ss CORO hilliard live CORO hilliard live 2

Producer: Antony Pitts Recording: Susan Thomas Editors: Susan Thomas and Marvin Ware Post-production: Chris Ekers and Dave Hunt New re-mastering: Raphael Mouterde (Floating Earth)

Translations of Busnois, Compère and Lupi by Selene Mills Cover image: from an intitial to The Nun's Priest's Tale (reversed) by Eric Gill, with thanks to the Goldmark Gallery, Uppingham: www.goldmarkart.com The Design: Andrew Giles David James countertenor Recorded by BBC Radio 3 in St Jude-on-the-Hill, Rogers Covey-Crump tenor Hampstead Garden Suburb and first broadcast on John Potter tenor 5 February 1997, the eve of the 500th anniversary Gordon Jones baritone of the death of . Previously released as Hilliard Live HL 1002 Bob Peck reader For Also available on coro: hilliard live 1 PÉROTIN and the ARS ANTIQUA cor16046 OCKEGHEM

2007 The Sixteen Productions Ltd © 2007 The Sixteen Productions Ltd N the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16048 The hilliard live series of recordings came about for various reasons. 1 and Gloria (Missa Mi mi) Ockeghem 7:10 At the time self-published recordings were a fairly new and increasingly 2 Cruel death.... Crétin 2:34 common phenomenon in popular music and we were keen to see if 3 In hydraulis Busnois 7:50 we could make the process work for us in the context of a series of public concerts. Perhaps the most important motive for this experiment 4 After this sweet harmony.... Crétin 1:30 was our desire to capture the atmosphere and excitement of concert 5 (Missa De plus en plus) Ockeghem 9:44 performances of some of our favourite repertoire. Performance rather 6 Then arose King David the psalmist.... Crétin 1:45 than recording is, after all, what music is about. There is the unavoidable risk that all will not be perfect; audience noise or human frailty on our 7 Omnium bonorum plena Compère 10:41 part may detract from the polished perfection that can be achieved with 8 Chiron the Centaur came up from Thessaly.... Crétin 2:41 a studio recording but such risks are part of our daily life of concert 9 () Ockeghem 7:17 giving and lend to the event an added degree of excitement and, we bl Then the very doleful Lady Music.... Crétin 3:43 hope, engagement with the audience. bm Ergone conticuit Lupi 7:52 We are happy to make this series of discs more widely available on CORO. bn I call him Doctor in the science of music.... Crétin 4:57 Gordon Jones bo Agnus Dei () Ockeghem 6:10 The Hilliard Ensemble on CORO: Total playing time 73:56 hilliard live 1 Pérotin and the Ars Antiqua Interspersed with the music are parts of Guillaume Crétin’s hilliard live 2 For Ockeghem Lament on the Death of the Late Ockeghem, Treasurer of Saint Martin of , in a specially commissioned translation coming soon: hilliard live 3 by Virginia Rounding, read by Bob Peck. hilliard live 4 Guillaume Dufay www.thesixteen.com The complete French text is printed at the end of this booklet. 2 3 OCKEGHEM and his of the day, Ockeghem was clearly held movement. In recent years, though, other admired in its composer’s time as, to in awe by other musicians, for whom, in references and quotations have added judge from its comparatively frequent contemporaries the words of Molinet’s famous lament new layers of significance to this enigmatic modern recordings and performances, it hen Johannes Ockeghem died on , he was ‘maistre et work. Gayle Kirkwood has proposed a is by Ockeghem aficionados today. bon père.’ While he composed in all highly suggestive symbolic significance for February 6, 1497, he was the revered (also known as Busnoys), W the genres of his day, he is best known the head motif in the musical treatises elder statesman of music. As Treasurer the composer most often mentioned for his settings of the of the of the great mystical theologian Jean of the Royal Abbey of Saint Martin in in the same breath as Ockeghem, could Mass. Movements from some of his most Gerson, whose works were almost Tours – one of the richest ecclesiastical even have been his pupil. Certainly famous Masses are showcased on this disc, certainly familiar to Ockeghem. The motif foundations in France – and Baron of Busnois felt some sense of filial devotion interleaved with musical tributes by his is also familiar from its place in the closely Châteauneuf, which covered a large part to Ockeghem, as witnessed by the contemporaries. Acknowledged in music related opening gestures of Ockeghem’s of the city of Tours, as well as the holder In hydraulis, the text of which compares by his contemporaries and successors, own motet Intemerata Dei mater and of a number of other lucrative benefices, the achievements of his admired Ockeghem had in his own music nodded his bergerette Presque transi, which, as he was also a senior figure in the hierarchy colleague with the supposed discovery respectfully at those who came before Haruyo Miyazaki showed some ten years of the French Court and a very wealthy of musical proportions by Pythagoras. him. In this recording, therefore, the ago, is the source for some of the main man. His passing elicited laments by some Some connection between the two Hilliard Ensemble opens a window not musical material of the Mass. of the great literary figures of the day: composers already seemed to be implied only onto the master himself, but onto the great Déploration of Crétin, poems But musical links with the Mass do not by the dedication to both of them of the the network of musical interconnections in both Latin and French by Molinet, the end here: three other Mi mi Masses—by Liber de natura et proprietate tonorum of which locate him in the soundworld of latter set to music by no lesser a figure Pipelare, De Orto and an anonymous , the greatest music his time. than Josquin Desprez and even a Latin composer—apparently pay tribute to theorist of the later fifteenth century, and naenia by , heard on this disc in Among the Masses named by