https://www.cpdl.org/wiki/api.php?action=feedcontributions&user=Rp&feedformat=atomChoralWiki - User contributions [en]2024-03-29T07:49:21ZUser contributionsMediaWiki 1.39.4https://www.cpdl.org/wiki/index.php?title=Missa_Pro_defunctis_a_4_(Tom%C3%A1s_Luis_de_Victoria)&diff=1788725Missa Pro defunctis a 4 (Tomás Luis de Victoria)2024-02-21T17:16:57Z<p>Rp: /* General Information */ add a link to RISM (which in turn links to an original edition)</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
===Complete Mass===<br />
<br />
*{{PostedDate|2004-10-19}} {{CPDLno|8216}} [{{website|Victoria}}/partituras.html {{net}}] PDF, PS, MIDI & LilyPond files<br />
{{Editor|Nancho Alvarez|2004-10-19}}{{ScoreInfo|A4|30|}}{{Copy|Personal}}<br />
:{{EdNotes|Listed under 'Misas'. Full score and individual parts available as midi files. (22 pages without responsories.)}}<br />
<br />
===Individual movements===<br />
<br />
'''Introitus and Kyrie'''<br />
*{{PostedDate|2003-05-22}} {{CPDLno|5127}} [[Media:ws-vict-9b.pdf|{{Pdf}}]] [[Media:ws-vict-9b.mid|{{Mid}}]] [[Media:ws-vict-9b.mxl|{{XML}}]] [[Media:ws-vict-9b.enc|{{Enc}}]]<br />
{{Editor|Pablo Rosario|2003-05-22}}{{ScoreInfo|A4|4|156}}{{Copy|CPDL}}<br />
<br />
'''Graduale'''<br />
*{{PostedDate|2003-05-22}} {{CPDLno|5128}} [[Media:ws-vict-9c.pdf|{{Pdf}}]] [[Media:ws-vict-9c.mid|{{Mid}}]] [[Media:ws-vict-9c.mxl|{{XML}}]] [[Media:ws-vict-9c.enc|{{Enc}}]]<br />
{{Editor|Pablo Rosario|2003-05-22}}{{ScoreInfo|A4|3|148}}{{Copy|CPDL}}<br />
<br />
==General Information==<br />
{{Title|''Missa pro defunctis à 4''}}<br />
{{Composer|Tomás Luis de Victoria}}<br />
<br />
{{Voicing|4|SATB}}<br />
{{Genre|Sacred|Requiems|9=Victoria, Tomas Luis de}}<br />
{{Language|Latin}}<br />
{{Instruments|A cappella}}<br />
{{Pub|1|1583|in ''{{NoCo|Missarum libri duo}}''|no=5}}<br />
{{Pub|2|1852|in {{NoComp|Lira sacro-hispana|Hilarión Eslava}} (ed. Hilarión Eslava)|vol=Volume 2|no=7}}<br />
{{Descr|Victoria's [[Missa Pro defunctis a 6 (Tomás Luis de Victoria)|six-part ''Requiem'']] (1605) is based on this four-part composition.}}<br />
{{#ExtWeb:<br />
*{{IMSLP2|Missa pro defunctis (Victoria, Tomás Luis de)}}<br />
*[https://opac.rism.info/rism/Record/rism857002291 Missa pro defunctis, V (4) ''(Victoria, Tomás Luis de)''] at ''opac.rism.info''<br />
}}<br />
<br />
==Original text and translations==<br />
{{MassText|Requiem|Gr=Requiem aeternam|T=|Seq=|Libera me|Peccantem me quotidie|Credo quod redemptor}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Yver,_vous_n%27estes_qu%27un_villain_(Claude_Debussy)&diff=1785646Yver, vous n'estes qu'un villain (Claude Debussy)2024-02-03T22:01:56Z<p>Rp: /* General Information */ remove broken links; YouTube hosts plenty of performances</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|1999-05-16}} {{CPDLno|102}} [[Media:ws-debu-003.pdf|{{Pdf}}]] [[Media:ws-debu-003.mid|{{Mid}}]] [[Media:ws-debu-003.mxl|{{XML}}]] [[Media:ws-debu-003.MUS|{{mus}}]] (Finale 2000)<br />
{{Editor|Rafael Ornes|1999-05-16}}{{ScoreInfo|Letter|5|1468}}{{Copy|CPDL}}<br />
:{{EdNotes|revised March 25, 2001.}}<br />
<br />
==General Information==<br />
{{Title|''Yver, vous n'estes qu'un villain''}}<br />
{{Composer|Claude Debussy}}<br />
{{Lyricist|Charles d'Orleans}}<br />
<br />
{{Voicing|4|SATB}}<br />
{{Genre|Secular|Chansons}}<br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
{{Pub|1|1908|in {{NoComp|Trois Chansons|Claude Debussy}}|no=3}}<br />
<br />
==Original text and translations==<br />
{{Text|French|<br />
Yver, vous n'estes qu'un villain;<br />
Esté est plaisant et gentil<br />
En témoing de may et d'avril<br />
Qui l'accompaignent soir et main.<br />
<br />
Esté revet champs, bois et fleurs<br />
De sa livrée de verdure<br />
Et de maintes autres couleurs<br />
Par l'ordonnance de Nature.<br />
<br />
Mais vous, Yver, trop estes plein<br />
De nège, vent, pluye et grézil.<br />
On vous deust banir en éxil.<br />
Sans point flater je parle plein,<br />
Yver, vous n'estes qu'un villain.}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Early 20th century music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Quant_j%27ai_ouy_le_tabourin_(Claude_Debussy)&diff=1785645Quant j'ai ouy le tabourin (Claude Debussy)2024-02-03T22:01:18Z<p>Rp: /* General Information */ remove broken link; YouTube hosts plenty of performances</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|2005-08-29}} {{CPDLno|9040}} [[Media:Debussy_tambourin.pdf|{{pdf}}]] [[Media:Debussy_tambourin.mid|{{mid}}]] [[Media:Debussy_tambourin.mxl|{{XML}}]] [[Media:Debussy_tambourin.nwc|{{NWC}}]]<br />
{{Editor|Françoise Jacquemard|2005-08-29}}{{ScoreInfo|A4|7|320}}{{Copy|CPDL}}<br />
:{{EdNotes|}}<br />
<br />
*{{PostedDate|2000-10-10}} {{CPDLno|1467}} [[Media:ws-debu-002.pdf|{{Pdf}}]] [[Media:ws-debu-002.mid|{{Mid}}]] [[Media:ws-debu-002.mxl|{{XML}}]] [[Media:ws-debu-002.mus|{{mus}}]] (Finale 1998)<br />
{{Editor|Rafael Ornes|2000-10-10}}{{ScoreInfo|Letter|5|130}}{{Copy|CPDL}}<br />
:{{EdNotes|2nd of three chansons.}}<br />
<br />
==General Information==<br />
{{Title|''Quant j'ai ouy le tabourin''}}<br />
{{Composer|Claude Debussy}}<br />
{{Lyricist|Charles d'Orleans}}<br />
<br />
{{Voicing|6|AATTBB|add=with {{Vcat|Solo Alto}}.}}<br />
{{Genre|Secular|Chansons}}<br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
{{Pub|1|1908|in {{NoComp|Trois Chansons|Claude Debussy}}|no=2}}<br />
<br />
==Original text and translations==<br />
{{Text|French|<br />
Quant j'ai ouy le tabourin<br />
Sonner, pour s'en aller au may<br />
En mon lit n'en ay fait affray<br />
Ne levé mon chief du coissin<br />
<br />
En disant: il est trop matin<br />
Ung peu je me rendormirai:<br />
Quant j'ai ouy le tabourin<br />
Sonner pour s'en aller au may.<br />
<br />
Jeunes gens partent leur butin:<br />
De non cha loir m'accointeray<br />
A lui je m'a butineray<br />
Trouvé l'ay plus prouchain voisin;<br />
<br />
Quant j'ai ouy le tabourin<br />
Sonner pour s'en aller au may.<br />
En mon lit n'en ay fait affray<br />
Ne levé mon chief du coissin.}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Early 20th century music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Dieu!_qu%27il_la_fait_bon_regarder!_(Claude_Debussy)&diff=1785644Dieu! qu'il la fait bon regarder! (Claude Debussy)2024-02-03T22:00:24Z<p>Rp: /* General Information */ remove broken links, YouTube hosts plenty of performances</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|2016-03-29}} {{CPDLno|39092}} [[Media:Debussy-1-Trois_chansons.pdf|{{pdf}}]] [[Media:Debussy-1-Trois_chansons-0-Tutti.mid|{{mid}}]] [[Media:Debussy-1-Trois_chansons.mxl|{{XML}}]]<br />
{{Editor|Robert Urmann|2016-03-29}}{{ScoreInfo|Executive|3|200}}{{Copy|CPDL}}<br />
:{{EdNotes|}}<br />
<br />
*{{PostedDate|2004-02-20}} {{CPDLno|6768}} [{{website|chorusrehearsal}} {{net}}]<br />
{{Editor|John D. Smith|2004-02-20}}{{ScoreInfo|43 x 60 cm|3|113}}{{Copy|Personal}}<br />
:{{EdNotes|Scores listed alphabetically by composer. All scores available in [[Scorch]] format, some are also available as PDF files.}}<br />
<br />
*{{PostedDate|1999-02-03}} {{CPDLno|101}} [[Media:ws-debu-001.pdf|{{Pdf}}]] [[Media:ws-debu-001.mid|{{Mid}}]] [[Media:ws-debu-001.mxl|{{XML}}]] [[Media:ws-debu-001.mus|{{mus}}]] (Finale 1998)<br />
{{Editor|Rafael Ornes|1999-02-03}}{{ScoreInfo|Letter|3|109}}{{Copy|CPDL}}<br />
:{{EdNotes|Revised March 22, 2001.}}<br />
<br />
==General Information==<br />
{{Title|''Dieu! qu'il la fait bon regarder!''}}<br />
{{Composer|Claude Debussy}}<br />
{{Lyricist|Charles d'Orleans}}<br />
<br />
{{Voicing|4|SATB}}<br />
{{Genre|Secular|Chansons}}<br><br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
{{Pub|1|1908|in {{NoComp|Trois Chansons|Claude Debussy}}|no=1}}<br />
<br />
==Original text and translations==<br />
{{top}}{{Text|French|<br />
Dieu! qu'il la fait bon regarder<br />
la gracieuse bonne et belle;<br />
pour les grans biens que sont en elle<br />
chascun est prest de la loüer.<br />
Qui se pourrait d'elle lasser?<br />
Toujours sa beauté renouvelle.<br />
Par de ça, ne de là, la mer<br />
ne scay dame ne damoiselle<br />
qui soit en tous bien parfais telle.<br />
C'est un songe que d'y penser:<br />
Dieu! qu'il la fait bon regarder.}}<br />
{{mdl|3}}<br />
{{Translation|English|<br />
God, what a vision she is;<br />
one imbued with grace, true and beautiful!<br />
For all the virtues that are hers<br />
everyone is quick to praise her.<br />
Who could tire of her?<br />
Her beauty constantly renews itself;<br />
On neither side of the ocean<br />
do I know any girl or woman<br />
who is in all virtues so perfect;<br />
it's a dream even to think of her;<br />
God, what a vision she is.}}<br />
{{mdl|3}}<br />
{{Translation|German|<br />
Gott! Was hast du ihr für eine Schönheit verliehen!<br />
Die Anmutige ist edel und fein.<br />
Für die großen Gaben in ihr,<br />
ist jeder bereit sie zu preisen.<br />
Wer nur könnte von ihr lassen.<br />
Immerfort erneuert sie ihre Schönheit.<br />
Nirgendwo dies- oder jenseits des Meeres,<br />
kenne ich eine Dame oder ein Mädchen,<br />
die in all ihren Gaben so vollkommen wäre.<br />
Es ist ein süßer Traum, daran zu denken.<br />
Gott! Was hast du ihr für eine Schönheit verliehen!<br />
<br />
(Verbesserungen erwünscht!)}}<br />
{{btm}}<br />
[[Category:Sheet music]]<br />
[[Category:Early 20th century music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Adieu_m%27amour_I_(Alexander_Agricola)&diff=1785641Adieu m'amour I (Alexander Agricola)2024-02-03T21:45:21Z<p>Rp: /* Original text and translations */ attempt to improve the translation, but I'm not sure what 'passer' meant at the time</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|2013-06-27}} {{CPDLno|29527}} [[Media:13_Adieu_mamour_I_-_agricola Frans.pdf|{{pdf}}]] [[Media:13_Adieu_mamour_I_-_agricola Frans.mxl|{{XML}}]]<br />
{{Editor|Erik Kaashoek|2013-06-27}}{{ScoreInfo|A4|2|31}}{{Copy|CPDL}}<br />
:{{EdNotes|Reconstruction of the French text}}<br />
<!--<br />
*{{:Edition:CPDL 13576}}--><br />
<br />
==General Information==<br />
{{Title|''Adieu m'amour''}}<br />
{{Composer|Alexander Agricola}}<br />
<br />
{{Voicing|3|ATB}}<br />
{{Genre|Secular|Chansons}}<br />
{{Language|English| French}}<br />
{{Instruments|A cappella}}<br />
{{Pub|0|c.1508|in ''Basevi Codex''|no=60|ms=ms}}<br />
{{Pub|0|1509–1514|in ''The Chansonnier of Françoise de Foix''|no=21|ms=ms}}<br />
{{Descr| }}<br />
{{#ExtWeb:}}<br />
==Original text and translations==<br />
{{Top}}<br />
{{Text|French|<br />
Adieu m'amour et mon désir,<br />
de vous je prens departement.<br />
Si je vous ay fait desplaisir,<br />
passant vostre commandement,<br />
pardonnez moi joyeusement:<br />
j'ay mis mon cueur à si grant paine<br />
à vous servir loyalement --<br />
helas! helas! j'ay bien perdu ma paine. (2x)<br />
}}<br />
{{Middle}}<br />
{{Translation|English|<br />
Farewell, my love and my desire;<br />
of you I take my leave.<br />
If I have displeased you,<br />
disregarding (?) your commands,<br />
pardon me happily:<br />
I have put my heart at such pains<br />
to serve you loyally --<br />
alas! alas! -- I have well wasted my trouble.}}<br />
{{Bottom}}<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Le_Chant_des_Oiseaux_(Cl%C3%A9ment_Janequin)&diff=1785637Le Chant des Oiseaux (Clément Janequin)2024-02-03T21:22:09Z<p>Rp: add a note about the birdsong</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|2013-05-24}} {{CPDLno|29228}} [[Media:Janequin_LeChantDesOyseaux_TTBB.pdf|{{pdf}}]] [[Media:Janequin_LeChantDesOyseaux_TTBB.mxl|{{XML}}]]<br />
{{Editor|Mathias Lindner|2013-05-23}}{{ScoreInfo|A4|15|171}}{{Copy|CPDL}}<br />
:{{EdNotes|transposed a fourth down for TTBB.}}<br />
<br />
*{{PostedDate|2008-03-28}} {{CPDLno|16469}} [[Media:Oyseaux211-Endfassung.pdf|{{pdf}}]] [[Media:Oyseaux211-Endfassung.MID|{{mid}}]] [[Media:Oyseaux211-Endfassung.ly|{{ly}}]]<br />
{{Editor|Till Rettig|2008-03-28}}{{ScoreInfo|A4|19|198}}{{Copy|Public Domain}}<br />
:{{EdNotes|}}<br />
:{{ScoreError|Wrong notes in b.13,75,114,145,184-5, text in alto b.104, bass b.168-183}}<br />
*{{PostedDate|2008-02-16}} {{CPDLno|16036}} [[Media:501.pdf|{{pdf}}]] [[Media:br-501.mid|{{mid}}]] [[Media:br-501.mxl|{{XML}}]] [[Media:br-501.nwc|{{NWC}}]]<br />
{{Editor|Brian Russell|2008-02-15}}{{ScoreInfo|A4|24|158}}{{Copy|CPDL}}<br />
:{{EdNotes|{{NWCV}}}}<br />
<br />
*{{PostedDate|2003-04-19}} {{CPDLno|4774}} [[Media:ws-jane-oys.pdf|{{Pdf}}]] [[Media:ws-jane-oys.mid|{{Mid}}]] [[Media:ws-jane-oys.mxl|{{XML}}]] [[Media:ws-jane-oys.sib|{{sib}}]] (Sibelius 2)<br />
{{Editor|John Henry Fowler|2003-04-19}}{{ScoreInfo|Letter|25|240}}{{Copy|CPDL}}<br />
:{{EdNotes|revised 5/21/03.}}<br />
<br />
*{{PostedDate|2000-09-22}} {{CPDLno|1390}} [[Media:ws-jane-cha.pdf|{{Pdf}}]] [[Media:ws-jane-cha.mid|{{Mid}}]] [[Media:ws-jane-cha.mxl|{{XML}}]] [[Media:ws-jane-cha.mus|{{mus}}]] (Finale 2000)<br />
{{Editor|Claudio Macchi|2000-09-22}}{{ScoreInfo|Letter|15|309}}{{Copy|CPDL}}<br />
:{{EdNotes|}}<br />
<br />
==General Information==<br />
{{Title|''Le Chant des Oiseaux''}}<br />
{{Composer|Clément Janequin}}<br />
<br />
{{Voicing|4|SATB, TTBB}}<br />
{{Genre|Secular|Chansons}}<br><br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
{{Pub|1|c.1528|in ''{{NoCo|Chansons de maistre Clement Janequin}}''|no=1}}<br />
{{Pub|2|1540|in ''[[Le difficile des chansons]]'' (Jacques Moderne)|vol=Livre 1|no=19}}<br />
{{Pub|3|1551|in {{NoComp|Cinquièsme livre du recueil|Nicolas Du Chemin}} (Nicolas Du Chemin)|no=1}}<br />
{{Pub|4|1847|in ''[[Recueil des morceaux de musique ancienne]]''|vol=Volume 11|no=123}}<br />
{{Descr|See [[Le chant des oiseaux (short version) (Clément Janequin)|here]] for a short version.}}<br />
{{#ExtWeb:{{Choralia|filter=Janequin+jc01}}}}<br />
<br />
This song contains passages of birdsong, each imitating the specific type of song produced by the species of bird mentioned in the text at that point.<br />
<br />
==Original text and translations==<br />
{{top}}<br />
{{Text|French|<br />
Reveillez vous, coeurs endormis<br />
Le dieu d’amour vous sonne.<br />
A ce premier jour de may,<br />
Oyseaulx feront merveillez,<br />
Pour vous mettre hors d’esmay<br />
Destoupez vos oreilles.<br />
Et farirariron (etc…)<br />
Vous serez tous en ioye mis,<br />
Car la saison est bonne.<br />
<br />
Vous orrez, à mon advis,<br />
Une dulce musique<br />
Que fera le roy mauvis (le merle aussi)<br />
D’une voix autentique.<br />
Ty, ty, pyty. (etc…)<br />
Rire et gaudir c’es mon devis,<br />
Chacun s’i habandonne.<br />
<br />
Rossignol du boys ioly,<br />
A qui le voix resonne,<br />
Pour vous mettre hors d’ennuy<br />
Vostre gorge iargonne:<br />
Frian, frian, frian (etc…)<br />
Fuiez, regrez, pleurs et souci,<br />
Car la saison l’ordonne.<br />
<br />
Ariere maistre coucou,<br />
Sortez de no chapitre.<br />
Chacun vous donne au bibou,<br />
Car vous n’estes q’un traistre.<br />
Coucou, coucou (etc…)<br />
Par traison en chacun nid,<br />
Pondez sans qu’on vous sonne.<br />
<br />
Reveillez vous, coeurs endormis,<br />
Le dieu d’amours vous sonne.}}<br />
{{Middle}}<br />
{{Translation|English|<br />
Awake, sleepy hearts,<br />
The god of love calls you.<br />
On this first day of May,<br />
The birds will make you marvel.<br />
To lift yourself from dismay,<br />
Unclog your ears.<br />
And fa la la la la (etc…)<br />
You will be moved to joy,<br />
For the season is good.<br />
<br />
You will hear, I advise you,<br />
A sweet music<br />
That the royal song thrush will sing (the blackbird, too)<br />
In a pure voice.<br />
Ti, ti, pi-ti (etc…)<br />
To laugh and rejoice is my device,<br />
Each with abandon.<br />
<br />
Nightingale of the pretty woods,<br />
Whose voice resounds,<br />
So you don’t become bored,<br />
Your throat jabbers away:<br />
Frian, frian (etc…)<br />
Flee, regrets, tears and worries,<br />
For the season commands it.<br />
<br />
Turn around, master cuckoo<br />
Get out of our company.<br />
Each of us gives you a ‘bye-bye’<br />
For you are nothing but a traitor.<br />
Cuckoo, cuckoo (etc…)<br />
Treacherously in others' nests,<br />
You lay without being called.<br />
<br />
Awake, sleepy hearts,<br />
The god of love is calling you.<br />
}}<br />
{{bottom}}<br />
<br />
===Alternate text===<br />
This is the version and translation used by the Scholars of London in their recording. Overall it does not match any of the editions on CPDL, but it includes at least one substantial passage omitted from the text above.<br />
<br />
{{top}}<br />
{{Text|French|<br />
Réveillez vous, coeurs endormis,<br />
Le dieu d'amours vous sonne.<br />
Vous serez tous en joie mis<br />
Car la saison est bonne.<br />
Les oiseaux quand sont ravis<br />
En leur chant font merveilles ;<br />
Ecoutez bien leur devis,<br />
Détoupez vos oreilles.<br />
Et fa ri ro frere li joli<br />
Ti ti pi ti, chouti toui.<br />
Tu, que dis tu ?<br />
Le petit sansonnet de Paris,<br />
Le petit mignon: (q'est là bas ?<br />
Passe villain. Sainte tête Dieu,<br />
II est temps d'aller boire)<br />
Sage, courtois et bien apris.<br />
A sermon, ma maitresse.<br />
Sus madame à la messe.<br />
A Saint Trotin montrer le tétin,<br />
Le doux musequin.<br />
Teo ticun, frian, frian frian,<br />
Tu tu tu, qui l'ara.<br />
Coqui coqui, oi ti oi ti,<br />
Huyt huyt, ter ter teo,<br />
Queo queo, tar tar, fouquet, quibi,<br />
Veleci, huyt huyt, ter turri.<br />
Cocu coqui, ou est il, le cocu ?<br />
Fuiez, fuiez, maître cocu,<br />
Sortez de nos chapitre,<br />
Vous ne serez point retenu<br />
Car vous n’êtes qu’un traître.<br />
Par trahison en chacun nid,<br />
Pondez sans qu’on vous sonne.<br />
Réveillez vous, etc..}}<br />
{{Middle}}<br />
{{Translation|English|<br />
Rouse yourselves, sleeping hearts,<br />
The god of love calls you.<br />
You should all be joyful<br />
For spring is come.<br />
The birds, all inspired,<br />
Do wonders with their song;<br />
Listen well to their ditty,<br />
Bend your ears.<br />
And…<br />
…<br />
You, what are you saying?<br />
The little starling of Paris,<br />
The little thing: (who’s there?<br />
Pass, knave. By the holy head of God<br />
It is time to go drinking)<br />
Wise, courteous and well versed.<br />
Go to the sermon, my mistress.<br />
Get thee to Mass, Madam.<br />
To St. Trotin to show your tits<br />
And sweet looks.<br />
…<br />
…Who wants it?<br />
Cuckoo, cuckoo…<br />
…<br />
…<br />
…<br />
Cuckoo, where is the cuckoo?<br />
Away, go away, master Cuckoo,<br />
Get out of our company.<br />
You will never be missed<br />
For you are nothing but a traitor.<br />
Treacherously, in every nest<br />
You lay without being called.<br />
Rouse yourselves, etc..<br />
}}<br />
<br />
{{bottom}}<br />
<br />
{{DEFAULTSORT:Chant des Oiseaux, Le (Clément Janequin)}}<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Tu_solus_qui_facis_mirabilia_(Josquin_des_Prez)&diff=1785636Tu solus qui facis mirabilia (Josquin des Prez)2024-02-03T20:56:45Z<p>Rp: </p>
<hr />
<div>'''See also:''' ''Tu solus qui facis mirabilia'' as a part of [[Missa "D'ung aultre amer" (Josquin des Prez)|''Missa "D'ung aultre amer"'']]<br />
==Music files==<br />
{{#Legend:}}<br />
* {{PostedDate| 2020-09-07}} {{CPDLno|60478}} [[Media:Josquin-Sanctus-TuSolus.pdf|{{pdf}}]] [[Media:Josquin-Sanctus-TuSolus.mid|{{mid}}]]<br />
{{Editor|Adrian Wall|2020-09-07}}{{ScoreInfo|A4|5|781}}{{Copy|Personal}}<br />
:{{EdNotes|Includes Sanctus from ''Missa D'ung aultre amer''. Transposed up a tone. Note values halved.}}<br />
<br />
* {{PostedDate|2019-10-19}} {{CPDLno|55678}} [[Media:Josquin_tusolus.pdf|{{pdf}}]] [[Media:Josquin_tusolus.mid|{{mid}}]] [[Media:Josquin_tusolus.mxl|{{XML}}]] [[Media:Josquin_tusolus.ly|{{Ly}}]]<br />
{{Editor|Francesco Spiga|2019-10-19}}{{ScoreInfo|A4|6|425}}{{Copy|CPDL}}<br />
:{{EdNotes|Original pitch and note values, ''Mensurstriche'' layout. Afterword on last page.}}<br />
<br />
*{{PostedDate|2015-04-28}} {{CPDLno|35221}} [[Media:Tu_solus_desPrez_edit_red_halfnote.pdf|{{pdf}}]] [[Media:Tu_solus_desPrez_edit_red_halfnote.mid|{{mid}}]] [[Media:Tu_solus_desPrez_edit_red_halfnote.mxl|{{XML}}]] [[Media:Tu_solus_desPrez_edit_red_halfnote.sib|{{sib}}]] (Sibelius 4)<br />
{{Editor|Brian Marble|2015-04-28}}{{ScoreInfo|Letter|2|61}}{{Copy|CPDL}}<br />
:{{EdNotes|Reduced practical edition: editorial dynamics, tempos, barring, accidentals. Fermatas left to interpreter.}}<br />
<br />
*{{PostedDate|2013-03-11}} {{CPDLno|28493}} [[Media:Josquin_Tu solus.pdf|{{pdf}}]] [[Media:Josquin_Tu solus.mid|{{mid}}]] [[Media:Josquin_Tu solus.mxl|{{XML}}]] [[Media:Josquin_Tu solus.capx|{{Capx}}]]<br />
{{Editor|Gerd Eichler|2013-03-11}}{{ScoreInfo|A4|4|70}}{{Copy|CPDL}}<br />
:{{EdNotes|Mensural notation, original key and note values. Musica ficta clearly marked.}}<br />
<br />
*{{PostedDate|2010-09-14}} {{CPDLno|22288}} [[Media:Josquin_Tu_solus_qui_facis_a_4.pdf|{{pdf}}]] [[Media:Josquin_Tu_solus_qui_facis_a_4.mid|{{mid}}]] [[Media:Josquin_Tu_solus_qui_facis_a_4.mxl|{{XML}}]] [[Media:Josquin_Tu_solus_qui_facis_a_4.mus|{{mus}}]] (Finale 2006)<br />
{{Editor|Sabine Cassola|2010-09-14}}{{ScoreInfo|A4|4|83}}{{Copy|CPDL}}<br />
:{{EdNotes|}}<br />
<br />
*{{PostedDate|2006-10-23}} {{CPDLno|12898}} [[Media:TuSolus.pdf|{{pdf}}]] [[Media:TuSolus.mid|{{mid}}]] [[Media:TuSolus.ly|{{ly}}]]<br />
{{Editor|Harald Wellmann|2006-10-23}}{{ScoreInfo|A4|3|66}}{{Copy|Personal}}<br />
:{{EdNotes|corrects errors in CPDL #1956}}<br />
<br />
*{{PostedDate|2006-10-23}} {{CPDLno|12899}} [[Media:TuSolus_D.pdf|{{pdf}}]] [[Media:TuSolus_D.mid|{{mid}}]] [[Media:TuSolus_D.ly|{{ly}}]]<br />
{{Editor|Harald Wellmann|2006-10-23}}{{ScoreInfo|A4|3|66}}{{Copy|Personal}}<br />
:{{EdNotes|transposed down a fourth for male voices (TTBB)}}<br />
<br />
*{{PostedDate|2001-01-10}} {{CPDLno|1956}} [[Media:ws-jos-tuso.pdf|{{Pdf}}]]<br />
{{Editor|Luigi Cataldi|2001-01-10}}{{ScoreInfo|Letter|4|406}}{{Copy|Personal}}<br />
:{{EdNotes|Postscript version available at GMD site (need Ghostscript)}}<br />
{{ScoreError|various}}<br />
<br />
==General Information==<br />
{{Title|''Tu solus qui facis mirabilia''}}<br />
{{Composer|Josquin des Prez}}<br />
<br />
{{Voicing|4|SATB, TTBB}}<br />
{{Genre|Sacred|Motets}}<br />
{{Language|Latin}}<br />
{{Instruments|A cappella}}<br />
{{Pub|1|1503|in {{NoComp|Motetti de passione de cruce|Ottaviano Petrucci}} (Ottaviano Petrucci)|no=24}}<br />
{{Pub|2|1977|in ''[[The Chester Book of Motets]]''|vol=Book 5|no=6}}<br />
{{Descr|'O mater Dei et hominis' is a contrafact of this work published by [[Ottaviano Petrucci]] in ''[[Laude libro 2 (Ottaviano Petrucci)|Laude libro 2]]'' (1508).}}<br />
{{#ExtWeb:{{Choralia|filter=jq09}}<br />
*[http://www.guyshaked.com/josquins-tu-solus/ articles on ''Tu solus'' and Josquin] by Guy Shaked}}<br />
==Original text and translations==<br />
<table border="0" cellpadding="5" cellspacing="0"><br />
