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Cantus I (in ms.: Tenor)
1. Sanctus in eternis regnans, pater inque supernis Summaque natura naturans summa datura Maximaque ternis personis omnia cernis, Res sine factura, generans sine qua genitura,
2. Sanctus et aequalis genitus, qui cum patre talis Abs defectura patris exples omnia iura, Qui personali distans patre proprietate Et integrali constans es idem deitate,
3. Sanctus et una quoque procedens res ab utroque, Quae par gignenti similis substantia pura, Par quoque nascenti, caritas, amor et pia cura, Munus et amborum, largitio, pignus amorum,
4. Tu Sabaoth Dominus, caelorum rex quoque dignus, Tu terrenorum, tu gloria plena polorum, Vivis in excelsis, [rex] qui sine tempore celsis.
5. Hosanna, dignos tecum regnare benignos Fac tibi cum sanctis regni solio dominantis.
6. O benedicte, venis Domini qui nomine plenis, Subtrahe nos poenis, hosanna, semper amoenis Excelsis digne, salva nos, Christe, benigne. |
Holy Father, ruling forever and above; Producing the essence of nature itself, the very best, you - threepersonally - sift everything generating things without making, without any begetting,
and completely
agreeing art the same god. heavenly joys, save us, o Christ, benignly. |
In Cantus I, 3.3: Blume/Dreves read 'cantas amor...' and suggest constas. CMM transcribes 'caritas'. [Blume/Dreves see a verb (as in stanza 1 and 2) tr. "you stand firm, love..."]
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Cantus II (in ms. Contratenor)
1. Sanctus et ingenitus pater atque carens genitura, Sanctus et ac genitus, patri par gloria pura, 2. Sanctus par pneuma patri, genito quoque neuma. Fili, sancte pater, sanctum quoque pneuma character,
3. Tu Sabaoth Dominus, redimens nos a nece, pignus, Tu Deus aeternus, clemens, pius atque benignus. 4. Tu, cuius caeli sunt pleni terraque, cuius Laus, amor, oda, meli vox, gloria reboat huius
5. Celsis, Hosanna, mortis quoque comprime damna, Nos caelis foveas caelestes ante choreas. 6. Qui, benedicte, venis divino matre Maria Nomine, prole pia, damni nos detrahe poenis.
7. Nobis patre datus, ut nos a morte piares, Nobis celsa dares, pro nobis virgine natus, 8. Mortuus et passus, crudeli verbere quassus, Qui venis in Domini pro nobis nomine trini,
9. Qui Deus es dictus et homo, pius et benedictus, Qui cibus et panis credentibus es tibi sanis, 10. Semper in excelsis, Hosanna, redde beatis Fine frui celsis, salva nos, fons pietatis.
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Holy and unborn,
Father without a parent; Father Thou, Lord Sabbaoth, our pledge, redeem us from death, Thou eternal God, merciful, faithful and beneficent. Thou, of whom the heavens are full and the earth is filled of whom praise, love and a hymn (the voice, the glory of this melody) resounds... ...in the high, Hosanna, also suppress the pains of death, Cherish us in heaven in the presence of the heavenly choirs. Blessed art Thou, who comes as a child to the pious mother Mary, with a divine name, detract us from the punishments of the damned. Given to us by the Father, to expiate us from death, to give us heaven, Thou, born for us from a virgin, who has died and suffered, beaten with the cruel lash, who comes for us in the name of the Triune Lord, Thou, who art called God and man, faithful and blessed, Thou who art food and bread to true believers, Always in the highest Hosanna, give the blessed that they may enjoy eternity on high, save us, source of piety. |
In Cantus II, 6.2: Blume/Dreves suggest 'pia damni nos', in CMM it is : pia damnosis. The original seems to be (according to Dreves) pia damnos.
Joannes Ciconia: Petrum Marcello Venetum / O Petre, antistes inclite
Written on the occasion of the installation of the new bishop of Padua Pietro Marcello november, 16th, 1409. Marcello was born in Venice. Translations in English and Dutch. Alternative readings from the transcription by Susanne Clercx in 1960. In 1985 a new modern edition appeared: Polyphonic Music of the Fourteenth Century vol XXIV: The works of Johannes Ciconia, edited by Margaret Bent and Anne Hallmark, Volume 24, Éditions de l'Oiseau-Lyre, 1985. I was not able to consult it.
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Petrum Marcello Venetum Romano cretum sanguine, Pastorem nostrum carmine* Laudemus bene meritum.
Exultet urbs Euganeae Adventu tanti presulis Exultet plausu jubilis Voves sonent ethereae.
