In the article Baude Cordier we will explore a topic that has been the subject of great interest and debate in today's society. Over the years, Baude Cordier has captured the attention of academics, experts and the general public, generating a wide range of opinions and perspectives. From its impact on daily life to its influence on cultural trends, Baude Cordier has left a significant mark in various areas. This article will seek to delve into the history, impact and future implications of Baude Cordier, with the aim of providing a comprehensive and enriching vision on this topic. Through a detailed and insightful analysis, the reader will be able to delve into the complexities and dimensions of Baude Cordier, enriching their understanding and perspective on it.
French composer (fl. early 15th century)
Cordier's rondeau about love, Belle, Bonne, Sage, is in a heart shape, with red notes indicating rhythmic alterations.
Baude Cordier (fl. early 15th century) was a French composer in the ars subtilior style of late medieval music. Virtually nothing is known of Cordier's life, aside from an inscription on one of his works which indicates he was born in Rheims and had a Master of Arts. Some scholars identify him with Baude Fresnel, a harpist and organist in the court of Philip the Bold, though other scholars have rejected this.
He is best known for his unique and experimental notational methods, often with shapes relating to the subject matter. These include a heart-shaped staff in Belle, Bonne, Sage, a rondeau about love, and numerous circles in the Tout par compas suy composés rondeau. Such an approach is thought to have inspired later composers, ranging from Gilles Binchois to Karlheinz Stockhausen.
Identity
It has been suggested that Cordier was the pen name of Baude Fresnel.
Music
External audio
Tout par compas in a manuscript animation performed by Fortune Obscure
Cordier's works are considered among the prime examples of ars subtilior. In line with that cultural trend, he was fond of using red note notation, also known as coloration, a technique stemming from the general practice of mensural notation. The change in color adjusts the rhythm of a particular note from its usual form. (This musical style and type of notation has also been termed "mannerism" and "mannered notation.")
Ten of Cordier's secular pieces survive, most of which are rondeaux:
some are in the rhythmically complex late fourteenth-century French style of ars subtilior, such as "Amans amés secretement" (Lovers, love discreetly).
others are simpler, with greater emphasis on lyrical melody, such as "Belle, Bonne, Sage", also transcribed in HAM, and characterized with "Amans" as a rondeau.
a circular canon "Tout par compas suy composés" ("With a compass was I composed")—more eye music, in which the manuscript is written in a circle.
Many commentators have speculated that Cordier's unique and experimental notation inspired certain notation by later composers, such that in as Refrain by Karlheinz Stockhausen, and Gilles Binchois's Je ne pouroye. Cordier's work was among the earliest Western compositions to include performance instructions to explain how to use the specialized notation.
His mass movement in the Apt MS is in the later, simpler fifteenth-century style.
^See Parrish, Carl. The Notation of Medieval Music. W. W. Norton, 1957.)
^Transcribed with commentary in Archibald T. Davison and Willi Apel: Historical Anthology of Music (HAM): Oriental, Medieval and Renaissance Music (Harvard University Press)