THE MANUSCRIPT PARIS, BIBL. NAT., NOUV. ACQ. FRÇ. 6771 (Codex Reina= PR)

KURT VON FISCHER *

The codex Reina {PR) owes its special significanceto the fact that it containsan importantrepertoire of secular worksof the Italian , of 14th centuryFrance and, in its last part, of the Dufay period. It shows the close relationshipbetween Italian and French musical practicein the late 14thand early 15th centuryin northernItaly. By comparisonwith the Tuscan Trecento codices FP, Lo, Pit, Sq the numberof French worksis far greater.French music appears not only as an appendix to the Italian worksas in FP and Pit but collected in separate fascicles.This probably distinguishesPR fromfragmentary manuscripts like Luc and Pist. Com- pared with Pad A, Mod and the later O and with the primarilyreligious sourcesBL, BU and Ao, codex Reina containsneither liturgical nor sacred music (except the sacred No. 166). The connectionsbetween Reina and the cantilena-stylepieces of Ch are reduced to the French fasciclesof PR since Ch containsno Italian music,or at least no musicwith Italian texts. x The firstdescriptions of PR were by F. Ludwig and by J. Wolf. The lattergave a summaryinventory in alphabeticalorder2 (correctedin some details by Ludwig3). Recentlythe connectionof the French parts of PR with Ch and Mod was demonstratedby W. Apel in his importantedition of Frenchsecular music of the late fourteenthcentury.

The manuscript The historyof codex Reina (PR) is unknowntill its appearance in the catalogue of sale of Sign. Reina (Milan) in 1834 (sale 15 Dec. 1834). For some yearsPR belonged to Botté de Toulmont. Since his death the * My thanksare due in particularto Mr. GilbertReaney forthe revisionof my Englishversion of the article and for some importantinformation. I am indebted too to Prof. Dr. H. Besseler,Prof. Ch. van den Borren,Prof. Dr. F. Gennrichand M. F. Lesure. 1 F. Ludwig,"Die mehrstimmigeMusik des 14. Jhs.",in SIMG IV, p. 53 f. 2 J. Wolf, Geschichteder Mensuralnotationvon 1250-1460,I, Leipzig 1904, p. 260 ff. 8 F. Ludwigin SIMG VI, p. 616.

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Ms. has been in the BibliothèqueNationale in Paris. PR is a paper manuscriptmeasuring 27,1 x 21,3 cm, bound in 18th- or 19th-centuryleather. It consistsnow of 122 folios,excluding 4 modern flyleavesat the back. These are groupedin 9 fasciclesof differentsize and some insertedfolios (for details see the inventory).An originalfoliation in Roman numeralson the verso goes fromfol. lv to fol. 29v, and from there on it is replaced by old Arabic numeralsup to fol.84v. A newer foliationappears on the rectosof fol. 1 to 131 (fol. 120-124 are lackingand fol. 128-131 are modernflyleaves with a new index on fol. 130-131). Though the contentsof fol. 1 to 88 are divided into differentparts accordingto the repertoireand the writer'shands, the paper used for this part formsa unit.This can be provedby the watermarks:

Basilisk:fol. 1-34, 42, 48, 49, 51, 55, 59, 66-71,80-83. Mount:35-40, 53, 57. Bell:46, 50, 85,86. Arc:72, 73,78.

Fol. 89 to 127 have as watermarka crown (the paper is harderthan thatof the precedingfascicles). All these watermarkscan be found on Italian papers of the last part of the 14th century4: Basilisk,Bologna 1390; Bell, from1379 in Italy; Mount, Siena 1390; Arc, Fano 1380; Crown, Venice 1387. The whole codex has the typical Italian staves of 6 lines: fol. 1-88, 8 staves a page; fol.89-119, 7 staves a page. The staves of fol. 13-34 are red. The differentparts of PR are as follows:fol. 1-62 (fase. 1-5) the space occupied by writing measures 19,6x17,5; fol.63-88 (fase. 6 and 7) 21,3 x 18 and fol.89 ff. (fase. 8 and 9) 20,2 x 15 cm. Regardingthe differenthands we discoverthe following: - Italian works (fase. 1-4 and firstpart of fase.5) writtenby hand A: fol.l-39v, 43-44, 47v-52v; writtenby hands B and C: fol.(39v)-41, 44v-46. In some cases (especiallywith the Italian pieces in fase. 1 and 2 writtenin later - for example No. 18) it is difficultto distinguishbetween the different"Italian" hands. - French works (fase. 5 second part) writtenby hand D: fol.53-62v; writtenin later by hand D in other fascicles: bottom of fol. 12v/13, fol.46v/47, bottom of fol.65v/66, bottom of fol. 72v/73,text of No. 146, second stropheof No. 135. - French works (fase. 6 and 7) writtenby hand E: fol.63-84 (probably up to the music of fol.86). Fase. 6/7contain 2 or perhaps 3 Italian pieces also writtenby hand E.

4 cf. CM. Briquet,Les filigranes,1907, Nos. 788, 791, 799, 4614, 11890,pl.C.