<tr><td valign="TOP" width=29%><br />
{{Text|Latin|<br />
<br />
Tu solus qui facis mirabilia,<br />
Tu solus Creator, qui creasti nos,<br />
Tu solus Redemptor, qui redemisti nos<br />
sanguine tuo pretiosissimo.<br />
<br />
Ad te solum confugimus,<br />
in te solum confidimus<br />
nec alium adoramus,<br />
Jesu Christe.<br />
<br />
Ad te preces effundimus<br />
exaudi quod supplicamus,<br />
et concede quod petimus,<br />
Rex benigne.<br />
<br />
D'ung aultre amer,<br />
Nobis esset fallacia:<br />
D'ung aultre amer,<br />
Magna esset stultitia et peccatum.<br />
<br />
Audi nostra suspiria,<br />
Replenos tua gratia,<br />
O rex regum,<br />
Ut ad tua servitia<br />
Sistamus cum laetitia<br />
in aeternum.<br />
}}<br />
<br />
</td><br />
<td valign="top" width=35%><br />
{{Translation|English|<br />
{{Translator|Mick Swithinbank}}<br />
You alone can do wonders,<br />
You alone are the Creator, and created us;<br />
You alone are the Redeemer, and redeemed us<br />
With your most precious blood.<br />
<br />
In you alone we find refuge,<br />
In you alone we trust,<br />
None other do we worship,<br />
Jesus Christ.<br />
<br />
To you we pour out our prayers,<br />
Hear our supplication,<br />
and grant us our request,<br />
O King of kindness!<br />
<br />
To love another<br />
would be deceitful;<br />
To love another<br />
would be great madness and sin.<br />
<br />
Hear our sighing,<br />
fill us with your grace,<br />
O King of kings!<br />
So we may remain in your service<br />
With joy<br />
for ever.<br />
}}<br />
</td><br />
<td valign="top" width=35%><br />
{{Translation|German|<br />
{{Translator|Harald Wellmann}}<br />
Du allein tust Wunder,<br />
du allein bist der Schöpfer, der uns geschaffen hat,<br />
du allein bist der Erlöser,<br />
der du uns mit deinem kostbaren Blut erlöst hast.<br />
<br />
Nur bei dir allein nehmen wir Zuflucht,<br />
nur dir allein vertrauen wir,<br />
keinen anderen beten wir an,<br />
Jesus Christus.<br />
<br />
Zu dir allein strömen unsere Bitten,<br />
erhöre unser Flehen<br />
und gewähre, was wir erbitten,<br />
gütiger König.<br />
<br />
Einen anderen zu lieben<br />
wäre ein Irrtum,<br />
einen anderen zu lieben<br />
wäre eine große Dummheit und Sünde.<br />
<br />
Höre unser Seufzen,<br />
erfülle uns mit deiner Gnade,<br />
o König der Könige,<br />
damit wir in deinem Dienste<br />
freudig bleiben<br />
in alle Ewigkeit.<br />
}}<br />
</td></tr><br />
<tr><td valign="top" width=35%><br />
{{Translation|Dutch|<br />
U alleen, Heer, bent het die wonderen verricht,<br />
U alleen bent de Schepper, die ons gemaakt heeft,<br />
U alleen bent de Verlosser,<br />
die ons met Uw kostbare bloed heeft verlost.<br />
<br />
Bij U alleen zoeken wij onze toevlucht,<br />
in U alleen stellen wij ons vertrouwen;<br />
niemand anders dan Jezus, Uw Zoon, aanbidden wij.<br />
<br />
Tot U richten wij onze gebeden;<br />
hoor naar wat wij u smeken,<br />
en verleen wat wij u vragen,<br />
o goedertieren Koning!<br />
<br />
Een ander liefhebben<br />
zou van ons een dwaling zijn;<br />
een ander liefhebben<br />
zou een grote dwaasheid en zonde zijn.<br />
<br />
Hoor naar onze zuchten,<br />
vervul ons met Uw genade,<br />
o Koning der koningen,<br />
zodat wij in uw dienst<br />
mogen staan met blijdschap<br />
tot in eeuwigheid.<br />
}}<br />
<br />
Audi nostra suspiria,<br />
Replenos tua gratia,<br />
O rex regum,<br />
Ut ad tua servitia<br />
Sistamus cum laetitia<br />
in aeternum.<br />
</td><br />
<td valign="top" width=35%><br />
{{Translation|English|<br />
{{by|St Ann choir}} (1<sup>st</sup> part only)''<br />
Thou alone art the Wonder-worker,<br />
thou alone art the Creator,<br />
who created us,<br />
thou alone art the Redeemer,<br />
who redeemed us with thy most precious blood.<br />
<br />
In thee alone do we take refuge,<br />
in thee alone do we trust,<br />
none other do we adore,<br />
O Jesus Christ.<br />
<br />
To thee do we pour out our prayers:<br />
hear what we beseech,<br />
and grant what we ask<br />
O benevolent King.<br />
}}<br />
</td><br />
</tr></table><br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Tu_solus_qui_facis_mirabilia_(Josquin_des_Prez)&diff=1785635Tu solus qui facis mirabilia (Josquin des Prez)2024-02-03T20:56:02Z<p>Rp: Improve the Dutch translation: it is literal now, and I can't see why it wasn't.</p>
<hr />
<div>'''See also:''' ''Tu solus qui facis mirabilia'' as a part of [[Missa "D'ung aultre amer" (Josquin des Prez)|''Missa "D'ung aultre amer"'']]<br />
==Music files==<br />
{{#Legend:}}<br />
* {{PostedDate| 2020-09-07}} {{CPDLno|60478}} [[Media:Josquin-Sanctus-TuSolus.pdf|{{pdf}}]] [[Media:Josquin-Sanctus-TuSolus.mid|{{mid}}]]<br />
{{Editor|Adrian Wall|2020-09-07}}{{ScoreInfo|A4|5|781}}{{Copy|Personal}}<br />
:{{EdNotes|Includes Sanctus from ''Missa D'ung aultre amer''. Transposed up a tone. Note values halved.}}<br />
<br />
* {{PostedDate|2019-10-19}} {{CPDLno|55678}} [[Media:Josquin_tusolus.pdf|{{pdf}}]] [[Media:Josquin_tusolus.mid|{{mid}}]] [[Media:Josquin_tusolus.mxl|{{XML}}]] [[Media:Josquin_tusolus.ly|{{Ly}}]]<br />
{{Editor|Francesco Spiga|2019-10-19}}{{ScoreInfo|A4|6|425}}{{Copy|CPDL}}<br />
:{{EdNotes|Original pitch and note values, ''Mensurstriche'' layout. Afterword on last page.}}<br />
<br />
*{{PostedDate|2015-04-28}} {{CPDLno|35221}} [[Media:Tu_solus_desPrez_edit_red_halfnote.pdf|{{pdf}}]] [[Media:Tu_solus_desPrez_edit_red_halfnote.mid|{{mid}}]] [[Media:Tu_solus_desPrez_edit_red_halfnote.mxl|{{XML}}]] [[Media:Tu_solus_desPrez_edit_red_halfnote.sib|{{sib}}]] (Sibelius 4)<br />
{{Editor|Brian Marble|2015-04-28}}{{ScoreInfo|Letter|2|61}}{{Copy|CPDL}}<br />
:{{EdNotes|Reduced practical edition: editorial dynamics, tempos, barring, accidentals. Fermatas left to interpreter.}}<br />
<br />
*{{PostedDate|2013-03-11}} {{CPDLno|28493}} [[Media:Josquin_Tu solus.pdf|{{pdf}}]] [[Media:Josquin_Tu solus.mid|{{mid}}]] [[Media:Josquin_Tu solus.mxl|{{XML}}]] [[Media:Josquin_Tu solus.capx|{{Capx}}]]<br />
{{Editor|Gerd Eichler|2013-03-11}}{{ScoreInfo|A4|4|70}}{{Copy|CPDL}}<br />
:{{EdNotes|Mensural notation, original key and note values. Musica ficta clearly marked.}}<br />
<br />
*{{PostedDate|2010-09-14}} {{CPDLno|22288}} [[Media:Josquin_Tu_solus_qui_facis_a_4.pdf|{{pdf}}]] [[Media:Josquin_Tu_solus_qui_facis_a_4.mid|{{mid}}]] [[Media:Josquin_Tu_solus_qui_facis_a_4.mxl|{{XML}}]] [[Media:Josquin_Tu_solus_qui_facis_a_4.mus|{{mus}}]] (Finale 2006)<br />
{{Editor|Sabine Cassola|2010-09-14}}{{ScoreInfo|A4|4|83}}{{Copy|CPDL}}<br />
:{{EdNotes|}}<br />
<br />
*{{PostedDate|2006-10-23}} {{CPDLno|12898}} [[Media:TuSolus.pdf|{{pdf}}]] [[Media:TuSolus.mid|{{mid}}]] [[Media:TuSolus.ly|{{ly}}]]<br />
{{Editor|Harald Wellmann|2006-10-23}}{{ScoreInfo|A4|3|66}}{{Copy|Personal}}<br />
:{{EdNotes|corrects errors in CPDL #1956}}<br />
<br />
*{{PostedDate|2006-10-23}} {{CPDLno|12899}} [[Media:TuSolus_D.pdf|{{pdf}}]] [[Media:TuSolus_D.mid|{{mid}}]] [[Media:TuSolus_D.ly|{{ly}}]]<br />
{{Editor|Harald Wellmann|2006-10-23}}{{ScoreInfo|A4|3|66}}{{Copy|Personal}}<br />
:{{EdNotes|transposed down a fourth for male voices (TTBB)}}<br />
<br />
*{{PostedDate|2001-01-10}} {{CPDLno|1956}} [[Media:ws-jos-tuso.pdf|{{Pdf}}]]<br />
{{Editor|Luigi Cataldi|2001-01-10}}{{ScoreInfo|Letter|4|406}}{{Copy|Personal}}<br />
:{{EdNotes|Postscript version available at GMD site (need Ghostscript)}}<br />
{{ScoreError|various}}<br />
<br />
==General Information==<br />
{{Title|''Tu solus qui facis mirabilia''}}<br />
{{Composer|Josquin des Prez}}<br />
<br />
{{Voicing|4|SATB, TTBB}}<br />
{{Genre|Sacred|Motets}}<br />
{{Language|Latin}}<br />
{{Instruments|A cappella}}<br />
{{Pub|1|1503|in {{NoComp|Motetti de passione de cruce|Ottaviano Petrucci}} (Ottaviano Petrucci)|no=24}}<br />
{{Pub|2|1977|in ''[[The Chester Book of Motets]]''|vol=Book 5|no=6}}<br />
{{Descr|'O mater Dei et hominis' is a contrafact of this work published by [[Ottaviano Petrucci]] in ''[[Laude libro 2 (Ottaviano Petrucci)|Laude libro 2]]'' (1508).}}<br />
{{#ExtWeb:{{Choralia|filter=jq09}}<br />
*[http://www.guyshaked.com/josquins-tu-solus/ articles on ''Tu solus'' and Josquin] by Guy Shaked}}<br />
==Original text and translations==<br />
<table border="0" cellpadding="5" cellspacing="0"><br />
<tr><td valign="TOP" width=29%><br />
{{Text|Latin|<br />
<br />
Tu solus qui facis mirabilia,<br />
Tu solus Creator, qui creasti nos,<br />
Tu solus Redemptor, qui redemisti nos<br />
sanguine tuo pretiosissimo.<br />
<br />
Ad te solum confugimus,<br />
in te solum confidimus<br />
nec alium adoramus,<br />
Jesu Christe.<br />
<br />
Ad te preces effundimus<br />
exaudi quod supplicamus,<br />
et concede quod petimus,<br />
Rex benigne.<br />
<br />
D'ung aultre amer,<br />
Nobis esset fallacia:<br />
D'ung aultre amer,<br />
Magna esset stultitia et peccatum.<br />
<br />
Audi nostra suspiria,<br />
Replenos tua gratia,<br />
O rex regum,<br />
Ut ad tua servitia<br />
Sistamus cum laetitia<br />
in aeternum.<br />
}}<br />
<br />
</td><br />
<td valign="top" width=35%><br />
{{Translation|English|<br />
{{Translator|Mick Swithinbank}}<br />
You alone can do wonders,<br />
You alone are the Creator, and created us;<br />
You alone are the Redeemer, and redeemed us<br />
With your most precious blood.<br />
<br />
In you alone we find refuge,<br />
In you alone we trust,<br />
None other do we worship,<br />
Jesus Christ.<br />
<br />
To you we pour out our prayers,<br />
Hear our supplication,<br />
and grant us our request,<br />
O King of kindness!<br />
<br />
To love another<br />
would be deceitful;<br />
To love another<br />
would be great madness and sin.<br />
<br />
Hear our sighing,<br />
fill us with your grace,<br />
O King of kings!<br />
So we may remain in your service<br />
With joy<br />
for ever.<br />
}}<br />
</td><br />
<td valign="top" width=35%><br />
{{Translation|German|<br />
{{Translator|Harald Wellmann}}<br />
Du allein tust Wunder,<br />
du allein bist der Schöpfer, der uns geschaffen hat,<br />
du allein bist der Erlöser,<br />
der du uns mit deinem kostbaren Blut erlöst hast.<br />
<br />
Nur bei dir allein nehmen wir Zuflucht,<br />
nur dir allein vertrauen wir,<br />
keinen anderen beten wir an,<br />
Jesus Christus.<br />
<br />
Zu dir allein strömen unsere Bitten,<br />
erhöre unser Flehen<br />
und gewähre, was wir erbitten,<br />
gütiger König.<br />
<br />
Einen anderen zu lieben<br />
wäre ein Irrtum,<br />
einen anderen zu lieben<br />
wäre eine große Dummheit und Sünde.<br />
<br />
Höre unser Seufzen,<br />
erfülle uns mit deiner Gnade,<br />
o König der Könige,<br />
damit wir in deinem Dienste<br />
freudig bleiben<br />
in alle Ewigkeit.<br />
}}<br />
</td></tr><br />
<tr><td valign="top" width=35%><br />
{{Translation|Dutch|<br />
U alleen, Heer, bent het die wonderen verricht,<br />
U alleen bent de Schepper, die ons gemaakt heeft,<br />
U alleen bent de Verlosser,<br />
die ons met Uw kostbare bloed heeft verlost.<br />
<br />
Bij U alleen zoeken wij onze toevlucht,<br />
in U alleen stellen wij ons vertrouwen;<br />
niemand anders dan Jezus, Uw Zoon, aanbidden wij.<br />
<br />
Tot U richten wij onze gebeden,<br />
hoor naar wat wij u smeken,<br />
en verleen wat wij u vragen,<br />
o goedertieren Koning!<br />
<br />
Een ander liefhebben<br />
zou van ons een dwaling zijn;<br />
een ander liefhebben<br />
zou een grote dwaasheid en zonde zijn.<br />
<br />
Hoor naar onze zuchten,<br />
vervul ons met Uw genade,<br />
o Koning der koningen,<br />
zodat wij in uw dienst<br />
mogen staan met blijdschap<br />
tot in eeuwigheid.<br />
}}<br />
<br />
Audi nostra suspiria,<br />
Replenos tua gratia,<br />
O rex regum,<br />
Ut ad tua servitia<br />
Sistamus cum laetitia<br />
in aeternum.<br />
</td><br />
<td valign="top" width=35%><br />
{{Translation|English|<br />
{{by|St Ann choir}} (1<sup>st</sup> part only)''<br />
Thou alone art the Wonder-worker,<br />
thou alone art the Creator,<br />
who created us,<br />
thou alone art the Redeemer,<br />
who redeemed us with thy most precious blood.<br />
<br />
In thee alone do we take refuge,<br />
in thee alone do we trust,<br />
none other do we adore,<br />
O Jesus Christ.<br />
<br />
To thee do we pour out our prayers:<br />
hear what we beseech,<br />
and grant what we ask<br />
O benevolent King.<br />
}}<br />
</td><br />
</tr></table><br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Talk:A_ce_matin_(Orlando_di_Lasso)&diff=1785634Talk:A ce matin (Orlando di Lasso)2024-02-03T19:54:21Z<p>Rp: /* E in tenor, bar 26 */</p>
<hr />
<div>''Question'': m19 alto should not be sharped?<br />
''Answer'': The F# is correct. The phrase in m18 differs from the previous cadence on soprano melody m9-10 cadences on Dm because m9 remains minor and is not moving harmonically. The cadence in this instance (m18-19) follows the alteration of the harmonic sequence, esp. tenor m18, with a cadence on D major, followed immediately by a return to d minor to begin the next phrase. The harmonic variation is supported by the text and obvious word painting. Paul M [[User:Marchesa|Marchesa]] 21:14, 25 November 2011 (CST)<br />
<br />
''Question'': The tenor in bar 1 is 1/8th longer than the other voices. How to resolve this? What does the original say? I'm tempted to shorten 'ma' to 1/8th. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 19:30, 27 April 2014 (UTC)<br />
''Answer'': You are correct, and have caught an error that escaped comment for 3 years; 'ma' should indeed be an eighth note. <br />
<br />
== E in tenor, bar 26 ==<br />
<br />
I can't bring myself to sing it; [https://www.youtube.com/watch?v=6ENuig4nCGg The Laughing Bird] uses Eb. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 19:54, 27 April 2014 (UTC)<br />
<br />
I'm glad the Laughing Bird used my edition and I know them well. We discussed this measure. It is a matter of opinion. The original is not flatted, and there are many a flatted 'E' throughout. In this instance it is a matter of choice. If you can't bring yourself to sing E-natural, then by all means sing E-flat. That is certainly more pleasing to the modern ear. The passing tri-tone for a half beat is not an issue here. It is a colorization. I disagree with the flat and stand by the E-natural. Besides, it is easier to add a flat than to subtract it ;) Paul M [[User:Marchesa|Marchesa]] ([[User talk:Marchesa|talk]]) 02:40, 28 April 2014 (UTC)<br />
<br><br />
<br><br />
The E in the Tenor in bar 26 should be E flat. I have transcribed hundreds of Lassus and other Renaissance works from original prints. It is rather common that E after a B flat is not flatted, though E flat is expected to be sung. This was obvious for people of the 16th century, so they assume everyone knows it so no explicit flat sign is necessary. This logic is quite different from our modern understanding according to which you should note the actual pitches. Often in such a case you find a signed E flat in another voice, which is additional support to the assumption that an E even when not flatted after a B flat is to be sung as E flat. The flatting of E in certain situations (e.g. "una nota super la") was regarded obvious even without putting a flat sign, so that in some cases the E note has a sharp sign in front of it, alerting the singer that the E is not to be flatted. So I mean had Lassus wanted an E to be sung here, he would have indicated this by putting a sharp sign in front of the E.<br><br />
So you are obviously not reading the original Lassus as it was meant to be read by singers of Lassus's time.<br><br />
<br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 02:51, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
How good it is to know someone who personally knew Lassus! You must be quite full of yourself having that advantage over the rest of the musical world, to whom what exactly Lassus wrote or intended is a complete mystery! Your reference to reading the original Lassus notwithstanding, most of the material is from copyists or original publications, so no, Orlando did not right a specific note to me. Regardless of your rationalizations, the E-flat works perfectly well and is completely within style, as is often the case with other of his works and his contemporaries. I stand by my preference for E-natural, and as I have said above, you are welcome to flat the E if you prefer since it is NOT clearly defined.<br>One should also note that the cadence is major, progressing suspension G6 to D.<br><br />
--[[User:Marchesa|Marchesa]] ([[User talk:Marchesa|talk]]) 04:10, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
There's no need to take this tone with me. Just because you are ignorant of the notational conventions of Lassus's time, it doesn't mean all of us are. What I offered were not rationalisations, they are facts. The E flat IS clearly defined for those who are familiar with the music of Lassus's time and its notational conventions. The Tenor sings c'est d'avoir de l'argent in (modern terms) B flat major, B flat - C - D - B flat (= ut re mi ut) which should be followed by a fa (E flat) and not an E. When Lassus (and other composers of the 16th century) wanted to have an E where according to the conventions of the time singers were likely to sing an E flat (just like this case), they put a sharp sign in front of the E. Well, it's not my fault that you have never seen any instance of this.<br><br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 09:47, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
https://photos.google.com/photo/AF1QipNFiiBph8Sd33SrbTH2Uq5cspY1MZ0iw581pcSw Here you can see one instance of E flats not indicated but called for - in the first line the three consecutive E notes are to be sung as E flats (indeed they are sung as E flats by Graindelavoix), and in the last line you can see a sharp before the E, cautioning the singers that this note is not to be flattened.<br><br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 10:23, 8 February 2018 (UTC)<br />
<br />
The link is broken<br />
<br />
I have no idea of the theory behind this, but as far as I can tell just by trying things out, the reason I want an Eb there is the following chord, D-F(#)-A. It makes the E(b) resolve downwards to D, which an E cannot do, to my mind. Had the next note been C or F instead, implying a C-F-A chord, the resolution would have been upwards and I'd use E, not Eb. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 15:08, 9 February 2018 (UTC)<br />
<br />
IF you look past that immediate D chord which last for a half beat, the resolution immediately moves to G, for which the passing tone from D major to G major makes complete sense. Additionally one must look at the text, wherein we are at the repetition of "l'argent", a metaphor in the line for "I must be paid" -- or rather, I must be satisfied -- so the point of the E not flatting is pushing and emphasizing the repeated demand for satisfaction. [[User:Marchesa|Marchesa]] ([[User talk:Marchesa|talk]]) 18:24, 9 February 2018 (UTC)<br />
<br />
[https://youtu.be/RVKYSKWm6KE?t=70 Vox Luminis uses Eb]. Meanwhile, I've grown accustomed to E. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 19:54, 3 February 2024 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Jan_van_Turnhout&diff=1062765Jan van Turnhout2020-02-07T10:33:08Z<p>Rp: add a link</p>
<hr />
<div>'''Aliases:''' Jean de Turnhout; Jean-Jacques de Turnhout; Jan-Jacob van Turnhout; Ioannes Turnhout<br />
<br />
==Life==<br />
'''Born:''' ''c.'' 1545, Brussels<br />
<br />
'''Died:''' after 1618, Brussels<br />
<br />
'''Biography:'''<br><br />
Flemish composer, younger brother of [[Geert van Turnhout]]. The family name was ‘Jacques’, which has given rise to the alternate Christian name ‘Jean-Jacques’ or ‘Jan-Jacob’.<br />
{{WikipediaLink}}<br />
==List of choral works==<br />
{{#SortWorks:}}<br />
{{CheckMissing}}<br />
{{Whatlinkshere}}<br />
==Publications==<br />
*''Il primo libro de madrigali, 6vv'' (Antwerp, 1589)<br />
*''Sacrarum cantionum … liber primus, 5, 6, 8vv'' (Douai, 1594)<br />
<br />
==External links==<br />
''add web links here''<br />
<br />
{{DEFAULTSORT:Turnhout, Jan van}}<br />
[[Category:1545 births]]<br />
[[Category:1618 deaths]]<br />
[[Category:Composers]]<br />
[[Category:Renaissance composers]]<br />
[[Category:Franco-Flemish composers]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=The_long_day_closes_(Arthur_Sullivan)&diff=1004826The long day closes (Arthur Sullivan)2019-07-22T18:40:09Z<p>Rp: /* Original text and translations */ add a link for Marc Voorhoeve</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|2018-05-21}} {{CPDLno|49755}} [[Media:The_long_day_closes(Arthur_Sullivan).pdf|{{pdf}}]] [[Media:The_long_day_closes.ly|{{Ly}}]] <br />
{{Editor|Rolf Harkes|2018-05-21}}{{ScoreInfo|A4|4|92}}{{Copy|Creative Commons Attribution}}<br />
:'''Edition notes: ''' {{ScoreError|In measures 35 and 39, alto should have G natural, not G flat.}} <br />
<br />
*{{PostedDate|2017-12-18}} {{CPDLno|48054}} [[Media:The_long_day_closes_Sullivan.pdf|{{pdf}}]] [[Media:The_long_day_closes_Sullivan.mid|{{mid}}]] [[Media:The_long_day_closes_Sullivan.mxl|{{XML}}]] [[Media:The_long_day_closes_Sullivan.capx|{{Capx}}]]<br />
{{Editor|James Gibb|2017-12-18}}{{ScoreInfo|A4|6|84}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{KbdRed}} {{MXL}}<br />
<br />
* {{CPDLno|5041}} [[Media:ws-sull-lo2.pdf|{{Pdf}}]] [[Media:ws-sull-lo2.mid|{{Mid}}]] [[Media:ws-sull-lo2.mxl|{{XML}}]] [[Media:ws-sull-lo2.sib|{{sib}}]] (Sibelius 2)<br />
{{Editor|Toby Wardman|2003-05-13}}{{ScoreInfo|A4|2|96}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Short score format. {{MXL}}<br />
<br />
* {{CPDLno|404}} [[Media:ws-sul-tldc.pdf|{{Pdf}}]] [[Media:ws-sul-tldc.mid|{{Mid}}]] [[Media:ws-sul-tldc.mxl|{{XML}}]] [[Media:ws-sul-tldc.mus|{{mus}}]] (Finale 1998)<br />
{{Editor|Rafael Ornes|1999-06-23}}{{ScoreInfo|Letter|4|89}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{MXL}}<br />
<br />
==General Information==<br />
'''Title:''' ''The long day closes''<br><br />
{{Composer|Arthur Sullivan}}<br />
{{Lyricist|Henry Fothergill Chorley}}<br />
<br />
{{Voicing|4|SATB}}<br><br />
{{Genre|Secular|Partsongs}}<br />
{{Language|English}}<br />
{{Instruments|A cappella}}<br />
{{Pub|1|}}<br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
*[http://math.boisestate.edu/GaS/other_sullivan/part_songs/long_day/long_day.html Version for male voices] on the Arthur Sullivan Archive<br />
*[[wikipedia:The Long Day Closes (song)|The Long Day Closes]] on Wikipedia<br />
<br />
==Original text and translations==<br />
{{top}}<br />
{{Text|English|<br />
No star is o'er the lake, its pale watch keeping,<br />
The moon is half awake, through grey mist creeping.<br />
The last red leaves fall round the porch of roses,<br />