Crétin Ockeghem’s Mass, while the bassus of its the frequent association of the two in a setting ascribed to Johannes Lupi. If the in his Déploration is the one with which Kyrie is reused in the same movement Tinctoris’ writings. language of these tributes is generally this performance begins, the Missa Mi of Obrecht’s Missa Sicut spina rosam. In recent years, though, evidence of that conventional, glimpses nevertheless come mi. The title of this, perhaps Ockeghem’s Listening to the Missa Mi mi today it is not connection has become much more through of genuine love and affection for best-known Mass, has encouraged various difficult to understand how it encouraged tangible. Paula Higgins and Pamela Starr a man who, in the words of Francesco explanations. The primary and most such a constellation of musical tributes: have discovered documents which prove Florio penned after meeting him in Tours obvious one is that it derives from the with its elegant, constantly undulating that Busnois was employed as a cleric in in the 1470s, ‘alone of all singers is free falling fifth motif E-A (‘mi’ in the natural surface and subtle response to the words Tours where Ockeghem was working as from all vice and abounds in all virtues.’ and soft hexachords respectively) heard of the Mass Ordinary, it was clearly as Treasurer of the Abbey of Saint Martin Respected by the great princes and poets in the bass at the beginning of each 4 5 from at least 1460. In hydraulis evidently work of that name ascribed to Ockeghem difficult not to perceive the preening of only musical acknowledgment of his grew out of their contact at this time: its in Crétin’s Déploration. As she noted, a young peacock out to impress both his admired older colleague: the Mass De plus text names the composer as ‘unworthy this lends support to the suggestion more established colleague and the highly en plus, based on the tenor of Binchois’ musician of the illustrious Count of made by other scholars that Ut heremita musical and similarly irascible magnate rondeau of the same name, is (with the Charolais’, the title held by Charles may have been a return compliment by who had recently hired him, the future possible exception of the Missa Au travail the Bold before he became Duke of Ockeghem to Busnois, whose patron Charles the Bold. suis) the only -derived Mass by Burgundy in 1467. Clearly, then, the motet saint, St Anthony Abbot, was one of the Ockeghem based on a song which is Esteemed by his younger colleagues, must antedate this time, and Higgins has great saint-hermits. not one of the composer’s own. As can Ockeghem had in his turn acknowledged been able to narrow down the date of be heard here in the Credo, the Mass is Clearly the reverence felt by Busnois his own debts to his musical forebears. its composition still further, to between typical of cycles composed in the 1450s for Ockeghem was not replicated in his The most important of these seems to 1465 and 1467. This is therefore the only and 1460s in contrasting lively – in this relationships with all his colleagues in have been that which he felt towards the securely datable piece by Busnois, and an case sometimes highly virtuoso – duo Tours: a document of 1461 records his great composer of the Burgundian Court, almost uniquely demonstrable example passages with fully-scored passages in request for absolution from the crime of Gilles de Binche, dit Binchois. Ockeghem’s of a musical tribute from one major which rhythm and broaden having celebrated Mass and Office while lament on the older composer’s death in composer to another to have grown out into a pace which is at once grander excommunicated, a sentence he incurred 1460, Mort, tu as navré de ton dart, surely directly out of documented contact and more relaxed. But the Mass already for beating up a priest in the Cathedral one of the most heartfelt and moving between the two. points towards later developments in cloisters and arranging for him to be laments ever composed, may, as in the its often quite emotive response to the Documentary evidence of this contact beaten by others ‘until his blood flowed.’ case of Busnois’ tribute to him, betoken text: the ‘Et incarnatus’ must rank as is backed up by a web of musical It may not be too fanciful to detect hints a master-pupil relationship between the one of the most moving settings of interconnections between works by of a highly-strung and temperamental two. But whether or not their relationship these words in Ockeghem’s oeuvre, while the two composers. Scholars have young man in In hydraulis: with its was one of formal instruction, it is clear ‘passus et sepultus est’ and ‘Et ascendit’ drawn attention to musical relationships powerful rhythmic twists and quirky shifts that Ockeghem looked up to Binchois suitably receive contrasting plangent and between their respective L’homme armé of emotional register there is certainly as his musical mentor, just as, on his optimistic treatments. Masses, while Higgins has pointed out no denying that this is a flamboyant own death, a similar sense of debt felt musical similarities linking a number of and extrovert work, and in its virtuoso towards Ockeghem by his younger With Compère’s Omnium bonorum their . More suggestive still is displays (listen to the imitated sequence contemporaries would be acknowledged plena we encounter a work in which her observation of musical relationships in suddenly much faster note-values in the list of composers named in the the notion of mutual acknowledgment between In hydraulis and the Ut heremita which illustrates the word ‘hemioliam’ Molinet/Josquin Nymphes des bois. between composers is expanded out into solus which has been identified with the (hemiola) in part I of the motet) it is an evocation of musical community. The But Mort, tu as navré is not Ockeghem’s

