Music in French Theatre of the Late Sixteenth Century
Identifieur interne : 000664 ( Istex/Corpus ); précédent : 000663; suivant : 000665Music in French Theatre of the Late Sixteenth Century
Auteurs : Frank DobbinsSource :
- Early Music History [ 0261-1279 ] ; 1994-10.
Abstract
In his first major published monograph, Music in the French Secular Theater, 1400–1550 (Cambridge, MA, 1963), Howard Mayer Brown skilfully plotted the development of musical practices in the traditions of farces, sotties, moralities and monologues until the middle of the sixteenth century, by which time the ‘influence of works from the ancient world and from Italy’ had turned the ‘current of educated opinion … against the older French forms’. Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three cantiques from the Bergerie spirituelle (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.
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DOI: 10.1017/S0261127900001315
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Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three cantiques from the Bergerie spirituelle (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Frank Dobbins</name><affiliations><json:string>Goldsmiths' College University of London</json:string></affiliations></json:item></author><articleId><json:string>00131</json:string></articleId><arkIstex>ark:/67375/6GQ-5QVCWR1S-K</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>In his first major published monograph, Music in the French Secular Theater, 1400–1550 (Cambridge, MA, 1963), Howard Mayer Brown skilfully plotted the development of musical practices in the traditions of farces, sotties, moralities and monologues until the middle of the sixteenth century, by which time the ‘influence of works from the ancient world and from Italy’ had turned the ‘current of educated opinion … against the older French forms’. 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Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three cantiques from the Bergerie spirituelle (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.</p></abstract></profileDesc><revisionDesc><change when="1994-10">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">EMH</journal-id><journal-title>Early Music History</journal-title><abbrev-journal-title>Early Music History</abbrev-journal-title><issn pub-type="ppub">0261-1279</issn><issn pub-type="epub">1474-0559</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0261127900001315</article-id><article-id pub-id-type="pii">S0261127900001315</article-id><article-id pub-id-type="publisher-id">00131</article-id><title-group><article-title>Music in French Theatre of the Late Sixteenth Century</article-title><alt-title alt-title-type="left-running">Frank Dobbins</alt-title><alt-title alt-title-type="right-running">Music in French Theatre</alt-title></title-group><contrib-group><contrib><name><surname>Dobbins</surname><given-names>Frank</given-names></name><xref ref-type="aff" rid="aff1"></xref></contrib></contrib-group><aff id="aff1"><addr-line>Goldsmiths' College</addr-line> <institution>University of London</institution></aff><pub-date pub-type="ppub"><month>10</month><year>1994</year></pub-date><volume>13</volume><fpage seq="5">85</fpage><lpage>122</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1994</copyright-statement><copyright-year>1994</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>In his first major published monograph, <italic>Music in the French Secular Theater, 1400–1550</italic> (Cambridge, MA, 1963), Howard Mayer Brown skilfully plotted the development of musical practices in the traditions of farces, <italic>sotties</italic>, moralities and monologues until the middle of the sixteenth century, by which time the ‘influence of works from the ancient world and from Italy’ had turned the ‘current of educated opinion … against the older French forms’. Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three <italic>cantiques</italic> from the <italic>Bergerie spirituelle</italic> (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.