The legacy of white men
2015-03-01
It is fashionable in some circles to deride the achievements of white men.
One hears, for example, some in academia and the media deriding the work of
"Dead White Males".
I most certainly do not share at all this disrespect for their achievements.
Indeed, if one is interested in science,
real science, not politics masquerading as science
(e.g., many of the judgments, as opposed to findings, of psychology),
if one does not respect the achievements of
"Dead White Men",
one is ignoring a great deal of the subject(s).
In any case,
without regard to academic specialties,
here is a musical work which represents the synthesis
of a composer born in 1813 in Leipzig, Saxony
with musicians (performers) living in 1965,
most of whom, 50 years later, are probably dead (Solti died in 1997).
You can click here for the YouTube video,
or watch this embed:
I certainly have the greatest gratitude towards
all those who contributed, in any measure, to this wonderful performance.
The complete documentary, The Golden Ring (nearly one and a half hours long),
from which the above excerpt was taken
is, as of 2015-03-23, available from YouTube here.
The embed:
Times for some significant musical excerpts:
Brünnhilde(Birgit Nilsson)-Gunther(Dietrich Fischer-Dieskau)-Hagen(Gottlob Frick) vengeance trio (Akt 2, Scene 5):
Gunther: “Betrüger ich, und betrogen!” : 53:15 to 1:00:15
Siegfried (Wolfgang Windgassen) death scene "Der Wecker kam:" :
1:03:45 to 1:05:45
Funeral march: 1:06:40 to 1:13:25
Initial take for Brünnhilde (Birgit Nilsson) immolation scene:
“Fliegt heim, ihr Raben!” (including gag): 1:14:54
Final take for Brünnhilde immolation scene:
“Fliegt heim, ihr Raben!”: 1:17:50 to end (1:26:15)
The DVD of The Golden Ring is available at Amazon.
Note the glowing comments from the reviewers at Amazon,
with 13 giving it five stars, 2 four stars, and none rating it lower.
Not the BBC documentary, but the complete performance itself
(but only in audio -- no video),
is now available in superb sound
(according to the audiophiles who have reviewed it:
search on "wagner ring solti blu-ray")
on a Blu-ray disc.
(If you like Wagner, you might enjoy a link to
a 10-minute video of perhaps his most famous work,
the “Ride of the Valkyries”;
here is an embed of that video:)
One possible complaint about that music is that
it is too brass-heavy and, perhaps, bombastic,
not very subtle in its effects.
For a part of our Western music heritage
that is less susceptible to such complaints,
see the next selections.
Here is a playlist of several choral works by Johann Sebastian Bach,
born 1685 in Eisenach, Thuringia (88 miles from Wagner's birthplace, Leipzig,
where of course Bach lived and worked
from 1723 until his death in 1750).
It starts with the final three movements of Bach's Magnificat, BWV 243
(note how
the solo oboe interweaves with the voices of the three women
in "Suscepit Israel" :-):
continues with BWV 21/11: Chorus: “Das Lamm, das erwürget ist”
(This starts with a chorale, but ends with a very large fugue,
which also builds up to a large climax to conclude the piece.):
(For more performances of this magnificent chorus,
conducted by Ton Koopman and Phillipe Herreweghe
as well as the above performance conducted by Nikolas Harnoncourt,
see this YouTube playlist.
In my personal opinion, this chorus compares favorably with
Handel’s far better known “Worthy is the lamb” chorus.)
continues with the opening chorus of cantata BWV 112,
“Der Herr ist mein getreuer Hirt”,
a setting of the 23rd Psalm, with instrumentation
Corno I/II, Oboe d'amore I/II, Violino I/II, Viola, Continuo:
(Note: This chorus ends at 3m20s in the video,
which then continues with the rest of the cantata.
Just use the "Next Video" YouTube button to skip the rest of the cantata.)
continues with a complete performance of cantata BWV 71,
which in 17 minutes shows a variety of musical forms
(the performance is in the church in which
it was first performed in 1708;
talk about historical authenticity!):
continues with two performances of Bach's great Mass in b minor
(text to the mass here)
(a 1 hour 47 minute work; two because I like them both;
want just a sample? try this!),
and finishes with a complete performance of the Magnificat,
in case you should want to see and listen to all of this beautiful work.
For its full text, with links into various performance, click here.
The playlist of the above-mentioned choral works by J.S. Bach.
Embed of the above:
Here is a playlist of some gems from the genius of George Frideric Handel:
Handel highlights;
an embed of this playlist:
Here are the texts, with translations and some links to several performances,
for several of the works in the playlist:
The last work on the playlist, Handel’s Rinaldo,
is a complete opera, running two hours thirty-five minutes in this version.
For its libretto, click here.
It is interesting to compare Handel's setting of the Gloria Patri
to Bach's (in his Magnficat).
Bach and Handel, each born in 1685 within 80 miles of each other,
were the twin pillars of the late Baroque, i.e., the first half of the eighteenth century.
In the second half, the, as it happens, twin pillars of the Classical era
were “Papa” Haydn and Amadeus Mozart.
Rather than giving playlists for each,
here are single works by each, sampling their oeuvre.
For Haydn, we have a spectacularly performed and gorgeously recorded performance
of one of his sacred works, his
Missa in Angustiis ("Mass for troubled times") or "Nelson Mass" (Hob. XXII:11).
(Get a load of how that soprano hits her high notes!
And the bass his lows.
Sometimes together :-)
For Mozart, we choose a secular composition,
the aria “Prenderò quel brunettino” from his opera Così fan tutte,
with its libretto by Lorenzo Da Ponte,
performed by Maité Beaumont (Dorabella) and Sally Matthews (Fiordiligi).
Embeds of these two performances are below.
Well, that's a look at what white men were composing
in the nineteenth and eighteenth centuries.
How about in the seventeenth century,
an earlier stage in the development of music?
Here are four examples:
First,
SWV 038 — Alleluja! Lobet den Herren (Psalm 150)
by Heinrich Schütz (born 1585 in Köstritz, like Eisenach a part of Thuringia)
part of his Psalmen Davids, composed around 1619 in Dresden,
almost four centuries ago,
performed by "La chapelle Rhénane, dir= Benoit Haller,
Durant les folles journées de Nantes 2009".
