gothic voices - jerusalem - visions of peace.pdf

8/12/2019 Gothic Voices - Jerusalem - Visions of Peace.pdf

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THE NAME JERUSALEM means vision of peace, or so medieval writers believed. Theirlonging for that peace was directed towards both Jerusalem in Palestine and to theheavenly Jerusalem, where God shall wipe away all tears. Devotion to the Holy Cityfound its keenest expression in acts of pilgrimage, and the most momentous pilgrimages were the

armed expeditions, undertaken at papal behest, which we have come to call (in accordance withlater medieval usage) the crusades. Prophecies from Christian lands predicted that there wouldbe universal peace and harmony after a successful crusade to Jerusalem, with the Ishmaelites(that is, the Saracens) conquered and all people living in harmony. This was a vision of peaceindeed.

This recording assembles songs and plainchants that may be connected in various ways with the

crusades of the classic period, roughly 1180-1240. The polyphonic and French-texted itemsprobably originated in the heartland of the crusading enterprise, northern France, during thosedecades.Luget Rachel iterum (trackbp ) probably laments the loss of Jerusalem to Saladin in1187, but could have been composed at any time in the five decades after that event. Chanterai

pour mon coraige7 , with its insistent reminder that a crusader is technically a pilgrim (plerin),evokes the human cost of crusading from the womans point of view; so doesJerusalem! grantdamage me fais 2 , a poem surviving without music but performed here with a melody newly

composed in the thirteenth-century High Style so that this striking poem may not languish insilence for ever.Jerusalem se plaint et li paisbojoins the chorus of voices claiming that theclergy are misappropriating crusading funds and that crusaders who renounce their vows to takethe Cross are damnable. Passionate criticism of the clergy is often to be found in medievalwritings designed to urge Westerners to a new crusading venture.

Some items express forms of devotion, especially devotion to the Virgin, which gave a sheen tomuch crusading enterprise.Hac in die Gedeonis 6 is an example;Jerusalem accipitur3 is

another and may be connected with one of the military orders active in the Holy Land. The four-part motetIn salvatoris nomine/Ce fu en tres douz tens/In veritate/VERITATEM8 , a piece withthe kind of dissonant and tangled texture so characteristic of the four-part Ars Antiqua motet,combines a poem of Marian devotion, a love song and biting criticism of the clergy. The three-voice conductus Luto carens et latere1 , with its unusual rondeau-like form, recalls thecomparisons made by contemporary chroniclers between the crusaders, travelling through hostileterritory, and the Israelites passing safely over the Red Sea.

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The importance of anti-Semitism in the crusading spirit and indeed in devotion to the Virgin is reflected in three conducti, O levis aurula! 5 , Veri vitis germinebn and Congaudet hodiecelestis curia br. The first seems to be a dialogue between Christ and the Jews an unusual ployin the repertoire of medieval texts set to music while Veri vitis germine and Congaudet hodie

express the anger and contempt bred in Christians by the Jews denial of Christ. The antiphonInvocantes Dominumbq (including the PsalmDeus, qui venerunt) is specified by an early SarumMissal as a processional antiphon for Rogationtide in time of war. Such chants help to explainwhy very few specifically crusading plainsongs were ever composed for use in the Latin liturgy.The texts already available in Missal and Antiphoner were copious and suggestive, deeplyexpressive of joy and despair; these texts, the changing moods of the liturgical year, and thewealth of variation in ceremonial provided Latin Christians with a means to express and magnify

any fortune or misfortune, the triumphs and losses of the crusades among them.The Te Deum4 belongs here as the chant repeatedly associated in crusading chronicles withcelebration and thanksgiving for victories, miraculous cures, successful elections to theepiscopacy, and so on. A special place is occupied by the Gradual and Alleluia for Easter Day,

Hec dies quam fecit Dominus9 and Pascha nostrum bl , familiar chants from the Roman ritewhich are edited here after the versions in a Sacramentary produced in the workshop of the Holy

Sepulchre in Jerusalem, probably between 1128 and 1130. This is the music of the colonizingRoman Church, exported from what had long been the heartland of the Roman obedience,northern France, to the new Latin kingdom of Jerusalem, established in 1099.

1 Luto carens et latere

According to the thirteenth-century chronicler William of Armorica, the Lord has the power tofree the Holy Land from the hands of the infidels since he had the power to lift up the sons ofIsrael from the stones. This was a fundamental conviction of crusading, chroniclers sometimescomparing the Christian armies on the move to the Israelites journeying from Egypt and passingover the Red Sea.1 This three-voice conductus is written in a dance form, closely akin to themusico-poetic forms of the Old French rondets de carole and perhaps an allusion to the dance ofMiriam and her sisters after the Red Sea crossing in Exodus 15:20: And Miriam the prophetess,the sister of Aaron, took a timbrel in her hand; and all the women went out after her withtimbrels and with dances. Like William of Armorica, the poet alludes to the enforced manuallabour of the Israelites in captivity with mud and brick.

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1 J Riley-Smith, The First Crusade and the Idea of Crusading (London, 1986) p.92


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Luto carens et latere Free from mud and brick[EXODUS 5:7-19]Transit Hebreus libere the Hebrew freely passes over,Novo novus caractere. a new man marked with a new sign.In sicco, mente munda, On dry foot, with a pure mind,

Transit Hebreus libere, the Hebrew freely crosses,Baptismi mundus unda. cleansed by the water of baptism. [EXODUS 14]

Sortis tributum misere As for dues of his wretched lot,Transit Hebreus libere the Hebrew freely passes over [them],Culpe recluso carcere. the prison of sin being closed.In sicco On dry foot

Mare dum videt cedere As he watches the sea yieldTransit Hebreus libere, the Hebrew freely passes over,Mergens sequentes temere. drowning those who follow blindly.In sicco On dry foot

Agnus occisus vespere The lamb slain in the evening [EXODUS 12:6]Transit Hebreus libere the Hebrew freely passes over Culpe solvit ab onere. releases from the burden of sin.In sicco On dry foot

Joseph cisterna claudere The pit cannot imprison Joseph [GENESIS 37:22]

Transit Hebreus libere the Hebrew freely passes over,Christum nequit Mors premere. nor death conquer Christ.In sicco On dry foot

Ergo sepulto scelere Therefore, with all wickedness buriedTransit Hebreus libere the Hebrew freely passes over Christum sequamur opere. let us follow Christ in our works.In sicco On dry foot

Ut cum Christo resurgere That he may grant us to rise with ChristTransit Hebreus libere. the Hebrew freely passes over,Prestet ad sedem dextere! to stand at [the Fathers] right hand.In sicco On dry foot

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2 Jerusalem! grant damage me fais

In this song the longing for Jerusalem becomes a wounded disdain for the Holy City, expressedby a woman whose lover has embarked for a crusade. To save this remarkable poem fromsilence it has survived without the music it was clearly intended to have the editor hascomposed a setting in the style of a grand chant. The attribution in the unique source to thetrouvre Gautier dEpinal (died c1271) has been generally rejected.

Jerusalem! grant damage me fais Jerusalem! you do me great harm,Qui mas tolu ce que je pluz amoie. for you have robbed me of what I loved most.Sachiez de voir ne vous amerai maiz, Know for sure that I will never love you more,Quar cest la rienz dont jai pluz male joie; for he is the creature who gives me most painful joy;Et bien sovent en souspir et pantais very often I sigh and gasp because of the pain

Si qua bien pou que vers Deu ne mirais, so that I almost become angry with GodQui ma ost de grant joie ou jestoie. who has robbed me of my previous joyful state.

Biauz dous amis, com porroiz endurer Fair sweet friend, how could you endureLa grant painne por moi en mer salee, the great pain you feel for me as you cross the salt sea,Quant rienz qui soit ne porroit deviser since there is nobody who can expressLa grant dolor qui mest el cuer entree? the great pain which has entered my heart?Quant me remembre del douz viaire cler When I recall that sweet and radiant faceQue je soloie baisier et acoler, that I used to kiss and embrace,Grant merveille est que je ne sui dervee. it is a great wonder that I do not go mad.

Si mat Dex, ne puis pas eschaper; So help me God, I cannot escape;Morir mestuet: teus est ma destinee. I must die: that is my fate.Si sai de voir que qui muert por amer I know it to be true that whoever dies for loveTrusques a Deu na pas cune jornee. goes straight to heaven.Lasse! mieuz vueil en tel jornee entrer Alas! I would embark upon the journeyQue je puisse mon douz ami trover so that I might find my beloved

Que je ne vueill ci remaindre esguaree. rather than remain here abandoned.3 Jerusalem accipitur

Jerusalem accipiturcontains several phrases which seem to glimmer with crusading meanings.Note especially the reference to Mary doing combat (Mary, while you do battle ). This is notunparalleled, for milito is the verb often used in Christian Latin to denote the life of the devout inthis present world and the good works which accompany it, but the phrase is intriguingnonetheless. Most of the military religious orders chose Mary as one of their patrons, and she isthe titular patron of the Teutonic Knights (whose full name is The Brothers of the Hospital ofSt Mary of the Germans in Jerusalem). This poem might therefore have some connection with

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one of the crusading orders, and it may even be that the temporal hall mentioned in the thirdverse refers not only to the Church Militant but to some specific religious foundation, for manyof the chapels and churches of the Templars, for example, were dedicated to the Virgin. The lastverse refers to the usual position of Jerusalem in medieval maps, placed in the centre of the earth

in accordance with Psalm 74:12 (Authorized Version numbering): For God is my King of old,working salvation in the midst of the earth. Following a long tradition, the poet explores thefourfold interpretation of Jerusalem, both as a place (on earth and in heaven) and as a name,meaning vision of peace. With a show of learning not rare in conductus texts, he uses theconventional scheme of the four senses of Scripture (also employed in exactly this context byJohn Cassian): the historical sense (the plain sense of the words); the tropological sense(referring to the state and progress of the soul); the allegorical sense (relating to the deeds of

Christ); and the anagogical sense (referring to the last things). Each of the four interpretations ofJerusalem is related to Mary, again in a systematic way: Mary as city; as a faithful soul; asinitiator of the Church Militant, that is to say the Church on earth until the Last Judgement; andas queen of the Church Triumphant, namely the Church in Heaven.

