Sources, MS.
A
manuscript source is one that is written by hand. Before the invention of
printing, music was preserved either by oral transmission or by MS copies.
There is no reason to believe that oral transmission preserves the same music
for more than a few centuries, at least in the West, so that all our knowledge
of medieval and early Renaissance music depends on MSS. From the start of
printing until the work of Petrucci in 1501, almost all printed music was
monophonic, mostly chant: even thereafter, however, there has remained a living
tradition of the MS copying of certain repertories where printing would not
have been economically feasible.
The
present article comprises a preliminary discussion of the nature of MS sources
and their significance for present-day musical research, followed by a series
of sections that review the character and repertory of the main classes of MS
in use before 1600. These are arranged by subject matter and also
chronologically. Three further categories are discussed in adjacent articles: Sources
of instrumental ensemble music to 1630, Sources of keyboard
music to 1660
and Sources of lute music; see also Printing
and publishing of music.
I. Introduction
II. Western plainchant
III. Secular monophony
IV. Organum and
discant
V. Early motet
VI. English polyphony
1270–1400
VII. French polyphony,
1300–1420
VIII. Italian
polyphony, c1325–c1420
IX. Renaissance
polyphony
STANLEY BOORMAN (I), JOHN A. EMERSON/DAVID HILEY (II), DAVID FALLOWS (III,
1, (2 with THOMAS B. PAYNE), ELIZABETH
AUBREY (III, 3, 4), DAVID FALLOWS (III, 5 with LORENZ WELKER) (III, 7, 8), DAVID FALLOWS/MANUEL PEDRO FERREIRA (III, 6), DAVID HILEY
(IV), ERNEST H. SANDERS/PETER M.
LEFFERTS (V, VI), URSULA GÜNTHER (VII, 1, 3), GILBERT REANEY (VI, 2), KURT VON FISCHER/GIANLUCA D’AGOSTINO (VIII), CHARLES HAMM,
JERRY CALL/DAVID FALLOWS (IX,
1–15), STANLEY BOORMAN, HERBERT KELLMAN/DAVID FALLOWS (XI, 16), CHARLES HAMM, JERRY CALL/DAVID FALLOWS (IX, 17–24)
Sources, MS
I. Introduction
1. The nature of
manuscripts.
2. The functions of
manuscripts.
3. Preparation and
copying.
4. Historical survey:
up to 1600.
5. Historical survey:
from 1600.
6. The study of
manuscripts.
7. The content of
musical manuscripts.
8. Manuscripts in
musical society.
Sources, MS, §I:
Introduction
1. The nature of manuscripts.
The
most obvious distinction between a manuscript and a printed source is, of
course, that one is prepared by a writer, using pen and ink or similar tools,
while the other involves the use of a printing press. Indeed, this is the only
distinction that seems to have any absolute validity. It is not, however, one
that is of much value to the student of either type of source.
A
more useful distinction, which can stand as a generalization, is that the MS is
a unique object, while printed sources exist in many copies; that a manuscript
represents the requirements of a single purchaser or owner, while printed
sources must cater to many purchasers with diverse interests; as a corollary,
that a manuscript contains a distinctive set of versions of the music it
contains, while each copy of a printed edition purports to contain exactly the
same material; and that a manuscript is normally produced to order, and passed
to its owner by some personal contact, while printed sources require almost industrial
connections between printer, publisher and subsequent owners. In practice,
however, each of these distinctions is no more than a generalization and is
subject to so many exceptions that it cannot be used as a general yardstick.
A
discussion of these distinctions, and of their value for musical manuscripts,
provides the central argument of much that follows in this introduction. But
the more central distinction that they imply needs to be addressed: that the
manuscript lays claim to being unique (not the same as any other manuscript, in
form or content), while the printed copy sets out to be the same as other
copies of the same edition. This distinction, while the most generally received
one, is fatally flawed on both sides, and particularly so for musical
documents. With MSS, the pattern of mass-production of standard works, common
when dealing with commentaries to the scriptures or with newsletters during the
17th and 18th centuries, can also be found in the preparation of chant books
and (much later) copies of operas. Even more significantly, during the early
19th century, scribes made multiple copies of Italian opera arias, which were
placed on sale exactly in the manner of printed copies. (Aspects of this issue
are covered in Love, 1993, dealing with musical and other MSS prepared in
England in the 17th century.) On the other hand, many printed editions conform
in intention and style to the pattern presented by manuscripts, as gifts for
individuals, at weddings or funerals, even on the occasion of election to a
mayoralty or receiving a degree. More generally, while multiple copies of a
printed edition will have the contents arranged in the same order and with an
attempt at internal consistency, very rarely before the mid 18th century can
they be assumed to be identical. (For some discussion of these points as they
affect printed books, see Bibliography of music and Printing
and publishing of music, §1.)
In
practice, however, the distinction works in most cases: only rarely are two MSS
identical, even in intention. One chant MS might well be intended to cover the
same material as an earlier one, being written for the same institution and
containing essentially the same music. In the same manner, the central copies
of Machaut's music, or replacement copies of polyphony (such as survive for the
Vatican Chapels), might contain the same repertory arranged in the same order.
But the nature of the manual copying process ensures that there was rarely any
attempt to match the precise arrangement on the page or the placing of
notational details of the earlier source. This was an essential result of the
process: the scribe's hand was unlikely to match that of his predecessor, in
size or writing, in his practice, or in his arrangement of details; as a
result, in most cases the layout on the page would be different, and so would
the number of pages. Further, no scribe could hope or expect to copy any MS
without variation or the addition of errors. Finally, in many kinds of music
(among which chant seems to have been the most important exception), the scribe
was apparently accorded a more important role than that of a mere copyist: the
freedom with which he was expected to make substantive changes in the musical
text being copied was a reflection of the extent to which that text was not
seen as being sacrosanct in all its aspects.
This
apparent uniqueness of MSS and their content is made more evident by the almost
random pattern of their survival. Very few polyphonic sources dating from
before 1600 can be shown to contain holograph copies of music (though see
Owens, 1997), or even to lie close to the composers whose works they contain (see
Machaut, Guillaume de): similarly, relatively few can be shown to have been
copied from other surviving MSS. (One instance concerns the MSS D-Rp
A.R.62 and 65, apparently copied from the same library's A.R.886.) As a result,
each manuscript comes to be seen as representing something itself unique – a
moment in the history of music, in the history of performing practice, and in
the history of the composer of the music, or of the institution or patron who
owned the manuscript. The study of manuscripts, therefore, has had to face the
problem of relating them to other sources – as perhaps copied by the same
scribe, and therefore connected even when they contain different music. Other
manuscripts have the same works in very similar readings, and so presumably
represent similar moments in the history of the music. Yet others show signs of
having been prepared for the same institutions, or for specific performances.
Such manuscripts tell us something about their function, the reason why they
were copied in the first place. And it is this aspect – the function of the MS
– that most clearly distinguishes it from a printed source and from other MSS.
Sources, MS, §I:
Introduction
2. The functions of manuscripts.
A
printed source, almost by definition, cannot fulfil a specific, different
function for each of its readers. It is mass-produced, and arranged according
to a scheme that the publisher believes will appeal to the greatest number of
purchasers.
In
the period of copying by hand, each book was more laborious to produce. There
were scriptoria, from as early as the Carolingian renaissance, both in
monasteries and university towns, which produced multiple copies of the
standard legal, classical and theological texts, and also scribes employed as
specialists at court. This idea of mass-production undoubtedly had an effect on
styles of script, an effect that is not found in music, for music scribes were
seldom concerned with making more than one copy of a text at a time. Even in
other fields, while MSS were bought or ordered for many of the reasons that
still prevail, fewer people bought them other than for study. Rich patrons
could afford to commission lavishly copied volumes, illuminated with miniatures
and floriation, which were then handsomely bound, either as additions to their
collection, or as a valuable gift for a neighbouring prince; probably a
disproportionate number of these have survived. Such volumes apart, however,
books were meant for hard use. Scholars and priests, students and the devout,
all owned a few books that they needed (the average private library was much
smaller than today), often copied in a routine script with a regular and
mechanical though no less well-balanced layout to the page, and with no use of
colour beyond the occasional necessary rubrication.
The
same range of situations appears to apply to musical MSS. Some were apparently
presentation copies: there are such sources from the hand of Pierre
Alamire and
others, which survive in most of the erstwhile court libraries of Europe (D-Ju
4, for example, was probably intended as a gift to the English ruler; for
illustration see Alamire, Pierre). There is usually no way of
telling whether such gifts were intended for use unless clues are provided by
occasional marks in them. Similar to these are MSS prepared for a specific
institution, written by someone employed there. The Vatican has many MSS
written by the scribes attached to the Sistine Chapel, and later the Cappella
Giulia also employed a full-time scribe. The Old Hall MS (GB-Lbl
Add.57950; for illustration see Old hall ms) appears to have been copied
for a rich English institution, although which is not known. There are similar
MSS copied for the Duke of Berry in the 14th century or the Holy Roman Emperor
in the 16th. Lavish polyphonic MSS seem to be a new phenomenon, emerging,
generally speaking, in the 15th century; decorated chant MSS survive from
earlier. So, too, do other basically monophonic and secular MSS. Chansonniers
of the 15th century are often finely prepared, perhaps for presentation or for
the collection of the purchaser; Machaut's works are preserved in several
finely worked copies, comparable to the beauty of the one musical source of the
Roman de Fauvel (F-Pn fr.146; for illustration see Fauvel,
Roman de).
Later,
many of the richer cathedrals and monastic foundations had MSS of the Office
with as much decoration as those owned by the chapels of contemporary princes.
It is reasonable to suppose that these must have been prepared for some range
of use, for they cannot have been designed solely for display: but it is
impossible to know whether they were ever used in the choir stalls before the
16th century, whether they were used merely for learning the music and as a
guide to the memory of the chapelmaster, or indeed whether they were used at
all except when a new singer had to learn the chant. During the 14th century
and later, there are many more illustrations of church musicians standing at a
lectern, apparently reading from the music. While earlier illustrations often
show the performing of chant by one man or by a very few, these later,
particularly after 1500, begin to suggest that polyphony was being read (see
also Page, 1997). They probably represent a trend in the use of MSS, itself
almost certainly the result of two related phenomena, a growth in musical
literacy and the rapid and sudden increase in the use of a choir for polyphony,
instead of the soloists whose prerogative it had been earlier.
There
were, of course, other levels of MS production. Many MSS survive, often in a
fragmentary state, that confirm the existence of a continuing market for the
‘functional’ MS, one that was not heavily decorated but would serve the purpose
of transmitting or preserving a repertory. Some were apparently copied for
performance use, and often they are composite, copied over a period of time,
perhaps by several scribes, and bound when the collection was large enough.
This is true of the cathedral MSS still at Bergamo and Casale Monferrato,
copied in the early 16th century, and, among earlier MSS, perhaps the Ivrea Codex
(I-IV s.s.) or the Cambrai fragments. (Such sources are equivalents of
the 19th-century album.) Others were copied more or less at one session, either
because the total repertory was known and available (this is true of most chant
sources) or because the MS became large enough and perhaps included all the
future owner wanted – such may include the Chantilly MS (F-CH 564) and
the early 15th-century source at Bologna University (I-Bu 2216), as well
as some of those 15th-century chansonniers that were not made as presentation
copies.
There
are also MSS that appear to have been compiled for reference or study. This is
certainly true of the anthologies made by Tschudi and Glarean when young, and
perhaps also of some of the German keyboard collections of the early 16th
century. For many others, the true function cannot be determined: they may have
been compiled quickly or over a lengthy period, may be lavish or cheap, may be
aimed at the scholar or patron, and indeed may look like any other sort of MS.
The three early Notre Dame sources now at Wolfenbüttel (D-W 628 and
1099: W1 and W2) and Florence (I-Fl
Plut.29.1: F) carry a repertory that was in part old and only in part up
to date, and that cannot have been planned for performance directly from the
source. There are many places in all three where that would have been
impossible, and the music contained could not all have been intended for use,
even from memory. The MSS also are composite, copied from several earlier ones
(which do not survive), and it may be that they were designed as repositories
collecting and preserving a corpus of music. This is perhaps also true of the
Squarcialupi Codex (I-Fl Med.Pal.87), where the music, in a style that,
it seems, was already largely superseded when the source was copied, is
arranged by composer, as if presenting an early attempt at an opera omnia.
Alongside these may be placed those copies of a composer's works that seem to
have been planned by the composer (although they are not autograph): examples
are Jehannot de L'Escurel, Thibaut of Navarre, Adam de la Halle, perhaps
Machaut, Festa and Isaac. Also belonging here are the MSS written for those
lesser churches where the maestro was also the principal or only
composer; Bergamo is a case in point with Gasparo Alberti.
Once
music printing became cheaper, during the 16th century, the range of MSS
produced began to decline. There are significant changes in what has survived
from after the beginning of printing. Presentation and chant MSS continued to
be written well into the 19th century, and many were copies of earlier MSS
written for the same institution. The present-day market in single leaves from
such MSS, especially of Spanish provenance, is fuelled by the vast number of
them that were copied, and that often can hardly be dated, so consistent and
long-lasting were the detailed techniques of production. But with the expansion
of the use of printing for standard repertories and for music that would have a
market, MSS came to be used more as working documents. Among those that survive
are an increasing number of private anthologies, copied over long periods,
sometimes by professionals for their own use (as had been some of the lute and
keyboard MSS of earlier times) but more often by amateurs with a repertory that
either pleased them or seemed to be within their capabilities (Wendel, 1993).
Such MSS continue long into the 19th century, and present the music in often
idiosyncratic form, and with attributions and other identifications that
sometimes tell more about the owner's taste than about the music's origins.
These MSS eventually died out as the cheap songsheet and piano folio saturated
the market. It is unlikely that such MSS will ever again become the norm, with
the advent of photo-reproduction. Similarly, occasional MSS copied for didactic
purposes have virtually ceased to exist. While modern examples are again
unlikely to appear in any number, earlier MSS of this sort were more often used
and then thrown away. Some have survived because they were the work of
distinguished composers (such as Bach, with his Anna Magdalena Book), or
because they were then retained in the Amerbach collection in Basle: see Kmetz,
1994.
Working
MSS continued to be produced well into the 20th century and seem to have
survived. During the Baroque period they include study of other composers'
works and also performing scores and parts. Bach's autographs of Italian music
are well known and several copyists' scores survive, for example, of Handel's Messiah,
with markings from different performances. A number of operas from the period
survive in printed form only as vocal scores with MS full scores and parts.
During the 19th century, manuscript parts and conducting scores of operas,
especially in Italy, provide the most reliable evidence of an opera's performing
history: at the same time, MS vocal scores of popular numbers were prepared in
bulk and published for sale.
A
final group of working MSS, that of composers' drafts and sketches, has
survived in increasing numbers for recent centuries. To some extent this is a
result of the new view of the composer's supreme authority and the desirability
of any later version to be as close an approximation as possible to his own;
but it is also a result of the views of history and scholarly antiquarianism
that developed during the 18th century, to be bolstered by Romantic concepts of
genius during the 19th.
It
is almost impossible to generalize about the style and appearance of a
composer's sketches and drafts. Much will depend on the place of any individual
MS in the line of progression from the initial idea (usually in a sketch),
through expansion, development, the linking together of ideas (often in a
draft), to orchestration and fair copy. Many such MSS undergo changes in
function, as certain ideas fall into place in the composer's mind during the
process of copying, or as sections seem to need further revision. Individual
composers respond to these needs in different ways, so that, while it is
possible to create a typology of compositional MSS (Bailey, 1979), we can not
generalize about the detailed form and appearance of any one type. Comparison
of the sketches, drafts and fair copies written by Mozart, Beethoven, Chopin,
Brahms, Mahler, Berg and Webern will reveal a complete range of possibilities.
On one hand, the first sketches may appear as no more than a few notes, or a
serial row, both of which then undergo major transformations. On the other,
complete melodies with partial orchestration may appear to have been perceived
very quickly. In the same way, potential fair copies can be subjected to
changes in scoring, occasional changes of octave transposition or of individual
pitches, and every possible level of change up to major rewriting or changing
the order of sections of a work.
Each
function, as outlined in the preceding paragraphs, leads to specific physical
characteristics in the sources: while we may know nothing about the detailed
patterns of MS use, the evidence of the MSS themselves shows that they were
prepared in different ways for different presumed uses. Some MSS also indicate
changes in function during their history: some are now merely composite MSS,
layers with different dates (and even purposes) that happen to have become
bound together; one example is the famous ‘keyboard’ MS at Faenza (I-FZc
117); another is perhaps the set of Vier Ernste Gesänge of Brahms (A-Wgm),
where the last song was written on a different paper. In others, the original
plan is to some extent obscured by additions of different types of music: such
is the case with the early 15th-century MS at the university library in
Bologna, where secular songs were fitted into empty spaces in an otherwise
sacred MS. Yet others (such as I-Bc Q15; fig.1) show changes in plan
during their making: this MS apparently arose from a commission for an
attractive, carefully written MS, but it was not completed in that form,
deteriorating into a working MS, roughly copied by the same man, on poorer
paper and without the use of the coloured initials that grace the earlier
layers. The various layers of work were carefully intertwined, so that they now
present a fairly coherent sequence of repertories. In this case, as in others,
the changes of plan left their mark on the physical appearance of the MS,
showing the tight connection that exists (for all MSS) between the intended use
and the processes of preparation and copying.
Sources, MS, §I:
Introduction
3. Preparation and copying.
The
manual copying of music was a highly regarded skill, and was until the 19th
century almost always the province of professionals, copyists or musicians.
During the Middle Ages scribes were often members of guilds, or else composers
and musicians employed by noble or monastic establishments. They were therefore
working in a milieu which encouraged standardization, and they developed
different patterns according to the character of the music to be copied and the
needs of the destination of the MS.
The
nature of the copying process governs many of the detailed aspects of the
finished MS; but the reverse is equally true. The more formal a MS is to be,
the more carefully will its layout be planned, and the less will it show of the
nature of its own origin, or of the exemplars from which it is copied. A MS for
presentation to a ruler will require a higher standard of visual quality, while
one for the church lectern will be concerned with legibility. Both may be
intended to be lavish in production, worthy tributes to the destination, and
both therefore will require a high level of non-musical organization. A similar
process of planning, though dealing with very different factors, governs MSS
prepared for performance or for study. At the same time, the copyist is always
(at least potentially) in the position of an editor: consciously or not, he is
always changing the material being copied, either by providing different
emphases with the different arrangements he adopts (the placing of an
accidental in a Renaissance source), or by error (the omission of a bar in the
only MS copy of Schubert's Sonata d505/625, second
movement, which can be supplied only from the otherwise defective Diabelli
first edition), or by deliberate editorial decisions (there exist three
different endings to ?Compère's O bone Jesu in three Spanish sources,
none of them found elsewhere). In many cases, such decisions are taken by
someone other than the scribe, though they are still important for tracing the
function and date of the specific copy, as in study of the scores of Donizetti
and Bellini (where the decisions were presumably dictated by the singers
employed for the performance concerned).
In
many cases, the copyist planned the arrangement of his MS in advance. When the
cost of materials was relatively high (generally before 1800), the detailed
layout of the MS was critical to the cost of the work, and sometimes can be
shown to have been adopted to save space. Layout is also important for
performing materials: the sequential arrangement of voices in some of the
motets in the Florence and Wolfenbüttel MSS (F, W2),
involving page turns, precludes performance from the source alone. Similar
problems can still arise, for example for performers of string quartets.
In
an anthology, the arrangement of pieces or of groups will usually be finalized
at this stage, with decisions as to how many pages each is to take and whether
spaces are to be left for later additions. Interesting exceptions to this
include the copying of some Renaissance masses and some 19th-century opera
scores; in each case, every movement was copied on to a separate group of
leaves (or fascicle) and these were later arranged in order. The modern student
has to distinguish these from the MS made up from separate and distinct small
MSS (GB-Bu 5001 is an excellent 17th-century example).
The
copyist is then able to collect together his paper or parchment. Although some
18th-century professionals, like Smith, and perhaps the larger Renaissance and
medieval scriptoria, would have had a large and continuous supply of paper to
hand, most scribes collected a uniform batch of paper or parchment which would
be sufficient for the MS on order (this applies to at least one of the larger
Renaissance musical scriptoria, the Cappella Giulia). Much evidence for this
exists in the correspondence of professional (non-musical) scribes. Early
printers followed the same pattern. The paper or parchment would then be
subjected to two processes, one before the other, the order apparently
depending on the relative sizes of paper and MS and on the scribe's habits. The
material would be gathered into groups of sheets and folded into gatherings
(often of four or six sheets, although frequently of five in Florence), which
would provide the spine for later binding; guide-lines would be ruled upon it
for the writing. This latter was a complicated process, involving fine judgment
on the scribe's part. Complex patterns for the relations between height of
music and text and size of page seem to have been established as early as the
14th century, if the surviving advertisement page of an Oxford scribe is any
guide. The relationships were of course governed by the function of the MS –
solo or ensemble performance, private reading, or gift. The proportions have
remained important and still govern what we accept as attractive relationships
between the height of the staves, their distance apart and the length of note
tails.
The
scribe would normally rule first the vertical lines that define the margins to
the page, often with dry-point but sometimes in ink (as in D-Mbs
Mus.ms.3725, the Buxheimer Orgelbuch). Within these, he would also draw the
horizontal lines that marked the placing of the text, and sometimes the staves.
In the Oxford advertisement (GB-Ob e Mus.198*; fig.2)
a slightly more sophisticated pattern prevails. This MS is a display of the
various scripts, both text and music, that the scribe had on offer. After
ruling the vertical guides, he seems to have ruled a series of regularly spaced
lines across the page. He could then arrange for each size of script to take up
a different number of lines. This technique is designed for liturgical MSS, in
which more than one size of script would often be used on a single page, and
where the amount of music on the page varied considerably. It appears to be the
normal procedure in all MSS where music did not appear consistently throughout
the gathering, even down to secular ones of the 14th century. The only
refinement regularly adopted was the ruling off of a small area at the top left
to take an ornate capital letter, often a calligraphic initial drawn by the scribe.
However,
it seems to have been the practice to rule the staves after all the guidelines
had been ruled, and to align them by eye. The ruling normally involved the use
of a rastrum, a multi-nibbed pen drawing one or more staves at a time (see
Rastrology). Four-, five- and six-nibbed pens were common, to cater for the
normal range of lines to a staff; there is also evidence of rastra for drawing
several staves at once. Once bar-lines became common, in the 16th century for
scores and later for parts, scribes sometimes ruled them at this stage, as in
the two scores copied by Tregian (GB-Lbl Eg.3665: fig.3;
US-NYp Drexel 4302), with occasional consequent problems of spacing and
crowding. There are detailed ways in which the procedure was slightly different
for tablatures. The average lute tablature could be prepared in exactly the
same way, but new German tablature for the organ, for example, required a
different approach. So too did some choirbooks, where the arrangement of the
parts on the page affected the spacing of the staves. In some cases, most
probably, the staves could not be ruled up for more than one opening at a time,
so that the layout of the parts could balance according to how active they were
musically.
Once
the scribe began to copy, his skill and personal preferences had more scope. An
experienced copyist contrived to space the material so that the minimum of
paper was wasted: bars reached the ends of lines, and movements the ends of
pages, without significant squeezing or spreading of the music to confuse the
reader, rather than spreading on to a virgin page for just a few notes or bars.
(J.S. Bach was both very economical and surprisingly inaccurate at this: many
of his copies have a few extra bars squeezed on to an additional line at the
foot of a page: see Bach family, fig.8.)
Whether text or music was to be copied first was a decision made on the basis
of the nature of the piece. A syllabically set text, where the words would take
more space than the music, would prompt the scribe to write the text first and
space the music accordingly (as scribes seem to have been aware from the
earliest extant MSS); although there are many cases where a copyist had to
cramp one to accommodate the other, there are more where he seems to have been
able to copy one or the other first in different places according to the
musical style. In most 18th- and 19th-century MSS the music appears to have
been written first.
In
many MSS of the 14th and 15th centuries there are red and, rarely, blue
sections in the musical notation. The use of rubrication (a term derived from
the Latin rubeus, ‘red’) for texts is older and more widespread. In such
situations the scribe often seems to have left space for the later addition of
the red sections, rather than keep two colours of ink available all the time.
While
working through the MS the scribe made a number of additional marks on the
page, usually as reminders for a later stage. These may include small guide
initial letters, to tell the illuminator where to place his decorative work and
which letter was required (normally covered by the decoration); indications, in
the margin, of errors to be corrected later; a catchword, the initial word of
the next sheet or gathering, to ensure that they were arranged in the right
order (see fig.4), at the foot of a verso; small numbers
at the foot of the last verso of a gathering to ensure that the binder
collected the gatherings in the correct order (in some MSS these also appear at
the starts of gatherings, as for example in the Fayrfax MS, GB-Lbl
Add.5465). He might also add folio numbers, although that was usually done at a
later stage, after the leaves had been gathered together. The manner in which a
copyist did these things is as crucial for identifying him as is his manner of
drawing clefs and directs or his text and music hands.
In
most cases, the scribe's work was finished at that point, although some scribes
apparently went through the folios to correct errors. An economical or domestic
MS might now be ready for binding; in some intermediate kinds, the scribe would
draw in any additional calligraphic initials; and in other types the work was
ready for the illuminator. The only exception, common to all classes, was where
the scribe prepared an index of contents. This, of course, could be done only
after the MS was completed (or after a composite one had been compiled) and
sometimes even after binding. Often individual gatherings would be sent to the
illuminator when completed, rather than held until the whole was completed.
As
regards illumination, the tradition of music MSS joins with the main line of MS
preparation. The illuminator does not generally seem to have been the same
person as the scribe, although evidence in the Vatican Archives suggests that
he sometimes was (Sherr, 1975). Many scribes, of course, used colour and
occasionally the more complicated gold leaf to draw filigree and simple
decoration on their work, but that was a different class of work from
illumination or even floriation, both of which demanded skill with a brush as
well as a pen.
Because
illuminators also worked on non-musical MSS, it is possible to assign many MSS
to schools on the basis of their style. While some scribes have been
identified, and the work of others, still anonymous, have been found in several
MSS (Rifkin, 1973) and assigned to specific towns, it is through the detailed
study of illumination style that many MSS have been placed geographically and
even sometimes chronologically. Two early sources, the Montpellier and Florence
MSS (F-MOf H196: Mo; F), have now both been assigned to
schools of painting in Paris and other later MSS associated with known
illuminators (Slim, 1972; Avril, 1978). It is of course possible for MSS to
travel from the scribe to a different centre for illumination, although the
principal case recently advanced for a musical one (the Medici Codex, I-Fl
Acq. e doni 666) has been fairly convincingly refuted (Rifkin, 1973).
With
binding the position is similar: no binder made a living binding merely music.
There is however much less evidence here, for many MSS have survived
fragmentarily, sometimes even having been used as padding, wrappers or
end-papers for later bindings. Further, there was no reason for MSS to be bound
when copied and kept at the same place (particularly as many were kept as
separate fascicles, unbound until enough had been collected). A similar
situation prevails over later collections of salon music or chamber music parts
that were not bound until a convenient number had been collected. Other
collections seem only to have been bound once the music had ceased to be used.
Some bindings, however, were clearly made at the time of copying, and these can
yield as much information about the source and its origins as can the
illuminations. The most unfortunate (from the scholar's point of view) part of
the binding process is that in which the leaves were gathered together and
trimmed to provide a series of pages of uniform size and placing. Even in MSS
surviving in their original bindings, this has often resulted in the cutting
away of writing. Actual music is comparatively seldom lost, but the names of
composers regularly disappear, as do marginal annotations. With the repeated
bindings (and hence trimmings) that some MSS have undergone, the page can have
shrunk so much that even music may be lost.
Sources, MS, §I:
Introduction
4. Historical survey: up to 1600.
In
all periods and locations, there have been roughly standardized sizes and
formats for music MSS of the same type. The early Notre Dame sources are
surprisingly small; many Renaissance choirbooks are very large. Early polyphony
tends to follow certain arrangements on the page, whereas the very use of the
term ‘choirbook’ and ‘partbook’ for later sources implies different, specific
arrangements. The oblong (landscape) format that emerged around 1500 became
almost standard for opera scores, persisting well into the 19th century for
both editions and MSS in Italy, while a different, upright (portrait) format
prevailed in France and England. Collections of dance tunes and American hymn
books had similar shapes, designed for long coat-pockets, while hymn-books from
elsewhere followed traditions with quite different proportions.
Early
chant books, like the chant repertory itself, have many consistent patterns of
design. The arrangement of the books, like the liturgy they carried, shows
changes that are relatively minor compared with the more noticeable changes in
notation. The earliest surviving sources, described below (in §II), still show
signs, in their appearance, of the motivations that led to adding pitch
indications for texted music, as well as of the limited needs which that
notation was expected to fill. In many, the source was clearly planned and laid
out as a textual manuscript, and the musical symbols were added (perhaps
later), fitted between the lines of text. It is only as the musical
requirements grew more detailed, and the notation equally more complex and subtle,
that MSS had to be planned with the notation in mind. This was not achieved by
creating special layouts and formats or by providing different rulings for the
text and the music: rather the page was ruled up as before, and the music took
up a predetermined number of ruled lines. Early chant MSS of this type assign
the equivalent of one textual line to the music: with the development of stave
lines and precisely pitched notation, music took up proportionately more space,
and more text-line equivalents were allocated to it. In addition, space had to
be allocated for the rubrics, sometimes written below the staves, but often in
short gaps between two sections of staff. In such situations, the precise
location of music and staves on the page could not be known in advance. The
staves could only be ruled as and when needed (see fig.5).
These MSS, then, tend to have a uniform appearance, although over the centuries
there were marked differences in music notation and in size. The early MSS are
small in size, and French ones seem to be larger than German. That pattern does
not continue; later there is a wide range of sizes. These were presumably
related to the needs of the foundation that was to use the MS.
An
interesting exception to the normal patterns is provided by a small group of Exultet
rolls (for illustration see Exultet) written in southern Italy during the
11th century. Here the chant, to be sung by a soloist, is interspersed through
the roll with miniatures, which are upside down. As can be seen from a
miniature in the roll at the Biblioteca Capitolare in Bari, the roll dropped
over the front of the lectern, unrolling so that the paintings, scarcely
miniature in size, would be the correct way up for the onlookers.
The
emergence of polyphony imposed changes on the general pattern, although the
separate voice parts were not always copied together if the evidence of the
Winchester Troper (GB-Ccc 473) is any guide. Here the parts to be sung
with the chant are copied in separate sections of the MS. Most MSS, however,
keep the parts at least adjacent, and often in score. The scribe then found, of
course, that the music took up much more space than the chant had on its own.
The music tends to become cramped (as in W1 and W2),
staff lines are close together (sometimes they are almost continuous in score
pieces) and less space is left between works for ornamental calligraphic
initials. Indeed, in these, and in the Florence MS (F), the music is
often fitted around the capital letters, which suggests that the letter may
have been written by the scribe. The Florence MS is of considerable interest in
a study of scribal attitudes and work: while the organa are copied in score,
other works are laid out with consecutive parts, with page turns intervening;
the MS also shows evidence of having been copied in sections, with spaces left,
presumably for later additions. The layout and notation also suggest that it
was copied from several other sources, but that the scribe attempted to make
the arrangement of his new MS as systematic as possible. He also took great
care over the details, for there are many erasures and corrections.
The
changing nature of polyphony led to changes in the way in which it was arranged
on the page. While some pieces continued to be written in score (and indeed
score notation survived in England until the 15th century), works in which the
tenor moved markedly more slowly than the upper parts began to be copied with
the voices separated. The two upper voices of a three-part piece, often roughly
equal in length, would be copied in two columns, on one page or on facing
pages, while the tenor was written beneath the other two, in lines across the
foot of the page. (This highlights the manner in which changes in sources are
as likely to reflect changes in the musical style as changes in performing
practice.) This pattern seems to have been adopted at the very end of the 13th
century (it is found in some layers of the Montpellier Codex: Mo) and to
have been preceded by an intermediate stage in which all the voices were
written in adjacent columns, regardless of the number of notes involved. In
this situation (also to be found in the Montpellier Codex) the columns with the
tenor would often have few notes, thus saving very little space over the older
score arrangement; that is presumably why the new pattern was adopted.
Such
layouts seem to have remained customary only briefly. The Machaut sources of
the late 14th century show both of them still in use, alongside the two more
orthodox patterns that were being adopted and that form the basis of the
compromise arrangement of the next century or so. In the Machaut sources the
scribes faced several particular problems, and, because they appear to have
written several of the MSS in separate layers or fascicles, they could use
different solutions. The bulk of a copy consisted not of music but of the long
poems for which Machaut was most highly regarded in his day; these were often
written in two, and once in three, columns to the page. When a section was set
to music, it was not convenient to have such short lines; so the music staves
were regularly ruled across the page. In this situation, a polyphonic piece had
the parts arranged consecutively, one beneath another. In monophonic pieces,
the distance of the staves from each other had to vary, depending on whether
there were one or two lines of text to each musical line. Some of the purely
musical sections follow the same pattern, so that the consecutive arrangement
of parts becomes one of the accepted layouts. However, the Mass, in four
voices, was treated differently: here the scribe used the practice of having
one column for each voice, or, in one case, the then new choirbook pattern, in
which two voices appear on each face of an opening of the MS, one written
beneath the other. It can be seen that this is a compromise between older
patterns and the sequential arrangement, and it appears to have been adopted
partly because of the length of some movements: all four voices could not be fitted
on to a single page, as could the great majority of motet parts.
In
the 15th century this choirbook pattern gradually became the norm. For the
three-part pieces that form the bulk of the secular repertory, patterns of
arranging the voices developed that can almost be described as national in
origin; and naturally they were related to musical style. While the English,
with a style using at an early date two equal upper voices, tended to write
these parts at the tops of the two pages of an opening with the tenor beneath
the right-hand, shorter part (fig.6; although they would
still write in score if convenient), the French frequently placed the tenor at
the head of the right-hand page (see fig.39); the contra
would then appear beneath the tenor. The Germans seem to have retained an early
layout even with four-part writing during the early 16th century with the
bassus under the superius and the tenor beneath the altus on the facing page.
In all styles the superius seems to have been kept at the top left. There are a
few cases where the music is written across both faces of an opening, from top
left to the right, particularly in German keyboard tablatures.
There
are also a few MSS of this period that appear to have been parts of rolls (F-Pn
Coll. de Picardie 67; GB-Ctc 0.3.58; GB-Ob Bodley 652, if the
evidence of the stitch-holes can be taken). Each of these contains a different
repertory, suggesting that rolls may have been more common than has been
thought. There is some iconographical evidence for the use of rolls in
polyphony (Page, 1997), although they are more often shown used by angels or in
other situations that are clearly not realistic (perhaps reflecting a
traditional view of the transmission of the scriptures).
The
internal organization of the MS also came to concern scribes as they developed
ways of handling polyphony. Monophonic sequence collections sometimes show
evidence of having been arranged alphabetically, but that is less common in
polyphonic MSS, no doubt because few concentrate so intensively on one form or
genre. Some later English sources of motets may have been arranged
approximately alphabetically (that is, within the pattern of alphabetical
arrangement that the medieval scribe also used for indexes). From the 13th
century onwards, however, many MSS show signs of some sort of arrangement of
the material. The Notre Dame sources gather together organa, conductus,
clausulas and motets into different sections, planned as such; all but one of
the central Machaut sources arrange his music by genre, and within that in an
order that is consistent, and claimed to be chronological (Keitel, 1976); in
MSS of the late 14th and the 15th centuries the material is arranged by form,
mass movements being followed (for example) by other sacred texts, with the
secular items in another fascicle. This obviously helped the scribe, for he
would be able to work on more than one section at once, or to leave a section
until the next batch of music became available (as in fig.4).
Many later MSS show space left at the end of a section for the addition of
music. This is particularly true of those arranged according to the number of
voices; in both the Medici Codex (I-Fl Acq. e doni 666) and a set of
partbooks in Munich (D-Mu 4o Art.401) there are blank pages
at the ends of the sections with staves ruled ready for copying. In such a
situation the scribe could retain control of the plan of his MS only if he
worked in sections, regarding each as self-contained, and ready to receive new
music until such time as the MS was deemed to be complete.
The
existence of such gaps may sometimes relate rather to the well-attested
medieval practice of universities and stationers, whereby they held sources of
the more popular texts in separate unbound gatherings (or pecie) which
were then rented out one at a time for copying; this enabled more than one
person to work on the MS concurrently. Some music sources show clear evidence
of this in the way the text is spaced and in the placing of blank or partly
filled leaves. This practice is not to be confused with that involved in the
theory advanced by Hamm (1962), according to which small fascicles of music
were mobile, carried about Europe by itinerant scribes or musicians, providing
the copy from which resident scribes worked. There is evidence of such small
fragments from later periods. Some MSS of the 16th century in Basle,
Wolfenbüttel and other libraries, as well as the 17th-century source GB-Lbl
Add.30931, confirm that such small MSS were sent or carried around.
Other
factors of arrangement gradually became more important. Some of these are the
result of music taking its place alongside many other fields, as a suitable
subject for MSS of the highest quality, in both materials and presentation.
While early chant MSS already show the ostentatious display bestowed on Books
of Hours, for example, one of the first polyphonic sources to display rich
illuminations on high-quality parchment is the only musical source for the Roman
de Fauvel (F-Pn fr.146: for illustration, see Fauvel,
Roman de).
Similar elegant MSS preserve the works of Machaut, of English composers (the
Old Hall MS), or (in the Squarcialupi Codex) those of Italian Trecento
composers. Few similar MSS survive from the middle of the 15th century
(although they include some for the music of Wolkenstein), but soon afterwards
they began to be produced in relatively great numbers. The new affluence of
both princely and religious establishments encouraged their production as a
manifestation of their owners' importance. Thus such MSS survive from chapels
of the Holy Roman Emperor, Frederick the Wise of Saxony, the court of the
Medici in Florence and the Vatican in Rome, as well as from a number of
cathedrals. Similar MSS were also deemed to be suitable as lavish gifts. The
Cordiforme Chansonnier (F-Pn Rothschild 2973) or the Lucca MS (I-La
238) are early examples, and Margaret of Austria, Regent of the Netherlands,
seems to have made a particular habit of using a musical scriptorium to prepare
rich MSS for distribution all over Europe (see Alamire,
Pierre; see
also §IX, 16 below).
This
certainly affected details of the arrangement of material in the MS. An
important anthology designed for presentation to a potentate would, if
possible, open with something appropriate. This procedure, related to the
practice of dedicatory odes in collections of poetry, had become customary by
the late 15th century; the choice of text or composer was apparently made with care,
having a function analogous to the choice of saint to be honoured in motets in
other collections. In the same way, a secular chanson source often began with a
piece to a religious (if not liturgical) text. The pattern is so pronounced
that Slim (1972) could argue, on the basis of the pieces placed first and last
in the motet sections of the so-called Newberry partbooks (US-Cn Case VM
1578.M31), that their destination may have changed during the time of their
preparation; much the same could be argued for GB-Lbl Roy.8 G.vii, where
the first two motets relate to the French and the English courts, but the
second has had the names in it changed, after copying, from those of the French
circle to those of Henry VIII and his then wife.
In
some cases the process of choice was carried further, even to the selection of
the whole. In the Old Hall MS, blank pages were left for specific pieces,
apparently predetermined, for the ornamental initial letter was provided. A
chansonnier for Margaret of Austria (B-Br 228) contains music
principally by composers associated with her court, in particular La Rue. The
index page of the Medici Codex shows that certain pieces were included so that
their initial letters could form part of an acrostic; ones that did not belong
in the sequence were relegated to the next page of the index. Such a plan was
often distorted, and might thus be concealed from the modern reader, by changes
of plan, by lack of time for completion, or by the subsequent loss of a part of
the MS.
By
this time the status of the copyist had to some extent changed. With the
emergence from the shadows of composers of polyphony, and the establishment of
more and more institutions that could perform the music, composers and chapel
members began to be named in the archives as copyists. Du Fay apparently copied
music, as did many later composers. Spataro at Bologna, and other maestri di
cappella, had MSS copied for their cathedral and sometimes took part in the
work themselves. Senfl was employed at the imperial court for a while as an
assistant to Isaac in the copying of his music. While professional text scribes
(such as Coluccio Salutati) had achieved considerable status even late in the
14th century, few music scribes reached a similar standing. Alamire, working in
Burgundy, was one of the exceptions; other known scribes, such as those
employed at Trent, the papal chapel or similar institutions, appear to have
been rated lower than the singers whom they supplied.
It
is from the 15th century, too, that the first evidence appears of what may be
autograph copies by known composers. It has been argued that certain layers of
the Old Hall MS may be holograph, or at least have autograph corrections (Bent,
1966), while the inscription ‘Ysaac de manu sua’ has been noted in one MS (D-B
Mus.ms.40021; see Just, 1962; Owens, 1994). A single page probably in the hand
of Pietrequin has been identified (Rifkin, 1973), as have been corrections in
the hand of Carpentras (I-Rvat C.S.42; see Sherr, 1975; Dean, 1984).
There is an increasing number of holographs from the following decades (Owens,
1997); by the end of the 16th century, the changing balance between MS and
print means that more MSS that might be assigned to composers begin to appear;
but the limited evidence of composers' writing other than in musical MSS means
that their authenticity is often hard to confirm.
Also
during the 15th and 16th centuries there begin to appear MSS made, it seems,
for the copyist's private study. Glarean was clearly not the first theorist to
base his work on music he himself had collected, although his is one of the
earliest collections to survive (in Munich). Baldwin and Tregian were both
later copyists of large anthologies that were apparently not designed for
performance or presentation (GB-Lbl R.M. 24.d.2; Lbl Eg. 3665, US-NYp
Drexel 4302); another example in score is the so-called Bourdeney MS (F-Pn
Rés.Vm 851; see Bridgman and Lesure, 1958–61). The nearest to this in earlier
periods may have been the conscious preservation of specific repertories such as
survive in the Squarcialupi Codex.
The
earliest copies that can firmly be said to have been prepared for the use of
performers also date from the late 15th and early 16th centuries (if such
collections as the Robertsbridge fragment, GB-Lbl Add.28550, are left
aside, together with the few 15th-century German keyboard sources). Among the
earliest are some written in German keyboard tablature (e.g. the Amerbach
tablatures) or anthologies made by lutenists (of which Capirola’s, US-Cn
Case VM C.25, is a particularly attractive example). Their arrangement and
choice of repertory makes clear that they were not prepared for public show.
However, even in larger sources (such as Jan z Lublina's organ tablature, PL-Kp
1716), some method is normally apparent in the process of copying and the
arrangement of the repertory. There is, of course, no parallel to most of these
categories in early printed sources.
Coupled
with the emergence of copies that may have been prepared for performance is the
appearance of the partbook. This is usually one of a series of books, each of
which carries only one voice of a set of compositions. By definition, such sets
of books are likely to be intended for performers, for they are of little use
to scholars or students and are seldom lavish enough to be seen as presentation
MSS. (An early exception is the set of partbooks now divided between Cortona
and Paris – I-CT 95–6 and F-Pn n.a.fr.1817 – which were probably
prepared as a gift to Giuliano de’ Medici.) The earliest partbooks date from
the end of the 15th century, characterized by an oblong format, which was
quickly adopted by both printers and scribes. By the middle of the 16th century
most music was prepared in this form, so that the printing of Gesualdo's music
in score was an unusual phenomenon at the end of the century.
Sources, MS, §I:
Introduction
5. Historical survey: from 1600.
During
the later 16th century, as music printing spread throughout Europe, it was
accompanied by a change in the range of MSS. Music printing seems to have
become relatively cheap, first in Italy, then in Germany and the Low Countries
and, in the next century, in England. More collectors of music were thus able
to afford their own printed copies: MSS therefore came to be associated more
with the process of composition, with performance, or with repertories of
limited market, rather than with study or presentation or with those few
repertories (such as church music) that were relatively small but had a wide
dissemination. There are many significant pointers in this direction. While the
papal chapels continued to have MS collections, because the repertory did not
go beyond the Vatican, other cathedrals and churches in Italy increasingly
replaced their MSS with printed partbooks. The new sonata textures were
suitable for printing, too, although the consort repertory in England, with its
limited market, stayed in MS. Until the widespread adoption of engraving,
little keyboard music was printed, although that was more a matter of the
technical problems involved.
However,
throughout the Baroque era there were still many scriptoria and establishments
employing professional scribes. The collection of MSS made under the aegis of
Philidor (now dispersed to Paris, Versailles and Oxford) comprises a wealth of
music, both operatic and sacred, from the period of Lully, Campra and Lalande.
These MSS were copied in a uniform format and bound in sets, each with a
different-coloured cover. A leading English scribe of the later 17th century
was Gostling, whose partbooks survive (GB-Y M1/1–8). There appears to
have been a prolific circle of copyists in England throughout the century,
particularly of church music, which seems – with a few notable exceptions, such
as Barnard's anthology – not to have ventured into print (see Morehen, 1969;
Love, 1993).
In
the field of opera much of the music remained in MS, principally because
performances with different singers and in different towns would normally have
contained different items and recurring ones would have been sung at different
pitches. The copying of opera presented particular problems for the scribe
during the next three centuries. As long as operas were composed of separate
numbers, sometimes with distinct recitatives, the composer or director was
always able to change either whole numbers or parts of them. The scribe
attempted to arrange his copying so that substitution was as easy and
economical as possible. Numbers were often copied on to separate gatherings;
the paper for each was chosen to accommodate the scoring (see fig.7).
Consecutive numbers may therefore be preserved, in the same source, on paper of
different types, with different numbers of staves, in different-sized
gatherings, and often copied in different hands. The scribes who did this work
had a new status, often being on the staff of an opera house or retained by a
composer or group of composers. The most famous of them was perhaps J.C. Smith,
who copied (or organized the copying of) many of Handel's works. Others were employed
by publishers; others, themselves members of the opera house staff with access
to the music, ‘published’ their MS copies of opera arias. Perhaps the most
important publishing house dealing with MS copies of operas was the Naples firm
of Marescalchi, in the late 18th century. Title-pages were printed for their
works by a separate firm, Alessandri & Scattaglia, but the contents were
mass-produced by local scribes. The repertory comprised mainly popular arias
from operas in the Naples repertory. A much earlier example, apparently unique,
of an engraved title-page for a MS is that to Myriell’s Tristitiae remedium
of 1616 (GB-Lbl Add.29372–7).
During
the 17th and 18th centuries, the format and layout of the average MS had again
become somewhat standardized, although on different lines in the different
parts of Europe. The French tended to retain an upright format for all their
music, including opera and keyboard music. In Italy, parts for church music and
sonatas were printed and copied in the normal upright format, but opera,
keyboard music and later 18th-century orchestral music was copied in oblong.
For the last the parts retained upright format, but vocal scores of single
arias preserved the oblong shape, allowing more bars to be presented on a
single line. This applies as much to printed as to MS sources. The English
appear to have been less consistent, although oblong format is rare before the
advent of Handel in the 18th century. In Germany, too, the change in format
accompanied a general change in style. While Bach wrote most of his autographs
in the vertical format (but the Brandenburg Concertos and much of the keyboard
music are oblong, as indeed printed editions of the organ music still are),
Mozart consistently used the other shape for his orchestral music. It is
significant that, while he normally used oblong paper for his piano music, two
of the sonatas he composed in Paris are in upright format.
The
arrangement on the page of the parts for instruments and singers was also
largely formalized during the 18th century, although not according to the
pattern now prevailing (see Score). In a full score, the violins headed
the page, with the obbligato instruments set out within the basic plan,
followed by the lower strings. Solo singers and the keyboard in concertos were,
quite logically, written immediately above the bass line (see fig.8).
This was clearly standard enough to allow the copyists to plan their work
easily and rapidly. However, as a study of the Mannheim sources has shown (Wolf
and Wolf, 1974), many other elements of the work followed absolutely
traditional patterns: the supply of paper, the purely mechanical preparation of
the page for the music, and the way of making up gatherings and fascicles are
all consistent enough for the identification of the members of a scriptorium,
and all show evidence of a long tradition linking them with earlier practices.
In
the 19th century, the professional copyist was a full-time member of a musical
establishment and the provider of performing copies of operas, orchestral parts
or anthems for church use. Other MSS, increasingly, were amateur productions,
and they show this both in the undisciplined character of the hand and in the
apparent lack of experience in arrangement. Some publishing houses retained
copyists on their staff who would also copy music for house composers; most
still keep in stock much MS music, particularly parts for modern or less
popular works, which it will never be economical to print. To some extent the
printing of parts was facilitated once engraving became the cheapest method of
preparing copy: engraved plates could be kept on hand ready for reprinting as
needed, as type could not. This made the process much more economical for a
publisher and expanded the range of repertories that were economically viable.
In many ways, the engraver was the logical successor of the copyist; he had the
same problems of layout and the same flexibility in adjusting the spacing of
the work to produce a pleasing result.
The
emergence of photo-copying techniques saw a revival in the role of the copyist
in the wider dissemination of music, an effect that photo-lithography did not
have. Universal Edition was an important publishing house to begin producing
editions of music by modern composers that consist of reproductions of the
composers' autograph, and the use of copyists' work for photo-reproduction has
grown increasingly prevalent, particularly in fields (like early music
editions) where sales are relatively small. As a result there was a slight
revival of freelance copying, although most professional music scribes remained
attached to large institutions, opera houses, professional orchestras or
broadcasting companies.
New
approaches to notation have raised a number of new problems for the
20th-century copyist. This, of course, has happened in all periods, although
since the time of Monteverdi there have been few changes in the basic pattern
of music on the page. Even with the vastly more complex scores of the late 19th
century, or the considerably more detailed notation of the early 20th, the
copyist did not change the initial premises on which he based his work. The
difficulties of reading many such scores are all a consequence of this
traditional approach as, indeed, is some of the complexity of the notation
itself, for composers strove to overcome, with their notation, the limitations
of the score: many more accidentals, indications such as Schoenberg's
‘Hauptstimme’ sign, and the complexity of Boulez's rhythmic notations are
symptoms of this. It is only with the emergence of truly new ways of treating
notation that the scribe was compelled to break from tradition. Aleatory scores
with special notations for random or improvised passages (Lutosławski),
scores where staves appear and disappear or are arranged in a visually pleasing
design (Bussotti), scores that no longer use the standard symbols for pitch or
duration (Cardew's Treatise is a particularly attractive example; see fig.9), those that include new information, perhaps for
movements or actions (Cage, Ligeti) or require use of colour (Peter Maxwell
Davies, String Quartet) all imposed on the scribe the need to look for new
approaches to format and layout, in the way that those elements of modern
notation that concern only the theorist (ways of writing accidentals, etc.) did
not and could not. Among products of this new thinking were scores that
modified the traditional pattern in minor though vital ways (Stockhausen's Momente
and Mixtur, for example, where the use of staves is reconsidered; see fig.10) as well as those where the whole arrangement of the
music on the page needed to be tackled in a new way to assist legibility.
Some
of these new approaches have gradually become conventions: an increasing number
of scores drop staff-lines for silent bars, and the notations of aleatory and
improvised sections have tended to become more consistent. This is partly a
result of composers discovering which of the musical innovations of the middle
third of the century seem to have a continuing musical validity. But it is also
a function of the experience that they (and performers) have gained through
looking at each other's notations. In this respect, copyists and their
manuscript sources have had a significant impact on the contemporary
development of music notation. Whether this will continue to happen seems
questionable: indeed, the position of the copyist as a profession is less
secure. As composers have increasingly used computers while composing, and as
music software continues to become more sophisticated (producing excellent
parts directly from the score), the need for the traditional copyist decreases.
For the immediate future, some types of manuscript will continue to be
produced: foremost among them will be the sketches and some other working
documents of composers. Some other types of notation layout are still
stretching the abilities of computer software, and making excessive demands on
the time involved in input and layout. But, with the development of real-time input
from keyboards, as well as the increasing pattern of storing all computer data
as graphic files, it is probable that true handwritten sources will become
rare, perhaps restricted to composers' sketchbooks. Presumably, within years,
music-notation software will be sophisticated enough that it will allow each
user to develop an individual style and visual appearance: then some of the
characteristics of manuscripts that have been mentioned above will again be
found in the latest sources. Until that time, the traditional MS source would
seem to be entering a twilight existence.
Sources, MS, §I:
Introduction
6. The study of manuscripts.
The
study of the copying process, of the structure of MSS and of the habits of
their copyists are prerequisites to the study of the actual music in the
sources. Many of the comments above have been possible only because people have
studied MSS in this way. The MSS are, after all, the only evidence that we have
for the existence of a large part of our musical heritage, and many elements of
the music are preserved only by virtue of the scribe's decisions. If the source
is unique, the significance of annotations is obvious; however, even if there
are concordant sources, containing the same music, the significance of
structural detail of each is scarcely less. Any one may carry a number of
musical variants that can hardly be classed as errors, but must be assessed
(see fig.11 and ex.1). It may have indications for
performance (written-out ornaments, accidentals, more text); it may have
additional parts (Mozart's clarinets, or a si placet part to an
otherwise three-voice chanson); it may have a different selection of music (in
an opera, for example). In each of these cases, the circumstances under which
it was copied are of musical importance. Each MS represents a unique
combination of time and place of compilation; if this combination can be
determined, the readings assume greater significance. Further, a study of the
copyist's habits as seen in the MS may establish much about his reliability,
his musical literacy, his taste and the type of thing he tended to change, and
even the points in the source (such as immediately after changing line or page)
where he was most prone to make mistakes. All these things will play their part
in assessing the significance of the musical versions preserved in the sources
– and this is no less true of a composer's autograph, for the composer was no
less prone to error and accident than was his professional but probably
disinterested colleague.
A MS
has also to be considered in relation to any printed source of the same music.
It may well be an autograph and yet carry less weight than a first edition that
the composer supervised. That applies to certain Handel texts, and to several
Mozart and Brahms works where changes (ornamentation, dynamic indications) were
introduced with evident authority. Beethoven certainly saw proofs of some of
his editions, and Tyson (1963) has argued that the London editions that he did
not see still have some variant readings which should be given high authority.
An analogous case in which the degree of authority of early MSS has been hotly
disputed is that of Verdi's and Puccini's operas (see Vaughan, 1961). Few MSS
that were demonstrably used as printer's copy survive from before the middle of
the 19th century. When such exist (and the majority are now preserved in the
archives of publishing houses; Ricordi has a large collection of opera scores,
apparently with proof copies as well), they are instructive about the
relationship between MS and print.
One
of the most significant and perhaps most rewarding aspects of MS study concerns
study of the copyist as an individual. Sometimes a copyist can be attached to a
name, with a career and other MSS; more often he remains a cipher, an anonymous
writer who can nevertheless be placed in an institution or a decade, or who has
other MSS to his credit. In these cases, the significance of everything that
can be learnt about the structure of the source is multiplied, for it can be
placed alongside the work of his contemporaries or his own practice elsewhere.
Recent and important work has been done in this direction in a number of periods.
For the Renaissance a complex of MSS copied at the court of Margaret of Austria
has been isolated, as well as a clutch of relationships among Neapolitan and
Florentine MSS, that lead to detailed studies of repertory and scribal habits
(Rifkin, 1973; Atlas, 1975–6). The study of the Mannheim sources has given an
added authority to many MSS that preserve the music of composers active at that
court. The identification of the scribes of many English 17th-century sources
has, in a similar manner, thrown considerable light on the spread of new styles
from the court to other circles around the country as well as on the influx of
Italian influence (Willetts, 1961; Morehen, 1969). In the case of Gaffurius at
Milan and Spataro at Bologna, the identification of the MSS that they arranged
to be copied has provided valuable information about the music likely to have
been performed at their churches while they were in charge. Identification of
scribes can go further: for the Washington and London frottola source (US-Wc
M2.1 M6 Case, GB-Lbl Eg.3051), the Cortona and Paris partbooks (I-CT
95-6, F-Pn fr.1817) and the Oxford and Cambridge fragments (fig.12), for example, the identification of an anonymous
scribe, as much as the arrangement of the MSS, has enabled modern scholars to
link fragments together as parts of single MSS that had become separated.
This
identification is specially exciting when it concerns a known composer. The
study of composers' autographs is in some ways a little different from that of
other MSS. It is more often concerned with the ways in which the autographs
reflect the compositional process (Marshall, 1972; Bailey, 1979; Owens, 1997)
or show the development of a composer's style. It may also throw important
light on the order in which different works were composed; such techniques have
caused radical changes in, for example, the accepted chronology of Bach's works
and of details in Mozart's (Dürr, 1957; Tyson, 1987).
It
is often not possible to identify a scribe or to relate him to that of another source.
However, he can always be placed, both in a historical period and (more
tentatively) in a geographical area, from a study of his style as much as from
a study of the papers he used. The manner of laying out a page has changed over
the centuries, as have such details as the normal manner of writing clefs,
accidentals and directs or the patterns of text spelling and orthography: these
can be used alongside an analysis of the handwriting and of the bibliographical
format to give a close indication of when and where the copyist was working.
A
change of scribe within a MS will more often mean a different layer of work
than two scribes working together at the same time. There are times when the
change coincides with changes in paper and repertory, and it is evident that
two completely different MSS (with different origins and intentions) have been
subsequently bound together. Especially in the case of late collections of
songs and short piano pieces, some present-day bindings contain numbers of
separate short MSS (and often also printed editions), each containing only one
item, and all of various origins. But in other cases, where the change of
scribe coincides with a change in paper or layout, we are dealing with no more
than a break in the process of copying. Anthology MSS, often copied over a
relatively lengthy period of time, regularly show changes in handwriting, while
many 19th-century anthologies contain individual pieces entered by different
scribes. However, analysis of handwriting has its own pitfalls, and changes in
hand not supported by other evidence have to be handled carefully. Many scribes
working before the mid-19th century (and later in German lands) regularly
maintained more than one hand, and some (particularly obviously in non-musical
sources) kept the two distinct, using them for different purposes or
repertories.
Alongside
the handwriting, other codicological evidence will often provide a clear
demonstration of the number of layers into which a MS falls, that is the number
of separate sequences of copying (regardless of whether or not they represent a
continuation of the same original plan). One critical piece of evidence here is
the paper. For many years, watermarks have provided an important element in the
study of all paper MSS, although the limitations in their interpretation are
becoming increasingly clear (see Watermarks). While the presence of a
mark in a dated source says a little about the possible date of other sources
with the same or ‘very similar’ marks, it seldom says with any certainty much
more than can be deduced from a study of other elements of the source. However,
the pattern of papers within a MS (or edition) may often be revealing. The
marks in the last two gatherings of the Codex Reina (F-Pn n.a.fr.6771)
are distinct from those in the rest of the MS. It is no surprise to learn that
these gatherings were an independent fascicle, copied by a different hand;
however, the earlier fascicles use four papers, one of which seems to be a
later insertion, possibly to replace errors on the original pages. Similarly
instructive is the fact that one paper in the Tregian MS (GB-Lbl
Eg.3665) has a date in the watermark, but that it is one of the papers that was
pasted over the original, to correct an error. The different marks in some
Mozart scores (Tyson, 1987) have thrown interesting light on the order of
composition, and the presence of certain marks has proved as useful as the
identification of scribes in the Mannheim complex of MSS.
There
are other strands of evidence that can help as guides to the chronology of a
MS. Some are written on printed MS paper: changes in the rulings on the paper
can be used to distinguish layers of a MS. This is particularly valuable for
MSS of works which comprise distinct movements – for example, 18th-century
opera, song-cycles, sets of piano pieces. If the copyist used a rastrum, it
would sometimes need to be replaced. In the published facsimile of Stravinsky's
sketches for the Rite of Spring rastra of different sizes can be seen,
although it is by no means certain that they represent different stages of
work. But a large MS will often show changes of rastrum and of other pens and
inks. This sort of analysis has been used on Bach MSS and in the classic study (Köhler,
1967) of the stages of composition of Acts 1 and 2 of Le nozze di Figaro.
Once
conclusions on the order of work have been reached, the plan of a MS often
becomes clearer. Then the scholar turns to the contents to determine how far
the accuracy, the musical literacy and the independence of the scribe can be
trusted. Few scribes sink to the level of an early 19th-century Englishman, an
amateur who wrote a complete piece in 6/8 as if large sections of it were in
5/8; professional copyists preserve at least the appearance of accuracy. Even
they, however, are prone to error: often there are sections in MSS that seem to
make little sense or where the scribe appears to have attempted to cover up an
error. Some scribes appear to have been sufficiently literate musically to
realize when a source was defective and to abandon copying (as in the case of
Hugo de Lantins' Tra quante regione, GB-Ob Canon.misc.213).
But
errors are by no means the only ways in which MSS of the same piece can differ
from each other, or raise problems for the modern editor. In all periods, there
have been notational conventions, well understood in their time, that have not
survived to the present day. Among well-known examples are the omission of dots
of addition in some mensurations (a practice even found as late as the early
19th century), the simplified notation of double-dotted rhythms, or that of notes
inégales. More obscure, and therefore sometimes less well understood today,
are the apparently casual approach to accidentals in the 17th century and the
handling of key and time signatures during both the 17th and 18th centuries.
Alongside these are some pairs of notational devices which seem to have the
same meanings for performers – the presence and absence of ligature patterns are
an obvious example, as are some sequences of mensuration signs (a similar
problem can be encountered with beaming patterns in 18th- and 19th-century
music). For any given composition, these can vary from source to source. It
must be assumed (unless the results are musically impossible) that the copyist,
or an editor who guided him, was musically literate enough to make competent
decisions, and to take into account the reactions of his readers. The modern
scholar is thus faced with the dilemma of trying to discern a possibly
different meaning for the performer in each of the versions. These variations
correspond to those in literary texts, where such ‘spellings’ can similarly
represent now obsolete patterns, or sets of contemporaneous variations, which
may or may not have had significance for the reader.
Until
such time as the composer's word was considered definitive (as late as the 19th
century for some repertories), the scribe felt free to make adjustments, to add
ornamentation, to alter anything that displeased him and generally to ‘improve’
on the copy from which he was working. The range of changes made by the scribe
reveal much about his musical acuity or incompetence. But, in addition, they
also reveal a great deal about his musical background. While some changes –
adjustments to a melodic line to limit the range, for example, or the
deliberate simplification of complex rhythms or notations – apparently reflect
special circumstances, others are more probably to be seen as unconscious
reflections of the scribe's own normal preferences. One scribe will tend, in a
majority of cases, to add ornamentation while another will remove it; one will
give extra guidance on musica ficta while another will indicate a
different tradition, or will think such aids to performance unnecessary. In
some cases these differences and patterns of change can be associated only with
the scribe: in many others, however, they can be found in several sources,
related by geographical area or by being associated with a single performing institution.
This
sort of analysis goes hand-in-hand with traditional approaches to textual
criticism, with filiation or stemmatics (see Musicology,
§II, 3), used
to group sources. The grouping will reflect the readings found in the sources,
making allowance for the editorial habits discernible for each scribe, as well
as any limiting paleographical or codicological evidence. This grouping then
tends to produce sets of versions of compositions which plausibly lie close to
a composer's (possibly lost) version, as well as other sets that are further
removed, perhaps because they reflect the regional or institutional performing
tradition. Such work has been done for 15th-century chansons (Atlas, 1975–6)
and for 19th-century opera (Gossett, 1970): similar studies have begun to
reveal some otherwise unretrievable information about performance practice in
various institutions during the 16th and 18th centuries.
Many
MSS, now anthologies, were compiled from more than one earlier source, with the
scribe selecting from each such pieces as he required. In these cases, the
sorts of analyses outlined above have to be carried out separately for each
composition, since each may have come from a different exemplar. In many MSS,
now arranged sytematically by genre, number of voices, or approximate
alphabetical order, adjacent compositions can have had very different
provenances; similarly, any group of works that lay together in the exemplar
could be far apart in the MS to hand. In others, the arrangement still shows
some traces of the earlier sources: Hamm (1962 and elsewhere) has pointed to
groups of pieces with consistent origins, which apparently travelled together
and have survived together in extant MSS.
Coupled
with the codicological evidence, this type of study can sometimes indicate that
certain pieces were later additions to the MS: particular arias can be assigned
to later performances, or short works inserted into spaces in a MS can be shown
to be later in composition or in the versions as copied. In other cases,
smaller changes are obviously made later: this is particularly true when
corrections or additions are made by a different scribe in a later handwriting,
or when a piece of paper has been inserted or pasted over the earlier text. A
famous case concerns the revisions made to Don Carlos, in Verdi's hand
but clearly later than the original (see Günther, 1972; Porter, 1971–2). There
are instances, however, where the decision is much harder. Erasures or
corrections of individual notes or words may appear to be in a different ink,
but often there is not enough to determine whether they were written by a
different scribe. In the case of the Sumer canon, the notation seems to
have been radically altered, and it has been suggested that the notation of a
piece in the Roman de Fauvel was altered by the addition of tails to
some notes. Sometimes it is possible to point to deletions from a MS even where
erasure has not left evidence on the page. This can be done by bibliographical
analysis, detecting pages taken from the source, as in the Fayrfax MS (GB-Lbl
Add.5465); by detailed analysis of the contents of the source; or by comparison
with a concordant source (especially in the case of partbooks). It is always
important to assess whether such changes were made during the process of
copying (perhaps as a result of checking for accuracy), or whether they
represent a later decision, for example as a result of performing experience.
There
is clearly a symbiotic relationship between codicological and paleographical
study of a MS, on the one hand, and study of the textual contents, with all
their unique or generic features, on the other. The former will almost
certainly place the MS more accurately, geographically and historically; it will
always provide details relevant to the merits and failings of both the MS and
its contents. Study of the contents yields information about the music, about
whether this version is acceptable or the directions in which it is biassed,
and about its relationship to the versions in other sources. The two, taken
together, may well raise a particular MS to the status of an authoritative
source, sometimes a unique representation of a performing tradition, sometimes
even a holograph; they may equally well relegate it (autograph or not) to an
almost irrelevant position in the history of the music it preserves.
