Andreas HAKE(15N73/7B4–E162R7) GER 55 Motets from the Pelplin Tablature Polski Chór Kameralny • Musica Fiorita Jan Łukaszewski Andreas Hakenberger (1573/74–1627) 55 Motets from the Pelplin Tablature 1 º 2 Exsultate Deo, omni tempore à 8 1:55 ⁄ O sacrum convivium à 7 2:32 Andreas Hakenberger was a musician who spent his leading an ensemble of around 20 musicians. He died in 3 Ad te Domine levavi à 6 2:29 Te Deum Patrem, entire professional career within the territory of the Crown 1627 and was buried on 5 June in the Catholic Church of Domine quinque talenta, ¤ In Festo Sanctissimae Trinitatis à 10 2:03 of the Kingdom of Poland: in Kraków, possibly in Warsaw, St Nicholas. 4 In Communi Confessorum à 8 2:11 Benedicamus Patrem, and also in Gdańsk. He was born in Pomerania in 1573 or Hakenberger’s most outstanding works include 5 Vidi speciosam à 12 3:19 ‹ De Sanctissima Trinitate à 12 2:32 1574. We do not know where he trained as a musician. motets for 6, 7, 8, 9, 10 and 12 parts published in two Hodie Christus natus est, Hodie Simon Petrus, From at least 1602, possibly even 1599, he was collections: Sacri modulorum concentus (Szczecin, 1615) 6 In Nativitate Domini à 12 2:38 › In Festo Sanctorum Petri et Pauli à 8 2:47 employed as a singer in the music chapel of the Polish and Harmonia sacra (Frankfurt, 1617). They attest to the 7 Angelus ad pastores, De Nativitate Domini à 8 2:18 Portae Ierusalem, king Sigismund III Vasa. In the court accounts, his name composer’s links with the Catholic environment. The first 8 Cantate Domino canticum novum 2:57 fi In Dedicatione Ecclesiae à 7 3:00 occasionally appears in the group of ‘Polish musicians’. In collection was dedicated to the Bishop of Włocławek, Verbum caro factum est, fl Ad te levavi à 9 2:52 those days, the royal chapel numbered almost 40 Wawrzyniec Gembicki, known for his Counter Reformation 9 De Nativitate Domini et Corpore Christi à 10 2:15 Bernardus Doctor Incilitus, musicians, and it was led by the Umbrian-born Asprilio work aimed at the Lutheran community of Gdańsk. The 0 Ecce quam bonum, Psalmus 132 à 8 2:21 ‡ De Sancto Bernardo Hymnus à 5 5:13 Pacelli, who trained in Rome. Many other Italians also second print was dedicated to Hakenberger’s former ! Dulcis lesu, De Sanctissimo Nomine lesu à 8 3:23 Deus qui beatae Annae à 6, worked in that ensemble, including Vincenzo Bertolusi, employer, the ultra-Catholic king Sigismund III. The texts @ O bone lesu, De Nomine lesu à 10 3:30 ° De Sancta Anna à 6 2:28 Vincenzo Gigli (Lilius), Giulio Osculati, Antonio Patart and of most of these motets, however, conformed to both # Elegi abiectus à 8 2:47 · Diffusa est gratia, In Communi Virginum à 8 2:11 Giovanni Valentini. They all composed, and Hakenberger Catholic and Lutheran doctrine, so they were also $ Voce mea ad Dominum clamavi à 6 2:27 ‚ Domine in virtute tua à 9 3:03 no doubt learned a great deal from them. He made his performed in Gdańsk. % Exaltabo te Domine à 8 2:13 a Cantabo Domino à 8 2:42 debut as a composer with the five-part motet In die The popularity of this repertoire can be gauged from Congratulamini mihi omnes, b Gloria tibi Domine à 8 1:11 magna , published in the anthology Melodiae sacrae copies in the Pelplin Organ Tablature . That manuscript, ^ De Resurrectione Domini à 8 3:10 c Vulnerasti cor meum à 12 3:09 (Kraków, 1604), which consisted of motets (some of them containing around 850 works, was prepared during the & Surgens Iesus, De Resurrectione Christi à 9 2:21 d Veni in hortum meum à 8 2:32 polychoral) written by the king’s musicians. In later years, third and fourth decades of the 17th century for the * Christus resurgens à 10 2:55 e Osculetur me, De Beata Virgine à 9 2:16 the cori spezzati technique, which entered the repertoire Cistercian monastery in Pelplin, situated around 50 km Ibant apostoli gaudentes, f Beatus Laurentius, De Sancto Laurentio à 8 2:32 of the royal chapel thanks to the Italians, became south of Gdańsk. Vocal compositions were notated there ( In Communi Apostolorum à 8 2:15 g Surge, propera à 8 2:21 Hakenberger’s favourite composition technique. essentially without any alterations to the original versions, ) Stabunt iusti, In Communi Martyrum à 8 2:05 h Salve Regina à 8 3:33 In June 1607, Hakenberger, a Catholic by confession, and they also include the full texts. Most of the works from ¡ Fulgebunt iusti, De Omnibus Sanctis à 7 2:02 Beatus vir qui suffert, applied to Gdańsk City Council for the prestigious post of Hakenberger’s two printed collections found their way into ™ Ego flos campi à 9 2:09 i In Communi unius Martyris à 10 