Scenic Breakdown of the Musical Repertoire Scene Music Commentary Introduction. Intertitles explain the Je me complains - Guillaume Christine de Pizan wrote her poem in 1429, shortly after the Dauphin had been film’s context and we see the original Dufay (1397-1474): lyrics crowned Charles VII at Reims. This particular stanza compares Joan to other transcript of the trial. by Christine de Pizan from heroines: Esther, Judith, and Deborah. La Ditié de Jeanne’d’Arc The trial begins and Joan is sworn in. Salve Regina - Hymbert In all her letters, Joan wrote the words ‘“Jesus Maria” separated by the sign of the Salinis (b 1378–84; fl cross to indicate the sources of her divine inspiration. The Salve Regina is one of the 1403–9) standard Marian texts, here set by Hymbert Salinis, a French composer. Pierre Cauchon, the Burgundian chief Salve Sancta parens - Gilles Gilles Binchois was one of the most famous composers of the era and was employed prosecutor, begins the interrogation. Binchois (b.c.1400-1460) by Phillip the Good, Duke of Burgundy. The setting is in a style known as fauxbourdon, They ask if Joan knows her “Our essentially a succession of parallel second-inversion chords, a simple design that Father.” shows its improvised origins. Further questioning. Joan insists that Sanctus - Gilles Binchois Binchois set some 28 mass movements though no complete mass setting. Like many the English will be driven out of France. of his works, this uses note-against-note harmonization of an original chant part. Cauchon quizzes Joan about her visions Plainchant antiphon for the It’s likely that Joan would have heard this. She was travelling with Charles VII in of angels. Feast of St. Michael and All September and the Feast day falls on 29th of that month. Angels and the Offertory, Stetit Angelus. The questioning turns to Joan’s dress. Imera dat hodierno - Grossin was a French composer working in Paris, which was by this time occupied by According to Deuteronomy, it is a sin Estienne Grossin (fl. 1418– the English. Imera dat hodierno appears in several important sources. for women to wear men’s clothing. 1421) Increasingly agitated, Jean d'Estivet Section from Gloria - This excerpt from a Gloria by Johannes Le Grant expresses the self-righteousness of accuses Joan of blasphemy and spits in Johannes Le Grant Joan’s accusers. Johannes Le Grant was born in what is now part of Belgium, though her face. (fl c1420–40). he was indisputably French by nationality. Shocked by the violence, Nicolas de O Redemptor sume carmen - This anonymous English setting of the plainchant hymn alternates polyphonic verses Houppeville calls Joan a saint. The Anonymous with a plainchant refrain. priests turn on him. An older priest challenges Cauchon, but to no avail. The questioning begins again. Salve sancta parens - Gilles The Binchois setting of the Salve Sancta parens returns, though this time scored for Binchois lower voices. Once again Cauchon is unable to faze O Regina clementissima - Loqueville’s setting of another Marian text is set in chanson style, with two untexted Joan. The camera lingers on her face. Richard Loqueville (d. 1418) voices providing the harmonic foundations for a beautiful and simple melody. Loqueville was almost certainly Dufay’s teacher. Joan is led to her cell. Cauchon and Vexilla Regis - Guillaume Guillaume Dufay, the leading composer of his generation, like many of his compatriots Warwick plan for Loyseleur to forge a Dufay travelled from war-torn Northern France to work in Italy. This hymn is a simple letter in the hand of Charles VII. alternation of plainchant and a simply decorated polyphony. One of the English soldiers steals Joan’s Te Deum - Anonymous This English Te Deum is a typically robust example of discant. Although a sacred ring, giving Loyseleur the opportunity hymn of praise, it also had a more secular function. It was sung by the Orléanais when to assure Joan of his protection. the siege was lifted, and by people of Beauvais in August 1429 to celebrate Joan’s successes (apparently to the annoyance of Cauchon, who was Bishop of Beauvais). 1 Scene Music Commentary Loyseleur returns Joan’s ring and Kyrie - Estienne Grossin Taking its place in both the mass and the requiem mass, the Kyrie eleison is part of the presents her with the letter, ostensibly ordinary of the mass, set to music by composers since the medieval era. Grossin came signed by the King, but she cannot read. from the diocese of Sens, some 100 miles from Orléans. Loyseleur reads the letter, claiming that Reading from Epistle Etymologically speaking, an epistle is simply a letter, and in this case we sing Saint Joan’s King is on the way to rescue her. Paul’s letter to the Galatians. The priests gather in Joan’s cell and Fauxbourdon A setting of the text for the Feast of the Assumption, Audi filia et vide: “Listen, my begin interrogating her again. daughter, and consider my words attentively; thou art to forget, henceforward, thy own nation.” This is essentially the duplicitous subtext of the priests’ advice. The priests invite Joan to say her “Our Praeceptibus salutaribus... It is known that Joan knew both her “Ave Maria” and her “Pater noster”, both Father.” Pater noster... Amen fundamental texts for the dutiful Catholic. The questioning leads Joan to assert