View source for F. Andrieu

{{Short description|14th-century medieval French composer}}
{{good article}}
{{Use dmy dates|date=February 2021}}
[[File:Armes, armes - O flour des flours by F. Andrieu.png|thumb|Andrieu's ''Armes, amours/O flour des flours'', [[recto]] 52 in the [[Chantilly Codex]]]]

'''F. Andrieu''' ({{fl|late 14th century}}; possibly '''François''' or '''Franciscus Andrieu''') was a French [[composer]] in the {{lang|la|[[ars nova]]}} style of late [[medieval music]]. Nothing is known for certain about him except that he wrote ''Armes, amours/O flour des flours'' (''Weapons, loves/O flower of flowers''), a double [[Ballade (forme fixe)|ballade]] [[Lament|''déploration'']], for the death of [[Guillaume de Machaut]] in 1377. The work has been widely praised and analyzed; it is notable for being one of two extant medieval double ballades for four voices, the only known contemporary musical setting of [[Eustache Deschamps]] and the earliest representative of the longstanding medieval and [[Renaissance music|Renaissance]] lamentation tradition between composers. 

Andrieu may be the same person as [[Magister Franciscus]], although the scholarly consensus on this identification is unclear. With [[P. des Molins]], [[Jehan Vaillant]] and [[Grimace (composer)|Grimace]], Andrieu was one of the "post-Machaut" generation whose pieces retain enough {{lang|la|ars nova}} qualities to be differentiated from composers of {{lang|la|[[ars subtilior]]}}.
{{TOC limit|2}}

==Identity and career==
Nothing is known for certain about Andrieu except his authorship of the double [[ballade (forme fixe)|ballade]] for four voices: ''Armes, amours/O flour des flours'' (''Weapons, loves/O flower of flowers''), a [[Lament|''déploration'']] for the death of poet-composer [[Guillaume de Machaut]] ({{circa|1300}}–1377),{{sfn|Plumley|2003|p=232}}{{sfn|Reaney|2001}} the most significant European composer of the 14th century.{{sfn|Arlt|2001}}{{sfn|Reese|1940|p=359}} The work is adapted from two texts by a student of Machaut, the poet [[Eustache Deschamps]],{{sfn|Günther|2001}} making Andrieu's work the only surviving contemporary musical settings of over 1,500 lyrics by Deschamps.{{sfn|Plumley|2003|p=231}}{{refn|''De Narcissus'' by [[Magister Franciscus]] may have text by Deschamps but this is uncertain.{{sfn|Wilkins|1968|p=55}}|group=n}} [[Musicologist]] [[Gilbert Reaney]] notes that this would mean that, from what is known about Andrieu, he is a "pure musician".{{sfn|Reaney|1954|p=67}}{{refn|Based on the information available, since Andrieu only wrote the music, not the text, he can be seen as a "pure musician"; as opposed to a poet-composer like Machaut.|group=n}} The work is contained in the [[Chantilly Codex]] from the [[Musée Condé]].{{sfn|Abraham|Hughes|1960|p=27}}{{refn|The text alone survives in two other manuscript sources: [[Bibliothèque Nationale de France|F-Pn]] fr. 840 and f. 28r-v.{{sfn|Leach|2014|p=312}}|group=n|name=text}} While historian Gaston Raynaud dates the text between April and 28 May 1377,{{sfn|Magnan|1993|p=47}} Andrieu may have set it to music anytime from then up until 15 years later (the Chantilly Codex was likely assembled sometime during 1393 to 1395).{{sfn|Magnan|1993|p=49}}

Andrieu's association with Machaut's death in 1377 suggests he was French and flourished in the late 14th century.{{sfn|Reaney|2001}} The "F." most likely stands for either "François" or "Franciscus".{{sfn|Reaney|1954|p=67}} References to "F. Andrieu" outside of the Chantilly Codex are absent from other manuscript sources,{{sfn|Leach|2014|p=304}} leading to speculation that he is the composer [[Magister Franciscus]],{{sfn|Leach|2010|p=570}} who wrote two ballades also present in the Chantilly Codex: ''De Narcissus'' and ''Phiton, Phiton, beste tres venimeuse''.{{sfn|Reaney|2001}} The scholarly consensus on the certainty of this identification is unclear.{{refn|Scholars identify F. Andrieu as Magister Franciscus with varying degrees of certainty:
*{{harvnb|Reaney|2001}}: Their works being from the same manuscript "suggest that the two composers may be the same person".
*{{harvnb|Abraham|Hughes|1960|p=27}}: "Franciscus is doubtless the same man as the F. Andrieu..."
*{{harvnb|Reaney|1954|p=67}}: "It would not be impossible for Magister Franciscus and F. Andrieu to be one and the same person"
*{{harvnb|Günther|2001}}: "[Magister Franciscus] may be the F. Andrieu..."
*{{harvnb|Strohm|2005|p=53}}: "[F. Andrieu] may be the same man as Magister Franciscus"
*{{harvnb|Magnan|1993|p=49}}: "[On the identification between Andrieu and Franciscus] this tenuous identification leads nowhere."|group=n}} Reaney notes that Magister Franciscus's works are likely earlier than Andrieu's, between 1370 and 1376.{{sfn|Reaney|1954|p=67}} Musicologist [[Guillaume de Van]] proposed that the Chantilly Codex was created for use in music schools; because of this, stylistic similarities to Machaut, and the lack of additional records on Andrieu, musicologist Robert Magnan suggested Andrieu was a student or teacher, utilizing Machaut's style to honor his master.{{sfn|Magnan|1993|p=49}}