</p></abstract><counts><page-count count="38"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0261127900001315a.pdf</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p>The other was a four-voice motet composed by Jean Vrancken for a Flemish miracle play copied in a manuscript dating from 1565–6 (p. 44).</p></fn><fn id="fn02" symbol="2"><label><sup>2</sup></label><p>The following articles consider the role of music in tragedy and comedy but cite no notated music: <citation id="ref001" citation-type="book"><name><surname>Lebègue</surname><given-names>R.</given-names></name>, ‘Les représentations dramatiques à la cour des Valois’, <source>Les fêtes de la Renaissance</source>, ed. <name><surname>Jacquot</surname><given-names>J.</given-names></name> (<publisher-loc>Paris</publisher-loc>, <year>1956</year>), pp. <fpage>85</fpage>–<lpage>90</lpage></citation>; <citation id="ref002" citation-type="journal"><name><surname>Purkis</surname><given-names>H.</given-names></name>, ‘<article-title>Choeurs chantés ou parlés dans la tragédie française au XVIe siècle</article-title>’, <source>Bibliothèque d'Humanisme et Renaissance</source>, <volume>22</volume> (<year>1960</year>), pp. <fpage>294</fpage>–30</citation>; H. Purkis, ‘Les intermèdes à la cour de France au XVIe siècle’, <xref ref-type="bibr" rid="ref002">ibid.</xref>, 20 (1958) pp. 296–309.</p></fn><fn id="fn03" symbol="3"><label><sup>3</sup></label><p>The texts and their musical models are discussed in <citation id="ref003" citation-type="book"><name><surname>Dobbins</surname><given-names>F.</given-names></name>, <source>Music in Renaissance Lyons</source> (<publisher-loc>Oxford</publisher-loc>, <year>1992</year>), pp. <fpage>60</fpage>–4</citation>.</p></fn><fn id="fn04" symbol="4"><label><sup>4</sup></label><p>The only surviving copy (Paris, Bibliothèque Nationale, Rés. 85, Conservatoire 30029) contains the Cantus and Tenor parts of the music. The Altus and Bassus parts must have been printed in a separate volume.</p></fn><fn id="fn05" symbol="5"><label><sup>5</sup></label><p>Like those of the Le Mans schoolmaster François Briand (1512), the Angers organist Jean Daniel (c. 1520–40) and the Savoyard poet Nicolas Martin (1555), all of whom were closely connected with the theatre. Briand's <italic>Noelz nouvaulx</italic> (1512) includes four <italic>nöels</italic> for two voices that were connected with four Advent plays in the same collection.</p></fn><fn id="fn06" symbol="6"><label><sup>6</sup></label><p>The melodic predominance of the Tenor part is underlined by monophonic collections like the anonymous <italic>Fleur de noels</italic> (Lyons 1535); cf. <citation id="ref004" citation-type="book"><name><surname>Babelon</surname><given-names>J.</given-names></name>, <source>Recueil des livres anciens</source> (<publisher-loc>Paris</publisher-loc>, <year>1914</year>, <volume>i</volume>, pp. <fpage>369</fpage>–<lpage>404</lpage>)</citation> which prints ten Tenors. It is also reflected in the two-voice pieces from the <italic>Noels nouveaulx</italic> of François Briand (Le Mans, 1512; repr. Le Mans, 1904).</p></fn><fn id="fn07" symbol="7"><label><sup>7</sup></label><p>For a facsimile of the first <italic>chant</italic> and description of the others see <citation id="ref005" citation-type="other"><name><surname>Dobbins</surname></name>, <italic>Music in Renaissance Lyons</italic>, pp. <fpage>67</fpage>–<lpage>71</lpage></citation>. The final piece, ‘Genethliac ou Chant Natal, Aiglogue quatrieme, extraict des vers de la Sibylle Cumane’, is reprinted in C. Goudimel, Oeuvres complètes, ed. P. Pidoux and others, <sc>xiii</sc> (Boston, 1974), no. 71, pp. 262–7.</p></fn><fn id="fn08" symbol="8"><label><sup>8</sup></label><p>The Confrères continued to present secular pieces (e.g. <italic>La destruction de Troye</italic>), romances (<italic>Huon de Bordeaux and Griseldis</italic>) and moralities until 1598. The Basochiens and Enfants sans Souci associations also continued their activities intermittently until 1580.</p></fn><fn id="fn09" symbol="9"><label><sup>9</sup></label><p>Cf. Dobbins, pp. 111–16.</p></fn><fn id="fn10" symbol="10"><label><sup>10</sup></label><p><citation id="ref006" citation-type="book"><name><surname>Lebègue</surname><given-names>R.</given-names></name>, <source>La tragédie religieuse en France</source> (<publisher-loc>Paris</publisher-loc>, <year>1929</year>), p. <fpage>318</fpage></citation>.