Ars Antiqua: Organum - Motette - Conductus

00:00 Alleluia: Pascha nostrum immolatus est Christus (organum duplum) (Magister Leoninus, c1135-c1201)
Source: Florenz, Pluteus 29, I, fol. 109 riv
06:16 Alleluia: Pascha nostrum immolatus est Christus (organum triplum) (attr. Magister Perotinus Magnus, c1160-c1230) Source: Florenz, Pluteus 29, I, fol. 23 r-24 v
Anonymous:
16:41 Ave virgo virginum (3-voice Marian conductus)
Source: Florenz, Pluteus 29, I, fol. 240 r/v
18:45 Beatis nobis adhibe - Benedicamus Domino (3-voice motet)
Source: Florenz, Pluteus 29, I, fol. 250 r-252 r
22:11 Judea et Jerusalem (organum triplum, Notre-Dame school)
Source: Florenz, Pluteus 29, I, fol. 46 v-47 v
29:44 O Maria maris stella - Tenor: Veritatem (3-voice Marian motet)
Source: Wolfenbüttel 1099 [1206] [W2] fol. 125 r/v
30:55 Kyrie virginitatis amator (troped Kyrie; identical with the Kyrie fons bonitatis of the II Choral Mass)
Source: Wolfenbüttel 677 [W1] fol. 194 v
37:25 Vetus abit littera (4-voice conductus)
Source: Florenz, Pluteus 29, 1, fol. 10 r/v
40:23 Benedicamus Domino (organum triplum) (Magister Perotinus Magnus)
Source: Florenz, Pluteus 29, I, fol. 41 v-42 v
Anonymous 13th-century:
44:17 Deus in adjutorium (3-voice conductus) a
46:12 Alle psallite cum luia - Tenor: Alleluia (3-voice motet) a
47:55 Verbum bonum et suave (2-voice sequence for Marian feasts) b
51:01 Sanctus (2-voice Mass setting) c
54:00 Belial bocatur (4-voice motet) (4-voice motet) c
55:19 Salve virgo virginum - Tenor: Omnes (3-voice motet) a
56:41 Studentes coniugio - De se debent bigami - Tenor: Kyrie (3-voice motet) a
58:15 Victime paschali laudes (2-voice Easter sequence) c
1:00:58 Ave gloriosa - Ave virgo regia - Tenor: Domino (3-voice motet) d
1:03:06 Ave gloriosa mater salvatoris (3-voice conductus) e
Anonymous, early 14th-century:
1:05:05 Kyrie magne Deus potencie (2-voice troped Kyrie, V. Choral Mass) f
1:09:17 Homo luge - Homo miserabilis - Tenor: Brumas e mors (3-voice motet) g
1:11:34 Flos ut rosa floruit (2-voice Christmas conductus) h
1:13:19 Jube domne benedicere - Primo tempore (3-voice lesson for Christmas matins) i
1:15:53 Lux vera lucis radium (2-voice hymn for St. Ludmilla) j
1:18:41 In illo tempore: Egressus Jesus (1-3 voice Gospel of the church consecration) k
1:24:14 Salve virgo virginum (3-voice conductus with refrain) l
Capella Antiqua München - Konrad Ruhland, director & tenor
Norbert Regul, Elfried Metten (tenors) / Leopold Fendt (tenor, organ, crumhorn)
Hans Bichler (tenor, organ) / Hans Walch (tenor, recorder, crumhorn)
Siegfried Winner, Venanz Schubert (basses) / Frieder Neunhoeffer (bass, cornet)
Ernst Obermayer (bass, fiddle) / Albrecht Renz (cornet) / Veronika Thurmair (fiddle)
Elisabeth Ruhland (soprano, fiddle, bells)
Helga Radecker, Christa Keglmaier, Maria Bichler, Irmengard Metten (sopranos)
The Instruments:
Fiddles by Max Krauss, Landshut and F. W. Jaura, Münich
Recorders by Martin Skowroneck, Bremen
Cornet by Frieder Neunhoeffer, Münich/Basel
Crumhorns by Günter Körber, Berlin
Bells
Positive organ by Ludwig Eisenbarth, Passau
Sources:
1. The four great Notre Dame manuscripts
Codex Wolfenbüttel 677 (Helmstedt 628) (W,)
Codex Wolfenbüttel 1099 (Helmstedt 1206) (W;) (b)
Codex Florenz, Bibl. Laur. Pluteus 29, I (F)
Codex Madrid, Bibl. nac. olim Hh 167 (Ma)
2. The central motets manuscripts
Codex Montpellier, Fac. med. H 196 (Mo) (a)
Codex Bamberg Ed. IV, 6 (Ba) (d)
Codex Las Huelgas (Hu) (c)
3. The other manuscripts used
London, Br. Mus. Add. 27630 (h)
London, Br. Mus. Arundel 248 (l)
London, Br. Mus. Harl. 978 (e)
Prag, Univ. Bibl. VIG III a (j)
Darmstadt 3317 (g)
Diessen, Clm. 5511 (i)
Moosburger Graduale (1360), Moosburg, Univ. Bibl. München 156 (f)
Polling, Clm. 11764 (14th century) (k)
Recording: Möschenfeld near Münich, April and June 1968

