medieval.org
LP:
Esoteric ES-521 — 1953
Counterpoint / Esoteric CPT 521 (mono) | CPTS 5521 (stereo) — 1956
Spanish edition: Vergara 7.086-V — 1968
CD:
Rykodisc "Tradition" TCD 1056 — 1997
medieval.org
LP:
Esoteric ES-521 — 1953
Counterpoint / Esoteric CPT 521 (mono) | CPTS 5521 (stereo) — 1956
Spanish edition: Vergara 7.086-V — 1968
CD:
Rykodisc "Tradition" TCD 1056 — 1997
VILLANCICOS MEDIEVALES INGLESES
A
collection of ancient Christmas songs as performed by the critically
acclaimed New York Pro Musica Antiqua under the direction of Noah
Greenberg. The Pro Musica Antigua was formed with the purpose of
faithfully presenting neglected works of Medieval, Renaissance, and
Baroque periods. Recorded in 1956.
The Singers
The
Primavera Singers of the New York Pro Musica Antiqua, formed with the
purpose of faithfully presenting the neglected works of Medieval,
Renaissance and Baroque music, have performed in many concerts of vocal
and instrumental music of this period. Noah Greenberg, the conductor of
The Primavera Singers, was instrumental in the founding of the New York
Pro Musica Antiqua, and leads an active musical life as a choral
director, composer, and teacher in that city. He has been a student of
the Renaissance period for many years and has done much to heighten
interest in this music among musicians and music lovers.
Liner notes by Catherine Brooks
The
music on this disc was originally recorded on analog equipment. We have
endeavored to preserve the recording's original sonic qualities as
accurately as possible. Due to its high resolution, though, the compact
disc may reveal sorce tape limitations.
The original liner notes from the 1956 release:
The Songs
A
1. Nowell Sing We [2:27]
2. Ave Maria [2:55]
3. Gloria And Alleluja [2:27]
4. Lullay Lullow [3:18]
5. What Tidings Bringest Thou, Messenger? [2:59]
6. Marvel Not, Joseph [3:53]
7. Alma Redemptoris Mater [5:55]
B
1. Make We Joy Now In This Fest [2:31]
2. Nowell, Nowell: Tidings True [2:44]
3. Sancta Maria | John DUNSTABLE [2:49]
4. Hail Mary, Full of Grace [3:42]
5. Ave Rex Angelorum [3:06]
6. Tibi Laus, Tibi Gloria [3:42]
7. Beata Progenies | Lionel POWER [1:09]
8. Nova, Nova [1:47]
Discos VERGARA
P.° General Mola, 9 - Barcelona-9
grabación original: COUNTERPOINT (USA)
PRIMAVERA SINGERS DE LA NEW YORK PRO MUSICA ANTIGUA
Director: NOAH GREENBERG
Cuando
se habla de villancicos, suele venirnos a la memoria la dulce
musiquilla de "Noche de Paz" y otras canciones populares, que se han
convertido en parte integrante de nuestras tradiciones navideñas. Pero
es que olvidamos que existe un repertorio completo de villancicos
medievales, que resultan tan frescos y atractivos en nuestros días, como
lo pudieron haber sido en su tiempo. Este tipo de villancicos floreció
en Inglaterra y se deriva de una forma primitiva de canto asociado con
la danza, en la que la voz cantante y el coro se respondían mutuamente.
No obstante, durante el siglo XV —de cuya época datan los del presente
registro— se transformaron en una canción de forma particular, a la cual
ya no acompañaba la danza. Pero a pesar de ello, estos ritmos vigorosos
y alegres, compuestos casi exclusivamente en metro triple, y las
melodías bastante angulosas y enérgicas de muchos de los villancicos,
nos dan a entender con bastante claridad su relación con la danza. La
independencia de la voz cantante y el coro se conserva también en la
forma del villancico.