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- French works (fase. 8 and 9) of the Dufay period writtenby hand F: fol.89-119 (includingone Italian piece writtenby hand F too). - The originalindex on fol. 126v/127containing pieces writtenby hands D and E (except Nos. 25 and 183 which were probably left out un- intentionally)seems to be writtenby hand D on paper withthe same water- mark as fol.89-119. The ink used by hand D is perceptiblydarker than that of the otherhands. From this analysisit can be concluded that the firstwritten parts of PR have to be fascicles6 and 7 (hand E) and fases.1 to 5 (Italian part, hands A, B, C). WriterD completedthe emptystaves of fascicle 5 and later on wrote some pieces and textsin emptyspaces of fases.1-5 (first part) and 6/7.It may be assumedthat the same writerD put the fascicles together,added the blank leaves of fases.8 and 9 and wrote on the last foliosan index of the pieces writtenby himselfand by hand E (nearly all French pieces). Hand F added some 30 years later the staves and music on fol.89v-119. This hypothesiswill be confirmedby the contentsof the differentparts of the manuscript.In any case the followinganalytical tables mustbe drawn separatelyfor each sectionof the codex, i.e. pieces written by hands A, B, C, by hand D, by hand E and by hand F.

The (* = unica)

Composer No. of works Numberin PR

Pieces writtenby handsA, B, C: Battolinoda Padua 26 (or 27) 24, 26-37, 38?*, 39-47, 85, 87, 89, 90 Giovannida Cascia 3 23, 63, 67 Henricus (= Arrigo) 1 49* JacobelusBianchi 2 50*, 52* 20 (or 22) 1-3,5-16, 17?*, 19, 20?*, 21, 22, 64, 69 JohannesBaçus Correçarius l 68 de Bononia Landini (Francisais) 18 18, 53, 56, 70, 71, 74-76,93-97, 99, 101, 102, 104, 105 Paulus (Paolo?) 1 48*

Pieces writtenby hand D : Alanus 1 25 Antonelloda Casería 2 91, 92 Egidius 1 108 Francisais 1 112 Machaut l 109 Pykini 1 129 Senleches 2 118, 127

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Composer No. of works Numberin PR

Pieces writtenby hand E: Filipoctusde Caserta 2 (1?) 172, 183? Franciscus 1 173 Goscalch 1 170 1 144 Landini 2 148, 184 Machaut 6 130, 134, 135, 143, 145, 150 Pierredes Molins 1 149 Petrusde Vigiliis 1 (Tripl.) 147 Pieces writtenby handF: Bartolomeoda Bononia 1 206* Binchois 3 194, 201, 208* Dufay 9 186*, 195-197,202, 204, 209, 210*, 213 Fontaine 1 218 Grenon 3 188, 189, 216* Legrant,J. 1 193

Lookingat thefirst part of this table (Italian pieces), the great number ofworks by Jacopo and Bartolino(all anonymousin PR) is characteristic. Bothare composersfrom the Northeast of Italy.The firstfascicle of PR is devotedto theold masterJacopo who was at thecourt of MastinoII della Scala at Verona.The positionin thecodex (top ofthe page) and thestyle of Nos. 17 and 20 makeJacopo's authorship likely 5. The secondfascicle containsthe worksof Bartolino,who was a contemporaryof Landini. Before1387 he was at thecourt of Francesco Carrara the Elder in Padua 5a. ProbablyNo. 38 (at the top of page) is also by Bartolino5.Henricus (= Arrigoin Pit), thecomposer of No. 49, maynot be thesame man as HenricusHelene mentionedin the textof the musicianmotet Apollinis eclipsatur6as Reaneysuggested, before R. H. Hoppinfound him in 1335 at Sens7. Hand D wroteworks by composersof somewhat later date thanthose whoseworks were writtenby hand E. This is shownespecially by the 6 worksof Machaut and by the piecesof P. des Molins,Grimace and No. 131 (a workappearing in Ca; see remarksto No. 131) writtenby handE. Butthe date between hands D and E is certainlynot far apart, as

6 Cf. K. v. Fischer, "Drei unbekannteWerke von Jacopo da Bologna und Bartolinoda Padua?" in Homenaje a Mons. H. Angles,Barcelona 1958. 5a Cf. S. Clercxin Revue Belge de Musicologie,X (1956), p. 155. 6 Cf. Reaney,"The manuscriptChantilly", in Musica Disciplina Vili (1954), p. 70/71. 7 Cf. R. H. Hoppin's lectureat the Colloque Internationald' (Wégi- mont,1955).

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Machaut and Franciscusappear in both parts. Importantfor the date oí thesefascicles seems to me the fact that neitherBorlet, Cunelier, Reyneau, nor , all representedin Ch, are found in PR 8. In view of the Italian origin of PR it is importantto note that Ciconia, settledat Padua since 1402/039, is not representedin PR. The absence of his name may give us also a clue to the date of the Ms. For the last part of PR the situationis clear insofaras it contains worksof the Dufay period,say about 1435.

