THE HARMONY OF THE SPHERES:

Planets, Muses and Modes

I. PRELUDIO

Astrorum (To the Stars) Orphic Hymn music: J.B. Zesso, 'Aria per capitoli', in Petrucci, Frottole libro octavo (Venice,1507); adapted by Grant Herreid

Naturalis Concordia Vocum Cum Planetis Natural Concord o f Pit ches with the Planets Anonymous chant MS F-Pn lat. 7203 (late 11th c. France; transcribed by Susan Rankin)

Est planetarum similis concordia vocum A terra caelo divinus scanditur ordo. Tullius hos numeris sic sursum scandit ab imis: Luna, Ermes, Venus et Sol, Mars, Iovis, atque Saturnus. Ordine consimili debes voces modulari: Primam da lunae, quae fertur proxima terrae; Inde nota quantum Mercurius altior illa, Hocque tonum spacio numeravit musicus ordo. Nempe sequens spatium Venus arcet limate dignum Post tonus ad solem diatessaron implet eandem, Terminat atque tonum Mars bellicus in diapente. Juppiter atque suum breve plangat lima canorum, Hisque tonum celsus contugat parte Saturnus. Septimus ad caelum tonus extat more dierum. Vocibus bis octo diapason clauditur ordo. Quo sunt dissimiles cantus mutantque sapores.

There is a concord of planets similar to that of notes, from earth to heaven a divine order ascends. Tully [Cicero] thus enumerates them, rising from the bottom: Moon, Hermes [Mercury], Venus, Sun, Mars, Jupiter and Saturn. In similar order you should sing your notes: Give the Moon's first, which is proximate to earth. Then observe how much higher Mercury is; this interval in the musical system amounts to one tone. then Venus marks off an interval worth a half-tone; then a tone to the Sun fills out the fourth, and bellicose Mars with another tone completes a fifth. Jupiter of the white locks sings his brief half tone, and lofty Saturn, for his part, joins a tone to these. The seventh tone reaches heaven, as the manner of the seven days. With these eight notes the order of the octave is completed; by means of these, songs differ and their savors change. translation: Joscelyn Godwin

Astrorum coelestium sacrum splendorem evoco Bene sacris vocibus vocans daemonas puros. Astra coelestia, Noctis grata proles nigrae, Circularibus versationibus circum thronos circumeuntia, Resplendentia, ignea, generationem omnibus prebentia, Fatalia, omnia fata significantia, Mortalium hominum divinam gubernantia semitam, Septem lucentes zonas observantia, aerivaga, Resplendere facientia semper noctis obscurum peplum, Splendoribus micantia, benivola nocturnaque: Venite ad bene sacrae initiationis multiscios labores Bona ad gloriosa opera iter perficientia. Anonymous Latin translation of original Greek (15th c.)

I call forth the sacred light of the heavenly stars, and with devotional prayers I summon the holy demons. Heavenly stars, dear children of dark Night, On circles you march and whirl about , O brilliant and fiery begetters of all. Fate, everyone's fate you reveal, and you determine the divine path for mortals, as, wandering in midair you gaze upon the seven luminous orbits. You shine upon night's cloak of darkness. Coruscating, gleaming, kindly and nocturnal: visit the learned contents of this rite, and end our noble race for works of glory.

Translation: Apostolos N. Athanassakis

Canzona de’ Sette Pianeti: Anonymous Carnival song w/o music (c. 1500) music: ‘Canto de’ Cardoni’; Anonymous Florentine carnival song (c. 1500)

Sette pianeti son, che l’alte sede Giran per far del cielo in terra fede. Da lor son tutti i beni e tutti i mali, Quel che v’affligge, miseri, e giova; Ciò ch’agli uomini avviene, agli animali E piante e pietre, convien da lor muova; Sforzan chi tenta contro a lor far pruova; Conducian dolcemente chi si crede. Sette pianeti son, che l’alte sede Giran per far del cielo in terra fede.

There are seven planets, who circle in their high places to make those on earth faithful to the heavens. From them come all good things, and all things bad, that which afflicts you, wretched, and that which aids you; that which happens to mankind, to animals, and plants and stones, derives from them; They conquer those who oppose them, and gently guide those who believe in them. There are seven planets, who circle in their high places to make those on earth faithful to the heavens.

II. TERRESTIAL SILENCE: TERRA (Earth) - THALIA (Muse of Comedy)

Musices septemque (v. 1) Franchino Gaffurius (1500)

Musices septemque modos Planete Corrigunt septem totidemque chordis Thracis antiqui lyra personabat Cognita sylvis.