==Music==
===Overview===
{{external media
| topic  = Performances of ''Armes, amours/O flour des flours''
| audio1 = [https://www.youtube.com/watch?v=qmwqUyUNp5o&ab_channel=SollazzoEnsemble Performance] by the [[Sollazzo Ensemble]]
| audio2 = [https://www.youtube.com/watch?v=hHSdeQ_2hek&t=1s&ab_channel=EnsembleMusicaNova-Topic Performance] by the [[Musica Nova (French ensemble)|Musica Nova]]
}}
Andrieu's only surviving work is the double ballade ''déploration'' for four voices: ''Armes, amours/O flour des flours'',{{sfn|Reaney|2001}} although Reaney notes that "this work alone, however, makes him of considerable interest".{{sfn|Reaney|1954|p=67}} Written for Machaut's death, Andrieu's style is understandably similar to his,{{sfn|Reaney|1954|p=67}} with musicologist [[Gustave Reese]] noting that the work shows the "vigorous survival" of Machaut's influence.{{sfn|Reese|1940|p=358}} Andrieu's work is one of two extant four-part double ballades of [[medieval music]],{{sfn|Leach|2010|pp=569–570}} the other being ''Quant Theseus/Ne quier veoir'' (B 34) by Machaut.{{sfn|Leach|2014|p=304}} A [[polyphonic]] double ballade is a fitting homage for Machaut, since he is credited as the genre's originator.{{sfn|Magnan|1993|p=49}} As a double ballade, ''Armes, amours/O flour des flours'' has two texts sung simultaneously between the cantus voices, Cantus I beginning with "Armes, amours" and Cantus II with "O flour des flours".{{sfn|Upton|2013|p=78}} The work's four part division—two [[Superius|cantus]] (with text), [[contratenor]], and [[tenor]] (without text)—was an older style and atypical of the usual three part—cantus (with text), contratenor and tenor (without text)—structure that dominated the 14th-century ballade repertory.{{sfn|Reese|1940|p=358}}{{sfn|Upton|2013|p=80}}{{refn|In [[early music]] polyphony, the [[Superius|cantus]] refers to the highest voice.{{sfn|Jander|2001}} The lower voices were the [[contratenor]] and [[tenor]], and by the late 14th-century they stayed in relatively same range of each other.{{sfn|Fallows|Jander|2001}}|group=n}} Andrieu's decision for more traditional vocal parts may be a reflection of Deschamps's text, which is written in a "classicized high poetic style".{{sfn|Upton|2013|p=80}}

It is also the earliest surviving ''déploration'' for a fellow composer; the tradition was popular in medieval and [[Renaissance music]].{{sfn|Reese|1940|p=358}}{{sfn|Leach|2014|p=304}} Later examples included [[Johannes Ockeghem]]'s ''Mort, tu as navré de ton dart'' (1460) for [[Gilles Binchois]]; [[Josquin des Prez]]'s ''[[Nymphes des bois]]'' (1497) for Ockeghem; and [[William Byrd]]'s ''[[Ye Sacred Muses]]'' (1585) for [[Thomas Tallis]].{{sfn|Rice|1999|p=31}}{{refn|See {{harvtxt|Rice|1999|p=31}} for a complete list of extant medieval and Renaissance ''déplorations''.|group=n}} While the Chantilly Codex is a primary source of {{lang|la|[[ars subtilior]]}} music,<ref>{{cite web |author=Uncle Dave Lewis |title=Anonymous, Codex Chantilly |publisher=[[All Music]] |url=https://www.allmusic.com/artist/anonymous-codex-chantilly-mn0001821468/biography |access-date=6 November 2020 |archive-date=27 October 2020 |archive-url=https://web.archive.org/web/20201027181604/https://www.allmusic.com/artist/anonymous-codex-chantilly-mn0001821468/biography |url-status=live }}</ref> with [[P. des Molins]],{{sfn|Strohm|2005|p=53}} [[Jehan Vaillant]] and [[Grimace (composer)|Grimace]], Andrieu is part of the "post-Machaut" generation whose pieces retain enough {{lang|la|[[ars nova]]}} qualities to be differentiated from those of the [[rhythm]]ically-complex {{lang|la|ars subtilior}} composers such as [[Johannes Cuvelier]] and [[Johannes Susay]].{{sfn|Reaney|1954|p=85}}