The forms

Species Total Species Total

Writtenby hands A, B, C: Writtenby hand F: Madrigals10 40 (one piece twice: 1 No. 13 <= No. 44) Rondeaux 30 Ital. Ballatas10 61 Rondeau Refrains 3 Caccia 1 1

Writtenby hand D: Writtenby hand E: Virelais 10 (two with iso- Virelais 19 rhythmicTenor: Ballades 25 Nos. 106,115) Rondeaux - Ballades 18 Rondeau Refrains 5 (one isorhythmic: Rondeaux 2 No. 152). Italian 2 (or 3: Nos. 184 and 185 are tablatures) Chanson 1 (No. 132) (Rondeau?)

PR containsonly in the Italian or Frenchlanguage. This contrastssignificantly with such codices as Ch, Mod and O, which include motetsand mass movements.The formsin the first,Italian part are those normal in the Italian Trecento.The presenceof only one Caccia and the relativelygreat number of three-partworks are pointsworth noting (Nos. 22 and 69 appear in PR for three voices, in the later Sq for two voices only). Typical of the old Italian traditionrepresented by PR is the almost exclusiveuse of 22-voicewriting. A comparisonof the formsof pieces writtenby hands D and E shows 8 For the dates of composerscf. Reaney, "The manuscriptChantilly", in Musica Disciplina Vili (1954), p. 63 ff. ô Cf. S.Clercx in Revue Belge de MusicologieIX (1955), p. 49. 10 The numbersgiven for PR in my Studien zur italienischenMusik des Tre- centound frühenQuattrocento on p. 83 mustbe corrected.

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a percentagemajority of Virelais writtenby hand E (especiallytwo-voice ones, not existingin the part writtenby hand D). Hand E too has a pre- dilectionfor four-voiceBallades. A strikingfeature is the relativelygreat numberof realisticVirelais to be foundin both parts (Nos. 106, 115, 117, 129,141,144,169). The last part of PR (hand F) shows the dominatingposition of the Rondeau in the firstdecades of the 15th century.

Concordances

Source Numberof Numberin PR cone.

Pieces writtenby handsA, B, C: Fa (tablatures) 9 2, 3, 5, 9, 14, 26, 42, 44, 104 FC 2 8, 13 FP 38 1, 2, 3, 5, 6-16, 18, 19, 23, 26, 45, 53, 56, 57, 63, 67, 69, 70, 71, 76, 94, 95, 96, 97, 99, 101, 102, 104, 105 Lo 20 2, 10, 12, 13, 18, 19, 26, 28, 39, 42, 45, 57, 63, 69, 70, 71, 93, 95, 99, 104 Luc 11 (12) 26, 27, 30, 33, (36), 40, 43, 44, 45, 46, 70, 97 Mod 3 (4) 33, (34), 44, 90 PadA 6 9, 68, 70, 71, 97, 102 PadC 2 9, 15 Pist 1 105 Pit 29 3, 5, 6, 8, 9, 10, 13, 15, 16, 19, 23, 26, 44, 45, 49, 53, 56, 70, 71, 75, 93, 94, 95, 96, 97, 99, 101, 104, 105 RO 1 67 Sq 66 1, 2, 3, 5-16, 18, 19, 21, 22, 23, 26-37, 39-47, 53, 56, 63, 64, 67, 69, 70, 71, 74, 75, 76, 85, 87, 89, 90, 93-97,99, 101, 102, 104, 105

Pieces writtenby hand D: BolH 1 119 Ch 4 109, 112, 127, 129 Mach 1 109 Mod 7 91, 92, 108, 116, 118, 120, 127 PadB 1 118 Pit 1 138 Str 6 25, 110, 116, 118, 125, 166

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Source Numberof Numberin PR cone.

Pieces writtenby hand E: Autun 1 173 CaB 1 149 Ch 7 134, 144, 149, 170, 172, 173, 183 Fa (tablatures) 5 136, 137, 146, 149, 150 FP 7 130, 137, 147, 148 (Ital.), 149, 150, 184 (Ital.) Iv 1 169 Lo 1 169 Mach 6 130, 134, 135, 143, 145, 150 MeV 1 149 Melk 1 176 Mod 6 131, 135, 150, 171, 172, 183 MüEm 2 137, 184 PadC 1 169 Parma 1 147 Pit 10 130, 137, 147, 148 (Ital.), 149, 150, 169, 171, 173, 184 (Ital.) Pr 5 131, 147, 154, 157, 176 Sa 2 148 (Ital.), 184 (Ital.) Str 14 131, 134, 137, 141, 147, 149, 150, 152, 154, 157, 160, 169, 176, 184 Tit 1 137 Trém H (12?) 130, 134, 136, 137, 142, 143, 149, 150, 151, 173, 176, 182? Villingen 1 163 Voran 1 131 WölkA and B 2 154, 176

Pieces writtenby hand F: Bern 1 215 BU 2 189, 209 EscA 2 194, 196 MüEm 1 197 O 11 188,189,194,195,196,197,202, 204, 209, 213, 218 PC 2 195, 209 Pz 2 189, 218 Str 2 196, 218 Tr 87 2 193, 195

This table of concordances shows a close relationshipbetween the Italian part of PR and the centralTrecento Mss. (FP9 Lo, Pit, Sq). The connectionof PR to Pad A (6 concordancesof the 10 Italian secular pieces in the fragmentaryPad A), to Fa (9 of the 13 Italian secularpieces of Fa)

