Sequentia

Ensemble for Medieval Music. Benjamin Bagby, Director

English | Français
Sequentia celebrates its 40th anniversary in March 2017
 
 

Contact

E-mail: info@sequentia.org

Representation
(Europe)

Katja Zimmermann
VCzimmermann@gmx.net

Representation
(exclusive of Europe)

Seth Cooper
Seth Cooper Arts Inc.
4592 Hampton Ave.
Montréal, QC, Canada
www.sethcooperarts.com
sethcooper.arts@gmail.com
Tel: 514-467-5052

In association for
Season 2016-2017 with:

Jon Aaron
Aaron Concert Artists 
220 West 148th St. 4J
New York City 10039, NY / USA
Tel: 212-665-0313
jon@aaronconcert.com

 

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Programs

Charlemagne: Emperor and Saint

Benjamin Bagby voice, harp
Norbert Rodenkirchen flutes, cithara
Wolodymyr Smishkewych voice, organistrum
Justin Bonnet voice
Vincent Pislar voice
Michael Loughlin Smith voice

Introduction

Charlemagne, the Frankish king who was crowned Emperor in 800 and died in Aachen in 814, ruled over a vast territory which included most of what is today Western Europe. He surrounded himself with some of the most brilliant minds of his time; his court – renowned for its focus on learning and poetry, the making of liturgical books and the study of ancient texts – was the the centre of a phenomenon we now call ‘the Carolingian Renaissance’. In spite of the fracture of his empire after his death, Charlemagne remained a potent figure in the formation of the identity of Europe as a ‘Holy Roman Empire’, with a geography we still recognize today. In fact, his figure remained so powerful that more than 350 years after his death, the Hohenstaufen Friedrich Barbarossa – together with his powerful chancellor, the Kölner archbishop Rainald von Dassel –  had Charlemagne declared a saint (1165). The reasons for this were largely a political and symbolic, but we see once again through this event how the image of Carolingian power and authenticity was both useful and necessary for later rulers. As dynastic politics evolved in Germany during the later Middle Ages, the cult of Saint Charlemagne was reduced to local importance.

Our programme presents music from two sides of this important and fascinating personality: liturgical chant from the 12th-century office for Saint Charlemagne, Regali natus, as well as a selection of Latin songs from the imperial court and devotional music from the time of his successors (8th – 10th centuries).

The liturgy for Saint Charlemagne

The complete rhymed office known as Regali natus was probably created in Aachen sometime around the declaration of Charlemagne’s sainthood in 1165. It contains antiphons and responsories, as well as the famous sequence Urbs Aquensis urbs regalis (still performed regularly today) and the hymn O rex orbis triumphator, all meant to be sung on 28 January, the saint’s feast-day. We also perform a sequence, In Karoli magni laude, created for the feast of the translation of the saint’s relics, which was first celebrated in Aachen in the presence of the emperor Friedrich II in 1215. Although rarely heard today, these chants were copied in dozens of manuscripts and widely disseminated in Europe.

The texts serve to underline the role of the German emperor as Rex mundi triumphator: protector of the faith, supporter of laws, and heir to Roman imperial glory. The chants often mention episodes from a Vita of Charlemagne which had been created for this purpose, and indeed, many of the images in the chants can be found illustrated in the magnificent Karlsschrein (ca. 1183) still visible in Aachen today. He is praised as a valiant crusader in wars against ‘heathen’ peoples (Saxons and Frisians in the north, Muslims in Spain) and in his efforts to subdue the Lombards in northern Italy.

Sources: Aachen, Domarchiv, HS G13 and HS G20.

Thanks to Prof. Dr. Eric Rice University of Connecticut/Storrs, USA) and Prof. Dr. Michael McGrade (Brandeis University, USA) for kind permission to use their transcriptions and translations.

Courtly songs and devotional canticles

Summi regis archangele Michahel is identified in several manuscripts with the rubric: sequentia quam Alcuinus composuit Karolo Imperatori (a sequence which Alcuin composed for the emperor Charlemagne), and is one of the most widely-known sequences of the Middle Ages. In its dedication to Charlemagne, attributed to the English monk, Alcuin, the emperor is compared to the archangel Michael, who defeated the dragon for the redemption of mankind. If this is indeed an original sequence by Alcuin (who was active among the literati at the court of Charlemagne until 796), it would be the earliest surviving sequence by a known author.

Source: Einsiedeln, Stiftsbibliothek Codex 121 (10th c.) / Transcription: N. Rodenkirchen

Surge meo domno surge fac is part of a longer panegyric devoted to the royal family, written by the Carolingian court poet Angilbertus in ca. 795. As we know from many sources, the literary men around the king gave themselves fanciful names: Charlemagne was of course ‘David’, Angilbertus was ‘Homer’, and the old master Alcuin was ‘Flaccus’ (= Horace). Here, in an elaborate mantra-like text about David’s (Charlemagne’s) supposed love and patronage of poetry and poets (Angilbertus’s wishful thinking?) we hear the kind of praise-song which both flatters and exhorts, at once playfully familiar and yet pious.

Reconstruction: B. Bagby

The earliest surviving text in the French language, this ‘Canticle of Eulalia,’ Buona pulcella fut Eulalia, tells the story of a beautiful and determined Christian girl who refuses to renounce her faith and is murdered by a pagan king – a theme to be visited again in the legend of Saint Ursula and her companions, murdered by the Huns in pre-Christian Köln. The survival of this text bears witness to the incipient ‘romance’ language in the empire of the Franks.