Sources, MS, §I:
Introduction
7. The content of musical manuscripts.
Because
of the unique, ‘one-off’ nature of almost all music MSS, we have to examine and
evaluate their contents in ways that differ from our view of printed sources.
We can normally assume that any MS had a particular function, and that it was
created in response to a specific need. Especially once printed editions became
the principal medium for dissemination and use (sometime during the mid-16th
century), any MS represents a particular unusual circumstance. Obvious examples
include a composer's sketches and drafts, arrangements for special performing
ensembles, or repertories which (like that at the Cappella Sistina) were not to
be disseminated: but these are only special instances of a more general case.
As a result, the details of the music in such MSS will also carry an additional
significance. In other words, the MS is a document of unusual historical
importance.
With
composers' holographs this importance is self-evident, and even extends to the
physical appearance of the MS. We feel that we can detect something of
Beethoven's personality in the barely legible scrawl with which he covered the
pages of his drafts, even coming to see the power of the inspirational force
that drove him. In the same vein, we want to read something into the various
handwritings and levels of organization and tidiness in other composers'
holographs. However, this is far from being the real value of these documents:
instead of inspiration, they show us the hard work of composition. A sketchbook
by Beethoven or Berlioz, Webern or Stravinsky, shows thematic ideas being noted
down, altered and tinkered with, or kept in reserve until a suitable context
emerges. The context is itself often the focus of much hard work (visible on
the page), as chordal progressions, instrumentation or details of the
extensions to melodies undergo a series of changes. For many composers, the
following stages of work, often scattered across a number of sources
(containing longer sketches and drafts, experimental series of juxtapositions
and developments of material), provide the best evidence we have for their
musical priorities (Anderson, 1990). Other, complete copies, written when the
music was apparently regarded as in an acceptably performable state, still
often show changes of detail (and sometimes more). The piano part in the
holograph score of Mozart's Piano Concerto k491 famously
includes a number of variant versions for passage-work. Significant musical
changes can also be found in otherwise fair copies of music by Bach, Handel,
Schubert, Chopin and virtually every other major composer.
The
details on these sources, and (equally importantly) the manner of their
presentation, provide musical evidence on two levels: at the more obvious, each
gives an insight into a composer's preferences – the merely acceptable giving
way to a series of trial improvements, themselves sometimes later rejected. At
the same time, the sources tell us a great deal about general compositional
procedures and stylistic features of the time. Compositional sketches from the
16th century, while confirming that composers worked phrase by phrase and were
concerned with imitation and text-setting, often show little evidence of
large-scale thinking (Owens, 1997). The autographs of Mozart or Liszt, however,
show in different ways how important formal structures had become for
composers. Sketches and drafts by Webern stress the manipulation of the basic
material, so that a satisfactory blend of form and content will be achieved,
and also indicate the extent to which he was interested in creating a lyrical
style: in the same way, his revisions to his fair copies show that musical
concerns were always paramount (Meyer and Shreffler, 1996). The preparatory MSS
for John Cage's works, though they often contain no musical notation, clearly
reveal exactly how he went about creating/preparing a new piece (Pritchett,
1988).
The
structure and format of these working holographs are necessarily a product of
the special needs of the moment: a composer's first sketches are both more
amorphous and more variable than orchestration drafts, and this shows in the
layout on the page, and even in the pattern of staves and white space. MSS
copied at a later stage in the compositional process will often be more
systematic in organization and layout – at least initially: rulings will be
more consistent, for example. This organization is still revealing, for it
indicates the composer's expectations at the time, perhaps allowing (in the
spacing on the page) for further revision, perhaps having to be modified as
work progresses. Here, again, detailed study of the document shows that the
content of the manuscript carries more information than a single
straightforward version of a composition.
Indeed,
almost all musical MSS do this. They give us information on several levels:
first is the identification, or at least the characterization of the intended
recipient or user; second is an indication of the type of use to which the MS
will be put, perhaps a liturgical occasion, a Victorian drawing-room soirée, or
a professional choral concert; third is some guide to the competence or
specific technical weaknesses of the planned users; and finally there is some
indication of the level of prestige accorded by the recipient to music in
general and to this repertory in particular.
Most
MSS will tell a scholar a certain amount about each of these elements of
musical culture. MSS that contain anthologies of music will often tell a great
deal more. The process of selection usually produces a collection that is
homogeneous in one respect or another – music for Vespers, Renaissance love
songs, Baroque duets that are suitable for two sopranos, virtuosic (rather than
simpler) violin sonatas, or simple folksongs and semi-opera songs from around
1800 and within the range of an amateur singer. These define the function of
the music, or the skills and abilities of the performer. The selection will
also reveal something of the musical milieu in which the anthologist moved: the
motets may be all by Flemings, or musicians working in northern Italy; the
violin sonatas may be collected principally from the Netherlands or the
Austro-Bohemian orbit; the popular song collection may draw exclusively on
material that had been published in London or Dublin just before its
compilation.
These
are simple, clear-cut cases: for many anthologies the situation is more
complex, for the music and its sources or style are more varied: at the same
time, analysis of the selection can lead to interesting historical conclusions:
a manuscript copied in Rome in the 1510s and containing music by composers
working at the French court (I-Fl Acq. e doni 666) is a testament to the
popularity of things French in the circles of the then Pope, the Medicean Leo
X; the presence of works by Dunstaple and many other Englishmen in the Trent
Codices (and other contemporary sources) documents the enthusiasm with which
many continental musicians and patrons responded to their music; copies of
London stage-songs in a MS copied in Baltimore soon after 1800, or in American
Moravian MSS of the same epoch, reflect the continuing enjoyment of English
culture in the newly independent American states.
A MS
of a single work – one opera, a symphony, a mass – would seem to offer less
scope for this sort of historical enquiry, It is true that we can learn less
about the milieu in which the MS was prepared, or about local tastes in music.
However, such a MS can reveal as much as the anthology can about the affluence
of the owner, about his or her musical competence, about the scribe's abilities
and accuracy, or about the MS's destination, in performance or archive. Partly
this is a result of the level of elegance of the MS, and of any evidence it
shows of being intended for (or having been used in) performance.
But
even more it is a result of a study of the contents of the MS, which may
reflect a particular performing situation. For example, it has been argued that
the absence of multiple vocal parts for Bach's Mass in B minor indicates that
it was sung by solo voices; and that the lack of cello parts for Mozart's
Haffner Serenade result from it having been composed for outdoor performance.
An individual MS, after comparison with other sources of the same work, may
reveal a different version, or a new set of ornamentation: this can sometimes
be assigned to a performer, a city or a local performing tradition. Finally,
especially in early music, the ways in which the contents differ from those
found in other MSS or editions are a direct reflection of the transmission
history of a composition, aiding us in understanding a possible original form
and its evolution as tastes changed (see Musicology,
§III, 2).
It
might seem that the content of some MSS is not significant to the same extent:
such sources would be manuscript parts prepared from a score, or the MSS
prepared in bulk (especially in 19th-century Italy) for sale in the manner of
printed copies. Yet, in their own way, each is strongly indicative of its
destination. The parts will carry many details not found in the score, and
often will contain significant changes – deletions of sections or the addition
of arias to meet local requirements. Recent study of Mahler's performing
material for Beethoven's symphonies has provided a detailed picture of the
taste of Vienna of the time. Similarly, MSS written in bulk will necessarily
contain a very carefully judged assessment of the musical taste and abilities
of potential purchasers, usually cultured amateurs.
For
all MSS, therefore, study of the content, its arrangement, its defects and
derivations from other versions, will present a picture of the user, the
intended use, and the place of the music in local society. Coupled with a
similar study of the paleography and codicology of the source, this will help
to accord a MS its rightful place in the history of taste and style, and in the
society which produced it.
Sources, MS, §I:
Introduction
8. Manuscripts in musical society.
By
virtue of its character, a manuscript presents very precisely the effects of
social forces on music and its preservation. By its structure, the quality and
level of its presentation, its repertory, its notational complexities or
simplifications, its subsequent history, and most importantly its very
existence, each manuscript carries evidence of many musical and social issues
of its time. The copyist, as much as the originating force (patron, composer or
performing institution), is responding to those issues and creating traces that
we have recently begun to explore with increasing interest.
An important
aspect of the existence of musical MSS, both of their creation and of their
survival in collections, involves the interests and concerns of their original
(and later) owners. Certainly, for much of the period before 1700, the
ownership and use of books (of any sort) conveyed a clear message: at the
least, with the possession of a Bible or psalter (in Reformed countries) or a
Book of Hours, the implication was that the owner could, and did, read. In many
households, there were few other books, although recent research (in, for
example, collections of inventories at death) has shown that a surprisingly
large proportion of the population did own a few books. At the other end of the
spectrum were those who collected, and perhaps needed to use, a library of
books. These owners largely fall into three groups – affluent collectors
(royalty, nobility and the like) for whom beautiful books were another
manifestation of their status; institutions (merchant companies and guilds,
legal organizations, cathedrals) which needed manuals, textbooks on accounting,
service books, or records of past deliberations, and who regularly produced
manuscript accounts of their own decisions and doings; and scholars and
professionals (lawyers, theologians, doctors and also members of monastic
houses) who needed to have reference collections of scholarship as well as the
basic texts and documents.
Most
surviving musical manuscripts come from one of these three classes of owners:
while this is evidently true for sources from before 1600, it remains so for
later sources, if we include composers' manuscripts and professional
performers' sets of parts. By contrast, there are few traces of notated music
in the possession of the semi-literate or the average working household, at
least before the 17th century, when psalters began to be notated and
broadsheets with music circulated more widely. But the single major exception
to the three categories listed above is that of the performer. While, by the
15th century, professional performers must regularly have owned music (or at
least have had access to it, through an institutional collection), amateurs
only gradually showed an interest in copying and owning specific compositions.
The rapid growth of amateur music-making was primarily supported by the similar
expansion in music publishing, and has left only sporadic evidence of
manuscripts in amateur possession. A number survive from German-speaking
countries, and are a reflection of the different place that music held there
after the Reformation, as a necessary and influential part of a general
education. Another interesting example involves the presence of a collection of
pieces in a 16th-century mariner's anthology (Leech-Wilkinson, 1981), but some
other rough-looking books that include music among other items (such as GB-Cu
Add.5943) can be shown to have belonged to institutions that would habitually
own libraries. This pattern changes with time, of course, so that there are
relatively many more MSS from amateur ownership dating from later periods:
perhaps lute music is the repertory where this happens first.
For
many owners, including institutions, the musical manuscript seems to have
carried some special cachet: the idea appears early that the contents are
important in some special way. Machaut, writing to Peronne, promises to send
her a manuscript of his songs, to be sung exactly as they are copied: the early
autograph of Henricus Isaac, with an owner's inscription, must be one of the
earliest examples of a musical autograph being valued for itself, as much as
for its contents.
But
there are other signs that musical manuscripts were highly esteemed, and used
for preserving special contents. A number of institutions chose to keep their
music in manuscript: the most famous example is that of the Vatican Chapels,
made notorious by the story of Mozart copying Allegri's Miserere after
hearing it once. Since the music had not been published (and was in any case by
then being sung in a different version), he could not otherwise have studied
it. This attitude on the part of the Vatican authorities seems, in fact, to
have developed relatively late: the musical repertory was certainly being
printed during the 16th and early 17th centuries, although the Cappella Giulia
and Capella Sistina themselves sang from manuscript copies. Indeed, a number of
institutions seem to have preferred to keep their music in manuscript, without
feeling exclusive about the contents: manuscript copies survive, for the 16th
century, from many of the major cathedral sites of northern Italy (Casale
Monferrato, Milan, Modena, Padua, Ravenna and Verona), from a number in Germany
and further east (Augsburg, Bártfa, Grimma, Jena, Munich, Wittenberg), and from
a few in other parts of Europe (Cambrai, 's-Hertogenbosch and Montserrat are representative
examples), and in a number of cases it can be demonstrated that these MSS were
copied directly from printed editions of the music. In some cases, this may be
because the printed sources were only available in a small format (and
therefore not convenient for a larger choral body), but this is far from true
in every case. The singers, or the institutions themselves, apparently
preferred to have MSS copies, even when the printed books were easily
available. While there are some cases of major collections of printed editions
– for example, the one used by members of the Accademia Filarmonica in Verona –
these seem to be in the minority, and to be tied to specific types of function,
for analytical study, or more often for amateur music-making. Thus the personal
collections amassed by Georg Knoff in Gdańsk or Paston in England were
apparently made available to local musicians.
This
apparent interest in collecting music in manuscript persists through the 17th
and 18th centuries. It has to be distinguished from the very different
situation in which whole repertories were deemed not economically viable for
printing: Italian cantatas in the 17th century (as opposed to sacred motets and
mass settings), solo instrumental music throughout the period (as opposed to
ensemble canzonas and ricercars), and parts for orchestral music (as opposed to
chamber music). To some extent, there probably was a smaller market for all
these repertories: but the pattern sometimes also reflects the phenomenon
mentioned above, that the owners of these compositions did not want them to
circulate widely. In the case of solo virtuosos, for example, everything was to
be gained by keeping show pieces from too wide a dissemination.
Indeed,
the act of keeping a composition in manuscript made the music more personal,
less ‘public’. The music, or at least the version preserved in the MS, could
not circulate among friends and rivals without permission, at least in theory,
ignoring the possibility of unscrupulous copyists. Mozart was aware of this
last problem, more than once sending MSS to his father with strict injunctions
to control the making of other copies. In other cases, the version itself was
the important factor, containing personal embellishments and ornaments,
providing a different accompaniment, allowing one band or group to develop a
distinctive sound. Something of this prestigious nature of the owned MS comes
across with the occasional appearance of the name of a purchaser inscribed on
the title-page of individual copies of published MSS of Italian arias, with the
apparent implication that the MS was individually prepared for the purchaser.
If
the possession of musical manuscripts tells something about the status of
music, musicians and owners, so do many aspects of the way in which those
manuscripts describe and present the music they contain. The pattern of making
attributions to composers has changed over the centuries. Several significant
instances of change all attest directly to the manner in which the MSS reflect
music's status, and are themselves important bearers of social messages. For
example, early MSS of polyphonic music rarely cite a composer's name, and many
attributions come from elsewhere, from treatises (which do name the authorities
they are citing, even when these are composers) or other writings. The first
significant exception concerns those collections of songs which are found
juxtaposed with poetry, in MSS that are planned primarily as poetic
collections. Since poets were named much earlier, and since these sources seem
to have served as repositories of the works of major poets, we find names also
attached to the musical settings. In most cases, in the trouvère and similar
repertories, it is not always clear that the composer was the same person as
the poet, and some poems survive with different musical settings in different
MSS. Evidently, the poet and his or her poetry still had a status that was not
being accorded to the composer and the musical setting, and this holds
throughout the greater part of the 14th century. Those works for which we
assume the poet was also composer, by Jehannot de L'Escurel or Machaut for
example, are regularly collected in, and presented as part of, a poetic
anthology. The change to citing composers' names, found towards the end of the
14th century, implies a change in the status of the composer, and of the music
vis-à-vis the text. The change can be found in Italian sources, after the
mid-century Rossi Codex, and then with increasing frequency. Since these
sources supply attributions to earlier composers, it appears that the
transition in a composer's status had occurred around the middle of the century
(see §VIII, below). A similar change can be seen
in French sources of the end of the century, with the interesting additional
point that many polyphonic settings of liturgical texts also carry composers'
names (see §VII). The change may have occurred
even later in central Europe, to judge by the evidence of attributions to
Wolkenstein's contrafacta of other composers' chansons. Some of the MSS for all
these repertories may be archival copies, preserving the record of compositions
of major artists, and others (such as the Squarcialupi Codex) are still
arranged as were early poetical sources – with the collected works of each
individual gathered together – but the presence of names must be indicative of
a new status for music and musicians. No longer, apparently, was music an
ancillary feature, a support for the liturgy or the necessary vehicle for
poetry: it now had a status of its own, and (as a result) so did the composer.
As
the composer acquired status, the habit of assigning composers' names to
compositions itself gained in importance, and the message that the given name
carries is increasingly significant. One of the ways we know that English
composers and styles had gained enormous prestige on the Continent by the
middle of the 15th century is that anonymous compositions are freely ascribed
‘de Anglia’, and even added to the catalogue of known composers (not always
consistently: the same work can be ascribed to Benet, Dunstaple or Power in
different sources). This habit of assigning works to well-known or popular
composers continues for at least another century, adding considerably to the
bibliographical problems facing scholars of the music of Josquin, for example.
In these cases, the MS is telling us more about the status of the composer
named, and about the desires of the owners of the source, than it is about the
music itself. (There are still echoes of this view in the tendency of modern
scholars to want to attribute anonymous works to the most famous of possible
composers, and to link significant MSS to their milieux.)
Composers
have also, at various times, been given their professional qualification: ‘Dr
Bull’ in the early 17th century can be compared with ‘Dr John Stevenson’ in the
19th, or with the addition of phrases such as ‘Master of music at’ in the 18th.
Each of these is asserting a certain kind of professional standing for the
composer, of competence or brilliance for the composition, and a corresponding
authority for the manuscript bearing the annotation.
Similar
sorts of changes appear in other periods: one concerns the ways in which dance
tunes are titled, the titles changed, and the names of patrons, dancers or
composers attached. In the decades around 1600, a composition headed as Almande
d'amours in several sources appears as Die schöne Sommerzeit in
another; the French Almande Nonette is transferred to England as The
Queen's Almaine; the tune Hunt's up also surfaces on the Continent
as Anglicum or Ein Anglicum: Kom mein Liebchen. Other works
acquire this specific regional association, indicating something about the
provenance and fame of the original. For example, Fortune my foe is not
the only one of Dowland's works to survive in continental MSS with the epithet
‘Angloise’ or ‘Englesa’. Once again, the adjective implies a criterion of
quality, or at least that English dances were admired and collected simply
because they were English.
These
sorts of changes are not primarily significant, in most cases, for the history
of musical style: the compositions are paralleled by others that are similar,
and with these others make up a stylistic picture. Rather, the changes and
attributions are reflections of the social status of music and musicians, and
sometimes of the relative status of music or composers from specific regions.
This
evidence can be contrasted with a later phenomenon, found in MSS and printed
editions alike, in which the composer's name becomes less important. MSS of the
decades around 1800 and later, especially those for amateur use, frequently
replace the composer's name with that of the opera or performance from which
the music was taken, or of a well-known performer. Certainly, in some cases
this practice reflects the printed editions from which the copyist was working,
in which the composer's name may be given in smaller letters than the title,
the singer's name or the dedicatee's, but this in fact enhances the
significance of the pattern. While we could argue that the composer's name was
too well-known to need copying, the evidence actually suggests that the
performance, and the style of the performer, were more significant to users of
the MSS, as indicators of the quality or style of the music.
Conventionally,
MSS – and especially composers' autographs – have been studied for what they
contain, for the music, for the versions presented, and for any evidence of
performance practice. Many details of MSS, however, tell us more about the
status of music and musicians, about taste in book-making and collecting, and
about types and levels of culture in different strata of society. The
appearance of the MS, the ways in which it was constructed and copied, and the
ancillary information it carries (rather than the actual notes) are thus
central to the history of music within society. MS study, having developed ways
of examining musical sources, as outlined above, is increasingly concerned with
what a MS represents, as well as what its musical contents represent.
BIBLIOGRAPHY
Sources, MS, §I, 8:
Manuscripts in musical society
BIBLIOGRAPHY
O.E. Albrecht: A Census of
Autograph Music Manuscripts of European Composers in American Libraries (Philadelphia, 1953)
S. van Dijk: ‘An Advertisement Sheet of an Early Fourteenth-Century Writing Master
at Oxford’, Scriptorium, x (1956), 17
A. Dürr: ‘Zur Chronologie der Leipziger Vokalwerke J.S. Bachs’, BJb 1957, 5–162;
enlarged and pubd separately 2/1976
J.P. Larsen: Handel's
Messiah: Origins, Composition, Sources (London, 1957, 2/1972/R)
H. Kellman: ‘The Origins of the Chigi Codex: the Date, Provenance, and Original
Ownership of Rome, Biblioteca Vaticana, Chigiana, C.VIII.234’, JAMS, xi (1958), 6–19
N. Bridgman
and F. Lesure: ‘Une anthologie
“historique” de la fin du XVIe siècle: le manuscrit Bourdeney’, Miscelánea en homenaje a Monseñor Higinio
Anglés (Barcelona, 1958–61), i, 151–72
W. Plath: ‘Beiträge zur Mozart-Autographie’, MJb 1960–61, 82–117; MJb
1976–7, 131–73
D. Vaughan: ‘Tradition in Verdi and Puccini’, Opera, xii (1961), 301–04
P.J. Willetts: ‘Music from the Circle of Anthony Wood at Oxford’, British Museum Quarterly, xxiv (1961), 71–5
C. Hamm: ‘Manuscript Structure in the Dufay Era’, AcM, xxxiv (1962), 166–84
M. Just: ‘Ysaac de manu sua’, GfMKB: Kassel 1962, 112–14
A. Ducrot: ‘Histoire de la Cappella Giulia au XVIe siècle depuis sa fondation par
Jules II (1513) jusqu’à sa restauration par Grégoire
XIII (1578)’, Mélanges d'archéologie et d'histoire, lxxv (1963), 179–240,
467–559
A. Tyson: The
Authentic English Editions of Beethoven (London, 1963)
P. Badura-Skoda: ‘Fehlende Takte und korrumpierte Stellen in klassischen Meisterwerke’, NZM, Jg.125 (1964), 635–42
W. Shaw: A Textual
and Historical Companion to Handel's ‘Messiah’ (London,
1965)
M. Bent: ‘Initial Letters in the Old Hall Manuscript’, ML, xlvii (1966), 225–38
M. Huglo: ‘Règlement du XIIIe siècle pour la transcription des livres notés’, Festschrift Bruno Stäblein, ed. M. Ruhnke (Kassel, 1967), 121–33
K.-H. Köhler: ‘Mozarts Kompositionsweise: Beobachtungen am Figaro-Autograph’, MJb 1967, 31–45
M. Bente: Neue Wege
der Quellenkritik und die Biographie Ludwig Senfls
(Wiesbaden, 1968)
J. Morehen: The Sources
of English Cathedral Music, c. 1617–1644 (diss., U. of
Cambridge, 1969)
P. Gossett: The Operas
of Rossini: Problems of Textual Criticism in Nineteenth-Century Opera (diss., Princeton U., 1970)
A. Porter: ‘The Making of Don Carlos’, PRMA, xcviii (1971–2), 73–88
M. Bent: ‘A Lost English Choirbook of the Fifteenth Century’, IMSCR XI: Copenhagen 1972, 257–62
U. Günther: ‘La genèse de Don Carlos, opéra en cinq actes de Giuseppe Verdi’, RdM, lviii (1972), 16–64; lx (1974), 87–158
R.L. Marshall: The
Compositional Process of J.S. Bach: a Study of the Autograph Scores of the
Vocal Works (Princeton, NJ, 1972)
H.C. Slim: A Gift of
Madrigals and Motets (Chicago, 1972)
M. Staehelin: ‘Eine Florentiner Musik-Handschrift aus der Zeit um 1500:
quellenkundliche Bemerkungen zur Frottola-Sammlung Ms. Egerton 3051 des British
Museum und zum “Wolffheim-Manuscript” der Library of Congress’, Schweizer Beiträge zur Musikwissenschaft, i (1972), 55–81
H. Besseler
and P. Gülke: Schriftbild der mehrstimmigen Musik, Musikgeschichte in Bildern, iii/5 (Leipzig, 1973)
J. Rifkin: ‘Scribal Concordances for some Renaissance Manuscripts in Florentine
Libraries’, JAMS, xxvi (1973), 305–26
E.K. and J.K.
Wolf: ‘A Newly Identified Complex of Manuscripts
from Mannheim’, JAMS, xxvii (1974), 379–437
D. Crawford: Sixteenth-Century
Choirbooks in the Archivio Capitolare at Casale Monferrato, RMS, ii (1975)
R. Sherr: The Papal
Chapel ca. 1492–1513 and its Polyphonic Sources (diss.,
Princeton U., 1975)
B. Stäblein: Schriftbild
der einstimmigen Musik, Musikgeschichte in Bildern,
iii/4 (Leipzig, 1975)
A. Atlas: The Cappella
Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C.G.XIII.27) (New York, 1975–6)
E.A. Keitel: A Chronology
of the Compositions of Guillaume de Machaut (diss.,
Cornell U.,1976)
J. Deathridge: Wagner's
Rienzi (Oxford, 1977)
F. Avril: ‘Les manuscrits enluminés de Guillaume de Machaut: essai de chronologie’, Guillaume de Machaut: Reims 1978, 117–33
The String
Quartets of Haydn, Mozart, and Beethoven: Cambridge, MA, 1979
R. Bailey: ‘The Method of Composition’, The Wagner Companion, ed. P. Burbidge and R.
Sutton (London, 1979), 269–338
D.K. Holoman: The Creative
Process in the Autograph Musical Documents of Hector Berlioz, c.1818–1840 (Ann Arbor, 1980)
D. Leech-Wilkinson: ‘Il libro di appunti di un suonatore di tromba del quindecesimo secolo’, RIM, xvi (1981), 16–39
C. Reynolds: ‘The Origins of San Pietro B 80 and the Development of a Roman Sacred
Repertory’, EMH, i (1981), 257–304
M.P. Brauner: The Parvus
Manuscripts: a Study of Vatican Polyphony, ca.1535 to 1580 (diss., Brandeis U., 1982)
I. Rumbold: ‘The Compilation and Ownership of the “St Emmeram” Codex (Munich,
Bayersiche Staatsbibliothek, Clm 14274)’, EMH, ii (1982), 161–235
M. Hyde: ‘The Format and Function of Schoenberg's Twelve-Tone Sketches’, JAMS, xxxvi (1983), 453–80
J.J. Dean: The Scribes
of the Sistine Chapel, 1501–1527 (diss., U. of Chicago,
1984)
M. Guttiérrez-Denhoff: ‘Untersuchungen zu Gestalt, Entstehung und Repertoire des Chansonniers
Laborde’, AMw, xli (1984), 113–46
R. Winter: ‘Reconstructing Riddles: the Sources for Beethoven's Missa Solemnis’, Beethoven Essays: Studies in Honor of
Elliot Forbes, ed. L. Lockwood and P. Benjamin
(Cambridge, MA, 1984), 217–50
R. Elvers and H.-G. Klein: Die
Handschrift Johann Sebastian Bachs (Wiesbaden, 1985) [exhibition catalogue]
D. Johnson, A.Tyler and R. Winter: The
Beethoven Sketchbooks: History, Reconstruction, Inventory (Berkeley, 1985)
B.J. Blackburn: Music for
Treviso Cathedral in the Late Sixteenth Century: a Reconstruction of the Lost
Manuscripts 29 and 30 (London, 1987)
J. Nádas: ‘The Reina Codex Revisited’, Essays in Paper Analysis, ed. S. Spector
(Washington DC and London, 1987),
69–114
A. Tyson: Mozart:
Studies of the Autograph Scores (Cambridge, MA, 1987)
J. Kmetz: Katalog der
Musikhandschriften des 16. Jahrhunderts: quellenkritische und historische
Untersuchung, Die Handschriften der
Universitätsbibliothek Basel, iv (Basle, 1988)
J.W. Pritchett: The
Development of Chance Techniques in the Music of John Cage, 1950–1956 (diss., New York U., 1988)
R.C. Mueller: ‘Reevaluating the Liszt Chronology: the Case of Anfangs wollt ich
fast verzagen’, 19CM, xii (1988–9), 132–47
A. Curtis: ‘La Poppea Impasticciata or, Who wrote the music to L'incoronazione
(1643)?’, JAMS, xlii (1989), 23–54
S.E. Saunders: The Dating
of the Trent Codices from their Watermarks, with a Study of the Local Liturgy
of Trent in the Fifteenth Century (New York, 1989)
R. Anderson: Elgar in
Manuscript (London and Portland, OR, 1990)
M. Everist: ‘From Paris to St Andrews: the Origins of W1’, JAMS, xliii (1990), 1–42
C. Eisen: ‘The Mozarts' Salzburg Copyists: Aspects of Attribution, Chronology,
Text, Style, and Performance Practice’, Mozart Studies, ed. C. Eisen (Oxford, 1991), 253–307
H.-G. Klein: Wolfgang
Amadeus Mozart: Componiern – mein einzige Freude und Passion (Wiesbaden, 1991)
[exhibition catalogue]
H. Oesch, ed.: Quellenstudien
I: Gustav Mahler, Igor Strawinsky, Anton Webern, Frank Martin (Winterthur, 1991)
A. Roth: Studien zum
frühen Repertoire der päpstlichen Kapelle unter dem Pontifikat Sixtus' IV
(1471–1484): die Chorbücher 14 und 51 des Fondo Cappella Sistina der Biblioteca
Apostolica Vaticana (Vatican City, 1991)
J. Heidrich: Die
deutschen Chorbücher aus der Hofkapelle Friedrichs der Weisen: ein Beitrag zur
mitteldeutschen geistlichen Musikpraxis um 1500
(Baden-Baden, 1993)
H. Love: Scribal
Publication in Seventeenth-Century England (Oxford, 1993)
F. Meyer, ed.: Quellenstudien
II: zwölf Komponisten des 20. Jahrhunderts (Winterthur,
1993)
A. Wendel: Eine
studentische Musiksammlung der Reformationzeit: die Handschrift Misc.236a–d der
Schermar-Bibliothek in Ulm (Baden-Baden, 1993)
R. Birkendorf: Der Codex
Pernner: quellenkundliche Studien zu einer Musikhandschrift des frühen 16.
Jahrhunderts (Augsburg, 1994)
J. Kmetz: ‘The Piperinus-Amerbach Partbooks: Six Months of Music Lessons in
Renaissance Basle’, Music in the
German Renaissance: Sources, Styles, and Contexts
(Cambridge, 1994), 215–34
M. Morrell: ‘Georg Knoff: Bibliophile and Devotee of Italian Music in Late
Sixteenth-Century Danzig’, ibid., 103–26
J.A. Owens: ‘An Isaac Autograph’, ibid., 27–53
D. Fallows: Introduction
to Oxford, Bodleian Library, MS. Canon.Misc.213 (Chicago, 1995)
F. Carboni and A. Ziino: ‘Un elenco di composizioni musicali della seconda metà del Quattrocento’, Musica Franca: Essays in Honor of Frank A.
D'Accone, ed. I. Alm, A. McLamore and C. Reardon
(Stuyvesant, NY, 1996), 425–87
F. Meyer and A.Shreffler: ‘Performance and Revision: the Early History of Webern's Four Pieces
for Violin and Piano, Op.7’,Webern
Studies, ed. K. Bailey (Cambridge, 1996), 135–69
R. Sherr: Papal Music
Manuscripts in the Late Fifteenth and Early Sixteenth Centuries, RMS, v (1996)
L. Somfai: Béla Bartók:
Composition, Concepts, and Autograph Scores (Berkeley, 1996)
J.A. Owens: Composers at
Work: the Craft of Musical Composition 1450–1600
(Oxford, 1997)
C. Page: ‘An English Motet of the 14th Century in Performance: Two Contemporary
Images’, EMc, xxv (1997), 7–32
R. Riggs: ‘Mozart's Notation of Staccato Articulation’, JM, xv (1997), 230–77
V. Hascher-Burger: ‘Neue Aspekte mehrstimmiger Lesungen des späten Mittelalters: die
Lektionen der Handschrift Den Haag, Museum van het Boek/Museum
Meermanno-Westreenianum, ms. 10 B 26’, TVNM, xlviii (1998), 89–111
P. O'Hagan: ‘“Trope” by Pierre Boulez’, Mitteilungen der Paul Sacher Stiftung, xi (1998), 29–35
D.B. Cannata: Rachmaninoff
and the Symphony (Innsbruck and Lucca, 1999)
G. Horlacher: ‘Sketches and Superimposition in Stravinsky's Symphony of Psalms’, Mitteilungen der Paul Sacher Stiftung, xii (1999), 22–6
Sources, MS
II. Western plainchant
1. General.
2. 9th and 10th
centuries.
3. 11th century.
4. 11th–12th
centuries.
5. 12th century.
6. 12th–13th
centuries.
7. 13th century.
8. 14th, 15th and 16th
centuries.
9. Mozarabic chant.
10. Old Roman chant.
BIBLIOGRAPHY
Sources, MS, §II:
Western plainchant
1. General.
The
earliest plainchant sources containing a substantial number of notated
melodies, such as CH-SGs 359, F-LA 239, CHRm 47 and Pn
lat.1154 and 1240, are usually dated from the end of the 9th century to about
925. Beyond this, only a few scattered texts accompanied with neumes can be
dated with relative certainty before the year 890. Distribution of the 10th-
and 11th-century plainchant sources throughout medieval Europe follows a
general pattern. These fragile books, which became obsolete so quickly, survive
most abundantly from those politically stable areas of the Carolingian and
Ottonian Empires where humanistic learning and well-established religious
communities flourished. By the beginning of the 17th century, when copies of
cheaply printed liturgical books conforming to the reforms of the Council of
Trent were readily available, the scribal art of laboriously copying them by
hand had nearly ceased. Since no modern census of these medieval chant books
has ever been undertaken, there is no accurate information on the number of
actual physical volumes that are extant. It can be estimated indirectly from
the holdings of several large microfilm archives and a survey of library
catalogues that probably well over 1800 can be accounted for that date from before
the early 1600s.
Plainchant
sources can be conveniently grouped either by the nature of their liturgical
content or by the type of their musical notations. Liturgical books from
western Europe, whether notated or not, belong to one of the six major liturgical
rites: Ambrosian, Beneventan, Celtic, Gallican, Mozarabic and Roman. The
ancient 7th- and 8th-century Celtic and Gallican liturgies have been
transmitted in such non-musical sources as the Stowe Missal, the Antiphoner of
Bangor, the Book of Cerne, the Missale gothicum, the ‘Mone Masses’ and
several dozen lesser fragments (cited by Gamber, 1963). Except for a few
antiphons and Preces occurring in 11th-century Roman books, nothing is known
directly of this music. In contrast, the notated sources identified with the
early Ambrosian and Mozarabic rites exist in sufficient quantity for their
musical repertories to be reconstructed with reasonable accuracy. Comprehensive
lists of these Milanese and Spanish sources have been compiled by Huglo and
Pinell. No complete sources of Beneventan chant have survived, only fragments
of lost books. Further items of Beneventan chant were copied alongside
Gregorian pieces in books following the Roman rite.
The
great majority of medieval chant books belong to the Roman rite – a remarkably
uniform and resilient liturgy considering the diversity of religious devotions
that prospered within its general framework. About 80 notated sources are
available in modern photographic editions; 17 of these appear in the series
Paléographie Musicale. Basic information on nearly 750 Mass chant books has
been published by the monks of Solesmes in Le graduel romain, ii: Les
sources (1957). In his indispensable Antiphonale missarum sextuplex
and Corpus antiphonalium officii, Hesbert prepared comparative textual
editions of six early graduals and 12 antiphoners. The earliest troper and
proser sources are described by Husmann, and Stäblein edited selected sources
of Office hymns. Inventories of important plainchant library collections have
been made by Anglès and Subirá, Arnese, Bannister, Bernard, Van Dijk, Frere,
Gottwald, Hesbert, Jammers, Stenzl and others. In an important new initiative,
inventories of nearly 40 antiphoners have been made available in
machine-readable and -sortable form in the project CANTUS directed by Ruth
Steiner, and several of them have been published in print. Concise information
on many hundred sources is encoded by Hughes (1994–6). As a result of the spate
of recent research into tropes, much information on trope sources is to be
found in the publications particularly of Planchart (1977) and the volumes of
the series Corpus Troporum (see Trope (i)). Useful but rare are lists
of sources from particular churches or dioceses, such as those compiled by
Hesbert (1955–6) and Villetard (1956). A catalogue of manuscript processionals
by Huglo is being published.
The
second method commonly used in grouping plainchant sources is their division
into categories according to the type of musical notation. Depending on the
criteria applied, some 12 to 15 notational families have been clearly
identified, each corresponding to a local geographical zone in Europe. Certain
groups, such as the Aquitanian, Beneventan and Mozarabic families, display such
highly characteristic neumes that classification of these sources poses few
problems. On the other hand, the wide variety of hybrid graphic forms used by
notators in central and northern Italy greatly complicates their grouping.
While all the MSS belonging to a given notational family can be established
with relative ease, the task of dating a single MS strictly on the basis of its
notation is usually very difficult. A great deal of palaeographical research
remains to be done in documenting the metamorphosis from the earliest
10th-century neume forms within each notational family to the point where they
evolved into the highly stylized semi-quadratic and square forms that were in
wide use by the mid-13th century. Until such processes are understood much more
fully, many sources will remain poorly dated. (See also Notation,
§III.)
Chant
books were functional compilations of religious song designed to embellish the
solemnity of a recited liturgy and to meet the needs of specific local customs
and observances. Most sources, therefore, faithfully preserve a central core of
liturgical and musical practice common to the rite as a whole, but are notable
for the variety of their internal structure – a phenomenon totally obscured in
modern printed books. Based on content, there are several general categories of
plainchant sources. The standard Mass books are the gradual and notated missal
(see fig.17). The Office books include the antiphoner
and its counterpart, the notated breviary with psalter and hymnal. Some
important early sources consist of no more than lists of the chants to be sung
(fig.13). A few early books include only those portions
of mass chants sung by a soloist (the verses of graduals and alleluias, tracts
and sometimes also the verses of offertories), and such a book is often
referred to as a cantatorium (see fig.19). Medieval
festal liturgies were often made more solemn by the addition of supplementary
chants such as sequences and tropes (including prosulas). (The older term
‘para-liturgical’ for such chants is best avoided, since they were no less
liturgical than any others.) Since these were also primarily for solo
performance, the term cantatorium is sometimes applied to collections of them.
But the term troper is more usual. A collection of sequences is referred to as
a sequentiary. (A distinction is sometimes made between the sequentiary, with
sequence melodies alone, and proser, with sequence texts or proses.) From the
12th century onwards Mass Ordinary chants (some troped) were often gathered
together with sequences, and these collections too are sometimes called
tropers, although tropes occupy only a minor part of them. A late term for a
collection of Mass Ordinary chants was the kyriale. Processional chants are
often integrated into the gradual, or sometimes gathered together in their own
book, the processional. To these types of chant book may be added the tonary, a
reference work typically establishing the mode of antiphons and the recitation
tone and cadence of the psalms they framed. (See Liturgy
and liturgical books, §II; see also Hughes, 1982, Huglo, 1988, Hiley, 1993,
pp.287–339.)
In
practice, elements from these various classes of chant book were brought
together into single volumes in nearly every combination by their scribes and
notators. Examples of regular antiphoners are F-Pn lat.12044 and D-BAs
Liturg.23 (both 12th century). The former adheres to the monastic cursus of
12-respond Offices and the latter displays the characteristic secular Office of
nine responds. The Oxford MS GB-Ob Canon.liturg.297 (12th century; fig.16) is a typical notated breviary with a Calendar and
computus. In this type of book the notated chants of the antiphoner are fused
with the recited texts of the Office breviary. Among the notated Mass books GB-Lbl
Eg.857 (12th century; fig.15) is a gradual in the
conservative tradition of the sacramentary with numbered Masses. Considerably
more elaborate is F-Pn lat.903 (11th century), a gradual from St Yrieix
near Limoges containing a series of prosulas, processional antiphons, Proper
tropes, Ordinary tropes and a substantial number of prosae. I-Rc
1907 (11th–12th centuries) presents an interesting case where the Offices of
the antiphoner and the Masses of the gradual are combined into one integrated
liturgical cycle. F-Pn n.a.lat.495 (12th century) is a neatly organized
collection of tropes and prosae. In contrast the highly complex troper,
tonary, sequentiary and proser Pn lat.1084 (10th century) is further
complicated by many additions in different hands. GB-Lbl Add.19768 (10th
century) is representative of a certain class of plainchant source in that two
entirely distinct prosers have been artificially bound together by a bookbinder.
Despite
the heterogeneous nature of most plainchant books, a rather uniform
bibliographical description of the individual MSS can be made once certain
distinctive liturgical features are recognized. The winter and spring Temporale
(temp.), which is often combined with the feasts for the Sanctorale
(sanc.) from December to May, usually terminates with either Whit Saturday,
Trinity Sunday or the Sunday within the Octave of Pentecost. Easter Sunday
marks the liturgical apex of this first part of the liturgical year. It is then
usual for the summer sanctoral to follow; this commences with the feast of St
Marcellinus and St Peter (2 June), or in the case of the Office books with the
feast of St John the Baptist (24 June), and terminates with one of several feasts
– St Andrew (30 November), St Lucy (13 December) or St Thomas the Apostle (21
December). The 23 to 26 Sundays after Pentecost and the summer histories in the
Office books form easily identifiable sections, except in some sources,
particularly from Italy, where they are positioned individually among the
summer sanctoral feasts. The Masses and Offices for Trinity, Dedication of a
Church, and the Dead often served as clear division points between major
sections of the liturgical year and are most helpful in clarifying the overall
structure of the book. Like the summer Sanctorale and the Sundays after
Pentecost, the Common of the Saints was an independent and movable division.
Among the German sources, the Common was frequently reduced to a series of alleluias
only (fig.18). Many sources often concluded with votive
feasts and prayers. These liturgical formulae, which generally lack melodies,
are closely related to the special services found in the bishop’s ordinal, the
pontifical. There are few liturgical MSS that do not have missing or added
leaves, erasures, changes of textual and notational hands, marginal additions
or excisions and supplementary sections. The so-called ‘supplement’ is an
unpredictable and often unusually interesting mélange of chants, prayers or
rubrics, frequently added by several late hands, and it can appear almost
anywhere in a book. Sometimes it is possible to detect a structured order to
the ‘supplement’, but it is not uncommon to find a group of more or less
optional chants, as, for example, in F-Pn lat.1240, ff.78v–90v
(10th century).
In
the descriptions of representative plainchant sources given below (based for
the most part on data gathered from microfilms), each citation includes a
general title for the MS and the basic physical information on number of
folios, size, date and type of musical notation. Among the Mass books, a note
is made of whether the offertories have verses or not (fig.14);
recognition of this fact can often serve as a useful clue for dating the MS,
since during the period 1075–1150 there was a strong trend towards abandoning
these verses. Finally, the general contents of each source are given and the
descriptions conclude with a selective bibliography of secondary sources.
(Items that appear in the main bibliography are cited in abbreviated form.)
Sources, MS, §II:
Western plainchant
2. 9th and 10th centuries.
Bamberg, Staatsbibliothek, Liturg.6 (Ed.III.7).
Gradual and proser from St Emmeram, Regensburg; late 10th century. 98 ff.; 29·2
× 24·4 cm. German neumes with significative letters. Offertories with
verses.Ff.1–51v: winter and spring temp. and sanc. from Advent I to Whit
Saturday (Easter, 40v); 52–62: summer sanc. from St Marcellinus and St
Peter (2 June) to St Andrew (30 Nov); 62–62v: Trinity; 62v–69:
Sundays after Pentecost; 69–70v: alleluias for Sundays after Pentecost;
70v–72: Common (alleluias only); 73–89: prosae (texts only) with
sequences in the margins; 89v−98v: processional antiphons, Laudes
regiae, selected Proper and Ordinary tropes, versus etc.Le graduel
romain, ii (1957), 30; G. Joppich, ed.: Die Handschrift Bamberg
Staatsbibliothek Lit. 6 (Münsterschwarzach, 1986) [facs.]; Hoffmann (1986),
280; G.M. Paucker: Das Graduale Msc.Lit.6 der Staatsbibliothek Bamberg
(Regensburg, 1986)Chartres, Bibliothèque Municipale, 47. Gradual from
Brittany; 9th–10th centuries. 67 ff.; 29·5 × 21·5 cm. Breton neumes with
significative letters. Offertories with verses. MS destroyed 26 May
1944.Pp.3–72: winter–spring temp. and sanc. from Advent I to Whit Saturday
(Easter, 59); 72–88: summer sanc. from St Marcellinus and St Peter (2 June) to
St Andrew (30 Nov); 90–91: Requiem; 91–100: Sundays after Pentecost; 101–2:
Trinity; 102–34: alleluias for the liturgical year and sequences.PalMus, xi
(1912–21) [facs.]; G. Benoît-Castelli and M. Huglo: ‘L’origine brétonne du
graduel no.47 de la Bibliothèque de Chartres’, EG, i (1954), 173–8; Le
graduel romain, ii (1957), 43; Jammers (1965), 143; D. Hiley: ‘The
Sequentiary of Chartres, Bibliothèque Municipale, Ms.47’, La sequenza
medievale: Milan 1984, 105–17Einsiedeln, Benediktinerkloster,
Musikbibliothek, 121 (1151). Gradual, processional antiphons and
proser, from Einsiedeln; late 10th century. 600 pp.; 15·3 × 11 cm. St Gallen
neumes with significative letters. Offertories with verses.Pp.1–267:
winter–spring temp. and sanc. from Advent I (inc.) to Whit Saturday (Easter,
204); 267–310: summer sanc. from St Marcellinus and St Peter (2 June) to St
Andrew (30 Nov); 310–13: Trinity; 313–40: Sundays after Pentecost; 340–42: Mass
De profundis; 343–54: alleluias for Sundays after Pentecost; 354–70:
alleluias for the remainder of the year and Common; 372–416: Rogation and
votive processional antiphons; 417–27: communion psalm verses for the liturgical
year; 429–33: Notker’s Cum adhuc preface; 434–5: Mary Magdalen prosa
Laus tibi Christe qui es creator; 436–599: proser (texts only) with
sequences in the margins.PalMus, iv (1894) [facs. of pp.1–428]; Le graduel
romain, ii (1957), 59; RISM, B/IV/1 (1966), 51; O. Lang and others, eds.: Codex
121 Einsiedeln, Graduale und Sequenzen Notkers von St. Gallen (Weinheim,
1991) [colour facs.]Laon, Bibliothèque Municipale, 239. Gradual from the
region of Laon; early 10th century. 89 ff. (ed. in PalMus; 178 pp.). Messine
neumes with significative letters. Offertories with verses. Masses are
numbered.Pp.1–128: winter–spring temp. and sanc. from Advent I to Whit Saturday
(Easter, 103); 128–46: summer sanc. from St Marcellinus and St Peter (2 June)
to St Simon and St Jude (28 Oct, inc.); 146–7: lacuna; 147–8: Common (inc.);
148: Requiem; 149–64: Sundays after Pentecost; 164–5: Trinity; 166–78:
alleluias (MS mutilated at end).PalMus, x (1909) [facs.]; Le graduel romain,
ii (1957), 57; P. Arbogast: ‘The Small Punctum as Isolated Note in Codex Laon
239’, EG, iii (1958), 83–133; Jammers (1965), 134; L.F. Heiman: ‘The
Rhythmic Value of the Final Descending Note after a Punctum in Neumes of Codex
239 of the Library of Laon’, EG, xiii (1972), 151–224; C. Picone: ‘Il
“salicus” con lettere espressive nel codice di Laon 239’, EG, xvi
(1977), 7–143; M.-C. Billecocq: ‘Lettres ajoutées à la notation neumatique du
codex 239 de Laon’, EG, xvii (1978), 7–144London, British Library,
Add.19768. Two German prosers bound into one volume. 81 ff.; 17·5 × 14 cm.
Ff.4–58v: proser and troper from St Alban, Mainz; dated 968–72. St
Gallen neumes with significative letters. Ff.59–81v: proser from
Tegernsee in Bavaria; early 11th century.Ff.4–23v: last portion of a
proser from the summer feasts of St Lawrence (10 Aug) and the Assumption (15
Aug) to the Common and Trinity. Sequences occur in the outer margins; 24–45v:
troper; 46–58v: Palm Sunday and Rogation antiphons and litanies; 59–73:
partly notated proser; 73v–81: tropes, prosa, Magnificat
etc.RISM, B/V/1 (1964), 152; Rönnau (1967), 47; Hoffmann (1986), 242Oxford,
Bodleian Library, Selden Supra 27. Proser, troper and kyriale probably from
Eichstätt or Freising; 11th century. 92 ff.; 17 × 15 cm. St Gallen neumes with
significative letters.Ff.3–59v: proser with sequences in outer margins,
also some neumes over texts, inc. at end; 60–82: Proper tropes and prosulas;
82–90: kyriale with tropes and Greek Gloria and Credo; 90v–92: prosae
and troped Ite settings (added).Frere, i (1901), 73; RISM, B/V/1 (1964), 163;
W. Arlt: ‘Schichten und Wege in der Überlieferung der älteren Tropen zum
Introitus Nunc scio vere des Petrus-Festes’, Recherches nouvelles sur
les tropes liturgiques, ed. W. Arlt and G. Björkvall (Stockholm, 1993),
13–93, esp. 17Paris, Bibliothèque Nationale de France, lat.1084. Troper,
tonary, sequentiary and proser from St Géraud, Aurillac, France; sections added
at St Martial, Limoges; late 10th century. 335 ff.; 25 × 15 cm. Aquitanian
notation. Many additions between the various sections of the MS.Ff.2–38v;
prosulas, series I (2–4), series II (4v–38v); 38v–50v:
troper, series I (partly notated); 53v–90: troper, series II; 92–124:
kyriale with tropes; 124–142v: Proper tropes, series III; 149–151: Regnum
tropes; 151–164v: tonary; 165–196: alleluias; 196v−220v:
sequentiary; 221–281v: proser, series I; 282–330: proser, series
II.RISM, B/V/1 (1964), 120; Rönnau (1967), 25; Evans (1970), 50Paris,
Bibliothèque Nationale de France, lat.1085. Abridged monastic antiphoner
from the church of St Salvator, monastery of St Martial, Limoges; probably last
quarter of 10th century. 112 ff.; 24·4 × 12·6 cm. Aquitanian notation is
largely confined to respond verses.Ff.1–2v and 111–112v:
fragments of a rouleau des morts; 3v–72v: winter–spring
temp. and sanc. from Advent I to Trinity (Easter, 58v); 73–98: summer
sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 98–103v:
Common; 105–110v: histories (a palimpsest gathering from a processional
MS).Catalogue général, i (1939), 393Paris, Bibliothèque Nationale de
France, lat.1118. Troper, tonary, sequentiary and proser from southwestern
France; dated 987–96. 249 ff.; 24·5 x 15 cm. Aquitanian notation.Ff.1–103v:
troper Mass chant incipits, temp. and sanc. from St Lucy (13 Dec) to St Andrew
(30 Nov); 104–113v: tonary; 115–131: prosulas; 131v–143v:
sequentiary; 144–247: proser.Le graduel romain, ii (1957), 98; RISM,
B/V/1 (1964), 124; Rönnau (1967), 27; R. Steiner: ‘The Prosulae of the MS
Paris, Bibliothèque Nationale f.lat.1118’, JAMS, xxii (1969), 367–93;
Evans (1970), 51Paris, Bibliothèque Nationale de France, lat.1154.
Litany, collects and psalms, St Isidore’s Libri synonymorum, and lyric
poems, perhaps from Limoges; 9th–10th centuries. 145 ff.; 21 × 16 cm. Ff.99v–143
partly notated with early Aquitanian notation.Ff.1–65v: litany,
collects, votive prayers, penitential psalms etc. (texts only); 66–97v:
St Isidore’s Libri synonymorum (text only; ed. in PL, lxxxiii,
827–49); 98–143: according to Chailley 32 metrical pieces, some notated,
variously titled ‘versus’, ‘planctus’, ‘rhythmus’ and ‘hymnum’. This series
ends with the notated prosa to St Martial Concelebremus sacra
(142v–143); 143–145: Confiteor, in a different hand (text only).Catalogue
général, i (1939), 421; J. Chailley: L’école musicale de Saint-Martial
de Limoges jusqu’à la fin du XIe siècle (Paris, 1960), 123–78; S. Barrett:
‘Music and Writing: on the Compilation of Paris Bibliothèque Nationale
lat.1154’, EMH, xvi (1997), 55–96Paris, Bibliothèque Nationale de
France, lat.1240. Part I: troper, proser and hymnal; dated 923–4; part II:
sermons, Passions and lives of the saints, dated 12th century, from the church
of St Salvator, monastery of St Martial, Limoges. 194 ff.; 22·7 × 16·3 cm.
Aquitanian notation with superscript letters and French neumes.Part I, ff.1–98v.
Ff.1–10v: ordo for Extreme Unction; 11–16: Calendar; 17–18v: 4 prosae;
18v–38: troper, from Christmas to St Martin (11 Nov); 38–43v:
Gloria tropes; 43v–46: 10 (11) prosulas; 46–62: 21 prosae (partly
notated); 62v–64v: tonary; 65–66: Laudes regiae; 68–78v:
table of Office incipits for Vespers and Matins; 78v–90v:
supplement of mixed character containing prosulas, prosae, antiphons,
responds, sequences etc. by several notators; 91–96: hymnal (partly notated).
Part II, ff.99–194v: sermons, Passions and lives of the saints (notated
Office and Mass to St Foy, 185–188v).Catalogue général, i (1939),
459; Le graduel romain, ii (1957), 99; RISM, B/V/1 (1964), 137; Rönnau
(1967), 20; P. Evans: ‘Northern French Elements in an Early Aquitanian Troper’,
Speculum musicae artis: Festgabe für Heinrich Husmann (Munich, 1970),
103–10; P. Rutter: Paris, Bibliothèque Nationale, Fonds Latin 1240: a
Transcription and Analysis of the Trope Repertory (diss., U. of London,
1993); J.A. Emerson: ‘Neglected Aspects of the Oldest Full Troper (Paris,
Bibliothèque Nationale, lat.1240)’, Recherches nouvelles sur les tropes
liturgiques, ed. W. Arlt and G. Björkvall (Stockholm, 1993), 193–217Paris,
Bibliothèque Nationale de France, lat.9448. Gradual from Prüm with tropes
and prosae for the principal feasts of the year; MS copied between death
of abbot Hilderic (993) and his successor Stephen of Sassenburg (d 1001)
(see f.48). 91 ff. Messine notation with some significative letters. A typical
Mass from the temp. will have troped introits, Kyrie, Gloria, alleluia, one or
more prosae, offertories with verses, a Sanctus and Agnus with tropes,
and a communion.Ff.1–52: winter–spring temp. and sanc. from Christmas to the
Sunday within the Octave of Pentecost (Easter, 33v); 52v–81: summer
sanc. from St John the Baptist (24 June) to St Andrew (30 Nov); 81v–89:
proser (texts only); 89–89v: prosulas; 89v–91v: Holy
Saturday litanies.Rönnau (1967), 43Paris, Bibliothèque Nationale de France,
lat.17436. Gradual, sequences, secular antiphoner and Life of St Remigius,
from St Corneille, Compiègne; dated 860–80. 109 ff.; scattered bits of
notation, ff.3, 24, 81, 109v etc.Ff.1–29: gradual (texts only; ed.
Hesbert, 1935, MS C); 29–30: 5 sequences in Messine notation, 10th- or
11th-century additions; 31–107: antiphoner (texts only; ed. Hesbert, 1963–79,
i, MS C); 107v–109v: Life of St Remigius, divided into 6 Office
lessons.Le graduel romain, ii (1957), 109; J. Froger: ‘L’édition
mauriste du graduel et les lacunes du “Compendiensis”’, EG, xi (1970), 159–73;
J. Froger: ‘Le lieu de destination et de provenance du “Compendiensis”, Ut
mens concordet voci: Festschrift Eugène Cardine, ed. J.B. Göschl (St
Ottilien, 1980), 338–53St Gallen, Stiftsbibliothek, 359. Cantatorium
from St Gallen; dated very early 10th century (before 920). 171 pp. (167–71 are
paper); 28 × 12·5 cm. St Gallen neumatic notation with significative letters.
Cantatorium contains only the soloist’s chants: graduals, alleluias and
tracts.Pp.1–23: prosae, responds, alleluias etc. (12th–13th century);
24–162: cantatorium; 24–118: winter and spring temp. and sanc. from Advent I to
Whit Saturday (Easter, 107); 118–38: summer sanc. from St Marcellinus and St
Peter (2 June) to St Andrew (30 Nov); 138–9; Trinity; 139–45: Sundays after
Pentecost; 145–52: alleluias for Sundays after Pentecost; 152–8: Common
(alleluias only); 158–62: other alleluias; 163–6: 12th–13th-century additions.MGG2
(‘Sankt Gallen’; A. Haug); PalMus, 2nd ser., ii (1924) [facs.]; Le graduel
romain, ii (1957), 132; C. Kelly: The Cursive Torculus Design in the
Codex St Gall 359 and its Rhythmical Significance (St Meinrad, IN, 1964);
W. Wiesli: Das Quilisma im Codex 359 der Stiftsbibliothek St Gallen
(Immensee, 1966)St Gallen, Stiftsbibliothek, 381. Versarium, introit and
communion verses, computus, troper, kyriale and proser from St Gallen; second
quarter of 10th century. 502 pp.; 14·4 × 11·8 cm. St Gallen neumes with
significative letters. Main scribe also that of CH-SGs 484.Pp.5–6: Laudes
regiae; 6–12: Notker’s letter defining significative letters; 13–22:
Glorias, Credo and Pater noster in Greek and Latin; 22–50: versus
(series I); 50–141: introit and communion verses; 142–66: versus (series
II); 166–9: computus; 170–79: notated prosae (series I) lacking
sequences; 182–7: prosae (series II), texts only, but with sequences in
margins; 195–294: troper; 295–318: kyriale with additions; 326–498: proser
preceded by Notker’s Cum adhuc preface. The prosae are partly
notated with sequences in the margins.Le graduel romain, ii (1957), 133;
Froger (1962); RISM, B/V/1 (1964), 42; Rönnau (1967), 41; W. Arlt and S.
Rankin, eds.: Stiftsbibliothek Sankt Gallen: Codices 484 & 381
(Winterthur, 1996) [colour facs.]St Gallen, Stiftsbibliothek, 390–91
(‘Hartker Antiphoner’). Monastic antiphoner and tonary copied by Hartker, monk
of St Gallen; dated 980–1011. 194 and 264 pp. (numbered 1–458 in PalMus); 22·2
× 16·7 cm. St Gallen neumes with significative letters.Pp.1–6, 196–202 and
455–8: tonary; 11–185: winter–spring temp. and sanc. from Advent I to Holy Thursday;
203–16: supplement of Offices; 217–73: Good Friday to the Octave of Pentecost;
273–360: summer sanc. from St John the Baptist (24 June) to St Andrew (30 Nov);
360–86: Common; 386–9: Office of St Afra; 389–94: Office of the Dead; 395–420:
histories; 420–25: antiphons; 426–38: Sunday after Pentecost; 439–54: Venite
settings.MGG2 (‘Sankt Gallen’; A. Haug); Hesbert (1963–79), ii, MS H
[edn of text]; PalMus, 2nd ser., i (1900) [facs.]; Huglo (1971), 234St
Gallen, Stiftsbibliothek, 484. Troper, kyriale and sequentiary from St
Gallen; second quarter of 10th century. 319 pp.; 10·3 × 8·8 cm. St Gallen
neumes with significative letters. Main scribe of CH-SGs-381 also copied
this MS.Pp.4–201: troper; 202–56: kyriale preceded by a Greek Gloria and Credo;
258–97: sequentiary; 298–306: Greek and Latin Gloria, Greek Credo and Sanctus;
307–19: Dedication and St Andrew introit tropes, troped Glorias and fragment of
a Greek Credo.RISM, B/V/1 (1964), 47; Rönnau (1967), 40; W. Arlt and S. Rankin,
eds.: Stiftsbibliothek Sankt Gallen: Codices 484 & 381 (Winterthur,
1996) [colour facs.]Private Collection (‘MS du Mont-Renaud’). Gradual
and antiphoner from northern France. 130 ff.; 27 × 20 cm. French neumes.
Antiphoner contains both secular and monastic Offices. Text probably written at
Corbie, mid-10th century, used at St Eloi, Noyon; neumes added late 10th or
early 11th century.Gradual, ff.1–48v. Ff.1–24v: winter–spring
temp. and sanc. from Advent I to Palm Sunday; 24v–25: extensive lacuna;
25–27v: end of temp. from St Alexander and St Eventius (3 May) to Whit
Saturday; 27v–35v; summer sanc. from St Marcellinus and St Peter
(2 June) to St Andrew (30 Nov); 35v–37v: votive, Requiem Masses
and Trinity; 37v–43: Sundays after Pentecost; 43–46: processional
antiphons; 46–47: alleluias for Sundays after Pentecost; 47v–48: litany.
Antiphoner, ff.49–129. Ff.49–96v: winter–spring temp. and sanc. from
Advent I to Trinity (inc.; Easter, 87v); 96v–97: lacuna; 97–116:
summer sanc. (beginning missing) from Translation of St Benedict (11 July) and
St Lawrence (10 Aug) to St Lucy (13 Dec) and St Nicasius (14 Dec); 116–123v:
Common; 123v–128: histories.PalMus, xvi (1955) [facs.]; Le graduel
romain, ii (1957), 157; G.M. Beyssac: ‘Le graduel-antiphonaire de
Mont-Renaud’, RdM, xxxix–xl (1957), 131–50; Huglo (1971), 91
Sources, MS, §II:
Western plainchant
3. 11th century.
Apt, Basilique Ste Anne, 17. Troper and
Lives of St Basilius and St Babylas from Apt; 11th century. 380 pp.; 22·7 × 16
cm. Diastematic Aquitanian notation without lines. Offertories with verses. The
liturgical year is made up of major feasts only, and the typical Mass contains prosae,
prosulas and troped introits, Kyries, Glorias, Sanctus and Agnus.Pp.1–13, 121–4
and 359–67: Life of St Basilius (1 Jan); 367–79: Life of St Babylas (24 Jan);
13–120: major Masses from the first Mass of Christmas to the Purification (2
Feb); 126–58: Easter; 158–224: Easter ferials up to Pentecost Sunday; 225–347:
11 Masses for the summer sanc. from St John the Baptist (24 June) to St Andrew
(30 Nov) including St Castoris, Bishop of Apt (21 Sept, 285–302); 349–56:
Trinity; 356–8: troped Benedicamus and Ite settings.G. Björkvall: Les
deux tropaires d’Apt, mss. 17 et 18 (Stockholm, 1986); G. Björkvall: ‘La
relation entre les deux tropaires d’Apt’, La tradizione dei tropi liturgici:
Paris 1985 and Perugia 1987, 207–25Apt, Basilique Ste Anne, 18.
Troper, perhaps from northern Italy; 11th century. 106 ff.; 22·5 × 15·3 cm.
Perhaps northern Italian neumatic notation (additions in Aquitanian notation
ff.33v, 79, 79v, 87v, 88, 88v). Offertories with
verses. The liturgical year is made up of major feasts only, and a typical mass
contains prosae, prosulas and troped introits, Kyries, Glorias, Sanctus
and Agnus.Ff.1–1v: troped Gloria Laus tibi, Domine, celsa potestas
(see I-VEcap CVII, f.44) and Sanctus Dulcis est cantica melliflua;
1v–2v: 9 Office responsories and a troped introit for the
Dedication of a Church; 3–58: major Masses for the winter–spring temp. and
sanc. from the first Mass of Christmas to Pentecost (Quem queritis, 33v;
Easter, 34); 58–84v: 8 Masses for the summer sanc. from St John the
Baptist (24 June) to St Andrew (30 Nov); 84v–92: Common, Trinity, Holy
Cross and Sundays I–III of Advent; 92–95: 6 prosae, partly notated; 95v–106:
prosulas; 106r–v: prosa Stetit Michael patrono etc.G.
Björkvall: Les deux tropaires d’Apt, mss. 17 et 18 (Stockholm, 1986); G.
Björkvall: ‘La relation entre les deux tropaires d’Apt’, La tradizione dei
tropi liturgici: Paris 1985 and Perugia 1987, 207–25Bamberg,
Staatsbibliothek, Liturg.5 (Ed.V.9). Troper, proser, offertoriale
and tonary from Reichenau; dated 1001. 198 ff.; 19·3 × 14·6 cm. German neumes
with significative letters.Ff.4v−27: tonary with a lengthy list of
Office and Mass incipits; 27v: Notker’s letter defining significative
letters; 29–63: Proper and Ordinary tropes; 66–161: notated prosae with
sequences in the margins; 163–186v: offertory verses; 187–188: tonary
with a brief list of offertory and communion verses; 188–196: introit psalm
verses and ad repetendum verses (texts only).Le graduel romain,
ii (1957), 30; Froger (1962), 23–72; RISM, B/V/1 (1964), 58; Jammers (1965),
82; Rönnau (1967), 44; Huglo (1971), 37; Hoffmann (1986), 311Bamberg,
Staatsbibliothek, Liturg.7 (A.II.54) (‘Cantatorium des heiligen
Heinrich’). From Seeon (Upper Bavaria); early 11th century (before 1024). 79
ff.; 26·6 × 11·1 cm. German neumes. Cantatorium contains introits, alleluias
and tracts.Ff.1–47: winter–spring temp. and sanc. from Advent I to Whit
Saturday (Easter, 39); 47–57: summer sanc. from St Marcellinus and St Peter (2
June) to St Andrew (30 Nov); 57–57v: Trinity; 58–61: graduals for
Sundays after Pentecost; 61–69v: alleluias primarily for Sundays after
Pentecost and the Common; 72–76: Easter antiphons; 76v–78: Laudes
regiae.Le graduel romain, ii (1957), 30Bamberg, Staatsbibliothek,
Liturg.8 (A.II.55) (‘Cantatorium der heiligen Kunigunde’). Probably
from Seeon (Upper Bavaria); early 11th century. 63 ff.; 27·7 × 10·9 cm. German
neumes. Cantatorium contains graduals, alleluias and tracts.Ff.1v–41:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 37);
41–49: summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30
Nov); 49r–v: Trinity; 49v–52: graduals for Sundays after
Pentecost; 52–61v: alleluias for Sundays after Pentecost and the Common.Le
graduel romain, ii (1957), 30Benevento, Biblioteca Capitolare, 38.
