0 scholares discite 't^jjjjjjjj J J i J J J J J J

This is one of the ten school songs in Piae Cantiones and is

probably of Scandinavian origin. Kl emitting quotes it from an Uppsala

manuscript (Cod. vetus Uadstenensis J. VI, quartus in ordine, nunc

1 O

Upsaliensis 32) but gives no date.

The text is a good example of an accentual text which is very

regular in its scansion. It consists of seven verses without refrain, of

twelve lines each. The poetic meter is trochaic, either complete

(three trochaic feet / /J/L') or incomplete (three trocaic feet

plus an accented syllable /^/^/W).

The melody is in the Ionian and aeolian modes, with a range of a tenth.

The music consists of four strains with their repetitions and variations,

in the pattern A 3 G A 3 D C 3 1 C C B1 D.

Although the number of syllables per line is always six or seven,

the musical phrases are irregular in length and often extended by means

of mslismas toward the end. The use of extensio modi occurs in every phrase

but one, and always on strong syllables, either the antipenultimate

syllable (discite, percipite, ducitis, diligitis, recedite, securior)

or on the penultimate syllable (vldete, quietis, repetentes, viventes).

These are all long syllables in Latin.

Other than these melismas, the setting is syllabic, and the motion

stepwise.

12Ibid., p. 2148.

KOULULAINEN, ELOS ONO scholares, discite

1582: LIX1625: LXX1V

67- p — (—-&M^-«L

1. Kou

H— - 4_ „!..,-

lii - la i - u rn , c -1. 0 scliO'ln- res, <Ji •

.

-J v> -j-J J — «L_IDS on On - lie • kas ja.id • te, An - ri - bus per •

Epl J*U j ^lino - • • le - ton. Ta • taci

=#=TO «• I

- /n - ^e, O - cu

1 - . , \ J==^=r i r J J °=s

I=^Nip— — , 1 — Ei — >i — J — * Z

muis - ta ai - - na! H u o - l e t ,- Us vi - de - - te, (fuum be -

F — f0 * *

/^ J J a a -

mur-heet ras - - ka • hat, A h - d i s - t uk - sc t an - - ka - rat(i • tain du - - ci • tis VI - <<wi,</u<i/7ic/f - li - - gi • tif

J J J JViol" ri micl-liis pai -Stu - (li • inn <yui - e -

i i u . Koi i - luun kiiyl sa aa - niuidi. Ma • ne scho-las pe - ti -

sin, I I - tai - sin taas kute Ve • spe-ri re - ce

- ti • hin, Kun sun paa't-tyy- di • te Do •mum re • pe -

-^—4 9 d1 1 1 1

-j J J *

±

* 9 9' J J J J

= : 0

tyo- - si. E - lat , a -ten • • tes: Quis sta • tus

sut t u r - vas • sa. Huo-le - ton-nafe • li - ci • or? Qune vi • ta se

—jf-

^=i~

ranCM -

±=$F-•

^rlias - san • or

^=^N u k - k uIn - ter

-• an unc

— 1 —

- -

saatVI •

— 1 j

J J J .

yo - - -veil -

± -e-• si.- te.i.

J j J J r0 sch'o-la-res di - - - sci- te,

/ v/ / ^ /Re- ges du- ces co - - - mi - tes,

Mer-ca- to-res au - - - ui - di,

Rus-ti- ci sunt a - - - - si - ni

Re- gu- la scho-la - ri - urn

3x is-tfs col-ll - - - gi - te '/ ^ i " > ^ ,/'Qui in, ter- ris -pro - - - pri- urn.

nJ'/K . iAj2__-J_ ixzszij1 ! i , .

. I I I .

^ » i

Au-ri-bus per- ci - - pi- te,

Principes et mi - - - - li- tea,,

No-cte diei ;

ti mi- di; , • / - / /

4uibus ter-rae Do - - - mi- ni/ - / „ j «• y

£Ist ex-cel-lens on - - - ni- urnj / J \j

4u-am di- li- gi - - - - gi-te,j - / -• /

Lin-qu-unt pat-ri - - - -mo-nium,

/LmU^ i i i \ t i1 J ' ^

0 - cu- lis vi-de - - te,

Nun-ouam sunt secu - ri.-' -• / ,- /

Flu-mi- na ma-ri - - na./ •" / W / w

Do- mi- nari-tur mi - re.

Vi- tae sancti- ta- - te.

Sem-per cle-ri- ca - lem.

Ha- bent spiri- ta - Is.

be-a -tarn du -/ -_/ / ^ /

- ci - tisi,- /

- se - re,^ /

- se -unt,/

- pi - unt,J f

- mi - lis,- ^ I

Sin-gu- la per- tran - - se - o,; „ • / - ' / ^ /

Q,ua-propter sol-li - - - ci - te,

Viu-unt e- nim mi -/ - ' / _ ' /

Propter lu-crum tranf" y / " /

Qui-quid habent ra-i *> / s I

Li- cet nul-la si -/

/ ^ / v/ /Vi-tam quam dl- li - -

Ar-ma da- bent ge - -*/ / ^ /

3t quando- que pe - -/ I •' I

3i non ha- bent,a - -

Ta-men est dif-fi - -/ ^ / *• /

I- ta quod nunc ne - -

Da-ta nre= ces de -

gi- tis

- - re- re\~s I

- - re- unt

- - di-guntu- /

- - ci-lis

- - sci- o

- - bi-te

tis.v/

ri../

C " / * Ibtu-di- urn qui- e ----

t v I v 'Sem-per pug-na- tu - - -

/ " / ..- /i'Tor-te re-pen- ti- - - -r>' ^ / "• J- *Pau-pe- res a - b i - - - - - r e .t ^ I * f

In •as- pe- ri- ta - - - - - te./ - / ^

Si- mi- lem vel ta - - - - - len/ "" /• ^

Propter do-nura ta - - - - - le.

