Blog by-the-Sea

2 Videos: "Gabriel's Message"

Andrea Bocelli: Ave Maria Videos

Compositions by Caccini, Gounod/Bach, and Mascagni

Andrea Bocceli - Ave Maria(Caccini)
Uploaded by Patricia14

Ave Maria - air sacré (clip)
Uploaded by Andrea-Bocelli

Christmas Music in Latin

Thanks to Clare Krishan, whose comment to an earlier post suggested a YouTube video of Steeleye Span singing Gaudete.  Here is a collection of a few Christmas videos from YouTube and Daily Motion, all in Latin:

"Gaudete" by Steeleye Span:

Gregorian Chant Entry Music from Christmas Midnight Mass at the Basilica Notre Dame de la Victoire, St. Raphaël, France:

chants grégoriens
Uploaded by MBiscotte

Jessye Norman sings "Ave Maria" at Notre Dame Cathedral, Paris, with the Orchestra of the Opera of Lyon:

Andrea Bocelli sings "Adeste Fideles"

O come, O come Emmanuel

O come, O come Emmanuel,
And ransom captive Israel,
That mourns in lonely exile here,
Until the Son of God appear.

Chorus:
Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel!

2. Oh, come, oh, come, great Lord of might,
Who to Thy tribes on Sinai's height
In Ancient times once gave the law
In cloud, and majesty and awe.
Chorus:

3. Oh, come, strong branch of Jesse, free
Thine own from Satans tyranny;
From depths of hell Thy people save
And give them vict'ry o'er the grave.
Chorus:

4. Oh, come, Thou Key of David, come
And open wide our heavenly home:
Make safe the way that leads on high
And close the path to misery.
Chorus:

5. O Come Thou Dayspring, from on high
And cheer us by Thy drawing nigh;
Disperse the gloomy clouds of night,
And death's dark shadows put to flight.
Chorus:

6. O come, Thou Wisdom from on high,
And order all things, far and nigh;
To us the path of knowledge show,
And cause us in her ways to go.
Chorus:

7. O come desire of nations, bind
All peoples in one heart and mind;
Bid envy, strife, and quarrels cease;
Fill the whole world with heaven's peace.
Chorus:

Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel!

Latin:

Veni, veni Emmanuel,
Captivum solve Israel,
Qui gemit in exilio
Privatus Dei Filio.
Gaude, gaude! Emmanuel
nascetur pro te, Israel.

Veni, o Jesse Virgula;
Ex hostis tuos ungula,
De specu tuos tartari
Deduc et antro barathri.
Gaude, gaude! Emmanuel
nascetur pro te, Israel.

Veni, veni, o Oriens
Solare nos adveniens;
Noctis depele nebulas
Dirasque noctis tenebras.
Gaude, gaude! Emmanuel
nascetur pro te, Israel.

Veni clavis Davidica;
Regna reclude caelica;
Fac iter tutum superum,
Et claude vias inferum.
Gaude, gaude! Emmanuel
nascetur pro te, Israel.

Veni, veni Adonai,
Qui populo in Sinai
Legem dedisti vertice,
In majestate gloriae.
Gaude, gaude! Emmanuel
nascetur pro te, Israel.

Latin hymn, 12th century, translation by John Neale, 1818-1866, source.  Melody from 15th century French Processional.

Free sheet music and mp3 recording is available from Santa Barbara Music Publishing (scroll down).

A Carol for Epiphany

1. Now is the Twelfth Day ycome,
The Father and Son together are nome, 
The Holy Ghost, as they were wone,
                    In fere.
God send us a good New Year!

2. I will you sing with all my might,
Of a Child so fair in sight,
A maiden him bore this endernight,
                    So still;
As it was his will.

3. Three kingës out of Galilee
Camen to Bethlehem, that city,
For to taken into that see
                    By night;
It was a full fair sight.

