Guillaume de Machaut, The Complete Poetry and Music, Volume 9: The Motets

280 Pages·2017·6.554 MB·English

by  Jacques Boogaart, R Barton Palmer

GUILLAUME DE MACHAUT
THE COMPLETE POETRY AND MUSIC
Volume 9: The Motets
Edited by Jacques Boogaart,
translated by R. Barton Palmer and Jacques Boogaart,
with art historical commentary by Domenic Leo
Guillaume de Machaut
&
THE COMPLETE POETRY Music
9
VOLUME
THE MOTETS
~ MIDDLE ENGLISH TEXTS SERIES ~
GENERAL EDITOR
Russell A. Peck
University of Rochester
ASSOCIATE EDITORS
Alan Lupack
University of Rochester
ASSISTANT EDITOR
Martha M. Johnson-Olin
University of Rochester
ADVISORY BOARD
Theresa Coletti Michael Livingston
University of Maryland The Citadel
Rita Copeland R. A. Shoaf
University of Pennsylvania University of Florida
Susanna Fein Lynn Staley
Kent State University Colgate University
Thomas G. Hahn Paul E. Szarmach
University of Rochester Western Michigan University
David A. Lawton Bonnie Wheeler
Washington University in St. Louis Southern Methodist University
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th. Distinction between the second person pronoun and the definite article is made by spelling
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WESTERN MICHIGAN UNIVERSllY
Guillaume de Machaut
& Music
THE COMPLETE POETRY
R. Barton Palmer and Yolanda Plumley
General Editors
9:
VOLUME THE MOTETS
Edited by Jacques Boogaart,
translated by R. Barton Palmer and Jacques Boogaart,
with art historical commentary by Domenic Leo
TEAMS • Middle English Text Series • University of Rochester
MEDIEVAL INSTITUTE PUBLICATIONS
Western Michigan University
Kalamazoo
Copyright© 2018 by the Board of Trustees of Western Michigan University
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
are available from the Library of Congress
ISBN (paperback) 9781580442879
ISBN (hardback) 9781580443029
eISBN (PDF) 9781580442886
Guillaume de Machaut
& Music
TuE COMPLETE POETRY
R. Barton Palmer and Yolanda Plumley
General Editors
ASSOCIATE EDITORS ADVISORY BOARD
Jacques Boogaart Ardis Butterfield
Daniel Leech-Wilkinson Lawrence Earp
Domenic Leo Donald Greig
Tamsyn Mahoney-Steel Deborah McGrady
Uri Smilansky Virginia Newes
Anne Stone
~ GUILLAUME DE MACHAUT: THE COMPLETE PoETRY & Music
Volume 1 THE DEBATE POEMS
Le Jugement dou Roy de Behaingne
Le Jugement dou Roy de Navarre
Le Lay de Plour
Volume 2 THE BoETHIAN POEMS
Remede de Fortune
Confort d'Ami
Volume 3 LOVE VISIONS
Prologue
Le Dit dou Vergier
Le Dit de la Fonteinne Amoureuse
Volume 4 THE TRUE TALE
Le Livre dou voir Dit
Volume 5 ROMANCE AND ALLEGORY
Le Dit dou Lyon
Le Dit de l 'Alerion
Four Minor Dits
Volume 6 THE TAKING OF ALEXANDRIA
Le Livre de la Prise d'Alixandre
Volume 7 THE LYRICS I
Volume 8 THE LYRICS II
Volume 9 THE MOTETS
Volume 10 THE LAYS
Volume 11 THE RONDEAUX AND VIRELAIS
Volume 12 THE BALLADES
Volume 13 THE MAss AND OTHER RELIGIOUS WORKS
~
CONTENTS
ACKNOWLEDGMENTS IX
PREFACE XI
INTRODUCTION 1
EDITORIAL POLICY 25
THE MOTET MINIATURE: A COMMENTARY 33
BY DOMENIC LEO AND JACQUES BooGAART
I 47
LES MOTES THE MOTETS
1. Quant en moy / Amour et biaute / Amara valde 48
2. Tous corps/ De souspirant cuer / Suspiro 54
3. He! Mors! / Fine Amour/ Quare non sum mortuus 60
4. De Bon Espoir / Puis que la douce / Speravi 67
5. Aucune gent/ Qui plus aimme / Fiat voluntas tua / Contratenor 73
6. S'il estoit nuls / S'Amours tous amans / Et gaudebit cor vestrum 81
7. J'ay tant mon cuer / Lasse! je sui / Ego moriar pro te 85
8. Qui es promesses / Ha! Fortune/ Et non est qui adjuvat 91
9. Fons totius Superbie / 0 Livoris feritas / Fera pessima 95
10. Hareu, hareu! / Helas! ou sera pris / Obediens usque ad mortem 102
11. Dame, je sui / Fins cuers dous / Fins cuers dous 108
12. Helas! pour quoy / Corde mesto / Libera me 112
13. Tant doucement / Eins que ma dame/ Ruina 118
14. Maugre mon cuer / De ma dolour/ Quia amore langueo 123
15. Amours, qui a le pooir / Faus Samblant m'a deceu / Vidi dominum 128
16. Lasse! comment/ Se j'aim mon loial amy / Pour quoy me bat mes maris? 134
17. Quant Vraie Amour/ 0 Series summe rata / Super omnes speciosa 143
18. Bone pastor Guillerme / Bone pastor, qui pastores / Bone pastor 148
19. Martyrum gemma / Diligenter inquiramus / A Christo honoratus 154
J
20. Trop plus est bele / Biaute paree de valour/ e ne sui mie certeins 160
21. Christe, qui luxes/ Veni Creator Spiritus / Tribulatio proxima est/ Contratenor 164
22. Tu qui gregem / Plange, regni res publica! / Apprehende arma / Contratenor 173
23. Felix virgo / lnviolata genitrix / Ad te suspiramus gementes / Contratenor 179
VII
CRITICAL COMMENTARY 187
BIBLIOGRAPHY 247
LIST OF ILLUSTRATIONS
Introduction
Figure 1. A, fol. 423r, detail. The tenor of M9. Bibliotheque nationale de France,
with permission. 14
The Motet Miniaiure: A Commentary
Figure 2.A, fol. 414v (Al53). Opening image for the motets. Bibliotheque nationale de
