Recordare, Domine, testamenti tui (Pierre de Manchicourt): Difference between revisions
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==Music files== | ==Music files== | ||
{{#Legend:}} | {{#Legend:}} | ||
*{{PostedDate|2021-10-30}} {{CPDLno| | *{{PostedDate|2021-10-30}} {{CPDLno|66459}} [[Media:Manchicourt,_Recordare_Domine_à_5_(alla_quarta_bassa)_-_Full_Score.pdf|{{pdf}}]] [[Media:Manchicourt,_Recordare_Domine_à_5_(alla_quarta_bassa).mp3|{{mp3}}]] | ||
{{Editor|Simon Biazeck|2021-10-30}}{{ScoreInfo|A4|10|269}}{{Copy|CPDL}} | {{Editor|Simon Biazeck|2021-10-30}}{{ScoreInfo|A4|10|269}}{{Copy|CPDL}} | ||
:{{EdNotes|Original pitch for S.A.A.T.B.}} | :{{EdNotes|Transposed down a fourth for A.T.T.T.B.}} | ||
*{{PostedDate|2021-10-30}} {{CPDLno|66457}} [[Media:Manchicourt,_Recordare_Domine_à_5_(B-flat)_-_Full_Score.pdf|{{pdf}}]] [[Media:Manchicourt,_Recordare_Domine_à_5_(B-flat).mp3|{{mp3}}]] | |||
{{Editor|Simon Biazeck|2021-10-30}}{{ScoreInfo|A4|10|272}}{{Copy|CPDL}} | |||
:{{EdNotes|Transposed down a tone for S.A.A.T.B.}} | |||
*{{PostedDate|2021-10-30}} {{CPDLno|66456}} [[Media:Manchicourt,_Recordare_Domine_à_5_-_Full_Score.pdf|{{pdf}}]] [[Media:Manchicourt,_Recordare_Domine_à_5.mp3|{{mp3}}]] | |||
{{Editor|Simon Biazeck|2021-10-30}}{{ScoreInfo|A4|10|269}}{{Copy|CPDL}} | |||
:{{EdNotes|Original pitch for S.A.A.T.B. <b>The editor duly acknowledges that Andrew Fysh alerted him to this fine motet. Andrew’s tireless work in bringing Manchicourt’s work back to life in superbly engraved and edited modern editions is much in evidence here. His excellent first ever modern edition of this work was initially posted below.</b> It makes a case for the so-called “rule of closest approach” not being de rigueur in the music of this period and style. In weaving his counterpoint around a <i>cantus firmus</i> in the <i>Quinta pars</i> (which must surely be sung with B-flats at its upper limit), Manchicourt seems to be saying that major 6th to octave cadences are not always mandatory.}} | |||
*{{PostedDate|2021-10-30}} {{CPDLno|66441}} [[Media:RSU-074A_Manchicourt_—_Recordare_Domine_a5_(-1.0).pdf|{{pdf}}]] [[Media:Manchicourt_-_Recordare_Domine_a5_(RSU-074A_-1.0).mp3|{{mp3}}]] | *{{PostedDate|2021-10-30}} {{CPDLno|66441}} [[Media:RSU-074A_Manchicourt_—_Recordare_Domine_a5_(-1.0).pdf|{{pdf}}]] [[Media:Manchicourt_-_Recordare_Domine_a5_(RSU-074A_-1.0).mp3|{{mp3}}]] | ||
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{{Title|''Recordare, Domine, testamenti tui'' (2.p. ''Quiescat, Domine, ira tua)''}} | {{Title|''Recordare, Domine, testamenti tui'' (2.p. ''Quiescat, Domine, ira tua)''}} | ||
{{Composer|Pierre de Manchicourt}} | {{Composer|Pierre de Manchicourt}} | ||
{{Voicing|5|SAATB}} | {{Voicing|5|SAATB, ATTTB}} | ||
{{Genre|Sacred|Motets|Introits}} from Mass for the Deliverance from Death in Time of Pestilence | {{Genre|Sacred|Motets|Introits}} from Mass for the Deliverance from Death in Time of Pestilence | ||
{{Language|Latin}} | {{Language|Latin}} | ||
{{Instruments|A cappella}} | {{Instruments|A cappella}} | ||
{{Pub|1|1553|in Susato, ''Liber XIIII ecclesiasticarum cantionum quinque vocum'' [Antwerp]|no=5}} | {{Pub|1|1553|in Susato, ''[[Ecclesiasticarum cantionum quinque vocum, liber 14|Liber XIIII ecclesiasticarum cantionum quinque vocum]]'' [Antwerp]|no=5}} | ||
{{Descr|Manchicourt's setting juxtaposes a Phrygian ''cantus firmus'' and Dorian polyphony, giving rise to many simultaneous false relations (a regular feature of music of this period that many modern editors have sought to expunge through dogmatic mis-application of so-called 'rules' of counterpoint).}} | |||
