volume 4

A Florentine Annunciation

Mass for the Feast of the Annunciation

Les Six the music of the fourteenth century volume 4

A Florentine Annunciation

Mass for the Feast of the Annunciation Patronal feast of Santa Annunziata (Orbatello) Via della Pergola, Firenze, 25 March 1417 according to MSS Douai 1171 and Paris, BN it.568

Les Six Countertenor: Hartley Newnham Tenors: Simon Biazeck, John Heuzenroeder, Tom Healey, Grantley McDonald Bass: Jerzy Kozlowski with a contemporary by St Antoninus, Archbishop of Florence, delivered by Ivano Ercole Directed by John Stinson and Hartley Newnham

The Music of the Fourteenth Century is produced by the Fourteenth Century Recording Project, a research project funded by the University of Melbourne, La Trobe University and the Australian Research Council. The project involves the collaboration of musicologists, literary scholars and performers under the direction of John Stinson and John Griffiths. The recordings resulting from this collaboration aim at being well-researched readings from original sources, interpreted according to current scholarship.

Acknowledgments Editions of the were prepared from the manuscript Douai 1171 with rhythmic indications from the Graduale Triplex, Solesmes, 1979 after Ms Einsiedeln 121. Polyphonic works were performed from Polyphonic Music of the Fourteenth Century , Monaco: Editions de l’Oiseau-Lyre, volumes XII and XIII. This recording owes much to the generous assistance given by Sergio de Pieri, Ivano Ercole, Laura and Sylvia Ercole, Dr4 Peter Howard, The Italian Music Society, The Italian Institute of Culture (Melbourne). Funding for the recording was provided by the University of Melbourne. Les Six would like to thank all of them for their very generous support. A Florentine Annunciation

