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Machaut's Musical Monuments

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Machaut's Musical Monuments MACHAUT’S MUSICAL MONUMENTS S C H O L A A N T I Q U A MICHAEL ALAN ANDERSON, ARTISTIC DIRECTOR Friday, April 26, 7:30pm Cathedral of St. John the Evangelist (Cleveland) Saturday, April 27, 7:30pm Basilica of the Sacred Heart (Notre Dame) Sunday, April 28, 4pm Rockefeller Memorial Chapel (Chicago)** **Introductory remarks: Anne Walters Robertson, Claire Dux Swift Distinguished Service Professor of Music and the Humanities in the College (University of Chicago) PROGRAM Kyrie from the Mass for Our Lady Gloria from the Mass for Our Lady Motet: Fons totius superbie/O livoris feritas/ FERA PESSIMA Credo from the Mass for Our Lady Motet: Bone pastor Guillerme / Bone pastor, qui pastores / BONE PASTOR Sanctus from the Mass for Our Lady 10-MINUTE PAUSE Agnus Dei from the Mass for Our Lady Ite Missa Est from the Mass for Our Lady Rondeau: Ma fin est mon commencement Virelai: Foy porter Ballade: Biauté qui toutes autres pere Virelai: Douce dame jolie Rondeau: Rose, liz, printemps, verdure NOTES ON THE PROGRAM Guillaume de Machaut (c1300-1377) is one of the fourteenth century’s most prolific composers. In the company of Dante, Petrarch, Boccacio, and Chaucer, he also stands as one of that century’s most important poets. Machaut seems to have helped his own legacy by carefully arranging his poetic and musical works in manuscripts of only his contributions. He served the peripatetic court of Jean de Luxembourg, King of Bohemia beginning in 1323 until his patron’s death in 1346. Other patrons included Charles II, King of Navarre, Jean, Duke of Berry, Philip the Bold, Duke of Burgundy and Pierre de Lusignan, King of Cyprus. Machaut further held a number of prebends (clerical benefices) in several cities. In 1340, he began a residency as a canon at Reims Cathedral, where he would remain until his death. His musical output, which spanned several genres in both sacred and secular realms, played a decisive role in cultivating the musical language inherited from early fourteenth-century ‘Ars nova’ traditions. This presentation provides a small glimpse of the Machaut’s considerable musical yield. The centerpiece of our program is the Messe de Nostre dame (Mass for Our Lady), probably composed in the early 1360s. The four-part Mass unfolds six sections of the Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei, and even the rarely heard Ite Missa Est) and represents the earliest instance of the setting of the Mass Ordinary that was both stylistically cohesive and conceived as a single unit. There were earlier votive settings of sections the Mass Ordinary, but nothing approaching Machaut’s offering. The composer seems to have written the Mass as part of an endowment to the cathedral, a memorial for his own soul and that of his brother Jean, also a canon at Reims who died in 1372, five years before Guillaume. Our program also includes two motets. Taking its name from the French word mot (‘word’), the motet was the most important genre of choral music in thirteenth- and fourteenth-century France. They were typically scored for three voices in the time of Machaut, and it was common for the upper two voices of a motet to sing different texts at the same time above an extracted melody from a liturgical chant called a tenor. The tenor provided a structural ground plan for the work but also became subject to repetition and transformation. The texts of a motet’s upper voices during this time could be sacred or secular, even political in nature, and examples in both Latin and the vernacular survive. The poetry of the first motet (Fons totius superbie/O livoris feritas/FERA PESSIMA) highlights two of the deadly sins—pride and envy—and reminds the listener of the underlying salvation narrative: Christ’s victory over Satan. The motet Bone pastor Guillerme / Bone pastor, qui pastores / BONE PASTOR is topical in nature, written in honor of archbishop Guillaume de Trie, a man notorious in Reims during the time of Machaut for both excommunicating one-third of the canons in the cathedral chapter and forbidding the celebration of the Divine Office. The composer would have no reason to honor such a man, and so it could be that this motet acts as a kind of vision of an ideal archbishop, something to which Guillaume de Trie might aspire. We conclude the program with a handful of Machaut’s songs. The composer wrote these songs to fit standard poetic formal types (“fixed forms”) in circulation at that time. We will present examples of the virelai, rondeau, and ballade. The last category was considered by the composer to be the most noble of the song forms, and Machaut indeed wrote well over 200 ballades. All of these songs are composed with a catchy melody that is sometimes harmonized with one or two voices. Both virelais that we will sing are unaccompanied