CHANTICLEER

Psallite ! A Renaissance Christmas

CHANTICLEER TIIOMAS STOI.TZER (c. 1475-1526) This Christmas antiphon for five voices is a sett ing of the mystery of the Incarnation. The "wondrous exchange" is here evoked by a hushed, drawn-out "o" in the bass, answrred 1)y rich harmony in the full choir. Stoltzer himself was a German composer of great ~ ~ o p u l a r i t y i r l the first half of the sixteenth century; this particular work was so I)ol)t~lar that i t has I)een fountl in no fewer than 11 source manuscripts. The work is a 1)eautiful example of genius in the matching of words and music; Stoltzer has illustrated the text down to the srrtallest detail, simultaneously integrating the Gregorian melody of t h r nntiphort so that i t is rtrarly undetectable.

0 admirabile cummercium! 0 wondrous exchange! Crrator g rn r r i s I i t~niani, The (:reator of mankind, anirnatum c:orl)us sumens, taking on our living flesh, tle virgine nasc:i clignatus est: willed to be born of a virgin; r t I ) r o ( . ~ I ~ t s honio and, coming forth a s man s i n r s(~niin(; , froni rto Iiuntan ser t l , largit i~s est n o l ~ i s suarn Deitatern. has made us the gift of His divinity.

JACOB HANDI. (1530-1591) Jac.01) Hiln(ll wits tli(' niost f t tn to~~s of Cot~~iter-Rrforrnation composers in Bohemia. His c~ornpositions show his intlivitlual style., which fusc:s the tec.hniques of the Netherlantlers ant1 t h r Venetians.

Cnrlitc. tuhn in Sion is the responsory for the fourth Sunday in Advent, the Sunday immerliatrly ~)rcc.rtling Christmas. In keeping with the responsory form, "ecce Deus" is r r l )en~et l in a refrain-like fashion. 'The motet tloes not use the liturgical melody, but ratl1t.r scts th r 1)riltc.ipal it1t.a of the text "sing wit11 the trr~tnpet" in a series of ehc~llient trurril)et-like tunes; these, set in low fivr-voic:ed texture, sountl a t once solemn ant1 f . ' estlvt!.

OCatlite tol~n in Sion, voc,atr grntes , Sound the trumpet in Zion, call the nations, ;uint~ntiatc. pop t~ l i s ('1 tlic,itc.: pro(~lsini to t h r 1)eol)lrs. saying:

ecce, Deus, salvator noster adveniet; Behold, God our Savior shall come. annuntiate et auditum facite, Proclaim and make it heard, loquimini et clamate: speak it and shout it: ecce, Deus, salvator noster adveniet. Behold, God our Savior shall come.

JOSQUIN DES PREZ (c. 1440-1521) Of the great Renaissance genius Josquin des Prez, the most versatile and influential composer of his time, Martin Luther said, "He is master of the notes; others are mastered by them." His six-voice motet 0 uirgo virginum attests to his wealth of creative ideas, contrasting the rich sonority of the lower three voices with the lighter texture of the upper parts. A tenacious cantus firmus melody, holding forth in the soprano part (or in the tenor when only the lower parts are singing), provides sturdy momentum.

0 virgo virginurn, 0 virgin of virgins, quomodo fiet istud? how will this come to pass? Quia nec primam similem visa est, Since nothing like you was seen before nec habere sequentem. nor has been since.

Filiae Jerusalem, quid me admiramini? Divinum est mysterium hoc quod cernitis.

0 daughters of Jerusalem, why do you marvel at me? This mystery you see is from God.

This four-voice motet is justifiably one of the most famous works by Josquin des Prez. The opening lines are set in perfect imitations, flowering into independent counterpoint at "Virgo serena;" the composer expressively alternates homophonic, imitative and freely contrapuntal writing throughout. The striking beauties of this work include the ingenious setting of "Ave Vera virginitas," where the tenor line is simply one beat behind the other parts, texturally as well as rhythmically. Most moving of all is the bare eloquence of the final couplet. The text for once is cast in the first person singular, rather than the plural; the chorus declaims, as one, the plea for intercession: "0 Mother of God, remember me."