</p></fn><fn id="fn11" symbol="11"><label><sup>11</sup></label><p>Originally written for a speech-day performance, Bèze's <italic>Abraham</italic> was revived many times by both amateur and professional troupes in the course of the next 100 years, while other Protestant plays (e.g. those of Jean de Ia Taille, Pierre Heyns and Gérard de Vivre) and even some humanist ones (e.g. those of George Buchanan, Marc-Antoine de Muret and Georgius Macropedius) were clearly written for schools or colleges. Cf. <citation id="ref007" citation-type="other"><name><surname>Lebègue</surname></name>, <italic>La tragédie religieuse</italic>, pp. <fpage>312</fpage>–18 and <fpage>507</fpage>–13</citation>.</p></fn><fn id="fn12" symbol="12"><label><sup>12</sup></label><p>London, British Library C.65.a.ll.</p></fn><fn id="fn13" symbol="13"><label><sup>13</sup></label><p>Its melodic outline is similar to that noted in <citation id="ref008" citation-type="book"><name><surname>Pidoux</surname><given-names>P.</given-names></name>, <source>Le Psautier Huguenot</source> (<publisher-loc>Basle</publisher-loc>, <year>1962</year>), <volume>i</volume>, p. <fpage>128</fpage>, Pseaume 144b</citation>.</p></fn><fn id="fn14" symbol="14"><label><sup>14</sup></label><p>Continuing the didactic tradition of liturgical drama and mystery plays, singing seems to have endowed some performances with the character of religious services; the metrical and melodic simplicity of this music may even suggest the participation of the audience or congregation.</p></fn><fn id="fn15" symbol="15"><label><sup>15</sup></label><p>London, British Library C.47.e.17.</p></fn><fn id="fn16" symbol="16"><label><sup>16</sup></label><p>Geneva, Bibliothèque Publique et Universitaire Rés. Hf. 2204.</p></fn><fn id="fn17" symbol="17"><label><sup>17</sup></label><p>Paris, Bibliothèque Nationale Rés. p.Yc 1198 (2). Like the biblical dramas of Bèze, Coignac, Des Masures and Lecocq, this play was divided by <italic>pauses</italic> which may have been occupied by instrumental music.</p></fn><fn id="fn18" symbol="18"><label><sup>18</sup></label><p>Des Masures was born in Tournai around 1515 and spent much of his career in Lorraine, where he translated the <italic>Aeneid</italic>, published at different stages in Paris (1547) and Lyons (1552 and 1560). After returning in 1549 from Rome, where he enjoyed the protection of Cardinal Jean du Bellay, he converted to Protestantism; although he translated twenty psalms for Duke Jean de Lorraine (published in Lyons in 1557, with a further six added for an edition which appeared in Lyons in 1564), as well as composing an <italic>Eclogue spirituelle</italic> for the son of Duke Charles de Lorraine (published Geneva, 1566), he was eventually compelled to flee Lorraine and settled first in Metz (1562) before moving on to Alsace, Strasbourg (1567) and finally Basle (1572). On 3 May 1563 the Geneva town council granted him a privilege to publish ‘quelques comédies de David’ and three years later issued a new privilege to reprint ‘certaines tragédies de David qu'il a déjà imprimées’. Perrin's edition of 1566 and Gabriel Cartier's Genevan edition of 1583 also include both the <italic>Eclogue spirituelle</italic> and the <italic>Bergerie spirituelle</italic>, which are omitted from the editions of Nicolas Soolmans (Antwerp, 1582) and Mamert Patisson (Paris, 1587 and 1597).</p></fn><fn id="fn19" symbol="19"><label><sup>19</sup></label><p>A few <italic>cantiques</italic> (‘A Dieu au souverain Dieu’, ‘O Seigneur eternel’ and ‘Au grand Dieu veinqueur’ from <italic>David combattant</italic>, and ‘Dieu tout puissant’ from <italic>David fugitif</italic>) are isometric but extend some cadences and introduce anacrusis to vary the phrase symmetry a little.</p></fn><fn id="fn20" symbol="20"><label><sup>20</sup></label><p><citation id="ref009" citation-type="journal"><name><surname>Pidoux</surname></name>, <source>Le Psautier Huguenot</source>, <volume>ii</volume>, pp. <fpage>146</fpage>–8</citation>. See also <citation id="ref010" citation-type="book"><name><surname>Guillo</surname><given-names>L.