66

-*Ha- ne scholas pe'-ti^- te

•' v / "" ' ' y

Ap- pel-Ian-tur .Do-mi- ni:

}uo-rum mer-ci- mo-ni- a

De 'The-sau-ro paupe- re' •s I ^ / ^ /

3o- 11 De- o scrui- unt,i \s / v- y , ,-

Vos es- tis in me- di-o

Ip- se vos ad gau-di-a

n

/ J II ~\ i * « ( IL J * J J J i* * • ^

v ^ / -. '- /' K / /

Sor-te ' pen-dent du - - - -

Mag— nis so— lent ad.— — —/ -s 1 s }

Q^ «+3 . nn+ o— Qii — — — —

/ ^ / V /

Li- be- ro ar- bi - - - - -/ - / /

yA

I nP\ i i 1\\J I | [ J m J JJ J _ J _ _ J _ j l » J ^

Do- mum re- pen-ten - - tes;/' •s / v i u

Ta-lis laus de-be - - -tur./ / _s /

Pa-ri - tsr et vi ta^

Mag-nam por-tl - o - - -nem._ / J < I 'v,uo-rum pau-uer- ta - - tern.

/ -J ~ t "' 1 .;Hi- te con-fi- den- - -tes,

Prs-ci- bus pla- ca - - bus,

.

di- te

- ni

bi -a

de- re .

ri- unt

tri-o/

ti- a

i

•

o-'

*i '-iuir

Bone

Vis i

4r 3edj' '

Enai

Po'sq

Ubi'

i •'•iuis status felicio/ (X / (X /

Bona trans i to ria/ u. / -• /

Visu m.iserabili/ - - / - /

oed eo flebilius/ - / o /

t..narrare nequeo"erit -rosquam senueritis

( I ... / - /Ubi sine termino

j<•• J ^ / u- /

Quae vi- isf se - cu - - - - - ri-orw* / ^ ' «•• /

Sunt co - - rum glo - - - - ri- at \ i

Pe- re- unt da fa - - - - - ci-li/ - - / „ / ^ /

Quod his De-us ci - - - - - ti-us„ ' " ' V / „• /

Con-se - quuntur i - - - - - - de-o/ ^ / "• / /

oa- cer- do- tes e - - - - - -ri-tis

Hym-num ca- nit Do - - - - - mi-no

^=?In- ter nunc vi-ven - - - - - - tes.

/ i, / >^ / ^31- cu - ti vi-de - - - - - - tur.

/ --j j ^ / ^Di- u ac- qui-si - - - - - - ta.

/ * / > ' . - /Hit-tat ul- ti-o - - - - - - - nein.

Christ! pi- e- ta ten./ ,• / .- / j

D e - o ser-ui-en- - - - - - - tss.i j I j / j

Po - pu- lus be-a - - - - - - - tus.

In hoc vitae stadio (to rf J J J o J J J J3 J * o

Tliis song belongs to a group which start with a long melisma on the

first note, usually a breve followed by minims. But whereas many of the

others continue with a predominantly syllabic setting after the initial

melisma, this song has melismas in almost every phrase, in the beginning

and/or on the penultimate syllable.

The text consists of four verses without refrain, of ten lines each

with six to nine syllables per line. The six-syllable lines are always

trochaic ( /u/<^/u ); the seven-syllable lines are either incomplete

trochaic ( / j (^f), or iambic with an extra short syllable inserted

between the first and second feet ( /^ u| /).

'The musical setting is trochaic, with long notes and melismas occuring

on strong syllables, disregarding initial iambic feet in the poetic scansion.

The mode is phrygian. The first phrase, starting and ending on B,

with the skip of a fifth IC-B after the melisma, establishes the mode.

The phrases are individually set, the only rhythmic symmetry occuring

between the first and fourth phrases.

69

KURJA, PAHA SYNTINEN

In hoc vitae stadio

1582: L1625: LXV

r r TT1. Kur1. /*_

ja, kur - ja, p a - h a syn(in) hoc vi - tae sta

-£b — J-TI — i•— i

H-•— *

t= J o •H- ti - nen Om - pi luon-to ih• di • o Di • ver - sa con • di

mi - sen, ih-ti • o

-U'"'1

— |

^

1 a «T=l— J-3-w

^ .. p — 3H^

mi-sen Taal-la e - la - mas - sa: Syn -Car - nis est hu • ma - nae: A •

- nis - sa, syn - nis - sa hiin va- (a) • git hie in vi

el - taa,ti - is,

Ra - haa, val - taa, kun - - ni - aa Ain onII • le in di - vi - • ti • is, Et hie e

m iet - si-mas- -sa. Kuo-loon kay-pi kaikkeiu tiet, Josmies,nai-nen,get pa-ne: MOTS ut po - - nit me - tas, Su-bit om-nis

-H4=

•1* '

* —* • r;• F • O

(9 9G — t 1

2—w 1 —i— • | m

nuo - ri, van- ha lift. Kun sun lop • |iuu e • lo • si,ae • xus et ae • tax: Cum inors tniem-qiie fn • rit,

Miss'Qvix .

on, miss' on sil - loin aar - - tee-si ';*(quit) mo- do tu • tus e • rit?

