Behold How Joyful – Clemens non Papa: Mass and Motets

Signum Records are pleased to present a debut recording by the Brabant Ensemble, an Oxford-based ensemble with a strong reputation for sympathetic performance of early sacred music, focussing on the repertoire of the 16th century.

Label: Signum
Released: 2004

Programme Notes

Like many of even the most prolific and celebrated composers of the sixteenth century, Jacobus Clemens non Papa has offered his modern biographers little material with which to work. His date of birth is a matter of conjecture, the consensus placing it towards the beginning of the second decade of the sixteenth century. It is known that he was employed at the church of St Donatian in Bruges, but only in 1544-5. Circumstantial evidence suggests that he may have worked for Philippe de Croy, the Duke of Aerschot, in the later 1540s. In 1550 he spent three months at the Confraternity of Our Lady in ‘s-Hertogenbosch; and there are several more or less tenuous links with towns in the Low Countries thereafter. It seems likely that his death, which was perhaps a violent one, occurred in 1555 or 1556.

In contrast to the paucity of biographical material, many sources of Clemens’s music survive: he is one of the most widely published musicians of the entire century. Not only are fifteen Masses, over two hundred motets, and many Dutch psalms and French chansons extant, but these works frequently went into multiple editions, some of the chansons continuing to be published well into the seventeenth century. Yet even his musical personality is difficult to establish: many pieces are conflictingly attributed, notably to Thomas Crecquillon, a direct contemporary and one whose name may readily have led to confusion with Clemens in the minds of scribes and publishers.

Despite these conflicts, it is clear from the publication record that Clemens’s music was enthusiastically received: this makes the apparent rootlessness of his life all the more surprising, since the most prominent composers almost invariably were granted significant status in courtly or ecclesiastical establishments. It seems that Clemens was unsuited to such a lifestyle, however: the musicologist Henri Vanhulst has recently discovered documents which when published will go some way to explain Clemens’s curious career and indeed his nickname. (See Henri Vanhulst, ‘New Documents on Clemens non papa (1553)’, in E. Jas (ed.), Beyond Contemporary Fame: Reassessing the Art of Clemens non Papa and Thomas Crecquillon (forthcoming).

Until now, the fact that Clemens was called ‘non Papa’ (not the Pope), and even in one manuscript ‘haud Papa’ (absolutely not the Pope), has been open to multiple interpretations: since there was a Pope Clement reigning during Clemens’s lifetime (Clement VII, Giulio de’ Medici, 1523-34), the composer’s sobriquet may have arisen in his younger days but continued to be used after the death of Clement VII. It is possible also that the name reflected Protestant sympathies on Clemens’s part: indeed, the title of the Mass on this disc, Ecce quam bonum , was something of a rallying-cry for religious dissenters during the sixteenth century, owing to its association with the revivalist Florentine preacher Girolamo Savonarola (1452-1498). Vanhulst’s new information, however, will cast a more prosaic light on the matter.

The Mass Ecce quam bonum is based on Clemens’s own motet: as is quite frequent at this time, the number of voices is reduced by one between motet and Mass, with the Kyrie, Gloria and Credo movements of the latter being in five parts. However, an extra voice is added from the Sanctus onwards. Many imitation Masses add one or more voices for the Agnus or the second Agnus invocation, but so early an expansion of texture is highly unusual. The added voice does not duplicate the lowest range, as in the motet, but the tenor, and forms a canon at the unison with the existing tenor voice. This technique is particularly effective in the Osanna, where the length of the phrases is at times the same as the delay between the two canonic voices, giving the impression of antiphony.

The motet sets Psalm 133, ‘Behold, how good and joyful a thing it is: brethren, to dwell together in unity!’ In it the psalmist constructs an extended simile between the life of a happy community and refreshing liquids: first the precious ointment running down Aaron’s beard, and subsequently dew falling upon the hill of Sion. The mention of Sion allows a return to the original theme of God’s benediction on those who lead a peaceful life. The imagery in this short but vivid text offers plenty of scope for the composer to create musical parallels, of which Clemens takes advantage in both motet and Mass. The ointment running down Aaron’s beard is illustrated with a sequential motif falling in thirds and employing cross-rhythms, which frequently recurs in the Mass, usually towards the end of sections such as the second Kyrie. A different falling motif is chosen for the dew of Hermon, this time descending by step. It has been observed also that the unison canon between the two tenor parts in the Sanctus and Agnus Dei reflects the opening of the text. (Alejandro Planchart & Willem Elders, ‘Clemens non Papa, Jacobus’, in The New Grove Dictionary of Music and Musicians, Second Edition ed. S. Sadie, 29 vols. (London: Macmillan, 2001), vi, 29.)

