DOCSLIB.ORG

Ars Subtilior

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ars Subtilior 2015-2016 he Sounds of Time Music of the Ars Subtilior TENET Luthien Brackett mezzo-soprano Jolle Greenleaf soprano Shira Kammen vielle & harp Robert Mealy vielle & harp Kathryn Montoya recorders Nils Neubert tenor Andrew Padgett bass Charles Weaver lute & baritone Jolle Greenleaf artistic director Robert Mealy guest music director 7pm on February 5, 2016 St. Luke in the Fields 487 Hudson Street, New York City 7pm on February 6, 2016 Yale University, Marquand Chapel 409 Prospect Street, New Haven CT Music of the Ars Subtilior I Enigmas and Canons Ma fin est mon commencement Guillaume de Machaut (1300–1377) Tout par compas suy composés (instrumental) Baude Cordier (fl. early 15c) Fumeux fume Solage (fl. late 14c) II Nature, Love, and War Pres du soloil Matteo da Perugia (fl early 14c) Dance (after Machaut) Kammen/Mealy Rose, liz, printemps, verdure Machaut Par maintes foy Jehan Vaillant (fl late 14c) III Mythological Love Se Zephirus, Phebus et leur lignie Magister Grimace (fl mid-14c) De ce que fol (instrumental) after Pierre des Molins (fl mid-14c) Medee fu en amer veritable Anonymous Moult sui (instrumental) Machaut Le Mont Aön de Trace Anonymous Alarme, alarme Grimace 3 TEXT AND TRANSLATIONS Ma fin est mon commencement My end is my beginning Et mon commencement ma fin and my beginning my end: Est teneure vraiement. this is truly my tenor. Ma fin est mon commencement. My end is my beginning. Mes tiers chans trois fois seulement My third line three times only Se retrograde et einsi fin. goes back on itself and so finishes. Ma fin est mon commencement My end is my beginning Et mon commencement ma fin. and my beginning my end. Tout par compas suy composés With a compass was I composed En ceste ronde proprement. in this circle, appropriately enough. Pour moy chanter plus seurement, To sing me more correctly, Regarde com suy disposés, Behold how I am disposed, Compaing, je te pri chierement. Good friend, I pray you kindly. Tout par compas suy composés With a compass was I composed, En ceste ronde proprement. in this circle, appropriately enough. Trois temps entiers par toy posés Three times in total, by your count, Chacer me pues joyeusement, you can chase me joyously, S’en chantant as vray sentement. If in singing you have true understanding. Tout par compas suy composes… With a compass was I composed… Fumeux fume par fumée Smoky smolders smokily Fumeuse spéculation. in smoky speculation. Qu’entre fumet sa pensée. Thus he steeps his thoughts in smoke. Fumeux fume par fumée Smoky smolders smokily. Car fumer moult lui agrée For it suits him well to smoke Tant qu’il ait son entention. until he gets his way. Fumeux fume par fumée Smoky smolders smokily Fumeuse spéculation. in smoky speculation. Pres du soloil deduissant s’esbanoye In the pleasant sunlight a fearsome falcon d’eulx ententis un redouté fauchon enjoyed himself, watched by other birds, sur la riviere plus riche que soye above a river, richer than any other de maint osiaux d’une et d’aultre façon. with birds of all kinds. Close est d’un beaux rosier de par viron, The river is bordered by a rosebush. dont s’il ne sont bien preux, If the birds aren’t brave, jeune et veglarde, young, and vigilant, meschant cely Woe to him upon whom que le fauchon regarde. the falcon casts his gaze! Chescun se doubte Everyone is afraid et ne scet que fer’ doye and doesn’t know what to do, fors que d’esmay trayre de la sayson. except to pass the time fearfully Sans plus, tout prest en l’eure si