Keyboard Music of the 14th Century in Codex Faenza 117

Author(s): Dragan Plamenac

Source: Journal of the American Musicological Society , Autumn, 1951, Vol. 4, No. 3
(Autumn, 1951), pp. 179-201
Published by: University of California Press on behalf of the American Musicological
Society

Stable URL: https://www.jstor.org/stable/829620

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 Keyboard Music of the 14th Century
in Codex Faenza 117
BY DRAGAN PLAMENAC

TWELVE years ago, in 1939, the example Johannes Wolf in Volume I

of his Handbuch der Notations-
musicological world received the
surprising news of the reappearance kunde) were able only to point to
of an important music manuscript the fact that the original manuscript's
that had been considered lost for present whereabouts was unknown.
many decades. The manuscriptHowever,
in in a paper published in
question was the so-called Bonadies
1939,2 Gino Roncaglia came out with
the news that the codex is safe and
Codex, named for Johannes Bonadies,
a musician of the late I5th century
sound and that it now belongs to the
Biblioteca Comunale at Faenza. It is
who, in the years I473 and I474,
entered on some of its pages copies
rather strange that the whereabouts
of various treatises and a number of of the former Ferrara codex should
compositions by contemporary mu- have remained shrouded in mystery
sicians. The volume was formerly infor such a long time; for, as Ron-
the possession of the Carmelite mon-caglia tells us in his paper, the fact
astery of St. Paul at Ferrara, where that it now belongs to the Faenza li-
Ambros consulted it prior to thebrary could have been suspected on
publication of Volume 3 of his Ge-the basis of statements made in at
schichte der Musik (1868). The least two publications issued after
manuscript is mentioned in the Am-its disappearance from the Ferrara
bros volume on pages 144-146. Sub- monastery. The first of these publi-
sequently, however, the codex van- cations is an article by A. Cicognani,
ished and its contents were thence- published in 1889 in the Gazzetta
forth known only through a copy-musicale di Milano; the other is the
which, as we now know, is frag-article on Johannes Bonadies in
mentary-made in 1753 by Padre G. Schmidl's Dizionario universale dei
B. Martini and surviving in the li- musicisti. To these references, which
brary of the Conservatory at Bo- could and should have been used as
logna.' Twentieth-century musicolo- starting points for further investiga-
gists referring to the manuscript (fortion, we may add the fact that the
xThis partial copy, which we have been able to codex is found listed in the printed
consult, occupies section 2 of Codex A. 32 of
catalogue of manuscripts of the Fa-
the Bologna library. It consists of 76 pages
preceded by two indexes and contains treatises enza library,3 and that it was included
by Joannes de Muris, Philippus de Caserta, in the group of valuable music prints
Jo. Ciconia, Jo. Hothby, Nycasius Weyts,
Jacobus de Regio, as well as compositions by
and manuscripts exhibited at the
Hothby, B. Ycart, Jo. de Erfordia, and Bonadies Mostra Bibliografica Musicale held
himself. The treatises occupy pp. 1-62 of Mar- in 1929 at Bologna on the occasion
tini's copy; the music is found on pp. 63-76.
As can now be seen, Martini appears to have of the Congress of bibliography and
taken no interest whatever in the older part 2"Intorno ad un codice di Johannes Bonadies,"
of the codex, but to have been exclusively Atti e memorie dell'Accademia di Scienze,
concerned with the treatises and practical Lettere ed Arti di Modena, Serie V, Vol. IV.
music entered by the late I Sth-century musi- 8lnventario dei manoscritti della Biblioteca
cian.
Comunale di Faenza (Firenze, igi8), p. 65.

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I8o JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

bibliophilism. In the catalogue of thisportions he characterizes as tabla-

exhibition a Bonadies Codex datingtures for instrument and bass. On the
from 1473, containing "theoreticalother hand, it could be gathered
rules with practical examples by from his description that some of
Hothbi, Jo. de Erfordia et al." andthe instrumental pieces were erased
belonging to the Biblioteca Comu-by Bonadies to make room for treat-
nale at Faenza is listed on page 20 un-ises or compositions that he himself
der No. XXXXVIII. The public dis-wanted to enter into the volume.
play of the Faenza manuscript at an Roncaglia also mentioned that many
international congress did not bringof the pieces notated in "tablature"
about, as one would expect, theare found in the manuscript without
identification of this volume with title or other indication, but that
the Ferrara codex of which every some of them are individualized by
text
trace seemed lost. It is to Roncaglia's incipits evidently taken from
secular songs. Unfortunately, he
indisputable credit that he showed
for the first time that what seemed failed to give a list of these text in-
to be two manuscripts were actually cipits, which are all-important for
one.
the question at issue. On the whole,
In his paper, Roncaglia endeavored like his predecessors Padre Martini
to give a faithful description and Ambros,
of the Roncaglia was pre-
codex but was prevented from dominantly
per-concerned with the sec-
forming this task to ourtions copied into the manuscript by
complete
satisfaction because of his unfamili- Bonadies, and hence dealt with the
arity with the nature and notational instrumental pieces in an entirely
principles of a great-and as will becursory fashion. It was fortunate,
seen, the greater-part of the music though, that he added to the text
contained in the manuscript. It ap- of his article the facsimile of at least
pears from Roncaglia's description one page taken from the instru-
that the volume is composed of dif- mental sections of the manuscript,
ferent elements and that the parts for this single illustration was indica-
filled by Bonadies himself with musi- tive of the surprises that the codex
cal treatises and practical composi-was likely to hold in store for fur-
tions by musicians of his own time ther investigators.
are interspersed with anonymous Roncaglia's paper started the ball
compositions notated by a different rolling; and its first positive result
hand. These pieces, in Roncaglia's was a review, under the guise of an
own words, appear to be "intavola-independent article, published in
ture di musiche per istrumento e I94O by Charles Van den Borren, the
basso, senza parole" (tablatures for distinguished Belgian musicologist.4
an instrument and bass, without After a detailed disquisition on the
words) and "intavolature di mu- name and origins of Johannes Bona-
siche su due righi (strumento solistadies, in which he reached the con-
e basso)" (tablatures on two staffs,clusion that the musician's original
for a solo-instrument and bass). On name must indeed have been Goden-
pages 7-10 of his paper Roncaglia dach (or Goedendag), Van den Bor-
attempts to give a detailed enumera- ren undertook to examine the con-
tion of the contents of the manu-
4"Le Codex de Johannes Bonadies, musicien
script, but leaves us in the dark as to
du XVe siocle," Revue belge d'archeologie et
the real extent and nature of those d'histoire de l'art X (194o), pp. 251-261.

