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Christmas in Medieval England Peterhouse Partbooks Peterhouse Partbooks Vol Chrismas in Medieval England Friday & Saturday, December 22 & 23, 2017 Firs Church in Cambridge, Congregational Chrismas in Medieval England IV. Christmas Day Dominus dixit ad me DM & men I. Advent Sarum plainchant / Introit for the Mass at Cock-Crow on Christmas Day Nowel! Owt of your slepe aryse JA PD DT DM & men Veni, veni, Emanuel Selden MS (15th century) 13th-century French? Gloria !Old Hall MS, no. 27" MN PD JA JM MS II. Annunciation Pycard (?fl. 1410-20) Ecce, quod natura PD OM MB Angelus ad virginem DT SM Selden MS Arundel MS (late 13th century) Gabriel fram Heven-King PD MB SM Sanctus / Missa Veterem hominem th Cotton Fragments (14 century) Anonymous English, c. 1440 Alma redemptoris mater JA OM MS Ave rex angelorum MB DM PG John Dunstaple (d. 1453) / Antiphon for the Blessed Virgin Mary from Advent to Candlemas Egerton MS (15th century) Hayl Mary, ful of grace JA MN / OM JM / MB MS / SM Agnus dei / Missa Veterem hominem Trinity Roll (early 15th century) Nowel syng we bothe al and som Quam pulcra es MN JM MB Trinity Roll Dunstaple / Processional antiphon for the Blessed Virgin Mary Gloria (Old Hall MS, no. 21) JM MS OM DM PG Leonel Power (d. 1445) Ther is no rose of swych vertu DT MB DM SM Trinity Roll cantus Jennifer Ashe, Pamela Dellal, Martin Near, Daniela Tošić Ibo michi ad montem mirre MN OM MS tenor & contratenor Michael Barret, Owen McIntosh, Jason McStoots, Mark Sprinkle Leonel Power / Antiphon for the Nativity of the Blessed Virgin Mary bassus Paul Gutry, David McFerrin Scot Metcalfe, harp, director III. Christmas Eve Pre-concert talk by Daniel Donoghue sponsored in part by The Cambridge Society for Early Music Veni redemptor gencium PG & men Sarum plainchant / Hymn for first Vespers of the Nativity on Christmas Eve INTERMISSION Blue Heron is funded in part by the Massachusets Cultural Council, a sate agency. Blue Heron 950 Watertown St., Suite 11, Wes Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org 3 Chrismas in Medieval England Emanuel. Probably French in origin, the English Middle Ages, Angelus ad virginem. hymn may have made its way to England Te song fgures in Chaucer’s Canterbury Te medieval commemoration of feasts. A polyphonic seting of an item as early as the thirteenth century, when Tales, in the Miller’s Tale, where it is sung Christ’s nativity was introduced by the from the Ordinary such as the Gloria or Franciscan friars in France and England to a psaltery by a poor scholar at Oxford by preparatory and penitential season of Sanctus, replacing the plainchant, might maintained extensive connections and the name of Nicholas: Advent, beginning on the fourth Sunday be considered a purely musical trope. an evangelizing member of the order before Christmas Day. Afer Christmas Fifeenth-century England also evolved might have carried such a song across the And al above ther lay a gay sautrie, On which he made a-nyghtes melodie itself came a series of saints’ days, including its own unique repertoire of texts and Channel. Te text is a metrical version of So swetely that al the chambre rong, those of St. Stephen, St. John the Apostle, music outside or alongside the liturgy, fve of the seven so-called O-antiphons And Angelus ad virginem he song… and St. Tomas of Canterbury. Ritual carols, of which some 130 survive. Carols which date back to the eighth century or observances reached another climax on the are found mostly in manuscripts of church earlier. One of the O-antiphons was sung (In the tale, a notably rude one, Nicholas feast of the Circumcision on January 1, the music and were clearly the province before and afer the Magnifcat at Vespers goes on to cuckold his landlord, an elderly Octave or eighth day of Christmas, which of professional musicians and learned on each of the seven days before Christmas carpenter with an eighteen-year-old was the traditional frst day of the New Year clerics, as witness their sophisticated Eve. Tey address the Messiah to come wife named Alison. A medieval reader and, until the thirteenth century, also the musical notation and frequent use of Latin in his various atributes: O Sapientia would presumably have relished the feast day of the Virgin Mary. Celebrations alongside the vernacular. If not exactly (wisdom), O Adonai (Lord), O Radix ironic reference to a song about a virgin continued through Epiphany on January 6, popular music in our sense, however, they Jesse (root of Jesse), O Clavis David (key conceiving a son in the absence of her marking the revelation to the Gentiles and were at least popular in character.cast of David), O Oriens (the morning star), O husband, also a carpenter.) Christopher the Adoration of the Magi, and extended in strophic form and set to simple and Rex (king), O Emanuel (“God with