THE MEDIAEVAL ACADEMY OF AMERICA PUBLICATION NO. 55

FRENCH SECULAR MUSIC OF THE LATE FOURTEENTH CENTURY

FRENCH SECULAR MUSIC OF THE LATE FOURTEENTH CENTURY

Edited by WILLI APEL

Edition of the Literary Texts by

ROBERT W. LINKER and URBAN T. HOLMES, JR. University of North Carolina

With Foreword by PAUL HINDEMITH Yale University

MEDIAEVAL ACADEMY OF AMERICA CAMBRIDGE, MASSACHUSETTS 1950 COPYRIGHT BY THE MEDIAEVAL ACADEMY OF AMERICA 1950

PRINTED IN U. S. A. JOHANNES WOLF IN MEMORIAM

FOREWORD

There is no need to praise once more the expert scholar- hints will suffice to make us aware of the creative power ship of this book's author, nor can anything be added to that keeps those structures in motion and of the human the laudable fact that a publisher's idealism makes pos- quality that guided their creators. sible the edition of a large selection of hitherto unknown To the performers the immediate contingence with this mediaeval compositions. But as a composer and as a music will open up new horizons. They will learn to performer of the earlier masters' compositions I feel that understand the shortsighted attitude of our present musi- a few words of encouragement, coming from a practical cal culture, which adores only those idols of audible musician, would help to a better appreciation of this high- beauty that are not much older than two hundred years. ly interesting, valuable, and stimulating publication. They soon will find it necessary to replace our contem- The modern musician's problems, of which there arc porary ways of performing, which oscillate between two so many, will lose some of their puzzling oppression if extremes — over-individualistic exhibitionism on the one compared with those of our early predecessors, as they side and the dullest metric-dynamic motorism on the appear in this volume. It is rewarding to see those mas- other — with the altruistic devotion which alone can re- ters struggle successfully with technical devices similar to vive this old music. those that we have to reconquer after periods in which The musicologists knew that after Fricdrich Ludwig's the appreciation of quantity, exaggeration, and search for publication of Machaut's works sooner or later the miss- originality in sound was the most important drive in the ing link between that composer and Dufay's generation composer's mind. They knew how to emphasize, on a would be made available. But to those other musicians fundament of wisely restricted harmony, the melodic and whose work is primarily concerned with present and fu- rhythmic share of a sounding structure. Their distribu- ture developments, whose historical knowledge is a tion of tonal weight, their cantilever technique of span- means to a better adjustment of their immediate duties, ning breath-takingly long passages between tonal pillars the present book will be a revelation and a source of both hardly finds its equals. Their unselfish and uninhibited information and delight. On behalf of all those who will way of addressing the audience and satisfying the per- touch the musical treasures displayed in the following former; the perfect adequacy of poetic and musical form; pages, I want to thank the author and the publisher for the admirable balance of a composition's technical effort their precious gift. and its sensual appeal — these are only a few of the out- Paul Hindemith standing solutions they found in their works. One could go on pointing out surprising and exciting features in Cambridge, Massachusetts those miraculous microcosms of sound, but these few March, 1950

vn

PREFACE

The present publication is intendi i to fill, in some special artistic merits and of interest from the point of measure, the most serious gap in our cnowledge of the view of style, of notation, or of formal treatment, have history of polyphonic music, that is, the development of been selected, and an attempt has been made to arrange French music between Machaut and Dufay. To be sure, them in such a manner as to present a line of historical there are other gaps which we would like to have elimi- development from the period of Machaut to the early nated, as, for instance, the early development from the years of the fifteenth century. Musica enchiriadis of the ninth century to the School of I would have been unable to offer this publication, St. Martial of the twelfth, or the development of Italian were it not for the invaluable assistance of two members polyphony throughout the fifteenth century. However, of the Department of Romance Languages of the Uni- the very greatness of the two names, Machaut and Du- versity of North Carolina: Robert W. Linker performed fay, imparts special significance to the period we are con- the tedious but vital job of paleographical scrutiny of cerned with here. Moreover, while in the two other cases the literary texts and prepared the Glossary, while Ur- the situation appears irremediable, owing to the lack of ban T. Holmes, Jr. rounded off Dr Linker's work and sources, there is ample material available for the study contributed the chapter on the Literary Texts of the In- of French music of the late fourteenth and early fifteenth troduction. To both of them I am profoundly grateful, centuries. It is gratifying to learn of various projects not only for their distinctive scholarly contribution but under way with the same general purpose as the present also for their gracious consent to appear as co-editors of publication, projects that will make available hitherto un- this publication. published material from the codices Oxford Bodleian Valuable assistance in the final checking of the tran- Library, Canonici misc. 213 and Torino, Biblioteca scriptions has been received from Mr. Richard Hoppin, Nazionale, / // 9. Cambridge, who has worked independently on the co- While the repertory contained in these codices is, in dices Chantilly and Modena, and who kindly permitted the main, from the early fifteenth century, we are con- me to compare his transcription with mine. Various cerned here with the immediately preceding period, ap- errors were thus eliminated. Prof. Erwin Panofsky of proximately from the death of Machaut (1377) to the the Institute for Advanced Study, Princeton, and Prof. first decade of the fifteenth century. The chief sources Jakob Rosenberg of Harvard University gave informa- for this period are the codices Ghantilly, Musee Conde tion about French painting of the period, information 1047 {Ch), Modena, Biblioteca Estense L. 568 (Mod), that, I hope, will prove as interesting to the readers as it and Paris, Bibliotheque nationale nouv. acq. jr. 6771, did to me. To Prof. Marcel Fran^on of Harvard Uni- the so-called Codex Reina (Rei), A number of smaller versity I am indebted for kind assistance in my own ef- sources serve to round off a repertory remarkable for its forts — not very successful, I admit — to penetrate into quantity of compositions and number of composers. the problems of mediaeval French paleography; and to The present publication is based upon transcriptions Prof. A. T. Davison, Harvard University, and Prof. of the entire contents of Mod, Rei and the subsidiary M. F. Bukofzer, University of California, for advice and sources, as well as nearly all the secular pieces in Ch. suggestions that have greatly contributed to make the From this material 81 compositions — representing book more serviceable. about one-half of the total material of French secular Finally, I wish to express my gratitude to the authori- compositions — have been selected with the idea of rep- ties of the Institut de France for granting permission to resenting the forms, the most important composers, and obtain photographs of the codex Chantilly, to Messieurs the various stylistic periods. Our collection starts with Henri Malo and de Boisdelisle, conservateur and archi- the complete output of the five most prolific composers, viste of the Musee Conde, for valuable help concerning a group consisting of two Italians, Matheus de Perusio certain problems of this Ms; to the Mediaeval Academy and Anthonellus de Caserta, and three Frenchmen, of America and to the Weyman Foundation, Depart- Solage, Trebor and Senleches. Their repertory is round- ment of Music, Harvard University, for financial assist- ed off by the addition of ten ballades, twelve virelais, and ance. eight rondeaux. In each of these groups compositions of Boston, January, 1950. W.A.

IX

TABLE OF CONTENTS

Abbreviations Introduction A. General Outline 1 B. The Sources 3 C. The Forms 5 D. The Notation 7 E. The Style 9 The Machaut Style 10 The Manncristic Style 10 The Modern Style 13 F. Questions of Performance 14 G. The Literary Texts 15 H Artistic Trends in the Late Fourteenth Century 17 I. Editorial Remarks 20 J. Notes 23 List of Compositions and Their Sources 27 Commentary 29 Index of Text Incipits 35 Glossary 37 List of Plates 39 Plates I-VIII Compositions 1*-133* I. Matheus de Perusio A. Four Ballades 1* B. Seven Virelais 9* C. Ten Rondeaux and One Canon 19* II. Anthonello de Caserta A. Five Ballades 31* B. One Virelais and Two Rondeaux 40* III. Solage A. Seven Ballades 45* B. Two Virelais and One Rondeau (50 * IV. Trebor Six Ballades 65* V. Jacob de Senleches A. Three Ballades 77* B. Two Virelais 83* VI. Ten Selected Ballades 85* VII. Twelve Selected Virelais 103* VIII. Eight Selected Rondeaux 126*

XI ABBREVIATIONS

I. SOURCES II. MODERN PUBLICATIONS

Cam Cambrai, Bibl. Comm. 1328 (1176) AMW Archiv fur Musikwissenschaft, Leipzig, 1918- 1928 Ch Chantilly, Musee Conde 1047 ApNPM W. Apel, The Notation of Polyphonic Mu- It Paris, Bibl. Nat. It. 568 sic, 900-1600, Cambridge, 1942; fourth re- Iv Ivrea, Biblioteca del Capitolo (without number) vised edition 1949 CS E. de Coussemaker, Scriptorum de musiat I.o London, Brit. Mas. Add. 29987 medii aevi nova series, 4 vols., Paris, 1864— Mod Modena, Bibl. Estensc Lat. 568 1876 Pad Oxford fragment (Bodl. Libr. Canon. Scr. eccl. LuGM F. Ludwig, Guillaume de Machaut, Musika- lische Werke, 3 vols., Leipzig, 1928 229) of the Ms Pad A [see LuGM ii, 25b-26a] MQ The Musical Quarterly, New York, 1915— Pan Florence, Bibl. Naz. Panciatichi 26 ReMMA G. Reese, Music in the Middle Ages, New Pr Prague, Univ. Libr. XI E 9 York, 1940 Rei Paris, Bibl. Nat. nouv. acq. fr. 6771 {Codex SIM Sammelbande der Internationalen Musik- Reina) gesellschaft, Leipzig, 1899-1914 Sir Strasbourg, Bibl. Comm. 222 C 22 [mostly de- WoGM J. Wolf, Geschichle der Mensuralnolalwn, stroyed; see Ch. van den Borren, in Annales de 3 vols., Leipzig, 1904 VAcademic Royale d'Archeologie de Beige, 1923— WoIIN J. Wolf, Handbuch der Nolalionskundc, 25, for list of contents] 2 vols., Leipzig, 1919 7 r MS formerly in the possession of the duchess de la ZMW Zeitschrift fur Musikwissenschaft, Leipzig, Tremollle [mostly lost; see H. Besseler, in AMW 1918-1935. viii, 1926-27, p. 236f, for list of contents].

HI. TECHNICAL TERMS /. longa s supcrius r> brevis C contratcnor s semibrevis T tenor M minima Tr triplum Sm semiminima 6, S 41 No. 6, supcrius, measure 41

12,2] tempus unperfectum cum prolatione imperfecta 12,31 lempus imperfeclum cum prolatione perfecla 13,2] tempus perfectum cum prolatione imperfecta [3,3] tempus perfectum cum prolatione perfecta

