CMYK PMS 156mm 8 26mm 8 156mm B r a d The Montpellier Codex (Montpellier, Bibliothèque interuniversitaire, l e y Bibliothèque universitaire de médecine, H. 196) occupies a central place in a scholarship on medieval music. This small book, packed with gorgeous gold n leaf illuminations, historiated initials, and exquisite music calligraphy, is d D one of the most famous of all surviving music manuscripts, fundamental e to understandings of the development of thirteenth- and fourteenth- s m century polyphonic composition. At some point in its history an eighth o section (fascicle) of 48 folios was appended to the codex: when and why this n d happened has long perplexed scholars. The forty-three works contained in ( the manuscript’s final section represent a collection of musical compositions, e d assembled at a complex moment of historical change, straddling the s ) historiographical juncture between the thirteenth and fourteenth centuries. TT This book provides the first in-depth exploration of the contents and h contexts of the Montpellier Codex’s final fascicle. It explores the manuscript’s h e production, dating, function, and notation, offering close-readings of Fe individual works, which illuminate compositionally progressive features i of the repertoire as well as its interactions with existing musical and poetic nM 2 3 4 traditions, from a variety of perspectives: thirteenth- and fourteenth-century a + l 6 music, art history, and manuscript culture. o m F m n a CATHERINE A. BRADLEY is Associate Professor at the University of Oslo. s t KAREN DESMOND is Assistant Professor of Music at Brandeis University. cp i c e Contributors: Rebecca A. Baltzer, Edward Breen, Sean Curran, Rachel Davies, Margaret l e Dobby, Mark Everist, Anna Kathryn Grau, Solomon Guhl-Miller, Oliver Huck, Anne Ibos- l Augé, Eva M. Maschke, David Maw, Dolores Pesce, Alison Stones, Mary E. Wolinski l i e Cover image: Montpellier, Bibliothèque interuniversitaire, Bibliothèque universitaire de médecine, H. 196, fol. 350r (photo: BIU Montpellier/DIAMM, University of Oxford). r C Cover design by Workhaus o Studies in Medieval and Renaissance Music d GENERAL EDITORS: Tess Knighton (ICREA - IMF/CSIC, Barcelona) e Helen Deeming (Royal Holloway, University of London) x an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF (GB) and 668 Mt Hope Ave, Rochester NY 14620-2731 (US) studies in medieval and renaissance music 16 The Montpellier Codex Studies in Medieval and Renaissance Music issn 1479-9294 General Editors Tess Knighton Helen Deeming This series aims to provide a forum for the best scholarship in early music; deliberately broad in scope, it welcomes proposals on any aspect of music, musical life, and composers during the period up to 1600, and particularly encourages work that places music in an histor- ical and social context. Both new research and major reassessments of central topics are encouraged. Proposals or enquiries may be sent directly to the editors or the pub- lisher at the addresses given below; all submissions will receive careful, informed consideration. Professor Tess Knighton, Institucio Mila i Fontanals/CSIC, c/ Egipciaques, Barcelona 08001, Spain Dr Helen Deeming, Department of Music, Royal Holloway, University of London, Egham, Surrey tw20 0ex Boydell & Brewer, PO Box 9, Woodbridge, Suffolk ip12 3df Previously published titles in the series are listed at the back of this volume. The Montpellier Codex The Final Fascicle Contents, Contexts, Chronologies Edited by Catherine A. Bradley Karen Desmond the boydell press © Contributors 2018 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2018 