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The Mancini Codex : a Manuscript Study

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.. 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 VOLI.JME III CONTENTS Preface i I Madrigal Sources I Origin 5 Form 8 Ballata Sources T2 0rigin 15 Forrn I9 Rondeau Sources 32 Origin 34 Form 38 Ba1 lade Sources 43 Origin 44 Form 48 Virelai Sources 52 Origin 53 Form 56 II Man. 1 La douce ciere 59 Man. 2 Dueil angoisseux 62 Man. 3 Serva ciaschuno 63 Man. 4 Rechordete de me 64 Man. 5 Zoya de novi odori 6s Man. 6 Per un verde boschetto 67 Man. 7 La sacrosancta karita 68 Man. 8 Perche cangiato 70 Man. 9 Le aurate chione t5 Man. 10 Senpre'donna t ramay--- --:-----: 75 Man. 11 Non chorrer troppo 77 Man. L2 La bel1e flour 7B Man. I3 Mal vi loyaute 79 Man. I4 Mon bel any corteus 81 Man. 15 Mon bel amy mon confort 82 Man. 16 Merçi pour dieu 83 Man. 77 Loiñgtenps j'ay mis 85 Man. 18 Va pur amore 86 Man. 19 Donna srittto fallito 87 Man. 20 Con lagreme bagnandone 89 Man. 2I Ave vergene 92 Man. 22 La fianma del to amor 93 Man. 23 Donna posso io sperare 94 Man. 24 Rosetta che non cambi 97 Man. 25 Un fior gentil 98 'Man. 26 Deus deorun pluto 99 Man. 27 Arnor ne tossa 101 Man. 2B Plorans ploravi 103 Man. 29 Sol rne trafige rl cor 105 Man 50 Ciarame I 1 a 106 Man 51 Je suy navvres Gnaff'a le guagnele 707 Man. 32 Ad ogne vento 110 Man. 33 Spesso fortuna cridote 7L2 Man. 34 De1 glorioso titolo II4 Man. 35 De nia farina LI7 Man. 36 A piançer 1'ochi 118 Man. 37 Piu chiar ch'el sol 119 Man. 38 De vogliatene oldire 72L Man. 59 Con dogliosi martire 722 Man. 40 0r tolta pur r23 Man. 41 Madonna io rne ramento 724 Man. 42 Vous soyes tres bien venus r25 Man. 43 A tendre 726 Man. 44 Par naintes fois L27 Man. 45 Mercede o donna 729 Man. 46 I cani sono fuora 130 Man. 47 Chi vole amar - 131 Man. 48 Cacando un giorno L32 Man. 49 Gti atti co 1 dancar L33 Man. 50 Una panthera I34 Man. 51 Le ray au soleyl 136 Man. 52 Chi nel servir 138 Man.55 Per quella strada 139 Man. 54 Poy che morir I4I Man.55 Piangono 1 rochi r42 Man. 56 Ayne per tutto lror 143 Man. 57 Ay las quant ie pans 144 Man.58 Non credo donna 746 Man.59 Ta1 sotto Itacqua.pescha r47 Man. 60 Fugir non posso 149 Man. 61 Jt sentir matuti no 150 Man. 62 Imperiale sedendo rs2 Man. 65 A tanti homini 1s4 Man. 64 0 chuor del corpo 15s Man. 65 Mi1le mer 156 Man.66 Je suy en departir -------:-------- t57 Man. 67 Merci merc i noble creature 1s8 ^J-l Man. 68 U pensler]- vanl_ 159 Man. 69 De tristo ni topinello 160 Man. 70 Spinato intorno L62 Man. 7I Srirti so stato 764 Man.72 Con tucta gentil 165 Man. 73 Morte mra sciolt r67 Man. 74 S tavesse forca 168 5 I'fan. 75 La vaga luce ---- 170 Man. 76 Tra speranca e fortuna 777 III Text Content Heraldic texts 172 Historical texts 174 Classical references 175 Mourning texts 176 Comic texts 177 Onomatopoeic texts 178 Musical references 179 Religious texts 180 Moralising texts 180 Love and the Cruel lady - --j---- r82 Love and the Flower 184 Love and the Flane --i---------- 186 Love and the Hunt !----------- 188 Love and Fishing ------- 190 Love and the Lady .--- 191 Love from the Wornanrs point of view t92 References - 195 1 PREFACE This volume contains a presentation and exarnination of the texts of the songs found in the Mancini Codex and is dìvided into three rnain sections. The first section deals with the various text forrns - ¡nadrigal, ballata, rondeau, ballade and virelai - found in this collection. Each form is con- sidered separately and attention is particularly directed to the origins and history of the forrn and the degree of fornal variety found in both the explan- ations of the conternporary verse theorists and the najor collections. This historical and theoretical naterial provides tlle background against whlch the text forms of the Mancini collection are exanined. Each fornal section is preceded by a presentation of the prinary source naterial available for each form. This is done both to focus attention on the degree of conternporary concern for formal issues and to avoid interruption to developed argument later in the section, by lengthy quotation,. The second lnain section of this volume contains the texts and text com- mentaries. An explanation of the nethod of presentation follows: Title Line : The title line provides primary inforrnation concerning the text and includes the identifying,nurnber of the work (eg. Man. 1), the form of the text ( eg. nadrigal) and the composerfs name where known or con- jectured (eg. Bartolir¡o da Padova). Left Hand Column The column on the left of the text presents a series of ciphers which refer to the fornal divisions within the text. An explanation of the cipher system follows: For the nadrigal : SI = first star'za 52 = second stanza Ri = ritornello -11- ,{ For the baflata R= Tipresa È lM= first mutation 2M= second mutation V= volta For the rondeau A-' refrain text acconpanying the first section of music ¡ i B_ refrain text acconpanying the second section of I music I I a= strophe text acconpanying the first section of nusic b= strophe text acconpanying the second section of rnus ic For the ballade A= text acconpanying the first section of music N= text acconpanying the second section of music. For the virelai : A= text accompanying the first section of music l= text accompanying the second section of music First Right Hand Column The first colünn on the right of the text presents alphabet letters which indicate rhyne patterning. The choice of letters has been decided by customary use and Teceives explanation in the prinary sections dealing with form. Query marks placed after the letters receive explanation in the commentary Second Rieht Fland Colunn The second column on the right of the text presents a number series which refers to the syllable count for each text line. The nethod and signif- icance of the sy11able count is explained in the prinary sections dealing with forn. Query marks placed after the number receive explanation in the commentatY. The Text The editorial process applied to these texts has three airns: 1) to present the text as far as possible as it appears in the nanuscript f -111- I È- 2) to provide texts accessible to the scholar and perforrner 5) to provide a consistent approach. I Very Iittle editorial intervention has in fact been necessary since i f, )r the rnanuscript was initially prepared with a high degree of concern ,l for accuracy and unambiguous presentation of formal concerns. Where ll T editorial assistance has been necessary it has been indicated in the I texts by a bracketing and footnote system which receives ful1 explan- I I ation in the commentary. The following notes provide editorial details which are not otherwise explained in the connentaries. Capital Letters All new lines receive a capital letter start whether or not this appears in the rnanuscript. Capital letters starting words within a line reflect those found in the source. t Manus cript abbreviations å All manuscript abbreviations have been realised without notice. flr Fragmentary or incomplete texts' Where a text is found in the source in a fragmentary or incomplete state wherever possible these texts have been conpleted frorn concor- dance study. Although this over-rides the first editorial ain: "to present thé text as far as possìble as it appears in the manu- scriptt', it has been considered necessary to do fair justice to the text. Elision The elision dot where it is found below a vowel is reproduced as it appears in the manuscript. This is usually supported by the editorial nethod of suggesting elision by underlining the vowels to be combined. On occasion, no dot appears where an elision is required. In this situation the underlining provides a purely editorial suggestion. -]-V- { .L'il Ð- Accenting No accenting has been provided for these texts since accent signs i were not in conternporary use. This poses no problern for the Italian texts where stressing is generally clear from context, and little 't problem for the French texts provided the contemÞorary rules for I pronunciation a:ie followed. The dieresis sign is however provided I where necessary to rnake clear the separate pronunciation of contiguous vowels, in order to maintain the consistency of line length. The Commentary The cornmentary provided below the text is presented in seven sections indicated bY Roman numerals: I provides explanation of the footnoting found in the text and deals generally with orthographic problens and editorial alteration. II discusses the rhYme scheme f' III deals with line length issues / $ IV provides the formal type of the text V discusses concordances VI presents a paraphrase translation of the text VII presents literary or historical ¡naterial illustrative to the text. The final rnain section of this volune presettts in sumrnary form a consid- eration of the content and meaning of the texts. Here the texts are grouped according to thenatic naterial and considered under a variety of headings - -1- I I MADRIGAL t^.
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    8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16.
  • Guillaume De Machaut Coronation Anthems Remede De Fortune

