Laudate Dominum, omnes gentes · Laudate Dominum, omnes gentes Pierre de Manchicourt...

Laudate Dominum, omnes gentesPierre de Manchicourt (c.1510–1564)

Attaingnant, Liber decimus quartus XIX musicas … P. de Manchicourt [Paris, 1539]

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Laudáte Dóminum, omnes gentes; laudáte eum, omnes pópuli: resurréxit Dóminus, allelúia.Unus est Christus qui regnat; laudáte Dóminum, omnes gentes: Christus triúmphat, allelúia.Unus est Christus qui renóvat; laudáte eum, omnes pópuli: Christus glorí!cat, allelúia.Unus est Christus qui corónat; laudáte Dóminum, omnes gentes, allelúia.

Pláudite ergo, omnes gentes, quóniam con!rmátaest super nos misericórdia ejus, allelúia; et véritas Dómini manet in aetérnum: laudáte eum, omnes pópuli.

O praise the Lord, all ye nations; praise him, all ye peoples: the Lord is risen, alleluia.There is one Christ who reigneth; O praise the Lord, all ye nations: Christ triumpheth, alleluia.There is one Christ who restoreth; praise him, all ye peoples: Christ glori!eth, alleluia.There is one Christ who crowneth; O praise the Lord, all ye nations, alleluia.

Clap your hands therefore, all ye nations, for his mercifulkindness is ever more and more toward us, alleluia; and the truth of the Lord endureth for ever: praise him, all ye peoples.

adapted from Psalm 116 (Vulgate)

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 of Victoriaand Palestrina. This joyous Eastertide motet is the opening work in Attaingnant's 1539 volume.

Editorial Notes:

This edition is set at original pitch. Editorial accidentals are indicated above the note. Original note values are retained: thus, consistent with16th-century convention, the ) mensuration sign and its modern-equivalent * time signature signify a semibreve tactus. The tripla sections (atm.105 and m.134) are marked in the source with a;3mensuration sign: the digit generally indicates a tripling of the tactus, but the absence of a‘slash’ through the! indicates a tactus slightly slower than in the preceding dupla section. It is therefore suggested that the tempo of the triplasection be broadly interpreted as “three semibreves in a time slightly slower than the preceding semibreve”.

Bar lines are added only to aid reading and direction: ‘strong’ and ‘weak’ beats implied by their position should never take precedence overphrasing or word stress. Ligatures and coloration in the source are acknowledged with overarching square brackets and open bracketsrespectively. Word underlay re!ects editorial judgment and is freely adjusted: editorial re-iteration of text not explicitly indicated in the source isindicated in italic.

Engraved on 28 Apr 2020 using LilyPond 2.20.0 (http://lilypond.org/)

Laudate Dominum, omnes gentes · Laudate Dominum, omnes gentes Pierre de Manchicourt...

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