Gradual with tropes, prosae, prosulas and kyriale from Benevento; 11th
century. 171 ff. Beneventan diastematic notation with added lines and clefs.
Offertories with verses. Beginning of MS lacking.Ff.1–101v:
winter–spring temp. and sanc. beginning within the tract De profundis
for Septuagesima Sunday to Whit Saturday (Quem queritis, 47v;
Easter, 48); 101v–140v: summer sanc. from St Marcellinus and St
Peter (2 June) to St Andrew (30 Nov); 140v–152: Sundays after Pentecost;
152–154v: several votive and Requiem Masses; 154v–165v:
alleluias for the Sundays after Pentecost and the Common with prosae and
prosulas; 165v–170: supplement consisting of a brief kyriale and a
notated litany.Le graduel romain, ii (1957), 32; Planchart (1994), xviiBenevento,
Biblioteca Capitolare, 39. Gradual with tropes, prosae and prosulas
from Benevento; end of 11th century. 195 ff. Beneventan notation with red F and
yellow C lines. Offertories with verses. Beginning and end of MS
lacking.Ff.1–13v: Rogation antiphons beginning within Libera, Domine,
populum tuum de manu; 14–104: spring temp. and sanc. from Monday of the
fifth week of Lent to Whit Saturday (Quem queritis, 28; Easter, 29v);
104–179: summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew
(30 Nov); 179v–190: Sundays after Pentecost; 190–195: several votive
Masses and Masses of the Dead; 195r–v: alleluias for the Sundays
after Pentecost (inc.).Le graduel romain, ii (1957), 33; Planchart
(1994), xviiBenevento, Biblioteca Capitolare, 40. Gradual with tropes, prosae
and prosulas from Benevento; 11th century. 165 ff. Beneventan notation without
lines or clefs. Offertories with verses. Beginning and end of MS
lacking.Ff.1–82v: spring temp. and sanc. beginning within the verse of the
introit Judica, Domine, nocentes me for the Monday after Palm Sunday to
Whit Saturday (Quem queritis, 20; Easter, 21); 82v–83: lacuna;
83–143: summer sanc. beginning within the Mass for St Vitus and Companions (15
June) to St Andrew (30 Nov); 143–153: Sundays after Pentecost; 153–157v:
several votive Masses and Masses for the Dead; 157v–165v:
alleluias for the Sundays after Pentecost with prosulas and prosae
(inc.).Le graduel romain, ii (1957), 33; N. Albarosa and A. Turco, eds.:
Benevento, Biblioteca Capitolare 40, Graduale (Padua, 1991) [colour
facs.]Berkeley, University of California Music Library, 746 (‘Wolffheim
Antiphoner’). Fragment of a secular antiphoner from the region of Nevers;
second half of 11th century. 59 ff.; 28 × 17·5 cm. French neumes on 4 black
lines overlaid later with red semi-quadratic neumes. Beginning and end of MS
missing.Ff.1–46: winter–spring temp. and sanc. from Epiphany (6 Jan) to
Trinity; 46–55v: histories; 55v–56: lacuna; 56–57v:
Sundays after Pentecost (nos.15–25 only); 57v–59v: summer sanc.
feasts of St John the Baptist (24 June) and St Peter and St Paul (29 June)
only.P. Wagner: ‘Aus der Frühzeit des Liniensystems’, AMw, viii (1926),
259–76; J. Emerson: ‘The Recovery of the Wolffheim Antiphonal’, AnnM, vi
(1958–63), 69–97Berlin, Staatsbibliothek zu Berlin Preussischer
Kulturbesitz, Mus.ms.40047. Secular antiphoner of the canonesses of the
collegiate church of St Servatius, Quedlinburg; 11th century. 144 ff.; 25 x 19
cm. German neumes with significative letters.Ff.1-6v: Calendar of
Quedlinburg; 7–71v: winter–spring temp. and sanc. from Advent I to
Easter Saturday; 71v–76v: antiphons, responsories for Sundays
after Easter, Common of Easter season; 76v–118v: summer sanc.
from St Philip and St James (1 May) to St Andrew (30 Nov); 118v–129:
Common of the Saints; 129–141v: Dedication, Trinity, histories (inc. at
end); 142–144v: Magnificat antiphons (inc. at beginning),
antiphons for Sundays after Pentecost.H. Möller: Das Quedlinburger
Antiphonar (Berlin, Staatsbibliothek Preussischer Kulturbesitz Mus.ms.40047)
(Tutzing, 1990) [facs.]Berlin, Staatsbibliothek zu Berlin Preussischer
Kulturbesitz, Theol.Lat.Quart.15 (Rose 693). Gradual written
at St Gallen c1030 for Minden Cathedral. Two sister MSS written under
the same circumstances also survive: the gradual D-W 1008 Helmst. and
the troper and sequentiary Bs theol.lat.quart.11 (facs. in Tropi
carminum, ed. K. Schlager and A. Haug, Munich, 1992). 234ff.; 13 × 10 cm.
St Gallen neumes with some superscript letters. Offertories with verses.Ff.1v–162v:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 124); 162v–189:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
190v–191: Trinity; 191v–192: Requiem; 194–209v: Sundays
after Pentecost; 209v–214v: alleluias for Sundays after
Pentecost; 214v–220: Common (alleluias only); 220–233v: processional
antiphons.V. Rose: Verzeichnis der lateinischen Handschriften der
Königlichen Bibliothek zu Berlin, xiii/2 (Berlin, 1903), 682; Le graduel
romain, ii (1957), 34Besançon, Bibliothèque Municipale, 72. Notated
missal written for the abbey of Lure (Haute-Saône) and used at church of the
Madeleine, Besançon; second half of 11th century. 228 ff.; 32·8 × 23·7 cm.
German neumes. Offertories with verses.Ff.2v–6v: prosae
(texts only); 7–10: Calendar and computus; 12–15v: vesting, entrance,
Offertory and Canon prayers; 15–113v: winter temp. from Advent I to Whit
Saturday (Easter, 95v); 113v–142v: Sundays after
Pentecost; 144–188v: sanc. from St Sylvester (31 Dec) to St Thomas (21
Dec); 189–192v: Common; 192v–228v: Dedication, Trinity,
votives, benedictions etc., generally without notation.Leroquais (1924), i,
173; Le graduel romain, ii (1957), 34Besançon, Bibliothèque
Municipale, 79. Gradual and proser from Besançon; 11th century. 96 ff.
German neumes. Offertories with verses.Ff.2–52v: winter temp. from Advent
I to Trinity (Easter, 43); 52v–59v: Sundays after Pentecost;
60–78v: sanc. from St Sylvester (31 Dec) to St Thomas (21 Dec); 78v–79:
Common; 79–80: Dedication; 81r–v: Requiem masses; 82r–v:
brief kyriale; 83–90v: prosae (partly notated); 91–6: votive lessons.Le
graduel romain, ii (1957), 35Besançon, Bibliothèque Municipale, 143.
Notated breviary from St Claude, formerly St Oyan-de-Joux, France; second half
of 11th century. 232 ff.; 27·7 × 19 cm. German neumes.Ff.1–122: winter–spring
temp. and sanc. (beginning lacking) from Christmas to Trinity (Easter, 87);
122–146: Sundays after Pentecost; 146v–217: summer sanc. from St Urban
(25 May) to St Thomas (21 Dec); 217v–221: Dedication; 221–232: Common
(inc. at end).Leroquais (1934), i, 136Bologna, Biblioteca Universitaria,
2679. Calendars, votive missal and rituale from Torcello, nr Venice; end of
11th century. 242 ff.; 21 × 14·5 cm. Occasional chants in Nonantolan notation
with no clef lines. Offertories lack verses.Bound to the front of the MS: Kalendarium
venetum (‘Romae, Apud Benedictum Francesium, 1773’); 16 pp. and a five-page
handwritten index. Ff.3–11v: Calendar and computus tables. Part I
(ff.12–102v) selected temporal and votive masses, not arranged by the
church year. Part II (103–242) rituale containing confession and funeral
liturgies, blessings of water and oils, etc.Ebner (1896), 18; Le graduel
romain, ii (1957), 36; A. Moderini: La notazione neumatica di Nonantola,
i (Cremona, 1970), 53 and pls. 9b–12bBrussels, Bibliothèque Royale
Albert Ier, 2031–2 (Cat.450). Calendar, sacramentary and gradual
(inc.) with prosae from Stavelot; end of 11th century. 143 ff.; 24 × 16
cm. Messine neumes. Offertories with verses.Ff.1–18v: vesting prayers
and Ordinary of the Mass, except Canon; 19–23: Calendar with obituary notices;
23v–27v: Canon; 27v–119v: sacramentary with some
notated cues. Gradual, ff.120–136 (Advent to Saturday after Easter is missing).
120–123v: spring temp. from First Sunday after Easter to Trinity; 123v–128:
Sundays after Pentecost (nos.18–21 are missing or partly missing); 128–135v:
sanc. from St Sylvester (31 Dec) to St Lucy (13 Dec); 135v: Dedication;
135v–136: Common (alleluias only); 136v–138: notated prosae;
138v–142v: a series of Mass epistles, gospels and votive prayers;
142v: Requiem (added).Le graduel romain, ii (1957), 36Cambridge,
Corpus Christi College, 473 (‘Winchester Troper’). See §IV, 2.Cambridge,
Corpus Christi College, 391 (‘Portiforium of St Wulstan’). Notated portable
monastic collectar from Worcester; dated 1065–6. 724 pp.; 22·5 × 13·5 cm.
English neumes.Pp.3–23: Calendar and computus; 24–227: psalter; 227–78: hymnal;
279–92: canticles; 295–560: notated collectar; 560–617: blessings, ordeals,
private prayers in Latin and Anglo-Saxon; 621–99: collectar, Common of the
Saints (series II) with full Offices; 700–12: Offices of the Holy Cross, BVM,
for Saturday and the Dead; 713–21: prognostications in Anglo-Saxon; 723–4: O
antiphons.E.S. Dewick and W.H. Frere: The Leofric Collectar, ii, Henry
Bradshaw Society, lvi (London, 1921); A. Hughes: The Portiforium of Saint
Wulstan, Henry Bradshaw Society, lxxxix–xc (Leighton Buzzard, 1958–60) [edn
of texts only]Darmstadt, Hessische Landes- und Hochschulbibliothek, 1946.
Combined sacramentary and gradual from Echternach; dated c1030. 278 ff.;
23·6 × 16·7 cm. German neumes. Offertories with verses.Ff.1–17: vesting,
entrance and offertory prayers, Gloria and Credo (texts only), and Preface and
Canon; 19–165v: winter–spring temp. and sanc. from Advent I to Whit
Saturday (Easter, 146); 165v–183: Sundays after Pentecost; 183–184v:
Trinity; 184v–186: Dedication; 186–187: Holy Cross Mass Nos autem
gloriari; 187–235: summer sanc. from St Tiburtius and St Valerian (14
April) to St Chrysogonus (24 Nov); 235–241v: Common; 242–277v:
votives.Le graduel romain, ii (1957), 47; Eizenhöfer-Knaus (1968), 33;
K.H. Staub, P. Ulveling and F. Unterkircher, eds.: Echternacher Sakramentar
und Antiphonar (Graz, 1982) [colour facs.]Durham, University Library,
Cosin V.V.6. Gradual, kyriale, tonary and processional of Christ Church,
Canterbury, with prosae added at Durham; last quarter of 11th century.
115 original and 13 added ff.; 16 × 10·5 cm. Non-diastematic Anglo-Norman
notation which has been erased in a number of places especially in the Advent
and Eastertide sections of the MS. Offertories with verses.Ff.2–8v: 11 prosae
(added); 9–19: 9 Kyries and 13 Glorias; 19v–21: Laudes regiae;
22–93v: temp. from Advent I (imperfect) to Pentecost XXIII; 93v–95:
Trinity; 95–99v: Dedication; 100–109v: sanc. from the Vigil of St
John the Baptist (23 June) to the Octave of the Assumption of the BVM (22 Aug);
110–113: 6 Sanctus and 10 Agnus; 114–119v: antiphons and other music for
processional use; 120–123: tonary; 123v–129v: processional
antiphons and 4 prosae (added).K.D. Hartzell: ‘An Unknown English
Benedictine Gradual of the Eleventh Century’, Anglo-Saxon England, iv
(1975), 131–44Ivrea, Biblioteca Capitolare, LX (91). Gradual
probably from Pavia; mid-11th century. 157 ff. Italian neumatic notation.
Offertories with verses. The major Masses contain prosae, prosulas and
troped Kyries, Glorias, Sanctus and Agnus.Ff.1r–v: Liber
generationis Gospel and troped Sanctus and Agnus (addns); 3v: Gregorius
presul meritus prologue; 3v–97: winter–spring temp. and sanc. from
Advent I to the Sunday within the Octave of Pentecost (Easter, 70v);
97–123: summer sanc. from St Nicomedes (1 June) to St Andrew (30 Nov); 123–127:
votive Masses; 127–129v: Masses of the Dead; 128v–139: Sundays
after Pentecost; 139–140v: Trinity; 140v–147: Benedictus
and Magnificat antiphons for the Sundays after Pentecost (Hesbert,
1963–79, no.144); 147–155v: processional antiphons; 156–157: incomplete
Office of the Finding of St Stephen (added).Le graduel romain, ii
(1957), 54Laon, Bibliothèque Municipale, 236 (388). Partly notated
missal from Reims; late 11th century. 198 ff.; 25 × 19 cm. French neumes
(ff.1–119v); Messine neumes (120–89). Offertories with and without
verses, especially after f.120.Ff.1v–4: Calendar; 5–6v: litany;
7–12v: baptism services, exorcisms and Liber generationis; 13–91v:
winter temp. from Vigil of Christmas to Whit Saturday (Easter, 73); 91v–112v:
Sundays after Pentecost; 112v–119: Advent Masses; 119r–v:
Trinity; 120–189: sanc. from St Lucy (13 Dec) to St Andrew (30 Nov); 189–198v:
special sanc. and votive Masses (primarily texts).Leroquais (1924), i, 129; Le
graduel romain, ii (1957), 56London, British Library, Add.30850.
Monastic antiphoner and tonary of the Roman rite from Silos; 11th century. 243
ff.; 38 × 24 cm. Visigothic (northern Mozarabic) neumes with additions in
Aquitanian notation.Ff.1–5v: Dedication Office etc. (added); 6–141:
winter–spring temp. and sanc. from Advent I to Trinity (Easter, 104v);
141–145: Sundays after Pentecost; 145–188: sanc. from St John the Baptist (24
June) to St Nicholas (6 Dec); 188v–204: Common; 204–215v:
histories; 215v–217v: Office of the Dead; 217v–222: Venite
settings; 223v–234v: appx of a mixed character; 235–241v:
tonary.Hesbert (1963–79), ii, MS S [edn of text only]; I. Fernández de la
Cuesta, ed.: Antiphonale silense: British Library Mss. Add.30.850
(Madrid, 1985) [facs.]London, British Library, Cotton Caligula A.XIV.
Troper; Mass Ordinary chants with proser; Lives of St Martin, St Thomas and St
Mildred. 130 ff.; 22 x 13·2 cm.The MS consists of 3 distinct parts. Part I
(ff.1–36v): Proper tropes for major feasts, many illustrations, many
lacunae; probably copied at Winchester for Worcester, dated third quarter of
11th century; English neumes. Part II (ff.37–92v): Kyrie, Gloria and
Sanctus tropes (37–42v) and a proser (43–92v), inc. at end;
copied at Worcester; dated late 12th century; English quadratic notation on
four red lines. Part III (ff.93–130v): Lives of St Martin, St Thomas and
St Mildred in Anglo-Saxon, inc. at beginning and end.RISM, B/V/1 (1964), 154; Planchart
(1977); E.C. Teviotdale: The Cotton Troper (London, British Library, Cotton
MS Caligula A.xiv, ff. 1-36): a Study of an Illustrated English Troper of the
Eleventh Century (diss., U. of North Carolina, Chapel Hill, 1991)London,
British Library, Harl.2961 (‘Leofric Collectar’). Notated Office collectar
with hymnal and proser from Exeter; 11th century (copied under Bishop Leofric
of Exeter, d 1072). 256 ff.; 21·5 × 13·5 cm. English neumes.Ff.2–110v:
winter–spring temp. and sanc. from Advent I to Trinity (Easter, 84); 110v–152v:
summer sanc. from the Vigil of St John the Baptist (23 June) to St Andrew (30
Nov); 154–177v: Sundays after Pentecost; 177v–184v:
histories; 186–215: Common; 215–217v: Dedication; 218–251: hymnal;
251–256: inc. proser.E.S. Dewick and W.H. Frere: The Leofric Collectar
(Harl. MS.2961), Henry Bradshaw Society, xlv (London, 1914); lvi (London,
1921) [edn of text only]; Jammers (1965), 114London, British Library,
Harl.4951. Gradual and tonary from Toulouse bound with the sermons of Jean
d’Abbeville; 11th century. 301 ff.; 36·5 × 27·5 cm. Aquitanian notation.
Offertories with verses.Ff.1–118v: Jean d’Abbeville Sermones
dominicales; 121v–249v: winter–spring temp. and sanc. from
Advent I to Trinity (Easter, 215); 250v–264: Sundays after Pentecost;
264–294: summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew
(30 Nov); 295v–301v: tonary, inc., only into 6th tone.Le
graduel romain, ii (1957), 64Modena, Duomo, Archivio Capitolare, O.I.7.
Gradual and kyriale with tropes and prosae from Forlimpopoli, nr
Ravenna; late 11th century. 225 ff. North Italian notation with red F and
yellow C lines. Offertories with verses. Ff.1–28 are badly mutilated, ff.29 and
following less so. The Masses are largely complete and often contain Kyrie, Gloria,
Sanctus and Agnus tropes, prosae, prosulas, Fraction antiphons
etc.Ff.1–149: winter–spring temp. and sanc. from Advent I to Whit Saturday
(Easter, 104v); 149v–182v: summer sanc. from St
Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 182v–187v:
ordination, Pro iter agentibus and Requiem Masses; 188–202: Sundays
after Pentecost; 202–203v: Trinity; 204v–210: kyriale with
tropes; 210–225v: supplement of votive Masses, prosae, tropes
etc.Le graduel romain, ii (1957), 72Montpellier, Bibliothèque
Inter-Universitaire, Section Médicine, H159. Tonary of Mass chants from St
Bénigne, Dijon; 11th century. 163 ff.; 30·4 × 23·3 cm. Double notation: French
neumatic and alphabetical (musical scale letters a–p).Pp.3–7: lists of
alleluias and tonary of Office antiphons; 9–10: monastic Office of St Urban.
Pp.13–313: tonary in double notation arranged by liturgical classes and musical
modes. 13–94: introits and communions; 97–127: alleluias; 127–38: tracts;
143–90: graduals; 191–297: offertories; 298–306: tracts; 307–13: processional
antiphons; 315–16: inc. Office of St Blaise; 318–22: Office of St
Hylarius.PalMus, vii–viii (1901–5) [facs.]; M. Huglo: ‘Le tonaire de St-Bénigne
de Dijon’, AnnM, iv (1956), 7–18; Le graduel romain, ii (1957),
75; Jammers (1965), 112; F.E. Hansen: H 159 Montpellier, Tonary of St
Bénigne of Dijon (Copenhagen, 1974) [edn]Munich, Bayerische
Staatsbibliothek, Clm 14083. Proser, cantatorium, troper and kyriale from
St Emmeram, Regensburg; dated 1031–7. 128 ff.; 32 × 14 cm. German neumes.Ff.1–6v:
notated Gloria, prosa Laus tibi Christe qui es creator (text
only), Humili prece litany, Exultet jam for Holy Saturday and
Preface for Holy Saturday V.D. invisibilem Deum; 7–38v: prosae
(texts only) with sequences in the margins; 39–61: graduals and tracts; 63–80:
alleluias; 80v–99v: Proper tropes, processional antiphons, versus,
Laudes regiae (92v) and Greek Gloria, Credo and Sanctus; 110r–v:
Ordinary tropes; 111–127: offertory verses; 128r–v: troped Ites.Le
graduel romain, ii (1957), 80; RISM, B/V/1 (1964), 74Munich, Bayerische
Staatsbibliothek, Clm 14322. Proser, cantatorium, kyriale and prosulas from
St Emmeram, Regensburg; dated 1024–8. 156 ff., 29 × 12 cm. German neumes.Ff.1–5v:
Greek Gloria, Laudes regiae no.1 and Greek Credo and Sanctus; 5v–12v:
alleluia prosulas; 13–14: prosa Laus tibi Christe qui es creator
(text only); 15r–v: Notker’s Cum adhuc preface; 16–44: prosae
(texts only) with sequences in the margins; 45–75v: graduals and tracts;
76r–v: versus Benedictus es Domine; 77–98:
alleluias; 98v–99v: Laudes regiae no.2 (text only);
100–119v: kyriale with introit tropes; 121–146v: offertory
verses; 147–156: offertory prosulas; 156r–v: Gloria.Le graduel
romain, ii (1957), 80; RISM, B/V/1 (1964), 77Oxford, Bodleian Library,
Bodley 775 (2558) (‘Winchester Troper’). Cantatorium from Winchester
(Old Minster); mid-11th century with late-11th- and early-12th-century
additions. 191 ff.; 27·3 × 16·7 cm. English neumes. (Anglo-Norman neumes and
staff notation among additions; some of these scribes also worked in GB-Ccc
473: see §IV, 2.)Ff.8–181v: main corpus. Ff.8–61v: tropes
for Mass Proper chants together with verses for graduals, alleluias and
offertories, also some sequences; 61v–75v: Mass Ordinary chants,
mostly troped; 76–87v: alleluias; 88–97: tracts; 97–121v:
offertory verses; 122–129: sequentiary; 136–181v: proser (notation often
erased, sometimes rewritten). Additions, various scribes, late 11th and early
12th centuries. Ff.1–7v: principally troped and untroped Kyries and
Gloria tropes; 87v: alleluias; 121v: troped Agnus; 129–135v:
proses; 182–190: mostly proses.W.H. Frere, ed.: The Winchester Troper,
Henry Bradshaw Society, viii (1894/R); RISM, B/V/1 (1964), 158; A.
Holschneider: Die Organa von Winchester (Hildesheim, 1968); A.E.
Planchart: The Repertory of Tropes at Winchester (Princeton, NJ, 1977)Oxford,
Bodleian Library, Canon.liturg.366 (19450). Gradual and notated
secular breviary from Brescia; 11th century. 284 ff.; 30 × 18·6 cm. North
Italian neumes. Offertories lack verses.Gradual, ff.1v–36v. Ff.1v–26v:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 22); 26v–32v:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
32v–36: Sundays after Pentecost; 36r–v: Trinity. Breviary,
ff.39–284. Ff.39–179: winter–spring temp. and sanc. from Advent I to Whit
Saturday (Easter, 149); 179–239v: summer sanc. from St Marcellinus and
St Peter (2 June) to St Andrew (30 Nov); 239v–251v: Common; 251v–254:
Dedication; 254–257: St Nicholas; 260–262: Sundays after Pentecost; 262–281v:
histories combined with the lessons for the Sundays after Pentecost (order 1–8,
16–21, 9–15 and 22–3); 281v–284: Trinity.Frere, i (1901), 76; Le
graduel romain, ii (1957), 89; S.J.P. Van Dijk and J.H. Walker: The
Origins of the Modern Roman Liturgy (London and Westminster, MD, 1960),
354; M.T. Rosa Barezzani: La notazione neumatica di un codice Bresciano
(secolo XI) (Cremona, 1981)Oxford, Bodleian Library, Douce 222 (21796).
Troper, proser, offertoriale and processional from Novalesa, Italy; 11th
century. 207 ff.; 14 × 8·5 cm. Novalese neumes.Ff.2v–37: troper
containing a mixture of Mass chant incipits, introit tropes, Gloria tropes,
gradual, alleluia and offertory verses, tracts, prosulas etc. grouped by major
feasts; 37v–43: Kyrie tropes; 43–54v: Gloria tropes; 54v–70:
alleluias and alleluia prosulas; 70–75: Rogation litany Pater de caelis
and mass; 75–80: Vigil of Ascension Mass and litany; 80–81v: Assumption prosa
Aurea virga; 82–101v: proser (inc. at end); 102–172v:
offertories with verses; 172–174: offertory prosulas; 174–205: processional
antiphons.Frere, i (1901), 72; Le graduel romain, ii (1957), 88; RISM,
B/V/1 (1964), 160Paris, Bibliothèque Mazarine, 384 (748). Notated
gradual (ff.1–158v) and a list of incipits for a monastic antiphoner
without notation (163–199v) from St Denis, Paris; 11th century (fig.13). 208 ff.;
27 × 15·2 cm. French neumes. Offertories with verses.Ff.1–113v:
winter–spring temp. and sanc. (beginning lacking) from the Vigil of Christmas
to Whit Saturday (Easter, 95v); 113v–138v: summer sanc.
from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 139–152v:
Sundays after Pentecost; 152v–153v: Trinity; 153v–154:
Marian Mass Salve sancta parens; 155–158v: Requiem Masses; 158v–159v,
161v–162v and 208r–v: ordines; 160–161v: 12
notated responds for the Office of St Denis; 163–199v: an abbreviated
monastic antiphoner consisting of a table of Office incipits without notation;
201–203 and 204v–207v: notated Rogation antiphons and litanies.Le
graduel romain, ii (1957), 92; Bernard (1965–74), ii, 17; R.-J. Hesbert,
ed.: Le graduel de Saint-Denis (Paris, 1981) [facs. of gradual]Paris,
Bibliothèque Nationale de France, lat.776. Gradual with prosulas and tonary
probably from St Michel, Gaillac, nr Albi; c1079. 155 ff.; 40·5 × 27·7
cm. Aquitanian notation. Offertories with verses.Ff.3–95v: winter–spring
temp. and sanc. from Advent I to Whit Saturday (Easter, 71v); 95v–123:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
123–124: ordination Masses; 125–134: Sundays after Pentecost; 134–135v:
Trinity; 135v–136: 3 Pro iter agentibus Masses; 136: nuptial
Mass; 136–138v: Requiem Masses and Preces; 139–145v: processional
antiphons; 147–155v: inc. tonary, only into 5th tone.Catalogue
général, i (1939), 270; Le graduel romain, ii (1957), 93Paris,
Bibliothèque Nationale de France, lat.780. Gradual and tonary from the
Cathedral of SS Just et Pastor, Narbonne; probably shortly after 1081. 130 ff.;
37 × 27 cm. Aquitanian notation. Offertories with verses.Ff.1–86v:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 69);
87–106v: summer sanc. from St Marcellinus and St Peter (2 June) to St
Andrew (30 Nov); 108–118: Sundays after Pentecost; 118v–122v:
votive Masses including the chants for the Reconciliation of a Violated Church,
which probably relate to the excommunications of Guifred of Cerdagne,
Archbishop of Narbonne (d 1079). References to the patron saints of
Narbonne, St Paul of Narbonne and St Just and St Pastor: ff.25, 25v, 63,
76v, 80.Catalogue général, i (1939), 272; Le graduel romain,
ii (1957), 94; M. Gros: ‘El ordo romano-hispánico de Narbona para la
consagración de iglesias’, Hispania sacra, xix (1966), 321–401Paris,
Bibliothèque Nationale de France, lat.887. Troper, kyriale, sequentiary and
proser from ?Aurillac, later in Limoges; early 11th century. 158 ff.; 27 × 19
cm. Aquitanian notation.Ff.1–6: troped Kyrie, Glorias, Credo and Holy Week
chants (different hand); 8–45: Proper tropes; 45v–46v: 12 troped Benedicamus
settings; 47–69: Kyries, Credo Credimus, Sanctus, Agnus and Ites with
and without tropes; 69v–86v: troped Glorias and Regnum
settings; 87–95: sequentiary; 96–155: proser; 155–157v: Rogation and
Mandatum chants (different hand).Catalogue général, i (1939), 314; RISM,
B/V/1 (1964), 117; Rönnau (1967), 29; Evans (1970), 52Paris, Bibliothèque
Nationale de France, lat.903. Gradual with prosulas, processional
antiphons, troper, kyriale and proser from St Yrieix, nr Limoges; probably
second half of 11th century. 204 ff.; 40·5 × 31·5 cm. Aquitanian notation.
Offertories with verses.Ff.1–94v: winter–spring temp. and sanc. from
Advent I to Whit Saturday (Easter, 76v); 94v–116v: summer
sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov), St
Elegius (1 Dec) and St Valeria of Limoges (10 Dec); 117r–v:
nuptial mass; 118–119v: Requiem masses; 119v–130v: Sundays
after Pentecost; 130v–132: Trinity; 132–133: Dedication; 133v–147v:
processional antiphons and Preces; 147v–163: troper; 163–179v:
kyriale with Kyrie, Gloria, Sanctus and Agnus tropes; 180–203v:
proser.PalMus, xiii (1925) [facs. of ff.1–147]; Catalogue général, i
(1939), 320; Le graduel romain, ii (1957), 96; Chailley (1957), 172;
Rönnau (1967), 26; Evans (1970), 53; C.W. Brockett: ‘Unpublished Antiphons and
Antiphon Series found in the Gradual of St-Yrieix’, MD, xxvi (1972),
5–35Paris, Bibliothèque Nationale de France, lat.909. Troper,
sequentiary, versicular and tonary from St Martial, Limoges; c1025–30.
277 ff.; 26 × 16 cm. Aquitanian notation. Offertories with verses. MS bound
incorrectly (correct order given here).Ff.1–8v: added gathering with
miscellaneous chants; 9–61v: Proper tropes; 65–85v: substitute
gatherings (for contents see Emerson); 86–104v: Gloria and Regnum
tropes; 105–109v: Sanctus and Agnus tropes; 190–197v, 174–189v
and 166–167: alleluias; 168v–173v and 142–165v:
processional antiphons for Holy Week, Rogations and major feasts; 110–125v:
sequentiary; 126–140: tracts; 198–205: 2 prosae and a versus to
St Martial; 206–245v: offertories with verses; 251–257v: tonary;
260v–268v: antiphons for Sundays after Pentecost; 270–275v:
Trinity Office.Catalogue général, i (1939), 322; RISM, B/V/1 (1964),
118; J.A. Emerson: ‘Two Newly Identified Offices for Saints Valeria and
Austriclinianus by Adémar de Chabannes’, Speculum, xl (1965), 31–46;
Rönnau (1967), 23; Evans (1970), 48Paris, Bibliothèque Nationale de France,
lat.1087. Gradual, kyriale, proser and sequentiary, from Cluny; 11th
century. 118 ff.; 23·5 × 16 cm. French neumes. Offertories with verses.Ff.2–72v:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 37); 72v–86v:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
86v–95v: Sundays after Pentecost; 95v–96: Trinity; 96–97v:
Requiem Masses; 98–101v: kyriale with some tropes; 102–108: brief proser
with sequences in the margins; 108–111: sequentiary; 112v–115: Office of
St Odilon (ed. Hesbert); 116v: 3 troped Benedicamus settings.Catalogue
général, i (1939), 394; R. Hesbert: ‘Les témoins manuscrits de culte de
saint Odilon’, A Cluny: Congrès scientifique: Cluny 1949, 51–120; Le
graduel romain, ii (1957), 97; RISM, B/V/1 (1964), 123; D. Hiley: ‘Cluny,
Sequences and Tropes’, La tradizione dei tropi liturgici: Paris 1985 and
Perugia 1987, 125–38; M.P.R. Ferreira: Music at Cluny: the Tradition of
Gregorian Chant for the Proper of the Mass: Melodic Variants and Microtonal
Nuances (diss., Princeton U., 1997)Paris, Bibliothèque Nationale de
France, lat.1119. Troper and proser with sequences from St Martial,
Limoges; dated c1030. 251 ff.; 22·5 × 13·4 cm. Aquitanian
notation.Ff.4–81: Proper tropes; 84–88v: Kyrie tropes; 90–139: Gloria
and Regnum tropes; 140–243v: prosae containing sequence
melismas; 244–248: Sanctus tropes; 248v–250: Agnus tropes; 250v–251v:
Assumption prosa Aurea virga (added).RISM, B/V/1 (1964), 126;
Rönnau (1967), 24; Evans (1970), 49Paris, Bibliothèque Nationale de France,
lat.1120. Troper, proser, processional and offertoriale from St Martial,
Limoges; early 11th century. 221 ff.; 23 × 10·5 cm. Aquitanian notation.
Polyphonic elements, ff.73v, 77v, 78v, 80v, 81, 104v–105v.Ff.1–66v:
troper; 67–72v: Kyrie tropes; 73v–78v: Sanctus and Agnus
tropes; 82–102v: Gloria and Regnum tropes; 106–153v:
proser; 154–183v: processional; 184–213v: offertory verses; 217–219:
Office of St Valericus (see also ff.103–4).Le graduel romain, ii (1957),
98; RISM, B/V/1 (1964), 128; RISM, B/IV/1 (1966), 401; Rönnau (1967), 21; Evans
(1970), 47Paris, Bibliothèque Nationale de France, lat.1121. Troper,
sequentiary, offertoriale, alleluias and proser fragments from St Martial,
Limoges; early 11th century. 247 ff.; 26·5 × 17 cm. Aquitanian notation.
Ff.180–231v bound out of order.Ff.2–41v: troper, inc. at end;
42–57v: Gloria and Regnum tropes, inc. at end; 58–72v:
sequentiary, inc. at beginning; 73–86v: tracts; 86v–89:
benedictiones; 90–137: offertories with verses; 138–174: processional antiphons
and Preces; 174–176v: 3 Venite settings; 176v–178:
Lamentations of Jeremiah for Holy Saturday; 178–179v: Office antiphons
for Sundays I–IV after Epiphany; 179v, 218–223v: multiple Office
alleluias (Hesbert (1963–75), iii, nos.1327–38); 223v–229: monastic
Trinity Office; 229v–230: Extreme Unction antiphons; 230–231v:
Ember Saturday Office antiphons De tribus pueris; 210v–217v,
180–186v: Mass alleluias for the year, inc. at end; 187–195v:
Office antiphons for Sundays I–XXVI after Pentecost; 196–201v: proser
fragment no.1, beginning lacking; 201v–206v: tonary; 207–10:
monastic Office of the Exaltation of the Holy Cross (14 Sept); 232–239v:
versus of Abraham and Joseph; 240–243: proser fragment no.2, beginning
lacking; 243–245v: Ember Saturday blessing Benedictus es in
firmamento celi; 245v–246: Kyrie tropes; 246v–247: prosa
Laudiflua cantica (added).Le graduel romain, ii (1957), 98; RISM,
B/V/1 (1964), 130; Rönnau (1967), 22; Evans (1970), 119 [edn of tropes]Paris,
Bibliothèque Nationale de France, lat.1132. Gradual, kyriale and proser
from St Martial, Limoges; late 11th century (after 1063). 146 ff.; 25 × 16 cm.
Aquitanian notation. Offertories with verses.Ff.5–78: winter–spring temp. and
sanc. from Advent I to Trinity (Easter, 60v); 78–95v: summer
sanc. from St Nicomedes (1 June) to St Nicholas (6 Dec); 95v–106:
Sundays after Pentecost (alleluia cycle follows Cluniac use); 106v–107v:
Requiem; 107v–113v: kyriale with troped Sanctus and Agnus; 113v–131,
132–144: proser in 2 series; 144–145v: supplement of Masses.Catalogue
général, i (1939), 413; Le graduel romain, ii (1957), 99Paris,
Bibliothèque Nationale de France, lat.1137. Proser, sequentiary, kyriale
and cantatorium from St Martial, Limoges; dated c1030. 167 ff.; 20 × 13
cm. Aquitanian notation.Ff.1–24v: alleluias; 25–38v: kyriale with
troped Sanctus and Agnus; 39–51: sequentiary; 51v–109: proser; 110v–115:
gradual verses; 118–164: offertory verses.RISM, B/V/1 (1964), 135Paris,
Bibliothèque Nationale de France, lat.9435. Notated missal (inc.) from St
Pierre, Maillezais; 11th century. 288 ff.; 34 × 23·5 cm. The original French
neumes have been systematically erased and replaced with small 12th-century
quadratics on 4 black lines. Offertories lack verses.Ff.1–165: winter temp.
from Christmas to the Sunday within the Octave of Pentecost (Easter, 127v);
165–204: Sundays after Pentecost; 207–15: Advent Sundays I–IV; 217v–219:
Dedication; 219–220: Trinity; 220–227v: votives; 228–288v: S
(inc.) from Holy Innocents (28 Dec) to St Cornelius and St Cyprian (16
Sept).Leroquais (1924), i, 184; Le graduel romain, ii (1957), 101Paris,
Bibliothèque Nationale de France, lat.9436. Notated missal from St Denis,
Paris; mid-11th century. 165 ff.; 31 × 23 cm. French neumes. Offertories with
verses.Ff.1v–2v: Ordinary chants, with Glorias and Credo in Greek
and Latin; 3v–4v: complete Calendar; 5–12: ordo missae, vesting
and Ordinary prayers; 13v–18: Canon no.1; 18–59v: winter temp.
from Vigil of Christmas to Saturday after Trinity Sunday (Easter, 50v);
59v–67: Sundays after Pentecost; 67–70: Advent Sundays V, I–IV; 71–116:
sanc. from St Stephen (26 Dec) to St Thomas (21 Dec); 116–119v: Common;
120v–121v: Dedication; 123v–125v: Canon no.2; 127v–165:
votive Masses and Masses and prayers for the Dead (texts only).Leroquais
(1924), i, 142; Le graduel romain, ii (1957), 101Paris, Bibliothèque
Nationale de France, lat.9449. Troper and proser with Mass chant incipits
from Nevers; dated c1060. 100 ff.; 27 × 13·5 cm. French neumes. A
typical Mass might include several troped introits, a troped Kyrie and Gloria,
an alleluia with a prosula, one or more prosae, an offertory with verses
and a troped Sanctus and Agnus.Ff.1–54: winter–spring temp. and sanc. from
Advent I to Trinity (Easter, 35 and Laudes regiae, 36v); 54–75:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
75–76v: St Benedict (texts only); 76v–78v: Dedication; 78v–79:
St Cyricus, patron of Nevers; 79v–84: Sundays after Pentecost (alleluia
cycle as F-Pn lat.1235); 84: Trinity; 84r–v: Marian Mass Salve
sancta parens; 84v: Holy Cross Nos autem gloriari; 84v–89v:
prosae, with and without melodies; 91–98v: sermon of St
Augustine.Le graduel romain, ii (1957), 102; RISM, B/V/1 (1964), 140;
Rönnau (1967), 33; N.M. Van Deusen: Music at Nevers Cathedral: Principal
Sources of Medieval Chant (Henryville, PA, 1980); E.J. Reier: The
Introit Trope Repertory at Nevers: MSS Paris B.N. lat.9449 and Paris B.N.
n.a.lat.1235 (diss., U. of California, Berkeley, 1981)Paris,
Bibliothèque Nationale de France, lat.10510. Monastic troper, proser and
abbreviated gradual from Echternach; end of 11th century. 117 ff. German
neumes. Offertories with verses.Ff.1v–22: introit, Kyrie, Gloria, Regnum,
Sanctus and Agnus tropes grouped by feasts and arranged according to the
liturgical year; 23v–72: 50 prosae (texts only) with sequences in
the margins. Ff.73v–117, an abbreviated gradual containing only the
major feasts. The Lenten ferials, Holy Week services, the Sundays after
Epiphany, Easter and Pentecost and the Common of the Saints are lacking. Ff.73v–107:
winter–spring temp. and sanc. from Christmas to the Wednesday after Pentecost
(Easter, 96); 107–117: summer sanc. consists of 12 major feasts from St Philip
and St James (11 May) to St Andrew (30 Nov).Le graduel romain, ii
(1957), 103Paris, Bibliothèque Nationale de France, n.a.lat.1177.
Cantatorium and proser from southern France; end of 11th century. 89 ff.; 28·8
× 12·4 cm. Aquitanian notation with later additions. Many changes of neume
hands. Final folios bound in upside down.Ff.2–9: miscellany of prosae, Regnum
settings, troped Kyries etc.; 9v–14: offertories with verses; 14–15:
Kyries without tropes; 17–28: gradual verses; 28–43v: alleluias; 43v–51:
tracts; 53–77v: 27 prosae by several different hands; 78–86:
supplement of 15 prosae (added 12th–13th centuries).Le graduel romain,
ii (1957), 110; RISM, B/V/1 (1964), 145Paris, Bibliothèque Nationale de
France, n.a.lat.1871. Troper, sequentiary, proser and prosulas perhaps from
Moissac; end of 11th century. 178 ff.; 29·1 × 19 cm. Late Aquitanian
notation.Ff.1v–41v: Proper tropes; 43v–49: Kyrie tropes;
52v–55: Sanctus tropes; 55v–57: Agnus tropes; 60–76: Gloria
tropes; 76v–87: sequentiary; 88–91v: 7 prosae; 92–170v:
proser, inc. at beginning (commences within Regnantem sempiterna);
171–178v: about 65 prosulas, inc. series breaking off at the end with
few melodies and no rubric cues.C. Daux: Deux livres choraux monastiques des
Xe et XIe siècles (Paris, 1889) [contains a misleading inventory]; RISM,
B/V/1 (1964), 145; Rönnau (1967), 32Rome, Biblioteca Angelica, 123 (B.3.18).
Computus tables, gradual, processional antiphons and troper-proser from
Bologna; first half of 11th century. 268 ff.; 26·4 × 17·4 cm. North Italian
neumes. Offertories with verses.Ff.1–16v: 2 computus tables and Calendar
of movable feasts; 17–112v: winter–spring temp. and sanc. from Advent I
to Holy Saturday; 112v–113: lacuna; 113–128v: Easter Thursday to
Vigil of Pentecost; 128v–129: lacuna; 129–146: inc. summer sanc. from St
Donatus (7 Aug) to St Andrew (30 Nov); 146–152v: votives and Masses for
the Dead; 153–166: Sundays after Pentecost (double series of alleluias);
166–167: Trinity; 167–183v: processional antiphons; 184–265v:
prosulas, Proper and Ordinary tropes and prosae.Le graduel romain,
ii (1957), 119; L. Gherardi: ‘Il codice Angelica 123 monumento della chiesa
bolognese nel sec. XI’, Quadrivium, iii (1959), 5–114; PalMus, xviii
(1969) [facs.]; A. Kurris: ‘Les coupures expressives dans la notation du
manuscrit Angelica 123’, EG, xii (1971), 13–63; M.T. Rosa Barezzani and
G. Ropa, eds.: Codex Angelicus 123: studi sul graduale-tropario bolognese
del secolo XI e sui manoscritti collegati (Cremona, 1996)Rome, Biblioteca
Apostolica Vaticana, Borg.lat.359 (M.VI.27). Lectionary, gradual and
proser from St Etienne, Besançon; mid-11th century (before 1066). 243 ff.; 19·7
× 14·5 cm. German neumes. Offertories with verses.F.3: list of bishops of
Besançon; 4–132v: lectionary (texts only); 135–136: Laudes regiae
(texts only); 136–193v: winter temp. of the gradual from Advent I to
Trinity (Easter, 182v); 193v–201: Sundays after Pentecost; 201v–222v:
sanc. from St Sylvester (31 Dec) to St Thomas (21 Dec); 222v–227:
Common, Dedication, votives, Requiem, kyriale; 227v–243v: notated
proser.Le graduel romain, ii (1957), 124; Salmon, ccliii (1969), 43Rome,
Biblioteca Apostolica Vaticana, vat.lat.4770. Partly notated missal from S
Bartolomeo, Musiano, nr Bologna (?or Subiaco); 11th century. 254 ff.; 34·5 × 27
cm. North Italian neumes. Offertories with verses. Melodies generally confined
to ff.1–92v (Advent to Good Friday).Ff.2–114v: winter–spring
temp. and sanc. (beginning missing) from Christmas Mass Lux fulgebit to
Holy Saturday; 114v–117: Preface and Canon; 117–152v: Easter to
the Sunday within the Octave of Pentecost; 152v–215: Sundays 1–23 after
Pentecost and summer sanc. from St Nicomedes (1 June) to St Andrew (30 Nov) are
combined; 215–220: Common; 220–223v: Trinity and ferials; 223v–225v:
Dedication; 225v–254v: blessings, votives, collects etc. (texts
only).Le graduel romain, ii (1957), 124; Salmon, ccliii (1969), 156; L.
Gjerløw: ‘Votive Masses Found in Oslo’, Ephemerides liturgicae, lxxxiv
(1970), 113–128 [discussion of dating controversy]Rome, Biblioteca
Apostolica Vaticana, vat.lat.7018. Notated secular breviary-missal (summer
part) from Reggio nell’Emilia; late 11th century. 224 ff.; 31·3 × 20 cm. North
Italian neumes. Offertories lack verses. MS based on a French model (see Salmon).Ff.1–58v:
Offices and masses for the Sundays after Pentecost; 58v–62: Trinity;
62–65v: Dedication; 66–160v: summer sanc. from St Tiburtius and
St Valerian (14 April) to St Andrew (30 Nov); 161v–173: Common; 173–180v:
votive and Requiem Masses; 181v–185v: services for the sick and
the dead; 186–187: Preface and canon; 188–215: psalter (texts only); 215–218v:
canticles, Pater noster, Credo, Psalmi speciales, orations etc.;
219–224: episcopal blessings.Le graduel romain, ii (1957), 125; P.
Salmon: ‘Un bréviaire-missel du XIe siècle’, Mélanges Eugène Tisserant,
vii (Rome and Vatican City, 1964), 327–43; Salmon, ccli (1968), 182, and ccliii
(1969), 163Rome, Biblioteca Apostolica Vaticana, vat.lat.10673. Gradual
fragment (season of Lent) from Benevento or Apulia; early 11th century. 35 ff.;
26 × 17·5 cm. Beneventan neumes. Offertories with verses.Ff.1–35 (ed. in
PalMus, pp.1–71): temp. from Septuagesima Sunday (inc.) to Holy Saturday. Good
Friday and Holy Saturday services contain Beneventan elements.PalMus, xiv
(1936) [facs.]; Le graduel romain, ii (1957), 126; Jammers (1965), 88;
Salmon, ccliii (1969), 90; Kelly (1989)Rome, Biblioteca Casanatense, 3830.
Cantatorium, troper and proser (3 fragments) from north Italy; 11th century. 58
ff.; 14·7 × 10·4 cm. North Italian neumes.Ff.1–32v: fragment I,
offertory verses from Advent to Pentecost; 33–50v: troper fragment:
Gloria tropes (33–43) and alleluia prosulas (43–50v); 51–58v:
proser fragment for 4 feasts, 8 Sept to 11 Nov.Le graduel romain, ii
(1957), 121; RISM, B/V/1 (1964), 182Rouen, Bibliothèque Municipale, 243
(A.164). Notated monastic breviary from Marmoutier, nr Tours; 11th
century. 301 ff.; 35·8 × 25·5 cm. French neumes.Ff.1–116v: winter–spring
temp. from Advent I to the Sunday within the Octave of Pentecost (Easter, 87v);
116v–150v: Sundays after Pentecost; 151–294v: sanc. from
St Stephen (26 Dec) to St Thomas (21 Dec); 295–301: Common (inc. at
end).Leroquais (1934), iv, 114St Gallen, Stiftsbibliothek, 339.
Calendar, gradual and sacramentary from St Gallen; early 11th century. 550 pp.;
25·3 × 17·8 cm. St Gallen neumes. Offertories with verses.Pp.8–27: Calendar;
33–174: Gradual (ed. in PalMus, pp.1–142); 33–126 (PalMus, 1–95): winter–spring
temp. and sanc. from Advent I to Whit Saturday (Easter, 107 [76]); 126–44
(95–113): summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew
(30 Nov); 144–5 (113–14): Requiem; 145–6 (114–15): Trinity; 146–57 (115–26):
Sundays after Pentecost; 157–61 (126–30): alleluias for Sundays after
Pentecost; 161–4 (130–33): Common (alleluias only); 164–74 (133–42):
processional antiphons; 181–8: vesting, entrance and offertory prayers; 189–96:
Preface and Canon; 197–535: sacramentary.PalMus, i (1889) [facs.]; Munding
(1948), 10; Le graduel romain, ii (1957), 131; D.H. Turner:
‘Sacramentaries of St Gall in the Tenth and Eleventh Centuries’, Revue
bénédictine, lxxxi (1971), 186–215St Gallen, Stiftsbibliothek, 376.
Calendar, troper, kyriale, gradual, processional and proser from St Gallen; c1070.
435 pp.; 19·5 × 16·7 cm. St Gallen neumes with significative letters.
Offertories with verses.Pp.1–12: selected chants; 13–37: Calendar and computus;
39–65: troper; 65–76: kyriale; 76–80: Te Deum prosulas and 2 versus;
82–228: winter–spring temp. and sanc. of the gradual from Advent I to Whit
Saturday (Easter, 196); 228–67: summer sanc. from St Marcellinus and St Peter
(2 June) to St Thomas (21 Dec); 267–8: Dedication; 268–9: Requiem; 269–70:
Trinity; 271–87: Sundays after Pentecost; 287–91: alleluias for Sundays after
Pentecost; 291–5: Common (alleluias only); 298–311: processional antiphons;
312–434: proser (texts only) with sequences in margins.MGG2 (‘Sankt
Gallen’; A. Haug); Le graduel romain, ii (1957), 132; Rönnau (1967), 42St
Gallen, Stiftsbibliothek, 378. Calendar, troper, kyriales, prosers,
offertory and communion verses from St Gallen; c1070 (13th-century
additions). 400 pp.; 18·8 × 12·5 cm. St Gallen neumes.Pp.1–35: Calendar and
computus; 40–102: troper; 102–26: kyriale no.1; 127–32: 2 versus;
132–43: primarily communion verses; 146–296: proser (texts only) with Notker’s Cum
adhuc preface and sequences in margins; 297–343: offertory verses for both
the temp. and sanc., 345–52: prosae (series 2) with melodies and
sequences in margins; 353–60: prosae (series 3) notated, but lacking sequences;
362–85: kyriale no.2 with and without tropes; 386–400: appx of selected tropes,
prosae, alleluias etc.MGG2 (‘Sankt Gallen’; A. Haug); Le
graduel romain, ii (1957), 133; RISM, B/V/1 (1964), 35St Gallen,
Stiftsbibliothek, 380. Calendar, troper, kyriale, proser, offertoriale and
versicular from St Gallen; c1080. 393 pp.; 17·6 × 8·8 cm. St Gallen
neumes. Some leaves bound out of order.Pp.4–17: Calendar; 17–20, 41–7, 49–52:
computus; 28–40, 53–83: troper; 83–101: kyriale; 101–5: 2 versus;
106–13: troped Kyries; 116–17: Fabrice prosulas; 118–272: proser
preceded by Notker’s Cum adhuc preface. Prosae (texts only),
sequences in the margins. 273–367: offertory verses; 369–87: notated introit
and communion verses.MGG2 (‘Sankt Gallen’; A. Haug); Le graduel romain,
ii (1957), 133; RISM, B/V/1 (1964), 39; Rönnau (1967), 41St Gallen,
Stiftsbibliothek, 382. Troper, kyriale, troped epistles, proser and
offertoriale from St Gallen; 11th century. 270 pp.; 18·3 × 13 cm. St Gallen
neumes.Pp.1–3: processional antiphons; 3–11: Glorias, Credos and Pater
noster in Greek and Latin; 11–20: versus; 21–54: troper; 57–70:
kyriale; 73–93: primarily troped epistles; 94–187: prosae (series I)
texts only, sequences in margins; 187–218: prosae (series II) partly
notated, lacking sequences; 219–70: offertory verses for the temp. only, the
beginning and ending of the series are missing.MGG2 (‘Sankt Gallen’; A.
Haug); Le graduel romain, ii (1957), 133; RISM, B/V/1 (1964), 44; RISM,
B/IV/1 (1966), 55Troyes, Bibliothèque Municipale, 522. Notated missal
(inc.) for use at Clairvaux; late 11th century. 162 ff.; 31·5 × 22·5 cm.
Messine neumatic notation. Offertories lack verses. The beginning and end of
the MS are missing.Ff.1–79v: winter–spring temp. from Advent III to Holy
Saturday; 79bis–79v: inc. Canon (added leaves); 80–99: Easter to
Trinity; 99–129: Sundays after Pentecost; 129–162v: sanc. from St
Sylvester (31 Dec) to St Martin (11 Nov), inc.Leroquais (1924), i, 94; Le
graduel romain, ii (1957), 145Turin, Biblioteca Nazionale Universitaria,
G.V.20. Gradual and processional from Bobbio; 11th century. 183 ff. Italian
neumatic notation from the region of Bobbio. Offertories with verses. The major
Masses contain prosae, prosulas and troped introits, Kyries, Glorias,
Sanctus and Agnus.Ff.1–9: complete calendar with liturgical cues for the
Epistle and Gospel readings; 12–120v: winter–spring temp. and sanc. from
Advent I to Whit Saturday (Easter, 97); 120v–150: summer sanc. from St
Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 150r–v: prosa
Stans a longe and other chants; 151–163v: Sundays after Pentecost;
163v–164: Trinity; 164–165: Requiem; 165r–v: alleluias for
the Common; 166–171v: Rogation litanies and antiphons; 171v–179v:
processional antiphons; 180–183v: supplement of various chants.Le
graduel romain, ii (1957), 146Vercelli, Biblioteca Capitolare, 161.
Gradual with a troper-proser from Vercelli; end of 11th century. 148 ff.; 26 ×
18 cm. North Italian neumes. Offertories with verses.Ff.1–77v:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 63); 77v–95:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
95r–v: Requiem; 96–106v: Sundays after Pentecost; 106v–107v:
Trinity; 108v–112: processional antiphons; 112–148v: combined
troper and proser for major feasts.Le graduel romain, ii (1957), 149Vercelli,
Biblioteca Capitolare, 186 (21). Gradual with tropes from S Vittore,
Balerna, nr Como; end of 11th century. 199 ff.; 23 × 16 cm. Messine notation
adapted for use at Como. Offertories with verses. MS inc. at beginning and end.
Introit, Kyrie, Gloria, Sanctus and Agnus tropes, prosulas and some ordines are
incorporated within the Mass Propers.Ff.1–165v: winter–spring temp. and
sanc. from Advent IV to the Sunday within the Octave of Pentecost (Easter,
114); 165v–190: summer sanc. from St Nicomedes (1 June) to St Andrew (30
Nov); 190r–v: Requiem; 190v–199v: Sundays after
Pentecost (MS breaks off within Sunday XIX).Le graduel romain, ii
(1957), 149Verona, Biblioteca Capitolare, XCVIII (formerly 92).
Secular antiphoner from Verona; 11th century. 267 ff.; 28·5 × 19 cm. North
Italian neumes; scattered chants throughout the MS are in Nonantolan
notation.Hesbert, i (1963), MS V [edn of text]; Borders (1983)Verona,
Biblioteca Capitolare, CVII (formerly 100). Troper and proser from S
Benedetto, Mantua, later used in Verona; 11th century. 125 ff.; 18·7 × 12·3 cm.
North Italian neumes; additions in Nonantolan notation.Ff.3–24v: introit
tropes; 27v–33v: Kyrie tropes; 35–51v: Gloria tropes;
54–70v: prosulas; 71–118v: proser, inc. at end; 120–122: Sanctus
tropes; 122v–124: Agnus tropes; 124–125v: Laudes regiae
(text only).RISM, B/V/1 (1964), 187; Borders (1983)Verona, Biblioteca
Capitolare, CIX (formerly 102). Notated hymnal from Verona; end of
11th century. 190 ff.; 22·5 × 14·5 cm. North Italian notation with letter clefs
and lines.Ff.1–185v: hymns arranged according to the liturgical year and
accompanied with selected antiphons, responds and lessons; 186–189: selected
Matins and Vespers antiphons for Easter Week.Stäblein (1956), 357–406, 597 [edn
of 207 hymns]; Borders (1983)Vienna, Österreichische Nationalbibliothek,
Vind.1845. Gradual and sacramentary with prosae, tropes, sequences
and Calendar from Seeon, Upper Bavaria; dated 1014–24. 275 ff. German neumes. Offertories
with verses.Ff.3–33: winter–spring temp. and sanc. from Advent I to Whit
Saturday (Easter, 27v); 33–38: summer sanc. from St Marcellinus and St
Peter (2 June) to St Andrew (30 Nov); 38r–v: Mass for the Dead Si
enim credimus, 38v: Trinity; 38v–42: Sundays after Pentecost;
42–43: alleluias for Sundays after Pentecost; 43–44v: Common (alleluias
only); 45–46: Rogation antiphons; 47–57v: proser (texts only) with
sequences in margins; 58v–61: introit tropes and kyriale; 65v–72:
Calendar and computus; 73–275: sacramentary preceded by a Canon.Le graduel
romain, ii (1957), 151; Hoffmann (1986), 414Zürich, Zentralbibliothek,
Rheinau 132 (Mohlberg 502). Offertoriale and proser from Rheinau;
11th century. 79 ff.; 14·5 × 12 cm. German neumes.Ff.1–21v: offertory
verses; 21v–32: improperium, Greek Gloria and 11 prosae; 32–72v:
proser with sequences in the margins; 72v–79v: supplement of prosae,
sequences and Laudes regiae (77r–v).RISM, B/V/1 (1964), 54
Sources, MS, §II:
Western plainchant
4. 11th–12th centuries.
Bologna, Biblioteca Universitaria, 2824. Troper with
prosae from Nonantola; 11th–12th century. 106 ff.; 18 × 12 cm.
Nonantolan notation with red F and yellow C lines. Beginning of MS (Kyrie
gathering) lacking.Ff.1–8: Gloria tropes; 8v–9v: additions over
erasures; 10–12v: Sanctus, with and without tropes; 12v–14: Agnus
tropes; 14v–15: 2 Fraction antiphons; 15v–95: Proper tropes and prosae
arranged by major feasts according to the church year; 95–106: supplement containing
antiphons, prosae and Ordinary tropes etc. in Nonantolan and Beneventan
notations.RISM, B/V/1 (1964), 170; A. Moderini: La notazione neumatica di
Nonantola, i (Cremona, 1970), 54; Borders (1996), i, p.xii [description],
xiv [inventory]Brussels, Bibliothèque Royale Albert Ier, II 3822 (Fétis
1162). Notated missal from St Hubert, Belgium; 11th–12th century. 144 ff.
Messine neumes. Offertories with verses.Ff.1–5: Ordinary and Canon prayers; 5v–84v:
winter temp. from Advent I to the Sunday within the Octave of Pentecost
(Easter, 69v); 84v–100v: Sundays after Pentecost; 101–134v:
sanc. from St Stephen (26 Dec) to St Thomas (21 Dec); 135–137: Dedication;
137–144v: Common.Le graduel romain, ii (1957), 38Gniezno,
Archiwum Archidiecezjalne, 149. Ordo romanus, Calendar, gradual, proser,
sacramentary and lectionary from the abbey of St Maurice, Niederaltaich, Lower
Bavaria; dated 1070–1131. 474 pp.; 32·5 × 21·5 cm. German neumes. Offertories
with verses.Pp.1–16: Ordo romanus antiquus fragment from Christmas to
Purification; 18–22: Calendar (Jan to Oct only); 23–128: gradual; 23–99:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 84);
99–113: St Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 114:
Trinity; 114–25: Sundays after Pentecost; 126–8: Common (alleluias only);
130–55: notated proser, no sequences in the margins; 158–394: sacramentary
(Canon, 158–63); 395–473: lectionary.K. Biegański and J. Woronczak, eds.: Missale
plenarium, Bibl.Capit. Gnesnensis, MS. 149, AMP, xi–xii (1970–72) [facs.]Laon,
Bibliothèque Municipale, 237. Partly notated missal from Soissons;
11th–12th centuries. 91 ff.; 25 × 16·3 cm. Messine neumes. Only Common,
Eastertide and votive Masses. Offertories lack verses.Ff.1–11: Common; 12–18v:
entrance, Ordinary and Canon prayers; 18v–28v: Easter to Trinity
Masses; 28v–51v: votives; 52–59: baptism services; 59–91v:
services for the sick and the dead.Leroquais (1924), i, 161; Le graduel
romain, ii (1957), 57Madrid, Archivo Histórico Nacional, Aemil.18 (F.185).
Notated full missal of the Roman rite copied for use at S Millán de la Cogolla,
nr Nájera; dated 1090–1137. 349 ff.; 38 × 25 cm. Text in Visigothic minuscule;
Aquitanian diastematic notation. Offertories without verses. Janini stated that
E-Mah 35, a sacramentary of French origin, served as the exemplar for MS
18.Ff.1–12v: Calendar and computus; 13–15: Prefaces and Canon; 15v–173v:
winter temp. from Advent I to Whit Saturday (Easter, 138); 173v–226:
Sundays after Pentecost; 226–298: sanc. from St Sylvester (31 Dec) to St Thomas
(21 Dec); 298–299v: Dedication; 299v–310: Common (ff.291–9 are
numbered twice); 310–311: Trinity; 311–338: votive Masses and prayers; 338–349v:
Masses for the Sick and the Dead.C. Pérez: ‘Indice de los códices de San Millán
de la Cogolla y San Pedro de Cardeña existentes en la Biblioteca de la Real
academia de la historia’, Boletín de la Real academia de la historia,
liii (1908), 483; Le graduel romain, ii (1957), 66; J. Janini: ‘Un
sacramentario gregoriano de Madrid’, Boletín de la Real academia de la
historia, cxlv (1959), 107Madrid, Archivo Histórico Nacional, Aemil.51
(F.219). Gradual (inc.) with kyriale from S Millán de la Cogolla;
11th–12th centuries. 247 ff.; 27 × 16 cm. Aquitanian diastematic notation.
Offertories with verses. Beginning of the MS (ff.1–58) is missing.Ff.59–162:
spring temp. and sanc. from the Wednesday of the first week in Lent to Trinity
(Easter, 126); 162–182: Sundays after Pentecost; 182–228v: summer sanc.
from St Tiburtius, St Valerian and St Maximus (14 April) to St Andrew (30 Nov);
229r–v: Trinity; 229v–231: Dedication; 231r–v:
nuptial Mass; 232–246v: kyriale with tropes.C. Pérez: ‘Indice de los
códices de San Millán de la Cogolla y San Pedro de Cardeña’, Boletín de la
Real academia de la historia, liii (1908), 500; Le graduel romain,
ii (1957), 67Madrid, Biblioteca Nacional, 288 (anc.C.151).
Tonary, troper, proser, offertoriale; c1100, from Palermo, Sicily. 194
ff.; 20·6 × 11·3 cm. French neumes.Ff.4–12: tonary; 12v–29v: Holy
Saturday antiphons and responds; 31v–42v: Kyries, with and
without tropes; 43–58v: Gloria tropes; 59–80v: alleluias; 81–119v:
proser; 120–151v: offertory verses; 152–159: Sanctus and Agnus, with and
without tropes; 159v–163v: prosulas, troped epistle etc.; 163v–168:
Benedicamus tropes; 168–170v: Magi play; 171–172v: Laudes
regiae; 173v–175v: versus of Fortunatus’s Salve
festa dies; 175v–187v: rhymed Offices of Julian, Egidius and
Mary Magdalen; 187v–194: supplement in various hands.Anglès and Subirá,
i (1946), 36 [inventory]; Le graduel romain, ii (1957), 67; RISM, B/V/1
(1964), 87; Janini and Serrano (1969), 15; Arlt (1970), i, 175; Hiley (1981);
D. Hiley: ‘Quanto c'è di normanno nei tropari siculo-normanni?’, RIM,
xviii (1983), 3–28; D. Hiley: ‘Ordinary of Mass Chants in English, North French
and Sicilian Manuscripts’, Journal of the Plainsong & Medieval Music
Society, ix (1986), 1–128Milan, Biblioteca Trivulziana e Archivio
Storico Civico, D.127 (2294). Notated missal from Civate; 11th–12th
centuries. 307 ff.; 25·8 × 17 cm. North Italian neumes. Offertories lack
verses.Ff.1–8v: Calendar; 9–18v: vesting and Offertory prayers,
blessings, Canon etc.; 18–199v: winter–spring temp. and sanc. from
Advent I to the Sunday within the Octave of Pentecost (Easter, 166); 199v–244v:
St Tiburtius and St Valerian (14 April) to St Andrew (30 Nov); 244v–268:
Sundays after Pentecost; 268–269v: Dedication; 269v–283: Common;
283v–284v: Trinity; 284v–305: votives and Masses for the
Dead; 305v–307: supplement of prayers (13th-century addition).Le
graduel romain, ii (1957), 72; C. Santoro: I codici medioevali della
Biblioteca Trivulziana (Milan, 1965), 321Modena, Duomo, Archivio
Capitolare, O.I.13. Gradual from Bologna; 11th–12th centuries. 190 ff.
