SIBYLLA Prophetiae Sibyllarum Orlandus Lassus e v. Sibylla Samia [2.03] r vi. Sibylla Cumana [2.21] t vii. Sibylla Hellespontica [2.05] y viii. Sibylla Phrygia [1.52] Prophetiae Sibyllarum 1 Prologue: Carmina Chromatico Orlandus Lassus (1532-1594) [1.26] u Laus Trinitati Hildegard von Bingen [1.30]

2 O Pastor animarum Hildegard von Bingen (1098-1179) [1.27] Prophetiae Sibyllarum Orlandus Lassus i ix. Sibylla Europaea [2.10] Prophetiae Sibyllarum Orlandus Lassus o x. Sibylla Tiburtina [2.17] 3 i. Sibylla Persica [2.41] p xi. Sibylla Erythraea [2.17] 4 ii. Sibylla Libyca [3.01] a xii. Sibylla Agrippa [2.39] 5 iii. Sibylla Delphica [2.21]

6 iv. Sibylla Cimmeria [2.31] Epilogue s I saw you under the fig tree Elliot Cole (b. 1984) [2.30] Prophetiae Sibyllarum Dmitri Tymoczko (b.1969) 7 i. Sibylla Baltimoris [3.18] Total timings: [53.10] 8 ii. Sibylla Clevelandiae [2.25] 9 iii. Sibylla Chicagonis [2.56] 0 iv. Sibylla Washingtonii [2.18] q v. Sibylla Philadelphiae [2.54] w vi. Sibylla Camdenis [4.08] GALLICANTUS GABRIEL CROUCH DIRECTOR

www.signumrecords.com INTRODUCTION movement of the suite Visions, composed PROPHETIAE SIBYLLARUM already seen the representation of five sibyls by one of the students on the course, Elliot in the Sistine Chapel, and maybe other Lassus’s Prophetiae Sibyllarum is discussed Cole. ‘I saw you under the fig tree’, a In this age of modern technology and instant examples in Italy. The very presence of these far more than it is performed. It eludes simple 4-part setting beneath an extraordinary media we hardly have need of soothsayers and images in the Borgia apartments of the conventional categorization and confounds countertenor glissando, is Jesus Christ’s prophets, and since the colourful setting by Vatican is a hint that folklore, and even simple analysis, and we linger so long on response to Nathaniel and is held as an Orlandus Lassus in his early output there has blatant myth, could coexist beside the its peculiarities that we tend to forget just affirmation of Christ’s omniscience. been a dearth of musical settings of the official doctrine of the Church. Shakespeare how ravishing it is. This project began as sayings of the sibyl. Yet in the 5th century BC, includes references to sibyls in Othello, Titus graduate class at Princeton University, where © Gabriel Crouch the Greek writer Heraclitus refers to ‘The sibyl, Andronicus, The Merchant of Venice and Troilus students were introduced to the Lassus work with frenzied mouth uttering things not to be and Cressida. This last play was reincarnated and its riddles, before being asked to laughed at, unadorned and unperfumed, yet in operatic form by William Walton in 1954, compose their own responses to it. reaches to a thousand years with her voice and Berlioz’s treatment of Cassandra in The Gallicantus performed these eight student by aid of the god’. There appears to be some Trojans (1858) casts her clearly in the mould works on Princeton’s campus in October supernatural influence in the predictions of of a sibyl without too much embroidery. Yet 2015, alongside larger responses to the piece these female oracles, each given a name it was a long time prior to these adoptions by Professors Dmitri Tymoczko and Dan according to the location of their prophesies: into art and literature that Christ was referred Trueman. This recording represents a partial Delphi, Tiburtina, Phrygia and so on. to as: ‘...He, whom seer and sibyl sang in account of all this work, with Dmitri ages long gone by...’. (Prudentius, 4th Century AD). Tymoczko’s ‘Prophetiae Sibyllarum’ heard The received wisdom in the Greek sources is alongside offerings from the ‘Sibyl of the that the sibyls relayed their message in Carmina chromatico, the title of Lassus’s Rhine’, Hildegard von Bingen, and of course song – and this might have served as an introductory section, is a phrase which on its the Lassus work itself. Just as the words of inspiration for composers, although the take- own might suggest music with lots of chromatic the ancient sibyls were manipulated to up of the invitation has been disappointing. writing as we define it with our knowledge of support a Christian narrative in the 15th and By medieval times, the Latin term sibylla the terms: diatonic, chromatic and enharmonic. 16th Centuries, Tymoczko’s work sets poems had taken on the generalized meaning of Yet the two words do not belong together in by Jeff Dolven which recast the sibyls’ role: ‘prophetess’ with perhaps less of the the manner that we might expect in a language this time to the teller of grim truths of pagan connotation, and a stronger association such as English. The ‘chromatico’ refers in present life in post-industrial America. As with the prophecies of the Old Testament. the explanatory text of the prologue to the an epilogue we have included the final It is certainly plausible that Lassus had tenor – the voice which holds on to the longest