4. As they came forth with their offering,
They met with Herod, that moody king;
He askëd them of their coming,
                    That tide,
And thus to them he said:

5. "Fro whence come ye, kingës three?"
"Out of the East, as thou mayst see,
To seek Him that ever shall be,
                    Through right,
Lord and king of might."

6. "When ye have at that king a-be,
Come again this way by me,
And tell me the sights that (ye) have see;
                    I pray,
Ye go none other way."

7. Of Herod, (of) that moody king,
They took their leave, of old and ying;
And forth they went with their offering
                    In sight,
And there they came by night.

8. When they came into the place
Where Jesu with His mother way,
They made offering with great solace,
                    Not fear,
With gold, incense and myrrh.

9. As they were homeward ywent,
The Father of heaven an angel sent
To those three kings that made present,
                    Ere day,
And thus to them gan say:

10. "My Lord hath warned you of your foe,
By King Herod that ye not go;
For if ye do, he will you slo,
                    And 'tray,
Ye go another way."

11. When they came home to their country,
Blithe and glad they were all three
Of the sights that they had see,
                    By night,
Jesu and Mary bright.

12. With treason to us gan he sayn, 
He trowed Jesu to have slain;
Into Egypt they went full plain,
                    By side,
Joseph was their guide.

13. Into Bethlehem  they gan pass,
The star gan shinen in their face,
Brighter than ever shone sun in glass,
                    In land;
Jesu with Mary they found.

14. King Herod he made his vow,
Great plenty of children he slow, 
He meant they should a-been Jesu;
                    I say,
He failëd of his prey.

15. Herod was wode  in royalty;
He slew children right great plenty
In Bethlehem, that fair city,
                    With strife;
Nor left he none in life.

16. The children of Israel cried, "Wa, wa!"
The mothers of Bethlehem cried, "Ba, ba!"
Herod, that wretch, (he) laughed "A-ah!"
                    And said,
"The King of Jews is dead!"

17 Almighty God in majesty,
In one God Persons Three,
Bring us to Thy bliss that is so free,
                    In fere;
And send us a good New Year!

Reges de Saba venient,
Aurum, tus myrram offerent.

- Traditional English Carol, 15th Century
For interpretive notes and more information, see The Hymns and Carols of Christmas.

Photo: A woodcut print of the Epiphany from the Book of Common Prayer, Church of England, published in 1846.

O Magnum Mysterium

O magnum mysterium,
et admirabile sacramentum,
ut animalia viderent
Dominus natum,
jacentem in praesepio.
O beata Virgo,
cuius viscera meruerunt portare
Dominum Iesum Christum.
Alleluia, alleluia. 

- Thomas Luis de Victoria, 16th century Spain.

Here is an English translation from the Thomas Luis de Victoria website, which also contains the texts from other Victoria compositions and much information about the composer from sixteenth century Avila:

O great mystery
and wondrous sacrament:
that the living creatures should see
the newborn Lord
lying in the manger.
O holy Virgin,
whose womb was deemed worthy of bearing
Jesus Christ our Lord.
Alleluia.

A Midi file with the music is here.

Photo:  A glass medallion tree ornament depicting the Holy Family and the Magi.

Christmas Carols Online

The Santa Barbara Music Publishing website has a Christmas music webpage here that features mixed voices singing carols in midi format for free download, with permission to copy them to CD's if you wish to do so.  The page also has links to the printed sheet music for the carols and recordings available for purchase.  There are 39 carols on the page, although not all of them have a midi version.  They include some of the most familiar ones (such as "Away in a Manger" and "Angels We Have Heard on High"), some of the better medieval and renaissance carols (such as "Coventry Carol", "There Is No Rose of Such Virtue", and "O Magnum Mysterium"), and some new music.

There is no rose of such virtue

1. There is no rose of such virtue
As is the rose that bare Jesu;
    Alleluia.

2. For in this rose contained was
Heaven and earth in little space;
    Res miranda.

3. By that rose we may well see
That he is God in persons three,
    Pari forma.

4. The angels sungen the shepherds to:
Gloria in excelsis deo:
    Gaudeamus.

5. Leave we all this worldly mirth,
And follow we this joyful birth
    Transeamus.

6. Alleluiah, res miranda,
Pares forma, gaudeamus,
    Transeamus

- Traditional English Carol, ca. 1420
For interpretive notes and more information, see Hymns and Carols of Christmas.