The Boydell Press, Woodbridge ISBN 978-1-78327-272-3 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk ip12 3df, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, ny 14620–2731, USA website: www.boydellandbrewer.com A CIP catalogue record for this title is available from the British Library The publisher has no responsibility for the continued existence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate This publication is printed on acid-free paper Typeset in Adobe Arno Pro by Sparks Publishing Services Ltd—www.sparkspublishing.com Contents Figures vii Musical examples ix Tables xi Acknowledgements xii List of manuscript sigla xiii Abbreviations xv Table of fascicle 8 contents xvi Introduction 1 Catherine A. Bradley and Karen Desmond i. the material object 1. Montpellier 8: Anatomy of … 13 Mark Everist 2. A Palaeographical Analysis of the Verbal Text in Montpellier 8: Problems, Implications, Opportunities 32 Sean Curran 3. The Style and Iconography of Montpellier folio 350r 66 Alison Stones 4. The Decoration of Montpellier 8: Its Place in the Continuum of Parisian Manuscript Illumination 78 Rebecca A. Baltzer 5. Double Motet Layouts in the Montpellier Codex and Contemporaneous Libri motetorum 90 Oliver Huck 6. Deus in adiutorium Revisited: Sources and Contexts 100 Eva M. Maschke 7. Thematic Clusters and Compilational Strategies in Montpellier 8 121 Anna Kathryn Grau vi Contents ii innovation and tradition 8. Texture, Rhythm, and Stylistic Groupings in Montpellier 8 Motets 139 Karen Desmond 9. Je le temoin en mon chant: The Art of Diminution in the Petronian Triplum 161 David Maw 10. How Rhythmically Innovative is Montpellier 8? 184 Mary E. Wolinski 11. Re-Presentation in the Ars antiqua: From Chant to Polyphony 197 Solomon Guhl-Miller 12. … Que ne dit ‘cief bien seans’: Quoting Motets in Montpellier 8 211 Anne Ibos-Augé iii analytical case studies 13. Montpellier 8 PORTARE Motets and Tonal Exploration 233 Dolores Pesce 14. Repetitions, Rhythmical Evolution, and Rhetoric in the Montpellier Codex 254 Margaret Dobby 15. Shedding Light on Mo 8,304: Alma virgo virginum/Benedicta es, Maria 269 Rachel Davies 16. A Performance and Reception History of On parole/A Paris/FRESE NOUVELE 283 Edward Breen Bibliography 299 Contributors 313 General index 315 Index of compositions, alphabetical 327 Index of compositions in Mo, manuscript order 331 Figures Figure 2.1 Mo, fol. 354r (photo: BIU Montpellier) 36 Figure 2.2 Mo 8, further sampler of script features (photos: BIU Montpellier) 40 Figure 3.1a Mo 8, fol. 350r, D, clerics chanting (photo: BIU Montpellier/ DIAMM, University of Oxford) 67 Figure 3.1b Mo, fol. 1r, D, clerics chanting (photo: BIU Montpellier/IRHT [CNRS]) 67 Figure 3.2 Mo, fol. 350r, border: greyhound chasing hare (photo: BIU Montpellier/DIAMM, University of Oxford) 68 Figure 3.3 Santa Barbara, Special Collections BS75 1250, Bible, fol. 161r, Psalm 97, C, clerics chanting (photo: Alison Stones, by permission of the Department of Special Research Collections UCSB Library, University of California Santa Barbara, CA) 69 Figure 3.4 Private Collection, Psalter-Hours, fol. 242v, Psalm 119, A, cler- ics chanting (photo: Alison Stones, courtesy of the Emmanuel Boussard Library) 69 Figure 3.5 W , fol. 31r, S, clerics chanting (photo: Herzog August Bibliothek 2 Wolfenbüttel, with permission) 70 Figure 3.6 Paris, Bibliothèque nationale de France (BnF), n.a.l. 3145, Hours of Jeanne de Navarre, fol. 91v, St Louis at mass with clerics chanting (photo: BnF, with permission) 72 Figure 3.7 Mo, fol. 5v, V, Virgin and Child (photo: BIU Montpellier, with permission) 73 Figure 3.8a Le