The clock has ceased to sound. The long day closes.<br />
<br />
Sit by the silent hearth in calm endeavour,<br />
To count the sound of mirth, now dumb forever.<br />
Heed not how hope believes and fate disposes:<br />
Shadow is round the eaves. The long day closes.<br />
<br />
The lighted windows dim are fading slowly.<br />
The fire that was so trim now quivers lowly.<br />
Go to the dreamless bed where grief reposes.<br />
Thy book of toil is read. The long day closes.}}<br />
{{mdl|3}}<br />
{{Translation|Dutch|<br />
Geen ster valt meer te zien van de miljarden,<br />
alleen de maan misschien, langs nevelflarden.<br />
Het groen ligt vergaan, al het lentelover.<br />
De klok zal niet meer slaan - de dag is over.<br />
<br />
Al wat het lot mij schonk, wie zal het meten?<br />
De vreugde die weerklonk: verstomd, vergeten.<br />
Hoop die mijn hart verhief verloor zijn tover,<br />
’t was me onzegbaar lief – de dag is over.<br />
<br />
Dit al te late uur 't licht doet verdwijnen.<br />
’t Ooit vrolijk flakk’rend vuur kan enkel kwijnen.<br />
Slaap, in vergetelheid, jij arme slover<br />
van pijn en angst bevrijd: jouw dag is over.}}<br />
{{Translator|[https://en.wikipedia.org/wiki/Marc_Voorhoeve Marc Voorhoeve]}}<br />
{{mdl|3}}<br />
<br />
{{Translation|German|<br />
Kein Stern steht überm See, und hält seine bleiche Wacht,<br />
der Mond ist halb erwacht und kriecht durch grauen Nebel.<br />
Die letzten roten Blätter fallen um die Rosenlaube,<br />
die Uhr versagt den Schlag. Der lange Tag endet.<br />
<br />
Sitz am schweigsamen Herd in ruhigem Bemühen,<br />
den Klang der Heiterkeit zu zählen, jetzt für immer stumm.<br />
Beachte nicht, wie Hoffnung glaubt und Schicksal verfügt:<br />
Der Schatten ist um die Traufen. Der lange Tag endet.<br />
<br />
Der hellen Fenster Schein wird langsam dunkler.<br />
Das Feuer, eben noch hell lodernd, flackert langsam aus.<br />
Geh zum traumlosen Bett, wo die Sorge ausruht.<br />
Dein Buch der Mühen ist ausgelesen. Der lange Tag endet.}}<br />
{{Translator|Martin Schubert}}<br />
{{btm}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Romantic music]]<br />
{{DEFAULTSORT:Long day closes, The}}</div>Rphttps://www.cpdl.org/wiki/index.php?title=Fleur_de_quinze_ans_(Orlando_di_Lasso)&diff=946895Fleur de quinze ans (Orlando di Lasso)2019-01-29T18:46:44Z<p>Rp: /* Original text and translations */</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{CPDLno|32713}} [[Media:Lassus_Fleur_de_quinze_ans.pdf|{{pdf}}]] [[Media:Lassus_Fleur_de_quinze_ans.midi|{{mid}}]] [[Media:Lassus_Fleur_de_quinze_ans.ly|{{ly}}]] <br />
{{Editor|Pothárn Imre|2014-08-16}}{{ScoreInfo|A4|3|77}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Original pitch (chiavi naturali), note-values halved. French spelling modernised.<br />
<br />
==General Information==<br />
'''Title:''' ''Fleur de quinze ans''<br><br />
{{Composer|Orlando di Lasso}}<br />
{{Lyricist|Clément Marot}}<br />
<br />
{{Voicing|4|SATB}}<br><br />
{{Genre|Secular|Chansons}}<br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
{{Published|1564|in ''Le premier livre de chansons, auquel sont 27 chansons nouvelles'', Antwerp}}<br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{Text|French|<br />
Fleur de quinze ans si Dieu vous sauve et gard,<br />
j'ai en amour trouvé cinq points exprès,<br />
premierement il y a le regard,<br />
puis le devis et le baiser après,<br />
l'atouchement suit le baiser de près,<br />
et tous ceux la tendent au dernier point,<br />
qui est: je ne le dirai point,<br />
mais s'il vous plaît en ma chambre vous rendre,<br />
je me mettrai volontiers en pourpoint,<br />
voire tout nu pour le vous faire apprendre.}}<br />
<br />
{{Translation|English|<br />
Flower aged fifteen, may God save and protect you.<br />
In love, I have found five particular stages:<br />
first, there is the look,<br />
next, the offer, and the kiss afterwards;<br />
the touch follows the kiss closely,<br />
and all of those lead to the final stage,<br />
which is: I shall not say it,<br />
but if you will please come into my room,<br />
I shall happily strip to my jacket,<br />
or even completely naked, to make you understand.}}<br />
{{Translator|Reinier Post, after David Wyatt}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Fleur_de_quinze_ans_(Orlando_di_Lasso)&diff=946893Fleur de quinze ans (Orlando di Lasso)2019-01-29T18:46:10Z<p>Rp: /* Original text and translations */</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{CPDLno|32713}} [[Media:Lassus_Fleur_de_quinze_ans.pdf|{{pdf}}]] [[Media:Lassus_Fleur_de_quinze_ans.midi|{{mid}}]] [[Media:Lassus_Fleur_de_quinze_ans.ly|{{ly}}]] <br />
{{Editor|Pothárn Imre|2014-08-16}}{{ScoreInfo|A4|3|77}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Original pitch (chiavi naturali), note-values halved. French spelling modernised.<br />
<br />
==General Information==<br />
'''Title:''' ''Fleur de quinze ans''<br><br />
{{Composer|Orlando di Lasso}}<br />
{{Lyricist|Clément Marot}}<br />
<br />
{{Voicing|4|SATB}}<br><br />
{{Genre|Secular|Chansons}}<br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
{{Published|1564|in ''Le premier livre de chansons, auquel sont 27 chansons nouvelles'', Antwerp}}<br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{Text|French|<br />
Fleur de quinze ans si Dieu vous sauve et gard,<br />
j'ai en amour trouvé cinq points exprès,<br />
premierement il y a le regard,<br />
puis le devis et le baiser après,<br />
l'atouchement suit le baiser de près,<br />
et tous ceux la tendent au dernier point,<br />
qui est: je ne le dirai point,<br />
mais s'il vous plaît en ma chambre vous rendre,<br />
je me mettrai volontiers en pourpoint,<br />
voire tout nu pour le vous faire apprendre.}}<br />
<br />
{{Translation|English|<br />
Flower aged fifteen, may God save and protect you.<br />
In love, I have found five particular stages:<br />
first, there is the look,<br />
next, the offer, and the kiss afterwards;<br />
the touch follows the kiss closely,<br />
and all of those lead to the final stage,<br />
which is: I shall not say it,<br />
but if you will please come into my room,<br />
I will happily strip to my jacket,<br />
or even completely naked, to make you understand.}}<br />
{{Translator|Reinier Post, after David Wyatt}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Fleur_de_quinze_ans_(Orlando_di_Lasso)&diff=946888Fleur de quinze ans (Orlando di Lasso)2019-01-29T18:44:10Z<p>Rp: /* Original text and translations */</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{CPDLno|32713}} [[Media:Lassus_Fleur_de_quinze_ans.pdf|{{pdf}}]] [[Media:Lassus_Fleur_de_quinze_ans.midi|{{mid}}]] [[Media:Lassus_Fleur_de_quinze_ans.ly|{{ly}}]] <br />
{{Editor|Pothárn Imre|2014-08-16}}{{ScoreInfo|A4|3|77}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Original pitch (chiavi naturali), note-values halved. French spelling modernised.<br />
<br />
==General Information==<br />
'''Title:''' ''Fleur de quinze ans''<br><br />
{{Composer|Orlando di Lasso}}<br />
{{Lyricist|Clément Marot}}<br />
<br />
{{Voicing|4|SATB}}<br><br />
{{Genre|Secular|Chansons}}<br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
{{Published|1564|in ''Le premier livre de chansons, auquel sont 27 chansons nouvelles'', Antwerp}}<br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{Text|French|<br />
Fleur de quinze ans si Dieu vous sauve et gard,<br />
j'ai en amour trouvé cinq points exprès,<br />
premierement il y a le regard,<br />
puis le devis et le baiser après,<br />
l'atouchement suit le baiser de près,<br />
et tous ceux la tendent au dernier point,<br />
qui est: je ne le dirai point,<br />
mais s'il vous plaît en ma chambre vous rendre,<br />
je me mettrai volontiers en pourpoint,<br />
voire tout nu pour le vous faire apprendre.}}<br />
<br />
{{Translation|English|<br />
Flower aged fifteen, may God save and protect you.<br />
In love, I have found five particular stages:<br />
first, there is the look,<br />
next, the offer, and the kiss afterwards;<br />
the touch follows the kiss closely,<br />
and all of those lead to the final stage,<br />
which is: I shall not say it,<br />
but if you will please come into my room,<br />
I will happily strip to my jacket,<br />
or even completely naked, to make you understand.<br />
{{Translator|Reinier Post, after David Wyatt}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Fair_Phyllis_I_saw_(John_Farmer)&diff=946887Fair Phyllis I saw (John Farmer)2019-01-29T18:33:02Z<p>Rp: /* Original text and translations */</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|2017-11-19}} {{CPDLno|47538}} [[Media:Farmer_Fair_Phyllis.pdf|{{pdf}}]] [[Media:Farmer_Fair_Phyllis.mxl|{{XML}}]] [[Media:Farmer_Fair_Phyllis.capx|{{Capx}}]] <br />
{{Editor|Andrew Sims|2017-11-19}}{{ScoreInfo|A4|2|33}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{MXL}}<br />
<br />
*{{PostedDate|2017-02-04}} {{CPDLno|42956}} [[Media:Fair_Phyllis_Farmer.pdf|{{pdf}}]] [[Media:Fair_Phyllis_Farmer.mid|{{mid}}]] [[Media:Fair_Phyllis_Farmer.mxl|{{XML}}]] [[Media:Fair_Phyllis_Farmer.capx|{{Capx}}]]<br />
{{Editor|James Gibb|2017-02-04}}{{ScoreInfo|A4|3|47}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{MXL}}<br />
<br />
*{{PostedDate|2016-08-24}} {{CPDLno|40877}} [http://stcpress.org/miscellaneous/fair_phyllis/fair_phyllis.pdf {{extpdf}}] [http://stcpress.org/miscellaneous/fair_phyllis/fair_phyllis.mid {{extmid}}] [http://stcpress.org/miscellaneous/fair_phyllis/fair_phyllis.mp3 {{extmp3}}] [https://github.com/st-cecilia-press/miscellaneous/blob/master/fair_phyllis/fair_phyllis.ly {{extly}}] [http://stcpress.org/pieces/fair_phyllis {{net}}] Part Midis and Mp3s Available<br />
{{Editor|Monique Rio|2016-08-24}}{{ScoreInfo|Letter|3|285}}{{CopyCC|Attribution 4.0}}<br />
:'''Edition notes:'''<br />
<br />
*{{PostedDate|2015-03-03}} {{CPDLno|34712}} [http://notenova.com/?p=1873 {{net}}] <br />
{{Editor|Casey Rule|2015-03-03}}{{ScoreInfo|Letter|2|57}}{{Copy|Public Domain}}<br />
:'''Edition notes:''' Fits on two pages<br />
<br />
*{{PostedDate|2015-03-03}} {{CPDLno|34711}} [http://notenova.com?p=1873 {{net}}] <br />
{{Editor|Casey Rule|2015-03-03}}{{ScoreInfo|Letter|4|72}}{{Copy|Public Domain}}<br />
:'''Edition notes:''' Includes piano reduction for rehearsal<br />
<br />
*{{CPDLno|24774}} [[Media:Fair_phyllis.pdf|{{pdf}}]] [[Media:Fair_phyllis.midi|{{mid}}]] [[Media:Fair_phyllis.ly|{{ly}}]] [http://www.dfc-dresden.de {{net}}]<br />
{{Editor|DFC Dresden|2011-10-23}}{{ScoreInfo|A4|2|}}{{Copy|Creative Commons Attribution Share Alike}}<br />
:'''Edition notes:''' Yes, it really fits on two pages! ;)<br />
<br />
*{{CPDLno|16999}} [[Media:Farm-phy.pdf|{{pdf}}]] [[Media:Farm-phy.ly|{{ly}}]]<br />
{{Editor|Alexander Myltsev|2008-04-05}}{{ScoreInfo|A4|6|145}}{{Copy|CPDL}}<br />
:'''Edition notes:'''<br />
<br />
*{{CPDLno|10761}} [[Media:Fair-Phillis-compact_in-f.pdf|{{pdf}}]] [[Media:Fair-Phillis-compact_in-f.ps.zip|{{Zip}}]](PostScript) [[Media:Fair-Phillis-compact_in-f.mid|{{mid}}]] [[Media:Fair-Phillis-compact_in-f.mxl|{{XML}}]] [[Media:Fair-Phillis-compact_in-f.sib|{{sib}}]] (Sibelius 3)<br />
{{Editor|Mark Wenzel|2006-10-03}}{{ScoreInfo|A4|2|250}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Fair Phillis compact writing on two pages A4. Voices SATB. Based on CPDL #6748. Written in F major (1 flat). Starting with f'. {{MXL}}<br />
<br />
*{{CPDLno|10759}} [[Media:TUMS_Faire_Phyllis_1_0.pdf|{{pdf}}]] [[Media:TUMS_Busking_Book_1_0.mxl|{{XML}}]] [[Media:TUMS_Busking_Book_1_0.sib|{{sib}}]] (Sibelius 3)<br />
{{Editor|Philip Legge|2006-01-15}}{{ScoreInfo|A4|5|116}}{{Copy|Personal}}<br />
:'''Edition notes:''' Included in the [[TUMS Busking Book]]. PDF contains indices for the published book. {{MXL}}<br />
<br />
*{{CPDLno|10359}} [http://www.oldmusicproject.com/madrigalia/farmer.html {{net}}] PDF, MIDI and NoteWorthy Composer files available.<br />
{{Editor|Vince M. Brennan|2005-12-06}}{{ScoreInfo|Letter|5|57}}{{Copy|Personal}}<br />
:'''Edition notes:''' Copyright (c) 2004 by V. M. Brennan<br />
<br />
*{{CPDLno|9218}} [[Media:015.pdf|{{pdf}}]] [[Media:br-015.mid|{{mid}}]] [[Media:br-015.nwc|{{NWC}}]]<br />
{{Editor|Brian Russell|2005-08-30}}{{ScoreInfo|A4|3|28}}{{Copy|Personal}}<br />
:'''Edition notes:''' {{NWCV}}<br />
<br />
*{{CPDLno|6748}} [{{website|chorusrehearsal}} {{net}}] Scorch, MIDI and Sibelius 2 files available.<br />
{{Editor|John D. Smith|2004-02-20}}{{ScoreInfo|44.7 x 63.2 cm|4|128}}{{Copy|Personal}}<br />
:'''Edition notes:''' Scores listed alphabetically by composer. All scores available in [[Scorch]] format, some are also available as PDF files.<br />
<!--<br />
*{{CPDLno|5563}} {{PermBroken}}[http://www.insuladulcamara.it/Partiture.htm {{net}}]<br />
{{Editor|Roberto Di Cecco|2003-08-26}}{{ScoreInfo|A4|2|}}{{Copy|Personal}}<br />
:'''Edition notes:''' written in original C clefs.<br />
--><br />
*{{CPDLno|3688}} [{{website|cipoo_a}} {{net}}] PDF, MIDI and NoteWorthy Composer files available.<br />
{{Editor|Marco Gallo|2002-06-18}}{{ScoreInfo|A4|3|41}}{{Copy|Personal}}<br />
:'''Edition notes:''' listed alphabetically by composer<br />
<br />
==General Information==<br />
'''Title:''' ''Fair Phyllis I saw''<br><br />
{{Composer|John Farmer}}<br />
<br />
{{Voicing|4|SATB}}<br><br />
{{Genre|Secular|Madrigals}}<br />
{{Language|English}}<br />
{{Instruments|A cappella}}<br />
{{Published|}}<br />
<br />
'''Description:'''<br />
<br />
'''External websites:'''<br />
*[https://youtu.be/ZMpEMiZGJos 1967 YouTube performance (Guildford Cathedral Choir)] - [[wikipedia:Barry Rose|Barry Rose]]<br />
*[http://www.classicalarchives.com/live/f.html#FARMER Live performance of this work by the dwsChorale]<br />
<br />
==Original text and translations==<br />
{{top}}<br />
{{Text|English|<br />
Fair Phyllis I saw sitting all alone <br />
Feeding her flock near to the mountainside.<br />
The shepherds knew not whither she was gone,<br />
But after her lover Amyntas hied.<br />
Up and down he wandered whilst she was missing;<br />
When he found her, O then they fell a kissing.}}<br />
<br />
{{Translation|Dutch|<br />
De schone Phyllis zag ik zitten heel alleen,<br />
Haar kudde weidend bij de heuvelrug.<br />
De herders wisten niet waarheen ze was gegaan,<br />
Maar achter haar aan haastte zich haar lief, Amyntas.<br />
Op en neer trok hij, terwijl ze weg was;<br />
Toen hij haar vond, O, toen begonnen ze te kussen.}}<br />
{{Translator|Jan Wyns}}<br />
{{Translator|Reinier Post}}<br />
<br />
{{Translation|French|<br />
La belle Phyllis j'ai vu, assise toute seule, <br />
Faisant paître son troupeau près du flanc de la montagne. <br />
Les bergers ne savaient pas où elle s'en était allé. <br />
Mais à sa suite son amant, Amyntas, se hâta. <br />
En haut, en bas, il erra pendant qu'elle était absente; <br />
Quand il la trouva, o alors, ils fondirent en embrassade.}}<br />
{{Translator|Janet Douguet}}<br />
{{mdl}}<br />
{{Translation|German|<br />
;Poetic translation<br />
Fair Phyllis sah ich bei der Felsenwand<br />
hüten die Herde einsam und allein.<br />
Die Hirten suchten, wo sie sich befand,<br />
doch hinter der treuen Gefährtin drein<br />
eilt' der Hirt Amyntas, der sie vermisste.<br />
Als er sie fand, o wie er sie dann küsste!<br />
{{Translator|Jan-Frerk Burmester}}<br />
<br />
;Closer to the original<br />
Ich sah die schöne Phyllis ganz alleine sitzen<br />
Und ihre Schafe am Berghang weiden.<br />
Die Hirten wußten nicht, wohin sie gegangen war,<br />
Aber der Verehrer Amyntas eilte ihr nach.<br />
Er wanderte auf und ab,<br />
solange sie verschollen war;<br />
Als er sie fand,<br />
O, dann fielen sie küssend nieder.}}<br />
{{Translator|Peter Rottländer}}<br />
{{btm}}<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]<br />
__NOTOC__</div>Rphttps://www.cpdl.org/wiki/index.php?title=Da_pacem,_Domine_(Ivo_de_Vento)&diff=942616Da pacem, Domine (Ivo de Vento)2019-01-16T16:30:52Z<p>Rp: /* Music files */ report errors in score</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|2017-08-15}} {{CPDLno|45911}} [[Media:De_Vento-Da_pacem_domine_2.pdf|{{pdf}}]] [[Media:De_Vento-Da_pacem_domine_2.mid|{{mid}}]] [[Media:De_Vento-Da_pacem_domine_2.mxl|{{XML}}]] [[Media:De_Vento-Da_pacem_domine_2.musx|{{F14}}]] (Finale 2014)<br />
{{Editor|Wim Looyestijn|2017-08-15}}{{ScoreInfo|A4|4|191}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{MXL}} {{ScoreError}}<br />
<br />
*{{PostedDate|2014-12-15}} {{CPDLno|33723}} [[Media:De_Vento-Da_pacem_domine.pdf|{{pdf}}]] [[Media:De_Vento-Da_pacem_domine.MID|{{mid}}]] [[Media:De_Vento-Da_pacem_domine.mxl|{{XML}}]] [[Media:De_Vento-Da_pacem_domine.MUS|{{mus}}]] (Finale 2008) <br />
{{Editor|André Vierendeels|2014-12-15}}{{ScoreInfo|A4|3|88}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{MXL}}<br />
<br />
*{{CPDLno|27271}} [[Media:Devento-dapacem.pdf|{{pdf}}]] [[Media:Devento-dapacem.mid|{{mid}}]] [[Media:Devento-dapacem.sib|{{sib}}]] (Sibelius 6)<br />
{{Editor|Lewis Jones|2012-10-05}}{{ScoreInfo|A4|3|42}}{{Copy|Personal}}<br />
:'''Edition notes:''' Edited from facsimile of original Berg print. Alla quarta bassa according to chiavetti.<br />
<!--<br />
*{{:Edition:CPDL 24414}}<br />
<br />
*{{:Edition:CPDL 24415}}<br />
--><br />
*{{CPDLno|19155}} [[Media:Vento-Da_pacem_Domine.pdf|{{pdf}}]] [[Media:Vento-Da_pacem_Domine.mid|{{mid}}]]<br />
{{Editor|Klaas Spijker|2009-04-03}}{{ScoreInfo|A4|6|4400}}{{Copy|CPDL}}<br />
:'''Edition notes:''' no. 5 of ''Liber mottetorum quatuor vocum, nunc primum in lucem editus / Authore Ivone de Vento. - Monachij : Adamus Berg, 1571''.<br />
<br />
==General Information==<br />
'''Title:''' ''Da pacem, Domine''<br><br />
{{Composer|Ivo de Vento}}<br />
<br />
{{Voicing|4|SATB,ATTB}} or {{cat|ATBB|ATBarB}}<br><br />
{{Genre|Sacred|Motets}}<br />
{{Language|Latin}}<br />
{{Instruments|A cappella}}<br />
{{Published|1571}}<br />
<br />
'''Description:''' Motet based on the antiphon "Da pacem Domine". No. 5 from "Liber motetorum."<br />
<br />
'''External websites:'''<br />
*[http://www.kb.dk/da/nb/samling/ma/digmus/pre1700_indices/vento.html ''Liber mottetorum quatuor vocum, nunc primum in lucem editus'']<br />
<br />
==Original text and translations==<br />
{{LinkText|Da pacem, Domine}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]<br />
[[Category:Music facsimiles]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Talk:Da_pacem,_Domine_(Ivo_de_Vento)&diff=942615Talk:Da pacem, Domine (Ivo de Vento)2019-01-16T16:30:28Z<p>Rp: report errors in score</p>
<hr />
<div>Wim Looyestijn's edition has two spurious two-bar B-flat notes that should be rests: tenor b. 16-17 and soprano b. 52-53. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 16:30, 16 January 2019 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=A_solis_ortus_cardine&diff=915172A solis ortus cardine2018-10-19T17:39:59Z<p>Rp: /* Settings by composers */ - balance the columns</p>
<hr />
<div>==General information==<br />
This famous hymn was written by Caelius Sedulius (d. circa 450) with its stanzas starting with each subsequent letter of the Latin alphabet, 23 in total; a device known as ''abecedarius'' or ''acrostichon''.<br />
Sedulius called his poem ''Paean Alphabeticus de Christo''.<br />
<br />
Two parts from it entered Catholic liturgy:<br />
<br />
* ''A solis ortus cardine'', used for Lauds during the Christmas season, consisting of stanzas 1-7, followed by a new closing stanza (a doxology);<br />
* ''[[Hostis Herodes impie]]'', the Vesper hymn for Epiphany, consisting of stanzas 8, 9, 11 and 13, once again followed by a doxology.<br />
<br />
Hence, settings of ''A solus ortus cardine'' are usually of this 8-stanza form, or some of its stanzas.<br />
<br />
In this form, it was translated by Luther and published in his first collection of hymns (1524) as ''[[Christum wir sollen loben schon]]''.<br />
<br />
==Settings by composers==<br />
{{top}}<br />
*[[A solis ortus cardine (Anonymous)|Anonymous 14c, Trent 88]] STT or STTT<br />
*[[A solis ortus cardine a 3 (Gilles Binchois)|Gilles Binchois (3 vv)]] (single verse)<br />
*[[A solis ortus cardine a 4 (Gilles Binchois)|Gilles Binchois (SATB)]] (single verse)<br />
*[[A solis ortus (Adrianus Petit Coclico)|Adrien Petit Coclico]] (STTT, v. 1 only)<br />
*in [[Innario RPS (Carlotta Ferrari)]] (2016)<br />
{{mdl}}<br />
*[[Domus pudici pectoris (Heinrich Finck)]] a 4, verse 4 <br />
*[[A solis ortus cardine (William Mundy)|William Mundy]] SAT[T]B even verses, tenor editorially reconstructed<br />
*[[A solis ortus cardine (José Maurício Nunes Garcia)|José Maurício Nunes Garcia]] (SATB, org., even verses)<br />
*[[From lands that see the sun arise (Charles H. Giffen)|Charles H. Giffen]], SATB with descant, in English (J.M. Neale)<br />
*[[A solis ortus cardine (Giovanni Pierluigi da Palestrina)|Giovanni Pierluigi da Palestrina]] (odd vv. for SATB)<br />
{{btm}}<br />
{{TextAutoList}}<br />
<br />
==Text and translations==<br />
{{top}}{{Text|Latin|<br />
A solis ortus cardine<br />
Ad usque terrae limitem<br />
Christum canamus Principem,<br />
Natum Maria Virgine.<br />
<br />
Beatus auctor saeculi<br />
Servile corpus induit,<br />
Ut carne carnem liberans<br />
Non perderet quod condidit.<br />
<br />
Clausae<sup>1</sup> parentis viscera<br />
Caelestis intrat gratia;<br />
Venter puellae baiulat<br />
Secreta quae non noverat.<br />
<br />
Domus pudici pectoris<br />
Templum repente fit Dei;<br />
Intacta nesciens virum<br />
Verbo concepit Filium.<sup>2</sup><br />
<br />
Enixa<sup>3</sup> est puerpera<br />
Quem Gabriel praedixerat,<br />
Quem matris alvo gestiens<sup>4</sup><br />
Clausus Ioannes senserat.<sup>5</sup><br />
<br />
Foeno iacere pertulit,<br />
Praesepe non abhorruit,<br />
Parvoque lacte pastus est<sup>6</sup><br />
Per quem nec ales esurit.<br />
<br />
Gaudet chorus caelestium<br />
Et Angeli canunt Deum,<br />
Palamque fit pastoribus<br />
Pastor, Creator omnium.<br />
<br />
Iesu, tibi sit gloria,<br />
Qui natus es de Virgine,<br />
Cum Patre et almo Spiritu,<br />
In sempiterna saecula. Amen.}}<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From the rising of the sun<br />
to the ends of the earth,<br />
let us sing of Christ the Prince,<br />
born of the Virgin Mary.<br />
<br />
The blessed creator of the world<br />
put on a servant’s body,<br />
so that, liberating the flesh through taking flesh,<br />
he would not lose what he had made.<br />
<br />
The virgin mother's belly<br />
is filled with heavenly grace;<br />
the girl’s womb carries<br />
secrets which she has not known.<br />
<br />
The modest dwelling of her body<br />
becomes God’s new temple;<br />
untouched, not knowing a man,<br />
at a word she conceived the Son in her womb.<br />
<br />
By her birth pangs she brought forth<br />
the one whom Gabriel had foretold,<br />
and whom the Baptist, leaping within the womb,<br />