An embed of this performance:
The text they are singing,
with links into the specific times in the video
when various stanzas are sung:
Second,
about the same time Claudio Monteverdi (born in 1567 in Cremona, Lombardy)
was composing “Beatus Vir” (Psalm 112),
part of his Selva morale e spirituale
An embed:
Here it the text to "Beatus Vir",
together with links into the above performance
and an audio-only one by The Taverner Players:
There is also another video of Monteverdi’s Beatus Vir,
which frankly is not as high-quality musically as those in the table above,
but does have very well-synched captions, giving both Latin and English texts.
Our third selection from the seventeenth century is
a recreation of a Mass for Christmas Morning
as it might have been performed circa 1620,
with works by several composers, but mainly by Michael Praetorius,
conducted by Paul McCreesh, leading the Gabrieli Consort & Players.
I am not providing an embed of the video, as it is audio-only.
(A link to my web page for this work.)
There is a very informative and detailed set of slides on this work
including texts and English translations
in “The Heritage of Lutheran Worship: Mass for Christmas Morning, 1620”,
a "Lecture/Demonstration" by Dave Kriewall,
at prezi.com here (also embedded below).
You can step through the slides by using the arrows at the bottom of the bar,
or jump directly to the slide (of the 132) that you want.
It is interesting to note how much of this early seventeenth century text
is an interleaving of Latin and the vernacular (German, in this case).
See, for example,
the text to “In ducli jubilo”, running from slide 129 to 132.
Pulling the audio and the slides together,
here is a table with three objectives:
Finally, here is a playlist of verse anthems by Orlando Gibbons (1583-1625).
The embed (several of the videos feature
either a scrolling score or the text being sung):
First on the playlist is
the verse anthem (from 1617) by Orlando Gibbons "Great King of Gods",
more commonly these days performed to the words "Great Lord of Lords".
The text to "Great Lord of Lords", per cpdl.org:
When considering the seventeenth century in the West,
the central facts are the many conflicts between Catholics and Protestants,
a schism created in 1517 when Martin Luther nailed his Ninety-Five Theses on the door of the church in Wittenberg.
Heinrich Schütz was a Lutheran,
Claudio Monteverdi, in Italy, a Roman Catholic.
Nonetheless, Schütz met and studied with Monteverdi.
Interesting how music could transcend their theological differences.
Going back to the fifteenth and sixteenth centuries,
from the Renaissance,
here are several examples:
First, several motets by the English composer Thomas Tallis (1503-1585).
The text to the 40(!)-part motet Spem in alium:
Secondly, showing even (English) kings could write music, there is
"Pastime with good company", attributed to King Henry VIII
(the (sung) music; Wikipedia's description).
(Also, here is an instrumental version.)
Pastime with good company
I love and shall unto I die;
Grudge who list, but none deny,
So God be pleased thus live will I.
For my pastance
Hunt, sing, and dance.
My heart is set:
All goodly sport
For my comfort,
Who shall me let?
Youth must have some dalliance,
Of good or illé some pastance;
Company methinks then best
All thoughts and fancies to dejest:
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 vices 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,
Shall I use me.
Third, a playlist of works by Guillaume Dufay (1397-1474)
(amazing how long those people could live without spending a lot on health care!).
The texts to the first two motets:
Fourth, three masses:
Missa Mi-Mi by Johannes Ockeghem (c. 1420-1497), and
Missa Gloria tibi Trinitas and "Western Wind" Mass,
both by John Taverner (c. 1490-1545).
Be sure to note the soaring soprano lines,
set against or interwoven with the lower voices.
Fifth, here is the Gloria to Taverner's “Western Wind” Mass,
serving as sound track to a video tour of Wales.
The embed:
Finally, a sublime example of pure tonal beauty:
a gorgeous performance by the Huelgas Ensemble of
the 36 part canon "Deo Gratias" ("Thanks be to God.")
by Ockeghem.
A link to the video and the embed:
If you have never heard early music before, this is a great introduction.
There is another video at YouTube of the same musical performance,
set to a different series of landscapes:
the link and the embed:
If you happen to like the music presented above,
there are further examples at my music blog, kwhmusic.blogspot.com.
The organizational gimmick in that blog
is to use the supposedly chronological division into months
for subject division,
with the early months of 2010 containing different musical periods.
On the other hand, the month of February 2009 contains
a large number of complete choral works and operas,
mainly from the Baroque era,
generally with full texts and, when available, English translations,
and number-by-number links into appropriate YouTube videos of performances.
So the next time you read in the media,
or hear discussed "avant garde" circles,
women saying the world would be better off without men,
remember what that would mean if it were extended retroactively:
no Bach, no Handel, no Haydn, no Mozart, no Wagner (in the world of music),
and in the world of science,
hardly any of the science and scientific discoveries
which have been so instrumental in creating
the world which those very same women
now enjoy.
If they want to see what a world without the achievements of Western men
would be like,
I suggest they move to Haiti, or most of sub-Saharan Africa.
Their retort, at least part of it, that suggestion
would no doubt be:
"Well, we women would have created a much better world."
To which my response would be:
"Yeah, right. Talk is cheap.
Like all those people who argued how much better the world would be if we deposed Saddam Hussein.
While they emphasized, in fact over-emphasized, the negative aspects of his reign,
they mooted as an alternative an ideal Iraq polity.
Again, talk is cheap.
It's easy to imagine utopias,
without thinking through the potential problems."
It is fashionable in some circles to deride the achievements of white men.
One hears, for example, some in academia and the media deriding the work of
"Dead White Males".
I most certainly do not share at all this disrespect for their achievements.
Indeed, if one is interested in science,
real science, not politics masquerading as science
(e.g., many of the judgments, as opposed to findings, of psychology),
if one does not respect the achievements of
"Dead White Men",
one is ignoring a great deal of the subject(s).
In any case,
without regard to academic specialties,
here is a musical work which represents the synthesis
of a composer born in 1813 in Leipzig, Saxony
with musicians (performers) living in 1965,
most of whom, 50 years later, are probably dead (Solti died in 1997).