This content downloaded from 132.174.255.116 on Thu, 11 Feb 2016 04:22:50 UTC All use subject to JSTOR Terms and Conditions MS BIBL. NAT.,NOUV. ACQ. FRÇ. 6771 45 and to Luc is striking.Fifteen pieces fromPR are mentionedin Prudenzani's Saporetto (Soil). It seems to me quite possible that the writerof Fa transcribedhis worksfrom Pi? because fiveof the Frenchpieces (hand E) are found in Fa too. For two of them (Nos. 136 and 146) no othercon- cordanceis known (except Trém forNo. 136). This hypothesisis strongly supportedby the appearance of the same tablaturenotation in Pi? (Nos. 185 and 186) and in Fa. The special characterand the great importanceof the Italian part of PR is due to the great numberof anonymousunica: 29 pieces, especially in fascicles3 and 4 (threeof thosein fascicles1 and 2 are possiblyworks of Bartolinoand Jacopo). The pieces writtenby hand D reveal points of contact with Ch and especiallywith Mod (fase. 2-4 of Mod). Importantfor such relationships are concordanceswith only two or three Mss. Thus eight works appear nowhereelse, while Nos. 91, 92, 108, 116, 120 are in Mod, Nos. 112 and 129 in Ch, and No. 127 in Mod and Ch. No concordancehas been found withTrém (writtenin 1376). The concordancesof pieces by hand E show a differentsituation. Only fourworks appear in no otherMs. than Ch and Mod (Nos. 144 and 170 in Ch, Nos. 172 and 183 [both worksof F. de Caserta] in Ch and Mod). The older characterof this part is supportedby the concordanceswith Mach (6 pieces) and with Trém (11 or 12 pieces; two or three of them appear only in Trém and PR). A directcontact between PR, Trém and Mac h on the one hand, with the originalsources of Ch and Mod (fases. 2-4) on the other,but not with Ch and Mod directly,seems possible.This last point is supportedby the differencein the number of the voices in some cases: No. 131 PR 41, Mod 31 (with a new Ct); No. 149 PR 41 (like CaBl), Ch and Mod 31. The great numberof concordancesof both Frenchparts of PR (i.e. of the last part too) withStr (6, 14 and 2 pieces, of which Nos. 141, 152, 160 and 166 are only found in PR and Str) suggeststhe possibilitythat the writerof Str knew PR. The last part of PR revealsimportant links with the Ms. 0(11 pieces, nos. 188, 202, 204 and 213 appearingin O and PR only). No. 189 has one voice morein PR than in O, No. 209 one voice less. It may be conjectured thatPR goes back to the sourcefrom which O was copied. This view would be supportedby the factthat, like O, PR (certainlythe Italian part) is of North-EastItalian origin(see below). The appearence of a Rondeau from Bern (No. 215) is interesting.This showsthat the writerof PR (hand F) knew older sources. Notation and Language As mentionedbefore, the whole codex is writtenon the Italian six-line staves.The Italian partshows the Italian Trecentonotation as it was before

This content downloaded from 132.174.255.116 on Thu, 11 Feb 2016 04:22:50 UTC All use subject to JSTOR Terms and Conditions 46 MUSICA DISCIPLINA the innovationsof Prosdocimusde Beldemandis (1412). Strikinguse is made of the Italian punetus divisionis(dividing a lengthin Breve-mea- sures), often withoutthe Italian mensurationletters: twenty-five pieces note onlypuncti divisionis,these pieces appearingwith mensurationletters in other Mss., and fifteenpieces show puncti divisionislacking in most other sources. Four pieces (Nos. 5, 11, 19, 67) are notated in the old Italian Brevisnotation, the same pieces appearingin FP in Longa notation. All thisconfirms that PR is stronglyconnected with the old Italian tradi- tion. From the linguisticpoint of view,the textsof PR suggestan originin the Venetian or Emilian part of NorthernItaly (Padua, Verona, Venice and Bologna) 11. Music and textsof the firstpart of PR are in good con- dition. Both French parts (hands D and E) are writtenin French notation. Exceptionallythe French mensurationsigns are used, though these may have been added later.Red notes appear onlyin the part writtenby hand E. Hand D uses hollow whitenotes in correspondingpassages. The French textsoften show a Picard influence,cf. plasanche, canteir,vo = vostre. But it seemsthat it was an Italian who wrotethe texts,cf. bosgolin,sason. Especiallythe workswritten by hand E are corruptmusically as well as in the texts, which are often incomplete (cf. the pieces by Machaut; in No. 135 the textwas completedby hand D). The last part ofPR formsan excellentand centralsource for the Dufay period. In contrastto O the notationis in black. The relativelyearly date of the pieces containedin theselast two fasciclesis supportedby the use of tempusimperfectum cum prolationemajore 12. The textsare correctand writtenin French that is no dialect.