Musicologist Eric Rice identifies two common characteristics in the text of typical ''déplorations'': the "[[planctus]]" (from {{langx|la|[[:wikt:planctus#Latin|planctus]]}}) and the "discourse".{{sfn|Rice|1999|p=30}}{{refn|The "planctus" is not to be confused with the medieval Latin genre of lamentation of the [[Planctus|same name]].{{sfn|Rice|1999|p=30}}|group=n}} The "planctus" refers to an involuntary sudden outburst of emotion, while the "discourse" is a calmer and clearer expression of grief.{{sfn|Rice|1999|pp=30–31}} Deschamps's text contains both recurring and nonrecurring "planctus" exclamations.{{sfn|Rice|1999|p=33}} {{langnf|fro|"Las!"|Alas!|italic=no}}, from the second [[strophe]], is a "planctus" exclamation that is nonrecurring;{{sfn|Rice|1999|p=34}} Rice considers this a "stereotyped exclamation of grief".{{sfn|Rice|1999|p=31}}

{|
|-
|
Le fons Dircé et la fontayne Helie<br/>
Dont vous estes le ruissel et le dois,<br/>
Ou poëtes mirent leur estudie,<br/>
Conveint taire, dont je suy molt destrois.<br/>
'''Las!''' C'est pour vous qui mort gisiés tous frois<br/>
[Qu']ay un dolent depit, faillant replique,<br/>
Plourés, arpes et cors saracynois,<br/>
''La mort Machaut, le noble retorique''.<br/>
<small>(second strophe by Cantus II) Eustache Deschamps</small>{{sfn|Rice|1999|p=33}}
|
The fount of [[Dirce]], [[Hippocrene|the fountain]] of [[Mount Helicon|Helie]],<br/>
Of which you are the stream and the course<br/>
In which poets have put their study<br/>
Must now be muted, which me much distresses.<br/>
'''Alas!''' It is for you, who lie cold and dead,<br/>
That I have grievous pain, lacking reply,<br/>
Weep, harps and [[Saracen]]<nowiki />horns, for<br/>
''The death of Machaut, the noble rhetorician''<br/>
<small>English translation by Howard B. Garey</small>{{sfn|Rice|1999|p=33}}
|}

===Refrain===
[[File:Refrain from Armes, armes - O flour des flours by F. Andrieu.png|thumb|400px|The refrain from ''Armes, armes/O flour des flours'' in modern notation]]
The text of Deschamps's two ballades share a refrain: "La mort Machaut, le noble retorique".{{sfn|Leach|2014|p=304}}{{refn|Retorique has also been spelled as "rethouryque",{{sfn|Upton|2013|pp=78–79}} or "rhetorique".{{sfn|Upton|2013|p=80}}|group=n|name=retorique}} Musicologist Elizabeth Randell Upton notes that the "shared refrain receives the most striking coordination of the ballades' voices".{{sfn|Upton|2013|p=80}} Rice considers the refrain a reoccurring "planctus" since it appears at the end of each strophe; ballades were typically in aabC form – where C is always the same.{{sfn|Rice|1999|p=34}} Andrieu signifies the "planctus" by setting the words "La mort" and "Machaut" in long notes but followed by [[Rest (music)|rests]].{{sfn|Rice|1999|p=34}} By inserting rests, Andrieu disrupts the music and signifies the sudden outburst of emotion that characterizes a "planctus".{{sfn|Rice|1999|p=34}} The practice of using "planctus" during the refrain was abandoned by future composers who used more formal structures such as the [[cantus firmus]].{{sfn|Rice|1999|p=34}}

Andrieu's musical setting of the refrain also highlights the name of the dedicatee (Machaut), by giving all four voices the same rhythm for the first four syllables ("La mort Machaut").{{sfn|Upton|2013|p=79}} Such an effect gives the phrase a "striking and singular four-voice effect".{{sfn|Upton|2013|p=80}} The following bars give the lower voices subsidiary supporting roles, sustaining the dominance of the texted upper voices.{{sfn|Upton|2013|p=80}} This is assisted by the refrain's repetition, which naturally emphasizes Machaut's name.{{sfn|Upton|2013|p=78}} The designation of "le noble retorique" ("the noble rhetorician") is invented by Deschamps in order to give Machaut a formal title.{{sfn|Upton|2013|p=78}}