Jerusalem accipitur Amongst us, JerusalemApud nos quadrifariam, is construed in a fourfold manner,Nam secundum historiam for according to the historical sense

Pro civitate ponitur; the name means a city;Secundum sensum tropicum according to the tropological sense,Est anima fidelis; it is the faithful soul;Secundum allegoricum according to the allegorical sense,Istam signat ecclesiam; it signifies the church on earth;Secundum anagogicum according to the anagogical senseIllam que est in celis. it signifies the church in heaven.

Maria, tu Jerusalem, Mary, you are Jerusalem,Quia tu sancti civitas, because you are the city of the holy one,Maria, cujus anima Mary, whose soul,Sponsas inter pulcherrima most beautiful among brides,Se non ignorat talem. knows itself to be such.

Maria, que dum militas, Mary, while you do battle,Tua fundat humilitas your lowliness foundsHanc aulam temporalem, this temporal hall [the Church Militant],

Et apud triumphalem and in the heavenly hall [the Church Triumphant]Ut culmen superemines, you tower like a roof,

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Transcendens omnes ordines, surpassing all others,Nusquam habens equalem. having no peer.

Maria, pacis visio, Mary, you are the vision of peace,Nam pacem veram vidimus for we have seen true peace

In sue terre medio in the middle of her landQuam fundavit altissimus, which the Highest has founded,In cujus pacis nomine in the name of whose peaceBenedicamus domine. let us bless Our Lady.

4 Te Deum

The Te Deum, with its intoxicating, repetitive melody and ecstatic accumulation of praise, is thegreat celebratory Hymn of the medieval Latin church, often mentioned in chronicles of the

crusades. These sources frequently refer to the ringing of bells during the Te Deum, a manner ofperformance which, in the crusader kingdom established in 1099, was not just a continuance of aperformance practice often associated with sequences on the most festive days, but was also anassertion of Latin Christian identity, powerfully invested in the bell. As Latin chroniclers oftenremark, the Orthodox Church and the religion of Islam do not use metal bells.

Te Deum laudamus; te Dominum confitemur. We praise you, God; we acknowledge you as Lord.Te eternum Patrem omnis terra veneratur. All the earth worships you as eternal father.Tibi omnes angeli, tibi celi et universe potestates, All the angels, the heavens and all the powers,Tibi cherubin et seraphin cherubim and seraphim,

incessabili voce proclamant: call to you with unceasing voice:Sanctus, sanctus, sanctus, Dominus Deus sabaoth; Holy, holy, holy, lord God of hosts;Pleni sunt celi et terra majestatis glorie tue. heaven and earth are full of the majesty of your glory.Te gloriosus apostolorum chorus, The glorious choir of apostles,Te prophetarum laudabilis numerus, the company of prophets worthy of praiseTe martirum candidatus laudat exercitus. and the radiant phalanx of martyrs praise you.Te per orbem terrarum sancta confitetur ecclesia, The holy church acknowledges you throughout the world,Patrem immense majestatis, Father of immense majesty,Venerandum tuum verum et unicum Filium, so too your true and only Son who is to be honoured,Sanctum quoque Paraclitum Spiritum. so too the Holy Spirit.Tu rex glorie Christe; You, O Christ, are the king of Glory;

tu Patris sempiternus es Filius. you are the eternal Son of the Father.Tu ad liberandum suscepturus hominem When about to free mankind

non horruisti virginis uterum. you did not disdain the virgins womb.Tu devicto mortis aculeo You, having overcome the sting of death,

aperuisti credentibus regna celorum. opened the kingdom of heaven to the faithful.

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Tu ad dexteram Dei sedes You sit at the right hand of the Godin gloria Patris. in the glory of the Father.

Judex crederis esse venturus; You are believed to be the judge to come;Te ergo quesumus tuis famulis subveni, therefore, we beseech you to help your dependents

quos precioso sanguine redemisti. whom you have redeemed with precious blood.Eterna fac cum sanctis tuis Let them be numbered with eternal glorygloria numerari. among your saints.

Salvum fac populum tuum Domine, O Lord, save your people,et benedic hereditati tue and bless your inheritance,

Et rege eos et extolle illos usque in eternum. govern them and raise them up for eternity.Per singulos dies benedicimus te, Every day we bless you,Et laudamus nomen tuum and praise your name

in seculum et in seculum seculi. world without end.Dignare Domine die isto; O lord, honour this day;sine peccato nos custodire. keep us protected without sin.

Miserere nostri Domine; miserere nostri. Have mercy upon us, O Lord, have mercy.Fiat misericordia tua Domine super nos Let your mercy, O Lord, be upon us

quemadmodum speravimus in te. as we have trusted you to do.In te Domine speravi; I have put my hope in you O Lord;

non confundar in eternum. may I not be damned for eternity.

5 O levis aurula!

The rise of anti-Semitism in Latin Christendom appears to be directly involved with thecrusading movement, especially the First Crusade, preached by Urban II at Clermont in 1095.Christian soldiers, passing through the Rhineland on the way south, were inclined to regard theJews in the cities they encountered as enemies of Christ comparable to the Saracens. Why travelseveral thousand miles to combat the enemies of the Messiah, they argued, and ignore hiscrucifiers when they were to be found en route? Such confounding of Jews and Saracens was notrare. It causes no great surprise, for example, to find a medieval Welsh chronicle declaring that,in 1188 [sic], the Saracens and the Jews came to Jerusalem [and] took possession of theCross ; the reference is to Saladins capture of Jerusalem from the Christians in 1187. Anti-Semitism is often expressed in the Latin texts of the conductus repertoire in the form ofapostrophes to wretched or cruel Judea. Veri vitis germinebn includes a notable example. Inthe eyes of Christian clergy, especially the most learned, the obduracy of cruel Judea wasdeeply disturbing, for the Jewish renunciation of Christ was not some provincial or passingheresy; it was rooted in traditions of thought and scholarship already some two millennia old,nurtured throughout Europe by rabbis who were in a better position than most Latin Christians to

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know how the books of the Old Testament should be construed according to the literal sense ofthe Hebrew. O levis aurula! is an unusual expression of Christian contempt, for it seems topresent a dialogue between Christ and the Jews (or so it is interpreted here). Veri vitis germineand Congaudet hodiebr sharpen the Christian call to the Jews by placing it in the context of

Christs nativity, the moment when the Old Law is fulfilled and the New Law comes to replaceit. Anti-Semitism is a vital thread in the civilization of the later Middle Ages, and committedperformance of unexpurgated texts is one way to remind and warn modern audiences that thiswas so. If audiences gain aesthetic pleasure from such performances, so much more keen thereminder and so much more potent the warning.

The Jews say:O levis aurula! O fleeting breath of wind!Cur credula WhyVidebaris primitus? did you seem so credible at first?Quis vel qualis What course of fate and what kind, and why Et cur exit exitus? is proceeding?Imprimi sedula, Keen to be pierced,Cur vincula why is swift deathVelox fert interitus? bearing chains?Mors extrema It is the extremity of death,Quia mortis anelitus. for it is the last breath.

Christ replies:Gens nimis aspera! O people, too harsh!Considera ConsiderQuod annector nexibus, that I am bound with thongs,Sic in vestris and thus at your handsCogor mori manibus. I am compelled to die.

Per te florigera So far as you are concerned,Sint prospera good fortune may flowerPro malorum mentibus according to the notions of the wickedEt om[i]ne and for thoseMalum malo fruentibus. enjoying evil with ill omen.

6 Hac in die Gedeonis

The crusades in the Mediterranean were not the only armed pilgrimages of Western knights.

During the long process of extending the boundaries of Latin Christendom into the East, Livonia(something like the modern republics of Latvia and Estonia) was claimed as Marys Land by

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those involved in the struggle, as opposed to Christs Land (that is to say Jerusalem and theTerre sainte). The purpose of the name Marys Land was to draw funds and manpower towardsa project which, for the Papacy as for many Western magnates, did not possess quite the sameurgency or spiritual numen as the crusades in the East, but the term Marys Land may also

serve to illustrate the importance which the cult of Mary could assume in all crusadingenterprise. The Marian devotion of two major military orders, the Templars and the TeutonicKnights, has already been mentioned (see note onJerusalem accipitur). The Virgin is reported tohave appeared three times during the First Crusade. As Riley-Smith remarks: Our Lady wasbeginning her association with crusades and with violence, which was to be a particularcharacteristic of devotion to her in the central Middle Ages. 2 This included violence againstJews, for the histories of medieval anti-Semitism and of Marys cult show some distressing

points of convergence. Gideons fleece, which was moistened with dew when all the surroundingground was dry, was interpreted during the Middle Ages as a prefiguration of the Virginmoistened by celestial dew, that is to say impregnated by divine agency (Judges 6:37-8).

Hac in die Gedeonis On this day of Gideon,Ros mundi novit aditus, the dew of the world found a point of entry,Per quem princeps Babilonis through which the prince of BabylonFit Babiloni subditus. is made a slave in Babylon.

Verbum caro, Deus homo The word becomes flesh, God becomes a man,Creans fit creatum, the creator becomes a created thingQuod in virginali domo because He assumed human formFuit humanatum. in a virginal dwelling place.

Germinavit radix Jesse The root of Jesse floweredUt humanum Deus esse so that God might delimit Himself in human form,Terminaret per necesse as was very necessary;

Qui cum suis suus esse He wished to be as one of HisVoluit. among His own.