You can click here for the YouTube video,
or watch this embed:
I certainly have the greatest gratitude towards
all those who contributed, in any measure, to this wonderful performance.
The complete documentary, The Golden Ring (nearly one and a half hours long),
from which the above excerpt was taken
is, as of 2015-03-23, available from YouTube here.
The embed:
Times for some significant musical excerpts:
Brünnhilde(Birgit Nilsson)-Gunther(Dietrich Fischer-Dieskau)-Hagen(Gottlob Frick) vengeance trio (Akt 2, Scene 5):
Gunther: “Betrüger ich, und betrogen!” : 53:15 to 1:00:15
Siegfried (Wolfgang Windgassen) death scene "Der Wecker kam:" :
1:03:45 to 1:05:45
Funeral march: 1:06:40 to 1:13:25
Initial take for Brünnhilde (Birgit Nilsson) immolation scene:
“Fliegt heim, ihr Raben!” (including gag): 1:14:54
Final take for Brünnhilde immolation scene:
“Fliegt heim, ihr Raben!”: 1:17:50 to end (1:26:15)
The DVD of The Golden Ring is available at Amazon.
Note the glowing comments from the reviewers at Amazon,
with 13 giving it five stars, 2 four stars, and none rating it lower.
Not the BBC documentary, but the complete performance itself
(but only in audio -- no video),
is now available in superb sound
(according to the audiophiles who have reviewed it:
search on "wagner ring solti blu-ray")
on a Blu-ray disc.
(If you like Wagner, you might enjoy a link to
a 10-minute video of perhaps his most famous work,
the “Ride of the Valkyries”;
here is an embed of that video:)
One possible complaint about that music is that
it is too brass-heavy and, perhaps, bombastic,
not very subtle in its effects.
For a part of our Western music heritage
that is less susceptible to such complaints,
see the next selections.
Here is a playlist of several choral works by Johann Sebastian Bach,
born 1685 in Eisenach, Thuringia (88 miles from Wagner's birthplace, Leipzig,
where of course Bach lived and worked
from 1723 until his death in 1750).
It starts with the final three movements of Bach's Magnificat, BWV 243
(note how
the solo oboe interweaves with the voices of the three women
in "Suscepit Israel" :-):
| Suscepit Israel puerum suum recordatus misericordiae suae. | He has taken under his protection Israel his boy, and remembered his mercy. |
| Sicut locutus est ad Patres nostros, Abraham et semini eius in saecula. | in accordance with what he said to our fathers, to Abraham and to his seed for ever. |
| Gloria Patri, et Filio, et Spiritui Sancto, Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen. | Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be : world without end. Amen. |
continues with BWV 21/11: Chorus: “Das Lamm, das erwürget ist”
(This starts with a chorale, but ends with a very large fugue,
which also builds up to a large climax to conclude the piece.):
| Das Lamm, das erwürget ist, ist würdig zu nehmen Kraft und Reichtum und Weisheit und Stärke und Ehre und Preis und Lob. | The lamb that was slain is worthy to receive power and riches and wisdom and strength and honour and praise and glory. |
| Lob und Ehre und Preis und Gewalt sei unserm Gott von Ewigkeit zu Ewigkeit. Amen, Alleluja! | Glory and honour and praise and power be to our God for ever and ever. Amen. Alleluia! |
conducted by Ton Koopman and Phillipe Herreweghe
as well as the above performance conducted by Nikolas Harnoncourt,
see this YouTube playlist.
In my personal opinion, this chorus compares favorably with
Handel’s far better known “Worthy is the lamb” chorus.)
continues with the opening chorus of cantata BWV 112,
“Der Herr ist mein getreuer Hirt”,
a setting of the 23rd Psalm, with instrumentation
Corno I/II, Oboe d'amore I/II, Violino I/II, Viola, Continuo:
(Note: This chorus ends at 3m20s in the video,
which then continues with the rest of the cantata.
Just use the "Next Video" YouTube button to skip the rest of the cantata.)
| Der Herr ist mein getreuer Hirt, Hält mich in seiner Hute, Darin mir gar nichts mangeln wird Irgend an einem Gute, Er weidet mich ohn Unterlass, Darauf wächst das wohlschmeckend Gras Seines heilsamen Wortes. | The Lord is my faithful shepherd he holds me in his protection, where there is nothing lacking to me at all of any goodness, he puts me out to pasture continually where grows the sweet-tasting grass of his holy word. |
continues with a complete performance of cantata BWV 71,
which in 17 minutes shows a variety of musical forms
(the performance is in the church in which
it was first performed in 1708;
talk about historical authenticity!):
| @Wikipedia; @bach-cantatas.com; @jsbchorales.net; @IMSLP; Vocal and Piano Score (PDF); YouTube playlist | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Movement | German Text - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English Text - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Key | Scoring | Mühlhausen Soprano: Constanze Backes Counter-tenor: Werner Buchin Tenor: Knut Schoch Bass: Marek Rzepka Telemann-Kammerorchester Michaelstein & Choir Ludger Rémy, director Recorded at Marienkirche, Mühlhausen, Saxony, Germany 1999 Querstand VKJK-0101 #12 | Rilling Arleen Augér, Sopran Gabriele Schreckenback, Alt Adalbert Kraus, Tenor Philippe Huttenlocker, Baß Gächinger Kantoei Stuttgart Bach Collegium Stuttgart Helmuth Rilling, dirigierte | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1. Chorus: Gott ist mein König (Psalm 74:12) | Gott ist mein König von altersher, der alle Hilfe tut, so auf Erden geschicht. | God is my Sovereign since ancient days, who all salvation brings which on earth may be found. | C major | 1. Coro [Tutti] Tromba I-III, Tamburi, Flauto I/II, Violoncello, Oboe I/II, Fagotto, Violino I/II, Viola, Violone, Organo SATB I (solo) + instr II; SATB II (rip) + instr I–IV | 1: 0:00 | 0:00 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2. Aria: Ich bin nun achtzig Jahr (2 Samuel 19:35,37) | Ich bin nun achtzig Jahr, warum soll dein Knecht sich mehr beschweren? Soll ich auf dieser Welt Mein Leben höher bringen, Durch manchen sauren Tritt Hindurch ins Alter dringen, Ich will umkehren, dass ich sterbe in meiner Stadt, So gib Geduld, für Sünd Und Schanden mich bewahr, Auf dass ich tragen mag bei meines Vaters und meiner Mutter Grab. Mit Ehren graues Haar. | I have lived eighty years, wherefore shall thy thrall still