orelei ensemble IMPERMANENCE Saturday, November 23, 8:00 pm. Sunday, November 24, 3:00 pm. ‘Marsh Chapel, Boston University PROGRAM Wind Horse (1961-1966) Vocalise I Ek tizis agathis Qui patris atris honoris / Paraclite spiritus Olvon lipousa patrikon Sanctus in eternis regnans / Sanctus et ingenitus pater atque carens Tin pentachordon Iyran Hunc diem festis celebremus hymnis / Precursoris verbi solennia Silk Road (1989) Sonja Tengblad, soprano Jonathan Hess, percussion Wind Horse Spell of Fingers Toru Takemrtsu (1930-1996) KassiA (ca.810—betwreen 843 and 867) Torino Manuscript (Cyprus, 15c) Torino: Biblioteca Nazionale sJ 19 Kassia Torino Manuscript Kassia Torino Manuscript Tan Dun (b. 1957) TAKEMITSUPar grant soif clere fontaine / Dame de tout pris Torino Manuscript Pour ce que point fu dela amere espine / Torino Manuscript A toi vietge me represente ‘Yper ton Ellinon — Kassia Kassia (Interlude) Tsukimi (2013) Peter Gisext (b. 1975) World Premiere, Commissioned by Lorelei Ensemble Wind Horse TAKEMITSU Vocalise IT Loree! ENSEMBLE Beth Willer, Artistic Director and alto Sonja Tengblad, soprano Margot Rood, soprano Emily Culler, soprano Shari Wilson, soprano Clare McNamara, alto Christina English, alto Emily Marvosh, alto Stephanie Kacoyanis, altoA NOTE FROM THE DIRECTOR Tonight Lorelei meditates through music on the Buddhist concept of imper- manence - continuous becoming as the undeniable truth of our existence. Framing the program are selections from Téru Takemitsu’s Wind Horse, de- picting a divination practiced by Tibetan nomads to decide where they should next go and live. Vocalise I begins with a colorful and textless soundscape — sharp with spare and angular counterpoint, while also soft and transparent with both dynamic and static vertical sonorities. The voices trip forward with uncertain purpose, often departing from the same vertical sonority, blown in anew harmonic direction upon each arrival Following this wordless “prelude”, we explore lesser-known gems of early Medieval Greece and late Medieval Cyprus. Lorelei is pleased to return to the Byzantine chant of Kassia, the earliest female composer in the Occident, for this project. The texts declare the immortality of both saints and martyrs, the latter despite their earthly impermanence, complete with mesmerizing drones and improvised polyphony to heighten the Greek texts. The anonymous Cypriot motets on tonight’s program are taken from the Torino Manuscript ([II.9 of the Biblioteca Nazionale in Turin), composed between 1413-1422 at the French court in Cyprus during the reign of King Jamus (1398-1432). The collection is one of three primary sources for the Ars subtilior (“subtler art”), a style that centered itself around Paris and Avi- gnon in Southern France, and followed the earlier Ars Nova (c.1310-1370), now most familiar to us in the works of Guillaume de Machaut. The works from the Torino Manuscript, however, lag behind the tradition as it first de- veloped, geographically isolated from its mother tradition. They therefore possess a unique brilliance and the occasional peculiarity —a stylistic relation- ship comparable to compositional oddities developed in the fifteenth- and sixteenth-century Spanish musical language, located on the more-isolated Iberian peninsula, distinct from, though closely tied to, the parallel Italian musical language of that period. Bearing both rhythmic and notational com- plexities, each piece delivers two texts simultaneously — either sacred (Latin) or secular (the vernacular French of the court) — and employs signature sty- listic gestures such as the hocket and the Landini cadence. One hears an un- usual number of full triads (imperfect consonances), particularly at internal cadences — a sonotity becoming mote popular in English polyphony of thesame period. The untexted lower parts were most likely performed on instru- ments, but tonight we deliver these works in a purely-vocal form. Brought to my attention by our in-house Medieval expert (Clare McNamara, alto), I was immediately struck by these somehow familiar yet mysterious works, imme- diately recognizing a certain