7 GUIOT DE DIJON Chanterai pour mon coraige

With its candid references to loss and sexual longing, this poem is a reminder of the human costof crusading. There were emotional ties to be broken, perhaps for ever, both to loved ones and toinherited ancestral lands; there were expiatory donations to be made to local religious houses forthe securing of Masses and prayers; resources had to be mustered, at great expense, for long-

distance travel on a war footing. A crusade was not a project to be joined by impoverished

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2 The First Crusade pp.103-4


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from The Mass of Easter Day in the Church of the Holy Sepulchrein the Crusader Kingdom of Jerusalem, c1130

The Gradual and Alleluia for Easter Dayaccording to a Sacramentary from the Holy Sepulchre, and the Gospel

The supposed sites of Christs crucifixion and resurrection were both contained under the roof ofthe Holy Sepulchre in Jerusalem, and therefore the Easter Day liturgy must have possessed anextraordinary power for the Franks, both clergy and congregation alike, when they experienced itwithin those walls (see notes on the Gospel). The leaves of the Sacramentary from the workshopof the Holy Sepulchre, now in Cambridge, employ delicate northern French neumes on stavesruled in red (Cambridge, Fitzwilliam Museum, MS McClean 49). The leaves have been dated to1128-30 by Jaroslav Folda (The Art of the Crusaders in the Holy Land, 1098-1187(Cambridge,

1995), pp.100-105, with illustrations).9 Gradual

Hec dies quam fecit Dominus, This is the day which the Lord hath made;exultemus et letemur in ea. we will rejoice and be glad in it.Confitemini Domino quoniam bonus O give thanks unto the Lord; for he is good:quoniam in seculum misericordia ejus. for his mercy endureth for ever.

PSALM 118:24; PSALM 118:29bl Alleluia

Alleluia. Alleluia. Alleluia. Alleluia.Pascha nostrum immolatus est Christus. Christ our passover has been sacrificed for us.Alleluia. Alleluia.Epulemur in azimis Let us keep the feast with the unleavened breadsinceritatis et veritatis. of sincerity and truth.Alleluia. Alleluia.

I CORINTHIANS 5:7-8

bm Gospel

Under the year 1229 the continuator of William of Tyres chronicle mentions certain details ofthe Easter Day liturgy as it was celebrated in the Church of the Holy Sepulchre in Jerusalem,served by a staff of canons.3 The deacon sang the Gospel from a marble lectern, called LeCompas, placed in the middle of the choir. When he reached the word crucifixum, he turned

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3Recueil des Historiens des Croisades, Historiens Occidentaux, ii (Paris, 1859; R 1967), p.495


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towards Calvary, whose supposed site lay to the right of the high altar as viewed from the choir;at surrexit, non est hic (he is risen, he is not here) the deacon turned and pointed with hisfinger to the Sepulchre, placed at the opposite end of the church from the high altar. All overLatin Christendom in the Easter Day liturgy some use was made of an appointed place in the

church called the sepulchre, together with quasi- or fully-dramatic stagings of the visit to thetomb. In the Holy Sepulchre in Jerusalem these stagings and gestures were distilled to aquintessence a simple turn of the head and a pointing with the hand as if the actual sites ofChrists Passion nearby overwhelmed any more theatrical response.

Sequencia sancti Evangelii secundum Marcum. The Gospel according to Mark.Gloria tibi Domine. Glory be to thee O Lord.

In illo tempore: At that timeMaria Magdalene et Maria Jacobi Mary Magdalene, and Mary the Mother of James,et Salome emerunt aromata, and Salome, had bought sweet spicesut venientes ungerent Jesum. that they might come and annoint Jesus.Et valde mane una sabbatorum And very early in the morning the first day of the week,veniunt ad monumentum, orto jam sole. they came to the sepulchre at the rising of the sun.Et dicebant ad invicem: And they said unto themselves:Quis revolvet nobis lapidem Who shall roll us away the stoneab ostio monumenti? from the door of the sepulchre?Et respicientes And when they looked,viderunt revolutum lapidem. they saw that the stone was rolled away:Erat quippe magnus valde. for it was very great.Et introeuntes in monumentum And entering into the sepulchreviderunt juvenem sedentem in dextris, they saw a young man sitting on the right side,coopertum stola candida, clothed in a long white garment;et obstupuerunt. and they were affrighted.

Qui dixit illis: Nolite expavescere: And he saith unto them: Be not affrighted;Jesum queritis Nazarenum, crucifixum; Ye seek Jesus of Nazareth, which was crucified:surrexit, non est hic; he is risen, he is not here;ecce locus ubi posuerunt eum. behold the place where they laid him.Sed ite, dicite discipulis ejus, But go your way, tell his discipleset Petro, quia precedit vos in Galileam: and Peter that he goeth before you into Galille:ibi eum videbitis, sicut dixit vobis. there ye shall see him as he said unto you.

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bn Veri vitis germine

For commentary see O levis aurula! on page 8.

Veri vitis germine The vine buds with the budPlantatoris germinat. of the true planter. [JOHN 15:1]Verus, orto lumine, The light having risen, the trueNoctem sol exterminat sun banishes nightDum, nato de virgine when the Supreme FathersSummi patris numine, godhead having been bornCriminis ab homine of a virgin lifts the yokeJugum rex eliminat. of sin from mankind.

Judea, revertere Judea, return

Crucis ad signaculum, to the sign of the Cross,Aut jam patens rumpere or, lying open [to our attack] be broken now,Recolens oraculum recalling the prophecy,Nam quod umbra littere for what the shadow of the letterRenuit detegere refused to disclose,Virginis sub ubere beneath the Virgins breastRex signat ad oculum. the King signifies to the eye.

O salubris unio! O saving unity!

Mira nupte novitas! O wondrous novelty of a bride!Matris puerperio The child-bearing of a motherRespirat integritas. is redolent with chastity.Que sit hec conceptio Let there be no disputeNulla fiat questio; as to what this conception is; 4

Quod nescit discretio let faith compensateRedimat fidelitas. for what reason cannot discern.

bo HUON DE ST QUENTIN Jerusalem se plaint et li paisCrusade sermons, both in market place and church (see the third verse below) promisedindulgence to crusaders, the pardon of line 25 below, and usually summoned potential crusadersto take pity on the plight of Christians compelled to live in lands controlled by Moslems, as inthis song. Biting criticism of certain sections of the clergy was another commonplace of suchpreaching. In 1215 the papal legate Robert Courson called for a crusade in France, as he hadbeen licensed to do, saying foul things about the clergy and misrepresenting their way of life to

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4 I am grateful to Dr Leofranc Holford-Strevens for the suggestion that these lines may refer to the contentiousdoctrine of the Immaculate Conception.


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the people. His criticisms were so severe that the French King, Philip Augustus, and the Frenchclergy complained to the Holy See. Coursons theme was no doubt that Christendom could notexpect God to bless a crusading enterprise unless the clergy were free from all contamination ofsin. Whatever the objections to his charges may have been, this argument was universally

accepted throughout the crusading period. The wealth and financial dealings of the higher clergyattracted frequent comment; many observed that money could be raised for crusading byreducing the superfluous wealth of churches, by reducing the number of canons in the wealthierchapters and by turning the value of their prebends over to crusading ventures. There werefrequent charges of misappropriation of funds. The claim that the clergy have played Ganelon toGods Roland, refers to the supreme traitor of medieval French literature (see the Song of

Roland).

Jerusalem se plaint et li pas Jerusalem, and the landU Dameldiex souffri mort doucement where God meekly suffered death, complainQue dea mer a poi de ses amis that on this side of the sea He has few friendsKi de son cors li facent mais nent. who do anything further to help His [sacred] person.Sil sovenist cascun del jugement If each man were mindful of the Last JudgementEt del saint liu u il souffri torment and of the holy place where He suffered tormentQuant il pardon fist de sa mort Longis, when He pardoned Longinus for His death,Le descroisier fesissent mout envis, they would be very reluctant to relinquish the cross,Car ki pour Dieu prent le crois purement, for he who takes the cross with a pure motiveIl le renie au jor que il le rent denies it the moment he relinquishes itEt com Judas faura a paradis. and, like Judas, he will lose Paradise.

Nostre pastour gardent mal leur berbis Our shepherds guard their sheep badlyQuant pour deniers cascuns al leu les vent, when they sell each one to the wolf for money,Mais que pechis les a si tous souspris but sin has so taken hold of all of themKil ont mis Dieu en oubli pour largent. that they have forgotten God for silver.

Que devenront li riche garniment What will become of the luxurious goodsKil aquierent, asss vilainement, which they acquired, most wickedly, from theDes faus loiers kil ont des croisis pris? false levies which they took from the crusaders?[Saichis de voir kil en seront repris] Know well that they will be punished for it,Se loiauts et Di[e]us et fois ne ment. if loyalty, God and faith do not lie.Retolu ont et Achre et Belleent, They have taken back both Acre and Bethlehem,Ce que cascuns avoit a Di[e]u pramis. which each man had promised to God.

Ki osera jamais en nul sermon Who, henceforth, will dare to speak of GodDe Dieu parler em place nem moustier, in any sermon, whether in market place or church,Ne anoncier ne bien fait ne pardon or to proclaim any blessing or pardon,

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[Sil fait jamais sans don ou sans denier] [if he does nothing without a gift or without money]Chose qui puist nostre Signeur aidier to help Our Lord to conquer and regainA la terre conquerre et gaaignier the land where He paidU de son sanc paia no raenon? the ransom for us with His blood?Segneur prelat, ce nest ne bel ne bon My lord prelates, it is neither handsome behaviourQui son secors faites si detriier. nor virtuous so to retard the help due to Him.Vos avs fait, ce poet on tesmoignier, One can plainly see that you have madeDe Di[e]u Rolant et de vos Guenelon. God into Roland and yourselves into Ganelon.