-M^r r n

Uur

f-' \ i - •'(in) hoc vi di-o

(con)-cludit in tu mu-lo/ ,' i „. / - J

(bel)-la mouent plu- - - ri-raa

(sur)-sum mentem e - - - ri-ge

J « J "O"

* Di-ver- sa con-ii - - - - ti-o-

/ - '- / U' /Hors nultos ex cu - - - - mu-lo

- - - ni-a

Tu- a fac-ta cor - - - ri-ge

i -s / v tHundus et de- mo

;' C,' I »

)L05 , i l i , —\\J J J J jr.j •' * • • Car-nis est hirna..

1 tS 1 u^ /

! 0k *

.- - nae :•j

Po-pu- 'li'.frequen -

Carnen in-fes-tan - - tes:/ - / .,- /

In hac vi-ta du - - - ra,

trt!3=

Oc

Vul

La

/ ^ /•(i)gif hi'c .in vi

/ / \ " / '-/ I(ocjcultat in pul

. ' . J / ./ /vuljnus suffert a

' / ••: / <..- /(la)bi-li ac fla

ti

^ue'-X

ni.X"

bi

is,

/re/ma/li,

y31 prn <^Kr

/ii/

Di/

Ex1

De

iJ

^- le

<-/

Ul -

,^

e -'.-'

- bi -

Jd

/in/

tern

/is -/

li

iJ

tx

di -u

cum'•^/

d.C3Ul

C-x

ac

J 1 i• J J4P 4P

/vi - - -

/pau - -

/sau - -

/fie - -

|* °

^ /ti- is,

/pe- re:-' /

H- (••~,j.— a.L' /

bi-11 ,

3t hie e-/' ^ /

Tune in-dif-fe

/ J /Gla - mant hoc

/ -/ / ,,Gi - to -fcran-s

/ pa-ne:

- - - - - renter,/ '-'

- - -tan-tes:

injFac - tis

Pa - ce

Sen - ti

po' - - - nit me-tas,/

vel- - - - - var-bis

frui - - - - ple-na/ / -J

ad- hue - - pro-lee

/ ^ / « ^ ? ^3u-bit oni-nis sexus at ae - tas,

/ L/ I '^ / -' ^ / J

Ho-no simplex unds su-per-bis?/ t// j f ^ ^ j ^

Gupiens da sorde re-fre- - na/ ^ / ./ / ,.- / :>

-]uod coranise-re pa-ren- - -tes:

fe-ritI - / v

Nam si rvrft - rj-5

/ ^ / <Jrifl.r- nprr, rnny _ fi

/ ^' /Hinn t.u.q. far-. - -fl

•

/ I P I i _T i(iA r • J * J jVV • * • * , , . , , i

-AUX3 ... — foul'"*O^-fc. ^ ^UJ-^j^

'nu (tu")

Ne . ___ fr^)

Nee , ..... (nee)

/ -'ds-ris

fe-ris/ ,'

1"Q _ 0-pj-t, f-jd

*S

\ \ \4 * * J• 1 ! J* * J 0

Cl —"to "Olil — nl '*3— T*!0

Da-re- at \H ti-ls

/ >*> f j i jma-la cor-rlR te-pre.

73

nundanis vanitatibus <£, ? j <-). j j. j . ^ J.

There is no mention of early sources for this song and presumably

it is of Scandinavian origin.

The poetic meter is primarily iambic, consisting of four feet

(^l^l<j\ul]. When the phrase starts with an accented syllable, as in

Veris felicitatibus, the scansion becomes /<-> ^j j <j[ ,

a trochaic foot followed by three iambic feet, or / o / o o J u / ,

two trochees and two iambs.

The musical form is A A 3 B . The rhythmic setting is iambic,

each phrase beginning with a upbeat figure. Each line of music and

poetry consists of eight senibreves and four feet, or eight syllables.

The phrases are identical in length and the rhythmic setting of the

melody agrees with the poetic scansion.

The mode is dorian, established in the beginning phrase by the

upward leap of a fifth D-A. All large skips tend to go to one of the

strong notes of the mode, D,A or F.

7-'.'.

ON TURHA MENO MAAILMAN

Mundanis vanitatibus

1582: XLIX1625: LXIV

591. On tur - haa me - no inaa - il - man Ja pyy" • to

Ja kaik - ki tie - to mai - nen ou Vain to - mu,1. Mun-da - nis va • ni - ta • ti . bus A stri • ctus

E - la - tus fa - cul - ta - ti • bus Re • si • slit

1#="•f — *~

valmiDO

CUT)

~^t¥ — 1 —

~ J J 1

^Ian, kuii ka ar

ten - ta^ dfig- ma.