6 7 motet sets an intercessory prayer begging Caput, whose Sanctus is performed on English work: it takes over its complete as a real novelty. While these three the Virgin to intercede in heaven for the this disc, is a much more overt expression rhythmic profile. The borrowing is voices sometimes indulge in imitation, souls of the celebrated musicians of the of respect for an earlier work. This cycle particularly obvious in the Gloria, they much more typically interweave in a day, who are named in the text. First is modelled directly on the anonymous Credo and Sanctus, in each of which constantly shifting play of ideas in which among these is Dufay, but Ockeghem English Caput Mass which used to be Ockeghem faithfully copies the rhythm now one voice, now another, comes into and Busnois, along with Tinctoris, Molinet thought to be by Dufay. While we know and construction of his model, laying out prominence before being subsumed again and others, join their colleagues in the little for certain concerning the chronology the melody twice, once in triple and once into the intricately-woven texture. procession of suppliants. In a punning of Ockeghem’s Masses, scholars agree in duple metre, and dividing it up exactly Erasmus of Rotterdam’s ‘Joanni Okego reference to the opening of the text, that the Missa Caput must be one of the as in the earlier cycle. But Ockeghem’s musico summo epitaphium’ appeared the motet takes its tenor first if not the earliest. The cycle is based Mass is no slavish copy. In the best late about a decade after its dedicatee's death. from Hayne van Ghizeghem’s celebrated on a long melisma on the work ‘Caput’ medieval tradition, it offers a ‘gloss’, or No other musician was so honoured, or song De tous biens plaine, which emerges (or ‘head’ in Latin) drawn from a chant commentary, both on the earlier Mass indeed even acknowledged, anywhere fleetingly through the musical texture, used as part of a special ritual service for and, in turn, on its structural melody. else in Erasmus’s huge output. What particularly in the motet’s first part. But the washing of the feet held on Maundy The most obvious change is in the motivated him to write this humanistic listening to the motet the musical voice Thursday in the English Sarum and other positioning of the ‘Caput’ melody: while text is unknown, though it seems which comes through most forcefully liturgical uses. Fabrice Fitch has plausibly the anonymous composer had placed this, reasonable to suppose he must have alongside the composer’s own is that of suggested that Ockeghem’s Mass may conventionally, in the tenor, Ockeghem been acquainted with the composer. Busnois: hearing the sometimes obsessive- date from the beginning of his long period plunges it down an octave into the bass The identity of the composer of the sounding sequences and wayward of service for the French Royal Chapel, range. English idioms, as in duos, where setting performed on this disc remains a mensural shifts of this motet it is difficult where the ceremony of the washing of simultaneous rests punctuate the flow of mystery, however: although it is ascribed not to be reminded of the sounds of In the feet was an established ritual. The the from time to time (as in in its single source, a set of partbooks hydraulis, heard two tracks earlier; and it Mass could well have been composed for the Benedictus), combine with features published by Susato in 1547, to ‘Io. Lupi’, may be no accident that the two works such a ceremony around the time, in the more typical of the mature Ockeghem: scholars have seriously doubted that it are copied side by side in the Trent early 1450s, when he was hired there. for example, while the anonymous cycle, could have been composed by the one Codex 91, one of the major sources of like most early Masses in four voices, To judge from Ockeghem’s response, his ‘Johannes Lupi’ known to have been the 1460s and 70s. pits a slow-moving lower pair of voices encounter with the anonymous English a composer. This man, a choirboy at against a brisker upper pair, Ockeghem’s If Ockeghem’s Missa De plus en plus Mass must have had a powerful effect Cathedral until 1521, was not texture, with the three upper voices constitutes a respectful nod in the on him. His Mass borrows not only its born until around 1506, nearly ten years sharing roughly the same rhythmic profile, direction of an older composer, his Missa structural melody from the anonymous after Ockeghem’s death. Thus quite apart must have struck contemporary listeners

8 9 from the incongruity of style between ‘expression’. Indeed Prenez sur moy and TEXTS and TRANSLATIONS this piece and works ascribed more parts of Cuiusvis toni were for many years reliably to Lupi, it is difficult to see why a the only works by Ockeghem available 1 composer of his generation would have in transcription (and the former only in Kyrie (Missa Mi mi) Johannes Ockeghem set a lament to a composer long since very garbled versions). Yet although the Kyrie, eleison. Lord, have mercy. dead. The work may be by another of Missa Prolationum is based almost entirely Christe, eleison. Christ, have mercy. the various composers with lupine names, on complex double canons, with each Kyrie, eleison. Lord, have mercy. conceivably even Lupus Hellinck, though of the four voices moving in a different this composer was not born until 1494. mensuration, it is most striking aurally for Gloria (Missa Mi mi) Johannes Ockeghem Edward Lowinsky suggested on stylistic its serene and placid beauty. Indeed, to grounds that Ergone conticuit could be pick out the canons simply on listening Gloria in exclesis Deo Glory to God in the highest et in terra pax and on earth peace by the ‘Lupus’ whose Esto nobis, Domine to the Mass is not an easy task, though hominibus bonae voluntatis. to men of good will. survives in the Medici Codex of 1518, rather more straightforward in the first Laudamus te, benedicimus te, We praise you, we bless you, conceivably though not necessarily the and third invocations of the Agnus Dei, adoramus