Part II of this blog raised many questions, though I will only mention three in this part. Why would Le Franc choose to act in this manner? Would this remodelling become apparent to his contemporary audiences? How was it enacted?
A Peek at Machaut and Le Franc – Part II Previously on the MALMECC blog: in the last post, I traced a few links between Guillaume de Machaut and Martin Le Franc and left some questions hanging as to how far they can be stretched. This is the focus of […]
Part I of IV by Uri Smilansky Helen Swift has written extensively (2017, but also 2004, 2006, 2008 and 2013) about an extraordinary work, the Complainte du livre du Champion des Dames a maistre Martin le Franc son acteur. Martin le Franc (c. 1410-1461) must have composed this 60-strophe dream-poem […]
“It has always been the case that music is not just for specialists. I’d like to work on expanding the understanding of music as a social topic within the context of other aspects of culture.”
As it is often difficult to find evidence of cultural activities even for well documented figures, this link is really intriguing. Machaut’s multiple manuscript-collections of text and music are prime surviving examples of the kind of object I am pursuing. In looking at them, I ask not what they say about Machaut, but about their owners – I do not compare the quality of readings, but the effect of their general presentation.
In this third and final post in the series, David turns his attention to another figure from the circle of Pilgrim von Puchheim. Although Wilderich de Mitra spent only a few years in Salzburg itself, his influence was considerable and shines a light on the tangle of ecclesiastical and political connections that passed through Salzburg in the later fourteenth century.