Sounds of Renaissance Florence

Wednesday 15 January 2020, 6:30pm

Green Library, 2nd Floor Rotunda
Stanford University
 Sounds of Renaissance Florence
Aspiciens a longe Matins responsory (Burke Antiphoner)

Conditor alme siderum Vespers hymn (Burke Antiphoner): chant, plus

setting by Guillaume Du Fay (ca. 1397–1474)

Jesù, Jesù, Jesù Lauda

Visin, visin, visin Carnival song

Tria sunt munera Vespers antiphon, with its psalm (Burke Antiphoner)

Miserere mei, deus Setting of Psalm 50, with chant-like tenor

(Josquin des Prez, ca. 1450–1521)

Ben venga maggio Song for May Day (Calendimaggio);

Ecco’l Messia two associated lauda settings
Che fai qui core

Da pacem domine Lauds antiphon (Burke Antiphoner)

Alla battaglia Heinrich Isaac (ca. 1450–1517)

Hodie nobis Matins responsory

O admirabile commercium Lauds antiphons (Burke Antiphoner), with

polyphonic settings by Josquin

Canto dei sarti Song of the Tailors (carnival song)

Scaramella va alla guerra Scaramella Goes to War (Josquin)

 The students of Music 159J: Performance as Analysis
Superius Tenor
Chenxin Jiang Minseung Choi
Corrine Byrne, superius
Christina Kim Oscar O’Rahilly
Clare McNamara, superius
Millie Lin Theodore von Preyss
Jonas Budris, altus
Anna von Preyss Lorenzo Tunesi
Bradford Gleim, tenor
Marc Busnel, bassus
Altus Bassus
Jesse Rodin, Director
Toby Bell Kyle Disselkoen
Gabriel Zane Ellis Ben Garber
Jeremy Raven

To support Cut Circle or to join our

mailing list, visit http://cutcircle.org.

This performance was made possible by a generous gift from T. Robert

and Katherine States Burke, whose collection of Italian miniatures includes the
Burke Antiphoner. The course underpinning this concert has received further
support from the Vice Provost for Undergraduate Education, the Department of
Music, and the Stanford Libraries.
Thanks also to Benjamin Albritton, Jeffrey and Jamie Barnett, Mario
Champagne, Mayla and John Clark, Daphna Davidson, Bryan Hardester,
Olivia Jackson, Jaroslaw Kapuscinski, Gabrielle Karampelas, Michael Keller,
Sonia Lee, Emanuele Lugli, Joseph Malchow, William Mahrt, Joan Mansour,
Miriam Palm, Shari Palmer, and Mary Ann Poulos. We are grateful to Camilla
Cavicchi and Lorenzo Tunesi for helping to translate the carnival songs.

 Performer Bios
Tenor Jonas Budris is a versatile soloist and small-ensemble singer, engaging new
works and early music with equal passion. He performs frequently as a soloist with Boston
Baroque and the Handel and Haydn Society. Recent soloist performances include Stravinsky’s
Les Noces with Chorus Pro Musica, Handel’s Israel in Egypt with the Metropolitan Choral of
Brookline, and an all-Bach program with the Handel and Haydn Society. He also enjoys
performing in more intimate musical settings; he recently made his debut with Blue Heron,
and he is a longstanding member of the Skylark Vocal Ensemble. Mr. Budris is a 2013–14
Lorraine Hunt Lieberson Fellow at Emmanuel Music, where he performs regularly in the Bach
Cantata and evening concert series.
On the opera stage, he has performed principal and supporting roles with numerous
musical organizations, including Opera Boston, OperaHub, Guerilla Opera, and Odyssey
Opera. He has originated several roles for opera premieres, including John (Giver of Light,
Guerilla Opera) and Brother William (Heloise and Abelard, Boston Modern Orchestra Project).
Recent roles include Giovanni (La Hija de Rappaccini, OperaHub), Agenore (Il re pastore, Grand
Harmonie), and Acis (Acis and Galatea, Blue Hill Bach Festival).
Originally from Martha’s Vineyard, Mr. Budris holds a degree in Environmental
Sciences & Engineering from Harvard College. For more information visit jonasbudris.com.

