Fertur in conviviis (Orlando di Lasso): Difference between revisions
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==Music files== | ==Music files== | ||
{{#Legend:}} | {{#Legend:}} | ||
*{{PostedDate|2015-12-26}} {{CPDLno|37973}} [[Media:Lass-Fer.pdf|{{pdf}}]] [[Media:Lass_Fer.mid|{{mid}}]] [[Media:Lass_Fer.mxl|{{XML}}]] [[Media:Lass_Fer.cap|{{Cap}}]] | *{{PostedDate| 2020-07-19}} {{CPDLno|59794}} [[Media:Lassus-FerturInConviviis.pdf|{{pdf}}]] [[Media:Lassus-FerturInConviviis.mid|{{mid}}]] | ||
{{Editor|Adrian Wall|2020-07-19}} {{ScoreInfo|A4|8|1662}}{{Copy|Personal}} | |||
:{{EdNotes|Transposed down a tone. Note values halved. Original and moralising texts included.}} | |||
*{{PostedDate|2015-12-26}} {{CPDLno|37973}} [[Media:Lass-Fer.pdf|{{pdf}}]] [[Media:Lass_Fer.mid|{{mid}}]] [[Media:Lass_Fer.mxl|{{XML}}]] [[Media:Lass_Fer.cap|{{Cap}}]] | |||
{{Editor|Gerhard Weydt|2015-12-26}}{{ScoreInfo|A4|21|171}}{{Copy|CPDL}} | {{Editor|Gerhard Weydt|2015-12-26}}{{ScoreInfo|A4|21|171}}{{Copy|CPDL}} | ||
: | :{{EdNotes|This edition uses the original text from the 1564 edition, whereas Sabine Cassola uses the text from Magnum opus musicum which reverses the sense of the original text. The pdf and capella files offer the music in three keys: 1. original; 2. transposed a fifth downwards, as it might have been sung by an all-male ensemble; 3. transposed down one tone, suitable for a modern mixed choir. A rhymed German translation is supplied within the edition.}} | ||
*{{CPDLno|9671}} [[Media:ws-lass-fer.pdf|{{Pdf}}]] [[Media:ws-lass-fer.mid|{{Mid}}]] [[Media:ws-lass-fer.mus|{{mus}}]] | *{{PostedDate|2005-09-17}} {{CPDLno|9671}} [[Media:ws-lass-fer.pdf|{{Pdf}}]] [[Media:ws-lass-fer.mid|{{Mid}}]] [[Media:ws-lass-fer.mxl|{{XML}}]] [[Media:ws-lass-fer.mus|{{mus}}]] (Finale 2000) | ||
{{Editor|Sabine Cassola|2005-09-17}}{{ScoreInfo|A4|5|184}}{{Copy| | {{Editor|Sabine Cassola|2005-09-17}}{{ScoreInfo|A4|5|184}}{{Copy|CPDL}} | ||
: | :{{EdNotes|Copyright (c) 1997 SMC.}} | ||
==General Information== | ==General Information== | ||
{{Title|''Fertur in conviviis''}} | |||
{{Composer|Orlando di Lasso}} | {{Composer|Orlando di Lasso}} | ||
{{Voicing|4|STTB, SATB}} | {{Voicing|4|STTB, SATB}} | ||
{{Genre|Secular|Motets}} | {{Genre|Secular|Motets}} | ||
{{Language|Latin}} | {{Language|Latin}} | ||
{{Instruments|A cappella}} | {{Instruments|A cappella}} | ||
{{Pub|1|1564|in ''{{ | {{Pub|1|1564|in ''{{NoComp|Quatriesme livre des chansons a 4 et 5 parties|Orlando di Lasso}}''|vol=Edition 1|no=9}} | ||
{{Pub|2|1565|in ''[[Sesieme livre de chansons a quatre et cinc parties]]''|no=1}} | {{Pub|2|1564|in ''[[Septiesme livre des chansons à quatre parties (Pierre Phalèse)]]''|vol=Edition 3|no=}} | ||
{{Pub| | {{Pub|3|1565|in ''[[Sesieme livre de chansons a quatre et cinc parties]]'' (Le Roy & Ballard)|vol=Edition 1|no=1}} | ||
''' | {{Pub|4|1569|in {{NoComp|Sacrarum cantionum quatuor vocum|Orlando di Lasso and Cipriano de Rore}}|vol=Liber 2|no=7}} | ||
{{Pub|5|1570|in ''{{NoCo|Mellange d'Orlande de Lassus}}''|no=39}} | |||
{{Pub|6|1579|in ''{{NoCo|Altera pars selectissimarum cantionum}}''|no=67}} | |||
{{Pub|7|1604|in ''{{NoCo|Magnum opus musicum}}''|no=141}} | |||
{{Descr| }} | |||
{{#ExtWeb:}} | |||
==Original text and translations== | ==Original text and translations== | ||
Line 56: | Line 63: | ||
Fertur in conviviis vinus vina vinum. | Fertur in conviviis vinus vina vinum. | ||
Masculinum displicet, nocet femininum; | Masculinum displicet, nocet femininum; | ||
Et in neutro genere vinum est nocivum, | Et in neutro genere vinum est nocivum, | ||
Loqui facit homines pessimum latinum. | Loqui facit homines pessimum latinum. | ||
Line 83: | Line 90: | ||
;Pro | ;Pro | ||
At feasts, "vinus, vina, vinum" is brought in. | At feasts, "vinus, vina, vinum" is brought in. | ||
The masculine gender doesn't give pleasure; | The masculine gender doesn't give pleasure; | ||
the feminine does; and in the neuter wine is | the feminine does; and in the neuter wine is | ||
divine. It makes a cleric speak very good Latin. | divine. It makes a cleric speak very good Latin. | ||
I want wine to make an appearance at everything. | I want wine to make an appearance at everything. | ||
Wine causes old women to dance lightly, | Wine causes old women to dance lightly, | ||
enriches the poor, lets the lame walk, | enriches the poor, lets the lame walk, | ||
gives speech to the mute and hearing to the deaf. | gives speech to the mute and hearing to the deaf. | ||
Great drinkers are always good natured, the old | Great drinkers are always good natured, the old | ||