===Similarities to other works===
[[File:Comparison of Armes Amours - O flour des flours and Dame qui fust.png|thumb|upright=1.5|A similar theme in ''Armes Amours/O flour des flours'' and ''Dame qui fust'' in modern notation]]
The Chantilly Codex contains six works – four ballades and two motets – that include their dedicatee's name directly.{{sfn|Upton|2013|p=77}}{{refn|Ballades with a direct citation of their dedicatee's name:
*''Armes Amours/O flour des flours'' by F. Andrieu
*''Fuions de ci, fuions povre campaigne'' by [[Jacob Senleches]]
*''S'aincy estoit que ne feust la noblesce'' by [[Solage]]
*''Par les bons Gedeon et Sanson deliver'' by [[Philippus de Caserta]]
Motets with a direct citation of their dedicatee's name:
* ''Rex Karole, Johannis Genite/Leticie, Pacis, Concordie'' by Phillipe Roylart
* ''Pictagore per dogmata/O terra sancta'' by anonymous{{sfn|Upton|2013|p=77}}|group=n}}{{refn|See {{harvtxt|Upton|2013|p=77}} for a detailed table of all six; see {{harvtxt|Upton|2013|pp=79–84}} for further information on each ballade.|group=n}} The dedicatee's proper name is mentioned in all four of these ballades, making them the only ballades of the 14th century to do so.{{sfn|Upton|2013|p=77}} Two of these – ''Armes, amours/O flour des flours'' and [[Jacob Senleches|Jacob Senleches's]] ''Fuions de ci, fuions povre campaigne'' for [[Eleanor of Aragon, Queen of Castile]] – lament their subject's death.{{sfn|Upton|2013|pp=77–78}} Both works have the word "retorique"{{refn||group=n|name=retorique}} [[Ornament (music)|embellished]] by a [[melisma]] on the "ri" for six [[double whole note]]s.{{sfn|Upton|2013|p=80}} While Senleches includes himself as part of larger group of mourners, Deschamps names himself directly in the third stanza by stating "Ce vous requiert le bayli de Valois" ("This asks of you the [[Bailiff (France)|Baliff]] of [[Counts and dukes of Valois|Valois]]").{{sfn|Upton|2013|p=79}} Nevertheless, Deschamps also includes an invitation to a large group of mourners:{{sfn|Upton|2013|p=78}}

{|
|-
|
Armes, amours, dames, chevalerie,<br/>
Clers, musicans et fayseurs en françoys,<br/>
Tous sosfistes, toute poeterie,<br/>
Tous cheus qui ont melodieuses vois,<br/>
Ceus qui cantent en orgue aucunes foys<br/>
Et qui ont chier le doulz art de musique,<br/>
Demenés duel, plourés! Car c'est bien drois,<br/>
''La mort Machaut, le noble ret[orique]''.<br/>
<small>(first strophe by Cantus I) Eustache Deschamps</small>{{sfn|Upton|2013|pp=78–79}}
|
Weapons, loves, ladies, chivalry,<br/>
Clerks, musicians, and writers in French,<br/>
All sophists, all poetry,<br/>
All those who have melodious voices,<br/>
Those who sing to the organ on occasion<br/>
And who value the gentle art of music,<br/>
Give way to grief, lament, for it is only right,<br/>
''The death of Machaut, the noble rhetorician''<br/>
<small>English translation</small>{{sfn|Upton|2013|p=79}}
|}

Musicologist [[Elizabeth Eva Leach]] notes that the ''Armes, amours/O flour des flours'' has both textual and musical similarities to Machaut's poetry and music respectively.{{sfn|Leach|2014|p=311}} In the refrain, Andrieu's work [[Musical quotation|imitates]] a passage from the [[Gloria in excelsis Deo|Gloria]]  of Machaut's ''[[Messe de Nostre Dame]]''.{{sfn|Hallowell|2019}}{{sfn|Wilkins|1979|p=28}} It also shows a resemblance to Machaut's ballade ''De Fortune'' (B23); both works have "the same tonal emphases" and "similar tenor notes at key structure points".{{sfn|Leach|2014|p=311}} ''Armes, amours/O flour des flours'' shares a musical theme with the anonymous ballade ''Dame qui fust'', in the {{ill|Codex Reina|fr|lt=Reina Codex}}, which itself is based on Machaut's ''De Fortune me doy pleindre'' (B 23).{{sfn|Leach|2014|p=311}}{{refn|The exact time when ''Dame qui fust'' was written is unclear so it is uncertain whether ''Armes, amours/O flour des flours'' is [[Musical quotation|quoting]] ''Dame qui fust'' or vice versa.{{sfn|Leach|2014|p=311}}|group=n}} In Andrieu's work, the shared theme appears when the two cantus voices engage in [[Imitation (music)|musical imitation]], something which was uncommon at the time.{{sfn|Leach|2014|p=311}}

