THE MEDIAEVAL ACADEMY OF AMERICA
PUBLICATION NO. 55
FRENCH SECULAR MUSIC
OF THE
LATE FOURTEENTH CENTURY
FRENCH SECULAR MUSIC
OF THE
LATE FOURTEENTH CENTURY
Edited by
WILLI APEL
Edition of the Literary Texts by
ROBERT W. LINKER and URBAN T. HOLMES, JR.
University of North Carolina
With Foreword by
PAUL HINDEMITH
Yale University
MEDIAEVAL ACADEMY OF AMERICA
CAMBRIDGE, MASSACHUSETTS
1950
COPYRIGHT BY
THE MEDIAEVAL ACADEMY OF AMERICA
1950
PRINTED IN U. S. A.
JOHANNES WOLF
IN MEMORIAM
FOREWORD
There is no need to praise once more the expert scholarship
of this book's author, nor can anything be added to
the laudable fact that a publisher's idealism makes possible
the edition of a large selection of hitherto unknown
mediaeval compositions. But as a composer and as a
performer of the earlier masters' compositions I feel that
a few words of encouragement, coming from a practical
musician, would help to a better appreciation of this highly
interesting, valuable, and stimulating publication.
The modern musician's problems, of which there arc
so many, will lose some of their puzzling oppression if
compared with those of our early predecessors, as they
appear in this volume. It is rewarding to see those masters
struggle successfully with technical devices similar to
those that we have to reconquer after periods in which
the appreciation of quantity, exaggeration, and search for
originality in sound was the most important drive in the
composer's mind. They knew how to emphasize, on a
fundament of wisely restricted harmony, the melodic and
rhythmic share of a sounding structure. Their distribution
of tonal weight, their cantilever technique of spanning
breath-takingly long passages between tonal pillars
hardly finds its equals. Their unselfish and uninhibited
way of addressing the audience and satisfying the performer;
the perfect adequacy of poetic and musical form;
the admirable balance of a composition's technical effort
and its sensual appeal — these are only a few of the outstanding
solutions they found in their works. One could
go on pointing out surprising and exciting features in
those miraculous microcosms of sound, but these few
hints will suffice to make us aware of the creative power
that keeps those structures in motion and of the human
quality that guided their creators.
To the performers the immediate contingence with this
music will open up new horizons. They will learn to
understand the shortsighted attitude of our present musical
culture, which adores only those idols of audible
beauty that are not much older than two hundred years.
They soon will find it necessary to replace our contemporary
ways of performing, which oscillate between two
extremes — over-individualistic exhibitionism on the one
side and the dullest metric-dynamic motorism on the
other — with the altruistic devotion which alone can revive
this old music.
The musicologists knew that after Fricdrich Ludwig's
publication of Machaut's works sooner or later the missing
link between that composer and Dufay's generation
would be made available. But to those other musicians
whose work is primarily concerned with present and future
developments, whose historical knowledge is a
means to a better adjustment of their immediate duties,
the present book will be a revelation and a source of both
information and delight. On behalf of all those who will
touch the musical treasures displayed in the following
pages, I want to thank the author and the publisher for
their precious gift.
Paul Hindemith
Cambridge, Massachusetts
March, 1950
vn
PREFACE
The present publication is intendi i to fill, in some
measure, the most serious gap in our cnowledge of the
history of polyphonic music, that is, the development of
French music between Machaut and Dufay. To be sure,
there are other gaps which we would like to have eliminated,
as, for instance, the early development from the
Musica enchiriadis of the ninth century to the School of
St. Martial of the twelfth, or the development of Italian
polyphony throughout the fifteenth century. However,
the very greatness of the two names, Machaut and Dufay,
imparts special significance to the period we are concerned
with here. Moreover, while in the two other cases
the situation appears irremediable, owing to the lack of
sources, there is ample material available for the study
of French music of the late fourteenth and early fifteenth
centuries. It is gratifying to learn of various projects
under way with the same general purpose as the present
publication, projects that will make available hitherto unpublished
material from the codices Oxford Bodleian
Library, Canonici misc. 213 and Torino, Biblioteca
Nazionale, / / / 9.
While the repertory contained in these codices is, in
the main, from the early fifteenth century, we are concerned
here with the immediately preceding period, approximately
from the death of Machaut (1377) to the
first decade of the fifteenth century. The chief sources
for this period are the codices Ghantilly, Musee Conde
1047 {Ch), Modena, Biblioteca Estense L. 568 (Mod),
and Paris, Bibliotheque nationale nouv. acq. jr. 6771,
the so-called Codex Reina (Rei), A number of smaller
sources serve to round off a repertory remarkable for its
quantity of compositions and number of composers.
The present publication is based upon transcriptions
of the entire contents of Mod, Rei and the subsidiary
sources, as well as nearly all the secular pieces in Ch.
From this material 81 compositions — representing
about one-half of the total material of French secular
compositions — have been selected with the idea of representing
the forms, the most important composers, and
the various stylistic periods. Our collection starts with
the complete output of the five most prolific composers,
a group consisting of two Italians, Matheus de Perusio
and Anthonellus de Caserta, and three Frenchmen,
Solage, Trebor and Senleches. Their repertory is rounded
off by the addition of ten ballades, twelve virelais, and
eight rondeaux. In each of these groups compositions of
special artistic merits and of interest from the point of
view of style, of notation, or of formal treatment, have
been selected, and an attempt has been made to arrange
them in such a manner as to present a line of historical
development from the period of Machaut to the early
years of the fifteenth century.
I would have been unable to offer this publication,
were it not for the invaluable assistance of two members
of the Department of Romance Languages of the University
of North Carolina: Robert W. Linker performed
the tedious but vital job of paleographical scrutiny of
the literary texts and prepared the Glossary, while Urban
T. Holmes, Jr. rounded off Dr Linker's work and
contributed the chapter on the Literary Texts of the Introduction.
To both of them I am profoundly grateful,
not only for their distinctive scholarly contribution but
also for their gracious consent to appear as co-editors of
this publication.
Valuable assistance in the final checking of the transcriptions
has been received from Mr. Richard Hoppin,
Cambridge, who has worked independently on the codices
Chantilly and Modena, and who kindly permitted
me to compare his transcription with mine. Various
errors were thus eliminated. Prof. Erwin Panofsky of
the Institute for Advanced Study, Princeton, and Prof.
Jakob Rosenberg of Harvard University gave information
about French painting of the period, information
that, I hope, will prove as interesting to the readers as it
did to me. To Prof. Marcel Fran^on of Harvard University
I am indebted for kind assistance in my own efforts
— not very successful, I admit — to penetrate into
the problems of mediaeval French paleography; and to
Prof. A. T. Davison, Harvard University, and Prof.
M. F. Bukofzer, University of California, for advice and
suggestions that have greatly contributed to make the
book more serviceable.
Finally, I wish to express my gratitude to the authorities
of the Institut de France for granting permission to
obtain photographs of the codex Chantilly, to Messieurs
Henri Malo and de Boisdelisle, conservateur and archiviste
of the Musee Conde, for valuable help concerning
certain problems of this Ms; to the Mediaeval Academy
of America and to the Weyman Foundation, Department
of Music, Harvard University, for financial assist-
ance.
Boston, January, 1950. W.A.
IX
TABLE OF CONTENTS
Abbreviations
Introduction
A.
B.
C.
D.
E.
F.
G.
H
I.
J.
General Outline
The Sources
The Forms
The Notation
The Style
The Machaut Style
The Manncristic Style
The Modern Style
Questions of Performance
The Literary Texts
Artistic Trends in the Late Fourteenth Century
Editorial Remarks
Notes
1
3
5
7
9
10
10
13
14
15
17
20
23
List of Compositions and Their Sources 27
Commentary 29
Index of Text Incipits 35
Glossary 37
List of Plates 39
Plates I-VIII
Compositions 1*-133*
I. Matheus de Perusio
A. Four Ballades 1*
B. Seven Virelais 9*
C. Ten Rondeaux and One Canon 19*
II. Anthonello de Caserta
A. Five Ballades 31*
B. One Virelais and Two Rondeaux 40*
III. Solage
A. Seven Ballades 45*
B. Two Virelais and One Rondeau (50*
IV. Trebor
Six Ballades 65*
V. Jacob de Senleches
A. Three Ballades 77*
B. Two Virelais 83*
VI. Ten Selected Ballades 85*
VII. Twelve Selected Virelais 103*
VIII. Eight Selected Rondeaux 126*
XI
ABBREVIATIONS
I. SOURCES
Cam Cambrai, Bibl. Comm. 1328 (1176)
Ch Chantilly, Musee Conde 1047
It Paris, Bibl. Nat. It. 568
Iv Ivrea, Biblioteca del Capitolo (without number)
I.o London, Brit. Mas. Add. 29987
Mod Modena, Bibl. Estensc Lat. 568
Pad Oxford fragment (Bodl. Libr. Canon. Scr. eccl.
229) of the Ms Pad A [see LuGM ii, 25b-26a]
Pan Florence, Bibl. Naz. Panciatichi 26
Pr Prague, Univ. Libr. XI E 9
Rei Paris, Bibl. Nat. nouv. acq. fr. 6771 {Codex
Reina)
Sir Strasbourg, Bibl. Comm. 222 C 22 [mostly destroyed;
see Ch. van den Borren, in Annales de
VAcademic Royale d'Archeologie de Beige, 1923—
25, for list of contents]
7 r MS formerly in the possession of the duchess de la
Tremollle [mostly lost; see H. Besseler, in AMW
viii, 1926-27, p. 236f, for list of contents].
II. MODERN PUBLICATIONS
AMW Archiv fur Musikwissenschaft, Leipzig, 1918-
1928
ApNPM W. Apel, The Notation of Polyphonic Music,
900-1600, Cambridge, 1942; fourth revised
edition 1949
CS E. de Coussemaker, Scriptorum de musiat
medii aevi nova series, 4 vols., Paris, 1864—
1876
LuGM F. Ludwig, Guillaume de Machaut, Musikalische
Werke, 3 vols., Leipzig, 1928
MQ The Musical Quarterly, New York, 1915—
ReMMA G. Reese, Music in the Middle Ages, New
York, 1940
SIM Sammelbande der Internationalen Musikgesellschaft,
Leipzig, 1899-1914
WoGM J. Wolf, Geschichle der Mensuralnolalwn,
3 vols., Leipzig, 1904
WoIIN J. Wolf, Handbuch der Nolalionskundc,
2 vols., Leipzig, 1919
ZMW Zeitschrift fur Musikwissenschaft, Leipzig,
1918-1935.
HI. TECHNICAL TERMS
/.
r>
s
M
longa
brevis
semibrevis
minima
s
C
T
Tr
supcrius
contratcnor
tenor
triplum
Sm semiminima 6, S 41 No. 6, supcrius, measure 41
12,2] tempus unperfectum cum prolatione imperfecta
12,31 lempus imperfeclum cum prolatione perfecla
13,2] tempus perfectum cum prolatione imperfecta
[3,3] tempus perfectum cum prolatione perfecta
xu
INTRODUCTION
A. GENERAL OUTLINE
Machaut, usually spoken of as the 'predecessor' of Dufay,
was born almost exactly one hundred years before
him. Thus, these two masters are in a relative position
comparable to that of Frescobaldi and Bach, or of Beethoven
and Ravel. Even making considerable allowance
for the slower speed of evolution in earlier centuries
and for the unavoidable reduction of perspective
resulting from the remoteness of our point of view, one
hundred years arc too long a period to be overlooked or
dismissed.
Although not enough material has been published so
far to permit detailed investigations, the general outlines
of the development leading from Machaut to Dufay can
be indicated. This long period of transition can be divided
into two main schools, one occupying roughly the
second half of the fourteenth, the other, the first half of
the fifteenth century. The earlier of these schools is represented
by the codices Chatitilly, Modena, Reina, U)
and their subsidiary sources.(2
) Here we find French
composers like Solage, Trebor, Senleches, Galiot, Cuvelier,
Suzay, Grimace working side by side with Italians
like Philipoctus de Gaserta, Anthonello de Caserta, and
Matheus de Perusio. The main sources for the later
group are the codices Canonici misc. 213 of the Bodleian
Library and Cod. 37 of the Liceo Musicale, Bologna.
These include compositions by Baude Cordier, (3
)
Fontaine, Ciconia, Lebertoul, Nicolas Grenon, Hugo de
Lantins, Arnolt de Lantins, as well as Tapissier, Carmen
and Cesaris (4
) who, as Martin le Franc tells us in his
poem, Le Champion des dames, of c. 1440, were the admiration
of 'tout Paris' before the appearance of Dufay
and Binchois.
The present publication is devoted to the first of these
two schools, formed by the immediate successors of
Machaut. The total repertory contained in the sources
of this period consists of liturgical pieces (Mass items,
etc.), motets, and secular compositions, (5
) with the last
category far out-numbering the two others. For instance,
the above mentioned three main sources contain
approximately a dozen sacred compositions, about fifteen
motets, and over 200 secular pieces, mostly with French,
but occasionally with Italian and Latin texts. In the'following
study only the French secular compositions, exclusive
of those by Machaut, are considered.
More than half of these are attributed to composers.
The number of these composers is surprisingly great, and
a complete list would include more than forty names.
Thus we find a situation strikingly different from that of
the preceding period which is represented practically by
a single composer, Machaut. Following are all the composers
who are known to us by more than one composition,
arranged according to the number of attributed
pieces:
Matheus de Perusio (22) (6)
Solage (10)
Anthonello de Caserta (8)
Senleches (6) (7)
Trebor(6)
Philipoctus de Caserta (5) (?)
Vaillant (5)
Galiot (3) (7)
Grimace (4)
Matheus de S. Johannc (4)
Cuvelier (3)
Egidius(3)
Suzay (3)
Cordier (2)
Mag. Franciscus (2)
Guido (2)
Hasprois (2)
Pierre de Moulins (2)
Of particular interest is the presence, among these
composers, of three Italians, Matheus de Perusio, Anthonello
de Caserta, and Philipoctus de Caserta, all the
more as they are among the most productive composers
of French secular music, as appears from their position
in the above list. There can be little doubt that these
Italians actually worked in French surroundings; for
their works are decidedly French in character, form, and
style. The nearest explanation at hand for this FrancoItalian
cooperation is, of course, that they were active in
Avignon, residence of the popes during the exile (1305-
1378), and of the antipopes during the schism (1378-
1417). The importance of the papal court as an international
meeting place is well known. 'It was a ceremonious
and brilliant court, the most distinguished in
Europe. A vast number of chamberlains, officials of all
kinds, councillors, chaplains, domestic servants, diplomatic
representatives, visitors and messengers thronged
the palace, claimed the attention and struggled for the
favors that flowed from the pope.' (8
) That Italians
should have been particularly attracted to this court, is
a surmise hardly in need of being supported by reference
to Petrarch, who spent a great deal of his life in Avignon,
although certainly not as one seeking favors from
the pope.
Several considerations can be adduced in support of
the theory that Avignon was the center of a musical
school during the fourteenth century. The famous bull
of John XXII, issued from Avignon in 1324/25, in
which the state of church music is severely criticized, was
probably directed in the first place against the church
music in Avignon, although it was, of course, meant to
apply wherever similar situations existed. The earliest
direct evidence of the Avignon schools exists in the codex
Ivrea whose original repertory, according to H. Besseler's
'gut gegriindete Vermutung,' (9) represents the School of
Avignon during the third quarter of the fourteenth cen-
GENERAL OUTLINE
tury. Ivrea contains a motet to the Pope Clement VI
(1342-52) as well as a motet critizing the corruption of
the papal government. Evidence of continued musical
activity of this school is found in Mod and Ch. Both
these sources contain a Latin ballade, Indite jlos, which
has a 'Tenor pro papa Clemente,' and the French ballade,
Par les bons gedeons by Philipoctus {WoGM, no.
66), also found in both Mss, has the refrain: 'Par le
souvcraync pape qui s'apelle Clement.' Both compositions
evidently refer to the French antipope Clement
VII who established himself in Avignon in 1378, shortly
after Urban VI had been elected pope in Rome, and
who thus inaugurated the so-called Western schism
which was terminated by the Council of Constance, in
1417. In Philipoctus' ballade the 'sisme' is expressly
mentioned. Yet another composition of this group is the
ballade Courtdis et sages by Egidius (No. 57), in which
reference is made to the 'election' of 'Sains peres.' Although
no name is given, there is no doubt that the
'droit seignour5
of this French ballade is the French
Pope Clement VII, not the Italian Pope Urban VI. (10
)
Aside from these specific examples it is, of course, impossible
to say exactly which pieces of our repertory
originated in Avignon. Obviously, however, the papal
court of the exile as well as of the schism, with its almost
proverbial luxury and worldliness, was a fertile
ground for the production, not only of sacred but even
more of secular music. The bull of John XXII, with its
strict directions for the restoration of dignity and simplicity
in church music, is hardly representative of the
general situation. (H) It was particularly under John's
successor, Clement VI, that lavish extravagance overruled
all other considerations, so much so that Petrarch
called Avignon 'Babylon.'
Painting is known to have flourished in Avignon since
1335, when Simone Martini arrived from Siena, transferring
the Sienese style to France. Of particular interest
from our point of view are the frescoes in the 'Tour
dc la Garderobe' of the papal palace.(12
) In spite of the
purely religious character of the Sienese School, and
although forming a decoration of a papal residence, the
frescoes are profane paintings, each representing a hunting
scene, and showing flat figures, usually a hunter and
an animal, against a dense background of stylized trees
and foliage. Thus they constitute an interesting evidence
of the early intrusion of secular art into the papal court
of Avignon.
A considerable number of ballades contained only in
Ch point to a social sphere different from, but no less interesting
than Avignon, that is the secular courts of
southern France and northern Spain. Particularly Trebor
appears as an interesting representative of a class of
courtly poet-musicians that also included Jacob de Senleches,
Solage, Cuvelier, (*3) and probably many other
composers of our period. With one exception, the ballade
Helas pitie (No. 42), all the extant pieces by Trebor
are addressed to members of the French or Spanish nobility.
Se Alixandre (No. 45) and Se July Cesar (No.
46) are dedicatory ballades for Gaston III, Count of Foix
(1331-1391) who, for his extraordinary beauty, was
known as Gaston Phoebus, a name to which the motto
'Febus avant' of the second ballade refers. En seumeillant
(No. 44) refers to King John I of Aragon (1387-
1396) and his expedition to Sardinia in 1389.(14) Passerose
de beaute (No. 41) is a eulogy of one Margaritc
whose husband is referred to as 'Jupiter'. (15
) Finally,
Trebor's Quant joyne cuer (No. 43) praises ie roy
puissant. . . qui porte d'or et de gueules gonfanon,' that
is, the King of Navarre. (16
) Cuvelier's Se Galaas
{WoGM, no. 65) praises Gaston Phoebus with the same
motto, 'Febus avant,' as Trebor's Se July Cesar, while
Solage's S'aincy estoit (No. 34) celebrates 'Jhean, due
gentilz de Berry.'
This last ballade brings into our perspective one of the
most splendid princes of the time, and one of the greatest
patrons of art in all history, Jean, due de Berry
(1340-1416), brother of King Charles V of France and
of Philip the Bold of Burgundy. Two of the most beautiful
Hour Books were made for him, Les Grandes
Heures du Due de Berry by Jacquemart Hesdin (who
entered the service of the duke in 1384), and the famous
Trh Riches Heures du Due de Berry of the brothers
Limbourg, a work begun in 1413. Many other artists
frequented his sumptuous court, poets praised him, and
music could not be wanting in such surroundings. In
Solage we find a composer who, at least for some time,
was connected with the court of the duke. Gaston
Phoebus, who entertained a splendid court at Orthez,
was a no less brilliant representative of late mediaeval
chivalry. Jean Froissart (1333-1410), the ubiquitous
chronicler of the period, speaks of him most enthusiastically.
Equally devoted to 'les armes, Pamour et la chasse'
(as he said of himself), Gaston wrote a book on hunting
which every grandee of the fifteenth century was anxious
to have copied for himself. One of these copies, the richly
illuminated Livre de chasse of the early fifteenth century,
is among the most exquisite products of French
miniature art.
The extravagant splendor of these princely courts is
reflected in the literary style of the dedicatory ballades
that our poet-musicians addressed to their patrons. Following
the example of the leading poets of their day,
Jean Froissart (1337- after 1400) and Eustache Deschamps
(c. 1350-1422), they wrote them as stilted and
grandiloquent eulogies, often with allegorical allusions
to the famous figures of classical legend and history.
Most of these allusions are taken from the well-known
theme of the Nine Heroes {Les Neuf Preux) which be-
THE SOURCES
came popular through Jacques dc Longuyon's Voeux du
Paon of 1310. The hero of this poem is Porus (see No.
46), and his deeds are glorified by references to those
of the Nine Heroes of yore, a group including three Hebrews,
three pagans, and three Christians. The group of
the pagan heroes consists of Hector, Alexander, and
Cesar: the very names that our poet-musicians used in
their efforts to reach the pinnacle of extravagant eulogy.
(IV)
Trcbor's ballade En seumeillant (No. 44) for John I
of Aragon leads us from France to that kingdom in
northern Spain which, with Barcelona as its capital, was
a great center of political and cultural power throughout
the fourteenth century. Through the studies of H.
Angles and A. Pages (18) we are well informed about the
musical and literary life at the court of Aragon under
Peter IV (1335-1387), John I (1387-1396), and Martin
I (1396-1429). Among the numerous musicians who were
active under these kings, several are known to us through
their compositions, namely, Jacob de Senleches (also referred
to as Selenches, Selesses, or Jacomi), Antoni Taillandier,
and Gacian Reyneau. U9
) John I took a particularly
lively interest in music, (20
) and so did his sister,
Eleanor of Aragon. Her death, in 1382, prompted
Jacob de Senleches to write and compose one of the most
touching poems of the period, namely, his Fuions de ci
(No. 47), addressed to his wife, the 'povre compaigne,'
whom he asks to flee with him from their present place
where, after the death of 'la royone d'Espaingne, nostre
maestresse' they would shortly be left without help: 'car
en brief temps on n'ara de nos cure.' They will send a
prayer to God for the soul of the deceased,
Et puis pensons d'alcr sans nul sojor
Puisque perdu avons Alionor.
Is it too far fetched if we see in this poem, not only
the expression of the unhappy fate of an individual, but
also the indication of the impending decline and fall of
his entire profession? Senleches was, no doubt, among
the last of those poet-musicians whose existence was so
closely bound up with the extravagant luxury of sumptuous
baronial courts. During the first two decades of
the fifteenth century most of these were reduced to relative
insignificance under the impact of the English invasions
and of the all-overshadowing rivalry between the
houses of Burgundy and Orleans, out of which Burgundy
emerged as the main cultural center of the period, offering
within its large realm much greater opportunities to
artists than had ever existed before.
Turning back to our repertory of the late fourteenth
century, we find yet another sharply delineated complex
of compositions that calls for attention in this general
survey. It is formed by a group of virelais that employ
bird cries or fanfares. They are placed together in our
collection under Nos. 67 to 73. The naive simplicity of
their texts contrasts sharply with the stilted rhetoric of
the court ballades, and a similar contrast exists between
the musical styles of these two groups. There can be
hardly any doubt that all of these 'realistic' virelais
originated in a strictly localized school. Although we
have no clear evidence, there is reason to assume that
they belong to a bourgeois culture of northern France,
Paris or perhaps Reims where Machaut worked. We
shall try to substantiate this theory in a later chapter (sec
p. 20a).
B. THE SOURCES
Since detailed descriptions of our sources are available
elsewhere (21) we shall consider them here only to the
extent required by the scope of the present collection.
The three main sources of our repertory, Mod, Ch,
and Rei, are usually considered as having been copied in
Italy. (22) However, as far as I know, no proof or even
reason for this sweeping statement has ever been given.
Prof. B. L. Ullman, to whom I am greatly indebted for
his authoritative opinion on this matter, has come to the
following conclusions as the result of a paleographical
study:
Mod: 15th-century Italian hand, probably between
1425 and 1450.
Ch: French, late 14th century.
Rei: French, late 14th century, probably southwest
France.
It: Northern Italy, turn of 14th/15th centuries.
Cam: England or northwest France, second half of
14th century.
These results tally well with the information gained
from the contents of the Mss, as will appear from the
subsequent explanations.
Although the Mss Ch, Mod, and Rei are closely related
by their general historical position as well as by a
certain amount of overlapping of their contents, they
nevertheless show interesting differences in their respective
repertories. As has been previously mentioned, the
dedicatory ballades arc found exclusively in Ch. Most
of the 'realistic' virelais, on the other hand, occur in Rei.
Ch contains three such virelais, two of which, Grimace's
Alarme alarme (No. 72) and Borlet's He Ires doulz roussignol
(No. 67) exist in Rei, though in different versions
(see also No. 68). The third is Vaillant's Par mainlcs
joys (No. 69), better known in Oswald von Wolkenstein's
German contrafactum, Der May. (23) The anonymous
Or sus vous dormez irop (No. 70) recurs in four or
possibly five of the smaller sources. None of these real-
THE SOURCES
istic virelais, however, nor any of the dedicatory ballades
exist in Mod.
There are also differences among the Mss as regards
the composers represented. The most striking fact is
that Matheus de Perusio, in spite of the exceptionally
large number of his extant compositions, occurs only in
Mod. Similarly, Anthonello de Caserta is represented
chiefly in Mod, and only two of his eight compositions
(Nos. 23 and 25) are duplicated in Rei. On the other
hand, Solage, Trebor, Vaillant, as well as most of the
other French composers, occur exclusively in Ch. Only
two musicians, Senleches and Philipoctus de Caserta, can
be said to be represented equally in all three sources. (24)
There is reason to assume that the repertory of Rei is,
generally, of a somewhat earlier date than that of Ch,
and Ch earlier than Mod. The main basis for this assumption
is a stylistic investigation of the total repertory.
As will be later shown more fully, three distinctive styles
can be observed within the tradition of the late fourteenth
and early fifteenth centuries. The first of these
(A) is closely related to the style of Machaut. Obviously,
the compositions of this group represent the output of
his immediate pupils or successors who deliberately followed
his model. The second style (B) differs sharply
from the first in its much greater complexity of notational
devices and musical texture. In the third (G) the
extravagance or mannerism of the second style is abandoned
in favor of a new simplicity and gracefulness that
may be considered as the first step leading to Dufay. The
Nos. 63, 1, and 15 are representative examples of these
three stylistic categories.
The compositions of group A are found mostly in Rei,
partly also in Ch, but are absent in Mod. Examples of
group B are very frequent in Ch and Mcfd, while Rei
contains only a few of them, notably two ballades by
Anthonello (Nos. 23, 25) and one by Philipoctus (No.
59), all of which exist also in Mod, the last also in Ch.
The category G, finally, is most clearly represented by
some compositions of Matheus de Perusio (all in Mod),
such as his rondeaux Nos. 15, 18, and 19. Since other
compositions by Perusio clearly belong to the category B
(Nos. 1, 3, 5), he appears as an important link in the
evolutionary process of the period about and shortly after
1400. He was a member of the choir of the Cathedral at
Milan from 1402 to 1414.(25) Evidently he is the latest
of all the composers represented in our repertory, except
perhaps for Grenon (Je ne requier: Mod, 47V
), who
flourished from 1421 to 1427, and Ciconia (No. 66),
who was canon at Padua about 1400.
Turning now to a consideration of the subsidiary Mss,
a glance at the column marked 'Other Sources' of our
List of Compositions and Sources (p. 27) will give a general
idea of their relative importance in the field of
French secular music. As regards their historical position,
the Mss Lo (London, Brit. Mus., Add. 29987), It
(Paris, Bibl. Nat., It. 568), and Pan (Florence, Bibl.
Naz., Panciatichi 26) can be said to represent, on the
whole, the period of Rei and Ch, while Cam (Cambrai,
Bibl. Comm., 1328) and Iv (Ivrea, Bibl. del Capitolo)
belong to a somewhat earlier period. Of the circa twenty
compositions which these sources have in common with
the three main Mss, only two occur in Mod, and both
of these exist also in one of the other two main Mss. (26)
Attention may be called to a small number of compositions
which, for some reason or other, have found their
way into the majority of the subsidiary sources, although
they are encountered only sporadically in the main Mss.
These compositions are:
1. Pierre de Moulins, Amis tout dous vis (It, 4r
; Pr,
251r; Iv, 2v; Str, nos. 33 and 134; Tr, no. 18). Transcribed
in F. Kammerer, Die Musikstiicke des Prager
Kodex XI E 9 (1931), p. 145. See also LuGM ii,
p. 20a, n. 2 (27)
2. Or sus vous dormez trop (No. 70; see List of Compositions
and Sources).
3. Quiconques veut (Cam, 8r; It, llr; Pan, 80*-;Iv, 6^;
Tr, no. 87). See LuGM ii, p. 16b, n. 2.
4. Pierre de Moulins, De ce que fol pense (Rei, 40r
; Ch,
53v; It, 124r; Pan, 87"-; Tr, no. 26; MacVeagh [see
LuGM ii, p. 21b]; Str, no. 52). Transcribed in WoHN
i, p. 354 and Droz-Thibault, Poetes et musiciens du XVe
fiecle (1924), p. 21.
5. Bartolino, La douce cere (Rei, 13v; //, 42r
; Lo, 14v;
Pan, 108v
; Florence, Law..pal. 87 [Squarcialupi Codex],
101v). Transcribed in WoGM iii, no. 45.
6. De jour a jour (Rei, 66f; It, 121v; Pan, 74"> Str, no.
72; Tr, no. 73; Brit. Mus., Cotton Titus A 26, p. 3v [cf.
AMW vii, p. 233]; Munich, MS 3232a). See Dezes, in
ZMW x, p. 99ff (the transcription given there is incomplete
and partly wrong).
Special interest attaches to the concordances found in
Iv, since this Ms can, with reasonable certainty, be assumed
to contain a repertory not later than 1375. It
therefore provides an ulterior date for one composition
of our collection, Or sus vous dormez trop (No. 70).
Since this is one of the realistic virelais, this genre probably
flourished at about the time of Machaut's death
(1372). It will be remembered that Rei is the main
source for this genre.
Of similar interest are the concordances of Tr, a Ms
that in all probability was compiled by one Michael who
was chaplain to Charles V (1364-1380). According to
an original inscription it was probably written in
1376. (28) Unfortunately, only its list of contents has
survived. According to this, Tr contained Mag. Fran-
THE FORMS
ciscus' De Narcissus (No. 55), and about a dozen other
compositions known from other sources. One of these
compositions, Dame sans per, exists in Mod (p. 28V
) or,
to state it somewhat more cautiously, bears the same title
as the piece in Mod. In fact, since only the index of Tr
is preserved, we cannot be certain that the compositions,
nor even the full texts are the same as those found in another
source. An interesting case illustrating this point
may be mentioned here. A ballade of Philipoctus, preserved
in Rei, Ch, and Mod, begins with the words En
remirant vo douce pourtraiture (No. 59), and a composition
beginning with the same words is found in Cam.
Now, Cam is doubtless one of the earlier sources, probably
contemporay with Iv and Tr, and it would be very
disturbing to find in this early source a composition
which definitely belongs to our category B of the manneristic
period. An examination of Cam shows that not
only the music differs from that of Philipoctus, but also
the text, except for the first line. This example shows
that the index of Tr can only tentatively be used for the
chronological fixation of compositions extant in other
sources, for instance, the De Narcissus of our collection.
G. THE FORMS
Practically all the compositions of our repertory belong
to one of the three traditional forms fixes of French
medieval poetry and music, that is, the ballade, the virelai,
and the rondeau. The following survey shows the
number of examples found in the most important
sources.
Ballades Virelais Rondeaux
Rei
Mod
It
Pan
34
65
28
6
8
29
10
18
8
2
9
18
16
14
6
Other Forms
Id)
1(3)
1(1)
2(4)
(1) Fr. Bartholino'j La douce cere. According to F. Ludwifj
[LuGM ii, p. 29b] this is a madrigal with French text. It is
written in Italian notation and occurs in the Italian section of
Rei.
(2) Chcontains exactly 100 lyrical compositions, not including
the two rondeaux by Cordier which were added later on
separate front pages. The repertory of motets is also separated
from the main corpus, starting on p. 60v
. The 100 lyrical
pieces include, in addition to the 93 tabulated above: 5 ballades
(three by Machaut; two with Latin texts: Mayhuet,
Indite flos, and S. Uciredor, Angelorum psallat) and 2 virelais (a
second copy of Solage's Tresgentilcuer[No. 38] and Laus detur
with a Latin text). E. Dannemann, in Die spdtgotische Musiktradition
in Frankreich und Burgund vor demAuftrilcn Dufays (1936)
gives the figures 69, 8, and 17 (correctly 70, 12, and 18).
(3) Matheus de Perusio's canon Andraysoulet (No. 22).
(4) Bartholino's La doucecere and the three-voice canon
Quanje voy.
Perhaps it is not unnecessary to remark here that even
in those numerous cases where a composition is preserved
without full text (as is often the case particularly
in // and Pan) it is nearly always possible to determine
its poetic-musical form. As is well known, the music for
each of the three forms fixes consists of two sections,
S and T, (29) which are always clearly marked off in the
original by a vertical stroke. By repeating these sections
in various arrangements there result the characteristic
structures of these forms, namely, S S T for the ballade,
S T T S S for the virelai, and S T S S S T S T for
the rondeau. If the structure requires the immediate
repetition of one of these sections, two different endings
(called ouvert and clos, and corresponding to our prima
and seconda volta) are provided, and the clos- ending
appears in the original notation as a short passage enclosed
between vertical strokes. It is these short closendings
that provide a clue for the identification of form,
if a text is missing. In a ballade they appear at the end
of the first section (in other words, somewhere in the
middle of the composition); in a virelai they appear at
the end of the second section (in other words, at the end
of the composition); (3
°) while in a rondeau there is no
clos- passage.
For the sake of clarity the various schemes used by
philologists and musicologists for the three fixed forms
are given here:
Ballade
a b
1.
S
a b
2.
S
b c G
3.
T
Virelai
A B B A
Refrain
1.
S
Rondeau
A B B A
1. 2.
S T
c d c d
Ouvert Clos
2. 3.
T T
a b A B
3. 4.
S S
a b b a
5. 6.
S T
a b b a
Tierce
4.
S
A B B A
7. 8.
S T
A B B A
Refrain
5.
S
Arrangement of the Musical Scores
Ballade Virelai Rondeau
s1.
2.
T
3.
S
] . 5.
4.
T
2.
3.
S
1 4 7
5.
3.
T
? R
6.
THE FORMS
Identical letters indicate lines with the same rhyme. Capital
letters indicate refrain lines. The poetic structures arc represented
by their shortest models. The ballade is often extended
from a seven-line stanza to one of eight or more lines, and
similar extensions are found with the rondeau and the virelai.
The ballade and the virelai normally have three stanzas.
While in the ballade the above structure is repeated inMo,the
second and third stanzas of the virelai start with the ouvert.
In the fifteenth century the virelai with one stanza was known
as bagaelle. For more detailed information see H. Hewitt and
I. Pope, HarmoniceMusices Odhecalon A (Cambridge, 1942),
p. 43ff.
As just noted, the musical form of the ballade is S S T.
However, some of Machaut's ballades show an expanded
form, S S T U, in which U is a separate section for
the refrain (letter G of the above scheme). While among
the 40 ballades by Machaut there are only fifteen composed
in this three-sectional form, this was adopted as
the standard form by his successors. Concomitant with
this practice is a striking tendency toward increased
length. For instance, while one of Machaut's longest
ballades, the three-sectional Se pour ce muir [ed. Ludwig,
no. 36] has 44 measures, the ballades in Ch and
Mod run to at least double this length, several of them
being three times as long, such as Solage's Corps femenin
(No. 32) with 152 measures.
Four ballades by Machaut (nos. 6, 19, 38, 40) show
the form S S T T. This musical form, impossible, of
course, for ballades of seven lines, can be used only for
the eight-line ballade and, according to the principles
of medieval poetry and music (which demand an identical
scheme of rhymes for repeated sections of music),
only for that special type where the lines 5 and 6 rhyme
with 7 and 8 ( a b a b b c b C (31) ), not where 5 rhymes
with 6 and 7 with 8 ( a b a b c c d D ; see Machaut, nos.
4, 14, 18, 20). All the ballades of the later period that
iiave been examined are in stanzas of seven lines, a form
that excludes the use of the scheme S S T T.
Another important subspecies of the ballade is the
'rounded ballade,' as it may be termed. This is characterized
by the use of an identical ending for the two sections
of music: ||:S+e:|| T+e or, in the three-sectional
type: ||:S+e:|| T U+e. This method is frequently encountered
in the ballades of Machaut, particularly those
forming the last part of the manuscript collections (e.g.,
nos. 27, 29, etc.). It is even more frequent in the ballades
of our period. For instance, 17 of the 29 ballades
in Mod (we exclude here, as always, the compositions
by Machaut) are in rounded-ballade form. The length
of the identical endings or 'musical rhymes,' as they are
called, (32
) varies from about four to fifteen or more
measures. Two ballades by Solage, Corps femenin (No.
32) and Calextone qui fut (No. 33) are doubly rhymed,
the ouvert-ending of S recurring at the end of T, the closending
at the end of U: ||: S+ ep e2: || T + et , U + e2.
In Trebor's Passerose de beaute (No. 41) the closing
measures (63-70) 'rhyme' with the measures 3-10 of
the beginning.
An interesting trait found in several ballades is the
emphasis, by slower motion and sustained chords, placed
on the beginning of the refrain (section U). Particularly
impressive in this respect are Trebor's Se Alixandre
(No. 45) and Cuvelier's Se Galaas (WoGM, no. 65)
with their solemn acclamation of the mottos 'Ffoyx ct
Beam' and 'Febus avant.' The same principle is used in
Mag1
. Franciscus' De Narcissus (No. 55; sec also the
Commentary), in Solage's En I'amoureux vergier (No.
31), and, less distinctly, in Trebor's En seumeillant (No.
44), in Solage's Calextone qui jut (No. 33), and else-
where.(33
)
The virelai, a lighter and more playful type of poetry
than the ballade, shows considerable variety in the details
of its poetic structure, such as number and length
of lines, or scheme of rhymes. While all the virelais of
Machaut have the full form of three stanzas, a shorter
form with one stanza (bergerette) seems to have been
preferred by the later poet-musicians. Of all the virelais
of our repertory, only one has three stranzas, namely
Solage's Tres gentil cuer (No. 38). A few have two
stanzas, for instance, Matheus de Perusio's Dame souvrayne
(No. 8; the second stanza does not properly conform
with the first in the scheme of rhymes) and Tres
douche (No. 65). Whether the lack of full texts is due
to omissions on the part of the copyists or is intentional
to avoid undue length cannot be decided. We certainly
prefer the second of these explanations, since the virelais
of our repertory, if compared with those of Machaut,
show the same tendency toward extended musical treatment,
although to a somewhat lesser degree. To perform
a virelai like Or sus (No. 70) with three stanzas
would certainly deprive it of its delightful spontaneity.