O A V ~ Maria, Gratia plena, Dominus tecum, Virgo serena, Ave cujus conception

Hail Mary, full of grace, The Lord is with thee, Joyous Virgin Hail thee whose conceiving

solemni plena gaudio, Coelestia, terrestria, Mundum replens laetitia.

Ave cujus nativitas. Nostra fuit solemnitas; Ut lucifer lux oriens, Verum solem praeveniens.

Ave pia humilitas, Sine viro foecunditas, Cujus annunciatio Nostra fuit salvatio.

Ave Vera virginitas, Immaculata castitas, Cujus purificatio Nostra fuit purgatio.

Ave praeclara omnibus Angelicis virtutibus, Cujus fuit assumptio Nostra glorificatio. 0 Mater Dei, Memento mei. Amen.

full of solemn gladness, fills heaven and earth with joy.

Hail thee whose birth was to us a holy day, 0 thou who surpassest the shining light in the east, the very sun.

Hail thy humility, thy conception without a man, thou whose annunciation was our salvation.

Hail thy true virginity, thy spotless chastity, thou whose purification was our expiation.

Hail thee, most excellent in all angelic goodness, thou whose assumption was our glorification. 0 Mother of God, remember me. Amen.

ANONYMOUS (English 15th century) English music of the early Renaissance was marked by conservative tastes and musical techniques that were more appropriate to the Gothic era than the Renaissance. In fact, most English musicologists place the beginning of the English "renascence" a century later than its Continental beginnings, at around 1550. These carols were written in styles that were already antique on the Continent at the time of their writing: florid, often parallel lines are written independently, with a perfect disregard for text expres- sion. The great beauty of these carols stems from their medieval complexity combined with the English predilection for the softness of thirds. The first piece includes the tex- tural peculiarity common in English and German carols of mixing Latin with the vernacular in the same verse.

ONow make we joy in this fest. in quo Christw natus est (on which Christ was born) A Patre unigenitw

(the only begotten of the Father) through a maiden is come to us: sing we to him and say: Welcome! Veni, Redemptor gentium. (Come, redeemer of the nations.)

OHail Mary, full of grace, mother of virginity. The Holy Ghost is to thee sent from the Father omnipotent; now is God within thee went, when the Angel said Ave. When the angel Ave began, Flesh and blood together ran; Mary bore both God and man through virtue and through dignity.

Nowell! Out of your sleep arise and wake, For God mankind now hath y-take. All of a maid without any make; Of all women she bear'th the bell:

Nowell! Now, blessed brother, grant us grace At Domesday to see thy face And in thy court to have a place. That we now there sing nowell.

Nowell!

JEAN MOUTON (c. 1459-1522) Mouton, one of the most gifted of Josquin's students, was of the line of great teacherlcom- posers that also included Ockeghem, Wlllaert and Zarlino. Mouton served in the court of France under Louis XI1 and Francis I; he was, however, internationally popular in his day. Glaraneus, the Swiss theorist, described his melodic style a s "facili fluentem filo cantum" (melody flowing in a supple thread). This is intended to describe his smoothly rising and falling melodies, that have few leaps,even in the lowest part. This . motet was clearly popular in her-yems, as Wlilkaert and Morales both wrote masses , based on it; Cabezdn also wrote a long keyboard fantasia derived froni its themes.

Quaeramus cum pastoribus Let us seek with the shepherds Verbum incarnatum; the incarnate Word; cantemus cum hominibus, let us hymn with all mankind regem saeculorum. Noe, noe. for the King of all ages. Noel, noel. Quod tu vides in stabulo What you see in the stable Jesum natum de Virgine. is Jesus, born of a Virgin.

Quid audis in praesepio? Angelos cum carmine, et pastores dicentes: Noe, noe. Ubi pascas, ubi cubes, dic, si ploras aut si rides: Te rogamus, Rex Christe. Noe, noe. Cibus est lac virgineum, lectus durum praesepium, carmina sunt lacrimae. Noe, noe.

