T r
THE MANUSCRIPT PARIS, BIBLIOTHEQUE NATIONALE, FONDS ITALIEN 568 (Pit)
GILBERT REANEY
Of the four principal sources of Trecento secular polyphony, Pit has a special importance because it is the only codex to contain the works of Paolo. Room was indeed left for the works of this composer on f. 56-71 of Sq, but they were never inserted l, and Lo and PR each contain one work only by him. In addition, the composite Mass Ordinary nos. 192 and 194-197 is a unique feature of this manuscript. The French compositions, mostly textless, which fili in a number of blank spaces in Pit, may on the other hand be paralleled by those in FP. If its Fiorentine origin is not quite so certain as that of Sq and FP, nevertheless it may be considered as a centrai source, for many pieces were copied from it into Sq.
THE MANUSCRIPT
The codex Paris, Bibl. Nat., fonds italien 568 is a quarto manuscript measuring 25 7 x l 75 m m. The leaves are of parchment and the binding, which dates from the reign of Charles X, is of brown leather. It bears the title Chansons italiennes en musique on the spine and the French device of threc Iilies together with Charles' monogram on the front cover. There were originally 140 folios with a Roman foliation at top right recto, but the addition of folios A-1 containing the old index was made shortly after the originai corpus was written. The same remark may be made concerning f. 141, for this contains a Guidonian han d paralleling the solmisation exer cises by intervals on f. 140v. lnterestingly enough, there are sharp, flat and natura! forms of such notes as C sol fa ut and D la sol re in the Guidonian hand. The paper flyleaves at front and rear, which belong to the modcrn binding, do not concern us here; but f. A bears two older call-numbers of the King's Library at the head of the page: "no. 165 du supplément" and "supplément français no. 535" respectively. The ink foliation of folios A-1 and 141 at top right recto doubtless dates from the time of the modern binding. Like f. 140v-141, an illustration on f. l suggests ecclesiastica! ori gins, since solmisation exercises and references to basic musical theory are unlikely to have originated outside the church. The painting in question
1 Pirrotta L III, 141. 34 MUSICA DISCIPLINA THE MS. PARIS, B.N. FONDS !TAL. 568 35 shows the female personification of music playing a portative organ, under likely that Paolo spent some time there, and this might account for the neath which is a representation of a bearded man hammering on an anvil. copying of certain pieces by the Pit scribe in Luc. On the other hand, the To his left and right are two columns, one listing the intervals which Fiorentine connections of Pit are very obvious, and there seems no reason compose an octave, the other giving solmisation syllables. why the ms should not have becn writtcn there. Paolo was himself a Dating the manuscript is not a simple matter, though it was probably Fiorentine, and, as a member of the suite of cardinal Angelo Acciaiuoli, written shortly aftcr 1400. One of Paolo's madrigals Godi, Firenze suggests he was also in the service of a Fiorentine ecclesiastic. Fiorentine traits in the date 1406, for it doubtless refers to the conqucst of Pisa by Florence in Pit are the centra! Trecento repertoire it contains, the presence of French that year. FischcrS 2 puts forward thc following chronology: c. 1405 for compositions (as in FP, with which it has a number of French concordan fasci cles 1-5, 7 an d 9-14; c. 141 O for the interpolated fascicles 6 an d 8. ces) an d the dire c t borrowing for Sq. W olf thought the oId in d ex revealed Ali the fascicles are in fact quinios, but Ludwig pointed out that nos. 6 the different stages of the manuscript's growth, and Ludwig confirmed it 11. and 8 were interpolated later into the main corpus 3. He and Ape! date Only two pieces have been omitted from the index. Characteristically these Pit c. 1400 4 • Pirrotta, with his tcndency t o postdate o n paleographical do not belong to the main Trecento repertoire: no. 11 is an anonymous grounds, suggcsts 1430 5, but this seems unlikely. Fascicles 6 and 8, whether three-part French Rondeau and no. 59 a madrigal by Paolo. Incidentally, interpolated or not, do not appreciably change the situation. Paolo's work the full names of each composer are given for the pieces of the mass ordi already appears in fascicles 4 and 5, and after fascicle 8 it is continucd nary in the old index except for Paolo, w ho retains the typical abbreviation smoothly into no. 9. The part played by Paolo in the make-up of Pit is an of the ms corpus. important one. Not only does the ms preserve 33 of his works, but also his The whole codex is ruled for music with 8 red six-line staves per page. name is nearly always indicated by the abbreviation P ) . This suggests The notation is black, though particularly Paolo makes use of white notes considerable familiarity with his work, and such familiarity is otherwise and occasionai red ones. Semiminim tails are nearly always turned to the only indicated in the case of Landini and then only after he has been left. In spite of the relatively full use which Pit makes of Italian mensura rcferred to as Francesco through a large part of the ms. Could Paolo him tion letters and puncti divisionis, the manuscript is not without French self have written the ms? At ali event~, there can be no doubt that this tendencies, especially in connection with mensuration signs. The mass scribe is intimately connected with Paolo, sin ce he wrote down Pit l 00 in movements in particular employ the following forms for Vitry's quatre Luc 6 an d Pit 73, l 02 an d 112 in Lw 7• The possibility that Andrea Stefani prolations: Q, 8, C:, (') ; and even Vitry's ~ crops up for Gherardello's was one of the seri bes in Luc has been considered s, but not Paolo himself, Gloria. This is interesting, because it suggests Vitry's treatise was followed though Pirrotta is of the opinion that the majority of Paolo's compositions in the form in which it was preserved in the Vatican version 12• lt is clear in Pit were writtcn by the seri be in question n. Coinciding with this idea that originally this box-like mensuration sign was derived from the symbols that Paolo himself played a large part in compiling Pit is the date when we see in certain motets of the Roman de Fauvel. These look like two or we know Paolo was abbot of San Pietro di Pozzuoli near Lucca, 1404- t h ree semi breve resl~: m or -nr, an d indicate imperfect or perfect mode. 1408 10. Although the attachment to Lucca was probably nominai, it seems In order to introduce such a sign into a theoretical work, it was enclosed in a frame, thus: l!!) or l!!!], as we see it in Sq 13• The box containing two or three horizontal bars can only be considered a corruption. Paolo is 2 P. 93. again particularly worth mentioning far his use of Italian mensuration 3 F. Ludwig, 'Brschreibung der "Geschichte der Mcnsural-Notation von 1250- 1460" von Joh. Wolf' in Sammelbiinde der Internationalen Musikgesellschaft VI letters in the Bcnedicamus, while al! the other mass pieces use French ( 1904-5), 615. mensuration signs. Moreover, his piece is in three parts and is clearly a 4 MachM II, 27b; Ape!L, 3. Nachtrag, for it forms a clear contrast with the two-part madrigal texture ;; PirrottaL III, 119, note 13. of the four pieces by the older writers. The intimate connection between a PirrottaL I, 124. the scribe of the Paolo work and the codex as a whole is shown by the 7 N. l'irrotta, 'Paolo da Firenze in un nuovo frammento dell' Ars Nova' in Musica Disciplina X ( 1956), 65. 8 PirrottaL I, 122. 11 WolfG I, 250; MachM II, 27 f. 9 Ibid, 123. 12 See G. Reaney, A. Gill~s and J. Maillard, 'The "Ars Nova" of Philippe de 1° Cf. N. l'irrotta, 'Paolo Tenorista, fiorentino "extra moenia"' in Estudios dedi \'itry' in Musica Disciplina X ( 1956), 27. cados a Menendez Pidal III (1952), 577 ff. 13 FischerS, 116. 