IIIF Manifest
The two Cordier pieces are probably holographs; the rest of the manuscript was probably copied by an Italian scribe working from a French original (ReaneyC). Repertory from southwestern France; probably copied in Florence from a French original from c. 1390 (ReaneyC, but cf. WrightTC, who suggests that ChantMC 564 may have originated at the papal court at Avignon). The manuscript was in Italy from 1461 (inscription on f. 9: 'A di xviii di luglio 1461 Franciescho d'alto biancho degli alberti dono questo libro alle mie fanciulle e a Rechollo Lançalao suo figliolo. Amen Thomasso Spinelly. Propria manu') until 1861, when it was purchased for the Duke of Aumale by the sculptor Bigazzi in Florence.
F-CH MS 564 (Chantilly Codex)
Musée Condé, Chantilly, France
manuscript of polyphony: Late 14th century
| Archive | Musée Condé, Chantilly, France (F-CH) |
|---|---|
| Shelfmark | MS 564 (Chantilly Codex) |
| Image Availability | The images on this record are linked using IIIF. |
| Surface | Parchment |
| Numbering System | Foliation |
| Measurements | 387 x 286 mm |
| Other Identifiers |
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| Notations |
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| Relationships |
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| External Links | |
| Provenance |
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| Contents | Contains 112 compositions, 82 from 35 composers, 30 are anonymous. |
General Description
Physical Description
the first gathering of 12 folios was lost, and four new folios were placed at the beginning in the early 15th century (ReaneyC, but cf. WrightTC, who argues that the folios at the beginning are not later additions)
Binding
Purple velvet binding added in 1861
Notation
Complex late Ars Nova type, red notes are as frequent as black and sometimes predominate, with varied mensuration signs and unusual note-forms
Date
Early 15th century (ReaneyC); completed ca. 1395, not later than 1398 (WrightTC, based upon the identification of Baude Cordier with Baude Fresnel, who was at Avignon in 1395 and died in 1397 or 1398).
Ruling
typical Italian six-line stave, except for the two additions of Cordier which are on five-line staves
Foliation
19th-century pencil foliation, 9-12, for the four newer folios; original foliation, 13-72, for the older, main portion
Foliation
2-72v
Decoration
originally 72 folios
Index
Index on ff. 9'-10, dating from the early 15th century
Surface
Parchment
RISM Description
RISM B/IV 2: A late 14th century parchment manuscript meas. 387 x 286 mm. and containing a corpus of 64 folios. Originally the ms comprised 6 fascicles of senios, but the first fascicle was lost shortly after the ms was written, so that the present original corpus consists of 5 fascicles foliated at t.r.r. from 13-72. The Roman numerals date from the 15th century, like the added folios 9-12, which however were only foliated in the 19th century. These contain an index of the pieces on f. 13-72v (f. 9v-10) and two Rondeaux by Baude Cordier in an ingenious notation (f. 11v-12). Recent research suggests that the repertory of the codex originated in South-Westem France, insofar as this is not part of the general French repertory of the time. The theory that the ms is an Italian copy of a French original is partly due to the fact that it was in Italy in 1461 at the latest, remaining there till 1861. A note on f. 9 reads: A di xviii di luglio 1461 Franciescho d'alto biancho degli alberti dono questo libro alls mie fanciutle e a Rechollo Langalao suo figliolo. Amen Thomasso Spinetty. Propria manu. Strangely enough, the codex employs the typical Italian six-line stave, except for the two additions of Cordier which are on five-line staves. However, it is clear that both music and texts were intended mainly for the Francophile courts of the Aragon princes, in particular Gaston Phebus, count of Foix and Beam (1343-1391), and John I, king of Aragon (1350-1395). The notation is of the most complex late Ars Nova type, in which red notes are as frequent as black and sometimes predominate, while varied mensuration signs and unusual note-forms complete the picture. There are usually ten red six-line staves per page. Texts are neatly copied in a semi-Gothic hand, though there are many mistakes in them. When the codex was bought by the duke of Aumale in 1861 from Bigazzi in Florence, the sumptuous purple velvet binding was added and an essay on the codex replaced the missing leaves at the beginning. The 112 polyphonic compositions comprise 99 songs and 13 motets, among which the 70 ballades predominate, though there are also 17 Rondeaux and 12 Virelais. A remarkable feature of the present codex is that it is perhaps the earliest manuscript catalogued here to contain the names of a large number of composers. However, this is partly due to the fact that secular music before Guillaume de Machaut was mainly monodic, since the names of many Troubadours and Trouveres are preserved in much earlier sources than CH 564. The presence of 74 unica is however important.
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Census Catalogue of Music Description
This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.
2 French secular pieces
(The main body of the manuscript contains 13 motets and 97 French secular pieces from the 14th century).
