The Capilla Flamenca
AMANDA QUIST, CONDUCTOR
January 16-19, 2025
Program Note
Capilla Flamenca
The Capilla flamenca (Flemish chapel) was the private chapel choir of Holy Roman Emperor Charles V (1500–1558). At the time that Charles was elected emperor, in 1519, he ruled more territory than anyone since the time of the Roman Empire. This came about more by accident than design: Charles’s grandfather, Maximilian I of Austria, had married Mary of Burgundy, only child and heir of Charles the Bold, the last Duke of Burgundy. Although Burgundy proper reverted to the French crown upon the death of Charles the Bold in 1477, Mary was still the ruler of the remaining Burgundian territories (the Burgundian Netherlands), which included what is now Belgium (both Flanders, where Flemish was spoken, and Wallonia, where French was the language), parts of northern France, and portions of the southern Netherlands. Maximilian brought his own considerable Habsburg territories in Germany, Austria, and Eastern Europe to the marriage.
Seeking to increase his family’s power, Maximilian married his two children, Philip the Fair and Margaret of Austria, to Juan and Juana of Spain, daughter and son of Ferdinand and Isabella. With the deaths of Juan, heir to the Spanish throne, and both of Juan’s parents, Ferdinand and Isabella, the young Charles became the ruler of Spain and its territories through his mother, Juana. Thus, Charles was now sovereign of the Burgundian Netherlands, all the Habsburg lands, Spain, and the massive holdings of the Spanish New World--an empire of staggering size.
Charles came from a long line of passionate music lovers going back to the first Duke of Burgundy in the fourteenth century. This love manifested itself most conspicuously in the employment of a large number of professional singers. By the time of Charles’s parents, this meant both a grande chappelle and a petite chapelle, the former including up to thirty-eight members—this at a time when many churches had just a handful of professional singers. The chapel was kept busy; their daily church services, including the performance of the mass, typically included not just plainchant (a single melodic line, sung in unison and popularly known as Gregorian Chant,) but also the most up-to-date and complex polyphony for up to eight voice parts. We know this because of surviving manuscripts from the court as well as inventories of music books owned.
The chapel accompanied Charles (and his predecessors) everywhere. This was important because in the days before media such as newspapers or photography,
a ruler wished to display himself (and his power) to his subjects on a regular basis. He needed to be seen to be believed, and a ruler who could command such a massive musical force was especially impressive. And because their territories were far-flung, Habsburg-Burgundian rulers were typically on the move.
Charles was raised in the Low Countries, mostly in Brussels and Mechelen. The first time he left his native region was to travel to his new kingdom of Spain in 1517. The chapel he brought with him, consisting of twenty-eight members, became known as the Capilla flamenca to distinguish it from the much smaller and less prestigious Spanish chapel that he inherited from his mother Juana and his Spanish grandfather, Ferdinand. The quality of musical training in the Low Countries meant that for much of the fifteenth century and well into the sixteenth, most of the best performers and the best composers came from the North. From his own musicians and from the music they encountered on their frequent travels, Charles’s Capilla flamenca drew on the riches of both sacred and secular music throughout his reign, performing compositions by Pierre de la Rue (the most significant composer in the chapel when Charles was growing up), Thomas Crecquillon (chapel master for Charles), Josquin des Prez (wildly popular throughout Europe, and richly represented in music manuscripts owned by Charles), and other leading composers of the day such as Clemens non Papa, Adrian Willaert, and Claudin de Sermisy. No other institution, not even the Papal Chapel, had a repertory as rich as that of the Capilla flamenca, and the music they performed represents the great riches of the sixteenth century, the “Golden Age of Polyphony.”
Honey Meconi is the inaugural Arthur Satz Professor at the University of Rochester, where she is also Professor of Musicology at the Eastman School of Music. She is the founding editor of the monograph series “Oxford Studies in Early Music” for Oxford University Press.
