jubilate deo adjutori meo · 2021. 1. 2. · 4 jubilate deo adjutori meo manchicourt 2 # psal # qui...

Jubilate Deo adjutori meoPierre de Manchicourt (c.1510–1564)

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Jubiláte Deo adjutóri meo, et psalmum dícite illi,quia exaltávit cornu1 meum et senectútem meam in misericórdia úberi,et usque in senéctam et sénium2

non dereliquísti me.

Si dormiéro íterum surrectúrus sum, et in carne mea vidébo Deum meum,et haec est spes mea, ut pórtio mea sit in terra vivéntium.

Make a cheerful noise unto God my helper, and sing a psalm unto Him,For He has exalted my strength and my old age with abundant mercy;even into [my] old age and decline [Thou] hast not abandoned me.

If I should sleep, I shall again be raised, and in my !esh I shall see God;and this is my hope: that my portion may be in the land of the living.

from Psalms 80:2, 91:11, 70:18 & 141:6 (Vulgate) and Job 19:25–26

Pierre de Manchicourt, a contemporary of Nicolas Gombert and Jacobus Clemens non Papa, was active in both Burgundy and Spain during thereigns of Charles V and Phillip II, culminating in his appointment by the latter as maestro de capilla !amenca in Madrid in 1559. The fact thatAttaingnant, publisher of the French Royal Court, devoted his fourteenth and !nal volume of motets in 1539 entirely to Manchicourt's work (anhonour he bestowed on no other, and emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to thecomposer's reputation in his day. Manchicourt's highly polyphonic style of composition lost favour around the time of his death, as the liturgicalreforms of the Council of Trent took hold — marking the transition from the High Renaissance to the less !orid Late-Renaissance style ofVictoria and Palestrina.

The only surviving source of this work is a manuscript containing a collection of Manchicourt's masses and motets, held in the library of theBenedictine monastery in Montserrat, Catalunya. The !rst motet in the collection is annotated with a date of 25 July 1560, thereby con!rmingthat the collection was compiled in the last years of the composer's life, when he was serving in the court of Phillip II in Madrid.

Editorial Notes:

Because the sole surviving manuscript is unavailable in digitized form, the transcription published by the American Musicological Society inManchicourt's Opera Omnia3 was consulted in the preparation of this edition. In doing so, it was assumed that the transcription accuratelyre!ects the original manuscript and that all editorial adjustments are faithfully acknowledged as such. On the basis of the latter, only theoriginal source material was transcribed for use in this edition — all subsequent editorial adjustments re!ect this editor's judgment.

This edition is set a tone higher than the original notated pitch. Editorial accidentals are indicated above the note, with precautionaryaccidentals in parentheses. Editorial emendations are noted throughout, including the suppression of various E !ats in the original (F naturalsin this transposed edition) that were likely added by a later hand to accord to certain 'rules' regarding perfection of fourths and !fths imposed bysome theorists without apparent regard for the composer's intent. In the case of the !ve-note passage at m8.1–m.10.1 of Superius Primus, itsoriginal form gives rise to unacceptable dissonances on the second and fourth notes (at the fourth minim of m.8 and third minim of m.9,respectively). The edition published in the Opera Omnia lowers the second note of the original by a tone (i.e. from B to A in this transposededition), thus eliminating the !rst dissonance but introducing another error: parallel octaves with the Bassus. The solution proposed in thisedition resolves the problem by removing the dot from the !rst semibreve and adding a minim (on the missing third of the chord) at m.10.1.

Original note values are retained: thus, consistent with 16th-century convention, the ' mensuration sign and its modern-equivalent ( timesignature signify a semibreve tactus. Bar lines are added only to aid reading and direction: ‘strong’ and ‘weak’ beats implied by their positionshould never take precedence over phrasing or word stress. Ligatures in the source are acknowledged with overarching square brackets. Wordunderlay re!ects editorial judgment and is freely adjusted. Editorial addition or re-iteration of words not explicit in the source is indicated initalic. Editorial conjoining of notes, where considered necessary for word underlay, is indicated with a dashed tie.

1 The literal meaning of cornu is ‘horn’, which was an ancient symbol of power or strength.

2 The concepts of senectus and senium were de!ned in the 7th century AD by Isidore, Bishop of Seville, as the !nal two of the six stages of human life, respectively the beginning and end of old age [Cokayne, K., Experiencing old age in ancient Rome, Routledge, 2003].

3 Pierre de Manchicourt, Opera Omnia: Volume VI, (ed. L.J. Wagner), ‘Corpus Mensurabilis Musicæ’ vol. 55, American Musicological Society, 1984.

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