\ *— 1—• J~W rj. m

— I-

— I — H4 Ji - ni - an.- vo - ton.- ti • bus,- ti - bus.

~~& ^ 7r-1 1 h

:||: £ \ , -lir JKen viiHan hylNam saSunt is

1 1> — — d —fl A*

S\

=1

- sas- kaa

- ni -• ta

6* —

— 73 1

nn.

riepnxIran

Ir— J &

*=?=1

senmun

SIC

SI -

oi - val- taa Ja et - sii hy •maal - li - sen, Jok' ou vain ly -in - stru-it, Ser • vi - re mato - ri - a, Sper-nen • da ve •

va'a suu - rem-paa Ja to • del -hyt - ai - kai-neii , Kay ta i -vaaneis cnn-gru-it, Ve • ris fe -lut sco • ri • a Prop-ter cae •

mlis • ta on - ne - a, Min an -rie • muunpyr-ki-maa'n Ja i -li • ci - ta • ti - bus, Ab-je •li pa-la • ti • urn, Ve.-rum

4. Siis aina tata. innistakaa:Ei mitaan maailmasta saa,Mi iaisesti kestaa vois,Ei kerran katoaisi pois.Jos etsit maista kunniaa,Et taivaallista koskaan saa.Jos mieles tayttaa ahueus,Ei paase sinnc viisaus.Siks pyri aina taivaaseen,Luo Luojan, iloon iaiseen,Ja sinne kerh'a aarteet ne,Joit' ruostCi koi ei turmele.

Suom. Samppa P. Asunta

taa Her - ra tai - vaas-ta.ai - se • hen e • la-maaii.

ctis fal • si • ta • ti - bus.ga • zo • phy-la • ci - itin.

4. Quorum scliolurcs studioBenigne vox eruclio,Haec vobis sit conclusin,Vdiia desit confusio.In mentem nam imilevolum,Dvformem sive frivol dm.A'o/i intrdt sapient'iaI'irtittiim sen deci'utiti.Clnman.i inrjuit mif*uc.in,I'vr muridi cuncta spavin,I itum bonam romfierietHomo (/ni me reperiet.

75

L /" ?fcSE fQz_ i Jvr i 6>I"[un- da -if- la -

Vo - raxCon-sen -

j /Tra-dun -Vir-tu7 -

*K viuo-rui^Haec vo -

OJi i

' StZS^•

riis va - ni- ta -tus fa - cul-ta -

in-fer - nus sur--' ' y /

ti-en - tern cor-

tur in his -to -ti-bus e""'- xi -

•j / .; 1schola. - res stu-bis sit con-clu-

C*" ~ ~~

tj.- busti- bus

ri- pitri- pit

r> - is,mi - is

di - osi - o

^y( .

( \\ 1 fLL> J o IT " * o

/A- stri- ctusRe- si - stit

<' f v3u-is nos

IS I u'

Ae-ter. - nis

* VI- ri dig-Ful-fe - runt

Ee-ni^ - ne,^ Va- na de' -

}J i

/PO, -cum .

f "sua-

'4et

vpssit

i* • ,

.4

c! ' 'u /

- - ten-ta -r^n^r-irifi _

^ /31- O- -

- - si- c/- -

sci-en -

•^ /o - ru -con-fu -

-* °

/

- ti- bus,- ti- bus,

u X

- -ni- bus,- ni- bus,

- ri- is,- ti- is,

- di- o,- si- o,

76

yA ~m ? i «LU J 1 pi — ~j *

>-' / wNarr. sa- pi -Sunt is-ta

> w „

•tf I'!un-dus ex -Car-ha- lis

/ J 1••K Gunctis lo -

Praecla-rf'

In meji- te-*> damans in -

f j*i /^/ r 1

/J-x £ | )^ l y

^ ^ i^Servi-^ reSpernenda

* Il-los quo..-. •• / VPe-ru-rens

?Oj-n.3,n-teGGerta-'bant

w' / W

De-'for-msni•— ' / V

Per mun-di

pr

enstran. -

tol -ur - -

\s

Sis

/

quit

Jd

ma,. - gisve - lut

s fal - IJLtq.ua:.- si

^ ^se "os -/ j' -""in hoc

si - - uecurie - ta

f f p'i i f

sic in - -si - to - -

- lit le'' - -y i /get ma — -^/ /et vi - -

lis ra - -

ma- le - -,, -- /oa- ga - -

| .A- J? i

con - grusco/ - ri-, ybre - ui-fa - cu-

ri - - cu -sta - di-

/

fri uo-spa - - ci-

P,c

j5.

struitri- i

ui- tercu- id.

•j fcu- Usdi- o

•j /uo- Ianci^- a

1d-

y1

a

ter,La,

lis,o,

la

77

-1 1 J rtJc» f t— Ar a• 1

Ve- ris f e x - li,Propter cae- li

Hor-tern po"^- nensMul-ti pro tan -

Spreue - runt hie_-v' y1 .,./ 'Pat-ris A o - ra - -

u ' v ^Non in - trat Sa - -Vi- tarn bo - nam

- ci,- ta - ti - bus,pa- la - ti"- urn',

*/ f \S /

in fo - ri - bus- to" vi' - ti" - ox

ter-res- tri- a,-hae gre- mi - oy

-pi- en - ti - acon-pe *> ri- et

f\ 1/'K i r i i j iJ ,

Ab-jec-tis, fal si - ta - ti - bus.Ve-rum ga - zo phy- la - ci - um.

