Program Notes Machaut

Total Page:16

File Type:pdf, Size:1020Kb

Program Notes Machaut ABOUT THE MACHAUT MASS by Anne Azéma Program and Production Notes for the upcoming March 29 and March 30 performances Amherst and Cambridge, Ma. The present production of the epoch-making “Messe de Notre Dame” by Guillaume de Machaut (c.1300–77) was the result of a 2011 commission to The Boston Camerata by the Reims Music Festival. The mission confided to us then was to reconsider and reconceive Machaut’s masterpiece, the earliest known polyphonic setting of the mass Ordinary from the hand of a single composer, in honor of the 800th anniversary of the glorious Reims Cathedral. That is the place where Canon Machaut’s music was almost certainly first performed. These 2013 performances in Amherst and Cambridge mark the North American première of that Reims production, a significant milestone both in the history of the Cathedral and of our ensemble. As it is with history’s appreciation of the Reims cathedral itself—a building successively neglected, adored, altered, partially destroyed, rebuilt and restored—our views of medieval musical art in general and of Machaut’s achievement in particular have changed and evolved greatly over the generations. During the Enlightenment and into the earlier nineteenth century, medieval music (or what little was known of it) was generally considered to be crude and primitive. Ever since the earliest transcriptions of medieval polyphony by later nineteenth-century musical paleographers began to circulate, a reappraisal began, and in Machaut’s case appreciation for his musical art has never ceased to grow and progress. His place as one of the greatest composers in music history is now virtually unchallenged, and even his prolific literary output, for so long relegated to the second rank, is now undergoing positive reevaluation. Machaut’s mass ordinary, dedicated to the Virgin Mary, was probably composed c.1360; perhaps this is the mass he mentions in his epitaph, visible in the nave of the cathedral until the eighteenth century. Machaut there requested, and generously endowed, a memorial mass to be sung in memory of himself and his brother Jean. In any case, his four-voice Lady Mass contains six movements: a Kyrie, Gloria, Credo, Sanctus, Agnus Dei, and Ite Missa Est. The grandiose proportions of the Reims Cathedral led us to reimagine Machaut’s polyphony within an entire liturgical cycle, as it very likely would have been heard at the time. The liturgy of the Catholic mass, an ensemble of rites and celebrations, is a succession of texts, symbols, and acts, whose specific order may vary according to the geographic location of the ceremony. Much of this ceremony happens in music, sung or declaimed. The specific rite that surrounded Machaut’s polyphony was almost certainly the Marial mass “Salve sancta Parens.” In the performance you will here, the Gregorian chants of this mass will be sung by the Convivium Musicum. We cannot, of course, imitate or mime the actual, theological sacrament of the mass, nor do we wish to do so. Rather, we hope to give a richer and deeper context to what is an iconic symbol of medieval sacred art. One way to deepen the context is to extend/recreate its timeframe. One can perform any composer’s setting of the Ordinary from Machaut forward in a “concert” manner with the movements succeeding each other as in a symphony. Machaut’s music, however, was never intended as a work to be heard in isolation; rather, it was meant to be part of a larger context: the “novel” polyphony contrasting with the familiar Gregorian monodies. As these different musical works are heard in response to each other, the innovative force of Machaut’s art, so admired by his contemporaries, is felt even more strongly. And, heard together, chants and polyphony create a new whole, a unique spiritual, emotional, and artistic itinerary for the listener. The landscape of memory is continually changing, from one generation to the next as our notions of the past evolve. We approach the past, attempting to appropriate and share it with men and women of our own time. The effort seems insurmountable, impossible, and yet at the same time a close and familiar part of our daily work as musicians. The most ordinary and quotidian kind of performance decisions—where, for instance, to pitch the human voices, high or low?—have an enormous impact on our perceptions of the past and of Machaut’s genius in particular. Our choice of lower voices— tenors, baritone, and bass—may seem at first to contradict the modern “score” of the Machaut Mass. But only at first! For the notes on the score have nothing to do with the fixed pitches of a modern keyboard, but rather with the arrangements of steps and half steps within the two modes of the mass. The actual height of the sounding pitches needs to be determined by other means. Again, the choice of a small solo group, rather than a modern choral society, will create its own space and mental/aural impression. Even the seemingly self-evident choice to sing with musicians facing the listeners (rather than an altar) will influence our sense of a now-receding, now-approaching distant past. Whatever our performance decisions (and ours, hopefully, will bring us closer to some level of historical veracity), Guillaume de Machaut’s musical art, in this liturgical masterpiece as in his other extraordinary compositions, maintains its exquisite beauty and its power to touch and transport us, still filled with the force of life and spirit six centuries after its creation in medieval France. Anne Azéma, January 2013 (translation: Joel Cohen) .
