9. Now is the Month of Maying, Thomas Morley, 1557 – 1602
Now is the month of Maying,
When merry lads are playing,
Fa la la la la.
Each with his bonny lass,
Upon the greeny grass,
Fa la la la la.
The Spring clad all in gladness,
Doth laugh at Winter´s sadness,
Fa la la la la.
And to the bagpipes sound,
The nymphs tread out their ground,
Fa la la la la.
Fie then! why sit we musing,
Youth´s sweet delight refusing?
Fa la la la la.
Say dainty nymphs and speak,
Shall we play Barley break?
Fa la la la la.
10. In Ecclesiis, Giovanni Gabrieli, c. 1554 –1612
Giovanni Gabrieli, like his uncle Andrea Gabrieli, was the principal organist at Saint Mark’s
Basilica in Venice. One of the most highly renowned composers in his time, students traveled from
across Europe to study with him, and it is likely that his works were heard by dignitaries from as far
away as Japan. In Ecclesiis employs a polychoral style in which ensembles would perform from the
different transepts of St. Mark’s weighing a solist or small ensemble against a larger orchestra or
chorus. The work is in five verses alternating with the tutti ritornello (refrain) on the word “Alleluia”
Soloists: Sarah Rosenblatt, Allen Pendergrast, Will Schmarder, Connor Coffey,
Heather Hallett, Joseph Gibney, John Maderazo
In ecclesiis benedicite Domino.
Alleluia.
In omni loco dominationis
benedic anima mea Dominum.
Alleluia.
In Deo salutari meo et gloria mea.
Deus auxilium meum,
et spes mea in Deo est.
Alleluia.
Deus noster, te invocamus;
te laudamus; te adoramus.
Libera nos; salva nos; vivifica nos.
Alleluia.
Deus adiutor noster in aeternum.
Alleluia.
In churches bless ye the Lord.
Hallelujah.
In every place of (his) dominion,
bless the Lord, O my soul.
Hallelujah.
In God is my salvation and my glory.
God is my help,
and my hope is in God.
Hallelujah.
Our God, we call upon you;
we praise you; we worship you.
Free us; save us; give us life.
Hallelujah.
God is our helper forever.
Hallelujah.
11. Hope Is the Thing With Feathers, Will Schmarder, RPI ‘08
To end our concert, we return to the present day and premier a work by senior Concert Choir
member Will Schmarder. Hope Is the Thing With Feathers is a setting of Emily Dickinson’s poem
written in five part homophonic style employing lush modern harmonies.
Hope is the thing with feathers
That perches in the soul,
And sings the tune without the words,
And never stops at all,
And sweetest in the gale is heard;
And sore must be the storm
That could abash the little bird
That kept so many warm.
I’ve heard it in the chilliest land
And on the strangest sea;
Yet, never, in extremity,
It asked a crumb of me.
The RPI Concert Choir is both a club and
a class, seeking to provide an opportunity
for RPI students, as well as surrounding
community members, to grow musically
and to perform regularly across the capital
region. For more information, visit our
website at http://chorale.union.rpi.edu/.
5. Il est bel et bon, Pierre Passereau, 1509 – 1547
1. Sumer Is Icumen In, c. 1260, anon.
Sumer is icumen in,
Lhude sing cuccu!
Groweþ sed and bloweþ med
And springþ þe wde nu,
Sing cuccu!
Awe bleteþ after lomb,
Lhouþ after calue cu.
Bulluc sterteþ, bucke uerteþ,
Murie sing cuccu!
Cuccu, cuccu, wel singes þu, cuccu;
Ne swik þu nauer nu.
(in Modern English)
(in Middle English)
The earliest recorded example of rota or round, Sumer Is Icumen In suggests the richness of early
English secular music. Upper voices sing the melody in cannon creating rich intervals of 3rds and 6ths
over a lower foundation called the "pes" or foot.
Summer has come in,
Loudly sing, Cuckoo!
The seed grows and the meadow blooms
And the wood springs anew,
Sing, Cuckoo!
The ewe bleats after the lamb,
The cow lows after the calf.
The bullock stirs, the buck-goat turns,
Merrily sing, Cuckoo!
Cuckoo, cuckoo, well you sing, cuckoo;
Don't you ever stop now,
2. Francesco Landini, 1325 – 1397 Angelica biltà
Francesco Landini is probably the most famous composer of the late 14th century and Italian Ars
Nova. Born in Florence and blind from childhood (due to smallpox), he was an extremely popular singer,
organist and poet. It is believed he wrote most of the poetry for his many secular compositions. Many of
his surviving works are two-part ballata, of which Angelica Bilta is one.
Ensemble: Sandra Bedard, Hannah DeLisle, Sovan Gusack,
Stacie Manning, Sarah Rosenblatt, Julie Shapiro
Angelica biltà venut'è in terra:
Dunque ciascun c'ama veder belleçça, Virtù, attu veçosi e legiadria.
Vengha veder costei che sol vagheça, Arà dilei si com' à l'almamia.
Ma non credo con pace tanta guerra.
Angelica biltà venut'è in terra.
**see translation lower right
3. Kyrie (discanted chant), c. 1400 arr. Thomas Binkley
English faburden was an improvisational technique practiced primarily in the 15th century. By
following the rules of this technique, three voices could improvise harmonies derived from the notes of
an original plainchant melody, resulting in 2nd inversion triads. Evident here is the addition of modern
consonance, the third, to the medieval consonances of the fifth and octave. This arrangement takes
the form of a ninefold kyrie, alternating between the improvised polyphonic style and the original
plainchant.
Kyrie eleison;
Christe eleison;
Kyrie eleison.
