min stin.- die ot*.- ge stht" 5. tnirftt aa- scltchen ded tch je bat:1. Hie daz land. iind. aucK dw« cr- dtf Pen man t»lL der c - ren- aiHt".

-â^ —

1

^ M ^ ^ ^

—

IcK. bin. kom-mtfn an dws stat Da got num-nisch- IL- ch«n tiah

c. Der May Neithart von Reuenthal (d. c. 1140)

Der maj» hat me-ni^ her-cie Koch «r- stai- jett Spndt eiti matd,er Katt ea wohl cr-cxat-get Was sein 9u-6ser icun-nc that,

r r i

T r r nfrr^ ^^^<^ner klai-d«t-»»'ar-cicn dentin wei-e»epl&t. Al-le« dae der tvint-ter KeH be-ciwun-oen Das wil der may -nu juit- acjt

d. Winder wie ist (Bar)

mNeithart von Rcucnthal

wrrjirr^mr^^-.iWiti-dcr wic Ui mt iein Vraj^ Wor- Aui ^ar urv- &l-a4-hij> Scyi der mxf .> sci- min irhifft Auff iCr Katt iu- .to- cHcrv.iVur d^n wil-dinau^ dcr plan. SicKt- man. vol -kumen-U-duzn ttaji £.i«h-ti! planvb- Icit ' - ' ~- ' -'- -- - '

—

l^^f r • rI

r fcfcstia^Icirv Wtfl -QC 'ta-n. Der Han ich )jc- pro- chert.

3.Gar bc-sim-dcr durch cinunmd«r sol-cHc^ Uun-dcr tcK vcr rwHnv. Mart undfriw-ca ir sult&chawcn in den aw -en o-nc&cham,

i:fe£J3.:gg T-tf-l^Wie dcs IwK-tcn nvay-iai scHar Stat be- cUit uv pir-pu.r far. Dun-gcnmault- das nch-metwar, bUi.- bet tm.-ver-spro-ch<ai.

2.1. Laude (13th Century)

a. Gloria in cielo

&lc- ri-a in cie-Uj c pa - cc in <vr-fa Nat' c'l no-stro sal- Vi- Jw-rc. Nat c Cvi - stij jb-ri - o - so

B.C.

Cal-to Dvo W.4- ra-vi-ftUo- so Fa-cbji om. oc- 6v-<le- tv - so Lo be-ni-ono ere- a- io-«'fl"

h. A tutta gente (Ballata)

1.5. A iitt-ta gen-' te fa- cio pre- ^ho g di - co CKc tau-dt mc-co TTlar- g a- ri - ta ait^ I'W- tg-

'f. Art-ci yren-de- tie U fe- <lc cW-sK-a- na Clw sea- ci-a va-na et £a a Di^ scr- v^n- te.

« i. ver-gv- n«, cKe'a pic-co-la 4- ta- de. A Dt- o vi ie-sie c £a-ca- vi sua. spo-sa

3. tt nen. vo - W - stc per ru>- bi - U - ta - da Che ioii e-n vo- i cs- scr del mon-do ro-sa.

c. Santo Lorenzo (Ballata, modified)

Fine.

l.y. San- TO Lo- rgtt- z^ mar-Vr d'a- ma -re., A Crt-sto io- stl (gran- dc scr-vn- do-

1 Con Wu- mil- ta-d«Al san- c+o pa- dnjTij-sKiS.Pcr cio lau.- dare Sem- pre dtf

^Llr-^^^^pbv-di-en-tc

fa- r« TUt-ta lit- ma-nagen-te

\. Fbr te, mar- tCr va- Wn-re at di lo-ve-Al nv-p»- t«»v- tc 9e' au-k«.- te

19

2.2. . Cantigas (13th Century)

a. A Madre (Villancico)

fj; |j n J J u n J II

%. A Kis- dra dip qua Uu-rau. Dos U- 5- ea Da--nv- gl , €g- aa do £o-ao auardou. Un me-nyn-no <i'I»-Ta- cl.

w^\TT\r-^ \

^t\r Pit1 :'ri^nt^nrrfriVirrr

ir7rirr

i

Crr>I. £n Be- 0r- ges un. I'u- dcu. ^4.- vc, que£a.-zer sa- bi.- a W-Jro,et un fil-lo sen Que cL en maUtumi- W.- a.

JE. fijr c- st« mi-agr'a- ta.1 toga, iu.- <i«-a cri-*'- a, £t o m«-nyn-tio sen. it ha.-ti«-mo ra-cc-bi- a.y

i ^ ^ ^ y - --- --' ^

#E^ ^ p . pm p ^J F^

i rcn^r ^;j i rrr i r,r i rfrif.i' ifr ir?jiaf^

-OS It- y- a Via tfs-col, e a- -ra qtvu. A scu. Ofi- dre Sa- >nu.- el.Rir auantcnd'a- jn-cndi «u. Onh-'o* crts-chi-os li - y-6t pa-<ire<jue o nal ?e xf-ra ]7«r sa. fo-ii-

a Xla <iS-col, e a- -na 9<vu. A seu. pa- dre Sa- ntii.- el.

a De'-ron U'enton mor-te oua.1 CUus dar a «eu. fill' A- bcL.

b. Mais nos faz (Villancico)

„|j r]| r]j J I J J U J

I

1.5. nUtf wt fttiT* san-eta tlla- rt-a A scu fU- to pcr-dg- ar Qua nos ptr ly- ssa fe- U- a t .'tmoifa- Ur ct cr- rar.

%. i^ o ~^. Wir-ru> «n.-Vnj-a ITlais a do ntuTbonta- Utt Tant'a boa fvllo ro - jo - a Que o toy end' el sa - car-

1. Pot* c- la nos pCf- do-oa Dens lo pe- ca- do dA-dam,_. .. . ._ . pcf- Jo-oa i>eus 10 pe3. Da man- cl -a qu« oo- etou Pot* qu« so£f-rcu, mutt af- fan..

c. Aque serven (Villancico)

^^ J^^JJ JlJJ 1^^ r i r 'is i1. 5. A- que 5f-»'an. to- do'- los cc- U-sK- a-

't-. 6ran tv - an - ca an a - la, «f a- tar- ui-6aa- re- cgr bm po- dc aa cha- gas mor- fa-Po- en- do ant' o seu- aL - tar e- eta.- da-

^ ^i- De»t' un aranmv- ra- gre fci 5an- ta Wa- ri - a.

3. De 5a- vas poi* Hu a mol-l«r qits *- u.C- a

Use5.

2.3. English Songs

a. Sainte Marie

I.

St. Godric (d. 1 170)

g Sainte tTla-ri-e virai-ne, Ttlodcr Jcsu Crtsles Ha-za- re- n«^ On- Jb sckiUl Kelp tkin Sod- rte. Onfong K-vn^

I.

g He- gi- lidi witK tWe in 6o-d<zs ri-dw. Sain-te Itlari-

c

Crt-Mes bur, ttlaidenes clcn- had. moderes Jlut)

Di- li-« mva »tn-ne, rt)r in. min moA, Vrlna me to win- na with th« se^d God.

20

b. Worldcs blis i^,th centurv

Wort-des bUs ne last no tKrow- « Hit wit and wend a- wey a- non. TKc Icn-ûr tkal Kich hit i knouve, Jhc laswhit

în-de pris thcr on. For all hit is i- mcynd wyd ka-m, tUid 6or-rew-e ant widu-uel fa- re. Ant at the las-tc pou-re

ant ba-re. Hit let mon wen hit în-net a- ôn. Al the blis-se thia he-re ant th<M<, bi-lonketh at hen-dc wop ant mon.

14. Mastersingers

Dcr Gulden Ton (Bar) Hans Sachs (1494-1576)

8 iCob2.dar

sei Sott Va- ter in dem ITwon.schon, jron,darchwir clar den wil- Icn 6cln. fein, rein.

^ ^ r r r ^ fder uns scin Wort, dcr 6na - den Hort,er - ken • nen hy , on iwei - ffel y

,

4-

fl an man-ni^ Ort, yet qne-digk-lich au&eclar lau-ter wy auss der hei- li - ên

••ifft- 3.Die vor was gar ver-dun-kelt 6 ehr von der eched-U-Schrijft.-+-

* chen AAen-schen Cehr, die uns pracht in der Zwei-ffel achwer; der her ver

S das, seit uns viel bass lisbet die strass menech- li - cher lu^ und |ijft.

hen-get uns

C. Early Polyphony (to i2_oo)

2.5. Parallel Organuma. Scholiii enchmadts (c. 850)

1. Oroanum of ttw. oAa»z

No$ outvtvimus benedicimus Dommunv ev hoc nunc er uddu« in. sacculum.

1. Oraanwnv of the f^j^ Contposite

fox e

, a =

raattdU:

3. Oroarutm. of thtff<?ufHt Compooi-te

V'cv oraanalt*

21

A\i/-SiCiJ t'lichiriiidis (f. 850)

1.

"Ot, TV.*

2.7- Melismatic Organuma. Vidcrunt Hcni.mucl

tSoto) IChoru*)

School ol Sr, Marrial (c. 1115)

8 Vi- de- runtIn. ra - i -

He- manu-nam I9- ra-

el pa-tris u- ni- ge- ni-di at ea- lu- tern po-si-

If^....-:.- .

.-. . —^^

2.8. Benedicamus Domino:

Plainsong, Organa, Clausulae, Motets

a. Plainsong

Be- ttc- di-ca-mus Do-

b. Two-voice organum

H - 49.

School of Compostela (c 112.5)

^^^c. Two-voice organum School of Notre Dame (c. 1175)

.^^MM^^^^^^^MM^^^^i^^^^^^m^ sBe-

mint.

^p .1 ,i)j .J .^j J^

i j j^4J^j;j ^j. J-,

j yj ;h. ,

j Jj;,j^j jj Jjvj^j ,hj ;,uj.

ii.j.Nj ,i.J.^.M^,^ ^-'-i/^;vi,i,ilVi',|i-

J: ,-^r^: ij^^-^ !-r^: I: r^l |J- J- |J-

!: ij: ^ V^-^-VJ- l iJ.-^J J^iJ

^ J- ,^J. ,^j.,

J - ^ ,^J. ,

n:j.,

J4^.^^.^%-,;;^j. , J J J J

,

J.

i

d. Domino (Clausula) School of Notre Dame (c. iioo)

iSfcr i Crrr i rrfJ. ir' i ff,r i rfff in.J:n

iJ.Mr-J'J ^mmmm

8 (Chorus) (Soloiota)

^ ^^^^ r'. l l fe^Be- n«- cU-catiuu 50-

I» ' » »—vr^ Sg; Hif-inrcriLL^\ I w—

p

J- I. [ P

^ ^ -0^ ^ ^ ^MI-

24

gm.-

e. Domino (Cl.iusula] School of Notre Dame (_c. 12.00)

8

r^-

If J-If Mr ^ i-

ip- ir- ^

» • > I "-

rr" i^-

'•

I

r' i^p^ ^^DO-

^n.i j. |

J. ^-ir-J- If M ir f I

fH-i-I f Hr r l

^- Mr N- ^^[Ml- NO. 50-]

^^. f ^

^y^r\ r

^, fiu.u \^h}\J}^

f\h} ^ \

jl\ }.} ^ \ jl \

}}l^\^JTj^7\^^ ,[ \ l^^^,

m zb^^^^^^^^^r ^-H- i rMl- NO

f. Domino fidelium - Domino (Motet) School of Notre Dame (r. 1115)

> da. mt-ns ft- Ja- li- um. Ont-nv- um. £v- ^-Us Aa-vo- cl- e Lau-Alt cum ora- ce- ni - o ^t^- hv-lai' in,

,jt_^ a—^ aDo- mt-no ft- iii- li- unv Oitv-nv- um. £v- d«-Us ^-vo~ cl- o Lau-îft cum piv-co-tu -- o Ju- Ih'-tet'ti

Do

^r

r irMr i

r mi^^^f4f-M^ I JJ Jjii *

I J J iJ^g<» ^r cri'^

^1'^

r' r^

9'lau-Ji- o Cu- tu» bc-n«-£t- ci-o Vi- ta M- sK- t'w- v- tar. K«- dw-me-at" ab ev- i- li- o

W P^^"'^ ÊÊ^ Jf^*i^ i

r îf 1

-^ îr \m

VU,- bit nA-tl- 'R»5t"cul-jJ» rc-ma-J^- um. Sub-it" pa-tti-a M-tm pi«- di- um-.

7"1^ *

i f'r

^^^^ffe ^rir ^

ro- ll^- ^ ^g. Dominator— Ecce— Domino (Motet) School of Notre Dame (c. i2.X5)

^ Do- ml-nA- tor Ve- ml-na Qui ia. vtr-av- ne Ms-hwna-tws inv- mo- la- tu* Es ^tto Ito- ini-n£, Mun-

^

^r rir r i

r-

» Ec-

^^^^^îj^-^-%-:.l-ca tnv- ni.--fetc- rt-urti IVo-fart al- vws vvf-oi-nifi Mi- r« Lu- cis r»- <ii- um- rri.- hu hjl-lit" k^- ml-

j Jl^l^^ ''^ -U Ui'<^ ^

25

a t rg ^ n a wP^^ ^m* tios a cri-mi-n* Ut U- tl pUu-su oc- int- tw Tt- bi ftv- tie tsf-mi-no Bc-n«- <li - ca- «»** Do- int— no.

TJlf- frti* i- stB vi- ci-um- Nunc «i- tw ft-t»»-lt ttr- ittt- ita Hym-numtv- ^'nt-niM Og- ini.- no.

^ra=^^ ^Hr1^|J^4^.,M^^ U I

J.j""^^

mv- no.

h. Clausula and derivative motet1. Clausula: Domino

School of Notre Dame(c. iioo)

rf r r lp no. r*r

2. Motet: Pucelete — Je languis — Domino (c. 12.50)

* Pu-cc-le-te beU <rt a- v«- nant- Jo-Lt-c-te, j>o-lt« «t-plet-sant; ta.sa-d«-tB <)M<tj«d«-sir tarvt- Ml &it li«s,

* \o-li6, en- voi- ilea at" a- mant: N^s^«n •maveiVsigativusstjtoUt'clian-tartt Sa-me-ral d« cucren-tw-nr-nwnt' Ma-mv-e- ttf

^ ^^P

au.- tvv -mauft. Trop e«b jo U-

li î

la bru-nc-te Jo- Li-e- tc- mcnh Bcl« a-ntv-c Quimavi« etv w baiUi* a-vcs tenu-c tan-t", Jcvoscri mtfr-ctcn sou-pv- rant;

[ôouce a- mv-

:e3 '^Cea- W ma- la- dt

^-J-J J l-J^^ • d

Qu'a-m«u« n« m.o- a.-

î-^r^ "• id

mi- noj

26

i. Tenor: "Flos Filius," with ClausuLi (I), Latin motet (II),

and French motet (III) School of Notre Dame (c. 1150)

m

g tan- t« jm- men a- Ui. par un (Li6 - tor tn. wv jat-dwv mVii cntrai pop cîMln- ftjr; T* "X plaisanty twvii cointc da

e Can-di-da vu'- ji- ni- ta» ut U - ti - unv, can.- ii-d* |«- cun-<U-U6 per Jv- li- twn., jm.- K-Ut jo- cim- <U-ta6 hu-mi- li

FLOS FILIUS

ittr^" ---^-^ ^^^—^ ^ ^^^ ^-H '

1^ K I. J ' I «iJJ j J ^ • - I " » ^ ^

8 tor cuer et ^j. si. dianbni cnîvnt ee- nuu.: A-mortai, <fuen^c-ntii C'cgtla. ftria au^ au«tma<lv- e:j'a.-mc- rai.

^7t:i~j^ i r r.

^ pJinJû^^ J J'j J'J jM J'P^^^=^:p f-^H^^^S lun- c«,- etU:a» e^-jnii Kosiis con-te- rtt, ar-ti -utn pa-tri-UTrv a- pe- rifc per Ti ft- Jê «t spe* et cari- ta«

^^^^^ ^^^ ^ ^^^ ^9^

m tf==t^j^ ^^^3Ei^^—•r*-dt2=^^ ^ *

'

J. d

^j J'r J'f Hf pr J'fv

i f Pf pJîrf^r r^^î^ :> r p^ û J'r ^ r i

2.9. OrganumHec dies In Leoninus style (c. 1 175)

±^J- J'jlj. j.jU J^J

I^ t>l J l t>^^ ^^^ ^î U. JJ 'i i"- * ''

-J- •• •

[Solo]

27

4—im^—r^J K ^r^'--^'.^^-,^ nI 1 h i'JT^—»^^J--^J j>bn==^-

^^ iau.sj :jis::\j

[GautuU]

ilJ ^ >•; 7 : h h , ^l r.

. j^J^'iv^'. ^^-'->^

U i j-J^U ^^ ^Quo

i^J- iJJjJJ i-l^j^

E ^^^^J. '^/"U- ^•

^^-^^.^ JH^ H-^ I^

bo-

« ^

r^fe^^

^^ Mj^

jÎj.

'

I

J. j^Êgag^ f* * s ». B^

I

[CKort**]

tni-se- TV- cor- di-a c- i'u».

[Sc-lo]

D. Thirteenth-Century Polyphony

30. Clausulae for "Hec Dies"

J- J. .Ji^^J^J^.JJ^J. ,1 >i^JjV

J ij J> JC'^'^3

^F=¥^

I '^^^ '=^-• • •

«

3E

OUJMX fe-

cit- Dd- mt - nuS'.

7^T7v:r:r« >;^"jM^^«x«wl-tc-

niM-r in c-

i i. 11 J ll I. J- J Jj. J-

yi .1. J.I

-.

rr rnrct U«- fe-

^^^- / r'r- in- f ifi

,'

i|' 1^ \ Jllt^îH^^^^hMî I }0 ,^^ i ^W-^^^^+^di^

J- J- Mh^-J^

i^lîliJ.i£MW: t^:iti^L.1^m - am. bo- nue, QUO- nt - Am.

-iT|f4.^^rf37ri#^n^:-.:-rJlum.

g' '

I III mite- ri-cor- di-a c- ]«».

30

31. OrganumHec dies

/7^

If=^^#-.

i

«- m m^^•1

In Perotinus style (f. iioo)

ifi- iCrr ircLi'- '?ir*-i'^'

y rp

ip- a^^p^. r r ^ip ^^m^. ^tgp

^1 H

rJ—

r r ir I. r rgmr \r *• rr ir

r

i r gfpir r ir «-SA! * ^

l

p- .•

l

-g^

r i r-r if ..irr irrir rp

| rrfr- |

,..i r- ..

r ri^^p^ ^^f r I f I-

i r r ir-i4f:f4FU4p ^^

«=»:pri i pr i

r H \r if^fffH. r i!r-i?ggj!OC£.'- r f'rfgrXijrjti^ m. 10' ^fP

P- ||

*^^t^^ir^rr ?r

ir ,.f^Nf^rr^,t rr- irgr irgr i rpr irMgr#Pi|g

31. Motets for "Hec Dies'

a. Huic main— Hec dies

M' l r cjr[;rr fe^ iS tj-m^r ncj^^ i'' r-Hsp

D«- fioufi ua yin var- dw'-ani' U- nc vu- c«U i ti\j-viii iic-scs coii-lMtt, Lots me traU vers U 3c

* I

^1 TW^y^

fina. a-mour U yrrt. E - l« mc r«6 rort-dit-: A vmI ni-bm-che-res £^ ja Qar^kv jni-flnfit ^- wi

'f^

32

b. O mitissima (Quant voi) —^ Virgo— Hec dies

]l^- Quant voi. TC- ve- nvr Dm- te la sai- son, Que U bois fimt" ra- ten-

Vir- go Ma- ri- 4, P03 - cc tw- urn. fv - ti-Ks - 61^ - nta

|tj J iJ I

Vir- JO wr- av- num,

HEC DIES

ILu- in««t lu

t^ J IJ J

num. Re- £»r- in»- triif Iw- mi—

t.-_ .ir f ir^CHec

tir

di-

Tuif ctl ot- stl- Ion, A- done pl£ur et sou-pir ffciii* 1« gran^ d«-

Ut nobis au- «i- II- u«n Dct" at" re- m«- di- Con - tra Jc -

Qua por- ta- sH Bo-J

tni,- nuttv.

^

Per hj. Ma- rt- a,

rj~n7i:3^

j_M

Pc- twr vcni-

^-^lr ti r

Quki ie U têl- U Ma- rt- Ottf

Hec

Qui

^mon euer a en. prt— son,.

J • Jj. l'^ ^ S•—•—

•

a. An- ge-

Tal-U- bi- ks as- tn.- ci- as

3

Et ho- rum. ne- qui- ci- as.

^^ ^ Ân- ae- to nurt- cv- an- +•«, Vtr cs post" ct- an. - fe.

:?t:

i^: r' -a «]

c. Deo confitcmini — Domino

^ ^ ^ 1^ I'^fî'

^ 'Iff ^'r^ A^ ^,V ''f^'^r^ r ^JiJ^^V~fe^P«- o eon-ti- t-a-' mi-'m. Uui su-a clc- wwn- ti- a tar-ncm 6u- » Au.- wt -nl Jun-x'tt- 'iri I Mia-

I J I J nj. U Mj jij MJ. IJ MJ JIJ Mi. mDo-

^J I J MJJ^- ffi^yi'fy ^'j^H

'

f-^ p

'

r p^'

f'j r^'r

''

l^

'^'

g^ r^'^

rt- a. 'Ut- A- hrs-ha sc- tkt-ni Pro- mie-sa f«r-njt" aw-vv- U-a Se con- £or- mans ho- nn

3 IP T»=Do-

^*l" =U s^sî

^- 'mi-jni, Sc- cW- tlun I10S- Ke ma- 'U- Ti-U Re- li/z- -mtt *nor- t-c pi-

^ 1°^ T"^^^

—

fnv Sic sub- tec- tum crl

J Hj. IJ. MJ JIJ > ^. . î.- >o ^^m

33

d. Trop sovent— Bruncte— In seculum

U^Al^Aj^^:^ T^^^ r^ J

Trop M- ve«vt me duevl tt" sui «n gric- fee Et" tSJui^ por ce- U Ouv jai- tant' a- me

J J l j J

- ^r-BfM,- ntfte a <|u.t. jai nwti cucr io- na Por voz ai tnaint oricf mal crv- du.- re. R>r Dcu-lpre- ^n«

IN SECULUM

[In sc

J J 1^—-1 ^ j,

lj;cu.- Umv]

-i% ' jQ 'T^[^ 'U ^ 1^

e. Instrumental motet: In seculum

PA%l_^^^^^\_i \^__t_ \^ i^MIN SECULUM

#^ ^^mjJJM li llw J } [ J J J i jy 33^

^^^^^^r^^TT^feif , H^r ir^ iff-^ ^ rr r ,,i

rr ir^

34

r; ^^ ^

\ ^ } t li'fl ^^ h \ I t|J ^ i\Mz^', . .M-tt^ ^'J .-^^

^"

tr-» r, . irf i r. ,f^ I \ i r.^ ^ ,•

J i feff^

33- Two Motetsa. AIIc, psallite— AlleJuyu

Triplum

» ALLELUYA

b. On parole— A Paris— Frese nouvele

^^^ ijj J iij^mJJMOncaro- kdabatT«et Se-VAiwarEt dcfo-vret dc han-n«r,

J^^^^Tt lJ.

MaU> cesiedwii trojp ma cUi- v\^-

^ir^-U '-l^^«t ma- tin.TTM««»'on boa ^jain ct hon. cUr Bm-

^^R«- sc Tuju- ve Muc-rc £ran- cc, mM«-r« muarc £rMi- CC ! LRu-

35

^ fe p^ ^^mm ^^• d '* *—

^

•ent} Car tl nest 6t Ivtfne vt- e Que cl«0t)« a at- &e Dc bon cW wn et dc cVia- p<ms, Et d'estnt a-

bottpoifi- 6otv,Dc twt- t89 guisascompai-onffna, Sens son- ti -

69. nou,' ve- U\ Mtiere £rance, muare, muere fean- Fre-

1^ J J lU-U ^veuc tons com.- •paianons, Lies et" jov- arts, Owniaris, truf-£an,9 ct* a-nw-rous,

^

Et d'a- voir, auant* con.

^i'-J-

o *' J^J- J- -J- • -fli"

bau-aran-t" dour,hia.xAS jov-aua da- -mc^dW- naur,

r- ig f-^

Et sv truav 0n. bvert

sc nou-- ve- Ic

!

Mt4«-rc fran- <x,m\utre,vnxtarc france! Tvc- t>e rwu-

a. nws-tkr, Powr so- La- cier Be- les da-mes a de-vts: Et" tout ce truce on. a Ri- ris.

-*^ — ^ r^P^ f^ ft ^ siO

tre- deus De menre £eur pour ho-m£S de- et- ittue.

vc- Ic! Mu«re fratv- c«, »nu»rc,m.u«re fran- «.]

34. MotetAucun— Lone tans— Annuntuntes Petrus de Cruce (d. c. 1300)

8 Aicun.ontt«mW d««t par t^6a-g:e,in<ffiaitu>t«n.d«nc«}un,- sort Anou»,(fui resbaiuliet numcoura- ge Si <ju« m'ea-tuat J^ire dtan-

'i,*^-,^

^^-"^^ fctj^nmbtlgftM-gefaag bon- re- mm,. ft je. <^ liai Jiithoiutug^, Pour U 6«rvir tout

36

a- gE, lVUji--at cu«r siuia penaffl-W-ki- Botv, Clun-te-rat, cu* <]£ IL tUng un » iota harl-ta. - qg Qti« j»i-c tv'aise de cc

fe'

r i ' r ' r rr ir=t ^^

8 ti^ a*- tncur -nw ît; de- 6v- T«n

III*-—

U en.- se- C'M'-

5FF

Cat it. pov-ee-e <)»« mon cUnutnat wCa^scu—a-gy 6t jatfc c-apg-rer flu- rt" eotv. tie txn* ({uant scur nun piutcUmcf

^ fuu.- M.-ge Anumnyrt mot tout mon.vtvant:tx-tur €n. aa, pn.- eon.. tie ja fxnu- ce tu -pen- eeral verb li toce wi- fiOtV,

r^-rV iPr r*ri

r]:irri*prrJX^-

irrrr^'J J^r ir-r-rrr/^îrr nr^^^r i r

Tuit e«t eou'tUtneni; a«3iilUr> Ke>v coiwtivlMLe- fetv- dre tw s'ov pu£t otv: fW-ce <Je cor& ne- plan-te de li- gnj^ge tie

r [ji; i r r i r rir rs ffli8 ûant j'ainv da. — me

P- Ml. 1^ym- sv- e. Qu£ grantr de-duii:

It7-

ait: du.

37

35- Motet

Je cuidoie— Se j'ui — Solem Period of Petrus de Cruce

t Ic cuidoi-e bi«nnwh« iuA ie ioi*s naiiist i'imawf, Mai» ie m« setttoUe plus CW (levant sou-prts-dduce-m^nf ^ûna aitwurncuve-

itwnV a-

N ^^^* soleIvT

S le.DcU gra-a-fiu-6<2 ic Qm a a tioti dourCtftcA son droit twtv.Elccfitsv trcs douce \?oire-t»wttt Que iccmdc hUnc^txlncmen^'

i [fi^ r r^p^« rn*, Et mot. mout" C^c- ve 5flns U-

^^[? g P F ^ p P p MP p

^P (^

gH-yp^^ * If

^[^-^Fl r p ^' I' i^rt

8 QMcDwuset' naVM.re i- A-ve-ic-ven^ a.mtMY Aiourm&r il iiiVe ct-e-A-tu-ra; Car en U nu fautrwndque-l* n« sott

^ i;PP^r 1^ p^îj i <*

menh Ce set wuin oiî- aui Le sent;

^

* amonrowsc-te oavfav-te-itwttt. Elcast'Vnuvete, sa-(k-t«, Cbvute, joncttc, Gt-ailtfte, sawwusefc, Et ^lu» one utvlauhv jo-U-c-

» l«. A la bow«t« En dotts Tis wcrnwilWtB.Plaisart-wwnt', Slmrkte en sa manwrete ^st; cf: d<j bclcon-ic-na- men/k.

8 re. MaU or sitt bien- a mon ore D'a wour* a5 -

38

* So«vdou6cl«rvl-ai-r« •monsty«(ju«Ucstd«lw-nai.i«: C« vne iai/t; en. araxv^ yiie espcrer cliavnc-m<Jrtt'.

m ^^=p-m * ^~

^ j>| r^> .^-^ E^ ^ >,^ /!>

ip^#5« SI laimst btcn.PouftDwTus! (juc jV pring Bel 0-c<>v- wrtd^cltw: S« jata-mj: tropfolcmcnt aut«aucli,jemcnwpertt5'<m.a«-

^ fefe ^£E^ «=:*

four e, damei* si tivs fo- le- ment,

mM^f-ff44^-^^' ^-r F i" ^ i' i

f'4 • d

* ct d<ct««p boiwa-mour Qu«api*csclobur, Parma. wlou.r,fcTanV'dou<;K<3i4,r nw rent:

w ^p^. je l^ent".

^ ^

36. Adam de la Halle {c. 12.30-12.87)

a. Li maus d'amer Monophonic ballade

[l.Li maus da- tn«r -me pUv»t miev a sen- Kf R'attuintfl- inant' nc fait It dons <1* joi - a,

2.Carines «s- poire* «a»4t i'ait- trui U jo- tr. Si. Wen tn« plaint <iuan-^u«» a- mours mm- voi- a.

*3.Car«uantplus suS-rc et -plus mc piaist auc soi-<j lo- Us at" chan- tans. ^s- si

• lii's 4U1, ,rt- jot- ans CWsfijHus a- vant" cs- ioi-

b. Tant con je vivraiRondeau

3. Ja n en5^ Aivis VOu£

par- rt-SCI-- vt -

^ i ii 111^rat

It^^ ir\ r i rr ir *

<y«4.s .

toui.

39

c. Diex soit

J {

a- nJtt' a crv- VtS;

^j ii

Chest as

-$m

' • • r

a- tnoM.-

frans hoir-

rEEreus

itt^

Et- asNous a

i

mcourfots

crv son.^^m

hicn a-lieu. tra-

^pns,mtS,

fe

Pour a - Voir dcsson- mes deitSOtn

-J.

r^isspf

^; pa- rai-

ses nou-

,i^

^sts

ris

533^

A rus-

Et- si-

gfPen. - zWrv -

son..

con-.

^

Rex virginum

3 7. Two-Voice Trope

Early 13th century

l.lUv,

5. Pre.

re r rvlr- 9i-nu»ta- ma- for, Pa- us. Ma- rl- ae de- cus, e

da stir-pe rc-gi- a. pro- du-cvs Ma- ri-am., c

Ces 2- lus 6««-cl- pe dt-qttas pro mun-ilo fu- sas, e

4 f P

rr"

r rr? r i

lev- sonley-

ley- son.

ley- son.

3. S 3 3

£rr rrr r 'r rj p rL^^^4^^<.^4J;s7^^^

Q'r r ^ r rT^'^^^^

l.CHristc Ve- us de pa- tra, ho- -mc natu* Ma-ri- a ma- tre, «1. flucm vcit- h*o he- a- te Ma- ri- a «- di- dit" mun- do, e-J. 5u-nw lau- d«6 tio- stras, Ma- ri- a« al- mad di- ca- t"js, a-

\cy- son.ley- son.

icy- son.

p-^jj^y [£fz^JS] r rr' r

i'. r r r r'pr ^f'

1. pa-ra- elite ob- umbrans cor-nus Ma- ri-ae, e1. Qui di-otuun Csris tha- lamum p«c-tw» Ma- ri-ae, e-

vT rr'r^'-^fi^^^r::fjj'^%7[^^

rr rr'r ^ mley- son. 5.Qui su-)Vr c«l«6 spi- ritum 1«- vas Ma-UJ'- son.

• •f»

T\.-ae, Fae nos po»t tpsam. scandetv hv-a vir-tu-te, Spl- •«•- tus al- -m« Icy-

40

38. Two-Voice Conductus

Roma giiudens jubila Early 15th century

M^J- \r rT^^r^ff^^lr(?r 1^^^]ma aau.- fUns iu.- bt- la, Mca-Ks pro- cuL na- bi- la 3plen-

r trlr!;rT=iss

dor £v- pel- Ut }w- Ji- tf Spkn-dor |a- eve ct nlo- ri- c Ti- dc U- bus lu- aen-tl- bus Or-

^^ ^ V i _r=f^tu* <U tu.- frin.- ci- ve. 5y- on. cr- ao ft- U- a Sur-

r r Fnrp i^Ô ir^r ir r ir r irPr^--*î^-r-t3r irp^- i

r^^

I

'y-yrrrr pn^ ^ f ?r I r r-Hi^^- 1^ yf rir^JXZ^

3'

^Vf4f^c de tn- sti- K- a! 5a- lu- Ks ad.- est" d«-

^=4rH- i^^r^r^"^

tw-o

#

^sr r ir ptî' r i r f t i r ^^ »-i*iS=!fP^^ (^ rf—lt-

Mp- c^r pi r c

^

fi- at" ter- tni.- itu« Ev- t- U- ciun. 9^^' ^^' "• Jam. re- qetn iw- qtun.gem. iwan

^ » •ll»

i'r I

r- r r r'l'i^-'-

i ^ ^Hr r ii-' f f^ pfljr^ i'^^

>jlr F i f>•

I f Fr If^-^

1

^ ^r \r r ir r r^ ir^r FiGr

rj>iJ- J-^

SU6- CI,- pc.

39. Three-Voice Conductus

Hac in anni janua Early, 13th century

frP-L

te^

E. Thirteenth-Century Dances

40. Monophonic Dances

a. Danse Royale

1.

b. Danse Royale

Ductia

8

b. Ductiu

Ir6—

^

Detractor est

43. Roman de FauvelIsorhvthmic moter

De- trautar «»t nsouissuru vtU - pes

,

Rr ta^ma-tUa arc-veau-tmi ct 6t yt&- s«a.

Vcrbum tnt4uu.itt e/tit^oroium ablwmtnabvtur I>omtnu6.

(

nanmmut a'du- tA-tor bUn-du«, Cw*

-i

<la fott" ro.y»,j>rtn-<«ft,can-t««> <!«•. Om- tittuiSuntfei-Usfii-ji-at-iU..

R- ie-U-bu» u tw-nc s«r- vt - unt" S<ui5ttUS-^-s<m izt <le vrai cuer s«- ri.

.^JJ_ i^ ^ ^W---4j-U-tEt Ii.t4n*plu»<f4« U autre* »en-<ll Dc- tra-lw-tB«4l-U v«l att-ii- ne Unma-di-ftant- <U wit- l«ir d«- Stre

De ca-U- ce ta- les bv- tmntr me- vi M«s U 9ra- eur out a- <les s«r- vl

45

L^-}}hHu- iu» imidv auvcL (Ummu-bi-U- ufi-lu-qicr sedtfl^ retfton at* nan U-eu« Ce-pmûc <|ut vice-cbmi' ne 1%ir tn-Uaentîn-

|

j;j,

jj,j>)i JL^^î/^f i

rJJ^^JJ^J^

i^^Tjôt:ce<mi-<Lit<i-miiu: In. 6u- bi- fe>6 <)i«)«-c>i»iû«ar«6-»a-n. dontcityi-tie i'enioriyluiUurt mt- rl EccUzftt-as pUm arpo- li-

a a<n«»ont«n-thc-n.. Hi <k £e-OE t>t-bunt0t£i-ci-unt' Dudutfsacbnc <fut- \nt»£»ii ont' fC'

m^ r ir rt t

|j.J?::i,M;j>J'J^J' jii,j hJ> l>|i' M f> j^^ i

Ant Sur es-pc-cede bunmalp-U-ant 'û-tteie-ui da-tractort« su.-

a

Szleurme-dibcar U& sontitvp U- tie.

44. Guillaume de Machaut (1300-13 77)

S'il cstoit nulz

-^

—

V •

'—*-

Sil a- stoit nulz qui plzindre se dc- ust

Isorhvthmic motet

I » #

pour nul tnes- chief que datnour re- ce-

vwf, je me d.eoroi.-e bienplemdre sans re-traire. car quant pre-miersTne vint enamou-

46

onaucs in moy War-dement de-mou-rer ne vest Uis-sier dz ma dolour rc-trai-i^Jj

tnais ce qui plus mc laisott rea-jo- Ir et qui e- spoir nve donnoit de jo- Ir

I

Tcs - gardant,sans plus di- re ne J^ai-re, fist de- par- tir de moy, pais en prison

• i » _y.' *• ^

el- le me mistou j'euc ma U- vri- son. dc a.rdan6 dc&irs qui si mc tient con- trai - re

que, seun tout eeulplus que droit en e- usse^Je acay de voir que vi- vre m pe-ue-ae sanz le aecours nva.- cLame de

47

ban- nai- re qal m'a <i« ci, sans morir ras-pi-tc. £t cc»t bieti droiscardoucourcnTn-

te et cour-toi-ei- e ottt en U Icur re- pai

-o-

^^^^ y• * 'jj^ ^- 'd-^

doit, s'A-maurs U âit trop Ian- guir.

Jc puis trop bien

45. Guillaume de Machaut

Ballade

ct. '

puvA trap h'wn ^*Â

•ôi- re fu., tAn^

- *-^*' ... ..dame ciTm-pa-rer a 1^'- "la- gebelle et- 91 satis |wriJu« plus I'a- ma

ggil>i« T-'

fTTT^r |

J-l^r^^Cjf'T If irr ^^j

^^ f r r-i'

'--^!^^^^^

^^ ?* Iz:Oij^^,mia i j, ijjj f[I

i> M Ii<ûe fiattyma-tl- on..

'•"rrrr p i f r ipfolx tiniats La crt- oit, mais ly- ma-ae ricrts

rrrr ^mr• i r y\ r irr i

^ pJ-i

ipf

gir

^ ^ ^ i UU- iJ- J- ij^ ^

ntH retfwn-doit. Eins-st me fait eel- le ({ut mon cuer fonl^, qw'a- d«5 la^ ^m rrrsiyr r i^' iT

p« et" mn- M< me« - sp«it

1

rff4t-tfri 'T=ri

#=^^ f^rrirr

ip

48

46. Guilkuime de Machaut

a. Comment qua moy Virelai

^ IlITdI9 1 5- UJmmcnt qua may Ion- tein- rtc eoi- es, i^-^ i'on-nour, ei mc-ala vousynro- chein- ne par pen-ser nuit ct jour.

^- ve nva- niij- re ccr- i-în- niz rf- vo jrc-Bchc oou- lour qui n«»t pa- Ic iw vein- nc, ^JOv toti- difi sans««- jour.

t-x i f r 'p r

g l-Car Sou-we-nir me mein-nc, 615. CO biautc 6ou-ve- rein- nc, vo

b. Plus dure

tir'Tifi ^.-î^^<ûa-de3 saneae- jourora- ci- cus a- tour,

Virelai

a 1.5. Plus du.- re que un dy-a.- mant ne que pier-re d'a.- y- mantett vo dur- te, da,- m« qu*. ' na-* par un. a*:- cucil at-trai- ant, mbnt au cuer en re- sjar-dant si jort na- vre. auc ja mais jol-^ f

i

^.Tur ^^ E

rrnrrn i r r i f M^-^(^r P P N ^ « 1I*?.8j^^^5

VC6 pi- te,^ 4ce n'a- wr^ ju-

vostrea- mant qu'o- ei-dûea a- tartt que vo

es enqra,- cc

-T- ir Sde.- ' si- ranV iJostre a- mX- tie.

qu'tl a- tant m'au- ree diin- ne'.

rf r i r "^tt^ ^me. vo pw-

^simple <+ pleln d'u-

re biau-te

ml- U - t-e.

qutde

tou-ies passe, a mongr^, ctdou-ceur fine yn-

sam- Want

p-4

re, en sous-ri- ant;

En attendant

47. Jacopin Selesses (Late 14th Century)

Ballade

darit"

dant-

ea- pe- ran- cc con- ôr- te

se da- du.it- et dc- por- ta

m ^ erf if r i^r rHr- r^ fe^

49

pae- 6c tcm^s at sal- 8am en. a.t- ten

-

dant met

an li 63. fl- an-. (U t-aue ce ntce eet eer-

^ ^^^^^^^'

1

^' n^- f^^ ^0r?fl- M' r^ f if r ^ -M-

ll'^'^i r r ^'r r ^?s•=i=it »=pt

a fui- Cilz qui n« B«t vtv-rc eane

f fif i f ^

#¥^^? ^^

fe^=^^^

5"

m îs^jy

J. IJ j J iJ ^m i i ^"^^^1^*=*=^=*

>-r- rif f r f

if if r iT- r

48. Baude Cordier (fl. c. 1400)

a. Amans ames Rondeau

•J* •-^L -W-";^?

AIA-3.Wc-S.Car

c«st-

î- con.-

aif ^fp-ifr tfr^.i^r tf cr i

)itiâp^t;r>r JiM

B £ £-^ 1./êâ-/-/p ist^ T r 1^

r r i^r

b. Belle bonne

Ccntwitctwr

Rondeau

1.4.7.Bcl-lc bon-nc sa- go pla'i- san- tc ct Qtn-3. Da rc-ca- voir cc <lon na soy- oa lan-5. Car tint vous aim qu'3tlleur& nay man. en- ten-

51

U,t«,

A ce jour cy que Ian se re- nou- vcl-

3c vouA sup- pH^ -ma dou-cc de- moi- setEt- sy scay qtt« vou£ es-tss seu- le cet-

Ic i.fl.Vous fats Ic 'l^'" d'u- Ti^ chanson nou-ucl-ht 6. Qui tame a- vcs qu« cKas- cun, vous ap-yel —

Ic Dc - dcnB monXa.: Flour dc hcau.-

p r r j i . I f ^H^ mMw^'^=^^ ^^=Rg ip 3

| / .-

^^ N J/ilN^;JlJ J liJ

i-^ NJ ij; Jij

a »

SPP^^SI—*-^cocur qui a wouB se pre- sen- tc.

tc sur toutcs ev- ceL- l£n-t«.

-le-.Li nr J fri r Jirr i^ a i^^

^5 m iF

49. Jacopo da Bologna (fl. c. 1350)

Non al suo amante Madrigal

1. Noni.C'a

al soil -man- te piu Di- a- na pia-

mi la -pas- tu-rc- la^al-pe-»tiaecru-

1. >\cm,

l.C'a.

at so a-man.- tc

mi la pas- tu-piu Di- a - na pi* -

re - la al-pe -stnw cru -

^i^;jjijvi- a in mc-iyO Jie-\e ai-\.li£ i-

Ncl mezzo

8 1 Nd.

S. Ma'l

i

50. Giovanni da Florentia (fl. c. 1350)

mer-zo a

fiuo com- VA- Qru>

oa n« VI-frtntr ta &u<»

6c»fi- prcjel va

di- un btin -

hci

-

Uz-auar- cUn-

Madrigal

J i j >j:u i

rfe

ri ^.pr-j'

52.. Ghirardcllo da Firenze (fl. c. 1375)

Tosto chc I'alba Caccila

Hit n-"^'- f> ^

5 3- Francesco Landini (i 32.5-1 397)

Amor c'al tuo suggetto Ballata

t.5. A.- mor c'al tuo 6\tg-get- to O- mai da Ue-% Per chc tat- ta. v>ir-tu, i" ^'^ si <^»"«^-

F^^^^ ^^^a.

Sot- to

r^-^p

i rg^Contratenor

•>tr i r r' i r

fefeStfpP^Tanor

tFiae)

too gvo- go VI- vo san- ca pa-ce cul Ic- ghi a ttal ca - tc-

S- o^na-na..

Sacunda pars ^fJlJjiJ. O'lJ^'ti^

6«n- pra ataa- gua- gUa-

^ra Po

Tal^=#

P

=£

chc tnala pro-

F^=#^ ^ Efe

54- Francesco Landini

Sv dolce non sono Madrigal

^ ^ ' • ^ ^—•-'—

#

Sy dol- cc non 60-noeh«Vlir' Or- Jc

Corvtra tenor

duarid'

Sy doL-ccnon sono cViol Ur Or- i^-

din.- fan-trz di d« Co-mc lo gal-Lo mio dlfuxn-da bo-

din- fan- te di dc- O Co- me U) oame U) gal-lo m^io di jfuorda bo-

^-C'Pf r irr irf mr; i r

»f^I ter

cantan. -do d'iafan - te di de- Co~ me. \x3 qal - U>

^^f4f Miillj^ffschi Con. no-ta.

Con. no- ta. ta-U

ta- l« cKe gia-ma' u.- di.-

edti no- ta ia-le

^ ffifr/g--

ntio di Jtujrda bo- schi Cor no-ta ta - Lc che dia-

57

T* ;-^ «—*-

Ju <la fi- lo- iric-mm \Jer-dl ba-

ju da J"u- mii-i'ua in.

ver- dt

-r—

*

Nc uiu tt2- ba canto ûan-d^ &cKcr-tvi-

piu fn-bo can- to .ûan.- do scHcr-ni

piu fcbo can - ta juan- dp 6ch<:r-

^^^^^^m ^ C/C/^^J i ^^^^^ ^ss^

Marsia fa Buo ti - biiîn. fol-tl bo- scKl Do-

fu. sao H-bta in. Jol-tl bo

Mar-siafu. siw tl-bli ir foltl

^ ^l!l£i:J^^^^f

^^~J^.K'^^ | J ' '4J^-IV« vln - can- do lo epo-gUo di ta.

Mj-ltiMbjn^J J JI JJ Jj l j ' ' |

Jj^jTJ|J.,5b,j-^^^j^sga

v4vin-c«u-do U> spoalio di vl-^ ^^ ;i^ ta.^

bo- fecKl Oo- loinccn- do lo spo- olio di ta.

LR<-t:om»Uo]

JT-J l'^ I f '^ s JJJijijj.}i^^^^=^3?jjfii

Jcb av^mc cl c\iiuAcni Amfi ~o

P-ff itSH^FP^BFrMf T-^ r r ir^fi

t r^^si Teb'auan^ el diiiul^nt AmJ'i - o -

.

