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Teksten van het ARS NOVA
concert / texts and translations of three isorhytmic compositions
Anon. (Nicosia/Cyprus):
Sanctus in eternis / Sanctus et ingenitus
SOURCE
Text and music are only found
in one source, a famous codex with repertory linked to the Court of Cyprus,
probably compiled
between 1413 and 1436. It belonged to the library of the Duke of Savoy
and is now preserved in Turin. Cyprus (i.e. Nicosia) was
then one of Europe's Cultural Capitals. It's king, Janus (Jean de
Lusignan), was married to Charlotte de Bourbon. The codex survived the terrible
fire of 1904 (not without damage and shrunk a little bit). It is shelf-marked
"ms. J.II.9" (Codex Taurensis) and consists of 159 folios containing
over two hundred polyphonic compositions both sacred and secular, all
unique, all anonymous, and many polyphonic masterpieces. This
isorhytmic motet is n° 35, fol(s) 075v-076.
The general theory about the
provenance of this manuscript is that Janus's daughter Anne took the codex with
her when she married Louis, Duke of Savoy (see image >). This explains (but
beware: the explanation is invented to explain, so it is speculation) why
the codex was in the Duke's Library (The Duke of Savoy later
transferred his seat from Chambéry to Turin). However, even in this
scenario she is not the only candidate. Her uncle, Hugh de Lusignan,
also resided in the Duchy of Savoy (bishop of Geneva). Based on
iconographical and paleographic evidence, it seems more plausible to
suggest that the manuscript was commissioned in Italy with a link to (or
for) the court of Cyprus. Connections between Northern Italy and Cyprus
abound (1). The presence of the coat
of arms of the Avogrado family in the manuscript provides a strong link
to this wealthy family from Brescia. Perhaps they commissioned it. The
manufacturing of the manuscript and the compositions in it are now often
linked to 'Jean Hanelle' who arrived as a petit vicaire in Cyprus
in the retinue of Charlotte de Bourbon in 1411 (King Janus' second wife).
Hanelle originated from Cambrai (hometown of Dufay). He was chapel Master of the King of Cyprus in
1434-1436 and in Savoy during the festivities of Anne's wedding
(1434). At that time the Grant chapelle of Savoy was placed under
the direction of a certain Guillaume Dufay... Producing beautifully
ornamented Music manuscripts to show off was quite common in those days.
TEXT
Both texts are
'tropes' (extending official texts by interpolation) on the liturgical
chant of the "Sanctus" .
The Latin text below
differs in some points from booklets provided with CD's. It is based on the
critical text edition of Clemens Blume & Guido M. Dreves ANALECTA
HYMNICA MEDII AEVII (vol. XLVII. TROPI GRADUALES. Tropen des Missals im
Mittelalter (Leipzig, 1905), p. 315-316.
Not only their interpunction is
very helpful to come to a beginning of an understanding (I do not claim
more) but also their transcription sometimes differs. Both poems consist of 20
hexameters, with internal rhyme and (in Cantus I) some odd final rhymes
in the last part, which breaks the stanzas.
One pertinent mistake,
reproduced in many concerts and recordings (based on the official
edition of this manuscript in CMM): Cantus II, 4.2: Many
musicians sing (& textbooks print & translators do their best to
make sense of it) 'Laus amor o Danielis
vox gloria reboat huius'. Quite a common transcription
error ("ni" is read instead of "m" (recognize the 'OCR error?!).
The original seems to read 'amor odor'. It
should be I think - following Blume/Dreves - Laus amor oda melis
vox gloria..."
The translation is mine, substantially differing from but
still based on David Seward's (booklet Music from the Court of King
Janus of Nicosia. Huelgas Ensemble)
26-09-2013 Dick Wursten
(1) Source Karl Kügle, 'Glorious
Sounds for a Holy Warrior: New Light on Codex Turin J.II.9', Journal
of the American Musicological Society, Vol. 65, No. 3 (Fall 2012),
pp. 637-690.