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Notre-Dame epoch and Ars Antiqua This text can offer but a brief and modest introduction to the music of the Notre-Dame period and “Ars Antiqua," a field of music which is so very complicated that the many (and often controversial) musicological questions cannot be treated at large here. Moreover, no attempt is to be made to criticize the concepts and terms in general use for this period or to present personal thoughts on specific problems. Such discussions would be too broad for the frame-work of this text. On the contrary, the traditional terms are to be retained and the individual questions treated as briefly as possible in order to avoid adding to the confusion still more. The Pre Notre-Dame Period The Notre-Dame style, probably the first high point in occidental music, was immediately preceded by the "organum"music at St. Martial de Limoges and Santiago de Compostela in the twelfth century. Our notions of this music are not so clear as those of the Notre-Dame school, due both to our source material and musicological research. The manuscripts of the St. Martial music pose us many puzzling and dubious questions. Moreover, too little is known about the music practices connected with the far better written Codex Calixtinus of Santiago de Compostela, one of the largest pilgrim resorts in the Middle Ages and where the sanctuary of St. James is found. Still, it is certain that the influence of the two places on the upcoming center in Paris was by no means slight. The Notre-Dame Epoch The decades before and after 1200 are generally termed the Notre-Dame epoch. The chief musical center of the time was at Paris, at the Cathedral of Notre-Dame where the most prominent musicians of the century were active. We do know the names of these musicians - this indeed was new in music history - but we know nothing of the circumstances or details of their lives. Even today their dates of birth and death are still widely disputed. Their names have come to us through an English treatise of later date, that is referred by music historians as “Anonymous IV”. This treatise tells us of Master Leoninus as “optimus organista” and of Master Perotinus Magnus as “optimus discantor.” According to this document, Leonin was thus master of the organum just as Perotin was of the discant. Master Leonin’s works have come down to us in the Magnus liber organi de gradali et antiphonario pro servitio divino. This book of two-part organa embrace an organum cycle for the entire Christian year, for all of the feasts of the Lord, of the Blessed Virgin and the various saints. The use of polyphony was a great achievement during that time. It lent the worship service of a given feast day its special note, distinguished the feast from all others. Christmas and the week leading up to it were especially favored. For this period there are many, many polyphonic versions of organa. On the other hand, the two important four-part organa “Sederunt principes" (for the feast of St. Stephen) and "Viderunt omnes fines terrae" (for Epiphany) appeared during the time of Perotin. The two-part organa of Leonin are dedicated exclusively to forms of "responsoria." There are thirteen organa for the bre-viary (Le. responsoria chiefly for the Canonical Hours) and approximately thirty-two organa for the response parts of masses (for graduals and the alleluia). This cycle has survived in several versions: in the three large Notre-Dame manuscripts ¨W,", ¨W;" and “F.” (Ma is a shorter manuscript.) All of these sources were presumably written down in the second half of the thirteenth century. According to musicologists’ research, “W,” represents the oldest version of Magnus liber although it is just this source that happens to be the newest of the Notre-Dame manuscripts. The other sources of the Magnus liber show versions that are newer, more modern, so to speak. Long stretches of the organum parts in “W,” have been discarded in favor of newer discant parts. Also a large supply of substitute “clausulae," called ¨Ersatzklausel" in German, is presented. In the two-part organum the cantus firmus, taken from the Gregorian plainsong, was used as the "tenor" in the lower voice, the ¨vox principalis." While this voice part was more or less stretched apart by syllabic or melismatic delivery of the text, it was juxtaposed by free melismatic sections of varying lengths in the upper voice, the “vox organalis" or “organizing” voice. Performance of these organum parts was rhythmically free, i.e., not restricted to any certain metric pattern. Harmony was provided by the "organizing" cantor of the upper voice at intervals of a fifth, an octave or in unison, according to rules of