Gloria - Johannes Le Grant The hymn of praise to God is a different setting of the ordinary of the mass by the that she is in a state of grace, which can same composer. only be granted to her by the priests. She looks to Loyseleur for advice. Massieu warns Joan of the dangerous Gaude, tu baptista - Benoit This isorhythmic motet is by Benoit, a French singer and composer originally from implications of her answer. He is (fl 1436–55) Sens, is typical of the urgent Italian style adopted by the composer and many others of shouted down by Cauchon, who senses the period. Above long, drawn-out notes in the two lower parts, the two texted upper that Joan is about to damn herself. parts duel, exchanging musical ideas and phrases. Joan finally answers: “If I am not, may Salve Regina - Johannes While the film suggests a parallel between the passion of Christ and that of Joan, the God put me there! And if I am, may God Reson (fl c1425–35) parallels between Mary and Joan are never far away. Alain Chartier, a contemporary so keep me!” Like many of her answers, commentator, poet, and notary to Charles VII, wrote these words about Joan in 1429: it’s a brilliant response and offers the “O singular virgin, worthy of all glory, worthy of all praise, worthy of divine honours! priests no traction. Joan requests to You are the honour of the reign, you are the light of the lily, you are the beauty the attend mass. Realising that he has glory, not only of France, but of all Christendom.” Reson’s setting of this Marian text leverage, Cauchon says she can if she underlines that comparison. changes into women’s clothes. An angry Cauchon claims that Joan is Qui tollis from Gloria - The righteous anger of the clerics is further pursued in the lively rhythms of Le part of Satan’s gang. Loyseleur orders Johannes Le Grant Grant’s Gloria. the torture room to be prepared. Returned to her cell, Joan is taunted by Agincourt Carol - The battle of Agincourt in 1415 is probably the most famous English triumph of the the English soldiers, who dress her with Anonymous Hundred Years War, celebrated in this (narrative) carol. a crown of reeds and give her an arrow as her sceptre. The young priest, Massieu, dismisses Pour la douleur - Johannes Cesaris was a singer at Bourges and worked for the Duke of Burgundy. This dou- the soldiers and comforts Joan. Cesaris (fl 1406–17) ble-texted chanson speaks of pain and grief, comparing a lover’s plight to martyrdom. The priests gather again, this time in Ad te levavi The plainchant setting is of the words to Psalm 123, the tract and versus for the third the torture chamber. week in Lent. The priests try to trap Joan, mercilessly Epistle - plainchant The Epistle tells the story of Jesus casting out the demon from the stricken woman. berating her and trying to get her to sign her abjuration (an admission of heresy). 2 Scene Music Commentary Joan accepts that her fate is to be Sanctus - Richard Harking back to the fourteenth century, this rhythmically vital song of praise is full of alone—alone with God. The torture Loqueville (d 1418) hocketing and virtuosic triplet runs. instruments are prepared. Having fainted, Joan is led back to Sanctus - Fauxbourdon This setting of the Sanctus text accords with the principles of fauxbourdon, one of the her cell. The English solider Warwick standard improvisatory forms of the time. insists she should not die naturally. The Doctor says that Joan should be Ave verum - Johannes Reson was primarily active in Italy, and this two-part setting of a standard text is a bled. Warwick agrees, but counsels Reson hymn of praise and a request for clemency, addressed to Christ, through whose blood them not to let her kill herself. redemption is assured. Fearing death, Joan asks to be buried on Benedicta es Virgo - This is the Gradual text from Libert’s Marian mass, the Missa de Beata Virgine. Libert consecrated ground. Cauchon assures Reginaldus Libert (fl was a French composer and master of the choristers in Cambrai in 1424. her that the church is merciful and that c1425–35) he has sent for the sacrament. The priests set up a temporary altar in Introit: Benedicite Dominum The text is the Introit for the Feast of Saint Michael. the cell where mass is celebrated. omnes angeli The host is held up, but it is only a ruse Agnus Dei - Estienne This is a four-part setting of the Agnus Dei from Grossin’s mass, the music sung while to get Joan to sign. She refuses. Grossin communion is offered to the congregation. Mass is abruptly terminated and the Deo Gracias – Gilles The Deo Gracias is the signal for the end of the mass. altar dismantled. Binchois Joan denounces the accusing priests, Salve Sancta Parens This setting of the Salve sancta parens text has the plainchant tune in the top part, saying that they are devils who have -Ronaldus Libert; Amen with two lower untexted parts. We have added a more floridAmen , taken from been sent to torment her. Cauchon - Bosquet (fl late 14th Bosquet’s four-part Gloria. Bosquet was a French composer who worked in Tournai, instructs the execution and leaves. century; d c1406) Avignon, and Bourges (for the Duc de Berry). The priests leave the castle. The Francorum nobilitati - Ferragut’s composition comes from a tradition where a composer names himself townspeople watch Joan