impermanence in them — a constant evolution of style and language, on an island known for its fluidity of culture, where East met West. At the heart of the program, Tan Dun’s Si/e Road, on English verse by Arthur Sze. Performed by Sonja Tengblad and Jonathan Hess, the work is described by the composer as combining the tonal qualities of Peking opera “in a linear structure like the connected brush-strokes of calligraphy.” The text itself is buoyant and flexible, exploring the possibilities each word. Set to gestures that are virtuosic yet distinctly human and natural. Monumental and whim- sical, each line evolves, revolving on unsettled syntax, playful but seriously searching. Takemitsu’s Spell of Fingers, the only texted movement from Wind Horse that we present this evening, continues the trajectory into unfamiliar musical ter- ritory. Employing extended vocal techniques and thick, complex vertical so- Notities, it embodies the uncertainty and anxiety of the speaker. There is a hesitancy, but also a searching and attentiveness in each gesture. Frequent silences seem to wait for a response. This evening’s world premiere, Peter Gilbert’s Tswkimi (“Moon Viewing”), connects the disparate pieces of tonight’s program into a cohesive whole. Weaving together Japanese waka poetry and melodies of the Torino Manu- script, Gilbert vividly paints each miniature text with distinct textures. Sinu- ous melodies, pointillistic gestures, bent pitches (quarter-tones and glissandi), improvisatory rhythm, and dynamic pitch collections work together to create an ever-evolving texture. Each movement features an individual voice within the ensemble. To complete the program we once again retreat from text with Takemitsu’s Vocalise IT. Beginning with two-part polyphony, the angles of the opening Vacalise are absent, now softened and blooming into a mesmerizing collec- tion of six individually stable pitches. Full of quartal and quintal sonorities, the harmonies are more open than those in the previous, but still searching for resolve. Eventually the lines arrive at an exceptionally tonal melody — a quotation of a Bantu lullaby. Through rhythmically symmetrical gestures, we ate lulled to a place of stability and rest, both musically and spiritually. And though impermanent, as most consonances are — perhaps tonight our ears are left more open to whatever unexpected sonority might follow.COMPOSER'S NOTE Tsukimi (2013) Tsukimi is a traditional Japanese celebration of the full moon (translated as “Moon Viewing”) which dates back to the Heian period (coughly 800-1200 AD). The Heian era was a great era for Japanese literature and saw the revival of native waka poetry. The waka became more concise at this point, bearing only five lines: three of 5-7-5 syllable lengths (which would eventually stand alone as the hokku) and a final of 7 syllables each. A famous anthology of the time, the Ogura Hyakunin Isshu, brings together 100 great poems of the time by different poets. Powerful and condensed, they leverage the broad-reaching contemplations of Buddhism to create mo- ments of simultaneous descriptive, intellectual and spiritual beauty. The moon is one of Buddhism’s great symbols. Itself a surface of reflection, it makes a wonderful mirror for the concept of the illusion of the senses. This sense of the illusory nature of our experience of life is summarized by a single word in Japanese: ukiyo, which translates as “floating world” but really implies the world of the senses hovering all around us. The Ogura Hyakunin Isshu is full of such remarkably dense imagery. For me, reading them in a foreign language, the poems themselves are especially like the moon’s light: reflections beyond my grasp that illuminate the world about me in magically ethereal hues— emotional, ephemeral, slipping back into invisibility. -Peter GilbertTEXTS AND TRANSLATIONS Ek tizis agathis Ek rizes agathes agathos evlastese karpos 0 ek vrephous ieros Symeon, chariti malon e galakti trapheis, kai epi petran to soma ypsosas, pros Theon de yperypsose tin dianoian, aitherion diedomesato tais aretais endiaitema, kai tais theiais Dynamesii