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 from the Mass for Our Lady Gloria from the Mass for Our Lady Motet: Fons totius superbie/O livoris feritas/ FERA PESSIMA from the Mass for Our Lady Motet: Bone pastor Guillerme / Bone pastor, qui pastores / BONE PASTOR from the Mass for Our Lady 10-MINUTE PAUSE from the Mass for Our Lady Ite Missa Est from the Mass for Our Lady : Ma fin est mon commencement : Foy porter : Biauté qui toutes autres pere Virelai: 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 ‘’ traditions. This presentation provides a small glimpse of the Machaut’s considerable musical yield. The centerpiece of our program is the (Mass for Our Lady), probably composed in the early 1360s. The four-part Mass unfolds six sections of the (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 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 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. To spur on the slackards.

Oves predicamine You feed your sheep Et cum conversamine With preaching Pascis laudabili, And through praiseworthy conduct, Demum erogamine And finally with Sensibili. Perceptible payment.

Det post hec exilium And after this life Huic rex actor omnium, May the King who is creator of us all Qui parcit humili, Who has mercy on the humble, Stabile dominium Grant him a stable dominion Pro labili. In place of this transient one.

Motetus: Bone pastor, qui pastores Good shepherd, who surpasses Ceteros vincis per mores Other shepherds in morals Et per genus And in family stock Et per fructum studiorum And through the fruit of your studies, Tolentem mentes ymorum Which carries the minds of those in the depths Celo tenus, Right up to heaven,

O, Guillerme, te decenter O Guillaume, the King Ornatum rex, qui potenter Who rules powerfully Cuncta regit, Over all Sue domus ad decorem Has specially chosen you who are adorned Remensium in pastorem [To be] the glory of his house, Preelegit. The shepherd of the Rémois.

Elegit te, vas honestum, He has chosen you, honorable vessel, Vas insigne, Distinguished vessel, De quo nichil sit egestum Let nothing be poured forth from it Nisi digne. Except [that which is] worthy.

Dedit te, vas speciale He has given you a special vessel Sibi regi; To Himself, the King; Dedit te, vas generale He has given you as a general vessel Suo gregi. To his flock.

Tenor: Bone pastor. Good shepherd.

Rondeau: Ma fin est mon commencement

Ma fin est mon commencement My end is my beginning Et mon commencement ma fin And my beginning my end Et teneure vraiement. And truly [this] holds.

Ma fin est mon commencement. My end is my beginning. Mes tiers chans trois fois seulement My third part just three times only Se retrograde et einsi fin. Moves backwards and so ends.

Ma fin est mon commencement My end is my beginning Et mon commencement ma fin. And my beginning my end.

Virelai: Foy porter

Foy porter, honneur garder I want to stay faithful, preserve your honor, Et pais querir, oubeir, seek peace, obey, Doubter, servir et honnourer fear, serve, and honor Vous vueil jusques au morir, you until death, Dame sans per. O peerless Lady.

Car tant vous aim, sans mentir, For so great is my love for you, Qu'on porroit avant tarir that one could sooner dry up La haute mer the deep sea Et ses ondes retenir and hold back its waves Que me peusse alentir de vous amer, than I could constrain myself from loving you, Sans fausser; car mi penser, without falsehood; for my thoughts, Mi souvenir, mi plaisir my memories, my wishes, Et me desir sont sans finer and my peace are perpetually in you, En vous que ne puis guerpir n'entroublier. whom I cannot abandon nor forget. Foy porter... I want to stay faithful...

Il n’est joie ne joïr There is no joy nor welcome N'autre bien qu'on puist sentir nor any other good that one could experience N'imaginer nor imagine, Qui ne me samble languir, which does not seem to me worthless, Quant vo douceur adoucir vuet mon amer. whenever your sweetness wants to ease my bitterness of life Dont loer Thus I want to praise, Et aourer adore Et vous cremir, tout souffrir, and fear you, and suffer everything, Tout conjoïr, tout endurer experience everything, endure everything Vueil plus que je ne desir Guerredonner. more than I desire any reward. Foy porter... I want to stay faithful...

