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musique en wallonie
Musique en Wallonie MEW 0848/9
2008
CD1
1. Celsitonantis ave genitrix ~ Abrahae fit promissio [7:21]
Missa Ecce ancilla Domini ~ Ne timeas Maria
2. Kyrie [4:29]
3. Gloria [7:46]
4. Credo [12:33]
5. Sanctus et Benedictus [10:09]
6.Agnus Dei [5:25]
Motets
7.Ave Maria virgo serena à 5 [7:33]
8.Ave Maria à 3 [2:27]
9. Lux solemnis ~ Repleti sunt omnes [10:14]
CD2
1. Clangat plebs [7:25]
Missa L'homme armé ~ Dum sacrum
mysterium
2. Kyrie [4:03]
3. Gloria [7:32]
4. Credo [7:44]
5. Sanctus et Benedictus [6:24]
6. Agnus Dei [4:04]
Motets et chansons
7. Lauda Syon salvatorem ~ Ego sum panis vivus [6:24]
8. Puisque ma damme ~ Je m'en voy [2:01]
9. S'il vous plaist [1:34]
10. Patrem vilayge [3:51]
11. O admirabile commercium ~ Verbum caro [7:34]
The Clerks
Edward Wickham
Carys Lane, Helen Neeves - soprano
Lucy Ballard, Ruth Massey - alto
Tom Raskin, Christopher Watson - ténor
Jonathan Arnold, Robert Macdonald, Edward Wickham - basse
Légendes des illustrations
Couverture : Rogier van der Weyden (Rogier de la Pasture) (atelier), L'annonciation,
ca. 1440,
huile sur panneau de chêne, 0,86 x 0,93m, Paris,
Musée du Louvre (Inv. 1982), © RMN / Gérard Blot.
Notice :
1. S'il vous plaist, Chansonnier de Jean de Montchenu
(chansonnier cordiforme), Paris, Bibliothèque nationale de
France, Rothschild 2973, f. 20v. et 21r.
2. Collégiale Saint-Vincent de Soignies, © Gil
Bergeret, Commune de Soignies.
3. Missa Ecce ancilla Domini, Kyrie, Bruxelles,
Bibliothèque royale de Belgique, Ms. 5557, f. 121v. et 122 r.
4. Clangat plebs, Rome, Bibliothèque apostolique
vaticane, Chigi C VIII, 234, f. 281v.
Remerciements
Édition préparée par Sean Gallagher et Jesse
Rodin, à l'exception de la plage 7 du CD 1
préparée par Theodore Dumitrescu.
Leofranc Holford-Strevens a édité les textes latins et
fourni les traductions anglaises des plages 1 et 9 du CD 1 et des
plages 1 et 11 du CD2.
The Clerks souhaite remercier ces érudits pour leur
collaboration à ce projet.
Nous remercions Madame Nadine Henrard pour la traduction des textes en
ancien français, CD 2, plages 8 et 9, et Monsieur Jean-Paul
Schyns pour la traduction des textes latins de la Missa Ecce
ancilla Domini et de la Missa L'homme armé.
Remerciements à Monsieur Goossens et à la
Bibliothèque royale de Belgique.
Production: Musique en Wallonie, ULg, quai Roosevelt 1B à 4000
Liège - Belgique (http://www.musiwall.ulg.ac.be/)
Enregistrement: 27 au 30 août 2007, Chapelle du collège
Sainte-Catherine, Cambridge
Prise de son et montage: Gemini Sound
Directeurs de projet: Philippe Vendrix et Christophe Pirenne
Graphisme: Valérian Larose
Réalisé avec le concours du Ministère de la
Communauté française de Belgique (Service
général des Arts de la scène - Service Musique)
JOHANNES REGIS.
Masses, motets and chansons
In a famous passage from his 1477 treatise on counterpoint, Johannes
Tinctoris noted the remarkable flourishing of musical composition in
his day and singled out five of his contemporaries for special praise :
Johannes Okeghem, Johannes Regis, Anthonius Busnoys, Firminus Caron,
and Guillermus Faugues... these men's works exhale such sweetness that,
in my opinion, they should be considered most worthy, not only for men
and heroes, but even for the immortal gods. Certainly I never listen to
them or study them without coming away more refreshed and wiser. Just
as Virgil took Homer as his model in his divine work, the Aeneid, so by
Hercules do I use these as models for my own small productions...
