Caro mea vere est cibus Pierre de Manchicourt (c )

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Attaingnant, Liber decimustertius XVIII. musicales … (4,5 & 6 vv) [Paris, 1535] (RISM 1535/5)

Moderne, Quartus liber mottetorum (5 & 6 vv) [Lyon, 1539] (RISM 1539/5) ‘In festo sacramenti’

Gardano, Secundus liber … mottetti del fiore (5vv) [Venice, 1539] (RISM 1539/6)

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Caro mea vere est cibus,

et sanguis meus vere est potus.

Qui mandúcat meam carnem,

et bibit meum sánguinem, vivet in aetérnum.

Hic est panis, qui de caelo descéndit.

Non sicut manducavérunt patres vestri manna in desérto, et mórtui sunt.

Qui mandúcat hunc panem, vivet in aetérnum.

My flesh is meat indeed, and my blood is drink indeed.

He that eateth my flesh,

and drinketh my blood, shall live for ever.

This is that bread, which came down from heaven.

Not as your fathers did eat

manna in the desert, and are now dead.

He that eateth of this bread shall live for ever.

(Communion Motet, and Responsory for the Feast of Corpus Christi) from John 6:56–57 & 59

Pierre de Manchicourt, a contemporary of Nicolas Gombert and Jacobus Clemens non Papa, was active in both Burgundy and Spain during the reigns of Charles V and Phillip II, culminating in his appointment by the latter as maestro de capilla flamenca in Madrid in 1559. The fact that Attaingnant, publisher of the French Royal Court, devoted his fourteenth and final volume of motets in 1539 entirely to Manchicourt's work (an honour he bestowed on no other, and emulated by Flemish publishers Susato and Phalèse in 1545 and 1554 respectively) bears testament to the composer's reputation in his day. Manchicourt's highly polyphonic style of composition lost favour around the time of his death, as the liturgical reforms of the Council of Trent took hold — marking the transition from the High Renaissance to the less florid Late-Renaissance style of Victoria and Palestrina.

Editorial Notes:

This motet survives in collections printed in Paris, Lyon and Venice in the 1530s, indicating that it is not only an early work in Manchicourt's output, but evidently a comparatively popular one; Clemens also used it as the model for a parody masssetting . The sources are largely¹ concordant, save for the usual minor variations in word underlay and rhythmic subdivision. Like many of Manchicourt's responsorial motets, it follows an ‘ABCB’ structure, though in this case the return of the B section at ‘vivet’ is marked by a sudden shift to a tripla mensuration.

This edition is set at the original notated pitch. Editorial accidentals are indicated above the note. Original note values are retained: thus, consistent with 16th-century convention, the*mensuration sign and its modern-equivalent+time signature signify a semibreve tactus. In the mid-16th century, the single-digit3mensuration sign that heads the tripla section (m.112) in all three sources was variously used to indicate either sesquialtera (3:2) or a tripling of the tactus. The latter interpretation is preferred here, as indicated. Bar lines are added only to aid reading and direction: ‘strong’ and ‘weak’ beats implied by their position should never take precedence over phrasing or word stress. Ligatures and colouration in the source are acknowledged with overarching square brackets and open ‘corner’ brackets respectively. Word underlay reflects editorial judgment and is freely adjusted: editorial re-iteration of text not explicit in any of the three sources is indicated in italic.

1 Available as RESOLUT Edition RSU-063. See https://www.cpdl.org/wiki/index.php/Missa_Caro_mea_(Jacobus_Clemens_non_Papa).

Engraved on 18 Jul 2021 using LilyPond 2.20.0 (http://lilypond.org/)