The [madrigal] I have printed here was written in a rare old book I found in the Library of Rouen.[72] It was most kindly copied out for me on the spot by M. Baurain, and Mr J.A. Fuller-Maitland was so good as to decipher the ancient notation and provide me with a score that anyone can play and sing to-day. He has also written the last paragraph of this chapter, and with his learned explanation I may leave you to the enjoyment of a song that has never been published since 1551, and that will reproduce for you, for the first time since then, the sound of the welcome given to Henri II. and Catherine de Médicis as they entered their good town of Rouen in 1550.
In the history of music this four-part song is interesting as giving evidence of the general cultivation in music that must have prevailed among the French people at the time. In the present day we are apt to think of the madrigal or motet writers as a class of specialists working at elaborate harmonic and contrapuntal problems for their own delight, but as having little influence on the national acceptance of music. Nothing could be further from the truth, as far as England, the Netherlands and Italy were concerned; and in France, where the art of the simple tunes of the troubadours represents for us the typical national music of mediæval times, it is important to have a document which shows as clearly as this does the kind of music which was recognized as suitable for a great pageant. In style, the French school of the sixteenth century differs not at all from that of the Netherlands, of which it is generally regarded as an off-shoot (see Grove, "Dict. of Music and Musicians," vol. iii., p. 267). In the works of Pierre Certon, Claude Goudimel, and others, would be found many compositions constructed on similar lines to the example here given; that is to say, that the rules of madrigal writing are strictly observed, although the preference for massive treatment of the opening of each line seems to point to the use for which it was intended, viz., to be sung in the open air. There are not many instances of works of this class apparently meant for female voices only, and there may have been some reason for this connected with the general plan of the ceremony. The little piece is in the Dorian mode, and in the original is clearly and correctly printed, in four separate parts on the same double page. In scoring it, the accidentals, which do not occur in the original, have been added in brackets. It is, of course, impossible to surmise who may have been the author, but it is certain that, whoever he was, he had attained to a remarkable skill in writing effective music. If we consider the prescribed limitations in which he worked, with nothing lower than the second alto part for his bass, it is surprising to notice the sonority of sustained tone that is got by skilful disposition of the harmonies, while the beautiful antiphonal effect at the point "Vive le Roi" is of a kind that must appeal to hearers of all classes and periods alike.
A WINDOW IN THE MAISON BOURGTHEROULDE, DESCRIBED ON [PAGE 337]
A SIXTEENTH-CENTURY MADRIGAL
Listen to [[audio/mpeg]]
Listen to [[audio/mpeg]]
Listen to [MIDI without piano accompaniment]
Listen to [MIDI with piano accompaniment]
View/download [PDF sheet music]
View/download [MusicXML]
View [lyrics]
