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Home , Claude Goudimel, Jean Mouton, Josquin des Prez, Pierre de Manchicourt

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acredacredFF ongsongs ®  ranceranceVOLUME I : 1198–1609

 G LORIÆ D EI C ANTORES  ELIZABETH C. PATTERSON, DIRECTOR 1. Hæc dies Léonin 1:40 2. Vidérunt omnes (ed. Philip Legge) Pérotin 9:17 3. Benedícta es cælórum Regína 7:00 (Antico Edition) 4. Crux triúmphans (NDC Editions, Inc.) Loyset Compère 5:42 5. Quærámus cum pastóribus Verbum incarnátum 3:56 (Éditions de la Schola Cantorum) 6. Ave María Jean Mouton 3:37 (Éditions de la Schola Cantorum) 7. Miserére mei, Deus Josquin des Prez 16:59 (Éditions de la Schola Cantorum) 8. Sancta Trínitas Antoine de Févin 3:03 (Éditions de la Schola Cantorum) 9. Gábriel ángelus locútus est Maríæ Elzéar Genet dit Carpentrasso 2:49 (Éditions de la Schola Cantorum) 10. Unde véniet auxílium mihi Pierre Passereau 6:15 (Verlag Corpusmusicae) 11. O vos omnes (Chester Music) Jachet of Mantua 1:34 12. María Magdaléne (Ricercar) François Dulot 5:50 13. Cæcília virgo gloriósa 2:46 (Éditions de la Schola Cantorum) 14. Jésus nait tendre et blême Thoinot d’Arbeau 2:47 (Éditions de la Schola Cantorum) 15. Glória in excélsis (Chester Music) 1:47 16. Noël! Sors de ton lit Eustache du Caurroy 2:08 (Broude Brothers Limited) TOTAL 77:10 PROGRAM NOTES For most of our European-based history, we were over-generous in claiming credit for developments in art and culture that we actually borrowed and adapted from other cultures. We are correcting that bias, but we should not let a growing awareness of our global heritage dim our appreciation of the treasures of post-Classical Western civilization. Medievalists, always defensive in the face of apologists who teach that the was the actual moment the West awakened from its long sleep, wait in patient longing for those who would read deeper and think more creatively (and dare one say spiritually?) about what those centuries bequeathed to humanity. 5 This recording begins with one gift from the Middle Ages that can be mined as pure gold. Imagine a world where music is rhythmic, percussive- driven—often sophisticated—but linear, like this line of type. Somewhere, someone had the absolutely new vision (even if it was thought to be a reinvention of a classical idea) of moving into the vertical realm. Music acquired an entirely new dimension, and from this evolved multiple-voice writing of all stripes, even the creation of a widely usable system of notating music. Here began Bach and the masters of ; here began Beethoven and the possibility of a symphony; here began every ethnomusicologist’s ability to transcribe folk and tribal sounds from the world; here is jazz, here is pop, here is rock. King David, Twelfth century psalter. Alfredo Dagli Orti / The Art Archive at Art Resource, NY Many have suggested the vertical evolution of sound came from We know the names of our first two composers not because they wanted somewhere else. The call-and-response sound of sub-Saharan Africa has us to. It is worthy to remember that the Rule of St. Benedict endowed been evoked. Some ethnomusicologists have conjured the throat singing a spiritual, but also a rational plan to self-governing bodies of men and of spontaneous chords that we find in Bulgaria or Wales as a possibility. women. Those communities have endured for sixteen centuries (and one Some hear the sound of plainchant in Romanesque vaults and experience can fervently hope will thrive for sixteen more). For all the wit and clarity the echoes of voices as naturally suggesting polyphony. in that text, it is also a reminder of the wisdom found through humility: But if what we know of is actually the vast editorial “in the oratory, in the monastery, in the garden, on the road, in the fields, work done under , it was our apparent need to understand or anywhere else, and whether sitting, walking or standing,” the motion the art of the ancients (especially reading the great late Latin inspiration and attitude of humility should always be present. for so much , Boethius) that led to these early experiments. Those names of chant writers, artists, architects, poets, painters, As Ronald Broude wrote concerning the evolution of early notation in a musicians, and all the others are not lost to us because of carelessness on