s’employe: and then to act as quickly as possible. pluseurs aultres aylent ver les buisson, Some flee into the woods, aucun demeure, aucun y torne en ron, others stand firm or turn around in circles, simple de cuer sans chault de faire garde innocently and withou tdefense; 4 meschant cely Woe to him upon whom que le fauchon regarde. the falcon casts his gaze! Quar noblesse et vigour si le convoye, Nobility and strength, desire, hope, desir, espoir, wisdom and reason sagacitié et rayson accompany him in his plans, a son porpois tout brief qu’il se voloye which he quickly tries to catch l’oysel qu’aten hurter des artiglon. with his talons, a fleeing bird. D’aultre ne quier sy donra coulps felon He wants nothing else pour definer, than to kill the bird fache qui vuelt sa garde: with evil blows. Be careful: meschant cely Woe to him upon whom que le fauchon regarde. the falcon casts his gaze! Rose, liz, printemps, verdure, Rose, lily, springtime, greenery, Fleur, baume et tres douce odour, flower, balm, and sweetest perfume: Bele, passés en douçour. Beauty, you surpass them in sweetness. Et tous les biens de Nature, And all the gifts of nature avez dont je vous aour. are yours, for which I adore you. Rose, liz, printemps, verdure, Rose, lily, springtime, greenery, Fleur, baume et tres douce odour. flower, balm, and sweetest perfume Et quant toute creature And since your virtues surpass Seurmonte vostre valour, all living creatures, Bien puis dire et par honnour: I must say in all honor: Rose, liz, printemps, verdure, Rose, lily, springtime, greenery, Fleur, baume et tres douce odour, flower, balm, and sweetest perfume: Bele, passés en douçour. Beauty, you surpass them in sweetness. Par maintes foys avoy recoillie How many times are the skies filled Du rossignol la douce melodie with the sweet song of the nightingale! Mais ne si veult le cucu a corder. But the cuckoo never joins in; Ains veult chanter contre ly par envie, he prefers to sing enviously Cucu, cucu, cucu toute sa vie “Cuckoo, cuckoo” all his life. Car il veult bien a son chant descourder. He wants his song to bring discord. Et pourtant dit le reussignol et crie; So the nightingale cries out: Je vos commant quon le tue et ocie “I command that you shall be killed. Tue tue tue tue tue Slain, slain, Oci oci oci oci oci killed, killed, Fideli fideli fideli fi fie upon you, fie upon you, Fi du cucu qu d’amors veut parler. Cuckoo who wants to speak of love.” Si vous suppli ma tres douce alouete, “I beg you, dear skylark, Que vous voules dire votre chanson; thus to sing your song: Lire lire lire lire liron lire, lire, liron, Que dit Dieu, que te dit Dieu. Il est temps as God tells you. It’s time Que le reussignol die sa chansonnette; for the nightingale’s little song; Oci oci oci oci seront killed, killed, they’re killed, Qui vos vont guerroyant. those who wage war with you.” Assembles vous; prenes la cardinette “Flock together; bring the goldfinch Faites chanter la calle et le sanson. and make him and the starling sing out. 5 Tues bates se cucu pile bisson. Kill the cuckoo and silence him. Il est pris, soit mis amort orrement. He is taken, let him be killed. An joli ver vos queres culli la mosette, in the lovely springtime praise the hawk, Ami ami ami ami tardis our friend, our friend; Seray le dieu d’amours priant. and praise the god of love.” Se Zephirus, Phebus If Zephirus, Phoebus, et leur lignie and their descendants Furent d’acort pour moy donner confort. were willing to grant me comfort, Et s’eüsse Fortune pour amie. and if I had Fortune on my side, Si croi je bien