had recognised as Lord.<br />
<br />
He consented to lie in the hay;<br />
he did not shrink from the manger;<br />
and with little milk he was fed,<br />
who does not allow even the birds to hunger.<br />
<br />
The heavenly chorus rejoices,<br />
and the angels sing God's praise,<br />
and to the shepherds is now made known<br />
the Shepherd who is the creator of all.<br />
<br />
Jesus, to you be glory,<br />
who are born of a virgin,<br />
with the Father and the loving Spirit,<br />
for eternal ages. Amen.}}{{Translator|Mick Swithinbank}}<br />
:''with thanks to Jamie Reid Baxter for much help''<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From lands that see the sun arise,<br />
To earth’s remotest boundaries,<br />
The virgin born today we sing,<br />
The Son of Mary, Christ the King.<br />
<br />
Blest Author of this earthly frame,<br />
To take a servant’s form He came,<br />
That liberating flesh by flesh,<br />
Whom He had made might live afresh.<br />
<br />
In that chaste parent’s holy womb,<br />
Celestial grace hath found its home:<br />
And she, as earthly bride unknown,<br />
Yet call that Offspring blest her own.<br />
<br />
The mansion of the modest breast<br />
Becomes a shrine where God shall rest:<br />
The pure and undefiled one<br />
Conceived in her womb the Son.<br />
<br />
That Son, that royal Son she bore,<br />
Whom Gabriel’s voice had told afore:<br />
Whom, in his Mother yet concealed,<br />
The Infant Baptist had revealed.<br />
<br />
The manger and the straw He bore,<br />
The cradle did He not abhor:<br />
A little milk His infant fare<br />
Who feedeth even each fowl of air.<br />
<br />
The heavenly chorus filled the sky,<br />
The angels sang to God on high,<br />
What time to shepherds watching lone<br />
They made creation’s Shepherd known.<br />
<br />
All honor, laud, and glory be,<br />
O Jesu, virgin born, to Thee;<br />
All glory, as is ever meet,<br />
To the Father and to Paraclete.}}<br />
{{Translator|John Mason Neale}}<br />
{{btm}}<br />
'''Changes''' by [[Pope Urban VIII]] in 1632 to the [[Roman Breviary]] (some incorporated by Palestrina): <br />
:<sup>1</sup> ''Castae''<br />
:<sup>2</sup> ''Enititur'' (not in Palestrina)<br />
:<sup>3</sup> ''Concepit alvo Filium.''<br />
:<sup>4</sup> ''Quem ventre Matris gestiens,'' (not in Palestrina)<br />
:<sup>5</sup> ''baptismata clausum senserat'' (not in Palestrina)<br />
:<sup>6</sup> ''Et lacte modicus pastus est''<br />
{{top}}<br />
{{Translation|Hungarian|<br />
Naptámadat mesgyéitől<br />
A föld végső határaig<br />
Krisztust daloljuk, a Királyt,<br />
Szűz Máriának egy Fiát.<br />
<br />
A boldog Úr, az Alkotó,<br />
Magára szolgatestet ölt:<br />
A húst a hús hadd mentse meg,<br />
S ne vesszen el, kit alkotott.<br />
<br />
A Szűzanyának belsején<br />
Megszáll az égi kegyelem.<br />
Hord a Leány szíve alatt<br />
Soha nem ismert titkokat.<br />
<br />
Szemérmes szíve hajloka<br />
Immár az Isten temploma.<br />
Ki sosem ismert férfiút,<br />
Angyal-igén fogant fiút.<br />
<br />
A Szűz megszülte Gyermekét,<br />
Kit Gábor angyal megígért,<br />
Kit János érzett boldogan<br />
Már anyja méhe rejtekén.<br />
<br />
Hitvány jászolba fektetik,<br />
Szénától sem húzódozik,<br />
Ki a madárnak enni ád:<br />
Egy csöppnyi tejjel jóllakik.<br />
<br />
Újjong az égiek kara,<br />
Ünneplik zengő angyalok,<br />
S a pásztoroknak felragyog<br />
A mindeneknek Pásztora.}}<br />
{{mdl|3}}<br />
{{Translation|Dutch|<br />
Vanwaar de zon opgaat<br />
tot aan het einde van de aarde<br />
laten wij zingen voor Christus, onze vorst<br />
die geboren is uit de maagd Maria.}}<br />
{{mdl|3}}{{Translation|German|<br />
See [[Christum wir sollen loben schon]].}}<br />
{{btm}}<br />
<br />
==External links==<br />
* ''[https://en.wikipedia.org/wiki/A_solis_ortus_cardine A solis ortus cardine (Wikipedia)]'' contains the full text of the 23 stanzas with an English translation;<br />
* [https://books.google.nl/books?id=By0LAAAAIAAJ&lpg=PA14&ots=mBvgpFoFih&dq=%22Rivos%20cruoris%20torridi%22&pg=PA13#v=onepage&q&f=false ''The Manuscripts of Sedulius: A Provisional Handlist'', by Carl P. E. Springer (Transactions of the American Philosophical Society, volume 85 part 5)], mentions the hymn's history and lists manuscripts in which it appears.<br />
<br />
[[Category:Text pages]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=A_solis_ortus_cardine&diff=915171A solis ortus cardine2018-10-19T17:38:03Z<p>Rp: /* Settings by composers */ - attempt to enter the two missing sheep into the manual list</p>
<hr />
<div>==General information==<br />
This famous hymn was written by Caelius Sedulius (d. circa 450) with its stanzas starting with each subsequent letter of the Latin alphabet, 23 in total; a device known as ''abecedarius'' or ''acrostichon''.<br />
Sedulius called his poem ''Paean Alphabeticus de Christo''.<br />
<br />
Two parts from it entered Catholic liturgy:<br />
<br />
* ''A solis ortus cardine'', used for Lauds during the Christmas season, consisting of stanzas 1-7, followed by a new closing stanza (a doxology);<br />
* ''[[Hostis Herodes impie]]'', the Vesper hymn for Epiphany, consisting of stanzas 8, 9, 11 and 13, once again followed by a doxology.<br />
<br />
Hence, settings of ''A solus ortus cardine'' are usually of this 8-stanza form, or some of its stanzas.<br />
<br />
In this form, it was translated by Luther and published in his first collection of hymns (1524) as ''[[Christum wir sollen loben schon]]''.<br />
<br />
==Settings by composers==<br />
{{top}}<br />
*[[A solis ortus cardine (Anonymous)|Anonymous 14c, Trent 88]] STT or STTT<br />
*[[A solis ortus cardine a 3 (Gilles Binchois)|Gilles Binchois (3 vv)]] (single verse)<br />
*[[A solis ortus cardine a 4 (Gilles Binchois)|Gilles Binchois (SATB)]] (single verse)<br />
*[[A solis ortus (Adrianus Petit Coclico)|Adrien Petit Coclico]] (STTT, v. 1 only)<br />
{{mdl}}<br />
*[[Domus pudici pectoris (Heinrich Finck)]] a 4, verse 4 <br />
*[[A solis ortus cardine (William Mundy)|William Mundy]] SAT[T]B even verses, tenor editorially reconstructed<br />
*[[A solis ortus cardine (José Maurício Nunes Garcia)|José Maurício Nunes Garcia]] (SATB, org., even verses)<br />
*[[From lands that see the sun arise (Charles H. Giffen)|Charles H. Giffen]], SATB with descant, in English (J.M. Neale)<br />
*[[A solis ortus cardine (Giovanni Pierluigi da Palestrina)|Giovanni Pierluigi da Palestrina]] (odd vv. for SATB)<br />
*in [[Innario RPS (Carlotta Ferrari)]] (2016)<br />
{{btm}}<br />
{{TextAutoList}}<br />
<br />
==Text and translations==<br />
{{top}}{{Text|Latin|<br />
A solis ortus cardine<br />
Ad usque terrae limitem<br />
Christum canamus Principem,<br />
Natum Maria Virgine.<br />
<br />
Beatus auctor saeculi<br />
Servile corpus induit,<br />
Ut carne carnem liberans<br />
Non perderet quod condidit.<br />
<br />
Clausae<sup>1</sup> parentis viscera<br />
Caelestis intrat gratia;<br />
Venter puellae baiulat<br />
Secreta quae non noverat.<br />
<br />
Domus pudici pectoris<br />
Templum repente fit Dei;<br />
Intacta nesciens virum<br />
Verbo concepit Filium.<sup>2</sup><br />
<br />
Enixa<sup>3</sup> est puerpera<br />
Quem Gabriel praedixerat,<br />
Quem matris alvo gestiens<sup>4</sup><br />
Clausus Ioannes senserat.<sup>5</sup><br />
<br />
Foeno iacere pertulit,<br />
Praesepe non abhorruit,<br />
Parvoque lacte pastus est<sup>6</sup><br />
Per quem nec ales esurit.<br />
<br />
Gaudet chorus caelestium<br />
Et Angeli canunt Deum,<br />
Palamque fit pastoribus<br />
Pastor, Creator omnium.<br />
<br />
Iesu, tibi sit gloria,<br />
Qui natus es de Virgine,<br />
Cum Patre et almo Spiritu,<br />
In sempiterna saecula. Amen.}}<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From the rising of the sun<br />
to the ends of the earth,<br />
let us sing of Christ the Prince,<br />
born of the Virgin Mary.<br />
<br />
The blessed creator of the world<br />
put on a servant’s body,<br />
so that, liberating the flesh through taking flesh,<br />
he would not lose what he had made.<br />
<br />
The virgin mother's belly<br />
is filled with heavenly grace;<br />
the girl’s womb carries<br />
secrets which she has not known.<br />
<br />
The modest dwelling of her body<br />
becomes God’s new temple;<br />
untouched, not knowing a man,<br />
at a word she conceived the Son in her womb.<br />
<br />
By her birth pangs she brought forth<br />
the one whom Gabriel had foretold,<br />
and whom the Baptist, leaping within the womb,<br />
had recognised as Lord.<br />
<br />
He consented to lie in the hay;<br />
he did not shrink from the manger;<br />
and with little milk he was fed,<br />
who does not allow even the birds to hunger.<br />
<br />
The heavenly chorus rejoices,<br />
and the angels sing God's praise,<br />
and to the shepherds is now made known<br />
the Shepherd who is the creator of all.<br />
<br />
Jesus, to you be glory,<br />
who are born of a virgin,<br />
with the Father and the loving Spirit,<br />
for eternal ages. Amen.}}{{Translator|Mick Swithinbank}}<br />
:''with thanks to Jamie Reid Baxter for much help''<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From lands that see the sun arise,<br />
To earth’s remotest boundaries,<br />
The virgin born today we sing,<br />
The Son of Mary, Christ the King.<br />
<br />
Blest Author of this earthly frame,<br />
To take a servant’s form He came,<br />
That liberating flesh by flesh,<br />
Whom He had made might live afresh.<br />
<br />
In that chaste parent’s holy womb,<br />
Celestial grace hath found its home:<br />
And she, as earthly bride unknown,<br />
Yet call that Offspring blest her own.<br />
<br />
The mansion of the modest breast<br />
Becomes a shrine where God shall rest:<br />
The pure and undefiled one<br />
Conceived in her womb the Son.<br />
<br />
That Son, that royal Son she bore,<br />
Whom Gabriel’s voice had told afore:<br />
Whom, in his Mother yet concealed,<br />
The Infant Baptist had revealed.<br />
<br />
The manger and the straw He bore,<br />
The cradle did He not abhor:<br />
A little milk His infant fare<br />
Who feedeth even each fowl of air.<br />
<br />
The heavenly chorus filled the sky,<br />
The angels sang to God on high,<br />
What time to shepherds watching lone<br />
They made creation’s Shepherd known.<br />
<br />
All honor, laud, and glory be,<br />
O Jesu, virgin born, to Thee;<br />
All glory, as is ever meet,<br />
To the Father and to Paraclete.}}<br />
{{Translator|John Mason Neale}}<br />
{{btm}}<br />
'''Changes''' by [[Pope Urban VIII]] in 1632 to the [[Roman Breviary]] (some incorporated by Palestrina): <br />
:<sup>1</sup> ''Castae''<br />
:<sup>2</sup> ''Enititur'' (not in Palestrina)<br />
:<sup>3</sup> ''Concepit alvo Filium.''<br />
:<sup>4</sup> ''Quem ventre Matris gestiens,'' (not in Palestrina)<br />
:<sup>5</sup> ''baptismata clausum senserat'' (not in Palestrina)<br />
:<sup>6</sup> ''Et lacte modicus pastus est''<br />
{{top}}<br />
{{Translation|Hungarian|<br />
Naptámadat mesgyéitől<br />
A föld végső határaig<br />
Krisztust daloljuk, a Királyt,<br />
Szűz Máriának egy Fiát.<br />
<br />
A boldog Úr, az Alkotó,<br />
Magára szolgatestet ölt:<br />
A húst a hús hadd mentse meg,<br />
S ne vesszen el, kit alkotott.<br />
<br />
A Szűzanyának belsején<br />
Megszáll az égi kegyelem.<br />
Hord a Leány szíve alatt<br />
Soha nem ismert titkokat.<br />
<br />
Szemérmes szíve hajloka<br />
Immár az Isten temploma.<br />
Ki sosem ismert férfiút,<br />
Angyal-igén fogant fiút.<br />
<br />
A Szűz megszülte Gyermekét,<br />
Kit Gábor angyal megígért,<br />
Kit János érzett boldogan<br />
Már anyja méhe rejtekén.<br />
<br />
Hitvány jászolba fektetik,<br />
Szénától sem húzódozik,<br />
Ki a madárnak enni ád:<br />
Egy csöppnyi tejjel jóllakik.<br />
<br />
Újjong az égiek kara,<br />
Ünneplik zengő angyalok,<br />
S a pásztoroknak felragyog<br />
A mindeneknek Pásztora.}}<br />
{{mdl|3}}<br />
{{Translation|Dutch|<br />
Vanwaar de zon opgaat<br />
tot aan het einde van de aarde<br />
laten wij zingen voor Christus, onze vorst<br />
die geboren is uit de maagd Maria.}}<br />
{{mdl|3}}{{Translation|German|<br />
See [[Christum wir sollen loben schon]].}}<br />
{{btm}}<br />
<br />
==External links==<br />
* ''[https://en.wikipedia.org/wiki/A_solis_ortus_cardine A solis ortus cardine (Wikipedia)]'' contains the full text of the 23 stanzas with an English translation;<br />
* [https://books.google.nl/books?id=By0LAAAAIAAJ&lpg=PA14&ots=mBvgpFoFih&dq=%22Rivos%20cruoris%20torridi%22&pg=PA13#v=onepage&q&f=false ''The Manuscripts of Sedulius: A Provisional Handlist'', by Carl P. E. Springer (Transactions of the American Philosophical Society, volume 85 part 5)], mentions the hymn's history and lists manuscripts in which it appears.<br />
<br />
[[Category:Text pages]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=A_solis_ortus_cardine&diff=915170A solis ortus cardine2018-10-19T17:25:21Z<p>Rp: fix 2 typos</p>
<hr />
<div>==General information==<br />
This famous hymn was written by Caelius Sedulius (d. circa 450) with its stanzas starting with each subsequent letter of the Latin alphabet, 23 in total; a device known as ''abecedarius'' or ''acrostichon''.<br />
Sedulius called his poem ''Paean Alphabeticus de Christo''.<br />
<br />
Two parts from it entered Catholic liturgy:<br />
<br />
* ''A solis ortus cardine'', used for Lauds during the Christmas season, consisting of stanzas 1-7, followed by a new closing stanza (a doxology);<br />
* ''[[Hostis Herodes impie]]'', the Vesper hymn for Epiphany, consisting of stanzas 8, 9, 11 and 13, once again followed by a doxology.<br />
<br />
Hence, settings of ''A solus ortus cardine'' are usually of this 8-stanza form, or some of its stanzas.<br />
<br />
In this form, it was translated by Luther and published in his first collection of hymns (1524) as ''[[Christum wir sollen loben schon]]''.<br />
<br />
==Settings by composers==<br />
{{top}}<br />
*[[A solis ortus cardine (Anonymous)|Anonymous 14c, Trent 88]] STT or STTT<br />
*[[A solis ortus cardine a 3 (Gilles Binchois)|Gilles Binchois (3 vv)]] (single verse)<br />
*[[A solis ortus cardine a 4 (Gilles Binchois)|Gilles Binchois (SATB)]] (single verse)<br />
*[[A solis ortus (Adrianus Petit Coclico)|Adrien Petit Coclico]] (STTT, v. 1 only)<br />
{{mdl}}<br />
*[[Domus pudici pectoris (Heinrich Finck)]] a 4, verse 4 <br />
*[[A Solis ortus cardine (William Mundy)|William Mundy]] SAT[T]B even verses, tenor editorially reconstructed<br />
*[[A solis ortus cardine (José Maurício Nunes Garcia)|José Maurício Nunes Garcia]] (SATB, org., even verses)<br />
*[[From lands that see the sun arise (Charles H. Giffen)|Charles H. Giffen]], SATB with descant, in English (J.M. Neale)<br />
*[[A solis ortus cardine (Giovanni Pierluigi da Palestrina)|Giovanni Pierluigi da Palestrina]] (odd vv. for SATB)<br />
{{btm}}<br />
{{TextAutoList}}<br />
<br />
==Text and translations==<br />
{{top}}{{Text|Latin|<br />
A solis ortus cardine<br />
Ad usque terrae limitem<br />
Christum canamus Principem,<br />
Natum Maria Virgine.<br />
<br />
Beatus auctor saeculi<br />
Servile corpus induit,<br />
Ut carne carnem liberans<br />
Non perderet quod condidit.<br />
<br />
Clausae<sup>1</sup> parentis viscera<br />
Caelestis intrat gratia;<br />
Venter puellae baiulat<br />
Secreta quae non noverat.<br />
<br />
Domus pudici pectoris<br />
Templum repente fit Dei;<br />
Intacta nesciens virum<br />
Verbo concepit Filium.<sup>2</sup><br />
<br />
Enixa<sup>3</sup> est puerpera<br />
Quem Gabriel praedixerat,<br />
Quem matris alvo gestiens<sup>4</sup><br />
Clausus Ioannes senserat.<sup>5</sup><br />
<br />
Foeno iacere pertulit,<br />
Praesepe non abhorruit,<br />
Parvoque lacte pastus est<sup>6</sup><br />
Per quem nec ales esurit.<br />
<br />
Gaudet chorus caelestium<br />
Et Angeli canunt Deum,<br />
Palamque fit pastoribus<br />
Pastor, Creator omnium.<br />
<br />
Iesu, tibi sit gloria,<br />
Qui natus es de Virgine,<br />
Cum Patre et almo Spiritu,<br />
In sempiterna saecula. Amen.}}<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From the rising of the sun<br />
to the ends of the earth,<br />
let us sing of Christ the Prince,<br />
born of the Virgin Mary.<br />
<br />
The blessed creator of the world<br />
put on a servant’s body,<br />
so that, liberating the flesh through taking flesh,<br />
he would not lose what he had made.<br />
<br />
The virgin mother's belly<br />
is filled with heavenly grace;<br />
the girl’s womb carries<br />
secrets which she has not known.<br />
<br />
The modest dwelling of her body<br />
becomes God’s new temple;<br />
untouched, not knowing a man,<br />
at a word she conceived the Son in her womb.<br />
<br />
By her birth pangs she brought forth<br />
the one whom Gabriel had foretold,<br />
and whom the Baptist, leaping within the womb,<br />
had recognised as Lord.<br />
<br />
He consented to lie in the hay;<br />
he did not shrink from the manger;<br />
and with little milk he was fed,<br />
who does not allow even the birds to hunger.<br />
<br />
The heavenly chorus rejoices,<br />
and the angels sing God's praise,<br />
and to the shepherds is now made known<br />
the Shepherd who is the creator of all.<br />
<br />
Jesus, to you be glory,<br />
who are born of a virgin,<br />
with the Father and the loving Spirit,<br />
for eternal ages. Amen.}}{{Translator|Mick Swithinbank}}<br />
:''with thanks to Jamie Reid Baxter for much help''<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From lands that see the sun arise,<br />
To earth’s remotest boundaries,<br />
The virgin born today we sing,<br />
The Son of Mary, Christ the King.<br />
<br />
Blest Author of this earthly frame,<br />
To take a servant’s form He came,<br />
That liberating flesh by flesh,<br />
Whom He had made might live afresh.<br />
<br />
In that chaste parent’s holy womb,<br />
Celestial grace hath found its home:<br />
And she, as earthly bride unknown,<br />
Yet call that Offspring blest her own.<br />
<br />
The mansion of the modest breast<br />
Becomes a shrine where God shall rest:<br />
The pure and undefiled one<br />
Conceived in her womb the Son.<br />
<br />
That Son, that royal Son she bore,<br />
Whom Gabriel’s voice had told afore:<br />
Whom, in his Mother yet concealed,<br />
The Infant Baptist had revealed.<br />
<br />
The manger and the straw He bore,<br />
The cradle did He not abhor:<br />
A little milk His infant fare<br />
Who feedeth even each fowl of air.<br />
<br />
The heavenly chorus filled the sky,<br />
The angels sang to God on high,<br />
What time to shepherds watching lone<br />
They made creation’s Shepherd known.<br />
<br />
All honor, laud, and glory be,<br />
O Jesu, virgin born, to Thee;<br />
All glory, as is ever meet,<br />
To the Father and to Paraclete.}}<br />
{{Translator|John Mason Neale}}<br />
{{btm}}<br />
'''Changes''' by [[Pope Urban VIII]] in 1632 to the [[Roman Breviary]] (some incorporated by Palestrina): <br />
:<sup>1</sup> ''Castae''<br />
:<sup>2</sup> ''Enititur'' (not in Palestrina)<br />
:<sup>3</sup> ''Concepit alvo Filium.''<br />
:<sup>4</sup> ''Quem ventre Matris gestiens,'' (not in Palestrina)<br />
:<sup>5</sup> ''baptismata clausum senserat'' (not in Palestrina)<br />
:<sup>6</sup> ''Et lacte modicus pastus est''<br />
{{top}}<br />
{{Translation|Hungarian|<br />
Naptámadat mesgyéitől<br />
A föld végső határaig<br />
Krisztust daloljuk, a Királyt,<br />
Szűz Máriának egy Fiát.<br />
<br />
A boldog Úr, az Alkotó,<br />
Magára szolgatestet ölt:<br />
A húst a hús hadd mentse meg,<br />
S ne vesszen el, kit alkotott.<br />
<br />
A Szűzanyának belsején<br />
Megszáll az égi kegyelem.<br />
Hord a Leány szíve alatt<br />
Soha nem ismert titkokat.<br />
<br />
Szemérmes szíve hajloka<br />
Immár az Isten temploma.<br />
Ki sosem ismert férfiút,<br />
Angyal-igén fogant fiút.<br />
<br />
A Szűz megszülte Gyermekét,<br />
Kit Gábor angyal megígért,<br />
Kit János érzett boldogan<br />
Már anyja méhe rejtekén.<br />
<br />
Hitvány jászolba fektetik,<br />
Szénától sem húzódozik,<br />
Ki a madárnak enni ád:<br />
Egy csöppnyi tejjel jóllakik.<br />
<br />
Újjong az égiek kara,<br />
Ünneplik zengő angyalok,<br />
S a pásztoroknak felragyog<br />
A mindeneknek Pásztora.}}<br />
{{mdl|3}}<br />
{{Translation|Dutch|<br />
Vanwaar de zon opgaat<br />
tot aan het einde van de aarde<br />
laten wij zingen voor Christus, onze vorst<br />
die geboren is uit de maagd Maria.}}<br />
{{mdl|3}}{{Translation|German|<br />
See [[Christum wir sollen loben schon]].}}<br />
{{btm}}<br />
<br />
==External links==<br />
* ''[https://en.wikipedia.org/wiki/A_solis_ortus_cardine A solis ortus cardine (Wikipedia)]'' contains the full text of the 23 stanzas with an English translation;<br />
* [https://books.google.nl/books?id=By0LAAAAIAAJ&lpg=PA14&ots=mBvgpFoFih&dq=%22Rivos%20cruoris%20torridi%22&pg=PA13#v=onepage&q&f=false ''The Manuscripts of Sedulius: A Provisional Handlist'', by Carl P. E. Springer (Transactions of the American Philosophical Society, volume 85 part 5)], mentions the hymn's history and lists manuscripts in which it appears.<br />
<br />
[[Category:Text pages]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=A_solis_ortus_cardine&diff=915169A solis ortus cardine2018-10-19T17:21:12Z<p>Rp: /* External links */</p>
<hr />
<div>==General information==<br />
This famous hymn was written by Caelius Sedulius (d. circa 450) with its stanzas starting with each subsequent letter of the Latin alphabet, 23 in total; a device known as ''abecedarius'' or ''acrostichon''.<br />
Sedulius called his poem ''Paean Alphabeticus de Christo''.<br />
<br />
Two parts from it entered Catholic liturgy:<br />
<br />
* ''A solus ortus cardine'', used for Lauds during the Christmas season, consisting of stanzas 1-7, followed by a new closing stanza (a doxology);<br />
* ''[[Hostis Herodes impie]]'', the Vesper hymn for Epiphany, consisting of stanzas 8, 9, 11 and 13, once again followed by a doxology.<br />
<br />
Hence, settings of ''A solus ortus cardine'' are usually of this 8-stanza form, or some of its stanzas.<br />
<br />
In this form, it was translated by Luther and published in his first collection of hymns (1524) as ''[[Christum wir sollen loben schon]]''.<br />
<br />
==Settings by composers==<br />
{{top}}<br />
*[[A solis ortus cardine (Anonymous)|Anonymous 14c, Trent 88]] STT or STTT<br />
*[[A solis ortus cardine a 3 (Gilles Binchois)|Gilles Binchois (3 vv)]] (single verse)<br />
*[[A solis ortus cardine a 4 (Gilles Binchois)|Gilles Binchois (SATB)]] (single verse)<br />
*[[A solis ortus (Adrianus Petit Coclico)|Adrien Petit Coclico]] (STTT, v. 1 only)<br />
{{mdl}}<br />
*[[Domus pudici pectoris (Heinrich Finck)]] a 4, verse 4 <br />