Recommended publications
  • To Download Press
    BIO - GRAPHY Tapestry Tapestry made its debut in Jordan Hall with a performance of Steve Reich’s Cristi Catt, soprano, has performed with Tehillim, deemed “a knockout” by The Boston Globe. The trademark of the leading early music groups including En- Boston-based vocal ensemble is combining medieval repertory and contem- semble PAN, Revels, Boston Camerata porary compositions in bold, conceptual programming. Critics hail their rich and La Donna Musicale. Her interest in the distinctive voices, their “technically spot-on singing” and their emotionally meeting points between medieval and folk charged performances. The LA Times writes “They sing beautifully separately traditions has led to research grants to Por- and together with a glistening tone and precise intonation” and The Cleve- tugal and France, and performances with land Plain Dealer describes Tapestry as “an ensemble that plants haunting HourGlass, Le Bon Vent, Blue Thread, and vibrations, old and new, in our ears.” Most recently, Tapestry has expanded their repertoire to include works of impression- ists including Debussy, Lili Boulanger and Vaughan Williams for a US tour in celebra- tion of the 100-year anniversary of World War One Armistice, culminating with a per- formance at the National Gallery in Wash- ington DC. Their newest program, Beyond Borders, builds on their impressionistic discoveries and expands to works of Duke Ellington, Samuel Barber, and Leonard Ber- nstein programmed with early music and folk songs. Concert appearances include the Utrecht Early Music and
    [Show full text]
  • PMMS Josquin Des Prez Discography June 2021
    Josquin des Prez Discography Compiled by Jerome F. Weber This discography of Josquin des Prez (Josquin Lebloitte dit des Prez), who has been indexed as Josquin Desprez, Des Près, and Pres, adopts the format of the Du Fay discography previously posted on this website. It may be noted that at least three book titles since 2000 have named him simply “Josquin,” bypassing the spelling problem. Acknowledgment is due to Pierre-F. Roberge and Todd McComb for an exhaustive list of records containing Josquin’s music in www.medieval.org/emfaq. It incorporates listings from the work of Sydney Robinson Charles in Josquin des Prez: A Guide to Research (Garland Composer Resource Manuals, 1983) and Peter Urquhart in The Josquin Companion (ed. Richard Sherr, Oxford, 2000), which continued where Charles left off. The last two lists each included a title index. This work has also used the following publications already incorporated in the three cited discographies. The 78rpm and early LP eras were covered in discographic format by The Gramophone Shop Encyclopedia of Recorded Music (three editions, 1936, 1942, 1948) and The World’s Encyclopaedia of Recorded Music (three volumes, 1952, 1953, 1957). James Coover and Richard Colvig compiled Medieval and Renaissance Music on Long-Playing Records in two volumes (1964 and 1973), and Trevor Croucher compiled Early Music Discography from Plainsong to the Sons of Bach (Oryx Press, 1981). The Index to Record Reviews compiled by Kurtz Myers (G. K. Hall, 1978) provided useful information. Michael Gray’s classical-discography.org has furnished many details. David Fallows offered many valuable suggestions.
    [Show full text]
  • Celebrate a Medieval Christmas with the Boston Camerata
    Anne Azéma, Artistic Director Joel Cohen, Music Director Emeritus December 1, 2011 FOR IMMEDIATE RELEASE Please contact Tim Alexander at [email protected] or 617-272-2092 for further information. "A Medieval Christmas," absent for many years from the Boston area, now returns for four performances this Christmas season in New England. Directed by Anne Azema, the performances are December 10 (8 pm) at Boston's Old West Church; December 11 (3:30 pm) at First Parish Church in Newbury; December 17 (8 pm) in Lexington's Hancock United Methodist Church; and December 20 (8 pm) at First Church of Cambridge. Union College in Schenectady has engaged the Camerata for an additional performance there on December 18. "Away with scholastic debate and with the coldness of rectitude: Let the light and awe from some of the most magnificent medieval pieces pour in, the energy of a young group of performers combined with the sheer fun of the seasonal feast," in the words of artistic director Anne Azema. "Enjoy these performances, which are drawn from a vast medieval trove that includes some of the most beautiful music ever produced in Europe." Audiences will hear magnificent medieval song and poetry from France, Provence, England, and Germany, performed by a virtuoso consort of voices and instruments. The Boston area is truly blessed to be the home of a world-famous early-music ensemble. The Boston Camerata began touring overseas in 1974, and in the summer of 2011 it reached new heights, with combined audiences for tours in France, Germany, Belgium, Holland, and Finland exceeding 15,000.
