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Cum statua Nabucodonosor; Hugo, Hugo, princeps invidie; Magister invidieMotet by Philippe de Vitry SourcesCambrai: BibliothFque Municipale 1328, fol. 11v ET Besseler 25 p247. Quoted in ballade o;Ivrea: Biblioteca Capitolare 115, fol. 14v-15 (3/2); Paris: BibliothFque Nationale, fonds nouv. acq. frantais 23190 (olim Serrant ChGteau, ducs de la TrTmonlle), fol. 2v-3 (lost). FacsimilesLERCH, Irmgard. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spStmittelalterlicher Polyphonie, Kassel: BSrenreiter, 1987. G÷ttinger Musikwissenschaftliche Arbeiten, Band II, 192.Editions1. JOHNSON, Mildred. The 37 Motets of the Codex Ivrea. Vol. I: Commentary, Vol. II: Transcriptions, Ph.D. dissertation, Indiana University: 1955, no. 14.2. 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. 82. 3. LERCH, Irmgard. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spStmittelalterlicher Polyphonie, Kassel: BSrenreiter, 1987. G÷ttinger Musikwissenschaftliche Arbeiten, Band II, p. 129. Text EditionsBLACHLY, Alexander. The Motets of Philippe de Vitry, Columbia University (M.A. thesis), p. 101.Literature1. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts', Archiv fnr Musikwissenschaft, VII (1925): 167-252.2. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. II. Die Motette von Franko von K÷ln bis Philippe von Vitry', Archiv fnr Musikwissenschaft, VIII (1926): 137-258. 3. COVILLE, A. 'Philippe de Vitri, notes biographiques', Romania, LIX (1933): 520-547. 4. ZWICK, Gabriel. 'Deux motets inTdits de Philippe de Vitry et de Guillaume de Machaut', Revue de musicologie, XXVII (1948), p. 32. 5. SCHRADE, Leo. 'Philippe de Vitry: some new discoveries', Musical Quarterly, XLII (1956): 330-354. 6. SANDERS, Ernest H. 'The early motets of Philippe de Vitry', Journal of the American Musicological Society, XXVIII (1975): 24-45. 7. TOMASELLO, Andrew. Music and Ritual at Papal Avignon, 1309-1403, Ann Arbour, Michigan: UMI Research Press, 1983, p. 159 n. 61. 8. FISCHER, Kurt von. 'Sprache und Musik im italienischen Trecento: Zur Frage einer Frnhrenaissance', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Gnnther and L. Finscher, Kassel: BSrenreiter: 1984, p. 51. Recordings1. Music of the Gothic Era [c.1160 - 1400], Early Music Consort of London, directed by David Munrow (1975): Archiv 2723 045(3) (EUR)/ 2710 019(3) (GER/USA).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. TextTRIPLUMCum statua Nabucodonasor metallina successive (minor) ac gradatim decudi ac minus ficti colis passus est dominus que cum primo fuerit aurea virtuosus inde argentea carne mundus deinceps herea scitum loqui fictilis ferea ac lutea pater novissime novissimis quidbusdam maxime corde dantis una cum patribus ipocrisis antifrasis quibus dat mendici nomen sophistice. hec concino Philippus publice et quia impia lingua ledor unius territe pro vero refero: a prophetis fasis attendite. MOTETUS Hugo, Hugo princeps invidie tu cum prima pateas facie homo pacis virtutum filius te neminem decet in populo lingue tue ledere iaculo set ignarum doce te pocius. qua me culpas igitur rabie assignata mihi nulla die inconsultus causamque nescius? Stupeo et eo cum invidus sic sis palam pius perpere dicere ipocritam te possum verius. TENOR Magister Invidie. TranslationTRIPLUMIn the manner in which the Lord suffered the metals in the moulded truck in Nebuchadnezzar's statue to be made successively and stepwise less and less (the statue was gold first, then silver. the virtuous elements constituting its flesh up to this point. then bronze, and finally, to repeat what is known. clay and mud and iron). in our day the father of the hypocritical words which state the opposite of the truth sophistically gives, in his zeal of giving. the (golden) name "Mendicant" to those (base) fathers of the Church of recent times with whom he is himself in complete agreement. I, Philippe, sing these things publicly because I am being maligned by the blasphemous tongue of a man in terror. For the cause of truth I caution: guard against false prophets. MOTETUS Hugh, Hugh, prince of spite. since with one face you appear a man of peace. a son of virtue, it follows that you should not hurt people with your darting tongue. but should rather teach yourself those things you don't know. How can you, ignorant of the case. indiscreetly acuse me, I ask. of a madness never imputed to me? I am dumbfounded, and therefore since you wrongly appear virtuous on the surface. while you are actually burning with envy. I can more truly say to you: you are the hypocrite. TENOR Master of malignity. Text revision and translation © Alexander Blachly |
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