Occasionally the poet-musicians made a further reduction
of the virelai form by omitting the tierce. Again, it
could be argued that this is merely the result of negligence
on the part of the copyist, but unless such a virelai
is found elsewhere in a fuller form, (34
) we shall assume
the reduction is intentional. Therefore in these cases the
following scheme will be used:
S T S T
1.4. 2. rather than: 1.5. 2.
3. 4. [missing] 3
The musical rhyme which we found in most of the
ballades is also often encountered in the virelais. All the
virelais by Perusio (Nos. 5-11) and of Solage (Nos. 38,
39) have a short rhyme, the ending of S being identical
with the c/oj-ending of T. This may be the place to remark
that in the ballades as well as in the virelais the
musical rhyme is the intensified realization of a more
general principle of tonal structure, according to
THE NOTATION
which nearly every composition employs two cadential
chords, a 'tonic' for the main endings, and a 'dominant'
(usually the supertonic) for the secondary endings.
The rondeaux are, on the whole, the shortest compositions,
as would be expected in view of the considerable
amount of repetition required in their performance.
Many of the rondeaux of our repertory (as well as in
Machaut) have two sections of approximately the same
length, and in not a few cases are the numbers of measures
exactly the same. Examples are No. 12 (15+ 15);
No. 14 ( 1 8 + 1 7 ) ; No. 15 (18 + 17); No. 16 (15 +
16); No. 19 (18+ 20); No. 29 (23 + 24); No. 75 (17
+ 17); No. 79 (13 + 13). The main interest of this
practice consists of the fact that very likely it was
the point of departure for a further step of particular
interest, that is, from the 'symmetrical' rondeau to the
'isorhythmic' rondeau. This means a rondeau whose second
section is rhythmically identical in all the parts with
the first section. Five examples of this type have been
found, namely, Conbiens qu'il soyt (No. 77), Loyaute
me tient by Garinus (No. 78), Je chante ung chant by
Matheus dc S. Johanne (Ch, 16r
), Pour ce que je ne say
by Vaillant (Ch, 26r), En attendant d'amer by Galiot
(Ch, 40r
; Mod, 40r
). As is well known, the isorhythmic
principle is of basic importance in the motets of the fourteenth
century, since it is almost regularly used for their
tenors. Two of Machaut's motets are isorhythmic in all
the voice parts, namely, De bon espoir (no. 4) and,
somewhat freely, Tant doucement (no. 13). His only
secular composition with an isorhythmic structure is the
ballade Amours ne fait (no. 1), but here the isorhythmic
repetition occurs within each section, twice in S and
three times in T.
D. THE NOTATION
The principles of notation used in our sources arc fully
explained in my book, The Notation of Polyphonic Music,
900-1600 (1942; 4th edition, revised, 1949). (35)
For the compositions of the categories A and G the
chapter on French Notation (p. 338ff) may be consulted,
for those of the category B the chapter on Mannered
Notation (p. 403ff). While the explanations contained
in the former chapter require no additional remarks,
those of the latter may be amplified by the results of recent
investigations.
In the chapter on Mannered Notation I remarked
that 'in this period musical notation far exceeds its natural
limitations as a servant to music, but rather becomes
its master, a goal in itself and an arena for intellectual
sophistries' (p. 403.) Today, after more extended studies
in this field, I should prefer a somewhat more cautious
statement. Cases in which the notation is more complicated
than the rhythm demands — in other words, cases
in which the. same rhythm could be expressed by simpler
notational methods — are not missing but arc less frequent
than one is at first inclined to assume. On the
whole, the music of this period shows the same conformity
between rhythmic style and notational devices
which can be observed throughout the musical development
prior to 1600 when, for the first time, notational
principles were developed which arc sufficiently broad
or, to look at the matter from another point of view, sufficiently
characterless to be applied to nearly all phases
of music history.
It is not without interest to give thought to the question
whether the penchant for extreme complexity, which
is so characteristic a trait of the manneristic period, had
its root in musical practice or in notational speculation.
Although at first thought one may be inclined to dismiss
this question as idle and futile, maintaining that these
two aspects are inseparable, yet upon closer consideration
the matter appears in another, and somewhat clearer
light. I am convinced that the origin of this movement
is to be found primarily in the field of notational
speculation, although it goes without saying that such a
movement would have neither originated nor developed
other than under favorable conditions of a more general
character. The most striking feature of the new style,
which appeared about 1375, are the extended passages
in syncopation. To be sure, short syncopated formulae
arc not at all infrequent in Machaut, but since they here
always occur in imperfect prolation ([2,2,] or [3,2]),
they present no notational problems, no more than they
do in the music of the sixteenth century. In perfect prolation,
however, the basic principles of alteration and
imperfection counteract all attempts to express syncopation
with the normal devices of mensural notation.
There is one syncopation pattern which forms an exception,
namely the following sequence: M S S S . . .
S B. According to the rule: similis ante similem perfecta
all the S are perfect, except the last which is followed
by a B. Therefore a passage in syncopated rhythm
results:
8IJ>J J>JJJ>J J>..J U.
Conceivably, examples like this may have been the
starting point of speculation as to how to express other
syncopated patterns. Certainly, a good deal of speculation
was necessary in order to find the solution, that
is, the punctus syncopationis, which is essentially a
punctus divisionis in displaced position, permitting
groups of perfection to begin anywhere within a measure.
Once this device was invented, progressive com-
a THE NOTATION
posers may have been eager to use it as a new tool of
composition, much in the same way as progressive composers
of the twentieth century have used the twelve-tone
technique. (36
)
A reasonably good case can be made for the surmise
that Philipoctus de Gaserta was the pioneer of the syncopation
style of the late fourteenth century. Philipoctus
was active both as a theorist and a composer. Although
his treatise (37
) does not deal with syncopation proper, it
contains a detailed explanation of the various novel note
signs, with double stems, or with half-white heads which
occur in the compositions of our period, particularly in
Matheus dc Perusio (see later). It also includes a description
of traynour, which is said to be 'fortior modus
quam syncopa.' Unquestionably this treatise establishes
Philipoctus as a progressive theorist of his day. In his
compositions ample use is made of complicated syncopation
patterns and of other advanced methods of notation.
The fact should not be overlooked that, from the artistic
point of view, his compositions are definitely inferior to
those of other members of the manneristic school, e.g.,
Anthonello, Senleches, or Matheus de Perusio. In spite
of all their intricacy they show a clumsiness which bespeaks
the path-breaker.
As is well known, the use of individual signs (semibreves
caudatae) for special note values is a characteristic
trait of the Italian notation of the fourteenth century.
In fact, such signs occur chiefly in the compositions
of the three Italians, Philipoctus, Anthonello, and
Matheus de Perusio. The following list gives a survey
(not complete) of these special signs. It may be compared
with the lists in WoGM i, 302 and ApNPM, 405.
A. Matheus de Perusio
2; 4
20
Nos.l;2;3;4;<i;20
12; 13 5; 13 20
B. Philipoctus and Anthonello
10. •{ 11. f 12. | (red) 13.J (red)
23; 25; 26 59 24; 50 24; 59
The signs used by Matheus not only are unequivocal
but also follow two simple principles of design. In the
signs 1, 2, 4, 6 the value of the note is the sum of the
values indicated by the upper and the lower stem, while
the value of the signs 7, 8, 9 is indicated by writing a
portion (one-half or three-quarters) of the head of the
note.(38) The only new sign he uses is the sign 3, with
a reversed flag. In the sign 5 the flag on the lower stem
is superfluous and may be due to a scribal error.
The signs employed by the other two Italians are smaller
in number, but lack a consistent principle of design
as well as uniformity of meaning. The sign 10, the socalled
dragma, occurs in Anthonello (Nos. 23, 25, 26)
always in the value of 3/2 M, while Philipoctus uses it
for 4/9 M in Par les bons gedeons (WoGM, no. 66),
and for 2/3 M in // n'est nulz horn (Ch, 38v). The
meaning of the three other signs, 11, 12, and 13, is
equally variable.
Among the French composers Senleches shows an exceptional
propensity for special and novel note forms,
in his La harpe de melodie (Ch, 43v; incomplete), En
attendant esperance (No. 49), and, to a lesser extent,
Je me merveil (No. 48). Regarding the signs used in
En attendant the reader is referred to the Commentary.
As mentioned before, Philipoctus explains in his treatise
a device which he calls 'traynour' and which he considers
as 'fortior modus quam syncopa.' From the examples
given it appears that traynour is the use of three
or nine against two notes, and probably of similar cross
rhythms such as occur frequently in the compositions of
our period. (39
) Since these involve the simultaneous occurrence
of different metrical divisions, it is understandable
that Philipoctus considers them as 'fortior' than syncopation,
which implies only a conflict of groupings and
accents within the same meter. The various types of
hemiola may also be considered as traynour rather than
syncopation.
One of the main difficulties encountered in the notation
of our sources is their failure to indicate the mensuration
by means oT the well-known signs for perfect or
imperfect tempus and prolation. Moreover, the few
mensuration signs that do appear are often of little help,
since they occur in different meanings or in modified
shapes of doubtful meaning. An example in point is the
ballade Ung lion say (No. 61) which I have discussed
in a recent article. (4
°) Another example of equal interest
and perhaps even greater difficulty is Solage's
S'cdncy estoit (No. 34; facsimile on PI. IV). The only
indications of mensuration encountered here are the
figures 2 or 3 given at the beginning of the sections of
the discant and tenor, and the circle with dot for the
second section of the contra. However, these signs turn
out to be of little help, arid in trying to find a solution
THE STYLE
the student is forced to rely on intrinsic traits and experimentation
rather than on external indications. The
clue to this piece is as follows: The figures 2 and 3 indicate
the tempus (imperfect or perfect), though not always
correctly: the last section of the tenor, though
marked 3, actually is in tempus imperfectum. The prolation
is nowhere indicated, except in the second section
of the contra where it is wrongly indicated: in spite of
the circle with dot, this section is in [3,2], not in [3,3].
The correct clue to the prolation is that it is perfect in
all the voice-parts in the first and the third section, imperfect
in all the voice-parts in the second section. A last
trick (though one which is relatively easily discovered) is
that the two sections marked 2 (beginning of the discant
and closing section of the tenor) as well as the last section
of the discant, marked 3, are in diminution. Following
is a schematic representation of the mensuration in this
composition:
I II III
S. 2= [2,3] dim. 3= [3,2] 3= [3,3] dim.
Ct. [2,3] ©=[3,2] 12,3] or [3,3]
T. 3= [3,3] 2= [2,2] dim. 3= [2,3]
Yet another example of misleading mensuration sign
occurs in Senleches' Je me merveil (No. 48; facsimile on
PI. VI). Here the superius and tenor have their mensuration,
[2,3], correctly indicated by a dotted half-circle.
The contra has a dotted full circle, but attempts to
transcribe it in [3,3] are abortive. The correct values
of the notes result only if the part is interpreted in [2,2],
that is, with all black notes binary (unless dotted) and
the red notes ternary. Nevertheless the over-all meter
turns out to be the same as in the two other voice-parts,
[2,3], and it would even be possible to fit the part into a
[3,3]-scheme (9/8), although not without many syncopations.
The important fact, however, is that in the notation
of this part the basic principles of mensural notation,
such as perfection, imperfection, and alteration,
are abandoned, and that each note has a constant value
independent of the notes that precede or follow it. The
same remark applies to all the sections of the composition
in which red notes are used (closing sections of
superius and tenor). Startling though this method appears
within the general frame work of mensural notation,
it actually is what we do today, namely, the use of
binary note values for the writing down of ternary (as
well as binary) meter. More than 200 years had to
elapse before the principle adumbrated here was made
the basis of musical notation. (41
)
A notational detail of some interest are the signs
2, 1, ~, found in the discant of Anthonello's Amour
m'a le cuer mis (No. 26). They indicate proportions
and may well be the earliest known instance of this device
which was to play a prominent role in the notation
of the fifteenth century. Similar-looking signs, ^ and
j , which occur in Anthonello's Dame d'onour (No.
24), however, have an entirely different meaning. The
upper figure refers to the prolation, the lower to the tempus,
indicating in each case whether this is perfect or imperfect.
Thus, these two signs are equivalent to what we
designate by [2,3] and [3,2]. Finally, two compositions
by Perusio, A qui fortune (No. 17) and Helas merci
(No. 20) are of interest as early instances of prolatio perfecta
as a signum augmentations, if it occurs against
prolatio imperfecta in the other voice-parts. Another
early realization of this principle is found in Baude Cordier's
Belle bonne. These instances are all the more remarkable
as the augmenting interpretation of prolatio
perfecta was not generally accepted until the end of the
fifteenth century. (42)
In several compositions by Perusio (all in Mod) a
curious sign occurs, that is, a natural with varying numbers
of dots placed inside. Joh. Wolf's theory that this
sign (which also occurs in Rei) indicates a semitone of
different size, is generally discarded today. (43
) I am
unable, however, to offer a better explanation. Suffice
it to say that in Perusio's compositions it usually indicates
a sharpened note (6, S 41; 7, in several places; 11,
S 21; 12, S 20 and S 26), while occasionally it serves to
cancel a previous flat (13, C 20 and T .95).
Finally, attention may be called to the use of asig7ium
congruentiae (four dots forming a cross) in two rondeau's
by Perusio, Nos. 14 and 17. Since this practice
was widely adopted in the period of Dufay, its occurrence
in Perusio is another proof of his chronological
proximity to this master.
E. THE STYLE
An adequate study of the style of composition in our
period would require much more space than is available
in the chapter of an Introduction. The subsequent remarks
are intended only to provide a general frame work
of stylistic analysis, a frame work that the reader interested
in this matter will be able to fill in through a more
detailed examination of the compositions contained in
this volume.
As has been previously mentioned, the repertory of
our sources can be divided into three stylistic groups,
A, B, C, which can reasonably be assumed to represent
three phases of a continuous development. These phases,
for which the names 'Machaut Style,' 'Manneristic
Style,' and 'Modern Style' will be used, may be said to
10 THE STYLE
extend approximately from 1350 to 1370, from 1370 to
1390, and from 1390 to 1400, naturally more or less
over-lapping. (44)
The Machaut Style (A)
Group A shows a style similar to that found in the
compositions of Machaut, particular with regard to the
rhythmic texture. Machaut's rhythmic style is wholly
integrated and unified. In any of his compositions the
rhythmic life is the unfolding of one fundamental element,
and there never is any radical departure from the
rhythmic formulae presented in the initial measures. In
this respect, as in various others, Machaut is the last
representative of the development which started, in the
late twelfth century, with Leoninus and Perotinus. In
spite of the important modifications and innovations
which were introduced about and after 1300 by Petrus
de Cruce and Philippe de Vitry, the basic tenets embodied
in the system of modal rhythm persisted throughout
the first half of the fourteenth century, only developed
to the greatest possible degree of freedom and flexibility.
In Machaut the unity of texture is frequently
emphasized by the repeated use of well-characterized
rhythmic formulae which recur either in immediate succession,
as a sequence, or at separate places of the compostion,
often in different voice-parts. (45
) Usually these
formulae or motives (as they may well be called) arc
alike not only in rhythm but also in melodic design. A
good example is the ballade Une vipere (Edition Ludwig,
no. 27), where the initial motive recurs many times in
the superius and occasionally also in the contratenor.
Another characteristic trait of Machaut's rhythmic
style is a contrast between flowing passages and sustained
chords, a contrast which can be traced back to the
style of Petrus de Cruce, with its sudden stopping of
precipitate declamation. No doubt, Machaut succeeded
in transforming the somewhat barren treatment of Petrus
into an organic interplay of accelerating and retarding
forces. Nevertheless, in many of his compositions
there is rather too much interruption of the rhythmic
flow. Aside from numerous motets, the ballades nos. 35,
39, and 40 may be singled out for their numerous places
of complete stopping in all the voice-parts.
Among the compositions contained in our collection,
the ballades Nos. 52 to 54, the virelais Nos. 62 and 63,
and the rondeau No. 74 are in a style more or less closely
approximating that of Machaut. Perhaps the ballade
Martucius qui fut (No. 52) is the most obvious example
of Machaut style in our collection, while the next two
ballades show new influences, in their occasional use of
lengthy syncopation passages (No. 53) or of imitation
(No. 54). (46) The virelais Nos. 62 and 63 resemble
those of Machaut in their use of relatively short phrases.
In both of them four-measure phrases occur with remarkable
consistency, bestowing upon these pieces a
character of 'popular' simplicity which is quite exceptional
in this period. The rondeau En tes douls flans
(No. 74) shows extensive use of rhythmic motives, as
well as the sustained chords of the Machaut style.
Among the composers represented in our collection,
Solage is most closely related to Machaut, and may well
be considered his pupil. He is practically the only one
to continue Machaut's practice of writing in four parts
(Nos. 35, 36, 37, 39), and most of his compositions show
the rhythmic simplicity and homogeneity of his predecessor.
His four ballades in three voices, Nos. 31 to 34,
indicate a gradual development toward greater complexity.
While his En I'amoureux vergier (No. 31) uses
simple rhythmic patterns (see, e.g., S 8, 11, 15,19-22,
etc.; also S 49, G 51, T 54), Corps femenin (No. 32)
employs motives of greater extension and greater rhythmic
complexity (see Commentary). In Calextone qui
fut (No. 33) we find much syncopation as well as traynour
(meas. 40—46), and with S'aincy estoit (No. 34)
we are in the midst of the notational and rhythmic complexities
of the manneristic style, so much so that one
would be inch'ned to ascribe this composition to Trebor
or Senleches, rather than to Solage. Perhaps the singular
character of this composition is explained by the fact
that it is Solage's only example of the heraldic court ballade,
a type which naturally called for greatest sumptuousness.
From the harmonic point of view also, Solage
would seem to hold a position midway between Machaut
and the representatives of the manneristic style. He uses
dissonances freely, but always with a remarkably good
feeling for proper treatment (see Commentary, No. 32).
His rondeau Fumeux fume (No. 40) however, although
close to Machaut in its rhythmic texture, explores entirely
new realms of harmonic experimentation, very likely
for reasons of satirical expression. (47)
The Manneristic Style (B) (48)
Turning now to the stylistic group B we come to the
central point of the present study. A glance at one of
the numerous examples contained in our collection (e.g.,
Nos. 1, 29, 61) suffices to demonstrate the difference between
the Machaut Style and the Manneristic Style. By
way of general characterization this difference can be described
as one between a style which, although flexible,
nevertheless is wholly integrated, and a style of deliberate
diversification, extravagance, and utmost complexity.
Easily the most striking trait of the manneristic style
are the extended passages in syncopation, as in Nos. 1,
2, 5, 6 (Perusio); 23, 24, 25, 27, 29 (Anthonello);
59, 60 (Philipoctus); 42, 44, 46 (Trebor); 47, 48
THE STYLE 11
(Senleches); 57 (Egidius); 66 (Ciconia), etc. Most of
these passages are easily recognizable in our transcription
through the addition of another version, given in
small notes, which indicates their proper rhythm. In
fact, it should be noticed that the rendition in regular
measures which tradition and expediency has compelled
us to use for the main text, (49
) although giving the correct
values for the single notes (we hope), nevertheless
obscures to quite an extent the real nature of fourteenthcentury
syncopation. The versions in small notes serve
to give a more nearly correct impression of the rhythmic
structure of these passages which, with their free alternation
of irregular groups, such 2/8, 5/8, 3/8, 1/8, anticipate
a characteristic trait of present-day music. (50
)
In syncopated passages provided with a text the placing
of the syllables often conforms with the pattern of
displaced beats and irregular measures, thus emphasizing
the peculiar rhythmic structure. A good example exists
in 29, 1-6, where the syllables of 'Dame gentil' all fall
on strong beats of the irregular groups. It goes without
saying that in performance the singer should be guided
by the version in small notes rather than by the main
text which is designed for the convenience of score reading.
Another example is found in 7, 22-26, where the
words receive an impressive accentuation: 'Ves-tus en
joy-e sans es-may,' the main syllables falling on strong
beats in displaced positions. Other instances are 5, 24-25
and 43, 48-50, but examples to the contrary are not missing
either (see, e.g., 6, 64-66). At any rate, no sweeping
conclusion can be expected in a question involving
such an extremely uncertain element as the placing of
the text in sources of the fourteenth century.
Another rhythmic peculiarity of interest are the numerous
examples of that special type of syncopation
which may be termed 'written-out rubato,' that is, the
sounding of notes just a little ahead of, or after their
normal position within the over-all texture. Particularly
striking are the passages 1, 45-48; 24, 9, 12, 32; and
48, 3, 12, 26, etc.
Equally numerous as syncopation passages are examples
of contrasting meters and other types of crossrhythm.
There is no need for further explanation of
these devices.
The result of all these rhythmic complexities is a most
peculiar texture, such as is without parallel in the entire
history of music. It is a texture of utmost subtleness and
refinement, consisting, as it were, of extremely loose
threads which from time to time only, frequently at wide
distances, are bound together in full coincidence and
consonance, while in between they move with a considerable
degree of independence, rhythmic as well as har-
monic.
Again one cannot help noticing the similarity of this
method to present-day practice. Stravinsky has used the
term 'polar attraction5
in order to describe a phenomenon
characteristic of his own style, and essentially identical
with that to be observed in the style of the late fourteenth
century. While it goes without saying that he and other
living composers go much beyond the old masters in the
field of dissonance, the opposite statement is true with regard
to the rhythmic aspect. Indeed, if rhythmic independence
of the single line is considered the main prerequisite
for true polyphony (as, no doubt, it is), one
will have to concede that the polyphonic ideal was never
more fully approximated than in the late fourteenth century.
There are not a few compositions in which this
tendency is carried on to such an extent as to lead what
may be called shredding of the musical texture. An instructive
example is the passage 1, 15-20, in which syncopation
and cross rhythms are used in such a way that
practically all the notes of the three voice-parts sound at
different moments, until they finally converge into the
cadential concord.
Turning now to a consideration of the harmonic idiom
of the manneristic period, it is essential that such a study
should be undertaken with the proper tools of analysis.
It is hardly necessary to say that the methods of our
present-day books on harmonic analysis cannot be applied
without reservation. A valid result can only be expected
if the analysis proceeds along the same lines as the
creative process of composition, and in the fourteenth
century this process is entirely different from that of the
sixteenth or of the nineteenth century. The music of our
period represents the final stage of that early method of
composition which is known as 'successive counterpoint'
and which is based on the principles of discantus. In the
early organa, clausulae, and motets the creative process
starts with the liturgical tenor, to which the duplum, triplum,
etc., are successively added. In the secular works of
the late fourteenth century there can be little doubt that
the composition starts with the upper part (superius) or,
to put it more accurately, with a two-voice texture,
superius- tenor, in which the superius receives primary attention.
The combination of these two .parts is governed
by the rules of fourteenth-century discantus which differ
from those of the thirteenth century mainly in the full
admission of the third (and, to a lesser extent, the sixth)
as a consonance. However, the old 'perfect' consonances,
unison, octave, and fifth still retain their traditional
supremacy in their exclusive employment at the beginning
and at the close of the musical phrase.
The addition of the third voice, the contratenor, is
made by connecting this with the tenor in another discantus
combination. The most frequent vertical combi-
12 THE STYLE
nations, forming the basic harmonic idiom of the period,
8 5 6
are 5, 3, and 3 (1 being the lowest note). However,
1 1 1
our compositions contain not a few examples of combi-
7 7
nations like 5 or 3 in strong positions. In spite of their
1 1
dissonant quality, these chords conform to the principles
of three-voice discanlus, since in all these cases the tenor
is in the middle, forming an upper third (or fifth) with
the superius, and lower fifth (or third) with the contra.
Therefore it would be more correct to indicate these
3 5
combinations as follows: 1 or 1, where 1 stands for
-5 -3
the note of the tenor. This representation also helps to
clarify the 'consonant' character of these chords, which
may well be termed 'discordant consonances' or 'consonant
discords."(51) For an example, see 44, 55. Particularly
interesting is the passage 24,1-2, where two discord-
5 4 3
ant consonances, 1 and 2 (= 1), occur in succession,
-3 -4 -5
connected by stepwise motion in all the parts. Such combinations
would result much more frequently if the
fourth were among the basic intervals of discantus, as
it usually is in the theoretical discussions of the period.
A study of the compositions, however, shows that the
fourth is rarely used as a discanlus interval. Only two or
three examples of discordant consonances involving the
4
fourth have been found, such as the 3 in 23, 25b and 61,
1
5
or the 4 in 44, 44.
1
Aside from these discords (or, to return to normal
terminology, dissonances), which, on the whole, are relatively
rare, the composers of our period made extensive
use of secondary dissonances, that is, dissonances resulting
from the melodic motion (appoggiaturas, passing
tones, etc.). As early as the mid-thirteenth century Johannes
de Garlandia admitted their use within the system
of discantus'. 'However, two notes may be put in the
place of one, and sometimes one of them is treated as a
dissonance, in order to add color to the music. This tone
may be either the first or the second. This method is
fully approved and permitted by the best authorities.' (52
)
It appears that the harmonic idiom of our period
rests on the principles that were developed during the
thirteenth century. However, our composers did with
them what Richard Strauss and Max Reger did with the
system of nineteenth-century harmony: without abandoning
the basis they pushed on to the outmost frontiers.
It is the extreme application of the system of discantus
which characterizes the music of the late fourteenth century.
By combining a freely elaborated superius- tenor
texture with an almost independently conceived contratenor-
tenor texture, the composers arrived at a musical
style much more daringly and deliberately dissonant than
ever before and, indeed, ever thereafter until the advent
of the twentieth century.
In an analysis more detailed than can be given here
various types of dissonances would have to be studied,
such as appoggiaturas (particularly frequent in Perusio),
changing notes (example in 6,13), parallel seconds and
sevenths, retardations, anticipations, as well as others
which defy classification. In fact, any attempt to study
the dissonances of this period along lines similar to those
applied so successfully by Jeppesen to the works of Palestrina
is doomed to failure. Not only is in our period
the harmonic basis infinitely more vague — not to say,
weak — than it is in Palestrina, but also the characteristic
fuzziness of the rhythmic structure often renders
seemingly obvious distinctions impossible of application.
For example, there are not a few instances in which it
would be difficult to say whether we are dealing with
parallel thirds or parallel seconds.
Parenthetically it may be remarked that the vagueness
of the harmonic idiom greatly adds to the difficulties of
the transcription. If there were a clearer definition of
vertical and consonant relationships, many difficulties and
doubts regarding the proper rendition of passages would
be removed. In the progress of my work I have many
times made a transcription which seemed to be correct
or, at least, admissible from the point of view of vertical
coincidences, only to find later that actually all the notes
of one voice-part had to be shifted, say, an eighth-note
to the right, with a result which, from the harmonic
point of view, was hardly better or worse. (53
)
Once the basic principles of composition in this period
are recognized, it is permissible to apply some of the
methods of modern harmonic analysis, although always
with caution and in a flexible way. For a brief consideration
of the chordal progressions we adopt the principle
that the nature of a chord is determined by its lowest
note (not the root). This means that, for instance, the
6-8
formula II—I includes not only the progression 4-5, but
2-1
7-8
also 4-5 which, in modern analysis, would be VII6
-I.
2-1
Owing to the frequent crossing of the two lower parts
it is often necessary to form an imaginary 'bass' line by
selecting the lowest notes from whichever voice-part has
THE STYLE 13
them at the time. On the basis of these premises it is
possible to make some statements regarding the harmonic
idiom of our repertory.
The most frequent chord progression is II—I, particularly
in the cadences, with III—I being next in importance.
Progressions of the tonic-dominant type (V—I,
IV-I, I-V, I-IV) are considerably less frequent. They
are usually formed, not by a 1-5 (1-4, etc.) motion in
a given voice part, but by a 1-7 leap in the contra, while
the tenor stays on 5: ~ . Examples occur in 4, 27-28,
66-67; 6, 71-72; etc. Occasionally we find examples of
5-4
I-IV written as , a formula which became customary
in the Dufay period and which has often been noticed
as an example of parallel fifths without parallel motion
(cf. 58, 30-31; 47,32-33). In this connection attention
may be called to 24, 51 where a succession of three paral-
5-7-6
lei triads is formed without parallel motion: 1-5-2. Examples
of 'real' I-V progressions, that is, with a 1-5 motion
in the lowest part, occur sporadically, for instance
in 13, 7-8; 15, 11-12; 60, 56ff (I-V-I-IV-V-I).
Passages in fauxbourdon are moderately frequent
(2, 52-53; 5, 5-5; 7, 40-41; 74, 31 ff and 56). Nearly
always they are in 'shredded' texture, and some of them
present interesting border-line cases between progressions
in parallel sixth-chords and in parallel triads, owing to
the shifted position of the voice-parts.
Our sources contain many interesting examples of
chromatic alterations. The 'augmented sixth chord'
(bb-d-git) occurs in 46, 60 and 56, 5 as well as in Philipoctus'
Par le grant sens {WoGM, no. 27, meas. 22 and
57). The augmented fifth, bb—(d)—f#, is found in 58, 33
and 41, and a 'dominant seventh chord' with an unorthodox
resolution, in 8,13. Of greater importance as a
stylistic trait are the numerous passages involving semitonic
progressions of triads. The most frequent of these
7 -8
is the 'double-leading-tone' progression 4# -5. This ap-
2 -1
pears not only in its original position as a Lydian cadence:
£6_F (54), but also transposed on C (£6
-C), G, D, and
A. No. 9 is one of the numerous compositions containing
various instances of this cadence which, to be sure,
was already used by Machaut. (55
) The same progression
occurs also with both triads in root position, for instance,
F#-G (3, 15-16,41) or C#-D (6, 20-21). The
chains of parallel triads, Ffl-G-JE-Ff in 9, 6-7, and
Q.-B-A-G in 3, 31-32 may be noticed, as well as the 'Neapolitan'
progressions jBb6
-^6
in 13, 30-31, and Db^MD in
33, 35. Easily the ne plus ultra of altered chords in the
fourteenth century exists in Solage's Fumeux fume (No.
40). Unfortunately the reading of the accidentals is
doubtful in several places.
In a number of the compositions the contratenor takes
on a certain harmonic significance through the frequent
use of arpeggio-like figures moving in thirds, fifths, and
broken triads. Philipoctus, Anthonello, and Trebor show
a marked partiality for this method, as appears from a
consideration of the Nos. 23 to 26, 41, 44, 45, and
59, 60. Although not always convincing from the artistic
point of view, the use of these figures is of great interest
because it indicates the growing realization of the potentialities
of the triad more fully exploited in the fifteenth
century.
The Modern Style (C)
As has been previously stated, this style is characterized
by an abandoning of the intricacies and complexities
of the Manneristic period, and by the discovery of
new musical values, such as simplicity of design and naturalness
of expression. Thus the foundation was laid for
that lyrical interlude of the Burgundian school which lies
like a fragrant flower garden between the flamboyant
edifice of the late fourteenth century and the mystic
landscape of the early Flemish music.
The tendency of the Modern Style toward greater simplicity
results in a certain similarity to the Machaut
style. At any rate, the distinction between these two
categories is considerably less obvious than that between
the Manneristic style and the rest of the repertory. Compositions
of the categories A and C look quite similar on
paper, and only upon closer scrutiny do differences become
apparent, differences more easily felt than accurately
described. A certain gracefulness and convincing
sweep of the melodic line, a finer sense of phrasing, a
loosening of structural rigidity, a greater attention to
harmonic requirements and a more developed feeling for
the functional values of chord progressions — these represent
some of the characteristics of the Modern style as
compared with the Machaut style.
The evidence points to Matheus de Perusio as the main
representative of the Modern style and, therefore, as the
key figure at the beginning of the fifteenth century. Except
for the ballade Le greygnour bien (No. 1), written
in a highly manneristic style, all his compositions show,
in one way or another, the stamp of a new period. In
the ballades Le grant desir (No. 2) and Se je me plaing
(No. 3) or the virelai Dame que j'aym (No. 5) the
manneristic idiom is still present, but in much greater
14 QUESTIONS OF PERFORMANCE
moderation. Even more significant is the entirely different
treatment of the contratenor. All attempts to approximate
the rhythmic liveliness and diversity of the
discant are abandoned, and this part now becomes a
secondary tenor designed to contribute to harmonic definition
rather than to melodic and rhythmic animation.
This change in the character and function of the contratenor
was perhaps the most decisive contribution of the
Modern style.
Perusio's ballade Pres du soloil (No. 4), as well as
many others of his compositions, particularly the Nos. 10,
11, 14, 16, 18, and 20, indicate the completion of the
process of clarification. Several of these, notably the Nos.
11, 16, and 18, clearly foreshadow Dunstable and Dufay
in the triadic design of the melody combined with
tonic-dominant harmonies.
Very likely the occasional use of imitation is another
distinctive trait of the Modern style, at least with reference
to the Manneristic repertory. All the instances
noticed occur either in compositions by Perusio (3, 18-
19; 4, 83-85; 9, 1-2; 13,11-12, 32; 17,24-27; 21,44-
47, 50-56) or, more sporadically, in compositions preceding
the rise of the Manneristic style, for instance, 53,1-2;
54, 1-4, 33-34; 72, 1-2. Thus the basic trends of the
three periods would seem to be neatly reflected in their
varying attitudes toward imitation.
Other traits noticeable in Perusio's later style and connecting
him with Dunstable and Dufay are the use of
tempus perfectum with hemiolas (Nos. 11, 18, 20); the
use of syllabic declamation in alternation with melismatic
passages; an underlaying of the text suggestive of instrumental
preludes and interludes; (56) the emergence of the
rondeau as the most important of the jormes fixes;
and particularly the frequent use of truly expressive appoggiaturas.
In this connection yet another peculiarity
of Perusio (not of Dufay, as far as I know) is interesting,
that is, his penchant for iambic rhythms, particularly
at the close of a phrase (No. 4 and elsewhere). (57)
In addition to Perusio's compositions, the three last
pieces of this collection, all rondeaux from Mod, evidently
belong to the period of the Modern style. Particularly
La grant beaute (No. 80) is remarkable for that
graceful beauty associated with the works of the Burgundian
masters.
In conclusion attention may be called to a few special
stylistic devices. Hockct effects are found in some of
the earlier compositions, e.g., 45, 44 and 71, 62-65. The
virelais Nos. 64 and 67 (68) employ the method of
tenor repetition repeatedly found in motets of the thirteenth
century. In the last section of Senleches' Je me
merveil (No. 48) the two upper voices join in canonic
imitation for the refrain.
F. QUESTIONS OF PERFORMANCE
The majority of the compositions have one vocal and
two instrumental voice-parts (1 v + 2 i). Following are
the other combinations:
1
2
2
3
1
2
v -
V
v -
V
v v
-
- 1
- 1
1- 3
h 2
i
i
i
i
Nos.
: No.
Nos.
: Nos.
Nos.
Nos.
10,
21
13,
22,
35,
67,
19,
48,
68,
36,
72
20,
64,
76
37,
62,
65,
39
79, 80, 81
73(58)
As in the thorough-bass music of the Baroque period,
the number of parts is not necessarily identical with the
number of players, since a vocal part may well have been
performed by a singer and an instrumentalist in unison.
This method of performance would seem to apply particularly
to the compositions with texts in all the voiceparts
but, in all probability, not performed a cappella.
It would also be required for some other compositions,
if the theory of instrumental preludes is adopted (see
later).
The main problem arising in this connection is the
question as to the instruments used for the performance.
Naturally, no definite answer can be expected, but several
considerations point to the preference of wind instruments
to stringed instruments. A somewhat external
support for this contention exists in the fact that
in the fourteenth century wind instruments were more
numerous than stringed ones. (59) Furthermore wind
instruments produce a greater variety of individual timbres
than strings, and such individuality is, no doubt,
required by the constant crossing of the two lower voiceparts
in the music of the fourteenth and early fifteenth
centuries. Lastly, wind instruments are indispensable,
it seems to me, for hockct passages, for passages involving
quickly repeated notes (sec Nos. 69, 73), and for
the several instances of fanfares occurring in this repertory
e.g., Nos. 70, 72, and 34 (60). In general, an
ensemble consisting of a singer (possibly in unison or alternation
with a recorder [flajole]) for the superius, a
shawm {chalemelle, douzaine) for the contra, and a
trombone (buisine) for the tenor would seem a normal
medium of performance, admitting, of course, numerous
modifications, for instance, replacement of the recorder
by a viol (vielle), or of the other instruments by bagpipes
icornemuse, chevrctte) and soft trumpets {cor,
cornet, trompe, trompette). Perhaps it ought to be remarked
that the vocal timbre should be of that peculiarly
unemotional (or, shall we say, sexless) quality that gives
the human voice a place of honor among the wind instruments,
a timbre found today only among French
singers and choirs. (61)
THE LITERARY TEXTS 15
The much-discussed question as to what extent, if at
all, the vocal upper parts include instrumental preludes,
interludes, and postludes, becomes considerably clarified
through this collection, it seems to me. H. Riemann and
A. Schering, who must be credited with having discovered
the vocal-instrumental nature of mediaeval secular
music, certainly have gone much too far in the application
of their theory. To interpret all the numerous vocallizing
melismas in French or Italian songs of the late
Middle Ages as instrumental interludes, is a wholly untenable
proposition and one that cannot be applied without
arbitrary interruptions of the melodic lines. The situation
is different, however, in the case of textless passages
that without forcing can be considered as self-contained
entities, particularly of those preceded and followed
by rests. Convincing examples of ths type occur
mainly in the compositions of Matheus de Perusio (Nos.
3 to 7, 10 to 12, 17, 20). He also is the only composer
of the group in whose works the first syllable of the text
often appears at a certain distance from the beginning,
thus suggesting that the initial passage is an instrumental
prelude. I have endeavored to reproduce in the transcriptions
this important detail of text-underlaying as accurately
as possible, except, of course, for the position of
the first letter, which always appears in the manuscripts
in front of the music, as an initial decoration. In addition
to the just mentioned compositions by Perusio the
anonymous No. 81 presents an interesting example of instrumental
interludes (meas. 5-6, 10-13, 17-18. Since
all these compositions belong to the latest period of the
repertory, the conclusion seems justified that the introduction
of this practice was one of the various achievements
of the Modern style. (62)
The most likely theory regarding the performance of
a partly vocal and partly instrumental voice-part is that
the singer had an instrument ready that he used for the
instrumental passages. In this connection it may be noticed
there are a few instances suggesting the opposite
practice, namely that of an instrumental player occasionally
using his voice for a special effect, in order to introduce
an element of realistic liveliness or surprise (see the
commentaries for Nos. 50 and 73).
Most of the compositions are written in the high tenor
range characteristic of mediaeval music. A striking contrast
is offered by the Nos. 9 (Perusio) and 40 (Solage),
which exploit the bass range in the voice as well as in the
instruments.
As to the question of tempo, it is important to realize
that in this period the minim rather than the semibreve
is the unit of notation and that, therefore, the eight-note
rather than the quarter-note of our transcriptions should
be considered as the unit of counting. Particularly in the
complex compositions of our category B, with their numerous
cross-rhythms and displaced measures, a successful
performance is possible only if every player counts
eighth-notes for himself, undisturbed by the other performers.