58

fitio fa. cotitrarujal gor-go-

55. Johannes Ciconia (fl. 1400)

Et in terra pax Mass movement

no- bU. Qui tol- lit 'pece&ta ituut-di,

Slo-ri- (i-ea.- tnus '

te.

iti»-ei- ^ dt--Tfrea-il- o- nan tio- stnm.

r^^yiff^V' r^^^^^^pS i

^^^r'i Vf^ ''-^

'f^=^^''

6ra. K-a» a-av-mu» tt- hi tJrop- farOut sc<l«s a<l<leiftj-ram Pa- tris, rni-

h V' V 'ff^ i^J^.-^^'

'

h'iW'^ ^

lîiiYfr

ttiv- -n« Da us,ni- anv tu

cocXe-stii, IV'so - 1u5 sa>v ctue, fru

S : » f^ iT r

in. olo- riu» pi-tcr om-CO - lus So-

•-^Pâ^

ni-Tpo^na.itti-nuft,

Do- mute fv- It

iu. (o- lusM— nl-ae-nt'-ta 3e- su-

mua3»-au.Ckrt-«te.Qiri-6te,

Vo- mme De-us,Cum SandtjSpni-

3- gnustu.

:.i \iU U^^tt^w^Tur ^f 'r'Wr^ '

!

^^;^ '

/'^V^y ^Vj'*'

^" -^ ^r^T^^rp^^î <>• fj -j

—^^^^^ft- It-M*a Dc-i.

irie

tris. A-

^4^^^ r

NIJ i^^^ ^^ ^^^ Pr r .rrrirrp^ rr r

r' ff ViOffp ff^^-^ 'tfr rpf

59

56. Guillaume Legrant (fl. 141 9)Mass movement

g Bi- trcnv ont- nv- vo-Rw-tff- twn. eoa- It- et ter- Me,vi-si.-W.-U-««nom-iu-um

CSoU>]

in. «- num. Do-itu-num DeeumOirt- stunt. £t- It- vmv De- i u--

tqwm*]

Et ejf Va- trena-tunvan t« otnni.- A iaecu-la., Pe-untd«Dc- lu-tnan.de lu.-»ivt-n<j, Dc- wnv va-rvtm

S»- «i- turn., non. £ac- turn., cotv- sub-stan- ti- a.~ Uzttt T^-tri, fci*

^ ^ [Ch«i-ut]|

r.fr T r r r f^^Uut propter mJ6 ho-mt-nes et propfcet* r

#iibib

ottent om- »tt-a fac- ta Smvh

l^r'r F.i f-r ^ J i J^

g(^m om-ni-a fac - ta. suttt.

propter mJ6 ho-mt-nes et propfcer nostram sa- lu- tew- <icscencitfr deiioehulis.

Et iiv-car-na-tiwest de 5m.ri-tt4. Sincto or Ma-rt-a Vtr-at-M«, at homo £acttts

o

itv-car-na-tiwest cJe 5ptri-tt4. Sincto or Ma-rt-a Vtr-at-M«, at homo £acttts et.

60

57- School of Worcester (14th Century)

a. Alleluia psaihit Motet

^- U-lu. ya. ytal- lat hatcja.-mi-\i-a. — — — — — — — — — — — Ai- \e- lu-ya

At- le- Ui- ya con-ci-net Kaac- fa-mi-lt-a

Al- U-lu-ya Hm-pa-nUe4r al- l«-ltt-«a psallat-

tim-panU ct al- U-Vu-ya peal- lat lae-tu6Coe-lu£ cum. 1iar-nu7-nt.- a — — — — — — —-

8 lac- tu* coc- tu6 cum har-m^-m- a —

Al- Ic-lu- ya p»al- lat Dc- o lau demct' pra^-co-nl- a

Al-l«-U*->

KntfanU it' al- U-lu-ya cit-ta-rU «t" laetitecvetue cum tiamui- ni- a.. Al- t«- lu-ya.

pra«co- ni-a U- u*.

61

b. Gloria in excels IS Mass movement

Et in. t«r-r* pav ho- «vi - nt/ - bus bo-ne vo- Uuv- tatts. Lau.- <la- wus te. B«- »i«-dt-ca-tnus fee. A<l-o-

^'"r iif r rrr c?S^r7T f r r imn^r r r r £rr ' ^ r f

^r-f-afpf^rTTrtr rirr r i^:i^=^:r-r^rT=

r r^ ^ r [irr ^^^^^

Ti-tnus tc. bb-ri-ft- ca- miiS tc. Sm-ti-as a - gi- mus t^,:- bi proptai- waortam jlo-rt-atn tuam, Do-mi.-n<j

•^ is-ii^ f rf r 0^ ^ i r ^t f r r f r gt r i^r

Dc- U.S rev coc-U-stts De- us T^- ter otn- nv - potens. Do- mt-tuz fi - li u- nt-^c- ni-

tc "Ic-su Chri - ste. Do-mv-tvc D«- MS, A-flnuS Be- t, ft- ti - us Pa- trts.

58. Organ Estampie (c. 132.5)

^ , TVimus 1

ri n F?f^ n

6o. Oswald von Wolkenstein (i 377-1445)

Der May Accompanied song

mi^eehil Erklin-

P-

^^QCrt, 4vn -

1 1 - ~¥ • d ±

^^^

?^#^lander, lerchcn,

g!!^5=f|S

xosthtl, nadxtl-

—•»

?^a^Per aauck fleudtt hindai

#==^

^^ ^ i^ ^mppp -f F r p J- ^p^ f?pg asas; t[!

J -: ' p

J. 3^f^tvacK MtV arossem unoemaclv, KUini 'ac\eu.en veacliin nloleicW. Ho- ret WW er epriurk: cu -cu., Deni

m r ti#=# ^^ igilj tntr^Pen

fe# ^

|##NNg fe^-: > M J J i^ ippgp^ Pi¥^^ F=M=;^wil vcK hanwrt dir Mti* dm Maatn echier

^^ 1^ r f60I ich ? So sprach das klcinc

vicH.

^^^1=^

Kutuel, zetsel, mays, lerch,nu

^^^4^

W^kumm.wir iin—

mw^

ten! 63 tuid

r ^r^M-Uttu-Uh tu-icK

mtu'tcK tu-idi

n

^rrrmwftu.- tcH, da sa sd sa &a sa sa da

• ft-— 4

^^P^sa. da sa sa, £t

iJJ-^^^FfF

ftd^li £ideli fidicU

^^^?rT[P'?l5^^£i, ci ci-e- ri-rt ci-rt

rct-iz- ri-rt cv- rt i-rv <a-ri-U, sia 6ia eo

|

0' -|»^

6iru<W

64

1^nsMd^ jTTIjtI^PI! rp

ZwaricK sina

r^^^Âuck vcl, Vol mus

r r f ^

1^^«h ]>as

S

1 £^^ScUtuh mn, h«r-

1^«ut, vol tein.

^^n^=^wwnrnCiri li-rt li-ri. li-rv

^^Û-rt U-rl-W, Sff

^»ana <li« krcK,M>

: ^ ^^^t^ M r (? »*f-^-f=

g

sang (iie Urcfi^ satio <lu: Urch Ich sina he\ ein dtvsdix kin,'"S

Uh s'lna hel cin.dro*Mein, uh din^ Iwl ein drvsch le'in,

mdas in damwiid.ci^lmat',

t

fF=lF=t> > J> .» J' .M i^ J f /slg M f' H ^^S

tr-Ue-i«nt', lie- rarA,ara.<iiiei, aroAie^ tuiti uTA-chet' htn unci Ywr, recht aU unset" pha-rer. Zt-<it-iyuJ{,xt-<lt-tyufc,zt- <li-wi<k,

^ ^ 'Ik r ff g ^

^^44^ ^^^^ ^^î> p p • •i

« -

ft-—M pp HfT

zi-si-ri-QO, nacht-iâUjDiiz 6«lb- tnit' irctn ac- lanj

P ^behub Aen ill.

i

satt^ behub den^

IV. Early Fifteenth Century

6i. John Dunstable (c. 13 70-1 453)

O rosa Bella Accompanied song

65

Cinstl-J

Sancta Maria

6i. John Dunstable

Hymn (motet)

Sane '

Ct.

Sane-

^

W- •

^.

^'

Jj:

^ I

ta_

f*'

J. J-

#-H^-

ir

J.

^

rr-Sanc- Ma-i*t

u Ma..

J-in

i^Ma-

h W

a, non

A. J Citfiv

ii

f^0-est U

Stic

66

n>ir^

mmsa,

f^^Tl

^J^J J>| J *^^fU-

^fegrans sicut U -

^ m- f- » ^

^msm

mu-

i^

^o- ra jT<3 •no-

g

^«*. fU- grans Skcut: U twit, o- ra p-<J

^ 1»—»-

•pro no

bu^ «an£- ta

63. Lionel Power (Early 15th Century)

Sanctus Mass movement

tSan- ctua, Stu\- ctut, 5an.- ctu« Tb-mituic De- u» Sa- ha-oth.

67

^ct.

fi J J J

1

64. Damett (Early 15 th Century)

Beata Dei genitrix

[Soloist]

Hvmn

» ,

^

i.J-JLJ. J J

,

JJJ J, . ] J J iJJ JJ J^J 'i:^:AT,W^^m ¥ppf f m sli

Spt- TV- tufi San- cfi:

m m ^So-

[SoloittJH^ ^P*=

So- la 91-

enifrto pU-

^ fcff

3c- su. ChiT- ^:^ sto.

am-y\e fiUcu.- i- •H So. ml- tu> J«- 6u Chri- sto.

-^-.^--I j j , j JJJjiUiJ

tnt- lo,

I,J JJ ^J

,

J JJ^ J'

l ,J.Jj,| j

J jJ.iJ

I- i«r- veni pv clc- vo, in- ter- cc-po- |nt-

69

i'"j/i^m

I\ I

rem.

PF

Vtf-

p ^A.

^ rr

J-

r

ori-

r

^

f

-us

f

ji.-

ii p ,J ;l

c. Agnus Dei III Missa L'Homme arme

Oitwn.'. Cartcct- car rlcnuset r«<leAttw|^iu«.

i^^^c;

tsUtifi

j/j1>«^-

i si tei ^^ J-l-JJuJ J .ij^rjJ j^-J-!E=E

TF r "fFr ^Tfff77^ 77^ riT OTirrr

mm izr ^

p^ ^^^m^jg^

s

• % r » .

I I

i 1 1

d\

s"^ •

^^^-'''tfe

rfr XWrf=f.

^

J-JJJ JJ

l^L^-f--

^^r r r-

iibi;

fprfi^^^/i

f i^f"r

i^^^^iJj-^.^-^ i

;J.i^ff ^^Wf

dona no- IHS -

rr fjfri ^^=ffefe

rrr

mpA- cent.

72

67- Guillaume Dufay

Mon chier amy

1 Mon ckUr a

2. Se diûr nous

?iH^_f_îi

hrf^^

tny au'a-veg veus

A un. bon A-

i

«tn- ven-

my a -6C So.

eMJ

i^JZTB- J

ret- t«-

T - 1

î

•ntr «nvrc . <i«

. r^

?î

.»J J ^p^VOUS nu - ran

vos- 9h-« com-pa- flnia

M»^P3:fin«-ii«t-

4

Ballade

Cinstru -

nucntall!]

<a>- Iw

#•_ -e«jL

.^

ft>«

s

^^^^JE-^î^^tJ-pU ^1

si ii fe^ fe^/7S 3.Nc tnat-tas pas ban- <lon la

f r rr r r r

la

JI

J- J lUim^^ ?N-^^W,1r'f-rUr

Car tt- -nc

„ [tnfttrumcntal ?]

^ ^[^ggif^ -Jrjn^ l JlT? itOl» TV>U6 £u4t ce pas ^s scr.

^ ^ ^ »î^ g fe^ ^ 't^

i;f^

^ ^ ^TT ^TTT/«

68. Guillaume Dufay

Adieu m'amour

T«norA- dieu- m.'a- mour,a- dieu. A-dieuLc 6o- Usque i'a- wou-

Contratcnor

73

A-di«uma. le-4- l« maU-fcrcs-

S^ i^ i£c di-rca-dieu. tant fort

1-.. _ ~ > .» ^W m^

¥§,*

«. A-dicu ma le- a.- le mais-trcs-

i JL_I_Lc di- rea-^.*"- tant fjrt mc bUs-

E Pf

Jdij-ii.

i J J iJ^^ .i-b^jj i j J.l -tpi'-^ i

J. i'iJj .rj

bkfi- 6C Qutl nuz dam- blc que rno- rir doy

wmm g ^^r- ^ ^psw^^=^5 ?*^ ^

Qail

sime 6am.-bUqiLe mo-n.r doy-

fu-.u.puji-j'iujjjj jijjj^^ ^

i j jsiijrjiu

69. Gilles Binchois (c. 1400- 1467)De plus en plus Rondeau

«!..*. ™ _K.- • -- I 1- m. J_.. ._ J- r -^ 1- _«. !._i mmIv.T. Da5. Ne5. H«-

T.

^lu& en pludCUV- di'o^ pa«LaA, se vou«

s¥;s=t11 ^^^^ J.

sc re -

que I'e

.-|Lre - eel -

ciiu- , cL-

i ^ J

Com-dou-

roCc- ^u cutfr- sn

ce- da.- m.atoti6 jours vcus

m^jen-teet bal-es -tea cel-ioi-asc| tel-

tatts ^Ct-.

r rr ' r r

^^^sir Que lay dcvir, 6n. frou6-i«-

^^^(J J|

\>0U£nant

ii-

ou-

iiri

^vr tuHi- ctfl —re que- ret -

n^^^g^

'' rr f^^^

70. Gilles Binchois

Files ;i maricr Chanson

V=^S ^^^^^--J N I-r-trr ^p J rili^TTllTt^

R.- Les A nta-rt- er, ne. vtfu5ma.-rt.-ex jap^^ p^ne vou» ma-rv-ei ja,ne vousma-ri-ei ja,[ntf^vus ma-rl-et

T P^ M) J> f>]»

J, tft- Ua a ma-rt-er, ne tfousma-rt-ex la.

'l ^^'PF. f

l

p ^ ^mmm

ne \)oua tna-rt - ez la

i,

J ^"^v

74

^-vouft ma.-rv-cx la..

ife^^f ; M ^__i_. _Jjp^teL^__ /> ^Ttrf' nrn

la-- Lou-du & ]&• mAisna iwu5 no. Lul, la-mai ne vous rwI

^— CarI

6« i4-U>u-*i4 ai iia.- Uû-du & la- mAisna iwu5 rt« LuL.ia-mai nc vous

^ ir- r ^r-^^ ^ r r-

^Mt^

mais] limatd nc vOus nc lu.t

^ ^^-J.U Cu4iriOV-c nJL' r*

^r.^ ^ûj'j^

'•J"?'joy-«ni-rA, [ill cuerioy- i na.-

j 414, cuerjoy-e nx-ra.

1^-4-} N i J ^ T-wffhirf^^[

^^ au. |Ci*grôv-g na- ra. loy-a tta.'f*a[au.ct4£rioy-£n.a-r^,loy-« ttA-fa[au.ct«rjojf-tf n'a-Ta,aucu«r jo^-c na--r^3

71. Arnold de Lantins (fl. c. 1450)

Puisquc jc voy Rondeau

3. He - Las he nty ou. sont' bun dtf

5. Tli«nt m*m» i« enj}"* ^Miirtt biov pen- 9« a- vee Clu« vo - «tre suy ct que vous ay

clwy-

SOU--»«r -

St

s«yvy.

^^=f= ^^Î f ?''-f^ r irr i

' ^:

1.8.1tU)rt ciwr cer- tes

(9. V«s no» rcrt - ires vei - ant cû.si-

rT'=w

cfi- ria- vrl «ttc toufc ^Lai- sire sotit" dtf soy dtf- bsu- ttfs.

ws t*al- Ly Et ûc dim- *y £ai- re rai.- son- n'a- vrfs.

|OfirTTiPff-î^p r i

r pr p ir^f^fp^'- u- - t^crCr^^p^

75

72.. Hugo de Lantins (fl. c. 1450)

Ce ieusse fait

vA)

Rondeau

f.rrirJrir fN-^ \i't=rM=hm^'^^^^^Cc tcu-sse Jait ca <)ue tc jtci Ct- ee

C<! ivu-frec fjii-t- c« <|u< ic pan- c« Ei &c i« fu»ftfjtf

i^r a- ^ ill' Hrf irrr ^^^ ept ^' «r

, 11,, .

(b;,

Jti-fr«_cn tncn pa- ys Dtf 9c- nnv(B)

r r^ i r r r ^'-^ n^ ri'r^ i'^-

i *r- i'^ J 4fja^^^man pa- Jc ftc- ri>ye

Ir-rr+i r ri ^ rir r

i rr irr^V^ ^^E^

K

1

1

plitfr nc igl- Ic cAxc-

^^^ J ^ i

r r r 1

^ '^1 ^ "'"T^^ rirr if-^Tr ^

plus 3~ A5au- vis Ptf u- nc tcl-

^ rr irT=^ rrrnrJ u.

V. Late Fifteenth Century

73. Johannes Ockeghcm (1430-1495)

Missa L'Homme arme

76

b. Agnus Dei III Missa L'Homme arme

u

8 pecca-t& mua-ta. mArt-

Clut tot- Ite-pec

pftc-cata^mu-n —"

j^ij>

I i'

ta. mun,- cLi

77

pa-

Ma maitresse

74. Johannes OckeghemVirelai

^^TTj^fW^WW^^WZjUWZl^

f r r f ?^ "^f—

r

s ^m r^ l r^ ^\

'>. ^^^^ ^^^VCU&voir

bitfn plain - drcQtx ^u«l- que

w-ov- a, 5tl6oy - c. Tout

pUtst <:^ brtcf- mcnt iwue repUist d" en ncy-

tf , TUa - |ini?ur, jur

*?, Nc jus- tiju'a-

-M Jj l ^JJ f^f?

r^ J. ,PIJ Bi^T 3 ^PUTTTr TTj' f ffr r rr^frf' r^r

78

75- Johannes Ockeghem

Ma bouchc rit Virt-lai

1.5.1TU bouthe rifc «t m* ytn-se-e {lUu-re.

man oetl e'es- jot£

niaU r» - aueur veult"

mon eueivt mAu-dii:vi- v«nt je <1«-

leu-tn^u -

^#^ff-t

QuitAin-

eust U bMinqui sa fan- te de-chjiA-

ii maurtvitiO^ en. vt- v^nt tresfias-

se.

ttlai* pour ce-

Sir que Lamoi+

lev U. mai <jui

^i 53 ^^^ JL- a Mre.

re.

^

vera, faul-Ciiu-e et

fe#^1. Ha., cutfM-r |7ar- i

3. ^15 du.£tv Ctf point' VOU£ VOLl£ VO- lei ven- gi"",

Ste- tes camnuttt' a.-

Tan- sax Ken.t'ast' <1«

icx. o- senva. Vt^ A —

^ ^^m ±

^#^ ^ e£ i ^ a^^=f

g«sr,

(aul-car ce qu£ ma-OU-

pro-vex

mis ?

ntt&.

79

76. Jacob Obrccht (1430-1 505)

a. O beate Basili (prima pars) Motet

te fia-6i.-li,c(m-fe^-s«ÎJ(^m»-ni vc-nc-rMidtyCuius vi- tae

B UnttrumtnUt^

il-lu.-^ ri-tis il-li

ffm.gfr r r"

tef

it^^P

^m

3fS

i^fe>- lunt-

^

^^*!.-

^PSI-

II,

sa <l£ coe- lis r<J- 9a pw tu- ts OlH-

p^^^mstum ia.- Us, u-t _ , tws SH-

^^^^^^'^#^^sum. yto

*si=^^ liits

PS^^^^^flff

isprr-[fjf^tm- fl- ,

c-ta-

mint-

btts Tf^^f^£^V^^^^^ f^^^^^??

idi,-

^^fe^ î^^^net 3.-mi-

iî^^niCIS.

^^2:

strts «ic-p<7-T f

b. O vos omnes

^ W9 O-S iii ^ mtt«5 Out tmn«-i-tis pei* vt

3- ^^Motet

At- Un-

m^^^ ^#

±^V»6

rrmnes

w^gg^ Qui tian»-i- ti.« pel-

2:

at- tert.-

B VmStiatw- i"

ili:

80

<li-t« *t vi-de-

tt. Sv e^ Aa- lor.

Zat-

.J J J

t- r

ct vi- ie.

m

ct vi-dc-

m i J

it

at- ten- ii- tc ' etvi-cUa^^

te> ct' vt<

tor

tc Si a^ do-tor,

si -cut dolor me-

«i «efr «lo- Ioi>

U9.

si cut do- Itfr m«- us.

77. Jacob Obrecht

a. Kyrie I

-, J- T ^i J J

^ffr^^T i «t:

81

b. Agnus Dei II

J. J j-i.i J IJJ-J

<>uii tol-

>ji J^J^-^i J^^JJ.

Missa Sine nomine

Lis

ra- rw- bift, mi-- Ac-re-

Tsaat een meskin

78. Jacob Obrecht

Instrumental canzona

82

ff^^^^ U=M ^^^ui^Wfr

mHH^-^iim ii if ii ^\[}i]Mpmfp^^

i.

:^

^^^^^^ fL^r [j-^ r-i^-cf l

tf£IL Inm i

i^ ij=^ r T

i^ f^ ^ r

79. Loyset Compere (<f/. 15 18)

Roync du cicl

•*? Rjy-nc du cicL aul du layt vir- A-

Rondeau

ntotl-

Ic du filz. du dtcu U £a-ce g R-e-ser-vcz. moy

li2 du ftt^

ySi^j,!r d« di«ula

v^ j'j'i i

mis- ca

1:r-vez moy

J S^Q±±

83

I[i ftfl ,^ .4=4,

8i. Conrad Paumann (1410-1473)

a. Mit ganczem Willcn Lochamer Liederbuch, c. 1450

ITtcpctitio)

^.1I J J

i

Jjj.Ji

r r J J|

J J J .*;-; j^t '^^ :{^ h' ^-1 1 i r , ^ I

,[

(Instnimîtal) î-t ântiem. Willcn. wiinschuhdir Sci.id. Ick nuchdir cr- a«- hen k^n. In. <ici- nem a\>c>t fnwOb i£, ac- stchtnachXjiri bijoiir Will Ich ac- wiltla.î- cKcn etsn

aiLZf rif rJ J

|

JJ1 J_iJ -J-^ --^^ Jlvein on spfft So \>\exb id\ dein aI- iey- ne Du. al- l«:r-Li<;t>6ts frcw- l«:i

b. Mit sianczcm Willen Paumann's lu/inLiinent/n// Or^jnisiindi, 1452.

uh ,1, ,

Quodlibet

In £eM«rsHltr So hrcn- rxetmainherx. Mem Ub-ete zarh Ee Uifc-mtr hart. Hllf tind-

lb ra.t. Siti. ujol oe- mut. Mcirvtraut a«- ecil. D«r mci, dcr -mci tit" Win. VuhmK- II - cWcn

gchaneSt^, soU.und.iwtL, im h«r- z«ngeil. IdtdacheeinsmaU. €e- s^tn <:ltcha0t'. So $« mein Ub- 6i«

«tumwh.. Habtch. Ub to Itftdick tiofc Tu. au£,ninn al-Ur- Ub«te. lib- T^i- <la-hin <la»niuM sain-.

86

83. Glogauer Liederbuch

iJ-j:^

r r

J. ^!

r r

f^Tf>c

i I I

• i *

7t

Instrumental piece

_^» , _

r r i''i

i

' frJ

f"^

i^^4iJr

P rr-^|

jjjJii:jjj ;d^^-^

sLt sUi(>UU j.jj^-ii[]j i^ /3>

I

jiJ UM:U4^.LU^i^^ ^^ ^ ^f^rr^

b. Der neue Bauernschwanz For Instruments

jc^ f^ ^ ^

84. Organ Preludes

a. Praeambulum in G Tablature of Adam Ileborgh, 1448

>-n,frrfrr.f;|

T*iTg^

b. Praeambulum super D, A, F et G Tablature of Adam Ileborgh

i«^jm 1lijJJJiJJJJi-i

1 iTJ^^ijj'^rJ^i^^^J'JJJ^jh 1 iii'ji -4

e. Praeambulum in mi Tablaturc of Lconhard Kleber, 1514

mmr^ir^^^^ • F

-.TTf <7-l»»

--^

m

'i:zi^^^:iTi ^ mfiiuzi

^=rf-

f. Praeambulum in re Tablature 0+ Leonhard KJeber

fAj. ^

86. Two English Part Songs, c. 1500

a. A dew, a dew Robert Cornysh (1465-152.3)

rt^ A daw my joy

H^ n ^s

Un-tyl I dye

44Jd- Us, a- las.

^ rr i

p K '

rr r^

b. I have been a foster Cooper

I haws bene a io- etcr Una ami man-y a day : fo- stcr wyl I be Tw more,no lort-

90

VL Early Sixteenth Century

87. Heinrich Isaac {c. 145 0-15 17)

Zwischen Berg und tiefem Tal German part song

ial, zu'i- tdicn pei^ unct tWi-*") flW *ai da If*^*' em »Va-

•mue»5Y"- f*- i^*"- '^'

88. Heinrich Isaac


91

we- ri- tae at" vita.

^ ^^^ (o-o) ro. Ml^Mlo, ^

m^te spe-

ad te CO- lum con- 'fU-qi.- o, re, r

v«- rum Da-r

giT^r 7J-8 \\ll

_

J=i *? ^J^^^^tf \»«- rum Ptf!^ aa^.

ftlJC

^ Ad.

WiTJ.mtf, "n*! un- ailUdlK Ob'

Ê^rr-«« wn-

r\e tin*

PC^do,

m^ M ur r r,

su. CKn

^6t«

4-

i^^l Ê^

quant o^ Ê^f=P=

91. Josquin des Pres

Faulte d'argent Chanson

y .5u|fariu* Rtul- tc dW-ênlr, c'aatrdou-Uur 'non^- -retl-

Fjul - tc dar- Q«nt, c'e»t iou. . Uur tun pa- ml- tc , fAul- ie dkr-acnt, c'ctt deu-leur won pa-

93

c'csf ioii-lcur non pa-r«il- Ic,

^^ U6, ig acay bU«., Us, le scay bicn pour- ^ , r- , ,

^^V'

Se ia. W dis, ^a,

c^twy, £«m tnc aui doi-t: yoUr ar- ^ent

94

u, pour ar-gent*

Afcm - ma

rc-4tf«tl-

f^

ajM+.i pour araeni-sciv- sivit-

^^îdfour 2ir-ênt M tv-sveil'l£,

s« re-sveil

P

mi-t

6ei

l«,

J-^^:i«,

?v P=^lurarMnt dc re- sveil- U,

ôur ar-aant

se re-dvetl-Wt fTOur ar-qent' &e re- Sveil- Le.

91. Pierre de la Rue {c. 1460-15 18)

Kyrie I and II

Kyric I.

Missa L' Homme arme'

Ky- rl - c^ ^ ^

^J r irTf J

\ i' ii^' I

- rr i rrr irr r' r rr'^r^*'^- '^

m ie=:n:^ ^r I'^r

n iji i'-' ' g

c- ley

J ij J ' r r^ 'U» J»

^ 'J. ijjji^95

p^m fTQ'Jfr#^j=Mi^'[j ir—C- ir Pr p ifp^-fy p-^

'"li

^-p^^ p-# -r»- -nr^ p

P *i^^ .iJJ

i h J i'^ ^

93. Paulus Hofhaimer (1459-1537)

Mein's traurens ist German part song

t McinS »T»u- rcns i»t. man« trau-«n» i«t,

C div ill- cln, (Unn dtr all- oinnuitu trau-rens i»t" ur- tarfi mirdcnn dir all- silt, nunn kU- rer ftchtfjti fAtt mua5

C dcnn-.u-rcnft i&V,

dir al- Itfvn,

ur- 6«tl mvrm«m kla-rcr frchtftn,

frflu- rcns *&tr

dir lU.- tfin,

pflin

ich nw- mantlt (laff

muM icH dffint- Kalb

ur- &a<H mirnwin kU- rdr

kU-tra-

jbriftt,

6<hain,dae ich.

pe»n muss

i ^ i-

CMunt nau-rcna tst'

C darvn dtr all - elrv,

Mr - saiiv mir gbrisl- das icK nu -

mcia Ula- rer «hffin,{>«inmu»«icH- deint- halb

nitf- mandtdarfkla- ^tfn, dtfnnich dcint-Halbtra- aen

L:K«wlt,aUuk mir, •chicr aa dan iod ur- l<i*- 9«n,dartn d«h li-sover- Ivtf-

kU- '^ ^en, darf kla- aen,

tra- gen, ia tra- qcn.alaut> "ur, frirHlar (M dtn tod or- kw -

96

scn3

dbuut didi ^l - so \»r- Iw- ani

94. Giacomo Fogliano (1473-1548)

Ave M;iri;i Lauda

Do-tnl-nus t«cum,b«->i«-<lM:-t* *"'

^•W=^a fl>** - ti-a pUj-na.

m m.u-\i-c- ri-hu.s,ct be-ne-di- ctus fructus iJcntrts tu-i Ic -

<? * •-

rf f

^» SM*. San-ct-a Ma-ri-a, Ma-ter Dc- v, o- ra pro tio-bts pcccato — ri- bus

^^r rr

Wrrir

«*r1r

I^m^m F

«^i=g= rrr-pr i r rf^^ ^^nunc «t in Kora mor-tia, •nunc ct" in. ho-rj mor- A ' tncn, A - man.

a. Non v.il aqua

35. Two Frottole

Bartolomeo Tromboncino (tl. 1500)

RifTCfti 1. N«n tffll a- auaal mio aran £0- <a>, Ch» per pian- to _n«rt s'a- tnor-ia, 2.An-zto-

p^;/5El mio fo- CO ha t*l "- •»»» - la, Clt« per pian- to ojn hor yiu cr«-9cuz,.|| 5 gj ^^^ma tU- pM- Mtt- za del mic in- ttn- (v -non ric-tct-''

an tier

6.-

97

Cl)^?iu. se rin-for- za, flmnto piu. con. quel

iSXce « i»- mcel fa- 6cie Chetul a- ûatuiel fro-^^mi 5t<J- CO.

prto lo- co:

Volta.

b- Nan v^l1ua a.L tnu7 ^^^*^^ppi^^ wmwmmm5Eg

r frr rf'r

F^^^1^* r r ^'S^! J- ^

.LJLft ^^ r r r

m ^tton. 6a-itu)rza, Che per ylan,-

r r T ('

J , fro tion.

l

î^^Jj^

»a-itKjr-

S

^^m-^ppii£Ii 1^

b. In tc Dominc Jusquin d'Ascanio (n. I'joo)

Rip«fia. 1. In tc, do-m\- nc,5pc-ra-

p, 1- (s. Uot-toc al vcn-too-gni ape- ran

-

IVSu-spir la-ckTV-mc ma- van-

ii-&M-»pir

ft

za;

ra.

^mm. ^^^ i^#f

Per tra-

Vc^- gio tl

Del wtvo

vai- in« -

ciel vol-

sfc

A,J i

^'^^TT r>U

rr rr f trr

tfI ^S¥iIM

r r T F^ s Sî^Û) ta in e - ter-es) tar- mi xn. ^tan(*) spe- rar tan-

no, 1. Ma tn.

to, .||5:F..i

urt tri- 9t» C ob- 9CU- ro in- £er- ru>

£e- ri- to, 6c non auan- to

(i) Ful

<5) Tri-

e frw.- fitin la-

bu- Ian- (load tebo- ra-cla- ma-

VI.

vi:W)lt-a.

fc. Irt

Spc

T

[In

I I ^ 'i^

V'b CT ^ l« ro

i

ZLT

te do - mi - ne.]

riii;:,jj__u

rrrJ. M

98

96. Canto Carnascialesco (r. 1500)

Per scriptorcs

I J J J j J

r r r f ^

Clu eoe boUe vol

Or- 6u, Or- iu-,

r. rr-r.fp

«lpeidtr,

Vanoaai nifl ch*siamscrio- tu- ri.

eiam. I fecriptu

Vsnaa aa nut -^ -

^imUa Bti nul ch£ ri-.

* it ^.

Pr r'

r

'' r ^r i rr f'

l rr i r

f t "j i>-T-i "ii

''

1

^ T-|.j J

1

CiuAn-to

xa-ccui al-

to

J.

mrccta al-

A

£a- oiiA al- tti »trt- oW- ' T^

rrfftcn.- pttc -

^i^rt.

ri.

a. Oh dulce

97. Millan (Late 15 th Century)

Villancico

'^^.tW'^km^M

99

I>»eaf)o

98. Juan Encina (1469-f. 1530)

a. Congoxa mas

>I>A.

Villancico

Fiwe

c ' 'f' i r F PF^ fe*

/aB,

5.EC vfffi.jna-

rr r r v

J J- fj j^

cu>- aa V

1 /ur-acil- ti-1'

^"W

—

tir

J>a capo al fUte

b. Pues que jamas \'ilhiancico

X.'(W& due

.o^^wTr j^_^ .^^UJ-

tna - r<JS,Qu< Ml* darmtf gaUrdon, No di-ra

LlA^- lardntca-L raifln^ ^ wmf F^ p^^ F p^¥^^

Rne B

Pa capo al Fine

100

c. Mas \ale trocar

A.

^

m^

^^nj^^^^vt- le trocar Pla-car por ocUires

lores

J.'

rr^^'^

Qu'gs-tar sin a-

Fine 3.

re*.

^^^^^

^

Villancico

P»capoalKn«

j£ ^ ^ A'

99. Two Lute Ricercars (c. 1500)

a. Tastar dc cordc con il riccrcar dictro Joanambrosio Dalza

b. Riccrcar Francesco Spinaccino

100. Arnolt Schlick (d. after 15 17)

Salve Regina Organ hymn

9 • •-'. * • • • m^ £!!»•' • ^ m •-

Sal- ve, tte- ql- -na, mater ma.- ee-ri -an--4i- ae.

/ .,i

Mi ij|

jj'^YtoVp 3 J ^ » _ • d ^^ ii

JjJjJi J.njj,

t>^

f^H-T^J n J J . pg .^^

lOI

I*—i^-^^

I02.. Two DancesF. de la Torre (c. i^oo)

^ 1,. r H 1' p»

b. Spiinyoler Tancz Hans Week (f. 1510}

fej .J rm

rf>j jjltij

I04- French Pavane (1530)

For Harpsichord

'J'jjjjj^irnn i g

^T

^^ niii:inu i i js^m i I flj

j

^>^Q;^J7n

a ^iji i ii:^->r r r r i r ^^

Dj -IffQjj-^Tfag

iii^=^=*¥f

if J73J -I?

nr fr r

106

105- Hans Neusicdler (1508-1563)

a. Hoftanz Lute dance

m_Eirf^^mmi^mi ^^-\fi

Iteg^

in^im^

Dcr Hujif 4»£f

V *l >{ V »^w^^5|i^§

^^^

« #

p^^y^

pp^prMiii^\^ mp^i[mf^f^\

.'I u 1 p r M' ^T F ^m mw^^m^

^1 rrmi • • •

i'l l|[

'

f fi

f U Ml

107

b. Der Juden Tanz Lute dance

m i^ ^ i

SjitfJ=rj

Hupf au£f

mm p>p

ittml

*F

i^t^

1 06. Antoine de Fevin (i437-r.i5 15)

Missa Mentt tota

»nt- a- re-

m ^ pjj jin 1

.

1 J

rrTrJ

J.J, ;

^ m -f-n tlTTTr

- .i

r=f=

s ij JWi;vr|-^nr r c.f |r-^^^rjr r f i

r p i .LJi-e fF

108

I. ^- <)ui tolsas

mv- se rere «o-

r*t Cjr t^Cf f^LT mi - s« - re - re

K>J', ^;3 Jj

w. 1.

^ J *Ji^J^

A-g«usDe-t,I J=g^ 5=J: uwIJffT rrrr

p rJ4- flrius

A- onus B»-nu6 Be- ''11 iiJr r i r r

J J J Jtt^^ ^

A-anw» Se-

^r

,^vj' ^

i

'^ J^^S i^ S=

ui tol- lis

^ ^.^V

ûi tol-tvspec- ca-

r fêc-taw

wur

I

tnuti

p r Hrr

r3' 11^^^

cjultoUUd pecca- ta inun- dt

f^^ J J i JJ J i J JiJ ± i^$

iAU44J-JH^ffrrr

1

f^ ni J

rrr in^ rrr rrf

m ii ^ hHmi\I

'

r f i

r r'r n^~^rdo- na no -bis pa

Do- na. nobis pa- cam.

107. Clement Janequin (1485 -c 1560)

Program chanson

^^Ôr »MS, or 5U<> vom* dor-nuz tr«p,'OM* dor-nuz tr«p, ^ ' Ma cU.- tnat^-U

109

tt gat, U C6t tour, to ves sus, E- seou.,

~«f;^ i«7 «»t U. asttour, te-ws sm9, E - 9c«u., « - scou..

«- scou-itx t'a.- tou- et- tc, <t- Acou., a- aeon, a- »cou., -ftcou-ie I'a-Uiu-ct- te, e-

«- scOH-tctVi-lou-'et-

ecou- taz L'a- tou- et- t«. Pc- H- ia, pc-ti- tc,

•

^ <fue <lit Pieu, qtte-

la - lou-et-te,

l'a. - tou- dc -

m ^^ ^^r r r ^ p

0- »cou- bzz.

^1^''^

tax te,

P«-ti- t«, fe-

tl <it iour, it

aitWeuJli (fet ioiiju <*t

^K tl est tour, tt est tout*- •

§ ^^ ^ Pa- ti

tl«»t iour, tl

.

it est^

^^ue t» iiitl>i«u,j«-ti-tc, ty, f«-r«-li-reU ti, f«-r«-li-r« U

Pf^^tour, <)Ue t» iitl>i<m,j«-ti-i«, ty, f«-r«-li-reU ti, i«-r«-li-r« It

^wur,

i-

i i

ty, pi, ii, ia-ra- U

i

p«-tv-te,- •

JI

i i"y-^

P p r;[; p F^ > '' ^ rpp i

p p p P p ppp^ ^ ^t(^ueiit Steu, qv tl est iour,

:J Jc^ P P- P P P^p« - tt - te

, |>e -

J ^ ^ i

o-frt urut* •ii tc, ty, it

Steu,

T^^-^^ji'j^j'

=p^=^^

^P r P c P Pqtte te ditpieu,- •

iP P P P f-^Tf

Oye- t^, - tcj

i fej=a^|>e- ti- tc, p» - tt-^ te, Li- re

"\P P^PPPy F P r p p f-

^''P pT F p

ii ^r^^rrf^tt est tour'

'

^«- it-t«,--

tl est tour-- •

ye- ti- ^,

tl est tour-- •. I,

|7«- ti

no

U- re, li-ra, It-

1'^¥=

re, U- tw,

^ J. J>

? ^

:^'^=^. >^

ran, ia-ra-\v-ra Iv *\.-\i piU- r* - ly, £,

iffi):

f- p r ' T^?'

£

J,

h;-

J.

T^ u-

^^ty £«-ra- U-«wM h N

i l.i; i ;. L=^Li- ly, f«-re-U-re u- ti- ty -pi-

^ A ti, K, ty, pv, ty r« Iv row.. QucditPigu • Qu'on <u-«

£ft-re- li- re ly- •

Que mP' i P P P K-"DioM. •

j^r i' ^

H-lv pv-ty.

^ X,/rre, It - royi' Qu'cnttu-e

ce faul.ir la-lau*- II TIC vault-

oe faulria-toutf

e, tti.-

ye U*br»-ya d'uiu vteuhr yen- d>4.(Lxt wi^ i«r- cha',P«»-«t-^tie-ti, BA-ttv^ £«•- y^^ du'tt »»it bru- sU, flw'tt s«it bi4-

/-.»'

Ptn

It Mt t«ur, il Ml wmyi)

^utn, M*-rault, Uur-

^

cho-re. It-re U-chim,(hiit,<tt«<:,ctwc,flDc,fUK:,che- re-ly It-chtmfm. c*uj-r«, tt- re, lt-Aiin,chm, dtcc, choc, £U>c,

:)Pt)^n^^^^^l^tl l»^^lJ l fll^fl^^^^ ^—'^

if lit ^«m[)9, faifiy*

dm, Umr- iaiit, TV

^

Hou,

1 J ^J

~wu, hou, ^'U est

a'al-i^r t>^-^, Fait,

tin, Pc- t»Hi, Ny-4ult,

^ ^ ^ ^ ^J

Utt, te ta- Uwe-

J.

fart-ta.- ri-la- twrt

Ny- ^auUr, Be-

i U

flac.ehe-re ly U- chtm, fi-de- ly, fC-<le-ly> o-cy, o/ . . Ik. ^_ ^ ^^ '

4>-'

iu- «,

Qw'vl 60it U - e, Tre»- WenJ»a- i^, Ser- re, treuS- W, Fort ^«r- ro

ca vtl- t^in. cor- tiM., CO- <)M..

r irr r,

itwnt- ^M.'a Muf- £re, fluant a «a £emin« on s'rf- fre ' De U bai- s«r,'r« ^- co-

dir. Ouc-un »n-tr»-W.nir, Par- Icr a sonpUi- mr, veU-Ur_ct__aor- nun Cro - .[mr k pUi- Ur. 0«, aul- 1«-

l«r, ID« t'anv- bras- ier, lEt W- vcr- ier, 'Qi« cha - cun fa- 'ce i^ ^Ui - Jtr. iv aul-

itient va ten imou- rir, num.- n'r, ott aul- tr«- -ment- va t'en. nwu-

ment f«rv va tnou - Vtr, mow. - rtr, OM. aul - tre - ment va t'c«i

1 08. Thomas Stoltzer {c. 1480-15x6)

Christ ist erstanden German hvmn

Christ tst «r- ttan- I <Ien Voti f^vuit Mar - tar al-

soUen »Wr laU lu flwh setn, Clhrist will

112

^ aolUn xxfiv al- U £roh smnt Girist- wtll un- s*r Trtjst" d^in, Christ will un- &crTr<>&t' sain.

fun - sei-

62m

.^^wcsv Imih,

^

'at

sain,

id^-mEH^

J

r

&teeing

ChmfrwtU

^3iA»v- set

•J J:

Tw«l-

* ^vltrs«tn.

o ^un- s«r Tr»»f ecin, Christ-will un- Mr Trofit- 4«n,

l^y- W- e- Itfi- son

^^.:i?''W?

P0^^.son.

son.

Ky-

sorv.

log. Ludwig Senfl {c. 1490-c. 1550)

Salutatio prima

bMm

mi J^T rjLJ iii-

ro lactUm.fionsfri-le' ta-l ^t»,

etum, fbns t|i-- Si- **-_ fp"* T^ ri''£on& pt-«-u ' m^^ tie

r Nr r Ifbum £t- ctunv. fims -pi- e- ta- tis.

H3

no. Ludwig Senfl

Da Jakob nu das Klcid ansah

m^mOU wildanTitr han ihn z«rrts

ntn zar- bis- &an. 0-

ts- 6cn, inn zsr-ris- 6en,una—

un< i<zinrrrtrr

in Ite-nam He- bar Sehn, wer will mick %Al'

!i -4

P^^^^: &«ph, mat.

f r rUbr will mtdt

t J J J -

Sohn, '

>U- t<n.

ain Itaiie^ bar Sohn,

tan, wcr tvvU mi<4t>U-^^^num lic-lwr

33;^r

iten tr(5 - eWn nun^

,75^Sohn, uârunll mtdt Al^

trd-

i'

P^P^Prten. M- jttfn

6t«n

wertifillmuh M- tin ir- £1"iWan 'nuni

"n: » —r ^nurt ^ Dirtit

nun f

^?

Idii/orLu.-'

n ichvor L«i-Sf

U^^mu.

.c;r [u

?de tnu*5

dainu»$ ar-

Drnn icK vor C<t- cU mu69 erstar-i>«n

f-E^S; psi^^p"

u|n<lde muM«r-»teri r^ I _ ^S^ I

<i* mu»» «r-»t«r- l«n Um

urui tnuirm^h- renvonoia- ,^^

b<2n Una traung LaU-ZjZltr.rcn j^

von

^

r;i TlsUr- ^^5r=^

-toî^(Un, duz- UJ 64^ Er

r * fden,

1 r /

triung £ah -

nd traurtf^ - ren von

frrfJ J*^ J I,

I''

âw - »«r '

ran i von

on<ii<- _^ (km

1^-

Er- ffeîlj^^:

*«r £r- <I«ri, vorv duller Er - <l«rt, uni haurid £ah- rcn won di«- ' s^r Er- '

dan, dit- taj scr Er- a<n.

dan.

114

I I [. Two Settings of a German Chorale

a Alls tieter Not

1 Au4 tic-iir Not trhrei ich iit iir. H<m-6(rtt«r- fwr main^ 1 Pciii oni - dio Oil- r*in.

, ,

Utfhr zm. ntir und main^r B^ si*?

t

ti«-jEizr1. .Aus

1. Diui (rfU-.)Is

MJiii__ilNot" schvSi

P

tT#^r

urid mauxer Bitt

dii*, Hcrr

^ ^^<l"i -J 1.,:- _,;„

^|ohann Walter (1496-1570)

so iu-

^^wilt 1I4S

-^^^(if.

'

hatia- han

hen sat, was Sundund Uj

^^^mf

Sund

r^!fe^^

ittst atf- tdtv, war Uiinn,Hen;iur dir

w^

i

firist-o«tan,

iî3tare, wcr Idnn, Hojrr,

uJ«r kiHti, Hcrr, ifjJir d'ir bUl-' "* ban?

b. Aus ticfcr Not Arnold von Bruck- (r. 1500- 15 54)

l.Au» H«- fer Not idinu icK zu- dir, Hair 6ott er- hor m«m Ru-LDcin. 9"^- "lifl Oh - rcn U«hr iu mir, Und »»«i- ««r Bitt iui . af-

fCM..

^' LJc''

i r r ^ itietn'Ru- ^tv, S-hortneut

I

£ztt. Denn eo du. wilt ias &<

IE i S^^ P

H«rr 6ottar- hor 1

yutn an, UUs i Sundund U»- mcKtin, W4&I

kind.

^ tî^^len iut,

wiU- das

t Un- roclUx Im li

^

du. Wt iVbs

-1an.

5und. und

i t

ocht"

PiiPjTy- Y

^tT t^

^•JnXr

'

^ r^ ^ » t ni I r r I r r n

dn, lUa6 Sundund Un- tWUr t»tîon.