Marc Busnel (bass) holds a degree in musicology from the University of Tours. He
trained at the Conservatory of Tours, where he tackled Renaissance music with the ensemble
Jacques Moderne under the direction of Jean-Pierre Ouvrard. A student of Pali Marinov, he
has developed expertise in many musical styles from the middle ages to the present.
Busnel made his professional vocal debut with the ensemble Clément Janequin.
He now performs with the ensembles Musica Nova, Huelgas, Doulce mémoire, Ensemble
Solistes XXI (Les Jeunes Solistes), Les musiciens de Saint-Julien, La Main harmonique,
Cappella Pratensis, Correspondances, and La Sestina, among others. He is featured on
many recordings, including as a soloist.
Busnel has worked under the direction of Jean-Pierre Ouvrard, Paul van Nevel, and
Dominique Visse for medieval and Renaissance repertories; Hervé Niquet, Martin Gester,
and Sébastien Daucé for Baroque music; Bernard Têtu for the Classical and Romantic
periods; and Marie-Claude Vallin, Roland Hayrabedian, Leo Warinsky, Bruno Mantovani,
Peter Eotvös, and Sylvain Cambreling for contemporary music.
 Thanks to his expertise working with original sources of Renaissance music, Busnel
has taught students at the Conservatory of Tours (CRR) to read from facsimile, and has
collaborated with the Centre d’Études Supérieures de la Renaissance in Tours on the projects
Corpus des Messes Anonymes du XV siècle and Atelier Virtuel de Restitution Polyphonique
of the musicological research program Ricercar.

“Celebrated singer” (Broadway World) Corrine Byrne’s recent roles include Filia
(Jepthe), Anna I (Die Todsünden), Lady Madeline (The Fall of The House of Usher), Doctor (The
Scarlet Professor), Cathy (The Last Five Years), Gretel (Hansel and Gretel), and Anima (Ordo
Virtutum).
Byrne has made appearances with The Lucerne Festival Academy Orchestra, REBEL
Baroque Ensemble, Boston Early Music Festival, Mountainside Baroque, the Lake George
Music Festival Orchestra, One World Symphony, Plymouth Philharmonic Orchestra, Kansas
City Baroque Consortium, the Madison Bach Musicians, Amherst Symphony, West Shore
Symphony, Harrisburg Choral Society, Westchester Oratorio Society, New Music Miami,
Lorelei Ensemble, and the Tallis Scholars & Carnegie Hall Chamber Chorus, and is a core
member of the Schola Cantorum of St. Vincent Ferrer Church in Manhattan.
Byrne is a co-founder of Ensemble Musica Humana and The Byrne:Kozar:Duo, whose
recording of “Bring Something Incomprehensible Into This World” was featured in the New
Yorker’s 2017 Notable Recordings. This season Byrne is thrilled to perform with Symphony
New Hampshire, Cut Circle, and Emmanuel Music, in addition to giving recitals at Eastman
School of Music, Ethos NewSound, and ArtRage. She is also thrilled to workshop the role
of Roya in Niloufar Nourbakhsh’s new opera We The Innumerable through Brooklyn Opera
Works. Byrne is a member of Beyond Artists, a coalition of artists who donate a percentage
of their concert fee to organizations they care about. Byrne supports the Dana Farber Cancer
Institute and South Shore Habitat for Humanity through her performances.
She is currently serving as the Chair of Vocal Studies at the Longy School of Music
at Bard College.

Bradford Gleim uses the human voice to create authentic connection. As an artist
and mentor he delves deeply into repertoire spanning 600 years, embracing a flexible vocal
technique and sometimes unfamiliar approaches in the pursuit of emotionally attuned
performances.
Mr. Gleim’s artistic commitment and risk-taking have won him wide recognition.
Praised by the Boston Globe for his “voluminous baritone” and “brilliant delivery,” he performs
throughout the United States and Europe. On the concert stage he has appeared as soloist
with distinguished ensembles, including the Handel and Haydn Society, Boston Baroque,
Emmanuel Music, and the spirited conductorless orchestra A Far Cry. In 2015 Mr. Gleim was
featured soloist with the renowned choir Conspirare on the Grammy Award-winning album
The Sacred Spirit of Russia. This season he performs Janáček’s Amarus and Mendelssohn’s Die erste
Walpurgisnacht with Chorus pro Musica, and the role of Jesus in the St. Matthew Passion at the
Baldwin Wallace Bach Festival.
As Cut Circle’s Artistic Advisor, he has helped the ensemble find a new sound for
Renaissance music. The results will soon be hearable on an album of songs by Johannes
Ockeghem (Musique en Wallonie, forthcoming in March).
Bradford Gleim mentors others to discover their embodied voice. Moving fluidly
among different vocal techniques and pedagogical traditions, he helps musicians access
not only a variety of vocal colors, but also their potential for healing, personal growth,
and body awareness. Mr. Gleim guides young singers in the Holden Voice Program at
Harvard University, in the Applied Music Program at Brown University, and as Associate
Professor of Voice at Berklee College of Music. He leads workshops and masterclasses,
and offers unique intuitive instruction for vocalists in his private practice. For more
information visit bradfordgleim.com.

