# Adam de Givenchi

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**Adam de Givenchi**, also spelled **Adan de Givenci**, **Givenci**, **Gevanche**, or **Gievenci** ([fl.](/source/Floruit) 1230–1268) was a [trouvère](/source/Trouv%C3%A8re), probably from [Givenchy](/source/Givenchy), who was active in and around [Arras](/source/Arras).

## Identity and career

Adam appears in charters of May and July 1230 as a [clerk](/source/Clerk_(position)) of the [Bishop of Arras](/source/Bishop_of_Arras). He was still serving in the household of the bishop in 1232. In 1243 he was named as a [priest](/source/Priest) and [chaplain](/source/Chaplain) to the bishop.[1] In 1245 he was the *[doyen](/source/Dean_(religion))* of [Lens](/source/Lens,_Pas-de-Calais).[1]

He is assumed to have known the poet-composers [Pierre de Corbie](/source/Pierre_de_Corbie), [Guillaume le Vinier](/source/Guillaume_le_Vinier) and [Jehan Bretel](/source/Jehan_Bretel) because he engages in one jeu-parti with Guillaume le Vinier in which Pierre is called as a witness, and another with a 'Jehan', who is assumed to be the prolific jeu-parti writer Jehan Bretel.[2]

His songs survive mainly in MSS M (the [chansonnier du roi](/source/Chansonnier_du_roi)) and T (the [chansonnier de noailles](/source/Chansonnier_de_noailles)), except for RS1164 which is additionally in MS a and the two jeux partis, which are more widely copied.[3] Six other poems survive attributed to him, all with melodies. Two of these are *[chansons avec des refrains](/source/Chansons_avec_des_refrains)* and two further are [descorts](/source/Descort).[4]

## Songs with music

Eight songs survive attributed to Adam in the index of MS M and all have music in at least one source. The RS numbers given here are those of the standard catalogue.[5] In MS M, both in the index and in the main body, they occur in the order: RS1164, RS1443, RS1947, RS912, RS1660, RS1085, RS2018, and RS205. The first five songs occur in the same order in MS T, although the final three are found (in a similarly ordered group) earlier in the manuscript.

### Songs

- *Mar vi loial voloir et jalousie* (RS1164). In MSS [M](https://gallica.bnf.fr/ark:/12148/btv1b84192440/f326.item), [T](https://gallica.bnf.fr/ark:/12148/btv1b60007945/f349.item), and fol.66v–67r in [MS a](https://digi.vatlib.it/view/MSS_Reg.lat.1490). The copy in M is damaged by the removal of the initial at the opening; the version in MS a has empty staves.
- *Si com fortune d’amour* (RS1947). The same melody for this song is found in MSS [M](https://gallica.bnf.fr/ark:/12148/btv1b84192440/f327.item) and [T](https://gallica.bnf.fr/ark:/12148/btv1b60007945/f351.item).

### *Chansons avec des refrains*

- *Assés plus que d’estre amés* (RS912). Copied without staves for the subsequent stanzas' refrains in both [M](https://gallica.bnf.fr/ark:/12148/btv1b84192440/f327.item) and [T](https://gallica.bnf.fr/ark:/12148/btv1b60007945/f351.item).
- *Pour li servir en bone foi* (RS1660). With music for later stanzas' refrains in MS [M](https://gallica.bnf.fr/ark:/12148/btv1b84192440/f328.item) (except stanzas 2 and 4, which have empty staves) but with no space for music in the later stanzas' refrains in [T](https://gallica.bnf.fr/ark:/12148/btv1b60007945/f352.item).