more complain, then? If I should in this world My life extend yet longer, Through countless bitter steps Into old age advancing, I would return now, that I die within my own town, Help me forbear, from sin And scandal me defend, So that I may wear well beside my father's and my own mother's grave. With honor my gray hair. | E minor | 2. Aria [Air] T S con Corale in Canto Organo T and S (solo) + organ (with chorale solo part) | 1: 1:38 | 1:48 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3. Fugue: Dein Alter sei wie deine Jugend (Deuteronomy 33:25, Genesis 21:22) | Dein Alter sei wie deine Jugend, und Gott ist mit dir in allem das du tust. | Thine old age be like to thy childhood, and God is with thee in ev'ry deed thou dost. | A minor | 3. Coro [Fuga] Organo SATB I (solo) + organ | 1: 5:29 | 5:58 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4. Arioso: Tag und Nacht (Psalm 74:16-17) | Tag und Nacht ist dein. Du machest, dass beide, Sonn und Gestirn, ihren gewissen Lauf haben. Du setzest einem jeglichen Lande seine Grenze. | Day and night are thine. Thou makest them both, the sun and the stars, their own appointed course follow. You set any one country's border. | F major | 4. Arioso B Flauto I/II, Violoncello, Oboe I/II, Fagotto, Organo B (solo) + instr III–IV, organ | 1: 7:37 | 8:05 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5. Aria: Durch mächtige Kraft | Durch mächtige Kraft Erhältst du unsre Grenzen, Hier muss der Friede glänzen, Wenn Mord und Kriegessturm Sich allerort erhebt. Wenn Kron und Zepter bebt, Hast du das Heil geschafft Durch mächtige Kraft! | With mighty power Preservest thou our borders, Here peace must shine, Though murder and storm of war Arise everywhere else. If crown and scepter shake, Then hast thou salvation provided Through mighty power! | C major | 5. Aria [Air] A Tromba I-III, Tamburi, Organo A (solo) + instr I, organ | 2: 0:00 | 10:34 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6. Chorus: Du wollst dem Feinde (Psalm 74:19) | Du wollest dem Feinde nicht geben die Seele deiner Turteltauben. | May'st thou to the foe not deliver thy turtledoves' own very spirits. | C minor | 6. Coro Flauto I/II, Violoncello, Oboe I/II, Fagotto, Violino I/II, Viola, Violone, Organo SATB II (rip) + instr II–IV, organ | 2: 1:10 | 11:48 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7. Arioso: Das neue Regiment | Das neue Regiment Auf jeglichen Wegen Bekröne mit Segen! Friede, Ruh und Wohlergehen, Müsse stets zur Seite stehen Dem neuen Regiment. Glück, Heil und großer Sieg Muss täglich von neuen Dich, Joseph, erfreuen, Dass an allen Ort und Landen Ganz beständig sei vorhanden Glück, Heil und großer Sieg! | This our new government In ev'ry endeavor Here crown with thy blessing! Concord, peace and prosp'rous fortune Must alway be in attendance On our new government Joy, health, great victory Must each day continue O Joseph, to please thee, That in ev'ry clime and country Ever steadfast may attend thee Joy, health, great victory! | C major | 7. Coro [Tutti] Tromba I-III, Tamburi, Flauto I/II, Violoncello, Oboe I/II, Fagotto, Violino I/II, Violone, Organo SATB I (solo) + div instr; SATB II (rip) + instr I–IV | 7/Das 4:02 7/Friede 4:33 7/Glück 5:14 7/Muss 5:30 7/Dass 6:30 7/Glück 6:55 | 14:35 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
continues with two performances of Bach's great Mass in b minor
(text to the mass here)
(a 1 hour 47 minute work; two because I like them both;
want just a sample? try this!),
and finishes with a complete performance of the Magnificat,
in case you should want to see and listen to all of this beautiful work.
For its full text, with links into various performance, click here.
The playlist of the above-mentioned choral works by J.S. Bach.
Embed of the above:
Here is a playlist of some gems from the genius of George Frideric Handel:
Handel highlights;
an embed of this playlist:
Here are the texts, with translations and some links to several performances,
for several of the works in the playlist:
| text source | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| # | Latin - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - literal - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - fluent - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Drottningholm Baroque Ensemble Stockholm Bach Choir | Ensemble Vocal de Lausanne Israel Chamber Orchestra Michel Corboz video 38m | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 1 | Dixit Dominus Domino meo: Sede a dextris meis Donec ponam inimicos tuos scabellum pedum tuorum | Said Lord to Lord my: sit at right hand my until I shall make enemies your stool of your feet. | The Lord said unto my Lord: Sit at my right hand until I make your enemies your footstool. | 1: (0:00) 0:45 | (1-Corboz) 1-Corboz 1/Soprano-Corboz 1/Donec-Corboz 1/Donec-Corboz | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 10 | Gloria Patri, et Filio, et Spiritui Sancto, Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen. | Glory be to the Father, and to the Son, and to the Holy Ghost, As it was in the beginning, is now, and ever shall be: world without end. Amen. | 10: 0:00 | (10-Corboz) 10-Corboz | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| ANGELO Disserratevi, o porte d’Averno, E al bel lume d’un Nume ch’è eterno Tutto in lampi si sciolga l’orror! Disserratevi, etc. Cedete, orride porte, Cedete al Re di Gloria, Che della sua vittoria Voi siete il primo onor! Cedete, etc. Disserratevi, etc. | ANGEL Be unbarred, ye gates of Avernus, and let your dismal darkness be dispelled by the radiance of the eternal God! Be unbarred, etc. Yield, dread gates, yield to the King of Glory, for yours is the first submission to His victorious might! Yield, etc. Be unbarred, etc. |
| ARIODANTE Dopo notte, atra e funesta, splende in Ciel più vago il sole, e di gioia empie la terra. Mentre in orrida tempesta il mio legno è quasi assorto, giunge in porto, e'l lido afferra. | ARIODANTE After black and gloomy night the sun shines more radiantly in the sky and fills the earth with joy. Whereas in the fearful tempest my barque was almost engulfed, now it has entered harbour and reached the shore. |
is a complete opera, running two hours thirty-five minutes in this version.