36 MUSICA DISCIPLINA THE MS. PARIS, B.N. FONDS ITAL. 568 37 fact that hc leavcs the work anonymous in the corpus, but indicatcs it a~ voices, while the remaining 8 have it only in the upper voice. The three thc wbrk of Paolo in thc index. Paolo's modernity is revealed by his liking part Ballate rarely ha ve the text in ali voices, and French influence is clearly for new notc-forms like the dragma, e.g. +and f , though these do not present in the large number of compositions with textless tenors and contra 1 2 occur many timcs. Such characteristic ltalian note-forms as-+ and ,.+ also tenors. Pit has 23 Ballate of 3 type, 27 of 3 , but only 8 of 3". belong to the late Trecento. In no. 110 Paolo uses a French text for the At the side of FP, Lo and Sq, the codex Pit is not well represented by refrain, and this may account for the French mensuration signs ( and ) , the Caccia form. Out of 25 known examples, it only contains 5, while FP which occur in this section, for he normally sticks to the ltalian mensura has 15. The Ballades, Rondeaux and Virelais are a fairly representative tion letters. The rather complex question of longa versus brevis notation batch. Adiu, adiu, dous dame yolie was written by Landini, and hence is has been well treated by Professar von Fischer, who indicates that there hardly to be included with the French compositions, while Or sus, vous are four examples of the special use of longa notation in Pit 14. The semi dormés trop, an anonymous work, is known principally from ltalian sources. Gothic script of this source employs initials in red and blue. The use of a The three Balladcs by Machaut were extremely popular, like De ce que fol dot underncath an elidcd vowel is an interesting feature of Pit which was pense by P. des Molins, the anonymous ]our a jour la vie and ]e languis taken up by Ludwig for his Machaut edition. d'a m ere mori. I t is interesting to find that a number of the lesser-known pieces turn up in such peripheral sources as Pr and Str, both Strasbourg manuscripts. About 1400 this town was undoubtedly a meeting-point for THE CONTENTS music of the most diverse origins: French, ltalian, German and Dutch. The contacts with Ch too are probably another confirmation of that source's Codex Pit contains 199 pieces, of which 2 have becn copied twice. Fiorentine origin. This however was a mistake in both cases, and both pieces are textless in The following table shows the exact distribution of the contents of Pit, the second copy and have the word "vacat" in the margin. For this reason according to the various musical and poetic forms employed. The numbers they havc not been numbered individually in the second case, but bear the are those of the progressive numeration assigned in the inventory proper. numbers 23a and 67a respectively. The basic arrangement of the ms is by Those numbers followed by an asterisk refer to unica. composers, with the usual preference given to Madrigals and Cacce before the more recent Ballate. The Madrigals are confined to the first 5 fascicles, with the exception of 6 Madrigals by Paolo in fascicle 6 and an anonymous TABLE l work in fascicle 14. Again typically, the gaps left on double pages by these large two-part works are often filled by shorter Ballate or French composi tions. From fascicle 7 onwards Ballate predominate: indeed, nos. 81-174 Speri es Total Number in Pit are ali in this form (no. 84 is a Virelai, but this is essentially the same form as the Ballata). Fasci de 13 consists mainly of French compositions, with a Madrigals 45 l, 2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 23, 24-26, 28, 29, 31, few Ballate a t the end; an d fasci de 14 is principally made up of the com 33, 35, 36, 38, 39, 42, 44, 46, posite mass, which only lacks the Kyrie, a common omission at this period. 51, 55*, 56,57 (=67a)*, 58*, With respect to the number of voices employed in polyphony, Pit is 59*, 61, 62, 66, 68, 69*, 75*, quite standard, for the Italians rarely wrote in more than three parts, and 76*, 77*, 78*, 79*, 80*, 198*. there is not a single four-part composition in this codex. Nor are there any Ballate 113 7, 9, 13, 17, 47, 49*, 50, 60, 63, monodies, which are in any case rare in Trecento sources. The entire 70, 71, 72*, 73, 74, 81*, 82, manuscript consists of 110 two-part and 89 three-part compositions. The 83,85-98, 99*, 100, 101*, 102, adherence of this source to the centrai tradition becomes clear from the 103*, 104*, 105*, 106*, 107*, fact that ali the Madrigals have the text in ali voices, whether they are in 108*, 109*, 110*, 111*, 112, two or three parts. Of the Ballate, 4 7 two-part works h ave the text in both 113*, 114*, 115*, 116*, 117*, 118*, 119, 120, 121 *, 122-127, 128*, 129, 130, 131*, 132-134, 14 K. von Fischer, 'Zur Entwicklung der italienischen Trecento-Notation' in 135*, 136, 137*, 138, 139·, Archiv fiir Musikwissenschaft XVI ( 1959), 87. 140*, 141-145, 146*, 147*, 38 MUSICA DISCIPLINA THE MS. PARIS, B.N. FONDS ITAL. 568 39
Species T o tal Number in Pit village of Cascia near Florence far Donato. Francesco Landini is called Francesco degli orghany, and Florence is not mentioned far him. Frate Guilielmo di Francia is coupled with one Egidius in Sq, and it has been 148-152, 153*, 154-159, 160*, conjectured that Egidius was the poet and Guilielmus the musician 15. 161*, 162*, 163*, 164-171, 172*, 173*, 174*, 187, 188*, This seems quite likely, seeing that Guilielmus alone is mentioned in Pit 189, 190*, 191, 199*. and Lo. In the latter source he is named Guigliemo di santo spirito, that is, of the Augustinian Santo Spirito in Florence 16. On the other hand, Cacce 5 40, 48, 53, GS, 67. there certainly is an Augustinian Egidius represented in M od and C h w ho composed French works 1 7, so that it is difficult to decide what part Egidius Ballades IO 3*, 45, 5·1, 64, 175, 177, 180, 182, 183, 185. played in the composition of the pieces also attributed to Guilielmus. Pirrotta has suggested that Guiliclmus was a slightly older composer than Rondeaux Il 5, Il, 19, 21*, 27*, 30*, 34 Egidius, because Guili~lmus wrote a madrigal on a text by Sacchetti (= 23a)*, 41, 52*, 179*, c. 1365 18, but the Egidius of the French compositions could hardly have 184*. been much older than the Egidius of the Italian works, since he wrote his Virelais 8 15*, 32*, 37*, 13*, 84, 181, 186, Ballade Courtois et sages for the election of Pope Clement VII in 1378. 193. \Vhatever connection there may have been between the musical theorist Egidius de Murino and the composer Egidius Augustinus, it seems clear Isorhythmic Rondeau 176. that there was a definite connection between Egidius Augustinus ( the composcr of the French works and presumably of the ltalian works at Rondeau refrain 178. least in regard to the texts) an d Guilielmus. The latter is in fact a Parisian Gloria 192. according to one reference, and not merely French 19• The names of the French composers, like the texts, seem to be generally Credo 194*. omitted, though P. des Molins is called De Mulino in no.5. Gian Toscano is known by only one compositi an ( Pit 81 ) , though Professar von Fischer Sanctus 195. suggests that he may be identica! with the Johannes Florentinus whose Agnus dei 196*. madrigal Quando amor gli ochi appeared in the lost Roquefort fragment, or perhaps with the Jovannes horghanista de Florentia whose works were Benedicamus 197*. to have been included on the empty pages of Sq starting at f. 195v 2o. Arrigo too, who is called Henricus in PR, has left only one Ballata, while Included in the above list are pieces concordant with the lost mss Str Ser Feo, not necessarily to be idcntified with Francesco Landini, has left (partially available in de Coussemaker's copy) and Trem, as well as key two Ballate, one in FP and one in Pit. Ciconia's Con lagrime bagnandome, board arrangements and tablatures in Loch, Bux and Fa. These may be the only piecc in Pit by this composer, seem~ to have been a late addition, checked from the concordance table and the inventory proper.