xu INTRODUCTION

A. GENERAL OUTLINE posers who are known to us by more than one composi- tion, arranged according to the number of attributed Machaut, usually spoken of as the 'predecessor' of Du- pieces: fay, was born almost exactly one hundred years before him. Thus, these two masters are in a relative position Matheus de Perusio (22) (6) comparable to that of Frescobaldi and Bach, or of Beeth- Matheus de S. Johannc (4) Solage (10) oven and Ravel. Even making considerable allow- Cuvelier (3) ance for the slower speed of evolution in earlier cen- Anthonello de Caserta (8) Egidius(3) turies and for the unavoidable reduction of perspective Senleches (6) (7) Suzay (3) resulting from the remoteness of our point of view, one Trebor(6) Cordier (2) hundred years arc too long a period to be overlooked or Philipoctus de Caserta (5) (?) Mag. Franciscus (2) dismissed. Vaillant (5) Guido (2) Galiot (3) (7) Hasprois (2) Although not enough material has been published so Grimace (4) Pierre de Moulins (2) far to permit detailed investigations, the general outlines of the development leading from Machaut to Dufay can be indicated. This long period of transition can be di- Of particular interest is the presence, among these vided into two main schools, one occupying roughly the composers, of three Italians, Matheus de Perusio, An- second half of the fourteenth, the other, the first half of thonello de Caserta, and Philipoctus de Caserta, all the the fifteenth century. The earlier of these schools is rep- more as they are among the most productive composers resented by the codices Chatitilly, Modena, Reina, U) of French secular music, as appears from their position and their subsidiary sources. (2) Here we find French in the above list. There can be little doubt that these composers like Solage, Trebor, Senleches, Galiot, Cuve- Italians actually worked in French surroundings; for lier, Suzay, Grimace working side by side with Italians their works are decidedly French in character, form, and like Philipoctus de Gaserta, Anthonello de Caserta, and style. The nearest explanation at hand for this Franco- Matheus de Perusio. The main sources for the later Italian cooperation is, of course, that they were active in group are the codices Canonici misc. 213 of the Bod- Avignon, residence of the popes during the exile (1305- leian Library and Cod. 37 of the Liceo Musicale, Bo- 1378), and of the antipopes during the schism (1378- logna. These include compositions by Baude Cordier, (3) 1417). The importance of the papal court as an inter- Fontaine, Ciconia, Lebertoul, Nicolas Grenon, Hugo de national meeting place is well known. 'It was a cere- Lantins, Arnolt de Lantins, as well as Tapissier, Carmen monious and brilliant court, the most distinguished in and Cesaris (4) who, as Martin le Franc tells us in his Europe. A vast number of chamberlains, officials of all poem, Le Champion des dames, of c. 1440, were the ad- kinds, councillors, chaplains, domestic servants, diplo- miration of 'tout Paris' before the appearance of Dufay matic representatives, visitors and messengers thronged and Binchois. the palace, claimed the attention and struggled for the 8 The present publication is devoted to the first of these favors that flowed from the pope.' ( ) That Italians two schools, formed by the immediate successors of should have been particularly attracted to this court, is Machaut. The total repertory contained in the sources a surmise hardly in need of being supported by reference of this period consists of liturgical pieces (Mass items, to Petrarch, who spent a great deal of his life in Avig- etc.), motets, and secular compositions, (5) with the last non, although certainly not as one seeking favors from category far out-numbering the two others. For in- the pope. stance, the above mentioned three main sources contain Several considerations can be adduced in support of approximately a dozen sacred compositions, about fifteen the theory that Avignon was the center of a musical motets, and over 200 secular pieces, mostly with French, school during the fourteenth century. The famous bull but occasionally with Italian and Latin texts. In the'fol- of John XXII, issued from Avignon in 1324/25, in lowing study only the French secular compositions, ex- which the state of church music is severely criticized, was clusive of those by Machaut, are considered. probably directed in the first place against the church More than half of these are attributed to composers. music in Avignon, although it was, of course, meant to The number of these composers is surprisingly great, and apply wherever similar situations existed. The earliest a complete list would include more than forty names. direct evidence of the Avignon schools exists in the codex Thus we find a situation strikingly different from that of Ivrea whose original repertory, according to H. Besseler's the preceding period which is represented practically by 'gut gegriindete Vermutung,' (9) represents the School of a single composer, Machaut. Following are all the com- Avignon during the third quarter of the fourteenth cen- GENERAL OUTLINE tury. Ivrea contains a motet to the Pope Clement VI composers of our period. With one exception, the bal- (1342-52) as well as a motet critizing the corruption of lade Helas pitie (No. 42), all the extant pieces by Trebor the papal government. Evidence of continued musical are addressed to members of the French or Spanish no- activity of this school is found in Mod and Ch. Both bility. Se Alixandre (No. 45) and Se July Cesar (No. these sources contain a Latin ballade, Indite jlos, which 46) are dedicatory ballades for Gaston III, Count of Foix has a 'Tenor pro papa Clemente,' and the French bal- (1331-1391) who, for his extraordinary beauty, was lade, Par les bons gedeons by Philipoctus {WoGM, no. known as Gaston Phoebus, a name to which the motto 66), also found in both Mss, has the refrain: 'Par le 'Febus avant' of the second ballade refers. En seumeil- souvcraync pape qui s'apelle Clement.' Both composi- lant (No. 44) refers to King John I of Aragon (1387- tions evidently refer to the French antipope Clement 1396) and his expedition to Sardinia in 1389. (14) Pas- VII who established himself in Avignon in 1378, shortly ser ose de beaute (No. 41) is a eulogy of one Margaritc after Urban VI had been elected pope in Rome, and whose husband is referred to as 'Jupiter'. (15) Finally, who thus inaugurated the so-called Western schism Trebor's Quant joyne cuer (No. 43) praises ie roy which was terminated by the Council of Constance, in puissant. . . qui porte d'or et de gueules gonfanon,' that 1417. In Philipoctus' ballade the 'sisme' is expressly is, the King of Navarre. (16) Cuvelier's Se Galaas mentioned. Yet another composition of this group is the {WoGM, no. 65) praises Gaston Phoebus with the same ballade Courtdis et sages by Egidius (No. 57), in which motto, 'Febus avant,' as Trebor's Se July Cesar, while reference is made to the 'election' of 'Sains peres.' Al- Solage's S'aincy estoit (No. 34) celebrates 'Jhean, due though no name is given, there is no doubt that the gentilz de Berry.' 5 'droit seignour of this French ballade is the French This last ballade brings into our perspective one of the 10 Pope Clement VII, not the Italian Pope Urban VI. ( ) most splendid princes of the time, and one of the great- Aside from these specific examples it is, of course, im- est patrons of art in all history, Jean, due de Berry possible to say exactly which pieces of our repertory (1340-1416), brother of King Charles V of France and originated in Avignon. Obviously, however, the papal of Philip the Bold of Burgundy. Two of the most beau- court of the exile as well as of the schism, with its al- tiful Hour Books were made for him, Les Grandes most proverbial luxury and worldliness, was a fertile Heures du Due de Berry by Jacquemart Hesdin (who ground for the production, not only of sacred but even entered the service of the duke in 1384), and the famous more of secular music. The bull of John XXII, with its Trh Riches Heures du Due de Berry of the brothers strict directions for the restoration of dignity and sim- Limbourg, a work begun in 1413. Many other artists plicity in church music, is hardly representative of the frequented his sumptuous court, poets praised him, and general situation. (H) It was particularly under John's music could not be wanting in such surroundings. In successor, Clement VI, that lavish extravagance over- Solage we find a composer who, at least for some time, ruled all other considerations, so much so that Petrarch was connected with the court of the duke. Gaston called Avignon 'Babylon.' Phoebus, who entertained a splendid court at Orthez, Painting is known to have flourished in Avignon since was a no less brilliant representative of late mediaeval 1335, when Simone Martini arrived from Siena, trans- chivalry. Jean Froissart (1333-1410), the ubiquitous ferring the Sienese style to France. Of particular inter- chronicler of the period, speaks of him most enthusiasti- est from our point of view are the frescoes in the 'Tour cally. Equally devoted to 'les armes, Pamour et la chasse' dc la Garderobe' of the papal palace. (12) In spite of the (as he said of himself), Gaston wrote a book on hunting purely religious character of the Sienese School, and which every grandee of the fifteenth century was anxious although forming a decoration of a papal residence, the to have copied for himself. One of these copies, the rich- frescoes are profane paintings, each representing a hunt- ly illuminated Livre de chasse of the early fifteenth cen- ing scene, and showing flat figures, usually a hunter and tury, is among the most exquisite products of French an animal, against a dense background of stylized trees miniature art. and foliage. Thus they constitute an interesting evidence The extravagant splendor of these princely courts is of the early intrusion of secular art into the papal court reflected in the literary style of the dedicatory ballades of Avignon. that our poet-musicians addressed to their patrons. Fol- A considerable number of ballades contained only in lowing the example of the leading poets of their day, Ch point to a social sphere different from, but no less in- Jean Froissart (1337- after 1400) and Eustache Des- teresting than Avignon, that is the secular courts of champs (c. 1350-1422), they wrote them as stilted and southern France and northern Spain. Particularly Tre- grandiloquent eulogies, often with allegorical allusions bor appears as an interesting representative of a class of to the famous figures of classical legend and history. courtly poet-musicians that also included Jacob de Sen- Most of these allusions are taken from the well-known leches, Solage, Cuvelier, (*3) and probably many other theme of the Nine Heroes {Les Neuf Preux) which be- THE SOURCES came popular through Jacques dc Longuyon's Voeux du collection under Nos. 67 to 73. The naive simplicity of Paon of 1310. The hero of this poem is Porus (see No. their texts contrasts sharply with the stilted rhetoric of 46), and his deeds are glorified by references to those the court ballades, and a similar contrast exists between of the Nine Heroes of yore, a group including three He- the musical styles of these two groups. There can be brews, three pagans, and three Christians. The group of hardly any doubt that all of these 'realistic' virelais the pagan heroes consists of Hector, Alexander, and originated in a strictly localized school. Although we Cesar: the very names that our poet-musicians used in have no clear evidence, there is reason to assume that their efforts to reach the pinnacle of extravagant eu- logy. (IV) they belong to a bourgeois culture of northern France, Paris or perhaps Reims where Machaut worked. We Trcbor's ballade En seumeillant (No. 44) for John I shall try to substantiate this theory in a later chapter (sec of Aragon leads us from France to that kingdom in p. 20a). northern Spain which, with Barcelona as its capital, was a great center of political and cultural power throughout the fourteenth century. Through the studies of H. B. THE SOURCES Angles and A. Pages (18) we are well informed about the Since detailed descriptions of our sources are available musical and literary life at the court of Aragon under elsewhere (21) we shall consider them here only to the Peter IV (1335-1387), John I (1387-1396), and Martin extent required by the scope of the present collection. I (1396-1429). Among the numerous musicians who were The three main sources of our repertory, Mod, Ch, active under these kings, several are known to us through and Rei, are usually considered as having been copied in their compositions, namely, Jacob de Senleches (also re- Italy. (22) However, as far as I know, no proof or even ferred to as Selenches, Selesses, or Jacomi), Antoni Tail- reason for this sweeping statement has ever been given. landier, and Gacian Reyneau. U9) John I took a par- Prof. B. L. Ullman, to whom I am greatly indebted for ticularly lively interest in music, (20) and so did his sis- his authoritative opinion on this matter, has come to the ter, Eleanor of Aragon. Her death, in 1382, prompted following conclusions as the result of a paleographical Jacob de Senleches to write and compose one of the most study: touching poems of the period, namely, his Fuions de ci (No. 47), addressed to his wife, the 'povre compaigne,' Mod: 15th-century Italian hand, probably between whom he asks to flee with him from their present place 1425 and 1450. where, after the death of 'la royone d'Espaingne, nostre Ch: French, late 14th century. maestresse' they would shortly be left without help: 'car Rei: French, late 14th century, probably south- en brief temps on n'ara de nos cure.' They will send a west France. prayer to God for the soul of the deceased, It: Northern Italy, turn of 14th/15th centuries. Et puis pensons d'alcr sans nul sojor Puisque perdu avons Alionor. Cam: England or northwest France, second half of 14th century. Is it too far fetched if we see in this poem, not only the expression of the unhappy fate of an individual, but These results tally well with the information gained also the indication of the impending decline and fall of from the contents of the Mss, as will appear from the his entire profession? Senleches was, no doubt, among subsequent explanations. the last of those poet-musicians whose existence was so Although the Mss Ch, Mod, and Rei are closely re- closely bound up with the extravagant luxury of sump- lated by their general historical position as well as by a tuous baronial courts. During the first two decades of certain amount of overlapping of their contents, they the fifteenth century most of these were reduced to rela- nevertheless show interesting differences in their respec- tive insignificance under the impact of the English in- tive repertories. As has been previously mentioned, the vasions and of the all-overshadowing rivalry between the dedicatory ballades arc found exclusively in Ch. Most houses of Burgundy and Orleans, out of which Burgundy of the 'realistic' virelais, on the other hand, occur in Rei. emerged as the main cultural center of the period, offer- Ch contains three such virelais, two of which, Grimace's ing within its large realm much greater opportunities to Alarme alarme (No. 72) and Borlet's He Ires doulz rous- artists than had ever existed before. signol (No. 67) exist in Rei, though in different versions Turning back to our repertory of the late fourteenth (see also No. 68). The third is Vaillant's Par mainlcs century, we find yet another sharply delineated complex joys (No. 69), better known in Oswald von Wolken- of compositions that calls for attention in this general stein's German contrafactum, Der May. (23) The anony- survey. It is formed by a group of virelais that employ mous Or sus vous dormez irop (No. 70) recurs in four or bird cries or fanfares. They are placed together in our possibly five of the smaller sources. None of these real- THE SOURCES istic virelais, however, nor any of the dedicatory ballades French secular music. As regards their historical posi- exist in Mod. tion, the Mss Lo (London, Brit. Mus., Add. 29987), It There are also differences among the Mss as regards (Paris, Bibl. Nat., It. 568), and Pan (Florence, Bibl. the composers represented. The most striking fact is Naz., Panciatichi 26) can be said to represent, on the that Matheus de Perusio, in spite of the exceptionally whole, the period of Rei and Ch, while Cam (Cambrai, large number of his extant compositions, occurs only in Bibl. Comm., 1328) and Iv (Ivrea, Bibl. del Capitolo) Mod. Similarly, Anthonello de Caserta is represented belong to a somewhat earlier period. Of the circa twenty chiefly in Mod, and only two of his eight compositions compositions which these sources have in common with (Nos. 23 and 25) are duplicated in Rei. On the other the three main Mss, only two occur in Mod, and both hand, Solage, Trebor, Vaillant, as well as most of the of these exist also in one of the other two main Mss. (26) other French composers, occur exclusively in Ch. Only Attention may be called to a small number of compo- two musicians, Senleches and Philipoctus de Caserta, can sitions which, for some reason or other, have found their be said to be represented equally in all three sources. (24) way into the majority of the subsidiary sources, although There is reason to assume that the repertory of Rei is, they are encountered only sporadically in the main Mss. generally, of a somewhat earlier date than that of Ch, These compositions are: and Ch earlier than Mod. The main basis for this as- 1. Pierre de Moulins, Amis tout dous vis (It, 4r; Pr, sumption is a stylistic investigation of the total repertory. 251r; Iv, 2v; Str, nos. 33 and 134; Tr, no. 18). Tran- As will be later shown more fully, three distinctive styles scribed in F. Kammerer, Die Musikstiicke des Prager can be observed within the tradition of the late four- Kodex XI E 9 (1931), p. 145. See also LuGM ii, teenth and early fifteenth centuries. The first of these p. 20a, n. 2 (27) (A) is closely related to the style of Machaut. Obvious- 2. Or sus vous dormez trop (No. 70; see List of Compo- ly, the compositions of this group represent the output of sitions and Sources). his immediate pupils or successors who deliberately fol- 3. Quiconques veut (Cam, 8r; It, llr; Pan, 80*-; Iv, 6^; lowed his model. The second style (B) differs sharply Tr, no. 87). See LuGM ii, p. 16b, n. 2. from the first in its much greater complexity of nota- 4. Pierre de Moulins, De ce que fol pense (Rei, 40r; Ch, tional devices and musical texture. In the third (G) the 53v; It, 124r; Pan, 87"-; Tr, no. 26; MacVeagh [see extravagance or mannerism of the second style is aban- LuGM ii, p. 21b]; Str, no. 52). Transcribed in WoHN doned in favor of a new simplicity and gracefulness that i, p. 354 and Droz-Thibault, Poetes et musiciens du XVe may be considered as the first step leading to Dufay. The fiecle (1924), p. 21. Nos. 63, 1, and 15 are representative examples of these r 5. Bartolino, La douce cere (Rei, 13v; //, 42 ; Lo, 14v; three stylistic categories. v Pan, 108 ; Florence, Law..pal. 87 [Squarcialupi Codex], The compositions of group A are found mostly in Rei, 101v). Transcribed in WoGM iii, no. 45. partly also in Ch, but are absent in Mod. Examples of group B are very frequent in Ch and Mcfd, while Rei 6. De jour a jour (Rei, 66f; It, 121v; Pan, 74"> Str, no. contains only a few of them, notably two ballades by 72; Tr, no. 73; Brit. Mus., Cotton Titus A 26, p. 3v [cf. Anthonello (Nos. 23, 25) and one by Philipoctus (No. AMW vii, p. 233]; Munich, MS 3232a). See Dezes, in 59), all of which exist also in Mod, the last also in Ch. ZMW x, p. 99ff (the transcription given there is incom- The category G, finally, is most clearly represented by plete and partly wrong). some compositions of Matheus de Perusio (all in Mod), Special interest attaches to the concordances found in such as his rondeaux Nos. 15, 18, and 19. Since other Iv, since this Ms can, with reasonable certainty, be as- compositions by Perusio clearly belong to the category B sumed to contain a repertory not later than 1375. It (Nos. 1, 3, 5), he appears as an important link in the therefore provides an ulterior date for one composition evolutionary process of the period about and shortly after of our collection, Or sus vous dormez trop (No. 70). 1400. He was a member of the choir of the Cathedral at Since this is one of the realistic virelais, this genre proba- Milan from 1402 to 1414.(25) Evidently he is the latest bly flourished at about the time of Machaut's death of all the composers represented in our repertory, except (1372). It will be remembered that Rei is the main perhaps for Grenon (Je ne requier: Mod, 47V), who source for this genre. flourished from 1421 to 1427, and Ciconia (No. 66), Of similar interest are the concordances of Tr, a Ms who was canon at Padua about 1400. that in all probability was compiled by one Michael who Turning now to a consideration of the subsidiary Mss, was chaplain to Charles V (1364-1380). According to a glance at the column marked 'Other Sources' of our an original inscription it was probably written in List of Compositions and Sources (p. 27) will give a gen- 1376. (28) Unfortunately, only its list of contents has eral idea of their relative importance in the field of survived. According to this, Tr contained Mag. Fran- THE FORMS ciscus' De Narcissus (No. 55), and about a dozen other Perhaps it is not unnecessary to remark here that even compositions known from other sources. One of these in those numerous cases where a composition is pre- compositions, Dame sans per, exists in Mod (p. 28V) or, served without full text (as is often the case particularly to state it somewhat more cautiously, bears the same title in // and Pan) it is nearly always possible to determine as the piece in Mod. In fact, since only the index of Tr its poetic-musical form. As is well known, the music for is preserved, we cannot be certain that the compositions, each of the three forms fixes consists of two sections, nor even the full texts are the same as those found in an- S and T, (29) which are always clearly marked off in the other source. An interesting case illustrating this point original by a vertical stroke. By repeating these sections may be mentioned here. A ballade of Philipoctus, pre- in various arrangements there result the characteris- served in Rei, Ch, and Mod, begins with the words En tic structures of these forms, namely, S S T for the bal- r emir ant vo douce pourtraiture (No. 59), and a compo- lade, S T T S S for the virelai, and S T S S S T S T for sition beginning with the same words is found in Cam. the rondeau. If the structure requires the immediate Now, Cam is doubtless one of the earlier sources, proba- repetition of one of these sections, two different endings bly contemporay with Iv and Tr, and it would be very (called ouvert and clos, and corresponding to our prima disturbing to find in this early source a composition and seconda volta) are provided, and the clos- ending which definitely belongs to our category B of the man- appears in the original notation as a short passage en- neristic period. An examination of Cam shows that not closed between vertical strokes. It is these short clos- only the music differs from that of Philipoctus, but also endings that provide a clue for the identification of form, the text, except for the first line. This example shows if a text is missing. In a ballade they appear at the end that the index of Tr can only tentatively be used for the of the first section (in other words, somewhere in the chronological fixation of compositions extant in other middle of the composition); in a virelai they appear at sources, for instance, the De Narcissus of our collection. the end of the second section (in other words, at the end of the composition); (3°) while in a rondeau there is no clos- passage. G. THE FORMS For the sake of clarity the various schemes used by Practically all the compositions of our repertory be- philologists and musicologists for the three fixed forms long to one of the three traditional forms fixes of French are given here: medieval poetry and music, that is, the ballade, the vire- lai, and the rondeau. The following survey shows the Ballade number of examples found in the most important a b a b b c G sources. 1. 2. 3. S S T Ballades Virelais Rondeaux Other Forms Rei 34 29 9 Id) Virelai 65 10 18 ABBA c d c d abba ABBA 1(3) Mod 28 18 16 Refrain Ouvert Clos Tierce Refrain 1(1) It 6 8 14 1. 2. 3. 4. 5. 2(4) Pan 8 2 6 S T T S S (1) Fr. Bartholino'j La douce cere. According to F. Ludwifj [LuGM ii, p. 29b] this is a madrigal with French text. It is Rondeau written in Italian notation and occurs in the Italian section of Rei. ABBA a b A B abba ABBA (2) Ch contains exactly 100 lyrical compositions, not includ- 1. 2. 3. 4. 5. 6. 7. 8. ing the two rondeaux by Cordier which were added later on separate front pages. The repertory of motets is also separated S T S S S T S T from the main corpus, starting on p. 60v. The 100 lyrical pieces include, in addition to the 93 tabulated above: 5 bal- lades (three by Machaut; two with Latin texts: Mayhuet, Arrangement of the Musical Scores Indite flos, and S. Uciredor, Angelorum psallat) and 2 virelais (a second copy of Solage's Tres gentil cuer [No. 38] and Laus detur Ballade Virelai Rondeau with a Latin text). E. Dannemann, in Die spdtgotische Musik- tradition in Frankreich und Burgund vor dem Auftrilcn Dufays (1936) T S T S T gives the figures 69, 8, and 17 (correctly 70, 12, and 18). s 1. 3. ]. 5. 2. 1 4 7 ?R (3) Matheus de Perusio's canon Andray soulet (No. 22). 2. 4. 3. 5. (4) Bartholino's La douce cere and the three-voice canon Quanje voy. 3. 6. THE FORMS Identical letters indicate lines with the same rhyme. Capital measures (63-70) 'rhyme' with the measures 3-10 of letters indicate refrain lines. The poetic structures arc repre- sented by their shortest models. The ballade is often extended the beginning. from a seven-line stanza to one of eight or more lines, and An interesting trait found in several ballades is the similar extensions are found with the rondeau and the virelai. emphasis, by slower motion and sustained chords, placed The ballade and the virelai normally have three stanzas. While in the ballade the above structure is repeated in Mo, the on the beginning of the refrain (section U). Particular- second and third stanzas of the virelai start with the ouvert. ly impressive in this respect are Trebor's Se Alixandre In the fifteenth century the virelai with one stanza was known as bagaelle. For more detailed information see H. Hewitt and (No. 45) and Cuvelier's Se Galaas (WoGM, no. 65) I. Pope, Harmonice Musices Odhecalon A (Cambridge, 1942), with their solemn acclamation of the mottos 'Ffoyx ct p. 43ff. Beam' and 'Febus avant.' The same principle is used in 1 As just noted, the musical form of the ballade is S S T. Mag . Franciscus' De Narcissus (No. 55; sec also the However, some of Machaut's ballades show an expand- Commentary), in Solage's En I'amoureux vergier (No. ed form, S S T U, in which U is a separate section for 31), and, less distinctly, in Trebor's En seumeillant (No. 44), in Solage's Calextone qui jut (No. 33), and else- the refrain (letter G of the above scheme). While among 33 the 40 ballades by Machaut there are only fifteen com- where. ( ) posed in this three-sectional form, this was adopted as The virelai, a lighter and more playful type of poetry the standard form by his successors. Concomitant with than the ballade, shows considerable variety in the de- this practice is a striking tendency toward increased tails of its poetic structure, such as number and length length. For instance, while one of Machaut's longest of lines, or scheme of rhymes. While all the virelais of ballades, the three-sectional Se pour ce muir [ed. Lud- Machaut have the full form of three stanzas, a shorter wig, no. 36] has 44 measures, the ballades in Ch and form with one stanza (bergerette) seems to have been Mod run to at least double this length, several of them preferred by the later poet-musicians. Of all the virelais being three times as long, such as Solage's Corps feme- of our repertory, only one has three stranzas, namely nin (No. 32) with 152 measures. Solage's Tres gentil cuer (No. 38). A few have two Four ballades by Machaut (nos. 6, 19, 38, 40) show stanzas, for instance, Matheus de Perusio's Dame sou- the form S S T T. This musical form, impossible, of vrayne (No. 8; the second stanza does not properly con- course, for ballades of seven lines, can be used only for form with the first in the scheme of rhymes) and Tres the eight-line ballade and, according to the principles douche (No. 65). Whether the lack of full texts is due of medieval poetry and music (which demand an identi- to omissions on the part of the copyists or is intentional cal scheme of rhymes for repeated sections of music), to avoid undue length cannot be decided. We certainly only for that special type where the lines 5 and 6 rhyme prefer the second of these explanations, since the vire- with 7 and 8 (ababbcbC (31) ), not where 5 rhymes lais of our repertory, if compared with those of Machaut, with 6 and 7 with 8 (ababccdD; see Machaut, nos. show the same tendency toward extended musical treat- 4, 14, 18, 20). All the ballades of the later period that ment, although to a somewhat lesser degree. To per- iiave been examined are in stanzas of seven lines, a form form a virelai like Or sus (No. 70) with three stanzas that excludes the use of the scheme S S T T. would certainly deprive it of its delightful spontaneity. Another important subspecies of the ballade is the Occasionally the poet-musicians made a further reduc- 'rounded ballade,' as it may be termed. This is charac- tion of the virelai form by omitting the tierce. Again, it terized by the use of an identical ending for the two sec- could be argued that this is merely the result of negli- gence on the part of the copyist, but unless such a virelai tions of music: ||:S+e:|| T+e or, in the three-sectional 34 type: ||:S+e:|| T U+e. This method is frequently en- is found elsewhere in a fuller form, ( ) we shall assume countered in the ballades of Machaut, particularly those the reduction is intentional. Therefore in these cases the forming the last part of the manuscript collections (e.g., following scheme will be used: nos. 27, 29, etc.). It is even more frequent in the bal- S T S T lades of our period. For instance, 17 of the 29 ballades 1.4. 2. rather than: 1.5. 2. in Mod (we exclude here, as always, the compositions 3. 4. [missing] 3 by Machaut) are in rounded-ballade form. The length The musical rhyme which we found in most of the of the identical endings or 'musical rhymes,' as they are 32 ballades is also often encountered in the virelais. All the called, ( ) varies from about four to fifteen or more virelais by Perusio (Nos. 5-11) and of Solage (Nos. 38, measures. Two ballades by Solage, Corps femenin (No. 39) have a short rhyme, the ending of S being identical 32) and Calextone qui fut (No. 33) are doubly rhymed, with the c/oj-ending of T. This may be the place to re- the ouvert-ending of S recurring at the end of T, the clos- mark that in the ballades as well as in the virelais the ending at the end of U: ||: S+ ep e2: || T + et, U + e2. musical rhyme is the intensified realization of a more In Trebor's Passerose de beaute (No. 41) the closing general principle of tonal structure, according to THE NOTATION which nearly every composition employs two cadential in which the. same rhythm could be expressed by simpler chords, a 'tonic' for the main endings, and a 'dominant' notational methods — are not missing but arc less fre- (usually the supertonic) for the secondary endings. quent than one is at first inclined to assume. On the The rondeaux are, on the whole, the shortest composi- whole, the music of this period shows the same confor- tions, as would be expected in view of the considerable mity between rhythmic style and notational devices amount of repetition required in their performance. which can be observed throughout the musical develop- Many of the rondeaux of our repertory (as well as in ment prior to 1600 when, for the first time, notational Machaut) have two sections of approximately the same principles were developed which arc sufficiently broad length, and in not a few cases are the numbers of meas- or, to look at the matter from another point of view, suf- ures exactly the same. Examples are No. 12 (15+ 15); ficiently characterless to be applied to nearly all phases No. 14 (18+17); No. 15 (18 + 17); No. 16 (15 + of music history. 16); No. 19 (18+ 20); No. 29 (23 + 24); No. 75 (17 It is not without interest to give thought to the ques- + 17); No. 79 (13 + 13). The main interest of this tion whether the penchant for extreme complexity, which practice consists of the fact that very likely it was is so characteristic a trait of the manneristic period, had the point of departure for a further step of particular its root in musical practice or in notational speculation. interest, that is, from the 'symmetrical' rondeau to the Although at first thought one may be inclined to dismiss 'isorhythmic' rondeau. This means a rondeau whose sec- this question as idle and futile, maintaining that these ond section is rhythmically identical in all the parts with two aspects are inseparable, yet upon closer considera- the first section. Five examples of this type have been tion the matter appears in another, and somewhat clear- found, namely, Conbiens qu'il soyt (No. 77), Loyaute er light. I am convinced that the origin of this move- me tient by Garinus (No. 78), Je chante ung chant by ment is to be found primarily in the field of notational Matheus dc S. Johanne (Ch, 16r), Pour ce que je ne say speculation, although it goes without saying that such a by Vaillant (Ch, 26r), En attendant d'amer by Galiot movement would have neither originated nor developed (Ch, 40r; Mod, 40r). As is well known, the isorhythmic other than under favorable conditions of a more general principle is of basic importance in the motets of the four- character. The most striking feature of the new style, teenth century, since it is almost regularly used for their which appeared about 1375, are the extended passages tenors. Two of Machaut's motets are isorhythmic in all in syncopation. To be sure, short syncopated formulae the voice parts, namely, De bon espoir (no. 4) and, arc not at all infrequent in Machaut, but since they here somewhat freely, Tant doucement (no. 13). His only always occur in imperfect prolation ([2,2,] or [3,2]), secular composition with an isorhythmic structure is the they present no notational problems, no more than they ballade Amours ne fait (no. 1), but here the isorhythmic do in the music of the sixteenth century. In perfect pro- repetition occurs within each section, twice in S and lation, however, the basic principles of alteration and three times in T. imperfection counteract all attempts to express syncopa- tion with the normal devices of mensural notation. D. THE NOTATION There is one syncopation pattern which forms an ex- The principles of notation used in our sources arc fully ception, namely the following sequence: M S S S . . . explained in my book, The Notation of Polyphonic Mu- S B. According to the rule: similis ante similem per- sic, 900-1600 (1942; 4th edition, revised, 1949). (35) fecta all the S are perfect, except the last which is fol- For the compositions of the categories A and G the lowed by a B. Therefore a passage in syncopated rhythm chapter on French Notation (p. 338ff) may be consulted, results: for those of the category B the chapter on Mannered Notation (p. 403ff). While the explanations contained in the former chapter require no additional remarks, 8IJ>J J>J JJ>J J>..J U. those of the latter may be amplified by the results of re- cent investigations. In the chapter on Mannered Notation I remarked Conceivably, examples like this may have been the that 'in this period musical notation far exceeds its nat- starting point of speculation as to how to express other ural limitations as a servant to music, but rather becomes syncopated patterns. Certainly, a good deal of specu- its master, a goal in itself and an arena for intellectual lation was necessary in order to find the solution, that sophistries' (p. 403.) Today, after more extended studies is, the punctus syncopationis, which is essentially a in this field, I should prefer a somewhat more cautious punctus divisionis in displaced position, permitting statement. Cases in which the notation is more compli- groups of perfection to begin anywhere within a meas- cated than the rhythm demands — in other words, cases ure. Once this device was invented, progressive com- a THE NOTATION posers may have been eager to use it as a new tool of The signs used by Matheus not only are unequivocal composition, much in the same way as progressive com- but also follow two simple principles of design. In the posers of the twentieth century have used the twelve-tone signs 1, 2, 4, 6 the value of the note is the sum of the technique. (36) values indicated by the upper and the lower stem, while A reasonably good case can be made for the surmise the value of the signs 7, 8, 9 is indicated by writing a that Philipoctus de Gaserta was the pioneer of the syn- portion (one-half or three-quarters) of the head of the copation style of the late fourteenth century. Philipoctus note. (38) The only new sign he uses is the sign 3, with was active both as a theorist and a composer. Although a reversed flag. In the sign 5 the flag on the lower stem his treatise (37) does not deal with syncopation proper, it is superfluous and may be due to a scribal error. contains a detailed explanation of the various novel note The signs employed by the other two Italians are smal- signs, with double stems, or with half-white heads which ler in number, but lack a consistent principle of design occur in the compositions of our period, particularly in as well as uniformity of meaning. The sign 10, the so- Matheus dc Perusio (see later). It also includes a de- called dragma, occurs in Anthonello (Nos. 23, 25, 26) scription of traynour, which is said to be 'fortior modus always in the value of 3/2 M, while Philipoctus uses it quam syncopa.' Unquestionably this treatise establishes for 4/9 M in Par les bons gedeons (WoGM, no. 66), Philipoctus as a progressive theorist of his day. In his and for 2/3 M in // n'est nulz horn (Ch, 38v). The compositions ample use is made of complicated syncopa- meaning of the three other signs, 11, 12, and 13, is tion patterns and of other advanced methods of notation. equally variable. The fact should not be overlooked that, from the artistic Among the French composers Senleches shows an ex- point of view, his compositions are definitely inferior to ceptional propensity for special and novel note forms, those of other members of the manneristic school, e.g., in his La harpe de melodie (Ch, 43v; incomplete), En Anthonello, Senleches, or Matheus de Perusio. In spite attendant esperance (No. 49), and, to a lesser extent, of all their intricacy they show a clumsiness which be- Je me merveil (No. 48). Regarding the signs used in speaks the path-breaker. En attendant the reader is referred to the Commentary. As is well known, the use of individual signs (semi- As mentioned before, Philipoctus explains in his trea- breves caudatae) for special note values is a character- tise a device which he calls 'traynour' and which he con- istic trait of the Italian notation of the fourteenth cen- siders as 'fortior modus quam syncopa.' From the ex- tury. In fact, such signs occur chiefly in the composi- amples given it appears that traynour is the use of three tions of the three Italians, Philipoctus, Anthonello, and or nine against two notes, and probably of similar cross Matheus de Perusio. The following list gives a survey rhythms such as occur frequently in the compositions of (not complete) of these special signs. It may be com- our period. (39) Since these involve the simultaneous oc- pared with the lists in WoGM i, 302 and ApNPM, 405. currence of different metrical divisions, it is understand- able that Philipoctus considers them as 'fortior' than syn- A. Matheus de Perusio copation, which implies only a conflict of groupings and accents within the same meter. The various types of hemiola may also be considered as traynour rather than syncopation. Nos.l;2;3;4;discant and tenor, and the circle with dot for the second section of the contra. However, these signs turn 23; 25; 26 59 24; 50 24; 59 out to be of little help, arid in trying to find a solution THE STYLE the student is forced to rely on intrinsic traits and ex- and may well be the earliest known instance of this de- perimentation rather than on external indications. The vice which was to play a prominent role in the notation clue to this piece is as follows: The figures 2 and 3 indi- cate the tempus (imperfect or perfect), though not al- of the fifteenth century. Similar-looking signs, ^ and ways correctly: the last section of the tenor, though j, which occur in Anthonello's Dame d'onour (No. marked 3, actually is in tempus imperfectum. The pro- lation is nowhere indicated, except in the second section 24), however, have an entirely different meaning. The of the contra where it is wrongly indicated: in spite of upper figure refers to the prolation, the lower to the tem- the circle with dot, this section is in [3,2], not in [3,3]. pus, indicating in each case whether this is perfect or im- The correct clue to the prolation is that it is perfect in perfect. Thus, these two signs are equivalent to what we all the voice-parts in the first and the third section, im- designate by [2,3] and [3,2]. Finally, two compositions perfect in all the voice-parts in the second section. A last by Perusio, A qui fortune (No. 17) and Helas merci trick (though one which is relatively easily discovered) is (No. 20) are of interest as early instances of prolatio per- that the two sections marked 2 (beginning of the discant fecta as a signum augmentations, if it occurs against and closing section of the tenor) as well as the last section prolatio imperfecta in the other voice-parts. Another of the discant, marked 3, are in diminution. Following early realization of this principle is found in Baude Cor- is a schematic representation of the mensuration in this dier's Belle bonne. These instances are all the more re- composition: markable as the augmenting interpretation of prolatio perfecta was not generally accepted until the end of the I II III fifteenth century. (42) S. 2= [2,3] dim. 3= [3,2] 3= [3,3] dim. In several compositions by Perusio (all in Mod) a Ct. [2,3] ©=[3,2] 12,3] or [3,3] curious sign occurs, that is, a natural with varying num- T. 3= [3,3] 2= [2,2] dim. 3= [2,3] bers of dots placed inside. Joh. Wolf's theory that this sign (which also occurs in Rei) indicates a semitone of Yet another example of misleading mensuration sign different size, is generally discarded today. (43) I am occurs in Senleches' Je me merveil (No. 48; facsimile on unable, however, to offer a better explanation. Suffice PI. VI). Here the superius and tenor have their men- it to say that in Perusio's compositions it usually indi- suration, [2,3], correctly indicated by a dotted half-cir- cates a sharpened note (6, S 41; 7, in several places; 11, cle. The contra has a dotted full circle, but attempts to S 21; 12, S 20 and S 26), while occasionally it serves to transcribe it in [3,3] are abortive. The correct values cancel a previous flat (13, C 20 and T .95). of the notes result only if the part is interpreted in [2,2], Finally, attention may be called to the use of a sig7ium that is, with all black notes binary (unless dotted) and congruentiae (four dots forming a cross) in two ron- the red notes ternary. Nevertheless the over-all meter deau's by Perusio, Nos. 14 and 17. Since this practice turns out to be the same as in the two other voice-parts, was widely adopted in the period of Dufay, its occur- [2,3], and it would even be possible to fit the part into a rence in Perusio is another proof of his chronological [3,3]-scheme (9/8), although not without many synco- proximity to this master. pations. The important fact, however, is that in the no- tation of this part the basic principles of mensural nota- tion, such as perfection, imperfection, and alteration, E. THE STYLE are abandoned, and that each note has a constant value independent of the notes that precede or follow it. The An adequate study of the style of composition in our same remark applies to all the sections of the composi- period would require much more space than is available tion in which red notes are used (closing sections of in the chapter of an Introduction. The subsequent re- superius and tenor). Startling though this method ap- marks are intended only to provide a general frame work pears within the general frame work of mensural nota- of stylistic analysis, a frame work that the reader inter- tion, it actually is what we do today, namely, the use of ested in this matter will be able to fill in through a more binary note values for the writing down of ternary (as detailed examination of the compositions contained in well as binary) meter. More than 200 years had to this volume. elapse before the principle adumbrated here was made As has been previously mentioned, the repertory of the basis of musical notation. (41) our sources can be divided into three stylistic groups, A notational detail of some interest are the signs A, B, C, which can reasonably be assumed to represent three phases of a continuous development. These phases, 2, 1, ~, found in the discant of Anthonello's Amour for which the names 'Machaut Style,' 'Manneristic m'a le cuer mis (No. 26). They indicate proportions Style,' and 'Modern Style' will be used, may be said to 10 THE STYLE extend approximately from 1350 to 1370, from 1370 to In both of them four-measure phrases occur with re- 1390, and from 1390 to 1400, naturally more or less markable consistency, bestowing upon these pieces a over-lapping. (44) character of 'popular' simplicity which is quite excep- tional in this period. The rondeau En tes douls flans The Machaut Style (A) (No. 74) shows extensive use of rhythmic motives, as well as the sustained chords of the Machaut style. Group A shows a style similar to that found in the Among the composers represented in our collection, compositions of Machaut, particular with regard to the Solage is most closely related to Machaut, and may well rhythmic texture. Machaut's rhythmic style is wholly be considered his pupil. He is practically the only one integrated and unified. In any of his compositions the to continue Machaut's practice of writing in four parts rhythmic life is the unfolding of one fundamental ele- (Nos. 35, 36, 37, 39), and most of his compositions show ment, and there never is any radical departure from the the rhythmic simplicity and homogeneity of his prede- rhythmic formulae presented in the initial measures. In cessor. His four ballades in three voices, Nos. 31 to 34, this respect, as in various others, Machaut is the last indicate a gradual development toward greater com- representative of the development which started, in the plexity. While his En I'amoureux vergier (No. 31) uses late twelfth century, with Leoninus and Perotinus. In simple rhythmic patterns (see, e.g., S 8, 11, 15,19-22, spite of the important modifications and innovations etc.; also S 49, G 51, T 54), Corps femenin (No. 32) which were introduced about and after 1300 by Petrus employs motives of greater extension and greater rhyth- de Cruce and Philippe de Vitry, the basic tenets em- mic complexity (see Commentary). In Calextone qui bodied in the system of modal rhythm persisted through- fut (No. 33) we find much syncopation as well as tray- out the first half of the fourteenth century, only devel- nour (meas. 40—46), and with S'aincy estoit (No. 34) oped to the greatest possible degree of freedom and flexi- we are in the midst of the notational and rhythmic com- bility. In Machaut the unity of texture is frequently plexities of the manneristic style, so much so that one emphasized by the repeated use of well-characterized would be inch'ned to ascribe this composition to Trebor rhythmic formulae which recur either in immediate suc- or Senleches, rather than to Solage. Perhaps the singu- cession, as a sequence, or at separate places of the com- 45 lar character of this composition is explained by the fact postion, often in different voice-parts. ( ) Usually these that it is Solage's only example of the heraldic court bal- formulae or motives (as they may well be called) arc lade, a type which naturally called for greatest sumptu- alike not only in rhythm but also in melodic design. A ousness. From the harmonic point of view also, Solage good example is the ballade Une vipere (Edition Ludwig, would seem to hold a position midway between Machaut no. 27), where the initial motive recurs many times in and the representatives of the manneristic style. He uses the superius and occasionally also in the contratenor. dissonances freely, but always with a remarkably good Another characteristic trait of Machaut's rhythmic feeling for proper treatment (see Commentary, No. 32). style is a contrast between flowing passages and sus- His rondeau Fumeux fume (No. 40) however, although tained chords, a contrast which can be traced back to the close to Machaut in its rhythmic texture, explores entire- style of Petrus de Cruce, with its sudden stopping of ly new realms of harmonic experimentation, very likely precipitate declamation. No doubt, Machaut succeeded for reasons of satirical expression. (47) in transforming the somewhat barren treatment of Pet- rus into an organic interplay of accelerating and retard- ing forces. Nevertheless, in many of his compositions The Manneristic Style (B) (48) there is rather too much interruption of the rhythmic flow. Aside from numerous motets, the ballades nos. 35, Turning now to the stylistic group B we come to the 39, and 40 may be singled out for their numerous places central point of the present study. A glance at one of of complete stopping in all the voice-parts. the numerous examples contained in our collection (e.g., Among the compositions contained in our collection, Nos. 1, 29, 61) suffices to demonstrate the difference be- the ballades Nos. 52 to 54, the virelais Nos. 62 and 63, tween the Machaut Style and the Manneristic Style. By and the rondeau No. 74 are in a style more or less close- way of general characterization this difference can be de- ly approximating that of Machaut. Perhaps the ballade scribed as one between a style which, although flexible, Martucius qui fut (No. 52) is the most obvious example nevertheless is wholly integrated, and a style of deliber- of Machaut style in our collection, while the next two ate diversification, extravagance, and utmost complexity. ballades show new influences, in their occasional use of Easily the most striking trait of the manneristic style lengthy syncopation passages (No. 53) or of imitation are the extended passages in syncopation, as in Nos. 1, (No. 54). (46) The virelais Nos. 62 and 63 resemble 2, 5, 6 (Perusio); 23, 24, 25, 27, 29 (Anthonello); those of Machaut in their use of relatively short phrases. 59, 60 (Philipoctus); 42, 44, 46 (Trebor); 47, 48 THE STYLE 11 (Senleches); 57 (Egidius); 66 (Ciconia), etc. Most of Again one cannot help noticing the similarity of this these passages are easily recognizable in our transcrip- method to present-day practice. Stravinsky has used the tion through the addition of another version, given in term 'polar attraction5 in order to describe a phenomenon small notes, which indicates their proper rhythm. In characteristic of his own style, and essentially identical fact, it should be noticed that the rendition in regular with that to be observed in the style of the late fourteenth measures which tradition and expediency has compelled century. While it goes without saying that he and other us to use for the main text, (49) although giving the cor- living composers go much beyond the old masters in the rect values for the single notes (we hope), nevertheless field of dissonance, the opposite statement is true with re- obscures to quite an extent the real nature of fourteenth- gard to the rhythmic aspect. Indeed, if rhythmic inde- century syncopation. The versions in small notes serve pendence of the single line is considered the main pre- to give a more nearly correct impression of the rhythmic requisite for true polyphony (as, no doubt, it is), one structure of these passages which, with their free alterna- will have to concede that the polyphonic ideal was never tion of irregular groups, such 2/8, 5/8, 3/8, 1/8, antici- more fully approximated than in the late fourteenth cen- pate a characteristic trait of present-day music. (50) tury. There are not a few compositions in which this In syncopated passages provided with a text the plac- tendency is carried on to such an extent as to lead what ing of the syllables often conforms with the pattern of may be called shredding of the musical texture. An in- displaced beats and irregular measures, thus emphasizing structive example is the passage 1, 15-20, in which synco- the peculiar rhythmic structure. A good example exists pation and cross rhythms are used in such a way that in 29, 1-6, where the syllables of 'Dame gentil' all fall practically all the notes of the three voice-parts sound at on strong beats of the irregular groups. It goes without different moments, until they finally converge into the saying that in performance the singer should be guided cadential concord. by the version in small notes rather than by the main Turning now to a consideration of the harmonic idiom text which is designed for the convenience of score read- of the manneristic period, it is essential that such a study ing. Another example is found in 7, 22-26, where the should be undertaken with the proper tools of analysis. words receive an impressive accentuation: 'Ves-tus en It is hardly necessary to say that the methods of our joy-e sans es-may,' the main syllables falling on strong present-day books on harmonic analysis cannot be ap- beats in displaced positions. Other instances are 5, 24-25 plied without reservation. A valid result can only be ex- and 43, 48-50, but examples to the contrary are not miss- pected if the analysis proceeds along the same lines as the ing either (see, e.g., 6, 64-66). At any rate, no sweep- creative process of composition, and in the fourteenth ing conclusion can be expected in a question involving century this process is entirely different from that of the such an extremely uncertain element as the placing of sixteenth or of the nineteenth century. The music of our the text in sources of the fourteenth century. period represents the final stage of that early method of Another rhythmic peculiarity of interest are the nu- composition which is known as 'successive counterpoint' merous examples of that special type of syncopation and which is based on the principles of discantus. In the which may be termed 'written-out rubato,' that is, the early organa, clausulae, and motets the creative process sounding of notes just a little ahead of, or after their starts with the liturgical tenor, to which the duplum, trip- normal position within the over-all texture. Particularly lum, etc., are successively added. In the secular works of striking are the passages 1, 45-48; 24, 9, 12, 32; and the late fourteenth century there can be little doubt that 48, 3, 12, 26, etc. the composition starts with the upper part (superius) or, Equally numerous as syncopation passages are ex- to put it more accurately, with a two-voice texture, amples of contrasting meters and other types of cross- superius- tenor, in which the superius receives primary at- rhythm. There is no need for further explanation of tention. The combination of these two .parts is governed these devices. by the rules of fourteenth-century discantus which differ from those of the thirteenth century mainly in the full The result of all these rhythmic complexities is a most admission of the third (and, to a lesser extent, the sixth) peculiar texture, such as is without parallel in the entire as a consonance. However, the old 'perfect' conson- history of music. It is a texture of utmost subtleness and ances, unison, octave, and fifth still retain their tradition- refinement, consisting, as it were, of extremely loose al supremacy in their exclusive employment at the be- threads which from time to time only, frequently at wide ginning and at the close of the musical phrase. distances, are bound together in full coincidence and consonance, while in between they move with a consid- The addition of the third voice, the contratenor, is erable degree of independence, rhythmic as well as har- made by connecting this with the tenor in another dis- monic. cantus combination. The most frequent vertical combi- 12 THE STYLE nations, forming the basic harmonic idiom of the period, doning the basis they pushed on to the outmost frontiers. 