*[[A Solis ortus cardine (William Mundy)|William Mundy]] SAT[T]B even verses, tenor editorially reconstructed<br />
*[[A solis ortus cardine (José Maurício Nunes Garcia)|José Maurício Nunes Garcia]] (SATB, org., even verses)<br />
*[[From lands that see the sun arise (Charles H. Giffen)|Charles H. Giffen]], SATB with descant, in English (J.M. Neale)<br />
*[[A solis ortus cardine (Giovanni Pierluigi da Palestrina)|Giovanni Pierluigi da Palestrina]] (odd vv. for SATB)<br />
{{btm}}<br />
{{TextAutoList}}<br />
<br />
==Text and translations==<br />
{{top}}{{Text|Latin|<br />
A solis ortus cardine<br />
Ad usque terrae limitem<br />
Christum canamus Principem,<br />
Natum Maria Virgine.<br />
<br />
Beatus auctor saeculi<br />
Servile corpus induit,<br />
Ut carne carnem liberans<br />
Non perderet quod condidit.<br />
<br />
Clausae<sup>1</sup> parentis viscera<br />
Caelestis intrat gratia;<br />
Venter puellae baiulat<br />
Secreta quae non noverat.<br />
<br />
Domus pudici pectoris<br />
Templum repente fit Dei;<br />
Intacta nesciens virum<br />
Verbo concepit Filium.<sup>2</sup><br />
<br />
Enixa<sup>3</sup> est puerpera<br />
Quem Gabriel praedixerat,<br />
Quem matris alvo gestiens<sup>4</sup><br />
Clausus Ioannes senserat.<sup>5</sup><br />
<br />
Foeno iacere pertulit,<br />
Praesepe non abhorruit,<br />
Parvoque lacte pastus est<sup>6</sup><br />
Per quem nec ales esurit.<br />
<br />
Gaudet chorus caelestium<br />
Et Angeli canunt Deum,<br />
Palamque fit pastoribus<br />
Pastor, Creator omnium.<br />
<br />
Iesu, tibi sit gloria,<br />
Qui natus es de Virgine,<br />
Cum Patre et almo Spiritu,<br />
In sempiterna saecula. Amen.}}<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From the rising of the sun<br />
to the ends of the earth,<br />
let us sing of Christ the Prince,<br />
born of the Virgin Mary.<br />
<br />
The blessed creator of the world<br />
put on a servant’s body,<br />
so that, liberating the flesh through taking flesh,<br />
he would not lose what he had made.<br />
<br />
The virgin mother's belly<br />
is filled with heavenly grace;<br />
the girl’s womb carries<br />
secrets which she has not known.<br />
<br />
The modest dwelling of her body<br />
becomes God’s new temple;<br />
untouched, not knowing a man,<br />
at a word she conceived the Son in her womb.<br />
<br />
By her birth pangs she brought forth<br />
the one whom Gabriel had foretold,<br />
and whom the Baptist, leaping within the womb,<br />
had recognised as Lord.<br />
<br />
He consented to lie in the hay;<br />
he did not shrink from the manger;<br />
and with little milk he was fed,<br />
who does not allow even the birds to hunger.<br />
<br />
The heavenly chorus rejoices,<br />
and the angels sing God's praise,<br />
and to the shepherds is now made known<br />
the Shepherd who is the creator of all.<br />
<br />
Jesus, to you be glory,<br />
who are born of a virgin,<br />
with the Father and the loving Spirit,<br />
for eternal ages. Amen.}}{{Translator|Mick Swithinbank}}<br />
:''with thanks to Jamie Reid Baxter for much help''<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From lands that see the sun arise,<br />
To earth’s remotest boundaries,<br />
The virgin born today we sing,<br />
The Son of Mary, Christ the King.<br />
<br />
Blest Author of this earthly frame,<br />
To take a servant’s form He came,<br />
That liberating flesh by flesh,<br />
Whom He had made might live afresh.<br />
<br />
In that chaste parent’s holy womb,<br />
Celestial grace hath found its home:<br />
And she, as earthly bride unknown,<br />
Yet call that Offspring blest her own.<br />
<br />
The mansion of the modest breast<br />
Becomes a shrine where God shall rest:<br />
The pure and undefiled one<br />
Conceived in her womb the Son.<br />
<br />
That Son, that royal Son she bore,<br />
Whom Gabriel’s voice had told afore:<br />
Whom, in his Mother yet concealed,<br />
The Infant Baptist had revealed.<br />
<br />
The manger and the straw He bore,<br />
The cradle did He not abhor:<br />
A little milk His infant fare<br />
Who feedeth even each fowl of air.<br />
<br />
The heavenly chorus filled the sky,<br />
The angels sang to God on high,<br />
What time to shepherds watching lone<br />
They made creation’s Shepherd known.<br />
<br />
All honor, laud, and glory be,<br />
O Jesu, virgin born, to Thee;<br />
All glory, as is ever meet,<br />
To the Father and to Paraclete.}}<br />
{{Translator|John Mason Neale}}<br />
{{btm}}<br />
'''Changes''' by [[Pope Urban VIII]] in 1632 to the [[Roman Breviary]] (some incorporated by Palestrina): <br />
:<sup>1</sup> ''Castae''<br />
:<sup>2</sup> ''Enititur'' (not in Palestrina)<br />
:<sup>3</sup> ''Concepit alvo Filium.''<br />
:<sup>4</sup> ''Quem ventre Matris gestiens,'' (not in Palestrina)<br />
:<sup>5</sup> ''baptismata clausum senserat'' (not in Palestrina)<br />
:<sup>6</sup> ''Et lacte modicus pastus est''<br />
{{top}}<br />
{{Translation|Hungarian|<br />
Naptámadat mesgyéitől<br />
A föld végső határaig<br />
Krisztust daloljuk, a Királyt,<br />
Szűz Máriának egy Fiát.<br />
<br />
A boldog Úr, az Alkotó,<br />
Magára szolgatestet ölt:<br />
A húst a hús hadd mentse meg,<br />
S ne vesszen el, kit alkotott.<br />
<br />
A Szűzanyának belsején<br />
Megszáll az égi kegyelem.<br />
Hord a Leány szíve alatt<br />
Soha nem ismert titkokat.<br />
<br />
Szemérmes szíve hajloka<br />
Immár az Isten temploma.<br />
Ki sosem ismert férfiút,<br />
Angyal-igén fogant fiút.<br />
<br />
A Szűz megszülte Gyermekét,<br />
Kit Gábor angyal megígért,<br />
Kit János érzett boldogan<br />
Már anyja méhe rejtekén.<br />
<br />
Hitvány jászolba fektetik,<br />
Szénától sem húzódozik,<br />
Ki a madárnak enni ád:<br />
Egy csöppnyi tejjel jóllakik.<br />
<br />
Újjong az égiek kara,<br />
Ünneplik zengő angyalok,<br />
S a pásztoroknak felragyog<br />
A mindeneknek Pásztora.}}<br />
{{mdl|3}}<br />
{{Translation|Dutch|<br />
Vanwaar de zon opgaat<br />
tot aan het einde van de aarde<br />
laten wij zingen voor Christus, onze vorst<br />
die geboren is uit de maagd Maria.}}<br />
{{mdl|3}}{{Translation|German|<br />
See [[Christum wir sollen loben schon]].}}<br />
{{btm}}<br />
<br />
==External links==<br />
* ''[https://en.wikipedia.org/wiki/A_solis_ortus_cardine A solis ortus cardine (Wikipedia)]'' contains the full text of the 23 stanzas with an English translation;<br />
* [https://books.google.nl/books?id=By0LAAAAIAAJ&lpg=PA14&ots=mBvgpFoFih&dq=%22Rivos%20cruoris%20torridi%22&pg=PA13#v=onepage&q&f=false ''The Manuscripts of Sedulius: A Provisional Handlist'', by Carl P. E. Springer, (Transactions of the American Philosophical Society, volume 85 part 5)], mentions the hymn's history and lists manuscripts in which it appears.<br />
<br />
[[Category:Text pages]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=A_solis_ortus_cardine&diff=915168A solis ortus cardine2018-10-19T17:00:35Z<p>Rp: /* General information */</p>
<hr />
<div>==General information==<br />
This famous hymn was written by Caelius Sedulius (d. circa 450) with its stanzas starting with each subsequent letter of the Latin alphabet, 23 in total; a device known as ''abecedarius'' or ''acrostichon''.<br />
Sedulius called his poem ''Paean Alphabeticus de Christo''.<br />
<br />
Two parts from it entered Catholic liturgy:<br />
<br />
* ''A solus ortus cardine'', used for Lauds during the Christmas season, consisting of stanzas 1-7, followed by a new closing stanza (a doxology);<br />
* ''[[Hostis Herodes impie]]'', the Vesper hymn for Epiphany, consisting of stanzas 8, 9, 11 and 13, once again followed by a doxology.<br />
<br />
Hence, settings of ''A solus ortus cardine'' are usually of this 8-stanza form, or some of its stanzas.<br />
<br />
In this form, it was translated by Luther and published in his first collection of hymns (1524) as ''[[Christum wir sollen loben schon]]''.<br />
<br />
==Settings by composers==<br />
{{top}}<br />
*[[A solis ortus cardine (Anonymous)|Anonymous 14c, Trent 88]] STT or STTT<br />
*[[A solis ortus cardine a 3 (Gilles Binchois)|Gilles Binchois (3 vv)]] (single verse)<br />
*[[A solis ortus cardine a 4 (Gilles Binchois)|Gilles Binchois (SATB)]] (single verse)<br />
*[[A solis ortus (Adrianus Petit Coclico)|Adrien Petit Coclico]] (STTT, v. 1 only)<br />
{{mdl}}<br />
*[[Domus pudici pectoris (Heinrich Finck)]] a 4, verse 4 <br />
*[[A Solis ortus cardine (William Mundy)|William Mundy]] SAT[T]B even verses, tenor editorially reconstructed<br />
*[[A solis ortus cardine (José Maurício Nunes Garcia)|José Maurício Nunes Garcia]] (SATB, org., even verses)<br />
*[[From lands that see the sun arise (Charles H. Giffen)|Charles H. Giffen]], SATB with descant, in English (J.M. Neale)<br />
*[[A solis ortus cardine (Giovanni Pierluigi da Palestrina)|Giovanni Pierluigi da Palestrina]] (odd vv. for SATB)<br />
{{btm}}<br />
{{TextAutoList}}<br />
<br />
==Text and translations==<br />
{{top}}{{Text|Latin|<br />
A solis ortus cardine<br />
Ad usque terrae limitem<br />
Christum canamus Principem,<br />
Natum Maria Virgine.<br />
<br />
Beatus auctor saeculi<br />
Servile corpus induit,<br />
Ut carne carnem liberans<br />
Non perderet quod condidit.<br />
<br />
Clausae<sup>1</sup> parentis viscera<br />
Caelestis intrat gratia;<br />
Venter puellae baiulat<br />
Secreta quae non noverat.<br />
<br />
Domus pudici pectoris<br />
Templum repente fit Dei;<br />
Intacta nesciens virum<br />
Verbo concepit Filium.<sup>2</sup><br />
<br />
Enixa<sup>3</sup> est puerpera<br />
Quem Gabriel praedixerat,<br />
Quem matris alvo gestiens<sup>4</sup><br />
Clausus Ioannes senserat.<sup>5</sup><br />
<br />
Foeno iacere pertulit,<br />
Praesepe non abhorruit,<br />
Parvoque lacte pastus est<sup>6</sup><br />
Per quem nec ales esurit.<br />
<br />
Gaudet chorus caelestium<br />
Et Angeli canunt Deum,<br />
Palamque fit pastoribus<br />
Pastor, Creator omnium.<br />
<br />
Iesu, tibi sit gloria,<br />
Qui natus es de Virgine,<br />
Cum Patre et almo Spiritu,<br />
In sempiterna saecula. Amen.}}<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From the rising of the sun<br />
to the ends of the earth,<br />
let us sing of Christ the Prince,<br />
born of the Virgin Mary.<br />
<br />
The blessed creator of the world<br />
put on a servant’s body,<br />
so that, liberating the flesh through taking flesh,<br />
he would not lose what he had made.<br />
<br />
The virgin mother's belly<br />
is filled with heavenly grace;<br />
the girl’s womb carries<br />
secrets which she has not known.<br />
<br />
The modest dwelling of her body<br />
becomes God’s new temple;<br />
untouched, not knowing a man,<br />
at a word she conceived the Son in her womb.<br />
<br />
By her birth pangs she brought forth<br />
the one whom Gabriel had foretold,<br />
and whom the Baptist, leaping within the womb,<br />
had recognised as Lord.<br />
<br />
He consented to lie in the hay;<br />
he did not shrink from the manger;<br />
and with little milk he was fed,<br />
who does not allow even the birds to hunger.<br />
<br />
The heavenly chorus rejoices,<br />
and the angels sing God's praise,<br />
and to the shepherds is now made known<br />
the Shepherd who is the creator of all.<br />
<br />
Jesus, to you be glory,<br />
who are born of a virgin,<br />
with the Father and the loving Spirit,<br />
for eternal ages. Amen.}}{{Translator|Mick Swithinbank}}<br />
:''with thanks to Jamie Reid Baxter for much help''<br />
{{mdl|3}}<br />
{{Translation|English|<br />
From lands that see the sun arise,<br />
To earth’s remotest boundaries,<br />
The virgin born today we sing,<br />
The Son of Mary, Christ the King.<br />
<br />
Blest Author of this earthly frame,<br />
To take a servant’s form He came,<br />
That liberating flesh by flesh,<br />
Whom He had made might live afresh.<br />
<br />
In that chaste parent’s holy womb,<br />
Celestial grace hath found its home:<br />
And she, as earthly bride unknown,<br />
Yet call that Offspring blest her own.<br />
<br />
The mansion of the modest breast<br />
Becomes a shrine where God shall rest:<br />
The pure and undefiled one<br />
Conceived in her womb the Son.<br />
<br />
That Son, that royal Son she bore,<br />
Whom Gabriel’s voice had told afore:<br />
Whom, in his Mother yet concealed,<br />
The Infant Baptist had revealed.<br />
<br />
The manger and the straw He bore,<br />
The cradle did He not abhor:<br />
A little milk His infant fare<br />
Who feedeth even each fowl of air.<br />
<br />
The heavenly chorus filled the sky,<br />
The angels sang to God on high,<br />
What time to shepherds watching lone<br />
They made creation’s Shepherd known.<br />
<br />
All honor, laud, and glory be,<br />
O Jesu, virgin born, to Thee;<br />
All glory, as is ever meet,<br />
To the Father and to Paraclete.}}<br />
{{Translator|John Mason Neale}}<br />
{{btm}}<br />
'''Changes''' by [[Pope Urban VIII]] in 1632 to the [[Roman Breviary]] (some incorporated by Palestrina): <br />
:<sup>1</sup> ''Castae''<br />
:<sup>2</sup> ''Enititur'' (not in Palestrina)<br />
:<sup>3</sup> ''Concepit alvo Filium.''<br />
:<sup>4</sup> ''Quem ventre Matris gestiens,'' (not in Palestrina)<br />
:<sup>5</sup> ''baptismata clausum senserat'' (not in Palestrina)<br />
:<sup>6</sup> ''Et lacte modicus pastus est''<br />
{{top}}<br />
{{Translation|Hungarian|<br />
Naptámadat mesgyéitől<br />
A föld végső határaig<br />
Krisztust daloljuk, a Királyt,<br />
Szűz Máriának egy Fiát.<br />
<br />
A boldog Úr, az Alkotó,<br />
Magára szolgatestet ölt:<br />
A húst a hús hadd mentse meg,<br />
S ne vesszen el, kit alkotott.<br />
<br />
A Szűzanyának belsején<br />
Megszáll az égi kegyelem.<br />
Hord a Leány szíve alatt<br />
Soha nem ismert titkokat.<br />
<br />
Szemérmes szíve hajloka<br />
Immár az Isten temploma.<br />
Ki sosem ismert férfiút,<br />
Angyal-igén fogant fiút.<br />
<br />
A Szűz megszülte Gyermekét,<br />
Kit Gábor angyal megígért,<br />
Kit János érzett boldogan<br />
Már anyja méhe rejtekén.<br />
<br />
Hitvány jászolba fektetik,<br />
Szénától sem húzódozik,<br />
Ki a madárnak enni ád:<br />
Egy csöppnyi tejjel jóllakik.<br />
<br />
Újjong az égiek kara,<br />
Ünneplik zengő angyalok,<br />
S a pásztoroknak felragyog<br />
A mindeneknek Pásztora.}}<br />
{{mdl|3}}<br />
{{Translation|Dutch|<br />
Vanwaar de zon opgaat<br />
tot aan het einde van de aarde<br />
laten wij zingen voor Christus, onze vorst<br />
die geboren is uit de maagd Maria.}}<br />
{{mdl|3}}{{Translation|German|<br />
See [[Christum wir sollen loben schon]].}}<br />
{{btm}}<br />
<br />
==External links==<br />
''add links here''<br />
<br />
[[Category:Text pages]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Talk:A_ce_matin_(Orlando_di_Lasso)&diff=879064Talk:A ce matin (Orlando di Lasso)2018-02-09T15:10:04Z<p>Rp: /* E in tenor, bar 26 */</p>
<hr />
<div>''Question'': m19 alto should not be sharped?<br />
''Answer'': The F# is correct. The phrase in m18 differs from the previous cadence on soprano melody m9-10 cadences on Dm because m9 remains minor and is not moving harmonically. The cadence in this instance (m18-19) follows the alteration of the harmonic sequence, esp. tenor m18, with a cadence on D major, followed immediately by a return to d minor to begin the next phrase. The harmonic variation is supported by the text and obvious word painting. Paul M [[User:Marchesa|Marchesa]] 21:14, 25 November 2011 (CST)<br />
<br />
''Question'': The tenor in bar 1 is 1/8th longer than the other voices. How to resolve this? What does the original say? I'm tempted to shorten 'ma' to 1/8th. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 19:30, 27 April 2014 (UTC)<br />
''Answer'': You are correct, and have caught an error that escaped comment for 3 years; 'ma' should indeed be an eighth note. <br />
<br />
== E in tenor, bar 26 ==<br />
<br />
I can't bring myself to sing it; [https://www.youtube.com/watch?v=6ENuig4nCGg The Laughing Bird] uses Eb. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 19:54, 27 April 2014 (UTC)<br />
<br />
I'm glad the Laughing Bird used my edition and I know them well. We discussed this measure. It is a matter of opinion. The original is not flatted, and there are many a flatted 'E' throughout. In this instance it is a matter of choice. If you can't bring yourself to sing E-natural, then by all means sing E-flat. That is certainly more pleasing to the modern ear. The passing tri-tone for a half beat is not an issue here. It is a colorization. I disagree with the flat and stand by the E-natural. Besides, it is easier to add a flat than to subtract it ;) Paul M [[User:Marchesa|Marchesa]] ([[User talk:Marchesa|talk]]) 02:40, 28 April 2014 (UTC)<br />
<br><br />
<br><br />
The E in the Tenor in bar 26 should be E flat. I have transcribed hundreds of Lassus and other Renaissance works from original prints. It is rather common that E after a B flat is not flatted, though E flat is expected to be sung. This was obvious for people of the 16th century, so they assume everyone knows it so no explicit flat sign is necessary. This logic is quite different from our modern understanding according to which you should note the actual pitches. Often in such a case you find a signed E flat in another voice, which is additional support to the assumption that an E even when not flatted after a B flat is to be sung as E flat. The flatting of E in certain situations (e.g. "una nota super la") was regarded obvious even without putting a flat sign, so that in some cases the E note has a sharp sign in front of it, alerting the singer that the E is not to be flatted. So I mean had Lassus wanted an E to be sung here, he would have indicated this by putting a sharp sign in front of the E.<br><br />
So you are obviously not reading the original Lassus as it was meant to be read by singers of Lassus's time.<br><br />
<br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 02:51, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
How good it is to know someone who personally knew Lassus! You must be quite full of yourself having that advantage over the rest of the musical world, to whom what exactly Lassus wrote or intended is a complete mystery! Your reference to reading the original Lassus notwithstanding, most of the material is from copyists or original publications, so no, Orlando did not right a specific note to me. Regardless of your rationalizations, the E-flat works perfectly well and is completely within style, as is often the case with other of his works and his contemporaries. I stand by my preference for E-natural, and as I have said above, you are welcome to flat the E if you prefer since it is NOT clearly defined.<br>One should also note that the cadence is major, progressing suspension G6 to D.<br><br />
--[[User:Marchesa|Marchesa]] ([[User talk:Marchesa|talk]]) 04:10, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
There's no need to take this tone with me. Just because you are ignorant of the notational conventions of Lassus's time, it doesn't mean all of us are. What I offered were not rationalisations, they are facts. The E flat IS clearly defined for those who are familiar with the music of Lassus's time and its notational conventions. The Tenor sings c'est d'avoir de l'argent in (modern terms) B flat major, B flat - C - D - B flat (= ut re mi ut) which should be followed by a fa (E flat) and not an E. When Lassus (and other composers of the 16th century) wanted to have an E where according to the conventions of the time singers were likely to sing an E flat (just like this case), they put a sharp sign in front of the E. Well, it's not my fault that you have never seen any instance of this.<br><br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 09:47, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
https://photos.google.com/photo/AF1QipNFiiBph8Sd33SrbTH2Uq5cspY1MZ0iw581pcSw Here you can see one instance of E flats not indicated but called for - in the first line the three consecutive E notes are to be sung as E flats (indeed they are sung as E flats by Graindelavoix), and in the last line you can see a sharp before the E, cautioning the singers that this note is not to be flattened.<br><br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 10:23, 8 February 2018 (UTC)<br />
<br />
The link is broken<br />
<br />
I have no idea of the theory behind this, but as far as I can tell just by trying things out, the reason I want an Eb there is the following chord, D-F(#)-A. It makes the E(b) resolve downwards to D, which an E cannot do, to my mind. Had the next note been C or F instead, implying a C-F-A chord, the resolution would have been upwards and I'd use E, not Eb. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 15:08, 9 February 2018 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Talk:A_ce_matin_(Orlando_di_Lasso)&diff=879063Talk:A ce matin (Orlando di Lasso)2018-02-09T15:08:12Z<p>Rp: /* E in tenor, bar 26 */</p>
<hr />
<div>''Question'': m19 alto should not be sharped?<br />
''Answer'': The F# is correct. The phrase in m18 differs from the previous cadence on soprano melody m9-10 cadences on Dm because m9 remains minor and is not moving harmonically. The cadence in this instance (m18-19) follows the alteration of the harmonic sequence, esp. tenor m18, with a cadence on D major, followed immediately by a return to d minor to begin the next phrase. The harmonic variation is supported by the text and obvious word painting. Paul M [[User:Marchesa|Marchesa]] 21:14, 25 November 2011 (CST)<br />
<br />
''Question'': The tenor in bar 1 is 1/8th longer than the other voices. How to resolve this? What does the original say? I'm tempted to shorten 'ma' to 1/8th. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 19:30, 27 April 2014 (UTC)<br />
''Answer'': You are correct, and have caught an error that escaped comment for 3 years; 'ma' should indeed be an eighth note. <br />
<br />
== E in tenor, bar 26 ==<br />
<br />
I can't bring myself to sing it; [https://www.youtube.com/watch?v=6ENuig4nCGg The Laughing Bird] uses Eb. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 19:54, 27 April 2014 (UTC)<br />
<br />
I'm glad the Laughing Bird used my edition and I know them well. We discussed this measure. It is a matter of opinion. The original is not flatted, and there are many a flatted 'E' throughout. In this instance it is a matter of choice. If you can't bring yourself to sing E-natural, then by all means sing E-flat. That is certainly more pleasing to the modern ear. The passing tri-tone for a half beat is not an issue here. It is a colorization. I disagree with the flat and stand by the E-natural. Besides, it is easier to add a flat than to subtract it ;) Paul M [[User:Marchesa|Marchesa]] ([[User talk:Marchesa|talk]]) 02:40, 28 April 2014 (UTC)<br />