Apart from that on which the Mass setting is modelled, all of the motets on this disc are in five parts, though their textures are varied, with each of the standard satb voice ranges doubled on at least one occasion. Pascha nostrum(sattb) sets the text of the Easter Anthems; although musically the motet is in responsory form, with each section ending identically, only the closing ‘alleluia’ music is repeated, and the motet is best thought of as a paraliturgical piece for Eastertide. The Song of Songs motet Veni electa mea (satbb) also adopts a novel approach to musical repetition, with the phrase ‘quia concupivit rex speciem tuam’ (for the king has desired your beauty) repeating approximately ten bars of music, but here the second ‘alleluia’, although melodically similar to the first, adopts triple time, with complex cross-rhythms. The motet as a whole is highly characteristic of mid-sixteenth century spirituality, with the eroticism of the Song of Songs harnessed to provide a metaphor for the Church as bride of Christ.

Accesserunt ad Jesum (ssatb) shows an entirely different approach to text from the majority of Clemens’s works. (It is attributed in one of its twelve sources to the minor composer Pieter Maessens.) Whereas like most of his contemporaries Clemens typically writes full textures, making his musical effects by subtle variations in harmony and melodic decoration, with tight control of dissonance, here the text is projected sharply by means of contrast between upper and lower voices; the piece is also unusual in falling into three sections, the middle of which (here taken by three solo voices) introduces Jesus’s admonition to the Pharisees concerning the estate of marriage. In the final section, more direct word-painting follows, as the phrase ‘twain shall be one flesh’ is set to a rhythmic duet. A similarly immediate approach to word-setting is evident in the highly emotive narration of Job accepting his many trials, Job tonso capite (saatb), with sudden homophony at ‘adoravit et dixit’ (worshipped and said), and a falling phrase setting ‘corruens in terram’ (fell upon the ground). The texture in general is much more characteristic of Clemens than that of Accesserunt ad Jesum , however.

The final piece on the disc, Carole, magnus eras (ssatb) is a secular work: a state motet addressed to the Holy Roman Emperor Charles V and his son, Philip II of Spain. As mentioned above, Clemens was not directly employed by Charles or Philip (so far as is known), so it seems likely that the dedication arose through the composer’s connection with Philippe du Croy, a lieutenant of Charles. Since the text celebrates the achievements of the Emperor but promises even greater things under his son, it was probably composed at the time of Philip’s investiture as Regent of the Low Countries in 1549. Clemens takes full advantage of the presence in the text of the Imperial motto ‘plus ultra’, with the top voice reaching and finally surpassing the highest note in its range as the motto is stated twice in homophony.

Stephen Rice, May 2004

Text & Translations

[1-2] Ecce quam bonum

Ecce quam bonum et quam iucundum habitare fratres in unum, sicut unguentum in capite quod descendit in barbam barbam Aaron:

quod descendit in ora vestimenti eius, qui descendit in montem Sion. Quoniam illic mandavit Dominus benedictionem et vitam usque in saeculum.

Behold, how good and joyful a thing it is: brethren, to dwell together in unity! It is like the precious ointment upon the head, that ran down unto the beard:

Even unto Aaron’s beard, and went down to the skirts of his clothing. sicut ros Hermon Like as the dew of Hermon: which fell upon the hill of Sion. For there the Lord promised his blessing: and life for evermore.

Missa Ecce quam bonum

[3-5] – Kyrie

Kyrie eleison.
Christe eleison.
Kyrie eleison.

Lord, have mercy.
Christ, have mercy.
Lord, have mercy.

[6-7] – Gloria

Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens, Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen.

Glory to God in the highest and on earth peace to men of goodwill. We praise you. We bless you. We worship you. We glorify you. We give thanks to you for your great glory. Lord God, heavenly King, almighty God the Father, O Lord, the only begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father.