te, glorificamus te, we worship you, we glorify you, same man as Hellinck. where the canonic voices move at the gratias agimus tibi we give you thanks same pace, than in most of the remainder With the final piece in this programme, the propter magnam gloriam tuam. for your great glory. of the work. It is probably fair to say Domine Deus, Rex caelestis, Agnus Dei from the Missa Prolationum, Lord God, heavenly King, that it is this distinction between written Deus Pater omnipotens. almighty God and Father. the Hilliard Ensemble turn to a piece complexity and aural beauty that explains Domine Fili unigenite, Iesu Christe. Lord Jesus Christ, only Son of the Father, which, along with the Missa Cuiusvis why, at last, Ockeghem has emerged from Domine Deus, Agnus Dei, Filius Patris, Lord God, Lamb of God, Son of the Father, toni and the canonic chanson Prenez the shadows to the appreciation of a qui tollis peccata mundi, you take away the sin of the world: sur moy, was to shape Ockeghem’s growing modern audience. As he comes miserere nobis; have mercy upon us; posthumous reputation until well into increasingly to life in sound rather than qui tollis peccata mundi, you take away the sin of the world: the twentieth century. Seized on for their suscipe deprecationem nostram. receive our prayer. simply on paper, we can perhaps begin didactic potential by sixteenth-century Qui sedes ad dexteram Patris, You are seated at the right hand of the to retrieve something of that quality theorists, these works were to stamp miserere nobis. Father, have mercy upon us. which, half a millennium ago, made him the composer from his revival in the late Quoniam tu solus Sanctus, For you alone are Holy, the musical ‘maistre et bon père’ of a eighteenth century as the quintessential tu solus Dominus, you alone are the Lord, generation. ‘gothic’ notespinner, more interested tu solus Altissimus, Iesu Christe. you alone are the Most High, Jesus Christ, Cum Sancto Spiritu in contrapuntal puzzles than in musical Andrew Kirkman With the Holy Spirit in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

10 11 2 Cruel death... Guillaume Crétin 5 Credo (Missa De plus en plus) Johannes Ockeghem Credo in unum Deum, We believe in one God, the Father, Patrem omnipotentem, factorem the Almighty, maker of heaven and earth, 3 In hydraulis Antoine Busnois caeli et terrae, visibilium omnium et of all that is, seen and unseen. We believe invisibilium. Et in unum Dominum in one Lord, Jesus Christ, the only Son In hydraulis quondam Pithagora Long ago Pythagoras, marvelling at the tunes Iesum Christum, Filium Dei unigenitum, of God, eternally begotten of the Father, admirante melos phtongitate made by water-organs and the different notes et ex Patre natum ante omnia saecula. God from God, Light of Light, true God malleorum secutus aequora made by hammers through the difference in Deum de Deo, lumen de lumine, from true God, begotten, not made, of per ponderum inequalitates their weights, being identical in other respects, Deum verum de Deo vero, genitum, one Being with the Father. Through him adinvenit muse quidditates. discovered their essential musical qualities. non factum, consubstantialem Patri: all things were made. For us men and Epitretum ast hemiolam epogdoum; An interval of a fifth has a frequency half as per quem omnia facta sunt. for our salvation he came down from duplam nam perducunt tessaron large again as that of the root; Qui propter nos homines, et propter heaven: by the power of the Holy Spirit penthe convenientiam a fourth joined to a fifth has a frequency nostram salutem descendit de caelis. he became incarnate from the Virgin nec non phtongum twice as large as that of the root, Et incarnatus est de Spirito Sancto Mary, and was made man. For our sake et pason adducunt and produces the sound of an octave, ex Maria Virgine, et homo factus he was crucified under Pontius Pilate; he monocordi dum genus conducunt. as types of monochord demonstrate. est. Crucifixus etiam pro nobis sub suffered death and was buried. On the Pontio Pilato; passus et sepultus est, third day he rose again in accordance Hec OCKEGHEM cunctis qui precinis Ockeghem, you who out-sing et resurrexit tertia die, secundum with the Scriptures; he ascended into Galliarum in regis latia everyone in the wide kingdom of the French; Scripturas, et ascendit in caelum, heaven and is seated on the right hand practiculum tue propaginis once, in my own country, I saw the sedet ad dexteram Patris. Et iterum of the Father. He will come again in glory arma cernens quondam per atria instruments of the preservation of your skill, venturus est cum gloria, iudicare vivos to judge the living and the dead, and his Burgundie ducis in patria throughout the halls of the Duke of Burgundy. et mortuos, cuius regni non erit finis. kingdom will have no end. We believe in Et in Spiritum Sanctum, Dominum the Holy Spirit, the Lord, the giver of life, Per me, Busnois, illustris comitis de Through me, Busnois, unworthy musician of et vivificantem; qui ex Patre Filioque who proceeds from the Father and the Charolois indignum musicum the illustrious Count of Charolais, procedit. Qui cum Patre et Filio Son. With the Father and the Son he is saluteris tuis pro meritis may you be greeted for your own merits, simul adoratur et conglorificatur: qui worshipped and glorified. He has spoken tamquam summum Cephas tropidicum as a veritable Cephas of troping. locutus est per prophetas. Et unam, through the Prophets. We believe in vale verum instar Orpheicum. Hail, true image of Orpheus. sanctam, catholicam et apostolicam one holy catholic and apostolic Church. Ecclesiam. Confiteor unum baptisma in We acknowledge one baptism for the remissionem peccatorum. Et exspecto forgiveness of sins. We look for the 4 After this sweet harmony.... resurrectionem mortuorum,et vitam resurrection of the dead, and the life of venturi saeculi. Amen. the world to come. Amen.