15 FischerS, B. COMPOSERS 16 G. Reaney, 'The Manuscript London, British Museum, Additional29987 (Lo)' in Musica Disciplina XII (1958), 71. Many pieces in Pit bear the composer's name in the upper margin, 17 G. Reaney, 'The Manuscript Chantilly, Musée Condé 1047' in Musica Disci and in certain cases thcre is a supplementary piece of information. Such plina VIII (1954), 69. titles as Maestro, Don and Ser are usually given in the earlier part of the 18 N. Pirrotta, 'Il Codice Estense lat. 568 e la musica francese al principio del manuscript (fasci cles 1-5), an d Paolo is called tenorista, Bartolino schap '400'' in Atti della Reale Accademia di Scienze, Lettere e Arti di Palermo, Serie IV, vol. 5, part II ( 1944-45 ), 129, note 3. puccia ( Franciscan). The town of origin is often given too, Bologna far 10 O. Gombosi, review of Ape!L in Musical Quarterly XXXVI ( 1950), 604. Jacopo and Florence far Giovanni, Francesco, Lorenzo and Paolo, the 2° FischerS, 34, notes 143 and 144; 70, note 344. 40 MUSICA DISCIPLINA THE MS. PARIS, B.N. FONDS ITAL. 568 41 as its position at the end of the Ietter Cs in the index suggests. Pirrotta has No. of Composrr Number in Pit put forward the theory that the Bartholy who wrote the Patrem no. 194 works is a different person from the well-known Bartolino da Padua, by whom we have some 38 compositions in Madrigal and Ballata form 21. This Gherarde!lo 5 40, 42, 44, 192, 196*. Bartholus de Florentia is however a somewhat shadowy figure, and the 81 *. only reason for Pirrotta's hypothesis seems to be that the Patrem is older Gian Toscano in style than the other compositions written by Bartholino da Padua. The Giovanni da Cascia 4 29, 31, 33, 35. identification should therefore be viewed with some caution. The fact that the other composers of mass movements in Pit, namely Gherardello, Grimace 64. Lorenzo and Paolo, are well-known for their secular pieces, suggests that 2 9, 17. Bartholy too is likely to belong among the Trecento musical celebrities. Gui!ie1mus dc Francia Of the 199 polyphonic works, 152 can be definitely attributed to their l, 2, 4, 6, 8, 10, 12, 14, 16, 18, Jacopo da Bologna li authors an d 4 7 are anonymous. The following list groups un der each com 65. poser's name the works attributed to him, indicated by their ordinai number Landini, Francesco 61 7, 13, 20, 22, 23, 82-98, 119, 120, according to the inventory published below. Numbers printed with a<;terisks 122-127, 129, 130, 132-134, refer as before to unica. In addition to the 4 7 definitely anonymous com 136, 141-145, 148-152, 154- positions, 29 polyphonic works are anonymous in Pit whose composers' 159, 164-171, 1B7. names are to be found in other sources. Of these, 20 are by ltalian and 36, 38, 39, 195. 9 by Frcnch composers, if Ciconia is included with the French. The ap Lorenzo 4 parently large number of Italian compositions which are anonymom com 3 175, 180, 183. pared with Frcnch works is due to the fact that the writer obviously omitted Machaut the name of Landini on a few occasions in the very 1arge Landini section Magistcr Franciscus 54. which runs from f. 84v-118 almost without a break ( 17 occasions, to be precise). A t other times, as has been mentioned, he simp1y wrote in the Nicolo da Perugia 6 46-48, 50, 66, 189. initial F for Francesco. Thus only 3 pieces remain anonymous in Pit which Paolo 33 55*, 56, 57*, 58*, 59*, 71, 72*, can be traced to other ltalian composers than Landini in other sources. 73 75* 76* 77* 78* 79* 80~, 99:, 100:101:, 102,' 103-: TABLE 2 104*, 105*' 106*' 107*, 109*' 110*, 111*, 112, 113*, 114*, No. of 115*, 116*, 117*, 197*. Composcr Number in Pit works Philippot dc Caserta 185. Andrea 70. Pierre cles Mo1ins 2 5, 182. Arrigo 138. Ser Fco 161 *. Bartolino da Padua 5 60-62, 68, 194*. Vincenzo da Imola 2 51, 53. Ciconia 74.
Donato da Cascia 5 24-26, 28, 67. CONCORDANCES
Garinus 176. The codex Pit contains the re1atively low number of 4 unica, if we except the anonymous works and those of Paolo. This is partly accounted 21 PirrottaM, introduction. for by the fact that the compositions of the principal Trecento composers THE MS. PARIS, ll.K FONDS ITAL. 568 43 42 MUSICA DISCIPLINA
except Paolo, who should also have been included, were copied, in rnany Number of Number in Pit cases frorn Pit, into Sq. Of Paolo's works 27 are unica, and 4 of the re Source Con cordances rnaining 6 pieces are in the fragrnentary Paolo codex Lw. Altogether, however, Pit contains 67 unica, which shows that the anonyrnous corn Iv 3 5, 19, 181. positions forrn the rnain body of works which do not appear outside this Lo 32 14, 16, 18, 22, 35, 38, 40, 42, 50, codex. The following table shows the distribution of the unica arnong the 51, 53, 56, 60, 62, 63, 66, 83, various species represented in the rnanuscript. 84, 89, 90, 93, 94, 119, 120, 129, 130, 143, 145, 165, 170, 181, 189. TABLE 3 Lo eh 74. Luc 6 +l Cantus GO, 62 (T and Ct only), 68, 74 and Ct+l T (T only), 97, 100, 120 (Can Spccies T o tal Speri es Total and Ct+l T tus and Ct only), 127, 191. L w 2 +l Cantus 71, 73 (Cantus and T only), 102, Madrigals 12 Virelais 4 and T+ l 112 (Cantus only). Ballate 40 Credo l Cantus Ballades l Agnus dei Mach 3 175, 180, 183. Rondcaux 7 Bt'nedicamus McV l 182. M od 5 68, 130, 175, 183, 186. P adA 5 8, 93, 120, 127, 132. The following table of concordances rnakes clear the relationship P adC 3 8, 65, 181. 193. between Pit and the 31 rnanuscripts containing any one of the works copied Parma l Ct PC !T 74. therein, whether in whole or in part, in originai version or in arrangernent. Pist l+ l Cantus 91 (Cantus and T), 122. and T Pr 6 5, 11, 132, 177, 183, 193. TABLE 4 PR 41 l, 2, 4, 6, 8, IO, 12, 14, 16, 18, 29, 41, 54, GO, 62, 63, 65, 68, Number of 82, 83, 85, 91-94, 96, 98, 120, Source Con Number in Pit 127, 129, 138, 143, 149, 152, cordances 156, 178, 180-182, 186, 193. Pz l 144. !T+ l 31 (T only), 38 (Cantus only). Aut l Cantus .'