Renaissance: The Capilla Flamenca
Thu, Jan 16, 2025 • 7:30 pm • St. Gregory’s Episcopal, Boca Raton
Fri, Jan 17, 2025 • 8:00 pm • Church of the Little Flower, Coral Gables
Sat, Jan 18, 2025 • 7:30 pm • All Saints Episcopal, Ft. Lauderdale
Sun, Jan 19, 2025 • 4:00 pm • Moorings Presbyterian, Naples
Amanda Quist, conductor
Missa Domine Deus omnipotens Thomas Crecquillon (1505 -1557) Kyrie Gloria
Mille regretz Josquin des Prez (c.1450/55 - 1521) El Grillo
Ego flos campi Clemens non Papa (c. 1510/15 - 1555/6)
Mijn hert Pierre de la Rue (c.1452 - 1518)
Tant que vivray Claudin de Sermisy (c. 1490 - 1562)
Missa Domine Deus omnipotens Crecquillon Sanctus/ Benedictus
Haud aliter pugnans Adrian Willaert (c. 1490 - 1562)
Vecchie letrose
Missa Domine Deus omnipotens Crecquillon
Agnus Dei I
Agnus Dei II
Ave Maria des Prez
SOPRANO
Elisse Albian
Jane Long
Elijah McCormack
Andrea Walker
ALTO
Luthien Brackett
Alexandra Colaizzi
Douglas Dodson
TENOR
Aaron Cates
Haitham Haidar
Nickolas Karageorgiou
BASS
Eric Alatorre
Luc Kleiner
Jonathan Woody
Amanda Quist, conductor
To read full artist bios, scan the QR code below or visit SeraphicFire.org/Artists
Missa Domine Deus omnipotens
Thomas Crecquillon (1505-1557)
Kyrie
Kyrie eleison.
Christe eleison.
Gloria
Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Laudamus te. Benedicimus te.
Adoramus te. Glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex caelestis, Deus Pater omnipotens.
Domine Fili unigenite, Iesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi, miserere nobis.
Qui tollis peccata mundi, suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus . Tu solus Dominus.
Tu solus Altissimus, Iesu Christe.
Cum Sancto Spiritu, in gloria Dei Patris.
Amen.
Mille regretz
Josquin des Prez (c. 1450/55-1521)
Mille regrets de vous abandonner
Et d’eslonger votre fache amoureuse,
J’ai si grand deuil et peine douloureuse,
Qu’on me verra bref mes jours définer.
Lord, have mercy. Christ, have mercy. Lord, have mercy.
Glory be to God on high, and on earth peace, good will towards men. We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory,
Lord God, heavenly King, God the Father Almighty.
Lord, the only-begotten Son, Jesus Christ; Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us.
Thou who takest away the sins of the world, receive our prayer.
Thou who sittest at the right hand of God the Father, have mercy upon us. For thou only art holy; thou only art the Lord; thou only art the most high, Jesus Christ. With the Holy Spirit, in the glory of God the Father.
Amen.
A thousand regrets at deserting you and to prolong your love affair, I feel so much sadness and such painful distress, that it seems to me my days will soon dwindle away.
El Grillo
Josquin des Prez (c. 1450/55-1521)
El grillo è buon cantore
Che tiene longo verso.
Dale beve grillo canta.
El grillo è buon cantore.
Ma non fa como gli altri ocelli.
Come li han cantato un poco,
Van de facto in altro loco.
Sempre el grillo sta pur saldo,
Quando la maggior el caldo
Alhor canta sol per amore.
The cricket is a good singer. He can sing very long. He sings all the time.
The cricket is a good singer.
But he isn’t like the other birds. If they’ve sung a little bit, They go somewhere else. The cricket remains where he is, When the heat is very fierce Then he sings only for love.
Ego flos campi
Clemens non Papa (c. 1510/15-1555/6)
Ego flos campi et lilium convallium.
Sicut lilium inter spinas sic amica mea inter filias.
Fons hortorum et puteus aquarum viventium
quae fluunt impetu de Libano.
I am the flower of the field and the lily of the valley.
As a lily among thorns so is my love amongst the daughters. A fountain of the garden and a well of living waters which flow forth from Lebanon.
Mijn hert
Pierre de la Rue (c.1452-1518)
Mijn hert altijt heeft verlanghen
Naer u die alder liefste mijn
U liefde heeft mij ontfanghen
U eyghen will ick zijn
Voor al de weerelt ghemeene
Soe wie dat hoort oft ziet
Hebdy mijn hert alleene
Daer om lief en begheeft mij niet
My heart has always longed
For you, my most beloved. Your love has captured me; I wish to be your own.
In all the world, For all to hear or see, You alone have my heart; Therefore, Love, do not fail me.s
Tant que vivray
Claudin de Sermisy (c. 1490-1562)
Tant que vivray en aage florissant, Je serviray d’amour le roy puissant, En fais, en dictz, en chansons, et accords. Par plusieurs jours m’a tenu languissant, Mais apres dueil m’a faict rejouyssant, Car j’ay l’amour de la belle au gent corps.