</given-names></name>, <source>Les éditions musicales de la Renaissance Lyonnaise</source> (<publisher-loc>Paris</publisher-loc>, <year>1991</year>), pp. <fpage>320</fpage>–2</citation>.</p></fn><fn id="fn21" symbol="21"><label><sup>21</sup></label><p>The most likely composer was Claude Goudimel, who lived in Metz from 1557 to 1565 and must have known Des Masures there, since the pair acted together as godparents to a child born on 14 October 1565 (Metz, Archives Municipales, GC 236). The case for Goudimel's authorship is discussed in <citation id="ref011" citation-type="thesis"><name><surname>Honegger</surname><given-names>M.</given-names></name>, ‘Les chansons spirituelles de Didier Lupi’ (dissertation, <publisher-name>University of Paris</publisher-name>, <year>1970</year>), <sc>ii</sc>, p. <fpage>149</fpage></citation>, and all eleven pieces are included in <citation id="ref012" citation-type="book"><name><surname>Goudimel</surname></name>, <source>Oeuvres complètes</source>, <volume>xiv</volume> (<publisher-loc>New York and Basle</publisher-loc>, <year>1983</year>), pp. <fpage>103</fpage>–9</citation>.</p></fn><fn id="fn22" symbol="22"><label><sup>22</sup></label><p>Cf. <citation id="ref013" citation-type="journal"><name><surname>Dobbins</surname><given-names>F.</given-names></name>, ‘<article-title>“Doulce mémoire”: a Study of the Parody Chanson</article-title>’, <source>Proceedings of the Royal Musical Association</source>, <volume>96</volume> (<year>1969</year>), pp. <fpage>85</fpage>–<lpage>101</lpage></citation>.</p></fn><fn id="fn23" symbol="23"><label><sup>23</sup></label><p>The <italic>Eclogue spirituelle</italic>, which follows the <italic>Bergerie</italic> in François Perrin's Genevan edition of 1566, includes no music, although it is followed by graces and the monthly consecration with verse by Des Masures Set in a similar manner for four voices.</p></fn><fn id="fn24" symbol="24"><label><sup>24</sup></label><p>Cf. <citation id="ref014" citation-type="other"><name><surname>Brown</surname></name>, <italic>Music in the French Secular Theater</italic>, p. <fpage>96</fpage></citation>.</p></fn><fn id="fn25" symbol="25"><label><sup>25</sup></label><p>Cf. <citation id="ref015" citation-type="journal"><name><surname>Goudimel</surname></name>, <source>Oeuvres complètes</source>, <volume>xiv</volume>, pp. <fpage>105</fpage>–7</citation>.</p></fn><fn id="fn26" symbol="26"><label><sup>26</sup></label><p>The sole surviving copy in the Herzog Albert Bibliothek in Wolfenbüttel (434 Theol. (7)) remained unknown to bibliographers until signalled by Guillo, <italic>Les éditions musicales</italic>, no. 78. The music is reviewed in <citation id="ref016" citation-type="other"><name><surname>Dobbins</surname></name>, <italic>Music in Renaissance Lyons</italic>, pp. <fpage>268</fpage>–9</citation>.</p></fn><fn id="fn27" symbol="27"><label><sup>27</sup></label><p><citation id="ref017" citation-type="journal"><name><surname>Pidoux</surname></name>, <source>Le Psautier Huguenot</source>, <volume>i</volume>, no. 201d</citation>.</p></fn><fn id="fn28" symbol="28"><label><sup>28</sup></label><p><citation id="ref018" citation-type="book"><name><surname>Goudimel</surname></name>, <source>Oeuvres complètes</source>, <volume>ix</volume> (<publisher-loc>New York and Basle</publisher-loc>, <year>1973</year>), Pseaume cxv, pp. <fpage>118</fpage>–19</citation>.</p></fn><fn id="fn29" symbol="29"><label><sup>29</sup></label><p><xref ref-type="bibr" rid="ref018">Ibid.</xref>, Pseaume <sc>Lix</sc>, pp. 50–1.</p></fn><fn id="fn30" symbol="30"><label><sup>30</sup></label><p><xref ref-type="bibr" rid="ref018">Ibid.</xref>, Le Cantique de Simeon, pp. 151–2.</p></fn><fn id="fn31" symbol="31"><label><sup>31</sup></label><p>London, British Library 11408 aaa.38.</p></fn><fn id="fn32" symbol="32"><label><sup>32</sup></label><p>Paris, Bibliothèque Nationale Rés. Yf 10bis.</p></fn><fn id="fn33" symbol="33"><label><sup>33</sup></label><p>London, British Library 11736 a.23.</p></fn><fn id="fn34" symbol="34"><label><sup>34</sup></label><p>London, British Library 11737 aaa.4.</p></fn><fn id="fn35" symbol="35"><label><sup>35</sup></label><p>Ed. K. Cameron (Geneva and Paris, 1969).