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Le Magnus liber organi de Notre-Dame de Paris, vol. 5: Les Clausules a deux voix du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1, fascicule V

1997; Music Library Association; Volume: 53; Issue: 3 Linguagem: Inglês

10.2307/899753

1534-150X

Mary E. Wolinski, Rebecca A. Baltzer,

Musicology and Musical Analysis

Le Magnus liber organi de Notre-Dame de Paris, vol. 5: Les Clausules a deux voix du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Pluteus 29.1, fascicule V. Edition etablie par Rebecca A. Baltzer. (Musica gallica). Monaco: Editions de L'Oiseau-Lyre, c1995. [Synoptic inventory of the clausulae, p. xi-xv; gen. pref., acknowledgments, introd. in Fr., Eng., p. xvii-xlvi; score, p. 1-301; appendix (plainchants not included in the Magnus liber organi), 305-6; apparatus criticus (MSS, bibliog., other abbrevs. and sigla, commentary to the and plainchants), p. 309-93. Cloth; acid-free paper. ISBN 2-87855-005-6 (vol. 5); ISBN 2-87855-000-5 (the set). 2,500 FF.] It is a remarkable coincidence that the volumes past and projected of this lavish edition of the Magnus liber organi, published by Editions de L'Oiseau-Lyre as part of the Musica gallica project, are appearing during the same decades in which Perotin's music is thought to have been composed some eight hundred years ago. The present volume contains the 462 two-voice of the manuscript Florence, Biblioteca Medicea-Laurenziana, Plut. 29.1 (F), edited and transcribed by Rebecca Baltzer in accordance with the high standards previously set for this series. In modern parlance, are short polyphonic compositions based on sections of plainchant, most of which were also used in Notre-Dame organa. Anonymous 4 tells us that Perotin made clausulae or many better (fecit clausulas sive puncta plurima meliora; Fritz Reckow, Der Musiktraktat des Anonymus 4, 2 vols. [Wiesbaden: F. Steiner, 1967], 1:46) and scholars surmise that these were created in connection with his so-called abbreviation of Leonin's Magnus liber organi. The short independent pieces of this edition, however, are transmitted anonymously and it is unknown which ones, if any, Perotin composed. This is not the first time these have been published. In her 1974 dissertation (Notation, Rhythm, and Style in the Two-Voice Notre Dame Clausula [Boston University]), Baltzer transcribed all the two-voice of the manuscripts F and Wolfenbuttel, Herzog August Bibliothek, cod. guelph. 628 Helmst. ([W.sub.1]) in the order of Friedrich Ludwig's catalogue (Repertorium organorum recentioris et motetorum vetustissimi stili [1910; 2nd ed., enl. (2 vols. in 3), ed. Luther A. Dittmer, Brooklyn: Institute of Mediaeval Music; Hildesheim: Olms, 1964-78]). In addition, Hans Tischler (The Parisian Two-Part Organa: The Complete Comparative Edition, 2 vols. [Stuyvesant, N.Y.: Pendragon Press, 1988]), following the same cataloguing order, integrated the within the organa dupla as alternative or substitute readings. One of the great strengths of Baltzer's new edition is that for the first time the are presented in the same order in which they appear in manuscript F. This helps bring the reader closer to the source and invites one to consider again the ways in which the ordering of the pieces might reveal some aspects of their history. The liturgical organization of the within the fascicle appears to indicate a churchly function, although the purpose of four separate liturgical series remains a mystery. Early on, Ludwig (Uber die Entstehung and die erste Entwicklung der lateinischen und franzosischen Motette in musikalischer Beziehung, Sammelbande der internationalen Musikgesellschaft 7 [1905-6]: 514-28) hypothesized that the clausula functioned as a substitute passage, intended in replace the corresponding section of an organum. Baltzer appears to embrace this substitution theory, for she gives detailed instructions in the commentary on where and how to insert the into the organa of F. Nevertheless, she does point out in the introduction that in some cases may have been created for the delectation of learned clerics or for working out compositional ideas. Although it is apparent that sections of organa were revised and recomposed, and that some organum passages wound up in collections of clausulae, it does not necessarily follow that were intended to be inserted into organa. …