>4. RO Cantus Bux l 74 (4versions). l Cantus 31. CaB 3 19, 182, 193. Rs 2 192, 195. Ch 7 45, 5·1, 64, 176, 182, 183, 185. RUt 102 l, 2, 4, 6-10, 12-14, 16-18, 20, E m 2 Sq 98, 178. 22, 23, 24-26, 28, 29, 31, 33, Fa Il l, 2, G, 8, 62, 68, 83, 144, 175, 35, 36, 38-40, 42, 44, 46-48, 178 ( 2 versions), l 82. 50, 51, 53, 60-62, 65-67, 68, FC 2 Cantus 12 (Cantus only), 14 (T only), 70, 82-98, 119, 120, 122-127, +t T 31 (Cantus only). 129, 130, 132-134, 136, 141- FP 85 l, 2, 4, 6-8, 10, 12-14, 16-20, 22, 145, 148-152, 154-159, 164- 24, 2G, 29, 31, 33, 35, 36, 38- 171, 187, 189. 40, 42, 44, 46, 60, G2, 63, 65, Str li 5 (twice), Il, 41, 98, 133, 175, 82, 83, 85-87, 89-98, 119, 120, 177, 178, 181, 182, 193. 122-127, 129, 130, 132-134, Tit l 178. 136, 141, 142, 144, 145, 149, Trem 8 5, 19, 54, 175, 178, 180, 182, 183. 154, 156-159, 165-171, 175, 178, 180, 182, 183, 193. MUSICA DISCIPLINA THE MS. PARIS, B.N. FONDS ITAL. 568 45
WORKS CITED IN THE PRESENT INVENTORY LudwigK F. Ludwig, 'Musik des Mittelalters in der Badischen Kunsthalle Karlsruhc' in Zeitschrift fiir Musikwissenschaft V ( 1923 ), 434. Ameln K. Ameln, Locheimer Liederbuch und Fundamentum organisandi des Conrad Paumann, Berlin, 1925. MaehM F. Ludwig, Guillaume de Machaut: Musikalische Werke, I-III, Lcip7ig, 1926-1929; IV, Wiesbaden, 1954. Ape!L W. Apcl, French Secular Music of the Late Fourtcenth Centun•, Cambridge (Mass.), 1950. . MarroccoC W. T. Marrocco, Fourteenth Century Italian Cacce, Cambridge ApelN W. Apcl, Thc Notation of Pol)"phonic Music 900-1600, Cambridge (Mass.), 1942. (Mass.), 4th ed., 1949. MarroccoJ W. T. Marrocco, The Music of Jacof>o da Bologna, Berkeley and Bannister H. M. Bannister, Monumenti Vaticani di Palcografia musicale lati- Las Angeles, 1954. na, 2 vols., Leipzig, 1913. MGG F. Blume, ed., Die Musik in Geschichte und Gegenwart, Kassel and Bartha D. Bartha, Anthologie der Musikgeschichte, Budapest, 1948. Base!, 1949-. BuxOrg B. A. Wallnrr, Das Buxheimer Orgelbuch, Kassel, 1955. Osthoff W. Osthoff, 'Petrarca in der Musik des Abendlandes' in Castrum Cappelli A. Cappelli, Poesie musicali dei secoli XIV, XV e XVI, Bologna, Peregrini XX (1954). 1868. Parrish C. Parrish, The Notation of Medieval Music, NewYork, 1957. CorteSe A. Della Corte, Scelta di musiche, Milan, 3rd ed., 1949. PirrottaL N. Pirrotta, 'Il codice di Lucca' I in Musica Disciplina III (1949), CoussH C. E. H. de Coussemaker, Histoire dc l'harmonie au moyen age, 119; III in V (1951), 115. Paris, 1852. PirrottaM N. Pirrotta, The Music of Fourteenth Century Italy I, (Corpus Dez K. Dèzes, 'Der Mensuralcodrx des Benrdiktinerklostcrs Sanrti Em Mensurabilis Musicae 8), 1954. merami zu Regensburg' in Zeitschrift fiir Musikwissenschaft X PirrottaS N. Pirrotta and E. Li Gotti, Il Sacchetti e la tecnica musicale, (1927), 65. Florence, 1935. Droz et Thibault E. Droz and G. Thibault, Poètes et musiciens du XV e siècle, Paris, Plamcnac D. Plamenac, 'Keyboard Music of the 14th Century in Codex 1924. Faenza 117' in Journal of the American Musicological Society IV Einstein A. Einstein, A Short History of Music, London, 5th ed., 1948. (1951), 179. EllinwoodF L. Ellinwood, 'Francesco Landini and His Music' in Musical Rcese G. Reese, Music in the Middle Ages, New York, 1940. Quarterly XXII (1936), 190. RiemannB H. Riemann, Musikgeschichte in Beispielen, Leipzig, 1912. EllinwoodL L. Ellinwood, The Works of Francesco Landini, Cambridge (Mass.), RiemannH H. Riemann, Handbuch der Musikgeschichte, 5 vols., Leipzig, 1919- 1945. 22. FischcrS K. von Fischer, Studien zur italienischen Musik des Trecento und ScheringB A. Schering, Geschichte der Musik in Beispielen, Leipzig, 1931. friihen Quattrocento, Bern, 1956. Schrade L. Schrade, The Polyphonic Music of the Fourteenth Century, FischcrV K. von Fischcr, Di e V ariation, Cologne, 1956. 3 vols., Monaco, 1954-1956. Gandolfi R. Gandolfi, Illustrazioni di alcuni cimeli concernenti l'arte musi Soli S. Debenedetti, Il "Sollazzo" e il "Saporetto" con altre rime di cale in Firenze, Florence, 1892. Simone Prudenzani d'Orvieto (Giornale Storico della Letteratura Gleason H. Gleason, Examples of Music Bcfore 1400, New York 1942. Italiana, Suppl. no. 15), Turin, 1913. (The numbers refer to the Gunther V. Gunther, Zehn datierbare Kompositionen der Ars Nova, Ham sonnets of the "Saporetto".) burg, 1959. Vecchi G. Vecchi, Atlante paleografico musicale, Bologna, 1951. HAM W. Ape! and A. Davison, /Jistorical Anthology of Music I, Cam VanM G. de Van, Monuments de l'Ars Nova, Paris, 1938. bridge (Mass.), 2nd ed., 1949. WolfF J. Wolf, 'Florenz in der Musikgeschichte des 14. Jahrhunderts' in HMS G. Abraham, The Historr of Music in Sound III (accompanying Sammelbiinde der internationalen Musikgesellschaft III ( 1902), handbook), Lo n don, 1953. 599 ff. Husmann H. Husmann, Die mittelalterliche Mehrstimmigkeit, Cologne, 1955. WolfG J. Wolf, Geschichte der Mensural-Notation von 1250-1460, 3 vols., Kammerer F. Kammerer, Die Musikstiicke des Prager Kodex XI. E. 9, Brno, Lcipzig, 1904. 1931. WolfH J. Wolf, Handbuch der Notationskunde, 2 vols., Leipzig, 1913-1919. Levi E. Levi, Lirica italiana antica, Florence, 1905. 0 WolfN J. Wolf 'Musica Fiorentina nel secolo XIV ' in La Nuova Musica, Florence, 1896-1919, 3 supplementary vols. 46 MuSICA DISCIPLIKA THE MS. PARIS, B.N. FONDS ITAL. 568 47 WolfSq J. Wolf, Der Squarcialupi-Codcx Pal. 87 der Bibl. Medicea Lauren tiana zu Florenz, Lippstadt, 1955. tory of ff. 1-42 by D. Plamenac, Musical Quarterly XXXVIII (1952), 100-117, 248-249, 260-265; incomplete inventory of ff. 43- WolfSing J. Wolf, Sing- und Spielmusik aus iiltcrer Zcit, Leipzig, 1931. 60v in WolfG I, 211-213; index of tenors on ff. 61-65 by H. Besseler, Archi v filr Musikwissenschaft VII ( 1925), 233. Pist Pistoia, Archivio Capitolare del Duomo. Inventory by F. Ghisi, MANUSCRIPTS CITED AND THEIR SIGNATURES Journal of Renaissance and Baroque Music I (1946), 180.