qu’encor seroit ce fort. I believe I would be powerful enough Que eusse bien sante to allow me to enjoy health, ne Reconfort and reassurance. Quant a present esbatement ne Joye. Since for now I’d find no delight or joy Se devant moy, ma dame ne veöye. if I cannot see my lady before me. Se Jupiter qui donna seignurie If Jupiter, who gave power to Au cler veänt Argus pour amer fort clear-eyed Argus to strongly love 6 Venus qui fu sa deësse et s’amie Venus, his goddess and lover, Et me vausist d’amors donner le port. would show me the harbor of Love, Ne pouroit pas mon cuer estre d’acort then my heart would not agree Que fusse gay pour chose que ie voye for me to have joy from any visible thing Se devant moy, ma dame ne veöye. If I cannot see my lady before me. Car c’est celle que me puet donner vie For it is she who can give me life; Ne ie quier pas avoir autre ressort I don’t wish for any other help. Si li sopli que me soit enaÿe And so I beg her to support me, quar certes ie n’ay soulas ne depourt. for, indeed, I have no solace or pleasure Et sa beaute si doucement ma mort and her beauty gently kills me Que nullement estre liez ne porroye so that I in no other way can be happy Se devant moy, ma dame ne veöye. if I cannot see my lady before me. Si pri amours et a merci supplie So I pray Love and beg Mercy Que pitie qui on cuer ma dame tort. that Pity, who sleeps in my Lady’s heart Recueillent pour estre de ma partie should awaken and take up my cause Qu’autrement, certes, brief m’aroït mort otherwise for sure I shall soon die, Car ma langor trop fort me point et mort because my longing tortures me so harshly Si que ensement vivre ainsy ne porroye I can’t go on living this way Se devant moy, ma dame ne veöye.
Load more

Recommended publications
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • 02 Chapter 1 Stoessel
    Prologue La harpe de melodie faite saunz mirancholie par plaisir doit bien cescun resjorr pour l'armonie orr, sonner et vei'r. J With the prior verses begins one of the most fascinating musical works in the ars subtilior style, composed by the master musician Jacob de Senleches. This composer, as his name suggests, was a native of northern France whose scant biographical details indicate he was a valued musician at courts in the south at Castile, Navarre and possibly Avignon.2 La harpe de melodie typifies several aspects of the present study. Firstly, its presence in a n1anuscripe copied in the city of Pavia in Lombardy indicates the cultivation of ostensibly French music in the ars subtilior style in northern Italy. Secondly, its musical notation contains novel, experimental notational devices and note shapes that parallel intellectual developments in other fields of culture in this period. I "The melodious harp made without melancholy to please, well may each person rejoice to hear, sing and hear its harmony." (All translations are mine, unless otherwise specified.) 2 The conclusion that Jacob de Senleches was a native of northern France is made on the premise that Senleches is the near-homophone of Senlecques, a village just south of Calais in the County of Artois. The only surviving archival evidence concerning Jacob de Senleches consists of a dispensation made at the Court of Navarre by Charles II of Navarre on 21 sl August, 1383 which speCifies: ... 100 libras a Jacomill de Sen/aches, juglar de harpe, para regresar a donde se encontraba el cardenal de Aragon, su maestro (" 100 libras for Jacob de Senleches, player of the harp, to return to where he was to meet the Cardinal of Aragon, his master."), Jlid.
