Hi Berndt, Stuart and All,
good to know there is a modern edition of Ars Subtilior - Chantilly codex.
I'll try to get hold of it, but it probably won't be easy.
Do you by any chance have the full particulars incl. ISDN?
If there is more text than the one Stuart sent, it would be interesting to
read what more Johannes Symonis Hasprois has to say in his "Puis que je suis
fumeux". (The piece sounds more like Charlie Parker than something from the
1380's! This is definitely novel-writing and/or movie-making material. I
don't speak french though... Is there possibly any more info about this
composer (and Solage, or possible other "fumeurs")? I'd really like to know
more about their movement. Arto hinted at antipapal Avignon. There must be
books about this? What is it with these French...Rabelais, Baudelaire,
a.s.o...a.s.f...
Best Regards
Göran
----- Original Message -----
From: "Bernd Haegemann" <[EMAIL PROTECTED]>
To: "lute list" <lute@cs.dartmouth.edu>
Sent: Thursday, June 09, 2005 6:22 PM
Subject: [OT] : Fumeux
> Dear all,
>
> in fact we don't know whether smoking sth. was involved.
> Also the editor of the Chantilly* codex in the series "Polyphonic Music
> in the Fourteenth Century (vols. 18 & 19, ) (1981) wasn't really sure, as
> he wrote in his comment to "puis que je suis fumeux" that there is
> another song connected to "fuming" in the Ms. ("Fumeux fume par fumee").
>
> * Yes! It's the time of the famous Duc de Berry and his Tres Riches
> Heures,
> also kept in Chantilly.
> http://humanities.uchicago.edu/images/heures/heures.html
>
>
> One would have liked to know what Mr. Greene thought that "fuming" is :-)
> What is the difference between "fuming" and fuming? ;-)
> But we know that there was an eccentrical club of writers and
> composers in Paris, called "Les Fumeux". As it were, they derived
> the name from a certain Jean Fumeux - but is this name perhaps
> an allusion??
> Eugene Deschamps (one of them, as it seems) said in his "Charte des
> fumeux" (1368):
>
> Ilz parlent variablement
> Ilz se demainent sotement
> ..Pour ce que dame Outrecuidance
> Maine chascun d'eulx a sa dance
> Folie par la main les tient
> Orgueil les gouverne et soutient
> Et le vest de riches joyaulx
> Et Jeunesse, qui est si beaux
> Leur prie, amonneste et ennorte
> Que chascuns folement se porte.
>
> I find it very fascinating to see, how "modern" those composers and
> writers were, how they wrote "manifestos" of their new art and how
> quickly the ars subtilior style spread over Europe: we can say roughly
> that
> it developed after Machaut's death in 1377 and lasted only until the first
> years of the 15th century. But we find sources from Britain to Cyprus.
>
> And the composers were well aware of the complexity of their new works,
> a certain Guido lets a Rondeau start with the "blessing":
> Dieux gart qui bien le chantera
>
> May God guard him , who sings this well... :-)
>
> There is also a nice parallele to miniature painting: there are virelais
> with
> onomatopoetical settings of birds' voices and for the first time we find
> depiction of
> nature in book miniature painting.
>
> I remember how we played a good deal of the Chantilly and Modena mss. on
> saxophones. There was a lot of smoking and drinking, but only afterwards,
> the
> stuff is too complicated :-)
>
> Best wishes
> Bernd
>
> (Does somebody really wants the texts? I could type them from the
> edition.)
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
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