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Cantus I (in ms.:
Tenor)
1. Sanctus in
eternis regnans, pater inque supernis
Summaque natura naturans
summa datura
Maximaque ternis personis
omnia cernis,
Res sine factura, generans
sine qua genitura,
2. Sanctus et
aequalis genitus, qui cum patre talis
Abs defectura patris
exples omnia iura,
Qui personali distans patre
proprietate
Et integrali constans es
idem deitate,
3. Sanctus et una
quoque procedens res ab utroque,
Quae par gignenti similis
substantia pura,
Par quoque nascenti,
caritas,
amor et pia cura,
Munus et amborum, largitio,
pignus amorum,
4. Tu Sabaoth Dominus,
caelorum rex quoque dignus,
Tu terrenorum, tu
gloria plena polorum,
Vivis in excelsis,
[rex] qui sine tempore celsis.
5. Hosanna, dignos
tecum regnare benignos
Fac tibi cum sanctis regni
solio dominantis.
6. O benedicte, venis
Domini qui nomine plenis,
Subtrahe nos poenis,
hosanna, semper amoenis
Excelsis digne, salva
nos, Christe, benigne. |
Holy
Father, ruling forever and above;
Producing the essence
of
nature itself,
the very best, you -
threepersonally - sift everything
generating things
without making, without any begetting,
Holy and equal Son, who with the father
without defect fulfills all your father's laws,
who, in persona distinct but with the same nature
and completely
agreeing art the same god.
Holy and One also who proceeds from both (= Spirit),
Equal to the Begetter, alike in pure substance.
And equal too to the Begotten, charity, love, pious care,
Reward and generous pledge of the love of both.
Thou , Lord Sabbaoth, also worthy King of heavens,
Thou full glory of the earth and of the sky,
dwellest on high, who forever is sublime.
Hosanna! Let the worthy and benign reign with you
together with the saints who rule on the throne of power,
O Blessed, who comes with a name full of the Lord.
Take away our punishments, Hosanna! Always worthy of
heavenly joys, save
us, o Christ, benignly. |
In Cantus I, 3.3:
Blume/Dreves read 'cantas amor...'
and suggest constas. I prefer 'caritas'
(as does CMM)
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Cantus II
(in ms. Contratenor)
1. Sanctus et
ingenitus pater atque carens genitura,
Sanctus
et ac genitus, patri par gloria pura,
2. Sanctus par
pneuma patri, genito quoque neuma.
Fili, sancte pater, sanctum
quoque pneuma character,
3. Tu Sabaoth Dominus,
redimens nos a nece, pignus,
Tu Deus aeternus,
clemens, pius atque benignus.
4. Tu, cuius caeli sunt
pleni terraque, cuius
Laus, amor,
oda, meli
vox, gloria reboat huius
5. Celsis, Hosanna,
mortis quoque comprime damna,
Nos caelis foveas
caelestes ante choreas.
6. Qui, benedicte, venis
divino matre Maria
Nomine,
prole pia, damni
nos detrahe
poenis.
7. Nobis patre datus, ut
nos a morte piares,
Nobis celsa dares, pro
nobis virgine natus,
8. Mortuus et passus,
crudeli verbere quassus,
Qui venis in Domini
pro nobis nomine trini,
9. Qui Deus es dictus et
homo, pius et benedictus,
Qui cibus et panis
credentibus es tibi sanis,
10. Semper in excelsis,
Hosanna, redde beatis
Fine frui celsis, salva
nos, fons pietatis.
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Holy and unborn,
Father without a parent; Father
Holy and born, Equal to the Father in pure glory; Son
Holy 'breath' equal To the Father and 'breathing' to the Son; Spirit
O Sign of the Son, o holy Father, also the holy Ghost,
Thou, Lord Sabbaoth, our pledge, redeem us from death,
Thou eternal God, merciful, faithful and beneficent.
Thou, of whom the heavens are full and the earth is filled of
whom
praise, love and a hymn (the voice, the glory of this melody)
resounds...
