.. i l "q-w T}IE MANCINI CODEX : A MANUSCRIPT STUDY by Carol J. Williams B. Mus (Hons) A thesis submitted in fulfilnent of the requirements for the degree of Doctor of Philosophy in the- Faculty of Music at the University of Adelaide. August,19B3 ii . ( ¡!,..,r.t, {,\ i,., ilti VOLUI.4E II CONTENTS Editorial Conments 1 I{an. 1- La douce ciere (M) Bartolino da Padova 1 Man. 2- Dueil angoisseux (Bde) Gilles Binchois 5 Man. 3- Serva ciaschuno (B) BartoLino da Padova 8 Man. 4- Rechordete de ni (B) Bartolino da Padova 10 Man. 5- Zoya de novi odori (B) Bartdlino da Padova L2 Man. 6- Per un verde boschètto (B) Bartolino da Padova 74 Man. 7- La sacrosanita kârita (B) Bartolino da Padova 16 Man. 8- Perche cangiato (B) Bartolino da Padova 18 Man. 9- Le aurate chíone M) Bartolino da Padova 20 Man. 10 Sempre donna (B) Bartolino da Padova 23 Man. 11 Non correr troppo (B) Bartolino da Padova 26 Man. I2 La belle flour (R) Anonyrnous 28 Man. 15 Mal vi loyaute (R) Anonymous 30 Man. L4 Mon bet any corteus (R) Anonyrnous 3t Man. 15 Mon beI amy non confort (R) Anonyrnous 32 Man. 16 Merci pour dieu (R) Antonio da Cividale 33 Man. T7 Loingtenps j'ay nis (R) Antonio da Cividale 35 Man. 18 Va pur amore (B) Francesco Landini 37 Man. 19 Donna sritto fallito tB) Francesco Landini 39 Man. 20 Con lagrerne bágnandome (B) Johannes Ciconia 4I Man. 2t Ave vergene (R) Anonymous 43 Man. 22 La fianna del to ânor (B) Johannes Ciconia 45 Þlan. ¿5 Donna possrio sperare [B) Niccolo da Perugia 47 Man. 24 Rosetta che non canbi (B) Zachara da Teramo 49 Man. 25 Un fior gentil (B) Zachata da Terarno 53 Man. 26 Deus deorun P1uto (B) Zachara da Teramo 56 Man. 27 Amor ne tossa (B) Zachata da Teramo 5B Man. 2B Plorans ploÍavi (M) Zachata da Terano 61 Man. 29 So1 ne trafigerl cor (B) Zacharias 64 Man. 30 Ciaramella me dolze (B) Zachata da Terano 67 Man. 31 Je Súy návvres/ le guagnele (B) Zachata da Teramo 69 Man. 32 -Gnáff'aAd ogne vento (B) Zachara da Teramo 7T Man. 33 Spesso fortuna (B) Anonymous 74 Man. 34 Del glorìoso titolo (M) Antonellus de Caserta 7S tl Man. 35 De nia farina cB) Anonymous 78 Man. 36 A nianser I rochì (B) Antonellus de Caserta 79 Man. 37 Piu chiar chrel sol (B) Antonellus de Caserta B1 Man. 38 Deh vogliatemé oldire (B) Antonellus de Caserta B5 Man. 39 Con dogliosi nartire (B) Antonellus de Caserta B7 Man. 40 0r tolta pur (B) Antonellus de Caserta 88 Man. 4T Madonna io mé ranento (B) Antonellus de Caserta 90 It{an. 42 Vous scjyes treS bieri Vênus (R)Antonio da Cividale 92 Man. 43 Atândre (V) Anonyrnous 95 Man. 44 Par nainteS fois (v) Johannes Vaillant 96 Man. 45 Mercede o donna (B) Giovanni da Foligno 100 Man. 46 I cani sono fuora (M) Johannes Ciconia r02 Man. 47 Chi vole anar cB) Johannes Ciconia 104 Man. 48 Cacciando un giorno CM) Johannes Ciconia 106 Man. 49 Gli atti co1 danzar (B) Johannes Ciconia 108 Man. 50 Una pantera (M) Johannes Ciconia 110 Man. 51 Le ray au soleyl (Canon) Johannes Ciconia ? 115 Man. 52 Chi ne1 servir (B) Johannes Ciconia 119 Man. 53 Per quella strada (M) Johannes Ciconia I2T Man. 54 Poi che norir (B) Johannes Ciconia 724 Man. 55 Piangono 1'ochi (B) Anonynous 126 Man. 56 Ahime per tutto (B) Anonymous L28 Man. s7 Ay 'Ias quant jé pans CR) Anonyrnous 130 Man. 58 Non credo donna (B) Anonymous I32 Man. 59 Tal sotto Iracqua (B) Niccolo da Perugia I34 Man. 60 Fugir non posso CB) Anonyrnous 736 Man. 61 I senti natutino (B) Andrea Stefani 138 Man. 62 Lnperiale sedendo (M) Bartolino da Padova 139 Man. 63 A tanti omini (B) Anonyrnous 14s Man. 64 0 cuor del corpo (B) Anonynous 746 Man. 65 Mille nerze (B) Anonyrnous 148 Man. 