Music of the early sixteenth century.

THE METROPOLITAN MUSEUM OF ART
Concerts for Members
SIXTH YEAR, 1947-1948
Music of the Early Sixteenth Century
Tale University School of Music
The Collegium Musicum
Paul Hindemith, Director
John Garris, Tenor Soloist
THURSDAY, MAY 27, 1948
AT 8:45
IN THE ARMOR HALL
AT the beginning of the sixteenth century the center of European musical culture rested, as it had during the entire preceding century, in the Lowlands and at the Burgundian court. However, many of the Netherlanders found their way to Italy, at that time the center of theoretical research; some, like Willaert, to remain for the greater parts of their lives, founding what was to be an ascendent Italian school during the latter part of the century. In Germany the beginning of the Reformation movement spurred musical development although one of the principal German composers of the period, Ludwig Senfl, remained a Catholic and at the same time the favorite composer of Martin Luther.
Since the center of musical activity remained in the Lowlands, the hierarchy of forms established there in the preceding century was maintained, with the principal interest still turned to the Ordinary of the Mass and the motet-form. The gradual disappearance of the strict use of the cantus firmus is even more noticeable in the sixteenth century since still fewer compositions can be found with it solely in the tenor voice. The close canonic and imitative styles were still popular in the early part of the century and were taken over into the secular style of the middle part of the century, particularly in Germany. A low vocal range is characteristic of all the sacred music of this period since it represents an essential difference between the style of the Burgundian court composers of the preceding century and the Netherlands school that reached its peak at the beginning of the sixteenth century.
The secular music of the period consisted of chansons, lieder, madrigals, and dances. The German Lieder, appearing in quantity in the Liederbücher, represent the highest form of secular art, for in many of them the technical and expressive achievement is no less serious and considered than in the sacred works of the same composers. The Italian and French equivalents were of a definitely smaller cut. The dances, represented in this program only by those of France, were naturally less serious compositions.


Program

1. Mass, a cappella.
The generation of composers following Ockeghem exploited new dimensions of stylistic unity in the large religious categories, both for the composition as a whole, and for the individual sections. Extreme uniformity of texture (in differentiation from the medieval ideal of contrasting sonorities) was achieved by the freer polyphony of Ockeghem, as well as through the techniques of imitative polyphony and canon of Josquin and his successors. The new cantus firmus technique, in which motifs drawn from a given cantilena (secular or liturgical) appear in all voices, prevails generally over the older tenor cantus firmus style""and endless possibilities of cantus firmus treatment were achieved.
The Gregorian portions of the mass are taken from the Whitsunday service as it appears in the Graduate Romanum.

Introit
Spiritus Domini replevit orbem terrarum, alleluia: et hoc quod continet omnia,
scientiam habet vocis, alleluia. Exsurgat Deus, et dissipentur inimici ejus:
et fugiant, qui oderunt eum a facie ejus. Gloria Patri, et Filio, et Spiritui
Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum.
Amen.
(a) PIERRE DE LA RUE (c. 1450-1518) Kyrie
Kyrie eleison. Christe eleison. Kyrie eleison.
Liber Missarum, ed. Tirabassi
The mass from which the Kyrie is taken, like Ockeghem's Missa cuiusvis toni, is one of the few not based on a precomposed melody, but on an unusual technical device; each section of the entire mass is constructed as a triple canon, in which one complete three-part piece is answered in canon at the upper fourth.
(b) LUDWIG SENFL (c. 1475-1555) Gloria
Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus
te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter
magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens.
Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe
deprecationemnostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam
tu solus sanctus. T u solus Dominus. Tu solus Altissimus, Jesu Christe. Cum
Sancto Spiritu, in gloria Dei Patris. Amen.
Senfl, S"mtliche Werke, ed. Löhrer (SSW)
Senfl's Missa Paschalis for five voices, takes for each movement the appropriate section of the plain song mass as the basic melodic material. The cantus firmus is freely treated and moves from one voice to another. Phrases drawn from the Gregorian melody (such as that of the imitative entrance at the beginning of the Gloria) are combined with freely invented motifs set against appearances of the modified cantus firmus.

