The Mancini Codex
Total Page:16
File Type:pdf, Size:1020Kb
.. i l "q-w T}IE MANCINI CODEX : A MANUSCRIPT STUDY by Carol J. Williams B. Mus (Hons) A thesis submitted in fulfilnent of the requirements for the degree of Doctor of Philosophy in the- Faculty of Music at the University of Adelaide. August,19B3 ii . ( ¡!,..,r.t, {,\ i,., ilti 1 t1 DECLARATION This thesis contains no naterial which has been accepted for the award of any other degree or diplona in any university, and to the best of my knowledge and belief contains no material previously published or ü f written by another person, except when due reference is nade. d ù 11 DEDICATION Gordon the nodel Andrew the mentor Ric my love Sarah ny joy IT and Dante j i ( i f ù 1: I .f4 ir I 11]- ACKNOI1ILEDGEMENTS ;' My thanks are due to rny academic supervisor and friend, Professor Andrew McCredie for his constant encouragement and faith in ny abilities for a period of years longer than either of us would care to acknowledge. Thanks are due too, to colleagues and students of the l{usic Department at Monash University who have witnessed most of the stages of this pro- duction. My particular thanks also to Mrs Callio of the Italian Depart- nent at the University of Melbourne for her critical comments on the Italian texts of this collection. For the chance to study at first hand the two parts of the lt4ancini Codex, I thank the Curators of Manuscripts of the Lucca Archivio di Stato and the Perugia Biblioteca Comr¡na1e Augusta. Thanks are due too to the reference librarians of both the Barr Smith Library at the University of d Adelaide and the Main Library at Monash University for their willingness ï to seek out a large number of obscure references. Nicky Rose and Sharron Nixon nust also be thanked for their speedy and accurate typing. Finally I wish to thank ny long suffering family who have forgiven ny antisocial behaviour and endured long evenings rvithout a television set. i ¡ i 4 1 ù' ï ( { 'tt' I t' 1V INTRODUCTION It is the intention of this study to provid"'a c1os" examination of one major musicaL source of the Trecento - the Mancini codex. Three approaches have been taken, and this has required the organisation of the materiaL into three volumes In the first volume, essential nanuscript details have been recorded and interpreted with a view to providing a general impression of the makeup of the nanuscript and providing evidence leading to an opinion ex- pressed concerning the probable dating and provenance of the source. FoIl- owing this, the named works contained within the collection, are considered in general analytic terms as they contribute to the picture of the composer in question. (The anonymous works are not here considered, since the analysis, grouping and possible provision of composer attribution for these works com- prises a separate study.) This is intended to provide a perspective for the I works H in transcription in Volume II, and textual in in analysis in Volume III. l At the conclusion of Volune I is presented the manuscript connentaïy, provided in this volume so that it can function as a useful reference tool for the reading of the transcriptions of Volume II and the texts of Volune III. Volume II itself, purports to be nothing more than the transcription of the works contained in the manuscript. Any editorial comment for these works has been incorporated into the manuscript commentary at the end of Volume I. 1 The editorial procedure is described in the introduction I to Volune II. I The intention of Volume III is primarily to present the texts as they I appear f in the nanuscript but prefatory to this is the plcesentation of brief ¡, fornal essays concerning the text forms for¡nd in this collection. Atl too ,t often the texts of the songs of this period - in the present study considered ï to be the essence of the works - have been ignored, oï at best given {' only cursory attention. Admittedly, LiGotti, in his presentation of these texts, -{ I V made a consolidated attenpt to redress this balance, but there are problems with his collection, which have nade a re-edition-,essential. As LiGotti states, his collection is a modernisation of the priginal and he has made attenpts 'tper presentarli con una ceïta uniformità grafica?' (LiGotti 1950 : 111). The present edition makes no attempt to modernise the texts but tries to present then as nearly as possible, exactly as they appear in the manuscript. A full editorial nethod is provided in the introduction of