8 5 6 It is the extreme application of the system of discantus are 5, 3, and 3 (1 being the lowest note). However, which characterizes the music of the late fourteenth cen- 1 1 1 tury. By combining a freely elaborated superius- tenor our compositions contain not a few examples of combi- texture with an almost independently conceived contra- 7 7 tenor- tenor texture, the composers arrived at a musical nations like 5 or 3 in strong positions. In spite of their style much more daringly and deliberately dissonant than 1 1 ever before and, indeed, ever thereafter until the advent dissonant quality, these chords conform to the principles of the twentieth century. of three-voice discanlus, since in all these cases the tenor In an analysis more detailed than can be given here is in the middle, forming an upper third (or fifth) with various types of dissonances would have to be studied, the superius, and lower fifth (or third) with the contra. such as appoggiaturas (particularly frequent in Perusio), Therefore it would be more correct to indicate these changing notes (example in 6,13), parallel seconds and 3 5 sevenths, retardations, anticipations, as well as others combinations as follows: 1 or 1, where 1 stands for which defy classification. In fact, any attempt to study -5 -3 the dissonances of this period along lines similar to those the note of the tenor. This representation also helps to applied so successfully by Jeppesen to the works of Pal- clarify the 'consonant' character of these chords, which estrina is doomed to failure. Not only is in our period may well be termed 'discordant consonances' or 'conso- the harmonic basis infinitely more vague — not to say, nant discords." (51) For an example, see 44, 55. Particu- weak — than it is in Palestrina, but also the character- larly interesting is the passage 24,1-2, where two discord- istic fuzziness of the rhythmic structure often renders 5 4 3 seemingly obvious distinctions impossible of application. ant consonances, 1 and 2 (= 1), occur in succession, For example, there are not a few instances in which it -3 -4 -5 would be difficult to say whether we are dealing with connected by stepwise motion in all the parts. Such com- parallel thirds or parallel seconds. binations would result much more frequently if the Parenthetically it may be remarked that the vagueness fourth were among the basic intervals of discantus, as of the harmonic idiom greatly adds to the difficulties of it usually is in the theoretical discussions of the period. the transcription. If there were a clearer definition of A study of the compositions, however, shows that the vertical and consonant relationships, many difficulties and fourth is rarely used as a discanlus interval. Only two or doubts regarding the proper rendition of passages would three examples of discordant consonances involving the be removed. In the progress of my work I have many 4 times made a transcription which seemed to be correct fourth have been found, such as the 3 in 23, 25b and 61, or, at least, admissible from the point of view of vertical 1 coincidences, only to find later that actually all the notes 5 of one voice-part had to be shifted, say, an eighth-note or the 4 in 44, 44. to the right, with a result which, from the harmonic 1 point of view, was hardly better or worse. (53) Aside from these discords (or, to return to normal Once the basic principles of composition in this period terminology, dissonances), which, on the whole, are rela- are recognized, it is permissible to apply some of the tively rare, the composers of our period made extensive methods of modern harmonic analysis, although always use of secondary dissonances, that is, dissonances result- with caution and in a flexible way. For a brief consider- ing from the melodic motion (appoggiaturas, passing ation of the chordal progressions we adopt the principle tones, etc.). As early as the mid-thirteenth century Jo- that the nature of a chord is determined by its lowest hannes de Garlandia admitted their use within the system note (not the root). This means that, for instance, the of discantus'. 'However, two notes may be put in the 6-8 place of one, and sometimes one of them is treated as a formula II—I includes not only the progression 4-5, but dissonance, in order to add color to the music. This tone 2-1 may be either the first or the second. This method is 52 7-8 fully approved and permitted by the best authorities.' ( ) 6 It appears that the harmonic idiom of our period also 4-5 which, in modern analysis, would be VII -I. rests on the principles that were developed during the 2-1 thirteenth century. However, our composers did with Owing to the frequent crossing of the two lower parts them what Richard Strauss and Max Reger did with the it is often necessary to form an imaginary 'bass' line by system of nineteenth-century harmony: without aban- selecting the lowest notes from whichever voice-part has THE STYLE 13 them at the time. On the basis of these premises it is 6 6 possible to make some statements regarding the har- politan' progressions jBb -^ in 13, 30-31, and Db^MD in monic idiom of our repertory. 33, 35. Easily the ne plus ultra of altered chords in the The most frequent chord progression is II—I, particu- fourteenth century exists in Solage's Fumeux fume (No. larly in the cadences, with III—I being next in impor- 40). Unfortunately the reading of the accidentals is tance. Progressions of the tonic-dominant type (V—I, doubtful in several places. IV-I, I-V, I-IV) are considerably less frequent. They In a number of the compositions the contratenor takes are usually formed, not by a 1-5 (1-4, etc.) motion in on a certain harmonic significance through the frequent a given voice part, but by a 1-7 leap in the contra, while use of arpeggio-like figures moving in thirds, fifths, and broken triads. Philipoctus, Anthonello, and Trebor show the tenor stays on 5: ~ . Examples occur in 4, 27-28, a marked partiality for this method, as appears from a consideration of the Nos. 23 to 26, 41, 44, 45, and 66-67; 6, 71-72; etc. Occasionally we find examples of 59, 60. Although not always convincing from the artistic 5-4 I-IV written as , a formula which became customary point of view, the use of these figures is of great interest because it indicates the growing realization of the po- in the Dufay period and which has often been noticed tentialities of the triad more fully exploited in the fif- as an example of parallel fifths without parallel motion teenth century. (cf. 58, 30-31; 47,32-33). In this connection attention may be called to 24, 51 where a succession of three paral- The Modern Style (C) 5-7-6 lei triads is formed without parallel motion: 1-5-2. Ex- As has been previously stated, this style is character- ized by an abandoning of the intricacies and complexi- amples of 'real' I-V progressions, that is, with a 1-5 mo- ties of the Manneristic period, and by the discovery of tion in the lowest part, occur sporadically, for instance new musical values, such as simplicity of design and nat- in 13, 7-8; 15, 11-12; 60, 56ff (I-V-I-IV-V-I). uralness of expression. Thus the foundation was laid for Passages in fauxbourdon are moderately frequent that lyrical interlude of the Burgundian school which lies (2, 52-53; 5, 5-5; 7, 40-41; 74, 31 ff and 56). Nearly like a fragrant flower garden between the flamboyant always they are in 'shredded' texture, and some of them edifice of the late fourteenth century and the mystic present interesting border-line cases between progressions landscape of the early Flemish music. in parallel sixth-chords and in parallel triads, owing to The tendency of the Modern Style toward greater sim- the shifted position of the voice-parts. plicity results in a certain similarity to the Machaut style. At any rate, the distinction between these two Our sources contain many interesting examples of categories is considerably less obvious than that between chromatic alterations. The 'augmented sixth chord' the Manneristic style and the rest of the repertory. Com- (bb-d-git) occurs in 46, 60 and 56, 5 as well as in Phili- positions of the categories A and C look quite similar on poctus' Par le grant sens {WoGM, no. 27, meas. 22 and paper, and only upon closer scrutiny do differences be- 57). The augmented fifth, bb—(d)—f#, is found in 58, 33 come apparent, differences more easily felt than accur- and 41, and a 'dominant seventh chord' with an un- ately described. A certain gracefulness and convincing orthodox resolution, in 8,13. Of greater importance as a sweep of the melodic line, a finer sense of phrasing, a stylistic trait are the numerous passages involving semi- loosening of structural rigidity, a greater attention to tonic progressions of triads. The most frequent of these harmonic requirements and a more developed feeling for 7 -8 the functional values of chord progressions — these rep- is the 'double-leading-tone' progression 4# -5. This ap- resent some of the characteristics of the Modern style as 2 -1 compared with the Machaut style. pears not only in its original position as a Lydian cadence: The evidence points to Matheus de Perusio as the main £6_F (54), but also transposed on C (£6-C), G, D, and representative of the Modern style and, therefore, as the A. No. 9 is one of the numerous compositions contain- key figure at the beginning of the fifteenth century. Ex- ing various instances of this cadence which, to be sure, cept for the ballade Le greygnour bien (No. 1), written was already used by Machaut. (55) The same progres- in a highly manneristic style, all his compositions show, sion occurs also with both triads in root position, for in- in one way or another, the stamp of a new period. In stance, F#-G (3, 15-16,41) or C#-D (6, 20-21). The the ballades Le grant desir (No. 2) and Se je me plaing chains of parallel triads, Ffl-G-JE-Ff in 9, 6-7, and (No. 3) or the virelai Dame que j'aym (No. 5) the Q.-B-A-G in 3, 31-32 may be noticed, as well as the 'Nea- manneristic idiom is still present, but in much greater 14 QUESTIONS OF PERFORMANCE moderation. Even more significant is the entirely differ- F. QUESTIONS OF PERFORMANCE ent treatment of the contratenor. All attempts to ap- The majority of the compositions have one vocal and proximate the rhythmic liveliness and diversity of the two instrumental voice-parts (1 v + 2 i). Following are discant are abandoned, and this part now becomes a the other combinations: secondary tenor designed to contribute to harmonic defi- nition rather than to melodic and rhythmic animation. 1 v -- 1 i Nos. 10, 19, 20, 62, 79, 80, 81 This change in the character and function of the contra- 2 V : No. 21 tenor was perhaps the most decisive contribution of the 2 v -- 1 i Nos. 13, 48, 64, 65, 73(58) Modern style. 3 V : Nos. 22, 68, 76 Perusio's ballade Pres du soloil (No. 4), as well as 1 v -1- 3 i Nos. 35, 36, 37, 39 many others of his compositions, particularly the Nos. 10, 2 v -h 2 i Nos. 67, 72 11, 14, 16, 18, and 20, indicate the completion of the As in the thorough-bass music of the Baroque period, process of clarification. Several of these, notably the Nos. the number of parts is not necessarily identical with the 11, 16, and 18, clearly foreshadow Dunstable and Du- number of players, since a vocal part may well have been fay in the triadic design of the melody combined with performed by a singer and an instrumentalist in unison. tonic-dominant harmonies. This method of performance would seem to apply par- Very likely the occasional use of imitation is another ticularly to the compositions with texts in all the voice- distinctive trait of the Modern style, at least with refer- parts but, in all probability, not performed a cappella. ence to the Manneristic repertory. All the instances It would also be required for some other compositions, noticed occur either in compositions by Perusio (3, 18- if the theory of instrumental preludes is adopted (see 19; 4, 83-85; 9, 1-2; 13,11-12, 32; 17,24-27; 21, 44- later). 47, 50-56) or, more sporadically, in compositions preced- The main problem arising in this connection is the ing the rise of the Manneristic style, for instance, 53,1-2; question as to the instruments used for the performance. 54, 1-4, 33-34; 72, 1-2. Thus the basic trends of the Naturally, no definite answer can be expected, but sev- three periods would seem to be neatly reflected in their eral considerations point to the preference of wind in- varying attitudes toward imitation. struments to stringed instruments. A somewhat ex- Other traits noticeable in Perusio's later style and con- ternal support for this contention exists in the fact that necting him with Dunstable and Dufay are the use of in the fourteenth century wind instruments were more tempus perfectum with hemiolas (Nos. 11, 18, 20); the numerous than stringed ones. (59) Furthermore wind use of syllabic declamation in alternation with melismatic instruments produce a greater variety of individual tim- passages; an underlaying of the text suggestive of instru- bres than strings, and such individuality is, no doubt, mental preludes and interludes; (56) the emergence of the required by the constant crossing of the two lower voice- rondeau as the most important of the jormes fixes; parts in the music of the fourteenth and early fifteenth and particularly the frequent use of truly expressive ap- centuries. Lastly, wind instruments are indispensable, poggiaturas. In this connection yet another peculiarity it seems to me, for hockct passages, for passages involv- of Perusio (not of Dufay, as far as I know) is interest- ing quickly repeated notes (sec Nos. 69, 73), and for ing, that is, his penchant for iambic rhythms, particular- the several instances of fanfares occurring in this rep- ly at the close of a phrase (No. 4 and elsewhere). (57) ertory e.g., Nos. 70, 72, and 34 (60). In general, an In addition to Perusio's compositions, the three last ensemble consisting of a singer (possibly in unison or al- pieces of this collection, all rondeaux from Mod, evident- ternation with a recorder [flajole]) for the superius, a ly belong to the period of the Modern style. Particular- shawm {chalemelle, douzaine) for the contra, and a ly La grant beaute (No. 80) is remarkable for that trombone (buisine) for the tenor would seem a normal graceful beauty associated with the works of the Bur- medium of performance, admitting, of course, numerous gundian masters. modifications, for instance, replacement of the recorder In conclusion attention may be called to a few special by a viol (vielle), or of the other instruments by bag- stylistic devices. Hockct effects are found in some of pipes icornemuse, chevrctte) and soft trumpets {cor, the earlier compositions, e.g., 45, 44 and 71, 62-65. The cornet, trompe, trompette). Perhaps it ought to be re- virelais Nos. 64 and 67 (68) employ the method of marked that the vocal timbre should be of that peculiarly tenor repetition repeatedly found in motets of the thir- unemotional (or, shall we say, sexless) quality that gives teenth century. In the last section of Senleches' Je me the human voice a place of honor among the wind in- merveil (No. 48) the two upper voices join in canonic struments, a timbre found today only among French imitation for the refrain. singers and choirs. (61) THE LITERARY TEXTS 15 The much-discussed question as to what extent, if at merous cross-rhythms and displaced measures, a success- all, the vocal upper parts include instrumental preludes, ful performance is possible only if every player counts interludes, and postludes, becomes considerably clarified eighth-notes for himself, undisturbed by the other per- through this collection, it seems to me. H. Riemann and formers. Conceivably this will result in a very moderate A. Schering, who must be credited with having discov- tempo, but the intricate rhythmic texture as well as the ered the vocal-instrumental nature of mediaeval secular extremely vague harmonic idiom actually require such a music, certainly have gone much too far in the applica- tempo. Without it, the numerous dissonances will simply- tion of their theory. To interpret all the numerous vocal- sound as wrong notes, and the many strange harmonic lizing melismas in French or Italian songs of the late progressions will be confusing and unintelligible. Middle Ages as instrumental interludes, is a wholly un- tenable proposition and one that cannot be applied with- G. THE LITERARY TEXTS out arbitrary interruptions of the melodic lines. The sit- uation is different, however, in the case of textless pas- In the late fourteenth century Provencal was still the sages that without forcing can be considered as self-con- native language in the south of France. The chief poetic tained entities, particularly of those preceded and fol- influence in this region came from the Jeux Floraux lowed by rests. Convincing examples of ths type occur competition founded in Toulouse in 1323/4. Poets and mainly in the compositions of Matheus de Perusio (Nos. musicians who wrote in Provengal and Catalan flocked 3 to 7, 10 to 12, 17, 20). He also is the only composer there each year. From 1356 the joy a principal or violet te of the group in whose works the first syllable of the text d'or was awarded for the best chanson, vers, or descort; often appears at a certain distance from the beginning, the souci d'argent for the best dansa; the eglantine for thus suggesting that the initial passage is an instrumen- the winning sirventes or pastourelle. tal prelude. I have endeavored to reproduce in the tran- Since French was not the native tongue of the inhabi- scriptions this important detail of text-underlaying as ac- tants of southern France, it is normal to find French curately as possible, except, of course, for the position of verse of that region composed for the noble courts where the first letter, which always appears in the manuscripts the overlord and his immediate followers were French in front of the music, as an initial decoration. In addi- speakers. There were several such courts: that of Charles tion to the just mentioned compositions by Perusio the II, le Mauvais (1350-87) and his son Charles III (1390- anonymous No. 81 presents an interesting example of in- 1425), kings of Navarra with their capital at Pamplona strumental interludes (meas. 5-6, 10-13, 17-18. Since in what is now northern Spain; that of Jeanne, the all these compositions belong to the latest period of the Countess of Provence at Nice (1348-82) who spent more repertory, the conclusion seems justified that the intro- of her time, to be sure, in Italy; and the court of Gaston duction of this practice was one of the various achieve- Phoebus. Charles II was Norman in origin, and Jeanne ments of the Modern style. (62) was the daughter of Charles of Anjou and Marie of The most likely theory regarding the performance of Valois. Thus both of them were of French extraction. a partly vocal and partly instrumental voice-part is that Charles III married Leonora of Castile in 1375, and his the singer had an instrument ready that he used for the associations thereafter were close to Spain. He was at the instrumental passages. In this connection it may be no- side of the Spanish monarch during his ill-favored ven- ticed there are a few instances suggesting the opposite tue into Portugal in 1385. A most interesting figure was practice, namely that of an instrumental player occasion- Gaston Phoebus, Count of Foix (1331-91), who married ally using his voice for a special effect, in order to intro- Agnes de Navarre. His court at Foix, only fifty-one miles duce an element of realistic liveliness or surprise (see the from Toulouse, was a center where French verse was commentaries for Nos. 50 and 73). much appreciated. Most of the compositions are written in the high tenor In the first chapter of this Introduction we have en- range characteristic of mediaeval music. A striking con- countered several of the trouveres who travelled about trast is offered by the Nos. 9 (Perusio) and 40 (Solage), among the patrons. Trcbor wrote two ballades, Se Alix- which exploit the bass range in the voice as well as in the andre (No. 45) and Se July Cesar (No. 46), which are instruments. dedicated to Gaston Phoebus. His Quant joyne cuer As to the question of tempo, it is important to realize (No. 43) is certainly intended for Charles II of Navarre, that in this period the minim rather than the semibreve and his En seumeillant (No. 44) refers to the capture is the unit of notation and that, therefore, the eight-note of Sardinia by John I of Aragon, 1389. Cuvelier, in his rather than the quarter-note of our transcriptions should Se Galaas, celebrates Gaston Phoebus, and Senleches, in be considered as the unit of counting. Particularly in the his Fuions de ci (No. 47), mourns the death of Eleanor complex compositions of our category B, with their nu- or Aragon. 16 THE LITERARY TEXTS One of Trebor's poems, the Passerose de beaute (No. no doubt; Restoes restoes (No. 73) in which we find 41), takes us to northern France. In this ballade we see la douche yawe de merchi instead of la douce eaue de a reference to the celebrated double wedding at Cambrai merci, etc. in 1385 (see n. 15). Froissart wrote a ballade to com- It is certainly no mere coincidence that all these dia- memorate this event: 'A Cambray se sont espouse . • .,' lectical lyrics are virelais, usually dealing with pastoral and we know that Jean de Malines, another trouvere, subjects: a rather charming and lively dialogue between was invited to compose a song in its celebration. Eus- Robin and a 'plasant bergicre' (No. 65); a woman ex- tache Deschamps also celebrated this wedding. pressing her wish to enjoy life and her 'ami,' with the In the north of France there was, of course, more op- tenor referring satirically to the 'mari' who is going to portunity for a young French poet to try his wings. give her a beating (No. 64); or the birds as messengers French was the native tongue and therefore a poet could of love (No. 68). Together with others they form a be active without being attached to any particular court. group of virelais very likely written and composed in the There were, however, some important centers of literary north of French-speaking territory, where the Flemish activity and encouragement. Prominent among the pa- spirit was present. There is perhaps still an echo of thir- trons in the north were the Duke of Touraine, later of teenth-century village poetry in these lyrics whose care- Orleans (after 1392) and his uncle the Duke of Berry, free prattling reveals such a strong contrast to the formal to whom Solage's ballade, S'aincy estoit (No. 34) is rhetoric of the courtly ballades. The accompanying mu- addressed. The King of France, Charles VI (reigned sic also possesses a certain carefree gaiety and is, by com- 1380-1422) was fond of music and verse, but his fre- parison with the ballades, almost peasant-like in sim- quent attacks of dementia made him an unreliable pa- plicity. Bird calls are vividly portrayed, and a real enjoy- tron. However, the Hotel de Saint-Pol in Paris, where ment of life — not commonly associated with the four- the royal family and some of the princes of the blood re- teenth century — seems to burst out in the many repeats sided, must have been a favorite haven for singers and of oci oci, fi fi fi, fideli, and tintinton (Nos. 67, 68, 69, other musicians. 70, 71), while Nos. 72 and 73 strike a more seriously real- In the north the most important center of literary ac- istic note, a cry for help in distress. Surely these were tivity was the court of Philip the Bold, Duke of Bur- not formal pieces intended to be presented before some gundy, at Bruges, Dijon, and elsewhere. Philip had been noble at his fireside. They were sung at caroles and other the favorite son of King John II of France and became dance festivals, and very likely originated in the northern Duke of Burgundy in 1363. His wife was Marguerite, part of France, partly under Flemish influence. The Countess of Artois and daughter of Louis de Maele, south of France had counterparts for them, but of course, Count of Flanders. On the death of Louis de Maele in there they were sung in Provencal. 1384 Flanders was joined to the estates of Philip of Bur- In the notable example, Par maintes foys (No. 69), gundy. It is not difficult to see how Picard (Artois), the notes of the nightingale are given as 'tue — oci — Flemish, and eastern French (Burgundian) influences fideli,' the sky lark is credited with 'lire — que te dit were now intermingled. Eustache Deschamps was sent to Dieu Dieu,' while the cuckoo sings 'par envie' his monot- Bruges in 1375 (perhaps 1369) to present the Voir Dit onous 'cucu, cucu.' Plainly these are direct imitations of Guillaume de Machaut to Louis de Maele. In 1375- from nature. At the same time we are aware that in 78 Eustache lists among his patrons Philip the Bold of previous centuries these calls were noted down in identi- Burgundy, his son John of Nevers, and the young Coun- cal language. The most famous example of the 'cucu' tess of Nevers — Marguerite de Flandre. It is probable in mediaeval times exists in the English Sumer is icumen that the oldest extant art of poetry, the Art de dictier et in. In the Wistace li moine, a picaresque romance of the de fere chansons of Eustache was written for Philip of early thirteenth century, the protagonist Wistace climbs Burgundy, who was in Paris in 1392, the date of its com- into a nest and pretends he is a nightingale: position. The confluence of elements from the various provinces Wistaces commencha a crier: of northern France and from the Flemish territories is re- Ochi! ochi! ochi! ochi! (w. 1H5-46) flected in a number of lyrics included in the present col- The author of the Wistace plays upon the fact that lection. Many of them show dialectical traits of Walloon ochire (or ocire) means 'kill.' Note that the 'tue — oci' and Picard territory. Among these are Tres douche in No. 69 gives double emphasis to this joke. We say plasant (No. 65) where the ch for c and the a for at joke because there was great incongruity in likening the plainly indicate the dialect; Ma tredol rosignol (No. 68) gentle 'nightingale's hymn in the dark' to a murderous where the s for ss and, within the poem, che for ce leave cry. ARTISTIC TRENDS 17 The fresh influence of Nature and her birds is redo- chaut. (64) They arc Jchan Lisans-Draps dc Douay, lent throughout these virelais. In Ma tredol rosignol (No. Jacquemart Le Cuvelier de Tournay 'qui fut faiseur du 68) the lark cries 'liry —tantiny' and the lark, the ouzel, roy de France,' Hanequin d'Odenarde, 'faiseur du comte the thrush and the goldfinch are joined by 'naquaires' de Flandres,' and then 'maistre Jehan Vaillant lequel and 'cornemuses.' tenoit a Paris escolle de musique.' Others are Jehan Le Our knowledge of the trouveres in the second half of Fevre de Paris, Eustace Morel (Deschamps), Colinet the fourteenth century is limited, and probably will re- l'Alexis, Hanequin Le Fevre, Jaquct d'Orliens, Marc main so. The Histoire litteraire de la France, that mon- d'Or, Olivet, Tapissier, messirc Nicole Roussel, Chariot umental reference work which seeks to give every known Falne, Raol de Brecy de Mons, maistre Jchan de Suzay, detail about those who have written on French soil, has and others. Very little is known of the lives and literary now reached the first fascicule of Vol. XXXVII which activities of most of these poets. Several of them, how- contains a discussion of the Provengal and Catalan poets ever, occur among the composers represented in Ch, who centered around Toulouse in the last half of the namely, Vaillant, Cuvelier (Cunelier), Suzay, and Olivet fourteenth century. Probably the next fascicule, when it (Olivier), (65) while Tapissier may well be identical with appears, will have something to say about the French the composer mentioned in Martin le Franc's Le Cham- poets with which we are concerned. To judge from pion des dames. what is written about the earlier poets in this century it Near the end of the fourteenth century attempts were is hardly likely that many new details will be presented. made to revive the tradition of the noble trouveres of the We should like to have before us this authoritative treat- thirteenth century. The famous collection, Cent ballades, ment, but in the meantime we shall say what we can. was composed by Jehan de Saint-Pierre the Seneschal It is highly probable that when all known lyrics of the d'Eu, Philippe d'Artois the Comte d'Eu, Marshal Bouci- fourteenth century are gathered into an Incipit volume, caut, and Jehan de Cresecque, presumably while they with full bibliography and cross references, we shall be were prisoners of the Saracens. The dissemination of the able to identify many of the poems that we are now ballades aroused great interest because of their theme: publishing as anonymous, or, tentatively, as the literary Constancy. It is assumed that it was on the occasion of work of their musical composers. Indeed, such a check a visit of King Charles VI to Avignon, October 31 to as we are now able to make leads to the conviction that November 5, 1390, that a concours was held there on most of the lyrics in our present volume were written by the subject of these ballades. Other poets wrote stanzas the composers of the music. There are a few exceptions: in agreement or disagreement with the theme. Some of No. 23, Beaute parfaite, is a lyric by Machaut to which these were Charles d'lvry, Frangois d'Auberchicourt, Anthonello de Caserta has added the music; and No. 55, Raoul the bastard of Coucy, Renaud de Trie, Jehan de De Narcissus, is probably by Eustache Deschamps, with Chambrillac, Gui VI de la Tremoille, Jehan de Bucy, the music of a Magister Franciscus. (63) Aside from these, Guillaume de Tignonville, Louis Duke of Touraine however, none of the lyrics contained in our collection (later of Orleans), Lionnet de Cocsmes, Jehan Duke of has been found among the works of the well-known poets Berry, Jchan IV of Maillet, Jaquct d'Orlcans. It will be of the period. Until proved otherwise, we may assume observed that most of these poets, if not all, were men of that the major part of our repertory is the work of poet- high degree, for whom poetry and, perhaps, music, were musicians continuing a tradition established by the a slight avocaton. The terrible defeat at Nicopolis (Bul- trouveres of the thirteenth century and represented, garia) in 1396, sometimes called the last battle of the among others, by Adam de la Halle and Guillaume de Crusades, saw the death of many of these noble poets. Machaut. Several facts seem to bear out this assumption. There is excellent evidence that Jacob de Senleches was his own H. ARTISTIC TRENDS IN THE LATE FOUR- poet, for his name occurs several times at the end of the TEENTH CENTURY text, as well as at the head of the music (Nos. 47, 48, In the first chapter of this Introduction an attempt was 49). Some of the ballades of Solage have a metrical made to indicate the position of our musical repertory peculiarity, a short line of seven syllables, at the begin- within the general framework of its contemporary cul- ning of part 3 of the stanza (Nos. 32, 33, 34, 35). This ture. After having considered the music of the late four- suggests that they are the work of one poet who had a teenth century from various aspects of form and style, we fondness for this peculiarity, possibly Solage himself. An now propose to return once more to the panoramic point anonymous Regies de la Seconde Rhetorique, composed of view, and attempt to trace the general artistic trends very early in the fifteenth century, mentions some out- of the period under consideration and to correlate standing poets who came after Guillaume de Ma- the stylistic tendencies in the various branches of four- 18 ARTISTIC TRENDS teenth-century art. Admittedly this is a risky undertak- not easy. Some forty years ago, F. Ludwig observed: (66) ing. Danger lies ahead for anybody trying to cross the 'Es ist eine ausserst schwere Aufgabe, einer der komp- fortified borders existing between the various territories lizierten Balladen, etwa aus Codex Chantilly, in Bezug of the human mind. Curiosity, however, is a potent force, auf ihre Melodik und Rhyth'mik asthetisch sich zu nahern and since friends beyond the border have kindly extend- zu versuchen; wie enttauscht auch der Kern, der ed a helping hand, the author cannot resist the tempta- hinter einer Schale steckt, die mit ihrem Aufgebot von tion of making this little excursion, knowing full well that, weit iibcr einem Dutzend einfacher Notenzeichen . . . although the "No Trespassing" sign may have been low- gliicklicherweise ein Unikum in der gesamten Musik- ered, another one is still hoisted: "Enter at Your Own geschichte bildct.5 We hope the publication of this vol- Risk." ume will lead to a reconsideration of such opinions, and The explanations contained in the previous chapters that students of its contents will share the experience of indicate the general state of affairs in the musical field. this writer, who, far from being 'disappointed by the ker- In the last decades of the fourteenth century French mu- nel inside that hard-to-crack shell,' found it extremely sic entered into the final phase of a development toward interesting and fascinating. The present-day student, of refinement, elegance and preciousness, a development course, is here in a much better position than were starting with Petrus de Gruce and Philippe de Vitry, and scholars thirty or forty years ago. Composers like Schoen- reaching its artistic culmination in Machaut. In his berg, Stravinsky, and Hindemith have not only made it recent book, The Commonwealth of Art (1946), C. Sachs abundantly clear to us that the traditional concepts of interpreted the evolution of art as a continuous oscil- harmony and tonality are no divine institutions, but their lation between two polar concepts of human attitude: work has also opened for us entirely new vistas in the ethos and pathos. Obviously, the music of the late four- fields of contrapuntal rhythm and contrapuntal disso- teenth century represents a maximum digression toward nance, exactly those fields explored to the fullest extent the pathos side. High tension, extravagance, disintegra- by the composers of the late fourteenth century. tion, open form, boundlessness, — these and similar Turning now to a brief excursion into the other fields terms offer themselves for the purpose of general descrip- of art, an examination of contemporary French painting tion. Is it mere chance that this situation occurred at the proves illuminating, since it reveals, generally, identical end of a century? At any rate, everything combines to traits and tendencies. French painting in the mid-four- make the music of our period a fin-du-siecle phenomenon teenth century centered around the refined but con- in the literal as well as in the symbolic sense. In this re- servative tradition of the 'Parisian School.' This school spect the late fourteenth century is not unlike the late was the result of the cooperation of northern French nineteenth, which produced the French impressionism. and of Flemish artists, the latter of whom introduced Similar to Debussy and other impressionists, the men who Taccent rcaliste et lyrique,' while the former tended to- came after Machaut brought forth a late blossoming at ward 'elegance graphique, aristocratique impassibilite, the end of a century revealing the same general traits of a clarte des formes.' (67) The miniatures in the Hour Book Romantic art that characterize the music of the nine- of Jacquemart de Hesdin (c. 1384) are among the most teenth century. In each instance we find ourselves in that exquisite examples of the Parisian style, a style that sur- border region where refinement is close to mannerism vived in several manuscripts of the early fifteenth century, and where elegance verges on preciousness. for instance in the hunting scenes of the Livre de Chasse The extreme complexity of style and notation mark by Gaston Phoebus. the music of our period as the product of an esoteric About 1380 there developed a new style of French school, the work of members of an exclusive guild ad- painting now known as 'The International Style,' thus dressing themselves to courtly audiences of the highest cul- termed because 'it came into being by the interpenetra- tural standing, to princes and courtiers accustomed to the tion and ultimate fusion of the Gallic as represented by utmost refinement in taste, manners, and fashion. Today the French, the Latin as represented by the Italians, and as well, this music is food, not for the masses, but for the the Anglo-Germanic as chiefly represented by the Flem- connoisseur who appreciates the unusual and exquisite, ings.' (68) The most famous example of this style are for the mind finding an aesthetic satisfaction in matters the Boucicaut Hours, painted for the Marechal de Bouci- incomprehensible and irritating to the many. It is music caut by an anonymous master between 1400 and 1410, kindred in spirit to that of Gesualdo and Frescobaldi, to and the Tres Riches Heurs du Due de Berry, of the Bach's Art of Fugue and Beethoven's late string quartets, brothers Limbourg, commenced in 1413. In various to Debussy's Pelleas or Schonberg's Pierrot lunaire. ways these masterworks of French book illumination rep- To recognize and appreciate the artistic values of the resent a counterpart to the Manneristic style in music. French music of the late fourteenth century certainly is In fact, art historians describe them in terms almost ARTISTIC TRENDS J9 identical with those we have used: 'If we are careful not It is perhaps no mere incident that the pathos style so to read a derogatory meaning into the word, this tenden- clearly indicated in the fashion, the painting, and the cy may be described as "manneristic." It manifests itself music of the late fourteenth century, has not left an in an emphasis on calligraphic lines, variegated colors, equally clear imprint on its literature and poetry. The gold and silver at the expense of spatial illusions; in ex- written word docs not lend itself so readily to extrava- cessive refinement of proportions, behaviour and dress of gance and boundlessness as does the ever-changing design figures; in richly ornamented armor, brocaded textiles of fashion, the free brush-stroke of the painter, or the and jewelry; in a preoccupation with patterns within evasive sound of music. The rules of word-sense, of gram- patterns, so to speak.' (69) mar, and prosody are not so easily dismissed as are those The resemblance is obvious. Particularly interesting is of consonance, rhythm, design or symmetry. An inter- the remark about 'emphasis on ... lines and . . . colors esting illustration of this situation exists in our time at the expense of spatial illusions.' It could be almost when, in spite of several attempts (Dadaism, James literally transferred to the music, if the word 'spatial' is Joice), literature has proved unwilling (or unable, which replaced by what has often been considered its musical amounts to the same) to explore realms of style com- equivalent, 'harmonic' (7°) Needless to say, the resem- parable to expressionism, atonality, or abstractivism. (72) blance of general traits results to a large extent from the The obvious analogy existing between the Internation- common soil of social conditions. Toward the end of the al style of painting and the Manneristic style of music fourteenth century an aging feudal aristocracy, tena- raises the question whether the latter also results from ciously clinging to outdated conventions, and desperately the confluence of various national elements, for instance, trying to infuse them with a semblance of new life, cre- French and Italian. Basically, this question must be an- ated a highly artificial style of living which is unique in swered in the negative. All the essential traits of our its 'amazing sophistication and extravagance in manners, repertory: forms, harmonic idiom, melodic design, treat- dress, and appurtenances.' (71) Small wonder this utter- ment of dissonance and of rhythm, are French in back- ly 'unreal1 fashion of wasplike waists, choking collars, ex- ground and in character. In particular, syncopation over travagant shoes and headpieces, glittering with gold and the bar-line, so frequently encountered in the composi- tinkling with bells, has survived to the present day in our tions of this period, is non-existent in Italian music, since fairy tales. it cannot be expressed in the Italian system of nota- Turning now to contemporary French poetry, we en- tion. (73) ter a field that, although partly connected with music, Certain traits, however, suggest Italian influence and, shows a strikingly different morphological structure as may be expected, these occur particularly in the works from that encountered in the two other fields of artistic of the three Italian composers. The most obvious of activity. Indeed there is little in French poetry of the these traits is the use of special note forms, which are a late fourteenth centruy to suggest a general tendency to- well-known characteristic of the Italian notation of the ward pathos, open form, or extravagance. Romance fourteenth century. As has been previously remarked philologists usually complain about a certain sterility of (see p. 8a), these setnibreves caudatae are found mainly thought and rigidity of treatment in the poetry of Ma- in Matheus de Perusio, Philipoctus, and Anthonello. chaut, and even more so in that of his successors, Jean Senleches is the only French composer to make extensive Froissart (1333-1410), Eustache Deschamps (c. 1340- use of these signs. Another detail suggesting Italian c. 1410) and Oton de Granson (d. 1397). 'Those ele- derivation are the sudden coloraturas in a strictly pat- ments which made French lyrics of the mid-thirteenth terned design. These occur particularly in the composi- century gems of vibrant beauty had lost their strength. tions of Matheus de Perusio (1, 79, 89 ff; 3, 23ff; 6, 25f; The metaphors and symbolism of the Romance of the 13, 9f; 17, 16f) and Philipoctus (59, 15; also in his Par Rose were no longer fresh, and social changes had caused le grant sens [WoGM, no. 27] and Par les bons gedeons the poet of the village caroles almost to disappear. The [IVoGM, no. 66)], occasionally also in Anthonello (26, French poets of the fourteenth century seemed to have 13f) and in isolated works of the French composers their ears to the ground, hoping for some new literary (Solage; 34, llff). (74) theme to match the exuberance of their art and of their Such details, however, are not sufficiently important to new social and political conditions, but this never came. offset the impression that the compositions of our period, And so love verse, descriptions of nature, and praise of including those written by the Italians, form a repertory heroes continued in the old mould, with less and less in- of an essentially French derivation. It is not until we spiration. Originality was sought instead in the me- come to the later works of Matheus de Perusio that we chanics of versification.' (U. T. Holmes). feel something like the 'sun of Italy,' that French 'sub- tilitas' gives way to Italian 'dulcedo.' These composi- 20 EDITORIAL REMARKS tions, with their well-ordered design, refined simplici- original note values. With the best of intentions, these ty, melodic continuity, and harmonious combinations, editors have actually done a great disservice to the cause indicate the beginning of that fusion of French and to which they devoted so much time and energy, and, to Italian elements which reached its consummation in Du- a large extent, they have defeated their own purpose. fay. Instead of bringing the old masterworks to new life, they The presence in the International style of painting of have merely transferred them from one graveyard into an 'Anglo-Germanic element, chiefly represented by the another or, to put it more properly, from their ancient Flemings;' invites a search for a similar trend in the mu- crypts into a modern Masscngrab. It is very unfortunate sical repertory of the period. Naturally, no exact corre- and, in fact, a serious obstacle to musicological progress, spondence can be expected, since there exists nothing in that to the present day publications continue to appear music comparable to the Flemish-German painting of the in which the old clefs arc permitted to play their per- early fourteenth century (Conrad von Socst; Wilhelm von nicious game of confusion, and in which the whole- and Herle?). It may be noted, however, that Flemish or, half-notes (so utterly different in appearance and mean- at least, northern French influence has been observed in ing from the old semibreves and minims) stare at the a well-characterized body of the literary texts, that is, reader with the wide-open eyes of rigor mortis. There in the 'realistic virelais.' It seems to us that their music are only two sensible ways of presenting old music: either as well points to northern derivation. Instead of lavish- in facsimile reproduction, or in a readable modern score. ness and extravagance we find here an unsophisti- It is gratifying to see that within the past twenty years cated charm, an almost folk-like lyricism, a sense of many musicologists (unfortunately, not all of them) have earthly humor, a naive delight in the calls of the birds. joined ranks with Hugo Riemann who was the first to A parallel to this 'northern clement' in the music of the take up the fight against the well-intended, but ill-con- period exists in the fact that it was the Flemish who con- sidered method of the Denkmaler. tributed to the Parisian school of painting Taccent Because of the usual complexity of the music con- lyriquc et realiste,' a contribution that persists in the tained in the present volume I have thought proper to go products of the International style where, side by side even further in the direction of modernization of appear- with highlv stvlizcd representations of the nobility, we ance than is the present-day custom. Not only has the find surprisingly realistic — and often drastic — por- C-clef been eliminated, but also the octave-transposing trayals of the lower-class people. violin-clef which usually proves an excellent substitute Thus, considerations from the various fields of arts for the alto as well as the tenor clef. In the music of our would seem to corroborate the impression that the realis- period the voices cross so often that only through the tic virelais represent a northern French or, possibly, exclusive use of the violin and the bass clef can an easily Flemish element in the music of the late fourteenth cen- readable score be obtained. True enough, this practice tury. True enough, realistic characterization is common entails a rather extended use of ledger lines and, occa- in the Italian caccias, but these show a general character sionally, change of clefs. However, both these devices, al- of dramatic vividness which is quite different from the though anathema to the purists, are perfectly normal and playful ease of the virelais. Moreover, the caccias are de- familiar usages of the present day. rived from northern French 'chaccs' of the early four- For all the compositions of this volume a uniform scale teenth century, such as Se je chant mains (75) whose of reduction has been used, the semibreve being repre- 'huo, huo' and 'ietes, ietes' may well indicate the point sented by the quarter-note. The arrangement of the parts of departure for the 'alarme, alarme' and 'restoes, restoes' follows the order (from top to bottom) superius, contra- in the present repertory (Nos. 72, 73). tenor, tenor, unless otherwise indicated. The principle of simplification without falsification has also been our leitmotif with regard to other more specific I. EDITORIAL REMARKS problems of editorial procedure, for instance, those aris- ing from the extraordinary rhythmic complexty of the Our prime consideration in matters of editorial tech- music. I had first planned to give an exact reproduction nique has been to present the compositions in such a of all the rhythmic details of the original notation, but manner as to avoid all unnecessary difficulties and com- this would involve the use of numerous displaced bar- plications. In adopting this principle we find ourselves lines and incomplete measures, not to mention other in- in diametrical opposition to the so-called 'scientific' tricate devices that would result in an extremely compli- method used by the editors of the Denkmaler volumes cated page. (76) I have therefore endeavored to simplify and other similar publications, a method characterized the external appearance of the rhythmic texture as much mainly by the retention of the original clefs and of the as is possible without sacrificing its intrinsic qualities. EDITORIAL REMARKS 21 Naturally, this policy admits of, and calls for, a certain ahead of the note to which they belong makes it diffi- amount of subjective decision, for which I have to take cult to decide exactly to which note they refer to, and, the responsibility. In order to clarify the proper nature consequently, which meaning the accidental has. In or- of the syncopated passages, the correct reading of the or- der to illustrate the situation, the original accidentals are iginal notation has often been added in small notes. fully and exactly indicated in Perusio's Helas avril (No. Except for the eight compositions reproduced in fac- 7), and Solage's Fumeux fume (No. 40), which proba- simile and three others for which fascimiles are given in bly represents the ne plus ultra of chromaticism in early my book on Notation (Nos. 23, 29, and 49; see ApNPAI, music, is reproduced in facsimile (Plate V). pp. 421, 415, and 423), an effort has been made to indi- Regarding the addition of editorial accidentals I feel cate all the peculiar notational devices of the original that the remarks given on pp. 16, 102, and 104f of my source, mainly signs of mensuration, special note forms, book on Notation are still valid in a general sense, al- and the use of coloration. The signs of the first two cate- though the specific rules for the B-flat and B-natural (p. gories are directly reproduced, while coloration, whether 104), if valid at all, would apply only to a later period. in full red notes (as usually in Mod and Ch) or in hollow There is only one new contribution I can make in this black (white) notes (as usually in Rei and the other matter, and this concerns the prolonged validity of origi- sources) is indicated by I 1. In some compositions, nal accidentals. There can be no question that, as a rule, e.g., No. 26, various kinds oi coloration are used, and the accidents given in our sources (as well as in others) these are indicated as follows: do have prolonged validity. A particularly good illustra- tion is found in No. 14, where the Ms has a sharp for for full read notes: | | F in meas. 6 of the contra-tenor, while a flat for F ap- for hollow red notes: [" "} pears in meas. 11. Obviously the sharp is intended to for hollow black notes: (~ ~\ have validity for the entire passage between these two signs. In cases where the accidental is not cancelled the Since in a number of compositions the notation of the limit of its validity is often indicated by the end of the final notes is not uniform in all the voice parts, these phrase, by a rest, or else can be found by applying 'musi- notes are usually reproduced as breves (half-notes), a cal common-sense.' At any rate, there can be no doubt fermata being added for those that are orginally notated that numerous accidentals that do not appear in the or- as longae. iginal notation are nevertheless implied, and it seems The words of the texts generally appear under the same reasonable to consider this fact in the modern transcrip- notes as in the original. In some compositions, however, tion. In the present edition these implied accidentals arc a rigid adherence to this principle was not feasible. In given in the main text, preceding the note they affect, contrast to Mod, Ch and, to a lesser extent, Rei show a but placed in square brackets. Purely editorial acciden- striking carelessness in the underlaying of the text, as tals, on the other hand, are indicated, as is customary, appears particularly from a comparison of the two lines above the notes and are enclosed in round parentheses if of text in the opening section of the ballades. they are deemed optional. Needless to say, the ever-present problem of musica After the preceding explanations the reader will not be ficta again rears its mysterious head. The main difficulty surprised to learn I have abandoned that unwieldy tool presented by our sources is not so much absence or scarci- of editorial scholarship known as 'Critical Apparatus' or ty of accidentals (the Mss of the fourteenth century are 'Variants.' The value of these extended lists is certainly much more liberally provided with accidentals than are out of proportion with the number of pages they con- those of the fifteenth and sixteenth), but uncertainty of sume and with the additional financial burden they their meaning. This uncertainty results from various cause. The absence of such a list in the present publica- factors. Often the accidentals appear in obviously mis- tion does not mean that I have neglected to collate the placed positions, for instance a flat on the C-line or the sources. The pertinent results of this study are included F-line; often there is doubt whether a natural (or flat) in the present edition. For each composition one Ms sign indicates a sharpened (flattened) degree, or serves to has been selected as the main source, (77) and all the cancel a previous accidental, which may or may not ap- cases where, because of obvious errors in this Ms, our pear in writing; occasionally there is room for doubt version differs from the original are indicated in small whether a sign appearing at the beginning of the line is notes, marked: Ms. As regards the variants found in an accidental or belongs to the signature; the question other Mss, only those are given that lead to a new and whether a flat or sharp given in the signature is also valid interesting version. These also appear immediately above for its higher or lower octave is one for which an affirma- the main text (marked Mod, Ch, etc.), so that they can tive answer cannot be taken for granted; finally the fact be easily compared with this. that accidentals are usually placed at a certain distance The original clefs are given below in a table. 22 EDITORIAL REMARKS The edition of the literary texts generally follows the Portions (usually the opening lines or the first stanza) same principles that have been adopted for the mu- of the texts of Ch are given in Chantilly, Le Cabinet des sic (78), except that no variants are given. Only in a very livres (see n. 16). Most of the poems from Cam are re- few cases has it been necessary to incorporate better produced in E. de Coussemaker, 'Notice sur les collec- readings from another Ms (see, for instance, the com- tions musicales la bibliotheque de Cambrai' (Memoires mentary to No. 57). As to earlier editions of the texts, de la societe d'emulation de Cambrai xviii, 1841, p. the most comprehensive is that of G. Bertoni, in 193ff; separately edited in 1843). Several of the poems Archivum Romanicum i (1917), containing all the represented in the present collection are found in poems from Mod, unfortunately with many errors. A. Pages, La Poesie frangaise en Catalogne . . . (see n. 18).