Conceivably this will result in a very moderate
tempo, but the intricate rhythmic texture as well as the
extremely vague harmonic idiom actually require such a
tempo. Without it, the numerous dissonances will simplysound
as wrong notes, and the many strange harmonic
progressions will be confusing and unintelligible.
G. THE LITERARY TEXTS
In the late fourteenth century Provencal was still the
native language in the south of France. The chief poetic
influence in this region came from the Jeux Floraux
competition founded in Toulouse in 1323/4. Poets and
musicians who wrote in Provengal and Catalan flocked
there each year. From 1356 the joya principal or violette
d'or was awarded for the best chanson, vers, or descort;
the souci d'argent for the best dansa; the eglantine for
the winning sirventes or pastourelle.
Since French was not the native tongue of the inhabitants
of southern France, it is normal to find French
verse of that region composed for the noble courts where
the overlord and his immediate followers were French
speakers. There were several such courts: that of Charles
II, le Mauvais (1350-87) and his son Charles III (1390-
1425), kings of Navarra with their capital at Pamplona
in what is now northern Spain; that of Jeanne, the
Countess of Provence at Nice (1348-82) who spent more
of her time, to be sure, in Italy; and the court of Gaston
Phoebus. Charles II was Norman in origin, and Jeanne
was the daughter of Charles of Anjou and Marie of
Valois. Thus both of them were of French extraction.
Charles III married Leonora of Castile in 1375, and his
associations thereafter were close to Spain. He was at the
side of the Spanish monarch during his ill-favored ventue
into Portugal in 1385. A most interesting figure was
Gaston Phoebus, Count of Foix (1331-91), who married
Agnes de Navarre. His court at Foix, only fifty-one miles
from Toulouse, was a center where French verse was
much appreciated.
In the first chapter of this Introduction we have encountered
several of the trouveres who travelled about
among the patrons. Trcbor wrote two ballades, Se Alixandre
(No. 45) and Se July Cesar (No. 46), which are
dedicated to Gaston Phoebus. His Quant joyne cuer
(No. 43) is certainly intended for Charles II of Navarre,
and his En seumeillant (No. 44) refers to the capture
of Sardinia by John I of Aragon, 1389. Cuvelier, in his
Se Galaas, celebrates Gaston Phoebus, and Senleches, in
his Fuions de ci (No. 47), mourns the death of Eleanor
or Aragon.
16 THE LITERARY TEXTS
One of Trebor's poems, the Passerose de beaute (No.
41), takes us to northern France. In this ballade we see
a reference to the celebrated double wedding at Cambrai
in 1385 (see n. 15). Froissart wrote a ballade to commemorate
this event: 'A Cambray se sont espouse . • .,'
and we know that Jean de Malines, another trouvere,
was invited to compose a song in its celebration. Eustache
Deschamps also celebrated this wedding.
In the north of France there was, of course, more opportunity
for a young French poet to try his wings.
French was the native tongue and therefore a poet could
be active without being attached to any particular court.
There were, however, some important centers of literary
activity and encouragement. Prominent among the patrons
in the north were the Duke of Touraine, later of
Orleans (after 1392) and his uncle the Duke of Berry,
to whom Solage's ballade, S'aincy estoit (No. 34) is
addressed. The King of France, Charles VI (reigned
1380-1422) was fond of music and verse, but his frequent
attacks of dementia made him an unreliable patron.
However, the Hotel de Saint-Pol in Paris, where
the royal family and some of the princes of the blood resided,
must have been a favorite haven for singers and
other musicians.
In the north the most important center of literary activity
was the court of Philip the Bold, Duke of Burgundy,
at Bruges, Dijon, and elsewhere. Philip had been
the favorite son of King John II of France and became
Duke of Burgundy in 1363. His wife was Marguerite,
Countess of Artois and daughter of Louis de Maele,
Count of Flanders. On the death of Louis de Maele in
1384 Flanders was joined to the estates of Philip of Burgundy.
It is not difficult to see how Picard (Artois),
Flemish, and eastern French (Burgundian) influences
were now intermingled. Eustache Deschamps was sent to
Bruges in 1375 (perhaps 1369) to present the Voir Dit
of Guillaume de Machaut to Louis de Maele. In 1375-
78 Eustache lists among his patrons Philip the Bold of
Burgundy, his son John of Nevers, and the young Countess
of Nevers — Marguerite de Flandre. It is probable
that the oldest extant art of poetry, the Art de dictier et
de fere chansons of Eustache was written for Philip of
Burgundy, who was in Paris in 1392, the date of its com-
position.
The confluence of elements from the various provinces
of northern France and from the Flemish territories is reflected
in a number of lyrics included in the present collection.
Many of them show dialectical traits of Walloon
and Picard territory. Among these are Tres douche
plasant (No. 65) where the ch for c and the a for at
plainly indicate the dialect; Ma tredol rosignol (No. 68)
where the s for ss and, within the poem, che for ce leave
no doubt; Restoes restoes (No. 73) in which we find
la douche yawe de merchi instead of la douce eaue de
merci, etc.
It is certainly no mere coincidence that all these dialectical
lyrics are virelais, usually dealing with pastoral
subjects: a rather charming and lively dialogue between
Robin and a 'plasant bergicre' (No. 65); a woman expressing
her wish to enjoy life and her 'ami,' with the
tenor referring satirically to the 'mari' who is going to
give her a beating (No. 64); or the birds as messengers
of love (No. 68). Together with others they form a
group of virelais very likely written and composed in the
north of French-speaking territory, where the Flemish
spirit was present. There is perhaps still an echo of thirteenth-century
village poetry in these lyrics whose carefree
prattling reveals such a strong contrast to the formal
rhetoric of the courtly ballades. The accompanying music
also possesses a certain carefree gaiety and is, by comparison
with the ballades, almost peasant-like in simplicity.
Bird calls are vividly portrayed, and a real enjoyment
of life — not commonly associated with the fourteenth
century — seems to burst out in the many repeats
of oci oci, fi fi fi, fideli, and tintinton (Nos. 67, 68, 69,
70, 71), while Nos. 72 and 73 strike a more seriously realistic
note, a cry for help in distress. Surely these were
not formal pieces intended to be presented before some
noble at his fireside. They were sung at carolesand other
dance festivals, and very likely originated in the northern
part of France, partly under Flemish influence. The
south of France had counterparts for them, but of course,
there they were sung in Provencal.
In the notable example, Par maintes foys (No. 69),
the notes of the nightingale are given as 'tue — oci —
fideli,' the sky lark is credited with 'lire — que te dit
Dieu Dieu,' while the cuckoo sings 'par envie' his monotonous
'cucu, cucu.' Plainly these are direct imitations
from nature. At the same time we are aware that in
previous centuries these calls were noted down in identical
language. The most famous example of the 'cucu'
in mediaeval times exists in the English Sumer is icumen
in. In the Wistace li moine, a picaresque romance of the
early thirteenth century, the protagonist Wistace climbs
into a nest and pretends he is a nightingale:
Wistaces commencha a crier:
Ochi! ochi! ochi! ochi! (w. 1H5-46)
The author of the Wistace plays upon the fact that
ochire (or ocire) means 'kill.' Note that the 'tue — oci'
in No. 69 gives double emphasis to this joke. We say
joke because there was great incongruity in likening the
gentle 'nightingale's hymn in the dark' to a murderous
cry.
ARTISTIC TRENDS 17
The fresh influence of Nature and her birds is redolent
throughout these virelais. In Ma tredol rosignol (No.
68) the lark cries 'liry —tantiny' and the lark, the ouzel,
the thrush and the goldfinch are joined by 'naquaires'
and 'cornemuses.'
Our knowledge of the trouveres in the second half of
the fourteenth century is limited, and probably will remain
so. The Histoire litteraire de la France, that monumental
reference work which seeks to give every known
detail about those who have written on French soil, has
now reached the first fascicule of Vol. XXXVII which
contains a discussion of the Provengal and Catalan poets
who centered around Toulouse in the last half of the
fourteenth century. Probably the next fascicule, when it
appears, will have something to say about the French
poets with which we are concerned. To judge from
what is written about the earlier poets in this century it
is hardly likely that many new details will be presented.
We should like to have before us this authoritative treatment,
but in the meantime we shall say what we can.
It is highly probable that when all known lyrics of the
fourteenth century are gathered into an Incipit volume,
with full bibliography and cross references, we shall be
able to identify many of the poems that we are now
publishing as anonymous, or, tentatively, as the literary
work of their musical composers. Indeed, such a check
as we are now able to make leads to the conviction that
most of the lyrics in our present volume were written by
the composers of the music. There are a few exceptions:
No. 23, Beaute parfaite, is a lyric by Machaut to which
Anthonello de Caserta has added the music; and No. 55,
De Narcissus, is probably by Eustache Deschamps, with
the music of a Magister Franciscus. (63) Aside from these,
however, none of the lyrics contained in our collection
has been found among the works of the well-known poets
of the period. Until proved otherwise, we may assume
that the major part of our repertory is the work of poetmusicians
continuing a tradition established by the
trouveres of the thirteenth century and represented,
among others, by Adam de la Halle and Guillaume de
Machaut.
Several facts seem to bear out this assumption. There
is excellent evidence that Jacob de Senleches was his own
poet, for his name occurs several times at the end of the
text, as well as at the head of the music (Nos. 47, 48,
49). Some of the ballades of Solage have a metrical
peculiarity, a short line of seven syllables, at the beginning
of part 3 of the stanza (Nos. 32, 33, 34, 35). This
suggests that they are the work of one poet who had a
fondness for this peculiarity, possibly Solage himself. An
anonymous Regies de la Seconde Rhetorique, composed
very early in the fifteenth century, mentions some outstanding
poets who came after Guillaume de Machaut.
(64
) They arc Jchan Lisans-Draps dc Douay,
Jacquemart Le Cuvelier de Tournay 'qui fut faiseur du
roy de France,' Hanequin d'Odenarde, 'faiseur du comte
de Flandres,' and then 'maistre Jehan Vaillant lequel
tenoit a Paris escolle de musique.' Others are Jehan Le
Fevre de Paris, Eustace Morel (Deschamps), Colinet
l'Alexis, Hanequin Le Fevre, Jaquct d'Orliens, Marc
d'Or, Olivet, Tapissier, messirc Nicole Roussel, Chariot
Falne, Raol de Brecy de Mons, maistre Jchan de Suzay,
and others. Very little is known of the lives and literary
activities of most of these poets. Several of them, however,
occur among the composers represented in Ch,
namely, Vaillant, Cuvelier (Cunelier), Suzay, and Olivet
(Olivier), (65) while Tapissier may well be identical with
the composer mentioned in Martin le Franc's Le Champion
des dames.
Near the end of the fourteenth century attempts were
made to revive the tradition of the noble trouveres of the
thirteenth century. The famous collection, Cent ballades,
was composed by Jehan de Saint-Pierre the Seneschal
d'Eu, Philippe d'Artois the Comte d'Eu, Marshal Boucicaut,
and Jehan de Cresecque, presumably while they
were prisoners of the Saracens. The dissemination of the
ballades aroused great interest because of their theme:
Constancy. It is assumed that it was on the occasion of
a visit of King Charles VI to Avignon, October 31 to
November 5, 1390, that a concours was held there on
the subject of these ballades. Other poets wrote stanzas
in agreement or disagreement with the theme. Some of
these were Charles d'lvry, Frangois d'Auberchicourt,
Raoul the bastard of Coucy, Renaud de Trie, Jehan de
Chambrillac, Gui VI de la Tremoille, Jehan de Bucy,
Guillaume de Tignonville, Louis Duke of Touraine
(later of Orleans), Lionnet de Cocsmes, Jehan Duke of
Berry, Jchan IV of Maillet, Jaquct d'Orlcans. It will be
observed that most of these poets, if not all, were men of
high degree, for whom poetry and, perhaps, music, were
a slight avocaton. The terrible defeat at Nicopolis (Bulgaria)
in 1396, sometimes called the last battle of the
Crusades, saw the death of many of these noble poets.
H. ARTISTIC TRENDS IN THE LATE FOURTEENTH
CENTURY
In the first chapter of this Introduction an attempt was
made to indicate the position of our musical repertory
within the general framework of its contemporary culture.
After having considered the music of the late fourteenth
century from various aspects of form and style, we
now propose to return once more to the panoramic point
of view, and attempt to trace the general artistic trends
of the period under consideration and to correlate
the stylistic tendencies in the various branches of four-
18 ARTISTIC TRENDS
teenth-century art. Admittedly this is a risky undertaking.
Danger lies ahead for anybody trying to cross the
fortified borders existing between the various territories
of the human mind. Curiosity, however, is a potent force,
and since friends beyond the border have kindly extended
a helping hand, the author cannot resist the temptation
of making this little excursion, knowing full well that,
although the "No Trespassing" sign may have been lowered,
another one is still hoisted: "Enter at Your Own
Risk."
The explanations contained in the previous chapters
indicate the general state of affairs in the musical field.
In the last decades of the fourteenth century French music
entered into the final phase of a development toward
refinement, elegance and preciousness, a development
starting with Petrus de Gruce and Philippe de Vitry, and
reaching its artistic culmination in Machaut. In his
recent book, The Commonwealth of Art (1946), C. Sachs
interpreted the evolution of art as a continuous oscillation
between two polar concepts of human attitude:
ethos and pathos. Obviously, the music of the late fourteenth
century represents a maximum digression toward
the pathos side. High tension, extravagance, disintegration,
open form, boundlessness, — these and similar
terms offer themselves for the purpose of general description.
Is it mere chance that this situation occurred at the
end of a century? At any rate, everything combines to
make the music of our period a fin-du-siecle phenomenon
in the literal as well as in the symbolic sense. In this respect
the late fourteenth century is not unlike the late
nineteenth, which produced the French impressionism.
Similar to Debussy and other impressionists, the men who
came after Machaut brought forth a late blossoming at
the end of a century revealing the same general traits of a
Romantic art that characterize the music of the nineteenth
century. In each instance we find ourselves in that
border region where refinement is close to mannerism
and where elegance verges on preciousness.
The extreme complexity of style and notation mark
the music of our period as the product of an esoteric
school, the work of members of an exclusive guild addressing
themselves to courtly audiences of the highest cultural
standing, to princes and courtiers accustomed to the
utmost refinement in taste, manners, and fashion. Today
as well, this music is food, not for the masses, but for the
connoisseur who appreciates the unusual and exquisite,
for the mind finding an aesthetic satisfaction in matters
incomprehensible and irritating to the many. It is music
kindred in spirit to that of Gesualdo and Frescobaldi, to
Bach's Art of Fugue and Beethoven's late string quartets,
to Debussy's Pelleas or Schonberg's Pierrot lunaire.
To recognize and appreciate the artistic values of the
French music of the late fourteenth century certainly is
not easy. Some forty years ago, F. Ludwig observed: (66)
'Es ist eine ausserst schwere Aufgabe, einer der komplizierten
Balladen, etwa aus Codex Chantilly, in Bezug
auf ihre Melodik und Rhyth'mik asthetisch sich zu nahern
zu versuchen; wie enttauscht auch der Kern, der
hinter einer Schale steckt, die mit ihrem Aufgebot von
weit iibcr einem Dutzend einfacher Notenzeichen . . .
gliicklicherweise ein Unikum in der gesamten Musikgeschichte
bildct.5
We hope the publication of this volume
will lead to a reconsideration of such opinions, and
that students of its contents will share the experience of
this writer, who, far from being 'disappointed by the kernel
inside that hard-to-crack shell,' found it extremely
interesting and fascinating. The present-day student, of
course, is here in a much better position than were
scholars thirty or forty years ago. Composers like Schoenberg,
Stravinsky, and Hindemith have not only made it
abundantly clear to us that the traditional concepts of
harmony and tonality are no divine institutions, but their
work has also opened for us entirely new vistas in the
fields of contrapuntal rhythm and contrapuntal dissonance,
exactly those fields explored to the fullest extent
by the composers of the late fourteenth century.
Turning now to a brief excursion into the other fields
of art, an examination of contemporary French painting
proves illuminating, since it reveals, generally, identical
traits and tendencies. French painting in the mid-fourteenth
century centered around the refined but conservative
tradition of the 'Parisian School.' This school
was the result of the cooperation of northern French
and of Flemish artists, the latter of whom introduced
Taccent rcaliste et lyrique,' while the former tended toward
'elegance graphique, aristocratique impassibilite,
clarte des formes.' (67
) The miniatures in the Hour Book
of Jacquemart de Hesdin (c. 1384) are among the most
exquisite examples of the Parisian style, a style that survived
in several manuscripts of the early fifteenth century,
for instance in the hunting scenes of the Livre de Chasse
by Gaston Phoebus.
About 1380 there developed a new style of French
painting now known as 'The International Style,' thus
termed because 'it came into being by the interpenetration
and ultimate fusion of the Gallic as represented by
the French, the Latin as represented by the Italians, and
the Anglo-Germanic as chiefly represented by the Flemings.'
(68
) The most famous example of this style are
the Boucicaut Hours, painted for the Marechal de Boucicaut
by an anonymous master between 1400 and 1410,
and the Tres Riches Heurs du Due de Berry, of the
brothers Limbourg, commenced in 1413. In various
ways these masterworks of French book illumination represent
a counterpart to the Manneristic style in music.
In fact, art historians describe them in terms almost
ARTISTIC TRENDS J9
identical with those we have used: 'If we are careful not
to read a derogatory meaning into the word, this tendency
may be described as "manneristic." It manifests itself
in an emphasis on calligraphic lines, variegated colors,
gold and silver at the expense of spatial illusions; in excessive
refinement of proportions, behaviour and dress of
figures; in richly ornamented armor, brocaded textiles
and jewelry; in a preoccupation with patterns within
patterns, so to speak.' (69)
The resemblance is obvious. Particularly interesting is
the remark about 'emphasis on . . . lines and . . . colors
at the expense of spatial illusions.' It could be almost
literally transferred to the music, if the word 'spatial' is
replaced by what has often been considered its musical
equivalent, 'harmonic' (7
°) Needless to say, the resemblance
of general traits results to a large extent from the
common soil of social conditions. Toward the end of the
fourteenth century an aging feudal aristocracy, tenaciously
clinging to outdated conventions, and desperately
trying to infuse them with a semblance of new life, created
a highly artificial style of living which is unique in
its 'amazing sophistication and extravagance in manners,
dress, and appurtenances.' (71) Small wonder this utterly
'unreal1
fashion of wasplike waists, choking collars, extravagant
shoes and headpieces, glittering with gold and
tinkling with bells, has survived to the present day in our
fairy tales.
Turning now to contemporary French poetry, we enter
a field that, although partly connected with music,
shows a strikingly different morphological structure
from that encountered in the two other fields of artistic
activity. Indeed there is little in French poetry of the
late fourteenth centruy to suggest a general tendency toward
pathos, open form, or extravagance. Romance
philologists usually complain about a certain sterility of
thought and rigidity of treatment in the poetry of Machaut,
and even more so in that of his successors, Jean
Froissart (1333-1410), Eustache Deschamps (c. 1340c.
1410) and Oton de Granson (d. 1397). 'Those elements
which made French lyrics of the mid-thirteenth
century gems of vibrant beauty had lost their strength.
The metaphors and symbolism of the Romance of the
Rose were no longer fresh, and social changes had caused
the poet of the village carolesalmost to disappear. The
French poets of the fourteenth century seemed to have
their ears to the ground, hoping for some new literary
theme to match the exuberance of their art and of their
new social and political conditions, but this never came.
And so love verse, descriptions of nature, and praise of
heroes continued in the old mould, with less and less inspiration.
Originality was sought instead in the mechanics
of versification.' (U. T. Holmes).
It is perhaps no mere incident that the pathos style so
clearly indicated in the fashion, the painting, and the
music of the late fourteenth century, has not left an
equally clear imprint on its literature and poetry. The
written word docs not lend itself so readily to extravagance
and boundlessness as does the ever-changing design
of fashion, the free brush-stroke of the painter, or the
evasive sound of music. The rules of word-sense, of grammar,
and prosody are not so easily dismissed as are those
of consonance, rhythm, design or symmetry. An interesting
illustration of this situation exists in our time
when, in spite of several attempts (Dadaism, James
Joice), literature has proved unwilling (or unable, which
amounts to the same) to explore realms of style comparable
to expressionism, atonality, or abstractivism. (72)
The obvious analogy existing between the International
style of painting and the Manneristic style of music
raises the question whether the latter also results from
the confluence of various national elements, for instance,
French and Italian. Basically, this question must be answered
in the negative. All the essential traits of our
repertory: forms, harmonic idiom, melodic design, treatment
of dissonance and of rhythm, are French in background
and in character. In particular, syncopation over
the bar-line, so frequently encountered in the compositions
of this period, is non-existent in Italian music, since
it cannot be expressed in the Italian system of notation.
(73)
Certain traits, however, suggest Italian influence and,
as may be expected, these occur particularly in the works
of the three Italian composers. The most obvious of
these traits is the use of special note forms, which are a
well-known characteristic of the Italian notation of the
fourteenth century. As has been previously remarked
(see p. 8a), these setnibrevescaudatae are found mainly
in Matheus de Perusio, Philipoctus, and Anthonello.
Senleches is the only French composer to make extensive
use of these signs. Another detail suggesting Italian
derivation are the sudden coloraturas in a strictly patterned
design. These occur particularly in the compositions
of Matheus de Perusio (1, 79, 89 ff; 3, 23ff; 6, 25f;
13, 9f; 17, 16f) and Philipoctus (59, 15; also in his Par
le grant sens [WoGM, no. 27] and Par les bonsgedeons
[IVoGM, no. 66)], occasionally also in Anthonello (26,
13f) and in isolated works of the French composers
(Solage; 34, llff). (74)
Such details, however, are not sufficiently important to
offset the impression that the compositions of our period,
including those written by the Italians, form a repertory
of an essentially French derivation. It is not until we
come to the later works of Matheus de Perusio that we
feel something like the 'sun of Italy,' that French 'subtilitas'
gives way to Italian 'dulcedo.' These composi-
20 EDITORIAL REMARKS
tions, with their well-ordered design, refined simplicity,
melodic continuity, and harmonious combinations,
indicate the beginning of that fusion of French and
Italian elements which reached its consummation in Du-
fay.
The presence in the International style of painting of
an 'Anglo-Germanic element, chiefly represented by the
Flemings;' invites a search for a similar trend in the musical
repertory of the period. Naturally, no exact correspondence
can be expected, since there exists nothing in
music comparable to the Flemish-German painting of the
early fourteenth century (Conrad von Socst; Wilhelm von
Herle?). It may be noted, however, that Flemish or,
at least, northern French influence has been observed in
a well-characterized body of the literary texts, that is,
in the 'realistic virelais.' It seems to us that their music
as well points to northern derivation. Instead of lavishness
and extravagance we find here an unsophisticated
charm, an almost folk-like lyricism, a sense of
earthly humor, a naive delight in the calls of the birds.
A parallel to this 'northern clement' in the music of the
period exists in the fact that it was the Flemish who contributed
to the Parisian school of painting Taccent
lyriquc et realiste,' a contribution that persists in the
products of the International style where, side by side
with highlv stvlizcd representations of the nobility, we
find surprisingly realistic — and often drastic — portrayals
of the lower-class people.
Thus, considerations from the various fields of arts
would seem to corroborate the impression that the realistic
virelais represent a northern French or, possibly,
Flemish element in the music of the late fourteenth century.
True enough, realistic characterization is common
in the Italian caccias, but these show a general character
of dramatic vividness which is quite different from the
playful ease of the virelais. Moreover, the caccias are derived
from northern French 'chaccs' of the early fourteenth
century, such as Se je chant mains (75) whose
'huo, huo' and 'ietes, ietes' may well indicate the point
of departure for the 'alarme, alarme' and 'restoes, restoes'
in the present repertory (Nos. 72, 73).
I. EDITORIAL REMARKS
Our prime consideration in matters of editorial technique
has been to present the compositions in such a
manner as to avoid all unnecessary difficulties and complications.
In adopting this principle we find ourselves
in diametrical opposition to the so-called 'scientific'
method used by the editors of the Denkmaler volumes
and other similar publications, a method characterized
mainly by the retention of the original clefs and of the
original note values. With the best of intentions, these
editors have actually done a great disservice to the cause
to which they devoted so much time and energy, and, to
a large extent, they have defeated their own purpose.
Instead of bringing the old masterworks to new life, they
have merely transferred them from one graveyard into
another or, to put it more properly, from their ancient
crypts into a modern Masscngrab. It is very unfortunate
and, in fact, a serious obstacle to musicological progress,
that to the present day publications continue to appear
in which the old clefs arc permitted to play their pernicious
game of confusion, and in which the whole- and
half-notes (so utterly different in appearance and meaning
from the old semibreves and minims) stare at the
reader with the wide-open eyes of rigor mortis. There
are only two sensible ways of presenting old music: either
in facsimile reproduction, or in a readable modern score.
It is gratifying to see that within the past twenty years
many musicologists (unfortunately, not all of them) have
joined ranks with Hugo Riemann who was the first to
take up the fight against the well-intended, but ill-considered
method of the Denkmaler.
Because of the usual complexity of the music contained
in the present volume I have thought proper to go
even further in the direction of modernization of appearance
than is the present-day custom. Not only has the
C-clef been eliminated, but also the octave-transposing
violin-clef which usually proves an excellent substitute
for the alto as well as the tenor clef. In the music of our
period the voices cross so often that only through the
exclusive use of the violin and the bass clef can an easily
readable score be obtained. True enough, this practice
entails a rather extended use of ledger lines and, occasionally,
change of clefs. However, both these devices, although
anathema to the purists, are perfectly normal and
familiar usages of the present day.
For all the compositions of this volume a uniform scale
of reduction has been used, the semibreve being represented
by the quarter-note. The arrangement of the parts
follows the order (from top to bottom) superius, contratenor,
tenor, unless otherwise indicated.
The principle of simplification without falsification has
also been our leitmotif with regard to other more specific
problems of editorial procedure, for instance, those arising
from the extraordinary rhythmic complexty of the
music. I had first planned to give an exact reproduction
of all the rhythmic details of the original notation, but
this would involve the use of numerous displaced barlines
and incomplete measures, not to mention other intricate
devices that would result in an extremely complicated
page. (76
) I have therefore endeavored to simplify
the external appearance of the rhythmic texture as much
as is possible without sacrificing its intrinsic qualities.
EDITORIAL REMARKS 21
Naturally, this policy admits of, and calls for, a certain
amount of subjective decision, for which I have to take
the responsibility. In order to clarify the proper nature
of the syncopated passages, the correct reading of the original
notation has often been added in small notes.
Except for the eight compositions reproduced in facsimile
and three others for which fascimiles are given in
my book on Notation (Nos. 23, 29, and 49; see ApNPAI,
pp. 421, 415, and 423), an effort has been made to indicate
all the peculiar notational devices of the original
source, mainly signs of mensuration, special note forms,
and the use of coloration. The signs of the first two categories
are directly reproduced, while coloration, whether
in full red notes (as usually in Mod and Ch) or in hollow
black (white) notes (as usually in Rei and the other
sources) is indicated by I 1. In some compositions,
e.g., No. 26, various kinds oi coloration are used, and
these are indicated as follows:
for full read notes: | |
for hollow red notes: [" "}
for hollow black notes: (~ ~\
Since in a number of compositions the notation of the
final notes is not uniform in all the voice parts, these
notes are usually reproduced as breves (half-notes), a
fermata being added for those that are orginally notated
as longae.
The words of the texts generally appear under the same
notes as in the original. In some compositions, however,
a rigid adherence to this principle was not feasible. In
contrast to Mod, Ch and, to a lesser extent, Rei show a
striking carelessness in the underlaying of the text, as
appears particularly from a comparison of the two lines
of text in the opening section of the ballades.
Needless to say, the ever-present problem of musica
ficta again rears its mysterious head. The main difficulty
presented by our sources is not so much absence or scarcity
of accidentals (the Mss of the fourteenth century are
much more liberally provided with accidentals than are
those of the fifteenth and sixteenth), but uncertainty of
their meaning. This uncertainty results from various
factors. Often the accidentals appear in obviously misplaced
positions, for instance a flat on the C-line or the
F-line; often there is doubt whether a natural (or flat)
sign indicates a sharpened (flattened) degree, or serves to
cancel a previous accidental, which may or may not appear
in writing; occasionally there is room for doubt
whether a sign appearing at the beginning of the line is
an accidental or belongs to the signature; the question
whether a flat or sharp given in the signature is also valid
for its higher or lower octave is one for which an affirmative
answer cannot be taken for granted; finally the fact
that accidentals are usually placed at a certain distance
ahead of the note to which they belong makes it difficult
to decide exactly to which note they refer to, and,
consequently, which meaning the accidental has. In order
to illustrate the situation, the original accidentals are
fully and exactly indicated in Perusio's Helas avril (No.
7), and Solage's Fumeux fume (No. 40), which probably
represents the ne plus ultra of chromaticism in early
music, is reproduced in facsimile (Plate V).
Regarding the addition of editorial accidentals I feel
that the remarks given on pp. 16, 102, and 104f of my
book on Notation are still valid in a general sense, although
the specific rules for the B-flat and B-natural (p.
104), if valid at all, would apply only to a later period.
There is only one new contribution I can make in this
matter, and this concerns the prolonged validity of original
accidentals. There can be no question that, as a rule,
the accidents given in our sources (as well as in others)
do have prolonged validity. A particularly good illustration
is found in No. 14, where the Ms has a sharp for
F in meas. 6 of the contra-tenor, while a flat for F appears
in meas. 11. Obviously the sharp is intended to
have validity for the entire passage between these two
signs. In cases where the accidental is not cancelled the
limit of its validity is often indicated by the end of the
phrase, by a rest, or else can be found by applying 'musical
common-sense.' At any rate, there can be no doubt
that numerous accidentals that do not appear in the original
notation are nevertheless implied, and it seems
reasonable to consider this fact in the modern transcription.
In the present edition these implied accidentals arc
given in the main text, preceding the note they affect,
but placed in square brackets. Purely editorial accidentals,
on the other hand, are indicated, as is customary,
above the notes and are enclosed in round parentheses if
they are deemed optional.
After the preceding explanations the reader will not be
surprised to learn I have abandoned that unwieldy tool
of editorial scholarship known as 'Critical Apparatus' or
'Variants.' The value of these extended lists is certainly
out of proportion with the number of pages they consume
and with the additional financial burden they
cause. The absence of such a list in the present publication
does not mean that I have neglected to collate the
sources. The pertinent results of this study are included
in the present edition. For each composition one Ms
has been selected as the main source, (77) and all the
cases where, because of obvious errors in this Ms, our
version differs from the original are indicated in small
notes, marked: Ms. As regards the variants found in
other Mss, only those are given that lead to a new and
interesting version. These also appear immediately above
the main text (marked Mod, Ch, etc.), so that they can
be easily compared with this.
The original clefs are given below in a table.
22 EDITORIAL REMARKS
The edition of the literary texts generally follows the
same principles that have been adopted for the music
(78
), except that no variants are given. Only in a very
few cases has it been necessary to incorporate better
readings from another Ms (see, for instance, the commentary
to No. 57). As to earlier editions of the texts,
the most comprehensive is that of G. Bertoni, in
Archivum Romanicum i (1917), containing all the
poems from Mod, unfortunately with many errors.
Portions (usually the opening lines or the first stanza)
of the texts of Ch are given in Chantilly, Le Cabinet des
livres (see n. 16). Most of the poems from Cam are reproduced
in E. de Coussemaker, 'Notice sur les collections
musicales la bibliotheque de Cambrai' (Memoires
de la societe d'emulation de Cambrai xviii, 1841, p.
193ff; separately edited in 1843). Several of the poems
represented in the present collection are found in
A. Pages, La Poesie frangaise en Catalogne . . . (see n.
18).
LIST OF CLEFS
The abbreviation cl (c2, etc.) means the C-clef on the
first (second, etc.) line from the bottom. Ch, Ret, It
have systems of six lines, Mod and Ca of five. The indications
refer to the main source used for each composition.
Changes of clef (which occur sparingly) are not
indicated. In the few cases where two clefs are notated
(e.g., f2 and c4), only the lower one is given.
No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Tr S
cl
c3
c3
cl
c3
cl
cl
c2
f3
cl
cl
c4
c3
c3
cl
c3
c2
c2
c2
c3
Ct
c3
f3
c4
c4
f3
c3
c4
c4
f5
c4
f4
f3
f3
c3
c4
c4
c4
T
c3
f3
c4
c4
f3
c3
c4
f2
f5
c3
c4
f4
f3
f3
c3
f3
c4
c4
f3
f3
No.
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
Tr
c3
c2
c2
c2
S
f2
cl
cl
cl
cl
c2
dl
cl
cl
c2
c2
c3
c4
c3
c4
cl
c3
cl
c4
f4
Ct
cl
c3
c3
c3
c4
d3
c3
c3
c5
c3
f3
f4
c5
c5
c4
c5
c5
c5
f5
T
f2
cl
c3
c3
c3
c4
d3
c3
c3
f2
c4
f3
f4
c5
c5
c4
c5
c5
c5
f5
No.
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
Tr S
c4
c2
c4
c5
c3
c3
c3
c4
cl
c3
c3
c4
c3
cl
c3
c3
c3
cl
c3
c2
Ct
f3
c4
f4
f5
f4
f3
c5
c4
c2
c3
f3
f3
c5
cl
c5
c5
f3
c3
c3
f3
T
f4
c4
f4
f5
f4
f4
c5
f4
c3
f3
f3
f3
c5
c3
c5
c5
f3
c3
c3
f3
No.
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
Tr S
c4
c3
c2
c2
c2
c2
c2 c2
c3
c2
c2
c3
c2 c2
c3
cl
cl
c2
c3
c4
c4
c2
c2
Ct
c5
c4
c3
c2
c4
c4
c3
c3
c4
c3
c5
c3
c3
c3
c2
f3
f3
T
c5
f3
c4
c4
c4
f2
c4
f3
c4
c3
c3
c5
c5
c3
c3
c5
f3
f3
f4
f3
c4
J. NOTES 23
(1) The codex Rtina consists of three parts, of which the second
only is to be considered here. The first contains Italian compositions
of the fourteenth century, the third French compositions of
the Dufay period.
(2) See the List of Compositions and Sources, p. 27. Important
additional sources, not considered here, are the codex Apt, containing
only liturgical compositions (published in A. Gastou6, Le
Manuscript . . . a"Apt, 1936) and the codex Torino, Bibl. Naz.
J119. The latter is, with 165 French secular compositions, by far
the most extensive source in our field. The fact, however, that it
was compiled in Cyprus at a slightly later date (between 1413 and
1434, according to H. Besseler), and that it does not contain a single
piece duplicating the repertory of the continental sources, puts it
into a separate category. Publication of this codex has been
announced by the American Institute of Musicology in Rome.
(3) Two compositions by Baude Cordier, an interesting circle
canon (cf. P. Aubry, Lesplusanciens monuments dela musique francaise,
1905, pi. XXII; also H. Riemann, Handbuchder Musikgeschichte,
i. 2, 1905, p. 351), and the famous 'musical heart' (cf. ApNPM,
p. 427) are found in Ch. However, they are later additions copied
on a front page (possibly by Cordier himself) and not part of the
original Ms.
(4) The statement in H. Riemann's Musiklexikon(s.v. 'Tapissier'
and 'Cesaris') that Ch includes one composition by Tapissier and
ten by Cesaris, is erroneous. Only a 'Tenor Johannis Cesaris' is
found on p. 46V
, where it forms a part of La dieus a"amours. According
to J. Wolf (WoGM i, p. 329) a 'Tenor Johannis Cesaris' also
appears on the next page, 47r
, as part of Adieu vous di, but this is a
mistake.
(5) The term 'secular composition' is used here as a generic
designation for the compositions based on lyrical poetry (ballades,
virelais, rondeaux).
(6) The total number of compositions by Perusio (including
Mass items, motets and Italian pieces) is 31. Cf. LuGM ii, p. 31a.
The virelais Plus onques ascribed to Perusio in WoGM ii, iii, no. 69,
actually is anonymous. See, however, the remark near the end of
n. 53.
(7) Two ballades, En atendant soufrirand En attendant esperance,
both ascribed to Galiot in Ch, are ascribed differently in Mod, the
former to Philipoctus, the latter to Senleches. On inner grounds
we have' accepted Galiot as the more likely composer of En atendant
soufrir, and Senleches as the one for En attendant esperance (see the
Commentary, Nos. 49 and 56). One composition by Senleches,
La harpede melodie (Ch, 43V
), had to be excluded from the present
publication because it is incomplete.
(8) Edward P. Cheyney, The Dawn of a New Era, 1936, p. 181.
(9) AMW vii, p. 194.
(10) During the past few years several scholars have examined
the question as to the location of the Franco-Italian school of the
late fourteenth century. In an article entitled 'II Codice Estense
lat. 568 e la musica francese in Italia al principio del '400' (Atti
dellaR. Accademia di Scienze Leltere e Arti di Palermo,' serie IV, vol. V,
parte II, 1944/45), N. Pirrotta expresses the opinion that the Italian
composers worked in Naples which, as is well known, was under
French domination for many centuries. Caserta, the native place
of Philipoctus and Anthonello, is a town near Naples. Speaking of
Philipoctus, Pirrotta considers it 'probabile che il musico casertano
. . . trasmigrasse poi (that is, simultaneously with Clement VII,
1379/80) ad Avignone, dacche figura fra i compositori piu Iargamente
rappresentati in Ch' (p. 130). However, in a more recent
article, entitled ' "Dulcedo" e "Subtilitas" nella pratica polifonica
franco-italiana al principio del '400' (Revue Beigede Musicologie, ii,
1948, p. 125), Pirrotta apparently abandons this theory, and prefers
to consider Philipoctus as 'un rappresentante di una scuola campana,
venuta in contatto dopo il 1377 con i musicisti importati di
Avignone' (p. 130, n. 2). Judging from brief remarks found in an
article by G. de Van, 'La P6dagogic musicale a la fin du moyen
age' (Musica Disciplina ii, 1948, p. 75), Bologna also has been
brought into the picture: 'Ettore Li Gotti, La Poesia musicale ilaliana
delsecolo XIV, 69-70, n. 113, parle d'une 6cole bolonaise dont Mod
serait un temoignage.' (p. 80, n. 18); 'M. Pirrotta est, je crois, le
premier a avoir localisfe l'6cole bolonaise. L'etude de Mod m'avait
suggerfi depuis longtemps la mtaie idee. Je 'ne connais les theories
de ce savant italien que par une breve citation dans Li Gotti, loc.
eit: (p. 85, fn. 25).
In presenting these views I wish to say that, as far as I can see,
they are not based on convincing evidence or proof, any more than
is my view presented above. On the whole, de Van as well as
Pirrotta recognize Italian influence in the repertory to a much
greater extent than I am able to see. See the discussion of this
question on p. 19a:
(11) The practical importance of this bull has been greatly overrated
by music historians. It represents one of many futile attempts
at reformation on the part of a pope who was a 'kleiner leidenschaftlicher
Schulmeister,' possessed by a 'Neigung, neue Dogmen
in die Welt zu setzen,' but actually unable 'irgendwo dauernde
Zustande zu schaffen' (see F. Ludwig, in AMW vii, p. 432, quoting
from K. Wenck).