^ / v /

.ti,- nox- ri - bus./ 'J f -J

Kultos piol-satTer-ren-tur in /sup- pli- ci - o.

Am,-pie- xi sunt coe- les- ti. - a,Fun,5un- tur vi - - - tae Prae-mi - o.

,Vir-tu- turn souIT -o- mo me

_de - cen- ti - a.v/ / -> /

re - pe - ri - at.

7°

Jesus Chris tus nostra salus £ j ^ j l i j j j d r i o

This Is'one of the two songs on the Eucharist. Dreves prints it

from four different manuscripts from the fifteenth and sixteenth centu-

ries. The melody is found in Leisentrit's songbook of 156?, but the

earliest form of the tune appears in the Hohenfurth manuscript

13(Gradual Altovadense, 1 10), as given by Dreves.

The author of the text is unknown, but the acrosticon revealed by

the first letter of each verse (Johannes) had led scholars such as

Clemens Blume to speculate whether it could be by Johannes Huss, the

fourteenth century preacher and reformer.

There are four verses of four lines each, with eight syllables

per line. The first three lines are primarily trochaic, the last line

iambic. The musical rhythm is trochaic, strong syllables accentuated

by long notes or melismas, the latter occuring at the end of each

phrase either on the penultimate or the antipenultimate syllable.

The tune is in the dorian mode, established in the first phrase

by the upward leap of a fifth D-A, outlining the dorian fifth,

by the configuration of the phrase which revolves around D, A, and ?,

and by the range.

13lbid., pi 236.

14T, . .I oid.

JEESUS KRISTUS, ELAMAMMEJesus Christus nostra salus

-t.5038

/LJgJ — •

i <f 1? J

1. Jee -L Je -

1^7 rj

— i — i — t—J J Jsus Krissus Chri

1 1 hJ J J

H 1 1 —J 1 J JJ — * *

tus, e - la - istus no - stra

^ • o •*

1582: XXXIX1625: LIV

nam - me, Lu - Lias -sa • lus Quod re •

i ^J * J f j 2

ta - ja syn - neis - tarn -da-mat om - nis ma -

- me, Muis-tok-sen-.sa kal- lus, No - bis su - i me

iftj— J — 1le - him -man

mo - ri - ant

—r — F — •— 1 — I — ISaaDe - dit i

l ., J

si han ar -n na • nis

-^ — 2E3mo - at

_ , has

* ori - an.ti • am.

2. Pyha ompi leipa tama,Jumalamme lahettama,Huumis kalliin VapahtajanRuoka on sielun isoovan.

3. Armon meille leipa antaa,Herran ruumista mi kantaa.Pyhyyden ja voimati se suo,Yhteyden myiis Herraan luo.

4. Kumarrumme edessasi,Leipa, jonka Herran kiisiSiunasi ja jakoi meille,Virvoitukseks uupuneille.

Suom. Samppa P. Asunta

2. 0 quam sancttis panis isteQuern tit [jruebes Jesu Christe,Caro cibus aacramentum,Quo non est niaius inventum.

3. Hoc est (lanum SanctitatisChartt(i.<t({tie DchatisVirtus et Eucharistia,Communionis gratia.

4. Ave deitatis forma,Dei unionis normaIn te quisque delectatur,Qui in fide speculatur.

30

u>T

* t.f°

/Je -

f0

iHoc

/A -

J8

„- sus

V

quam

est

^- ve

J |1 J «

yGhri - -

/san- - -

doy

c[e - - -

. 1J • «•*

/ ,.-stus nostra

^ / i^ctus uanis

<S 1 ^

nun Sancti-/

i - ta-tis

J 1d J

/sa - - -

/j_s _ _ _

/ta

ffor •

°

lusv/

f fS

Jtis

,np .

j

d recla-mat om - - nis rna - - - -/ L/ / U

Quern tu praebes Je - - su Chris- - - -' '-' 1 v i y

Gha-ri-tas-aue De-

De - i u- ni - o - -

i - -ta - - - -'/ /

nis nor - - -

lus,

te,jtis

- - ma

3=fJ=^ ±=t o

I •' / " ,j / * INo- Ids su-i me - - - - - mo-ri-ara

, v / ^ / < / uGa-ro ci-bus 3a - - - - - cramenturn,

/ „ VX

Vir-tus et/ •

j]u - - cha - risti-a,

quisque de

2i i i - r • 1 J IVAy' ' ci ^ - «

f!"J " " ^

0

o

/ „ / L/

De-dit in pa- nis•-/ / v / ^!iuo non est ma-ius

/

; /hos - - - ti - an.

in - -f J

- -ven-tum.