    [Show full text]
  • A 16Th-Century Meeting of England & Spain
    A 16th-Century Meeting of England & Spain Blue Heron with special guest Ensemble Plus Ultra Saturday, October 15, 2011 · 8 pm | First Church in Cambridge, Congregational Sunday, October 16, 2011 · 4 pm | St. Ignatius of Antioch Episcopal Church, New York City A 16th-Century Meeting of England & Spain Blue Heron with special guest Ensemble Plus Ultra Saturday, October 15, 2011 · 8 pm | First Church in Cambridge, Congregational Sunday, October 16, 2011 · 4 pm | St. Ignatius of Antioch Episcopal Church, New York City Program Blue Heron & Ensemble Plus Ultra John Browne (fl. c. 1500) O Maria salvatoris mater a 8 Blue Heron Richard Pygott (c. 1485–1549) Salve regina a 5 intermission Ensemble Plus Ultra Tomás Luis de Victoria (1548–1611) Ave Maria a 8 Ave regina caelorum a 8 Victoria Vidi speciosam a 6 Vadam et circuibo civitatem a 6 Nigra sum sed formosa a 6 Ensemble Plus Ultra & Blue Heron Victoria Laetatus sum a 12 Francisco Guerrero (1528–99) Duo seraphim a 12 Blue Heron treble Julia Steinbok Teresa Wakim Shari Wilson mean Jennifer Ashe Pamela Dellal Martin Near contratenor Owen McIntosh Jason McStoots tenor Michael Barrett Sumner Thompson bass Paul Guttry Ulysses Thomas Peter Walker Scott etcalfe,M director Ensemble Plus Ultra Amy Moore, soprano Katie Trethewey, soprano Clare Wilkinson, mezzo-soprano David Martin, alto William Balkwill, tenor Tom Phillips, tenor Simon Gallear, baritone Jimmy Holliday, bass Michael Noone, director Blue Heron · 45 Ash Street, Auburndale MA 02466 (617) 960-7956 · [email protected] · www.blueheronchoir.org Blue Heron Renaissance Choir, Inc. is a 501(c)(3) tax-exempt entity.
    [Show full text]
  • Early Songs of Resistance and Rebellion the Boston
    EARLY SONGS OF RESISTANCE AND REBELLION THE BOSTON CAMERATA ■ ANNE AZÉMA FRANZ LISZT ALL UNITE! REPENTANCE 1 | Friendly Union AA, EM 2’17 13 | Repentance DR 2’18 text by John L. Peasey from Hymn and Spiritual Songs (Portsmouth, New Hampshire, 1823) Shaker song notated by OTIS SAWYER (1815-1884) music The New Union, JEREMIAH INGALLS (1764-1838) from The Christian Harmony from a Sabbathday Lake Shaker manuscript (Maine, 1840) (Exeter, New Hampshire, 1805) with The Cuba March (Anglo-American March, 18th Century) world premiere recording 2 | The Cuba March EM, JL, RS, AW 1’07 14 | Thirst for Gold TE, JW, JF 2’11 adapted from DANIEL READ (1757-1836), Russia Anglo-American March (18th Century) music ubiquitous in early American songbooks with The New Union text from The American Musical Miscellany (Northhampton, Massachusetts, 1798) JEREMIAH INGALLS from The Christian Harmony (Exeter, New Hampshire, 1805) as ‘The Warning’ 15 | My Body Rock ’Long Fever JF 2’47 from Slave Songs of the United States (New York, 1867) 3 | Bunker Hill ALL VOICES 1’49 ANDREW LAW (1749-1821) 16 | Didn’t my Lord Deliver Daniel JW 1’34 text by Nathaniel Niles (1741-1828) African American oral tradition from The American Vocalist (Boston, Massachusetts, 1858) 17 | Sanctum Te TE, JW, ALL VOICES 1’28 4 | Liberty Tree JW, JF 2’49 Shaker songs notated by OTIS SAWYER text by Thomas Paine (1737-1809) from a Sabbathday Lake Shaker manuscript (Maine, 1840) from The American Patriotic Songbook (Philadelphia, Pennsylvania, 1813) 18 | Pretty Home DR, AA, CP 1’17 5 | Chester TUTTI
    [Show full text]
  • Cappella Sistina