6 recent issue of America magazine, “It would not be the only the part of some monk while transcribing a manuscript. Creative endeavors 7 time in the that an attempt to revive Classical practice by all of us who are mortal were for the glory of God, not for ourselves. To produced something new and different: half a millennium later, opera the twenty-first century, this may appear madness: for Benedict’s followers, would be the product of a similar misprision.”1 how much sweeter to make every song for God. Somewhere around 900 we see the marvelous Musica enchiriadis, a look back Thus it is an English student and theorist, reflecting on his youthful at Boethius that is our first record of multiple-voice writing. Whether Odo days at the great school of Notre Dame, who names composers who may had a hand in it at the great center of Cluny, or, as was thought for centuries, have been elegantly content not to have been so named. The three centuries the Frankish Benedictine Hucbald, this attribution matters most to our own from 900 to 1200 had seen simple chants with a line at the fifth being post-Renaissance minds. Those who followed holy orders and kept the dim the “vertical” example, to more elegant three- and eventually four-voice light of Western civilization alight cared not where this all began; and it was ornamentation about the chant melody. The Greek word “organum” was they who made any subsequent baby steps of our evolution possible. used for this—it has the handy double meaning of “organ,” the instrument we still associate with church, and “tool.” 11. Ronald Broude, “Inventing Western Music Notation, Inventing Western Music, Early Music America 18:2 (Summer 2012), 57. Magister Leoninus

Those early texts defined it as “singing in symphony,” but it had To consolidate the kingdom, there were the campaigns in in the the extended idea of having the multiple voices based on an organizing first half of the sixteenth century, the rise of the Protestants that led to principle: the chant line. Perhaps because they had taken the notion so far Henry IV’s accession and the Bourbon dynasty that defined the next era and into such new territory, it was inevitable that Magister Leoninus in French history and music. In and out of these political winds these and Magister Perotinus (as that pupil, who is now called “Anonymous composers went, some at the fate of patrons, some able to define their 4” named them—the French versions of their names came much later) own destiny. would be made famous. We have examples of their music and mastery, and Our first Renaissance composer is such a man. Many years ago, when I we begin with one example from each of them. was first discovering early music in my hometown of Washington, DC, I Was Léonin the teacher of Pérotin? Assuredly they are linked, and to had the great good fortune to see many performers who were rediscovering hear our transition from Léonin’s Easter setting to the wondrous (then this music from long ago: Safford Cape and the , and now) Pérotin Christmas setting from Psalm 97, we clearly are singing the Prague Singers, Julian Bream, and most particularly Alfred 8 joyfully, and the world is undeniably hearing a new sound. Deller. Deller returned to the Library of Congress regularly, and seemed to Oh, and all of this happened in . The rest of the program takes delight (or at least tolerate) the enthusiasm and questioning of a teenager. us to the summit of this musical revolution. From around 1350 to nearly When I asked him what one composer I should pursue over all the 1550 almost every famous composer we know comes from a tiny and others, if I were to pick but one, his answer helped define my life. Even fertile region of France and old Flanders—thus it is called the Franco- his son, Mark, thought he would have said Henry Purcell, or perhaps Flemish school of polyphony. Monteverdi. But he told me to follow Josquin des Prez: “Josquin is the From Josquin’s birth to the death of du Caurroy is maybe 150 years. greatest composer before the birth of Bach, and you will never be sorry for Before then, many great composers had left their mark on French music, any time you spend in his presence.” and the nation had changed. After the Valois line took over in the early That was nearly half a century ago. Happily, much has happened in fourteenth century, France was defined by the vast Hundred Years’ War, with the early music world. There has even been a “sure-Josquin-is-great- the ups in the second half of the century, to the downs with Agincourt, to but-so-are-his-many-contemporaries” movement that has led to magical the ups again with the time of Joan of Arc (whose seven hundredth birth discoveries and countless world-premiere performances and recordings. anniversary was celebrated in 2012). But just as there are also many wonderful Baroque composers, there is and we experience two: the popular Marian Benedícta es (no less a one Bach. And just so there is one Josquin. figure than Palestrina set one of his early masses on this gem), and the The Holy Roman Emperor Charles V loved Josquin. So did Martin incomparable Miserére. This was written while Josquin was in , Luther (“He is the