carried out on Beltrame Ferragut within the work and dedicates his services to a potential patron. This piece makes a stretcher. Erard accuses Joan’s King (fl 1415–49) specific reference to Charles VII, King of France. of heresy while a gravedigger prepares. Erard reads out the litany of charges, Descendi in hortum meum - This text from the Song of Songs, set by many medieval composers, tells of a garden and the three good priests urge Joan Johannes de Lymburgia far more luscious than the scene that confronts Joan. Lymburgia was of Franco- one last time to sign the abjuration or (fl 1431) Flemish origin and worked primarily in Padua. she will be burned at the stake. Finally Joan concedes defeat and Kyrie – Reginaldus Libert This Kyrie is from the same mass as the earlier gradual, the Missa de Beata Virgine. carefully signs the abjuration. Cauchon reads out the abjuration while In nomine patris and Psalm The words here are from Psalm 127, which reminds the crowd that everything must be Joan listens. 127 done in the name of the Lord. Warwick tells Cauchon that Joan has Amen from Gloria - Franchois was almost certainly the succentor of the collegiate church of Saint Martin made fools of them. An onlooker cheers Johannes Franchois de in Liege. for her and is thrown in the river. Gemblaco (fl c1415–30) Joan’s head is shaved, while outside the Jesu Salvator/Quo Hymbert de Psalinis’s double-texted motet is notable for its use of sequences. city is filled by a carnival. vulneratus est – Psalinis 3 Scene Music Commentary Joan weeps. De tristesse - Gautier Libert The striking opening of this chanson is heard in isolation. (fl 1423–8) Joan tells her warder to summon the Domine Deus from Gloria - A slightly extended cue from the Gloria used earlier. judges at once so that she can recant. Johannes Le Grant Cauchon and the priests hear Joan Agnus Dei - Reginaldus This Agnus is from the same Marian mass used earlier. recant: she denied God to save her life Libert and she still believes she was sent by God. Her fatal answer is recorded. Joan weeps, moving even the most De tristesse - Gautier Libert Gautier Libert is not to be confused with Reginaldus Libert. This chanson is dated hard-hearted priests. Massieu remains 1423 in the manuscript source. It’s a secular chanson in rondeau form that talks of to comfort her and prepare her for grief and welcomes death as the solution to suffering. death at the stake. Joan explains to Massieu that she is O mortalis homo - Franchois Lebertoul’s piece has three sacred texts sung by three voices but is in a secular form, God’s child and that his ways remain Lebertoul (fl 1409–?1428) that of a ballade. It is commentary on the vanity of human ambition, a sentiment with mysterious. Her great victory will be which the devout Joan would have agreed. her martyrdom and her release death. The ceremony of mass begins and Loquebantur variis linguis Joan’s execution fell on the Feast of Pentecost, for which this chant is assigned. Massieu hears Joan’s confession. - chant Joan finally receives the sacrament Agnus Dei - Gilles Binchois This setting of the Agnus Dei recalls the earlier setting of the Sanctus, though it is not while Loyseleur watches. related. The soldiers watch from the ramparts Eya dulcis - Johannes Born in Noyers, France, Tapissier was associated primarily with the court of Bur- as the crowd flocks to the scene. Joan is Tapissier (b c1370; d before gundy, though he worked as a master of the choristers at Notre Dame in Paris. This led outside, her feet still chained. Aug 1410) rhythmically complex isorhythmic motet was justly celebrated. Joan is led to the scaffold. An old Veni Creator spiritus On the march to raise the siege of Orléans in 1429, priests accompanied Joan and her woman offers her a drink of water. Joan army, singing the plainchant hymn Veni creator spiritus. Now, at the moment of her clutches a cross and accepts her death. imminent sacrifice, it becomes a haunting memory. Joan is tied to the stake and the fire is Gaude Dei genitrix - This four-part motet is from a well known manuscript, Trent 92. It is a rhythmically set. Massieu holds up a cross for Joan. Anonymous exciting hymn of praise to the Virgin. Joan’s distress awakens sympathy Regina saeculi/Reparatrix - This French isorhythmic motet, being in five-parts, is rare indeed. It is a setting of two in the crowd. The soldiers sense the Anonymous Marian texts in four parts, the final, lowest part being an unidentified plainchant tune. growing unrest and prepare themselves. Joan utters her final word: “Jesus.” The crowd accuse the authorities of Salve virgo virginum/Vita, The true identity of Billart is difficult to establish, but he may well be the same person burning a saint and a riot ensues. The via, veritas - Billart as Aubert Billard, who was a clerk and chaplain in Notre Dame in Paris. This is his soldiers brutally attack the people, (fl ?c1400) only known work, a Marian motet with complex rhythmic alternations between while Joan’s body continues to burn. duple- and triple-time. The final intertitles. Je me complains - Guillaume Writing in 1429, Pizan’s lyrics are eerily prescient: “You, who bares your flesh... to such Dufay, lyrics by Christine harsh pain... will win renown in heaven.” de Pizan from La Ditié de Jeanne’d’Arc 4