66-. Je suy nadane (R) Anonymous 150 Man. 67 Merci merci noble creature (V)Anonynous 151 Man. 6B 0 pensiere vani (M) Anonymous 153 Man. 69 De tristo ni topinello (B) Anonynous 155 Man. 70 Spinato intorno (B) Anonymous 156 Man. 7I Sri' ti sor stato (B) Francesco Landini 158 Man. 72 Con tutta gentilezza (B) Andrea Stefani 160 Man. 73 Morte ¡nra sciolt (t't) Andreâ Stefani 762 Man. 74 S'avesse forza (B) Bonaiutus Chorsini 166 Man. 75 La vagâ luce (B) Paolo da Firenze 16B Man. 76 Tra spéranza e fórtuna (B) Anonymous 170 -1- Editciiial Cofunénts Identification núnber : The boxed nurnber in the top left hand corner provides the identification nurnber of the work. Title line : The title line provides the title of the wotk, based on the opening words of the first text-line, the forn of the work and the conposerts name where known. Manuscript incipit : The first system of each piece opens with an incipit from the manuscrípt which provides the original clef and a general inpression of the notation style. Vocal ranges : The range of each of the voices is provided for each piece between the manuscript incipit and the conmencement of the trans cription. Clefs used : 0n1y those clefs in common modern usage have been employed, these being the G clef, the octave transposing G clef and the F c1ef. Clef choices : The decision as to which clef to use in each. situation was nade purely on pragmatic grounds and prinarily in order to avoid ledger lines. There are no clef changes within a piece. Ligatures The presence of ligatures is noted Ìn the usual way by upper horizontal square brackets. Coloration : The presence of coloured notation - black void, red void and red solid - is noted with lower horizontal square brackets. A description of the coloration is provided in the nanuscript commentary (Volurne I) Manuscript line changes : Upper square broken brackets indicate the beginning f and ending 1 of manuscript lines. This is particularly inportant in this nanuscript where left and rîght hand nargins have often been - 11- trimned. Editorial âddÍtìons : Vertical square brackets enclose all editorial additions. Manuscript accidentáI location : Where a manuscript accidental appears several notes before the note to which it applies, its original location is marked by an asterisk. When the asterisk is not provided, the ; accidental has been positioned in the manu- script directly before the note to which it applies. It is inportant to note the orig- inal location of the accidental for it nay well have provided a hexachordal nutation clue to the performer. Accidental continuance All accidentals, whether providecl in the manuscript or ad<led editorially, apply for the whole bar and only for that bar. Consequently no precautionary accidentals have been provided. Where a rnanuscript accidental rnay have some continuance value, this is indicated editorially above the note. Manuscript accidentals All accidental-s provided in the manuscript are positioned before the note. Editorial accidentals : All editorial accidentals appear above the note and are provided : 1) to avoid unnecessary dissonance, usually in the forn of the tritone. 2) to indicate the continuance of a manuscript accidental. 3) to sweeten a cadence pïogression at the end of a text-1ine. 4) to clarify accidental anbiguity found in the manuscript. l- 11 Text underlay : Text underlay is provided to satisy one cornplete rendition of the form. where extra text is available this is provided in Volume III within the Text Commentaries. 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