Courtly Song in Late Sixteenth-Century France 9780226767710

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COURTLY SONG IN LATE SIXTEENTH-CENTURY FRANCE

COURTLY SONG IN LATE SIXTEENTH-CENTURY FRANCE

JEANICE BROOKS

THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON

]EANICE

BROOKS is senior lecturer in musIC at the University of Southampton. The University of ChIcago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2000 by The University of ChICago All rights reserved Published 2000 PrInted in the United States of AmerIca 09 08 07 06 05 04 03 02 01 00 5 4 3 2 1 ISBN (cloth), 0-226-07587-7

A publishing subventIon from the Otto Kinkeldey PublIcation Endowment of the American MusIcologICal Society is gratefully acknowledged. Library of Congress Cataloging-in-PublicatIOn Data Brooks, ]eanICe. Courtly song In late sIxteenth-century France / ]eanice Brooks. p. cm. Includes bIblIographICal references and index ISBN 0-226-07587-7 (cloth) 1 Songs, French-France-16th century-History and CrItIcIsm. 2. France-Court and courtIers-SocIal life and customs 3. RenalssanceFrance. I.Title. ML2827.2 .B76 2000 782.4'3'094409031-dc21 00-008939

@ The paper used

In

thIS publicatIon meets the minimum reqUIrements of the

American National Standard for InformatIon Sciences-Permanence of Paper for Printed Library MaterIals, ANSI Z39.48-1992

To Mark

Contents

List of Illustrations / ix Acknowledgments / xiii List of Abbreviations / xv

THE COURT AND THE AIR DE COUR

The Courts of the Last Valois / 2

Chansons de la cour beaucoup plus legieres: Defining a Genre / 13 Courtly Song and Court Culture / 31 II

PAYING COURT

72

Household Positions and Court Careers / 75 The Rhetoric of Patronage / 108 III

THE CONJUNCTION OF ARMS AND LETTERS

fame bien nee: Music as Touchstone of Nobility / 126 The Education of Achilles / 133 Music as Weapon in the Warfare of Love: Civility Literature and Military Ideals / 150

117

viii

CONTENTS IV WOMEN'S VOICES

191

Women Singers and Women's Songs / 198 Catherine de Medicis, nouvelle Arthemise. Women's Laments and the Virtue of Grief / 209 The Art of Civil Conversation: Courtly Neoplatonism and the Dialogue Air / 227 V

DIALOGUES WITH ITALY

255

Les louanges des Dieux et des hommes vertueux. Arcadelt and Clereau in the Service of the Guises / 266

La musique selon sa perfection: Ba'if's Academy, the Villanella, and musique mesuree / 293 VI PASTORAL UTOPIAS

333

L'eslite de tous les bergers de Gaule: Pastoral Romance and the air de cour / 343 Rustic Songs and the Rustic life / 357 CONCLUSION

Appendix

j

/

389

393

Documents

Appendix

2 /

413

Chamber and Chapel Musicians in Royal Records, 1559-89

Bibliography! 537 Index! 555

Illustrations

Figures 1.

Genealogy of the Valois

2.

Le ciel qui Jut large donneur, from Adrian Le Roy, Livre d'airs de cour miz sur Ie luth

4

18

3.

Portrait of Adrian Le Roy, from the Livre d'airs de cour miz sur Ie luth

4.

Attributed to Antoine Caron, La remise du livre et de l'epee

5.

Attributed to Antoine Caron, Le jeune roi apprend la musique

6.

Nicolas Boucher, La conjunction des lettres et des armes des deux tresillustres princes

lorrains, title page

31

136

137

145

7.

Attributed to Antoine Caron, Les cendres du roi

8.

Jean Juste, gisants of Louis XII and Anne de Bretagne

9.

Germain Pilon, gisants of Catherine de Medicis and Henri II

212 214 215

Tables 1.

Adrian Le Roy's 1571 Livre d'airs de cour

2.

Prints of Strophic Songs, 1559-89

3.

Airs de cour in Feminine Voices

15

21

204

4.

Dialogue airs de cour for Male and Female Interlocutors

5.

Italian Secular Vocal Music Published in France, 1530-1600

6.

Jean de Ba'if's vers mesures on Italian Models

7.

Non-measured Villanella Translations in the air de cour Repertory

1.1.

Adrian Le Roy, Or voy-je bien qu'il Jaut vivre en servage

1.2.

Diego Ortiz, Recercada quarta

1.3.

Adrian Le Roy, Je suis Amour

1.4.

Guillaume Tessier, 0 beau laurier

1.5.