===Interpretation===
Leach notes that the work has been "widely discussed by literary and musical scholars alike".{{sfn|Leach|2014|p=303}} According to Leach, the existence of this ''déploration'' suggests there was "interest in [Machaut's] own posterity... in the short term at least".{{sfn|Leach|2014|p=311}} Some scholars say this remembrance of Machaut mainly concerned his poetry and suggest that Deschamps did not intend ''Armes, amours/O flour des flours'' to be set to music.{{sfn|Leach|2014|pp=304–305}} Magnan argues that Deschamps recognized termed ''musique artificiele'' (vocal and instrument performance) and ''musique naturele'' (poetry alone) as equally enjoyable.{{sfn|Magnan|1993|p=51}} Furthermore, the fact that no other of Deschamps's poems have survived with music indicate that this one would not be any different.{{sfn|Magnan|1993|p=52}} Leach disagrees, saying that it being the earliest known musical lamentation for a fellow composer recognizes his "poet-composer" status, as do the words "faysaur" (maker) and "retorique" ([[rhetorician]]).{{sfn|Leach|2014|p=304}} The work calls on "those who hold dear the sweet art of music" to mourn Machaut's death, suggesting his musical importance.{{sfn|Leach|2014|p=311}}

According to Leach, the line "Your name will be a precious relic" is contradictory to the traditional [[Platonism]] of the time: it dismisses the Platonic idea that a name is only a representation of someone, by suggesting Machaut's name alone is a "relic" and all encompassing to his being.{{sfn|Leach|2014|p=312}}

==Works==
{| class = "wikitable plainrowheaders"
|-
|+ List of compositions by F. Andrieu{{sfn|Reaney|2001}}{{sfn|Günther|2001}}
|-
! scope="col" | Title
! scope="col" | {{Abbr|No.|Number}} of voices
! scope="col" | Genre
! scope="col" | Manuscript source: Folios{{refn|"v" and "r" stand for [[verso]] and [[recto]] respectively; in left-right language books, verso is the front page while recto is the back page.|group=n}} 
! scope="col" | Apel
! scope="col" | Greene
|-
| ''Armes, amours/O flour des flours''{{refn|Sometimes referred to as ''Armes, amours/O flour''{{sfn|Rice|1999|p=34}} or with the longer title: ''Armes, amours, dames chevaleries/O flours de toute melodie''.{{sfn|Upton|2013|p=77}}|group=n}}<br/><small>(''Weapons, loves/O flower of flowers'')</small>
| style="text-align: center;" | 4
| (Double) [[Ballade (forme fixe)|ballade]]
| [[Chantilly Codex]]: 52[[recto|r]]{{refn||group=n|name=text}}
| {{harvnb|A}} 2
| {{harvnb|G Vol 19}}: 84
|-
|colspan=6 {{n/a|No other works by Andrieu survive{{refn|If F. Andrieu is identifiable with Magister Franciscus, then [[Magister Franciscus#Works|Franciscus's compositions]] would be his as well.|group=n}}}}
|}

===Editions===
Andrieu's work is included in the following collections:
* {{cite book |editor-last1=Droz |editor-first1=Eugénie |editor-link1=Eugénie Droz |editor-last2=Thibault |editor-first2=Geneviève |editor-link2=Geneviève Thibault |year=1924 |title=Poètes et musiciens du XVe siècle |trans-title=Poets and Musicians of the 15th Century |language=French |publisher=Paris |location= |oclc=3865780 |ref=no }}
* {{cite book |last=Apel |first=Willi |author-link=:de:Willi Apel |year=1970–1972 |title=French Secular Compositions of the Fourteenth Century |series=[[Corpus mensurabilis musicae]] 53 |volume=1, Ascribed Compositions |publisher=[[American Institute of Musicology]] |location=Cambridge, Massachusetts |oclc=311424615 |url={{google books|plainurl=y|id=DoQwAQAAIAAJ}} |ref=CITEREFA }}
*{{cite book |editor-last=Greene |editor-first=Gordon K. |year=1982 |title=Manuscript Chantilly, Musée Condé 564 Part 2, nos. 51–100 |volume=19 |series=Polyphonic Music of the Fourteenth Century |publisher=[[Éditions de l'Oiseau-Lyre]] |location=Monaco |oclc=181661945 |ref=CITEREFG Vol 19 }}

==Recordings==
F. Andrieu's ''Armes, amours/O flour des flours'' is included in the following albums:

