The French composer

Guillaume de Machaut Guillaume de Machaut (, ; also Machau and Machault; – April 1377) was a French composer and poet who was the central figure of the style in late medieval music. His dominance of the genre is such that modern musicologists use his death to ...

was the most prolific composer of his time, with surviving works encompassing many forms, the three '' formes fixes'' rondeaux, virelais, ballades, as well as

motet In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the preeminent polyphonic forms of Renaissance music. According to the Eng ...

s, lais and a single representative of the complainte, chanson royale, double hocket and

mass Mass is an Intrinsic and extrinsic properties, intrinsic property of a physical body, body. It was traditionally believed to be related to the physical quantity, quantity of matter in a body, until the discovery of the atom and particle physi ...

genres. Most of his extant output is

secular music Non-religious secular music and Religious music, sacred music were the two main genres of Western world, Western music during the Middle Ages and Renaissance music, Renaissance era. The oldest written examples of secular music are songs with Lat ...

, a notable exception being the renowned '' Messe de Nostre Dame''. His ''oeuvre'' as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the style in late

medieval music Medieval music encompasses the sacred music, sacred and secular music of Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the Dates of classical music eras, first and longest major era of Western class ...

, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as ''Douce dame'' and ''Douce dame tant qui vivray''. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works

manuscripts A manuscript (abbreviated MS for singular and MSS for plural) was, traditionally, any document written by hand or typewritten, as opposed to mechanically printed or reproduced in some indirect or automated way. More recently, the term has c ...

during his life. In the last manuscript, written c. 1370, the

scribe A scribe is a person who serves as a professional copyist, especially one who made copies of manuscripts before the invention of Printing press, automatic printing. The work of scribes can involve copying manuscripts and other texts as well as ...

wrote ''Vesci l'ordinance que G. de Machau wet qu'il ait en son livre''—''Here is the order that G. de Machaut wants his book to have.''Lawrence Earp, "Machaut's Role in the Production of Manuscripts of His Works", ''Journal of the American Musicological Society'' 42:3 (Fall 1989), 461. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

Ballades

* B1 ''S'Amours ne fait'' * B2 ''Helas! tant ay dolour'' * B3 ''On ne porroit penser'' * B4 ''Biaute qui toutes autres pere'' * B5 ''Riches d'amour et mendians'' * B6 ''Doulz amis'' * B7 ''J'aim mieus languir'' * B8 ''De desconfort'' * B9 ''Dame, ne regardes pas'' * B10 ''Ne penses pas'' * B11 ''N'en fait n'en dit'' * B12 ''Pour ce que tous mes chans'' * B13 ''Esperance qui m'asseure'' * B14 ''Je ne cuit pas'' * B15 ''Se je me pleing'' * B16 ''Dame, comment qu'amez'' * B17 ''Sanz cuer m'en vois / Amis, dolens/ Dame, par vous'' * B18 ''De petit po'' * B19 ''Amours me fait desirer'' * B20 ''Je sui aussi com cilz'' * B21 ''Se quanque amours'' * B22 ''Il m'est avis'' * B23 ''De Fortune me doy pleindre'' * B24 ''Tres douce dame'' * B25 ''Honte, paour, doubtance'' * B26 ''Donnez, signeurs'' * B27 ''Une vipere en cuer'' * B28 ''Je puis trop bien'' * B29 ''De triste cuer / Quant vrais amans / Certes, je di'' * B30 ''Pas de tor'' * B31 ''De toutes flours'' * B32 ''Ploures, dames'' * B33 ''Nes que on porroit'' * B34 ''Quant Theseus / Ne quier veoir'' * B35 ''Gais et jolis'' * B36 ''Se pour ce muir'' * B37 ''Dame, se vous m'estes'' * B38 ''Phyton, le mervilleus serpent'' * B39 ''Mes esperis'' * B40 ''Ma chiere dame'' * B41 ''En amer a douce vie'' from ''Le Remède de Fortune'' (before 1342) * B42 ''Dame, de qui toute ma joie'' from ''Le Remède de Fortune'' (before 1342)

