M. Roth, AMS Indianapolis 2010, p. 1
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Example 1: Orlando di Lasso, “Carmina Chromatico”, Prophetiae Sibyllarum
Original Latin Text & Various Translations
Carmina chromatico quae audis modulata tenore
Haec sunt illa quibus nostrae olim arcana salutis
Bis senae intrepido cecinerunt ore Sibyllae.
Polyphonic songs which you hear in a chromatic
tenor
These are they, in which our twice-six Sibyls
once
Sang, with fearless mouths, the secrets
of our salvation.
(Peter Bergquist, 1979)
These are songs which proceed chromatically.
These verses which you hear, set in a chromatic
style,
Are those which, long ago, were uttered by
the clear voices
Of the twelve sibyls, proclaiming the mysteries
of our salvation.
(Hilliard Ensemble, 1993)
Well-modulated songs from distant shores
you shall hear,
Songs through which, in times of yore, the
wonder of our salvation
Was heralded twelve times in the words of
the holy Sibyls.
(Cantus Cölln, 1994)
The prophecies you will hear set chromatically
to music
Are those that, with fearless mouth, the twelve
Sibyls once sang,
The secret of our salvation.
(De Labyrintho, 2006)
The verses, which you are to hear, set in the
chromatic style,
Are those in which, long ago, with undaunted voice,
They are the poems in which the twelve Sibyls,
one after the other
Once sang the hidden mysteries of our salvation.
(C. Flanigan/T. Binkley, 1984)
The twelve Sibyls sang the mysteries of our salvation.
(Ensemble Daedelus, 2006)
The songs you hear set here in the chromatic mode
Are those with which the Sibyls of old, with intrepid mouth,
Did twelvefold sing the mysteries of our salvation.
(Weser-Renaissance Bremen, 2009)
Prophetic songs, that you now hear, sung polyphonically
to a chromatic tenor,
They are [the songs] in which our twice-six Sibyls once sang,
with intrepid mouths, the secret of our salvation.
(M. Roth, et. al.)
Hermes Trismegistus, Siena Cathedral
pavement, c.1488
Lasso Coat-of-Arms, knighted 1570
by Emperor Maximilian II
Lasso, Prophetiae Sibyllarum
partbook portrait, c. 1558-60
Example 2: Orlando di Lasso, “Carmina Chromatico”, Score & Translation
Total Triads used (17): C c c# D Eb E e F F# f# G g g# A a Bb B
Total Pitches used (14): C C# D D# Eb E F F# G G# A A# Bb B (pitches not used: Ab Db, Gb)
Tonal type: Low clef, no signature, and G final configuration corresponding to the tonal type representing Mode 8
Melodic interval content, by voice:
Chr. semi-tone
semi-tone
whole-tone
m3
M3
P4
P5
Soprano:
2.5
9.5
11
4
4
2
3
Alto:
2.5
11.5
15
6
1
3
2
Tenor:
0
19
13
2
2
0
2
Bass:
0
5
11
5
7
13
10
M. Roth, AMS Indianapolis 2010, p. 2
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m6
0
1
0
0
M. Roth, AMS Indianapolis 2010, p. 3
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Examples 3a, b, c, d, e: Lesson Tones & “Carmina chromatico” Opening Motive
Example 3a: Prophecy Tone
Intonation
Flex/metrum
Closing formula
Flex/metrum