Aut Autun, Bibl. municipale, 46. Pr Prague, Universitats-Bibl., XI. E. 9. Inventory in Kammerer, 15-16. Bux Munich, Staatsbibl., Cim. 352b (= mus. 3725). PR Paris, Bibl. nationale, nouvelle acquisition française 6771. Inventory by K. von Fischcr, Musica Disciplina XI (1957), 53-77. CaB Cambrai, Bibl. communale, 1328 (1176). See descriptions by F. Ludwig in Archiv filr Musikwissenschaft V ( 1923), 283 ff and Pz Paris, Bibl. nationale, nouvelle acquisition française 4917. MachM II, 20; and H. Bcsselcr in Archiv fiir Musikwissenschaft RO Rome, Bibl. Vaticana, Ottob. 1790. Inventory by F. Ludwig, Archiv VII {1925), 197-199. filr Musikwissenschaft V ( 1923), 201, note l. C h Chantilly, Musée Condé, 1047. Inventory by G. Rcaney, Musica Rs Rome, Bibl. Vaticana, Rossi 215. Inventory by H. Besseler, Archiv Disciplina VIII ( 1954), 88-95. filr Musikwissenschaft VIII { 1927), 234. E m Munich, Staatsbibl., mus. 3232a. lnventory in Dez, 79-99. RU1 Rome, Bibl. Vaticana, Urb. lat. 1419. Inventory by H. Besseler, Fa Faenza, Bibl. Comunale, 117. lnventory of keyboard musi c in Archi v fiir Musikwissenschaft VII ( 1925 ), 227. Plamenac, 197-201. Sq Florence, Bibl. Laurentiana, Pal. 87. Provisional list in WolfG I, FC Florence, Bibl. del Conservatorio D 1175. Description in FischerS, 233-244. 10. Str Strasbourg, Bibl. de la ville, M. 222 C. 22. Inventory by Ch. van FP Florence, Bibl. nazionale, Panciatichi 26. Provisional list in WolfG dcn Borren, Le Manuscrit musical M. 222 C. 22 de la Bibliothèque I, 245-249. de Strasbourg, Antwcrp, 1924. Iv Ivrea, Bibl. capitolare. Inventory by H. Besseler, Archiv fiir Musik Ti t London, British Muscnm, Cotton Titus A XXVI. Indcx by H. Bcs wisscnschaft VII ( 1925 ), 188-191. seler, Archiv filr Musikwissenschaft VII ( 1925 ), 233. Lo London, British Museum, Additional ms 29987. lnventory by G. Tre m Chatcau de Serrant (Maine-ct-Loire), ms of the dnchess de la Reaney, Musica Discij1lina XII ( 1958), 78-86. Tremoiiie. lnvcntory by H. Bcsscler, Archiv fiir Musikwissenschaft VIII ( 1927), 235 ff. Lo eh B~rlin, Deutsche Staatsbibl., ms 40613. The Lochamer Liederbuch. Inventory by W. Salmen, Das Lochamcr Liederbuch, Leipzig, 1951, 27-30. ABBREVIA TIONS Luc Lucca, Archivio di Stato (Codex Mancini) and Perugia, Bibl. Comunale. Inventory in PirrottaL, 134-138. B Balla de o Ordinary of the Mass L w Berkeley, Library of Profe.sor E. Lowinsky. Inventory by N. Pir Ca Caccia R Rondcau rotta, Musica Disciplina X {1956), 62. C t Con tra tenor Rr Rondeau refrain Mach Marhaut mss. Full descriptions in MachM II. isR Isorhythmic Rondeau T Tenor M od Modena, Bibl. Estense, a.M. 5.24 (olim lat. 568). Inventory by itB I tali an Ballata Tr Triplum N. Pirrotta, Atti della Reale Acad. di Scienze, Lettere e Arti di Ma Madrigal v Virelai Palermo, Serie 4, vol. V, 2 (1945), 116-120; or offprint, 1946. P adA Padua, Bibl. Universitaria, 1475 and 684; and Oxford, Bodleian Librai)', Canonici Pat. lat. 229. lnventory by H. Bcsselcr, Archiv fiir Musikwissenschaft VII ( 1925 ), 228 and VIII ( 1927), 235. P ad C Padua, Bibl. Universitaria, 658. Dcscription by H. Besseler, Archiv fiir Musikwissenschaft VII { 1925 ), 231-232. Parma Parma, Archivio di Stato, 52. Inventory by H. Besseler, Archiv fiir Musikwissenschaft VII ( 1925 ), 232. PC Paris, Bibl. nationale, nouvelle acquisition française 4379. Inven-
4 THE l\1S. l'ARIS, B.l\. FONDS rL\L. 5GS ~9 48 MUSICA DISCIPLINA .!.-; c: c N ..; •- ou 3 g 1. -o c .~o ~ ~6 G}X u-; EDITIONS OF TEXTS Q~ !JJ ~g_.; c::~~ .. ~ ~ ~ S· ~ g ~ ~. ;2 ::l ci- ~ o- ~_;~g i:Br~ ~ ~ ""~ CF)- . .C.• [/} .. -.:-- G. Bcrtoni, 'Poesie musicali francesi nel cod. Estense lat. 568' in Archivum Romani ~~ 1'"\:r:: [Q l.L., =o o~ Vlc::J §< ...... ~~ ~'~ ~_g -o cum I (1917), 27-57: ali French tcxts of Mod = Pit 68, 130, 175, 183, 186. ·- 00::::::: ·c_;,:., .:r:~ :~e ~c ""w ~]~c.. ·u ...,.. G. Carducci, Cantilene e ballate, strambotti e madrigali dei secoli XIII e XIV, Pisa, ~ -
co v ~ ~ u o r. .• ~ ~ c "' i " o o .s e J -o -o c t ~ c .s 't ] " o o. " ~ t E ~ .5 .... ~ .§ "2 ~ ;.... < .... § ~ t: E .E ·a E c c: ii. "i; o O" e c [JJ < ~ :5 -< z z o
.e N ! ~ '9 ;. ·~> > ;. "'::. "' ;E N > ;;, ·~ ·~ ......
ro ~ "' Remarks
Fars. Gandolfi. pl. XVI! (Sq). Edn. 9 5v-6 Pincesse a dio itB Frate Guiglielmo di Sq f. t 73V (Egidius Francia and Guilielmus) WolfSq. ;tg.
IO 6v-7 Posando .sour un acqua i\la M. Jaco(po) FP f. 6sv: PR f. 9 Edn. Marrocco.l, 84: \VolfH 321; (an.): Sq f. tov·tt Wo!fSq. 21.
Il 6v-7 Espcranse qui en mon curr R Pr 2 (2° voc.); Str t 17 Edn. Kammerer, 117. t2 jv-8 Ne1 bel çardinn Ma ì\1. Jaco(po) FP f. 63v: PR L 5 Facs. WolfS, pl. 77-78 (Sq). Edn. (an.): Sq f. gv-to: MarroccoJ, 63: \\'olfSq. 22. FC (Can!us only. an.) t3 jv-8 S'andrn sança merçr i!B F rance,.co (Landini) FP f. 11: Sq f. t67 Ed n. EllinwoodL. no. 80 ; \ Vo!fSq. 304- 8v-9 O clolci apress un bel perlaro 1'1a 1'-1. Jaco(po) FP L 62vo Lo t and 3 The name A0iNA appears in thc (an.); PR f. 7v (an.); text. Facs. !'larroccoJ, pl. 2 (Pii). Sq f. 14v-t5; FC (T Edn. l\1arroccoJ. 7·1: \VolfSq. 31. only, an.) t5 8v-9 ~1ort. pourquoy v T extless except for incipit. t6 QV-10 Prima virtute chonstringr frt t'> la l'l. Jaco(po) FP f. 66v-6;; Lo 14; Facs. l\1arroccoJ, pl. 3 (PR). Eri n. lingua PR f. 6 an.); Sq l. 1'1arroccoJ, 87: WolfSq, 29. t:2.v-t'j t7 t O T ula sole[!ta] si gia Frate Guilielmo FP f. 6v-7 (an.): Sq f. Edn. 'vVolfSq. ;2o. t7 4 (Egidius ami Guilielmus de F ran- da) t8 IOV Di novo e giunt'um chavalier 1\la l\ l. Jaco(po) FP f. 68: Lo >; PR f. Facs. Reese, pl. VIli (Sq). Edn. Mar· errante tov (an.): Sq f. ttv· roccoJ, ;6: Reese, 36;; WolfSq. 26. t2 1 tg Il Quiconques veut d' amors R CaB f. 8 (4 voc.): lv Facs. CoussH, pl. XXXVI (CaB). Edn. to (;1 voc.); FP f. Gtin!her, no.7. 79v-8o (31 voc.): Trem 87 lO t tV-tJi Nonn an Narcisso Ma Francesco (Landini) FP f. 46v-47; Sq f. Edn. EllinwoodL, no.1: WolfSq. 203. t25 l1 t> Hé, dieus d'amours R T extless except for incipit.