Alleluia
Emitte Spiritum tuum, et creabuntur: et renovabis faciem terrae.
Alleluia
Veni Sancte Spiritus, reple tuorum corda fidelium: et tui amoris in eis ignem
accende.
Sequentia
Veni Sancte Spiritus, et emitte caelitus, lucis tuae radium.
Veni pater pauperum, veni dator munerum, veni lumen cordium.
Consolator optime, dulcis hospes animae, dulce refrigerium.
In labore requies, in aestu temperies, in fletu solatium.
O lux beatissima, reple cordis intima, tuorum fidelium.
Sine tuo numine, nihil est in homine, nihil est innoxium.
Lava quod est sordidum, riga quod est aridum, sana quod est saucium.
Flecte quod est rigidum, fove quod est frigidum, rege quod est devium.
Da tuis fidelibus, in te coniidentibus, sacrum septenarium.
Da virtutis meritum, da salutis exitum, da perenne gaudium.
Amen. Alleluia.
(c) HEINRICH ISAAC (c. 1450-1517) Credo
Credo in Unum Deum. Patrem omnipotentem, factorem coeli et terrae,
visibilium omnium, et invisibilium. Et in unum Dominum Jesum Christum,
Filium Dei unigenitum. Et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine. Deum verum de Deo vero. Genitum, non
factum, consubstantialem Patri: per quern omnia facta sunt. Qui propter nos
homines, et propter nostram salutem descendit de coelis. Et incarnatus est
de Spiritu Sancto ex Maria Virgine: Et homo factus est. Crucifixus etiam
pro nobis: sub Pontio Pilato passus et sepultus est.
Et resurrexit tertia die, secundum Scripturas, Et ascendit in coelum: sedet ad
dexteram Patris. E t iterum venturus est cum gloria, judicare vivos et mortuos:
cuius regni non erit finis. Et in Spiritum Sanctum, Dominum, et vivificantem:
qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur, et
conglorificatur: qui locutus est per Prophetas.
Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum
baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum.
Et vitam venturi saeculi. Amen.
Brussels, Bibliotheque Nationale, Ms. 6428
The unpublished Missa de Assumptione beata marie virgine Henric Ysak with the cantus firmus "Virgo prudentissima" provides the Credo for the composite mass. An extraordinary variety of cantus firmus treatment is to be noticed. All movements begin with the same melodic fragment, drawn from the chant, and extended each time by new counterpoints. Motifs of the Gregorian melody are ingeniously interwoven in the contrapuntal fabric, with endless rhythmical modifications, while treatment of the cantus firmus in long notes occurs simultaneously. The homogeneity of parts, which had already been achieved in the medium of four-voice polyphony, is extended here to the large six-voice composition. (The manuscript was transcribed into modern notation by Leo Schrade, and will be sung a third higher than the original to accommodate the range of the voices.)

Offertorium
Confirma hoc Deus, quod operatus es in nobis: a templo tuo, quod est in
Jerusalem, tibi offerent reges munera, alleluia.
(d) JEAN MOUTON (c. 1475-1522) Sanctus
Sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Osanna
in excelsis. Benedictus qui venit in nomine Domini. Osanna in excelsis.
Maitres Musiciens de la Renaissance Francaise, ed. H. Expert (MMRF)
The famous Mary antiphon, "Alma redemptoris'' is the cantus firmus of Mouton's four-voice mass, in which the opening melody of the chant provides the initial motif of each movement. The phrases of the chant, often in figurated form, are treated in imitation throughout, with great regularity, providing extreme melodic and structural coherence. The four-voice medium, which Josquin brought to perfection in his religious works, was regarded by Glareanus in the Dodecachordon as an ideal medium.
(e) JOSQUIN D E S PRES ( c . 1445-1521) Agnus Dei
Agnus Dei, qui tollis peccata mundi, miserere nobis. Dona nobis pacem.
Werken van Josquin des Pres, ed. A. Smijers
The "Missa l'homme arme sexti toni" (i.e., in the sixth mode) for six voices, is one of two masses in which Josquin used this famous secular cantus firmus. The Agnus shows a relatively free treatment of the given melody, which appears at the beginning of the movement in figurated form. The first Agnus, for four voices, is characterized by a considerable use of sequences. Canonic treatment is introduced in the second Agnus and is intensified in the last and most extended section for six voices, where the canonic entrances occur only one beat apart.

