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They function as repositories where the owner may get new favourite songs copied. All his work on fascicle 3 and most of fascicles was probably done before he added fascicles We cannot know whether the text he intended to use was in fact the old trope or a new text fashioned to honour a wished-for receiver of the manuscript or a contemporary musician Ockeghem, the leader of the court chapel, could be a candidate for praise as the father of modern music!
Maybe the planned text failed to appear — and the main writer gave up his project.
At this stage the main scribe abandoned his project. It was a collection of fascicles: The main scribe may have died or left his position at the musical institution. In any case, a second scribe hand B very soon took over work on the collection, had it bound, and copied music on most of the empty pages — probably in collaboration with other scribes working in the same institution mainly hands C and D , any temporal difference between the hands is not discernible, and they are like the main scribe all professionals and educated in similar institutions.
It encompasses, however, no more songs by Ockeghem and Busnoys; the foremost names are now Agricola, Compere, Hayne and Pietrequin Bonnel, but hand C also knew some old songs by Du Fay and Binchois, which he placed alongside a song by a younger composer, Prioris nos. The last pages in the manuscript were filled by guests, each adding a single song hands E-H, including Pietrequin. The information that two scribes who in turn worked on Florence , both supplemented the repertory of two older chansonniers, represents a nearly unbelievable lucky chance, which demands a closer inspection.
However, in the existing literature this information is just recorded without much further discussion. Already by a close reading of the songs, which the scribes each entered in two manuscripts Florence and Laborde, and Florence and Dijon respectively , the relationships becomes even more amazing: When he copied the same song into the last, nearly empty section of the Laborde chansonnier no. Considering the professional status of the scribes it seems impossible that they made the entries in Laborde and Dijon before their work on Florence They either got hold on better exemplars or revised the ones they had, possibly after consulting with the composers.
In this case, the work of the two Florence scribes is evidence that Dijon and Laborde were still in royal court circles when the additions were made.
On the other hand, they were hardly available to the Florence scribes through an extended period. Nothing indicates that the main scribe had access to the repertory when he made his part of Florence The shared repertory in fact only includes a small number of songs already present in Dijon and Laborde, that is Florence nos. Neither the songs later added to the three MSS show any close mutual dependency Florence nos.
Maybe the proposed datings of the MSS concerned have to be revised somewhat. Jane Alden places the activities of the Dijon scribe in the s, and Rifkin and Litterick date Florence in the early s.
Fresnau was a singer in the French court chapel before he went to Milan and became a colleague of Compere. Duke Galeazzo of Milan was murdered in , and the following year his heir disbanded his chapel. It is a possibility that Fresnau accompanied by Compere more or less directly went back to the French court chapel where both of them stayed on for a long time — as it is well known nearly all archival documentation concerning the personnel of the chapel has disappeared.
By these adjustments we can establish a picture of a group of sources for the history of the French chanson, which is closely interweaved and shows continuity — quite different from the traditional picture of scattered sources. Concurrently a picture emerges of a setting for the production of musical artefacts, which is bigger and more institutionalized than what we earlier have been able to imagine.
Our picture depicts a more extended group of scribes or musicians who in turn or according to their periods of employment handled these functions. The role of scribe to the French court chapel seems to be an alternative proposal. However, the sources do not tell us much about the function of the scribe in connection with the court chapel.
And it is hardly likely that projects involving elegant, commissioned chansonniers were hauled around with the chapel on its journeys. Maybe we should rather imagine that the court chapel was associated with a supplier based in a big city, where access to affluent customers was steady. Paris, residence of for the central administration with its many highly educated, rich and socially ambitious officials, is an obvious guess, but also Tours, which during the decades following the end of the Hundred Years War for long periods de facto functioned as the capital of the kingdom, 12 and other localities must be considered.
The lack of research on these topics of course makes all this hypothetical. Some time during the late s the main scribe Hand A began a chansonnier, probably on commission from a member of the French court. The 3rd fascicle, which originally contained four attractive songs only, might have been a sort of trial pages to show his patron; he never got around to get this fascicle integrated into the manuscript. Having obtained the approval of the recipient he then produced the fascicles and most of their contents. A change of plan; probably the original recipient was no longer available.
Hand A tries to make his collection more attractive to a new customer by sketching two fascicles with sacred music and a dedication motet; the manuscript may now be intended as a gift. Fresnau and Compere enter the royal chapel, and their music becomes easily accessible to the scribes before Another scribe Laborde D helps out with the complement of repertory, the index is updated, and finally Laborde is delivered to a buyer. Hand A abandons his own project without finishing the copying of no. Hand B assumes responsibility for Florence and supplies chansons by first and foremost Pietrequin, Compere and Agricola in due course assisted by hands C and D ; he probably has the manuscript bound in some form.
The Dijon chansonnier is as a finished product handed over to an owner. Eastern Time to discuss its fourth quarter and full-year results. The dial-in number to access the call is U. A taped replay of the conference call will also be available beginning approximately two hours after the call's conclusion, and will remain available through Eastern Time on March 6, The replay may be accessed by dialing and entering the conference ID From international locations, the replay may be accessed by dialing and entering the same conference ID.
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