Stirps leteris** Marcellina Tali alumno decorata, Cuius gradu sublimata Illi tota te*** declina.
Plaudat Patavinus chorus Laudes Iovi summo pangant voce leta celum tangant venit enim pastor verus.
Suz. Clercx: * curiem ** litteris *** re
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Let us praise Peter from Venice born from the Roman Marcelli (1) our Pastor with a song well deserved.
Exult, city of the Euganei (2) at the coming of such a prelate, Exult and applaud joyfully let your vows resound to heaven.
Enjoy lineage of the Marcelli adorned with such offspring: because of his elevation proternate yourself fully for him.
Applaud, Paduan choir, Compose praises for the highest with joyful voice touch the sky for a true Pastor is coming.
1. Marcelli = an old Venetian family, the reference to Rome seems odd. 2. Euganei = semi-mythical proto-Italic ethnic group
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O Petre, antistes inclite Vere virtutis speculum Quo nostrum inter seculum Nos mina recto limite.
O pater amantissime, Nos oves tuas dirige Et aberrantes corrige Judex cunctis justissime.
O cleri primas Padue Nos tuos rite regula Peccantes coge ferula Sordida cuncta dilue.
Sint laudes regi gloriae Qui nos te dignos red[i]dit; Qui melon istud edidit Adesto tuo Cyconie. |
O Peter, famous bishop, truly, mirror of virtue with which (i.e. virtue) during our age, lead us on the right path.
O most loving father, direct us, your sheep, and correct those who err, judge of all, most just.
O primate of the Paduan clergy rule duly over us, who are yours, with your staff compell the sinners, wash us from all that is sordid.
Honour be the King of glory who made us worthy of you; and to the writer of this song give heed, your Ciconia.
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Laat ons Pietro Marcello van Venetië, uit Romeins bloed gesproten, onze Herder, onze Pastor prijzen met een welverdiend lied.
Jubel stad der Euganei om de komst van deze prelaat. Jubel, klap in de handen, zing himmelhochjauchzend.
Verheug u, geslacht van Marcello, met zulk een telg getooid. Buig bij zijn troonsbestijging eerbiedig voor hem neer.
Applaus ! koor van Padua, lofzingt voor de hoogste god laat uw blijde stem ten hemel rijzen want hij komt, de ware herder.
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O Pietro, vermaarde bisschop, echt, de spiegel der deugd, waarmee in dit tijdsgewricht: u ons moet leiden op het rechte pad.
O allerliefhebbendste vader, leid ons, uw schapen corrigeer hen die dwalen allerrechtvaardigste rechter.
O primaat der clerus van Padua, bestuur ons, de uwen, zoals het hoort, bedwing zondaars met uw staf, was alle smetten van ons af
Eer aan de koning der glorie, Hij maakte ons u waardig. En op hem die dit liedje schreef sla welwillend acht: ’t is uw Ciconia.
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Guillaume Dufay: Ecclesiae militantis (1431, or perhaps 1434)
Written on the occasion of the coronation of Gabrieli Condulmieri (from Venice) as pope Eugenius IV, 1431, 11 March. At least that is the 'received opinion'.
However, especially the text of the Motetus is hardly thinkable on that occasion. It is so... militant, openly referring to bad times. At least as far as we can understand this text. The first stanza 1 and stanzas 4 and 5 of the Motetus are hardly translatable, or if translated remain cryptical. So, one is inclined to search for a different setting (context) which might help to illuminate these parts of the text.
There is a daring hypothesis: The reference to a 'shield' (stanza 4) given to the pope should be understood as a reference to an episode a few years after his coronation, when pope Eugenius hastily had to leave Rome in a boat, while revolting roman citizens threw stones at him. (It is the time of the Western Schism and Rome becomes the bulwark of the conciliarists (Council of Basle). Venice and Florence are Rome's enemies and they rescue the pope. During this exile (1434-1443) he lived in Florence (at that time an enemy of Rome). If Ecclesiae militantis does date from this period and refers to it (remember: this is private music!) then Du Fay tries to transform the Pope's retreat into an act of heroism. If read from this perspective both the beginning in which so emphatically the election by the conclave and its legitimacy is mentioned and the way the Pope's personal virtues of asceticism and purity are highlighted become telling. Even the first lines might shift in meaning: No oblique reference to ecclesia militans / triumphans but a call on Rome “the militant and triumphant church's seat” to offer praise to the true pope. The lamento (contratenor) also gets a proper meaning: This specific war is lamented...