For its libretto, click here.
It is interesting to compare Handel's setting of the Gloria Patri
to Bach's (in his Magnficat).
Bach and Handel, each born in 1685 within 80 miles of each other,
were the twin pillars of the late Baroque, i.e., the first half of the eighteenth century.
In the second half, the, as it happens, twin pillars of the Classical era
were “Papa” Haydn and Amadeus Mozart.
Rather than giving playlists for each,
here are single works by each, sampling their oeuvre.
For Haydn, we have a spectacularly performed and gorgeously recorded performance
of one of his sacred works, his
Missa in Angustiis ("Mass for troubled times") or "Nelson Mass" (Hob. XXII:11).
(Get a load of how that soprano hits her high notes!
And the bass his lows.
Sometimes together :-)
For Mozart, we choose a secular composition,
the aria “Prenderò quel brunettino” from his opera Così fan tutte,
with its libretto by Lorenzo Da Ponte,
performed by Maité Beaumont (Dorabella) and Sally Matthews (Fiordiligi).
Embeds of these two performances are below.
Well, that's a look at what white men were composing
in the nineteenth and eighteenth centuries.
How about in the seventeenth century,
an earlier stage in the development of music?
Here are four examples:
First,
SWV 038 — Alleluja! Lobet den Herren (Psalm 150)
by Heinrich Schütz (born 1585 in Köstritz, like Eisenach a part of Thuringia)
part of his Psalmen Davids, composed around 1619 in Dresden,
almost four centuries ago,
performed by "La chapelle Rhénane, dir= Benoit Haller,
Durant les folles journées de Nantes 2009".
An embed of this performance:
The text they are singing,
with links into the specific times in the video
when various stanzas are sung:
| Verse | German text (Martin Luther translation) | English text (King James Version) | Click to play |
|---|---|---|---|
| 0 (Chorus) | Alleluja! | Praise ye the LORD. | 0-Haller |
| 1 (S) | Lobet den Herren in seinem Heiligtum, lobet ihn in der Feste seiner Macht. | Praise God in his sanctuary: praise him in the firmament of his power. | 1/Lobet-Haller 1/Chorus-Haller |
| 2 (A) | Lobet ihn in seinen Taten, lobet ihn in seiner großen Herrlichkeit. | Praise him for his mighty acts: praise him according to his excellent greatness. | 2-Haller 2/Chorus-Haller |
| 3 (T) | Lobet ihn mit Posaunen, lobet ihn mit Psaltern und Harfen. | Praise him with the sound of the trumpet: praise him with the psaltery and harp. | 3-Haller 3/Chorus-Haller |
| 4 (B) | Lobet ihn mit Pauken und Reigen, lobet ihn mit Saiten und Pfeifen. | Praise him with the timbrel and dance: praise him with stringed instruments and organs. | 4-Haller 4/Chorus-Haller |
| 5 (S+T) | Lobet ihn mit hellen Cymbalen, lobet ihn mit wohl klingenden Cymbalen. | Praise him upon the loud cymbals: praise him upon the high sounding cymbals. | 5-Haller |
| 6 (Chorus) | Alles was Athem hat, lobe den Herrn. Alleluja! | Let every thing that hath breath praise the LORD. Praise ye the LORD. | 6-Haller 6/Alleluja-Haller |
Second,
about the same time Claudio Monteverdi (born in 1567 in Cremona, Lombardy)
was composing “Beatus Vir” (Psalm 112),
part of his Selva morale e spirituale
An embed:
Here it the text to "Beatus Vir",
together with links into the above performance
and an audio-only one by The Taverner Players:
| Verse | Latin - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | English - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - | Vox Scaniensis | Taverner Players & Consort Parrott |
|
|---|---|---|---|---|---|
| 1 | [Psalm 112:1] Beatus vir, qui timet Dominum: In mandatis eius rolet nimis. | [Psalm 112:1] Blessed is the man who fears the Lord: He delights greatly in his commandments. | 0:00 0:12 | 1/1-Parrott 1/2-Parrott | |
| 2 | [Psalm 112:2] Potens in terra erit semen eius; Generatio rectorum benedicetur. BV | [Psalm 112:2] His seed will be mightly on earth; The generation of the upright will be blessed. BV | 0:30 0:49 | 2/1-Parrott 2/2-Parrott | |
| 3 | [Psalm 112:3] Gloria et divitiae in domo eius; BV Et justitia eius manet in saeculum saeculi. BV | [Psalm 112:3] Wealth and riches are in his house; BV And his righteousness endures for ever and ever. BV | 1:15 1:34 | 3/1-Parrott 3/2-Parrott | |
| 4 | [Psalm 112:4] Exortum est in tenebris lumen rectis: Misericors, et miserator et justus. BV | [Psalm 112:4] Unto the upright there arises light in the darkness: He is gracious, and full of compassion, and righteous. BV | 2:08 2:20 | 4/1-Parrott 4/2-Parrott | |
| 5 | [Psalm 112:5] Jucundus homo qui miseretur et commodat. Disponet sermones suos in judicio: | [Psalm 112:5] Good is the man who is full of compassion and lends. He will guide his affairs with discretion: | 2:52 3:20 | 5/1-Parrott 5/2-Parrott | |
| 6 | [Psalm 112:6] Quia in aeternum non commovebitur. In memoria aeterna erit justus. | [Psalm 112:6] Because he will not be moved for ever. The righteous will be in everlasting remembrance. | 3:30 3:55 | 6/1-Parrott 6/2-Parrott | |
| 7 | [Psalm 112:7] Ab auditione mala non timebit. Paratum cor eius sperare in Domino; | [Psalm 112:7] He will not be afraid of evil tidings. His heart is fixed, trusting in the Lord; | 4:06 4:24 | 7/1-Parrott 7/2-Parrott | |
| 8 | [Psalm 112:8] Confirmatum est, cor eius: Non commovebitur, Donec despiciat inimicos suos. | [Psalm 112:8] His heart is established: He will not be moved, Until he gazes at his enemies. | 4:38 | 8-Parrott | |
| 9 | [Psalm 112:9] Dispersit, dedit pauperibus: Justitia eius manct in saeculum saeculi, Cornu eius exaltabitur in gloria. BV | [Psalm 112:9] He has dispersed, he has given to the poor: His righteousness endures for ever and ever, The strength of his soul will be exalted with honour. BV | 5:12 | 9/1-Parrott 9/2-Parrott 9/3-Parrott | |
| 10 | [Psalm 112:10] Peccator videbit, et irascetur; Dentibus suis fremet et tabescet. Desiderium peccatorum peribit. BV | [Psalm 112:10] The sinner will see it, and will be grieved; He will gnash with his teeth, and melt away. Desire of the ungodly shall perish. BV | 6:25 | 10/1-Parrott 10/2-Parrott 10/3-Parrott | |
| 10 | Gloria Patri, et Filio, et Spiritui Sancto, Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen. | Glory be to the Father, and to the Son, and to the Holy Ghost, As it was in the beginning, is now, and ever shall be: world without end. Amen. | 10: 0:00 | (10-Corboz) 10-Corboz | |
There is also another video of Monteverdi’s Beatus Vir,
which frankly is not as high-quality musically as those in the table above,
but does have very well-synched captions, giving both Latin and English texts.