Date and origin Unfortunately,precise indications of dates given by the textsare not frequentin PR. For the Italian part a terminuspost quernis indicatedby Nos. 27, 28, 37, 44 and 84, which must have been writtenbefore 1398 13. The latest datable piece writtenby hand D indicates1382 as terminusa quo (No. 127). Other dates are given by Nos. 108, 110 and 112. Within the worksof hand E no definitedate can be givenexcept that of Machaut's death ( 1377). The same is to be said of the last part (hand F) in relation to Dufay's sojournsin Italy.

11 For the linguisticinformation I am indebtedto Prof. Dr. K. Taberg,Berne. 12 For therhythmic problems cf. H. Besseler,Bourdon und Fauxbourdon,Leipzig 1950. 13 Cf. K. v. Fischer,Studien zur italienischenMusik des Trecento und frühen Quattrocento,Repertoire catalogue and p. 96.

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To sum up, the analysis of composers, concordances, notation, language,style and orderof the whole manuscriptindicates that the French part writtenby hand E and the Italian part (hands A, B, C) mustbe the oldest ones. Hand E may belong to the last years of the 14th century, having known sources like CaB, Trém, Mach, while hands A, B, C (the Italian part) belong to the veryfirst years of the 15th century.Hand D is somewhatlater, but hardlylater than 1410, especiallyshowing probable resemblancesto the unknownoriginal sources of Ch and Mod (fases.2-4). The last part of PR was copied beforethe Ms. O. We may date it between 1430 and 1440. Since the Italian part of PR was evidentlywritten in the North-Eastof Italy,and since the last part of it seemsto be connectedwith the originalsource of O (writtenin Venice), I presume that the whole corpus of PR was writtenin the districtenclosed by Padua, Verona and Venice. My personalhypothesis leads me especiallyto Venice, as thistown had commercialrelations with Picardie and with the Flemish countries (cf. Nos. 114, 153 and 157). The Scaligertext of No. 84 and the worksof Jacopo could possiblybe related to a writerin Venice, as the Scaliger escaped in 1387 to Venice.

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WORKS CITED IN THE PRESENT INVENTORY

AfMW Archivfür Musikwissenschaft. ApF W. Apel, FrenchSecular Music of the Late FourteenthCentury, Cam- bridge,Mass. 1950. ApN W. Apel, The Notationof polyphonicMusic 900-1600,fourth ed., Cam- bridge,Mass. 1949. Bar D. Bartha,Anthologie zur Musikgeschichte,Budapest 1948. BessMR H. Besseler,Die Musik des Mittelaltersund der Renaissance,Potsdam 1931. BorrD Ch. van den Borren,Guillaume Dufay, 1926. BorrS Ch. van den Borren,Le ms. musicalM. 222 C. 22 de la Bibl. de Stras- bourg,Antwerp 1924. CorSc A. della Corte,Scelta di musicheper lo studiodella storia,second ed., Milan 1939. CS C. E. H. de Coussemaker,Scriptorum de Musica medii aevi nova series, Paris 1864-76. DaAp A. T. Davison and W. Apel, Historical Anthologyof Music, Vol. I, Cambridge,Mass. 1947; 2nd ed. 1949. Dann E. Dannemann,Die spätgotischeMusiktradition in Frankreichund Bur- gundvor dem AuftretenDufays, 1936. Dez K. Dèzes, "Der Mensuralcodexdes BenediktinerklostersSancti Emmera- mi zu Regensburg",in ZfMW X. 65 ff Droz et E. Droz and G. Thibault,Poètes et musiciensdu 15e siècle, Paris 1924. Thibault DTO Denkmälerder Tonkunstin O esterreich,Jahrgang IX, 1 (Wolkenstein), Vienna 1902; Jahrgang VII (Trienter Codices I), Vienna 1900; Jahr- gang XI, 1 {Trienter Codices II), Vienna 1904. Ei A. Einstein, Beispielsammlung zur Musikgeschichte, Leipzig and Berlin 1930 (new edition contained in Geschichte der Musik, Zürich 1953). E11L L. Ellinwood, "F. Landini and His Music", in Musical Quarterly XXII (1936), 190. EUWL L. Ellinwood, The Works of F. LandinL Cambridge, Mass. 1945. Ex Expositione Nat. dei Conservator, mus. e delle Bibl., Catalogo, 1950. FiA K. v. Fischer, "Drei unbekannte Werke von Jacopo da Bologna und Bartolino da Padua?", in Homenaje a Mons. Higino Angles, Barcelona 1958. FiStd K. v. Fischer, Studien zur italienischen Musik des Trecento und frühen Quattrocento, Bern 1956. FiV K. v. Fischer, "Die Variation", in Das Musikwerk, Cologne 1956. Ga R. Gandolfi, Illustrazioni di alcuni cimeli concernenti l'arte musicale in Firenze, Firenze 1892. Gast A. Gastoué, Actes du Congrès d'Histoire de l'Art, Paris 1924. Gen F. Gennrich, Abriss der Mensuralnotation des 14. Jahrhundertsund der ersten Hälfte des 15. Jahrhunderts,Nieder-Modau 1948. Gle H. Gleason, Examples of Music before 1400, New York 1942.

This content downloaded from 132.174.255.116 on Thu, 11 Feb 2016 04:22:50 UTC All use subject to JSTOR Terms and Conditions Facs. 1. PR, fol. 39v/40,written by hands A and B.

