Secular Music

For all of the works listed below, complete texts and translations are provided at the end of each pdf document. In many cases with these works there exist slight variants in the texts themselves regarding spellings and punctuation, especially where elisions in old French are concerned. These editions present the texts as clearly as possible. In the cases of the various rondeaux and bergerette settings, all repetitions are written out so that singers do not need to try to read texts that appear on pages discreet from the music itself. In cases where only an incipit of text exists for any given work, where possible the setting has been completed using known texts where a direct relationship to the incipit itself is clear. This method is variable in its true authenticity, but at least makes numerous works available for vocal performance that have previously not had that functionality.
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A la mignonne de fortune (Bergerette - 17 pages)

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Adieu m'amour I (3 pages)

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Adieu m'amour II (4 pages)

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Allez, mon cueur (Rondeaux - 13 pages)

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Alles, regretz * (4 pages)

* although based on Hayne van Ghizeghem's tenor, I believe this is Agricola
This work is not the the same as the one included in the Lerner edition as an opera dubia

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Amor che sospirar mi fai (14 pages)

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Amours amours (3 pages)

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C'est mal cherche vostre avantage (Rondeau - 10 pages)

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C'est trop sur amours entrepriz (Rondeau - 10 pages)

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C'est ung bon bruit * (Bergerette - 11 pages)

* clearly set out as a bergerette in Banco Rari 229, but only 2 lines of text survive in Copenhagen 1848
Full text realised by William Kempster (with the aid of Microsoft Copilot)

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Commes femme desconfortée a4 * (23 pages)

* version realised as a rondeau after Binchois - see note on last page

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Commes femme desconfortée a3 * (4 pages)

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Commes femme desconfortée a2 * (3 pages)

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Crions Nouel! (4 pages)

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De tous biens plaine a3 (Ia) (transposed up a 4th - 4 pages)

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De tous biens plaine a4 (Ib) * (transposed up a 4th - 4 pages)

* This is the same as 1a except for an added si placet 4th part in an unknown hand

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De tous biens plaine a3 (II) (3 pages)

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De tous biens plaine a3 (III) (6 pages)

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De tous biens plaine a3 (IV) (4 pages)

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De tous biens plaine a3 (V) (4 pages)

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De tous biens plaine a3 (VI) * (4 pages)

* Clearly attributed setting in Segovia codex omitted from the Lerner edition

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Dictes moy toutes vos pensées (Rondeaux - 8 pages)

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Donne, noi siam dell'olio facitori * (Madrigal - 3 pages)

* Completed by William Kempster from the single surviving superius part

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D'ung aultre amer a3 * (first a3 setting - 4 pages)

* in Lerner's edion this is listed as D'ung aultre amer IV, but as it is sourced from the Segovia manuscript, which almost certainly pre-dates the Basevi codex in which all other versions appear, I have re-ordered it accordingly

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D'ung aultre amer a3 * (second a3 setting - 4 pages)

* in Lerner's edion this is listed as D'ung aultre amer III. See the note immediately above. I have also differentialed these setting by their voicings, three of which are for 3 parts, and two of which are for 4 parts

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D'ung aultre amer a3 * (possible third a3 setting - 4 pages)

* This chanson appears in the Basevi codex with no title other than an illuminated 'D' to commence the top part.
See the note on the first page of the score

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D'ung aultre amer a4 * (First a4 setting - 5 pages)

* This is listed as D'ung aultre amer I in Lerner's edition

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D'ung aultre amer a4 * (Second a4 setting - 4 pages)

* This is listed as D'ung aultre amer II in Lerner's edition

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Duo - Sous le dais d’or où veille la couronne * (Probable instrumental - 4 pages)

* This duo, likely a collaboration betweeen Agricola and Ghiselin, was probably envisaged as instrumental, but it could be sung, and the text I have provided (with the 'assistance' of Microsoft Copilot), enables such a possibility.

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En attendant la grace de ma dame (Rondeau - 10 pages)

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En dispitant * (Bergerette - 9 pages)

* This work is listed in Lerner's edition as a chanson, but in the only source there are clear indications it was originally intended as a bergerette, so I have rendered it accordingly in this edition.
The original text is lost, so I have completed this with the assistance of Microsoft Copilot.
This work has a companion piece - Il me fauldra maudire - which shares the same tonality, structure, and length, as well as also being cast in circle.

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En m'en venant * (Rondeau - 13 pages)

* This edition corrects an error in the only source.

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Et qui la dira, dira (3 pages)

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Fors seulement * (7 pages)

* This is the setting sometimes attributed to Brumel, but attributed to Agricola in the earliest source, Canti C.
I believe the composer is Agricola, and interested readers can read my paper on this shortly (forthcoming).

