Vo7I FLORENCE, BIBLIOTECA DEL CONSERVATORIO DI MUSICA LUIGI CHERUBINI, MANUSCRIPT BASEVI 2439: CRITICAL EDITION AND COMMENTARY DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Paul G. Newton, B. M., M. M. Denton, Texas June, 1968 TABLE OF CONTENTS VOLUME I ANALYSIS Chapter Page I. INTRODUCTION. 1 Subject . 1 History of the Manuscript . 1 Description andIndexes . 5 Previous Research . 12 II. COMMENTARY. 17 Sacred Models and Related Repertoire. 17 Anima mea liquefacta est. 17 Plaine d'ennuy-Anima mea liquefacta est (no. 45) by Compere Anima mea liquefacta est (no. 83) by Ghiselin Ave Maria . 21 Ave (Maria) Gracia pZena (no. 1), Anon. Ave maris stella........ ........... 26 Pour quoy tant me fault i Zattendre (no. 9)by La Rue IZ viendra le jour desire (no. 10) by La Rue Sancta Maria virgo-O Maria virgo (no. 84) by La Rue Monstra te esse matrem........ .....30 A la mort an prioit-Monstra te esse matrem (no. 72) by Josquin o florens rosa. .......................32 0 florens rosa (no. 82), Anon. Pauper sum ego. ........................ 36 Fortune d'estrange plummaige-Pauper sum ego (no. 81) by Josquin Quis det ut veniat. ................. 41 Revenez tous regretz-Quis det ut veniat (no. 4) by Agricola iv V Chapter Page Requiem aeternam...................... 47 PZores, gemier, crier-Requiem eternam (no. 35) by La Rue Requiem (no. 43) by Obrecht Sed libera... .--.-......... ..... 52 Si bibero (no. 87) by Le Petit Models in Popular and Courtly Music and the Secular Repertoire..-.-.-......... .a 55 Adieu m'amour........-.-............. .0 56 Adieu m'amour (no. 59) by Agricola Adieu m'amour (no. 60) by Agricola Adieu naturlic even myn............. 60 Adieu naturlic even myn (no. 3) by Lannoy Amours mon fait . ........ 63 Amours mon fait (no. 41), Anon. Een vroelic wessenn.................. 67 Een vrouelic wessenn (no. 25) by Pipelare Een vroelic wessenn (no. 26), Anon. Een vrowelic wesenn (no. 44) by Ghiselin Fors seullement (n. 16) by.G.i.e.l . 72 Fors seullement (no. 16) by Ghiselin Fors seullement (no. 17) by Ghiselin Fors seullement (no. 18) by La Rue Fors seullement (no. 19) by Brumel Fors seullement (no. 20) by Pipelare Fors seullement (no. 21) by De Orto Fors seullement (no. 22) by Obrecht Fors seullement (no. 47) by Ockeghem Fortuna desperata by.... ........ 78 Fortuna (no. 32) by Obrecht Fortuna (no. 33) by Obrecht Fortuna (no. 34) by Obrecht Ic ben zoe noe bedwonghen........ 81 Je suis si tresforte (no. 78) by Ghiselin In mynen zynn................ .... 84 Par vous je suis (no. 23) by Josquin Par vous je suis (no. 24) by Prioris In myne zynn (no. 28) by Busnois Je ne'vis oncques la pareiZZe . ... 88 James que Za-Je ne vis oncques la pareille (no. 27) by Brumel Mon seul plaisir.................. 91 Mon seul plaisir (no. 2) by Le Petit Myn hertz ....................... 97 Myn hertz altyt heeft verlanghen (no. 13) by La Rue vi Chapter Page Celie que j'ay long temps ayme (no. 70) by Rigo Petite camusette.. ......... 103 Petite camusette (no. 30) by Ockeghem Pour quelque paine que j'endure . 108 Pour quoy tant-Pource qu'il paine (no. 54) by Agricola Scaramella fala galle. ......... 114 Scaramella fala galle (no. 15) by Compare Tout a par moy... ........ 117 Tout a par moy (no. 5) by Agricola Tout a par moy (no. 63) by Agricola Wet ghy wat mynder jonghen herten deert 123 Wetghy wat mynder jonghen herten deert (no. 74) by Ghiselin Freely Composed Works .............. 126 A vous, non aultre, servir........ 127 A vous, non aultre, servir (no. 80) by La Rue Dulces exuviae......... .......... 129 Dulces exuvie (no. 42) by De Orto J'en ay deuil.......... ...... 132 J'en ay deuil (no. 29) by Ockeghem La mi la sol. .0. .. 134 La mi la sol (no. 37) by Isaac III. EDITING...-............ .140 Musica Ficta........ .140 Text Underlay . - .143 IV. SOURCES WITH SIGLA. .147 ..a. V. CONCORDANCE...-.-...... ..0. .. 0. .176 . VI. VARIANT READINGS. &.... .. .. ..270 . VII. INDEXES............ .... 0. 0. 0. 0. 303 . Index of Compositions . .303 Index of Composers. .... ....307 BIBLIOGRAPHY....-.-...-........ .313 .0.00 vii VOLUME II MUSICAL SUPPLEMENT Part Page I. TRANSCRIPTIONS*.................. ............. 1 II. NOTES TO THE TRANSCRIPTIONS . ......... 276 CHAPTER I INTRODUCTION Subject The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vo- cal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin. 2 History of the Manuscript Florence 2439 is one of five Renaissance music manu- scripts owned by Abramo Basevi (1818-1885), a professor of 1 Florence 2439 is one of many sigla employed in this study to designate manuscripts and early prints. Other sources, specifically those with compositions related to the repertoire of Florence 2439, are cited similarly (e.g., Paris 2245; London 31922; Petrucci, Canti C). See Chapter IV for the full names of manuscripts and early prints cited by sigla. Copies in other sources of works in Florence 2439 and compo- sitions related to the repertoire of the manuscript are cited in detail in the Concordance. This information is not re- peated elsewhere when referring to these works and their sources. Related compositions are listed numerically in the Concordance, and elsewhere are identified by the numbers assigned in the Concordance. 