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 KEYBOARD MUSIC OF THE 14TH CENTURY 181
tents of the Faenza codex, on the out, furthermore, that in the arrange-
limited basis of Roncaglia's descrip- ment of Landini's Non ara may pieta
tion. Incomplete as this description in Faenza the original tenor part is
may have been, Van den Borren was reproduced almost unaltered, while
able to gather from it and the ac- the cantus is embellished with lively
companying facsimile that the body figurations which "denote the wish
of anonymous compositions qualified to produce specifically instrumental
by Roncaglia as instrumental in- effects." Some of these figurations,
cludes pieces from the i4th century consisting of notes repeated rapidly
and is written in the notation pe- in succession, suggested to him the
culiar to the Italian ars nova. In the idea that they were intended to be
piece reproduced in facsimile byperformed as a pizzicato. As may be
Roncaglia and accompanied by the gathered from this statement, Van
text incipit Non ara may pieta questa den Borren considered the instru-
mia dona Van den Borren recognizedmental pieces in the Faenza MS, no-
-as he put it-an "instrumentaltated on two staffs, to have been
fantasy" on one of the vocal-instru-conceived for two different instru-
mental ballatas by Francesco Lan- ments, each of which was entrusted
dini. While deploring the fact thatwith the music notated on a single
Roncaglia did not enumerate thestaff. On the other hand, the Belgian
pieces of this older repertory pre- scholar took exception to the term
served in the Faenza codex, Van den "tablature" used by Roncaglia, point-
Borren could state with certainty ing out that we are confronted here
that the manuscript included an un- with "a real score in the modern
usually large number of instrumentalsense, complete with barlines."
pieces for the period in question. He Next to devote at least passing at-
referred to the well-known fact that tention to the Faenza codex was
surviving instrumental pieces from Knud Jeppesen, in his work on early
the 14th century are rare in the ex- I6th-century Italian organ music.6
treme, and that there is only a single Basing his observations also ex-
piece known from contemporary clusively on the statements made by
sources that can be assimilated to the Roncaglia, Jeppesen still considered
instrumental version of Landini's the portions of the codex written by
ballata in the Faenza MS, namely, Bonadies to constitute the "main
the arrangement of another ballata part," the real substance of the manu-
by the same composer of the Italian script. The passages in Non ara may
trecento, Questa fanciulla, found in which had aroused in Van den
pieta
the manuscript Paris, Bibl. Natio- Borren the impression of a pizzicato
were
nale, n.a.f.677 i, f.85r.5 On the basis of characterized also by Jeppesen
Roncaglia's description Van den as lying "outside the realm of cus-
Bor-
ren reckoned that 25 pages oftomary the vocal ornamentation." How-
Faenza MS (pp. 61-65 and 85-104) ever, in distinction to Van den Bor-
were filled with instrumental compo-ren, Jeppesen found them particu-
sitions of a similar kind. He pointedlarly suitable for performance on
wind instruments. He likewise re-
5See J. Wolf, Handbuch der Notationskunde
II, pp. 253-255, where part of the piece is jected the idea that the Faenza pieces
given. A complete transcription was supplied were intended for the organ, in view
by F. Raugel, 46 Pikces pour orgue . . . d'an-
ciens auteurs frangais et itrangers (Paris, *Die italienische Orgelmusik am Anfang des
n.d.). Cinquecento (Copenhagen, 1943), pp. 16-17.

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 I82 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