- 4 - - 5 - notes in the choral texture. However this line chordal writing is adjusted to avoid classic, colour-shifts which might be said to show the by the powerful, male figures in the Church. is simply diatonic and it might be that the parallel flaws. It is possibly an attempt strongest connection between the two works. Any inspiration in writings or teachings which description, set to music in the Prologue, to set the unique texts of the twelve sibyls appeared to emanate from mystical sources alludes to the overall colourful alchemy which as if from a world unbound by the constraints The Council of Trent (1545-1563) may have might have been viewed with suspicion and Lassus brings to his outlandish sounds. This of rules and conventions. dampened enthusiasm for employing these suppressed at the earliest opportunity, as harmony, unparalleled in contemporary practice sibylline texts in choral works, as such material was suffered by Hildegard of Bingen, the and the subject of intense analysis over the Examining the texts from the point of view of might be deemed heretical by ecclesiastical multi-talented abbess, known popularly as years, is certainly arresting to the listener. the composer, it is remarkable that the authorities. On the one hand, the tradition of the Sibyl of the Rhine, who was dealt with so How thoughtful of Lassus to provide in song prophesies were supposedly written by twelve using the prophecies was alive and well in harshly by the local hierarchy on the flimsiest a description of what was about to happen different sibyls and yet conform to a structure such examples as the Song of the Sibyl, of grounds. Since most composers of liturgical in aural terms – a warning clause. Yes, if of six-line poems in dactylic hexameter. The performed on Christmas Eve throughout material relied on the patrimony of the Church examined from either viewpoint of tonality concordant message of the prophecies shows Europe (especially in Spain), an inclusion in for a performance platform, there would be or atonality, the remarkable modulations some of the imagery of, for example, the the sequence Dies Irae (Teste David cum reluctance to proffer settings of material appear incongruous. The composer appears Book of Revelation, with its flavour of Sybilla), and even references by St Thomas which had been effectively proscribed. It was to want to be forward-thinking in creating a apocalyptic warning, and clear prediction Aquinas (in his Summa, referring to the not only in England that composers paid New Music, as was evidenced by heated of Christ’s incarnation and the purpose of Incarnation of Christ) and St Augustine (on dearly for showing very tangible connections argument with other musicians at the time. his mission. Why therefore is this renowned the foretelling of the end of the world). Yet with material deemed to be contrary to If the listener is tempted to think that the setting a solitary example of such a remarkable in the end, it was the Fathers of that Council doctrine. Selecting acceptable texts was at astonishing shifts of harmonic context (NB: set of texts? Were later composers overawed who relegated the writings to the grey area the least a wise business choice. not modulation as we know it) are simply by Lassus’s prototype – had he said it all? The of folk tradition, a colourful example of a gratuitous, then be assured that harmonic present-day setting by Tymoczko combines traditional tale possessing the status of fact The groupings of the settings owe more analysis suggests convincingly that the a comprehensive use of vocal and ensemble when it appears to have been doctored at to musical features than any textual composer’s aim is simply to avoid the close techniques with a hint of homage to Lassus. various points after the very events it considerations. It is rarely straightforward to occurrence in the vocal lines of the dreaded The inspiration of prophecy and impending purported to predict – most notably the make pronouncements on the actual pitches tritone or diminished fifth. In addition, when catastrophe from different eras is shared in birth of Christ. In general terms its position that centuries-old, unaccompanied vocal music the voice-parts are examined horizontally, the text, and there is a nod to the sonorities is now akin to being among the Apocrypha, was sung at, and there are existing disagreements there is no sense of the singer having to and shapes of the earlier work. The modern but it is not officially listed as such. There about presumed transpositions of some of perform acrobatics or negotiate baffling work makes advanced use of arithmetical is also the likelihood that the sibyls, being the movements of the Prophetiae. That aside, intervals, except where the disposition of complexities in rhythm, but it is the harmonic mere women, faced a certain discrimination allowing the Prologue to be classed as