...in the high, Hosanna, also suppress the pains of death,
Cherish us in heaven in the presence of the heavenly choirs.
Blessed art Thou, who comes as a child to the pious mother Mary,
with
a divine name, detract us from the punishments of the damned.
Given to us by the Father, to expiate us from death,
to give us heaven, Thou, born for us from a virgin,
who has
died and suffered, beaten with the cruel lash,
who comes for us in the name of the Triune Lord,
Thou, who art called God and man, faithful and blessed,
Thou who art food and bread to true believers,
Always in the highest Hosanna, give the blessed that they
may enjoy eternity on high, save us, source of piety.
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In Cantus II, 6.2: Blume/Dreves suggest 'pia damni nos', in CMM it is :
pia damnosis. The original seems to be
(according to Dreves) pia damnos.
Written on the occasion of
the installation of the new bishop of Padua Pietro Marcello
november, 16th, 1409.
Marcello was born in Venice. Translations in
English and Dutch. Alternative readings from the transcription by Susanne
Clercx in 1960. In 1985 a new modern edition appeared: Polyphonic
Music of the Fourteenth Century vol XXIV: The works of Johannes Ciconia,
edited by Margaret Bent and Anne Hallmark, Volume 24, Éditions de
l'Oiseau-Lyre, 1985. I was not able to consult it.
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translation |
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translation |
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Petrum Marcello Venetum
Romano cretum sanguine,
Pastorem nostrum carmine*
Laudemus bene meritum.
Exultet urbs Euganeae
Adventu tanti presulis
Exultet plausu jubilis
Voves sonent ethereae.
Stirps leteris** Marcellina
Tali alumno decorata,
Cuius gradu sublimata
Illi tota te*** declina.
Plaudat Patavinus chorus
Laudes Iovi summo pangant
voce leta celum tangant
venit enim pastor verus.
Suz. Clercx:
* curiem
**
litteris
*** re |
Let us praise Peter
from Venice born from
the Roman Marcelli (1)
our Pastor with a song
well deserved.
Exult, city of the Euganei (2)
at the coming of such a prelate,
Exult and applaud joyfully
let your vows resound to heaven.
Enjoy lineage of the Marcelli
adorned with such offspring:
because of his elevation
proternate yourself
fully for him.
Applaud, Paduan choir,
Compose praises for the highest
with joyful voice
touch the sky for a
true Pastor is coming.
1. Marcelli = an old Venetian family, the reference to Rome
seems odd. 2. Euganei
= semi-mythical proto-Italic ethnic group
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O Petre, antistes inclite
Vere virtutis speculum
Quo nostrum inter seculum
Nos mina recto limite.
O pater amantissime,
Nos oves tuas dirige
Et aberrantes corrige
Judex cunctis justissime.
O cleri primas Padue
Nos tuos rite regula
Peccantes coge ferula
Sordida cuncta dilue.
Sint laudes regi gloriae
Qui nos te dignos red[i]dit;
Qui melon istud edidit
Adesto tuo Cyconie. |
O Peter, famous bishop,
truly, mirror of virtue
with which (i.e. virtue) during our age,
lead us on the right path.
O most loving father,
direct us, your sheep,
and correct those who err,
judge of all, most just.
O primate of the Paduan clergy
rule duly over us, who are yours,
with your staff compell the sinners,
wash us from all that is sordid.
Honour be the King of glory
who made us worthy of you;
and to the writer of this song
give heed, your Ciconia.
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vertaling |
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vertaling |
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Laat ons Pietro Marcello van Venetië,
uit Romeins bloed gesproten,
onze Herder, onze Pastor
prijzen met een welverdiend lied.
Jubel stad der Euganei
om de komst van deze prelaat.
Jubel, klap in de handen, zing
himmelhochjauchzend.
Verheug u, geslacht van Marcello,
met zulk een telg getooid.
Buig bij zijn troonsbestijging
eerbiedig voor hem neer.
Applaus ! koor van Padua,
lofzingt voor de hoogste god
laat uw blijde stem ten hemel rijzen
want hij komt, de ware herder.