master of the notes—other musicians do with notes and may have been inspired (as were other great late works of the what they can, Josquin what he likes”), Castiglione of “The Courtier” composer) by the death of the reformer Savonarola. Some say the simple fame, and the theoretician Heinrich Glaraeanus, who suggested that and expressive clarity of this work by a composer capable of complex Josquin represented the perfection of music. Who am I to argue? and intricate reflects Savonarola’s disdain for polyphony; Josquin was a difficult man (like so many great artists) with a beautiful I would suggest that when Josquin wants you to feel with your whole tenor voice. One superb window into the time was the scouting expedition being what is being said, the music achieves an aching and piercing sent out by Ercole d’Este in Ferrara to determine who would take over lucidity that is almost unmatched in human expression. his chapel. His secretary wrote recommending the composer who had worked for Charles V’s father, Maximilian, , saying Isaac is Loyset Compère (c. 1445–1518) is also probably from the Artois 11 “good natured and companionable . . . and is able to get on better with his region, and not only did his life mirror that of Josquin, but the two men colleagues and composes new pieces quicker. It is true, Josquin composes almost certainly came in contact. He worked for the Sforzas in better, but he does it only when it suits him and not when it is requested. (until the Duke was murdered), traveled with Charles VIII on the Italian More than this, Josquin asks 200 ducats while Isaac is pleased with 120.” campaign (including the occupation of Rome), spent time in Cambrai The other scout for a chapel director was emphatic: “There is neither (the city ever identified with the great composer of the generation before, lord nor king who will now have a better chapel than yours if Your Guillaume Dufay), and wound up in Picardy. He didn’t like the long-form Lordship sends for Josquin . . . by having Josquin in the chapel I want to composition of the mass as did many of his contemporaries. His nature place a crown upon this chapel of ours.” Ercole chose Josquin. was Burgundian: perfect miniatures of sacred music next to pungent (and Josquin des Prez The great Josquin scholar observed that many often hilarious) . We will hear one of the former, a small crystal composers before had set the word descéndere, but Josquin was the first gem. I commend finding some of the others: the story of the French who painted the act of descending by having the voices steadily move archer, or the Knights who pledge fealty to the Order of St. Baboon— down a scale. There are countless marvels in this composer’s artistry, you won’t be disappointed. Jean Mouton (c. 1459–1522) was from the north of France and French King Louis XII, but gravitated back to his home region (and the worked for before becoming the French court’s chief former home of the Papacy before the great Schism), Avignon. Like many composer. Josquin had been a beneficiary of the first printed music by composers after him, he found his works wrongly copied and in various , whose 1501 collection had works by other great states of disarray, and was perhaps the first to work toward a complete composers of the age; Petrucci thought so highly of Mouton that he publication of his own autograph scores. This lovely short motet of dedicated one entire edition solely to Mouton’s mass settings. Our the Annunciation was sung at Christmastide, and it reminds us how first setting is again for Christmastide, as we are asked to seek with the underrepresented the composer is in the recorded medium (when the shepherds the Word incarnate. Mouton was apparently a humble and ensemble called The Suspicious Cheese Lords created an all- gentle spirit: his setting of the Ave María may be all we need to affirm disc in 2003, it was the first of its kind). that reputation. Pierre Passereau (fl. 1509–1547) is also widely recorded. His work is 12 Antoine de Févin (c. 1470–1511/12) was, like our last two composers, full of fun and frivolity, and if you know the very popular “Il est 13 from the north (and was probably born in ), and like Carpentras bel et bon,” you can see why even Rabelais lists him among the favorite worked for Louis XII. Glaræanus, who had so favored Josquin, wrote that musical creators of the day. There is one sacred piece in this amusing Antoine had been a follower of Josquin and that he had died young. Only output, and only one: the motet we hear, taken from Psalm 120 and used about forty works survive, of which this invocation of the Holy Trinity for the Office of the Dead. Why this poignant call for help from the is most famous. Lord was written, and for whom, is a mystery.