    Antwerpen, 22-30 augustus Inhoudstafel Woord vooraf | Philip Heylen 7 Laus Polyphoniae 2009 | Dag aan dag 10 Introductie | Bart Demuyt 23 Interview met Philippe Herreweghe 27 Essays De Spaanse furie in de pauselijke kapel 35 De Magistri Caeremoniarum, hoeders en beschermers van de rooms-katholieke liturgie 51 De Lage Landen in de pauselijke kapel 87 Muziekbronnen in het Vaticaan 103 Het Concilie van Trente 121 De Romeinse curie 137 De dagelijkse zangpraktijk in de pauselijke kapel 151 Muziek aan het hof van de Medici-pausen 171 Het groot Westers Schisma (1378-1417) 187 Rituelen bij overlijden en begrafenis van de paus 205 Virtuozen aan de pauselijke kapel 225 De architectuur van de Sixtijnse Kapel 241 Meerstemmige muziekpraktijk en repertoire van de Cappella Sistina 257 De paus en het muzikale scheppingsproces 271 De pausen in Avignon (1305-1377) 295 Van internationaal tot nationaal instituut: de Sixtijnse Kapel in de 17de eeuw 349 Decadentie en verval van de pauselijke kapel 379 Concerten Cursussen, lezing & interview 22/08/09 20.00 Collegium Vocale Gent 39 Polyfonie in de Sixtijnse Kapel, cursus polyfonie voor dummies 97 23.00 Capilla Flamenca & Psallentes 55 Cappella Sistina, themalezing 167 23/08/09 06.00 Capilla Flamenca & Psallentes 61 Philippe Herreweghe en de klassieke renaissancepolyfonie, interview 183 09.00 Capilla Flamenca & Psallentes 65 De Sixtijnse Kapel: geschiedenis, kunst en liturgie, cursus kunstgeschiedenis 221 12.00 Capilla Flamenca & Psallentes 69 Op bezoek bij de paus, muziekvakantie voor kinderen 291 15.00 Capilla
    [Show full text]
  • Welcome Back the Boston Camerata !
    Welcome back The Boston Camerata ! Nous sommes heureux d’annoncer que The Boston Camerata enregistre à nouveau pour harmonia mundi ! Après plusieurs enregistrements dans les années 80 sous la direction de Joël Cohen, l’ensemble de musique ancienne et le label renouvellent leur collaboration avec un programme original: Free America! Les chanteurs et instrumentistes, conduits désormais par Anne Azéma, explorent ici le répertoire des chansons de résistance et de rébellion qui ont nourri la jeune république américaine (1770-1870). Union, Liberté et Égalité étaient les liants de cette nouvelle fédération ; valeurs qui irriguent HMM 902628 toutes ces chansons, marches, hymnes et ballades issus des traditions Parution le 13 septembre orales et populaires. Alors que les idéaux américains subissent aujourd’hui de nombreux affronts, la force et la vitalité de ce vaste répertoire nous rappellent le désir d’harmonie sociale et d’unité qui prévalait lors de la fondation de cette nouvelle « Terre Promise ». Le prochain enregistrement de The Boston Camerata pour harmonia mundi sera dédié aux Noël médiévaux, depuis la musique liturgique jusqu’aux chants de dévotion à la Vierge Marie en langues vernaculaires. EN CONCERT 5 octobre - Strasbourg - Palais de la musique, Auditorium Cassin Free America! Songs of Resistance and Rebellion (1790-1860) Concert à l’occasion du 60e anniversaire du jumelage entre les villes de Boston Strasbourg. Cette coopération, initiée par le Strasbourgeois Charles Munch, chef d’orchestre du Boston Symphony Orchestra de 1949 à 1962, prévoit de nombreux échanges culturels parmi lesquels ce concert constitue un événement emblématique d’une longue amitié fondée sur le partage. Raphaël Dor Attaché de presse 14, rue Milton - 75009 Paris T.