Central Italian notation with red F and yellow C lines. Offertories with
verses. Ff.1–47 are badly mutilated. Alleluias for the Sundays after Pentecost
are the same as the first series in the Bologna gradual (I-Ra
123).Ff.1–2v: fragment of another gradual, summer sanc. from St
Basilides (12 June) to St Processus (2 July); 3v–133v:
winter–spring temp. and sanc. from Advent I to the Sunday within the Octave of
Pentecost (Easter, 104v); 133v–162v: summer sanc. from St
Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 162v–166v:
ordination, Pro iter agentibus and Requiem masses; 167r–v:
St Nicholas (different hand); 168–186: Sundays after Pentecost; 186–187:
Trinity; 187–190v: Rogation antiphons (inc. at end).Le graduel romain,
ii (1957), 73Nonantola, Seminario Abbaziale, I. Cantatorium from St
Sylvester, Nonantola; 11th–12th centuries. 116 ff.; 23·4 × 14·7 cm. Nonantolan
diastematic notation with red F and yellow C lines. The MS contains chants for
the soloist only: graduals, alleluias, occasional alleluia prosulas and Lenten
tracts. Copied by the monk Maurus (colophon f.1). Feast of St Senesius and St
Theopontius (21 May), patrons of Nonantola (65v).Ff.1–71v:
winter–spring temp. and sanc. from Advent I to the Sunday within the Octave of
Pentecost (Easter, 55); 71v–89v: summer sanc. from St John the
Baptist (24 June) to St Andrew (30 Nov); 90–109: Sundays after Pentecost; 109v–112v:
alleluias.Le graduel romain, ii (1957), 86; A. Moderini: La notazione
neumatica di Nonantola (Cremona, 1970) [cited as MS G with photographs of
34 ff.]Paris, Bibliothèque Nationale de France, lat.12584. Gradual,
antiphoner, processional, martyrology and Rule of St Benedict from St
Maur-des-Fossés; 14th and 11th–12th centuries. 385 ff.; 31 × 20·5 cm. French
neumes. Offertories with verses.Ff.1–79v: Martyrology of Usuard (14th
century); 80–119v: Rule of St Benedict, inc. at end (14th century);
120–126v: gospels for major feasts (14th century). Gradual, ff.127–210,
11th–12th centuries. Ff.127–182: winter–spring temp. and sanc. (beginning
missing) from St John (27 Dec) to Whit Saturday (Easter, 169); 182v–199v:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
200–208v: Sundays after Pentecost; 208v–209: Trinity; 209v–210:
Dedication; 210–216: supplementary Office and Mass chants. Antiphoner, ff.216v–385v,
11th–12th centuries. Ff.216v–303: winter–spring temp. and sanc. from
Advent I to Whit Saturday (Easter, 289v); 303–344: summer sanc. from St
John the Baptist (24 June) to St Andrew (30 Nov); 344–345v: Dedication;
345v–355v: Common; 358–359v: Trinity; 360–369: histories;
369–373: Sundays after Pentecost; 373–382v: processional antiphons; 383v–385v:
Office of St Nicholas.Le graduel romain, ii (1957), 105; Hesbert
(1963–79), ii, MS F [edn of text of antiphoner]; RISM, B/IV/1 (1966), 417; A.
Renaudin: ‘Deux antiphonaires de Saint-Maur: BN Lat 12584 et 12044’, EG,
xiii (1972), 53–150; CANTUS databaseParis, Bibliothèque Nationale de France,
lat.13252. Troper, proser and tonary from St Magloire, Paris; 11th–12th
centuries. 95 ff.; 19·8 × 9·8 cm. French neumes.Ff.3–20: introit, offertory and
communion tropes for major feasts; 20v–26: Kyrie tropes; 26–38: Gloria
tropes; 41–66v: proser; 67–68v: Sanctus tropes; 69–70: Agnus
tropes; 71–76v: tonary; 77–80: troped epistle for St Stephen (26 Dec);
81–92v: alleluias for the liturgical year.Le graduel romain, ii
(1957), 106; RISM, B/V/1 (1964), 143; Huglo (1971), 314Pistoia, Basilica di
S Zeno, Archivio Capitolare, C121. Troper, proser and fragment of a gradual
from Pistoia Cathedral; 11th–12th centuries. 91 ff.; 26·2 × 18 cm. Central
Italian notation on 4 dry lines with red F line.Ff.2–6: Kyries with tropes; 6–8v:
5 Glorias without tropes; 8v–9v: gradual prologues Gregorius
presul meritis etc.; 10–78v: primarily introit tropes and prosae
arranged according to the liturgical year. Ff.73v–74 and 81v–82:
lacunae, missing fascicles now MS 2 in R. de Zayas’s private collection,
Seville (see Brunner), containing, respectively, tropes and prosae for
the conclusion of the liturgical year, and Agnus with and without tropes. 79–81v:
Sanctus with and without tropes (inc. at end); 82–89v: fragment of a
different MS, a gradual from the feast of St Stephen (26 Dec) to Epiphany (6
Jan); 90–91v: fragment of an Easter play.RISM, B/V/1 (1964), 180; L.W.
Brunner: ‘Two Missing Fascicles of Pistoia C.121 Recovered’, Cantus Planus
III: Tihány 1988, 1–19Rome, Biblioteca Apostolica Vaticana, Urb.lat.602.
Troper with prosae and processional antiphons probably from Monte
Cassino; 11th–12th centuries. 108 ff.; 16 × 9 cm. Diastematic Beneventan
notation without lines.F.1: introit trope (see AH, xlix, 1906, p.24); 1v–23v:
Proper tropes and beginning of Kyries, with and without tropes, erased and
written over with processional chants (reconstruction by Boe); 23v–33v:
remainder of Kyries; 34–60v: Gloria tropes; 61–74: Sanctus tropes;
74–79: Agnus tropes; 79v–89: prosae; 89–100v: Rogation
Mass, votive Masses and versus; 101v–108v: processional
antiphons.RISM, B/V/1 (1964), 198; Salmon, ccliii (1969), 87; J. Boe: ‘The
“Lost” Palimpsest Kyries in the Vatican Manuscript Urbinas latinus 602’, Journal
of the Plainsong & Mediaeval Music Society, viii (1985), 1–24;
Planchart (1994), xixRome, Biblioteca Apostolica Vaticana, vat.lat.7017.
Notated secular breviary (winter part) from central Italy; 11th–12th centuries.
342 ff.; 27 × 18·3 cm. North Italian neumes.Ff.1–241: winter temp. from Advent
I (partly missing) to Easter Saturday; 241v–287v: winter sanc.
from St Andrew (30 Nov) to the Annunciation (25 March); 288–325: Passions and
Lives of St Sebastian, St Vincent, St Agatha, St Lucy, St Gregory and St
Ambrose; 326–328v: order of services for Milan, Florence etc.; 339–342v:
sermons of St Ambrose and St Augustine (inc. at end).Salmon, ccli (1968), 182Rome,
Biblioteca Casanatense, 1907 (B.II.1). Monastic notated
breviary-missal from S Salvatore, Monte Amiato, south of Siena; 11th–12th
centuries. 262 ff.; 39 × 22·5 cm. Central Italian neumes. Offertories without
verses. The breviary and missal Propers are combined for each feast.Ff.1–152:
winter temp. from Advent I to the Sunday within the Octave of Pentecost and its
ember ferials (Easter, 124v); 152–185v: Sundays after Pentecost;
185v–187v, 191r–v: Trinity and Holy Cross; 188–189v:
Preface and Canon no.1 (added); 190: half-leaf; 191v: votive Masses;
192: Marian Mass Salve sancta parens; 192v–194: Preface and Canon
no.2 (original); 194–200v: votive and Requiem prayers; 203–262: sanc.
(inc. at beginning) from St Agnes (21 Jan) to St Andrew (30 Nov).Le graduel
romain, ii (1957), 121; Studi medievali, 3rd ser., ix (1968), 1146Rome,
Biblioteca Nazionale Centrale Vittorio Emanuele II, 1343 (Sessorianus 62).
Kyriale, troper-proser and processional from Nonantola; 11th–12th centuries. 81
ff.; 25·6 × 17 cm. Nonantolan diastematic notation with red F and yellow C
lines.Ff.1–17v: Kyrie, Gloria, Sanctus and Agnus tropes; 18–51v:
selected tropes, prosae, prosulas, Gospel antiphons and Proper chants
for major feasts; 51v–72: processional antiphons; 72–80v:
Rogation litanies, antiphons and Masses.Huglo (1956), 80; Le graduel romain,
ii (1957), 122; RISM, B/V/1 (1964), 185; Studi medievali, 3rd ser., ix/2
(1968), 1173: Borders (1996), i, p.xiii [description], xxv [inventory]Verona,
Biblioteca Capitolare, CV (formerly 98). Notated missal from Verona;
11th–12th centuries. 396 ff.; 36·8 × 25 cm. Nonantolan notation ff.6v–201v
and north Italian notation from ff.206–395v.Ff.1–1v: Calendar
fragment (May to Dec); 3–6: Preface and Canon no.1; 9–201v:
winter–spring temp. and sanc. from Advent I to Holy Saturday; 202–205v:
Preface and Canon no.2; 206–253: Easter to the Sunday within the Octave of
Pentecost; 253–343: the summer sanc. and Sundays after Pentecost are combined
from St Nicomedes (1 June) to St Felicitas (23 Nov); 343–351: Common; 351–352v:
Dedication; 352v–353v: Pro peccatis prayers; 353v–355:
Trinity; 355–377: votives; 377–389v: Masses for the Dead; 390–395v:
selected epistles and gospels.Le graduel romain, ii (1957), 151Vienna,
Österreichische Nationalbibliothek, Vind.13314. Gradual (inc.) with
kyriale, proser and sacramentary from ?Seckau; 11th–12th centuries. 220 ff.
German neumes. Offertories with verses.Ff.1–48: winter–spring temp. and sanc.
(beginning missing) from the third Sunday of Lent to Whit Saturday (Easter,
30); 48–63v: summer sanc. from St Urban (25 May) to St Thomas (21 Dec);
63v–64: Trinity; 64–74v: Sundays after Pentecost; 74v–77:
Common (alleluias only); 77v–84: introit tropes and kyriale; 84–120v:
partly notated proser; 121–132v: votive Masses, Rogation antiphons,
tonary, etc.; 133–219: sacramentary preceded by a Canon.Le graduel romain,
ii (1957), 152; R. Flotzinger: ‘Zu Herkunft und Datierung der Gradualien Graz
807 und Wien 13314’, SMH, xxxi (1989), 57–80
Sources, MS, §II:
Western plainchant
5. 12th century.
Autun, Bibliothèque Municipale, 10 (8). Notated
missal with prosae from Autun; 12th century. 345 ff.; 26·5 × 18·5 cm.
French neumes. Offertories without verses.Ff.7–9v: Calendar; 10v–23:
Canon; 24–170: winter temp. from Advent I to Trinity (Easter, 138); 170–209:
Sundays after Pentecost; 209–261v: winter–summer sanc. from St Sylvester
(31 Dec) to St Nicholas (6 Dec); 261v–262v: Dedication; 262v–269:
Common (part I); 270–288: Common (part II, later hand); 288–294: votives;
294–319: prosae (texts only); 319–345: prayers, votives, etc.Leroquais
(1924), ii, 3; Le graduel romain, ii (1957), 27Avignon, Médiathèque
Ceccano, 181. Carthusian gradual from Villeneuve-lès-Avignon; end of 12th
century. 116 ff. Late Aquitanian notation on red, yellow and dry lines.
Offertories lack verses.Ff.1–68: winter–spring temp. from Advent I to Trinity
(Easter, 53v); 68v–88: Sundays after Pentecost; 88–111v:
sanc. from St Stephen (26 Dec) to St Thomas (21 Dec); 111v–113: Requiem
Masses, 113–116: elements from the kyriale.Le graduel romain, ii (1957),
29Bamberg, Staatsbibliothek, Liturg.9 (Ed.V.3). Offertoriale,
tracts and troper probably from Bamberg; 12th century. 49 ff.; 21·6 × 15·8 cm.
German neumes.Ff.1–1v: Palm Sunday antiphons; 2–32v: offertory
verses; 32v–37v: tracts; 37v–44v: Veneration of the
Cross, Rogation and votive antiphons; 44v–46v: introit tropes for
Christmas, St Stephen, St John and Holy Innocents; 46v–49v:
Kyries and Glorias, with and without tropes.Le graduel romain, ii
(1957), 30; RISM, B/V/1 (1964), 61Bamberg, Staatsbibliothek, Liturg.10 (Ed.V.10).
Cantatorium from Bamberg; 12th century. 122 ff.; 12·7 × 9·3 cm. German
neumes.Ff.1–68v: offertory verses; 69–89v: alleluias for the
year; 90–98: Easter antiphons; 98v–99: Tonary of Henricus of Augsburg;
100–122v: tracts from Purification to Holy Saturday.Huglo (1971), 281Bamberg,
Staatsbibliothek, Liturg.22 (Ed.III.2). Gradual, proser and secular
antiphoner from Bamberg; early 12th century. 206 ff.; 30·6 × 22 cm. German
neumes. Offertories with verses.Gradual, ff.1v–73. Ff.1v–44:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 35v);
44–51v: summer sanc. from St Marcellinus and St Peter (2 June) to St
Andrew (30 Nov); 52–57v: Sundays after Pentecost; 59–63: Requiem, Common
(alleluias only), Rogation antiphons and selected introit tropes; 66–73: proser
(texts only). Antiphoner, ff.73v–206. Ff.73v–139v:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 128); 139v–173v:
summer sanc. from St John the Baptist (24 June) to St Nicholas (6 Dec); 173v–180:
Common; 180–183v: Dedication and Trinity; 183v–192: histories;
192–195: Sundays after Pentecost; 195v–198v: Venite
settings; 198–200: Office of the Dead; 201r–v: tonary; 202–6:
hymns (texts only).Bamberg, Staatsbibliothek, Liturg.23 (Ed.V.6).
Secular antiphoner from Bamberg; end of 12th century. 160 ff.; 20·7 × 14 cm.
German neumes.Ff.1–102: winter–spring temp. and sanc. from Advent I to Trinity
(Easter, 83v); 102–136v: summer sanc. from St John the Baptist
(24 June) to St Andrew (30 Nov); 137–139v: Office of Mary Magdalen
(second hand); 140–154v: histories; 154v–159: Sundays after
Pentecost.Hesbert, i (1963), MS B [text]Bamberg, Staatsbibliothek, Liturg.24
(Ed.III.9). Secular antiphoner from Bamberg; 12th century. 98 ff.; 28·3
× 19·7 cm. German neumes.Ff.1–64v: winter–spring temp. and sanc. from
Advent I to Trinity (Easter, 53v); 64v–87: summer sanc. from St
John the Baptist (24 June) to St Andrew (30 Nov); 87r–v: Sundays
after Pentecost (partial series from nos.7 to 12); 88–96: histories; 96–98v:
Sundays after Pentecost (full series).Benevento, Biblioteca Capitolare, 34.
Gradual with tropes, prosae and kyriale from S Sophia, Benevento; 12th
century. 288 ff.; 22·3 × 14·5 cm. Beneventan notation with red F and yellow C
lines and letter clefs.Ff.1–194: winter–spring temp. and sanc. from Advent I to
Whit Saturday (Easter, 122v); 194–246v: summer sanc. from St
Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 247–265: Sundays after
Pentecost; 265–266v: Requiem; 267–273v: Common (alleluias only);
274–288v: kyriale (inverted folios).PalMus, xv (1937) [facs.]; Le
graduel romain, ii (1957), 32; Jammers (1965), 90; Planchart (1994), xviBenevento,
Biblioteca Capitolare, 35. Gradual and kyriale from Benevento; early 12th
century. 202 ff. Beneventan notation with red F and yellow C lines and letter
clefs. Offertories with verses. The major Masses contain prosae and some
prosulas. Beginning of MS lacking; some mutilation of the ornamented initials
throughout.Ff.1–117: winter–spring temp. and sanc. beginning within the
communion Simile est regnum caelorum for the Sunday within the Octave of
Christmas to Whit Saturday (Quem queritis, 68v; Easter, 69);
117–156v: summer sanc. from St Marcellinus and St Peter (2 June) to St
Andrew (30 Nov); 156v–166v: Sundays after Pentecost; 166v–170v:
several votives and Masses for the Dead; 170v–179v: alleluias for
the Sundays after Pentecost and the Common; 180–185: troped Kyries; 185–195:
troped Glorias; 195–199v: troped Sanctus and Agnus; 202r–v:
fragment of another 11th-century gradual (see PalMus, xv, p.53, no.13).Le
graduel romain, ii (1957), 32; Planchart (1994), xviBerlin,
Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Mus.ms.40078 (Z.78).
Gradual, kyriale and proser from Quedlinburg; 12th century. 289 ff. German
notation on 4 lines, with red F and yellow C lines. Offertories with
verses.Ff.1–153: winter temp. from Advent I to Trinity (Easter, 124); 153–179v:
Sundays after Pentecost; 180–237: sanc. from St Lucy (13 Dec) to St Andrew (30
Nov); 237v–239: Dedication; 239v–244v: Common (alleluias
only); 247–252v: kyriale; 252v–287: proser (ed. Drinkwelder).Le
graduel romain, ii (1957), 33; O. Drinkwelder: Ein deutsches Sequentiar
aus dem Ende des 12. Jahrhunderts (Graz and Vienna, 1914)Brussels,
Bibliothèque Royale Albert Ier, II 3823 (Fétis 1172). Cluniac
gradual, processional, kyriale and proser from the Auvergne; early 12th century
(fig.14). 184 ff.; 27 × 16·5 cm. Late Aquitanian
notation with red F, yellow C and 2 dry lines. Offertory verses are notated
only from Advent to the end of Lent, the verse melodies after Easter are
suppressed.Ff.1–91: winter–spring temp. and sanc. from Advent I to Trinity
(Easter, 76); 91–117: summer sanc. from St Ambrose (4 April) to St Andrew (30
Nov); 117r–v: Dedication; 117v–130: Sundays after
Pentecost (alleluia cycle follows Cluniac use); 130–131: Trinity; 131–132:
Requiem; 132v–150v: processional antiphons; 151–158: kyriale;
158–178v: proser; 178v–184v: additions (prosae,
obits, etc.).Le graduel romain, ii (1957), 38; M. Huglo: ‘Trois anciens
manuscrits liturgiques d’Auvergne, Bruxelles Bibl. Royale II 3823’, Bulletin
historique et scientifique de l’Auvergne, lxxvii (1957), 81–104Colmar,
Bibliothèque de la Ville, 445. Cistercian gradual from Pairis (Alsace); c1175.
134 ff.; 32 × 22·5 cm. German Hufnagel notation on 4 lines with red F
and yellow C lines.Ff.1–70: winter temp. from Advent I to Whit Saturday
(Easter, 55); 70v–82v: Sundays after Pentecost; 83–120: sanc.
from St Stephen (26 Dec) to St Andrew (30 Nov); 120v–121: Dedication;
121–125v: votives; 125v–129v: kyriale; 132v–134:
later additions.Le graduel romain, ii (1957), 46; Hammer (1968), 57Darmstadt,
Hessische Landes- und Hochschulbibliothek, 868. A Premonstratensian
gradual, kyriale and proser from Arnstein, later Steinfeld; dated c1180.
172 ff.; 26·5 × 17 cm. Hufnagel notation on 4 red lines. Offertories
lack verses. Scattered missing folios throughout the MS; ff.44 and 45 badly
mutilated.Ff.2–3v and 172r–v: guards from the books of Daniel
and Judith; 4–78: winter–spring temp. from Advent I to Whit Saturday
(Easter, 60v); 78r–v: Trinity; 78v–89v:
Sundays after Pentecost; 89v–90: Dedication; 90r–v: Common
(alleluias only), end missing; between 90v and 91 a gathering containing
the end of the Common and the beginning of the sanc. is missing; 91–112: sanc.
from the Conversion of St Paul (25 Jan) to St Thomas (21 Dec); 112v–116:
Kyries and Glorias; 116v–150: notated proser; 150r–v:
notated Credo; 150v–152: Sanctus, Agnus and Ites; 152r–v:
4 Marian antiphons; 152v–153v: Requiem Mass; 153v–154:
table of Mass incipits entitled ‘Incipiunt misse familiares’; 154v–171v:
supplement of prosae, metrical alleluias, index to the MS, Masses etc.,
by different hands.Le graduel romain, ii (1957), 46; Eizenhöfer and
Knaus (1968), 44Florence, Biblioteca Medicea Laurenziana, Ashburnham 62.
Gradual fragment from Aquitaine; early 12th century. 50 ff.; 20 × 12 cm.
Aquitanian notation. Offertories lack verses. MS bound out of order.Ff.19r–v:
Palm Sunday processional Preces Gloria laus; 19v–42v: Palm
Sunday to first Sunday after Easter; 42v–43: extensive lacuna; 43r–v:
9–18 June feasts (inc.); 43v–44: small lacuna: 44–49: summer sanc. from
end of St Peter (29 June) to St Felicissimus and St Agapitus (6 Aug); 49v–50v:
2 prosae, Laetabundus and Ecce pulchra (added); 1–18: St
Cyriacus (8 Aug) to St Andrew (30 Nov); 18r–v: St Martin Mass O
beatum virum.Le graduel romain, ii (1957), 51; Grégoire (1968), 505Graz,
Universitätsbibliothek, 211. Secular antiphoner from Székesfehérvár,
Hungary; first half of 12th century. 160 ff.; 25 × 18 cm. German neumes.Ff.1–100v:
winter–spring temp. and sanc. from Advent I to Trinity (Easter, 83v);
100v–136: summer sanc. from St John the Baptist (24 June) to St Andrew
(30 Nov); 136–138: Dedication; 138–147v: Common; 147v–156v:
histories; 156v–160: Sundays after Pentecost (complete).Z. Falvy and L.
Mezey: Codex Albensis, ein Antiphonar aus dem 12. Jahrhundert (Budapest
and Graz, 1963) [facs.]Graz, Universitätsbibliothek, 807. Gradual from
Klosterneuburg; dated c1150 (after 1133). 168 ff.; 23 × 15 cm. Messine
notation (‘notation of Klosterneuburg’) on 4 lines, red F line, yellow C line.
Offertories with verses. Erasures and corrections of the melodies and text
throughout the MS.Ff.1–130v: winter–spring temp. and sanc. from Advent I
to Whit Saturday (Easter, 103); 130v–148: summer sanc. from St
Marcellinus and St Peter (2 June) to St Thomas (21 Dec); 148r–v:
Trinity; 148v–162v: Sundays after Pentecost; 162v–166v:
Common (alleluias only); 166v: prosa Salve pater Augustine vas
electum (added); 167–168: 4 introit tropes for Christmas, St Stephen, St
John the Evangelist, and Innocents; 168v: Mass of St Vincent.Le
graduel romain, ii (1957), 53; PalMus, xix (1974) [facs.]Grenoble,
Bibliothèque Municipale, 84 (395). Carthusian lectionary and gradual
used at La Grande Chartreuse, nr Grenoble; end of 12th century. 150 ff.; 28·8 ×
20 cm. Late Aquitanian notation on 1 red and 3 dry lines. Offertories lack
verses.Ff.1–87v: lectionary; 88–134v: winter–spring temp. and
sanc. from Advent I to Whit Saturday (Easter, 126v); 134v–142:
Sundays after Pentecost; 142–149: summer sanc. from the Vigil of St John the
Baptist (23 June) to St Andrew (30 Nov); 149r–v: Mass for the
Dead Respice Domine; 150v: Mass ordines.Le graduel romain,
ii (1957), 54Laon, Bibliothèque Municipale, 226bis. Notated missal from
St Paul, Verdun; first half of 12th century. 215 ff.; 26·5 × 18·8 cm. Messine
neumes. Offertories lack verses.Ff.1–3v: vesting, Ordinary of the Mass
and Canon prayers; 3v–114v: winter temp. from Advent I to Trinity
(Easter, 92); 114v–139v: Sundays after Pentecost; 141–191v:
sanc. from St Aygerius (1 Dec) to St Andrew (30 Nov); 191v–195: Common;
195: Dedication (text only); 195v–196v: Office of the Dead (inc.,
text only); 197–215: votives, Masses for the Dead, etc. (little
notation).Leroquais (1924), i, 231; Le graduel romain, ii (1957), 56Le
Havre, Bibliothèque Municipale, 330 (A 32). Notated missal (inc.)
from New Minster, Winchester; second half of 12th century. 177 ff.; 29·7 × 20·2
cm. English neumes. Offertories lack verses. Beginning of MS is missing.Ff.1–26v:
winter temp. from Friday after Easter Sunday to Trinity; 26v–61v:
Sundays after Pentecost; 62–167: sanc. from St Sylvester (31 Dec) to St Thomas
(21 Dec); 173–174: Dedication; 174–177v: votives.Leroquais (1924), i,
190; Le graduel romain, ii (1957), 54; D.H. Turner, ed.: The Missal
of the New Minster, Winchester, Henry Bradshaw Society, xciii (Leighton
Buzzard, 1962) [edn of text only]London, British Library, Add.11669.
Gradual, proser and sacramentary from Augsburg; 12th century. 117 ff.; 30·5 ×
21·6 cm. German neumes. Offertories with verses.Ff.r1–v: Calendar
(Sept to Dec only); 2–35v: winter–spring temp. and sanc. from Advent I
to Whit Saturday (Easter, 29); 35v–38v: sanc. from St Marcellinus
and St Peter (2 June) to St Andrew (30 Nov); 38v–43: Sundays after
Pentecost; 43r–v: Trinity; 43v–44: Requiem; 44–45: Common
(alleluias only); 45–46v: kyriale; 46v–47v: Rogation
antiphons; 49–55v: proser (texts only); 56–57v: Canon; 57v–117v:
sacramentary (gradual chant incipits in margins without notation).R. Priebsch: Deutsche
Handschriften in England, ii: Das British Museum (Erlangen, 1901),
117; Le graduel romain, ii (1957), 61London, British Library,
Add.17302. Carthusian diurnal; 12th century. 123 ff.; 24 × 16·5 cm. Early
quadratic notation with red F line.Ff.2v–45v: Advent I to the
Saturday after Epiphany I (see Hesbert, 1963–79, no.32) with notation; 45v–70v:
notated Common; 71–122v: Office collects for the entire year (texts
only).London, British Library, Add.34209 (‘Antiphonarium Ambrosianum’).
Offices and masses of the Ambrosian rite, probably from Milan; 12th century.
270 pp.; 25 × 14 cm (ed. in PalMus). Milanese notation with red and yellow
lines.Pp.1–260: winter temp. and sanc. from Advent I to Holy Saturday; 260–69:
Glorias, Preces, hymn, sequences, etc.PalMus, v–vi (1896–1901) [facs.]; M.
Huglo and others: Fonti e paleografia del canto ambrosiano, Archivio
ambrosiano, vii (Milan, 1956), 39London, British Library, Eg.857.
Gradual from Noyon; early 12th century (fig.15). 58 ff.;
26·4 × 18 cm. Messine neumes. Offertories lack verses. Masses numbered 1–211 in
the manner of a sacramentary.Ff.1–41v: winter–spring temp. and sanc.
from Advent I to Whit Saturday (Easter, 33); 41v–50v: summer
sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 50v–51:
Trinity; 51–6: Sundays after Pentecost; 57v–58v: ferial Offices
after Epiphany (see Hesbert, i, 1963, nos.26–32).Le graduel romain, ii
(1957), 64London, British Library, Roy.2 B.iv. English troper and
gradual (inc.) with prosae, from St Albans; 12th century. 215 ff.; 26·2
× 17·5 cm. Anglo-Norman notation on 4 red lines. Offertories lack verses. The
temp. from Christmas to Holy Saturday, the Sundays after Pentecost and part of
the summer sanc. are lost.Ff.1–23v: Kyries, with and without tropes; 24v–54v:
Gloria and Regnum tropes. Gradual, ff.55–173v, with complete
introits, graduals, alleluias, prosae, offertories and communions.
Ff.55–68v: Advent I to Christmas Mass no.1; 68v–69: lacuna; 69–98v
and 199–208v: end of Holy Saturday Mass to Trinity; 98v–99:
lacuna; 99–139: summer sanc. from the end of St Peter (29 June) to St Nicholas
(6 Dec); 139–169: Common; 169–173v: Dedication; 173v–183v:
3 Marian and one Holy Cross prosae; 184–194v: Sanctus tropes;
195–198 and 209–215: Agnus tropes.Le graduel romain, ii (1957), 65;
RISM, B/V/1 (1964), 156Lucca, Biblioteca Capitolare Feliniana e Biblioteca
Arcivescovile, 601. Camaldolese antiphoner (monastic) from the abbey of S
Petri, Puteoli (Pozzeveri), diocese of Lucca; early 12th century. 560 pp.; 36·5
× 25·5 cm (ed. in PalMus). Central Italian notation with red F and yellow C
lines.Pp.1–267: winter temp. from Advent I to Whit Saturday (Easter, 206);
267–309: histories; 309–20: Sundays after Pentecost; 320–505: sanc. from St
Lucy (13 Dec) to St Andrew (30 Nov); 505–46: Common; 546–53: Dedication;
553–60: Office of the Dead.PalMus, ix (1905–9) [facs.]Madrid, Biblioteca
Nacional, 289 (anc.C.153). Troper and proser from Palermo, Sicily;
mid-12th century. 156 ff.; 20 × 12·5 cm. Norman-Sicilian notation on 4 dry lines
with letter clefs.Ff.2–13v: Kyrie tropes; 13bis–32: Gloria
tropes; 33–89v: proser; 89v–96v: Sanctus tropes; 96v–99v:
Agnus tropes; 99v–120v: troped epistles; 117–118v: drama De
Peregrino in die Lune Pasche; 122v–126v: Venite
settings arranged by tones; 126v–140v: 28 Benedicamus
tropes; 141–148: 15 monophonic conductus; 148v–155: alleluia cycle
(partly notated); 155v–156: conductus and Laudes.Young (1933), ii, 458;
Anglès and Subirá, i (1946), 18; RISM, B/V/1 (1964), 88; Janini and Serrano
(1969), 15; Arlt (1970), i, 175; Hiley (1981); D. Hiley: ‘Quanto c'è di
normanno nei tropari siculo-normanni?’, RIM, xviii (1983), 3–28; D.
Hiley: ‘Ordinary of Mass Chants in English, North French and Sicilian
Manuscripts’, Journal of the Plainsong & Medieval Music Society, ix
(1986), 1–128Madrid, Biblioteca Nacional, 19421 (anc.C.88).
Troper and proser from Catania, Sicily; 12th century. 119 ff.; 27·5 × 17 cm.
Norman-Sicilian notation on 4 dry lines with letter clefs.Ff.3–15: Kyries, with
and without tropes; 15v–36: Glorias, with and without tropes; 36v–87v:
proser; 88–95: Sanctus tropes; 95v–98: Agnus tropes; 98–106: troped
epistles, Exultet, Liber generationis, etc.; 106–110v:
primarily Benedicamus and Ite settings, with and without tropes; 111–115v:
primarily Palm Sunday processional antiphons; 115v–118: 4 polyphonic
compositions.Anglès and Subirá, i (1946), 66; RISM, B/V/1 (1964), 90; RISM,
B/IV/1 (1966), 243; Janini and Serrano (1969), 197; Arlt (1970), i, 175; Hiley
(1981); D. Hiley: ‘Quanto c'è di normanno nei tropari siculo-normanni?’, RIM,
xviii (1983), 3–28; D. Hiley: ‘Ordinary of Mass Chants in English, North French
and Sicilian Manuscripts’, Journal of the Plainsong & Medieval Music
Society, ix (1986), 1–128Madrid, Biblioteca Nacional, Vitrina 20, 4
(anc.C.132). Gradual with prosae from Palermo, Sicily; dated
1130–38. 240 ff.; 21·9 × 15 cm. Norman-Sicilian notation on 4 dry lines. Ff.3–10v:
Kyries, Glorias, Marian antiphons, tracts and offertory verses; 11–154: winter
temp. from Advent to Trinity (Easter, 102v; Peregrinus drama, 105v–108v);
154–155v: Dedication; 155v–206v: sanc. from St Stephen (26
Dec) to St Nicholas (6 Dec); 207–210v: Common; 210v–212: Requiem;
212v–219v: alleluias; 221r–v: Sanctus; 222v–223:
Agnus; 224–232v: troped readings; 232v–240: 9 prosae
(added).Young (1933), ii, 476; Anglès and Subirá, i (1946), 54; Le graduel
romain, ii (1957), 67; RISM, B/V/1 (1964), 91; Janini and Serrano (1969),
246; Hiley (1981); D. Hiley: ‘The Norman Chant Traditions: Normandy, Britain,
Sicily’, PRMA, cvii (1980–81), 1–33Metz, Bibliothèque Municipale
(now Médiathèque), 452. Troper, proser and tonary from the
Cathedral of St Stephen, Metz; early 12th century. 92 ff. Lorraine (Messine)
neumatic notation. MS destroyed during World War II; microfilm copy at the
abbey of Solesmes, France.Ff.1v–41v: major masses of the
liturgical year containing introit, Kyrie, Gloria, offertory, Sanctus and Agnus
tropes; 41v–47v: procession antiphons; 48–91v: prosae
(mostly texts) with sequentias in the outer margins; 91v–92: mnemonic
formulae of the 8 tones ‘Primus ut exsurge’ (see Huglo, 1971, p.320); 92r–v:
noted Gloria without tropes (added).RISM, B/V/1 (1964), 108Munich,
Bayerische Staatsbibliothek, Clm 7905. Cistercian gradual from Kaisheim;
dated before 1185. 184 ff. German Hufnagel notation on 4 lines.
Offertories lack verses.Ff.1–87v: winter–spring temp. from Advent I to
Whit Saturday (Easter, 66v); 87v–88v: Trinity; 88v–110v:
Sundays after Pentecost; 110v–162v: sanc. from St Stephen (26
Dec) to St Thomas (21 Dec); 162v–163: brief Common; 163–164: Dedication;
164–165v: Requiem; 165v–169v: votives; 169v–173v:
kyriale; 173v–175bis: Pater de caelis litany; 175bis
v: Ites; 176–178v: processional antiphons; 178v–181v:
hymns; 181v–183v: added material.Le graduel romain, ii
(1957), 79Naples, Biblioteca Nazionale Vittorio Emanuele III, VI-G-34.
Processional, kyriale and proser from Troia, nr Foggia; late 12th century. 139
ff.; 21 × 15 cm. Late Beneventan notation with red F and yellow C lines.Ff.1–12v:
processional antiphons and responds (inc.) from Letania majore to the
Finding of the Holy Cross (3 May); 12v–31v: Kyrie tropes; 31v–39:
Gloria tropes; 39–72v: troped epistles; 72v–88v: Liber
generationis, Exultet, Preface and alleluias; 88v–139v:
proser (beginning lacking).RISM, B/V/1 (1964), 175; Arnese (1967), 146Oxford,
Bodleian Library, Canon. liturg.202 (19314). Secular antiphoner with
rubrics from Austria, later at S Pietro, Carnia, nr Udine; 12th century. 150
ff.; 25·3 × 17·8 cm. German neumes.F.1v: date of 1361 (added); 1v–90:
winter–spring temp. and sanc. from Advent I to Trinity (Easter, 72); 90v–121v:
St John the Baptist (24 June) to St Andrew (30 Nov); 121v–129: Common;
129–131: Dedication; 131–139v: histories; 139v–142: Sundays after
Pentecost; 142–148v: inc. hymnal (texts only).Frere, i (1901), 30;
Flotzinger (1991), 67Oxford, Bodleian Library, Canon. liturg.297 (19395).
Notated monastic breviary from St Felicitas, Schwarzach, Austria; after 1154.
352 ff.; 21·5 × 15 cm. German neumes (fig.16).Ff.3–9: Calendar and computus; 11–142: winter–spring temp. from
Advent I to Trinity (Easter, 110v); 142–171: histories; 171–188: Sundays
after Pentecost, sanc. from St Nicholas (6 Dec) to St Andrew (30 Nov) and St
Damasus (11 Dec); 262v–297: Common; 297–301: Dedication; 302–315: hymnal
with few melodies; 315–327: ad cantica canticles, litanies, collects,
hymns and Offices for the dead; 329–352v: ferial psalter.Frere, i
(1901), 34Oxford, Bodleian Library, Canon. liturg.321 (19410).
Notated votive missal and monastic breviary (Common of the Saints only) from
Ravenna; 12th century. 129 ff.; 23·1 × 16·1 cm. Beneventan notation with red
line and letter clefs.Missal, ff.3–94v. Ff.3–13v: baptism
services (inc. at beginning); 13v–37: ordo for the sick and the dead
including litanies, Office and Masses etc.; 37–41v: ordo missae
including vesting prayers, Ordinary, Preface and Canon; 41v–43: Trinity
Mass; 43–47v: votive weekday ferial Masses; 47v–59: votives
(texts only); 59–66v: Blessing of Candle service for Holy Saturday; 66v–94v:
notated Masses Puer natus est for Christmas, Epiphany, Easter,
Ascension, Pentecost, Common and Dedication. Breviary, ff.94v–129v.
Ff.94v–110: Common and Dedication hymns, collects, lessons and gospels
(texts only); 110–129: Common and Dedication, notated antiphons and responds.Frere,
i (1901), 112Oxford, Bodleian Library, Canon. liturg.341 (19427).
Gradual with kyriale, prosae and tropes from Innichen, South Tirol; 12th
century. 62 ff.; 25·8 × 18·3 cm. German neumes. Offertories lack verses.Ff.1–30v:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 23); 30v–32v:
summer sanc. (inc.) from St Marcellinus and St Peter (2 June) to St Peter (29
June); 33–38: Sundays after Pentecost (complete); 38–39v: Common
(alleluias only); 40r–v: kyriale (group I); 41–58v: proser
with little notation; 59–60: introit tropes for major feasts; 60–61: kyriale
(group II); 61v–62v: additions.Frere, i (1901), 74; Flotzinger
(1991), 73Oxford, Bodleian Library, Canon. liturg.350 (19436).
Notated missal from north Italy, probably S Martino, Beligna, nr Aquileia; 12th
century. 243 ff.; 28·5 × 20·4 cm. German neumes. Offertories lack
verses.Ff.1–135: winter–spring temp. and sanc. from the Christmas Mass Dominus
dixit to the Sunday within the Octave of Pentecost (Easter, 106); 135–172v:
summer sanc. from St Nicomedes (1 June) to St Andrew (30 Nov); 172v–174:
Dedication; 174v–210v: Sundays after Pentecost; 211–220: Common;
220: Holy Cross; 220v–221v: Trinity; 221v–230: votives;
230–233v: Requiem Masses; 234–237v: Blessing of the Candle on
Holy Saturday; 238–242v: elements from the Offices of the BVM, the
Trinity and St Michael.Frere, i (1901), 73; Flotzinger (1991), 87Oxford,
Bodleian Library, Rawl.C.892 (12726). Gradual, possibly for use in
the Benedictine monastery of Downpatrick, Northern Ireland (see Turner); second
half of 12th century. 149 ff.; 22·8 × 15·6 cm. Anglo-Norman notation on brown,
red, green, blue etc. lines. Offertories lack verses.Ff.1–86v:
winter–spring temp. Advent I to Trinity (Easter, 68v); 87–97: Sundays
after Pentecost; 97v–101v: Sundays after Pentecost, alleluias;
101v–125: sanc. from St Sylvester (31 Dec) to St Thomas (21 Dec);
125–126: Dedication; 126–47: Common; 147v–149: Requiem; 149r–v:
troped Christmas Epistle, inc. (see AH, xlix, 1906, p.169).Frere, i (1901), 70;
Le graduel romain, ii (1957), 89; D.H. Turner, ed.: The Missal of the
New Minster, Winchester, Henry Bradshaw Society, xciii (Leighton Buzzard,
1962), appx; RISM, B/IV/1 (1966), 573Padua, Duomo, Biblioteca Capitolare,
A47. Gradual with tropes and prosae from Ravenna; early 12th
century. 244 ff. Italian notation with red F and yellow C lines. Offertories
with verses. The major Masses contain prosae, prosulas and troped
Kyries, Glorias, Sanctus and Agnus.F.1: troped Sanctus Agie Deus altissime;
2v–184: winter–spring temp. and sanc. from Advent I to Whit Saturday
(Easter, 131v); 184v–220: summer sanc. from St Primus and St
Felician (9 June) to St Andrew (30 Nov); 220–225: Masses for a pope, a bishop
and the Dead; 225–242: Sundays after Pentecost; 242v–244v:
Trinity.Le graduel romain, ii (1957), 90; G. Cattin: ‘Un témoin des
tropes ravennates (Pad 47) dans le cadre de la tradition italienne’, Research
on Tropes: Stockholm 1981, ed. G. Iversen (Stockholm, 1983), 39–58Palermo,
Archivio Storico Diocesano, 2. Notated missal (inc.) from Palermo, Sicily;
dated after 1130. 112 ff.; 32·5 × 20 cm. Quadratic Norman-Sicilian notation.
Beginning and end of MS missing.Ff.1–71: winter–spring temp. from the Saturday
after the second Sunday of Lent to the Sunday within the Octave of Pentecost
(Easter, 57v); 71–96: Sundays after Pentecost; 96–112v: sanc.
(inc.) from St Sylvester (31 Dec) to St Marcellinus and St Peter (2 June).F.
Terrizzi, ed.: Missale Antiquum S. Panormitanae Ecclesiae (Rome, 1970)
[edn of text only]; Hiley (1981)Paris, Bibliothèque Nationale de France,
lat.742. Notated monastic breviary (temp. vol.) from Ripoll; beginning of
12th century. 281 ff.; 24·5 × 15·3 cm. Aquitanian diastematic notation.Ff.143,
144, 142: Advent I–III (folios bound out of order); f.1: Advent IV; 2–225v:
Ember ferials in Advent to Pentecost (Easter, 165); 225v–226: lacuna;
226–279v: Sundays after Pentecost nos.2 to 22 only, with summer
histories interspersed throughout; 280–281: Trinity Office (inc.).Leroquais
(1934), ii, 417; J. Lemarié: Le bréviaire de Ripoll, Scripta et
documenta, xiv (Montserrat, 1965); J. Lemarié: ‘Influence lyonnaise sur
l’antiphonaire de l’office de St-Victor de Marseille’, Revue bénédictine,
lxxviii (1968), 138–45Paris, Bibliothèque Nationale de France, lat.778.
Troper and proser from Narbonne; 12th century. 220 ff.; 27·5 × 18 cm. Late
Aquitanian notation on red and yellow lines.Ff.1–8v: troped epistles;
9–23: troped Kyries arranged according to the 8 tones; 24–40v: Glorias
and Regnum settings, troped; 41–199v: proser with about 135 prosae;
200–217: Sanctus and Agnus, troped; 217v–218v: Laudes regiae,
names of Pope Gregory X (1271–6), Archbishop Petrus de Montbrun of Narbonne
(1272–86) and King Philip of France (1270–85) added.RISM, B/V/1 (1964), 113; H.
Husmann: ‘Notre Dame und Saint-Victor’, AcM, xxxvi (1964), 191–221;
Rönnau (1967), 31Paris, Bibliothèque Nationale de France, lat.1139. Prosae
(4 series), historical documents, versus and Benedicamus tropes
(some polyphonic), medieval dramas, troped kyries and Marian Offices from the
region of Limoges; early 12th and 13th centuries. 236 ff.; 18·5 × 14 cm. Late
Aquitanian notation by several notators.Ff.2–8v and 10–20v (early
12th century): prosae (series I); 21–31v and 229–236v
(early 13th century): historical chronicles of Limoges (ed. in Duplès-Agier);
32–79 (early 12th century; ff.40–47 in another hand): primarily versus
and Benedicamus tropes (some polyphonic) with a Sponsus drama
(53–55v), Procession of the Prophets drama (55v–58) and troped
epistles (63–73v); 80–108v (dated c1100): 16 prosae
(series II); 108v–116 (same period): troped Kyries; 119–148v
(13th century): Marian Office and ferials (partly ed. in AH, xlv, 1904, p.23);
149–201 (12th–13th centuries): 37 prosae (series III); 202v–209:
Marian Office; 209v–228v (13th century): 14 prosae (series
IV). The number of polyphonic items (all for 2vv) is disputed, since several
pieces are recorded in successive notation, and because of the absence of clefs
it is not always clear when parts are intended to be combined in polyphony.
Fuller's (1971) estimate of 11 pieces is reasonable.H. Duplès-Agier: Chroniques
de Saint-Martial de Limoges (Paris, 1874); Young (1933), ii, 109, 138, 361,
456; Catalogue général, i (1939), 415; S. Fuller: Aquitanian
Polyphony of the Eleventh and Twelfth Centuries (diss., U. of California,
Berkeley, 1969); G. de Poerck: ‘Le MS Paris, B.N. lat. 1139’, Scriptorium,
xxiii (1969), 298–312; Arlt (1970), i, 190; S. Fuller: ‘Hidden Polyphony: a
Reappraisal’, JAMS, xxiv (1971), 169–92; B. Gillingham, ed.: Paris,
Bibliothèque Nationale, fonds latin 1139 (Ottawa, 1987) [facs.]; see
also edns by Karp and Van der Werf cited in bibliography of §IV, 1Paris,
Bibliothèque Nationale de France, lat.10508. Troper, proser, cantatorium
and theory treatises from St Evroult in Normandy; early 12th century. 159 ff.;
20·5 × 12·5 cm. French notation on 4 dry lines with red F and green C
lines.Ff.3–5: table of introit, offertory and communion incipits for the
liturgical year; 6–17: Kyrie tropes; 17v–43v: Gloria and Regnum
tropes; 44–117: graduals, alleluias and prosae arranged according to the
liturgical year; 117v–125: Sanctus tropes; 125v–129v:
Agnus tropes; 130–135v: supplement of mixed character; 136–158v:
6 medieval theory treatises.Le graduel romain, ii (1957), 103; RISM, B/III/1
(1961), 112; RISM, B/V/1 (1964), 142; A. Dennery: La musique liturgique en
l’Abbaye de Saint-Evroult d’après le tropaire-prosaire Ms. Paris B.N. lat.10508
(diss., U. of Paris IV, 1987)Paris, Bibliothèque Nationale de France,
lat.12044. Monastic antiphoner from St Maur-des-Fossés; 12th century. 241
ff. French notation on 4 black lines with letter clefs. Beginning and end of MS
lacking.Ff.1–125: winter–spring temp. and sanc. from Advent III (lacuna between
1v–2) to Trinity (Easter, 99v); 125–139: histories; 139–143:
Sundays after Pentecost; 143–226: summer sanc. from St John the Baptist (24
June) to St Thomas (21 Dec); 226–241: Common, MS breaks off within the Office
for Holy Virgins.A. Renaudin: ‘Deux antiphonaires de Saint-Maur: BN Lat 12584
et 12044’, EG, xiii (1972), 53–150; CANTUS databaseParis,
Bibliothèque Nationale de France, lat.17296. Antiphoner from St Denis,
Paris; 12th century. 355 ff.; 29 × 20 cm. French notation on dry lines or a
4-line staff with letter clefs.Ff.1–168v: winter–spring temp. and sanc.
from Advent I to Trinity (Easter, 136); 169–264v: summer sanc. from St
John the Baptist (24 June) to St Nicholas (6 Dec); 264v–287: Common;
287–289v: Dedication; 289v–312v: histories; 312v–317v:
Responsoria de psalmis (Hesbert, ii, p.742); 317v–322: de
cantico antiphons and Hymnum trium puerorum (Hesbert, ii, p.746);
322–327v: Sundays after Pentecost; 327v–330: Office of the Dead
with the title ‘In natale Dagoberti Regis’; 330–342: processional antiphons
(Hesbert, ii, p.780); 342–348: Advent alleluias, Libera me with 19
verses and Venite settings; 348v–355v: Offices of St Mary
Magdalen, St Cornelius and St Cyprian, and St Pantaleon.Hesbert (1963–79), ii,
MS D [text]; J. Udovich: Modality, Office Antiphons, and Psalmody: the
Musical Authority of the Twelfth-Century Antiphonal from St.-Denis (diss.,
U. of North Carolina, Chapel Hill, 1985)Paris, Bibliothèque Nationale de
France, n.a.lat.495. Troper and proser from Gerona, Spain; 12th century.
120 ff.; 16·6 × 10·9 cm. Late Catalan notation without lines, but with many
melodies in quadratics on lines and over erasures.Ff.1–2v: bifolium from
an antiphoner; 3–17: Kyrie tropes beginning within Clemens rector; 17–43v:
Gloria tropes; 44–49v: Sanctus tropes; 51–117: 37 prosae; 117r–v:
Agnus without tropes.Anglès (1935), 150; RISM, B/V/1 (1964), 145Paris,
Bibliothèque Nationale de France, n.a.lat.1235. Gradual, tonary, hymnal,
proser, troper and kyriale from the Cathedral of St Cyr, Nevers; 12th century.
262 ff.; 28 × 18·5 cm. French notation on red F, yellow C and 2 dry lines.
Offertories with verses. This is a sister MS to F-Pn n.a.lat.1236, part
of an antiphoner.Ff.2–8v: supplement (14th century); 9–93: winter–spring
temp. and sanc. from Advent I to Trinity (Easter, 75v); 93–109v:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
109v–119v: Sundays after Pentecost; 119v–120: Dedication;
120–121v: Masses for the Dead; 121v–136v: processional
antiphons; 136v–141v: responds; 141v–146: tonary; 146–147:
troped Kyries; 147v–177v: hymnal (ed. Stäblein, 1956); 177v–244v:
tropes, prosae, kyriale and Mass chant incipits grouped together by
feasts and arranged according to the liturgical year (Officium stellae
Magi play, 198); 245–262v: secular Offices of St Anne and Augustine, 8 prosae,
etc. (added 14th century).Stäblein (1956), 69; Le graduel romain, ii
(1957), 111; RISM, B/IV/1 (1966), 446; Huglo (1971), 323; N.M. Van Deusen: Music
at Nevers Cathedral: Principal Sources of Medieval Chant (Henryville, PA,
1980); E.J. Reier: The Introit Trope Repertory at Nevers: MSS Paris B.N.
lat.9449 and Paris B.N. n.a.lat.1235 (diss. U. of California, Berkeley,
1981)Paris, Bibliothèque Nationale de France, n.a.lat.3126. Troper and
kyriale from Nevers; 12th century. 112 ff.; 21·2 × 15·1 cm. Late French notation
with red F and yellow C lines.Ff.1–8v: added gathering containing 7 prosae;
9–63v: 59 prosae; 64–78v: kyriale; 78v–103v:
supplement with 16 prosae; 104–111v: last gathering with 7 prosae
copied by 3 notators (13th-century additions).M. Huglo: ‘Un nouveau prosaire
nivernais’, Ephemerides liturgicae, lxxi (1957), 3–30; RISM, B/V/1
(1964), 148Paris, Bibliothèque Ste Geneviève, 93 (BB.1.fol.4).
Notated missal (inc.) from Paris; end of 12th century. 211 ff.; 25·5 × 16·5 cm.
Late French notation on 2 or 3 lines with yellow C, green F and dry line A.
Offertories lack verses. First 40 folios of MS missing.Ff.1–105v:
winter–spring temp. from Tuesday of the first week of Lent to the Sunday within
the Octave of Pentecost and its ember ferials (Easter, 72); 105v–137:
Sundays after Pentecost; 137–184: sanc. from St Sylvester (31 Dec) to St Thomas
(21 Dec); 184–185v: Dedication; 185v–198v: Common; 198v–203v:
votives; 203v–211: Masses for the sick and the dead.Leroquais (1924), i,
344; Le graduel romain, ii (1957), 112; Bernard, i (1965), 25Piacenza,
Duomo, Biblioteca e Archivio Capitolare, 65. ‘Liber officiorum’ or ‘Liber
magistri’ of Piacenza Cathedral, containing all chants necessary for the
performance of Mass and Office; second quarter of 12th century. 450 ff.; 48 × 34
cm. Central-Italian notation on 4 dry lines with red F line. In the gradual,
sanc. and Common are combined in four main divisions: apostles, martyrs,
confessors and virgins.Ff.1–3: tonary of invitatories; 3v–4v:
tonary of antiphons; 5: treatise on alchemy and astronomy; 43: Calendar; 55v:
tables, psalter, canticles, litanies, Office of BVM (texts), hymns and Office
prayers throughout year; 149: tonary of Mass chants; 151v–226: gradual,
temp. and sanc./Common of the Saints (Easter, 183); 226v: Kyries and Glorias;
229–261: tropes for Proper of Mass chants, Ordinary chants and sequences in
liturgical order; 262–264: Cassiodorus’s Institutiones Musicae,
divisions of monochord; 264v–267v: second tonary of antiphons.
Secular antiphoner, ff.268–439v. Ff.268v–273v: invitatory
tones; 274–365: temp. (Easter, 330v); 365v–423: sanc. from St
Stephen (26 Dec) to St Victoria (23 Dec); 423–431v: Common of the
Saints; 431v–433v: Dedication; 433v–435v: Office of
the Dead; 440: Calendar; 449: mensural Credos (later addition).RISM B/III/2
(1968), 142–5; Huglo (1971), 174; P. Merkley: Italian Tonaries (Ottawa,
1988); K. Glaeske and others: Piacenza, Biblioteca Capitolare 65
(Ottawa, 1993 with introduction by P. Merkley); Il libro del Maestro: codice
65 dell’Archivio Capitolare della Cattedrale di Piacenza (sec. XII)
(Piacenza, 1997) [facs.]; CANTUS databaseRome, Biblioteca Apostolica
Vaticana, Barb.lat.603 (XIII. 12). Notated missal (temp. part) from
Caiazzo, nr Caserta; dated 1124–31. 90 ff.; 37·5 × 26·5 cm. Diastematic Beneventan
notation. Offertories lack verses. Beginning and end of the MS are
lacking.Ff.1–63: winter–spring temp. from Advent III to Holy Saturday; 63–65:
Preface and Canon; 65–88: Easter to Whit Saturday; 88–90v: Sundays after
Pentecost (nos.1–4 only).Le graduel romain, ii (1957), 123; Salmon,
ccliii (1969), 112Rome, Biblioteca Apostolica Vaticana, Barb.lat.699 (XIV.72).
Notated missal from the region of Veroli; 12th century. 198 ff.; 31 × 19 cm.
Diastematic Beneventan notation with a dry line. Offertories lack verses.
Ff.1–13 are mutilated.Ff.1–138: winter–spring temp. and sanc. from Advent to
Whit Saturday (Easter, 109v); 138–158v: Sundays after Pentecost;
158v–159v: Trinity; 159v–183v: summer sanc. from St
Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 183v–193v:
Common; 193v–195v: votive ferial Masses.Le graduel romain,
ii (1957), 124; Salmon, ccliii (1969), 115Rome, Biblioteca Apostolica
Vaticana, Ottob.lat.576. Partly notated missal from the region of Monte
Cassino and Benevento; 12th century. 377 ff.; 27 × 17cm. Beneventan notation
with 2 dry lines; red F line used after f.127. Offertories lack verses.
Notation in MS confined to ff.1–244 and 303–305v.Ff.1–217v:
winter–spring temp. and sanc. from Advent I to Easter; 217v–230v:
ordo missae, Prefaces and Canon; 230v–269v: Monday after Easter
to the Sunday within the Octave of Pentecost; 269v–299: Sundays after
Pentecost; 300–337: summer sanc. from St Petronilla (31 May) and St Marcellinus
and St Peter (2 June) to St Andrew (30 Nov); 337v–340v: ordo sponsalium;
341–367: Common; 367–368: Dedication; 368v–377v: votives.Le
graduel romain, ii (1957), 127; Salmon, ccliii (1969), 126Rome,
Biblioteca Apostolica Vaticana, Rossiani 231. Gradual from the diocese of
Venice; 12th century. 148 ff.; 28 × 18·5 cm. North Italian notation with red F
and yellow C lines.Ff.1–104v: winter–spring temp. and sanc. from Advent
I to Saturday following the Sunday within the Octave of Pentecost (Easter, 77);
104–134v: summer sanc. from St Marcellinus and St Peter (2 June) to St
Andrew (30 Nov) and St Zeno (12 April); 134–148v: Sundays after
Pentecost, breaks off within no.21.Le graduel romain, ii (1957), 128;
Salmon, ccliii (1969), 82Rome, Biblioteca Apostolica Vaticana, vat.lat.6082.
Notated missal with calendar from Monte Cassino; first half of 12th century.
319 ff.; 29·5 × 20·3 cm. Beneventan notation with red F and yellow C lines.
Offertories lack verses.Ff.1–6v: Calendar; 7–136v: winter–spring
temp. and sanc. from Advent I to Holy Saturday; 136v–149v:
vesting prayers, Ordinary of the Mass, and Canon; 150–176: Easter to the Sunday
within the Octave of Pentecost; 176v–213: summer sanc. from St Tiburtius
and St Valerian (14 April) to St Andrew (30 Nov); 213–238v: Sundays
after Pentecost; 239v–265: Common; 265–267: Dedication; 267–289: votive
and Requiem Masses; 289–293v: baptism rites; 298–319v: Good
Friday services, votives, Gospel of the Passion, etc.Le graduel romain,
ii (1957), 125; Salmon, ccliii (1969), 160Rome, Biblioteca Casanatense, 1741
(C.IV.2). Kyriale, troper-proser and processional from the abbey of S
Silvestro, Nonantola; early 12th century. 192 ff.; 18·4 × 12·4 cm. Nonantolan
notation on dry lines with red F and yellow C lines.Ff.1–4v: notated
Rogation litany Humili prece; 5–44v: kyriale, with and without
tropes; 44v–46v: Fraction antiphons; 46v–134v: a
combined troper-proser with tropes, prosae, prosulas, Gospel antiphons
and regular Mass chants grouped by major feasts and arranged according to the
liturgical year; 135–181v: processional antiphons; 181v–184:
Rogation chants and litany; 185–192v: processional antiphons, Rogation
and Vigil of Ascension Masses.G. Vecchi: Troparium sequentiarium
nonantulanum, MLMI, i/1 (1955) [facs.]; Le graduel romain, ii
(1957), 121; RISM, B/V/1 (1964), 182; Rönnau (1967), 49; Studi medievali,
3rd ser., ix (1968), 1145; Borders (1996), i, p.xiii [description], xviii
[inventory]Rome, Biblioteca Vallicelliana, C.13. Notated monastic
breviary (winter part) from St Eutizio of Valcastoriana, nr Norcia; 12th
century. 403 ff.; 36 × 23·7 cm. Late Beneventan notation on four lines with red
F and yellow C lines.Ff.1–403v: winter temp. and sanc. from Advent I to
Holy Saturday (inc.).Studi medievali, 3rd ser., xi (1970), 1040; J.C.
Ledwon: The Winter Office of Sant’Eutizio di Norcia: a Study of the Contents
and Construction of Biblioteca Vallicelliana Manuscripts C 13 and C 5
(diss., SUNY, Buffalo, 1986)Rome, Biblioteca Vallicelliana, C.52.
Gradual and kyriale from central Italy, possibly from S Eutizio of Val
Castoriana, nr Norcia; 12th century. 166 ff.; 23 × 15·3 cm. Central Italian
Beneventan notation with red F and yellow C lines. Offertories lack verses.Ff.1v–103v:
winter–spring temp. from Advent I to the Sunday within the Octave of Pentecost
(Easter, 80v); 103v–127: summer sanc. from St Marcellinus and St
Peter (2 June) to St Andrew (30 Nov); 127v–130: Requiem Masses; 130–143:
Sundays after Pentecost; 143–144v: Trinity; 144v–145v:
Dedication; 145v–166v: kyriale with tropes and prosae.Huglo
(1954), 100; Le graduel romain, ii (1957), 123; Studi medievali,
xi (1970), 1045Rouen, Bibliothèque Municipale, 209–10 (Y.1751-2).
Partly notated monastic breviary in 2 volumes from Jumièges; second half of
12th century. 27·2 × 18·7 cm. Norman neumes.MS 209, 330 ff., temp. Ff.1v–7:
Calendar; 8–256v: winter–spring temp. from Advent I to Trinity (Easter,
189); 256v–329v: Sundays after Pentecost. MS 210, 344 ff., sanc.
Ff.5–260: sanc. from St Sylvester (31 Dec) to St Thomas (21 Dec); 260v–330:
Common; 330–338v: Dedication.Leroquais (1934), iv, 102; Hesbert (1954),
71Rouen, Bibliothèque Municipale, 244 (A.261). Notated monastic
breviary from Fécamp; end of 12th century. 313 ff.; 29·4 × 20·8 cm. Quadratic
notation on 4 red lines.Ff.1–114: winter–spring temp. from Advent I to the
Sunday within the Octave of Trinity (Easter, 78); 118v–153v:
Sundays after Pentecost; 162–313: sanc. from St Thomas (21 Dec) to St Nicholas
(6 Dec) and Conception of BVM (8 Dec) inc.Leroquais (1934), iv, 116Turin,
Biblioteca Nazionale Universitaria, F.IV.18. Gradual, processional and
kyriale from Bobbio; 12th century. 177 ff. North Italian notation with red F
and yellow C lines. Offertories with verses. Mutilated leaves scattered
throughout the MS. The major Masses contain prosae, prosulas and troped
introits, Kyries, Glorias, Sanctus and Agnus.F.1: gradual prologues Gregorius
presul meritus, etc.; 2–111v: winter–spring temp. and sanc. from
Advent I to Whit Saturday (Easter, 87); 111v–142v: summer sanc.
from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 142v–158:
Sundays after Pentecost; 158–159v: Trinity; 159v–160v:
Requiem; 160v–161v: St Nicholas prosa Congaudentes exultemus;
161v–168: troped Kyries, Sanctus and Agnus; 168v–177v:
processional antiphons, Rogation antiphons, litanies, alleluias and Marian
chants including the Gloria Spiritus et alme.Le graduel romain,
ii (1957), 146Utrecht, Universiteitsbibliotheek, 406 (3.J.7).
Secular antiphoner from St Mary’s, Utrecht; 12th century with some 13th-, 14th-
and 15th-century additions. 256 ff.; 32·5 × 25·5 cm. Dutch notation on 4 lines
with red F and yellow C lines, a letter C clef and a dot indicating an F
clef.Ff.1–4 (14th century): 6 sequences and beginning of antiphoner, Advent I;
5–120v: winter temp. and sanc. (Easter, 97); 120v–207v:
summer histories and sanc.; 136–141v (14th century): Corpus Christi;
142–151v (13th century): added Offices; 208–222: Common; 222v–228:
Sundays after Pentecost; 228v–233v: tonary, extracts from
theoretical treatises; 234–256 (14th and 15th century): additional Offices.RISM
B/III/1 (1961), 137–9; C.T. Downey: An Utrecht Antiphoner: Utrecht,
Bibliotheek der Rijksuniversiteit 406 (3.J.7) (Ottawa, 1997); R. Steiner,
ed.: Utrecht, Bibliotheek der Rijksuniversiteit, MS 406 (3.J.7) (Ottawa,
1997 with introduction by I. de Loos) [facs.]; CANTUS databaseVercelli, Biblioteca
Capitolare, 124 (14). Notated missal from Novalesa; early 12th
century. 227 ff.; 31 × 17 cm. Novalese neumes. Offertories lack verses.
Occasional irregular numbering of the folios.Ff.1–134: winter temp. from
Christmas Mass no.1 to the Sunday within the Octave of Pentecost (Easter, 112).
Between ff.69 and 70: Calendar (Jan–May and Sept–Dec) and an inc. Canon.
Ff.134–156: Sundays after Pentecost. Between 156 and 157: misnumbered leaves
containing Credo, Gloria, offertory prayers, Prefaces, Mass of Gratiniani et
Filini, vesting prayers, Sundays in Advent V, I–IV to Christmas. Ff.157v–188v:
sanc. from St Sylvester (31 Dec) to St Thomas (21 Dec); 189–205v:
Common; 205v–206v: Dedication; 206v–207v: Trinity;
207v–227: votive Masses (texts only).Le graduel romain, ii
(1957), 149Vercelli, Biblioteca Capitolare, 146 (28). Gradual and
a troper-proser from Vercelli; early 12th century. 122 ff.; 27 × 17 cm. North
Italian diastematic notation with custodes. Offertories with
verses.Ff.2–76: winter–spring temp. and sanc. from Advent I to Whit Saturday
(Easter, 53v); 76–79v: summer sanc. (inc.) from St Marcellinus
and St Peter (2 June) to St Peter (29 June); 80–88: Sundays after Pentecost
(first Sunday partly missing); 88r–v: Trinity; 89v–90:
Dedication; 90r–v: Requiem; 90v–91: lacuna; 91–94:
processional antiphons; 94–119v: combined troper and proser for major
feasts.Le graduel romain, ii (1957), 149Vercelli, Biblioteca
Capitolare, 162 (174). Gradual and troper-proser from Vercelli;
early 12th century. 203 ff.; 27 × 18 cm. North Italian diastematic notation.