melodies, as was the case for more than three-quarters of Machaut’s 39 virelais. The two rondeaus are quite distinct and deserve comment. The first (Ma fin est mon commencement) is ingeniously constructed as a kind of musical palindrome. Its lowest voice (tenor) sings a retrograde of its own part in the second section of the piece, while the two upper voices sing retrogrades of each other’s part at the song’s halfway point. The final song Rose, liz, printemps, verdure is a blissful encomium to an unnamed lady of high social standing with language that blurs with devotional poetry of the time. In each of the manuscripts in which the song survives, Machaut calls for the luxuriant use of four parts in Rose, liz, printemps, verdure, making it a particularly satisfying and grand conclusion to this program of his music. TRANSLATIONS OF THE MOTETS AND SONGS Fons totius superbie/O livoris feritas/FERA PESSIMA Triplum: Fons totius superbie, Font of all pride, Lucifer, et nequicie Lucifer, and all evil, Qui, mirabili specie You who, with a marvelous beauty Decoratus, Endowed, Eras in summis locatus, Had been set on high, Super thronos sublimatus, Raised above the thrones, Draco ferus antiquatus You who the old fierce dragon Qui dicere, Are called, Ausus es sedem ponere You dared to set up your seat Aquilone et gerere In the North and to conduct Te similem in opere Yourself in your doings similarly Altissimo. To the Most High: Tuo sed est in proximo But soon was Fastui ferocissimo Your most ferocious pride A judice justissimo By the Most Just Judge Obviatum. Resisted. Tuum nam auffert primatum; For he took away your primacy; Ad abyssos cito stratum You saw yourself, for your sin, Te vidisti per peccatum To the abyss swiftly flung down De supernis. From the heights. Ymis nunc regnas infernis; Now you reign in the depths below In speluncis et cavernis In caves and pits Penis jaces et eternis You lie in punishments and eternal Agonibus. Agonies. Dolus et fraus in actibus Deceit and treachery [are] in your Tuis et bonis omnibus Deeds, and with your darts Obviare missilibus You strive to Tu niteris; Resist all good [men]. Auges que nephas sceleris You augment that wicked crime Adam penis in asperis That kept Adam in the harsh torments Te fuit Stigos carceris. Of the Stygian dungeon. Sed Maria But I pray that the Virgin Mary, Virgo, que, plena gratia, Who, full of grace, Sua per puerperia By her childbearing Illum ab hac miseria Has freed him from this Liberavit, Misery. Precor elanguis tedia May both increase the sufferings Augeat et supplicia And punishments of the serpent Et nos ducat ad gaudia And lead us to joy, Quos creavit. Whom she has created. Motetus: O livoris feritas, O savageness of envy, Que superna rogitas You who seek the heights Et jaces inferius! And lie in the depths! Cur inter nos habitas? Why do you dwell among us? Tua cum garrulitas While your unceasing speech Nos affatur dulcius, Speaks to us the more sweetly, Retro pungit sevius, It stings the more savagely from behind Ut veneno scorpius: Like the scorpion with its poison: Scariothis falsitas The treachery of Iscariot Latitat interius. Lies hidden within. Det mercedes Filius May the Son of God Dei tibi debitas! Give you your just rewards. Tenor: Fera pessima. Most evil beast Bone pastor Guillerme / Bone pastor, qui pastores / BONE PASTOR Triplum: Bone pastor Guillerme, Good shepherd Guillaume, Pectus quidem inerme An unarmed breast certainly Non est tibi datum; Was not given to you, Favente sed Minerva But with the favor of Minerva Virtutum est caterva It is strongly armed Fortiter armatum. With a host of virtues. Portas urbis et postes You guard the gates and doors Tue munis, ne hostes Of your city, lest the enemy Urbem populentur Devastate the city – Mundus, demon et caro, The world, the devil, and the flesh – Morsu quorum amaro By whose bitter bite Plurimi mordentur. Many are wounded. Mitra que caput cingit The mitre that surrounds your head Bino cornu depingit Symbolizes the two testaments Duo testamenta, With a twofold horn, Que mitrifer habere Which the bearer of the mitre must have Debet tanquam sincere As the ornaments Mentis ornamenta. Of a pure mind. Et quoniam imbutus And since you are imbued Et totus involutus And totally covered Es imprelibatis, With things unspoiled, Ferre mitram est digna Worthy to bear the mitre Tua cervix, ut signa Is your neck, so that the signs Sint equa signatis. Are equal to the things signified. Curam gerens populi, In caring for the people Vis ut queant singuli You desire, in order that all should be able Vagos proficere To make progress, Prima parte baculi To draw in the wanderers Attrahere; With the first part of your staff; Parte quidem alia, And with the second part [of the staff], Que est intermedia, Which is in the middle, Morbidos regere; You know how to guide the stick; Lentos parte tercia With the third part Scis pungere.
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