What hearest thou in the manger? Angels with a song and shepherds saying: Noel, noel. Where wilt thou be fed, where dost thou lie? Tell us if thou weepest or smilest, we ask thee, Christ our King. Noel, noel. The food i s the Virgin's milk, the bed the hard manger, the songs are tears. Noel, noel.

ORLANDO Dl LASSO (1532-1594) Orlando di Lasso was born in Flanders. When he was a choirboy, the beauty of his voice attracted so much attention that he was abducted by other churches no less than three times before he was nine. His parents finally sent him to Sicily, where they thought he would be safe. This five-voice motet opposes rhythmic motives in a rich, virile manner; the sections in compound meter set up a homophonic texture, only to break it up dramatically. The middle section, more factual and less wild in its rejoicing, is set for three voices in complex counterpoint.

Resonet in laudibus Let Zion and the faithful cum jucundis plausibus ring with praise Sion cum fidelibus: and joyous applause: apparuit quem genuit Maria. he has appeared whom Mary bore. Sunt impleta quae praedixit Gabriel. What Gabriel foretold has come to pass. Eja, eja! Virgo Deum genuit, Joy, joy! A virgin has given birth to God, quod divina voluit clementia. as God's own mercy chose. Hodie apparuit in Israel, Today he has appeared in Israel; per Mariam Virginem est natus Rex. of Mary the virgin is born the King.

Magnum nomen Domini, Emmanuel, Great is the Lord's name, Emmanuel, quod annuntiatum est per Gabriel. the name made known through Gabriel. Eja, eja! Virgo Deum genuit, Joy, joy! A virgin has given birth to God, quod divina voluit dementia . as God's own mercy chose.

Eja, eja! Virgo Deum genuit, Joy, joy! A virgin has given birth to God, quod divina voluit dementia . as God's own mercy chose.

HEIRONYMOUS PRAETORIUS (1560-1629) MICHAEL PRAETORIUS (1571-1621) These three German choruses are cradle songs. Heironymous Praetorius' pieces are based upon well-known Christmas songs, of a characteristic sweetness and gentleness which derives from their triadic melodies and moderate triple meters. The mixture of German and Latin juxtaposes the hieratic with the intimate, and their setting for double choir adds to the fullness of this harmony. Michael Praetorius' Psallite expresses the cradle song through its initial word, since it imitates the plucking sound of the stringed instrument.

mJoseph, lieber Joseph mein, hilf mir wiegen das Kindelein, Gott der wird dein Lohner sein, im Himmelreich der Jungfrau Kind Maria. Eya! Virgo Deum genuit, quem divina voluit clementia. Omnes nunc concinite, Nato regi psallite, voce pia dicite: Sit gloria Christo nato infantulo. Hodie apparuit in Israel: quem praedixit Gabriel, est natus rex.

" Joseph, my dear Joseph, help me rock my little child, God, who will reward you in heaven, the child of the Virgin Mary." Joy! A virgin has given birth to God, as God's own mercy chose. Now sing in song, everyone! Sing praise to the new-born King, with heartfelt words: "Glory be to Christ, the infant newly born. Today He has appeared in Israel: the one foretold by Gabriel is born a King."

OPsallite unigenito Christo, Dei filio, Strike the harp to Christ, psallite redemptori Domino, puerulo God's only begotten son! jacenti in praesepio. Strike the harp to our redeemer Lord, Ein kleines Kindelein liegt a tiny boy lying in a manger. in dem Krippelein, The little child lies in his crib,

alle leiben Engelein dienen dem Kindelein und singen ihm fein: Psallite unigenito Christo, etc.

The beloved angels all minister to the child, and sing sweetly to him: Strike the harp, etc.

In ddei jubilo nun singet und seid froh, unsers Herzen Wonne liegt in praesepio und leuchtet als die Sonne matris in gremio. Alpha es et 0.

Now let us sing and be happy in sweet rejoicing. Our heart's joy lies in the manger and shines like the sun in his mother's lap. You are the Alpha and the Omega.

ANONYMOUS (Spanish, 16th century) This anonymous work is typical of Spanish music of the sixteenth century in its use of syncopation and mixture of mode. It is taken from the Cancionero de Upsala.