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O Pietro, vermaarde bisschop,
echt, de spiegel der deugd,
waarmee in dit tijdsgewricht:
u ons moet leiden op het rechte pad.
O allerliefhebbendste vader,
leid ons, uw schapen
corrigeer hen die dwalen
allerrechtvaardigste rechter.
O primaat der clerus van Padua,
bestuur ons, de uwen, zoals het
hoort,
bedwing zondaars met uw staf,
was alle smetten van ons af
Eer aan de koning der glorie,
Hij maakte ons u waardig.
En op hem die dit liedje schreef
sla welwillend acht: ’t is uw Ciconia.
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Written on the occasion of
the coronation of Gabrieli Condulmieri (from Venice) as pope Eugenius IV, 1431, 11
March. At least that is the 'received opinion'.
However, especially the text
of the Motetus is hardly thinkable on that occasion. It is
so... militant, openly referring to bad times. At least as far as we can
understand this text. The first stanza 1 and stanzas 4 and 5 of the
Motetus are hardly translatable, or if translated remain cryptical.
So, one is inclined to search for a different setting (context) which
might help to illuminate these parts of the text.
There is a daring hypothesis: The reference to a 'shield'
(stanza 4) given to the pope should be understood as a reference to
an episode a few years after his coronation, when pope Eugenius hastily had to
leave Rome in a boat, while revolting roman citizens threw stones at him.
(It is the time of the Western Schism and Rome becomes the bulwark of
the conciliarists (Council of Basle). Venice and Florence are Rome's
enemies and they rescue the pope. During this exile (1434-1443) he lived in Florence (at that time an
enemy of Rome). If Ecclesiae militantis does date from this
period and refers to it (remember: this is private music!) then Du Fay tries to transform the Pope's retreat into an act of
heroism. If read from this perspective both the beginning in which
so emphatically the election by the conclave and its legitimacy is
mentioned and the way the Pope's personal virtues of asceticism and
purity are highlighted become telling. Even the first lines might shift
in meaning: No oblique reference to ecclesia militans / triumphans
but a call on Rome “the militant and triumphant church's seat” to
offer praise to the true pope. The lamento (contratenor)
also gets a proper meaning: This specific war is lamented...
The text tradition used by musicians is quite confused. On the internet a version dominates which is quite faulty. The one presented below seems more in
order. I compared it - with my humble paleographic skills - to the
manuscript version, consultable
here (Codici
Trentini 87-93, folios 85v-86r + 95v-96r) and the official edition
of Dufay's Opera Omnia in the CMM.
I
transcribed the medieval Latin to make it more familiar (the "ae"
written as "e" in medieval Latin is a constant source of confusion (so, in Motetus 1,4 there is
no horse 'equum', but simply the adjective 'aequum'). Most pertinent
differences I printed in blue. I don't
claim perfection in translation. Some parts I translated but I
don't grasp the meaning. I tried not to interfere too much, even when I
didn't get it.
Often one has to rephrase the sentence completely in order to
get something which sounds like English. In Latin the placement of the
words in a sentence is almost entirely free. It is the gender,
conjugation, declination etc. which links words.
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Triplum
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Motetus
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Ecclesiae militantis
Roma sedes triumphantis
patri sursum sidera
tamen* cleri resonantis
laudem
summi pontificis
promat voce libera.
Gabrielem quem vocavit
dum paternum crimen lavit
baptismatis sumptio
Eugenium revocavit
bonum genus quod notavit
pontificis lectio.
Quod consulta contio
qua nam sancta ratio
sic deliberavit
ut sola devotio
regnet in palatio
quod Deus beavit.
Certe Deus voluit
et in hoc complacuit
venetorum proli
sed daemon indoluit
quod peccatum defuit
tantae rerum moli.
Dulcis pater populi
qui dulcorem poculi
crapulam perhorres
pone lento consuli
rem gregis pauperculi
ne nescius erres.
Pater haerens filio
spiritus confinio**
det prece solemni
gaudium Eugenio
perfecto dominio
in vita perenni.
