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    Bethune 1160 - 1219-20

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    Sergio Miguel Miguel
    Conon de Béthune was a French trouvère who lived from around 1160 to 1219/1220. He was born in Béthune and spent time at the French court as a young man. Conon participated in both the Third Crusade from 1188-1192 and the Fourth Crusade from 1202-1204, during which he was present at the siege of Constantinople. As a trouvère, Conon preferred isometric, decasyllabic verses and some of his works, such as Ahi, amours, served as models for other trouvères. The main sources of music for Conon's poetry are two manuscripts that contain settings of seven out of eight of

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    Bethune 1160 - 1219-20

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    Sergio Miguel Miguel
    47 views2 pages
    Conon de Béthune was a French trouvère who lived from around 1160 to 1219/1220. He was born in Béthune and spent time at the French court as a young man. Conon participated in both the Third Crusade from 1188-1192 and the Fourth Crusade from 1202-1204, during which he was present at the siege of Constantinople. As a trouvère, Conon preferred isometric, decasyllabic verses and some of his works, such as Ahi, amours, served as models for other trouvères. The main sources of music for Conon's poetry are two manuscripts that contain settings of seven out of eight of

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    Conon de Béthune was a French trouvère who lived from around 1160 to 1219/1220. He was born in Béthune and spent time at the French court as a young man. Conon participated in both the Third Crusade from 1188-1192 and the Fourth Crusade from 1202-1204, during which he was present at the siege of Constantinople. As a trouvère, Conon preferred isometric, decasyllabic verses and some of his works, such as Ahi, amours, served as models for other trouvères. The main sources of music for Conon's poetry are two manuscripts that contain settings of seven out of eight of

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    47 views2 pages

    Bethune 1160 - 1219-20

    Uploaded by

    Sergio Miguel Miguel
    Conon de Béthune was a French trouvère who lived from around 1160 to 1219/1220. He was born in Béthune and spent time at the French court as a young man. Conon participated in both the Third Crusade from 1188-1192 and the Fourth Crusade from 1202-1204, during which he was present at the siege of Constantinople. As a trouvère, Conon preferred isometric, decasyllabic verses and some of his works, such as Ahi, amours, served as models for other trouvères. The main sources of music for Conon's poetry are two manuscripts that contain settings of seven out of eight of

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    Conon [Quennon, Quenes] de

    Bthune
    (b c1160; d 17 Dec 1219 or 1220). French trouvre. He was the fifth
    son of Robert V (le Roux), seigneur of Bthune, and Alix de SaintPol; his birthplace was presumably Bthune. As a young man he is
    known to have spent time at the French court. His name may be
    traced in documents from 1180. The chansons Ahi, amours, con dure
    departie and Bien me desse targier, apparently written in 1188,
    indicate that he prepared for the Third Crusade (118892). In Bien
    me desse targier he named Huon d'Oisi as his teacher; Huon, who
    died at the siege of Acre in 1191, reproached Conon in one of his own
    songs (R.1030) for having left the crusade prematurely. Two
    chansons by Blondel de Nesle are dedicated to Conon. Chanon
    legiere a entendre is dedicated to Noblet (Guillaume V de Garlande),
    a friend of Gace Brul. It is likely that Conon also knew the Chastelain
    de Couci, another trouvre who participated in the Third Crusade.
    Conon took part in the Fourth Crusade (12024) and was at the siege
    of Constantinople. He was present at the coronation of the Latin
    emperor, Baldwin IX of Flanders, and remained to participate in the
    political and military affairs of the empire. In 1217 he became
    seneschal, and in 1219 bail (regent).
    Conon clearly preferred isometric, decasyllabic verses, although
    heptasyllables are not infrequent; there is also one hexasyllabic
    poem. Bele douce dame chiere, Mout me semont amors and Tant ai
    am c'or me convient hir each follow the structure of a poem by
    Bertran de Born; these poems are without music, although melodies
    may survive in conjunction with Conon's poetry. In turn, two of
    Conon's songs, Ahi, amours and Mout me semont amors, provided
    models for other trouvres.
    The main sources for the music to Conon's poetry are F-Pn fr.844
    and 12615. In these manuscripts seven out of eight poems are set to
    melodies with finals on G. None of the original settings of his poems
    is ornate or extended in range. The reading of L'autrier avint en cel
    autre p is in F-Pn fr.844 is noteworthy; it remains within the ambitus
    of a 4th, displaying the rather primitive form AA'AA'AAA'A. In other
    sources the piece begins with the same musical material, but through
    various changes displays three other repetition patterns. Repetition
    within the cauda is frequently present, phrases also often being
    paired: CDCD, CBCB or CDC'E. Ahi, amours, the most famous of
    Conon's works, presents complex problems with regard to
    transformation of material. In F-Pn fr.846, Bele douce dame chiere is
    notated in the 1st mode throughout, whereas portions of Ahi, amours
    are in the 3rd mode. Occasional hints of modal organization may be
    found in other melodies.
    See also Troubadours, trouvres.

    Sources, MS
    WORKS
    Editions: Trouvres-Melodien, ed. H. van der Werf, MMMA, xixii (19779),
    iTrouvre Lyrics with Melodies: Complete and Comparative Edition, ed. H.
    Tischler, CMM, cvii (1997)
    Abbreviations: (R) etc. indicates a MS (using Schwan sigla: see Sources, ms) in
    which a late setting of a poem occurs

    Ahi, amours, con dure departie, R.1125 [model for: Richart de Fournival, Ois
    seigneur, pereceus, par oiseuse, R.1020a (= 1022)], ed. in Bdier and Aubry, 32
    (3rd Crusade, 1188) (R, V, a)
    Bele douce dame chiere, R.1325 ( = 1131, 1137)
    Bien me desse targier, R.1314, ed. in Bdier and Aubry, 44 (3rd Crusade, 1188)
    Chanon legiere a entendre, R.629 (R)
    L'autrier avint en cel autre pis, ed. in NOHM, ii (1954), 234
    L'autrier un jor aprs la saint Denise, R.1623
    Mout me semont amors que je m'envoise, R.1837 [model for: Jehan Erart, Nus
    chanters mais le mien, R.485], ed. in Mw, ii (1951)
    Se rage et derverie, R.1128 (T)
    Si voirement con cele dont he chant, R.303 (no music)
    Tant ai am c'or me convient hir, R.1420 ( = 895)
    BIBLIOGRAPHY
    A. Wallenskld, ed.: Les chansons de Conon de Bthune (Helsinki,
    1891, abridged 2/1921/R)
    J. Bdier and P. Aubry: Les chansons de croisade (Paris, 1909/R)
    F. Gennrich: Zu den Liedern des Conon de Bthune, Zeitschrift fr
    romanische Philologie, xlii (1922), 23141
    P.A. Becker: Die Kreuzzugslieder von Conon de Bthune und Huon
    d'Oisi, Zeitschrift fr franzsische Sprache und Literatur, lxiv
    (1942), 30512
    R. Dragonetti: La technique potique des trouvres dans la chanson
    courtoise: contribution l'tude de la rhtorique medivale
    (Bruges, 1960/R)
    H. van der Werf: The Chansons of the Troubadours and Trouvres: a
    Study of the Melodies and their Relation to the Poems (Utrecht,
    1972)
    THEODORE KARP

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