Closing formula
Flex/metrum
Closing formula
Example 3b: Epistle Tone
Intonation
Example 3c: Gospel Tone
Intonation
Example 3d: “Carmina chromatico” mm. 1-2:
M. Roth AMS Indianapolis 2010, p. 4
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Example 4: Orlando di Lasso “Carmina chromatico”, Prophetiae Sibyllarum
(Spectrum of Hexachord Transpositions)
F# (6#)
B
F#
C#
g#/G#
d#/D#
E
B
F#
c#/C#
g#/G#
d#(D#)
A
E
B
f#(F#)
c#(C#)
g#(G#)
D
A
E
b(B)
f#(F#)
c#(C#)
G
D
A
e(E)
b(B)
f#(F#)
C
G
D
a(A)
e(E)
b(B)
F
C
G
d(D)
a(A)
e(E)
a(A)
B (5#)
E (4#)
A (3 #)
D (2#)
G (1#) hard hexachord
C ( 0 ) natural hexachord
F (1b) soft hexachord
Bb
F
C
g(G)
d(D)
Bb (2b)
Bb
F
c(C)
g(G)
d(D)
Eb
a#/A#
M. Roth, AMS Indianapolis 2010, p. 5
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Examples 5a, b, c: Lasso “Carmina chromatico”, Prophetiae Sibyllarum
Text & Corresponding Hexachord Transpositions (soprano underlay)
5a Line 1:
Triads:
(mi-fa):
Car- mi- na * chro- ma- ti- co quae au- dis mo- du- la- ta * te- noC
G G
B
c# E E f#
f# D6 G/C C F Bb D c6/D
c
b
d#
e
g# a
c# d b c
a Bb f#
f# g
e
f
mi fa
B (5#)
* mi
E (4 #)
fa
(soprano)
mi fa
(soprano)
A (3 #)
mi fa
(alto)
mi fa
(bass)
D (2#)
G (1#)
re
G
g
b
fa
mi
(alto)
*
* mi
mi fa
fa
(soprano)
mi(ten-)
mi fa
(tenor)
mi
fa
(alt/sop)
mi fa *
(tenor)
C (0)
F (1b)
Bb (2b)
mi fa
(bass)
5b Line 2:
Triads:
(mi-fa)
Haec * sunt illa qui- bus
C
E
AD G G e
g# a f# g
g
c
c# d
F# (6#)
o- lim
ar- ca- na sa- lu- tis
B E g# /E
A
D G G G C
d# e
f# g
b c
b
g# a/c# d
mi
fa
(tenor)
mi fa
(alto)
B (5#)
E (4 #)
* mi fa
(soprano)
mi fa
(tenor)
mi fa
(alto)
A (3 #)
D (2#)
G (1#)
nos- trae
F# F#
f#
a#
mi fa
(bass)
mi fa
(tenor)
mi fa
(soprano)
fa mi+
(soprano)
-fa *
(-or)
mi fa
(tenor)
C (0)
5c Line 3: Bis se- * nae in- tre- pi- do ce- ci- ne- * runt ce- ci- ne- runt ore Si- byllae.
Triads:
C F
D gm Eb Bb Bb F a G
E
A D gm F
Bb F a C (F6/D) G
(mi-fa):
e f
f# g/ d E-b
f e
g#
e f# g
f
e
a Bb
Bb a
c# d Bb a
c
b
B (5#)
E (4 #)
* mi
fa
(alto)
mi fa
(tenor)
A (3 #)
D (2#)
* mi fa
(alto)
mi fa
(al to)
G (1#)
fa
mi
(alto)
C (0)
F (1b)
Bb (2b)
mi fa
(alto)
*
mi+ fa
(soprano)
mi fa
(tenor)
fa mi
(alto)
fa
mi
(soprano)
*
fa
+
fa mi
(tenor)
mi
(soprano)
M. Roth, AMS Indianapolis 2010, p. 5
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M. Roth AMS Indianapolis 2010, p. 6
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Example 6: Orlando di Lasso, “Carmina chromatico”, Prophetiae Sibyllarum
Table of half-note Harmonic/Rhythmic Durations
Line/Phrase
Harmonies
Phrase 1 (mm 1-9): triads
durations
c
Bb
F
1
2
1
( Flat side: 4 )
Phrase 2 (mm. 9-18): triads
durations
C
6
Phrase 3: (mm. 18-25): triads
durations
Eb
1.5
G
7
e
2
C
5
G
8
Half-note Durations
D f#
E
4
3
3
( Sharp side: 30 )
D
A
E
B
4
4
7
2
( all Sharp side: 35 )
Bb
g
F
C / a
5.5 2
6.5 3
3.5
( Flat side: 22 )
g#
1
G
5
c#
3
B
4
F#
2
D
A
E
1.5 1.5
1
( Sharp side: 9 )
34
35
31
_________________________
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