LIST OF CLEFS The abbreviation cl (c2, etc.) means the C-clef on the tion. Changes of clef (which occur sparingly) are not first (second, etc.) line from the bottom. Ch, Ret, It indicated. In the few cases where two clefs are notated have systems of six lines, Mod and Ca of five. The indi- (e.g., f2 and c4), only the lower one is given. cations refer to the main source used for each composi-

No. Tr S Ct T No. Tr S Ct T No. Tr S Ct T No. Tr S Ct T 1 cl c3 c3 21 f2 f2 41 c4 f3 f4 61 c4 c5 c5 2 c3 f3 f3 22 cl cl cl 42 c2 c4 c4 62 c3 f3 3 c3 c4 c4 23 cl c3 c3 43 c4 f4 f4 63 c2 c4 c4 4 cl c4 c4 24 cl c3 c3 44 c5 f5 f5 64 c2 c3 c4 5 c3 f3 f3 25 cl c3 c3 45 c3 f4 f4 65 c2 c2 c4 6 cl c3 c3 26 c2 c4 c4 46 c3 f3 f4 66 c2 c4 f2 7 cl c4 c4 27 dl d3 d3 47 c3 c5 c5 67 c2 c2 c4 c4 8 c2 c4 f2 28 cl c3 c3 48 c4 c4 f4 68 c3 c3 f3 9 f3 f5 f5 29 cl c3 c3 49 cl c2 c3 69 c2 c3 c4 10 cl c3 30 c2 c5 f2 50 c3 c3 f3 70 c2 c4 c3 11 cl c4 c4 31 c2 c3 c4 51 c3 f3 f3 71 c3 c3 c3 12 c4 f4 f4 32 c3 f3 f3 52 c4 f3 f3 72 c2 c2 c5 c5 13 c3 f3 f3 33 c4 f4 f4 53 c3 c5 c5 73 c3 c3 c5 14 c3 f3 f3 34 c3 c5 c5 54 cl cl c3 74 cl c3 c3 15 cl c3 c3 35 c3 c4 c5 c5 55 c3 c5 c5 75 cl c3 c3 16 c3 c4 f3 36 c2 cl c4 c4 56 c3 c5 c5 76 c2 c2 c5 17 c2 c4 c4 37 c2 c3 c5 c5 57 c3 f3 f3 77 c3 f3 f3 18 c2 c4 c4 38 cl c5 c5 58 cl c3 c3 78 c4 f3 f3 19 c2 f3 39 c2 c4 c5 c5 59 c3 c3 c3 79 c4 f4 20 c3 f3 40 f4 f5 f5 60 c2 f3 f3 80 c2 f3 81 c2 c4 J. NOTES 23 (1) The codex Rtina consists of three parts, of which the second In presenting these views I wish to say that, as far as I can see, only is to be considered here. The first contains Italian composi- they are not based on convincing evidence or proof, any more than tions of the fourteenth century, the third French compositions of is my view presented above. On the whole, de Van as well as the Dufay period. Pirrotta recognize Italian influence in the repertory to a much (2) See the List of Compositions and Sources, p. 27. Important greater extent than I am able to see. See the discussion of this additional sources, not considered here, are the codex Apt, con- question on p. 19a: taining only liturgical compositions (published in A. Gastou6, Le (11) The practical importance of this bull has been greatly over- Manuscript . . . a"Apt, 1936) and the codex Torino, Bibl. Naz. rated by music historians. It represents one of many futile attempts J119. The latter is, with 165 French secular compositions, by far at reformation on the part of a pope who was a 'kleiner leiden- the most extensive source in our field. The fact, however, that it schaftlicher Schulmeister,' possessed by a 'Neigung, neue Dogmen was compiled in Cyprus at a slightly later date (between 1413 and in die Welt zu setzen,' but actually unable 'irgendwo dauernde 1434, according to H. Besseler), and that it does not contain a single Zustande zu schaffen' (see F. Ludwig, in AMW vii, p. 432, quoting piece duplicating the repertory of the continental sources, puts it from K. Wenck). into a separate category. Publication of this codex has been (12) See R. Michel-Andre1, Avignon, Les Fresques du palais des announced by the American Institute of Musicology in Rome. popes, 1920. (3) Two compositions by Baude Cordier, an interesting circle (13) Cuvelier (Cunelier?) may possibly be identical with the canon (cf. P. Aubry, Les plus anciens monuments de la musique francaise,author of Bertrand du Guesclin, one of the latest products of the old 1905, pi. XXII; also H. Riemann, Handbuch der Musikgeschichte, French epic poetry (see G. Paris, Esquisse historique de la litllrature i. 2, 1905, p. 351), and the famous 'musical heart' (cf. ApNPM, francaise au moyen-Sge, p. 212). p. 427) are found in Ch. However, they are later additions copied (14) See the additional remarks in the Commentary (No. 44). on a front page (possibly by Cordier himself) and not part of the (15) Owing to a plurality of Marguerites in the political life of original Ms. the period, it is difficult to reach a decision as to the identity of the (4) The statement in H. Riemann's Musiklexikon (s.v. 'Tapissier' couple to whom this poem is addressed. The most famous bearer and 'Cesaris') that Ch includes one composition by Tapissier and of the name was Marguerite of Flanders (1350-1405), who was ten by Cesaris, is erroneous. Only a 'Tenor Johannis Cesaris' is V married to Philippe de Rouvre in 1361 and, after his death, to found on p. 46 , where it forms a part of La dieus a"amours. Accord- Philip the Bold, duke of Burgundy, in 1369. Even the later of these ing to J. Wolf (WoGM i, p. 329) a 'Tenor Johannis Cesaris' also r dates seems a bit early for the composition in question, but the use appears on the next page, 47 , as part of Adieu vous di, but this is a of the word 'espousa' would justify the assumption that it was mistake. written some time after the marriage. Two other claimants figure (5) The term 'secular composition' is used here as a generic among the partners of a widely celebrated double wedding that designation for the compositions based on lyrical poetry (ballades, took place on April 12, 1385 at Cambrai, when Philip's eldest virelais, rondeaux). daughter, Marguerite, was married to Guillaume d'Ostrevent, son (6) The total number of compositions by Perusio (including of Albert of Bavaria, and his eldest son, John, to Marguerite of Mass items, motets and Italian pieces) is 31. Cf. LuGM ii, p. 31a. Bavaria. Possibly the designation of the husband as 'Jupiter' and The virelais Plus onques ascribed to Perusio in WoGM ii, iii, no. 69, of the place of marriage as 'Engaddi, la pr£cieuse vigne' (in symbolic actually is anonymous. See, however, the remark near the end of reference to the biblical Engaddi) may provide a clue. At any n. 53. rate, the poem seems to be related to the court of Burgundy that (7) Two ballades, En atendant soufrir and En attendant esperance, was to play such a central r61e in the music history of the fifteenth both ascribed to Galiot in Ch, are ascribed differently in Mod, the century. former to Philipoctus, the latter to Senleches. On inner grounds The line 'En Engaddy, la precieuse vigne' recurs in the ballade we have' accepted Galiot as the more likely composer of En atendant Roses et Us by Magr. Egidius Anglicus (Ch, 22r). For other poems soufrir, and Senleches as the one for En attendant esperance (see the celebrating this double wedding see p. 16a. Commentary, Nos. 49 and 56). One composition by Senleches, V (16) Probably Charles II, le Mauvais, who ruled from 1350 to La harpe de melodie (Ch, 43 ), had to be excluded from the present 1387. In Chanlilly, Le Cabinet des livres, Manuscrits ii, 1900, p. publication because it is incomplete. 277ff, where our musical codex Ch is described in considerable (8) Edward P. Cheyney, The Dawn of a New Era, 1936, p. 181. detail, Quant joyne cuer is said to refer to Gaston Phoebus (p. 280, (9) AMW vii, p. 194. under No. 41). (10) During the past few years several scholars have examined (17) The theme of the Nine Heroes has frequently found expres- the question as to the location of the Franco-Italian school of the sion in works of art. Of particular interest are the Nine Heroes late fourteenth century. In an article entitled 'II Codice Estense tapestries recently discovered and acquired by The Cloisters in New lat. 568 e la musica francese in Italia al principio del '400' (Atti York. See The Metropolitan Museum of Art, Bulletin, vol. VII, Num- della R. Accademia di Scienze Leltere e Arti di Palermo,' serie IV, vol. V, ber 9 May, 1949, p. 243ff. parte II, 1944 /45), N. Pirrotta expresses the opinion that the Italian (18) H. Angles, 'Cantors und Ministrers in den Diensten der composers worked in Naples which, as is well known, was under Konige von Katalonien-Aragonien im 14. Jahrhundert' (Berichl French domination for many centuries. Caserta, the native place iiber den musikwissenschqftlichen Kongress in Basel, 1924, p. 56ff); id., of Philipoctus and Anthonello, is a town near Naples. Speaking of 'Gacian Reyneau am KSnigshof zu Barcelona in der Zeit von 139.. Philipoctus, Pirrotta considers it 'probabile che il musico casertano bis 1429' (Festschrift fiir Guido Adler, 1930, p. 64ff); id., 'El Music . . . trasmigrasse poi (that is, simultaneously with Clement VII, Jacomi al servei de Joan I i Marti I durant els anys 1372-1404, 1379/80) ad Avignone, dacche figura fra i compositori piu Iarga- (in Homenalge a Anloni Rubio i Liuch i, 1936: also separate); A. Pages, mente rappresentati in Ch' (p. 130). However, in a more recent La Poisie francaise en Catalogne du XHIe siicle h la Jin du XVe, 1936. article, entitled ' "Dulcedo" e "Subtilitas" nella pratica polifonica (19) Ch contains a ballade, Se Dedalus, by Taillandier (p. 42V) franco-italiana al principio del '400' (Revue Beige de Musicologie, ii, and a rondeau, Va t'en man cuer by Reyneau (p. 56V). 1948, p. 125), Pirrotta apparently abandons this theory, and prefers (20) He is well known for his letter of 1338 in which he urges his to consider Philipoctus as 'un rappresentante di una scuola cam- brother-in-law, Philip the Bold of Burgundy, to send him an pana, venuta in contatto dopo il 1377 con i musicisti importati di exaquier as well as a player who could perform on it. See ReMMA, Avignone' (p. 130, n. 2). Judging from brief remarks found in an pp. 375 and 384, and F. Pedrell, 'Jean I d'Aragon, Compositeur article by G. de Van, 'La P6dagogic musicale a la fin du moyen de musique' (Riemann-Feslschrift, 1909, p. 229). age' (Musica Disciplina ii, 1948, p. 75), Bologna also has been (21) Mainly in WoGM i, 260, 328, and 335. For important brought into the picture: 'Ettore Li Gotti, La Poesia musicale ilaliana corrections see F. Ludwig, in SIM vi, 611, 616. A detailed descrip- del secolo XIV, 69-70, n. 113, parle d'une 6cole bolonaise dont Mod tion of Ch is found in Chanlilly, Le Cabinet . . . (see n. 16), of Mod, serait un temoignage.' (p. 80, n. 18); 'M. Pirrotta est, je crois, le in Pirrotta, 'II Codice ..." (see n. 10), The descriptions in premier a avoir localisfe l'6cole bolonaise. L'etude de Mod m'avait LuGM ii, 22f and in AMW vii, viii (Besseler) should also be con- suggerfi depuis longtemps la mtaie idee. Je 'ne connais les theories sulted, particularly for some of the subsidiary sources not described de ce savant italien que par une breve citation dans Li Gotti, loc. in WoGM. eit: (p. 85, fn. 25). 24 NOTES (22) Cf. F. Ludwig, in SIM iv, 42; H. Besselcr, in AMW vii, Italian predecessors of Matheus (see, e.g., the example in ApNPM, 207; J. Wolf, in WoGM i, 328; also the articles by Pirrotta and de p. 394). Van mentioned in n. 10. (39) See WoGM i, 294. (23) Reproduced in WoGM ii,iii,no. 76 and in DTOe ix.l, 179. (40) ''ThT e Frenc~ h Secular Music of the Late Fourteenth Century' See also A. T. Davison and W. Apel, Historical Anthology of Music, (Ada Musicologica xviii/xix, 1946/47, p. 17). 1946, no. 60. (41) A later embodiment of the same principle is encountered (24) The List of Compositions and Sources (p. 27) affords a in sixteenth-century sources where blackened notes, which are survey of this point. All statements in this respect are subject to always imperfect, are occasionally used for the rendition of passages reservation because of the great number of anonymous composi- in triple meter in order to avoid the complications of imperfection tions found in our sources. Mod and Ch are the only sources to give and alteration. Cf. ApNPM, p. 136, line 6 f.b. names of composers of our repertory. (42) See ApNPM, p. 164ff. (25) See F. Ludwig, in AMW vii, 423; also the detailed bio- (43) WoGM i, 176ff, F. Ludwig, in SIM vi, 606, rejects Wolf's graphical description in Pirrotta, 'II Codicc . . . • (sec n. 10), theory as pure fantasy. p. 142ff. (44) It seems to me that an ulterior date for our repertory is (26) These compositions are: Je la remiray (It, 126r = Mod, provided by the fact that Matheus de Perusio, the main representa- 35r = Rei, 88'; see ApNPM, facs. 82) and Je ne puts avoir (Pan, tive of its last phase, became a member of the choir of the cathedral 104r = Mod, 20v = Ch, 24'; see ApNPM, facs. 83). Possibly, Dame at Milan in 1402, a position in which he remained at least until tans per in 7>, no. 3 was identical with the composition bearing the 1418. Since it is difficult to see what could have induced him to same title in Mod, 28V (see the discussion on p. 5a). compose French secular songs in this position and in this town, I (27) This composition has been repeatedly mentioned in modern am inclined to think that they were composed before 1402, in writings under the name of 'Die Muhlen von Paris' or 'The Mills Avignon, Naples, or wherever he may have lived before that of Paris' (R. Haas, Musikalische AuffUhrungspraxis, 1932, p. 103; W. appointment. To assign his compositions to a date after 1418, Apel, Harvard Dictionary of Music, 1942, p. 784; C. Sachs, Our would leave a considerable gap in the development, all the more Musical Heritage, 1948, p. 175). This title is a misinterpretation of since some of his works (e.g., Le greygnour bien, No. 1) definitely the inscription 'Di molen van pariis', which occurs in the index of belong to the manneristic style. Str and actually is a garbled version of the composer's name, (45) See G. Perle, 'Integrative Devices in the Music of Machaut' [Pierre] de Moulin of Paris (cf. LuGM ii, p. 20a, n. 2). The claim, (MQxxxiv, 169). often made on behalf of this composition, of being the earliest (46) Regarding the use of imitation in Machaut see ReMMA, example of variation (Haas, Sachs) is hardly well founded. The p. 355. piece exists in three versions, two of which show the upper part pro- (47) Sec Commentary. vided with ornamentations similar to those which occur in the carly- (48) Although, according to Webster, 'mannered' and 'manner- fourteenth-century keyboard arrangements of motets from the istic' arc synonymous terms, art historians usually make a distinc- Roman de Fauvel (see J. Wolf, 'Zur Geschichte der Orgelmusik im tion according to which the former term has a disparaging side 14. Jahrhundert,' Kirchenmusikalisches Jahrbuch, 1899). In neithermeaning that is not implied in the latter. of these cases is there any reason to assume that the ornamented (49) See the explanations under Editorial Remarks, p. 20b. versions were connected with the model as 'variations of a theme.' (50) In these versions upward and downward stemming is used Their proper place is in the history of ornamented arrangements, to distinguish the incomplete groups from the inserted full meas- in which they precede the Intabulierungen of the sixteenth century. ures. Whenever feasible, the notes of the incomplete groups arc (28) LuGM ii, 18b. connected by a long beam, in order to show that they result from (29) Since French philologists have a long standing claim on the the splitting up of a full group (3 /8 or 6 /8). For more detailed first letters of the alphabet to indicate rhyme schemes and refrain information the reader is referred to ApNPM, p. 414f, or to the lines, the letters S, T, etc. are used here to indicate musical sections. article in Ada Musicologica (see n. 40), p. 23f. In an article,' "The For the sake of clear distinction we prefer them over the Greek Notation of Polyphonic Music": A Review' (A/Q_xxx, 112), M. letters, a, 0, etc., which have been used by philologists (Gennrich F. Bukofzer suggested the term 'durational syncopation' for and others) for this purpose. the syncopation type of the fourteenth century which, of course, (30) Some of the monophonic virelais by Machaut have two completely lacks the strongly accentuating ('shocking') quality of different endings for the first section as well. No example of this modern syncopation (p. 116). practice has been found in polyphonic compositions. (51) We are using here a terminology, introduced by C. Stumpf, (31) See Machaut's ballade no. 38. The other three ballades in which 'consonance' and 'dissonance' express objective facts of of this group have a seemingly more complex structure, because of acoustics, while 'concordant' and 'discordant' indicate subjective their use of internal rhymes (ballade layee). perceptions or interpretations. Thus, the fourth may be termed (32) See ReMMA, p. 107. a consonant and discordant interval. (33) Early examples of these solemn chains of chords, which (52) CSi, 107a. are so frequent in Dufay, occur in Machaut's Mass, to such words (53) Another illustration of this situation is afforded by the as 'Jhesu Christe' and 'Ex Maria Virgine.' various instances of faulty transcriptions found in previous publica- (34) This is the case with Grimace's Alarme alarme (No. 72), tions. Completely wrong is Coussemaker's transcription of Ne which has a full text in Ch, while the text of Rei lacks the tierce. celle amour (No. 54) in his Histoire de I'harmonie au moyen-dge (1852), (35) See also WoGM i, particularly pp. 328-356. Traduction, p. XL. Also wrong is the transcription of the begin- (36) A somewhat simpler device for the notation of syncopated ning of Baude Cordier's Amans amez in E. Dannemann, Die spatgo- passages, also often used in our sources, is that of split groups of tische Musiktradition . . . (1936), p. 106, no. 33 (see Davison-Apel, coloration, as, e.g., in No. 32 (see Commentary; cf. also ApNPM, Historical Anthology of Music, No. 48a), and that of De jour en jour p. 406, under 2). This device persisted well into the fifteenth by Dezcs in ZMWx, 99ff. century (see ApNPM, p. 133 [Hughe de Lantins] and p. 134 Wolf's transcriptions are correct, except for some passages in [Dufay]). Numerous examples exist in Ockeghcm's Missa pro- which he has failed to notice the syncopation character. Thus, in lationum and Requiem, both published, with facsimiles, in vol. ii of Par le grant sens the passage WoGM iii, p. 72, syst. 2, meas. 3 to 5 Ockeghem's Collected Works, edited by D. Plamenac, 1947. Several should have only one half-rest (there is only one M- rest in the such passages are found on Plate XIII of this edition, and one of original as well as in the reproduction, WoGM ii, p. 46, beginning these, involving quicker notes than the others (contra, first line) of line 2), and should have a dotted whole-note on D (the clearly has been wrongly transcribed by the editor (p. 93, meas. 9-10). visible punctus of the original is missing in the reproduction). A According to the rule of 'similis ante similem perfecta' the passage similar case occurs in the passage vol. iii, p. 73, syst. 2, meas. 5 in the next two measures of the contra should also be in syncopation, to syst. 3, meas. 2, where the two M of the original (see vol. ii, p.46 but this rule was no longer so strictly observed as previously. line 6) should be transcribed in alteration, thus obviating Wolf's (37) CSiii, 118; see also WoGM i, 291. conjecture of a scribal error (see his n. 1). In the reproduction of (38) Some of Matheus' 'additive' signs appear in the composi- Par Us bonsgedeons (ii, p. 118) a dot above the first note of the second tions of Paolo Tcnorista, who probably was one of the immediate ligature on line 8 is omitted and a dot is erroneously added after NOTES 25 the third note of line 9. Properly the whole passage between these of the upper part strongly suggests an alternation of vocal and notes should be in syncopation (see vol. iii, p. 160, syst. 3, meas. instrumental passages, for instance in Solage's Corps femenin (No. 4ff). For Plus onques dame (ii, p. 125f) Wolf makes several emenda- 32) and Pluseursgens (No. 37). tions that result in faulty transcriptions of the two closing passages. (63) G. Raynaud, Oeuvres completes de Eustache Deschamps, vol. x If correctly transcribed, the final measures show the iambic rhythm ('Oeuvres attribuables a E. D.'J, no. LVI (erroneously given as often found in the works of Matheus de Perusio (see p. 14a). Thus, 'Se Narcisus'). The same volume contains two other poems that the very charming composition may well be by Perusio (as indi- occur in the musical repertory of our period, namely, Puisqueje suy cated by Wolf), although it is anonymous in the Ms. jumeux (no. XIV; composition by Hasprois in Ch, 34v) and De ce Schering's transcription of Perusio's rondeau (not 'Chanson quejolpense (no. LXIII; composition by Pierre de Moulins, see p.4b). balladSe') Pour bel acueil {Geschichte der Musik in Beispielen, 1931, no. Many of Raynaud's attributions are doubtful. An example in 24) shows a slight mistake in meas. 8, where the first note of the point is Puisqueje suy jumeux, which appears in Ch with the subscript superius should appear in syncopation. See No. 12. 'Composuit dictum Ja. de Noyon.' This means, of course, that In mentioning these mistakes I am fully aware of the possibility Noyon wrote (not 'composed') the text, an interpretation confirmed that similar errors may be found in the present transcriptions. by the fact that Hasprois is given as the 'composer.' (54) Italic capitals indicate minor triads, Roman capitals major (64) E. Langlois, ed. Recueil d'Arts de stconde rhitorique, 1902, or empty (1-5-8) triads. pp. 13-14. (55) It is not without interest to notice that the 'high-strung' (65) See the list of composers given on p. lb. double-leading-tone cadence of the fourteenth century recurs (66) SIM'w, 46. occasionally in a much later repertory revealing the same tendency (67) Charles Jacques (Sterling), Les Peintures du moyen age, 1941, toward an exuberant pathos style, that is; the German organ music p. 17. of the seventeenth century. The most impressive example is the (68) From Chapter II of Prof. E. Panofsky's lectures on the close of Tunder's organ chorale Jesus Christus unser Heiland (K. Origin and Character of Early Flemish Painting, given at Harvard Straube, Choralvorspielc alter Meisler, p. 135): University in 1947/48, and to be published soon. I am very grate- ful to Mr. Panofsky for having put his manuscript at my disposal, and for his permission to quote from it. (69) See n. 68. (70) See, e.g., C. Sachs, The Commonwealth of Art, p. 272. (71) See n. 68. (72) In making these comments I take exception to a funda- mental thesis of Sachs' theory of fluctuation (as put forth in his The Commonwealth of Art), namely that these fluctuations, minor as well as major, invariably reveal themselves in all the arts and at exactly XT. the same time. Many of Sachs' examples adduced to prove this thesis are far from being convincing. (73) An interesting illustration exists in a virelai, Quepena, of the Ulrich Steigleder's Tabulator Buck Darinnen dass Vatler unser . . . Italian composer Bartholomeo de Bononia {Mod, 37r; reproduced viertzig mal varirt wiirdt (1627) contains a variation in which the and transcribed in IVoGM ii and iii, no. 68). The notational com- chorale appears 'in zwo Stimmen zumal,' that is, doubled in the plexities of this composition are hardly less than in the most extreme lower fourth, a method thus resulting in a double leading tone for examples of the present collection. The resulting rhythmic compli- the cadential endings: cations, however, nearly always unfold within the bounds of regular and simultaneous measures (see the explanation in ApNPM, p. 429f; corrected in the fourth edition). A comparison of Bartholo- meo's Quepena with, for instance, Matheus de Perusio's Le greygnour bien reveals the difference between the Italian and the French variety of mannered notation. (74) N. Pirotta, in his article 'Dulcedo e subtilitas' (sec n. 10) recognizes Italian derivation in the erratic design of the contra- tenor, as found in many compositions of Anthonello and Phili- poctus, maintaining that these pieces were originally written in the characteristic Italian texture of two voice-parts (Jacopo da Bologna, Giovanni da Florentia), and that the contratenor was added subse- (56) See the remarks in the chapter on Questions of Perform- quently as a mere filling part. Although the compositions in ance (p. 15a). question do give the impression of having been thus composed, it (57) See the remark about Plus onques dame near the end of n. 53. may be somewhat rash to interpret this as a typically Italian trait. (58) We do not include in this group No. 54, because here the The same kind of erratic contratenor progressing in broken thirds two fragments of text given with the contra obviously serve only to is frequent in the compositions of at least one French composer, underline the imitative character of these passages. Trebor. It is true, however, that the Italians went further in this (59) In the two poems by Machaut containing an enumeration direction than did Trebor. of instruments (see LuGM i, p. 102 and ii, p. 53) I count 12 strings, Parenthetically it may be remarked that even the Italian colora- 24 winds, and five percussion instruments. turas may have a French ancestry, a possibility strongly suggested (60) See commentary for No. 34. by the Et in terra of the so-called Mass of Tournai of c. 1300 (sec (61) Actual performances would help greatly to clarify these E. de Coussemaker, Messe du Xllle silcle, 1861). questions. I had the pleasure of attending the performances of (75) See H. Besseler, in AMW vii, 251. music of the thirteenth, fourteenth, and fifteenth century given (76) For an example see the transcription of Anthonello's Dame under the direction of Prof. Paul Hindemith at Yale University in gentil (No. 29) in ApNPM, Appendix, No. 58. 1946 and 1947, and I hope to be permitted to express to Mr. (77) See the introductory remark to the List of Compositions Hindemith the sincere gratitude of the whole clan of musicologists and Their Sources, p. 27. for his splendid and highly successful efforts. (78) See the introductory remark to the List of Compositions, (62) The extremely inaccurate underlaying of the text in Ch p. 27. makes it difficult to investigate this problem with regard to compo- (79) See LuGM ii, 31b, n. 1. sitions contained in this Ms. In some cases the musical phraseology

LIST OF COMPOSITIONS AND THEIR SOURCES 27

Each indication of the subsequent list consists of the ly the first, is given. The sign § means that, in the case page number and two signs, the first of which, + or —, of compositions preserved in several sources, the Ms thus indicates the presence or absence of a composer's name; marked has been used as the main source for the music while the second indicates the numbers of stanzas of the of the present edition. As a rule, this Ms has also been text. Thus, 28v — 3 means that the composition is found used as the basis for the literary text, except in those on page 28v, without the name of a composer and with cases where a fuller text is found in another Ms. In such a text of three stanzas. Double or triple numbers, e.g., cases the rendition of the entire text is based on that Ms, 1,1, indicate that there are different texts for two or marked by the sign *, which has the fullest text. Items three voice-parts. In the case of compositions appear- placed in square brackets have not been available for ing on two or more pages of the Ms only one page, usual- checking.

Mod Ch Rei Other Sources

1 Matheus Le greygnour bien 32r + 1 de Perusio 2 99 Le grant dcsir 33v+ 1 3 99 Se je me plaing 42v + 3 4 99 Pres du soloil 16r + 3 5 99 Dame que j'aym 10v+ 1 6 99 Puisque je sui 44r + 1 7 99 Helas avril 45r + 1 8 Dame souvrayne 38r + 2 9 99 Heylas que feray 41v + 1 10 99 Ne me chaut 48r + 1 11 99 Belle sans per 42r + 1 12 99 Pour bel acueil 44v + 1 13 99 Trover ne puis 46r + 1 14 99 Dame de honour plesant 51r + 2 15 99 Se pour loyaulment servir 43v+ 1 16 99 Jusques a tant 48v + 1 17 99 A qui fortune 43r + 1 18 99 Pour Dieu vous pri 41r + 1 19 99 Plus lies des lies 23r + 1 20 99 Helas merci 38v + 1 21 99 Par vous m'estuet lOr + 1,1 22 99 Andray soulet 40v + 1 23 Anthonello Beaute parfaite §13r + 3 46v- 1 de Caserta 24 99 Dame d'onour en qui 40v + 1 25 99 Du val prilleus §12v + 1 47r-l 26 99 Amour m'a le cuer mis 32v + 1 27 99 Notes pour moi 13v + 1 28 99 Tres nouble dame 28v+ 1 29 99 Dame gentil 38v + 1 30 99 Dame d'onour c'on ne puct 19v + 1 31 Solage En l'amoureux vergier 20r + 3 32 99 Corps femenin 23v + 3 33 99 Calextone qui fut 50r + 1 34 99 S'aincy estoit 36r + 3 35 99 Le basile 49v + 3 36 99 Helas je voy 57v + 3 37 99 Pluseurs gens voy 58r + 3 38 99 Tres gentil cuer \ §50v + 3 I 18r + 3 23 LIST OF COMPOSITIONS

Mod Ch Ret Other Sources

39 Joicux de cucr 58v + 1 40 Fumeux fume 59r + 1 41 Trebor Passerosc de bcaute 21r + 3 42 Helas pitie 42r + 2 43 Quant joyne cuer 31r + 3 44 En seumeillant 21v + 3 45 Se Alixandre et Hector 30r + 3 46 Sc July Cesar 43r + 3 47 Jacob de Fuions de ci §14v + 1 *17r + 3 61v- 1 Senleches 48 Je me mcrveil 44v + 3,3 49 En attendant esperance §39v + 1 *44r + 3 50 En ce gracicux tamps 25v+ 1 §58v- 1 [Padua, Ms 1115; Str, 51 31 Tel me voit 40r + 1 no. 79] 1 52 ~MlVXAartiiriusl IUL1 UJ nu\J Uil Afu KA tl# no,, _ oyv 1 53 Amour me fait §29r - 2 [Str, no. 22] 57v- 2 54 XN i P^ PPIIv^ilwP tilllUUamouIr r* n o Mag. Franc- + 3 LiCtHj yr "~~ i. 55 De Narcissus §19v 81r- 1 It, 33v-0; [Tr, no. 48] iscus 56 Jo. Galiot En atendant soufrir 20r + 2 *33v + 3 §84v- 0 57 Magister Courtois et sages §35r + 1 54r- 1 Egidius 58 Fr. Johannes Une dame requis 12r + 1 Janua 59 Philipoctus En remirant §34v + 1 *39r + 3 80v- 1 de Gaserta 60 " De ma dolour §26v + 1 *32r + 3 61 Unsr lion sav 28v — l 62 Mais qu'il vous legne i 77r- i 63 KPTP Hanip It, 23r - 0 64 Contre le temps 57r- 65 55v- 2,2 66 Ciconia Sus un fontayne §27r + 1 [Pad, 38v - ?] 67 Borlet He tres doulz roussignol 54v + 1,1 68 ["] Ma trcdol rosignol 53r- 1,1,1 [Str, no. 53] 69 Vaillant Par maintes foys 60r + 1 [Str, no. 101] i 70 Or sus vous dormez trop X §//, 122v l;Z.o,76v 1; [Iv, Uv-I; Str,no. 127] i 71 Onques ne fu §67v- X [Str, no. 26] 72 Grimace Alarme alarme §55v + 1 69r- 1 T^pstop*? restoes FLO- 73 DOT 74 T?.r» tpo Honls flan*? 1 §77v- X [Str, no. 13] 75 S'espoir n'estoit //, 125r - 1 76 Vaillant Tres doulz amis Conbiens qu'il soyt 17v 1 77 + 1,1,1 X [Str, no. 34] 78 Garinus Loyaute me tient It, 121r-0 79 Hnrs suv ie bien 13r— 1 §36v + l 80 La grant beaute 36r— 1 81 Tre doulz regard 30v-l COMMENTARY 29

No. 1. (Facsimile Plate I.) This is one of the most notable No. 13. The signature of the superius alternates between a fla* examples of the manneristic style and notation. As usual in this on E (lines 1, 4, 5) and one on B (lines 2, 3). Certainly B-flat is idiom, the two lower parts are relatively simple, while in the required for the entire voice-part. The accidentals are fully superius notational virtuosity holds full sway. The basic mensura- indicated. The 'modulation' from F-sharp minor (meas. 26) to tion of the superius is [2, 2]. The white notes indicate dotted B-flat minor (meas. 30) may be noticed, as well as the meaningful values, and the full red notes introduce triplets or, in other words, imitations in meas. 11-12 and 32 (see p. 14a). 6 /8 for 2 /4, while the hollow red notes (meas. 59 to 67) stand for triplets of triplets or, in other words, 9/8 in the place of 2/4. No. 14. The use of a signum congruentiae for the end of the first In the contra the passages in o (end of staff 8 and beginning of section may be noticed. staff 10) seem to have been originally notated in smaller values, with stems and flags that were later erased. The traces of this No. 17. See remark under No. 14. The two lower voice-parts, change are noticeable in the original Ms, but could not be repro- notated in [2, 3], arc to be read in augmentation (see p. 9b). duced on the facsimile. A 'correct' rendition of the passage S 11-14 would look as follows: No. 20. The tenor, notatcd in [2, 3], is to, be read in augmen- tation (sec p. 9b). In meas. 43 minims with a three-quarters' head are used (see p. 8b). No. 21. The distribution of the text seems to suggest instru- mental sections in each of the two parts. > No. 22. In the Ms the text of this canon is written continuously •r -r and in a crowded style, without regard to the proper position of the syllables. In our transcription the text has been underlaid according to the principle that each ligature (indicated in the This is, no doubt, one of the earliest extant compositions of upper part by the customary brackets) receives only one syllable. Matheus de Perusio, written in imitation of Philipoctus and This leads to a fairly conclusive result. Anthonello (see, in particular, the arpeggio figurations in C 27-26"); No. 23. The following explanations of the notation of this No. 2. Regarding the various semibreves caudatae, sec p. 8a. extremely involved example are offered in addition to (and, partly, In S 60-62 a different reading is possible, with the last note of meas. correction of) those given in ApNPM, p. 418ff (facsimile, from Rei, 60 becoming a dotted quarter note, and the last note of meas. 62 on p. 421). an eighth note. The superius starts without signature, a B-flat 1. The tenor is in [2,3] throughout. being introduced at the beginning of the second line (meas. 19), 2. The contra, section II (meas. 27-43) is in [3, 2]. The as well as at the beginning of the sections II and III, but not sections I and III are both notated in [2, 2], a mensuration indicated at the beginning of lines 3, 4, and 5. Several accidentals which is indicated for III, while for I it appears from the are misplaced, for instance a sharp on G in S 23 (in addition to a length of the 5-rcst in meas. 18. Musically, however, both sharp on F for the first note of S 24), and a flat on G in S 54 and sections are in free meter, often suggestive of 6 /8 (e.g., meas. in S 63, both probably meant to be on A. 7Pff). We find here a notational method similar to that in Senleches' Je me merveil (see p. 9a). No. 3. This piece offers several instructive examples for the 3. The superius, section I, consists of four divisions, prolonged validity of accidentals (see p. 21b). notatcd successively in [2,3] (not indicated), [3, 2], [2, 2],and [3, 3]. Each of the three last divisions opens with a passage No. 4. A comparison of this composition with Le greygnour bien in red (in Rei white) notes. These indicate proportional (No. 1) reveals the difference between the Manneristic style and changes of the mensurations, namely, sesquialtera (i.e. 3:2) the Modern style. The most striking traits arc the use of a quieter in the case of prolalio imperfecta ([3, 2] and [2, 2]), and sub- meter (3/4), the complete absence of rhythmic complexities, the sesquiallera (i.e., 2:3) in the case of prolalio perjecla ([3, 3]). melodic flow of the superius, and the change of the contra from In modern terms this means that, after an initial passage jn a 'secondary superius' to a 'secondary tenor.' The point of 6/8 (meas. 1-5), the meters 3/4, 2/4, and 9/8 each appear in imitation in meas. 83-85 may also be noticed. two different 'tempi,' for instance, 3/4-measures equal to three (dotted) quarter-notes of the tenor followed by 3/4- No. 5. The two lower parts are in [2, 2] throughout, while in measures equal to two such notes. Section II of the superius the superius sections in [2, 3] and in [3, 2] alternate. This alter- is in [2, 3], with red semibreves introducing single imperfect nation introduces not only a change of meter, from 6 /8 to 3 /4, notes or, later on, passages in hemiola (meas. 35-37). Section III but also a proportional change of values, a 3 /4- measure being is notated in [2, 2] with red semibreves introducing single equivalent to two-thirds of a 6 /8- measure. dotted notes. As in the case of the contratenor (sections I and III, see above), the musical context suggests 3/4- and No. 7. While most of Perusio's compositions are remarkable 6/8-meter. This section closes with a passage in [2, 3], in for their clear and complete indication of accidentals (e.g., Nos. 3, the course of which two dragmas occur, each to the value of one 6, 8, 9, 10, and others), the present one offers many problems in and a half M (meas. 55; similarly in meas. 31/; the remark con- this respect. In order to illustrate the situation (which, of course, cerning this passage given in ApNPM, p. 420, line 8, to the recurs in other examples of our collection), the original accidentals effect that the white S and the dragma have the same value, have been indicated in our transcription at the exact place where i.e., of two M, is erroneous; corrected in the fourth edition). they occur in the original. The entire closing section of this virelai (meas. 6"9ff) seems to be an instrumental postlude (the No. 24. The notation of this example is interesting for the use portion 'Ne d'aultre cose ..." of the text, although written under- of figures, 2 and 3, to indicate imperfect and perfect mensurations neath this section, forms part of the additional text given at the end (see p. 9b), in the supcrius as well as in the contra. The latter of the superius, and belongs to meas. 54S). In T 2 the Ms has a employs, in addition, diminution and augmentation according to dot (?) after E, which we interpret as an S- rest. the canon: 'Contratenor: prima pars cantatur per medium diminuendo. Secunda c contrario augumentando. Tertia sicut in No. 12. This composition is published, under the erroneous figuris iacet.' A complicating trick, however, is that the sign f designation of 'Chanson balladee,' in A. Schering, Geschichte der Musih in Beispielen (1931), no. 24. Notice the slight difference of in its normal meaning (that is, as used in the superius) calls for transcription in S 7-8. diminution, as does so often its familiar equivalent, the half-circle. 30 COMMENTARY

