|
|
 |
|
 |
|
Firmissime fidem; Adesto, sancta trinitas; Alleluya, BenedictusThree-voice motet by Philippe de Vitry SourcesDarmstadt: Hessische Landesbibliothek 521, fol. 228 (Triplum text only);Paris: Bibliothèque Nationale, fonds français 146, fol. 43 (3/2). Facsimiles1. Le Roman de Fauvel, manuscrit inédit de la Bibliothèque Nationale (français 146) reproduit par un procédé photographique inaltérable, facsimile edition by Pierre Aubry, Paris: Librairie Paul Geuthner, 1907, (Fauv).2. APEL, Willi. The Notation of Polyphonic Music 900-1600, Cambridge/Massachusetts: The Medieval Academy of America, 1942, p. 329 (Pn146). 3. ROESNER, Edward H. Le Roman de Fauvel in the edition of Mesire Chaillou de Pesstain, New York: Broude Brothers, 1990. Editions1. Die mittelalterliche Mehrstimmigkeit, edited by Heinrich Husmann, Cologne: Arno Volk Verlag, 1954. Das Musikwerk IX. [English edition as Medieval Polyphony, Anthology of Music IX, 1962], p. 40 (Pn146).2. The Roman de Fauvel; The Works of Philippe de Vitry; French Cycles of the Ordinarium Missae, edited by Leo Schrade, Monaco: Editions de L'Oiseau-Lyre, 1956. Polyphonic Music of the Fourteenth Century I, p. 60 (Pn146). Text EditionsBLACHLY, Alexander. The Motets of Philippe de Vitry, Columbia University (M.A. thesis), p. 87.Literature1. WOOLDRIDGE, H. E. Early English Harmony, London: Plainsong and Mediaeval Music Society, 1897.2. WOLF. Johannes 'Zur Geschichte der Orgelmusik im vierzehnten Jahrhundert', Kirchenmusikalisches Jahrbuch, XIV (1899): 14ff. 3. LUDWIG, Friedrich. 'Die mehrstimmige Musik des 14. Jahrhunderts', Sammelbände der internationalen Musikgesellschaft, IV (1902): 16-69. 4. LUDWIG, Friedrich. 'Die Quellen der Motetten ältesten Stils', Archiv für Musikwissenschaft, V (1923): 185-222; 273-315. 5. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. II. Die Motette von Franko von Köln bis Philippe von Vitry', Archiv für Musikwissenschaft, VIII (1926): 137-258. 6. Guillaume de Machaut: Musikalische Werke. Zweiter Band: Einleitung zu I. Balladen, Rondeaux und Virelais. II. Motetten. III. Messe und Lais, edited by Friedrich Ludwig, Leipzig: Breitkopf & Härtel, 1928. 7. SCHRADE, Leo. Die handschriftliche Überlieferung der ältesten Instrumentalmusik, Lahr (Baden): M. Schauenburg, 1931. 8. DAHNK, Emilie. L'hérésie de Fauvel, Leipzig: C. & E. Vogel, 1935. Leipziger romanistische Studien II, Literatur-wissenschaftliche Reihe, Heft 4. 9. APEL, Willi. The Notation of Polyphonic Music 900-1600, Cambridge/Massachusetts: The Medieval Academy of America, 1942, pp. 330, 332, 335. 10. ZWICK, Gabriel. 'Deux motets inédits de Philippe de Vitry et de Guillaume de Machaut', Revue de musicologie, XXVII (1948), p. 33. 11. HOPPIN, Richard H. 'A musical rotulus of the fourteenth century', Revue belge de musicologie, IX (1955): 131-142. 12. SCHRADE, Leo. 'Philippe de Vitry: some new discoveries', Musical Quarterly, XLII (1956): 330-354. 13. SANDERS, Ernest H. 'The early motets of Philippe de Vitry', Journal of the American Musicological Society, XXVIII (1975): 24-45. 14. CALDWELL, John. Medieval Music, Bloomington: Indiana University Press, London: Hutchinson, 1978, pp. 166, 170. 15. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, pp. 361-362, 364. 16. GAGNEPAIN, Bernard. 'La musique en France a l'arrivée de Guillaume de Machaut', Guillaume de Machaut, poète et compositeur. Colloque - Table Ronde, 1978, p. 279. 17. LEFFERTS, Peter M. The Motet in England in the Fourteenth Century, Ann Arbor: UMI Research Press, 1986, p. 264. Recordings1. Missa Tournai um 1330. Motetten um 1320, Capella Antiqua München, directed by Konrad Ruhland (1967): Telefunken AW6 41231 (SAWT 9517) (GER).2. Philippe de Vitry 1291-1361, Benjamin Bagby and Barbara Thornton, Sequentia (1991): RD 77 095. 3. 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. TextTRIPLUMFirmissime fidem teneamus: trinitatis patrem diligamus qui nos tanto amore dilexit morti datos ad vitam erexit ut proprio nato non parceret sed pro nobis nunc morti traderet diligamus eiusdem filium nobis natum nobis propicium qui in forma dei cum fuisset atque formam servi accepisset hic factus est patri obediens et in cruce fixus ac moriens diligamus sanctum paraclitum patris summi natique spiritum cuius sumus gracia regnati unctione cuius et signati nunc igitur sanctam trinitatem veneremur atque unitatem exoremus, ut eius gracia valeamus perfrui gloria. MOTETUS Adesto sancta trinitas musice modulantibus par splendor una deitas simplex in personis tribus qui extas rerum omnium tua omnipotencia sine fine principium duc nos ad celi gaudia. TENOR Alleluya, Benedictus et cetera TranslationTRIPLUMLet us steadfastly keep the faith: may we worship the Father of the Trinity who has cherished us with such great love that he raised to life those given to death. while he did not spare his own Son. but surrendered Him to death for our sake. Let us worship this same Son. born for us, a propitiation for us. who when He had been in form a God accepted the form of a servant; this He did in obedience to the Father. and He died by being nailed to the cross. Let us worship the Holy Comforter. the Spirit of the highest Father and Son. by whose grace we are governed and by whose unction we are marked. Now therefore let us revere the Holy Trinity and pray the Unity that by His grace we might prevail to rejoice in glory. MOTETUS Come Holy Trinity to those playing music. one God, equal splendour. One in Three Persons. who stands above all things. By your omnipotence. Begetter without bounds. lead us to the joys of heaven. TENOR Alleluia, blessed. Text revision and translation © Alexander Blachly |
 |
|
|
|
|
|
|
|
|
