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DE ORTO/JOSQUIN Musique À La Chapelle Sixtine Autour De 1490

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DE ORTO/JOSQUIN Musique À La Chapelle Sixtine Autour De 1490 DE ORTO/JOSQUIN Musique à la Chapelle Sixtine autour de 1490 Cut Circle Jesse Rodin - direction DE ORTO/JOSQUIN Musique à la Chapelle Sixtine autour de 1490 CD1 1 Nardi Maria pistici – Josquin Desprez 01’51 Missa La sol fa re mi – Josquin Desprez 2 Crucifixus 04’46 3 Agnus Dei [MG AS] 04’54 Missa Fortuna desperata – Josquin Desprez 4 Gloria 06’08 5 Sanctus I 02’19 6 Agnus Dei I 02’16 7 Dulcis amica Dei/Da pacem (a 5) – Gaspar van Weerbeke [MG AS MA BG PT] 08’05 8 Ave regina celorum – Gaspar van Weerbeke 06’44 9 Missa Princesse d’amourettes : Agnus Dei – Gaspar van Weerbeke [CB JM ST] 06’12 10 Credo (VatS 51, fol. 187v-190r) – Anonyme 08’45 11 Lucis creator optime – Marbrianus de Orto 04’18 12 Missa Ad fugam : Gloria – Marbrianus de Orto [MA ST] 05’16 13 Domine non secundum peccata nostra – Bertrandus Vaqueras [PT JP / CB BG] 06’04 14 Domine non secundum peccata nostra – Josquin Desprez [MG JM / BG PT] 07’09 TT : 74’38 4 CD2 1 Il sera par vous/L’homme armé – Du Fay/"Borton" [MG JM BG] 02’12 2 L’homme armé – Anonyme [MM] 00’37 Missa L’homme armé – Marbrianus de Orto 3 Kyrie 04’02 4 Gloria 05’52 5 Credo 08’09 6 Sanctus [MG MM ST / CB JM ST] 06’48 7 Agnus Dei [MG JM / CB BG ST] 06’55 8 Ave Maria mater gratie (a 5) – Marbrianus de Orto [CB JM MA ST JP] 06’17 9 Factum est silentium – chant pour saint Michel [CB] 01’37 Missa L’homme armé super voces musicales – Josquin Desprez 10 Kyrie 03’56 11 Gloria 06’03 12 Credo 07’15 13 Sanctus [CB AS ST / ST PT / JM AS / CB MG] 08’07 14 Agnus Dei [MG AS PT] 07’07 TT : 74’49 5 Cut Circle Jesse Rodin – direction artistique Carolann Buff – superius Mary Gerbi – superius Bradford Gleim – tenor Jason McStoots – altus Aaron Sheehan – altus/tenor Matthew Anderson – tenor (CD1 et CD2, track 8) Marc Molomot – altus/tenor (CD2) Sumner Thompson – bassus Paul Max Tipton – bassus John Proft – bassus (CD1, track 13 et CD2, track 8) www.cutcircle.com 6 Jesse Rodin, © Mark Nye Cut Circle, © Pit Siebigs7 Légendes des illustrations : Couverture : Josquin Desprez, Missa L’homme armé super voces musicales, Agnus Dei, manuscrit Cappella Sistina, VatS 197, fol. 10v Notice : 1. Messe pontificale. Le pape Sixte IV dans la chapelle Sixtine, Chantilly, Musée Condé [© RMN-GP (Domaine de Chantilly) / René-Gabriel Ojéda] 2. Marbrianus de Orto, Ave Maria mater gratie, Bruxelles, Bibliothèque royale de Belgique, Cabinet des Manuscrits, Ms. 9126, fol. 166v-167r 3. Josquin Desprez, Missa L’homme armé super voces musicales, Kyrie, manuscrit Cappella Sistina, VatS 197, fol. 1v-2r 4. G. Tognetti, La chapelle Sixtine avant 1508, dessin, 1809 [© Alinari Archives, Firenze] 5. Marbrianus de Orto, Missa L’homme armé, Sanctus, manuscrit Cappella Sistina, VatS 64, fol. 9v 6. Signature de Josquin dans la cantoria de la chapelle Sixtine [© Evan MacCarthy] 7. Gaspar van Weerbeke, Missa Princesse damorette, Agnus Dei, Vienne, Österreichischen Nationalbibliothek, MS 1783, fol. 45v-46r 8 Remerciements Musique en Wallonie remercie vivement MM. Jesse Rodin et Philippe Vendrix, ainsi que les Musées du Vatican et la Bibliothèque royale de