In order to facilitate the understanding of the notation employed A B-flat signature, not given in the Ms, is required for the tenor in this composition, the original note values for the initial notes as well as the contra (see especially meas. 29-31, 46, 71). The of the various divisions are reproduced in our transcription. extended A-flat major passage in meas. 41-47 may be noticed, The transcription of S 47-52 is doubtful (see the conjecture in as well as the interesting chord in meas. 55 (repeated in meas. 86). meas. 52). Other solutions, all involving some conjecture, are The several examples of sustained chords (meas. 19,26, 59, 66, 77) possible. indicate Solage's proximity to Machaut (see p. 10a). No. 25 (Facsimile Plate II). The notational methods used in No. 34. (Facsimile Plate IV.) The notational problems of this this piece are practically the same as those discussed in No. 23. ballade are discussed on p. 8b. See also the remark regarding The frequent use of thirds, fifths, and broken triads in the contra Solage's authorship on p. 10b. Of special interest is the use of a may be noticed. fanfare motive in connection with the word "noble" (T 7; C 55i; S 57) as well as the repeated occurrence of a 'leitmotif,' E-F sharp- No. 26. Regarding the use of proportional signs in this example, G-E (meas. 1-3, 7, 16, 22, 28f, 42, 61, 65). Quite possibly this see p. 9a. In meas. 40-42 the same meter is notated differently motive had a certain association with the Duke of Berry to whom Q this ballade is addressed. in each voice-part: S in proportion g, C in hollow red notes, T in full red notes and dragmas. The signs used to indicate the various No. 35. The first line of the superius is so faded in the Ms that types of coloration are explained on p. 21a. the measures 8-18 can be transcribed only with a considerable degree of uncertainty. A B-flat, found at the beginning of this No. 27. The use of sharps in the key signature is extremely rare and the next line (not elsewhere), would seem to be an accidental in music prior to 1500. All the parts are notated with the clef- rather than a signature. The notation is in [2, 2] throughout, letter D, written on the lowest line for the superius, on the middle but certain passages come out more naturally in 3/4-measures. line for the tenor and the contra. Possibly the entire composition should be read an octave below, but the high pitch of our version No. 37. See the general remark under No. 33. Regarding the is perhaps better suited to the text, which contains a charming distribution of the text, see the remark p. 25, n. 62. request of a lady. No. 38. This virelai is copied twice in Ch. We follow the No. 28. The only notational specialty of this example is the use version on p. 50v, variants from the other version (p. 18r) being of the reversed circle to indicate ditninutio dupla. The actual shown under Ch (b). The composition is notable for its pleasant transcription is rendered somewhat difficult by the absence of charm. Of special interest is a recurrent pattern formed by this sign in C 19. alternating notes of the tenor and the contra (meas. 7-8; 17-19; 26-29; 49-50). No. 29. See the facsimile and discussion in ApNPM, 414ff. The passage S 7-72 is somewhat problematic, as appears from No. 39. See the general remark under No. 33. The tran- a comparison of the present rendition with that given in ApNPM, scription of meas. 11-15 is uncertain. Our rendition, involving Transcriptions, No. 58, the latter being based on the assumption the conjectural addition of a fi-rest in S 12-13 and of another that the initial B should have a punctus additionis (see the remark B-rest in T 14, can hardly be called satisfactory. However, I am on p. 417, small type). The present transcription avoids this unable to offer a better solution. The triplum makes extended conjecture, but calls for a punctus perfectionis after the S near the use of a rhythmic pattern (meas. 1-2, 4, 12-13, etc.), which appears end of the passage (on D). The remark about the 'second clerical occasionally in the other voice-parts as well, for instance in the error' (ibd.) should also be deleted. The fourth edition of ApNPM closing measures where it produces a snatch of imitation. is corrected along the lines indicated above. A B-flat signature is No. 40. (Facsimile Plate V.) The facsimile will enable the required for the contratenor (see the cancelling sign on the last line). reader to check and, possibly, modify our interpretation of the accidentals in this unique example of fourteenth-century chro- No. 30. This is an instructive example for the simultaneous use maticism. No doubt, the extravagancies of this composition are of the various mensurations. closely bound up with its literary text. From repeated references in the works of Deschamps it can be inferred that there existed, at No. 31. As most of the compositions by Solage, this example is least from 1366 to 1381, a group or society oifumeurs, obviously without notational and rhythmic complexities. The repeated use eccentric 'litterateurs' and 'bohemians' who made a point of being of a rhythmic pattern (S 8, 11, 15, etc.) and the series of parallel 'in a fume/ and of displaying their whims and humors (see E. triads for the solemn intonation of the refrain (meas. 67ff; see p. 6b) Hocpffner, Eustache Deschamps, 1904, p. 50ff). Senleches' compo- may be noticed. sition refers to these Jumeurs, and may well have been played in No. 32. This extended ballade shows the technique of rhythmic one of their meetings, evoking merriment over its 'nonsensical* patterns (see No. 31) in a more advanced stage, characterized by chords and roaring bass register. Another example of 'fumeur' the use of a special device of notation. By repeating several times poetry and music is Puisqueje sui Jumeux plains defumie (Ch, 34v), text by Noyon, and music by Hasprois (see p. 25, n. 63). the rhythm DJ |J J|and inserting this sequence between the two notes of a hemiola-group (red B and red L), a characteristic nota- No. 41. The tenor and contra of this ballade often combine tional-rhythmic formula is devised, and this is introduced several into an almost 'chordal' accompaniment, particularly in meas. times during the course of the composition (G 8-15, 30-35, 44-50, 60-61. Equally 'advanced' is the V-I cadence at the close. A 80-87). A syncopated motive of simpler design occurs repeatedly in B-flat (repeatedly given as an accidental) is to be emended in the the superius (meas. 19-22, 66-70, 76-79, 115-119, 123-126, 146-150), key-signature of the two lower parts. The meaning of the natural while the tenor makes repeated use of coloration groups (meas. sign in S 35,C 58,andC 68is doubtful. Thefirstof these possibly calk 9, 30, 44, 51, etc.). for C-sharp, in which case editorial accidentals are required in Like most of Solage's compositions, this one is remarkable for the the lower parts. bold, yet always convincing use of dissonances. No. 42. Somewhat similar to No. 32, this composition shows No. 33. Owing to the faded condition of the Ms the stems of the influence of special notation devices (semibreves caudatae) upon the notes are almost invisible in certain places. Therefore some the motive technique of Machaut (see meas. 8, 34, 44 and 14, 31). details of the transcription are doubtful, a remark which also In addition, a syncopated pattern recurs in all the parts (e.g., applies to the Nos. 35, 37, and 39. in S 15, C 11, T 24). COMMENTARY 31

No. 43. The passage S 5-13 is faded in the Ms and cannot be from the beginning (sign b; the head is hollow, not filled, as it transcribed from the photographic copy with absolute certainty. appears in the facsimile reproduction) should be a full red M, The use of the plain semicircle (without dot) to indicate [2, 3] without the lower cauda; second, the indiscriminate use of the may be noticed in meas. 53. signs b and c (distinguished by the direction of the flag) should be corrected, so that the groups in meas. 14-15 and 44-45 should have No. 44. In this piece, as in several others, the interval of the one sign (in the original meas. 74-/5 has b, 44-45 has c), and the third is used for the final chords in meas. 31a and 51, while the other groups the other sign (b occurs in meas. 16 and 73, c in two main sections close with the perfectly consonant chord, 1-5-8 meas. 27 and 51). It may be noticed that in Ch only two semi- (meas. 32b, 68). The natural in T 16 is written on the D-line, breves caudatae (signs a and c) are used, a seeming simplification and the flat in T 24 on the G-line. that, however, actually makes it even more difficult to arrive at an According to A. Pages (La Poesie franiaise en Catalogne, p. 61) the interpretation suitable to the different combinations in which they Seril of this poem is a certain Cyrille who, in 1288, had prophecied occur. No attempt has been made to incorporate these versions that in one hundred years the kings of Spain would fight an inner in our text. war until a bat would devour the 'moustiques' (mosquitos) of A very disturbing detail of the original notation is the A/-rcst Spain, that is, the Moors. This bat was identified with the king at the end of the second staff (found also in Ch). In my earlier of Aragon whose escutcheon showed a furious dragon (the 'vesper- discussion (ApNPM, p. 425, line 8) I have suggested its omission. tilion' of the poem) with the wings of a giant bat. It could, however.'be retained,if the hollow red B that follow it The refrain of this ballade is identical with the opening line of are given the value not of 3 M (on the assumption that they repre- Deschamps' ballade on the death of Machaut, which was set to sent four times the value of a hollow red M •» 31 AM), but 1 /2 M less music by F. Andrieu (see LuGM i, p. 49). The present ballade (5 /2 M). According to this interpretation, the hollow red B would suggests the possibility that these words were a motto of the king represent a distinctive note value, not, as before, a mere trick of Aragon, to whom the poem is addressed, and that Deschamps substitute for a black S (meas. 35). as well as Trebor adopted the motto for their poems. No. 50. The superius of this virelai shows the free rhythm No. 45. The contratenor of this composition is an example encountered in Senleches' Fuions de ci (No. 47). For instance, of the 'advanced' type designed to reinforce and complete the 6 /8-meter, starting with an upbeat in the middle of a 2 /4-measure, harmonic basis. is clearly suggested in S 26-28. In meas. 41-45 the player of the triplum joins the singer of the superius in a lively imitation of the No. 46. Arpeggio-like formations in duplet rhythm are used 'cocu' call (see p. 15a). A few syllables of the text are incorporated repeatedly in the two upper parts (e.g., S 17-18, 29-30; G 16-17, from Mod. 43-47), and these contribute to make the composition sound considerably more 'harmonic' than is usual in this period. No. 52. The Machaut style with its fixed rhythmic patterns (S 3, 7, 34, 42, 46, 51, 55, 59, 62) and sustained chords (meas. 6, No. 47. The superius of this ballade exemplifies the most 11, etc.) is apparent in this ballade. The repeated notes in S 13, advanced stage of fourteenth-century syncopation, inasmuch as T 14, S 38, T 39 are strongly reminiscent of the same motive in syncopation is applied here, not to passages of shorter or greater Machaut's ballade Jepuistrop bien (LuGM'i, p. 31). length, but to the entire part except for the refrain acclamation 'Puisque perdu avons' (meas. 39-42). There results a type of No. 53. Interesting details are the triple imitation at the be- rhythm that, in modern notation, would be indicated by con- ginning and the triple sequence in S 27-25 and S 52-57. Mod has stantly changing meters. Another example of this rhythm exists stanzas I and II of the text, Rei I and III. in Senleches' En ce gracieux tamps (No. 50). The clash of B-flat against B-natural in meas. 30 is interesting. No. 55. Rei and It have another contratenor (not included in Ch and Rei have no accidentals. The third note of Gt 40 is missing our rendition) much less satisfactory than that of Ch. F. Ludwig in Mod. (LuGMii, 27a) suggests that Magister Franciscus is identical with Francesco Landini. It seems to me that the character of the text (which may be compared with that of his only authentic compo- No. 48. (Facsimile Plate VI.) The main notational problems sition of a French text, that is, Adiu, adiu dous dame ['Ihe Works oj of this extremely complicated specimen are discussed on p. 9a. Francesco Landini, edited by L. Ellinwood, 1939, no. 101]) as well as For many other interesting details the reader is advised to study that of the music militate against this surmise. The three 'accla- the facsimile. Of particular interest is the use of two different mations' at the beginning of the refrain are a typically French notational methods for the writing of the same melody in the con- peculiarity (see p. 6b). cluding canon (meas. 60-76). See also the remark on 'written-out rubato' on p. lla. No. 56. (Facsimile Plate VII.) This ballade is ascribed to No. 49. This ballade is ascribed to Senleches in Mod, while Ch Galiot in Ch, and to Philipoctus in Mod. We consider Galiot ascribes the music to Galiot, the text to Senleches. Senleches as the more likely composer, because the contratenor lacks appears to us as the more likely composer, because the very unusual the broken-third design usually found in the compositions of notational signs used in this piece occur also in Senleches' La harpe Philipoctus, The contratenor has E-flat and B-flat in Ch, de mtllodic which, moreover, is copied (incomplete; see p. 8b) in E-flat in Mod, and B-flat in Rei. In the reading and distribution Ch on the page facing the one used for En attendant (pp. 43v, 44r). of the text we have followed Ch. The sign for [3, 3] given in Ch at the beginning of the superius cannot be applied to the entire A completely satisfactory explanation of the various semibreves composition, as appears, among others, from the succession of caudatae used for the ornamenting formulae in S 3, 14-15, 16, 27, imperfect B in T 77-75 and T 24-27. It seems best to disregard 44-45, 51, and 73 is very difficult, to say the least. The reader is it, except perhaps for the initial measures. referred to the facsimile and the discussion in ApNPM, p. 422ff, as well as to the transcription in A. T. Davison and W. Apel, Historical Anthology of Music, i (1946), no. 47. In the present No. 57. Rei shows a considerable number of variants. Some transcription we offer a divergent interpretation of the formula of these include clerical errors and, therefore, are not given in our in S 14-15 and 44-45. This interpretation seems preferable, transcription. For instance, in the passage S 51-56 three notes because it leads to a different value for each of the three semibreves (marked *) are dotted S, making this passage longer by three M. caudatae (called a, b, c, in the above-mentioned discussion), and The tenor has an J-rest between the two notes of meas. 53. This because it gives the hollpw red minim, which also appears in these would give the tenor the length required by the superius, but groups, the same value it has elsewhere (e.g., in S 10-12). How- leads to inadmissible dissonances. The contra for this passage, ever, several emendations are necessary: first, the eleventh note on the other hand, is identical with that of Mod, hence too short 32 COMMENTARY for the superius and tenor of Rei. For the closing measures of the The full red notes have the usual meaning (change from 6/8 first section (S 26-33) the notation of Rei suggests a version similar to 3/4, or from triplets of eighth-notes to triplets of quarter-notes), to that given as a variant for the close of the second section '(S 7OJJ), and the hollow red notes introduce duplet rhythm, or 2/4-m:ter in which the notes appear in non-syncopated position. There are, without triplets. A special problem is presented by the passage however, not sufficient notes in the Rei-version of S 26-33. S 40-42, notated in full red notes with a reversed semicircle. The C'63-66 are missing in Rei. main version of our transcription disregards the coloration and While the musical notation of Rei is corrupt, this Ms has a gives the original notes (S. M S. M . . .) in halved values, as better reading of the text, as appears from the following collation: prescribed by the mensuration sign. A tentative rendition taking Mod Rei both devices into account is added in small notes. The hollow red mon commun notes (C 5-6, etc.) introduce binary groups in [2, 3]. ans rege en siege In S 38 the original shows a sharp immediately before, and a mis et tredure nel nulz contradire ne le flat immediately after the note (A). These accidentals make no The numerous rests that appear in different places in the various sense, except if the sharp could be interpreted as referring (a parte voice parts, together with the extensive use of syncopation in the post) to the preceding note on G. This would result in a very bold superius make this ballade an interesting example of the 'shredded* dissonance which, however, may well be intended. style. Also noteworthy are the sequential repetitions in S 2-6, S 7-70, S 26-31, and S 51-54. No. 63. This virelai is remarkable for the regularity of its phrasing, a regularity happily relieved" in the final phrase. No. 58. 'Canon ballate. Traitur sub una omnis cantus huius mensura. Superius nota: rubee proportio dupla. Qui tenet No. 64. The tenor consists of three statements of a short melody inferius sexquialtera putet.' The first sentence means that the in which, no doubt, a popular song of the period is preserved to various mensurations used in this composition (all four mensu- us. A similar case exists in No. 67 (68). rations appear in the superius) occupy measures of the same length. No. 65. The main problem presented by this example is the Thus, [2, 3), [3, 2], and [3, 3] introduce various kinds of triplets reconstruction of the text, which is partly written underneath the into the basic 2/4-meter. It is interesting to notice that the term music, partly scattered over the free spaces of the page. To mensura is used here as an exact equivalent to our term measure. mention only one detail, the words 'Gelle camussete' written next The second sentence refers to the consistent use in the superius of to the word 'Tenor' are not the beginning of the tenor part, or of red Af in the value of a Sm. It has not been deemed necessary a separate composition (as is indicated in WoGM i, 261), but to indicate these numerous red notes in our transcription. Every belong to the text of the second stanza of the contra, the beginning sixteenth-note of the transcription appears as a red M in the of which, to the words "que pour," appears separately in another original. The last sentence tells us that the red notes of the two space of the page (see p. 107*, text B, line 6)*. lower parts (here only S and B are used) indicate triplets. For no apparent reason this same rhythm is notated in dragmas in C //. No. 66. This virelai is noteworthy for its full display of no- The contratenor is of the 'advanced' type mentioned in the tational and stylistic complexities, such as are usually found only commentaries of Nos. 4, 41, 45. in ballades. No doubt, it is an early work by Ciconia who, like Perusio, appears to us as a transitional figure leading from the No. 59. (Facsimile Plate III). The contratenor shows the broken manneristic to the modern style. A very unusual peculiarity of thirds, often in duplet rhythm, that are found in most of the com- the notation is that the reversed semicircle denotes diminutio positions by Philipoctus. The following errors of the Ms {Mod) sesquialtera, not diminutio dupla, of [2, 2]. Therefore, in this mensu- may be noted: The C-clef of the superius should appear on the ration one measure equals one measure of 6/8, not one measure lowest line; the B near the middle of the first staff, on 'traitu,' of, 2/4. In order to distinguish the two different 'tempi' of 2/4 should be black (transcription S 10); the last note of staff 9 (second used in this composition, the passages in diminutio have been trans- half of the ligature) should be red (C 40); a semibreve G is missing cribed as duplets of 6/8. The composition contains some extra- before the last ligature of staff 7 (C 12); the sixth note from the ordinary dissonances, as for instance in meas. 65 between the contra end of the superius should be a S, not a M. All these details are and the tenor. given correctly in Ch and Rei which, however, contain other In LuGM ii, 26b the composition is designated as a ballade. errors. For instance, the entire passage between the two dotted Both the poetic and the musical form, however, clearly mark it as semicircles in the middle of staff 7 (Ct 5-6) is missing in Rei. In a virelai. Ch and Rei the duplet passages are notated with hollow red notes, instead of the reversed semicircle used in Mod. Ch and Rei have a preferable reading for the close of the superius, identical with Nos. 67 and 68. These two compositions are identical (or that of the closing passage of the first section. nearly so) in the basic two-voice structure of superius and tenor. The contratenors are different and the triplum of No. 67 is missing No. 60. The passages in duplet rhythm (S 16-17; S 51-52; in No. 68, which is also transposed down a fourth, and has text G 44-47) are notated in hollow red notes. The two sixteenth-notes in two voices. The most interesting difference, however, is that in S 18 and in S 53 are written as red Sm, although either black Sm of meter and tempo, the semibreves of No. 67 being replaced by or red M (see No. 58) would be sufficient. The broken-third minims in No. 68. This change is accompanied by a general passages in C 44-47 may be noticed. simplification and smoothing-out of the melodic contours as well as of certain rhythmic patterns, as in S 7 and 36-38 of No. 67 No. 61. Among the many difficult examples of mannered (S 4 and 18-19 of No. 68). There is, of course, no definite evidence notation I have found this perhaps the most exasperating, and I as to which of the two versions is the earlier one. Since, on the am far from certain that the present transcription is correct in whole, 6/8 is the meter of the late fourteenth, 3/4 that of the every detail. Particularly the beginning of the superius is doubt- fifteenth century, one would be inclined to consider No. 68 as the ful, owing to the absence of a sign of mensuration. I had it first original composition, No. 67 as a later version in slower tempo transcribed in [3, 3], but the present version in [2, 2] is slightly and in four voice-parts. Artistic considerations, on the other more satisfactory. hand, weigh in favor of the opposite conclusion. It is difficult to The most striking notational feature of this composition are the believe that the charmingly light-footed music of No. 68 should mensuration signs with two and one dots. The former indicate have been remodelled into the cumbersome four-part version of prolatio perfecta, the latter, prolatio imperfecla (see the article men- No. 67. tioned on p. 24 no. 40). The signs that are missing in the original Regarding the tenor, see the remark in No. 64. A notational are given in brackets. The temporal relationship between [2, 3] peculiarity of No. 68 is the use of hollow (white) minims in groups and [2, 2] is based on the equivalence of the S, not, as usual, of of three as well as four notes (see meas. 4 and 18-19). The last the M. Therefore the passages in [2, 3] have been rendered, not note of G 19 is erroneously written as a black M. in 6/8, but as triplets in 2/4. COMMENTARY 33 No. 69. Vaillant's charming bird virelai, Par maintes Joys, is No. 72. In Rei the triplum is missing. The characteristic well known through its German contrafactum, Oswald von 'alarme' motive a-c' occurs also in C'estoit ma douce nouriture {Rei, Wolkenstein's Der May (facsimile and transcription in WoGM ii, p. 64r), a charming virelai, which may well be by the same com- iii, no. 76; transcriptions also in Denkmaler der Tonkunst in Oester- poser. No. 73 also shows traits similar to those of Grimace's reich ix.i, 179, and A. T. Davison and W. Apel, Historical Anthology Alarme alarme. of Music, no. 60). For the present rendition of Par maintes Joys a free change of 6/8- and 9/8- meter has been used, similar to that No. 73. This virelai is remarkable for the realistic, almost employed in the Anthology for Der May. All the passages in duplet dramatic quality of the text as well as the music. At several places sixteenth-notes are notated in dragmas, as indicated in meas. 37 textual fragments appear in the tenor (meas. 1, 7, 11, 31), and it and 40. is well-nigh possible that the player of this part (possibly a trom- bonist) used his shouting voice whenever the characteristic motive No. 70. The two sections of this virelai appear in // as two occurred, thus introducing yet another clement of liveliness and separate compositions, Or sus on f. 122v/123r, Or tost on f. 123v/ surprise. 124r. Possibly the tenor and contra of the second section exist in Pad (37r: 'Tenor de Sones ces nachares;' see LuGM ii, 26a). No. 75 (Facsimile Plate VIII). The final passage, meas. 26J In the second section some emendation is necessary in order to seems to require some emendations. Perhaps some reader can make the parts fit together. In meas. 81, where // has a A/-rest, suggest a more satisfactory solution than ours (see S 30 and T 26). the iS"-rest shown in Rei has been adopted, and in meas. 80 two No. 76. This triple rondeau by Vaillant is one of the most notes (not given in either source) have been inserted. In Rei the interesting examples of post-Machaut technique of composition. second half of G 67 and of S 80 are missing, so that all the parts can Instead of a single motive, a number of rather extended musical be combined without emendation. Nevertheless, we prefer the subjects are used at various places in different combinations. The (emended) version of //, because in Rei the first sustained note of letters a, b, c, etc., added in the transcription will help to clarify the contra comes in the second half of meas. 67, while in It it the intricate thematic construction of this rondeau. The measures appears (more properly, it seems to us) at the moment when the 9-18 are identical with 40-49. superius suddenly stops (meas. 68). The version of Rei results from our rendition if the second half of G 67 is omitted, the entire passage Nos. 77, 78. In the first of these two isorhythmic rondcaux C 68-80 shifted one-half measure to the left, and the second half (see p. 7a) several passages of section II are derived by trans- of meas. 80 omitted in all the voice-parts. Brit shows numerous position from the corresponding ones of section I, while in the pther variants and several errors. example contrary motion is used more often. In both compositions the distribution of the text in section II has been somewhat changed This virelai has all the qualities to become one of the top at- in our rendition, so as to make it correspond exactly with that in tractions in concerts of early music. It has the rare virtue of being section I. The closing measures of the two sections of No. 77 are charming in a popular way without ever becoming trivial. Per- interesting because of the use of a more modern cadential formula, formed with a bagpipe for the drones of the contra and a trombone that is, 5-8 or 7-8 instead of the traditional 6-8. for the fanfares of the tenor, it will reveal all its inner liveliness, provided performers resist the temptation of forcing it into a Nos. 79-81. These three little rondeaux, all from Mod, are cheaply popular presto tempo. among the most characteristic examples of the modern style, anticipating in many ways the early Dufay. In all three of them the leading-tone is regularly used as the penultimate.

INDEX OF TEXT INCIPITS 35

Incipits of texts found in a secondary part (contra, tenor) are given in brackets.

Composer No. Composer No Alarme, alarme, sans sejour et sans La grant beaute de vous ma souvcrayne 80 demour Grimace . . 72 Le basile de sa propre nature . Solage. .... 35 Amour m'a le cuer mis en tel martire . Anthonello . 26 Le grant desir que j'ay du retourner . Matheus de Perusio . 3 Amour me fait desirer loyaument . 53 Le greygnour bien que nature . Matheus dc Perusio . 1 Andray soulet au mielz que je pouray . Matheus de Perusio . 22 Loyaute me tient en espoir .... Garinus .... 78 A qui fortune ne se vuelt amer . Matheus de Perusio . 17 [Ma dame, cc que vous m'avcz proumis] Jo.Vaillant 76 Beaute parfaite, bonte sovrayne Anthonello de Caserta 23 Mais qu'il vous legnr csl plaisancc . 62 (Machaut) Martucius qui fu dc Rome ncis 52 Belle sans per d'haulte douchour parcc . Matheus dc Perusio . 11 Ma tredol rosignol joly [Borlct] '. 68 Calextone qui fut dame d'Arouse . Solage . 33 Ne celle amour estre ne puet menour 54 [Cent mille fois, ma douce dame chere] Jo. Vaillant 76 Ne me chaut vostre mauparler . Matheus de Perusio . 10 Conbiens qu'il soyt que ne vos voy Notes pour moi ceste ballade Anthonello de Caserta 27 sovient 77 Contre le temps et la sason jolie 64 Onques ne fut si dur pertie .... 71 Corps femenin par vertu de nature Solage 32 Or sus, vous dormez trop .... 70 Cortois et sages et a tous doit plasir . Magister Egidius . 57 Par maintes foys avoy recoillie . Vaillant . . . 69 Dame de honour plesant et gracieuxe . Matheus de Perusio . 14 Par vous m'estuet languir et soupirer . Matheus dc Perusio 21 Dame d'onour, c'on ne puet esprixier . Anthonello de Caserta 30 Passerose de beaute1, la noble flour . Trebor . . . 41 Dame d'onour en qui tout mon cuer maynt Anthonello de Caserta 24 Plus lies des lies, plus joieux et plus gay. Matheus de Perusio 19 Dame gentil, en qui est ma sperance . Anthonello de Caserta 29 Pluseurs gens voy qui leur pensee . Solage .... 37 Dame, que j'aym sour toutes de ma Pour bel acueil suy je, las, deceu . Matheus de Perusio 12 enfance Matheus de Perusio . 5 Pour Dieu vous pri, haulte dame de Dame souvrayne de beaute, d'onour . Matheus de Perusio . 8 honour Matheus de Perusio 18 De ma dolour ne puis trouver confort . Philipoctus de Caserta 60 Pres du soloil deduissant s'esbanoyc Matheus de Perusio 4 De Narcissus, home tres ourguilleus Magister Franciscus . 55 Puisque je sui pour Ioyault6 tenir . Matheus dc Perusio 6 (Deschamps?) Du val prilleus ou pourpris de jennesse . Anthonello de Caserta 25 Quant joyne cuer en may est amoureux Trebor 43

En atendant soufrir m'estuet grief payne Galiot 56 [Reconforte toy, Robin, de ta dolour] . 65 En attendant esperance conforte . Senleches .... 49 [Res toes le feu] 73 En ce gracieux tamps joli .... Senleches .... 50 Resto£s, restoes horrible feu d'ardant En 1'amoureux vergier vis una flour . Solage 31 desir 73 En remirant vo douce pourtraiture Philipoctus de Caserta 59 [Rosignolin del bos jolin] .... 68 En seumeillant m'avint une vesion Trebor .... 44 [Roussignolet du bois, doun£s] . 67 En tes doulz flans plains de virginite 74 S'aincy estoit que ne feust la noblesce . Solage .... 34 Fuions de ci, fuions, povre compaigne . Senleches 47 Se Alixandre et Hector fussent en vie . Trebor . . . 45 Fumeux fume parfumee Solage . 40 Se je me plaing de fortune, j'ay droit . Matheus de Perusio 3 Se July Cesar, Rolant et roy Artus Trebor . . . 46 Helas Avril, par ton doulz revenir . Matheus de Perusio 7 Se pour loyaulment servir on puist mcrir Matheus de Perusio 15 Helas, je voy mon cuer a fin venir . Solage .... 36 S'espoir n'estoit que me done pooir 75 Helas, merci, merci, pour Dieu merci . Matheus de Perusio 20 Sus un fontayne en remirant Johannes Ciconia 66 Helas, merci, merci, pour Dieu merci . Matheus de Perusio 20 Helas, piti6 envers moy dort si fort Trebor . . . 42 Tel me voit et me regarde .... Senleches . 51 He, tres doulz roussignol joly . Borlet .... 67 Tre doulz regard amoreuse mon tret . 81 [He, mari, mari, Vous soiils onni] . 64 Tres douche plasant bergiere . 65 Heylas, que feray je maintenant Matheus de Perusio 9 Tres doulz amis, tout ce que proumis t'ay Jo. Vaillant . . . 76 Horssuyje bien de trestoute majoye . 79 Tres gentil cuer amoureux et attraians Solage 38 Tres nouble dame souverayne . Philipoctus de Caserta 28 Je me merveil aucune fois comment . Senleches . 48 Trover ne puis aucunemant confort Matheus de Perusio . 13 Joieux de cuer en sumellant estoye Solage . . . 39 Jusques a tant que vous veray . Matheus de Perusio 16 Une dame requis I'autricr d'amer . Fr. Johannes Janua . 58 Ung lion say de tote belle figure . 61 Kere dame chi m'otry 63

GLOSSARY 37

abcsstr to abase chaiti caitiff, wretched, miser- enperas empress gonfanon banner, pennon, acoinlance acquaintance, friend- able enpirant worsening standard ship chanlerie singing; chantry eniamee PP to cut; begin to use; gravayne grievous afuller to put on chault care (chaloir) attack, encroach upon, con- gri will, consent; en grt thank- afy PI 1 to assure chaut PI 3 chaloir to matter, to taminate fully agree PS 3 to be acceptable be important entencion intent greist IS 3 to please agut acute, sharp chiauter to sing enteritis intent, attentive greygnour greater, greatest alee travel, trip chiere cheer; dear; face entredeus in between griefment grievously alegement alleviation choise thing envers on his back grief, griis grievous aliment alliance; fidelity choisir to see, perceive envoisseure joy, gayety, pleasure gris squirrel fur Almene Germany ciere face erl FI 3 to be groisse PS 3 to increase amancer to put sleeves on compas measure, bearing esbahis dismayed guerdon reward amenrir to lessen comte a lour count, noble esbanoy entertainment gueules gules, red amerour bitterness consors companions esbanoye PI 3 to amuse, divert, gySl ami (a bird call) contez countries entertain amoulie P 3 to soften contour region, vicinity esbatement amusement halenee breath andray FI 1 to go contree country, land esjoir to cheer, delight heit, het PI 3 to hate anemie hostile, inimical contrejaire to imitate; compose esmay care, thought, sorrow, he-mi alas angosment anguish, torment conturbee PP to disturb, perturb pensiveness hen PP to have annoy, anoy sorrow, grief, ennui cornemuse bagpipe esmeree refined, purified heure hour; de petite heure un- anlre among, amid, in corte: de corl soon espaunie blossomed fortunately apertoy II 1 to depart; share cote coat esprixier to estimate, value hoyne hatred ardement valor coupree cypress (a silk or satin) estance position, support huer to call; start (by yells) ardesse boldness cours body estent PI 3 to extend hume man ardre to burn cqye quiet ester to stand hurler to strike, hit ardure ardor, heat, eagerness cremir to fear estincelle spark hustin dispute, struggle arme soul creu PP to believe estoupee stopped iaue water armez arms cuidier to believe, think estrayne fortune, gift artiglon spurs cullir to gather estriver to strive jangler chatter, insult asenee PP placed, directed, estuet PI 3 to be necessary jant gentle instructed deceust IS6 to deceive eulx eyes jaquete jacket; Jaquete Jackie asnoy alder deduissanl PrP to lead, delight; eure hour (Jacqueline) asprement harshly soar exmerea pure jennesse youth assouvir to achieve, complete deffaire to undo expoir hope jovanl young assoufisanchi calm, satisfaction; delis pleasures, delights jus down end demayne PI 3 to lead, thrust; dis- faconde eloquence, graceful atargier to delay play speaking, grace lacez PI 5 to leave atens PI 1 to expect demayne power, domain jaitis elegant lalons Imptv to sing 'la, la* (?) ator, atom adornment demy half; sans demy completely falir to fail larges generous attraians attractive deport pleasure, gaiety Java: ferai lasse PI 3 to leave atlrayt welcome, attraction, deprisier to disparage, depreciate fauchon falcon layrai FI 1 to leave charm deservir to serve, recompense fays PI 1 to make legne PS 3 to torment aurer, aorer to pray desiteux beggarly, needy, poor Jayson plenty lermir to shed tears, weep avar! truly! deslier to reveal, divide, share Jayslis pretty, shapely, well-built leroit CI 3 to leave, allow avironee surrounded deslongier to put off Jaylurt form, face; manner; gens tester to relax avolir to take flight desparanche despair defaylure well born lesse joy aylenl Ps6 to go destin destiny Jenir to end, finish ley her desvoye PI 3 to turn aside, go fer to do, make lie glad baillie power, control astray, lead astray jermee PP to fix, make firm her to praise barat deception, ruse; disorder; delrayre to withdraw fiere fierce, haughty /OJ praise, reputation ostentation detry delay fiere PS 3;fiert PI 3 to strike lube to gleam, shine basile basilisk devisament invention jest IS 3 to make lyesse joy, gayety batis Imptv to beat devise enumeration, description, finte end Jiner to end main morning baudour joy; boldness, courage quality, manner mat's que provided that; although biere coffin, bier diner penny flaitrir to wither fleirant PrP to smell mar unluckily, in an ill hour bis dark diu god mastin mastiff; servant boine good dots spring, watercourse felerie flattery four flower mauvis redwing bos wood dreschay refl. PD 1 to direct one's mayne PI 3 to lead boude PP to thrust self folz mad, foolish maynl PI 3 manoir to dwell bouter to put, thrust, push duis PI 1 devoir to owe, to be Jorge^ fege mayntes many brasin roast forgier to forge, compose, devise fourt strong maylin morning brayre to cry, weep eintre between, among meclre to put brunir to become brown; sparkle els them Jreour fright fum, Jumea, Jumee, smoke, mad- merir to merit, deserve emay emotion merle blackbird enchievy PP to furnish, nourish ness cadulet cadence, curtsy? fumer to smoke; to be in a fume merlell hammer encline inclined; subjected mis foods, dishes calle quail enfonde PI 3 to sink, upset; fumex smoky, hazy camussette flat-nose meschant wicked, unworthy, perish coarse cangie PI 3 to change enfortunee PP favored; made Gemynis Gemini (sign of Zodiac) cardinette goldfinch genglerie idle talk, 'scurvie tat- mesprison error, mistake fortunate me me cardonnelte goldfinch enginer to trick, deceive ling' (Gotgrave) cendal sendal (a silk cloth, gener- gerroye PI 3 to make war mielz best englume anvil milour better ally red); taffeta ennorte PI 3 to exhort gesir to lie ceuronde PI 3 to surpass gie I mon indeed enpachier to trouble, harm, monde pure wrong 38 GLOSSARY morsure bite pile PI 3 to steal reusignol nightingale traient PI 6 to draw, turn mart PI 1 to bite, nibble plasanche pleasure royone queen traite treacherous mos words ploit dispute, suit, pleading trayre to draw moselle sparrow hawk, kistrel potent PI 6 to be able samis samite tremour trembling mure to change, move poiller filthy, lousy sanson starling trepount PI 3 to pierce muert PI 3 to die point PP to sting, prick, punc- sanz meaning tressue PI 3 to be covered with muir PI 1 to die ture sas PI 2 to know sweat mye dear poinlure puncture, pricking sayjour repose, leisure, delay trestuit all pol mud puddle schay PI 1 to know tret PP to draw pooir power sejour: a sejour at rest, at leisure treuve PI 1 to find nacquaire small drum trislre sad ne and pormayne PI 3 to lead; torment semailles sowing, crop nets native porpoins doublets sench PI 1 to feel trujer to deceive, mock nez: ne se; ne les porpois purpose seumellant PrP to sleep, slumber, Iritis PI 1 to find nienl nothing portiere bearing drowse iuer to kill; tin a birdcnll seure sure nobli ,-ee nobility pourpris enclosure, limits nu: ne le powrtret PP to portray, depict soini excused, put off umais henceforth nuepces nuptials prangere noon; noon meal son his presoncion presumption son bran vaiere true preu worth; advantage sopourter to sustain, assist veir to see ocire to kill preux worthy soppe soup, sop, brew veglarde old ocy PP ocire; also bird cry prijere prayer soubgis subject vergier garden oig eye prilleus perilous souef agreeably, sweetly, softly, vision vision omit never, henceforth, now propice propitious, favorable delicately vespertilion bat on in the; where prouesce prowess sougect PI 3 to oblige veusist IS 3 to wish onni shamed proveir to provide soulage, soulas comfort, solace viaire face ore to hear puret CI 3 to be able (?) soviet alone, solo vieultS vileness osiaux birds sousy care vigne vineyard otrie PI 3 to grant sout PD 3 to know vigne PS to come ottri good will sovenance remembrance, mem- villan a woolen garment oullrancc excess ory villette little village outrie PI 1 to grant soye silk viron: de par viron around oy PI 1 to hear speranche hope vo your suelt PI 3 to be accustomed, voir to see pamutiere mesh bag; hunting net rant PI 1 to surrender wont voir truth; de voir truly papin pap ravier: ravir suir to follow voiray FI 1 to wish passerose mallow rose; althea recept reception, acceptance surendant^ PrP to surrender, be voisses PS 2 to go paurez scared, afraid redouti dreaded submissive vora FI 2 to be willing pavour fear renamed fame vuidier to void, give up, leave f reparer to restore laburin tabor, drum pent PI 1 to suffer rcquequaUs PI 5 to have a care (?) tarre to be silent wacarme fight, assault; hurly- penre to take requier PI 3 to pray, beg, seek tempre early burly; trouble; alas! per peer, equal requoy repose; en requoy secretly tenoyre tenor pert PI 3 to appear resort defense, aid, help termene PS 3 to limit, and yawe water pertie separation restoer to retard, delay, quench timbre bell; crest ye I pertie PP to depart relhray PI 1 to withdraw lorn around ysnell light, swift pertillii embroidered (?) retrer to withdraw tourdis always ystra FI 3 to go out LIST OF PLATES

I. Matheus de Perusio, Le greygtiour bien (No. 1)

II. Anthonello de Caserta, Du val prilleus (No. 25)

III. Philipoctus de Caserta, En remirant (No. 59)

IV. Solage, S'aincy estoit (No. 34)

V. Solage, Fumeux fume (No. 40)

VI. Jacob de Senleches, Je me merveil (No. 48)

VII. Jo. Galiot, En atendant soufrir (No. 56)

VIII. S'espoir n'Stoit (No. 75)

39 PLATE I

MODENA, BlBLIOTECA ESTENSE, MS LAT. 568, FOL. 32R No. 1 PLATE II

•uyt n« nrmo am fblt £i pn pft <|t«c llttvnVuirc

MODENA, BlBLIOTECA ESTENSE, MS LAT. 568, FOL. 12v No. 25 PLATE III

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MODENA, BlBLIOTECA ESTENSE, MS LAT. 568, FOL. 34v No. 59 PI-ATE IV

