The prosperous city of
Florence was a major cultural centre in Italy, particularly under the rule and
patronage of the Medici family, who became absolute rulers of the city and its
surrounding region in 1532. The musicians employed in Florence included
distinguished practitioners from Northern Europe, but Mattio Rampollini,
represented here by a light-hearted song in praise of Bacchus, god of wine, was
a native of the city, master of choristers at the cathedral and in the service
of the Medici family.
The greatest composer
of his day, Josquin des Prez is thought to have been a native of Picardy. The
first certain surviving reference to his career finds him employed as a singer
at Milan Cathedral and later in the service of the ruling Sforza family, in
association with which he became also a singer in the papal choir. For a time
at the French court, he returned to Italy, to Ferrara. There he was finally
succeeded by Obrecht, when he left in 1503 to return to Northern France, where
he died in 1521. El grillo (‘The Cricket’), a frottola, puns on
the name of the singer Carlo Grillo, employed by Galeazzo Maria Sforza, whose
musical establishment of forty singers included some score of French or Flemish
musicians. It suggests, in its setting, the song of the cricket.
It seems possible that
Josquin spent some time in Florence in the years 1487 and 1488, when his name
is missing from the list of singers in the papal chapel. Heinrich Isaac, a
native of Flanders, spent ten years or more in Florence under Lorenzo the
Magnificent, until the latter's death in 1492. In 1497 he became court composer
to the Emperor Maximilian I, in Vienna, enjoying a certain freedom of travel
that took him back to Florence, where he had married, and to various cities of
the Empire. He died in Florence in 1517. Isaac had been briefly in Innsbruck on
his first journey south to Italy in 1484 and he spent some time there in 1500
and 1501, when in the service of the imperial court. His well-known song Innsbruck,
ich muss dick lassen is unusual in its harmonic chorale-like setting.
Marguerite of Austria,
daughter of Marie of Burgundy and Maximilian I, was three years old when, after
the death of her mother, she was betrothed to Charles, the Dauphin of France,
the first of her three husbands, none of whom were to live long. Subsequently,
as Regent of the Netherlands, she held court at Malines, where she continued to
encourage music and the arts. Collections of chansons made for her include the
anonymous Cueurs desolez (‘Sorrowful hearts’), suited to a court in
mourning.
Henry VIII of England
had strong musical interests, as a singer, player and composer himself and his
court entertained a large number of musicians from the continent. His Pastime
with good company seems to be based on a French chanson of the period, to
which it bears some melodic resemblance.
Tielman Susato was
either born in Westphalia at Soest, from which his name is derived, or in
Antwerp into a family of similar origin. He served as a town musician in the
latter city, before turning also to publishing and to dealing in musical
instruments. His collection of popular dances was published in 1551. His Passe
& Medio or passamezzo is a duple metre dance, followed by
a triple metre Galliard.
Born at Verdelot in
Seine et Marne in the 1470s, Philippe Verdelot made his career largely in
Italy, working in Florence, in Rome and in Venice. He is of importance in the
development of the Italian madrigal, of which he was an early master, as
witnessed in his Ogn'hor per voi sospiro (‘Every hour I yearn for you’).
Much favoured by
Marguerite of Austria, the Flemish composer Pierre de La Rue was probably born
in Tournai and served in the Burgundian court musical establishment of
Maximilian and then of the latter's eldest son, Philip the Fair, until the
latter's death in Spain in 1506. In 1508 he returned to join the court of
Marguerite in Malines, before retiring finally to Courtrai, where he died in
1518. His Mijn hert altijt heeft verlanghen (‘My heart is always
desirous’) is included in the album of Marguerite of Austria. A four-part work,
it is based on an earlier anonymous three-voice setting which he recomposed.
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[1]
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Anon.
Requiem (Gregorian)
Requiem aeternam
dona eis Domine:
Et lux perpetua
luceat eis.
Te decet hymnus
Deus in Sion,
Et tibi reddetur
votum in Jerusalem:
Exaudi orationem
meam,
Ad te omnis caro veniet
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Requiem
Give them, Lord,
eternal rest
and let everlasting
light shine upon them.
I offer you, o Lord
in Zion, a song of praise,
for you the promise
in Jerusalem will be fulfilled:
hear my prayer,
to you comes all
flesh
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[2]
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Anon. (Cambrai, Bl. Municipale, Ms. 125-128,
Songbook of Zegbere van Male, 1542)
Prelude
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(Instrumental)
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[3]
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Anon. (Idem)
Lans Deo
Laus Deo,
Pax vivos et
Requies pro
defunctis. Amen.
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Praise be to God
Praise be to God,
peace to the living and
rest for the departed. Amen.
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[4]
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Thomas Fabri
(fl.1400-1415)
Ach Vlaendere vrie
Ach Vlaendere
vrie hedel aert
Wylen werstu
verre bekent.