    [Show full text]
  • Psalms and Musical Legends Highlight Camerata's 2009-2010 Season
    FOR IMMEDIATE RELEASE PSALMS AND MUSICAL LEGENDS HIGHLIGHT CAMERATA'S 2009-2010 SEASON Boston, May 2009 Four local productions form the core of The Boston Camerata's concert season in 2009-2010, augmented by national touring and foreign tours to Colombia, France, and Germany. Anne Azéma, the early music ensemble's Artistic Director since 2008, revisits her Huguenot Protestant roots in November with the festive Symphony of Psalms , honoring the anniversary year of religious leader Jean Calvin. A large ensemble of singers and early instruments will be assisted and augmented by the Choral Fellows of Harvard Univerisity, directed by Edward Jones. Music Director Emeritus Joel Cohen returns in December to direct A Mediterranean Christmas, one of Camerata's most successful holiday programs of recent seasons. For this unusual, East-meets-West program, Camerata's musicians will be joined by members of the Sharq Arabic Music ensemble. There will be five area performances. The French-born Azéma will create two new programs in the spring, based around her special enthusiasm for legend and story telling through early music and poetry. In March, The Maria Monologues will explore the meaning of medieval femininity, with music dedicated to the two key women around Jesus: Mary, the mother, symbol of purity, and Marie Magdalene, intimate companion, and reputedly a repentant sinner/fallen woman. Alexander the Great: Hero, Warrior and Lover, to be premièred in May, will explore European, Turkish, and Jewish legends of the great conqueror, including musical and poetic evocations of antiquity, the Middle Ages, and the contemporary musical imagination. Partnering with Camerata in this pioneering program will be the Turkish ensemble Dünya, directed by Mehmet Sanlikol.
    [Show full text]
  • May 2016 List Web Version
    May 2016 Catalogue Prices valid until Tuesday 28�� June 2016 unless stated otherwise 0115 982 7500 [email protected] 1 Welcome! Dear Customer, Welcome to our new style catalogue! Many people have commented over the years on how our monthly listings can be a little bland and uninspiring, so we have long been wanting to make improvements. We now find ourselves in the position to be able to achieve this and hope you like the result. Please rest assured that no content has been ‘watered- down’ as a consequence of these changes! All information that would have been present previously continues to be so, but hopefully in a clearer, easier-to-read format. Feedback will be welcomed if you have any comments, either positive or (constructively) negative… New releases to highlight this month include new discs from Alison Balsom (a trumpet and piano recital) and The John Wilson Orchestra (Gershwin) on Warner Classics, the first instalment in a Mozart Violin Sonata series from Alina Ibragimova on Hyperion, beautifully presented and performed G&S in the form of HMS Pinafore from Scottish Opera and Richard Egarr (Linn), the second volume of British Violin Sonatas from Tasmin Little (Chandos), and the final disc in Gergiev’s series of Scriabin Symphonies with the LSO (LSO Live). Not quite so many boxsets this month as we might usually see, but our picks include the latest ‘Decca Sound’ compilation featuring 55 CDs of Great Vocal Recitals, the 2015 Lugano Festival highlights from Martha Argerich and Friends (Warner), and two titles from Sony Classical: ‘Great Moments at Carnegie Hall’ including performances from Richter, Bernstein, Horowitz, Menuhin, Rostropovich and many more (43 CDs) and the complete Columbia album recitals from legendary mezzo Frederica von Stade (17 CDs).