This content downloaded from 132.174.255.116 on Thu, 11 Feb 2016 04:22:50 UTC All use subject to JSTOR Terms and Conditions Facs, 2. PR, fol. 62v/63,written by hands D and E.

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HistS The Historyof Music in sound (accompanyingbook III,) Oxford1953. Hus H. Husmann,"Die mittelalterlicheMehrstimmigkeit", in Das Musik- werk,Köln 1955. Ka F. Kammerer,Die Musikstückedes Prager Kodex XI.E.9, Brno1931. Kie R. G. Kiesewetter,Geschichte der europäisch-abendländischenoder un- sererheutigen Musik, second ed., 1846. Lauda For the pieces sung as Laude see F. Ghisi, "Strambottie Laude nel travestimentospirituale della poesia musicale del Quattrocento",in CollectaneaHistorìae Musicae I, 45, Florence1953. LenN R. B. Lenaerts, H et Nederlands Polifonies Lied in de lòde Eeuw, Mechelenand Amsterdam1933. LiGoPa E. LiGotti,La Poesia musicaleitaliana del sec. XIV, Palermo1944. Löpelmann M. Löpelmann,Die Liederhandschriftdes Cardinals de Rohan, Göt- tingen1923. LuK F.Ludwig, "Musik des Mittelaltersin der BadischenKunsthalle Karls- ruhe",in ZfMW V, 434. LuMa F. Ludwig,G. de Machaut, MusikalischeWerke, Leipzig, 4 vols., 1926- 29 and 1954 (reprinted1954). Manx J. Manx, Les musiciensde la cour de Bourgogneau 15e siècle, Paris 1937. MarrC W. Th. Marrocco,Fourteenth Century Italian Cacce, Cambridge,Mass. 1942 (second editionin preparation). MarrJ W. Th. Marrocco,The music of ] acopo da Bologna, Berkeleyand Los Angeles1954. MGG Die Musik in Geschichteund Gegenwart,Allg. Enzyklopädieder Musik, ed. by F. Blume,Kassel and Basel 1949ff. NOxf The New OxfordHistory of Music, vol. Ill, Oxford1958. Ost W. Osthoff,"Petrarca in der Musik des Abendlandes",in Castrum Peregrinivol. XX., Amsterdam1954. PirrC N. Pirrotta, "Per l'originee la storiadella caccia e del madrigaletre- centesco",in Rivista Musicale Italiana XLVIII (1946), 305 ff. and XLIX (1947), 121 ff. PirrMF N. Pirrotta,The Music of FourteenthCentury Italy, vol. I, Amsterdam 1954 (CMM8). P1F D. Plamenac,"Keyboard Music of the 14thCentury in Cod. Faenza 117", in Journalof the AmericanMusicological Society IV (1951), 179. ReaCh G. Reaney,"The ManuscriptChantilly, Musée Condé, 1047", in Musica DisciplinaVili ( 1954), 59-113. ReeM G. Reese, Music in the ,New York 1940. Rehm W. Rehm,Die Chansonsvon Gilles Binehois. Mainz 1957. RieM H. Riemann,Handbuch der Musikgeschichte,Vol. I. II and II. I, Leipzig 1901, 1913. SchB A. Schering,Geschichte der Musikin Beispielen,Leipzig 1931. SchSt A. Schering,Studien zur Musikgeschichteder Frührenaissance,Leipzig 1914. SerC Le Cronachedi Ser Giov. S ercambi, edn. by S. Bongi,Lucca 1892. SchraMa PolyphonicMusic of the FourteenthCentury, Vol. Ill [The worksof G. de Machaut,second part), Monaco, 1956. SerN Sercambi,"Novelle", edn. by R. Pratt,in Wm. F. Bryan,Sources and Analoguesof Chaucers CanterburyTales, 1941. SIMG Sammelbändeder InternationalenMusikgesellschaft.

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Soll S. Debenedetti,II Sollazzo, Turin1922 (The numbersare relativeto the sonnetsof Prodenzani'sS aporetto, ed. S. Debenedetti,169 ff.). Stainer Sir JohnJ. F. R. and C. Stainer,Dufay and his contemporaries,London 1898. To L. Torchi,Uarte musicalein Italia, vol. I, Milan and Rome 1897. WoF J.Wolf, "Florenz in der Musikgeschichtedes 14.Jahrhunderts", in SIMG III, 1902,599. WoG J. Wolf,Geschichte der Mensuralnotationvon 1250-1460,3 vol., Leipzig 1904. To be correctedin manydetails by Ludwig's review,SIMG VI, 597 ff. WoH J. Wolf,Handbuch der Notationskunde,vol. I, Leipzig 1913. WoN J.Wolf, "Musica Fiorentinanel secolo XIV", in La Nuova musica, Florence1896-1919. three suDolementarv vols. WoSq Der Squarcialupi-Codex Pal. 87 der Bibl. Medicea Laurenziana zu Florenz. Edn. by J.Wolf, Lippstadt1955. To be correctedin many details (see my reviewin Die MusikforschungIX, 1956, 77 ff.). WoT J.Wolf, Musikalische Schrifttafeln, Leipzig 1923. ZfMW Zeitschriftfür Musikwissenschaft.