You take away the sins of the world, have mercy on us. You take away the sins of the world, receive our prayer. You sit at the right hand of the Father, have mercy on us. For you only are holy. You only are the Lord. You only are the most high, Jesus Christ. With the Holy Spirit in the glory of God th3e Father. Amen.

[8-10] Accesserunt ad Jesum

Accesserunt ad Jesum Pharisaei temptantes eum et dicentes si licet homini dimittere uxorem suam quacumque ex causa. Qui respondens ait eis:

Non legistis quia qui fecit ab initio masculum et feminam fecit eos. Et dixit:

Propter hoc dimittet homo patrem et matrem et adherebit uxori suae et erunt duo in carne una. Itaque iam non sunt duo sed una caro quod ergo Deus coniunxit homo non separet.

The Pharisees also came unto Jesus, tempting him, and saying unto him, Is it lawful for a man to put away his wife for every cause? And he answered and said unto them:

Have ye not read, that he which made them at the beginning made them male and female. And said:

For this cause shall a man leave father and mother, and shall cleave to his wife: and they twain shall be one flesh? Wherefore they are no more twain, but one flesh. What therefore God hath joined together, let not man put asunder.

[11-13] – Credo

Credo in unum Deum, Patrem omnipotentem factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de caelis. Et incarnatus est de Spiritu Sancto ex Maria virgine: Et homo factus est. Crucifixus etiam pro nobis: sub Pontio Pilato passus et sepultus est.

Et resurrexit tertia die secundum scripturas. Et ascendit in caelum: sedet ad dexteram Patris.

Et iterum venturus est cum gloria iudicare vivos et mortuos: cuius regni non erit finis. Et in Spiritum Sanctum Dominum, et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum. Et vitam venturi saeculi. Amen.

I believe in one God, the Father, the almighty maker of heaven and earth, of all that is seen and unseen. I believe in one Lord, Jesus Christ, the only begotten Son of God. Eternally begotten of the Father. God from God, light from light, true God from true God. Begotten not made, of one being with the Father: through him all things were made. For us men and for our salvation, he came down from heaven. By the power of the Holy Spirit he became incarnate of the virgin Mary: And was made man. For our sake he was crucified: under Pontius Pilate he suffered death and was buried.

On the third day he rose again in accordance with the scriptures. He ascended into heaven: and is seated at the right hand of the Father.

He shall come again in glory to judge the living and the dead: and his kingdom shall have no end. I believe in the Holy Spirit, the Lord, the giver of life: who proceeds from the Father and the Son. With the Father and the Son he is worshipped and glorified; he has spoken through the Prophets. I believe in one holy, catholic and apostolic Church. I acknowledge one baptism for the forgiveness of sins. And I look for the resurrection of the dead. And the life of the world to come. Amen.

[14-15] Job tonso capite

Job tonso capite corruens in terram adoravit et dixit: nudus egressus sum de utero matris meae et nudus revertar illuc.

Dominus dedit, Dominus abstulit; sicut Domino placuit, ita factum est. Sit nomen Domini benedictum ex hoc nunc et usque in saeculum.

Job, his head shaven, fell upon the ground, and worshipped, and said, Naked I came from my mother’s womb, and naked shall I return.

The Lord gave, and the Lord has taken away; as it pleased the Lord, so was it done. Blessed be the name of the Lord from now and for ever

[16-17] – Sanctus

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Osanna in excelsis.

Holy, holy, holy, Lord, God of power and might. Heaven and earth are full of your glory. Hosanna in the highest.

[18-19] – Benedictus

Benedictus qui venit in nomine Domini. Osanna in excelsis.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

[20-21] Veni electa mea

Veni electa mea, veni formosa mea, veni columba mea, et ponam in te thronum meum, quia concupivit rex speciem tuam, alleluia.

Audi filia et vide, et inclina aurem tuam, quia concupivit rex speciem tuam, alleluia.

Come, my chosen one, come, my beautiful one, come my dove, and I will place thee on my throne, for the king desires thy beauty, alleluia.

Hear, O daughter, and see, and incline thine ear, for the king desires thy beauty, alleluia.

