C15th Regina caeli (2 voices)


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Le manuscrit Autun BM S.84 contient l'Historia scholastica de Pierre le Mangeur, copié en France au XIIIème siècle. Ce manuscrit a été donné au XVème siècle par un chanoine d'Autun à la bibliothèque Saints Nazaire et Celse. C'est sans doute à ce moment qu'une nouvelle reliure lui a été donné.

En garde de fin, fol. 278r, nous trouvons une addition musicale avec notation carré et notation proportionnelle de type italienne.

La notation carrée donne la mélodie du Regina caeli, qui a été utilisée pour le cantus firmus et la partie en notation proportionnelle nous donne un superius tout à fait dans le style du Codex Faenza (I-FZc117).

Voir le manuscrit  : https://bvmm.irht.cnrs.fr/iiif/21952/canvas/canvas-1976821/view

Transcription proposée par Jacques Meegens

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  • I thought of the same solution, too, but with a mensural interpretation of the Tenor. As is the case with Jaques Meegens' transcription, it only works for a couple of measures. Unfortunately, both approaches (equal notes versus mensural notes) lead to musical nonsense after m. 6. Meegens' transcription stops just before that point, with two rests that are not in the source. I am intrigued by the mensural notation of the Tenor, which looks rather archaic to me, very ars antiqua style. The discantus however is clearly in the French ars nova style. Seeing the manuscript's origin and subsequent donation, I see no reason to assume an Italianate notation. Although it is certainly tempting to view this as two-part music, I am inclined to think that they are in fact unrelated. Similar situations can be seen in F-BSM 0071, vol. II, f. 259v, also with a discantus in white ars nova notation and a Tenor (identified as Sanctus GS 16* by Myke Cuthbert); also in F-AVR MS 13, f.1r, which, like the present fragment has been interpreted as two-part music, but turns out to be a single line, a discantus in ballade form.


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