4. Baisez moy

4. Baisez moy
Chansons et Motetz en Canon
& œœ C
Canon In
Diatessaron
œ
V œ C ∑
fo. 4v
: 4
=
I==
„
I :==
=
3
& ˙.
w
-
-
-
ß
w
-
sez
Bai -
›
-
-
-
-
o
sez
-
-
-
›
„
V
„
w
-
sez
-
w
›
sez
moy,]
-
-
w.
-
sez
moy,
œ œ
˙.
›
sez
Bai - sez
w.
-
œ œ
-
- my
-
›
e,
-
-
Bai -
˙
moy
ma
w
˙
doul
œ œ
-
-
-
-
˙
˙
sez
moy
ma
˙
moy
ma
doul
-
- my
ceIa -
w
˙
e,
Par
Par
-
˙
˙
a - mour
˙
je
w
vous
-
˙
w
doul
-
˙
˙
sez
moy
ma
ceIa -
-
˙
-
a - mour
w
en
-
-
w
ceIa -
w.
w
-
w.
›
˙
-
˙
˙
˙
˙
w
-
„
Bai
˙
-
„
„
Bai - sez
˙
-
w
„
Bai
˙
[Bai -
∑
›
„
w
moy,
›
˙
œ
œ œ
›
moy,
˙
-
-
›
„
ceIa -
-
moy,
- sez
w
doul
w.
œ œ w
›
moy,
&
ß
moy,
›
10
- my
-
›
- sez
V w.
-
-
-
-
˙
ß
moy,]
V ›
V
-
w
V ∑
-
w
[Bai
-
-
›
-
-
ß
œ œ w
p
-
Bai
ß
Bai
w
œ
-
„
Bai
5
w
˙
Bai
V œœ C ›
fo. 5
∑
w
œ
V œ C
Canon In
Dyatessaron
V
„
[Josquin]
-
œ œ
˙
je
-
- my
w
-
-
-
w
[Par
w
w
vous
en
pri
-
-
-
œ œ
e,
w.
-
-
-
œ œ
-
-
15
w
& w
- e,
˙
V
[Par
˙
w
-
a
V w.
pri
V ˙.
-
-
-
-
-
-
œ w
V
-
-
-
-
˙
˙
Ma
me
- ly
V ›
- e,
-
˙.
-
-
-
w
-
-
-
-
-
œ w
∑
w
›
-
-
›
-
-
-
w
-
-
-
ß
-
-
Non
fe
-
›
-
-
›
-
-
„
˙
˙
˙
Ma
me
reIen
se
-
˙
˙
reIen
se
w
˙
Si
je
fai - soy
w
-
-
›
-
ray,
w
„
„
„
„
˙
e,
Ma
˙
me
-
˙
reIen
-
˙
se
-
-
ry
w
roit
˙
˙
Si
je
fai - soy
w
fo -
eIla
-
˙
-
me
-
-
˙
reIen
w
mar -
-
w
w
eIla
fo
-
- ly
-
-
-
w.
-
-
œ
-
˙
œ
-
-
- ry
›
-
se
-
-
-
w.
w
mar -
w.
›
-
-
˙
˙
w
roit
-
œ
Ma
mar
˙
roit
˙
Et pour
Et
˙
˙
-
-
-
œ œ
Non fe -
w
œ
ray,
„
quoy?
-
˙.
∑
- quoy?
˙
-
-
„
›
œ
- e.
Non fe - ray,
›
›
w
-
quoy?]
›
-
w.
œ œ
quoy?]
-
pri -
e.
›
-
w
-
w.
w
›
-
-
w
fe
„
-
ß
e.
w
pour -
-
-
je vous en
pri
Non
Et
w.
w
mour
∑
w
&
V
-
ß
26
V
œ œ
w
pour
œ œ w
-
œ œ w
je vous en
w
V ∑
V ›
˙
a
˙
Et pour
w
w
e.
œ
- ray,
˙
mour
20
& ˙.
˙
-
-
œ
-
œ œ
-
œ
-
-
e.
w
w
roit
mar
w.
- ry
-
-
-
-
-
œ
-
-
œ
-
30
& ›
w
- e.
w
V w
-
Ve
V w.
- ry
-
Ve
35
& ∑
˙.
- la
de
V ›
- la
˙
˙
- la
w
˙
w
w
w
ß
›
de
w
de
œ œ
-
-
w
˙
V ∑
˙
-
w
- e.
-
la
-
V w
V
Ve -
w
Ve -
-
-
œ ˙
w
-
e.
-
›
w
Ve
˙
- la
-
˙
-
›
›
la
de
›
›
de
de
ß
œ ˙
ß
œ œ w
˙
›
quoy,
ß
ß
œ œ w
›
quoy.
quoy.
w
Ve -
-
›
›
- la
de
›
›
de
w
›
quoy,
∑
quoy,
la
˙.
ß
p
›
quoy.
›
quoy.
w
Ve
-
w
-
›
quoy,
∑
Ve
Paris, BnF, Ms. fr. 9346
no 102
« Baisez-moi, ma douce amie,
Par amour, je vous en prie ».
« Non ferai », « et pourquoi? »
« Si je faisais la folie
Ma mère en serait marrie.
Voilà de quoi ».
“Kiss me [now], my sweet (girl-)friend,
For love’s sake, I [do] beseech you”.
“I’ll not do it”, “and why not?”
“If I did [indulge in] folly
My mother would be aggrieved.
So that is why”.
Attaingnant’s fourth anonymous song may well have been composed by the famous Josquin des Prez. For although the
Parisian collection directly follows the anonymous model published in Antico’s edition, the double canon had previously
been printed in four-part choirbook score at Venice in 15022 and 15033 (no 34) with text incipits only, different clefs and
a flat modal signature, but including a clear attribution to “Joquin” or “Josquin”. Helen Hewitt’s Ottaviano Petrucci:
Canti B (Chicago, 1976, no 34) provides a modern score and commentary; but her edition includes only five and a half of
the seven lines of text found with the same simple melody copied in Charles de Bourbon’s song-book (Paris, BnF, Ms. fr.
9346, ed. T. Gerold, Le Manuscrit de Bayeux, no 102). A full description and comparison of variants of four-, five- and
six-voice canonic versions found in other manuscript and printed sources of the time may be read in F. Dobbins,
“Andrea Antico’s Chansons and the Diffusion of French Song in the Second Decade of the Sixteenth Century” in “La la
la... Maistre Henri”, Mélanges de Musicologie offerts à Henri Vanhulst (Turnhout, 2009, p. 132-33), together with
arguments about Josquin’s disputed authorship. The linguistic simplicity and heterometricity of the six-line dialogue,
together with the absence of additional strophes in the only known semi-literary source (Duke Charles’ Song-Book)
argue for the verse’s popular origin; so too does the repetitive square and sequential nature of the melody, recalling
similar popular rounds like “Three blind mice”. But despite its brevity, this double canon at the usual fourth above
achieves an impressive, albeit rather inappropriate, sombre musical effect, recalling the mood of Mille regrets, a song later
also somewhat dubiously attributed to the great Josquin.
© Chansons et Motetz – Université de Montréal