Elzéar Genet (c. 1470–1548) was born in the lovely Provençal town Jachet of Mantua (1483–1559) was born in Brittany, but as his name of Carpentras, where the first synagogue in France was established a attests spent most of his life in Italy. After working for the Este family century before the composer’s birth. He picked up the name of his in Ferrara, he served the rest of his life with the Gonzagas in Mantua. hometown, and like Josquin worked variously in Rome (in 1513 he Cardinal Ercole Gonzaga became the head of the Council of Trent at the was the first composer named Master of the Papal Chapel), and for the time of the Counter-Reformation, and promoted the almost-exclusively P F Holy Saturday. sacred outputofJachet.We hearthe profound Tenebrae response for musicians), Perrenot de Granvelle recommended him for the job. In Flamenca (the Hapsburgs’ chapelmade upentirely of Franco-Flemish Bishop in1554, andwhenthe composerapplied to direct the Capilla V and his son, the storied PhilipII.Hededicated abookofmotets to the there (Antoine Perrenot deGranvelle) was the favored counselorto Charles Flemish school. Manchicourt had become canon in Arras while the Bishop ruler, whoinherited from hisfather Charles Vagreat love for the Franco- the oldArtois), andafter various posts inFrance, worked for the Hapsburg for anenterprising scholar to pursue. area rich a famouslyis settextsThis forcentury). herinthe mid-sixteenth this early, especially inFrance (there are medieval songs,andthe Spaniards back to Ockegehem. Itisrare enoughto findmotets to Mary Magdalene few compositions we have point to abrooding, bass-rich style that hearkens (failure to 1531 fulfill in his duties), and post the his from removed was 1523 the headofthe chapelinthe famous cathedral city ofRouen. He north inSt.Omer, hebecameorganist first inAmiensPicardy, then in find in this program (heis rarely, ifever, recorded). Alsofrom the far rançois Dulot

Thoinotierre deManchicourt d’Arbeau (fl. first half of thesixteenth century) is the great (c.1510–1564) was alsofrom the north (in the danceover forty years ago). from this samesource (the great MusicaReservata first recorded And, alsofor the season,“Jésusnaittendre etblême”islikewise ona Merrily onHigh”isin fact “le branle del’Official”from this collection. You know atleastoneofthese ditties: the Christmas tune “Ding Dong Warlock’s “Capriol Suite” takes some of the dancesin rearrangement). the young student Capriol allaboutthe populardancesofthe day (Peter study. The1588collection calledOrchésographie had aninterest inthe dance, andhisJesuitsuperiors encouraged the was ordained in1530andbecamecanonLangres in1547.Healready name isJehanTabouret, andthe created nameisactually ananagram), in Dijon,the opulenthometo the Dukes ofBurgundy, this cleric (hisreal C most famous for the beautiful vernacular settings of the (translated by from that era), aswell aspopular chansons.After becomingaProtestant, heis in 1547.Before hisconversion, hewrote massesandmotets (our Glória is Comté region, studied inParis, andbecameaHuguenotafter moving to There isnosuchproblem for music, useselaborate andcomplex doublecounterpoint. until hisdeath. Thismotet celebrating St.Cecilia,the patron saintof 1561 Manchicourt moved with Philipto Madrid, where heremained laude Goudimel (1514/20–1572) is from(1514/20–1572) the far eastern Franche- T hoinot d’Arbeau has ourmaster teaching (1519–1595). Born 15 Clément Marot) that were part of ’s . He was killed EXTS AND TRANSLATIONS in during the St. Bartholomew’s Day Massacre. T Finally, ustache du Caurroy (1549–1609), the last composer chrono- E Track 2 Vidérunt omnes Pérotin logically on this disc, is also from Picardy. We hear another Christmas Vidérunt omnes fines terræ salutáre All the ends of the earth have seen piece, one of the carols Caurroy created using the philosophic and poetic Dei nostri. Jubiláte Deo, the salvation of our God. Rejoice in the work of Jean-Antoine de Baïf. Baïf was one of the Pléiade poets, who in omnis terra. Lord, all lands. their young-Turk-of-the-day mid-sixteenth century idealism believed they Notum fecit Dóminus salutáre suum; The Lord has made known his salvation; were reinventing the vernacular poetry of the saucier Greeks and Romans. ante conspéctum géntium revelávit in the sight of the heathen he has revealed This inspired the composer (1528/30–1600) to create an justítiam suam. his righteousness. Academy of music and poetry with the idea that music should be measured 16 when it is set, long notes for long syllables, short notes for short ones, Track 3 Benedícta es cælórum Regína Josquin des Prez 17 and in that the text is far better served. Caurroy became the defender of LBlessed you are, Queen of the Heavens, Benedícta es, cælórum Regína, this idea (even after the Academy was no more). But the aural landscape Et mundi tótius dómina, and Lady of the whole world, created by these poet-musicians was an indispensable foundation that Et ægris medicína. and healer of the sick. helped build the next edifice of music, the era we call the Baroque. Tu præclára maris stella vocáris, You are called brightest star of the sea, —Robert Aubry Davis Quae solem justítiæ , Who give birth to the sun of righteousness, A quo illumináris. By whom you are illuminated. For further notes from the director, please visit www.gdcchoir.org. Te Deus Pater, ut Dei Mater God the Father, that you might become Fiéres et ipse frater, God’s Mother and he God’s brother, Cujus eras fília, Whose daughter you were, Sanctificávit, sanctam servávit, Sanctified you, kept you sacred, Et mittens sic salutávit: And sent you this greeting: Ave plena grátia. Hail, full of grace. Per illud ave prolátum Through that spoken “Hail” Indígnus tamen ad te vénio, Though unworthy, I come to you, Et tuum respónsum gratum And your pleasing response Ut me trahas ad tuam glóriam. That you may carry me to your glory. Est ex te Verbum incarnátum, The Word became flesh from you, Amen. Amen. Quo salvántur ómnia. By whom all are saved.