12 13 6 Then arose King David the psalmist.... est atque preces fundare and to pour out prayers pro miseris peccantibus for wretched sinners a Deo recedentibus retreating from God; 7 Omnium bonorum plena Loyset Compère funde preces ad filium utter prayers to the Son pro salute canentium. for the health of singers. Omnium bonorum plena Filled with all good things, Et primo pro GUILLAUME DUFAY And first of all for Guillaume Dufay virgo parensque serena, serene virgin and mother, proque me mater exaudi, (and for me too, Mother) hear me, quae sedes super sidera, you who sit above the stars, luna totius musicae, the moon of all music, pulchra prudensque decora, beautiful, wise and noble, atque cantorum lumine. and the light of singers. assistens a dextris patris, sitting at the right hand of the Father, caeli terrae plasmatoris the creator of the heavens and the earth, Pro JOHANNEM DUSART, BUSNOYS, For Johannes Dusart, Busnois, in vestitu deaurato adorned in a garment CARON, magistris cantilenarum, Caron, for the teachers of singers, nullitus manu formato. made by no hand. GEORGES DE BRELLES, TINCTORIS Georges de Brelles, Tinctoris, Nullus tibi comparari No one can be compared with you, cimbali tui honoris, in honour of your cymbals, potest certe nex aequari, nor indeed match you, ac OCKEGHEM, DESPREZ, CORBET, and Ockeghem, Desprez, Corbet, cui voce angelica to whom the angelic voice said HEMART, FAUGES, et MOLINET Hemart, Fauges, and Molinet dictum est Ave Maria. “Hail, Mary”. atque REGIS omnibusque canentibus and the King, and for all singers together, simul et me and for me, Turbata parum fuisti You were scarcely disturbed, LOYSET COMPERE orante Loyset Compère, who honestly sed consulta respondisti, but having been questioned you replied, pro magistris puramente make this prayer for my teachers Ecce ancilla Domini “Behold the handmaid of the Lord; quorum memor virgo vale whose memory prevails, O Virgin, sicut refers fiat mihi. let it be to me according to thy will.” semper Gabrielis Ave. Amen. for ever, like Gabriel’s “Hail”. Amen. Dulcis fuit responsio Sweet was that reply datis celesti nuntio, which you gave to the heavenly messenger, per quam statim concepisti through whom at once you conceived natum Dei et portasti the Son of God, and carried him, 8 Chiron the Centaur came up from Thessaly..... illum nec non peperisti and also gave birth to him; et post partum permansisti and after giving birth you remained virgo pura et nitida, a pure and glowing virgin, 9 Sanctus (Missa Caput) Johannes Ockeghem virgoque immaculata. a spotless virgin. Sanctus, Sanctus, Sanctus Holy, Holy, Holy Omnium bonorum plena Filled with all good things, Dominus Deus Sabaoth. Lord, God of Sabaoth, peccatorum medicina, cure of sinners, PIeni sunt caeli et terra gloria tua. heaven and earth are full of your glory. cuius proprium orare to whom it is proper to pray Hosanna in excelsis. Hosanna in the highest. 14 15 Benedictus qui venit in nomine Blessed is he who comes in the name bn I call him Doctor in the science of music.... Domini. of the Lord. Hosanna in excelsis. Hosanna in the highest. bo Agnus Dei (Missa Prolationum) Johannes Ockeghem bl Then the very doleful Lady Music.... Agnus Dei, qui tollis peccata mundi: Lamb of God, you take away the sins of the miserere nobis. world: have mercy on us. bm Ergone conticuit Lupi Agnus Dei, qui tollis peccata mundi: Lamb of God, you take away the sins of the miserere nobis. world: have mercy on us. Ergone conticuit vox illa So has that voice, once noble, fallen silent, quondam nobilis, aurea vox Okegi? the golden voice of Ockeghem? Agnus Dei, qui tollis peccata mundi: Lamb of God, you take away the sins of the Sic musicae extinctum decus? Is the glory of music thus extinguished? dona nobis pacem. world: grant us peace. Dic age, Speak out then, Apollo, dic fidibus tristes Appollo naenias. sing to the faithful your sad dirges. Tu quoque, Calliope And you, Calliope, Déploration de Guillaume Crétin sur le trespas de feu pullata cum sororibus, dressed in mourning black with your sisters, funde pias lachrymas; pour forth pious tears; Okergan Trésorier de Sainct-Martin de Tours lugete, quotquot mourn, as many of you Chargie de deuil par desmesuré faix, Par grant courroux me mys plat estendu, musicae dulce rapit studium as are seized by the sweet study of music, Considérant les très dangereux faitz, Où je receuz d’ennuy si lourde somme, virumque ferte laudibus. and bring your praises to this man. Et grans assaulx des déesses fatalles Que fuz contrainct dormir et prendre somme. Artis Appollineae sacer The high priest of the art of Apollo, Du genre humain ennemyes capitalles, ille foenix occidit. that phoenix is dead. Et mesmement de la fière Atropos, En ce dormir pour repos j’euz mesaise, Qui frappe, fiert, et rue à tous propos L’homme dormant ne sera jamais ayse, Quid facis, invida mors? What have you done, hateful death? Sur Papes, Roys, Empereurs, Ducs et Contes, Se du travail dont il aura veilIé, Obmutuit vox aurea Okegi The golden voice of Ockeghem resounding Pensant aussi qu’elle met en ses comptes En son dormir se treuve travaillé, per sacra tecta sonans. through the sacred buildings has become dumb. Tant Clercs que Layez, tant Nobles que Villains, Mais néantmoins souvent advient nouvelle Demulsit aures caelitum It honeyed the ears of dwellers of