Zo ziis tu noch,
maer te di waert
Draghet niit
menich fel serpent.
Du wes omtrent
langhe geschent,
werstu van herte
versy.
Ach Vlaendre,
Vlaendre, wat let dy.
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Oh Flanders Free
Oh Flanders free and
noble in nature,
You were famous in
distant lands,
and you are famous
still,
though many an evil
snake bears you ill.
You have long been
wronged in so many ways,
defend yourself
against oppression.
Oh Flanders, what
keeps you
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[5]
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Busnoys (c. 1430-1492)
Alleluya
Alleluya.
Verbum caro
factum est.
Alleluya.
Et habitavit in
nobis.
Alleluya,
Alleluya
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Alleluia
Alleluia.
The word was made
flesh.
Alleluia.
And it lived among
us.
Alleluia, Alleluia.
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[6]
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Magister Guglielmo
(Ebreo da Pesaro? c.
1425-post 1480)
Falla con misuras
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(instrumental)
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[7]
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Johannes Ockeghem (c. 1410-1497)
Ma maistresse
Ma maistress et ma plus grant amye,
De man desir la martelle ennemye,
Parfaicte en biens s'onques maiz
le fut femme,
Celle seulle de qui court bruit fame
D'estre sans per, ne vous verray je mye?
Helas, de vous bien plaindre me devroie,
S'il ne vous plaist que brefvement voye,
M'amour, par qui d'aultre aymer n'ay puissance.
Car sans vous voir; en quelque part que soye,
Tout ce que voys me desplaist et ennoye,
Ne jusque'alors je n'auray souffisance
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My Mistress
My mistress and best friend,
mortal enemy of my desires,
faultless in character if e'er woman was,
you the praised and glorified one,
you alone are beyond compare,
but may I not behold you?
Ah, I should have the right to complain
if you wish to see me but briefly,
my love, because of whom I can love no other
For if I cannot see you, anywhere
nothing pleases me.
No matter where I am, nothing moves me.
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[8]
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Thomas Fabri
Ach Vlaendere vrie
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(instrumental)
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[9]
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Johannes Ockeghem
D'ung aultre amer
D'ung aultre amer man cuer s'abesseroit.
Il ne fault ja penser que je l'estrange,
Ne que pour rien de ce propos me change,
Car mon honneur en appeseroit.
Je l'aime tant
que jamais ne seroit
Possible à moi de
consentir l'echange.
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To love another
My heart would demean itself if it would love another.
It is unthinkable that I dismiss him from my heart
or that I should ever have a change of heart,
for my honour would be tarnished
I love him so dearly that it will never be possible
to allow a new love into my heart.
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[10]
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Mattio Rampollini
(1497-c. 1553)
Bacco, Bacco
Bacco, Bacco e u
a e.
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Bacchus, Bacchus
Bacchus, Bacchus e u
o e.
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[11]
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Josquin des Prez (c.
1440-1521)
El grillo
El grillo è buon
cantore
Che tiene longo
verso.
Dale bene grillo
canta,
El grillo, è buon
cantore.
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.
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The Cricket
The cricket is a
good singer
who keeps at it.
Sing the notes in
tune,
the cricket is a
good singer.
But he is not like
other birds,
for when they have
sung a little,
they move to a
different place,
but the cricket
always stands firm.
And at the hottest
time of day
he only sings for
the love of it.
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[12]
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Heinrich Isaac (c.
1450-1517)
Innsbruck, ich muss
dich lassen
Innsbruck, ich
muss dich lassen,
ich far dahin
mein strassen
in fremde land
dahin.
Mein freud ist
mir genommen,
die ich nit weis
bekommen,
wo ich im elend
bin.
Gross leid muss
ich yetz tragen,
das ich allein
thu klagen
dem liebsten
bulen mein.
Ach lieb, nun
lass mich armen
im hertzen dein
erbarmen,
das ich muss von
dannen sein!
Mein trost ob
allen weyben,
dein thu ich ewig
bleiben
stet treu, der
ehren fromm.
nun muss dich
Gott bewaren,
in aller tugendt
sparen,
biss das ich
wider komm!
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Innsbruck, I must
leave yon
Innsbruck, I must
leave you,
I am on my way
to foreign lands.
I am robbed of my
joy
and I know not where
I shall find it
when I am so
wretched.
Now I must mourn
and can only confide
in my dearest love.
Oh my love, have
compassion
on wretched me
for I must go away!
My comfort above all
women,
I shall always be
yours,
ever loyal, ever
honourable
Now the Lord must
protect you
and preserve your
virtue,
until I return!
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[13]
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Anon. (Paris, Bibl.
Nat., Ms. Rés Vm7, 676,1502)
Sergonta Bergonta
Sergonta bergonta
bergonton boa
Laputa ve sa che
vos cagao.