INTERMISSION

2. Motet.
JOSQUIN DES PRES Miserere mei Deus
Miserere mei Deus secundum magnam misericordiam tuam.
Et secundum multitudinem miserationum tuarum, dele iniquitatem meam.
Amplius lava me ab iniquitate mea et a peccato meo munda me.
Quoniam iniquitatem meam cognosco et peccatam meum contra me est semper.
Tibi soli peccavi et malum coram te feci, ut justificeris, in sermonibus tuis
et vincas cum judicaris.
Ecce enim in iniquitatibus conceptus sum et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti incerta et occulta sapientiae tuae manifestasti
mihi.
Asperges me Domine hysopo et mundabor, lavabis me et super nivem dealbabor.
Miserere mei Deus.
Anthologie des Maitres Religieux Primitifs, ed. Charles Bordes.
Ercole, duke of Ferrara, is said to have commissioned this famous setting of the Miserere psalm for five voices. The cantus firmus is carried in the middle voice, which repeats the cry for mercy eight times in the course of the work, sinking one tone lower each time, until it reaches the lower octave. The alternation of small groups of voices, and entrances of the full chorus on the exclamation, "Miserere mei Deus", further heightens the almost dramatic impact of the work. The cantus firrnus in this performance will be reinforced by cornett, krummhorns, and bombard.

3 . German Lieder.
In the first half of the sixteenth century the development of the German Lied reached its peak in the secular works of such composers as Isaac, Senfl, Stoltzer, Arnold von Bruck, and numerous others. These Lieder represented the culmination of the art of setting monodic songs in from two- to six-voice part-songs. The handling of the cantus firmus was very free with frequent use of two or three songs simultaneously in a setting. Although later editions of these songs were for four-part chorus, we may assume that usually the cantus firmus was performed by a singer accompanied by an instrumental ensemble.
The chief source for these settings are the numerous Liederbücher, both manuscript and printed, that were published during the first half of the sixteenth century. The earliest of these was published by Oeglin in 1512. The most popular ones are those of Forster published from 1539 to 1556, and Johann Ott's two books published in 1534 and 1544 , the latter, 115 Weltliche Lieder, being the source of many of the settings on this program. Ott's books probably achieved such popularity by reason of the inclusion of numerous settings by two of the greatest Lieder writers, Isaac and Senfl. Many of these books, such as the Egenolff Gassenhawerlin und Reuterliedlein9 were published for sale at the great fairs of Frankfurt and Leipzig. Performers: John Garris, small mixed chorus, and instruments.

Ich stund an einem Morgen *
ARNOLD VON BRUCK (dates unknown); for six voices
Denkmaler der Tonkunst in Oesterreich, V. 72
HEINRICH ISAAC; for four voices
Ich stund an einem Morgen
gar heimlich an einem Ort,
da hatt ich mich verborgen,
ich horte klagliche Wort
von einem Fraulein, war hubsch und fein.
Er sprach zu seinem Buhlen:
es muss geschieden sein.
OTT
MATTHAEUS GREITER (d. 1552); for four voices
Das Fraulein weinet sehre,
soll.
Für dich so setz ich all mein Hab,
und willst du hier beleiben,
verzehr ich's Jahr und T a g .
EGENOLFF
stund an einem Morgen
heimlich an einem Ort,
GREITER (d. 1 5 5 2 ) ; for four voices
Das Fraulein weinet sehre,
sein Herz war Unmuts voll:
So gib mir Weis und Lehre,
Wie ich mich halten soil.
Für
LUDWIG SENFL; for six voices
Das Fraulein das schrie: Morte!
Mort uber alles Leid!
Mich kranken deine Worte,
Herzlieb, nit von mir scheid!
Fur dich da setz ich Gut und Ehr.
Und sollt ich mit dir Ziehen,
kein W e g war mir zu fern.
HEINRICH FINCK (d. 1 5 2 7 ) ; for four voices
Der Knab der sprach mit Zuchten:
Mein Schatz ob allem Gut,
ich will dich freundlich bitten,
Schlag solchs aus deinem Mut.
Gedenk mehr an die Freunde dein,
die dir kein Arges trauen
und taglich bei dir sein.
DTOE, V. 72
Entlaubet ist der Walde
LUDWIG SENFL; for four voices
HANS HEUGEL (dates unknown); for four voices
Entlaubet ist der Walde
gen diesen Winter kalt.
Beraubet werd ich balde
meins Lieb, das macht mich alt.
Dass ich die Schonst muss meiden,
die mir gefallen tut,
bringt mir das heimlich Leiden
und macht mir schweren Mut.
OTT
EGENOLFF
LUDWIG SENFL; for four voices
Was lasst du mir zu Letze,
mein schons brauns Meidelein,
das mich derweil ergotze,
so ich muss von dir sein?
Hoffnung muss mich ernahren,
nach dir so werd ich krank,
tu bald herwiederkehren,
die Zeit ist mir zu lang.
THOMAS STOLTZER; (dates unknown); for four voices
OTT
Sei weis, lass dich nicht affen,
der Klaffer seind so viel.
Halt dich gen mir rechtschaffen,
treulich dich warnen will.
Hut dich vor falschen Zungen,
darauf sei wohl bedacht.
Sei dir, schons Lieb, gesungen
zu tausend gute Nacht.
DTOE, V. 72