2 Concerning the distribution of texts in the manuscript, see Chapter III. 1 2 theory at the Reale Istituto Musicale 3 in Florence.4 In addition to his teaching, Basevi wrote studies on opera,5 three textbooks-two on harmony6 and one on the history of 7 music, and two operas-Romilda ed Ezzelino and Enrico Odoardo. Shortly after Basevi's death, the manuscripts be- came the property of the Reale Istituto Musicale. In his writings Basevi defended both native Italian opera and German opera. He proposed that Wagner be made an honorary member of the Reale Istituto Musicale. Wagner wrote Basevi an autographed letter in French, addressing Basevi as "Monsieur;" it is dated March 30, 1856. The call number of this letter in the L. Cherubini Conservatory library is Basevi 2438. The next item in the Basevi collection is Florence 2439. 3 This institute was founded March 15, 1860, when the school of music of the Imperiale e Reale Accademia delle Belle Arti of Florence was dissolved. In 1910 the Reale Istituto Musicale was renamed Conservatorio di Musica Luigi Cherubini, abbreviated L. Cherubini Conservatory in this study. 4 The information for this and the following paragraph is taken from Adelmo Damerini, I R. Conservatorio di Musica Luigi Cherubini di Firenze (Florence, 1941-49), pp. 13-15. 5 A.Basevi, Studio sulZe opere di Giuseppe Verdi (Florence, 1859). Concerning a study by Basevi of Lohengrin, see Damerini, I R. Conservatorio di Musica Luigi Cherubini di Firenze, p. 14. 6 A. Basevi, Introduzione ad un nuovo sistema d'armonia (Florence, 1862); A. Basevi, Studi sull'armonia (Florence, 1865). 7 A. Basevi, Compendio della storia della musica (Florence, 1865). 3 Although Florence 2439 frequently is called "the Basevi manuscript" by musicologists, Basevi owned four other Renais- sance music manuscripts. These manuscripts have the follow- ing call numbers in the L. Cherubini Conservatory library: MSS Basevi 2440, 2441, 2442, and 2495. Although all of the texts of MS 2440 are in Italian, this source contains works by both native and foreign com- 8 posers. Two of the composers represented, "H. ysaac" and "Alex. Agricola," also wrote works appearing inFlorence 2439. A coat of arms is emblazoned on f. l'.9 Gustave Reese con- siders this manuscript to be associated with the court of Lorenzo dei Medici.10 Four-part French and Italian secular works and three- part Italian madrigals appear in MSS 2441 and 2495, respec- 1 1 tively. French secular works by French and Flemish com- posers are contained in MS 2442, originally a set of four part-books, of which three survive.1 2 8 Riccardo Gandolfi, "Intorno al codice membranaceo N. 2440 esistente nella Biblioteca del R. Istituto Musicale di Firenze," Rivista Musicale Italiana, XVIII, 3 (1911), 546. 9 A folio verso is designated by a prime following the number. If no prime is given, the number refers to a folio recto. 1 0 Gustave Reese, Music in the Renaissance, rev. ed. (New York, 1959), p. 170. llDamerini, Ii R. Conservatorio di Musica Luigi Cherubini di Firenze, p. 62. 1 2 Howard Mayer Brown, "Chansons for the Pleasure of a Florentine Patrician: Florence, Biblioteca del Conservatorio di Musica, MS Basevi 2442," Aspects of Medieval and Renais- sance Music: A Birthday Offering to Gustave Reese, edited by Jan LaRue (New York, 1966), pp. 56-66. 4 The Basevi collection also contains rare printed theo- retical works of the sixteenth and seventeenth centuries.1 3 Two of these treatises, Lucidario in musica di alcune oppenioni antiche e moderne1 4 and IZ ToscaneZZo in musica,1 5 were written by Pietro Aron, who was acquainted with several of the composers represented in Florence 2439.16 The relationship of Florence 2439 to the rest of the Basevi collection may be summarized as follows. Florence 2439 has neither compositions nor texts in common with the other Basevi manuscripts. Included in MS 2440 are works by two composers also represented in Florence 2439. As both MSS 2440 and 2495 contain works with Italian texts, they probably were written in Italy. Although the texts of MS 2442 are in French, this manuscript was written for an Ital- 1 7 ian nobleman. Since theoretical works by Pietro Aron, an Italian theorist acquainted with several of the composers 13 Damerini, IZ R.