cantantibus organis title full - peter tranchell · 2020. 12. 26. · feast given in the liber...
TRANSCRIPT
https://peter-tranchell.uk
2
The full anthem Cantantibus organis for St Cecilia’s Day was written by Peter Tranchell in 1987 for useby the choir of Gonville and Caius College, Cambridge, where he was Precentor (Director of Music),and it was sung at Evensong (presumably on St Cecilia’s Day, 22 November) that year.
The final page of the manuscript, reproduced here after the computer-set music, gives the relationshipbetween the music in the anthem and the plainsong settings of some of the proper antiphons for theFeast given in the Liber Usualis. For the refrain Tranchell has used a shortened and slightly adaptedversion of the first antiphon at Second Vespers, Cantantibus organis, Cæcilia Dominodecantebat in corde suo,and the melody is shown as deriving loosely from the plainsong setting of part of the Antiphon for theMagnificat at First Vespers (Est secretum, Valeriane...), specifically angelum Dei ... amatorem, followed bythe beginning of the second Antiphon at Second Vespers, Valerianus – in retrograde. The melodies of thesolo verses are shown as similarly related to parts of the plainsong melodies of these two Antiphonstogether with the second Antiphon at Second Vespers. This is the sort of intellectual exercise that PeterTranchell revelled in, though it has rarely been so completely documented by him – another example ishis exhaustive analysis of the 210 variations of the main theme in his opera The Mayor of Casterbridge(1951) covering 24 foolscap pages [preserved in the Cambridge University Library, available in theManuscripts room under Classmarks Tranchell/10/1/1/10/279 & 280]. In his notes on the composerEdward Johnson, Tranchell wrote “It is possible to write genuinely good music which contains acryptogram” and may well have been making a self-reference.
The origin of the English words, which tell the story fleshed out from the antiphons and according tovarious Lives of St Cecilia dating back to Chaucer’s Second Nun’s Tale, Ælfric’s Lives of Saints andbefore, is uncertain. They are possibly by Tranchell himself, given that they are required to fit themelodies derived from the various plainsong fragments, although the near-doggerel is uncharacteristicof his few poetic writings and nowhere near the class of the works on the subject by Dryden, Pope andAuden.
The texts of all the antiphons for the day in the Liber Usualis are given below, with English translations:
I Vespers
Antiphon for the Magnificat: Est secretum, Valeriane, quod tibi volodicere : angelumDei habeoamatorem, quinimiozelocustodit corpus meum.
Valerian, there is a secret I would tell you: It is God’s angel that I hold dear, who guards my body mostzealously.
II Vespers: the five Antiphons
Antiphon for the Magnificat: Virgogloriosa semper EvangeliumChristi gerebat in pectoresuo; non diebusneque noctibus a colloquiis divinis et oratione cessabat.
The glorious maid bore Christ's Gospel always in her heart, and neither night nor day did she ceasespeaking and praying to God.
Antiphon 1 Cantantibus organis, Cæcilia Dominodecantebat dicens : Fiat cor meumimmaculatum, ut nonconfundar.
As the instruments were playing, Cecilia sang to the Lord, saying: Let my heart be spotless, that I maynot be confounded.
Tranchell set a slight variant: Cantantibus organis, Cæcilia Dominodecantebat in cordesuo.
As the instruments were playing, Cecilia sang to the Lord in her heart.
This is cognate with the longer version as set by Lassus: Cantantibus organis Cecilia [virgoin corde suosolidomino] decantabat dicens: Fiat cor meum[et corpus meum] immaculatumut non confundar.
As the instruments were playing, Cecilia the virgin sang in her heart to the Lord only, saying: Let myheart and body be spotless, that I may not be confounded.
3
Antiphon 2 Valerianus in cubiculoCæciliamcumAngelooranteminvenit.
Valerian found Cecilia in her room with an Angel at her prayers.
Antiphon 3 Cæcilia famula tua, Domine, quasi apis tibi argumentosa deservit.
Cecilia thy servant, Lord, served thee like the busy bee.
Antiphon 4 Benedicote, Pater Domini mei Jesu Christi : quia per Filiumtuumignis exstinctus est a latere meo.
I bless thee, Father of Jesus Christ my Lord; for, thanks to thy Son, the fire is extinguished beside me.
Antiphon 5 Triduanas a Dominopoposci inducias, ut domummeamecclesiamconsecrarem.
Three days’ respite have I asked from the Lord, that I may dedicate my house as a church.
Composer’s notes – as referenced in the text.
1 During Imperial Roman times the organ, called hydraulis or hydrawhether it was blown by a water-mechanism or by bellows, was usedat public entertainments in theatre or arena. Smaller versions werealso commonly in domestic use. Metal flue-pipes in up to four rankswere the norm, some ranks open, others stopped. From theconsiderable remains of a hydraulis bearing a dedicatory tablet dated228 AD unearthed by archaeologists earlier this [i.e. twentieth]century at the Roman military site of Aquincum in Hungary [modernBudapest], and from a working replica more recently made of it, it isclear that the organ’s tone especially as regards the open pipes wasremarkably shrill.
In Cecilia’s day, the organ had no association with Christian worship
2 The priest was Bishop Urban, then in hiding among the poor near thethird milestone of the Appian Way. He regularly administeredclandestine baptism. Later he baptized four hundred persons in oneday in Cecilia’s house, which may well have intensified the suspicionsof the authorities as regards her illicit activities.