<br><br />
<br><br />
The E in the Tenor in bar 26 should be E flat. I have transcribed hundreds of Lassus and other Renaissance works from original prints. It is rather common that E after a B flat is not flatted, though E flat is expected to be sung. This was obvious for people of the 16th century, so they assume everyone knows it so no explicit flat sign is necessary. This logic is quite different from our modern understanding according to which you should note the actual pitches. Often in such a case you find a signed E flat in another voice, which is additional support to the assumption that an E even when not flatted after a B flat is to be sung as E flat. The flatting of E in certain situations (e.g. "una nota super la") was regarded obvious even without putting a flat sign, so that in some cases the E note has a sharp sign in front of it, alerting the singer that the E is not to be flatted. So I mean had Lassus wanted an E to be sung here, he would have indicated this by putting a sharp sign in front of the E.<br><br />
So you are obviously not reading the original Lassus as it was meant to be read by singers of Lassus's time.<br><br />
<br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 02:51, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
How good it is to know someone who personally knew Lassus! You must be quite full of yourself having that advantage over the rest of the musical world, to whom what exactly Lassus wrote or intended is a complete mystery! Your reference to reading the original Lassus notwithstanding, most of the material is from copyists or original publications, so no, Orlando did not right a specific note to me. Regardless of your rationalizations, the E-flat works perfectly well and is completely within style, as is often the case with other of his works and his contemporaries. I stand by my preference for E-natural, and as I have said above, you are welcome to flat the E if you prefer since it is NOT clearly defined.<br>One should also note that the cadence is major, progressing suspension G6 to D.<br><br />
--[[User:Marchesa|Marchesa]] ([[User talk:Marchesa|talk]]) 04:10, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
There's no need to take this tone with me. Just because you are ignorant of the notational conventions of Lassus's time, it doesn't mean all of us are. What I offered were not rationalisations, they are facts. The E flat IS clearly defined for those who are familiar with the music of Lassus's time and its notational conventions. The Tenor sings c'est d'avoir de l'argent in (modern terms) B flat major, B flat - C - D - B flat (= ut re mi ut) which should be followed by a fa (E flat) and not an E. When Lassus (and other composers of the 16th century) wanted to have an E where according to the conventions of the time singers were likely to sing an E flat (just like this case), they put a sharp sign in front of the E. Well, it's not my fault that you have never seen any instance of this.<br><br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 09:47, 8 February 2018 (UTC)<br />
<br><br />
<br><br />
https://photos.google.com/photo/AF1QipNFiiBph8Sd33SrbTH2Uq5cspY1MZ0iw581pcSw Here you can see one instance of E flats not indicated but called for - in the first line the three consecutive E notes are to be sung as E flats (indeed they are sung as E flats by Graindelavoix), and in the last line you can see a sharp before the E, cautioning the singers that this note is not to be flattened.<br><br />
[[User:Imruska|Imruska]] ([[User talk:Imruska|talk]]) 10:23, 8 February 2018 (UTC)<br />
<br />
The link is broken<br />
<br />
I have no idea of the theory behind this, but as far as I can tell just by trying things out, the reason I want an Eb there is the following chord, D-F(#)-A. It makes the E(b) resolve downward to D, which an E cannot do, to my mind. Had the next note been C or F instead, implying a C-F-A chord, the resolution would have been upwards and I'd use E, not Eb. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 15:08, 9 February 2018 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Nun_bitten_wir_den_heiligen_Geist_a_6_(Johann_Walter)&diff=808043Nun bitten wir den heiligen Geist a 6 (Johann Walter)2017-05-14T21:55:07Z<p>Rp: /* Original text and translations */</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{CPDLno|9412}} [{{website|kantor}}a_cappella/motets/walter/nun_bitten_wir_34/ {{net}}]<br />
{{Editor|Helmut Kickton|2005-09-11}}{{ScoreInfo|A4|5|401}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
*{{CPDLno|2813}} [http://web.archive.org/web/20050529110427/http://www.free-sheetmusic.org/scores/walter/nubitten/nubitten_de.pdf {{extpdf}}]<br />
{{Editor|Arno Rog|2001-06-18}}{{ScoreInfo|A4|5|80}}{{Copy|Personal}}<br />
:'''Edition notes:''' <br />
<br />
*{{CPDLno|2814}} [http://web.archive.org/web/20050529110427/http://www.free-sheetmusic.org/scores/walter/nubitten/nubitten_nl.pdf {{extpdf}}]<br />
{{Editor|Arno Rog|2001-06-18}}{{ScoreInfo|A4|3|38}}{{Copy|Personal}}<br />
:'''Edition notes:''' In Dutch translation, "Nu bidden wij de Heilige Geest".<br />
<br />
==General Information==<br />
'''Title:''' ''Nun bitten wir den heiligen Geist''<br><br />
{{Composer|Johann Walter}}<br />
<br />
{{Voicing|6|SSAATB}}<br><br />
{{Genre|Sacred|Motets}}<br />
{{Language|2|German|Dutch}}<br />
{{Instruments|A cappella}}<br />
{{Published|}} <br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{Text|German|<br />
Nun bitten wir den Heiligen Geist<br />
um den rechten Glauben allermeist,<br />
daß er uns behüte an unserm Ende,<br />
wenn wir heimfahr'n aus diesem Elende.<br />
Kyrieleison.}}<br />
<br />
{{Translation|English|<br />
Now we beg the Holy Ghost<br />
for the true faith most of all,<br />
that he will protect us at our end<br />
when we return home from this misery.<br />
Lord, have mercy.}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Doulz_amis_(Guillaume_de_Machaut)&diff=770836Doulz amis (Guillaume de Machaut)2017-03-01T00:23:29Z<p>Rp: New work page created</p>
<hr />
<div>==Music files==<br />
{{#Legend:}}<br />
*{{PostedDate|2017-03-01}} {{CPDLno|43333}} [[Media:Ballade6-machaut.pdf|{{pdf}}]] [[Media:Ballade6-machaut.mid|{{mid}}]] [[Media:Ballade6-machaut.nwc|NoteWorthy Composer]]<br />
{{Editor|Reinier Post|2017-03-01}}{{ScoreInfo|A4|2|19}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Performances vary, so this score is a compromise.<br />
Lyrics: only 1 couplet is present. <br />
<br />
==General Information==<br />
'''Title:''' ''Doulz amis''<br><br />
{{Composer|Guillaume de Machaut}}<br />
{{Lyricist|Guillaume de Machaut}}<br />
<br />
{{Voicing|2|ST}}<br><br />
{{Genre|Secular|Ballades}}<br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
{{Published|c. 1340-1360}}<br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{NoText}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Medieval music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=File:Ballade6-machaut.nwc&diff=770835File:Ballade6-machaut.nwc2017-03-01T00:19:33Z<p>Rp: Doulz amis (1st couplet only)</p>
<hr />
<div>Doulz amis (1st couplet only)</div>Rphttps://www.cpdl.org/wiki/index.php?title=File:Ballade6-machaut.mid&diff=770834File:Ballade6-machaut.mid2017-03-01T00:18:43Z<p>Rp: </p>
<hr />
<div></div>Rphttps://www.cpdl.org/wiki/index.php?title=File:Ballade6-machaut.pdf&diff=770833File:Ballade6-machaut.pdf2017-03-01T00:17:25Z<p>Rp: Doulz amis
(1 couplet only)</p>
<hr />
<div>Doulz amis<br />
(1 couplet only)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Help_talk:Contact_CPDL&diff=621616Help talk:Contact CPDL2016-06-04T09:30:19Z<p>Rp: /* There seems to be no way to report emergencies */ - never mind, I finally managed to log in to the forums</p>
<hr />
<div>==Broken link==<br />
On the "Contact CPDL" page, the link "CPDL Newsletter" is broken. User:Claude_T <small>—The preceding [[ChoralWiki:Signatures|unsigned]] comment was added by [[User:Claude T|Claude T]] ([[User talk:Claude T|talk]] • [[Special:Contributions/Claude T|contribs]]) on 15:55, 24 October 2007.</small><br />
:Thanks for that, Claude. I've commented out the link from the page. --[[User:Bobnotts|Bobnotts]] <small>[[User talk:Bobnotts|'''talk''']]</small> 12:36, 24 October 2007 (PDT)<br />
<br />
== Old Bulletin board ==<br />
<br />
Should we consider the local "Old Bulletin board" deprecated? In my view, it could well be kept on a par with the external forums, especially because there are people who don't like the idea of having to create two different accounts and would feel more comfortable having a place here on the Wiki where to post their questions. What do others think? —[[User:Carlos|Carlos]]&nbsp;[{{fullurl:User talk:Carlos}} {{mail}}] 22:52, 28 June 2009 (UTC)<br />
<br />
:Good point about separate logins. I thing we should indicate that use of the new forum is preferred and most of the recent discussion is taking place there, but use of the old forums is still available for users who prefer not to have to create a new login. I don't want people to think they are visiting a ghost town when they go to the old forums. --[[User:Vaarky|Vaarky]] 03:57, 29 June 2009 (UTC)<br />
<br />
== emails? ==<br />
<br />
The title of this page is somewhat misleading. If I were new to CPDL I would expect to find on this page a list of emails: one for the administration, one for copyright issues, one for technical issues, perhaps one for advertisement offers and so on. Isn't it about time to add such emails to the page? —[[User:Carlos|Carlos]]&nbsp;[{{fullurl:User talk:Carlos}} {{mail}}] 16:23, 29 June 2009 (UTC)<br />
<br />
:Yes, I think it's good to publish that information. However, to prevent screen-scraping spambots, can we put images that show the addresses instead of writing the addresses directly? --[[User:Vaarky|Vaarky]] 05:48, 30 June 2009 (UTC)<br />
<br />
: Yes, and I second Vaarky's suggestion about using images. -- [[User:CHGiffen|Chuck]][[User talk:CHGiffen|<sub><small>'''talk'''</small></sub>]]&nbsp;[[User:Charles H. Giffen|Giffen]][[Charles H. Giffen|<sub>'''♫'''</sub>]] 11:15, 30 June 2009 (UTC)<br />
<br />
I think this needs further thought, so please do not proceed yet. For example, I do not want to reproduce here the Copyright issues address, but rather link to a page that has the information--users should see the page with instructions, not just the e-mail address. Likewise, since we have a page listing admins, so this page should link there rather than reproducing it here. I think the structure should be to figure out where that information authoritatively lives, then link there from here, rather than reproducing images here. I agree that this should be a useful Directory Assistance type page but with links instead of the specific address in some cases. --[[User:Vaarky|Vaarky]] 09:36, 28 October 2009 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Help_talk:Contact_CPDL&diff=621615Help talk:Contact CPDL2016-06-04T09:13:43Z<p>Rp: </p>
<hr />
<div>==Broken link==<br />
On the "Contact CPDL" page, the link "CPDL Newsletter" is broken. User:Claude_T <small>—The preceding [[ChoralWiki:Signatures|unsigned]] comment was added by [[User:Claude T|Claude T]] ([[User talk:Claude T|talk]] • [[Special:Contributions/Claude T|contribs]]) on 15:55, 24 October 2007.</small><br />
:Thanks for that, Claude. I've commented out the link from the page. --[[User:Bobnotts|Bobnotts]] <small>[[User talk:Bobnotts|'''talk''']]</small> 12:36, 24 October 2007 (PDT)<br />
<br />
== Old Bulletin board ==<br />
<br />
Should we consider the local "Old Bulletin board" deprecated? In my view, it could well be kept on a par with the external forums, especially because there are people who don't like the idea of having to create two different accounts and would feel more comfortable having a place here on the Wiki where to post their questions. What do others think? —[[User:Carlos|Carlos]]&nbsp;[{{fullurl:User talk:Carlos}} {{mail}}] 22:52, 28 June 2009 (UTC)<br />
<br />
:Good point about separate logins. I thing we should indicate that use of the new forum is preferred and most of the recent discussion is taking place there, but use of the old forums is still available for users who prefer not to have to create a new login. I don't want people to think they are visiting a ghost town when they go to the old forums. --[[User:Vaarky|Vaarky]] 03:57, 29 June 2009 (UTC)<br />
<br />
== emails? ==<br />
<br />
The title of this page is somewhat misleading. If I were new to CPDL I would expect to find on this page a list of emails: one for the administration, one for copyright issues, one for technical issues, perhaps one for advertisement offers and so on. Isn't it about time to add such emails to the page? —[[User:Carlos|Carlos]]&nbsp;[{{fullurl:User talk:Carlos}} {{mail}}] 16:23, 29 June 2009 (UTC)<br />
<br />
:Yes, I think it's good to publish that information. However, to prevent screen-scraping spambots, can we put images that show the addresses instead of writing the addresses directly? --[[User:Vaarky|Vaarky]] 05:48, 30 June 2009 (UTC)<br />
<br />
: Yes, and I second Vaarky's suggestion about using images. -- [[User:CHGiffen|Chuck]][[User talk:CHGiffen|<sub><small>'''talk'''</small></sub>]]&nbsp;[[User:Charles H. Giffen|Giffen]][[Charles H. Giffen|<sub>'''♫'''</sub>]] 11:15, 30 June 2009 (UTC)<br />
<br />
I think this needs further thought, so please do not proceed yet. For example, I do not want to reproduce here the Copyright issues address, but rather link to a page that has the information--users should see the page with instructions, not just the e-mail address. Likewise, since we have a page listing admins, so this page should link there rather than reproducing it here. I think the structure should be to figure out where that information authoritatively lives, then link there from here, rather than reproducing images here. I agree that this should be a useful Directory Assistance type page but with links instead of the specific address in some cases. --[[User:Vaarky|Vaarky]] 09:36, 28 October 2009 (UTC)<br />
<br />
= There seems to be no way to report emergencies =<br />
<br />
:Today, I found CPDL completely broken (all existing links from Google are dead, they link to a page that says to click through to the [http://www.cpdl.org/uwredispatcher.php Visitor ChoralWikis] and doing that produces an error message) and I have no way to report it. I registered for the forums but even after activating my account I can't login because my "account isn't active". [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 09:13, 4 June 2016 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Der_may_mit_lieber_zal_(Jehan_Vaillant)&diff=616356Der may mit lieber zal (Jehan Vaillant)2016-05-16T11:27:15Z<p>Rp: /* Original text and translations */</p>
<hr />
<div>==Music files==<br />
{{Legend}}<br />
<br />
*{{CPDLno|6612}} {{LinkW|vail-der.pdf|vail-der.mid|vail-der.zip|Finale 2000}}<br />
{{Editor|Sabine Cassola|2004-01-30}}{{ScoreInfo|A4|4|168}}{{Copy|Personal}}<br />
:'''Edition notes:''' Tenor parts are textless<br />
<br />
==General Information==<br />
'''Title:''' ''Der may mit lieber zal''<br><br />
{{Composer|Jehan Vaillant}}<br />
<br />
{{Voicing|3|STT}}<br><br />
{{Genre|Secular|Lieder}}<br><br />
{{Language|German}}<br />
{{Instruments|A cappella}}<br />
'''Published:''' <br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{Text|German|<br />
:Der may mit lieber zal die erd bedecket überal,<br />
:Puhl, eben, perg und tal. <br />
:Aus süsser vogelein schal erklingen<br />
:singen hohen hal Galander, <br />
:lerchen, droschel, nachtigal. <br />
:Der gauch fleucht hinden nach <br />
:mit grossem ungemach, kleinen vogelein gogoleich. <br />
:Horet wie er sprach: Cucu, cucu, <br />
:Den zins gib mir, den wil ich han von dir. <br />
:Der hunger macht lunger mir den Magen schier. <br />
:Ach elend nu wellent soll ich? <br />
:So sprach das kleine vieh. <br />
:Kungel, zeisel, mays, lerch, nu kumm, wir singen: <br />
:sa und tuich, tuich, tuich, fideli, fideli, fide-li, <br />
:cirili, sia, sia, so sing der gauch nur kawawa, cu-cu. <br />
:Raco so sprach der rab Zwar <br />
:ich sing auch wol, <br />
:Vol mus ich sein Das singen mein: <br />
:Scheub ein, herein, vol sein. <br />
:Liri, liri, liri, liri, liri, lirilon, <br />
:So sang die lerch.<br />
:Ich sing hel ein droschlein, das in dem Wald erklingt, <br />
:irlierent, zierent, grachet und wachet hin und her, <br />
:recht als unser pharer. Zidiwick, zisicigo, nachtigal, <br />
:die selb mit irem gesang behub den grall.}}<br />
<br />
<br />
{{DEFAULTSORT:May mit lieber zal, Der (Jehan Vaillant)}}<br />
[[Category:Sheet music]]<br />
[[Category:Medieval music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Der_may_mit_lieber_zal_(Jehan_Vaillant)&diff=616355Der may mit lieber zal (Jehan Vaillant)2016-05-16T11:10:20Z<p>Rp: /* Original text and translations */</p>
<hr />
<div>==Music files==<br />
{{Legend}}<br />
<br />
*{{CPDLno|6612}} {{LinkW|vail-der.pdf|vail-der.mid|vail-der.zip|Finale 2000}}<br />
{{Editor|Sabine Cassola|2004-01-30}}{{ScoreInfo|A4|4|168}}{{Copy|Personal}}<br />
:'''Edition notes:''' Tenor parts are textless<br />
<br />
==General Information==<br />
'''Title:''' ''Der may mit lieber zal''<br><br />
{{Composer|Jehan Vaillant}}<br />
<br />
{{Voicing|3|STT}}<br><br />
{{Genre|Secular|Lieder}}<br><br />
{{Language|German}}<br />
{{Instruments|A cappella}}<br />
'''Published:''' <br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{Text|German|<br />
:Der may mit lieber zal die erd bedecket überal,<br />
:Puhl, eben, perg und tal. <br />
:Aus süsser vogelein schal erklingen<br />
:singen hohen hal Galander, <br />
:lerchen, droschel, nachtigal. <br />
:Der gauch fleucht hinden nach <br />
:mit grossem ungemach, kleinen vogelein gogoleich. <br />
:Horet wie er sprach: Cucu, cucu, <br />
:Den zins gib mir, den wil ich han von dir. <br />
:Der hunger macht lunger mir den Magen schier. <br />
:Ach elend nu wellent soll ich? <br />
:So sprach das kleine vieh. <br />
:Kungel, zeisel, mays, lerch, nu kumm, wir singen: <br />
:sa und tuich, tuich, tuich, fideli, fideli, fide-li, <br />
:cirili, sia, sia, so sing der gauch nur kawawa, cu-cu. <br />
:Raco so sprach der rab Zwar <br />
:ich sing auch wol, <br />
:Vol mus ich sein Das singen mein: <br />
:Scheub ein, herein, vol sein. <br />
:Liri, liri, liri, liri, liri, lirilon, <br />
:So sang die lerch.<br />
:Ich sing hel ein droschlein, das in dem Wald erklingt, <br />
:irlierent, zierent, grachet und wachet hin und her, <br />
:recht als unser pharer. Zidiwick, zisicigo, nachtigal, <br />
:die selbmit irem gesang behub den grall.}}<br />
<br />
<br />
{{DEFAULTSORT:May mit lieber zal, Der (Jehan Vaillant)}}<br />
[[Category:Sheet music]]<br />
[[Category:Medieval music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Le_Chant_des_Oiseaux_(Cl%C3%A9ment_Janequin)&diff=611637Le Chant des Oiseaux (Clément Janequin)2016-04-19T17:52:54Z<p>Rp: </p>
<hr />
<div>==Music files==<br />
{{Legend}}<br />
<br />
*{{PostedDate|2013-05-24}} {{CPDLno|29228}} [{{filepath:Janequin_LeChantDesOyseaux_TTBB.pdf}} {{pdf}}]<br />
{{Editor|Mathias Lindner|2013-05-23}}{{ScoreInfo|A4|15|171}}{{Copy|CPDL}}<br />
:'''Edition notes:''' transposed a fourth down for TTBB<br />
<br />
*{{CPDLno|16469}} [{{filepath:Oyseaux211-Endfassung.pdf}} {{pdf}}] [{{filepath:Oyseaux211-Endfassung.MID}} {{mid}}] [{{filepath:Oyseaux211-Endfassung.ly}} {{ly}}]<br />
{{Editor|Till Rettig|2008-03-28}}{{ScoreInfo|A4|19|198}}{{Copy|Public Domain}}<br />
:'''Edition notes:'''<br />
:{{ScoreError|Wrong notes in b.13,75,114,145,184-5, text in alto b.104, bass b.168-183}}<br />
<br />
*{{PostedDate|2008-02-16}} {{CPDLno|16036}} [{{filepath:501.pdf}} {{pdf}}] [{{website|brianrussell}}501.mid {{mid}}] [{{website|brianrussell}}501.nwc NoteWorthy Composer]<br />
{{Editor|Brian Russell|2008-02-15}}{{ScoreInfo|A4|24|158}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{NWC}}<br />
<br />
*{{CPDLno|4774}} {{LinkW|jane-oys.pdf|jane-oys.mid|jane-oys.sib|Sibelius 2}}<br />
{{Editor|John Henry Fowler|2003-04-19}}{{ScoreInfo|Letter|25|240}}{{Copy|CPDL}}<br />
:'''Edition notes:''' revised 5/21/03<br />
<br />
*{{CPDLno|1390}} {{LinkW|jane-cha.pdf|jane-cha.mid|jane-cha.zip|Finale 2000}}<br />
{{Editor|Claudio Macchi|2000-09-22}}{{ScoreInfo|Letter|15|309}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Finale file is [[zipped]].<br />
<br />
==General Information==<br />
'''Title:''' ''Le Chant des Oiseaux''<br><br />
{{Composer|Clément Janequin}}<br />
<br />
{{Voicing|4|SATB, TTBB}}<br><br />
{{Genre|Secular|Chansons}}<br><br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
'''Published:''' Attaignant 1529. See [[Le chant des oiseaux (short version) (Clement Janequin)|here]] for a short version.<br />
<br />
'''Description:''' <br />
<br />
'''External websites:'''<br />
<br />
==Original text and translations==<br />
{{top}}<br />
{{Text|French|<br />
Reveillez vous, coeurs endormis<br />
Le dieu d’amour vous sonne.<br />
A ce premier jour de may,<br />
Oyseaulx feront merveillez,<br />
Pour vous mettre hors d’esmay<br />
Destoupez vos oreilles.<br />
Et farirariron (etc…)<br />
Vous serez tous en ioye mis,<br />
Car la saison est bonne.<br />
<br />
Vous orrez, à mon advis,<br />
Une dulce musique<br />
Que fera le roy mauvis (le merle aussi)<br />
D’une voix autentique.<br />
Ty, ty, pyty. (etc…)<br />
Rire et gaudir c’es mon devis,<br />
Chacun s’i habandonne.<br />
<br />
Rossignol du boys ioly,<br />
A qui le voix resonne,<br />
Pour vous mettre hors d’ennuy<br />
Vostre gorge iargonne:<br />
Frian, frian, frian (etc…)<br />
Fuiez, regrez, pleurs et souci,<br />
Car la saison l’ordonne.<br />
<br />
Ariere maistre coucou,<br />
Sortez de no chapitre.<br />
Chacun vous donne au bibou,<br />
Car vous n’estes q’un traistre.<br />
Coucou, coucou (etc…)<br />
Par traison en chacun nid,<br />
Pondez sans qu’on vous sonne.<br />
<br />
Reveillez vous, coeurs endormis,<br />
Le dieu d’amours vous sonne.}}<br />
{{Middle}}<br />
{{Translation|English|<br />
Awake, sleepy hearts,<br />
The god of love calls you.<br />
On this first day of May,<br />
The birds will make you marvel.<br />
To lift yourself from dismay,<br />
Unclog your ears.<br />
And fa la la la la (etc…)<br />
You will be moved to joy,<br />
For the season is good.<br />
<br />
You will hear, I advise you,<br />
A sweet music<br />
That the royal song thrush will sing (the blackbird, too)<br />
In a pure voice.<br />
Ti, ti, pi-ti (etc…)<br />
To laugh and rejoice is my device,<br />
Each with abandon.<br />
<br />
Nightingale of the pretty woods,<br />
Whose voice resounds,<br />
So you don’t become bored,<br />
Your throat jabbers away:<br />
Frian, frian (etc…)<br />
Flee, regrets, tears and worries,<br />