Belgique. Nous remercions également Mlle Émilie Corswarem et Mme Nadine Henrard ; M. Marc-Antoine Gavray pour la traduction française des textes latins des plages 1, 7, 11, 13 du CD1 et des plages 8-9 du CD2. Jesse Rodin et Cut Circle remercient le Noah Greenberg Award, le Graves Award in the Humanities, ainsi que les Doyens Stephen Hinton et Richard Saller à Stanford University. Merci aussi à Mark Applebaum, Daphna Davidson, Sean Gallagher, Thomas Forrest Kelly, Charles Kronengold, Herbert Myers, Alejandro Enrique Planchart, Alexander Rehding, Joshua Rifkin, Stephen M. Sano, Philippe Vendrix, Edward Wickham et Emily Zazulia. Cet album est dédié à la mémoire d’Iris Davidson (1914-2007), qui aimait la musique presque autant que ses petits-enfants. Production : Musique en Wallonie, ULg – quai Roosevelt 1B à 4000 Liège – Belgique (http://www.musiqueenwallonie.be) Enregistrement / Recording : août 2008 (CD2) et août-septembre 2010 (CD1 et CD2, track 8), Church of the Redeemer, Chestnut Hill, Massachusetts, USA Prise de son / Sound Engineer : David Liquori Montage / Editing : Jesse Rodin, David Liquori et Mary Gerbi Direction artistique / Project Director : Jesse Rodin Producteurs / Producers : Jesse Rodin, Pamela Dellal (CD1 et CD2, track 8) et Martin Near (CD2). Graphisme / Layout : Valérian Larose Réalisé avec le concours du Ministère de la Fédération Wallonie-Bruxelles (Service général des Arts de la scène – Service Musique) 9 Sixtine, de juin 1489 à 1494 au moins. Ce double disque s’articule autour d’œuvres attribuées de DE ORTO ET JOSQUIN manière certaine à Josquin et que ce dernier a probablement écrites à Rome, mais il contex- Musique à la Chapelle Sixtine autour de 1490 tualise ces pièces en présentant en première mondiale des enregistrements de neuf œuvres Qui fut Josquin ? Les spécialistes de la musique de ses contemporains : Gaspar van Weerbeke, de la Renaissance se sont fréquemment posé la Bertrandus Vaqueras et surtout Marbrianus de question mais, malgré les récentes découvertes Orto, tous chantres à la Cappella Sistina à la fin biographiques, elle demeure difficile à élucider. du XVe siècle. Ces enregistrements sont associés Pour un compositeur aussi important dans à une monographie scientifique Josquin’s( l’histoire de la musique occidentale que Bach, Rome: Hearing and Composing in the Sistine Beethoven ou Berg, nous savons étonnamment Chapel; Oxford University Press, 2012) qui com- très peu de choses de la vie et de la carrière de porte des analyses de presque toutes les pièces Josquin. Les attributions douteuses encombrent incluses ici. son corpus à tel point que moins d’une œuvre sur six peut lui être attribuée sans réserve. Même À Rome, Josquin et ses contemporains furent parmi les pièces les plus sûres, il est presque membres d’une très importante institution impossible d’établir une chronologie solide. Et musicale. Le pape Sixte IV, en l’honneur duquel comme la musique de ses contemporains ne la Cappella Sistina fut nommée, démolit l’an- résonne plus à nos oreilles, il est difficile de dire cienne cappella magna en 1475 afin d’initier ce qui rend Josquin unique. la construction d’une magnifique nouvelle chapelle. Achevée en 1482, la Chapelle De Orto et Josquin : Musique à la Chapelle Sixtine devint alors l’épicentre des cérémonies Sixtine