As the seven planets regulate the seven musical modes, so were there seven strings on the sylvan lyre of ancient Thrace. [Orpheus’ lyre] Translattion: Angela Voss, The Secret of the Heavens

Veni giocosa e florida Thalia Giovanthomaso Cimello, Canzone villanesche al modo napolitano (1545)

Veni giocosa e florida Thalia Con l'altre tue sorelle Sagie, leggiadr'e belle A far più adorn' e lieto il nostro choro. Et date'l sacro alloro A li poeti, che con canti e versi Dolci soavi e tersi Lodano insieme amore D'accortezze diletti e gioie autore.

Come joyous and lovely Thalia with your other sisters, wise, happy and fair, to make our chorus more elegant and glad. And grant the sacred laurels to the poets, who with songs and verses sweet, tender and polished, together praise Love, the author of skillful delights and joys.

Gagliarda: Talia (instrumental) Vincenzo Galilei (c. 1520-1591) Intavolatura di liuto (1584) Porta ognun al nascimento (barzelletta) Anonymous; Petrucci, Frottole libro nono (1509)

III. THE FOURTH STRING The Dorian Mode - SOL (Sun) - MELPOMENE (Muse of Tragedy)

Musices septemque (v. 2) Gaffurius

Omnis ordo: aetas: locus hac levatur Dorius sub sole citat iacentes Mentis affectus: habilis per omnes Surgere cantus.

Indeed, [this lyre] has raised up and ennobled every order, every age and place. The Dorian mode, under the Sun, rouses the sluggish affections of the mind, and is apt to rise up through song.

Ricercar XIII Julio da Modena Musica Nova (c.1540) Il Rapimento di Cefalo: Coro Ultimo Giulio Caccini, Le Nuove Musiche, (Firenze, 1601)

Ineffabile ardore, Ch'agli alberghi del ciel richiama il core.

Ineffable ardor recalls our hearts to the heavenly mansions.

Porta ognun al nascimento Qua giu interra vita e morte Varia el ciel e nostra sorte Come el mar varia per el vento Porta ognun … Muta ognhor fortuna stato Como il ciel moto diverso Se talhor fa lhom beato Opra el ciel presto el converso Che qualunche ha el ciel adverso Mai fortuna el fa contento Porta ognun …

Each one carries at birth here on earth, life and death. The heavens and our fate change as the sea changes with the wind. Each one carries … Fortune changes her things as the heavens move; if a man finds himself blessed, heaven quickly works the opposite. Whoever opposes heaven will never be made happy by Fortune. Each one carries …

Caduca fiamma di leggiadri sguardi Ci da per morte dilettoso assalto Ma verace beltà regna nell' alto, Indi arma l'arco et indi avventa i dardi Che'l cor piagato han di bear valore. Ineffabile ardore, Ch'agli alberghi del ciel richiama il core. Qual trascorrendo per gli eterei campi Il sol quaggiù l'ombre notturna aggiorna, Tale amor sulle stelle almo soggiorna, E cosparge fra noi fulgidi lampi Per invogliare altrui del suo spendore. Quand' il bell' anno primavera infiora, D'infiniti color rid' il terreno, Onde infinite ha l'Ocean nel seno; Ma minor pen' à numerarle fora Che d'amor celebrar l'inclito onore. Gabriello Chiabrera (1552-1638)

The fleeting flame of loving glances gives us a delightful distraction from death. But true beauty reigns above; therefore arm the bow and let fly the arrows that will bless a wounded heart with valor. Ineffable ardor recalls our hearts to the heavenly mansions. As traveling through its ethereal path the sun brings day to the nocturnal shades below, so Love resides on high amid the stars, spreading among us shining lights to allure others with his splendor. When spring re-dresses the fair year with flowers, the earth smiles with infinite colors, the ocean has infinite waves in its bosom; but it would be less difficult to count them than to celebrate the renowned honor of Lo

IV. THE FIRST STRING The Hypodorian Mode - LUNA (Moon) - CLIO (Muse of History)

Musices septemque (v. 3) Gaffurius

Dorium infra qui est modulum: bicornis Suscitat phoebe: miseros remulcet Auget humores: hominum sopore Lumina stringit.

The lower Dorian [hypodorian] conjures the crescent Moon, consoles the wretched, promotes the humors, and closes the eyes of men as they sleep.