Complainte

* ''Tels rit au main'' from ''Le Remède de Fortune'' (before 1342)

Chanson royale

* ''Joie, plaisence'' from ''Le Remède de Fortune'' (before 1342)

Double hocket

* David Hoquetus (1360s)

Lais

* L1 ''Loyaute, que point ne delay'' * L2 ''J'aim la flour de valour'' * L3 ''Pour ce qu'on puist'' * L4 ''Nuls ne doit avoir'' * L5 ''Par trois raisons'' * L6 ''Amours doucement'' * L7 ''Le lay des dames'': ''Amis t'amour'' * L8 ''Le lay mortel'': ''Un mortel lay weil commencier'' * L9 ''Le lay de l'ymage'': ''Ne say comment commencier'' * L10 ''Le lay de Nostre Dame'': ''Contre ce doulz mois de may'' * L11 ''Le lay de la fonteinne'': ''Je ne cesse de prier'' * L12 ''Le lay de confort'': ''S'onques doulereusement'' * L13 ''Le lay de bonne esperance'': ''Longuement me sui'' * L14 ''Le lay de plour'': ''Malgre fortune'' * L15 ''Le lay de la rose'': ''Pour vivre joliement'' * L16 ''Le lay de plour'': ''Qui bien aimme'' * L17 ''Un lay de consolation'': ''Pour ce que plus proprement'' * L18 ''En demantant'' * L19 ''Qui n'aroit autre deport'' from ''Le Remède de Fortune'' (before 1342)

Mass

* Messe de Nostre Dame (1360s) ** Kyrie ** Gloria ** Credo ** Sanctus ** Agnus Dei ** Ite missa est

Motets In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the preeminent polyphonic forms of Renaissance music. According to the Engl ...

* M1 ''Quant en moy / Amour et biauté / Amara valde'' * M2 ''De souspirant / Tous corps qui de bien amer / Suspiro'' * M3 ''Fine Amour / He! Mors com tu es haie / Quare non sum mortuus'' * M4 ''Puisque la douce rousee / De Bon Espoir / Speravi'' * M5 ''Qui plus aimme / Aucune gent m'ont demandé / Fiat voluntas tua'' * M6 ''S'Amours tous amans joir / S'il estoit nulz qui pleindre / Et gaudebit cor vestrum'' * M7 ''Lasse! je sui en aventure / J'ay tant mon cuer / Ego moriar pro te'' * M8 ''Ha! Fortune / Qui es promesses de Fortune / Et non est qui adjuvet'' * M9 ''O livoris feritas / Fons totuis superbie / Fera pessima'' * M10 ''Helas! ou sera pris confors / Hareu! hareu! le feu / Obediens usque ad mortem'' * M11 ''Fins cuers doulz / Dame, je sui cilz / Fins cuers doulz'' * M12 ''Corde mesto cantando / Helas! pour quoy virent / Libera me'' * M13 ''Eins que ma dame / Tant doucement m'ont attrait / Ruina'' * M14 ''De ma dolour / Maugre mon cuer / Quia amore langueo'' * M15 ''Faus Samblant m'a deceu / Amours qui ha le pouoir / Vidi Dominum'' * M16 ''Se j'aim mon loyal ami / Lasse! comment oublieray / Pour quoy me bat mes maris?'' * M17 ''O series summe rata / Quant vraie amour enflamee / Super omnes speciosa'' * M18 ''Bone pastor, qui pastores / Bone pastor, Guillerme / Bone pastor'' (c. 1324) * M19 ''Diligenter inquiramus / Martyrum gemma latria / A Christo honoratus'' * M20 ''Biaute paree de valour / Trop plus est belle / Je ne sui mie certeins'' * M21 ''Veni creator spiritus / Christe, quie lux es / Tribulatio proxima est et non est qui adjuvet'' (c. 1358–60 or later) * M22 ''Plange, regni respublica / Tu qui gregem tuum ducis / Apprehende arma et scutum et exurge'' (c. 1358–60 or later) * M23 ''Inviolata genitrix / Felix virgo / Ad te suspiramus gementes et flentes'' (c. 1358–60 or later) * M24 ''De touz les biens / Li enseignement / Ecce tu pulchra es amica mea'' (doubtful)