MANUSCRIPTS CITED AND THEIR SIGNATURES

Ao Aosta, Bibl. del Seminario.Inventory by G. de Van, Musica Disciplina II (1948), 22-37. Autun Autun130, see, J.Handschin in Acta musicologicaX (1938), 28. Bern Berne,Burgerbibliothek A 421. List in WoG I, 210; cf. J.Handschin, "Die ältestenDenkmäler mensural notierter Musik in der Schweiz",in AfMWV (1923). BolH Bologna, Bibl. Universitaria596 busta HH. Descriptionby Ludwig, AiMW V. 285 f.. note and Besseler.ibid. VIL 207. and LuMa IL 22. BU Bologna, Bibl. Universitaria2216. Inventoryby H. Besseler,Musica DisciplinaWl (1952), 58 ff. BL Bologna,Bibl. G. B. MartiniQ 15 {olim Liceo Musicale 37). Inventory by G. de Van, Musica Disciplina II (1948), 234 ff. CaB Cambrai, Bibl. comm. 1328 (1176). See descriptionsby F.Ludwig, AfMW V (1923), 283 ff.and LuMach II, 20 and H. Besseler,AfMW VII (1925), 197 ff. Ch Chantilly,Musée Condé 1047. Inventoryby G. Reaney,Musica Disci- plina Vili (1954), 88 ff. EscA Escoriai Bibl., ms.V. III. 24. Descriptionby P.Aubry, SIMG Vili (1907), 517 ff. (correctionsby H. Besseler,MGG III, Sp. 1521). Fa Faenza, Bibl. Comunale 117 (Cod. Bonadies), Inventoryof the tablature part by D. Plamenac, Journal of the American Musicolog. Soc. VI (1951), 179. FC Florence,Bibl. del ConservatorioD 1175. Descriptionin FiStd, 10. FP Florence,Bibl. Nazionale Centrale,Panciatichi 26. Provisionallist in WoG I, 245 ff .

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Iv Ivrea,Bibl. capitolare.Inventory by H.Besseler,AfMW VII (1925), 188ff. Lo London,Brit. Mus., Add. 29987. Provisional list in WoG I, 268. Luc Lucca,Archivio di Stato(Codex Mancini) and Perugia,Bibl. Comunale. Inventoryby N. Pirrotta,Musica Disciplina III (1949), 134ff. Mach Machautmss. Full descriptionsin LuMa IL McV London,Brit. Mus., Add. 41667 I. Inventoryby H. Besseler,AfMW VII (1925), 196. Melk MelkT 1. See LuMa II, 20a,note 2. Mod Modena,Bibl. Estense M 5.24 (olimlat.568). Inventoryby N. Pirrotta, Attidella Reale Acad. di Scienze.Lettere e Artidi Palermo,Serie 4, vol.V.2 (1944-45);offprint 1946. MüEm Munich,Staatsbibl., mus. 3232a. Inventory in Dez, 78 ff. O Oxford,Bodleian Library, Canonici misc. 213. Inventoryby G. Reaney, MusicaDisciplina IX (1955) 86 ff. PadA Padua, Bibl. Universitaria,mss. 1475 and 684 and Oxford,Bodleian Library,Canonici Pat. lat. 229. Inventoryby H. Besseler,AfMW VII, 228 and VIIL 235. PadB Padua,Bibl. Universitaria,ms. 1115, Inventory by H.Besseler,AfMW VIII, 233. PadC Padua,Bibl. Universitaria, ms. 658. Descriptionby H. Besseler,AfMW VII U925Ì. 231/232. Parma Parma,Archivio di Stato,Inventory by H.Besseler,AfMW VII, 231. PC Paris,Bibl. Nat.,nouv. acq. frç.4379. Inventoryof fol.1-42 v by D.Plamenac, Musical QuarterlyXXXVIII (1952), 100ff., 248 ff., 260 ff.,incomplete inventory of fol.43-60 v, WoG I 211-13;index of tenorsof fol.61-65 by H.Besseler, AfMW VII (1925), 233. Pist Pistoia,Archivio Capitolare del Duomo.Inventory by F. Ghisi,Musica DisciplinaI {Journalof Renaissance and Baroque Music) 1946,180. Pit Paris,Bibl. Nat., ital. 568. Provisional list in WoG I, 252ff. Pr Prague,Universitäts-Bibl., XL E. 9. Inventoryin Ka. Pz Paris,Bibl. Nat., nouv.acq. frç.4917. Inventoryin the manuscript dissertationby Ph.Möller, Die französischenLieder der Handschrift Paris,Bibl. Nat. n.a. frç. 4917, Dissertation Frankfurt a.M. 1944. RO Rome,Bibl. Vaticana, Ottob. 1790. Inventory by Ludwig, AfMW V, 201. Sq Florence,Bibl. Laurentiana, Palat. 87, CodexSquarcialupl. List in WoG I, 233ff. See furtherWoSq. Str Strasbourg,Bibl. de la ville,M. 222 C. 22. Inventoryin BorrS. Tit London,Brit. Mus., Cotton Titus A XXVI. Indexby H. Besseler,AfMW VII (1925), 233. TrS7 Trento,Castello del BuonConsiglio 87. Inventoryby Koller, DTO VII, 31-ftO. Trém Châteaude Serrant(Maine-et-Loire), ms. of the duchess de la Trémoille. Inventoryby H. Besseler,AfMW VIII (1927),235 ff. Villingen See LuMa II, 42. Vorau Vorau (Steiermark),Stiftsbibl. Cod. 380. Descriptionby H. Federhofer, ActaMusicologica XXII (1950), 1. WolkA Vienna,Nationalbibl., ms. 2777. See DTO IX, 1. WolkB Innsbruck,Univ. Bibl. See DTO IX, 1.