En celui na mesure ne raison, There is no moderation and no sense in any manKi ce cognoist, sil na a vengier who knows this and does not help to avenge thoseCeuls ki pour Dieu sont dela em prison who, for the sake of God, are over there in prison,Et pour oster lor ames de dangier. and to bring their souls out of peril.

Puis con muert ci, on ne doit resoignier Since one must die here, we should not be concernedPaine, nanui, honte ne destorbier. about pain, frustration, shame or trouble;Pour Dieu est tout quant quon fait en son non, everything we do in Gods name is for Him.Ke en rendra cascun tel guerredon He will give each one such a rewardQue cuers dome nel poroit esprisier, as a mans heart cannot appreciate,Car paradis en ara de loier; for he will have paradise as a payment; never didNainc pour si peu not nus si riche don! anyone have such a noble gift in return for so little!

bp Luget Rachel iterum

The text of this two-voice conductus is almost certainly connected with the desire to liberateJerusalem or to stabilize Christian control there. By long tradition, Rachel and her sons wereinterpreted in the West as a prefiguration of the Roman church and the community of the faithful,her spiritual sons. The imagery of Rachel lamenting because she had (as yet) no sons (Genesis30:1-2) could therefore be used by Popes when, as head of the Roman Church, they addressedthe clergy and magnates of Latin Christendom in the hope of stirring their consciences and

energies afresh with the imagery of a childless and so forsaken Church. Such language figuresprominently in the bullRachel suum videns, issued by Gregory IX in 1234, a call to the French,and then to the clergy of all provinces, for a new impetus of action and conscience concerningthe fate of Jerusalem. The imagery of the deserted city in the following conductus, derived fromLamentations, is used in the monophonic conductus Crucifigat omnes which is incontrovertiblyassociated with some moment in the crusading fortunes of the West.

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Luget Rachel iterum Rachel weeps again,Cujus dampnat uterum whose want of sonsFiliorum orbitas. discredits the womb. [GENESIS 30:1-2]Lapso tabernaculo, The temple having fallen,Quondam plena populo the city which was formerly full of peopleSola sedet civitas. now stands forsaken. [LAMENTATIONS 1:1]

Languent Syon filie The daughters of Syon are sick,Cotidie every dayAffligentes animam mortifying the soulCum non sit qui faciat since there is none who meets the needsNec veniat of the Paschal victimAd paschalem victimam. nor who comes to Him.

bq Invocantes Dominum / Psalm: Deus, qui venerunt

An early Sarum Missal specifies the antiphonInvocantes Dominum, with the PsalmDeus, quivenerunt(Psalm 79 in the Authorized Version numbering), for Rogationtide processions in timeof war, and it is possible to imagine many occasions when these texts might have been employedwith reference to crusading fortunes. For example, in 1185 the Patriarch of Jerusalem came toEngland to seek military aid, offering King Henry II the crown of the Latin Kingdom ofJerusalem in return. Henry eventually declined this offer on 18 March. The situation in the LatinKingdom was now so serious that a procession in the three days of intercession, fasting andprayer before the Feast of the Ascension might have seemed timely, especially as memories ofthe Patriarchs visit some weeks earlier would still have been fresh in the minds of the Englishclergy. The texts ofInvocantes Dominum and of Psalm 79 seem both eloquent and precise whenread in such a context. Psalm 79 was often used in crusade preaching.

Invocantes Dominum exclamemus Calling upon the Lord we cry

ut respiciat populum suum conculcatum that he may look upon his people trodden downet dolentem ut protegat templum and desolate, so that he may protect the Templene ab impiis contaminetur set misereatur lest it be defiled by the ungodly. May he have mercynimis afflicte civitatis sue alleluya. upon his city that is too greatly afflicted, alleluya.

Deus venerunt gentes in hereditatem tuam, O God, the heathen are come into thy inheritance;Polluerunt templum sanctum tuum; thy holy temple have they defiled;Posuerunt Jerusalem in pomorum custodiam. they have laid Jerusalem on heaps.Posuerunt morticina servorum tuorum The dead bodies of thy servants have they given

escas volatilibus celi, to be meat unto the fowls of the heaven,carnes sanctorum tuorum bestiis terre. the flesh of thy saints unto the beasts of the earth.

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Effuderunt sanguinem eorum Their blood have they shedtanquam aquam in circuitu Jerusalem like water round about Jerusalem;et non erat qui sepeliret. and there was none to bury them.Facti sumus opprobrium vicinis nostris, We are become a reproach to our neighbours,Subsannatio et illusio his qui in circuitu nostro sunt. a scorn and a derision to them that are round about us.

Calling upon the LordUsquequo, Domine, irasceris in finem? How long, Lord? wilt thou be angry for ever?Accendetur velut ignis zelus tuus? Shall thy jealousy burn like fire?Effunde iram tuam in gentes Pour out they wrath upon the heathen

que te non noverunt, that have not known thee,Et in regna and upon the kingdoms

que nomen tuum non invocaverunt; that that have not called upon thy name.

Quia comederunt Jacob, For they have devoured Jacob,Et locum eius desolaverunt. and laid waste his dwelling place.Ne memineris iniquitatum nostrarum antiquarum; O remember not against us former iniquities:Cito anticipent nos misericordie tue, let thy tender mercies speedily prevent us:Quia pauperes facti sumus nimis. for we are brought very low.Adjuva nos, Deus, salutaris noster; Help us, O God, our salvation;Et propter gloriam nominis tui, Domine, libera nos, and for the glory of thy name, Lord, deliver us,Et propitius esto peccatis nostris, propter nomen tuum. and purge our sins, for thy names sake.

Gloria Patri et Filio, Glory be to the Father, to the Sonet Spiritui Sancto and to the Holy Spirit,sicut erat in principio et nunc et semper as it was in the beginning, is now and ever shall be,et in secula seculorum. Amen. world without end. Amen.

br Congaudet hodie celestis curia

For commentary see O levis aurula! on page 8.

Congaudet hodie celestis curia Today the court of heaven rejoicesQuod homo perditus erit in gloria because Man, who was lost, will be in gloryNato de virgine qui regit omnia. through one who rules all things, born of a virgin.

Natus ex utero Marie virginis, Born from the womb of the Virgin MaryFactus est particeps nostre propaginis he is made one of our stock;Deus est et homo et factor hominis. he is God and man and the creator of Man.

Miratur super hoc carnis humanitas, All humanity marvels at this,Quod, si descendere voluit deitas, for if the Godhead wished to descend

Non fuit meritum sed sola pietas. it was not for our deserts but for mercy alone.

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Exultans itaque corde in jubilo, Therefore, exulting with jubilant heartCausa leticie canentis termino, for a joyfulness felt to the singers limit,Benedicat chorus celorum Domino. the choir of the heavens blesses the Lord.

Rex est mirabilis sed spiritaliter He is the wondrous king but in a spiritual fashion,

Fateri cogimus quod non sit aliter we acknowledge that it could not be otherwise,Felices nimium qui tenent firmiter. we who, in an excess of joy, believe this wholeheartedly.

Judea sterili in tua littera Judea, doubting Christ and always wretched in yourQuam bene crederes et hec et alia barren, literal sense of the Scripture: you shouldDe Christo dubitans semper et misera. believe these and other things as much as possible.

Nos qui recolimus Dei potencias We who ponder the power of God,Qui vere credimus et hanc et alias who truly believe both this and other things,Ex dono gracie reddamus gracias. we give thanks for the gift of grace.

bs HILDEGARD OF BINGEN O Jerusalem

This sequence, one of Hildegards finest and most rhapsodic, is addressed to St Rupert, thepatron of Hildegards monastery on the Rupertsberg, but it wonderfully expresses the longing forthe city of Jerusalem, both on earth and in heaven, which animated the crusading movement.

O Jerusalem, aurea civitas, O Jerusalem, city of gold,ornata regis purpura; adorned with the purple of the king;o edificatio summe bonitatis O building of highest excellenceque es lux numquam obscurata. which is a light never darkened.

Tu enim es ornata Truly, you are resplendentin aurora et in calore solis. in the dawn and the heat of the sun.

O beata puericia O blessed boyhoodque rutilas in aurora, glimmering in the dawn,et o laudabilis adolescentia and, O wonderful time of youth,

que ardes in sole. aflame in the sun.Nam tu, o nobilis Ruperte, For you, O noble Rupert,in his sicut gemma fulsisti, shimmer in these like a jewel,unde non potes abscondi stultis hominibus whence you cannot be hidden to fools;sicut nec mons valli celatur. the valley cannot hide the mountain.

Fenestre tue Jerusalem Your windows, Jerusalem,cum topazio with topaz

et saphiro and sapphirespecialiter sunt decorate. are wondrously adorned.

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In quibus dum fulges, o Ruperte, As you blaze in the windows, O Rupert,non potes abscondi you are revealed even to thosetepidis moribus whose faith is lukewarm sicut nec mons valli just as the valley cannot hide the mountain coronatus rosis, liliis et purpura crowned with roses, lilies and purplein vera ostensione. in a true revelation.O tener flos campi, O soft flower of the grassland,et o dulcis viriditas pomi, O sweet greenness of the apple,et o sarcina sine medulla O garnered load without pith;que non flectit pectora in crimina. none stoop to evil from that weight.

O vas nobile quod non est pollutum, O sublime and unpolluted vessel,nec devoratum not drained

in saltatione antique spelunce in the dance of the old caveet quod non est maceratum and not runningin vulneribus antiqui perditoris. with sores inflicted by the ancient enemy.

In te symphonizat Spiritus Sanctus The Holy Spirit rings in youquia angelicis choris associaris, for you are numbered among the singers of heaven,et quoniam in filio Dei ornaris and because you are honoured in Christcum nullam maculam habes. since you have no stain.