Reconstruction: B. Bagby

O mea cella: Alcuin, a brilliant scholar and monk originally from Yorkshire, was invited to Aachen with the express purpose of teaching and organizing intellectual life at the court of Charlemagne; by all accounts he was much beloved by the emperor and everyone at the court. As a reward for his services, he was awarded the position of abbot at the monastery of St. Martin of Tours, and departed from Aachen in 796, shortly after the royal palace had been completed. In this bittersweet and very personal poem, he laments the lost idyll of his teaching years within the palace, and reflects on the temporary nature of all earthly things.

Reconstruction: B. Bagby

Called Planctus cigni (the swan's lament), the sequence Clangam filii may have had its origins in West Frankish cloisters or even in indigenous Frankish song traditions. Its archaic theme of the soul's longing is made poignant through the voice of a swan, the lost wanderer over the dark ocean, seeking nourishment and a safe haven, and finding salvation by the light of dawn.

Transcription: Bruno Stäblein

A solis ortu usque ad occidua is a planctus (death lament) for the Emperor Charlemagne, who died in his palace at Aachen in 814. The Germanic harp used to accompany this lament would have been well-known to the courtly Carolingian poets and singers, in both the palace and the royal chapel.

Source: Paris, BNF, lat. 1154 (10c.) / Transcription/Reconstruction: B. Bagby

The Pieces

From the liturgy for Saint Charlemagne (late 12th century)

  • O rex orbis triumphator (hymnus)

Songs for the Emperor (late 8th century)

  • Summi regis archangele Michahel (sequentia by Alcuinus)
  • Surge meo domno dulces fac (ecloga by Angilbertis)

From the liturgy for Saint Charlemagne (late 12th century)

  • Secularis potentie (responsorium)
  • Fusa prece mentis bone (responsorium)

The Frankish Canticle of Eulalia (9th century)

  • Buona pulcella fut Eulalia (sequentia)
  • instrumental piece (based the sequentia Virgo plorans by Notker)

From the liturgy for Saint Charlemagne (late 12th century)

  • Tota poscente Francia (responsorium)
  • In Karoli magni laude (sequentia)

Frankish songs of departure and exile (9th-10th centuries)

  • O mea cella (cantica by Alcuinus)
  • Clangam filii (sequentia)

From the liturgy for Saint Charlemagne (late 12th century)

  • Gloriose Christi confessor Karole (responsorium)
  • Confessor obsequio Cesare Karole (responsorium)

A lamentation on the death of Charlemagne (Aachen, 814)

  • A solis ortu (planctus Karoli)

From the liturgy for Saint Charlemagne (late 12th century)

  • Urbs Aquensis urbs regalis (sequentia)

Aside from the Germanic harpa, which is well-documented in sources from the 6th-10th centuries, we know that the Carolingians appreciated various fistulae (flutes) and the cithara, an early type of long-necked plectrum instrument. In the paraliturgical songs from the liturgy for Saint Charlemagne, we also make use of the organistrum, a drone instrument widely used in 12th century.

Germanic harp by Rainer Thurau (Wiesbaden, 1997)

Cithara by Olivier Feraud (Nice, 2010)

Wooden flutes by Neidhart Bousset (Berlin, 1998) and Beha & Gibbons (Boston, 1995)

Organistrum by Wolodymyr Smishkewych (Bloomington, 2010)

Upcoming Concerts

05 October 2017
Paris (FR), Musée de Cluny
Monks Singing Pagans

09 to 13 October 2017
Venice (IT), Fondazione Cini
Seminar Roman de Fauvel

20 April 2018
Konstanz, D
Oswald in Konstanz

See full concert schedule

 

News

Benjamin Bagby's recent activities as teacher/lecturer, linked to his performances

At the invitation of the music department, Benjamin taught a performance workshop on the music of Hildegard von Bingen for students at Princeton University (29 March), where he also performed 'Beowulf' in a collaborative production with digital light designer Craig Winslow. Following this, at the invitation of the medieval studies program and the English department, he gave a lecture on his work with reconstructing the 'Beowulf' performance, at Yale University (3 April).

At the Université Paris – Sorbonne, where Benjamin is on the faculty, the yearly 'Entretiens de la musique ancienne' were held this year in honor of his life-long work with reconstructing 'lost songs'. The main event was his performance of 'Beowulf' (11 May), with French video titles, in the Amphithéâtre Richelieu of the Sorbonne, followed by two days of symposium at the university's Centre Clignancourt, sponsored by the historical music organization IREMUS and the musicology department of the university. During this symposium, Benjamin gave a lecture on his work with reconstructed harps and the kinds of clues they can provide ('Beowulf ': dans l'atelier d'un conteur d'histoires).

 

2017 Barbara Thornton Memorial Scholarship awarded by Early Music America to string-player Allison Monroe

This scholarship is given by EMA to “an outstanding and highly-motivated (and possibly unconventional) young performer of medieval music who seeks to widen his/her experience through more advanced study and/or auditions in Europe.”  The recipient is chosen by a jury of musicians who knew or worked with the great medieval music specialist and teacher, Barbara Thornton (1950-1998), who co-founded Sequentia together with Benjamin Bagby in 1977. Read more about Allison here.

More news