High praise indeed. Today two of these five, Ockeghem and Busnoys,
would still figure very high on anyone's list of fifteenth-century
composers. Outside of specialist circles, however, Regis, Caron and
Fougues remain little more than names. In itself this fact is
unsurprising; the history of music records no shortage of composers
much admired by contemporaries whose works have for various reasons
fallen by the wayside. But Tinctoris is a writer whose opinions should
be taken seriously. He was remarkably well informed about the music of
his time, quick to criticize what he did not like, and judging from the
citations found in his treatises, he had studied many of these
composers' works down to the most minute level of detail. If he
considered them to be of equal stature to Ockeghem and Busnoys, the
time is long overdue to at least give them another hearing.
Tinctoris cites Dunstaple, Binchois, and Du Fay, "all recently passed
from this life," as teachers of his five worthy composers. His
description may have been intended as a rhetorical flourish, but in the
case of Regis, many of whose works are recorded here for the first
time, there might well be some truth in the claim. Certainly he is the
only one of the five known to have had extended contact with both
Binchois and Du Fay. Regis is documented from 1451 as master of the
choristers at the collegiate church of St. Vincent in Soignies (in
Hainaut, diocese of Cambrai). Soignies was a musical center of some
importance, one with close ties to the Burgundian court. In 1453, after
many years of service in the Burgundian chapel, Binchois was himself
appointed by Duke Philip the Good to the provostship of St. Vincent,
where he remained until his death in 1460. He and Regis thus served in
the same chapter for most of the 1450s, in circumstances that would
have been conducive to some kind of teacher-student relationship: Regis
was still young, probably in his mid-twenties, while the much older
Binchois was by then one of the most renowned composers in Europe.
Just weeks after Binchois's death, Regis came into contact with Du Fay.
In November 1460 Regis was invited to take up the position of
choirmaster at the renowned Cambrai Cathedral. But he hesitated. Du
Fay, who was head of the musical establishment there, led long
negotiations over the next two years in an attempt to persuade him to
come, but in the end Regis stayed at Soignies. There he was named scholasticus,
a musical position at St. Vincent equivalent to that of cantor, which
he held until his death in 1496. But he remained in touch with Du Fay
throughout the 1460s and early 1470s, and following the older
composer's death in 1474 Regis founded an annual commemorative mass at
St. Vincent in his honour. The two composers clearly knew one another's
music : several of Regis's works were copied at Cambrai in the early
1460s, while Du Fay's music served as an important point of reference
for Regis.
Nowhere is his engagement with the music of Du Fay more apparent than
in his two surviving masses. His Missa Ecce ancilla Domini / Ne
timeas Maria and Du Fay's Missa Ecce ancilla Domini / Beata es
Maria both use the same rare version of the antiphon Ecce ancilla
and both are early examples of masses that employ more than one cantus
firmus, a practice that would become more common towards the end of
the century (especially in the masses of Obrecht). Regis actually
expands upon this aspect of Du Fay's mass. Whereas Du Fay limits
himself to just two Marian antiphons and presents them in alternation
in the tenor, Regis consistently combines his two main cantus firmi
and then adds five further antiphons, often transposed and in various
combinations. For all these similarities, the overall sound image of
Regis's mass differs considerably from that of Du Fay's, owing partly
to its frequent juxtaposition of the major and minor thirds above the
final. He favors a recurring melodic gesture in the superius that
descends to the final by way of subtle shifts between the major and
minor third, conveying at times a haunting sense of closure (as at the
very end of the mass). Elsewhere (as in the first sections of the Credo
and Sanctus) the effect is more harmonic in nature and the shift is
reversed, with minor giving way to major, broadening in pace and
opening into shimmering moments of near stasis.
Perhaps the most striking passage in the mass comes in the Credo: a
series of held sonorities at the words vivos et mortuos ("to
judge the living and the dead"). These may also provide a hint as to
the original function of the cycle. No other fifteenth-century mass
highlights this phrase in such a manner. The emphasis on "the living
and the dead" of a community of believers points to the environment of
a confraternity, one of the main functions of which was to aid the
souls of its deceased members. Given that both Regis's and Du Fay's Ecce
ancilla masses were included in the Burgundian choirbook Brussels,
Bibl. royale, MS 5557, we might seek their origins in that grandest of
confraternities, the Burgundian Order of the Golden Fleece, whose
meetings included the celebration of a Marian mass.