### Jeux partis

- *Compains Jehan .i. jeu vous voil partir* (RS1443). In MSS [M](https://gallica.bnf.fr/ark:/12148/btv1b84192440/f326.item), [T](https://gallica.bnf.fr/ark:/12148/btv1b60007945/f350.item), as well as in [W](https://gallica.bnf.fr/ark:/12148/btv1b6001348v/f66.item) and [Q](https://gallica.bnf.fr/ark:/12148/btv1b8454666h/f649.item), which are sources of work by only [Adam de la Halle](/source/Adam_de_la_Halle). Q is a text-only copy without musical notation. Långfors suggests the inclusion in Q and W is mistaken or opportunistic, on the basis of the naming of 'Adam' by the respondent; he believes the attribution in M and T (which have no pieces by Adam de la Halle) is correct.[6] The 'Jehan' is assumed by Långfors to be [Jehan Bretel](/source/Jehan_Bretel). The dilemma posed by Adam is which of two equally attractive ladies Jehan would choose: one who has never loved or one who is experienced in love? Jehan opts for the latter. The melody in M and T is similar but the one in W is different.
- *Amis Guillaume, ainc si sage ne vi* (RS1085). With [Guillaume le Vinier](/source/Guillaume_le_Vinier), found in MSS [M](https://gallica.bnf.fr/ark:/12148/btv1b84192440/f329.item), [T](https://gallica.bnf.fr/ark:/12148/btv1b60007945/f172.item), A, fol. 136r–v in [MS a](https://digi.vatlib.it/view/MSS_Reg.lat.1490), and fol.140v (formerly 150v)in [MS b](https://digi.vatlib.it/view/MSS_Reg.lat.1522). MS b is a text-only MS without musical notation. The dilemma posed asks whether a consummated love that soon fails or a hoped-for love that is never realised is better. Guillaume opts for the latter. The melody in A differs from that found (albeit in quite varied versions) in the other three sources notated MSS.

### Descorts

- *Trop ai coustumiere amours* (RS2018). In MSS [M](https://gallica.bnf.fr/ark:/12148/btv1b84192440/f330.item) and [T](https://gallica.bnf.fr/ark:/12148/btv1b60007945/f173.item).
- *La douce accordance* (RS205). Different melodies in MSS [M](https://gallica.bnf.fr/ark:/12148/btv1b84192440/f332.item) and [T](https://gallica.bnf.fr/ark:/12148/btv1b60007945/f175.item). The T melody is incomplete at the end. The MS M melody is copied in a slightly later hand, in mensural notation, and is shared with another late addition to M, the Marian song *Iam mundus ornatur*.[7]

## References

### Citations

1. See [Ian R. Parker, 'Adam de Givenchi.' Grove Music Online. Oxford Music Online.](https://doi.org/10.1093/gmo/9781561592630.article.00161)

1. See Arthur Långfors with A. Jeanroy et L. Brandin, *Recueil général des jeux-partis français* (Paris: Champion, 1926), 2.108 and 1.352.

1. See Arthur Långfors with A. Jeanroy et L. Brandin, *Recueil général des jeux-partis français* (Paris: Champion, 1926).

1. On the descorts see A. Jeanroy, L. Brandin and P. Aubry, *Lais et descorts français du XIIIe siècle* (Paris, 1901), 18–21.

1. Spanke, Hans. *G. Raynaud’s Bibliographie des altfranzösische Liedes, neu bearbeitet und ergänzt*. Leiden: Brill, 1955.

1. See *Recueil*, 1: 352.

1. See Luca Gatti and Christelle Cazaux, 'Un descort et une pièce latine à la Vierge: La douce acordance et Iam mundus ornatur dans les chansonniers M et T', *Textus & Musica* [Publication online](https://textus-et-musica.edel.univ-poitiers.fr/index.php?id=2118) 22 Feb 2022.

### Sources

- Adam's page on [Arlima](https://www.arlima.net/ad/adam_de_givenchy.html).
- [Luca Gatti and Christelle Cazaux, 'Un descort et une pièce latine à la Vierge: La douce acordance et Iam mundus ornatur dans les chansonniers M et T', *Textus & Musica* Publication online 22 Feb 2022](https://textus-et-musica.edel.univ-poitiers.fr/index.php?id=2118).
- [Jeanroy, A., L. Brandin and P. Aubry, *Lais et descorts français du XIIIe siècle* (Paris, 1901), 18–21.](https://archive.org/details/laisetdescortsfr00jean)
- Långfors, A. with A. Jeanroy et L. Brandin, *Recueil général des jeux-partis français* (Paris: Champion, 1926).
- Parker, Ian R. ["Adam de Givenchi."](http://www.oxfordmusiconline.com/subscriber/article/grove/music/00161) *Grove Music Online*. *Oxford Music Online*. Accessed 20 September 2008.
- [Ulrix, E., ‘Les chansons du trouvère artésien Adam de Givenci’, *Mélanges Camille de Borman* (Liège, 1919), 499–508](https://gallica.bnf.fr/ark:/12148/bpt6k6570538h/f531.item).

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