</p></fn><fn id="fn36" symbol="36"><label><sup>36</sup></label><p>According to a contemporary report by Rivadeau's brother-in-law, Michel Tiraqueau, at the first performance in Poitiers on 24 July 1561 the choruses in <italic>Aman</italic> were sung by young men and women to simple tunes like those found in local Poitevin dialect in later collections like the <italic>Gente Poitevinerie</italic>; Cf. <citation id="ref019" citation-type="other"><name><surname>Lebègue</surname></name>, <italic>La tragédie religieuse</italic>, p. <fpage>518</fpage></citation>.</p></fn><fn id="fn37" symbol="37"><label><sup>37</sup></label><p>Purkis, ‘Choeurs chantés ou parlés’ (see note 2).</p></fn><fn id="fn38" symbol="38"><label><sup>38</sup></label><p>Lebègue, ‘Les représentations dramatiques’ (see note 2).</p></fn><fn id="fn39" symbol="39"><label><sup>39</sup></label><p>For the original French text see <citation id="ref020" citation-type="book"><name><surname>Grévin</surname><given-names>J.</given-names></name>, <source>Théâtre complet</source>, ed. <name><surname>Pinvert</surname><given-names>L.</given-names></name> (<publisher-loc>Paris</publisher-loc>, <year>1922</year>), pp. <fpage>5</fpage>–<lpage>10</lpage></citation>.</p></fn><fn id="fn40" symbol="40"><label><sup>40</sup></label><p><citation id="ref021" citation-type="book"><name><surname>Schrade</surname><given-names>L.</given-names></name>, <source>La représentation d'Edipo tiranno au Teatro Olimpico</source> (<publisher-loc>Paris</publisher-loc>, <year>1960</year>)</citation>.</p></fn><fn id="fn41" symbol="41"><label><sup>41</sup></label><p><citation id="ref022" citation-type="journal"><name><surname>Levy</surname><given-names>K. J.</given-names></name>, ‘<article-title>Costeley's Chromatic Chanso</article-title>’, <source>Annales Musicologiques</source>, <volume>3</volume> (<year>1955</year>), pp. <fpage>213</fpage>–63</citation>.</p></fn><fn id="fn42" symbol="42"><label><sup>42</sup></label><p>The prefatory verses, as well as two engraved portraits of the thirty-nine-year-old composer, are reprinted along with some of the music in <citation id="ref023" citation-type="book"><name><surname>Costeley</surname><given-names>G.</given-names></name>, <source>Musique</source>, ed. <name><surname>Expert</surname><given-names>H.</given-names></name>, Les Maîtres Musiciens de la Renaissance Française 3, 18 and 19 (<publisher-loc>Paris</publisher-loc>, <year>1896</year>–<year>1903</year>)</citation>.</p></fn><fn id="fn43" symbol="43"><label><sup>43</sup></label><p>Fols. 50, 51 and 57. For a modern edition of these pieces presented in alphabetical order of textual incipit see <citation id="ref024" citation-type="book"><name><surname>Costeley</surname><given-names>G.</given-names></name>, <source>Selected Chansons</source>, ed. <name><surname>Bernstein</surname><given-names>J. A.</given-names></name>, The Sixteenth-Century Chanson 8 (<publisher-loc>New York</publisher-loc>, <year>1989</year>), nos. 6, 13 and 14</citation>.</p></fn><fn id="fn44" symbol="44"><label><sup>44</sup></label><p><citation id="ref025" citation-type="book"><name><surname>Garnier</surname><given-names>R.</given-names></name>, <source>Les tragedies</source> (<publisher-loc>Paris</publisher-loc>, <year>1585</year>), fols. 23–4</citation>; <citation id="ref026" citation-type="book"><source>Oeuvres complètes</source>, ed. <name><surname>Pinvert</surname><given-names>L.</given-names></name>, 12 vols. (<publisher-loc>Paris</publisher-loc>, <year>1923</year>), <volume>i</volume>, PP. <fpage>65</fpage>–7</citation>; also <citation id="ref027" citation-type="book"><source>Porcie</source>, ed. <name><surname>Lebègue</surname><given-names>R.</given-names></name> (<publisher-loc>Paris</publisher-loc>, <year>1973</year>), PP. <fpage>114</fpage>–16</citation>.</p></fn><fn id="fn45" symbol="45"><label><sup>45</sup></label><p><xref ref-type="bibr" rid="ref027">Ibid.</xref>, fols. 3<sup>v</sup>–4; ed. Pinvert, <sc>i</sc>, pp. 23–4; ed. Lebègue, pp. 63–5.</p></fn><fn id="fn46" symbol="46"><label><sup>46</sup></label><p><xref ref-type="bibr" rid="ref027">Ibid.</xref>, fols. 5<sup>v</sup>-7<sup>v</sup>; ed. Pinvert, <sc>i</sc>, pp. 27–30; ed. Lebàgue, pp. 68–73.