The Missa L'homme armé / Dum sacrum mysterium is if
anything even more impressive in its handling of multiple cantus firmi.
Here Regis explicitly links the image of "the armed man" with the
warrior archangel St. Michael by setting textual excerpts of the
Michael antiphon Dum sacrum mysterium to the famous L'homme
armé tune. This symbolic doubling of the "armed man" is even
embedded in the musical fabric: throughout much of the mass the melody
is presented in loosely canonic fashion in two voices (another
expansion on the practice of Du Fay, in whose own Missa L'homme
armé the cantus firmus is briefly set in canon). As
the cycle proceeds, the references to Michael multiply through the
introduction of five further melodies and / or texts from the saint's
Office. Regis sets certain of these texts in relief (e.g., the words Michael
praepositus paradisi in the Kyrie), allowing them to emerge clearly
from the surrounding mass text. His interest in coloring certain
sonorities through the frequent (at times startling) use of sharps and
flats is again much in evidence. But the effect is rather different
from the pungent cross-relations heard in his Ecce ancilla
mass. Here the brief motto that in various forms opens each of the five
movements has a surprisingly 'modem' sound in terms of its harmonies
(indeed the beginning of the Sanctus would not sound much out of place
in an early seventeenth-century liturgical work). The series of
sustained sonorities at the end of the Agnus Dei provides another good
example: there the 'deceptive' cadence deepens the sense of the cycle
as a whole coming to a close.
A "missa sus l'ome arme" by Regis was copied at Cambrai Cathedral in
M62, that is, near the end of the long negotiations to bring him there
as master of the choristers. This is in fact the earliest known
reference to any mass based on the L'homme armé tune. It
has been suggested Regis must have composed two L'homme armé
masses, the Dum sacrum mysterium mass and an earlier one,
now lost, to which this Cambrai document refers. However this now seems
unlikely to be the case. Recent research has revealed considerable
evidence for the Dum sacrum mysterium mass having been composed
for Cambrai Cathedral, specifically in connection with a service for
the feast of St. Michael founded in the late 1450s by Michel de
Beringhen, canon of the cathedral and longtime colleague of Du Fay.
Another work Regis may have composed for Cambrai is his Patrem
vilayge. More modest in scope than the Credos of the two cycles,
this work includes a paraphrase of the Credo I chant, principally in
the two inner voices. Its only manuscript source is one copied at
Cambrai a generation after Regis's death. All the other works in the
manuscript are by much younger composers, suggesting Regis's piece
might have been included because it had already long been in the
cathedral's collection of polyphony. A distinctive feature of the work
is its fairly extreme form of text telescoping, with as many as three
different phrases of the text being sung simultaneously (including the
surprising coincidence of the words Et resurrexit and Crucifixus!).
Regis's best known works during his lifetime were his five-voice
motets. Before about 1470 music in more than four voices was very rare,
and Regis's large-scale cantus firmus motets represent the
earliest sustained attempt to compose in five parts. The inclusion of
an 'extra' voice (offen set as a second low part beneath the tenor)
allowed him to explore his evident interest in textural contrasts and
sonorous effects of various kinds. Younger composers came to recognize
the potential of this Regis-type motet, and his works would later serve
as models for five-voice motets by Obrecht, Josquin, Weerbeke, and
others. Regis's precedence in five-voice composition is reflected in
Petrucci's Motetti a cinque, a collection published a dozen
years after the composer's death, which includes four of his motets
(more than any other composer represented), among them his Clangor
plebs flores / Sicut lilium, which opens the collection.
Thirty years before Petrucci, Tinctoris had cited Clangat plebs
as one of a handful of pieces that exemplified the theorist's
compositional ideal of varietas. The word can be interpreted in
different ways, but from Tinctoris's comments and the music he cites,
his aim was to highlight a mode of composing. Using a range of
techniques, contemporary composers could work out a sequence of musical
passages, each having its own localized sense of regularity and
coherence, the nature of which was continually changing. In the case of
Clangat plebs, Regis took a generic blueprint for a tenor motet
- with a division into two large sections (one in perfect time, the
other imperfect) and a liturgical cantus firmus set mostly in
longer note values in the middle of the texture - and gave it shape
partly by means of a near systematic shifting of voice groupings. The
technique is effective because it is so clearly audible, as at the
beginning of the motet's secunda pars ("Carmina condentem").