of the fact that these compositions ber is 1'7, marked at the foot of
are written in two parts and makefolio no 2r inside the stamp of the
use of real chord combinations. This Faenza library. As Roncaglia has
remark, like Van den Borren's inter- mentioned, the manuscript consists
pretation, would imply that theof 97 parchment folios, the first and
pieces were conceived not as solo last of which form the flyleaves. The
music but as ensemble music to be pages of the volume are found neatly
played on two different instruments. marked in ink in the upper left and
A clarification of the issues con- right corners, but the leaves also bear
cerning the place that the older, in-folio numbers inscribed in pencil in
strumental repertory occupies in the the lower right corners. In his de-
codex and its actual importance wasscription, Roncaglia used exclusively
to be expected only from a directthe pagination found at the top of
examination of the original manu- the pages. This pagination, however,
script. During an extended trip to cannot serve for our purposes, since
Italy in the summer of 1948, the it begins only on the verso of folio 5
present writer seized the opportun-and consequently does not include
ity to become acquainted with the the first seven pages, on which music
codex.7 A thorough examination pro-already appears. Discarding these
duced the firm conviction that the seven pages, Roncaglia declares that
Faenza codex is indeed of unique "the first four leaves, without pagi-
importance for the early history of nation, contain songs on two staffs
instrumental music. Since we expect(cantus and bass), without indica-
to publish a substantial selection oftions or words," and that "the codex
pieces contained in the older sectionsin reality [?] begins on page 2
of the manuscript, we are limiting [= fol. 5]1." Accordingly, he begins
ourselves here to a brief account of his enumeration of the contents with
the place that these portions occupy a Kyrie a 3 by J. Hothby, copied
in the manuscript and to a few char-by Bonadies on pages 2-3 [ ff. 5'-
acteristic examples of the pieces con-6r]. The first pages of the manu-
tained in them.
script, not accounted for by Ron-
Before turning to the contents of caglia, are nonetheless highly inter-
the manuscript let us point out thatesting from our point of view, for
the call number under which the vol-
they contain instrumental pieces in
ume is at present preserved at the score on two staffs of the same kind
Faenza library is different from theand by the same hand as those ap-
one given by Roncaglia. It is truepearing later in the manuscript.8
that the number E.I.39-No. 1024 In determining the exact number
appears on folio Ir of the codex; of pages filled with similar instru-
but this number, entered by a much
mental pieces we must therefore be-
older hand, does not correspond to gin with these initial unnumbered
the actual Faenza call number. It is seven pages. To these must be added,
possible that it is the number that as containing instrumental pieces of
the codex had formerly at the Fer-the same kind, pages 61-65 (ff. 35r-
rara monastery; but its present num- 'Folios 2 and 3 show erasures which were not
7We are sincerely indebted to Director Zamabrought to completion. It looks as though
of the Biblioteca Comunale at Faenza, who Bonadies had decided to erase these initial
facilitated our work in every respect. Thepages also to make room for more composi-
building that houses the library was in part
tions or treatises that he wanted to enter, but
destroyed by bombs during the war. did not finish the job.

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 KEYBOARD MUSIC OF THE 14TH CENTURY 183
37') and 85-176 (47'-92v). This adds fore be necessary, in the further
up to 104 pages of instrumental com- course of our description, to drop
positions, as compared with the 25 the page numbers altogether and use
tentatively suggested by Van den instead the folio numbers marked in
Borren. This fact in itself suffices to
pencil at the foot of the right-hand
show the material importance of our pages, the more so as the pagination
manuscript and its unique characterin ink is not the original one. This
as a source of instrumental music of may be seen from the fact that there
the late i4th century. But it also is no interruption in the pagination at
gives evidence of the relative im- places where something is evidently
missing in the latter course of the
portance of the older sections of the
codex as compared with the portionsmanuscript, for example, between
entered by Bonadies. Against a total
folios 66 and 67, and 76 and 77, where
of 104 pages of instrumental pieces
page 124 (f. 66v) is immediately fol-
in older score notation we find only
lowed by page 125 (f. 67r), and page
43 pages filled by Bonadies with 144 (f. 76v) by page 145 (f. 77r), al-
copies of music by late Isth-century
though there is a gap in the music in
composers, and 36 pages containingboth places. This is clear evidence
copies of musical treatises. Eleven
that the page numbers were entered
pages are blank. On the basis of
at a comparatively recent date,
Roncaglia's description Van den
namely, after these losses had oc-
Borren thought he discerned in the curred.
manuscript portions containing "sac- As pointed out by Roncaglia, only
red music, secular music on Italian or
a minority of the instrumental pieces
French words, and instrumental mu- in the Faenza codex display text in-
sic." This distinction, however, is cipits that can serve for ready identi-
erroneous, as the "secular music on fication at the beginning of single
Italian words" comprises only a few compositions. Moreover, since the
pieces by Hothby and J. de Erfordia pieces generally follow one another
entered by Bonadies on the very last without interruption, and since
pages of the MS (pp. 177-184 = ff. many of them are subdivided into
93r-96v), while all remaining "Ital- secundae and tertiae partes, it is
ian" and all "French words" en-
not always easy, in the absence of
countered in the manuscript any belongindications, to say where a piece
to incipits of compositions endsof the and a new one begins, or to as-
i4th century appearing in the certain
codex the exact total number of
in instrumental transcription. Thus
instrumental pieces contained in the
it may be said that the older parts of
manuscript. To do so would presup-
the codex are not only more impor-
pose transcribing into modern nota-
tant than the later ones by reason of pieces lacking either incipits
tion all
the greater space they take upor inother
the indications, such as Secunda
manuscript; they also far exceedpars,
the Tertia pars, or Volta.10 How-
later portions in historical interest.9
ever, for the purposes of a first
The initial seven pages are not like the one attempted in
account
numbered as such, and it will the
there-
present article, it will suffice to
9It would be more in conformity with the real
importance of the manuscript if it were given10Thisa last term, taken over from the vocal
name connected with its original contents,ballata
in- of the Italian trecento, is found at-
stead of being associated primarily with Jo- tached in the Faenza codex to the final sec-
hannes Bonadies. tions of a substantial number of pieces.