Quod vas decorum tu es, What a pure vessel you are,O Ruperte, O Rupert,qui in puericia who, in your boyhoodet in adolescentia tua and in your youth,ad Deum anhelasti in timore Dei, sighed after God in fear of God,et in amplexione caritatis, and in the clasp of love,et in suavissimo odore bonorum operum. and in the sweetest odour of good works.

O Jerusalem, O Jerusalem,fundamentum tuum positum est your foundation is laidcum torrentibus lapidibus, with showering stones,quod est cum publicanis et peccatoribus which is with tax-gatherers and sinnersqui perdite oves errant, who were stray sheep,sed per filium Dei invente but found by the Son of Godad te cucurrerunt they ran to youet in te positi sunt. and were placed in you.

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Deinde muri tui fulminant The your walls blazevivis lapidibus, with living stones,qui per summum studium bone voluntatis who by the greatest zeal of good willquasi nubes in celo volaverunt. have flown like clouds in heaven.

Et ita turres tui, O Jerusalem, And so your towers, O Jerusalem,rutilant et candent per ruborem glow and gleam in the dawn-rednesset per candorem sanctorum, and in the incandescence of the saints,et per omnia ornamenta Dei and with all the treasures of Godque tibi non desunt, o Jerusalem. which you do not lack, O Jerusalem.

Unde vos, o ornati, Whence you, O adorned ones,et o coronati, O crowned ones,qui habitatis in Jerusalem, who dwell in Jerusalem,

et o tu, Ruperte, and you, O Rupert,qui es socius eorum in hac habitatione, who are their friend in that dwelling,succurite nobis famulantibus help us, servantset in exilio laborantibus. labouring in exile.

Notes and translations by CHRISTOPHER PAGE 1998

All of the music has been specially edited for this recording by Christopher Pageand is available from Antico Editions, PO Box 1, Moretonhampstead, Newton Abbot, Devon, TQ13 8UA

If you have enjoyed this recording perhaps you would like a catalogue listing the many others available on the Hyperionand Helios labels. If so, please write to Hyperion Records Ltd, PO Box 25, London SE9 1AX, England, or email us at

[email protected], and we will be pleased to post you one free of charge.The Hyperion catalogue can also be accessed on the Internet at http://www.hyperion-records.co.uk

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GOTHIC VOICES

Founded by Christopher Page in 1980, Gothic Voices is firmly established asone of the worlds leading medieval ensembles. The groups GramophoneAward-winning debut recording A feather on the breath of God Hymns andsequences by Abbess Hildegard of Bingen, made in 1981, is widely held to beone of the most successful records of pre-Classical music ever made.

Gothic Voices appears annually at Londons Wigmore Hall and regularly at

the South Bank Centre and at major festivals both in Britain and abroad.Following an acclaimed US debut in Berkeley, California, in 1992, GothicVoices has returned to the USA and Canada several times, giving concerts inNew York, Texas, California and Ecuador.

During recent seasons Gothic Voices has also appeared at Potsdam andSpitalfield Festivals, York and Flanders Early Music Festivals, and at VestfoldFestival in Norway; and has toured extensively in Germany and France.

Gothic Voices was also involved at the recent Homage to Gyrgy Ligeti inQueen Elizabeth Hall in London and the Thtre du Chtelet in Paris; duringthe 1998 season they focused particularly on programmes celebrating the ninehundredth anniversary of the birth of Abbess Hildegard of Bingen (1098-1179).

Gothic Voices has to date made nineteen recordings for Hyperion, resulting in

three Gramophone Awards and a steady stream of the highest praise from thecritics. Some of the most recent discs represent a new departure for the group,exploring the rich repertoire of the fifteenth-century Mass.

Future plans include tours of Britain, South America and Germany. There arealso plans to expand into repertoire from our own century, so much of whichhas its aesthetic roots in the music and culture of the middle ages.

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Jerusalem: Vision de paix

LE NOM JRUSALEM signifie vision de paix, du moins les auteurs mdivaux le

croyaient-ils. Leur aspiration cette paix visait Jrusalem, en Palestine, et la Jrusalemcleste, o Dieu essuiera toute larme. La dvotion envers la Cit sainte trouva sa plusintense

expression dans les actes de plerinage, dont les plus capitaux furent les expditions armes,entreprises sur ordre papal, et que nous avons fini par appeler croisades (selon lusagemdival ultrieur). Les prophties des terres chrtiennes prdisaient quune paix et uneharmonie universelles surviendraient aprs une croisade victorieuse Jrusalem, qui verrait lesIsmalites (i.e. les Sarrasins) conquis et tous les peuples vivre en harmonie une vritablevision de paix.

Le prsent enregistrement runit des chants et plains-chants pouvant tre diversement lis auxcroisades de la priode classique (ca1180-1240). Toutes nos pices polyphoniques et les chansonsdes trouvres eurent probablement pour origine la rgion alors au cur de lentreprise descroisades, la France septentrionale.Luget Rachel iterum (piste bp ) dplore vraisemblablement laperte de Jrusalem au profit de Saladin, en 1187, mais a pu tre compos dans les cinquanteannes qui suivirent cet vnement. Chanterai pour mon coraige 7 , qui rappelle avec insistance

quun crois est en principe un plerin, voque le cot humain des croisades du point de vue de lafemme; il en va de mme pourJerusalem! grant damage me fais 2 , qui nous est parvenu sansmusique mais est interprt ici avec une mlodie nouvellement compose dans le grand style duXIIIe sicle, de sorte que ce saisissant pome ne languisse pas en silence, tout jamais.Jerusalemse plaint et li pais bo se joint aux voix slevant pour affirmer que le clerg dtourne les fonds descroisades et que ceux qui renoncent leurs vux pour se croiser sont damnables. Les critiquespassionnes du clerg sont frquentes dans les crits mdivaux entendant exhorter les

Occidentaux une nouvelle entreprise de croisade.Certaines pices expriment des formes de dvotion, en particulier la Vierge, qui protgea moultcroisades. AinsiHac in die Gedeonis 6 etJerusalem accipitur3 qui peut tre rattache un desordres militaires actifs en Terre sainte. Le motet quatre partiesIn salvatoris nomine/Ce fu en tresdouz tens/In veritate/VERITATEM8 , dot de la texture dissonante et enchevtre si caractristiquedu motet de lArs Antiqua quatre parties, combine un pome de dvotion mariale un chantdamour et une critique acerbe du clerg. Le conductus trois voixLuto carens et latere 1 , avec

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son inhabituelle forme de type rondeau, rappelle les comparaisons effectues par les chroniqueurscontemporains entre les croiss, voyageant en territoire hostile, et les Isralites franchissant sansdommage la Mer rouge.

Limportance de lantismitisme dans lesprit des croisades et mme dans la dvotion laVierge transparat dans trois conducti, O levis aurula! 5 , Veri vitis germinebn et Congaudethodie celestis curia br. Le premier semble tre un dialogue entre le Christ et les Juifs unstratagme rare dans le rpertoire des textes mdivaux mis en musique , tandis que Veri vitisgermine et Congaudet hodie expriment la fureur et le mpris suscits chez les chrtiens par lereniement juif du Christ. LantienneInvocantes Dominumbq (incluant le psaumeDeus, quivenerunt) est dsigne par un missel ancien de Sarum comme une antienne processionnelle pourles rogations en temps de guerre. De tels chants expliquent en partie la trs faible quantit de

plains-chants spcifiquement de croisade composs pour tre utiliss dans la liturgie latine. Lestextes dj disponibles dans les missels et les antiphonaires, abondants et loquents, exprimaientprofondment la joie et le dsespoir; ces textes, les atmosphres changeantes de lanne liturgiqueet la profusion de variations dans le crmonial offraient aux chrtiens latins les moyens de dire etde magnifier tous les heurs et malheurs, tous les triomphes et pertes des croisades.

Le Te Deum 4 trouve ici sa place en tant que chant maintes fois associ, dans les chroniques de

croisades, aux clbrations et actions de grce pour les victoires, les gurisons miraculeuses, leslections heureuses lpiscopat, etc. Le graduel et lallluia pour le jour de Pques,Hec diesquam fecit Dominus 9 et Pascha nostrumbl dits ici daprs les versions dun sacramentaireproduit par latelier du Saint-Spulcre Jrusalem, probablement entre 1128 et 1130 , sont deuxuvres part, issues de la musique de lglise romaine colonisatrice, exporte de ce qui avaitlongtemps t le cur de lobdience romaine, la France septentrionale, vers le nouveau royaumelatin de Jrusalem, tabli en 1099.

* * *1 Selon le chroniqueur du XIIIe sicle Guillaume le Breton, le Seigneur a le pouvoir de librerla Terre sainte des mains des infidles car il eut le pouvoir de faire se lever les fils dIsral dentreles pierres une conviction fondamentale des croisades, et les chroniqueurs comparent parfoisles armes chrtiennes en marche aux Isralites partis dgypte et franchissant la Mer rouge.Lutocarens et latere, un conductus trois voix, est crit en forme de danse, troitement affilie auxformes musico-potiques des rondets de carole en ancien franais; peut-tre fait-il allusion la

danse de Myriam et de ses surs aprs la traverse de la Mer rouge (Exode 15:20): Et Myriam la

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militaires, les Templiers et les Chevaliers Teutoniques, a dj t voque en ces lignes (cf. notesurJerusalem accipitur). La Vierge serait apparue trois reprises lors de la premire croisade.Pour reprendre Riley-Smith: Notre-Dame commena son association avec les croisades et laviolence, association qui allait tre une caractristique dvotionnelle mariale particulire au milieu

du Moyen ge. Ce qui inclut la violence contre les Juifs, les histoires de lantismitismemdival et du culte marial prsentant quelques pnibles points de convergence.Hac in dieGedeonis a pour thme la toison de Gdon, qui fut humecte de rose quand toute la terrealentour tait sche ce qui fut interprt, au Moyen ge, comme une prfiguration de la Viergehumecte de la rose cleste, cest--dire imprgne par lentremise divine (Juges 6:37-8).