Vous estes le vray saphir You are the true sapphire Qui puet tous mes maus garir et terminer, that can heal and end all my suffering, Esmeraude à resjoïr, the emerald which brings rejoicing, Rubis pour cuers esclarcir et conforter. the ruby to illuminate and comfort the heart. Vo parler, vo regarder, Your words, your countenance, Vo maintenir, font fuir et enhaïr et despiter your comportment, make one flee, hate and detest Tout vice et tout bien cherir et desirer. all vice, and instead cherish and desire all that is good. Foy porter... I want to stay faithful... Ballade: Biauté qui toutes autres pere

Biauté qui toutes autres pere Beauty which is the equal of all beauties, Envers moy diverse et estrange, haughty and distant towards me; Douceur fine à mon goust amere, exquisite sweetness, bitter to my taste; Corps digne de toute loange, person worthy of all praise,

Simple vis à cuer d'aïmant, kindly face with heart of steel, Regart pour tuer un amant, look that can kill a lover, Samblant de joie et response d'esmay her joyful exterior and distressing reply M'ont ad ce mis que pour amer morray. have brought me to such a pass that I shall die of loving.

Detri d'ottri que moult compere, Delay in requiting, for which I pay dearly, Bel Acueil qui de moy se vange Fair Welcome which masks vindictiveness, Amour marrastre et nompas mere, Love, not a kindly but an unnatural mother, Espoir qui de joie m'estrange, Hope which deprives me of joy,

Povre secours, desir ardant, lack of help, burning desire, Triste penser, cuer souspirant, sad thoughts, sighing heart, Durté, desdaing, dangier et refus qu'ay harshness, disdain, haughtiness and the refusal I receive M'ont ad ce mis que pour amer morray. have brought me to such a pass that I shall die of loving.

Si vueil bien qu'à ma dame appere I wish to make it clear to my lady Qu'elle ma joie en doleur change that it is she who turns my joy to pain, Et que sa bele face clere and that her fair radiant face Me destruit, tant de meschief sen je destroys me, such is the misfortune I suffer,

Et que gieu n'ay, revel ne chant, and that I enjoy no mirth, pleasure or music, N'einsi com je seuil plus ne chant, and can no longer sing as I used to, Pour ce qu'Amour, mi oueil et son corps gay because Love, my eyes and her fair self M'ont à ce mis que pour amer morray. have brought me to such a pass that I shall die of loving.

Virelai: Douce dame jolie

Douce dame jolie, Fair sweet lady, Pour dieu ne pensés mie for God’s name do not think Que nulle ait signorie that any mortal love has mastery over me, Seur moy fors vous seulement. I have love for you alone.

Qu'adès sans tricherie For always without deceit Chierie I have cherished you, Vous ay et humblement and humbly Tous les jours de ma vie served you Servie all the days Sans villain pensement. of my life without any base thought.

Hélas! et je mendie Alas! I am bereft D'esperance et d'aïe; of hope and help; Dont ma joie est fenie, and so my joy is ended, Se pité ne vous en prent. unless you pity me. Douce dame jolie… Fair sweet lady…

Mais vo douce maistrie But your gentle mastery Maistrie masters Mon cuer si durement my heart so strictly Qu'elle le contralie as to govern it Et lie and bind it with love, En amour tellement so much so

Qu'il n'a de riens envie that it desires nothing Fors d'estre en vo baillie; but to be in your power; Et se ne li ottrie and your heart grants it Vos cuers nul aligement. no possibility of turning away. Douce dame jolie… Fair sweet lady…

Et quant ma maladie And since my sickness Garie will not be cured Ne sera nullement in any way Sans vous, douce anemie, save by you, sweet enemy, Qui lie who are glad Estes de mon tourment, at my distress,

A jointes mains deprie then with hands clasped I pray Vo cuer, puis qu'il m'oublie, that your heart, since it neglects me, Que temprement m'ocie, may kill me soon, Car trop langui longuement. for I have languished too long. Douce dame jolie… Fair sweet Lady…

Rondeau: Rose, liz, printemps, verdure

Rose, liz, printemps, verdure, Rose, lily, spring, greenery, Fleur, baume et tres douce odour. Flower, balm and sweetest fragrance Belle, passes en doucour. Beautiful lady, you surpass them in sweetness. Et tous les biens de Nature And all the gifts of nature Avez, dont je vous aour. You possess, for which I adore you.