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184 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
give a list of those pieces that are warrants the assertion-even if we
accompanied by text incipits and can disregard the large number of simi-
thus be readily identified, while leav- lar compositions in the manuscript
ing any attempt to achieve further that have no accompanying incipits
identifications for another occasion. -that the codex contains a judi-
It will be seen from the data on pp.ciously selected group of instru-
186-187 that text incipits accom-mental transcriptions of some of the
panying the music in a regular man-most widely disseminated French and
ner and inserted by the original Italian secular compositions of the
scribe between the two staffs of the
i4th century. As for the French rep-
score make their first appearance onertory, it comprises, among other
folio 57r (In descort). Incipits of pieces, instrumental versions of two
this kind are then found intermit- ballades by Guillaume de Machaut
tently until folio 90r (Non ara may (Honte, paour and De toutes flours).
pieta). However, even earlier in theSimilar arrangements of works by
manuscript some incipits are found Machaut have hitherto been en-
entered in the left or right margins,tirely unknown; their appearance in
written in a careless manner by the a Faenza MS is accordingly of ex-
ceptional interest. Two other French
hand different from that of the origi-
nal scribe. Similar incipits added inpieces, De ce que fol pense and Jour
the margins appear on folio 35' a jour la vie, are among the compo-
(Biance flour)11 and from folios 5 sitions
r which, in their original form,
to 55?. As has been said, between are encountered most frequently in
folios 66 and 67, and folios 76 and 77
sources of the period. There are quite
there is at least one leaf missing (or
a number of French pieces individ-
misbound); this accounts for the lossually named in the Faenza MS whose
of the final portions of No. 17 (Elasvocal versions we have so far been
mon cuor) and No. 24 (lo me son
unable to trace. They are listed in
uno). Between folios 86 and 87 there the table under the numbers I, 2, 4,
is also something missing; but instru-
5, io (and I7), i4, and i6. It is to
mental pieces in the same notation be hoped that further investigation,
continue to appear in the manuscript based on a transcription of a sizable
without interruption, though unac- part of the material which we expect
companied by incipits or any other to publish, will disclose the origin of
indication. Finally, five more incipits
at least some of these pieces.
are found entered from folios 87r toThe French repertory is notated
90r. Pieces in instrumental notation in the manuscript ahead of the Ital-
ian, and it seems that the volume was
come to a close on folio 92v. They are
followed by four folios filled withoriginally planned in such a way as
compositions in white notation to comprise two distinct sections,
copied by J. Bonadies (cf. Ill. 6).
one French and one Italian. (How-
ever, there is amidst the French
With these later compositions the en-
tire codex comes to an end. group a piece with the incipit Con-
We append a table of instrumentalstantia, which would seem to indicate
pieces in the Faenza codex that arean Italian rather than a French ori-
individualized by the addition ofgin.) The Italian group includes
text incipits in the manuscript (seeeleven pieces individually named, the
pages 185-191 below). This table original versions of which are, with
aCf. Illustration 4. a single exception, widely known

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 KEYBOARD MUSIC OF THE 14TH CENTURY 185
and belong to the most celebrated Faenza codex based on an original
masters of the trecento, of both the by one of these younger musicians.
older and younger generations. Five On the contrary, the emphasis seems
to be on older trecento music
of the instrumental arrangements are
based on works by Jacopo da Bo- (Jacopo da Bologna), not on Fran
logna, three on works by Bartolino cesco Landini. At any rate, this i
da Padova, and two on works by what the text incipits indicate.
Francesco Landini. We have been That the pieces preserved in Fa
unable to identify more exactlyenzathein score notation contain music
for instruments is self-evident. But
piece carrying the incipit Bel fiore
thebe
danpa. Its vocal version is not to exact nature of the instrument or
instruments on which this music was
found in any of the great manuscript
collections of Italian music of the presumably performed is open to
question. As the title of the present
i4th century. Surrounded by instru-
article indicates, we consider the
mental versions of secular composi-
Faenza
tions we find in the Italian group a repertory to have been in-
tended primarily for performance on
keyboard paraphrase of a Gregorian
a keyboard
Kyrie, which must be termed a instrument. This view
does not agree with the opinion
singular piece for this early period.
tentatively expressed by Van den
Thus, there is an almost perfect bal-
Borren and Jeppesen, on the basis of
ance in the Faenza MS as regards the
admittedly scanty evidence. As
respective sizes of the French and
stated before, these two scholars
Italian groups; but it must be remem-
bered that we do not know yetwere to inclined to think that the orna-
which group the majority of the mented upper part of the Faenza
pieces of the codex belong, namely
pieces was intended to be performed
either on a stringed instrument (Van
those that do not carry identifying
text incipits. den Borren) or on a wind instru-
As regards the date when the ment (Jeppesen). Both views would
presuppose that the music notated
"original" Faenza MS--the sections
containing instrumental music on each staff of the two-staff score
no-
was to be played on a basically
tated in score-was presumably writ-
ten, this may be as late as the monophonic
be- instrument, because
ginning of the I5th century; but neither
the a single stringed nor a single
wind instrument would have been
repertory preserved in it belongs
able to play simultaneously the music
exclusively to the I4th century. Some
of the pieces appearing in Faenzanotated on both staffs. On the other
hand, it must be stated that there
under the guise of instrumental com-
positions are found mentioned in have been no justification for
would
Prudenzani's "Saporetto," which, theasuse of score notation if the music
was to be entrusted to two different
it seems, was written about i412.12
instruments. In this case notation in
However, while the same literary
two separate parts, not notation in
source cites a large number of pieces
score, would undoubtedly have been
belonging to the younger generation
used. It must therefore be assumed
(Ciconia, Zachara da Teramo, etc.),
that the notation used in the Faenza
there is not one composition in the
codex could have been intended only
12Cf. N. Pirrotta, II Codice Estense lat. 568 e
la musica francese in Italia al principio del for a polyphonic solo instrument;
'400 (Palermo, 1946), p. 25, n. and, for all practical purposes, key-