autour de 1490 vise à répondre à cette papales [Illustration 1]. Ses dimensions (40 x question par le biais du son, en se concentrant 13,6 mètres) sont conformes à la description sur une période de la vie du compositeur pour du Saint des Saints du temple du roi Salomon laquelle nous disposons d’une importante dans l’Ancien Testament. L’extérieur fortifié, fait documentation : celle où il occupa un poste d’énormes et austères murs de briques, per- de chanteur dans le chœur de la Chapelle pétuent la tradition des anciennes chapelles 10 1. Messe pontificale. Le pape Sixte IV dans la chapelle Sixtine, Chantilly, Musée Condé [© RMN-GP (Domaine de Chantilly) / René-Gabriel Ojéda] 11 papales de Rome et d’Avignon ; cette impo- sans rappeler les foules qui font aujourd’hui la sante structure était clairement visible depuis queue à l’entrée de la chapelle. la place Saint-Pierre. Pour avoir une idée de ce à quoi ressemblait l’intérieur de la chapelle À partir de ce moment, le chœur privé du dans les années 1480-90, il faut oublier Michel- pape se produisit dans la Cappella Sistina une Ange (à cette période, le plafond était un quarantaine de fois par an, à l’occasion des simple ciel bleu, parsemé d’étoiles dorées) et se messes papales, des Vêpres et autres céré- concentrer plutôt sur le sol en marbre incrusté, monies liturgiques. (Les chanteurs exécutaient sur la balustrade de marbre blanc qui séparait en outre les messes et offices quotidiens dans le pape et les cardinaux des laïcs et, surtout, sur la Cappella Sancti Nicolai.) Nous ne pouvons les décorations murales [Illustration 4]. Un cycle dire avec certitude à quelle fréquence la poly- complexe de peintures narratives illustrant la vie phonie était chantée ni combien de chantres de Moïse et du Christ par Botticelli, Ghirlandaio, y participaient, mais nous savons en revanche, Rosselli, Le Pérugin, Signorelli et (selon toute vrai- grâce à un vaste corpus de livres de chœur semblance) Pinturicchio insiste sur la descen- polyphoniques encore conservés aujourd’hui dance morale directe de Moïse à Jésus-Christ au Vatican, que la chapelle interprétait un et aux papes. Ces peintures sont entourées de répertoire international de messes, de sections portraits des trente premiers papes et par des de messe, d’hymnes, de Magnificats et de draperies peintes d’or et d’argent et portant les motets. Au cours de la fin du XVe siècle, le armoiries de la famille della Rovere. Sixte dédia chœur eut recours à une liste impressionnante l’édifice à l’Assomption de la Vierge ; un retable de musiciens, y compris plusieurs compositeurs. du Pérugin sur ce sujet y fut plus tard détruit Parmi ceux-ci figuraient Josquin, Gaspar pour faire place au Jugement Dernier de (1480/81-1489 et encore à partir de 1500), Michel-Ange. Le jour de la dédicace (la fête de Vaqueras (1483-1507) et de Orto (1483-ca. l’Assomption, le 15 août 1483), le pape assista à 1500). la messe et aux vêpres dans la chapelle, sans doute avec un accompagnement musical des chantres papaux. Sixte accorda une indul- Compositeur de grand talent et proche gence à tous ceux qui visitèrent la chapelle, collaborateur de Josquin, Marbrianus de Orto attirant ainsi une masse de gens qui n’est pas mérite une attention particulière.
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