- 6 - - 7 - precisely that, the twelve movements of the Tymoczko’s Prophetiae Sibyllarum work can be paired in to groupings which offer contrasts in the range of the voices and, to Jeff Dolven’s poems propose statistics as the a certain extent, by the appearance of what modern analogue of prophecy. The modern sibyl could be loosely termed ‘key changes’. Pairs teaches that one in five Baltimore children will 1, 3 and 6 are for conventional four-part develop asthma, that one in sixteen hundred grouping (SATB), 2 and 4 for slightly higher Chicago children is homeless — giving us pitches and 5 for lower voices. Such aural the kind of ambiguous foreknowledge familiar relief is a common feature of the Renaissance from myth. Like the ancient sibyls, Jeff’s are and can be heard for example in Tomas associated with a specific city; unlike their Luis de Victoria’s Tenebrae Responsories predecessors, these newfangled sibyls articulate where the meaning of the text is partly solid statistical facts. This mixture of scientific illuminated by similar treatment. In the Lassus, and prophetic language was particularly pairs 2, 3 and 6 have flats at the clefs, meaningful to me both on an intellectual although given the accidental-rich nature level and as the father of two small children. of the writing, this is not so significant for (I never realized how much anxiety is associated the listener. with parenting.) The end of the piece, which alternately includes and omits the words © Greg Murray “barely,” gestures toward an acceptance of the pain inherent in life.

© Dmitri Tymoczko

- 8 - - 9 - Prophetiae Sibyllarum Orlandus Lassus III. Sibylla Delphica 1 Prologue: Carmina chromatico Non tarde veniet, tacita sed mente tenendum He will not come slowly, though in a quiet mind should be held Hoc opus. Hoc memori semper qui corde reponet, this act. This he will always place in a mindful heart, Carmina chromatico quae audis modulata tenore, Huius pertentant cur gaudia magna prophetae whose power his prophets attest in great joy, Haec sunt illa quibus nostrae olim arcana salutis The modulating songs with a chromatic tenor which you hear, Eximii, qui virginea conceptus ab alvo who conceived in a virginal womb Bis senae intrepido cecinerunt ore Sibyllae. these are the ones in which the sixfold twin Sibyls Prodibit, sine contactu maris. Omnia vincit will emerge without touch of man. All works sang the secrets of salvation with intrepid mouth. Hoc naturae opera: at fecit, qui cuncta gubernat. of nature this conquers; moreover he who does it rules 2 O Pastor animarum Hildegard von Bingen all things.

O Pastor animarum et O prima vox IV. Sibylla Cimmeria per quam omnes creati sumus, O Shepherd of our souls, O primal voice, In teneris annis facie praesignis, honore Of tender years, preeminent in looks, in honour nunc tibi, tibi placeat ut digneris nos whose call created all of us: Militiae aeternae regem sacra virgo cibabit the holy virgin will nourish the king of the eternal army liberare de miseriis Now hear our plea to thee, to thee, and deign Lacte suo: per quem gaudebunt pectore summo with her milk: through whom shall rejoice with full heart et languoribus nostris. to free us from our miseries Omnia, et Eoo lucebit sidus ab orbe all things, and from the dawn of the world will shine and feebleness. Mirificum: sua dona Magi cum laude ferentes a wondrous star: wise men bearing their gifts with praise Obiicient puero myrrham, aurum, thura Sabaea. will offer to the child myrrh, gold, Sabaean incense. 3-6 Prophetiae Sibyllarum Orlandus Lassus

