manuscript of poetry and polyphony , 14th century; provenance: France, 'Vogüé, Wildenstein, Machaut Vg'
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DIAMM information (this information supersedes that given in RISM or the Census Catalogue):
Images of this MS are made available by kind permission of James E and Elizabeth J Ferrell.
RISM B/IV 2 : A 14th century parchment manuscript meas. 32 cm. in height and 9 cm. thick. It originally contained 392 folios, but f. 321 and 383 have since been lost. An old foliation appears at t.r.r. However, the copy of these pages in the 15th century ms F-Pn 1585 makes up for this loss. NYw was formerly in the possession of the Marquis de Vogüé, but after his death it was lost from musicologists' sight till it turned up again in the 1950s among the possessions of the Wildenstein Galleries in New York. This source was the principal one used by Ludwig in his Machaut edition. It seems to be the earliest of the complete manuscripts (except for F-Pn 1586, which is a later copy of a less complete source and cannot be compared with NYw, F-Pn 1584 and F-Pn 22545-22546 for comprehensiveness). NYw, F-Pn 1584 and F-Pn 22545-22546 are closely related to each other and seem to have been written, in that order, soon after each other, beginning with NYw c. 1369. A 15th century motto on the second front flyleaf suggests that this codex may have been in the hands of the Count of Foix, if not already in the 14th century, then probably in the 15th century at the latest. The musical notation is of Ars Nova type on 7-10 red five-line staves per page with occasional red notes and a liberal application of accidentals, which often conflict with F-Pn 1584 and F-Pn 22545-22546; these conflict among themselves to some extent in this respect. Miniatures and illuminated initials are as frequent in NYw as in the other principal Machaut sources, and blue, red and gold appear to be lavishly applied. The polyphonic music in NYw amounts to 2 lays, 23 motets, 38 Ballades, 15 Rondeaux (2 more were lost with f. 321), 6 Virelais, the mass and the hocket. As usual, the long and short poems without music occupy the first part of the ms, but La Prise d'Alexandrie was added after the music on f. 336-392v, which helps to date the source, since the Prise had obviously only just been written at the time. The hocket seems a little out of place too, since it here precedes the last of the Virelais.
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