Sonoma County Choral Society

Recorded in May, 2003, this CD presents a selection of Josquin's music ranging from Marian motets to secular music in Italian and French to the Missa Pange Lingua.

Program Notes

Good evening, and welcome to The Music of Josquin Desprez. This may well be the first all-Josquin concert ever in Sonoma County, and while individual motets and chansons and occasionally masses find their way into programs of Renaissance music, concerts devoted entirely to Josquin are rare even in major musical centers. This is odd, since Josquin is widely acknowledged as the quintessential composer of the Renaissance, a cosmopolitan artist who lived and worked in many of the important cultural centers of France and Italy, and whose music, within his lifetime and ever more thereafter, was spread throughout Europe in manuscript and printed form.

In attempting to rectify this gap, at least here on our local level, we have chosen to present for you a broad array of the genres in which Josquin worked. Tonight you will hear some of Josquin’s most famous pieces, and some obscure; you will hear motets, frottole, chansons, and a mass; you will hear pieces structured upon secular songs, upon canons, and upon Gregorian chant; you will hear the profoundly sacred and the rather naughty; and you will, we hope, end up with a strong sense the artistry and versatility of this profound artist, who stands in the eyes of many with Bach, Mozart, Beethoven and the other greats of the Western canon.

Marian Motets: We open with what is perhaps Josquin’s best-known work, the 4-voice Ave Maria. This piece demonstrates many of the typical qualities of Josquin’s work: successive duets; occasional blossoming into full-ensemble; carefully constructed imitative themes; special care for the text; and the use of canon (in the triple-time section). It closes with a memorable homophonic passage, which focuses all of the previous celebration of the events of Mary’s life into a moving and personal prayer.

The 4-voice Salve Regina is a double-canon based upon the chant antiphon, which the women sing for you before we begin the motet. Josquin uses the chant in a subtle manner, paraphrasing it in the alto, trailed by the soprano up a fourth, and supporting these principal voices with a separate canon, also at the fourth, between the tenor and bass. The resulting texture is a swirl of voices rising and falling with the contour of the chant.

Ut Phoebi is a rarely heard motet in which Josquin uses solfege puns throughout. The text is constructed so that each line begins with an ever-augmenting sequence of solfege syllables. (For this to be comprehensible to the modern listener, one must know that ut was only later replaced by the modern do). The women sing the full text, while the men extract the initial solfege syllables, performing them on the prescribed pitches, but jogged off from each other by two beats (in time), and by a perfect fourth (in pitch). When the entire 6-tone ascending scale has been achieved, the process is inverted, the bass and tenor now descending through the scale. The amazing thing is that, while strictly maintaining this take-no-prisoners left-brained structure, Josquin manages to write profoundly expressive music; in this sense he reminds one of Bach.

Italian Songs: Although he was prolific in many genres, only three Italian songs survive which are thought to be by Josquin; we perform all three for you tonight. Scaramella is based upon a secular sopng celebrating the exploits of fictional character who goes off to war, with many alarms and excursions and a great many borombos. In te Domine speravi is a piece which lends itself to either a sacred or secular interpretation; in any case, the speaker is lamenting loss and deprivation, and is now bereft of hope. Josquin supplies plangent music to express this poem, full of suspensions and drawn-out, longing lines. El grillo refers to the cricket, who sings for love and not money. There is a (possibly apocryphal) tale that one of the singers at the court where Josquin was working at the time he wrote this piece was named Carlo Grillo. Since the duke was notoriously tight with money, Grillo was often in fact forced to sing only for love (no cash).

Chansons: We present for you an array of Josquin’s many chansons, progressing from three voices to six. Si j’ay perdu mon amy was a well-known monophonic song, upon which Josquin constructed two different settings. Tonight, our women perform the unadorned song, followed by the men on the 3-voice piece, which uses a variant of the song in the tenor, with some imitation in the other voices. In the distinctive final section, where the melody falls in fast notes, all voices imitate to create a ‘waterfall’ effect. We follow this with the 4-voice setting, more succinct and perhaps even more expressive, which again places the melody in the top voice, and involves the other three voices in a tight imitative structure. Here the waterfall is harmonized note-for-note.