1:53 chapel-master at the Lutheran Church of St Mary’s, which the Pelplin Tablature (53 out of 62). They were not copied £ Nigra sum à 12 2:02 Benedicite Dominum, had become vacant. He appended to his letter two works from the original collections in a mechanical way: their ¢ Veni dilecte mi à 8 1:58 j In Festo Omnium Sanctorum à 10 1:57 attesting to his compositional mastery. For several order was changed, and they were placed individually or ∞ Exsultate iusti à 6 2:30 k Beati omnes à 12 2:59 months, the councillors debated whether to entrust the in groups in different parts of the tablature. The two § Veni Sancte Spiritus, De Sancto Spiritu à 8 2:38 l Benedicam Dominum à 8 2:55 liturgical music in their city’s most important church to a Hakenberger works writtenfl earliest into this moanuscript – ¶ Veni Sancte Spiritus, De Sancto Spiritu à 10 2:49 m Deus noster refugium à 9 3:16 ‘papist’, but ultimately the artistic arguments prevailed. Bernardus Doctor Incilitus and Magnificat – are not • O lux beatissima, De Sancto Spiritu à 10 2:03 n Domine Deus meus à 7 2:15 The councillors were won over by Hakenberger’s known from other sources. It could be that the composer ª Spiritus domini, In Festo Pentecostes à 12 2:14 o Deus canticum novum à 12 3:13 polychoral output in the Venetian style that was becoming wrote them expressly for the Pelplin Cistercians, who then Hodie completi sunt, In Festo Pentecostes à 12 2:14 Et exsultavit, Magnificat Sexti Toni à 8 6:14 increasingly popular north of the Alps. It was considered took an interest in the rest of his output. The present that a musician, after all, was not a theologian, so his recording contains all the Gdańsk chapel-master’s confession presented no real threat to the congregation, compositions written in the Pelplin Tablature . and at the beginning of 1608 the composer was awarded Few of Hakenberger’s motets are for o∞ne choir. They the position. Initially employed for one year, he ultimately include the eight-part Veni Sancte Spiritus , perhaps his remained chapel-master at St Mary’s to the end of his life, only work to feature the technique of pervading imitation. 9 f His oeuvre is dominated by motets written in cori spezzati Cistercian abbot Arnulf of Louvain (13th century), it is bonum , where the word ‘ descendit ’ (‘descends’) is an echo in Surge, propera , is meant to illustrate the technique. They are scored for two or three choirs, usually known today thanks to Dietrich Buxtehude’s cantata cycle illustrated with a falling motif and the words ‘ in montem sound of that voice. O1nomatopoeic effects appear in the in different chiavette , and sometimes even clearly Membra Iesu , from 1680. The contemplative character of Sion ’ (‘on mount Sion’) with a rising motif. joyous Exultate Deo , where we hear the sound of the contrasted in te^rms of register, such as the two choirs in Hakenberger’s setting, dating from more than 60 years Multiple repetitions of passages of text usually serve various instruments mentioned in Psalm 80, such as the Surgens Iesus – a high four-part choir and a low five- earlier, is achieved through a profusion of chromaticism an illustrative function. The eight-times repeated phrase ‘tympanum ’ (‘drum’) and ‘ tuba ’ (‘trumpet’). part choir. The rich tonal colouring obtained through and dissonant suspensions. ‘da perenne gaudium ’ (‘give jo¶ys that never end’) towards Although Hakenberger was not an avant-garde various combinations of vocal parts is further enhanced The two works by Hakenberger preserved solely in the end of O lux§ beatissima , the second part of Veni composer, that does not diminish the value of his by the instruments that accompany them. In those days, the Pelplin Tablature , possibly written specially for the sancte spiritus , illustrates the notion of joy that is colourful, graceful and vibrant music, which enchants the use of accompanying instruments, recommended by local Cistercians, were scored for alternatim performance, multiplied through ¤the years. In the three-choir contemporary listeners just as it captivated the councillors the composer on the title page of Harmonia sacra (‘ qui with the use of plainsong flpassages. In the hymn Benedicamus Patrem , the expression ‘ in saecula ’ (‘for of Gdańsk more than four hundred years ago. octoni vocibus non minus instrumentorum quam vocum Bernardus Doctor Incilitus in the odd-numbered ever’) that is repeated several times in each choir harmonia, choris et conjunctis et separatis, suaviter stanzas, the composer gradually increases the volume of emphasises the boundlessness of eternity.