(12) See R. Michel-Andre1
, Avignon, Les Fresques du palais des
popes, 1920.
(13) Cuvelier (Cunelier?) may possibly be identical with the
author of Bertrand du Guesclin, one of the latest products of the old
French epic poetry (see G. Paris, Esquisse historique de lalitllrature
francaise au moyen-Sge, p. 212).
(14) See the additional remarks in the Commentary (No. 44).
(15) Owing to a plurality of Marguerites in the political life of
the period, it is difficult to reach a decision as to the identity of the
couple to whom this poem is addressed. The most famous bearer
of the name was Marguerite of Flanders (1350-1405), who was
married to Philippe de Rouvre in 1361 and, after his death, to
Philip the Bold, duke of Burgundy, in 1369. Even the later of these
dates seems a bit early for the composition in question, but the use
of the word 'espousa' would justify the assumption that it was
written some time after the marriage. Two other claimants figure
among the partners of a widely celebrated double wedding that
took place on April 12, 1385 at Cambrai, when Philip's eldest
daughter, Marguerite, was married to Guillaume d'Ostrevent, son
of Albert of Bavaria, and his eldest son, John, to Marguerite of
Bavaria. Possibly the designation of the husband as 'Jupiter' and
of the place of marriage as 'Engaddi, la pr£cieuse vigne' (in symbolic
reference to the biblical Engaddi) may provide a clue. At any
rate, the poem seems to be related to the court of Burgundy that
was to play such a central r61e in the music history of the fifteenth
century.
The line 'En Engaddy, la precieuse vigne' recurs in the ballade
Roses et Us by Magr. Egidius Anglicus (Ch, 22r
). For other poems
celebrating this double wedding see p. 16a.
(16) Probably Charles II, le Mauvais, who ruled from 1350 to
1387. In Chanlilly, Le Cabinet des livres, Manuscrits ii, 1900, p.
277ff, where our musical codex Ch is described in considerable
detail, Quant joyne cuer is said to refer to Gaston Phoebus (p. 280,
under No. 41).
(17) The theme of the Nine Heroes has frequently found expression
in works of art. Of particular interest are the Nine Heroes
tapestries recently discovered and acquired by The Cloisters in New
York. See TheMetropolitan Museum of Art, Bulletin, vol. VII, Number
9 May, 1949, p. 243ff.
(18) H. Angles, 'Cantors und Ministrers in den Diensten der
Konige von Katalonien-Aragonien im 14. Jahrhundert' (Berichl
iiber denmusikwissenschqftlichen Kongress in Basel, 1924, p. 56ff); id.,
'Gacian Reyneau am KSnigshof zu Barcelona in der Zeit von 139..
bis 1429' (Festschrift fiir Guido Adler, 1930, p. 64ff); id., 'El Music
Jacomi al servei de Joan I i Marti I durant els anys 1372-1404,
(in Homenalge a AnloniRubioi Liuchi, 1936: also separate); A. Pages,
La PoisiefrancaiseenCatalogne du XHIe siicleh la Jindu XVe, 1936.
(19) Ch contains a ballade, Se Dedalus, by Taillandier (p. 42V
)
and a rondeau, Va t'en mancuer by Reyneau (p. 56V
).
(20) He is well known for his letter of 1338 in which he urges his
brother-in-law, Philip the Bold of Burgundy, to send him an
exaquier as well as a player who could perform on it. See ReMMA,
pp. 375 and 384, and F. Pedrell, 'Jean I d'Aragon, Compositeur
de musique' (Riemann-Feslschrift, 1909, p. 229).
(21) Mainly in WoGM i, 260, 328, and 335. For important
corrections see F. Ludwig, in SIM vi, 611, 616. A detailed description
of Chis found in Chanlilly, Le Cabinet. . . (see n. 16), of Mod,
in Pirrotta, 'II Codice . . . " (see n. 10), The descriptions in
LuGM ii, 22f and in AMW vii, viii (Besseler) should also be consulted,
particularly for some of the subsidiary sources not described
in WoGM.
24 NOTES
(22) Cf. F. Ludwig, in SIM iv, 42; H. Besselcr, in AMW vii,
207;J. Wolf, in WoGMi, 328; also the articles by Pirrotta and de
Van mentioned in n. 10.
(23) Reproduced in WoGM ii,iii,no. 76 and in DTOe ix.l, 179.
See also A. T. Davison and W. Apel, Historical Anthology of Music,
1946, no. 60.
(24) The List of Compositions and Sources (p. 27) affords a
survey of this point. All statements in this respect are subject to
reservation because of the great number of anonymous compositions
found in our sources. Modand Ch are the only sources to give
names of composers of our repertory.
(25) See F. Ludwig, in AMW vii, 423; also the detailed biographical
description in Pirrotta, 'II Codicc . . . • (sec n. 10),
p. 142ff.
(26) These compositions are: Je la remiray (It, 126r
= Mod,
35r
= Rei, 88'; see ApNPM, facs. 82) and Je neputs avoir (Pan,
104r
= Mod,20v
= Ch, 24'; see ApNPM, facs. 83). Possibly, Dame
tansperin 7>, no. 3 was identical with the composition bearing the
same title in Mod, 28V
(see the discussion on p. 5a).
(27) This composition has been repeatedly mentioned in modern
writings under the name of 'Die Muhlen von Paris' or 'The Mills
of Paris' (R. Haas, Musikalische AuffUhrungspraxis, 1932, p. 103; W.
Apel, Harvard Dictionary of Music, 1942, p. 784; C. Sachs, Our
Musical Heritage, 1948, p. 175). This title is a misinterpretation of
the inscription 'Di molen van pariis', which occurs in the index of
Str and actually is a garbled version of the composer's name,
[Pierre] de Moulin of Paris (cf. LuGM ii, p. 20a, n. 2). The claim,
often made on behalf of this composition, of being the earliest
example of variation (Haas, Sachs) is hardly well founded. The
piece existsin three versions, two of which show the upper part provided
with ornamentations similar to those which occur in the carlyfourteenth-century
keyboard arrangements of motets from the
Roman deFauvel (see J. Wolf, 'Zur Geschichte der Orgelmusik im
14. Jahrhundert,' Kirchenmusikalisches Jahrbuch, 1899). In neither
of these cases is there any reason to assume that the ornamented
versions were connected with the model as 'variations of a theme.'
Their proper place is in the history of ornamented arrangements,
in which they precede the Intabulierungen of the sixteenth century.
(28) LuGM ii, 18b.
(29) Since French philologists have a long standing claim on the
first letters of the alphabet to indicate rhyme schemes and refrain
lines, the letters S, T, etc. are used here to indicate musical sections.
For the sake of clear distinction we prefer them over the Greek
letters, a, 0, etc., which have been used by philologists (Gennrich
and others) for this purpose.
(30) Some of the monophonic virelais by Machaut have two
different endings for the first section as well. No example of this
practice has been found in polyphonic compositions.
(31) See Machaut's ballade no. 38. The other three ballades
of this group have a seemingly more complex structure, because of
their use of internal rhymes (ballade layee).
(32) See ReMMA, p. 107.
(33) Early examples of these solemn chains of chords, which
are so frequent in Dufay, occur in Machaut's Mass, to such words
as 'Jhesu Christe' and 'Ex Maria Virgine.'
(34) This is the case with Grimace's Alarme alarme (No. 72),
which has a full text in Ch,while the text of Reilacks the tierce.
(35) See also WoGM i, particularly pp. 328-356.
(36) A somewhat simpler device for the notation of syncopated
passages, also often used in our sources, is that of split groups of
coloration, as, e.g., in No. 32 (see Commentary; cf. also ApNPM,
p. 406, under 2). This device persisted well into the fifteenth
century (see ApNPM, p. 133 [Hughe de Lantins] and p. 134
[Dufay]). Numerous examples exist in Ockeghcm's Missaprolationum
and Requiem, both published, with facsimiles, in vol. ii of
Ockeghem's Collected Works, edited by D. Plamenac, 1947. Several
such passages are found on Plate XIII of this edition, and one of
these, involving quicker notes than the others (contra, first line)
has been wrongly transcribed by the editor (p. 93, meas. 9-10).
According to the rule of 'similis ante similem perfecta' the passage
in the next two measures of the contra should alsobe in syncopation,
but this rule was no longer so strictly observed as previously.
(37) CSiii, 118;see also WoGM i,291.
(38) Some of Matheus' 'additive' signs appear in the compositions
of Paolo Tcnorista, who probably was one of the immediate
Italian predecessors of Matheus (see, e.g., the example inApNPM,
p. 394).
(39) See WoGM i, 294.
(40) 'T ~'The French Secular Music of the Late Fourteenth Century'
(Ada Musicologica xviii/xix, 1946/47, p. 17).
(41) A later embodiment of the same principle is encountered
in sixteenth-century sources where blackened notes, which are
always imperfect, are occasionally used for the rendition of passages
in triple meter in order to avoid the complications of imperfection
and alteration. Cf. ApNPM, p. 136,line 6 f.b.
(42) See ApNPM,p. 164ff.
(43) WoGMi, 176ff, F. Ludwig, in SIM vi, 606, rejects Wolf's
theory as pure fantasy.
(44) It seems to me that an ulterior date for our repertory is
provided by the fact that Matheus de Perusio, the main representative
of its last phase, became a member of the choir of the cathedral
at Milan in 1402, a position in which he remained at least until
1418. Since it is difficult to see what could have induced him to
compose French secular songs in this position and in this town, I
am inclined to think that they were composed before 1402, in
Avignon, Naples, or wherever he may have lived before that
appointment. To assign his compositions to a date after 1418,
would leave a considerable gap in the development, all the more
since some of his works (e.g., Le greygnour bien,No. 1) definitely
belong to the manneristic style.
(45) See G. Perle, 'Integrative Devices in the Music of Machaut'
(MQxxxiv, 169).
(46) Regarding the use of imitation in Machaut see ReMMA,
p. 355.
(47) Sec Commentary.
(48) Although, according to Webster, 'mannered' and 'manneristic'
arc synonymous terms, art historians usually make a distinction
according to which the former term has a disparaging side
meaning that is not implied in the latter.
(49) See the explanations under Editorial Remarks, p. 20b.
(50) In these versions upward and downward stemming is used
to distinguish the incomplete groups from the inserted full measures.
Whenever feasible, the notes of the incomplete groups arc
connected by a long beam, in order to show that they result from
the splitting up of a full group (3/8 or 6/8). For more detailed
information the reader is referred to ApNPM, p. 414f, or to the
article in Ada Musicologica (see n. 40), p. 23f. In an article,' "The
Notation of Polyphonic Music": A Review' (A/Q_xxx, 112), M.
F. Bukofzer suggested the term 'durational syncopation' for
the syncopation type of the fourteenth century which, of course,
completely lacks the strongly accentuating ('shocking') quality of
modern syncopation (p. 116).
(51) We are using here a terminology, introduced by C. Stumpf,
in which 'consonance' and 'dissonance' express objective facts of
acoustics, while 'concordant' and 'discordant' indicate subjective
perceptions or interpretations. Thus, the fourth may be termed
a consonant and discordant interval.
(52) CSi, 107a.
(53) Another illustration of this situation is afforded by the
various instances of faulty transcriptions found in previous publications.
Completely wrong is Coussemaker's transcription of Ne
celle amour (No. 54) in his Histoire de I'harmonie au moyen-dge (1852),
Traduction, p. XL. Also wrong is the transcription of the beginning
of Baude Cordier's Amans amez in E. Dannemann, Die spatgotische
Musiktradition . . . (1936), p. 106, no. 33 (see Davison-Apel,
Historical Anthology of Music, No. 48a), and that of De jour en jour
by Dezcs in ZMWx, 99ff.
Wolf's transcriptions are correct, except for some passages in
which he has failed to notice the syncopation character. Thus, in
Parlegrant sens the passage WoGMiii, p. 72, syst. 2, meas. 3 to 5
should have only one half-rest (there is only one M- rest in the
original as well as in the reproduction, WoGMii, p. 46, beginning
of line 2), and should have a dotted whole-note on D (the clearly
visible punctus of the original is missing in the reproduction). A
similar case occurs in the passage vol. iii, p. 73, syst. 2, meas. 5
to syst. 3, meas. 2, where the two M of the original (see vol. ii, p.46
line 6) should be transcribed in alteration, thus obviating Wolf's
conjecture of a scribal error (see his n. 1). In the reproduction of
Par Us bonsgedeons (ii, p. 118) a dot above thefirstnote of the second
ligature on line 8 is omitted and a dot is erroneously added after
the third note of line 9. Properly the whole passage between these
notes should be in syncopation (see vol. iii, p. 160, syst. 3, meas.
4ff). For Plusonques dame (ii, p. 125f) Wolf makes several emendations
that result in faulty transcriptions of the two closing passages.
If correctly transcribed, the final measures show the iambic rhythm
often found in the works of Matheus de Perusio (see p. 14a). Thus,
the very charming composition may well be by Perusio (as indicated
by Wolf), although it is anonymous in the Ms.
Schering's transcription of Perusio's rondeau (not 'Chanson
balladSe') Pour belacueil {Geschichte der Musik in Beispielen, 1931, no.
24) shows a slight mistake in meas. 8, where the first note of the
superius should appear in syncopation. See No. 12.
In mentioning these mistakes I am fully aware of the possibility
that similar errors may be found in the present transcriptions.
(54) Italic capitals indicate minor triads, Roman capitals major
or empty (1-5-8) triads.
(55) It is not without interest to notice that the 'high-strung'
double-leading-tone cadence of the fourteenth century recurs
occasionally in a much later repertory revealing the same tendency
toward an exuberant pathos style, that is; the German organ music
of the seventeenth century. The most impressive example is the
close of Tunder's organ chorale Jesus Christus unserHeiland (K.
Straube, Choralvorspielc alter Meisler, p. 135):
X T .
Ulrich Steigleder's Tabulator Buck Darinnen dass Vatler unser . . .
viertzigmal varirtwiirdt (1627) contains a variation in which the
chorale appears 'in zwo Stimmen zumal,' that is, doubled in the
lower fourth, a method thus resulting in a double leading tone for
the cadential endings:
(56) See the remarks in the chapter on Questions of Performance
(p. 15a).
(57) See the remark about Plusonques dame near the end of n. 53.
(58) We do not include in this group No. 54, because here the
two fragments of text given with the contra obviously serve only to
underline the imitative character of these passages.
(59) In the two poems by Machaut containing an enumeration
of instruments (see LuGM i, p. 102 and ii, p. 53) I count 12 strings,
24 winds, and five percussion instruments.
(60) See commentary for No. 34.
(61) Actual performances would help greatly to clarify these
questions. I had the pleasure of attending the performances of
music of the thirteenth, fourteenth, and fifteenth century given
under the direction of Prof. Paul Hindemith at Yale University in
1946 and 1947, and I hope to be permitted to express to Mr.
Hindemith the sincere gratitude of the whole clan of musicologists
for his splendid and highly successful efforts.
(62) The extremely inaccurate underlaying of the text in Ch
makes it difficult to investigate this problem with regard to compositions
contained in this Ms. In some cases the musical phraseology
NOTES 25
of the upper part strongly suggests an alternation of vocal and
instrumental passages, for instance in Solage's Corps femenin (No.
32) and Pluseursgens (No. 37).
(63) G. Raynaud, Oeuvrescompletesde Eustache Deschamps,vol. x
('Oeuvres attribuables a E. D.'J, no. LVI (erroneously given as
'Se Narcisus'). The same volume contains two other poems that
occur in the musical repertory of our period, namely, Puisqueje suy
jumeux (no. XIV; composition by Hasprois in Ch, 34v) and Dece
quejolpense (no.LXIII; composition by Pierre de Moulins,see p.4b).
Many of Raynaud's attributions are doubtful. An example in
point is Puisqueje suyjumeux, which appears in Chwith the subscript
'Composuit dictum Ja. de Noyon.' This means, of course, that
Noyon wrote (not 'composed') the text, an interpretation confirmed
by the fact that Hasprois is given as the 'composer.'
(64) E. Langlois, ed. Recueil d'Arts de stconde rhitorique, 1902,
pp. 13-14.
(65) See the list of composers given on p. lb.
(66) SIM'w, 46.
(67) Charles Jacques (Sterling), Les Peintures du moyen age, 1941,
p. 17.
(68) From Chapter II of Prof. E. Panofsky's lectures on the
Origin and Character of Early Flemish Painting, given at Harvard
University in 1947/48, and to be published soon. I am very grateful
to Mr. Panofsky for having put his manuscript at my disposal,
and for his permission to quote from it.
(69) See n. 68.
(70) See, e.g., C. Sachs, TheCommonwealth of Art, p. 272.
(71) See n. 68.
(72) In making these comments I take exception to a fundamental
thesis of Sachs' theory of fluctuation (as put forth in his The
Commonwealth of Art), namely that these fluctuations, minor as well
as major, invariably reveal themselves in all the arts and at exactly
the same time. Many of Sachs' examples adduced to prove this
thesis are far from being convincing.
(73) An interesting illustration exists in a virelai, Quepena, of the
Italian composer Bartholomeo de Bononia {Mod, 37r
; reproduced
and transcribed in IVoGMii and iii, no. 68). The notational complexities
of this composition are hardly less than in the most extreme
examples of the present collection. The resulting rhythmic complications,
however, nearly always unfold within the bounds of regular
and simultaneous measures (see the explanation in ApNPM, p.
429f; corrected in the fourth edition). A comparison of Bartholomeo's
Quepena with, for instance, Matheus de Perusio's Le greygnour
bien reveals the difference between the Italian and the French
variety of mannered notation.
(74) N. Pirotta, in his article 'Dulcedo e subtilitas' (sec n. 10)
recognizes Italian derivation in the erratic design of the contratenor,
as found in many compositions of Anthonello and Philipoctus,
maintaining that these pieces were originally written in the
characteristic Italian texture of two voice-parts (Jacopo da Bologna,
Giovanni da Florentia), and that the contratenor was added subsequently
as a mere filling part. Although the compositions in
question do give the impression of having been thus composed, it
may be somewhat rash to interpret this as a typically Italian trait.
The same kind of erratic contratenor progressing in broken thirds
is frequent in the compositions of at least one French composer,
Trebor. It is true, however, that the Italians went further in this
direction than did Trebor.
Parenthetically it may be remarked that even the Italian coloraturas
may have a French ancestry, a possibility strongly suggested
by the Et in terraof the so-called Mass of Tournai of c. 1300 (sec
E. de Coussemaker, Messedu Xllle silcle,1861).
(75) See H. Besseler, in AMW vii, 251.
(76) For an example see the transcription of Anthonello'sDame
gentil (No. 29) in ApNPM, Appendix, No. 58.
(77) See the introductory remark to the List of Compositions
and Their Sources, p. 27.
(78) See the introductory remark to the List of Compositions,
p. 27.
(79) See LuGM ii, 31b, n. 1.
LIST OF COMPOSITIONS AND THEIR SOURCES 27
Each indication of the subsequent list consists of the
page number and two signs, the first of which, + or —,
indicates the presence or absence of a composer's name;
while the second indicates the numbers of stanzas of the
text. Thus, 28v — 3 means that the composition is found
on page 28v, without the name of a composer and with
a text of three stanzas. Double or triple numbers, e.g.,
1,1, indicate that there are different texts for two or
three voice-parts. In the case of compositions appearing
on two or more pages of the Ms only one page, usually
the first, is given. The sign § means that, in the case
of compositions preserved in several sources, the Ms thus
marked has been used as the main source for the music
of the present edition. As a rule, this Ms has also been
used as the basis for the literary text, except in those
cases where a fuller text is found in another Ms. In such
cases the rendition of the entire text is based on that Ms,
marked by the sign *, which has the fullest text. Items
placed in square brackets have not been available for
checking.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
Matheus
de Perusio
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
Anthonello
de Caserta
99
99
99
99
99
99
99
Solage
99
99
99
99
99
99
99
Le greygnour bien
Le grant dcsir
Se je me plaing
Pres du soloil
Dame que j'aym
Puisque je sui
Helas avril
Dame souvrayne
Heylas que feray
Ne me chaut
Belle sans per
Pour bel acueil
Trover ne puis
Dame de honour plesant
Se pour loyaulment servir
Jusques a tant
A qui fortune
Pour Dieu vous pri
Plus lies des lies
Helas merci
Par vous m'estuet
Andray soulet
Beaute parfaite
Dame d'onour en qui
Du val prilleus
Amour m'a le cuer mis
Notes pour moi
Tres nouble dame
Dame gentil
Dame d'onour c'on ne puct
En l'amoureux vergier
Corps femenin
Calextone qui fut
S'aincy estoit
Le basile
Helas je voy
Pluseurs gens voy
Tres gentil cuer
Mod
32r + 1
33v+ 1
42v + 3
16r + 3
10v+ 1
44r + 1
45r + 1
38r + 2
41v + 1
48r + 1
42r + 1
44v + 1
46r + 1
51r + 2
43v+ 1
48v + 1
43r + 1
41r + 1
23r + 1
38v + 1
lOr + 1,1
40v + 1
§13r + 3
40v + 1
§12v + 1
32v + 1
13v + 1
28v+ 1
38v + 1
19v + 1
Ch
20r +
23v +
50r +
36r +
49v +
57v +
58r +
\ §50v +
I 18r +
3
3
1
3
3
3
3
3
3
Rei
4 6 v - 1
4 7 r - l
Other Sources
23 LIST OF COMPOSITIONS
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
Trebor
Jacob de
Senleches
31
Mag. Franc-
iscus
Jo. Galiot
Magister
Egidius
Fr. Johannes
Janua
Philipoctus
de Gaserta
"
Ciconia
Borlet
["]
Vaillant
Grimace
Vaillant
Garinus
Joicux de cucr
Fumeux fume
Passerosc de bcaute
Helas pitie
Quant joyne cuer
En seumeillant
Se Alixandre et Hector
Sc July Cesar
Fuions de ci
Je me mcrveil
En attendant esperance
En ce gracicux tamps
Tel me voit
~Martiirius nui futlVXAl IUL1 UJ \JU l A KAl#
Amour me fait
NP PPIIP amourX i ^ v^ilw tilllUUI
De Narcissus
En atendant soufrir
Courtois et sages
Une dame requis
En remirant
De ma dolour
Unsr lion sav
Mais qu'il vous legne
KPTP Hanip
Contre le temps
Sus un fontayne
He tres doulz roussignol
Ma trcdol rosignol
Par maintes foys
Or sus vous dormez trop
Onques ne fu
Alarme alarme
T^pstop*? restoes
T?.r» tpo Honls flan*?
S'espoir n'estoit
Tres doulz amis
Conbiens qu'il soyt
Loyaute me tient
Hnrs suv ie bien
La grant beaute
Tre doulz regard
Mod
§14v + 1
§39v + 1
25v+ 1
40r + 1
§29r - 2
20r + 2
§35r + 1
12r + 1
§34v + 1
§26v + 1
§27r + 1
13r— 1
36r— 1
3 0 v - l
58v
59r
21r
42r
31r
21v
30r
43r
*17r
44v
*44r
§19v
*33v
*39r
*32r
28v
54v
60r
§55v
17v
§36v
Ch
+ 1
+ 1
+ 3
+ 2
+ 3
+ 3
+ 3
+ 3
+ 3
+ 3,3
+ 3
+ 3
+ 3
+ 3
+3
—l
+ 1,1
+ 1
+ 1
+ 1,1,1
+ l
Ret
6 1 v §
5 8 v no,,
_
oyv
5 7 v -
8 1 r -
§84v-
5 4 r -
8 0 v -
7 7 r -
5 7 r -
5 5 v -
5 3 r -
§67v-
6 9 r -
FLO-
DOT
§ 7 7 v -
1
1
1
1
2
1
0
1
1
i
i
2,2
1,1,1
i
X
i
X
1
1
X
1
X
Other Sources
[Padua, Ms 1115; Str,
no. 79]
[Str, no. 22]
r* n o
LiCtHj yr "~~ i.
It, 33v-0; [Tr, no. 48]
It, 23r - 0
[Pad,38v - ?]
[Str, no. 53]
[Str, no. 101]
§//, 122v l;Z.o,76v 1;
[Iv, Uv-I; Str,no. 127]
[Str, no. 26]
[Str,no. 13]
//, 125r -1
[Str, no. 34]
It, 121r-0
COMMENTARY 29
No. 1. (Facsimile Plate I.) This is one of the most notable
examples of the manneristic style and notation. As usual in this
idiom, the two lower parts are relatively simple, while in the
superius notational virtuosity holds full sway. The basic mensuration
of the superius is [2, 2]. The white notes indicate dotted
values, and the full red notes introduce triplets or, in other words,
6 /8 for 2/4, while the hollow red notes (meas. 59 to 67) stand for
triplets of triplets or, in other words, 9/8 in the place of 2/4.
In the contra the passages in o (end of staff 8 and beginning of
staff 10) seem to have been originally notated in smaller values,
with stems and flags that were later erased. The traces of this
change are noticeable in the original Ms, but could not be reproduced
on the facsimile.
A 'correct' rendition of the passage S 11-14would look as follows:
•r >
-r
This is, no doubt, one of the earliest extant compositions of
Matheus de Perusio, written in imitation of Philipoctus and
Anthonello (see, in particular, the arpeggio figurations in C 27-26");
No. 2. Regarding the various semibreves caudatae, sec p. 8a.
In S 60-62 a different reading is possible, with the last note of meas.
60 becoming a dotted quarter note, and the last note of meas. 62
an eighth note. The superius starts without signature, a B-flat
being introduced at the beginning of the second line (meas. 19),
as well as at the beginning of the sections II and III, but not
indicated at the beginning of lines 3, 4, and 5. Several accidentals
are misplaced, for instance a sharp on G in S 23 (in addition to a
sharp on F for the first note of S 24), and a flat on G in S 54 and
in S 63, both probably meant to be on A.
No. 3. This piece offers several instructive examples for the
prolonged validity of accidentals (see p. 21b).
No. 4. A comparison of this composition with Le greygnour bien
(No. 1) reveals the difference between the Manneristic style and
the Modern style. The most striking traits arc the use of a quieter
meter (3/4), the complete absence of rhythmic complexities, the
melodic flow of the superius, and the change of the contra from
a 'secondary superius' to a 'secondary tenor.' The point of
imitation in meas. 83-85 may also be noticed.
No. 5. The two lower parts are in [2, 2] throughout, while in
the superius sections in [2, 3] and in [3, 2] alternate. This alternation
introduces not only a change of meter, from 6/8 to 3/4,
but also a proportional change of values, a 3/4- measure being
equivalent to two-thirds of a 6/8- measure.
No. 7. While most of Perusio's compositions are remarkable
for their clear and complete indication of accidentals (e.g., Nos. 3,
6, 8, 9, 10, and others), the present one offers many problems in
this respect. In order to illustrate the situation (which, of course,
recurs in other examples of our collection), the original accidentals
have been indicated in our transcription at the exact place where
they occur in the original. The entire closing section of this
virelai (meas. 6"9ff) seems to be an instrumental postlude (the
portion 'Ne d'aultre cose . . . " of the text, although written underneath
this section, forms part of the additional text given at the end
of the superius, and belongs to meas. 54S). In T 2 the Ms has a
dot (?) after E, which we interpret as an S- rest.
No. 12. This composition is published, under the erroneous
designation of 'Chanson balladee,' in A. Schering, Geschichte der
Musih in Beispielen (1931), no. 24. Notice the slight difference of
transcription in S 7-8.
No. 13. The signature of the superius alternates between a fla*
on E (lines 1, 4, 5) and one on B (lines 2, 3). Certainly B-flat is
required for the entire voice-part. The accidentals are fully
indicated. The 'modulation' from F-sharp minor (meas. 26) to
B-flat minor (meas. 30) may be noticed, as well as the meaningful
imitations in meas. 11-12and 32 (see p. 14a).
No. 14. The use of a signumcongruentiae for the end of the first
section may be noticed.
No. 17. See remark under No. 14. The two lower voice-parts,
notated in [2, 3], arc to be read in augmentation (see p. 9b).
No. 20. The tenor, notatcd in [2, 3], is to, be read in augmentation
(sec p. 9b). In meas. 43 minims with a three-quarters'
head are used (see p. 8b).
No. 21. The distribution of the text seems to suggest instrumental
sections in each of the two parts.
No. 22. In the Ms the text of this canon is written continuously
and in a crowded style, without regard to the proper position of the
syllables. In our transcription the text has been underlaid
according to the principle that each ligature (indicated in the
upper part by the customary brackets) receives only one syllable.
This leads to a fairly conclusive result.
No. 23. The following explanations of the notation of this
extremely involved example are offered in addition to (and, partly,
correction of) those given in ApNPM, p. 418ff (facsimile, from Rei,
on p. 421).
1. The tenor is in [2,3] throughout.
2. The contra, section II (meas. 27-43) is in [3, 2]. The
sections I and III are both notated in [2, 2], a mensuration
which is indicated for III, while for I it appears from the
length of the 5-rcst in meas. 18. Musically, however, both
sections are in free meter, often suggestive of 6/8 (e.g., meas.
7Pff). We find here a notational method similar to that in
Senleches' Je me merveil (see p. 9a).
3. The superius, section I, consists of four divisions,
notatcd successively in [2,3] (not indicated), [3, 2], [2, 2],and
[3, 3]. Each of the three last divisions opens with a passage
in red (in Rei white) notes. These indicate proportional
changes of the mensurations, namely, sesquialtera (i.e. 3:2)
in the case of prolalioimperfecta ([3, 2] and [2, 2]), and subsesquiallera
(i.e., 2:3) in the case of prolalio perjecla ([3, 3]).
In modern terms this means that, after an initial passage jn
6/8 (meas. 1-5), the meters 3/4, 2/4, and 9/8 each appear in
two different 'tempi,' for instance, 3/4-measures equal to
three (dotted) quarter-notes of the tenor followed by 3/4measures
equal to two such notes. Section II of the superius
is in [2, 3], with red semibreves introducing single imperfect
notes or, later on, passages in hemiola (meas.35-37). Section III
is notated in [2, 2] with red semibreves introducing single
dotted notes. As in the case of the contratenor (sections I
and III, see above), the musical context suggests 3/4- and
6/8-meter. This section closes with a passage in [2, 3], in
the course of which two dragmas occur, each to the value of one
and a half M (meas. 55;similarly in meas. 31/; the remark concerning
this passage given in ApNPM, p. 420, line 8, to the
effect that the white S and the dragmahave the same value,
i.e., of two M, is erroneous; corrected in the fourth edition).
No. 24. The notation of this example is interesting for the use
of figures, 2 and 3, to indicate imperfect and perfect mensurations
(see p. 9b), in the supcrius as well as in the contra. The latter
employs, in addition, diminution and augmentation according to
the canon: 'Contratenor: prima pars cantatur per medium
diminuendo. Secunda c contrario augumentando. Tertia sicut in
figuris iacet.' A complicating trick, however, is that the sign f
in its normal meaning (that is, as used in the superius) calls for
diminution, as does so often its familiar equivalent, the half-circle.
30 COMMENTARY
In order to facilitate the understanding of the notation employed
in this composition, the original note values for the initial notes
of the various divisions are reproduced in our transcription.
The transcription of S 47-52 is doubtful (see the conjecture in
meas. 52). Other solutions, all involving some conjecture, are
possible.
No. 25 (Facsimile Plate II). The notational methods used in
this piece are practically the same as those discussed in No. 23.
The frequent use of thirds, fifths, and broken triads in the contra
may be noticed.
No. 26. Regarding the use of proportional signs in this example,
see p. 9a. In meas. 40-42 the same meter is notated differently
Q
in each voice-part: S in proportion g, C in hollow red notes, T in
full red notes and dragmas. The signs used to indicate the various
types of coloration are explained on p. 21a.
No. 27. The use of sharps in the key signature is extremely rare
in music prior to 1500. All the parts are notated with the clefletter
D, written on the lowest line for the superius, on the middle
line for the tenor and the contra. Possibly the entire composition
should be read an octave below, but the high pitch of our version
is perhaps better suited to the text, which contains a charming
request of a lady.
No. 28. The only notational specialty of this example is the use
of the reversed circle to indicate ditninutio dupla. The actual
transcription is rendered somewhat difficult by the absence of
this sign in C 19.
No. 29. See the facsimile and discussion in ApNPM, 414ff.
The passage S 7-72 is somewhat problematic, as appears from
a comparison of the present rendition with that given in ApNPM,
Transcriptions, No. 58, the latter being based on the assumption
that the initial B should have a punctusadditionis (see the remark
on p. 417, small type). The present transcription avoids this
conjecture, but calls for a punctus perfectionis after the S near the
end of the passage (on D). The remark about the 'second clerical
error' (ibd.) should also be deleted. The fourth edition of ApNPM
is corrected along the lines indicated above. A B-flat signature is
required for the contratenor (see the cancelling sign on the last line).
No. 30. This is an instructive example for the simultaneous use
of the various mensurations.
No. 31. As most of the compositions by Solage, this example is
without notational and rhythmic complexities. The repeated use
of a rhythmic pattern (S 8, 11, 15, etc.) and the series of parallel
triads for the solemn intonation of the refrain (meas. 67ff; see p. 6b)
may be noticed.
No. 32. This extended ballade shows the technique of rhythmic
patterns (see No. 31) in a more advanced stage, characterized by
the use of a special device of notation. By repeating several times
the rhythm DJ |J J|and inserting this sequence between the two
notes of a hemiola-group(red B and red L), a characteristic notational-rhythmic
formula is devised, and this is introduced several
times during the course of the composition (G 8-15, 30-35, 44-50,
80-87). A syncopated motive of simpler design occurs repeatedly in
the superius (meas. 19-22, 66-70, 76-79, 115-119,123-126,146-150),
while the tenor makes repeated use of coloration groups (meas.
9, 30, 44, 51, etc.).
Like most of Solage's compositions, this one is remarkable for the
bold, yet always convincing use of dissonances.
No. 33. Owing to the faded condition of the Ms the stems of
the notes are almost invisible in certain places. Therefore some
details of the transcription are doubtful, a remark which also
applies to the Nos. 35, 37, and 39.
A B-flat signature, not given in the Ms, is required for the tenor
as well as the contra (see especially meas. 29-31, 46, 71). The
extended A-flat major passage in meas. 41-47 may be noticed,
as well as the interesting chord in meas. 55 (repeated in meas. 86).
The several examples of sustained chords (meas. 19,26, 59, 66, 77)
indicate Solage's proximity to Machaut (see p. 10a).
No. 34. (Facsimile Plate IV.) The notational problems of this
ballade are discussed on p. 8b. See also the remark regarding
Solage's authorship on p. 10b. Of special interest is the use of a
fanfare motive in connection with the word "noble" (T 7; C 55i;
S 57) as well as the repeated occurrence of a 'leitmotif,' E-F sharpG-E
(meas. 1-3, 7, 16, 22, 28f, 42, 61, 65). Quite possibly this
motive had a certain association with the Duke of Berry to whom
this ballade is addressed.
No. 35. The first line of the superius is so faded in the Ms that
the measures 8-18 can be transcribed only with a considerable
degree of uncertainty. A B-flat, found at the beginning of this
and the next line (not elsewhere), would seem to be an accidental
rather than a signature. The notation is in [2, 2] throughout,
but certain passages come out more naturally in 3/4-measures.
No. 37. See the general remark under No. 33. Regarding the
distribution of the text, see the remark p. 25, n. 62.
No. 38. This virelai is copied twice in Ch. We follow the
version on p. 50v, variants from the other version (p. 18r) being
shown under Ch (b). The composition is notable for its pleasant
charm. Of special interest is a recurrent pattern formed by
alternating notes of the tenor and the contra (meas. 7-8; 17-19;
26-29; 49-50).
No. 39. See the general remark under No. 33. The transcription
of meas. 11-15 is uncertain. Our rendition, involving
the conjectural addition of a fi-rest in S 12-13 and of another
B-rest in T 14,can hardly be called satisfactory. However, I am
unable to offer a better solution. The triplum makes extended
use of a rhythmic pattern (meas. 1-2, 4, 12-13,etc.), which appears
occasionally in the other voice-parts as well, for instance in the
closing measures where it produces a snatch of imitation.
No. 40. (Facsimile Plate V.) The facsimile will enable the
reader to check and, possibly, modify our interpretation of the
accidentals in this unique example of fourteenth-century chromaticism.
No doubt, the extravagancies of this composition are
closely bound up with its literary text. From repeated references
in the works of Deschamps it can be inferred that there existed, at
least from 1366 to 1381, a group or society oifumeurs, obviously
eccentric 'litterateurs' and 'bohemians' who made a point of being
'in a fume/ and of displaying their whims and humors (see E.
Hocpffner, Eustache Deschamps, 1904, p. 50ff). Senleches' composition
refers to these Jumeurs, and may well have been played in
one of their meetings, evoking merriment over its 'nonsensical*
chords and roaring bass register. Another example of 'fumeur'
poetry and music is Puisqueje suiJumeux plains defumie (Ch, 34v),
text by Noyon, and music by Hasprois (see p. 25, n. 63).
No. 41. The tenor and contra of this ballade often combine
into an almost 'chordal' accompaniment, particularly in meas.
60-61. Equally 'advanced' is the V-I cadence at the close. A
B-flat (repeatedly given as an accidental) is to be emended in the
key-signature of the two lower parts. The meaning of the natural
sign in S 35,C 58,andC 68is doubtful. Thefirstof thesepossibly calk
for C-sharp, in which case editorial accidentals are required in
the lower parts.
No. 42. Somewhat similar to No. 32, this composition shows
the influence of special notation devices (semibreves caudatae) upon
the motive technique of Machaut (see meas. 8, 34, 44 and 14, 31).
In addition, a syncopated pattern recurs in all the parts (e.g.,
in S 15, C 11,T 24).
COMMENTARY 31
No. 43. The passage S 5-13 is faded in the Ms and cannot be
transcribed from the photographic copy with absolute certainty.
The use of the plain semicircle (without dot) to indicate [2, 3]
may be noticed in meas. 53.
No. 44. In this piece, as in several others, the interval of the
third is used for the final chords in meas. 31a and 51, while the
two main sections close with the perfectly consonant chord, 1-5-8
(meas. 32b, 68). The natural in T 16is written on the D-line,
and the flat in T 24 on the G-line.
According to A. Pages (La Poesiefraniaise en Catalogne, p. 61) the
Seril of this poem is a certain Cyrille who, in 1288, had prophecied
that in one hundred years the kings of Spain would fight an inner
war until a bat would devour the 'moustiques' (mosquitos) of
Spain, that is, the Moors. This bat was identified with the king
of Aragon whose escutcheon showed a furious dragon (the 'vespertilion'
of the poem) with the wings of a giant bat.
The refrain of this ballade is identical with the opening line of
Deschamps' ballade on the death of Machaut, which was set to
music by F. Andrieu (see LuGM i, p. 49). The present ballade
suggests the possibility that these words were a motto of the king
of Aragon, to whom the poem is addressed, and that Deschamps
as well as Trebor adopted the motto for their poems.
No. 45. The contratenor of this composition is an example
of the 'advanced' type designed to reinforce and complete the
harmonic basis.