I- tan., Wcr kann, Heir, fur dir bUi b<at^

r ^ r ' I rx' Vfer Wann Herr, fur

112.. John Taverner (c. 1495-1545)

a. The Western Wynde

|o-ir pipJ'Jr îJ.'^JJij.-iJ^h^g^rpiJjJ^J- j'uJJji J. r

p i p-pr^ i ^-^^JuJ Jj

b. Benedictus Mass The Western Wynde

"5

Oyj JlJ J

ttuJ- Unt efiri- »U

.. tau- <la5«m.- in0-U«ttr dtrt-«tC-A- itv Chrt-

etu» in- ti«-cenAChrt*(u*in--J-nihi^ :j2J ^

ce«t6

i=^Chri- etu» in- tw-^^ j^ ihSP

da-wit o- vek'C^lfiaiui 'in" ' * • no.

fttus&if- «o-ct*?F^ ^

con-c

^^ £^. vj ,Chr«l«tu« m.- tw-

^

- tU>- CSMftWH5Chrifit«tS

Chit- 6tu»in.- tw-

îî i

m-n0c«n«paC0M6 _ |»

^trt tw- con-

trl IV-

mûII- A-

con- rt.- '

vit- pec-:»

-1—1^3*

^d«-mtt 0- vee,

Chrt- itu» in-

Chri-itus in-

i^>^

neotni

=i2^-J

cen& fw-

T^l' vitrvaxatv-U-la

III ioi- to-

^^^ sp^f:f=Chrt- 6tu«m- -nocsns Chrt'etue

^^^^înno- cons Otri-etus mtv-cene

Chri- etud in-n^-cand pa- trt re-can-ct-U-a- vttâc- ca- to t«,«"«»

vt- ii du-alle con-fli-ifc-

^s*- ^^^ ^

Mam at n- ta, dit-jol-

et vv- tadu-cl- la cott- fit.- «e- iw mt-iwt- d0,

Ol- t« Cfftt- . aflI

Ut-

I, du-el- lo

fJ

—

u J=Ucan- i\l-*e-

kIV nit*' 'MM.-

"7

vl- taa wor- tu- ua, ra- 9>ut vv-vus,dtix

du» vi - ta mar- t"- "».

iae mor- tu- u6, <lu« tacinor- tu-u» r«- ^nat ' anatvt- vu6.

du* vt- taemor- tu- ms, rc-artat" vi-

Supcr Humina

114. Nikolaus Gombert (d. c. 1560)

Su- V""* flwmina Ba-K- U>- nis, Ba- bi- lo- n\.».

Motet

II- ticsit-

dum re-cor- ii- re- tnur, dutn rc-«r- da- iW- mur, ra- cor-da-iv-

iu.. i, Sy- on.. In 6a- U-ct-bu» m mc-di- o a- ius

orv, r tu- i 6y- tf In. sa.- U-cibuft

lU

in sati- ctbus,in ma-di- o e- ius

bus in me-di- o a-

m itic-dt,- o c- tus

11 r f Jt\i ( (

-^

lus,

! - di - o e- ius,

i

tneat-0 «-

medi-o

^ m i

vti &A-il- ci- bud in ttttfdi -o e- tus

mfU:i}iif¥rHrio-atri.

.,

-I

-'

- ' !!•;6u- iyan- di- mws <f- ga- na no stna, 6u- spendt mus or-aana »u>- stra.

Qwt- a it- Kc, (ûi-- a. vU tic in- jer-ro-ija-verufit -no^,.

in-ferro-ga-va-

1

^^ > ,I

s

liSi a r^qui. ca- pti-viTSdit-xwruntTios,

g^ ^ I^ î!^^ iMOS, tirro-oi-ve -

r P r r

mnt Tii>».aui ca-ptt VOS iu-

1"p'i

*'*" runt -nos,

sduw-a it'

i.rv-

tic vntarro-

J J J J

r ^r. r f i ^"

* r.dui- 4 il- lie, out-

r_a il- lie m t«r- ro-

^^^ ca- -pti- vg& du-ygrunt i-ws,

ja-vc- ruHt nos, I

aui ca-

—out ca - i^li-

vflr- ba cait-ti-o-

i^^?^?=

du-

J J . J

mmptl - VOS

runt ^ nos

S

^^d«-v«runt

^^ ^^^f^ r^=^-i^,-^

v«r- baJ J

v«r- ba

can-ti-0|-

^^ ^^^^^^

f r. f•num, I

Da it^var- ba

vcr- ba

v<?» du-KVrutit tto»,

^ . tium

v«r- t>4. canti- o- tium,

î-v^f^t^^^wer- bd. canti- u- num.^^ ^^ P^^f^^

canti,- Or

canti- o-

can-ti-o -

J V ^

^

—

rl ru^^vet— ba

Et iîab-du-

num.,

^ J-

.cj

fcinunv. Et

^^ ^. Et qui ab- di4

ver- ba can- tt-o- num.

v«- runt tios

r Eti]-ui ab- Ju- »"cmnt noi,

AiivûmiT

|I

I

. 1.^^^^J^^^ 4^

hytn-num can

rT^^T-Hym-j»tum can- ta - ta

nos:

î -

ct qui al^- di^-

r r fr

F^runtnos,

, .,| -,..,ct quv ab-

rdu-Vt:-rt4Mt

• » : -:»••:.. • • • ••

Et qtiv ab-<lu- ica-runt nos:

nobis,

I

hy)ti

119

is-ia no- b«* da can-ti-cia Sy- o*v,C<U catt-tt-e^ 5y- owj

a- U- a- na..

115. Adrian Wilkert

Ricercar For Instruments

T=r r

f^'j^Jh -

I I

-

I

g

^ iJi- ji^^S ¥^

120

1 1 6. Girolamo Cavazzoni (h. c. 15 15)

Liccrcar

Jr \.n r -.

r^ ^rr '

r' I f^frff^

122

j^ikmi

W^117. Girolamo Cavazzoni

Missa Apostolorum (Cunctipotcns) Organ Mass

CHyri« primu5 »iv-ru « le-i-son..

Christe« ' » » *» '« * '. --^-»»«'-»'-». .«.. «=

Chri-lU <- l«-i-«m..

I^J

Chine quaitu5 •kJ.

ft Z'"*«'

> »'*,-*Tr' ' "•'-^^ • ^

tc-i-aon..

6t in terra paxCt in. t«r-r* pa* Ho- mi- nl-bua botu« volun-ta-ti«.

ie ^^^^S^* ^^

s±^ J-JH ;i^ nPpr

^ i U J J |.l. JIS

B fr-^ra a fr pnrrJi^"4^r rr I

f pr ^^ jj i^FP^^^f^mlA^

T^'W^^

Bcncdicimus tc ^zS*^:.:..!^^-fu- cLl-ct-mus te

i ^^ iTTirir:Pw^ ffi^ ffff^ S^ » fi^ tH i-

r'^ '

r r rr'-f r^ r

Slorificamus tc ''eil-ri-fi- ca-mJs u

.

124

^OVlinC VCIXSfK£X Oomi n*0«-u», B««a>«.U-*ti«P«- ufi Pa- t«rom-ni.- po- ten

i ii -m^P^ irr^^

^mmLir} j- am j=

g^:X3S ^ JTJJ^ ii

J- j J ^JjjiP P^^^ P P

Dotninc Dens,AgHus Det ^dii'^ ;/ «, A-gnu. d«. ; , n- u- u. pa- tru

''•^li.r.lr fi^l^l

^J J. i ly iHH^SSJ.#i vn Ji J

. J^^rr Ifr

i_iij&UI' r'r r r

p ^1^> rrTj ..

* • • * •^ • •

dtlOTLL^tn Ctuo-ni- am. tu. doLus ganctus

^^ 7u solus altissimus t' mi« Awurt muspe- du Chri- «te.^ ^ip^S^^^t* ssfHUT

f N PP1^P^¥*fWtf^^tfg4^^.W^

^-iF^

^©5^^& Amen• J_m±^^

kjr^#

^jm^ i

I*i.? »W ^^5i!

£ffi M 31^

''

r r r ^^:^^T^f7^T^^H^^Wff

1 1 8. Girolamo Cav^izzoni

F.iltc d'ariicns Or

r^^ J J J- J

126

*=?rr

i i^^^^rrf^^7^ *S5 3

«rr?Wss PT r=Tr r

4V t—1—i :=:g^

ixo. John Redford (1485-1 545)

a. Veni redcmptor Organ hymn

Ve- nl re-iemptor OBn-tt-unv, o»- ten-dc par-tum vir- gi- nis, mi- re-tur om- ne se-cu-lum.ta-Via <U-cet par- tua de-um.

Ir t rj'^n"rr ?'-g t rT7

b. Lucem tuam Organ hymn

f^m r^frrr

XT IT

rri rrrf i.'

i' o m^ i ri rrTrrrJ

o —

fffr

^

rB «- iJp J=

Ff f ^

128

Fantasia

1 2.1. Luis de Milan (fl. 1535)For Lute

(lA^^g J1

12-2.. Luis de Narvaez (fl. 1538)Difcrcncias sobni O Gloriosa Dominu Variations for Lute

Prvmcra ii-ferettcl*

^^ ^^^ m mw TTT')--t hrrrr m^ ;j:^tfjr|fj];7:^ ff^^

r«*m ^

m x^rf^^M \r

i,J

^Ji:

r ^^^^ i

fe[Deedtf acaui. ds final

mtirnMvJrft'

Lcqut ds Itnat

fpr^f rri r E i.

*?=

iif^

^ ^P 3i w ^ ^^p pp^p^^"TTT

Pp =tF=Si-

f^

r^M kftf^tar

«iFe=

P f^

^ ^JSE-J J h^f ^.Ji'j. J- fszi^_ .1. jj..pm

rr r r iXcr [rrV ^ff^^g ^ p p ^^^ ^

^Tcrcera. difcrcncia a duo. A •« dtlevar ntuy aprlcAO. el cotnpas ^rara. <fti4Z -paraeca kt«n

P i ^^ f^ ^ ^

rrrrlrrr/rrf |fr ^f|,.^ ^r:n-|r^ jr;rr^^ffd

130

Quartii diicrencvx Ac proporcvori.

/7\ Qu.in.ia. dtfercncta.. El canto llano -por iiyle.

[

' ^ -^

ji>'^ fj ^ i

rE^^ m^^ ^•t.J*'^'^!

5EmmA ir^^r""'r ^ i r^r rr^ p

»^-tf iiES i i

wr^ M^fe^^dl

=33^533r

MI

Deftdtf acqu.1 cs final Se»ta dvêrenCLa- El canto llano -por tenor.

m u i^^

ii i *i^ ^ i5i=U^w frfr fTf F rfff^rr r rrr'r rrrfc =e=to

P i^

^ J.J-J- >J S ^ ^#^=^ i^ ^ îit^/Timrf r rf^^ rrcj r"TT ^=MfTT

m ^ iP ^ P^

113. Miguel de Fuenllana (fl. 1554)Piiseabase el rey

Voictf

Lute song

J |

J iJ i=iiLufra

Ps- 9c- i- to- s* t-l tiey

nrinr i LT^^J i

i' ^î|'i'î,"i,?',i,'^î^ ij'

ii\rf il^ ii!aj

i=F ?=^fettno- ro la dad d« dra- 'm da.

^^; i ^rLîtii^. i

'^^^ î;^;sfe^f^^TT r

^^ J~U~rT'r-E ^ ^ m

Ay!Cb-mo At- tia- tna a- va qa- na- da. Ay

J I I

,J-

Al- lu-

-K>-j j~3 i J J i-i j 1^ ^ i-^j J i'

^jg?rJ--i- . i j J i J .. I.J ^^ j =

132

tria! Co-mo A\-ha- ma. a- va ja- wa- da.'^V '^^' ha-

114. Anriquez de Valderravano (fl. 1547)

Diferencias sobre Guardame las vacas Variations tor Lute

1.^ s m^ Mi s m imw i^—

p

£i nrg ir ^rrcr ^ ff^^ ^fe^^i^ ^f^^ ^^ ^^^ ^^ ^ ^ JjTiTJJJ ^^ ^

^ 1

.Lj^rr r^ T^rr

fr If ^^ rrrr fi rj.^JUJ^rli' r rrfr ^

r r rir r r

3.^^ ^ aJ=n6 mjj'j ^ ^ p<>-^_^trr-r^^^^ g^-^^^^ rjjyj^rJlr-cjrr^ ^^

^ ^^ ^^ ^ ^^m

rrr r7^r urni'r rrr

fe £f^% IZ MWTTY^s^ ^r

iU^^

rAJ

12-5- Clemens Non Papa (c. 1510-r. 1555)

Vox in Rama Motet

Vor Ra. - ma au-di-ta

ra- tu« at vt- tit- la-^^

tut. 114'- chel ^U>- rans, Kn-diirans, Rn-dwl

134

suntjdui-^ tiMt Sunt, tto-lu-Ct^ cott-sc- lasc-la ri, out- a tiotv sunt.

116. Two Settings of Psalm 35

a. Debii contre mes debateurs Claude Goudimel (c. 1505-1571)

Pa- bo. con.- tre mes dc- \M-icun,

I)b - bx a>n-\ tre mcs ic -

r«- baconba - tcuvd,

Com- ba-, Seignaitr, nuts com-ba - tgura. »i bpuclwret"

Com I'J, ScijnjuiiBws

com-b4-teur6.<ii> - ba -t£urft&n ba

,

icianaurma

D«- ba om-intmasila-ba-teurs, Gm.- ba,5«i^tt«u-,)«s comba-t«urs, &«.- poi-jtwnuivboH-aiiritlan- ot, Eit ^wur me

U«- cc, Et ^uriiw5«-a»u-rirt'«-««ii-- c«. CHar- ge Us, gt itxardtfau

d

f *y*^' ^'"

ba-teursEm

Em-iMi<ne

;vt^«< moi. bou< clierct lan-ea,

ct lan-

cou-rw ta-wan- CCf ^ ivur ttw &e-cou-rvr ta- van

^. <i« le« d'al - Ur plus a- vant, Di. a, tnon a- me,a' me le £«u6

CKar-oe tes, ettnarcheaude-vant'

C«- tui. qui ga- >vn- ttr tg f^ii*.

135

b. Deba centre mes debateurs Claude le Jeune (1518-1600)

tra met de-h»-tcun,T<t-bacen- tra mc» <lc- t>a- ieuiv, ^Mn-, b», Sei-

lur me 6c-ccu-Em.- vox - ar\a max bou'dUr, 'et Un- |ce |6* ^)om

^ ' r ;—1»—I—

y

6iir- dc, ^r- dtf

6a.r- <)<J t£a d'al- l«r ]>lua a- v»nV, <i'*l-Ur ylu6 a- want-. Pt j matt am, a man am: A- me ig sius,

n^

ill 6mU Ce,- UtvS'"' 9^" '^"

" ^V"ta ywtg.

A- m* i« »•"» Ci-Wl Qui OS.- i«n- Vir te j»i4i», A- me io £"is C«- liti <ûi â-

12.7. Thomas Tallis (c. 1505-1585)

Audivi vocem

Au- di-- VX, An.- di \»t., aw. - di-

hr tê ruis.

Responsorium

vi, au.-

r'ft "^V K ,

[CUorvis] rSolotsta] y~^

« •- -

—w

—

£ » m •'

[Charus] ^^0- Ic-Min- •• ad- • rit. Gloria Titri, ct Ti- li-o tft 5pt rt - ttc- i San-cto. 0-Ie-um--- ad- ve- tte- Wt,

12.8. Cristobal Morales (r. 1500-1553)

Emendemus in melius Motet

^TipU. E- men- 4*-miits in n^-\y-u^ ifufu ig-np-nin- , ^Ur,<{y3ii ujtwriifi- , tar ftc tnus^ptfc-ca - vt- tnua^^^ua^-

IE- itwn-de- mui in ma -It- us aiaic to- tio- tan- itfrjxc-

pec-

' pecca -VI - mu», fluJw to- iui- rati

TiT'T'^ i isitb- i.-tD,Sub-i-

t - a mor-

138

ai- ,ti-um, sm- ti - um.qtuu-

mor - ti« aijUiiA-ra- mi4»spa-U- uin,atuw-ni-mii«

j\ apa-ti-uiiv p»- nt- tgn-ti-jig . tva.- . .it

nitf epa- tt- um., aua«- Ii m- mus Sfw- ti.

>a-n-, um. vc- nt- wn-ti-«£

•'•-PM- i .n i -h i 1^ten

iin- v« - nt- re , «t

J.i , i

iJ -n J

f6p»-

^rti-

- r--fr.rr.Tie - nt-wn-tt-

PPP^ isi^^^-fmnt - tenUt «t ow tw-'nt-

f^^f

m'Li'j"j—J . 7

spi - ty My went- tent-t«n-tt-

J Jjp«-

d^=^tcn-ttae et

J J J J

in- ve-

J.

lsn-tt-i«,g^^^^^

OUi ^Wf<A

/A_V»-

aa- ra muaspa- tt-unt ^- nt- t«n

re nonfws-«t- mi4t,et icn- i ve-nt- t •ro won pi»- »i. - inu»,^m'•^=^ t^^m^ ^ w=^ m

1^ t j^

rfdi- - tnufi, Irrrf rr I

et tn-var TC et rr^ r r p»-

Me- te- ^^^^^tn - ve- nt - TC twn yffS - ^ ' s'i-inus, tt tn-ve- nt-

A- ten- lie, Do-

smus, -non vob- X' et - mus, no

fcE^

A- t«rt-I de Do-

Imt- ne.Dp- , mt -nc,

^Mfr*^

r^^^^—

r

non=^

pofi n. tW6- 6v-mu5.r ten- de Do- «tt Tie,

at tut- se- I rere, et"---

et mt- &e- «, et mt-s«-

My

mtis H- bl, vcc- ca-

ixg. Costanzo Festa (d. 1545)

Quando ritrovaMadrigal

WW rr^r

r- rr ^ r '^nT r

»««» vcr nttf

ta du-ra,

i^^J ,J J J

son a duel tuo

^Ht 'inch' el- ii 'is-lios-la -it- a, Ma 9« nantan-t,

Ltfau fvrul*

"1

<x>r- oa mai

"L

;

l i';^' |^^ l

^'l

'i^'|'l^'^^'^|' ,',','! ,'i','ii'i'i'i'

140

tuA Vt-

130. lacob Arcadelt {c. 1514-after 1557)

Voi ve n'andat' al cielo Madrigal

Vol ve nan -dat' at cia- lo, oc-cki •Co'l vostn)chtar« lum'a- conmiai^an

^m m^r^j=

^mi F=F^? s

iliini

chl beat' e

1111chiaroWji Jia tl'ati

Voi vc

ma ^- r-n i(i±

san-tt,san- fCCff'l

Colstro chia-ro

^

can-

iitoprimici-cait-

:J=^a^ ^^^ 3=^ ^ san- ti",

^ Jo^Bfv<2 n'andat' al ci«to> oc^Ki

H, co'l--

Co't vostro diia- w 'lu- m'«

ri^=T G>-At • •

^ f.\vr v«-<lraste poi, Quelche-

.ilE^^ ^*"'MCh'aUWv«dr(Ssi« voi.Ouel

WOc- chl serc-nt vet, CKaU.'

-so CO- re. E s'ct vo-siro vc- dcr voi nonw- tc- t«,

i^ ^ s«l wstro v«-

E fi'fI V0-

^lontJO- t«- t«,

J J J>J| J JjH^^ c)te(Lc'ha-v£r un

pot; ' dttclke-l--

bcnptfto

t"

r r r-^r r^

votMon po-

dfrtuinon po-

Zte-

hor vedre-fite pot

6uar-<lat •

jedcri voi nen vo- te-

i^^^W ^ te, duard^t"

3: r*

-ne- t«.

^^ ^^^ ^ m

h'iSiAar-

ridt't»mto en vn vol chiu'T so t»-

^.6uanUt'---

^ ^

t«, 6i4ar

^F^

aat' a

^

mu7 chin

? ^

voi chiur^

so te- te.

tc.

141

131. Cipriano de Rore (1516-iifter 1557)

Da Ic belle comrade Madrigal

Da U bal- lecon-t«,fi-mva in- bf^c-ctal iivtrt t- del iki-o duel îa-Wf m« noiv ta- fe hu- ma-

j « na ttitfw- tg,

r^T '

r r nr r.rr '

r.r''' ' f :"rr

'

f r. Vicrt- rtf, fluan- do 6cn-Hdayp un ^-ifir Ar-dan- tc: 5p«- ran- tH dal mu> cor, del- ca da.- il-

^ ft o,, T«i

I #^^Se-U

•jti'i jrj

.-^ ifechg sa-ra ûi- dv mf sti

?P^ aî

P

a da-

^fff.0, Tin vat,

0.

\\ixv\i, Till

T'ci

^=F i

vai, lui

vai, hap- ^ A <U-o!

Che sa-

i:he«a-m

ra ifui dt m« sou-

ma sow'^ ^^^^^=^ ^^^^71

vat, ha;

l^^ ie:

nai-

— t J-^ 1^^ -

A- aUd '. Ona di

=U: ^^^ ÊE^ ^^^ tf do- lui-

-o

S;Ut«0, Tartval, Wann«! \\M,-

142

Mu. erui.' a- tnar, Mii cvuA' A-*neAQm«en- •

f^^-f

crwl 4- mar ! Ahi nwrlBfitdon

g

^^^^^

1 t>[> r

vol chVin-cm- tl ^- ^;

r.i chan-ior ti- ao-

l_^.iî. Urxiai.

Out t'«-

Ou U-

^â^

iîcnwl a-m £ ^^* £ LV-

P ^m m -±

><«• ciian-cor K ao- <U, Che 't<

l^^^^f^ ^^1^^?

l'c-str»- wioyta-car fi;- wf- te'in fUn- to." N»^

ygttfn- <to <lir fiu-> « ie-srr»- i^^,^N«... m cm- stf-mefitr-

i-i^-4J^

cin- s«-ma£sr- wcin- seme fi>r-ttK- mo pia- matt- to.' N« _E?! tan-doiir ptu^^^ ^ ^ fc^^-jy^

nv- 6C mJ ^ i ^

to." Ne ton- docUr

itw- ten- (l0du

-^4^««-me£9r- to, cm.-

6trc- -mopia-cer £!- ni- si'in pUrt- to" N« yo-to«-<la <Ur ptu, ne-..

^Km- jtuAe £or- w.,

>•« tc, cin.- s<-me&t*- to I-to-ian- atam-ptes-a-)

>. )>fiJ _ JJl^'L-t^ P ^ ^ I-to-ran- (lo gl'am- yUss' in. tan- tt no

i'Jj J J Fi4 • • ,

cin- eame. (or- to

t«, cin- s<-tnc tor-

i-wran-7^

^ ii

am-

r-to-

£.-fi, \ U.ran- ie gt'am-pUs*'

ran- Ja^'am-pcss'

in tanti n0- <li, in^m^^^mtit tanti

tanti tw- di.^ m i ^r

l-ta-r^nse-mc for - to I- to- nan- <lo gl am-

iipUst' in tanti no- it,

J rJ^J'j^^ do...

J J J- ;^ per 'r ;;r ]?'r r r. ^ 'gg r r

'' ^ r f t^^l«n& tor- ttf I-to-rando gl ampUd - si, l-tc-rando fllam-plcss' 'in tan- tt no ai,

di, Che ^- mai ne fer piu, die..

^ Icdr' o l'.a- can- ^^^r^^^rSledr

fer piu. I'edr'

rro la-- can-^

Che... ^-^ Ji/ o. (.4- can-

u.' r f r. T n^Che gia-mai ne £er pin r

I r r' la- can- to,gia-mai ne £cr ytu Wr'

Che---

a- can- t<>.

14.5

132.. Louis Bourgeois (r. 1510-after 15 61)

Qui au conseil Psalm 1

n"a«s- tc.

hctt- remf.

en «»*• ie- et - rcux)

133. Antonio de Gibezon (15 10-1566)

Versos del sexto tono Organ verses

I. Iiplc canto llano

M H H m'

m^ M H h Pl

cSt-'N'l tf> iCT^^"^ —" ^ ^ «= rr ^mffff rrf rr^

^jr=MmAm M ? ^^ «= ^^

i1. Canto llano cont-raLto^ ^ h-jjiyjT}a^ ij- «i

^ s--rr

«?== ^-il» ^ ^=^J^ w ^-&- eiai^-M'rr

'

rs=

i^^y^ iiii

r r r'

r r r r' r rr r

144

3-Tenor ca.nto lia.no

•^prrr'ritfctcfft. ContrabaMO canto Via.no

i ^ ^^^ff ^s rt>

*=iT=^=^ ^-r r~rf rTYJ: fci^t**^ i3t^

f-fi:rr ^§ ^ 5 3*

134. Antonio de Cabezon

Diferencias Cavallcro

(I)

Variations

i^^ i^ 3^ i=^^ 1 ^^ fnrf rT rrrtfY frrr

I

r ij ^ g V I, r r r

^ i^ r^ffis 111'Mla^rTT^

m i==^(2) ^^#=4 M^'£ "nr

U r=^'mU n 'A im

'

iT' rr r

'

r:;^ atfr^E^T'r r

^^pf^

145

jH^jr-J iJ- ^jr^Vîî,

rwT r:^^gpWt^J J lj J J

^— J J^

UM4î44 y -

^W^#i*^^#? i^^M^t ÎZiJ J^ i J ^J-h j iJ^-JSlksa33 JTOj.1 i^M

^w^n^^figr^giffl'g? ^^:j

' i ib^"tJtclj

^

<(,M H. j'li Jj-.Aj.iL Jij-.j;:j.

j—j-tlXTEEa-r Wl^^Fcfi"

•>^. - JJ, ^ ^

^ J J J . :

135. Andrea Gabrieli (15 10-1586)

Intonazione settimo tono Organ prelude

,^^ps

JP^£a£0 i [£aiâ'^&&:^J^?]]^-^

*

146

$

Ricercare del ii' tono'

#

136. Andrea Gabrieli

m: I J


« nu ,.Bj*E

P^^^r- ^LiTf r

iJ J i ,.rjjij

i J i w ?p^ F^^r ' ' vf

'47

TIT],

J

^jLg!!

137. Claude Gervaise (fl. 1550)

Three Dances

l3a&&e d»n6e La Vbluntc

For Instruments

tt. S 1 *

S.Altamanele

S^^fii ^m^^^

ijrr

i^i^l' ; II''I ^i^lf^

J ^PPi^ iin

W^^rr

rriijTn^^ rr

rr

r TTjJ ij j j Ji j j#m^M rT^J^ i JJJ^.J 'm^^^

tt iui^^f^^ '' ^'i'

r f

D'unc coline

138. Claude le Jeune (15x8-1600)

J J J ,J J J J I J J J I I ,. J I IJ

Dtt-ne CO- U-ttimy prou-tntf-ttaitt

TailU

^ Ji^^ J J J

Par ta ptu vcrf et {>lu oay- e sai-zon

J ^- ^^Ji i j a ^Quandiou-tcdio- 6« rid au. dtams,

^^ ^^''^

^

grr^^.^^-^^^^|

H^^|l| 'i i

'

i' Mi ^ :^^^ 'm^ n^« ta voy <U loin,u.- ne RS- z« ver-mait- Ic-te Qi**i toH-te £leu-re-ta da flour de b«au- ta Pas- sa <le Kait loin.

ij i^ j i

jjjjlfi^ j iJ -^^ ^^P

Efr ie I'ai-- ma fort, le la. veu. cuait-lir,

i_J J J, J J

et la main i y tens, Maid Lad cast: £n vaixt.

tlcp^fta a 5*

Deasus ^ ^^L-U^ ij J»J , CJ

>^r r f * ^=^'<rr r r^^ s

f=

le la veu cutl-Ur,

1^^rEt j« I'ai- nte fort,ge ta voy <I« loin, Et La main j y tens, Mais las c'est en vain.

iaut Contra

TatUa

J J J ^j

. J |J J iii jg j: i i J iJ ;:5i J ^ ^

^ '^rr r f*F^^fT f r['

Bafi«<(iintra

'49

139- Francisco Guerrero (i 52.8-1 599)

Salve ReginaCantortfs

Vt-

Antiphon B.M.V.

ta, dul-co- io,

Sal- v«, R«-gi- wa, inatar«tt-g«iri-cor<lt- ae

Xa, duX.- CO.- do, gt apes ru?- stra, »al-

tifl- stra.eal- v«,

ve «t apes tio-atra aal-vc, et *p«6 tio- stra., sal- v«. Ad. tc-

pfr^^nT^^^rr^rrrrtrrrr rtr^r

>

«pes nostra, $ial- ve, et sped dtra.saUstra, sal-

tna-ela- ma-

st" spes no- stfajsal- vc.

eta- ma-Cantorcs.

,44. te da- ma- tfv-su- les, £t-U-i He- vac mus,

ge-men.- t<s et

su-spt- »a- -mud, ad te su- spt.-»a tft- nentes,

tes henW!

in

m hac la- ccry-

hac

la- crymarum val-

r^'j'ij7 J J I .J.

u.

r cry-^1

T.

merr

hac,

m^sm i ^itia- t'um,

ta- cry-

^ 1 ij^^rum val-

ila ci^-ma- mm' val- ' itm^^u^ ?^M p«v—

r

m haci in hac in hac lacry-

150

ta- crymaruir

fr^ it^ 'J J,

nvi- rum, tn hjc U- try-ma- rwtn val- Ic. E- ia cr-ou, Advoca- ta nostra illos tu.- OS mis<?l"u:or- das o-

Et jc- SHin, ct- p^ ^(i- +- ^

- cium Vtfrf- tris tu- w.

dtum vtfrt-

ven. - trts

. trifi tM.- frtt- ctum-ven. tvis tu- t.,

151

VIL Late Sixteenth Century

140. Giovanni Palestrina (i 52.5-1594)

Agnus Dei IMissa Papae Marcelli

re no-

152

se-rere no- se- re.- re.

141. Giovanni Palestrina

Sicut cervus Motet

. TVinui Pais. Sic- ut- • •

'53

De- Si- ti- Vit-

us,ad te 0c-

-

jj\ Vum.,Vt. dvtan- do va- ttl-am ct" ap- pare

c<7, (]uai

:^bo, quando-

do va-

^^

^^fTTram ct Ap-pa-»p - t»-r«

iiir

f r' tr. r

IOMan-'do vc-m-an juan- do

ffi?()uai ve- nv-amct ap-|)a-

^^an-te fa- ciem. I>e^m$^m

I, anie fa- ciem. Pc^ Fita - runtSP^

ru - emttrr^^TT

an-te fa-

Jatv-tc

r>:, J- pV-•j=it

f), cv-em. anak - te - mi- hi

,M-^FU-

an-te la- cwnt Dc- t''

seu- crunt tni-

ncsdt-c ac rto- cta,<ium- di--

hi ta.- cry- -mac

ct-turmi-hi quo-ti- dt-«: bi cat Dc- us ttt-

ct-tur.

tur

^ » J- i>J W^^^r

f- r r.hi. qu« ti - dt -

i J J4

I'

W est- Dc- iis

-^^J J J

|tnv-

I 'J

luoti. - dt(JUT

^m i^^u- tC- 'us

i:

U6, Uh

i

tu-

^f r r i r r pf ir r r rMO-U- dt- C: U- bt est Pc- vfe iU-ikspffi=?;

citur wi - hi avo-ti-di- e qv(0 i!i6 P«u& tu-u«,

dum--

M6i

154

Alia riv.i del Tcbro

142.. Giovanni Palcstrina

Al- la ri - va. del T<t- bro

Madrigal

jto- va.--M«t- to vid.'^au>- va-j-Mct- to

n«t- to rul' io. fli"

ato- va-n«t- to Vid io, go pa-

i'o, vj-qo pa- 6tor,^MvicL' io

va-«ct-

see- ra,

W^to tfuL' to, va- 00 pa- sto-

J ^ J J

itor, va- 00 pa-stO' ra ^io- va- -nat- to vid' to va- go pa- sto-ve,

^^^=^=F=f

star, gto -

IV, aio- va

>, J J^va-n«t

n«t - to «id'

to- va-nct- to vid io

to vuiio va-

4

r9i°'

to, va-

ra*p

o pa- sto-

go pa-»to-

f==f

rere, tturt

^=i.Ef^

va- 00 pa- sto- re, •mandartai

mandar tav vo- d £ua-^2^«^ re: 5a- zia-ti, sa- 2ta-tt.,o

fooSa- xL^^ sa- zia-tt,o ci-M- da De-

em- da Da- a, delta mia a-c0r-ttae tv

S ^ i^^ a, «ia dJr tion ptto - te mcr- te,

PPi^ ^^^ ±E^P^rre-

r-rrdir «0n pvto- 7 P"^^

*« ittor-

ma dtr mom

rr rTtc.fhit

Pfeti

a,

D«- a,rdel- ta miai-oer- bae

delta, mia a - cer- ba "^^ yrc^'-T M^ ±pwote iMor-

^^^ n\M,i JJ

del- la mtaa; ma dtr mom puo- Iti

:l- latmaa-eer- ba cMOM puo- Ite mor- ttf

ch'tt dttot t'an-et. AHi mi- 6C- va-btt

* ch tl duol I'an- ii - fs«, \v4hi mi -

1f.

ra-btt sor- ia,\

se-ra-bil »or- t«!

155

143- Orlando di Lasso (1532.-1594)

Introit: Requiem aeternam Missa Pro defunctis

t«r- nam, aa- ttr- fcr-nsnvac- it.r-

'M J J. i

lux, at Uuf p«r- f«.- tw-

3 ^^ ^^^ 1Imv per- ^-ts D<j- -mi - tuf, e^t

PTi"f r«- is^ ts

Do-^^^•mi - rui, ct

nc, etr

L ns^m

lux,

lux t^ ^^^lux.

^ ' r r rw

i1 t« :l^ 1 tj J=2

f Do- miv |tlCF^^

^ie-tu- a,na e •par-

«t^ lux per lu- ce- at *- v«, lu-

156

ce--at «•- l&. To. iccat Hytnnu5 Dcvti in 5ion.

rwl- "i*- tui" aa - tcni ex- ; US o-

rTTf=

ra-tt- o~ twin «i*z vc- -nl- ct.

nam tnc-

144. Orlando di Lasso

Penitential Psalm III, v. i, 10, io

1.

^ .C Do- mi- nc, •n« irv fw,- ro- r« j^ tu- o,

ai*- OjUrii me,

157

vk-as me.

au.- A* in«: tw- ^iM in i.-ii» n«- <)u« cor-ri- •pt-

«t tpSUttt tioix ttte- cum.

vi.- vunt, et con-fir-ma- H si/rt

tn- 't-- tjiiJci lau- iam tUz-H vi vunt, et cimfir-ma- Iti suwrit

mtifr mc in-

158

145- Orlando di Lasso

a. Bon jour, man cocur Chanson

J J J.,jj?j J

<y»-

b. Bon jour, mon coeur Keyboard arrangement by Peter Philips (f. 1560 — after 1633)

't^" —

146. Madrigal with Parody Mass

a. Cam hi vita (Madrigal) Jacob van Werth (15^6-1596)

Ca - ra la vi-ta wiv- a, Ejt' e j>ur v«-«» cH'altra ftam- itia, d'a- mor, ch'al- tri fiamnuid'anuirtwtv

vWtlp«t-t» in tan-to tern- w **

ietn- t>o k ' tUrtfat'fc fie- To,

cH'il - tra fum itu d'amor tion vareil yet-

turbat'e fi«--ro, in. tanto tctt- P*?si turbat'a

««-Vo, ?n't«n- to Mm- ^ ii tUr-

-fio 6ir turbat'e fU- ro, si, tur-

J J i ^

-po fti turbat'c £ic - Vo, in tart -to tempo si tur-i

b. Missa super Cara la vita (Parody Mass)

ctws, p_I

silt-I

ctu»,

Philipp de Monte (152.1-1603)

ctw», San-''

160

I P\«ni tunt CAt- U, f>l<- nvfunt eaS' tii

tw. uv

147. Guillaume Costeley (1531-1606)

A lion, gay, gay Chanson

U- a«- res, 5uy-v

161

^ ftAUoit,allon voir \c Hoy, Qui duciei, yii- du ciclw ter- ygf^frttay.Cay, gay, Al-ton-

g^y. giy. îy.

nay, gay ,gaj

iUon,aUoii voir

Alton, altgi sir U IJay,>, (Tui-du

ter - r« «4t nay,6ay,

cial en ten* estlAl-lon.aay,

^ jjj

fTT^

i JbJ>j)i-

tAi.wautrresint

Jg cy fla- got- tat (jtta j 'ay. qua jay taut

-c^ £la-jol-fla-gol- Ictaua i'&y, (jiuji'ay

1^^«J'ay,<,ueJ'i,j. \^„

tatitr

tant-

WUnaftstcau. W don-ne- ray, Un--

h h J.

.im nmi Ê^^

jtj J J

rUl- Ion

ri'

J ^ ^ J

Al-lon,

J^^J i.J^ j>^ ifciL1

^^ ^^f^^ ^^ rr r r 'r r?f' -ae- res, SuoVcfr^*r

gg- res, SuyVax wioy.

luy

don- II

n« Plain Hawap luy offri- ^' 6ay,gay,

gay.gay, At- ton---

7bfr '^ ^^XiiAlton.,--

J- ^J^

Êt- moy, Plain Hanap luy of- £ri- ray, Say, gay, At- ton

Ho, ho, Paiv-la, yaue- la, jg - •-^^ n t«t-te burn sans le doiot,

1 SrPT :S ¥^?^

J H 1^ J J- ^

"tt fet-U btan iar

i^*

f ^ rHo,

Ho,

ho, aU, (

ho, Tkiv- la,!paty- la, ie tc

r ^r r r r

T^;;;^];! Xix-Xy^rriX r c-P 'rf^

patyktr

i=^^

tc bven'il tet-U btan sati*

m t<t-(-£ bunt, &ans la dotgrbunt,&ans la dotot"

ri t*fc-

Lc pc-tyt ttgy, 6ay, gay,

<lK--K ? K k J^'' ^ ^ . ,) Al-lon.

J J J J MJ^ M- ton1 ^- iz rt«-

te bt«n sans Uz 'loi^t, 6oy- cz. {42 -

ge-ifwa, 'U Roy boit.^lJov boitTboit, Sa Roy

f J>^

bott,, Ic Roy boit.

162

148. Jacobus de Kerle (1531-1591)

Exurge, Domine

E*-ur

man tu- um,propter

149. Tomas Luis de Victoria {c. 1 540-161 1)

O vos omnes Motet

i mnti, qui transi- tis|«f

vi

-

am.,

St est cL)- lor

'65

tu »i- cut dolor me- u&, sicut- 6t- - cut • • •

us, Sicut-

150. William Byrd (1543-16x3)

Non vos relinquam

Non v<7S re- lm-<jMam or- ytu-nofl, gl- Ug-Ut-

Motet

or- T^hino6, al-U- lu

164

Et atu-da- Wtr

^trvun-f

et ajiuda- M cor vc- strum, eir aau6i- bit cor v£ »trum, al- U-

lu- ii, ,41- Uz- lyt" ta al-U-ltt- ta, al- te- tu- la.

Christ rising again

ISI. William Byrd

Verse anthem

Christ rv*- ^r3&_^thnst Ks- Chri"97 hrt»t

^ teff^.^ i#f?3=

9»f r f^

.65

Chriat ri^- i"|9 arUjintrornVne. dgad. now dt-eth net

sin, t0|)uta-\o«y am t>Mt in that he ttv- etk he Uvetttuntff

•

'

c^r ' '-

i66

Tn Oirtst: »u$ our UnliUt Christ

lux.OAMdvurtio sut, ina t*n- t0 '<"^>

'3«- sus our Uirdi in Christ ^. sus our lord.

nrtfrt le- sus ovir Lord, tn Christ la - û6 our toni.

151. Giovanni Maria Nanini (c. 1545-1607)Hie est hcjtissimus Motet

si- musE-van-gc- ll- sta ct A-jfOiMui'jo-a.n-nes, hie g»t tc-ii-ttg-

- Ju3 E- van^- ll- ita r Joanne;

fest-mua £- van-gelista gt A-po&tplu5 jo-an-ncs,

Î -gelt m

.4.- Dcatotus Joannes, hit est be

ct >A-jio-6<otus ^-an-ng», ûi- yrl-vi-le- gi.-^ ^^ J 4 ^^fpo- sto

a- tU-

lus

«

—

nnes,

m»lus lo-an-ni

out

si-musE-wan-jc-tista «t A- jKJstolus ô-an-iies, it A- pislJlui ^nHCS <jiii pri-»»i- Usostoltts Aoant

T

a- maris praect- pi4^ i., out. prtwt- le- fli'" a-t«to-rts j»rac pw,- I

a- -mo- rts oraeciyfACi i-pu-t out |Tri-vv- Uz- oi-0 a->w-rtrt» prac-

1

J»4.-t.

67

torts al-H- us a Bomiruj me- ru-it ho- no- -ra- ri tn«- rM-ifr hc-nora- ri,

«i«-rt*-tt ho-tio-r4-

155. Claudio Merulo (15 3 3-1604)

Toccata

168

r-r I

-^ r

ific;

154- Passamezzo antico

Nicolaus Amiiierhach (c. 1 530-1 597)

4i ri hi

Secotula. Rirt«

[^^^

Cjjf ^_f]»

15 5- Luca Marenzio {c. 15 60- 15 99)

Madonna mia gcntil Madrigal

mta

ch« jnavvi- to,

i^ ^ doln t«r- ra gq- cUz- veil oA-ra-di-

Êi ^d«- twu pa-ra-d

^ ^^ ^ jp^ Sf ^

dw mawi-

ch« maww-

tal Sît'^^ ^^ ^ 9"-

=^=ftot

i tirj î

^Stan-i3

1li i J=J ^ i i

SSf^lat

ao, ao- 4«- ne il ra-ra-^J J J ^î^ li ^ tal.

ibiEitaU-^ #¥¥ iii

F^^ F

dara it [>ara<it-

p«- ra-

se, it^ ^^di- 90,

pa- ra-<li-

tal che mav

^^ *«,

-VI,- fiO

at .

.

ial

iat..

^ ^ ^f^^^^T J-

^di-

1 iVAa mawt -

1 Tii u ^ mUl tat...

'73

Stan- do in t«r - ra

00- derc il pa- S..

156. Jacob Handl (15 50-1 591)

Eccc quomodo Motet

stus

^ri-turjuCO., quo- TTKvdo nuj- rt-turiu- _ '

1^^^6tus et

.tus, '

!W!r^=f ^m

<r- frtus,

''^gl^gl^'Ji4--V

III ^ I.Pars

e- tus, /«t c-nr inra-ceX'"*"""^-^ «- ' lus- In, pa-, c« tactus 1

^ ^^^Jm

l^ p^»r3n

ff^

-i-iTst

*rr rr^

bi-ta-tuJ

^"^ ^i^^r

on habt ta-

ffff^.^ 1^

in pa-ca 1 ntcmflriJa

rrpr If f r

ut pa- me-mo-ifa

'74

157- Giovanni Gabrieli (1557-1612.)

[n ccclcsiis Motet with Oi^an and Instruments

59pr*rt0 £

^rufv I.

dtnfonva.

'75

. ^ °n .fffl ij

te. in- vo-camu»

^ ^ |"j- '\J JI

- >

m- vp-ca-mui,^^^s^;^—

T

T:r ]^- ^\z. « I in- vo-p-|mi4«i Itei tiv- vo-jta-lnW

J

—

h''^^ii t^

l

uu'iy- ^ i i h ¥^^ ' I

\

'- J'' Ti .^

;"'•I' rj LLij

^^ ^ r f^r r

J. J>J J

^ ^p^fto 4-^M- 0|- ra.- r^-^*=:

C"-ir L:.|*^-rr;;:r t t^if ^.^-;«^». r^r r

II Mlrr^Lfrrr-^trtrr-ir i^r j sl,

'• 'id

177

mi "H^ ^r ^r-^^

"7«

158. Giovanni Gastoldi {c. 15 56 -162.2.)

L'Acccso Balletto

179

159- Thomas Morley (i557'i6o3)

My bonny lass

MyBallett

1 80

i6o. Felice Anerio (1560-1614)

a. A I suon Song

fAiac-cra- 6ca.il £i . da-

Ma ts-b, rt-K N4« v«n-U,-no»' in- cjirt.- tl, Ma ve- le- no-sijn-can-'*-tj,.

'2-^^

^ -can- »i, MaU- tw- svJn-can-K,

SSL..VMa vc-Xi-no-6lin-

r n5aiJ*.l5t.

K, Ma^^ fe# I'-

ve

Ma

-cart

vc- ia-no-iwfcan tl.

^^ ^iT^^^^#^

b. Al suon For Harpsichord and Lute

^ w J.j. lj J ^S= S

FF^^ r '^F^^

J .J

Hat^tidtod

S ^^^^ ^^ ^S m.k is^iT

i r ?r rrr

i ^ p* m ^m f& «=

Lute

mT

^^^^ p f1 r

181

1 6 1. Carlo Gesualdo (c. 15 60-1 614)lo pur rcspiro Madrigal

re- apt - ro

X-..J4

•purw- vt, <dt-spt<- ix- to CO

der tl no-strpa ti;, dan-I

nea- i- ta, dan-nea- t.- ta'- Uc- ct-dt'ductta

U tustroa-ma-to be-tw! Deh nur- te, Dan- >Wii- ta,Qan-twa- «.- ia:

182

ci-ii<fiesi» vi

I

»a, fie- U>-

m

W

m ^tc-

to-

fc

^na£(-rt- set,

«- sci, ««•

fea

Ff

J I .E^

-

^"p^^ r c>

"'-'^^^

—

nc-

a^^ ^ =¥to-

^

sa, tic £e- ri-

E-r i

.

^ { ='g: = m^ ^^ ^^pitf - to- «*. ««fo-W- scv, «»•

iii-^b dU fuv at al jrait <lu0-l0, ct M, qran duo- U>,

Ii •) »,T>r

u>.

at al oran ou^

gran <lu0-

et at ^rar dvui-

\o.

U.

H^ ^^^^siSto

f

^ill -i2 J"duo-

to.

to.

•«^

1 6 2-. John Danyel (c. 1565 -1630)

Stay, cruel, stay Ayre with Lute and Viola da gamba

3^3=^^ ^^ ^^=^ ^ #=! ^s^>

,&sklndc, M not t* grieve tor

liiiii!^**that y0u leave behind, Ani. t£ you'll aoa, and.

r

lfi^i^ri -^

fcJ

if you'll o(7« yet let your fii- tt«

F «^ ^^=?= t f m ^f^ L i r r f*^

ft^psstay, yet-let" your pit -tie

PBtmstayand if you will aoe inA

^^^1

if you will ooe, yet let- your yit-ti« stay, yet let your pit -tie

Zjf^-^^^nimSSFU^

rH^^^^ ^^^f^^^

Mt mm ^m } } y}will you aoe 4 »ay will you^ wilt

J^^^you ooe dnd sheur that you ne-alect, jhat you ne- olect itte? Vet-

^^^^e ^ J- Jinp

) 1 } 1=1f^ ^TW^r^

6ay £are-wel, yet aay fantivel, yet eay farewel, £iretvel farewel, farewel, yetr say farewel, and seeme but to ra-5

II ::^ ^1

' ^j'r PCjUjU.JjJ'

184

MKct.O exutnc but to ra- dpect-mw. yet Myf^rewci,

-I, J JJ i

spoct'mM.

