Playing with the performer in Medieval music: Machaut’s ideas on love and order in Quant vraie Amour / O series summe rata / Super omnes speciosa (Motet 17)
Machaut’s seventeenth motet might be one of his earliest works. Under its simple appearance it hides essential poetic reflections about the problematic relationship between paradoxical Love and the regular order of the universe, a problem which he kept pondering all his... View more
15 For other examples of such dissonant endings as clues for the text, see my 'Thought-Provoking Dissonances', in: Dutch Journal of Music Theory 12/3 (2007), 273-292.
16 MS Paris BnF f. fr. 1584, fols. E and D. Machaut probably supervised the copying of this codex and its illumination himself. The miniatures can be seen at http://mandragore.bnf.fr/jsp/rechercheExperte.jsp (fill in under 'cote': Français 1584); or in: F. Avril, Manuscript painting at the court of France, New York/London: Braziller, 1978, pp. 96-99.
17 Apollinis / Zodiacum / In omnem terram and Musicalis / Sciencie / Tenor, in: F.Ll. Harrison (ed.), Motets of French Provenance, Monaco: L'Oiseau-Lyre, 1968 (Polyphonic Music of the Fourteenth Century, 5), motets 9 and 33.