    Guillaume De Machaut Coronation Anthems Remede De Fortune

    HANDEL GUILLAUME DE MACHAUT CORONATION ANTHEMS REMEDE DE FORTUNE Pacific Baroque Orchestra, Alexander Weimann music director Vancouver Cantata Singers, Paula Kremer VCS artistic director Blue Heron, Scott Metcalfe music director EMV'S 50TH SEASON WILL BE ANNOUNCED! AT THE CHAN CENTRE AT CHRIST CHURCH CATHEDRAL APR| 14 MAR| 23 9 This concert is generously supported by Helen & Frank Elfert 9 Tickets from $36 | early music.bc.ca | 604.822.2697 This concert is generously supported by Elaine Adair E M V PARTNERSpartners Early Music Vancouver gratefully acknowledges the assistance and support of: board of directors Chris Guzy Chris Guzy GOVERNMENT SUPPORT president Fran Watters Fran Watters vice president Spencer Corrigal , We acknowledge the support of Ron Kruschen the Province of British Columbia treasurer Tony Knox Tony Knox past president Ilia Korkh Ilia Korkh FOUNDATIONS secretary Sherrill Grace Kathleen Bourchier THE BRENNAN SPANO Melody Mason FAMILY FOUNDATION Spencer Corrigal cpa,caJesse Read Sherrill GraceTim Rendell , THE DRANCE FAMILY Melody Mason EARLY MUSIC VANCOUVER FUND Ingrid Söchting Tim Rendell cpa,ca Vincent Tan Johanna Shapira 2018-19 PRODUCTION PARTNERS Ingrid Söchting Vincent TanJosé Verstappen EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia. ÷ pacific José Verstappen cm baroque artistic director emeritus orchestra alexander weimann ÷ MUSIC director Matthew