Musica Antiqua of London

Philip Thorby (director)
Alison Crum
John Bryan
Margaret Westlake
Rebecca Miles
John Potter

Programme Notes

Throughout Europe the early sixteenth century produced music of great power and innovation. Under the patronage of princes such as Henry VIII, Lorenzo de Medici, Isabella d'Este and François I, true national styles were actively developed; but at the same time the best players and composers were increasingly mobile, and were aggressively 'head-hunted' from court to court. Franco-Flemish polyphony, which had dominated music for so long, still formed an important part of the repertoire, but in secular music at least its importance was waning. In its place a new, artfully simple, often homophonic style was becoming popular, with the clarity of the words being prized above contrapuntal elegance.

Nowhere is this mix of styles and influences more clearly illustrated than at the German court of Holy Roman Emperor Maximilian the First. Old and new, polyphony and homophony, national and international, all blend together to produce a repertoire of great variety and richness. In music, as in the visual arts, Maximilian was a patron of unusual discrimination: the volumes of woodcuts by Dürer and Burgmair, commissioned to ensure that the Emperor's fame outlived his reign, pay tribute to his artistic judgement, whilst the music of Isaac and Senfl, both in his employ, is in itself a great monument to him.

Heinrich Isaac (c.1450 - 1517), Flemish by birth, served Lorenzo de Medici as court composer from 1479 until Lorenzo's death in 1492. A few years later he entered the employ of Maximilian, becoming Kapellmeister in 1497. He continued to spend much time in Italy (particularly in Ferrara and Florence) as a diplomatic agent for Maximilian, and died in Florence.

In sacred music, Isaac's magnum opus was undoubtedly the mighty Choralis Constantinus - settings of the Propers of the Mass for every day of the year. Isaac was to die before he completed this undertaking, though what survives represents, like his other masses and motets, Franco-Flemish polyphony at its finest.

In secular music, Isaac adapted himself to national styles with both skill and conviction. The carnival songs he wrote for Lorenzo in Florence are true examples of Florentine art, whilst the tenor songs composed for Maximilian (including the most famous of all, Innsbruck, ich muß dich lassen) are both original and idiomatic.

Isaac is represented on this disc by three pieces: the tenor song Ich Stünd an einem Morgen [27] - whose flowing imitative counterpoint disguises the fact that the melody is indeed intact in the tenor part; the disconcerting Fortuna in Mi [3] - which changes the mode of the tenor part of Busnois' chanson, thus making tones into semitones and vice-versa, adding two new parts; and Der Hundt [26] - an exuberant three-voice instrumental piece, based on fragments of an anonymous song, whose extended sequences amount almost to self-parody.

Ludwig Senfl (1489 - 1543) was Isaac's successor as Maximilian's Kapellmeister. Born in Switzerland, Senfl was to serve not only Maximilian but also Duke Wilhelm IV of Bavaria - thus directing the music at the two most
important Kapelle in Germany. Like Isaac, with whom he studied, Senfl was a most versatile composer, although his variety is shown in his handling of different repertoires within a single (German) national style. In sacred music, he was able to compose sublime Latin motets for the Holy Roman Emperor, despite being a life-long correspondent of Martin Luther.

His protestant sympathies, are nowhere in evidence in, for example, his epic reworking in six parts of Josquin's simple 4-voice Ave Maria. Alongside such glittering Catholic repertoire we find more austere but deeply felt vernacular sacred works such as the setting of the Seven Last Words based on a Lutheran melody. Both styles are handled with ease and mastery.

It is Senfl's secular works which form the core of this present disc. The form of the tenorlied (or tenor-song) might not seem a rewarding vehicle for invention. A melody - either newly composed or a cantus prius factus, sometimes of folk origin - must be presented in the tenor part, with between two and four free parts added around it. The theorist Heinrich Glarean has distinguished between the skills of the Phonascus, who could invent new melodies, and the Symphonet, whose skill was in the setting of pre-composed melodies. He casts Senfl as a Symphonet of extraordinary ability. 

Examination of almost three hundred of Senfl's surviving tenor songs show this to be the case. At one end of the scale stands Will niemand singen [1], where two treble parts dance around each other in an extended prelude, giving a querulous flavour to the eventual entry of the voice - 'No-one wants to sing, then I will!'. The other extreme is represented by Patientiam müss ich han [19], a four-voice tenorlied of great economy and intensity.

But it is perhaps in the settings of Ich stünd an einem Morgen [30-34] that we may appreciate just how skilled a Symphonet Senfl was. The two settings in three voices [30 and 32] are probably intended for instrumental performance, but unlike most such carmina they preserve the original melody complete in one voice. The
setting for three high instruments [30] gives two free parts the chance to anticipate, explore and rework each phrase before it is stated in full by the tenor. The low setting [32] has extraordinary drifting rhythms full of delightful and dreamy ambiguities.