Offertories with verse texts, but final verses often lack melodies.Ff.1–138v:
winter–spring temp. and sanc. (beginning missing) from Advent IV to Whit
Saturday (Easter, 102); 138v–156v: summer sanc. from St Marcellinus
and St Peter (2 June) to St Andrew (30 Nov); 156v–167: Sundays after
Pentecost; 167r–v: Trinity; 168v–169: Requiem; 169v–171v:
processional antiphons; 171v–202v: combined troper, kyriale and
proser for major feasts.Le graduel romain, ii (1957), 149Vienna,
Österreichische Nationalbibliothek, Series nova 2700. Collectarium,
Calendar, gradual, kyriale, proser and monastic antiphoner from St Peter’s,
Salzburg; c1160. 846 pp.; 42·5 × 31 cm. St Gallen neumes. Offertories
with verses.Pp.3–22: 12 Office lessons for Holy Saturday at None (texts only);
23–148: collectarium (texts only); 150–63: Calendar and table of movable
feasts. Pp.166–427: notated gradual. Pp.166–355: winter–spring temp. and sanc.
from Advent I to Whit Saturday (Easter, 315); 355–95: summer sanc. from St
Marcellinus and St Peter (2 June) to St Andrew (30 Nov); 396–7: Dedication;
397–8: Trinity; 398–421: Sundays after Pentecost; 421–7: Common (alleluias
only); 428–37: kyriale (notated); 439–67: proser in double columns (texts
only), no sequences in the margins. Pp.468–843: notated monastic antiphoner,
with differentiae cues in the margins. Pp.468–675: winter–spring temp. and
sanc. from Advent I to Whit Saturday (Easter, 632 and Office of St Rupertus,
571–6); 675–759: summer sanc. from St John the Baptist (24 June) to St Andrew
(30 Nov); 759–88: Common; 788–93: Dedication; 793–8: Trinity; 802–26:
histories; 827–36: Sundays after Pentecost; 836–43: Office of the Dead with 8
lessons; 844–5: Alleluia, Solve jubente and prosa Tu es
Petrus (added).O. Mazal and F. Unterkircher: Katalog der abendländischen
Handschriften der Österreichischen Nationalbibliothek, ‘Series Nova’, ii/1
(Vienna, 1963), 355; Antiphonar von St. Peter (Graz, 1969–74) [colour
facs.]; S. Engels, ed.: Das Antiphonar von St. Peter in Salzburg: Codex ÖNB
Ser.Nov.2700 (Paderborn, 1994)Vienna, Österreichische
Nationalbibliothek, Series Nova 2837 (Suppl.Mus.15488). Calendar,
gradual, kyriale, proser and sacramentary copied for a church in the diocese of
Freising and later used at a church in the diocese of Salzburg; 12th century
with later additions. 173 ff.; 27 × 19 cm. German neumes. Offertories lack
verses.Ff.1v–7: Calendar with many additions; 9–47v:
winter–spring temp. and sanc. from Advent I to the Sunday within the Octave of
Pentecost (Easter, 40); 47v–55v: summer sanc. from St Marcellinus
and St Peter (2 June) to St Andrew (30 Nov); 55v–56: Dedication; 56:
Trinity; 56–62v: Sundays after Pentecost; 62v–64: epistles and
gospels (13th century); 65–87v: alleluias, kyriale and proser (14th
century); 88–99v: kyriale and proser (14th century); 100–116v:
Prefaces, Canon and votive masses (14th century); 117–161v: sacramentary
(defective beginning); 162–173v: 3 fragments from other MSS (13th–15th
centuries).Le graduel romain, ii (1957), 153; O. Mazal and F.
Unterkircher: Katalog der abendländischen Handschriften der Österreichischen
Nationalbibliothek, ‘Series Nova’, ii/1 (Vienna, 1963), 406Zürich,
Zentralbibliothek, Rheinau 125 (Mohlberg 495). Gradual and proser
from Rheinau; 12th century. 130 ff.; 15·3 × 10·2 cm. German neumes. Offertories
lack verses.Ff.1–62: winter–spring temp. and sanc. from Advent I (inc.) to Whit
Saturday (Easter, 49); 62–74: summer sanc. from St Marcellinus and St Peter (2
June) to St Nicholas (6 Dec); 74r–v: Trinity; 74v–84:
Sundays after Pentecost; 84–85: Saturday Marian Mass Salve sancta parens;
85–88: Common (alleluias only); 88v–89: 4 prosae (texts only); 89v–126v:
proser (partly notated), no sequences in the margins; 126v–130v:
supplement of 3 Glorias (notated), Credo (text only), versus of
Fortunatus’s Salve festa dies (notated), and prosae and an
antiphon to St Findanus.C. Mohlberg: Katalog der Handschriften der
Zentralbibliothek Zürich, i: Mittelalterliche Handschriften, dritte
Lieferung (Zürich, 1936), 221; Le graduel romain, ii (1957), 156
Sources, MS, §II:
Western plainchant
6. 12th–13th centuries.
Baltimore, Walters Art Gallery, 63. Cistercian
antiphoner (sanc. vol.), hymnal and tonary of St Bernard, of French origin;
dated 1175–1202. 135 ff.; 35 × 25 cm. Cistercian notation on 4 lines.Ff.1–93:
sanc. from St Stephen (26 Dec) to St Andrew (30 Nov); 93v–117: Common;
117–130: hymnal; 130v–132v: tonary of St Bernard; 133–135: vesper
antiphons for St Raphael and a Marian hymn O quam glorifica luce.R.
Unsinn: The Walters Manuscript 63 (diss., Catholic U. of America,
Washington, DC, 1970)Karlsruhe, Badische Landesbibliothek, Aug.perg.LX.
Monastic antiphoner of Zwiefalten, Swabia (taken to the abbey of Reichenau in
the early 16th century); late 12th century. 276 ff.; 33·4 × 22·9 cm. Original
notation fine German neumes on 4 lines with red F and yellow C lines; neumes
almost completely replaced in 13th–14th century with elegant German Hufnagel
notation (seven different notations in all; see Hain); letters indicating mode
and differentia.Ff.2v–156v: winter temp. and sanc. from Advent I
to Whitsuntide (Easter, 93v). (Ff.106–143v: interpolated offices,
15th century, including Proper Offices for Reichenau saints.) 157–206v:
summer sanc. from St John the Baptist (24 June) to St Andrew (30 Nov); 206v–221v:
Common of the Saints; 221v–224v: Dedication; 224v–227v:
Trinity; 227v–232v: Offices for Elisabeth of Hungary and
Catherine of Alexandria, added in 13th century; 233–247: histories; 247–248:
antiphons ‘ad Benedicite’; 248–253v: Sundays after Pentecost; 254–259:
invitatory tones; 259v–265v: Office of the Dead; 265v–267v:
chants ‘ad Mandatum’; 267v–271v: ferial Office; 272: Common of
Mary; 273–275: St Benedict.K. Hain: Ein musikalischer Palimpsest
(Fribourg, 1925); J.P. Metzinger: The Zwiefalten Antiphoner: Karlsruhe,
Badische Landesbibliothek, Aug. perg. LX (Ottawa, 1996 with introduction by
H. Möller); H. Möller, ed.: Antiphonarium: Karlsruhe, Badische
Landesbibliothek, Aug. perg. 60 (Munich, 1995) [microfiche facs.]; CANTUS
databaseLaon, Bibliothèque Municipale, 263. Troper, proser, medieval
plays and hymnal from the Cathedral of Notre Dame, Laon; late 12th or early
13th century. 188 ff.; 28·6 × 19·2 cm. Messine notation on 4 lines.Section A:
ff.1–90v. Ff.1–18v: Marian ‘Ave’ psalters; 19–20v: Easter prosa
Zyma vetus expurgetur; 21–22v: introit psalms with tropes
arranged by tones; 22v–29v: Kyrie tropes; 30–34: Gloria tropes;
34v–81v: prosae with a few sequences; 82–84: Sanctus and
Agnus tropes; 85–90v: Marian prosae. Section B: ff.91–153v.
Ff.91–92v: Laudes regiae; 92v–147v: prosae,
hymns, respond prosulas, epistles, conductus etc. for special secular Office
and Mass services for the New Year season; 114–121v (added gathering): prosae
to St Thomas of Canterbury and St Vincent, troped Pater noster, Gloria,
Credo, etc.; 147v–153v: 3 plays (texts only), Ordo prophetarum,
Ordo stelle, Ordo Joseph. Section C: ff.154–188v: notated
hymnal.Young (1933), ii, 103, 145, 266; Stäblein (1956), 141, 555; RISM, B/V/1
(1964), 103; Arlt (1970); Huglo (1971), 320; D.G. Hughes: ‘Music for St Stephen
at Laon’, Words and Music: the Scholar’s View … in Honor of A. Tillman
Merritt, ed. L. Berman (Cambridge, MA, 1972), 137–59London, British
Library, Add.31384. Carthusian gradual from the Chartreuse du Reposoir, nr
Cluses (Haute-Savoie); 12th–13th centuries. 161 ff. Quadratic notation on
single red F and 3 dry lines. Offertories without verses.Ff.2–16: computus and
Calendar (added 17th century); 17–94v: winter–spring temp. and sanc.
(beginning lacking) from Christmas Mass Lux fulgebit to the Sunday
within the Octave of Pentecost (Easter, 81); 94v–115: Sundays after
Pentecost; 115–131v: summer sanc. from St Marcellinus and St Peter (2
June) to St Thomas (21 Dec); 131v–132: Missa pro defunctis Respice
Domine; 132–139: kyriale; 139–161v: supplement of mixed character
(different notators).Le graduel romain, ii (1957), 63Naples,
Biblioteca Nazionale Vittorio Emanuele III, VI-G-11. Notated missal from
Acre (now ‘Akko, Israel), 237 ff.; 28·3 × 20 cm. Small quadratic Norman
notation on 4 black lines.Ff.1–95v: winter temp. from Christmas Mass Lux
fulgebit to Holy Saturday; 96v–99v: Preface and Canon;
100–125v: Easter to Trinity; 126–160v: Sundays after Pentecost;
161–212v: sanc. from St Sylvester (31 Dec) to St Thomas (21 Dec); 216r–v:
Dedication; 221v–237: Common; 237: Requiem.Ebner (1896), 118; Le
graduel romain, ii (1957), 85; Arnese (1967), 132; H. Buchtal: Miniature
Painting in the Latin Kingdom of Jerusalem (Oxford, 1957); Hiley (1981), 51Paris,
Bibliothèque Nationale de France, lat.1086. Processional, troper and proser
from St Leonard, nr Limoges; 12th–13th centuries. 132 ff.; 26·5 × 18 cm. Late
Aquitanian notation with 1 red line.Ff.2–17v: processional; 18–27:
Kyries and Glorias, with and without tropes; 27–122v: proser; 123–128:
Sanctus and Agnus, with and without tropes; 128–131v: 2 troped epistles.Catalogue
général, i (1939), 394; RISM, B/V/1 (1964), 122; H. Husmann: ‘Notre-Dame
und Saint-Victor’, AcM, xxxvi (1964), 191–221Piacenza, Basilica di S
Antonino, Biblioteca e Archivio Capitolare I (formerly 677 E sotto).
Gradual from Piacenza; 12th–13th centuries. 163 ff.; 27 × 19 cm. Early
quadratic notation with red F and yellow C lines.Ff.1–86v: winter–spring
temp. from Advent I to Whit Saturday (Easter, 68v); 87–102v:
Sundays after Pentecost; 102v–103v: Trinity; 103v–104v:
Dedication St Michael (29 Sept); 105–115: sanc. (series I) feasts of the
Apostles for the year from St John (27 Dec) to St Thomas (21 Dec); 115–158:
sanc. (series II) feasts of other saints for the year from St Stephen (26 Dec)
to All Saints (1 Nov); 158–159v: Requiem; 159v–160: Dedication;
160r–v: kyriale (inc.).F. Bussi: L’antifonario graduale della
Basilica di S Antonino in Piacenza: sec. XII, Biblioteca storica
piacentina, xxvii (Piacenza, 1956); Le graduel romain, ii (1957), 115Rome,
Biblioteca Apostolica Vaticana, Barb.lat.559 (XII.2). Notated missal
with Calendar from St Michel, Lyons; dated 1173–1223. 275 ff.; 32·5 × 22 cm.
French neumes from the region of Lyons. Offertories with verses.Ff.1–3v:
Calendar; 11–124v: winter–spring temp. and sanc. from Advent I to Holy
Saturday; 125–128: Prefaces and Canon; 129–171v: Easter to the Sunday
within the Octave of Pentecost; 171v–209: Sundays after Pentecost; 209–241v:
summer sanc. from St Marcellinus and St Peter (2 June) to St Thomas (21 Dec);
241v–251: Common; 251v–261: votive and Requiem Masses; 261–262:
Trinity; 263–268v: Office collects pro peccatis; 268v–275v;
services for the sick and the dead.Le graduel romain, ii (1957), 123,
Salmon; ccliii (1969), 109Rome, Biblioteca Apostolica Vaticana, vat.lat.7231.
Notated votive missal from the region of Benevento and Monte Cassino; 12th–13th
centuries (fig.17). 96 ff.; 25·5 × 17·5 cm. Beneventan
notation with F line. Offertories lack verses. MS inc. at beginning and end. Ff.1–40v:
services for the sick and the dead including a secular Office and Masses; 41–60v:
vesting prayers, Ordinary of the Mass, Prefaces and Canon; 61–76: votive and
Marian Masses; 76–96v: Common of the Saints, MS breaks off within the
Mass of a Confessor.Ebner (1896), 228, 345 [edn of ff.43v–47, 58–60];
Salmon, ccliii (1969), 164Stuttgart, Württembergische Landesbibliothek,
HB.I.55. Monastic antiphoner and tonary from Weingarten; 12th–13th centuries.
194 ff.; 23·5 × 17·5 cm. German neumes.F.1: lacking; 2–107: winter–spring temp.
and sanc. from Advent I (inc.) to Trinity (Easter, 81); 107–151: summer sanc.
from St John the Baptist (24 June) to St Nicholas (6 Dec); 151–162v:
Common; 162v–165: Dedication; 165–176: histories; 176r–v: Trium
puerorum antiphons; 176v–182: Sundays after Pentecost; 182–185v:
Venite settings; 185v–190v: supplement of Offices – All
Saints, Trinity, Benedict and hymn to St Oswald; 191r–v:
tonary.J. Autenrieth and others: Die Handschriften der Württembergischen
Landesbibliothek Stuttgart, 2nd ser., i/1 (Wiesbaden, 1968), 85; Huglo
(1971), 255; CANTUS databaseVercelli, Biblioteca Capitolare, 70 (115).
Secular antiphoner (winter section) with tonary and hymnal, probably from Vercelli;
12th–13th centuries. 229 ff.; 35 × 27 cm. Late north Italian notation with F
and C lines.Ff.1–208v: winter temp. and sanc. from Advent I to Holy
Saturday including the Offices of St Nicholas (f.8), St Fabian and St Sebastian
(108) and the Purification (121); 208v–222: 2 tonaries; 222–227v:
inc. hymnal from Advent to Passion Sunday.Huglo (1971), 172Vienna,
Österreichische Nationalbibliothek, Vind.1909. Gradual and sacramentary
with Calendar, kyriale and proser from Admont; 12th–13th centuries (fig.18). 209 ff.; 18·6 × 13·2 cm. German
neumes. Offertories lack verses.Ff.1–6v: Calendar; 7–48v:
winter–spring temp. and sanc. from Advent I to Whit Saturday (Easter, 40v);
48v–56: summer sanc. from St Marcellinus and St Peter (2 June) to St
Andrew (30 Nov); 56–57: Dedication and Trinity; 57–63v: Sundays after
Pentecost; 63v–65v: Common (alleluias only); 65v–67:
kyriale; 67v–95: proser (texts only); 97–209: sacramentary preceded by a
Canon.Le graduel romain, ii (1957), 151
Sources, MS, §II:
Western plainchant
7. 13th century.
Aachen, Bischöfliche Diözesanbibliothek, 13 (XII)
(Gradual of Arnoldus). Gradual, troper and double proser from Aachen; beginning
of 13th century. 169 ff.; 47 × 32·5 cm. German Hufnagel notation on 4
lines.Ff.1–78: winter–spring temp. from Advent I to the Sundays after Pentecost
inclusive; 78r–v: Dedication; 78v–104v: sanc. from
St Sylvester (31 Dec) to St Thomas (21 Dec); 104v–105: Requiem masses;
105–107v: Common (alleluias only); 107v–120v: kyriale with
introit tropes; 120v–156v: French proser; 157–169: German proser.Le
graduel romain, ii (1957), 25; R.-J. Hesbert: Le prosaire
d’Aix-la-Chapelle, Monumenta musicae sacrae, iii (Rouen, 1961) [facs. of
ff.120v–169]Bamberg, Staatsbibliothek, Liturg.25 (Ed.IV.11).
Secular antiphoner from Bamberg; 13th century. 151 ff.; 24·5 × 17 cm. German
notation with F and C lines.Ff.1–71v: winter–spring temp. and sanc. from
Advent I to Trinity (Easter, 55v); 71v–110v: summer sanc.
from St John the Baptist (24 June) to St Nicholas (6 Dec); 110v–122:
Common; 122–125: Dedication; 125–139: histories; 139–144v: Sundays after
Pentecost; 144v–146v: Office of the Dead; 146v–151v:
Venite settings.CANTUS databaseBamberg, Staatsbibliothek, Liturg.26
(Ed.IV.2). Secular antiphoner from Bamberg; 13th century. 128 ff.; 26·7
× 21·4 cm. German neumes.Ff.1–61: winter–spring temp. and sanc. from Advent I
to the Sunday within the Octave of Pentecost; 61–92v: summer sanc. from
St John the Baptist (24 June) to St Andrew (30 Nov); 92v–98v:
Common; 98v–100: Dedication; 100–102: Trinity; 102–110: histories;
110–113: Sundays after Pentecost; 113–116v: Venite settings; 116v–117v:
Office of the Dead; 118v–119v: Tonary of Henricus of Augsburg;
120–125: hymns (texts only); 126v–128: Office of St Kunigunde,
notated.Huglo (1971), 281Berkeley, University of California Music Library,
752. Rubricated and notated Camaldolese breviary (temp. vol.) from
Camaldoli; end of 13th century (before 1292). 340 ff.; 37·5 × 25 cm. Quadratic
notation on 2 to 6 red lines. Original library shelf numbers: ‘Sacri Eremi
Camalduli W-126 and Q.V-3’. MS copied by Simon of Genoa (d 18 Sept
1292). Inserted between Ember Saturday in Advent and Christmas (ff.41v–45v)
are a sermon of St Augustine, a litany, a tract by St Bernard and an extended
series of ordines.Ff.1–2v: ferial psalter (beginning lacking); 3–4v:
Camaldolese Calendar; 5–257: winter–spring temp. from Advent I to Whit Saturday
(Easter, 215v); 257v–328v: Sundays after Pentecost;
329–335v: Trinity; 336–340v: supplement of Marian prayers: ‘Ave’
psalters, litany, orations, prosae, Office (texts only).Brussels,
Bibliothèque Royale Albert Ier, II 3824 (Fétis 1173). Gradual with prosae
and kyriale from St Bénigne, Dijon; mid-13th century. 296 ff. Quadratic
notation on 4 red lines. Offertories without verses. A typical festal Mass
includes Kyrie and Gloria incipits and a complete prosa.Ff.1–139: winter
temp. from Advent I to Trinity (Easter, 91v); (duplicate nos. for
ff.130–39); 139–161v: Sundays after Pentecost; 164–223: sanc. from St
Stephen (26 Dec) to St Lucy (13 Dec); 223–225v: Dedication; 226–265:
Common; 265–278v: kyriale; 278v–284v: processional
antiphons; 284v–296v: prosae.Le graduel romain, ii (1957),
38Brussels, Bibliothèque Royale Royale Albert Ier, 19389 (Cat.429).
Notated missal with prosae from St Martin, Quesnast, nr Brussels; 13th
century. 193 ff.; 30 × 20 cm. Messine notation on 4 black lines. Offertories
lack verses.Ff.4–14v: Calendar with obituaries; 18–82v: winter
temp. from Advent I to Holy Saturday; 83–87: Prefaces and Canon (added 14th
century); 87–108: Easter to Trinity; 108–129v: Sundays after Pentecost;
130–147: Common; 147–170v: sanc. from St Lucy (13 Dec) to St Thomas (21
Dec); 170v–171v: Dedication; 172–173: Marian Mass Salve sancta
parens; 174v–175: Requiem; 175–177v: votives; 178–193v:
proser (texts only, added 14th century).Cambridge, University Library,
Mm.2.9 (‘Barnwell Antiphoner’). Rubricated Sarum antiphoner (inc.) probably
from the house of Augustinian canons at Barnwell, England; 13th century. 302
ff.; 34 × 24 cm. Early English quadratic notation on 4 lines. Perhaps the first
4 gatherings of the MS are lacking.Ff.1–98: winter temp. from the Monday after
the Octave of Epiphany to Trinity (Easter, 68); 98–116v: histories; 116v–121v:
Sundays after Pentecost; 123–267: sanc. from St Andrew (30 Nov) to St Cecilia
(22 Nov); 267–284v: Common; 285–291v: hymnal (inc.).Central MS
used in the preparation of the facs. Antiphonale sarisburiense,
Plainsong and Mediaeval Music Society (London, 1901–25/R).Frere, ii
(1932), 79Cologne, Erzbischöfliches Diözesan- und Dombibliothek, Bu 2.
Notated Cistercian missal probably from the abbey of Altenberg; first half of
13th century. 293 ff.; 37 × 27 cm. German Hufnagel notation on 4 lines
with red F and yellow C lines. Beginning of MS lacking.Ff.4–116: winter temp.
from Advent III: Feria VI to Vigil of Pentecost (Easter, 98v); 116v–123v:
Prefaces, communicantes, kyriale, ordo missae; 124–127v: additions;
128–134v: Pentecost week ferials; 134v–162: Sundays after
Pentecost; 162–163v: Dedication; 164–220: sanc. from St Stephen (26 Dec)
to St Andrew (30 Nov); 220v–238v: Common; 239–41: Trinity;
241–263v: votives; 264–293v: tropes, prosae and
hymns.Hammer (1968), 71Darmstadt, Hessische Landes- und Hochschulbibliothek,
871. Cantatorium from the Stiftskirche of St Cunibert, Cologne; dated c1250
(fig.19). 105 ff.; 26·5 × 10·3 cm. Hufnagel
notation on 2 black, 1 red and 1 yellow lines. Most of the masses are composed
only of notated gradual and alleluia verses intended to be sung by a soloist. Ff.1v–3:
bifolium from a contemporary processional MS containing a single antiphon for
Advent I Ecce karissimi dies illa iudicii; 4–37: winter–spring temp.
from Advent I to Thursday after Pentecost (Easter, 28v); 37r–v:
Trinity; 37v–45: Sundays after Pentecost; 45–58: sanc. from St Lucy (13
Dec) to St Andrew (30 Nov) inclusive; 58–63: Common (alleluia verses only); 63r–v:
Dedication; 63v–76v: Good Friday and Holy Saturday chants; 77–84:
notated epistles and gospels; 84v–87: elements from an Easter play
(copied twice); 87v: antiphon for St Cunibert Pontifex Deo plenus
Cunibertus; 88–95v: full responds for Sunday processions from the
Sunday after Epiphany to Passion Sunday; 96–103: notated epistles and gospels;
103v–104v: troped Sanctus Genitor summi filii and Agnus Rex
eterne glorie.Eizenhöfer and Knaus (1968), 59Leipzig,
Universitätsbibliothek, St Thomas 391 (formerly St Thomaskirche, 371).
Tonary, gradual, kyriale and proser from St Thomaskirche, Leipzig. 8 parchment
leaves, a1–h8 (13th–14th centuries); 10
paper leaves, i–s (dated 1533), and 196 parchment leaves (end of 13th
century); 32 × 23 cm. Gothic notation (Messine-derived neumes) on 4 lines with
red F and yellow C lines. Offertories for several major feasts still retain
their verses. (Ff.1–137v published in facs. by Wagner and numbered
pp.1–249.)Tonary (ff.a1–h8); pp.2–153 (in
Wagner edn) winter–spring temp. from Advent I to Whit Saturday (Easter, p.116);
pp.153–4: Trinity; pp.154–5: Corpus Christi; pp.155–75: Sunday after Pentecost;
pp.175–7: Dedication; pp.177–222: sanc. from St Lucy (13 Dec) to St Andrew (30
Nov); pp.222–4 (ff.124–5): Mass for the Dead Si enim credimus; pp.224–6
(ff.125–6): Marian Mass Salve sancta parens; pp.226–32 (ff.126–9):
Common (alleluias only); pp.232–49 (ff.129–137v): kyriale; ff.138–186:
notated proser containing 84 prosae (inc. at the beginning, starting
within Eia recolamus); ff.186–190v: alleluias for the temp. and
sanc.; ff.190v–191v: Liber generationis; ff.192–194: Mass
ordines with some musical incipits; ff.194–196v: supplement including
Fabrice prosulas and an abbreviated Credo in cantus fractus notation.P. Wagner:
Das Graduale der St Thomaskirche zu Leipzig (14. Jahrhundert),
Publikationen älterer Musik, v, vii (Leipzig, 1930–32); P. Wagner: ‘Ein kurzer
Tonar’, Gregorius-Blatt, liii (1929), 97–114; P. Wagner: ‘Aus dem St
Thomas-Archiv zu Leipzig’, ZMw, xii (1929–30), 65–72, 129–37; Huglo
(1971), 245; Le graduel romain, ii (1957), 58London, British Library,
Add.17303. Carthusian gradual from the Chartreuse du Reposoir, nr Cluses
(Haute-Savoie), or Durbon; 1222–59. 126 ff.; 29·8 × 20 cm. Late Aquitanian
notation with red line. Offertories lack verses.Ff.1–70: temp. from Advent I to
Trinity; 70–89v: Sundays after Pentecost; 89v–114v: sanc.
from St Stephen (26 Dec) to St Thomas (21 Dec). The Dedication Mass (107r–v)
is placed between 28 Aug and 8 Sept; 114v–115: Marian Mass Salve
sancta parens; 117–119v: kyriale; 119v–124: Common; 124–126v:
St Catherine and Corpus Christi.Le graduel romain, ii (1957), 62London,
British Library, Add.23935. A service book containing the entire Dominican
liturgy in one volume based on the corrections ordered by Blessed Humbert of
Romans. The British Library copy of Humbert’s Codex is made up of 21 parts, and
was destined to be used by the master-general of the order as an authentic copy
of Dominican practice. 579 ff.; 26 × 17·5 cm. Ff.23–571 dated 1255–63 and
ff.3–22, 572–9 dated 1358–63. Notated sections in quadratic notation on 4 red
lines. (Cf I-Rss XIV, lit.1.)G.R. Galbraith: The Constitution of the
Dominican Order, 1216–1360 (Manchester, 1925), 193; W.R. Bonniwell: A
History of the Dominican Liturgy (New York, 1944), 94; D. Delalande: Le
Graduel des prêcheurs, Bibliothèque d’histoire dominicaine, ii (Paris,
1949)London, British Library, Add.38723. Notated and rubricated missal
and proser from Paris; mid-13th century. 232 ff.; 19 × 12·5 cm. Quadratic
notation on 4 lines. Offertories lack verses.Ff.1–79v: winter temp. from
Advent I to Holy Saturday; 79v–84: Offertory, Preface and Canon prayers;
84–106v: Easter to Trinity; 106v–126: Sundays after Pentecost;
126–156v: sanc. from St Stephen (26 Dec) to St Thomas (21 Dec); 156v–157:
Dedication; 157–175v: Common; 175v–180v: votives; 181–184v:
Requiem and prayers for the dead; 185–186: Marian Masses; 186v–187: Laudes
regiae; 188–191: kyriale; 191v–232v: notated proser.London,
British Library, Add.39678. Premonstratensian gradual with kyriale and
proser from the abbey of St Mary de Parco, nr Leuven; dated c1260. 237
ff.; 36·5 × 26·5 cm. Quadratic notation on 4 red lines. MS copied for Simon de
Lovanio, prior of the abbey, 1255–66 (see colophon f.227).Ff.1–101v:
winter–spring temp. from Advent I to Trinity (Easter, 77); 101v–116v:
Sundays after Pentecost; 117–136: sanc. from St Lucy (13 Dec) to St Nicholas (6
Dec); 136–162: Common; 162v–163v: Dedication; 163v–164:
Holy Cross; 164–165v: Marian Mass Salve sancta parens; 165v–167:
Requiem; 167–175: kyriale without tropes; 175–224v: notated proser; 224v–237v:
supplement of selected Masses and chants.British Museum: Catalogue of
Additions to the Manuscripts, 1916–1920 (London, 1933), 157London,
British Library, Eg.3759. Gradual (inc.) from Crowland Abbey, Lincs.;
second quarter of 13th century. 157 ff.; 21·5 × 14·6 cm. Early quadratic
notation on 4 red lines. MS acquired by the British Museum in 1957. Beginning
and end of MS including the Common and the Sundays after Pentecost are
missing.Ff.1–57v: temp.; 57v–147v: sanc.; 147v–152v:
prosae; 152v–153v: Dedication (inc.).D.H. Turner: ‘The
Crowland Gradual: an English Benedictine Manuscript’, Ephemerides liturgicae,
lxxiv (1960), 168–74Modena, Duomo, Archivio Capitolare, O.I.16. Kyriale
and cantatorium-proser from Modena; early 13th century. 107 ff.; 26·7 × 18 cm.
Central Italian notation with red F and yellow C lines.Ff.1–2v and 107r–v:
guards from another MS; 3: Palm Sunday antiphon Ingrediente Domino; 4–5:
Rogation Mass with an epistle; 6–14v: Kyries and Glorias without tropes;
14v–77: cantatorium-proser; gradual verses, alleluia verses and prosae
are grouped by major feasts according to the liturgical year; 77–80v: 12
Sanctus; 80v–82: 10 Agnus Dei; 82–94v: procession antiphons;
95–102v: supplement of prosae; 103–104v: versus Salve
dies qua inferna; 105–106v: partial leaves.Le graduel romain,
ii (1957), 73; RISM, B/V/1 (1964), 173Munich, Bayerische Staatsbibliothek,
Clm 16141. Secular antiphoner from Passau; 13th century. 175 ff. German
neumes.Ff.1–95: winter–spring temp. and sanc. from Advent I to Trinity (Easter,
76); 95–134v: summer sanc. from St John the Baptist (24 June) to St
Andrew (30 Nov); 143–156: histories; 156v–161v: Sundays after
Pentecost; 161v–170v: Common; 170v–172v:
Dedication; 172v–175: Corpus Christi (added).Munich, Bayerische
Staatsbibliothek, Clm 17025. Calendar, gradual, proser and sacramentary
from Schäftlarn; 13th century. 331 ff. Small quadratic notation on 4 red lines.
Offertories lack verses.Ff.i–v: Calendar and computus; 1v–59v:
winter–spring temp. from Advent I to Whit Saturday (Easter, 47); 59v–60:
Trinity; 60–70v: Sundays after Pentecost; 70v–71: Dedication;
71–93v: sanc. from St Sylvester (31 Dec) to St Thomas (21 Dec); 93v–94:
votives (text incipits only); 94–96: Common (alleluias only); 96v–100v:
kyriale; 101–119v: proser (partly notated); 120–331: sacramentary.Le
graduel romain, ii (1957), 81Naples, Biblioteca Nazionale Vittorio
Emanuele III, VI-E-11. Carthusian gradual from S Lorenzo in Padula; 13th
century. 142 ff.; 24·7 × 17 cm. Carthusian quadratic notation with red F and
yellow C lines (ff.122–133v: red and yellow lines drawn over black
lines).Ff.1–83v: winter–spring temp. and sanc. from Advent I to Whit
Saturday (Easter, 70v); 84–105v: Sundays after Pentecost; 105–120v:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
121–122: Dedication; 122–130v: ferial and ember Masses; 130v–131v:
Marian Mass Salve sancta parens; 131v–134: Requiem Masses; 134v–140v:
kyriale and litany.Le graduel romain, ii (1957), 85; Arnese (1967), 80Naples,
Biblioteca Nazionale Vittorio Emanuele III, VI-E-20. Notated Franciscan
breviary from the Cathedral of Troia, nr Foggia; between 1226–44. 429 ff.; 21 ×
16·5 cm. Late Beneventan notation on 4 lines with red F line.Ff.1–172v:
winter temp. from Advent I to Pentecost (Easter, 136); 172v–219v:
histories; 227–256v: psalter; 257–352: sanc. from St Saturninus (29 Nov)
to St Clement (23 Nov); 352–388: Common; 390–404: hymnal; 404–416: Franciscan
Offices to St Francis, St Clare, St Elizabeth and St Anthony; 420–426v: Venite
settings; 427–429v: Franciscan Calendar.Arnese (1967), 88Naples,
Biblioteca Nazionale Vittorio Emanuele III, VI-G-38. Notated Franciscan
missal probably from south Italy (from the library of S Giovanni a Carbonara,
Naples); 1230–50. 297 ff.; 19 × 13 cm. Late Beneventan notation on 4 red
lines.Ff.1–6v: Calendar and Paschal table; 7–14v: ordo for
visiting the sick; 15–141: winter–spring temp. from Advent I to Holy Saturday;
141–149v: kyriale, Preface and Canon; 150–174: Easter to Whit Saturday;
176v–203: Sundays after Pentecost; 206–258v: sanc. (inc. at
beginning) from St Felix (14 Jan) to St Thomas (21 Dec); 258v–279v:
Common; 279v–281: Dedication; 281–287v: votives; 287v–290v:
services for the dead; 291–297: ‘Missa nove … Corpus Christi ordinatum per …
Urbanum IV’ (added).Le graduel romain, ii (1957), 85; Arnese (1967), 151Oxford,
Bodleian Library, Canon.liturg.340 (19426). Gradual with Calendar,
kyriale and proser from Admont, Austria, Calendar from St Gallen at Moggio, nr
Udine; c1216. 153 ff.; 28·3 × 19·1 cm. German neumes. Offertories with
verses.Ff.1–8v: Calendar and computus; 9–94: winter–spring temp. and
sanc. from Advent I to Whit Saturday (Easter, 77v); 94–109v:
summer sanc. from St Marcellinus and St Peter (2 June) to St Andrew (30 Nov);
110–111: Dedication; 111r–v: Trinity; 111v–123v:
Sundays after Pentecost; 123v–127v: Common (alleluias only); 127v–135:
kyriale with tropes; 136–153v: notated proser.Frere, i (1901), 75; Le
graduel romain, ii (1957), 88; Flotzinger (1991), 49Oxford, Bodleian
Library, Lyell 9. Procession antiphons, vesper antiphons and responds,
kyriale and proser from an English Augustinian house, possibly Breamore,
Hants.; 13th century. 202 ff.; 15·4 × 10·8 cm. Quadratic notation on 4 red
lines.Ff.1–45: procession antiphons for the winter–spring temp. from Advent I
to Pentecost; 45v–56v: selected vesper responds for the temp.
from Advent I to Pentecost and the summer histories; 58–88v: selected
vesper responds for the sanc. from the Dedication of a Church and St Andrew (30
Nov) to St Cecilia (22 Nov) inclusive, the Common, and Marian feasts; 89–112v:
selected vesper antiphons for the sanc. from St Andrew (30 Nov) to St Cecilia
(inclusive) and the Common; 113–121: Kyries, with and without tropes; 121v–126:
Glorias without tropes; 126v–188v: proser (notated); 189–192v:
prosae for the Common (different hand).A. De La Mare: Catalogue of
the Collection of Medieval Manuscripts bequeathed to the Bodleian Library,
Oxford, by James P.R. Lyell (Oxford, 1971), 21 [lengthy description]Paris,
Bibliothèque de l’Arsenal, 135. Notated and rubricated Sarum missal with
non-Sarum kyriale and proser used in London or Canterbury; second half of 13th
century, with French, 14th-century additions ff.290v–317. 317 ff.; 18·5
× 13 cm. Quadratic notation on 4 red lines.Ff.1–6v: Calendar; 7–118v:
winter–spring temp. from Advent I to Trinity (Easter, 95v); 118v–140v:
Sundays after Pentecost; 144v–145: Dedication; 147–152: Prefaces and
Canon; 153–186v: sanc. from the Vigil of St Andrew (29 Nov) to St
Saturninus (29 Nov); 186v–207v: Common; 208–226v: votive
and special Masses; 228–235v: Kyrie and Gloria tropes; 236–283v:
103 notated prosae; 283v–288v: troped Sanctus and Agnus;
290v–291v: motets; 292–303: Corpus Christi Office and Mass; 303v–305v:
Transfiguration; 305v–315v: Office and Mass of St Flavia (5 Oct);
316–317: motets.Leroquais (1924), ii, 132; La Laurencie and Gastoué (1936), 22;
Le graduel romain, ii (1957), 91; RISM, B/IV/1 (1965), 369; Bernard, iii
(1974), 47Paris, Bibliothèque de l’Arsenal, 197. Gradual and proser from
St Victor, Paris; dated 1270–97. 278 ff.; 31·5 × 20·4cm. Quadratic notation on
4 red lines. Offertories lack verses.Ff.1–80v: winter–spring temp. from
Advent I to Trinity (Easter, 61); 80v–104v: Sundays after
Pentecost; 104v–105v: Dedication; 105v–143v: sanc.
from St Stephen (26 Dec) to St Thomas (21 Dec); 143v–163v:
Common; 163v–164v: Requiem; 164v–168v: kyriale;
169–256: notated proser; 256–278v: supplement, primarily prosae.Le
graduel romain, ii (1957), 91; La Laurencie and Gastoué (1936), 16;
Bernard, iii (1974), 52Paris, Bibliothèque Nationale de France, lat.904.
Rubricated gradual with tropes, prosae and medieval dramas from Rouen
Cathedral; 13th century. 268 ff.; 32 × 22·5 cm. Quadratic notation on 4 red
lines. Offertories lack verses. Play of the Shepherds (ff.11v–14).Ff.1–164v:
winter–spring temp. from Advent I to Trinity (Easter, 107); 165–183: Sundays
after Pentecost; 183–185: Dedication; 187–237v: St Andrew (30 Nov) to St
Clement (23 Nov); 237v–263v: Common; 263v: Requiem (inc.);
264–268v: kyriale (14th–15th century).H. Loriquet, J. Pothier and A.
Colette: Le graduel de l’église cathédrale de Rouen au XIIIe siècle
(Rouen, 1907) [facs.]; Young (1933), ii, 16; Le graduel romain, ii
(1957), 96Paris, Bibliothèque Nationale de France, lat.1105. Notated
missal with a Calendar and prosae from the abbey of Bec (Le
Bec-Hellouin) formerly in the diocese of Rouen, now Evreux; dated 1265–72. 220
ff.; 18·4 × 13·1 cm. Quadratic notation on 4 red lines. Offertories without
verses.Ff.1–5: Calendar (March to Dec only); 6–10: 12 prosae; 11–110v:
winter–spring temp. (beginning lacking) from Epiphany (6 Jan) to Trinity
(Easter, 81v); 110v–139v: Sundays after Pentecost; 140–188v:
sanc. (beginning lacking) from St Fabian and St Sebastian (20 Jan) to St Thomas
(21 Dec); 188v–190v: Dedication masses; 190v–207v:
Common; 207v–219: votives.Leroquais (1924), iii, 158; Le graduel
romain, ii (1957), 97; A. Hughes, ed.: The Bec Missal, Henry
Bradshaw Society, xciv (Leighton Buzzard, 1963) [edn of text only]Paris,
Bibliothèque Nationale de France, lat.1112. Notated missal with Calendar,
kyriale and proser from Paris; early 13th century (c1225). 315 ff.; 20·9
× 14·6 cm. Quadratic notation on 4 red lines. Offertories without verses.Ff.1–6v:
Calendar; 9–102v: winter–spring temp. from Advent I to Holy Saturday;
103–105v: Preface and Canon; 105v–131v: Easter to Trinity;
131v–152: Sundays after Pentecost; 152–154: Dedication; 155–205v:
sanc. from St Stephen (26 Dec) to St Thomas (21 Dec); 206–229: Common; 229–248:
votives; 248v–256: notated processional antiphons and rogation litanies;
257–259v: Kyries and Glorias, with and without tropes; 259v–307v:
148 notated prosae; 307v–308v: troped Sanctus, Agnus and
Ite settings; 309–310: Laudes regiae; 311–314v: Corpus Christi
Mass with prosa (14th-century addition).Leroquais (1924), ii, 47; Le graduel
romain, ii (1957), 98Paris, Bibliothèque Nationale de France, lat.14452.
Gradual, kyriale and proser of Adam of St Victor, Paris; 13th century (suppl.
dated 1567). 252 ff. Quadratic notation on 4 red lines. Offertories lack
verses. Frequent rubrics in the margins. Sections of melismas are frequently
encircled with ink in the gradual. The same sequence of alleluias for the
Sundays after Pentecost is also found in GB-Lbl Add.38723, F-Pa
197, Pn lat.1112, Psg 93 and 1259, etc.Ff.1–63: winter–spring temp.
from Advent I to Whit Saturday (Easter, 48); 63–64: Trinity; 64–83v:
Sundays after Pentecost; 83v–116v: sanc. from St Stephen (26 Dec)
to St Thomas (21 Dec); 116v–133v: Common; 133v–134:
Dedication; 134–139: 11 Kyries and 6 Glorias; 139–223v: proser of Adam
of St Victor (ed. Misset and Aubry); 223v–248: supplement of prosae
and Masses dated 1567.E. Misset and P. Aubry: Les proses d’Adam de
Saint-Victor (Paris, 1900/R); Le graduel romain, ii (1957),
107Paris, Bibliothèque Ste Geneviève, 99 (BB.1.fol.10). Calendar,
missal and gradual from Senlis; 13th century (Leroquais and Le graduel
romain), 14th century (Bernard). 220 ff.; 27·1 × 20 cm. Small quadratic
notation on 4 red lines. Offertories lack verses.Ff.3–8v: Calendar;
9–144: missal (texts only). Gradual, ff.145–219v. Ff.145–190:
winter–spring temp. from Advent I to Trinity (Easter, 180); 190–193v:
Sundays 1–4, 20–23 after Pentecost (nos.5–19 are missing); 194–207v:
sanc. from Vigil of St Andrew (29 Nov) to St Catherine (25 Nov); 207v–208:
Dedication; 208v–219: Common; 219r–v: Requiem (different
hand).Leroquais (1924), ii, 60; Le graduel romain, ii (1957), 113;
Bernard, i (1965), 59Paris, Bibliothèque Ste Geneviève, 1259 (BB.4o.11).
Calendar and notated missal with prosae from Ste Geneviève, Paris; first
half of 13th century. 296 ff.; 24·8 × 15·1 cm. Small quadratic notation on 4
red lines. Offertories lack verses. Prosae for principal feasts are
incorporated within the Mass Propers.Ff.2–8v: Calendar; 9–14v:
prayers and a prosa to Ste Geneviève (texts only); 15–136: winter–spring
temp. (beginning missing) from Advent II to Trinity (Easter, 104v);
136–160v: Sundays after Pentecost; 161–178: Prefaces and Canon; 179v–228v:
sanc. from St Stephen (26 Dec) to St Thomas (21 Dec); 228v–229v:
Dedication; 229v–250v: Common; 250v–264v: votives
and blessings; 265–268v: notated processional antiphons and Kyrie and
Gloria incipits; 268v–296: episcopal blessings (texts only; 14th
century).Leroquais (1924), ii, 85; Le graduel romain, ii (1957), 113;
Bernard, i (1965), 69Rome, Biblioteca Apostolica Vaticana, Rossiani 76.
Gradual and proser from Aquila; 13th century. 256 ff.; 16·5 × 10·8 cm.
Quadratic notation on 4 lines. Offertories lack verses. Foliation nos. on verso
side of leaf.Ff.1–127: winter–spring temp. from Advent I to Trinity (Easter,
100); 127–144: Sundays after Pentecost; 144v–147: Masses for the Dead;
147v–190: sanc. from St Lucy (13 Dec) to St Nicholas (6 Dec); 190–192v:
Marian Mass Salve sancta parens with Spiritus et alme troped
Gloria; 192v–197v: Common (alleluias only); 198–207: 5 introit
tropes and kyriale; 209–256v: notated proser.Le graduel romain,
ii (1957), 127; Salmon, ccliii (1969), 81Rome, Biblioteca Casanatense, 410
(A.II.25). Franciscan psalter and hymnal probably from Italy; 13th–14th
centuries. 30·2 x 21 cm. Large quadratic notation on 4 red lines.Ff.1–4v:
Calendar (May to Aug lacking); 6v–104: psalms with notated antiphons;
104v–114: cantica, Te Deum, Credo, Gloria, etc.; 114–117v:
Rogation litanies and prayers; 118–157v: notated hymnal with special
hymns to St Martin (156v–157v).C.-A. Moberg: Die liturgischen
Hymnen in Schweden (Copenhagen, 1947), 192; Stäblein (1956), 461, 553Rome,
Biblioteca Casanatense, 1695 (C.V.2). Notated missal from Paris;
early 13th century. 279 ff.; 17·1 × 12·5 cm. Quadratic notation on 4 red lines.
Offertories lack verses.Ff.1–117v: winter–spring temp. from Advent I to
Holy Saturday; 117v–121v: offertory prayers, Prefaces, Canon; 121v–153:
Easter to Trinity; 153–174: Sundays after Pentecost; 175–178: Liber
generationis (different hand); 179–224: sanc. from St Stephen (26 Dec) to
St Thomas (21 Dec); 224–225: Dedication; 225–254: Common; 254–261: votives;
261–267v: services for the dead; 277–279v: Calendar.Ebner (1896),
159; Le graduel romain, ii (1957), 121Rome, S Sabina, Biblioteca
della Curia Generalizia dei Domenicani, XIV, lit.1. A service book dated
1259–62 containing the entire Dominican liturgy in one volume based on the
corrections ordered by Humbert of Romans, master-general of the Dominican order
from 1254 to 1277. The codex consists of 14 sections and is considered the
prototype of Dominican use. 997 ff.; 48 × 32 cm. Notated sections in quadratic
notation on 4 red lines. (Cf GB-Lbl Add.23935.)W.R. Bonniwell: A
History of the Dominican Liturgy (New York, 1944), 85; Le graduel romain,
ii (1957), 122; K. Levy: ‘A Dominican Organum Duplum’, JAMS, xxvii
(1974), 183–211, esp. 185Rouen, Bibliothèque Municipale, 248 (A.339).
Monastic antiphoner (sanc. part) from Jumièges; 13th century. 178 ff.; 26 ×
17·5 cm. Norman notation on 4 lines.Ff.1–139v: sanc. (beginning of MS
missing) from the Purification (2 Feb) to St Lucy (13 Dec); 140–171: Common;
173v–176: Venite settings; 176v–178v: hymnal (inc.
at end).Hesbert (1954), 29Rouen, Bibliothèque Municipale, 251 (A.393).
Notated breviary (summer part) from Fécamp; second half of 13th century. 206
ff.; 24 × 16·5 cm. Quadratic notation on 4 red lines.Ff.3–44v: spring
temp. from Easter to Trinity; 45–47v: Dedication; 47v–92v:
Sundays after Pentecost; 94–206v: spring–summer sanc. (inc. at end) from
the Annunciation (25 March) to St Martin (11 Nov).Leroquais (1934), iv, 117Stuttgart,
Württembergische Landesbibliothek, HB.I.95. Cantionarium (anthology of prosae,
tropes, conductus, etc.) and St Gregory’s Moralia, from Weingarten; 13th
century. 103 ff.; 12·5 × 10 cm. German neumes.Part I, ff.4–65v. Ff.4–18v:
the last portion of a proser; 18v–36v: conductus and metrical
songs (versus, planctus, etc.); 36v–48v: kyriale (introit,
Kyrie, epistle, Sanctus, Agnus and Benedicamus tropes); 48v–65v:
miscellaneous section of alleluias, tropes, prosae, versus,
votive masses, etc.. Part II, ff.65v–83v: miscellaneous section
of a mixed character in different hands containing alleluias, Benedicamus
and Agnus tropes, metrical poems, etc. Part III, ff.84–100v: St Gregory,
Moralia, bk 5, chap.4.RISM, B/V/1 (1964), 81; RISM, B/IV/1 (1966), 97;
J. Autenrieth and others: Die Handschriften der Württembergischen
Landesbibliothek Stuttgart, 2nd ser., i/1 (Wiesbaden, 1968), 171
[inventory]Trier, Stadtbibliothek, 2254 (2197) (‘Codex Peter
Bohn’). Gradual, proser and kyriale, probably from Trier; 13th century. 384 pp.
German Hufnagel notation on 4 lines, with red F line. Offertories with
verses. The beginning of the MS is lacking and scattered pages are mutilated
throughout.Pp.1–149: winter–spring temp. from the Friday of the Fourth Week in
Lent to Whit Saturday (Easter, 108); 149–80: Sundays after Pentecost; 181–2:
Trinity; 183–5: Dedication; 185–255: sanc. from St Lucy (13 Dec) to St Andrew
(30 Nov); 255–7: Marian Mass Salve sancta parens; 257–70: Common
(alleluias only); 270–357: prosae (notated); 357–70: kyriale; 370–75: 2
Credos (notated); 375–84: supplement of mixed character.Le graduel romain,
ii (1957), 144Utrecht, Universiteitsbibliotheck, 417 (Eccl.325).
Proser, tropes and alleluias from the chapter church of St Mary, Utrecht; 13th
century. 57 ff.; 27·5 × 21 cm. Dutch notation on 4 lines with letter C clef and
a dot indicating an F clef.Ff.1–40v: 76 prosae; 41–44: Common of
the Saints (alleluias only); 44v–45v: introit tropes; 46–57:
Ordinary chants, with and without tropes.RISM, B/V/1 (1964), 189; N. de Goede,
ed.: The Utrecht Prosarium, MMN, vi (1965) [study and transcr.]Vercelli,
Biblioteca Capitolare, 56. Notated missal, probably from Ivrea; 13th
century. 248 ff.; 36·5 × 27·2 cm. North Italian notation with F and C lines.
Offertories lack verses.Ff.1–22v: elements of a cantatorium containing
alleluias, tracts, processional antiphons, prosae, etc. (14th century);
23–109v: winter–spring temp. from Advent I to the Sunday within the
Octave of Pentecost (Easter, 86v); 109v–130: Sundays after
Pentecost; 130–131v: Trinity; 131v–132v: Dedication; 132v–137:
vesting prayers, Ordinary of the Mass, Prefaces and Canon; 137–192v:
sanc. from Vigil of St Andrew (29 Nov) to St Clement (23 Nov); 193–201v:
Common; 201v–236v: votive Masses and blessings; 237–239v:
Calendar; 241–248v: sacramentary fragment from Advent to Epiphany (bound
incorrectly).Le graduel romain, ii (1957), 149Vienna, Österreichische
Nationalbibliothek, Vind.1925. Gradual and proser from south Germany or
Austria. 13th–14th centuries. 150 ff.; 18·8 × 14·3 cm. Messine notation on 4
lines.Ff.5–14v: kyriale (addition); 15–78: winter–spring temp. from
Advent I to Trinity (Easter, 66); 78–89: Sundays after Pentecost; 89–90:
Dedication; 90–115: sanc. from St Nicholas (6 Dec) to St Andrew (30 Nov); 115v–117v:
Common (alleluias only); 117v–118: patron alleluia and prosa of
St Achatio (see AH, lv, 1922, p.47); 118v: Marian Gloria Spiritus et
alme; 119r–v: Mass ordines; 120–148v: notated proser;
149–150v: Liber generationis (addition).Le graduel romain,
ii (1957), 152Vienna, Österreichische Nationalbibliothek, Vind.13682.
Abbreviated missal with notation probably from Vienna or St Pölten. 13th
century. 176 ff. German neumes. Offertories lack verses. Some masses have prosae.
MS lacks Advent, Epiphany, Lenten and Eastertide masses, the summer sanc.
feasts and masses for the Sundays after Pentecost.Ff.1–11v: epistle,
gospel, votive mass, psalms, prayers, etc.; 12–45v: vesting prayers,
Ordinary of the Mass, communicantes and notated Prefaces; 46–53v:
kyriale chants; 54–64v: Canon; 65–72: votives; 73–129: major Masses from
the Vigil of Christmas to Pentecost (Easter, 115v); 129–133v: St
John the Baptist (24 June); 133v–147: Common; 147–149v: Marian
Saturday Mass Salve sancta parens; 149v–160: All Saints (1 Nov),
St Caesarius (1 Nov) and Dedication of St Michael (29 Sept); 161–163: decree
dated 1215; 163v–167v: episcopal blessings (texts only); 168–170:
Holy Cross; 170–175v: Requiem.Le graduel romain, ii (1957), 152Vienna,
Österreichische Nationalbibliothek, Vind.14208. Calendar, gradual, proser
and sacramentary, perhaps from the region of Salzburg; 13th–14th centuries. 109
ff. German neumes. Offertories lack verses.Ff.3–8v: Calendar; 9–48:
winter–spring temp. and sanc. from Advent I to Trinity (Easter, 40v);
48–53v: summer sanc. from St Marcellinus and St Peter (2 June) to St
Andrew (30 Nov); 53v–54: Dedication; 54–59v: Sundays after
Pentecost; 59v–61v: Common (alleluias only); 62r–v:
Kyries and Glorias; 63–64: Marian Mass Salve sancta parens; 64–77v:
proser (texts only); 77v–82: Prefaces, communicantes and Canon; 82v–109v:
sacramentary, no notation.Le graduel romain, ii (1957), 152Wolfenbüttel,
Herzog August Bibliothek, Guelf.45 Helmst. (Heinemann catalogue 40).
Gradual with prosae and sacramentary probably from the region of
Westphalia, Germany; 13th century. 236 ff.; 34·5 × 24·5 cm. German notation on
4 lines. Offertories lack verses. Prosae are included among the gradual
feasts.Ff.1–6: Calendar; 6v–40v: winter–spring temp. from Advent
I to Trinity (Easter, 32v); 40v–45: Sundays after Pentecost;
45–46v: kyriale; 47–214: sacramentary; 214v–229v: the
sanc. of the gradual from St Lucy (13 Dec) to St Andrew (30 Nov); 229v–230v:
Common (alleluias only); 230v–233v: 8 notated prosae; 233v:
Marian alleluias and antiphons (added).Le graduel romain, ii (1957), 154Worcester,
Cathedral Library, F.160. Monastic antiphoner, processional, Calendar,
psalter, hymnal, collectarium, tonary, kyriale, gradual and proser (fragment)
from Worcester; dated c1230 with 14th-century additions. 354 ff.; 26 ×
18 cm. Small quadratic notation on 4 red lines. Offertories in the gradual lack
verses. Portions of the antiphoner section of the MS are bound out of order
(reconstructed correctly in PalMus, xii). The following sections of the MS are
reproduced in facs. in PalMus: ff.1–1v (pp.308–9), ff.2–115v
(pp.4–231), ff.147–8 (pp.1–3), ff.164v–169v (pls.1–11),
ff.182–286 (pp.232–442).Antiphoner and processional: PalMus, xii, pp.4–439.
Pp.4–157: winter–spring temp. from Advent I (inc., beginning within the first
respond of the second nocturn) to Whit Saturday (Easter, 127); pp.157–67:
Trinity; pp.167–86: histories; pp.186–91: Sundays after Pentecost; pp.192–9: Venite
settings; pp.200–31: processional; pp.232–410: sanc. from St Andrew (30 Nov) to
St Clement (23 Nov); pp.410–35: Common; pp.435–9: Office of the Dead; p.440
(f.285): St Oswald prosa Ad honorem summi; pp.441–2 (ff.285v–286):
Magnificat and Benedictus tones. Ff.121–133v: Office and
Mass of the Visitation (14th century); ff.135–145v: Office and Mass of
Corpus Christi (14th century); ff.147–148: Calendar (PalMus, xii, pp.1–3);
ff.149–164v: psalter, canticles, litany, collects (not in PalMus, xii);
ff.164v–169v: hymnal (PalMus, xii, pl.1–11); ff.170–181:
collectarium (not in PalMus, xii). Ff.287–292: troped Kyries; ff.292–293v:
troped Glorias. Gradual; ff.294–346v (not in PalMus, xii). Ff.294–327v:
winter–spring temp. from Advent I to the Sunday within the Octave of Pentecost
(Easter, 320); f.327v: Trinity; ff.327v–334v: Sundays
after Pentecost; ff.334v–335: Dedication; ff.335–344v: sanc. from
the Conversion of St Paul (25 Jan) to St Nicholas (6 Dec); ff.334v–346v:
Common (inc. at end); ff.347–348v: fragment of a notated proser (final 5
prosae); ff.348v–350: troped Sanctus; ff.350–351: troped Agnus
Dei; ff.351–352: notated Laudes regiae; ff.352–354v: Mass ordines
(texts only).E. Bishop: ‘An Old Worcester Book’, Downside Review, xxv
[new ser., vi] (1907), 174–87; PalMus, xii (1922–5); Le graduel romain,
ii (1957), 154; CANTUS database
Sources, MS, §II:
Western plainchant
8. 14th, 15th and 16th centuries.
Aarau, Aargauische Kantonsbibliothek, Wettingen Gr.Fol.1–3. MS in 3
folio vols. from the region of Wettingen, Switzerland; second half of 14th
century. 61 × 41 cm. Large quadratic notation on 4 red lines.Vol.1 (279 ff.):
temp. from Advent IV to Holy Saturday (ff.1–10v missing). Vol.2 (189
ff.): temp. from Easter to the Sundays after Pentecost (Trinity, 72; Corpus
Christi, 75v; Dedication, 177v). Vol.3 (208 ff.): sanc. from St
Andrew (30 Nov) to St Catherine (25 Nov). According to the index, this volume
originally had 342 ff.; the Common and a proser are now lacking.M. Mollwo: Das
Wettinger Graduale (Berne-Bümpliz, 1944)Aberystwyth, National Library of
Wales, 20541 E (‘Penpont Antiphoner’). Secular antiphoner of Sarum use from
Wales, probably diocese of St David’s; mid-14th century. 324 ff.; 38·5 × 25 cm.
Several lacunae. Square notation on 4 red lines.Ff.1–157: temp. from Christmas
(Easter, 95v); 158–176: psalter with music; 177–300: sanc. from St
Andrew (30 Nov) to St Catherine (25 Nov) including Proper Office of St David;
301–324: Common of the Saints (extremely fragmentary).O.T. Edwards: Matins,
Lauds, and Vespers for St. David’s Day (Cambridge, 1990); O.T. Edwards: National
Library of Wales MS. 20541 E: the Penpont Antiphonal (Ottawa, 1997)
[facs.]; CANTUS databaseCambridge, University Library, Add.710 (‘Dublin
Troper’). Troper, proser and Sarum consuetudinary from Dublin; dated c1360.
141 ff.; 30·4 × 18 cm. Quadratic notation on 4 red lines.Ff.3–32v: Sarum
consuetudinary; 32–38: Kyries, with and without tropes; 38–41: Glorias, with
and without tropes; 41–102: proser; 102–103v: Sanctus; 104–105: Agnus
Dei; 105–127v: Marian proser; 128–141v: supplement of mixed
character; 130r–v: Angelus ad virginem (3vv; added in 14th
century).RISM, B/V/1 (1964), 151; RISM, B/IV/1 (1966), 488; R.-J. Hesbert: Le
tropaire-prosaire de Dublin, Monumenta musicae sacrae, iv (Rouen, 1970)
[facs. of ff.32v–131]Darmstadt, Hessische Landes- und
Hochschulbibliothek, 847 and 856. Two-volume Cistercian antiphoner from
Fürstenberg; dated c1340. German Hufnagel notation on 4 lines.MS
847: winter vol.; 164 ff.; 36·2 × 25·2 cm. Ff.1–124v: winter temp. from
Advent I to Holy Saturday; 125–164v: winter sanc. from St Andrew (30
Nov) to the Annunciation (25 March). MS 856: summer vol.; 240 ff.; 37 × 26 cm.
Ff.1–71v: temp. from Easter to the 25th Sunday after Pentecost; 72: Dedication;
78–92v: rhymed Offices; 94v–193v: summer sanc. from St
Philip and St James (11 May) to St Andrew (30 Nov); 194–225v: Common;
226–238v: supplement.Eizenhöfer and Knaus (1968), 166Darmstadt,
Hessische Landes- und Hochschulbibliothek, 872. Secular antiphoner, tonary
and hymnal of the Knights of the Teutonic Order; dated c1300. 241 ff.;
31·3 × 22·5 cm. Hufnagel notation on 4 lines with a red F line.Ff.1–7:
12 Venite settings; 7–91v: winter–spring temp. from Advent I to
the Saturday after Pentecost (Easter, 74v); 91v–94v:
Trinity; 95–106: histories; 106–109v: Sundays after Pentecost; 109v–112:
Dedication; 112–195: sanc. from St Andrew (30 Nov) to St Catherine (25 Nov);
195–213: Common; 213–214: Te Deum; 214–216: Tonary of Henricus of
Augsburg; 216v–228: hymnal (notated); 229r–v: rhymed
Office of St Lancie and St Clavorum (see AH, v, 1889, p.35, no.7); 230–235v:
Corpus Christi Office, with additions; 236–241v: rhymed Office of the
Visitation, with additions (ibid, xlviii, 1906, p.427, no.399).Eizenhöfer and
Knaus (1968), 155; Huglo (1971), 281, 422London, British Library, Harl.622.
Gradual with prosae from Roncton, diocese of Worcester; 14th century.
231 ff. Quadratic notation on 4 red lines. Offertories lack verses.Ff.2–128:
winter–spring temp. from Advent I to Trinity (Easter, 90); 128–156v:
Sundays after Pentecost; 157–205: sanc. from Vigil of St Andrew (29 Nov) to St
Cecilia (22 Nov); 205–228: Common; 228–230: Dedication; 230–231v:
Requiem.Le graduel romain, ii (1957), 64Madrid, Biblioteca Nacional,
Música 1361. Gradual and kyriale from Toledo; 14th century. 199 ff.; 29 ×
21·5 cm. Quadratic notation on 4 or 5 red lines.Ff.1–134: winter–spring temp.
from Advent I to the Sundays after Pentecost (Easter, 87); 136–152: sanc. from
St Stephen (26 Dec) to the Translation of St Isidore (22 Dec); 152v–176v:
Common; 177–178: 2 Credos; 178–183v: Kyries, with and without tropes;
184–188v: troped Glorias and Regnum settings; 188v–195:
troped Sanctus; 195v–196v: Agnus and Ite settings; 196v–198:
6 polyphonic compositions; 198–199: 3 alleluias.Anglès and Subirá, i (1946),
155; Le graduel romain, ii (1957), 67; RISM, B/IV/2 (1969), 97; Janini
and Serrano (1969), 284Munich, Bayerische Staatsbibliothek, Cgm 716.
Anthology of Marian songs and prosae from Tegernsee; dated c1425.
205 ff.; 22·5 × 16·5 cm. German Hufnagel notation on 4 lines.
(Abbreviated by Ludwig MüD.)The MS contains 266 items not arranged
according to the liturgical Calendar, including Marian devotional songs, prosae,
Marienklagen and some doubtful 2-part motets.F. Ludwig: ‘Die Quellen der
Motetten ältesten Stils’, AMw, v (1923), 184–222, 273–315, esp. 308;
repr. in SMM, vii (1961); J.A. Emerson: ‘Über Entstehung und Inhalt von MüD’, KJb,
xlviii (1964), 33–60 [full inventory]; RISM, B/IV/3 (1972), 354Munich, Universitätsbibliothek,
2o 156 (‘Moosburg Gradual’). Gradual, kyriale, proser, cantional
and troper from the Augustinian Kollegiatstift St Castulus, Moosburg; dated
1355–60. 266 ff.; 48 × 25·5 cm. German Hufnagel notation on 4
lines.Ff.2–121: temp. and sanc. (Easter, 77v); 121–123: Requiem;
123–145: Sundays after Pentecost; 145–146: Dedication; 146–154: Common
(alleluias only); 154v–164: kyriale; 164–221: 90 prosae; 221–230v:
gospels and troped epistles; 230v–246: cantional containing 33 religious
songs; 246–264: tropes and prosae including 4 2-part compositions.Le
graduel romain, ii (1957), 84; Jammers (1965), 86; C. Gottwald: Die
Musikhandschriften der Universitätsbibliothek München (Wiesbaden, 1968), 9;
RISM, B/IV/2 (1969), 81; D. Hiley, ed.: Moosburger Graduale: München,
Universitätsbibliothek, 2o Cod. ms.156 (Tutzing, 1996) [facs.]Oxford,
Bodleian Library, Canon.liturg.408 (30622). Abridged English Sarum
processional; 14th century. 153 ff.; 14 × 9·4 cm. Quadratic notation on 4 red
lines.Ff.3–103: winter–spring temp. from Advent I to Corpus Christi (Easter, 69v);
103–113Av: processional chants and rubrics for the Saturdays from
Trinity to Advent; 113Av–115: Dedication; 115–143: sanc. from St Andrew
(30 Nov) to St Catherine (25 Nov); 143–148v: Common; 148–151v:
Rogation litany Pater de caelis and collects.Frere, i (1901), 104;
Bailey (1971), 5Oxford, Bodleian Library, e Mus.2 (3491). Notated
and rubricated Sarum breviary from Salisbury; mid-14th century. 1008 pp.; 39 ×
25 cm. Quadratic notation on 4 lines. No Common of the Saints.Pp.1–411:
winter–spring temp. from Advent I to Trinity (389) and Corpus Christi (Easter,
306); 411–78: histories; 478–500: Sundays after Pentecost; 500–16: Dedication
services; 517–28: Calendar; 530–32: litany; 535–634: psalter with notated
antiphons; 635–986: sanc. from St Andrew (30 Nov) to St Cecilia (22 Nov), inc.
Office; pp.987–98 are missing; 999–1005: Venite settings, inc. at
beginning.Frere, i (1901), 11Oxford, Bodleian Library, Lat.lit.b.5 (32940).
Notated and rubricated gradual, proser and kyriale from York; 15th century. 137
ff.; 41·5 × 30·5 cm. Quadratic notation on 4 red lines. Offertories lack
verses.Ff.1–59v: winter–spring temp. (beginning lacking) from Advent II
to the Sunday within the Octave of Pentecost (Easter, 35); 59v–70v:
Sundays after Pentecost; 70v–72: Dedication; 72–79v: Marian
Masses and prosae; 79v–80: Credo; 80v–90: kyriale; 90v–118:
sanc. from St Andrew (30 Nov) to St Catherine (25 Nov); 118–132v:
Common; 133–134: Requiem.D. Hiley, ed.: Oxford, Bodleian Library, MS.