    [Show full text]
  • CAPTURING MUSIC Writing and Singing Music in the Middle Ages THOMAS FORREST KELLY Morton B
    CAPTURING MUSIC Writing and Singing Music in the Middle Ages THOMAS FORREST KELLY Morton B. Knafel Professor of Music, Harvard University BLUE HERON Scot Metcalfe, direcor SATURDAY NOVEMBER 15, 2014 3 PM & 8 PM Firs Church in Cambridge, Congregational PROGRAM PART 2 at 8 pm Povre secors / Gaude chorus (Montpellier Codex, early 14th century) BG MB JM Capturing Music Diex qui porroit / En grant dolour (Montpellier Codex) Writing and Singing Music in the Middle Ages JM BG HARP Aucun ont trouvé / Lonc tans (Montpellier Codex) Tomas Forres Kelly Morton B. Knafel Professor of Music, Harvard University JM MB ST Blue Heron Scot Metcalfe, direcor Garrit gallus / In nova fert (Roman de Fauvel, 1314-18) IH MN SM Guillaume de Machaut (c. 1300-1377): Biauté qui toutes autres pere PART I at 3 pm OM JM MB Io son un pellegrin (14th century) Introit Ad te levavi OM ST soloist MB Jacob Senleches (f. 1380s): En atendant, Esperance conforte Introit Resurrexi OM CW SM soloist PT Baude Cordier (f. c. 1400): Belle, bonne, sage, plaisant et gente Alleluya Pascha nostrum MN CW SM soloist PG Johannes Ockeghem (c. 1420-1497): Kyrie, Missa prolationum Hymn Ut queant laxis MN IH JM MB Leoninus (f. 1180s-1200): Alleluya Pascha nostrum soloist JM Perotinus (f. c. 1200): Alleluya Pascha nostrum soloists MB & ST (Alleluya) / OM & JM (Pascha nostrum) Michael Barret, Brian Giebler, Paul Gutry, Ian Howell, Clausula Latus est (Magnus liber organi) Owen McIntosh, Jason McStoots, Martin Near, Mark Sprinkle, soloist MS Sumner Tompson, Paul Max Tipton, voices Motet Immolata paschali victima (Magnus liber organi) Charles Weaver, lute & voice MS JM Scot Metcalfe, director, harp & fddle Sumer is icumen in / Perspice Christicola (c.
    [Show full text]
  • Bells and Trumpets, Jesters and Musici: Sounds and Musical Life in Milan Under the Visconti
    Lorenzo Tunesi – Bells and Trumpets, Jesters and Musici 1 Bells and Trumpets, Jesters and Musici: Sounds and Musical life in Milan under the Visconti Or questa diciaria, Now [I conclude] my speech, perché l’Ave Maria since the Ave Maria sona, is ringing, serro la staciona I shut up shop nén più dico1 and I won’t talk anymore These verses, written by the Milanese poet and wealthy member of the ducal chancellery Bartolomeo Sachella, refer to a common daily sound in late Medieval Milan. The poet is quickly concluding his poem, since the Ave Maria is already sounding. When church-bells rang the Ave Maria, every citizen knew, indeed, that the working-day was over; thus, probably after the recitation of a brief prayer in honour of the Virgin, shops closed and workers went home. Church-bells were only one of the very large variety of sounds characterising Medieval cities. Going back over six-hundred years, we could have been surrounded by city-criers accompanied by trumpet blasts, people playing music or singing through the streets, beggars ringing their bells asking for charity, mothers’ and children’s voices, horses’ hoofs and many other sounds. All these sounds created what musicology has defined as ‘urban soundscape’, which, since the pioneering study by Reinhard Strohm, Music in Late Medieval Bruges (1985), has deeply intrigued music historians. The present essay aims to inquire into the different manifestations of musical phenomena in late Medieval Milan, relating them to the diverse social, cultural and historical contexts in which they used to take place. My research will focus on a time frame over a century, ca.
    [Show full text]
  • TITLE Pages 160518
    Cover Page The handle http://hdl.handle.net/1887/64500 holds various files of this Leiden University dissertation. Author: Young, R.C. Title: La Cetra Cornuta : the horned lyre of the Christian World Issue Date: 2018-06-13 La Cetra Cornuta : the Horned Lyre of the Christian World Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden op gezag van Rector Magnificus prof.mr. C.J.J.M. Stolker, volgens besluit van het College voor Promoties te verdedigen op 13 juni 2018 klokke 15.00 uur door Robert Crawford Young Born in New York (USA) in 1952 Promotores Prof. dr. h.c. Ton Koopman Universiteit Leiden Prof. Frans de Ruiter Universiteit Leiden Prof. dr. Dinko Fabris Universita Basilicata, Potenza; Conservatorio di Musica ‘San Pietro a Majella’ di Napoli Promotiecommissie Prof.dr. Henk Borgdorff Universiteit Leiden Dr. Camilla Cavicchi Centre d’études supérieures de la Renaissance Centre National de la Recherche Scientifique Université de Tours Prof.dr. Victor Coelho School of Music, Boston University Dr. Paul van Heck Universiteit Leiden Prof.dr. Martin Kirnbauer Universität Basel en Schola Cantorum Basiliensis Dr. Jed Wentz Universiteit Leiden Disclaimer: The author has made every effort to trace the copyright and owners of the illustrations reproduced in this dissertation. Please contact the author if anyone has rights which have not been acknowledged. TABLE OF CONTENTS Acknowledgements vii Foreword ix Glossary xi Introduction xix (DE INVENTIONE / Heritage, Idea and Form) 1 1. Inventing a Christian Cithara 2 1.1 Defining
    [Show full text]
  • The American Bach Society the Westfield Center
    The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance.