Baisés moy is a typical Renaissance love dialog, again based upon a previous melody. Here we have the young man pleading for love (or whatever), and the young woman declining, in this case because her mother wouldn’t approve. Josquin cleverly uses the tune against itself at different pitch levels, creating a web of cadences and repeated pleas.

Faulte d’argent is a tightly constructed piece which shares many of the characteristics of a motet. There is a literal canon (at the fifth) between two of the voices, while the other three participate in the same melodic material. As the piece laments the lack of cash, it builds to a plaintive pitch, before recapitulating the opening material.

In the moving lament, Plaine de dueil, cast in a woman’s voice, Josquin writes an exact canon between the top two voices, and, as in Faulte d’argent, gives imitative lines to the other voices. A special feature of this piece is the fact that the canon has rests at the end of each phrase, giving the bottom voices a chance to stretch and ‘exhaust’ the material until the canon collects enough strength to continue.

Our final chanson, Petite camusette, is a saucy ditty about Robin and Marion, who go into the woods to (ahem) fall asleep. The structure here is strikingly lucid: In the center of the 6-voice texture, a perfect canon between Alto 2 and Tenor, accompanied by two additional near-perfect canons between (respectively) upper voices and lower voices. The effect is spry and wry and delightful.

Missa Pange lingua: This mass is one of Josquin’s most famous compositions. It is based upon a Corpus Christi hymn written by Thomas Aquinas (see last page of program). Although the chant is occasionally used as a near-literal cantus firmus (in the Kyrie 1 and Agnus 3), Josquin more often treats it as a source for motives. Particularly striking is the four-note Phrygian motive E-E-F-E, which opens the chant and every major section of the mass, and somehow defines the ethos of the piece.

As in all his music, in the Missa Pange lingua Josquin is wonderfully sensitive to the expressive demands of the text, making sound worlds which are in every case peculiarly appropriate to express the relevant text. Among many passages, we have been particularly struck by the swirling ‘spiral’ close to the Kyrie; by the alternately celebratory and prayerful Gloria; by the special mood of the Crucifixus; by the party-down feel of the Hosanna; and by the amazing finish to the last movement, with its descending and diminishing cries of ‘Grant us peace’.

Thank you so much for coming to our concert tonight. We hope you enjoy The Music of Josquin Desprez as much as we have enjoyed preparing it for you!

--Bob Worth

SONOMA STATE UNIVERSITYCHAMBER SINGERS PRESENT
THE MUSIC OF JOSQUIN DESPREZ (ca.

Motets

Ave Maria
Salve Regina: Chant
Salve Regina à 4
Ut Phoebi radiis

Italian Songs

Scaramella: Monophonic song
Scaramella à 4
In te Domine speravi
El grillo

Three- and Four-Part Chansons

Si j’ay perdu mon amy: Monophonic song
Si j’ay perdu mon amy à 3
Si j’ay perdu mon amy à 4
Baisés moy: Monophonic song
Baisés moy à 4

Five- and Six-Part Chansons

Faultes d’argent
Plaine de dueil
Petite camusette

INTERMISSION

Missa Pange Lingua

Pange lingua: Chant
Kyrie
Gloria
Credo
Sanctus
Agnus Dei

Sonoma State University Chamber Singers
Directed by Robert Worth

Shawna Anderson
Kelly Butler
Claire Callaghan
Kieran Coghlan
Melanie Dodson
Jennifer Frederick
Peg Golitzin

Isaac Gonzalez
Kristofer Haugen
Brian Hess
Jumi Lee
Anthony Martin
Muftiah Martin
Sarah Minnick
Steve Osborn

Ana Robinson
Sarah Shimmin
Mike Silverman
Dan Solter
Lauren Tyner
Rachel Walters
Aaron Walz

Translations

Ave Maria

Ave Maria,
Gratia plena:
Dominus tecum,
Virgo serena.