Photo: Woodcut print picture of the Nativity from the Book of Common Prayer, Church of England, printed in 1846.

The Newborn Child and Choirs of Angels

Quem vidistis, pastores?
Dicite, annuntiate nobis, quis apparruit?
Natum vidimus, et choros Angelorum
collaudantes Dominum, alleluia!
Dicite, quidnam vidistis?
et annuntiate nobis, Christi nativitatem.
Natum vidimus, et choros Angelorum
collaudantes Dominum, alleluia!

- Thomas Luis de Victoria, "Quem Vidistis, Pastores?"

Thomas Luis de Victoria lived in sixteenth century Avila, Spain.  For an English translation of this Christmas chant and a short biographical sketch of the composer, see this page  from the Los Angeles Philharmonic Association

Photo: Pewter angel tree ornament.

Lully, Lullay, Thou Little Tiny Child

December 28 is the memorial of the Holy Innocents, the second of the sad observations during Christmas.  The first was December 26, the memorial of the martyrdom of St. Stephen.

December 28 falling on Wednesday, the carols associated with it will be featured in the BBC's Choral Evensong tomorrow, which can be accessed live and can then be accessed online for a week once the recording is available.  To hear it live, go to this page and click on "Radio Player" when it is 4:00 pm Wednesday in England.  To hear it recorded, which will be available perhaps a few hours later, click on "Listen to the Latest Program".  The Playlist is here.  Broadcast from Eton College, the music includes Coventry Carol, Responses by Howells, Carol of the Holy Innocents, the day's Scripture readings, and other aspects of Anglican Evening Prayer.

Holy Innocents Day is based upon the slaughter of children by Herod, told in Matthew 2:13-18:

When the magi had departed, behold, the angel of the Lord appeared to Joseph in a dream and said, “Rise, take the child and his mother, flee to Egypt, and stay there until I tell you.
Herod is going to search for the child to destroy him.”  Joseph rose and took the child and his mother by night and departed for Egypt.  He stayed there until the death of Herod, that what the Lord had said through the prophet might be fulfilled, Out of Egypt I called my son.

When Herod realized that he had been deceived by the magi, he became furious. He ordered the massacre of all the boys in Bethlehem and its vicinity two years old and under, in accordance with the time he had ascertained from the magi.  Then was fulfilled what had been said through Jeremiah the prophet:

A voice was heard in Ramah,
sobbing and loud lamentation;
Rachel weeping for her children,
and she would not be consoled,
since they were no more. (NAB)

Here are two of the oldest carols written for Holy Innocents Day and some historical information about them.  Information about others can be found here.

Coventry Carol - Version 1:

1. Lullay, Thou little tiny Child,
By, by, lully, lullay.
Lullay, Thou little tiny Child.
By, by, lully, lullay.

2. O sisters, too, how may we do,
For to preserve this day;
This poor Youngling for whom we sing,
By, by, lully, lullay.

3. Herod the King, in his raging,
Charged he hath this day;
His men of might, in his own sight,
All children young, to slay.

4. Then woe is me, poor Child, for Thee,
And ever mourn and say;
For Thy parting, nor say nor sing,
By, by, lully, lullay.

Coventry Carol - Version 2:

   Lully, lullay, Thou little tiny Child,
    By, by, lully, lullay.

1. O sisters too, how may we do,
For to preserve this day
This poor Youngling for Whom we sing
By, by, lully, lullay?

2. Herod the king, in his raging,
Charged he hath this day
His men of might, in his own sight,
All young children to slay.

3. That woe is me, poor Child for Thee!
And ever morn and day
For Thy parting neither say nor sing,
By, by, lully, lullay.

    Lully, lullay, Thou little tiny Child,
    By, by, lully, lullay.