consonance. The performance of such an organum should be pictured more or less as follows. While the cantor usually improvised or sang from a fixed written voice part, the schola, the choir, sang the appropriate piece from a liturgical book, from the “Graduale” or “Antiphonale.” The cantor (or “organizer’) gave the schola the tone. The latter may have sung their first note before the entry of the cantor who then usually began at an interval of an octave and improvised a melisma (a succession of notes of differing lengths). At the cantor’s signal the schola moved on to the next tone, upon which the cantor intoned a concord (at a fifth or an octave or in unison). After the “organizer” gave another melismatic connecting section, the schola went on to the next tone, and thus the pattern was repeated over and over again in the organum part. This section was usually followed by a discant part, and most often at the point at which the text, a word or even just a syllable was performed melismatically. Several notes were, therefore, on one syllable. At this point the upper voice ended its melismatic singing and juxtaposed each tenor note with only one note, or at least with just a few notes. Thus arose the term “note-against-note” movement for the discant part. The tenor and the upper voice then moved on in the same rhythmic pattern. The discant parts sometimes displayed a highly theoretical construction in the tenor. The tenor notes were forced into a rhythmic pattern that always remained the same in its sequence, indeed could be repeated again in its entirety. Such is the case in the first discant part of the first organum “Alleluia: Pascha nostrum." The melodic sequence on “nostrum” is divided into groups of five notes. These five-note groups, that rhythmically are all the same, are called “taleae.” The entire melodic figure on "nostrum," that consists of 41/2 taleae, is termed “color.” In our incident the entire “color” is repeated. The first discant part of our organum thus consists of two "colores." With “immola-” the organum continues with an organal (or “organizing”) section as described above. At “-latus,” however, the second discant section of our piece appears. The "Responsorium" At this point it seems advisable to clarify the performance of a "responsorium," or sung response, in its liturgical-musical context. It would be best to use “Alleluia: Pascha nostrum" in illustration. Let it first be pointed out that all forms of responsoria are vocal pieces that are sung in answer to a reading that has just beenheard. In the case of the responsoria of the breviary, they answer either the "capitulum" (a short reading or “little chapter") or the readings of the three nocturns of the Canonical Hours. The "graduale" is the response to the reading of the Epistle of the mass. It was sung “in gradu,” on the steps leading to the ambo, which was also the customary chancel for the soloists. After the graduale in the earlier liturgy there was another reading that, in turn, was followed by a sung response, the alleluia. But the custom of this second reading was soon dropped from the mass. Nonetheless, the alleluia remained, so that today two responses are sung following the Epistle of the mass: the graduale and the alleluia. Let us explain the construction of a responsorium with the alleluia of the Easter Mass. The cantor intones the "alleluia." Immediately thereafter, the schola (choir) repeats it but this time expanded by a rather long melisma on the final syllable, the ¨jubilus." The cantor sings the verse up to and including “est.” The choir re-enters on the word “Christus” and sings it on an extended melisma that, however, as a rule picks up the melodic material of the “alleluia” at the end. Hereupon the cantor again intones the “responsum," the "alleluia," the melisma of which is completed by the choir. After this explanation of the liturgical performance of a responsorium, let us turn back to the discussion of our organum. In actual practice, it was possible that the previously mentioned second alleluia at the end of the verse would be revised as a two-part section. The cantus firmus line would, of course, remain the same as that of the first alleluia, but the ¨vox organalis¨ would be revised, thus changing the two-part section and making the responsorium more festive, more varied, perhaps one could say even more artistic. The Magnus liber, from which this ¨organum duplum" (two-part organum) is taken, was the great church music of its time; it was one of the first cycles of polyphonic vocal music for all of the high feasts and perhaps comparable to the later Hymnar of Guillaume Dufay, the Choralis Constantinus of Heinrich Isaac or the cantatas of J. S. Bach.