Ave cuius conceptio
Solemni plena gaudio,
Caelestia, terrestria,
Nova replet laetitia.

Ave cuius nativitas,
Nostra fuit solemnitas,
Ut lucifer, lux oriens
Verum solem praeveniens.

Ave pia humilitas,
Sine viro fecunditas,
Cuius annnuntiatio
Nostra fuit salvatio.

Ave vera virginitas,
Immaculata castitas,
Cuius purificatio
Nostra fuit purgatio.

Ave praeclara omnibus,
Angelicis virtutibus,
Cuius fuit assumptio
Nostra glorificatio.

O Mater Dei,
Memento mei. Amen.

Hail Mary,
Full of grace,
The Lord is with you
Virgin fair.

Hail whose conception,
Solemn and full of joy,
Newly filled earth and heaven
with happiness.

Hail whose birth
Became our feast,
As the morningstar, a rising light,
You precede the true sun.

Hail, blessed humility,
Inviolate fecundity,
Whose annunciation
Became our salvation.

Hail, true virginity,
Unspotted chastity,
Whose purification
Became our expiation.

Hail, one who shines
With all angelic virtues,
Whose assumption
Became our glorification.

O mother of God,
Be mindful of me. Amen.

Salve Regina

Salve Regina mater misericordiae:
Vita, dulcedo et spes nostra, salve.

Ad te clamamus, exsules, filii Hevae.
Ad te suspiramus genmentes et flentes
in hac lacrimarum valle.

Eia ergo, advocata nostra,
illos tuos misericordes oculos ad nos converte.
Et Jesum benedictum fructum ventris tui,
nobis post hoc exsilium ostende.

O clemens, o pia, o dulcis Virgo Maria.

Hail, o queen, mother of mercy:
Our life, our sweetness and our hope, hail.

To you we cry, poor banished children of Eve.
To you we send up our sighs, groaning and weeping
in this valley of tears.

Hasten, therefore, our advocate,
and turn your merciful eyes toward us.
And show us Jesus, blessed fruit of your womb,
after this exile.

O merciful, o holy, o sweet Virgin Mary.

Ut Phoebi radiis

Ut Phoebi radiis soror obvia sidera luna, Ut reges Salo mon sapientis nomine cunctos, Ut remi pontum quaerentum velleris aurum, Ut remi faber instar ha bens super aera pennas, Ut remi fassolva ces traducere merces,	As the Moon, sister of Phoebus, rules with her rays the stars, As Solomon rules all kings in the name of the wise, As the oars of those in quest of the Golden Fleece rule the sea, As [Daedalus], with wings instead of oars, rules the upper air, As it is the task of the oar to convey perishable wares,
Petri currere prora, Sic super omne quod est regnas, o virgo Maria.	As it is the destiny of the Peter’s oar to steer one ship, So thou, O Virgin Mary, rulest over all that is.
Latius in numerum canit id quoque coelica turba, Lasso lege ferens aeterna munera mundo La sol fa ta mi na clara praelustris in umbra, La sol fa mi ta na dematre recentior ortus, La sol fa mi re ta quidem na non violata, Ut rore ta na Gedeon quo. Rex o Christe Jesu nostri Deus alte memento.	Everywhere the heavenly host in verse sings this also, Bringing gifts to a tired world according to Law Eternal: A radiant blossom [Jesus] in shelter quickened bright, A blossom born from a Mother, as from moistened fleece, A blossom, Thou, from fleece truly without blemish, A blossom from fleece (moistened) like Gideon’s by the dew. O Christ Jesus, King, God on high, remember us.