{| class = "wikitable sortable plainrowheaders"
|-
|+ Recordings of ''Armes, amours/O flour des flours''<ref>{{cite web |title=Armes, amours, dames, chevalerie; O flour des flours de toute melodie |website=lib.latrobe.edu.au |publisher=[[La Trobe University]] |url=https://www.lib.latrobe.edu.au/MMDB/composer/H0631001.HTM |access-date=30 November 2020 |archive-date=21 December 2020 |archive-url=https://web.archive.org/web/20201221065104/https://www.lib.latrobe.edu.au/MMDB/composer/H0631001.HTM |url-status=live }}</ref>
|-
! scope="col" | Year
! scope="col" | Album
! scope="col" | Performers
! scope="col" | Director
! scope="col" | Label
|-
| 1973
| ''Music au temps des Papes en Avignon''
| Florilegium Musicum de Paris
| data-sort-value="Malgoire" | [[Jean-Claude Malgoire]]
| [[CBS Masterworks]] 76534
|-
| 1973
| ''[[The Art of Courtly Love (box set)|The Art of Courtly Love]]''. Vol. I. "Guillaume Machaut and His Age"
| [[Early Music Consort of London]]
| data-sort-value="Munrow" | [[David Munrow]]
| Conte HMV SLS 863
|-
| 1974
| ''Dufay and His Times''
| Syntagma Musicum
| data-sort-value="Otten" | Kees Otten
| [[Teldec|Telefunken]] ER 6.35257
|-
| 1975
| ''Guillaume de Machaut: 1. The Musical Art of Machaut. 2. Le Remède de''
| Ensemble Guillaume de Machaut of Paris
| style="text-align: center;" data-sort-value="ZZZZZ" | –
| {{ill|Disques Adès|fr|lt=Adès}} 7078
|-
| 1978
| ''Hommage à Machaut''
| Ars Cameralis
| style="text-align: center;" data-sort-value="ZZZZZ" | –
| Panton 8111 0056
|-
| 1979 [1977]
| ''Guillaume de Machaut Messe de Nostre Dame. Trois motets latins''
| Séminaire Européen De Musique Ancienne
| data-sort-value="Gagnepain" | {{ill|Bernard Gagnepain|fr}}
| [[Erato Records|Erato]] EFM 18041 (LP){{sfn|Earp|2013|p=436}}
|-
| 1986
| ''A Distant Mirror: Music of the 14th Century and Shakespeare's Music''
| Folger Consort
| style="text-align: center;" data-sort-value="ZZZZZ" | –
| [[Delos Productions|Delos]] DE1003
|-
| 1987
| ''The Chantilly Codex''
| [[Ensemble Organum]]
| data-sort-value="Pérès" | [[Marcel Pérès]]
| [[Harmonia Mundi]] HMC 1252
|-
| 1987
| ''Codex Chantilly: airs de cour''
| [[Ensemble Organum]]
| data-sort-value="Pérès" | [[Marcel Pérès]]
| HMC 901252
|-
| 1989
| ''Ars Magis Subtiliter''
| Project Ars Nova (Ensemble P.A.N.)
| style="text-align: center;" data-sort-value="ZZZZZ" | –
| New Albion Records NA 021<ref>{{cite web |title=Ensemble P.A.N. [Project Ars Nova] |publisher=[[All Music]] |url=https://www.allmusic.com/album/release/ars-magis-subtiliter-mr0001872208 |access-date=30 November 2020 |archive-date=21 December 2020 |archive-url=https://web.archive.org/web/20201221065100/https://www.allmusic.com/album/release/ars-magis-subtiliter-mr0001872208 |url-status=live }}</ref>
|-
| 2003
| ''Guillaume de Machaut: Unrequited''
| Liber UnUsualis
| style="text-align: center;" data-sort-value="ZZZZZ" | –
| LU 1001<ref>{{cite AV media |last=Guillaume |first=Jordan Sramek |title=Unrequited |publisher=Liber unUsualis |oclc=918449957}}</ref>
|}