</p></fn><fn id="fn47" symbol="47"><label><sup>47</sup></label><p><citation id="ref028" citation-type="other"><name><surname>Lebègue</surname></name>, <italic>ed. cit.</italic>, pp. <fpage>248</fpage>–9</citation>, indicates that Garnier's first-act chorus borrows from Seneca's <italic>Hippolytus</italic> (lines 1123–43) and the second-act chorus from Horace's second epode.</p></fn><fn id="fn48" symbol="48"><label><sup>48</sup></label><p>For description and analysis of La Taille's dramas see <citation id="ref029" citation-type="other"><name><surname>Lebègue</surname></name>, <italic>La tragédie religieuse</italic>, pp. <fpage>397</fpage>–<lpage>439</lpage></citation>. For a modern edition of two of La Taille's tragedies see <citation id="ref030" citation-type="book"><name><surname>de la Taille</surname><given-names>Jean</given-names></name>, <source>Saul le furieux, La famine ou les Gabeonites</source>, ed. <name><surname>Forsyth</surname><given-names>E.</given-names></name> (<publisher-loc>Paris</publisher-loc>, <year>1960</year>)</citation>.</p></fn><fn id="fn49" symbol="49"><label><sup>49</sup></label><p><citation id="ref031" citation-type="book"><name><surname>Fronton-du-Duc</surname></name>, <source>La Pucelle de Dom-Rémy aultrement d'Orléans, nouvellement departie par actes et representée par personnages</source> (Nancy: J. Janson, <year>1581</year>), <publisher-loc>Paris</publisher-loc>, Bibliothèque Nationale Rés. Ye 468; ed. <name><surname>de Lanson</surname><given-names>D.</given-names></name> (<publisher-loc>Pont-à-Mousson</publisher-loc>, <year>1859</year>)</citation>.</p></fn><fn id="fn50" symbol="50"><label><sup>50</sup></label><p><citation id="ref032" citation-type="book"><name><surname>Blondet</surname><given-names>A.</given-names></name>, <source>Choeurs de l'histoire tragique Saincte Cecile</source> (<publisher-loc>Paris</publisher-loc>: <publisher-name>P. Ballard</publisher-name>, <year>1606</year>), Bibliothèque Nationale Rés. Yf 3882</citation>.</p></fn><fn id="fn51" symbol="51"><label><sup>51</sup></label><p>See <citation id="ref033" citation-type="book"><name><surname>Lancaster</surname><given-names>H. C.</given-names></name>, <source>The French Tragi-Comedy (1552–1628)</source> (<publisher-loc>New York</publisher-loc>, <year>1966</year>)</citation>.</p></fn><fn id="fn52" symbol="52"><label><sup>52</sup></label><p>Paris, Bibliothèque Nationale Rés. Yf 4064.</p></fn><fn id="fn53" symbol="53"><label><sup>53</sup></label><p><citation id="ref034" citation-type="other"><italic>Les oeuvres de Scévole de Sainte Marthe</italic> (Paris, <year>1579</year>), <sc>i</sc>, fols. 144–145<sup>v</sup></citation>.</p></fn><fn id="fn54" symbol="54"><label><sup>54</sup></label><p>Copied between 1560 and 1567 in Paris, Bibliothèque Nationale, MS fr. 838.</p></fn><fn id="fn55" symbol="55"><label><sup>55</sup></label><p>For a description of the vocal and instrumental music see <citation id="ref035" citation-type="other"><name><surname>Dobbins</surname></name>, <italic>Music in Renaissance Lyons</italic>, pp. <fpage>112</fpage>–17</citation>.</p></fn><fn id="fn56" symbol="56"><label><sup>56</sup></label><p><citation id="ref036" citation-type="book"><name><surname>Jodelle</surname><given-names>E.</given-names></name>, <source>Oeuvres complètes</source>, ed. <name><surname>Balmas</surname><given-names>E.</given-names></name>, 2 vols. (<publisher-loc>Paris</publisher-loc>, <year>1968</year>), <volume>ii</volume>, p. <fpage>12</fpage></citation>.</p></fn><fn id="fn57" symbol="57"><label><sup>57</sup></label><p><citation id="ref037" citation-type="book"><name><surname>de Ronsard</surname><given-names>P.</given-names></name>, <source>Oeuvres complètes</source>, ed. <name><surname>Laumonier</surname><given-names>P.</given-names></name>., <volume>xiii</volume> (<publisher-loc>Paris</publisher-loc>, <year>1948</year>), pp. <fpage>218</fpage>–21</citation>.</p></fn><fn id="fn58" symbol="58"><label><sup>58</sup></label><p><italic>Chansons de P. de Ronsard, Ph. Desportes et autres mises en musique par N. de la Grotte, vallet de chambre & organiste ordinaire de Monsieur, frere du Roy</italic>, fol. 18. Ed. <citation id="ref038" citation-type="book"><name><surname>Expert</surname><given-names>H.