Amen.
* carmen is suggested as emendation in
CMM.
** or consilio ? |
Rome, seat of the militant
Church, which is triumphant
above the stars, bring forth
when the clerics sing
for the Father
at least* the praise
of the Pope
with a liberated
voice.
Who was called Gabriel
when cleansed of original sin
in baptism
was renamed Eugenius,
'well-born' as the
Papal election declared.
Which, the prudent assembly
- for she was led by holy reason -
thus decided
that only devotion
should reign in the palace
that God had blessed.
Certainly it was God's will
And in this he has gratified
The offspring of the Venetians;
But the Devil did grieve
because sin had not part
in this important matter.
Sweet father of the people,
You who abhorr the sweet
intoxication of the cup (= drinking)
Entrust to a mild councillor
the case of your poor flock,
that you may not err unknowingly.
May the
Father united with the Son
with the Spirit alike
give through solemn prayer
joy to Eugenius,
in the eternal life
once his dominion completed.
Amen.
* with carmen: a song that praises
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Sanctorum arbitrio
clericorum* proprio
corde meditanti
aequum
genus atrio
accedit ludibrio
umbrae petulanti.
Nam torpens inertia
longa quaerens otia
nescivit Eugenium
sed juris peritia
cum tota justitia
sunt ejus ingenium
Hinc est testimonium
pacem quaerit ommium
exosus piaculi
et trinum
dominium**
daemonis et carnium
pompam vincit saeculi.
Quam color ipse poli
dic scutum, quod attuli
tibi, pater optime
dscrum dat, quod oculi
instar tui speculi
cernunt nitidissime!
Eya pulcherrime
querimur tenerrime
moram longi temporis
ducimur asperrime
nescio quo ferrime
ad fulmentum corporis.
Una tibi trinitas
vera Deus unitas
det coeli fulgorem
quem linea bonitas
argentea castitas
secernit in morem.
Amen.
* the ms. says cleri canor
- but ?
** MS: daemonium. I prefer to correct the
reading: The triple dominion is traditionally linked to the
papacy (cf. Tiara). |
through the decision of the
saints
a fair and just group of clerics
who look into their own heart,
enters the hall (of the palace)
(once the place) of mockery
of
shadowy insolence.
For languid indolence
That seeks longlasting leisure
is unknown to Eugenius;
But the juridical expertise
full of justice,
is his natural dispostion.
Here is the proof:
He seeks peace for everyone,
hates crime and
and the triple dominion
overcomes the
pomp of the devil,
the flesh and the world.
Say how the color of the sky
gives the shield I brought you,
most kind father,
that sacred (aspect), that your eyes
like through a mirror
discern most clearly.
Alas, most illustrious one
we bemoan, most tender one,
that it took so long.
we were led very harsly,
I don't know how, fiercely
to corporeal support.
May the Trinity in One,
God, the true Unity,
Grant you the splendor of heaven
who by linen-white goodness,
and silverlike chastity,
is set apart in morals.
Amen.
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Contratenor
Bella canunt gentes, querimur,
pater optime, tempus:
Expediet multos, si cupis, una dies.
Nummus et hora fluunt
magnumque iter orbis agendum
Nec suus in toto noscitur orbe Deus. |
The people sing of war, and we
lament,
Most kind father, our times:
One day, if you wish, things
will go well for many.
Money and time flow away,
And the world still has a long way to
go;
Yet
its God is not known in all parts of the globe.
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De volken bezingen de oorlog, maar wij
beklagen, goede vader, de tijd.
Geld en tijd vloeien heen
en er is nog een lange weg te gaan
voor een wereld, die wereldwijd
haar eigen God niet kent. |
The cantus firmi:
"Ecce nomen Domini"
(Antiphone of the Vespers for Saturday preceding the first Sunday of
Advent ad Magnificat)
"Gabriel"
(= God is my strength) (Antiphone of the Matins of Sundays in Advent &
Vespers of the Annunciation ad Magnificat)
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