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ABBREVIATIONS an. anonymous B C Cantus Ca Caccia Ch Chanson Ct Contratenor Edn. Edition (modern); in bracketsthe Ms. afterwhich the editionis done Frag. Fragment isRr IsorhythmicRondeau Refrain itB Italian Ma R Rondeau R.F. Remède de Fortune Rit Ritornello Rr Rondeau Refrain T Tenor Tab Tablature Tripl Triplum V Virelais

REMARKS ON THE TEXT-INCIPITS AND TO THE NUMBER OF VOICES

Beginningof text:The text-incipitsare givenin theversion of PR, evenif corrupt (Cantus text,or correctedafter another voice of PR). In most cases the firstletter is lacking(except forthe last part of PR) or onlysketched. Number of voices: The numberindicates the numberof voices. The exponent indicatesthe numberof fulltexted voices. 32 means: C and T withfull text;32c the two upper voices withfull text; 31+1+1 all threevoices with differenttext.

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EDITIONS OF TEXTS

G. Bertoni,"Poesie musicalifrancesi nel cod. Estenselat. 568", in ArchivumRomani- cum (1917), 27-57: All FrenchTexts of Mod «= PR nos.91, 92, 108, 116, 118, 120, 127, 131, 135, 150, 171, 172, 183. G. Carducci, Cantilene e ballate, strambottie madrigalidei sec. XIII e XIV, Pisa 1871: PR nos.31, 68, 104, 105. - "Musica e poesia nel mondoelegante italiano del sec. XIV", in Opere voi. Vili, Bologna1893: PR nos.2, 5, 9, 11, 19, 21, 28, 67. V. Chichmaref,G. de Machaut, Poésies lyriques,I, Paris and St. Petersburg,1909, 132: PR no. 91. C. E. H. de Coussemaker,in Mémoiresde la Société d'émulationde Cambrai,XVIII (1841): Pi* no. 149. E. Deschamps,Oeuvres complètes,éd. Queux de St. Hilaire et G. Raynaud,vol. X, Paris 1901: PR nos. 109, 143, 149, 179. E. Droz et A. Piaget,Le Jardinde Plaisance,Paris 1924: PR nos. 138, 142, 143, 192. P. Ferrato,Lapo Gianni degli Uberti,Padua 1870,16: PR no. 56. - Per nozze Batticozzo-Caitane o Tinti,Padua 1872,14: PR no. 85. Giornalestorico della letteraturaitaliana IV, 40: PR no. 18. E. Levi, Lirica Italiana antica,Florence 1905, 123: PR no. 71. E. Li Gotti,"II Cod. di Lucca, Testi letterali",in Musica Disciplina IV, lllff.: PR nos.26, 27, 30, 33, 40, 43, 44, 45, 46, 70, 97. M. Loepelmann,Die Liederhandschriftdes Cardinals de Rohan, Göttingen1923: no. 562 <=PR no. 196. N. Pirrotta,E. Li Gotti,"Paolo TenoristaFiorentino extra moenia", in Estudiosdedi- cados a MenendezPidal, III, Madrid 1952, 601: PR no. 48. F. Trucchi,Poesie italiane inedite,Prato 1846, II, 55, 156, 161: PR nos. 53, 93, 94.

This content downloaded from 132.174.255.116 on Thu, 11 Feb 2016 04:22:50 UTC All use subject to JSTOR Terms and Conditions ADDENDUM to ?The Manuscript Paris, Bibl. Nat., Nouv. Acq. Fr?. 6771 (Codex = Reina PR)" M?sica Disciplina Vol. XI, 1957, by Kurt Von Fischer.

At the top of p. 46 of my article, a close connection between the Italian part of can PR and the old Italian tradition was suggested. This now be confirmed by the = appearance of a G ( de modo Gallico) on fol. 4r in the Superius of PR No. 6. e= as The G appears in opposition to a q (t= cuaternaria de modo Ytalico). As far a source con I know, this is at present the only example existing in practical which new firms the theory of Marchetto's Brevis compilatio (cf. CS III, 6b and the edition of this treatise by G. Vecchi in Quadrivium I, Bologna 1957,45). The same is true with respect to Marchetto's Pomerio (cf. ms. Milan, Bibl. Ambrosiana D 5 inf., fol. 110) for the letterB, which I found on fol. 9v in the tenor of PR No. 17. The B here indicates divisio binaria.

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