Son alliance
c’est ma fiance:
Son cueur est mien, le mien est sien: Fy de tristesse, Vive lyesse, Puis qu’en amours a tant de bien.
As long as I remain at life’s full peak, To serve the God of Love is what I’ll seek, In deed, in word, in songs, and harmonies. For many days I have languished, But having suffered has made me rejoice, For I’ve the love of him whose beauties please.
His sweet consent he is my betrothed: His heart is mine, mine is his: Fie on sadness
Long live gladness Then in love has so much good.
Missa Domine Deus omnipotens
Crecquillon
Sanctus
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
Benedictus
Benedictus qui venit in nomine Domini.
Holy, holy, holy Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest.
Blessed is he that cometh in the name of the Lord.
Haud aliter pugnans
Adrian Willaert (c. 1490-1562)
Haud aliter pugnans fulgebat Caesar in armis ac tu, spes patriae bellica tela ferens.
Magna trophea paras, dum tu contendis in hostem, Vincislai paras nomina magna quoque.
Nam merito sortitus eras haec nomina laudis, cum toties victor vincere doctus eras.
Vecchie letrose
Adrian Willaert (c. 1490-1562)
Vecchie letrose, non valete niente, se non a far l’aguaito per la chiazza. Tira, tira, tir’alla mazza, Vecchie letrose, scannaros’e pazze!
Missa Domine Deus omnipotens
Crecquillon
Agnus Dei
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Just as the fighting Caesar, armed, did shine, so too do you, the hope of the homeland, bearing weapons of war.
Great trophies you obtain, when you contend with the enemy, and you obtain the great names of Wenceslas.
For you have rightly attained these names of praise since so often, taught to conquer, you have been the victor.
Spiteful old hags, you are good for nothing, only for lying in wait in the thicket.
Beat, beat, beat with your canes, Spiteful old hags, murderous and mad!
Lamb of God, who takes away the sins of the world, have mercy on us.
Lamb of God, who takes away the sins of the world, have mercy on us.
Lamb of God, who takes away the sins of the world, grant us peace.
Ave Maria des Prez
Ave Maria, gratia plena, Dominus tecum, Virgo serena.
Ave, cujus conceptio, Solemni plena gaudio, Caelestia, terrestria, Nova replet laetitia. Ave, cujus nativitas
Nostra fuit solemnitas, Ut lucifer lux oriens
Verum solem praeveniens. Ave pia humilitas, Sine viro fecunditas, Cujus annuntiatio
Nostra fuit salvatio. Ave vera virginitas, Immaculata castitas, Cujus purificatio
Nostra fuit purgatio. Ave, praeclara omnibus Angelicis virtutibus, Cujus fuit assumptio
Nostra fuit glorificatio.
O Mater Dei, Memento mei. Amen.
Hail Mary, full of grace, The Lord is with thee, serene Virgin. Hail, thou whose conception, Solemn full of joy, Celestial, terrestrial, The news fills me with joy. Hail, thou whose nativity Became our great celebration, As the light-bearing Morning Star anticipates the true Sun. Hail, faithful humility, Fruitful without man, Whose annunciation
Was our salvation. Hail, true virginity, Immaculate chastity, Whose purification Was our cleansing. Hail, glorious one In all angelic virtues, Whose assumption Was our glorification. O Mother of God, Remember me. Amen.
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Tonight’s music lifts our spirits and showcases the beauty Seraphic Fire brings to South Florida. While ticket sales help, it’s the generosity of friends like you that sustains over 40 performances and vital education programs for more than 3,500 K-12 students. Your gift today will keep this work thriving.
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Seraphic Fire recognizes its season sponsors, national sponsors, and institutional partners.
FOUNDER’S CIRCLE SPONSORS
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INSTITUTIONAL PARTNERS
Seraphic Fire is sponsored by the Miami-Dade County Tourist Development Council, Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; the City of Miami Beach, Cultural Affairs Program, Cultural Arts Council; the City of Coral Gables; Coral Gables Community Foundation; The Dunspaugh-Dalton Foundation; Funding Arts Network; Funding Arts Broward; The Kirk Foundation, Peacock Foundation, Inc; Quest Foundation; and Citizens Interested in Arts; the State of Florida, Department of State, Division of Arts and Culture, and the Florida Council on Arts and Culture, and the National Endowment for the Arts.
Seraphic Fire is funded by The Children’s Trust. The Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County. Programs in Broward County are made possible with the support of the Broward County Cultural Division.