Our third selection from the seventeenth century is
a recreation of a Mass for Christmas Morning
as it might have been performed circa 1620,
with works by several composers, but mainly by Michael Praetorius,
conducted by Paul McCreesh, leading the Gabrieli Consort & Players.
I am not providing an embed of the video, as it is audio-only.
(A link to my web page for this work.)
There is a very informative and detailed set of slides on this work
including texts and English translations
in “The Heritage of Lutheran Worship: Mass for Christmas Morning, 1620”,
a "Lecture/Demonstration" by Dave Kriewall,
at prezi.com here (also embedded below).
You can step through the slides by using the arrows at the bottom of the bar,
or jump directly to the slide (of the 132) that you want.
It is interesting to note how much of this early seventeenth century text
is an interleaving of Latin and the vernacular (German, in this case).
See, for example,
the text to “In ducli jubilo”, running from slide 129 to 132.
Pulling the audio and the slides together,
here is a table with three objectives:
- To list the works and readings in the service;
- To provide click-to-play links into the music;
- To provide a cross-reference between the music and the slides,
using time within the video to specify the music
and slide number to specify the slide.
| # | Slide # | Composer | Item | Performer | Time offset plus slide number/word (Click to play) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Note: “Slide #” refers to the slide number in the Prezi presentation (“Lecture/demonstration”) “The Heritage of Lutheran Worship: Mass for Christmas Morning, 1620” by Dave Kriewell. (Sadly, I have not figured out how to link directly to those slides, or even if that is possible.) | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1 | 7 | Martin Luther | Processional: "Christum wir sollen loben schon" - Arranged By Michael Praetorius Har. Lucas Osiander | Anders Engberg-Pedersen Gabrieli Consort Gabrieli Players | 0:00 8/Christum 0:42 9/Der 1:17 10/Die 1:54 11/Er 2:31 12/Lob | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2 | 15/20 | Michael Praetorius | Introit: Puer natus in Bethlehem - Ein Kind geborn zu Bethlehem | Susan Hemington Jones Gabrieli Consort Gabrieli Players Roskilde Cathedral Boys' Choir | (3:12) 4:00 20/Puer 4:30 21/Singet 4:44 22/Reges 5:13 23/Singet 5:26 24/Hic 5:49 25/Singet 6:00 26/Mein (6:28) 6:44 27/Ein 7:02 28/Die 7:21 29/Hie 7:43 30/In 8:09 31/Singet 8:23 32/Laudetur 9:01 33/Singet 9:12 34/Mein (9:42) 9:58 35/Für 10:16 36/Lob | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3 | 37/39 | Michael Praetorius | Kyrie (Missa: gantz Teudsch) - Polyhymnia caduceatrix (1619) | Tom Phillips (Tenor), Tessa Bonner (Soprano), Sarah Pendlebury (Soprano), Angus Smith (Tenor) Gabrieli Consort, Gabrieli Players | (10:40 Kyrie) 10:57 39/Kyrie (11:40 Christe) 12:02 40/Christe (13:01 Kyrie) 13:30 41/Kyrie | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4 | 42/44 | Michael Praetorius | Gloria (Missa: gantz Teudsch) - Polyhymnia caduceatrix (1619) | Julian Podger (Tenor), Simon Grant (Bass), Tom Phillips (Tenor), Sarah Pendlebury (Soprano), Angus Smith (Tenor), Robert Horn (Tenor), Tessa Bonner (Soprano), Stephen Charlesworth (Bass) | 15:12 44/Glory 16:06 45/Wir 17:23 46/Herr Gott 18:06 47/Herr Sohn 19:38 48/Der 20:47 49/Denn | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 5 | 50 | Michael Praetorius | Collect: "Der Herr Sei Mit Euch" | Gabrieli Players | 22:47 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6 | 53 | Anonymous | Epistle: "So schreibt der heilig Propheten Jesajas" | Raimund Nolte | 23:56 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 7 | 54 | Anonymous | Organ prelude: Praeambulum "Vom Himmel hoch" | Timothy Roberts | 25:58 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 8 | 55/59 | Michael Praetorius | Gradual hymn: "Vom Himmel hoch da komm ich her" - Musae Sioniae V (1607)/ Urania (1613) | Donald Greig (Baritone), Simon Grant (Bass) Gabrieli Consort, Gabrieli Players, Roskilde Cathedral Boys' Choir | 27:06 59/Vom 27:34 60/Euch 27:59 61/Es 28:24 62/Er 28:50 63/So 29:16 64/Des 29:43 65/Ach 30:07 66/Davon 30:35 67/Lob | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 9 | 68 | Anonymous | Gospel: "So schreibt der heilige Lukas" | Raimund Nolte | 31:07 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 10 | 69/71 | Martin Luther | Credo: "Wir glauben all an einen Gott" (1524) | Raimund Nolte | 34:59 71/Gott 36:20 72/Christ 38:38 73/Geist | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 11 | 74 | Anonymous | Organ Prelude: "Resonet in laudibus" | Timothy Roberts | 40:11 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 12 | 75/77 | Michael Praetorius | Pulpit Hymn: "Quem pastores laudavere" | Lasse Overgaard Nielsen, Gabrieli Consort, Gabrieli Players, Roskilde