No. folio Beginnina o( le:d l Voice' Fom1 Composer Conrordances RPmarks ~----+------!------· --- ·- ----
l:lV-13 Si dolce non sono Ma Francesco (Landini) FP f. 44v-45: Lo to Facs. EllinwoodL. pl. IV (FP). Edn. (32 voc.): Sq f.t23v· EJiinwoodF, no. l; EllinwoodL, no. t24 t l: Gleason, 1 t j: HAM. nu. 54; Wo!fSq. 201. t )Y-14 TVlostromm(i) amor l'via Francesco (Landini) Sq l. t24V Edn. EllinwoodL. no. 3; \Volf5q. 204. l'jV-14 (Passerosp, flours (':n·llcntd R IJenlical with 34 In spite of its completeness, tlw \vonl j "vacat" appears in th(> margin of both f. t)v and f. q. qv-15 Lucida pcrorella Don Donalo da Cascia FP f. 8;v-8.1; Sq f. Edn. \VolfSq. to2. 7)V-74 25 t5v-t6 Un bel girfalco l\1a Don Donato Sq l. 7tV-72 Text by Soldanieri. Faf's. Gandolfi. pl. XII (Sq). Edn. WolfG II-111. no. ,17; WolfSq. QQ. t6v-t; Sej:!ucndo'l canto d'un urn·l Don Donato FP f. Rtv-8>: Sq f. Ed n. \VolfSq. t oo. 72V-jj t6v-t;' Hunblcs tPg'ars R Textless except for incipit. t?v-t8 r fu gia usignolo I\' la Don Donato Sq f. 73V·74 Text by Soldanieri. Edn. WolfSq. t o;. t8v-19 Agnel son hianco Ma t\1aestro Giovanni da FP f. 48v-4o: PR f. Soli, no. 25. Facs. Gandolfi. pl. VII Firençe t2v (an.): Sq f. t (Sq). Ed n. PirroUal\1, no. 2; WolfF. 633: WolfSq. 3· 30 tSv-19 Dmn"' playsans Textless except for incipit. }t IQV-20 La hella bella s!ello T'l. Giovanni FP f. 47v-48 (2 1 voc.): Facs. Bannis!er Il, pl. t ;oh (RO). RO no. 2 (fragm. T Edn. PirroUai\1, no.8: \VolfSq. 4· only, an.); Sq f. tv· 2; Rs f. 23v-24 '-"c. (Cantus only); FC o:; (Can!us only, an.) 32 20 Benf' puis siderer v Textless except for indpit. 33 20V-2t Togliendo l'un all' ahra Ma ~l. Giovanni FP f. 55v-56: Sq f. 3 Edn. PirroUar'-1, no. t;; \VolfSq. 7· 31 2t Passerose, Hours exf'llenlf' R Textles.s except for incipit. Edn. WolfG Il-Ili. no. 28. 35 2tv-:ll O perlaro genlil l'la I\ L Johanni FP f. j;v-j8; I.o Facs. Vecchi t, Xl (FP). Edn. Piro!· (an.); Sq l. .jv-3 !aM. no. t t; 'vVolfSq. t 1. 36 22V·l'j Ma Scr Lorenço da Firençe FP f. 77v-78; Sq f. Edn. \VolfSq, 8;. 48V-4Q Remark:-; No. Folio J3t"f:!inninf:! of tcxt Composer Conr.ordances
Textles.;; e'{rept for incipit. 22V-23 Ker€' danw chi m'otry \' 23v-2,1 Vidi nell' omhra d'una bella Ma Ser Lorem,n fP l. 78v-79; Lo 46; E
Composer Concordane es Remmks Beginning ol !ex! ___ LVo~e~-~~~olTll_l
L'abate Vincençio Facs. MarroccoC, pl. 111 (Lo). Edn. 53 'j2V-33 NeH' acqua chiara Ca I\.-1mroccoC, no. t 'l: WoUSq, 67. (!\Tagister Frandscus) Cf, t6 (31 voc.): PR Facs. MGG lV. 634 (PR). Edn. Apci 54 De Nnrcisus B 173 (3 1 voc., an.); L, no. 55· Aut f. t6ov (Cantus only, an.): Trcm 4R (an.) 55 34V-35 Non piu' nfelici Don Paolo tenorista da Firençe s6 35v-36 Se non ti piacque t'v la Don Paolo Lo 70 57 j6V-37 Tra verdi frondi Ma Don Paolo Identica! with 6;a T cxt after a !'onnet by !'v1. F rescobaldi. ss 37v-38 Cna fera gentil Ma D(on) P(aolo) 59 jSv-39 Un pellegrin uccel Ma Don Pa(olo) 2 Soli, no. 25. Facs. Parrish, pl. LV 6o J9V-40 Per un verde boschetto i!B Frater Bartholomeus FP l. b6 (2 voc. a 5th lowPr); Lo 114; (PR). Edn. WoiiSq. '94- Luc l. 2bv (22 voc.); PR l. >;v (an.); Sq f_ 120V 6t La fiera testa 1'1a Schappuccia F m te Sq f. 104V·105 :--.lacaronic text, possihly by Pelrarch Bartolino and cf'ftainlv for the Visconti. Edn. \VolfG 11-lÌl. no. 41: WolfSq. 164. 1 La douce çere Frate Bartolino FP l. tOSY-109 (; Soli, no. 25. Fncs. Gandolli, pl. XlV 1 voc.); Lo 1 i (3 (Sq). Edn. \VolfG 11-111, no. 45; voc.); Luc l. t a (XX) \VolfSq, 159. (32 voc .. Cantus mis sinf:!); PR f. 13v-t4 (j2 voc., an.); Sq f. 101\"·IO.l {:)3 \'oc.); Fa no. 20 (2 voc. tah., an.) 42V lo !'On un pellegrin itB FP l. 47,-18: Lo >o: Soli. no. 237 Facs. Parrish, pl. UV PR l. 2;v-28 (Pi!). Edn. Bartlm . .21c: Einstein, no. 1 1 ; HA~ 1. no. ) 1. 1 1 43 Se (clirus B (Grimace) Cl. 15 (3 + nJc.) Se luppiter No. Folio Beginning" o( text Voices Form Composer Concordnnces
I'vladrigAI sei as a Caccia. Facs. Ì'1ar• 4)V-44 Oselletto selvagio Ca l'l. Jacopo FP f. 7 >v-7;: P o dC (fra~m.); PR l. 8v-o roccoC. pl. V (Pit). Edn. Marrocco (an.); Sq f. t;v C, no. ::w; MarroccoJ, t 1 t; WolfG Il-III. no. 42; WolfSq, 27. TPxt bv ~teffano di Cino Merciaio. 66 44V·45 ~on dispregiar virtu !\la S. Nicholo Lo fio; Sq f. 87 Ed n. \VulfG Il-III. no. 54: WolfSq, 1~<1· f acòa chi de' Ca Don Donato Sq f. 75v-76 !\Icvlrigal s€'1 as a Caccia. Edn. Wolf Sq, to8. (Tra verdi fmndi) :-la (Don Paolo) ldentkal wilh 57 Tcxtless and with the word "vacat" in tfl{' maq!in. 2 68 lnperial sedenJo IBartolino) Luc f. tgnv-2ta (3 On the Carrara family of Padua. Soli, voc .. an.); Mod 56 no. 25. Edn. \VolfSq. •74- (nttrìh. lo Dartalus de Padua); PR f. 22v-23 and f. 1) (Cnnlus only) (both anonymous); Sq f. togv-t t O; Fa no. 23 (l vor. lab .. an.) Una smaniosa insensata Ma n•cchia Edn. \VolfSq. 338. 70 49V-50 Dnnna, se raçi de be-, de itB Frate Andrea Sq f. 185 be~li ochi 71 50V Doglia continua per la suo itB Pa(ulus) l.u• ; (an.) partita Edn. WoiiN Il. ;6. i> Lasso! grPv'e'l partir itB P(aul)us P(aul)us Lw 1 (end of Cantus 73 S'amor in (Or gentil a si~:moria itB and complete T, 2 2 voc .. an.)