Tant grans Prélatz, que paovres Chapellains. Sur jour, que après Ia nuict se renouvelle. terrigenumque simul heaven and earth at the same time, and Foible, estonné, lasche, remis, et las Ainsi m’advint, car à ung seul moment penitusque movit pectora. moved our hearts in their inmost part. Pour le récit plain d’immortelz hélas Feuz transporté devant le monument Quid facis, invida mors? What have you done, hateful death? Du cas fatal n’aguères auvenu, Du bon Seigneur que franchement amoye, Sat erat tibi promiscue It was enough for you indiscriminately D’angoisseuIx deuil me veiz circonvenu, Don à présent mon cueur pleure et larmoye; tollere res hominum; to carry away mortal things; Posé que avant eusse congneu gens mains Nommer le fault, mais se pourra il faire? Divina res est musica; music is a divine thing; Payant Ie deu et tribut des humains; Possible n’est sans premier satisfaire numina cur violas? why do you outrage the gods? Lors sur ung lict du dur travail tendu, Et contenter le debvoir de nature. 16 17 Le pas cruel qui vivans desnature, Servy de cueur au doigt et à l’œil, si que De piteux son luy en donnast quelc’un. A lamenter ce Trésorier notable, L’a prins, ravy, et saisy en ses Iacz; On l’appelloit la perle de musique. Que mort a huy convoyé à sa table; Alors Tubal le bon père ancien, Il est donc mort? c’est mon; mais qui? hélas! Puis que aultrement n’y peult remédier. La Dame adonc regardant çà et là, Qu’on dict et tient premier musicien, C’est Okergan Ie vaillant Trésorier C’est ung edict qui n’est faict d’huy ne d’hier, Fainct son parIer pour le grand dueil qu’elle ha, Qui sur marteaux trouva sons et accordz, De Sainct-Martin, qui eust grant trésor hier, Quand l’heure vient force est expedier Puis en l’instant la compaignie assemble, Ses orgues print, se joigneit près du corps, Et huy n’a riens, fors le mérite seul Le partement qui est fort lamentable Et instrumentz faict accorder ensemble; Et à voix saincte, avec son instrument, Que ores emporte avecques un linceul. En chant de pleur. Ce présent dict profera proprement. Harpes et lucz , orgues, psaltérions, En ung vergier peuplé de beau cyprès, Dieu le sçaura très bien stipendier, Musettes, cors et manicordions, Que Zéphirus avoit planté cy près TUBAL. RONDEAU. Car en son temps s’est voulu desdier Fleutes, flajolz, cymbales bien sonantes Avec sa sœur Flora très favorable, C’est Okergan qu’on doibt plorer et plaindre, A faire chant devot et délectable Parmy les voix d’organnes résonantes. Estoit Ie corps du Seigneur vénérable; C’est luy qui bien sceut choisir et attaindre Pour esviter le gouffre espoventable, Mais Borréas en faulchant Ia verdure, Ung Libera en doulx chant et piteux Tous les secretz de la subtilité Dieu ne le veult des cieulx repudier Feist tout couvrir de noire couverture. Fut si bjen dit, que l’homme despiteux Du nouveau chant par sa subtilité, En chant de pleur. Tant dur soit-il, eust par compassion Sans ung seul poinct de ses reigles enfraindre Les grans soupirs et chauldes larmes d’œiI, L’ACTEUR. Plongé son cueur en dueil et passion; Trente-six voix noter, escripre, et paindre Se feirent lors par si extrème dueil, Tous les présens tendrement souspiroient En ung motet; est-ce pas pour complaindre Puis Orpheus en chant armonieux, Que oncques de Roy, ou de Pape de Romme Très fondamment, et ensemble ploroient, Celluy trouvant telle novalité? Sans soy monstrer fort cérimonieux, N’ouy parler avoir veu tant plaindre homme C’est Okergan. De cueur rassis et honneste vouloir Comme remplyz d’excessive douleur; Calioppe et toutes les neuf Muses Sa harpe print, et pour plus fort douloir, Arbres et fleurs en changèrent couleur, Musiciens se doibvent huy contraindre, Sonnèrent cors, flutes, et cornemuses Et le deuil veoir en augmentation, Petits oyseaux en muèrent leurs chantz, Et en grandz pleurs leurs cueurs baigner et taindre, Par chantz piteux á l’entour du cercueil. Se dictie faict de lamentation. Les préaux verdz en devindrent seichans. En le voyant ainsi mort allité, Musique aussi, en luy faisant recueil, Disantz; son nom par immortalité ORPHEUS. RONDEAU. Musique après ceste doulce armonye, Vint au devant, qui de coste un viel arbre. A tousjours doibt demourer sans extaindre; Musiciens pensez de lamenter, Feit ordonner pour la cérimonie, Feist entailler son sépulchre de marbre, C’est Okergan. Dueil angoisseux debvez en l’ame enter, Torches, flambeaux, sumptueux luminaire, Auquel il feust tantost mis et posé, Et vous monstrer par tristesse remis, Manteaux de deuil, l’armoirie ordinaire, L’ACTEUR. Quant c’eust esté pour son propre espouse Quand vous voyez celluy à terre mys Donner pour Dieu, accomplir vœuz, promesses, Lors se leva David Royal psalmiste, Plus n’en eust sceu faire qu’elle faisoit. Qui de vostre art a sçeu parlamenter. Chanter psaultiers, vigiles, et prou messes, Des Muses droit servant commensalmiste, En complaignant aux assistans disoit Tant en effect selon ordre et raison, Qui promptement a sa harpe accordée, Voz cueurs debvez en courroux tourmenter, Cueurs adveillez en tristesse confitz, Qu’il appartient à homme de maison. Et sans avoir sa leçon recordée, Et de regretz vos ennuys augmenter, Approchez vous, venez plorer mon filz, En soy monstrant soubdain et prinsaultier, Car huy perdez la fleur de vos amys Ce faict pria tous les Musiciens Plorez celluy qui tant a decoré Ces