symmeteoroporon. Christou gegonen oiketerion tou Theou kai Soteros ton psychon emon. Qui patris atris honoris / Paraclite spiritus Qui patris atris honoris Prolisque in laribus Spiritus ritus amoris Servando, a paribus Procedens, sedens thronorum Eterne in superis Omousyon dictorum Horum nexus diceris Paripotens ens perenne, Amplezus compagoque Genitoris genitique; Preingens suavitas, Increata karitas, From a good root From a good root good fruit has grown Simeon, holy from birth, you were nourished on grace rather than milk, and you lifted your body high upon a pillar, and your thoughts even higher towards God, you lodged on bigh and lived with the virtues, and walked on air together with the Divine Powers. You became a dvelling place of Christ God and Savior of our souls You who in dark dwelling places/O protector spirit You who in dark duvelling places, Of the father and the Son, To preserve the ceremonies of the spirit of love, proceeding from one and the other sitting eternally at the highest of thrones, ‘You are called the link Of these essential words, External being of an equal strength, Having embraced your companion Creator of humankind; Infinite sweetness, Charity implanted,Repandaque veritas, Fons scaturiens donorum, Bonorum exemplar morum, Steriliam fecundator, Oppacorum illustrator, Coniectator abditorum Mestorumque consolator; Vita, virtus, lux tramesque, Forma finis hominum, Fomitesque criminum, Preintensa virtus arens, Cuius donis sancta parens, Afluit ecclesia, Tua multifaria Largire solatia In hic atque patria. Paraclite spiritus, Oris dei flamen, Hic misse divinitus, Fetendo velamen, Columbe prenitide Christo baptizato Nubis super splendide, Tam transfigurato; Flatus cum “Accipite” Ait mittens eos; Lingue quoque ignite Cum in phariseos Fandique judeos Robur prestitisti. Michi prefecisti Quem in ciprianos Solamen, munda nos Quo mente non tristi Honotes vitare, Rogito fer clare Possim servus Christi. Torino: Biblioteca Nazionale s.11.9, fol. 59v-60 (4/2) And widespread truth, A source welling up with gifts Model of good habits, You who give fertility to the sterile, Light to the blind, You are the seer of secrets And consoler of the sad. Life, strength, light, and a path, Form the boundaries of men And the comfort for faults, A most powerfiel burning force Our mother the holy Church, Is abundantly endowed with your gifts Grant your consolations In great number Here and in the homeland. O protector spirit, Breath from the mouth of God, Sent here from heaven, By bearing the veil, Abppearing as a superb dove With the baptized Christ, From a brilliant cloud, At the Transfiguration; When the Spirit, sending them, said, “Receive [the Holy Spirit],” Abppearing as tongues of fire When you granted the strength To speak against the Pharisees You have brought me consolation, A source of comfort with Cypriots, Cleanse us to avoid riches, By this happy mindset I ask with clarity that I might be able to Be a servant of Christ. Translation used with permission from Schola Antiqua of ChicagoOlvon lipousa patrikon Olvon lipousa patrikon, Christon de pothousa eilikrinos, doxan evrato e martys ke plouton ouranion, ke ti pantevchia peripefranmeni tis charitos to oplo tou stavrou katepatise ton tyrannon othen aggeloi tous agonas thavmazontes elegon: “Peptoken o echthros ypo gynaikos ettetheis, stephanitis anedeichthe e martys ke Christos eis aionas Vasilevei os Theos © parechonto kosmo to mega eleos.” Sanctus in eternis regnans / Sanctus et ingenitus pater atque carens Sanctus in eternis regnans, pater inque supernis Summadque natura naturans summa datura Maximaque ternis personis omnia cernis Res sine factura, generans sine que genitura, Sanctus et equalis genitus, qui cum patre talis, Abs defectura patris exples omnia iura, Qui personali distans patre proprietate, Ex integrali constans es idem deitate, Leaving the wealth of her family Leaving the wealth of ber family and longing sincerely for Christ the martyr found heavenly glory and riches, and totally shielded with the armor of faith, and the weapon of the Cross, trampled the oppressor; therefore the angels, amazed at her