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Master Perotinus Magnus Leonin's successor as cantor at Notre-Dame was Perotinus Magnus. His accomplishments consisted in the revision, supplementation and, in part, new settings of the Magnus liber. Perotin's work was concentrated chiefly on discant sections. The discant sections that Perotin composed could easily be used in a two-part organum of Leonin in place of the latter's discant sections. These sections were usually short and were called "clausulae." Since they could also be substituted for the older ones, they were called alternate clausulae (in German: “Ersatzklauseln”). Through Perotin the clausulae received their special rhythmic style. A large number of them has survived, particular in “W,” and ¨F." The clausulae could also be tripartite. It is thus conceivable that in a two-part organum a three-part movement could suddenly be heard in place of a discant section. This was also true of the performance of three-part motets in the organum. Perotin's repertory was identical with that of Leonin. Moreover, completely new compositions were added, e.g., for the feasts of other saints. Perotin's most important composition, however, was the Organa tripla (the three-part organa) and the two famous organa for four voices (Organa quadrupla): ¨Sederunt principes" and “Viderunt omnes fines terrae.” With every voice that was added to the two-part organum, the music became richer and fuller in tone. This is just what makes Perotin's “tripla” and “quadrupla” so tremendously impressing. His contemporaries, too, were overwhelmed by this incredible innovation. The voices above the tenor were very similarly constructed, in melody and rhythm. Often figure patterns appeared that wandered through all of the voices. Too, whole sections were exchanged between voices. Tonal areas were marked off in which these features appeared time and time again. Thus a kind of static tonal basis resulted that was not jolted into a new position until the tenor tone changed. By such a procedure it is natural that the text hardly ever appeared together as a whole unit. Nearly always it was single syllables that were assigned to such a tonal area so that the listener could perceive only these syllables, but not words, much less sentences. As “optimus magnus", Perotinus Magnus was, of course, equally a master of the polyphonic "conductus" that in its musical movement could, after all, hardly be distinguished from polyphonic clausulae. Thus it is possible that he was also the composer of the conductus “Vetus abit littera". The fact that the organa by this time were usually set for three or four voices logically resulted in the abandoning of the element of improvisation. As cantus-firmus, the tenor still had its long, sustained tones in the organal sections. The upper voices, however, were pressed into a rigid rhythmic pattern that regulated their movement. In the discant parts, in which the tenor through its taut rhythm also began to play a more conspicuous role, lively and tonally artistic movement was achieved. In this way it was possible for the music at Notre-Dame in Paris to become, for musicians of its time, the tremendous achievement recognized in so many reports. To show more clearly what was different and new, the three-part organum of Perotin was deliberately placed next to Leonin's two-part setting of the same text. The arrangement of this great organum triplum by Perotin has but little connection with Leonin's organum duplum. Yet the little that the two have, in common is nonetheless significant. In Leonin's version we encountered two discant sections, those on "nostrum" and on “-latus.” In Perotin's composition these two sections are also in discant movement. But in addition, there is still another discant section in the "alleluia." Only the discant section on “-latus” shows relationship to the Leonin setting. Here Perotin's three-part movement contains, note for note, both voices of the two-part setting. Only the upper voices was new in Perotin's composition. If one separated this ¨-latus" section from its context, one could consider it Perotin's ¨Ersatzklausel." There are still other differences beyond the use of three voices and the new setting inherent in their use. In Perotin's version the "alleluia" is set only once, so that at the end of the verse the entire "alleluia¨ must be repeated from the beginning. Since this "alleluia" contains a discant section, this long Easter responsorium has four relatively lengthy discant sections. Although both sections were basically retained, the difference between the organal sections and discant movements (that was so conspicuous in Leonin's works) was almost non-existent in Perotin's style as a result of the completely rhythmic performance of the upper voices. The rhythmic modes of the upper voices, or better said, of the upper voice complex dominated the work and also presented new possibilities for musical movement. Forms of Early Polyphony The Organum In early times the designation ¨organum" was given to all polyphonic music. In the period with which we are concerned, however, “organum” became the term representing a specific type that was distinct from other forms. Organum then came to mean strictly liturgical music, especially those forms that in Gregorian chants provided for alternate singing between the soloist (cantor) and choir (schola). Thus the rich abundance of responsorium forms in the organum repertory can also be explained. The responsoria were particularly well suited for performance as polyphonic organa. This form’s constant alternation between soloist and choir was of special attraction even in the area of polyphony. It was not by chance that polyphonic revisions held exactly to the liturgical manner of presentation, the alternation between soloist and choir. All of the solo sections were composed polyphonically in the organum while all of the choir sections remained in unison. From this knowledge one can also obtain several indications of their manner of performance. The polyphonic sections were then also given to individual singers while the unison sections were reserved for the choir. The soloists (but a few individual cantors) might have sung from a manuscript similar to those that form our source material of today, but the choir probably sang from a rather large, liturgical book, e.g., a "graduale." Of all the musical forms of the period, surely the organum was the form with the strongest connection to liturgy. The characteristic features of the organum were: The tenor was taken from a Gregorian chant and consisted (a) partially of long, sustained notes juxtaposed by a melismatic upper voice that flowed freely without a fixed rhythm (the organal or “organizing” parts) and (b) partially of rhythmic sections in which the tenor follows the rhythmic pattern of the upper voice (discant parts). In the three-part and four-part organum of Perotin's time, the tenor remained approximately the same, but the upper voices became embedded in a rhythmic movement. In their organal sections they brought melismas in rhythm and thus became more similar to their pattern in the discant sections. The Conductus The ¨conductus" was an accompaning song. It accompanied an action, was performed during a procession, when the deacon proceeded to the ambo (the reading chancel), on reaching the Epistle or the Gospel, or it began the lector's prayer before the reading. The conductus is a discant movement, a note-against-note movement. All of the voices move in rhythm and tone at the same time. This is shown with exceptional clarity by the fact that the notation of the conductus appeared exclusively in the score. The voices - there is one four-part conductus - are composed in exactly the same way. The conductus also always had a “vox principalis" (usually the lowest voice) that sang the principal melody. It was never taken from liturgical music but either invented by the composer or possibly derived from secular music like that of the troubadours and trouvéres. Thus we come upon another very important characteristic of the conductus. The text was always a lay, a poetic and lyric form, and usually had, therefore, polystrophic structure. We find the best poets of the time among the text-writers: Philippe the Chancellor, Philippe de Greve, Petrus von Blois, Walther von Chatillon, Stephan Langton and many others. Again, there were many possible types of musical settings for the conductus: from simple syllabic notation of the text to complicated forms, with all of the levels in between. For example, on the first syllable there might have been a long sequence of notes, a melisma, much like a kind of musical initial as is familiar from book painting in which the first letter is often large and highly ornamented. In some cases, every line of the conductus bore a small melisma as a sign of line or section division. Most often, however, a long, broadly drawn concluding melisma (see “Vetus abit littera") could be found at the end of a conductus. Aside from the initial, line-ending and final melismas, the usually simple performance of the text in the conductus gave this important and principal form of medieval music a very warm, song-like character. It is, therefore, not surprising that it was exactly this form (the conductus) from which various forms of the medieval lay were derived. In its pure form, however, the conductus was relatively short-lived. It was chiefly the motet that outlasted the conductus and determined the subsequent course of development.