</given-names></name>, <source>La fleur des musiciens de P. de Ronsard</source> (<publisher-loc>Paris</publisher-loc>, <year>1923</year>; repr. New York, 1965), pp. <fpage>62</fpage>–4</citation>. La Grotte omits Ronsard's sixth strophe but appends a new final strophe.</p></fn><fn id="fn59" symbol="59"><label><sup>59</sup></label><p>Published in the <citation id="ref039" citation-type="other"><italic>Livre d'airs de cour miz sur le luth par Adrian le Roy</italic> (Paris, <year>1571</year>)</citation>, fol. 16; ed. <citation id="ref040" citation-type="book"><name><surname>Mairy</surname><given-names>A.</given-names></name>, <name><surname>de la Laurencie</surname><given-names>L.</given-names></name> and <name><surname>Thibault</surname><given-names>G.</given-names></name>, <source>Chansons au luth et airs de cour français du XVIe siècle</source> (<publisher-loc>Paris</publisher-loc>, <year>1934</year>), pp. <fpage>167</fpage>–9</citation>.</p></fn><fn id="fn60" symbol="60"><label><sup>60</sup></label><p><citation id="ref041" citation-type="book"><name><surname>de Baïf</surname><given-names>J.-A.</given-names></name>, <source>Euvres en rime</source>, ed. <name><surname>Marty-Laveaux</surname><given-names>C.</given-names></name> (repr. <publisher-loc>Geneva</publisher-loc>, <year>1961</year>), <volume>iii</volume>, pp. <fpage>183</fpage>–<lpage>373</lpage></citation>.</p></fn><fn id="fn61" symbol="61"><label><sup>61</sup></label><p>First published by H. Hendricx in Antwerp in 1577 (British Library 11737 a.38), it was reprinted there in 1580, 1595 and 1602. It was also reprinted in Paris in 1578 and in Rotterdam in 1589.</p></fn><fn id="fn62" symbol="62"><label><sup>62</sup></label><p>Oxford Bodleian Library, MS Add. A 33.</p></fn><fn id="fn63" symbol="63"><label><sup>63</sup></label><p><citation id="ref042" citation-type="other"><name><surname>Grévin</surname></name>, <italic>Théâtre complet</italic>, pp. <fpage>223</fpage>–34</citation>.</p></fn><fn id="fn64" symbol="64"><label><sup>64</sup></label><p><citation id="ref043" citation-type="book"><name><surname>Ronsard</surname></name>, <source>Oeuvres complètes</source>, <volume>xiii</volume> (<publisher-loc>Paris</publisher-loc>, <year>1948</year>), pp. <fpage>75</fpage>–<lpage>131</lpage></citation>.</p></fn><fn id="fn65" symbol="65"><label><sup>65</sup></label><p>London, British Library 1073 b4.</p></fn><fn id="fn66" symbol="66"><label><sup>66</sup></label><p>London, British Library Harleian 4325 – an elegant little MS of 58 vellum folios (116 X 88 mm) beautifully written and ornamented in gold, bound in embroidered boards. The title page includes a painted device of storm clouds and lightning with the word ‘Guise’ suspended to a chaplet. Cf. <citation id="ref044" citation-type="book"><name><surname>Yemeniz</surname><given-names>N.</given-names></name>, ed., <source>Oeuvres de Loys Papon</source> (<publisher-loc>Lyons</publisher-loc>, <year>1857</year>–<year>1860</year>)</citation>; <citation id="ref045" citation-type="book"><name><surname>Keeler</surname><given-names>M. J.</given-names></name>, <source>Étude sur la poésie et sur le vocabulaire de Loys Papon</source> (<publisher-loc>Washington</publisher-loc>, <year>1930</year>)</citation>; <citation id="ref046" citation-type="book"><name><surname>Barblan</surname><given-names>M. A.</given-names></name>, <source>Notice sur une pastourelle de Louis Papon</source> (<publisher-loc>St Étienne</publisher-loc>, <year>1856</year>)</citation>.</p></fn><fn id="fn67" symbol="67"><label><sup>67</sup></label><p>The foliation given here is recently added.</p></fn><fn id="fn68" symbol="68"><label><sup>68</sup></label><p>‘To provide variety on five occasions there were eight actors of an Italian troupe, with three Pantalones served by a single Zanni, all three being in love with the same <italic>Signora</italic>; [also] a Graziano who sought to procure her with his pedant's arguments, a Rodrigo by [feats of] arms, one of the Pantalones by the nobility of his race, another by the ostentation of his means, the third by his air of pomp; finally Zanni, who managed to be served and honoured by all five as Lord and Prince, made each of them sing in turn a solo song to prove who had the finest voice, made them dance to show who was the best at it, and made them joust on plaster-cast horses to see who was the most skilful and worthy to have the lad's favour’. This unusually detailed account seems to have eluded <citation id="ref047" citation-type="book"><name><surname>Baschet</surname><given-names>A.