Ello aparte, siempre presentan dos
secciones claramente definidas: la "copla" (indicada para una voz
cantante o un solista) y el "estribillo" (indicado para un coro o grupo
de solistas). Por lo general, el "estribillo" precede a la primera
copla, separa la primera de las que le siguen y vuelve nuevamente al
final. No obstante, existen variaciones de patrón, sobre todo cuando el
villancico tiene dos "estribillos". Los textos de la "copla" cambian,
cuentan una historia o enseñan una moraleja, pero el texto del
"estribillo" es siempre el mismo y sirve de bordón. Algunas veces las
"coplas" terminan con las mismas palabras, con lo que se produce,
además, un bordón interno. El texto contiene muy a menudo citas
procedentes de la Liturgia o de ciertos himnos religiosos muy conocidos,
y en el que se mezclan a placer el latín y el inglés; pero el viejo
canto llano asociado a dichos textos es solo usado ocasionalmente, ya
que los autores de estos villancicos preferían la música del siglo XV.
Tanto
como la similitud del ritmo entre las partes, es esta particularidad lo
que relaciona el villancico con el "conductus", otra popular forma
medieval. Existe también una fórmula comparable para determinados
villancicos, que con frecuencia se empleaban como música procesional,
para acompañar a los sacerdotes de un lugar a otro, en el transcurso de
alguna complicada ceremonia, lo que hasta cierto punto revelaba su
asociación original con el actual movimiento en la danza.
El
"estribillo" y la "copla" son secciones musicales independientes,
netamente separadas por dobles compases, o por trazos parecidos en su
origen: pero frecuentemente están relacionados el uno con el otro, igual
musical que textualmente. A menudo empiezan y terminan igual, o el
villancico asume una forma de "giro" por el sistema de abrir el
"estribillo" estrechamente relacionado con el cierre de la "copla".
Ocasionalmente, una sección cita a otra en el curso de una sola pieza.
Existen algunos villancicos de línea melódica sencilla, pero son
escasos.
Muchos villancicos son "gemelos", es decir, para dos
voces de parecida importancia, con una parte contrastante para tres
voces, o dos voces con falso bordón (una tercera parte improvisada; una
cuarta, bajo la principal). Sólo se sabe de un villancico del siglo xv
que haya sido escrito enteramente para tres voces.
Otra
característica técnica de interés especial es el uso de un ritmo muy
libre, particularmente la combinación alterna o simultánea de un tiempo
de tres cuartos y seis octavos, sistema favorito en el medievo. Los
intervalos armónicos preferidos son terceras, sextas y décimas,
existiendo entonces poca disonancia excepto la resultante de las
suspensiones. La imitación, tan popular tiempo después, está
visiblemente ausente.
Contrariamente a opiniones muy anteriores,
estos villancicos polifónicos no son el resultado de un esfuerzo para
"armonizar" una vieja melodía folk; pero sí son ejemplos completamente
desarrollados de una técnica contrapuntística, escrita en un tiempo en
que Inglaterra se hallaba entre los paises que figuraban a la cabeza del
mundo musical, y son tan característicos del genio musical inglés como
los conocidísimos madrigales isabelinos.
medieval.org
Counterpoint / Esoteric CPT 521 | CPSTS 5521
1953
CD:
Tradition" TCD 1056 (CD)
Ⓟ & © Rykodisc 1997
Ruth Daigon: Soprano
Lois Roman: Soprano
Russell Oberlin: Counter-tenor
Arthur Squires: Tenor
Charles Bressler: Tenor
Brayton Lewis: Bass
Reissue produced by Anton Glovsky
Digital restoration by Doug Pomeroy, Pomeroy Audio
Series design by Steven Jurgensmeyer
Cover image from the Tradition archives
Original LP release: English Medieval Carols - Counterpoint (CPT 5521)
Most
people, when they think of carols, will call to mind "Silent Night, Holy
Night," "The Herald Angels Sing," and other old favorites that have
become part and parcel of our Christmas tradition. However, there is a
whole repertory of Medieval carols for Christmas and Easter that is just
as fresh and appealing now as it was in its heyday. This kind of carol
flourished in England and was derived from an early form of singing
associated with dancing in which a leader and a chorus answered one
another. Originally, indeed, the name "carol" meant "a dance accompanied
by song," but by the fifteenth century — the date of the carols on this
record — it had come to mean a song in a special form, not accompanied
by dancing. But the vigorous, lilting rhythms, almost exclusively in
triple meter, and the rather angular, energetic melodies of most of the
carols make their relationship with the dance amply clear. The
leader-chorus relationship is preserved too, in the form of the carol.