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The Motet It was derived directly from the discant part of the organum. In its rhythmic section, the upper voice was given a text. Purely musically, therefore, a discant section is identical with the motet belonging to it. The most unique feature of the motet was its multiple text. While the upper voice received a new text that suited its rhythm, the tenor retained the text that it had had originally in the organum. In the discant part, however, there had usually been only one word or a single syllable (e.g., the motets on “nostrum” and “-latus”). In our example the motet text ¨Gaudeat devotio fidelium" comes over the tenor's word "nostrum" in the first motet, the text “Ave Maria fons laetitiae" over the two syllables of ¨-latus" in the second motet. If, however, the customary substitute clausulae for these sections were for three (or even, though rarely, four) voices, numerous variations could result. First of all, the voices above the tenor might have had the same text and moved in the same rhythm. Such a case may also be termed a “conductus-motet.”In our sources, in fact, only the complex of the several upper voices has sometimes survived; these together have the appearance of a conductus. In such cases the tenor stood written alone at the end of the motet voices in the score. Thus it was relatively easy for the tenor to become lost from the manuscript. (In the four-part motet “Latex silice" in ¨W," there is no tenor, but the conductus-like structure of the three upper voices has been preserved). In another variation of the three-voice motet the "duplum" and "triplum" had individual Latin texts respectively so that together with the tenor’s word a three-text motet was produced, that is also called a double motet. If still a fourth voice with its own text were added, one would then speak of a triple motet. In our source manuscripts we sometimes find one and the same motet in different dress. The tenor and duplum of a three-part motet are nearly always the same in all of the sources. The triplum, on the other hand, very frequently differs not only in text but also in rhythm. At such times the triplum can appear so strange that at first glance the identity of the motet can hardly be recognized. The text of the triplum may be another version or paraphrase of the duplum text or even have a completely different content. Indeed the triplum of later times was often the voice with the native French text. This text was almost thoroughly of a secular, amorous nature and was also much longer than the Latin text of the duplum because of the shorter note-values and their inherently faster tempi. Thus we find at this stage of the motet not only three different texts (either all in Latin or in different languages), but also, and highly significantly, three completely differing rhythms that become: faster and faster from bottom to top, i.e., also have shorter and shorter note-values. Here the something new began to appear that was to lead to the epoch which Philippe de Vitry labelled ¨ars nova." It was not seldom that the Latin texts of the motets were built on a very definite pattern. Frequently they showed a strong connection with the tenor word. They often began with the word of the tenor and more often ended with it (see the motet “O maria maris stella” - tenor: ¨veritatem", conclusion of the duplum “in veritate"). Since, as already stated, the originally two-part movement of tenor + duplum usually reappeared unaltered in the three-part motet, the motet was always designated by the first voice above the tenor, i.e., the duplum (e.g. “De se debent bigami" to the tenor ¨Kyrie"). Of the three major forms of the “Ars Antiqua" the motet was the liveliest that could, and surely did, appear in new dress (new triplum, new text) time after time, according to the needs of the performing musician. In the variety of forms in which it appeared, the motet presented many questions of practical music-making. These will be briefly discussed in the section entitled ¨Our Performances." Notation and Rhythm Individual signs in the notation of this music are familiar to us from the manner of Gregorian notation in liturgical books even of our own day. Yet while the notes in choral notation are considered indifferent with respect to rhythm, the notation signs of this polyphonic music have rhythmic significance. This cannot be seen from the form of the notes, it is true, but it can be recognized from the rhythmic scheme, tbe mode, on which the given work was based. In this connection there was a whole series of rules. The system of notation is also called “square notation,” from the shape of the notes. All of the notes had the shape of small squares. In terms of rhythm, one also speaks of modal notation. When several notes appear together as a sign, they are called ligatures. It was very popular to notate melismatic sections, in particular, in whole chains of ligatures. All of the music of the Notre-Dame epoch, of the “Ars Antiqua" in general, was written in modal notation. How the modes, the rhythmic schemes, came about has not yet been completely explained. They are usually thought of in connection with classical prosody. Theoreticians propagate the following six modes in particular: 1st mode: trochee 2nd mode: iambus 3rd mode: dactyl 4th mode: anapest 5th mode: spondee sixth mode: tribrach The mode could be recognized from the sequence of certain ligatures or notational signs. Individual modes were especially well suited for certain voices in the organum and the motet. Thus, the lowest voice, the tenor, almost always appeared in the fifth mode and written in single notes that were called “simplices.” The sixth mode was especially for the lively tripla of the later motets. Whenever one voice began with a three-tone ligature that was followed only by two-tone ligatures, the rhythm was that of the first mode which certainly occurred the most frequently. The second mode showed the reverse picture: a three-tone ligature always stood at the end of a series of two-tone ligatures. The most rarely used rhythm was that of the fourth mode that, in turn, was the reverse of the third mode that we have found quite often in the preserved manuscripts. In this mode a single note was always followed by three-tone ligatures. As we see, all of the modes use a three-part rhythmic pattern. In our subject period there was also the system called mensural notation. If each of the various signs in modal notation had a certain value in connection with the sequence of notes, a fixed value was usually given to each sign in mensural notation. We have important examples of this notation system in the Codices Bamberg, Montpellier and Las Huelgas, in the last of which we find many “Ars Antiqua” motets and conductus that were written using the mensural system. For many reasons (that cannot be entered upon here) it is highly doubtful that all of this music could be transcribed into modern notation. Let us mention as an example only the rests used in the available transcriptions and found in the sourcesas little dashes within the system of lines. The dashes often have simply the meaning of a hyphen between syllables, words, lines or sections. They have nothing to do with interpretation of the rhythm and are, at any rate, far removed from having any clear rhythmic value.