Lat.liturg.b.5 (Ottawa, 1995) [facs.]Oxford, Bodleian Library,
Lat.lit.d.5 (32556). Cistercian gradual (sanc. vol.) from Hauterive,
Switzerland; c1300. 140 ff. (117 + 23); 28·6 × 18·3 cm. Quadratic
notation on 4 black or red lines.Ff.1–76v: sanc. from St Stephen (26
Dec) to St Thomas (21 Dec); 76v–80v: Common and votive Masses;
82–84: Requiem; 84v–89v: kyriale; 90–99v: proser; 99v–140:
additions and fragments from other notated MSS.RISM, B/IV/1 (1966), 539Oxford,
Bodleian Library, Lyell 72. Dominican processional, ritual, kyriale and
proser from Italy – according to Van Dijk from a ‘priory in a suffragan diocese
of the patriarchate of Aquileia’; second quarter of 14th century. 177 ff.; 11 ×
8 cm. Quadratic notation on 4 red lines.Ff.1–8v: rubrics for processions;
10–61v: procession antiphons and responds (notated); 62–69: Holy
Saturday Exultet (notated); 69v–73v: Dominican ritual for
the last sacraments and burial service including a litany (71v–72v)
(partly notated); 85–88: Liber generationis (notated); 88v–91v:
2 notated Genealogy of Christ Gospels; 92–95v: 16th-century addition
containing commemorations for the dead (partly notated); 96–97v: respond
for the dead Libera me, Domine; 98–107v: kyriale with a notated
Credo; 108–174: notated proser, Marian texts predominate (ff.159v–164
contain polyphonic Marian prosae and ‘Notre Dame’ motets).RISM, B/V/1
(1964), 162; RISM, B/IV/1 (1966), 564; C. Allworth: ‘The Medieval Processional:
Donaueschingen MS 882’, Ephemerides liturgicae, lxxxiv (1970), 169–186;
A. De La Mare: Catalogue of the Collection of Medieval Manuscripts
bequeathed to the Bodleian Library, Oxford, by James P.R. Lyell (Oxford,
1971), 216Oxford, Bodleian Library, Rawl.liturg.d.4 (15846). Full
Sarum processional used at the church of St John the Evangelist, Dublin; 14th
century. 190 ff.; 28·1 × 17·5 cm. Quadratic notation on 4 red lines.Ff.1–4:
rubrics, prayers and chants for the blessing of the salt and water and
sprinkling of the altar; 4–118: winter–spring temp. from Advent I to Corpus
Christi (Easter, 85v); 118–126: processional chants and rubrics for
Saturdays from Trinity to Advent; 126–127v: Dedication; 127v–132:
Visit to the Sepulchre drama; 132v–158v: sanc. from St Andrew (30
Nov) to St Catherine (25 Nov); 159–162v: Common; 162v–172v:
votive Masses; 172v–176: Rogation litany Pater de caelis and
collects; 176v–181: Liber generationis; 181–182v: Salve
regina; 183–189: special responds and prosae for the feasts of
Andrew, Nicholas, Purification, Finding of the Holy Cross, Catherine, Patrick and
Audoenus.Frere, i (1901), 107; Young (1933), i, 347 [edn of drama]; Bailey
(1970), 12–61Padua, Duomo, Biblioteca Capitolare, A20. MS in 2 parts
from Padua; 14th century. Part 1 (ff.1–92v): troper with prosae
and kyriale; part 2 (93–189v): special Offices and chants. 189 ff. Large
quadratic notation on 4 lines.Ff.1–3v: Mass of the Corona Domini; 4–7v:
troped Kyries; 7v–14: troped introits for major feasts; 14v–19v:
Glorias without tropes; 19v–69v: proser including prosae
to St Daniel of Padua (26) and St Justina of Padua (60); 69v–72v:
Sanctus and Agnus, with and without tropes; 72v–74: Mass of the
Beheading of St John the Baptist; 74–77: prosae for St Prosdocimus of
Padua and St Catherine; 77v–78: Mass of St Anthony; 78–79v:
Marian Gloria Spiritus et alme; 80–85v: kyriale arranged by
classification of feasts; 85v–89v: 2 Marian alleluias, Salve
regina and 2 Regis Credos; 89v–91: Requiem; 93–111: Office of the
Dead; 111–115v: prosa Dies irae; 115v–122: mandatum
chants for Holy Thursday; 123–147v: Office of the Transfiguration with
lessons and orations; 147v–150: antiphons from the Office of St Peter of
Verona; 150v–180: Office of the Visitation with lessons, orations and
rubrics; 180–181: papal bull of Urban VI (9 Nov 1387) establishing the feast of
the Visitation (2 July); 181–187: Office of St Zeno; 187–188v: 3 Magnificat
antiphons for the feasts of Clement, Michael and the Common of Apostles; 189:
tract Effuderunt sanguinem with rubrics (added).RISM, B/V/1 (1964), 176Paris,
Bibliothèque Nationale de France, lat.17311. Notated missal with proser
from Cambrai; first half of 14th century. 263 ff.; 33 × 23·3 cm. Quadratic
notation on 4 red lines.Ff.A–Fv: Calendar; 1–137: winter–spring temp.
from Advent I to Trinity (Easter, 108); 137–170v: Sundays after Pentecost;
170v–171v: Dedication; 171v–178: Prefaces and Canon;
179–215v: sanc. from the Vigil of St Andrew (29 Nov) to St Catherine (25
Nov); 215v–237v: Common; 237v–248v: votives; 248v–250:
kyriale; 250–263: 25 notated prosae.Leroquais (1924), ii, 228; Le
graduel romain, ii (1957), 108Rouen, Bibliothèque Municipale, 250 (A.233).
Gradual with tropes, prosae and kyriale from Jumièges; 14th century. 210
ff.; 30·5 × 21 cm. Quadratic notation on 4 red lines. Tropes and prosae
are integrated into the Mass Propers.Ff.1–137v: winter–spring temp. from
Advent I to Trinity (Easter, 99v); 137v–167v: Sundays
after Pentecost; 168–71: kyriale; 173–192v: inc. sanc. (part I) from St
Prisca (18 Jan) to St Hippolytus (13 Aug); 193–198v: table of Mass chant
incipits without notation; 199–210v: sanc. (part II) from the Vigil of
the Assumption (14 Aug) to the Exaltation of the Holy Cross (14 Sept).Hesbert
(1954), 77; Le graduel romain, ii (1957), 128St Gallen,
Stiftsbibliothek, 546. Trope and prosa collection of cantor Joachim
Cuontz of St Gallen; dated 1507–14. 410 paper ff.; 46·9 × 27·8 cm. German Hufnagel
notation on 5 lines.Ff.11–28v: printed hymnal; 30–83: Ordinary tropes;
84–326: proser, series I, containing prosae 1–305; 326v–404v:
series II, containing prosae 306–416.F. Labhardt: Das Sequentiar Cod.
546 der Stiftsbibliothek von St. Gallen und seine Quellen, Publikationen
der Schweizerischen musikforschenden Gesellschaft, 2nd ser., viii/1–2 (Berne,
1959–63) [study and inventory]; RISM, B/V/1 (1964), 49; RISM, B/IV/3 (1972),
125Vienna, Österreichische Nationalbibliothek, Vind.12865.
Premonstratensian gradual, kyriale and proser from north-west Germany; end of
14th century. 232 ff. Quadratic notation on 4 red lines.Ff.1v–113:
winter–spring temp. from Advent I to Trinity (Easter, 89v); 113–114:
Corpus Christi; 114–135: Sundays after Pentecost; 135–136: Dedication; 136–184:
sanc. from St Stephen (26 Dec) to St Thomas (21 Dec); 184–189v: Common
(alleluias only); 190v–192: Marian antiphons; 192–197v: kyriale
without tropes; 198–229: proser; 229–232v: Liber generationis and
2 prosae.Le graduel romain, ii (1957), 152
Sources, MS, §II:
Western plainchant
9. Mozarabic chant.
León, Catedral, Archivo Histórico, 8 (‘León
Antiphoner’). Offices and masses of the Mozarabic rite from León; 10th century.
306 ff.; 33 × 24 cm. Visigothic (northern Mozarabic) neumes.Ff.1–6: Rogation
Office, metrical epigram, computus table, Prefaces to the antiphoner, Office of
St James, etc.; 6v–28: Calendar and computus; 28v–210v:
winter–spring temp. and sanc. from St Acisclus (17 Nov) to Pentecost (Easter,
176); 210v–246v: summer sanc. from St Adrian (16 June) to St
Emilianus (12 Nov); 246v–287: Common, votives, Dedication, Offices and
Masses for the sick and the dead; 287–296: antiphons; 296–306: blessings,
psalms, Laudes missae.L. Brou and J. Vives, eds.: Antifonário
visigótico mozárabe de la Catedral de León, Monumenta Hispaniae sacra, Litúrgica,
v/1–2 (Madrid, 1953–9) [facs. and edn of text]; Pinell (1965), 129London,
British Library, Add.30845. Notated Liber misticus (Offices and
masses) of the Mozarabic rite from Santo Domingo de Silos, nr Burgos; 10th
century. 164 ff.; 36·3 × 25·4 cm. Visigothic (northern Mozarabic) neumes.The MS
contains only part of the summer sanc. from St Quiricus (13 June) to St
Bartholomew (24 Aug).Férotin (1912), 820 [edn of text only]London, British
Library, Add.30846. Notated Liber misticus (Offices and masses) of
the Mozarabic rite from Santo Domingo de Silos, nr Burgos; 10th century. 173
ff.; 28·5 × 22·1 cm. Visigothic (northern Mozarabic) neumes.The MS commences
within the end of the Easter Mass and continues through Pentecost, including
the feast of St Torquatus (1 May), ff.80–87.Férotin (1912), 842–70 [edn of text
only]London, British Library, Add.30847. Monastic notated breviary
fragment (winter part) of the Mozarabic rite from Silos; 12th century. 188 ff.;
32 × 21 cm. Visigothic (northern Mozarabic) neumes. Notation confined to
ff.1–82v; beginning and end of MS lacking.Combined winter temp. and
sanc. from St Lucy (13 Dec) to the Thursday following Lent IV. Feasts include:
St Fructuosus (21 Jan), 118v; St Babylas (24 Jan), 120; St Tyrsus (28
Jan), 120v; St Dorothea (7 Feb), 123; St Eulalia (12 Feb), 124; St
Pantaleon (19 Feb), 124v; St Emitherius and St Celedonius (3 March),
126.London, British Library, Add.30851. Notated Mozarabic psalter,
hymnal, Offices and masses of the Common from Silos; 11th century. 202 ff.; 39
× 31 cm. Visigothic (northern Mozarabic) neumes.Ff.1–110v: psalms and
canticles; 110v–63v: hymnal; 164–202: Offices and Masses of the
Common.J.P. Gilson, ed.: The Mozarabic Psalter, Henry Bradshaw Society,
xxx (London, 1905) [edn of text only]; Férotin (1912), 870Madrid, Archivo
Histórico Nacional, Aemil.30. Notated Liber misticus (Offices and
masses) of the Mozarabic rite from S Millán de la Cogolla, nr Nájera; 10th
century. 230 ff.; 36·2 × 28·5 cm. Visigothic (northern Mozarabic) notation. MS
heavily mutilated.Ff.1–230v: winter temp. and sanc. MS begins within the
first feast of the Mozarabic liturgical year, St Acisclus (17 Nov), and breaks
off within the feast of St Emitherius and St Celedonius (3 March).Férotin
(1912), 893Madrid, Biblioteca Nacional, 10110 (formerly Toledo,
Biblioteca Capitular, 35, 2). Secular breviary (ferial offices for Lent) of
the Mozarabic rite from SS Justa and Rufina, Toledo; 11th century. 121 ff.; 27
× 19·1 cm. Visigothic (Toledan) neumes.Ff.1–121: weekday Offices from the
beginning of Lent to Palm Sunday.Janini and Serrano (1969), 133 [inventory]
Sources, MS, §II:
Western plainchant
10. Old Roman chant.
London, British Library, Add.29988. Old Roman
antiphoner from the region of Rome, perhaps from St Peter’s; mid-12th century.
154 ff.; 28 × 18 cm. Central Italian Beneventan notation with red line.Ff.2–95:
winter–spring temp. and sanc. from Advent I to Pentecost (Easter, 72); 56v–57:
extensive lacuna from the end of St Agatha to Passion Sunday; 95–143v:
histories are distributed throughout the summer sanc. from St Petronilla (31
May) to St Andrew (30 Nov); 143v–150v: Common; 151–152v:
Dedication; 152v–153: Trinity; 153r–v: Venite
settings; 153v–154v: services for the dead (inc.).Huglo (1954),
112; Stäblein (1970), 29Rome, Biblioteca Apostolica Vaticana, Archivio del
Capitolo di S Pietro, B.79. Old Roman antiphoner from St Peter’s; second
half or end of 12th century. 197 ff.; 35.3 × 24·5 cm. Central Italian
Beneventan notation with red F line.Ff.1–3v: Calendar; 4–124v:
winter–spring temp. from Advent I to Pentecost (Easter, 103); 124v–175:
histories are distributed throughout the summer sanc. from St John the Baptist
(24 June) to St Andrew (30 Nov); 175–184: Common; 184–185: Dedication; 185–191:
Offices of St Nicholas, St Blaise, St Benedict, St Valentine, St George and St
Caesarius; 191–193v: Office of the Dead; 193v–195v: Venite
settings.Huglo (1954), 113; Salmon, ccli (1968), 61; Studi medievali, xi
(1970), 1110; Stäblein (1970), 30; B.G. Baroffio and Soo Jung Kim, eds.: Biblioteca
Apostolica Vaticana Archivio S. Pietro B 79: antifonario della Basilica di S.
Pietro (Sec. XII) (Rome, 1995) [facs.]Rome, Biblioteca Apostolica
Vaticana, Archivio del Capitolo di S Pietro, F.22. Old Roman gradual from
St Peter’s; 13th century. 104 ff.; 30·8 × 21 cm. Central Italian Beneventan
notation with red F and yellow C lines. Offertories lack verses.Ff.1–65:
winter–spring temp. from Advent I to Whit Saturday (Easter, 53v); 65–74v:
Sundays after Pentecost; 74v–86: sanc. from St Sylvester (31 Dec) to St
Andrew (30 Nov); 86–100v: Common; 100v–101v: Dedication;
102v–103: Marian Mass Salve sancta parens.Huglo (1954), 99;
Salmon, ccliii (1969), 75; Studi medievali, xi (1970), 1127Rome,
Biblioteca Apostolica Vaticana, vat.lat.5319. Old Roman gradual with
kyriale and prosae from St Peter’s; dated variously from the mid-11th
century to the mid-12th. 158 ff.; 30·3 × 20 cm. Central Italian Beneventan
notation with red F line. Offertories with verses.Ff.1–109v:
winter–spring temp. and sanc. from Advent I to the Sunday within the Octave of
Pentecost (Easter, 83); 109v–135: Sundays after Pentecost distributed
among the summer sanc. feasts from St Marcellinus and St Peter (2 June) to St
Andrew (30 Nov); 135–137: Dedication; 137–140v: Ordination of a Pope,
Ordination of a Bishop, nuptial and Requiem Masses; 140v–145v:
processional antiphons; 145v–151: kyriale with troped Kyries and
Glorias; 151–158: inc. proser.Jammers (1965), 98; Salmon, ccliii (1969), 88;
Stäblein (1970) [edn]Private Collection. Martin Bodmer (Cologny, nr
Geneva) (‘Bodmer-Phillipps Codex’). Formerly Phillipps 16069. Old Roman
gradual, troper and proser from S Cecilia in Trastevere; dated 1071. 128 ff.
31·2 × 19·6 cm. Central Italian Beneventan notation with 1 red and 2 dry
lines.J. Hourlier and M. Huglo: ‘Un important témoin du chant “vieux-romain”’, Revue
grégorienne, xxxi (1952), 26–37; Stäblein (1970), 25; M. Lütolf, ed.: Das
Graduale von Santa Cecilia in Trastevere: Cod. Bodmer 74 (Cologny-Geneva,
1987) [facs.]
Sources, MS, §II:
Western plainchant
BIBLIOGRAPHY
MGG2 (‘Sankt Gallen’; A.
Haug)
A. Ebner: Quellen und
Forschungen zur Geschichte und Kunstgeschichte des Missale Romanum im
Mittelalter: Iter Italicum (Freiburg, 1896/R)
W.H. Frere: Bibliotheca
musico-liturgica: a Descriptive Handlist of the Musical and Latin-Liturgical
MSS of the Middle Ages Preserved in the Libraries of Great Britain and Ireland, i (London, 1901
[dated 1894]/R); ii (1932/R)
M. Férotin: Le liber
mozarabicus sacramentorum et les manuscrits mozarabes
(Paris, 1912/R)
H.M. Bannister: Monumenti
vaticani di paleografia musicale latina (Leipzig, 1913/R)
V. Leroquais: Les
sacramentaires et les missels manuscrits des bibliothèques publiques de France (Paris, 1924)
K. Young: The Drama of
the Medieval Church (Oxford, 1933/R)
V. Leroquais: Les
bréviaires manuscrits des bibliothèques publiques de France (Paris, 1934)
H. Anglès: La música a
Catalunya fins al segle XIII, PBC, x (1935/R)
R.-J. Hesbert, ed.: Antiphonale
missarum sextuplex (Brussels, 1935/R)
L. de la
Laurencie and A. Gastoué: Catalogue des livres de musique
(manuscrits et imprimés) de la Bibliothèque de l’Arsenal à Paris (Paris, 1936)
Bibliothèque
nationale: catalogue général des manuscrits latins (Paris, 1939–)
H. Anglès and J. Subirá: Catálogo
musical de la Biblioteca nacional de Madrid, i: Manuscritos (Barcelona, 1946)
E. Munding: Die
Kalendarien von St. Gallen (Beuron, 1948–51)
E. Jammers: Die Essener
Neumenhandschriften der Landes- und Stadt-Bibliothek Düsseldorf (Ratingen, 1952)
R.-J. Hesbert: Les manuscrits
musicaux de Jumièges, Monumenta musicae sacrae, ii
(Mâcon, 1954)
M. Huglo: ‘Le chant “vieux-romain”: liste des manuscrits et témoins indirects’, Sacris erudiri, vi
(1954), 96–124
R.-J. Hesbert: ‘Les manuscrits liturgiques de l'église de Rouen’, Bulletin philologique et historique (1955–6), 441–83
M. Huglo and others,
eds.: Fonti e paleografia del canto ambrosiano
(Milan, 1956)
B. Stäblein, ed.: Hymnen, MMMA, i (1956)
H. Villetard: Office de
Saint Savinien et de Saint Potentien, premiers évêques de Sens (Paris, 1956)
J. Chailley: ‘Les anciens tropaires et séquentiaires de l’école de Saint-Martial de
Limoges’, EG, ii (1957), 163–88
S.J.P. van Dijk: Handlist of
the Latin Liturgical Manuscripts in the Bodleian Library, Oxford (MS, 1957, GB-Ob)
Le graduel
romain: édition critique, ii: Les sources (Solesmes, 1957)
J. Smits van
Waesberghe, ed.: The Theory of Music from the Carolingian Era up
to 1400, i: Descriptive
Catalogue of MSS, RISM, B/III/1 (1961)
J. Froger: ‘L’épître de Notker sur les “lettres significatives”’, EG, v (1962), 23–72
K. Gamber: Codices
liturgici latini antiquiores (Fribourg, 1963, 2/1968, suppl. 1988)
R.-J. Hesbert, ed.: Corpus
antiphonalium officii, i–vi (Rome, 1963–79)
H. Husmann, ed.: Tropen- und
Sequenzenhandschriften, RISM, B/V/1 (1964)
E. Jammers: Tafeln zur
Neumenschrift (Tutzing, 1965)
J.M. Pinell: ‘Los textos de la antigua liturgia hispánica’, Estudios sobre la liturgia mozárabe, ed. J.F.
Rivera Recio (Toledo, 1965),
109–64
M. Bernard: Répertoire
de manuscrits médiévaux contenant des notations musicales, ed. S. Corbin, i–iii (Paris, 1965–74)
R. Arnese: I codici
notati della Biblioteca nazionale di Napoli (Florence, 1967)
K. Rönnau: Die Tropen
zum Gloria in excelsis Deo, unter besonderer Berücksichtigung des Repertoires
der St. Martial-Handschriften (Wiesbaden, 1967)
‘Censimento dei
codici dei secoli X–XII’, Studi medievali, 3rd ser.,
ix (1968), 1115–94; xi (1970), 1013–1133
L. Eizenhöfer and H. Knaus: Die
liturgischen Handschriften der Hessischen Landes- und Hochschulbibliothek
Darmstadt (Wiesbaden, 1968)
P. Fischer, ed.: The Theory
of Music from the Carolingian Era up to 1400, ii: Italy, RISM B/III/2 (1968)
C. Gottwald: Die
Musikhandschriften der Universitätsbibliothek München
(Wiesbaden, 1968)
R. Grégoire: ‘Repertorium liturgicum italicum’, Studi medievali, 3rd ser., ix (1968), 465–592; xi (1970), appx, 537–56
H.-G. Hammer: Die
Allelujagesänge in der Choralüberlieferung der Abtei Altenberg (Cologne, 1968)
P. Salmon: Les
manuscrits liturgiques latins de la Bibliothèque Vaticane, Studi e testi, ccli; ccliii; cclx; cclxvii; cclxx (Vatican City, 1968–72)
J. Janini and J. Serrano: Manuscritos
litúrgicos de la Biblioteca nacional (Madrid, 1969)
W. Arlt: Ein
Festoffizium des Mittelalters aus Beauvais in seiner liturgischen und
musikalischen Bedeutung (Cologne, 1970)
P. Evans: The Early
Trope Repertory of Saint Martial de Limoges (Princeton,
NJ, 1970)
B. Stäblein and M. Landwehr-Melnicki, eds.: Die Gesänge
des altrömischen Graduale (Vat.lat.5319), MMMA, ii (1970)
T. Bailey: The
Processions of Sarum and the Western Church (Toronto, 1971)
M. Huglo: Les
tonaires: inventaire, analyse, comparaison (Paris, 1971)
J. Stenzl: Repertorium
der liturgischen Musikhandschriften der Diözesen Sitten, Lausanne und Genf (Fribourg, 1972)
W. Lipphardt: Lateinische
Osterfeiern und Osterspiele (Berlin, 1975–90)
A.E. Planchart: The
Repertory of Tropes at Winchester (Princeton, NJ, 1977)
D. Hiley: The
Liturgical Music of Norman Sicily: a Study Centred on Manuscripts 288, 289,
19421 and Vitrina 20-4 of the Biblioteca Nacional, Madrid (diss., U. of London, 1981)
A. Hughes: Medieval
Manuscripts for Mass and Office: a Guide to their Organization and Terminology (Toronto, 1982)
J.M. Borders: The
Cathedral of Verona as a Musical Center in the Middle Ages: its History,
Manuscripts, and Liturgical Practice (diss., U. of
Chicago, 1983)
J. Mallet and A. Thibaut: Les
manuscrits en écriture bénéventaine de la Bibliothèque capitulaire de Bénévent, i (Paris, 1984),
ii–iii (Turnhout, 1997)
H. Hoffmann: Buchkunst
und Königtum im ottonischen und frühsälischen Reich
(Stuttgart, 1986)
M. Huglo and C. Meyer, eds.: The Theory
of Music, iii: Manuscripts from
the Carolingian Era up to c.1500 in the Federal Republic of Germany, RISM B/III/3 (1986)
M. Huglo: Les livres
de chant liturgique, Typologie des Sources du Moyen Age
Occidental, lii (Turnhout, 1988)
T.F. Kelly: The
Beneventan Chant (Cambridge, 1989)
R. Flotzinger: Choralhandschriften
österreichischer Provenienz in der Bodleian Library/Oxford (Vienna, 1991)
C. Meyer, M. Huglo and N.C. Phillips, eds.: The Theory
of Music, iv: Manuscripts from
the Carolingian Era up to c.1500 in Great Britain and in the United States of
America, RISM B/III/4 (1992)
D. Hiley: Western
Plainchant: a handbook (Oxford, 1993)
A.E. Planchart, ed.: Beneventanum
troporum corpus, i: Tropes of
the Proper of the Mass from Southern Italy, A.D. 1000–1250 (Madison, WI, 1994)
A. Hughes: Late
Medieval Liturgical Offices: Resources for Electronic Research, (Toronto, 1994–6)
J. Borders, ed.: Early
Medieval Chants from Nonantola (Madison, WI, 1996)
C. Meyer, E. Witkowska-Zaremba and K.-W. Gümpel, eds.: The Theory
of Music, v: Manuscripts from
the Carolingian Era up to c.1500 in the Czech Republic, Poland, Portugal and
Spain, RISM B/III/5 (1997)
CANTUS: a database
for Gregorian Chant (London, ON, U. of Western Ontario) [on-line database:
indexes of antiphoners; some indexes pubd in Musicological Studies, lv, Ottawa,
1992–]
Sources, MS
III. Secular monophony
1. General.
2. Latin.
3. Occitan.
4. French.
5. German.
6. Galego-Portuguese.
7. Italian.
8. Other languages and
later repertories.
BIBLIOGRAPHY
SONG COLLECTIONS,
ISOLATED MELODIES AND FRAGMENTS
Sources, MS, §III:
Secular monophony
1. General.
The
transmission of early monophonic song developed according to the growing
consciousness among musicians and patrons of a repertory as such. So the
earlier sources of Latin and English song in particular find secular works
mixed in with sacred and liturgical music, with polyphony and with entirely
non-musical matter. But when a group of poets became aware of common aims,
admired one another and emulated one another, as the troubadours and trouvères
evidently did, that awareness made itself felt in unified sources prepared for
private patrons or institutions that could afford to pay for the prolonged
copying labour, notational skill and refined illumination techniques found in
the great manuscripts which are the basis of the survival of monophonic song
today.
It
is more difficult to see any pattern in the distinction between purely poetic
sources and those with music. For the trouvère repertory nearly all surviving
sources either contain music or leave spaces for it; of troubadour manuscripts
very few contain music at all and the rest are simple poetry collections; and
the Minnesang poetry survives in a few magnificent text manuscripts whereas
music survives only in fragments apart from two large music collections compiled
some centuries later and explicitly assembled according to the needs of their
time. But perhaps here too there is a consciousness of tradition and repertory.
Early Latin songs occasionally survive in enormous poetry collections of which
a single piece has unheighted neumes – untranscribable for any practical
purposes but sure evidence of both a song repertory and a sung repertory at the
time.
Modern
scholarship is increasingly inclined to treat the monophonic song repertories
as a single tradition with, to be sure, divergent branches whose
characteristics may be to some extent unique to each, but which share so much
in terms of repertory and historical precedents that mere linguistic barriers
can, if taken too literally, confuse the essential and fundamental common
features. So it is curious how different the manner of the manuscript
transmission sometimes is: the unplanned nature of some of the Latin
manuscripts, the carefully consistent calligraphy and illuminations of the
trouvère sources, or the textbook format of the cantiga and lauda
sources.
Yet
throughout these sources musical inconsistency is the rule and it marks a
substantial rift in manner between the secular and the sacred. The liturgical
music of these centuries is consciously preserved in manuscripts whose textual
agreement shows a reverential concern for the authority of the parent sources.
If a trouvère song survives in ten sources, however, there is very little
likelihood of their all transmitting the same melody: some may vary only in
detail, but others can contain a melody whose relationship to the others is
scarcely recognizable if at all. Interpreting this as a symptom of a
notationless culture (van der Werf), of a repertory in which song melodies were
not composed but were devised or evolved as a res non confecta long
before they were written down (Petzsch), seems the only sensible approach. As
has often been said, most of the major sources give every impression of having
been prepared primarily for the sake of possession, rarely as a reminder or as
a source for a singer.
So
modern scholarship has reluctantly discarded the idea of an Urtext when
considering these sources. Moreover the continuing discussion as to the correct
rhythm for practically all songs of the monophonic repertory makes even the
most responsible editing to some extent subjective and requires in particular
that any comments about the music should keep a clear reference as to what is
in the source and what in the transcriber’s imagination: it is an area in which
hypothesis easily becomes fact and in which musical identity between two
melodies is often overlooked because the two may be transcribed according to
different principles in modern editions.
A
further barrier to understanding is the nature of 14th-century historical awareness.
In spite of the 14th-century scribes’ habit of adding ascriptions and devising
elaborate life stories for the troubadour poets, there is still a shortage of
any substantial documentary basis from the 12th century to confirm most of the
material found here. It is probably too late in history to establish how
consciously medieval writers inflated Roland and Klingsor into superhuman figures; but
those two examples should advise caution respecting practically everything in
these early sources.
P.S.
Allen (Medieval Latin Lyrics, 1931, pp.196ff) seems to have been the
first to make an issue of a literary distinction that is particularly important
for any consideration of the manuscript transmission: the learned song and the
folksong. His distinction has been challenged in literary terms (see especially
§2, Szövérffy, 1970, p.36) as being simplistic, but it remains a useful
conceptual tool so long as one is aware that no medieval folksong is likely to
survive and that much surviving medieval poetry is a mixture or fusion of these
two traditions. As concerns the musical transmission, this holds even more: the
fully learned music of the years after 1100 was polyphony; the most
folksong-like melodies in the early repertory are written in advanced notation
in one of the polyphonic manuscripts (I-Fl Plut.29.1) with Latin text;
and the great majority of secular monophony gives every evidence of coming from
a culture considerably less ‘learned’ in music than in poetry and philosophy.
But one can try to focus the problem further: the enormous quantity of folksong
that clearly existed in the Middle Ages has disappeared, more or less without
trace; and the highly professional traditions of the instrumentalists
(minstrels, jongleurs, and so on) survive in only a few brief extracts of which
those in F-Pn fr.844 and GB-Lbl Harl.978 are the earliest but
those in the trecento manuscript Lbl Add.29987 by far the most
suggestive. The very stylistic differences between these pieces and what
otherwise remains of early music are suggestions that here are hints of the
great unwritten tradition in the context of which the written traditions should
perhaps be viewed.
Sources, MS, §III:
Secular monophony
2. Latin.
While
the question of chronology and priority among the various song repertories of
medieval Europe remains subject to debate and, in some ways, possibly
insoluble, a survey such as this must begin with the Latin repertory because
there is less room for questioning the dates of the sources, and MSS containing
Latin secular poetry with neumes appear in the 9th century, 200 years before
the two earliest surviving Provençal poems with neumes – themselves contrafacta
of Latin hymns.
It
is generally agreed that late 9th-century dates are likely for D-B
theol.lat.2o 58, f.1v (a setting of Boethius), HEu
pal.lat.52, f.17v (Otfried), F-Pn lat.2832, ff.123v–124, I-Nn
IV.G.68 and for the Aquitanian source F-Pn lat.1154, ff.98v–142
(see Jammers, 1975, and Stäblein, 1975, p.146). With the exception of the last
– whose date is questioned in any case – these all concern a very small number
of neumes applied to a mere two or three lines within a larger poetry
collection. The poetry is in most cases substantially earlier than the source;
it is not easy to tell whether the music was newly composed or traditional for
the song, particularly since the unheighted neumes are rudimentary and
effectively untranscribable. All these considerations are applicable also to
the sources associated with the 10th century, among them A-Wn 116, f.157v
(Iam dulcis amica), D-WO 3610 (formerly Aug.56, 16/18), f.62
(‘Modus Ottinc’), E-Mn 10052, f.364v, I-Fn Ashb.23
(Virgil) and GB-Cu Gg.5.35 (the Cambridge Songbook). This last and the Carmina
burana MS require further description since they are the most famous Latin
songbooks of the 11th and 13th centuries respectively, and are characteristic
if not entirely typical.
Cambridge, University Library, Gg.5.35 (formerly
1567) (‘Cambridge Songbook’) [c]. 2 + 446 parchment leaves, 22 × 15
cm (fig.20). Foliation: ink, perhaps from c1500, 1–454 (ff.446–51
missing, unnumbered leaf after 294). Structure: bound in quinternions
with most gatherings numbered at end in an early hand (leaves missing after
f.432 and f.440, although one leaf has recently resurfaced, see Page and
others, 1983). Scribes: consistent continental minuscule hand throughout
with regular coloured initials alternating red and mauve; song section
(ff.432–441v) in a smaller hand and written in double columns. Date:
an 11th-century English copy of an original prepared in north Thuringia between
996 and 1002 (see Stäblein, 1975, n.501). Provenance: at St Augustine’s
Abbey, Canterbury, in 12th–14th centuries.
Contents: poetic, devotional and
philosophical matter; ff.266v–277: treatise De harmonica institutione
by Hucbald (ed. in GerbertS, i, pp.104–21) with musical notation on
f.266v; ff.432–441v: collection of 49 secular poems, two with
neumes (f.439, f.441v).
MGG1 (‘Carmina cantabrigiensia’; G. Bernt);
K. Breul, ed.: The Cambridge Songs: a Goliard’s Song Book of the XIth
Century (Cambridge, 1915/R) [facs.]; K. Strecker, ed.: Die
Cambridger Lieder, Monumenta Germaniae historica (Berlin, 1926/R)
[edn]; H. Spanke: ‘Ein lateinisches Liederbuch des 11. Jahrhunderts’, Studi
medievali, new ser., xv (1942), 111–42; A.G. Rigg and G.R. Wieland: ‘A
Canterbury Classbook of the Mid-Eleventh Century’, Anglo-Saxon England,
iv (1975), 113–30; D. Schaller and E. Könsgen, eds.: Initia carminum latinorum
saeculo undecimo antiquiorum (Göttingen, 1977); L. Richter: ‘Die beiden
ältesten Liederbucher des lateinischen Mittelalters’, Philologus, cxxiii
(1979), 63–8; C. Page: ‘The Boethian Metrum Bella bis quinis: a New Song
from Saxon Canterbury’, Boethius, his Life, Thought, and Influence, ed.
M. Gibson (Oxford, 1981), 306–11; J. Szövérffy: ‘Cambridge Songs’, Dictionary
of the Middle Ages, ed. J.R. Strayer (New York, 1982–9); I. Fenlon, ed.: Cambridge
Music Manuscripts, 900–1700 (Cambridge, 1982), 20–24; C. Page and others:
‘Neumed Boethian Metra from Canterbury: a Newly-Recovered Leaf of
Cambridge, Gg.5.35’, Anglo-Saxon England, xii (1983), 141–52; J.M.
Ziolkowski, ed.: The Cambridge Songs (Carmina Cantabrigiensia) (New
York, 1994) [with Eng. trans.]Munich, Bayerische Staatsbibliothek, Clm 4660
(‘Carmina burana’; fig.21) and Clm 4660a (‘Fragmenta burana’). 112 + 7
parchment leaves, 25 × 17 cm. Foliation: 1–112 added by Schmeller; the
pieces are numbered in pencil. Structure: bound in quaternions with irregular
gatherings at ff.1–2, 43–56, 73–82 and 106–12; the original sequence was:
[lacuna], ff.43–8, 1–42, [lacuna], 49, 73–82, 50–72, 83–98, [lacuna], 99–106;
ff.107–12 and the 7 leaves of the Fragmenta burana were added later. Scribes:
one main hand and one main correcting hand; fuller details in Hilka and
Schumann, ii/1 (1930). Date: although Schumann considered it to belong
to the end of the 13th century, modern scholarship tends to follow Dronke’s
date of c1220–30; Bischoff (1967) implied a slightly later date by
suggesting that some of the songs could have been copied from the Notre Dame MS
I-Fl Plut.29.1, but supported Dronke’s dating in his preface to Hilka
and Schumann, i/3 (1970). Provenance: in 1803 it came to the Bayerische
Staatsbibliothek from the Benedictine house at Benediktbeuren, where it had
been since at least the 18th century; Bischoff (1970; see Hilka and Schumann)
suggested the original provenance as Carinthia or the Tyrol (see also Steer).
Contents: over 250 poems, mostly in Latin,
over half of them unique to this source, covering all genres of Latin secular
poetry; the original organization is followed in the edition of Hilka and
Schumann: moral and satirical poems; love-songs (from f.18, ‘incipiunt
iubili’); drinking-, gambling- and goliardic songs (from f.83); and religious
plays (from f.99). Poets: only Walter of Châtillon named, but including
Hugh Primas of Orléans, Archipoeta, Peter of Blois and Philip the Chancellor. Music:
non-diastematic neumes added by the main hand for nine songs and the gambler’s
Mass; Schumann showed that neumes had been intended for many other songs.
J.A. Schmeller, ed.: Carmina burana
(Stuttgart, 1847) [complete edn]; A. Hilka and O. Schumann, continued by B.
Bischoff, eds.: Carmina burana (Heidelberg, 1930–70) [critical edn]; P.
Dronke: ‘A Critical Note on Schumann's Dating of the Codex Buranus’, Beiträge
zur Geschichte der deutschen Sprache und Literatur [Tübingen], lxxxiv
(1962), 173 only; B. Bischoff, ed.: Carmina burana (Brooklyn, NY, 1967)
[facs.]; M. Korth, R. Clemencic and U. Müller, eds.: Carmina burana:
Gesamtausgabe der mittelalterlichen Melodien mit den dazugehörigen Texten
(Munich, 1979); A. Groos: ‘Carmina Burana’, Dictionary of the Middle Ages,
ed. J.R. Strayer (New York, 1982–9); G. Steer: ‘“Carmina burana” in Südtirol:
zur Herkunft des Clm 4660’, Zeitschrift für deutsches Altertum und deutsche
Literatur, cxii (1983), 1–37; P.G. Walsh, ed.: Love Lyrics from the
Carmina Burana (Chapel Hill, NC, 1993) [with Eng. trans.]. For further
bibliography see Carmina Burana.
That
unheighted neumes appear in the Carmina burana MS a century after the
introduction of staff notation and two centuries after the earliest source with
heighted neumes suggests that detailed notation was required much later in
secular sources than in sacred. And indeed staff transcriptions can be made
only with recourse to sacred or theoretical MSS that happen to contain the song
in some more developed form of notation. O admirabile from the Cambridge
Songs appears in a combination of letter and staff notation in an Italian
theory MS, I-MC 318, p.291 (fig.22); some of the Carmina
burana songs appear in diastematic neumes in the predominantly sacred St
martial MSS
while others are in black staff notation in sources of the Notre
Dame school.
Further melodies may be deduced from contrafacta or by extracting a single
melody from a polyphonic conductus.
Latin
song did not come to an end with the 13th century; but its poetic traditions
became weaker when the vernacular became more acceptable as the language for
expressing secular emotions, however elevated and courtly. Though it does not
contain love-songs, the following source is perhaps characteristic of the Latin
tradition after the mid-13th century (see also I-Fl Plut.29.1 and F-Pn
fr.146 (the Roman de Fauvel)):
Lille, Bibliothèque Municipale Jean Levy, 316 (formerly
397). 48 parchment leaves, 27 × 18 cm. Foliation: modern pencil. Structure:
originally 6 quaternions, but the last folio of the second gathering (f.17) was
cut out along with the first 2 folios of the next gathering. One binion
gathering was substituted for the former 3 leaves. This almost certainly
happened in the course of the original compilation. Scribes: the main
corpus in a single hand. A second hand (according to Bayart perhaps that of
Adam de la Bassée) entered marginal annotations, additions and the final poem. Date:
early 14th century (Catalogue général) or before the death of the author
in February 1286 (Bayart). Provenance: the chapter library of St Pierre,
Lille, where Adam had been a canon.
Contents: ff.2–41: the Ludus super
Anticlaudianum of Adam de la Bassée including 38
Latin songs; ff.42–47v: 3 Latin poems also presumably by Adam. Forms:
over half the pieces identify the origin of their music, including 10 trouvère
songs and 11 Latin chants, among them 6 hymns and 2 prosae; 1 conductus,
2vv; 1 motet with the tenor named but not included; some of the music may be
original. Notation: apparently Franconian. Date of compilation:
1280–86.
A. Dupuis: Alain de Lille (Lille, 1859); Catalogue
général des manuscrits des bibliothèques publiques de la France, xxvi
(Paris, 1897); P. Bayart, ed.: Ludus super Anticlaudianum (Tourcoing,
1930) [with facs. of all the music and complete edn]; A. Hughes: ‘The Ludus
super Anticlaudianum of Adam de la Bassée’, JAMS, xxiii (1970), 1–25
[with inventory of contents]
Sources, MS, §III:
Secular monophony
3. Occitan.
The
repertory of the Troubadours survives today in about 30 major MSS and
several fragmentary sources from about the middle of the 13th century to the
first three decades of the 14th, as well as about 60 other sources from as late
as the 19th century. The MSS contain over 2500 lyric poems, almost all in a
high courtly style, and several also transmit didactic, epistolary and
narrative literature, including the vidas and razos, short prose
texts that relate stories about the lives and many of the poems of the
troubadours. Most of these sources were never intended to include music as the
scribes did not allow space for it. Only three extant manuscripts were ruled
for musical staves, two of which were partially notated. With so few music
sources, the number of concordant versions of a particular melody is quite small.
Of the 246 Occitan courtly poems that are provided with melodies, 196 have only
one melody extant.
What
is striking about these MSS, besides the fact that few contain melodies, is
that only about a third of them were copied in Languedoc or Provence, where the
troubadours originated and for the most part worked. Almost half of them were
produced in Italy and others were copied in Catalonia or France. Of the two MSS
that transmit music, one (F-Pn fr.22543) is from Languedoc and the other
(I-Ma S.P.4) was copied in Lombardy; both are from the very late 13th or
early 14th century. Two trouvère sources, F-Pn fr.844 and fr.20050, also
contain substantial sections of troubadour songs, and a few other French MSS
contain one or two Occitan songs. I-Rvat Chigi C.V.151, a
mid-14th-century MS containing an Occitan liturgical drama with musical
interpolations, has eight melodies that appear to be contrafacta of courtly
songs, although the notation is somewhat difficult to read. The earliest source
of Occitan music appears to be the late 11th-century Aquitanian MS F-Pn
lat.1139 which contains three Occitan religious lyrics with music, including
the poem O Maria Deu maire set to a variation of the melody of Ave
maris stella. On the whole, relatively few clearcut examples of contrafacta
of Occitan melodies are extant.
The
troubadour MSS are generally large anthologies of between 100 to 200 parchment
leaves, mainly laid out in two columns. The MSS are usually organized by genre,
beginning with cansos and sirventes, usually grouped by author and given
red attributive rubrics; in the two music MSS, these serious courtly types are
the only songs for which staves were provided, always above the first stanza of
the poem. In some of the sources, the courtly songs are followed by works
without music, including lyric tensos and short coblas, the prose
vidas and razos, treatises, and other non-lyric works. Many of
the MSS have an index of authors and incipits that was prepared at the time of
copying, keyed to folio numbers in the codex. Almost all of the MSS have some
sort of decoration, including painted or calligraphic initials in red, blue,
white and black and occasionally gold leaf. Several have historiated initials,
some of which depict ‘portraits’ of troubadours, often with musical instruments.
Each
of the two music MSS is unusual in certain respects. F-Pn fr.22543 has
monumental dimensions and particularly rich and varied contents. I-Ma
S.P.4 was laid out in verse format, which resulted in waste of space at the
ends of systems, a situation that the scribe attempted to remedy by erasing and
filling in lines, with only slight success. Both MSS have a significant number
of empty staves. The music notation is square in both sources, although the
scribe of F-Pn fr.22543 seems to have attempted to use mensural shapes
in a few melodies.
The
sigla used today to designate the sources of troubadour songs were established
by Karl Bartsch in 1872. The two French sources are known in troubadour studies
as W (F-Pn fr.844, trouvère MS M) and X (F-Pn
fr.20050, trouvère MS U); these MSS are described below (§III, 4).
Milan, Biblioteca Ambrosiana, S.P.4 (formerly
R 71 superiore) [G]. 2 + 142 parchment leaves, 27 × 18 cm. Foliation:
modern pencil 1–141; the first 2 leaves, with the medieval index, are unnumbered.
Structure: originally 130 leaves in 15 quaternions and a quinternion, to
which 2 gatherings (a quaternion and a binion, plus a single leaf tipped in) of
slightly smaller dimensions were added at the end; the final leaf is heavily
damaged; medieval index on a damaged binion at the beginning; 2 paper flyleaves
at the beginning give an index of authors in a modern hand. Layout: 2
columns with 37 lines per column; generally in verse format (one verse per
line), although the scribe sometimes attempted to consolidate verses into the
same line, often erasing text already written to do so. Decoration:
large red initials begin each song; red strophe caputs; red rubrics with
composers' names. No space was ruled off for any of these items, so they are
written in the margins and on the music staves. Text scribes: ff.1–130,
1 text scribe; different hand on ff.131–140v. Notation: red
staves of 4–8 lines above first stanzas and first verse of second stanzas; 1
music scribe, square notation without mensural values; music added before
rubrics and decoration, not aligned carefully with text syllables. Date and
provenance: early 14th century (date 1318 in a colophon on f.142 is later
than main text hand), Lombardy; evidently resided in France before being
acquired by the Biblioteca Ambrosiana.
Contents: ff.1–90v: 170 lyric songs,
81 with melodies; ff.90v–101: 31 tensos and partimens without
staves; ff.101–116: 32 lyric songs with empty staves; ff.116–128v: ensenhamens
and other long non-strophic works by Arnaut de Mareuil, Garin le Brun and
others, without staves; ff.129–130v: 30 anonymous coblas without
staves; ff.131–140v: Ensenhamen d'onor of Sordello. Melodies:
Peirol (14), Folquet de Marseille (13), Gaucelm Faidit (11), Bernart de
Ventadorn (10), Aimeric de Peguilhan (6), Peire Vidal (5), etc.
Beck, 14–18 [with list of melodies]; G. Bertoni,
ed.: Il canzoniere provenzale della Biblioteca Ambrosiana R.71 sup.
(Dresden, 1912) [edn of texts]; U. Sesini, ed.: Le melodie trobadoriche nel
canzoniere provenzale della Biblioteca Ambrosiana R.71 sup. (Turin, 1942)
[edn of melodies, facs. of ff.1–41]; Aubrey (1996), 38–9, 43–6Paris,
Bibliothèque Nationale de France, fr.22543 (formerly 2701, La Vallière
14) (‘Chansonnier d'Urfé’) [R]. 4 + 147 parchment leaves, 43 × 30
cm. Foliations: medieval foliation i–cxlviii beginning after the index;
modern pencil foliation A–C on the last three leaves of the index and 1–148
(most modern studies use this foliation, even though it ignores the lacuna of
ff.73–4); another modern foliation 1–143 begins on f.5, where the lyric songs
begin. Structure: original ff.73–4 missing (inner bifolio of gathering
9); medieval index on binion at beginning, then 13 quinternions, 1 quaternion
(ff.61–8), and an irregular gathering of 7 leaves followed by a binion. Layout:
for songs, 2 columns, 80 lines per column in prose format; for non-lyric works,
2–7 columns. Decoration: idiosyncratic initial decoration of uniform
conception and varying levels of elaboration, including red and blue
calligraphic initials and larger historiated initials at the beginnings of
several composer collections; alternating red and blue strophe caputs; red
rubrics with composers' names; rubrics in section of songs by Guiraut Riquier
(ff.104v–111v) also give genre and date. Text scribe: one
hand throughout except for a few additions from the 14th century and later. Notation:
generally 4-line red staves above first stanzas, entered in the first gathering
only when melodies available, thereafter for every song; large number of empty
staves and somewhat random diffusion of melodies throughout the codex, except
in the Guiraut Riquier section; square notation, possibly several notation
hands, including a few with primitive mensural values (longs and breves) which
are not in consistent modal patterns; music added after text, rubrics and
decorative elements. Date and provenance: c1300, Languedoc;
rubric on f.141v beginning Ensenhamen del Guarso by Cavalier
Lunel de Monteg dated 1326, in later hand; owned by Jeanne Camus, Marquise de
la Rochefoucauld d'Urfé, by about 1737; sold to Louis César de La Beaume le
Blanc, Duc de La Vallière, sometime after 1766, and then by his heirs to the
Bibliothèque du Roi in 1784.
Contents: ff.1–4: vidas and razos;
ff.5–111v: 925 lyric songs, 160 with melodies, includes libellus
of Guiraut Riquier on ff.104v–110; ff.112v–121: coblas and
non-lyric letters without staves; ff.121v–142v: Tezaur of
Peire de Corbian, ensenhamens and other didactic works, letters of
Guiraut Riquier, and 4 lyric works without staves; ff.143–145v: 14 lyric
songs with empty staves; ff.146v–148v: ensenhamens,
letters, didactic works. Melodies: Guiraut Riquier (48), Raimon de
Miraval (22), Bernart de Ventadorn (13), Folquet de Marseille (10), Gaucelm
Faidit (9), Peire Vidal (9), Berenguier de Palazol (8), Raimbaut de Vaqueiras
(8), Jaufre Rudel (4), etc.
Beck, 8–14 [with list of melodies]; E. Aubrey: A
Study of the Origins, History, and Notation of the Troubador Chansonnier Paris,
Bibliothèque Nationale, f.fr.22543 (diss., U. of Maryland, 1982) [with list
of contents]; E. Aubrey: ‘The Transmission of Troubadour Melodies: the
Testimony of Paris, Bibliothèque Nationale, f.fr.22543’, Text, iii
(1987), 211–50; G. Brunel-Lobrichon: ‘L'iconographie du chansonnier provençal
R: essai d'interprétation’, Lyrique romane médiévale: la tradition des
chansonniers: Liège 1989, 245–72; A. Tavera: ‘La table du chansonnier
d'Urfé’, Cultura Neolatina, lii (1992), 23–138; Aubrey, 39, 46–8
Sources, MS, §III:
Secular monophony
4. French.
The
repertory of Old French song includes not only the courtly chansons and
jeux-partis of the trouvères but also a wide variety of other genres, including
non-lyric lais and descorts, Marian, crusade and other religious songs, popular
genres like chansons à refrain, chansons avec des refrains,
pastourelles, chansons de toile, rondeaux and virelais, and lyric
insertions in long narrative works. About 22 major and dozens of minor MS
sources transmit these varied repertories, and all but four of the major
sources contain music; two of them include important collections of troubadour
songs (F-Pn fr.844 and fr.20050). Seven of the MSS (F-Pa 5198, F-Pn
fr.845, fr.846, fr.1591, fr.20050 and I-Sc H.X.36) can be considered
chansonniers in the strict sense of being devoted entirely to courtly lyric
chansons. Other MSS, though, including GB-Lbl Eg.274, F-Pn
fr.844, fr.12615, n.a.fr.1050 and I-Rvat Reg.lat.1490, include music for
other genres besides courtly songs, notably motets, liturgical music and Marian
songs. The overlap of the motet repertory with Old French monophony is
reflected in the transmission of vernacular texts and melodies both in
polyphonic settings and as monophonic songs. Still other collections of Old
French songs are found as part of large miscellanies (‘bibliothèques
portatives’ in the apt phrase of Brayer, describing F-Pn fr.1109), which
include didactic, historical, philosophical and religious works, dits,
romances and other non-lyric texts. Song collections found in such sources
include F-AS 657, F-Pn fr.847, fr.1109, fr.24406 and fr.25566. A
few of the important sources of trouvère song are fragments or self-contained
small fascicles bound in with other types of material later in their history (F-Pn
fr.765, fr.847, fr.25566 ff.2–9 and fr.844 ff.13, 59–78). One single gathering
that remains a fragment (CH-BEsu 231) is included here because of its
possible kinship with a section of a larger extant MS (F-Pn fr.765).
Several
of the MSS have clear relationships with others in their similar contents and
order (the much-discussed KNPX group, F-Pa 5198, Pn
fr.845, fr.847 and n.a.fr.1050, the group of fr.844, fr.12615, I-Rvat
Reg.lat.1490 and F-AS 657, the Adam de la Halle group of AS 657, Pn
fr.847, fr.1109, fr.12615, fr.25566 and I-Rvat Reg.lat.1490), or by
similarity of format, layout and decoration style. A number of the MSS have
some empty staves, but melodies survive for about three-quarters of the
repertory. The survival of so many sources and the high incidence of concordant
readings with insignificant variants point to close cooperation among composers
and musicians and the scribes who recorded their music. The regions of Artois
and Picardy seem to have been in the forefront of MS production for the
trouvères, as some 15 of the major MSS can be placed there on the basis of
decoration style and scribal orthography; Lorraine and Burgundy also produced
MSS of vernacular song, but not one of the extant sources appears to have come
from Paris. Most of the MSS date from the second half of the 13th century, the
earliest (F-Pn fr.20050) from around 1240 to 1250 and a few from the
first or second decade of the 14th century.
Most
of the trouvère MSS described below are of moderate size (with the exception of
GB-Lbl Eg.274 and F-Pn fr.20050 which are exceptionally small);
two-thirds of them are laid out in two columns, the rest in a single long line
across the page. The collections usually begin with chansons grouped by author,
with red attributive rubrics and music on red staves above the first stanza.
These are often followed by a group of jeux-partis (with or without music) and
a large section of unattributed songs. An index of authors and incipits, keyed
to folio numbers in the codex, was often produced in the copying process or
shortly thereafter. Many of the MSS were lavishly decorated, often with
beautiful historiated initials that depict musicians and instruments, and
‘portraits’ of trouvères or other figures, arranged in a careful hierarchy
according to the contents (see Huot). The first song in a group by a major
composer such as Thibaut IV, Gace Brulé and the Chastelain de Couci is given
the most richly ornamented initial, while less elaborate initials mark the
beginnings of the remaining songs. Several of the extant MSS have been severely
damaged by the excision of miniatures, with either entire leaves or the
portions of leaves that contained the illustrations being removed.
The
music notation is for the most part square, although F-Pn fr.846 uses
mensural notation and Pn fr.20050 uses Messine neumes. Blank staves are
scattered through some of the MSS. Some sources use modal or mensural notation
for polyphony, usually laid out in parts. Attributions are often conflicting
among these sources and a few lack them altogether. In the descriptions below
no attempt has been made to verify a particular source's attributions, and the
number following a composer's name indicates the number of songs with melodies
ascribed to the composer in that MS or in other MSS.
At
least eight sets of sigla have been assigned to Old French sources, sometimes
depending on the repertory in question (Ludwig's system is used in a discussion
of motets, for instance). The designations established by Schwan (1886) are
standard when dealing with trouvère song (see Gennrich, 1921, for a table of
concordance between the different sigla systems).Arras,
Médiathèque [Bibliothèque] Municipale, 657 (formerly 139) [A].
Now 212 parchment leaves, 31 × 23 cm, many original leaves had been excised by
the early 18th century. Foliation: modern ink 1–212, does not take
account of the lacunae; another modern foliation 129–60 reflects Jeanroy's
proposed order of the music fascicle. Structure: 40 gatherings of
varying sizes due to the lacunae; ff.129–160v comprise a music fascicle
of 5 gatherings originally of quaternions; Jeanroy (1925) argued the original
gathering order of this fascicle was ff.152–6 (missing its first 3 leaves),
ff.157–60 (missing its middle 2 bifolios), ff.129–35 (missing its first leaf),
ff.136–51 (2 complete quaternions, the second of which ends in the middle of a
piece), which is how it appears in his facsimile and in its current binding. Layout
of music fascicle: 2 columns, 40 lines per column, in prose format. Decoration:
painted initials and vignettes in uniform style begin important sections,
including 5 in the music fascicle at the start of composer groups and of the
jeux-partis; music fascicle has red and blue lettrines at beginnings of all
songs, red and blue calligraphic initials beginning each interior strophe, and
painted line endings; red rubrics introduce and end each major section;
decoration similar to that of a (I-Rvat Reg.lat.1490). Text
scribes: at least 2 text hands for the non-musical works, 1 of which
probably also entered the poems in the music fascicle. Notation: red
staves of 4 or 5 lines above first stanzas; 1 music scribe, square notation of
a slightly casual but careful appearance; staves added before decoration in
second and fifth gatherings (ff.157–60 and 144–51), but after in the other 3;
music added last in all gatherings. Date and provenance: dated (f.212v)
August 1278 by a scribe named ‘Jehans d'Amiens li petis’, copied and decorated
in Artois, possibly Amiens; note on end flyleaf indicates MS was owned c1625
by Abbey of St Vaast in Arras, which was seized by the state in 1790; rebound
by Bibliothèque Nationale in 1955.
Contents: ff.1–128v: moral,
didactic, religious works, including Alart de Cambrai's Moralités aux
philosophes, various Marian texts and Richart de Fournival's Bestiaire
d'Amour; ff.129–160v, 42 chansons (of which 2 are incomplete) and 31
anonymous jeux-partis, all with music, contents and order of songs similar to
those of a; ff.161–212v: Roman des sept sages and Roman
de Marques de Rome. Melodies: Thibaut IV (6), Richart de Fournival
(6), Adam de la Halle (6), Gautier de Dargies (5), Guillaume Le Vinier (5),
Chastelain de Couci (4), etc.
Raynaud, i, 1–4; A. Jeanroy: Le chansonnier
d'Arras (Paris, 1925) [facs. of music fasc.]; F. Gennrich: ‘Der Chansonnier
d'Arras’, Zeitschrift für romanische Philologie, xlvi (1926), 325–35;
Huot, 55–64Berne, Stadt- und Universitätsbibliothek, 231 [B]. 8
parchment leaves, 30 × 22 cm. Foliation: modern black ink 1–8. Structure:
a single quaternion, part of a larger MS; Spanke suggested this gathering
belongs with L (F-Pn fr.765). Layout: single column, 43–7
lines per column, prose format. Decoration: red and blue calligraphic
initials begin each song; red and blue lettrines begin interior stanzas. Text
scribes: 1. Notation: 1 scribe, 5-line red staves, square notation
with many short vertical bars. Date and provenance: end of 13th or early
14th century, Picardy or Burgundy.
Contents: 20 complete songs, of which 14
have melodies. Melodies: no attributions, but 11 can be authenticated
from other sources as by Thibaut IV.
A. Rochat: ‘Die Liederhandschrift 231 der Berner
Bibliothek’, Jb für romanische und englische Literatur, x (1869),
73–113; Raynaud, i, 4–5London, British Library, Eg.274 [F]. 160
parchment leaves, 15 × 11 cm. Foliations: modern 1–160; ii, iiii–vii on
ff.2–6 in late medieval hand. Structure: possibly 2 or more discrete
collections, ff.1–130 and ff.131–60, bound together in 15 quaternions, 1
ternion, 5 binions and 1 bifolio, with 2 single leaves tipped in, in random
order; many erasures with replacements of text and music. Layout: 19–22
lines per leaf; single column throughout, prose format. Decoration:
painted initials, blue and gold lettrines (not uniform style in all fascicles);
decoration in song fascicle is simpler, with no illuminations; blue and red
initials with filigree beginning interior strophes; style generally belongs to
Arras-Lille MS group of third quarter of 13th century. Text scribes: 1
main scribe throughout; later additions and changes especially in first
strophes of song fascicle, where later scribes erased French texts and melodies
and replaced them with Latin responds, usually employing the original initial
letter of the vernacular text; 6 rubrics with composer attributions were added
before these changes were made. Notation: several music hands, including
3 (original square, later square and Messine) in the song fascicle; in the
Latin fascicles, 4- or 5-line staves, square notation, sometimes evidently
altered to make mensural; polyphony is laid out in parts; in the song fascicle,
5- or 6-line red staves. Date and provenance: 1260s, Artois; 1832, in
private library of Van de Velde of Ghent; also owned by Jacobus Dogimon (f.1)
and Jehan Perthuis de Hacquemere (f.160); acquired by British Museum in 1834.
Contents: ff.3–57: 20 monophonic sequences
and conductus and 2 two-voice; 4 two-voice motets; ff.58–93: 3 troped Kyries, 6
monophonic sequences, and 2 Glorias; ff.94–97: miscellaneous liturgical
monophony; ff.98–117v: 18 lyric songs (7 with original melodies intact,
11 never entered or replaced by Latin respond); ff.119–130: 2 long Latin verse
works without music; ff.131–132: 1 lyric song (with fragment of original
melody); ff.132v–159v: late 14th-century sacred monophony,
entered over erased 14th-century mensural polyphony (e.g. Benedicamus Domino
settings). Melodies: of original 19 French songs entered, 7 melodies
remain unchanged: Gace Brulé (1), Chastelain de Couci (1), Jehan de Neuville
(1), Colart le Boutellier (1), anonymous (3); 5 other melodies reconstructed from
palimpsests by Gennrich (1925).
Raynaud, i, 35–6; Ludwig, i/1, 251–63 and i/2,
606; F. Gennrich: ‘Die altfranzösische Liederhandschrift London, British
Museum, Egerton 274’, Zeitschrift für romanische Philologie, xlv (1925),
402–44 [edn of Fr. songs, incl. 5 reconstructed from palimpsests]; RISM B/IV/1,
496–8; A Stones: ‘Sacred and Profane Art: Secular and Liturgical
Book-Illumination in the Thirteenth Century’, The Epic in Medieval Society:
Aesthetic and Moral Values, ed. H. Scholler (Tübingen, 1976), 100–12; T.B.
Payne: Poetry, Politics, and Polyphony: Philip the Chancellor's Contribution
to the Music of the Notre Dame School (diss., U. of Chicago, 1991), ii,
337–42Paris, Bibliothèque de l'Arsenal, 5198 (formerly B.L.F.63)
(‘Chansonnier de l'Arsenal’) [K]. 211 parchment leaves, 32 × 22 cm. Foliation
and pagination: original pencil foliation i–xxxvii, corresponds to index on
p.420; modern ink pagination 1–420 (with 70 followed by 70bis and 70ter),
disregards lacuna between gatherings 21 and 22; scholars use the pagination. Structure:
25 quaternions, 1 binion and 1 gathering of 7 leaves; gathering signatures
indicate 1 gathering missing between pp.332 and 333; p.420 has a medieval index
of 64 incipits of songs on the first 2 gatherings. Layout: 2 columns, 34
lines per column, prose format. Decoration: 2 large polychrome initials
begin each main fascicle (Thibaut IV holding a fiddle on p.1 and p.303); gold
leaf initials with blue, pink and white paint, in a style similar (but not
identical) to that of N, probably from Picardy or Artois; red or blue
lettrines mark interior stanzas; circled attributive red rubrics in margins on
pp.1–302 are similar to those in N. Text scribes: one scribe
throughout, possibly same as that for N. Notation: one hand
throughout, square notation, 4-line red staves; music entered before decoration
and rubrics. Date and provenance: 1270s, Picardy or Artois; belonged to
Marie d'Albret (p.1); later belonged to Marquis René Antoine de Paulmy, who
made it part of his library at l'Arsenal, opened to scholars in 1756.
Contents: pp.1–302: 342 attributed songs,
at first arranged by author, then more randomly entered; pp.302–420: 140
unattributed songs; contents related to N, P, X and L.
Melodies: altogether 481 complete melodies and 1 incomplete: Thibaut IV
(59), Gace Brulé (46), Perrin d'Angicourt (21), Chastelain de Couci (16),
Blondel de Nesle (16), Gillebert de Berneville (14), Richart de Semilli (10),
Moniot de Paris (9), Gautier de Dargies (8), Moniot d'Arras (7), Thibaut de
Blason (6), etc.
Raynaud, i, 54–73; P. Aubry and A. Jeanroy, eds.: Le
chansonnier de l'Arsenal (Paris, 1909–10) [facs. of pp.1–384, transcrs. of
pp.1–184]; Ludwig, i/1, 336–7; H. Spanke, ed.: Eine altfranzösische
Liedersammlung: der anonyme Teil der Liederhandschriften KNPX (Halle, 1925)
[edn of anon. poems, 42 melodies]; H. Orenstein: Die Refrainformen im
Chansonnier de l'Arsenal (Brooklyn, NY, 1970); Huot, 48–54; Everist, 187–97Paris,
Bibliothèque Nationale de France, fr.765 (formerly 71825;
Colbert 3075), ff.48–63 [L]. 16 parchment leaves, 30 × 22 cm.
Foliation: modern ink 48–63. Decoration: red and black
calligraphic initials begin each song, with red and black lettrines for
internal strophes; decoration entered after notation. Structure: 2
gatherings of quaternions, bound at the end of a paper MS of perhaps the 15th
century (ff.1–45, 39 × 29 cm), containing the Roman de la Comtesse d'Anjou
dated 1316; réclame at the bottom of f.63v indicates that the
parchment gatherings were originally part of a larger MS; Spanke suggested
these gatherings belong with the fragmentary MS B. Layout: 1
column; 49 lines per column; prose format. Text scribes: 1 for the roman
fascicle, another for the song gatherings. Notation: 1 scribe; 5-line
red staves, square notation; evidence of careful copying in erasures and
corrections. Date and provenance: late 13th or early 14th century,
France; belonged to Claude Fauchet (d 1601) who added attributive
rubrics and other notes, then to Jean-Baptiste Colbert (d 1683),
eventually to Charles-Eléonor, Count of Seignelay, and from him to the
Bibliothèque du Roi in 1732.
Contents: 52 songs arranged more or less by
author, all with music; final song missing last 2 stanzas and the envoi.
Melodies: attributions as found in K, where they are in the same
order, to Gace Brulé (46) and Chastelain de Couci (6).
P. Paris: Les manuscrits françois de la
Bibliothèque du Roi, vi (Paris, 1845), 40–45; Raynaud, i, 73–5; J.G.