==References==
===Notes===
{{Reflist|group=n|colwidth=30em}}

===Citations===
{{reflist}}

===Sources===
'''Books'''
{{Refbegin}}
* {{cite book |editor-last1=Abraham |editor-first1=Gerald |editor-link=Gerald Abraham  |editor-last2=Hughes |editor-first2=Dom Anselm |year=1960 |title=Ars Nova and the Renaissance 1300–1540 |series=The New Oxford History of Music |volume=III |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-316303-4 }}
* {{cite book |last=Earp |first=Lawrence |year=2013 |orig-date=1995 |title=Guillaume de Machaut: A Guide to Research |publisher=[[Taylor & Francis]] |location=Oxford |isbn=978-0-8240-2323-2 |url={{google books|plainurl=y|id=8VaBAAAAQBAJ}} }}
* {{cite book |last=Plumley |first=Yolanda |editor-last1=Leach |editor-first1=Elizabeth Eva |editor-link=Elizabeth Eva Leach |year=2003 |title=Machaut's Music: New Interpretations |chapter=The Marriage of Words and Music: ''Musique Naturele'' and ''Musique Artificele'' in Machaut's ''Sans cuer, dolens'' (R4) |publisher=[[Boydell Press]] |location=Suffolk |isbn=978-1-84383-016-0 |url={{google books|plainurl=y|id=1TDdtAUOvpYC}} }}
* {{cite book |last=Leach |first=Elizabeth Eva |author-link=Elizabeth Eva Leach |year=2014 |title=Guillaume de Machaut: Secretary, Poet, Musician |publisher=[[Cornell University Press]] |location=Ithaca |isbn=978-1-5017-0486-4 |url={{google books|plainurl=y|id=AvWDDwAAQBAJ}} }}
* {{cite book |last=Reese |first=Gustave |author-link=Gustave Reese |year=1940 |title=Music in the Middle Ages: With an Introduction on the Music of Ancient Times |publisher=[[W. W. Norton & Company]] |location=Lanham |isbn=978-0-393-09750-4 }}
* {{cite book |last=Strohm |first=Reinhard |author-link=Reinhard Strohm |year=2005 |title=The Rise of European Music, 1380-1500 |publisher=[[Cambridge University Press]] |location=Cambridge |isbn=978-0-521-61934-9 |url={{google books|plainurl=y|id=8gwToY1HEoIC}} }}
* {{cite book |last=Upton |first=Elizabeth Randell |year=2013 |title=Music and Performance in the Later Middle Ages |publisher=[[Palgrave Macmillan]] |location=London |isbn=978-1-137-27770-1 |url={{google books|plainurl=y|id=pwcGbJ7UIwcC}} }}{{Dead link|date=August 2024 |bot=InternetArchiveBot |fix-attempted=yes }}
* {{cite book |last=Wilkins |first=Nigel |year=1979 |title=Music in the age of Chaucer |publisher=[[D.S. Brewer]] |location=Cambridge |isbn=978-0-85991-052-1 |url=https://archive.org/details/musicinageofchau0000wilk/mode/2up }}
{{Refend}}

'''Journals and articles'''
{{Refbegin}}
* {{cite encyclopedia |last=Arlt |first=Wulf |author-link=:de:Wulf Arlt  |year=2001 |encyclopedia=[[Grove Music Online]] |title=Machaut [Machau, Machault], Guillaume de |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.51865 |isbn=9781561592630 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051865 |archive-date=8 October 2020 |archive-url=https://web.archive.org/web/20201008200258/https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051865 |url-status=live }} {{Grove Music subscription}}
* {{cite encyclopedia |last1=Fallows |first1=David |author-link=David Fallows |last2=Jander |first2=Owen |year=2001 |encyclopedia=[[Grove Music Online]] |title=Tenor: The word in early polyphony |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.27667 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000027667 }} {{Grove Music subscription}}
* {{cite encyclopedia |last=Günther |first=Ursula |author-link=Ursula Günther |year=2001 |encyclopedia=[[Grove Music Online]] |title=Franciscus, Magister |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.10117 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000010117 |archive-date=15 November 2020 |archive-url=https://web.archive.org/web/20201115203654/https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000010117 |url-status=live }} {{Grove Music subscription}}
* {{cite encyclopedia |last=Hallowell |first=Sean |year=2019 |encyclopedia=[[Grove Music Online]] |title=Déploration |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/omo/9781561592630.013.90000315369 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-90000315369 |archive-date=9 October 2020 |archive-url=https://web.archive.org/web/20201009091529/https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-90000315369 |url-status=live }} {{Grove Music subscription}}
* {{cite encyclopedia |last=Jander |first=Owen |year=2001 |encyclopedia=[[Grove Music Online]] |title=Cantus(i) |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.04793 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000004793 }} {{Grove Music subscription}}
* {{cite journal |last=Leach |first=Elizabeth Eva |author-link=Elizabeth Eva Leach |year=2010 |title=Music and Verbal Meaning: Machaut's Polytextual Songs |journal=[[Speculum (journal)|Speculum]] |volume=85 |issue=3 |pages=567–591 |doi=10.1017/S0038713410001302 |jstor=27866936 |s2cid=162617845 }}
* {{cite journal |last=Magnan |first=Robert |year=1993 |title=Eustache Deschamps and his Double: Musique naturele and musique artificiele |journal=Ars Lyrica |volume=7 |publisher=Brepols |location=New Haven |pages=47–64 |issn=1043-3848 |eissn=2507-0398 }}
* {{cite journal |last=Reaney |first=Gilbert |author-link=Gilbert Reaney |year=1954 |title=The Manuscript Chantilly, Musée Condé 1047 |journal=Musica Disciplina |volume=8 |pages=59–113 |jstor=20531876 }}
* {{cite encyclopedia |last=Reaney |first=Gilbert |author-link=Gilbert Reaney |year=2001 |encyclopedia=[[Grove Music Online]] |title=Andrieu, F. |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.00904 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000000904 |archive-date=1 June 2018 |archive-url=https://web.archive.org/web/20180601225705/http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000000904 |url-status=live }} {{Grove Music subscription}}
* {{cite journal |last=Rice |first=Eric |year=1999 |title=Tradition and Imitation in Pierre Certon's Déploration for Claudin de Sermisy |journal=Revue de Musicologie |volume=85 |issue=1 |pages=29–62 |doi=10.2307/947006 |jstor=947006 }}
* {{cite journal |last=Wilkins |first=Nigel |year=1968 |title=The Post-Machaut Generation of Poet-Musicians |journal=Nottingham Medieval Studies |volume=12 |publisher=Brepols |location=Turnhout |pages=40–84 |url=https://www.brepolsonline.net/doi/epdf/10.1484/J.NMS.3.38 |doi=10.1484/J.NMS.3.38 |archive-date=12 November 2020 |archive-url=https://web.archive.org/web/20201112202948/https://www.brepolsonline.net/doi/epdf/10.1484/J.NMS.3.38 |url-status=live |url-access=subscription }}
{{refend}}

