This page intentionally left blank EIGHT CENTURIES OF TROUBADOURS AND TROUVERES` This book traces the changing interpretation oftroubadour and trouvere` music, a repertoire ofsongs which have successfullymain- tained public interest for eight centuries, from the medieval chan- sonniers to contemporary rap renditions. A study oftheir reception therefore serves to illustrate the development of the modern concept of‘medieval music’. Important stages include sixteenth-century anti- quarianism, the Enlightenment synthesis ofscholarly and popular traditions, and the infusion of archaeology and philology in the nine- teenth century, leading to more recent theories on medieval rhythm. More often than not, writers and performers have negotiated a com- promise between historical research and a more imaginative approach to envisioning the music ofthe troubadours and trouveres.` This book points not so much to a resurrection ofmedieval music in modern times as to a continuous tradition ofinterpreting these songs over eight centuries. john haines holds a Canada Research Chair at the University of Toronto, where he teaches at the Faculty ofMusic and the Centre for Medieval Studies. His primary areas ofresearch are thirteenth-century monophony and its reception, and he has published related articles in Revue d’Histoire du Th´eatreˆ , Early Music History and other journals. cambridge musical texts and monographs General editors: John Butt and Laurence Dreyfus This series has as its centres ofinterest the history ofperformanceand the history ofinstruments. It includes annotated translations ofauthentic historical texts on music and monographs on various aspects ofhistorical performance and instrument history Recent titles John Butt Bach Interpretation: Articulation Marks in the Sources of J. S. Bach Nicholas Thistlethwaite The Making of the Victorian Organ Christopher Page (trans. and ed.) Summa musice: A Thirteenth-Century Manual for Singers Ardal Powell (trans. and ed.) The Virtuoso Flute Player by Johann George Tromlitz Beth Bullard (trans. and ed.) Musica getutscht: A Treatise on Musical Instruments by Sebastian Virdung David Rowland A History of Pianoforte Pedalling John Butt Music Education and the Art of Performance in the German Baroque Rebecca Harris Warrick and Carol Marsh Musical Theatre at the Court of Louis XIV Le Mariage de la Grosse Cathos Julianne C. Baird (trans. and ed.) Introduction to the Art of Singing by Johann Friedrich Agricola Valerie Walden One Hundred Years of Violoncello A History of Technique and Performance Practice, 1740–1840 Bernard Brauchli The Clavichord Suzanne J. Beicken (trans. and ed.) Vocal Performance and Ornamentation by Johann Adam Hiller Hugh Macdonald (trans. and ed.) Berlioz’s Orchestration Treatise musical performance and reception General editors: John Butt and Laurence Dreyfus This series continues the aim ofCambridge Musical Texts and Monographs to publish books centred on the history ofmusical instruments and the history of performance, but broadens the focus to include musical reception in relation to performance and as a reflection of period expectations and practices. Published titles John Butt Playing with History: The Historical Approach to Musical Performance James Garratt Palestrina and the German Romantic Imagination: Interpreting Historicism in Nineteenth-Century Music Daniel Leech-Wilkinson The Modern Invention of Medieval Music: Scholarship, Ideology, Performance Michael Musgrave and Bernard Sherman (eds.) Performing Brahms: Early Evidence of Performance Style Christopher Hogwood (ed.) The Keyboard in Baroque Europe John Haines Eight Centuries of Troubadours and Trouveres:` The Changing Identity of Medieval Music EIGHT CENTURIES OF TROUBADOURS AND TROUVERES` The Changing Identity of Medieval Music JOHN HAINES University of Toronto cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521826723 © John Haines 2004 This publication is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published in print format 2004 isbn-13 978-0-511-21038-9 eBook (EBL) isbn-10 0-511-21215-1 eBook (EBL) isbn-13 978-0-521-82672-3 hardback isbn-10 0-521-82672-1 hardback Cambridge University Press has no responsibility for the persistence or accuracy of urls for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Contents List of figures page viii List of tables x Acknowledgements xi Introduction 1 1. The first readers 7 2. The changing song 49 3. Enlightened readers 89 4. The science oftranslation 155 5. Recent readings 