Manchicourt - Osculetur me a6 (RSU-044)

Osculetur mePierre de Manchicourt (c.1510–1564)

Phalèse, Liber quintus cantionum sacrarum … a D. magistro Petro Manchicurtio Betunio [Leuven, 1554]

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(Sponsa:)

Osculétur me ósculo oris sui; quia melióra sunt úbera tua vino, fragrántia unguéntis óptimis.Óleum e!úsum nomen tuum; ídeo adolescéntulae dilexérunt te.

(Chorus adolescentularum:)

Trahe me, post te currémus in odórem unguentórum tuórum.Introdúxit me rex in cellária sua.Exsultábimus et laetábimur super vinum.1

Recti díligunt te.

CANTUS FIRMUS:Tota pulchra es, amíca mea, et mácula non est in te.Favus distíllans lábia tua; mel et lac sub lingua tua.Odor unguentórum tuórum super ómnia arómata.

(Bride:)Let him kiss me with the kiss of his mouth, for thy breasts are better than wine, smelling sweet of the best ointments.Thy name is as oil poured out, therefore young maidens have loved thee.

(Chorus of young maidens:)Draw me: we will run after thee to the odour of thy ointments.The king hath brought me into his chambers.We will be glad and rejoice over wine.1

The righteous love thee.

Thou art all fair, my love; and there is no spot in thee.Thy lips drop as the honeycomb; honey and milk are under thy tongue.The sweet smell of thy ointments is above all manner of spices.

(Antiphon for Feast Days of the Blessed Virgin Mary) from Song of Songs 1:1–3, 4:7 & 11

Pierre de Manchicourt, a contemporary of Nicolas Gombert and Jacobus Clemens non Papa, was active in both Burgundy and Spain during thereigns of Charles V and Phillip II, culminating in his appointment by the latter as maestro de capilla !amenca in Madrid in 1559. The fact thatAttaingnant, publisher of the French Royal Court, devoted his fourteenth and "nal volume of motets in 1539 entirely to Manchicourt's work (anhonour he bestowed on no other, and emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to thecomposer's reputation in his day. Manchicourt's highly polyphonic style of composition lost favour around the time of his death, as the liturgicalreforms of the Council of Trent took hold — marking the transition from the High Renaissance to the less !orid Late-Renaissance style ofVictoria and Palestrina.

This motet — one of seven settings of the Song of Songs among Manchicourt's output of more than seventy motets — was published in Phalèse's1554 collection (and its 1558 and 1560 reprints). As an apparently later work, it exempli"es the composer's mastery of complex polyphony,though structurally the motet employs a technique from the previous generation of High-Renaissance composers: a cantus "rmus in the Tenorvoice, surrounded by "ve other freely composed parts. The text of the cantus "rmus is also from the Song of Songs, but the melody is taken from apopular German song Kein Adler in der Welt so schön schwebt ('No eagle in the world soars so beautifully’). Thomas Crecquillon based a mass onthe same model, published in 1545, and the melody is also quoted in motets by a number of other contemporary Franco-Flemish composers — allof whom, like Manchicourt, had some connection with the various Hapsburg courts that dominated Europe in the sixteenth century.

Martin Ham2 postulates that these motets and Crecquillon's mass may have been composed for the 1543 wedding of Phillip of Spain to MariaManuela of Portugal: the biblical text of Manchicourt's motet (including the rather odd variation in the penultimate line) seems well suited tosuch an occasion, and the original text of Kein Adler contains many regal inferences — indeed, the eagle itself (in double-headed form) is thecentrepiece of the emblem of the House of Hapsburg. Based on this theory, Manchicourt's motet may well have been composed more than adecade earlier than its "rst known publication.

Editorial Notes:

This edition is set at the original notated pitch. Editorial accidentals are indicated above the note. Original note values are retained: thus,consistent with 16th-century convention, the ( mensuration sign and its modern-equivalent ) time signature signify a semibreve tactus. Barlines are added only to aid reading and direction: ‘strong’ and ‘weak’ beats implied by their position should never take precedence over phrasingor word stress. Ligatures and coloration in the source are acknowledged with overarching square brackets and open ‘corner’ bracketsrespectively. Word underlay re!ects editorial judgment and is freely adjusted: editorial re-iteration of text not explicit in the source is indicatedin italic. Editorial conjoining of notes, where considered necessary for word underlay, is indicated with a dashed tie.

1 The original biblical text is ‘… et laetabimur in te, memores uberum tuorum super vinum’ (‘… and rejoice in thee, we will remember thy breasts more than wine’). The curious omission of those "ve words in this setting is consistent in all part books in the source and imparts a rather di!erent and somewhat comical meaning that might "nd a logical basis in the motet's potential connection to the Spanish royal wedding in 1543!

2 Ham, M. (1998). Thomas Crecquillon in context: a reappraisal of his life and of selected works (Doctoral dissertation, The University of Surrey, Guildford, United Kingdom). Retrieved from http://epubs.surrey.ac.uk/2723/1/246059_VOL1.pdf

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Manchicourt - Osculetur me a6 (RSU-044)

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