No. 46. Arpeggio-like formations in duplet rhythm are used
repeatedly in the two upper parts (e.g., S 17-18,29-30; G 16-17,
43-47), and these contribute to make the composition sound
considerably more 'harmonic' than is usual in this period.
No. 47. The superius of this ballade exemplifies the most
advanced stage of fourteenth-century syncopation, inasmuch as
syncopation is applied here, not to passages of shorter or greater
length, but to the entire part except for the refrain acclamation
'Puisque perdu avons' (meas. 39-42). There results a type of
rhythm that, in modern notation, would be indicated by constantly
changing meters. Another example of this rhythm exists
in Senleches' En ce gracieux tamps (No. 50).
The clash of B-flat against B-natural in meas. 30 is interesting.
Chand Rei have no accidentals. The third note of Gt 40 is missing
in Mod.
No. 48. (Facsimile Plate VI.) The main notational problems
of this extremely complicated specimen are discussed on p. 9a.
For many other interesting details the reader is advised to study
the facsimile. Of particular interest is the use of two different
notational methods for the writing of the same melody in the concluding
canon (meas. 60-76). See also the remark on 'written-out
rubato' on p. lla.
No. 49. This ballade is ascribed to Senleches in Mod, while Ch
ascribes the music to Galiot, the text to Senleches. Senleches
appears to us as the more likely composer, because the very unusual
notational signs used in this piece occur also in Senleches' La harpe
de mtllodicwhich, moreover, is copied (incomplete; see p. 8b) in
Ch on the page facing the one used for En attendant (pp. 43v, 44r).
A completely satisfactory explanation of the various semibreves
caudatae used for the ornamenting formulae in S 3, 14-15, 16, 27,
44-45, 51, and 73 is very difficult, to say the least. The reader is
referred to the facsimile and the discussion in ApNPM, p. 422ff,
as well as to the transcription in A. T. Davison and W. Apel,
Historical Anthologyof Music, i (1946), no. 47. In the present
transcription we offer a divergent interpretation of the formula
in S 14-15 and 44-45. This interpretation seems preferable,
because it leads to a different value for each of the three semibreves
caudatae (called a, b, c, in the above-mentioned discussion), and
because it gives the hollpw red minim, which also appears in these
groups, the same value it has elsewhere (e.g., in S 10-12). However,
several emendations are necessary: first, the eleventh note
from the beginning (sign b; the head is hollow, not filled, as it
appears in the facsimile reproduction) should be a full red M,
without the lower cauda; second, the indiscriminate use of the
signs b and c (distinguished by the direction of the flag) should be
corrected, so that the groups in meas. 14-15and 44-45 should have
one sign (in the original meas. 74-/5 has b, 44-45 has c), and the
other groups the other sign (b occurs in meas. 16 and 73, c in
meas. 27 and 51). It may be noticed that in Ch only two semibreves
caudatae (signs a and c) are used, a seeming simplification
that, however, actually makes it even more difficult to arrive at an
interpretation suitable to the different combinations in which they
occur. No attempt has been made to incorporate these versions
in our text.
A very disturbing detail of the original notation is the A/-rcst
at the end of the second staff (found also in Ch). In my earlier
discussion (ApNPM, p. 425, line 8) I have suggested its omission.
It could, however.'be retained,if the hollow red B that follow it
are given the value not of 3 M (on the assumption that they represent
four times the value of a hollow red M •»31AM), but 1/2 M less
(5/2 M). According to this interpretation, the hollow red B would
represent a distinctive note value, not, as before, a mere trick
substitute for a black S (meas. 35).
No. 50. The superius of this virelai shows the free rhythm
encountered in Senleches' Fuions de ci (No. 47). For instance,
6 /8-meter, starting with an upbeat in the middle of a 2 /4-measure,
is clearly suggested in S 26-28. In meas. 41-45 the player of the
triplum joins the singer of the superius in a lively imitation of the
'cocu' call (see p. 15a). A few syllables of the text are incorporated
from Mod.
No. 52. The Machaut style with its fixed rhythmic patterns
(S 3, 7, 34, 42, 46, 51, 55, 59, 62) and sustained chords (meas. 6,
11, etc.) is apparent in this ballade. The repeated notes in S 13,
T 14, S 38, T 39 are strongly reminiscent of the same motive in
Machaut's ballade Jepuistrop bien(LuGM'i, p. 31).
No. 53. Interesting details are the triple imitation at the beginning
and the triple sequence in S 27-25 and S 52-57. Mod has
stanzas I and II of the text, Rei I and III.
No. 55. Rei and It have another contratenor (not included in
our rendition) much less satisfactory than that of Ch. F. Ludwig
(LuGMii, 27a) suggests that Magister Franciscus is identical with
Francesco Landini. It seems to me that the character of the text
(which may be compared with that of his only authentic composition
of a French text, that is, Adiu, adiu dousdame['Ihe Works oj
Francesco Landini,edited by L. Ellinwood, 1939, no. 101]) as well as
that of the music militate against this surmise. The three 'acclamations'
at the beginning of the refrain are a typically French
peculiarity (see p. 6b).
No. 56. (Facsimile Plate VII.) This ballade is ascribed to
Galiot in Ch, and to Philipoctus in Mod. We consider Galiot
as the more likely composer, because the contratenor lacks
the broken-third design usually found in the compositions of
Philipoctus, The contratenor has E-flat and B-flat in Ch,
E-flat in Mod, and B-flat in Rei. In the reading and distribution
of the text we have followed Ch. The sign for [3, 3] given in Ch
at the beginning of the superius cannot be applied to the entire
composition, as appears, among others, from the succession of
imperfect B in T 77-75 and T 24-27. It seems best to disregard
it, except perhaps for the initial measures.
No. 57. Rei shows a considerable number of variants. Some
of these include clerical errors and, therefore, are not given in our
transcription. For instance, in the passage S 51-56 three notes
(marked *) are dotted S, making this passage longer by three M.
The tenor has an J-rest between the two notes of meas. 53. This
would give the tenor the length required by the superius, but
leads to inadmissible dissonances. The contra for this passage,
on the other hand, is identical with that of Mod, hence too short
32 COMMENTARY
for the superius and tenor of Rei. For the closing measures of the
first section (S 26-33)the notation of Reisuggests a version similar
to that given as a variant for the close of the second section '(S 7OJJ),
in which the notes appear in non-syncopated position. There are,
however, not sufficient notes in the Rei-version of S 26-33.
C'63-66 are missing in Rei.
While the musical notation of Rei is corrupt, this Ms has a
better reading of the text, as appears from the following collation:
Mod Rei
mon commun
ans rege en siege
mis et tredure nel nulz contradire ne le
The numerous rests that appear in different places in the various
voice parts, together with the extensive use of syncopation in the
superius make this ballade an interesting example of the 'shredded*
style. Also noteworthy are the sequential repetitions in S 2-6,
S 7-70, S 26-31,and S 51-54.
No. 58. 'Canon ballate. Traitur sub una omnis cantus huius
mensura. Superius nota: rubee proportio dupla. Qui tenet
inferius sexquialtera putet.' The first sentence means that the
various mensurations used in this composition (all four mensurations
appear in the superius) occupy measures of the same length.
Thus, [2, 3), [3, 2], and [3, 3] introduce various kinds of triplets
into the basic 2/4-meter. It is interesting to notice that the term
mensura is used here as an exact equivalent to our term measure.
The second sentence refers to the consistent use in the superius of
red Af in the value of a Sm. It has not been deemed necessary
to indicate these numerous red notes in our transcription. Every
sixteenth-note of the transcription appears as a red M in the
original. The last sentence tells us that the red notes of the two
lower parts (here only S and B are used) indicate triplets. For
no apparent reason this same rhythm is notated in dragmas in C //.
The contratenor is of the 'advanced' type mentioned in the
commentaries of Nos. 4, 41,45.
No. 59. (Facsimile Plate III). The contratenor shows the broken
thirds, often in duplet rhythm, that are found in most of the compositions
by Philipoctus. The following errors of the Ms {Mod)
may be noted: The C-clef of the superius should appear on the
lowest line; the B near the middle of the first staff, on 'traitu,'
should be black (transcription S 10);the last note ofstaff 9 (second
half of the ligature) should be red (C 40);a semibreve G is missing
before the last ligature of staff 7 (C 12);the sixth note from the
end of the superius should be a S, not a M. All these details are
given correctly in Ch and Rei which, however, contain other
errors. For instance, the entire passage between the two dotted
semicircles in the middle of staff 7 (Ct 5-6) is missing in Rei. In
Chand Reithe duplet passages are notated with hollow red notes,
instead of the reversed semicircle used in Mod. Chand Rei have
a preferable reading for the close of the superius, identical with
that of the closing passage of the first section.
No. 60. The passages in duplet rhythm (S 16-17;S51-52;
G44-47) are notated in hollow red notes. The two sixteenth-notes
in S 18 and in S 53are written as red Sm,although either blackSm
or red M (see No. 58) would be sufficient. The broken-third
passages in C 44-47may be noticed.
No. 61. Among the many difficult examples of mannered
notation I have found this perhaps the most exasperating, and I
am far from certain that the present transcription is correct in
every detail. Particularly the beginning of the superius is doubtful,
owing to the absence of a sign of mensuration. I had it first
transcribed in [3, 3], but the present version in [2, 2] is slightly
more satisfactory.
The most striking notational feature of this composition are the
mensuration signs with two and one dots. The former indicate
prolatio perfecta,the latter, prolatioimperfecla(see the article mentioned
on p. 24 no. 40). The signs that are missingin the original
are given in brackets. The temporal relationship between [2, 3]
and [2,2] is based on the equivalence of the S, not, as usual, of
the M. Therefore the passages in [2, 3] have been rendered, not
in 6/8, but as triplets in 2/4.
The full red notes have the usual meaning (change from 6/8
to 3/4, or from triplets of eighth-notes to triplets of quarter-notes),
and the hollow red notes introduce duplet rhythm, or 2/4-m:ter
without triplets. A special problem is presented by the passage
S 40-42,notated in full red notes with a reversed semicircle. The
main version of our transcription disregards the coloration and
gives the original notes (S. M S. M . . .) in halved values, as
prescribed by the mensuration sign. A tentative rendition taking
both devices into account is added in small notes. The hollow red
notes (C 5-6, etc.) introduce binary groups in [2,3].
In S 38 the original shows a sharp immediately before, and a
flat immediately after the note (A). These accidentals make no
sense, except if the sharp could be interpreted as referring (a parte
post)to the preceding note on G. This would result in a very bold
dissonance which, however, may well be intended.
No. 63. This virelai is remarkable for the regularity of its
phrasing, a regularity happily relieved"in the final phrase.
No. 64. The tenor consistsof three statements of a short melody
in which, no doubt, a popular song of the period is preserved to
us. A similar case exists in No. 67 (68).
No. 65. The main problem presented by this example is the
reconstruction of the text, which is partly written underneath the
music, partly scattered over the free spaces of the page. To
mention only one detail, the words 'Gelle camussete' written next
to the word 'Tenor' are not the beginning of the tenor part, or of
a separate composition (as is indicated in WoGM i, 261), but
belong to the text of the second stanza of the contra, the beginning
of which, to the words "que pour," appears separately in another
space of the page (see p. 107*, text B, line6)*.
No. 66. This virelai is noteworthy for its full display of notational
and stylistic complexities, such as are usually found only
in ballades. No doubt, it is an early work by Ciconia who, like
Perusio, appears to us as a transitional figure leading from the
manneristic to the modern style. A very unusual peculiarity of
the notation is that the reversed semicircle denotes diminutio
sesquialtera, not diminutio dupla, of [2, 2]. Therefore, in this mensuration
one measure equals one measure of 6/8, not one measure
of, 2/4. In order to distinguish the two different 'tempi' of 2/4
used in this composition, the passages in diminutio have been transcribed
as duplets of 6/8. The composition contains some extraordinary
dissonances, asfor instance in meas. 65between the contra
and the tenor.
In LuGM ii, 26b the composition is designated as a ballade.
Both the poetic and the musical form, however, clearly mark it as
a virelai.
Nos. 67 and 68. These two compositions are identical (or
nearly so) in the basic two-voice structure of superius and tenor.
The contratenors are different and the triplum of No. 67 is missing
in No. 68, which is also transposed down a fourth, and has text
in two voices. The most interesting difference, however, is that
of meter and tempo, the semibreves of No. 67 being replaced by
minims in No. 68. This change is accompanied by a general
simplification and smoothing-out of the melodic contours as well
as of certain rhythmic patterns, as in S 7 and 36-38 of No. 67
(S 4 and 18-19 of No. 68). There is, of course, no definite evidence
as to which of the two versions is the earlier one. Since, on the
whole, 6/8 is the meter of the late fourteenth, 3/4 that of the
fifteenth century, one would be inclined to consider No. 68 as the
original composition, No. 67 as a later version in slower tempo
and in four voice-parts. Artistic considerations, on the other
hand, weigh in favor of the opposite conclusion. It is difficult to
believe that the charmingly light-footed music of No. 68 should
have been remodelled into the cumbersome four-part version of
No. 67.
Regarding the tenor, see the remark in No. 64. A notational
peculiarity of No. 68 is the use of hollow (white) minims in groups
of three as well as four notes (see meas. 4 and 18-19). The last
note of G 19 is erroneously written as a black M.
No. 69. Vaillant's charming bird virelai, Par maintes Joys, is
well known through its German contrafactum, Oswald von
Wolkenstein's Der May (facsimile and transcription in WoGM ii,
iii, no. 76; transcriptions also in Denkmaler der Tonkunst in Oesterreich
ix.i, 179, and A. T. Davison and W. Apel, Historical Anthology
of Music, no. 60). For the present rendition of Par maintesJoys a
free change of 6/8- and 9/8- meter has been used, similar to that
employed in the Anthology for DerMay. All the passages in duplet
sixteenth-notes are notated in dragmas, as indicated in meas. 37
and 40.
No. 70. The two sections of this virelai appear in // as two
separate compositions, Or sus on f. 122v/123r, Or tost on f. 123v/
124r. Possibly the tenor and contra of the second section exist
in Pad (37r: 'Tenor de Sones ces nachares;' see LuGM ii, 26a).
In the second section some emendation is necessary in order to
make the parts fit together. In meas. 81, where // has a A/-rest,
the iS"-rest shown in Rei has been adopted, and in meas. 80 two
notes (not given in either source) have been inserted. In Rei the
second half of G 67 and of S 80 are missing, so that all the parts can
be combined without emendation. Nevertheless, we prefer the
(emended) version of //, because in Rei the first sustained note of
the contra comes in the second half of meas. 67, while in It it
appears (more properly, it seems to us) at the moment when the
superius suddenly stops (meas. 68). The version of Rei results from
our rendition if the second half of G 67 is omitted, the entire passage
C 68-80 shifted one-half measure to the left, and the second half
of meas. 80 omitted in all the voice-parts. Brit shows numerous
variants and several errors.
This virelai has all the qualities to become one of the top attractions
in concerts of early music. It has the rare virtue of being
charming in a popular way without ever becoming trivial. Performed
with a bagpipe for the drones of the contra and a trombone
for the fanfares of the tenor, it will reveal all its inner liveliness,
provided performers resist the temptation of forcing it into a
cheaply popular presto tempo.
COMMENTARY 33
No. 72. In Rei the triplum is missing. The characteristic
'alarme' motive a-c' occurs also in C'estoit ma douce nouriture {Rei,
p. 64r), a charming virelai, which may well be by the same composer.
No. 73 also shows traits similar to those of Grimace's
Alarme alarme.
No. 73. This virelai is remarkable for the realistic, almost
dramatic quality of the text as well as the music. At several places
textual fragments appear in the tenor (meas. 1, 7, 11,31), and it
is well-nigh possible that the player of this part (possibly a trombonist)
used his shouting voice whenever the characteristic motive
occurred, thus introducing yet another clement of liveliness and
surprise.
No. 75 (Facsimile Plate VIII). The final passage, meas. 26J
seems to require some emendations. Perhaps some reader can
suggest a more satisfactory solution than ours (see S 30 and T 26).
No. 76. This triple rondeau by Vaillant is one of the most
interesting examples of post-Machaut technique of composition.
Instead of a single motive, a number of rather extended musical
subjects are used at various places in different combinations. The
letters a, b, c, etc., added in the transcription will help to clarify
the intricate thematic construction of this rondeau. The measures
9-18 are identical with 40-49.
Nos. 77, 78. In the first of these two isorhythmic rondcaux
(see p. 7a) several passages of section II are derived by transposition
from the corresponding ones of section I, while in the pther
example contrary motion is used more often. In both compositions
the distribution of the text in section II has been somewhat changed
in our rendition, so as to make it correspond exactly with that in
section I. The closing measures of the two sections of No. 77 are
interesting because of the use of a more modern cadential formula,
that is, 5-8 or 7-8 instead of the traditional 6-8.
Nos. 79-81. These three little rondeaux, all from Mod, are
among the most characteristic examples of the modern style,
anticipating in many ways the early Dufay. In all three of them
the leading-tone is regularly used as the penultimate.
INDEX OF TEXT INCIPITS
Incipits of texts found in a secondary part (contra, tenor) are given in brackets.
Alarme, alarme, sans sejour et sans
demour
Amour m'a le cuer mis en tel martire .
Amour me fait desirer loyaument .
Andray soulet au mielz que je pouray .
A qui fortune ne se vuelt amer .
Beaute parfaite, bonte sovrayne
(Machaut)
Belle sans per d'haulte douchour parcc .
Calextone qui fut dame d'Arouse .
[Cent mille fois, ma douce dame chere]
Conbiens qu'il soyt que ne vos voy
sovient
Contre le temps et la sason jolie
Corps femenin par vertu de nature
Cortois et sages et a tous doit plasir .
Dame de honour plesant et gracieuxe .
Dame d'onour, c'on ne puet esprixier .
Dame d'onour en qui tout mon cuer
maynt
Dame gentil, en qui est ma sperance .
Dame, que j'aym sour toutes de ma
enfance
Dame souvrayne de beaute, d'onour .
De ma dolour ne puis trouver confort .
De Narcissus, home tres ourguilleus
(Deschamps?)
Du val prilleus ou pourpris de jennesse .
En atendant soufrir m'estuet grief payne
En attendant esperance conforte .
En ce gracieux tamps joli . . . .
En 1'amoureux vergier vis una flour .
En remirant vo douce pourtraiture
En seumeillant m'avint une vesion
En tes doulz flans plains de virginite
Fuions de ci, fuions, povre compaigne .
Fumeux fume parfumee
Helas Avril, par ton doulz revenir .
Helas, je voy mon cuer a fin venir .
Helas, merci, merci, pour Dieu merci .
Helas, merci, merci, pour Dieu merci .
Helas, piti6 envers moy dort si fort
He, tres doulz roussignol joly .
[He, mari, mari, Vous soiils onni] .
Heylas, que feray je maintenant
Horssuyje bien de trestoute majoye .
Je me merveil aucune fois comment .
Joieux de cuer en sumellant estoye
Jusques a tant que vous veray .
Composer
Grimace .
Anthonello
No.
. 72
. 26
53
Matheus de Perusio . 22
Matheus de Perusio . 17
Anthonello de Caserta 23
Matheus dc Perusio . 11
Solage .
Jo. Vaillant
Solage
Magister Egidius .
Matheus de Perusio .
Anthonello de Caserta
Anthonello de Caserta
Anthonello de Caserta
Matheus de Perusio .
Matheus de Perusio .
Philipoctus de Caserta
Magister Franciscus .
33
76
77
64
32
57
14
30
24
29
5
8
60
55
Anthonello de Caserta 25
Galiot
Senleches . . . .
Senleches . . . .
Solage
Philipoctus de Caserta
Trebor . . . .
Senleches
Solage .
Matheus de Perusio
Solage . . . .
Matheus de Perusio
Matheus de Perusio
Trebor . . .
Borlet . . . .
Matheus de Perusio
Senleches .
Solage . . .
Matheus de Perusio
56
49
50
31
59
44
74
47
40
7
36
20
20
42
67
64
9
79
48
39
16
Kere dame chi m'otry 63
La grant beaute de vous ma souvcrayne
Le basile de sa propre nature .
Le grant desir que j'ay du retourner .
Le greygnour bien que nature .
Loyaute me tient en espoir . . . .
[Ma dame, cc que vous m'avcz proumis]
Mais qu'il vous legnr csl plaisancc .
Martucius qui fu dc Rome ncis
Ma tredol rosignol joly
35
Composer No
80
Solage. . . . . 35
Matheus de Perusio . 3
Matheus dc Perusio . 1
Garinus . . . . 78
Jo.Vaillant
[Borlct] '.
Ne celle amour estre ne puet menour
Ne me chaut vostre mauparler .
Notes pour moi ceste ballade
Matheus de Perusio .
Anthonello de Caserta
Onques ne fut si dur pertie . . . .
Or sus, vous dormez trop . . . .
Par maintes foys avoy recoillie .
Par vous m'estuet languir et soupirer .
Passerose de beaute1
, la noble flour .
Plus lies des lies, plusjoieux et plus gay.
Pluseurs gens voy qui leur pensee .
Pour bel acueil suy je, las, deceu .
Pour Dieu vous pri, haulte dame de
honour
Pres du soloil deduissant s'esbanoyc
Puisque je sui pour Ioyault6 tenir .
Vaillant . . .
Matheus dc Perusio
Trebor . . .
Matheus de Perusio
Solage . . . .
Matheus de Perusio
Matheus de Perusio
Matheus de Perusio
Matheus dc Perusio
Quant joyne cuer en may est amoureux Trebor
[Reconforte toy, Robin, de ta dolour] .
[Restoes le feu]
Resto£s, restoes horrible feu d'ardant
desir
[Rosignolin del bosjolin] . . . .
[Roussignolet du bois, doun£s] .
S'aincy estoit que ne feust la noblesce .
Se Alixandre et Hector fussent en vie .
Se je me plaing de fortune, j'ay droit .
Se July Cesar, Rolant et roy Artus
Se pour loyaulment servir on puist mcrir
S'espoir n'estoit que me done pooir
Sus un fontayne en remirant
Tel me voit et me regarde . . . .
Tre doulz regard amoreuse mon tret .
Tres douche plasant bergiere .
Tres doulz amis, tout ce que proumis t'ay
Tres gentil cuer amoureux et attraians
Tres nouble dame souverayne .
Trover ne puis aucunemant confort
Une dame requis I'autricr d'amer .
Ung lion say de tote belle figure .
Solage . . . .
Trebor . . .
Matheus de Perusio
Trebor . . .
Matheus de Perusio
Johannes Ciconia
Senleches .
Jo. Vaillant . . .
Solage
Philipoctus de Caserta
Matheus de Perusio .
Fr. Johannes Janua .
76
62
52
68
54
10
27
71
70
69
21
41
19
37
12
18
4
6
43
65
73
73
68
67
34
45
3
46
15
75
66
51
81
65
76
38
28
13
58
61
GLOSSARY 37
abcsstr to abase
acoinlance acquaintance, friend-
ship
afullerto put on
afy PI 1 to assure
agree PS 3 to be acceptable
agut acute, sharp
alee travel, trip
alegement alleviation
alimentalliance; fidelity
AlmeneGermany
amancer to put sleeves on
amenrir to lessen
amerour bitterness
ami (a bird call)
amoulie P 3 to soften
andray FI 1 to go
anemie hostile, inimical
angosment anguish, torment
annoy, anoy sorrow, grief, ennui
anlreamong, amid, in
apertoy II 1 to depart; share
ardement valor
ardesse boldness
ardre to burn
ardure ardor, heat, eagerness
arme soul
armezarms
artiglon spurs
asenee PP placed, directed,
instructed
asnoy alder
asprement harshly
assouvir to achieve, complete
assoufisanchi calm, satisfaction;
end
atargier to delay
atens PI 1 to expect
ator, atom adornment
attraians attractive
atlrayt welcome, attraction,
charm
aurer, aorer to pray
avar! truly!
avironee surrounded
avolirto take flight
aylenl Ps6 to go
bailliepower, control
baratdeception, ruse; disorder;
ostentation
basilebasilisk
batis Imptv to beat
baudour joy; boldness, courage
biere coffin, bier
bis dark
boine good
boswood
boude PP to thrust
bouter to put, thrust, push
brasin roast
brayre to cry, weep
brunir to become brown; sparkle
cadulet cadence, curtsy?
callequail
camussette flat-nose
cangie PI 3 to change
cardinette goldfinch
cardonnelte goldfinch
cendal sendal (a silk cloth, generally
red); taffeta
ceuronde PI 3 to surpass
chaiti caitiff, wretched, miser-
able
chanlerie singing; chantry
chault care (chaloir)
chaut PI 3 chaloirto matter, to
be important
chiauter to sing
chiere cheer; dear; face
choise thing
choisir to see, perceive
ciere face
compas measure, bearing
comte a lourcount, noble
consors companions
contez countries
contour region, vicinity
contree country, land
contrejaire to imitate; compose
conturbee PP to disturb, perturb
cornemuse bagpipe
corte: decorl soon
cote coat
coupree cypress (a silk or satin)
cours body
cqye quiet
cremir to fear
creu PP to believe
cuidier to believe, think
cullirto gather
deceust IS6 to deceive
deduissanl PrP to lead, delight;
soar
deffaire to undo
delispleasures, delights
demayne PI 3 to lead, thrust; dis-
play
demayne power, domain
demy half; sansdemycompletely
deport pleasure, gaiety
deprisier to disparage, depreciate
deservir to serve, recompense
desiteux beggarly, needy, poor
deslier to reveal, divide, share
deslongier to put off
desparanche despair
destin destiny
desvoye PI 3 to turn aside, go
astray, lead astray
delrayre to withdraw
detrydelay
devisament invention
devise enumeration, description,
quality, manner
dinerpenny
diu god
dotsspring, watercourse
dreschay refl. PD 1 to direct one's
self
duis PI 1 devoir to owe, to be
eintre between, among
els them
emayemotion
enchievy PP to furnish, nourish
encline inclined; subjected
enfonde PI 3 to sink, upset;
perish
enfortunee PP favored; made
fortunate
enginer to trick, deceive
englume anvil
ennorte PI 3 to exhort
enpachier to trouble, harm,
wrong
enperas empress
enpirant worsening
eniamee PP to cut; begin to use;
attack, encroach upon, con-
taminate
entencion intent
enteritis intent, attentive
entredeus in between
envers on his back
envoisseure joy, gayety, pleasure
erl FI 3 to be
esbahis dismayed
esbanoy entertainment
esbanoye PI 3 to amuse, divert,
entertain
esbatement amusement
esjoir to cheer, delight
esmay care, thought, sorrow,
pensiveness
esmeree refined, purified
espaunie blossomed
esprixier to estimate, value
estance position, support
estent PI 3 to extend
ester to stand
estincelle spark
estoupee stopped
estrayne fortune, gift
estriver to strive
estuet PI 3 to be necessary
eulx eyes
eure hour
exmerea pure
expoir hope
faconde eloquence, graceful
speaking, grace
jaitis elegant
falir to fail
Java: ferai
fauchon falcon
fays PI 1 to make
Jaysonplenty
Jayslispretty, shapely, well-built
Jaylurt form, face; manner; gens
defaylurewell born
Jenir to end, finish
fer to do, make
jermee PP to fix, make firm
fiere fierce, haughty
fierePS 3;fiert PI 3 to strike
jest IS 3 to make
finte end
Jinerto end
flaitrir to wither
fleirant PrP to smell
felerie flattery
four flower
folz mad, foolish
Jorge^ fege
forgier to forge, compose, devise
fourt strong
Jreour fright
fum, Jumea, Jumee, smoke, mad-
ness
fumerto smoke; to be in a fume
fumex smoky, hazy
Gemynis Gemini (sign of Zodiac)
genglerie idle talk, 'scurvie tatling'
(Gotgrave)
gerroye PI 3 to make war
gesirto lie
gie I
gonfanonbanner, pennon,
standard
gravayne grievous
gri will, consent; en grt thank-
fully
greist IS 3 to please
greygnour greater, greatest
griefmentgrievously
grief, griis grievous
gris squirrel fur
groisse PS 3 to increase
guerdon reward
gueules gules, red
gySl
halenee breath
heit,het PI 3 to hate
he-mi alas
hen PP to have
heure hour; de petite heure un-
fortunately
hoyne hatred
huer to call; start (by yells)
hume man
hurler to strike, hit
hustindispute, struggle
iauewater
jangler chatter, insult
jant gentle
jaquete jacket; Jaquete Jackie
(Jacqueline)
jennesse youth
jovanl young
jus down
lacezPI 5 to leave
lalonsImptv to sing 'la, la* (?)
larges generous
lassePI 3 to leave
layraiFI 1 to leave
legne PS 3 to torment
lermirto shed tears, weep
leroit CI 3 to leave, allow
tester to relax
lesse joy
ley her
lie glad
her to praise
/OJ praise, reputation
lube to gleam, shine
lyesse joy, gayety
main morning
mat's que provided that; although
mar unluckily, in an ill hour
mastin mastiff; servant
mauvisredwing
mayne PI 3 to lead
maynl PI 3 manoir to dwell
mayntes many
maylin morning
meclre to put
merirto merit, deserve
merleblackbird
merlell hammer
mis foods, dishes
meschant wicked, unworthy,
coarse
mesprison error, mistake
me me
mielz best
milourbetter
monindeed
monde pure
38
morsure bite
martPI 1 to bite, nibble
mos words
moselle sparrow hawk, kistrel
mureto change, move
muertPI 3 to die
muir PI 1 to die
mye dear
nacquaire small drum
ne and
nets native
nez: ne se; ne les
nienl nothing
nobli ,-ee nobility
nu: ne le
nuepces nuptials
ocire to kill
ocyPP ocire; also bird cry
oig eye
omit never, henceforth, now
on in the; where
onnishamed
oreto hear
osiaux birds
otriePI 3 to grant
ottrigood will
oullrancc excess
outrie PI 1 to grant
oy PI 1 to hear
pamutiere mesh bag; hunting net
papin pap
passerose mallow rose; althea
paurezscared, afraid
pavour fear
f
GLOSSARY
pent PI 1 to suffer
penreto take
per peer, equal
pert PI 3 to appear
pertieseparation
pertiePP to depart
pertillii embroidered (?)
pile PI 3 to steal
plasanche pleasure
ploit dispute, suit, pleading
potentPI 6 to be able
poiller filthy, lousy
point PP to sting, prick, punc-
ture
poinlure puncture, pricking
pol mud puddle
pooir power
pormayne PI 3 to lead; torment
porpoins doublets
porpois purpose
portiere bearing
pourpris enclosure, limits
powrtret PP to portray, depict
prangere noon; noon meal
presoncion presumption
preu worth; advantage
preux worthy
prijere prayer
prilleus perilous
propice propitious, favorable
prouesce prowess
proveir to provide
puret CI 3 to be able (?)
rant PI 1 to surrender
ravier: ravir
recept reception, acceptance
redoutidreaded
renamed fame
reparer to restore
rcquequaUs PI 5 to have a care (?)
requier PI 3 to pray, beg, seek
requoy repose; en requoy secretly
resort defense, aid, help
restoer to retard, delay, quench
relhray PI 1 to withdraw
retrer to withdraw
reusignol nightingale
royone queen
samis samite
sanson starling
sanz meaning
sas PI 2 to know
sayjour repose, leisure, delay
schay PI 1 to know
sejour:a sejour at rest, at leisure
semailles sowing, crop
sench PI 1 to feel
seumellant PrP to sleep, slumber,
drowse
seure sure
soini excused, put off
sonhis
son bran
sopourter to sustain, assist
soppe soup, sop, brew
soubgis subject
souef agreeably, sweetly, softly,
delicately
sougect PI 3 to oblige
soulage, soulas comfort, solace
sovietalone, solo
sousy care
sout PD 3 to know
sovenance remembrance, mem-
ory
soye silk
speranche hope
suelt PI 3 to be accustomed,
wont
suir to follow
surendant^ PrP to surrender, be
submissive
laburintabor, drum
tarreto be silent
tempre early
tenoyre tenor
termene PS 3 to limit, and
timbrebell; crest
lorn around
tourdis always
traient PI 6 to draw, turn
traite treacherous
trayreto draw
tremour trembling
trepount PI 3 to pierce
tressue PI 3 to be covered with
sweat
trestuit all
tret PP to draw
treuve PI 1 to find
trislresad
trujer to deceive, mock
IritisPI 1 to find
iuerto kill; tin a birdcnll
umais henceforth
vaiere true
veirto see
veglarde old
vergier garden
visionvision
vespertilion bat
veusistIS 3 to wish
viaireface
vieultS vileness
vignevineyard
vignePS to come
villan a woolen garment
villette little village
viron: de par viron around
vo your
voirto see
voirtruth; de voir truly
voiray FI 1 to wish
voisses PS 2 to go
voraFI 2 to be willing
vuidier to void, give up, leave
wacarme fight, assault; hurlyburly;
trouble; alas!
yawe water
ye I
ysnell light, swift
ystra FI 3 to go out
LIST OF PLATES
I. Matheus de Perusio, Le greygtiour bien (No. 1)
II. Anthonello de Caserta, Du val prilleus (No. 25)
III. Philipoctus de Caserta, En remirant (No. 59)
IV. Solage, S'aincy estoit (No. 34)
V. Solage, Fumeux fume (No. 40)
VI. Jacob de Senleches, Je me merveil (No. 48)
VII. Jo. Galiot, En atendant soufrir (No. 56)
VIII. S'espoir n'Stoit (No. 75)
39
PLATE I
MODENA, BlBLIOTECA ESTENSE, MS LAT. 568, FOL. 32R
No. 1
PLATE II
•uyt n« nrmo am fblt £i pn pft <|t«c llttvnVuirc <i(t.'<nlhl <i
MODENA, BlBLIOTECA ESTENSE, MS LAT. 568, FOL. 12v
No. 25
PLATE III
* • = • MODENA,
BlBLIOTECA ESTENSE, MS LAT. 568, FOL. 34v
No. 59
PI-ATE IV
limn' cfto quc \ufeufr(ouoHcI «
vi< ir fotiy.'i».cc |Uyionc
'" re
l l i u u one
mono:Tc
gciitiU ^eltm« r
en n« i
tin faOwlour Icfknr ycr tpur cr liulr cmccici-curoof.tis foil nou c aia-
I I. li _ • i l l J i 'iM i I T=l.iniivyri-f.iov.lutr fouUnlcfcva- (cnSSS
\~-i* II III • I **• _ . l l I!T'I t_i. _.ff Af'l_ iU.. wriwincur fiirfiiciirT-MilUur t p:<:i|CCIUUC
Will I _ | t " n fc ••''' ^ '•Tlfll"' " T
» .'"ff.l ^"Cr foil .lDltlVc TimHt.1 roficlVtnnnrii.iii
HI I, •Jjl I -* 1 •! f W|VicTioourilii.ltrriifgiri3-iioiii.|fii^riii-iiin
lubun^c iZiu.u-cclV cell (\m clV Lftc
Hit
1
inon
ir iln-vwr nccuisiioui JUiiliuuiJa.
boiuc yMi-pPiBniTrrflnr'nuifTii qnr
( i fc2 ff
n-milr boiuc yMipPiBniTrrflnrnui
oieiivcn(emir fcscr s2.iur ceff ;
. i •noiii-miu-.ignti-Tli.mn.iiH.u-ttn-yii
i w cicfiiuimicfoiiioniicfix tcdKiuiici-* tt>ir_
' _ 1 mctf fonotni.^oiiitolpiirTron.iuioiu* _
• ' jii.irilfjnr im? elicit* foiutr.tm Ivnoiirj.'.i.tiu-rniquu-il-ri riVfbiijrr cimi-ic
F=iE •3h
hi
n—uHE
U=iJ k^
C.HANTII.I.Y, Ml'SEE CONDE, MS 1047, FOL. 36R
No. 34
PLATE V
oucpc :CHANTILI.Y,
MUSEE CONDE, MS 1047, FOL. 59R
No. 40
PLATE VI
arcnn s
mfiiuwril annnw- foia critif'r horn
font "t Tnirfiiif cpmciicrmtri >-r
Hi' IcVudr 11
n:i-in '|iui r.«
ir •: *^>or en .nwnr \ v t l irul
'in yumi" ».v r.i"
Ual UII:jmop •piiift-yl.il'
nun«nr ic nu 'biicil a'lu i)iioi> c.iru--;•: moi* Icfifr ilhr ttpi « r
. • iii: ciufnm, I'cniclir
CHANTILLY, MUSEE CONDE, MS 1047, FOL. 44V
No. 48
PLATE VII
Ccttfuirculw TifHamceqn<|nkrjl5uittchj<hm
PARIS, BIBLIOTHEQUE NATIONALE, MS NOUV. ACQ. FR. 6771, FOL. 84V
No. 56
PLATE VIII
g mo Lit qtgr wamft.-n.iiwr ptnr
muwurifi
* : •
u :Y
PARIS, BIBLIOTHEQUE NATIONALE, MS IT. 568, FOL. 125R
No. 75
COMPOSITIONS
1. Le greygnour bien
L IVIATHEUS DE FERUSIO
A. FOUR BALLADES
1*
m n
grey-
pourgnour
bien que na •
tant quant unz n'a
tu
cu
j J'j J1
1 j J1
j j i IJ
J
f . f f ,f f ,r f f ,f f=£=,g ft
t^i
1. 3 3 ^ , (D
re
re
Fist a lo home en
Pro a - sem - bier de scien
ce
se
folz
par -
raon.
fon-
10
Him r ,rp j U
ir p ip- ;r p 'f ir 5 ip- ir pip- Ip p
r 1r 'to ft
25
80
1. See Commentary
32a 85
2*
US !£=£-/ ifcLT IP
u est grant ues - pa - ran - Quan
J. LJ^J^iJ uj
JJJ i.MS*
40
r ir IP- P'fc P' r ir Pip!
t r horn pans' en sa'
p r ir ' f ir
ji IJ j J * J
rf f
if
^ r~rrr in. r
45
frr'rpa. ran- che
' J U ;j
,• m
He J- r
60
t T J'l J J ) J j J j JJJ J |J Jl J j)| j :
JJ1J J'ji rr
s /r\
s
as- sou fi-san- che.
T
JJ I J J IJ J 1J"J J i IJ
ir r r' rr r IPr t
90
2. Le grant desir
MS:Q
m1. Le
2. Fet
grant
tout
i p ij-
de-
mon
sir
cuer,
que j'ay
mon cuer fon -
du
dre
I H I
re-tour-ner
et tec- chier,
m
r 'r1
•10 15
the da - m e
e fe - nis
de va - lour,
de de jour
r ' m r prp "20
as*
I I
.»r_r
en jour.
8. Car vraye-
nr
r' r ir25b »0
J !.P JJ.J m?JJraent, bel- le da- me
irrrprTp'r1
f rB
Pit f
IJ, f' if
S5
-• JI,J J j
nour, Tant con ne voy vour
if r Mr
4 0
m
tre beau - te ex - me- re -
£
45 50
5*
J i | J i | J
"j
No ys - tra mon cuer, no ys-tra mon cuer de do - le .
r rrr i i "P"ir-gr pir 'r nir tnrm=^
reux pen - se r
f tf
rn
if
a, pen - se pr
piPrr Pitr/tr IP^ Pr
r 60 05
a, de do - le - reux pen if
p T r P
a.