Nunc Mater exóra natum, Now, Mother, implore your Son, Track 5 Quærámus cum pastóribus Verbum incarnátum Jean Mouton Let us seek with the shepherds Ut nostrum tollat reátum, That he may take away our guilt, Quærámus cum pastóribus the Word incarnate; Et regnum det nobis paratum And may give us the kingdom prepared Verbum incarnátum; let us sing with all mankind In cælésti pátria. In the celestial country. cantémus cum homínibus for the King of the ages. Noel. Amen. Amen. regem sæculórum. Noé. Quid tu vides in stábulo? What do you see in the stable? Track 4 Crux triúmphans Loyset Compère Jesum natum de Vírgine. Jesus, born of the Virgin. Crux triúmphans, decus poténtium, Triumphant Cross, glory of the powerful, Quid audis in præsépio? What do you hear in the manger? Crux a Christo sanctam et amábilis, Cross made holy and lovable by Christ, Ángelos cum cármine Angels with a song 18 Nostra salus et desidérium, Our salvation and desire, et pastóres dicéntes: Noé. and shepherds saying: Noel. 19 Spes nostra et robur fortitúdinis Our hope and strength of our courage, Ubi pascas, ubi cubes? Where do you eat, where do you lie? Sánguine Jesu tincta et decoráta, Dyed and adorned with Jesus’s blood, Dic, si ploras, aut si rides: Say, whether you weep or laugh: Crux splendens a fonte lúminis, Cross brilliant from the source of light, Te rogámus, Rex Christe. Noé. we ask you, Christ the King. Noel. Adorámus te, peccatóres nimis, We adore you, we sinners beyond measure, Cibus est lac virginéum, My food is milk of the Virgin, Ut vita nostra tibi possit esse grata. That our lives may be pleasing to you. lectus durum præsépium, my bed a hard manger, Jesus! Nomen dignum triumphále, Jesus! Worthy triumphal name, cármina sunt lácrimæ. Noé. my songs are tears. Noel. Jesus! Nomen excédens ómnia, Jesus! Name exceeding all others, Jesus! Super omnes nullum talle, Jesus! Above all men, there is none like you, Track 6 Ave María Jean Mouton Jesus! Ómnium spes única mea, Jesus! Of all my only hope, Ave, María, grátia plena, Hail, Mary, full of grace, the Lord is with Tibi pando peccáta To you I reveal my sins, Dóminus tecum. Benedícta tu in you. Blessed are you among women. O Pie clamans misericórdiam. Devoutly calling on your mercy. muliéribus. O María, génetrix Dei: Mary, birth-giver of God: Tu es Jesus, pax et protéctio, You are Jesus, peace and protection, ora pro nobis. pray for us. S Track 7 Miserére mei, Deus Josquin des Prez et spíritum rectum ínnova in put a new and right spirit Miserére mei, Deus: Have mercy on me, O God, viscéribus meis. within me. secúndum magnam misericórdiam according to your steadfast love; Ne projícias me a fácie tua: et Do not cast me away from your tuam. Et secúndum multitúdinem according to your abundant mercy spíritum sanctum tuum ne áuferas presence, and do not take your holy miseratiónum tuárum: dele blot out my transgressions. a me. spirit from me. iniquitátem meam. Redde mihi lætítiam salutáris tui: et Restore to me the joy of your salvation, Ámplius lava me ab iniquitáte mea: Wash me thoroughly from my spíritu principáli confírma me. and sustain in me a willing spirit. et a peccáto meo munda me. iniquity, and cleanse me from my sin. Docébo iníquos vias tuas: et ímpii Then I will teach transgressors your Quóniam iniquitátem meam ego For I know my transgressions, and my ad te converténtur. ways, and sinners will return to you. cognósco: et peccátum meum contra sin is ever before me. Líbera me de sangúinibus, Deus, Deliver me from bloodshed, O God, me est semper. Against you, you alone, have I sinned, Deus salútis meæ: et exsultábit O God of my salvation, and my tongue Tibi soli peccávi, et malum coram te and done what is evil in your sight, so lingua mea justítiam tuam. will sing aloud of your deliverance. feci: ut justificéris in sermónibus tuis, that you are justified in your sentence Dómine, lábia mea apéries: et os O Lord, open my lips, and my mouth et vincas cum judicáris. and blameless when you pass judgment. 