Com - mu- ni- o - - -nis gra- - - -ti - a./ ..- /

- cu- la - - - - - - tur.-' / u- / .,

'.Jui in fi-de sps -

32

In hoc anni circulo (with refrain '/erbum caro factun est) 3 d JJ J J

The earliest form of this song occurs in a manuscript from

the twelfth century in the Bib. i!at. Paris (Lat. 1139i f. )« partly

in Latin and partly in Provencal. Dreves also discovered it in a

manuscript of the thirteenth century, the Antiphoniarium Bobbiense

(Cod. Taurinen, f. 11 ). A popular Christmas carol, it has been

translated in almost every European language and exists with many

variations.

The earliest form of the tune is taken by Dreves from the Hussite

Kantional von Jistebnicz, c. 1 -20, arranged for two voices.

The _Piae Gantiones version consists of five verses of six lines

each plus a four-line refrain which precedes the verse.

The poetic memter is trochaic with no irregularities.

The music, in triple meter, consists of four strains, repeated and

varied, in the pattern A B (refrain) G D A B (verse); in essence, it

is an A 3 A form, in which the four lines of refrain and the last

four lines of verse are identical in musical setting, accents and number

of syllables. Melismas occur at the end of the first two lines of

the verse, and the piece moves into a higher range.

The mode is dorian.

1-5Ibid., p. 205.

p.'-i

SANA TULI LIHAKSI

Verbum carofactum est1582:IV1625: IV

^ J 1 1 J J1. Sa - na tu - li li • l i u k - s i Nyt nHt - sees-ta'.I. I'e.r - burn cu • ro fue • Hun i'xt I)i> rir - ffi • nc

4$-r, *1 £_ .r "— * — * —

v=Zl1 mi a 0

Sa - na tuf 'er - l)utn en

li li - huk - siro /nc - turn ex I

Nyt i i f i l - syt Ma - ri -Uc f i r • pi • in' Mil-

r r r ^ ras - ta.ri • n.

Meil - le Her - ra tai - va i -ne .n .In hot: an • ni, cir • cti - l<> _

ICD <*> » it ^/ ri1 u •

An - taa e - Ion i - Si - sen..VI - ta da - tur se - cu • /o;_

Syn - t y iN<i - in

la |> - si pie - noi - nen Nyt licit - sees • tii.no • bis par • I'll • lt> l)e lir - ffi - nc:

m ''

S y n - t y i lap - si p i e - n o i - n e n Nyt neit - syt Ma - ri - asNit • to no - bis pur- vu-lo De uir - gi - ne Ma-ri

ta.

^Ver - bum ca - ro fac - tun est De vii - gi- ne

A i-£h — -L- e4 1

« J r- 1 I 3 .

/Vsr - bun ca - fac - turn est De vir -

w /gi-ne - ri - -

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In hoc an - -

0 be - a - -

Stel- le so - -

Fons de su - -

(Laus) ho- nor,

/ ^ /ni| cir - cu- lo

./• / ^ /ta fae - ni- na

lain pro' - tu-lit

o ri - -vu- lo/ " / ^ /

vir-tus, Do-mi - no

/L PnT> LIV

Vi -

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ven - tris glo - ri - a/ -• /• -x /

lu - -tern con - tu - lit,

tur pro po - -pu - lo,

Pa -tri et F/ - li - o/

A jru a\Y •

j <• 1 iO ' O J .J• c? i

•«!•/ v / > / / . . /

Na - to/

Hun- di

no - bis par - vu- lo/ J 1 <</ /

la - vat cri - mi-na/ V / j / "• /

Gar-nem ve - ran ab - stu-lit

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/vir -

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•^uem tu - lit de vin - cu- lo/ j / j / J /

San- cto si - mul Para- cle-to

v / yDe vir - gi- ne:

'- / :• /

De vir - gi- ne:

yA^ i im J cvl/ d •T

Na - to no -/ ' 1

I'lun- ai la -

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-^aem tu - lit

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bis par -

vat cri -

ram ab;' -•^ /

de vin -^ f

ffiul Para-

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lo De vir

, i£3 1 ,• ° J i» (-3.

-%£- ne7 r-!a-ri -/ ^ / . . / . /

na De vir- gi- ne Ila-ri- -/ * ( • < : < / Ilit De vir- gi- ne -T;:a-ri -l ^ /

lo De vir-/ ^ /

V / " /

gi- ne Ifa-ri -V / 'X /

to De vir- gi- ne I""a-ri -

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a.

a.

a.^x

a.

a.

In vernal i terrpore '3 j j t j J J j J J j < = M - - i « i - i J J c i . A.

One of teo songs in honor of Spring, In vernali tempore has a

spirited, lively rhythm, and is probably of Scandinavian origin.

It has three verses of ten lines each, with no refrain.

The poetic meter is trochaic for the six-syllable lines (/i-J/u/^)

and trochaic with an extra short syllable inserted between the second

and third feet for the seven-syllable lines ( /<-> / <-> •-//1-)).

'The music consists of four strains, repeated in the pattern

A B A B G D B G D 3 , which gives an overall musical structure of

A A B B; the musical rhythm is trochaic and in triple meter.

Modally, the piece seems to be in hypoaeolian on G, with a

B-flat in the key signature. The musical setting disregards the modi-

fied trochaic structure of the poetic line when there are seven syllables

and treats it as trochaic.