163. John Dowland (1563 -i6i6)

a. What if I never speed

l.'U'tut if I ncv-er1. Or »hall Idunaemy love, Fbr I

^- sP^

find jvwfr to dc-

J J J J^ D p r r l

r-j=H^ r r

^l r-C: l r r7^^

' ' I sttU (i« sorrow filed

pair Andfart, And

A- A

still en 6otr0win my nuBn

still on ior- rov)in mfni- son

Ayre (choral)

CJn coiiini4ti<l

£««}uitc Th«n ev-fr shall 6tw liuemy dear tlc-

B^ttfctuwiU

light. Contt, to da- tirt. ttue, Comi, come,

coma, whiU I have

for ei - ttwr I will low or ad- ittir* ttwe.

r

b. What if I never speed Solo with Lute

m1. What if I n<JV- er

Z. Or Slwill I crliJti^^ »iy

_^ f t iFt'

Shall I

For I

straight yield to Aafind yowcr to <1«-

pait- Ani.

II^J .1,1

K], be- i.- tt

/.±J > IJ Jj JJat- l<- tu- ja.

165. Hans Leo Hassler

Ach Schatz Lied

Ach-- mm m 4.c - ^^

den --A<H5duti, vdi thu ît* UU-g«»v

Adi.

Adt.

ikn iro*5ov «diniertien

m m ^^m^ s^^ rp?»^

Âdi.. J^^ =J:

don

J J J i^î^ i

^^ ^ ÂcK- ()«tv - dAv

187

Tu. fi'«Mn<iltckmi<r mir idTur-zen, VerkAir, vcrkehr in fra*d m«ia adtmei-- zcn, Sijnst.--

i66. Gregor Aichinger (1564- 162.8)

Factus est

±i J^J J Ji^* ^^

Motet

^r^trr ; rp r I r pfetui Hit rcfan la decoaU ^^to

' t.Fa.- rfijs tf^t n-van- te- da C<7«- to Sp-

i

C<7<

î

coc-io so-

ii-^ ifl^^^ r p r- r- r f ^

ctu»-

J. JJ^JJ i F^-f' frm-

Fa- ct«6«5tr«p«rt- ttt dc coelo ao-

dtf ceff- t«, d« coe- to 50-

P I'll'l Oi« co<- to, ic 1:02-

^P??to 9£

I' -

nu*nuj Un-aium a<l«Mi. -

i i J' ^ J*:^

to, de cot -

1- 4i<1« coe-

nu6, dtf

^ ^^<1« C0<- tOi

coc-lo, df ^..^2.- i^

fp ^ ^ ^ r^ ^ ^^cUi»- da coc- lo, de coe- le

tanûam advf ni- en-tii syi- ri-tus,

tan-

uam advent.- en7m^ ^^^=îotui

^ ,y^rWffan- tift «fi- ri^

1!^ ^ pppp r r g ^ r r-adveni-en- Hs,

taii-

^J.i

quam advMti -an -xis

tu6 spi - 1.

1 î ^

spt-

j:2>-i

Ian

J7'

(ful

ttan

r'Tni^% y y i> y ^^ ^^m^ ^

tis sjn - H- tws,attam ad vcni-en-tis spi- ri-tus, ad- \k

tanautm--

tanou

ta«-

tan-quam- -• <(uam-

6fi- Tt-tus vtf -h«-morttis, v«-lt«- nwntts, ««- he-man- lis.

vc- lu- nuntts, vc-ht-ttunltc, v«-h«-nwit-

167. Michael Praetorius (1571-162.1)

a. Vater unser im Himmelreich Chorale bicinium

• it- -,- ,.^

^ ^^ ^^^=»ff ^^Va-tor un

Vjt- far mt^m6«r im Himittfl

HtmttKl-s«r mt Mtmtti

ivtcU,Vater umcr im HunnKlreuii,

ter un-icr im. Htm- tntfl

al-U, <lei

r«4<Jv,JcrJuum A-

du un.6 a^l - le

U twi*4<Kt,iUr

heUtcst aieitit,

du un6 al- l«

'J l JiJ J li ^ Ij^JJJJlJ^^^^

b. Ballet du Roy pour sonner apres Instrumental suite

189

1 68. Melchior Franck (c 1573 -1639)

So wiinsch ich ihr Lied

^ ^^ m TlA}dji ^^==s

hwn4ert-

ifCnd. Stun-

^un- dtn.zu.6Chu>und<«,i«t

kund<rt-tau- MnddtundAn

^^1. dotvumch uhihrOM2. Winn' tdt ihr tub erst

J i^ JJ:recht be-nil

Nachttra<itt^ tat

tau-

iaudendLcld var-

^

m^ i ^5. Wann u*v

JtMn-

&»« sidt, er- frout' sic muH,<2r- fnmt"

°^'

^'^r-fifi::Leul ver- «dtu>un-

rtd kann ihr nccht u«r- a«d- t|

190

169. Thomas Tomkins (i573 "1636)

When David heard Anthem

ttuLt. H« v>tnt

up to hie ChAm-btf,m^ T !><B ihe ja*«. *•"

t Ê^âte, anA, vfcyt, and.

^ ir r r ^p

wept, and ivcpt*

^

r- t?r p p

tVu a^te, the I

cr the {)ate, the

aate, jind

aat«, and wApt,

up to hifi Cham-bcr,

^

he-

ha

ov- «r

i ;J ^^ P]S^ ^^^^ôatv and wept-,

^ ^

up to hifi Cham-tMr, «v- «r

^=^H^^^ the

J-

and wept,

g

and

1

ne we^^

went up to ttis Cham-ber <jv- «r the and wept, and

my son, tny

191

ion. Ab- i*-\om. my sotv, Ab. tA-imnmfton, Ab-,*7 Y 7

/fiotx, my »o«t, Ab-

M>v, mv Mtt, U

192

lam my Mrv, •en., .Ab- tom. my &a«v.

170. Thomas Weelkes (c. 1575 -1613)

Hark, all ye lovely saints Ballett

^^m j^.u[f-M_.Pg-lHM!^^§All y« Iffvtf- ly saints ;i. beve, Si an- a Hath a- arotfd. with l0V«,hath iwUH love, hi*

^HarU all v« U>v«- ly

A ji A ^ [

i\"

r l tr r^ ^

saints a- biTvc, Pi'

U Dv- an - |a

T ran - a hatti a-

'

«a «*ttv lUw, »Utk L-^ J J J

areaivtiih ieve-, hit

n J:A 1

^^hath a- ^read-

193

rrrrr

171. Orlando Gibbons (1583 -162.5)

O Lord, increase my faith Anthem

0-.^ ^^6ti*«nath-«.n ntt aiid 1 un- firm nt* \n thy tru«^ s ^

£»ttk:

fr7Lord, in

r r /. stttnattv - an.StwttSth-an m«

rr^^ '"*K"^1^'^j"T

tt^iw ttiy tmc

j^^taith'.tndu* mei^niu* H/J "'^tH

^ ^^ r rr r^T0... ami «n£ii'm »t« in thy tm« faitKj

En- iUie>mwtthwU4<i«,t»tthwi»d^in,

. . in illmy Ad-v«r-»i- tt««, i,v

r' ! 1^1 111my adv«r-6v-tt««,ail-ivei"-slt iwui •

194

V^J

^ 3L*j '

Tiwia.mtn.

9

«W««t' A- wan..

172.. Orlando Gibbons

This IS the record of John Verse Anthem

ContvAtanor TVtie 16 tha r«-cor<lo£ IoHh, vMtnthe'lMHtntyruis^Myi.ie.viUs fratn Ja-ru»lkm,6t)m>^ ^^'J J J ?fff^t^^^^^

^^ ^^ JJ J-^

^#^# FPa^fe

fTT ~r-T rJ.^ i

r r

> ^i^ ^^ -^-^^^ ^'^^r ^n^ F=r

to Ask him: Who art tiuu^ v4ndhe con-£«ss- ad at\ddt- nl- ed not, and &ai<l

t

plain- ty; I am. not the Christ. I^nd ha a>tv-£es9-izi andde-tii.- cd

«nd«udpUtn- ty: I

195

and-" I am rvjt thfc Christ, I ail twt the Christ. CCbntvatano*'] 4»i<l

am «ot tti« Chnst, I atn

Oictf ask- ad Him-. Whatartthou then^ .Art thauE- lias ^ .Art- • Andhesaui; I am

Aft ttumttie p-ophtt, Art And he aniwutvd No.

him: WHat art

hiln What art tywu then? Art ihtfue- U- as?

iy6

[Cbtitratoiof] Then said ttuy unto htm: What art ttiouiTKattwc may give-, that we may gtv£ an an«ivia- unto them. thatr

^r

itnt u&. WhAt taygatthoHof thy- sglf? And. h« said: I am. thfiwiccof him that^ ^^^—fazraf^^^'î^ W=^=^^ S#^=# 'j"3 f^pJît* =i:^^^g^

t; r r g f

» ^— #^1

^ * " -

.iJiiAj t=-f r r r

Ji^jJ J

t""'r r- p 'T r p

£^P¥^ f=^T

cri- eth tn the wtl- <l«r-ne6S: Make »tmiflht ttu way of the Lord, make-

'

the way

^^^rm ^^^^m ^^f^^-°- ?^^f^ 3^ r=3^

Iu-j J ^ J J I ^ ^ •1 J j;:i^

fi^s

r is' U

r r ff

?i* r^'^^

rr r cjW

'^

îi

ff

197

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COMMENTARY

ABBREVIATIONS

AdHMApNPMARASBa

DdTDTBDTOeExMMFGSELUMo

ReMMAW,

G. Adler, Handlnich der Mustl^geschichle, 2 vols., 1330• W. Apel, Notation of Polyphonic Music, Third Edition, 1945• Antiphonale Sacrosanctae Romanac Ecctesiae, 1924 (No. 820)

• L'Anthologie Sonorc

• Codex Bamberg Ed. IV. 6, ed. by P. Aubry, Cent Motets du Kill' siecle, 3 vols., 1908• Dcnl^miiler detitscher Tonl^nts!, 65 vols., 1892-1931

• Denk,maler der Tonl^îmst in Bayern, 36 vols., 1900-1913

Dcnl{miiler der Tonl^tinst in Oesterreich, S3 vols., 1894-1938

H. Expert, Les Maitres musiciens de la renaissance franfaise

• Codex Florence, Bibl. Laur. plut. 2g.i

The Gramophone Shop Encyclopedia of Recorded Music, 1942

• Liber Usiialis Missae et Officii, 1937 (No. 780)

• Codex Montpellier, Fac. des Med. H i()6, ed. by Y. Rokseth, Polyphonies du XIH"siecle, 4 vols., 1936-39

• G. Reese, Music in the Middle .4ges, 1940• Codex Wolfenbiittel 677 (facsimile edition by J. H. Baxter, .tn Old St. Andrews Music

Bool{, 1931)• Codex Wolfenbiittel 1206

NOTE. The source references indicate either the orig-

inal source of the composition or a modern reprint, de-

pending upon which of these has been used. Reference to

records is made on the basis of the Columbia, Decca, and

Victor catalogues, L'Anthologie Sonore, and The Gramo-

phone Shop Encyclopedia of Recorded Music (1942).

1. CHINESE. The Entrance Hymn for the Emperorformed a part of the ancient tradition of the Chinese court

ceremonial, a tradition which dates back perhaps more than

one thousand years before Christ. In the period of the Tangdynasty (a.d. 618-907) such "instrumental hymns" were per-

formed by large orchestras, consisting of 120 zithers (c/i'in),

180 lutes (p'ip'a), 200 mouth organs {sheng), 20 oboes, and

numerous drums, bells, and chimes. The melodies of both

the ancient hymn and the modern instrumental piece are

written in the traditional five-tone scale (pentatonic scale) of

Chinese music; in this scale the third and seventh degrees of

the diatonic scale are omitted, and hence there are no semi-

tones, f Sources: (a) }. A. van Aalst, Chinese Music (1884,

^933)' P- 26; (b) E. Fischer, in Sammelbdnde der Interna-

tionalen Mttsi\gesellschajt, xii, 189.

2. JAPANESE. This composition affords a good example

of heterophonic accompaniment, that is, a style in which the

same melody is followed by all the performers with slight

modifications. The so (or \oto) is an oblong zither, derived

from the Chinese ch'in. The dissonant anticipations, as in

measure 8, are typical of Japanese music. The melody of this

piece, like the Chinese melodies, is pentatonic, but the scale

used here includes a semitone: e-f-a-b-d'-e'. The frequent use

of the descending motif b-a-f-e (or e'-d'-b-a) may be noticed,

f Source: Td\yd Ongal{u Gak^lô, Sdl{yo\nshii (Tol^yo School

of Music, Songs Accompanied by the So), 11, 29.

3. SIAMESE. The regional rulers of Siam (and of Java)

maintain fairly large orchestras, probably descended from

those of ancient China. All the instruments play the same

melody with certain variants (heterophonic accompaniment).

The whole composition sounds an octave higher than written.

The tempo gradually increases from M.84 to M.136. fl Source:

C. Stumpf, "Tonsystem der Siamesen," Beitrdge ziir A}{iisti\

und Mitsikîi'issenschaft, vol. ill (1901), Beilage.

4. HINDU. This chant {sdman = chant) is from the

Samaveda, a body of religious texts dating back to about

1000 B.C. The first melody here given (i), transcribed from

the Hindu notation, is perhaps just as old as the text. The

second version (2) gives the same chant as sung today,

transcribed from a phonographic recording. ^Sources: (i) R.

Simon, in Wiener Zeitschrift fiir die Kttnde des Morgen-

landes, xxvii (1913), 318; (2) E. Felber, in Sitziingsberichte

der Kaiserlichen A/(ademie der Wissenschaften Wien, Phil.-

Hist. Klasse, Band 170, Abhandlung 7 (1912), p. loi.

5. ARABIAN. This example illustrates the popular music

of the Arabians, as practiced in the towns of Tunisia. It is a

COMMENTARY

song accompanied by the hendir {handar), a tambourine

provided with a snare, and the zukra {zuqqara), a bagpipe

with two chanters. A piece of Arabian music is invariably

composed in a given maqam, a term which is frequently

translated "mode." Actually, a maqnm prescribes not only a

scale (as do our church modes) but also the use of tradi-

tional motives, ornaments, etc. The present example shows,

first, the scale of the macjam Hasin saba; then an "Introduc-

tory Model" which serves to establish the maqam; and finally

the song itself, f Source: R. Lachmann, "Musik in den

tunisischen Stadtcn," Archiv jiir Musilywissenschajt, vol. v,

Notenbeilage Nr. 4 and 5.

6. JEWISH. The first example (a) shows some of the nota-

tional signs of ancient Jewish music, ta'amim (so-called

accents), with their rendition according to the Syrian rite.

The second example (b) shows the intonation pattern used

in reading from the Pentateuch, according to the Syrian

rite. It consists, not of a freely invented melody, but of a suc-

cession of stereotyped motives represented by ta'amim. Thetone C is a quarter-tone lower than in our scale. The third

example (c) shows the beginning of Psalm 144 as sung in

four different localities. The Ashkenazic (North European)

versions show the influence of European musical style,

f Sources: (a) A. Z. Idelsohn, Gesdnge der babylonischen

Juden (1922), p. 44, no. 4; (b) ibid., p. 34; (c) ibid., p. 75!?.

7. GREEK. The First Delphic Hymn (No. 7a), datmg

from about 138 b.c, is the most considerable example of

Greek music known. Only the first two sections are repro-

duced here, the third being incomplete. The first section (A)

is in the Dorian octave species, normally e to e' (an ambitus

corresponding to that of the Phrygian church mode), but

transposed a whole tone upwards, f-sharp to f'-sharp, with

b as the center tone (niese). To this tonality that of the

second section (B) offers a striking contrast, owing to the

extensive use of chromatic progressions. Quintuple rhythm,

known as cretic meter, played an important part in Greek

music. The Hymn to the Sun (No. 7b) is ascribed to Mesom-edes of Crete, who lived about a.d. 130. The Song of Sei-

kilos (No. 7c), dated variously from the second century B.C.

to the first century a.d., is in the Phrygian octave species,

d to d' (corresponding to the Dorian church mode), trans-

posed a tone upwards,fl Sources: (a) Th. Reinach, La

Mitsiqiie grecque (1926), p. 177; (b) ibid., p. 196, (c) ibid.,

p. 193. f Records: (a) MSS-^4 (ReMMA, p. 465); (b) and

(c) Decca 20/56.

S. BYZANTINE CHANT. These examples illustrate the

liturgical music of the Byzantine Empire (founded a.d. 328;

destroyed in 1453). While the rhythmic rendition of Gre-

gorian chant has to the present day remained a subject of

debate, that of Byzantine chant (at least, of the so-called

Middle Period, c. 1 100-1450) has been clarified in all its

details. Octoechos (eight modes) is the name of books in

which hymns for the daily offices are arranged according to

the eight modes of the Byzantine Church which correspond

to the eight modes of the Roman Church, fl Source: H. J. W.Tillyard, "Mediaeval Byzantine Music," Musical Quarterly,

xxin, 206 and 208, where most of the examples are incorrectly

titled.

9. AMBROSIAN HYMNS. St. Ambrose (d. 397), bishop

of Milan, is the most important figure in the early develop-

ment of Latin hymnody. To what extent the melodies for

his hymns represent an Ambrosian tradition is uncertain. In

some cases the same text appears provided with a number of

different melodies dating from various periods. Example 9a

shows three different melodies (twelfth to fourteenth cen-

turies) for "Aeterne rerum conditor." Example 9b shows the

melody for "Aeterna Christi munera" in two rhythmic ver-

sions, (i) as notated in the ninth century Mttsica enchiriadis;

(2) in what is frequently assumed to be the original form

of the Ambrosian hymns, a reconstruction based on St.

Augustine's remark that they were tria tcmpontm (in three

beats). The Ambrosian hymns, which form only a small

division of the entire Ambrosian chant, are syllabic, in contrast

to the remainder of the chant, f Sources : (a) (i) H. Riemann,

Handbuch der Miisil{geschichte, 1.2, p. 17; (2) P. Wagner,

Netimen/yunde (1905, 1912), p. 239; (3) AR, p. 6. (b) (i)

Gerbert, Scriptores . . . i, 154; (2) cf. AdHM, p. 80.

10. AMBROSIAN CHANT. That branch of Christian

chant which according to tradition was founded by St. Am-brose, and which is still in use today at the cathedral of

Milan (therefore also known as Milanese chant). The melo-

dies of this chant are considerably more melismatic than

those of Gregorian (Roman) chant. The present example

shows the verse of the gradual (called psalmelhis in the

Ambrosian rite) "Speciosus forma," (i) in the Ambrosian

and (2) in the Gregorian version. ^Sources: (i) PaUographie

miistcale, vi, 86; (2) LU , p. 434.

11. GREGORIAN CHANT. Antiphon and psalm. This

example illustrates the Gregorian method of psalm singing.

The verses of the psalm are sung to a recitation melody

(psalm tone) which consists of a reciting note called tenor

and a number of short inflections called initium (intonation),

flexa (flex), mediatio (mediation), and terniinntio (cadence).

The intonation is used for the first verse only, the flex only

for longer verses which are divided into three sections in-

stead of the usual two, for which mediation and cadence only

are used. The doxology "Gloria Patri" is invariably added as

a final verse of the psalm. The psalm is preceded and fol-

lowed by an antiphon, in the present case "Laudabo Deummeum in vita mea." Before the psalm the antiphon is usually

reduced to its first word (here, "Laudabo"), being sung in

full only after the psalm. ^Source: AR, p. 127.

12. GREGORIAN CHANT: Gradual. The gradual is the

second of the five items of the Proper of the Mass. It consists

of two sections, the response ("Haec dies . . .") and the

verse ("Confitemini . . ."). The response is sung by the

chorus, except for the solo beginning, and the verse is sung

214

COMMENTARY

by the soloist or soloists, except for the choral close, as indi-

cated by the asterisks in the text. The resulting manner of per-

formance, an alternation between the soloists and the choir,

attains particular importance in the polyphonic compositions

of the graduals and similar chants (see Nos. 26(f). The

present gradual is taken from the Mass for Easter Sunday.

See also Nos. 29, 30, 31, 32. f Source: LU , p. 778. fl Record:

GSE, p. 201.

13. GREGORIAN CHANT: Alleluia. The alleluia is the

third item of the Proper of the Mass. Its form (and manner

of performance) is similar to that of the gradual. The melody

for the response ("Alleluia") usually recurs at the end of the

verse. The present example belongs to the Mass for Easter

Monday. See also No. 26c. ^Source: LU , p. 786.

14. GREGORIAN CHANT: Responsorium. The present

selection is an example of the responsoria prolixa, as they are

called in distinction from the much shorter responsorta hrevia.

The former are elaborate chants sung at Matins or Nocturns

of high feasts (Christmas, Easter) and on a few other occa-

sions. The "Libera me," which is sung at the Burial Service,

is interesting because it illustrates the early, full form of

responsorial singing in which a choral refrain, the response,

alternates with various verses sung by the soloists, thus lead-

ing to a structure similar to that of the modern rondo as

used in the final movements of sonatas or concertos. Theform of the "Libera me" is as follows: R V, R' V, R" V3 R.

Here Vj, Vo, and V3 are the verses Tremens, Dies, and

Requiem; R is the response Libera me, R' and R" are sections

thereof, f Source: LU , p. 1767.

15. GREGORIAN CHANT: Kyrie and Kyrie-trope. TheKyrie is the first item of the Ordinary of the Mass. Trope is

the generic term for textual additions to the authorized texts

as they were set down by Pope Gregory I. The present exam-

ple of the Kyrie (a) is from the Mass IV, also known as Missa

Cunctipotens (cunctipotens ^= omnipotens) or Missa Aposto-

loriim. The former name refers to the trope here given (b) for

the Kyrie of this Mass, a Latin poem ascribed to Tuotilo of

St. Gall (d. c. 915) and sung in syllabic style to the melody of

the (melismatic) Kyrie. f Sources: (a) LU, p. 25; (b) A.

Schubiger, Die Sdngerschide von St. Gallen (1858), p. 40.

16. SEQUENCES. The sequences are the oldest and most

important type of tropes. They are accretions to the alleluias,

and therefore can be described as alleluia tropes. Textually

they are long poems, usually in the form a, b b, c c, . . . i i, k;

that is, they begin and end with a single line (a, k) and in

between there are a number of double-line stanzas. Musically,

the relationship of the sequence melodies to those of the

alleluias is by no means as clear and simple as it is fre-

quently thought to be. Example i6a is one of the few se-

quences whose melody can be traced back to some extent to

that of an alleluia. It is ascribed to Notker Balbulus of St.

Gall, who died in 912. Example i6b is the Easter Sequence

by Wipe {c. 1000-1050), one of the five sequences which are

still in use today. Example i6c represents a later type, the

rhymed sequence. This usually has double-line stanzas

(double versicles) all the way through. It was introduced

by Adam of St. Victor (d. 1192), who wrote and composed

a great number of such sequences in a style of formalistic

elegance. The common French name for sequence is prose,

probably an abbreviation of pro s\equenti]a. f Sources:

(a) LU, p. 848, and Schubiger, Die Sdngerschide von St.

Gallen, p. 21; (b) LU, p. 780; (c) P. Aubry and E. Misset,

Les Proses d'Adam de St. Victor (1900), p. 238.

17. LATIN LYRICS. The Latin lyric poetry of the twelfth

and thirteenth centuries is known under the name of con-

ductus. Examples i7a-d represent the monophonic conductus

which, of course, preceded the polyphonic conductus exem-

plified by No. 38 and No. 39 of this collection. The

Conductus ad tabtdam (17a), widely known as the "Song

of the Ass," belongs to the popular sphere. It formed the

central part of a liturgical play at Beauvais during which the

Virgin Mary was shown riding on an ass into the cathedral.

Of the seven stanzas of the text, the first, fourth, and seventh

are given here. Example 17b is a rondellus, that is, a con-

ductus in the form of the medieval rondeau: a a ab a b, a

form which figures prominently in the secular music of the

thirteenth to the fifteenth centuries (cf. No. i9d-e). Examples

17c and i7d illustrate a more elaborate type of conductus

melody, employing extended melismas (copula, cauda). Our

rhythmic rendition of these songs is meant to bring out that

peculiar mixture of metrical and non-metrical elements

which, in the opinion of the editors, comes much closer to

their true rhythm than the current interpretation in modal

meter (triple time), which is here indicated in small notes

(cf. F. Ludwig, in AdHM, p. 187). ^Sources: (a) G. M.

Dreves, Analecta hymnica, xx, 217, 257, and H. C. Greene,

in Speculum, vol. vi; (b) Dreves, xxi, 213; (c) Codex

Wolfenbiittel 1206 (Wj), fol. 156V; (d) Codex Florence,

Bibl. Laur. pint. 29.1 (F), fol. 422r. f Record: (c) GSE,

P- 343-

18. TROUBADOURS. The troubadours were aristocratic

poet-musicians of southern France (Provence) who, about

1 100, inaugurated the first great flowering of secular music.

They were followed about 11 50 by the trouveres and the

minnesingers. The troubadour melodies frequently suggest

a more or less free rhythmic style (cf. the explanations under

No. 17) . The alternative versions given in No. i8c (i : Angles;

2: Ceroid; v Besseler) show that even within the limitations

of modal rhythm various interpretations are possible, and

that scholars are not in agreement regarding the details of

its application. Marcabru's "Pax in nomine" (i8a), said to

have been composed in 1147, is an example of the vers, that is,

of a through-composed song. Numbers i8b and i8c are ex-

amples of the camo. showing the form a a b, which recurs

in the trouvere ballade and in the Bar of the minnesingers

and mastersingers. Number i8d is an estampie, a type of

music which properly belongs to the instrumental field (see

Nos. 40, 41). In fact, an old report tells us that Raimbault

215

COMMENTARY

wrote the words of "Kalenda maya" to a melody which two

"joglar de Fransa" (jongleurs from northern France) per-

formed on viols at the court of Montferrat. fl Sources:

(a) Tribune de St. Gervais, x, ii3ff; (b) C. Appel, Die Sing-

weisen da Bernart de Ventadorn (1934); (c) cf. the refer-

ences given in ReMMA. p. 215; (d) Bibl. Nat. /225./J, p. 62.

H Records: (c) Fr. Col. DFioj; (d) Decca 20158.

19. TR0UV£RES. The songs of the trouveres of northern

France show more clearly defined contours than those of the

troubadours, in their rhythm as well as in their formal

structure. Modal rhythm can be applied in most cases,

usually without much ambiguity. Very likely there is a

causal connection between the appearance of modal rhythm

in the trouvere songs and its appearance at the same time

and place in the polyphonic music of the School of Notre

Dame at Paris (cf. Nos. 2S1T). The great majority of the

trouvere songs are written in one of three strictly fixed

forms: the ballade (iga-c) with the scheme a a b (cf. the

remark on the canzo. No. 18), the rondeau (igd, e) with the

scheme ABaAabAB (capital letters indicate the refrain,

that is, repeated text), and the virelai (iqf, g) with the

scheme A b b a A. Example igd shows a rondeau notated in

two ways: first, running on continuously as it is sung; second,

in the abbreviated arrangement commonly used in modern

editions, with the figures i to 8 indicating the succession of

the lines of the poem. No. igf illustrates the corresponding

method for the virelai. Less clearly defined and less frec]uent

is the rotroiienge (h), the characteristic feature of which

seems to be the repetition of the same melody for all the

lines of a stanza except the last, or the last two: a a a a B or

a a a b B. The lai (i) is an extended poem of a narrative

or contemplative character, essentially different from the

lyrical character of the other types. It was also known under

the name descort (disorder), and this name is appropriate

because of the irregularity of form as well as the intended

obscurity of text encountered in this type. In our example

the sections C, F, and G are omitted. See W. Apel, Harvard

Dictionary of Music (1944), p. 392, for the complete structure.

^Sources: (a) J. B. Beck, Le Chamonnier Cange (1927),

i, 62''; (b) ibid., i, iiS''; (c) F. Gennrich, Rondcaux, Virclais

iind Balladen, i (1921), 291; (d) ibid., p. 85; (e) ibid.,

p. 84; (f) ibtd., p. 37; (g) ibid., p. 129; (h) F. Gennrich,

Die altfranzosische Rotroiienge (1925), p. 40; (i) A. Jeanroy

and P. Aubry, Lais et descorts fran^ais (1901), p. 87. fl Rec-

ords: (a and b) AS-18 {GSE, pp. 377, 343); (e) Liim-^oo$8

(ReMMA, p. 471).

20. MINNESINGERS. The German minnesinger move-

ment (M/nne := courtly love) originated around 1150, under

'the influence of the Provencal troubadours. Textual as well

as musical considerations lead to a rhythmic rendition of

their songs in even note values (4/4 meter). Indeed, the

"weightiness" of this meter is more appropriate for the

German songs than the "elegance" of modal rhythm which

fits so well the melodies of the French trouveres. Example20a is one of the few surviving twelfth-century minnesinger

melodies. Its somewhat irregular rhythm and free through-

composed form indicate the influence of early troubadour

style. Walther von der Vogelweide's celebrated Palestine

Song (probably written in 1228) is an example of the most

important form of minnesinger music, the Bar, with the

scheme a a b, the German counterpart of the troubadour

canzo (cf. No. 18) and the trouvere ballade (cf. No. 19).

Owing to the large number of his songs extant, Neithart

von Reuenthal stands out as the central figure of minne-

singer music. His charming song "Der May" is particularly

interesting for its use of successive thirds, f Sources: (a) F. L.

Saran, Die Jenaer Liederhcjndschrift (1902), 11, 20; (b) R. F.

Molitor, in Sammelbiinde der Internationalen Miisil{gesell-

schajt, XII, 475, facs. (cf. also AdHM, 204); (c) DTOe 37.

I, 33; (d) ibid., p. 32. f Record: (b) Decca 20158.

21. LAUDE. The laude are Italian devotional hymns. They

originated in the thirteenth century, probably in connection

with the activity of St. Francis of Assisi (11S2-1226), and

until the nineteenth century they continued to play an im-

portant part in the religious life of the Italian people. Most

of the medieval laude are written in the refrain form of the

French virelai (cf. No. 19), freely modified. Example 21b is

one of the few laude showing the strict form of the virelai, or,

as it was called in Italy, ballata (cf. No. 51). A rendition in

free rhythm seems preferable to the strictly metrical rendi-

tion used in Liuzzi's edition. (Cf. also No. 94.) fl Sources:

(a) F. Liuzzi, La Laiida . . . (1935), 11, 30; (b) ibid., 11,

375; (c) ibid., II, 259 (cf. also AdHM. p. 211). f Records:

(a) AS-8 (GSE. p. 555); (c) Liim-pni8 (ReMMA, p. 472).

22. CANTIGAS. The cantigas are Spanish devotional

hymns of the thirteenth century, mostly in honor of the

Virgin Mary (Cantigas de Santa Maria). They were col-

lected in various magnificent volumes for the king Alfonso

el Sabio (1252-1284), who probably himself contributed part

of the contents. Most of them are written in the refrain form

of the French virelai (cf. No. 19), or, as the Spanish called

it, viLlancico. Modifications of the strict virelai form occur,

though less frequently than with the Italian laude (cf.

No. 21). ^Sources: (a) J. Ribera, La Miisica de las Cantigas

(1922), no. 5; (b) ibid., no. 4; (c) ibid., no. 132.

23. ENGLISH SONGS. Among the few early English

songs that survive, those ascribed to St. Godric are the most

interesting. As in the case of other early monophonic songs,

we prefer a free rhythmic rendition over one in modal rhythm

(cf. ReMM.-l, p. 241). "Worldes blis" is a characteristic ex-

ample of thirteenth-century Anglo-Saxon poetry, which has

been described as "sad and foreboding" (cf. ReMM.4. p. 242).

f Sources: cf. E. Trend, in Music and Letters, ix (1928), 112;

(a) frontispiece in G. Saintsbury, History of English Prosody;

(b) facsimile in H. E. Wooldridge, Early English Harmony,vol. I (1897), pl- 23.

24. MASTERSINGERS. The mastersingers (G. Meister-

singer) were craftsmen who continued the tradition of the

216

COMMENTARY

minnesingers. They flourished particularly in the sixteenth

century, with Hans Sachs as their most outstanding repre-

sentative. Their main musical form is the Bar (cf. No. 20),

consisting of "zween Stollen und ein Abgesang" (two open-

ing strains and one concluding strain). This form and other

technical procedures of the mastcrsinger school are aptly set

fortli in Richard Wagner's Die Meistersinger (Act I, 3, and

III, 2). <; Source: G. Miinzcr, Das Singebtich des Adolf

Puschmann (1907), p. 79.

25. PARALLEL ORGANUM. Organum is the collective

name for the various methods of early polyphony, from

about 800 to about 1200. The present examples illustrate the

earliest type of organum, characterized by the use of two

voices in parallel fifths and fourths. The original melody,

borrowed from Gregorian chant and designated as vox

principalis, lies above the added voice part, known as vox

organalis. The first four examples (a, 1-3; b, i) illustrate the

strictly parallel organum, which also existed in three- and

four-voice modifications (composite organum) resulting from

octave duplications. The fifth (b, 2) shows a freer type, in

which the two voice parts start and end in unison. The last

example (c), from the Orkneys, illustrates the use of parallel

thirds, which was restricted to the British Isles and Scan-

dinavia (cf. ReMMA. p. 388f). f Sources: (a) M. Gerbert,

Scriptores ecdesiastici . . . , 3 vols. (1784; facsimile ed.,

1931), I, 167; (b) ibid., p. i85fl; (c) cf. AdHM,p. 167.

26. FREE ORGANUM. About the year 1000 the parallel

organum was replaced by one using mainly contrary motion

of the two voice parts. The vox principalis (or cantus firmus,

as it may be called) is now usually the lower part. No. 26a

is based on the Kyrie-trope "Cunctipotens [or Omnipotens]

genitor" (cf. No. 15b), while No. 26c uses the Alleluia

"Angelus Domini" (cf. No. 13) as a cantus firmus. The latter

composition (26c), which comes from the School of Chartres

in Northern France, is remarkable for the use of extended

melismas (note against note) in both voice parts. It also

illustrates a characteristic manner of performance, traces of

which survived as late as the sixteenth century (cf. No. 127),

namely, the alternate use of the entire choir and a few picked

soloists, the former for the monophonic, the latter for the

polyphonic sections. The origin of this procedure is found in

the fact that the same principle of alternation occurs in all

the Gregorian graduals, alleluias, responsoria, etc. (see Nos.

12, 13), and that only the solo sections (that is, the verses) of

the chants were composed polyphonically, for a few solo

singers of special ability and training, probably not more than

two or three for each part. It was not until the middle of the

sixteenth century that larger choirs were used for the per-

formance of polyphonic church music (motets, masses, etc.).

f Sources: (a) Treatise Ad organum faciendum (cf. ReMMA,p. 262), and Oxford History of Music, i (2nd ed., 1929), 45;

(b) ApNPM, pp. 205, 207; (c) AdHM, p. 175. ^Records:

(c) Victor-i^^§^ and FM-7J9.

27. MELISMATIC ORGANUM. In the twelfth century

yet another type of organum evolved, characterized by the

use of extended melismas in the upper part against fewer, sus-

tained notes in the cantus firmus. This important innovation

was cultivated in the School of St. Martial at Limoges in

Southern France and in the School of Santiago de Compostela

in Galicia. Example 27a uses as a cantus firmus an ex-

tended trope of the Christmas gradual "Viderunt omnes"

(cf. LU, p. 409). While this composition shows the technique

of a "melismatic" upper part only in spots, the example from

Compostela (b) is entirely based on this technique. (For its

cantus firmus, cf. Nos. 15 and 26a.) il Sources: (a) ApNPM,p. 209 (cf. also the differing transcription in AdHM, p. 179);

(b) H. Angles, El Codex musical de Las Huelgas (1938),

III, I.

28. BENEDICAMUS DOMINO. The Benedicamus

Domino, Deo gratias is a salutation of the Roman liturgy

which is sung at the end of all offices, to various melodies

{torn). The first of these melodies was very frequently used

as a tenor for polyphonic compositions throughout the

twelfth and thirteenth centuries. The compositions given

here, all based on this melody, represent a survey of the

development of polyphonic music during this period.

Number 28a is the plainsong melody, sung responsorially:

"Benedicamus Domino" by the soloist(s), "Deo gratias" by

the choir. In conformity with the practice explained under

No. 26, the first section only is usually composed polyphon-

ically, the choral answer being in plainsong. Number 28b is

a two-voice organum from the School of Compostela, similar

in style to the "Cunctipotens genitor" (No. 27b). Num-ber 28c illustrates the epochal innovation of the School of

Notre Dame (Magister Leoninus, fl. c. 1175), that is, the

introduction of a strictly measured rhythm, in one of the

rhythmic modes. Number 28d is a clausula, that is, a poly-

phonic composition using not the entire chant (more properly,

the entire soloist section of the chant), but only a single

melismatic passage thereof, in the present case that for the

word Domino. These clausulae, which form a large portion

of the repertory of the School of Notre Dame, were used

either as substitutes for the corresponding sections of fuH

organa or (more likely) as independent compositions in con-

nection with plainsong. Thus, in the present case, the wordBenedicamus would be sung by the soloists in plainsong, the

word Domino by the same soloists in two-voice composition,

and the Deo gratias by the choir in plainsong. Number 28e

is another clausula Domino, in which the plainsong melodyis sung twice (double cursus), with a shift of the rhythmic

pattern for the second statement. Numbers 28f through 28!

illustrate various stages of the development of the thirteenth-

century motet, a type which may be described as a clausula

in which a full text is provided for each of the upper parts.

In fact, the motet was originated through exactly this process

of textual addition, as can be seen from No. 28h. Anotherillustration of this process is giv n in the next example (28i),

showing a clausula, "Flos Filius," with two derivative motets.

The tenor of these compositions is taken from the re-

217

COMMENTARY

sponsorium "Stirps Jesse" (In Nativitatem B. M. V.), but

its melody is the same as that of "Benedicamus Domino."

Another point of interest presented by the motet III of this

group is the use of the refrain Cest la fin (at the end of the

French text) which is taken—text as well as music—from

the trouvere song "Vos n'aler" (No. igf). For another ex-

ample illustrating this practice of incorporating popular re-

frains into motets (refrain motet) see No. p.d. 1] Sources:

(a) LU, p. 124; (b) H. Angles, El Codex musical de Las

Hitelgas (ig^S), "i. 47; (c) Codex Florence, Bibl. Laur.

plut. 29, / {F), fols. 86v, 87r; (d) ibid., fol. 88v; (e) ibid..

fol. 88v; (f) Codex Wolfenbuttel 1206 {W,), fol. 179V; (g)

P. Aubry, Cent motets dii XIlie Steele (1908), Codex Bam-

berg Ed. IV. 6 (Ba), No. 31; (h) Y. Rokseth, Polyphonies

du XIII Steele (1936-39); Codex Montpellier, Fac. des Med.

H 196 (Mo), No. 143; (i) ApNPM. pp. 237, 273, 285.

29. ORGANUM "HEC DIES" IN LEONINUS' STYLE.

This composition provides a fuller illustration of the tech-

nique of Leoninus, a first example of which is given in

No. 28c. The source of this extended composition is the

Easter gradual "Haec dies" (cf. No. 12). In conformity with

the principles explained under No. 26, only the solo sections

of this chant are composed polyphonically, the others being

sung by the choir in plainsong. It will be noticed that there

is a striking contrast between the free and irregular style of the

sections Hec dies and Confitemini on the one side, and the

strictly contrapuntal style of the sections Domino, Oitoniam.

In secuhim, on the other. The current designation for these is

organal style and discant style. The sections in discant style

are clausulae, which appear here as parts of an organum. This

was doubtless their original status, whereas subsequently they

were taken out of their contexts and became independent

pieces in their own right. A comparison of our rendition with

the widely differing transcription given in AdHM, p. 217,

will show the considerable uncertainty which still prevails

in the problems offered by the music of this period. % Source:

Codex Wolfenbuttel 677 {W,), fol. 27. f Records: Victor-

'3555: GSE, p. 258 (both after AdHM).

30. CLAUSULAE FOR "HEC DIES." As previously ex-

plained (No. 28d), a clausula is a polyphonic composition

of a short passage of a chant. From a study of the gradual

"Haec dies" (see No. 12) it will be seen that the clausulae of

the present example (see also No. 29) are based on melismatic

passages of the chant, that is, on passages in which a florid

melody consisting of numerous notes occurs with a single

word or a single syllable. In fact, all the clausulae are in-

variably based on such "melismas," never on the syllabic

sections of the chant. The clausulae of the present example are

written in the style of Magister Perotinus (<r. 1160-1220), the

successor of Leoninus. A comparison with the corresponding

sections of Leoninus' organum (No. 29) illustrates the

general tendency of Perotinus towards a more crystallized

and more concise style of composition. It should be noted

that the present example is not a unified composition in the

proper sense of the word. It merely shows a number of

clausulae as they may have been used in connection with

plainsong. f Source: W 1. fols. 46V-48V.

31. ORGANUM "HEC DIES" IN PEROTINUS'STYLE. The tendency pointed out in No. 30 appears again

in the present composition. Perotinus also took the step

from two-voice composition to composition in three and four

parts. Our example shows somewhat less than half of the

complete organum, to the word "bonus." ^Source: W ,.

fol. 81.

32. MOTETS FOR "HEC DIES." Regarding the origin

of the motet, see the explanations given under No. 28f-i. It

goes without saying that, after the introduction of the motet

as a textual derivative of clausulae, motets were also com-

posed independently, that is to say, without the use of a pre-

existing clausula. The examples of the present group illus-

trate various special methods of motet composition. In the

first (a), the original melody for the words Hec dies is en-

larged through repetition, according to the scheme a a a b a,

a scheme which is somewhat similar to that of the medieval

rondeau (see No. i9d, e). The second example (b) shows

the substitution of a French for a Latin text in the upper

part, a method which is frequently encountered in the

thirteenth-century repertory of motets. No. 32c is an example

of the so-called condttctus motet, that is, one in which the

upper parts show identical text as well as identical rhythm,

as is the case with the polyphonic conductus (see Nos. 38,

39). There is reason to believe that this was one of the

earliest types, if not the earliest type, of motet. This also

shows an interesting stylistic feature of thirteenth-century

composition, the so-called exchange of parts (G. Stimm-

taiisch; see the section "Se conformans"). It illustrates an ex-

tremely dissonant style which is not infrequent in music of

the early thirteenth century. The tenor and middle part

(duplum) form a pair of consonant voices, as do the middle

part and upper part (triplum), whereas the combination of

all three parts produces sharp dissonances. (Cf. ApNPM,p. 280.) The fourth motet (d) is another example of the

refrain motet which is explained under No. 28i. (For the

refrain see No. igd.) The last composition of this group (e)

is an "instrumental motet," if this somewhat self-contra-

dictory term be permitted; that is, an instrumental composi-

tion written in the style of a motet. Several such compositions,

to be performed on viols (one of them is called "In Seculum

viellatoris"), exist in the Codex Bamberg. A particularly in-

teresting feature of this composition is the extensive use of

hocket. This means the truncation of a melodic line into

short fragments (frequently single notes) which are given

to two voices in quick alternation, fl Sources: (a) Mo, No.

184; (b) Mo, no. 45 and Ba. no. 96; (c) W^, fols. 126-7;

(d) Mo, no. 85; (e) Ba, no. 108.

33. TWO MOTETS. These two compositions illustrate the

development of music around and after 1250, at the time of

Franco of Cologne. The triplum (that is, the highest voice)

now becomes the predominant part, melodically as well as

218

COMMENTARY

rhythmically. In the first example (a) exchange of parts is

extensively used (see No. 32c). Another interesting feature

is the extended vocalizations on the syllable "a—." It should

be noticed that vocalization is required for all the textlcss

parts of early polyphonic music, particularly for the tenors of

all the organa, clausulae, and motets. (Instrumental per-

formance of these parts, frequently suggested in modern

writings, is extremely unlikely.) The second motet (b) illus-

trates the complete breaking away of the motet from its

liturgical connection. The tenor no longer is a Gregorian

cantus firmus, but a freely invented melodic phrase repeated

several times in the character of a basso ostinato. All the

texts are comments on the gay life of Paris; the tenor ap-

parently reproduces a familiar street cry. f Sources: (a) Mo,

no. 339; (b) Mo, no. 319. f Record: (a) Ltim-po2j {ReMMA,

P-474)-

34. PETRUS DE CRUCE: Motet. Petrus de Cruce, wholived in the second half of the thirteenth century, made an

important contribution towards the development of musical

rhythm by introducing quick note values (semibreves) to

be sung—in groups up to seven—in the place of a quarter-

note (brevis). There results a somewhat mannered style in

which quick parlando passages alternate with relatively long

notes. A complete disregard of what are considered today the

most elementary principles of textual declamation is a typical

by-product of this style. <I Source: Mo, no. 254.

35. MOTET "JE CUIDOIE." Judging from its style, this

motet also may well be a composition of Petrus de Cruce's.

It makes ample use of the hocket technique explained under

No. 32. f Source: Mo, no. 332.

16. ADAM DE LA HALLE. Adam de la Halle (c. 1230-

1287) holds an interesting historical position on the border

line between an old and a new school of thought. He was

one of the last to cultivate the monophonic songs of the

trouvere period, and one of the first to transfer them to the

field of polyphonic music, thus inaugurating a trend which

predominated in the French Ars nova of the fourteenth

century. In his style he is rather conservative, except for a

more liberal use of ornamenting figures than was customary

before him. Number 36a is a monophonic ballade; 36b is a

three-voice rondeau; while 36c is interesting as an early in-

stance of the modern rondo, a b a b a, a form which did not

come into general use until after 1650 (see No. 147).

f Source: E. de Coussemaker, Oeuvres completes du trouvere

Adam de la Halle (1872), pp. 35, 230, 232. f Record: (c)

GSE, p. 2.

