Philippe de Vitry (291-1361) Cum statua/Hugo, Hugo/Magister invidie att Motet eit 24 “gy ‘Tenor Cum statua.+ (Ivrea) +Magister invidies Cambrai as. sus est lum pri. mo fu .fe- rit |au. re. 4 mr From Philippe de Vitry, Complete Works, ed. Leo Schrade, with new introduction and notes by Edward I, Rosner (Monaco: Editions de I'Oiseau-Lyre, 1984), 26-28. Reprinted by permission. Translation by David Howlett, Bowdoin College. Used by permission, Parts ofthe following commentary draw on an illuminatinganalysis of this motet, its context, and its meanings by Anna Zayaruznaya, The Monstrous New Art: Divided Forms in the Late Medieval Motet (Cambridge: Cambridge University Press, 2015), 106-41 139140 24 Prusipee pb Viriy * Cum statua/Hugo, Hugo/Magister invtdie ho = mo pal eis, vir. tustum fi. oa 10 059 sancti | to quis. |fic. tis | fe. re no fvis, - =} sicamis qui.bus|.dam -|tis wu. | na cum pa. tri.24 Puiuiper pe VirRy + Cun statwa/Hugo, Hugo/Magister invidie 141 1. po-feri.sis an] ti. fra . |sis qui | bus = |men so .|pni-sti .| ce. hee con .| ci - | no Phisip.pus| pu. bli _ | ce ne 18 4 lin. |gua ledor u-| ni. us 120 ise 128 Ml.142 029) one 139 144 4s 129 24 Puiuirer pe Vitay + Cum statua/Hugo, Hugo/Magister invidie 130 lpro.phetis fal-lsis, at . |ten.di | te. pos.sum |ve. mM. us ‘Trip Cum statua Nabucodonasor metallina successive Syon aegradatim deduci ac minus fieri colis passus est Dominus, que cum primo fuerit aurea, virtuosus; inde argentea, carne mundus; deinceps herea, sanctiloquus: fietilis ferea aclutea, Pater novissime novissimis quibusdam maxime corde dantis una cum patribus ipocrisis antifrasis quibus dat mendici nomen sophistice. Hee coneino Philippus publice et quia impia lingua ledor unius territe pro vero refero: a prophetis falsis, attendite As with Nebuchadnezzar’s statue of metal, the Lord has suffered Zion successively and by stages to he reduced and made less: at first [the statue] was gold, and [Zion] virtuous; then [it was] silver, [and Zion] clean in its flesh; next bronze, {and Zion] holy in speech; [and last] a work of iron and clay. Most recently, the father [pope] to certain very young men, called “givers” and “fathers through hypocrisy and false words, fallaciously gave the name “mendicants.” This I, Philippe, sing publicly, and because the impious tongue of one in terror has wounded me say as the truth: heware of false prophets! Durr Hugo, Hugo, princeps invidie, tucum prima pateas facie homo pacis, virtutum filius, te neminem decet in populo lingue tue ledere iaculo set ignarum docere pocius. Qua me colpas igitur rabie assignata mihi nulla die? Inconsultus causamque nescius stupeo, et e0, cum invidus sic sis palam pius, perpere dicere ipocritam te possum verius. Hugh, Hugh, prince of envy, since on first appearance you seem aman of peace, a son of the virtues, it befits youto wound no one among the people with the javelin of your tongue but rather to teach the ignorant. With what madness do you therefore charge me, never before imputed to me? Unconsulted and knowing nothing of the cause, Jam astounded, and therefore, since you are so envious even though you seem outwardly to be holy. inconsiderate man, I can say quite truly that you area hypocrite. ‘Tenor Magister invidie Master of envy —Trans. Davi Howzerr (MopiteD)Guillaume de Machaut (ca. 1300-1377) La Messe de Nostre Dame: Kyrie and Gloria Mass (Mass Ordinary cycle) 1364 (a) Kyrie [ooonre Contratenor hy - nse 10 6 = eo. fy. : _ = son, From The Morks of Gullaume de Machaut, ed. Leo Schrade, vol 2, Polyphonic Music ofthe Fourteenth Century 3 (Monaco: Editions de I Oiseau-Lyre, 1956),37-45. Reprinted by permission. The discussion ofthe form of the Gloria and ts paraphrase of achant melody is adapted from Daniel Leech Wilkinson, Machauts Mas: An Introduction (Oxford: Clarendon Press, 1990), 29-38, 147148 25 Geieeveme pr Macau) © La Messe de Nostre Dame: Kyrie and Gloria [ose] — ooo Bo eet ee Ba = = hon © Repeat Kyrie L [pwn] ye25 GUILLAUME br MACHAUT + La Messe de Nostre Dame: Kyrie and Gloria 149 e = Hey | son -fley - - -| son. Repeat chant Christe. 