“Otherworldly” mezzo-soprano Clare McNamara brings her versatility to a wide

variety of repertoire throughout the United States and abroad. A 2018 recipient of the
prestigious St. Botolph Emerging Artist Award, she maintains core affiliations as a soloist and
ensemble member with ensembles such as Cut Circle, Skylark Vocal Ensemble, the Handel
and Haydn Society, Lorelei Ensemble, and the Boston Camerata.
Clare was recently hailed as “pure-toned” and “as good as they come” (MusicWeb
International) for her solo Hildegard chant on the GRAMMY-nominated Skylark album
“Seven” (2018). Her passion for medieval repertoires translates to work with the Boston
Camerata, where she joins them again as a soloist in “A Night’s Tale” and a new “Three
Sisters” program (spring 2020). A regular alto soloist with the Handel and Haydn Society
(Harry Christophers), her next solo appearance at Boston’s Symphony Hall is in their 2020
performance of Handel’s Dixit Dominus. In addition to a regular touring schedule with Lorelei,
she recently appeared with them alongside the Boston Symphony Orchestra in performances
of Puccini’s Suor Angelica and Debussy’s Nocturnes (Andris Nelsons).
Clare has joined Cut Circle for multiple European festivals (Utrecht, Regensburg,
Antwerp, and Maastricht), and is one of two trebles on their forthcoming one-on-a-part
recording of Okeghem’s secular music, slated for release in March (Musique en Wallonie).
She made her New York soloist debut alongside the St. Thomas Fifth Avenue Choir of Men
and Boys (Daniel Hyde) in their 2018 performance of Handel’s Messiah. Since last year she
has been a rostered alto at the Staunton Music Festival. Clare holds an A.B. in Music from
Princeton University and an M.M. in Early Music Performance from the Longy School of
Music of Bard College. For more information visit claremcnamara.com.
of Men and Boys (Daniel Hyde) in their 2018 performance of Handel’s Messiah. Since last
year she has been a rostered alto at the Staunton Music Festival. Clare holds an A.B. in Music
from Princeton University and an M.M. in Early Music Performance from the Longy School
of Music of Bard College. For more information visit claremcnamara.com.

Jesse Rodin strives to make contact with lived musical experiences of the distant past.
Immersing himself in the original sources, he sings from choirbooks, memorizes melodies
and their texts, and recreates performances held at weddings, liturgical ceremonies, and feasts.
A passionate teacher, Rodin has led seminars, workshops, and masterclasses at institutions
such as the Schola Cantorum (Basel, Switzerland), the University of Vienna, and the Centre
d’Études Supérieures de la Renaissance (Tours, France).
At Stanford Rodin is Associate Professor of Music. He is the author of Josquin’s Rome:
Hearing and Composing in the Sistine Chapel (Oxford University Press, 2012), editor of a volume
for the New Josquin Edition (2014), and co-editor of the Cambridge History of Fifteenth-Century
Music (2015). He directs the Josquin Research Project (josquin.stanford.edu), a digital tool
for exploring a large corpus of Renaissance music. Current projects include a monograph on
musical experience in the fifteenth century (Cambridge University Press).
Rodin is the recipient of awards and fellowships from the Guggenheim Foundation, the
Université Libre de Bruxelles, the American Council of Learned Societies, the American Society
of Composers, Authors, and Publishers, the Harvard University Center for Italian Renaissance
Studies, and the American Musicological Society. For his work with Cut Circle he has received
the Prix Olivier Messiaen, the Noah Greenberg Award, Editor’s Choice (Gramophone), and a
Diapason d’Or. He prepares new editions of all the music Cut Circle performs.
Rodin directs the Facsimile Singers, which helps students develop native fluency
in old musical notation. He has organized symposia on medieval music pedagogy, musical
analysis in the digital age, and the composer Johannes Okeghem. He teaches “Food, Text,
Music: A Multidisciplinary Lab on the Art of Feasting,” in which students explore historical
sources, attend to issues of aesthetic experience and sustainability, and cook medieval recipes
at the Stanford Educational Farm.
 Texts and Translations
Aspiciens a longe (Matins responsory, first Sunday of Advent)
With its elaborate repetitions featuring exchanges between tutti passages and solo verses, this
responsory is one of the two most lavishly decorated chants in the Burke Antiphoner (see the
back cover). It is also one of the first pieces in the book, which includes the liturgy from the
beginning of Advent (around 1 December) through just before Easter.