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The Selection The selection on the first part contains only music from the large Notre-Dame manuscripts, that is, the most significant examples of the great period from Leonin to Perotin. Why the ¨Alleluia: Pascha nostrum" appears twice has already been explained above. Let us once more point with emphasis to the problem of dating the two great musicians, as well as to the questionable ascription of the works to the one of the two. Of our selection, the "Benedicamus domino” was perhaps written by Perotinus Magnus. It is one of the most important of the relatively numerous Benedicamus settings. This versicle after all ended all of the prayers of the breviary and the masses as well. Consequently, there was need for a certain supply of such settings. The other ¨Benedicamus domino" (with which the first part of the record ends) must be termed an odd specimen. Its original setting is almost the same as that of the other Benedicamus, but texts were given to the two voices above the tenor, thus forming an impressive Benedicamus motet that reveals its derivation from the organum and also its connection to (indeed, features of) the conductus. The conductus “Vetus abit littera" also takes a unique position. It belongs to the very small group of four-voice movements in the Notre-Dame repertory and should be classified, like the large four-part organa, as music for the Christmas festival. First section of the last part is dedicated especially to the thirteenth century motet manuscripts that wherever possible, as in the case of the Codex Montpellier, represent unique works or pieces of very special style. The motet “Alle psallite cum luia” is found in the Codex Montpellier but originated in England. It is an example of a perfectly formed motet that almost begins to foreshadow the later settings of "caccia" pieces in Italy. A comparison of the motet “Ave gloriosa" (Bamberg Ms) with the conductus “Ave gloriosa" of an English manuscript shows quite clearly how vague the lines of demarkation between the conductus and the motet can be. The musicians’ manner of proceeding also becomes clear to us. For the text in the English version the tenor “Domino” was simply broken down into smaller note-values so that the text could be sung uniformly in all of the voices: truly a conductus movement. In the Bamberg motet a triplum “Ave virgo regia" in the sixth mode was added to the already existing basic movement of tenor “Domino” + duplum “Ave gloriosa." The change that comes over the entire movement is amazing. The pieces on the second section of the last part are quite special. They are taken, almost exclusively, from German manuscripts of a later time. Musically speaking, all of these pieces bear the features of the “old art” style in every way, even though they may not have been composed until long after the period of its flowering. Such unusual forms like the three-part Christmas reading “Primo tempore” and the church consecration gospel “Egressus Jesus," that quite thinkably could have been performed by three deacons (much like the performance of the Passion on the pitches f - c' - f¨), make it clear that polyphony could not be stopped, so to speak. To increase the pomp and ceremony of the worship service, all kinds of texts and liturgical points were chosen. A basic aim of our recordings was to show all of this in outline, particularly the long peripheral survival of old musical customs especially in South German areas. Our Performances Right at the beginning it must be stated that our manner of performing this music is but one of many possible ways. We know little, indeed almost nothing, of how organa and motet may have sounded in Notre-Dame in Paris. We have no certain knowledge on either the instrumental or purely vocal roles played in such performances. We have attempted to subdivide the individual pieces on the basis of the liturgy. For this reason the two “Kyrie” movements, the sanctus, the sequences, etc., have been sung in the customary antiphonal manner. The performance of the responsorial forms has already been treated. In the case of motets that can be classified as conductus-motets, it is certainly also possible to perform the triplum instrumentally (e.g., the motet “O Maria maris stella”); whereas motets with mixed texts in the upper voices clearly demand vocal performance by soloists. As a rule the tenor has been played instrumentally, that is, by several instruments. In motets that display a completed tenor part (not just the rhythmic pattern of a tenor word), like that in Brumas e mors or Kyrie, the tenor has been sung or sung and played. For better understanding of the structure of motets, each of the pieces mentioned was first recorded emphasizing the tenor, while the upper parts were played instrumentally, and then recorded with full distribution of the parts. Instruments have been used sparingly; they are meant to serve only as an aid and to give tonal color to the sustained notes of the organa, as well as to accentuate their discant parts. Of what importance is the question concerning historic or, indeed, original instruments with regard to Notre-Dame music? Who knows anything binding about their application and use? Certainly a number of the instruments employed on these records has existed before in some other form. But who can state anything about their true sound? It is for these reasons that this recording represents only one possibility. Of course, it was necessary to give much thought to the application of each instrument. The aim of any attempt, however, can be only to achieve a tenable tonal picture commensurate to the time, on the basis of the best possible knowledge of the source material and convinced application of materials and forces. Overview of the literature of this era Arnold Geering: Die Organa und mehrstimmigen Conductus in den Handschriften des deutschen Sprachgebietes vom 13. bis 16. Jahrhundert. Bern, 1952 Friedrich Gennrich: Florilegium Motetorum, ein Querschnitt durch das Motettenschaffen des 13. Jahrhunderts. Langen bei Frankfurt, 1966 Theodor Göllner: Formen früher Mehrstimmigkeit in deutschen Handschriften des späten Mittelalters. Münchner Veröffentlichungen zur Musikgeschichte, Bd. 6, Tutzing 1961 Heinrich Husmann: Die drei- und vierstimmigen Notre-Dame-Organa. Publikationen älterer Musik, Bd. XI, 1940 Friedrich Ludwig: Repertorium Organorum Recentioris et Motetorum Vetustissimi Stili. 2. Aufl. 1964 hrsg. von Luther Dittmer. William G. Waite: The Rhythm of Twelfth Century Polyphony, Its Theory And Practice. Yale 1954 Frieder Zaminer: Der Vatikanische Organum-Traktat (Ottob. lat. 3025). Münchner Veröffentlichungen zur Musikgeschichte, Bd. 2, Tutzing 1959 Telefunken “Das Alte Werke” (SAWT 9530-31-B), 1969