motz chanta en tenant son psaultier. Musiciens. Qui furent là, mesmes les anciens, Mon bruyt et lotz que par luy encor ay Que sur le corps, par manière de laiz DAVID. RONDEAU. De chantz plaisans ne fault plus guermenter, Chapeau flory de bonne renommée. Feissent dictez, rondeaux et virelaiz En chant de pleur doibt bien psalmodier Mais en douleurs vous experimenter, Plorez celluy qui m’a tousjours aymée En complaignant son filz, et que chascun Tout bien esprit, et bien estudier Ainsi que gens de tous plaisirs remis, 18 19 Tristes, perplex, pesans, et endormis, Pareillement Pan, le Dieu d’ Arcadie Non congoissant qu’eusse du dueil ma part, Affin d’avoir tous les faictz honnorez A plaintz et pleurs se fault tous presenter. Lors s’esforça et mit son estudie Pour ce qu’estions dessoubs ung arbre à part. Du bon Seigneur, qui tant a decorez Musiciens. A suader pastours et pastourelles Hastivement me feit venir vers elle, Et embelliz les livres de musique, Abandonner loges, brebis, tourelles, Et quant congneut mon couraige et bon zèle. Et de sa main nous en sont demourez L’ACTEUR. Pour regretter ce pillier de musique. Me commanda estre prest et pourveu D’ouvraige exquis, si très bien labourez, Chiron Centaure es montz de Thessalie Et promptement feit ung dict héroïque, D’enregistrer tout ce que j’avoye veu. Qui semble ouyr ung droict chant angélique. Laisse Achilles, prent sa harpe et sa lye, Que sur le corps luy et ses gens chantèrent. Aux assistens fort contristez du cas, Oultre me dict et chargea par exprès, Hé! Chastelain et Maistre Alain Chartier De voix tremblant resonnant ung peu cas, Puis Arion que les daulphins portèrent De publier et dire loing et près Où estes-vous? Il me fust bien mestier Piteusement la matière poursuyt, Dont evada le péril de la mer, Aux chantres tous sa doctrine ensuyvans, A voir de vous quelque bonne leçon; Et en plorant dit le mot qui s’ensuyt. En son jeu dict que moult faict à blasmer Que du défunct tant que seroient vivans, Simon Greban, qui feustes du mestier, Quiconques est amy de la science, En leur façon et composition, Que n’avez-vous laissé pour héritier CHIRON. RONDEAU. Et là ne vient pour veoir la pacience Feissent tousjours commémoration. Ung Meschinot, ung Milet, ung Nesson, Plorer le fault ce bon chantre tant saige, De musique ore ainsi fort désolée. En ce disant par ung cry qu’el ouyt, Pour hault louer le mélodieux son, Qui par escript a touché maintz passaiges, La personne est en son dueil consolée, Soubdainement du lieu s’esvanouyt, La voix, le chant, et subtille façon Et si très-bien de la gorge a passé. Quant aucun voit qui compaigner la vueille, Elle et ses gens feirent ung si grand sault, De ce vaillant renommé Trésorier ? Hélas! enfans, or est-il trespassé, Ung cueur dolent quiert qu’ung aultre se dueille. Que de frayeur m’esveillay en sursault. Hélas! faut-il qu’ainsi nous le laisson? Trop importun nous en est le messaige. Son dict finy, tous instrumentz cessèrent, O dur réveil, piteux à réciter! La raison veult que mémoire en façon, Tant beau, tant net de corps et de visaige. Et sur ce poinct les chantres commencèrent. Comment pourray sans me necessiter Mais ad ce suis trop inutile ouvrier. Fut en son temps, et jamais n’eust usaige Là du Fay, le bon homme survint, En ce papier coucher dictz ne escriptz? Sus Molinet; dormez vous, ou resvez ? De consentir ung fait mal compassé. Bunoys aussi, et aultres plus de vingt, Veu que ne puis cueur ne bouche inciter, Vos sens sont-ils si pressez ou grevez, Plorer le fault. Fede, Binchois, Barbingant et Doustable Langue ne voix esmouvoir, n’exciter Que ne povez prendre papier et plume? A prononcer fors pleurs, plaintes et cryz. C’est grand meschef quant ung tel personnage Pasquin, Lannoy, Barizon très-notable: A quoi tient-il que aujourd’huy n’estrivez Avant cent ans accompliz perd son aage, Copin, Regis, Gille Joye et Constant. A peine scay si je liz ou escriptz, Contre la mort, et soubdain n’escripvez Et qu’on le voit entre les vers tâssé; Maint homme fut auprès d’eulx escoutant, Plaisir m’est dueil, plus me sont pleurs que riz, De Okergan quelque petit volume? Car bon faisoit ouyr telle armonye, Son esperit est lassus in pace, Mon corps se voit à la terre citer ; Ardent désir ad ce mon cœur allume, Aussi estoit la bende bien fournye. Mais quoi! le corps pourrit qui est dommaige, Je suis perplex; en l’affaire qu’ay pris Mais mon gros sens dur comme fer d’anclume, Plorer le fault. Lors se chanta la messe de My My Besoing me fust que aultre acteur mieulx apris Napproche en riens le don que vous avez; Vint à présent mon sens ressusciter. L’ACTEUR. Au travail suis, et Cujus vis toni, Si toutesfois quelque chose en resume. La messe aussi exquise et très parfaicte Escusez moy si de tant je présume, Dame Sapho de Pan belle amoureuse, Que n’euz je lors l’éloquence de Tulle, De par ledict déffunct faicte; Ou de Virgile, ou ceulx qu’on intitulle Affection m’esmeut, vous le scavez. Contre Atropos austère et rigoureuse, Hame en la fin dict avecques son lucz Grands orateurs et poëtes laurez; Considérez qu’avez art et praticque, Feit et chanta ung dictie plain d’argus Ce motet, Ut heremita solus; Boëce où est-il? qui ne me congratulle; Et veu aussi que Dame Rhétorique Mercure aussi qui endormit Argus Que chascunt tint une chose excellente. Là se trouva sans gueres demourer, Où est Properce