La Trobe University - Library: Medieval Music Database - Annual cycle of feasts of liturgical chant, liturgical polyphony and secular music of the late middle ages.

Dame, doucement attrait; Doulz amis de cuer parfait

rondeau by Johannes Vaillant

Sources

Chantilly: Bibliothèque du Musèe Condè 564, fol. 26v (3/2);
Philadelphia: University of Pennsylvania Library, French MS 15 (text).

Editions

1. GÜNTHER, Ursula. Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14. Jahrhunderts, dargestelt an Virelais, Balladen und Rondeax von Machaut., Ph.D. dissertation, University of Hamburg: 1957, no. 1.
2. GÜNTHER, Ursula. Zehn datierbare Kompositionen der Ars Nova, Hamburg: 1959. Schriftenreihe des Musikwissenschaftlichen Instituts der Universität Hamburg, Heft II, no. 7 [R PhD ed.].
3. French Secular Compositions of the Fourteenth Century, music edited by Willi Apel, texts edited by Samuel N. Rosenberg, Rome: American Institute of Musicology, 1970. Corpus Mensurabilis Musicae 53/I, p. 225.
4. French Secular Music. Manuscript Chantilly, Musèe Condè 564, First Part, edited by Gordon K. Greene, Monaco: Editions de L'Oiseau-Lyre, 1981. Polyphonic Music of the Fourteenth Century XVIII, p. 87.

Literature

1. BESSELER, Heinrich. 'Studien zur Musik des Mittelalters. I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts', Archiv für Musikwissenschaft, VII (1925): 167-252.
2. PIRRO, A. La musique à Paris sous le règne de Charles VI (1380-1422), Strasbourg: 1930. Collection d'etudes musicologiques I, p. 9.
3. GÜNTHER, Ursula. 'Der Gebrauch des tempus perfectum diminutum in der Handschrift Chantilly 1047', Archiv für Musikwissenschaft, XVII (1960), p. 290.
4. NEWES, Virginia E. 'Imitation in the Ars nova and Ars subtilior', Revue belge de musicologie, XXXI (1977): 38-59.
5. GÜNTHER, Ursula. 'Sinnbezüge zwischen Text und Musik in Ars nova und Ars subtilior', Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts, edited by U. Günther and L. Finscher, Kassel: Bärenreiter, 1984, p. 265, 265/n150.

Recordings

1. The Ars Nova: Vocal Music of 14-Century France and Italy, Capella Cordina, directed by Alejandro Planchart (1966): Expèriences Anonymes EA/EAS 83.
2. 1000 Jahre Musikgeschichte, vol. I, anonymous singers and instrumental ensemble (1967): Eterna 820 347.
3. Music in the Gothic and the Renaissance, Capella Monacensis, directed by Kurt Weinhöppel (1977): Calig CAL 30451.
4. Philippe de Vitry 1291-1361, Benjamin Bagby and Barbara Thornton, Sequentia (1991): RD 77 095.
5. Philippe de Vitry and the Ars Nova, Robert Hare-Jones (CT), Charles Daniels (T), Angus Smith (T), Donald Greig (Bar), Orlando Consort (1991): CD-SAR 49.

Text

CANTUS

Dame, doucement [at]trait
avés tout le cuer de mi
par vo douls [oeil] qui l'atrait.
Dame, [doucement attrait].

N'em vuellh autre (pe)re[t]rait:
[il] est vostres sans demi.
Dame, [doucement attrait
avés tout le cuer de mi].

CONTRATENOR

Doulz amis de cuer parfait,
ligement a vos m'otri.
Gardés m'onnour senz mefait,
Doulz [amis de cuer parfait].

Et [je] respons de mon fayt
que je vos aim sans nul cri.
Doulz amis [de cuer parfait,
ligement a vos m'otri]

Translation

CANTUS

Lady, gently have you drawn out
my whole heart
by your sweet eye which attracts it.
Lady, gently have you drawn [it] out.

Neither does it wish for another refuge:
it is your totally.
Lady, [gently have you drawn out
my whole heart].

CONTRATENOR

Sweet love, perfect of heart,
without reserve I give myself to you.
Preserve my honour without blemish,
Sweet love, perfect of heart.

And be answerable for what I am doing,
that is that I love you in silence, without complaint.
Sweet love, [perfect of heart,
without reserve I give myself to you].
Text revision and translation © Robyn Smith