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186 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

board instruments are the only ones lines each in score with barlines14-
in this category. is common to Questa fanciulla in the
In order to outline more clearly Reina MS and to the Faenza codex,
the historical importance of the the use of figurations in the up-
Faenza codex, let us take a brief look per part in the Paris manuscript is
at the few surviving monuments of of a far more restrained and modest
instrumental music dating from the kind. The Faenza codex gives us an
14th century. T'he earliest preserved opportunity to review the case of
source, the Robertsbridge fragment the arrangement of Questa fanciulla
(B.M., Add. 28550) displays tabla- in Reina in the light of an incompa-
ture notation using both notes and rably richer and more varied source
letters written on one five-line staff.13 material. It shows that this piece was
Instrumental pieces appear inter- not an isolated case, an exception,
spersed with vocal music in the but that the same type of notation
manuscript B.M. Add. 29987-one was used at this time in Italy in writ-
of the great collections of Italian ing down extensive collections.
trecento music-but these are ex- While all older and contemporary
sources of instrumental music con-
clusively monophonic dances. Finally,
there is the Reina MS (Paris, tain
Bibl.
fragmentary or scanty material
on the basis of which conclusions
Nat., n.a.f. 6771), the only source
could
known until recently to contain an be reached only to a very
instrumental piece of the 14thlimited
cen- extent, we are confronted in
tury whose notation can be the
com-Faenza codex for the first time
pared with that used to such a with
largea large and unified body of
extent in the Faenza codex. Theinstrumental
piece compositions, remark-
able for the breadth of scope and
in question is an instrumental version
of a ballata by Francesco Landini,
the taste that presided over their se-
Questa fanciulla, and the same lection.
nota- Here there are no more scat-
tion is used in the transcription of instrumental pieces or frag-
tered
fragments of unknown pieces on theof pieces interspersed in manu-
ments
verso of the same folio. But if the
scripts containing primarily vocal
type of notation-two staffs of six
compositions. In contrast to a mere
"sW. Apel, in his Notation of Polyphonic two pages of instrumental music in
Music (pp. 22, 37) calls this notation "Ger-
man organ tablature" and finds justification
score in the Reina MS, the Faenza co-
for the use of this term in connection with dex contains 104. To see this type of
the English source in the fact that a similar
type of tablature appears a hundred years later 14It does not really matter whether we call the
in Germany. But on p. 384 he states that thetype of notation used in the arrangement of
upper part (in notes) is written in a "type of Questa fanciulla and in Faenza a "score," or,
'primitive' Italian notation," a fact, he says,as Leo Schrade in his excellent disquisition
"which would seem to allow for some doubt of the sources of 14th-century instrumental
regarding the supposedly English origin of music (Die handschriftliche Ueberlieferung
this manuscript." If this is so, why call it a der iiltesten Instrumentalmusik, 1931) would
"'German" tablature? We prefer to side with have it, a "romanische Tabulatur," a particu-
the thoughtful and cautious view expressed by lar kind of tablature used in Latin countries
T. Wolf in his Geschichte der Mensural-Nota- in distinction to the type used in the Roberts-
tion I, p. 392: "The hitherto prevailing opin- bridge fragment and the I5th-century German
ion that the type of organ tablature just de- organ tablatures-as long as we bear in mind
scribed [i.e., used in I5th-century sources of what is meant by these terms. For practical
unquestionably German origin] must be desig- purposes it seems advisable to adopt the term
nated as specifically German is to be rejected, "keyboard score" used in Apel's handbook, be-
unless a monument of German tablature is cause it clearly indicates the difference be-
discovered that proves older than the Roberts- tween this type of notatikn and tablatures
bridge source." using letters along with notes.

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 KEYBOARD MUSIC OF THE 14TH CENTURY 187
notation reappear in a unified collec- poretto" and used by the musician
tion of instrumental music we must Sollazzo in the performance of a
wait until 1517, the year in which piece entitled El molin de Paris was
Andrea Antico published his Frottole probably a positive, in view of the
intabulate da sonare organi, the oldest fact that this piece contains pro-
Italian keyboard score known hith- grammatic features that could not
erto.15 No matter for what kind of have been brought out on a por-
instrument the pieces in the Fa- tztive. On the other hand, it is known
enza codex were intended, it is un- from contemporary sources that the
questionably the oldest unified col- clavichord and clavicymbal were al-
lection of instrumental music that ready highly developed about 1400.
has yet come to light. The I5th- One of the important things to be
century pieces and theoretical treat-considered in this connection is the
ises copied into the manuscript by character of the figurations used in
Bonadies do not change the picture;the upper part of the Faenza pieces.
they must be characterized as in- These figurations are of a surprising
truders, breaking into the olderdiversity and vary greatly according
manuscript and usurping open space to the style of the original composi-
on some of its pages which had beentions on which the instrumental ar-
left blank by the scribe who wroterangements were based. A Machaut
the instrumental music, or fromballade is not treated in the same
which previously entered instru-
manner as is a madrigal by Jacopo
mental pieces had been deliberatelyda Bologna or a plainsong Kyrie.
erased.
The first piece encountered in the
As has been said, the notation in manuscript accompanied by an in-
score suggests that the pieces of the cipit, Biance flour, is particularly in-
Faenza MS were primarily intended structive in that it shows how far
for a keyboard instrument. But what figuration could go at this time. The
kind of keyboard instrument? It was piece will be found added in fac-
of course not the big church organ, simile to the present article (Ills. 4
but neither could it have been the
and 5) and a transcription (Ex. 4)
organetto (portative), so popularof what appears to be its second
with Italian trecento musicians, on
part"7 has been included in our musi-
account of this instrument's inabil-
cal examples. Surely, this light-footed
ity to act as a polyphonic solo instru-music could not have been per-
ment. This leaves us with the posi-formed on an awkward and heavy
tive, the clavichord, and the spinet. instrument. Certain traits apparent
The positive seems preferable becausein the keyboard style of this piece
of the greater stability and volume even bring to mind virginal music
of its tone, the other types of key-
board instruments because of the 'Or is it an independent composition ? This is
greater ease with which they could a good example of the difficulty that one some-
times encounters in the manuscript in deter-
be played. A. Schering has pointedmining where a piece ends and another begins.
out', that the instrument called "or- As the facsimile of this piece will show, let-
gani framegni" in Prudenzani's "Sa- ters denoting divisiones in accordance with the
principles of Italian trecento notation appear
in the Faenza MS at this place, although in
"Published in Jeppesen's work cited above general such letters are found very rarely in
(Note 6). our source, probably because they could easily
"6Studien zur Musikgeschichte der Frilhre-be dispensed with in a score in which regular
naissance (Leipzig, 1914), p. 65. use is made of distinction lines ("barlines").

