|
|
 |
|
 |
|
En seumeillant m'avint une visionballade by Trebor SourcesChantilly: Bibliothèque du Musée Condé 564, fol. 21v (3/1).FacsimilesGENNRICH, Friedrich. Abriss der Mensuralnotation des XIV und der ersten Hälfte des XV Jahrhunderts, Nieder-Modau: 1948. Musikwissenschaftliche Studienbibliothek 3-4, p. 45.Editions1. French Secular Music of the Late Fourteenth Century, edited by Willi Apel, Cambridge/Massachusetts: Medieval Academy of America, 1950, no. 44.2. French Secular Compositions of the Fourteenth Century, music edited by Willi Apel, texts edited by Samuel N. Rosenberg, Rome: American Institute of Musicology, 1970. Corpus Mensurabilis Musicae 53/I, p. 209. 3. French Secular Music. Manuscript Chantilly, Musée Condé 564, First Part, edited by Gordon K. Greene, Monaco: Editions de L'Oiseau-Lyre, 1981. Polyphonic Music of the Fourteenth Century XVIII, p. 53. Literature1. PAGÉS, Amédée. La poésie française en Catalogne du XIIIe siècle à la fin du XIVe, Paris: 1936, p. 60.2. REANEY, Gilbert. 'The manuscript Chantilly, Musee Conde, 1047', Musica Disciplina, VIII (1954), p. 77. 3. GÜNTHER, Ursula. Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14. Jahrhunderts, dargestelt an Virelais, Balladen und Rondeax von Machaut., Ph.D. dissertation, University of Hamburg: 1957, pp. 225, 229-233. 4. 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. 79. 5. GÜNTHER, Ursula. 'Datierbare Balladen des späten 14. Jahrhunderts. Part 1', Musica Disciplina, XV (1961), pp. 45-48. 6. GÜNTHER, Ursula. 'Zitate in französischen Liedsätzen der Ars nova und Ars subtilior', Musica Disciplina, XXVI (1972), p. 58. 7. GOMEZ, Maria del Carmen. El Ars Nova en la Corona de Aragón o la Música en la Casa Real Catalana-Aragonese Durante los Anos 1336-1432, Barcelona: Antoni Bosch, [1977]. Historia y Documentos I, Musica II. RecordingsFebus Avant!, Huelgas Ensemble, directed by Paul van Nevel (1991): Sony Classical SK 48 195.TextEn seumeillant m'avint une visionmoult obscure et doubteuse pour entandre: avis m'estoit qu'un fort vespertilion en conqueste sourmontoit Alixtandre; mais Seril monstre en sa vray descripcion que c'est le roy qui tien en compaygnye "Armez, amors, damez, chevalerie!". Cilz noble roy a timbre de tel faton dont legier est a touz pour cert comprandre que maint panz et lointaine region de son haut pooir nez valdront defendre. n'a son vaillant cuer ardis come lion. ains seront touz priants sa seigneurie: "Armez, amors, damez, chevalerie!". Et, pour douner au songe conclusion. le passage qui ert sanz moult atandre en Sardigne, nouz mostre que d'Aragon fera soun cry partout doubter et craindre. car puissant est en terre et mer par renon. larges en dons, et aymT sans oublie "Armez, amors, damez, chevalerie!". TranslationWhile sleeping there came to me a vision.very difficult and doubtful to understand. I thought that a powerful bat overcame Alexander in battle. but Seril shows in his accurate account that it is the king who stands firm in battle: "Arms, Love, Ladies, Chivalry!" This noble king has a coat of arms of such nobility whence it is easy to understand for certain that many a country and far-off region will find it useless to put up a defence against [the mighty power he exercises, [he exercises. nor against his valiant heart, as daring as a lion; rather will they all go begging him to be their lord. "Arms, Love, Ladies, Chivalry!" And, to append a conclusion to the dream. the passage which will be made with little delay into Sardinia, shows us that from Aragon he will inspire fear and dread at the sound of his war-cry. for he is known as a mighty warrior on land and sea. generous in gifts, and loved forever: "Arms, Love, Ladies, Chivalry!" Text revision and translation © Robyn Smith |
 |
|
|
|
|
|
|
|
|