205 6. Conclusions 261 7. Epilogue 299 Bibliography 305 Manuscript sources 338 Index 342 vii Figures 1.1. Late eleventh-century Marian song in Old Occitan: ‘O Maria Deu maire’, from Paris, BnF, f. latin 1139, fol. 49r (courtesy ofthe Biblioth eque` nationale de France, Paris) page 17 1.2. Scribe writing on a parchment roll: opening miniature for Thibaut de Champagne’s ‘Pour froidure’ in chansonnier O, fol. 94r (courtesy ofthe Biblioth eque` nationale de France, Paris) 19 2.1. Modern copy ofchansonnier O’s reading ofThibaut de Champagne’s ‘Ausi com l’unicorne sui’: BnF ffr 12610, page 1 (courtesy ofthe Biblioth eque` nationale de France, Paris) 66 2.2. Thibaut de Champagne’s ‘Ausi com l’unicorne sui’ from chansonnier O, fol. 1r (courtesy ofthe Biblioth eque` nationale de France, Paris) 68 2.3. Anonymous fifteenth-century pastourelle ‘L’autrier quant je chevauchois’ in BnF ffr 12744, fols. 21v–22r (courtesy ofthe Bibliotheque` nationale de France, Paris) 70 3.1. Transcription and edition ofGaucelm Faidit’s planh from troubadour chansonnier η in Charles Burney, A General History of Music (1782), vol. 2, 242–390 3.2. Thibaut de Champagne in his palace listening to a song as depicted in Jean Monet’s Anthologie franc¸aise (1765), vol. 1 107 3.3. Table ofplants in Michel Adanson, Familles des plantes (1763), 223 116 3.4. Table oftrouv ere` songs in Jean-Benjamin de Laborde, Essai (1780), vol. 2, 309117 3.5. Moniot de Paris’ ‘Lonc tens ai mon tens use’,´ as transcribed from chansonnier N by Pierre Clairambault in chansonnier X, fol. 136/cxxix 121 viii Figures ix 3.6. Engraved portrait ofFranc¸ois-Augustin Paradis de Moncrif in Œuvres de Monsieur de Moncrif, vol. 1129 4.1. Engraved portrait ofCharles-Edmond-Henri de Coussemaker (courtesy ofthe Conservatoire Royal de Bruxelles) 171 4.2. Adam de la Halle writing his songs, as depicted in chansonnier A, fol. 133v (courtesy ofthe M ediath´ eque` Municipale d’Arras) 172 5.1. Portrait ofPierre Aubry 215 5.2. Portrait ofFriedrich Ludwig (courtesy ofthe Niedersachsische¨ Stadt- und Universitatsbibliothek¨ Gottingen)¨ 217 5.3. Ludwig’s table ofincipits fortroubadour chansonnier R: Gottingen,¨ Niedersachsische¨ Stadt- und Universitatsbibliothek,¨ Cod. Ms. Ludwig XI, 1,page1 (courtesy ofthe Nieders achsische¨ Stadt- und Universitatsbibliothek¨ Gottingen)¨ 225 5.4. Ludwig’s copy ofThibaut de Champagne’s ‘ Por conforter’ from chansonnier O: Gottingen,¨ Niedersachsische¨ Stadt- und Universitatsbibliothek,¨ Cod. Ms. Ludwig XII, page 4 (courtesy ofthe Nieders achsische¨ Stadt- und Universitatsbibliothek¨ Gottingen)¨ 228 5.5. Portrait ofFriedrich Gennrich (courtesy ofthe Stadt- und Universitatsbibliothek¨ Frankfurt-am-Main) 230 5.6. Gennrich’s sketch and final version ofBernart de Ventadorn’s ‘Non es meravelha’, incipit (courtesy ofthe Stadt- und Universitatsbibliothek¨ Frankfurt-am-Main) 231 5.7. Portrait ofJean and Louise Beck and Yvette Guilbert at the beach, around 1920 (courtesy ofThomas Dalzell) 241 6.1. Engraving ofjousting knights from Lodovico Ariosto’s Orlando furioso (1556), 473 273 6.2. Massilia Sound System 289 7.1. Provins, Tour de Cesar,´ lower level 301 7.2. Provins, Lycee´ Thibaut de Champagne, student refectory 302 7.3. Provins, Lycee´ Thibaut de Champagne, chapel next to kitchen 303 7.4. Provins, Lycee´ Thibaut de Champagne, north-east corner wall 303 Tables 1.1. Extant chansonniers with troubadour melodies page 21 1.2. Extant chansonniers with trouvere` melodies 21 1.3. Trouvere` melodies in miscellaneous sources 22 1.4. Gautier de Coinci manuscripts with music 22 1.5. Thirteenth-century works with musical interpolations 23 1.6. Lost medieval sources with music 24 1.7. Songs in measured notation 29 1.8. Troubadour and trouvere` songs surviving in motets 31 3.1. Eighteenth-century copies ofchansonniers ( +=with some music) 122 3.2. Moncrif’s imitations ofThibaut de Champagne’s songs 128 3.3. Sources ofpseudo-medieval selections in Laborde’s ‘Choix de chansons’ in his Essai (1780), vol. 2 136 4.1. Coussemaker’s list oftrouv eres` in the Montpellier Codex 176 x Acknowledgements Most ofthis book was written during my tenure at Shorter College in north-west Georgia (USA). Those who have undertaken such a project at an institution not primarily designed for research can appreciate the measure ofmy gratitude not only towards head librarian Kimmetha Herndon but especially to two inter-library loan specialists, Karen Simpkins and Julie Harwell. With unfailing cheer and persistence, Karen and Julie bore