[The cataloguing project Musikalische Quellen (9.-15. Jahrhundert) in der Österreichischen Nationalbibliothek (Musical Sources (9th-15th Century) in the Austrian National Library), conducted by Alexander Rausch and Robert Klugseder at the Austrian Academy of Sciences, has made the Linz Fragments available online in high-resolution images. All links to the source including a preliminary inventory by Reinhard Strohm go to the homepage of this project. The image rights lie with Robert Klugseder who took the photos.]
J’ay pris amours
The second piece on Fragment 9 is a version of “J’ay pris amours” for which Reinhard Strohm had identified a concordance in a Trent manuscript (I-TRc, Ms. 1947-4, pp. 7-8). Only one line of music from the contratenor voice survives in the Linz Fragment, but an incipit and a key helps in piecing together the composition: The first phrase of the cantus line of “J’ay pris amours” is an unmistakable clue even if given without a key signature, and the canon “super illum tenorem” (“tenor” here referring to the contrapuntal core of cantus and tenor) leaves no doubt that the ensuing contratenor line was supposed to be added to the well-known cantus-tenor duo of the chanson “J’ay pris amours”. Thus most of the notation to this version is actually not missing since it was only implied to begin with. It seems likely that the cantus-tenor core of the chansons had been given in the choirbook at some point prior to this transmission. For the following edition cantus and tenor, which were presumed to be known, are given in small print while the missing parts of the contratenor line were filled in from the Trent version.
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