KEVAT KAUNIS KOITTAA TAASIn vernali tempore

J5S2: LXXlll1625: LXXXVIH

~£~i 1 —1. Ke - viit ki

A L In fver-m

«y • *kaam - me. Paas -

A bun • do. Duin

ffL \f J !jal - leeii saam- n

A at hi • run - tA. \> r J- — 0 — J—

lam - pi • mat*, De - cus a f - i

•fff\\> J J

" tuu - pi. RunA mun - </o. f i

A|» 0 — J — J. — -j—kaik - ki kar - kdo - lor pec •

1 — ru - nis koi

i - // ten

— ~ *l *"kyt koh -re - re

—1 *-HJ. J

ic. Piii -lo, 7W -

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lyt saa -'e,sf </e -

P J

• 1111111 VOI

f{tir re -

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ni t - tuu, i(o - rix.

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- ,/"'- re. Or • (n /< /e - ^d -

— * • = g * — B. *..- m

* fjta il - moit-taa: Su • vci

dunl /n • go - rii, l\un • ci •

-f-f — r r r r '' *i i i i i i'ii paia - taa, su - laa jiiiit,r«P. inn - rix ;ie - irio - ri.s— 1 1 — nl ' 1 1 r~

— • •=pun sa'a't. Kaik - ki ,1111 - dis-'o - ri.f Ke - no- t'tt • lo

p r r |» J i J — j-1 1 1 I : — - — 2!

- mat vali - vis - t u u , n m r - l i e e tdlt cor - [><> - rix, ('.>'. • dit

J J J

nie - Ii rie - mas- tuu - pi.' 'e//i - itt> - re in • cun • do.

2. Maata kukat kor i s taa ,Metsa'a lehvat puidcu.Lintu in laulut kajahtauRiemuisasti soideit.Henkii tuu l i lainpuineu,Paistaa paiva kauiioincu,Talven hallat ] )o i t> tuu .Pilvet vais tyy syukcat ,Sa'teet paivan lampimiitKirkkaasti kun lois tna .

3. Ihincelliiien kirkkausOuipi toilla Herran.Kasvojensa kauneusLoistaa meille kerranTayclellisna taivaassa.Mutta uy t jo vaivassa

2. 'I'i'rrii I't'rmit / loribus/'-( numux rirore,Auex nnili-i'iit i-itntihu.iEl rods dulcori'.

C.nre.t, uiir imhribux.Dulci /ileniis rori'Sol cormumtix nuhil>ux,Httdiix iiuientihii.iLucet cum duli-ori\

3. O (fiuim niir<i gloriaQiKtnliis ilecor Del.()ii(iiit(i rv sjili'ndt' n t in.SIKIC f a c i f i .A i/uo ducunllinn, summit,

3 i^i i± f

' " /J.n - - vsr-na -

/ fDu p — "^ & — c s —

/ ^ /Ter - ra ver-

/ '- /A - - va nul-

/ - /0 quain mi -

/ ^

••Juan - ta 3

- li Tern -

- dunt fri -

t- nat flo -

' I- cent can -

-• /- ra ,";lo -

/ .jpo- re,

f J

go- ra,/

ri-bus^ I

ti-bus^ /

ri- a

- plan- den- ti- a'

n i I J1 J •if 9

/ wOr- - tu

/' */

'Tun - ci-

/ «^. t ne-

/at " vo-

/ *,'^iuan - tus

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IJ' J J* m

i slae - -ta

/ ^at hi-

J. J.

/bun - - -do.

1 /run - - -0.0,/ /

nus vi- ro - ^ - re,i " /

cis dul-co - - - re./

o_g _ _ oor

fa ci -

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Dul/

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?or/

Hoc

- -rae ma - - ris ne - - mo- risv / ^ / , /

- gor re - - dit cor - po- ris

w /'> i

- qua tern - pes- ta - - ti- bus'' / "' i \S /

con-sum - tis mi - - bi- bus

^ v i *''quo du - - cunt om - - ni- a^ / ,

- ior est dis -tan - ti- a

, iJ J J 1d • «i J

W / v'- cus a - - dest

- dit do - - lor

ret a - - e^/ vX

di-i is . - pa --

V ' v'

- ma, sum - ma,

sit dif - f e -

1 1 ' 1J * * JV P "jj

no" - va - - tov' ' c/

- po - re - - ju -^ /

- ci pie - nus\j i

- cet cum. dul-i

mam spe - ci -J ',' >y

- tis et di -

, I1 J 1 *« J « Im ^

/ IX X

de - -fo- ris/ /

pec - to- ris

ira - bri-bus/ \y x

ten - ti- bus

/ ^ /me - -di- a,

ron - ci- a

/ iJ- J.

mun - - do./ 7

cun - - do./ ,

ro - - re./ ;j

co - - re./s i.

j

e i.

90

Av-3 P.-ax regum omnium 3 j J j J l J i l J J , ' J J ^ J

One of four prayer hymns, this was originally a Marian song.

There are three verses without refrain, of fourteen lines each.

'Hie poetic meter is entirely iambic, except for the first word Ave.

The number of syllables per line varies from four to eleven.

The musical rhythm is also iambic, starting with an upbeat figure

for each phrase. The initial trochaic foot of the first verse (/ )

is disregarded and treated as iambic.