37. TWO-VOICE TROPE: "Rex virginum." This com-

position is an example of a special type of thirteenth-century

music which is thought to be of British origin (according to

J. Handschin; cf. ReMMA, p. 393fl). The main character-

istics of these "insular" compositions (mostly preserved in

fascicle 11 of W,) are the use of (i) a non-Gregorian tenor;

(2) a prevailingly syllabic style; (3) note-against-note tech-

nique for all the parts; (4) identical text for both parts. It maybe noticed that all these traits are found in the earliest organa

of the ninth through the eleventh centuries (sec Nos. 25, 26).

In regard to the first of these four characteristics, it may be

said that our example, like the eleventh-century "Cunctipo-

tens genitor" (No. 26a), is based on a Kyrie-trope (Kyrie,

Rex virginum . . .). Moreover, both tropes use the same

melody, that of the Kyrie of the Mass IV (see No. 15). Theother three traits occur also in the thirteenth<entury con-

ductus (see Nos. 38, 39). f Source: W,, fol. i76r.

38. CONDUCTUS: "Roma gaudens jubila." As explained

under No. 17, the Latin lyric poetry of the twelfth and

thirteenth centuries was generically designated as conductus.

In the thirteenth century these songs were composed poly-

phonically, mostly in three parts, and it is to this type of music

that the term conductus usually applies. The general style

of conductus composition is the same as that described under

No. 37, except that the tenor, instead of being borrowed from

the liturgical repertory, is freely invented, text as well as

melody. The conductus, therefore, represents the earliest type

of completely free polyphonic composition. Our transcrip-

tion may be compared with that in ReMMA, p. 309. Re-

garding the question as to whether the conductus should be

rendered in even note values or in alternating longs and

shorts (modal rhythm), cf. ApNPM, p. 224. f Source: W,,

fol. i07r.

39. CONDUCTUS: "Hac in anni janua." Compositions

like this one lend themselves well to a study of thirteenth-

century three-voice harmony (or counterpoint). The use of

full triads—that is, of triads including the third—and of'

sharply dissonant "appoggiaturas" may be noticed. •[Source:

H',, fol. 7ir (cf. also ApNPM. p. 221)!

40. MONOPHONIC DANCES. All the dances of the

thirteenth and fourteenth centuries belong to one main type,

known as estampie. The estampie, an early example of which

was encountered in the "Kalenda maya" of No. i8d, is

characterized by a form similar to that of the sequences from

which it is doubtless derived. It consists of four to seven

sections, called punctus, each of which is repeated, with a

difTerent ending for the repetition. In some cases the same

two endings are used for all the sections, as, for instance, in

our first two examples here given (a, b), a type for which

the term "rounded estampie" may be suggested. If the

dance had only three or four puncti, it was also known under

the name of dtictia. <! Sources: (a) P. Aubry, Estampies et

danses royales (1906), p. 14; (b) ibid., p. 19; (c) }. Wolf, in

Archiv fiir Musil{wissenschaft, i, 22 (facsimile in J. Stainer,

Early Bodleian Music, vol. i, pi. VII).fl Record: AS-16

(GSE, p. 555) contains, first side. No. 40c (repetitions of

punctus 1-3 are omitted). No. 40a (drum accompaniment

added). No. 41a; second side, No. 40b (abbreviated per-

formance; only the sections la, ib, 2a, 3b, 4a, 5b, 6a, 7b are

played), No. 59a.

219

COMMENTARY

41. TWO-VOICE DANCES. Both exnmples are poly-

phonic elaborations of the type described above (No. 40) as

ductia. No. 41a has the basic ductia melody in the lower

part. It consists of three short sections (i, 2, 3), each of which

is repeated with a di(Tcrent ending (la, lb . . .). The whole

melody is stated twice, each time with a different counter-

point in the upper part (4, 5, 6). No. 41b is based on a ductia

melody of two puncti (1, 2) which are subsequently trans-

ferred to the upper part (3, 4) and transposed to the upper

fifth. ^Sources: (a) J. Wolf, Handbuch der Notationsl{itnde

(1910), p. 224; (b) ApKIPM, p. 247. il Record: (a) See under

No. 40.

42. "SUMER IS ICUMEN IN." This composition is too

well known to require explanatory remarks. Suffice it to say

that, according to recent investigations, its date is probably

about seventy years later than has been assumed (cf. M. P.

Bukofzer, Sumer is iciimen in, 1944). f Source: British Mu-

seum, Harleian gjS. <; Record: Columbia-^ji^.

43. ROMAN DE FAUVEL: "Detractor est." The Romande Faiwel is an important literary and musical source of the

early fourteenth century, containing monophonic songs and

motets inserted in a continuous narrative. The motets are

written in the style of Petrus de Cruce (see Nos. 34 and 35),

but some of them show features characteristic of fourteenth-

century music. Notable among these is the isorhythmic struc-

ture of the tenor. This means that the melody of the tenor is

organized rhythmically on the basis of a rather elaborate

pattern of note values which is repeated throughout the

entire tenor. In the present motet this pattern (the so-called

talea) comprises six measures. The principle of isorhythmic

construction is but an amplification and elaboration of the

shorter rhythmic patterns usually found in the tenors of

thirteenth-century motets (e.g., Nos. 32b, c). Nevertheless,

the isorhythmic technique presented a novel procedure, since

it meant abandoning the rhythmic modes which governed

the rhythmic structure of nearly all the tenors in the music

of the thirteenth century, f Source: Joh. Wolf, Geschichte

der Mensiiralnotation (1Q04), vol. 11, no. 6 (our transcription

diilers in many details from the one given in Wolf's

vol. III).

44. GUILLAUME DE MACHAUT: "S'il estoit nulz."

Machaut is the outstanding representative of French four-

teenth-century music. His compositions embody the great

achievements of the Ars nova, achievements which lie in the

direction of liberation, secularization, refinement, expressive-

ness and, one may even say, Romanticism. Machaut 's motets

are the most conservative of his compositions, being evolved

from the motet of the thirteenth century, but even in these

works the novelty of style is striking, particularly as regards

suppleness of rhythm and of melodic design. The present

motet is isorhythmic (see No. 43), with a talea comprising

five 3/2 measures; the fourth talea is shortened. As usual in

Machaut 's motets, the present example has a double cursus,

that is, the plainsong melody (designated in this connection

as color) is stated twice. The second statement (B) has nearly

the same structure as the lirst, but the notes are shifted to

other positions, a procedure which originated in thirteenth-

century clausulae such as No. 28e. ^Source: F. Ludwig,

Gtiilluume de Macliant, Mitsikalisclie Werl{e, ill, 25.

45. GUILLAUME DE MACHAUT: "Je puis trop bien."

With Machaut begins the long line of composers, extending

throughout the fourteenth and fifteenth centuries, whocultivated the trouvere ballade (see No. iga-c) as an elaborate

form of polyphonic music. The freedom, subtlety, and ex-

pressiveness of melody, as well as the variety of rhythm, are

in marked contrast to the rigidly patterned style of the

thirteenth century. This contrast, no doubt, marks the be-

ginning of a new art, an Ars nova in the true sense of the

word, f Source: F. Ludwig, Giiillaume de Machaut, Miisi-

l^alische WerlyC, i, 31. «! Record: AS-6j {GSE, p. 274).

46. GUILLAUME DE MACHAUT: Two virelais.

Machaut wrote monophonic as well as polyphonic virelais.

His monophonic "Comment qu'a moy" is a most charming

song, written in a folk-like style which is astonishingly

similar to the style of present-day French folksong. No less

admirable is the artistic refinement of the polyphonic "Plus

dure," an exquisite masterpiece of musical art. f Source:

F. Ludwig, Guillanme de Machaut, Musif(alische Wer\e,

I, 72, 86.

47. JACOPIN SELESSES. This composition has been se-

lected in order to represent one of the least-explored periods

of music history, the late fourteenth century. Very few

compositions of this period are available for study because

of the extraordinary difficulties presented by their notation.

The most striking characteristic of these compositions is their

rhythmic complexity, which indeed has never been paralleled

in all music history, f Source: ApNPM, p. 423.

48. BAUDE CORDIER. Baude Cordier represents the

transition between the mannerism of the late fourteenth

century (see No. 47) and the new classicism of the fifteenth

century, embodied by Dufay and Binchois (see Nos. 65fl).

His "Amans ames" follows the tradition of the past, while

his "Belle bonne" is remarkably progressive, particularly

because of its use of imitation for the beginning. This

composition, a New Year's present to the poet's ladylove, was

ingeniously written in the shape of a heart, a charming

symbol of the idea of the poem, and perhaps also a pun on

the composer's name, f Source: ApNPM, pp. 175, 427.

49. JACOPO DA BOLOGNA. Numbers 49 to 54 serve to

illustrate the Italian Ars nova, a movement of no less artistic

significance than the contemporary movement in France.

During the first half of the fourteenth century, two-part

writing was commonly employed, with the upper part form-

ing a Iforid counterpoint to the longer notes of the lower

part. The preferred form of this period was the madrigal,

which, as a poetic form, consists of two or three strophes of

220

COMMENTARY

three lines each, followed by a final strophe (n'tornello) of

two lines. The musical form follows closely that of the poetry,

the same music (a) being used for the two (or three) stanzas,

and different music (b) for the ritornello, so that the form

a a b (or a a a b) results. ^Source: Codex Rcina (Paris,

Hibl. Nat., fonds fr. notiv. acq. 677/), fol. 3V. ^Record:

GSE, p. 240.

50. GIOVANNI DA FLORENTIA: "Nel mezzo." This

is an example of the eleven-line madrigal, with the modified

scheme a a a b b. f Source: Joh. Wolf, Gescliichte der Men-

siiralnotation (1904), vols. 11, in, no. 38.

51. GIOVANNI DA FLORENTIA: "lo son un pelle-

grin." This is an example of the Italian ballata, a form which

is identical with (and evidently taken over from) the French

virelai, A b b a A (cf. Nos. 19 and 46, also 21 and 22).

f Source: Paris, Bibl. Nat., fonds ital. ^68, fol. 42V. <[ Record:

.45-5(G5£, p. 555).

52. GHIRARDELLO DA FIRENZE. A particularly in-

teresting form belonging to the early Italian Ars nova is the

caccia (chase, hunt). Its literary subjects are hunting or fish-

ing scenes full of lively description. The musical form is a

strict canon in two parts at the distance of eight or more

measures, which is usually supported by a free (i.e., not

imitating) tenor in longer note values, f Source: W. Th.

Marrocco, i^th-Century Italian Cacce (1942), p. 70. f Record:

AS-S9 (G5E, p. 557).

53. FRANCESCO LANDINI: "Amor c'al tuo suggetto."

Landini is the outstanding master of the late Italian Ars

nova, during the second half of the fourteenth century. His

compositions are usually in three parts, not in two as was

customary before him. His preferred form is the ballata, de-

rived from the French virelai, while the earlier Italian masters

cultivated chiefly the indigenous madrigal. Stylistically, his

most conspicuous achievement over his predecessors is the

much greater subtlety and variety of the polyphonic texture,

particularly in its rhythmic aspect. For this he is evidently

indebted to Machaut, whom, however, he surpasses in the

sweetness and expressiveness of his melodies, f Source: F.

EUinwood, The Work^s of Francesco Landini (1939), no. 103.

54. FRANCESCO LANDINI: "Sy dolce non sono." This

composition affords one of the few examples to be found in

medieval music of a deviation from the standard forms which

were traditionally used for the musical structure of a com-

position based on a poetic text. Although the poem is an

eleven-line madrigal, it is not set to music in the correspond-

ing musical form, a a a b (see No. 49), but is through-com-

posed. Thus it anticipates the procedure which was universally

adopted for the sixteenth<entury madrigal. On the other

hand, its connection with the tradition of the fourteenth cen-

tury appears from the fact that it has an isorhythmic tenor,

with a talea of seven measures, f Source: F. EUinwood, TheWor){^s of Francesco Landini (1939), facsimile facing p. 34.

55. JOHANNES CICONIA: "Et in terra pax." While the

"proto-renaissance" of the fourteenth century had led to a

striking superiority of secular over sacred music, the pendu-

lum began to swing back with the advent of the fifteenth

century. The first indication of this reversal is to be found in

the numerous compositions of single items of the Ordinary

of the Mass (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei)

which preceded the composition of complete Masses (see

No. 66). Ciconia's "Et in terra pax" is a Gloria, the initial

phrase ("Gloria in excelsis Deo") being sung in plainsong.

It shows characteristic tendencies toward clarity and sim-

plicity, toward a polyphonic texture with greater participa-

tion of the lower parts (which are probably instrumental),

and toward dignified expression. A peculiarity of this

composition is the use of the same music for two sections

of the Gloria text, from "Laudamus te" to "filius Patris" and

from "Qui toUis" to "Dei Patris." fl Source: Ch. van den

Borren, Polyphonia sacra (1952), p. 88.

56. GUILLAUME LEGRANT. Legrant's Credo is an-

other example of the church music of the early fifteenth

century. It is interesting for its alternation of sections in two

and in three parts, the former probably for soloists, the latter

for the choir (see also No. 64). The choral sections are in

full chordal style (familiar style) and provide a most in-

teresting insight into the harmonic idiom of the period.

^Source: Same as No. 55, p. 127.

57. SCHOOL OF WORCESTER. To judge from the

scarce remnants of fourteenth-century English music, the

School of Worcester played a leading role in its development.

The examples given here illustrate the strong hold which the

tradition of the thirteenth century retained in England at a

time when France and Italy had made decisive steps in

entirely new directions. They show the influence of the

conductus style, which continued in English music well into

the fifteenth century. A particularly obvious indication of

thirteenth-century style is the Stimmtausch (exchange of

parts) between the two upper voices in the "Alleluia psallat"

(e.g., measures 2 and 6). The Gloria (57b) is interesting

mostly as an example of the sixth-chord style, usually called

fauxbourdon, which is frequently encountered in the English

sources of the period and which differs in the position of the

cantus firmus from the true fauxbourdon of French fifteenth,

century music, as exemplified by Dufay. The English type

has the cantus firmus in the tenor, the French in the soprano.

51 Source: A. Hughes, Worcester Mediaeval Harmony (1928),

pp. 83, 39. H Record: (a) Victor-i^^^g and VM-J29-

58. ORGAN ESTAMPIE. The main interest of the present

example lies in the fact that it represents the earliest key-

board music which has been preserved. It occurs, together

with a few other pieces, in the so-called Robertsbridge Codex

of about 1325 (cf. ApNPM, p. 37f). It is a long composition

in the form of the estampie (sec No. 40), but far removed

from the original dance connotation of this form. Three of

six puncti are reproduced here. From the stylistic point of

221

COMMENTARY

view, the old-fashioned parallel fifths and the hocket passages

are noteworthy. Although this composition is usually con-

sidered to be of English origin, internal features, particularly

notational details, point to Italy, f Source: H. E. Wooldridge,

Early English Harmony, vol. i (1897), plate 43.

59. ITALIAN D.^NCES. A considerable number of mono-

phonic Italian dance melodies, evidently written for the

vielle (viola) are preserved in a fourteenth-century manu-

script in the British Museum. They all are written in the form

of the estampie, most of them extremely long. Two of the

shorter examples are reproduced here. The "Lamento di

Tristan" is certainly one of the most charming compositions

in the entire literature for stringed instruments. It is par-

ticularly interesting for its unmistakable folk-like flavor. The

main dance is followed by a Nachtanz (La Rotta) in dif-

ferent meter. This composition as well as the Saltarello be-

longs to the type of "rounded estampie" (see No. 40). In

both examples the prima volta closes on the supertonic

of the secunda volta. f Source: Brit. Mus. Add. 2991^7,

fol. 63r-63v. H Record: (a) AS-16 {GSE, p. 555).

60. OSWALD VON WOLKENSTEIN. During the

fourteenth century, Germany made a late and slow start in

the field of polyphonic music. Wolkenstein is the first com-

poser in this development from whose work a considerable

number of compositions have been preserved. In these, the

influence of the minnesinger tradition combines with that of

the French Ars nova. The latter influence is particularly

patent in Wolkenstein's "Der May," which is an adaptation

of a composition by the French fourteenth-century composer

}. Vaillant. But under Wolkenstein's hands the composition

has gained rather than lost in charm and freshness. It is one of

the earliest known examples of word painting, and one which,

in spite of its primitiveness, surpasses many later attempts in

the same direction. A comparison with Janequin's program

chanson L'Aloitette (No. 107) is interesting in this respect,

f Source: DTOe ix. i, 179.

6L JOHN DUNSTABLE: "O rosa bella." The history of

English music is striking for its irregular and eruptive line

of evolution, involving, as it does, short periods of extraor-

dinary flowering between centuries of slow progress or

almost complete stagnation. As has been pointed out pre-

viously (see No. 57), English music during the fourteenth

century hardly moved beyond the limits of thirteenth-century

style and technique. This situation changed completely with

John Dunstable, a composer of the highest significance whohad a penetrating influence upon the further development of

music, particularly in France (Dufay, Binchois), where he

is believed to have spent a good deal of his life. He becamethe founder of what is known as the "Continental" school

of fifteenth-century English music (Lionel Power, Beding-

ham, and others), in contrast to the "domestic" school (Cooke,

Damett, Sturgeon), which largely retained the conservative

methods of the fourteenth century. Dunstable's compositions

are admirable mainly for the beauty of their melodic lines, in

the upper part as well as in the contrapuntal parts. They

constitute a culmination of contrapuntal technique of no less

significance than those represented by Josquin, Palestrina, and

Bach,fl Source: DTOe vii, 229 (corrected after facs. iv).

62. JOHN DUNSTABLE: "Sancta Maria." The fifteenth-

century return to church ideals not only led to an extensive

activity in the field of Mass composition (see Nos. 55, 56),

but also to a new interest in, and attitude toward, the motet.

As early as the middle of the thirteenth century this form

had been diverted from its original sacred affiliation by the

intrusion of secular texts in the vernacular, a procedure which

persisted throughout the fourteenth century (see No. 44).

Dunstable was one of the first to cultivate the motet again

in a style proper to its church use. He abandoned the poly-

textuality as well as the cantus-firmus tenor of the medieval

motet, and established the motet as a free composition on

a liturgical text. Dunstable's "Sancta Maria" illustrates a

particularly important trait of the composer's musical style,

that is, the triadic construction of his melodies. For instance,

the initial passage of the soprano part shows an unmistakable

emphasis on the tones of the C-major triad at its beginning,

followed by modulation into G major. The importance of this

innovation can hardly be overestimated. Here we find the

roots of that trend which led to the establishment of the

triad as the cornerstone of musical technique. Another

characteristic trait of Dunstable's style may be observed in

the use of the upper appogiaturas which add so much to

the eloquent eN]iressiveness of the melodic lines. <1 Source:

DTOe VII, 197.

63. LIONEL POWER. This Sanctus is interesting as an

illustration of the early experiments in four-voice harmony.

Full triads in four voices, such as appear repeatedly here, are

extremely scarce in music prior to this time. It was not until

the establishment of the Flemish School under Ockeghem

and Obrecht (see Nos. 7^ to 78) that four-voice counter-

point became firmly established as the normal procedure. In

this composition the plainsong Sanctus from the Mass XVII

(for the Sundays of Advent and Lent; cf. LU, p. 61) is used

as a cantus hrmus in the tenor. The contratenor has no

text in the original. The other three voices have the text

syllables simultaneously, except for minor variants which

are indicated in the score, f Source: The Old Hall MS (new

edition by A. Ramsbotham and H. B. Collins, 1935-38),

HI, 76.

64. DAMETT. As was pointed out under No. 61, Damett

belongs to the "domestic" school of English music. It should

be noticed, however, that the present example shows the in-

fluence of "Continental" thought to a larger extent than do

other works of his and of his colleagues. For a discussion of

the alternation of two-voice polyphonic sections for soloists

and three-voice chordal sections for chorus (the chorus starts

once more with the words "Ora pro nobis"), see No. 56. It

may be noticed that our composition, although based on a

liturgical text (antiphon for the Presentation of the Blessed

222

COMMENTARY

Virgin Mary; cf. LU , p. 1754) does not use the plainsong

melody of this text. Thus it represents one of the early ex-

amples of free composition on a liturgical text,flSource: Same

as No. 63, vol. I, p. 164. f Record: GSE, p. 124.

65. GUILLAUME DUFAY: "Alma redemptoris mater."

Dufay, together with Binchois, is the founder of the Bur-

gundian School (formerly termed "First Netherlands

School") which grew up in the splendid cultural sphere of

the kingdom of Burgundy, under Philip the Good (1419-67)

and Charles the Bold (1467-77). The music of the Burgun-

dian School represents a reaction against the complexity and

mannerism of the late Ars nova. Preceded by composers like

Baude Cordier and strongly influenced by Dunstable, Dufay

and Binchois developed a musical language whose beauty

and tender sweetness are just as lively today as they were

five hundred years ago. Dufay 's "Alma redemptoris mater"

belongs to a special type of cantus-firmus composition which

may be termed discant motet. This means that the plainsong

melody (cf. LU , p. 273) is used, not in the tenor as usual,

but in the soprano (discant). While most of the tenor cantus

firmi rigidly adhere to the original plainsong melody as well

as to a strict rhythmical pattern (either isorhythmic or, later

on, in evenly sustained notes; cf. No. 100), the discant cantus

firmi are noticeable for their free treatment of the borrowed

chant, melodicaliy as well as rhythmically. Our example

aflords a clear insight into this technique by which a plain-

chant is changed ("secularized," one might almost say) into

a graceful melody of an entirely different character, f Source:

DTOe xx\7i.i, p. 19. 1; Record: AS-^$ {GSE, p. 147).

66. GUILLAUME DUFAY: Missa L'Homme arme.

Easily the most famous of all cantus firmi used for Mass

compositions is the melody of a fifteenth-century French

folksong, "L'Homme arme" (The armed man). It was used

by numerous composers of Masses, throughout the fifteenth,

sixteenth, and, less frequently, seventeenth centuries. Dufay 's

Missa L'Homme arme is one of the earliest of its kind.

The Kyrie I uses the first phrase of the melody. The Agnus

Dei III offers an example of the "canonic riddles" frequently

encountered in the Masses of the fifteenth and early six-

teenth centuries. The inscription "Cancer eat plenus et

redeat medius" ("Let the crab proceed full and return half")

indicates that the cantus firmus is to be sung twice, first in

full note values, then in halved values and in retrograde

motion (this being indicated by the word "returns"). Since,

however, the crab's normal motion is backwards, the "pro-

ceeding" section actually is retrograde, and the "returning"

section, therefore, in normal motion. The sign § in the first

measure of line 5, p. 72, indicates the beginning of the second

statement of the tune. The original notation of the Kyrie

and the Agnus Dei is with a B-flat in the three lower parts

only, f Source: Cappella Sistina, Cod. ^9.

67. GUILLAUME DUFAY: "Mon chier amy." This ex-

ample is one of the numerous secular compositions of the

Burgundian master. The prominent position which the bal-

lade had held during the fourteenth century (see Nos. 45,

47) somewhat declined during the fifteenth century. Never-

theless, Dufay and others continued to use this form as a

vehicle of elaborate polyphonic style. The florid passages at

the end of the various sections as well as the somewhat com-

plex cross rhythms characterize this composition as belonging

to Dufay's earlier period, f Source: Oxford, Bodleian Li-

brary, Ms. Canonici misc. 21^ {c. 1450), fol. 134V.

68. GUILLAUME DUFAY: "Adieu m'amour." This

composition, a rondeau, is a most beautiful example of

Dufay's late style, characterized by translucent clarity of

texture and subtle sensuousness of expression, as well as by

the more consistent use of imitation. For the complete text

see M. Loepelmann, Die Liederhandschrijt des Cardinals

Rohan (1923), no. 372. fl Source: F. Blume, Das Chorwerl^,

Heft 19, p. 22. f Record: AS-4S (GSE, p. 556).

69. GILLES BINCHOIS: "De plus en plus." The work of

Binchois, the other great master of the Burgundian School,

is not yet sufficiently known to permit an exact evaluation.

It would seem that he tended towards a slightly more "pop-

ular" style, without, however, sacrificing the high artistic

standards of Dufay. The beginning of the charming "Deplus en plus" offers another example of the triadic type of

melody which had been inaugurated by Dunstable (see No.

62). f Source: F. Blume, Das Chorwer/^, Heft 22, no. 5.

f Record: AS-j^ (GSE, p. 62).

70. GILLES BINCHOIS: "Files a marier." This delight-

ful miniature composition is remarkable for its progressive

character. It anticipates much of the joyful liveliness of

the program chansons by Janequin (see No. 107), which,

however, it far excels in true musical vitality. ^Source:

J. Marix, Les Mttsiciens de la coiir de Bourgogne an XVesiecle (1937), p. 46.

71. ARNOLD DE LANTINS. Arnold de Lantins is an-

other member of the Burgundian School, probably a slightly

older contemporary of Dufay and Binchois. At least some

of his compositions fully come up to the artistic rank of the

two leading masters. The triadic structure of the melody

may be noticed, flSource: Same as No. 67, fol. 52V. f Record:

AS-^g (GSE, p. 556).

72. HUGO DE LANTINS. The compositions of this

Burgundian master are remarkable for their frequent use of

imitation. Since the more extended use of imitation normally

belongs to a somewhat later period, Hugo de Lantins may

be assumed to be a younger brother (or son?) of Arnold de

Lantins. f Source: ApNPM, p. 141.

73. JOHANNES OCKEGHEM: Missa L'Homme arme.

With Ockeghem and his contemporary Obrecht a new and

most important phase of music history begins, that is, the

Flemish School (formerly called Second Netherlands School).

In many respects the early Flemish music offers a sharp con-

223

COMMENTARY

trast to that of Burgundy. In the Burgundian School there

was, by and large, an unmistakable emphasis on secular

music, while both Ockeghem and Obrecht were active

mainly in the held of church music. The Burgundian

masters wrote numerous songs in which instruments partici-

pated, while the Flemish wrote chiefly masses and motets

for a cappella chorus. Technically, one of their most impor-

tant contributions was the final establishment of four-part

writing as the normal te-xture of polyphonic music. This was

accompanied by a clearer separation of the vocal ranges than

had existed before. Finally, the ideal of a contrapuntal web

consisting of four or more equally important parts was more

clearly realized than before. The Kyrie of Ockeghem's Missa

UHomme armc uses the three phrases of the tune for its

three sections, Kyrie, Christe, and Kyrie. The contrast be-

tween the figurate counterpoint of the two Kyrie's and the

prevailingly chordal style of the Christe may be noticed.

The Agnus Dei III offers a good example of the highly

embroidered (figurate) counterpoint to be found in manycompositions of Ockeghem's. ^Source: Complete Works, ed.

by D. Plamenac, i, 99^.

74. JOHANNES OCKEGHEM: "Ma maitresse." In his

secular compositions Ockeghem continued the tradition of

Dufay. Distinctive features to be noticed in this example, a

virelai, are the extended phrases and the individual charac-

ter of the two accompanying parts, both of which are more

figurate than the upper part. The contrasting meter and style

of section B are also worth noticing. ^Source: Same as No.

73, p. 124. f Record: AS-i {GSE, p. 554).

75. JOHANNES OCKEGHEM: "Ma bouche rit." This

virelai is one of the most beautiful compositions of a master

whose claims to recognition are often incorrectly based on

feats of technical skill such as a 36-voice canon or a "Missa

cuiusvis toni." A point of special interest is the continuous

flow of the contrapuntal web, which never comes to a com-

plete stop except at the end of each section, f Source: Odhec-

aton A (edited by H. Hewitt, 1942), no. 54.

76. JACOB OBRECHT: "O beate Basih" and "O vos

omnes." Although Ockeghem and Obrecht are usually namedin one breath, the difference between their styles is no less

considerable than in the case of other musical twins, such as

Bach and Handel. Of the two, Obrecht is the more progres-

sive, anticipating, as he does, a good many of the achieve-

ments of Josquin. His style is less embroidered, more struc-

tural and motival, than that of Ockeghem, and employs

shorter phrases with more clearly marked cadences. Morethan anybody else, he deserves credit for the establishment of

the technique of imitative counterpoint which became the

foundation stone of sixteenth-century musical style, f Source:

Complete edition (by Job. Wolf), Motetten, 11, 85, and iv, 173.

77. JACOB OBRECHT: Kyrie and Agnus Dei. The twomovements of the Missa Sine Nomine illustrate the "cyclical"

treatment frequently found in masses of the Flemish era.

This means the use of the same motive for the beginning of

all, or nearly all, the movements of the Mass. An interesting

detail is the sequential passage near the end of the Agnus.

<i Source: Complete edition (by Job. Wolf), Missen, iv,

41.

78. JACOB OBRECHT: "Tsaat een meskin." Yet an-

other of Obrecht's claims to eminence is based on his posi-

tion in the history of instrumental music. He is the first

composer to whom a considerable number of purely instru-

mental pieces is known to belong. His "Tsaat een meskin"

("A maiden sat"), obviously based on a Dutch folk tune,

bears all the characteristic earmarks of the instrumental

canzona (see Nos. 88, 118, 136, 175). The original melody is

in the tenor, f Source: Complete edition (by Joh. Wolf), We-reldlijke Werken .\v/xvi, 7. ^ Record: AS-2y {GSE, p. 556).

79. LOYSET COMPfiRE: "Royne du ciel." Compere, a

pupil of Ockeghem, is a member of the so-called School of

Cambrai, which combined Flemish elements with the heritage

of Dufay, who lived in Cambrai from 1450 till his death.

Our example shows a mixture of progressive and archaic

features. Among the former is the consistent use of imita-

tion; among the latter, the use of a different text for the

tenor, as in a thirteenth-century motet. The tenor repeats the

phrase "Regina coeli" several times through ascending de-

grees of the scale, a method which may perhaps be explained

as a sequential modification of an isorhythmic tenor. Thecomplete composition is a rondeau, ABaAabAB, a

strictly secular form which is used here with a religious text

(for the full text see the source), f Source: Odhecaton A(edited by H. Hewitt, 1942), no. 84.

80. HEINRICH FINCK. The rise of polyphonic music in

Germany came very late, and it was not until the end of the

fifteenth century, under Adam von Fulda, Heinrich Finck,

and Alexander Agricola, that a continuous development

started there, influenced, it would seem, by the figurate style

of Ockeghem. The present composition skillfully combines

the melodies of two Ambrosian hymns in the manner of a

quodlibet, a form which was much in favor with the Germancomposers of the fifteenth and sixteenth centuries (see No.

82). H Source: Das Chorwer\, xxxii, 19.

81. CONRAD PAUMANN. Germany, though tardy in

cultivating vocal polyphony, was ahead of the other nations

in the field of organ music. Paumann's Fundamentumorganisandi (1452) contains, in addition to numerous in-

structive examples of organ composition, a few organ pieces

based on German folksongs. Some of these songs are pre-

served in a contemporary source of vocal music, the Lochamer

Liederbuch. Our example shows one of these, "Mit ganczem

Willen," in its original form (cf. the reconstruction by H.Rosenberg, in ZMW, xiv, 85), and in Paumann's beautiful

organ composition. In the original manuscript the closing

section of Paumann's composition is erroneously notated.

Our rendition is based on the assumption that, beginning

224

COMMENTARY

with the a of the fifth measure from the end, the melody is

written a third too high. ^ Source: Das Lochamer Ltcderbiich

(facsimile edition by K. Ameln, 1925), pp. 30, 72.

82, 83. GLOGAUER LIEDERBUCH. This interesting

manuscript contains a considerable number of polyphonic

compositions, vocal as well as instrumental. The quodlibtt

reproduced as No. 82 combines the melody of "O rosa bella"

(see No. 61) with numerous snatches of German folksongs.

A number of these occur separately in the Glogauer Licder-

buch, and their beginnings are given here, together with the

composition based on them, in order to make possible a

study of the technique employed. The instrumental pieces

contained in the Glogauer Liedcrbuch are among the earliest

of their kind, aside from the "In seculum" compositions of

the thirteenth century (see No. 32e). Particularly interesting

are the various dances, for three or four instruments. The

present example, "Der neue Bauernschwanz" (The new

peasant dance) is especially remarkable for its Naclitanz

(that is, second dance) in quick triple meter, the style of

which comes surprisingly close to that of numerous "cor-

rentos" written before and after 1600 {Fitzwilliam Virginal

Boo/{, Frescobaldi). <I Source: Das Glogauer Liederbuch,

new edition by H. Ringmann, vol. i (1936), pp. 40, 49, 87.

84. ORG.AN PRELUDES. The numerous preludes con-

tained in German sources from about 1450 to about 1520

constitute a tradition of particular interest, because they rep-

resent the earliest type of idiomatic keyboard music as dis-

tinct from types influenced by dance music (see No. 58) or

vocal music (see No. 8ib). The preludes contained in the

tablature by Adam Ileborgh show a melodic line in rambling

style and free rhythm, extending over a few sustained chords.

Those from the Buxheim Organ Book usually alternate be-

tween free passages and sections in chordal style. The preludes

of the early sixteenth century (tablatures by Leonhard Kleber

and Johannes Kotter) show the tendency towards a more

crystallized and concise style, melodically as well as har-

monically and rhythmically, fl Sources: (a) and (b) W. Apel,

"Die Tabulatur des Adam Ileborgh" (ZMW, xvi); (c) and

(d) Buxheim Organ Book, c. 1470 (Munich, Staatsbibli-

othek, Mus. Ms. S7^5)> nos. 53 and 216; (e) and (f) Tabla-

ture of Leonhard Kleber, 1524 (Berlin, Staatsbibliothek, Mas.

Ms. Z. 26), fols. yv and 4V; (g) W. Apel, Miisi/{ aus jriiher

Zeit, vol. I.

85, 86. ENGLISH PART SONGS. Toward the end of the

fifteenth century there appeared in England a modest flower-

ing of secular music. Part songs of a more or less popular

character (anachronistically designated in modern editions

as "madrigals") were written by various composers, and even

King Henry VII made some contributions to this repertory.

The somewhat primitive style of the "Tappster, Drinker"

suggests a slightly earlier date for this "bright and racy"

drinking song (r. 1450) than for the rather nicely polished

compositions given under No. 86. fl Sources: No. 85: John

Stainer, Early Bodleian Music, 11 (1901), 177; No. 86: Brit.

Mus. Add. j/922, fols. 23V, 65V.

87. HEINRICH ISAAC: "Zwischen Berg und ticfcm Tal."

Hcinrich Isaac is the first "international" composer of the

Renaissance. Of Flemish extraction, he wrote German,

Italian, ami French songs as well as sacred and instrumental

music. The present composition apparently is a polyphonic

elaboration of a folksong which appears as a canon in the

tenor and the bass, the other parts weaving around it in

imitation and free figuration. ^ Source: DTOe xiv.i, 26.

f Record: AS-i {GSE, p. 554).

88. HEINRICH IS.'VAC: Instrumental canzona. .\mong

the various individual traits of Isaac's style the use of short,

characteristic motives and the writing of extended sequential

passages (see No. 77) are particularly striking. The present

example illustrates both these traits as well as others indica-

tive of that trend towards rationalization which characterizes

the transition from the late Middle Ages to the early Renais-

sance. •; Source: DTOe xiv.i, 119.

89. JOSQUIN DES PRES: Agnus Dei. Josquin's historical

and artistic position in the development of music may well

be compared to that of his contemporary Raphael in the

history of painting. Naturally, his artistic rank should not be

judged from compositions like the present one, which is

given here only in order to illustrate the use of canonic

riddles in Flemish music, a trait which, although not with-

out interest, has been overemphasized in modern writings.

As indicated by the words "Ex una voce tres" (three voice

parts out of one), this composition has only one notated

part, which, however, leads to three rhythmically diflerent

parts when it is read in the three different mensurations

given at the beginning. Compositions of this type are known

as mensuration canons (see No. 92). Our example shows

this interesting specimen in its original notation and in

modern transcription. <| Source: ApNPM, p. 181.

90. JOSQUIN DES PR£S: "Tu pauperum refugium."

Josquin's "Tu pauperum refugium" (the second part of his

motet "Magnus es tu, Domine") is one of numerous com-

positions from his pen which elevate him, more than anyone

else, to the rank of the classical master of Renaissance music.

It shows an admirable combination of spirituality and ex-

pressiveness, of variety and clarity, of technical mastery and

simplicity of means as well as close reciprocity between text

and music—in short, all those traits which make him the

outstanding master of musical humanism or, in sixteenth-

century terminology, of mttsica reservata. Incidentally, this

composition contains many subtle examples of word paint-

ings, f Source: Complete edition (by Smijers), Bundel III,

p. 93. ^ Record: GSE, p. 242.

91. JOSQUIN DES PR£S: "Faulte d'argent." The present

example illustrates the French chanson of the early sixteenth

century, a type which was destined to have a far-reaching

influence upon the further course of music, leading later to

the instrumental canzona (sec Nos. 118, 136, 175) and ulti-

mately to the sonata. Particularly noteworthy in this respect

225

COMMENTARY

is the ternary form of the present composition, ABA (cf.

the sections "Faulte," "Se ie le dis," and "Femme"). Another

interesting feature is the canonic treatment of the contra-

tenor anti the quinta pars, the latter imitating the former in

the lower fifth at a distance of three measures. For an organ

adaptation of this chanson see No. ii8. f Source: Complete

edition (by A. Smijers), "Wereldlijke Werken," Nr. 15.

92. PIERRE DE LA RUE. As yet little is known of the

work of this composer, whose importance may well be con-

siderably greater than is generally assumed today when his

fame rests mainly on his mastery of the "intricacies of

mensural notation." For this mastery the present example

serves as an illustration. It is a mensuration canon (see No.

89), that is, 9 composition in which a single written line

serves for two (or more) voice-parts, when the line is read

in different mensurations. In the present case the melody of

"L'Homme arme" is sung simultaneously in triple time

(tempus perfectum) by the tenor and in duple time {temptis

imperfectum) by the bass. ^ Source: Misse Petri de la Rue(Petrucci, 1503).

93. PAULUS HOFHAIMER. Hofhaimer is the outstand-

ing representative of the early Renaissance in Germany, as

is Josquin in France. His compositions, mostly German part

songs, show a typically German seriousness and depth of

feeling. His "Mein's traurens ist" has the structure of the

Bar (see Nos. 20 and 24), and is written in the Phrygian

mode, which was frequently used in the period of Josquin

(cf. Nos. 90 and iii). In the original edition (Georg Forster,

Ein Aussztig guter alter und neuer teiitscher Liedlein . . .

,

1539) only the tenor has a text, fl Source: H. J. Moser, 91

Gesammelte Tonsatze Paul Hojhaimer's (1929), p. 72.

94. GIACOMO FOGLIANO. After an interruption of

two hundred years, caused, no doubt, by the loss of sources,

the Italian laude (cf. No. 21) reappeared in the form of

polyphonic compositions. The sixteenth-century laude are

written in a simple chordal style, similar to that of the con-

temporary frottole (cf. No. 95). A comparison of Fogliano's

composition with the plainsong melody {LU , p. 1861) is

recommended, f Source: K. Jeppesen, Die mehrstimmige

italientsche Laude um 1^00 (1935), p. 163.

95. TWO FROTTOLE. The splendid vitality of the Italian

Renaissance brought with it an extensive cultivation of secu-

lar music. In the years from 1504 to 1514 the Venetian pub-

lisher Petrucci issued eleven books of Frottole, that is, love

songs composed in three or four parts which were greatly

in vogue among the members of the North Italian courts,

particularly at Mantua where Tromboncino lived. Most of

the frottole are written in a form similar to that of the

thirteenth-century ballata (or virelai; cf. Nos. 19 and 21).

They consist of an initial refrain (ripresa, r), a number of

stanzas (piedi, p), and a concluding refrain {volta, v) which

has the same text and, except for a cadential extension, the

same music as the ripresa. The arrangement of these sections

is: r pi V r P2 V . . . or, perhaps, r pi v po v . . . The musical

scheme usually is

r p v

AB aab A"(A~ is the same as A, except for a cadential extension.)

f Source: R. Schwartz, Ottaviano Petrucci, Frottole (1935),

PP- 14. 37-

96. CANTO CARNASCIALESCO. The carnival songs of

the early sixteenth century reflect the exuberant liveliness of

the Italian Renaissance. They were sung by masked people

standing in open carriages in a street procession, as is the

custom to the present day in various Latin countries. Thesingers of the "Per scriptores" were disguised as scribes offer-

ing their efficient services for the writing of bulls, a punwhich was not lost on the audience at a time when the

despatch of papal bulls was a notoriously slow procedure.

H Source: Joh. Wolf, Sing- und Spielmusi\ aus dlterer Zeit

(1931), p. 49.

97, 98. MILLAN, ENCINA. The rise of the Italian frottola

is paralleled by that of the Spanish villancico of the period

around 1500. About 450 such compositions, lyrical songs with

instrumental accompaniment, are preserved in the so-called

Cancionero del palacio of Madrid. Stylistic evidence seems

to indicate a slightly earlier date for Millan (not to be con-

fused with Luis de Milan, cf. No. 121) than for Juan Encina,

also famous as a poet, whose songs figure largely amongthose of the Cancionero. Encina's songs, though generally of

slighter value than the earlier ones, nevertheless are attractive

examples of a popular style. They are mostly written in the

form abba, derived from the French virelai (cf. No. 19),

which was used as early as 1300 in the Spanish cantigas (cf.

No. 22). In the "Durandarte" the two sections of music are

repeated five times with new text, closing with the first sec-

tion, on Fine (a b a b . . . a). ^Source: F. A. Barbieri,

Cancionero musical de los siglos XV y XVI (1890), nos.

270. 343. 152, 22, 190.

99. TWO LUTE RICERCARS. The term ricercar, though

usually understood to indicate an early type of fugue, actu-

ally has a wider significance. It is the equivalent of our

expression "study"—or some other term loose enough to

embrace a considerable variety of instrumental styles and

types (cf. Nos. 114, 116, 119, 136). The lute ricercars con-

tained in Petrucci's lute books of 1507-08 are the earliest

known pieces thus named. They are free studies in lute style

designed to exploit the idiomatic resources of this instrument.

No. 993 consists of two short sections, a sort of prelude

(tastar de corde, touching of the strings) and the ricercar

dietro (ricercar thereafter). A few notes obviously wrong in

the original edition have been corrected. 51 Sources: (a) Pe-

trucci, Intabulatiira de lauto, vol. iv (1508); (b) Intabidatura

11 (1507), fol. 46V.

100. ARNOLT SCHLICK: "Salve Regina." With Arnolt

Schlick, the development of German organ music (cf. Nos.

226

COMMENTARY

8i and 84) came to an early culmination of great artistic

'ignificance. Spiritually and stylistically his compositions

belong to a somewhat earlier period than that in which

they were written, namely, to that of the late Gothic as

represented by Ockeghem. Evidence of this connection is

found in the strictly horizontal structure of the "Salve Re-

gina," in the sustained notes of the cantus firmus, in the

florid design of the contrapuntal parts which is largely free

from the rational methods of the Renaissance. A noteworthy

exception to the last statement is the imitative entrance of

the three contrapuntal parts, each of which begins with the

same "subject," if this term may be permitted for a musical

idea which has little in common with a subject in the usual

sense of the word. See also No. 139. % Source: Arnolt Schlick,

Tabidattiren etlicher Lohgesang . . . (1512), new edition by

G. Harms (1924).

101. ARNOLT SCHLICK: "Maria zart." Among Schlick's

organ pieces the "Maria zart" is the only one based on a

German devotional hymn, all the others being adapted from

the Latin liturgy of the Roman Church. This exceptional

derivation is reflected in various features of the musical style.

The melody is more tuneful and folk-like than the chants of

plainsong. It differs from plainsong also in its clearly marked

phrases, thus foreshadowing the Lutheran chorale which

came to the fore some twenty years after Schlick. Of particu-

lar importance is the fact that in Schlick's organ composition

this iTielody is used, not as a structural cantus firmus in evenly

sustained notes, but as a freely exhibited soprano part, em-

bellished by subtle ornamentations and supported by two

contrapuntal parts which are remarkable for the exquisite

clarity of their lines as well as for their most skillful incor-

poration of thematic material, either in the manner of canonic

imitation or of Vorimitation. Literally, anticipating imita-

tion, Vorimitation is the technical term for the imitative

treatment of a chorale line (or of its initial motive), as a

preparation to the full statement of the melody, f Source:

Same as No. 100.

102. TWO D.\NCES. The sixteenth century may fittingly'

be characterized as "the century of the dance." Encour-

aged by a freer attitude towards the authority of the Church,

people of all classes—nobility, burghers, and peasants—took

to dancing with an abandon for which there is hardly a par-

allel in the history of mankind. The two dances given here

represent an early type which occurs in Spanish, German,Italian, and French sources around and after 1500, in the

Italian known as bassa danza and in the French as basse

danse. These dances are in slow triple meter, with longer

note values in the lower parts, and lively passages and figura-

tions in the upper part. Most of them clearly belong to the

category of tenor dances, that is, dances in which the tenor

forms the basic part. Such a tenor is easily discernible in the

"Alta" of the Spanish composer F. de la Torre, while in

Week's "Spanyoler Tancz" the same melody ("Spagna")

occurs in the soprano. Week's composition consists of twodances [Hopper dancz means jumping dance), as is fre-

quently the case in the dance literature of the sixteenth cen-

tury, ^i Sources: (a) F. A. Barbieri, Cancionero musical del los

sighs XV y XVI (i<Syo), no. 439; (b) W. Mcrian, Der Tanz

in den deutsclicn I'alndutiirbiichcni . . . des 16. Jahrhunderts

(1927), p. 48.

103. ENGLISH DOMPE. This interesting composition is

contained in a manuscript in the British Museum which was

written about 1525, the earliest preserved source of English

keyboard music aside from the Robcrtsbridge Codex (see

No. 58). "Dump" is believed to be a lamenting and sorrowful

type of English or Irish song. Shakespeare, however, men-

tions "doleful dumps" and "merry dumps" {Romeo and

Juliet, IV, 4). The present dance is particularly interesting

because of the ostinato character of the accompaniment. In

a way, it can be considered as a series of continuous varia-

tions on a tonic-dominant harmony as a "theme." Thus it

belongs in the same category with the passacaglia or chaconne

of the seventeenth century. <! Source: Brit. Mus. Roy. App. 5S.