us”). Page has shown that the text of Angelus to Candlemas on February 2, the fortieth highly memorable tunes.and “popular Te initial leters, afer the O, spell out ad virginem is probably by the poet and day afer Christmas, when Christians in destination” (in the words of the the promise of redemption in a reverse theologian Philippe (d. 1236), chancellor observed both the feast of the Presentation preeminent twentieth-century student of acrostic, SARCORE, ero cras: “Tomorrow of Paris, nearly all of whose Latin lyrics of Christ in the Temple and the feast of the their texts, R. L. Greene). Tey might have I shall be there.” (Medieval English survive with music. Text and tune Purifcation of the Blessed Virgin. provided entertainment and edifcation tradition added an eighth antiphon, “O probably came to England with travelling to educated cleric and uneducated virgo virginum,” making the acrostic vero Franciscans in the thirteenth century, just Troughout the Christmas season, the congregant alike, within, around, and cras: “Truly, tomorrow!”) as we have imagined happened with Veni, liturgy of the Church was embellished outside of the liturgy, for processions and veni Emanuel. Te song quickly became and expanded with textual and musical banquets and celebrations of all kinds. Te Annunciation is formally popular in England: all of the extant tropes which added color and ceremony to commemorated nine months before sources are British and there are two the festivities while establishing a closer Tis program ofers a small selection Christmas, of course, but the miracle thirteenth-century versions in English connection between the universality of of music for the Christmas season. is remembered and celebrated at the verse, Gabriel fam Heven-King and Te ritual and the particularity of a specifc plainchant, carols, and polyphonic Christmas season with retellings of the angel to the Vergyn said. We sing the former sanctuary or congregation. Textual tropes antiphons and setings of the Mass.that archangel Gabriel’s appearance to Mary, in a two-voice seting from the fourteenth included substitutes for items such as might have been heard in England in the their conversation.brief, yet charged century, inserted between verses of the antiphons and versicles, or for parts of 1440s, when the most modern of the works with import.and the divine conception. monophonic Latin song. the Ordinary of the Mass. In England on the program were composed. We begin Our set of Annunciation music opens a troped Kyrie was the rule for all major with the familiar Advent hymn Veni, veni with one of the most famous songs of the 4 5 Te polyphonic carols on our program later music has lost none of its ability to forth exchange of single notes), the entire and intoxicating odor of frankincense, are drawn from three manuscripts whose dazzle with complex cross-rhythms, as the ensemble locks into a regular patern and all the rest of the liturgical drama of contents overlap somewhat, despite dancing Alleluia demonstrates, but the of fve measures, like waves rising and High Mass on one of the most glorious the two decades between their likely efect is suave and sensuous rather than breaking on the shore. feast days of the Christian year. dates of copying, from afer 1415 to the glitering and prickly. .Scot Metcalfe 1440s. With the exception of the more Te most modern of the works on our ambitiously contrapuntal Epiphany carol Te canonic example of this program are the Sanctus and Agnus Ave rex angelorum, the carols are writen in a quintessentially English sweetness is dei from the Missa Veterem hominem. About the harp robust popular style with graceful melody another motet addressing the Virgin Composed in the 1440s by an anonymous and simple harmonies and generally take Mary in the words of the Song of Songs, English composer, this Mass was part Te strings on a harp clang by striking the lower nail where they are connected the form of a three-voice refrain with a Dunstaple’s rapturous Quam pulcra es. of the great wave of English works that to the body… In common parlance this two-voice verse. Te rollicking Nowel! Nearly as sweet is Dunstaple’s seting crashed onto the European continent is called “harping” the string. Owt of your slepe aryse inverts the normal of the antiphon Alma redemptoris mater, in the mid-ffeenth century, inspiring a Heinrich Glarean patern, with a brilliant three-voice verse which was sung at Vespers during the host of imitations by French and Flemish Dodecachordon (1547) and a refrain whose two parts roll from entire Christmas season from Advent to composers. It, like Power’s Ibo michi voice to voice. For Nova nova, transmited Candlemas. At least, the piece is probably and Dunstaple’s Alma redemptoris mater Te ffeenth-century as a monophonic song, I have added two by Dunstaple.
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