7 Avec ses rfrences candides la perte et au dsir sexuel, Chanterai pour mon coraige est unrappel du cot humain des croisades. Des liens motionnels devaient tre briss, peut-tre

jamais, avec les personnes aimes et les terres hrites des anctres; des dons expiatoires devaienttre faits aux monastres et couvents locaux pour obtenir lassurance de messes et de prires; desressources devaient tre runies, grand frais, pour de longs voyages sur le pied de guerre. Unecroisade tait une entreprise laquelle se joignaient non des opportunistes appauvris, en qute deterres et de butins, mais des chevaliers aiss, propritaires de maisons et ayant contract ou tantsur le point de contracter de prudents mariages. Cette chanson est remarquable, mais non sansprcdent, car elle voque la perte dun soupirant lors dune croisade; cependant, son auteur tait

presque certainement un homme. Chanterai pour mon coraige est soit anonyme dans les sources,soit attribue Guiot de Dijon, Guiot tant un diminutif de Gui. Le manuscrit C lattribue uneDame de Fayel, mais les attributions du chansonnier C sont souvent peu fiables, dautant que laDame de Fayel est un personnage de fiction du clbreRoman du Chastelain de Couci et laDame de Fayel.

8 In salvatoris/Ce fu en tres douz tens/In veritate/ VERITATEM, un motet quatre parties,chantes simultanment (lune delles, sine littera), pourrait tre ainsi paraphras: [Quadruplum].Au nom du sauveur, soyons zls en chantant les louanges de Marie. fleur de lys, protectrice despcheurs, implore ton fils de nous ter toute culpabilit. [Triplum]: En mai, jallai dans un vergeret vis une splendide jeune fille couter les oiseaux chanter. Puis, tous les oiseaux cessrent,sassirent en cercle autour delle, et le rossignol chanta: Demoiselle, je mourrai si je nobtienspas ton amour. [Motetus]: La vrit est inhume au cur du clerg; les matres sont bouffis deleur propre gloire; Dieu de vengeance, regarde cette iniquit ici-bas!

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9 bl Les sites prsums de la crucifixion et de la rsurrection du Christ reposaient sous le toit duSaint-Spulcre Jrusalem, aussi la liturgie pascale devait-elle receler une puissanceextraordinaire aux yeux du clerg et de la congrgation francs, quand tous lprouvaient en cesmurs (cf. la pice suivante, lvangile du jour de Pques). Les feuilles du sacramentaire de latelier

du Saint-Spulcre, dsormais Cambridge, recourent de dlicats neumes de la Franceseptentrionale, sur des portes tires en rouge (Cambridge, Fitzwilliam Museum, MS McClean49). Jaroslav Folda (The Art of the Crusaders in the Holy Land, 1098-1187[Cambridge, 1995],pp. 100-105, avec illustrations) date ces feuilles de 1128-1130.

bm En lan 1229, le continuateur de la chronique de Guillaume de Tyr mentionna certains dtailsde la liturgie pascale telle quelle tait clbre en lglise du Saint-Spulcre, Jrusalem, serviepar tout un groupe de chanoines. Le diacre chantait lvangile, pos sur un lutrin en marbre

(appel le Compas) plac au milieu du chur. Au mot crucifixum, il se tournait vers le calvaire,dont le site suppos se tenait droite du matre-autel, en regardant depuis le chur; aux motssurrexit, non est hic (il a ressuscit, il nest point ici), le diacre se tournait et pointait sondoigt sur le Spulcre, lautre extrmit de lglise partir du matre-autel. Dans toute lachrtient latine, la liturgie pascale recourait un endroit prcis de lglise nomm spulcre, deconserve avec des mises en scne dramatiques ou quasi dramatiques de la visite au tombeau. Dansle Saint-Spulcre de Jrusalem, ces mises en scne et gestes taient distills jusqu la

quintessence un simple tour de tte et un pointage de la main , comme si les vritables sites dela Passion du Christ, tout proches, surpassaient toute rponse plus thtrale.

bo Les sermons de croisades promettaient lindulgence aux croiss et exhortaient gnralement lescroiss potentiels prendre en piti la situation dsespre des chrtiens contraints de vivre enterritoires sous contrle musulman, comme dansJerusalem se plaint et li pais. Autre lieu communde ces prches: une critique acerbe de certaines parties du clerg. En 1215, le lgat papal RobertCourson appela une croisade en France, comme il avait t autoris le faire, disant dignobleschoses sur le clerg et donnant aux gens une fausse image de son mode de vie. Ses critiquesfurent si svres que le roi de France, Philippe Auguste, et le clerg franais se plaignirent auSaint-Sige. Courson prcha sans doute que la chrtient ne pouvait attendre que Dieu bnt uneentreprise de croisade sans que le clerg ft affranchi de toute contamination de pch. Quellesquaient pu tre les objections contre pareilles accusations, cet argument fut universellementaccept durant toute la priode des croisades. La richesse et les tractations financires du hautclerg suscitrent de frquents commentaires: nombreux furent ceux qui observrent que lonpourrait runir de largent pour les croisades en rduisant les richesses superflues des glises et le

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nombre de chanoines dans les chapitres les plus aiss, mais aussi en reconvertissant la valeur deleurs prbendes dans les entreprises de croisade. Il y eut de frquentes accusations dedtournements de fonds. Laffirmation selon laquelle le clerg a t le Ganelon de Dieu faitrfrence au tratre suprme de la littrature mdivale franaise (cf. la Chanson de Roland).

bp Le texte deLuget Rachel iterum, un conductus deux voix, est trs certainement li au dsir delibrer Jrusalem ou de stabiliser le contrle chrtien en cette cit. Il tait depuis longtemps detradition en Occident dinterprter Rachel et ses fils comme une prfiguration de lglise romaineet de la communaut des fidles, ses fils spirituels. Limage de Rachel se lamentant de ce quellenavait pas (encore) de fils (Gense 30:1-2) pouvait ainsi tre utilise par les papes quand, en tantque chef de lglise romaine, ils sadressaient au clerg et aux magnats de la chrtient latine, danslespoir daiguillonner leurs consciences et de renouveler leurs nergies avec limage dune glise

sans enfants, et donc abandonne. Pareil langage occupe une place importante dans la bulleRachelsuum videns, dlivre par Grgoire IX en 1234, qui en appelle aux Franais, puis au clerg detoutes les provinces, pour un nouvel lan daction et de conscience quant au sort de Jrusalem.Limage de la cit dserte dans le conductus suivant, extrait des Lamentations, est utilise dans leconductus monophonique Crucifigat omnes, indubitablement associ quelque moment destribulations des croisades doccident.

bq Un missel ancien de Sarum dsigne lantienneInvocantes Dominum, avec le psaumeDeus, quivenerunt(psaume 79), pour les rogations en temps de guerre, et il est permis dimaginer maintesoccasions o ces textes purent tre employs en rfrence aux hasards des croisades. Ainsi en 1185,lorsque le patriarche de Jrusalem vint qurir une aide militaire en Angleterre, proposant en retourau roi Henry II la couronne du royaume latin de Jrusalem. Le roi dclina finalement cette offre le18 mars. La situation dans le royaume latin tait dsormais si srieuse quune procession durant lestrois jours dintercession, de jene et de prires avant lAscension sembla peut-tre opportune,dautant que le souvenir de la visite du patriarche, quelques semaines auparavant, tait encore frais

dans lesprit du clerg anglais. Les textes dInvocantes Dominum et du psaume 79 souvent utilisdans les prches de croisade semblent loquents et prcis quand ils sont lus en un tel contexte.

bs O Jerusalem, lune des squences les plus belles et les plus rhapsodiques dHildegarde,sadresse saint Rupert (le patron du monastre dHildegarde, sur le Rupertsberg), tout enexprimant merveilleusement laspiration la cit de Jrusalem, sur terre comme au ciel, qui animale mouvement des croisades.

CHRISTOPHER PAGE 1998Traduction HYPERION

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vierstimmige Motette Ars Antiqua so typischen Art von Dissonanz und Tonwirrwarr, ist eineMischung aus Marienanbetung, Liebeslied und beiender Kritik an der Geistlichkeit. Derdreistimmige Cantus FirmusLuto carens et latere1 mit seiner ungewhnlichen rondeau-hnlichen Form, erinnert an den Vergleich der damaligen Chronisten zwischen den Kreuzrittern,

die feindliches Gebiet passierten und den Israeliten, die das Rote Meer durchquerten.Die Bedeutung des Antisemitismus innerhalb der Kreuzrittergesinnung und natrlich derMarienverherrlichung spiegelt sich in drei conducti wieder: O levis aurula! 5 , Veri vitisgerminebn und Congaudet hodie celestis curia br. Das erste ist scheinbar ein Dialog zwischenChristus und den Juden eine ungewhnliche Handlung im Repertoire vertonter mittelalterlicherTexte whrend Veri vitis germine und Congaudet hodie den rger und die Verachtung derChristen gegenber der Verleugnung Christi durch die Juden ausdrckt. Die AntiphonInvocantes

Dominumbq (mit dem PsalmDeus, qui venerunt) wurde bereits in einem frhen Sarum Missalals Antiphon fr Bittprozessionen zu Kriegszeiten genauer beschrieben. Anhand dieser Liederkann auch nachvollzogen werden, warum fr die lateinische Liturgie nur sehr wenigegregorianische Chorle komponiert wurden, die speziell fr Kreuzzge gedacht waren. Diebereits zahlreich als Missal und Antiphon vorhandenen Texte waren zweideutig, voller Freudeund Verzweiflung; diese Texte, die Stimmungsschwankungen im Verlauf des liturgischen Jahresund die Variationsvielfalt der Festlichkeiten, haben die lateinischen Christen dazu befhigt, jeden

Erfolg und Mierfolg sowie die Siege und Verluste der Kreuzzge unter sich zum Ausdruck zubringen und zu verherrlichen.