==Further reading==
{{refbegin}}
* {{cite book |last=Earp |first=Lawrence |author-link=Lawrence Earp |editor-last1=McGrady |editor-first1=Deborah |editor-last2=Bain |editor-first2=Jennifer |year=2012 |title=A Companion to Guillaume de Machaut |chapter=Declamation as Expression in Machaut’s Music |pages=209–238 [230] |series=Brill's Companions to the Christian Tradition |volume=33 |publisher=[[Brill Publishers|Brill]] |location=Leiden |isbn=978-90-04-22819-1 |url={{google books|plainurl=y|id=UQMzAQAAQBAJ}} }}
* {{cite book |last=Günther |first=Ursula |author-link=Ursula Günther |year=1957 |title=Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14. Jahrhunderts |publisher=[[University of Hamburg]] |language=de |location=Hamburg, Germany |pages=167, 174–6 |oclc=30004545| ref=none}}
* {{cite book |last=Leach |first=Elizabeth Eva |author-link=Elizabeth Eva Leach |editor-last1=Plumley |editor-first1=Yolanda |editor-last2=Stone |editor-first2=Anne |year=2009 |title=A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564) |chapter=Dead Famous: Mourning, Machaut, Music, and Renown in the Chantilly Codex |pages=63–94 |publisher=[[Brepols]] |location=Turnhout |isbn=978-2-503-51598-4 }}
* {{cite journal |last=Mühlethaler |first=Jean-Claude |date=1989 |title=Un Poète face à sa posterité: Lecture des deux ballades de Deschamps pour la mort de Machaut |trans-title=A Poet facing his posterity: Reading the two ballads of Deschamps for the death of Machaut |language=French |journal=Studi francesi |volume=35 |pages=387–410 }}
* {{cite book |last=Sultan |first=Agathe |author-link=Elizabeth Eva Leach |editor-last=Doudet |editor-first=Estelle |year=2005 |title=La Mort écrite: Rites et rhétoriques du trépas au Moyen Age |chapter=Tombeaux des musiciens à la fin du Moyen Age |pages=155–171 |publisher=Presses de l’Université Paris-Sorbonne |location=Paris |series=Cultures et civilisations médiévales 30 |isbn=978-2-84050-350-7 }}
{{refend}}

==External links==
* [http://jechante.exeter.ac.uk/archive/text.xql?id=SeMiB002pv&view=simple Complete text of ''Armes, amours/O flour des flours''] ([https://web.archive.org/web/20210121220241/http://jechante.exeter.ac.uk/archive/text.xql?id=SeMiB002pv&view=simple archived]) from the Centre for Medieval Studies at the [[University of Exeter]]
* {{ChoralWiki|François Andrieu|F. Andrieu}}
* {{DIAMM|pid=34|pname=F. Andrieu}}
* [https://www.lib.latrobe.edu.au/MMDB/composer/COM063.htm Works by F. Andrieu] in the Medieval Music Database from [[La Trobe University]]

{{Ars nova|state=open}}
{{Medieval music}}
{{Portal bar|Classical music|Biography|Music|Poetry|Middle Ages}}

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{{DEFAULTSORT:Andrieu, F}}
[[Category:French classical composers]]
[[Category:French male classical composers]]
[[Category:14th-century French composers]]
[[Category:Medieval male composers]]
[[Category:Ars nova composers]]
[[Category:Year of birth unknown]]
[[Category:Year of death unknown]]