The text tradition used by musicians is quite confused. On the internet
a version dominates which is quite faulty. The one presented below seems
more in order. I compared it - with my humble paleographic skills - to
the manuscript version, consultable
here (Codici
Trentini 87-93, folios 85v-86r + 95v-96r) and the official edition
of Dufay's Opera Omnia in the CMM.
I transcribed the medieval Latin to make it more familiar (the "ae" written as "e" in medieval Latin is a constant source of confusion (so, in Motetus 1,4 there is no horse 'equum', but simply the adjective 'aequum'). Most pertinent differences I printed in blue. I don't claim perfection in translation. Some parts I translated but I don't grasp the meaning. I tried not to interfere too much, even when I didn't get it. Often one has to rephrase the sentence completely in order to get something which sounds like English. In Latin the placement of the words in a sentence is almost entirely free. It is the gender, conjugation, declination etc. which links words.
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Triplum
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Motetus
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Ecclesiae militantis Roma sedes triumphantis patri sursum sidera tamen* cleri resonantis laudem summi pontificis promat voce libera.
Gabrielem quem vocavit dum paternum crimen lavit baptismatis sumptio Eugenium revocavit bonum genus quod notavit pontificis lectio.
Quod consulta contio qua nam sancta ratio sic deliberavit ut sola devotio regnet in palatio quod Deus beavit.
Certe Deus voluit et in hoc complacuit venetorum proli sed daemon indoluit quod peccatum defuit tantae rerum moli.
Dulcis pater populi qui dulcorem poculi crapulam perhorres pone lento consuli rem gregis pauperculi ne nescius erres.
Pater haerens filio spiritus confinio** det prece solemni gaudium Eugenio perfecto dominio in vita perenni.
Amen. |
Rome, seat of the
militant when the clerics sing for the Father at least* the praise of the Pope with a liberated
voice. Papal election declared.
that only devotion
should reign in the palace
in this important matter. intoxication of the cup (= drinking)
Entrust to a mild councillor that you may not err unknowingly.
once his dominion completed.
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Sanctorum arbitrio clericorum* proprio corde meditanti aequum genus atrio accedit ludibrio umbrae petulanti.
Nam torpens inertia longa quaerens otia nescivit Eugenium sed juris peritia cum tota justitia sunt ejus ingenium
Hinc est testimonium pacem quaerit ommium exosus piaculi et trinum dominium** daemonis et carnium pompam vincit saeculi.
Quam color ipse poli dic scutum, quod attuli tibi, pater optime dscrum dat, quod oculi instar tui speculi cernunt nitidissime!
Eya pulcherrime querimur tenerrime moram longi temporis ducimur asperrime nescio quo ferrime ad fulmentum corporis.
Una tibi trinitas vera Deus unitas det coeli fulgorem quem linea bonitas argentea castitas secernit in morem.
Amen. |
through the decision of the saints a fair and just group of clerics who look into their own heart, enters the hall (of the palace) (once the place) of mockery of shadowy insolence.
For languid indolence That seeks longlasting leisure is unknown to Eugenius; But the juridical expertise full of justice, is his natural dispostion.
Here is the proof: He seeks peace for everyone, hates crime and and the triple dominion overcomes the pomp of the devil, the flesh and the world.
Say how the color of the sky gives the shield I brought you, most kind father, that sacred (aspect), that your eyes like through a mirror discern most clearly.
Alas, most illustrious one we bemoan, most tender one, that it took so long. we were led very harsly, I don't know how, fiercely to corporeal support.
May the Trinity in One, God, the true Unity, Grant you the splendor of heaven who by linen-white goodness, and silverlike chastity, is set apart in morals.
Amen. |
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* carmen is suggested as emendation in CMM. ** or consilio ?
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* with carmen: a song that praises |
* the ms. says cleri canor - but ?
** MS: daemonium. I prefer to
correct the
reading: |
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| Contratenor Bella canunt gentes, querimur, pater optime, tempus: Expediet multos, si cupis, una dies. Nummus et hora fluunt magnumque iter orbis agendum Nec suus in toto noscitur orbe Deus. |
The people sing of war, and we lament, Most kind father, our times: One day, if you wish, shall count for many. Money and time flow away, And the world still has a long way to go; Yet its God is not known in all parts of the globe.
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De volken bezingen de oorlog, maar wij |
Illustration: The cantus firmi:
"Ecce nomen Domini" (Antiphone of the Vespers for Saturday preceding the first Sunday of Advent ad Magnificat)
"Gabriel" (= God is my strength) (Antiphone of the Matins of Sundays in Advent & Vespers of the Annunciation ad Magnificat)