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 I88 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
of the end of the I6th century. Judg- has been faithfully preserved though
ing from pieces like Biance flour one rhythmically submitted to certain
is inclined to state that the individ- modifications. The occasional cross-
ualization of clavier versus organ ings of voices may indicate that the
style had already considerably pro- piece was supposed to be played on
an instrument with two manuals.
gressed by 1400oo.
If anything, the Faenza collection Part of the original version of lour
serves to disprove the theory ad- a jour la vie, the instrumental ar-
vanced in Schering's in other respectsrangement of which is found twice in
extremely stimulating Studien, whichFaenza, was published by K. Dezes
tends to see in Italian trecento com- in the Zeitschrift fiir Musikwissen-
positions music of a purely instru- schaft, X. To make a comparison
mental character. It is obvious that still easier, the piece is presented
in the performance of the composi-here (see Ex. 2) in a way affording
tions in their original versions the
a synoptic view of the upper voice
parts sung were usually supported in its embellished form, as it appears
by instruments. On these occasionsin the Faenza codex, and its original
copies of pieces notated in separate
version (given here from Codex B.M.
parts were used, in the form in whichCotton Titus XXVI). The Kyrie is
a free variation on the cantus firmus
the music appears in the extensive
trecento sources hitherto known. taken from Gregorian Mass IV
The Faenza codex now shows that (Cunctipotens genitor Deus). It
these original versions did not serve
should be compared with organ set-
for purely ihstrumental performance;
tings of the same plainsong melody
for if an exclusively instrumental
in the Buxheim Organ Book such as
rendering was desired there existed
No. 153 (f. 84') and 251 (f. i62v),
transcriptions of the same composi-
as well as settings, at least partly
tions written in a kind of notation vocal, in the Trent Codices: Nos.
that fitted this special purpose. 86i to 865, 890, and 1138, in which
Besides Part 2 of Biance flour, we
the cantus firmus is in the top voice,
present in transcription three other
and 1222, in which it is in the tenor.
compositions preserved in Faenza It will also be found instructive to
(see pp. i89-192): the arrangement
compare the Faenza Kyrie with an
of Machaut's De toutes flours (Ill.
organ paraphrase of the same melody
i), the instrumental version of an
(a 3) in an early Attaingnant print
anonymous chanson, Jour a jour ofla 153 1, Tabulature pour le ieu Dor-
gues Espinetes et Manicordions.18
vie (Ill. 2), and the early example of
a keyboard setting of a plainsong I should like to close this brief
Kyrie (Ill. 3). The first two pieces survey with the following statement:
were selected in part because their The Faenza codex is the most impor-
original versions can be easily con- tant source of early instrumental
fronted with the Faenza arrange-
music brought to light in many a
ments. De toutes flours is accessible
decade and a truly unique monument
not only in Ludwig's critical edition
of instrumental practice in the late
but in several other places as well
Gothic period. It may yet play an
(cf. Table). A comparison will show
that the piece is transposed a fifth'Y. Rokseth, Deux livres d'orgue Parus chez
P. Attaingnant en '53' (Publications de la
higher in the instrumental arrange- Socidt6 franpaise de musicologie I, 1925), p.
ment. The melodic line of the tenor 19.

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'~^Q ---I T 17 7 :1

61T1

1.1,OILi T

IL - - -- - - -

711 . . .... .... .

711'?Ti -i T," 7? - ----

12 i?

A AA

Illustration I
Faenza 117, ff. 58v-59r
De tout flors (Ex. I)

. .. . ...... -
I !J_
. . .. . . .. . . . .. . . . . .. . .

j~jii:IX

" UZ-

?7 L q,

4 nA?
71;
. . ........

pip"
..............~1 . -~7.~.----. -------~ I -

f3,l -l?,Ti-:--:,:xff?

i:-77!
--T

4L7-77

Illustration 2
Faenza I17, f. 64r-64v
lour mnour lanie (Ex. 2)

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 KEYBOARD MUSIC OF THE I4TH CENTURY 189
outstanding role in clarifying ourabout as great as is the importance
notions about the participation ofof the most distinguished monument
instruments in the performance of of German organ tablature of the
music of those times. Its importancemid-I5th century, the Buxheim Or-
with respect to French and Italiangan Book, with respect to the gen-
music of the I4th century, the gen-eration of Dufay and Binchois.
erations of Machaut and Landini, is New York

De tout flors
Ex. i Faenza I 17, f. 58v-59v

,- I. nr . . . L . -- Td I
Mi 8b

i... ,i Lft
--. as .
F I0I

PE ILM w W I O
11 LM . I Em

10

v 0!,

7:4. at imy I Ed ?
33

' # -J l . . . . .. ,L
Jw i r' l l i r-ll l I r- IF dI I I !Ad i .I II -

NZ-. o

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 190 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

Secunda pars I - - 4 r 3 n
A I I - M

,rm h i-JIM-.