Lunae (Orphic Hymn) Music: Bartolomeo Tromboncino ‘Come va il mondo fior’ (1507)

Audi dea regina, lucifera, diva Luna Tauricornis Mene, noctu currens, aerivaga, Nocturna, facitenens, puella, bene stellata, Luna, Quae crescis et decrescis, foeminaque et mas, Fulgens, equorum amatrix, temporis mater, fructifera, Electris, iracunda, splendoris causa nocturna, Omnispica, vigiliarum amatrix, pulchris syderibus

Hearken, O divine queen, light-bringing and splendid Selene, bull-horned Moon traversing the air in a race with night. Nocturnal, torch-bearing, maiden of fair stars, Moon waxing and waning, feminine and masculine, glittering lover of horses, mother of time, bearer of fruit, amber-colored, brooding, shining in the night, all-seeing, vigilant, surrounded by beautiful stars,

abundans, Quiete gaudens et delectatione beatifica, Lucida, laetitiae datrix, perfectrix noctis oblectamentum, Astritenens, latipeple, vagi cursus, sapientissima puella: Venias beata, benivola, pulchristella, lumine tuo Micans, conservans tuos supplices, proba puella.

you delight in quiet and in the richness of the night. Shining in the night, a jewel granting fulfillment and favor; long-cloaked marshal of the stars, wise maiden whose motion is circular, come! Blessed and gentle lady of the stars, in three ways shine your redeeming light upon your new initiates. Translated by Thomas Taylor (1792)

Ricercar VIII (instrumental) Julio da Modena Musica Nova (c.1540) Ay luna que reluces Anonymous, Villancicos de diversos autores (Venice, 1556)

Ay luna que reluzes, Toda la noche m'alumbres. Ay luna tan bella, Alumbres me a la sierra. Por do vaya y venga, Toda la noche m'alumbres.

Ah, moon that shines, you shine for me all night. Ah, moon so lovely, light my way into the mountains. Wherever I go and come, you shine for me all night.

V. THE FIFTH STRING The Phrygian Mode - MARTE (Mars) - ERATO (Muse of Erotic Poetry)

Musices septemque (v. 4) Gaffurius

Congruit Marti Phrygius superbo Igneus bilem: et movet arma: ab armis Qui subest huic revocat: deique est Cura volucris.

The fiery Phrygian conforms bile to proud Mars and calls to battle; recalling arms is that which is under [hypophrygian], in the care of the swift god. [Mercury]

L’homme arme tune/ L’homme arme Anonymous/Josquin des Prez (1501)

L’homme armé doibt on doubter On a fait partout crier; Que chacun se doibt armé D’un aubrigon de fer.

The man at arms fills the folk with dread alarms. Everywhere I hear them wail, Find, if you would breast the gale, A good stout coat of mail.

Alla guerra (barzelletta) Bartolomeo Tromboncino (1504)

Alla guerra, alla guerra Ch'amor no vol più pace Ma sempre più tenace Alla guerra, alla guerra! Questa guerra è mortale Per un ardente strale Cagion d'ogni mio male Per far me sempre guerra Hora son vinto in tutto Preso arso e destrutto Questo è d'amore il frutto Che sempre me fa guerra.

To war, to war! for Love wants peace no more, but always more tenatiously: to war, to war! This is war is made a mortal combat by his burning arrow, the cause of all my woe that constantly makes war on me: Now I am totally vanquished, taken, burned and destroyed; these are the fruits of Love, who constantly makes war on me.

VI. THE SECOND STRING The Hypophrygian Mode - MECURIO (Mercury) - CALLIOPE (Muse of Epic Poetry)

Ricercar X (instrumental) Julio da Modena Musica Nova (c.1540) Che debbo far poi ch'io son giunto tardi Jacquet Berchem (c. 1510-c. 1565) Primo, secondo et terzo libro del capriccio . . . (Venetia, 1561) text: Ludovico Ariosto, Orlando Furioso, I, 41

Che debbo far poi ch'io son giunto tardi, Et altri a corre il frutto è andato prima? A pena havuto io n'ho parol'e sguardi, Et altri n'ha tutta la spoglia opima. Se non ne tocca a me frutto nè fiore, Perchè affliger per lei mi vo più il core? Ludovico Ariosto, Orlando furioso, I, 41

What should I do, since I arrived too late, and another was here first to gather the fruit? I have scarcely nothing but words and looks, and another gains all the rich spoils. Then since for me there is no fruit nor blossom, why does my heart still pine for her?

VII. THE SIXTH STRING The Lydian Mode - GIOVE (Jupiter) - EUTERPE (Muse of Lyric Poetry)

Musices septemque (v. 5) Gaffurius

Lydius tutella Iovis fluentem Sanguinem impulsu placido coercet Cui Venus praeses subit: et benigna Sorte feruntur.

The Lydian, under the guardianship of Jupiter brings the impetus of the blood into calmer motion, beneath which lies the sovereign power of Venus [hypolydian], accomplishing beneficent things.

