A large number of the works on this disc are by anonymous composers,
most of whom were probably Franco-Flemish. Some of the composers, such as
Carolus Soulia(e)rt or Swill(i)art are really only known to us through their
compositions that appear in Susato's Musyckboexkens. Of the other
composers represented on this disc, biographical detail is often sketchy.
Benedictus Appenzeller was born between 1480 and 1488, probably of Swiss
origin and may have been a pupil of Josquin Desprez. He was in charge of choral
music at the court in Brussels from 1542 to 1551 and in 1542 he published a
collection of chansons. He was also active in Bruges.
Josquin Baston (fl.1542-1563) was a Franco-Flemish composer of motets
and songs. Six of his liedekens are preserved in print. After 1552 he
seems to have worked abroad, at the courts of Poland, Denmark and Sweden.
Jacobus Clemens non Papa (c.1510-c.1555), also known as Jacques Clément,
was also of Franco-Flemish origin. He produced a rich and varied body of work.
Like his predecessor (and possibly teacher) Lupus Hellinck, he was a priest who
managed to combine a variety of positions as choral director and Kapellmeister
at various cathedrals and royal courts. After his music was published in
1530 by Pierre Attaignant in Paris, he began a lengthy period of collaboration
with Tielman Susato in Antwerp, with Susato publishing the bulk of his work.
Clemens non Papa wrote sixteen Masses, fifteen Magnificats, more than
230 motets for four to eight voices, 159 three-part psalm settings or Souterliedekens,
around ninety chansons for three to eight voices, eight liedekens and
assorted Mass movements and instrumental works.
Johannes Ghiselin (c.1455-c.1511), also known as Jean Verbonnet, is
another highly regarded Franco-Flemish composer of which we know relatively
little. For many years, at least between the years of 1492 to 1503, he worked
in Italy, and it was probably Ghiselin who persuaded Josquin Desprez to move to
the court in Ferrara. He returned to Flanders however, as we know he was
employed as a singer in Bergen op Zoom in 1508. His works include Masses,
motets, chansons and instrumental pieces as well as four liedekens. One
of his Masses, the Missa Ghi syt di wertste boven al (Thou art the most
treasured of all) is based on one of his own liedekens.
Lupus Hellinc(k) (c.1496-1541) was primarily active in Bruges. He was a
priest and lay vicar, later subcantor or succentor and master of the choristers
at the churches of Our Lady and St Donatius. His work is almost exclusively
sacred, including thirteen Masses, fourteen motets, eleven German chorales, six
chansons and four liedekens. His Nieuwe almanack ende
pronosticatie [9] (New almanack and prognosis), performed here on
cornamuses and crumhorns, is actually a song dedicated to his bishop on the
feast of the Holy Innocents.
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[1]
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Lupus Helliuck
(c.1496-1541)
J Compt alle uut
Compt alle uut by
twe by drye
en hoertu lot met
zinne blye
Wat u toe sendt
fortune loterye.
Die met een quaat
wyf is geplaacht
en elders gerne
te(n) neste draacht,
wat sal hy hebben
maket ons wys:
Ramp en roy voer
den iersten prys.
Die gerne poyt en
is beroit,
wat sal men hem
borghen,
segt ons t'bediet
nyet.
Die gerne veel
heeft aan den sack,
Die niet en pryst
syns selfs ghemack,
wat sal hem int eynde
gheschien:
drupende neuse en
coude knie[n],
Blauwe caken en
qualic sien
sonder gheschil
twe houte crucken
en eenen bril.
|
Come out all (Voices
with viols, fiddle and lutes)
Come out all by two
and by three
and listen with a
glad heart to your fate
sent to you by
Fortuna's lottery.
He who is cuckolded
and easily attracted
to another,
what can he teach
us?
Unhappiness and
sorrow are the first prize.
He who likes a drink
and is drunk
why should we pay
him?
Tell us, it is not
worth it.
He who has a lot in
his sack
He who does not
value his lot
What will happen to
him at the end?
A runny nose and
cold knees,
Blue cheeks and bad
sight
without doubt
two wooden crutches
and glasses.
|
|
[2]
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Josquin Baston
(fl.1542-53)
Naelden, naelden
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Needles, needles (Shawms, trombones)
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[3]
|
Anon./Susato
Den III Ronde + Den VI Ronde
+ LES quatre Branles
|
Den III Ronde + Den VI Ronde + LES quatre Branles
(Shawm, dulcians, trombones, percussion)
|
|
[4]
|
Anon.
In drucke moet ick
sterven
In drucke moet
ick sterven,
derven doet my
die doot.
Venus wilt my
bederven
met haren strale
groot.
Nooit schicht so
snel en schoot
dan myn liefs
mondeken root.
Mach ick geen
troest verwerven,
sterven moet ick
die doot.
|
In sorrow must I die (Countertenor, fiddle, viols)
In sorrow must I die,
only death can save me.
Venus wants to corrupt me
with her great light.
Never did lightning
strike so fast
as my beloved's
little red mouth
If I am not
consoled,
then I must die.
|
|
[5]
|
Anon.