556 0 m ty. hy. Hy . “ Wy. ri. - -¢150 25 GUILLAUME DE MACHAUT + La Messe de Nostre Dame: Kyrie and Gloria25. GUILLAUME DE MAcHAUT + La Messe de Nostre Dame: Kyrie and Gloria 151 e okey. Kyrie eleison. Christe eleison, Kyrie eleison. (b) Gloria : - ley. : 7 = son. Lord have merey Christ have mercy Lord have merey. Bt in ter - ftun.ta-tis.lau.| da mus Tun ta-tis.Lau_| da mus bus bo - ne vo ~ lun.ta-tis.Lau- da-mus te. ra pax ho 2 mini. Be . nedici.mus Be . ne.di.ci.mus | te. — Be. ne.di-ci.mus te.152 25 GumLtauar De MacHAUT * La Messe de Nostre Dame: Kyrie and Gloria Fifi. camus Fifi - eamus Ado. ra. mus te Glo. ri.fi.camus te. Gra. tias [prop-ter | mag - nam [prop-ter prop.ter | mag. nam acgimus ti. = bi prop.ter mag. nam glo. ri - am to . am. To 8 Do . mi-ne de . us,rex ce.le - stis, de.us pa - terom.ni-po. — - tens.5 GUILLAUME DE MacHAUT + La Messe de Nostre Dame: Kyrie and Gloria 153 anigeni |. Domine fi. . 1 u.nigeni - te, Je. su Chri - ste. mine de -| us,ag-nus de mi ne de -| us,ag-nus de Do - mi-nede - usag-msde- i, fi- : on 19 tol lis tol . lis tol . lis Qui tol - is pecca.ta peeca.ta pecea.ta Aa peceata mun. di, micsere- re ono. bis.154 TLLAUME DE MAcHAUT + La Mess de Nostre Dame: rie and Gle pecca . tamun |. di, do.proea.ti de.preca.ti. pecea .tamun |. di, de.preca.ti- Qui tolls pecea-tamun . di, sus. cf - pe de:preca.ti- o-nem no - stram. dex.te -| ram — dex.te -| ram Qui se = des ad dexte ram = pa = tris, ~—mi-se.re re no - bis. 230 Quo-ni solus sane . | Tw solus domi} nus. so -| lusaltis.si solus sane | Tu solusdomi-| nus. solussane - | Ta solusdomi | nus. so .| lus al-tis.si Quo-ni . am tu solussane - tus. Tu solusdomi - nus. Tu so. lus tis.si . mus,25 Gum.aume DE MAcHAUT » La Messe de Nostre Dame: Kyrie and Gloria 155 spi.ri.tusnglori spi-ri.tusin glori - spi.ri.tu,inglori Jeo. sw Chris oste. Cum —sane.to spirituinglori - 120156 25 GUILLAUME DE MAcHAUT + La Messe de Nostre Dame: Kyrie and Gloria 15 at ‘ 130 Gloria in excelsis Deo Glory be to God on high. Et interra pax And on earth peace hominibus bonae voluntatis. to menof good will. Laudamus te We praise thee. Benedicimus te. We bless thee Adoramus te Weadore thee. Clorificamus te. ‘We glorify thee. Gratias agimus tibi We give thee thanks proptermagnamgloriamtuam. —_forthy great glory 191] Domine Deus, Rex caelestis, 0 Lord God, King of heaven, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite, O Lord, the only begotten Son, Jesu Christe Jesus Christ Domine Deus, Agnus Dei, O Lord God, Lamb of God, Filius Patris, Son of the Father. 149 ] Qui tollis peccata mundi, Thou who takest away the sins of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, ‘Thou who takest away the sins of the world, suscipe deprecationem nostram, receive our prayer. Qui sedes ad dexteram Patris, ‘Thou who sittest at the right hand of the Father, miserere nobis. have mercy on us. 250] Quoniam tu solus sanctus For thou only art holy, Tusolus Dominus. Thou only art Lord. ‘Tusolus Altissimus, Thou only art most high, Jesu Christe. O Jesus Christ, Cum Saneto Spiritu, With the Holy Spirit, In Gloria Dei Patris. In the glory of God the Father. 314] Amen. Amen.| Guillaume de Machaut (ca. 1300-1377) ue Douce dame jolie Virelai 26 Mid-fourteenth century R15.Dou.ce da. me jo. li. ¢, Pour Dieu ne pen. ses mi. ¢ Que 4. He .lastet je men. die D'es.pe-rance et d’a-i - —e: Dont 10 5 nulle ait sig-nou . ri. e Seurmoy fors vous seule . ment. 2.Qu'a . des sans triche . ma joie est fe ni. e, Se pi. te ne vous en prent. 3, Tous les jours de ma 20 5 35 Tr ~ ¢ Chie. ri. e Vous ay et humble . ment le Selvi le | Sans Viclein pen. se -ment, A.1 Douce dame jolie, Sweet lovely lady, Pour Dieu ne penses mie for God's sake do not think of me Que nulle ait signourie that any woman has sovereignty Seur moy ors vousseulement. over me save you alone. 055 | b 2 Quiades sans tricherie Foralways, without treachery, Chierie Ihave cherished Vous ay et humblement youand humbly b 3 Tousles jours de ma vie all the days of my life Servie have served you Sans vilein pensement. without any base thought. 