104. FRENCH PAVANE. The pavane is a courtly dance,

probably of Spanish origin, which around 1500 superseded

the basse danse (see No. 102). Aside from a few early ex-

amples in triple meter, the pavane is always in slow duple

meter. It is frequently followed by a Nachtam, the galliard,

in c]uicker triple meter. A special trait of the pavane is the

structure in three clearly marked sections, ABC, each of

which is repeated. This form is shown by the present example

as well as by most of the English pavanes dating from the

end of the century (see Nos. 137, 179). f Source: Pierre

Attaingnant, Quatorze gaillardes, neuf pavanes . . . (1529),

facsimile edition by E. Bernoulli (1914), p. 73.

105. HANS NEUSIEDLER. Among the numerous Ger-

man lute composers of the sixteenth century, Hans Neusiedler

is, perhaps, the most important. His "Hoftanz" (court dance)

is similar in rhythm and style to the "Spanyoler Tancz" by

Hans Week (No. 102b). His "Der Juden Tanz" (The Jew's

Dance) is one of the most remarkable specimens of sixteenth-

century music. Shrill dissonances, otherwise unheard of be-

fore the adventurous experiments of twentieth-century music,

result from the daring use of two conflicting tonal realms

(bitonality), D-sharp in the melody against E-natural in the

harmony. They produce an extremely realistic picture, not

lacking a touch of satire. Each dance is followed by a Nach-

tanz ("Hupf-auf," literally jump-up, i.e., jumping dance)

which is a rhythmic variant of the main dance. Such dances

were called Proportz, a name which is derived from the pro-

portions of mensural notation (proportio tripla).fl Sources:

DTOe xviii.2, 34 and 58 (cf. also the remark in ApNPM.p. 78).

106. ANTOINE DE FEVIN. Fevin, if not a pupil of

Josquin, certainly was a "felix Jodoci aemulator" (a success-

ful follower of Josquin), to use Glarean's words. His style

is admirable for its clarity, simplicity, and expressivene.ss.

The present example illustrates, among other things, the

227

COMMENTARY

practice of temporarily reducing the number of voices irom

the customary four to two (or three), in the present case for

the second Agnus Dei. This method, obviously an ctlort to

wrest some contrast from the uniform medium of a choral

group, is frequently found in the fifteenth century (see, for

example, Nos. 56, 64), but was seldom used after Josquin.

The Agnus III illustrates another characteristic trait of the

Josquin period, namely, the imitation in paired voice parts

(cf. the passages "Agnus Dei" and "dona nobis pacem").

^Source: Liher quindedm mtssanim (new edition in ExMM,

p. 116).

107. CLfiMENT JANEQUIN. The present example is

one of the several program chansons which made Jane-

quin one of the most popular composers of the sixteenth

century, and which constitute an early example of true secu-

lar style. Although of a somewhat limited artistic significance,

these compositions are remarkable for their technical clever-

ness and stylistic elegance, qualities which, in combination

with their witty and somewhat frivolous texts, easily account

for their success. ^ Source: CI. Janequin, Chansons (new

edition in ExMM, p. 105).

108. THOMAS STOLTZER. Stoltzer is a member of that

group of early sixteenth-century composers who came under

the influence of the Lutheran Reformation (1519) and con-

tributed towards the musical repertory of the newly founded

Protestant Church in Germany, thus laying the foundation

for the splendid development of the Protestant chorale which

was to become a cornerstone of German music through the

time of J. S. Bach. In the present example, which has the

chorale melody (cantus firmus) in the tenor, the Vorimka-

tion of the initial phrase and the chordal style of the passage

"Christ will unser Trost sein" may be noticed, f Source:

DdT xxxiv, 26.

109. LUDWIG SENFL: "Salutatio prima." Senfl was a

pupil of Isaac, whom he succeeded as director of the court

chapel of the Emperor Maximilian I. His "Salutatio prima"

offers a good illustration of the imitative motet style of the

sixteenth century, with its quickly changing points of imita-

tion. It also illustrates the considerable degree of freedom

with which this principle was applied, fl Source: DTB 111.2,

p. 103.

110. LUDWIG SENFL: "Da Jakob nu das Kleid ansah."

Senfl's German songs run the whole gamut of musical ex-

pression, from rugged humor to profound seriousness. In the

present example the story of Jacob's despair at seeing the

bloodstained coat of his son Joseph finds a musical expression

fully as moving as the words of Scripture. H Source: DdTxxxiv, iSo.

in. TWO SETTINGS OF A GERMAN CHORALE.Johann Walter's setting of the German chorale "Aus tiefer

Not," if compared with Stoltzer's "Christ ist erstanden" (No.

108), illustrates the tendency toward less elaborate methods

of musical composition in this genre. The chorale is still in

the tenor, but the other voices move along in a fairly simple

chordal style, such as became universally adopted for the

chorale in the seventeenth century. Bruck treats the chorale

melody as a free canon between the tenor and the soprano,

a method which is found in a number of Bach's organ

chorales, fl Sources: (a) Job. Walter, Wittembergisch geist-

lich Gesangbuch (1524), new edition by Eitner, p. 10;

(b) DTOe XXXIV, 104. f Record: (b) Decca-20160.

112. JOHN TAVERNER. The development of English

music, which suffered a considerable lapse after Dunstable

(cf. No. 61), again rose to new heights during the sixteenth

century. Taverner is the oldest in the T-triad of early Tudor

composers who brought about this development, the others

being Christopher Tye and Thomas Tallis (see No. i27'>

The composition of masses based on an English folk tuuv.,

"The Western Wynde," was almost as popular among Eng-

lish musicians as was the similar use of "L'Homme arme"

in France. In the "Benedictus" from Taverner's Mass the

Western Wynde the tune is stated three times in full: first

in the soprano, then twice in the tenor. Of special interest is

the frequent use of a small motive, f e d c . . . (see measure

5 of the tune), as an integral part of the contrapimtal web,

particularly in the soprano. The use of such "ostinato"

motives seems to have been a peculiar trait of English music

during the earlier part of the sixteenth century (see No.

l2ob). *I Source: Tudor Church Music, I, 20.

IB. ADRIAN WILLAERT: "Victimae paschali laudes."

Willaert was a Flemish musician who settled in Venice,

where he founded a school of composition including amongothers Andrea Gabrieli, Claudio Merulo, and Giovanni

Gabrieli and known as the Venetian School. Very few of

his compositions have been made accessible in modern edi-

tions. No doubt, further studies will prove him to be an

even greater master than is generally assumed today. In his

"Victimae paschali laudes" the plainsong melody of this

celebrated sequence (cf. No. i6b) is used as a cantus firmus,

first in the Sextus which sings the initial phrase only, then

in the Quintus which has it entire. Our example shows only

the Prima pars of the motet. ^Source: A. Willaert, Musica

nova (1559).

114. NIKOLAUS GOMBERT. Gombert was a Flemish

master who was a pupil of Josquin. His "Super flumina"

offers a good example for the study of the classical motet

style of the sixteenth century. The basic principle of this

style is the use of short "points of imitation" for small divi-

sions of the text, each of these "points" being based on a

different subject. Usually the conclusion of one point (e.g.,

"Super flumina") overlaps with the beginning of the next

("illic sedimus"). While most of the divisions of the text are

treated in this fashion, there are some in which the method

is modified as, for example, in "illic sedimus," which has one

subject for the soprano and alto, another for the tenor and

bass, or in "Quomodo cantabimus," in which a more har-

228

COMMENTARY

monic style is used. The influence of Josquin may be seen in

the degree of poignancy which exists between the text and

the music, f Source: N. Gombert, Mtisica quatitor vocum

(1541)-

115. ADRIAN WILLAERT: Ricercar. Willaert's im-

portance in the field of instrumental music has long been

recognized. His ricercars conform to the current interpreta-

tion of this term as a designation for instrumental pieces in

the imitative style of the sixteenth-century motet; in fact,

they come much closer to the true motet style than, for

example, the ricercars by Cavazzoni (cf. No. 116). One rea-

son for this is that they are not written for the organ, as is

frequently assumed, but for three melody instruments, such

as viols or recorders. A vocalizing (i.e., textless) execution

by three solo singers is also a distinct possibility as is indi-

cated in the title inscription of the original edition: "appro-

priati per cantare e sonare d'ogni sorte di stromenti."

{Stromenti means here ensemble instruments such as viols

or recorders, not organ or harpsichord.)fl Source: A. Wil-

laert, Fantasie, Ricercari, Contrapunti . . . (1559), Ricercar

decimo.

116. GIROLAMO CAVAZZONI: Ricercar. Cavazzoni

holds a central position in the early development of organ

music. Judging from a remark in the preface to his organ

books of 1542/43, he was a young man when he published

them. Nevertheless the compositions contained therein are

landmarks in the history of organ music, being equally

remarkable for their novelty and for their artistic perfection.

Cavazzoni's ricercars are the first organ ricercars proper,

that is, organ compositions written in the imitative style of

the sixteenth-century motet. It should be noticed, however,

that these organ ricercars are considerably more independent

of their model than the ensemble ricercars by Willaert (cf.

No. 115). The most important difference is that the short

points of imitation, which form the basis of motet style

(cf. No. 114), are frequently extended into lengthy sections,

each of which presents its subject in numerous statements.

Consequently, the number of these sections is considerably

less than that of the points in a motet of comparable length.

Thus, Cavazzoni's ricercars may well be said to consist of

four or five "fugues," a statement which would rarely, if ever,

apply to a sixteenth-century motet. Another stylistic peculi-

arity worthy of note is the free-voice writing (German,

Freistimmigkfit), entailing free change in the number of

voice-parts, omission of rests in places where they would be

required from the point of view of strict counterpoint, use

of five-voice chords within a four-voice texture, etc. This free

treatment is a characteristic by-product of the emergence of

solo instrumental music, for keyboard instruments as well as

for lute or viola da gamba (see No. 119). f Source: G. Cavaz-

zoni, Intavolatura cioe recercari canzoni himni magnifjcati

(1542/43), new edition by G. Benvenuti.

117. GIROLAMO CAVAZZONI: Missa Apostolomm.

The organ music of the sixteenth century includes an ex-

traordinarily large repertory of liturgical organ compositions

designed to take the traditional place of plainsong. Ourexample shows that even in the celebration of the Mass the

organ took a prominent part. It is based on the Missa Apos-

tolomm (Mass No. IV, ahso known as Missa Cimctipotens;

see No. 15), and consists of a number of short organ pieces

for the Kyrie and the Gloria of this Mass. A comparison with

the plainsong Mass {LU , p. 25) will show that the musical

performance of the Mass was not purely instrumental, but

consisted of an alternation of organ music and plainsong,

the latter being used for all the sections ("Gloria in excelsis,"

"Laudamus te," "Adoramus te," etc.) which are not in-

cluded in the organ composition. Another evidence of this

alternating performance is the fact that the "second Kyrie"

(after the Christe) is designated in the original source as

"Chyrie quartus." Evidently, the first Kyrie, after being

played on the organ, was sung twice in plainsong, so that

the so-called "second Kyrie" actually becomes the fourth.

Naturally, the same method applies to the Christe and the

last Kyrie, in accordance with the traditional structure of this

chant, f Source: Same as No. 116.

118. GIROLAMO CAVAZZONI: "Fake d'argens." This

composition is another example of the early instrumental

canzona, the origin of which can be traced back as far as

Obrecht (see No. 78). As a comparison with No. 91 readily

shows, this is an organ composition based on the themes of

Josquin's "Faulte d'argent," a French chanson (hence the

name "canzona francese" or, simply, "canzona"). Later com-

posers wrote original compositions of the same type, trans-

ferring the lively character, the tone-repeating motifs, and the

sectional structure of the French chanson to the organ as

well as to instrumental ensembles (see Nos. 136, 175). The

organ canzona {canzona d'organo) is the most important

forerunner of the seventeenth-century fugue, while the en-

semble canzona (canzona da sonare) developed into the

Baroque chamber sonata (see No. 136). fl Source: Same as

No. 116.

119. SILVESTRO GANASSI. Ganassi is the author of the

Regola Rubertina (1542/43), the earliest treatise dealing with

the playing of the viol and the bass viol (viola da gamba).

This book is particularly interesting for its numerous musical

examples, the earliest extant compositions for these instru-

ments. Ganassi's ricercars for the viola da gamba are not,

of course, modeled after the imitative style of the motet, but

are "studies" similar in character and purpose to the early

lute ricercars (see No. 99). The second of the two examples

given here is remarkable for its extended use of double-stops,

f Source: Ganassi, Regola Rubertina (facsimile edition by

M. Schneider, 1924), Libro i, no. i, and Libro 11, no. 2.

120. JOHN REDFORD. Redford is the most outstanding

among the numerous English organ composers before the

"virginalists" Byrd, Bull, Gibbons, and their colleagues.

Apparently, from what is known to us, he devoted himself

exclusively to the cultivation of liturgical organ music. Our

229

COMMENTARY

first example (a) is based on the melody of the Ambrosian

hymn "Veni redemptor gentium." This melody is not used

in Its original form, but is freely amplified by inserted notes,

a procedure reminiscent of the discant cantus firmi of the

Dufay period (see No. 65). The "Lucem tuam" (b) is in-

teresting as another e.xample of the ostinato technique which

has been encountered in Taverner's Mass (see No. 112). In

the present case, the ostinato motif occurs in both con-

trapuntal parts, soprano as well as bass, fl Source: C. Pfat-

teichcr, John Redford (1934), pp. 61 and 18.

121. LUIS DE MILAN. Examples 121 to 124 illustrate the

Spanish lute music of the sixteenth century. It is interesting

to notice that the flowering period of Spanish music preceded

that of Spanish literature by fifty years (Cervantes, 1547-

1633; Lope de Vega, 1567-1635), and that of Spanish painting

by one hundred years (Velasquez, 1599-1660; Murillo, 1617-

1682). Milan's Libra de musica de vihuela de mano (Music

Book for the Lute) of 1535 contains forty fantasias, or

compositions in a free idiomatic lute style consisting of

chords, running passages, and pseudo-polyphonic elements.

The present fantasia (his No. 17) belongs to a group (Nos. 10

to 18) in which the polyphonic or imitative element is re-

duced to a minimum, while the other two traits are pre-

dominant. The special nature of these fantasias is clearly

pointed out by Milan, and it is particularly interesting to

notice that he repeatedly admonishes the reader to play these

fantasias in a free tempo, "es redobles apriesa y la con-

sonancia a espacio" (the ornamented passages fast, and the

harmonies slowly) adding that "este musica no tiene mucho

respecto al compas" (cf. pp. 24, 36, and 48 of the modern

edition). This is the first instance in music history of a

deliberately free tempo, and Milan's insistence on this point

is easily explained by the novelty of the procedure. 51 Source:

Milan, Libra de musica (new edition by L. Schrade, 1927),

p. 42.

122. LUIS DE NARVAEZ. The variations contained in

Narvaez's lute book of 1538 are the earliest extant examples

of the variation form. They clearly demonstrate the high

standard to which this form had developed in Spain at a

time when it was as yet unknown in other countries. Here

follow translations of the various original inscriptions: First

variation. Here begins the final [cadenza].—Second varia-

tion with two upper parts above the tenor.—Third varia-

tion in two parts; it should be played in a fast meter in order

to make it sound well.—Fourth variation in proportion

[i.e., proportio tripla, triple time].—Fifth variation; the plain-

song in the soprano.—Here begins the final [cadenza].

—

Sixth variation; the plainsong in the tenor, f Source: Narvaez,

Los seys libros del Delphin de musica (1538).

123. MIGUEL DE FUENLLANA. The lute books of

Fuenllana and of Valderravano (see No. 124) contain a

great number of solo songs with lute accompaniment. These

are the earliest examples of accompanied song in the modern

sense of the word, in contrast to the fifteenth-century type

of polyphonic chamber music written for one singer and two

melody instruments (see Nos. 67, 69, 71, etc.). In these

Spanish sixteenth-century songs the emphasis is clearly on

the vocal part, and the lute provides a subsidiary accompani-

ment consisting of chords and modest figurations, while in

the fifteenth-century songs the solo singer is coupled with

instrumental participants of equal importance. The "Pasea-

base el rey" was a Spanish folksong, as appears from the fact

that various lute composers have used the same melody, pro-

viding different accompaniments (e.g., Fuenllana, Pisador,

and Narvaez). <1 Source: G. Morphy, Les Luthistes espa-

gnoles du xvie siecle (1902), 11, 198. f Record: AS-iy (GSE,

P- 555-)

124. ANRIQUEZ DE VALDERRAVANO. The present

example of Spanish lute variations is based on a theme which

has been used by practically all the Spanish lutenists, as well

as by the organ master Cabezon. The title "Guardame las

vacas" suggests that the theme is a Spanish folksong which

was very popular at that time. Its melody is essentially a

descending group of four notes. Of particular interest is the

fact that the "Guardame" melody is identical with the so-

called "Romanesca" which was used by numerous Italian

Baroque composers (Trabaci, Frescobaldi) as a theme for

variations. Moreover, it forms the melodic basis for the

passamezzo antico (see No. 154). f Source: Valderravano,

Libra llamada Silva de Sirenas (1547).

125. CLEMENS NON PAPA. This Flemish composer is

justly famous for the expressiveness of his melodies, the

clarity of his style, and his advanced treatment of the

harmonic idiom. It will be noticed that the basic method

of motet technique, the principle of points of imitation, is

used in this composition with considerably greater freedom

than by Gombert, for instance (see No. 114). For example,

the phrases "audita est" and "et ululatus" show little, if

any, trace of this method. As regards the harmonic point of

view, the Neapolitan sixth in measure 5 of system 4 may be

noticed. The composition is not based on the plainsong

melody of the text (cf. LU , p. 430). ^Source: C. Proske,

Musica divina, tomus 11.

126. TWO SETTINGS OF PSALM 35. 'While the Ger-

man Reformation under Luther led to the establishment of

the German chorale (see Nos. 108, iii), the Genevan Refor-

mation under Calvin (1541) rejected such texts on the ground

that they were man-made and not "inspired." Instead, the

psalms were chosen as the only source of texts for con-

gregational singing, and the Genevan Psalter of 1562, con-

taining metrical paraphrases of the psalms in the French

language, was officially adopted by the Protestant churches

in Switzerland, France, and the Netherlands. The simpler

style for Psalter texts is illustrated by that shown in No. 132;

the Goudimel and Claude le Jeune examples given here

represent a more elaborate treatment. ^Sources: (a) Claude

Goudimel, ler. Fasc. des i$o Psaumes (ExMM, i, 51); (b)

Claude le Jeune, Dadecacorde (ExMM, 11, 26).

230

COMMENTARY

127. THOMAS TALUS. The "Audivi voccm" is a re-

sponsorium ("pro pluribiis virginibus"; cf. ihc Processionale

monastictim, 1893, p. 236). As explained under Nos. 12-14,

the rcsponsoria, as well as the graduals and alleluias, are

chants in which sections for soloists alternate with others for

the full choir. As early as the thirteenth century the practice

became established of replacing the solo sections by poly-

phonic compositions, while the choir sections continued to

be sung in plainsong (see Nos. 26ff). It is interesting to ob-

serve that this practice survived as late as the sixteenth century,

the present composition being an example in point. There

are three solo sections in this chant, namely, "Audivi vocem,"

"Media nocte . . . venit," and "Gloria patri." Tallis, how-

ever, composed only the first two of these, probably because

the Church did not permit the Gloria patri to be replaced by

a polyphonic setting. Very likely the polyphonic sections

were sung, not by the whole choir, but by a few picked

soloists, f Source: Tudor Church Music, vi, 90.

128. CRISTOBAL MORALES. Although the Flemish

style became the international musical language of the six-

teenth century, this language naturally was colored to a cer-

tain extent by the national characteristics of the different

countries. In Spain it frequently adopted a subjective,

occasionally even dramatic, expression. Morales' motet

"Emendemus in melius" is an impressive example of this

spirit. The dramatic element may be observed here in the

grim reiteration "Memento homo" which interrupts at in-

tervals the petition "Emendemus in melius." f Source: D. H.

Eslava, Lira sacro-Hispana (1869).

129-131. COSTANZO FESTA, lACOB ARCADELT,CIPRIANO DE RORE. The three compositions given here

illustrate the early history of the madrigal, the most important

type of sixteenth-century secular music. The madrigal de-

veloped from earlier types of Italian secular music, such as

the frottola (see No. 95), under the refining influence of

literary men like Cardinal Bembo, and of Flemish composers

living in Italy, mainly Verdelot, Willaert, and Arcadelt. Theearliest madrigals are written in a very simple homophonic

style, as illustrated by the "Quando ritrova," by Festa, the

first native composer of madrigals. Arcadelt's "Vol ve

n'andate," published in 1539, represents a considerably more

advanced type which clearly shows the influence of the

contemporary motet but also includes expressive elements

proper to the madrigal, as for instance, the impatient urge

of the passage "Ma struggendo." This tendency is carried

considerably farther in Cipriano de Rore's "Da le belle

contrade" with its exciting exclamations "Ten vai," its

daring change of harmony at "Ahi crud' amor," its word-

painting of the "Iterando amplessi," and its prophetic use

of chromaticism. The parallel unisons in score 4, measure 6,

of page 143 will doubtless be noted. They occur in the edition

from which the editors drew this piece, and they are certainly

questionable, f Sources: (129) Brit. Mus. Add. 54071, ff. 28a

and b; (130) and (131) F. Blume, Das Chorwer\, Heft v,

nos. 4 and 7. fl Record (129) GSE, p. 167.

132. LOUIS BOURGEOIS. Bourgeois played a leading

role in the development of Reformed Church music. Fromabout 1541 to 1557 he was the musical editor of the Genevan

Psalter. His polyphonic settings of the Psalter texts are the

earliest. They are almost uniformly in a single chordal style,

one note to a syllable. Most of them employ the Psalter tunc

in the tenor, and the present example is one of these. (See

also the commentary on No. 126.) <1 Source: Doucn, C. Marot

ct lePsatitier Huguenot. 11, 83.

133. ANTONIO DE CABEZON: "Versos del sexto tono."

Cabezon, the Spanish organ master of the sixteenth century,

has repeatedly been associated with Bach, and in this case

the association has considerable significance. It points to an

inner relationship between these two masters, who, much as

they differ in their forms and styles, are close to each other

in their musical spirituality, in their profundity and austerity

of thought, in their seriousness of purpose, and—last but

not least—in their mastery of technical means. The "Versos"

are organ versets, that is, short organ pieces designed to be

used ill connection with the singing of the psalms. Themonotony inherent in the traditional psalm-singing of plain-

song (cf. No. 11), with its frequent repetition of the same

short recitation formula, led in the sixteenth century to the

practice of replacing the even-numbered verses by poly-

phonic settings, either for chorus or for the organ. Cabezon

wrote for each psalm tone four versets which have the

cantus firmus {canto llano) successively in the soprano

(tiple), alto, tenor, and bass {contrabaxo) . ^Source: F.

Pedrell, Hispaniae schola tnusica sacra (1895-98), iii, 27.

134. ANTONIO DE CABEZON: "Diferencias Cavallero."

It has been pointed out previously (see No. 122) that Spain

played a leading role in the development of the variation

form. Cabezon's variations for keyboard instrument ofTer an

even more convincing evidence of this fact than the Spanish

lute variations which stand at the beginning of the develop-

ment of this form. The theme of Cabezon's "Diferencias

Cavallero," evidently an ancient Spanish folksong, is in-

teresting because of its rhythmic structure. Although it is

notated in 2/2 throughout, its musical rhythm projects itself

more clearly if the two opening quarter-notes are regarded as

an up beat, and if the subsequent first half of the theme is

read according to the following metrical scheme: 2/2, 2/2,

3/2, 3/2, 3/1, a scheme which is repeated identically for the

concluding half of the tune. Cabezon's variations are all

contrapuntal paraphrases of a cantus firmus, but within the

limits of this style they offer an admirable variety of musical

ideas. It is interesting to notice that in all his variation works

Cabezon connects the variations by transitional passages, a

happy device which is rarely encountered elsewhere, f Source:

Same as for No. 133, vol. viii, p. 3. ^Record: AS-6g (GSE,

p. 92).

135. ANDREA GABRIELI: "Intonazione settimo tono."

The "Intonazioni" of Andrea Gabrieli are festive organ

preludes written in the style of his toccatas. While the toccatas

231

COMMENTARYare not free from monotony, this flaw is avoided in {he con-

siderably shorter intonations, f Source: Intonationi d'organo

di Andrea Gabriels et di Giov. siio nipote . . . (1593).

136. ANDREA GABRIELI: "Ricercare del 12° tono."

This composition, although originally entitled "ricercar,"

actually is a canzona, as appears from the lively character of

its themes as well as from the fact that entire sections are

repeated, a procedure which is frequent in canzonas but

foreign to the ricercar style. It is written, not for organ, but

for a quartet of instruments such as viols, and therefore

represents one of the earliest examples of the canzona da

sonare, a type which, during the seventeenth century, gradu-

ally led to the sonata. Our example clearly shows the sections

in contrasting rhythms and styles which eventually became

the separate movements of the sonata,fl Source : Madrigali

et ricercari di Andrea Gabrieli . . . (1589), new edition in

Istituzioni e montnnenti dell' arte miisicale italiana (i93ifT),

I, 86. f Record; Columbia-jo^66D.

137. CLAUDE GERVAISE. Gervaise's "Danseries" of

1550-1555 src a large collection of dances for chamber en-

sembles of four or five instruments. This example illustrates

three important types of sixteenth-century dance music, the

basse danse {c. 1475-1525), the pavane {c. 1525-1600), and

the allemande, which appeared around 1550 and was adopted

into the suite of the Baroque period. The pavane of the

present example shows the typical structure of this dance, in

three sections (cf. Nos. 104, 179). The galliard, as was often

the case in the sixteenth century, uses the same melody and

approximately the same harmonies as the pavane, the chief

difference being a change from duple to triple meter

{proportz; cf. No. 105). f Source: H. Expert, Ma'itres

musiciens de la renaissance fran^aise, xxiii, 4, 18, 48. fl Record

:

AS-5 (GSE.p. 180).

138. CLAUDE LE JEUNE. The present composition is an

example of vers mesure. The vers mesure (ascribed to

Antoine de Baif) originated in French literary humanism

as a reaction against what is called vers rime with its regularly

recurring accents. It is based not on the regular meters im-

posed by rhymed poetry but on the classical system of long

and short feet. Musicians like Claude le Jeune were strongly

influenced by these literary tendencies. They composed

music to the poetic texts in a rather plain chordal style

(familiar style) and in a rhythm which exactly reproduces

the declamation of the text, by giving the strong syllables

twice the duration of the weak syllables. <I Source: Claude le

Jeune, Le Printemps (1603), new edition in H. Expert, Les

Maitres musiciens de la renaissance fran^aise, xxxv, 91.

139. FRANCISCO GUERRERO. The "Salve Regina" is

the most celebrated of the four antiphons of the Blessed

Virgin Mary (antiphons B. M. V.). Its text and plainsong

melody are ascribed to Hermannus Contractus (1013-1054).

This antiphon is traditionally sung by alternating choruses,

and the ancient practice was retained in the polyphonic

compositions of the "Salve" which usually include only the

even-numbered (or, in other cases, the odd-numbered)

verses, the others being sung alternatim in plainsong. Acomparison with the plainsong melody {LU , p. 276) shows

that the polyphonic sections of Guerrero's "Salve" are not

freely composed, but are polyphonic paraphrases of the chant.

^Source: F. Pedrell, Hispaniae schola musica sacra (1894),

II, 48.

140. GIOVANNI PALESTRINA: Agnus Dei I. Palestrina

represents the culmination of the Flemish style of church

composition as expressed in modal counterpoint and in

vocality suggestive of the melodic flow and rhythmic flexi-

bility of plainsong. The quality which makes Palestrina's

music preeminent in its period is its abstraction, its avoidance

of those technical resources which in the sixteenth century

were beginning to be applied to secular style in particular

—

a marked pulse, extensive chromaticism, sharp dissonance,

and expressive melody. After Palestrina, Roman Catholic

composers began to cultivate a less pure style. The Missa

Papae Marcelli (composed about 1560) is notable for its flaw-

less counterpoint and for the beauty and dignity of its

musical expression, f Source: Complete edition (Haberl), xi,

149. f Record: Victor-^^g^.

141. GIOVANNI PALESTRINA: "Sicut cervus." Theinitial theme, to the words "Sicut . . . aquarum," is re-

markable for its individual design and expressive quality,

as are other motives used in the continuation of the motet.

The division of a motet into two sections (Prima pars,

Secunda pars) is a very frequent procedure in sixteenth-

century composition. It is used particularly in connection

with texts of "antiphonal" structure, such as psalm verses,

which usually fall into two halves expressing the same

thought in different ways, f Source: Complete edition, v, 148.

51 Records: GSE, p. 340; Victor-zoHijH.

142. GIOVANNI PALESTRINA: "Alia riva del Tebro."

Palestrina devoted himself chiefly to the field of sacred music,

and his madrigals are in one sense a witness to his preoccupa-

tion with church style, in that they employ only to a modest

degree the technical resources which were becoming definitely

associated with secular musical method. In fact they are

hardly more "expressive" than some of the motets of his

colleagues Nanini and Victoria, and they never approach

either in technique or in spirit the more "modern" madrigals

of Marenzio and Gesualdo. Yet they are not written in

Palestrina's own church style. Theirs is a beauty which results

from a combination of technical perfection, reserve, and a

profound sensitiveness to certain aspects of secular expression

to which by nature he seems to have been drawn. In the

present example, the expressive descending melody for the

closing words "Ahi . . . sorte" should be particularly noticed,

f Source: Complete edition, xxviii, 105. ^Record: AS-^J

(G5E,p.338).

143. 144. ORLANDO DI LASSO: "Requiem aeternam"

and Penitential Psalm. Lasso, sometimes called the last great

Netherlander of the Golden Age of choral music, represents

232

COMMENTARY

the consummation of one aspect of a technique (Netherlaiuls)

which dominated musical thought for at least a hundred

years. The harmonics underlying his counterpoint often

move more rapidly than Palestrina's; there is, too, more at-

tention to color, so that all in all the effect of the music is

likely to be more emotional than is the case with Palestrina.

The Missa pro defunctis and the Penitential Psalms are

generally accepted as belonging among Lasso's highest

achievements, representing, as they do, complete mastery of

contrapuntal and expressive resource. Certainly they long

have been considered as models in the study of sixteenth-

century choral counterpoint, f Sources: (14:;) O. Lassus,

PiUrocinium musices (1589); (144) O. di Lasso, Septem

psiilmi poenitentiales in (ed. Breitkopf und Hartel).

f Record: (143) Victor-ij^6o.

H5. ORLANDO DI LASSO: "Bon jour, mon coeur."

Lasso's genius was not limited to the sacred field, for his

secular pieces enjoy great renown and are still frequently

performed. The texts embody a wide variety of ideas, and

each is accorded a most appropriate musical treatment,

characteristic of Lasso's versatility as a composer. Follow-

ing a custom of the period which permitted the choice of

some choral piece, often a madrigal, for conversion to an

instrumental medium, the English composer Peter Philips

has transformed Lasso's "Bon jour, mon cccur" into a piece

for harpsichord. In transcriptions of this type, the notes of

the melody of the original choral composition were retained,

and these were surrounded by passages appropriate to the

technique of the instrument on which the selection was to

be performed. This process was known as "coloration."

Only the opening of Philips' version is here reproduced but

it will sutflce to make the method clear. ^Source: (a) O. di

Lasso, Complete Worl{s, xii, 100; (b) Fitzivilliam Virginal

Bool{ (new edition by Fuller Maitland and Barclay Squire),

I. 317-

146. MADRIGAL WITH PARODY MASS. A very fre-

quent procedure in the sixteenth-century composition of

masses was the use of musical material borrowed from other

pieces—chansons, motets, or madrigals. It is to this technique

that the term "parody mass" refers. Philipp de Monte's

Missa super Cara la vita is based on a madrigal by Jacob

van Werth. A comparison of the Sanctus with the madrigal

will show to what extent the musical substance of the latter

is incorporated into the former. Aside from the initial motive,

various others are used, "ch'altra fiamma" ("Dominus Deus")

and "in tanto tempo" ("Pleni sunt caeli"), for instance.

<I Source: Ch. van den Borren, Opera Philippi de Monte,vol. XXI.

147. GUILLAUME COSTELEY. This charming Christ-

mas song, abounding in originality and vitality, shows the

French school of the sixteenth century at its very best. It

should be noticed that this chanson is an example (no doubt

one of the earliest) of the modern rondo form, characterized

by the alternation of a recurrent refrain (in the present case.

"Allon, gay, gay") with various couplets (episodes). No less

remarkable and advanced is the change from the minor to

the major mode for the last statement of the refrain, f Source:

H. Expert, Les Maitres miisiciens de la renaissance jranqaise

(G. Costeley, Musique, i, 65). <] Record: AS-4^ {GSE, p. 120).

148. JACOBUS DE KERLE. This motet illustrates, amongother things, the gradual increase of the purely chordal

(homophonic) style in the technique of composition during

the latter part of the sixteenth century. The truly polyphonic

and imitative texture of the beginning is abandoned, at the

words "adjuva nos" and "et libera," for one which, although

still imitative, emphasizes the harmonic rather than the

melodic element; and the final section, to the words "propter

nomen," is plainly chordal. Not unworthy of notice, too, is

the literal repetition in this final section of an entire passage.

Regarding chordal style in general, it may be said that where

the words are particularly poignant or of special liturgical

import, the use of chordal writing clearly emphasizes their

significance, f Source: C. Proske, Musica divina, 11, 91.

149. TOMAS LUIS DE VICTORIA. Victoria, a Spaniard,

was a distinguished member of the Roman school of church

composition, and numbered both Palestrina and Nanini

among his colleagues. Reference has already been made to

the extraordinary differences in technique and expressiveness

that occur in the music of certain members of the Romangroup (see No. 142). The melodic freedom, harmonic rich-

ness, and emotional power that are to be found in Nanini's

work are also a feature of Victoria's writing. But the latter

seems occasionally to embody a quality which transcends

personal feeling and approaches the dramatic. The sixteenth-

century ideal of vocality was best expressed in the constantly

moving melodic line; and No. 149 will be found, in the

main, to conform to that ideal. Where, however, there occurs

a single word like "dolor," or even a whole passage such as

"attendite universi populi," which is in a sense crucial and

which claims the particular attention of the hearer, Victoria

employs the dramatic device of the repeated note, used so

effectively by Monteverdi and later opera composers, fl Source:

Complete edition (by F. Pedrell), i, 27. f Record: GSE,

p. 498.

150. WILLIAM BYRD. An appreciation of William Byrd

as one of the overtopping figures among sixteenth-century

church composers has been delayed, owing partly to the in-

herited and now happily discredited tradition that no good

musical thing could come out of England and partly to the

long-standing conviction that Palestrina was so far superior

to all others of his era—with the possible exception of Lasso

—that all comparison was futile. Dependence on plainsong

as a model for vocal procedure was never as great in England

as on the Continent. In its place is to be found preoccupation

with a type of lyricism that is wholly English and utterly

in accord with the innermost nature of the human voice.

This, together with a highly effective choral technique and

a singularly subtle harmonic method reinforced by diversified

233

COMMENTARY

and telling rhythms, accords Byrd's music a unique position.

The coda on the word "Alleluia" is characteristic. Byrd was

fond, once the text had been fully set, of dispatching the

singers on an excursion devoted to some word like "Amen"

or "Alleluia" which, by its nature, invited vocal expansion.

These codas, beautiful to the hearer and enthralling to the

singer, are gems of choral art. % Source: Tudor Church Music,

VII, 318.

151. WILLIAM BYRD: "Christ rising again." This is an

example of the so-called verse anthem, that is, one in which

sections for full chorus alternate with others for accompanied

solo voice or voices as well as with purely instrumental sec-

tions. This type, which became established in the late six-

teenth century, is one of the various indications of the gen-

eral trend towards introducing into music the element of

contrast, a trend which became one of the basic character-

istics of Baroque music (stile concertato). The beginning

of the present composition affords one of the numerous ex-

amples of word painting, in the "rising" motives of the in-

struments as well as the voices, f Source: W. Byrd, Songs of

Sundry Natures . . . (1589), new ed. by E. H. Fellowes,

The English Madrigal School, xv, 280.

152. GIOVANNI MARIA NANINI. Nanini is one of the

first in the long line of musicians collectively referred to as

the Roman School. Among the members of this group in

Nanini's time was Palestrina, who, compared with Nanini,

seems very much the conservative. Opulence of texture,

chromaticism, expressive melody, all these and more are

frequently to be found in the sacred music of Nanini. That

his daring entitles him to rank among the musical prophets is

borne out by a remark of the late Sir Donald Tovey that

surprise is always imminent in Nanini's music. This, how-

ever, is but one facet of his work. He was also a finished

technician according to the best Netherlands standards, yet

his technical proficiency was invariably the servant of beauty.

The example here presented, a strict canon between soprano

and bass, is intended to illustrate this latter aspect of Nanini's

genius. ^Source: A. Proske, Musica divina, 11, 57.

153. CLAUDIO MERULO. The toccata, which originated

about 1550, first reached a peak of great artistic significance

under the Venetian master Merulo. While the earliest toccatas

(by Andrea Gabrieli and others) consist of nothing more

than sustained chords and interlacing scale passages, Merulo

broadened the contents of this form by the introduction

of imitative sections, in the order T R T or sometimes

T R T R T. (T = toccata style, R = ricercar style.) More-

over the harmonies as well as the passage work of his toc-

cata sections are treated with a boldness and imagination

which is a far cry from the dryness and sterility of the early

toccatas, f Source: CI. Merulo, Toccate, Libro secondo (1604),

p. 15.

154. PASSAMEZZO ANTICO. The passamezzo is the

most important dance of the sixteenth century. It appeared

shortly before 1550, superseding the basse danse and the

pavane. Many of the passamezzi (particularly the earlier

ones) are not entirely original compositions, but are elaborate

variations on a standard melody which occurs first in Spanish

sources under the name of "Guardame las vacas" (see

No. 124). In Ammerbach's passamezzo this melody can

clearly be distinguished in the soprano, which, after every

two measures, proceeds from one of its notes to the next.

Giovanni Picchi (who stands at the very close of Renaissance

keyboard music) treats the theme in a number of most in-

teresting variations {parte; only three of six are given here),

retaining only the structural basis and general contours of

the original melody. *I Sources: (a) N. Ammerbach, Orgel

oder Instrument Tabulatur (1571); (b) G. Picchi, Intauo-

latura di balli d'arpicordo (1620), new ed. O. Chilesotti,

Biblioteca di raritd musicali, 11, 9.

155. LUCA MARENZIO. Marenzio may be said to hold

a position in the development of the Italian madrigal similar

to that of Schubert in the development of the symphony

—

on the border line between "classical" repose (represented by

Arcadelt and Palestrina; cf. Nos. 130, 142) and "romantic"

emotionalism (represented by Gesualdo, Monteverdi; cf-

No. 161). Noteworthy features of the present example are

the purely homophonic beginning, the use of a short and

characteristic motif for the imitative section "tal che m'avviso,"

and the clearly contrasting effect of the sustained chords im-

mediately following, in which the idea of "stando in terra"

is portrayed. Another example of word painting is the rising

scale used at the close for the word "paradiso." 11 Source:

A. Einstein, Luca Marenzio, Sdmtliche Werke, 1 (1929), 25.

156. JACOB HANDL. Handl, also known under the

Latinized name of Gallus (Handl = Hahn, i.e., cock, Latin

gallus), is the leading German representative of the school of

Palestrina. His "Eccc quomodo" is a typical example of

sixteenth-century "familiar style," characterized by the

abandoning of rhythmic individuality of the voice parts,

f Source: DTOe xii, 171. «1 Record: GSE, p. 224.

157. GIOVANNI GABRIELI. Giovanni Gabrieli repre-

sents the culmination of the Venetian School which was in-

augurated by Willaert and included, among others, Andrea

Gabrieli and Claudio Merulo. In Gabrieli, the Venetian

penchant for magnificent display and splendid pomp came

to its fullest realization. With extraordinary boldness and

imagination he ventured into entirely new domains of musi-

cal expression and structure. His choral writing far exceeds

in its brilliant sonorities anything written before his time.

"In ecclesiis" is a truly magnificent work for double chorus,

solo voices, brass instruments, violino (actually a viola, the

violin being called at that time violino piccolo), and organ.

Obviously this is one of the later works of Gabrieli, in-

corporating as it does the early Baroque achievements of the

stile concertato, that is, the combined use of voices and

instruments. For the organ, the bass part only is given in the

original, in the manner of thorough-bass technique. A full

234

COMMENTARY

organ accompaniment has therefore been added in small

notes. Naturally, in a composition of this period the realiza-

tion of the thorough-bass has to follow methods entirely

dilTerent from the familiar methods of the period of Corelli

or of Bach. It will be seen that the organ style of Claudio

Merulo (see No. 153) has served as a model in the present

case, f Source: C. von Winterfeld, Johannes Gabrieli iind sein

Zettaher (1834), in, 73ff. f Record: Victor M 926'.

158. GIOVANNI GASTOLDI. In the later part of the

si.xteenth century there developed various special types of

light popular music, such as the villanella, villota, balletto,

mascherata, etc. Gastoldi exxelled in this field, and became

particularly famous for his ballettos, light-hearted little pieces

written with an easy hand. Most of them have a "fa-la-la"

burden, hence the name Fa-las for such songs, f Source:

G. Gastoldi, Balletti a cinque foci . . . (1595).

159. THOMAS MORLEY. Gastoldi's style won great ac-

claim in England, and its influence may be seen from time

to time in the work of Thomas Morley. Morley is one of

the most characteristically English of the secular composers

of the sixteenth century. His music frequently suggests the

spirit of English folksong, f Source: Thomas Morley, The

First Boo\ of Ballets to 5 Voices (1598), new edition by

E. H. Fellowes, The English Madrigal School, iv, 23.

160. FELICE ANERIO. The present example serves to

illustrate the blurring of the borderlines between vocal and

instrumental music which took place towards the end of

the sixteenth century, foreshadowing the Baroque practice

of accoinpanied song. In the original edition this composition

(as well as many other similar ones) is given in three

versions, for three-part chorus, for harpsichord, and for lute.

Our rendition follows closely the notation of the original

source in which the choral version is given on one page, the

two others on the next. Needless to say, the vocal and in-

strumental parts can be combined in various ways, one pos-

sibility being the combination of the soprano part with the

lute version as an accompaniment, as in the earlier Spanish

lute songs (cf. No. 123). fl Source: Ghirlanda di Fioretti

Musicali (1589), p. 29f.

161. CARLO GESUALDO. In the hands of Gesualdo the

madrigal became the vehicle of daring experiments and novel

thoughts, foreshadowing the basic tendencies of Baroque

music. He developed a highly personal style which, although

not free from a certain mannerism, is always full of vitality

and imagination. He is particularly famous for his daring

ventures in the field of harmonies and chromaticism. An-

other typical trait of his style is the use of short, excited

motives which are imitated at a very close distance and which

are abruptly abandoned for new motives or contrasting sec-

tions in sustained chords. All these traits combine into a

picture of utter refinement and nervous instability, creating

a fin-de-siecle atmosphere not unlike that of Debussy's im-

pressionism. ^ Source : C. Gesualdo, Partitura delli sei libri

de' madrigali a cinque voci, 6th book (1613), fol. 210V.

162. JOHN DANYEL. Among the numerous English

masters of the ayre John D.inycl takes a prominent place,

particularly because of his subtle feeling for textual declama-

tion, illustrated in the present composition. The use of a

viola da gamba for the reinforcement of the bass indicates the

beginning of a practice which was to become of fundamental

importance in the period of Baroque music. Our rendition

gives the bar-lines as they appear in the original edition.

f Source : John Danyel, Songs for the Lute Viol and Voice

(1606), no. 7.

163. JOHN DOWLAND. Dowland is the most fatnous of

the lutenist song writers of the Elizabethan period. "Semper

dolens" (always grieving), as he said of himself, he was

particularly inclined to express in music the sorrows of love

and the general spirit of melancholy which were fashionable

in the poetry of the time. Lighter tints were not missing on

his palette however, as is shown by the present example,

with its charming refrain "Come, come." This song is an-

other example of the late sixteenth-century practice of per-

forming the same song in various ways (see No. 160). The

original edition shows a peculiar arrangement of the various

parts which throws an interesting light on that practice. Onthe left-hand page of the opened book is printed the soprano

part with the lute accompaniment directly underneath, as

in a modern accompanied song. The right-hand page shows

the parts for the three lower voices arranged in such a manner

that they can be read simultaneously by three singers seated

north, south, and east of a table. The second stanza of the

song is as follows:

Oft have I dream'd of joy,

Yet I never felt the sweet,

But, tired with annoy,

My griefs each other greet.

Oft have I left my hope

As a wretch by fate forlorn;

But love aims at one scope

And lost will still return.

He that once loves with a true desire never can depart,

For Cupid is the king of every heart.

Come, while I have a heart to desire thee.

Come, for either I will love or admire thee.

f Source: J. Dowland, The Third and Last Booke of Songs

or Aires (1603), no. 9.

164. HANS LEO HASSLER: "Quia vidisti me." Hassler

is the foremost German composer of the period around 1600.

His compositions show the influence of Lassus, or, in many

cases, of Giovanni Gabrieli. In his motet "Quia vidisti me"

he proves himself a gifted follower of the former master, ex-

cept for the closing "alleluia" section, which is somewhat

monotonous and repetitious. However, such echo efTects

form a characteristic trait of the period (cf. No. 181).

f Source: DdT ii, 31.

165. HANS LEO HASSLER: "Ach Schatz." As a com-

poser of German secular songs, Hassler stands in direct line

of succession to his great predecessors Isaac and Senfl. In

235

COMMENTARY

the deep feeling expressed in his compositions there is a

quality which is essentially German, and this manifests it-

self particularly in his melodies. Hassler's secular music is

as fundamentally German as Morley's is English. ^ Source:

DTBu, 112.

166. GREGOR AICHINGER. Aichinger, side by side

with Handl and Hassler (No. 156, No. 164), belongs to that

group of musicians who carried on the tradition of Lassus

in the various cities of southern Germany, thus helping to

lay a foundation for the splendid development of German

music in the ensuing centuries. In his motet "Factus est,"

Aichinger, though making rather too much use of note

repetition, nevertheless employs this technique advanta-

geously from the point of view of a clear and forceful delivery

of the text. <| Source: A. Proske, Mttsica divina, 11, 18S.

^ Record : GSE, p. 2.

