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Poetic Anthologies of Fifteenth-Century France and Their Relationship to Collections of the French Secular Polyphonic Chanson

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Poetic Anthologies of Fifteenth-Century France and Their Relationship to Collections of the French Secular Polyphonic Chanson POETIC ANTHOLOGIES OF FIFTEENTH-CENTURY FRANCE AND THEIR RELATIONSHIP TO COLLECTIONS OF THE FRENCH SECULAR POLYPHONIC CHANSON Kathleen Frances Sewright A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by John L. Nádas Tim Carter Jon W. Finson James Haar Hana Vlhová-Wörner ABSTRACT Kathleen Frances Sewright Poetic Anthologies of the Fifteenth Century and their Relationship to the French Secular Polyphonic Chanson (under the direction of John L. Nádas) This dissertation is a study of four poetry sources—three manuscripts and one early print—and their relationship to the fifteenth-century French secular polyphonic chanson. Three of the poetic sources are true anthologies, and all were compiled from smaller, internally consistent collections of poems, many of which poems survive with musical settings in notated sources of the period. This suggests that at least some of the exemplars from which this poetry was copied were themselves notated. The first chapter examines Berlin, Staatliche Museen Preußischer Kulturbesitz, Kupferstichkabinett MS 78.B.17 (the “Rohan Chansonnier”), and identifies collections from Paris and central France, as well as collections featuring poetry by Alain Chartier and members of the French royal court. Chapter 2 investigates Paris, Bibliothèque Nationale, MS fonds français 1719, and determines that at least two, and possibly three of its constituent collections were copied from musical exemplars, including one from the French royal court of the 1470s and 80s. Chapter 3 studies Antoine Vérard’s ground-breaking print Le Jardin de plaisance et fleur de rethoricque, an extremely important repository of many fifteenth- century chanson texts. These texts, in nineteen collections, were organized according to a carefully conceived strategy, probably by a former employee of Charles d’Orléans, the poet ii Regnauld Le Queux. It is possible to identify musical collections within the volume emanating from the courts of the Burgundian duke Philippe le Bon, and Jean de Bourbon at Moulins. Chapter 4 discusses British Library MS Lansdowne 380. This volume was written for a young, unmarried girl to serve as an instrument of her education. This was likely Elizabeth Kingston, who married William Kingston, counsellor and body man to King Henry VIII of England. The chanson texts preserved within the volume appear to reflect repertory cultivated at the court of either Antoine or Jean Croy, vassals to Philippe le Bon, and offer concrete evidence of English interest in the French polyphonic chanson of the fifteenth century. These four poetry sources also provide information about specific compositions, allowing us to re-date specific chansons by Hayne van Ghizeghem, Loyset Compère and Alexander Agricola. iii ACKNOWLEDGEMENTS This document almost did not see the light of day, and it would not have, except for the encouragement, support, and assistance of many good people. I am particularly indebted to the library staffs of the British Library, the Bristol Public Library, Centre College (especially Carrie Frey), the University of Central Florida, and the Music Library of the University of North Carolina at Chapel Hill, especially Phil Vandermeer, Diane Steinhaus and Carrie Monette. Chuck Atkinson was a source of encouragement at the times I needed it most, Janet Pollack spent many hours discussing aspects of Lansdowne 380 with me and offered many valuable insights, and Ruth Steiner’s incredible knowledge of chant helped to set my feet upon the path of discovering Lansdowne 380’s secrets. David Fallows was unstintingly generous with his time, expertise and resources by letting me see a copy of A Catalogue of Polyphonic Songs, 1415-1480 in advance of its publication and by reading my chapters and making many suggestions and comments on their contents. I am truly grateful for his characteristic patience and generosity towards young scholars. Thanks also to Michel Huglo and to Barbara Haggh-Huglo, who took time away from their busy lives to offer suggestions and corrections to the document, that I might make it better. Certain members of the faculty at UNC-Chapel Hill were particularly supportive: Annegret Fauser, in her capacity as Director of Graduate Studies, spent incalculable hours sorting through the bureaucratic mess of my particular academic situation, always with good humor; Don Oehler and his wife Alice Bordsen gave me a place to live while I finished up my program; and Tim Carter, Jon Finson and Hana Vlhová-Wörner graciously sat on my iv committee and made many valuable comments and suggestions. Matthew Franke obtained material for me and was a stalwart mess-mate, and Alicia Levin opened her home to me, provided transportation and meals, and then performed assorted thankless clerical tasks for me while I was away. Many of the above individuals were also subjected to a great deal of wailing and gnashing of teeth, all of which they bore patiently and with compassion. James Haar, John Nádas and Scott Warfield are particularly dear to my heart. It is no exaggeration to say that the first two taught me just about everything I know about early music, and I am proud to say that I consider myself their musicological granddaughter and daughter, respectively (if they will allow me that familiarity). Scott, computer guru extraordinaire and faithful editor even though his eyes glaze over at the mere mention of the term “early music,” read every word of the document and saved me from myself many times. And finally, thanks to Peaches and Sasha, who kept me sane. Soli gloria dei. v TABLE OF CONTENTS LIST OF TABLES .....................................................................................................................x LIST OF EXAMPLES ........................................................................................................... xiii ABBREVIATIONS .................................................................................................................xv Manuscripts Cited ........................................................................................................xv Editions and Prints Cited ....................................................................................... xxviii Sources Cited by Sigla ........................................................................................... xxviii Introduction POETIC ANTHOLOGIES OF THE FIFTEENTH CENTURY AND THEIR RELATIONSHIP TO THE FRENCH SECULAR POLYPHONIC CHANSON .........1 Background ....................................................................................................................1 The Poetry Sources in Relation to the Musical Sources ................................................8 Ordering of Earlier Musical Sources ...........................................................................11 Principles of Ordering of the Fifteenth-Century Poetry Sources .................................21 The Role of the Scribe/Compiler .................................................................................29 The Retrospective Nature of the Texts ........................................................................33 Chapter I. THE ROHAN CHANSONNIER .................................................................................38 The Physical Structure of Rohan .................................................................................40 Section One: The Ballades ..........................................................................................45 Section Two: The Chansons, Rondeaux, Lais and Virelais ........................................48 Collection “D” .............................................................................................................50 vi Collection “E” ..............................................................................................................56 Collection “K” .............................................................................................................57 Collection “G” .............................................................................................................61 Collections “A” and “I” ...............................................................................................70 Collection “C” ..............................................................................................................84 Collection “B” ..............................................................................................................86 Collection “J” ...............................................................................................................88 Collections “F” and “H” ..............................................................................................93 The Exemplars for the Rohan Manuscript ...................................................................96 Summary ......................................................................................................................97 II. PARIS 1719 ...............................................................................................................101 Literary Significance of P1719 ..................................................................................101 Physical Characteristics of the Manuscript ................................................................105 Collection “B” ............................................................................................................118
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