20 meum annuntiábit laudem tuam. will declare your praise. 21 Ecce enim in iniquitátibus concéptus Indeed, I was born guilty, Quóniam si voluísses For you have no delight in sacrifice; sum: et in peccátis concépit me mater a sinner when my mother sacrifícium, dedíssem utique: if I were to give a burnt offering, you mea. conceived me. holocáustis non delectáberis. would not be pleased. Ecce enim veritátem dilexísti: incérta You desire truth in the inward Sacrifícium Deo spíritus The sacrifice acceptable to God is a et occúlta sapiéntiæ tuæ manifestásti being; therefore teach me wisdom contribulátus: cor contrítum et broken spirit; a broken and contrite mihi. in my secret heart. humiliátum, Deus, non despícies. heart, O God, you will not despise. Aspérges me hyssópo, et mundábor: Purge me with hyssop, and I shall be clean; lavábis me, et super nivem dealbábor. wash me, and I shall be whiter than snow. Benígne fac, Dómine, in bona Do good to Zion in your good Audítui meo dabis gáudium et Let me hear joy and gladness; let the voluntáte tua Sion: ut ædificéntur pleasure; rebuild the walls of Jerusalem. lætítiam: et exsultábunt ossa humiliáta. bones that you have crushed rejoice. muri Jerúsalem. Then you will delight in right Avérte fáciem tuam a peccátis meis: Hide your face from my sins, and Tunc acceptábis sacrifícium justítiæ, sacrifices, in burnt offerings and whole et omnes iniquitátes meas dele. blot out all my iniquities. oblatiónes et holocáusta: tunc burnt offerings; then bulls will be Cor mundum crea in me, Deus: Create in me a clean heart, O God, and impónent super altáre tuum vítulos. offered on your altar. Miserére mei, Deus! Have mercy on me, O God! Track 8 Sancta Trínitas Antoine de Févin Læténtur omnes qui sperant in eum Let all rejoice who hope in him Sancta Trínitas, unus Deus, Holy Trinity, one God, have mercy on Quóniam in ætérnum exultábunt For they shall exult in eternity miserére nobis. Te invocámus, us. We call upon thee, we adore thee, we Et lætabúntur in sæculum sæculi. And be joyful forever and ever. te adorámus, te laudámus, te praise thee, we glorify thee, O blessed Auxílium meum a Dómino. My help is from the Lord. glorificámus, O beáta Trínitas. Sit Trinity. Blessed be the name of the Lord nomen Dómini benedíctus ex hoc from henceforth, now and forever. Track 11 O vos omnes Jachet of Mantua nunc et usque in sæculum, O vos omnes qui transítis per viam, All of you who pass by on your way, atténdite et vidéte: si est dolor símilis stop and see if you have seen sorrow Track 9 Gábriel ángelus locútus est Maríæ Elzéar Genet dit Carpentrasso dolóri meo. like mine. Gábriel ángelus locútus est Maríæ The Angel Gabriel spoke to Mary, saying: dicens: ave, grátia plena; Dóminus Hail, full of grace, the Lord is with you: Track 12 María Magdaléne François Dulot tecum: benedícta tu in muliéribus blessed are you among women María Magdaléne et María Jacóbi Mary Magdalene and Mary the mother of et benedíctus fructus ventris tui. and blessed is the fruit of your womb. et Salóme emérunt aromata, James and Salome brought sweet spices,