[22-23] – Agnus Dei

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, you take away the sins of the world, have mercy on us.

Lamb of God, you take away the sins of the world, grant us peace.

[24-25] Pascha nostrum

Pascha nostrum immolatus est Christus, alleluia: itaque epulemur in azymis sinceritatis et veritatis, alleluia.

Haec est dies quam fecit Dominus: exultemus et laetemur in ea, alleluia.

Christ our Passover is sacrificed for us, alleluia: therefore let us keep the feast with the unleavened bread of sincerity and truth, alleluia.

This is the day which the Lord hath made: let us rejoice and be glad in it, alleluia.

[26] Carole, magnus eras

Carole, magnus eras, cum solus regna tenebas, major ab imperio, maximus a puero. rex multos, Caesar plures ditione tenebas.

Nunc omnes nato tu regis a puero. Roma tua est, Europa tua est, Asia Africa tota. Quid plus? Plus ultra non potes. Omnia habes.

Charles, you were mighty, when you were only a king, mightier as emperor, mightiest through your son. as king you ruled much, and more as emperor.

Now you rule all through the hand of your son. Rome is yours, Europe is yours, Asia and all of Africa. What more? More you cannot: you have everything.

Reviews

‘The Brabant Ensemble is characterized by immaculate intonation and lapidary
vocal brilliance. Its sopranos have that ringing, boy-like clarity which seems to have gone out of favour lately with some English vocal ensembles. To single out but one highlight, the quiet, searing intensity they bring to the masterly Job tonso capite is achieved without recourse either to false madrigalism or anachronistic emotionalism. This is an outstanding recording and, for me, clearly the disc of the month.’
International Record Review October 2004 (Andrew O’Connor)

‘Clemens’s beautifully crafted and mellifluous polyphony, nicely spiced with tellingly placed chromaticisms, is immediately appealing. The Brabant Ensemble generally does it full justice, with its clear, steady tone: the bell-like soprano sound is particularly attractive. The group also gives the music a natural sense of flow, especially in slow and expressive items such as the desolate motet Job tonso capite …a most promising debut CD, suggesting the Brabant Ensemble could have a bright future – especially if, in its enterprising choice of repertoire, it is starting as it means to go on.’
The Daily Telegraph 9 October 2004 (Elizabeth Roche)

‘They make a glorious sound which may be very English, for want of a better word, but which I found irresistible – Clemens’s mellifluous lines rise and fall beautifully, no one part taking precedence over the others, and all with an ethereal feeling.if you are unfamiliar with this repertoire, do buy this; it will change your life. Those of you who are, don’t miss this wonderful debut recording’.
Early Music Review October 2004 (Brian Clark)

‘The individual movements of the Mass are nicely contrasted with, for example, robust duetting in the ‘Et resurrexit’, and a touchingly reflective Agnus Dei. The motets, too, have moments to cherish (‘Accesserunt’ brings out the best in the singers)’. Performance **** Sound **** (maximum 5*).
BBC Music Magazine November 2004 (Anthony Pryer)

‘Clemens non Papa was one of the great composers of his time and the Missa Ecce quam bonum, based on Clemens’s motet of the same name, is a beautiful piece, which offers, together with a number of similarly polyphonic motets, a rich and resonant sample of his oeuvre. The singers of the a cappella Brabant Ensemble offer a sound that is both flawless and characterful.’
De Volkskrant (Dutch national daily newspaper), 10 February 2005 (Frits van der Waa, tr. Barbara Titus)

‘Their performance is characterised by a clear, steady tone, perfectly suited to the dense polyphony of Clemens non Papa. Rice and his singers have an innate understanding of the flow of the different motivic lines, shaping each successive melodic arch into the foreground.
This recording is a marvellous debut and the group’s stylistic direction is well matched to their choice of repertoire. As this style crystallises further, the Brabant Ensemble can be sure of a successful future.’
Early Music Today, June/July 2005 (James Radford)

‘The Brabant Ensemble has a lovely clear sound.they display fine musicianship with a good feel for the music of the period. All their performances on the disc are of a high quality and the singers have a good feel for the shape and line of the music.’
Musicweb (www.musicweb.uk.net/classrev/2004/Oct04/Clemens_non_papa.htm) (Robert Hugill)

Performers