https://www.youtube.com/watch?v=V9XhQL5Te3c https://en.wikipedia.org/wiki/Nicolas_Gombert This lamentation, dedicated to Josquin des Prez, (considered by many the greatest composer of the late 15th and early 16th centuries), appears in Susato's 1545 chanson collection twice: the first for 4 voices by Benedictus Appenzeller and the second for 6 voices by Nicholas Gombert. These two elaborate polyphonic works in Latin were included as an homage to the great master in a single volume that assembled nearly all of Josquin's greatest secular works in the French language. The choice of Latin text, despite the pagan references in the lyrics, perhaps suggests a somewhat religious tone to an otherwise motet-like composition. In the 3rd tenor, one can hear the antiphon for the Office of the Dead (Circumdederunt me). One can also hear the transition from a 4 rhythm to a 3 rhythm as the mood of the song turns from a grim and somber feel to a more optimistic one. This 4 to 3 shift can also be heard in Josquin's antiphon "Ave Maria, gratia plena." Gombert was thought by some contemporaries to be a student of the elder master during Josquin's final years in the north of France. The younger composer is also remembered for his masterful 6 voice parody of Josquin's late chanson "Mille regretz." Text (and translation): 1. Musæ Iovis ter maximi proles (Muses of Jove [Jupiter], thrice greatest children) Canora, plangite, (sing, weep) Comas cypressus comprimat (The cypress draws back its leaves) Iosquinus ille occidit, (Josquin [des Prez], he is dead) Templorum decus, (deity of the temples) Et vestrum decus. (and your glory) 2. Severa mors et improba (Severe death and impiety) Quæ templa dulcibus sonis (which temples are deprived of sweet sounds) Privas, et aulas principum, (and the halls of princes) Malum tibi quod imprecer (to invoke curse upon you) Tollenti bonos, (who takes away the Good) Parcenti malis? (and spares the Bad) 3. Apollo sed necem tibi (But Apollo threatens you) Minatur, heus mors pessima, (with worst death) Instructus arcu et spiculis (armed with bow and arrows) Musasque ut addant commonet, (and reminds the Muses to add) Et laurum comis, (laurel to the hair) Et aurum comis. (and gold to the hair) 4. Iosquinus (inquit) optimo (Josquin says the best) Et maximo gratus Iovi, (and most grateful Jove) Triumphat inter cœlites (triumphs among the heavenly [souls]) Et dulce carmen concinit (and sings a sweet song) Templorum decus, (glory of the temples) Musarum decus. (glory of the Muses) 3rd Tenor: Circumdederunt me gemitus mortis, (The cries of death surround me) doloris inferni circumdederunt me (the pains of hell surround me) Photos: 1. "Musae Jovis," cantus part, N.Gombert, Septiesme livre contenant vingt-quatre chansons, publ.T.Susato, 1545 2. The mourner, Claus Sluter, c1450 3. Time (or the Astrologer) and Orpheus, School of Giogione, c1500 4. Parnassus with Apollo and the Muses, Andrea Mantegna, 1497 5. Pegasus and the Muses, Girolamo Romanino, c1540 6. Woman in mourning, Anon. German, c1540 cent. 7. Musical angels, details from a fresco "Crowning of the Elect" in Orvieto Cathedral, Luca Signorelli, c1500 8. Mourning woman, Anon. Flemish, c1480 9. Parnassus, Raffaello Sanzio, Apostolic Palace (Vatican), 1511 10. Detail of Dante, Homer and Virgil from # 9. 11. Woodblock print of Josquin des Prez likely based on an earlier illustration, c1611

https://www.youtube.com/watch?v=6zGzAVQxidU https://en.wikipedia.org/wiki/History_of_Galicia Most likely portuguese due to the pronunciation and writing of some words or maybe a dialect of Galician which is spoken on both sides of the Iberian-Portuguese borderlands. Ollademe, gentil dona Although very simple in both melody and harmony, this villancico of unknown origin is unusual in its design. The score explicitly suggests a him (El) and a her (Ella) to sing the lyrics alternatingly -- somewhat like an operatic performance (still more than a century away). The song's theme is a common one for the late Middle Ages: a man of uncertain background presents himself before a lady of noble upbringing, but he is quickly shunned and turned away even before he has had the chance to prove himself worthy. The rhythm is a 6/8 beat and has a certain basse dance-like feel. The single reference to a town, Santaren, is likely the central Portuguese city of Santarém. Hence the gallant young man may be a traveler from neighboring Portugal who does not speak the noble lady's "refined" Catalan dialect. In fact, several Portuguese words are interspersed throughout the song ("do" instead of "de" as well as "muito" instead of "mucho.") Because there were many Portuguese composers at the Catalan court, this kind of scenario may have played out frequently. Margaret Philpot's excellent recording attributes this piece to the composer Juan del Encina, but the original manuscript does not cite any author, and thus this rendition's author designated the creator as "Anonymous." Text: Ollademe, gentil dona (Hear me, gentle Lady) y valey por vosa fey (and I wish for your faith) que so da casa do Rey (that I am of the house of the King) De menigo so criado (I am raised from youth) No paço mas que ninguen (and eat no more than anyone) So fidalgo aprovado (a well regarded nobleman) da villa de Santaren (from the village of Santaren) Ollademe sin desden (Hear me without disdain) y valey por vosa fey (and I want your faith) que so de casa do Rey (that I am of the house of the King) etc.