struggles, said: “The enemy has fallen, defeated by a woman; the martyr, crowned, was lifted upward and Christ reigns as God to all eternity, who gives to the world his great mercy.” Translation by Antonia Tripolitis Holy one reigning in eternity / Holy the unbegotten father, lacking a beginning Hoh one reigning in eternity, and father in the heights Producing the sum total of nature, and all the best that is given. As three persons, you discern all things. A thing without being made, bearing nithout being born, Holy equal son, who with such a father Without defect fill all the father's laws Who stand apart from the father in person and propriety Yet stand together wholly as the same deity.Sanctus et una quoque procedens res ab utroque, Que par gignenti similis substantia pura, Par quoque nascenti caritas, amor et pia cura, Munus et amborum, largitio, pignus amorum, Tu Sabbaoth dominus, celorum rex quoque dignus, Tu terrenorum, tu gloria plena polorum, Vivis in excelsis, rex, qui sine tempore celsis. Osanna dignos tecum regnare benignos Fac tibi cum sanctis regni solio dominantis, O benedicte, venis domini qui nomine plenis Sub trahe nos penis, osanna semper amenis Excelsis digne, salva nos, Christe benigne. Sanctus et ingenitus pater atque carens genitura Sanctus et ac genitus patri par gloria pura, Sanctus par pneuma, patri, genito quoque neuma, Fili sancte pater, sanctum quoque pneuma caracter, Tu Sabbaoth dominus, redimens nos anece pignus, Tu deus eternus, clemens, pius atque benignus, Tu cuius celi sunt peni terraque cuius Laus, amor, 0 Danieli vox, gloria roborat huius Holy also the one proceeding from each Who ts equal to the begetter and similarly pure in substance And equal to the begotten in charity, love, and holy care A sift of both of thers, freely given, a pledge of their love You are the lord of Sabaoth, the rightful hing of heaven You are the full glory of earth and sky You live in the heights, king, who are sublime for all time Hosanna! Make the blessed ones worthy to reign with you With the saints who hold sway in your Ringdom. O blessed one, who come in the name of the Lord, Take us away from full punishment. Hosanna! You who are ever worthy of heavenly joys, Save us, kind Christ. Holy the unbegotten father, lacking a Leginning Holy bim who is begotten of the father by pure glory, Holy the spirit, equal to the father, and voice from the son. O son, O holy Father, O Holy Spirit, the sign. You are the lord of Sabaoth, A phdge redeeming us from death; You are eternal god, merciful, holy and Rind. You of whom skies and earth are full, Whose praise, love, (0 voice of Daniel) And glory is strong in the hetghts—Celsis osanna, mortis quoque comprime damna, Nos celis foveas celestes ante choreas. Qui benedicte venis divino matre Maria Nomine prole pia, damnosis detrahe penis, Nobis patre datus ut nos a morte piates, Nobis celsa dares, pro nobis virgine natus, Mortuus et passus, crudeli verbere quassus, Qui venis in domini pro nobis nomine trini, Qui deus es dictus et homo pius et benedictus, Qui cibus et panis credentibus es tibi sanis, Semper in excelsis osanna redde beatis, Fine frui celsis, Salva nos, fons pietatis. Torino: Biblioteca Nazionale s.11.9, fol. 75v-76 (4/2) Tin pentachordon Iyran Tin pentachordon lyran, ke pentaphoton lychnian tis tou Theou ekklesias tous theophorous martyras pheronymos timi somen, ke evsevos egkomiasomen. Hhirois, o kalos ypo Theou stratevtheis en ti epouranio strateia hosanna! Restrain, also, the blows of death; May you nurture us in the skies before the heavenly choirs. Blessed one who came in the divine name With Mary as mother, as a pious child; Take away the painful punishments. You were given to us by the father to expiate us from death and give heaven to us, you were born for us from a virgin, Died and suffered, beaten with the cruel whip. Who come in the name of the triune God Sor us, Who are proclaimed both God and man, Loly and blessed, Who are food and bread for those rightly Lelieving in you, Hosanna in the highest, alvays! Grant the blessed to enjoy heavenly things at the last, Save us, fount of holiness - Translation by Anna Huiberdina Hilda de Bakker The Five-Stringed Lute The five-stringed lute, and fivefold lamp, of Goa’s Church, the divinely inspired martyrs so suitably named, let us honor and reverently praise. Hail, you who nobly served under God in the heavenly expeditionke to stratologisan ti aresas © en ritorsi ritor, Evstratie Theosophe. Hairois, o to talanton to ek Theou soi pistevthen epavaisas eis plithos Avzentie makarie. Hairois, o terpnotatos orpix tis theikis evgeneias, Evgenie theophron. Hairois, 0 oraios ti morphi tide gnomi yperlampros ke amphoterodexios co en tois theiois oresin endiaitomenos olos, panolvie Oresta. Hhirois o stilvon ke diavgis margatitis © tas vasanous tas pikras harmoniekos ypomeinas Mardarie aittite. Hairois, 0 isarithmos horos ton phronimon parthenon ous kathiketevsomen pasis orgis ke thlipseos lytrosasthai ke tis aftastou afton doxis symmetohous poiisai tous tin etision afton mnemin gerairontas and were pleasing to the Leader, orator among orators, Eustratius, wise in the things of God. Hath you who increased in quantity the talent entrusted to you from God blessed Auxentius. Hath you who are the most pleasing descendent of divine nobility, godly-minded Eiugenins. Hail_you who are fair in form, exceedingly distinguished in judgement and abvays ready, who lives foreber on the mountains of God, truly blessed Orestes. Hail, shining and radiant pearl who endured the bitter tortures quietly, unconguered Mardarins. Hail, evenhy-balanced chorus of wise virgins. Let us entreat them to deliver from all wrath and oppression and make partakers of their ineffable glory those who celebrate their yearly feast. Translation by Antonia TripolitisHunc diem festis celebremus hymnis / Precursoris verbi solennia Hunc diem festis celebremus hymnis Natus est in quo muliere natus, Nemo qui maior viguit per orbem Ote celesti canitur futurus Iam patri cano dubius, sed ille Damna sublate peperit loquelle. ‘Ventre matris sanctificatur atque Spiritu sancto subito repletur, Mox deum novit thalamo latentem. Primus elegit heremi latebras Polui cecli lubricis recusans, Limpha, mel, victum dedit et locusta. Previus lucis tamen ipse non lux Ast erat lucis potius future Testis in mundo radiantis omne. Nam palam clamat: Domino parate Tramite, monstrans digito sed agnum Celicum mundi scelus auferentem. O dei preco metitis decore Inclitis, istam tibi nunc ovantem Adiuva plebem, valeant ut astra scandere celi Precursoris verbi solennia, Quem misit qui creavit omnia Veti testis foret ut luminis Naturi thalamo de virginis, Nostra gaudens peragat contio Modis ut sit mixta devotio. Let us celebrate this day with festive hymns/ Solemnity of the word of the precursor Let us celebrate this day with festive ymns, He is born! None born of a woman ever bloomed greater in the earth. He is sung by a heavenly voice; His grizzled father doubted it, but he bore him With his injurious speech carried away He is sanctified in his mother's womb, and is filled suddenly with the holy spirit, Soon he knew the hidden god in that room. First he sought out desert caves, Refusing the deceits of the blind world. He had spring water and honey and locusts as his food. He went before the light, but was not himself the light But rather a witness of future light, Which would shine in all the world. For he proclaims openly: “Prepare a path Sor the Lord!” but also shows with his “finger The heavenly lamb carrying the world’s sin O herald of God, adorned with the Glorious merits Help this people now exulting you, that they may be worthy to rise to the sky like stars. Solemnity of the word of the precursor Whom he who created all things sent To be a witness to the true light that would be born from a virein’s bed. May our assembly 20 rejoicing So that our devotion may be mixed in mode.Magnus hic est dies et celebris Sactisque festandus illecebris; Nam nullius sancti nativitas, Illius nisi qui est veritas Ac Johannis in orbe colitur, Nam utraque miranda cenitur: Utranque Gabriel prenunciat Docens quod sterilis concipiat Necnon virgo, fore possibile Non natura sed per mirabile. Ergo lucerna, tanta gratia Que