Cathedral Boys' Choir | 41:20 77/Quem 41:40 78/Den 41:57 79/Heut 42:18 80/Große 42:49 81/Ad 43:09 82/Zu 43:28 83/Ein 43:49 84/Liegend 44:20 85/Christo 44:40 86/Lobet 44:59 87/Die 45:19 88/Da | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 13 | 89 | Johann Hermann Schein | Offertory: Sonata: Padouana a 5 - Banchetto musicale (Leipzig, 1617) | Gabrieli Players | 45:53 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 14 | 89 | Anonymous | The Lord's Prayer: "Vater unser, der du bist im Himmel" Words Of Institution: "Unser Herr Jesus Christus" | Raimund Nolte | 49:00 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 15 | 90/96 | Michael Praetorius | Sanctus Motet: "Jesaja dem Propheten das geschah" | Simon Grant (Bass), Mark Le Brocq (Tenor), Donald Greig (Baritone), Sarah Pendlebury (Soprano), Constanze Backes (Soprano), Angus Smith (Tenor), Susan Hemington Jones (Soprano), Tessa Bonner (Soprano), Gabrieli Consort, Gabrieli Players | 51:36 96/Jesaja 52:25 97/Es 53:13 98/Gegnander 53:31 99/Heilig 56:30 100/Von 56:52 101/Das | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 16 | 102 | Samuel Scheidt | Organ Prelude: "Wie schön leuchtet der Morgenstern" | Timothy Roberts | 58:02 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 17 | 104 | Michael Praetorius | Communion Motet: "Wie schön leuchtet der Morgenstern" - Polyhymnia caduceatrix (1619) | Susan Hemington Jones | 59:37 105/Wie 1:00:24 106/Du 1:01:15 107/Lieblich | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 18 | 108 | Michael Praetorius | Communion Motet: "Uns ist ein Kindlein heut geborn" | Sarah Pendlebury (Soprano) Hannelore Devaere (Harp), Gabrieli Consort, Gabrieli Players | 1:03:02 109/Uns 1:03:45 110/Was 1:04:27 111/Freu | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 19 | 112 | Michael Praetorius | Post-Communion: "Der Herr Sei Mit Euch" | Gabrieli Consort | (1:05:14) 1:05:37 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 20 | 114 | Michael Praetorius | Benediction: "Der Herr segne dich und behüte dich" | Gabrieli Consort | 1:06:33 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 21 | 116 | Michael Praetorius | Final Hymn: "Puer nobis nascitur" - Musae Sioniae VI (1609) | Congregational Choir Of Roskilde Cathedral | (1:07:34) 1:07:49 117/Puer 1:08:04 118/Uns 1:08:21 119/In pra 1:08:36 120/In ein 1:08:52 121/Hinc 1:09:07 122/Kön’g 1:09:24 123/Qui 1:09:39 124/Der 1:09:56 125/Nos 1:10:11 126/Drum | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 22 | 127 | Michael Praetorius | Organ Voluntary: "Nun lob mein Seel" | Timothy Roberts | 1:10:32 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 23 | 128 | Michael Praetorius | Recessional: "In dulci jubilo" - Polyhymnia caduceatrix (1619) | Tessa Bonner (Soprano), Mark Le Brocq (Tenor), Susan Hemington Jones (Soprano), Gabrieli Consort, Gabrieli Players, Roskilde Cathedral Boys' Choir | 1:13:36 129/In 1:14:37 130/O Jesu 1:15:31 131/O Patris (1:16:11 Ubi) 1:16:51 132/Ubi 1:17:47 ??? | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Finally, here is a playlist of verse anthems by Orlando Gibbons (1583-1625).
The embed (several of the videos feature
either a scrolling score or the text being sung):
First on the playlist is
the verse anthem (from 1617) by Orlando Gibbons "Great King of Gods",
more commonly these days performed to the words "Great Lord of Lords".
The text to "Great Lord of Lords", per cpdl.org:
1. Great Lord of Lords, supreme immortal King,
O give us grace to sing thy praise,
which makes earth, air and heav'n to ring. (Repeat Full)
2. O word of God from ages unbegun,
the Father's only Son, with Him in pow'r, in substance,
with him in pow'r, in substance Thou art One. (Repeat Full)
3. O Holy Ghost, whose care doth all embrace,
Thy watch is o'er our race, Thou source of life,
Thou spring of peace and grace, Thou source of life,
[Thou spring of peace and grace, source of life,] [omit from A2 solo]
Thou spring of peace and grace. (Repeat Full)
4. One living Trinity, one unseen light, The earth is Thine,
Thy light beholds alike the bounds of depth and height,
[the bounds] of depth and height. [omit from A1 solo] (Repeat Full)
Amen.
O give us grace to sing thy praise,
which makes earth, air and heav'n to ring. (Repeat Full)
2. O word of God from ages unbegun,
the Father's only Son, with Him in pow'r, in substance,
with him in pow'r, in substance Thou art One. (Repeat Full)
3. O Holy Ghost, whose care doth all embrace,
Thy watch is o'er our race, Thou source of life,
Thou spring of peace and grace, Thou source of life,
[Thou spring of peace and grace, source of life,] [omit from A2 solo]
Thou spring of peace and grace. (Repeat Full)
4. One living Trinity, one unseen light, The earth is Thine,
Thy light beholds alike the bounds of depth and height,
[the bounds] of depth and height. [omit from A1 solo] (Repeat Full)
Amen.