    [Show full text]
  • Concert Program Book
    THE LOST MUSIC OF CANTERBURY Friday, April 28, 2017 | 8pm TAKING APART THE PARTBOOKS Saturday, April 29, 2017 | 9am - 5pm CATHOLIC MUSIC ON THE EVE OF REFORMATION First Church in Cambridge, Congregational FRIDAY | APRIL 28 Concert: The Lost Music of Canterbury Exultet in hac die Hugh Sturmy Magnificat Robert Jones Kyrie Orbis factor Sarum plainchant Missa sine nomine: Gloria & Credo Anonymous — intermission — Missa sine nomine: Sanctus & Agnus Anonymous Ave Maria dive matris Anne Hugh Aston Pre-concert talk by Nick Sandon (Antico Edition; Exeter University, retired) sponsored in part by The Cambridge Society for Early Music BLUE HERON Scott Metcalfe,director treble Margot Rood, Teresa Wakim, Shari Alise Wilson mean Jennifer Ashe, Pamela Dellal, Martin Near contratenor & tenor Michael Barrett, Owen McIntosh, Jason McStoots, Mark Sprinkle bass Paul Guttry, Steven Hrycelak, David McFerrin Blue Heron is funded in part by the Massachusetts Cultural Council, a state agency. The Friday concert is supported in part by a grant from the Cambridge Arts Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency. Blue Heron 950 Watertown St., Suite 11, West Newton, MA 02465 (617) 960-7956 [email protected] www.blueheron.org 2 SATURDAY | APRIL 29 Taking Apart the Partbooks: Catholic Music on the Eve of Reformation Margaret Jewett Hall 8:30 Coffee & pastries 9:00 Introductory remarks: Scott Metcalfe 9:15-9:45 “Catholicism in England around 1540” Liza Anderson (Episcopal Divinity School) 9:45-10:15 “Protestants in
    [Show full text]
  • JUNE 14, 2011 Please Contact Tim Alexander
    JUNE 14, 2011 FOR IMMEDIATE RELEASE Please contact Tim Alexander at [email protected] for further information. THE BOSTON CAMERATA ANNOUNCES A SERIES OF CELEBRATIONS FOR ITS 2011-2012 SEASON The Boston Camerata, the eminent early music ensemble, has announced "Celebrations," its Boston-area concert season in 2011-2012. Camerata's season will begin with a production of The Sacred Bridge, requested by many concertgoers after last year's sellout event. The unusual holiday program is a real interfaith celebration, including elements of Jewish liturgy, Gregorian chant, song and texts of Jewish minstrels, Sephardic folksong, medieval Spanish Cantigas, and Judaeo-Arabic music from the ancient Andalusian tradition. Joel Cohen and Camerata musicians are joined in The Sacred Bridge by members of the Sharq Arabic Music Ensemble in a performance on Saturday, December 3, 2011 at 8:00 p.m. at Longy School’s Pickman Hall in Cambridge. The Camerata continues its December holiday celebrations with its most famous and beloved program, A Medieval Christmas – enchanting music from France, Germany, England, and Italy around the eternally powerful story of the Nativity. The four Boston-area performances of A Medieval Christmas begin December 10 at Boston’s Old West Church (8:00 p.m.) and December 11 at Newbury’s First Parish Church (3:30 p.m.); then on December 17 at Lexington’s Hancock Church (8:00 p.m.), and finally on December 20 at First Church in Cambridge (8:00 p.m.). Anne Azéma leads, for the first time in her tenure as Artistic Director, this now-classic program. Music lovers, and lovers of all kinds, are invited to celebrate Valentine's Day with a concert focused on The Game of Love.
    [Show full text]
  • The Boston Camerata the Sacred Bridge
    THE BOSTON CAMERATA Anne Azéma, artistic director presents THE SACRED BRIDGE Jews, Christians, and Muslims in Medieval Europe I. Songs of exile Anonymous (Sephardic, Jerusalem) Boray ad ana/Criador hasta cuando Creator, why have you imprisoned your Dove? Why have you put her in chains? She is alone, without her children, crying Father, Father, Father... Al naharot bavel (Psalm 137) By the rivers of Babylon, There we sat down, yea, we wept, When we remembered Zion. Upon the wil- lows in the midst thereof We hanged up our harps. For there they that led us captive asked of us words of song, And our tormentors asked of us mirth: 'Sing us one of the songs of Zion.' How shall we sing the Lord's song in a foreign land? II. The Sacred Bridge Anonymous (Gregorian, Ashkenazic) In exitu Israel/ B'tset Yisrael (Psalm 114, Latin and Hebrew versions) When Israel came forth out of Egypt,The house of Jacob from a people of strange language;/Judah became his sanctuary, Israel his dominion... Obadiah the Proselyte (12th century) Mi al har horeb (Eulogy of Moses) Who other than Moses stood on Mt Horeb ? Who other than Moses led my flock in the desert, bring- ing them forth water? To the heavens he came to God. Know, my people, 'That your light has come. The Glory has shone upon you.' III. Minority Minstrels in the Christian Middle Ages Mathieu le Juif (13th century) Par grant franchise I must sing to you, unfaithful lady who torments me. False lovers make true love perish; I have served you faithfully, yet you mock me.
    [Show full text]