Das Te Deum 4 ist das Lied, das in Chroniken ber Kreuzzge wiederholt mit Feierlichkeitenund Danksagungen fr Siege erwhnt wird sowie fr Wunderheilungen, erfolgreicheBischofswahlen usw. Eine besondere Stellung hat das Gradual und Halleluja fr die Osterliturgie,

Hec dies quam fecit Dominus9 und Pascha nostrum bl , hnliche Lieder aus dem rmischen

Ritus, die hier in der Version eines Sakramentariums vorliegen, der aus der Werksttte desHeiligen Grabes in Jerusalem stammt und auf den Zeitraum zwischen 1128 und 1130zurckreicht. Es handelt sich hierbei um die Musik der kolonisierenden Rmischen Kirche, dieaus Nordfrankreich, dem Land, das fr lange Zeit als Mutterland des rmischen Glaubens galt, indas 1099 gegrndete, lateinische Knigreich Jerusalems, exportiert wurde.

* * *


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geschieht Einer alten Tradition folgend geht der Verfasser auf die vierfache Interpretation


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geschieht . Einer alten Tradition folgend, geht der Verfasser auf die vierfache InterpretationJerusalems ein, als Ort (im Himmel und auf Erden) und als Name mit der Bedeutung Vision desFriedens.

4 Das Te Deum mit seiner berauschenden wiederkehrenden Melodie und seinen ekstatischen

Lobpreisungen, ist die groartige Zelebrierungshymne der Lateinischen Kirche des Mittelalters,die oftmals in Chroniken ber Kreuzzge Erwhnung findet. In diesen Chroniken wird hufigvon Glockengelut in dem Te Deum gesprochen, eine Auffhrungsmethode, die im 1099gegrndeten Reich der Kreuzritter nicht nur als Fortsetzung einer Tradition fr hohe Festtagegalt, sondern auch von der Lateinischen Kirche zur Untermauerung ihrer Identitt in Formkrftigen Geluts angewendet wurde. Wie in lateinischen Chroniken oftmals erwhnt, setzenweder die Orthodoxe Kirche noch der Islam Metallglocken ein.

5 bn br Die Entstehung des Antisemitismus innerhalb des Lateinischen Christentums scheint indirektem Zusammenhang mit der Kreuzritterbewegung zu stehen, insbesondere dem ErstenKreuzzug, zu dem 1095 von Papst Urban II. in Clermont aufgerufen wurde. Soldaten derChristianisierung, die auf ihrem Weg nach Sden das Rheinland passierten, neigten dazu, dieJuden, die sie in auf ihrem Weg liegenden Stdten antrafen, als mit den Sarazenen vergleichbareFeinde des Christentums anzusehen. Warum Tausende von Kilometern zurcklegen, um die

Feinde des Messias zu bekmpfen und seine Kreuziger ignorieren, wenn sie ohnehin auf demWeg geschlagen werden konnten? Eine solche Verwechslung der Juden mit den Sarazenen warkeine Seltenheit. So berrascht es zum Beispiel kaum, da in einer mittelalterlichen Chronik ausWales fr 1188 [sic] in Bezug auf Saladins Rckeroberung Jerusalems von den Christen im Jahr1187 geschrieben steht: die Sarazenen und Juden kamen nach Jerusalem [und] haben das Kreuzan sich genommen . Antisemitismus wird in den lateinischen Texten des conductusRepertoires hufig durch Begriffe wie schurkenhaftes oder grausames Juda ausgedrckt. Veri

vitis germinebn ist ein erwhnenswertes Beispiel. In den Augen der glubigen Christen,besonders der gelehrtesten, war die Unnachgiebigkeit des grausamen Juda besondersbeunruhigend, da die Verleugnung Christi durch die Juden keine provinzielle odervorbergehende Ketzerei war, sondern bereits seit ber nahezu 2000 Jahren in traditionellenDenkweisen und Lehrmethoden wurzelte, die europaweit durch Rabbiner gelehrt wurden, die imVergleich zu den meisten lateinischen Christen besser wuten, wie die Bcher des AltenTestament entsprechend ihrer wrtlichen hebrischen Bedeutung auszulegen waren. O levis

aurula!5 ist eine ungewhnliche Ausdrucksform christlicher Verachtung, da es sich um einenDialog zwischen Christus und den Juden (zumindest wird es hier als solcher interpretiert) zu

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handeln scheint Veri vitis germine und Congaudet hodie br sind ein verstrkter Aufruf an die


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handeln scheint. Veri vitis germine und Congaudet hodiebr sind ein verstrkter Aufruf an dieJuden, der durch den gemeinsamen Kontext von Christi Geburt zum Ausdruck kommt; demMoment, in dem die Verheiungen des Alten Testaments erfllt und durch die Verheiungen desNeuen Testaments ersetzt wurden. Die Thematik des Antisemitismus findet im spten Mittelalter

stndige Behandlung und die Verffentlichung unbereinigter Texte soll der heutigenZuhrerschaft als Mittel der Warnung und Abschreckung dienen. Je mehr sthetisches Vergngendie Zuhrer aus solchen Darbietungen ziehen, um so wirkungsvoller die Abschreckung undintensiver die Warnung.

6 Die Kreuzzge im Mittelmeerraum waren nicht die einzigen bewaffneten Pilgerfahrten derRitter der westlichen Hemisphre. Im Verlauf des langen Erweiterungsprozesses der Grenzenlateinischen Christentums in Richtung Osten, wurde Livland (vergleichbar mit den neuen

Republiken Lettland und Estland) von den Kreuzrittern als Marias Land beschlagnahmt. ImGegensatz hierzu steht das Land Christi (d.h. Jerusalem und das terre sainte). Die BezeichnungMarias Land sollte Gelder und Arbeitskrfte fr ein Unternehmen gewinnen, das sowohl fr denPapst als auch viele Magnaten des Westens von nicht so groer Dringlichkeit bzw. spirituellemNumen war wie die Kreuzzge im Osten. Die Bezeichnung Marias Land dient auch als guteVeranschaulichung dessen, welche Bedeutung der Marienkult fr die Kreuzzge einnahm. DieMarienverehrung durch zwei groe Militrorden, die Templer und die Teutonischen Ritter, wurde

bereits erwhnt (sieheJerusalem accipitur). Die Jungfrau Maria soll im Verlauf des ErstenKreuzzuges dreimal erschienen sein. Wie Riley-Smith bemerkte: Unsere Jungfrau Maria wurdemit Kreuzzgen und Gewalt in Verbindung gebracht, was im Mittelalter eine bestimmte Form derVerehrung darstellte. Hierzu zhlt auch die Gewalt gegen die Juden, da die Geschichte desmittelalterlichen Antisemitismus und die Geschichte des Marienkults einige erschreckendeGemeinsamkeiten aufweisen.Hac in die Gedeonis handelt von Gideons Fell, das feucht von Tau,die Erde umher jedoch trocken war. Dies wurde im Mittelalter als ein Hinweis auf die Benetzung

Marias mit irdischem Tau bzw. die gttliche Empfngnis gedeutet (Richter 6,37-8).7 Chanterai pour mon coraige mit seinen eindeutigen Bezgen zu Verlust und sexuellemVerlangen, erinnert an die menschlichen Opfer der Kreuzzge. Es muten emotionale Bande zugeliebten Menschen und dem Vaterland fr womglich immer gebrochen werden; es mutenShneopfer fr hiesige Religionsgemeinschaften als Grundlage fr Messen und Gebete erbrachtwerden; Ressourcen fr die langen Kreuzzge in entlegene Gebiete muten unter groem

Aufwand aufgebracht werden. Ein Kreuzzug war kein Unternehmen, dem man sich als armerOpportunist auf der Suche nach Land und Kriegsbeute anschlo, sondern als ehrwrdiger, gut

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verheirateter oder zuknftig gut verheirateter Ritter mit Grundbesitz und eigenem Hausstand


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verheirateter oder zuknftig gut verheirateter Ritter mit Grundbesitz und eigenem Hausstand(siehe Zeilen 17-20). Dieses Lied ist bemerkenswert, aber nicht ohnegleichen, was seine zumAusdruck gebrachte Trauer einer Frau ber den Verlust ihres Geliebten an den Kreuzzuganbelangt (Zeilen 43-44 beziehen sich mglicherweise auf eine Schwangerschaft), es handelt sich

jedoch mit ziemlicher Sicherheit um einen mnnlichen Verfasser. Chanterai pour mon coraige istentweder anonymen Ursprungs oder wird Guiot de Dijon zugeschrieben. Guiot ist ein Mnner-name, eine Verniedlichung von Gui. Es gibt einen Bezug, im MS C, auf eine Dame de Fayel,aber auf die Bezge im chansonnier C kann man sich nicht immer verlassen. Dame de Fayel istder Name eines fiktiven Charakters in dem bekannten altfranzsischenRoman du Chastelain deCouci et la Dame de Fayel.