167. MICHAEL PRAETORIUS. Praetorius, though long

famous as the author of a highly important theoretical book,

the Syntagma mnsiciim, did not until much later win due

recognition as an outstanding composer of the late Renais-

sance. Aside from numerous compositions in the established

styles and forms of the sixteenth century his complete works

contain much of a refreshingly novel character. Most re-

markable among these are his elaborations of German

chorales, particularly those in two or three parts {hicinia and

tricinia). Their clear and truly polyphonic style offers a de-

lightful contrast to the rich and massive texture which pre-

vails in the choral music of the late sixteenth century. His

numerous dance compositions are interesting as early ex-

amples of the suite, which was to become of foremost im-

portance in the seventeenth century. <] Sources: (a) Mnsae

Sionae ix (1610), complete edition by F. Blume (igiSff),

IX, 82; (b) Terpischore (1612), complete edition, xv, 160.

168. MELCHIOR FRANCK. Like Hans Leo Hassler

(No. 165) Melchior Franck is one of the last masters of the

polyphonic German lied. A peculiar feature found in many

of his songs is the solo introduction, the initial phrase being

sung by the tenor only. Possibly this is a reminiscence of a

mastersinger tradition. Another feature suggestive of this

relationship is the use of the Bar form, a a b (see No. 20).

^ Source: Musil{alischer Bergreihen (1602), new edition,

Das Chorwer\, xxxviii, 12.

169. THOMAS TOMKINS. Tomkins stands near the

close of the great English polyphonic choral tradition, and

he displays those particular virtues which made his pre-

decessors outstanding in this field; an unerring sense of

what is vocally effective, a strong feeling for what is ap-

propriate from the singer's point of view, and the power to

convey through music the subtler shadings in the meaning

of the text. His "When David heard" is, no doubt, one of

the most impressive among the many outstanding anthems

of the period around 1600. The deeply moving story of

David's grief at the death of his son has found here a musical

expression which fully measures up to the tragic greatness

of the Biblical text, f Source: Thomas Tomkins, Songs of

5. ^. 5. and 6. Parts (1622), new edition by E. H. Fellowes.

T/ie English Madrigal School, xviii, 112.

170. THOMAS WEELKES. In this ballett the trend

towards refinement and subtlety, which is noticeable in the

development of English as well as Italian secular music,

is carried a good deal further than, for instance, in Morley's

ballett given as No. 159. Weelkes was a pioneer in the

field of chromatic writing, and by his frequent application

of the chromatic principle to the melodic line rather than

to the chord he achieved effects unusual in his time which

were adopted by English composers who followed him. Thesecond stanza of the present example is as follows:

See see, your mistress bids you cease

And welcome love witli love's increase;

Diana hath procured your peace.

Cupid hath sworn

His bow forlorn

To break and burn, ere Ladies mourn.

Fa la la.

*I Source: T. Weelkes, Ballets and Madrigals to Five Voices

(1598, 1608), new edition by E. H. Fellowes, The English

Madrigal School, x, ^2. *I Record: Coliimbia-^i66M.

171, 172. ORLANDO GIBBONS. Gibbons represents

the final culmination of English renaissance music. Of a

more serious character than most of his fellow musicians, he

excelled particularly in the field of sacred music and in

compositions for keyboard (see No. 179). His "O Lord, in-

crease my faith" is an example of the full anthem, though on

a small scale. "This is the record of John," on the other hand,

is a verse anthem, that is, one in which sections for full

chorus alternate with others for accompanied solo voice or

voices. These two anthems clearly illustrate Gibbons' pivotal

position in the history of English music. He looked back to

the older choral tradition of which Byrd was the great ex-

ponent, and forward to the coming style of the seventeenth

century. Organ accompaniment as well as the accompaniment

for viols here given is to be found in manuscripts of "This

is the record of John." The editors have selected the one for

viols because it is more typical of Gibbons' style in accompani-

mental writing, f Source: Tudor Church Music, iv, 270, 297.

173. GIOVANNI GABRIEL!: "Sonata pian' e forte."

Numbers 173 to 181 serve to illustrate the status of instru-

mental and keyboard music about 1600. Gabrieli's "Sonata

pian' e forte" is one of the most famous products of an ex-

tensive activity in this field. It is the earliest extant composi-

tion which makes use of the contrast between piano and forte,

and Gabrieli apparently thought so much of this innovation

as to make it a part of the title of his work. It is written for

two groups of instruments, which, if sounding singly, play

piano, but repeatedly unite their forces in a pompous forte.

Another claim to precedence lies in the fact that this com-

position is the first to show a detailed indication of the in-

236

COMMENTARY

struments. Therefore it stands at the beginning of the his-

tory of orchestration. There is Httle reason, however, to give

it a prominent place in the history of the sonata; its connec-

tion with the development of this form is merely nominal.

f Source: Istittizioni e monumenti dell' arte musicale italiana,

u, 64 (1932). f Record: AS-2^ {GSE, p. 177).

174. GIOVANNI MACQUE. Macque was a Flemish com-

poser who settled down in Naples where he founded a re-

markable school of keyboard music, with Antonio Valente,

Giovanni Trabaci, and Ascanio Mayone as his successors.

This school forms the link between the organ music of

the sixteenth century (particularly Cabezon) and that of

Frescobaldi. Macque's "Consonanze stravaganti" (extrava-

gant consonances) is an interesting study in appoggiatura

chords and chromatic modulations, an illustration of the

same tendencies which found a more convincing expression

in the chromatic madrigals of his contemporary Gesualdo

(see No. 161). The appoggiatura style of this composition

recurs in Frescobaldi's "Toccate di durezza e ligatura."

f Source: J. Watelet, Monumenta Musicae Belgicae (1932-

3S). >v, 37-

175. FLORENTIO MASCHERA. Although the history of

the instrumental canzona (that is to say, an instrumental

piece modeled after the style of the polyphonic vocal chanson)

can be traced back as far as the end of the fifteenth century

(see Nos. 78, 88), it was not until the late sixteenth century

that a continuous development started, a development which

was to be of profound consequence, leading, as it did, to the

Baroque sonata. Maschera stands at the very beginning of

this development, and the canzona reproduced here serves

to illustrate its point of departure. The canzona is written

in a lively and idiomatically instrumental style, falls into

various sections of contrapuntal imitation, but does not show

any stylistic contrast between these sections, as does the

canzona by Andrea Gabrieli reproduced as No. 136. ^Source:

Canzorii di Florentio Maschera, novamente ristampate per

i professori d'organo, Ltbro prima (1590), p. 29.

176. THOMAS TOMKINS: "In Nomine." The In No-

mine (also spelt Innomine) is exclusively an English type

of instrumental music. For more than one hundred years

English musicians wrote numerous In Nomines, Taverner

being the first and Purcell the last. All these In Nomines are

cantus-firmus compositions, based on the same cantus firmus:

dfdddcfgfga. . . . Why these pieces should have been

named "In Nomine" is not clear. The cantus firmus has no

relationship to the introit "In nomine Jesu," but is almost

identical with the melody of the antiphon "Gloria tibi

trinitas." The present example, with its contrast between the

sustained bass part and the two quickly moving upper parts,

shows a texture strikingly similar to the trio style of the

late seventeenth century, exemplified by Lully and Corelli,

except for the missing thorough-bass accompaniment.

H Source: Transcript from the original, made by Dr. E. B.

Helm.

177. JOHN MUNDAY. Munday is a prominent figure

among the numerous English keyboard composers of the

late sixteenth century known as virginalists, from virginal,

the English sixteenth-century name for harpsichord. Thelarge repertory of virginalist literature includes dances

(mostly pavanes and galliards, sec No. 179), preludes (see

No. 178), liturgical organ pieces, fantasias, and variations.

In the last-named category particularly, the virginalists madeimportant contributions towards the development of an idio-

matic harpsichord style by the introduction of broken-chord

figures, rapid passage work, scales in parallel thirds and

sixths (occasionally for one hand), etc. In the variations by

Munday (also attributed to Morlcy) on the folk song "Goc

from my window," these technical means are used with

remarkable taste and ingenuity. Variations No. 3 and No. 6

are here omitted, f Source: Fitzwilliatn Virginal Boo^,

edited by Fuller Maitland and Barclay Squire, i, 153.

f Record: GSE, p. 304, where the variations are attributed

to Morley.

178. JOHN BULL. Of the "three famous masters William

Byrd, Dr. John Bull and Orlando Gibbons" (as they are

called in the title of the Partlienia. the first primed book of

virginal music, published in 1611), John Bull owes his fame

to his achievements as a virtuoso rather than as a composer.

Many of his compositions are over-extended and rather dull.

The present prelude certainly is an exception to this rule, as

are also some of his pavanes and galliards. Particularly re-

markable is the natural retardation of the motion towards

the close of the prelude, leading from the running sixteenth-

notes to a passage in dotted rhythm, to eighth-note motion,

and to a final measure in quarter notes, fl Source: Fitzwilliam

Virginal Boo/(, edited by Fuller Maitland and Barclay

Squire, i, 158.

179. ORLANDO GIBBONS: "Pavane Lord Salisbury."

Byrd, Bull, and Gibbons, born at intervals of twenty years

(1543, 156:;, and 158^ respectively), represent three successive

generations in the development of virginal music. Gibbons

as an instrumental composer is a typical example of a "late"

master whose fin-de-siecle personality exudes the fascination

of an approaching decadence, but whose creative power is

still unbroken. The pavane which he wrote for the Lord of

Salisbury is a masterpiece whose utter technical refinement

and transcendental spirituality recall the late sonatas of

Beethoven. Like many pavanes of the sixteenth century,

this composition consists of three sections, each of which

develops a different thought (see Nos. 104, 137). Particularly

noteworthy is Gibbons' mastery of the musical phrase, which

he treats, not in the stereotyped pattern of a four-measure

unit, but as a continuous flow carrying the musical thought

far beyond its expected limit. <! Source: M. H. Glyn, Orlando

Gibbons, Complete Keyboard Worlds, vol. iii. ij Record:

GSE, p. 180.

180. JEAN TITELOUZE. Our knowledge of the develop-

ment of keyboard music in France during the sixteenth

237

COMiMENTARY

century is sorely incomplete, owing to the loss of practically

all sources between the publications of Attaingnant in 1530

(see No. 104) and the organ works of Titelouze, published in

1623 and 1626. Titelouze's compositions are all liturgical

organ pieces of a strongly conservative and somewhat aca-

demic character, similar in style to the more inspired works

of Cabezon. The "Pange lingua" has the cantus firmus in

the lowest part and free contrapuntal lines in the others.

11 Source: A. Guilmant, Archives des maitres d'orgue, i, 26.

181. JAN PIETERSZON SWEELINCK: "Fantasia in

echo." Sweelinck is by far the most influential of all the

organ composers of the late sixteenth century, casting his

shadow far ahead into the period of Baroque music. Themajority of his pupils came from Germany, which at that

time was just emerging as a leading member in the family

of musical nations, and he well deserved the title accorded

him of "deutscher Organistenmacher" (maker of Germanorganists). He absorbed the figurative harpsichord style of

the virginalists as well as the contrapuntal elements of Italian

keyboard music, and combined these with many novel traits.

Among the latter his extended use of echo effects—illus-

trated in our example— is particularly worth noticing, all

the more so as he treated this somewhat dangerous device

with great ingenuity, f Source: Sweelinck, Complete Worl{s

(edited by M. Seiffert), i, 51.

238

TRANSLATIONSThe following translations of the literary texts appearing with the music are quite

literal, for the most part, and when it is practicable, are given line for line. For

passages from scripture or the liturgy, however, we have used the familiar words

of the Authorized Version of the English Bible or the Hook of Common Prayer.

2. Ful^i No Kyoku

The so-called Rich and Noble are like grass. The [truly] Rich

and Noble, [endowed with] freedom and virtue, are blessed,

4. Hindu Chant

[The opening and closing wortls of the text, lu'iu and djyadoham , are

a sort of magic formula. Aiya means "claritied butter"; this was used

as an offering in the service of Agni, the god of (ire, who served as a

messenger between men and the gods. The main text of the hymn,

translated here, begins with mtirdha and ends with devah. Cf. R. H.

Griffith, Hymns of ihe Samaveda (1907), p. 15, verse 5.]

Ha-u: The head of heaven, the ruler of the earth, Agni Vais-

vanara, born in holy Order, the sage sovran, guest of men, was

generated by the gods as our vessel fit for their mouth: Ajyadoham.

5. Arabian Popular Song

[It has not been possible to translate this text, which evidendy is

corrupt.]

6b. Verses from the Pentateuch

Then Moses called for all the elders of Israel, and said unto them,

Draw out and Isike you a lamb according to your families, and kill

the passover. And ye shall take a bunch of hyssop, and dip it in

the blood that is in the bason, and strike the lintel and the two

side posts with the blood that is in the bason; and none of you

shall go out at the door of his house until the morning.

E.\. 12:21-22.

6c. Ledovid boruh

[A Psalm] of David. Blessed be the Lord my strength, which

teacheth my hands to war and my fingers to fight: My goodness and

my fortress . . .

Ps. 14.1:1-2.

7a. First Delphic Hymn

A: Hark, ye fair-armed daughters of the loud thundering Zeus

who dwell in the deep forests of Helicon! Hasten hither, to praise

in song your brother Phoebus, of the golden locks, who high

above the rocky dwellings of the two-peaked Parnassus, sur-

rounded by the august daughters of Delphi, betakes himself to the

waters of limpid Kastalis, visiting at Delphi the prophetic crag.

B: Lo, the famous Attica, with its great city, which, thanks to

the prayer of the arms-bearing Triton, inhabits an unassailable

region. On holy altars Hephaestus consumes the thighs ot bul-

locks; together Arabian incense rises toward Olympus. The oboe

shrilly sounding brings forth music with varied melodies, and the

golden sweet-voiced kithara sounds with hymns.

7b. Hymn to the Sun

Father of the bright-eyed Dawn, who dost drive thy rosy chariot

with the winged courses of thy steeds, delighting in thy golden

hair, over the boundless vault of heaven, shedding thy far-piercing

ray and turning over all the earth the far-seeing fount of splendor:

thy streams of immortal fire bring fortli the lovely day. Before

thee the gentle chorus of the stars dance over lord Olympus, ever

singing their unrestrained song, rejoicing in the lyre of Phoebus.

And before thee the silvery Moon in due season leads the way

amid throngs of white kine; and thy mild spirit is glad as it speeds

through the richly clad firmament.

7c. Seil(ilos' Song

As long as you live, be cheerful; let nothing grieve you. For

life is short, and Time claims its tribute.

8a. Ode jor Christmas

By miracles the Lord has rescued the people, in that He once

made the watery wave of the sea into dry land; and being born

of His own free will from the Virgin He has paved for us the way

to heaven; whom we praise as being substantially equal to His

Father and to mortals.

8b. Hymn from the Octoechos

We praise the Redeemer who was born in the flesh of the Virgin.

For He was crucified for us, and He arose from the dead on the

third day, giving us the great mercy.

ga. Aeterne rerum conditor

O eternal author of the universe, who rulest the night and the

day, and who createst eternity, alleviate our burden.

9b. Aeterna Christ: muncra

With joyous spirit and dutifully offering our praises, we sing

the gifts of the eternal Christ and the victories of the martyrs.

10. Eructavit

My heart overfloweth v\'ith a good matter.

Ps. 45:1

II. Psalm 146 with Antiphon

Praise ye the Lord. Praise the Lord, O my soul.

While I live will I praise the Lord: 1 will sing praises unto

my God while I have any being.

Put not your trust in princes, nor in the son of man, in whom

there is no help.

239

TRANSLATIONS OF THE LITERARY TEXTS

The Lord preserveth the strangers; he rcheveth tlie fatherless

and widow: but the way of the wicked he turneth upside down.

Ps. 146:1-3, 9.

Gloria Patri: Glory be to the Father, and to the Son, and to the

Holy Ghost; as it was in the beginning, is now, and ever shall be,

world without end. Amen.

Anttphon: While 1 live will I praise the Lord.

2. Gradual: Hacc Dies

This is the day which the Lord hath made; we will rejoice and

be glad in it. Ps, 118:24.

O give thanks unto the Lord; for he is good: for his mercy

endureth forever. Ps. io6;i.

13- Alleluia: Angelus Domini

For the angel of the Lord descended from heaven, and came and

rolled back the stone [from the door] and sat upon it. Matt. 28:2.

14. Responsoriiim: Libera Me

Deliver me, O Lord, from eternal death, on that awesome day:

when the heavens and the earth shall shake, when thou comest to

judge the world with fire. I am made to tremble and I fear when

the judgment comes, and thy wrath is upon us. That day, day of

wrath, of calamity and woe, great day and bitter in truth. Grant

them eternal rest, O Lord, and may eternal light shine upon diem.

15a. Kyrie

I. Lord, have mercy upon us.

IL Christ, have mercy upon us.

in. Lord, have mercy upon us.

15b. Kyrie-Trope: Omnipotens

L (i) Omnipotent Father, Lord creator of all: have mercv upon

us.

(2) Fount and source of good, kindly light eternal: . . .

(3) May thy mercy save us, O good leader: . . .

IL (i) O Christ, Lord, form, power and wisdom of the Father:

have mercy upon us.

(2) O Christ, splendor of the Father, redeemer of the world

astray: . . .

(3) Let us not disdain thy deeds, O gentle Jesus: . . .

III. (i) Sacred spirit of both, and united love: have mercy upon us.

(2) Perpetual instigator of life, fount purifying us: . . .

(3) Highest redeemer of sin, bestower of mercy, take awayour offense, fill us with thy holy bounty: . . .

i6a. Christus hiinc diem

(i) Christ grants this day for rejoicing to his assembled loving

Christians.

(2) O Christ Jesus, son of God, mediator between our nature

and the divine.

Thou hast visited the places of the earth, a new man fJving

through the ether.

(3) The angels with their ministrations and the clouds crowdabout thee as thou art rising to thy Father;

But who should wonder that the stars and the angels thus

serve thee.

(4) This day thou gavest to earth-born men a new and sweet

thing, O Lord, a heavenly hope:

(5) Thou thyself, O Lord, a true man, rising above the starry

limits of the kingdom.

(6) How great arc the joys that fill thy aposdes

(7) To whom thou hast granted that they might percei\e thee

rising to the skies.

(8) What joyous new ranks meet thee in the heavens

(9) As thou bearest upon thy shoulders a flock for a long time

dispersed by the wolves.

(10) This flock, O Christ, good shepherd, deign to guard.

i6b. Victimae paschali laiidei

I. Let Christians dedicate their praises to the Easter victim.

II. The iamb has redeemed the sheep; the innocent Christ has

reconciled the sinners with the Father.

Death and life have fought in wondrous conflict; after death

the leader of life, living, reigns,

in. Tell us, O Mary, what thou sawest upon thy way?

I have seen the sepulchre of the living Christ, and the glory

of the rising [Christ],

The angelic witnesses, the veil and the garments.

Christ, my hope, has arisen, he goes before his own into Galilee.

IV. We know in truth that Christ has arisen from the dead: be

merciful unto us, O victorious king: Amen.

i6c. Jitbtlemtis Sidi'atori

I. Let us sing to the Saviour whom the heavenly choirs united

praise with joy.

Peace is announced from on high, the earth is joined to

heaven, the church to the angels.

II. The Word is united with the flesh, as was predestined.

Without carnal sin the Virgin gives birth, the temple of the

Lord standing alone throughout the ages.

III. O new and wondrous thing, the fire glows in the ruby, but

does not destroy it.

The heavens let fall the dew, the clouds let fall the rain, the

mountains gush forth, the hills flow: the root of Jesse grows.

IV. From the root a flower arises as the Prophet foretold, fulfilling

the prophecy.

The root of Jesse signified King David, the stem the Virgin

Mother, the flower the Child.

V. Wondrous is the beauty of the flower, which the plenitude ot

seven-fold grace commends.

We are recreated in this flower which invites us by its taste, its

smell, and its appearance.

VI. Jesus, immortal child, may this day of thy birth give us peace

and joy.

Flower and fruit of a Virgin, whose perfume is life giving, to

thee be praise and glory.

17a. So"S "/ '^"' '"^^^

I. Out from lands of Orient

Was the ass divinely sent. ^^Strong and very fair was he, ^*Bearing burdens gallantly.

Heigh, Sir Ass, oh heigh!

4. Red gold from Arabia,

Frankincense and, from Sheba,

Myrrh he brought and, through the door.

Into the Church he bravely bore.


7. Stuffed with grass, yet speak and say

Amen, ass, with every bray:

Amen, amen say again:

Ancient sins hold in disdain.


(Translation by H. C. Greene, in Speculum VI, 1931)

240

17b. Christo psailat

(i) The Church sings psahiis to Christ:

(2) Gentle mercy.

(3) Let the redeemed daughter of Sion

(4) Give praises to the King of Glory:

(5) Gentle mercy.

(6) This day He has destroyed death.

17c. Beata viscera

The blessed offspring of the Virgin Mary, concealing the power

of the spirit under another garment, has pronounced the peace of

God and man. O amazing wonder and new joy, the mother, having

borne a child, remains a virgin.

I7d. Sol oritur

The sun rises in the sky like the dew on fleece (?), and Lucifer

[here the text is corrupt]. . . . The divine Child is born from the

pure body of the virgin child-hearer.

1 8a. Pax in nomine

I. Peace in the name of the Lord! Marcabru made the words

and the song. Hear what he tells: how through His kindness the

heavenly Lord has made us a place to purify ourselves, such as

there never was except beyond the sea, out there toward Josaphas;

and I shall tell you about this one, here.

5. There come, of the lineage of Cain, of the first wicked man,

so many who do not honor God. We shall see who will be a true

friend to him, for, by virtue of the cleansing place Christ will be

one with us; and let us drive out die foul wretches who believe

in auguries and fates. (8 stanzas)

18b. Be m'an perdtit

Indeed ail my friends, there around Ventadorn,

Have lost me since my lady does not love me.

I have no reason ever to return there,

So harsh is she toward me and so ill-humored.*

See why she always appears angry and grim:

Because I find joy and peace in her love!

And this is the only thing over which she may lament or com-

plain. (2 stanzas)

[• Line 4 is corrupt in our source; for a correct reading sec C. Appcl,

Die Singweisen des Bernart de Ventadorn, p. 25.]

1 8c. Reis glorias

(i) Glorious King, true light and clarity,

(2) Almighty God, Lord, if it pleases thee,

(3) Be a faithful help to my companion.

For 1 have not seen him since the night came,

And soon it will be dawn. (6 stanzas)

i8d. Kalenda maya

(i) The first of May, neither leaf of beech nor song of bird nor

flower of sword lily

(2) Pleases me, lady noble and gay, until I receive a speedy

messenger

(3) From your fair self who will tell me(4) The new delight which love brings me,

(5) And joy; and which draws me toward you, true lady.

(6) And may he die of his wounds, the jealous one, before I

take my leave. (5 stanzas)

19a. /,/ nuns horn pris

(i) Indeed, no captive can tell his story

Properly, unless it be sadly.

(2) But with an elTort, he can make a song.

I have many friends, but poor are their gifts.

(3) They will be put to shame, if for ransom

I am held here for two winters.

19b. Quant uoi

(i) At the end of the summer when I sec the leaves fall

(2) And the great prettiness of the birds come to an end,

(3) Then I feel a desire to sing greater than is my wont.

For she to whom I give myself loyally has ordered me to sing;

Therefore I shall: and when my lady pleases, I shall have joy,

19c. Douce dame

(i) "Sweet and gentle lady!"

"Fauvel, what do you wish?"

(2) "I give you my heart without restraint."

"You are out of your mind."

(3) "Don't you care?" "Out upon you, wretch!"

"What shall I do now?" "Indeed I shall not giv.- yoi' mylove." (3 stanzas)

igd. En nia dame

(i) In my lady I have placed my heart

(2) And my mind.

(3) I shall not leave her for any reason:

(4) hi my lady I have placed my heart.

(5) I was overcome by her grey eyes

(6) Laughing and clear:

(7) In my lady 1 have placed my heart

(8) And my mind.

ige. Vos n'aler

()

(3)

(4)

You don't live as I do.

(2) Nor do you /{noiv how to live thus.

Nor do you know hoiv to live thus.

Fair Alice arose one morning,

You don't live as 1 do.

(5) Dressed herself fairly and decked herself better.

(6) Good-day to her whom 1 dare not name;

Often she makes me sigh.

(7) You don't live as I do.

(8) Nor do you know how to live thus,

Nor do you kn°'<^ Aoh/ to live thus.

igf. C'est la fin

(i) This is the end, no matter what be said:

I shall love.

(2) It is down there amidst the fields.

(3) This is the end, I wish to love.

(4) Games and dances are being held there,

A fair friend have I.

(5) This is the end, no matter what be said:

I shall love.

ipg. E, dame jolie

(i) Ah, pretty lady.

My heart, without deceit,

I put in your keeping,

For 1 do not k""'" your equal.

241


iph.

(2) Often I go complaining

And bemoaning in my heart

Over a discomfort

(3) Which should rejoice

The heart of every lover

Who is overcome by such an ill.

(4) So greatly pleases meThe sweet pain of love.

That I must sing

At its command.

(5) Ah, pretty lady,

My heart, without deceit,

I put in your /peeping.

For I do not \now your equal.

(3 stanzas)

Pour man cuer

(i) To rejoice my heart

I wish to make a song.

(2) I wish to sing to you without argument

Of a very comely lass

(3) Whom I love with all my heart,

May God let it here appear.

(4) Indeed I shall never tire of loving her

For she has captured all my heart in her net.

(5) If the cuckold were to have his arms broken,

I would find more favor with his wife.

igi. Espris d'ire

[Owing to the deliberate obscurity of the text, which was a tradition

in this form, it has been considered best merely to summarize the con-

tents.]

(A) "Overcome with sorrow and love" the poet bemoans his

unsuccessful suit which is driving him to madness. (B) She drives

the poet from her company and treats him harshly. But by hu-

miliating himself he increases his honor. (D) He begs the lady to

abandon her haughty attitude which does her no credit. (E) If

she does not change her attitude, he has no hope save in death.

(H) He must either succeed in winning her, or die. (I) He begs

Love to change her arrogance to pity: "Thus you will have put

life in me instead of death; on such a comforting note I close

my descort."

20a. Swd eyn I'riund

Whenever one friend stands by another

In full loyalty, without false deed,

There the friend's aid is indeed good.

To him to whom he grants it willingly,

So that they are in complete agreement.

His kin increases in numbers.

Wherever friends are well disposed to each other

Then that is a great joy.

2ob. Nu al'erst

(i) Now at last my life seems worth while

Now that my sinful eyes behold

(2) Here the land and soil

Which men hold in such high honor.

(3) I have attained that for which

I so often prayed:

I have set foot on the spot

That God in human form has trod.

20c. Der May

"May has lifted up many hearts"

Said a young maid. "He has shownFull well, what his sweet joy can do,

When he clothes the blackthorn in white blossoms.

All that winter had in his time overcome

May now is about to make young again."

2od. Winder wie ist

(i) Winter, how has your strength been brought low

Since May has struck you with his spear!

(2) On the meadows before the woods one sees standing in full

splendor

Brilliant, beautiful flowers; of these I have plucked

(3) Through a miracle I heard quite plainly:

Men and women, you are all to look upon the meadowsAnd see how the shining host of May stands clad in royal

purple.

Young maids, take heed and do not plight your troth.

2 1 a. Gloria in cielo

Glory in heaven and peace on earth! Born is our Saviour. Born is

Christ the glorious. The high, miraculous God has made himself

a man full of desire, the benign creator.

2 lb. A tutta gente

(i) To all people I ma\e my prayer and as\

That they join me in praising the fair Marguerite.

(2) O virgin who, when still young,

Sawest that thou didst belong to God, and he madethee his spouse;

(3) And because of thy generosity

Thou didst not wish to be a flower of the world;

(4) Rather didst thou take the Christian faith

Which drives away vain things and makes one a servant

of God.

(5) To all people I ma\e my prayer and as\

That they join me in praising the fair Marguerite.

2IC. Santo Lorenzo

(i) Saint Laurence, martyr oj lore.

To Christ thou wast a great servant.

(2) With humility to the holy Father thou wast obedient.

(3) For this all the human race should always praise thee.

(4) Martyr worthy and valiant.

To the Omnipotent thou art a fragrant flower.

(5) Saint Laurence, martyr oj love.

To Christ thou wast a great servant.

22a. A Madre

[This cantipa tells how Mary saved from being burnetl the son of a

Jew whose father had thrown him into the furnace because he had

joined the Christians in school and had taken communion.]

The Mother of Him who saved Daniel from the lions.

Saved jrom the fire

A little child oj Israel.

I. There was a Jew in Bourges

Who knew how to make glass,

And his only son

—

242


For he had no other,

As far as I learned

—

Studied among the Christian boys at school,

And that uas grievous to his father Samuel.

The Mother oj Him who saved Daniel jrom the lions.

Saved jrom the fire

A little child of Israel.

XI. Because of this miracle

The Jewish woman believed at once;

And the little boy

Was baptized forthwith. But the father who had done

The evil deed, for his wickedness

Suffered the same death

That he had wished to give his son Abel.

The Mother of Him who saved Daniel jrom the lions.

Saved from the fire

A little child of Israel. (ii stanzas)

22b. hiais nos jaz

(l) Ojt indeed does Holy Mary

Cause her Son to pardon us.

We, who through our jolly

Continue to jalter and err.

(2) For her sake God forgave us Adam's sin of tasting

(3) The apple for which we suffered grievous woe.

(4) He entered into hell;

But with so much good will

Did she plead with her Son

That for her sake He went to bring him out.

(5) Oft indeed does Holy MaryCause her Son to pardon us.

We, who through our jolly

Continue to falter and err.

22c. Aque serven

(i) She ii'hom all celestial beings serve

Well \nows the cure of mortal wounds.

(2) Of such kind did Saint Mary of Salas

(3) Work a great miracle for a poor woman who had

(4) Great trust in her, and served her,

Offering candles before her altar.

(5) She whom all celestial beings serve

Well \nQws the cure of mortal wounds.

24. Der gulden Ton

[The short rhyme syllables are omitted.]

(i) Praise God the Father on his throne, who graciously makes

known to us His word, the treasure of Grace, in many a place.

(2) Thereby we clearly recognize His will from the Holy

Scriptures.

(3) These were hitherto quite obscured by the harmful doc-

trines of men, that have plunged us into grave doubts. The Lord

has decreed this for us since we have embraced the path of humanerror and poison.

25a. Kos qui vivimus

We who live praise the Lord now and in eternity.

25b. Sit gloria Domini

Glory be to the l-ord, in eternity the Lord will rejoice in his

works.

25c. Kcx cocli

King of heaven. Lord of the wave-sounding sea, of the shining

Titan [sun] and of the dark earth, thy humble servants entreat

thee, by worshipping thee with pious words as thou hast com-

manded, to free them from their sundry ills.

25d. Hymn to Saint Magnus

O noble, humble Magnus, steadfast martyr, virtuous, useful and

venerable leader and praiseworthy protector, guard your subjects

burdened by the load of their frail flesh.

26a. Cunctipotcns genitor

All-powerful father. Lord, creator of all: have mercy upon us.

Christ, Lord, splendor, and wisdom of the Father: have mercy

upon us.

Sacred spirit of both, united love: have mercy upon us.

26b.

26c

27a.

Vt tuo propitiatus

By thy intervention, may the propitiating Lord join us, purged

of our sins, with the citizens of heaven.

Alleluia: Angelus Domini

For the angel of the Lord descended from heaven, and came and

rolled back the stone [from the door] and sat upon it.

Matt. 28:2.

Viderunt Hemanuel

All the ends of the earth have seen Emanuel, the only-begotten

Son of the Father, offered for the fall and for the salvation of

Israel, man created in time, word in the beginning, born in the

palace of the city which he had founded, the salvation of our

God. Be joyful in the Lord, all ye lands. [Cf. Ps. 98:3.]

27b. Cunctipotcns genitor

All-powerful father. Lord, creator of all: have mercy upon us.

Christ, Lord, form, power, and wisdom of the father: have

mercy upon us.

Sacred spirit of both, united love: have mercy upon us.

28a-e. Benedicamus Domino

Let us praise the Lord. Thanks be to God.

28f. Domino fidelium—Domino

Let the faithful devotion of all the faithful call out in joy and

praise to the Lord, through whose grace life is renewed. Let the

host of the people redeem from exile the house of their father

after the remedying of their guilt. ... (.'')

28g. Dominator—Ecce—Domino

Dominator: O Lord God who, born of a Virgin Mother, wast

sacrificed for man, cleanse us from sin so that, rejoicing with

redoubled praise, we may bless thee without end, O Lxjrd.

Ecce: Behold, the womb of a Virgin brings forth the ministry

of Christ miraculously, like a ray of light. That birth removes the

sin of the first man. Now without end we sing a hymn to the

Lord.

28h. Pucelctc—]e languis—DominoPucelete: Fair maid and pleasing pretty one, polite and pleas-

ant, the delightful one whom I desire so much makes me joyous,

gay and loving. In May there is no nightingale so gaily singing

243


I shall love with all my heart my sweetheart who is such a fair

brunette. Sweetheart, who have held my life in your commandso long, I cry mercy, sighing.

]e languis: 1 languish from the malady of love. Far rather would

I that this illness kill me than any other. [Such] death is very

pleasing. Relieve me, sweet friend, of this malady lest love kill me.

28i. II. Candida Virginitas—Flos Filitis

Candida: The virginity is white like the lily, fecundity is white

[pure] through the Son. May the humble exult in joy. Chastity

destroys the head of the enemy [text corrupt] . . . through it

faith and hope and charity.

Flos films ems: Her Son is the flower.

III. Quant revient—L'atitre jor—Flos Filiiis

Ouant rcrient: When leaves and flowers return with the sweet-

ness of spring, God then reminds me of love, who has ever been

courtly and gentle with me, by his help assuaging my pain whenI wish. Much wealth and honor comes from following his

command.L'autre jor: The other day I went along a path. I entered a

garden to pick flowers. There I found a lady, tastefully dressed,

whose heart was gay. There she sang most heartily. I am in love,

what shall I do? This is the end, no matter what be said: I

shall love. [Cf. No. igf.]

29-31. Hec dies

This is the day which the Lord hath made; we will rejoice and

be glad in it. Ps. 118:24.

O give thanks unto the Lord, for he is good: for his mercy

endureth forever. Ps. 106:1.

32a. Huic -Hec dies

Huic main: This morning in the sweet month of May, as the sun

was rising I entered an orchard. Beneath a verdant pine a maid

I found, roses picking. Then I drew near her and offered her true

love. She replied to me: Never shall you touch me, jor I have a

sweet friend.

32b. O mitissima (Ouant voi)—Virgo—Hec dies

O mitissima: O sweetest Virgin Mary: beg thy son to give us

help and resources against the deceiving tricks of the demons and

their iniquities.

Ouant voi: When I see returning the summer season, and all the

little birds make the wood resound, then I weep and sigh for the

great desire which I feel for fair Marion, who has imprisoned

my heart.

Virgo: Virgin of virgins, light of lights, reformatrice of men,

who bore the Lord: through thee, O Mary, let grace be given, as

the angel announced: Thou art a Virgin before and after.

32c Deo confitemini—Domino

Acknowledge the Lord who by His clemency united the flesh

with His spirit in Mary, so that He might bring the promised

help to the seed of Abraham, conforming himself to man. Thusby his pious death He redeemed [mankind], subject to crime, mis-

led by the enemy's wickedness.

32d. Trop sovent—Brunete—In secutum

Trap sovent: Too often do I lament and grieve, and all for her

whom I have loved so much, because of her great pride and her

haughtiness. In my lady have 1 placed my heart and my mind.

[Cf. No. igd.]

Brunete: Brunete, to whom I have given my love, for you I

have endured many grievous ills. In God's name, take pity on me,

noble loving heart. From \indliness comes love.

33a. Alle, psallite—.-illetuya

[This text is a trope of the word .tile- luya.]

.-tile- praise with luya. . . . Alle- with a full and devoted heart

praise God with luya.

33b. On parole—A Paris—Frese nouvcle

On parole: They speak of beating and winnowing and of dig-

ging and of plowing, but these pastimes displease me. For there is

no life so good as being at ease, with good clear wine and capons,

and to be with good companions, gay and joyous, singing, cheating,

and amorous; and to have, when one needs them, fair ladies to

solace us as we wish: and all this one finds at Paris.

A Paris: In Paris, morning and night, one finds good bread and

good clear wine, good meat and good fish, companions of all sorts,

cle\-er wit, great joy, ladies of honor; and also there are, at good

occasion, means to live for poverty-stricken men.

Frese: Fresh strawberries, wild blackberries!

34. Aucun—Lone tans—.-Innitntiantes

.4uci(n: Some invent their songs through habit, but it is love

which gives me my incentive, rejoicing my heart so that I must

make a song. For a lady makes me love her, a lady fair and wise,

of good report. And I, who have sworn to serve her all my life

with loyal heart and no betraying, I shall sing, for I receive from

her so sweet a gift that in it alone I find joy: This is the thought

that assuages my sweet ill and makes me hope for cure. Never-

theless love may claim lordship over me and hold me all my life

in his prison. Nor indeed shall I blame him for this imprison-

ment. So subtly does he attack that one cannot defend one's self

against him. A strong heart and noble lineage are of no avail.

And if he wishes a ransom, I surrender to him and give him as

pledge my heart, which I abandon wholly to him. And I beg

mercy of him for I have no other resource nor any other reason

in my favor.

Lone tans: For a long time I have refrained from singing, but

now I have reason to be joyous, for true love makes me long for

the best-bred [lady] whom one can find in all the world. Andsince I love so priceless a lady, and take so much pleasure in the

thought, I can indeed prove that he who loves truly leads a most

delicious life, whatever may be said.

35. Je cuidoie—Se j'ai—Solem

Je cuidoie: Indeed I thought I had abandoned the sweet occupa-

tion of love, but I felt myself more than ever sweetly surprised

by a new love for the gracious one whose name is Sweet One,

if she be rightly named. She is so sweet in truth that I think

very certainly that God and Nature called in Love to form such a

creature; for in her there is nothing lacking that she be perfect

for love. She is a brunette, wise, knowing, young, slim, savory,

and more than any other, pretty. She has a mouth with a sweet

red smile, pleasingly; unaffected in her manner is she, and of fair

mien; her sweet bright face shows that she is gracious: this makes

me most joyfully hope for her favor soon. And 1 love her so well,

Sweet Lord, that I gladly seize the occasion to say: if I have loved

too foolishly other than her, I repent of it. And most willingly do I

thank Love that after great pain for my folly she gives me great

sweetness.

Se j'ai: If I have loved foolishly and most deeply hurt myself

without redress, this my heart knows, and feels it. Dearly have I

bought it. But now I am glad to be overcome by a love which gives

all good; and therefore I repent of having loved so very foolishly.

244


^6a. Li mails d'amer

The pain of love pleases me more

Than do the joys [of love] many a lover,

For my hope is worth as much as another's enjoyment.

Therefore whatever love sends me pleases me well

For the more I sutler, the more it pleases me that I be

Happy and singing.

Therefore I am as gay and as joyous

As if I were more favored.

36b. Tant con je vivrai

(l) As long as I lire

(2) / s/hill not love another than you.

(3) I shall not leave

(4) As long as I live.

(5) Rather I shall serve you

(6) Loyally I have given myself wholly to you.

(7) As long as I live

(8) / shall not love another than you.

36c. Diex soil

[This is a chanson de quete, sung by children at Christmas time for

alms.]

(i) May God dwell in this house

And may there be wealth and joy a-plenty.

(2) Our Lord's birth

Sends us to his friends

That is to the lovers.

To the well-bred, courtly ones,

To get alms

At Noel.

(3) May God dwell in this house


(4) Our Lord is such

That he [himself] would beg untiringly

But in his stead to the wicked

He has sent us

Whom he has nourished

And who are his children.

(5) May God dwell in this house


37. Rex virginum

\. (i) King, lover of virgins, God, glory of Mary: have mercy

upon us.

(2) Who brought forth Mary from royal stock: . . .

(3) Recei\e her prayer, a worthy offering on behalf of the

world: . . .

II. (i) Oh Christ, God from the Father, born a man from thy

mother, Mary: have mercy upon us.

(2) Whom Mary gave forth to the world from her holy

womb: . . .

(3) Accept our praises, consecrated to thy beloved Mary: . . .

III. (l) Oh Comforter, protecting the body of Mary: have mercy

upon us.

(2) Who made the body of Mary a worthy chamber: . . .

(3) Who raisest the spirit of Mary above the skies. Make us

ascend after her through thy power, beloved Spirit: . . .

38. Roma gatidcns jubila

Let Rome, rejoicing in exultation, today drive the clouds far

away; a splendor of the mind, a splendor of peace, glory unto the

faithful, sprung from your Lord. Therefore arise from thy sad-

ness, O daughter of Sion! The Lord of Salvation is at hand, so

that thine exile may be ended with joy: receive the King of Kings.

39. Hac in anni janua

hi this beginning of the year, in this month of January, let us

turn to our heavy tasks, assisted by our virtues. Tlie joys arc

mutual, vice has been made mute. The misguided activities of

the evildoers are reproved.

43. Detractor est

Detractor est: A disparager is the most worthless fox. By his

slanders he harms others and himself worse. But no less is he a

bland flatterer. For he deceives kings, princes, counts, dukes. Sucii

ones are to be fled by all . . . [The remainder of the text is cor-

rupt and, in many places, meaningless; it seems to continue muchin the same vein.]

Qui secuntur: Those who follow the camps are wretched, for

poorly are their services rewarded . . . [The remainder of the

text is corrupt.]

44. 57/ estoit nulz

S'il estoit: If there is anyone who should complain of harmreceived from love, I should indeed complain without restraint.

For when love first came to enamor me, what boldness I had

would never let me tell of my sadness; rather she took away from

me what most made me rejoice and gave me hope of success:

looking at her, without saying or doing more. Then she put mein prison, where I had my share of ardent desires which were so

displeasing that I more than anyone have a right to say that in

truth I cannot live without the help of my gentle lady: she gave

me respite, so that I did not have to die. And this is quite proper,

for sweet pity and courtliness have their abode in her.

S'amours: If love were to make every lover rejoice at the begin-

ning, he would lessen his worth, for no lover would have the great

pleasure that one enjoys in serving a lady of honor. But he wholives in desire, and whom true love perceives, has more pleasures

than he could wish for, when joy rewards him. And for this

reason, one should feel no regret at loving well, even though his

love makes him languish very much. [This text represents a dia-

lectic commentary on the theme of the other text.]

45- Je puis trop Men

can all too well compare my lady

To the image which Pygmalion made.

(2) It was of ivory, so beautiful, without peer.

That he loved it more than Jason did Medea.

(3) Out of his senses, he prayed to it unceasingly.

But the image answered him not.

Thus does she treat me who makes my heart melt.

For I pray her ever, and she answers me not.

(3 stanzas)

46a. Comment qua moy

(i) Although you are jar jrom me, my noble lady.

Still you are near to me in thought, night and day.

(2) For memory so leads me that always without respite

(3) Your sovereign beauty, your gracious appearance,

(4) Your sure manner and your fresh color

—

Neither pale nor ruddy—I see always without respite.

(5) Although you are jar jrom me, my noble lady.

Still you are near to me in thought, night and day.

(3 stanzas)

245


46b. Plus dure

(i) Harder than a diamond

Or a lodestone

Is your harshness,

Lady, who jcel no pity

For your loi'er whom you }(iU

As he desires your friendship.

(2) Lady, your pure beauty.

Which surpasses all—so I feel

—

And your appearance,

(3) Simple and modest.

Bedecked with fine sweetness,

Smiling,

(4) And with an attractive welcome

Have wounded me so deeply in the heart

As I looked at you

That never shall I have joy

Until you shall have given meYour grace.

(5) Harder than a diamond

Or a lodestone

Is your harshness.

Lady, who feel no pity

For your loi'er whom you ){ill

As he desires your friendship. (3 stanzas)

47. En attendant

(i) While waiting, hope comforts

The man who desires fulfillment;

(2) While waiting, he enjoys and disports himself

While waiting for a first reward.

(3) While waiting, time and season passes.

While waiting, he puts his trust in it;

Of all these viands is served in plenty

The one who cannot live without hope.

Amans ames

(i) Lovers, love secretly

(2) // you wish to love long.

(3) Receive diis advice:

(4) Lovers, love secretly;

(5) Because whoever does diflerendy

(6) Makes the sweetness of love bitter.

(7) Lovers, love secretly,

(S) // you wish to love long.

48b. Belle bonne

(i) Fair [lady], good, wise, pleasing and noble.

On this day when the year is renewed

(2) / ma^f you a gift of a new song

Within my heart which gives itself to you.

(3) Do not be slow to accept this gift,

I beg you, my sweet damsel,

(4) Fair \lady\, good, wise, pleasing and noble,

On this day when the year is renewed;

(5) Because I love you so much that otherwise I will have no peace,

And indeed I know that you are the only one

(6) Whose fame is such that all call you:

Flower of beauty, above all other excelling.

(7) Fair [lady], good, wise, pleasing and noble.

On this day when the year is renewed

(8) / ma\e you a gift of a new song

Within my heart which gives itself to you.

49. Non al suo amante

(i) Not did Diana ever please her lover

So much, v\hen through such good fortune he saw her nakedIn the midst of the cool waters,

(2) As [pleases] me the rustic and cruel shepherdess

Washing her white veil

Which shall protect her fair hair from the sun and the breeze:

(3) So that it made me, now when the sky is fiery.

All tremble with a chill of love.

[Cf. Petrarch, ed. Carducci-Ferrari, Madrigal no. 52.]

50. Nel mezzo

(i) In the midst of six peacocks, I saw a white oneWith crest of gold and soft feathers.

So beauuful that he stole my heart.

(2) And when he shows his beauty

All those of other colors pay him honor

For the graceful appearance of love that he has.

(3) But his companion goes ever looking at him,

And ever singing never parts from him;

And he artfully makes her go from him

(4) Because her wearisome song displeases him:

(5) Then for beauty's sake he spreads his tail as a fan and

cloak.

51. lo son un pelIegrin

(i) / am a pilgrim who goes seething alms,

Crying mercy for God's sal(e.

(2) And I go singing with fine voice.

With sweet appearance and with blond tresses.

(3) I have nothing but the pilgrim's staff and wallet,

And I cry out and cry out and there is no one whoanswers.

(4) And when I am hoping for fair weather,

A contrary wind arises against me.

(5) / am a pilgrim who goes seething alms.

Crying mercy for God's sake.

52. Tosto che I'alba

As soon as the dawn of the fair day appears, the hunter awakens.

