Salve Regina. William Cornysh. Sixteen Harry Christophers. Harry Christophers скачать в хорошем качестве

Salve Regina. William Cornysh. Sixteen Harry Christophers. Harry Christophers

Salve Regina, mater misericordiae William Cornysh, the Younger (1465 – October 1523) Sixteen Harry Christophers Harry Christophers One of the best-known works in the Eton choir book, this virtuosic setting of the Marian antiphon owes its popularity to its remarkably varied and colorful musical palette and its less obvious but equally important musical coherence. Cornysh was an early and rare example of what is now called the ‘Renaissance artist’. A man of remarkable intelligence, he was well known in his lifetime not only as an outstanding musician, but also as a poet, dramatist and actor. Unfortunately, none of his dramatic writings has survived, though there is a poem by him in the British Library entitled ‘A Treatise bitwene Trouth and Enformacion’ which was written while he was serving a jail sentence in the Fleet Prison. In this he claimed that he had been convicted by false information and thus wrongfully accused, though it is not known exactly what the accusation was. As an actor he took part in many plays at court, some of which have survived [...]. As a musician Cornysh had the most prestigious employment at court – as Master of the Children of the Chapel Royal – which he fulfilled from 1509 until his death in 1523. Part of his job was to train the choristers, and it is probable that he was responsible for the very high standard of singing in the Chapel Royal choir which so amazed the French in the early years of the sixteenth century. In September 1513 Cornysh took the choir to France, giving performances in the area around Lille, and there survive several descriptions of how impressive these performances were. Their reception was almost certainly caused by the combination of the high treble voice and the technically very intricate style of English compositions of the time. Nothing would have shown this off better than Cornysh’s own Salve regina or Magnificat, though he might equally have performed the music of John Browne, Robert Fayrfax or any of the other composers represented in the Eton Choirbook. Several of his larger-scale sacred pieces are now lost, including several settings of the Mass. Those that remain are all in the Eton Choirbook, except for the Magnificat, which is in the Caius Choirbook. Even within these sacred pieces there is evidence that Cornysh wished to find a solution to the stylistic cul-de-sac with which his most complicated music presented him. By contrast with the fearsome ornaments and unusually wide overall compass of the Magnificat (three octaves and a fifth), a piece like Ave Maria, mater Dei seems quite straightforward, being scored only for men’s voices and with the melodic lines being more genuinely linear. Gaude virgo mater Christi is in a similar style to this, while the Salve regina belongs to the florid repertoire. The Stabat mater is a masterpiece which contains frequent contrasts between ornate and simpler passages: these juxtapositions are something of a speciality of Cornysh’s. That this setting is less well known might be because the opening sections survive incomplete, though these have been reconstructed by Professor Frank Harrison. In general Cornysh’s style is less introverted than that of his greatest contemporary, John Browne. Cornysh always seemed to be striving for the most brilliant effect, or the most pathetic tone, a way of thinking which would have made him perfectly suited to the madrigal a hundred years later, and makes him reminiscent of Thomas Weelkes. [...]" ~ Peter Philips ~ Salve Regina, mater misericordiae: vita, dulcedo, et spes nostra, salve. Ad te clamamus, exsules filii Hevae, Ad te suspiramus, gementes et flentes In hac lacrimarum valle. Eia ergo, advocata nostra, illos tuos Misericordes oculos ad nos converte Et Iesum benedictum fructum ventris tui Nobis post hoc exsilium ostende: Virgo mater ecclesiae, Aeterna porta gloriae, Esto nobis refugium Apud Patrem et Filium, O clemens! Virgo clemens, virgo pia, Virgo dulcis, O Maria, Exaudi preces omnium Ad te pie clamantium, O pia! Funde preces tuo nato, Crucifixo, vulnerato, Et pro nobis flagellato, Spinis puncto, felle potato. O dulcis Maria, salve. Hail, queen of mercy, Our life, our sweetness and our hope, hail! To you we cry, exiled children of Eve, To you we sigh, groaning and weeping In this vale of tears. Therefore as our advocate Turn your merciful eyes towards us And after this exile show us Jesus, The blessed fruit of your womb. Virgin mother of the church, Eternal gate of glory, Be for us a refuge Before the Father and the son, O clement! Clement, holy virgin, Sweet virgin, O Mary, Hear the prayers of all Who piously cry to you, O holy! Pour out your prayers to your Son, Crucified, wounded, And scourged for us, By thorns pierced, with gall for drink. O sweet Mary, hail! Protestant versions