    [Show full text]
  • Chapter 2: Secular and Cathedral Music in the High Middle Ages I
    Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example.
    [Show full text]
  • Subtilitas in the Tonal Language of Fumeux Fume
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@University of Nebraska University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 5-1988 Subtilitas in the tonal language of Fumeux fume Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Subtilitas in the tonal language of Fumeux fume" (1988). Faculty Publications: School of Music. 46. https://digitalcommons.unl.edu/musicfacpub/46 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Early Music, Vol. 16, No. 2 (May, 1988), pp. 176-183. Copyright © 1988 Oxford University Press. Used by permission. Subtilitas in the tonal language of Fumeux fume Peter M. Lefferts Figure 1. Groups of singers depicted in the manuscript containing Fumeux fume (Chantilly, Musée Condé, Ms lat 1047, f.37) he late 14th-century French repertory contains mu- a new edition, together with a defense of its idiosyncra- Tsic characterized by an ingenuity and great subtle- cies. Of necessity, such an edition constitutes a version ty whose terms of reference are entirely derived from that irons out the source’s ambiguities, and interprets within the art itself. One of the best-known French chan- its pitch notation as an indication of how this chanson sons of the period, the rondeau Fumeux fume by Solage, was meant to go.
    [Show full text]
  • Music of the Burgundians
    2015-2016 he Sounds of Time Music of the Burgundians TENET Jolle Greenleaf soprano Virginia Warnken Kelsey alto Jason McStoots tenor Andrew Padgett bass Robert Mealy vielle Dongmyung Ahn vielle Priscilla Herreid winds Jolle Greenleaf artistic director Robert Mealy guest music director 7pm on Friday, May 20, 2016 Saint Peter’s Church 619 Lexington Avenue New York City Music of the Burgundians (In memory of Richard Steinman) Donnés l’assault Guillaume Du Fay (1397–1474) De plus en plus se renouvelle Gilles Binchois (c. 1400–1460) La Danse de Clèves Anonymous, from Bruxelles MS 9085 Margarite, fleur de valeur Du Fay Je veuil chanter Du Fay Je ne vis oncques Binchois/Du Fay Je me recommande humblement Binchois Basse danse La Franchoise nouvelle Anonymous Mon cuer me fait dis penser Du Fay Plains de ploure Binchois Je me complains Du Fay Malhereux cueur Du Fay Dueil angoisseus Binchois Je demande ma bienvenue Johannes Haucourt (fl. c. 1390–c. 1416) Je ne puis vivre Antoine Busnoys (c. 1430–1492) De tous bien playne Hayne van Ghizeghem (c1445–1477) Josquin des Prez (c.1450–1521) Vostre beauté / vous marches Busnoys 3 Rabbit hunting with ferrets, Franco-Flemish, 1460 4 TEXT AND TRANSLATIONS Donnés l’assault a la fortresse Assault the fortress De ma gratieuse maistresse, of my gracious mistress, Hault dieu d’amors, je vous supplye; High god of Love, I beg of you. Boutés hors m’adverse partie Throw forth my enemy Qui languir me fait en destresse. who makes me languish in distress. C’est d’Anuy, qui par sa rudesse It is that of Spite, who, in his harshness De moy grever point ne se cesse never ceases to torment me my sweet and re- Envers ma dame gente et lye.