The Florentine year began on 25 March, as number of works attributable to him has modern use, there was a surprising variety in on that day the Christian world celebrates almost doubled. After Francesco Landini, the design and contents of liturgical books. the Annunciation to the Virgin Mary, when he is the most important composer of late The responsibility of the compositio and it was revealed to her that she was to bear a fourteenth-century Italy. This recording ordinatio of a book which applied the rich son who would be the Redeemer. It was also recreates the festive mass from the chant tradition of to the needs of on that day in 1436 that the great dome which manuscript which bears his name, set in its a local community needed expert knowledge crowns both the Cathedral and the whole liturgical context in a polyphonic mass-cycle of the chant repertoire, familiarity with local city was dedicated; and six months after this from the source which contains, in addition, usage, musical taste and even compositional event, the last of the trecento composers who almost all of his secular music. ability, especially when chants for new feasts had made Florence known throughout Italy The colophon of the Douai manuscript needed to be selected or composed. for its music, died. This recording gathers says that Don Paolo collected together In the early fifteenth century there were music for the feast of the Annunciation as (composuit) and put into order (ordinavit) the many different religious orders with active it was performed in Florence in the early liturgical chant contained in the manuscript. monasteries in Florence: the Benedictine, fifteenth century. The senior Florentine These technical terms were used to describe the Vallombrosan, the Camaldolese and composer at the time was known by a number part of the process of making a book in the Olivetan monks — all members of of titles: Don Paolo Tenorista, or Paolus Abbas the middle ages. Book production was an the Benedictine family, but each with its (Paul the Abbot) and more formally as Don expensive business: the physical materials own liturgical traditions — had important Paolo, Abbot of San Martino al Pino and (fine parchment or vellum; gold for the foundations; the Dominican, Franciscan, rector of the church and hospice of Orbatello. illuminations; colours — sometimes made Augustinian and Servite orders had large We know of his connection with the now from semi-precious stones like lapis lazuli churches with communities of friars who destroyed abbey and with Orbatello because — and inks were expensive in themselves. chanted the office daily. Ancient foundations of a manuscript now in Douai in France, in Scribes and artists who painted the like the church of San Lorenzo and newly which the organisation and compilation of decorations were paid for their work; and in extended churches like the Cathedral were the liturgical chant in the manuscript was the case of a , the norms of the all in need of liturgical books; even smaller attributed to him with those titles. In 1984 local liturgical practice were to be observed, churches like S. Lucia de Margolis were the connection was first made between as well as the traditions of liturgical singing provided with beautiful volumes of liturgical this senior ecclesiastic and the composer through which the music was interpreted. chant for both daily, Sunday and festive use. who was given the title of tenorista in the Before the liturgical reforms of the Council of Monastic and collegiate churches usually musical manuscripts which contain his Trent (1545-63) which produced the Missal, had the complete chants for the whole year secular compositions; and since then the Breviary and other liturgical books in general gathered into sets for the Mass () and other sets for the Office (antiphonals); (1417). It is certain that Don Paolo was but for different Florentine churches,Rorate smaller churches sometimes had only books responsible for the selection and ordering is used. This variety throws some light on of liturgical texts without music (missals and of the liturgical chant in the diurnal for the role of the responsibility of the person breviaries), with a diurnal containing the music Orbatello, his own church; it is not impossible who compiled (composuit) the chants for the for Sundays and special feasts of the year. that he also had a hand in selecting chant for manuscript. The whose verse sets the Many of these manuscripts were produced other liturgical manuscripts produced in the words of the archangel Gabriel (Luke 1:28: et in the scriptorium of S. Maria degli Angeli, a great scriptorium. Although the mass cycle ingressus angelus ad eam dixit ave gratia plena Camaldolese monastery whose scriptorium includes works from the previous century, Dominus tecum benedicta tu in mulieribus) is became a famous centre of manuscript its position in the Paris manuscript and the also found in graduals from the tenth century. illumination in Florence in the late trecento. inclusion of Don Paolo’s Benedicamus Domino The florid style is typical of the Alleluia. Three manuscripts associated with Don suggest that the compilation of the cycle had The Ave stella matutina Lilium Paolo were produced at S. Maria degli Angeli: some connection with this composer. munditie is found in chant trecento sources the diurnal for Orbatello, where Don Paolo The recording begins with the lauda in regular plainsong notation, and in a was Rector, (Douai 1171); another diurnal Amor dolçe sença pare. This reflects the Sienese manuscript it occurs in mensural for the church of Santa Lucia (Biblioteca popular tradition in Florence of notation with a polyphonic Amen. The Laurenziana, Ms Ashburnham 999), which devotional songs which were performed in practice of performing plainsong melodies contains his descant setting for the regular services for the praise of the Virgin to modern rhythms was, no doubt, much for the mass of the church’s patron; and the and the Saints. Many churches in Florence more widespread than their notation in main source of Don Paolo’s secular music had regular meetings of confraternities who mensural rhythm. The main manuscript (Paris, Bibliothèque Nationale, fond ital. gathered to sing these laude. At Orsanmichele which prompted this recording, Douai 1171, 568) which also contains the mass cycle — the church which had been the Florentine contains several chants notated in this way. on this recording. The frontispiece of this grain market, and by the end of the fourteenth