I. Sibylla Persica Virgine matre satus, pando residebit asello, Born of a virgin mother, he will sit on a shambling ass, Iucundus princeps, unus qui ferre salutem the charming prince, the one who is properly able to bring Rite queat lapsis: tamen illis forte diebus salvation to the fallen: however in those days by chance Multi multa ferent immensi fata laboris. many will make many utterances of great toil. Solo sed satis est oracula prodere verbo: But it is enough for the oracles to offer up one saying: Ille Deus casta nascetur virgine magnus. God himself will be born great of a chaste virgin.

II. Sibylla Libyca Ecce dies venient, quo aeternus tempore princeps, Behold, the days will come, at which time the eternal prince, Irradians sata laeta, viris sua crimina tollet, showering fertile seed, will take from men their crimes, Lumine clarescet cuius synagoga recenti: and whose synagogue will gleam with fresh light: Sordida qui solus reserabit labra reorum, who alone will open the sordid lips of the accused, Aequus erit cunctis, gremio rex membra reclinet he will be just to all, in the lap of the queen of the world Reginae mundi, sanctus, per saecula vivus. may the king rest his legs, holy, forever living.

- 10 - - 11 - 7-w Prophetiae Sibyllarum Dmitri Tymoczko e-y Prophetiae Sibyllarum Orlandus Lassus

Sibylla Baltimoris Sibylla Washingtonii V. Sibylla Samia Unto us a child is born May a place be set Ecce dies nigras quae tollet laeta tenebras, Behold, the joyful day which lifts black glooms One of twenty-eight For one of ten by ten by two Mox veniet, solvens nodosa volumina vatum will soon come, unravelling the knotted volumes of the prophets Of any hundred here Who will live behind a lock Gentis Judaeae, referent ut carmina plebis. of the Judaean people, as is told by the songs of the people. Whose breath comes too hard. Without a key. Hunc poterunt clarum vivorum tangere regem, They will be able to touch this bright king of the living, I read the news in leaves of glass So the vigilant sirens cry to me. Humano quem virgo sinu inviolata fovebit. whom in human clasp an untouched virgin will nourish. Fond fathers pull from rearview mirrors. So may a place be kept. Annuit hoc caelum, rutilantia sidera monstrant. Heaven affirms this, the glowing stars show it.

Sibylla Clevelandiae Sibylla Philadelphiae VI. Sibylla Cumana Lo let a glass be raised Let the starry host proclaim: Iam mea certa manent, et vera, novissima verba, Now remain certain and true my new words, To greet the one in any eight This child is of the point oh one Ultima venturi quod erant oracula regis, that were the latest prophecies of the coming king, Whose blood will turn Who’ll die for love Qui toti veniens mundo cum pace, placebit, who, coming in peace for the whole world, will be happy, From salt to sweet: Or other highs. Ut voluit, nostra vestitus carne decenter, as he willed, properly dressed in our flesh, Spilt sugar spells this fate on the tabletops. The needle on the midnight sidewalk In cunctis humilis. Castam pro matre puellam humble with all. A chaste girl for his mother Points to his door. Deliget, haec alias forma praecesserit omnes. he will choose, who in beauty shall surpass all others. Sibylla Chicagonis VII. Sibylla Hellespontica Behold the day is nigh: Carmina Chromatico quae audis modulata tenore… Dum meditor quondam vidi decorare puellam, As I contemplate I once saw a girl adorned The flight paths up above converge (see track 1 for full text and translation) Eximio (castam quod se servaret) honore, with exceptional honour (for she kept herself chaste), Over one of sixteen hundred Munere digna suo et divino numine visa, by his gift and divine spirit seeming worthy, To sleep in the street. Sibylla Camdenis Quae sobolem multo pareret splendore micantem: who in great splendour would bear a glittering offspring: The windows shaking in their frames Hark how the choir of angels sings: Progenies summi speciosa et vera Tonantis, the child, fair and true, of the highest Thunderer, Look to the life to come. The child is born Pacifica mundum qui sub ditione gubernet who will govern the world with peaceful authority. Who will not stay: The overpass shadows the oh point nine VIII. Sibylla Phrygia Who lingers with us barely Ipsa Deum vidi summum punire volentem Myself I saw the highest God wanting to punish Long enough to count. Mundi homines stupidos et pectora caeca rebellis, the stupid men and blind hearts of an insurgent world, Et quia sic nostram complerent crimina pellem and because crimes so fill our skin Virginis in corpus voluit demittere caelo into the body of a virgin God himself wanted to send down from Ipse Deus prolem, quam nunciet Angelus almae heaven the son, whom an Angel will announce to the nourishing Matri, quo miseros contracta sorde levaret. mother, by whom he will raise the wretched from inescapable squalor.