3 Valerian’s brother was called Tibertius.
4 The Prefect of Rome at that time was Almachius. The beheadingtook place at Pagus Triopius, four miles from Rome.
5 St Cecilia was buried in the catacomb of St Callistus [Callixtus].
Dynamics in square brackets are editorial, provided by Peter Marchbank
Music setting by John Gwinnell, March 2014
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The
E 58
24
34 B
E 58
Q 24
Q 34 .
B
E 58
24 R R Q Q 3
4 ..Q QE 58 .. 2
434
151 R SOLO SOPRANO[ ]SOLO TENOR
[ ]
13
A
24 Q
Heads -
Q
man,
Q
to
chop
Q
off
her
Q
head,
Q
struck
thrice
Q
per -
Q
force,
Q
– and
R
thought
Q
her
Q
dead.
A24 Q Q Q Q Q
Q Q R QA24 Q R
E 24
Q QE 24
Q Q Q R Q Q
154
II-
R
A
Q
But
three
Q
days
34 Q
more
Q
she
Q
ling -
er'd
Q
on,
un -
Q
-
38
til
Q to
A QQ 3
4 ..QQ
.
. 3
8 ..
E Q R 34..Q .. 3
8..
158
R
A
78 Q
Heav'n
Q
her
soul
Q
was
34
gone.
38 I I I I B
A78
34 I 3
8 ....SS S S .
..
.RQ R R
.
..
.Q R Q Q
R R R S R
E78
34 I 3
8....SR R S
B...SR S
.
..RQ R S
R S
E78 I 3
4 I 38 .S . R Q
162
see Note 5
( = )
( = ) I
R14
A24 Q
Thus
was
to
Q
Mu -
Q
-
-
-
Q
-
sic
Q
giv'n
the
Q
seal
Q
of
wit-
Q
ness
Q
to
Q
her
R
first
Q
or -
Q
deal.
A24 ..
.QQ Q Q Q Q
QQA
24
Q Q Q Q
A24..R R
F Q R Q Q Q
E 24 I Q Q Q
168 ( = ) TUTTI (all voices)
II( = )
R
R R
A QIn
R
death
Qit
34 Q
was
Q
her
Q
last
re -
Q Q
ward
Q
Q
To
Q 38 Q
make
Q
Hea-
ven's
A QQ 3
4 Q Q QQRQ
Q
RR( )R 3
8 ....Q QQ
A34 Q Q Q
38
E 34 Q R Q Q R
Q Q38...Q Q
EQ
34 Q R R Q
Q38 Q
173
R
R
A78 Q
mu -
Q
sic
with
Q
the
34
Lord.
FQ
Glo -
ri -
a
Pa -
38
Q
tri,
A78 Q Q Q
..
.Q 34
R
..
.Q R R
38 I
E 78
.
.Q
34
Q Q I 3
8 I
E 78
34 Q
I 3
8 I
177 SOLO BASS
[Trumpet]I
15
A Qet
R.
Fi -
.
li -
.
o
et
Q
Spi -
.ri -
.tu -
.i
Q
San-
Q
cto,
si -
.
cut
e -
rat
Q.in
.
prin -
A Qet
R.
Fi -
.
li -
o
et
.
Spi -
Q.
ri -
.
tu -
.
i
Q
San-
cto,
si -
Q
cut
e -
Q
rat
Q.in
Q.
prin -
A
Q
rat
R .
in
.
prin -
A
Qet
R.Fi -
.
li -
.o
et
SSpi -
R.
ri -
.
tu -
.
i
San-
Q
cto,
si -
Q
cut
e -
Q Q.
.
E Qet
Q.
Fi -
.li -
o
et
.R
Spi -
.ri -
.tu -
.i
S
San-
cto,
Qsi -
.
cut
e -
Qrat
.
in
.
prin -
A I I I I ...Q
QR
E I I I I ..Q Q R
E I I I IQ
.Q
181 ( = )
( = )
I
Q
A Q.
-ci-
.
pi-
o
R
et
.R Q
nunc
Q
et
R
sem -
per,
.et
.in
.
sae -
cu-
la
Q.
sae-
.
cu -
A Q.
-ci-
.
pi-
o
Ret
. Qnunc
et
R sem -
per,
Q.
et
.
in
.Q
sae -
cu-
la
Q.
sae-
.
cu -
A
Q.
-ci-
.
pi-
o
R
et
. Q
nunc
Q
et
Q
sem -
per,
.
et
.
in
.
sae -
cu-
la
R.
sae-
.
cu -
A
Q..
Q.
..R
.
.
E Q.
-ci-
.pi-
o
R
et
Q
nunc
Q
et
sem -
per,
Q.et
.in
.
sae -
cu-
la
A Q R QRR I
.
.
RQ
E ..Q Q I Q
.
Q Q
Q.
Q R
E Q I I I I I I
187
R
Q
Q R
R
16
A
-lo -
-
-
-
-
Q
rum.
R
A -
.-
men.
A .Q
- lo -
.
-
.
-
.
-
-
Q-
rum.
R
A -
.-
men.
A
R Q
Q. .Q
A
.
-lo -
.
-
.
-
.
-
Q
-
R
rum.
QA -
.
-
.Q
men.
E
-
rum.
QA -
-
-
.
.Q
men.
A I ....Q .... ....
. .
I I I
E I...Q......
.
RQ.
I I I
E I .
. I I I
194
R
A I
A I
A
.Q( ) . . .R . . .A.Q( ) . . . . . . I
E .. .
. .
. .
. .. .. .. I
A I I I ...RQ R............
E I I I..Q........
E I I I .Q . . . .
202
II
PAUSA LUNGA
[Reduce Pedal]
17