Scaramella

Scaramella va alla guerra colla lancia et la rotella, la zombero, boro, borombetta, la zombero, boro, borombo.	Scaramella is going off to war with lance and buckler, la zombero, boro borombetta, la zombero, boro, borombo.
Scaramella fa la galla colla scarpa e la stivalla, la zombero, boro, borombetta, la zombero, boro, borombo.	Scaramella is out on a spree with boot and shoe, la zombero, boro borombetta, la zombero, boro, borombo.

In te Domine speravi

In te Domine, speravi,
Per trovar pietà in eterno.

Ma in un trist'e obscuro inferno,
Fui e frustra laboravi.

Rott'e al vento ogni speranza,
Veggio il ciel voltarmi in pianto.

Suspir lacrime m'avanza,
Del mio tristo sperar tanto

Fui ferito, se non quanto
tribulando ad te clamavi.

In te Domine, speravi.

In Thee O Lord did I hope
to find pity for ever.

But in a sad and dark hell
I was, and suffered in vain.

All hope is broken and gone to the wind.
I have seen heaven turn me to weeping.

Only sighs and tears remain
to me of my sad , strong hope.

I was wounded, but in my sorrow
I called upon Thee.

In Thee O Lord did I hope.

El grillo

El grillo è buon cantore
che tiene longo verso.
dale, beve grillo, canta!

Ma non fa come gli altri uccelli,
come li han cantato un poco,
van’ de fatto in altro loco,
sempre el grillo sta pur saldo.

Quando la maggior el caldo
alhor canta sol per amore.

The cricket is a good singer
who holds a long note.
Go ahead, drink cricket and sing.

But he is not like the other birds,
who sing a little
and then go elsewhere.
The cricket always stands firm.

When it is hottest
he sings alone for love.

Si j’ay perdu (à 3)

Si j’ay perdu mon amy Je n’ay pas cause de rire, Je l’avoye sur tous choisi, Vray Dieu que voules vous dire.	If I have lost my lover I have no cause for laughing I chose him above all others Dear God, what do you want to say?
Il m’avoit iuré sur sa foy De n’avoir aultre que moy Morte suis se je ne l’ay Et qu’en volez vous donc dire de moy.	He swore to me on his faith When to my joy I chose him I am dead if I don’t have him And what do you therefore want to say of me?

Si j’ay perdu (a 4)

Si j’ay perdu mon amy
Je n’ay poinct cause de rire,
Je l’ay si long temps choisi,
Vray Dieu qu’en volez vous dire.

Il y a an et demy
Qu’a mon gre l’avoie choisi,
Morte suis se je ne l’ay
Et qu’en volez vous donc dire de moy.

If I have lost my lover
I surely have no cause for laughing
I chose him such a long time ago
Dear God, what do you want to say?

It’s been a year and a half
When to my joy I chose him
I am dead if I don’t have him
And what do you therefore want to say of me?

Baisés moy

--Baisés moy, ma doulce amye,
Par amour je vous emprie.
--Non feray.
--Et pour quoy?
--Se je faisois la folie,
Ma mère seroit marrie.
--Vela de quoy!

--Kiss me, my sweet friend,
For love I beg you.
--I won’t do it.
--And for what reason?
--If I made the folly
My mother would be angry.
--So that’s why!

Faute d’Argent

Faute d’argent, c’est douleur nompareille
Si je le dis, las! je sais bien pourquoi:
Sans de quibus il se faut tenir coi,
Femme qui dort pour argent on l’éveille.

Lack of money, it is sadness without equal
If I say so, alas! I know well why:
Without any cash it is necessary to keep quiet,
The woman who sleeps for money one awakens.

Plaine de Dueil

Plaine de dueil et de mélancolye,
Voyant mon mal qui tousjours multiplye,
Et qu’en la fin plus ne le puis porter,
Contraincte suis pour moy reconforter,
Me rendre’ à toy, le surplus de ma vie.

Full of grief and of melancholy,
Seeing my pain which always multiplies
And which in the end I can no longer carry,
In order to comfort myself I am compelled
To render myself to you, the surplus of my life.