Odi Euterpe il dolce canto Giulio Caccini (1601)

Odi, Euterpe, il dolce canto, ch'a lo stil Amor m'impetra, et accorda'l dolce canto l'aureo suon della mia cetra, ch'a dir quel ch'ei mi ragiona troppo dolce Amor mi sprona. Di notturno, a casto velo la mia Lidia il sen copria: ma la Luna in mezzo il Cielo dolcemente il sen m'apria; ch'a mirar si bel tesoro lampeggiò di fiamme d'oro. Ma si dolce ardeva il core ch'ogni fiamma, ed ogni dardo in quel caro sen d'amore rinfrescav' ogn' ora un guardo e già m'era il cor ferito a le piaghe un dolce invito.

Hear, Euterpe, the sweet song which, in his style [mode] Love instills in me, and tune the fine melody to the golden sound of my lyre, for Love too sweetly impels me to say that which I speak. At night, under her chaste veil my Lydia covered her bosom, but the moon, in the midst of the sky, sweetly disclosed it to me, and the sight of such lovely treasure lit up my heart with golden flames. But so nobly did my heart burn, that every flame and every dart in my love-laden breast was constantly refreshed with each glance, and thus my already-wounded heart was sweetly invited to further wounding.

Piva (instrumental) Joan Ambrozio Dalza Intabulatura de lauto (1508)

VIII. THE THIRD STRING The Hypolydian Mode - VENUS - TERPSICHORE (Muse of the Dance)

Canto delle Dee Song o f the Goddesses Heinrich Isaac (c. 1445-1517)

Nè più bella di queste, nè più degnia Si truova alcuna idèa: Junon vedete che nel ciel su regnia; Vedete Citherea, Madre dolze d'Amore; Vedete qui Minerva: Che gli'ingegni conserva, E'l martial furore Doma coll'arte et colla sapienza: Venuti insieme ad abitar Fiorenza. Ma Venere bella sempre in canti e 'n feste, In balli e 'n noze et mostre, In varie foggie et nuove sopraveste, In tornamenti et giostre Farà 'l popol fiorito; Farà galante et bebbe Tutte donne et donzelle, Con amorosa vista; Farà el popol fruir fuor d'ogni usanza, Sano et gagliardo et sempre in abbondanza.

None more beautiful than these, nor more worthy, behold each goddess comes here: behold Juno, who reigns in heaven above; behold Venus, mother of Love; behold here Minerva: who protects the brilliant, and who, with art and science, inspires martial passion, they are all come together to live in Florence. But lovely Venus, in song and festival, in dances, weddings, shows, various guises and dress, in tournaments and jousts, will let her people flourish; she will make all the women and lasses gallant and lovely, with loving faces; she will make your people flourish beyond measure, healthy, happy, with all riches.

Ricercar (instrumental) Joan Ambrozio Dalza Intabulatura de lauto, Libro quarto (Venice, 1508) Venere graziosa text: Canzone de' Sette Pianeti (c. 1500); music: Anonymous, 'Non trovo paragone', Codice Estense (1496)

Venere graziosa, chiara e bella Muove nel core amore e gentilezza: Chi tocca il foco della dolce stella Convien sempre arda dell'altrui bellezza: Per questa il mondo rinnovar in ella, Fère, uccelli e pesci hanno dolcezza. Orsú seguiam questa stella benigna, Tutti vi chiama la bella Ciprigna.

Gracious Venus, bright and fair, moves in one's heart love and courtesy: Who touches the fire of that sweet star will always burn for someone's beauty: by this the world is renewed in her, beasts, birds and fish know this sweet delight. Now let us follow this propitious star, The lovely Cyprian call to each of you.

Gagliarda: Terpsicore (instrumental) Vincenzo Galilei (c. 1520-1591) Intavolatura di liuto (1584) Da le belle contrade Cipriano da Rore, Il quinto libro de' madrigali a 5 voci (1566)

Da le belle contrade d'oriente Chiare e lieta s'ergea Ciprigna, ed io Fruiva in braccio al divin idol mio Quel piacer che non cape humana mente, Quando sentii dopo un sospir ardente: Speranza del mio cor, dolce desio, T'en vai, haime, sola mi lasci addio. Che sarà qui di me scura e dolente? Ahi crudo Amor, ben son dubiose e corte Le tue dolcezze, poi ch'ancor ti godi Che l'estremo piacer finisca in pianto. Nè potendo dir più, cinseme forte, Iterando gl'amplessi in tanti nodi Che giammai ne fer più l'edra o l'acanto.