</given-names></name>, <source>Les comédiens italiens à la cour de France</source> (<publisher-loc>Paris</publisher-loc>, <year>1882</year>)</citation>, which traces the successes of the Gelosi, Confidenti and Raccolti troupes in France during the last three decades of the sixteenth century.</p></fn><fn id="fn69" symbol="69"><label><sup>69</sup></label><p>The text was published in Paris in 1597 under the author's usual pseudonym: Ollenix du Mont-Sacré (British Library 11737 a.5). The lavish staging is described in the preface to this edition and is commented by <citation id="ref048" citation-type="journal"><name><surname>Lawrenson</surname><given-names>T. E.</given-names></name>, ‘<article-title>La mise en scène dans <italic>L'Arimène</italic></article-title>’, <source>Bibliothèque d'Humanisme et Renaissance</source>, <volume>18</volume> (<year>1956</year>), pp. <fpage>286</fpage>–90</citation>, and by Purkis, ‘Les intermèdes’, pp. 301–4.</p></fn><fn id="fn70" symbol="70"><label><sup>70</sup></label><p>British Library C.38 a.35. Another edition was printed by C. de Montreuil in Paris in 1609 (British Library 242 f.37).</p></fn><fn id="fn71" symbol="71"><label><sup>71</sup></label><p>Later reports identified [Lambert de] Beaulieu and Jacques Salmon as the composers. See <citation id="ref049" citation-type="book"><name><surname>MacClintock</surname><given-names>C.</given-names></name> and <name><surname>MacClintock</surname><given-names>L.</given-names></name>, <source>Le Balet comique de la Royne</source> (<publisher-loc>Rome</publisher-loc>, <year>1981</year>)</citation>.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Music in French Theatre of the Late Sixteenth Century</title></titleInfo><titleInfo type="alternative"><title>Frank Dobbins</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>Music in French Theatre of the Late Sixteenth Century</title></titleInfo><name type="personal"><namePart type="given">Frank</namePart><namePart type="family">Dobbins</namePart><affiliation>Goldsmiths' College University of London</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1994-10</dateIssued><copyrightDate encoding="w3cdtf">1994</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">In his first major published monograph, Music in the French Secular Theater, 1400–1550 (Cambridge, MA, 1963), Howard Mayer Brown skilfully plotted the development of musical practices in the traditions of farces, sotties, moralities and monologues until the middle of the sixteenth century, by which time the ‘influence of works from the ancient world and from Italy’ had turned the ‘current of educated opinion … against the older French forms’. Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three cantiques from the Bergerie spirituelle (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.</abstract><relatedItem type="host"><titleInfo><title>Early Music History</title></titleInfo><titleInfo type="abbreviated"><title>Early Music History</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0261-1279</identifier><identifier type="eISSN">1474-0559</identifier><identifier type="PublisherID">EMH</identifier><part><date>1994</date><detail type="volume"><caption>vol.</caption><number>13</number></detail><extent unit="pages"><start>85</start><end>122</end><total>38</total></extent></part></relatedItem><identifier type="istex">A977363B358771C6418E8F1FF941F0F95D0143E1</identifier><identifier type="ark">ark:/67375/6GQ-5QVCWR1S-K</identifier><identifier type="DOI">10.1017/S0261127900001315</identifier><identifier type="PII">S0261127900001315</identifier><identifier type="ArticleID">00131</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1994</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1994</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/A977363B358771C6418E8F1FF941F0F95D0143E1/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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