S 40

% - L
I' 01 oo f rb
t frf ," .o ,, -M
Terliapers
fr~IT
t II I

Ib J45
so

8i
?_ a II A A W "E
my i/ ny my 9 , p

60 0RM3

FLO
[ I R

'Wa

Jour mour lanie

(Jour a jour la vie)
Ex. 2 Faenza I I7, f. 64r-64', Ir-5 v
B.M.,oon Titus

8 our a jour la vi - e

Faeza U
-- A AL
w.. . , --" ,: i. ," "r ' i ii ; . , ,

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 KEYBOARD MUSIC OF THE 14TH CENTURY 191
5

Sinaid per en - vi - - - - - e

SC 0

8 Da - e a ' - d32 - - da -me io-

s C

Ms dueQuar
i - -e. me au cuergy
i'ay $erde
tout-dia - vi de vrsy
cuer -o-

20

2.s C

8 la - - i - - e Et tout mnn vi- vafe-ray san

Ar r% 0 -11:d W -

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192 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

30
k I a-' . . ..0

Si a - - - re de -par - ti e.

ofaFi i " I F.. ! r

Kyrie
Ex. 3 Faenza 117, f. 88r-88v
m==J.

Kyrie

? Io

. .. .

15

I lI I , I FI 1
win --, m= L ...
lot P.~

, ii ? . ii

" "_
I .. . . . . . . . . --J . ..

lot
I I F .
--u . r - t w 1'; ,tI I"

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Illustration 3
Faenza I17, f. 88r-88v
Kyrie (Ex. 3)

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Illustration 4
Faenza II7, ff. 35v-36r
Biance flour [I] (Ex. 4, beg.)

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 =j7W

: IRI;.: __.1..:.: :: : :

AMI & - _ilu

T -1 ---- ----

--i. ...............

............i~?i:.

77--T:i 811.

... . .. ...

Illustration 5
Faenza "7, fft. 36v-37r
Biance flour [II] (Ex. 4, cont.)

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Illustration 6
Faenza 117, ff. 92v-93r
Last page of instrumental p
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 KEYBOARD MUSIC OF THE 14TH CENTURY 193

Biance flour (Part 2)

Ex. 4 Faenza 117, f. 36r-37r

o00

I~lk rJ I d~lw 1A _1 II... I--1m l f

---.-

: f f'f

I A 19b% p
lw-p

is i I w F L

V ....
!I r"I
, ,1 ,,lam
IF F P 7
- I. N,''
, .-, ., . -. .-

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194 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

25 4 - - - pMi

AcS

I L 4L P O
i ? - H i

lbi NQOO, N*Z l`?? /h ~ ~ l

i UO TIS3

NOTES ON THE TRANSCRIPTIONS

Ex. I (De tout flors)

In m. 9 of the tenor the sharps added to the F correspond, if transposed a f
to the B-natural expressly notated in the tenor of Machaut's original compo
wise, the F-naturals in m. 31 correspond to the B-flat encountered at the b
the secunda pars in Machaut's original tenor, and the B-natural in m. 33 to
expressly indicated in the original.

Ex. 2 (Jour mour lanie)

In both entries of the piece in Faenza, mm. 26-28 of the tenor are notate
low, entailing a change of the last note in m. 26 of the top voice to A, in o
parallel octaves. Mm. 30 to the end of the tenor in the first entry (f. 5
vergencies from the second entry. The bar-lines in the final 7 measures
duple time was not meant to be changed again to triple time at this place, as
sources of the original vocal version suggest.

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 APPENDIX

TABLE OF INSTRUMENTAL PIECES WITH TEXT INCIPITS

Abbreviations of Manuscripts Used in th

Ca Cambrai, Bibliotheque, Ms. 1328
Ch Chantilly, Mus6e Cond6, Ms. 1047
Sq Firenze, Biblioteca Medicea-Laurenziana, Pal. 87 (Squarcialupi Codex)
FP Firenze, Biblioteca Nazionale Centrale, Panc. 26
L London, British Museum, Additional 29987
LC London, British Museum, Cotton Titus A. XXVI
McV formerly London, MacVeigh Collection, fragment of a codex without number
Luc Lucca, Archivio di Stato, Codex without number
Mod Modena, Biblioteca Estense, Cod. L. 568 (= a.M.5,24)
Mn Mfinchen, Bayerische Staatsbibliothek, Mus.Ms. 3232a
Pad I Padova, Biblioteca Universitaria, Cod. 684
Pad 2 Padova, Biblioteca Universitaria, Cod. 658
P Paris, Bibliotheque Nationale, fonds italien, Ms. 568
PR Paris, Bibliotheque Nationale, nouv. acquis. frang., Ms. 6771 (Reina Codex)
PN Paris, Bibliotheque Nationale, nouv. acquis. frang., Ms. 4917
Str Strasbourg, Bibliotheque, Ms. 222 C. 22 (burned in 1870)
Tr Chateau de Serrant (France), Ms. de La Tremoille

Abbreviations of Modern Publications Used in the T

Apel W. Apel, The Notation of Polyphonic Music (Cambridge, Mass., 1942)
Bess I H. Besseler, "Studien zur Musik des Mittelalters, I," Archiv fir Musikwissenschaft VI
Bess 2 H. Besseler, Die Musik des Mittelalters und der Renaissance (Handbuch der Musikwissensc
BStr Ch. Van den Borren, "Le Ms. musical 222 C. 22 de la Bibliotheque de Strasbourg," Annales
Belgique, Vols. 71-73 (1923-25), also separately
Card G. Carducci, Cantilene e ballate (Pisa, 1871)
Deb S. Debenedetti, II "Sollazzo" e il "Saporetto" con altre rime di Simone Prudenzani d'Orvieto (G
Suppl. No. 15), 1913
D z K. Dezes, "Der Mensuralcodex des Benediktinerklosters Sancti Emmerami zu Regensburg,"
PetM E. Droz et G. Thibault, Pontes et musiciens du X Ve sikcle (Paris, 1924)