Lord have mercy;
Christ have mercy;
Lord have mercy.
4. Mannerly Margery Milk and Ale,
William Cornysh the Younger 1465 – 1523, ed. Jonathan Goodliffe
John Skelton (c.1460-1529) was one of the more controversial figures in the history of British
poetry. He served in the court of King Henry VII, where he tutored the prince, and was later King’s
Orator to King Henry VIII. He was scathingly satirical with his poetry, especially of the church and of
other scholars. His poetry parted from traditional styles with ground breaking rhyme schemes and the
use of vernacular British phrases. Despite his renowned drinking, womanizing, and satirizing, he is
widely regarded as one of the greatest English poets between the years of Chaucer and Shakespeare.
William Cornysh the Younger entered service to the British Crown in 1492. He was Master of the
Children in the Royal Chapel, and composed pageants and secular songs for the court of King Henry the
VIII.
AY, besherewe yow, be my fay,
This wanton clarkes be nyse all way ;
Avent, avent, my popagay!
What, will ye do no thyng but play?
Tully valy, strawe, let be, I say!
I wiss ye dele vncurtesly;
What wolde ye frompill me? now, fy!
What, and ye shalbe my piggesnye?
Be Crist, ye shall not, no hardely ;
I will not be japed bodely!
Be God, ye be a praty pode,
And I loue you an hole cart lode.
Strawe, Jamys foder, ye play the fode,
I am no hakney for your rode ;
Go watch a bole, your bak is brode!
Gup, Cristian Clowte, gup, Jak of the vale!
With, Manerly Margery Mylk and Ale.
Walke forth your way, ye cost me nought ;
Now haue I fowned that I haue sought,
The best chepe flessh that euyr I bought.
Yet, for His loue that all hath wrought,
Wed me, or els I dye for thought!
Gup, Cristian Clowte, your breth is stale!
Go, Manerly Margery Mylk and Ale!
French composer Pierre Passereau was one of the most popular composers of his day. Famous
for his chansons, he often used nonsense syllables in his works, especially in the imitation of animals.
“Il Est Bel Et Bon”, which features a section that is reminiscent of clucking chickens, is one of his
most widely performed works today.
Il est bel et bon, commère, mon mari.
Il estoit deux femmes toutes d'ung pays.
Disanst l'une à l'aultre - "Avez bon mary?"
Il ne me courrousse, ne me bat aussy.
Il faict le mesnaige,
Il donne aux poulailles,
Et je prens mes plaisirs.
Commère, c’est pour rire
Quand les poulailles crient:
Petite coquette (co co co co dae)e, qu’esse-cy?
He is handsome and fine, my husband is,
There were two gossiping women in the village,
Saying one to the other, do you have a good
husband?
He doesn’t scold me, or beat me either.
He does the chores, he feeds the chickens
And I take my pleasure.
Really you have to laugh
to hear the cries of the chicks and hens:
Co, co, co, co, dae, little flirt, what’s this?
6. My Heart Doth Beg, Orlande de Lassus, 1532 – 1594
Lassus (also known as Orlando di Lasso) is considered one of the finest and most prolific
composers of the Franco-Flemish School. Born in what is modern Belgium, he travelled extensively
during his lifetime, from Italy to England, and influenced composers as renowned as Giovanni
Gabrielli (see In Ecclesiis below). My Heart Doth Beg is a French chanson (Mon coeur se
recommande à vous) influenced by the Italian madrigal.
My heart doth beg you’ll not forget
My heavy heart, with sorrow aching
And spite of jealous eyes e’en yet,
One last farewell we might be taking!
Once, smiles my lips were ever curving
And gracious words were all they knew.
Now alone for cursing they’re serving
Those who banish me, love, from you.
7. Cantate Domino, Hans Leo Hassler, 1564 – 1612
Hassler was a German composer who studied under the tutelage of Andrea Gabrielli and was the
first to bring the innovations of the Venetian school back to the North blending them with traditional
German forms. His works would later influence many composers from the German Baroque,
including J.S. Bach.
Cantate Domino, canticum novum:
cantate Domino omnis terra.
Cantate Domino, et benedicite nomini eius:
annuntiate de die in diem salutare eius.
Annuntiate inter gentes gloriam eius,
in omnibus populis mirabilia eius. Sing to the Lord a new song;
sing to the Lord, all the earth.
Sing to the Lord, and bless his name:
announce his salvation from day to day.
Announce among the nations his glory,
and his wonders to all peoples.
8. Fire, Fire, My Heart, Thomas Morley, 1557 – 1602
The leader of the English madrigalists, Morley learned much of his style and wrote many of his
works by imitating the Italian madrigal. He was a contemporary of Shakespeare, and historians
guess they may have known each other well. Fire, Fire, My Heart and the following piece Now Is the
Month of Maying are belletti modeled after those of of the Italian composer Gastoldi. Balletts are
generally homophonic (chordal) in texture, have a simple form with regular repetitions, and often
contain passages sung to the syllables “fa la”.
Quartet: John Maderazo, Glenn Baker, Sean Barnett, Will Schmarder
Fyre, fyre!
My heart! My heart!
Fa la la la la la
O, help! O, help! Alas, O, help!
Ay me! Ay me!
I sit and cry me,
and call for help,
**Angelica Bilta Translation:
alas, but none comes nigh me.
Angelic beauty has arrived on earth.
Fa la la la la la.
Anyone who loves to see beauty,
Virtue, grace, and charming gestures
Should look at her, for he will have thereby
Nothing but loveliness, as I do in my own soul.
But I cannot believe peace will come of this warfare.