Zwischen Berg und tiefem Tal

HEINRICH ISAAC; for organ
DTOE, V. 27
LUDWIG SENFL; for four voices
Zwischen Berg und tiefem Tal
da leit ein freie Strassen.
Wer seinen Buhlen nit haben mag,
der muss ihn fahren lassen.
SSW
HEINRICH ISAAC; for four voices
Fahr hin, fahr hin, du hast die Wahl,
ich kann mich dein wohl massen.
Im Jahr sind noch viel langer T a g ,
Gluck ist in alien Gassen.
DTOE, V. 27
Greiner, Zanner, Schnopfitzer
HEINRICH FINCK; for five voices
PAUL HOFHAIMER (1459-1539) ; for three voices
DTOE, V. 72
HEINRICH ISAAC; for four voices

Greiner, Zanner, Schnopfitzer,
wie gefallt dir das?
Ich will bei dir am Tisch sitzen
und dein Mahl dir wegfressen,
wie gefallt dir das?
DTOE, V. 27

4. French Danseries.
ESTIENNE DU TERTRE
ANONYME
Pavane avec Gaillarde
CLAUDE GERVAISE
Tourdion, "C'est grand plaisir"
Bransle simple
ESTIENNE DU TERTRE
Bransle de Bourgongne
Bransle simple
Bransle d'Escosse
Pavane
MMRF
The instrumental group performing these dances approximates what we presume to have been a typical orchestra maintained by one of the wealthier sixteenth century European courts. A painting of the Bavarian court orchestra shows a slightly smaller group of instruments including, however, at least one of each of the instrumental types used here.

5. German Lied.
LORENZ LEMLIN(dates unknown)
Der Gutzgauch auf dem Zaune sass
Der Gutzgauch auf dem Zaune sass,
es regnet sehr und er ward nass.
Darnach da kam der Sonnenschein,
der Gutzgauch der ward hübsch und fein.
Alsdann schwang er sein Gfiedere,
er flog dorthin wohl ubern See.
FORSTER

6. Chanson.
CLEMENT JANNEQUIN (c. 1475-1560) Le Chant des Oiseaux
Reveillez-vous, couers endormis
le dieu d'amour vous sonne.
Les oiseaux quand sont ravis
en leur chant font merveilles.
Ecoutez bien leur devis""
destoupez vos oreilles!
Vous serez tous en j o i e mis,
car la saison est bonne.
Rossignol du bois j o l i,
a qui la voix resonne,
pour vous mettre hors d'ennuy
votre gorge jargonne:
et fuiez, regrets, pleurs et souci,
car la saison l'ordonne!
Arriere, maitre coucou,
sortez de nos chapitres,
chacun vous est maltenu,
car vous n'etes qu'un traitre!
Par trahison, en chacun nid,
pondez sans qu'on vous sonne!
Reveillez-vous, couers endormis,
le dieu d'amour vous sonne.
MMRF
This work is one of the most delightful chansons of a Frenchman who turned his entire attention to the field of secular music, a rather unusual singularity of purpose at a time when the highest art forms were always of a sacred nature. His works are characterized by great wit and unusual choral effects, the style being less strictly imitative and contrapuntal than that of most of the writers of the same period.