Aspiciens a longe ecce video dei potentiam I look from afar: here—I see the power of God
venientem et nebulam totam terram tegentem coming, and a cloud covering the whole earth.

Ite obviam ei et dicite Go out to meet him and say:

Nuntia nobis si tu es ipse Tell us, are you the one
Qui regnaturus es in populo Israel Who will come to reign over your people Israel?

Verse. Quique terrigenae et filii hominum Verse. All you who dwell in the world, all you
simul in unum dives et pauper children of men, together in one, rich and poor,

Ite obviam... Go out to meet him...

V. Qui regis Israel intende qui deducis velud V. Hear, O shepherd of Israel, you who lead
ovem Ioseph Joseph like a sheep.

Nuntia nobis... Tell us...

V. Tollite portas principes vestras et V. Lift up your heads, O gates! And lift them up, O
elevamini portae aeternales et introibit ancient doors, that the King of glory may come in.

Qui regnaturus es... Who will come to reign...

Gloria patri et filio et spiritui sancto Glory be to the father, and to the son, and to
the holy spirit.
Aspiciens a longe... I look from afar...
Conditor alme siderum (First Vespers hymn, first Sunday of Advent)
The Burke Antiphoner begins by instructing the choir to sing this hymn—only the
manuscript does not provide the music, since it would have been known by heart (or
perhaps sung from another book). We perform the chant in tandem with a three-voice
setting by Guillaume Du Fay.
.
Conditor alme siderum Gracious author of the stars,
Eterna lux credentium Eternal light of those believing,
Christe redemptor omnium Christ, redeemer of all
Exaudi preces supplicum Hear the prayers of your suppliants.

Qui condolens interitu You, who suffering by the destruction

Mortis perire seculum Of death to perish for a time,
Salvasti mundum languidum You have saved the languishing world,
Donans reis remedium. Giving remedy to the accused.

Vergente mundi vespere With the evening of the world coming to an end
Uti sponsus de thalamo As a bridegroom from the marriage chamber
Egressus honestissima Having come forth from the most honorable
Virginis matris clausula. Chamber of the virgin mother.

Cuius forti potentie To whose strong power

Genu curvantur omnia All men bend the knee;
Celestia, terrestia And beings heavenly and earthly,
Nutu fatentur subdita. Even those subdued, confess by a nod.

Occasum sol custodiens The sun maintaining its descent,

Luna pallorem retinens The moon retaining its pale light,
Candor in astris relucens The brightness shining in the stars,
Certos observans limites. Observing their fixed journeying.

Te deprecamur hagie We beseech you, holy one,

Venture iudex seculi You who will come to judge the world,
Conserva nos in tempore Preserve at this time,
Hostis a telo perfidi. From weapons of the faithless foe.

Laus honor virtus gloria Praise, honor, strength, and glory

Deo patri cum filio To God the father with the son,
Sancto simul paraclito And to the holy comforter,
In sempiterna secula. While endless ages run their course.
Jesù, Jesù, Jesù (Lauda)
The text of this lauda (a genre of vernacular sacred song) is by the Florentine playwright
Feo Belcari (1410–84).

Jesu, Jesu, Jesu, Jesus, Jesus, Jesus,

Ognun chiami Jesu. let everyone cry out Jesus!

Chiamate questo nome Call this name

Col core, e con la mente, with heart and mind,
E sentirete come, and you’ll experience how
Egli e dolce, e clemente, it is sweet and merciful;
Chi’l chiama fedelmente, whoever calls it faithfully,
Sente nel cor Jesu. feels Jesus in his heart.
Jesu, Jesu, Jesu... Jesus, Jesus, Jesus...

Egli e quel nome santo, His is that holy name

Che da salute al mondo, that brings salvation to the world,
Converte il nostro pianto and turns our weeping
Nel suo gaudio giocondo; to his joyous gladness;
Se volete il cor mondo if you want a pure heart,
Ricorrete a Jesu. then appeal to Jesus.
Jesu, Jesu, Jesu... Jesus, Jesus, Jesus...