- 12 - - 13 - u Laus Trinitati Hildegard von Bingen Magnus erit tamen hic divino carmine vates, he will nonetheless be a great prophet in divine song, Virgine matre satus, prudenti pectore verax. seed of a virgin mother, truthful in heart of wisdom. Laus Trinitati, que sonus et vita Praise to the Trinity—the sound and life ac creatrix omnium in vita ipsorum est, and creativity of all within their life, XII. Sibylla Agrippa et que laus angelice turbe the praise of the angelic host Summus erit sub carne satus, carissimus atque, He will be the greatest born in flesh, and the most beloved, et mirus splendor archanorum, and wondrous, brilliant splendor hid, Virginis et verae complebit viscera sanctum and the body of the true virgin the holy word will fill que hominibus ignota sunt, est, unknown to human minds, it is, Verbum, consilio, sine noxa, spiritus almi: with the design, without taint, of the nourishing spirit: et que in omnibus vita est. and life within all things. Despectus multis tamen ille, salutis amore, but he, despised by many, for love of salvation, Arguet et nostra commissa piacula culpa: will reveal the crimes committed by our fault: i-a Prophetiae Sibyllarum Orlandus Lassus Cuius honos constans et gloria certa manebit whose constant honour and certain glory will endure.

IX. Sibylla Europaea Epilogue Virginis aeternum veniet de corpore verbum From the body of a virgin will come the eternal word, s I saw you under the fig tree Elliot Cole Purum, qui valles et montes transiet altos. pure, which will cross valleys and high mountains. Ille volens etiam stellato missus Olympo, He, sent still willing from starry Olympus, I saw you under the fig tree. Edetur mundo pauper, qui cuncta silenti shall be given to the world a pauper, who shall rule all things Rexerit imperio: sic credo, et mente fatebor: with silent majesty: I believe and shall confess in my heart: Humano simul ac divino semine gnatus. from seed both human and divine he is born.

X. Sibylla Tiburtina Verax ipse Deus dedit haec mihi munia fandi, Truthful God himself gave these prophetic duties to me, Carmine quod sanctam potui monstrare puellam, so I could reveal in song the holy maiden Concipiet quae Nazareis in finibus, illum who will conceive in Nazarene lands him Quem sub carne Deum Bethlemitica rura videbunt. whom in flesh the lands of Bethlehem will see as God. O nimium felix, caelo dignissima mater, O exceedingly happy mother, most worthy of heaven, Quae tantam sacro lactabit ab ubere prolem. who will feed such a child at her holy breast.