There
are always at least two clearly defined sections, the Verse (meant for a
leader or soloist) and the Burden (meant for a chorus or group of
soloists). Usually, the Burden precedes the first Verse, separates the
other Verses from each other, and comes again at the song's end. There
are, however, deviations from this pattern, especially when the carol
has two Burdens. The Verse-texts change to tell the story or teach a
lesson, but the text of each Burden remains the same and serves as a
refrain. Sometimes the Verses end with the same words, producing an
internal refrain as well. Very often, the texts contain quotations from
the Liturgy or from well-known Hymns of the Church, mixing Latin and
English at will, but, the old plainsong associated with these texts is
only occasionally used. The composers of these carols preferred the
music of the fifteenth century.
It is this feature, as well as
the similarity in rhythm between the parts, that relates the carol to
the conductus, another popular medieval form. There is a comparable
function too, for carols were often used as processional music, to
"conduct" Churchmen from one place to another in the course of an
elaborate ceremony, thus carrying out, to some extent, their original
association with actual motion in the dance.
The Burden and the
Verse are independent musical sections, clearly separated by double
bars, or some such device, in the sources, but they are frequently
related to each other both musically and textually. Often, they begin
alike or end alike, or the carol may take on a "rounded" form by having
the opening of the Burden closely related to the closing of the Verse.
Occasionally, one section quotes another in the course of the piece (For
examples, see the notes on individual pieces). There are some carols
for a single melodic line but these are rare (See tracks 9 and 15). Most
carols are gymels, that is, they are for two voices of about equal
importance with contrasting sections for three voices, or two voices
with fauxbourdon (a third part "improvised" a fourth below the top one.)
Only one fifteenth century carol is known to be written for three
voices throughout (See track 12).
Another technical feature of
special interest is the use of very free rhythm, namely the alternation
or simultaneous combination of three-four and six-eight time, a favorite
medieval device. The preferred harmonic intervals are thirds, sixths,
and tenths, and there is little dissonance except that resulting from
suspensions.
Imitation, so popular at a later date, is conspicuous by its absence.
Contrary
to much earlier opinion, these polyphonic carols are not a primitive
effort to "harmonize" an old folk melody, but are fully developed
examples of a fine contrapuntal technique written at a time when England
was among the musical leaders of the world, and they are as
characteristic of England's musical genius as the much better known
Elizabethan madrigal.
Information on the carols on this recording may be found in the following publications:
· "Musica Britannica," vol. IV, (Medieval Carols, ed. by John Stevens, 1952).
· Bukofzer, Manfred, Studies In Medieval And Renaissance Music, 1958, p. 148 ff.
· Miller, Catherine, "The Early English Carol," in Renaissance News, vol. III (1950), p. 61 ff.
· Reese, Gustave, Music In The Renaissance, 1954, p. 764 ff.
NO WELL SING WE (Medieval Carols, No. 16,
p. 11): A two-part carol with mixed Latin and English text. The Burden
has an added part in fauxbourdon. The last line of the Verse is closely
related to the beginning and end of the Burden.
AVE MARIA
(Medieval Carols, No. 36, p. 25): A carol with two Burdens, each in
Latin, while the Verse is in English. Burden I is for solo and then for
two parts, the Verse is for two parts, and Burden II is for three parts,
providing a pleasing variety of tone color. There is some melodic
relationship between the parts.
GLORIA (Historical Anthology Of Music,
ed. by A. Davison & W. Apel, 1946, No. 57b, p. 62): Not a carol, of
course, but a setting, in fauxbourdon-like writing of the Et in terra pax that follows the priest's intonation of Gloria in Excelsis Deo in the Mass.
