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Garrit Gallus flendo dolorose ; In nova fert animum mutatas dicere formas; Neumamotet by Philippe de Vitry. SourcesParis: Bibliothèque Nationale, Coll. de Picardie 67, fol. 67 (3/2); Bibliothèque Nationale, fonds français 146, fol. 44v (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. 331 (Pn146). 3. GENNRICH, Friedrich. Abriss der Mensuralnotation des XIV und der ersten Hälfte des XV Jahrhunderts, Nieder-Modau: 1948. Musikwissenschaftliche Studienbibliothek 3-4, pp. 34 (Pn146), 35 (Pn67). 4. ROESNER, Edward H. Le Roman de Fauvel in the edition of Mesire Chaillou de Pesstain, New York: Broude Brothers, 1990. Text Editions1. 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. 68 (Pn146).2. Anthology of Medieval Music, edited by Richard H. Hoppin, New York: W. W. Norton, 1978, no. 59 (Pn67). 3. Norton Anthology of Western Music. Vol. I. Medieval, Renaissance and Baroque, edited by Claude V. Palisca, Yale University: W. W. Norton, 1980, p. 70 [R Hoppin]. TexteditsBLACHLY, Alexander. The Motets of Philippe de Vitry, Columbia University (M.A. thesis), p. 76.Literature1. NAVA, A. Memorie e documenti storici intorno alle origini, vicende e riti del Duomo di Milano, Milan: 1854.2. CHEVALIER, U. Repertorium hymnologicum, catalogue des chants, hymnes, proses, séquences, tropes., 6 vols, Louvain: 1892-1921. 3. PARIS, Gaston. 'Le Roman de Fauvel', Histoire littéraire de la France, XXXII (1898): 108-153. 4. MEYER, P. 'Chansons latines et françaises (ms. Coll. Picard. 67)', Bulletin de le société des anciens textes français, XXXIV (1908): 5. LUDWIG, Friedrich. Repertorium organorum recentioris et motetorum vetustissimi stili. I. Catalogue raisonné. 1. Handschriften in Quadratnotation, Halle a. S: Niemayer, 1910, p. 267. 6. LUDWIG, Friedrich. 'Die Quellen der Motetten ältesten Stils', Archiv für Musikwissenschaft, V (1923): 185-222; 273-315. 7. 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. 8. 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. 9. DAHNK, Emilie. L'hérésie de Fauvel, Leipzig: C. & E. Vogel, 1935. Leipziger romanistische Studien II, Literatur-wissenschaftliche Reihe, Heft 4. 10. BECKER, Philip August. 'Fauvel und Fauvelliana', Berichte über die Verhandlungen der sächsischen Akademie der Wissenschaften zu Leipzig (Philologish-Historische Klasse), LXXXVIII/2 (1936): 1-45. 11. SPANKE, H. 'Zu den musikalischen Einlagen im Fauvelroman', Neuphilologische Mitteilungen, XXXVII (1936): 188-226. 12. APEL, Willi. The Notation of Polyphonic Music 900-1600, Cambridge/Massachusetts: The Medieval Academy of America, 1942, pp. 328, 330, 335-336, & example 46. 13. ZWICK, Gabriel. 'Deux motets inédits de Philippe de Vitry et de Guillaume de Machaut', Revue de musicologie, XXVII (1948), pp. 33-34. 14. Città di Firenze. Accademia nazionale "Luigi Cherubini" di musica, lettere e arti figurative. Esposizione nazionale dei conservatori musicali e delle biblioteche. Palazzo Davanzati 27 ottobre 1949 - 8 gennaio 1950, Florence: G. Barbèra, 1950. 15. SCHRADE, Leo. 'Philippe de Vitry: some new discoveries', Musical Quarterly, XLII (1956): 330-354. 16. HOPPIN, Richard H. 'Some remarks a propos of Pic. (B.N. coll. de Picardie Vol. 67, folio 67)', Revue belge de musicologie, X (1956), p. 106. 17. REANEY, Gilbert. '"Ars Nova" in France', [chapter 1 of] The New Oxford History of Music. III. Ars Nova and the Renaissance, edited by Dom Anselm Hughes and Gerald Abraham, London: Oxford University Press, 1960, pp. 7-8, 11. 18. HARMAN, Alec. Man and His Music: The Story of Musical Experience in the West. Vol I: Mediaeval and Early Renaissance Music, London: Barrie and Rockliff, 1962, pp. 115, 128. 19. GUAITAMACCHI, Valeria. 