The Sienese source of the sequence has been last manuscript was painted by an as yet century was the religious centre for the followed in this performance. unnamed artist who collaborated in the Florentine guilds — instrumentalists and A highly melismatic chant Ave production of other manuscripts from S. singers were employed to perform the laude. Maria, gratia plena, Dominus tecum is found in Maria degli Angeli. This artist, provisionally The performance practice suggested by the the earliest graduals, although the passage called by Mirella Levi D’Ancona ‘The Master surviving documentation has been followed set to the text Dominus tecum is not found in of Songs’, is thought to have been active on this recording. Ms Einsiedeln 121 on folio 12 where the rest at the scriptorium between 1370 and 1410. The chants for the feast of the Annunciation of the melody is found. In the two known Other scholars (Günther, von Fischer and are found in the earliest notated sources of early sources the neumatic notation is very Nádas) have dated the production of the liturgical music. In the earliest surviving specific in its indications of phrasing: these Paris manuscript between 1405 and 1409. graduals there are two Introit chants used have been followed in the recording. This would indicate the compilation of for the feast of the Annunciation, Vultum Ecce virgo concipiet is also found in the the mass-cycle to have taken place round tuum deprecabuntur and Rorate, coeli, desuper. earliest graduals. This is an excellent the time of the Council of Pisa (1409) and In the source used for this recording (Douai example of expressive chant in which the the Orbatello diurnal to have been written 1171) the introit is Vultum tuum; in other ecstatic phrase on et pariet filium(and bears about the time of the Council of Constance manuscripts written in the same scriptorium a son) contrasts with the rather conservative beginning. Word painting is not a feature Simone Peruzzi. This mentions three others and the whole piece was intoned vocally of Gregorian chant: but the shape of this works (Ave, , Osanna) which have not by a great crowd of people who followed melody, which quietly annunciates the been identified: the surviving works include the vocal harmony; and he was the first contradiction in the opening words (Behold, seventeen secular songs along with the two of all to force the abolition of the ancient a virgin conceives), soars with the joyous sacred works recorded here. Their style is custom of male and organ.’2 announcement of the arrival of a son and reminiscent of the two-part madrigal style The autograph manuscript of Villani’s then quietly contemplates the meaning from early in the second half of the trecento: account of the origin of Florence and its of Emmanuel (God with us) at the end the alternation of long notes with rapid famous citizens survives (Laur. Ashburnham exemplifies the way in which the inner declamation of the text in which one part 942), and has been dated to 1381-82. It meaning of the text is explicated by the music matches the other in rhythm, or in which contains several omissions of detail, however, with both theological and musical subtlety. two, three or four notes are used in the upper with spaces being left presumably for their The was not normally included part to match syllabic declamation in the later inclusion. Together with numerous in Italian mass-cycles at this time; it is lower part. There are occasional melismatic corrections of Villani’s , these details found in an early fifteenth-century Vatican passages, often given a characteristic Italian were supplied between 1385 and 1397 by manuscript (Rome, Vat. 1419) which also shape by the use of a held major third or sixth Collucio Salutati, the distinguished humanist contains the Gloria by Gherardello and the which ultimately resolves to a fifth or octave. and Chancellor of Florence. It is in this later by Lorenzo. Passages of hocket, in which the upper part version (Rome, Vatican Library, Barberino The mass cycle, comprising the Gloria by ‘hiccups’ the melody in off-beats, and the 2610) that the name of Lorenzo Masini is Gherardello, the Credo by Bartholus, Sanctus almost total absense of syncopation, also inserted. by Lorenzo Masini, by Gherardello identify the style of Gherardello as much While we cannot be certain that Villani and Benedicamus Domino by Don Paolo is the less complex than the music by later trecento is referring to the work recorded here, only extant Italian cycle from the fourteenth masters like Don Paolo or even Francesco he certainly identifies Bartholus with a century to have survived. The works found Landini. The Credo may be referred to by change in the practice of liturgical music in the last fascicle of the Paris manuscript, Filippo Villani in his chapter on musicians:1 which was considered noteworthy and copied successively; and all finish on the ‘Many memorable Florentines have had still within living memory in the 1380s. note D. The cycle recapitulates the musical a most perfect grasp of the discipline Little is known otherwise about Bartholus: styles current in Florence in the period of music. But there are few who have according to Lami,3 a ‘Don Bartolo’, probably 1350 to 1410, from what may be the earliest published anything in that science; a Benedictine, perhaps from Mugello, is surviving piece of Florentine polyphony (the among these Bartolo and Master Lorenzo recorded amongst the canons of the chiesa Credo) to the systematic exploration of the Masini composed more outstandingly maggiore in Florence in the years 1317 possibilities of the Italian rhythmic notation and artistically than the rest. The first of and 1320. The who commissioned in the Benedicamus Domino. these, when in our larger church the Credo the manuscript containing Don Paolo’s The composer of the Gloria and the Agnus was being sung, alternating the sound Gaudeamus discant, Antonius Bartholi, rector Dei was born Niccolò de Francesco and, on of the organ with the voices of the choir, of the church of Santa Lucia in Magnolis entering the Vallombrosan order in 1345, intoned it with such sweet and pleasant from 1413 to 1424, may have been related took the name ‘Gherardello’. His death in harmony by his skill in the art that the to the composer.4 1362 or 1363 was mourned in a sonnet by customary organ interlude was omitted Lorenzo was a canon at S. Lorenzo in Florence from 1348 until his death in 1372/3. parts are texted in the manuscript, the cantus Annunciation in Padua, where