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Comments on Hand B’s last entries




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Other editions and papers on this site:

Copenhagen Chansonnier

Complete Works of Gilles Mureau

Amiens MS 162 D

Sacred music of the 15th century

Peter Woetmann Christoffersen

Papers on

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Fede, Works
Dulot’s Ave Maria
Open access 15th c.
MS Florence 2794


Uppsala 76a, no. 32, ff. 28v-29 »Faulces Amours, Dieu vous maudie« 4v (unicum)

Faulces Amours, Dieu vous maudie,
puisqu’ainsi m’avez esbaté,
por vous au dangier j’ay esté
de soufrir
grief martir.
Fol est qui en fame ce fie.

J’ay y cuider perdre la vie
pour vous aymer par plusieurs foys,
dorenavant me tiendray quoy.
Or donc sus,
et non plus!
De tant aymer, c’est grant foulye.

Fame par la teste follie,
fame faict fayre de grans maulx,
fame faict prendre des grans faulx,
mays quant veult
ou quant peult
il n’est sy fort cueur qui ne plye.

False Love, God damn you,
since you have mistreated me,
because of you I have been in danger
of suffering
dreadful martyrdom.
He is mad who trusts a woman.

I have been near loosing my life
several times by loving you;
from now on I will keep silent.
So get up,
and no more!
To love so much is great folly.

Woman is foolishness in the head,
woman makes great evil happen,
woman provokes much falseness,
but when she can do
or wants something
there is no heart so strong that it does not comply.

Entered by Hand B. The many fermata endings show much insecurity concerning note values; for example bar 11 is notated as a semibrevis in the superius, a brevis in the tenor, and a longa in the bassus! Probably all fermatas were performed in approximately the same way in accordance with speech rhythm. The tune is placed in the upper voice while the lower parts for long stretches repeat the same chord, bb. 1-2, 5-10, 15-17 (F), 11-14 (C).

The poem is also entered by a different hand on f. 80v (no. 77) in a slightly revised version.