Rose, liz, printemps, verdure, Rose, lily, spring, greenery. Fleur, baume et tres douce odour; Flower, balm and sweetest fragrance Et quant toute creature And since beyond any creature’s Seurmonte vostre valour. Your virtue excels, Bien puis dire et par honnour: I must say in all honor:

Rose, liz, printemps, verdure, Rose, lily, spring, greenery, Fleur, baume et tres douce odour. Flower, balm and sweetest fragrance Belle, passes en doucour. Beautiful lady, you surpass them in sweetness.

Motet translations by Anna Kirkwood, Anne Walters Robertson, et al. Song translations by Stephen Haynes with emendations by Daisy Delogu. Cover: Lady Nature introduces Meaning, Rhetoric, and Music to . Paris, Bibliothèque nationale de France, fr. 1584 (MS A), fol. E (recto).

SINGERS Soprano: Stephanie Sheffield Alto: Tom Crawford Tenor: Matthew Dean, Bill McDougall, Keith Murphy, Frank Villella Bass: William Chin, Peter Olson

ABOUT SCHOLA ANTIQUA Schola Antiqua is a Chicago-based professional vocal ensemble dedicated exclusively to the performance of music before the year 1600. The group is the winner of the 2012 Noah Greenberg Award from the American Musicological Society for outstanding contributions to historical performing practices. An ensemble that executes the pre-modern repertory with “sensitivity and style” (Early Music America), Schola Antiqua takes pride in providing the highest standards of research, performance, and education involving many underserved repertories in the Western musical canon. Founded in 2000 under the artistic leadership of Professor Calvin M. Bower from the University of Notre Dame, the ensemble was Artist in Residence at the University of Chicago in 2006-2007. The ensemble has served in a similar capacity for the Lumen Christi Institute since 2009. Schola Antiqua has recorded four CDs and is due to release a fifth in 2013. Much of the music on their albums has never received a modern recording. The group’s music has aired on the syndicated national broadcasts of With Heart and Voice, Millennium of Music, and Harmonia and has received reviews in Early Music America, Fanfare, the Journal of Plainsong and , and Notes (Music Library Association).

ABOUT THE ARTISTIC DIRECTOR Michael Alan Anderson, a founding member of Schola Antiqua, was named the ensemble’s second Artistic Director in 2008. He is Assistant Professor of Musicology at the Eastman School of Music (University of Rochester), where he specializes in late medieval and Renaissance sacred music. Anderson received a Ph.D. in the History and Theory of Music at the University of Chicago in 2008, and his book St. Anne in Renaissance Music: Devotion and Politics is forthcoming from Cambridge University Press in 2013. He is the 2012 winner of the Deems Taylor Award given by the American Society for Composers, Authors, and Publishers for an article on the late-medieval motet in the journal Early Music History (2011). Other awards include the National Endowment for the Humanities Summer Stipend, the Alvin H. Johnson American Musicological Society 50 Dissertation-Year Fellowship, the Noah Greenberg Award (American Musicological Society), the Grace Frank Grant (Medieval Academy of America), and the Whiting Foundation Fellowship (University of Chicago). He has published articles in Early Music, Early Music History, Journal of Plainsong and Medieval Music, and Studi musicali.

SPECIAL THANKS For support of these concerts of Machaut’s music, Schola Antiqua wishes to thank specially the Lumen Christi Institute, Thomas Levergood, Greg Heislman, Margot Fassler, Anne Walters Robertson, Daisy Delogu, and Fr. Michael Driscoll. We are also indebted to Elizabeth Davenport, Eden Sabala, and Julie Brubaker for their assistance and contributions. Additional grant funding has been provided by the Sage Foundation.

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