Scan 146
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
46 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Wherever or whenever this cycle was composed, it must be one of the first tenor masses
3The most important aspects of the 41 motets are the use of four part writing in all but three pieces, the appearance of isorhythm in all but one, and the concentration on sacred texts. Even a majority of the French texts praise the Virgin Mary, and only two seem to be entirely secular. Eight Latin motets (nos 23-30) with texts that trope the 'Great Antiphons' for the Magnificat constitute a unique series of pieces composed as a unit, although they would have been performed, one each day, in the week preceding Christmas. The texts of motet 12 establish a connection with earlier continental music by using the same poetic forms and rhymes as the texts of the motet Impudenter circumvi/Virtutibus attributed to PHILIPP DE VITRY. On the other hand, three motets (nos. 6, 8 and 17) name King Janus and thus confirm stylistic evidence that the collection originated in the first decades of the 15th century.
5The French songs are so similar in general style that they may be discussed together. Only 16 of the 166 pieces depart from normal three-part writing with text in the upper voice. One ballade has two upper parts with different texts; two-voice writing appears in four virelais and nine rondeaux, two of which have the text in both voices, one virelai has the text in all three voices, and the final rondeau is a four-voice canon.
7In their rhythmic style, however, the secular songs display a wider range of style than any other group of pieces. Some are scarcely more complex than the late works of Machaut. A few rival the complexities of late 14th-century manneristic style (see ARS NOVA and ARS SUBTILIOR). From these few, Wolf and Apel picked their illustrations of the Cypriot manuscript and caused it to be ranked undeservedly with such monuments of mannered notation as the Chantilly and Modena manuscripts (F-CH 564 and I-MOe 5.24). The majority of pieces make but moderate use of manneristic devices. Only 'displacement syncopation' and the simpler proportions (3:2 and 4:3) occur with any frequency. A return to rhythmic simplicity characterizes what must be the latest songs in the manuscript. Shifts from 6/8 to 3/4 rhythms (notated in full-red coloration) still occur, but other notational complexities almost disappear. The modernity of these pieces also manifests itself in the use of semiminims (semiquavers in transcription) and in the presence of textless and presumably instrumental passages in the upper voice. Such pieces differ in no way from exactly contemporary continental songs.
9The repertory from Cyprus thus proves to be much more than a record of musical activity at a remote provincial court. By its quality, its variety, its reflection of current practices and its anticipation of future developments, it provides our most comprehensive survey of the state of music just before the appearance of the first Renaissance composers.
11BIBLIOGRAPHY
12EDITIONS AND FACSIMILES OF J-Tn J II 9 one of two readings
13EDITIONS AND FACSIMILES OF I-Tn J II 9 one of two readings
14The Cypriot French Repertory of the Manuscript Torino, Biblioteca Nazionale J II 9, ed R Hoppin, CMM, xxi/1-4 (1960-63)
15Cypriot Planchant of the Manuscript Torino, Biblioteca Nazionale J II 9, a Facsimile Edition with Commentary, ed R Hoppin, MSD, xix (1968)
17STUDIES
18K Young 'Philippe de Mezieres' Dramatic Office for the Presentation of the Virgin', Publications of the Modern Language Association of America xxvi (1911) 181-234
19H Besseler 'Studien zur Musik des Mittelalters', AMw, vii (1925), 209
20R Hoppin 'The Motets of the Early Fifteenth-century Manuscript J II 9 in the Biblioteca Nazionale of Turin (diss., Harvard U., 1952)
21– 'The Cypriot French Repertory of the Manuscript Torino, Biblioteca Nazionale, J II 9', MD, xi (1957), 79-125
22– 'A Fifteenth century "Christmas Oratorio"', Essays on Music in Honor of Archibald Thompson Davison (Cambridge, Mass., 1957), 41
23G Reese 'The Polyphonic Ballades in the Manuscript Torino Biblioteca Nazionale, J II 9 (diss. U of Iowa, 1959)
24R Hoppin 'Reflections on the Origin of the Cyclic Mass', Liber amicorum Charles van den Borren (Antwerp, 1964), 85
25– 'Exultantes collaudamus a Sequence for Saint Hilarion, Aspects of Medieval and Renaissance Music, a Birthday Offering to Gustave Reese (New York, 1966), 39.'
27RICHARD H HOPPIN
29Cyrquillon, Thomas. See CRICQUILLON, THOMAS
31Czakan. See CSÁKÁNY
33Czard, Georg [Czarth, George]. See ZARTH, GEORG
35Czartoryska [née Radziwill], Marcelina, Princess (b Podłuzne na Polesiu, 18 May 1817, d Kraków, 5 June 1894) Polish pianist. She was educated in Vienna and began studying music under Czerny, she was later a pupil of Chopin in Paris, and in a comparatively short time became a fine interpreter of his music. She was one of the few friends present at his death. In 1848 the Austrian government dismissed her from Vienna as a Russian subject. She moved to Paris where she formed a small group comprising the most eminent of the Polish émigrés and members of French artistic and literary circles. She gave charity concerts in Paris, London and Vienna, often with the most celebrated artists, including Vieuxtemps, August Franchomme, Pauline Viardot and Liszt. In 1867 she returned to Poland and settled in Kraków, where she formed, as in Paris, a group bringing together figures from the world of art and literature. She gave many Chopin concerts in different towns in Poland. Czartoryska also initiated Stanisław Tarnowski's Chopin lectures, which she illustrated herself, as well as two historic concerts in Kraków in 1877, at which were performed works by Polish composers from Gomółka to Żeleński. She was regarded by many critics as one of the most authentic of all contemporary pianists in Chopin's own manner of interpretation.
37BIBLIOGRAPHY
38S Tarnowski 'Marcelina Czartoryska', Przegląd polski (Kraków, 1895), 249-94
39J Reiss 'Najslawniejsza uczennica Chopina' [Chopin's most famous pupil], Ilustrowany kurier codzienny (26 June 1937)
40W Hordynski 'Marcelina Czartoryska', PSB
41B Sydow Korespondencja Fryderyka Chopina (Warsaw, 1955, Eng trans., 1962)
43ZOFIA CHECHLIŃSKA
45Czech Nonet. Czech chamber ensemble. The members are Václav Snítil (b Hradec Králové, 1 March 1928), violin; Milan Heřmánek (b Maršovice, 8 March 1942).
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