the liturgical He was followed in this position by Francesco being written on the verso and the tenor on celebration included a dramatic enactment Landini, who was to become the most the recto, so that each singer has the complete of the event. If the early date is taken, it is famous Florentine composer of the trecento. work or section on one page. even possible that the motet may have been His pedagogical work ‘Diligenter advertant’ Don Paolo’s Benedicamus Domino composed for the dedication of the Scrovegni indicates he may have been a teacher; he systematically explores the possibilities of Chapel, whose walls are decorated with may have taught Landini. In addition to the Italian rhythmic system of notation. Giotto’s frescos. this Sanctus nineteen secular songs survive Each of the four sections is given a different Laudar vollio per amore is another secular in some twenty-four manuscripts. The mensuration: firstottonaria (eight semibreves lauda in the style of the first piece, Amor contemporary poet Sacchetti mentions two per breve), then senaria imperfecta (six in two dolçe sença pare, which also would have been of his own ballate set by Lorenzo, but the groups of three), then impertecta (six in three performed at Orsanmichele. It is in praise of music has not survived.5 groups of two) and finallyquattornalia (four St. Francis of Assai. The styles of the Credo and the Sanctus semibreves per brevis). This has the effect The earliest substantial collection of are similar and are marked by many of the of a finely-crafted accelerando which brings organ works is the Faenza Codex, which characteristics of the early trecento style: the work to a very strong conclusion. Such contains 49 two-part works, eighteen secular frequent use of contrary motion, the simple rhythmic design can be contrasted with the intabulations, seven liturgical works and 24 decoration of the upper part with three (in madrigal technique of the earlier parts of the arrangements of works whose vocal originals the Credo) or four (in the Sanctus) notes for cycle, in which the rhythmically-contrasting have survived. Three of the liturgical works every corresponding note in the tenor; and final section (equivalent to theritornello in a are presented on this recording: the second the held thirds or sixths before cadence madrigal) is used to complete the work. The of the two improvisations on the Gloria, points. There are frequent changes of time- tenor part is written in plainsong notation the Ave Maris Stella and the Benedicamus signature, clearly indicated in the manuscript between the cantus and contratenor voices. Domino. The organ was considered an by signs more often found in French notation The same Benedicamus melody is found in important instrument in Florentine churches than Italian; the final sections of each are the Douai manuscript. in the fourteenth century. The instrument in a contrasting rhythm to the preceding The motet by Marchettus of Padua is most frequently depicted in contemporary sections, after the style of the mid-trecento perhaps the earliest datable piece of Italian paintings was the organetto, small enough to madrigal. The chains of parallel sixths with polyphony to have been recorded. Its be played by one person who worked the four cantus notes to each note in the tenor in text contains an acrostic of the name of bellows with one hand while playing the Lorenzo’s Sanctus give the work a distinctly Marchettus of Padua, better-known for his keyboard with the other. Also documented modern sound in contrast to Bartolo’s three- two treatises on music theory, the Lucidarium are the organs which required more than against-one, which is reminiscent of some and the Pomerium, which are fundamental to one player, one to work the bellows while modal patterns in French thirteenth-century our understanding of trecento music notation the other played: Francesco Landini and his motets. The cadences are characteristically and the late medieval theory of mode. The brother Nuccio were paid for performing Italian, almost invariably moving outwards manuscript in which it survives (Oxford, in this way for the patronal feast of Santa from a major third to the fifth or a major sixth Bod. 112) is dated 1305, but this may not Trinita in 1361. There has been recent to the octave. Simultaneous declamation of necessarily be the date of the work. It may discussion about the possibility of the the text is also characteristically Italian: both possibly have been written for the feast of the works in the Faenza codex being played on plucked instruments: but in the case of the Notes by Salutati; Marchesini, however, has demonstrated liturgical works this seems less likely, but incontrovertibly that the copy is in Villani’s hand 1Ettore Li Gotti, ‘Il più antico polifonista Italiano del [‘Due ms. autographi di F. Villani’, Archivio storico far from impossible. Instrumentalists who sec. XIV’, Italica XXIV (1947): 196-200. The Galetti italiano II (1888), serie V, p. 379]. played lute, the viuola and rebecs of different edition of Filippo Villani’s Liber de origine civitatis 2Translation by Alberto Gallo, Music in the Middle Ages sizes were regularly engaged for religious Florentiae et cuiusdam famosis civibus was based on II, Cambridge: Cambridge University Press, 1985, p. services in Florence; they were joined by the fourteenth-century text of Laurenziana LXXXIX, 128 [italics mine, after the manuscript sources]. 3 the suonatori della Signoria for some feast inf. 23 (ex-Gaddiano 637), a copy of a copy of the Jo. Lami, Sanctae Ecclesiae Fiorentinae Monumenta, autograph Laurenziana Ashburnham 942, the first Vol. I, Firenze, 1758, pp. 177 and pp. 209. days; and the pifferi, who played shawms, redaction of the work, datable to 1381-1382 [see A. 4Kurt von Fischer, ‘The mass-cycle of the Trecento MS may have been capable of performing the F. Massera, ‘Le più antiche biografie del Boccaccio’, F-Pn 568’, Essays on Music for Warren Fox, Rochester, virtuosic diminutions encountered in the Zeitschrift für Romanische Philologie, XXVII (1903): 308.] N.Y.: Eastman School of Music Press, 1979, p. 4. Faenza Codex. The performances on this According to Novati [La giovinezza di C. Salutati, p. 5F. Alberto Gallo. ‘Lorenzo Masini e Francesco degli recording are all on a pipe organ with tracker 11, note 1], Laur. 924 is not a Villani autograph, but Organi in S. Lorenzo’, Studi Musicali IV (1975): 57-63. a copy corrected in Villani’s hand, with additions action. John Stinson Texts and Translations