For the season commands it.<br />
<br />
Turn around, master cuckoo<br />
Get out of our company.<br />
Each of us gives you a ‘bye-bye’<br />
For you are nothing but a traitor.<br />
Cuckoo, cuckoo (etc…)<br />
Treacherously in others' nests,<br />
You lay without being called.<br />
<br />
Awake, sleepy hearts,<br />
The god of love is calling you.<br />
}}<br />
{{bottom}}<br />
<br />
===Alternate text===<br />
This is the version and translation used by the Scholars of London in their recording, but does not match any of the editions on CPDL.<br />
<br />
{{top}}<br />
{{Text|French|<br />
Réveillez vous, coeurs endormis,<br />
Le dieu d'amours vous sonne.<br />
Vous serez tous en joie mis<br />
Car la saison est bonne.<br />
Les oiseaux quand sont ravis<br />
En leur chant font merveilles ;<br />
Ecoutez bien leur devis,<br />
Détoupez vos oreilles.<br />
Et fa ri ro frere li joli<br />
Ti ti pi ti, chouti toui.<br />
Tu, que dis tu ?<br />
Le petit sansonnet de Paris,<br />
Le petit mignon: (q'est là bas ?<br />
Passe villain. Sainte tête Dieu,<br />
II est temps d'aller boire)<br />
Sage, courtois et bien apris.<br />
A sermon, ma maitresse.<br />
Sus madame à la messe.<br />
A Saint Trotin montrer le tétin,<br />
Le doux musequin.<br />
Teo ticun, frian, frian frian,<br />
Tu tu tu, qui l'ara.<br />
Coqui coqui, oi ti oi ti,<br />
Huyt huyt, ter ter teo,<br />
Queo queo, tar tar, fouquet, quibi,<br />
Veleci, huyt huyt, ter turri.<br />
Cocu coqui, ou est il, le cocu ?<br />
Fuiez, fuiez, maître cocu,<br />
Sortez de nos chapitre,<br />
Vous ne serez point retenu<br />
Car vous n’êtes qu’un traître.<br />
Par trahison en chacun nid,<br />
Pondez sans qu’on vous sonne.<br />
Réveillez vous, etc..}}<br />
{{Middle}}<br />
{{Translation|English|<br />
Rouse yourselves, sleeping hearts,<br />
The god of love calls you.<br />
You should all be joyful<br />
For spring is come.<br />
The birds, all inspired,<br />
Do wonders with their song;<br />
Listen well to their ditty,<br />
Bend your ears.<br />
And...<br />
...<br />
You, what are you saying?<br />
The little starling of Paris,<br />
The little thing: (who’s there?<br />
Pass, knave. By the holy head of God<br />
It is time to go drinking)<br />
Wise, courteous and well versed.<br />
Go to the sermon, my mistress.<br />
Get thee to Mass, Madam.<br />
To St. Trotin to show your tits<br />
And sweet looks.<br />
...<br />
…Who wants it?<br />
Cuckoo, cuckoo...<br />
... <br />
... <br />
... <br />
Cuckoo, where is the cuckoo?<br />
Away, go away, master Cuckoo,<br />
Get out of our company.<br />
You will never be missed<br />
For you are nothing but a traitor.<br />
Treacherously, in every nest<br />
You lay without being called.<br />
Rouse yourselves, etc.. <br />
}}<br />
<br />
{{bottom}}<br />
<br />
{{DEFAULTSORT:Chant des Oiseaux, Le (Clément Janequin)}}<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Talk:Le_Chant_des_Oiseaux_(Cl%C3%A9ment_Janequin)&diff=611636Talk:Le Chant des Oiseaux (Clément Janequin)2016-04-19T17:50:20Z<p>Rp: </p>
<hr />
<div>== Errata for 2008 (most recent) edition ==<br />
<br />
These are detected by comparison with other editions and musical consistency (i.e. if notes/text differ ''and'' are obviously problematic).<br />
<br />
b.13 alto (Contratenor), 2nd breve should be f' not a'<br><br />
b.75 alto, last 3 notes should be g' not a'<br><br />
b.114 tenor, all notes should be a not b flat<br><br />
b.145 soprano (Superius), first note should be d' ' not e' '<br><br />
b.184 and 185 tenor, in each case the 4th note should be d not c.<br><br />
<br />
Text:<br />
b.104 alto, should be 'boys' not 'goys' <br><br />
b.168 bass, both notes should be sung on the syllable 'trai - '<br><br />
b.169 bass, text should read "-stre, car" <br><br />
b.170 bass, should read "vous n'e - stes qu'un"<br><br />
b.171 bass, should read "trai - stre."<br><br />
Clearly the whole of the 'Co-qu' text from b.174 through 183 in the bass has been misaligned by 1 note with the music. Basically every 'Co-' should be a 'qu' and vice versa up until the middle of 183 (where there is one spare note).<br />
<br />
Other issues with the edition: The bar count goes wrong at every double bar. For example b.53 is followed by a double bar, there are 3 more bars in the line, yet the next line begins with b.58 (not 57). The last bar is 212 although the total number of bars (in other editions) is actually 208.<br><br />
Also the provision of 'ficta' flats and sharps appears inconsistent. To be more specific, ficta Eb's are supplied much more frequently in the second half of the piece than in the first even though the musical context is strictly parallel. For example b.201-2 vs b4-5.<br><br />
Also I understand that in this epoch F sharps and C sharps are often called for at full cadences into G or D respectively, eg b14 in alto, eg possibly b22 in soprano, and should probably be suggested as ficta. <br><br />
--[[User:Tdent|Tdent]] 15:17, 5 May 2009 (UTC)<br />
<br />
== What is a ''mauvis''? ==<br />
<br />
In modern French, the <em>grive mauvis</em> is the [http://www.oiseaux.net/oiseaux/grive.mauvis.html redwing (Turdus iliacus)], which rarely breeds (and hence, rarely sings) in France. Moreover, it sounds nothing like the imitations given here. So <em>mauvis</em> probably refers to its close relative, very common in France, the [http://www.oiseaux.net/oiseaux/grive.musicienne.html song thrush (Turdus philomena)]. But I'd like to see confirmation from someone with knowledge of contemporary French. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 17:50, 19 April 2016 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Le_Chant_des_Oiseaux_(Cl%C3%A9ment_Janequin)&diff=611635Le Chant des Oiseaux (Clément Janequin)2016-04-19T17:42:50Z<p>Rp: *Mauvis* certainly isn't *blackbird*. See talk page.</p>
<hr />
<div>==Music files==<br />
{{Legend}}<br />
<br />
*{{PostedDate|2013-05-24}} {{CPDLno|29228}} [{{filepath:Janequin_LeChantDesOyseaux_TTBB.pdf}} {{pdf}}]<br />
{{Editor|Mathias Lindner|2013-05-23}}{{ScoreInfo|A4|15|171}}{{Copy|CPDL}}<br />
:'''Edition notes:''' transposed a fourth down for TTBB<br />
<br />
*{{CPDLno|16469}} [{{filepath:Oyseaux211-Endfassung.pdf}} {{pdf}}] [{{filepath:Oyseaux211-Endfassung.MID}} {{mid}}] [{{filepath:Oyseaux211-Endfassung.ly}} {{ly}}]<br />
{{Editor|Till Rettig|2008-03-28}}{{ScoreInfo|A4|19|198}}{{Copy|Public Domain}}<br />
:'''Edition notes:'''<br />
:{{ScoreError|Wrong notes in b.13,75,114,145,184-5, text in alto b.104, bass b.168-183}}<br />
<br />
*{{PostedDate|2008-02-16}} {{CPDLno|16036}} [{{filepath:501.pdf}} {{pdf}}] [{{website|brianrussell}}501.mid {{mid}}] [{{website|brianrussell}}501.nwc NoteWorthy Composer]<br />
{{Editor|Brian Russell|2008-02-15}}{{ScoreInfo|A4|24|158}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{NWC}}<br />
<br />
*{{CPDLno|4774}} {{LinkW|jane-oys.pdf|jane-oys.mid|jane-oys.sib|Sibelius 2}}<br />
{{Editor|John Henry Fowler|2003-04-19}}{{ScoreInfo|Letter|25|240}}{{Copy|CPDL}}<br />
:'''Edition notes:''' revised 5/21/03<br />
<br />
*{{CPDLno|1390}} {{LinkW|jane-cha.pdf|jane-cha.mid|jane-cha.zip|Finale 2000}}<br />
{{Editor|Claudio Macchi|2000-09-22}}{{ScoreInfo|Letter|15|309}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Finale file is [[zipped]].<br />
<br />
==General Information==<br />
'''Title:''' ''Le Chant des Oiseaux''<br><br />
{{Composer|Clément Janequin}}<br />
<br />
{{Voicing|4|SATB, TTBB}}<br><br />
{{Genre|Secular|Chansons}}<br><br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
'''Published:''' Attaignant 1529. See [[Le chant des oiseaux (short version) (Clement Janequin)|here]] for a short version.<br />
<br />
'''Description:''' <br />
<br />
'''External websites:'''<br />
<br />
==Original text and translations==<br />
{{top}}<br />
{{Text|French|<br />
Reveillez vous, coeurs endormis<br />
Le dieu d’amour vous sonne.<br />
A ce premier jour de may,<br />
Oyseaulx feront merveillez,<br />
Pour vous mettre hors d’esmay<br />
Destoupez vos oreilles.<br />
Et farirariron (etc…)<br />
Vous serez tous en ioye mis,<br />
Car la saison est bonne.<br />
<br />
Vous orrez, à mon advis,<br />
Une dulce musique<br />
Que fera le roy mauvis (le merle aussi)<br />
D’une voix autentique.<br />
Ty, ty, pyty. (etc…)<br />
Rire et gaudir c’es mon devis,<br />
Chacun s’i habandonne.<br />
<br />
Rossignol du boys ioly,<br />
A qui le voix resonne,<br />
Pour vous mettre hors d’ennuy<br />
Vostre gorge iargonne:<br />
Frian, frian, frian (etc…)<br />
Fuiez, regrez, pleurs et souci,<br />
Car la saison l’ordonne.<br />
<br />
Ariere maistre coucou,<br />
Sortez de no chapitre.<br />
Chacun vous donne au bibou,<br />
Car vous n’estes q’un traistre.<br />
Coucou, coucou (etc…)<br />
Par traison en chacun nid,<br />
Pondez sans qu’on vous sonne.<br />
<br />
Reveillez vous, coeurs endormis,<br />
Le dieu d’amours vous sonne.}}<br />
{{Middle}}<br />
{{Translation|English|<br />
Awake, sleepy hearts,<br />
The god of love calls you.<br />
On this first day of May,<br />
The birds will make you marvel.<br />
To lift yourself from dismay,<br />
Unclog your ears.<br />
And fa la la la la (etc…)<br />
You will be moved to joy,<br />
For the season is good.<br />
<br />
You will hear, I advise you,<br />
A sweet music<br />
That the royal song thrush will sing (the blackbird, too)<br />
In a pure voice.<br />
Ti, ti, pi-ti (etc…)<br />
To laugh and rejoice is my device,<br />
Each with abandon.<br />
<br />
Nightingale of the pretty woods,<br />
Whose voice resounds,<br />
So you don’t become bored,<br />
Your throat jabbers away:<br />
Frian, frian (etc…)<br />
Flee, regrets, tears and worries,<br />
For the season commands it.<br />
<br />
Turn around, master cuckoo<br />
Get out of our company.<br />
Each of us gives you a ‘bye-bye’<br />
For you are nothing but a traitor.<br />
Cuckoo, cuckoo (etc…)<br />
Treacherously in others' nests,<br />
You lay without being called.<br />
<br />
Awake, sleepy hearts,<br />
The god of love is calling you.<br />
}}<br />
{{bottom}}<br />
<br />
===Alternate text===<br />
This is the version and translation used by the Scholars of London in their recording, but does not match any of the editions on CPDL.<br />
<br />
{{top}}<br />
{{Text|French|<br />
Réveillez vous, coeurs endormis,<br />
Le dieu d'amours vous sonne.<br />
Vous serez tous en joie mis<br />
Car la saison est bonne.<br />
Les oiseaux quand sont ravis<br />
En leur chant font merveilles ;<br />
Ecoutez bien leur devis,<br />
Détoupez vos oreilles.<br />
Et fa ri ro frere li joli<br />
Ti ti pi ti, chouti toui.<br />
Tu, que dis tu ?<br />
Le petit sansonnet de Paris,<br />
Le petit mignon: (q'est là bas ?<br />
Passe villain. Sainte tête Dieu,<br />
II est temps d'aller boire)<br />
Sage, courtois et bien apris.<br />
A sermon, ma maitresse.<br />
Sus madame à la messe.<br />
A Saint Trotin montrer le tétin,<br />
Le doux musequin.<br />
Teo ticun, frian, frian frian,<br />
Tu tu tu, qui l'ara.<br />
Coqui coqui, oi ti oi ti,<br />
Huyt huyt, ter ter teo,<br />
Queo queo, tar tar, fouquet, quibi,<br />
Veleci, huyt huyt, ter turri.<br />
Cocu coqui, ou est il, le cocu ?<br />
Fuiez, fuiez, maître cocu,<br />
Sortez de nos chapitre,<br />
Vous ne serez point retenu<br />
Car vous n’êtes qu’un traître.<br />
Par trahison en chacun nid,<br />
Pondez sans qu’on vous sonne.<br />
Réveillez vous, etc..}}<br />
{{Middle}}<br />
{{Translation|English|<br />
Rouse yourselves, sleeping hearts,<br />
The god of love calls you.<br />
You should all be joyful<br />
For spring is come.<br />
The birds, all inspired,<br />
Do wonders with their song;<br />
Listen well to their ditty,<br />
Bend your ears.<br />
And...<br />
...<br />
You, what are you saying?<br />
The little starling of Paris,<br />
The little thing: (who’s there?<br />
Pass, knave. By the holy head of God<br />
It is time to go drinking)<br />
Wise, courteous and well versed.<br />
Go to the sermon, my mistress.<br />
Get thee to Mass, Madam.<br />
To St. Trotin to show your tits<br />
And sweet looks.<br />
...<br />
…Who wants it?<br />
Cuckoo, cuckoo...<br />
... <br />
... <br />
... <br />
Cuckoo, where is the cuckoo?<br />
Away, go away, master Cuckoo,<br />
Get out of our company.<br />
You will never be missed<br />
For you are nothing but a traitor.<br />
Treacherously, in every nest<br />
You lay without being called.<br />
Rouse yourselves, etc.. <br />
}}<br />
<br />
<references/><br />
<br />
{{bottom}}<br />
<br />
{{DEFAULTSORT:Chant des Oiseaux, Le (Clément Janequin)}}<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Talk:Festino_nella_sera_del_gioved%C3%AC_grasso,_Op._18_(Adriano_Banchieri)&diff=611386Talk:Festino nella sera del giovedì grasso, Op. 18 (Adriano Banchieri)2016-04-17T20:55:33Z<p>Rp: explain score error alert</p>
<hr />
<div>==5. Madrigale a un dolce usignolo==<br />
Concerto Italiano sing this with different accidentals, and a more noteworthy change: tenor bars 47-48 ''-za privo'' is C A Bb here, which can't be right; they sing D A G. [http://imslp.org/wiki/Festino_nella_sera_del_gioved%C3%AC_grasso,_Op.18_%28Banchieri,_Adriano%29 JackB's score on IMSLP] has D A Bb. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 20:55, 17 April 2016 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Festino_nella_sera_del_gioved%C3%AC_grasso,_Op._18_(Adriano_Banchieri)&diff=611384Festino nella sera del giovedì grasso, Op. 18 (Adriano Banchieri)2016-04-17T20:42:43Z<p>Rp: /* Individual sections */</p>
<hr />
<div>==Music files==<br />
{{Legend}}<br />
<br />
===Complete work===<br />
*{{PostedDate|2010-10-08}} {{CPDLno|22315}} [{{filepath:FestinoENC.pdf}} {{pdf}}]<br />
{{Editor|Alessandro Magagnin|2010-09-20}}{{ScoreInfo|A4|85|3053}}{{Copy|CPDL}}<br />
:'''Edition notes:''' PDF is a large file (over 3MB).<br />
<br />
===Individual sections===<br />
&nbsp;1. '''Il diletto moderno per introduzione'''<br />
*{{CPDLno|1551}} {{LinkW|banchieri/banc-f01.pdf|banchieri/banc-f01.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|46}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
&nbsp;2. '''Giustiniana di vecchietti chiozzotti'''<br />
*{{CPDLno|1552}} {{LinkW|banchieri/banc-f02.pdf|banchieri/banc-f02.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|51}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
&nbsp;3. '''Mascherata di villanelle'''<br />
*{{CPDLno|1553}} {{LinkW|banchieri/banc-f03.pdf|banchieri/banc-f03.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|60}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
&nbsp;4. '''Seguita la detta Mascherata'''<br />
*{{CPDLno|1554}} {{LinkW|banchieri/banc-f04.pdf|banchieri/banc-f04.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|3|51}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
&nbsp;5. '''Madrigale a un dolce usignolo'''<br />
*{{CPDLno|1555}} {{LinkW|banchieri/banc-f05.pdf|banchieri/banc-f05.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|3|58}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
:{{ScoreError|Tenor bars 47-48}}<br />
<br />
&nbsp;6. '''Mascherata d'Amanti'''<br />
*{{CPDLno|1556}} {{LinkW|banchieri/banc-f06.pdf|banchieri/banc-f06.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|3|35}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
&nbsp;7. '''Gl'Amanti moreschano'''<br />
*{{CPDLno|1557}} {{LinkW|banchieri/banc-f07.pdf|banchieri/banc-f07.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|60}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
&nbsp;8. '''Gl'Amanti cantano un madrigale'''<br />
*{{CPDLno|1558}} {{LinkW|banchieri/banc-f08.pdf|banchieri/banc-f08.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|57}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
&nbsp;9. '''Gli amanti cantano una canzonetta'''<br />
*{{CPDLno|1559}} {{LinkW|banchieri/banc-f09.pdf|banchieri/banc-f09.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|3|58}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
10. '''La zia Bernardina racconta una novella'''<br />
*{{CPDLno|1560}} {{LinkW|banchieri/banc-f10.pdf|banchieri/banc-f10.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|5|62}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
11. '''Capricciata a tre voci'''<br />
*{{CPDLno|24765}} [{{filepath:Capricciata.pdf}} {{pdf}}] [{{filepath:Capricciata.midi}} {{mid}}] [{{filepath:Capricciata.ly}} {{ly}}] [http://www.dfc-dresden.de {{net}}]<br />
{{Editor|DFC Dresden|2011-10-23}}{{ScoreInfo|A4|3|}}{{Copy|Creative Commons Attribution Share Alike}}<br />
:'''Edition notes:''' The files contain Capricciata and Contrapunto bestiale alla mente<br />
<br />
*{{CPDLno|1561}} {{LinkW|banchieri/banc-f11.pdf|banchieri/banc-f11.mid}} <br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|2|42}}{{Copy|Personal}}<br />
:'''Edition notes:''' source file zipped at Noteworthy Scriptorium site (page recovered using the WayBackMachine of http://archive.org), notes and translations available at www.handlo.com<br />
<br />
12. '''Contrapunto bestiale alla mente'''<br />
*{{CPDLno|24772}} [{{filepath:Capricciata.pdf}} {{pdf}}] [{{filepath:Capricciata.midi}} {{mid}}] [{{filepath:Capricciata.ly}} {{ly}}] [http://www.dfc-dresden.de {{net}}]<br />
{{Editor|DFC Dresden|2011-10-23}}{{ScoreInfo|A4|3|}}{{Copy|Creative Commons Attribution Share Alike}}<br />
:'''Edition notes:''' The files contain Capricciata and Contrapunto bestiale alla mente<br />
<br />
*{{CPDLno|19535}} [http://www.classicaland.com/fma.asp {{net}}]<br />
{{Editor|Alessandro Simonetto|2009-05-24}}{{ScoreInfo|A4|2|40}}{{CopyCC|Attribution-Noncommercial-Share Alike 3.0}}<br />
:'''Edition notes:''' Look for the PDF under "Renaissance > [SECULAR MUSIC]"<br />
<br />
*{{CPDLno|10938}} [{{filepath:147.pdf}} {{pdf}}] [{{website|brianrussell}}147.mid {{mid}}] [{{website|brianrussell}}147.nwc NoteWorthy Composer]<br />
{{Editor|Brian Russell|2006-02-06}}{{ScoreInfo|A4|2|24}}{{Copy|CPDL}}<br />
:'''Edition notes:''' {{NWC}}<br />
<br />
*{{CPDLno|7545}} [http://web.archive.org/web/20041212172529/http://www.iespana.es/gregoriano/partituras/archivos/repertorio/c/contrapunto.pdf {{extpdf}}]<br />
{{Editor|Jose Miguel Galan|2004-07-08}}{{ScoreInfo|A4|2|79}}{{Copy|Personal}}<br />
:'''Edition notes:''' File recovered using the WayBackMachine of http://archive.org<br />
<br />
*{{CPDLno|7447}} [{{website|solovoces}} {{net}}] <br />
{{Editor|Fernando Gómez Jácome|2004-07-03}}{{ScoreInfo|A4|3|65}}{{Copy|Personal}}<br />
:'''Edition notes:''' <br />
<br />
*{{CPDLno|1562}} {{LinkW|banchieri/banc-f12.pdf|banchieri/banc-f12.mid}} <br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|47}}{{CopyCC|Attribution 1.0}}<br />
:'''Edition notes:''' <br />
<br />
*{{CPDLno|892}} {{LinkW|banc-con.pdf|banc-con.mid|banc-con.zip|Finale 1998}}<br />
{{Editor|François-Xavier Chauchat|2000-06-05}}{{ScoreInfo|Letter|3|44}}{{Copy|CPDL}}<br />
:'''Edition notes:''' Finale file is [[zipped]].<br />
<br />
13. '''Gli cervellini cantano un madrigale'''<br />
*{{CPDLno|1563}} {{LinkW|banchieri/banc-f13.pdf|banchieri/banc-f13.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|3|57}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
14. '''Intermedio di venditori gli fusi'''<br />
*{{CPDLno|1564}} {{LinkW|banchieri/banc-f14.pdf|banchieri/banc-f14.mid}} <br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|3|48}}{{Copy|Personal}}<br />
:'''Edition notes:''' <br />
<br />
15. '''Li fusari cantano un madrigale'''<br />
*{{CPDLno|1566}} {{LinkW|banchieri/banc-f15.pdf|banchieri/banc-f15.mid}} <br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|59}}{{Copy|Personal}}<br />
:'''Edition notes:''' <br />
<br />
16. '''Gioco del Conte'''<br />
*{{CPDLno|1565}} {{LinkW|banchieri/banc-f16.pdf|banchieri/banc-f16.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|6|68}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
17. '''Gli Festinanti'''<br />
*{{CPDLno|1567}} {{LinkW|banchieri/banc-f17.pdf|banchieri/banc-f17.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|3|52}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
18. '''Vinata di brindisi e ragioni'''<br />
*{{CPDLno|1568}} {{LinkW|banchieri/banc-f18.pdf|banchieri/banc-f18.mid}}<br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|51}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
19. '''Sproposio di Goffi (però di gusto)'''<br />
*{{CPDLno|1569}} {{LinkW|banchieri/banc-f19.pdf|banchieri/banc-f19.mid}} <br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|52}}{{Copy|Personal}}<br />
:'''Edition notes:''' <br />
<br />
20. '''Diletto moderno licenza a di nuova invita'''<br />
*{{CPDLno|1570}} {{LinkW|banchieri/banc-f20.pdf|banchieri/banc-f20.mid}} <br />
{{Editor|Christopher Lee|2000-10-29}}{{ScoreInfo|Letter|4|44}}{{Copy|Personal}}<br />
:'''Edition notes:'''<br />
<br />
==General Information==<br />
'''Title:''' ''Festino nella sera del giovedi grasso, Opus 18'' (madrigal cycle for Mardi Gras)(<br><br />
{{Composer|Adriano Banchieri}}<br />
<br />
{{Voicing|5|SSATB}}<br><br />
{{Genre|Secular|Madrigals}}<br />
{{Language|Italian}}<br />
{{Instruments|A cappella}}<br />
'''Published:''' 1608<br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{Text|Italian|<br />
'''1. '''<br />
Chi brama havere<br />
Spasso e piacere<br />
Per un tantino<br />
Entri al festino.<br />
<br />
Gioveni amanti<br />
Tra suoni e canti,<br />
Inamorate,<br />
Con essi entrate.<br />
<br />
Di belli humori<br />
S’udran furori<br />
In buona vena<br />
Avanti cena.<br />
<br />
Scherzi ballate<br />
Con mascherate<br />
Trattenimenti,<br />
Sospiri ardenti,<br />
Feste alle grezze<br />
E contentezze.<br />
<br />
S’hanno a sentire<br />
Torniamo a dire:<br />
Chi brama havere<br />
Spasso e piacere<br />
Per un tantino,<br />
Resti al Festino.}}<br />
<br />
'''2.''' <br />
{{Text|Venetian|<br />
— Daspuò che semo zonti in stò festin, <br />
ballemo, saltemo un balletin!<br />
— Scomenzè, mio compar!<br />
— Me se mola 'l cattar!<br />
— Scomenzè, gondolier:<br />
— Me se slarga 'l braghier!<br />
— Scomenzè, Pantalon!<br />
— El me diol un gallon!<br />
— Moia! moia! moia! moia!<br />
Che cattar, che braghier, che gallon?<br />
Barba Simon e barba Giandon,<br />
barba Simon col barba Giandon.}}<br />
{{Text|Italian|<br />
'''3. ''' Refrain:<br />
—Biobo' bio o Scaccia pensieri<br />
Bio biri beu ba beu bi bio bi bio biri bio ba beu bi bio!<br />
—Lira<br />
Lì liron liron liron lì lì liron lì liron liron liron lì!<br />
<br />
—Zitella cantatrice<br />
Ciascun mi dice che son tanto bella, che sembro la figliuola d'un signore.<br />
—Refrain<br />
—Zitella cantatrice<br />
Chi mi somiglia a la Diana stella, chi mi somiglia al pargoletto Amore.<br />
—Refrain<br />
—Zitella cantatrice<br />
Tutto il contando ornor di me favella, chè di bellezza porto in fronte il fiore.<br />
—Refrain<br />
—Zitella cantatrice<br />