The four-voice setting [33] puts three parts in disjunct parallel movement, while the remaining (altus) part freely meditates. The easy cultured polyphony of the instrumental parts in the five- voice setting [31] gives way to an expressive homophonic accompaniment in the second half. 

The final six-voice setting [34] combines Ich Stünd with the melody of Es taget vor dem Walde over a third song, Kein Adler. This is a tour de force of composition, which also raises intriguing possibilities in the words: are the
parting couple in Ich Stünd perhaps Kate and her lover in Es taget? Has the restlessness of the poet in the latter finally led to his departure in the former? Surely, in choosing to combine these texts, Senfl is inviting us to respond to these resonances.

Germany enjoyed the skills of many fine composers in the early 16th century - Heinrich Finck and Thomas Stolzer, for example, both of whom are represented on this CD. But the early music revival has not yet placed Ludwig Senfl in the pre-eminent position he deserves. I hope this recording may help to address this situation.

Philip Thorby

[1] Will niemand singen

Will niemand singen, so sing' aber ich.
Es wirbt ein junger Knab' um mich.

Ich sing' ein Lied, das will ich aufgeben.
Ach, Herre Gott, wer soll sein pflegen?

Wer soll ein' bessere Pflegerin sein?
Das Annelein, das soll die Pflegerin sein.

Wer soll des Annelein Helfer sein?
Der Hans, der soll der Helfer sein.

If no one else will sing, then I will!
A young lad woos me.

I'm singing a song I want to give up.
Oh, Lord, who will take care of it?

Who will care for it better?
Let Annie care for it.

Who will help Annie?
Let Jack help her.

[6-14] Elslein & Es taget vor dem Walde

(Ach) Elslein, liebstes Elselein,
wie gern wär ich bei dir.
So sein zwei tiefer Wasser
wol zwischen dir und mir.

Das bringt mir große Schmerzen,
herzallerliebster Gsell!
Red' ich von ganzem Herzen
habs für groß Ungefäll.

Hoff, Zeit werd es wol enden,
hoff, Glück werd kommen drein,
sich in alls Guts verwenden,
herzliebstes Elselein.

Es taget vor dem Walde, stand auf, Kätterlein!
Die Hasen laufen balde, stand auf, Kätterlein,
Holder Buehl! heiaho, Du bist mein und ich bin dein, stand auf, Kätterlein!

Es taget in der Aue, stand auf, Kätterlein,
Schöns Lieb, lass dich anschauen! stand auf, Kätterlein, Holder Buehl!.....

Es taget vor dem Holze, stand auf, Kätterlein,
Die Jäger hürnen stoltze, stand auf, Kätterlein, 
Holder Buehl!.....

Ah Else, dearest Else, 
would I were with you. 
But there are two deep waters 
between you and me. 

It causes me great pain, 
dearest companion; 
to speak from the heart 
it is a great misfortune. 

I hope that time will end it, 
that good luck will change it, 
that all will turn out for the best, 
beloved Else.

Day breaks at the edge of the woods; arise, sweet Kate! The hares will soon be running, arise, sweet Kate, sweet heart! Heigh-ho, you are mine and I am yours, arise, sweet Kate.

Day breaks in the meadows, arise, sweet Kate,
Sweet love, let me look at you! arise, sweet Kate,
Sweet heart!...

Day breaks in front of the grove; arise, sweet Kate,
The huntsman blows his proud horn, arise, sweet Kate, Sweet heart!...

[15-17] Ein frolyk Wesen

Ein frolyk Wesen
hab ich erlesen 
und seh mich um
wo ich hin kum 
in fremde land
wirk mir bekant 
mer args dan gut
durch senens flut
gleich heur ass ferd
auf dieser erd 
tu ich mich gleich erkennen.

Wann es nun kem
das mir gezem
ging wie es wolt
was ich solt 
recht willig gern
in zucht und ern 
für mein person
auf guten won 
in treuer pflicht
on args geschicht
doch kummert mich gross senen.

I have been blessed with a cheerful nature
And look about me; wherever I go
In foreign lands I encounter
More bad than good from excessive lovesickness
Just as I know that this year follows last
on this earth.

If only it suited me
Come what may, to do what I ought
Willingly and with honour and courtesy
For my part in good expectation
Faithfully and dutifully, without malice,
But I'm sick with love.

[18-19] Pacienta

Patientiam muess ich han,
Wohl kann,
Mocht's anders sein. 
Wär' auch wohl mein
Mein's Gmüet's Begehr,
Will jetz nit her.
Unfall auf mir
Liegt nach der Schwer. 
O patiencia, o patiencia!

