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Douce playsence; Garison selon nature; [Neuma quinti toni]Three-voice motet by Philippe de Vitry SourcesIvrea: Biblioteca Capitolare 115, fol. 23v-24 (3/2);Paris: Bibliothèque Nationale, fonds nouv. acq. français 23190 (olim Serrant Château, ducs de la Trémoïlle), fol. 17v-18 (lost). FacsimilesDie Musik in Geschichte und Gegenwart, edited by Friedrich Blume, 16 vols., Kassel and Basel: Bärenreiter, 1949 ff, plate 27.Editions1. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts', Archiv für Musikwissenschaft, VII (1925), p. 249.2. JOHNSON, Mildred. The 37 Motets of the Codex Ivrea. Vol. I: Commentary, Vol. II: Transcriptions, Ph.D. dissertation, Indiana University: 1955, no. 25. 3. 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. 72. 4. CALDWELL, John. Medieval Music, Bloomington: Indiana University Press, London: Hutchinson, 1978, no. 63 (incomplete). Text EditionsBLACHLY, Alexander. The Motets of Philippe de Vitry, Columbia University (M.A. thesis), p. 110.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. 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. 3. COVILLE, A. 'Philippe de Vitri, notes biographiques', Romania, LIX (1933): 520-547. 4. REESE, Gustave. Music in the Middle Ages, New York: W. W. Norton, London: J.M. Dent & Sons, 1940, pp. 332, 337-8. 5. ZWICK, Gabriel. 'Deux motets inédits de Philippe de Vitry et de Guillaume de Machaut', Revue de musicologie, XXVII (1948), pp. 31-32. 6. Gace de Buigne: Le Roman des Deduis, edited by Ake Blomqvist, Stockholm-Paris, 1952. 7. REICHERT, Georg. 'Das Verhältnis zwischen musikalischer und textlicher Struktur in den Motetten Machauts', Archiv für Musikwissenschaft, XIII (1956), p. 207. 8. 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. 10-11. 9. SANDERS, Ernest. 'The mediaeval motet', Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, Erste Folge, Bern, Munich: 1971, pp. 497-573. 10. SANDERS, Ernest H. 'The early motets of Philippe de Vitry', Journal of the American Musicological Society, XXVIII (1975): 24-45. 11. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, pp. 364-365. 12. YUDKIN, Jeremy. Music in Medieval Europe, Englewood Cliffs, New Jersey: Prentice Hall, 1989, pp. 464-474. 13. FULLER, Sarah. 'Modal Tenors and tonal orientation in motets of Guillaume de Machaut', Studies in Medieval Music: Festschrift for Ernhest H. Sanders, New York: Columbia University Press, 1990, p. 203. 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. TextTRIPLUMDouce playsance est d'amer loyalment qar autrement ne porroit bonement amans suffrir celle dolour ardant qui d'amons naist. Quant ces regars par son soutil strait en regardant parmi soy memes, trait sans soy navrer L'impression de ce qu'il vent amer jusqu'a son cuer lors estuet remembrer et souvenir Du gentil cors qu'il vit au departir Puis le convient trembler, muer, fremir entre saillant Et soupirer cent fois et un, tenant le dous soupirs qui livrent au cuer n'ont pas les conduits Pourquoy desirs qui est accelle suis esprent et art et croist en ardant puis fayre le doit. Areu, hareu, cuers humains ne porroit cel mal souffrir se playsance n'estoit qui souvent l'oint; Mays on porroit demander biau apoint comment lo mal puet plaire qui se point et je respons En esperant d'avoir bond gueredon por un saisir, quant li leur sera bon envret plusseurs En traveyllant sans cesser nuit et jour donques doit bien l'amoreuse dolour venir a gre En attendant la tresant plante dont bonament a plusseurs saoule. MOTETUS Garison selon nature desiree de sa doulor toute humaine creature mais ie qui ai d'un ardour naysant de loyal amour espris de garir n'ay cure ains me plaist de iour en iour aides plus telle ardeure ne pourquant elle est si dure que nuls hons n'auroyt vigour du soffrir sans la douchour qui vient de playsance pure. TranslationTRIPLUMSweet delight it is to love truly. for else no lover could bear this burning pain which is borne of love. When the eye. by its sly power. and with no harm to itself looks about and draws into his heart the image of what might well be loved. then he must remember the dear body he left behind. Then must he tremble. change colour, shake violently. and sigh a hundred times at once the sweet sighs which come from the heart without permission. for desire, which is drawn to this lady. takes fire, and burns. and grows with burning till he must fail. Ah! no human heart could bear such pain were it not for the delight which often soothes it; and well might one ask how a pain can delight which is so sharp. And I reply: In the hope of a just reward to enjoy when he will. many a man labours in endless travail night and day. and so must the pain of love be rewarded. Meanwhile, the loud lament gives many satisfaction. MOTETUS Every human creature seeks a natural remedy for his pain. yet I. who suffer from the fire borne of true love. have no thought for being healed. but day after day this burning pleases me more and more. And yet it is so sharp that no man would have the strength to bear it but for the sweetness which comes from pure delight. Text revision and translation © Alexander Blachly |
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