OE la don don, Verges Maria, E la don don Virgin Mary, E la don don. E la don don. Peu cap desanque que nos dansaron. Let's all dance and sing.

0 garqons, aquesta nit Listen, lads, tonight on earth Una verges na parit Has a virgin given birth Un fillo qu'es tro polit To a son of peerless worth, Que non aut au en lo mon. Like none other ever seen.

Digas nos qui t'ho la dit Tell us who has spread this word, Que verges n'haja parit That a virgin birth occurred, Que nos mai havem audit For we have never yet heard Lo que tu diu, giranthom. Such a thing, you silly sheep.

A eo dian 10s angeus Angels told us this is true, Que cantaven altas veus Singing joyfully the news, La grolla n'ecelsis Deus Glory to Gad in the highest, Qu'en Belem lo trobaron. There in Bethlehem he sleeps.

ANONYMOUS (Spanish, 16th century) The most well-known of the Spanish "villancicos," Riu, riu, chiu embodies a fiercely rhythmic dance quality. Percussion emphasizes the moving accents of the solo verse; the refrain deftly resolves the canonic entrances into homophonic statements. The opening words, meant to resemble a nightingale's song, lead into the colorfully metaphor- ical text.

ORiu, riu, chiu, Riu, riu, chiu. H e who herds by la guarda ribera: the river: God kept the black wolf Dios guard6 e l lobo d e nuestra cordera. far from our ewe, our Lady.

El lob0 rabioso la quiso morder, The mad wolf attempted to bite her, mas Dios poderoso la sup0 defender; but God the Almighty protected her. quiso la hazer que no pudiesse pecar, Pure he wished to keep her so she would never sin: ni aun original esta Virgen no tuviera. aVirginunstained by our first father'sfault.

Este qu'es nascido e s el gran monarca, The newly born child is our mighty Monarch Christo patriarca d e carne vestido; Christ patriarchal in flesh incarnate. hanos redimido con se hazer chiquito, Through his humble birth he has redeemed us; aunqu'era infinito finito s e hiziera. He who was infinite has become finite.

Muchas profecias lo han profetizado Many ancient prophets foretold his coming; y aun en nuestros d i b lo hemos alcancado. In our own time it has come to pass. A dios humanado vemos en e l suelo God in human form we see on earth. y a1 hombre nel cielo porqu'61 To help us, he who reigns in heaven has le quisiera. become man because he willed it.

WILLIAM BYRD (1543-1623) This jubilant sacred motet is by the English composer called the "Father of Musicke" by his contemporaries. The vocal lines dance to the text and climax in a trumpet-like fanfare before returning to the stately close.

OSing joyfully unto G o d o u r strength. Blow the trumpet in the new moon, Sing loud unto the God of Jacob. even in the time appointed, Take the song, and bring forth the timbrel, and at our feast day. the pleasant harp and the viol, For this i s a statute for Israel the merry harp and the viol. and a law of the God of Jacob

PEROTIN (c. 1183-1238) Perotin was one of the first composers of western polyphonic music. This piece illustrates many of his important departures from Gregorian chant. Perotin does include the original chant melody in long notes in the lowest voice, but the upper two voices are freely composed. The open harmonies, rhythmic complexities, and grand structures are a reminder of how many centuries separate us from thirteenth-century Paris.

B e n e d i c a m u s Domino . Let us bless the Lord.

JOHN TAVERNER (c. 1495-1545) Taverner was the greatest of the early Tudor composers and a contemporary of King Henry VIII. This piece is based on a melody by the composer "Leroy" (French for "The King"), who is thought to be either Henry Vor Henry VI. The melody runs through the soprano line.

Kyrie eleison. Christe eleison. Kyrie eleison.

Lord have mercy. Christ have mercy. Lord have mercy.

GERONIMO GONZALEZ (ii. 1600) Gerdmino Gonzllez, a priest living in Mexico around the turn of the century, wrote the dance-like Serenissima una Noche on a sacred Spanish text. This villancico shows some surprising syncopations that the good father may have learned from Central American sources.