ALLELUIA (Historical Anthology Of Music,
No. 57a, p. 61): A three-part motet from the Worcester School. It is
interesting to note how the two top voices constantly interchange
melodic material in the course of the piece.
LULLAY LULLOW (Medieval Carols,
No. 1, p. 1): A narrative Verse alternating with a tender lullaby that
serves as the Burden. The two-part writing, unlike that of the carols
probably associated with motion, is very smooth.
WHAT TIDINGS BRINGEST THOU? (Medieval Carols,
No. 11, p. 8): In striking contrast to the preceding lullaby, the
impatient rhythms of this carol produce an effect of excitement. The
two-part Verse is contrasted with a Burden that has an added part in
fauxbourdon, but Verse and Burden are closely related musically, at
several points.
MARVEL NOT, JOSEPH (Medieval Carols,
No. 81, p. 68): Structurally one of the most complex carols, this piece
makes use of a two-part and three-part Burden, as well as of a Verse
that alternates between two and three-part writing. The simple eloquence
of the music, however, rises above any consideration of form in this
exquisite piece.
ALMA REDEMPTORIS MATER (Medieval Carols,
No. 23, p. 16): Here, the Verse begins with a solo (or two parts in
unison) and has a two-part internal refrain on the words "redemptoris
mater." Both Burdens, one in two parts and one in three, repeat "alma
redemptoris Mater," but do not employ the familiar Gregorian melody
associated with that text.
MAKE WE JOY NOW IN THIS FEST (Medieval Carols,
No. 26, p. 19): Lively writing in two parts sets a mixture of Latin and
English texts. Most of the Latin bits are quotations from Hymns, or
from the Liturgy, that fit naturally into the English narrative. The
music is quite simple, and the relationship between the Verse and the
Burden is obvious.
NOWELL, NOWELL: TIDINGS TRUE (Medieval Carols,
No. 4a, p. 110): A carol for a single melodic line that follows the
ancient practice of using a group of singers on the Burden, to answer
the soloist, or leader, who sings the Verse.
SANCTA MARIA (Historical Anthology Of Music,
No. 62, p. 66): Written by John Dunstable, this is one of the two
pieces on this record that can be ascribed to a known composer. This
three-part motet in honor of the Virgin makes effective use of "vocal
orchestration" in providing changes of tone-color by different groupings
of the voices.
HAIL MARY, FULL OF GRACE (Medieval Carols,
No. 2, p. 2): The three-part Burden of this carol differs from most of
the others in having a top part that is noticeably more melodic than the
accompanying lower voices; it is possible that the middle voice was
sometimes omitted. The Burden and the Verse have much in common in their
opening measures, and are similar at the end. Part of the simple effect
of the music comes from the fact that the voices proceed in similar
rhythm most of the time.
AVE REX ANGELORUM (Medieval Carols,
No. 52, p. 40): A long and rather complex carol — the only one known to
be written for three parts throughout — this piece presents but one
statement each of Burden I, Verse, and Burden II. It represents a fair
sample of the contrapuntal technique of "art music" in its day,
especially in the graceful interweaving of varying rhythms among the
parts.
TIBI LAUS, TIBI GLORIA (Medieval Carols, No.
44, p. 33): A two-part carol using a Hymn quotation for the beginning
of each Verse, and a Trinity Antiphon for the Burden. The text shows the
"rounded" treatment mentioned above, but that feature is not reflected
in the music.
BEATA PROGENIES (G. Reese, Music In The Middle Ages,
1940, p. 413): A three-part motet in conductus style (that is, with
similar rhythm in all the voices) by Dunstable's great contemporary,
Leonel Power. The middle voice, contrary to the practice of both
conductus and carol, is borrowed from the Sarum Chant.
NOVA, NOVA (Medieval Carols,
No. 51a, p. 111): Another monophonic carol, and one that shows an
interesting alternation of duple and triple rhythm. The music is very
simple, setting the text in a syllabic manner that is very easy to
understand. Undoubtedly, this is one of the carols meant, like the
stained-glass windows of the Cathedrals, to teach the Christmas story to
people who could not read.