Coma el mondo e ben
conducto
De madamas in
museres
Che ne pieno il
mondo tutto
Duchis conteses e
margheses
Usas essignores
asignora
La gnao gnao.
Tristame isue
tarita
De mi nobis
signora filia.
Io son fora de
mia posata
Per lo infantos
de Castilia
E los contes de
Centilia
De mia casa mi
sachao.
Monami se vat
plet
Bagliare una
sanson
Man signor un ben
valet
Non ne fa si base
son
Se meo fatis un
bandon
Nos faron la gnao
gnao.
(This text is a
mixture of Italian. Spanish, French and coined words)
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Little Sergeant,
little Shepherd
Little sergeant,
little shepherd, guardian sweet,
this little woman
knows what you desire;
for the world is
ruled
by women of
pleasure,
the world is full of
them.
Dukes, counts and
marquises,
all these gentlemen
make use of ladies
for their pleasure.
Sad am I without
my lady daughter
I had to leave my
home,
because of the
Infantes of Castile.
And the counts of
Centilia
chased me from my
house.
My friend, if you
like
I will dance a
little;
my lord, a good
servant
does nothing but
kiss;
If you gave me
pleasure
we will enjoy
ourselves together.
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[14]
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Josquin des Prez
Kyrie (Missa 'La sol fa re mi')
Kyrie eleison,
Christe eleison,
Kyrie eleison
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Kyrie
Lord, have mercy
upon us,
Christ, have mercy
upon us,
Lord, have mercy
upon us
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[15]
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Josquin des Prez
Guillaume se va
chaufer
Guillaume se va
chaufer
Auprès de la
cheminée
A ung petit
charbon
Qui ne fait point
de fumée.
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Gllillaume goes and
warms himself
Guillaume goes and
warms himself
at the hearth
before a small fire
which does not
smoke.
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[16]
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Anon. (Brnssels,
Roy. Libr., Ms. 288,
Album de Marguerite
d'Autriche, c. 1430)
Cueurs desolez
Cueurs desolez
par touttes nations,
Deul assamblez et
lamentations,
Plus ne querez
l'amonieuse lyre,
De' Orpheus pour
vostre joye'eslyre,
Ains vous plongez
en desolations.
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Sorrowful Hearts
Sorrowful hearts in
all countries
unite in wailing and
lamentation.
No longer choose
Orpheus's melodious lyre
because you are
joyful,
but succumb to
lamentation.
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[17]
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Anon.
(Sevilla, Bibl. Colombina, Ms, 5-1-43, c. 1430)
D'ung aultre amer
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(instrumental)
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[18]
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Philippe Basiron (15th century)
D'ung aultre amer/Lhome arme
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(instrumental)
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[19]
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Henry VIII
(1491-1547)
Pastime with good
company
Pastime with good
company,
I love and shall
unto I die;
Gruch so will but
none deny
So God be pleas'd
so live will I;
For my pastance,
Hunt, sing and
dance,
My heart is set,
to my comfort,
All goodly sport:
Who shall me let?
Youth must have
some dalliance,
Of good or ill
some pastance;
Company me thinks
then best
All thoughts and
fancies to digest,
For idleness
Is chief mistress
Of vices all:
Then who can say
But mirth and
play
Is best of all?
Company with
honesty
is virtue, vice,
to flee;
Company is good
and ill,
But every man
hath his free will.
The best ensue
The worst eschew,
My mind shall be
Virtue to use,
Vice to refuse,
Thus shall I use
me.
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[20]
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Tielman Susato (c,
1500-1563)
Passe &
Medio/Den iersten gallarde
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(instrumental)
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[21]
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Philippe Verdelot (1470/80-pre 1552)
Ogn'hor per voi sospiro
Ogn'hor per voi sospiro Donna,
poi ch'io non oso a discoprire
Mia fe e 'I mio martire,
Et so che voi scorgete
Ben mille volt' il giorn' il mio dolore
Ma pur cosi volete,
Che consumando vad' a poc' a poco
Tacendo in amoroso fuoco.
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Every hour I yearn for yon
Every hour I yearn for you, Lady,
because I dare reveal nothing
of my loyalty and my torment.
And I know that although you discern
my pain a thousand times a day,
it is your wish
that it gradually burn away,
silenced in the fire of love.
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[22]
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Pierre de La Rue (c. 1460-1518)
Mijn hert altijt heeft verlangben
Mijn hert altijt heeft verlanghen
Naer u die alderliefste mijn.
U lifde heeft mij ontfanghen,
U eyghen vrij will ick zijn,
Voor alde weerelt ghemeente.
Soe wie dat hoort oft ziet,
Hebdy mijn herte alleene.
Daerom lief en begheeft mij niet.
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My Heart is always desireous
My heart is always desireous
of you, my dearest.
Your love has accepted me,
your own I want to be,
for all the world.
So whoever hears or sees it,
you alone have my heart,
Therefore love me and leave me not.
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