1. Amor dolçe sença pare Cortona 91 Amor dolçe sença pare Sweet love without compare se tu, Christo, per amare! It is you, O Christ, whom I love!

Amor sença cominicança Love without beginning se’ tu: padre in substanca, Are you: bonded in one in substance in Trinità per amança Father, Son filio et spitiru regnare. and Holy Spirit reign.

Dolçe amore amoroso Sweet and tender Love Cum dolçore savoroso, with all my heart di t’è Garço gaudioso: Garzo rejoices in your love sovt’ ogn’ altro se’ d’amare. above all others.

2. Introit Doaui 1171, 35 Vultum tuum deprecabuntur omnes divites plebis: All that are rich among the citizens will be courting adducentur regi virgines post eam: proxime eius thy favour. Maidens will follow in her retinue into adducentur tibi in laetitia et exultatione alleluia. the King’s presence; all rejoicing, all triumph, those companions of hers. Alleluia. Eructavit cor meum verbum bonum, My heart rejoices with the happy news, Dico ego opera mea regi. I tell of my good works to the king.

Gloria patri et filio et spiritui sancto. Glory be to the Father and to the Son and to the Sicut erat in principio, et nunc et semper, et in saecula Holy Spirit; as it was in the beginning, is now and saeculorum. Amen. ever shall be. Amen.

Vultum tuum deprecabuntur omnes divites plebis: All that are rich among the citizens will be courting adducentur regi virgines post eam: proxime eius thy favour. Maidens will follow in her retinue into adducentur tibi in laetitia et exultatione alleluia. the King’s presence; all rejoicing, all triumph, those companions of hers. Alleluia. 3. Kyrie Rome, Vat. 1419 Kyrie eleison. Lord have mercy on us. Kyrie eleison. Lord have mercy on us. Kyrie eleison. Lord have mercy on us.

Christe eleison. Christ have mercy on us. Christe eleison. Christ have mency on us. Christe eleison. Christ have mercy on us. Kyrie eleison. Lord have mercy on us. Kyrie eleison. Lord have mercy on us. Kyrie eleison. Lord have mercy on us.

4. Gloria (Gherardello) Paris 568, 131v-133 . Et in terra hominibus bone Glory be to God on high, and on earth peace to men voluntatis. Laudamus te. Benedicimus te. Adoramus of good wiII. We praise thee, we bless thee, we te. Glorificamus te. Gratias agimus tibi propter adore thee, we glorify thee, we give thee thanks for magnam gloriam tuam. Domine Deus, Rex celestis, thy great glory Lord God, heavenly King, God the Deus Pater omnipotens. Domine Fili unigenite, Jesu almighty Father. Lord Jesus Christ, only-begotten Christe. Domine Deus, Agnus Dei, Filius Patris. Son. Lord God, Son of the Father, Qui tollis peccata mundi, miserere nobis. Qui tollis who takest away the sins of the world have mercy peccata mundi, suscipe deprecationem nostram. upon us; thou who takest away the sins of the Qui sedes ad dexteram Patris, miserere nobis. world, receive our prayer; thou who sittest at the Quoniam tu solus sanctus. Tu solus Dominus. Tu right hand of the Father, have mercy upon us. For solus Altissimus. Jesu Christe, cum Sancto Spiritu, thou alone art the Holy One, Thou alone art Lord, in gloria Dei Patris. Amen. Thou, Jesus Christ, alone art the Most High, with the Holy Ghost, in the glory of God the Father. Amen.

5. Alleluia Douai 1711, 37 Alleluia. Ave Maria, gratia plena, Dominus tecum. Alleluia. Hail, Mary, full of grace, the Lord is with Benedicta tu in mulieribus. thee. Blessed art thou amongst women.