Serenissima una noche mas que si fuera un infante. En lo crespo de Diciembre, quiso pro dicha estrellarse. Ande a1 baile y al sol que ha nacido por dios verdadero. Hoy todos le aclamen.

Calm was the night when the baby shone forth like a star in the cool of December Come to the dance, and to the sun, for the child of the true God is born. today let all acclaim Him.

GIOVANNI MARIA NANINO (c. 1543-1607) Nanino, though somewhat obscure to us, was better known than Palestrina in his day. This lovely, sophisticated antiphon to the Virgin sets its sensual psalm text with classic High Renaissance style and spirituality.

Diffusa est gratia in labiis tuis, Grace is poured out upon your lips: propterea benedixit te Deus in aeternum. thus God has blessed you forever. Myrrha, et gutta Your robes are fragrant et casia a vestimentis tuis, with myrrh and aloe and cassia.

A domibus eburneis, ex quibus delectaverunt et filiae regum in honore tuo.

From the ivory palaces, where the daughters of kings have entertained you in your glory.

JOSQUIN DES PREZ The carefully crafted canons, imitative entrances, and extraordinary vocal lines of this sacred motet are typical of Josquin's work. The motet is constructed in three parts: after the main body of the text is presented by all six voices, a duet for the top two voices presents the Per illud ave prolatum. Their gorgeous falling melodies lead into a grand coda for all six voices, ending with a gracefully rising amen.

Benedicta es, coelorum regina, Blessed are you, Queen of heaven, et mundi totius domina, mistress of all the world, et aegris medicina. the health of the sick.

Tu praeclara maris stela vocaris, quae solem justitiae paris, a quo illuminaris.

Te Deus Pater, ut Dei Mater fieres et ipse frater, cujus eras filia

Sanctificavit sanctam servavit, et mittens sic salutavit: ave plena gratia.

Per illud ave prolatum et tuum responsum gratum est ex te Verbum incarnatum, quo salvantur omnia.

Nunc mater exora natum, ut nostrum tollat reatum, et regnum det nobis paratum in coelesti patria. Amen.

You are called the bright star of the sea, giving birth to the Sun of Justice, from whom comes your splendor.

God the Father, and our very Brother whose daughter you were, hallowed you to become

the Mother of God; kept you holy, and sent this salutation: Hail, full of grace.

By that Ave he offered, and your gracious reply, the Word by whom all are saved took flesh from you.

Now, Mother, exhort your Son to take away our guilt, and bestow the kingdom prepared for us in our heavenly homeland.

Psallite! A Renaissance Christmas

with selections from Chanticleer in Concert

Thomas Stoltzer (c. 1475-1526) Michael Praetorius (1571-1621) 0 admirabile eommereium ( 3 : l l ) Psallite unigenito (1:12)

Jacob Handl (1550-1591) Hieronymous Praetorius Cauite tuba in Siou (1:49) In dulei jubilo (0:57)

Josquin des Prez (c. 1440-1521) Anonymous (Spanish, 16th century) 0 virgo virginum (733%) E la don don (1:4Q)

Josquin des Prez Anonymous (Spanish, 16th century) Ave Maria ( 5 2 4 ) Riu, riu, ehiu (2:OO)

Anonymous (English, 15th century) (soloist: Hart) Now Make We Joy ( 2 0 8 ) William Byrd (1543-1623) (soloists: Wong, Rogers) Sing joyfully unto Godt ( 2 1 4 )

Anonymous (English, 15th century) Perotin (c. 1183-1238) Hail Mary, full of grace (2:lO) Benedieamus Dominot (3%) (soloists: Bell, Dole) John Taverner (c. 1495-1545)

Anonymous (English, 15th century) Kyrie "Leroy"t ( 3 2 0 ) Nowell (1:53) Ger6nimo GonzAles (fl. 1600) (soloists: Bakkila, Wyatt, Freeman) Serenissima uua noehet (1:42)

Jean Mouton (1458-1522) Giovanni Maria Nanino (c. 1543-1607) Quaeramus cum pastoribus (3:38) Diffnsa eat gratiat ( 2 3 3 )

