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New Light on the Mid‐Fourteenth‐Century Chace

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New Light on the Mid‐Fourteenth‐Century Chace JASON STOESSEL AND DENIS COLLINS NEW LIGHT ON THE MID-FOURTEENTH-CENTURY CHACE: CANONS HIDDEN IN THE TOURNAI MANUSCRIPT The manuscript Tournai, Bibliothèque de la Cathédrale, ms. A 27 (olim 476), is well-known for its early polyphonic setting of the Ordinary of the Mass (fols 28r–33v). Views on the musical cohesion of these settings vary. Charles van den Borren (1957, p. ii) adduced from patterns of transmission and stylistic features that the Mass was the work of several composers over several decades.1 Irene Guletsky has argued for a single composer and a dating of 1317–25. Guletsky‟s conclusions require further scrutiny elsewhere, but David Catalunya‟s re-dating of the Las Huelgas manuscript, which transmits the Credo of the Tournai Mass, to the 1340s has some bearing on this discussion.2 Nicola Tangari‟s recent discovery of yet another transmission of the Credo in a source still in use at Avignon and then Rome in the 1360s challenges both an early dating and a one-composer hypothesis.3 Certainly, the motet Se grasse/Cum venerint/ITE MISSA EST, which completes the Tournai Mass, still attracted the attention of the music theorist Johannes Boen in the 1360s.4 Musicologists have long known that two additional settings of the Ordinary of the Mass, a Sanctus and Kyrie (in that order), appear in ars nova mensural notation in the Tournai manuscript. Yet their true nature has only been recently recognised, despite already being transcribed, albeit erroneously, in well-known twentieth-century monumental editions (see Table 1). In June 2014 Michael Scott Cuthbert announced on social media that he had used computational analysis to show that the once seemingly monophonic Kyrie and Sanctus could be rendered as polyphony.5 In response, Ján Janovčik and Jason Stoessel proposed that each could be performed as a three-voice canon.6 (See Appendices 1 and 2 for Stoessel‟s transcriptions of the Kyrie and Sanctus.)7 The discovery of the Tournai canons changes the history of canonic composition and to some extent established views on the so-called Tournai Mass. Michel Huglo (1988, p. 20 This is the author manuscript accepted for publication and has undergone full peer review but has not been through the copyediting, typesetting, pagination and proofreading process, which may lead to differences between this version and the Version of Record. Please cite this article as doi: 10.1111/musa.12116. This article is protected by copyright. All rights reserved. 2 and 2016, p. 27) concluded that the „second‟ Kyrie and Sanctus were additions contemporaneous to the copying of the polyphonic mass, although he hesitated in attributing their copying to the same hand. Yet close inspection of the musical script and ink colours leaves no doubt that the canonic pieces were added by the same scribe responsible for the other polyphonic settings of the Ordinary, and not by one of the subsequent scribes, who continued to add material as late as the sixteenth century. The strong possibility that the Tournai manuscript dates from around 1349, the year in which Bishop Jean Des Prés established a daily Mass extra chorum in honour of the Virgin at Tournai Cathedral (see Huglo 1988, p. 21, and 2016, p. 29), indicates that these are the earliest surviving canonic settings of the Ordinary of the Mass. The next canonic settings of the Ordinary of the Mass are seen towards the end of the century.8 The musical techniques of the Tournai canons closely resemble those in the tenorless French chace (or chasse) repertoire and are distinct from canonic settings of the Ordinary later in the century. The absence of hocket, which is a dominant feature of the mid- century French chace, nonetheless sets them apart from their secular counterpart. Whether the absence of this musical technique signals the influence of prohibitions issued in 1324 against the use of hocket in the church by Pope John XXII (r. 1316–34) or dates these canons to before the hocket-rich chace repertoire is difficult to tell. Prohibitions against the „cutting up of melodies‟ nonetheless had no effect on the composer of the long „Amen‟ at the end of the Gloria of the Tournai Mass, so it would be unwise to date the Tournai canons using this negative evidence. For now, we assume that the Tournai canons are not much older than the manuscript that contains them, although it is possible that they may have existed in one form or another – especially if orally transmitted – for some time beforehand.9 The aim of this article is to situate the Tournai canons in relation to mid-fourteenth- century French canons, especially those found in Codex Ivrea (I–IV 115) and in the compositions of Guillaume de Machaut.10 Although Spanish caças feature paraliturgical texts, the Tournai canons immediately draw into question the hitherto exclusive association of early canon with the vernacular chace and caccia.11 We take this opportunity to explore compositional techniques shared by the mid-fourteenth-century repertoire of canons without accompanying parts in free counterpoint, principally settings of French vernacular texts. Attendant to this discussion are questions about the status of canon as an improvised This article is protected by copyright. All rights reserved. 