• Le Codex de Chypre (Torino, Biblioteca Universitaria J.II.9) - Vol. III: Ballades II

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Le Codex de Chypre (Torino, Biblioteca Universitaria J.II.9) - Vol. III: Ballades II

  • Introductory Texts, Poetic Texts and Critical Notes in French and English
  • Editor: Cécile Beaupain, Terence Waterhouse, Gisèle Clément
  • Publisher: Ut Orpheus
  • Code: OAN 3
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The Codex J.II.9 is a volume of 159 large-framed folios of richly decorated parchment. It is composed of 302 pieces, polyphonic for the most part, belonging to very different types in both the sacred and secular fields. The present volume offers diplomatic transcriptions of the first 30 virelais and rondeaus of the last booklet of J.II.9. Although the exact date of the compilation of the pieces in this codex is not known, we do know that it was probably part of the dowry provided by Anne de Lusignan for her marriage to Louis de Savoie in 1434. Cyprus was then under french domination and the style of the songs that we find here often evoke the style of the Burgundian songs of the first third of the 15th century.
This manuscript has the particularity of having no attributions or concordances: all the pieces are unicae and anonymous. The musical styles of the songs are varied, alternating pieces of simple construction in the manner of the 3 part Burgundian song of the first third of the 15th century, with examples of the most refined and elaborate types that can exist.

Editor: Cécile Beaupain, Terence Waterhouse, Gisèle Clément

Publication Date: 6/13/2014

Pages: pp. 236

Size: 235x315 mm

ISMN: 979-0-2153-2241-7

Code: OAN 3

The Consort Magazine (Summer 2018)
This new edition of polyphonic ballades of the early fifteenth century comes from the Italian publisher of early music, Ut Orpheus, and is one of an ongoing series of publications containing commentary on, and transcriptions of, the music from the socalled Cyprus Codex. ... Ut Orpheus are not only making the contents of this manuscript available, but also making music from the period 1300-1500 more accessible and understandable, because the transcriptions are presented in the form of 'diplomatic' notation. This is essentially a compromise- diplomatic notation is neither a complete transcription nor a facsimile of the original notation: its purpose is to preserve some features of the notation used in the original manuscript, while 'modernising' it sufficiently to allow performers and scholars of today to read it. ... Overall then, this edition is aimed at specialists in the field, and contains much valuable material, useful to performers of medieval music as well as to scholars of historical notation systems. (Paul Bracken)