"Arise, arise, for it is now time!" "Call out the dogs; here, here,

Viola here, Primera here!" Upon the high mountain with good

dogs in hand and the pack silent, and on the long slope each in

order. "I see one of our best hounds sniffing. He must be on the

trail of something. Let each one of you pierce through, from all

sides into the thickets, for the quail calls." "Hola, hola, the hind

is coming to you. Carbona has seized her and holds her in his

mouth." From the mountain, he who was up there called out

now to one, now to another, and sounded his horn.

53. Amor c'al ttio suggetto

(i) Love that now dost give strength to thy subject,

I live without suffering under thy yol{e.

(2) And thus do I wish to remain forever happy,

Since thou hast made me a slave to this goddess.

246


(3) For she cannot be compared to anything,

Such the one who could do everything brought her

forth,

(4) Because every virtue is created in her:

happy the one whom thou dost bind with such chains.

(5) Loi'C that now dost giie strength to thy subject,

1 live without suffering under thy yoke.

54. Sy dolce non sono

(i) So sweetly did not Orpheus sound with his lyre.

When he drew toward himself beasts, birds, and woods,

Singing of the divine child of Love,

(2) As did my rooster from out the woods,

With such sound as was never heard

From Philomel in the green woods;

(3) Nor more did Phoebus sing when his flute was scorned

By Marsias in the verdant woods.

Where victorious he deprived him of his life.

[The text of the ritornello is corrupt. Apparently it contains an allu-

sion to Amphion, who moved the stones with the music of his lyre, and

the Gorgon, who turned the beholder into stone; hence, Amphion

"facto fa contrario al Gorgone."]

55. Et in terra pax

[Glory be to God on high,] and on earth peace, good will

towards men. We praise thee, we bless thee, we worship thee,

we glorify thee, we give thanks to thee for thy great glory, O Lord

God, heavenly King, God the Father Almighty.

O Lord, the only-begotten Son, Jesus Christ; O Lord God, Lambof God, Son of the Father, that takest away the sins of the world,

have mercy upon us. Thou that takest away the sins of the world,

receive our prayer. Thou that sittest at the right hand of God the

Father, have mercy upon us.

For thou only art holy; thou only art the Lord; thou only,

O Christ, with the Holy Ghost, art most high in the glory of Godthe Father.

56. Credo

[I believe in one God] the Father Almighn', Maker of heaven

and earth, and of all things visible and invisible: and in one Lord

Jesus Christ, the only-begotten Son of God; begotten of his Father

before all worlds, God of God, Light of Light, Very God of very

God; begotten not made; being of one substance with the Father;

by whom all things were made: who for us men and for our

salvation came down from heaven, and was incarnate by the Holy

Ghost of the Virgin Mary, and was made man.

57a. Alleluia psallat

This congregation sings Alleluia, with cymbals and zithers the

joyous crowd in harmony sings to God praise and glory.

57b. Gloria in excelsis

[Glory be to God on high,] and on earth peace, good will

towards men. We praise thee, we bless thee, we v\orship thee, weglorify thee, we give thanks to thee for thy great glory, O Lxjrd

God, heavenly King, God the Father Almighty. O Lord, the only-

begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of

the Father.

60. Der May

May with its charming host

covers all the land,

hill and plain, mountain and vale

61.

resound with sweet bird call;

dove and lark, thrush and nightingale

sing lusty songs.

The cuckoo comes aflying after them,

a terror to the little birds.

Listen to what he says:

cu, cu, cu, cu, cu, cu,

pay me my due,

I must have that from you.

Hunger makes my stoinach almost ravenous.

Alack a day! You would

that I should' so spoke the small birds.

Kiingel, siskin, titmouse, lark, now we come a-singing:

oci and toowee, toowee, toowee, toowee

Oci . . .

fi . . .

ci . . .

ci ri . . .

And all the while the cuckoo sang only: . . .

Caw, said the crow.

Indeed I sing well too

but I must be full;

my song goes thus:

Shovel it in! all in! must be full!

Liri . . .

so sang the lark, so sang the lark, so sanr ;he lark.

I the little thrush sing clearly, I . . .

That song resounds :n the forest.

You pipe you preen yourselves,

you rock and wave

to and fro

just like our priest.

Cidiwigg . . .

Nightingale, she with her song lightened our woe.

rosa bella

O beautiful rose, O my sweet soul, do not let me die in court-

liness. Ah, woe is me, must I end sorrowing for having served

well and loyally loved?

62. Sancta Maria

Holy Mary, in this world there has arisen none like thee among

women. Blooming like the rose, fragrant as the lily, pray for us,

holy Mother of God.

63. Sancttis and Benedictus qui venit

Holy, holy, holy Lord God of hosts; heaven and earth are full

of thy glory. Hosanna in the highest. [Cf. Isaiah 6:3]

Blessed is he that cometh in the name of the Lord. Hosanna in

the highest. Matt. 21:9.

64. Beata Dei genitrix

Blessed Mary, mother of God, eternal virgin, temple of the Lord,

sanctuary of the Holy Spirit: Thou alone, without example, hast

pleased the Lord Jesus Christ. Pray for the people, intervene for

the clerus, intercede for the devoted feminine se.x. Alleluia.

65. Alma redemptoris mater

Gracious Mother of the Redeemer, who stayest at the doors of

heaven, Star of the sea: aid the falling, rescue the people who

struggle. Thou who. to the astonishment of nature, hast borne

thy Creator: Virgin before and after, who heard the Ave from

the mouth of Gabriel, be merciful to sinners.

247


66. Missa L'Homme mmc

Uhomme armc: One must be on guard against the soldier.

Everywhere it has been announced that everybody should arm

himself with an iron hauberk.

Kyric: Lord, have mercy upon us.

Agnus Dei: O Lamb of God, who takest away the sins of the

world, grant us thy peace.

67. Mon cliicr amy

(i) My dear friend, what is on your mind,

That you indulge in this melancholy,

(2) Though God has been a good friend to you

And has kept you company.''

(3) Don't despair of life;

Prithee, give up this grief.

For once we must take this step. (2 stanzas)

68. Adieu, m'amour

Good-by, my love, good-by, my joy

Good-by, what was my solace.

Good-by, my loyal mistress.

To say good-by hurts me so muchThat it seems to me that I must die.

69. De plus en plus

(l) More and more there is renewed.

My sweet lady, noble and jair.

My will to see you.

(2) Hence comes my very great desire

To hear news of you.

(3) Don't think that I hold back,

Since always you are the one

Whom I wish to obey.

(4) More and more there is renewed.

My sweet lady, noble and jair.

My will to see you.

(5) Alas, if you are cruel to meI shall have such anguish in my heart

That I shall want to die:

(6) But this would be without abandoning your service

And still upholding your cause.

(7) More and more there is renewed.

My sweet lady, noble and fair.

My will to see you.

(8) Hence comes my very great desire

To hear news of you.

yo. Files a marier

Girls to be married, never marry. For if there be jealousy, neverwill you or he have joy in your heart.

71- Puisque je voy

(i) Since I see, my pretty one, that you do not love meAnd that you have chosen some one else,

(2) My heart, indeed, is so woundedThat all pleasure has left it.

(3) Alas, ah me, my deeds are all evil

And hence I have nothing but sorrow and cares!

(4) Since I see, my pretty one, that you do not love meAnd that you have chosen some one else.

(5) Nevertheless, 1 am sure that when you have considered well

That I am yours and that I have served you

(6) You will realize that you were wrongAnd that you had no reason to act thus.

(7) Since I see, my pretty one, that you do not love meAnd that you have chosen some one else,

(8) My heart, indeed, is so woundedThat all pleasure has left it.

72- Ce teusse fait

If I had done what I am thinking

And if I were in my country,

I would be more than satisfied

To see such an outcome.

73a- Kyrie

Lord, have mercy upon us.

Christ, have mercy upon us.


73b. Agnus Dei

O Lamb of God, who takest away the sins of the world: grant us

thy peace.

74- Ma maitresse

(i) My mistress and my greatest friend.

The mortal enemy of my desire,

Perfect in qualities if ever woman was;

She whom, alone, fame and rumor report

As being without peer, shall I never see you?

(2) Alas, I should indeed complain of you.

If it does not please you to let me see you again shortly.

My love, who make me unable to love another.

(3) For without seeing you wherever I am.

Everything that I see displeases and angers me,

Nor shall I be satisfied until then.

(4) Endlessly my sorrowing heart weeps.

Fearing lest your pity have fallen asleep.

May this never be, my well-beloved lady.

But if it is true, I am so unhappy

That I do not wish to love an hour longer, nor even a half.

(5) My mistress and my greatest friend.

The mortal enemy of my desire,

Perfect in qualities if ever woman was;

She whom, alone, fame and rumor report

As being without peer, shall I never see you?

75. Ma bouche rit

(i) My mouth laughs and my heart weeps.

My eye rejoices and my heart curses the hour

When It received that good which destroys my health,

And that pleasure with which death pursues meWithout consolation to aid or succor me.

(2) Ah, perverse, lying, and deceiving heart.

Tell me how you have dared to think

Of not fulfilling what you have promised me.

(3) Since you wish to avenge yourself this much.

You should know that you are cutting short mylife.

I cannot live thus as you have made me.

(4) Your pity demands then that I die.

But my fate demands that I remain alive.

248


76a.

Thus I die living, and living pass away.

Only to hide the pain which does not cease

And to cover the grief under which I labor.

(5) My mouth laughs and my heart weeps.

My eye rejoices and my heart curses the hour

When it received that good which destroys my health,

And that pleasure with which death pursues meWithout consolr.iion to aid or succor me.

O heate BastU

O blessed Basil, venerable confessor of the Lord, by the merits

of whose life a column of fire lit from on high hath appeared, pray

to Christ for thy servants that He may forgive us, his friends.

O blessed Father Basil, implore the Lord Jesus for our impieties.

76b. O vos omnes

.Ml ye that pass by, behold and sec if there be any sorrow like

unto my sorrow. Lamentations L12.

77a. Kyrie I


77b. Agnus Dei II

O Lamb of God, who takest away the sins of the world: have

mercy upon us.

79. Royne du del

Queen of heaven, « ho with virginal milk

Hath moistened the face of the Son of God,

Save me from lodgings of hell,

For thou art the treasurer of grace.

80. Veni sancte spiritus—Veni creator spiritus

Come, Holy Spirit, and send forth the ray of thy light from

heaven.

Come, creating Spirit, visit the minds of thine own, fill with

thy high grace the hearts which thou hast created.

81. Mit ganczem IVillen

Since I have surrendered rnyself to you

With all my soul I wish you well.

If it is your wish

Then I will place myself

Completely in your command,My lady dear, 't is true.

Thus I will be yours alone,

My dearest lady.

82. Quodlibet: O rosa bella

O beautiful rose, O my sweet soul, do not let me die in court-

liness. Oh, woe is me, must I end sorrowing for having served

well and loyally loved' [Cf. No. 61.]

[Snatches of German songs\

1. In fire's heat my heart burns.

2. My tender love.

3. It troubles me.

4. Help and advise.

5. Be joyous.

6. Look into my heart.

7. My dear companion.

8. May is gone.

9. Desirable fair one.

10. Success, cash and luck, heart full of lust.

11. I saw once.

12. My only hope.

13. God bless you.

14. Thus, my dear beloved.

15. I never knew what real love was.

16. 1 am forgotten.

17. O force of desire.

18. Friendly place, what (?)

19. If I love, I suffer.

20. Open, my dearest love.

21. At all times.

22. I take my leave, .iml that must be.

87. Zwischcn Berg und tiejem Tat

Between the mountain and the deep valley

There runs a free highroad.

Whoever does not wisli to keep his love,

Must let him go.

89. Agnus Dei


mercy upon us.

90. Ttt pauperum rejugium

Thou art the refuge of the poor, alleviator of weakness, hope

of the e.xiled, strength of the heavy-laden, path for the erring,

truth and life. And now. Lord redeemer, I take refuge in thee

alone; I worship thee, the true God. In thee I hope, in thee I

trust. My salvation, Jesus Christ, uphold me, in order that mysoul may never sleep in death.

91. Faulte d'argent

Lack of money is an evil without equal. If I say so, alas, I knowwell why! Without the wherewithal one must keep very quiet.

[But] a woman that sleeps wakes up for cash.

92. Kyne


93. Mein's traurcns ist

(i) There is good reason for my plaint.

My grief is

That I may voice my grief

(2) To no one but to you.

My shining sun.

On your account I suffer pain.

(3) I would, believe me.

Sooner choose death

Than lose you.

94. Ave Maria

Hail Mary, full of grace, the Lord is with thee; blessed art thou

among women, and blessed is the offspring of thy womb, Jesus.

Holy Mary, Mother of God, pray for us sinners, now and in the

hour of our death. Amen.

95a. Non vol aqua

(i) Water avails not for my great fire.

Which is not quenched by tears.

(2) On the contrary, it increases

Ever more the more I weep.

(3) My fire has [become] such a habit

That it even increases by tears,

249


(4) And takes on greater powerWhen my purpose does not succeed.

(5) And my fire is like the fish

Which has its proper place in the water.

(6) Water avails not lor my great fire,

Which is not quenched by tears. (6 stanzas)

95b. In te Domine

(i) In Thee, Lord, did I put my hope

To find pity for ever;

(2) But in a sad and dark Hell

Was I and suffered in vain.

(3) Broken and [scattered] to the wind [is] my hope;

I see Heaven turn me to weeping;

(4) Sighs, tears remain to meOf my sad hope [once] so great.

(5) I was hurt; however

In my sorrow I called to Thee.

(6) In Thee, Lord, did I put my hope

To find pity for ever. (4 stanzas)

96- Per scriptores

Come, come, fair sirs,

Whoever wishes to dispatch his bulls.

Let him come to us who are scribes.

Come, sirs, if you wish

To turn out your bulls.

And will send them to us.

We will not make you wait long for them,

But are willing to make an agreement

To turn out as many as

Eight per day, and do as good a job

As any other scribe.

[The text :

of papal bulls.

97a.

s a satirical comment on the notoriously slow redaction

Oh duke

97b.

O, sweet, sad inemory!

O the pain with the bliss

Of that past glory

In which I once rejoiced!

Dtirandarte, Durandarte

Durandarte, Durandarte,

Knight doughty and true.

Let us speak, I prithee.

Of time gone by

(2 stanzas)

(5li stanzas)

98a. Congoxa mas que cruel

(i) An anguish worse than cruel

My saddened life combats.

The cause was my departure.

(2) To depart, yet not relinquish

(3) The thought of you, gracious and gentle lady,

(4) So saddens my life

That better it will be to die.

The cause was my departure. (4 stanzas)

98b. Pues que jamas olridaros

(i) Since now my heart

Can ne'er forget you.

Should it lack reward,

.ih, the wrong I did to gaze upon you!

(2) That vision of you will bring

Sadness and sorrow;

(3) Only pain can that vision be,

Should fortune fail me:

(4) But if you, for my true love.

Will but reward me.

Then my heart will never say.

Ah, the wrong I did to lore you! ' 3 stanzas)

98c. Mas vale trocar

(0 Better e.xchange

Pleasure for grief

Than live without love.

(2) Where it is honored

To die is sweet;

(3) To live forgotten

Is not to live;

(4) Better to suffer

Passion and grief

Than live iiithout love. (4 stanzas)

106. .-Ignus Dei


mercy upon us.

O Lamb of God, who takest away the sins of the world; have

mercy upon us.

O Lamb of God, who takest away the sins of the world: grant us

thy peace.

107. L'.4louette

[Much of this text consists of nonsense words piled up in the style of

R,ibclais. There follows a translation of selected portions of the text.]

Or stis: Get up, get up, you sleep too much, my pretty lady, the

day is here, arise! Listen to the lark.

Qu'on tue: Let this false rival be killed, the horned cuckold, all

awry, misshapen, he is not worth the trousers of an old hangedman.

Qu'il soil: Let him be tied, bound, shut up, beaten, and throwninto a ditch. Or let him suffer in some other manner. When oneoffers to kiss his wife, to embrace her, to knock her over, let every

one do as he pleases, or else go off and die.

108. Christ ist erstanden

Christ has arisen from all His sufferings. Therefore we shall all

rejoice, Christ will be our consolation. Kyrieleison.

109. Salutatio prima

Hail, O Lord Jesus Christ, blessed king, word of the Father, son

of the Virgin, Lamb of God, salvation of the world, sacred host,

word made flesh, fountain of mercy.

no. Da ]a\ob nii das Kleid ansah

When Jacob now saw the coat.

He spake with great dolor:

Ah, the great woe.

My dear son is dead.

The evil beasts have devoured him,

And have rent his coat with their teeth.

Oh Joseph, my dear son!

• Who shall now console me in my old age.''

For I must die of grief.

And sadly go from this earth.

250


111. Aus tiejer Not

[This is a rhymed paraphrase of Ps. 130:1-3.]

Out of the depths have I cried unto thee, O Lord.

Lord, hear my voice: let thine ears be attentive to tlie voice of

my supplications.

If thou, Lord, shouldest mark iniquities, O Lord, who shall

stand.''

112. Benedictus

Blessed [is he] who comcth in the name of the Lord. Hosannah

in the highest.

113. Victimae paschali laudes

Let Christians dedicate their praises to the Easter victim.

The lamb has redeemed the sheep; the innocent Christ has

reconciled the sinners with the Father. Death and life have fought

in wondrous conflict; after death the leader of life, living, reigns.

114. Super flumina

By the rivers of Babylon, there we sat down, yea, we wept, whenwe remembered Zion.

We hanged our harps upon the willows in the midst thereof.

For there they that carried us away captive required of us a

song; and they that wasted us required of us mirth, saying. Sing

us one of the songs of Zion.

How shall we sing the Lord's song in a strange land?

Ps. 137:1-4-

123.

125.

Pasedbase el rey

The Moorish king was walking

Through the city of Granada.

Letters had come to himHow .Mhama had been taken.

Alas! my Alhama!

Vox in Rama

In Rama was there a voice heard, lamentation, and weeping,

and great mourning, Rachel weeping for her children, and would

not be comforted, because they are not. MatL 2:18.

126. Deba contre mes debateurs


Plead my cause, O Lord, with them that strive with me: fight

against them that fight against me.

Take hold of shield and buckler, and stand up for mine help.

Draw out also the spear, and stop the way against them that per-

secute me: say unto my soul, I am thy salvation.

127. AudiVI vocem

I heard a voice coming from heaven: Take oil in your vessels,

while the bridegroom tarries. And at midnight there was a cry

made. Behold, the bridegroom cometh. [Cf. Matt. 25:4-6]

Glory be to the Father, and to the Son, and to the Holy GhosL

128. Emendemus in melius

Let us make amends for the sins we have committed in igno-

rance, lest we should suddenly, at the day of death, seek a place

of repentance, and not be able to find one. Harken to us, God, and

have pity on us, because we have sinned against thee.

Memento: Remember, man, that dust thou art and unto dust

thou shah return. [Cf. Gen. 3:19]

129. Quando ritrova

When I find my shepherdess

In the meadow, with the sheep in the pasture,

I approach her and greet her.

Then she replies to me: May you be welcome.

Then I say to her: O gentle shepherdess,

No less cruel than beautiful.

You fight against my happiness.

Alas, do not be so harsh to me.

Then she answers: I am well disposed toward your suit,

But if you have no money, go your way.

130- Vol ve n'jndat' al cielo

Ye go heavenward, ye eyes blessed and holy.

With your bright light and my songs;

While I, cold and with nothing to console me,Would fain rise in flight,

Remain saddened in sorrow and tears.

Would th.\t love do that to ye.

Ye eyes serene.

For then would ye see that

Which a pitying heart should have;

And if ye cannot see your own [heart],

Then look at mine which ye hold imprisoned within you.

131. Da le belle contiade

From the fair regions of the East,

Brightly and cheerfully rose the dawn;And I in the arms of my divine idol

Was rejoicing in such bliss as no human mind can grasp:

When I heard, after a burning sigh:

"Hope of my heart, sweet desire.

Thou art going, alas!

Thou leavest me alone. Farewell!

What will become of me, saddened and sorrowful.'

Ah, cruel love.

Uncertain and brief are thy joys.

And it even pleases thee

That the greatest happiness should end in tears."

Unable to say more she held me fast.

Repeating the embraces in so many coils

That never ivy or acanthus made more.

132. Qui au conseil


Blessed is the man that walketh not in the counsel of the un-

godly, nor standeth in the way of sinners, nor sitteth in the seat

of the scornful.

But his delight is in the law of the Lord; and in his law doth

he meditate day and night.

138. Dune eoline

As I walk upon a hill

In the gayest and greenest of seasons,

When everything smiles in the fields,

I see a red rose

Which surpasses every other flower in beauty.

I see it from afar.

And I love it dearly;

I wish to pick it,

And I stretch my hand toward it,

But, alas, it is in vain.

251

TRANSLATIONS OF THE LITERARY TEXIS

139. Salve Rcgiiui

Hail, Queen, mother of pity!

Our life, sweetness, nn<i hope, hail!

To thee we cry, the exiled sons of Eve.

To thee we sigli, lamenting and weeping in this valley of tears.

Vv'ell then, our advocate, turn thy pitiful eyes upon us.

And show us, after this exile, Jesus, the hiessed fruit of thy womb.O merciful, O pious, O sweet Virgin Mary.

140. /Igniis Dei

O Lamb of God, who takest aw.iy the sins of the world: have mercyupon us.

141. Sictit cervus

As the hart panteth after the water brooks, so panteth my soul

after thee, G God.

My soul thirsteth for God, for the living God: when shall I

come and appear before God?My tears have been my meat day and night, while they continu-

ally say until me, where is thy God? Ps. 42:1-3.

142. Alia lira del Tebro

On the bank of the Tiber, a youth I see,

A charming shepherd, a charming youthful shepherd.

Voicing his feeling there:

Be satisfied, O cruel Goddess, with my woe and pain.

But a dead man cannot say that sorrow kills hiin.

Alas, wretched fate!

143- Requiem aeternam

Rest eternal. Lord, give to them, and let light perpetual lighten

tliem. Thou. God, art praised in Sion; to thee is the vow per-

formed in Jerusalem. Hear, O God, my supplication. All flesh

Cometh unto thee.

144. Penitential Psalm

O Lord, rebuke me not in thy wrath: neither chasten me in thy

hot displeasure.

My heart panteth, my strength faileth me: as for the light of myeyes, it also is gone from me.

They also that render evil for good are mine adversaries; because

I follow the thing that good is. Ps. 38:1, 10, 20.

145* ^^'^ ]oiiy, mnn c<£ur

Good day my heart.

Good day my .sweet life.

Good day my eye.

Good day my sweet heart.

Ah! good day, my pretty one, my sweet one.

Good day, my delight, my love.

My sv,-eet spring time, my sweet new flower.

My sweet pleasure, my sweet dove.

My lark, my fair turtle-dove,

Good day, my sweet rebel.

146a. Cara la vita

My dear life, it is indeed true that no other flame I love, that noother flame burns in my heart in a lime so turbulent and wild.

146b. SanctHS

Holy, holy, holy. Lord God of hosts: heaven and earth are full

of thy glory. Hosanna in the highest. [Cf. Isaiah 6:3]

147. Allan, gay, gay

Come now, gay, gay shepherds,

Come now, gay, gay, be joyous.

Folloti' me.

Let us go to see the KingWho was born to us from heaven.

Come now . . .

I shall make him a nice present,

What shall it be?

This flute which I have, so gay.

Come now . . .

I shall give him a cake

And I shall offer him a full bumper.

Come noil' . . .

Ho, ho, I see him.

He suckles well without his thumb.

Come now . . .

148. Exurge, Damine

Arise and help us, and deliver us, for thy name's sake.

Ps. 44:26.

149. O vos omnes

All ye that pass by, behold and see if there he any sorrow like

unto my sorrow. Lamentations 1:12.

150- Non I'os rehnqitam

I will not leave vou comfortless; I will come to you and your

heart shall rejoice. John 14:18; 16:22.

152. Hie est heatissimus

This is the most blessed evangelist and apostle John who, byfavor of outstanding love, deserves to be honored by God above

all others.

155. Madonna mia gentil

My gentle lady, I thank love

Who has taken my heart

Giving it to you.

Who are not only beautiful

But adorned with such virtues that

While being on earth I seem to enjoy Paradise.

156. Ecce qtiomodo

1. Behold the righteous man perisheth and no one layeth it to

heart. Just men are taken away and no one considereth it. Therighteous man is taken away from the face of iniquity, and his

memory will be in peace.

11. His place is made in peace and his habitation in Sion. And his

memory will be in peace.

157- In ecelesiis

Praise the Lxird in the congregation. Alleluia,

In every place of worship praise him. Alleluia.

In God, who is my salvation and glory, is my help, and my hope is

in God, Alleluia.

My God, we invoke thee, we worship thee; deliver us, quicken us,

Alleluia.

God our advocate in eternity. Alleluia.

252


158. L'Acceso

More than any other, Chloris,

You arc beautiful and charming,

And your countenance delights every soul.

Indeed I burn for you inwardly

And outwardly, my fair sun,

And you are cruel toward my tortures,

You refuse even a single look as a reward.

160. Al SHOT!

At the sound [of the music] the heart rests not,

But it increases the cruel ardor;

For yours are not songs.

But poisonous charms. (6 stanzas)

161. lo pur respiro

In such anguish I still breathe.

And you still live, oh pitiless heart!

Ah, that there is no longer hope

Of seeing once again our well-beloved I

Oh death, give us help:

Kill this life;

Merciful, wound us, and let a single blow

To life give an end and to great woe.

164. Quia vidisti me

Thomas, because thou hast seen me thou hast believed: blessed

are they that have not seen and yet have believed.

John 20:29

165. Ach Schatz

My love, I complain to you about my great grief

Which I must bear.

O sweet solace of my life, turn to me.

Be friendly with me.

Convert my woe into joy.

Else 1 shall soon perish in despair.

166. Factus est

There caine a sound from heaven as of a rushing mighty wind.

Acts 2:2.

167a. Vater unset- III! Himmclreich

Our father in heaven, who desirest all of us to be like brothers,

and to adore thee, to pray to thee: grant that not the mouth only

may pray, but that [the prayer] may come from the depths of

the heart.

168. So wiinsch ich ihr

(i) Thus I wish her good night

At a hundred thousand hours.

(2) If I consider her love.

All my grief disappears.

(3) When I see her she delights me;

She has captured my heart,

Therefore my heart burns and I cannot forget her.

(3 stanzas)

253

INDEXReference is made to item numbers, not pages. Ordinary figures (roman type)

refer to the items themselves together with the related article in the Commentary;italic figures refer to the Commentary alone. Titles of compositions are italicized,

names of composers in cn|'itals and small capitals.

W detv, a dew, 86a

A madre, 22a

A ttitta gcTite, 2 lb

Accents, Jewish, 6a

Accompanied song, 2, 45, 46b, 47-54, 60, 61,

67-72, 74, 75, 95, 97, 98, 123, 160, 162, 163

Acfi Schatz, 165

Adam de i.a Halle, 36

Adam de St. Victor, i6c

Adieu m'amoiir, 68

Aeterne Christi mtincra, gb

Aetcrjte reriim conditor, 9a

Agnus Dei, 66c, 73b, 77b, 89, 106, 140

AlCHINGER, GrEGOR, i66

Al suon, 160

Alia riva del Tebro, 142

Alleluia Angelus Domini, 13, 26c

Alleluia Dominus in Sina, i6a

Alleluia psallat, 57a

AUemande, lyj

Alle, psallite-AUeluya, 33AUon gay, gay, 147

Alma redemptoris mater, 65

Alta, 102a

Amans, ames, 48a

Ambrosian chant, to

Ambrosian hymn, 9Ammerbach, Nicolaus, 154a

Amor c'al tuo suggetto, 53

Anerio, Felice, 160

Anthem, 151, i6g, 171, 172

Antiphon, 11

Anliphon, B.M.V., 65, 100, 139

Aque serven, 22c

Arabian music, 5

Arcadelt, Iacob, 130

Arrangement, 118, 145b, 160, 163

Ars antiqua, 28-41

Ars nova, 44-^gAscanio, Jusquin d', 95b

Aueun-Lonc tans-Annuntiantes, 34Audii'i voeem, 127

Aus tiejer Not, inAre Maria. 94Ayre, 162, 163

Ballade, i8a-c, iga-c, 36a, 45, 47, 67

Ballata, 2ib-c, 51, 53, g;Ballet du roy, 167b

Balletto, 158, 159

Bar form, i%b-e, 2ob-d, 24, 93, 168

Basse danse, /02, 137, 1^4

Bauernschwanz, Dcr ncue, 83b

Be m'an perdut, i8b

Beata Dei genitrix, 64

Beata viscera, 17c

Belle bonne, 48b

Benedicamus Domino, 28

Benedictus, 63, 112b

Bernart de V'entadorn, i8b

Bicinium, 167a

BiNCHOIS, GiLLES, 69, 70

Bitonality, so^b

Bon jour, mon cocur, 145

Bourgeois, Louis, 132

Bruck, Arnold von, nibBull, John, 178

Burgundian School, 65-72

Buxheim Organ Book, 84c-d

Byrd, William, 150, 151

Byzantine chant, 8

Cabezon, Antonio de, 133, 134

Caccia, 52

Candida virginitas, 28i

Canon, 42, 52, (>(>, 87, 89, gi , gz, 101,

nib, 752

Cantiga, 22

Canto carnascialesco, 96

Cantus firmus, 2(1, 27, 6j, d^, 66, 75, g2,

100, 112, II}, 120, 755, iy6, 180

Canzo, i8b-c, ig

Canzona (instrumental), 78, 88, 9/, 118, 136,

175

Cara la rita, 146

Cavazzoni, Girolamo, 116-118

Ce ieusse fait, 72

C'est la fin, igf

Chacon ne, /oj

Chanson, 70, 91, 107, 147

Chant, 4, 6, 8, 10-16

Chinese music, i

Chorale, roi, loS, in, 167a

Chordal style, 56, 64, 108, in, i}8, 1^6

Christ ist erstanden, 108

Christ rising again, 151

Christmas, Ode for, 8a

Christ psallat, 17b

Christus hunc diem, i6a

Chromaticism, /j/, i6t, 774CrcoNiA, Johannes, 55Clausula, 28d-e-h-i, 30

Clemens non Papa, 125

Color, 44

Comment qu'a moy, 46a

Compere, Loyset, 79Compostela, School of, 27b, 28b

Conductus, 17, 38, 39, 57Conductus motet, _J2C

Congoxa mas, 98a

Consonanze stravaganti, 174

Cooper, 86b

Cordier, Baude, 48

Cornysch, Robert, 86a

COSTELEY, GuILLAUME, I47

Credo, 56

Cretic meter, 7Cunctipotens genitor, 26a, 27b, 117. See also

Missa Apostolorum; Omnipotens genitor

Cyclical Mass, yy

Da Ja\ob nu das Kleid ansah, noDa le belle contrade, 131

Dalza, Joanambrosio, gga

Damett, 64

Dance, 40, 41, 59, 83b, 102-105, i37> '54. 167b.

179

Danse Royale, 40a-b

Danyel, John, 162

D'Ascanio, see Ascanio

Deba contre mes debateurs, 126

Delphic Hymn, 7a

Deo confitemini, 32c

De plus en plus, 6gDer Gidden Ton, 24

Der May (Reuenthal), 20c

Der May (Wolkenstein), 60

Der neue Bauernschwanz, 83b

Descort, ig

Detractor est, 43.

Diex soit, 36c

Diferencias Cavallero, 134; sohre Guardamelas vacas, 124; sobre O Gloriosa Domina,

122

Discant motet, 6;

Discant style, 2g

Dominator-Ecce-Domino, 28g

Domino, 2Sd-h

Domino fidelittm-Domino, 28f

Dompe, 103

Double chorus, 757, lyj

Double cursus, 28e, 44Douce dame, 19c

Dowland, John, 163

Doxology, //

Ductia, 40a, 41

INDEXDUFAY, GUILLAUME, 65-68

D'utie colme, 13S

Dunstable, John, 61, 62

Dtirandarte, 97b

E, dame jolie, igg

Ecce quomodo, 156

Emendemus in melius, 128

En attendant, 47

En ma dame, igd

Encina, Juan, gS

English music, 23, 25c, 37, 40c, 42, 57, 58,

61-64, 85, 86, 103, 112, 120, 127, 150, 151,

159, 162, 163, 169-172, 176-179

Entrance Hymn for the Emperor, la

Eriictavit, 10

Espris d'ire, igi

Estanipie, 40, 58

Et in terra pax. 55. See also Gloria in excelsis

Factiis est, 166

Fa-la, /;5, 759, lyo

Falte d'argens, 118. See also 91

Familiar style, ^6, 64, i}8, 1^6

Fantasia, 121

Fantasia in Echo, 181

Faulte d'argcnt, 91. See also 118

Fauxbourdon, 57Festa, Costanza, 129

Fevin, Antoine de, 106

Files a marier, 70

Finck, Heinrich, 80

Flemish School, 73-78, 87-92, 113-115, 125,

130, 131, 143-146, 148, 174, 181

Flos filitis, 28i

FOGLIANO, GlACOMO, 94Folk song, 66, i2j, 124

Franck, Melchior, 168

Franco of Cologne, 33French music, i6c, 17-19, 26c, 27a, 28-39,

4oa-b, 43-48, 56, 65-72, 79, 89-92, 104, 106,

107, 126, 132, 137, 138, 147, 180

Frottola, 95, 729

Fuenllana, Miguel de, 123

Ful{i no l{yol{t4, 2

Fundamentum organisandi, 8ib

Gabrieli, Andrea, 135, 136

Gabrieli, Giovanni, 157, 173

Galliard, 137, 179

Ganassi, Silvestro, 119

Gastoldi, Giovanni, 158

German music, 15b, i6a-b, 20, 24, 80-84, 93, 100.

loi, 102b, 105, 108-111, 154a, 156, 164-168

Gervaise, Claude, 137

Gesualdo, Carlo, i6i

Ghirardello da Firenze, 52

Gibbons, Orlando, 171, 172, 179

Giovanni da Florentia, 50, 51

Glogauer Liederbuch, 82, 83

Gloria in excelsis, }), 57b

Gloria in cielo, 21a

Goe from my window, 177GOMBERT, NiKOLAUS, II4

Goudimel, Claude, 126a

Gradual, 10, 12, 29-31

Greek music, 7Gregorian chant, 10-16

Guardame las vacas, 124, 754

Guerrero, Francesco, 139

Guillaume d'Amiens, ige

GUILLAUME LE ViNIER, igi

GuiRAUT DE BORNELH, l8c

Uae in anni janua, 39Haec dies, 12, 29-32

Handl, Jacob, 156

Har^ all ye lovely saints, 170

Hassler, Hans Leo, 164, 165

Hec dies, see Haec dies

Hermannus Contractus, 759

Heterophonic, 2, ^Hie est heatissimus, 152

Hindu music, 4

Hocket, j2e, 55, ^8HOFHAIMER, PaULUS, 93Hoftanz, 105a

Hopper dancz, 102b

hitdc main-Hec dies, 32a

Hupf-auf, 105

Hymn, la, 7a-b, 8b, g, 25c, 62, 64, 108

Hymn from the Octoechos, 8b

Hymn to the Sun, 7b

Hymn to St. Magnus, 25c

/ hare been a foster, 86b

Ileborch, Adam, 84a-b

Imitation, 48, 68, 76, 79, 8y, 100, 106, log,

11$, it6, 12^

In ecclesiis, 157

In nomine, 176

In seeuhim, 32d, e

In te, Domine, 95b

Instrumental music, i, 3, 32e, 59, 78, 83, 88,

115, 119, 136, 137, 167b, 173, 175, 176.

See also Keyboard music. Lute music

Intabulierung, 14'ih. See also Arrangement

Intonation of the Pentateuch, Syrian, 6c

Intonazione settimo tono, 135

Introit, 143

lo pur respiro, 161

lo son un pellegrin, 51

Isaac, Heinrich, 87, 88

Isorhythmic, 43, 44, 54, -jg

Italian music, 9-15, 21, 49-55, 58, 59, 94-96,

99, 116-119, i2g, 135, 136, 140-142, 153,

154b, 155, 157, 158, 160, 161, 173-175

fa nuns hons pris, iga

Jacopo da Bologna, 49Janequin, Clement, 107

Japanese music, 2

fe cuidoie-Se j'ai-Solem, 35]e puis trap bien, 45Jewish music, 6

JOSQUIN DES PrES, S9-9I

fubilemus Salvatori, i6c

fuden Tanz, Der, 105b

Kalenda maya, i8d

Kerle, Jacobus de, 148

Keyboard music, 58, 8ib, 100-104, 116-118,

120, 133-135, 153, 154. 160, 174, 177-181

Kham Hom, 3

Kleber, Leonhard, 84e-t

Koto, 2

Kotter, Hans, 84g

256

Kyrie, 15a, 66b, 73a, 77a, 92Kyrie-trope, 15b, 37

La Rue, Pierre de, 92L'Acceso, 158

Lai, igi

L'Alouette, 107

Lamento di Tristan, 5ga

Landini, Francesco, 53, 54Lantins, Arnold de, 71

Lantins, Hugo de, 72

Lasso, Orlando di, 143-145

Lauda, 21, g4Laudabo, 1

1

Ledovid boruh, dc

Legrant, Guillaume, 56

Le Jeune, Claude, 126b, 138

Leoninus, 28e, 2g

L'Homme arme, 66, 73, 8g, g2Libera me, 14

Li maus d'amer, 36a

Lochamer Liederbuch, 8ia

Lucem tuam, 120b

Lute music, 99, 105, 121-124, 160, 163

Ma bouche rit, 75Machaut, Guillaume de, 44-46Macque, Giovanni, 174

Madonna mia gentil, 155Madrigal (medieval), 49, 50, 54Madrigal (Renaissance), 8^, 86, 129-131, 142,

146a, 155, 159, 161, 170

Mais nos faz, 22b

Ma maitresse, 74Maqam, 5Marcabru, 1 8a

Marenzio, Luca, 155

Maria zart, loi

Maschera, Florentio, 175

Mass, 12, 13, 15, 55, 56, 57b, 63, 66, 73, 77,

8g, 92, 106, 112, 117, 140, 143, 146b

Mastersingers 24

Mas vale trocar, 98c

Mein's traurens ist, 93Mensuration canon, 89, 92Merulo, Claudio, 153

Mese, 7Mesomedes of Crete, 7b

Milan, Luis de, 121

Milanese chant, 10

MlLLAN, 97Minnesinger, 20

Missa Apostolorum, 75, 117

Missa L'Homme arme, 66, 73, 89, 92Missa Mente toto, 106

Missa Papae Marcelli, 140

Missa Pro dejunctis, 143

Missa Sine nomine, 77Missa super Cara la vita, 146b

Mil gantzem Willen, 81

Modal rhythm, 18, 79, 20, }8, 43Mon chier amy, 67

Monte, Philipp de, 146b

Morales, Cristobal, 128

Morley, Thomas, 159, 777

Motet, 28f-i, 32-35, 43, 44, 57a, 62, 76, 90,

113, 115, 125, 128, 141, 148-150, 152, 156,

157, 164, 166

INDEX

MuNDAY, John, 177

Musica enchiriadis, 25b

Musica reservata, go

My bonny lass, 159

My Lady Carey's Dompe, 103

Nachtanz, 59a, 8j, 102b, 104, 10$, lyg

Nanini, Giovanni Maria, 152

Narvaf.z, Luis de, 122

Neopolitan sixth, 725

Neithart von Reuenthal, 20C-d

Nel mezzo, $0

Neusiedler, Hans, 105

Non al sua amante, 49Non val aqua, 95a

Non I'os relinqtiam, 150

Nos qui lii'imus, 25b

NoTKER Balbulus, i6a

Notre Dame, School of, 28c-i, 29-32, 38, 39Nu al'erst, 20b

O beate Basili, 76

Obrecht, Jacob, 76-78

OcKEGHEM, Johannes, 73-75

Octoechos, Hymn from the, 8b

Oile for Christmas, 83

O gloriosa Domina, 122

O Lord, increase my faith, 171

O mitissima {Quant t'oi)-Virgo-Hec dies, 32b

Oh dulce, 97a

Omnipotens gcnitor, 15b. See also Cuncti-

potens genitor

On parole-A Paris-Frese nouvele, 33b

Orchestral music, 3, 173

Organ hymn, 100, loi, 120, 180

Organ Mass, 117

Organ music, see Keyboard music

Organum, 25-27, 28b-c, 29, 30

Orientis partibus, 17a

O rosa bella, 61, 82

Ostinato, ^^b, 10^, 112, 120b

O vos omnes, 76b, 149

Palestine Song (Nu al'erst), 20b

Palestrina, Giovanni, 140-142

Pange lingua, 180

Parody Mass, 146

Part song, 85, 86, 93Paseabase el rey, 123

Passacaglia, /05

Passamezzo antico, 124, 154

Paumann, Conrad, 81

Pavane, 104, 137, 179

Pavane Lord Salisbury, 179

Pax in nomine, i8a

Penitential Psalm, 144

Perotinus, 17c, 50, 31

Perrin d'Agincourt, 19b

Per Scriptores, 96

Petrus de Cruce, 34, 35, 45Philips, Peter, 145b

PiccHi, Giovanni, 154b

Piedi, 95Plainsong, see Gregorian chant

Plus dure, 46b

Polychoral, see Double chorus

Pour mon cuer, i^\\

Power, Lionel, 63

Praeambulum, see Prelude

Praetorius, Michael, 167

Prelude, 84, 99a, 135, 178

Program music, 84, gga, 10$, 755, iy8

Proportz, /05, 737

Prose, 1 6c

Psalm, 6c, II, III, 114, 126, 132, 144

Psalmellus, 10

Psalm tone, ;/

Psalter, 126

Pucelete-fe languis-Domino, 28h

Pues que jamas, 98b

Puisque je I'oy, 71

Quando ritrova, 129

Quant revient, 28i

Quant voi, 19b, 32b

Qui au conseil, 132

Quia vidisti me, 164

Qiiodlibet, 80, 82

Raimbault de Vaqueiras, i8d

Redpord, John, 120

Refrain, 19b, 14, 28i, 32d, 95Reis glorias, i8c

Rcprisa, 154

Requiem aeternam, 143

Responsorium, 14, 127

Rex coeli, 25c

Rex virginum, 37Ricercar, 99, 115, 116, 119, 136

Richard Coeur-de-Lion, 19a

Ripresa, g$Ritornello, 49Roma gaudens jubila, 38

Roman de Fauvel, 43Romanesca, 124

Roman School, 752

Rondeau (medieval), 17b, I9d-e, 321;, 36b, 48,

68, 69, 71, 72, 79Rondellus, 17b

Rondo, 14, }6c, 147

Rore, Cipriano de, 131

Rotrouenge, I9h

Rotta, 59a

Royne du ciel, 79

Sachs, Hans, 24

St. Godric, 23a

St. Magnus, Hymn to, 25c

St. Martial, School of, 27a

Sainte Marie, 23a

Saltarello, 59b, 154

Salutatio prima, 109

Salue regina, 100, 139

Soman, 4

Sancta Maria, 62

Sanctus, 63, 146b

Santo Lorenzo, 21c

Schlick, Arnolt, 100, loi

Scholia enchiriadis, 25a

Seik^ilos, Song of, 7c

Selesses, Jacopin, 47Senfl, Ludwig, 109, noSequence (medieval), 16, 113

Sequence (modern), yy, yg, 88

Siamese music, 3

Sicut cervus, 141

S'il estoit ntilz, 44

Sit gloria, 25b

So wiinsch ich ihr, 168

Sol oritur, lyd

Sonata, 97, 756, 173, 775Song of the Ass, 17a

Spanish music, 22, 27b, 28b, 97, 98, 102a

I2I-I24, 128, 133, 134, 149

Spanyoler Tancz, 102b

Speciosus Forma, 10

Spervogel, 20a

Spinaccino, Francesco, 99b

Stay, cruel, stay, 162

Stile concertato, 757, 757

Stimmtausch, j2C, jja, 57Stollen, i8b

Stoltzer, Thomas, 108

Suite, i6yb

Sumer is icumen in, 42

Sun, Hymn to the, 7b

Super flumina, 114

Swa eyn vriund, 20a

SwEEi.iNcK, Jan Pieterszon, i8i

Sy dolce non sono, 54Syrian intonation of the Pentateuch, 6b

Ta'amim, 6a

Talea, 43, 44, 34Tallis, Thomas, 127

Tant con je vii'rai, 36b

Tappster, drinker, 85

Tastar de corde, 99a

Taverner, John, 112

Tenor dance, 702

This is the record of John, 172

Thorough-bass, 757

Titelouze, Jean, 180

Toccata, 735, 153

ToMKiNs, Thomas, 169, 176

Torre, F. de la, 102a

Tosto che I'alba, 52

Triadic melody, 62, 6g, yi

Trio style, 776

Tromboncino, Bartolomeo, 95a

Trope, 15b, 16, 27b, 37

Trap soi'ent-Brunete-ln seculum, 32d

Troubadours, 18

Trouveres, 19

Tsaat een mesl{in, 78

TuoTiLo OF St. Gall, 15b

Tu pauperum refugium, 90

Vt tiio propitiatus, 26b

Valderravano, Anriquez de, 124

Variations, 703, 122, 124, 134, 154, 177

Vater unser, 167a

Venetian School, 114, 135, 136, 153, 157, 175

Veni creator spiritus, 80

Veni rcdemptor, 120a

Veni sancte spiritus, 80

Ventaporn, see Bernart

Vers, 1 8a

Vers mesure, 138

Verse anthem, 151, 172

Versos del sexto tono, 133

Victimae paschali laudes, i6b, 113

Victoria, Tomas Luis de, 149

Videriint Hemanuel, 27a

Villancico, 22, 97, 98

Viola da gamba, 119, 162

Virelai, igf-g, 21, 22, 46, 5

Vocalization, j^, 114

Voi ve n'andat' ul ctelo, 130

Volta, 95

Vorimitation, 101, 108

Vos n'aler, ige

Vox in Rama, 125

INDEXWalter von der Vogelweide, 20b

Walter, Johann, ma74, 75, 95, 97 Weck, Hans, 102b

Weelkes, Thomas, 170

Werth, Jacob van, 146a

Western Wynde, The, 112a

What if I never speed, 163

When David heard, 169

Willaert, Adrian, 113, 115

Winder wie ist, 2od

Wipo, i6b

WOLKENSTEIN, OsWALD VON, 6o

Worcester, School of, 57Word painting, go, 1 ig, f^i , 755

Worldes blis, 23b

Zunschen Berg iind ticjem Tal, 87

2S8

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