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Fortuna desperata (up m3 - 9 pages)

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Gardez voz bien (4 pages)

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Gentil galans * (5 pages)

* original text is lost:
Full text realised by William Kempster (with the aid of Microsoft Copilot)

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Guarde votre visage (3 pages)

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Il me fauldra maudire * (Bergerette - 10 pages)

* This work is listed in Lerner's edition as a chanson, but in the only source there are clear indications it was originally intended as a bergerette, so I have rendered it accordingly in this edition.
The original text is lost, so I have completed this with the assistance of Microsoft Copilot.
This work has a companion piece - En dispitant - which shares the same tonality, structure, and length, as well as also being cast in circle.

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Il n'est vivant * (Bergerette - 15 pages)

* There is some doubt about the authorship of this bergerette, but I am satisfied it is Agricola

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In minem zin (4 pages)

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J'ai beau huer avant que bien avoir * (Rondeau - 11 pages)

* This is also attributed to Compere, but the complex simultaneous
multi-sequences with which the piece concludes make me certain it is Agricola.

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J'ars du desir (Rondeau - 9 pages)

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Je n'ay dueil que de vous (Bergerette - 21 pages)

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Je ne suis point de ces gens la * (Rondeau - 11 pages)

* In both Banco Rari 229 and I-Fn MS Magl. XIX.178, the point of concordance for the rondeau structure is incorrectly inserted by the (likely) first scribe respnsible. See the note on page 1 for further explanation.

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L'homme banni (5 pages)

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Mauldicte soit envie (4 pages)

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Mijn alderliefste moeschkin * (4 pages)

* This work only appears in one source, the Segovia Codex, and with no text other than the
title incipit. I have provided a completed text with the aid of Microsoft Copilot.

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Oblier veuil tristesse (3 pages)

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O venus bant (I) (3 pages)

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O venus bant (II) (4 pages)

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Par un jour de matinée (3 pages)

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Pour quelque paine [Pour ce quel paine/Pourquoi tant/Pour quel paine] * (Rondeau - 23 pages)

* See the last page - included - for an explanation regarding this piece

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Pour voz plaisirs et solas (Rondeau - 9 pages)

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Royne des fleurs (Bergerette - 9 pages)

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Se je fais bien ou mal aussi (Rondeau - 12 pages)

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Se je vous eslongne * (Bergerette - 14 pages)

* One source attributes this to Hayne van Ghizeghem. Picker is "certain" it is Agricola, as am I

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Se mieulx ne vient d'amours * (Rondeau - 18 pages)

* Rondeau recreated with the text of Convert's rondeau of the same name.

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Se/Si vous voullez (7 pages)

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Si congie prens de mes bellez amours * (6 pages)

* Four verses supplied, the first three of which come from Paris 12744

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Serviteur soye de par vous retenu * (11 pages)

* See the last page - included - for notes regarding this piece

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Soit loing ou pres tousjours me souviendra (Rondeau - 11 pages)

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Sonnés muses mélodieusement (4 pages)

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Sy je n'ay fet contre vous mon ami (2 pages)

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Sy vous plaist bien (Rondeau - 19 pages)

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Tandernaken (7 pages)

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Tout a par moy a4 (4 pages)

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Tout a par moy a3 (5 pages)

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Va t'en regret (rondeaux - 14 pages)

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Vostre bouche dist * (realised as a Rondeaux - 10 pages)

* only one source identifies this as Agricola (DK-Kk MS Ny kongelige Samling 1848, 2°), but Peter Christoffersen seems satisfied that this is authentic. The text is based on a rondeau quatrain by Charles d'Orléans, but 1848 seems to diverge from the complete poem - as it has come down to us - after the 2nd line. I have still decided to realise the piece as a complete rondeau after d'Orléans' text, however, as the cadencial construction in the centre of the work essential for such a structure to be outlined is exactly where it should be, and seems highly likely.

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Vostre hault bruit lequel est tant parfaict * (Rondeaux - 15 pages)

* This text taken from Paris F.Fr.1719 at the suggestion of David Fallows. The work appears as "Vostre hault bruit et vostre grant fame" in Banco Rari 229. Scored (at pitch) for SABar.

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Motet-Chansons

I have decided to place these works on the "Secular" page despite the fact that they combine both secular and sacred texts. My justification for this basically rests on the fact that Revenez tous regretz/Quis det ut veniat is a Motet-Chanson, but is also a Rondeau, and as this was an exclusively secular forme fixe, its structure suggests the composer considered it to be primarily secular in nature.
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Belles sur toutes/Tota Pulchra es * (8 pages)

* version with an incomlpete added bass line attributed to Henry VIII (completed by William Kempster)

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L'eure est venue/Circumdederunt me (6 pages)

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Revenez tous regretz/Quis det ut veniat (Transposed up a minor 3rd: Rondeaux - 23 pages)

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