CHORUS
Violet Archer, Marie Barker, Helen Boatwright, Rosalyn Caplovitz,
Loma Fraser, Margaret Grady, Olga Gratch, Elizabeth Heaton, Althea
Hill, Gertrude Hindemith, Vivian Hunter, Anita Johnson, Sylvia Kenney,
Marie Kraehenbuehl, Sarah Jane Manley, Mimi Nolte, Anne Parsonnet,
Charlene Peterson, Reymour Rice, Greta Rosenbaum, Ruth Schonthal,
Rosalind Simonds, Margery Stomne, Dorothy Winchester, Miriam
Withrow.
Heinz Arnold, Anthony Barbieri, Leonard Berkowitz, Murray Blumenfeld,
Howard Boatwright, Michael Brotman, David Brown, Arthur
Campbell, Beekman Cannon, Walter Cerveny, Glenn Coulter, John
Cowell, Starling Cumberworth, William Dale, William Eckert, Ralph
Einstein, Gordon Eis, Clinton Elliott, Thomas Goodman, Robert Gottlieb,
Robert Hickok, Frank Honey, George Hunter, Alvin Johnson,
Donald Katz, Alvin King, David Kraehenbuehl, Harold Laudenslager,
Bernard Leighton, Neale Mason, Victor Mattfeld, Paul Maynard, Carl
Miller, William Mitten, Franklin Morris, Russell Palmer, Ben Quashen,
Peter Re, William Reifsnyder, Leo Reynolds, Arthur Rhea, Eckhart
Richter, Leonard Sarason, Brooks Shepard, Glen Sherman, William
Sleeper, Campbell Smith, Barry Taxman, Frank Widdis.
Viola da braccio Howard Boatwright
Viola da braccio: (alto) Robert Gottlieb
Viola da gamba: (tenor) George Hunter
Viola da gamba: (bass) . . . . Eckhart Richter, Andrew Salvo
Shawms Warren Stannard, Alan Williams
Bombard William Skelton
Zink Robert Montesi
Krummhorns Thomas Philips, Keith Wilson
Regal ........... Campbell Smith
Lute Joseph Iadone, guest
Trombones Paul Fetler, John Huwiler
Recorders Vivian Hunter, David Kraehenbuehl

ACKNOWLEDGMENT
Dr. Emanuel Winternitz, curator of musical instruments at the Metropolitan Museum of Art, New York, arranged for the loan of instruments from the Museum's famous collection. Other instruments are from the Yale collection. Lute: Courtesy Cooper Union Museum, New York.

COLLEGIUM MUSICUM STAFF
General Manager Carl S. Miller
Editors of Weekly Bulletin, "Commemoratio Brevis"
M. H. Blumenfeld, David Kraehenbuehl
Program Planning George Hunter
Program Notes and Preparation
David Kraehenbuehl, Sarah Jane Manley
Preparation of the Wind Instruments . . . . . Keith Wilson
Preparation of the String Instruments . . . . George Hunter
Preparation of the Regal Arthur V. Goeckler
The Fourth in a Series of Annual Student Projects Prepared as a
Musical Illustration for the Course in the History of Musical Theory

ACKNOWLEDGMENT
The illustration of the Lutenist on the program is from an original sixteenth century woodcut. The illustration on the concert announcement is a direct transcription from an original sixteenth century manuscript illumination by Charles Hammond, Yale School of the Fine Arts.
The Printing-Office of the Yale University Press

NOTE
Among the wind instruments from the Museum's collection used in tonight's performance are a few very old ones, obsolete for centuries and probably quite unknown even to professional musicians. Three of them are illustrated below by woodcuts from Praetorius, Syntagma musicum, de organographia, Wolfenbiittel, 1618
The cromorne, or Krummhorn (3), a curved wooden tube of cylindrical bore carved in halves and covered with leather. It is played with a double reed, like the oboe. This reed, however, is not grasped and controlled by the lips of the player but, as in many oriental oboes, is hidden in a wooden capsule, which receives the wind from the player's mouth through a hole. Because of its timbre its name was transformed in France to cor morne. In Carpaccio's altarpiece in the Accademia in Venice there is an angel playing the cromorne.
The shawm ( 2 ) , a direct ancestor of the modern oboe, which also has a double reed. Shawms, like most other instruments in the Renaissance, were made in sets covering the whole range from treble to deep bass. The cornetto (1 and 4 ) , the only Renaissance wooden tube with fingerholes that had a cup-shaped mouthpiece like that of a trumpet. Several kinds were used, straight ones, called muti, for their softer timbre and curved ones with a mellow, trumpet sound. The cornetto is not related to the modern cornet.
THE METROPOLITAN MUSEUM OF ART
DEPARTMENT OF MUSICAL ACTIVITIES

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