Rubric, indicating the title, identification, or possibly composer, of a monophonic mensural Sanctus setting associated with the trope Qui januas mortis confregisti (Chevalier 16434). Four monophonic sources are recorded. In F-Pa 204 it is linked with a matching Agnus troped Patris filius eterni, and these are the only two mensurally notated pieces in the manuscript; in I-AO A 1°D19 it is the only monophonic piece in the entire polyphonic manuscript; and in Tournai, Trésor du chapitre, 471 (destroyed in 1940), it had the trope Qui vertice Thabor affuisti. Only in the Aosta manuscript is it headed ‘Vineux’.
Six related polyphonic compositions are known. The four-voice Sanctus vineus secundum Loqueville in I-Bc Q15 (ed. Reaney, CMM, xi/3, 1966) is flanked by a three-voice Sanctus and Agnus on the same tenor ascribed to Du Fay (ed. Besseler, CMM, i/4, 1962 and CMM, i/5, 1966) and linked in I-Bc Q15 with a Du Fay Kyrie on a similar tenor (also present in I-AO). A Sanctus-Agnus pair (the latter troped, unlike the Du Fay Agnus) appears in F-Dm 2837, a fragment discovered and described by Wright. Both Agnus settings are musically almost identical with their related Sanctus, though with their sections in a different order. The Du Fay Kyrie, on the other hand, is rather different musically; the linkage may be a scribal initiative.
The origin of the Vineux melody is unknown, though a possible geographical explanation was offered by Fallows. Only the lack of a known polyphonic origin precludes a complete analogy with the mensural storage and subsequent use found in the apparently English phenomenon of squares (see Square).
The Missa ‘Vinnus vina’ (I-Rvat C.S.51), now considered to be by Faugues, is not related to the melody.
C.U.J. Chevalier: Repertorium hymnologicum (Leuven and Brussels, 1892–1921)
C. Wright: ‘A Fragmentary Manuscript of Early 15th-Century Music in Dijon’, JAMS, xxvii (1974), 306–15
D. Fallows: ‘Dufay and Nouvion-le-Vineux: some Details and a Thought’, AcM, xlviii (1976), 44–50 [with further bibliography]
MARGARET BENT