Se tu ti senti in pene, If you feel sorrow,

Chiama Jesu col core, call Jesus with your heart,
E lui per grazia viene and he will come through grace
A levarti il dolore, to relieve you from suffering;
Se fia il tuo migliore: if you wish to be better,
Pero chiama Jesu. just call on Jesus.
Jesu, Jesu, Jesu... Jesus, Jesus, Jesus...
Visin, Visin, Visin (Song of the Chimney Sweeps – Florentine carnival song)
This piece is full of innuendo, not all of which is translatable.
Visin, visin, visin, Neighbors, neighbors, neighbors,
Chi vuol spazzar camin? Who wants us to “sweep” their “chimney”?
Alli camin, signora! To your chimneys, madam!
Chi li vuole spazzare, Who wants them swept—
Spazzar dentro e di fora, Swept inside and out?
Chi gli vuol ben nettare: Who wants them well cleaned?
Chi non ci puo pagare, Whoever can’t pay us,
Ci doni pane o vin. Just give us some bread or wine.
Visin, visin, visin... Neighbors, neighbors, neighbors...

Se vi fusse ben alta If the soot in your chimney

La fuligine un brazo Were as high as one meter,
Come dentro vi salto How easily I would jump over it!
Tutta la volta spazo I sweep the whole fireplace
Tanto e di buono razo Since so gladly
Nostro spazar camin. We sweep the chimneys.

La nostra e gentil arte Ours is a noble art

L’altre non son covel[le], All the others are nothing,
Che calzolaro o sarte Since those of the shoemakers and the tailors
Le son tutte frictel[le], Are nothing but fritters [trifles].
Mille belle zittel[le] A thousand beautiful spinsters,
Ci fan spazar camin. Let us sweep their chimneys.

Camin che non si spaza A chimney that has not been cleaned
Presto s’appizza el foco, Will soon catch fire—
Non e cosa despiaza It is not unpleasant.
Quando e in cucina, al cuoco When in the kitchen,
E neccessario gioco, The cook needs “play”:
Nostro spazar camin. Our sweeping chimneys.

Camin quando e spazato A well-swept chimney

Egli e pulito e bello, Is clean and pleasant.
E puossi starvi a lato One can sit next to it
Con lo suo pignatello With a little “pot,”
Et far del figatello Making “liver”
Colle castagne o vin. With “chestnuts” or wine.
Tria sunt munera (Vespers antiphon, with its psalm; week after Epiphany)
Unlike responsories, antiphons are typically short and fairly simple. A full performance
would include the associated psalm, which the singers would have chanted from memory.
The Burke Antiphoner thus includes only the antiphon itself, plus a short melodic formula
to remind the singers how to chant the psalm.
Antiphon. Tria sunt munera, que obtulerunt Antiphon. Three are the gifts that the wise men of-
magi domino: aurum, thus, et myrram, filio fered the Lord: gold, frankincense, and myrrh; as
dei, regi magno, alleluya. to the Son of God, the Great King, alleluia.
Psalm Psalm
1. Dominus regnavit: irascantur populi; qui 1 The Lord reigns, let the nations tremble; he sits
sedet super cherubim: moveatur terra. enthroned between the cherubim, let the earth shake.
2 Dominus in Sion magnus, et excelsus su- 2 Great is the Lord in Zion; he is exalted over
per omnes populos. all the nations.
3 Confiteantur nomini tuo magno, quoniam terri- 3 Let them praise your great and awesome name—
bile et sanctum est, et honor regis judicium diligit. he is holy. The King is mighty, he loves justice.
4 Tu parasti directiones; judicium et justi- 4 You have established equity; in Jacob you have
tiam in Jacob tu fecisti. done what is just and right.
5 Exaltate dominum deum nostrum, et adorate 5 Exalt the Lord our God and worship at his
scabellum pedum ejus, quoniam sanctum est. footstool; he is holy.
6 Moyses et Aaron in sacerdotibus ejus, et 6 Moses and Aaron were among his priests, Samu-
Samuel inter eos qui invocant nomen ejus. el was among those who called on his name.
7 Invocabant dominum, et ipse exaudiebat 7 They called on the Lord and he answered them.
eos; in columna nubis loquebatur ad eos. He spoke to them from the pillar of cloud.
8 Custodiebant testimonia ejus, et preceptum quod 8 They kept his statutes and the decrees he gave
dedit illis. them.
9 Domine deus noster, tu exaudiebas eos; 9 Lord our God, you answered them; you were
deus, tu propitius fuisti eis, et ulciscens in to Israel a forgiving God, though you punished
omnes adinventiones eorum. their misdeeds.
10Exaltatedominumdeumnostrum,etadorateinmonte 10 Exalt the Lord our God and worship at his
sancto ejus, quoniam sanctus dominus deus noster. holy mountain, for the Lord our God is holy.
Gloria patri... Glory to the father...
Antiphon. Tria sunt munera... Antiphon. Three are the gifts...
Miserere mei, deus (Josquin des Prez, motet on Psalm 51)
In late fifteenth-century Florence the Dominican friar Girolamo Savonarola grew famous
for his fiery sermons denouncing clerical corruption and prophesying ci-vic glory, and for
encouraging the burning of secular books and artworks.
Josquin’s famous motet uses a theme from one of Savonarola’s meditations as a
recurring mantra. You can track the “Miserere mei, deus” motto, sung by a group of students,
as it moves successively down the scale during the first section of the motet, successively
upwards during the second section (now at double speed), and successively downwards again
during the last section. Josquin’s musical rhetoric masterfully evokes the penitential text.