22 ut veniéntes ungérent Jesum, allelúia. and came to anoint Jesus, alleluia. 23 Track 10 Unde véniet auxílium mihi Pierre Passereau Et valde mane una sabbatórum And very early in the morning on the Unde véniet auxílium mihi? From whence shall my help come to me? véniunt ad monuméntum, first day of the week they came to the Timor et tremor venérunt super me Fear and trembling come over me orto jam sole, sepulcher, the sun being now risen. Et contexérent me ténebræ. And darkness has covered me. allelúia. Alleluia. Unde véniet auxílium mihi? From whence shall my help come to me? Dic nobis Maria quid vidisti in via? Tell us Mary what did you see on the way? Indúta est caro mea a putrédine My flesh is clothed with worms and clods Certe multis arguméntis vidi signa I saw many proofs and signs of the et sórdibus púlveris. of dust. resurgéntis angélicos testes sudárium resurrection, the angel witnesses, the Cutis mea áruit et contrácta est. My skin is broken and become loathsome. et vestes. shroud and clothes. Unde véniet auxílium mihi? From whence shall my help come to me? Credéndum est magis soli Maríæ More trust should be placed in truthful Auxílium meum a Dómino My help is from the Lord veráci quam populórum turbe falláci. Mary, than the whole deceitful host of the Quia non repéllet plebem suam For he does not reject his people Allelúia peoples. Alleluia. Et hereditátem suam non derelínquet. And does not desert his inheritors. Track 13 Cæcília virgo gloriósa Pierre de Manchicourt Track 15 Glória in excélsis Claude Goudimel Cæcília virgo gloriósa semper Cecilia, the glorious virgin, always carried Glória in excélsis Deo, et in terra Glory to God on high, and on earth peace evangélium Christi gerébat in the Gospel of Christ in her breast, pax homínibus bonæ voluntátis. to men of good will, because our salvation péctore suo et nunquam a collóquiis and never did she cease from godly Quia salus ætérna humáno géneri has appeared to us in human form. divínis et oratióne cessábat. conversations and prayer. appáruit.

Track 14 Jésus nait tendre et blême Thoinot d’Arbeau Track 16 Noël! Sors de ton lit Eustache du Caurroy Jésus nait tendre et blême, Jesus is born tender and pale, Noël, Noël. Noel, noel. Qui veut, malgré Satan, Who wishes, in spite of Satan, Sors de ton lit, Rise up from your bed, Sauver, par la mort même, To save, by death itself, Paré comme un nouveau soleil. Adorned like a new sun. Les fils pécheurs d’Adam. The sinful sons of Adam. Romps les cieux et descend, Rend the heavens and come down, Garde, Hiver, ton autan, Keep, O winter, your southerly breeze Ange du grand conseil. Angel of Great Counsel. Dieu gît nu sous le vent. [blowing], God lies naked in the wind. Enfant, mais homme-dieu, Child, but God-Man, Fils du Très-Haut qui porte Son of the Most High who bears 24 Laissez chanter vos âmes, Let your souls sing, 25 R Ta grand principauté Your great princely authority Purs anges voilés d’or, O angels veiled in gold, Auciel fleuri de flammes, In the heavens flowering with flames, Sur ton épaule forte. Upon your strong shoulder. Dans les sons du Kinnor. With the sounds of the kinnor. Noël, Noël. Noel, Noel. Ne jouez pas trop fort, Do not play too loudly, Car l’Enfant Jésus dort. For the Child Jesus is sleeping. De vos soucis, dans l’ombre, From your worries, in the shadows, Quittez tous le troupeau; All of you leave the flock behind; Vous dont le cœur est sombre, You whose heart is dark, Voyez Jésus si beau. Look upon Jesus, so beautiful. Il sourira tantôt He will smile soon, Ne geignez plus si haut. Do not groan so loudly anymore. GloriӔ Dei Cantores, an internationally acclaimed of over forty voices, ranging in age from 20-70, and directed by Elizabeth C. Patterson, is dedicated to preserving, performing, and recording great choral music from the eleventh to the twenty-first centuries. Founded in 1988, Gloriæ Dei Cantores has touched the hearts of audiences in twenty-three countries in Europe, Asia, and North America. They sing in eighteen languages and have a discography of more than thirty-five recordings. For more information, please visit www.gdcchoir.org.

