Lyrichord Stereo LLST 7233

Missa Ave Regina Caelorum Motets, Chansons

CAPELLA CORDINA Alejandro Planchart, 4rector

(GUILLAUME DURAY “Tgrtchord tkeses ELA

Missa Ave Regina Caelorum Motets, Chansons

Guillaume Dufay (1400-1474) was themost cele-

brated composer of his age, and remains one of the

towering figures inthe history of Western music.

Most of the pieces in this album come fromhis la-

ter years and show him at the very height of his

inspiration. This is particularly true of the mo-

tet Ave Regina and the Mass based upon it.

The Ave Regina was composed ca. 1463 at Cambrai,

where Dufay was a cathedral canon fromca. 1440 to

his death. It is based uponthe Gregorian Antiphon

which is used as a cantus firmus and set in the

tenor voice. Dufay has givena rhythmic setting to

the plainsong and has added melodic ornaments to

it in sucha way astomake it sound like the newly

composed voices that surround it. In addition, the

melodic substance of the plainsong permeates the

other voices, particularly in the opening duets.

The text of the Antiphon is a "letter" to the

Virgin. It sings her praises and seeks her inter-

cession inour behalf. Intothis traditional text,

Dufay interpolated his own personal message. Inhis

will, the composer requested that this piece be

sung at his death-bed; this wasnot possible, and

it was sung instead at his funeral.

The Mass is related tothe motet in a number of

ways. Both works use the same Antiphon as a cantus

firmus, but inthe Mass it is changed and ornamented

anew in each movement. The Mass also has a large

number of references tothe motet. Sometimes these

do not go beyond writing the same kind of music;

thus the “et iuva" section of the motet was clearly

the inspiration for the second Christe and part of

the Agnus dei II, but many direct quotations can

be found. Themost extensive isthe citing, in the

second Agnus dei, of the passage set in the motet

to the words "miserere supplicanti Dufay."

This Mass stands out in Dufay's production as

his most splendid and outwardly magnificent work.

A number of other traits, such as the nine sepa-

rate Kyries, make it an exceptional piece in the

whole 15th century. According to recent research,

it is likely that it was written fora particularly

important ceremony: the consecration of the Cam-

brai cathedral to the Virgin Mary in 1472.

Dufay's lamentation is the only surviving one

of aset of four. Oneof them, though not this one,

may have beenthe famous Lamentation sung in 1454

at the Feast of the Pheasant, held by Philip the

Good to inaugurate the Order of the Golden Fleece.

The surviving Lamentation is a powerful and dark

work that sets a French lament by the Virgin Mary

over a Latin fragment taken from Jeremiah.

The Rondeau Puisque vous estez campieur is a

magnificent tour-de-fotce. It depicts a drinking

contest by a strict canon at the octave accompanied

by a wild, reeling free voice.

Sela face ay pale was Dufay'smost popular bal-

lade. It matches asad but slightly sardonic text

with some of his liveliest music.

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Text translations

Side I and Side II, bands 1-2: Missa Ave Regina.

Since the text of the Mass is easily available

in Latin and in English, it is not given here.

Side II, band 3: Ave Regina Caelorum III.

Part I: Hail, queen of heaven. Hail, mistress

of the angels.

Have pityon your dying Dufay, may he not burn

with the sinners in hellfire.

Hail, holy source, who gave forththe light of

the world.

Have mercy, O mother of the Lord, so that the

gates of heaven may be opened to the weak.

Part II: Rejoice, O glorious one, beautiful

above all.

Seeking your mercy, Dufay prays that his death

may be a good one in your eyes.

Farewell, most comely one, and pray to Christ

for USe

fay we not be damned from above, havemercy on

us, and help us, so that inthe hour of our death

our hearts may be pure.

Side II, band 4: Lamentatio Sanctae Matris Eccle-

Siae Constantinopolitanae.

Cantus, Part I: O most merciful fount of all

hope, father of the son of whom I am the tearful

mother, I come to seek redress in your sovereign

court from human nature and from your power, which

have allowed such villanous harshness to befall my

son, who has honored me so much.