¥=$
mw^70
3. Se je me
1. Se je
2. Quant j'ay
if r"Tr r-Ti*«prj
for-
lui
tu-
qui
ne,
tant
j'ay droit,
m'a-moit
Car
Ce
par
fult
' y' i
ff r
15 20
6*
en - for-tu-nere
des-ti-neSSn
83b
$ wS. Or sui je blen de pe-tite heu-re ne f
f i-P*r|. ;CJ" if r ir *r I * PI
^
# 3 ^40
1. A tous jours raais la mort mauldite soit
Car je sul trop par li desconfortee,
2. Et d'autre part mon povre cuer quidoit
Que je deiisse estre reconfortee
3. Par un autre, mes mal sui asenee.
Je ne treuve que tristesse et dolour,
Je ne me vueil [plus fier en amour}.
Ill
1. Mort et amour m'ont mise en povre ploit
Je ne scay lequel m'a plus conturbee.
2. Je croy que Dieux ce mari me devoit
Pour moy pugnir que ne soye dannee.
3. Ma penitanse ara longue duree,
Amours, tu m'as bien jou§ d'un faulx tour.
Je ne me vueil [plus fier en amour].
4. Pres du soloil
j
r
10
j i " j u .1 i J r - i r >r
1 P H l U H
J J J jjfj j
1. Pres du so - loil
2. Sur la ri - vie de.
duis-sant
re plus ri s'es
• ba che
que
noy- e
soy. e
m F£=# r i r *
f f if r
15
JI j
0)
D'eulx en - ten - tis
De maint o - slaux
un
d'une
r
r i
25 10
I 2.
re- dou . te fau
et d'aul. tre fa •
chon
con.
^S
m ,-i r
85 S7a «7b
8*
H J J I J J J r p/jl .i i n J iJ.^j~Ju ;J'jjp/jl 3.Close est d*un beaux ro *
r vir ir65 60
^ IJ J IJ. ^ ^ ^ rc/'"sier de par vi - ron Dont
rn
ir > r i rr >Pir r
s'il ne son* bien
' ' m65
X
^wJ"iLJfl3>J"'j"j * j3 JJlJ j
preux jeune et ve
o
glarr
ii
r r if r if
70 76
j J r r
^
de Mes- chant ce • ly
• pf IT r ir r ir rc:r ^
n if
8 0 85
3
II
que le fau - chon re - gar-de.
i r r i f
P90
II
1. Chescun se doubte et ne scet que fer doye
Fors que d'esmay trayre do lo sayson.
2. Sans plus, tout prest en l'eure si s'employe:
Pluseurs aultres n'aylent ver les buisson.
3. Aucun demeure, aucun y torneron
Simple de cuer sans chault de faire garde,
Meschant cely [que le fauchon regarde].
95
III
1. Quar noblesse et vigour si le convoye,
Desir, espoir, sagacitle et rayson
2. A son porpoii tout brief qu'il s'en voloye,
Uoysel que atens hurter des artiglon.
3. D'aultre ne quier sy donra coulps felon
Pour definer, fache qul vuelt sa garde,
Meschant cely [que le fauchon regarde].
9*
B. SEVEN VIRELAIS
5. Dame que j'aym
!J>j J J>i» n J
que j'aym sour
pli a YOUS par
(i)
fj.
tou • tes
grant be de
ma.en-fan-ce, Ke loue et prise au-tantcom j'ay po-Yoir, £t fay - re
ni - vo . laa.ee Hon . tcu-xe.ment d'el-le til- re do - loir En tri - stre
if f i> or
le doy,
an-noy.
(0
7 .D T T
PP10 15
JT3 3 1
p
a==g=
Ay-es u-mais hum-ble pi.tie de moy, Car aul
Etvcusplai.se sa.voir son tort pour quoy Ju - gies
tre-rnant
a mort
,rji,lm
i Hf T7
20
[j.Jofx]
u
de nul
son faulx
bien puis a • voir
trait de - ce . voir
Que so - ve • nan - ce.
Par fine oul - tran • ce.
^
10
10*
ofT.]
Hir r PIP r r p?l
J JJJJJJTJ J7JJ « W
zm
2. For -
3. Belle
Jp^ JIT S
i f J
^ ^
ss 40
[J..J of T.]
O
ho-
ne
nou
me het
re-e,
de ton-te ca puis. san
da siecle de - 11 - tan T OD
p r iJ r i^f
J ir r g^£
45 50
il mefaut a - des plain - dre
du cielplus que ne scet con
et do
ce
loir
Toir
m
Du
Hu.i.
«
K8.-J
eo 65
T- ' 1
11*
6. Puisque je sui
m1.5. Puis -
4. Le
que
mo je
sui
raent, le heu•
pour loy. aul •
re, le lieuet
PSi
vray cuer et ser - vir Hors
pre - mier - raent choi - sir For que
j'ay
a met
nvy \ u.
m m20
.j . }
I IE/
J >J
loing temps
enlx tel
que ri - e, Et qu'ain- si m'est
a - mi- e. Ses beau- tes sont
U J' U25
J i J
Ip r r pi' p r
|JUJn
J©»
mes par
son vueil
dire, or - gueil
(0
1= -MJJ.
30 as
a-ne . mi - e,
et en - vi - e.
On-ques n'au - ra de moy
D ' l l i j i
q
D'el-le
y
ne quier je point
nulso-ve - nir.
gra-ce me - rlr.
m40
r -[
m !
j- J JIJ1
^ a
(i)
2. Plain-dre me puts
3. Mes mul ne fu
i§p
as-ses plus
si sage a
i 4. IJ
- it50
ipr Ir r rfp r r Ip r p r Ir p p r
que jo - ir,
mon sen - tir
Car son dan- gier
Que son par- ler
'-i
m60
55
J
!Pf Hip r r
Jbien me fes - soit ve - ir
et xon doulz a - co - lir
Ce
Ne
que
de ||J>J
J
je voy et
ce - ust por
sa cie-re
quilfeut que
lfrjjtjlj.
'4.65
i rr
18*
7. Helas avril
m
,(0)
' n i i n ui i i i , r1.5. He -
4. Tant
las, A - vril,
plus de mal
par ton douls re • ve
je sueffre a toy ve
i=
Ml t
m M 'r
n'n'
^ ^ TTTT
nir J>ay de
Qui me
do • lour
de - may
plus
ne
que
sans
di-
fai
re
re
le
<e -
say,
lay,
If ' If
J^
m m10
IJ r j j j . I J . J i ' J i J l J ,1 i r * ' 1-!> t-p r i r r f J
M J
'J'JiJ
Quant si
En grant
te voy,
lan-gour.
jo
Ain li,
no - vel et
si vif et Ti
m f
vray
De
Jus^w
m m15 20
J > 4j ,
r f
?mflours ves- tu en joy. e sans es
ques a tant que son gent corps ve
may,
ray.
Plain
Pour
d'o- dours,
ce d'e .
' f I r=
*Si
25
KF)
de ly - es
may an - si
se et
m'en
je n'en
com-plain
ay
dray
Que
Tant
de . sir,
que pi -
£=
so.vetie
me
r
f r r1 8(0
m80 15
L. See p. 21a and Commentary.
14*
1(0
;J. JlJ ^
nir, plain vie
-gne
dre
se •
et ler- ra}r.
cou - rtr.
Pr « f
= § = = 1 ^40 45
1(0
J * J JJJ U
S. Biea me 'ie- roit
3. Des que ma. dame
la mort
en toy
douce a
ne puis
su •
ve i*
r if m fag
ir
ir.
En
Ne
» r '
50
r.J dadb
>i'jf
|j/i'J iJ J n i M i j l j | j
U
d'aul-
•ay
tre
son,
co •
pour ma vie def • fe . nir.
se moy g r e . 1stchoi - sir
f *
Haul-gre
Fort que
f f 7
^ > r55 60
for - tune et
d'elle une, et
G
P
c-..
70
JJ J IJ JJj U ' J IJ '• • ' W J
J
r ir i ir irn i
m 76
15*
8. Dame souvrayne
1.6. Da -
4. Dont
m&
me sou - vray- ne
mou - ray d'a
de beau - te,
mour se bon
d'o • nour, Merse
- cours Ne
' r ; ir
=i
m
chi pour Dieu,
vient a moi
de ma do - lour,
tre.- no - ble flour.
a=
IT r ^p£|
m
P!
:J J
If
io 15
tout mon bien et
je dou - ne] Fame
37a 27b 10
II
2. Je pri amour qu'il vous fas regarder
3. La payn, l'ardure que je port au ener
4. Par vous servir et loiaumant amer.
Pite de moi pour Dieu, pour bone amour,
5. Dame souvrayne de beaute, d'onour,
Merei pour Dieu, raerci [de ma dolour].
16*
9. Heylas que feray
r f n P f P»Pr71.5. Hey
4. Plain
las,
dre
IP r r plp r !
que fe - ray
me doy do -
'r
Je
le
main - te - jiant,
reu - te - mant,
Car ma da - me
Car mon cuer ne
ne me veult
puis pas des •
P^
ai . der
11 - er,
(I)
> r jJ'lp » J J t |J. J^J 3I '
|E
' 15
mrrt,t i| i \]^ m
Pour bien fai - re ne pour ly pri - er,
Ne son a-mour vueil point o- bli - er,
*
Ne pour es
Hon lay di
Ffe
mm
tre son loy
ray tout en
IJ. J J'
2E ^ ^
71
r J
'
20
r' l"rl
rJ
' P ' Oaul ser-vant
sou . p i . rant.
2. Si
3. Mes
^ if 4.
rrrnT^
T rla re • quier d'a - mour so - vant
je voy bieh cer - tay . ne - mant
Ippz±=±
85
17*
rr
p pCf
"nr
PPQufe.le me veuil-le sa foy
Que ja- mais
don-ner
ne me voul-dra
* J J t>
a - raer.
J J J
!*$=J8&
10. Ne me chaut
j r
m1.5. Ne me
4. Quar pour
chant vos - tre
ma foy j*ay
££
man-par tres
plus
ij J
J ir J
^ NJT 13 IJ J ' i>
ler,
chier
limn
Di - tes au pis
Que vous au • tres
que vous sa - ves.
tels me bias •
r r * r rm10 15
t « •>
3 . S L .3
r
Car je vueil bien
Quar horn co • nois que
vous la • • this
tra bien as - set
f f ,f f ,r m20
J J.JJ.J J- J r ir J
Que je
Que je
ne vous pris
ne su - y
un
vos
^=# i f f f f f ,r
to
di-ner 2.Vous au -tres die tre
per. 3. Ne me lou - es
tif
pas
mes-dis-lant
tant ne quant,
f i i f f
De
Car
tou
je
n15
I7\
tes ver - tus
ne suis
e -
m
ne- mis.
pas
^ =£:
vostre a . mis.
*o 41a 4lb
18*
11. Belle sans per
j J ijUi*j JU" U\
1.5. Bel • le sans per
4.Ain- si se-ra
dtiaul4e dou-chour pa-re-e,
jus- ques a ma fi- ne-e
De
Par
r >f ifr ir»r irr" =i- if frin.. r
|
r' »rr |>r
r "'r r 10
J J I J J - J I J J
bien, d'ho
vous ser
nour
vir
et de ton- te vail- Ian
et faire ob • e - is - san
ce, Je vous sup-pli sans fai-re de-layce,
Com doit a-mans partres fine al - li rf
it r f i r
-or
r it-4
15
J IJ J ' J
an-ce Ren-vol- les moy vers vo chie-re con • tre
an-ee. Or fai • tes done que de brief soit ma a - le
I r
f
80 »6
J l|» 'jJiJ'JJJIJJ'jip
3. Car blen
3. Keen aul
sa • Yes ma seu-le
tre part po - roit es
de- si
tre fer
re me
-
f*r ifm *rir
ifr*r rM
r r ir°
to 86
I 2.
J33e
Que soub - gis sui de vo noble a - coin
e Ma vo - Ion- te, ce sa - chies. sans doub
tan - ce,
tan -
-*z-
ce.
-o-^irrr
r43b
4 0
19*
C. TEN RONDEAUX AND ONE CANON
12. Pour bel acueil
1.4.7. Pour
3. A .
6. Qu'en
bel a - eueil
mer de - sir
pnls je faire
suy je, las,
ma long temps
s'ain - sy m'est
de - ce - u,
sos - te - nu
& - ve - nul
Dont tout es - polr
En douls pan . ser,
De- sir le vuelt
v J
de
Or
que
r r
10
P f r #ptr 7 CJ p n p •kMm rmoy fuit main - te - nant Sans nul re • tour,
me vient en - pi- rant De jour en jour.
jfey-me fol - le-ment Son noble a - tour,
2. 8. Si
6. Car
ii
me com - plains
en ly gist
de ma trit - te do
at - trayt ly - esse, ho•
T r
M I15
i i f J. i J. p ^=n
lour,
nour
Ce fait des I tin
Que puent a - mans
qui me fiert du - re jo
- ir tres ri - ehe-
3f
II P p J f IJ
J
Pir
r J
so
ment Quant si me fault
ment. Mais a moy sont
ee
tout
|J J
que plus ay ere
ses bien re - te
' t r H
u.
nu.
^p J ^
u.
to
20*
13. Trover ne puis
T.
^'HJ. 1.4.7. Tro - ver
8. Fe - nir
6. Hors suy
ne
me
de
if
puis
faut,
joy
au-cu - ne
he-mi, do
e trist et
m
1.4.7. Tro -
3. Fe -
5. Hors
ne
me
de
C.
puis
faut,
joy
au he
-
e
^m
r PI 7 T
cu.
mi,
trist
ne-mant
do-lent
et de
con -
a
de -
fort,
tort,
port
Si
Se
Pax
10
$ mSi
Se
Par l'es tres
fort point Va.re
- tort n'jiy par
f d Ffort de For me
- re de - par - tl
ma da-me jo - 11
tu • ne qui m'en - vi
tres fort point Yn re
- sort n'ay par
l'es - fort de For
me - re
ma da <
tu - ne
de - par - ti
me jo - li •
qui m'en - vi •
•t-y* J
15
20
21*
I !•
2.8. Dont je
6. Tel Men
me plaing
a . Yoir.
2.8. Dont
8. Tel
je
bien
m
me
a .
plaing to
voir. A
H '
25
vant,
mour,
r i p r p(s===sE5j
j..
sou • pi - re
je te
JL t
et
sup cri-e
Que - ranthe - las,
pli - e, Ay - de mo - y,
de ma do
ear se ce
lour,
n'eit,
fr
de
[car
if £sou - pi
je te
se et eri • e Que • rant, he - las, de ma do - lour,
sup • pli . e, Ay - de mo - y, ear se ce n'est,
- I I • F ( 1 I h w i
80
ma do - lour la mort.
se ce n'est] de cort,
r
r r r
r ru.ir
r ir
r
de ma do
[«ar se «e
lour
n'est]
la
de
p J T p HT i f
mort.
•ort,
r «
85
14.. Dame de honour plesant
J JHiJii
h
n r Pr "PI P* r, rP I J
ir
r p p
r
'frT
10
22*
J
1.4.7.Da S.Ne
en
6.Bien
nour
moy
plaing
pie - sant et gra - ci - eu-xe,
pour ce soy - es hon - teu-xe,
de for. tune en - vi - eu-xe,
Vos - tre
S?en vous
Que si
beau-te
a • mer
brief-ment
p J ir P r £^==£ r
15
crcrrrp r r
mon cuer re - jo - ir
mis tout mon de • sir.
vous me fet par - tir
2.8.Et
6.Et
p*r~r m
ir P p r
pen-ser nuit
des-lon - gier
r ->n M. r rwm
i
me
flour
fa -
be-le
soit
et
vy -
a
e
mo joy
-
reu-xe.
eu-xe.
m
m30
II
3. Et combien la partie soit dolereuxe,
Je me confort de mon brief revenir.
4. Dame de honour [plesant et graeieuxe
Vostre beaute fet mon cuer rejo'ir.]
5. Ay lors, dame, ser6s de moy piteuxe
Et metres fin a mon greveux martir,
6. Pour eui gouvent je suy pres du morir,
Quant vous veoir ne puis, tres graeieuxe.
7. Dame de honour [plesant et graeieuxe,
Vostre beaute fet mon cuer rejo'ir
8. Et penser nuit et jour, coment servir
Vous poroye, flour belle et amoreuxel]
15. Se pour loyaulment servir
r n (i)
23*
J J J3UJ
JJiJJ»J1.4.7. S[e]
3. Pour
B. Chie e
pourloy-aul- ment
mal ne j'aye a
re da-me, vueil •
ser - vir
sou • frir,
li - es
(i)
3=3= J ] U
r r_ir
onpuistme • rir Si
[a sou- frlr] Ne
y don pro• vefr A
(•)
tres
m'en
mon
haul
re -
grief
te don co-me le
thray, bel- le, je
mal, que m'a si
nom
YOUS
a da
- my,
a - fy.
fe - bly
f i
10 IB
hr
r r ? mm r
r nr
r r—r I ii r f20
my
J
ir p r
p r r 'inr I*1
"3
I
Vos - tre suy et se Qu'a.
ses plus vous aim que
m
II J^J f\^^E$ J JIJiJ
r if
25
ray jusqu' an mo - rir.
moy, cfest sans men- tir.
r
80 15
24*
16. Jusques a tant
JMr
J J J1
U
(10
mm
1.4.7. Jus-ques
S. En ce
5. Et pour
a tant
mon- de
ce se
p | J. JiJ.
que vous ve ne
quier, ne
long de . meur
%m n ^> * *
ITi IT i
M J J
(to
ray
fay,
Je n'au
Cho. se
Dou. the
ray
que
da joy
- e ne plai - sir,
me puisse es - jo - ir.
me, de •vous ve • ir,
ir pf
10
8.8. Car
6. Te en
vous
nes que
sont tout
cest me
m r m
ir r p ip r •in
H
15
3 Ji
i J »J
r \r P iJl
Et
En
r r'
r i r
IT r V \r
20 85
^ ^ J
mon
grant
pan . ser
tris - tesse
et quant que j'ay.
et en es - may.
• r S
r r«0
25*
17. A qui fortune
IJ, AU/JJJ. JSJ 4 1* J J ^ U
for fata
•
a
tu-ne ne ie vuelt a-raer
dra da tout raos et can-ter
tant que puis - se re. tour-ner
if if \ I " I'
I 11 I 111'
10
2 0
2.8. Bien pert
6. A vo
15
>
a moy, quant si brief me
corps gent, que tel gra - ee
Ion - tay .
de - may
ne,
ne,
Eg=
mm
rr IT i40 45
»r if
BQ . se ver - moil
De - es - se de
le, a vo beau- te
beau-te, vray tans
gar-der.
fau-srr.
(I) r\
5 0 55
26*
18. Pour Dieu vous pri
ju. JJ ui J u J uj
if if
11 13=
10
J | J J J
IJJ it J
J J
|J J~31
m
1.4.7. Pour Dieu vous pri,
3. Quar sa na • tare
5. Pour ee a - mer me
haul - te da - me
est de has-ter nult
veu . lies de droit
de ho • nour,
et jours,
a - mour,~
m u > f i r T r i r r i j , f | f i r r r
•I-I..1-W IB
»J J 1* ' j I U JEn .
De
Car
gi - ner ne me vueil
tons mau-dir sans ve loy-aul-ment
vous ayme
^m lin
*±*=3
ne tra-fer,8.8.Ne vos - tre foy
te tro.ver. 6. Des mes - di - sans
vueil a - mer.
ne me vueil plus
ne vueil m
iSO ss
.3 -,
^mies
ies
fau-ser
fl • er
Par nul maul - dlt
Quejus taU • lie
mm r 'r
if if f m irm40 45
27*
des mes - dl - sans
leur soit le chief
r if ri
trai-tears,
da coarst
\T' if
60 55
19. Plus lies des lies
OD
1.4.7. Plus
3. Car
5.
lies
la
des
dou .
Ills,
chour,
m
plus
que
joi-eux
de-den»
l^ipr pr Ir r p
m
wi
gay Doy - e bien es - tore
ay, M'a-prent et vuet que
mour
sans
10 16
iy.uu.ii.uj I J 11,'ii n i |-t-r- mser
fe
vir, 2.8. Che •
nir: ||6 te)
rir, ere • rair,
r i r ifir r r ao
j rj"3m *mdoub • ter et ob-e • ir
r' Pr irn;
A tous jours mes
25 SO
M.&R.Co. P.73
28*
20. Helas merci
r rr-r r ir=> =1=1=
1.4.7. He -
8. Mer •
6. Ay las!
mer - ei, mer
ci du las, mer
mi dou - lant, des
ci, pour Dleu
ci du serf
- truis, co • merit
mer chai
-
mar
ci,
«,
vi
Mer
Qul
De
m \r h m
J
u, JJ
ci pour Dieu, mer - ci, da . me d'o
muert de mort en di . sant sans se
ton - tea flors la pre - ci - eu - se
nour,
jour
flour
m ir J ir
10 IS
da -
[en
pa
me,
d i pre
-
da -
sant
ci me
d'o - nourl
sans se - jour]:
eu - se flour],
20
Jj . j J3j . i j.
2.8. Mer •
6. Flour
ci du
fleu - rant
mal,
de
mer - cl
si tres
de r
la Ian. gour,
no - ble o - dour,
Mer .
Qu'en
80 <G
)J
plours,
rant
mer - ci des gri£s
Ian . guis et rauir
m
sou - sy,
et cri
m4 0
des
[et
gries sou
muir et
i nr rJ t it
BO
21. Par vous nfestuet
r
»r
r1
'j
* r »r r 13 ^1.4.7. Par TOUS m'es
5. Las, de for
6. Bt si ne
gg|
tuet
tune
£
Ian as
-
eo .
00
guir et sou . p i • rer,
ses ra'en doy plou - rer,
ment puts- se re - trer
| f r l f ( f r r
1.4.7.
3.
6.
Soy -
Ne
Ton
es
sas
mal
par
tu
me
moy,
bien
tient
mon
que
au
a •
main -
cuer
my
tes,
duel
^ ^ m m Dou-ce da - me
Car j'ay per - due
Ja-mais mon po jo
-
de
vre
10
f f r f | r f | f
mgra- ei a
- mo an.
go .
eux,
reux,
sieux,
Hors
For -
Si
de
tu-
que
tor .
ne
ne
mant,
tint
puis
15
je
en
a .
fen
do .
Yoir
Prt
lo .
ma
et
reu-
cle-
sup
se
re
If, f _
ir r r ir mrr
tou -
euer
et
tes
de
nuit et
flours la
la do
jour,
flour,
lour
£=i i rrr r ih
rA
^r n^ir i i n n i r |
P u .
Yi U
.
e.
e.
86
m fr
r r if f
2.8. Sans joye a - voir,
6. Que a mort pro . chayn
sans
le
•on may
-
"pa f I.' r r i i rn!,
10
.8. Car
6. Mes
sans fau • ser
en a - mours
J
de
r Ir r V
ir
r rir r~fort,
ne
40
sans
pour
re tour,
raour
m -"• tr). ID r if i r
suy
la
ta
pi -
doulx
tie
a
me
mi - e
fi - e
45
r r i f fM I ' r
r ^ r r r
/T\
Et sansnul Men en de-ses-pour
De la bel - le, que tieng et di
fi • ner.
sans per.
E t'a . me . ray
Qur
en brief d"a - mer
55
de rraycuer * et
par luy se - rons
Joy - eux.
heu - reux.
80*
22. Andray soulet1
. 1 .
bJ
ir rir » r
• i . ,-1 ,
J I J M IJ J I
An • dray IOU • let aa mielz que je pou r'
r T
|J
An - dray iou • let an mielx
16
J
irr i r u j iJ iJ
r 'M ir i ^ I
J
i j if
ray Jusque a le tamps pri -
(i)
ij j i j ij J IJ j ij IT i r i r IJ j i J IJ
r 'M ' M J
que je pou - ray Jusque a le
24
ir rl r ir I J TJ IJ J I J IJ J U J I J
An - dray sou - let au mielz que je pou i
i r
J IJ UJI j IT ir ir i -m
mler De- la-sol- re. Lors tu pren-dras de-sus A-la- mi•'
i j i f J
i f i r I J J I •' i J I J J IJ ij. j i j HI1
i
tamps pri - mier De - la - sol • re. Lors
J
i f ir iJ
J i J
i j ir IJ ji f u i
ray Jusque a le
^B)**
tamps pri -
^B^J
^ (»«) I n ^* i r
j ij i j
re: S'&in-si fe • ra le tiers, ean-te - rons
(I) (i)
tu pren-drasde-sus A-la..mi- re: SUn-si fe - ra le tiers,
i j i f f i r i r i •
- la- sol - re. Lors tu pren-dras de-ius A4a- mi-
1. Sea Commentary
Si*
23. Beaute parfaite
IL ANTHONELLO DE CASERTA
A. FIVE BALLADES
J j
JJ.ofT.
rn\
BB3 L.f If r/1.Be.
S.Me,
OD
r
beau • te
me fait
parl&n
•
m
ir r ir r miitlnr
in****
if r ir M\\ r i
JJ of T.
J.J.ofT. , J.= J. of T.
I J. 11 h J. ISJ. J
1 y J> He.
^ ^ J' j
18
es-me-
4e-ti- e.
U ^ f
j> \r^m
1 f
J \J-JJ j ^ m
# = ^ r if25a 26b
r ij j
pr o r *. , f 7 f .
3. Si ne pnis pas a ft
ir
r if r r
so
83*
St ma do. bur bn
UJ'U U i
iJ. JjJ !•'••
r T pen - du- rer Puls
IJ.
que
U J J
I" ' '" -#-=-
45
r r »r £ t
m ' J U i
if f if £=m. *60
nPir r'
60
II
1. Car j'ay desir qui se travaille et peinne
De moy deffalre, et ma dame honnouree
1. Ne scet mie que j'aie si grief peinne
Pour li que j'aim plus que nolle riens nee;
3. SI que pour ce ma joie est si finee
Que riens ne puet mon cuer reeonforter,
Pnisque desirs ne me laisse durer.
Ill
1. Mais se eelle qui de long m'est proeheinne
Par souvenir et par douce pensee,
2. Scetist pour voir qu'en biaute certeinne
La sert mes euers en estrange eontree,
3. Majoie en fust tonte renouvelee.
Mais je voy bien quil me eonvient finer,
Puisque desirs ne me laisse durer.
de lUehmnt]
83*
24. Dame d'onour en qui
u J I
m
r. ' ! f
l . r
r ir ' p r p r fJ
1. Da-
2. (
§•
r
if r
f
I.
tout mon cuer maynt, En a- ten- dant
r . . r , f if
15
11.
be. nio
-
vo - Ian - ce.
bey - san- ce.
t ?ifff>r iff f t
r r i? . £=P I I
26a 26b
34*
» P f * i? r
pe- ran. ce Qu'en au • cun temps
|Cr T p * |f f ^Cl = ^4? 7 Pf ,:f;
m m ^ _3! •••7, t
t5
ip r r pIp r ip r i' If
A J>
/T\
^di. re pou- ray: A- mi- Si vous
^5«t
40 45
V J
I "
^ ^ ^
que ne m'ou . bli - cs mi^
^
p If f •f f7 •?,
55
85*
25. Du val priUeus
1. Du
2. Mali
val
en -
pril-
tre-
7
j s J j ij j ,
r r i, pf -if f ir r if
10
leus
deus
ou
est
pour. pris
la mer
de
de
jen-
des-
nestrei
•
*e
i u ij J
fir f if f i. r if rff f TUT^ ^ 15
lij n2
Vers
Ou
r ICJ CJ IP t P ir
26
T J3 h JJT J J'o • rlent un
j'oy ies vois
1
bel [eas en
haut
tel] voy
te- noyre
lul- re,
brni- re
01) /ft
^ J J ' i 4
30 S3a <5> 88b 1Kb
3.Des a Bet:
K
moSet:
f
reux que de. sir
J J N J ^JJ, IJ -ji J.
r ir * in f
4 0
36*
II1J J>J />!,„. J]
r r F r F PTr pir pr
3 3
j ]^I
rut dei- trui- re. Kn
i j T L I
45 50
ee pa - is, ou je ne truis con
Bet: C
fort,
ir r h P ^ ^ ^ ir r irs•55 6 0
IJ
'J J)U-J-Ht
118 JT3 JT2 U.
me le eon - dui - re A ee
K C B
^ ir ir r i c r 80
Jiei: no %
,.j U'j h J
eas -
CD
tel a - ri - ver a bon
OP
port.
J J
« p i c j r
65
37*
26. Amour irfa le cuer mis
1..A-
2. Kt
monr
ton -
m'a
vent
le
fols
cuer
pense
mis en tel mar- tiet
sou - vent tos-pl'\U
p * Cj 11 1
i c f c p==ii HS:K
ir r L.r
SJ
.-rn i i i i i . hi rfi rr
re
re,
Que
SouEi=e
f f l t r r f t r . ^ r
Ir i ir 10
'ir
Pque mayn-tes fois
vent me can- gie
le
la
^
f r ir
3 3 s
3 3
f r i» pr
/TV
-I J*J"~l
Bn tel es - tat
f f
26* 2«b
88*
ir ir iJ
vi- e est te - nue. Pour ce n'est
r j ILTcfrJ If tfT
l f r
n - l l ^ lU ^ 'I
r ?ir f "if.fr r ir r r
so 15
iY- if r1
ftm ff. f7
!
^ pr r I r r ic r r j
GUI
40
J-UUJJJ i ' J J IjiU j
J ?J
J J i jJpj
se • jour Cel-
^
li
It
50
ir r ir
J Jj> J
sour- pris de fin
J t f > PPIT r ic ^
r i f r h r T ir
55 r
'
ir rf p
60
/?\
rJ P
muar.
^
=«==^=( ir r^ T TT
89*
27. Notes pour moi
ioi.es vers moy pi.
Bt si me dbn-ne. m e . di-ei
40
40*
r r p r p i'j
If
Mais
'4 i J. J
§=f i 4 'U56
if r IJI i \t
P r lp r
£que ce soit pour a - mour
*JMJ j j i n i
ft. ne!
(i)
^
hj- l i
65
ao
B. ONE VIBELAI AND TWO RONDEAUX
28. Tres nouble dame L
J J J J
'*O-'J
r r r1.5.Tres,
4. Car
trea
[car]
>HJ. IJJJ J ^ U
r * I T * n m
I U J U I g
nou
on
ble
ques
da.
de
me
na
sou-
tnre
ve
hu
ray
may
ne,
ne
m
^ ^ ^ r ^
10 15
J J ^M ^ T I •)•»**
Je
A-
vous
me
su. pli
ne fa
tres
eer an
• ble
tay - ne
ment,
ment,
(i) JJ-o
^ i > t r ^ ^
e
r if r ii»'
so 25
41*
i Pre - nes
Sans pan en
gre
ser nulz
tout
ou •
en pre•
tra - ge
I i m J IJ ,1 I
nil I1
II I
so 15
sent
ment,
Un pe
Et a
tit don par
me- ray, soi-
bon
es
es • tray
eer- tay
ne.
ne.
U, IJ U I
r
f r f
4 0 45
ii ^^2. Cr
est
3. Pour
u -
voustre
ne
acan
- son
mour can-
G
5
U.
r ir \r f fn
i f
60
o
J IJ J I ^ i J
' ude
te-
vray,
ray,
Fait
Si
pour
vous
vous,
su -
bel-
pli
Ij. U j J J lj. i lj.
^
B6 60
12.
J JJ J t H I' ^le ho • nou - re qu'll
vous a • greJ
U i 'x
IV-r
r r T65a 65b
42*
29. Dame gentil j j -,
14.7. D a .
3.My
6. Kt
$
I* if r
f r ir ir r
r ij>j J j>jj. ^ J
f r
(i)
7 T
10 15
r 'Mr•p r Ir pPI
2.8.V0U8
6.Quant
'if pr Ipr p ' »Ir
Tj. j i j i u j j .
•f if f i ^ ^
25 80
48*
pr r ipr r Wr r F T f ^ Pj
j
r l I " i r pr , ipr r Her. r Ir pHI ^
30. Dame d'onour cfon ne puet
G
1.4.7. Da-
3. Tons
5. Tres
O
me
es -
hun
d'o-
tes
ble-
o
00
HAIII> ^P»
nour,
ceUe
mant
ou
raer-
ne
fay
chi
44*
1
'puet
mil
ei-
mes
YOUS
pri-
de-
re*£=#
r" if >
^
30 as
' i j . IJ J J \t =5=
ler
la-
2.8. En
6.Sans
C
hP
par-
vi-
douche,
nie
plai-
que
r 'prp'J
r 'p
r1
r' ir35 40
' ' i Usant
me
pur ir fE ^t?
'i," J.
45 50
31 En Tamoureux vergier
IIL SOLAGE
A. SEVEN BALLADES
45*
I \;p Jij p
1. En
2.Drotte
l'a-
es
mou -
le-
reux
ve -
ver-
e,
gler
de
vis
Yer
J U J lj J U J I F ^ P
J- mJ 'Ju. -
meille
na
co -
flour
lour,
Es-
Belle
p&u-
et
nie
plai.
' *
sant
J J T J IJ, J JHJ J U
U i U.
10 *
I j J J J J I J JF 5 5
^
•J JJ J I J J sp
par
et
le
de
cours
gen m
m
de na te
fay tu
re,
I J J> J1J J J
J'JJ '4 J
'^J
^J » U ' J J J N J'J JiU. J
tu-
3.A ees- te flour me mis en a-
re.
t \ ij. j j ^ i j
J 'i.^
j J
SO
35
J~JJven-
tu- re De l'a - prou • chier et son
j. J J
if
85
46*
IJ t > IB J. ij. j u.
ou - dour sen - tir Mais quant je fus de - dens
j I J > » inj. J. 4,
if if
mi i
40 45
r <• rpce no-ble clos, A- mors me fist
J,
60 56
=§=£ £ J* J
O
ir J IJ J J## prdou• ce - ment ra - vier Tant que mon euer
.'J. Ij, j JiIJ J I < J •' J.
r,rfe•• f ,f r ^=£= f
60
IJ, iJ J J IJ |J i l =
prent tout son re • pos.
U J»J J.Q J J I
f i f f f
66 70
II
1. Bn ee vergier sont tuit li gay sejour
Qu'onques Amours douna a creature
2. La me dresehay remirant la valour
De celle flour qu'en ly mayst par droiture.
3. Et apres luy m'assis sus la verdure
Afin qu*Amours de li me fiest jouir
Avar! 11 n'est riens vivant, bien dire l'os
Que j'aime tant, ne riens plus ne desir
Tant que mon cuer la prent tout son repos.
in
1. Et se au jor d'uy trestout li eomte a tour
De Burope ou d'Almene tres pure,
2. Ou des belles que maynt amourex tour
Finent si bieng es nuepces de Mercure
3. Renevoient pour mi mettre en leur eure:
Tout me seroyt nient eontre le pleisir
Que j'ay de li on tout bien sont reclos,
Quar c'est la flour qu'omis ne puet flaitrir
Tant que mon euer la prent tout son repos.
32. Corps femenin
1. Corps
2. Tant fe- me- nin
no- We- ment,
47*
J U J !J
15
25
60
11 trai - tis et com - pa - sd 11
tant est
II pas-se flour de beau- ti; 11
If - doulz et plai - s'ant L'a - mou- reux ray
11 de vos - tre oeil ri - ant
49*
jJ J fj J IJ J
'J 1 1 J J J i J ifait par un doule sou-ve":— nlr
i r ir T\, r mm
r if r ir
110 U5
U J U J iJ J M8:B
J ,MJ i ij
Joi- eux et
i f=
If » r if r
125 ISO
00
r J U J JI
en ses
^ = ^
las
^
m18& 140
iJ J iJ J !J J U J
T^^^J '4^^'^main - te - nlr.
i n r ir r
fT\
r IT r ir n
1*5 160
II
1. Nul ne scaroit prisier l'envoitseure
Et la dolcor que j'ay en vos truve,
2. La joye aussi doune nourreture
A euer d'amant de loyaute pare;
3. Rien, certes, ne me pot tant
Onques plaire come vo corps jovant,
Ysnell et gent, ne rien plus ne desir,
Ne ja ne quier jamais autre cherir.
Ill
1. Et c'eit raison que de gens de fayture
Digne d'onnour vous soit le pris doune.
3. Au gre d'amours qui de volente pure
JTa enrichi du tresor desire
S. Ou tout bien est surendant
Veuillez me done retenir pour amant.
Raison le vuelt quar pour leyal servir
8uelt hon souvent bon guardon acquerir.
50*
33. Calextone qui fut
m J AJ lj. i' ^ J. II J
1. Ca-
2. Tant
lex^to- ne
qu'il la mist,
me
vraye
I*r-fr pff1
CrrTci/cjp
if If
ipr
r
P Pf Pf ir1
r ifj:
se
se.
A
Hault
Ju-
ou
pi - ter
trou - ne
r 1F~ r
j.
10 15
un
fit
et
J J- IJ. J
un
11
^ 1 I T^ \V\ v
[ -I
r ir r r1
ipr r p i pm u^1
- uao 25
1
JHJ»J. 'J.
fl
i'U>'J'
donlz " fa-ere- ~ fice,
fnt moult
P hO3rr
(cf. me&s. 83)
JJJlU. —^
'• • '•
30 si» sib 85
J'IJ
'J J4. ' j .reu- se - ment La cou i_r
E_j if f r r i r
ron - aa
s i i i
ir ft r r^ m46 50
irTJJ.
sur ton - tes ri • ehe - ment: Lors tous
m i
linnJ. IJ.r T Jr 55 60
les dieux li fe- irent per ho - ma '•
IPr••[- pir r pgPPr JT1 ?
"M r r Her g 65 70
I J, U. I
Joi • eux
J '
re - cept
if i r i f i-Pr "r pi r i
IP
75 80
• 0
52*
34. S'aincy estoit
II' U
1» S'aln.- ey
2. Ffran - ce
es -
per-
toit
droit
que
•on
ne
pris et
la noli
prou
a a
LI
^
lr
if, pr pif pr pi
an,
de
due
se E£
r ir^r r o - r r pi^ P t ^ a
•r T^
15
I 2.
gen -
rott
tilz
a de
Ber-- ry,
r r if \iiVT P
r~ f ir
18b 30
_2 2
r-uj J
J
men -
m
3. Quar de eer. tain
f i ' r ip' 'r ^tT
'
n r ir m80
58*
i J jiiJ>J
sa va - lour S'es- tent per tout
rr r|f v
rr'35
40
et luist com le cler jour; En tous fais
11
r r i
fin ir ir r 5
r ' fifr45 50 55
sonno-ble .cuer ha- bun
N-m . j.
Quar c'est ce - li qui est
r ir crrr »
J j .
la flour du monr
T r r i ffrrr r r r85 70
II
1. Nature l'a per sa grant soubtilesce
De seus dons richement enchievy.