Orlando d i Lasso (1532-1594) Josquin d e s Prez Resonet in laudibus (3:38) Benedieta es, coelorum reginat ( 5 4 2 ) (soloists: Rogers, Bakkila, Freeman) (soloists: Rogers, Wong)

Hieronymous Praetorius (1560-1629) Joseph, lieber Joseph mein ( 2 1 3 ) Total Time: 59:40

Psallite! tchanticleer in Concert Rob Bell, Louis Botto, Randall Won , Countertenors Louis Botto, Michael Bower, Randall Wong, Countertenors Jim Armington. Sanford Dole, ~ e a f ~ o ~ e r s , Tenors Ter Larsen, Neal Ro ers, Tenors Ted Bakkila, Tom Hart, Jonathan Klein, Baritones Ted Bakkila, %itchell Sandler, k e d Hosea, Baritones Kevin Freeman, Marc Smith, Doug Wyatt, Basses Kevin Freeman, Mark Keller, Basses

Peter Maund, Percussion Peter Maund, Percussion Louis Botto, Director Louis Botto, Director

Joseph Jmnings. Music Director Psollite! was recorded at tchanliclerr in Concert was recorded at Louis Botto, Artistic Director St. lgnatius Church. San Francisco. CA St. lgnatius Church. San Francisco. CA Adrian R. Flseher. Executive Producer January. 1982 May and June, 1983 Digitally mastered from the original analog Kevinn Tamm, Recording Engineer Prudueed by Don O~vske & Mark Keller master tapes by Don Ososke. Library of Congress Catalog No.82-743327 DonOsuske, Digital Rrcurding&Editing Design: Carolyn Leopard. Ace Leading Co. @ 1983 Sine Qua Non Records Cover: The Adoration of the Magi (c. 1480);

Rottirelti (e . 1444-1510); Natl. Gallev ofAn. Washington; Andrew W. Mellon Collection

Chanticleer Records 650 Fifth Street, Suite 311 San Francisco, CA 94107 (415) 896-5866 FAX (415) 896-1660 @ s @ 1991 San Francisco Chanticleer, Inc.

CHANTICLEER Psallite !

A Renaissance Christmas with selections from Chanticleer in Concert

Thomas Stoltzer (c. 1475-1526) Michael Praetorius (1571-1621) 0 admirabile eommercium ( 3 1 1 ) Peallite unigenito

Jacob Handl (1550-1591) Hieronymous Praelorius Canite tuba in Sion (1:49) In dulei jubilo

Josquin des Prez (c. 1440-1521) Anonymous (Spanish, 16th century) 0 virgo virginum (7:04) E la don don

Jasquin des Prez Anonymous (Spanish, 16th century) Ave Maria ( 5 2 4 ) Riu, riu, chiu

Anonymous (English, 15th century) William Byrd (1543-1623) Now Make We Joy (2:08) Sing joyfully unto God?

Anonymous (English, 15th century) Perotin ( c . 1183-1238) Hail Mary, full of grace (2:lO) Benedicamus Dominot

Anonymous (English, 15th century) John Taverner (c . 1495-1545) Nowell (1:53) Kyrie "L.roy"t

Jean Mouton (1458-1522) Cerbnimo Gonzlles (fl. 1600) Quaeramus cum pastoribus ( 3 3 8 ) Serenissima una nochet

Orlando d i Lasso (1532-1594) Giovanni Maria Nanino (c. 1543-1607) Resonet in laudibus ( 3 3 8 ) Diffusa est gratiat

Hieronymous Praetorius (1560-1629) Josquin des Prez Joseph, lieber Joseph mein (2:13) Benedicta es, coelorum reginat

Total 'lime:

tSeleulions previously released on Chanticleer in Conren, CK-8301. <:ha~ltic- Y c'cr R E C O R D S

This recording was produced in part wilh grants from the National Endowmml for the Arts. California Arls Council and the L.J. & Mary C. Skaggs Foundation.

Chanticleer Records 6 5 0 Efth Sweet. Suite 311 San Francisco. CA 94107 (415) 896-5866 FAX (415) 896-1660

@ a @ 1991 San Francisco Chanticleer. Inc. mm