[@scottkleyla7752]

Easter 3/13/2023 music study,Saint James Lutheran,White County,Indiana.Let us pray Brothers and Sisters.

[@armindodias6308]

Sublime...on s'y croirait, à l'époque du moyen âge..Dans cette très belle musique est exprimée très fortement et profondément la foi des chrétiens...

[@fulgenjbatista4640]

🕊🌟🕊 ABSOLUTELY BEAUTIFUL 🙏💜🙏 💜🎵💜

[@nuny_man3587]

Thanks for sharing this masterpieces 🕊️🕊️🕊️🕊️

[@user-mz5bu3se8c]

I enjoyed a lot these primitive and powerful harmony of Ars Antiqua era music . Thanks for sharing.

[@user-mz5bu3se8c]

When I was young I learned the Western Music History and I knew about the Ars Antiqa music before the Ars Nova era.

[@user-oj5et7hr1c]

@@user-mz5bu3se8c さま 凄いね。 天から降る音楽。 やっと、蝉の声の意味が理解できた。 この音楽は、自覚させるんだ。 僕の耳鳴りはこの音楽と共振する。 恐怖だった。幼いころ山彦の聴こえる場所で、胸を 締め上げる恐怖。恐怖を知ってる。 この恐怖と戦うために生きて来たんだ。 ジェットコースターに乗ったのも、バンジージャンプを したのも、恐怖からの自由をえるためだった。 祖父の大声は、頭上１メートルを走る電車の轟音だった。 なぜ、高架下を通る時、電車が走るのだろうと不思議だった。 献身の音楽。 脳室周囲器官（circumventricular organs、CVO）は生命維持に関わる恒常性を制御する重要脳器官である。 主要な構造器官には 脳弓下器官（subformical organ）、 交連下器官（subcommissural organ）、 松果体（pineal body）、 最後野（area postrema）、 正中隆起（median eminence）、 神経下垂体（neurohypophysis）、 血管器官（organum vasculosum） があげられる。 脳室周囲器官は自ら分泌するホルモンなどの物質を全身に運ぶ必要があるため 脳室周囲器官では血液脳関門が発達していない。 脳室周囲器官は血管に富み、脳内への選択的物質輸送を担う有窓性毛細血管が密集するとともに 脳室側から脳膜側に長い突起を伸ばした特殊な上衣細胞のタニサイトがある。 脳室周囲器官は 血液脳関門が存在しないことから、その中の細胞は様々な生体物質の変化や侵入に直接暴露されているため 「脳の窓」と呼ばれている。 「脳の窓」を閉じるのに必死だった。 代償は、オルガスム。 オーガズム（英: Orgasm）・オルガスムス（独: Orgasmus）は、 累積的な性的緊張からの突然の解放のことであり、 骨盤まわりの筋肉のリズミカルな痙攣を伴い、強い快感を生んだ後に弛緩状態に至るもののことである。 いつも僕を救ってくれますね。 素適な音楽をありがとうございます。

[@user-mz5bu3se8c]