No. Folio Beginning of text Voices Form Composer ___ ,_ Conrordances _ l Remnrks
Soli, no. 35- Facs. Ameln, 86 (Loch); 74 :)lV-53 Con lagrime bagnandome itB (Ciconia) Luc f. sb (T only); PC 69 (T only, an.); BuxOrg, ;8, 137, 138. 139 Locl, f. 86-87 (2 (llux). '\OC. tab. dateci t4')'), an.); BriX 38, 137. 1J8. t)Q h voc. tab.. ali an. excPpt 38, which is by M. cc. (Magìster Con md Caecus = Con rad Paumann)) P(aul)us 75 54 V· 55 Era Venus Ma j6 55V-56 Nell' ora c'a segar Ma P(aui)us Edn. WolfG II-III, no. 61. 77 s6v-s7 Godi, firençe poi Ma P(aul)us 78 57v-58 Ventilla con tumulto Ma P(aul)us 79 s8v-59 Fra duri scogli !\1a P(aui)us Edn. \VoiiF. 644. So 59v-60 Corse per l'onde Ma P(aul)us 81 6ov Se tu di male in pegg"io iiB Gian Toscnn 82 61 Ama, donna. chi u·ama itB Francesco (Lamlini) FP f. 8v: PR f. >6v Soli, no. 48. Edn. EllinwoodL. no. 18; >7 (an.); Sq f. 164v 1-Iusrnann, 47; WolfSq. 298. 8; 61v-62 Nonn ara ma pie!a itB Francesco (Landini) FP f. ;ov (31 voc.); Lo Edn. EllinwoodL. no. 135; WolfSq. 26 (3 1 voc., an.); 225; Fisd1erV. no. t (openinll of PR f. 52 (; 1 voc .. Fa). an.); Sq f. 134; Fa no. 29 (2 voc. !ab., an.) Adiu, adiu, dous dame yohe v Francesco (Landini) Lo 39 (>1 voc.); Sq f. Edn. EllinwoodL. no. 101; \VolfSq, t6.1:V 298. 85 Pf'r se(:!uir la spPrança che itB Framesco (Lamlini) FP f. >tv; PR l. 48 Edn. EllinwoodF, no. 6· EllinwoodL, m'ancide (an.); Sq f. 166 no. 142; WoiiSq. 302. 2 86 62v-6; Dona, 'l tuo parlimC'nto itB F r
22 Francesco (Landinì) Sq f. t23V-tl4 Ed n. EllinwoodL. no. JO; Gleason. 88 64 Angelica hilta, vcnut' e in terra i!B lO): Schering, no. 23: WoiiN l. 108: WolfSq. 204. i!B f rance~co (Landini) FP f. 30: Lo 30: Sq f. Ed n. EllinwoodL. no. qo; WolfSq. 89 64v-65 Perche di novo sdegno 3'+'+' Vendetta far dovrf'y 164 297· Perche tuo serve , iiB Francesco (Landini) FP f. 31V-)l: Lo 106 Soli, no. 34· Ed n. EllinwoodL, no. 90 65v-66 L'alma mie pian(:!f' -" (32 voc.); Sq f. 131 127: WolfSq. :119. 32 Francesco (Landini) FP f. .ljY
Beginnin{:! of texl Voices Fonn Composer Concordances Remurks ~~~·' Folio Non c'e rimasa fe i!B P(aul)us 99 7' 2 100 j1V-j2 I .a vaga luce che fa i!B P(aul)us [,c. f. 17bv-•6b (2 voc., an.)
101 j'2V-73 ~1a ri' avere i!B P(aul)us 4 (22 voc., an.) F acs. Apel;\1, 409 (Pit). 102 7')V·74 ,\mor, tu solo 'l say i!B P(aul)us Lw 103 74V·75 L.ena virtu et spf>rnnça i!B P(aul)us 104 75v-76 Chi vuoi ypder l' an~telica i!B P(aul)us helleça ~ 105 ;6v-77 Che l'agg' i' fallo i!B P(aul)us to6 77v-78 Vago et benigno Bll1or i!B P(aul)us 107 78v~79 Se per vìrlu amor i!B P(aul)us Doub!less by Paolo, judging by s!yle 108 78v~79 Amor mi stringe i!B and position in ms. Room has been left for a Ct, which is however missing. -2 109 79v~8o Amor dn po' che tutti ) iiB P(aul)us Ripresa and Volta have a French, the IlO 8ov Sofrir m'es tue t et plus 31 i!B P(aul)us Piedi nn ltalian text. o"'" 111 Donna, per che mi veggi i!B Don Paolo z Lw 5 ( Canlus only, tj lll Amor, de. dimrni se sperar i!B Don Paolo trJ merçe an.) 82 Uon cosa di veder iiB Don Paolo Edn. \\'olfN Il. 219. 82v Or sie che puo com a vo i!B Don Paolo 8J Poc' anno di mirar f:!li ochi i!B Don Paolo 83v Percile vendetta i!B Don Paolo 84 Benche partito da tte i!B Don Paolo F acs. A peiN, 399· 84v-85 De. dolce morte, cava mi da itB pena 119 El gran disio HB Franco sco (Landini) FP f. 31: Lo 104 (an.): T ex! by Mala!esla. Edn. EllinwoodL. Sq f. 147 (ali con- no. 118: Vv'olfSq. 257. cordances 31 voc.) :.. n co Remarks No. Folio Beginnin~ of lcxt Voiccs Composf'r l Concordances
Lo :lj'; Luc Soli. no. 48. Edn. EllinwooJL. no. 45: IlO Bsv-86 Donna, s'i t'o fallito 22 ;tB (Frnncesco Landini) FP f. f. sa" v (XXXXVIlv) \VolfSq. 284. (T mh:sin~); P adA no. j:l; PR f. '\l (an.); Sq f. 158 Ili 85v-86 Donne d fondulle ,. HB (Francesco Landini) 10; P;st 2 (fmg- Ed n. EllinwoodL. j t; WolfSq. lll 86v Fortuna ria, Amor c nude) ,. HB FP f. 1 donna m .. 2 voc., an.); Sq 258. f. 14/V Ed n. Ell;nwoodL, no. l 37; \Voi!Sq. llj 86v-87 O fanciulla giulia ;' HB (Francesco L·mdini) FP f. ')4V; Sq f. 159V ,.. (;2 voc.) 28j. .3 2 Ell;nwoodL, 1 12; Woi!Sq. c ll4 87v-88 Cosa nulla piu fe , HB Francesco (Lnndini) FP f. 35v (; voc.); Sq Ed n. CfJ f. 1}2 ]21. rs HB Francesco (Lnndini) FP f. ;;: Sq f. t 34 Ed n. Ell;nwoodL. 144: WoiiSq. 'l5 88v-8Q Posto che dall' aspetto ;• >- 275· tj u6 88v-89 Per servnr umilta 22 ;tB Francesco (L
()1V-Q2 Checc'a tte piaccia ;' HB 'l' Ed n. no. t'l): WolfSq. ljl QlV-93 Po'che partir convien ;' aB (Francesco Land;n;) FP f. 23: PaJA 22: p, EllinwoodL. 0 B h YOL, nn.); Sq 300. r. t6sv Concordanccs Hf'n'l:trl..s No. Folio Beginning of text Voices Fonn Composcr
