The Credo de Sancto Johanne Evangelista is a work of grandiose proportions. It seems to be intended for use on the Day of St. John, Apostle and Evangelist, December 27. The work is in five voice-parts and contains the plainsong antiphon Occurit beato Johanni ab exilio, which appears twice as a cantus firmus in the tenor. The antiphon is no longer in the liturgy.

The text of this song was used by Shakespeare in Measure for Measure.  

The song “Take, O Take My Lips” was included in Shakespeare’s play, and the first verse of the song is probably by him.  The second verse, although sometimes passed off as Shakespearean, was first performed in a play with at least four authors called The Bloody Brother dating from the first part of the 17th century and this verse was probably written by John Fletcher.  The composer John Wilson was around 30 years younger than Shakespeare, and it is not known if this is the original melody for the song, but it is certainly the best known.

From the notation, it is believed this was written and performed in Rome.

Zwingli's Kappelslied

Das Kappelslied………………………….……………………………….Huldrych Zwingli

Herr, nun heb den Wagen selb.                      Lord, hold now the wagon yourself,
Schelb wird sunst all unser Fart,                     Or it will roll from the straight path.
Das brächt Lust der Widerpart,                       That would please our enemies
Die Dich veracht so freventlich.                     Who dare to despise you.

Gott erhöh den Namen din                             O God, praise to your name
In der Straf der bösen Böck!                          And defend us from the enemy.
Dine Schaf wiederum erweck,                       Wake your sheep with your voice
Die dich liebhabend inniglich.                         For they love you dearly.

Hilf, daß alle Bitterkeit                                     Help us by letting all bitterness
Scheide fern, und alte Trüw                           Depart and let the old fidelity
Wiederkehr und werde nüw,                           Return and be renewed
Daß wir ewig lob singend dir!                          That we may eternally sing your praises!

Performed by organist James Wetzel

1. Fors seulement 2. Frolich wessen 3. Hic est vere martyr

Pipelare's Magnificat

Pipelare's Magnificat, performed in memory of Dr. Ronald Cross, using his edition.

In the Magnificat, the composer allows the voices to move within carefully considered vertical sonorities. The Magnificat is in the Third Mode and is constructed in alternatim praxis through all twelve verses; i.e. the plainsong begins the first verse and then alternates with polyphonic settings of the even verses. The first plainsong formula for Tone 3, with the ending on A, remains in the superius part throughout.  Here Pipelare looks to the future, not only in his careful treatment of dissonance but also in his sense of balance both among the voice parts and in the phrase structures.

Complete performance of Pipelare's mass.


Pipelare was a master of large complex structures, but that he did not need complicated organization to bring out his finest writing is nowhere more obvious than in his Missa de feria, which though simple in style contains some of his most memorable music. The Missa de feria is a simple setting for daily use based on plainsong Masses XV and XVIII.  It is common for Ferial Masses to be based on these plainsong melodies.

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