Espiner-Scott: Claude Fauchet: sa vie, son oeuvre (Paris, 1938), 186–7Paris,
Bibliothèque Nationale de France, fr.844 (formerly 7222; Mazarine 96)
(‘MS du Roi’; fig.23) [M
and Mt; troubadour MS W]. 2 collections bound together with
gatherings somewhat out of order, 32 × 22 cm. Foliations: modern red ink
foliation B–E, 1–215, added presumably when the MS was bound with gatherings
out of order and leaves missing, and after the miniatures were cut out; the
Becks' facsimile assigns a new foliation to the restored codex; scholars use
the foliation as the actual leaves rather than the Becks'. Structure:
(i) the larger fascicle, M, now 4 + 213 parchment leaves (ff.B–E, 1 to
the left column of 13, 14–58 and 79–215), which originally comprised 15
quaternions and 9 irregular gatherings; ff.B–E have incipits of this collection
without folio numbers, written by the same scribe who entered the texts and
decorated with the same lettrines as in the main MS; (ii) a smaller fascicle of
songs by Thibaut IV, labelled Mt in the Becks' facsimile, begins in the
right column of f.13 immediately following the conclusion in the left column of
a small group of songs also by Thibaut; this fascicle comprises 18 parchment
leaves (right column of f.13, ff.13v and 59–78, comprising 2 quaternions
and 1 binion); the index does not include incipits of Mt. Present state
of the large codex is poor, missing 18 of its original leaves and with many
remaining leaves mutilated by excision of miniatures; mutilation occurred
before the MS was described by P. Paris in 1845; many marginalia in a modern
hand giving text (incipits, rubrics, etc.) lost to lacunae; Mt is
undamaged. The larger codex seems to be a MS in progress, with many spaces left
empty presumably for addition of more stanzas; during the late 13th century and
the 14th other scribes, most using mensural notation, filled some of these
spaces with 33 other works, including untexted estampies (ff.103v–104v)
and songs in Old French and Occitan; the Becks' facsimile restores the original
order of the gatherings and reconstructs the contents of the lacunae; added
leaves at the beginning (ff.A and 216–21) have lists of authors and incipits. Layout:
textblock of M is ruled in pencil and stanzas begin at left margin;
textblock of Mt is ruled in dry point and stanzas are laid out in prose
format; both collections have 2 columns with 41 lines per column. Decoration:
M has historiated initials on first song of groups of authors' works (15
of which survived the excisions), initials painted with blue, pink, gold leaf,
white tracery and black outlines at beginnings of the remaining songs, alternating
blue/red and gold/blue calligraphic lettrines marking interior stanzas, line
endings of gold, red and blue fill lines at ends of stanzas, and red rubrics
with authors' names, almost all entered before the music was added except in
the motet fascicle, where the decoration was entered last; Mt has no
historiated initials, but painted initials beginning each song are in same
style as in M, probably done in the same atelier; lettrines use the same
colours and style as in M but are much less elaborate; decoration in Mt
was added after the music notation. Text scribes: 1 text scribe for M
and another for Mt. Notation: 1 scribe for Mt, square
notation; 2 scribes for the songs and motets in M, 1 main hand and
another less careful hand for at least 33 melodies; 4-line red staves, square
notation throughout except for three melodies in mensural notation entered by
the second scribe of M and by the scribes of many of the later entries;
tenors of the motets are more or less modal. Date and provenance: after
1253, probably 1260s or 1270s, Artois (possibly Arras); came to Bibliothèque du
Roi in 1668 from Bibliothèque Mazarine; the Becks suggested the MS was copied
for Charles d'Anjou, count of Provence from 1245, but this is unsubstantiated.
Contents: M originally contained 428
Old French songs; in its current state it preserves in complete or fragmentary
condition ff.1–185: 404 songs by trouvères, 365 with melodies, grouped by
author beginning with ‘li princes’ and proceeding roughly in descending order
of nobility; ff.188–204: 61 songs by troubadours, 51 with melodies; ff.205–210:
originally 45 French two-voice motets and 3 three-voice motets (13 tenors
without music); ff.212–214, 1 Old French and 2 French-Occitan lais; Mt
has 60 songs by Thibaut IV, 56 with complete melodies and 2 with unfinished
melodies; contents are closely related to T, including the motets; among
the later additions are 9 monophonic ‘estampies royals’ (the first a
fragment) in mensural notation on ff.103v–104v. Melodies:
Gace Brulé (42), Guillaume Le Vinier (27), Gautier de Dargies (19), Blondel de
Nesle (21), Audefroi le Bastart (16), Guiot de Dijon (14), Jehan Erart (10),
Gillebert de Berneville (14), Chastelain de Couci (11), Colart le Boutellier
(12), Moniot d'Arras (13), Conon de Béthune (8), Raoul de Ferrières (9),
Bernart de Ventadorn (8), Folquet de Marseille (4), Rigaut de Berbezilh (3),
Gaucelm Faidit (3), Comtessa de Dia (1), etc.
P. Paris: Les manuscrits françois de la
Bibliothèque du Roi, vi (Paris, 1845), 450–3; Raynaud, i, 75–8 [index of Mt
in its current state] and 78–94 [index of M in its current state];
Ludwig, i/1, 285–305 and i/2, 621–6; J. and L. Beck: Le manuscrit du roi,
Corpus cantilenarum medii aevi, 1st ser., ii (London and Philadelphia, 1938)
[facs. and study]; H. Spanke: ‘Der Chansonnier du Roi’, Romanische
Forschungen, lvii (1943), 38–104; RISM B/IV/1, 374–9; Huot, 181–7; J.A.
Peraino: New Music, Notions of Genre, and the ‘Manuscrit du Roi’ circa 1300
(diss., U. of California, Berkeley, 1995); Aubrey, 37–43; J.D. Haines: The
Musicography of the ‘Manuscrit du Roi’ (diss., U. of Toronto, 1998)Paris,
Bibliothèque Nationale de France, fr.845 (formerly 72222;
Cangé 67) [N]. 191 fine parchment leaves, 30 × 21 cm. Foliation
and pagination: modern 1–191 in red ink, which does not account for the
lacunae; earlier pagination 1–381 in black ink, in same hand as Varennes-Godes
index in X (see below). Structure: 24 quaternions, of which the
second lacks its first leaf; at least 1 gathering missing between ff.159 and
160; last gathering was bound out of order before the foliation was added; 2
paper leaves bound in at front of MS list number of songs in the codex by each
author, in a modern hand. Layout: 2 columns, 32 lines per column; prose
format. Decoration: f.1, historiated initial of Thibaut IV and courtiers
at the head of collection of his songs; large ornamental initials begin groups
of important authors' songs, the unattributed fascicle and the motet enté
group; elsewhere gold leaf initials with blue and pink paint and white tracery,
in a style similar to that of K; red or blue lettrines for interior
stanzas; circled attributive red rubrics in margins, also similar to those in K;
2 blue rubrics, on ff.54 and 80; the former song is set off as ‘couronée’ in X
and CH-BEsu 389. Text scribes: 1 scribe throughout, possibly same
as that for K. Notation: 1 scribe throughout; 4-line red staves,
square notation; entered after initials were painted but before rubrics or
lettrines were added. Date and provenance: 1270–80, Picardy or Artois;
owned by Guyon de Sardière (whose signature appears on f.1) and evidently also
by Mme Varennes-Godes, according to 2 paper leaves tipped in at the end of X,
ff.ii.clxxii–ii.clxxiii, which following the rubric ‘A
made. de Varennes gode’ contain an index of authors and incipits of N;
eventually reached the library of Châtre de Cangé sometime after 1724; given to
the Bibliothèque du Roi in 1733.
Contents: 393 songs, all with music,
including one in Occitan; closely related to contents and order of K, L,
P and X; ff.1–143: 299 attributed songs grouped by authors;
ff.144–183v: 93 unattributed songs; ff.186–187v, 2 lais and 1
texted estampie; ff.184, 189 and 190: 16 monophonic motets entés.
Melodies: Thibaut IV (28), Gace Brulé (50), Blondel de Nesle (15), Perrin
d'Angicourt (27), Thierri de Soissons (11), Gillebert de Berneville (12),
Thibaut de Blason (6), Gautier de Dargies (8), Moniot d'Arras (7), Richart de
Semilli (8), Moniot de Paris (9), Gautier d'Espinal (6), Eustache le Peintre de
Reims (7).
Raynaud, i, 94–110; Ludwig, i/1, 336–7; H. Spanke,
ed.: Eine altfranzösische Liedersammlung, der anonyme Teil der
Liederhandschriften KNPX (Halle, 1925); Huot, 47–52; Everist (1989),
187–97; M. Everist: French Motets in the Thirteenth Century: Music, Poetry
and Genre (Cambridge, 1994), 82–9Paris, Bibliothèque Nationale de
France, fr.846 (formerly 72223, Cangé 66) (‘Chansonnier
Cangé’) [O]. 141 parchment leaves, 24 × 17 cm. Foliation: 1–151
in Cangé's hand; Cangé also provided indices of authors and incipits on a parchment
sesternion bound at the beginning of the codex, with folio numbers that match
his foliation. Structure: 18 quaternions of which the last is missing
its final leaf; the last song ends on f.139v, and Cangé added texts to
ff.140–41, continuing on an additional parchment quaternion (ff.144–51, whose
first song he gave a melody). Layout: 2 columns, 35 lines per column,
prose format. Decoration: historiated initials begin the first song of
each letter of the alphabet; red and blue calligraphic initials begin all other
songs; red and blue lettrines mark interior stanzas; occasional line endings. Text
scribes: one, Burgundian script and orthography. Notation: one hand;
4-line red staves; mensural notation including ligatures cum opposita
proprietate and numerous chromatic inflections; music entered before
decoration. Date and provenance: c1280–1290, Burgundy; acquired
by Châtre de Cangé in 1724, evidently from the estate of Baudelot de Dairval (d
1722); Cangé gave the chansonnier as well as N and P to the Bibliothèque
du Roi in 1733; Cangé added copious marginal and interlinear material to this
MS, including author rubrics, extra text, translations, and 2 melodies on empty
staves (ff.2 and 25v), indicating the sources from which he drew the
annotations (M, N, P, Q, R, T and X).
Contents: 351 songs (including one in
Occitan), of which 336 have melodies (2 more were copied by Cangé from X);
no medieval attributions, songs arranged alphabetically and then by author
within each letter, suggesting the collector was collating from several
sources; many songs found also in K, N, P and X. Melodies
(authenticated from other sources): Thibaut IV (63), Gace Brulé (27),
Chastelain de Couci (10); Gautier d'Espinal (8), Adam de la Halle (8),
Gillebert de Berneville (7), Blondel de Nesle (6), Moniot d'Arras (6), Conon de
Béthune (5), Pistoleta (1), etc.
Raynaud, i, 111–22; L. Brandin: ‘Die Inedita der
altfranzösischen Liederhandschrift Pb5 (Bibl. nat. 846)’, Zeitschrift
für französische Sprache und Literatur, xxii (1900), 230–72; A. Jeanroy and
A. Långfors: ‘Chansons inédites tirées du ms.fr.846 de la BN’, Archivum
Romanicum, ii (1918), 296–324; iii (1919); 1–27; 355–67; J. Beck, ed. Le
Chansonnier Cangé: manuscrit français no.846 de la Bibliothèque Nationale de
Paris, Corpus cantilenarum medii aevi, 1st ser., i (Paris and Philadelphia,
1927) [facs. and transcrs.]; see also review by H. Spanke, Zeitschrift für
französische Sprache und Literatur, lii (1929), 165–83; RISM B/IV/1,
379–80; Huot, 74–80; Everist, 200–05; E. Aubrey, ‘Medieval Melodies in the
Hands of Bibliophiles of the Ancien Régime’, Essays on Music and Culture in
Honor of Herbert Kellman, ed. B. Haggh (Paris, forthcoming)Paris,
Bibliothèque Nationale de France, fr.847 (formerly 72224,
Cangé 65) [P]. Now comprises 227 parchment leaves, which make up 3
distinct collections, each with a different mise-en-page and different scribes
and thus probably originally separate MSS; 20 × 13 cm. Foliation: 1–228
(there is no f.92 but no text is missing), added by Cangé continuously through
all 3 fascicles, which must thus have been bound together by the early 18th
century. Structure: ff.1–210: 23 quaternions, 2 ternarions with 1 leaf
(f.74) tipped in the first, and a sesternion at the end; the latter was
probably created to accommodate the insertion of a lengthy dit at the
conclusion of the collection of songs; ff.211–218: 1 quaternion; ff.219–28: 1
quaternion and a bifolio; this gathering probably belongs with ff.2–9 of W,
a gathering which also does not match the rest of the codex with which it is
bound; likely identity of format and scribal hands and coincidence of text
support this assumption (Keyser); Cangé added an index of authors on 3 paper
leaves at the beginning. Layout: 2 columns throughout; ff.1–210 have 26
lines per column; ff.211–18 have 28 lines per column; ff.219–26 have 27 lines
per column; prose format. Decoration: historiated initials on f.1
(beginning of Gace Brulé songs) and 135 (where an unattributed group of songs
begins); red and blue calligraphic initials begin all other songs; red or blue
lettrines mark stanzas; decoration is in a similar style throughout all
fascicles; ff.1–128, red rubrics with authors' names. Text scribes:
several hands: one on first 2 gatherings, new hand begins on f.17; several
hands from f.198v to the end of this fascicle; ff.211–18 are in a
different hand and ff.219–28 in another. Notation: several hands:
ff.1–198; ff.198v–201; ff.211–218v; ff.219–228; all use square
notation; except on ff.219–28, all music was entered after the decoration. Date
and provenance: 1270–80, Picardy-Artois region; acquired after 1724 by
Châtre de Cangé, who gave it along with N and O to the
Bibliothèque du Roi in 1733; he made occasional annotations from comparisons
with N and T (after the latter had entered the Bibliothèque du
Roi, since Cangé refers to it by its royal number, supp.fr.184).
Contents: 338 songs overall, 314 with
music; ff.1–134v: 190 attributed songs grouped by author; ff.135–203v:
148 unattributed songs (some of which duplicate those in the attributed
section); the contents of this first fascicle are closely related to those of K,
N and X; ff.204–10: Roman de vergier et de l'arbre d'amour
in a new hand; ff.211–28: 34 songs by Adam de la Halle, all with music. Melodies:
Gace Brulé (25), Chastelain de Couci (14), Blondel de Nesle (11), Thibaut IV
(7), Gautier de Dargies (9), Thibaut de Blason (4), Richart de Semilli (7),
Adam de la Halle (34), etc.
Raynaud, i, 123–36; Ludwig, i/1, 336–7; H. Spanke,
ed.: Eine altfranzösische Liedersammlung, der anonyme Teil der
Liederhandschriften KNPX (Halle, 1925); Huot, 48–67; D.K. Keyser: Oracy,
Literacy, and the Music of Adam de la Halle: The Evidence of the Manuscript
Paris, Bibliothèque Nationale f.fr.25566 (diss., U. of North Texas, 1996),
147–58Paris, Bibliothèque Nationale de France, fr.1109 (formerly 7363),
ff.311–325v [Q]. 329 parchment leaves, 30 × 21 cm. Foliations:
original ink i–cxxxvi, coinciding with Brunetto Latini's Livres dou tresor
(beginning at the second gathering and continuing to f.179); modern pencil
1–324, including 185bis, 185ter, 2 leaves without numbers and 2
leaves numbered 322; modern pen 1–329, the foliation used by scholars today. Structure:
38 quaternions, 2 binions, 1 bifolio, and 3 irregular gatherings of 7, 5 and 3
leaves respectively; the fascicle of lyric songs occupies the last 2 complete
quaternions (ff.311–325v); major works coincide with the beginnings of
gatherings and new hands; gathering signatures suggest that the fascicles may
now be bound out of order; uniform textblock size, decoration style and scribal
orthographies (Picard) indicate that the MS was prepared as a whole. Layout:
song fascicle has 2 columns of 42 lines each; prose format. Decoration:
5 miniatures with gold leaf, 4 in the Tresor and 1 beginning the Régime
du corps on f.242; red and blue calligraphic initials for songs and similar
divisions elsewhere in the codex are of uniform style; red and blue lettrines
in song fascicle; all decoration was entered after the music was written; red
rubric ‘Chi coumencent les canchons d'Adanz’ on f.311, a little later than
text. Text scribes: several scribes in the codex, each beginning a new
work (ff.1, 144, 242, 282, 311 [song fascicle], 327, 328v) and
coinciding with a new gathering; scribes appear to be contemporary with each
other. Notation: one music scribe; 4- or 5-line red staves, some
compression in spacing after f.313v; square notation, but with some
ligatures cum opposita proprietate. Date and provenance: after
1310 (date given on f.143 at the end of the Tresor), Picardy; explicit
‘Marie de Luxembourg’ on the last leaf (f.329v) suggests that the book
was owned by the wife of François de Bourbon, count of Vendôme (she married in
1487; d 1546/7); the MS had entered the Bibliothèque du Roi by 1622.
Contents: a miscellany mainly of long prose
and poetic works: ff.1–143: Brunetto Latini's Li livres dou tresor;
ff.144–179: Li dis de carité and Miserere of the Reclus de
Molliens; ff.179–185v: Le chevalier au Barizel; ff.188–234v:
Li mireoir dou monde; ff.236–241: Les vii Saumes Penitentians que
David fist; ff.242–281v: Le régime du corps of Aldebrandin of
Siena; ff.282–290v: Les enseignements des philosophes; f.291–310:
proverbs of Solomon; ff.311–325v: 26 chansons (the first 3 without
staves) and 16 jeux-partis (none with staves) by Adam de la Halle, 1 jeu-parti
(without staves) by Gillebert de Berneville; ff.327–328, Li dit des iii vis
et des iii mors by Nicole de Margival; ff.328v–329v, Explication
d'un jeu de société. Melodies: 23 chansons by Adam (1 incomplete).
Raynaud, i, 137–8; E. Brayer: ‘Notice du manuscrit
Paris, BN fr.1109’, Mélanges dédiés à la mémoire de Félix Grat, ii
(Paris, 1949), 222–50Paris, Bibliothèque Nationale de France, fr.1591 (formerly
7613) [R]. 185 parchment leaves, 25 × 18 cm. Foliation:
modern ink 1–184 + 64bis, entered with the title page and index of
authors on paper flyleaves at the beginning, dated 1895. Structure: 21
quaternions, 2 bifolios, 1 ternion, and at the end a bifolio, a single leaf
tipped in and a binion. Layout: single column of 26 lines; prose format.
Decoration: red and blue calligraphic initials (entered after music)
begin each song; red and blue lettrines marking interior stanzas and
attributive rubrics were entered before the music; uniform decoration
throughout. Text scribes: 1 hand throughout. Notation: possibly 2
or 3 hands; evidence of attempts at mensural notation (differentiation of longs
and breves, ligatures cum opposita proprietate, grouping notes by
vertical strokes); 4-line red staves drawn with a rastrum. Date and
provenance: beginning 14th century, Artois; owned by brothers Pierre (d
1651) and Jacques (d 1656) Dupuy, who bequeathed it to the Bibliothèque
du Roi in 1645; it entered there in 1657.
Contents: ff.1–15v and 27–62: 63
attributed chansons; ff.16–26v, 17 jeux-partis; ff.62v–184: 172
unattributed chansons; all but the jeux-partis have music. Melodies:
235, of which 3 are incomplete: Thibaut IV (10), Chastelain de Couci (9),
Moniot d'Arras (7), Blondel de Nesle (5), etc.
Raynaud, i, 139–49; A. Jeanroy and A. Långfors:
‘Chansons inédites tirées du ms. fr.1591’, Romania, xliv (1915–17),
454–510; J. Schubert: Der Handschrift Paris, Bibl. Nat. fr.1591: kritische
Untersuchung der Trouvèrehandschrift R (Frankfurt, 1963)Paris,
Bibliothèque Nationale de France, fr.12615 (formerly suppl.fr.184)
(‘MS de Noailles’; fig.24) [T].
234 parchment leaves, 31 × 20 cm. Foliation: modern ink 1–233, with 2
leaves numbered 226. Structure: sectionalization of contents coincides
with changing gathering signatures, réclames, ruling and scribal hands
to suggest 4 separate collections: (i) ff.1–22, 2 quaternions and an irregular
gathering of 6 leaves; (ii) ff.23–178, 19 quaternions and 1 bifolio; (iii)
ff.179–223, 5 quaternions, 1 ternion and single leaf, and 1 ternion; (iv) ff.224–33,
a quaternion, a bifolio, and 1 leaf tipped in at the end. Consistent textblock
size and similar decoration style indicate these fascicles were all produced in
one workshop; staves, music, rubrics, and decoration were entered in different
order throughout the codex as the various fascicles were circulated among
different artisans during production. Layout: mostly single column;
ff.1–20 and 224–33: 39 lines per column; ff.23–176 and 197–9: 36 lines per
column; the dits and narrative poem on ff.199–222 are in 2 columns, the dits
with 36 and the poem with 39 lines per column; the lyric songs are in prose
format, the dits in verse format. Text scribes: at least 2,
scattered throughout the codex; a few 14th-and 15th-century additions (ff.20v–21,
177, 178v, 222–223v). Decoration: historiated initial on
f.1, and a large ornamental initial beginning the Adam de la Halle collection
on f.224; elsewhere boxed ornamented gold leaf initials begin each song;
blue/red and gold/blue lettrines mark interior stanzas; ff.224–33 have
calligraphic initials without gold leaf, but otherwise decoration is similar;
red attributive rubrics. Notation: for the monophony, at least 5
scribes, most using square notation, except for the 4 melodies by Thibaut IV in
the first fascicle, which have rudimentary mensural notation; generally 5-line
red staves, on ff.224–30 drawn with a rastrum; from f.30, notes occasionally
extend over syllables of the second stanza which happen to be on the same line
as the end of the first stanza; some melodies are left incomplete at the end;
for the motets, a different scribe, square notation on 4-line red staves in
parts (tenors are more or less modal; some are left unnotated but can be
supplied from other sources). Date and provenance: 1270s–80s, Artois;
early 14th-century libellus of Adam de la Halle bound in at the end
(ff.224–233v); belonged to Duke Adrien-Maurice de Noailles (d
1766) by the early 18th century, but it had entered the Bibliothèque du Roi by
1733, because Cangé referred to it by its early royal number (suppl fr.184) in
the leaves of P before he gave the latter to the Bibliothèque du Roi.
Contents: ff.1–20: 55 songs of Thibaut IV,
only 4 with music; ff.23–61v, 76v–176v and 204: 472
chansons, jeux-partis, chansons avec des refrains, and descorts, all but
18 with attributions, 350 with melodies; ff.62–75v: 9 Old French lais, 7
with melodies, and 2 Occitan lais, both with music (1 incomplete); ff.179–197:
79 two-voice motets (4 without tenors; 2 with tenor text incipit but no music),
6 three-voice motets (1 without tenor or motetus), 1 four-voice motet;
ff.197–199: 4 lyric songs of Artois, none with music; ff.199–216: dits
from Artois, the latest from c1265; ff.218–222: Robert le Clerc's Vers
de la mort; ff.224–233: 33 songs by Adam de la Halle, the first 12 with
music. Melodies: Thibaut IV (4), Guillaume Le Vinier (24), Gillebert de
Berneville (9), Audefroi le Bastart (13), Blondel de Nesle (9), Richart de
Fournival (6), Thibaut de Blason (6), Moniot d'Arras (10), Pierre de Corbie
(6), Jehan Erart (10), Thomas Herier (8), Andrieu Contredit (13), Gautier de
Dargies (16), Chastelain de Couci (12), Gace Brulé (14), Adam de la Halle (12),
etc.
Raynaud, i, 153–72; Ludwig, i/1, 336–7; RISM
B/IV/1, 381–93; R. Berger: Littérature et société arrageoises au XIIIe
siècle: les chansons et dits artésiens (Arras, 1981); Everist (1989),
175–81; M. Everist: French Motets in the Thirteenth Century: Music, Poetry
and Genre (Cambridge, 1994), 90–97Paris, Bibliothèque Nationale de
France, fr.20050 (formerly St Germain fr.1989) (‘MS
St-Germain-des-Prés’; fig. 25)[U;
troubadour MS X]. 3 + 168 parchment leaves, 18 × 12 cm, plus 2 partial
leaves tipped in later (ff.120 and 151). Foliations: original i–clxviii
(lxxxxi is missing), beginning on the leaf after the index, in the side margin
on the verso, keyed to the index; later black pen 1–173 begins with the
index and ignores the lacuna; the tipped in partial leaves (ff.120 and 151) are
not included in the original foliation; scholars use the modern Arabic
foliation. Structure: 19 quaternions, 2 bifolios, 1 ternion with a leaf
tipped in, and 1 irregular gathering of 4 leaves at the end; medieval index at
the beginning is on 3 leaves, a bifolio plus 1 leaf glued in; 1 leaf is missing
between ff.93 and 94 (according to the original foliation), but no text seems
to be missing. Layout: single column; varying number of lines per
column: 26 (ff.4–91v), 25 (ff.94–109) and 20–23 (ff.110 to the end);
prose format. Decoration: 1 painted initial begins f.4; elsewhere red
initials begin each song, all added after the music except on ff.22v–23;
ff.4–92, interior stanzas are highlighted by red marks on the black ink
letters; ff.94–152, interior stanzas begin with red ink lettrines; modern
attributive rubrics in black ink. Text scribes: ff.4–91v, 1
scribe; several other hands in the rest of the codex, including that of the
main scribe. Notation: 4-line red staves on ff.4–91v; space
allowed for staves but none drawn in on ff.92r–v, 110–152 and 154v–161;
elsewhere no space allowed for music; 1 main music hand, with a few melodies
added here and there by at least 2 other scribes, all using Messine neumes; 1
melody added on f.170v in square notation, possibly by a modern hand;
gatherings 5 and 10 have empty staves, and gatherings 4, 5 and 11 have mostly
empty staves. Date and provenance: after 1240, probably by 1250,
Lorraine; Everist (1989) argues on paleographical grounds that it was produced
as early as c1225, but it contains songs by several composers who could
not have worked earlier than the 1240s; has been conjectured that the MS was
accumulated over several decades, possibly by a jongleur, but the
comprehensive index gives original foliation numbers and uses the same
decorative initial highlights as in the texts, and gathering cues throughout
the codex seem to be contemporary with the main text hand (Tyssens; Aubrey,
p.35); the MS belonged to Henri-Charles du Cambout, duke of Coislin and bishop
of Metz, who may have inherited it with the collection of his grandfather,
chancellor Pierre Séguier (d 1672); Coislin placed his MS collection in
the care of the abbey of St-Germain-des-Prés in 1720; the abbey retained
possession after Coislin's death in 1732, and the collection entered the
Bibliothèque Nationale in 1795.
Contents: 304 French chansons, pastourelles
and chansons de toile, 91 with music (not counting the late addition on
f.170v); 28 Occitan cansos (ff.81–91 and 148v–151) copied
without being segregated, 22 with melodies. Melodies: no attributions,
but authenticated by concordances: Jaufre Rudel (1), Rigaut de Berbezilh (2),
Bernart de Ventadorn (2), Gaucelm Faidit (7), Peire Vidal (2), Gace Brulé (16),
Blondel de Nesle (3), Chastelain de Couci (10), etc.
Raynaud, i, 172–83; P. Meyer and G. Raynaud: Le
chansonnier français de Saint-Germain-des-Prés (Paris, 1892/R)
[facs.]; Ludwig, i/1, 337; I. Parker: ‘Notes on the Chansonnier
Saint-Germain-des-Prés’, ML, lx (1979), 261–80; Huot, 52–3; Everist,
199–200; M. Tyssens: ‘Les copistes du chansonnier français U’ in Lyrique
romane médiévale: la tradition des chansonniers: Liège 1989, 379–98; R.
Lug: Der Chansonnier de Saint-Germain-des-Prés (Paris, BN fr.20050): Edition
seiner Melodien mit Analysen zur ‘vormodalen’ Notation des 13. Jahrhunderts und
einer Transkriptionsgeschichte des europäischen Minnesangs (Frankfurt,
1995); Aubrey, 34–8Paris, Bibliothèque Nationale de France, fr.24406 (formerly
La Vallière 59) [V]. 1 + 155 parchment leaves, 29 × 20 cm. Foliations:
modern red ink A + 1–155; older black pagination 1–236 (on ff.1–118v). Structure:
the codex comprises 2 self-contained collections: (i) ff.1–119: 15 quaternions
(last leaf cut out of final gathering); (ii) ff.120–55: a sesternion, 3
binions, 1 bifolio and 1 quinternion; gathering signatures and the remains of
an early foliation (viii, xiiii, vi, ix–xii, xv–xxiiii, xxvi–lx, on ff.133–9
and 146–55, and 2–36) suggest that the original order of these 2 fascicles was
reversed; index of authors in modern hand on f.A. Layout: (i) 2 columns
of 34 or 35 lines; stanzas begin at left margin; (ii) 2 columns of 41 or 42
lines. Decoration: (i) 1 historiated initial on f.1, a vielle player;
large ornamented gold leaf initials begin each song; smaller gold lettrines
mark interior stanzas; no rubrics; (ii) no decoration, although space was
allowed. Text scribes: at least 2 in song fascicle, change coinciding
with new gathering (f.65); different hand on ff.120–55. Notation: at
least 3 hands: (a) ff.1–48: 5-line red staves drawn with a rastrum on ff.1–16,
4- or 5-line red staves drawn without a rastrum on ff.17–48; square notation
with some erasures and corrections; (b) ff.49–119: (at the beginning of a new
gathering, but in the middle of a song), 4-line red staves drawn without a
rastrum, square notation; and (c) ff.148–52: 4-line black staves, square notation,
smaller than first 2 hands with many chromatic inflections and clef changes,
possibly a much later (?modern) hand; the first 2 scribes entered music before
the decoration was added. Date and provenance: after 1266 (date given in
a rubric on f.120), Artois; added note on f.119v refers to marriage of
‘Raoulet Bertholet’ and ‘Perrine de Fougerays’ in 1427, suggesting early
ownership of the codex; arms of Claude d'Urfé (d 1558) on f.1v;
sold to Louis César de La Beaume le Blanc, duc de La Vallière, sometime after
1766, and then sold by his heirs to the Bibliothèque du Roi in 1784.
Contents: (i) 301 unattributed chansons,
all but 1 with melodies (1 of which is incomplete), arranged by author as in
other MSS, but many poetic variants and unique musical readings; (ii)
ff.120–140: Traité des quatres nécessaires; ff.141–147v: Richart
de Fournival's Bestiaire d'amours; ff.148–155: 30 anonymous Marian songs
including 1 in Occitan, 18 with melodies; most of these are contrafacta of
melodies found elsewhere in the codex. Melodies: no attributions, but
concordances with other sources authenticate songs by Thibaut IV, Gace Brulé,
Gillebert de Berneville, Richart de Semilli, Thibaut de Blason, Thierri de
Soissons, Gautier d'Espinal, Chastelain de Couci, Moniot d'Arras, etc.
Raynaud, i, 186–98; A. Jeanroy, ‘Les chansons de
Philippe de Beaumanoir’, Romania, xxvi (1897), 517–36; F. McAlpine: Un
chansonnier médiéval: édition et étude du manuscrit 24406 de la Bibliothèque
Nationale (diss., U. of Paris, Sorbonne, 1974).Paris, Bibliothèque
Nationale de France, fr.25566 (formerly La Vallière 31) (‘Adam de la
Halle MS’; ‘MS La Vallière’ [W]. 283 parchment leaves; 2 different
collections bound together: (i) ff.2–9 (here called Wa, after Keyser),
21 × 14 cm, probably belongs with ff.219–28 of P, with which it seems
identical in format and scribal hands; the text on f.9v of W
breaks off at precisely the point that continues on f.219 of P (Keyser);
(ii) the main part of the codex, W, 275 parchment leaves, ff.1 and
10–283, 25 × 17 cm. Foliations: W has an early foliation
i–lxxiiii (coinciding with ff.10–89); Wa and W have separate
modern foliations in black ink, 1–8 and 1–275 respectively, evidently done
before the 2 collections were bound together; after their binding, a red ink foliation
was added coinciding with the current order of leaves, 1–283, which is the
foliation used by scholars. Structure: (i) 8 parchment leaves in 1
quaternion; (ii) a single leaf (f.1), 31 quaternions, 1 quinternion, 1 ternion,
and a final ternion with a tipped-in single leaf (f.280) in the middle;
gathering 21 has an added bifolio containing full-page illuminations (ff.175
and 178v), and gathering 26 has a single tipped-in leaf with a full-page
illumination (f.220v). F.1 contains an index of the contents of W,
contemporary with the MS but without folio numbers. Layout: both
collections are in two columns; Wa has 27 lines per column in prose
format; W has 34–5 lines per column, and stanzas begin at left margin
for the monophonic songs; the polyphonic rondeaux are laid out in score, the
motets in parts. Decoration: both collections have blue and red
calligraphic initials to start each song and blue and red lettrines marking
interior stanzas; W has a historiated initial at the beginning of each
major section, most illustrating the content or generic identity of the works
to follow; ff.175, 178v and 220v are full-page illuminations;
long non-lyric works from f.83 to the end have numerous illuminations; red
rubrics introduce the different genres and works. Text scribes: Wa,
1 hand, possibly same as that of P, ff.219–28; W has 1 hand for
all of Adam's works; a new hand begins partway through Renart le nouvel.
Notation: Wa, 1 hand, possibly same as that of ff.219–28 of P,
square notation; W has 1 scribe for all music, square with occasional
mensural shapes for the monophonic chansons and jeux-partis, on 5-line red
staves; mensural for the polyphony on 4- and 5-line staves (the rondeaux in
score, the motets in parts) and for the lyric insertions on 4-line red staves. Date
and provenance: end of the 13th century, Artois; sold by the heirs of Louis
César de La Beaume le Blanc, duc de La Vallière to the Bibliothèque du Roi in
1784.
Contents: W is a well-planned
comprehensive MS, beginning with the monophonic and polyphonic songs and motets
of Adam de la Halle (ff.10–68) and continuing with many prose and narrative
poetic works by other major 13th-century authors; ff.10–23v: 34
chansons, all but 1 with music; ff.23v–32v, 16 jeux-partis, all
with music; ff.32v–34v: 16 three-voice rondeaux; ff.34v–37,
4 three-voice motets and 1 two-voice; ff.37v–39, Le jeu du pelerin;
ff.39–48v: Jeu de Robin et Marion, with musical lyric insertions;
ff.49–59v: Jeu de la feuillée; ff.59v–65: Roy de Sezile
with musical lyric insertions; ff.65–66v: Vers d'amour; ff.66v–67v:
Congé d'Adam; ff.68–83: Jehan Bodel's Jeu de S. Nicolai;
ff.83–106v: Richart de Fournival's Bestiaire d'amour and Response
du bestiaire; ff.106v–109: Comment Dieus forma Adam and 2 dits;
ff.109–177: Jacquemart de Gielée's Renart le nouvel, with musical lyric
insertions; ff.179–232: Des iiii. evangelistres; Li tornoiement
Antecrist and other religious and moralizing works; ff.232–283: dits
and other narrative works, concluding with Jehan Bodel's Congé. Wa
contains 14 chansons by Adam, the last of which is incomplete. Melodies:
Wa: Adam (14 chansons); W: Adam (33 chansons, 16 jeux-partis).
Raynaud, i, 198–201; Ludwig, i/2, 464–71; RISM
B/IV/1, 395–401; Huot, 64–74; Everist, 204; D.K. Keyser: Oracy, Literacy,
and the Music of Adam de la Halle: the Evidence of the Manuscript Paris,
Bibliothèque Nationale f.fr.25566 (diss., U. of North Texas, 1996)Paris,
Bibliothèque Nationale de France, n.a.fr.1050 (‘MS de Clairambault’) [X].
Originally 279 parchment leaves, 25 × 18 cm. Foliations: original
i–cclxix in brown ink, reflecting the lacunae; modern red ink 1–272,
disregarding the lacunae, begins on the paper gathering preceding the medieval
codex, added with the paper title page dated 1876; scholars use the arabic
foliation. Structure: originally 34 quaternions and a final gathering of
5 leaves; the second bifolio of gathering 15 (ff.cxiv and cxix) and gatherings
17, 18 and 19 (ff.cxix–clii) are missing, replaced by Clairambault with paper
leaves containing songs copied from N; Clairambault also added a paper
gathering at the beginning (ff.1–7) with an index of authors; several paper
leaves were added at the end in several hands: ff.ii.clxx–ii.clxxi,
possibly in Clairambault's hand, give remarks on some songs, a partial index,
and a few additions; ff.ii.clxxii–ii.cxxiii begin with
the rubric ‘A made. de Varennes gode’ followed by an index of
authors and incipits of N in the same hand as and keyed to the
pagination of that MS; and ff.ii.clxxiv–ii.clxxvii, in
the hand of Baudelot (d 1722), give 4 poems by Thibaut IV found in O
(which Baudelot owned) and T. Layout: 2 columns, 30 lines per
column; all stanzas begin at left margin. Decoration: Thibaut IV libellus
(f.i) and Marian song collection (f.ccliiiiv) begin with historiated
initials; most other author groups begin with an ornamented initial with gold
leaf; remaining songs begin with a large calligraphic red or blue initial;
interior stanzas have blue and red lettrines; red attributive rubrics, entered
when text copied and before staves were drawn; red crowns in margins mark 5
songs as ‘coronnée’. Text scribes: 1 scribe throughout. Notation:
1 scribe throughout, in darker ink than text; 4-line red staves, square
notation, entered after rubrics and before decorated initials. Date and
provenance: 1270–80, probably Arras; belonged to François-Roger de
Gaignière (d 1715), from whose library it was evidently stolen by Pierre
de Clairambault (d 1740), thence to his nephew Nicolas-Pascal (d
1762), who before his death ceded this and his other MSS to the Order of
Saint-Esprit; it was moved to the convent of the Grands-Augustins in 1772, and
finally to the Bibliothèque du Roi in 1792; in the turmoil of the Revolution
many papers of Clairambault and others associated with the nobility were burnt,
and this MS was thought to be lost until it was catalogued in 1876.
Contents: ff.8–192: 294 attributed songs
grouped by author, all but 1 with music, 2 left incomplete by lacunae;
ff.192–257: 130 unattributed songs, all with music; ff.257–72: 31 Marian songs,
all with music; order and contents of courtly song collection related to K
and N; Marian fascicle shares a few concordances with P. Melodies:
Thibaut IV (59), Gace Brulé (46), Chastelain de Couci (16), Blondel de Nesle
(14), Thibaut de Blason (6), Gautier de Dargies (8), Moniot d'Arras (7),
Gillebert de Berneville (13), Perrin d'Angicourt (21), Richart de Semilli (7),
Moniot de Paris (9), Raoul de Soissons (4), Eustache le Peintre de Reims (6),
etc.
G. Raynaud: ‘Le Chansonnier Clairambault de la
Bibliothèque nationale’, Bibliothèque de l'Ecole des Chartes, xl (1879),
48–67; Raynaud, i, 201–19; Ludwig, i/1, 336–7; H. Spanke, ed.: Eine
altfranzösische Liedersammlung, der anonyme Teil der Liederhandschriften KNPX
(Halle, 1925); F. Gennrich, ed.: Cantilenae piae: 31 altfranzösische
geistliche Lieder der Hs. Paris, Bibl. Nat. nouv. acq. fr. 1050
(Frankfurte, 1966); Huot, 48–57.Rome, Biblioteca Apostolica Vaticana,
Reg.lat.1490 [a]. Earlier 4 + 204 leaves of which 23, presumably
with historiated initials, were cut out, truncating many poems and melodies on
adjacent leaves; surviving codex has 181 leaves, 31 × 21 cm. Foliations:
original red ink [i]–xx/ix.xiij [=193], not including the index on the first 4
leaves to which it is keyed, accounts for the lacunae; modern black ink 1–181
beginning with the index, ignores lacunae; the latter foliation is the one used
by most scholars. Structure: originally 22 quaternions, 1 binion, 2
ternions and 1 quinternion; medieval index with attributions, incipits, and
rubrics introducing sections of the MS on a binion at the beginning; this index
sometimes disagrees with attributions in the MS, omits many pieces, and lists
several motets and rondeaux as chansons; index does not include the dits
on ff.128–33, a gathering that seems to have been inserted later. Layout:
2 columns of 31 lines each; stanzas begin at the left margin. Decoration:
historiated initials begin major composer groups; 7 of these survive;
red/blue/gold initials begin remaining songs; blue and red calligraphic lettrines
mark interior stanzas; painted line endings; red attributive rubrics and genre
headings; decoration very smilar to that of A. Text scribes: 1
main hand throughout, with a few slightly later additions. Notation: at
least 2 music hands; 4- to 5-line red staves, square notation for monophony;
motets sometimes have quasi-mensural notation, in parts; music added after
decoration. Date and provenance: late 13th or early 14th century,
Artois; came to Vatican from estate of Queen Christina of Sweden (d 1689);
once thought to have belonged to Claude Fauchet, but this is unverified;
marginalia and interlinear notes throughout the MS do not appear to be in
Fauchet's hand.
Contents: arranged by genre, and works by a single
composer often coincide with the start of a gathering, so excised leaves with
historiated initials are usually the first leaf of a gathering; ff.1–108v:
215 chansons (203 with music); ff.109–113v, 9 pastourelles (7 with
music); ff.114–117: 5 three-voice motets (2 with music, 3 missing tenors, 1
also missing its motetus), 2 two-voice motets (both with music, but both
missing tenors); ff.117–119v: 9 monophonic rondeaux (8 with music) and 1
virelai (with music) by Guillaume d'Amiens; ff.120–127: 15 Marian songs (14
with music); ff.128–133v: 4 dits sur l'amour; ff.134–181: 78
jeux-partis (76 with music); in addition, there are 3 rondeaux (with music), 1 ballette
(with music) and the upper voices of 10 motets (2 with music) scattered
throughout the codex, often at the ends of gatherings where space was left
initially; some of these are in the main text hand, some in different hands;
the motet voices were entered into the index as chansons. Melodies:
Thibaut IV (14), Chastelain de Couci (8), Gautier de Dargies (5), Gace Brulé
(6), Guillaume Le Vinier (14), Richart de Fournival (15), Moniot d'Arras (5),
Adam de la Halle (15), Colart le Boutellier (12), Jehan Bretel (6), Jehan de
Grieviler (7), Blondel de Nesle (5), Gillebert de Berneville (9), Perrin
d'Angicourt (7), Jehan le Cuvelier d'Arras (5), Guillaume d'Amiens (9), etc.
A. Keller: Romvart (Mannheim, 1844), 24–327
[description and excerpts]; Raynaud, i, 219–32; Ludwig, i/2, 569–90; RISM
B/IV/1, 798–9; Huot, 53–64.Siena, Biblioteca Comunale degli Intronati,
H.X.36 [Z]. 54 parchment leaves, 29 × 20 cm. Foliation:
modern 1–53 + 10bis. Structure: 6 quaternions and 1 ternion. Layout:
single column, 31 lines per column. Decoration: a gold/blue/red initial
begins the first piece (f.1); red and blue calligraphic initials begin other
pieces; red and blue lettrines begin interior stanzas. Text scribe: 1. Notation:
1 scribe, 4-line red staves, square notation added before the decoration. Date
and provenance: late 13th or early 14th century, Artois or Picardy; came to
Siena library from estate of Uberto Benvoglienti (d 1733).
Contents: 77 chansons and 24 jeux-partis,
all but the last of the jeux-partis with music. Melodies: a total of 101
melodies, no attributions, but authenticated from other sources are songs by
Thibaut IV (13), Perrin d'Angicourt (11), Blondel de Nesle (4), Jehan de
Grieviler (5), Colart le Boutellier (9), Robert du Chastel (5), etc.
L. Passy: ‘Fragments d'histoire littéraire à
propos d'un nouveau manuscrit de chansons françaises’, Bibliothèque de
l'Ecole des Chartes, xx (1859), 1–39, 305–54, 465–502; Raynaud, i, 237–40;
G. Steffens: ‘Die altfranzösische Liederhandschrift von Siena’, Archiv für
das Studium der neueren Sprachen und Literaturen, lxxxviii (1892), 301–60
[complete diplomatic edn]; M. Spaziani, ed.: Il canzoniere francese di Siena
(Biblioteca Comunale H.X.36) (Florence, 1957)
Sources, MS, §III:
Secular monophony
5. German.
The
active tradition of German monophonic song, which lasted uninterrupted for some
seven centuries (Meistergesang was still being cultivated in the early 19th
century), is reflected in a series of MSS whose very continuity is perhaps
misleading but whose perpetual variety of musical readings has warned scholars
not to take any of the information in them too literally. So melodies ascribed
to Walther von der Vogelweide, for instance, are fairly
numerous but only four of them, those in the Münster fragment, are generally
accepted as being likely to resemble anything Walther knew. It is, moreover,
rather more apparent from German sources than from others that the copyists
were concerned primarily with presenting a relatively homogeneous repertory,
not an Urtext: the melodies that were copied for later generations were
actually used by them, so there would be no question of resurrecting earlier
performing practice, rather the melodies had to be adapted to the current
styles.
Study
of these sources is made extremely difficult by the severe lack of early MSS
and by the daunting profusion of enormous MSS from the 17th century, many of
them not yet fully described. Even more frustrating is the clear evidence that
there were once several MSS of early Minnesang with music: quite apart from the
evidence of numerous fragments mentioned below, there is a record of five old
songbooks with music (and including Walther von der Vogelweide's Leich)
that were catalogued at Wittenberg in 1434 (see Stäblein, 1975, p.91). On the
interpretation of the surviving musical evidence see Minnesang,
§7, and Meistergesang,
§2.
Sources, MS, §III:
Secular monophony
6. Galego-Portuguese.
In
the Iberian peninsula, during the 12th and 13th centuries, Galego-Portuguese
was the language chosen for poetic literature not only in the western kingdoms
of Portugal and Galícia but also in the central kingdoms of Castile and León
(Occitan was used in Catalonia and Arabic in the Andalus). A corpus of more
than 1680 secular poetic texts in Galego-Portuguese survives in three major
sources without music: the Cancioneiro da Ajuda (P-La), written about
1300; and the Cancioneiro da Vaticana (I-Rvat vat.lat.4803) and
Cancioneiro Colocci-Brancuti (P-Ln 10991), the latter both copied about
1525 in Rome from a lost 14th-century Portuguese exemplar. Of these songs the
only extant music is for six cantigas de amigo by Martin Codax written
on a loose bifolio (the so-called Vindel MS) and seven cantigas de amor
by Dom Dinis entered on a fragmentary folio, discovered in 1990 by Sharrer;
this was originally part of a Portuguese songbook (see below). Over 400 Cantigas
de Santa Maria – songs dedicated to the Virgin by Alfonso el Sabio, King of
Castile and León – survive, however, with music in three closely related
codices written between 1270 and 1290 in connection with the royal court (see
Cantiga).
Madrid, Biblioteca Nacional, 10069 [To].
161 parchment leaves, 32 × 22 cm. Modern arabic foliation in pencil; red and
blue illuminated capitals; each song headed in red. Layout: mostly 2
columns containing between 27 and 29 lines of text or 9 staves of music. No
miniatures. Structure: quires of 8 and 10 leaves (see Ferreira, 1994:
f.9 belongs to the first quire). Scribes: 5 for the text (French gothic
script), 1 for the music (see Ferreira, 1994). Notation: semi-mensural,
based on the shapes of 13th-century Iberian (Aquitanian-type) chant notation
(Ferreira, 1987, 1993). Date: ?c1275 (Ferreira, 1994)
Contents: 128 songs: 102 cantigas
corresponding to the earliest redaction of the Cantigas de Santa Maria
(f.9v ff), and 3 appendices with 26 more cantigas (f.136 ff)
Ribera [edn. and pseudo-facs.]San Lorenzo de El
Escorial, Real Biblioteca del Monasterio, T.I.1 (also known as T.j.1)
[e; E2; T]. 256 parchment leaves, 49 × 33 cm.
Modern arabic foliation in pencil; songs numbered with illuminated Roman
numerals on both leaves, top centre. Layout: normally 2 columns, 44 lines
or 11 staves a page; red and blue illuminated capitals; each song headed in
red. Illuminations: 1264 magnificent miniatures, normally grouped by 6
(1 full page corresponding to a song) or 12 (2 full pages, singling out the
fifth song in each group of 10). Scribes: no detailed study; seemingly
uniform French gothic hand. Notation: proto-mensural, based on, but not
identical to French pre-Franconian practice (Ferreira, 1987, 1993). Date:
?1280–84 (Ferreira, 1994)
Contents: on f.4, after the surviving folios
of the index, a fragmentary cantiga without music forms an ‘appendix’; on f.4v
the main collection begins, with 194 cantigas (including 3 fragmentary, of
which 2 without music, and 1 more with empty staves). This is the first volume
of a set of 2; the second, incomplete volume, containing 104 songs with empty
staves, is now in Florence, Biblioteca nazionale centrale, B.R.20 [F].
Facs.: El ‘Códice Rico’ de las Cantigas de
Alfonso el Sabio: Ms. T.I.1 de la Biblioteca de El Escorial (Madrid, 1979)San
Lorenzo de El Escorial, Real Biblioteca del Monasterio, b.I.2 (also
known as j.b.2) [E1; E]. 361 parchment leaves, 40 × 28
cm. Modern arabic foliation; songs (except for the 2 Prologues and the last
cantigas) numbered with illuminated Roman numerals on both leaves, top centre. Layout:
normally 2 columns containing 40 text lines or 10 staves; red and blue
illuminated capitals; each song headed in red. Illuminations: 40
detailed miniatures of musicians playing instruments before every tenth song
(for illustration see Cantiga fig.1.). Structure: largely composed of quaternions (see
Anglès, i). Scribes: no published study; text: French gothic script; at
least 2 scribes (compare, for instance, ff.29–76 with preceding); music: 2
scribes (compare ff.203–4, 326, 328, etc., with other leaves). 2 marginal notes
‘aras nunez’ on f.204 and f.267 may refer to the contemporary cleric and
troubadour Airas Nunez, who possibly entered the music on ff.203–4. On f.361, a
scribe identified himself as Johannes Gundisalvi [González]. Notation:
proto-mensural, based on, but not identical to French pre-Franconian practice
(Ferreira, 1987, 1993) Date: ?c1284 (Ferreira, 1994)
Contents: 416 songs (including 9 repeated
cantigas, a repeated melody and 4 cantigas without music) thus distributed:
appendix, ff.1v–12: 13 songs; after the index on ff.13–26, the main
collection of 403 songs starts on f.28v and occupies the remaining
folios.
Anglès, ii, iii/2 [edn]; i [facs., with notational
details drawn in by J.M. Llorens]New York, Pierpont Morgan Library, M 979
[N; R; PV]. Loose bifolio written on one side only, 34 ×
45 cm. Layout: 2 columns of 36 lines per page; red and blue illuminated
capitals; no miniatures. Scribes: 1 main text scribe, last cantiga in
different hand; 2 copyists for the music. Notation: proto-mensural
(Ferreira, 1986). Date: ? last quarter of 13th century.
Contents: 7 cantigas de amigo by Martin
Codax, one of them without music.
Ferreira (1986) [edn and facs.]Lisbon, Arquivo
Nacional da Torre do Tombo, Capa do C.N.L. n° 7A, cx 1, m. 1, l. 3 (Casa
Forte) [T; PS]. Fragmentary folio written on both sides in
French gothic script. Unduly restored in 1993 (the musical content suffered). Layout:
3 columns; red and blue illuminated capitals; no miniatures. Scribes: 2
calligraphic styles, possibly by same copyist, with corrections by a different
hand. 3 music copyists. Notation: proto-mensural (see Ferreira,
forthcoming). Date: c1300.
Contents: 7 cantigas de amor by Dom
Dinis, King of Portugal (ruled 1279–1325), with lacunae.
Ferreira (forthcoming) [edn and facs.]
Sources, MS, §III:
Secular monophony
7. Italian.
The
two surviving Lauda spirituale sources with music were probably
prepared for confraternities. The few surviving fragments suggest similar scope
and provenance for the MSS from which they originally came. On the other hand
the primarily devotional or evangelical character of the MSS explains their
casual approach to texts: the 18 songs that the two larger sources have in
common show widely varying readings in all cases, often with the Florence
source representing a far more florid version.
The
fragmentary sources – GB-Cfm 194, Lbl Add.35254B, US-NYpm
742 and NYLehman (formerly Worcester, MA, private collection of Frank C.
Smith) – are all reproduced in Liuzzi, i, 223. These are not the only evidence
that the repertory was relatively widespread: several of Jacopone da Todi’s
poems are set, and there is no reason to think that the others were not set and
sung; and Francis of Assisi’s Canticum creatorum appears in I-Ac
338, f.33, below empty staves (facs. in Nolthenius, p.198).Cortona,
Biblioteca Comunale e dell’Accademia Etrusca, 91. 171 parchment leaves, 23
× 17 cm. Foliations: ? original roman at top; later arabic at top;
cursive arabic at bottom. Structure: i–xv in 8s (with leaves missing in
v and vi); xvi of 10 leaves. Scribes: consistent hand, but far more
modest in scope than the Florence MS. Date: c1260–91. Contents:
46 laude with music.
Liuzzi, i [facs. of music and complete edn]; L.
Lucchi, ed.: Il laudario di Cortona (Vicenza, 1987); T. Karp: ‘Editing
the Cortona Laudario’, JM, xi (1993), 73–105Florence, Biblioteca
Nazionale Centrale, Banco Rari 18 (II.1.122). 153 parchment leaves,
40 × 29 cm. Foliations: modern 1–153, 1 early Roman i–cxxxiv at bottom
of leaf, 1 top right as modern but adding 5 folios at beginning. Scribes:
consistent Italian Gothic hand with large brown square notation on a 4-line
staff throughout. Date: Early 14th century. Provenance:
Confraternità di S Maria presso li Agostiniani di Santo Spirito, Florence,
identified from miniatures.
Contents: original index; 88 laude,
ff.1–135v; 2 disjunct quaternions containing sequences and other sacred
music, including 1 lauda, ff.152–153v, with music in an
apparently much later hand. Versions are often far more elaborate than those in
the Cortona MS.Liuzzi, ii [facs. of music and complete edn]; B. Wilson and N.
Barbieri, eds.: The Florence Laudario: an Edition of Florence, Biblioteca
Nazionale Centrale, Banco Rari 18, RRMMA, xxix (1995); B. McD. Wilson:
‘Indagine sul laudario fiorentino (Firenze, Biblioteca Nazionale, MS Banco Rari
18)’, RIM, xxxi (1996), 243–80
Sources, MS, §III:
Secular monophony
8. Other languages and later repertories.
Elsewhere
in Europe there are isolated fragments of lyric poetry, occasional traces of a
repertory, but rarely enough music to give any clear impression of a musical
tradition. In England, for example, the nearest thing to a monophonic song
collection is that containing the four songs of St Godric (GB-Lbl Roy.5 F.vii),
though if a much looser definition of ‘collection’ is admissible a survey would
include Lbl Harl.978 and Lbl Arundel 248, both including isolated
English songs among Latin song and polyphony; apart from that the surviving
monophonic song with English text is confined to isolated fragments to whose MS
nature and musical style a coherent pattern could be given only by dint of
considerable imagination.
An
example of an apparent song repertory from the Netherlands may be seen,
however, in the late 14th-century Gruuthuse MS, described below. It belongs
less to the medieval repertories than to a new tradition represented also in
the French sources F-Pn fr.9346 (‘Bayeux’) and Pn fr.12744, the
German Mondsee-Wiener Liederhandschrift (A-Wn Vind.2856) and perhaps
also various late 15th-century volumes of devotional songs such as the songbook
of Anna von Köln (D-B Mgo 280), and the two Dutch volumes A-Wn
Vind.12875 and D-B Mgo 190 (ed. E. Bruning, M. Veldhuyzen and H.
Wagenaar-Nolthenius: Het geestelijk lied, MMN, vii, 1963).Koolkerke, nr Bruges, Casteel Ten Berghe, private library of
Baron Ernest van Calcoen (‘Gruuthuse-handschrift’). 1 + 84 parchment
leaves, c25 × 18 cm. Structure: 12 ff. (6 bifolia) of which 3 are
now missing; 32 ff. (4 quaternions), incl. 147 songs; 52 ff. (4 + 6
quaternions), containing 14 long poems. Scribe: Jan Moritoen. Date:
finally assembled 1462. Provenance: Bruges, Loys van den Gruythuyse. Contents:
c150 songs of late 14th century, nearly all with melody, untexted,
copied at head of poem; melodies mostly in stroke notation.C.W.H. Lindenburg:
‘Notatieproblemen van het Gruythuyzer handschrift’, TVNM, xvii/1 (1948),
44–86; K. Heeroma, ed.: Liederen en gedichten uit het Gruuthuse-handschrift,
with melodies ed. C.W. H. Lindenburg (Leiden, 1966) [song section only; see
also review by R.B. Lenaerts, MQ, liii (1967), 283–7]; H.
Wagenaar-Nolthenius: ‘Wat is een rondeel?’, TVNM, xxi /2(1969), 61–7; J.
van Biezen: ‘The Music Notation of the Gruuthuse Manuscript and Related
Notations’, TVNM, xxii/4 (1972), 231–51; C. Lindenburg: ‘Zerstreute
Gruuthuser Melodien und ihre Übertragungsprobleme’, TVNM, xxiii (1973),
61–74; J. van Biezen: ‘Die Gruuthuse-Notation: eine Erwiderung auf die Kritik
von Cornelis Lindenburg’, TVNM, xxiii (1973), 75–8; E. Jammers: ‘Die
Melodien der Gruuthuse-Handschrift’, TVNM, xxv/2 (1975), 1–22; J. van
Biezen and K. Vellekoop: ‘Aspects of Stroke Notation in the Gruuthuse
Manuscript and Other Sources’, TVNM, xxxiv (1984), 3–25; F. Willaert,
ed.: Een zoet akkord: middeleeuwse lyriek in de Lage Landen (Amsterdam,
1992); C. Lindenburg and K. Vellekoop: ‘Gruuthuse-Handschrift’, MGG2
Sources, MS, §III:
Secular monophony
BIBLIOGRAPHY
general
latin
occitan
french
german
galego-portuguese
italian
other languages and
later repertoires
Sources, MS, §III:
Secular monophony: Bibliography
general
F. Ludwig: ‘Die geistliche nichtliturgische, weltliche einstimmige und die
mehrstimmige Musik des Mittelalters bis zum Anfang des 15. Jahrhunderts’, AdlerHM
W. Bittinger: Studien zur
musikalischen Textkritik des mittelalterlichen Liedes
(Würzburg, 1953)
U. Aarburg: ‘Muster für die Edition mittelalterlicher Liedmelodien’, Mf, x (1957), 209–17
U. Aarburg: ‘Kritische Bemerkungen zur mittelalterlichen Liedforschung’, Jb für Liturgik und Hymnologie, iv (1958–9), 141–5
C. Petzsch: ‘Das mittelalterliche Lied: res non confecta’, Zeitschrift für deutsche Philologie, xc (1971), Suppl., 1–17
E. Jammers: ‘Die Rolle der Musik im Rahmen der romanischen Dichtung des XII. und
XIII. Jahrhunderts’, Grundriss
der romanischen Literaturen des Mittelalters, ed. H.R.
Jauss and E. Köhler, i (Heidelberg, 1972), 483–537
H. van der
Werf: The Chansons of the Troubadours and Trouvères: a Study of the
Melodies and their Relation to the Poems (Utrecht, 1972)
E. Jammers: Aufzeichnungsweisen
der einstimmigen ausserliturgischen Musik des Mittelalters (Cologne, 1975), esp.
1ff
B. Stäblein: Schriftbild
der einstimmigen Musik, Musikgeschichte in Bildern,
iii/4 (Leipzig, 1975)
J. Stevens: Words and
Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050–1350 (Cambridge, 1986)
Sources, MS, §III:
Secular monophony: Bibliography
latin
U. Chevalier: Repertorium
hymnologicum (Leuven and Brussels, 1892–1921)
H. Walther, ed.: Initia
carminum ac versuum medii aevi posterioris latinorum/Alphabetisches Verzeichnis
der Versanfänge mittellateinischer Dichtungen
(Göttingen, 1959, 2/1969)
H. Walther, ed.: Proverbia
sententiaeque latinitatis medii aevi (Göttingen, 1963–9)
J. Szövérffy: Die Annalen
der lateinischen Hymnendichtung (Berlin, 1964–5)
P. Dronke: Medieval
Latin and the Rise of European Love-Lyric (Oxford, 1965–6, 2/1968) [with complete list of Latin
love-lyrics, pp.545–84]
J. Szövérffy: Weltliche
Dichtungen des lateinischen Mittelalters, i (Berlin, 1970)
E. Jammers: Aufzeichnungsweisen
der einstimmigen ausserliturgischen Musik des Mittelalters (Cologne, 1975)
A.G. Rigg: ‘Medieval Latin Poetic Anthologies’, Mediaeval Studies, xxxix (1977), 281–330; xl (1978), 387–407; xli (1979),
468–505; xliii (1981), 472–97
P.G. Schmidt, ed.: Proverbia
sententiaeque latinitatis medii ac recentioris aevi: nova series (Göttingen, 1982–6)
J. Stevens: Words and
Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050–1350 (Cambridge, 1986),
esp. chaps. 1–4
B. Gillingham, ed.: Secular
Medieval Latin Song: an Anthology (Ottawa, 1993)
B. Gillingham: A Critical
Study of Secular Medieval Latin Song (Ottawa, 1995)
For further bibliography see Early Latin secular
song.
Sources, MS, §III: Secular monophony:
Bibliography
occitan
K. Bartsch: Grundriss
zur Geschichte der provenzalischen Literatur
(Elberfeld, 1872)
G. Gröber: ‘Die Liedersammlungen der Troubadours’, Romanische Studien, ii (1877), 337–670
J.-B. Beck: Die Melodien
der Troubadours (Strasbourg, 1908)
A. Jeanroy: Bibliographie
sommaire des chansonniers provençaux (Paris, 1916/R)
F. Gennrich: ‘Die beiden neuesten Bibliographien altfranzösischer und
altprovenzalischer Lieder’, Zeitschrift
für romanische Philologie, lxi (1921), 289–346
J. Anglade: ‘Les miniatures des chansonniers provençaux’, Romania, l (1924), 593–604
A. Pillet and H. Carstens: Bibliographie
der Troubadours (Halle, 1933) [standard index of poems organized by poets, generally referred to
as PC]
C. Brunel: Bibliographie
des manuscrits littéraires en ancien provençal (Paris, 1935/R)
D'A.S. Avalle: La
letteratura medievale in lingua d'oc nella sua tradizione manoscritta: problemi
di critica testuale (Turin, 1961)
M. and M. Raupach: Französierte
Trobadorlyrik: zur Überlieferung provenzalischer Lieder in französischen
Handschriften (Tübingen, 1979)
F. Zufferey: Recherches
linguistiques sur les chansonniers provençaux (Geneva, 1987)
A. Ziino: ‘Caratteri e significato della tradizione musicale trobadorica’, Lyrique romane médiévale: la tradition des
chansonniers: Liège 1989, 85–218
W.D. Paden: ‘Manuscripts’, A
Handbook of the Troubadours, ed. F.R.P. Akehurst and
J.M. Davis (Berkeley, 1995),
307–33
E. Aubrey: The Music of
the Troubadours (Bloomington, IN, 1996), 26–65
For further bibliography see Troubadours, trouvères.
Sources, MS, §III: Secular monophony:
Bibliography
french
G. Raynaud: Bibliographie
des chansonniers français des XIIIe et XIVe siècles, comprenant la description
de tous les manuscrits, la table des chansons classées par ordre alphabétique
de rimes et la liste des trouvères (Paris, 1884) [i, index of lyric songs by MS; ii, index
of songs by first rhyme word, rev. Spanke (and subsequently Bahat), see below]
E. Schwan: Die
altfranzösische Liederhandschriften: ihr Verhältnis, ihre Entstehung und ihre
Bestimmung (Berlin, 1886)
F. Ludwig: Repertorium
organorum recentioris et motetorum vetustissimi stili,
i: Catalogue raisonné der Quellen, pt 1: Handschriften in Quadrat-notation (Halle, 1910); repr.
with preface by L. Dittmer in Musicological Studies, vii (1964); pt 2: Handschriften in Mensural-Notation, ed. F.
Gennrich, SMM, vii (1961); ed. M. and S. Lütolf and L. Dittmer, Musicological
Studies, xxxvi (1978)
A. Jeanroy: Bibliographie
sommaire des chansonniers français du Moyen Âge (Paris,
1918/R)
F. Gennrich: ‘Die beiden neuesten Bibliographien altfranzösischer und
altprovenzalischer Lieder’, Zeitschrift
für romanische Philologie, xli (1921), 289–346
H. Spanke, ed.: G. Raynauds
Bibliographie des altfranzösischen Liedes (Leiden, 1955, rev., enlarged 1980 by A. Bahat)
[referred to as RS]
F. Gennrich: ‘Die Repertoire-Theorie’, Zeitschrift für französische Sprache und Literatur, lxvi (1956), 81–108
T. Karp: ‘The Trouvère Manuscript Tradition’, The Department of Music, Queens College of the City University of New
York: Twenty-Fifth Anniversary Festschrift (1937–1962),
ed. A. Mell (New York, 1964),
25–52
G. Reaney: Manuscripts
of Polyphonic Music (11th to Early 14th Century), RISM,
B/IV/1 (Munich, 1966) [index of
motet MSS]
R.W. Linker: A
Bibliography of Old French Lyrics (University, MS, 1979) [index of songs by composer]
S. Huot: From Song to
Book: the Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry (Ithaca, NY, 1987)
M. Everist: Polyphonic
Music in Thirteenth-Century France: Aspects of Sources and Distribution (New York, 1989)
E. Aubrey: The Music of
the Troubadours (Bloomington, IN, 1996), 26–65
For further bibliography see Troubadours, trouvères.