Pierre Bonnet, 0 beau laurier

55

58

60 ix

259

300

Musical Examples 54

207

50

306

x

ILLUSTRATIONS

1.6.

Jacques Salmon, 0 beau laurier

1.7.

Adrian Le Roy, Quand Ie gril chante

1.8.

Filippo Azzaiolo, Quando la sera

1.9.

Adrian Le Roy, Tant que j'estois avous seul agreable

62 66 68

70

3.1.

Pierre Clereau, Ores qu'on voit de toutes pars

3.2.

Thibault de Courville, Arme, arme, arme 0 mes loyaux pensers

3.3.

"Rechant "Reprise

170

a 3 de Courvile" from Claude Le Jeune, Arm' arm' 6 vous mes

loyaus pensers 3.4.

168

172

a 5 de CI. Le Jeune" from Claude Le Jeune, Arm' arm' 6 vous mes

loyaus pensers

173

a 6" from Claude Le Jeune, Arm' arm' 6 vous mes loyaus pensers

3.5.

"Meslee

3.6.

Clement Janequin, Laguerre, mm. 7-63

3.7.

Guillaume Costeley, La prise de Calais, mm. 41-75

4.1.

Girard de Beaulieu?, Mais que me sert Tethys ceste escaille (Balet comique de

la royne)

181 189

245

4.2.

Adrian Le Roy, Mon coeur ma chere vie

4.3.

Adrian Le Roy, Pour m'eslongner et changer de con tree

4.4.

Nicolas de La Grotte, Ah Dieu que c'est un estrange martyre

4.5.

Claude Le Jeune, Belle la jlamme al'envi

5.1.

Jacques Arcadelt, Qui pourra dire la douleur

246

Jacques Arcadelt, Mon plaint soit entendu

Jacques Arcadelt, Montium custos, nemorumque virgo

5.4.

Pierre Clereau, Comme un qui prend une couppe

5.5.

Jacques Arcadelt, La pastorella mia

5.6.

Anon., La pastorella mia

5.7.

Scipione del Palla, Dura legge d'amor

5.8.

330 Fabrice Marin Caietain, Une puce j'ay dedans l'oreille Guillaume Tessier, Tandis que Ie soleil ardant 378 Pierre Bonnet, Une fllle de village 381 Guillaume Tessier, Je Ie veux pour amy 382 Jacques Arcadelt, La Diane que je sers 384 Jehan Planson, Amour ne pouvant vivre avec la jeintise

6.1. 6.3. 6.4.

6.5.

248

316

5.2.

6.2.

247

250

5.3.

5.9.

175

319 320

321

323

326 328

Gasparo Fiorino, Come'l sol jra Ie nuvole

331

386

Note on Editions Where feasible, music examples are based on standard modern editions, identified in the captions. In some cases I have made minor amendments, such as removing lute tablature and adding editorial accidentals. All other editions are my own, made

xi

ILLUSTRATIONS

according to the following principles. Note values are as in the source, with the exception of examples 1.8 and 5.6, where the values are halved to permit comparison with examples 1.7 and 5.5. Metrically regular airs appear with bar lines. Irregular songs-that is, those in additive rhythms not governed by normal tactus units, such as musique mesuree and songs of the type later called en musique d'air-are notated without bar lines, though I have provided division lines at the ends of phrases to aid legibility. For a discussion of the issues that gave rise to this decision, see Daniel Heartz, review of Andre Verchaly, ed., Airs de cour pour voix et luth

(1603-1643),

in

Journal of the American Musicological Society 15 (1962): 356- 63. Source accidentals are placed on the staff and editorial accidentals above the staff; all accidentals hold for the bar in which they appear unless cancelled.

Acknowledgments

This book aims to use music to illuminate what it meant to be a courtier in early modern France. In writing it I have incurred an enormous number of debts to individuals and institutions, and it is a great pleasure to acknowledge them here. I am grateful to Donna Cardamone Jackson for her extraordinary generosity in loaning microfilms, sharing transcriptions, and furnishing information of all kinds as well as for her infectious enthusiasm for work on strophic songs in any language. I thank Jonathan Le Cocq for kindly sharing material from his D.Phil. thesis with me and for his help with sources, and James Haar for allowing me to read his study of Arcadelt's songs prior to publication. My sincere gratitude also goes to Laurent Guillo, who came to my aid with his bibliographical expertise on more than one occasion, and who made a special trip to one of the most inhospitable libraries in France just to make a transcription for me. For references, information, and ideas I am indebted to Jane Bernstein, Richard Freedman, Isabelle His, Kate van Orden, Bonnie Blackburn, Anne MacNeil, Tim Carter, Richard Wistreich, Frank Dobbins, and Fran