The musical form is A A B, with the music of the four first lines

repeated for the next four, and the remaining six lines set to different

music. The mode is hypomixolydian.

91

SA KUNINGASTEN KUNINGAS

Ave Rex regum omnium

53— U r ; 1JL -\ )-\ — i —

— j—— E.. * « • — i* — • — ~z —

1582: XLII1625: LVII

..i . .. — i.~m f3

1. Sii ku - nin - gas - tenKu • nin-gas, Oi Jee - sus,1. A - ve Rex re - gumom • ni-um, 0 Je • su

far • mon ruh - ti - nas, Nyt ar - mos - sas Sa kuu - le,*a • ius ho • mi • num, Cre - den • ti • um, Qui pau - pe •

J J J J J Jt;

Run me su a ru - koi-lem - me.res sal • va • re vo • lu - i • sti.

Sa voi - malTu vir • tu

&li - nen Aut - ta - ja, Syn - tis • ten tur - va ai - no •tis prin-ci - pi - urn, Tu pau - pe • rum re • fu - gi •

mz?a, Va - pah - ta - ja, Kay luok- sem-me _ ja saa • vu

um, So - la • ti • um, Tu ve - rum lu - men mun • do

fc^ i — 1 — Ti J J1t=*=r

i

va • lok-sem • me. Sua tai - vaan jou - kot ter - veh-con • tu - li • sti. Te col • lau • dat e - xer • ci •

mr r r.taa, Sua en - kel - kuo - rot kiit -tus Con • le - stis An • e - lo

- taa, Sua- rum, Mae •

go JJ r -iJ r *1— -1—3 «—

i• — * —

Am - (a - juu, Va - pah - ta - jaa, Pe - las - lani - /i • rut, Clo • ri - /if - c.nl I'-t [>rt> - di

__Q <

1' j j " 9' *

J J -g * a

•rt « i7

' • *

i &-.

aa,cat,

Ja an • tu • aa( _ aa- i icn • sii vir • teen Hit - tiiii.A • do • rut om • HIS or • do be • a • to • rum.

92

f f f rf

' -' / L.' /

re - gun on -nl. -um\j / /

Tu vir-tu -tis princi- pi-

Tu so- lis ha - bi- ta -cu- lum

Tu vi- tae pro- pug-na- cu-lum^ ' ^ w ^ ^ /

Ad te cla-nan- tes res-pi- ce,/ • * / * > f v / " ^ . y

Ilen-tes ag- ro - rum re- fou- e,

f f J J0 Je - su sa' - liTs he/- mi-nun- -_ - ,-

Tu pau- pe-.rum re-fu- gi- urn,V /' v / v / .- /

lusti - ci-ae specta-cu- lurn.•^ / - / >/ / v

Tu stun- mi De - i au -re- urn; v ; v- / „ /

0 Je- -su pi - e pro-te- ge^ / ^ ! V I <J I

Lapso- rum gre-sus e - ri- ge

,Grecian- ti-uui

/ v /so-la- ti-ura

sig-na- cu-lum- / •< /

pa-la - ti-um

et e - ri- pes t ,. ' /

et dl - ri- xe

93

K4>i

w'

3si

'^ul paii^

?u-J

Tuw-

Tu-/

A

/ve

/3O-

/ca-l

la -

1«

u

>J

1 •

/-pe-res

•v-rum

•jlus

vput

qu8-

/lu -

/Pa -

iHo -

/-o

|1

^r

sal-.^

HI on

tri

lo-_/

a-2-t

i* J• i

/

(J 1* I

/va - re vo -

/nun- do

/ ^

^ icon-

/son- per ola-

/ /fer- nis con-

/ uor - no ciam-

1J

i^.'

lu -../

tu -

cu -/

fre-,/

na -

•

(i - -/11:-ii — —

/3i- -

/

to- -

•

o

^sti.

sti.jsti.

^sti.j

rum.•J / w / .J I •' I -' j

Ad te tu- o - rum cor- da fa - nu - lo- - rum.

:i=±J ig=s-> ^ I >.;

Pe col-lau-datv- ; ^

'Tu bal-sa- rai•J / v /

'Tu li -li- um

e - xer - ci-tusL/ / /

su- a - ui- tas,/ y /

con-ua - li- un

f: ^

Goo-la - stis An - ge- lo - - -^ / ^ / V /

Tu o - - dor pig- men-to - - -

:Tu na - la gra- na- to - -

ruin

'jrum

J J J

Mag-ni-.- fi-,cat,-G10- ri- fi'r cat, Et'pre- di- cat,/ " / ^ '' - / - / , . < /

Tu cha- ri- tas, Tu cas - ti- tas, 'Tu bo-ni - tas,>-' / w/ I s ' -J ' I u/ /

Tu cam- pi flos, Vir-tu - turn do's, IDt cos- li ros,

/I-m—i

. 1 . i *im d

oJ 1 , ,

? J * f ." i " ' " /A - do - rat om - nis or - do be- a- to - -

^ / ^ / -j i j J ^ /Tu frag-rans eel - la pie- na un-.jjuefi-to- -

I '' ^ ' ^ i -j /Tu per- due nos ad rag- na su-per- no

rcun.^

run.