Abstract
This study deals with the editorial problems inherent in the representation of late fourteenth century manuscripts. Anthonello de Caserta’s ballata, Più chiar che’l sol, first edited in the multi-volume series Polyphonic Music of the Fourteenth Century (volume X) is an example of a late fourteenth century song extant in two partially damaged manuscript sources which, due to the large amount of music requiring transcription by the editor, did not receive the level of attention necessary for a correct rendition. Furthermore, the critical apparati appended to each volume of such series is – as in the case of the critical notes for Più chiar che’l sol – far from helpful in helping the reader understand editorial decisions made in the transcription process. Combined with the lack of critical information in the layout of the transcription in a series such as Polyphonic Music of the Fourteenth Century, the critical apparatus can obscure rather than illuminate editorial solutions to transcription problems. \\tCreating a new transcription of Più chiar che’l sol for comparison with the 1977 edition by Thomas W. Marrocco in volume X of the Polyphonic Music of the Fourteenth Century series reveals editorial decisions extracted form the critical apparatus which have resulted in substantial errors. Through a close examination of Più chiar che’l sol’s manuscript sources, Marrocco’s readings of are corrected and reconstructions of trimmed manuscript sections are suggested. \\tAs a response to the lack of editorial transparency inherent in the critical apparati found in series of medieval music such as Polyphonic Music of the Fourteenth Century, a new transcription of Più chiar che’l sol offers a layout which includes manuscript variants parallel to the music, as well as transcription notes where clarification is needed for particular editorial features. Furthermore, more extensive variants are appended to the transcription reproducing original notation from both manuscript sources.