Manuscript Sources for songs and contrafacta on CD "Magdalena" Avie AV 0026
Track 1 Magdalena degna da laudare
C. 100 v. / 110 v.
This song is from the late 13th century Cortona Laudario.
We sing Magdalena degna da laudare in a 3/4 rhythm followed by a fidel and hurdy-gurdy instrumental that takes the same melody into 6/8.
Track 2 O Madalena che portasti grande amore
Number 91 from the Laudario Giustinianeo - MS40 Biblioteca dei Padri Somaschi della Salute. Alas this lauda survives without musical notation so we have contrafacted it to another lauda - Fa mi cantar amor de la biata - from the Cortona Laudario (C. 19 v. / 22 r.).
Jennie sings the solos accompanied by harp and pizzicato fidel. Belinda starts to improvise from the third verse, and Caitriona from the fourth verse.
Track 3 Ave clari generis dulcis Magdalena
Text: A fol. 248 a. - Cfr. Anal. III, 197 sq.
Track 4 Chanter voel par grant amour
Ms. Paris, Arsenal 3517, f. 147r.
Track 5 Victime paschali laudes
In this 11th century Easter sequence by Wipo of Burgundy we use a version found in the Florence Laudario (Fols. 138v-140v). Jennie and Belinda sing the solos.
Track 6 Ortorum virentium/Virga Yesse/Victime paschali laudes
Also from the 14th century Florence Laudario (Fols. 146v-148r).
Track 7 Benedicamus Domino/Victime Paschali laudes
Played here instrumentally on fidel and hurdy-gurdy this third setting of the Victime paschali laudes comes from the St. Martial Codices (fol. 158v.) and is preceded by a setting of Benedicamus Domino from the Las Huelgas manuscript (Hu No. 39, f.25v.).
Track 8 Novum festum celebremus
Cod. Parisin. (ol. Martialen.) 3549. saec. 12.
Track 9 Parlamento
London, British Library, Additional 29987. Fol. 60r, v. This piece is one of the mere handful of purely instrumental compositions to survive from the Middle Ages.
It is an Istampita from the collection of Italian Ars Nova (14th century) pieces commonly referred to as the "London" manuscript because it resides at the British Library.
Riccardo plays it on the Gothic harp.
Track 10 Co la madre del beato
A lauda from the 14th century Florence Laudario.
Caitriona sings the solos.
|Track 11 Hodie mater gaudeat ecclesia
Brev. ms. Tullense saec. 14. Cod. Spinalien. 233 (166).
|Track 12 Salve, pia Magdalena
Tracks 12, 13 and 14 are from Legenda Sanctissimae Mariae Magdalenae Add MS 15682 in the British Library. This is a 14th century vellum manuscript full of antiphons and hymns devoted to MM that have not been published in any modern editions. It was written in Germany by Bertholdus Heyder.
Caitriona sings this chant alone.
|Track 13 O Maria Magdalena
BL Add MS 15682
Jennie sings this chant alone.
|Track 14 Benedicamus Domino Magdalena
BL Add MS 15682
Dessi, Belinda, Jennie and Caitriona sing unaccompanied.
Track 15 Magdalenam laude plenam
Text: Collect. ms. Llantoniense saec. 13. Cod. Colleg. Corp. Christi Oxonien. 59.
Track 16 Ave, beata femina, O Magdalena domina
The music for Ave, beata femina, O Magdalena domina is taken from another piece dedicated to a popular female saint - Saint Catherine - from the Las Huelgas Manuscript - Hu No. 132, f.119 v.
Track 17 Psallat immensa chorus omnis odas
Brev. ms. Nobiliacense saec. 13. Cod. Burdigalen. 85.
The melody is that of the virelai E, Dame jolie from northern France. The solos are sung by Dessi with refrains from Caitriona, Jennie and Belinda, and Riccardo plays the hurdy-gurdy. The instrumentals between sections are based on another northern French virelai: C'est la fin.
Track 18 Ave, plena Magdalena
Cod. Andecens. fol. 83 a.
Caitriona is the soloist with chorus provided by Belinda, Dessi, Jennie and Riccardo. Riccardo is playing the hurdy-gurdy and Ben is stamping his feet in a style reminiscent of traditional hurdy-gurdy/bagpipe music of the Auvergne.
The hurdy-gurdy melodies between verses are based on Cantiga de Santa Maria 249.
Track 19 O Maria, prius via
Miss. ms. Soror. de Paenitentia Argentinensium ann. 1472-79. Cod. Parmen. Parm. I 39 (1255). - 4a, 1 Magdalene.
Track 20 Peccatrice nominata (instrumental)
From the Florence Laudario (Fols. 124v-125).
Track 21 Estampie: Chançon legiere
This instrumental is devised from various songs of the trouvères, the most famous of which here is Conon de Béthune. The first melody played by Ben is Li tans nouveau (Paris, Bibliotheque Nationale, 12615. 113r-v) by Gontier de Soignies, then the hurdy-gurdy joins for Chançon legiere (Paris, Bibliotheque Nationale, 12615. 101r-v) by Conon de Béthune and the anonymous Amors me semont (Paris, Bibliotheque de l'Arsenal, 5198. 357).
Track 22 Peccatrice nominata
C. 38 v. / 39 v.
Track 23 O Madalena ch'andasti al sepolchro
This text survives in the Florence Laudario (Fols. 33r-35r) but, alas, without musical notation, so we have used another Florence laudario melody (whose text is also an Easter theme - Voi ch'amate lo criatore Fols. 25v-26v).
Track 24 O Maria, noli flere
Caitriona, Jennie, Belinda and Dessi sing this chant unaccompanied.