Mi disse ier mattina un giovinetto: perchè non ho tal pulce nel mio letto?<br />
—Refrain<br />
—Biobo' bio o Scaccia pensieri<br />
Bio biri beu ba beu bi bio bi bio biri bio ba beu bi bio!<br />
—Lira<br />
Lì liron liron liron lì lì liron lì liron liron liron lì!<br />
—Zitella cantatrice<br />
Ciascun mi dice che son tanto bella, che sembro la figliuola d'un signore.<br />
—Refrain<br />
—Zitella cantatrice<br />
Chi mi somiglia a la Diana stella, chi mi somiglia al pargoletto Amore.<br />
—Refrain<br />
—Zitella cantatrice<br />
Tutto il contando ornor di me favella, chè di bellezza porto in fronte il fiore.<br />
—Refrain<br />
—Zitella cantatrice<br />
Mi disse ier mattina un giovinetto: perchè non ho tal pulce nel mio letto?<br />
—Refrain<br />
<br />
'''4.''' Chi cerca posseder sommo diletto,<br />
segui Amor giovinetto<br />
e d'Amor servo sia!<br />
Chi di gioir desia,<br />
amar non è dove si trova Amore,<br />
né prova il mel, se non è amante il core!<br />
<br />
'''5.''' Dolcissimo usignolo,<br />
tu sovra i verdi rami<br />
tutta la notte la tua amica chiami,<br />
e con soavi accenti<br />
fai dolci i tuoi lamenti.<br />
<br />
Io, tra i più folti orrori,<br />
di miei pensier sospiro la mia Clori,<br />
da cui lungi mi vivo,<br />
d'ogni piacer, d'ogni dolcezza privo!}}<br />
<br />
'''6.''' <br />
{{Text|Onomatopoeic|<br />
Tronc tronc tronc tronc<br />
di ri din din din<br />
Troc troc to ron tron ton<br />
di ri den den den}}<br />
<br />
'''7.''' <br />
{{Text|Italian|<br />
Quivi siamo per dar diletto<br />
Morescando lo Spagnoletto<br />
Tutti gioveni inamorati<br />
Su la gamba lesti e garbati<br />
Fatt’in sù, fatt’in giù<br />
Ben trovati cu cu ru cu<br />
Viva Amore con l’arc’ e strali<br />
Il turcasso, la cord’e l’ali<br />
Viva Vener’ in compagnia<br />
E chi segue sua monarchia<br />
Fatt’ in là, fatt’ in quà<br />
Bona sera fa la la la.<br />
<br />
'''8.''' Ardo sì ma non t’amo<br />
Perfida e dispietata<br />
Indegnamente amata<br />
Da si fedel amante<br />
Più non sara che del mio amor ti vante<br />
Poi che libero ho il core<br />
E s’ard’ardo di sdegno, non d’amore.<br />
<br />
'''9.''' - Bella Olimpia, mi parto,<br />
e il core costantissimo ti resta:<br />
a rivederci, vita di mia vita,<br />
troppo mi sa crudel la mia partita!<br />
- Pur ti parti e mi lasci,<br />
ingrato e crudelissimo Bireno;<br />
ed io qui resto in questo lido sola:<br />
chi mi dà aiuto, ohimè, chi mi consola?<br />
<br />
'''10.''' Non havendo per hor trattenimento<br />
Per far honor a compagnia si bella<br />
Zia Bernardina dite una novella<br />
Dirolla senza farmi strapregare<br />
Però si lentio e state mi ascoltare.<br />
Dice chef u una volt’una<br />
Fornara che avev’una Gazzuola<br />
E si questa Gazzuola haveva così ben rott’il filello<br />
Che ragionava come fa un puttello<br />
Diceva putta porca, <br />
fa la torta, fa la zuppa<br />
Successe che mangiand’un dì le zuppe<br />
Cadde in terre la gabbia e si ruppe<br />
Che fù della Gazzuola?<br />
Un stronzo vi sia in gola<br />
O buono invero ve l’ha cuccata<br />
Mò stiamo attenti a questa capricciata.<br />
<br />
'''11.''' Nobili spettatori<br />
Udrete hor hora quattro belli humori<br />
Un Cane, un Gatto, un Cucco, un Chiù per spasso<br />
Far contraponto a mente sopra un basso.}}<br />
<br />
'''12.''' <br />
{{Text|2|Italian|Latin|<br />
Fa la la.<br />
Nulla fides gobbis<br />
similiter est zoppis.<br />
Si squerzus bonus est,<br />
super annalia scribe.<br />
Bau, bau!<br />
Miao, miao!<br />
Chiù, chiù!<br />
Cucù, cucù!<br />
Fa la la.<br />
}}<br />
{{mdl}}<br />
{{Translation|English|<br />
Don't trust hunchback, <br />
Nor the hobbler,<br />
If a squinter is good, he's good,<br />
Write this down in the annals!<br />
<br />
[''This poem is written in "macaronic italian", which is an artificial mixture of latin and italian words with latin endings.<br />
''The content is as nonsensical as the language in which it is written. The translation is something like the above.'']<br />
}}<br />
{{Translation|Polish|<br />
Zwierzęcy kontrapunkt do umysłu<br />
Nie ufaj garbusowi<br />
Ani kulawemu.<br />
Jeśli zezowaty jest dobry, to jest dobry.<br />
Zapisz to w annałach.<br />
<br />
''Ten wiersz napisany jest we “włoskim makaroniarskim”, który jest sztucznym połączeniem słów łacińskich i włoskich,''<br />
''z łacińskimi końcówkami. Treść jest równie bezsensowna, co język w którym została zapisana.''<br />
}}<br />
{{Translator|Stanisław Jonczyk}}<br />
{{btm}}<br />
<br />
'''13.''' <br />
{{Text|Italian|<br />
Furon sin qui l'aurate e belle chiome,<br />
duri lacci e catene a questo core,<br />
che sotto bianco velo,<br />
in mille nodi avvolte,<br />
stavano in sè raccolte.<br />
Or son quadrella d'oro,<br />
che in quel grande arco erette,<br />
vengon quasi saette<br />
per saettarmi il core;<br />
contal dolcezza ch'io<br />
godo, nel loro ferir, del languir mio.<br />
<br />
'''14.''' — Chi vuol filare?<br />
Belle donne, comprate fusi,<br />
chè le rocche son bon mercato!<br />
— Chi vuol filare, o donne eccovi il fuso<br />
di querza bianca, d'scero e castagno;<br />
— N'avrete quattro al soldo: o grande<br />
abuso!<br />
— Donne, comprate fusi,<br />
chè le rocche son bon mercato!<br />
— Belle donne, comprate fusi!<br />
— Fusi sodi, bianchi, nè son storti!<br />
— Sappiate, certo, non si fa guadagno;<br />
girate dritto, acciò vostri consorti<br />
non dichino facciate fusi storti!<br />
<br />
'''15.''' Felice chi vi mira,<br />
ma più felice è chi per voi sospira.<br />
Felicissimo poi chi, sospirando,<br />
chi, sospirando, fa sospirar voi.<br />
O bene amica amica stella chi, <br />
per donna sì bella,<br />
può far contento <br />
in un l'occhio e 'l desio,<br />
e sicuro può dir: quel cor è mio!<br />
<br />
'''16.''' ''Propone un bel bisticcio il dolce umore; poi lascia star sonando le tre ore.''<br />
— Per seguitar lo spasso in questo loco, belle signore, su, facciamo un gioco.<br />
— Tutte concordemente unite siamo: voi principiate e noi vi sequitiamo.<br />
— Su su facciamne un bello, per chi starà in cervello.<br />
— Che gioco sarà questo? Spediteci su, presto!<br />
— Quattro versi dirò speditamente: voi replicate senza intoppar niente.<br />
— Dite su, che siam leste per rispondervi, e preste.<br />
— "Sopra il ponte a fronte del fonte vi stava un conte: cadde il ponte nel fonte e il conte si ruppe il fronte".<br />
— Siete troppo vivace! Più adagio se vi piace,<br />
— "Sopra il ponte a fronte del fonte vi stava un conte: cadde il ponte nel fonte e il conte si ruppe il fronte".<br />
— "Sopra il ponte a fronte del conte vi stava un ponte…"<br />
— Non sete in segno.Ponete un pegno.<br />
— "Sopra il fonte a ponte conte…"<br />
— Ponete un pegno.<br />
(Campana) — Don<br />
— E una…<br />
(Campana) — Don<br />
— E due…<br />
(Campana) — Don<br />
— E tre…<br />
— Tre ore sono a fé!<br />
<br />
'''17.''' O To no no<br />
Non comparendo qui più mascherate<br />
Sarà ben fatto ritirarsi a cena<br />
O To non no<br />
Sendo tre hore già certo sonate<br />
Però accostanci tutt’in buona vena<br />
O To no no<br />
Laviamoci le man che l’insalate<br />
Già son condite e di vivande picna<br />
O To no no<br />
Ecco la mensa noi per un tantino<br />
Cantiamo viva il bel Festino<br />
O To no no.<br />
<br />
'''18.''' <br />
—Che vino è questo, messer Covello?<br />
—Questo da noi vien detto vin chiarello.<br />
—Chiarello, buon chiarello, io to chiarisco mò: faccio ragione. (Quivi egli [il Canto] beve, nè canta più fino all'applauso.)<br />
—Bon prò! bon prò! bon prò!<br />
—Brindesi: al Basso, col Falsetto, ed il Contralto.<br />
—Che vino è questo, o cantiniero?<br />
—Questo da noi vien detto vin versiero.<br />
—Versiero, buon versiero, io to riservo mò: faccio ragione. (Quivi egli [il Falsetto] beve, né canta più fino all'applauso.)<br />
—Bon prò! bon prò! bon prò!<br />
—Brindesi: al Basso, col Contralto, belli umori.<br />
—Che vino è questo,bon compagnone?<br />
—Questo da noi vien detto vin trincone.<br />
—Trincone, buon trincone, ecco, ti trinco mò: faccio ragione. (Quivi il Contraltoo beve, né canta più fino all’applauso.)<br />
—Brindesi: al Basso galamtuom e buon compagno.<br />
—Che vino è questo, messer cotale?<br />
—Questo da noi vien detto vin codriale.<br />
—O dolce codriale, entrami in corpo mò,<br />
—Brindesi! Brindesi a tutta la compagnia! (Quivi egli [il Basso] beve mentre pausa. Applauso).<br />
—Che ne dite di questo vino?<br />
—E' buono a fé, è buono a fé, cantiniero, gran mercè, cantiniero, gran mercè, è buono a fé! è buono a fé! E' buono a fé!<br />
<br />
'''19.''' <br />
— Strazz! strazz!<br />
— Strazz e zavatt!<br />
— Solfanei<br />
— Donn' solfanei! Donn' solfanei!<br />
— Solfanei! solfanei! solfanei, donn'!<br />
— Nu fem baratt in le zavatt, in vidri rott, in fond' de bott, cevoll' e ai, pan e formai! E chi voless comprar con i quatrì, ghe ne darem tri mazz per un sesì!<br />
— Strazz! strazz!<br />
— Strazz e zavatt!<br />
— Solfanei<br />
— Donn' solfanei! Donn' solfanei!<br />
— Solfanei! solfanei! solfanei, donn'!<br />
<br />
'''20.''' Chi brama havere<br />
Novo piacere<br />
Di nuovo invito<br />
Al Fior Gradito<br />
Gioveni amanti<br />
Lesti e galanti<br />
Innamorate<br />
Conlor tornate<br />
Vi parlo Tosco<br />
A cena nosco<br />
Non v’invitiamo<br />
Che troppo siamo<br />
S’udran Cantori<br />
Sfogar ardori<br />
Con stil novello<br />
Gustoso e bello<br />
Intanto date<br />
Felici siate<br />
Voglio finire<br />
Tornando a dire<br />
Chi brama havere<br />
Nuovo piacere<br />
Di movo invito<br />
Al Fior Gradito.}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=User_talk:Rp&diff=575884User talk:Rp2015-10-08T08:32:28Z<p>Rp: /* Welcome */</p>
<hr />
<div>== Welcome ==<br />
<br />
Hello, Reinier! A very belated welcome to CPDL! Thanks for catching the duplicate pages for Verdelot's ''Gabriel archangelus''. Best regards, —[[User:Carlos|Carlos]] [[User talk:Carlos|(talk)]] [[File:Email.gif|link=Special:EmailUser/Carlos]] 05:03, 7 October 2015 (UTC)<br />
:Glad to be here! I haven't been very active thus far, but every little bit helps. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 08:32, 8 October 2015 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Gabriel_archangelus_(Philippe_Verdelot)&diff=575534Gabriel archangelus (Philippe Verdelot)2015-10-06T20:15:25Z<p>Rp: a minor error indeed</p>
<hr />
<div>==Music files==<br />
{{Legend}}<br />
<br />
*{{CPDLno|5578}} [{{filepath:Ver-gabr.pdf}} {{pdf}}] [{{filepath:Ver-gabr.mid}} {{mid}}]<!--<br />
Direct link to externally hosted file which is not listed on the "scores" page of website as of 2008-10-11: [http://www.speculumensemble.it/Partiture/Verdelot-GabrielArchangelus.pdf {{extpdf}}]--><br />
{{Editor|Roberto Di Cecco|2003-08-26}}{{ScoreInfo|A4|4|72}}{{Copy|Personal}}<br />
:'''Edition notes:''' written in original C clefs.<br />
<br />
{{ScoreError|The bass is a major third too low, both in the PDF and the MIDI. See [[Gabriel archangelus apparuit (Philippe Verdelot)]].}}<br />
<br />
==General Information==<br />
'''Title:''' ''Gabriel archangelus''<br><br />
{{Composer|Philippe Verdelot}}<br />
<br />
{{Voicing|4|SATB}}<br><br />
{{Genre|Sacred|Motets}}<br />
{{Language|Latin}}<br />
{{Instruments|A cappella}}<br />
'''Published:''' <br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{LinkText|Gabriel Angelus apparuit Zachariae}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]<br />
[[Category:John the Baptist]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Gabriel_archangelus_(Philippe_Verdelot)&diff=575533Gabriel archangelus (Philippe Verdelot)2015-10-06T20:14:20Z<p>Rp: /* Music files */</p>
<hr />
<div>==Music files==<br />
{{Legend}}<br />
<br />
*{{CPDLno|5578}} [{{filepath:Ver-gabr.pdf}} {{pdf}}] [{{filepath:Ver-gabr.mid}} {{mid}}]<!--<br />
Direct link to externally hosted file which is not listed on the "scores" page of website as of 2008-10-11: [http://www.speculumensemble.it/Partiture/Verdelot-GabrielArchangelus.pdf {{extpdf}}]--><br />
{{Editor|Roberto Di Cecco|2003-08-26}}{{ScoreInfo|A4|4|72}}{{Copy|Personal}}<br />
:'''Edition notes:''' written in original C clefs.<br />
<br />
{{ScoreError|The bass is a minor third too low, both in the PDF and the MIDI. See [[Gabriel archangelus apparuit (Philippe Verdelot)]].}}<br />
<br />
==General Information==<br />
'''Title:''' ''Gabriel archangelus''<br><br />
{{Composer|Philippe Verdelot}}<br />
<br />
{{Voicing|4|SATB}}<br><br />
{{Genre|Sacred|Motets}}<br />
{{Language|Latin}}<br />
{{Instruments|A cappella}}<br />
'''Published:''' <br />
<br />
'''Description:''' <br />
<br />
'''External websites:''' <br />
<br />
==Original text and translations==<br />
{{LinkText|Gabriel Angelus apparuit Zachariae}}<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]<br />
[[Category:John the Baptist]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=Talk:Tant_que_vivray_(Claudin_de_Sermisy)&diff=499163Talk:Tant que vivray (Claudin de Sermisy)2014-10-16T18:33:17Z<p>Rp: fixing</p>
<hr />
<div>== 2 score errors ==<br />
There are two score errors in Brian Russell's edition:<br />
* Tenor, bar 2, note 2 must be D.<br />
* Bass, bar 7, note 2 must be B flat.<br />
I've fixed them, but I don't know what to do with the fixes.<br />
It seems wrong to assign a new CPDL number to them, but I don't know how to upload the files in any other way. What is customary policy?<br />
Brian can't make the corrections. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 13:51, 13 October 2014 (UTC)<br />
<br />
:Hello Reinier, thank you for taking the time to correct those errors. The pdf score of this edition can be found at [[File:042.pdf]]. Clicking on the previous filename, you'll be taken to another page with an option "Upload a new version of this file". Follow that link and you will overwrite Brian's version with yours; nothing else is required from your part. The files 042.mid and 042.nwc are kept on a different file repository and cannot be overwritten from this wiki. If you wish to upload corrected versions of them, too, please use different filenames, such as [[file:042-corrected.mid]] and [[file:042-corrected.nwc]] (click on these names to upload each file). Best regards, —[[User:Carlos|Carlos]] [[File:Email.gif|link=User talk:Carlos]] 20:15, 13 October 2014 (UTC)<br />
:Thank you. After some thought, I just uploaded them as [[File:042.nwc]] and [[File:042.mid]], and on the page, replaced the originals with a reference to them. [[User:Rp|Rp]] ([[User talk:Rp|talk]]) 18:33, 16 October 2014 (UTC)</div>Rphttps://www.cpdl.org/wiki/index.php?title=Tant_que_vivray_(Claudin_de_Sermisy)&diff=499162Tant que vivray (Claudin de Sermisy)2014-10-16T18:30:35Z<p>Rp: add fixed version of Brian Russell's version</p>
<hr />
<div>==Music files==<br />
{{Legend}}<br />
<br />
*{{CPDLno|14741}} [http://www.notamos.co.uk/101783.shtml {{net}}]<br />
{{Editor|Christopher Shaw|2007-09-13}}{{ScoreInfo|A4|5|}}{{Copy|Personal}}<br />
:'''Edition notes:''' {{KbdRed}} Please click on the link for preview/playback/PDF download.<br />
<br />
*{{CPDLno|9272}} [{{filepath:042.pdf}} {{pdf}}] [{{filepath:042.mid}} {{mid}}] [{{filepath:042.nwc}} NoteWorthy Composer]<br />
{{Editor|Brian Russell|2005-08-30}}{{ScoreInfo|A4|3|24}}{{Copy|Personal}}<br />
{{Editor|edtype=Modified by|Reinier Post|2014-10-16}}<br />
:'''Edition notes:''' Fixes 2 notes in the originals by Brian Russell, which are here: [{{website|brianrussell}}042.mid {{mid}}] [{{website|brianrussell}}042.nwc NoteWorthy Composer]<br />
<br />
*{{CPDLno|7430}} [{{filepath:Serm-ta1.pdf}} {{pdf}}]<br />
{{Editor|Jim Cooke|2004-07-02}}{{ScoreInfo|A4|2|108}}{{Copy|CPDL}}<br />
<br />
*{{CPDLno|6761}} [{{website|chorusrehearsal}} {{net}}]<br />
{{Editor|John D. Smith|2004-02-20}}{{ScoreInfo|A4|2|}}{{Copy|Personal}}<br />
:'''Edition notes:''' Scores listed alphabetically by composer. All scores available in [[Scorch]] format, some are also available as PDF files.<br />
<br />
*{{CPDLno|5189}} [http://www.iespana.es/ubisunt/partituras/partituras.htm {{net}}] PDF and Finale 2003 files available.<br />
{{Editor|Jose Miguel Galan|2003-05-30}}{{ScoreInfo|A4|2|80}}{{Copy|Personal}}<br />
:'''Edition notes:''' Click on link 'Visualizar por orden alfabetico' under Repertorio de Música Antigua (hasta 1750) then search alphabetically by title. Finale file also viewable via SmartViewer.<br />
<br />
*{{CPDLno|4541}} {{LinkW|serm-tan.pdf|serm-tan.mid|serm-tan.mus|Finale 2003}}<br />
{{Editor|Jean-Luc Roth|2003-01-25}}{{ScoreInfo|Letter|2|116}}{{Copy|CPDL}}<br />
:'''Edition notes:''' full score.<br />
<br />
==General Information==<br />
'''Title:''' ''Tant que vivray''<br><br />
{{Composer|Claudin de Sermisy}}<br />
{{Lyricist|Clément Marot}}<br />
<br />
{{Voicing|4|SATB}}<br><br />
{{Genre|Secular|Chansons}}<br />
{{Language|French}}<br />
{{Instruments|A cappella}}<br />
'''Published:''' <br />
<br />
'''Description:'''<br />
<br />
'''External websites:'''<br />
[http://www.dwsolo.com/mp3/tantquevivraySATB.mp3 performance of Tant que vivray by the dwsChorale]<br />
<br />
==Original text and translations==<br />
{{Text|French}}<br />
'''L'Adolescence Clémentine'''<br />
<br />
:'''chanson XII'''<br />
:Tant que vivray en aage florissant,<br />
:Je serviray Amour le Dieu puissant,<br />
:En faict, et dictz, en chansons, et accords.<br />
:Par plusieurs jours m'a tenu languissant,<br />
:Mais apres dueil m'a faict resjouyssant,<br />
:Car j'ay l'amour de la belle au gent corps.<br />
:Son alliance<br />
:Est ma fiance:<br />
:Son cueur est mien,<br />
:Mon cueur est sien:<br />
:Fy de tristesse,<br />
:Vive lyesse,<br />
:Puis qu'en Amours a tant de bien.<br />
<br />
:Quand je la veulx servir, et honnorer,<br />
:Quand par escriptz veulx son nom decorer,<br />
:Quand je la voy, et visite souvent,<br />
:Les envieulx n'en font que murmurer, <br />
:Mais nostre Amour n'en sçauroit moins durer:<br />
:Aultant ou plus en emporte le vent.<br />
:Maulgré envie <br />
:Toute ma vie<br />
:Je l'aymeray,<br />
:Et chanteray:<br />
:C'est la premiere,<br />
:C'est la derniere,<br />
:Que j'ay servie, et serviray.<br />
<br />
<br />
{{Translation|Dutch}}<br />
vertaling door {{User|Dick Wursten}}<br />
<br />
:Zolang als ik in de bloei van mijn leven ben<br />
:zal ik de Liefde dienen, die machtige God,<br />
:me daden, woorden, liederen en muziek.<br />
:Geruime tijd liet Hij mij smachten,<br />
:maar na de rouw kwam er de vreugde<br />
:want ik heb de liefde van de elegante Schone.<br />
:Met haar verbonden zijn maakt mij trouw<br />
:Haar hart is van mij<br />
:het mijne van haar<br />
:weg met de droefenis,<br />
:leve de vreugde,<br />
:want tussen geliefden is er zoveel goeds..<br />
<br><br />
<br><br />
Dit hoofse liefdeslied heeft een ondertoon van een verlangen naar <br><br />
de eeuwigheid. Wie een vertaling wil die zingbaar is, et voilà. Jan Wyns.<br><br />
<br />
:Zolang ik leef in jaren jong en schoon,<br />
:Zolang ik dien des liefdes machtig kroon,<br />
:Zo zingt en schrijft men liedjes en in rijm.<br />
<br><br />
:Toen dag na dag van lang en smachtend traan,<br />
:Blijdschap mij plots verrast heeft aangedaan,<br />
:Want 'k vond een schoon en zinnelijk lief.<br />
<br><br />
:Verbintenis, o mijn geliefde,<br />
:Dijn hart is mijn, 't mijne is dijn.<br />
:Vlucht weg gij droefnis, wees welkom blijheid,<br />
:Want deze liefd' belooft mij vreugd.<br />
<br><br />
:Als ik haar dien en haren wil nakom,<br />
:Als 'k met mijn woord wil loven haren naam,<br />
:Telkens 'k haar zie en haar bezoeken kom.<br />
<br><br />
:Alle geluk waar 'k ben wantrouwig om,<br />
:Ach onze liefd' zal daar niet min om zijn,<br />
:Hoor hoe zij zal verwaaien in de wind.<br />
<br><br />
:En toch in weerwil blijf ik mijn leven,<br />
:Onverpoosd minnen, onstoorbaar zingen,<br />
:Dit is de eerste, dit is de laatste,<br />
:Die 'k heb bemind en minnen zal.<br />
<br />
<br />
{{Translation|Italian}}<br />
<br />
:Finché vivrò, in età fiorente,<br />
:Io servirò d'Amor il re potente<br />
:In fatti, in parole, in canti ed accordi.<br />
:Per molti giorni mi tenne a languire<br />
:Ma poi mi ha fatto gioire,<br />
:Perché ho l'amore della bella dal gentile corpo.<br />
:La sua alleanza<br />
:E' la mia fiducia<br />
:Il suo cuore è mio,<br />
:Il mio è suo,<br />
:Fine della tristezza,<br />
:Viva letizia,<br />
:Poiché in amore c'è tanto bene.<br />
<br />
:Quando la voglio servire ed onorare,<br />
:Quando, in scritto, voglio il suo nome decorare,<br />
:Quando la vedo, e la visito spesso,<br />
:Gli invidiosi non fan che mormorare.<br />
:Ma il nostro amore non durerà di meno:<br />
:Tutto il resto lo porti il vento.<br />
:Anche invidiato<br />
:Tutta la vita<br />
:L'amerò<br />
:E canterò:<br />
:E' la prima<br />
:E l'ultima<br />
:Che ho servito e servirò.<br />
<br />
[[Category:Sheet music]]<br />
[[Category:Renaissance music]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=User:Rp&diff=499161User:Rp2014-10-16T18:10:43Z<p>Rp: Rp moved page User:Rp to User:Reinier Post: I need a link to this page ...</p>
<hr />
<div>#REDIRECT [[User:Reinier Post]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=File:042.pdf&diff=499159File:042.pdf2014-10-16T17:52:47Z<p>Rp: Rp uploaded a new version of &quot;File:042.pdf&quot;</p>
<hr />
<div>Tant que vivray (Claudin de Sermisy)</div>Rphttps://www.cpdl.org/wiki/index.php?title=File:042.mid&diff=499157File:042.mid2014-10-16T17:50:39Z<p>Rp: Rp moved page File:042-v2.mid to File:042.mid: see File:042.nwc</p>
<hr />
<div>Tant que vivray. Obtained from [[File:042-v2.nwc]] by issuing ''Export as MIDI'' in NoteWorthy Composer.</div>Rphttps://www.cpdl.org/wiki/index.php?title=File:042-v2.nwc&diff=499156File:042-v2.nwc2014-10-16T17:48:41Z<p>Rp: Rp moved page File:042-v2.nwc to File:042.nwc: seems more logical after all</p>
<hr />
<div>#REDIRECT [[File:042.nwc]]</div>Rphttps://www.cpdl.org/wiki/index.php?title=File:042.nwc&diff=499155File:042.nwc2014-10-16T17:48:41Z<p>Rp: Rp moved page File:042-v2.nwc to File:042.nwc: seems more logical after all</p>
<hr />
<div>Tant que vivray. This version corrects two notes in Brian Russell's 042.nwc.</div>Rphttps://www.cpdl.org/wiki/index.php?title=File:042.nwc&diff=499154File:042.nwc2014-10-16T17:43:49Z<p>Rp: Rp uploaded a new version of &quot;File:042-v2.nwc&quot;</p>
<hr />
<div>Tant que vivray. This version corrects two notes in Brian Russell's 042.nwc.</div>Rphttps://www.cpdl.org/wiki/index.php?title=File:042.mid&diff=499153File:042.mid2014-10-16T17:29:13Z<p>Rp: Tant que vivray. Obtained from File:042-v2.nwc by issuing ''Export as MIDI'' in NoteWorthy Composer.</p>
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<div>Tant que vivray. Obtained from [[File:042-v2.nwc]] by issuing ''Export as MIDI'' in NoteWorthy Composer.</div>Rp