Volume III, but as will be seen, the texts as given heie, provide few problems of understanding to the reader of modern Italian. A study of this nature uncovers more questions that it f,)roposes answers for, and can perhaps hope to be nothing more than exploratory, in isolating those areas surrounding the manuscript itself which sti11 require investi- gation and understanding. I I ,t f iì ! ¡, il ï rt I It '4 I CONTENTS Title page Declaration a Dedication 1t Acknowl edgements 111 Introduction ]-V I. The Manuscript 1 Description of Manuscript Contents 4 Discussion 40 Proposed ltlorking Model of the Mancini Codex 46 Discussion 50 Concordance Checklist 63 Discussion 67 II. The Composers and Their Works Bartolino da Padova 69 Gilles Binchois 83 Antonio da Cividale 86 Francesco Landini 93 Johannes Ciconia 97 Niccolò da Perugia L.I3 Antonio Zac}:.ata da Terano LL7 Magister Zacharias t33 Anthonello de Caserta 136 Johannes Vaillant L47 Giovanni da Foligno 1s0 { Andrea Stefani 153 Bonaiutus Chorsinr 159 Paolo da Firenze 762 III Manuscript Commentary Explanation of Method 164 Man. 1 - La douce ciere L67 Man.2 - Dueilangoisseux 169 Man.3 - Servaciaschuno T7T I'fan. 4 - Rechordete de ni t72 Man. 5 - Zoya de novi odori t73 Man. 6 - Per un verde boschetto L74 Man. 7 - La sacrosancta karita L76 Man.8 - Perchecangiato 178 Man. 9 - Le aurate chiome 180 Man. 10 Sempre donna t82 Man. 11 Non chorrer troppo 183 Man. L2 La be1le flour 184 Man. 73 Ma1 vi loyaute 18s Man. t4 Mon be1 amy corteus 186 Man. 15 Mon bel amy mon confort 187 Man. 16 Merci pour dieu 188 Man. L7 Loingtemps j tay mis mon cuer 189 Man. 18 Va pur amore 191 Man. 19 Donna sfitto fallito 192 Man. 20 Con lagrerne bagnandome 193 Man. 2L Ave vergene 194 Man. 22 La fia¡nma del to amor 195 Man. 23 Donna possrio sperare 196 Man. 24 Rosetta che non camhi 797 Man. 25 Un fiore gentil 199 Man. 26 Deus deorum 200 Man. 27 Amor ne tossa 20L Man. 28 Plorans ploravi 202 Man. 29 So1 me trafigerl cor 204 Man. 30 Ciaramella rne dolce 206 Man. 31 Je suy navvres/Gnaffra 1e guagnele 207 Mal. 1) Ad ogne vento 208 Ma¡. 33 Spesso fortuna 209 Man. 34 Del glorioso titolo 270 Man. 35 De nia farina 272 Man. 36 A pianger lrochi 273 Man. 37 Piu chiar chf el so1 2L4 Man. 38 Deh vogliateme oldire 275 Man. 39 Con dogliosi ¡nartire 2t6 Man. 40 0r tolta pur 2t7 Man" 4L Madonna io me ramento 278 Man. 42 Vous soyes tres bien venus 2t9 Man. 43 Atandre 220 Man. 44 Par naintes fois 227 Man. 4s Mercede o donna 2'23 Man. 46 I cani sono fuora 224 Man. 47 Chi vole anar 225 Man. 48 Cazando un giorno 226 Man. 49 GIi atti col danzar 227 Man. 50 Una pantera 228 Man. 51 Le ray au soleyl 230 Man. 52 Chi ne1 servir antico 231 Man. 53 Per que1la strada 232 Man. 54 Poi che morir 233 Man. 55 Piangono lrochi 234 Man. 56 Ahine per tutto 235 Man. 57 Ay las quant je pans 237 Man.58 Non credo donna 238 Man.59 Tal sotto lracqua 239 Man.60 Fugir non posso 240 Man. 61 I senti matutino 247 Man. 62 Imperiale sedendo 242 Man. 63 A tanti onini 244 Man. 64 0 cuor de1 coryo mio 245 Man. 65 Mi1le merce 246 Man. 66 Je suy madame 247 Man. 67 Merci merci noble creature 248 Man.68 0 pensieri vani 249 Man. 69 Deh tristo ni topinello 250 Man. 70 Spinato intorno 257 Man. 77 S'irti sor stato 2s2 Man. 72 Con tucta gentilecca 2s3 Man. 73 Morte mta sciolt 254 Man. 74 Sravesse forca 255 Man. 75 La vaga luce 2s6 Man. 76 Tra speranca e fortuna 2s7 Appendix I 258 References 26t Supporting References 265 I ãl^lnT0^ JdIU]SNNVh¡ AHI ,íÕ L In the late fifteenth century a manuscript collection of French and Italian songs held in Lucca was broken up. At tÏis time the songs víere of 1ittle interest and the value of the nanuscript" *u, based entirely on the commercial value of the fine parchnent folios which provided the mat- erial of the collection. Consequently the. parchment folios were used by notaries in the creation of bindings to protect their record books. Later again these notaïy books themselves fel1 into disuse. Such was the case ih the State Archives of Lucca and the Public Library of Perugia where unexpected treasures were to be found on the eve of irlorld War II. In 1935, Professor Giovanni Cecchini, Director of the Biblioteca Comunale of Perugia discovered three parchnent folios in the padding of the covers of some protocol books held in the archives (Ghisi 1942:72). In 1938 Professor Augusto Mancini discovered eighteen parchrnent folios in the covers of the record books of the Archivio llotarile held in the Archi- vio di Stato of Lucca (Pirrotta 1949:720) .