Ick draeghe in mynder herten
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I carry in my heart (Viols, fiddle, alto cornamuse)
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[6]
|
Carolus Souliaert
Wilt doch mit maten
drincken
Wilt doch mit/met
maten drincken,
want ick
onmatelyc den drincpot vercaes,
En al gae ruyters
wilt hier op dincken,
Den drinckpot
maeckt menighen geldelas.
|
Be sure to drink in moderation (Viol, tenor, lutes)
Be sure to drink in moderation
for I chose the drinking cup without measure,
And all good knights should think on this,
that drinking cup makes many penniless
|
|
[7]
|
Benedictus
Appenzeller (fl.1542-51)
Een venus dierken
Een venus dierken
heb ick uutvercoren,
gheen schoender
en weet ick ter werelt ront.
Om haren wille
wil ick frucht orboren
int aanschyn van
haren lachende mont.
Haar kelken wit,
haar borstkens ront
maackt my vrolic
van sinne.
Schoender van
moeder en was noyt geboren,
tes recht dat ick
se beminne.
|
A Venus creature
(Tenor, counter-tenor, viols, lutes)
A Venus creature I
have chosen,
I know of none
fairer in the whole world.
For her sake I want
to pick the fruits
at the sight of her
laughing mouth.
Her white neck, her
round breasts
makes my heart glad.
Never was a greater
beauty born of a mother,
it is right that I
should love her.
|
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[8]
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Anon.
Hoe druklic is dat
herte myn
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How sorrowful is my heart (Cornamuses, crumhorns)
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[9]
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Lupus Hellinck (c.1496-1541)
Nieuwe almanack
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New Almanack (Cornamuses, crumhorns)
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[10]
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Tielman Susato
(c.1500-c.1564)
Int midden van den
meye
Int midden van
den meye
laat ons vruucht
orboren.
Al aan gheen
groene heyde
heb ick een lief
uut vercoren.
Noit schondre'en
was geboren,
die mey wil ick
haar gaan planten
met dicht, met
spel, met sanck soet
met hulpe van
Venus clanten.
Neempt alder
schoenste lief toch in danck goet,
u liefde my zeer
im bedwanck doet
|
In the middle of May
(Soprano, tenor, recorder,
lutes, viols)
In the middle of May
let us pick fruit.
On yonder green
heath
I chose a beloved.
Never was one more beautiful born,
in May I want to cultivate her
with verse, games and sweet song
with the help of Venus's boys.
Accept this, most
beautiful, with thanks,
your love holds me
completely in its power.
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[11]
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Josquin Baston
(fl.1542-53)
Een gilde heeft syn
deerne
|
A Guild has its wench (4 recorders)
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|
[12]
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Anon.
Myn herteken is my
heymelic wuyt ghetoogen
Myn herteken is
my heymelic wuyt getooghen,
Om een te dienen
naar myn vermogen,
Om een die
liefste boelen myn,
AI vry eyghen soe
wil ik syn
al doort
ghesichte van haar bruyn ooghen.
|
My heart has
secretly departed
(Tenor, treble viol,
lutes)
My heart has
secretly departed,
to serve one person
to the best of my abilities,
my most beloved,
completely her own I
want to be
all for the sight of
her brown eyes.
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[13]
|
Tielman Susato
Myns liefkens bruyn ooghen
|
My beloved's brown eyes (Shawm, trombones, dulcian)
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|
[14]
|
Anon.
Ghy eedel jonghe
gbeesten
Ghy eedel jonghe
gheesten,
ghesellekens van
der lucht,
dryft amoureuse
feesten
al en isser
ghenen bucht,
al sou(de)t u
namaals rouwen,
maact daar af
gheen geclach,
bedryft salaas
met vrouwen
alst u ghebueren
mach,
sonder verdrach
syt nacht en dach
on u beiacht,
maaact gheen
gheclach,
nature geeft
verdrach.
|
Ye noble young
spirits (Voices)
Ye noble young
spirits,
fellows of the air
hold feasts of love
even if the
cupboards are bare
and even if you
regret it later,
do not complain
about it,
seek solace in women
as is your right
without contract.
Be night and day
on your guard,
do not complain,
Nature give, you
respite.
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[15]
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Anon./Susato
Den IIII Ronde +
RONDE, Pour quoy
+ Den VI Ronde
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Ronde IV-I-VI
(Shawms, dulcians,
trombones, percussion)
|
|
[16]
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Anon./Susato
Entre du fol
|
Fool's entr'acte
(Lutes, recorder, fiddle, viols, percussion)
|
|
[17]
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Jacobus Clemens non Papa, (c.1510-c.1556)
Een venus schoen
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Beautiful Venus (4
recorders)
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|
[18]
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Anon./Susato
Den hoboecken dans
|
Hoboken Dance
(Fiddle, recorder, viols, lutes, perc.)
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|
[19]
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Carolus Souliaert
Ick ginck noch gister avent
Ick ginck gister
avent za heymelyck eenen ganck,
Al voer myns
liefkens duere, die ick ghesloten vant.
