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Medieval Music Database

Petre Clemens tam re quam nomine; Lugentium siccentur occuli

Three-voice motet by Philippe de Vitry


Ivrea: 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).


1. 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 Editions

1. 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.


1. 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.


1. 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.


Petre 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.

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.


Peter 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!

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

Content Approved by: MMDB Director
Last updated: Wednesday, 19 March 2003

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