054] a 4 Helas! et je mendie ‘Alas! and I beg Dresperance et d'aie: for hope and for help: Dont ma joie est fenie, for my joy is ended, Se pité ne vous en prent. ifyou do not take pity on me. A Douce dame jolie... Sweet lovely lady 105 ] b 2 Mais vo douce maistrie But your sweet sovereignty Maistrie masters Mon cuer si durement my heart so completely b 3 Quelle le contralie that it stays my heart Etlie and binds it Enamours tellement in love so much From The Works of Gullaume de Machaut, ed. Leo Schrade, vol 2, Polyphonic Music ofthe Fourteenth Century 3 (Monaco: Editions de 'Oiseau-Lyre, 1956), 168. Reprinted by permission, 16226 GUILLAUME DE MacnauT + 74] a 4 Quill nade riens envie Fors d'estre en vo baillie: Etse ne liottrie Vos cuers nul aligement. Al Douce dame jolie 155 | b 2 Etquant ma maladie Carie Ne sera nullement b 3 Sans vous, douce anemie, Quilie Estes de mon tourment, 214 | a 4 Ajointes mains deprie Vo cuer, puis qu'il m‘oublie, Que temprement miocie, Car trop langui longuement. Douce dame jolie 163 that my heart wants nothing save to be in your service; and yet your heart offers mine no relief. Sweet lovely lady And since my malady will be cured not at all without you, sweet enemy, who are pleased with my torment with clasped hands I pray to your heart, since it forgets me, that it mercifully kill me, for Ihave languished too long. A 1 Douce dame jolie Sweet lovely lady... Eg Machaut wrote many monophonic songs, including twenty-five virelais. Douce dame jolie carries on the tradition of the trouveres both in its subject matter, related to fine amour, and in its playful approach to language. The poem plays on images of feudal fealty: the lady is the sovereign and the singer is her vassal, who says he has humbly and loyally served her all his life and begs for her aid. This virelai appears in most of Machaut's manuscripts of his collected works, including the earliest, and thus must have been written by about 1350. A virelai typically has three stanzas, each preceded and followed by a refrain, The stanzas have the AB pattern of musical repetition familiar from many earlier secular songs (see NAWM 9 and 11), and the refrain uses the same music as the last section of the verse; because the refrain appears first, and musical elements are customarily labeled in alphabetical order, the overall form of the virelai is thus AbbaA bba A bba A, with uppercase letters indicating repetitions of both text and music and lowercase letters indicating repetitions of music with new text. This is like the form of the cantiga in NAWM 12, but the number of stanzas in cantigas varies, while virelais normally have three stanzas (or in some cases only one) The number of poetic lines in each section can vary widely. In Douce dame jolie, there are four lines in the refrain and a sections and three lines in the b sections: P52 BOs A Reese Beet) oo Rhyme a a ab a abaabaaab Lines of poetry Sections of music A. b bFrancesco Landini (ca. 1325-1397) Cosi pensoso ate Caccia Mid-fourteenth century 30 ip” cho. ma. |mor mi -ti,*Le.va quel] sas - lsran . chio, From Francesco Landini, Complete Works, ed. Leo Schrade, with introduction and notes by Kurt von Fischer. vol. 2, Three-Part Ballate, Madrigals, Gaceia (Monaco: Eaitions de 'Oiseau-Lyre, 1982), 219-21 181182 30 FRANCESCO LANDINI + Cosi pensoso 0 — pe -seie,pi- glia,| pi - glia" st’ granma.ra | vi - ve. |.ti, “Le-va quel — a 7 so Co. |min.cid T . safoer . la “Vel |gran - ehio, vel | pe-scie,pislia pi - glia” “0 me, o | met™ uChe ai, che | a -|své granma_ra} vi. alia — -min-eid 1. sa_[bel la sie” "UErmel.li na Cheai, che| a. i? son mor .| sa — frie ben, tie] ben? [Que . sve — fug -30 FRANCESCO LANDINI + Cosi pensoso 183 bel. la pefsehie - 7 tan -togiunsa [I'a - mo -gie? “Po, # |] Vor |Ermelli .na | ra —— “Tie'l —_ben,tie'l | ben” 140 veda! 90 EERE eeh 7 = : 100 ltorchonbe’sem. tos, ao woe184 40 Peanersco LANDINE © Cost periroxo wo ' — , 7 taba: pz etary era aap ef ee tet p fa teers) paper te ‘ . dom i a ee face d d Cosi pensoso comfamor mi guid Lont in thought an Love guided me Per la verde rivera pass passo, long the green bank step by step, Senti’, “Leva quel sasso!” Theard, "Pick up that rack!” “Ve'l granchio, ve’, ve'l pesee, pighia, pigtia!” the crab, look, see the fish, eateb it, eateh it!” “Quest’é gran maravigtia! “Phin iv ageeat marvel!” Comineid Isabella con istrida Isabella began to were O me, ome!” omy!” *Che hai, che hai?” “What's wrong? What's wrong?” son morsa nel dito! ve heen bitten on my linger “0 Lisa, il pesce fugge! "0 Lisa, the fish in getting away!" “ETho. i Pho!” ‘ve got it, ve got itl” “L’Ermellina ha preso!” Epmellina caught it ben, tie I hen! “Hold it tight, hold ittigh! 