Ick clopte so
lyselyck aan den rinck:
Stant op, myn
alder liefste, slant op en laat my in.
|
I went out last
night
(Soprano, recorder,
tenor viol, lutes)
I went out last
night so secretly,
to my beloved's door
which I found closed.
I knocked so
silently and called:
"Get up, my
beloved, get up and let me in."
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|
[20]
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Anon./Susato
Den IIII Allemaingne + Den III Allemaingne
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Allemande IV-III-IV
(Shawm/cornett, dulcians, trombones, perc.)
|
|
[21]
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Anon./Susato
Den iersten Gaillarde + Gaillarde II + Gaillarde III
|
Gaillarde I-II-III
(4 crumhorns)
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|
[22]
|
Jean Ghiselin, alias
Verbonnet (c.1455-1511)
Ghy syt die wertste
Ghy syt die
wertste boven al int eertsche daal
kuysch ende smal,
gheen schoender creature
aan hoert myn
claghen, myn misval is sonder ghetal
tot alder huere
schoen edel pure,
ghy syt myn
troost alleine
Nocht ans sy dy
der werelt ghemeine.
|
You are the most
precious
(Counter-tenor,
lutes, traverso, viol)
You are the most
precious in this earthly vale
chaste and slender,
there is no fairer creature.
Listen to my lament,
my misfortune knows no bounds,
at all hours,
beautiful, noble and pure,
you are my only
consolation,
yet you are
consolation for the whole world.
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[23]
|
Carolus Souliaert
Druck en verdriet +
Ick truere
Druck en verdriet
soe moet ick altyt
in myn herteken
verborghen draghen
Om die
alderliefste myn,
Die ick int herte
hebbe uutverkoren,
Gheen schoonder
en isser ter werelt ront,
Dat duncke my in
mynen sin,
Och doot, compt
my doch halen,
Want derven van
haer
dat doet my
sterven.
Ick truere en ick
ben
van minnen alsoe
zieck
En ick en cans
ghenesen miet.
Schoen lief,
dat doet ghy my,
en anders niemant
dan ghy.
|
Pain and sorrow + I mourn
(Viols, soprano, tenor, lutes)
Pain and sorrow must I always
carry hidden in my heart
for my beloved,
whom I in my heart have chosen.
There is no fairer in the whole world,
I truly believe that.
Oh death, come and take me,
for being without her
kills me
I mourn and am
quite sick from love
and I cannot be
cured.
Beloved,
You do this to me
and no other but
you.
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[24]
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Tielman Susato
O tyt zeer lustich vul melodyen
|
O time so heartily full of melodies
(Fiddle, lute, dulcian, viol)
|
|
[25]
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Anon.
Aen merckt nu
(Anon.)
|
Now take note (Shawms, trombones)
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[26]
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Anon.
Wy comen hier ghelopen
|
Here we come (Shawms, trombones)
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|
[27]
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Anon.
Een meysken eens
voerby passeerde I
|
A girl came walking by I
(Kortholt, cornamuse, crumhorus)
|
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[28]
|
Anon.
Een meysken eens voerby passeerde II
Een meysken eens
voerby passeerde,
Aan hoerde eenen
soeten rel,
Hoe dat een
meysken diviseerde
teghen een haare
nichte soe wel.
Commeeret wel
naer uwen rel,
d'een commeere
kent d'ander wel.
Commeere,
commeere, commeeret wel,
d'een commeere
kent d'ander wel.
Commeeret wel met
moede fel,
d'een commeere
kent d'ander wel.
Men soude niet
moeghen een baeken draghen,
ghemaeckt al naer
den nieuwen sne.
Men soude dees
commere moeten vraghen,
of sy moyen haer
altyts me,
speelt uwen rel,
commeret wel,
commere, compere,
voucht dat niet wel,
d'eene commeere
kent d'ander wel.
Wy sullent
draghen en niemant vragen,
triumpheren
achter ste, want tvoucht ons wel,
commere, compere,
voucht dat niet wel,
naer uwen rel,
commeret wel,
d'eene commeere
kent d'ander wel.
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A girl came walking
by II
(Voices, kortholt,
fiddle, viols, lutes)
A girl came walking
by,
heard a little
commotion,
how a girl discussed
so well with her
little cousin.
Gossip on in your
way
the one gossip knows
the other well.
Gossip, gossip,
gossip on,
the one gossip knows
the other well
Gossip on with
heated passion,
the one gossip knows
the other well
One should not wear
a skirt
fashioned with the
latest cut.
One should ask this
gossip,
who always meddles,
play your game,
gossip on,
gossip, gossip, does
it not fit well
the one gossip knows
the other well.
We will wear it and
ask no-one,
and triumph
afterwards, for it fits us well,
gossip, gossip, does
it not fit well
according to your
argument, gossip on,
the one gossip knows
the other well.
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[29]
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Den III Ronde + Den IIII Ronde
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Ronde III-IV (Shawm/cornett, dulcians, trbs, perc.)
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