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C.HANTII.I.Y, Ml'SEE CONDE, MS 1047, FOL. 36R No. 34 PLATE V

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CHANTILI.Y, MUSEE CONDE, MS 1047, FOL. 59R No. 40 PLATE VI

arcnn s

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CHANTILLY, MUSEE CONDE, MS 1047, FOL. 44V No. 48 PLATE VII

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PARIS, BIBLIOTHEQUE NATIONALE, MS NOUV. ACQ. FR. 6771, FOL. 84V No. 56 PLATE VIII

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PARIS, BIBLIOTHEQUE NATIONALE, MS IT. 568, FOL. 125R No. 75 COMPOSITIONS L IVIATHEUS DE FERUSIO 1* A. FOUR BALLADES 1. Le greygnour bien m n grey- gnour bien que na • tu pour- tant quant unz n'a cu 1 1 j J'j J 1 j J j j i IJ J f . f f ,f f ,r f f ,f f=£=,g ft t^i 1. 3 3 ^ , (D re Fist a lo home en ce folz raon. re Pro a - sem - bier de scien se par - fon-

10 p j U Him r ,r

ir p ip- ;r p 'f ir 5 ip- ir p ip- Ip p

r 1 r 'to ft 25

80 32a 85 1. See Commentary 2*

US !£=£-/ ifcLT IP

u est grant ues - pa - ran - Quan

J. LJ^J^iJ ujJJJ i. MS*

40

r ir IP- P'fc P' r ir Pip! t r horn pans' en sa- ' p r ir ' f ir ji IJ j J * J rf f if ^ r~rrr in. r 45

frr'r pa. ran- che

;j ,• m ' J U He J- r 60 t T J'l J J ) JjJ j JJJ J |J Jl J j)| j:

s /r\ JJ1J J'ji rr s as- sou fi-san- che. T J J IJ J IJ J 1 J"J J i I J ir r r' rr r IP r t 90

2. Le grant desir m MS: Q 1. Le grant de- sir que j'ay du 2. Fet tout mon cuer, mon cuer fon - dre i p ij-

I H I

re-tour-ner et tec- chier, m 1 10 r 'r • 15 the da - me de va - lour, e fe - nis de de jour

r ' m r p rp " 20 as*

I I 8. Car vraye- en jour. .»r_r nr r' r ir 25b »0

J !.P JJ.J JJm? raent, bel- le da- me irrrprTp'r1 f rBPit f IJ, f' if S5

-• J I,J J j nour, Tant con ne voy vou- r if r Mr

40 m tre beau - te ex - me - re - £

45 50 5*

j " Ji|Ji |J No ys - tra mon cuer, no ys-tra mon cuer de do - le . r rrr i i "P" ir-gr p ir 'r n ir tnrm=^

reux pen - se - a, pen - se - tf n r f r if pr piPrr Pitr/tr IP^ Pr r 60 05

a, de do - le - reux pen - a. if p T r P ¥=$ w^ m 70

3. Se je me

1. Se je 2. Quant j'ay if r"Tr r-Ti*«prj

for- tu- ne, j'ay droit, Car par lui qui tant m'a-moit Ce fult

' y' i ff r 15 20 6*

en - for-tu-ne- re des-ti-ne-

SSn 83b

$ w S. Or sui je blen de pe-tite heu-re ne - ff i-P*r|. ;CJ" if r ir *r I*P I ^ 40 #3^ Ill 1. A tous jours raais la mort mauldite soit 1. Mort et amour m'ont mise en povre ploit Car je sul trop par li desconfortee, Je ne scay lequel m'a plus conturbee. 2. Et d'autre part mon povre cuer quidoit 2. Je croy que Dieux ce mari me devoit Que je deiisse estre reconfortee Pour moy pugnir que ne soye dannee. 3. Par un autre, mes mal sui asenee. 3. Ma penitanse ara longue duree, Je ne treuve que tristesse et dolour, Amours, tu m'as bien jou§ d'un faulx tour. Je ne me vueil [plus fier en amour}. Je ne me vueil [plus fier en amour]. 4. Pres du soloil j r

10

j i" j u .1 iJr-ir >r J J J jjfj j 1 . PreP s dHu so - loilUl Hde. duis-sant s'es • ba - noy- e 2. Sur la ri - vie - re plus ri - che que soy. e m F£=# rir * f f if r 15

JI j D'eulx en - ten - tis un De maint o - slaux d'une 0)

rr i 25 10

I 2.

re- dou . te fau chon et d'aul. tre fa • con. ^S m ,-i r 85 S7a «7b 8* H JJIJ J J r p/jl .i in J iJ.^j~Ju ;J'jj 3. Close est d*un beaux ro -

ir ir * r v 65 60

IJ J IJ. sier ^ de par vi - ron Dont ^^^ s'il nre c/'son"* bien rnir > r ir r >Pir r

' ' m 65 X ^wJ"iLJfl3>J"'j"j * j3 J JlJ j preux jeune et ve glar- o r ii r r if r if 70 76

j J r r de Mes- chant ce • ly

^ c:r ^ • pf IT r ir r ir r n if 80 85

II 3 que le fau - chon re - gar-de. i r r i f

90 P 95

II III 1. Chescun se doubte et ne scet que fer doye 1. Quar noblesse et vigour si le convoye, Fors que d'esmay trayre do lo sayson. Desir, espoir, sagacitle et rayson 2. Sans plus, tout prest en l'eure si s'employe: 2. A son porpoii tout brief qu'il s'en voloye, Pluseurs aultres n'aylent ver les buisson. Uoysel que atens hurter des artiglon. 3. Aucun demeure, aucun y torneron 3. D'aultre ne quier sy donra coulps felon Simple de cuer sans chault de faire garde, Pour definer, fache qul vuelt sa garde, Meschant cely [que le fauchon regarde]. Meschant cely [que le fauchon regarde]. 9* B. SEVEN VIRELAIS 5. Dame que j'aym !J> j J J>i» n J

que j'aym sour pli a YOUS par

(i) fj. tou • tes de ma. en-fan-ce, Ke loue et prise au-tantcom j'ay po-Yoir, £t fay - re le doy, grant be - ni - vo . laa.ee Hon . tcu-xe.ment d'el-le til- re do - loir En tri - stre an-noy. (0

7 .D if f i> or T T

10 15 PP

JT3 31 p Ay-es u-mais hum-ble pi.tie de moy, Car aul tre-rnant Etvcusplai.se sa.voir son tort pour quoy Ju - gies a mort

ji,ml a==g= ,r

f T7 i H 20

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de nul bien puis a • voir Que so - ve • nan - ce. son faulx trait de - ce . voir Par fine oul - tran • ce.

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10 10*

Hir r PIP r r p?l ofT.]

J JJJJJJTJ 2. For - J7JJ «W 3. Belle zm p^ JIT S J ^^ i f J ss 40

[J..J of T.] O

ne me het de ton- te ca puis. san ho- re-e, nou da siecle de - 11 - tan T OD p r iJ r i^ f

J ir r g^£ 45 50

il me faut a - des plain - dre et do loir Du du cielplus que ne scet con ce Toir Hu- m K8.-J . i. « T- ' 1 eo 65 11* 6. Puisque je sui m 1.5. Puis - que je sui pour loy. aul • 4. Le mo - raent, le heu • re, le lieuet

PSi

vray cuer et ser - vir Hors que j'ay pre - mier - raent choi - sir For - a met nvy \ u. m 20 m

.j . } I IE/ J >J loing temps que ri - e, Et qu'ain- si m'est enlx tel a- mi- e. Ses beau- tes sont

25 U J' U

J J i Ip r r pi' p r UJnJ |J ©» par son vueil mes - dire, or - gueil (0 1= -MJJ.

30 as a-ne . mi - e, On-queq s n'au - ra de moy nulso-ve - nir. et en - vi - e. D'el-lD'll e ne quiei r j e poini t gra-ce me - rlr. m 40

r -[ ! m j- J JIJ1^ a 2. Plain-dre me puts as-ses plus si sage a (i) 3. Mes mul ne fu i§p i 4. IJ- it 50 ipr Ir r rfp r r Ip r pr Ir ppr

que jo - ir, Car son dan - gier mon sen - tir Que son par- ler '-i m 60 55 J!Pf Hip r r J bien me fes - soit ve - ir Ce que je voy et sa cie-re et xon doulz a - co - lir Ne de - ce - ust por quilfeut que |J>| J J lfrjjtjlj. '4. 65 i rr 18* 7. Helas avril ,(0) m 'n i i n ui i i i , r 1.5. He - las, A - vril, par ton douls re • ve 4. Tant plus de mal je sueffre a toy ve

Ml t =i m M 'r

n'n' ^^ TTTT nir J>ay de do • lour plus que di- re le say, Qui me de - may ne fai sans re

J'JiJ IJ rjjj. IJ. Ji'JiJlJ ,1 ir * ' 1 -!> t-p r ir rfJMJ' Quant si te voy, jo li, no - vel et De En grant lan-gour. Ain - si vif et Ti vray Jus- m f

^ m w 15 m 20 r f J > 4 j, ?m flours ves - tu en joy. e sans es may, Plain d'o - dours, ques a tant que son gent corps ve ray. Pour ce d'e . ' f I r= *Si 25

KF)

de ly - es se et je n'en ay Que de . sir, so.ve- may an - si m'en com-plain dray Tant que pi - tie me £= 8(0 rf r r1 m 80 15

L. See p. 21a and Commentary. 14*

1(0

;J. JlJ ^ nir, plain - dre et ler- ra}r. vie - gne se • cou - rtr. Pr « f

=§==1 ^ 40 45

1(0 J U J * J JJ S. Biea me 'ie - roit la mort douce a su • ir En 3. Des que ma. dame en toy ne puis ve - ir. Ne » r ' i* r if m fag

50

r. J dadb >i'jf|j/i'J iJ J ni Mijlj|j U •ay son, pour ma vie def • fe . nir. Haul-gre d'aul- tre co • se moy gre. 1st choi - sir Fort que f f 7 f * ^ > r 55 60

for - tune et d'elle une, et G P c- ..

70

JJ J IJ J J j U ' J IJ ' ••'WJ J n i r ir i ir i r m 76 15* 8. Dame souvrayne

1.6. Da - me sou - vray- ne de beau - te, d'o • nour, Mer- 4. Dont mou - ray d'a mour se bon se - cours Ne m& ' r; ir =i m

chi pour Dieu, de ma do - lour, vient a moi tre.- no - ble flour. a= IT r ^p£| :J J m P! If io 15

tout mon bien et je dou - ne] Fame

37a 27b 10

II 2. Je pri amour qu'il vous fas regarder 3. La payn, l'ardure que je port au ener 4. Par vous servir et loiaumant amer. Pite de moi pour Dieu, pour bone amour, 5. Dame souvrayne de beaute, d'onour, Merei pour Dieu, raerci [de ma dolour]. 16*

9. Heylas que feray rfnPf P»Pr7 1.5. Hey las, que fe - ray 4. Plain dre me doy do -

IP r r p lp r ! 'r

Je main - te - jiant, Car ma da - me ne me veult ai . der le reu - te - mant, Car mon cuer ne puis pas des • 11 - er, (I) P^ I' >r jJ'lp » J J t |J. J^J 3 |E ' 15

^ mrrt,t i| i \] m Pour bien fai - re ne pour ly pri - er, Ne pour es tre son loy Ne son a-mour vueil point o- bli - er, Hon lay di ray tout en * Ffe mm IJ. J J'

2E ^^ 20

71 rJ J'P'' O l aul ser-vant r' 2l"r. Si sou . pi. rant. 3. Mes

^ if 4.

^ rrrnT T r la re • quier d'a - mour so - vant je voy bieh cer - tay . ne - mant

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85 17*

rr "nr p p Cf PP Qufe.le me veuil-le sa foy don-ner Que ja- mais ne me voul-dra a - raer. J J J * J J t>

J8& *$=! 10. Ne me chaut j rm 1.5. Ne me chant vos - tre man-par - 4. Quar pour ma foy j*ay tres plus ££ ij J

J JT 13 IJ J ' i> J ir ^ N ler, Di - tes au pis que vous sa - ves. chier Que vous au • tres tels me bias - limn m •rr* r r 10 15

3 . S L .3 t « •> Car je vueil bien que vous la • • this Quar horn co • nois - tra bien as - set r f f ,f f ,r m 20

J J.JJ.J J- J r i r J Que je ne vous pris un Que je ne su - y vos

^=# ifffff ,r to

di-ner 2.Vous au -tres die - tif mes-dis-lant De tou tre per. 3. Ne me lou - es pas tant ne quant, Car je f i iff n 15

I7\

tes ver - tus e - ne- mis. ne suis pas vostre a . mis. m ^ =£: *o 41a 4lb 18*

11. Belle sans per j J ijUi*j JU" U\ 1.5. Bel • le sans per dtiaul4e dou-chour pa-re-e, De 4.Ain- si se-ra jus- ques a ma fi- ne-e Par - if fr in.. r | r >fifrir»r irr" =i r' r r »rr |>rr "' 10

JJIJJ-JIJJ bien, d'ho nour et de ton- te vail- Ian ce, Je vous sup-pli sans fai-re de-lay- vous ser vir et faire ob • e - is - san ce, Com doit a-mans par tres fine al - li - rf it r fir -o- r r it-4 15

J IJ J'J an-ce Ren-vol- les moy vers vo chie-re con • tre an-ee. Or fai • tes done que de brief soit ma a - le

Ir f 80 »6

J l|» 'jJiJ'JJJIJJ'jip 3. Car blen sa • Yes ma seu-le de- si re - 3. Ke en aul tre part po - roit es tre fer me - m *rir f*r if M if r*r r r r ir° to 86

I 2. 33- J e Que soub - gis sui de vo noble a - coin tan - ce, e Ma vo - Ion - te, ce sa - chies. sans doub tan - ce. -*z-

-o-^- irrr r 40 43b 19* C. TEN RONDEAUX AND ONE CANON 12. Pour bel acueil

1.4.7. Pour 3. A. 6. Qu'en

bel a - eueil suy je, las, de - ce - u, Dont tout es - polr de mer de - sir ma long temps sos - te - nu En douls pan . ser, Or pnls je faire s'ain - sy m'est & - ve - nul De- sir le vuelt que v J r r

10

P f r #p tr 7 CJ pn p •kMm r moy fuit main - te - nant Sans nul re • tour, 2. 8. Si me com - plains de ma trit - te do me vient en - pi- rant De jour en jour. 6. Car en ly gist at - trayt ly - esse, ho • jfey-me fol - le-ment Son noble a - tour, T r ii

15 M I

i i f J. i J. p ^=n lour, Ce fait des I tin qui me fiert du - re - nour Que puent a - mans jo - ir tres ri - ehe- II P p J f IJ 3f J r J P i r so

ment Quant si me fault ee que plus ay ere u. ment. Mais a moy sont tout ses bien re - te nu. |J J ' t r H p J ^ ^ u. to 20*

13. Trover ne puis

^'HJ. 1.4.7. Tro - ver ne puis au-cu - ne 8. Fe - nir me faut, he-mi, do 6. Hors suy de joy e trist et T. if m 1.4.7. Tro - ne puis au - 3. Fe - me faut, he - 5. Hors de joy e C. ^m

r PI 7 T cu. ne-mant con - fort, Si mi, do-lent a tort, Se trist et de de - port Pax

10

$ m Si tres fort point Va. - me - re de - par - tl Se re - tort n'jiy par ma da-me jo - 11 Par l'es - forf t de FoF r - tu • ne qui m'en - vi

tres fort point Yn - me - re de - par - ti re - sort n'ay par ma da < me jo - li • l'es - fort de For tu - ne qui m'en - vi •

•t-y* J 15

20 21*

2.8. Dont je me plaing 6. Tel Men a . Yoir.

I !• 2.8. Dont je me plaing to vant, 8. Tel bien a . voir. A mour, r ipr p(s===sE5j m H ' 25

j.. sou • pi - re et cri-e Que - rant he - las, de ma do lour, de je te sup - pli - e, Ay - de mo - y, ear se ce n'eit, [car JL t fr if £ sou - pi se et eri • e Que • rant, he - las, de ma do - lour, je te sup • pli . e, Ay - de mo - y, ear se ce n'est,

- I I • F ( 1 I h w i

80

ma do - lour la mort. se ce n'est] de cort, r r irr r irr ru. de ma do lour la mort. [«ar se «e n'est] de •ort,

p J T p HT if r« 85

14.. Dame de honour plesant

J JHiJii h n r P r "P IP * r, r PIJ ir

r p p T r 'f r 10 22*

J 1.4.7.Da - nour pie - sant et gra - ci - eu-xe, Vos - tre beau-te S.Ne en moy pour ce soy - es hon - teu-xe, S?en vous a • mer 6.Bien plaing de for. tune en - vi - eu-xe, Que si brief-ment p J i r P r £^==£ r

15 crcrrrp r r mon cuer re - jo - ir 2.8.Et mis tout mon de • sir. 6.Et vous me fet par - tir p*r~r m ir Ppr

pen-ser nuit des-lon - gier r -> n M. r r wm

i flour be-le et a mo - reu-xe. me fa - soit vy - e joy - eu-xe. m m 30

II 3. Et combien la partie soit dolereuxe, Je me confort de mon brief revenir. 4. Dame de honour [plesant et graeieuxe Vostre beaute fet mon cuer rejo'ir.] 5. Ay lors, dame, ser6s de moy piteuxe Et metres fin a mon greveux martir, 6. Pour eui gouvent je suy pres du morir, Quant vous veoir ne puis, tres graeieuxe. 7. Dame de honour [plesant et graeieuxe, Vostre beaute fet mon cuer rejo'ir 8. Et penser nuit et jour, coment servir Vous poroye, flour belle et amoreuxel] 23* 15. Se pour loyaulment servir rn (i) J J J3 UJ JJiJJ»J 1.4.7. S[e] e pourloy-aul- ment ser - vir 3. Pour mal ne j'aye a sou • frir, B. Chie - re da-me, vueil • li - es (i) 3=3= J]U r r_ir

onpuistme • rir Si tres haul te don co-me le nom da - my, m'en re - thray, bel- le, je YOUS a - fy. [a sou - frlr] Ne mal, que m'a si fe - bly y don pro • vefr A mon grief a - (•)

f i 10 IB

r r hrr r ? mm r n r r—r I ii r f 20

J ir p r

my Vos - tre suy et se - Qu'a. ses plus vous aim que p r r 'in r I*1"3 I m II J^J f\^^E$ J JIJiJ r if 25

ray jusqu' an mo - rir. moy, cfest sans men - tir.

r 80 15 24*

16. Jusques a tant (10 mm JMrJ J J1 U 1.4.7. Jus-ques a tant que vous ve - S. En ce mon- de ne quier, ne 5. Et pour ce se long de . meur %m p | J. > JiJ. * * n ^ i ITT i

(to M J J ray Je n'au ray joy - e ne plai - sir, Cho. se que me puisse es - jo - ir. fay, Dou. the da - me, de • vous ve • ir,

ir pf

10

8.8. Car en vous sont tout 6. Te - nes que cest me m r m ir r p ip r •in H 15

3 - J ii J »J Et En r \r P i Jl r r' r i r IT r V \r 20 85

^^ J mon pan . ser et quant que j'ay. grant tris - tesse et en es - may. • r S

«0 r r 25*

17. A qui fortune IJ, AU/JJJ. JS J 4 1* JJ^U for - tu-ne ne ie vuelt a-raer fata • dra da tout raos et can-ter a tant que puis - se re. tour-ner if if \ I" I'

I 11 I 111' 10

20

2.8. Bien pert 6. A vo

15

> a moy, quant si brief me Ion - tay . ne, corps gent, que tel gra - ee de - may ne, Eg= mm rr IT i 40 45

BQ . se ver - moil le, a vo beau- te gar-der. De - es - se de beau-te, vray tans fau-srr. »r if (I) r\

50 55 26* 18. Pour Dieu vous pri ju. JJ uiJ u J uj

if if 11 13= 10

IJJ it J |J J~31 J |J J J J J 1.4.7. Pour Dieu vous pri, haul - te da - me de ho • nour, 3. Quar sa na • tare est de has-ter nult et jours, 5. Pour ee a - mer me veu . lies de droit a - mour,~ m m u> f irTr irr i j ,f|f i r r r •I-I..1- W IB

»J J 1* ' j I U J En . gi - ner ne me vueil De tons mau-dir sans ve - Car loy-aul-ment vous ayme ^m lin

*±*=3 ne tra-fer,8.8.Ne vos - tre foy ne me vueil - te tro.ver. 6. Des mes - di - sans plus ne vueil - vueil a - mer.

m i SO ss

.3 -,

ies fau-ser Par nul maul - dlt ^m ies fl • er Quejus taU • lie mm r ' r m if if f m i r 40 45 27*

des mes - dl - sans trai-tears, leur soit le chief da coarst r if ri \T' if 60 55

19. Plus lies des lies OD

1.4.7. Plus lies des Ills, plus joi-eux 3. Car la dou . chour, que de-den» 5. m

l^ipr pr Ir rp wi m gay Doy - e bien es - tore mour ay, M'a-prent et vuet que sans

10 16

-t-r- iy.uu.ii.uj I J 11, 'ii ni| m ser vir, 2.8. Che • rir, ere • rair, fe nir: ||6 te) ir r r r i r if ao

m *m j rj"3 doub • ter et ob-e • ir A tous jours mes r' Pr irn; 25 SO

M.&R.Co. P.73 28*

20. Helas merci r r r-r > r i r= =1=1= 1.4.7. He - las! mer - ei, mer ci, pour Dleu mer - ci, Mer 8. Mer • ci du las, mer ci du serf chai - «, Qul 6. Ay - mi dou - lant, des - truis, co • merit mar vi De m \r h m

J u, JJ ci pour Dieu, mer - ci, da . me d'o nour, muert de mort en di . sant sans se jour ton - tea flors la pre - ci - eu - se flour m ir J ir 10 IS

da - me, da - me d'o - nourl [en di- sant sans se - jour]: pa pre - ci - eu - se flour],

20

J j. 3 j. i j. j J 2.8. Mer • ci du mal, mer - cl de rla Ian. gour, Mer . 6. Flour fleu - rant de si tres no - ble o - dour, Qu'en

80

)J plours, mer - ci des gri£s sou - sy, rant Ian . guis et rauir et cri m m 40

des gries sou [et muir et r r J i n BO t it 21. Par vous nfestuet 1 j r r 3^ r ' * r »r r 1 » 1.4.7. Par TOUS m'es tuet Ian - guir et sou .pi • rer, 5. Las, de for tune as - ses ra'en doy plou - rer, 6. Bt si ne eo . ment puts- se re - trer 00 gg| £ |f r lf (f rr 1.4.7. Soy - es par moy, mon a • my 3. Ne sas tu bien que main - tes, 6. Ton mal me tient au cuer duel

^^ m m Dou-ce da - me jo - Car j'ay per - due de Ja-mais mon po - vre 10 m ffrf|r f |f 15 gra- ei - eux, Hors de tor . mant, je fen Prt et sup a - mo - reux, For - tu- ne tint en do . lo . reu- se an. go . sieux, Si que ne puis a . Yoir ma cle- re If, f_ r r ir r r ir nuit et m et jour, tou - tes flours la flour, euer de la do lour h A £=i ir i i n rrr n i r |i r ^r n^ 86 e. Pu. Yi - e. U . m fr 2.8. Sans joye a - voir, sans •on - 6. Que a mort pro . chayn le may - "pa!,r r if f f I.' r r i i rn 10 .8. Car sans fau • ser J 6. Mes en a - mours de r Ir r V ir r r ir r~ fort, sans re tour, ne pour raour 40 -"• tr). ID m 45 r if i r suy ta doulx a mi - e la pi - tie me fi - e /T\ r rr iff MI ' r^ r r r Et sansnul Men en de-ses-pour fi • ner. De la bel - le, que tieng et di sans per.

E t'a . me . ray 55 de rraycuer * et Joy - eux. Quren brief d"a - mer par luy se - rons heu - reux. 80*

22. Andray soulet1

• i . ,-1 , b.1J ir r .i r » r J I J M IJ J I An • dray IOU • let aa mielz que je pou - |J r' r T An - dray iou • let an mielx

16

J J J r i r u j iJ i r 'M ir i ^ I i j if ir ray Jusque a le tamps pri - (i) ij j i j ij J IJ j ij IT i r i r IJ j i J IJ r 'M 'M J que je pou - ray Jusque a le

24 ir r l r ir I J TJ IJ J I J IJ J U J I J An - dray sou - let au mielz que je pou -

i i r J IJ UJI j IT ir ir i -m mler De- la-sol- re. Lors tu pren-dras de-sus A-la- mi-

1 •' ij if Jif ir IJJI •' i J IJ J IJ ij. j i j HI i tamps pri - mier De - la - sol • re. Lors

r IJ ji f u i Jif ir iJ J iJ i j i ray Jusque a le ^B)** tamps pri - ^B^J

(»«) I n ^* i r ^ j ij ij re: S'&in-si fe • ra le tiers, ean-te - rons (I) (i)

tu pren-dras de-sus A-la. .mi- re: SUn-si fe - ra le tiers,

ij iffirir i • - la- sol - re. Lors tu pren-dras de-ius A4a- mi -

1. Sea Commentary Si* IL ANTHONELLO DE CASERTA A. FIVE BALLADES 23. Beaute parfaite JJ. ofT. J j rn\ BB3 L.f If r/ 1. Be. beau • te par- S. Me, OD me fait l&n • m r miitlnr ir r ir r in**** if r ir \\ r i M

J J of T.

J.J.ofT. , J.= J. of T. I J. 11 h J. ISJ. J

1 y J> He. 18 ^ ^ J' j es-me - 4e-ti- e. f 1 f U^ j> \r^mJ \J-JJ j ^ m #=^ r if 25a 26b ij j r pr or *. ,f 7 f.

3. Si ne pnis pas a - ft ir r if r r so 83*

St ma do. bur bn UJ'U U i

iJ. JjJ !•'•• r T p en - du- rer Puls que IJ. U J J

I" ' '" -#-=- 45

r r »r £t

m ' J U i if f if £=m 60 . *

nPir r' 60

II Ill 1. Car j'ay desir qui se travaille et peinne 1. Mais se eelle qui de long m'est proeheinne De moy deffalre, et ma dame honnouree Par souvenir et par douce pensee, 1. Ne scet mie que j'aie si grief peinne 2. Scetist pour voir qu'en biaute certeinne Pour li que j'aim plus que nolle riens nee; La sert mes euers en estrange eontree, 3. SI que pour ce ma joie est si finee 3. Ma joie en fust tonte renouvelee. Que riens ne puet mon cuer reeonforter, Mais je voy bien quil me eonvient finer, Pnisque desirs ne me laisse durer. Puisque desirs ne me laisse durer. de lUehmnt] 83*

24. Dame d'onour en qui u J Ir. '!f r ir ' p r p r fJ m l . r 1. Da- 2. ( §•

if r r f

I.

tout mon cuer maynt, En a- ten- dant

r ..r,f if 15

11.

be. ni- vo - Ian - ce. o - bey - san- ce. t ?ifff>r iff f t

P I Ir r i? . £= 26a 26b 34*

»Pf * i? r

pe- ran. ce Qu'en au • cun temps |C r T p * |f f ^Cl=^4? 7 Pf , :f;

m m ^ _3! •••7, t t5

ip r r p Ip r ip r i' If /T\ A J> ^ di. re pou- ray: A- mi- Si vous

5«t ^ 40 45 V J

I" ^ ^ ^ que ne m'ou . bli - cs mi- ^^

p If f 7 •?, •f f 55 85*

25. Du val priUeus

1. Du val pril- 2. Mali en - tre- 7jsJj ij j, r r i, pf -if f ir r if 10

leus ou pour. pris de jen- nes- *e deus est la mer de des- trei • i u ij J ^fir^ f if f i. r if rff f TUT 15

lij n 2

Vers Ou

r ICJ C J IP t P ir 26

T J3 h J 1 JT J J' o • rlent un bel [eas - tel] voy lul- re, j'oy ies vois en haut te- noyre brni- re 01) /ft ^JJ'i4

30 S3a <5> 88b 1Kb

3.Des a - mo- reux que de. sir Bet: K Set: f JJNJ ^JJ, IJ -ji J. r ir * in f 40 36*

II1J J>J />!,„. J] r rF r F PTr pir pr 3 3 j ] ^I rut dei- trui- re. Kn i j T L I

45 50

ee pa - is, ou je ne truis con fort, Bet: C

s ir r h P^^ ^ ir r ir • 55 60

IJ'J J)U-J-Ht

118 JT3 JT2 U.

me le eon - dui - re A ee K C B

^ ir ir r icr 80

Jiei: no % ,.j U'j h J eas - tel a - ri - ver a bon port. CD OP J J « p icjr 65 37*

26. Amour irfa le cuer mis

1..A- monr m'a le cuer mis en tel mar- ti- 2. Kt ton - vent fols pense et sou - vent tos-pl- '\U p * Cj 11 1 p==ii icfc HS:K ir r L.r

SJ.-rn i i i i i . hi rfi rr

re Que re, Sou- Ei=e ffltr rftr.^r

r i ir I 10

'ir P que mayn-tes fois le vent me can - gie la ^ f r ir

3 3s 3 3

f r i» p r

/TV -I J* J"~l Bn tel es - tat

f f 26* 2«b 88*

ir ir iJ

vi- e est te - nue. Pour ce n'est fT fr rj ILTcfrUJ^ I'If t l n- ll^l

r ?ir f "if.fr r ir r r so 15

1 7 ^ pr r I r iY- if r ftm ff. f ! r ic r r j 40 GUI j J J-UUJJJ i' J J IjiU J ? J J ij Jpj se • jour Cel- li ^ It

50

ir r ir J Jj> J sour- pris de fin Jtf > PIPT r ic ^

f p r if r hrT ir ir r 55 r ' 60

/?\

muar.

r J P ^

=«==^=( ^ ir r T TT 89* 27. Notes pour moi

ioi.es vers moy pi.

Bt si me dbn-ne. me. di-ei

40 40*

r r p r p i'j If Mais '4 i J. J §=f i 4 'U 56

if r IJI i \t P r lp r £ que ce soit pour a - mour ft. ne! (i) ^ *JMJ jjini

hj- l ao i 65

B. ONE VIBELAI AND TWO RONDEAUX 28. Tres nouble dame L O-'J r JJJ J 1.5.Tres, r r '* trea 4. Car [car] >HJ. IJJJ J^ U r* IT* n m

I U J U I g nou ble da. me sou- ve ray ne, on ques de tnre hu may ne na m ^^ ^ r ^ 10 15

^ J J M^TI •)•»** Je vous su. pli tres an • ble ment, A- me ne fa eer - tay - ne ment, (i) JJ-o

e ^ i > t r ^^ »' r if r ii so 25 41*

i Pre - nes en gre tout en pre• Sans pan - ser nulz ou • tra - ge I i m J IJ ,1 I nil I1 II I so 15

sent Un pe tit don par bon es • tray ne. ment, Et a me- ray, soi- es eer- tay ne. U, IJ U I rf r f 40 45 ^^ ii2. Crest u- ne can - son 3. Pour voustre a- mour can- G 5 U. r ir \r f fn i f 60

o J IJ J I ^ i J ' u de vray, Fait pour vous, bel- te- ray, Si vous su - pli Ij. Uj J J lj. i lj.

^

B6 60

12. J J t H I' ^ J J le ho • nou - re - qu'll vous a • gre- J U i ' x rIVr- r T 65a 65b 42*

29. Dame gentil j j -,

14.7. Da. 3. My 6. Kt

$ rij>j J j>jj. ^J I* if r f r ir ir r f r

(i)

7 T 10 15

r 'Mr • p r Ir pP I

'if p r Ip r p' »Ir

2.8.V0U8 6. Quant Tj. jijiujj.

•f if f i ^^ 25 80 48*

pr r ipr r Wr r FTf ^ Pjj

rl I "ir pr , ipr r Her. r Ir pH I ^

30. Dame d'onour cfon ne puet G

1.4.7. Da- me d'o- 3. Tons es - tes 5. Tres hun ble- O

o

00

nourHAIII> , ^P» ne ceUe ou fay mant raer- chi 44*

1 puet ' ei- pri- mil mes de- YOUS re- *£=# r" if >

^ 30 as

'ij. IJ J J \t =5= 2.8. En par- ler douche, plai- 6. Sans vi- la- nie que C hP p'J r 'p'pr r1 r' ir 35 40

' ' i U sant me E ^t? pur ir f

'i," J. 45 50 45* IIL SOL AGE A. SEVEN BALLADES 31 En Tamoureux vergier I \;p Jij p

1. En l'a- mou - reux ver- gler vis 2.Drotte es le- ve - e, de Yer

J U J lj J U J I F^P

J- J 'J m u. - na flour Es- p&u- nie meille co - lour, Belle et plai. sant

' * J JTJ IJ, J JHJ J U 55 F ^ U i U. Ij JJJJIJ J 10 *

•J J JJIJ J sp par le cours de na - tu re, et de gen - te fay - m m I J J> J1J J J J J'J '4 J '^J

J » U 'JJJN J'J JiU. J ^ 3.A ees- te flour me mis en a- tu- re. ^ J 'i. t \ ij. jj^i j

SO 35

j J J~JJ- ven- tu- re De l'a - prou • chier et son

j. J J if 85 46*

IJ t > IB J. ij. j u. ou - dour sen - tir Mais quant je fus de - dens j IJ > » in j. J. 4, if i i if m 40 45

r <• rp ce no-ble clos, A- mors me fist J,

60 56

O =§=£ £ ## pr J* J ir J IJ J J dou • ce - ment ra - vier Tant que mon euer

.'J. Ij, j JiIJ J I < J •' J. •• f ,f r ^=£= f r,rfe 60

IJ, iJ J J IJ Jil= | prent tout son re • pos. U J»J J.Q J J I f iff f 66 70

II in 1. Bn ee vergier sont tuit li gay sejour 1. Et se au jor d'uy trestout li eomte a tour Qu'onques Amours douna a creature De Bur ope ou d'Almene tres pure, 2. La me dresehay remirant la valour 2. Ou des belles que maynt amourex tour De celle flour qu'en ly mayst par droiture. Finent si bieng es nuepces de Mercure 3. Et apres luy m'assis sus la verdure 3. Renevoient pour mi mettre en leur eure: Afin qu*Amours de li me fiest jouir Tout me seroyt nient eontre le pleisir Avar! 11 n'est riens vivant, bien dire l'os Que j'ay de li on tout bien sont reclos, Que j'aime tant, ne riens plus ne desir Quar c'est la flour qu'omis ne puet flaitrir Tant que mon cuer la prent tout son repos. Tant que mon euer la prent tout son repos. 47* 32. Corps femenin

1. Corps 2. Tant fe- me- nin no- We- ment, J U J !J

15

25

60 11 trai - tis et com - pa - sd 11

tant est II pas-se flour de beau- ti; 11

If - doulz e t plai - s'ant L'a - mou- reux ray

11 de vos - tre oeil ri - ant 49*

jJ J fj J IJ J 'J 11J J J i J i fait par un doule sou-ve":— nlr i r ir T\, r mm r if r ir 110 U5

U J U J iJ J M8:B J ,MJ i ij Joi- eux et i f=

If » r if r 125 ISO

00 r J U J J I en ses las ^=^ ^ m 18 & 140

iJ J iJ J !J J U J T^^^J main - te - nlr. '4^^'^ in r ir r fT\ r IT r i r n 1*5 160

II Ill 1. Nul ne scaroit prisier l'envoitseure 1. Et c'eit raison que de gens de fayture Et la dolcor que j'ay en vos truve, Digne d'onnour vous soit le pris doune. 2. La joye aussi doune nourreture 3. Au gre d'amours qui de volente pure A euer d'amant de loyaute pare; JTa enrichi du tresor desire 3. Rien, certes, ne me pot tant S. Ou tout bien est surendant Onques plaire come vo corps jovant, Veuillez me done retenir pour amant. Ysnell et gent, ne rien plus ne desir, Raison le vuelt quar pour leyal servir Ne ja ne quier jamais autre cherir. 8uelt hon souvent bon guardon acquerir. 50*

33. Calextone qui fut m J AJ lj. i' ^ J. II J 1. Ca- lex^to- ne me 2. Tant qu'il la mist, vraye I*r-fr pff1 CrrTci/cjp ipr if If r

P Pf Pf ir1 r ifj: se A Ju- pi - ter se. Hault ou trou - ne r 1 F~ r j. 10 15 u n fit un et 11 J J- IJ. J ^ 1 I T^ \V\ v[ -I 1 m r ir r r1 ipr r pip u^ - u ao 25

1 >'J' donlz " fa-ere- JHJ»J~ fice, . ' J. i'U fnt moult fl (cf. me&s. 83) P hO3rr JJJlU. —^

'• • '• 30 si» sib 85 4. 'j. J'IJ'J J reu- se - ment La cou - ron - aa i_r E_j if f r r i r s i i i ir ft r r ^m 46 50

J J. irT sur ton - tes ri • ehe - ment: Lors tous m i r T J r J. IJ. linn 55 60

les dieux li fe- irent per ho - ma -

r JT1 ? '• IPr••[- pi r r pgPP "M r r Her g 65 70

J' I J, U. I Joi • eux re - cept if i r if i-Pr "r pi r i

IP 75 80

•0 52*

34. S'aincy estoit II' U 1» S'aln.- ey es - toit que ne la no- 2. Ffran - ce per- droit •on pris et li prou a LaI

lr ^

if, pr p if pr pi

an, due de se - E£ r ir^r ro-r r pi^ Pt^a

•r T^ 15

I 2.

gen - tilz de Ber- - ry, rott a - r r if \iiVT P

r~ f ir 18b 30

_2 2 r-uj J J 3. Quar de eer. tain men - m f i'r ip' 'r ^tT ' nr ir m 80 58*

i J jiiJ>J sa va - lour S'es- tent per tout rr r |f v

35 rr' 40

et luist com le cler jour; En tous fais 11

r r i n ir ir r5r' fifrfi 45 50 55

m N- . j. sonno-ble .cuer ha- bun Quar c'est ce - li qui est

r ir r » crr

J j. la flour du mon-

r r i ffrrr 85 r T r r r 70

II Ill 1. Nature l'a per sa grant soubtilesce 1. Considerer doit eheseun la sagesce De seus dons richement enchievy. De ce seignour courageux et hardi, 2. Vaillant et preux, en bien met son adresce 2. Quar c'est un cler ml roue r ou jounesee Et noble ator si est prouchain de li De chevaliers doit mettre son ottri. 3. Dont il n'a per ne greygnour, 3. SoA valour ft son amour, Ains surmonte tout home par doucor. Quar il sont mis en tres souvrain honour Ce sbnt graces que Dieux en son cuer fonde: Par sa vertu qui est si tres parfonde: Quar c'est cell qui est la flour du monde. Quar c'est cell qui est la flour du monde. 54*

35. Le basile Tr. IjjJllJ li'i-JU-J It t J It J'J IJ Jjili-JU-J—l

' I J I1 J- 1. Le ba- si- le de sa pro- 2. Car son ve • nin est mor. tel .Lfffif r ir

10

J J J I h

pre na- tu re Tous ceuli qu'il sanz me- su Sans re - me- f t I I l m

yr r ir m. m 20

JTJTIJ1J JIJ J fJ i IJ IJ J1 IJ J ljsj

r r ir fir r IT lr > J voit tu- e de et sanz r > I

JH

25 r I T p 30

$> j 3 J -3 IJ J

8*a Stb 1. 8e« Commentary 55*

T'i '•n.q'j. J 'J '•' ^173 J

J>ij I»J j'lJ'J J.IJ j, vie Les bons par trez san - bu.sie. I. r r |Pr N I r c.r 1

p 1 r if T 40 45

»IJ J -ij.