Part Ii: I amthus bereft of joy and happiness,

and noone will hear my plaint. To you, only God,

I complainof the betrayal, the grief, the torture,

and the painful outrage that I see inflicted upon

the most beautiful human being, without any con-

solation from the whole human race.

Tenor, Parts I and II (once in each): All her

friends have deserted her. Fromall who loved her

no one comes to console her.

Side II, band 5: Puisque vous estez campieur.

Since you like tournaments, I shall willingly

compete with you,

to determine if I can beat you at being a good

drinker.

And if you are a gourmet, I will also compete

with you, at eating.

Since you like tournaments .. .

You take me for a poor drinker, but I can easily

put away three quarts, certainly, or I will hide

myself in shame, as the drunk does from the world.

Since you like tournaments .. .

to determine if I can...

Side II, band 6: Se la face ay pale.

If the faceis pale the cause is love, this is

main cause; and love is so bitter to me, that I

CAPELLA CORDINA

Alejandro Planchart, drector

much rather drown in the high seas. Now one can

clearly see that without the beautiful one to whom

I belong I can have nothing good.

This love is ahard thing to endure if it comes

with sucha heavy baggage of sorrow. She wants me

to haveno will other thanto obey herown, and she

has such power over me that I cannot help it.

She is the most queenly one that you could find

and I cannot keep myself from loving her loyally.

If I want nomore sorrow, I amcrazy tocontinue to

serve her and to wait for her love, but apart from

her I can have nothing good.

Performance notes

Missa Ave Regina, Ave Regina Caelorum III.

Superius: 5 singers, recorder.

Contratenor: 5 singers, English horn, viola.

Tenor: 3 singers, sackbut (and portative organ

in the motet only).

Bassus: 5 singers, bassoon.

Lamentation Superius: 6 singers, English horn.

Contratenor: sackbut.

Tenor: 6 singers, recorder.

Bassus: bassoon.

Puisque vous estez campieur

Cantus: Alexandra Ivanoff.

Tenor: Joseph Fuchs.

Contratenor: viola, portative organ.

se la face ay pale

Cantus: Jeanine Dovell, recorder.

Tenor: Joseph Fuchs, English horn.

Contratenor: bassoon (William Clark).

The Mass survives intwo different versions. We

recorded that of Brussels, Bibliotheque Royale, MS

5557, a copythat probably belonged to Dufay. The

source gives two versions of Christe II, we chose

the more elaborate canonic version. The source for

Puisque vous estez campieur shows no way of doing

the return fromthe medial cadence; we devised our

own. Similarly, the repeat of Stanza I of Se la

face ay pale was our idea. The choral performance

of the Lamentation would have been more likely at

a cathedral rather than at the court chapel.

Capella

susan Addiss, Millicent Allison, Carol Christ,

Jeanine Dovell, Helen Erickson, Roberta Graziano,

Grace Hucko, Alexandra Ivanoff, Helen Kivnik, Hea-

ther McClave, Kathryn Sencabaugh, Kerala Snyder,

Conrad Cummings, Joseph Fuchs, John Graziano, Fred

Johnson, George Newtown, Fred Petty, David Richie.

Andrea Jacobs, viola, Frederick Bashour, organ,

William Clark, bassoon, William Cobb, bassoon,

William Liddell, recorder, Benjamin Peck, sackbut,

David Schonfeld, English horn.

Recorded by Frederick Bashour in Marquand Chapel,

at Yale University, in May of 1970.