XI. Sibylla Erythraea Cerno Dei natum, qui se demisit ab alto, I see one born of God, who sent himself down from on high, Ultima felices referent cum tempora soles: when joyous sunrises will bring the final days: Hebraea quem virgo feret de stirpe decora, the one whom the beautiful virgin will bear from Hebrew stock, In terris multum teneris passurus ab annis, on earth to suffer much from his tender years,

- 14 - - 15 - GALLICANTUS day. The membership of the group shares a wealth Universities, and in 2017 made its Carnegie Magazine, which noted that “the ensemble’s of experience in consort singing, and is bound by a Hall debut in New York. view is delivered with such intelligence and David Allsopp and Mark Chambers countertenors belief in the rhetorical power of great Renaissance rhetorical persuasiveness that the cumulative Nicholas Todd and Christopher Watson tenors music. Under the direction of Gabriel Crouch, Gallicantus has released five CDs on the Signum weight of their Byrd, in particular, is well- Gabriel Crouch baritone Gallicantus creates performances and recordings label, each garnering lavish praise. With nigh symphonic in effect.” The group’s fourth William Gaunt bass which explore narratives and draw out unifying “Hymns, Psalms and Lamentations”, dedicated CD - the remarkable Lagrime di San Pietro themes within their apparently diverse repertoire. to the music of Robert White, critics acclaimed by Lassus, cemented Gallicantus as one of “Everything Gallicantus touches seems to turn to Gallicantus has performed in many significant “impassioned, exciting music” (The Times), Europe’s foremost early music ensembles, gold” - Adrian Horsewood, Early Music Today venues and festivals in the UK (Wigmore Hall, whilst Gramophone Magazine declared: earning a second consecutive ‘Editor’s Choice’ Spitalfields Festival, York Early Music Festival, “What an outstanding disc... The opening of selection from Gramophone, as well as Literally meaning ‘rooster song’ or ‘cock crow’, Temple Winter Music Festival), as well as Germany, the Lamentations could stand as a kind of nomination for a coveted Gramophone Award in Gallicantus was a name used in monastic Austria (Trigonale Festival), Poland (Wroclaw illuminated initial at the beginning of a 2014. The group’s most recent release, ‘Queen antiquity for the office held just before dawn, Festival), Italy, and the low countries (Utrecht gorgeous manuscript, so transparent and Mary’s Big Belly’ (2017), garnered another which celebrated the renewal of life and offered Early Music Festival). In the USA the group luminous is it.” Their second recording “Dialogues ‘Editor’s Choice’ award from Early Music Today, a sense of gratitude and optimism for the coming holds regular residencies at Princeton and Yale of Sorrow - Passions on the Death of Prince for its ‘sumptuous music performed with Henry (1612)”, was described as “one of the supreme artistry… brilliant, both musicologically best choral releases of the year” by and artistically.’ TheArtsDesk.com, possessing “singing of clarity, suppleness and poignancy” (Daily Telegraph); whilst International Record Review proclaimed “...this is a well sung, intelligently produced and exhaustively researched project, which deserves great success.” The 2012 release “The Word Unspoken”, featuring music by William Byrd and Philippe de Monte was equally well received, with The Sunday Times saying “The intensity of the music is reflected in Gallicantus’s beautifully shaped performances”. It was named ‘Editor’s Choice’ in Gramophone © Susan Porter-Thomas

- 16 - - 17 - Produced with the generous assistance of Princeton University Council of Humanities David Gardner Magic Fund

Recorded in St Michaels Church, Highgate, London from 24th to 26th October 2016. Producer – Adrian Peacock Recording Engineer & Editor – Andrew Mellor Lassus editions by kind permission of Stephen Rice Cover Image – Royal Collection Trust / © HM Queen Elizabeth II 2017 Design and Artwork – Woven Design www.wovendesign.co.uk

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Lassus: Lagrime di San Pietro Queen Mary’s Big Belly The Tears of St Peter Hope for an heir in Catholic England Gallicantus Gallicantus SIGCD339 SIGCD128

“Gallicantus sing this cycle of sacred madrigals and its climactic “The performances are uniformly excellent … the Litany in motet with all the gravity and respect it requires as the major particular is beautifully sung, and is one of many moments which milestone in the development of art music that it was. Live, on make this imaginative, informatively annotated programme a rainy Sunday afternoon at the Wigmore Hall, it was one of the worth investigating.” BBC Music Magazine most profound musical experiences of my year; on disc it comes almost as close.” Gramophone, Best Recordings of 2014

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