2. Vaillant et preux, en bien met son adresce
Et noble ator si est prouchain de li
3. Dont il n'a per ne greygnour,
Ains surmonte tout home par doucor.
Ce sbnt graces que Dieux en son cuer fonde:
Quar c'est cell qui est la flour du monde.
Ill
1. Considerer doit eheseun la sagesce
De ce seignour courageux et hardi,
2. Quar c'est un cler mlrouer ou jounesee
De chevaliers doit mettre son ottri.
3. SoA valour ft son amour,
Quar il sont mis en tres souvrain honour
Par sa vertu qui est si tres parfonde:
Quar c'est cell qui est la flour du monde.
54*
35. Le basile
Tr.
I j j J l l J li'i-JU-J It t J It J'J IJ Jjili-JU-J—l
' I J I1
J-
1. Le
2. Car
.Lfffif
ba- sison
ve•
le de sa
nin est mor.
pro-
tel
r ir
10
J J JI
h
lf
pre na- tu
sanz me- su
re Tous
Sans
ceuli
re -
t
qu'il
memI
I
yr r ir m. m 2 0
J T J T I J 1 J J I J J fJ i IJ IJ J 1 IJ J ljsj
r ir fir r IT lr
lr
> <l>J
voit
de
tu-
et
e
sanz
r > I
r IJH
T p25 30
$> j 3J -3 IJ J
8*a Stb
1. 8e« Commentary
55*
T'i ' • n . q ' j . J 'J '•' ^173 J
I » J j'lJ'J J.IJJ>ij j ,
vie Les bons
I.
par trez san |Pr
N r
I
r
bu.sie.
r c.r1
p 1 r if T4 0 45
»IJ
J -ij.
Tant quechas - cun volt ion per a grant
r'r
me ir f r 1
6 0 55
m J
J J
pay - ne Car ba - rat tient le mon - de en ion de- mai - ne.
r ir f ir f P
M ir r iT
60 65 70
II
1. Le roy d'amours ou palais de droyture
Si a doune sentense et jugement
2. Contre enmeni qul par fause morsure
A Trays aroans font painne et tourment.
S. Maudite soit leur viel
Kt leur jangler plain de tres grant foulie
Per cni je pers l'amour fine et hautaine
Car barat tlent le monde en son demaine.
Ill
1. Or rueille Dieux que per sa grace pure
Pause jouir de la belle au corps gent
t. Quar trop l'aim mieulz que nulle creature
Tant que mon cuer est tout sien fermement.
3. Bile m'est vraye amie
Gaye, playiant, courtoisse et jolie,
Ne plus ne quier fors ma dame souverayne.
Car barat tient le monde en son demaine.
56*
36. Helas je voy
je voy mon
m'a fait de
» fin ve et
de play -
nir
sir
En de. »i. TAni
Qtfon - ques nuls horn a - voir
ven- da
un don
li
10
25
57*
i_Lf P-f-f-^
J JHJJ Jis 3=3=d'un faulz tour Dont se je n'ay
i ' Ij J'J .
1=1=
80 85
tJP r pr » p » p
coors de vray ef- fort Je croy que brief
^ti
f f
40
J M J
- >
se - ray sanz doub - te
J i
mort.
00 /*
j j
f MB iff f f i f^mMS: G
45
50
II
1. He! Fortune, tu fais ton pris haVr
A pluseurs gens qui treuvent amerour,
2. En ta roue qui tout bien fayt perir.
Muer legier joye et jeu en plour
3. Or m'az boude au fleuve de tristor
Dont je te dit quar tu me fays tel tort
Je croy que brief seray sanz doubte mort.
Ill
1. A vous supli, tresreluisant sapliir,
Dois et ruissel, fontayne de dou<jor,
2. Sene flacon en sont tuit mi desir,
Fruit vertueue de tresplalsant saveur,
3. Aleges moy de ma grieve dolour
Ou de certain se r.'ay de vous tonfort
Je croy que brief neray sanz doubte mort.
58*
37. Pluseurs gens voy
v
J.
1. Plu -
2. L*nn
sears
vest
i
gens
u voy
qul leur pea - se
ne eo - te bro - de
r i rTr rr IT 10
JJJI.J. U. i- 5 ^
JU h i ^ Ig/j *lfJ
M
MS:C
kJar
e
e.
Met-
L'au-
tent
tre
f ,
en
un
,-r*=E
15
(I) 127
u ^
(I)
hjsj IJ, J. IPj,
ve»•
vU-
tir
Ian
bon ha • bis.
four-
fcfc
r ir1
r i r ft^ ^ r pir r""
35 88a 28b
(I)
,1. J_ 1,1. . J u.H
I^NP IJ, ^.MJ IJ
S.Manmm
m
teaos por - tent grant on pe -
^
tT\
i-m =1=2:
so 85
59*
ff|f r f "
65
J. r ipJJ'jiJ,_J J>u>j, ji J'J J>lJ.u l J. j . IJI
J I J iJIJi J
' I _' I ' ' [ I ' ' It '" Ijj u-ne Ja- que - te.
* irnr-T-T
60 65
II
1. Autres i a qui par furaee
Se vestent de porpoins faitis
2. On d'une cote de conpree
Et antres taabis de grant pris
3. Dont ils sont asses plus jolis,
Mais toute leur devise faite,
Je me tieng a une Jaqaete.
Ill
L Qu»r elle est si blen fa^onee
Bt en tons estas, se m'est vis,
2. Qtfao monde n'a robe fouree
De pene, eendal on samis
S. Qni tant me plavse et pour ce dls:
La devise de ehaseun fayte,
Je me tieng a une Jaquete.
60*
B. TWO VIBELAIS AND ONE RONDEAU
38. Tres gentil cuer
* n J
16. Tres gen- til cuer
4. Done tant de - sir,
a- mqu. reux
flour trez
et
sou-
at-
ef
trai
flei-
ans,
rant,
if" 7 T pn ts
r p if f
(J).E D
i J j>J=K=
Frans
BeUe
et
et
eour gen
-
tois,
te
j o - Us et plains de joiplus
que dir ne sau - roy •
, f r
10
I_L_ J
e,
e,
A vous ser
De re- voir
vir
vo
du tout mon temps
fa - con sim - pie
em-ploi- e Quar
et coy- e Et
P if !' i ^ r i r ir7
L f f P
ir igpgj
15
J t", I ^T
J i IP |J
il
l'es
n'est
gart
riens
doulz
qui
de
tant
vo
me
re •
soit
gart
play.
ri-
sant.
ant
^ f rm r- T^r t^m
2 0
61*
J*i»J
(II)
N*au- tre de - sir a - Yoir
Qui tant me plaist pour ee
je ae pour-roion
que je sol(I)
*\
PI r r
s" r r feho
r r ^ ^
(I 0
80
=*=
2. Qu'a
3. Quar
YOUS
en
a • mer.
Tons ion
hon-
mi
nou-
pen
rer
•er,
et ehe
mi de
r r r r if f
rlr.
sir.
r r r
r ir m 85
g=si I p j JlJ IJ J,J IJ.J JI
Cre. rair, doub - ter et loi •
Hi oeil, mes euers, mi YOUau
• merit ser • vir
loir, mi plai - sir
r Pr i r* r
f If40
f if n p.f
40a 46b so
II
2. Or scay je bien que le doulz souvenir
Que j'ay de vous me fait an euer venir
Joie et baudour
3. Si que ne puis mal ne doulour sentir
Ains trez joieux me fait amours tenir
En gay sejour,
4. S'en loueray, amours eom vrai amant
Quant elle m'a voulu metre en la vote
De YOUS arner et certes se j'avoie
Tout quan e'om puet en ee monde Yivant
Nient me serolt s'ames de vous n'estoie.
Ill
2. Si pri a Dieu qu'il me doint a venir
Au doulz tresor qu'Amours snelt departir
Per sa doucor
3. Dont me poves noblement enriehlr
Fin cuer loial et sans rien amenrir
Vostre valor
4. Songect cens fois roon euer tres desirant
De vous veolr be aler g' i osoie
Mais en la fin pour riens ne le layroie
Que ne fuesse avee YOUS demourant
On gay paV< on estre je voudroie.
62*
39. Joieux de cuer
f lr Jn j j.
1.5. Jot.
4. Kt
eux
a
de
bon
cner
droit
r r P Tr f rr if r r r
en sen quar
quant
« r r r r ip
ir Pr p i * r jf r
JU u /) J'j.m j j ^
L r
r PIr
mel-lart
a TOUS
es -
pen
toy.
soy-
e
e,
J, Ut—' I
i> p r p fe^p
n iT PvC f i rm r1
10
JHJJJj,
JJ ;> j Tj j j 1
sj. i * j J j
Quant je sen - toi - e YOS - tre tres.doulee a - lay
Tres-play- sant flour, doul - ce ro - se mon - day
ne
ne.
Et
Gar
\r r f h rr f iv
r Vr
vo
de
gent
d'a-
r
r ir pi>*
15
h. n ii-1 iT
^ J 1J = £ * ^
f r f i r
corps, ma da - ma so - ve. rai •
mours qui mon cuer trait et mai•
ne,
ne
if p
Qu'en- tre raes
Au- tre plai.
J.
80
63*
iJ I JP T
L J i 4
bras si dou- ee. ment te- noy
sir an mon- de ne von • loy »r
r rr r r rr if f
e.
e.
•W-T*
m
r p i r25 SO
n s J J—} J j J J. J
r i
2. Je croy qu'on-ques
I. Car sanz dou- lour
ere. a - to - re hu - mai
et sanz pen-se - e vai •
v P I T p r
P •> Hr i r j IT 35
^ r ij. T
J
ne
ne
Nfeut ~ tel bien cer-tes
Mon cuer e»- toyt rem-pli
eo . me
de tou
j'a
te
voy -
joy-
JT^
P r p ir 40
IT lil
j.
1J -J J J' J I j j> j . ^ 1 j
e.
r ir r f r_j ir
r r
(8
mM8:K 44b 45
64*
40. Fumeux fume
m L.r L!Tr1.4.7. Fu-
S.Qu'an-
K.Quar
meux
tre
fu,1
I Ir J I II . J *
'* r rp J J t I.
j J m pH J J
U
MS: J) 7
ir »r * pir rp"r p u r ifu-
fum
mer
• i » r p 'p r Ji
'
me
met
molt
p r
j j i > r -J 11'
15
IJg t;
10
\j Mr * J ir
par
sa
li
fu-
pena
-
me le
-
gree
i
e
e
.8.Fu -
6.Tant
meu
qu'il
7 J'J J i Jpr '7
p[l
'3
r
IJ I J
£
20
p'T
«e
alt
r j ir ' • » •j.r
^ i J iJ
j r ir r25 80
> I T r I'T r IT
spe-
son
cu- la - cl
en-ten- ci
'J r
•p r p' r r >j ^ 3ip J
on.
on.
p
j- J uK8:B 15 40
65*
IV. TRBBOR
SIX BALLADES
41. Passerose de beaut6
r \T r f1. P M -
2. Done
•e-
Jn
ro-
Pise
de
ter l'ei-
beau-
pou-
a=
no -
fa
ble
va'
I I •4. |t:
#P^
flour,
lour
Mar-
Ens
g»-
Knrl
te plus
la
1 J r if r ir1
r ir
15
J ' j . r -"ic-CJ"Ty"P"|T fpf Pip p fJ.blan-
pre.
che
ci-
qne
eu-
f
nul
•e
3=3
N- SO
66*
ji j ' •
3. Car
r
i?
duprin-
0^tamps
a tous mons-stre la dou- ^our Pour es-bao-dir
.. 2 \ m 2
r Cf IC ^
mngi ^ ^ P15 40
rJ j J'l i2fai=J
f r1
cuer qui yray vmour gar- de:
r PiT r i r J. i r p r p i r p f fe
r r"1
45 5 0
JiU JiJJ.IJ. '' "ir fX
Resr
r
i
jou- is est
a
IT Prpi
conJ-
mm55
II
1. En son der vis sont trestuy li gay sejour,
Plaisanse, odour, honneste tres benygne,
2. Car nature en la produyre mist vigour,
Quant la fourma y tint sa droyte ligne,
S. Son dlr just, eompas, mesare et playsant labour,
Kn son faystis corps droyt com lanee e dardet
Resjonis est ^nieunques la regarde.
Ill
1. Humble mayngtieng, son douls renon, son atour.
Son noble pris, sa redoubtee ensigne
2. Ke porroit null raeomter, ne la auctour
Fleytrir ne puet par froidure que yigne.
3. Tous biens en ly sont composer sanz deseours.
Soyt tant tempre, vespre, main, heure tarde:
Resjouis est quicunques la regarde.
67*
42. Helas pitie|J)
J. U
i
1. He-
2. Dan
las, pl
glcr, re
u- i
fas,
en des
.
m
U J. I. i
lr f ,
J |J
m
vers
daing
raojr
sont
dort
d'un
si
a •
fort
eort
II
Qne
En •
je ne s^ay se je toi
con - tre raoy po - lent gre •
r r i r rr—10 15
US: 7
?
^ r3.Se me plain,
H8:0
je n'ay pas
4.
ff if ,r
68*
3EIE
trop mes . pris, Quant por fe- nir in'est-ren'
TJ * J
if r m* 0 16
J J J.i
da
pup
eel goer- don.
r ir r r ir r r i rN
J i IJ J J
40
1 I ,MJ ^
^
t i
Dont mort me Toy sans
j
45
J.
j. iJ'j. >
J.
nul-le mes- pri- son.
h
50 55
II
1, Et pals qu'alnsl ne trais en riens confort,
Joie, soalas se sont de moy partis
2. Bt m'ont gnerpy, dont fen reehoy la mort
Sans que jamais en ale null respis.
S. Je ne Tif pas, ainsols pene et langais
Or n'est nnl bien qa'en moy prengne seson,
Dont mort me Toy sans nalle mesprison.
43. Quant joyne cuer
I * If r If pr
69*
3E
1. Quant
2. Fet
joyi ne
son se •
cuer
jour
en may
play-
i
m u,
r p«rir 'r
est a sant,
de J.
r
mou -
li-
reux
ceux:
En
Au
Ju-
roy
Pipuis
-
ter,
sant
au
yienpf
ir
r r i f ^ p i r
u.10 15
HS:C
82a
p>'r i f p p f
pa - Vi
(I)
3.Maint che - ya p
L J L ;
J- UE
22b 35
70*
haat
ft)
m r r ir
w80 IS
Pir
r r r i f f f ir r r niprii A sa No. ble- dont
$£
grant est le re - non,
IT m!J J !J Ji J jj
mr1
ip *P
40 46
Qni pour• te d'or et de guen • les gonr
r
P'r'
I.I.
50
r »r r p;»f r pi* r
fT\
LE-rr if
fa-
I
non.
MS:?
i •' '•'•
60
II
1. Son droit atonr, son maintieng gracieux
De la Table Ronde est a mon avis
2. Son ardement grant, fonrt et eouragenx
Bn dons est Urges a tons, grans et petls
>. Tant tne le monde en est tons esbahis
De la-noble qrfil a sonbx son penon,
Qui porte d'or et de gnenles gonfanon.
Ill
1. Cest blen rayson que ehans melondleuz
Qni la se tlennent et tons antres delis
2. D'armonnie que tant sont preeieux
8t bons sonvenirs tant plaisante et sobtills
8. A serrir tel seigneur soyent ententis;
Pour ly se nomment en malnte region
Qui porte d'or et de guenles gonfanon.
71*
44. En seumeillant
I ir-r L.T TT ^:*=3= j J U j gr J. • J ' j: j ' ^ J.
1. En
2. A-
xiX
J IT N I
r pi
Tint
fort
uves
-
ne
per
ve -
ti-
iil
i -
on
on
Monlt
Kn
u j 'r 3 ^
i j r N J u
to
i|Ji j
is
^ ^r•T—t:
ob - icnre
eon - ques •
et
te
donb •our
•
ten- >e
mon - tait
u ir r
J U If w =Nso as
f r rt\
P r *p lf n r f=s=l
ponr
A-
en-
lixtan-
dre:
mm
dre;
J *=^z
r i ir r M *^ • Oft IOb
72*
if r ir
3. Mais Se - ril mon - stre en sa vray des- erlp- elon Que
1 ^ u r
J>» If J lw r.
85
J J j J J IJ j
40
sm H P "Lri^rp PTP r P I ?* *
e'est le roy qui tient en com J
i>J i pp
> r T u if
46 60
Trir i P
AT- , mex, ar
p iJ
J j I Jj i j ifj
55
e!
j iJ j u J j
mJ i j r—|s
r60
r65
II
1. Cilx noble roy a timbre de tel fac,on
Dont legler est a touz pour cert comprandre
2. Que malnt palz et lointalne region
De son haut pooir ne*z valdront deffendre,
3. IPa son vaillant euer ardis come lion,
Ains seront touz priants sa seignourie:
Armei, amors, damez, cheraleriei
III
1. Et, pour donner au songe conclusion,
Le passage qui ert sanz a moult atandre
2. En Sardigne, nous mostre que d'Aragon
Ffera soun cry par tout doubter et eralndre,
3. Car puisant est en terre et mer par renon,
Larges en dons, et ayme sans oublie
Armei; amors, damez, chevalerie!
73*
45. Se Alixandre et Hector
* ir r r
* I7
J mmJ ' ' <x
1. Se
2. St
A-li-
te-nls-
xan-
sent
dre et
ArCj-
r t i P rr p i rp e r i P r r
m
if r r |
J'J J
Hec- tor
les
fus-
sans
sent
r iJ—F—t if
en
en-
I
E$&
.V'V' r r J ^ JjJ r
• M J ~ T ~ T rif1 0
15
X J TBT3 e *
vi-
vi-
An
Qul
ton -
eeulz
te
de
Ieur
TroyCr
i r f P i O r f Eif i f C r P i r f
i> f f i r r f r p i n
3 ^
r r ir ' r'T f iso
25 88a
r r r irrsab
74*
40
BO
MS:D
65
6 0
MS:C
66
(b t)
II
1. Son haut renon est en malnte partle,
Car est ardi*, couraugeus et vaillant.
*• En Europe nel pafi d'Armenie
N"a nnl tel de »} bon gourernement,
3. Ne qui si bien aime ehevalierie.
A ly traient eeuU qni ont contei de Noallles
Vtojx et Beam, Caitelbon et NoTalUes.
HI
1. Por ee doit bien estre sans fleterie
Craint et double et ame chierement.
2. Derroyt pour cil prier an chiere lie
3. (mhtfng)
Qul en pais tient sa terre et ses semailles:
Woyx et Beam, Castelbon et Novailles.
75*
46. Se July Cesar
\L TTH! 11.
—a—
'j,.
toy
ne
Ar
Po-
2
tus
rus
Pu. rent
Eu- rent
poar
ponr
eonar-
desI
I N • I
10 15
if if
i
H- itJ
j
te
se
re-
los,
nou-
pris
inez
et
ou
fa.
f ir J. u, J, ir- r irT
r* ir
' r l 3
^f .7 T. 5
f ir~ r- h i pJ, ir1
r> iir
10
r it r H I
de,
^
de:
—p-i
r ^J
r
85 87a 87b 40
76*
ar - mez tous ceu - ron- de
i .? _ 3 _ ? .r* j
piJ
- Cs ic r r> Tr f
ip r p r Ip r Pr l p t \
r i(i r V I
-T—t
J. j..If or- te.
IJ- r ir TT ; T r
rrr f
II
1. Prouesse, vigour le tienent an dessut,
Son avis est monlt grant com du roy Ksmonde.
8. Ses anemis gieve, dont moult en a mis jus,
Sa forehe Men pert en terre et mer parfonde.
3. Ses maintlens sont toudis de la Table Ronde,
Leesse, dedult, soulas le eonforte:
"Febus avant" en sa enseigne porte.
Ill
1. A ly comparer en fats je n'en truis nulsj
Deshonour heit, de vice est quites et monde.
%. En fait de guerre ne tint jamais desporvus,
D'autres vertus est 11sans per ne seconde.
3. K'aflert que nuls ne termene ou reiponde,
Xoblesse de ly ehescun reporter
"Febus avant" en sa enseigne porte.
77*
47. Fuions de ci
r r 1r p I* t
V. JACOB DE SENLECHES
A. THREE BALLADES
if ir r \u r r ir r ir Mr r I
Pii.Fui- on*
3.. En Ade
ei, fui- ons,
ra- gon, en France
po-
ou
com- pain •
en Bre- tain - gne,
•o
Ip ' »'lr r lc_fr Ir r Ir 7
ir p It If r If
' ' 'J u: ' J J i'l'jj
Chas-
Car
eons
en
s'en
brief
voist
temps
J j J i J- r L r i r r r
qne- rir
on n^i- ra
a-
de
P^P
P i J ir rpr r
10
p Ir r ir p Ir pir ir pir p [i !r r r ir pIp
J? J<
nos
J J ¥
tu
en
r i
ELr r r
j r irIB
r r ir |L
pip r p I r ? \j2
' pip r p Ir f Hr r I
28» 2Jb
78*
^
r ip-> Mr r p I L J r p•>i*ir r p.Ir r r . I* If Ir pIr r
J J
que. rir no vi- e, no s e - i i - re, Ne de- mo- rons y- ci
r P ir
J
eu-
=§=£
Modik Bri: Q
m i J J iEr
80
r ir p Ir * ip !r r r ir r r IpI f r Ir r
r Ir I r r Iuu ir r ir r ^ I r
J
Ij 3
* Mr
du F
a - vons A-
3=1
li-
ii==*-*-
p
45
r pir ir p!r pi ir r r ir pip»*lr r r ir pip r p Ir f
r ir r irJ
"
II
1. Car tfest bien drois, rayion le nous emselgne,
PuUque la mort tres cruel et obscure
2. Nous a oste la royone d'Espaingne,
Nostre maestresse ou eonfort et mesure,
3. Que ehascunt ovre leur volunte pure
De bien briefment vuldier de ce contour,
Puisque perdu avons Alionor.
1. See Commentary.
Ill
1. Mais an partir personne ne se faingne
Que de bon cuer et loialte seure
2. Ke prie Dieux que Fame de li preingne,
Et qu'elle n'est sa penitence dure,
3. Mais paradls qui de jour en jour dure.
Bt puis pensons d'aler sans nul sojor,
Puisque perdu avons Alionor.
Selenehea Jacob
79*
48. Je me merveil
J J
iii>r ri rr? * J J l
A. 1. Je
8. £t
me mer - veil
font n'es - crit
UL±.V ir "p p
B.I. J'ay
2. Un
plu-
vt-
•ears
re-
s
fois pour
layde
f f?1^*f.ff£fiTf
fin
cu-ne fois
e co- men -
com
ce -
raent
ment
P ^ ^ #^ :
' Orryr if
Hom-
Et
mon
pe-
es-
tit
ba- tesen-
t i -
ment,
ment
Ou
Ou
tempi
un
r 10 15
Ir r Ir ^ nr r ir
m3^PI J'7 7
'T
iJLJme
quan
se
qu'il
vuelt mel- ler de eonfait
rai-son est an
r pif f if r
pas - se,
ron - del
heU
qul
f
play-
a
sir
moy
de faipuist
play•
f- PIT I- if 1"
J
ir Iff t |3
if r iPn^nr-
.f7rrT
25 SO
m if m
re
r PIPr r
re.
.^^ -^ ^
P' P T 1
re
re.
r r1
if 85a 86b
80*
T 7
4 U-
3. Do - re- na - vant roll ma for - ge
m -T-T-
3. Mais
'i," r
man- te- nant me vueil tout quoy tay.
ir J. ifd? Pir
40 45
^m i=i
fai-* re,def- En- glu- me ne mer- tell ne
r ir iifff|ff?frirrr
m'ont
re Et moy l e - sief, es - ter et
i f •^
» f f50 55
r ir f ifi r
Puis que chas • cuns se mel- le de
rifH
Puis que char- cuns se mel-le
r i'J J ipr rirT
if J
r 'r
6560
II
1. C'est soine par peu devisament
Car eel labour ne leur est necessaire,
2. Jo ne dis pas pour celuy qui aprent
Bt qu'il connolt s'il seit bien ou mal faire,
3. Celui doit on tenir adebonaire.
Mais je ne vueil plus faire ee mestier
Puis que chascuns se melle de forgier.
II
1 Forgier doit chili qui son entendement
A si agut c'on ni sceit que refayre,
2. Mais chascuns vuelt aler primierement
Disanti Je scay pour loer son afayre
S. Et pour autruy esblament en son repaire.
Si ne me vuel plus enpachier
Puts que ehascuns se melle de forgier.
B
III
1. Quant on leur dist leur viee evidement
Qui cognoscent se ne leur puet 11plaire,
2. II respondent molt ourguelleusement
Disant que de doctrine n'ont que faire.
3. ndoinent aus torn aels fol examplaire,
Pour ce faral soppes en un panier,
Puis que chascuns se melle de forgier.
Jacob de Senlecheg
III
1. II en i a qui vont celeement
Monstrer lour fais autruy pour parfayre,
2. Ce n'est pas fayt aseiireement
Ne de bon sens se leur on doit desplayre.
3. Mais fol cuidier ne sceit ou 11repayre
Pour ce m'estuet liouter en un pol poiller
Puis que chascuns se melle de forgier.
81*
49. En attendant esperance
voir per-fecprou
- met guer •
ci- on,
reu.
= £
r ir r r E£E r
temps et say-son
82*
y in ip r \n
gg£ r ir h*= r r IJ IJ,
met en li sa fl- an- ce, De
Ci.D
r Tr • r if ^
45
J, J
-JJ | J
J J l l j
£P '•toulz ces mes cst ser-vis ^-^ a fay•
UP «U r3 i
ton Cllz qui " ne sceitvi-vre
J JJji J J
^ ^ f f if
so
00
mm J U r ir pr
sans es-pe- ranjlj.
Ij.
rr ^60 65
(see mess. 23)
<»
J Uj JJjJ.
iJ j J iJ'JJ
ce.
^ if f if ' if r
10- 75
II
1. Esperance tient overte le porte,
Dont chascun puet avoir gnarison.
2. Esperance est de si noble sorte
Que cilz ne doit pendre confusion
3. Qui Va. 0 soy. Et sanz li ne puet on
Avoir luing temps de playsir habundance,
Dont pendre assls puet eonsolacion
Cilz qui ne sceit vtvre sans esperance.
Ill
1 Pour ce conoy et voy qu'elle m'ennorte
A li tenir et j'ay cause et rayson
2. Quar ja schay bien que cVlle er.toit morte
Pou y veroit la mien entencion.
3. Dont je vos pris en ma conclusion
Que belle acueil pries pour m'alagance;
En attendant suy [sanz] presoncion
Cilz qui ne sceit vlvre sans esperance.
J*cob de Senlechos
83*
50. En ce gracieux tamps
B. TWO VIRBLAIS
(I)
J
J ij. iji 4 ij 4 m1.6. En ce gra- ci-
4. A- dont tan-tost
euxtamps joye
mfen par-
11 En un des- tour la j'ay
ti Et m'en a- lay sans nul
lJ p lJ > [ ^ ^ P f"u r ir r
|J
!J j>I J j I J J JJ J> I J 7 J J IJ J* i JJ
o- y, Si dou- che-ment Et plus tres jo- li- [e-ment] Con- ques ne ri, Le rode-tri
0-yer- te-ment Vers le ro- si- gnolz bel et jant Que ye veo - y, Et l\is^IT
crip J
'r E
^E
F15 20
v i ^ y \ p J I J ^ J l J * 4
_ * • • * !
j - Y
i r r i p r P I P p r j\* J ^ J L L
10
si- gno- let li- e- mant Can- ter o-d
cou- toy ga- lar- de- ment Dis- sant o-ei
o-ei
o-ci
o-ci
o-ci
o-ci o- ci o-ci o
o-ci o- ci o-ci o-
ei.
ei.
r if
85
r SO
JU i i M j i J
IJ
'•I
2. Mais d'au. tre part il y a-voit Un oy- sel que ton- dis eri- oit A hau-te
point tar-re ne se vo-loit Mais tou- dis plus fort can-tolt De- dens[le]
vois
bois
Co-eu
Co-cu
•r J l
irrr 85 40
fir /TV (I) ^
11
en co-cu [eo]-eo-cu eo-eu
J l
co-cu co-co-eu co-cu Sal- liant de bni-son
eo-eu co-eo-eu co-cu Et non dis - soit aue«
-bui- son.
tre can - son.
45 48» 60a 48b 50b
84*
51. Tel me voit
iiii
\ \
pir r
1.5.Tel me roit
4. Et pour ce
et me re -
tropfortme
gar-de
tar- de
Qui
Quant
PIr r
ne me le-roit chantel
gent sur- mont
p i
ter
ter
Bien le
Voi pour
puet
auon
es- pro- ver
trui a- bes- ser,
Par aCar
quant
if,
-i i V ^mto 15
C G C
T T
mourn
bien
se Diexme
i pren-dras
gar- de
gar-de
2. Qui ne
3. Bt si
i r r r
sa-
vueu-
vent
lent
r pi rr
80 26
J I I
J, UJJj.J
G C
ou
detro
- ver
pri - sier
En
Deu
au-
en
r* JHJ
r
J. =£=£ r i* r ir r
so 85
40a 40b
85*
VI TEN SELECTED BALLADES
52. Martucius qui fut
l7
ri hi 11 n*1
^ I - ^ P
1. Mar.
S. (mitring)
tu-
''r
ci- us fn deRo-me
pr 'V
J. i J. r irV'iJ. i f l
10
' *'
neis Ke Fa- bri-ei- us %uitant fu-rent loi - al
^ i ^
MS:C B
| J
IS 20 28*
MTTTH
ca-mi pre-san-ter mal
3 Ne
f r
fu . rent on-ques mu - e a bien fay -
Tf
U. J, ij. J PiTPr nr'irr
rpitrrrr if r i r2*b 26 SO SG
re Tou-dis enloi-al- te, tel com vousse- ray, da-me, n'en outer fa- lir,
m pnf if ir 1f f u- if I f>•
40 45
Sans moy mu- er
JjJ- if
ne ja- mais de - par - tin
if'Tr if r ^
j . l i r J. u. J-ir f i r if f i f •
55 8 0
- iJ-
50
86*
53. Amour me fait
J. IJ. i j l j . J :IJ i1. A-
2. Kn
Pif
* Jf
Pif ppp iCr»p
J
-mm f i 7 7
P P r
11 j J j. >• I J . J P
mour me fait de- l i tie
- re - meat dfe - moa•
rer
renx
loy- ausen
- ti -
ment
ment
p pr if r PilTl
Si au - te
Ke - de bonif
r ir ^10 15
J. J»J
r
J7Tfrj^J,
ho- nour que s'a - voir la po
heu - re en ee raon-de *e
f Pir
roy •
roy •
Pirrrr pr if
p1
" I T * J> i ^ J ^ r i f p p p i
ao 28»
£#/: nol
J. J. JJj.
.e.
r1
r ip pn rp
i r p p 7 17 7 ^ (
25
7 - 7
P pasb
irT
r p if p r p ^ mi J jiu
3.C'est que mer - chi puis - ce a- voir pour a- mer nora d'a-mi sans
Vl." rl. T
*o
87«
J Jl J
Jttl:r.-J
nul dan.gier por- ter Au gre d?a - mours et de ma
iJ
da '
i i i 1 lif
r I, | r r
I*. Ii I |f ft
85 40
Btt:
J J wme aln- si Car a-vis m'est pour a-mant so - pour - ter
r Pir P rP ^
p r 45
h 1j J j 1 j. j j j j.
No- ble cho - se est de por - ter nom
P P r p if p
£
so
II
!• [s<3 grace et amour douceraent
De ly merci et nom d'arai avoie,
2. Tant temps vivroie en joie liement,
Ne jamais jour nul mal ne sentiroie.
3. Ainsi amours et ma dame sans per
Seulement en amoreux penser
Servlroie comant loiaul amy
Et pour ee point pouroie estrlver.
Noble chose est de porter nom d'amy.
Ill
1. Four ce raon cuer, mon corps entierement
A ma dame craindre et servir s'employe
%. De bonne amour tres amoureusement;
Car tant est belle, plasant, douche et coye,
S. Piteuse, sage et humble sans amer
Que j'ay eipolr que nom d'ami donner
Me veuille en foy eonbien que deservi
Ne l'&y mie avoir sans adorer.
Noble chose est de porter nom d'amy.
88*
54. Ne celle amour
h J i J Ir P r1. Ne
2. Car
Tr.
celle a • mour es - tre
vos- tre tuy du tout
ne puet me - nour,
sans des - hon - nour,
J, J^ Jr r prMS-.D Ne celle a - mour ne puet es • tre me r
if
£ j i ;[J j J5
Ma douce a
Tres dou- ce
mour,
flour,
m
pour pa m'a
- mour,
ro - le que
ma da-nie
nuls
jo-
di-
11
JMJ. I- J.p r T
nour
r ir r pr r f
if r
* lr rDont c'est fo Sans
de - par -
11-
tid'i
pen -
fal-
^m
ser tour.
J J <> J. r PF^'X
iir
r r if r r i l
10 Ua
J- Ir J'J > J J
Car vo dou- ee plai- sant ma- ni-
IJ
lib
89*
j PiJ> if ft r r1
e - re, Vo bol- n« ehle- re
3m
T if r k
r
1 1 J IJ,
me don - nent plai- fan- ce pie.
i ir
J j rr.J. i f J.I
nie • re
r r pr
a,r 25
j, J >J J J i J.mmDont par des t
t ft J"1
!
pit met - tent
I J, i i J'J J
my tra- tOOR
p ' r
r r i"r r
so
I «v
vieul- te ma va- lour.
ir p
I r Pr
Mon pris en nient, en
Jl
r p 'Mon pris en nient, en vienl- te ma v a . lonr.
^^«
II
1. Rien ne leur vaut leur parler, leur labour;
Nulle freour n'ayes pour leur genglerie,
Car pour envie, douce en atour.
2. Ne YOUS layrai. Ce teralt grant folour
St grant tristour dentrer en meraneolie;
Si TOUS supplie qu'en grant baadour
3. Vous tenes, douce dame chiere.
Cest ma priere que je vous fays vaiere
Et enne vous en soit, se dient li pluseur
Mon pris en nient, en vieulte ma valour.
90*
55. De Narcissus
Set: \ Mel: no It
Magi8ter Franciscus
m
l.De
2. Si
Nar.
que
cU
de - puis
r rp i r r IE ifj *r pi r1
'r *' '
o
i r r /.-no t
i-.y
J j IJ M J J \i J J'JI^ J J IJ'Jho-
ou
me
mitres
our-guil- leus, Fu
row pe- ril- leus De
c
IT f If II f Ir r
10 15
J"J J * Jii p i
la
E. quo
fon - tai- ne,
re-
on
fu- se
mour
l'a
fu
mor
en- clif
ff IT [) i r - T r
fi -
20
91*
j-jJTj.'j ' / 3 I iC.f P p ir r
3. Ml- ra son vis par tel plai- sir Que tou- te s*a-mour y
innr p rmMS:7
if Pr p i r r r r85 40
Pif•n u j j j x j
mist et son de- sir En son om- bre, sans en a- voir eon- fort,
\
P
MS:D
ir r IT r i
5545 50
XH: i J.
l'en eou- vlnt
^I 1 * T7 =jg II—I T | f p i |»
o
1 r r
75
Four tant le di que un fet merveilleux
Est avenu de nouvel par hoyne,
Car un plus fol et un plus desdeigneus
Que Narcysus guerpi l'amour tant digne
Qui 11poroit bien deservir,
Et s'araa mieulx au faulx miror servir
Et li araer, s*en recent tel deport
Dont l'en couvint puis envers gesir mort.
He! fauls miror traYte et domageus,
Qui point te crolt, couvlent que mal define]
Four ee est trop folx, mauvois et outrageus
Qui haute amour lasse et a toy s'eneline
Com les fasses trestous perlr,
Car nul ne pnet que mort vers toy merir
Aussy qu'&s fait celny qu'as trayt a port,
Dont l'en couvint pnis envers geslr mort
92*
56. En atendant soufrir Jo. Galiot
mJ J J
dant
nir
1: En
2. Putsa-
tenqu'a
- ve -
souf-
ne
m r f r ir r r ir r
Ci:
i r 7 T
IP r r f r |p f r r r HIr r j * Ir r [J
J JJJ J IJjj i U J J » i ••»• J j J I
mtrar r f
frir
puis
m'es- tnet
la
grief
fon-
^
Jfo<fc|
CJ:|
y cr,j i
r
'J r
pr r i* * Pr1
if PT r r if iJ
JTorf:
Mod: I)
J J i J"4 J4 4.
pay.
tay-
ne,
ne,
Et en
Tant est
r r f i f r r r
Ian-
de
gour
ruis-
C*:B
J jj
Ci.B
15 SO
'••f
ir r ir r;J>
|J if N
J. U. JJ J
Yi-
sius
tM f
vre
en
c?e*t ma
tour ade»
- ti vi
- roa ne
•
ff . r ^
r i i
m ir
pr
98*
81a 81b
IJ
!p r p r ij J
ver- tu li a Diex ne - e Qu'elle puet
%i. r
"i T
r T
r
85
J.as-iou.vir chas- cun a- tout- fi-san- ce di- gnijfl
J> r r
CA.-B
f f i . r f r nir or1
40
|E fF^P4et tres no • We puis • san - ce.
r \T riL-fLU r r if r r 11"
f r If f Ir
50 55
II
1. Les grans ruissiauz qui la font leur demaine
Si ont les eonduis de la font estonpee
t. Si c'on n't puet trouver la droite raine
Tant est courompue l'iaue et troublee.
3. Gouster n'en puis une seule halenee,
Si unble pitie n'a de moy ramembrance
Par sa dignite et tres noble puissance.
Ill
1. Si pri a Dieu que a droit la ramaine
Kt la purefie sanz estre entamee,
2. Quar verement c^est chose bien eertaine
Je n'en puis aproehier non ne matinee
3. Et s'a moy estoyt qu'ainsi fust ordenee
Je vivroye en espoir d'avoyr bone estanee
Par sa dignite et tres noble puissance.
94*
57. Courtois et sages
P r pir r p i r i- pir
Magister EgidiuB
p r p. Ir
Ju. nm . 7
-Ti'i,
l.Conr-
2. Et
5=2: 7 .7
if
r P I T r
p r p p L L J ir pr p
Mi
i J, 7 7 I J J_j 7 J
J- N ii. '
tois et
non par
sa- ges
for- ce,
et a
mais par
J i [j J
toui
eo-
pr
r r10
^m m r p i r »
doit plai- sir
mnn sen - tir
Le
Mis
droit
est
= e ^ = ^^ ^
pP '
15 20
p 17 PiLLrpr if
rr P r *•
J j
si-
en
gnour
sie- ge
que par
de be-
r
ir pr PI
•7—7-
25
11. :J :
p r ip r i ir p /T\ !J
ir p /7\
j ' j l ' j ' i j i 1
Jl ^
^ ^
e^—' lee ti-
ne*
V* (' r ir r. 7-7-h T r J
on
die- ti- on.