@@user-oj5et7hr1c さま ＂そふぃーの音語り＂番外 アルスアンティカは、主に 12〜3世紀のノートルダム 学派と呼ばれる一派から 始まった多声音楽への試み で、後のアルスノヴァ(新 音楽)と自称した音楽家達が その前の音楽を自分たちに 対比させ、古いと呼んだの でした。 長らくグレゴリオ聖歌の ように、単旋律の節を皆で 斉唱してきたものに、例え ば4度とか5度下に並行に 音を付けて、高さの違う 旋律が二本一緒に動くよう な形が最初の工夫でした。 多声音楽ポリフォニーの 初期のスタイルで、これが オルガヌムです。 そのうちグレゴリオ聖歌の ゆったりした定旋律の上に 並行だったり反対の動きや 交差するような、自由な 動きの対旋律が生まれ、音も 一対一でなく、定旋律一音 に対旋律が二音以上に増え たり、リズムの分割も出現 します。 面白いのは、キリスト教の 教義三位一体が反映されてて 今の感覚だと三連符が基本 です🎶タタタ🎶タタタ これがタータ　タータや 　　　タター　タター などと組み合わせた リズムモードで変化をつけ ています。 リズムの工夫と併せ、旋律 線もさらに三声、四声と 増え複雑化します。 和声の響きとしては4度5度 の完全音程的力強さを感じ ますが、反面、稚拙感や 空虚感は否めません。 教義の転写とパターンの 範囲で構築された捧げもの。 当時の記譜法も古風で、 羊皮紙の写本によくありま すが、音符♩の頭が四角に なっていて、装飾的な歌詞 と合わせた楽譜は、色鮮やか な美術品のようです。 神への献身の音楽。 聖堂の天井から注ぐ響きの シャワーは、まさに蝉の 鳴き声ですね。 厳しい戒律と規則の中で 構築される音楽世界。 極限まで累積する抑圧され た緊張。 これが真にリズミカルな 痙攣と強い快感を生み、弛緩 するには次のさらに自由な 14世紀、アルスノヴァの 声楽世界を待たなくてはなり ません。 オルガンに課せられた試練🦆

[@user-mz5bu3se8c]

@@user-oj5et7hr1c さま 🐰のフィルターを通した 理解ですから、大雑把な 解説です。 アルスアンティカ独特の 味わい、硬さとある種の緊張 を孕む音世界が🐦さまの 気持ちを⤵️しませんように。 これも美の有りようです。 「歓喜咲楽」 ヨロコビヱラキアソブへと 変換できます。 🐰も遥か昔、大学で聴いて 以来、古楽に興味はあっても なかなかこの時代まで、 遡ることはなかったのでした。 このコンテンツに出会った のが、ちょうど去年の今日 だったのも、意味有りげに 感じます。 その時は、大学の授業を 思い出した懐かしさだけ でしたが、今回は 万華鏡のように色んな景色が 感じられます。 🐦さま、ジェットコースタ ーだけでなく、バンジー ジャンプまで挑戦なさって いたとは驚きましたが、 落下するばかりではありま せんね。 ⤵️は⤴️とセットと思って います。 おやすみなさい。良い夢を。

[@user-mz5bu3se8c]

@@user-oj5et7hr1c さま 🐦さま二つ目のコメ、 タッチした後消えていますが、 お読みできた事をお伝え しておきます。 覚猷 （かくゆう1053年- 1140年) 平安時代後期の天台僧。 鳥羽僧正と世に呼ばれてる方。 日本仏教界の重職を務めた 高僧であるのみならず、 絵画にも精通した、 鳥獣人物戯画作者らしいと されていますが不明。 でも、ユニークでユーモア あふれる作風と、僧正さまの 経歴やエピソードから浮かぶ お人柄は、戯画の世界観に ピッタリと🐰は思いました。 アルスアンティカの神学に 裏打ちされた音世界。 キリスト教の神学は多分、 学問として理論体系を組み 立て権威付けするうち、 キリスト本来の精神から かけ離れていったのではと 思います。 何と言っても、根底にある 原罪意識は、人間に対する 信頼が感じられません。 今朝見た国宝紹介番組の 続きで、やっぱりアルス アンティカと対極の、⤴️ 上昇世界はあった！ それも同時代の日本に！と 嬉しくなりました。 それが鳥獣人物戯画の世界。 甲乙丙丁の四巻の絵は、 それぞれ筆致が違うので、 作者も複数人だったと思われ ますが、改めてその軽々した 楽しい世界は、生き物も人も 同列に人生を謳歌してます。 有名な甲巻の兎やカエルの お相撲や水遊びだけでなく 人々の生活にある遊びや お祭り、空想上の動物まで どの一瞬にも怒りや不安は ありません。 例え腐敗していただろう 俗な僧侶の生態さえ、笑い を誘い暗さは微塵も感じら れません。 墨と筆による迷いのない 描線が、紙という二次元の 平面に躍ります。 作者が異なっても、それぞれ 確かな描写力で、稚拙感は ありません。 さすが漫画の原点と言われる だけのことはあります。 これこそ舞い上がる音楽に 思えました。 西洋のアルスノヴァを待た ずとも、日本には最初から あったのです。 快感と弛緩する世界が。 先日の霧島神社に始まり、 タイミング良くこんな番組 に出会って、🐰はツイてる 🦆〜

[@dbadagna]

The performance of Ars Antiqua music was so good in 1968? Was this performance released on LP?

[@calefonxcalectric]

Yes

[@dbadagna]

@@calefonxcalectric On the Telefunken "Das Alte Werk" label

[@armindodias6308]

... Dommage pour le disque rayé...😢

[@jongbao1586]

un disque non rayé aurait été parfait !