Soprano: Tenor: Extended Choir Women* Rachel McKendree Br. Richard Cragg† Barbara Cole Sr. Anneliese Minster Br. Anthony Kanaga Janet Edmonson Sr. Amanda Ortolani Br. Nathanael Reese† Sr. Rosemary Ingwersen Kirsti Pugsley Br. Jacob Witter† Sr. Joan Jackson Kathy Schuman Br. Patrick Clark† Barbara Manuel Kate Shannon Br. Peter Logan† Sr. Alicia Mitman Sr. Lucia Smith SharonRose Pfeiffer HE CHURCH OF THE TRANSFIGURATION Amanda Schuman Baritone / Bass: Sr. Bernadette VanBuskirk TThe Church of the Transfiguration is a contemporary expression of early Christian architecture Mary Virginia Smith Michael Hale that draws upon a fourth-century architectural heritage shared by Protestants, Catholics, and Katherine Tingley Peter McKendree Extended Choir Men* Orthodox. Constructed of Minnesota limestone the color of Cape Cod sand, it stands 55 G. Luke Norman David Burnham feet high, 72 feet wide, and 182 feet long. Its architectural style is basilican and features a Alto: Br. Paul Norman Br. Mark Bushnell long, rectangular nave, a rounded apse at the east end, narrow side aisles, a peaked timber Sarah Andre Timothy McKendree† Erik Cragg roof, and interior columns and arches along the side aisles. It was designed by William Rawn Sr. Estelle Cole Br. Timothy Pehta Br. Benedict Young Associates of Boston and was dedicated June, 2000. The art program for the Church of the Sr. Victoria MacNeil Br. Joel Sweet† Transfiguration combines fresco, mosaics, stone and bronze sculpture, and stained glass, to Wendy Saran Organist: present a cohesive narrative based on biblical history and church tradition. The organ is a Paul Tingley Blair Tingley SharonRose Pfeiffer restoration and expansion of pipework from twelve organs built by the E.M. Skinner Organ Br. Philip MacNeil† Sharon Tingley Company early in the twentieth century. The Church of the Transfiguration recently won N. Andrew Mitchell Sr. Phoenix Catlin two awards from the American Institute of Architects Interfaith Forum on Religion, Art and David Ortolani Sr. Paula Irving Architecture: one for Religious Arts, Visual Arts and one for Religious Architecture, New Facilities. Lillian Miao Rachel Pfeiffer SVOLUME I 1198-1609S F : 1. Hæc dies Léonin 1:40 2. Vidérunt omnes Pérotin 9:17 3. Benedíctaacred es cælórum Regina ongsJosquin of des Prez rance7:00 4. Crux triúmphans Loyset Compère 5:42 5. Quærámus cum pastóribus Jean Mouton 3:56 Verbum incarnátum 6. Ave María Jean Mouton 3:37 7. Miserére mei, Deus Josquin des Prez 16:59 8. Sancta Trínitas Antoine de Févin 3:03 9. Gábriel ángelus locútus est Maríæ Elzéar Genet dit Carpentrasso 2:49 10. Unde véniet auxílium mihi Pierre Passereau 6:15 11. O vos omnes Jachet of Mantua 1:34 12. María Magdaléne François Dulot 5:50 13. Cæcília virgo gloriósa Pierre de Manchicourt 2:46 14. Jésus nait tendre et blême Thoinot d’Arbeau 2:47 15. Glória in excélsis Claude Goudimel 1:47 16. Noël! Sors de ton lit Eustache du Caurroy 2:08 TOTAL 77:10

GLORIÆ DEI CANTORES | ELIZABETH C. PATTERSON, DIRECTOR

Producers: Blanton Alspaugh, Richard K. Pugsley | Sound Engineers: John Newton, Byeong-Joon Hwang | Mastering Engineer: Mark Donahue | Recorded at the Church of the Transfiguration, June 2012 | Design: IHS Designs | Cover art: Figures from the Portal of Saint Anne, Notre-Dame, Paris, France. Photo Credit: Archive Timothy McCarthy / Art Resource, NY | © P 2012 Gloriæ Dei Artes Foundation, Inc. All Rights Reserved | Distributed by Paraclete Press, Brewster, MA 02631, U.S.A. ® www.paracletepress.com | GDCD056

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