6. Ave Maris Stella, intablation for organ, from the Faenza Codex Faenza 117, 96-97

7. Sequence Siena G,132-4 Ave stella matutina Hail, morning star Lilium munditie Lilly of purity Gemma fulgens cristalina Radient crystalline gem Mirtus temperantie Myrtle of temperance Mater regis et regina Mother of the King and Celi carens carie Queen of Heaven, without blemish, Trahe tuos a ruina Save your prople from ruin Trono tue gratie. and bring us to your throne of grace.

Ex te prodit lux, Maria, From you, Mary, shone forth the light, Verbi pura veritas, the pure truth of the Word, In te sistit tunc sophia In you resides Wisdom, Preradians deitas the irradiating Deity Vale vita lex et via the strength for life, true observance Virginalis castitas and the true way of virginal chastity Sola mundo prees pia In the whole world only you are pre-eminent Salvificans caritas. in redeeming love.

Cela clausa creatoris Enclosed cell of the Creator Mana nos reficiens Manna giving us refreshment Claustrum flaminis dulcoris Bulwark of the flame of sweetness Splendor indeficiens. Brilliance without fault Rosa fragrans vas odoris Fragrant rose, vessel of perfume ad te currit sitiens To thee do the thirsty hasten Pondus ambicis langoris Relieved of their languorous burdens Gaudium parturiens. By the joy of one giving birth.

Tronus candens Salomonis Gleaming throne of Solomon Clarificans sidera Shining star Vellus rigans Gedeonis Dry fleece of Gideon Nostra terge scelera. Cleanse our guilt. Tubus mire visionis Awsome apocalyptic trumpet-call Succurrere propera Succour those who are devoted to you Quos mendicos in se ponis Who are now saved through you Nato tuo sidera. Now that your star is born.

Eya, dulcis advocata, Therefore, sweet advocate, Tutrix refugium Both refuge and tutor, Iura matris imperata Give a mother’s command Venie des bravium Which gives courage to the weak Ut per te sunt nobis lata So that by you we might be Mestis in exilium Rescued from exile Regna quibus sedes grata And given a place in that kingdom Civium celestium. Of the heavenly city.

8. Sermon by Saint Antoninus of Florence be truly exultant, to enjoy and savour his divine Exultavit spiritus meus in Deo salutari meo. Of this life, control his soul and not become a verse from the song of our glorious Virgin Mother, I slave of the devil or the flesh. Sin must not say: Exultare means to highly rejoice. The spirit truly reign–says the Apostle–in your mortal body, rejoices, is glad and delighted. So he who wants to that is whilst you are living in your body the concupiscence of which you must not obey. The they lose cognition of their condition and misery glorious Virgin was always free from sin, perfect and fall down hitting their head on the ground; Lady and ruler of every passion; she always [could and they believe thorns to be as soft as feathers. We say] Exultavit spiritus meus and of her son Jesus, says must instead get out of ourselves by elevating our the Evangelist: Exultavit Jesus in Spirito Sancto. How soul to spiritual and celestial things, in an upward one must rejoice and be glad it is shown by saying movement. Devoted prayer requires intelligent Exultavit which almost means: extra se saltare to meditation; and true, not fictitious meditation leap out of oneself; and by leaping out the person requires learning from sacred sources. Read then, rises from earth. It is therefore necessary to get out or rather, listen to the Holy Scriptures and the of oneself because in you like in everyone else, no words of saintly learned men: the live voice moves good can be naturally found. Non habitat in me bonum the spirit more than the dead one. Preserve in the (there is no good in me), says Saint Paul writing to womb of memory what you have eaten, by reading the Romans; and we cannot even think of any good or listening to the divine word; and like a lamb–a on our own. He also wrote to the Corinthians: good clean animal according to the ancient law because thoughts, prayers, meditations and contemplations it ruminates and has cloven hooves–re-think and do not come from us but from the Lord who disposes chew whilst meditating on what you have heard us towards good will and good actions. However we on the life and the doctrine of Christ and his saints; must jump out of ourselves so that we will not fall and make sure you distinguish what is good for you to the ground like the drunk who has lost his mind. to know according to your condition, from what Those who are intoxicated by the love of the world, is not good: the latter corresponding to the cloven not truly but superficially, as they are inebriated by hooves; and what is good you should digest it with things that appear sweet but are instead bitter as the warmth of charity and turn it into nutrition for absinth, they get out of themselves in the sense that your soul. Let us pray.