From the beautiful regions of the East clear and blithe rose Venus, the morning star, and I was enjoying, in the arms of my divine idol, that pleasure that transcends human understanding, when I heard, after a passionate sigh: "Hope of my heart, sweet desire, you go, alas, you leave me alone, farewell! What will happen to me here, gloomy and sad? Ah, cruel Love, how uncertain and short-lived are your pleasures, for it even delights you that the greatest pleasure should end in tears." Unable to say more, she grasped me tightly, repeating her embraces in more interlacings than ivy or acanthus ever made.

IX. THE SEVENTH STRING The Mixolydian Mode - SATURNUS (Saturn) - POLYHYMNIA (Muse of Sacred Song)

Musices septemque (v. 6) Gaffurius

Bile Mixtum Lydium agit sub atra Luteum Saturnus: hiat Tragoedis Aptus: hoc Sappho mea gloriatur Forte reperto.

Saturn acts through the dark and turbid Mixolydian, which, under the influence of black bile, wails and cries, apt for tragedies: And my Sappho glories in this mode when it chances to happen.

Miseremini mei saltem vos Anonymous, Libro Secondo de la Croce (Rome, 1531)

Miseremini mei, miseremini mei Saltem vos amici mei.

Have pity on me, have pity on me, [from Job, 19] at least you, my friends.

I' son proprio la sciagura La disgratia e tutto il male, I' son la disaventura, Son ritracto al naturale, Si tocassi a puncto il sale Tutto lo coromperei. Loro fino il piu perfecto Mi diventa in mano ottone, De largento stagno schietto Del diamante vetro fone, Sol per mia corrutione Ogni giusto damnarei. I' son quella chalamita Cha se tira ogni malore, Quella spugna maladita Per succiar l'altrui malore Porto pena de lo errore Ch'altri fa chi non vorei.

I am that same mischief, disgrace, and all that woe, I am misfortune, I am withdrawn from nature; if once the salt touches, I will corrupt everything. Fine gold, the most perfect, becomes brass in my hands, from silver, pure tin, from diamonds, mere glass. Simply by my corruption every right I will wrong. I am that stone that brings evil upon itself; that cursed sponge that sucks all other’s woes. I carry the pain of the faults that others commit, though I don’t want them.

Gagliarda: Polyhymnia (instrumental) Galilei Intavolatura di liuto (1584); arranged a 4 by Grant Herreid Deus in nomine tuo salvum me fac Andrea Gabrieli (c. 1532-1585) Concerti (Venice, 1587)

Deus, in nomine tuo salvum me fac et in virtute tua judica me. Deus, exaudi orationem meam; auribus percipe verba oris mei. Quoniam alieni insurrexerunt adversum me et fortes quaesierunt animam meam, non proposuerunt Deum ante conspectum suum. Ecce enim Deus adjuvat me, et Dominus susceptor animae meae.

Save me, O God, for thy name's sake: and avenge me in thy strength. Hear my prayer, O God: and hearken unto the words of my mouth. For strangers are risen up against me: and tyrants seek after my soul, which have not God before their eyes. Behold, God is my helper: the Lord is with them that uphold my soul.

X. THE HARMONY OF THE SPHERES The Hypermixolydian Mode - OCTAVA SPHERA (Fixed Stars) - URANIA (Muse of Astronomy)

Musica Dei (instrumental) Orlando de Lassus (1532-1594) Taquer le nostre muse Marc’Antonio Ingegneri, Libro quinto di madrigali a cinque voci (1587)

Taquer le nostre muse Meste del duol confuse Quando Febo il lor dio Per gir all'Orsa quindi si partio. Ora è venuto il giorno Del caro e desiato suo ritorno: Liete e festose il canto Ripiglian altretanto. Siede egl'in mezz'il coro E dolc'e grave intanto Molz' i concenti e tempra il canto loro: E del suo nome ch'ode Con le note sonar s'allegra e gode.

Our muses became silent, sad, confused with sorrow, when Phoebus their lord left to travel among the constellations. Now the day of his dearly desired return is come: let the happy, festive singing begin again. He sits in the middle of the choir and all the while he refines the ensemble and tempers their sweet and grave singing: and he delights and joys in hearing his name sound with their notes.

Choro de Febo (Chorus of Phoebus Apollo) Andrea Gabrieli, Madrigali et ricercari (1589)

Febo, Febo noi cantiamo, Di virtù maestr'e duce. Lieti sec'ogn'hor lodiamo Sua divina eterna luce. Delle Muse quest'è'l padre E dell'opr'alte e leggiadre.

Phoebus, Phoebus we sing, comander and master of virtue. Happy with him, let us ever praise his divine eternal splendor. He is the father of the Muses and of lofty and graceful deeds.