as well as the young; in everlasting flames | as well as the young; in everlasting flames | ||
the bumpkins are tormented who are not worthy | the bumpkins are tormented who are not worthy | ||
enough to know how to enjoy a good swallow of wine. | enough to know how to enjoy a good swallow of wine. | ||
My intention is to die in a tavern, | My intention is to die in a tavern, | ||
and to place wine next to my thirsty mouth, | and to place wine next to my thirsty mouth, | ||
so that when the choirs of angels arrive, | so that when the choirs of angels arrive, | ||
they will say, "May God be merciful to this drinker." | they will say, "May God be merciful to this drinker." | ||
And more than the church will I love the tavern. | And more than the church will I love the tavern. | ||
That at no time have I ever spurned, | That at no time have I ever spurned, | ||
nor will I spurn it, until I perceive the holy angels | nor will I spurn it, until I perceive the holy angels | ||
coming to sing for the drunkards, "Requiem eternam." | coming to sing for the drunkards, "Requiem eternam." | ||
Line 119: | Line 126: | ||
Drinkers cannot become blessed. | Drinkers cannot become blessed. | ||
The old as well as the young were begotten by a demon, | The old as well as the young were begotten by a demon, | ||
for they are not prepared for the bidding of heaven. | for they are not prepared for the bidding of heaven. | ||
They eat, drink, and are merry, and so they will be damned. | They eat, drink, and are merry, and so they will be damned. |
Latest revision as of 02:10, 11 March 2023
Music files
ICON | SOURCE |
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Midi | |
MusicXML | |
Capella | |
Finale | |
File details | |
Help |
- Editor: Adrian Wall (submitted 2020-07-19). Score information: A4, 8 pages, 1.62 MB Copyright: Personal
- Edition notes: Transposed down a tone. Note values halved. Original and moralising texts included.
- Editor: Gerhard Weydt (submitted 2015-12-26). Score information: A4, 21 pages, 171 kB Copyright: CPDL
- Edition notes: This edition uses the original text from the 1564 edition, whereas Sabine Cassola uses the text from Magnum opus musicum which reverses the sense of the original text. The pdf and capella files offer the music in three keys: 1. original; 2. transposed a fifth downwards, as it might have been sung by an all-male ensemble; 3. transposed down one tone, suitable for a modern mixed choir. A rhymed German translation is supplied within the edition.
- Editor: Sabine Cassola (submitted 2005-09-17). Score information: A4, 5 pages, 184 kB Copyright: CPDL
- Edition notes: Copyright (c) 1997 SMC.
General Information
Title: Fertur in conviviis
Composer: Orlando di Lasso
Number of voices: 4vv Voicings: STTB or SATB
Genre: Secular, Motet
Language: Latin
Instruments: A cappella
First published: 1564 in Quatriesme livre des chansons a 4 et 5 parties, Edition 1, no. 9
2nd published: 1564 in Septiesme livre des chansons à quatre parties (Pierre Phalèse), Edition 3
3rd published: 1565 in Sesieme livre de chansons a quatre et cinc parties (Le Roy & Ballard), Edition 1, no. 1
4th published: 1569 in Sacrarum cantionum quatuor vocum, Liber 2, no. 7
5th published: 1570 in Mellange d'Orlande de Lassus, no. 39
6th published: 1579 in Altera pars selectissimarum cantionum, no. 67
7th published: 1604 in Magnum opus musicum, no. 141
Description:
External websites:
Original text and translations
Latin text
Fertur in conviviis vinus vina vinum.
Fertur in conviviis vinus vina vinum. |
English translation
At feasts, "vinus, vina, vinum" is brought in.
At feasts, "vinus, vina, vinum" is brought in.
|
- Notes
This is a specimen of what is called Goliardic poetry, the work of the so-called wandering scholars, most familiar from the collection called Carmina Burana. In fact, it contains a verbatim quotation ("Meum est propositum in taberna mori") from one of the most famous poems that appears in the Carmina Burana. (You may actually have sung that in Carl Orff's "Carmina Burana," the part that begins, "Aestuans intrinsecus…") The poems here represent the two sides of a debate, a common theme in mediaeval poetry. One typical subject was the debate between various types of lovers, such as knights or clerics. (Usually the cleric wins, because he wrote the poem.) But perhaps the most popular subject was on the merits of wine versus water. --Paul Pascal, Professor Emeritus of Classics, University of Washington
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