I. Miserere mei, deus, secundum magnam mi- I. Have mercy on me, O God, according to your
sericordiam tuam; et secundum multitudinem great mercy. According unto the multitude of your
miserationum tuarum, dele iniquitatem meam. tender mercies remove my transgressions.
Amplius lava me ab iniquitate mea, et a pec- Wash me thoroughly from my iniquities, and cleanse
cato meo munda me. me from my sin.
Quoniam iniquitatem meam ego cognosco, I knowingly confess my transgressions: and my sin is
et peccatum meum contra me est semper. ever before me.
Tibi soli peccavi, et malum coram te feci; ut Against you only have I sinned, and done evil before
justificeris in sermonibus tuis, et vincas cum you, that they may be justified in your sayings, and
judicaris. might they overcome when I am judged.
Ecce enim in iniquitatibus conceptus sum, et But behold, I was formed in iniquity: and in sin did
in peccatis concepit me mater mea. my mother conceive me.
Ecce enim veritatem dilexisti; incerta et oc- Behold, you desire truth in my innermost being: and
culta sapientie tue manifestasti mihi shalt make me understand wisdom secretly.
Asperges me hyssopo, et mundabor; lavabis You shall sprinkle me with hyssop, and I shall be
me, et super nivem dealbabor. clean: wash me, and make me whiter than snow.

II. Auditui meo dabis gaudium et letitiam, et II. Open my ears and make me hear of joy and gladness:
exultabunt ossa humiliata. and my bones that have been humbled shall rejoice.
Averte faciem tuam a peccatis meis, et omnes Turn away your face from my sins: and do not re-
iniquitates meas dele. member all my misdeeds.
Cor mundum crea in me, deus, et spiritum Create in me a clean heart, O God: and make anew a
rectum innova in visceribus meis. righteous spirit in my body.
Ne projicias me a facie tua, et spiritum sanc- Do not cast me away from your presence: and do not
tum tuum ne auferas a me. take your holy spirit from me.
Redde mihi letitiam salutaris tui, et spiritu Restore to me the joy of your salvation, and uphold
principali confirma me. me with a willing spirit.
Docebo iniquos vias tuas, et impii ad te con- I will teach those that are unjust your ways: and sin-
vertentur. ners shall be converted to you.
Libera me de sanguinibus, deus, deus salutis Deliver me from blood, O God, the God of my salva-
mee, et exultabit lingua mea justitiam tuam. tion: and my tongue shall sing of your righteousness.

III. Domine, labia mea aperies, et os meum an- III. O Lord, open my lips: and my mouth shall
nuntiabit laudem tuam. spring forth your praise.

Quoniam si voluisses sacrificium, dedissem For you desire no sacrifice, where others would:
utique; holocaustis non delectaberis. with burnt offerings you will not be delighted.

Sacrificium deo spiritus contribulatus; cor con- Sacrifices of God are broken spirits: dejected and
tritum et humiliatum, deus, non despicies. contrite hearts, O God, you will not despise.

Benigne fac, domine, in bona voluntate tua Deal favorably, O Lord, in your good pleasure with
Sion, ut edificentur muri Jerusalem. Zion: build the walls of Jerusalem.