9. Gloria intabulation for organ, from the Faenza codex Faenza 117, 90v-92

10. Credo Paris 568, 133v-136 Credo in unum Deum, Patrem omnipotentem, I believe in one God, the almighty Father, maker factorem caeli et terrae, visibilium omnium, et of heaven and earth, and of all things visible invisibilium. Et in unum Dominum Jesum Christum, and invisible. And in one Lord Jesus Christ, Filium Dei unigenitum. Et ex Patre natum ante only‑begotten Son of God, born of the Father before omnia saecula. Deum de Deo, lumen de lumine, all ages; God from God, light from light, true God Deum verum de Deo vero. Genitum, non factum, from true God; begotten, not made, of one essence consubstantialem Patri: per quem omnia facta with the Father; through whom all things were sunt. Qui propter nos homines, et propter nostram made. He for us men, and for our salvation, came salutem, descendit de coelis. Et incarnatus est de down from heaven, and was incarnate by the Holy Spiritu Sancto ex Maria Virgine: et homo factus est. Ghost from the virgin Mary; and was made man. Crucifixus etiam pro nobis sub Pontio Pilato, passus He was also crucified for our sake under Pontius et sepultus est. Et resurrexit Pilate: suffered, and was tertia die, secundum Scripturas. Et ascendit in buried. And the third day he rose again according coelum: sedet ad dexteram Patris. Et iterum venturus to the scriptures. And he ascended into heaven, est cum gloria, judicare vivos et mortuos: cujus regni and is seated at the right hand of the Father. He non erit finis. Et in Spiritum Sanctum, Dominum, will come again with glory to judge the living and et vivificantem: qui ex Patre Filioque procedit; qui the dead; and of his reign there will be no end. I cum Patre et Filio simul adoratur et conglorificatur: believe too in the Holy Spirit, Lord and life-giver, qui locutus est per Prophetas. Et unam sanctam who proceeds from the Father and the Son; who catholicam et apostolicam Ecclesiam. together with the Father and the Son is adored and unum baptisma in remissionem peccatorum. Et glorified; who spoke through the prophets. And I exspecto resurrectionem mortuorum. Et vitam believe in one holy, catholic, and apostolic Church. I venturi saeculi. Amen. acknowledge one baptism for the remission of sins. And I look forward to the resurrection of the dead, and the life of the world to come. Amen.

11. Offertory Douai 1171, 38 Ave Maria, gratia plena, Dominus tecum: benedicta Hail, Mary, full of grace, the Lord in with thee; tu in mulieribus et benedictus fructus ventris tui. blessed art thou among women, and blessed is the fruit of thy womb.

12. Sanctus (Lorenzo) Paris 568, 136v-137 Sanctus, Sanctus, Sanctus Holy, holy, holy Dominus Deus Sabaoth Lord God almighty Pleni sunt celi et terra gloria tua Heaven and earth are full of your glory Osanna in excelsis. Let the heavens be filled with praise. Benedictus qui venit Blessed is the one who comes in nomine Domini in the name of the Lord Osanna in excelsis The heavens be filled with praise.

13. Motet (Marchettus of Padua) Oxford, Bod. 112, 61v-62 Triplum AVE regina celorum Hail, queen of heaven, Pia virgo tenela Devoted and loving virgin, MARIA candens flos florum, MARY, radiant flower of flowers, Christique clausa cella and enclosed cell of Christ GRACIA que peccatorum Channel of that beauteous GRACE Dira abstulit bella which takes away the fate of sinners PLENA odore unquentorum FULL of the aroma of lotions, Stirps David puella daughter of the family of David DOMINUS, rex angelorum, THE LORD, the king of angels, Te genuit, lucens stella brought thee forth, the shining star TECUM manens ut nostrorum remaining WITH THEE so that Toleret seva tela. we could be saved. BENEDICTA mater morum, BLESSED mother of us foolish ones, Nostre mortis medela and remedy of our mortality, TU signatus fons ortorum, YOU are the designated fount of the Fountainhead, Manna das dulci cela you provide us with sweet manna, IN te lucet lux cunctorum IN you shines the light of all Qui promo de te mella. who partake of your honey. MULIERIBUS chorum The chorus OF WOMEN Regis dulci viella, perfoms on the fiddle before the King, ET vincula delictorum AND you break the chains of sin Frangis nobis rebella for us by your rebec. BENEDUCTUS futurorum BLESSED are those generations Ob nos potatus fella who, while having drunk gall (of sin) by the FRUCTUS dulcis quo iustorum sweet FRUIT of your WOMB for whom the just Clare sonat cimella. make music on the shawm VENTRIS sibi parat thorum and who prepares the throne for him. Nec in te coruptela Nor will the zeal for the Lord’s house TUI zelo fabris horum see corruption, nor will the living Languescat animela. be left to languish.