refulges, ad lucis gaudia, Cui prebuisti testimonium, Nostrum perduc, pie, consortium. Torino: Biblioteca Nazionale s}IL9, fol. 72v-73 (4/2) Silk Road Great is this day, and renowned, and to be celebrated with things holy and seductive. For no birthday of any holy person is celebrated on earth Except that of him who ts the truth, and John. For of each a mirache is sung Gabriel announced each Teaching that a barren woman would conceive, And even a virgin--and it would be possible Not by nature but by a miracle. Therefore, lantern, who shine forth such grace, Lead, o holy one, our gathering to the joys of that light to whom you gave testimony - Translation by Anna Huiberdina Hilda de Bakker the, a, this, the, tangetine, splash, hardly: these threads of sound may be spun in s-spin into fiber: lighted buoy, whistling buoy, spar buoy, bell buoy, buoy: hear the sounds of apricots dropping from branches to the earth; feel the red vibration of wings before you wee a hummingbird. aman may travel from mindanao to macao to avoid staring into himself, he may search at night in a helicopter for the shimmer of a fie opal dropped into water; he may inhale starlight as if it were a pungent yellow flower opening slowly in the still summer night. to be still; watch a dog listen to sounds you cannot hear, feel the pull of moontrise on the feathers of an owl. there are apricots beginning to drop from branches to the earth;there are apricots not yet beginning to drop from branches; there are apricots not yet not yet beginning to drop. - Arthur Sze FROM ‘Yubi Watashi ni nanika ga Hajimatta hi ‘Yubi Watashi no karada ga nanika o shitta hi Oyayubi kaeru, zawameku umi chibusa no Hitosashiyubi Sagasu, Watashi no nakano Shizukana mizuumi no nakano Nakayubi Kiiteiru kurushimi o Hashiri dasu kaze no itami no chi no Kusutiyubi Watashi no karada ni bara no toge o niowaseru Soshite koyubi kodokuna koyubi Watashi ni nani o motte kuru Koyubi wa ugoku Motte koi tsukisashite yaro Oyayubi wa tamerau Koi urlaik? Koi urlaik? Hitsuji o nusumoka? - Kuniharu Akiyama Spell of Fingers Fingers It was the day when something began to work within me. Fingers I+ mas the day when my flesh became aware of something. Thumb transforms the troubled waters of my breast Indese Finger searches through the placid lake within me Middle Finger listens to the agony of the rising wind, of pain, of blood Ring Finger within my flesh, senses the odor of thorny roses and Little Finger, lonely Little Finger, what will you bring to me? the Little finger moves. Bring, it here, and I'll stab it! the Thumb is hesitant. Koi Uvlaik? Koi Uviaik? Shall I steal a sheep? = Translation by Tami IsbikuraPar grant soif clere fontaine / Dame de tout pris Par grant soif, clere fontainne, Qui toute la lignee humainne Reconfortes mout doucement, Je vieng a toi, qui mout serraine Estes et de tous les biens plainne, Querant, en ma tres sure peinne, Ton dous confort tres humblement. Coume a celle qui onque amere Ne fustes, mais bien comme a mete Peut on retourner vraiement, Si te suppli, luisant lumiere, ‘Vierge mere en qui toute entiere La deite, c’est chose clere, Habita sans empaichement. Conbien que je de maint pechie Soie griefvement entachie Qui me poise mout durement, Que me veuilles, par ta pite, Conduite reconcilye Aton fis en qui j’ai pechie Par mon meschief tres grandement, En le priant que aie par don Son tres infinite pardon Par coi puisse joicusement Parvenir a ce que doit on Desirer, qui rent goust tres bon, Ou ne maint onque abusion, En vivant eternellement. Dame de tout pris, Je, qui sui espris De toute dolour, Pentis et repris, De mes maus comptis, En ton dous compris, Viens, par grant fervour, Querant ton aye, Qui douce est et lye, Tres odorant flour In great thirst, O clear fountain/ Lady of all value In great thirst, O clear fountain that sweetly comforts the whole human race, I come to you, for you are serene and full of every good thing, to ask, in my all too certain torment, Jor your sweet support Ass to one who was never bitter, indeed as to a mother one can truly return. so do I supplicate you, shining light virgin mother in whom