When considering the seventeenth century in the West,
the central facts are the many conflicts between Catholics and Protestants,
a schism created in 1517 when Martin Luther nailed his Ninety-Five Theses on the door of the church in Wittenberg.
Heinrich Schütz was a Lutheran,
Claudio Monteverdi, in Italy, a Roman Catholic.
Nonetheless, Schütz met and studied with Monteverdi.
Interesting how music could transcend their theological differences.
Going back to the fifteenth and sixteenth centuries,
from the Renaissance,
here are several examples:
First, several motets by the English composer Thomas Tallis (1503-1585).
The text to the 40(!)-part motet Spem in alium:
| Wikipedia, CPDL, IMSLP, video (really, audio) of the Tallis Scholars performance | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Latin original | English translation | CPDL page (of 23) | time ???? | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Spem in alium nunquam habui Praeter in te, Deus Israel Qui irasceris et propitius eris et omnia peccata hominum in tribulatione dimittis Domine Deus Creator caeli et terrae respice humilitatem nostram | I have never put my hope in any other but in You, O God of Israel who can show both anger and graciousness, and who absolves all the sins of suffering man Lord God, Creator of Heaven and Earth be mindful of our lowliness | 1 5 8 11 13 15 16 18 | 0:10 2:20 3:01 5:03 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Secondly, showing even (English) kings could write music, there is
"Pastime with good company", attributed to King Henry VIII
(the (sung) music; Wikipedia's description).
(Also, here is an instrumental version.)
Pastime with good company
I love and shall unto I die;
Grudge who list, but none deny,
So God be pleased thus live will I.
For my pastance
Hunt, sing, and dance.
My heart is set:
All goodly sport
For my comfort,
Who shall me let?
Youth must have some dalliance,
Of good or illé some pastance;
Company methinks then best
All thoughts and fancies to dejest:
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 vices 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,
Shall I use me.
Third, a playlist of works by Guillaume Dufay (1397-1474)
(amazing how long those people could live without spending a lot on health care!).
The texts to the first two motets:
| Ave, maris stella, Dei mater alma, atque semper virgo, felix cœli porta. Sumens illud «Ave» Gabrielis ore, funda nos in pace, mutans Evæ nomen. | Hail, star of the sea, Nurturing Mother of God, And ever Virgin Happy gate of Heaven. Receiving that "Ave" (hail) From the mouth of Gabriel, Establish us in peace, Transforming the name of "Eva" (Eve). |
| Nuper rosarum flores Ex dono pontificis Hieme licet horrida Tibi, virgo coelica, Pie et sancte deditum Grandis templum machinae Condecorarunt perpetim. Hodie vicarius Jesu Christi et Petri Successor Eugenius Hoc idem amplissimum Sacris templum manibus Sanctisque liquoribus Consecrare dignatus est. Igitur, alma parens Nati tui et filia Virgo decus virginum, Tuus te Florentiae Devotus orat populus, Ut qui mente et corpore Mundo quicquam exorarit Oratione tua Cruciatus et meritis Tui secundum carnem Nati Domini sui Grata beneficia Veniamque reatum Accipere mereatur. Amen. | Recently garlands of roses given by the Pope -despite a terrible winter— adorned this temple of magnificent structure forever dedicated in a pious and holy fashion to you, heavenly Virgin. Today the vicar of Jesus Christ and successor of Peter, Eugenius, has deigned to consecrate this same vast temple with his sacred hands and holy liquors. Therefore, sweet parent and daughter of your Son, virgin, flower of virgins, your devoted people of Florence prays that anyone in agony who will have prayed for anything with a clean mind and body will deserve to receive by your prayer and the merits of your Son in the flesh the sweet gifts of his Lord and forgiveness of sins. Amen. |
| Cantus firmus: Terribilis est locus iste | Cantus firmus: Magnificent is this place |
Fourth, three masses:
Missa Mi-Mi by Johannes Ockeghem (c. 1420-1497), and
Missa Gloria tibi Trinitas and "Western Wind" Mass,
both by John Taverner (c. 1490-1545).
Be sure to note the soaring soprano lines,
set against or interwoven with the lower voices.
Fifth, here is the Gloria to Taverner's “Western Wind” Mass,
serving as sound track to a video tour of Wales.
The embed:
Finally, a sublime example of pure tonal beauty:
a gorgeous performance by the Huelgas Ensemble of
the 36 part canon "Deo Gratias" ("Thanks be to God.")
by Ockeghem.
A link to the video and the embed:
If you have never heard early music before, this is a great introduction.
There is another video at YouTube of the same musical performance,
set to a different series of landscapes:
the link and the embed:
If you happen to like the music presented above,
there are further examples at my music blog, kwhmusic.blogspot.com.
The organizational gimmick in that blog
is to use the supposedly chronological division into months
for subject division,
with the early months of 2010 containing different musical periods.
On the other hand, the month of February 2009 contains
a large number of complete choral works and operas,
mainly from the Baroque era,
generally with full texts and, when available, English translations,
and number-by-number links into appropriate YouTube videos of performances.
So the next time you read in the media,
or hear discussed "avant garde" circles,
women saying the world would be better off without men,
remember what that would mean if it were extended retroactively:
no Bach, no Handel, no Haydn, no Mozart, no Wagner (in the world of music),
and in the world of science,
hardly any of the science and scientific discoveries
which have been so instrumental in creating
the world which those very same women
now enjoy.
If they want to see what a world without the achievements of Western men
would be like,
I suggest they move to Haiti, or most of sub-Saharan Africa.
Their retort, at least part of it, that suggestion
would no doubt be:
"Well, we women would have created a much better world."
To which my response would be:
"Yeah, right. Talk is cheap.
Like all those people who argued how much better the world would be if we deposed Saddam Hussein.
While they emphasized, in fact over-emphasized, the negative aspects of his reign,
they mooted as an alternative an ideal Iraq polity.
Again, talk is cheap.
It's easy to imagine utopias,
without thinking through the potential problems."
posted by KHarbaugh at 14:00
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