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Petre Clemens tam re quam nomine; Lugentium siccentur occuliThree-voice motet by Philippe de Vitry SourcesIvrea: Biblioteca Capitolare 115, fol. 37v-38 (3/2);Paris: Bibliothèque Nationale, fonds latin 3343, fol. 50 (Triplum text only); Bibliothèque Nationale, fonds nouv. acq. français 23190 (olim Serrant Château, ducs de la Trémoïlle), fol. 12v-13 (lost). Editions1. JOHNSON, Mildred. The 37 Motets of the Codex Ivrea. Vol. I: Commentary, Vol. II: Transcriptions, Ph.D. dissertation, Indiana University: 1955, no. 29.2. 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. 97. Text Editions1. BLACHLY, Alexander. The Motets of Philippe de Vitry, Columbia University (M.A. thesis), p. 136 (Triplum only).2. WATHEY, Andrew. 'The motets of Philippe de Vitry and the fourteenth-century Renaissance', Early Music History, 12 (1993), p. 136. Literature1. LUDWIG, Friedrich. 'Die Quellen der Motetten ältesten Stils', Archiv für Musikwissenschaft, V (1923): 185-222; 273-315.2. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts', Archiv für Musikwissenschaft, VII (1925): 167-252. 3. 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. 4. POGNON, E. 'Notes et documents du nouveau sur Philippe de Vitri et ses amis', Humanisme et renaissance, VI (1939), p. 52. 5. ZWICK, Gabriel. 'Deux motets inédits de Philippe de Vitry et de Guillaume de Machaut', Revue de musicologie, XXVII (1948), p. 34. 6. SCHRADE, Leo. 'Philippe de Vitry: some new discoveries', Musical Quarterly, XLII (1956): 330-354. 7. HOPPIN, Richard H. and Suzanne CLERCX. 'Notes biographiques sur quelques musiciens français du XIVe siècle', Les Colloques de Wégimont II, 1955, Paris: Société d'Edition "Les belles lettres", 1959, p. 71. 8. BESSELER, Heinrich. 'Falsche Autornamen in den Handschriften Strassburg (Vitry) und Montecassino (Dufay)', Acta Musicologica, XL (1968), p. 202. 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. NEWES, Virginia E. 'Imitation in the Ars nova and Ars subtilior', Revue belge de musicologie, XXXI (1977): 38-59. 12. HOPPIN, Richard H. Medieval Music, New York: W. W. Norton, 1978, p. 366. 13. TOMASELLO, Andrew. Music and Ritual at Papal Avignon, 1309-1403, Ann Arbour, Michigan: UMI Research Press, 1983, p. 15. 14. FISCHER, Kurt von. 'Sprache und Musik im italienischen Trecento: Zur Frage einer Frührenaissance', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter: 1984, p. 46. 15. NEWES, Virginia E. 'The relationship of text to imitative technique in 14th century polyphony', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter, 1984, pp. 121-154. 16. WATHEY, Andrew. 'The motets of Philippe de Vitry and the fourteenth-century Renaissance', Early Music History, 12 (1993), p. 136. Recordings1. Philippe de Vitry 1291-1361, Benjamin Bagby and Barbara Thornton, Sequentia (1991): RD 77 095.2. 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. TextTRIPLUMPetre Clemens tam re quam nomine cui nascenti donantis dextera non defuit qui ymo cardine e supremo beata munera superes o felix ac omnia quae reliqua celi benignitas dare protest; nec defuit pia pyeridum sacrarum dignitas harum precellis vero dotibus harum dono cuncta Germalia carmentina pegasi pedibus transvectus es a puericia; aut fata vero aut ipsa prospera te fortuna mellus spiritus sublimavit ergo considera quod Cephas es sed orbi deditus quod monarcha, sed servus omnium princeps orbis, sed orbis languidi servus nempe sed delirantium ac ne cui tandem sint perfidi arte princeps serve dimelicum torque fides mundialis celis regnum tuum furorem tragicum potens pie conpescere velis. Absit tuo Tyestes tempore et austerus, absint Thebaides abutentes fraterno jecore; unumque sint scissi Philipides urben vide classis per equora deterreat principes Thaneos clangor turbe turcorum pectora decipiant augures mempheos. Consoletur tristis Armenia et elatus succumbat Ismael et germinet deserta Syria et depressus resurgat Israel: tunc nature gloriosissimus triumphator tributum solvere non dolebis heres legitimus Jhesu Christe moriens libere: et si desint marmor et gemula ac metallum sculpenda sinceri erit tandem tumulus vernula semper fama pespondens operi quam posceris prebebit regula gubernandi faveant operi. MOTETUS Lugentium siccentur occuli plaudant senes exultent parvuli umbre mortis quoniam regio quos temnunt splendoris visio. Est exorta radio spiritus Clemens sextus sanctus divinitus stupor orbis otersum speculum ad formandum virtutum modulum cirrei Syris Apollinis pervasiti vigor certaminis phitonistas horsis ubere crapulatos solos prosternere ac dum flectis sermonis timpanum corda rapis ad auris organum. Petrus primus, Petrum non deseris vices eius quia recte geris tu clemens es et Clemens dixeris pesagii qui fontis aperis venas gratis vidis et rudibus Athlanticis et Ethiopibus stitis quoque quid in preconia laudum mane sudatjusticia. Non angentur memento secula non mana tumescunt gutula nec ulla laus addendere mentis tuis unquam poterit inclitis vulgi tamen modica porcio de te saltem clangere gestio vivat, vivat orbi perutilis cui non est inventus tuus similis. TranslationTRIPLUMPeter clement in deed as well as name. from whose birth the right hand of giving was not wanting; who from the lowest and highest poles. felicitous being. are beyond great rewards and all remaining things which the benignity of heaven could give. who want not the holy dignity of the sacred muses; rather, excelling in the generosity of their endowment. borne aloft on the feet of Pegasus since childhood in each Germalian lyric (you have written). either the Fates, or Good Fortune herself. or better still, a spirit has therefore elevated you. Think of yourself as Cephas. but attentive to the world like a monarch. a prince of the world, but a servant to all: of a languishing world to be sure, and delirious. To prevent perfidy. Prince, Servant, and double Poet. you must trust in the celebrated art of concord. willingly, and in the strength of holiness. restraining the tragic madness of your kingdoms with heavenly intercessions. May sad Thyestes not live in your lifetime and may the Thebians abusing their brother's liver be absent; may the sons of Philippe who were torn apart be one again. See the town: the fleet is on the water. May the clangour of the crown terrify the Thanian princes. and may the Egyptian augurs beguild the hearts of the Turks. May grieving Armenia be consoled. and proud Ishmael humbled. and forsaken Syria flower once again and a crushed Israel rise up: now as the most glorious victor over nature. do not fear to pay tribute like a legitimate heir. dying freely in Jesus Christ. And if there be no marble and gems and metal for a true sarcophagus there will yet be a native monument: fame, ever matching your deeds; whatever (monument) you might wish, your rule will supply. May those whom you govern support your deeds! MOTETUS Let the eyes of the mourning be dried; may old men applaud and children rejoice. since they are those whom the region of the shadow of death has held in its grip... Text revision and translation © Alexander Blachly |
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