'Madrigali trecenteschi del frammento "Greggiati" di Ostiglia', Biblioteca del "Quadrivium", Serie paleografica 9, 9 (1970), p. 35ff. 20. SANDERS, Ernest. 'The mediaeval motet', Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, Erste Folge, Bern, Munich: 1971, pp. 497-573. 21. SANDERS, Ernest H. 'The early motets of Philippe de Vitry', Journal of the American Musicological Society, XXVIII (1975): 24-45. 22. CALDWELL, John. Medieval Music, Bloomington: Indiana University Press, London: Hutchinson, 1978, p. 166. 23. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, pp. 362-363. 24. WILKINS, Nigel. Music in the Age of Chaucer, Cambridge: D. S. Brewer, 1979. Chaucer Studies I, pp. 6-8. 25. NEWES, Virginia. 'Writing, reading and memorizing: the transmission and resolution of retrograde canons from the 14th and early 15th centuries', Early Music, XVIII/2: 218-234, pp. 219-220. TextTRIPLUMGarrit Gallus flendo dolorose luget quippe Gallorum concio que satrape traditur dolose excubitus sedens officio. atque vulpes tamquam vispilio in Belial vigens astucia de leonis consensu proprio monarchiast. atat angaria. rursus, ecce Jacob familia Pharaone altero fugatur non ut olim iude vestigia subintrare potens, lacrimatur. in deserto fame flagellatur adiutoris carens armatura quamquam clamat tamen spoliatur continuo forsan moritura miserorum exulum vox dura o Gallorum garritus doloris cum leonis cecitas obscura fraudi paret vulpis proditoris. eius fastus sustinens erroris insurgito: alias labitur et labetur quod habes honoris "quod mox in facinus tardis ultoribus itur." MOTETUS "In nova fert anumus mutatas dicere formas": draco nequam quem olim penitur mirabili crucis potencia debellavit Michael inclitus mox Absolon munitus gracia mox Ulixis gaudens facundia mox lupinis dentibus armatus sub Tersitis miles milicia rursus vivit in vulpem mutatus fraudi cuius lumine privatus leo fulpe imperante paret oves suggit pullis saciatus heu suggere non cessat et aret ad nupcias acnibus non caret ve pullis mox ve ceco leoni coram Christo tandem ve draconi. TranslationTRIPLUM The rooster (Gaul) chatters with bitter weeping; indeed the whole flock mourns, for it is stealthily being betrayed by the satrap even as it keeps watch. And the fox, like a grave-robber, flourishing with the cunning of Belial, reigns with the full consent of the lion himself. Alas, what anguish! Behold how the family of Jacob once again flees from another Pharoah: no longer able, as before, to follow the path of the Jews, it weeps. In the desert it is tortured by hunger, its arms and armour lack a helper. If it cries out it will be despoiled; the voice of the wretched exiles, near death, is harsh. O sad chattering of roosters! Since the blindness of the lion is subject to the shadowy deceit of the treacherous fox, whose arrogance encourages sin, you must rise up: otherwise what is left of your honour slips away and will continue to slip away: with only late avengers it will soon turn into villainy. MOTETUS My mind is bent to tell of bodies changed anew: that evil dragon whom glorious Michael once conquered thoroughly with the miraculous power of the cross, again is living, now fortified with the grace of Absalom, gloating with the eloquence of Ulysses, armed with the teeth of a wolf as a soldier in the army of Tersitis - in fact changed into a fox. Deprived of his sight by deceit, the lion is subject to this ruling fox, who sucks the blood of lambs, sates himself with chickens, and never stops; rather he thirsts on. He comes to weddings with his hunting dogs. Woe to chickens and woe to the blind lion; but in the end, woe to the dragon when he must face Christ! Text revision and translation © Alexander Blachly |
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