Patiencia überwind'
senft lind
der Werlte Neid, 
wie wohl sie meid't
und Kurzweil passt, 
all G'sellschaft hasst
ob sie wurd' quitt
ihrs Unfalls Last. 
O patiencia, o patiencia!

Patientia, nun lass ab!
ich hab'
dein wahrlich gnueg. 
Zeuch hin mit Fueg
aus meinem Haus! 
Ich hab' ein Graus.
Fahr', wo du wilt!
Der Dienst ist aus. 
O patiencia, o patiencia!

I must be patient, and I could be if things were different. 
If my heart's desire were only mine. 
It is this misfortune that weighs me down. 
O patience, o patience!

Patience softly and gently overcomes the world's troubles.
But patience is not pleasant while it is with you: 
it sours all sociability whether or not it is rewarded. 
O patience, o patience!

Patience, begone, I have had enough! 
Get out of my house. I have had my fill. 
Go where you will, this service is over. 
O patience, o patience!

[21-24] Entlaubet ist der Walde

Entlaubet ist der Walde
Gen diesem Winter kalt,
Beraubet werd ich balde
Meins Liebs, das macht mich alt;
Dass ich die Schön' muss meiden 
Die mir gefallen
Bringt mir mangfätig Leiden
Macht mir ein schweren Mut.

Was lässt du mir zue Letze
Mein schwarz brauns Maidlein fein
Das mich dieweil ergetze
So ich von dir muess sein?
Hoffnung tuet mich ernähren
Nach dir so werd' ich krank 
Tue bald herwieder kehren
Die Zeit ist mir zue lang.

Sei weis', lass dich nit affen!
Der Klaffer seind zue viel.
Halt dich gen mir racht g'schaffen!
Treulich dich warnen will.
Hüet dich vor falschen Zungen
Darauf sei wohl bedacht!
Sei dir, schöns Lieb, gesungen
Zue tausend gueter Nacht.

The wood is stripped of leaves at the approach of winter cold, and I shall soon be robbed of my love,
which makes me moan. 
That I must shun my sweetheart whom I love causes me suffering and makes me sad.

Why do you leave me, my fair brown maid, to give me joy while I must be away from you? 
Hope nourishes me, I languish for you. 
Come back quickly, I find waiting wearisome.

Be wise, do not be fooled. 
The gossips are all too many. 
Be good to me!
I am warning you sincerely, beware of false tongues:
keep watch for them. 
And, dear love, may there be sung to thee a thousand good nights.

[25-26] Der Hundt

Der Hundt mir vor dem licht umb gat
fru und auch spat
hab ich kein ru
wie ich im thu
das richtet als der klaffer zu.

Thu was ich wöl, so hasst er mich
vil herter stich
gibt er mir gschwind
als judas kind 
ich wolt das er im iar erblindt.

So denk ich doch einr gutten zeit
die mich erfreut
hab keinen grauß
unfall sei auß 
ich hoff mein katz fach auch ein mauß.

The cur stands in my light both early and late.
I have no rest. Whatever I do, the brawling hound does this to me. 

Do what I will, he hates me. Many a hard thrust he gives me straight,
like a son of Judas: would he were blind within the year. 

Yet I look forward to a better time, which gladdens me, when I should have no fears; 
misfortune would be over: 
I hope my cat would catch its mouse.

[27-34] Ich stünd an einem Morgen

Ich stünd an einem Morgen
heimlich an einem Ort,
do hett ich mich verborgen
Ich hort viel klägliche Wort
Von einem Fräulein was hübsch und fein
Sie sprach zu ihrem Bühlen:
'Es muß gescheiden sein'. 

Herzlich ich hab vernummen
du wöllst von hinnen schier.
Wann willt du wieder kummen?
Das sollt du sagen mir!
'Merk, mein feins Lieb, was ich ihr sag:
Mein Zukunft tuest du fragen,
ich weiß weder Stund noch Tag'. 

Das Fräulein das schrei: 'Morte!
Mord über alles Leid!
Mich krenken deine Worte 
Herzlieb, von mir nicht scheid!
Für dich, da setz' ich Guet und Ehr' 
und sollt ich mit dir ziehen
kein Weg wär mir zue ferr'.

I stood one morning in a secret place.
There I had hidden myself. 
I heard words of lamentation from a fair and gentle lady, 
who stood beside her lover. 
The time had come to part.

[she:] 'Beloved, I have heard that you will from hence away. 
When will you return? You must tell me'.
[he:] 'Now mark, my sweet love, what I say. You ask when I will come - I know neither the hour nor the day'.

The maiden then cried,
"Alas, 0 woe unsurpassed! 
Your words make me fall sick, dearest, do not leave me! 
For you I gave my honour and my good name, and were I to travel with you, no distance would be too far".