_full_alt_author_running_head (neem stramien B2 voor dit chapter en nul 0 in hierna): 0 _full_alt_articletitle_running_head (oude _articletitle_deel, vul hierna in): Friends and Foals _full_article_language: en indien anders: engelse articletitle: 0 Friends And Foals 311 Chapter 11 Friends and Foals: The Polyphonic Music of Adam de la Halle Mark Everist 1 The Polyphonic Music It might be thought that Adam de la Halle’s output of polyphonic music would be liminal to the oeuvre of an artist best known for his plays, chansons, and jeux-partis. The evidence shows, however, that not only do Adam’s polyphonic rondeaux and motets form part of a network of intertextual reference that un- derpins his entire output, but also that his polyphony stands at the center of this network. It is an indispensable element in understanding the poet, the composer, and his cultural and artistic achievement. It is therefore surprising that so little attention has been given to Adam’s polyphonic music.1 While many of his sixteen rondeaux and five motets have been brought into discussions of other genres, there has never been a system- atic account of this part of the repertory.2 This is especially strange since Adam’s author corpus preserved in fr. 25566 categorizes his works explicitly giving equal weight to his polyphony as to any other genre (folio numbers in parentheses): Les cancons Adan de la Hale (10–23v) Les partures Adan (23v–32v) Li rondel Adan (32v–34v) Li motet Adan (34v–37v) Le jus du pelerin (37v–39) Center of Author Corpus Li gieus de Robin et de Marion (39–49) 1 Charles Edmond Henri de Coussemaker’s pathbreaking work on Adam de la Halle (Œuvres complètes du trouvère Adam de la Halle (poésies et musique) (Paris: Durand and Pédone- Lauriel, 1872)) contains accounts of both rondeaux and motets (lxix–lxxiv). 2 There has been a critical edition of Adam de la Halle’s works since 1967: Nigel Wilkins, ed., The Lyric Works of Adam de la Hale (Chansons, jeux partis, rondeaux, motets), Corpus mensu- rabilis musicae 44, 2nd ed. (Neuhausen-Stuttgart: American Institute of Musicology; Hänssler, 1984). © Koninklijke Brill NV, Leiden, 2019 | doi:10.1163/9789004379480_013 312 Everist Le jeu de la Feuillée (49–59v) Le Roy du Sezile (59v–65) Li vers d’amours (65–66v) Li congies Adan (66v–67v)3 The rubrics in fr. 25566 both point to the equal significance of all the genres in the manuscript and show how the compilatio of the manuscript sets up an op- position between the musico-poetic works in the first half of the author corpus and the plays and other works in the second. Fol. 39 is the center point of this part of the manuscript with musical and (mostly) non-musical works flanking the Jus du pelerin. Within Adam’s works, the musical compositions are arranged generically: grands chants are followed by jeux-partis; rondeaux are followed by motets. Some see this arrangement as being made “in ascending order of difficulty.”4 This is certainly true in musical terms: polyphonic works follow monophonic ones, and the more complex motets follow the simpler rondeaux. But priority is given to the aristocratisant grand chant, whereas the rondeaux and motets, whose texts veer towards the popularisant, are placed at the end. The dramatic works follow, and the corpus is concluded by strophic narrative. The musical and non-musical sections of the author corpus are approximately the same length, and in terms of the number of folios the Jeu du pèlerin assumes a cen- tral position in this pattern. This work may not be by Adam, and may have been written, or at least adapted, specifically for this book; its relationship to the Jeu de Robin et de Marion that follows, unique to this manuscript transmission of the text, is reinforced by its final line which only rhymes with the first line of the first song of the Robin et Marion play that follows immediately.5 In the Jus du pèlerin, Adam moves from being the author of the lyric works to becoming the protagonist – a role fully developed in the Jeu de la feuillée. At the same 3 This list replaces the one in Mark Everist, “The Polyphonic Rondeau c.1300: Repertory and Context,” Early Music History 15 (1996): 59–96, 70, which is marred by an inexplicable printing error. For an argument that Jehan Bodel’s Jeu de Saint Nicholas should be included as the final item, see Carol Symes, “Repeat Performances: Jehan Bodel, Adam de la Halle, and the Re- Usable Pasts of Their Plays,” in Collections in Context: The Organization of Knowledge and Community in Europe, ed. Karen Fresco and Anne D. Hedeman (Columbus: Ohio State University Press, 2011), 275–87, and Chapter 1 of this book. 4 Sylvia Huot, From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry (Ithaca: Cornell University Press, 1987), 68. 5 Ibid., 70 (from where most of the ideas in this paragraph are also taken). The suggestion that these lines were part of the conjunction of these two texts in this manuscript alone was made in Ernest Langlois, ed., Le Jeu de Robin et Marion par Adam le Bossu, trouvère artésien du xiiie siècle (Paris: Thorin, 1896), 76 –82..