    [Show full text]
  • 496 BIBLIOGRAPHY [No Editor Named]. Les Colloques De
    BIBLIOGRAPHY [no editor named]. Les Colloques de Wégimont II—1955, L’Ars nova: Recueil d’études sur la musique du XIVe siècle. Paris: Les Belles Lettres, 1959. Alzati, Giovanna Cantoni. See Cantoni Alzati, Giovanna. Anderson, Gordon A. and Luther A. Dittmer, editors. Canberra National Library of Australia Ms. 4052/2 1-16: The Musico-Liturgical Fragments from the Nan-Kivell Collection: Facsimile Re- production of the Fragments. Publications of Mediaeval Musical Manuscripts 13. Henryville- Ottawa-Binningen: Institute of Mediaeval Music, Ltd., 1981. Angerer, J. “Die Begriffe ‘Discantus,’ ‘Organa’ und ‘Scolares’ in reformgeschichtlichen Urkunden des 15. Jahrhunderts,” Anzeiger der philosophischen-historischen Klasse der Österreichischen Akademie der Wissenschaften 109 (1972). pp. 146–171. Anglès, Higini. “Die mehstimmige Musik in Spanien vor dem 15. Jahrhundert,” Beethoven- Zentenarfeier vom 26. bis 31. März 1927. Vienna: Universal-Edition, 1927. pp. 158–63. Anonymous 4 [theorist]. Der Musiktraktat des Anonymous 4. Edited by Fritz Reckow. 2 vols. Wies- baden: Franz Steiner, 1967. Beihefte zum Archiv für Musikwissenschaft 4, 5. Antonio da Tempo. Antonio da Tempo: Summa artis rithimici vulgaris dictaminis. Edited by Richard Andrews. Collezione di opere inedite o rare 136. Bologna: Commissione per i testi di lin- gua, 1977. Apel, Willi. “French, Italian and Latin Poems in 14th-Century Music,” Journal of the Plainsong and Medieval Music Society 1 (1978). pp. 39–56. ———. French Secular Compositions of the Fourteenth Century. Corpus Mensurabilis Musicae 53. [Rome]: American Institute of Musicology, 1970–72. ———. French Secular Music of the Late Fourteenth Century. Cambridge, Mass.: The Medieval Academy of America, 1950. ———. The Notation of Polyphonic Music, 900–1600. Fifth, Revised Edition.
    [Show full text]
  • Music 10A: Survey of Music Literature John Dornenburg Guidelines For
    Music 10A: Survey of Music Literature John Dornenburg Guidelines for Listening Assignments: Extra sheets are in the Listening Lab All blanks must be completed with the following information: Composition No. refers to the number of the example in the Fuller anthology. Title refers to the full name of a given piece of music. Some pieces are simply named by the first words of the text, while others may be distinguished by their opus numbers and/or keys. The Fuller anthology gives titles in boldface type. Composer/Dates: names are underlined in Fuller. If the composer is not known (and you have checked in the notes which follow the example to be sure) the piece should be attributed to Anonymous (or abbreviated to Anon.). Give composer or composition dates. Period: write in the general historic time period in which the example was composed: e.g. Early Medieval, Notre Dame School, 13th Century, Ars Nova, Trecento, Ars Subtilior, Early Renaissance, Early Baroque, etc. Genre refers to the specific musical category illustrated by the example. This is usually indicated in Fuller beneath the piece's title (e.g. organum duplum, votive antiphon, Troubadour song, ballade, chanson, cyclic Mass, motet, chanson, ricercare, cantata, etc.). Sacred means that the music has a religious text. Secular means that the music is not religious. Theme or important features: On the music staff provided you must write in the main theme or important structural feature which identifies the example under study. For example, this should show the tenor and duplum voices in organum, the double leading tone cadence of the Ars Nova, the cantus firmus and head motif in a cyclic mass, or a bit of figured bass in monody.
    [Show full text]