==Original text and translations== | ==Original text and translations== | ||
{{Top}}{{Text|Latin| | {{Top}} | ||
{{Text|Latin| | |||
Recordáre, Dómine, testaménti tui, | Recordáre, Dómine, testaménti tui, | ||
et dic ángelo percutiénti: | et dic ángelo percutiénti: | ||
Cesset iam manus tua, | Cesset iam manus tua, | ||
Ut non desolétur terra, | Ut non desolétur terra, | ||
Line 37: | Line 46: | ||
''Cantus firmus'': Parce peccátis nostris.}} | ''Cantus firmus'': Parce peccátis nostris.}} | ||
{{Middle}}{{Translation|English| | {{Middle}} | ||
{{Translation|English| | |||
Remember, O Lord, thy covenant, | Remember, O Lord, thy covenant, | ||
and say unto the destroying angel: | and say unto the destroying angel: | ||
Line 51: | Line 61: | ||
Have mercy upon our sins.}} | Have mercy upon our sins.}} | ||
{{Bottom}} | {{Bottom}} | ||
[[Category:Sheet music]] | [[Category:Sheet music]] | ||
[[Category:Renaissance music]] | [[Category:Renaissance music]] |
Latest revision as of 01:07, 24 January 2022
Music files
ICON | SOURCE |
---|---|
Mp3 | |
File details | |
Help |
- Editor: Simon Biazeck (submitted 2021-10-30). Score information: A4, 10 pages, 269 kB Copyright: CPDL
- Edition notes: Transposed down a fourth for A.T.T.T.B.
- Editor: Simon Biazeck (submitted 2021-10-30). Score information: A4, 10 pages, 272 kB Copyright: CPDL
- Edition notes: Transposed down a tone for S.A.A.T.B.
- Editor: Simon Biazeck (submitted 2021-10-30). Score information: A4, 10 pages, 269 kB Copyright: CPDL
- Edition notes: Original pitch for S.A.A.T.B. The editor duly acknowledges that Andrew Fysh alerted him to this fine motet. Andrew’s tireless work in bringing Manchicourt’s work back to life in superbly engraved and edited modern editions is much in evidence here. His excellent first ever modern edition of this work was initially posted below. It makes a case for the so-called “rule of closest approach” not being de rigueur in the music of this period and style. In weaving his counterpoint around a cantus firmus in the Quinta pars (which must surely be sung with B-flats at its upper limit), Manchicourt seems to be saying that major 6th to octave cadences are not always mandatory.
- Editor: Andrew Fysh (submitted 2021-10-30). Score information: A4, 10 pages, 427 kB Copyright: CC BY SA
- Edition notes: Transposed down one tone (for SAATB), otherwise identical to CPDL #66440 below.
- Editor: Andrew Fysh (submitted 2021-10-29). Score information: A4, 10 pages, 422 kB Copyright: CC BY SA
- Edition notes: At original notated pitch (for SAATB). Original note values retained. Transcribed and edited from the 1557 reprint of Susato's fourteenth volume of motets.
General Information
Title: Recordare, Domine, testamenti tui (2.p. Quiescat, Domine, ira tua)
Composer: Pierre de Manchicourt
Number of voices: 5vv Voicings: SAATB or ATTTB
Genre: Sacred, Motet, Introit from Mass for the Deliverance from Death in Time of Pestilence
Language: Latin
Instruments: A cappella
First published: 1553 in Susato, Liber XIIII ecclesiasticarum cantionum quinque vocum [Antwerp], no. 5
Description: Manchicourt's setting juxtaposes a Phrygian cantus firmus and Dorian polyphony, giving rise to many simultaneous false relations (a regular feature of music of this period that many modern editors have sought to expunge through dogmatic mis-application of so-called 'rules' of counterpoint).
Original text and translations
Latin text Recordáre, Dómine, testaménti tui, |
English translation Remember, O Lord, thy covenant, |