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DT E. Droz et G. Thibault, "Un Chansonnier de Philippe le Bon," Revue de Musicologie, VII (1926)
Ein A. Einstein, Beispielsammlung zur dlteren Musikgeschichte, 3rd edition (Leipzig, 1927); 2nd Americ
Ell L. Ellinwood, The Works of Francesco Landini (Cambridge, Mass., 1939)
Gan R. Gandolfi, Illustrazioni di alcuni cimeli concernenti l'arte musicale in Firenze (Firenze, 1892)
LiG E. Li Gotti, La poesia musicale italiana del secolo XIV (Palermo, 1944)
LudM G. de Machaut, Musikalische Werke, hrsg. Friedrich Ludwig (Publikationen dilterer Musik) Leipzig, 1
PG N. Pirrotta & E. Li Gotti, "I1 Codice di Lucca", Musica Disciplina III (1949) and IV (1950)
Riem H. Riemann, Hausmusik aus alter Zeit, I. Heft, (Leipzig, n.d.)
Trucchi F. Trucchi, Poesie italiane inedite di dugento autori, Vols. I-IV (Prato, 1846)
Wess A. Wesselofsky, II Paradiso degli Alberti, romanzo di Giovanni da Prato, Vols. I-III (Bologna, 1867)
WGesch J. Wolf, Geschichte der Mensural-Notation von I25o-I46o, Vols. I-III (Leipzig, 1904)
WHdb J. Wolf, Handbuch der Notationskunde, Vols. I-II (Leipzig, 1913-1919)
WSch J. Wolf, Musikalische Schrifttafeln (Leipzig, 1923)
OH H. E. Wooldridge, The Polyphonic Period (The Oxford History of Music), 1905

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 TABLE

Composer of Concordance
No. Folio Incipit original of original R

35v-37r biance flour Incipit entered in lef

2 51r iaime la biaute Incipit entered in up

3 5Ir-5Iv iorleuie See concordance under No. 15 Incipit entered

[= Jour a jour la vie] gin. Same piece a

4 53v-55r tipes [?] Incipit entered in uppe

55v-56 angilio [?] Incipit entered in uppe

6 57r-57v In descort a 3: PR, 7or ("A discort son desir

et esperance")

7 58r-58v Hont paur G. de Machaut a 3: Paris fr. 22546, 142V; fr.1584, Publ
No. 24; fr. 9221, No. 17; FP, 76
Also in the de Vogti6 codex, where
abouts not known at present. Los
in Tr, f. xxx.

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 Composer of Concordance
No. Folio Incipit original of original R

58v-59v De tout flors G. de Mach

No. 30; P, 120
also in the de
able at prese
triplum): Pari
PR, 72r. Lost i
in Tr, f. xiii.

9 59v-60r Aspar refus [= Aspre refus] This piece is m

Io 6o'-6 I Elas mon cuer Based on same Ten

I 6Ir--6v1 De ce fol penser P. des Molins a 3: Ch, 53v; FP
[= De ce que fol pense] I r. tion and transcrip
a 4: Ca, 5' and 10r; PR
in Str (No. 52) and in T

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12 6Iv-62v Jay grant espoir a 3: PR, 65v ("J'ay grant desespoir Cf. DT
de ma vie"). Lost in Tr, f. xxxii.

13 62v-63r Constantia The text of the origin

14 63r-64r Le ior
15 64r-64v Jour mour lanie P, I2i1 (a 2); FP, 74r (a 3); LC, 3y Same pi
[= Jour a jour la vie] (a 3); PR, 66r (a 4); Mn, 46v (a 4). leuie").
Lost in Str (No. 72, a 3) and in
f. xxxi. Contra varies

16 64v-65v Viuer ne puis Roncaglia's reading

17 659-66v Elas mon cuor Based on same Ten

18 67.r-68v Soto limperio del posente Jacopo a 3:

pringe (f. 68r: Volta de sotto da Bologna (". . del possente re"). in Ga
limperio) Opere VIII, 3

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 Composer of Concordance
No. Folio Incipit original of original R

19 68v-69v Qualle lege moue (f. 69v: Volta Bartolino a 2: Sq, II9V; L, 19V; PR, 21v.
de qual lege moue) da Padova

20 70r-7Ir La dolge sere (f. 70V: Volta de Bartolino a 3: Sq, IoI';

la dolze sire) da Padova I3V; Luc, Iar. erroneously g
a 2: P, 41'. Perugia."-F

21 7Ir-72r O ciecho mondo (f. 72r: Volta Jacopo a 2: Sq, IIV; FP, 65r; P, 5V
de o ciecho mondo) da Bologna Pad 2, flyleaf; Pad I, 33v (fragm.) Card

22 72r-73v Aquila altera (f. 73r: Volta de Jacopo a 3: Sq, 8v; FP, 91v; P, 2v; PR, 2v. Ten
aquila latera) da Bologna Creatura gent

23 73v-76r In perial sedendo (f. 75r: Volta Bart

de in perial) da Padova 13r (Tenor only); Mod, 29v. erroneous
a 3: Luc, I9av. Text pub

24 76'-76v Io me son vno che per le frasche Jacopo a 2: Sq, 17v; FP, 64v; PR, 8r. End
(f. 76v: Volta de io me son) da Bologna Trucchi II,

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25 87r-88r Non na el so amante Jacopo a 2: Sq, Io'; FP, 70r; P, 4'; Publ
[= Non al suo amante piti da Bologna PR, 3v. Van). Fac
Diana piacque] logues Mostra bibliog

26 88r-88v Kyrie Instrumental paraph

27 88v-89v Che pena questa Franc. Landini a 3: Sq, 130v; FP, 36v; P, Ioov. Pub
a 2: PN, 19T.

28 1 89v-9or Bel fiore danga

29 90or-90 Non ara may pieta questa mia Franc. Landini a 3: Sq, I34y; FP, 30o; P, 61'; L, Part I pu
dona 22V; PR, 52r. Kiesewetter 1841 ga

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