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160 RICHARD FREEDMAN Lasso’s chansons, issued in authorized editions Mellange d’Orlande de Lassus, contenant plusieurs chansons, tant en vers latin qu’en ryme françoyse, à quatre, cinq, six, huit, dix parties, Paris, Le Roy et Ballard, 1570. Les meslanges d’Orlande de Lassus, contenantz plusieurs chansons à III, V, VI, VIII, X parties: reveuz par luy, et augmentez, Paris, Le Roy et Ballard, 1576. Lasso’s chansons, issued in (unauthorized) spiritual contrafacta Recueil du Mellange d’Orlande de Lassus, contenant plusieurs chansons tant en vers latins qu’en ryme françoyse, à quatre, et cinq parties, London, Thomas Vautrollier, 1570. Mellange d’Orlande de Lassus, contenant plusieurs chansons, à quatre parties, desquelles la lettre profane a esté changée en spirituelle, La Rochelle, Haultin, 1575. Mellange d’Orlande de Lassus, contenant plusieurs chansons, à cinq, et huit parties, desquelles la lettre profane à este changée en spirituelle, La Rochelle, Haultin, 1576. Thrésor de musique d’Orlande de Lassus, contenant ses chansons à quatre, cinq, et six parties, [Geneva], [printed for S. Goulart], 1576. Le thrésor de musique d’Orlande de Lassus ... contenant ses chansons françoises, italiennes, et latines, à quatre, cinq et six parties: augmenté de plus de la moitié en ceste seconde edition, [Geneva], [printed for S. Goulart], 1582. Le thresor de musique d’Orlande de Lassus ... contenant ses chansons françoises, italiennes, et latines, à quatre, cinq, et six parties: reveu et corrigé diligemment en ceste troisieme edition, [Cologny], [printed for S. Goulart by Paul Marceau], 1594. Table 1. Lasso’s collected chansons in their authorized and unauthorized editions. 1 Considered from the standpoint of Romantic aesthetic sensibilities, the very idea of these contrafacta seems absurd. “Our Western tradition,” observes Umberto Eco, “forces us to take ‘work’ in the sense of a personal production which may well vary in the ways it can be received but which always maintains a coherent identity of its 1 For bibliographical descriptions of these books, see H. LEUCHTMANN and B. SCHMID eds., Orlando di Lasso: Seine Werke in zeitgenössischen Drucken, 1555–1687, (Orlando di Lasso: Sämtliche Werke, Supplement), 3 vols., Kassel, 2001. Further on the complex story of Lasso’s chansons in their original and spiritual versions, see my monograph, R. FREEDMAN, The Chansons of Orlando di Lasso and Their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France, (Eastman Studies in Music, 15), Rochester, New York, 2001.
WHO OWNED LASSO’S CHANSONS? own and which displays the personal imprint that makes it a specific, vital, and significant act of communication.” 2 At the very least the results of substituting new words for old in the context of a musical work challenges many basic assumptions about the aesthetic unity of a work of art and about what we presume to be the authorial intentions it embodies. At worst, the contrafacta volumes appear to have been prepared using a pious version of what we might now regard as a morally bankrupt business model: justify theft according to the utility of the result. The Huguenot editors of these books would claim for their edited versions of Lasso’s chansons a meaning more authentic than that of the composer himself, inasmuch as their new texts redirect the emotional valences of his music to a higher moral purpose than did the original lyrics. One remarkable feature of the books that offer contrafacta of the Lasso chansons is the degree to which these prints acknowledge and play upon the peculiar power of Lasso’s compositional voice, his poetic choices, and even the particular printed books from which his music has been appropriated. The prefaces to Jean Pasquier’s revisions of Lasso’s chansons (issued in La Rochelle in 1575 and 1576) explicitly acknowledge the superiority of Lasso’s powers as a composer while simultaneously deploring his poetic choices: ‘Among all the musicians of our century Orlande de Lassus appears (and has good right) to deserve good standing, for the excellence and admirable sweetness of his music.’ 3 In a series of republications of Lasso’s music issued in 1576, 1582, and 1594 the Genevan preacher Simon Goulart went so far as to call upon the composer himself to reconsider his poetic choices: ‘It would be good to wish that Orlande would use his graces, which the Spirit has adorned in him above all, to recall and magnify the one from whom they derive, as he has done in several Motets and Latin Psalms. I deeply wish that these chansons provoke the urge in him.’ 4 The books by Pasquier and Goulart, in short, establish their credibility with readers not by representing themselves as identical to the ‘authentic’ 2 From one of Umberto Eco’s now classic essays on texts and their meanings, U. ECO, The Poetics of the Open Work, in The Role of the Reader: Explorations in the Semiotics of Texts, Bloomington, Indiana, 1979, p. 63. For a recent collection of essays (by Eco, Jonathan Culler, and Richard Rorty, among others) situating Eco’s thought in the context of Continental and Anglo-American critical thought, see U. ECO, Interpretation and Overinterpretation, ed. S. COLLINI, Cambridge, 1992. 3 From the dedication to Jean Pasquier’s Mellange d’Orlande de Lassus contenant plusiers chansons, à quatre parties desquelles la lettre profane à este changée en spirituelle, La Rochelle, 1575 (addressed to Catherine de Parthenay, the Duchesse de Rohan): Et pource qu’entre tous les Musiciens de notre siecle Orlande de lassus semble (et a bon droit) devoir tenir quelque bon lieu, pour l’exellence et admirable douceur de sa Musique. 4 From the preface to Simon Goulart, Thrésor de musique d’Orlande contenant ses chansons à quatre, cinq et six parties, [Geneva], 1576: Il seroit bien à desirer qu’Orlande emploiast ces graces dont le S. Esprit l’a orné par dessus tous, à reconoistre et magnifier celui de qui il les tient, comme il l’a fait en quelques Motets et Pseaumes Latins: et je desire grandement que ces chansons lui en puissent donner la volonte: à fin que nous aions une chaste Musique Françoise. The same comments reappear in the 1582 and 1594 editions of Le Thrésor de musique d’Orlande. 161
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... NEC NON TYRONIBUS QUÀM EIUS AR
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DRINKING MOTETS IN MEDIEVAL ARTOIS
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