Short phrases regularly alternate between the two upper voices and all
five. The tenor then drops out, the duos become longer and move between
the upper and lower pairs of voices. With its return the tenor takes on
a new function, participating in a loose type of paired imitation. This
texture gives way in turn to four voices, then all five, with a third
and final statement of the tenor cantus firmus propelling the
work to its close.
Comparable techniques can be heard in all the motets, though it is
impressive how even among works sharing general features Regis is able
to give each a distinctive character. Lux solemnis / Repleti sunt
omnes, like Clangat plebs and Lauda Syon salvatorem /
Ego sum panis vivus, is a D-mode work with a low notated range (the
bassus in all three motets frequently descends to low D). But unlike
the other two works, which begin with the expected duos and trios, Lux
solemnis starts with a very full four-voice texture to which the
tenor is soon added, resulting in one of the most majestic opening
paragraphs in all fifteenth-century music. Elsewhere the motet is more
declamatory in tone, as in the emphatic culminating gestures at the
ends of its two partes, and especially at the series of verbs "imbuit,
illustrat, disponit", where the upper voice briefly takes on the
quality of a psalm recitation, enlivened by a pair of more active
voices below. In Lauda Syon salvatorem, the secunda pars
begins with an essentially homophonic presentation of beautifully
balanced phrases before moving on to other textural possibilities. Celsitonantis
ave genitrix / Abrahae fit promissio - a bright, G-mode motet
addressed to the Virgin Mary - contains passages shaped as much by
textual concerns as musical ones. Recurring gestures in the upper voice
capture a sense of "the angelic choir" as it "praises, cherishes, and
reveres" the Virgin, while at the end of the prima pars the
unexpectedly subdued scoring is apparently a response to "the sinful
soul that rejoices to have found through thee the entry to peace."
Three of the motets depart from his usual approach. O admirabile
commercium, memorably described by Reinhard Strohm as a 'huge
Christmas pie,' is the only of his motets with multiple cantus firmi,
among them the popular cantio Resonet in laudibus. This is his
most energetic work, as well as his most virtuosic, full of syncopated
rhythms and exuberant interjections. The five-voice Ave Maria..
.virgo serena sounds at first as if it might date from a generation
later than his other works. Gone is the long-note cantus firmus
in the tenor, replaced by a texture in which all voices are equally
active throughout, and the use of imitation is greater and more
consistent than in his other music. The similarity between its opening
phrase and that of Josquin's four-voice Ave Maria.. .virgo serena
has often been noted. Whether one served as model for the other, and if
so, which came first, are questions that may never be convincingly
answered, not least because the dating of Regis's motets remains
uncertain. That Regis was a full generation older than Josquin might
suggest the direction of influence, but cannot by itself confirm it.
What can be noted, however, is that on closer inspection Regis's piece
is not so very far removed from his other motets. Rather it is as if
the frequent textural contrasts and quasi-antiphonal voice pairings
found in the cantus firmus motets has here been streamlined and
regularized. Regis's little three-voice Ave Maria provides yet
another facet of his work. The texture is that of a chanson, and its
veiled, overlapping cadences and melodic sequences bring it closer to
Busnoys than any of Regis's other pieces. Even here, however, the
colors of certain harmonies recall his own grand motets.
The two chansons make one regret that not more of Regis's secular music
has survived. Both reveal novel twists on the conventions of
midfifteenth-century song. Much of S'il vous plaist utilizes
only pairs of voices, rather than all three, and so manages to be
texturally interesting even within such narrow constraints. Puisque
ma dame / Je m'en voy, for four voices, is a pristine example of
carefully gauged melodic contours, the simplicity of which makes its
unexpected accidentals all the more affecting.
The works recorded here make a persuasive case that Tinctoris was
justified in his high assessment of Regis. Their breadth of invention
reveal him to have been not merely a very skilled composer, but one of
the most distinctive and original voices of the period.
Sean GALLAGHER