Mans, Médiathèque Louis-Aragon, 262, Bible, vol. 2, fol. 239v, Canticum canticorum, Virgin and Child (photo: Alison Stones, by permission of Le Mans) 74 Figure 3.8b Paris, BnF lat. 248, Bible of Philippe le Bel, fol. 495v, Canticum canticorum, Virgin and Child (photo: BnF, with permission) 74 Figure 3.9 Paris, BnF fr. 2030, Henri de Mondeville, Chirurgie, fol. 29, male and female internal organs (photo: BnF, with permission) 76 Figure 3.10 Ghent, Univ. Bibl. 233, Ceremonial of St Peter Blandin, fols 67v–68r, Crucifixion and Three Maries at the Sepulchre; T, Moses and the Brazen Serpent (photo: Ghent University Library, BHSL. HS.0233) 77 viii List of figures Figure 4.1 Mo, fol. 270r, top (photo: BIU Montpellier) 80 Figure 4.2 Stadtbibliothek Nürnberg, Solg. Ms. 4.4°, fol. 22r, Dormition of the Virgin (photo: Stadtbibliothek Nürnberg) 82 Figure 4.3 Paris, BnF lat. 248, Bible of Philippe le Bel, fol. 47v, initial for Exodus (photo: BnF) 85 Figure 4.4 Paris, BnF fr. 2090, fol. 1r (photo: BnF) 86 Figure 4.5 Lyon, Bibliothèque municipale, MS 5122, fol. 291r (photo: Bibl. vir- tuelle des mss médiévaux (BVMM), licence CC BY NC 3.0) 87 Figure 5.1 Motet page layouts 91 Figure 7.1 Chiastic arrangement of motets in Mo 8 133 The editors, contributors, and publishers are grateful to all the institutions and per- sons listed for permission to reproduce the materials in which they hold copyright. Every effort has been made to trace the copyright holders; apologies are offered for any omission, and the publishers will be pleased to add any necessary acknowl- edgement in subsequent editions. Musical examples Example 8.1a Mo 8,329, longs 1–8, an example of a ‘334’ profile 144 Example 8.1b Mo 8,317, longs 1–3, an example of a ‘135’ profile 144 Example 8.2 Mo 8,342, longs 1–5, an example of a ‘235’ profile 148 Example 9.1 ‘Lexicon’ of Petronian groups in Mo 166–8 Example 9.2 Petronian groups in performance practice: a. Added 4-groups in Tu 169 b. Apparent Petronian groups in the Vatican Organum Treatise 169 Example 9.3 Use of Petronian groups in Mo 8,317 171 Example 9.4 Declamatory use of SSBB: a. Florid Petronian groups and SSBB in first phrase of Mo 7,264 173 b. SSBB in first two phrases of Mo 7,289/8,338 173 Example 9.5 Changing settings of repeated versification schemes: a. Ninth and tenth phrases of Mo 7,299 176 b. First and second phrases of Mo 7,254 176 Example 9.6 Revisions to Mo 7,289 in Mo 8,338: a. Comparison of texts of tenth phrase 178 b. Comparison of contrapuntal structures of tenth phrase 178 c. Comparison of syllabic rhythms of tenth phrase 178 d. Revision to final cadence of 289/338 178 Example 10.1 Mo 8,311, Se je chante/Bien doi amer/ET SPERABIT, fol. 358r 188 Example 10.2 Mo 8,332, Je cuidoie/Se j’ai folement/SOLEM, fol. 382v 188 Example 10.3 Entitio in the three ordines of Anonymous IV’s imperfect sixth mode 194 Example 10.4 Mo 8,340, Balam inquit/Balam inquit/BALLAAM, fol. 393r 195 Example 11.1a Vatican Organum Treatise, fol. 48r, examples 237–9 200 Example 11.1b Transcription of the opening of Iudea et Iherusalem, F, fol. 65r 200 Example 11.2a Excerpt from Au cuer/Ja ne m’en repentirai/JOLIETEMENT (Mo 7,260), with variants 203 Example 11.2b Skeletal structure of excerpt from Au cuer/Ja ne m’en repentirai/ JOLIETEMENT (Mo 7,260) 203 Example 11.3 Excerpt from Descendit de caelis (perfs 105–16) 206 Example 11.4 Perfections 1–9 and 27–30 of Mo 8,317 209 Example 12.1 Par une matinee, el moys joli d’avril in M896 and M807 (perfs 1–4) 217 Example 12.2 Dame de valour in M896 (perfs 14–19) and M363 (perfs 1–6) 217 Example 12.3 Li dous penser in M896 (perfs 30–2) and M881 (perfs 1–4) 218