LYRICHORD 141 Perry Street, New York, N.Y. 10014

STEREO LLST (Can also be played Mono)

7237 OCKEGHEM Missa Ecce Ancilla 7234 DUFAY Missa Sine Nomine 7233 DUFAY Missa Ave Regina 7231 AFGHANISTAN FOLK MUSIC, Vol. 2 7230 AFGHANISTAN FOLK MUSIC, Vol. 1 7229 MOROCCAN FOLK MUSIC 7228 JAPANESE TREASURES 7227 THINA’S TREASURES (Lui Tsun Yuen) 7226 MESSIAEN Messe de la Pentecote 7225 MESSIAEN La Nativité due Seigneur 7224 MESSIAEN Les Corps Glorieux 7223 CHINESE TAOIST MUSIC 7222 CHINESE BUDDHIST MUSIC 7221 BADINGS Passacaglia Timpany Organ

MUSIC OF IRAN The Tar, Vol. 2 7219 JAPANESE MASTERPIECES FOR THE KOTO 7218 THE SOUL OF THE KOTO 7217 MAX REGER Serenades (J. Wion flute, etc.)

————. 7216 REICHA & DANZI Woodwind Quintets —_—__—. 7215 BEETHOVEN Serenade—SCHUBERT Var. Flute/Piano —______ 7214 DES PREZ Missa Sine Nomine —_—_——. 7213 OCKEGHEM Missa Caput (Capella Cordina)

7212 CHINESE OPERA (Fu Hsing Opera Co.) ——___—. 7211 KOREAN SOCIAL & FOLK MUSIC

7210 SAHL tropes on salve regina (electronic) 7209 JAPANESE SHAMISEN MUSIC

—____. 7208 POULENC/KODALY Songs for Male Chorus —___—. 7207 SCHUBERT Der Hausliche Krieg (opera) —_____. 7206 KOREAN COURT MUSIC —____. 7205 JAPANESE KOTO CONSORT

7204 20th CENTURY FLUTE SONATAS Bryan & Keys Duo —___. 7203 HERBERT FROMM/SAMUEL ADLER Quartets ——____.. 7202 LOTUS LANTERN Chinese Classical Orchestra _____ 7201 MUSIC OF IRAN, Vol. 4 The Tar ——___—. 7200 JAPANESE BUDDHIST DRUMS, BELLS & CHANTS —___—.. 7199 ARCADELT Missa Noe-Noe (Capella Cordina)

7198 ARAB MUSIC Vol. 2 —____.. 7197 JAPANESE JORURI (Puppet Music) —_____.. 7196 TIBETAN FOLK & MINSTREL MUSIC —____. 7195 BRITTEN, Oboe Metamorphoses Quartet —___. 7194 The Legacy of Brahms (Rhapsodies) —______. 7193 POULENC, Clarinet/Oboe Sonatas ——_—_—- 7191 20th CENTURY AMERICAN ORGAN MUSIC (Noehren) —____.. 7190 DUFAY, Missa Caput, Motets —______ 7189 YUGOSLAV FOLK MUSIC

7188 GREEK FOLK MUSIC ——___— 7187 20th CENTURY FRENCH ORGAN MUSIC (Noehren) —____. 7186 ARAB FOLK MUSIC, Vol. 1 ———— 7185 20th CENTURY FLUTE SONATAS Bryan & Keys Duo ——_—_.. 7184 THE BRAHMS MOTETS (Whikehart Chorale) —____.. 7183 _ INDIAN FOLK MUSIC (Orissa)

7181 TIBETAN RITUAL MUSIC —___. 7180 THE HIROSHIMA MASSES —_.____ 7179 GAMELAN MUSIC OF BALI —_____. *178 IRISH TINKER MUSIC ——___ 7177 SCHOLA CANTORUM OXFORD Choral Music —____. 7176 JAPANESE SHAKUHACHI MUSIC

7175 BACH Cantatas 10 & 47 ——___—. 7174 MUSIC IN SALISBURY CATHEDRAL | —_____. 7173 §. S. WESELY Choral Masterpieces ——_—_ 7171 C. TOURNEMIRE (R. Noehren, Organ) ____ 7170 KODALY Motets, Anthems (Whikehart Chorale) —___. 7169 ROBERT NOEHREN at ST. JOHN’S CATHEDRAL