^ ^f ^ ^
£
/T\ ^>
3 ^
so
^ 3 ^
S2»
r ' r ^^*82b
95*
S.BsT re- do- ne a tons u- ni- on Kulz
hiTfttrrir r^ Pr i r pi F if r i'l^*=* ^ ^i—r
35
*»/;? 7 p J»«/.-T T p
m ^^=r ir r rr ^^40
"••J
J. IJ j
con- tra- dire ne le puet per
m45
t 1L_£_T r piL_Lf r
j ^ j j ij j JJ j j
droy- tui
pf
re:
l' * *
J. • t Pif j . r
PP
ir r \>l
[f
60 65
11 p
LU'ipr pr IJ
lr PI
' See Commentary
96*
58. Une dame requis
Fr. Jakannes Janua
so
97*
J
JJ,J J
JJment, Dis- tant: "Da-
3
me, raon euer a vous I'OJ
J TJ
JJ u u4 0
3 C
I f f
IT3 1J'71 j
tri - e." Mais en rl- ant me dist eor-toyMfJlT^
3=¥:
f==
? 45 60
I 7
sise - mant: "Ain I
J- J' \-HHJ. m
^m ^55
o o
wmdist on, mais on* ne
T T
t J U
S 3 3
mi- e."
3 j lJ> j . ^ ^
=r==^65 70
9S*
59. En remirant1
"
r p
Plulipoetus de Gasorta
r piH ' i
J JJ j JJ,J
1. Kn
2.M'a
re-
point
mi-rant
a-mours
o o
»J. i
r Mi m gs==£
r p r u ir
JJJJ U ^ - ^ ,
vo
d'u-
dou-
ne
ce
te-
pour-
"le
trai- tupoin
- tu y
J- ;
m
f f if » J - -0^~
$ -T-7-
doulz
que
y-mamon
cuer
r r if r rjEag ' r f^ 19a 19b
r r ir r r m
1. See Commentary for errors of the MS.
99*
r i
7 , :J J J Jj J J ;f.
!p r r
r=fz
Pour vos -
I
tre a - niour,
J J U
da- me,
j J u ^ m
mmm
P«r 7 i
y r r y r p r
j.
£=3=
r r P
Ch.Btl: 7 7 0 F(K) S
hJT] IJ, J p
sant.
r•7 T-
45
II
1. He, bel acueillir, ou je prens noureture,
Vo cuer vueilliez de m'amor alumer,
2. Car se mon cuer devoit en grant ardure
Ardre, brunir a tous jorns sans finer,
3. Si ne lairay que ne vous doie araer,
Mes vo cuer meyme va trop detriant:
Pour vostre amour, dame, vois languissant.
ni
1. A vous me plains, car sui en aventure
De toust mourir pour loyalment amer,
2. Se Dieus c vous ne me prenez en cure,
En face amour le dur en doula muer.
3. Telz mauls ne puis longuement endurer.
De triste cuer dire puis en plourant:
Pour vostre amour, dame, vois languissant.
100*
60. De ma dolour Philipoctus de Caserta
r p jr pr p !*• if pr pr
1. De
2. Lanma
do-
m
#^P
lour
tuet,
ne
car
puis
mis
trou-
me
ver
sui
con-
eel
fort,
port
7 7
^ ^
r ir1
'10
Car
Qu'a
en touscas m'est for.tu- ne cunmon
YO-loir ne m'enpuis [pas] r e -
tray
tray
^ ^
ILJLJ±15 20
24a 24b
101*
r
J
n
S
P r pr lp r j / " y
J- i. ''J JJ Ji'iper*
du ay la joi- ou-se pas-tu- re, Quant,
r
r r ' r40
j J J>iJ> J J J J J>i
CM:no I ~ 2 \> 2 2 2
JJ1J, j j'
quant ne la voy, la par- faiCi.R
C D F O K
^r r i t t
50
« • *
Jh.
te fi • gu JMI"
r1
Mod:*
|f r PI
re.
r P r
Cki^k
31J1 r1
i J .
55 80
II
1. He,dou* regnart,tu m'as mil alamort,
Car contre moy sont tuit mi adversaire:
2. Deduit, loulas, playsance et deport,
~ Helas, ne scay certes que doye fayre.
8. II ra'est avis come doye delrayre,
Car perdu ay ma douce nourreture,
Quant ne la voy, la parfaite figure.
Ill
1. Or n'est il nulz, [he]las, qui me confort,
Ke puist aussy fors le doulz exemplaire
2. De celle en qui sont tres tuit mi deport,
Car il n'est riens, certes, qui me puist plaire.
S. Or roe eonvient tons jonrs crier et brayre,
Dont que pres suy mis a desconflture,
Quant ne la voy, la parf&jte figure.
102*
61. Ung lion say
[ J -h J | IJ- J 3 U.
1. Ung 11- on say
2. En cor est 11
BO
de tote bel- le
de si dou- ce
n- guna-tu
-
i*r PTELTr u r
srfTrr T r ir r r 'r 10
fe
_H_ i i
re
re
Qul est
Qu'ilne
^
asfet
mal
iLr
* f if > P i r
15
J ^ 1
J' J)JJ1J > l'JJJ J ' i j j I j J J
12.
QU jar-din de li- es&
nul quant 11 le bles ft
^
se.
iT / p p> p_
rr
r ir r
J 7 J J> IJ rte. (See measure 49)
30
36k 3tb
#
(i) rtN
3. Cou- rio- nes
0,
de pren et de nou-
^m
^m m • I" IF f5 S ^ PT r 30 «5
bles- se, Mes nul ne puet en cest jar-din en - trer,
1 i £ r P 1rr 'rT
T p
1. See Commentary
103*
j. J J
3£
(i) /TV
r f hr pjEO 58
VII. TWELVE SELECTED VIRELAIS
62. Mais qu'il vous legne
I I J I J U j ' |J J hj j I j j Ij j j J'J15. Mais <$tfl
4. (mittlng)
vous legne est plai- san- ce, Da- me, en- pe- r u de pir
l r i r i mr
J -TjJ^3 IJ * t |J3 J j U j , ' j j i 7
j l ji
te, Don- nez moi par ca- ri- te De mes do- lors a- le- van- ce.
ir rrtnr?
' r rJ if r r '10
i j .) i.r ij > t u j UJ J J
2. Car de
3. (ml,,i,g)
tous biens a- raou- reux Sui si pau- rez, de - si -
20
J J | J J
I 2.
r r^ ^ WTce.teux
Que de roort sui en doub- tani
r r r ir r
25 28a 28b
104*
63. Kere dame
>•
Ke re da - me chi irfo try
rj. J,
if,, .r ir
^
/T\
J. Ij. J.
mr f if r ,f fff
10 16
J'J J r.
\
U- J.
^ f if If if r- ir ;
24b
64. Contre le temps
J>J
1.5. Con-tre le temps et la sa- son
4. Et je le puis fai-xe sans vl -
jo-
le-
11-
nie
Voe,
Par
ray
ju me
-
ge -
ner
Client
tres
d'ar
r if
He ma- ri, ma- ri, Yous sol- ies on- ni, Quant pour
105*
i j h j i J j u J >J Jiij. * » J H J ; ^
bone et pla- sant vi.
mant et a - mi
Tout pour
Que nnl
l'a-
raes-
mour
fait
de mon tres dob a- mi,
a d'a-raer en- si,n'y
=Pl=p£ m
r r if r
a- mou- ret- tes Me ba- tes
10
en - si. He ma- ma-
15
J j.
Que
Pnis
j'ay- me
qu'il n'ia
tant
point
con le
de vicuer
de mi,
lain par-ti.
Sans mal
S11 y
pen
es-
ser
toit,
m
ne vi- laij'en
se- royji
j'i
r \r i ir
Vous soi - ies on - ni, Quant pour a- mou
20
ret- tes Me ba-
J»
2. Et me voi- ray main- te- nir fres- que- ment
3.Por ma pla - sanche et mon es - ba - te - ment
Et vivre au•
Et de ma
# i
r r r r if r
tes en- si. He ma- ri, ma- rl, Vous soi- ies on*
no
Jsi tres a- mou-reu- se - ment
part je ne vuel a- li- ment
fr
Et
Et
li feque
mal
ray de
pen- se
fait
l'ait.
si.
106*
65. Tres douche
r r
m kj JIJ. J.mA1.5. Tres dou
4. S'en doy
che, pla fai
- re,
gie- re,
chie- re,
11" J Q ^ J- IJ
Je
Et
ne
plapuis
trou•
san - che
B.I.5. Re - con•
4. Et qui
for - te
scet hutoy,
Ro • bin,
er mas - tin
De
de
ta
mi-
do-
lonr
lour,
tour,
• r \r rTr1
Las-
Et
P r i
I J.
J
iipr r Pir r
ver
mettre
ma a
-
J JJ J~3 I Jnie-
re
rier - re
con-
pos
£ p = £ JUJsies
soa
• ler nuit
ner par grant
por
do-
jour
chour
Soir
Un
pour
ta-
m
raat-
bum10
IB
f If I r r r- f
=Et
IT1
pJ
formu
-
ter.
er.
Car je ne puis re- trouHel-
las el. le scait fiver
BTa- miler
U- ne pan.
j.
tin!
rin,
Ai- es ten cuer
Et scet bien fai -
net
re
=fe=£
et fin
pa - pin
Et
De
sans
blanr»
A
tris - tourl Ne
che flour, Pour
ir r20 25
f if
e
ne -
chie-
tte-
re,
re,
La fil. le que mort pran-ge- re,
Dan - ser de - vant 'et der - ie - re;
Ou j'ity mis m'a- mour
Co- gnols- tre bre- bis
met en ton corps hus - tin
don - ner a son cou - sin.
Por
Si
Col- lette
pris
te
par
de bau
boine a tr
r \f 30
r
ij
t
107*
ir I
en-
porr
f
tie -
tie
re
re
Et tout mon penQuant
e-le le voit troi
r
ser.
ter.
Se
3. ChasIf
r
me
eun
eon-
jour
vient
a
dour!
rapur:
2. Car je te
3. Je te mons-
ju-
tre-
re,
ray,
ma
ce
3E
40
la-men- ter,
11 par. ler,
H
j I r 111
1 J7?I»J J. IJ- j }\\ J.MJ|r
IJT
i, Ij. J, IJ J
foy,
croy,
Quant
En
Jit-
m£gk
tu vo - ra en re - quoy
unpre pres d*un as-noy
Ve- nlr
Plus bel-
a
le
•f f jT
nos-tre vil.
que n'est Col •
let-
letf
r ir r i<K=
so
•Mr
ne puis ml
pray- e-
64k 64b
AH
2. Pour ce je vueil esprouver
Se conseil trouver
De si fort amer
Poray en vous, douche amie.
3. Car je ne puis plus durer
Ne sayjour trouver;
Ma vie finer
Voray je, ne doubte mie.
4. Voelies ore ma prijere,
Et de volonte legiere
Sacies aviser
Coment je poraye aurer
Que mort ne me flere
Qui est si crueulle et fiere,
Car sachies tantost la biere
Poroie afuller.
BH
2. Et sl ne preug tant d'anoy
Au cuer Robin que je voy
Que tu fais por la flllette.
9. Car miex te vaut l'esbanoyPor
ce que je m'apertoy
Que pour celle camussette.
4. La mort te puet mettre au fin
Et sans demour.
Hiex valt avoir ton retour
Par saint Martin,
Et mengier de bon brasin
Par grant savour
Aveuc la fille Perrin
Que vivre en tel langour.
108*
66. Sus un fontayne
A C
Johannes Ciconia
o
Mj. Ijpp1.6. Sus un
% choi-
fon-
se
^ ^
P
e
^m if; if
rT
'r r i r
t ipr ipr r
j JJJ i j a u J j i j j
tay • ne
nul- le say
en
en
re.mire-
ci-
1.0 16
*' I J J J J ! JJ J U J I J J J I J JJ J)J. J|Jrant
vant
Oy
Pavour,
chan.
tre-
ter
moor
p.r rrigf
si
et
dou-
ani
r
Pi r if
20
26
M
JJ >lJ .
et
cerpen
-
tay-
se•
ne.
(I)
ment
ment,
Re-
Tant
ma-
sui
^m ,.,
\r f if rr r ir 40
109*
(ft G
$
[to\
SfrHN J I L T ^ J J>lJ J J3UJJ- J l j J
a- ten- dant
de - si - rant.
^
2.D'a-
3. Seul
m fnT f if r~JT MpirrcTfi^^ ^ ^60 65
31 J- J
(t) G H * r pir pr pi*' ir
^ ^
r if -r r .G
co
chi
oir
de
ce
- r ir P-r-riir
r f ir r r r- r 'r1
70 7S
pr p^
J JHJ J JJ.J O
do-
ble
lour
flour
Qui
p>^r ?r rifc icrr
me
tant
G^
tre-
canr
if r
'>•r r i f
80 86
far
J J)lJ- '
pount
toit
au cuer
su- a-
for-
ve-
ment
r ir r ir m
ment
o
r r ir r r i[ r r90 84* 85b
no*
67. He, tres doulz roussignol
,Tr. w L t
Borlet
j i r r ip r PJ
T fi J J u ' ir r i
ii J J J i J J 11 > j i J J i JJ i
1.5. He, tres doulz rous-si-
4. He, da- me, puls quil
»L»t I 1 1 1 =
gnol jo est
ain-
iy
sy
Qui dit oc- cy oc-cy oc. cy,
Qu'en vo mer- ci mer-ci mer- ci
^ ^ r
T.
Rons- st- gnoui
b t
let da bois,
'r rJ . 1 ' . I
l J
) j | J
r J
r ' r r r r 'r r
r iff
r r T rJe te
Ay mis
de- pri- e
ma vi- e,
Que sans de. try
Je vous su- pli
Vois- s6s
De mon
r if > >
J. 4 j3=
mdou- nes
10
An v i - lain le mal
15
et puts
1-1 J U J i J
" i f f
1,1
da-
cner
me
que men
li-
di-
Kt
Que
dy
Tons
de
ter
if r if r r f f r ir r r i f f ;IJ
mm
20 mort. ous- si-gnou- let du
1rr r J
' m
JI^m j j 1 »r 1 r r 'H ' r Ppar
nes
moy
en
1
et
vo
af-
bail-
fy.
11-
Que
Que
0- cy
mer- ci
o- cy o- cy o- cy oraer-ci
mer- ci [mer-ci mer-
r
f f r r i r r ir1 f .f fi. r
»,„.
bois, dou-
30
nes Au
36
vi- lain
Ill*
im
N
(IL
g==E' mcy o-cy o- cy Mfe, se son
ci mer-ci] mer-cy Ay- earnerdur
cuer n'acy
ma vos mou-
litre
a- yf
r r i fr r , r r | f r , f f f ir
f r
MS:
e.
=fe=Ffe
m \r \r \r a
le mal et
40
puis la mort.
46
i i [ i i i i r r i f f i r J
' r ^
. j j J i J J ij 1 ' r f ' rr2. A- lou- e- te
3..A ma da- me
que
se-
vas
ras
vou
er-
lant
rant
Si tres haut et si der
Or li va tan- tost
msmr r
Rous - si-gnou- let
so
du bois, donr
r r ir a>j Ju i x r i
' • ••' ^^ ^chan- tant Dou- ce chandi-
sant Far ma chan-
con
con
Li- re li- re li- re li- re li- re li- re
H n J»
r rf r if i r |f r |f ^=»=«=
nes Au vi-
eo
lain le mal et 'puis
85
t i ~i| f II r 'r•' '
12.
;
' Ir f if r ^4:
m m J IJ J Ur i J r
1L- re li- ron Tout vo- le- tant
r r
li- re 11- ron Que mon cuer va sen- tant.
It K
r i fif
m
la
67ft
mort. mort.
70b 70b
112*
68. Ma tredol rosignol [Borlet]
JJ ^ ^
7 7
J J> j
1.4.Ma tre- dol m- si- gnol jo- ly Que dyt: o- ci, o- ci, o- ci,
7 7 J3—J
1.4. A. lu- et- te cry - ante ap- pres li ry - si - gnols 0 - ci, o - ci, or
P mRo- si - gno• lin del bos jo- lin,
i ? t i jj.
Gie vous en pre- ie Soles a- dou-ci, Ve - nes a moy,
J> I J' J. J)j I J.
ci, Che vos en pre- ye Por far un bon a- cor Ein - tre
rDo
6
nes al vi- lan le mal may- tin
% =*= =&
da- ma Jo- ly- e. Le di- par mon fe
i u. y
moy e ma da - me jo - lie. B si lui prie Da par le ro- sii"
rE
10
poy le mort. Ro- si- gno- lin del bos
15
JoI
* * J*J r
> J
Si le o- ci 0- ci 0- ci 0- ci 0- ci 0- ci oIfc
L . . ^
1 1
gnol Ch'e- la da moy mer- ce mer. ce Per Dy, mer-ce, mer-ce, mer-ce, merlin,
Do- nes al vi- Ian le
aa*
I i J>J J) 1 j.. T 7
J J i J,
ci- e Da mon cuer pu- ret y- re da.
-I' > J iJ
m'a-
(»
role.
wce, Gil fa- ra par ma fe, Ma da- me my-
mal
20
may - tin poy le mort.
S. A - lu - e - te che va
3. A ma da-me gy mi -
vo
e
lant
rant.
Sy trops al- te, sy cle. re canA
ley va da par raoy diJi
}>
A- lu- e- te che va vo- lant E di - cantt?.Ma tre-dol ro-
3.
si- gnio- ly jo-ly,
r rP=3Ro- gno- lin del bos jo- lin, Do - nes
$
J J> I J > J J I J J J ^^
tar.t Dol- se ciancant
Dol- sa cian-
con:
con
Ll-
Li-
11-
Ury,
11ry,
li-
li-
liry,
Ury,
li
I J' ^ j IJ J.
Tan- tl- ny, tan- ti- ny, tan- ti- ny, tan _li. ry, li- ry, 11- ry, li- ry, li-
al
30
vi- lan le mal may - tin
li- ry, li- ry,
Ye- nis a moy a par- Her.
tant.
Tu va vo- lant,
li- ry, li- ry, Che ver man cuer va sal-
<»
poy le mort. E
34*
poy le mort.
114*
69. Par maintes foys VaUlant
l J . _ J T ] | J T J " - p i , '" »•' M J . J r pir p C j pm1.4. Par main- tes foys i-voy re- coil-lie Du
m
\r r r
ir p r J'iJ >J J I J . r j1 J,
ro - si - gnol la dou- ce me- lo- die
(ft
Mais
4 ijj U. J. H J . J, IJ .) J ? I j . J, IJ,j .
r ir r if r- if
10
j j>i • p
ne Vi vent le cu- cu a- cor- der, Ains veult chan- ter con-tre ly par enO
O
(O ^«W
i. lj*3 J Jif
f 11= _.ftf r
IS
J JJ I J. >' IJ p [_j p J J I J' J1
J' J1
J.
te sa vi- Car il veult bien a son chant des- cour- der
IJ, J. I J. II-J-
so
115*
$
MS:B
i i i I M l u l lr p f J p p mEtpour- tant dit le reu- si-gnol et cri- e: "Je vos co~ mant quon le
7. 7;
J. J.
r1
i 3B
i IJ. r pr ir p P
tu- e et o- ci- Tu- e tu- e tu- e tu-
2 2
e o- ci o-ci 0-
2
J. J J H J J J J J J J I J J J J J
k r r~
i i i 1 1 i ii
ci. o-ci o-ci o-ci o- ci Fi de 11 fi de li fi de li fi 0- ci o- ci o-ci oJ.
I J . J, 1 J-J j J.
r rir r
I h • lii I
(ft e>
ci. o-ci o-ci o- ci o-ci o-ci
(ft
fi, fi, Fi du cu- cu qu d'a- mors veult par- ler."
2 (t) ^
J f U j £
7
J J 7
) J. U
r P
50
vous sup-pli,
sem-bles vous;
ma tres douce a- lou- et
pre-nes la car- di- net
Que
FaimJ
JJ J 1 J J. 1 J- J.
i' r r ir f f iff r r if r
E5
U6*
M lJ J.
vous voul- les
tes chan - ter
r r
di- re vos.tre chan-son:
la calle et le san-son
"Li-re li-re li-re li-re li- re- Ion Que
Tu- 6s,ba-t6s se cu-cu pi- le bis son II
i U J, Ji J. i * *
m f if f if r
80 65
Jl J
P P Pdit
est
Dieu Dieu, Que te
pris pris, IL est
2
dit Dieu, [Que dit Dieu Dieu,]
pris pris Or soit mis mort:
2 2
Que te dit Dieu Dieu,
Salt mis & mort mort,
i r
Jl
p JP Pp T... T
Que te dit Dieu Dieu, Que te dit Dieu Dieu," II est tamps il est [tamps]
Soit dirt il mort mort, Soit mis a mort mort. Or a- loms sen- re- ment
1
j j J 11
Que le
An jo-
rous-
li
J J J i
m70
si- no- let di- e sa chan-sou-netver
vos quer-[es] cul-lir la mo. sette:
"O-ct o- ci o-ci o- ci o-ci o-ci o-ci ote
A-mi a- mi a-mi a- mi a-mi a-mi a-mi aJ,
TJ.=*=
JJ. j, ^ -J^iJJJJJ 'J
ir m76
" r '• t • *
8
-, K J > J j
ci O-ci se - ront qui vos vont guer- roymi
Tou:dis se -
ant."
ray le dieux d'a- mours pri-
(I)
ant.
J. 1 J-J. J. J J.I J.
80 8 U Bib
117*
70. Or sus vous dormez trop
I ir pr15. Or
4. Car
i
sus,
je
vous dor- mez
vif en extrop,
Ma dapoir
D'a-vomm
Met: Q T
'• IJ.
J1
1J j J Jm m^me jo- lielir,
jo- liet-
te,
te,
II
Per
est jour, le- Ves
fair chian-ter mer- le, mauJ-
'j, I Ij. "J- J
11
J J )J
t L . . .|
E ±
sus,
vis
Es- cou-tes l'a- lo- ecA-
vee la car-do- net-
te:
te:
1S J I'4, 4.n
j .20
B D D D D D B B B D D
J 3 3 J 3
D
7 I
p P p i p p ^F P P i p P P P p P i P P p P PP
Que dlt Dieu, que dit Dieu, que dit Dieu, Que te dit Dieu, que te dit Dieu, que te dit Dieu, que te dit
Chi- re- ley, chi- re- ley faint chi- ant, fay chil ci- ant, [fay chil ci- ant, fay chll ci- ant, fay chil cimm
4=
26
P v pP
Dieu,
ant.]
Yl est Jour, yl est jour, yl est jour, jour est, si
Ro- bin dort, [Ro- bin dort, Ro- bin dortj en- dor- ml
est,
est.
'' J i
US: A
Bel:
I J so
118*
3
j»./.-r p
ir p P p p P P ip P P
Yl est jour, yl est jour* jour est, si est,
Con- sors, dan- sons seu- re- ment; quo- quin, a
Yl est jour, yl est jour, yl est jour, jour est,
su, [a su,] or su de Pa- ris, ca- du- let
J
i
>/: J.onO.
JttU J J.
D
hi J'J J -hIJ f f r P ' Psi
dul-
est.
cet.
Da-
De
me sur
vous.que
tou-
j'am
tes
sur
en
cre-a-
biau-
ture
te
en
*± J. '^ !> r
' IJ. J J»U-
J.
4.•35
40
J|| |J
' r M r psou-
fait,
ve- raiChest
vi- re-
(fi
ne, Par vous, jo- Us et gay,
lay, da- me, le re- ce- ves,
Ou gen- til moys de may,
Car en cuer vray
ij. j, u, n-J.
Brt: J^_
J.4. J.
m a »
i i'ir
j J
Suy et
Yous ser
se -
vi-
tii
ray.
ray
)
Et
D'a-
vuel
mour
meccer
•
tre pai-
tay-
ne.
ne.
^m JUU A>/:C
i > J m w60
l: 1L J
iJ
ipr r. Or
3. Si
\ J
J'J
tost nacvous
su•
quai- res, cor-ne-mu- ses sopli
- e, a-mours,jou- er ve -
J»J.
!'• I IJ J. IJ. J-t-TJ'i
J.60
119*
i* p p I p pp
nes:
nes:
Li- re, li- re, li- re, Ly- li- ron, ly-li-ron, 11- re,
» »» » »» » »
Ty-tin-ton, ty-tin-ton, ty-tin-ton,
m^^ ^
O D
JH JJ.'4.65
I PP P p r if pr i f pp=££ty- tin-ton, Cora-pa- nlon, or dan- sons,
" " " Or so- non et ba- ton
or la - Ions
et tor - non
11- egai-
e-
ment.
ment.
Ty . tin - ton,
J J
MS:D
RH: C
J' J1
IJ' Jp P wty- tin- ton, ty- tin- ton, ty- tin- ton, ty- tin- ton, ty- tin- ton, ty- tin- ton, ty- tin- ton, ty- tin- ton,
»
If
J J> J Jt I J 'Jl i 1 J I i 1 J J J I J Jl J
76
/: 0 0 D 0 0 D
P P P P IPP P PP P ^ J J J I J J J.
ty- tin-ton, ty- tin-ton, ty-tin-ton, ty-tin-ton, ton. Chest
(miittng)
pour vous, da- me,
w
j J j J J j i j j , [ J
80
i JO IJ. :»r ra qui Dieu crois - *e ho - nour.
ifi JSL
' , U- J-
J1
J. j, J. iJ. j . U.85
1. See Commentary
88a 88b
120*
71. Onques ne fut
T
[ j f pip J
1.4. On- ques ne fut si dur per- tie De deus
U j; 'T
//T
U 4.
i . U 7 7
J I 1 7 7
J ^ 7 7
J ) U . 4. 1j . j . Ij.
10
, r ir*~r
a-mans dont l'a- inour per- tie Est, se
" J . " J i ' l J. H1
j.
*=r*
J J- ' U J.116 20
gem- mi[r] o[s] tu, si gye Te prie andiu d'a-
MS:D
J. J. IJ.
»• ir p r
moors re- qne- qua- les: 0- ci, o-ci, o-ci, o-ci, o-ci, o. ci, o.ci, o.ci, o-ci, o-ci, o-ci,
. J,w
mso 35
MS:K
J JM<;
r1
o.ci, o-ci, o-ci, o -ci, o-ci, o-ci, o-ci, o-ci. Ces fans Trig - tan me di-
181*
r2. En.
3.(mist/Kg)
cor se su- plen[t] que .1 dient en des- pit Dieu
4. uB6
3=3=j j jsi j p*
li que- vant tres fi,
p
fi, fi, fi, O-ci, o.ci, o-ci, o-ci, fi, fi, fi,
J'J i U j .
3 = t
60 86
rj l
rfi, fi, fi, O-ci, o-ci, o-cir o-ci, o-ci, o-ci, Cru le m con- vi- vent. Os- te- ron je
OT pjpgggi
! * i
4.
I j,
70
I est raon a- mi,
75 77b
122*
72. Alarme alarme
Tr.
m J Jl
Grimace
.h
1.6.
4.
A- larme, aWa-
carme, walar-
me, sans se- jour
car- me, quel do- lour
et - sans
et quel
B»k a
de- mour, Car mon
Ian. gour Sue-fre,
J> 1 J.7 T,
1.5.
4.
^m
A- larme, a- larWa-
carme, wa- carme,
sans de - mour, et sans se me,
quel do - lour, et quel Ian •
m \T J.
Us cuer
da- me,
si est
pour votre
en
a Stl:
J
plour.
mour.
A-
Wa-
lar-
car-
me,
me,
±: 1 1
JIJjour,
gour
Car mon las
Sue-fre, da -
plour.
mour.
A.
Wa-
lar-
carme,
tost, dou-ce fime,
dou- ce ere- aBtu
C
P r F i r J.
u
tost, doul- ce fi- gudou-
ce ere- a- tu-
re,
re,
gr j -^rt
A- lar- me, car na-vres suy de tel
Wa-car- me, [ne] me la- cez en tel
fiE
tu-
re.
re,
A- lar
Wa- car
me,
me,
ear
[ne]
na - vres suy
me la- cez
de tel po- inen
tel a- vena-9-/:
C C
P r if
10 16
138*
J' J IJ>
po- in-ture
a - ven-lure
Que mors »uy sans nul re De
mou- rir en grief tristour:
Diex en ait Pa- me.
tour Sans con - fort d'a- me.
tu
tu.
re
re
Que mors say sans nul re De
mou- rir en grief tri«tourt
Diex en ait
tour Sans con-fort
l'a -
d'a-
me.
me.
SE 1
Set: r t
#=^
30
sup-
suy
pli,
1 I' J' I
nee- te
en a-
et
ven
pu- re,
tu - re,
sup- pli, nee- te et
suy en a - ven - tu pu-
re,
re,
Pour
Se
1
' P I t>
r VP
r Jto/:
•i. Jr
qui
ne
tant de
me pre -
mal
nes
en-
en
du-
cu-
re,
re.
qui
ne
tant de
me pre•
mal
nes
en-
en
du
cu
re,
re
f f i g
r. .
30
IT
Que ar-mer vous voeilDont
sou-vent ploure en reJ
J J I J J i J
vous voeil-lUs pour moy.
124*
73. Restoes restoes
P J. J
1.5. Bet- to- es, res- to- 6s
4. Res- to- es, res- to- es,
Hor- riQftes-
to-
We
es]
feu
a
d'ar-
ce
=E?>=
1.5.Res- to- es le feu
(mining)
le feu le feu [le feu] De mon loy- al ser-
restoes
I J J J •>
dant
grant
de-
mar•
sir
tir
J»
Que
Pour-
mon
tes.
ouer
qu'aye
(i I)
bru-
joy-
ist
eum
J
vant pi- tie. Res- to- es, res- to- es. Si qu'il soit res- pi- tie
J J J
restoes restoes
J i' I ^=1
pour la
se no-
bel-
vel-
le
le
Dont j'a- ro- ye pour mort ges- sir
Pour le tor- ment fai- re par- tir
MS-.B
As-
Que
de mort, Res-to. es, res-to- es le fort, Por ce qu'en moy ser •
-
10 restoes restoes
ses
nuit
ra- ne
et jor
seul-
se
le es -
re-
tinno
-
J. J
eel-
vel(
1 1
le.
le.
i j. J
vant Por dur-te ne do• lor II ne pens-se fo-
m
lour.
r i16
125*
pi- tie,
cil feus
es- veil- lies vous,
soit tous ret-tons,
Se- coQui
ne
res moy sans
fait quemul-
7 7
2. A li por
3. Bt li di-
ce
tes
vos entou-
te
voy- e.
voi- e
Ne fai- tes se- jour en voiQtfil
a- par-tient que je voy-
Je
Comi
J)4 J ia-
ti-
tar-
pli-
gier.
ier.
Et
Et
se
bon
ma
con-
da-
fort
i' J I
me
veul
IJ.
vos enpri.
ment ser-vi
Car j'os
M>a apar
son pimours
et de teux
crl
ser- vi
Qu'ar •
Mes
dant
o-
=£=
de- sir
nors (W»
26
i '4. J J. J,
fayt
sup -
dan-
pli-
gier:
ier:
MSi A
Ti- res a li.
Ti- res a li,
ti- res.
ti- res,
ii 1 1 ,h h ti ii 1 1 i i, i
ti- res,
ti- res,
le des-voy- e. A- les. si ke Ti- r£s a li, ti*t*t)
j'a-voy- e, Mais pris que Ti- res a li, ti-
res,
res,
[ti- resj
[ti- res(J
aE=
P 'LJLJ rso
tires a[li]
^ m7 1.
J i J)
I
Sa- chi£s, sa.
Sa- chies, sa- chies,
Ti-
Ti-
res
res
le
le
hors,
hors,
Et m'apMoy
con•
por.
for •
IJ.' \/ tk i i
[Sa-chies]
[Sa-chies]
5a- chies, tisa-
chies, ti-
res.
res.
A- veue vous mer- chi raeQue
si est et de- me^
m
35
J i 1
far
J J IJ j ,
tes De la dou- che
tes Parm'ar-nie
yaw- de mer- chi.
en do- lour meurli
I
chl.
J J I .J M l ?li ,1.I J
nes
nes
Que li e s - tain-dra l'ar- duCe-
le
re.
fla- ma qui l'ar- du- re.
P r~
40 4 U 41b
126*
VIIL EIGHT SELECTED RONDEAUX
74. En tes doulz flans
t ip14.7. En
3.Yir-
6. Bien
tes
gene
doit
doulx
pu-
tro-
flans
celle,
[v]er
plains
por-
cas-
1 J I
if if if r r
10
J i JoIJ J i pde
tas
cuns
vir- gll'u-
mata
dig-
ni-
ni-
ni-
te
te;
te
j l j J JIJ J 1 J• j 4 '£
m f if r f II r ir
16 20 25
(I)
2.8. Et
6.Quant
de ex-
en
cel-
tei
len-
vor^Tr
ir r_r if r ir if f f if lf
30 36
IJ.mce plus
leit
qu'on
her-
ne
ber.
po- roit
es -
di-
liI
,1 II j I ,n J3 IJ' J h1
J j
fe=lE r ir if
40 46
Ip J J l J I I f f IJVJ i ' l p J
(I) ^
i IJ-
re,
re.
J j IjQ JlJ'J J I Jj IJ jy JHJ-JJ-] IJ.J J.I j
r |f if r ti\r r ir
80 56
127*
75. S'espoir rfestoit
J
Ip r r j r p r ir p. jr
U P Ju IJ- ȴ JM Jg
1.4.7. S'es-
3. Qu'en
6. Puis
poir
mon
que
n'es- toit
laz cuer
na- ture
que me do- ne
Ja- mes n'a- rolt
i tout tres fans
I Hj JJ .HI J i j U J. U t
fe m7
1*1ip r r t t-Ls t
| J i | r,J | J J J U J ' J I J i j j J ' J m 9=?
pou-
pl-
dan-
popo
-
olr,
oir
voir
Cer• tez
Fors que
A- vec
Ion- gue- mant ne
de plain- dre, susfor-
tu- ne et
m
u
P P r
j.
roy -
rer
gier
e soet
ge a
- men -
frir
mir.
rir
2.8. La
6. Do
trez
lour,
grant
et
pey-
moy
ne
tans
y, j. 'i
•<•
IS 20
^ !p r r p !p r r p ip r IJ
1
tat
' J ££3
que
nu-
me
le
fet
bien
do - loir
vo - loir,
Si trez gra- vayEt
pour che ma
Jlil JJ ^ J j.
MSt
26
pr Md *•
ne, si
vi-
a-
e
me-
coni
i
re a
ven - roit
sen-
fi-
tlr,
nlr.
ij.
j.
138*
76. Tres doulz amis
' i i i i r
Jo.Vayllant
1.4.7.Tres
3. Mais
5.tfeit
rf I J- J- I J 3 =
^mi14.7. Ma
3. C'est
& Si
1.4.7. Cent
a. Cou-
B.Vueil-
doulz
sans
ce que
a-
faus-
tou-
mis,
ser
dis
r r r i r r r ir
mil-
me
lies
le
cel-
dont
fois,
le
fay-
ma
que
re a
"dou-
j'ay
mon
ce
plus
cuer
da-
qu'au-
bo-
me
tre
ne
che-
chie-
chie-
b
n u J^Hf I j I j I
tout ce
en - tie loy
- al -
que
re -
merit
prou-
ment
t'ar
r r ir r r T
ma da- me, ce
que de vous
vous su - pli
que
se-
qu'en
vous
ray
oni-
J , r f r if r
16 20
139*
, ,1 q
1
• ^ — 1 \ « jj
2.8. Sst
6. Pour
e
1 1
2.8. A
6. Car
yy
1 1 j 1
a
Ij *l
d
1 ri
>—•
^ — -q 1
1
—a ^—J—
n i . n i-< -i-i i
-+—f—• * • - ^ • 1
MS:D
_a f- _ , 1 , „ ^ «—,
^ V- —1 1-
2.8.De
6.Quar
30
35
J I J I I
tout
ce
i
cer-
que
tain
t'es
I > I J I J ^
ne
en
r J
J iJ ' J
i > J J
r r
l r
i' r f 11- i ' r rvos - tre
chashum-
ble rescun
jour se
pon-
met
se
en
vous
vo
rner-
mer-
1» t Jr J
rt'en
tout
i-
nou-
ray
me
" • J
i J
vous
pour
a-
vray
mer
trop
et
a-
de-
vanJ
i r ir r if ,r
si- rer
ce- rolt
r r \Tr" rr45 cy
cy
J 1 J I J IJ J f 'J
J IJ j
fail-
vail-
lant
lant
J ' ir rJ3
'JJ
i-
ma
ma
mort
mort
=§= r n r r i >
66 60
130*
77. Conbiens qtfil soyt
78. Loyaute me tient
• f =f f !r If Kir
181*
Garinus
1.4.7. LoyS.
Con -
S.S'a-
Eg
•«jf plf pir- pi au-
bien
tenm
ff^=f
10
J,JO
|J
r f if
J. 7
te
que
dray
me
de-
d'a
tient
meu-
raou-
en
re
rex
es.
pour
vou-
poir
volr
loyr
pr n" r n t
r
C*. (? cf. meu. 32)
r ir r i
15
30
i^2.8.D'en -
6.C0y
f p
cor
ment
^ i r 11 r
25 SO
J
ve - nlr
que je
a
longue
m'en-
an-
ten-
ten-
te
te
Pr "if" 1" |,»p++Pir p* if fyi,pr
40
132*
79. Hors suy je bien
r ? r r r =»-P-f r f ir pp r if
1.4.7.Hors
S. Se
5. Car
suy
pour
j'ay
je
dou.
do-
bien
chour
lour
de
pi-
que
tres-
te
tout
IJ. m m
Pti iP r
tou-
ne
dis
te
me
me
J. IJ. = £
ma joy res
- joy ger-
roy -
m10
r ir P E£E P r p i f pp r p p r
12.8.Quant
6. Da- me,
ne
pour
truis
vous
m f r ir T
16
\r r u.
r r r r r r rf r
20
80. La grant beaute
J i1 j
1.4.7.La
S.Ce
5.Beau-
grant
pri-
te,
beau- te de vous, ma sou-vemier
jour de l'an a bone esdou-
chour que sunt en vo de.
ray
tray
may
J,
ne,
ne
ne
m
133*
T T J [J J J) i
dans mon
poir que
Ar-dent de- sir de fe- re vo plai-sir
En vous ser - vant se - ront tout mon de - sir
E que du tout a-mo. rous vuel ob-e'ir.
2.8. De-
6. L'esi
r
cuer
j'ay
por vous
pour ce
tout jour serdon
d'en-ri-
10
20
81. Tre doulz regard
J- J , T*TJ ^
1.4.7.Tre doulz re- gard
3. (mining)
5. Je te por- te
a-mo- reu-se mon tret
a mon cuer si pour • tret
r r \r
Tant de
Qn'au- tre
r i W
sour
ser
fet a mon cuer an- trer
ne le pou-roytmon- trer
2.8.Quant de mes oig je
6. Et tel plai-sir faltes
m ir r pim10
u
te puis an-con - t[r]er
a mon cuer an- trer
Tre-
Que
tout mon sang
ja- mats jour
me fuit et vers ty
y n'a se- ra ref
r 20