all deity, as is clear, dwelt without obstacke, However much I by many sins am grievously stained, which weigh heavily on me, may you in your mercy lead me to reconciliation with your son, against whom I have sinned by my wicked deeds, abundanth; pray to him that I have as gift his unbounded pardon, and may thereby joyously come to that which one must desire, which has a sweet taste, where no torment abides living eternally Lady of all value I who am composed of every grief, repentant and restored, understanding of my sins in your sweet comprehension, I come with great urgency seeking your aid, which is sweet and supple, O sveetsmelling flowerEt plaisant amie De dieu ou la vie, Douce et sans envie Maint et nuit et jour. Laquelle veuilles Que j’aie et soies, Dame que j’aour, Vers ton fis que ames Et que cherissies, Pour moy qui navres Sui, fort en favour. Ad ce que sa grace, Qui tou les biens passe, Avoir et s'amour Puisse en toute place Et qu’en lye face Ses coumans je face Tousdis sans errour. Torino: Biblioteca Nazionale s.11.9, fol. 94v-95 (4/2) Pour ce que point fu de la amere espine / A toi vierge me represente Pour ce que point fuui de la amere espine Depechie, qui souventes fois m’espine, Pour quoi falir je puis a tout bon port, Dame des cieus, je pers joie et deport, Se ta douceur tant tost ne me despine De Pamer point que durement je port. Pour quoy je tiens vers toi ma droite mire, and pleasing friend of God in whors there is life sweet and without envy morning and night and day. Which may you grant that I have and and that I may be, O Lady I adore, regarding your son whom you love and cherish, for me who am wounded, much in your favor, so that his grace that surpasses all other good things may be mine, and bis love may be in every place, and that I may with joyous expression observe his commandments always without error. Translation by Lawrence Rosenwald Because I was wounded by the bitter thorn / To you, Virgin, I show myself Because I was wounded by the bitter thorn of sin, which often pricks me, because I can fail in this regard at any moment, Lady of Heaven, I lose my joy and delight if your sweet comfort will not soon rid me of the bitter wound I bear with such difficulty Wherefore I keep my gaze straight towards yon,Vierge et mere du tres souverain mire, Par qui poes trestous mes maus mirer, Et te suppli que ne veuilles en m’ire Et grant mes fait, par ta pite qui mire Tous tes servans, soigneusement mirer; Ains que veuilles de moi pite avoir, Qui en ay besoing asses plus que avoir, Tres douce dame et tres piteuse mete, Et pardonnes mon tres petit savoir, Que longement ay mis en mal savoir De quoi sentu ay saveur tres amere, Et me donnes grace de tout bien faire. Si me soies propice en tout affaire En cestui gouffte et tres sure mercy, Et me gardes de celui qui desfaire Tout tans me veut, sans me pooir refaire, Par ta pite et ta douce mercy. A toi, vierge, me represente Et ma povre arme te presente Que veuilles en ceste presente Vie de tout mal delivrer, Puis que de vrai estes celle ente Que dieu, de volente non lente, Aime, et par qui en nous il ente S’amour, en qui me veuil livrer. Marie qui du ciel la porte Estes, a toi je me transporte, En qui tout bien fort se deporte De pechie tout lassie et pris, Pour quoi veuilles le mal que porte, Que pour tres grant je te raporte, Et que a la mort tousdis m’aporte, virgin and mother of the most-soveretgn lord, through whom you can regard my ills, and beg you that you not look, too carefully at my wrath and misdeeds, by your pity that looks at all your servants. Rather may you have mercy on me, I who need it more than I have st, O sweet leady and pitying mother; and pardon my small knowledge, whieh I too long have made ill use of, and feel the bitter taste of that, and grant me grace to do all well Be favorable to me in every business of life in this abyss, and merciful and keep me from him who seeks always to undo me so that I cannot be remade, by your pity and sweet forgiveness. To. you, Virgin, I show myself and offer you my poor weapon, that you may in this present life deliver me from all evil, since you