7168 MOZART & VILLA-LOBOS Woodwind Music _____. 7167 JAPANESE KOTO ORCHESTRA ____ 7166 MUSIC OF IRAN, Vol. 3 ___ 7165 MUSIC OF IRAN, Vol. 2 —___. 7164 JAPANESE POETRY CHANT with Music —_____. 7163 JAPANESE FOLK MUSIC ——_—__. 7161 HINDEMITH Mass (Whikehart Chorale) —_____. 7160 MUSIC OF THE NEAR EAST: The Oud

7159 MUSIC OF THE GREEK ORTHODOX LITURGY —___. 7158 Goodman/Piston/Krenek Woodwind Music —___. *157 MUSIC OF THE RAIN FOREST —___. 7156 BYRD, Madrigals, Motets & Anthems —___. 7155 _- NIELSEN, Complete Woodwind Music (Lark Quintet) —___—. 7154 DANZI, Bassoon Quartets Op. 40 ——____. 7153 DOWLAND, Music of Love and Friendship —_____ 7152 CHINESE FOLKSONGS (Lui Hung & Orch.)

7151 Love Came Down at Christmas (Whikehart Chorale) —____. 7150 DUFAY, Missa L’Homme Arme —_____ 7149 HAYDN, Sonatas 13, 30, 37, 43 (Raymond Dudley) —____.. 7148 NIELSEN, Commotio, Preludes (Grete Christensen)

7146 SCHEIN, Choral Music (Whikehart Chorale) —____. 7145 SCHUBERT, Fantasy Op. 159 (Zsigmondi) —_____. 7144 KODALY, Missa Brevis, Jesus & Traders (Whikehart Chorale)

7143 BEETHOVEN & HAYDN Music for Musical Clock ——_—_— 7142 CHINESE MASTERPIECES FOR THE CHENG —_____. 7141 VERACINI The Complete Sonatas (3-12”)

7140 VERACINI Sonatas 3, 10, 11, 12 ___ 7139 VERACINI Sonatas 5,6,7,9 — —_____ 7138 VERACINi Sonatas 1, 2, 4, 8 (H. Bress)

7137 JAPANESE NOH MUSIC —_____ 7136 BRUCKNER, Mass No. 2 in E Minor —__. 7135 MUSIC OF IRAN, Santur Recital, Vol. 1

il

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TIIVTAVTUDTYTTETITITTRITTIUTTTTTETAUTTTETFT EATTATTEATTEETTEETEETET ET TEETTT EET