Tunc acceptabis sacrificium justitie, oblationes Then you shall be pleased with the sacrifices of
et holocausta; tunc imponent super altare tuum righteousness, with small and large burnt offerings:
vitulos. then shall they lay calves upon your altar.
Ben venga maggio (song for the festival of Calendimaggio)
This joyful text by the classical scholar and poet Agnolo Ambrogini, better known as
Poliziano (1454–94), celebrates the return of spring.

Ben venga maggio, Welcome to May,

Ben venga maggio Welcome to May,
E’l gonfalon selvaggio, And the wild banner.

Ben venga primavera, Welcome to spring

Che vuol l’uom s’innamori, Which makes man fall in love,
E voi, donzelle a schiera, And you, maidens, all in order
Con li vostri amadori, Line up with your lovers,
Che di rose e di fiori For with roses and flowers
Vi fate belle il maggio. You make yourselves beautiful in May.
Ben venga maggio... Welcome to May...

Venite alla frescura, Come to the freshness

Delli verdi arbuscelli. Of the green shrubs
Ogni bella e sicura, All are beautiful and safe
Fra tanti damigelli; Among many damsels;
Che le fiere e gli uccelli, That the feasts and the birds
Ardon d’amore il maggio Love to make love in May.
Ben venga maggio... Welcome to May...

Ciascuna balli e canti, Each singing and dancing

Di questa schiera nostra. In this procession of ours
Ecco che i dolci amanti, Here are the sweet lovers
Van per voi, belle, in giostra: Here for you, fair ones, in joust
Qual dura a lor si mostra, What lasts in their shows
Fara sfiorire il maggio. Will blossom in May.
Ben venga maggio... Welcome to May...

Chi e giovane e bella, For who is young and lovely

Deh non sie punto acerba, There is no bitter point
Che non si rinnovella, That is there not renewed
L’eta, come fa l’erba: The season, like the grass.
Nessuna stia superba, Nothing is prouder
All’amadore il maggio. Than lovers in May.
Ben venga maggio... Welcome to May...
Ecco’l Messia (Lauda; text by Lucrezia de’ Medici)
Ecco’l Messia, Behold the Messiah,
Ecco’l Messia, Behold the Messiah,
E la madre sua Maria. And his mother Mary.
Venite alme celeste, Come, celestial spirits
Su da gli eterni chori, From the eternal choirs,
Venite, e fate feste, Come, and celebrate
Al signore de signori, The Lord of lords,
Vengane e non dimori, Come and don’t delay
La somma Gerarchia. O highest hierarchy.
Ecco’l Messia... Behold the Messiah...

Che fai qui, core? (Lauda; text by Savonarola)

Che fai qui, core, What are you doing here, heart?
Che fai qui, core? What are you doing here, heart?
Vane al tuo dolce amore. Go to your sweet love.
L’amor e Iesu Cristo, Love is Jesus Christ,
Che dolcemente infiamma, Which sweetly inflames, [and]
Fa lieto ogne cor tristo, Makes every sorrowful heart happy
Che a Lui sospira e brama. That sighs for and desires Him.
Chi puramente l’ama, Whoever loves Him chastely
Si spoglia d’ogne errore. Rids himself of every error.
Che fai qui... What are you doing here...

Da pacem domine (antiphon for peace)

Reading only the chant melody, the students will invent three-voice polyphony.
Da pacem domine in diebus nostris quia Grant peace, Lord, in our time; for there is
non est alius qui pugnet pro nobis nisi tu none else who would fight for us if not you,
deus noster. our God.
Alla battaglia (Heinrich Isaac, ca. 1450–1517)
This rousing setting by the adopted Florentine composer Heinrich Isaac was probably
sung and played on multiple occasions during the 1480s and 90s.
Alla battaglia, presto alla battaglia, To the battle, quickly to the battle.
Armisi ognuno di sua coraza e maglia Everyone must arm himself with armor and chain mail.

Per parte del excelso capitano, To help the excellent captain

Che ognun sia presto, e sia in camino. everyone must quickly be armed and go forth forward
Su valenti di mano in mano valiant men, one by one,
Signor Iulio Organtino, e Paolo Orsino Signor Julio, Organtino, and Paulo Orsino
... ...
Ognun sia presto armato Everyone quickly take arms
e a caval montato and mount your horses.
su spade sproni Forward swords and spurs;
le barde al leardo halberds, to the gray horse.
vie su poltroni Hurry up, lazy people.
chi sia il piu gagliardo Who will be the most brave?
seguitiam lo stendardo We shall follow the banner.
vie su franchi Sforzeschi Hurry up bold people of the Sforzas,
Bolognesi e Galleschi Bolognese and French.
a lor a lor che son prigioni e rotti Until they are prisoners and broken,
su buon valenti e franchi stradiocti forward valiant and bold men.
su buon soldati e docti Forward good and well-trained soldiers.
leviam di li quella bructa canaglia. Let us clear away that ugly mob.