et Tiburce ou Catulle, En tous voz faictz vous porte et favorise, Pour le deffunct de son jeu honnorer. Musique, lors la Dame très-dolente, Pour recueillir tous leurs escriptz dorez, Plustot de luy deussiez faire cantique, 20 21 Que moy qui suis en élégance étique, Il a vescu si très honnestement, Jamais ne fut ingrat de son sçavoir, Chantres plorez ce notable seigneur, Et en sçavoir qui la main auctorise. Et haultement son estat maintenu, Pour le sçavoir ay largement tesmoings, En visitant ses doulx chantz angélicques; Riens n’a gasté par fol gouvernement, De bien chanter a faict son plain devoir, Il a esté de vertu enseigneur, Si j’ay failly d’avoir la charge prise, On voit comment son œuvre et bastiment De son avoir a bien voulu pourveoir. L’appuy, l’apport, le seul pillier d’honneur, Et que a bon droict on me blasme ou mesprise, A proprement et bien entretenu; Luy vif pour voir a vuidé ses mains, Et clayr myrouer des Ecclésiastiques, Pour mon escript rural et mécanicque; Maint paovre nud a vestu, soustenu, A ses germains indigens et humains, Le vray guydon de tous bons Catholicques, Si ne debvez pourtant lascher l’emprise Nourry, tenu à sa propre despense, L’ung plus, l’ung moins, tous ses biens a fait prendre, Des simples gens familier exemplaire, De l’exaulcer, car il vault qu’on le prise, Pour Dieu a faict beaucoup plus qu’on ne pense. C’est ung nota que chascun doit appprendre. Plaisant à tous, à Jésus puist il plaire. Et bien digne est d’estre mys en cronicque. Humble aux petiz, aux grandz se monstroit grant, A demonstrer qu’on doibt fort detester Agricolla, Verbonnet, Prioris, O! Sainct Gelays, révérend orateur, Honneur querant sans vaine ambition, La lascheté des faulx exécuteurs, Josquin Desprez, Gaspar, Brunel, Compère Besoing seroit que feussiez or’acteur Et qu’il soit vray, son loz m’en est garant, Vous qui vivez prenez de bien tester, Ne parlez plus de joyeux chantz ne ris, De quelque lay pour adoulcir mes plaingz, Au demourant son cueur fut labourant, Et encontre eulx devant Dieu protester, Mais composez ung Ne recorderis, En ce ne vueil vous estre adulateur, Vertus querant; par augmentation Car qu’ilz seront voz grans persécuteurs Pour lamenter nostre maistre et bon père. Mais tant vous tiens de vertus zélateur D’affection mainte fondation Lors qu’ilz devroyent estre soliciteurs, Prevost, Ver Just, tant que Piscis Prospère Que aurez pitié de celluy que je plaingz. Fonda si on en veult estre recordz; De vostre fait, ilz suyvront leur affaire; Prenez Fresveau pour vos chantz accorder, De vos escripz les livres sont tous pleins, Ung bien pour l’ame en vault bien cent au corps. Qui veult donner soy mesme le doibt faire. La perte est grande et digne à recorder. Votre bon bruict volle par champs et plains, Par quarante ans et plus il a servy Ainsi l’a faict et bien s’en est trouvé, He maistre Everard vous estes successeur Chascun le scait, de ce ne suis menteur; Sans quelque ennuy en sa charge et office; Comme j’entens et croy certainement, D’ung excellent Docteur, bien le sçavez, Hélas! Seigneur, recueillez mes complains, De trois Roys a tant l’amour desservy, Ses bienfaits l’ont de tout péché lavé, Je vous requier, quant serez possesseur, Ne tenez pas mon dict assez ample, ains Que aux biens le vis appeller au convoy, Et Sainct Martin de perdre l’a saulvé, Faictes bastir orgues de grant doulceur, Plaignez la mort de ce vaillant Docteur. Mais assouvy estoit d’ung bénéfice; Qu’il a requis et servy loyaulement; Il m’est advis que faire le debvez; Docteur le puis nommer en la science, Quant aux service et divin sacrifice De tous ses layz il a fait le payment Et tous les jours, si l’aisement avez, Et prens tesmoings tous musiciens, se Sans aulcun vice eut cueur fervent et plain, Sans en charger ne parent, ne affin; Quelque motet sonnez qui à Dieu plaise Jamais en fut ung aultre plus parfaict, A droict nommé le premier chappellain. La bonne vie attraict la bonne fin. Pour le deffunct, il en sera bien aise. Pour en juger en saine conscience, Gens du Clergé et Collège notable, Seigneurs de Tours et peuple regrettez Enfans de cueur ne faictes plus leçons Mortz et vivans prendront en pacience Chant lamentable en Cueur et en Chapitre Celluy qu’on doibt plus plaindre que ne dys, De fleuretiz, mais note contre note Tous exceda et par dictz et par faict. Faire debvez pour cest homme louable, En son vivant vous a si bien traictez, Sur Requiem en doulcettes façons, En son vivant a maint ouvraige faict Tant amyable humain, doux, et traictable Soyez devotz, enclins, et apprestez Puis accordez voz chantz et piteux sons, En style hault, où n’a riens imparfaict, Assex capable d’obtenir crosse ou mitre, A prier Dieu qu’il lui doint paradis; Sans ce que aulcun riens y adjouste ne oste, Comme on le scait par vraye experience; Oncques tel tiltre il n’emprint faire tistre, Pour ung seul bien il vous en payera dix, Et priez Dieu qu’il reçoyve à son hoste, C’est grant douleur le veoir par mort deffaict, Mais au pulpitre alloit tout le premier, Se luy prestez, tout vous sera rendu; Le Trésorier dict Okergan, affin Veu qu’il estoit personnaige d’effaict, De Dieu servir estoit bon coustoumier. Oncques bien faict, dict on, ne fut perdu. Qu’en Paradis chante à jamais sans fin. Comblé d’honneur et de bonne prudence. MIEULX QUE PIS.

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