(Can also be played Mono) JAPANESE KABUKI MUSIC SCHUTZ, Magnificat & Motets (Whikehart Chorale) CHINESE MASTERPIECES FOR THE ERH-HU JAPANESE KOTO MUSIC COUPERIN, Pieces d’Orgue (2-12”) (Noehren) COUPERIN, Mass for the Convents COUPERIN, Mass for the Parishes POULENC, ’Mass in G & Motets (Whikehart Chorale) GAGAKU—Japanese Court Music BACH, Concertos for 2 Claviers THOMPSON, Peaceable Kingdom (Whikehart Chorale) BRAHMS, Choral Preludes (Noehren) EXOTIC MUSIC OF ANCIENT CHINA (Lui Tsun-Yuen) MAX REGER played by Robert Noehren HAYDN, The Man in the Moon (opera) BUDDHIST CHANT (2-12”) JAPANESE TEMPLE MUSIC ZEN, GOEIKA & SHOMYO CHANTS HANDEL, Rodelinda (opera seria) HAYDN, Missa St. Nicolai No. 4 (Barati) LASSUS, Missa Vinum Bonum, Motets (Welch) SHANTUNG: MUSIC OF CONFUCIUS’ HOMELAND HAYDN, Harmoniemesse No. 12 (Barati) BACH, St. Luke Passion (3-12”) (Barati) MUSIC OF THE PRE- BAROQUE OCKEGHEM, Missa Mi-Mi, Fors Seulement GRIFFES, Roman Sketches, Sonata (Hambro) COPLAND, Piano Music (Aitken) SAINT SAENS, Suite Algerienne (Barati) CHINESE DRUMS AND GONGS (Tso-Liang Orch.) SCHUBERT, Mass No. 4 in C (Barati) SCHUBERT, Mass No. 1 in F (Barati) SCHUBERT, Songs For Male Chorus. BACH, Cantatas, Nos. 32 & 57 HINDEMITH, Das Marienleben, Song Cycle (James) BUXTEHUDE, Three Choral Cantatas BERG, Chamber Concerto and Songs SCHUBERT, Mass No. 2 in G, Gesang Der Geister Uber Den Wassern CHINA’S INSTRUMENTAL HERITAGE (Tsai-Ping Liang) SCHUTZ, Seven Words From The Cross DUBOIS, The Seven Last Words of Christ (Welch Ch.) MUSIC OF THE RENAISSANCE MUSIC OF THE MIDDLE AGES SONGS TO TEXTS BY JAMES JOYCE (Neway) CHINESE CLASSICAL MASTERPIECES (Lui Tsun-Yuen) SMETANA AND DVORAK, Quartets BASQUE SONGS AND DANCES ART OF CANTE FLAMENCO ITALIAN MUSIC IN THE AGE OF EXPLORATION CHINESE CLASSICAL MUSIC (Wei Chung Loh) BERLIOZ, LELIO (Leibowitz) FRANCK, ‘‘Panis Angelicus’’ Mass in - ei Chorale) SCHUBERT, Impromptus Op. 90 & Op. 1 MOZART, Sinfonia Concertante and Claniaet Quintet THE GREAT CARL SANDBURG PROMISED LAND, American Folk Treasury (Welch Chorale) RACHMANINOFF, Moments Musicaux—POULENC, Improvisations GOUNOD, St. Cecilia Mass (Welch Chorale) VERDI and MONTEVERDI, Choral Music (Fleetwood Chorale) R. STRAUSS, Dance Suite After Couperin COUPERIN, Four Concerts Royaux HINDEMITH, Three Organ Sonatas (Noehren) EASTER MOTETS (Welch Chorale) FREDERICK THE GREAT, Flute Concerto MARKGRAFIN OF BAYREUTH, Cembalo Concerto PALESTRINA, Missa Iste Confessor, Missa Sine Nomine VICTORIA, O Magnum Mysterium, 0 Quam Gloriosum Masses RAMEAU, ‘Dianne et Acteon, L’Impatience (Cuenod) MONTEVERDI, Madrigals Book 1, complete (Wagner Chorale) SCHOENBERG, Book of the Hanging Gardens R. STRAUSS, Schlagobers-Ballet (2-12”) DEBUSSY, Saxophone Rhapsody, Piano Fantasy with Orchestra ELIZABETHAN LOVE SONGS (Cuenod) HAYDN, Symphonies Nos. 12, 23, 29, 30 MOTETS FOR CHRISTMAS (Welch Chorale) BACH, Ascension Oratorio (Cantata No. 11) HAYDN, Symphonies No. 70 & 54—MOZART, Paris Overture DITTERSDORF, Symphony in A—LOUIS FERDINAND, Rondo HANDEL, Triumph of Truth (Fekete) CHOPIN, Complete Songs (Kurenko) KODALY, Quartet No. 2—SZYMANOWSKI, Quartet in C FRENCH HARPSICHORD MASTERS (Chiasson) MOZART, Mass in F, Dixit et Magnificat IVES, Sonatas Nos. 1 and 3 (Field) LULLY, Twelve Operatic Arias HINDEMITH, Clarinet and Piano Sonatas (Forrest) LISZT, Années de Pelerinage, Italie (Balogh) COUPERIN, Harpsichord Recital (Chiasson) FOSS, Jumping Frog of Calaveras County Clarinet Trios of BRAHMS and MOZART SCHUBERT, Violin Sonatas, complete (Mischakoff) BACH, 3 Part Inventions, Four Duets (Balogh)

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