Motetus Mater innocencie Mother of innocence Aula venustatis chamber of beauty Rosa pudicitie rose of purity Cela deitatis private cell of the Deity Vera lux munditie true light of purity Manna probitatis manna of true nourishment Porta O benedicie, gate of obedience Arca pietatis. ark of piety Datrux indulgentie grantor of favours Virga puritatis rod of purity Arbor fructus gracie tree of the fruits of grace Nostre pravitatis by virtue of your clemency Virtus tuae clementiae absolve me from sin Me solvet a peccatis. and our depravity.

Acrostic: Marcvm Padvanvm 14. Agnus Dei (Gherardello) Paris 568, 137v Agnus Dei Lamb of God, Qui tollis peccata mundi who takes away the sin of the world Miserere nobis. have mercy on us. Agnus Dei Lamb of God, qui tollis peccata mundi who takes away the sin of the world Miserere nobis have mercy on us. Agnus Dei Lamb of God, qui tollis peccata mundi who takes away the sin of the world Dona nobis pacem. grant us peace.

15. Douai 1171, 39 Ecce virgo concipiet, et pariet filium; et vocabitur Behold the virgin shall be with child and shall bear nomen eius Emmanuel. Alleluia. a son, and he shall be called Emmanuel. Alleluia.

16. Laudar vollio per amore Laudar vollio per amore I wish to praise with great affection lo primer frate minore! the first of the Friars Minor!

Tutto el mundo abondanasti, You abandoned all worldly concerns, novell’ ordine plantasti You established a new Order pace in terra annuntïasti, You announced Peace on Earth como fece el Salvatore! Just as the Saviour had done!

Tanto fosti amico a Deo So great a friend of God had you become ke le bestie t’ubidiendo: That the animals obeyed you: l’ucielli in mano a te veniendo even little birds came to your hands a udire lo tuo sermone. To listen to your sermon.

17. Benedicamus Domino, intabulation for organ, from the Faenza Codex Faenza 117, 57-8

18. Benedicamus Domino (Don Paolo) Paris 568, 138 Benedicamus Domino. . Let us bless the Lord. Thanks be to God.

Recording location: Move Studio • Sound engineer: Martin Wright Production: Hartley Newnham, John Stinson • Text translations: John Stinson Illustrations on cover and page 16: Douai Bibliothéque Municipale, Manuscript 1171, photograph John Stinson Illustration page 8: Dal Liber Chronicarum di H. Sohedel (Norimberga, 1493) P 1997 Move Records C 1997 The University of Melbourne, La Trobe University Move Records, Australia move.com.au VOLUME 4 A Florentine Annunciation

Mass for the Feast of the Annunciation, 25 March 1417

1 Amor dolçe sençc pare 1’34” 2 Introit 3’32” 3 Kyrie 3’10” 4 Gloria (Gherardello) Hartley Newnham , Tom Healey 4’16” 5 Alleluia 2’17” 6 Ave maris stella (Organ) Tom Healey 1’31” 7 Sequence 4’40” 8 Sermon Ivano Ercole 8’55” 9 Gloria (Organ solo) Tom Healey 6’07” q0 Credo (Bartholus) 8’52” qa Offertory 2’08” qs Sanctus (Lorenzo) Simon Biazeck, Grantley McDonald 2’57” qd Motet (Marchettus of Padua) Hartley Newnham, John Heuzenroeder, Jerzy Kozlowski 2’52” qf Agnus Dei (Gherardello) Hartley Newnham, Tom Healey 1’41” qg Communion 1’07” qh Lauder vollio per amore 1’40” qj Benedicamus Domino (Organ) Tom Healey 2’23” qk Benedicamus Domino (Don Paolo) 3’23”

The Music of the Fourteenth Century is an anthology of music by the principal composers and from the central collections of the era. Most of the works recorded here have never previously been available. Vol. 1 Two Gentlemen of Verona: Jacopo da Bologna, Giovanni da Firenze Vol. 2 Every Delight and Fair Pleasure: The Music of Northern Italy Vol. 3 Francesco Landini: I am Music