Tant quechas - cun volt ion per a grant r 'r me ir f r 1 60 55 m J

JJ

pay - ne Car ba - rat tient le mon - de en ion de - mai - ne. r ir f ir f P M ir r iT 60 65 70

II Ill 1. Le roy d'amours ou palais de droyture 1. Or rueille Dieux que per sa grace pure Si a doune sentense et jugement Pause jouir de la belle au corps gent 2. Contre enmeni qul par fause morsure t. Quar trop l'aim mieulz que nulle creature A Trays aroans font painne et tourment. Tant que mon cuer est tout sien fermement. S. Maudite soit leur viel 3. Bile m'est vraye amie Kt leur jangler plain de tres grant foulie Gaye, playiant, courtoisse et jolie, Per cni je pers l'amour fine et hautaine Ne plus ne quier fors ma dame souverayne. Car barat tlent le monde en son demaine. Car barat tient le monde en son demaine. 56*

36. Helas je voy

je voy mon m'a fait de

» fin ve - nir et de play - En de. »i. TAni sir Qtfon - ques nuls horn a - voir un don ven- da li

10

25 57*

i_Lf P-f-f-^

is J JHJJ J 3=3= d'un faulz tour Dont se je n'ay

i ' Ij J'J . 1=1= 80 85

P r pr tJ » p » p coors de vray ef- fort Je croy que brief ^ti f f 40

JMJ- > se - ray sanz doub - te mort. 00 /* J i j j f MB ^m iff ffif MS: G 50 45

II Ill 1. He! Fortune, tu fais ton pris haVr 1. A vous supli, tresreluisant sapliir, A pluseurs gens qui treuvent amerour, Dois et ruissel, fontayne de dou

37. Pluseurs gens voy v

J. 1. Plu - sears gens voy qul leur pea - se 2. L*nn vest i u - ne eo - te bro - de r i rTr r r IT 10

5^ JJJI.J. U. i- JU hi^ Ig/j * - MS:C kJar lfJ M e Met- tent en e. L'au- tre un f ,

*=E ,-r 15

(I) 127 u ^ (I) j, hjsj IJ, J. IP ve» • tir bon ha • bis. vU- Ian four-

fcfc 1 ^^ r pir r"" r ir r i r ft 35 88a 28b

(I) ,1. J_ 1,1. H . J u. I^NP IJ, ^.MJ IJ S.Man- teaos por - tent grant on pe - mm m tT\ ^ i- =1=2: so m 85 59*

ff|f r f " 65

J. r ipJJ'jiJ,_J J>u>j, ji u l J. j. I J- J'J J>l J.

J IJIJ iJIJijj ' I _' I ' ' [I' ' It ' "I u-ne Ja - que - te.

-T-T * irnr 60 65

II Ill 1. Autres i a qui par furaee L Qu»r elle est si blen fa^onee Se vestent de porpoins faitis Bt en tons estas, se m'est vis, 2. On d'une cote de conpree 2. Qtfao monde n'a robe fouree Et antres taabis de grant pris De pene, eendal on samis 3. Dont ils sont asses plus jolis, S. Qni tant me plavse et pour ce dls: Mais toute leur devise faite, La devise de ehaseun fayte, Je me tieng a une Jaqaete. Je me tieng a une Jaquete. 60*

B. TWO VIBELAIS AND ONE RONDEAU 38. Tres gentil cuer * n J 16. Tres gen- til cuer a- mqu. reux et at- trai ans, 4. Done tant de - sir, flour trez sou- ef flei- rant, if" 7 T p n ts (J).E D r p if f

=K= i J j> J Frans et eour - tois, jo- Us et plains de joi- BeUe et gen - te plus que dir ne sau - roy • , f r

10

I_L_ J e, A vous ser vir du tout mon temps em-ploi- e Quar e, De re- voir vo fa - con sim - pie et coy- e Et

7 Lf f P P if !' i ^ r i r ir

ir igpgj 15

J t", I T J i I P ^ |J il n'est riens qui tant me soit play. sant. l'es gart doulz de vo re • gart ri- ant

^ m r- T^ r t^m f r

20 61*

(II) J*i»J N*au - tre de - sir a - Yoir je ae pour-roi- Qui tant me plaist pour ee on que je sol- r (I) *\ PI s " r r r feho r r ^^ 80

(I 0 =*= 2. Qu'a YOUS a • mer. hon- nou- rer et ehe rlr. 3. Quar en Tons ion mi pen •er, mi de sir.

r r r r if f r r r r i r m 85

g=si Ipj JlJ IJ J,J I IJ.J J Cre. rair, doub - ter et loi • au • merit ser • vir Hi oeil, mes euers, mi YOU- loir, mi plai - sir *r r P r i r

f If 40

f if n p.f

40a 46b so

II Ill 2. Or scay je bien que le doulz souvenir 2. Si pri a Dieu qu'il me doint a venir Que j'ay de vous me fait an euer venir Au doulz tresor qu'Amours snelt departir Joie et baudour Per sa doucor 3. Si que ne puis mal ne doulour sentir 3. Dont me poves noblement enriehlr Ains trez joieux me fait amours tenir Fin cuer loial et sans rien amenrir En gay sejour, Vostre valor 4. S'en loueray, amours eom vrai amant 4. Songect cens fois roon euer tres desirant Quant elle m'a voulu metre en la vote De vous veolr be aler g' i osoie De YOUS arner et certes se j'avoie Mais en la fin pour riens ne le layroie Tout quan e'om puet en ee monde Yivant Que ne fuesse avee YOUS demourant Nient me serolt s'ames de vous n'estoie. On gay paV< on estre je voudroie. 62* 39. Joieux de cuer

f l r Jn j j. 1.5. Jot. eux de cner en sen - 4. Kt a bon droit quar quant « r r r r ip r r P Tr f rr if r r r f r ir P r pi* rj

JU u /) J'j.m j j^ Lr r P Ir mel-lart es - toy. e a TOUS pen soy- e, t—' I J, Ui> p r p fe^p m r1 n i T P v Cf i r 10

JHJJJj,

J J ;> j Tj j j1 sj. i * j J j Quant je sen - toi - e YOS - tre tres.doulee a - lay ne Et vo gent Tres-play- sant flour, doul - ce ro - se mon - day ne. Gar de d'a- r \r r f h rr f ivr Vr

r ir >* 15 pi

T ^ J 1J =£* h. n ii-1 i ^ f r fir corps, ma da - ma so - ve. rai • ne, Qu'en - tre raes mours qui mon cuer trait et mai • ne Au - tre plai. if p

J. 80 63*

P T LJi J i 4 I J

bras si dou- ee. ment te- noy e. sir an mon - de ne von • loy - e. » r r rr m r r rr if f •W-T*

25 r p i r SO

n s J J—} J j J J. J r i 2. Je croy qu'on- ques ere. a - to - re hu - mai I. Car sanz dou- lour et sanz pen-se - e vai • v PIT p r

P •> Hr ir j IT 35

^ r i j. TJ ne Nfeut ~ tel bien cer-tes eo . me j'a voy - ne Mon cuer e»- toyt rem-pli de tou te joy-

^ JT P r p ir 40

IT lil j.

1J -J J J' J I j j> j. ^ 1 j e. r ir r f r_j irr r (8 m M8:K 44b 45 64* 40. Fumeux fume m L.r L!T r 1.4.7. Fu- meux S.Qu'an- tre K.Quar fu- '* r r p ,1 I Ir J J J t I. I II . J * j J m pH J J

MS: J) 7 U r rp"r pur i ir »r * p i fu- me fum met mer molt • i»r p' p r Ji' p r

j j i > r g t; -J 11' I J 10 15

r \j Mr *Ji par fu- me - e i .8.Fu - meu sa pen- le - e 6.Tant qu'il li a - gre- e 7 J'J J i p r J '7 p[l'3r IJ I J 20

£ p'T «e alt

r j i r j.- ' •»• J j r ir r r ^ i J i 25 80

> IT r I'T r IT spe- cu - la - cl on. son en-ten- ci on. p 'J r • p r p 'r r >j ^ 3 ip J j- J u K8:B 15 40 65* IV. TRBBOR SIX BALLADES 41. Passerose de beaut6 r \T r f 1. PM- •e- ro- se de beau- no - ble 2. Done Jn Pi- ter l'ei- pou- fa va-

a=

|t: ' I I • 4. #P^ flour, Mar- g»- rl te plus lour Ens Kn- la

1 J r if r ir1 r ir 15

J. J'j. r -"ic-CJ"Ty"P"|T fpf Pip pf blan- che qne nul pre. ci- eu- •e f 3=3 N- SO 66*

ji j '• 3. Car duprin- tamps a tous mons-stre la dou- ^our Pour es-bao-dir i? .. 2 \ 2 0^- m r r Cf IC ^ mngi ^^P 15 40

r 2fai=J J j J'l i cuer qui yray vmour gar- de: 1 f r r PiT r ir J. irprpir pf fe r r"1 45 50

JiU JiJ J.IJ. '' "ir fX Res- jou- is est con- a r r i IT Pr pi J- mm 55

II Ill 1. En son der vis sont trestuy li gay sejour, 1. Humble mayngtieng, son douls renon, son atour. Plaisanse, odour, honneste tres benygne, Son noble pris, sa redoubtee ensigne 2. Car nature en la produyre mist vigour, 2. Ke porroit null raeomter, ne la auctour Quant la fourma y tint sa droyte ligne, Fleytrir ne puet par froidure que yigne. S. Son dlr just, eompas, mesare et playsant labour, 3. Tous biens en ly sont composer sanz deseours. Kn son faystis corps droyt com lanee e dardet Soyt tant tempre, vespre, main, heure tarde: Resjonis est ^nieunques la regarde. Resjouis est quicunques la regarde. 67*

42. Helas pitie- |J) J. U i 1. He- las, pl u- i en - 2. Dan glcr, re fas, des . m U J. I. i J |J lr f ,

m vers raojr dort si fort Qne je ne s^ay se je toi daing sont d'un a • eort En • con - tre raoy po - lent gre • II

r r i r rr— 10 15

US: 7 ?^ r 3.Se me plain, je n'ay pas H8:0 4. ff if ,r 68*

3EIE trop mes . pris, Quant por fe- nir in'est-ren-

' T J * J if r m *0 16

i J J J. da eel goer- don. pup r ir r r ir r r i r- 40

IJ J J t i 1 I ,MJ ^ N J i^ Dont mort me Toy sans

j

45

J. J. j. iJ'j. > nul-le mes- pri- son.

h 50 55

II 1, Et pals qu'alnsl ne trais en riens confort, Joie, soalas se sont de moy partis 2. Bt m'ont gnerpy, dont fen reehoy la mort Sans que jamais en ale null respis. S. Je ne Tif pas, ainsols pene et langais Or n'est nnl bien qa'en moy prengne seson, Dont mort me Toy sans nalle mesprison. 69* 43. Quant joyne cuer I * If r If p r 3E 1. Quant joyi ne cuer en may 2. Fet son se • jour play- i m u,

r p«r ir 'r est a - mou - reux En Ju- Pi- ter, au sant, de - li- ceux: Au roy puis - sant yien- r J. r pf i r r if ^ pir u. 10 15

HS:C

82a

p>'r if ppf 3.Maint che - ya - pa - Vi (I) pLJL;

J- UE 22b 35 70*

haat ft) m r r ir

80 w IS

Pirr r r iff f ir r r ni prii A sa No. ble- dont grant est le re - non, I$£T m !J J !J Ji J jj 1 r i p * P 40 m 46

Qni pour • te d'or et de guen • les gon- r r P'r'

I.I. 50

r » r r p;»f r p i* r fT\ fa- non. LE-rr if I MS:?

i •' '•'• 60

II Ill 1. Son droit atonr, son maintieng gracieux 1. Cest blen rayson que ehans melondleuz De la Table Ronde est a mon avis Qni la se tlennent et tons antres delis 2. Son ardement grant, fonrt et eouragenx 2. D'armonnie que tant sont preeieux Bn dons est Urges a tons, grans et petls 8t bons sonvenirs tant plaisante et sobtills >. Tant tne le monde en est tons esbahis 8. A serrir tel seigneur soyent ententis; De la-noble qrfil a sonbx son penon, Pour ly se nomment en malnte region Qui porte d'or et de gnenles gonfanon. Qui porte d'or et de guenles gonfanon. 71*

44. En seumeillant L.T TT I :*=3= j J Uj gr J. • J ' j: j ' ^ J. ir-r ^ 1. En 2. A-

xiX J IT N I

r pi Tint u- ne ve - ii- on Monlt fort ves - per ti- li- on Kn u j 'r 3^

i j r N J u i j i|J to is

•T—t: r ^^ ob - icnre et donb - ten- >e eon - ques • te •our • mon - tait u ir r

J U If =N so w as

rt\ P r *p l f f r n r f=s=l ponr en- tan- dre: A- lix- dre;

J *=^z mm

r i i r r M *^ • Oft IOb 72*

if r ir 3. Mais Se - ril mon - stre en sa vray des- erlp- elon Que 1^ u r

J>» I f J l w r. J JjJ J IJ j 85 40

sm HP * * "Lri^rp PTP r PI? e'est le roy qui tient en com -

J i p p J i>

> r T u if 46 60

ir i P Tr AT- , mex, a- r p i J

j i j j if J j IJ 55

e! j iJ j u Jj

J i j r—|sr m 60 r 65

II III 1. Cilx noble roy a timbre de tel fac,on 1. Et, pour donner au songe conclusion, Dont legler est a touz pour cert comprandre Le passage qui ert sanz a moult atandre 2. Que malnt palz et lointalne region 2. En Sardigne, nous mostre que d'Aragon De son haut pooir ne*z valdront deffendre, Ffera soun cry par tout doubter et eralndre, 3. IPa son vaillant euer ardis come lion, 3. Car puisant est en terre et mer par renon, Ains seront touz priants sa seignourie: Larges en dons, et ayme sans oublie Armei, amors, damez, cheraleriei Armei; amors, damez, chevalerie! 73*

45. Se Alixandre et Hector * ir r r 7 J ' '

if r r | J'J J Hec- tor fus- sent en les sans en- I r iJ—F—t if E$& .V'V' r r J^ JjJ if r •MJ~T~T r 10 15

X J TBT3 e* vi- An ton - te Ieur vi- Qul eeulz de Troy- Cr ir f PiOrf Eif if Cr Pirf i> f firrfr pin 3^ r'T f i r r ir ' so

25 88a

r r r ir r sab 74*

40

BO

MS:D

65 60

MS:C (b t)

66

II HI 1. Son haut renon est en malnte partle, 1. Car est ardi*, couraugeus et vaillant. Por ee doit bien estre sans fleterie *• En Europe nel pafi d'Armenie Craint et double et ame chierement. N"a nnl tel de »} bon gourernement, 2. Derroyt pour cil prier an chiere lie 3. Ne qui si bien aime ehevalierie. 3. (mhtfng) A ly traient eeuU qni ont contei de Noallles Vtojx et Beam, Caitelbon et NoTalUes. Qul en pais tient sa terre et ses semailles: Woyx et Beam, Castelbon et Novailles. 75* 46. Se July Cesar

TTH! 11. \L —a— 'j,. toy Ar tus Pu. rent poar eon- ne Po- rus Eu - rent ponr ar- des- 2 I IN • I

10 15

if if H- itJ i j te re- nou - inez ou se los, pris et fa. T r r l3 f ir J. u, J, irf- r ir r* i ' ^ .7 T. 5 1 ir f ir~ r- h i p J, ir r> i 10

r it r H I

de, de: r ^J r ^ —p-i

85 87a 87b 40 76*

ar - mez tous ceu - ron - de

piJ-i Cs.? ic_ 3r r_ >? T.r*r fj

ip r pr Ip r P r lpt\

r i(i r V I If -T—t J. j.. or- te. IJ- r ir TT ;Tr rrr f

II Ill 1. Prouesse, vigour le tienent an dessut, 1. A ly comparer en fats je n'en truis nulsj Son avis est monlt grant com du roy Ksmonde. Deshonour heit, de vice est quites et monde. 8. Ses anemis gieve, dont moult en a mis jus, %. En fait de guerre ne tint jamais desporvus, Sa forehe Men pert en terre et mer parfonde. D'autres vertus est 11 sans per ne seconde. 3. Ses maintlens sont toudis de la Table Ronde, 3. K'aflert que nuls ne termene ou reiponde, Leesse, dedult, soulas le eonforte: Xoblesse de ly ehescun reporter "Febus avant" en sa enseigne porte. "Febus avant" en sa enseigne porte. 77*

V. JACOB DE SENLECHES A. THREE BALLADES 47. Fuions de ci r r 1 r p I* t if ir r \u r r ir r ir Mr r I Pi i.Fui- on* de ei, fui- ons, po- com- pain • 3.. En A- ra- gon, en France ou en Bre - tain - gne,

•o Ip ' »'lr r lc_f r Ir r Ir 7 ir p It If r If ' ' 'J u: 'JJ i'l'jj Chas- eons s'en voist qne- rir a- Car en brief temps on n^i- ra de JjJ i J- r Lrirrr P^P P i pr r J ir r 10

p Ir r ir p I r p ir ir p ir p [i !r r r ir p Ip J? J< tu nos en J J ¥ r i r EL r r j r ir IB

r r ir |L p ip r p I r ? \j2' p ip r p I r f H r r I

28» 2Jb 78*

r ip -> Mr r p ILJ r p •> i* ir r p. Ir r r . I* If I r p Ir r

^ J J que. rir no vi- e, no se-ii- re, Ne de- mo- rons y- ci eu- r P irJ =§=£ Modik Bri: Q m i J J i E r 80

r ir p I r * ip !r r r ir r r Ip I f r Ir r

r Ir I r r I uu ir r ir r ^ I r * Mr J I j 3 du Fa- vons A- li-

=*-*- 3=1 ii=

p 45

r pir ir p!r pi ir r r ir pip»*lr r r ir pip r p Ir f

r ir r irJ"

II Ill 1. Car tfest bien drois, rayion le nous emselgne, 1. Mais an partir personne ne se faingne PuUque la mort tres cruel et obscure Que de bon cuer et loialte seure 2. Nous a oste la royone d'Espaingne, 2. Ke prie Dieux que Fame de li preingne, Nostre maestresse ou eonfort et mesure, Et qu'elle n'est sa penitence dure, 3. Que ehascunt ovre leur volunte pure 3. Mais paradls qui de jour en jour dure. De bien brief ment vuldier de ce contour, Bt puis pensons d'aler sans nul sojor, Puisque perdu avons Alionor. Puisque perdu avons Alionor. 1. See Commentary. Selenehea Jacob 79*

48. Je me merveil J J r? * JJ l iii>r ri r A. 1. Je me mer - veil 8. £t font n'es - crit UL±.V i r "p p B.I. J'ay plu- •ears fois pour 2. Un vt- re- lay de s

f f?1^*f.ff£fiTf cu-ne fois com raent Hom- fin e co - men - ce - ment Et P^^ #^ :' Orryr if mon es- ba- te- ment, Ou tempi pe- tit sen- ti- ment Ou un r 10 15 Ir r Ir ^ nr r ir 3^PI J'77 'TiJLJ m me se vuelt mel- ler de eon- quan qu'il fait rai- son est an r p if f if r pas - se, heU play- sir de fai- ron - del qul a moy puist play • f

Jir Iff t |3 f- PIT I- if 1" if r iPn^nr-.f7rrT

25 SO m if m re re. .^^ -^ ^ r PIPr r P ' PT1 re 1 re.

r r if 85a 86b 80*

T74 U- 3. Do - re - na - vant roll ma for - ge

m -T-T- 3. Mais man - te - nant me vueil tout quoy tay. 'i," r ir J. ifd? Pir 40 45

^m i=i def- fai-* re, En- glu- me ne mer- tell ne m'ont r ir iifff|ff?frirrr re Et moy le- sief, es - ter et » ^ f f i f • 50 55

r ir f ifi r Puis que chas • cuns se mel- le de H r if Puis que char- cuns se mel-le r i'J J ip r r irT if J r 'r 60 65

II III 1. C'est soine par peu devisament 1. Quant on leur dist leur viee evidement Car eel labour ne leur est necessaire, Qui cognoscent se ne leur puet 11 plaire, 2. Jo ne dis pas pour celuy qui aprent 2. II respondent molt ourguelleusement Bt qu'il connolt s'il seit bien ou mal faire, Disant que de doctrine n'ont que faire. 3. Celui doit on tenir a debonaire. 3. n doinent aus torn a els fol examplaire, Mais je ne vueil plus faire ee mestier Pour ce faral soppes en un panier, Puis que chascuns se melle de forgier. Puis que chascuns se melle de forgier. Jacob de Senlecheg B II III 1 Forgier doit chili qui son entendement 1. II en i a qui vont celeement A si agut c'on ni sceit que refayre, Monstrer lour fais autruy pour parfayre, 2. Mais chascuns vuelt aler primierement 2. Ce n'est pas fayt aseiireement Disanti Je scay pour loer son afayre Ne de bon sens se leur on doit desplayre. S. Et pour autruy esblament en son repaire. 3. Mais fol cuidier ne sceit ou 11 repayre Si ne me vuel plus enpachier Pour ce m'estuet liouter en un pol poiller Puts que ehascuns se melle de forgier. Puis que chascuns se melle de forgier. 81*

49. En attendant esperance

voir per-fec- ci- on, prou - met guer • re- u. =£ r ir r r E£E r

temps et say-son 82*

y in ip r \n gg£ r ir h *= r r IJ IJ, met en li sa fl- an- ce, De

Ci.D r Tr • r if ^ 45

J J|J Jllj J, £P -J J '• toulz ces mes cst ser-vis ^-^ a fay- ton Cllz qui " ne sceitvi-vre • UP «U r3 i J JJji J J

^^ f f if so

00 mm J U r ir pr sans es-pe- ran- jlj. Ij. rr ^ 60 65

(see mess. 23) <» J Uj JJjJ. ce. iJ j J iJ'JJ

^ if f if ' if r 10- 75

II Ill 1. Esperance tient overte le porte, 1 Pour ce conoy et voy qu'elle m'ennorte Dont chascun puet avoir gnarison. A li tenir et j'ay cause et rayson 2. Esperance est de si noble sorte 2. Quar j a schay bien que cVlle er.toit morte Que cilz ne doit pendre confusion Pou y veroit la mien entencion. 3. Qui Va. 0 soy. Et sanz li ne puet on 3. Dont je vos pris en ma conclusion Avoir luing temps de playsir habundance, Que belle acueil pries pour m'alagance; Dont pendre assls puet eonsolacion En attendant suy [sanz] presoncion Cilz qui ne sceit vtvre sans esperance. Cilz qui ne sceit vlvre sans esperance. J*cob de Senlechos 83*

B. TWO VIRBLAIS 50. En ce gracieux tamps (I) J J ij. iji 4 ij 4 m 1.6. En ce gra- ci- euxtamps jo- 11 En un des- tour la j'ay 4. A- dont tan-tost ye mfen par- ti Et m'en a- lay sans nul "u r ir r lJ p lJ >[^^ P f

|J

!J j> IJ j IJ J JJ J> IJ 7JJ IJ J* iJ J

o- y, Si dou- che-ment Et plus tres jo- li- [e-ment] Con- ques ne ri, Le ro- de-tri 0-yer- te-ment Vers le ro- si- gnolz bel et jant Que ye veo - y, Et l\is- J E E IT crip 'r ^ F ^ 15 20

v i ^ y\p J IJ^J lJ * 4

_*••*! 10 j-Yir r ipr PIPp r j\* J^JLL si- gno- let li- e- mant Can- ter o-d o-ei o-ci o-ci o- ci o-ci o ei. cou- toy ga- lar- de- ment Dis- sant o-ei o-ci o-ci o-ci o- ci o-ci o- ei. r if r 85 SO

JU iiMj i J IJ '•I 2. Mais d'au. tre part il y a-voit Un oy- sel que ton- dis eri- oit A hau-te vois Co-eu point tar-re ne se vo-loit Mais tou- dis plus fort can-tolt De- dens[le] bois Co-cu •r Jlirrr 85 40

fir /TV (I) ^ 11 en co-cu [eo]-eo-cu eo-eu Jl co-cu co-co-eu co-cu Sal- liant de bni-son e« -bui- son. eo-eu co-eo-eu co-cu Et non dis - soit au- tre can - son.

45 48» 60a 48b 50b 84*

51. Tel me voit \ \ iiii pir r 1.5.Tel me roit et me re - gar-de Qui ne me le-roit chan- 4. Et pour ce tropfortme tar- de Quant tel gent sur- mon-

PIr r t p i

ter Bien le puet on es- pro- ver Par a- ter Voi pour au- trui a- bes- ser, Car quant if, -i i V ^m to 15

C G C

TT

mourn se Diexme gar- de 2. Qui ne sa- vent bien i pren-dras gar-de 3. Bt si vueu- lent r pi rr irrr

80 26

J I I G C J, UJJj.J ou tro - ver En au- de- pri - sier Deu en r* JHJ r J. =£=£ r i* r ir r so 85

40a 40b 85*

VI TEN SELECTED BALLADES 52. Martucius qui fut l7ri hi 11 n*1 ^ I-^P 1. Mar. tu- ci- us fn deRo-me S. (mitring) '' r pr 'V J. i J. r irV'iJ. ifl 10

' *' neis Ke Fa- bri-ei- us %ui tant fu-rent loi - al ^i^ MS:C B

|J IS 20 28*

MTTTH

3 Ne fu . rent on-ques mu - e a bien fay - ca-mi pre-san-ter mal f r f T trrrr if r i r U. J, ij. J PiT Pr nr'irrrpi 2*b 26 SO SG

re Tou-dis enloi-al- te, tel com vousse- ray, da-me, n'en outer fa- lir,

f f u- >• m pnf if ir 1 if I f 40 45

Sans moy mu- er ne ja- mais de - par - tin

JjJ- if if'Tr if r ^

j.l ir J. u. J-ir fir if f if • - i J- 50 55 80 86*

53. Amour me fait J. IJ. ijlj. J :IJ i 1. A- 2. Kn * J- Pif f P if pp p iCr»p

mm f i77PPr J-

11 j J j. >• IJ. J P mour me fait de- li- rer loy- au- ment Si au - te tie - re - meat dfe - moa • renx sen - ti - ment Ke - de bon- p pr if r PilTl if r ir ^ 10 15

J. J» J rJ7Tfrj^J, ho- nour que s'a - voir la po roy • heu - re en ee raon-de *e roy • f P ir Pirrrr pr if 1 p " IT* J> i^J^r if ppp i ao 28»

£#/: no l J. J. JJj. .e. 1 r r ip pn r p

7 -7 i r pp7 17 7^( asb 25 P p

T ir r p if p r p ^ i J jiu m 3.C'est que mer - chi puis - ce a- voir pour a- mer nora d'a-mi sans Vl." rl. T

*o 87«

Jttl:r.-J J Jl J nul dan.gier por- ter Au gre d?a - mours et de ma da - 1 lif iJ ' i ii r I, | r r I*. Ii I |f ft 85 40

Btt: J J w me aln- si Car a-vis m'est pour a-mant so - pour - ter r Pir Pr P^

p r 45

h 1 j J j 1 j. j j j j. No- ble cho - se est de por - ter nom P P r p if p

£ so

II Ill !• [s<3 grace et amour douceraent 1. Four ce raon cuer, mon corps entierement De ly merci et nom d'arai avoie, A ma dame craindre et servir s'employe 2. Tant temps vivroie en joie liement, %. De bonne amour tres amoureusement; Ne jamais jour nul mal ne sentiroie. Car tant est belle, plasant, douche et coye, 3. Ainsi amours et ma dame sans per S. Piteuse, sage et humble sans amer Seulement en amoreux penser Que j'ay eipolr que nom d'ami donner Servlroie comant loiaul amy Me veuille en foy eonbien que deservi Et pour ee point pouroie estrlver. Ne l'&y mie avoir sans adorer. Noble chose est de porter nom d'amy. Noble chose est de porter nom d'amy. 88*

54. Ne celle amour r P r h J i J I 1. Ne celle a • mour es - tre ne puet me - nour, 2. Car vos- tre tuy du tout sans des - hon - nour, Tr. r r p r J, J^ J MS-.D Ne celle a - mour ne puet es • tre me - r if

£ j i ;[J j J5 Ma douce a mour, pour pa - ro - le que nuls di- Tres dou- ce flour, m'a - mour, ma da-nie jo- 11

m p r T JMJ. I- J. nour r ir r p r r f

if r* r rl Dont c'est fo - 11- d'i pen - ser tour. Sans de - par - ti- fal-

^mJ J <> J. r PF^'X iir r r if r r il 10 Ua

J- Ir J'J >J J Car vo dou- ee plai- sant ma- ni-

I J

lib 89*

j PiJ> if ft r r1 e - re, Vo bol- n« ehle- re 3m T if r kr

1 1 J I J, me don - nent plai- fan- ce pie. nie • re r i i J j rr.J. if J.I r r p r a, r 25

j, J > J mm J J i J. Dont par des - pit met - tent my tra- tOOR t t ftp J"' 1!r I J, i i J' J J r r i"r r so

I «v ir p Mon pris en nient, en vieul- te ma va- lour. I r P r Jl r p ' Mon pris en nient, en vienl- te ma va. lonr. ^^«

II 1. Rien ne leur vaut leur parler, leur labour; Nulle freour n'ayes pour leur genglerie, Car pour envie, douce en atour. 2. Ne YOUS layrai. Ce teralt grant folour St grant tristour dentrer en meraneolie; Si TOUS supplie qu'en grant baa dour 3. Vous tenes, douce dame chiere. Cest ma priere que je vous fays vaiere Et enne vous en soit, se dient li pluseur Mon pris en nient, en vieulte ma valour. 90*

55. De Narcissus Magi8ter Franciscus Set: \ Mel: no It m l.De Nar. cU 2. Si que de - puis 1 r r p i r r IE ifj *r pi r 'r *' ' o

i r r /.- no t

i-.y ^ JJ IJ'J J j IJ MJ J \i J J'J I ho- me tres our-guil- leus, Fu ou mi- row pe- ril- leus De

c r r IT f If II f I 10 15

J" J J * Ji i p i E. quo re - fu - se l'a mor fi - la fon - tai - ne, on mour fu en- cli- f ff IT [) ir-T r

20 91*

j-jJTj.'j ' /3I iC.f P p ir r 3. Ml- ra son vis par tel plai- sir Que tou- te s*a-mour y rm inn r p MS: 7

if Pr pir 85 r r r 40

P if •n u j j j x j mist et son de- sir En son om- bre, sans en a- voir eon- fort, \ P MS:D ir r IT r i 45 50 55

XH: i J.

l'en eou- vlnt

I 1 * T7 =jg II—I T ^ |fpi |» o 1 r r

75

Four tant le di que un fet merveilleux He! fauls miror traYte et domageus, Est avenu de nouvel par hoyne, Qui point te crolt, couvlent que mal define] Car un plus fol et un plus desdeigneus Four ee est trop folx, mauvois et outrageus Que Narcysus guerpi l'amour tant digne Qui haute amour lasse et a toy s'eneline Qui 11 poroit bien deservir, Com les fasses trestous perlr, Et s'araa mieulx au faulx miror servir Car nul ne pnet que mort vers toy merir Et li araer, s*en recent tel deport Aussy qu'&s fait celny qu'as trayt a port, Dont l'en couvint puis en vers gesir mort. Dont l'en couvint pnis envers geslr mort 92*

56. En atendant soufrir Jo. Galiot

J J J m 1: En a- ten- dant souf- 2. Puts- qu'a - ve - nir ne m r f r ir r r ir r Ci:

i r 7 T

IP r r f r |p f r r r H Ir r j* Ir r [J J JJJ J IJjj i U JJ»i ••»• J j J I frir m'es- tnet grief puis la fon- mtrar r f ^ Jfo

CJ:| y cr,j i r r pr 'JJ r i* * Pr1 if PT r r if i

JTorf: Mod: I) J J i J"4 J4 4. pay. ne, Et en Ian- gour tay- ne, Tant est de ruis- rrfif r r r C*:B Ci.B J jj

15 SO

'••f ;J> ir r ir r- |J if N J. U. JJ J Yi- vre c?e*t ma de» - ti - ne • sius en tour a- vi - roa - ff . r^ tM f r i i p r m ir 98*

81a 81b

IJ !p r p r ij J

ver- tu li a Diex ne - e Qu'elle puet

iT r " r T %i. r 85

J. as-iou.vir chas- cun a- tout- fi-san- ce di- gni- jfl J> r r CA.-B f f i.rfr nir or1

40

|E 4 fF^P et tres no • We puis • san - ce. iL-fLU r \T r r r if r r 11"

f r If f Ir 50 55

II Ill 1. Les grans ruissiauz qui la font leur demaine 1. Si pri a Dieu que a droit la ramaine Si ont les eonduis de la font estonpee Kt la purefie sanz estre entamee, t. Si c'on n't puet trouver la droite raine 2. Quar verement c^est chose bien eertaine Tant est courompue l'iaue et troublee. Je n'en puis aproehier non ne matinee 3. Gouster n'en puis une seule halenee, 3. Et s'a moy estoyt qu'ainsi fust ordenee Si unble pitie n'a de moy ramembrance Je vivroye en espoir d'avoyr bone estanee Par sa dignite et tres noble puissance. Par sa dignite et tres noble puissance. 94*

57. Courtois et sages Magister EgidiuB P r pir r pir i- pir p r p. Ir . 7-Ti'i, J u. n l.Conrm- 2. Et

5=2: 7 .7 if r PIT r

Mi p r p p LLJ ir p r p i J, 7 7 I J J_j 7 J J- N ii. ' tois et sa- ges et a toui non par for- ce, mais par eo- J i [j J pr r r 10 ^m m r pir » doit plai- sir Le droit mnn sen - tir Mis est ^^ =e^=^

p P ' 15 20

rr P r *• p 17 PiLLrpr if J j si- gnour que par en sie- ge de be- r ir pr PI

•7—7- 25

11. :J : J p r ip r i ir p /T\ ! ir p /7\ 1 ^ j 'jl'j'i ji Jl ^^ e^—' lee ti- on ne* die- ti- on. V* (' r ir . 7-7-h J rf T r^^ ^^ /T\ ^> £ 3^ ^ 3^ r ' r ^^* so S2» 82b 95*

S.BsT re- do- ne a tons u- ni- on Kulz hiTfttrrir r^ P r i r p i F if r i'l i—r ^*=* *»/;? 7 p J»«/.-T^ T p^ m ir r rr ^^ 35 ^^=r 40

"•• J J. IJ j con- tra- dire ne le puet per

m 45

t 1L_£_T r p iL_Lf r j^ j j ij j JJ j j droy- tu- re:

i pf l' ** PP [f J. • t Pif j. r ir r \>l 60 65 11 p

LU'ipr pr IJ lr PI

' See Commentary 96*

58. Une dame requis Fr. Jakannes Janua

so 97*

J JJ,J J J J ment, Dis- tant: "Da- me, raon euer a vous I'O- 3 J J TJ

J u J u 40

3 C Iff IT3 1 J'71 j tri - e." Mais en rl- ant me dist eor-toy-

: == MfJlT^ 3=¥ f ? 45 60

I 7 se - mant: "Ain - si J. I J- J' \-HH m ^m ^ 55 o wm o dist on, mais on* ne

T T t J U

S 3 3

mi- e."