Cordier-2
64 parchment folios, 387 x 286. The manuscript originally had 72 folios; the first gathering of 12 folios was lost, and four new folios were placed at the beginning in the early 15th century (ReaneyC, but cf. WrightTC, who argues that the folios at the beginning are not later additions), 19th-century pencil foliation, 9-12, for the four newer folios; original foliation, 13-72, for the older, main portion. Purple velvet binding added in 1861. Index on ff. 9'-10, dating from the early 15th century. Black mensural notation with red coloration. The two Cordier pieces are probably holographs; the rest of the manuscript was probably copied by an Italian scribe working from a French original (ReaneyC).
Early 15th century (ReaneyC); completed ca. 1395, not later than 1398 (WrightTC, based upon the identification of Baude Cordier with Baude Fresnel, who was at Avignon in 1395 and died in 1397 or 1398). Repertory from southwestern France; probably copied in Florence from a French original from ca. 1390 (ReaneyC, but cf. WrightTC, who suggests that ChantMC 564 may have originated at the papal court at Avignon). The manuscript was in Italy from 1461 (inscription on f. 9: "A di xviii di luglio 1461 Franciescho d'alto biancho degli alberti dono questo libro alle mie fanciulle e a Rechollo Lançalao suo figliolo. Amen Thomasso Spinelly. Propria manu") until 1861, when it was purchased for the Duke of Aumale by the sculptor Bigazzi in Florence.
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‡ denotes primary source study
Bent, Margaret. 2017. The absent first gathering of the Chantilly manuscript. Plainsong and Medieval Music, 26: 19-36.
Upton, Elizabeth Randell. 2013. Music and Performance in the Later Middle Ages. The New Middle Ages. New York: Palgrave Macmillan.
Upton, Elizabeth Randell. 2012. Creation of the Chantilly Codex (Ms. 564). Studi musicali, new series, Vol. III, No. 2: 287-352.
Plumley, Yolanda, and Anne Stone (editors). 2009. A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564). Turnhout: Brepols.
‡ Stone, Anne, and Yolanda Plumley (editors). 2008. Chantilly Codex, Bibliothèque du Chateau de Chantilly, Ms. 564: Facsimile & Introduction. 2 vols. Turnhout: Brepols.
Upton, Elizabeth Randell. 2003. Inventing the Chantilly Codex. Studi Musicali, 31, no. 2 : 181-231.
‡ Upton, Elizabeth Randell. 2001. The Chantilly Codex (F-CH 564): The Manuscript, Its Music, Its Scholarly Reputation. University of North Carolina at Chapel Hill, Ph.D. dissertation.
Plumley, Yolanda. 1999. Citation and Allusion in the Late Ars Nova: the Case of 'Esperance' and the 'En attendant' songs. Early Music History, 18: 287-363. Pages: 293-295. Notes: discussion of the 4 'Galiot' attributions.
Bent, Margaret. 1998. Early Papal Motets. Papal Music and Musicians in Late Medieval and Renaissance Rome, edited by Margaret Bent, 5-43. Oxford University Press.
Earp, Lawrence M. 1995. Guillaume de Machaut: A Guide to Research. New York and London: Garland.
Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians. London. Pages: VI, 339; XVI, 169. Notes: facsimile (partial).
Williams, Carol J. 1980. Two Examples of Mannerist Notation in the Late Fourteenth Century. Miscellanea Musicologica [Adelaide], 11: 111-28. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.
Wright, Craig M. 1973. Tapissier and Cordier: New Documents and Conjectures. The Musical Quarterly, 59: 177-89. Pages: 187. Notes: physical description; mention of MS; discussion.
Schlager, Karlheinz (editor). 1971-. Répertoire International des Sources Musicales. Series A/I, vol. Einzeldrucke vor 1800. Kassel. Pages: B IV/2,128-60. Notes: physical description; contents list; concordances (partial); inventory; B.
‡ Greene, Gordon Kay. 1971. The Secular Music of Chantilly Manuscript Musée Condé 564 (olim 1047). . Pages: DLpCpFpTpDis.
Van, Guillaume de. 1968. La pedagogie musicale a la fin du moyen âge. Musica Disciplina, 23: 71-97. Pages: 83ff.
Wangermée, Robert. 1968. Flemish Music and Society in the Fifteenth and Sixteenth Centuries. New York. Pages: Plate 21. Notes: facsimile (partial).
Davison, Archibald Thompson, and Willi Apel (editors). 1966. Historical Anthology of Music. Vol. I. Oriental, Medieval and Renaissance Music. Cambridge, Massachusetts. Pages: nos.47and48b (transcriptionof CH564 68 and l).