The two versions of the Coventry Carol are derived from the fifteenth century English pageant of the Shearman and Tailors, which was performed in Medieval Coventry, England.

Etymology of the words "lully lullay" is somewhat mysterious.  I heard, several years ago, from someone knowledgeable about church music, that the word is derived from a Latin word associated with Herod and the Holy Innocents -- perhaps a word implying holocaust or the deaths of children.  However, I could not confirm that origin today as I sought it on the internet, and the person I remembered hearing it from could only vaguely recall the time when a choir he led sang carols from Holy Innocents Day when it fell on a Sunday.  With only a few short hours spent looking for an answer, this is what I found.

An Online Etymology Dictionary  offers the following:

    "lull (v.) - c.1300, lullen "hush to sleep," probably imitative of lu-lu sound used to lull a child to sleep (cf. Swed. lulla "to hum a lullaby," Ger. lullen "to rock," Skt. lolati "moves to and fro," M.Du. lollen "to mutter"). The noun is attested from 1659.
    lullaby - c.1560, lulley by, from M.E. lollai, lullay, from lullen (see lull). Second element perhaps from by-by "good-by."

As I remembered hearing several years ago, the English word "lullaby" is thought to derive from "lollai" or "lullay", with the last syllable perhaps from "good-bye."  However, the dates given in the online source run into some trouble with the history of the Coventry Carol and other poetic uses of the words "lully" and "lullay" in connection with the Nativity and Holy Innocents.  For the word "lull", the online etymology seems a bit confusing.  It gives "c. 1300" for "lullen", but then says that the noun "lull" is only attested from 1659.  It then attributes "lullaby" to "lullen", and dates "lullaby" from c. 1560.  How those dates interact, or the online author's sources of information, are not very clear to me.

The Cambridge History of English and American Literature in 18 Volumes (1907–21). Volume II. The End of the Middle Ages, available online here, gives examples of other Medieval English carols about Mary and the baby Jesus with the word "lullay" and similar words and provides an explanation, including this:

    All these poems are characterised by a lullaby refrain . . . . The metre of most of the songs falters between the Teutonic fourstress alliterative verse and the septenarius; the original type was, probably, English, and later singers tried to conform it to a new metre.  Moreover, the word "lulley," which is the burden of the refrain, supports the theory of English origin, and this supposition is also borne out by the character of the secular lullaby, which has the same lugubrious tone, with its regret that the little Child is ushered into a world of sorrow.  This is characteristically Teutonic.

    Merging into the lullaby is the complaint of Mary, of which many examples have survived.  The song which blends these two types is one of great beauty.  As in other lullabies, the Virgin tries in vain to soothe the Babe to sleep, and, distraught at His grief, enquires its cause.  Thereupon, the Child foretells the sufferings that await Him, and each new disclosure calls forth a fresh burst of grief from the afflicted Mother: "Is she to see her only Son slain, and cruel nails driven through the hands and feet that she has wrapped?  When Gabriel pronounced her "full of grace," he told nothing of this."

This excerpt from The Cambridge History of English and American Literature, just quoted, is consistent with what I remember hearing about the association of the word "lully" or "lullay" with the death of the child, but it offers no such easy answer as a reference to a specific Latin or Teutonic word as I had remembered.  Perhaps the word I once heard was the source of "lullay" was a matter of speculation, or perhaps I just did not have time today to find the right source.

Another online source I found is Middle English Marian Lyrics, ed. Karen Saupe.  That source dates the earliest Nativity lyrics to late fourteenth century England, and specifically to John Grimestones commonplace book of 1372.  The text explains, quoting an earlier book by Rosemary Woolf:

The lullaby is an important form here. Woolf comments:

    The lullaby is in fact the predominant form of the Nativity poem, and it is able to draw directly on the homely and familiar, for both the form and the words, “lull”, “lullay”, “lullaby”, lowly and onomatopoeic in origin, seem only to have entered literature and the written language with the Nativity poems. There is, however, a difficulty here in that the medieval conception of a lullaby cannot be defined from outside the Nativity poems themselves, as traditional homely lullabies survive only from many centuries later. (p. 151)

In these expressions of mother/child intimacy, the poet often imagines a dialogue between Mary and the infant Jesus. Such dialogues often foreshadow the events to follow, the events of the Crucifixion.