3 technique in the fourteenth century, and about how knowledge of this technique might have facilitated the realisation of canons, which in this period are notorious for their lack of cues indicating how they must be performed.12 We first examine current theories and observations of canonic techniques in the identified repertoire before proceeding to set out our own analytical framework for understanding early canonic techniques. In this way, we seek to situate the Tournai canons against the background of contemporary French canonic repertoire, as well as to highlight their distinctive features. Compositional Techniques in the Mid-Fourteenth-Century Canon The repertoire of canons without accompanying non-canonic voices has hitherto been exclusively associated with the mid-fourteenth-century French chace. Pirrotta (1946 and 1947) and others (see Croy [Kassler] 1967 and Newes 1987a and 1987b) have distinguished this category of canon from those accompanied by free, non-canonic parts found principally in the Italian caccia repertoire. Unaccompanied canons in a small number of cacce and in the Spanish caça have been attributed to French influence (Newes 1987a, p. 28). Although Pirrotta (1946) considered the pan-European church to have been a unifying force in the development of canonic techniques on both sides of the Alps, theories concerning their independent development prevail, supported in part by the source situation, even if most Trecento sources of canons are from no earlier than the last quarter of the fourteenth century. Rather than dwelling upon the difficult idea of influence, here we provide a detailed overview of early French canonic techniques that may serve as the basis for a future discussion of patterns of change and possible interactions between other repertoires. The surviving repertoire of mid-century canons in the so-called French style, shown in Table 1, is small in comparison with the canonic caccia repertoire.13 Yet the twelve identified examples reveal that compositions such as Machaut‟s two lais contain a total of eighteen canons, one for each quatrain of poetry. Almost all are three-in-one canons, in which two subsequent strictly imitative voices (comites) are derived from the leading written voice (dux). All items but one in Table 1 are continuous canons. Continuous canon involves the constant unfolding of melody, without repetition (compare Newes 1987b, p. 90) but with phrases related in their structure to earlier ones. In order better to describe and categorise phenomena such as the continuous canon, we define and apply in the following paragraphs a series of terms, including „isoperiod‟, „permutation‟, solus tenor, „melodic design‟ and This article is protected by copyright. All rights reserved. 4 „virtual melody‟. This analytical framework will serve to demonstrate, among other things, that continuous canon differs from what Newes (1987b, p. 89) calls the rondellus canon, in which voices frequently cadence together on period boundaries. Only one canon in Table 1, Talent m’est pris, is a circular canon – commonly called a round – in which a voice loops back to its beginning without varying any previous melodic phrases. Four canons are excluded from detailed analysis below: … et belle amie a mon talent is too fragmentary; Hareu, hareu, ie la voy is lost; Jehan Lebeuf d‟Abbeville‟s textless chace has not been transcribed satisfactorily enough to permit any confidence in its analysis; and the status of Machaut‟s triple-texted ballade Sans cuer m’en vois, dolens et esploures/Amis, dolens, maz et desconfortes/Dame, par vous me sens reconfortes (B17) as a continuous canon is disputed.14 Aside from the canons from the Tournai manuscript, the remaining chaces fall into two groups: those that survive in the Ivrea manuscript and those in Machaut‟s lais.15 [INSERT Table 1 NEARBY] Isoperiodicity John Griffiths (1996a and 1996b) and most recently Mikhail Lopatin (2014) have proposed that several Trecento cacce exhibit repeating ostinato structures. While Griffiths argues for a repeating harmonic structure, Lopatin identifies an underlying melodic ostinato as a structural device in several cacce.16 Since the term „ostinato‟ comes with much baggage, especially in terms of Baroque and twentieth-century compositional processes, we prefer to use the term „isoperiod‟ to refer to successive musical periods of identical length and relatively consistent contrapuntal structure. In mid-fourteenth-century canons each voice follows the previous one in strict imitation at the unison after the same predetermined temporal offset.17 Without exception, the length of a canon‟s isoperiod is equal to the temporal offset between each imitative voice.
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