Petite Camusette

Petite camusette à la mort m’avez mis,
Robin et Marion s’en vont au bois joly,
Ils s’en vont bras à bras, ils se sont endormis,
Petite camusette à la mort m’avez mis.

Little snub-nose, you’ve put me to death,
Robin and Marion go off to the pretty woods,
They go off arm in arm, they go to sleep,
Little snub-nose, you’ve put me to death.

INTERMISSION

Pange lingua: Chant

Pange lingua gloriosi Corporis mysterium, Sanguinisque pretiosi, Quem in mundi pretium Fructus ventris generosi Rex effudit Gentium.	Sing, my tongue, The mystery of the glorious body, And of the precious Blood, Shed to save the world, By the King of the nations, The fruit of a noble womb.
Nobis datus, nobis natus Ex intacta Virgine, Et in mundo conversatus, Sparso verbi semine, Sui moras incolatus Miro clausit ordine.	Given to us, born for us, From a stainless Virgin, And having dwelt in the world, Sowing the seed of the word, He closed in a wonderful way, The days of his habitation.
In suprema nocte coenae Recumbus cum fratribus Observata lege plene Cibis in legalibus, Cibum turbae duodenae Se dat suis manibus.	On the night of His last supper, Reclining with His brothers, The law having been fully observed With legal foods, He gives Himself as food with His Own hands to the twelve.
Verbum caro, panem verum Verbo carnem efficit: Fitque sanguis Christi merum, Et si sensus deficit, Ad firmandum cor sincerum Sola fides sufficit.	The Word in Flesh makes true Bread His Flesh with a word; Wine becomes the Blood of Christ, And if sense is deficient, To confirm sincere hearts, Faith alone suffices.
Tantum ergo Sacramentum Veneremur cernui: Et antiquum documentum Novo cedat ritui: Praestet fides supplementum Sensuum defectui.	Then let us prostrate and Venerate so great a Sacrament, And let the old law yield To the new rite; Let faith stand forward to Supply the defect of the senses.
Genitori, Genitoque Laus et jubilatio, Salus, honor, virtus quoque Sit et benedictio: Procedenti ab utroque Compar sit laudatio. Amen. Alleluia.	To the Begetter and the Begotten, Be praise and jubilation, Health, honor, and strength, And blessing too, And let equal praise be to Him, Who proceeds from Both. Amen. Alleluia.

Missa Pange lingua

Kyrie
Kyrie eleison.	Lord, have mercy.
Christe eleison.	Christ, have mercy.
Kyrie eleison.	Lord, have mercy.

Gloria
Gloria in excelsis Deo.	Glory to God in the highest,
Et in terra pax	and on earth peace
hominibus bonae voluntatis.	to those of good will.
Laudamus te, benedicimus te,	We praise thee, we bless thee,
adoramus te, glorificamus te.	we adore thee, we glorify thee.
Gratias agimus tibi	We give thanks to thee
propter magnam gloriam tuam.	for thy great glory
Domine Deus, Rex coelestis,	Lord God, heavenly king,
Deus Pater omnipotens.	God the Father almighty.
Domine Fili unigenite, Jesu Christe.	The only-begotten Son, Lord Jesus Christ.
Domine Deus, Agnus Dei,	Lord God, Lamb of God,
Filius Patris.	Son of the Father.

Qui tollis peccata mundi,	Who takes away the sins of the world,
suscipe deprecationem nostram.	receive our prayer.
Qui sedes ad dexteram Patris,	Who sittest at the right hand of the Father,
miserere nobis.	have mercy upon us.

Quoniam tu solus Sanctus.	For thou alone art holy.
Tu solus Dominus.	Thou alone art the Lord.
Tu solus Altissimus,	Thou alone art most high,
Jesu Christe.	Jesus Christ.
Cum Sancto Spiritu	With the Holy Ghost
in gloria Dei Patris.	in the glory of God the Father.
Amen.	Amen.
Credo
Credo in unum Deum,	I believe in one God,
Patrem omnipotentem,	the Father Almighty,