Sq f. 157V·I)8 EJn. EllinwoodL. no. 2j: \VolfSq. 104 CllC' fai? che penr-.i? che itB F(rancesco Landini) 283. cercando Sq f. l 37 Fnrs. [liinwoodL. pl. VI (Pii). Edn. t O-tv- 105 Selvaggia fera, (_li Diana serva itB (francesco Landinì) EliinwooctL. no. q8: 'NoiiSq, op. PR f. ;6, (an.): Sq l. Soli(. no. j")? Fnrs. EllinwoodL, pl VI 104v-t05 Donna che d'amor senta itB (rrrmn".;(o Landini) l 30 {Pit). Ed n. Ellinwoodl ., no. )A; Woi!Sq. 26;. 105v-to6 Se ~ia se(!uir altra itB 20: t Edn. EliinwoodL, no. 119: \VolfN II, 1 o6v S'i fossi Cf:'rto del dover iiB (Francesco Landini) FP f. Sq f. ;8 :lt7: \VoffSq, ::!).'). Edn. EliinwoodL. no. 66: WolfSq. 107 La mala ling-ua d'ogni mal itB F(rancesco Landini) Sq f. t.jOV ::q o. itB F(rancesco Landini) FP f. ;>v: PR f. 71 Facs. EliinwoodL, pl. \'II (PR). Edn. t 07v- t o8 Condensi a fede fc (an.): Sq f. ljlV-153 EllinwoodL, nn. 1 t t ; WolfSq. 27 1. itB I-·-(rancesr:o Landini) FP f. ;v-8 (an.): Sq f. Ed n. EliinwoodL. no. 79: WolfSq, 157 108v Or e ltal l'alma mia 14t 242 . . l itB (Francesco Landini) FP l. 34: Sq l. 131 Edn. EliinwoodL, no. 105: WoiiSq, to8v-tOQ Amor in uom gentil .) :ljO. itB F(rancesco L .... ndini) FP f. 66v·67: Sq l. [dn. EliinwoodL. no. 70: WolfG Il· 159 t09V-l IO I\-"Jft' 1101\ .!''andra per QU('Sta donn' altera 141 Ili, no. jt: Woi!Sq, ljl. 160 1 t ov- 1 t t De, fa per quella spenw i!B 161 t t tv O mE-I al cor dolente sento iiB Scr Feo pene l, Astio non mori may! Ne puo itB morir t t :lv De, belle- donne di 'irtu itB Sq f. qov (3 1 voc.) Edn. EllinwoodL. no. 103: HAM, no. t 13 Amor c'al tuo subgetto itB {Fmncc;;;co L'"lndini) 53: WoiiSq, 141. FP f. 81: Lo t to: Sq Facs. MGG VIli, rl. 4 (Pit). Edn. t 13v-t 14 Contenplar le grnn cose f. 153 EllinwoodL, no. 110: WolfSq. 173· 166 tt3v-114 l fu tuo serv' amore itB (Francesco Landini) Fl' f. 53 V· 54; Sq f. Edn. EllinwoodL. no. j8: WolfSq. t65V 301. 63: 1 56v 102: li: t q v-t 15 Amar si h alti tuo itB F(roncesco Landini) FP f. Sq f. Edn. EliinwoodL. no. Hl\1S. Husmann, 48: \VolfSq, >80.
No. Folio l Remarks
168 l 14V-I l 5 Nella pmlita piansor gli ochi iiB (f' rancesco l..andini) FP L 56: Sq l. t 30 Edn. EllinwoodL, 7t: WoiiSq. 237· 169 115V-t 16 N'cn dn.,cun mie pensiero itB F{rancesco Landini) FP f. 38v: Sq f. 139v Edn. EllinwoodL. t33: \VoiiSq. 2j8. 2 t r6v-t 17 Nessun ponga spemnça nella i!B F(mnccsco Landini) FP f. 40: Lo 107 (; Facs. ApeiN, 393 (Sq): EliinwoodL. suo giovineça voc., an.); Sq f. t6:l"' pl. VIli (Pii). Edn. EllinwoodL, no. 134: Woi!Sq. 294. tjl ttj\'-118 Gia non biasim' amor i!B F(rancesco Landini) FP f. 39: Sq f. 169v Edn. EllinwoodL, no. 121; 'A'olfSq. 31 t. 17> l tj\'-1 t8 l'vlf'rçc per dio perche morto i!B 1 73 t t8v-t 19 Altro che sospirar non so itB 174 119V-t20 Gia In sperança in te i!B 1 175 t20V De toutes flours B (~larlmut) Jllacft: FP f. 99v (; Tcxtfess exct'pt for incipif. Facs. Pla 1 voc.): Mod 43 (; rncnac. ili. 1 (Fa). Edn. Machl\1 l, voc.): Str 168 (4° B ; t : Plamenac, 189: Schrade 111. voc.); Trem 27: Fa 118. no. 8 (l voc. tab.) (ali concorJances an. except ~'lucf,) 1 l> l Loyauté (Garinus) Clt .')t (3 voc.) TPxtle..-s except for incipil. Edn ..Apt>f l L. no. 78. t l IV Je FortunP B Pr t ~t; Slr (><) Textless except for incipit. E1fn. Kam merer, t jl. 121\' lour a jour la vie Rr Em 86 (4° voc.): FP f. Str 72 attributed to I\lachaut. Em ha11 73V·74 (;0 voc.): PR contrafnctum tcxt "Christus f{'X pR f. 66 (41 voc.): Str dhcus". Ct varies in differcnt sour 72 (;0 voc.): Trem ces. Facs. Dez. 99 (Em); Plamcno(', ,J. Fa nos. l and ili. 2 IFa). Edn. Dez, 99: Gun· 15 (l 'or. tab.): Tit ther, no. t; Plarnennc, t90. l. 3v (;1 voc.) 179 Crealurc R Textless except for indpil. 180 En amer la doucc vie B (:">lachaut) Maclt: FP f. 97 (;1 Facs. FischerPR. 49 (PR). Edn. 1\laclt voc., an.); PR f. 63 M l. 93: Schrade III. 138. (41 voc., an.): Trem 33 (an.) Renmrks No. Folio BC'ginnin~ ol IC'xt
Soli, no. 25. Str has contrafactum text t8t Or sus, vous dormés trop. lv 23: Lo to8 (3° "Ave Stella". Edn. ApeiL. no. 70: madame voc.): PadC l (in complete): PR f. 78v- VanM, OL 3. 79: Str 127 1 Str has mntrafactum text "Surge. ani t8> D(' ce quC' fol pensP B (P. deo Molins) Ch 87 (3 voc.): CaB f. sv and to (41 ma". Edn. WolfH I. 3'34: Droz et voc .. an.): FP f. 86v- Thibauh, 21. 87 (3° voc.. an.); McV > (31 voc .. an.): PR f. 71v (41 voc., an.): Str 52 (30 voc.. Wilhelmi de Maschandio); Tre m 26 (an.): Fa no. t t (2 voc. tab .. an.) 1 Edn. WolfG no. 24: f\lachM De petit peu B (Machaut) Mach: Ch 14 (3 voc .. 11-lll, l. an.): FP f. 100 (an.): B 18: Kammerer, t6...j; Schrndel\1 Mod 46 (4 1 voc .. III. B 18. nn.): Pr )'l (2° voc., an.): CaB f. 15 (41 voc., an.); Trem 45 (an.) S'espoir n'estoit qui me done R pooir 54 (3 1 voc.) T extless except for incipit. Edn. Wolf- 125V-126 Par le 11rant sens d'Adriane B (Philip of Caserta) Cf, G II-III, no. 27. 1 t86 Je la remiray sans mesurc v M od 65; PR f. 80 (3 T extless except for incipil. voc.) Sq f. 129V·t30 [,Jn. FJiinwoodL, no. 131; WolfSq. t87 127V-t28 f\1uort' oramai, de, misero, itB Fra(ncesco Landini) dolente 2t6. t88 u8v-tl9 In quella parte itB Soli. no. 33'1 Edn. WolfSq. 146. t89 128v-129 Benche partir da tte itB Ser Nic(olo) Lo 72: Sq f. 92V 190 t'lQV-130 Se le n'ara pieta itB
Renmrks No. Folio Bcginnin~ ol text Voices J_Form -: itB Lr