France, with permission. 33
Figure 3. A, fol. 414v, detail. A valet pouring wine. Bibliotheque nationale de France,
with permission. 34
Figure 4. A, fol. 4 78r, detail. A fox celebrating mass(?) in the initial "T" for "tenor."
Bibliotheque nationale de France, with permission. 37
Figure 5.A, fol. 414v, detail. The scroll. Bibliotheque nationale de France, with permission. 37
Figure 6. A, fol. 454r (Al54). Historiated initial "S" with couple embracing at the
opening of the ballades. Bibliotheque nationale de France, with permission. 38
Figure 7. A, fol. 367r (Al52). Historiated initial "I;' with a courtly love scene
at the opening of the lays. Bibliotheque nationale de France, with permission. 38
Figure 8. A, fol. 425r, detail. Historiated initial "F" for Ml 1 with man (or an old lady)
sounding a hunting horn. Bibliotheque nationale de France, with permission. 39
Figure 9, C, fol. 102v, detail. Blank staves at the opening of the motets
in a space for a miniature. Bibliotheque nationale de France, with permission. 40
Figure 10. E, fol. 16r (E6). The opening image for the rondeaux in the
Loange des dames with men singing around a barrel. Bibliotheque nationale
de France, with permission. 41
Figure 11. E, fol. 107r (E31). The opening image for the lays with a group
of men singing from a codex. Bibliotheque nationale de France, with permission. 39
Figure 12. A, fol. 221 r, detail (All 9). Guillaume receives a sealed letter inscribed
with his name. Bibliotheque nationale de France, with permission. 42
Figure 13. A, fol. 233r, detail (Al 23). The lady receives a sealed letter inscribed
a ma dame. Bibliotheque nationale de France, with permission. 42
Figure 14. A, fol. 242r, detail (Al 27). Guillaume composes a bal,ade for his lady.
Bibliotheque nationale de France, with permission. 43
Critical Commentary
Figure 15. A, fol. 420r, detail. The tenor of M6. Bibliotheque nationale de France,
with permission. 203
VIII
~ AcKNOWLEDGMENTS
A project of this scope would have been impossible without institutional support and, even more import
ant, substantial assistance from colleagues. Barton Palmer and Yolanda Plumley, the co-editors of Guillaume de
Machaut: The Complete Poetry and Music, have been exceptionally fortunate in this regard. Key parts of the
editing process have been supported by a generous grant from the Leverhulme Trust, for which Plumley has
been the principal investigator (as part of a larger project entitled The Works of Guillaume de Machaut: Music,
Image, and Text in the Middle Ages (see http://machaut.exeter.ac.uk), while Palmer's participation, including
released time from teaching and travel expenses, has been supported by the Calhoun Lemon Endowment
and the College of Art, Architecture, and the Humanities at Clemson University, whose dean, Rick Goodstein,
deserves special thanks. The digitizing of previously published material, as well as the preparation of both front
and back matter for certain of the volumes, has been handled with dispatch, energy, and expertise by TEAMS:
Teaching Association for Medieval Studies and the Middle English Text Series (METS), working in concert
with Medieval Institute Publications (MIP). Their work is supported by a continuing grant from the NEH, and
we are most appreciative of what that funding has made available to us. We are grateful as well for the wise
counsel and enthusiastic support we have received from Russell A Peck, general editor of METS, and Martha
M. Johnson-Olin, the assistant editor. Staff editors at METS have worked tirelessly and patiently on the several
demanding tasks associated with the project; we owe a substantial debt to those editors, past and present: Leah
Haught, Katie Van Wert, Alison Harper and Laura Whitebell.
The staff at MIP and the press' editorial board have been helpful, patient, and flexible, especially in meeting
the needs of an edition devoted to both verse and music, whose representation on the page is so very different.
Special thanks go to Tyler Cloherty, Kathy Bond Borie and Tom Krol. Warm thanks go to all those who have
helped with the various aspects of the present volume, especially to Eddie Vetter, Eric Jas, and Bernhard
Ridderbos for their critical remarks and corrections, to Lawrence Earp for his wise advice, and of course to
the other members of the editorial team who have meticulously checked texts and scores: Yolanda Plumley, R.
Barton Palmer, Anne Stone, Uri Smilansky, and Tamsyn Mahoney-Steel. Our collaboration with the Orlando
Consort, which is presently recording the complete polyphonic songs and selected motets by Machaut from our
edition with Hyperion Records, has been an invaluable help to test our editorial ideas in practice. We thank the
Consort for their critical and stimulating remarks that have greatly contributed to make our edition "performer
friendly."
IX