Again, the concept of a Medieval English lullaby, with the words "lull," "lullay" or "lullaby", is connected to the crucifixion, with the earliest lullabies all coming from the Nativity poems.  According to the quoted stated from Woolf, it appears that lullabies unrelated to Christmas and the Holy Innocents only developed centuries later. 

I found one other source online that attributed the word "lully" to English Medieval slang meaning "I see."  That does not seem consistent with these historical sources.  Even if I found such a source elsewhere, I would probably conclude that it was intended in the sense of "until I see you again," meaning something similar to "good-bye," and not something originally meant to lull a child to sleep.  Thus, from the fifteenth century Wakefield Pageant, Secunda Pastorum, come the titles "Syng lullay thou shall, for I must grone" (translated "You shall sing lullaby for I must groan") and "Syng lullay on fast" (translated "Sing lullaby quickly"). 

The Wakefield Pageant is dated from the mid to late fifteenth century.  By comparison, the oldest known text of the Pageant of Shearman and Tailors (for which the Coventry Carol was written) is dated 1534, but the Coventry plays "were witnessed by Margaret, Queen of Henry VI, in 1456, by Richard III in 1484, by Henry VII in 1492" according to an excerpt from The Oxford Book of Carols, making the two pageants close in time of origin. 

I never did find what I thought I remembered as a specific Latin word that was the source of "lully" and "lullay" (whatever the source, it in fact was probably not Latin), but I did find interesting history behind the Coventry Carol and the English Christmas carol tradition as a whole.  I thought it would be interesting to share it in preparation for Holy Innocents Day tomorrow, for what it may add to an understanding of the music written long ago for this day in the Church calendar.

Hymnus tempore adventus, ad vesperas

The photograph shows a stained glass window and part of a tenth century wall from the parish church of Solesmes, France.  The sign underneath the bricks shown from inside the wall says "Xieme Siecle" (Xth Century).

A Ninth Century Advent Hymn, for Vespers:

Conditor alme siderum,
aeterna lux credentium,
Christe, redemptor omnium,
exaudi preces supplicum.

Qui condolens interitu
mortis perire saeculum,
salvasti mundum languidum,
donans reis remedium.

Vergente mundi vespere,
uti sponsus de thalamo,
egressus honestissima
Virginis matris clausula.

Cuius forti potentiae
genu curvantur omnia;
caelestia, terrestria
nutu fatentur subdita.

Te, Sancte, fide quaesumus,
venture iudex saeculi,
conserva nos in tempore
hostis a telo perfidi.

Sit, Christe, rex piisime,
tibi Patrique gloria
cum Spiritu Paraclito,
in sempiterna saecula.

English translation:

O generous creator of the stars,
everlasting light of believers,
O Christ, redeemer of us all,
hear now our prayers.

Though you suffer the decay
of death, the perishing of all,
you have saved the suffering world,
bringing us your healing balm.

As the world turned to evening,
like a bridegroom from his chamber
you came forth from the most pure
cloister of the Virgin mother.

Before your mighty power
all creatures kneel down -
in heaven and on earth,
all accept your command.

So we pray, O holy judge
of all the world to come,
that you will keep us safe
when we face the armed enemy.

Praise, honour, might and glory
be to God the Father, the Son
and the Holy Comforter,
for all eternity.

Amen.

The Latin is as shown by Fausta d'Antimi in Antologia pour l'initiation è l'étude du Chant Grégorien à l'usage des conservatoires, Solesmes, 1994, citing LH 3.  The English translation is taken from an Oxford manuscript with a somewhat different last verse, which is otherwise almost identical, as shown online at cpdl.org.