are in truth that being whom God, not slow of will, does love, and through whom he brings us his love, to which I seek to yield myself Mar, Gate of Heaven, to you I transport myself in whors every good thing is at ease, weary and burdened by sin, so that you may heal the ills I bear, which I report to_you in their abundance, and which steer me always towards death,Garir par ton grant bien et pris. Car si tresfort me seint et lasse Que combien que a la fois solasse Toute ma force sens si lasse Que parvenir quid a la mott, Veuilles moy dont, de lye face, Delivrer, et que se desface De moy le pechie, et que face Ce que a ton bon voloir s’amort. Torino: Biblioteca Nazionale s.11.9, fol. 930-94 (4/2) Yper tin ton Ellinon ‘Yper tin ton Ellinon paideian. Tin ton apostolon sofian proekrinan oi hagi oi martyres tas vivlous ton ritoron kataleipsantes ke tais ton alicon diaprepsantes. Ekeimen gar, evglottian rimaton, en de tais ton agrammaton Theigotiais tin tis Triados edidaskonto theognosian, I ke presvevousin en eirini phylachthinai tas psychas imon. Tsukimi #7 Abe no Nakamaro Ama no hara Furisake mireba Kasuga naru Mikasa no yama ni Ideshi tsuki kamo heal them by your great good and value For of Lfeel strong, and give avay all the comfort faith offers L feel all my force so weary that I am almost at death's door. then do_you nith welcoming countenance deliver me of these ills, and may sin be undone in me, and may T do what may bring your good will, Translation by Lawrence Rosenwald Above the Teachings of the Greeks Above the teachings of the Greeks the holy martyrs preferred the wisdom of the apostles, abandoning the books of the orators and excelling in those of the fisherman. For there indeed was the eloquence of words, and in the preaching of the uneducated they learned the divine knowledge of the Trinity, by which they serve as envoys that our souls Le guarded in peace Translation by Antonia Tripolitis Moon Viewing #7 Abe no Nakamaro When to heaven's plain I hook up with wide-stretched glaze Over Kasuga And over Mount Mikasa Is the rising moon the same?#79 Fujiwara no Akisuke Akikaze ni Tanabiku kumo no Taema yori More izuru tsuki no Kage no sayakesa #23 Oe no Chisato ‘Tsuki mireba Chiji ni mono koso Kanashi kere Waga mi hitotsu no Aki ni wa aranedo #86 Saigyo Hoshi Nageke tote ‘Tsuki ya wa mono o Omowasuru Kakochi gao naru Waga namida kana #76 Fujiwara no Tadamichi Wata no hara Kogi idete mireba Hisakata no Kumoi ni mayoo Okitsu shiranami #68 Sanjo In Kokoto ni mo Arade ukiyo ni Nagaraeba Koishikaru beki Yowa no tsuki kana #81 Fujiwara no Sanesada Hototogisu Nakitsuru kata o #79 Fiyjivara no Akisuke In the autumn wind Are lingering, hanging clouds In whose trailing rifts Comes shining through the moon's own Reflected lightclear and bright #23 Oc no Chisato As I view the moon, many things come into mind, And become sadness Yet it’s not for me alone, That the autumn time has come. #86 Saigyo Hoshi Is this grief biden By the moon for me to bear In contemplation? How my troubled face becomes My cries and tears—oh, the tears! #76 Fujiwara no Tadamichi On the sea’s wide fields I sail out and around me Clouds and sky appear— In the distant white maves Isa shining sky of white #68 Sanjo In If my heart, my will Battered in this floating world Are to remain here Iwill yearn to remember This midnight and this moonrise #87 Fiyjiwara no Sanecada Cuckoo called me and I turned in his directionNagamureba Tada atiake no Tsuki zo nokoreru #36 Kiyohara no Fukayabu Natsu no yo wa Mada yoi nagara Akenuru o Kumo no izuko ni Tsuki yadoruramu - from Ogura Hyakunin Isshu But as I stared there The only thing L found Was the moon of early dawn. #36 Kiohara no Fukeayabu In the summer night The evening still seems present But the dawn is here. To what region of the clouds Has the wand'ring moon come home? Translations by Peter Gilbert, based on work of Clay MacCauley and Frank Watson and with help from Lorte Brau. Kassia English translations by Antonia Tripolitis, from Kassia: The Legend, the Woman and Her Work, Gatland Library of Medieval Literature, vol. 84 (New York: Garland Publishing Inc., 1992)