The first English version of that unknown Titan, Vondel, a poet of whom It is with a feeling of diffidence that I offer to American readers this Gabriel, the Herald and Interpreter of Heaven Letter from the Board of the Queen Wilhelmina Lectureship.Īpollion's Meeting with Belzebub and Belial TrouvC f.11v (empty staves marginal author attribution) TrouvI f.200r (P18) (accessible at ).Dedicated by permission To the Holland Society of New Vork Which has ever shown a great interest in the achievements of the heroic race to which it proudly traces its origin and To my brother Charles Leonard van Noppen Whose inspiring love and self-sacrificing devotion have made this effort possible RS 576: En mai au dous tens novel (Que florissent).201v (empty staves marginal author attribution) TrouvU f.26v-27r (empty staves marginal author ascription added later). In both copies three stanzas only of this song are copied in the text residuum between stanzas 3 and 4 of the anonymous song Quant je voi mon cuer revenir (RS1448), which has a similar versification and would likely have provided the melodic model for this jeu-parti contrafact if notation were available. RS1442a: Gautier, un jeu vous vueil partir.TrouvC f.160v-161r (empty staves marginal author attribution) TrouvU f.27v-28r (empty staves marginal author ascription added later). TrouvC f.168v (with empty staves marginal author attribution) TrouvM f.9r (with melody first two lines torn away rubric gives author name) TrouvT 48r-v (with melody rubric gives author name) TrouvO f.92r-v (marginal author ascription added later with a different continuation after the first stanza).
TrouvC f.12r-v (empty staves marginal author attribution) Abecedary song (letters A-E only) with 10 decasyllabic line strophes rhyming ab’ab’ ccdde’d (the e rhyme is a rim estramp).
The surviving songs include one jeu-parti and one pastourelle. Only one song, the more widely copied Or seroit mercis de saison (RS 1894) survives with a melody in the Chansonnier du Roi and the Chansonnier de Noailles, which transmit slightly different versions of the melody. As the name is likely a nickname or sobriquet (meaning ‘turned backward’ or ‘turned the wrong way’) the individual cannot be traced. As all six of these songs are preserved in the Berne Chansonnier (Bern, Burgerbibliothek, MS 389), which was copied in Metz, and all but one of the songs are only copied there and in other Metz-copied sources, the poet-composer can probably be associated with the musical life of medieval Metz. The name is mostly likely a sobriquet meaning 'altered', 'changed', 'reversed', or 'metamorphosed', often 'applied to someone who, by a quirk of fate, under-went a complete reversal of fortune, either favorable or unfavorable'.
Bestournés (also Bestornez, Bestorneis, le Bastorneis, Baistornez) is a name given to the thirteenth-century trouvère credited with writing five pieces (three love songs, one jeu-parti, and one pastourelle) preserved in later thirteenth and early fourteenth century song books.