Rondeaux

* R1 ''Doulz viaire gracieus'' * R2 ''Helas! pour quoy'' * R3 ''Merci vous pri'' * R4 ''Sans cuer, dolens'' * R5 ''Quant j'ay l'espart'' * R6 ''Cinc, un, treze'' * R7 ''Se vous n'estes'' * R8 ''Vos doulz resgars'' * R9 ''Tant doucement'' * R10 ''Rose, liz, printemps'' * R11 ''Comment puet on mieus'' * R12 ''Ce qui soustient'' * R13 ''Dame, se vous n'aves aperceu'' * R14 ''Ma fin est mon commencement'' * R15 ''Certes, mon oueil'' * R16 ''Dame, qui weult'' * R17 ''Dix et sept, cinc, trese'' * R18 ''Puis qu'en oubli'' * R19 ''Quant ma dame les maus'' * R20 ''Douce dame tant qui vivray'' * R21 ''Quant je ne voy'' * R22 ''Dame, mon cuer'' from '' Le Remède de Fortune'' (before 1342)

Virelais A ''virelai'' is a form of medieval French literature, French verse used often in poetry and music. It is one of the three ''formes fixes'' (the others were the ballade (forme fixe), ballade and the Rondeau (forme fixe), rondeau) and was one of t ...

* V1 ''He! dame de vaillance'' * V2 ''Layaute weil tous jours'' * V3 ''Ay mi! dame de valour'' * V4 '' Douce dame jolie'' * V5 ''Comment qu'a moy'' * V6 ''Se ma dame'' * V7 ''Puis que ma dolour'' * V8 ''Dou mal qui m'a longuement'' * V9 ''Dame, je weil endurer'' * V10 ''De bonte, de valour'' * V11 ''He! dame de valour'' * V12 ''Dame, a qui m'ottri'' * V13 ''Quant je sui mis'' * V14 ''J'aim sans penser'' * V15 ''Se mesdisans'' * V16 ''C'est force, faire le weil'' * V17 ''Dame, vostre doulz viaire'' * V18 ''Helas! et comment'' * V19 ''Dieus, Biaute, Douceur'' * V20 ''Se d'amer'' * V21 ''Je vivroie liement'' * V22 ''Foy porter'' * V23 ''Tres bonne et belle'' * V24 ''En mon cuer'' * V25 ''Tuit mi penser'' * V26 ''Mors sui, se je ne vous voy'' * V27 ''Liement me deport'' * V28 ''Plus dure que un dyamant'' * V29 ''Dame, mon cuer emportes'' * V30 ''Se je souspir'' * V31 ''Moult sui de bonne heure nee'' * V32 ''De tout sui si confortee'' * V33 ''Dame, a vous sans retollier'' from ''Le Remède de Fortune'' (before 1342)

Alternate cataloging

The works from ''Le Remède de Fortune'' have presented a problem for modern-day collections, as they appeared in the manuscript in the poem, not with other works of its genre. Thus, occasionally ''Le Remède de Fortune'' works are given their own category and catalogued according to the order of their appearance: * RF1 ''Qui n'aroit autre deport'' (Lai) * RF2 ''Tels rit au main'' (Complainte) * RF3 ''Joie, plaisence'' (Chanson Royale) * RF4 ''En amer a douce vie'' ( Balladele) * RF5 ''Dame, de qui toute ma joie'' (Ballade) * RF6 ''Dame, a vous sans retoller'' ( Chanson Baladée) * RF7 ''Dame, mon cuer'' (Rondeau)

References

Sources

;Books and chapters * * ;Journal and encyclopedia articles * * * * ;Online * *

External links

* *
Works by Guillaume de Machaut
in the Medieval Music Database from

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