1'@ bella pesehi “This iva fine fish pond.” Intanto giuns! Inthe meantime, Fhad reached the affectionate geoup. Rivonnento Dove vaghe trova’ donne et amanti re | found ladies and lovers Che m‘aecolson a lor con be’ sembianti, who greeted me with pleasant looks. Francesco Landini is best known as a ballata composer (see NAWM 31). Cosi pensoso, transmitted in the Squarcialupi Codex and two other manuscripts, is his only caccia, a fourteenth-century Italian genre that combines virtuosity—for both the composer and the performers—with humor. The two upper parts form a canon at the unison, the second voice singing exactly the same melody and text as the first voice but entering several measures later. They are accompanied by a freely composed, untexted tenor in relatively long notes, The three voices cadence together in measure 88, followed by a short concluding ritornello with another canon in the top voices anda freely composed tenor, Cost pensoso is like a madrigal in featuring a ritornello in a different meter. ‘The word “caccia” means “hunt,” referring to the second voice chasing after the first, and many such works are about hunting. Here the hunt is for fish—or perhaps metaphorically for love. The poem begins with the narrator deep in thought, then overhearing a dialogue from somewhere nearby but out of sight. We hear and observe the scene through the narrator. At first the situation is unclear, as the first words overheard are “pick up that rock!” The context gradually becomes30 FRANCESCO LANDINI + Cosi pensoso clear as voices shout about a crab, fish, being bitten, and catching a fish in one’s hands. In the ritornello, as the speakers come into view, we discover they are young ladies and their lovers on the bank of the fish pond, and we may wonder whether their games have deeper meanings. In Italian poetry, the number of syllables and the placement of the final accent determine the meter, and the meter canvary from line to line. Incounting syllables, successive vowels are usually elided, even from one word to the next; for example, in the penultimate line the last vowel of “donne” is elided with the following “et,” so that the line is eleven rather than twelve syllables long. There is one exception: when a diphthong (two successive vowels in a word) occurs at the end of the line (as in “i-o” and “mi-o” in NAWM 47), it counts as two syllables and is not elided. Since most Italian words are accented on the penultimate syllable, poetic lines typically place their final accent on the next-to-last syllable. A line that ends on an accented syllable is considered to be “truncated” (verso tronco), and is counted as if the following syllable were actually there; thus the seventh line of the poem (“O. mé, o mé!”), which has four syllables and ends on an accented syllable, is regarded as a truncated line of five syllables (quinario tronco). This poem features lines of eleven syllables (endecasillabo) and seven syllables (settenario), the most common meters in Italian poetry for the next several centuries, as well as some lines of quinario tronco. The arrangement is irregular, favoring eleven-syllable lines for the narrative, shorter lines for the dialogue, and the shortest for repeated shouts and cries. The rhyme scheme is also irregular, though mostly in couplets, with much of the dialogue unrhymed. Part of the craft and charm of a caccia is that through the canonic imitation the composer can create witty interplay between the voices. This can result from juxtapositions of sounds, like the echoing of “ve” in the top voice by “ver-de ri-ve-ra” in the second voice at measures 25-28, quickly followed by the popping of “pesce, piglia, piglia” answered by “passo passo” in measures 28-30. Other juxtapositions create dialogue between voices, as when the second voice cries “What's wrong?” but literally “What do you have?”) and the first responds “I' l'ho, i’ l'ho!” (“I have it!”) in measures 56-59. Almost always, the rests in one voice, marking the end of a phrase, are filled in by motion in the other. Throughout, the canonic combinations suggest the hubbub of a crowd at the water's edge. 185