Günther, Ursula (editor). 1965. The Motets of the Manuscripts Chantilly, musée condé, 564 (olim 1047) and Modena, Biblioteca estense, a. M. 5, 24 (olim lat. 568). Corpus mensurabilis musicae, vol. 39. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: nos. 1-10, 12, 14, 15 (transcription of CH 564 101-113).
Günther, Ursula. 1965. Eine Ballade auf Mathieu de Foix. Musica Disciplina, 19: 69-81.
Günther, Ursula. 1961. Datierbare Balladen des späten 14. Jahrhunderts. Musica Disciplina, 15: 39–61, continued in vol. 16 (1962). pp. 151–74.
Günther, Ursula. 1960. Die Anwendung der Diminution in der Handschrift Chantilly. Archiv für Musikwissenschaft, 17: 1-21. Pages: Iff.
Günther, Ursula. 1960. Der Gebrauch des tempus perfectum diminutum in der Handschrift Chantilly 1047. Archiv für Musikwissenschaft, 17: 277-297. Pages: 277ff.
Hoppin, Richard H, Suzanne Clercx-Lejeune, and Suzanne Clercx. 1959. Notes biographiques sur quelques musiciens du XIVe siècle. Les Colloques de Wegimont II-1955, L'Ars nova: Recueil d'études sur la musiquedu XIVe siècle, 63-92. Paris: Les Belles Lettres.
Günther, Ursula (editor). 1959. Zehn Datierbare Kompositionen der Ars Nova. Hamburg: Selbstverlag des musikwissenschaftlichen Instituts der Universität Hamburg. Pages: nos. 4 and 7-10 (transcription of CH564 6, 31, 21, 62 and71).
Günther, Ursula. 1958. The fourteenth-century motet and its development. Musica Disciplina, 12: 27-58. Pages: 48ff, 51ff (transcription of CH 564 110 and 105).
Günther, Ursula. 1957. Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14. Jahrhunderts, dargestellt an Virelais, Balladen und Rondeaux von Guillaume de Machaut sowie datierbaren Kantilenensätzen seiner Zeitgenossen und dierekten Nachfolger. University of Hamburg, Ph.D. dissertation. Pages: 164ff.
Reaney, Gilbert. 1956. A Postscript to'The Manuscript Chantilly, Musee Conde 1047. Musica Disciplina, 10: . Pages: 55 ff.
Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae, vol. 11, 1-6. Rome: American Institute of Musicology. Pages: I,9-12. Notes: transcriptions.
Machabey, Armand. 1955. Gendse de la tonalite musicale classique.
Reaney, Gilbert. 1955. Early Fifteenth-Century Music. CMM, vol. 11/I. Pages: I (1955), 9f, llf, 27ff; II (1959), 34ff, 28ff, 26ff (transcription of CH 564 1, 2, 73, 8, 46 and 47).
Schrade, Leo (editor). 1954 -1956. The Polyphonic Music of the Fourteenth Century. 3 vols. Pages: III, 90f, lOlff, 24ff (transcription of CH 564 14, 78 and 88); WolfG II-III, nos. 64-65 (diplomatic facsimile and transcription of CH 564 27 and 55).
‡ Reaney, Gilbert. 1954. The Manuscript Chantilly, Musée Condé 1047. Musica Disciplina, 8: 59-113. Pages: 98ff (transcription of CH 564 18, 22, 75 and 107).
Reaney, Gilbert. 1952. A Chronology of the Ballades, Rondeaux and Virelais Set to Music by Guillaume de Machaut. Musica Disciplina, 6: 33ff. Notes: physical description; contents list; concordances; transcription (partial); additional bibliography.
Apel, Willi (editor). 1950. French Secular Music of the Late Fourteenth Century. Cambridge, Massachusetts: The Medieval Academy of America. Pages: pl. 4-6 (facsimile of CH 564 f. 36, 59, 44v), nos. 31-49, 55-56, 59-61, 67, 69, 72, 76, 78 (transcription of CH 564 17, 24, 80, 50, 79, 95, 96, 13 (= 81), 97, 98, 19, 64, 40, 20, 38, 66, 11, 69, 68, 16, 45, 57, 42, 35, 89, 100, 91, 12, 51).
Besseler, Heinrich. 1949-79. Ars Nova, Ballade II, Cesaris, Chantilly Ms. 1047, Cordier [4 articles]. Die Musik in Geschichte und Gegenwart, 1st Edition, 1: . Pages: 702ff, 1120ff; II, 893ff, 1085ff, 1665ff.
Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: I, pl. 28 (facsimile of CH 564 f. 44); II, pl. 34 (facsimile of f. 37), pl. 55 (facsimile of f. llv-12), col. 1049-50 (facsimile of f. 13v); III, col. 1169-70 (facsimile of Cantus part of CH 564 21); IV, pl. 28 (facsimile of f. 20v); VI, pl. 72 (facsimile of f. 34v), col. 1817 (facsimile of f. 15v); X,pl. 75 (facsimile of f. 38v).
Reaney, Gilbert. 1949-79. Color, Egidius de Murino, Franciscus, Galiot, Gaston Phebus, Grimace, Guido, Hasprois, Haucourt, Jacomi, Matheus de Sancto Johanne, Philippus de Caserta[12 articles]. Die Musik in Geschichte und Gegenwart, 2: . Pages: II, 1566ff; III, 1169ff; IV, 634ff, 1270ff, 1441ff; V, 920ff, 1078f; VI, 1770 f, 1818f; VII, 1634ff; VIII, 1785f; X, 1202f.
Gennrich, Friedrich. 1948. Abriss der Mensuralnotation des 14. Jahrhunderts und der ersten Hälfte des 15. Jahrhunderts. Pages: pl. 5-20 (facsimile of CH 564 f. 13, 13v, 15v, 16, 17, 20v, 21, 21v, 22, 34v, 37, 52, 67v, 70v-71, llv, 12).
Pirrotta, Nino. 1944-45. Il codice Estense 568 e la musica francese al principio del '400. Atti della Reale Accademia di Scienze, Lettere e Arti di Palermo, Ser. 4, vol. 5, 2.: . Pages: 10lff.
Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600. Cambridge, Massachusetts. Pages: 427, 413 (facsimile of CH 564 1 and 25), appendix, no. 62 (transcription of CH 564 1).
Anglès, Higinio. 1936. El music Jacomi al servei de Joan I. i Marti I. durant el anys 1372-1404. Homenatge a A. Rubio i Lluch, Barcelona. Pages: 613ff.
Dannemann, E. 1936. Die spatgotische Musiktradition in Frankreich und Burgund vor dem Auftreten Dufays. Collection d'études musicologiques, vol. 22. Leipzig/Strasbourg.
Wolf, Johannes (editor). 1931. Sing- und Spielmusik aus älterer Zeit. Beispielband zur allgemeinen Musikgeschichte. 2nd edition Leipzig. Pages: pl. 30-31 and 100 (facsimile of CH 564 f. 70v-71 and llv).
Anglès, Higinio. 1930. Gacian Reyneau am Konigshof zu Barcelona in der Zeit von 139. bis 1429. . Pages: 64ff.
Ludwig, Friedrich (editor). 1926-9. Guillaume de Machaut: Musikalische Werke, 1-3. Leipzig: Publikationen älterer Musik. Pages: I,18f,25ff,40ff,49ff(transcription of CH 564 14, 78, 88 and 84); II, 22ff and passim.
Besseler, Heinrich. 1926. Studien zur Musik des Mittelalters: II. Die Motette von Franko von Köln bis Philipp van Vitry. Archiv für Musikwissenschaft, 8: 137-258. Pages: II, 254ff (transcription of CH 564 101).
Borren, Charles van den. 1924. Le Manuscrit Musical M. 222 C. 22 de la Bibliothèque de Strasbourg (XV Siècle) Brûlé en 1870, et Reconstitué d'après une Copie Partielle d'Edmond de Coussemaker. Antwerp: E. Secelle. Pages: 54ff, 83ff, 113fF, 129ff, 143ff.
Wolf, Johannes. 1913-9; Reprinted: Hildesheim, 1963. Handbuch der Notationskunde. Leipzig. Pages: I, opp. 364 (facsimile of CH 564 4), 365ff (transcription of no. 4), 354f (transcription of CH 564 87); WolfS, pl. 30-31 and 100 (facsimile of CH 564 f. 70v-71 and llv).
Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: II-III, nos. 64-65 (diplomatic facsimile and transcription of CH 564 27 and 55).
Delisle, Leopold. 1900. Institut de France, Le Musee Conde, Chantilly, Le Cabinet des livres, Manuscrits II. Pages: 277 ff. Notes: physical description; contents list; texts.
Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: 76, 9 (transcription of CH 564 111).
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Richard Dudas
Sunday, 26 July, 2020
alternative BVMM image link added
Karen Cook
Thursday, 15 March, 2018
14th century Guido added as composer
Elizabeth Upton
Monday, 23 October, 2017
Bibliography items added to bibliography database and linked to MS description
Elisabeth Hufnagel
Tuesday, 1 August, 2017
Incorrect attribution fixed.
DIAMM, 2016
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. General Description; Physical Description Note; Binding Note; Notation Note; Date Note; Ruling Note; Foliation Note; Foliation Note; Decoration Note; Contents Note; Surface Note
Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description
Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description