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Dame, doucement attrait; Doulz amis de cuer parfaitrondeau by Johannes Vaillant SourcesChantilly: Bibliothèque du Musée Condé 564, fol. 26v (3/2);Philadelphia: University of Pennsylvania Library, French MS 15 (text). Editions1. GÜNTHER, Ursula. Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14. Jahrhunderts, dargestelt an Virelais, Balladen und Rondeax von Machaut., Ph.D. dissertation, University of Hamburg: 1957, no. 1.2. GÜNTHER, Ursula. Zehn datierbare Kompositionen der Ars Nova, Hamburg: 1959. Schriftenreihe des Musikwissenschaftlichen Instituts der Universität Hamburg, Heft II, no. 7 [R PhD ed.]. 3. French Secular Compositions of the Fourteenth Century, music edited by Willi Apel, texts edited by Samuel N. Rosenberg, Rome: American Institute of Musicology, 1970. Corpus Mensurabilis Musicae 53/I, p. 225. 4. French Secular Music. Manuscript Chantilly, Musée Condé 564, First Part, edited by Gordon K. Greene, Monaco: Editions de L'Oiseau-Lyre, 1981. Polyphonic Music of the Fourteenth Century XVIII, p. 87. Literature1. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts', Archiv für Musikwissenschaft, VII (1925): 167-252.2. PIRRO, A. La musique à Paris sous le règne de Charles VI (1380-1422), Strasbourg: 1930. Collection d'etudes musicologiques I, p. 9. 3. GÜNTHER, Ursula. 'Der Gebrauch des tempus perfectum diminutum in der Handschrift Chantilly 1047', Archiv für Musikwissenschaft, XVII (1960), p. 290. 4. NEWES, Virginia E. 'Imitation in the Ars nova and Ars subtilior', Revue belge de musicologie, XXXI (1977): 38-59. 5. GÜNTHER, Ursula. 'Sinnbezüge zwischen Text und Musik in Ars nova und Ars subtilior', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter, 1984, p. 265, 265/n150. Recordings1. The Ars Nova: Vocal Music of 14-Century France and Italy, Capella Cordina, directed by Alejandro Planchart (1966): Expériences Anonymes EA/EAS 83.2. 1000 Jahre Musikgeschichte, vol. I, anonymous singers and instrumental ensemble (1967): Eterna 820 347. 3. Music in the Gothic and the Renaissance, Capella Monacensis, directed by Kurt Weinhöppel (1977): Calig CAL 30451. 4. Philippe de Vitry 1291-1361, Benjamin Bagby and Barbara Thornton, Sequentia (1991): RD 77 095. 5. Philippe de Vitry and the Ars Nova, Robert Hare-Jones (CT), Charles Daniels (T), Angus Smith (T), Donald Greig (Bar), Orlando Consort (1991): CD-SAR 49. TextCANTUSDame, doucement [at]trait avTs tout le cuer de mi par vo douls [oeil] qui l'atrait. Dame, [doucement attrait]. N'em vuellh autre (pe)re[t]rait: [il] est vostres sans demi. Dame, [doucement attrait avTs tout le cuer de mi]. CONTRATENOR Doulz amis de cuer parfait. ligement a vos m'otri. GardTs m'onnour senz mefait. Doulz [amis de cuer parfait]. Et [je] respons de mon fayt que je vos aim sans nul cri. Doulz amis [de cuer parfait. ligement a vos m'otri]. TranslationCANTUSLady, gently have you drawn out my whole heart by your sweet eye which attracts it. Lady, gently have you drawn [it] out. Neither does it wish for another refuge: it is your totally. Lady, [gently have you drawn out my whole heart]. CONTRATENOR Sweet love, perfect of heart. without reserve I give myself to you. Preserve my honour without blemish. Sweet love, perfect of heart. And be answerable for what I am doing. that is that I love you in silence, without complaint. Sweet love, [perfect of heart. without reserve I give myself to you]. Text revision and translation © Robyn Smith |
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