Hodie nobis (Matins responsory)

The banner to the left of the grand staircase reproduces the stunning illumination that
adornes this chant as well as with the opening of the music. 
Hodie nobis celorum rex de virgine nasci Today for us the king of heaven is born,
dignatus est ut hominem perditum ad regna worthy to be born of a virgin, so he might
celestia revocaret restore ruined man to the heavenly kingdom.
Gaudet exercitus angelorum quia salus eter- The host of angels rejoices because eternal
na humano generi apparuit salvation has appeared for the human race.
Verse. Gloria in excelsis deo, et in terra pax Verse. Glory to God in the highest, and on earth
hominibus bone voluntatis: peace and good will to men:
Gaudet exercitus… The host of angels…

O admirabile commercium (antiphon cycle — Josquin — sections 1, 4, 5)

Josquin weaves each chant into a setting for four voices.
O admirabile commercium: O admirable exchange:
creator generis humani, the creator of humankind,
animatum corpus sumens taking on a living body
de virgine nasci dignatus est; deemed worthy to be born of a virgin,
et procedens homo sine semine, and, coming forth as a man without seed,
largitus est nobis suam deitatem. has given us his deity in abundance.
Germinavit radix Jesse The root of Jesse has germinated,
orta est stella ex Jacob the star has risen from Jacob;
virgo peperit salvatorem a virgin has given birth to the saviour
te laudamus deus noster We praise you, our God.
Ecce Maria genuit Behold, Mary gave birth to
nobis salvatorem the saviour for us,
Quem Ioannes videns whom John saw and called
exclamavit dicens: and called aloud:
Ecce agnus dei, “Behold the Lamb of God,
ecce qui tollit peccata mundi. here is the one who takes away the sins of the world.
Alleluia. Alleluia.”

Canto dei sarti (carnival song)

De sartor nui sian maestri We are master tailors
Che de tagliar sian pronti et destri. Ready and skilled in the art of “cutting.”1
Se ce fosse donne alcune If there are some ladies
Per vestirsi, qualche veste, Looking for a new dress,
Lassa pur a nui pigliare Leave it to us to take
La mesura de soe veste. The measurements of her clothes.
Se volesse fare tagliare, If she wants to have it “tailored,”
Venga da nui che sapiam fare. Come to us, who know how it’s done...
Per tagliar in punto et bene, In order to “cut it” properly
la misura in mano pigliamo; We take the measurements with our hands;2
tucti panni perle schine, We fold in half the part of the cloth destined for the back,
dopie sol panno mictiamo: Placing it on the cloth that acts as the model for the jacket.3
poi coll’occhi nui guardamo Then we check to see
se gli e dentro taglio honesto. If the model of our jacket fits within this piece of cloth.
Se volesse… If she wants...

Quando el panno non è assucto, When the cloth is not “dry”4

non se pò mai ben tagliare It cannot be properly “cut,”
fase taglio tristo et bructo The “cut” is sad and ugly
se non se lassa rasuctare: If the cloth is not allowed to “dry,”
quandoè assucto se pò fare When it is “dry,” one can make
tucti li tagli, et fansi presto. All the “cuts,” and have it done quickly.
Se volesse… If she wants...

Basta solo aver veduto It is enough to see

quanta robba vi po intrare; How much you can gain;
non è mai un si sorignato, There is no one who has been mocked so much
che lo non facciamo victo stare: That we can’t make them feel comfortable:
rna bisogna operare But we have to practice
un’altra arte inverse questi. A different “art” instead of this one.
Se volesse… If she wants...
1
Presumably a metaphor for sexual intercourse.
2
More like: “We hold our—‘misura’—in our hand.”
3
This is done when cutting fabric. But it’s all a metaphor: the woman shows her back to the tailor, and bends
in two, at right angles—and the tailor checks to see if there is an honest “cut.”
4
But really: “sucked.”

Scaramella (Josquin)
Nonsense syllables evoke a stock figure of the period: the buffoon-like soldier.
Scaramella va alla guerra Scaramella goes to war
colla lancia et la rotella With his lance and sheild
La zombero boro borombetta, La zombero boro borombetta,
La zombero boro borombo. La zombero boro borombo.