3 j l J> j .^^ =r==^ 65 70 9S*

Plulipoetus de Gasorta 59. En remirant1" r p r piH ' i J JJ j JJ,J 1. Kn re- mi-rant 2. M'a point a-mours o o »J. i r Mi m gs==£

r p r u ir JJJJ U ^-^, vo dou- ce pour- trai- tu - ne d'u- te- "le poin - tu - m y J- ; f f if »J- -0^~

-T-7- $ doulz y-ma- que mon cuer

^ r r if r rjEag ' r f 19a 19b

r r ir r r m

1. See Commentary for errors of the MS. 99*

r i

7 , :J J J Jj J J ;f. !p r r r=fz I Pour vos - tre a - niour, da- me, J J U j J u ^m m mm

P«r 7 iy r r y r p r j.

£=3= r r P

Ch.Btl: 7 7 0 F(K) S hJT] IJ, J p sant.

•7 T- r 45

II ni 1. He, bel acueillir, ou je prens noureture, 1. A vous me plains, car sui en aventure Vo cuer vueilliez de m'amor alumer, De toust mourir pour loyalment amer, 2. Car se mon cuer devoit en grant ardure 2. Se Dieus c vous ne me prenez en cure, Ardre, brunir a tous jorns sans finer, En face amour le dur en doula muer. 3. Si ne lairay que ne vous doie araer, 3. Telz mauls ne puis longuement endurer. Mes vo cuer meyme va trop detriant: De triste cuer dire puis en plourant: Pour vostre amour, dame, vois languissant. Pour vostre amour, dame, vois languissant. 100*

60. De ma dolour Philipoctus de Caserta r p jr p r p !*• if p r p r

1. De ma do- 2. Lan- m

#^P

lour ne puis trou- ver con- fort, tuet, car mis me sui eel port

7 7

1 ^^ 10 r ir '

Car en touscas m'est for.tu- ne cun- tray Qu'a mon YO-loir ne m'en puis [pas] re- tray

^^

ILJLJ± 15 20

24a 24b 101* J S r n P r pr lp r j/"y

J- i. 'i- ''J J J J i per* du ay la joi- ou-se pas-tu- re, Quant, r r r ' r 40

j J J>iJ> J J J J J>i CM:no I ~ 2 \> 2 22 JJ1J, j j' quant ne la voy, la par- fai-

Ci.R C D F O K r r itt ^ 50

«•* Jh.

te fi • gu - Mod:* re. 1 JMI" r |f r PI Cki^k r P r 1J31 r1 iJ. 55 80

II Ill 1. He,dou* regnart,tu m'as mil alamort, 1. Or n'est il nulz, [he]las, qui me confort, Car contre moy sont tuit mi adversaire: Ke puist aussy fors le doulz exemplaire 2. Deduit, loulas, playsance et deport, 2. De celle en qui sont tres tuit mi deport, ~ Helas, ne scay certes que doye fayre. Car il n'est riens, certes, qui me puist plaire. 8. II ra'est avis come doye del ray re, S. Or roe eonvient tons jonrs crier et brayre, Car perdu ay ma douce nourreture, Dont que pres suy mis a desconflture, Quant ne la voy, la parfaite figure. Quant ne la voy, la parf&jte figure. 102*

61. Ung lion say [ J -h J | IJ- J 3 U.

1. Ung 11- on say de tote bel- le n- gu- 2. En cor est 11 de si dou- ce na-tu - BO i*r PTELTr u r

srfTrr T r ir r r 'r 10 fe re Qul est as- re Qu'ilne fet mal _H_ ii iLr ^ * f if > P i r 15

12. J^1 J' J) JJ1J > l'JJJ J'ijj Ij J J QU jar-din de li- es- & nul quant 11 le bles - se. ft ^ rr _ i T/ p p > p J 7 J J> I J rte. (See measure 49) r ir r 30 36k 3tb

3. Cou- rio- nes de pren et de nou- (i) rtN 0, # ^m

5S^ ^m PT m • I" IF f r 30 «5

bles- se, Mes nul ne puet en cest jar-din en - trer,

r 'r TT p 1 i £ r P 1 r 1. See Commentary 103*

j. J J

(i) /TV 3£

r f hr pj EO 58

VII. TWELVE SELECTED VIRELAIS 62. Mais qu'il vous legne J ' I I J I J U j ' |J J hj j Ij j Ij j j J 15. Mais <$tfl vous legne est plai- san- ce, Da- me, en- pe- ru de pi- 4. (mittlng) r r l r i r i m

J -Tj J^3 IJ * t |J3 J j U j, 'jji7jl ji te, Don- nez moi par ca- ri- te De mes do- lors a- le- van- ce. ?' r rJ ir rrtnr if r r ' 10

i j .) i.r ij > t u j UJ J J 2. Car de tous biens a- raou- reux Sui si pau- rez, de - si - 3. (ml,,i,g)

20

I 2. J J |J J ^ r r ^ WT- teux Que de roort sui en doub- tan- ce. i r r r ir r 25 28a 28b 104*

63. Kere dame

>• Ke re da - me chi irfo try . J, rj if,, .r i r

^

/T\ J. Ij. J. mr f if r ,f fff 10 16

J r. J'J \

U- J. ^ f if If if r- ir ; 24b

64. Contre le temps J>J 1.5. Con-tre le temps et la sa- son jo- 11- e Vo- ray me - ner tres 4. Et je le puis fai-xe sans vl - le- ni- e, Par ju - ge - Client d'a-

r r if He ma- ri, ma- ri, Yous sol- ies on- ni, Quant pour 105*

ij hjiJ juJ >J Jiij. *»JHJ ;^ bone et pla- sant vi. Tout pour l'a- mour de mon tres dob a- mi, mant et a - mi Que nnl raes- fait n'y a d'a-raer en- si, =Pl=p£ m r r if r a- mou- ret- tes Me ba- tes en - si. He ma- ma- 10 15

J j. Que j'ay- me tant con le cuer de mi, Sans mal pen ser ne vi- lai- Pnis qu'il n'ia point de vi- lain par-ti. S11 y es- toit, j'en se- roy-

ji j'i m r \r i ir Vous soi - ies on - ni, Quant pour a- mou ret- tes Me ba- 20

J» 2. Et me voi- ray main- te- nir fres- que- ment Et vivre au • 3.Por ma pla - sanche et mon es - ba - te - ment Et de ma

# i r r r r if r tes en- si. He ma- ri, ma- rl, Vous soi- ies on*

no J si tres a- mou-reu- se - ment Et li fe- ray de fait part je ne vuel a- li- ment Et que mal pen- se l'ait. fr

si. 106*

65. Tres douche r r m m kj JIJ. J. A1.5. Tres dou che, pla - gie- re, Je ne puis trou • 4. S'en doy fai - re, chie- re, Et pla- san - che 11" JQ^ J- IJ B.I. 5. Re - con • for - te toy, Ro • bin, De ta do- lour, Las- 4. Et qui scet hu- er mas - tin de mi- lonr tour, Et • r \r rTr1

P r i Jiipr r Pir r I J. ver ma - nie- re con- mettre a - rier - re pos J JJ J~3 I J- J £p=£ JU sies a • ler nuit por jour Soir pour raat- so- ner par grant do- chour Un ta- bu- m m 10 IB

f If I r r r- f J IT1 p =Et for- ter. Car je ne puis re- trou- ver BTa- mi- mu - er. Hel- las el. le scait fi- ler U- ne pan. j. tin! Ai- es ten cuer net et fin Et sans tris - tourl Ne rin, Et scet bien fai - re pa - pin De blan- che flour, Pour =fe=£ r» A ir r 20 25

f if

e chie- re, La fil. le que mort pran-ge- re, Ou j'ity mis m'a- mour ne - tte- re, Dan - ser de - vant 'et der - ie - re; Co- gnols- tre bre- bis

met en ton corps hus - tin Por Col- let- te de bau don - ner a son cou - sin. Si te pris par boine a - tr r \f 30 107*

r ij t ir I

tie - en- re Et tout mon pen- ser. Se me eon- vient tie por- re Quant e-le le voit tro- ter. 3. Chas - eun jour a r f i r If r

dour! 2. Car je te ju- re, rapur: ma 3. Je te mons- tre- ray, ce 3E 40

la-men- ter, 11 par. ler, H j I r 1111 J7?I»J J. IJ- j }\\ J.MJ|rIJTi, Ij. J, IJ J foy, Quant tu vo - ra en re - quoy Ve- nlr a nos-tre vil. let- croy, En unpre pres d*un as-noy Plus bel- le que n'est Col • let- Jit-

•Mr

ne puis ml pray- e-

64k 64b

AH BH 2. Pour ce je vueil esprouver 2. Et sl ne preug tant d'anoy Se conseil trouver Au cuer Robin que je voy De si fort amer Que tu fais por la flllette. Poray en vous, douche amie. 9. Car miex te vaut l'esbanoy- 3. Car je ne puis plus durer Por ce que je m'apertoy Ne sayjour trouver; Que pour celle camussette. Ma vie finer 4. La mort te puet mettre au fin Voray je, ne doubte mie. Et sans demour. 4. Voelies ore ma prijere, Hiex valt avoir ton retour Et de volonte legiere Par saint Martin, Sacies aviser Et mengier de bon brasin Coment je poraye aurer Par grant savour Que mort ne me flere Aveuc la fille Perrin Qui est si crueulle et fiere, Que vivre en tel langour. Car sachies tantost la biere Poroie afuller. 108* 66. Sus un fontayne Johannes Ciconia A C o pp Mj. Ij 1.6. Sus un fon- % choi- se P ^^ e ^m rT 'r r i r if; if

t ipr ipr r j J J J i j au J j i j j tay • ne en re.mi- nul- le say en re- ci-

1.0 16

*' IJJJJ! JJ JU JIJJJIJ JJ J)J. J|J rant Oy chan. ter si dou- vant Pavour, tre- moor et an- p.r rrigf i r Pi r if 20 26

M JJ >l J. et pen - se • ment Re- ma- cer- tay- ne. ment, Tant sui (I) ^m ,., r r i r \r f if r 40 109*

(ft G

[to\ SfrHN JILT^J J>lJ J J3UJJ- J lj J $ ^ a- ten- dant 2.D'a- de - si - rant. 3. Seul

^^ m fnT f if r~JT MpirrcTfi ^^ 60 65

(t) G H* r pir pr pi*' ir 31 J- J ^^ chi de .Gco oir ce r i f -r r -r-r- - r ir P iir r f ir r r r- r 'r1 70 7S

pr p^ J JHJ J J J.J O do- lour Qui me tre- ble flour tant can- p>^r ?r r ifc icrr G^ r if r '>• r r if 80 86

far J J)l J- ' pount au cuer for- ment toit su- a- ve- ment r i r r ir m o r r ir r r i [ r r 90 84* 85b no*

67. He, tres doulz roussignol Borlet ,Tr. w L t jir r i p r PJ T f i J J u ' ir r i

i J J J i J J J i 11 > j i J J i J 1.5. He, tres doulz rous-si- gnol jo - iy Qui dit oc- cy oc-cy oc. cy, 4. He, da- me, puls quil est ain- sy Qu'en vo mer- ci mer-ci mer- ci

»L»t I 111 = ^^ r

T.

Rons- st- gnou- let da bois,

i b t J J . 1 ' . I r r ' r r r r 'r r rr lJ)j |J r iffr r T r Je te de- pri- e Que sans de. try Vois- s6s Ay mis ma vi- e, Je vous su- pli De mon

r if > > 3= J. 4 j m dou- nes An vi- lain le mal et puts 10 15

1-1 J U JiJ "if f 1,1 da- me li- Kt dy de cner que men di- Que Tons te- IJ r if r if r r ff r ir r r iff; m m 20 mort. ous- si-gnou- let du 1 r r rJ ' m ^m j j 1 »r 1 r r ' H ' r P JI par moy et af- fy. Que 0- cy o- cy o- cy o- cy o- nes en vo bail- 11- Que mer- ci raer-ci mer- ci [mer-ci mer- r 1 1 f f r i. r r i r r ir f .f f

»,„.

bois, dou- nes Au vi- lain 30 36 Ill*

im (IL N ' m g==E cy o-cy o- cy Mfe, se son dur cuer n'a- mou- li- e. ci mer-ci] mer-cy Ay- earner- cy ma vos - tre a- y- r MS: f r r if rr,rr |fr ,fff i f r =fe=Ffe m \r \r \r a le mal et puis la mort. 40 46

J i i [ ii i ir r if fir 'r ^ . j j J i J J i j 1 ' r f'r r 2. A- lou- e- te que vas vou lant Si tres haut et si der 3..A ma da- me se- ras er- rant Or li va tan- tost r r msm

Rous - si-gnou- let du bois, don- so r r r ir a>j Ju ix r i ' • ••' ^^ ^ chan- tant Dou- ce chan- con Li- re li- re li- re li- re li- re li- re di- sant Far ma chan- con H n J»

r rf r if i r |f r |f =»=«= ^

nes Au vi- lain le mal et 'puis eo 85

12. ; t i ~i| f II r 'r •' ' 4: ' Ir f if r ^ m r m i J r J IJ J U 1L- re li- ron Tout vo- le- tant li- re 11- ron Que mon cuer va sen- tant. It K r r if r i f m la mort. mort. 67ft 70b 70b 112*

68. Ma tredol rosignol [Borlet]

7 7 JJ ^^ J J> j 1.4.Ma tre- dol m- si- gnol jo- ly Que dyt: o- ci, o- ci, o- ci, 7 7 J3—J

1.4. A. lu- et- te cry - ante ap - pres li ry - si - gnols 0 - ci, o - ci, o - P m Ro- sri - gno • lin del bos jo- lin,

i j. ? ti j Gie vous en pre- ie Soles a- dou-ci, Ve - nes a moy,

J> I J' J. J) j I J. ci, Che vos en pre- ye Por far un bon a- cor Ein - tre r Do nes al vi- lan le mal may - tin 6

% =*= =& da- ma Jo- ly- e. Le di- par mon fe i u. y moy e ma da - me jo - lie. B si lui prie Da par le ro- si- i" r E poy le mort. Ro- si- gno- lin del bos Jo- 10 15

I * * J* J r> J

Si le o- ci 0- ci 0- ci 0- ci 0- ci 0- ci o-

Ifc L.. ^ 1 1

gnol Ch'e- la da moy mer- ce mer. ce Per Dy, mer-ce, mer-ce, mer-ce, mer-

lin, Do- nes al vi- Ian le aa*

I i J> J J) 1 j.. T 7 J J i J, ci- e Da mon cuer pu- ret y- re da. m'a- role. (» -I' > J i J w ce, Gil fa- ra par ma fe, Ma da- me my-

mal may - tin poy le mort. 20

S. A - lu - e - te che va vo lant Sy trops al- te, sy cle. re can- 3. A ma da-me gy mi - e rant. A ley va da par raoy di- Ji }>

?.Ma tre-dol ro- si- gnio- ly jo-ly, A- lu- e- te che va vo- lant E di - cantt 3.

P=3 r r Ro- gno- lin del bos jo- lin, Do - nes

J J> I J > J J I J J J ^ $ ^ tar.t Dol- se cian- con: Ll- 11- ry, 11- li- ry, U- cant Dol- sa cian- con Li- U- ry, li- li- ry, li I J' ^ j I J J. Tan- tl- ny, tan- ti- ny, tan- ti- ny, tan _li. ry, li- ry, 11- ry, li- ry, li-

al vi- lan le mal may - tin 30

li- ry, li- ry, Tu va vo- lant, li- ry, li- ry, Che ver man cuer va sal- tant. <»

Ye- nis a moy a par- Her.

poy le mort.E poy le mort. 34* 114*

69. Par maintes foys VaUlant l J._JT] |JTJ "-pi, '" »•' MJ. J m r p ir p Cj p 1.4. Par main- tes foys i-voy re- coil-lie Du m \r r r

1 J, ir pr J'iJ >J JIJ. r j ro - si - gnol la dou - ce me - lo - die Mais (ft 4 ijj U. J. HJ. J, IJ .) J ? Ij. J, IJ, j. r ir r if r- if 10

j j> i • p ne Vi vent le cu- cu a- cor- der, Ains veult chan- ter con-tre ly par en- O O (O ^«W i. lj*3 J J- if f 11= _. ft f r IS

J J J I J. >' IJ p [_j p J J I J' J1 J' J1 J. te sa vi- Car il veult bien a son chant des- cour- der

-J- IJ, J. I J. II

so 115*

i i i MS:BI M lull $ r p f J p p m Etpour- tant dit le reu- si-gnol et cri- e: "Je vos co~ mant quon le 7. 7; J. J. r1 i 3B i IJ. r p r ir p P tu- e et o- ci- Tu- e tu- e tu- e tu- e o- ci o-ci 0- 2 2 2 J. J JH J J J J J J J I J J J J J k r r~

i i i 1 1 i ii ci. o-ci o-ci o-ci o- ci Fi de 11 fi de li fi de li fi 0- ci o- ci o-ci o- J j J. J. IJ. J, 1 J- ir r r r

(ft e> I h • li i I ci. o-ci o-ci o- ci o-ci o-ci fi, fi, Fi du cu- cu qu d'a- mors veult par- ler." (ft 2 (t) ^ J f U j £ 7 JJ7 ) J. U r P 50

vous sup-pli, ma tres douce a- lou- et Que sem-bles vous; pre-nes la car- di- net Fai- J J JJ 1 J m J. 1 J- J. i' r r ir f f iff r r if r E5 U6*

M lJ J. vous voul- les r r "Li-re li-re li-re li-re li- re- Ion Que di- re vos.tre chan-son: tes chan - ter Tu- 6s,ba-t6s se cu-cu pi- le bis son II la calle et le san-son i J. i i U * * J, J m f if f if r 80 65

Jl J P P P dit Dieu Dieu, Que te dit Dieu, [Que dit Dieu Dieu,] Que te dit Dieu Dieu, est pris pris, IL est pris pris Or soit mis mort: Salt mis & mort mort, 2 2 2

i r

Jl J P P p p T... T Que te dit Dieu Dieu, Que te dit Dieu Dieu," II est tamps il est [tamps] Que le rous- Soit dirt il mort mort, Soit mis a mort mort. Or a- loms sen- re- ment An jo- li 1 j j J 11 J J J i m 70

si- no- let di- e sa chan-sou-net- te: "O-ct o- ci o-ci o- ci o-ci o-ci o-ci o- ver vos quer-[es] cul-lir la mo. set- te A-mi a- mi a-mi a- mi a-mi a-mi a-mi a- =*= J, TJ. JJ. j, ^ -J^iJJJJJ 'J ir m 76

8 "r '• t • * -, K J > J j ci O-ci se - ront qui vos vont guer- roy- ant." mi Tou:dis se - ray le dieux d'a- mours pri- ant. (I) J. J. J. 1 J- J J. I J.

80 8U Bib 117*

70. Or sus vous dormez trop I ir pr 15. Or sus, vous dor- mez trop, Ma da- 4. Car je vif en ex- poir D'a-vo- i m m Met: Q T

'• IJ.

m J11J j J J m^ me jo- lie- te, II est jour, le- Ves lir, jo- liet- te, Per fair chian-ter mer- le, mau- J- 'j, I Ij. J- " J

11

J J )J t L . . . | E± sus, Es- cou-tes l'a- lo- ec- te: vis A- vee la car-do- net- te:

n 1S '4, 4. j. J I 20 BDDDDD BBBDD D J 3 3 J 3 7 I p P p i p p^ F P P i p P P P p P i P P p P P P Que dlt Dieu, que dit Dieu, que dit Dieu, Que te dit Dieu, que te dit Dieu, que te dit Dieu, que te dit Chi- re- ley, chi- re- ley faint chi- ant, fay chil ci- ant, [fay chil ci- ant, fay chll ci- ant, fay chil ci- m 4= m

26

P v p P Dieu, Yl est Jour, yl est jour, yl est jour, jour est, si est, ant.] Ro- bin dort, [Ro- bin dort, Ro- bin dortj en- dor- ml est. ' ' J i US: A

Bel: I J so 118*

j»./.-r p 3 ir p P p p P P ip P P Yl est jour, yl est jour* jour est, si est, Yl est jour, yl est jour, yl est jour, jour est, Con- sors, dan- sons seu- re- ment; quo- quin, a su, [a su,] or su de Pa- ris, ca- du- let J >/: J.onO. i JttU J J. D hi J'J J -h IJ P'P si est. Da- me sur tou- teffs r en biau- te dul- cet. De vous.que j'am sur cre-a- ture en r IJ. J J»U- *± J. '^ !J>. '

40 4•. 35 J|| |J' r Mr p sou- ve- rai- ne, Par vous, jo- Us et gay, Ou gen- til moys de may, fait, Chest vi- re- lay, da- me, le re- ce- ves, Car en cuer vray (fi J. ij. j, u, n- Brt: J^_ J. 4. J.

a» m i i'irj J Suy et se - ray. Et vuel mec- tre pai- ne. Yous ser vi- ray D'a- mour cer • tay- ne. ) tii ^m U A JU >/:C i > J m w 60

l: 1 L J ipr r iJ . Or tost nac- quai- res, cor-ne-mu- ses so- 3. Si vous su• pli - e, a-mours, jou- er ve - \ J J'J J»J.

-t-T- !'• I IJ J. IJ. J 60 J'i J. 119*

i* p p p Ip p nes: Li- re, li- re, li- re, Ly- li- ron, ly-li-ron, 11- re, Ty-tin-ton, ty-tin-ton, ty-tin-ton, nes: » »» » »» » » m^^ ^

O D '4. J. JH J 65

I P P P p r if p r if pp=££ ty- tin-ton, Cora-pa- nlon, or dan- sons, or la - Ions 11- e- ment. Ty . tin - ton, " " " Or so- non et ba- ton et tor - non gai- e- ment.

J J MS:D RH: C

p P J' J1 I J' J ty- tin- ton, ty- tin- ton, ty- tin- ton, ty- tin- wton, ty- tin- ton, ty- tin- ton, ty- tin- ton, ty- tin- ton, » If J J> J Jt IJ 'Jl i 1 J I i 1 J J J IJ Jl J 76 /: 0 0 D 0 0 D

P P P P IP P P P P P ^ J J J I J J J. ty- tin-ton, ty- tin-ton, ty-tin-ton, ty-tin-ton, ton. Chest pour vous, da- me, (miittng) w j J j J J j ij j,[J 80 i r r JO I J. :» a qui Dieu crois - *e ho - nour. ifi JSL ' , U- J- 1 J J. j, J. iJ. j. U. 85 88a 88b 1. See Commentary 120* 71. Onques ne fut T[jf pip J 1.4. On- ques ne fut si dur per- tie De deus U j; 'T//TU 4.

i.U 77JI177J^77J)U. 4. 1 j. j. Ij.

10

, r ir*~r a-mans dont l'a- inour per- tie Est, se 1 "J. "Ji'l J. j. H

*=r* J J- 1 ' U J. 16 20

gem- mi[r] o[s] tu, si gye Te prie andiu d'a-

MS:D J. J. IJ.

»• ir pr moors re- qne- qua- les: 0- ci, o-ci, o-ci, o-ci, o-ci, o. ci, o.ci, o.ci, o-ci, o-ci, o-ci, w . J, m so 35

MS:K r1 J JM<; o. ci, o- ci, o-ci, o - ci, o-ci, o-ci, o-ci, o- ci. Ces fans Trig - tan me di- 181*

r 2. En. cor se su- plen[t] que .1 dient en des- pit Dieu 3. (mist/Kg)

4. u B6

3=3=j j jsi j p* p li que- vant tres fi, fi, fi, fi, O-ci, o.ci, o-ci, o-ci, fi, fi, fi,

J'J iU j.

3=t

60 86

rjl r fi, fi, fi, O-ci, o-ci, o-cir o-ci, o-ci, o-ci, Cru le m con- vi- vent. Os- te- ron je OT i!*i 4. pjpggg I j, 70

I est raon a- mi,

75 77b 122*

72. Alarme alarme Grimace Tr. m .h J Jl 1.6. A- larme, a- lar- me, sans se- jour et - sans de- mour, Car mon 4. Wa- carme, wa- car- me, quel do- lour et quel Ian. gour Sue-fre, B»k a .7 T, J> 1 J 1.5. A- larme, a- lar- me, sans de - mour, et sans se - 4. Wa- carme, wa- car- me, quel do - lour, et quel Ian • ^m m \T J.

Us cuer si est en plour. A- lar- me, da- me, pour votre a - mour. Wa- car- me, Stl: J ±: J 1 1 JI jour, Car mon las plour. A. lar- me, tost, dou-ce fi- gour Sue-fre, da - mour. Wa- car- me, dou- ce ere- a-

Btu C P r Fir-

J. u tost, doul- ce fi- gu- re, A- lar- me, car na-vres suy de tel dou- ce ere- a- tu- re, Wa-car- me, [ne] me la- cez en tel gr j -^rt fiE

re. A- lar me, ear na - vres suy de tel po- in- tu- re, Wa- car me, [ne] me la- cez en tel a- ven-

a-9- /: C C P r if 10 16 138*

J' J IJ> po- in-ture Que mors »uy sans nul re - tour: Diex en ait Pa- me. a - ven-lure De mou- rir en grief tris- tour Sans con - fort d'a- me.

tu re Que mors say sans nul re - tourt Diex en ait l'a - me. tu. re De mou- rir en grief tri«- tour Sans con-fort d'a- me. SE 1 Set: r t #=^ 30

sup- pli, nee- te et pu- re, suy en a- ven tu - re, 1 I' J' I

sup- pli, nee- te et pu- re, Pour suy en a - ven - tu - re, Se 1 ' P I t> P r Jto/: r V-

•i. Jr qui tant de mal en- du- re, ne me pre - nes en cu- re.

qui tant de mal en- du re, ne me pre • nes en cu re f fig

. . r 30

IT

Que ar-mer vous voeil- Dont sou-vent ploure en re- J J J I J JiJ vous voeil-lUs pour moy. 124* 73. Restoes restoes

P J. J 1.5. Bet- to- es, res- to- 6s Hor- ri- We feu d'ar- 4. Res- to- es, res- to- es, Qftes- to- es] a ce

?>= =E 1.5.Res- to- es le feu le feu le feu [le feu] De mon loy- al ser- (mining)

restoes

I J JJ •> dant de- sir Que mon ouer bru- ist grant mar • tir Pour- tes. qu'aye joy- eu- (i I) m J J» vant pi- tie. Res- to- es, res- to- es. Si qu'il soit res- pi- tie

J J J restoes restoes

J i' I ^=1 pour la bel- le Dont j'a- ro- ye pour mort ges- sir As- se no- vel- le Pour le tor- ment fai- re par- tir Que MS-.B

de mort, Res-to. es, res-to- es le fort, Por ce qu'en moy ser -

• -

10 restoes restoes

ses ra- ne seul- le es - tin- eel- le. nuit et jor se re- no - vel- le. (11 i j. J J. J vant Por dur-te ne do • lor II ne pens-se fo- lour. r i m 16 125*

pi- tie, es- veil- lies vous, Se- co- res moy sans cil feus soit tous ret- tons, Qui ne fait que mul-

7 7

2. A li por ce vos en- voy- e. Ne fai- tes se- jour en voi- Je 3. Bt li di- tes tou- te voi- e Qtfil a- par-tient que je voy- Com-

i J)4 J i a- tar- gier. Et se ma da- me ti- pli- ier. Et bon con- fort veul i' J I I J. vos en pri. Car j'os par son pi- teux crl Qu'ar • dant de- sir ment ser- vi M>a a- mours et de - ser- vi Mes o- nors (W» =£= 26

i '4. J J. J, fayt dan- gier: Ti- res a li. ti- res. ti- res, sup - pli- ier: Ti- res a li, ti- res, ti- res, MSi A ii 11 ,h h ti ii 11 i i, i

le des-voy- e. A- les. si ke Ti- r£s a li, ti- res, [ti- resj *t*t) j'a-voy- e, Mais pris que Ti- res a li, ti- res, [ti- res(J

aE= so P 'LJLJ r tires a[li]

7 1. ^ m J i J) Sa- chi£s, sa. Ti- res le hors, Et m'ap- por. Sa- chies, sa- chies, Ti- res le hors, Moy con• for • I ' \/ tk i i I J. [Sa-chies] 5a- chies, ti- res. A- veue vous mer- chi rae- [Sa-chies] sa- chies, ti- res. Que si est et de- me-

^m

35

far J i 1 J J IJ j, tes De la dou- che yaw- de mer- chi. tes Par m'ar-nie en do- lour meur- chl. li ,1. IJ li I JJ I .J Ml? nes Que li es- tain-dra l'ar- du- re. nes Ce- le fla- ma qui l'ar- du- re. P r~ 40 4U 41b 126*

VIIL EIGHT SELECTED RONDEAUX

74. En tes doulz flans t ip 14.7. En tes doulx flans plains 3.Yir- gene pu- celle, por- 6. Bien doit tro- [v]er cas- 1 J I if if if r r 10

IJ J i p J i Jo de vir- gl- ni- te tas l'u- ma- ni- te; cuns ta dig- ni- te • j jlj 4 '£ J J IJ J 1 J m f if r f II r ir 16 20 25

(I)

2.8. Et de ex- cel- len- 6. Quant en tei vo-

r^Tr ir r_r if r ir if f f if lf 30 36 m IJ. ce plus qu'on ne po- roit di- leit her- ber. es - li- 1 J j I ,1 II j I ,n J 3 I J' J h fe=lE r ir if 40 46

(I) ^ i IJ- Ip J JlJ I Iff IJVJ i'lpJ re, re. J j IjQ JlJ'J JIJ j IJ jy JHJ-JJ-] IJ.J J. I j r |f if r ti\r r ir 80 56 127*

75. S'espoir rfestoit J Ip r r jr p r ir p. jr g UP Ju IJ- ȴ JM J 1.4.7. S'es- poir n'es- toit que me do- ne 3. Qu'en mon laz cuer Ja- mes n'a- rolt 6. Puis que na- ture i tout tres fans I Hj JJ .HI Jij U J. U t fe 7 m

1*1ip r r t t-Ls t |Ji| r, J |JJJ J'J IJijjJ'J U m 9=? po- olr, Cer • tez Ion- gue- mant ne po - oir Fors que de plain- dre, sus- pou- pl- voir A- vec for- tu- ne et dan- m u P P r j. roy - e so- frir 2.8. La trez grant pey- ne rer et ge - mir. 6. Do lour, et moy tans gier a - men - rir y, j. 'i

•<• IS 20 ^ !p r r p !p r r p ip r IJ 1 tat ' J ££3 que me fet do - loir Si trez gra- vay- nu- le bien vo - loir, Et pour che ma Jlil J J^J j. MSt

26

d *• p r M ne, si a- me- re a sen- tlr, vi- e con- ven - roit fi- nlr. ij. i i

j. 138*

76. Tres doulz amis Jo.Vayllant

1.4.7.Tre' i s i i i r 3. Mais 5.tfeit 3= ^m rf14.7. MIa J- J- I J i 3. C'est & Si

1.4.7. Cent a. Cou- B.Vueil-

doulz a- mis, sans faus- ser ce que tou- dis

r r r i r r r ir mil- le fois, ma "dou- ce da- me che- me cel- le que j'ay plus qu'au- tre chie- lies dont fay- re a mon cuer bo- ne chie-

b ^Hf n u J I j I j I tout ce que prou- en - tie - re - ment loy - al - merit t'a- r r r ir r r T ma da - me, ce que vous que de vous se- ray vous su - pli qu'en on- i- J , r f r if r 16 20 139*

a , , q 1 1 1 ri ^— -q 1 •^—1\ « jj l Ij * d >—• 2.8. Sst 6. Pour e 1 1 1 n i. n i-< -i-i i —a ^—J— -+—f—• * • - ^ • 1 2.8. A 6. Car yy MS:D 1 1 j 1 _a f- _, 1 , „ ^ «—, ^ V- —1 1- 2.8.De 35 6. Quar 30

J I J II tout cer- tain ne ce que t'es en J J r J i J ' i i> J J I > I J I J ^ r r lr i' r f 11- i' r r vos - tre hum- ble res- pon- se vous rner- chas- cun jour se met en vo mer-

J r r 1» t J t'en i- ray tout nou- me

i J " • J vous a- mer et de- si- rer pour vray trop a- van- ce- rolt " r r J i r ir r if ,r r r \T r 45 cy cy

J 1 J I J IJ J f ' J J IJ j fail- lant vail- lant J3 J J r r ' J ' i-i ma mort ma mort =§= r n r r i > 66 60 130*

77. Conbiens qtfil soyt 181*

78. Loyaute me tient Garinus • f =f f !r If Kir

1.4.7. Loy- •«jf plf pir- pi au- S. Con - bien S.S'a- ten- Eg

m ff^=f 10

|J r f if J. 7 J, JO te me tient en es. poir que de- meu- re pour volr dray d'a raou- rex vou- loyr pr n" r n t C*. (? cf. meu. 32) r r ir r i 30 15

i^ 2.8.D'en - cor 6.C0- ment y f p ^ i r 11 r 25 SO

J ve - nlr a m'en- ten- te que je longue an- ten- te y- Pr "if" 1" |,»p++Pir p* if f

i,pr 40 132* 79. Hors suy je bien r ?rr r =»-P-f r f ir p p r if 1.4.7. Hors suy je bien de tres- S. Se pour dou. chour pi- te 5. Car j'ay do- lour que tout IJ. m m

Pti iP r tou- te ma joy - ne me res - joy - dis me ger- roy - J. IJ. =£ m 10

r ir P E£E P r p if p p r p p r 12.8. Quant ne truis 6. Da- me, pour vous m f r i r T \r r u. 16

rrrrrr rf r

20

80. La grant beaute 1 J i j 1.4.7. La grant beau- te de vous, ma sou-ve- ray ne, S.Ce pri- mier jour de l'an a bone es- tray ne 5. Beau- te, dou- chour que sunt en vo de. may ne J, m 133*

T T J [J J J) i Ar-dent de- sir de fe- re vo plai-sir 2.8. De- dans mon cuer por vous tout jour ser- En vous ser - vant se - ront tout mon de - sir 6. L'es- poir que j'ay pour ce don d'en-ri- E que du tout a-mo. rous vuel ob-e'ir. i r 10

20

81. Tre doulz regard

J- J , T*TJ ^ 1.4.7.Tre doulz re- gard a-mo- reu-se mon tret Tant de 3. (mining) 5. Je te por- te a mon cuer si pour • tret Qn'au- tre r r \r r i W

sour fet a mon cuer an- trer 2.8. Quant de mes oig je 6. Et tel plai-sir faltes ser ne le pou-roytmon- trer m m ir r pi 10 u

te puis an-con - t[r]er Tre- tout mon sang me fuit et vers ty a mon cuer an- trer Que ja- mats jour y n'a se- ra re-

f r 20