8 In salvatoris/Ce fu en tres douz tens/In veritate/VERITATEMist eine vierstimmige Motette

mit gleichzeitig gesungenen Stimmen. Eine Stimme ist textlos. Eine Umschreibung ihrerBedeutung wre: [Quadrupulum]: Im Namen des Erlsers lat uns Maria eifrig im Lobgesangpreisen. Oh Lilie, Behterin der Snder, bitte deinen Sohn um die Vergebung aller Snden.[Triplum]: Im Mai ging ich in einen Obstgarten und sah ein wunderschnes Mdchen, das demVogelsang lauschte. Dann verstummten alle Vgel, versammelten sich um es und die Nachtigallsang: Jungfrau Maria, ich soll sterben ohne deine Liebe. [Motetus]: Die Wahrheit ist unter demKlerus begraben; den Meistern ist ihre eigene Selbstherrlichkeit zu Kopfe gestiegen; Oh Gott der

Vergebung, sieh ber diese Missetat hinweg!9 bl Die vermuteten Orte der Kreuzigung und Auferstehung Christi befinden sich beide unterdem Dach der Heiligen Grabsttte in Jerusalem. Die Osterliturgie mu daher von auergewhn-licher Ausdrucksstrke fr die Franken gewesen sein, gleichwohl fr Klerus und Kongregation,als sie sie innerhalb dieser Mauern hrten (siehe nchster Titel, das Osterevangelium). Die Seitendes Sakramentariums aus der Werksttte der Heiligen Grabstadt, jetzt in Cambridge, zeigen feine

nordfranzsische Neume auf rot hervorgehobenen Notenlinien (Cambridge, Fitzwilliam Museum,MS McClean 49). Die Seiten wurden von Jaroslav Folda auf die Jahre 1128-30 zurckdatiert(The Art of the Crusaders in the Holy Land, 1098-1187(Cambridge, 1995), S. 100-5, mitAbbildungen).

bm Die Fortsetzung der Chronik William Tyres erwhnt fr das Jahr 1229 bestimmte Einzelheitender Osterliturgie, wie sie in der Kirche der Heiligen Grabsttte Jerusalems von Kanonikernzelebriert wurde. Der Dekan sang das Evangelium von einem alsLe Compas bezeichneten

Marmorpult in Mitten des Chors. Bei der Stelle crucifixum wandte er sich gen Golgatha, dessen

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vermutete Sttte vom Chor aus gesehen rechts des Hochaltars lag; bei der Stelle surrexit, non est


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vermutete Sttte vom Chor aus gesehen rechts des Hochaltars lag; bei der Stelle surrexit, non esthic (Er ist auferstanden, er ist nicht hier) wandte sich der Dekan um und zeigte mit seinemFinger auf die Grabsttte, vom Hochaltar aus am anderen Ende der Kirche gelegen. In derOsterliturgie des Lateinischen Christentums diente ein Teil der Kirche als Grabsttte mit

dramatischen Bhneninszenierungen von Ausschnitten des Grabbesuches. Diese Inszenierungenund Gesten wurden in der Heiligen Grabsttte Jerusalems zur Quintessenz reduziert eineeinfache Drehung des Kopfes und ein Handzeig als ob die nahegelegenen Schaupltze derPassion Christi theatralischere Handlungen berflssig machten.

bo Kreuzzugspredigten versprachen den Kreuzrittern Sndenerla und hielten fr gewhnlichpotentielle Kreuzritter dazu an, Mitleid mit dem schweren Los derjenigen Christen zu haben, diezu einem Leben unter moslemischer Vorherrschaft verbannt waren wie inJerusalem se plaint

et li pais. Scharfe Kritik bestimmter Sektionen der Geistlichkeit war fr solche Predigtenebenfalls typisch. Im Jahr 1215 rief der ppstliche Abgesandte Robert Courson in Frankreichzum Kreuzzug auf, indem er wie ihm befohlen Unwahrheiten ber den Klerus verbreitete undsich gegenber der ffentlichkeit falsch ber dessen Lebensstil uerte. Seine Kritik war sovehement, da sich der franzsische Knig Philip Augustus und der franzsische Klerus beimVatikan beschwerten. Coursons Auffassung lie keinen Zweifel darber, da Christen denGttlichen Segen fr Kreuzzge nicht erwarten knnten, solange der Klerus nicht frei von

jeglichen Snden war. Was auch immer die Einwnde auf seine Anschuldigen gewesen seinmgen, diese Auffassung wurde whrend der ganzen Kreuzzugszeit allgemein vertreten. DerReichtum und die finanziellen Geschfte der hohen Geistlichkeit zogen hufige Kritik auf sich;Vielen wurde bewut, da durch die Verringerung des berflssigen Reichtums der KirchenGelder fr Kreuzzge gesammelt werden knnten, wenn man in den reicheren Kapitelen dieAnzahl der Kanoniker reduzieren und ihre Pfrnde zum Zwecke der Kreuzzge einsetzen wrde.Es kam hufig zu Geldveruntreuungsanschuldigungen. Die Anklage, da der Klerus sich

gegenber Gott wie Ganelon gegenber Roland verhlt, bezieht sich auf einen in derfranzsischen Literatur des Mittelalters vorkommenden Hochverrter (siehe Song of Roland).

bp Der Text zuLuget Rachel iterum, einem zweistimmigen conductus, ist mit ziemlicherWahrscheinlichkeit mit dem Bestreben verbunden, Jerusalem zu befreien bzw. die dortigeVorherrschaft des Christentums zu sichern. Rahel und ihre Shne wurden im Westen ber langeZeit als Sinnbild der Rmisch-Katholischen Kirche und der Glaubenstreuen, ihren geistlichen

Shnen, gesehen. Die Metaphorik Rahels und ihre Klage darber, da sie noch (bis dahin) keineShne hatte (Offenbarung 30,1-2) konnte daher von den Ppsten benutzt werden, wenn sie sich

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als Oberhaupt der Rmisch-Katholischen Kirche in der Hoffnung an den Klerus und die


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p gMagnaten des Lateinischen Christentums wandten, deren Bewutsein und Energie fr das Zlibatund eine enthaltsame Kirche neu zu erwecken. Derartige sprachliche Bezge tauchen hufig inder durch Papst Gregor IX. im Jahre 1234 verffentlichten BulleRachel suum videns auf, einem

Appell an die Franzosen und die Geistlichen aller Provinzen fr neuen Tatendrang und eingestrktes Bewutsein in Hinblick auf das Schicksal Jerusalems. Die Metaphorik der verlassenenStadt in folgendem conductus, in Anlehnung an Lamentations, wird in dem monophonenconductus Crucifigat omnes verwendet, der unweigerlich mit den Kreuzzgen des Westens inZusammenhang steht.

bq Ein frhes Sarum Missal spezifiziert die AntiphoneInvocantes Dominum, mit dem PsalmDeus, qui venerunt(Psalm 79), fr Bittprozessionen whrend des Krieges, und es lt sich an

viele mgliche Anlsse denken, fr die diese Texte in Bezug auf Kreuzzge verwendet wurden.So zum Beispiel im Jahr 1185, als der Patriarch Jerusalems nach England kam, um militrischeUntersttzung zu erbitten und Knig Heinrich II. von England im Austausch dafr die Krone desLateinischen Knigreichs von Jerusalem bot. Am 18. Mrz 1185 lehnte Heinrich das Angebotschlielich ab. Die Situation im Lateinischen Knigreich war inzwischen so ernst, da eineProzession whrend den drei Tagen der Frbitte, des Fastens und des Gebets, die denFeierlichkeiten zu Christihimmelfahrt vorausgehen, angebracht gewesen zu sein schien.

Insbesondere, weil die Erinnerung an den Besuch des Patriarchen ein paar Wochen zuvor nochfrisch im Gedchtnis der englischen Geistlichen war. Die Texte vonInvocantes Dominum undPsalm 79 scheinen in einem solchen Kontext durchaus vielsagend und passend. Psalm 79 wurdeoftmals in Kreuzzugspredigten zitiert.

bs O Jerusalem, eine von Hildegards schnsten und schwrmerischten Sequenzen ist an denHeiligen Rupert gerichtet, den Schutzpatron von Hildegards Kloster auf dem Rupertsberg, aber

sie drckt auch auf wunderbare Weise das Sehnen nach der Stadt Jerusalem, im Himmel und aufErden, aus, welches der Kreuzzugsbewegung ihren Impuls gab.

CHRISTOPHER PAGE 1998bersetzung SYLVIA PTSCH

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Recorded in Boxgrove Priory, West Sussex, on 15-17 January 1998Recording Engineer PHILIP HOBBS

Recording Producer MARTIN COMPTONCover Design TERRY SHANNON

Booklet Editor NICK FLOWERExecutive Producers EDWARD PERRY, SIMON PERRYP & Hyperion Records Ltd, London, MCMXCVIII

Front illustration: The Head of Christby an anonymous twelfth-century Spanish artist

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CDA67039


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Jerusalem:

Vision of Peace1 Luto carens et latere b c d [3'49]2 Jerusalem! grant damage me fais a [3'50]3 Jerusalem accipitur b c [4'51]4 Te Deum b - h [4'58]5 O levis aurula! b d [1'58]6

Hac in die Gedeonis b c [4'12]7 GUIOT DE DIJON Chanterai pour mon coraige a [6'14]8 In salvatoris/Ce fu en tres douz tens/In veritate/VERITATEM b c g h [2'47]

from The Mass of Easter Day in the Church of the Holy Sepulchrein the Crusader Kingdom of Jerusalem, c1130

9 Gradual Hec dies quam fecit Dominus b - h [2'03]bl Alleluia Pascha nostrum b - h [3'21]bm Gospel d [2'34]

bn Veri vitis germine b c [4'27]bo HUON DE ST QUENTIN Jerusalem se plaint et li pais a [5'32]bp Luget Rachel iterum b c [1'49]bq Invocantes Dominum/Psalm: Deus, qui venerunt b - h [7'20]br Congaudet hodie celestis curia c d [2'29]

bs HILDEGARD OF BINGEN O Jerusalem a [9'35]

GOTHIC VOICESCATHERINE KING (a) alto

STEVEN HARROLD (b), JULIAN PODGER (c), LEIGH NIXON (d),JAMES GILCHRIST (e), ANDREW CARWOOD (f), CHARLES DANIELS (g) tenor

STEPHEN CHARLESWORTH (h) baritone

CHRISTOPHER PAGE director

gothic voices - jerusalem - visions of peace.pdf

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