Sources, MS, §III: Secular monophony:
Bibliography
german
F.H. von der
Hagen:
Minnesinger: deutsche Liederdichter des zwölften, dreizehnten
und vierzehnten Jahrhunderts, iv (Leipzig, 1838/R), 895ff
A. Taylor and F.H. Ellis: A
Bibliography of Meistergesang(Bloomington, IN, 1936)
B. Kippenberg: Der Rhythmus
im Minnesang: eine Kritik der literar- und musikhistorischen Forschung mit
einer Übersicht über die musikalischen Quellen (Munich,
1962)
R.W. Linker: Music of the
Minnesinger and Early Meistersinger: a Bibliography
(Chapel Hill, NC, 1962)
R.J. Taylor, ed.: The Art of
the Minnesinger (Cardiff, 1968), i, pp.xli ff; ii, 287ff
H. Tervooren: Bibliographie
zum Minnesang und zu den Dichtern aus ‘Des Minnesangs Frühling’(Berlin, 1969)
A.H. Touber: Deutsche
Strophenformen des Mittelalters (Stuttgart, 1975)
L. Voetz: ‘Überlieferungsformen mittelhochdeutscher Lyrik’,
Codex Manesse,
Universitätsbibliothek, Heidelberg, 12 June – 4 Sept 1988, ed. E. Mittler and
W. Werner (Heidelberg, 1988),
224–74 [exhibition catalogue]
H. Brunner and B. Wachinger: Repertorium
der Sangsprüche und Meisterlieder des 12. bis 18. Jahrhunderts, i: Einleitung, Überlieferung(Tübingen, 1994)
Consideration of Minnesang sources must begin with the text
sources that provide the picture of the tradition accepted by scholars and
literary students. The sources are all relatively late, but scarcely more so
than the troubadour MSS. Their evidence is crucial for a study of the music
because the musical sources are later still and mostly belong more to the era
of Meistergesang.
important text manuscripts
in chronological order
Heidelberg,
Universitätsbibliothek, Pal.germ.357 (‘Kleine Heidlberger
Liederhandschrift’, ‘Alte Heidelberger Liederhandschrift’) [H, A]. 13th
century. Ed. F. Pfeiffer (Stuttgart, 1844/R); facs., ed. C. von Kraus
(Stuttgart, 1932)
Stuttgart, Württembergische
Landesbibliothek, HB XIII, 1 (‘Weingartner Liederhandschrift’) [W,
B]. Early 14th century. Ed. F. Pfeiffer and F. Fellner (Stuttgart, 1843); facs., ed.
K. Löffler (Stuttgart, 1927)
Heidelberg,
Universitätsbibliothek, Pal.germ.848 (‘Manessische
Liederhandschrift’, ‘Grosse Heidelberger Liederhandschrift’) [M, C].
Early 14th century and magnificently illuminated. Ed. F. Pfaff (Heidelberg, 1909); facs., ed.
R. Sillib, F. Panzer and A. Haseloff (Leipzig, 1925–9); facs., ed. U. Müller
and W. Werner (Göppingen, 1971)
Munich,
Universitätsbibliothek, 2° 731 (‘Wurzburger Handschrift’) [E].
Mid-14th century.
Weimar, Herzogin Anna Amalia
Bibliothek, 4° 564 (‘Weimarer, Liederhandschrift’) [F].
Early 15th century.
The study of the music for
Minnesang rests primarily on four sources: Jena, Thüringer Universitäts-
und Landesbibliothek, El.f.101 (‘Jenaer Liederhandschrift’) (fig.26) [J].
Originally 154, now 133 leaves of high-quality parchment, 56 × 41 cm. Foliations:
old 1–49 entered before any leaves were lost from this section; more recent
50–133 ignoring missing leaves.
Structure: 19
gatherings, mostly of 8 leaves. Scribes: ff.1–72c; ff.81a–end;
[later] ff.73–80. Date: mid-14th century; Holz suggested it was prepared
for Friedrich der Ernsthafte, Landgrave of Thuringia and Margrave of Meissen (1324–49), partly on
the basis of the magnificent format and partly because of the Eastern
orthography. Provenance: came to Jena with the Elector of Saxony's
library in 1548.
Contents: 91 melodies
and many other poems without music; final section contains the Wartburgkrieg.
Authors: Wizlâv III von Rügen (17), Der Mysnere (16), Meister Rumelant (9),
Herman Damen (6), Brůder Wirner (6), Meister Alexander (5), Friedrich von
Sunnenburg (4), Meister Kelyn (3), Der Unverzagte (3), Frauenlob (3), Meister
Zilies von Seyne (2), Meyster Gervelyn (2), Der junge Spervogel, Robyn,
Spervogel, Der Helleviur, Der Hynnenberger, Der Gůtere, Der Leitscouwere,
Der Tannhäuser, Meister Singof, Reynolt von der Lippe, Rumelant von Swaben,
Konrad von Würzburg, Meister Poppe, Heinrich von Ofterdingen, Her Wolueram. The
volume also includes poems without music by Meyster Růdinger, Der
Urenheymer, Der Ghůter and Der Goldener. Notation: square
non-mensural neumes on a 5-line staff.
K.K. Müller, ed.: Die
Jenaer Liederhandschrift in Lichtdruck (Jena, 1896) [complete facs., full
size]; G. Holz, E. Bernoulli and F. Saran, eds.: Die Jenaer
Liederhandschrift (Leipzig, 1901/R) [complete edn]; C.G. Brandis:
‘Zur Entstehung und Geschichte der Jenaer Liederhandschrift’, Zeitschrift
für Bücherfreunde, new ser., xxi (1929), 108–11; F. Gennrich, ed.: Die
Jenaer Liederhandschrift: Faksimile-Ausgabe ihrer Melodien, SMM, xi (1963)
[facs. of music pages only, reduced size]; H. Tervooren: Einzelstrophe oder
Strophenbindung? Untersuchungen zur Lyrik der Jenaer Handschrift(diss., U.
of Bonn, 1967) [incl. detailed description]; H. Tervooren and U. Müller, eds.: Die
Jenaer Liederhandschrift (Göppingen, 1972) [facs.]; E. Pickerodt-Uthleb: Die
Jenaer Liederhandschrift: metrische und musikalische Untersuchung
(Göppingen,1975), 444–6; B. Wachinger: ‘Jenaer Liederhandschrift’,Die
deutsche Literatur des Mittelalters: Verfasserlexikon, ed. K. Ruh and
others (Berlin, 2/1977–); G. Kornrumpf: ‘Jenaer Liederhandschrift’, Literaturlexikon,
ed. W. Killy (Gütersloh,1988–93); K. Klein and H. Lomnitzer: ‘Ein
wiederaufgefundenes Blatt aus dem “Wartburgkrieg”-Teil der Jenaer
Liederhandschrift’, Beiträge zur Geschichte der deutschen Sprache und
Literatur, cxvii (1995), 381–403; L. Welker: ‘Jenaer Liederhandschrift’, MGG2
Vienna, Österreichische
Nationalbibliothek, Vind.2701 (‘Frauenlob-Codex’, ‘Wiener
Leichhandschrift’) [W]. 50 parchment leaves, 24 × 16 cm. Foliation:
modern pencil 1–50. Structure: 6 gatherings of 8 leaves with 2 extra
sheets around the first. Scribes: ff.1–10; ff.11–18; ff.19–50 all
containing several hands. Illumination: many initials, titles and
ascriptions in red ink. Date: 14th century. Provenance: taken
over from A-Wu in 1756 (catalogue no.509).Notation: non-mensural
Messine neumes on a 5-line staff.
Contents: 5 Leichs
and 5 Minnelieder. Composers: Frauenlob (4), Reinmar von Zweter (2),
Meister Alexander (2), Winsbeke (1) and anon.
DTÖ, xli, Jg.xx (1913/R)
[complete facs. and edn]; C. März: ‘Wiener Leichhandschrift’, Die deutsche
Literatur des Mittelalters: Verfasserlexikon, ed. K. Ruh and others
(Berlin, 2, 1977–)
Munich, Bayerische
Staatsbibliothek, Cgm 4997 (‘Kolmarer Liederhandschrift’, ‘Colmar
MS’); (fig.27) [K, t]. 856 paper leaves, 30 × 20 cm. Foliations:
(a) original Arabic; (b) slightly later Roman; (c) modern
foliation, c1860. Structure: original index and 12-leaf
gatherings; 36 lines per page. Scribes: main scribe ‘A’, who identifies
himself on f.478; scribe ‘B’, perhaps from Alsace, added some contrafactum
texts, etc. Illumination: ‘kunstlos’ (Aarburg). Date: mid-15th
century, probably copied at Speyer, c1460. Provenance: purchased
in Schlettstatt by Jerg Wickram in 1546; he took it to Colmar and founded the
Colmar Meistersinger fraternity on this basis.
Contents: over 900
poems, arranged according to Ton; 105 melodies (including 5 Leichs). Composers:
Frauenlob (24), Monk of Salzburg (10), Regenbogen (9), Konrad von Würzburg (8),
Lesch (7), Der Kanzler (5), Heinrich von Mügeln (4), Marner (4), Harder (3),
Peter von Reichenbach (3), Reinmar von Zweter (3), Walther von der Vogelweide
(3), Liebe (2), Tannhäuser (2), Mülich von Prag (2), Muskatblůt (2), Peter
von Aarburg (2), Wolfram von Eschenbach (2), Anker, Boppe, Heinrich von
Ofterdingen, Tugendhafter Schreiber, Klingsor, Der alte Stolle, Der junge
Stolle, Suchensinn, Meffrid, Meissner, Neidhart, [Nestler von Speyer], Peter
von Sachsen, Reinmar von Brennenberg, Rumsland von Sachsen, Der Ungelehrte, Der
Zwinger. Date of music: goes back apparently to the 12th century in some
cases, though it is likely that all earlier material is heavily adapted.
K. Bartsch, ed.: Meisterlieder
der Kolmarer Handschrift (Stuttgart, 1862/R) [selective text edn];
P. Runge: Die Sangesweisen der Colmarer Handschrift und die
Liederhandschrift Donaueschingen (Leipzig, 1896/R) [complete music
edn]; R. Zitzmann: Die Melodien der Kolmarer Liederhandschrift in ihre
Bedeutung für die Musik- und Stilgeschichte der Gotik (Würzburg, 1944); H.
Husmann: ‘Aufbau und Entstehung des cgm 4997 (Kolmarer Liederhandschrift)’, DVLG,
xxxiv (1960), 189–243; U. Aarburg: ‘Verzeichnis der im Kolmarer Liedercodex
erhaltenen Töne und Leiche’, Festschrift Heinrich Besseler, ed. E. Klemm
(Leipzig, 1961), 127–36; F. Gennrich, ed.: Die Colmarer Liederhandschrift:
Faksimile-Ausgabe ihrer Melodien, SMM, xviii (1967); C. Petzsch: Die
Kolmarer Liederhandschrift: Entstehung und Geschichte (Munich, 1978); U.
Müller, F.V. Spechtler and H. Brunner, eds.: Die Kolmarer Liederhandschrift
der Bayerischen Staatsbibliothek München (cgm 4997) (Göppingen, 1976)
[facs.]; B. Wachinger: ‘Kolmarer Liederhandschrift’, Die deutsche Literatur
des Mittelalters: Verfasserlexikon, ed. K. Ruh and others (Berlin,
2/1977–); G. Kornrumpf: ‘Kolmarer Liederhandschrift’, Literaturlexikon,
ed. W. Killy (Gütersloh,1988–93); B. Schnell: ‘Zur medizinischen
Sammelhandschrift Salzburg M II 3 und zur Kolmarer Liederhandschrift’,Archiv
für das Studium der neueren Sprachen und Literaturen, ccxxx (1993), 261–78;
L. Welker: ‘Kolmarer Liederhandschrift’, MGG2
Karlsruhe, Badische
Landesbibliothek, Donaueschingen 120 (formerly Donaueschingen,
Fürstlich Fürstenbergische Hofbibliothek) [D, u]. 321 paper pp., 28
× 21 cm. Structure: pp.1–204 theological treatises; pp.205–321 songbook,
of which first layer pp.205–24, second layer pp.225–311 (3 gatherings), third
layer pp.312–21. Illuminations: elaborate. Date: very late 15th
century (uses void minims); perhaps copied in Alsace. Provenance: 1589
belonged to Nik. Mucheim of Uri at Mulhouse.
Contents: 40 poems,
21 melodies, all except Reinmar von Zweter's Sangweise found also in the
Colmar MS, which is normally considered to have been copied from the same
exemplar. Composers: Frauenlob (14), Reinmar von Zweter (2), Kanzler,
Peter von Sachsen, Lesch, Monk of Salzburg, anon.
P. Runge: Die Sangesweisen
der Colmarer Handschrift und die Liederhandschrift Donaueschingen(Leipzig,
1896/R); H. Husmann: ‘Donaueschinger Liederhandschrift’, MGG1; G.
Steer: ‘Zur Entstehung und Herkunft der Donaueschinger Handschrift 120’,Würzburger
Prosastudien, ii, ed. P. Kesting (Munich, 1975), 193–210; G. Steer:
‘Donaueschinger Liederhandschrift’, Die deutsche Literatur des Mittelalters:
Verfasserlexikon, ed. K. Ruh and others (Berlin, 2/1977–); L. Welker:
‘Donaueschinger Liederhandschrift’, MGG2
Beyond these four larger MSS, the earlier German repertory is
known from the sources dedicated exclusively to the poetry and music of Neidhart
von reuental
(D-B Mgf 779 and D-F germ.oct.18), and from a whole series of
single leaves and fragmentary sources as well as from larger late medieval
collections such as the ‘Sterzinger Miszellaneenhandschrift’ (Vipiteno,
Stadtarchiv) and the ‘Mondsee-Wiener Liederhandschrift’ (A-Wn 2856). The
following list is a relatively full census of song collections, and it gives a
representative selection of single leaves and fragments.
Sources, MS, §III: Secular monophony:
Bibliography
galego-portuguese
J. Ribera: La música de
las cantigas: estudio sobre su orígen y naturaleza
(Madrid, 1922; Eng. trans.,
abridged, 1929/R, as Music in Ancient Arabia and
Spain)
H. Anglès: La música de
las Cantigas de Santa María del Rey Alfonso el Sabio,
i–iii, PBC, xv (1943), xviii
(1958), xix (1964)
M.P. Ferreira: ‘Spania versus Spain in the Cantigas de Santa Maria’, España en la música de Occidente: Salamanca
1985, i, 109–11
M.P. Ferreira: O Som de
Martin Codax/The Sound of Martin Codax (Lisbon, 1986)
H.L. Sharrer: ‘Fragmentos de sete Cantigas d'Amor de D. Dinis, musicadas: uma
descoberta’, IV Congresso da
Associação Hispânica de Literatura Medieval: Lisbon 1991, i (Lisbon, 1991;
2/1993 as Literatura Medieval),
13–29
M.P. Ferreira: ‘Bases for transcription: Gregorian chant and the notation of the
Cantigas de Santa Maria’, Los
instrumentos del Pórtico de la Gloria: su reconstrucción y la música de su
tiempo, ed. J. López-Calo (La Coruña, 1993), ii, 595–621
E. Gonçalves: ‘Tradição manuscrita da poesia lírica’, Dicionário da Literatura Medieval Galega e Portuguesa, ed. G. Lanciani and G. Tavani (Lisbon, 1993)
M.P. Ferreira: ‘The Stemma of the Marian Cantigas: Philological and Musical Evidence’, Cantigueiros, vi (1994), 58–98
M.P. Ferreira, ed.: Cantus
Coronatus: Seven Cantigas d'Amor by Dom Dinis, King of Portugal and the Algarve (forthcoming)
Sources, MS, §III:
Secular monophony: Bibliography
italian
F. Liuzzi: La lauda e i
primordi della melodia italiana (Rome, 1935) [facs. and edn of entire musical
repertory; see also reviews by Y. Rokseth, Romania, lxv (1939), 383–94, and J. Handschin, AcM, x
(1938), 14–31]
G. Cattin: ‘Contributi alla storia della lauda spirituale’,
Quadrivium, ii (1958), 45–75
C. Terni: ‘Per una edizione critica del “Laudario di Cortona”’, Chigiana, new
ser., i (1964), 111–29
H. Anglès: ‘The Musical Notation and Rhythm of the Italian Laude’, Essays in Musicology: a Birthday Offering
for Willi Apel, ed. H. Tischler (Bloomington, IN, 1968), 51–60
H. Nolthenius: Duecento:
zwerftocht door Italië’s late middeleuwen (Utrecht, 1951; Eng. trans., 1968)
A. Ziino: ‘La laude musicale del Duo-Trecento: nuove fonti scritte e tradizione
orale’, Miscellanea di studi in
onore di Aurelio Roncaglia (Modena, 1980), 1465–73
G. Varanini, L. Banfi and A. Ceruti
Burgio, eds.: Laude cortonesi dal secolo XIII al XV (Florence, 1981–5)
Sources, MS, §III:
Secular monophony: Bibliography
other languages and later repertoires
H.E. Wooldridge and H.V. Hughes, eds.: Early
English Harmony (London, 1897–1913/R)
J., J.F.R. and C. Stainer, eds.: Early
Bodleian Music, i–ii (London and New York, 1901/R)
C. Brown and R.H. Robbins: The Index of
Middle English Verse (New York, 1943; suppl. 1965 by R.H. Robbins and J.L. Cutler)
C. Page: ‘A Catalogue and Bibliography of English Song from its Beginnings to c1300’, RMARC, no.13 (1976), 67–83
E.J. Dobson and F.Ll. Harrison, eds.: Medieval
English Songs (London, 1979)
Sources, MS, §III:
Secular monophony
SONG COLLECTIONS, ISOLATED MELODIES AND FRAGMENTS
in chronological order
13th century
Munich,
Bayerische Staatsbibliothek, Clm 4660, 4660a (‘Codex Buranus’ and
‘Fragmenta Burana’). c1230, South Tyrol, single German strophes with
staffless neumes. Facs. and commentary in B. Bischoff: Carmina
Burana: Faksimileausgabe (Munich and Brooklyn, NY, 1967); see also
§III, 2
[Lost
Schreiber fragment] [S]. See Taylor (1968), i, 92–3;
ii, 136–7
14th century
Vienna,
Österreichische Nationalbibliothek, Vind.2675 [A'].
c1300. 1 melody. Facs. in von den Hagen, 774; see also Brunner and
Wachinger, 290–91
Berlin,
Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Mgq 981 [Mb].
14th century. One melody. Facs. in E. Jammers: Tafeln zur Neumenschrift
(Tutzing, 1965), 139
Kremsmünster,
Benediktinerstift, Musikarchiv, 127 (formerly VII 18) [N],
f.130. Early 14th century. Neumatic notation for 2 lines of 1 song by Walther
von der Vogelweide. Facs. and description in H. Brunner and others, eds.: Walther
von der Vogelweide: die gesamte Überlieferung der Texte und Melodien
(Göppingen, 1977), 37*–38*, 50*, 162–3
Münster,
Staatsarchiv, VII 51 [Z]. 14th century. Parchment
bifolio with 5 melodies, 4 ascribed to Walther von der Vogelweide. Facs. and
description in H. Brunner and others, eds.: Walther von der Vogelweide
(Göppingen, 1977), 51*–58*, 80*–86*, 293–6
Basle,
Öffentliche Bibliothek der Universität, N I 3, Nr.145. Facs. in H.
Tervooren and U. Müller, eds.: Die Jenaer Liederhandschrift (Göppingen,
1972), appx; extensive study, facs. and edn in W. von Wangenheim: Das Basler
Fragment einer mitteldeutsch-niederdeutschen Liederhandschrift und sein
Spruchdichter-Repertoire (Berne and Frankfurt, 1972)
Berlin,
Geheimes Staatsarchiv, Stiftung Preussischer Kulturbesitz, XX. Hauptabteilung
(StA Königsberg), 33.1 (formerly Königsberg,
Provinzialarchiv). Early 14th century. See K. Stackmann and K. Bertau,
eds.: Frauenlob (Heinrich von Meissen): Leichs, Sangsprüche, Lieder
(Göttingen, 1981), i, 139
Engelberg,
Kloster, Musikbibliothek, 314. Late 14th century or early
15th. German religious songs in the first gathering. Facs. and commentary in W.
Arlt and M. Stauffacher: Engelberg Stiftsbibliothek Codex 314
(Winterthur, 1986)
Graz,
Universitätsbibliothek, 756 (‘Seckauer Cantionale’). Mid-14th
century. Several German religious songs with neumes. See J. Janota: ‘Seckauer
Cantionale’,Die deutsche Literatur des Mittelalters: Verfasserlexikon,
ed. K. Ruh and others (Berlin, 2/1977–)
Marburg,
Staatsarchiv, Bestand 147, Hr.1.2. Early 14th century. 2
parchment leaves. See K. Stackmann and K. Bertau, eds.: Frauenlob (Heinrich
von Meissen): Leichs, Sangsprüche, Lieder (Göttingen, 1981), i, 150–51
Melk an
der Donau, Bibliothek des Benediktinerstifts, s.s. 14th
century. Parchment bifolio containing part of Frauenlob's Marienleich.
See Stackmann and Bertau, 146–8
Munich,
Universitätsbibliothek, 4° 921. 2 leaves containing part of
Frauenlob's Marienleich. Facs. in K.H. Bertau: ‘Wenig beachtete
Frauenlobfragmente, II’,Zeitschrift für deutsches Altertum und deutsche
Literatur, xciii (1964), 215–26; see also Stackmann and Bertau, 139
Wrocław,
Biblioteka Uniwersytecka, I Q 368a (formerly frag.no.12). Early 14th
century. Parchment bifolio containing part of Frauenlob's Marienleich.
Facs. in J. Klapper: ‘Frauenlobfragmente’,Festschrift Theodor Siebs zum 70.
Geburtstag, ed. W. Steller (Breslau, 1933/R), 69–88; see also
Stackmann and Bertau, 149
15th century
Kraków,
Biblioteka Jagiellońska, Mus.ms.40580 (formerly Berlin,
Preussische Staatsbibliothek) [b]. 14th–15th centuries. See J. Wolf:
‘Zwei Tagelieder des XIV. Jahrhunderts’, Mittelalterliche Handschriften: …
Festgabe zum 60. Geburtstage von Hermann Degering, ed. A. Bömer (Leipzig,
1926/R), 325–7 (also pubd separately)
Leipzig,
Universitätsbibliothek, 1305. Early 15th century
(ff.107–10 dated 1382). See H.J. Moser: Geschichte der deutschen Musik,
i (Stuttgart, 1920, 5/1930/R); W. Jungandreas: ‘Das Ms. 1305 der
Universitätsbibliothek Leipzig, eine Handschrift aus Schlesien’, JbLH,
xix (1972), 205–12; Brunner and Wachinger, 193
Erlangen,
Universitätsbibliothek, B5 (formerly 1655). 15th century. 14
paper leaves containing 1 melody in staffless neumes. See Brunner and
Wachinger, 155
Basle,
Öffentliche Bibliothek der Universität, B XI 8. c1400.
See P. Kesting: ‘Die deutschen lyrischen Texte in der Basler Handschrift B XI
8’, Überlieferungsgeschichtliche Editionen und Studien zur deutschen
Literatur des Mittelalters: Kurt Ruh zum 75. Geburtstag, ed. K. Kunze, J.G.
Mayer and B. Schnell (Tübingen, 1989), 32–58
Darmstadt,
Hessische Landesbibliothek, 2225. Dated 1410. 10 songs with
melodies. See J. Wolf: ‘Deutsche Lieder des 15. Jahrhunderts’, Festschrift
zum 90. Geburtstage … Rochus Freiherrn von Liliencron (Leipzig, 1910/R),
404–20
Vipiteno (Sterzing),
Archivio di Stato (Stadtarchiv), s.s. (‘Sterzinger
Miszellaneen-Handschrift’). c1410–20. Facs. in E. Thurnher and M.
Zimmermann: Die Sterzinger Miszellaneen-Handschrift (Göppingen, 1979).
See also M. Zimmermann, ed.: Die Sterzinger Miszellaneen-Handschrift:
kommentierte Edition der deutschen Dichtungen (Innsbruck, 1980); M.
Zimmermann: ‘Sterzinger Miszellaneen-Handschrift’, Die deutsche Literatur
des Mittelalters: Verfasserlexikon, ed. K. Ruh and others (Berlin,
2/1977–); L. Welker: ‘Ein anonymer Mensuraltraktat in der Sterzinger
Miszellaneen-Handschrift’, AMw, xlviii (1991), 255–81
Berlin,
Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Mgf 922 (‘Berliner
Liederhandschrift’). c1420. See M. Lang and J.M. Müller-Blattau: Zwischen
Minnesang und Volkslied (Berlin, 1941); B. Schludermann: A Quantitative
Analysis of German/Dutch Language Mixture in the Berlin Songs mgf 922, the
Gruuthuse-Songs, and the Hague MS 128 E 2 (Göppingen, 1996)
Karlsruhe,
Badische Landesbibliothek, St Blasien 77 (‘Heinrich Otters
Liederbuch’). Dated 1439/42. See Brunner and Wachinger, 188
Munich,
Bayerische Staatsbibliothek, Cgm 811 (‘Liederbuch des Jakob
Käbitz’). c1430–50. See H. Fischer: ‘Jakob Käbitz und sein verkanntes
Liederbuch’,Euphorion, lvi (1962), 191–9; M. Curschmann: ‘Kebicz,
Jakob’, Die deutsche Literatur des Mittelalters: Verfasserlexikon, ed.
K. Ruh and others (Berlin, 2/1977–)
České
Budéjovice, Krajská Knihovna, 1 VB 8b (‘Hohenfurter Liederbuch’). c1450.
See B. Wachinger: ‘Hohenfurter Liederbuch’, Die deutsche Literatur des
Mittelalters: Verfasserlexikon, ed. K. Ruh and others (Berlin, 2/1977–)
Vienna, Österreichische
Nationalbibliothek, Series nova.3344 (‘Liebhardt Eghenfelders
Liederbuch’; ‘Schratsche Handschrift’). Before 1455. See H. Lomnitzer:
‘Liebhard Eghenvelders Liederbuch’, Zeitschrift für deutsche Philologie,
xc (1971), suppl., 190–216
Vienna, Österreichische Nationalbibliothek, Vind.2856 (‘Mondsee-Wiener
Liederhandschrift’). c1455–70. Gatherings 1–7 contain almost exclusively
works by theMonk of Salzburg; gatherings 8–10 also have songs by
other authors such as Heinrich von Mügeln and Albrecht Lesch. Facs. in H.
Heger: Mondsee-Wiener Liederhandschrift (Graz, 1968); see also L.
Welker: ‘Mondsee-Wiener Liederhandschrift’, MGG2; C. März, ed.: Die
weltlichen Lieder des Mönchs von Salzburg: Texte und Melodien (Tübingen,
1999), 64–72
Wienhausen, Klostermuseum, 9 (‘Wienhäuser
Liederbuch’). c1470. See J. Janota: ‘Wienhäuser Liederbuch’, Die
deutsche Literatur des Mittelalters: Verfasserlexikon, ed. K. Ruh and
others (Berlin, 2/1977–)
Rostock, Universitätsbibliothek,
phil.100/2 (‘Rostocker Liederbuch’). c1480. See A. Holtorf:
‘Rostocker Liederbuch’, Die deutsche Literatur des Mittelalters:
Verfasserlexikon, ed. K. Ruh and others (Berlin, 2/1977–)
Berlin, Staatsbibliothek zu
Berlin Preussischer Kulturbesitz, Mgo 280 (‘Liederbuch der Anna von
Köln’). c1500. See W. Salmen and J. Koep, eds.: Liederbuch der Anna
von Köln (um 1500) (Düsseldorf, 1954)
In addition to the larger 15th-century song collections listed
above, mention should be made of the sometimes very carefully prepared
autograph or author-supervised collections for the 15th-century poets Hugo
von Montfort
(D-HEu Cpg 329), Oswald von Wolkenstein (A-Wn 2777; Iu)
and Michel Beheim (D-HEu Cpg 312; Mbs Cgm
291). A-Wn 2856, though not an authorial MS, is almost exclusively
dedicated to only one author, the Monk of Salzburg. This MS and the two
Wolkenstein MSS are also interesting in containing monophonic song as well as
simple polyphony. Furthermore, the Wolkenstein MSS present a link to an
international polyphonic song repertory by the inclusion of polyphonic
contrafacta. The songbook of Anna von Köln (D-B Mgo 280) and the Berliner
Liederbuch (D-B Mgf 922) also contain works in a range of styles. These
last two repertories, in particular, show some striking similarities to the
Dutch song tradition of the time (see below). But in view of the proliferation
of styles among this disparate collection of MSS it seems especially
significant that the future of secular monophony lay not with these
comparatively compact song styles but with the almost prodigally expansive
Meistergesang, following the style of the material in the Colmar MS. Between
Colmar (c1460) and the songbook of Adam Puschman there are very few
major Meistergesang sources, but the connections between the two and the nature
of their repertories clearly establish the continuity and startling growth of
Meistergesang.
Robert Staiger estimated that in 1600 the repertory of
Meistergesang comprised about 700 melodies; but since versions of a melody
often differed widely a precise number is difficult to obtain. On the other
hand, the exhaustive and compendious nature of the surviving sources suggests
that they were intended as collections of all surviving melodies.
Breslau, Stadtbibliothek, 356 (1009) [lost] (‘Puschman's
Singebuch’). 460 paper leaves, folio size. Scribe: Adam
Puschman. Dated
1584, Jan 1588.
Contents: ff.2–22 Grunttlicher
Bericht des deutschen Meister Gesanges, 1571, rev. 1584; ff.23–94 Comedia
von dem frumen Patriarchen Jacob und seinem sone Joseph und seinen Brudern
(with 7 songs); ff.95–7, except from Colmar MS; ff.99–460, 327 Meisterlieder. Composers:
Frauenlob (25), Regenbogen (12), Hans Folz (14), Hans Sachs (13), Hans Vogl
(20) and others.
E. Bohn: Die musikalischen
Handschriften des XVI. und XVII. Jahrhunderts in der Stadtbibliothek zu Breslau
(Breslau, 1890), 375–420 [detailed index of contents]; G. Münzer, ed.: Das
Singebuch des Adam Puschman nebst den Originalmelodien des Michel Behaim und
Hans Sachs (Leipzig, 1906/R) [see also review by R. Staiger, SIMG,
viii (1906–7), 223]
Some further idea of the nature of Meistergesang MSS may be gained
from what can be reconstructed from the collection of Georg Hager, who numbered
his volumes. Those that have been located include: ii: D-Dl M 195 (lost,
formerly M 100), bound in 1580 but not finished until 1623, 386 leaves, many
hands, songs mostly unascribed but including Frauenlob (12), Müglin (3),
Regenbogen (4), Konrat Nachtigal (4), Hans Folz (5), Hans Sachs (13) and Hans
Vogl (7); iv: B germ.583, dated 11 July 1588, 337 leaves, many hands,
Frauenlob (9), Vogl (11), Nachtigal (7), Sachs (13); xi: WRz Q 571,
dated 1527–1629, bound 1596, c430 leaves, Frauenlob (11), Folz (9),
Sachs (10, incl. autograph entries), Vogl (10), Hager (5); xii: A-Wn
Vind.13512, 713 + 62 leaves, Frauenlob (22), Regenbogen (10), Nachtigal (10),
Fritz Zan (5), Folz (12), Vogl (18), Sachs (13), Michl Vogl (8), Adam Puschman
(9), Hager (18); xiii: D-Dl M 6 (lost), bound 8 March 1601, 499 + 116
leaves, with musical section on ff.335–457v written by Puschman,
ascriptions to Frauenlob (19), Regenbogen (9), Wolfram von Eschenbach (5),
Nachtigal (8), Folz (10), Sachs (10), Vogl (15), Onoferus Schwarzenbach (14),
Sepherinus Kriegsauer (11), Puschman (27), Hager (17).
Other important Meistergesang sources include D-HEu 392 (c1481,
122 leaves, 50 Töne) and HEu 680 (15th century, 88 leaves, 55 Töne):
both described by Holzmann in F. Pfeiffer's Germania, iii (Stuttgart,
1858), 308; B germ.fol.22, 23, 24 (c1603), 25 (c1615); Ju
El.fol.100 (prepared in 1558 in Magdeburg by Valentin Voigt); Nst Will
III 784 (c1616), 792–6 (c1670 and after; fig.28). Some of these
MSS contain over 600 leaves, and there are many others like them: it may be
some years before it becomes possible to compile a reasonably full catalogue of
the repertory.
H. Brunner: Die alten
Meister (Munich, 1975); F. Schanze: Meisterliche Liedkunst zwischen
Heinrich von Mügeln und Hans Sachs (Munich, 1983–4); F. Schanze:
‘Meisterliederhandschriften’, Die deutsche Literatur des Mittelalters:
Verfasserlexikon, ed. K. Ruh and others (Berlin, 2/1977–)
Sources, MS
IV. Organum and discant
1. General.
2. The Winchester
Troper.
3. Aquitanian and
related sources.
4. Parisian and
related sources.
BIBLIOGRAPHY
Sources, MS, §IV:
Organum and discant
1. General.
Most
surviving early polyphonic music is liturgical, an embellishment of the
services for high feasts of the church year and for ecclesiastical cults such
as that of the Blessed Virgin Mary in the 13th century. Yet its special nature
caused it to be gathered in collections that, though highly individual
artistically, are surprisingly anonymous in another sense. Liturgical polyphony
is not usually found in regular service books such as those described in §II,
whose provenance can be deduced from the liturgical use to which they conform;
more often it was noted separately, in miscellanies which included secular
music as well. Of the MSS described here, only GB-Ccc 473, E-SC
and GB-Lbl Eg.2615 contain exclusively liturgical music. The others all
include secular pieces, which, it is usually assumed, served as clerical or
courtly entertainment. Determination of provenance and date often therefore
requires a combination of liturgical comparisons (to find which use the source
‘fits’), paleography, and repertorial and stylistic evaluation.
Much
of the sacred music of these MSS is often referred to as ‘para-liturgical’,
including for instance many versus and conductus whose texts refer
clearly to one of the great feasts of the church year, but which have no
liturgical history in chant book or ordinal (see Versus
(i) and Conductus). The function of the
clausulas (see Clausula) of MSS in §4 is also disputed. The
survival of such a source as GB-Lbl Eg.2615 is particularly fortunate in
that it shows sacred conductus in a specific place in the liturgy; and its rich
repertory of prosulas (for example, the responsory Styrps Iesse, ff.62r–63r,
has prosulas on ‘almus’, ‘eius’ and ‘sancto’; compare the setting in I-Fl
Plut.29.1, ff.75r–76r, with clausulas on ‘Iesse’, ‘eius’ and
‘sancto’) is perhaps indicative of one role of clausula and motet in Parisian
sources.
Fragmentary
11th-century sources of liturgical polyphony, such as the Chartres group (F-CHRm
4, 109, 130) and the Fleury group (I-Rvat Ottob.lat.3025, Reg.lat.586,
592), are not described here; although interesting evidence of the early
cultivation of polyphony, they are individually very modest in scope (see
Gushee, 1965 and Arlt, 1993).
Sources
in §3 (and F-Pn lat.1139, in §II, 5) may be considered as a group
because of a significant number of concordances. But the geographical
dissemination of their repertory is wide, and its centre, if such there were,
unknown. With the exception of the Codex Calixtinus, and those MSS catalogued
by Bernardus Itier at St Martial (Pn lat.1139, 3549,
3719, which passed through his hands, and GB-Lbl Add.36881, which did
not, were long cited as sources of ‘St Martial polyphony’), they survive more
or less by chance; the polyphony cannot be considered as the product of a
‘school’.
Sources
in §4 contain music by Leoninus and Perotinus of Paris, and their
colleagues and successors (see also Philip the Chancellor). Several of them contain
exceptionally large repertories, and collect music written over the previous
half-century or more. I-Fl Plut.29.1, D-W 628 and 1099 bring
together collections of pieces of very different functions, both liturgical and
secular. Other MSS cover fewer genres, or only one. Only GB-Lbl Eg.2615,
from Beauvais Cathedral, can be assigned to a specific establishment. Of the
music of, for instance, St Louis’s royal household chapel we are almost
entirely ignorant, let alone that of his cousins Henry III of England (see I.
Bent, PRMA, xc, 1963–4, p.93) and Ferdinand III and Alfonso el Sabio of
Castile. Nor is it definitely known whether the absence of settings of the
Ordinary of the Mass in all but GB-Lbl Eg.2615 and D-W 628 is
fortuitous or whether it reflects differences of liturgical practice (and, if
so, whose?). It is understandable, therefore, that the most energetic research
has concerned musical style (e.g. Flotzinger, 1969, on the clausula
collections). The layering of the repertory is continually being clarified
while the dating and provenance of the MSS themselves are still sometimes
uncertain. Furthermore, the sources are often considerably later in date than
the music they contain.
Fragments
of 13th-century polyphony are relatively plentiful and continue to be
discovered (see, for example, Chew, 1978, Everist, 1984); they are too numerous
to be included here. Other sources related to those in §4 include GB-Cjc
QB1, from Bury St Edmunds, containing conductus particularly close to those in I-Fl
Plut.29.1 and D-W 628, and D-HEu 2588, from Germany. The late
influence in provincial areas of what was still, for them, a fashionable
monophonic and polyphonic liturgical repertory is seen in CH-SGs 383 and
D-Mbs lat.5539, in Germany; and in E-TO 97 and 135, in Spain. On
the other hand, GB-Lbl 27630 and CH-EN 314 contain more
independent repertories, comparable in this respect, though not of course in
musical sophistication or by concordances, to English sources (§VI). While
later sources of organum in Parisian style are rare (see F-MOf H196 and E-BUlh
below; and D-MGs, formerly Staatsbibliothek Preussischer Kulturbesitz
lat.4o 523, described by K. von Fischer, AcM, xxxvi, 1964,
p.80), the surviving motet repertory is large, giving the impression that the
‘central’ French tradition continued as a cultivation of the motet (see §V)
rather than the other forms found in the sources described here.
The
problem of utilizing valuable MS space for the polyphony in these books was
solved in varying ways. For music in note-against-note style (i.e. conductus
throughout this period), score was generally used. The exceptions are to be
found in the earliest sources: a handful of pieces in the Aquitanian MSS are
written in successive polyphony (see S. Fuller: ‘Hidden Polyphony – a
Reappraisal’, JAMS, xxiv (1971), 169–92); the organal parts of GB-Ccc
473 are in a fascicle separate from the cantus firmi they accompany (see fig.29).
The
performer of the sustained notes of Parisian organum needed to see the upper
part(s) in order to know when to change note, so score was also used in these
pieces, although it meant that some staves might have only one note on them, or
none at all (see fig.30). But the rhythm of motet tenors
was regular, and so the concisely notated tenor could be written after the more
extended texted voices (see fig.30).
Only
editions devoted to specific sources are cited with the respective MS below.
The most recent (and fundamentally different) editions of the 12th-century
polyphony are by Karp (1992) and Van der Werf (1993). The Parisian organa
dupla have been edited by Tischler (1988), the organa quadrupla and tripla
by Husman (1940) and Roesner (1993), the conductus by Anderson (1979–) and the
motets by Tischler (1982).
See also Organum; Discant; St Martial; Magnus liber; Notation,
§III, 2.
Sources, MS, §IV: Organum and discant
2. The Winchester Troper.
Cambridge, Corpus Christi College, 473. 198
parchment ff. (14·6 × 9·2 cm). Structure: 22 gatherings, alternating
quaternions and quinions (but 9 and 10 are both quaternions, 17 and 18, 20 and
21 are quinions). Notation: 16 lines of text per side, with English
non-diastematic neumes; significative letters; ‘instrumental’ letter notation;
the partial sequence texts embedded in 2 prosae are written in red
capitals (see Frere, pp.69, 84). Scribes: 3 main scribes (Holschneider):
the first wrote the troper and prosers, the second the sequentiary and
collection of organa, the third the alleluia fascicle. Date and provenance:
Winchester, Old Minster (Benedictine); the work of scribe 1 falls in the last
years of the 10th century (after death of Ethelwold in 984, and probably after
the official institution of his feast day in 996); scribe 2 worked in the 1st
half of the next century; scribe 3 c1050; Holschneider suggested that
the cantor Wulfstan (fl 992–6) composed the organa.
Contents: alleluia fascicle in what is now
the first gathering (but see H. Husmann, RISM, B/V/1, p.151); gatherings 2–6
contain tropes for the Proper of Mass; gatherings 7–9, tropes for the Ordinary,
with a tonary on ff.70v–73v (between Glorias and Sanctus);
gathering 10, sequentiary; 11–15, prosers; 16–21, collection of organa. Organa:
174 organal voices, without cantus firmus; 158 in main collection, 16
additions; the main collection has organa for 12 troped and untroped Kyries,
tropes for 7 Glorias, 19 tracts, 7 sequences (the collection peters out here,
and would presumably have continued with more sequences, Sanctus and Agnus
tropes), 53 alleluias, 1 Greek Gloria, and 59 pieces for monastic
Office.Alleluias series, tonary and notation style all link the tradition of
this MS to continental St Denis-Corbie practice; unfortunately, no troper or
collection of organa from those centres survives. The organa would supply
polyphony for the Gradual, Troper and Antiphoner of Old Minster; hence this MS
itself contains 68 appropriate cantus firmi, the troped Gradual GB-Ob
Bodley 775 has 91. The New Minster Missal F-LH 330 has no tropes. No
Winchester Antiphoner with music survives.PalMus, iii (1892), pl.179 [facs. of
ff.16v–17r]; W.H. Frere, ed.: The Winchester Troper, Henry
Bradshaw Society, viii (London, 1894/R) [facs. of ff.2v, 26v,
82r–88v, 96r–v, 146v, 153r–154v,
163r, 195r; edn of trope texts]; H.E. Wooldridge: Early
English Harmony, i (London, 1897), pls.II–VI [facs. of ff.135r–138r];
P. Wagner: Neumenkunde (Fribourg, 1905, 2/1912), 193 [facs. from f.16v];
H. Husmann, ed.: Tropen- und Sequenzenhandschriften, RISM, B/V/1 (1964),
150ff; RISM, B/IV/1 (1966), 453ff; A. Holschneider: Die Organa von
Winchester (Hildesheim, 1968) (facs. of ff.60r, 89r, 91r,
108v, 153r–155r, 164v–165r, 175v–176r,
177v, 184v; edn of 9 organa]; H. Besseler and P. Gülke: Schriftbild
der mehrstimmigen Musik, Musikgeschichte in Bildern, iii/5 (Leipzig, 1973),
pl.4a (facs. from f.153r]; B. Stäblein: Schriftbild der
einstimmigen Musik, Musikgeschichte in Bildern, iii/4 (Leipzig, 1975), pl.8
[facs. of ff.87v–88r]: A.E. Planchart: The Repertory of Tropes
at Winchester (Princeton, NJ, 1977); S. Rankin: ‘Winchester Polyphony: the
Early Theory and Practice of Organum’, Music in the Medieval English Liturgy,
ed. S. Rankin and D. Hiley (Oxford, 1993), 59–99; D. Hiley: ‘The English
Benedictine Version of the Historia Sancti Gregorii and the Date of the
“Winchester Troper” (Cambridge, Corpus Christi College, 473)’, Cantus Planus
VII: Sopron 1995, 287–303
Sources, MS, §IV:
Organum and discant
3. Aquitanian and related sources.
Paris, Bibliothèque National de France, lat.1139 [St-M A].
See §II, 5.Paris, Bibliothèque Nationale de France, lat.3549 [St-M
B]. 169 ff. (19·5 × 14 cm); self-contained music section ff.149–69. Notation:
Aquitanian neumes on 5 pairs of staves of 4 dry-point lines each: for polyphony
the staves are separated by a red line; the 2 polyphonic Benedicamus settings
in the monophonic section of the MS both have cantus firmus and vox
organalis on the same staff, in the first piece there are only 3 cantus
firmus notes in red ink, in the second piece each cantus firmus note has a
circle round it. Date and provenance: 12th century, Aquitanian; the MS
was in St Martial, Limoges, by 1205, when librarian Bernardus Itier had it
rebound.
Contents: 35 pieces, 19 of which are
polyphonic for 2 voices. The polyphonic section comes first; it includes a
trope for a Marian responsory, 9 prosae and a Benedicamus
substitute. Monophonic pieces follow, beginning with 2 troped Kyries and tropes
for 4 Sanctus; the 2 polyphonic Benedicamus interrupt this section. Most
other pieces in the MS are versus. Pieces from f.167v are additions,
2 without music.
MGG1 (‘Motette’, L. Finscher [incl. facs.
of f.166v]; ‘Notre-Dame-Epoche’, H. Husmann [incl. facs. of f.159v];
‘Saint-Martial’, B. Stäblein [incl. facs. of ff.150v–151r]); B.
Stäblein: ‘Modal Rhythmen im Saint-Martial-Repertoire?’, Festschrift
Friedrich Blume, ed. A.A. Abert and W. Pfannkuch (Kassel, 1963), 340–62;
RISM, B/IV/1 (1966), 404ff; Fuller (1969), 357, 395; H. Hofmann-Brandt: Die
Tropen zu den Responsorien des Officiums (diss., U. of Erlangen, 1971), i,
142f [facs. of f.157r–v]; B. Stäblein: Schriftbild der einstimmigen
Musik, Musikgeschichte in Bildern, iii/4 (Leipzig, 1975), pl.38 [facs. of
f.165r]; B. Gillingham, ed.: Paris, B. N., fonds latin 3549 and
London, B.L., Add.36,881 (Ottawa, 1987) [facs.]Paris, Bibliothèque Nationale
de France, lat.3719 [St-M C]. 115 ff. (15·3 × 10·4 cm); music from
f.15. Notation: 4 main hands (Fuller, Grier), ff.15–22, 23–32, 33–44 and
45–92 respectively; from f.33 there are usually staves of 4 dry-point lines (7
or 8 staves per page ff.33–44, thereafter 6), with clefs and custodes;
elsewhere the notation is heterogeneous, for example with less exactly heighted
neumes, which do not use whatever ruling there may be, and an example of square
notation on ink lines (transcribing a vox organalis from the opposite
page); polyphony is usually in score, but 2 pieces are in successive notation
(ff.29–31); on f.27 the vox organalis appears without text in the top
half of the page, the vox principalis with text in the lower half;
sometimes the vox organalis is in a different hand from the vox
principalis, sometimes space is left over a monophonic line for a second
voice, sometimes there is no music at all but space for 2 voices in score; the
fact that 2 pieces begin at the second line of text, and that 2 others lack
music for alternate lines, may mean that successive polyphony was originally
given or planned here too. Date and provenance: 12th century,
Aquitanian; Virginis filium (f.26) is for St Benignus of Angoulême; St
Martial librarian Bernardus Itier wrote on f.115v ‘Hec scripsi anno
1210’.
Contents: Spanke (and RISM) suggested 5
fascicles (ff.15–22, 23–32, 33–44, 45–89, 89v–100), but ff.93–100v
contain Matins of the BVM with 9 lessons, ff.101–107v lessons and chant
text incipits for her votive Office with music for 4 more items. The first 2
fascicles are miscellaneous, containing both sacred and secular versus, Benedicamus
substitutes, introductions to lessons, 2 respond prosulas, and 2 Sanctus;
several pieces are found in a more or less complete state elsewhere in the MS.
2 monophonic troped Kyries (ff.33–34v) are followed by versus;
the polyphony from f.45 includes 7 prosae (usually the setting goes only
to the third double verse, unless the prosa is short; for the repeating
music usually only the vox principalis is given, but occasionally both);
for the polyphonic Benedicamus monophonic tropes are provided; the end
of this section includes tropes for 2 Agnus Dei and 4 Sanctus (monophonic).
Polyphony is distributed as follows: fasc.1, 5 pieces (1 repeated later),
fasc.2, 4 pieces (1 repeated later), fasc.3, 1, fasc.4, 23 (2 earlier), fasc.5,
2.
MGG1 (‘Notre-Dame-Epoche’, H. Husmann
[incl. facs. of f.46v]; ‘Saint-Martial’, B. Stäblein [exx.2, 3, 5]);
Spanke, 308, 397; W. Lipphardt: ‘Unbekannte Weisen zu den Carmina Burana’, AMw,
xii (1955), 122–42 [facs. of ff.27r, 28v, 88r]; B.
Stäblein: ‘Modale Rhythmen im Saint-Martial-Repertoire?’, Festschrift
Friedrich Blume, ed. A.A. Abert and W. Pfannkuch (Kassel, 1963), 340–62;
RISM, B/IV/1 (1966), 406ff; Fuller (1969), 354, 383; B. Stäblein: Schriftbild
der einstimmigen Musik, Musikgeschichte in Bildern, iii/4 (Leipzig, 1975),
pl.37 [facs. of ff.38v–39r]; B. Gillingham, ed.: Paris,
Bibliothèque Nationale, fonds latin 3719 (Ottawa, 1987) [facs.]Santiago
de Compostela, Biblioteca de la Catedral Metropolitana, s.s. (‘Codex
Calixtinus’, ‘Liber Sancti Jacobi’, ‘Jacobus’). 195 ff. (now 29·5 × 21 cm);
modern foliation 1–196 (f.191 is missing); a further 29 ff. (now 30 × 21·5 cm),
containing the story of Charlemagne’s peers by the pseudo-Archbishop Turpin of
Rheims, was removed from between ff.162 and 163 in 1619 and is now kept
separately. Scribes: Hämel asserted that the original text was written
by 1 scribe, but that the present codex contains some replacement copies (ff.156–60)
and additions (f.128 Mass of St James’s Miracles; ff.185–96 polyphonic
supplement, letter attrib. fictitiously to Pope Innocent II, a pilgrim’s song,
miracles [the last dated 1190], etc.). Notation: all in 1 hand except
for the pilgrim’s song on f.193r (in diastematic Aquitanian neumes),
east-central French neumes (i.e. with Lorraine-Messine influence) on staves of
4 ink lines (some brief incipits without lines); the characteristic forms of climacus,
clivis and cephalicus used in this MS are also found together in
a 12th-century gradual-antiphoner from Nevers (F-Pn n.a.lat.1235, 1236);
vertical lines in the polyphonic pieces to help align voices and text; for 2
pieces (ff.131r–v) a second voice has been added on the same
staff (for the first it was taken from the polyphonic version of the piece in
the supplement; for the second it was written in red ink); for Congaudeant
catholici (f.185) the lower staff has 2 voices, one in red ink.
Contents: book 1 (ff.1–139v): letter
fictitiously attrib. Pope Calixtus II (1119–24), legendary editor of the codex;
list of contents; lectionary and homiliary for feasts of St James (Vigil 24
July, Passion of St James 25 July, ferias and Octave 26 July–1 Aug, Translation
30 Dec, Octave 6 Jan). Music for the same feasts: f.101v Office and Mass
for 24 July; Office, including Matins with a ‘Hymnus’, i.e. versus,
after the Venite, and Mass for 25 July; f.122v masses within and
on the Octave, music incipits only; f.128 the added leaf with directions for a
new Mass of the Miracles of St James 11 Oct, without music; f.129 Office and
Mass for 30 Dec and Octave. F.130 troper for the liturgies of 25 July: a prosa,
a Benedicamus and 4 conductus (3, or possibly all 4, to introduce
lessons) for the Office; and a prelude versus, introit trope, troped
Kyrie, troped Gloria, farsed epistle, troped Sanctus, troped Agnus and Benedicamus
substitute for the Mass.
Book 2 (ff.140–155v): 22 Miracles of St
James.
Book 3 (ff.155v–162): Legend of St James
and of his Translation to Galicia.
Book 4 (now separated, except for illuminated
title-page on f.162v): Book of the pseudo-Turpin.
Book 5 (now called book 4; ff.163–184v):
description of the roads to Santiago (in the account of the
Tours-Poitiers-Bordeaux route, at Saintes, a Passio Sancti Eutropii is
included).
Ff.185–190v: supplement of 20 polyphonic
pieces. Ff.190v–196v: continuation of the supplement; polyphonic versus
by Aimeric Picaud (in successive notation); letter fictitiously attrib. Pope
Innocent II (1130–43); Greek Alleluia; more miracles of St James, poems (f.193v
pilgrim’s song in Latin with ?Galician refrain).
Date and provenance: in 1173 Arnaldus de
Monte, monk of Ripoll, made a copy (now E-Bac Ripoll 99) of this MS in
Santiago; although of the music Arnaldus copied only a less full version of the
Mass of 25 July (in Ripoll neumes), he did include material from the supplement
(Ad honorem regis summi by Aimeric Picaud, defective in SC s.s.
because of the missing f.191, Pope Innocent’s letter, the miracles dated 1139
and 1164 but not that dated 1190). It would seem that practically all of SC
s.s., with polyphony, was in Santiago by 1173. Its notator, however, was
trained in central France, and the painter of the miniatures was French,
despite his portrayal of Charlemagne with a Visigothic crown. The style of
notation supports Hohler’s view that SC s.s. was copied at or near
Vézelay, Aimeric Picaud probably being responsible for the polyphony.
P. Wagner: Die Gesänge der Jakobusliturgie zu
Santiago de Compostela (Fribourg, 1931) [facs. and edn of music]; W.M.
Whitehill, J. Carro García and G. Prado, eds.: Liber Sancti Jacobi: Codex
Calixtinus (Santiago de Compostela, 1944) [edn of text of all 5 books,
facs. and edn of all music]; A. Hämel: ‘Überlieferung und Bedeutung des Liber
Sancti Jacobi und des Pseudo-Turpin’, Sitzungsberichte der
philosophisch-historischen Klasse der Bayerischen Akademie der Wissenschaften
(1950), no.2, pp.1–75; RISM, B/IV/1 (1966), 238ff; Fuller (1969), 360, 400; C.
Hohler: ‘A Note on Jacobus’, Journal of the Warburg and Courtauld Institutes,
xxxv (1972), 31–80; J. López-Calo: La música medieval en Galica (La
Coruña, 1982), 45–52 [facs. of polyphony]; M.C. Diaz y Diaz: El Códice
Calixtino de la Catedral de Santiago: estudio codicológico y de contenido
(Santiago de Compostela, 1988); D. Hiley: ‘Two Unnoticed Pieces of Medieval
Polyphony’, PMM, i (1992), 167–73; Jacobus: Codex Calixtinus de la
Catedral de Santiago de Compostela (Madrid, 1993) [complete facs.]London,
British Library, Add.36881 [St-M D]. 27 ff., consisting of 3
quaternions (16 × 10·5 cm) and 3 single leaves of parchment (13 × 10 cm);
between the second and third gatherings at least one gathering is missing; red
ink pagination 1–54, British Museum pencil foliation 1–27. Notation:
ff.1–24 small south French-Catalan square notes on 7 to 9 staves of 4 or 5
dry-point lines (in polyphonic pieces vox organalis usually on 5 lines, vox
principalis on 4, separated by a broken or continuous red line) with clefs
(G, C or F, sometimes only 
); Stäblein (1963) found forms of pes
and clivis similar to this MS used together in only four other
12th–13th-century sources from Catalonia and southern France; ff.25–7 untidy
north French square notes on 4 red lines. Date and provenance: unknown.
Contents: ff.1–16: 19 polyphonic pieces (at
least 10 Benedicamus substitutes), followed by 9 monophonic pieces (the
first three are Sanctus tropes, then come 2 prosae, for the BVM and John
the Baptist, finally 2 Latin rondeaux, the first of which is also found in I-Fl
Plut.29.1, the second incomplete). Ff.17–24 begin in the middle of a polyphonic
prosa; there follow 8 other polyphonic pieces, then 6 monophonic pieces
(2 without music), the last 4 being Benedicamus substitutes. Ff.25–7: Planctus
ante nescia, the lament of the BVM.
MGG1 (‘Saint-Martial’; B. Stäblein [exx.4,
9; incl. facs. of ff.3v–4]; H. Spanke: ‘Die Londoner St. Martial
Conductushandschrift’, Butlletí de la Biblioteca de Catalunya, viii
(1928–32), 280–300 [facs. of ff.11v–12r; edn of 29 texts]; H.
Anglès: ‘La musica del MS de Londres British Museum Add.36881’, Butlletí de
la Biblioteca de Catalunya, viii (1928–32), 301–14 [edn of 11 pieces]; C.
Parrish: The Notation of Medieval Music (New York, 1957, 2/1959),
pl.XXII [facs. of ff.2r–v]; B. Stäblein: ‘Modale Rhythmen im
Saint-Martial-Repertoire?’, Festschrift Friedrich Blume, ed. A.A. Abert
and W. Pfannkuch (Kassel, 1963), 340–62; RISM, B/IV/1 (1966), 59ff; B.
Gillingham, ed.: Paris, B. N., fonds latin 3549 and London, B.L., Add 36,881
(Ottawa, 1987) [facs.]Cambridge, University Library, Ff.I.17. 8 ff.
(19·8 × 13·5 cm), once flyleaves of a 14th-century English MS, since separated;
they are 4 bifolios at present kept in 2 sets of 2 and foliated 1–8; a previous
pencil foliation 1–4, 298, 297, 300, 299 reveals their order when used as
fly-leaves; they are correctly a self-contained quaternion and should be read
in the order 2, 1, 5–8, 4, 3. Notation: a cursive notation where no
distinction is made between virga and punctum, all single notes
being drawn with a horizontal stroke turning down at the right in a thin tail;
staves of 4 or 5 lines, first red, later black and brown; vertical strokes to
help align voice(s) and text; the potpourri of prosa and other chant
incipits and their contrafacta Amborum sacrum spiramen is combined with
a Benedicamus Domino whose sustained cantus firmus notes are each
notated as a succession of notes of the same pitch; Schumann distinguished 11
text hands; number of music hands not determined. Date and provenance:
early 13th century; as fly-leaves, received ‘ex dono’ mark of Roger of Shepshed
(near Leicester).
Contents: 21 monophonic pieces (9 lack
music), 13 polyphonic pieces (all for 2 voices except Verbum Patris
humanatur o o for 3). There are several versus, 1 troped Agnus Dei,
5 Benedicamus substitutes (one for St Thomas of Canterbury), 4
introductions to lessons (one for St Nicholas with a French refrain, ed. B.
Stäblein, MGG1, ‘Saint-Martial’, ex.6); 5 didactic poems. Concordances
include 3 with Aquitanian MSS described above, 3 with I-Fl Plut.29.1, 1
song found in the Rouen shepherds’ play (F-Pn lat.904), and 1 with
Norman-Sicilian MSS (E-Mn 289 and Vitrina 20, 4).
H.E. Wooldridge: Early English Harmony, i
(London, 1897), pls.25–30 [facs. of all polyphony except f.7v]; O.
Schumann: ‘Die jüngere Cambridger Liedersammlung’, Studi medievali, new
ser., xvi (1943–50), 48–85 [edn of 25 texts]; W. Lipphardt: ‘Einige unbekannte
Weisen zu den Carmina Burana aus der zweiten Hälfte des 12. Jahrhunderts’, Festschrift
Heinrich Besseler, ed. E. Klemm (Leipzig, 1961), 101–26, esp. pls.5, 6, 14,
15 [facs. of ff.1, 1v, 5, 7]; RISM, B/IV/1 (1966), 485–6; Anderson, pl.3
[facs. of f.2]; B. Gillingham, ed.: Cambridge, University Library, Ff.i.17(1)
(Ottawa, 1987) [facs.]
Sources, MS, §IV:
Organum and discant
4. Parisian and related sources.
London, British Library, Eg.2615 [LoA].
111 ff. (21·8 × 13·3 cm); British Museum foliation (1894) 1–78, then an
unnumbered folio called since Ludwig (1910) 78bis, then 79–110. Structure:
mainly quaternions; ff.73–78bis is a 7-leaf gathering (f.75 is the
single); a gap in the series of original gathering signatures reveals that a
gathering is missing after f.40; last gathering signature f.72v; the
gathering ending f.94 ends in the middle of a piece. Everist has shown that the
parchment of ff.79–94 was ruled identically to part of D-W 1099 and is
therefore from Paris. Scribes: first scribe and notator wrote ff.1–68,
95–110; another scribe and notator ff.79–94; a different notator wrote
polyphony for the first scribe (upper voices of Orientis partibus,
ff.43–44v, and ff.69–72v of the polyphonic supplement); further
additions in other hands ff.73–8; same coloured initials for both the first
section and ff.79–94. Notation: the pen of the first notator is tilted
in typical Picardian style (cf F-Psg 117, 13th-century antiphoner from
St Michel, Beauvais) so that all puncta are rhombs; virga has
tail to left; thus climacus is 3 rhombs with descending tail to the left
of the first (‘Rautenternaria’); rhomboid forms are also used by other hands,
but not by the notator of ff.79–94, who, however, does use rhomb-ternaria;
staves of 4 or 5 red lines (3 for the lections at end of MS, green for middle
voice of Orientis partibus); 10 staves per page to f.69r, 12
thereafter. Date and provenance: the Laudes regiae of the Mass
name Pope Gregory IX (1227–41); the Daniel play is announced as having been
written in Beauvais (for other evidence of the tradition of an elaborate
Circumcision Office at Beauvais, see Hughes, 1966); MS in Beauvais until at
least 1775; in 1848 it was in Padua; purchased by British Museum in 1883.
Contents: ff.1–68v: Office and Mass
for New Year’s Day (Feast of Circumcision, ‘Feast of Fools’), including
plainsong for first Vespers, Procession to the Rood, Compline, Matins, Lauds
(probably a Procession is missing after this), Mass, Sext, None, second
Vespers; there is rich provision of tropes (especially for the responsories)
and conductus (e.g. each of the last eight lessons of Matins is preceded by a
conductus); polyphony (‘cum organo’) is rubricated 11 times, and a set of
antiphons at first Vespers is directed to be begun ‘cum falseto’.
Ff.69–78v: settings for 3 voices of 3
pieces mentioned in the foregoing first Vespers and 2 mentioned in the
Procession; these are an alleluia verse, with a text for the 2 upper voices; a versus;
a troped responsory (prelude and median tropes set for 2 voices, prosula set
for 3 voices); another troped responsory (without text); Serena virginum
(melismatic tenor and 2 upper voices all in score, words not entered). F.76v
also contains a hymn setting for 3 voices, and on ff.77v–78 is another
setting of the median trope above, this time for 3 voices; the rest of these
added leaves are blank.
Ff.79–94: Perotinus’s organum quadruplum Viderunt,
followed by 11 pieces for 3 voices; these are a responsory, the alleluia verse
and versus on ff.69–72v above, 5 conductus, 2 motets where all 3
parts are written in score with text for the upper voices under the tenor (one
is Serena virginum), and the troped responsory on ff.74r–v
above.
Ff.95–108r: the Play of Daniel. Ff.108v–110r:
2 lections.
Ludwig (1910), 229; D.G. Hughes: ‘Liturgical Polyphony
at Beauvais in the Thirteenth Century’, Speculum, xxxiv (1959), 184–200
[facs. of f.73]; RISM, B/IV/1 (1966), 501ff; D.G. Hughes: ‘The Sources of Christus
manens’, Aspects of Medieval and Renaissance Music: a Birthday Offering
to Gustave Reese, ed. J. LaRue and others (New York, 1966/R),
423–34; W. Arlt: Ein Festoffizium des Mittelalters aus Beauvais in seiner
liturgischen und musikalischen Bedeutung (Cologne, 1970) [complete edn of
Circumcision Office, and 5 polyphonic pieces]; J. Stenzl: Die vierzig Clausulae
der Handschrift Paris Bibliothèque Nationale Latin 15139 (Berne, 1970),
pls.6 and 7 [facs. of ff.9v and 74v]; Anderson, pl.2 [facs. of
f.73v]; M. Everist, ed.: French 13th-Century Polyphony in the British
Library: a Facsimile Edition of the Manuscripts Additional 30091 and Egerton
2615 (folios 79–94v) (London, 1988)Wolfenbüttel, Herzog August
Bibliothek, Guelf.628 Helmst. (Heinemann catalogue 677; fig.30) [W1].
197 ff. (21 × 15 cm); orig. 215 ff. as an older foliation (i–xxix, 30–68, 68bis,
69–214) makes clear (i–ii, vii–viii, 36–7, 51–2, 83–4, 177–84 now missing);
modern foliation 1–197. Scribes: different phases of same hand
throughout (Brown, 1981), or 3 different scribes (the first writing fascs.1–5,
8–10, 7 as supplement to 2; the second writing fasc.6; the third fasc.11). Notation:
square (modal) notation with many English characteristics, especially in
fasc.11: brevis pairs as 2 rhombs (see fig.30), brevis between 2 longs as a rhomb, alone as clef
(fasc.6 and f.67v [59v]), rhomb-ternaria, notes written as a long
wavy line or string of rhombs (ff.146v–147 [137v–138], etc.; see
Handschin, pp.116–17 and footnote).
Contents: since Ludwig (1910) 11 fascicles
are usually counted. Fasc.1 (ff.iii–vi [1–4]): 2 organa quadrupla; 1
clausula for 4 voices. Fasc.2 (ff.ix–xvi [5–12]): 4 organa tripla; 4
conductus for 3 voices (Benedicamus substitutes). Fasc.3 (ff.xvii–xxiv
[13–20]): 11 organa dupla for the Office, followed by 2 organa dupla
for Office of St Andrew and 1 organum duplum gradual for Assumption of
BVM; tropes for 1 Sanctus for 2 voices. Fasc.4 (ff.xxv–xxix, 30–35, 38–48
[21–42]): 32 organa dupla for the Mass. Fasc.5 (ff.49–50, 53–4 [43–6]):
33 clausulas for 2 voices. Fasc.6 (ff.55–62 [47–54]): 70 clausulas for 2
voices, 1 conductus for 2 voices. Fasc.7 (ff.63–8, 68bis, 69 [55–62]): 5
organa tripla. Fasc.8 (ff.70–82, 85–94 [63–85]): 18 conductus for 3
voices (for the first the third voice was never entered, the start of the last
is missing because of 2 lost folios); 2 organa tripla; 1 conductus for 3
voices, 1 organum triplum; 1 clausula for 3 voices, 3 Sanctus tropes for
3 voices; 2 Agnus tropes for 3 voices. Fasc.9 (ff.95–176 [86–167]): 4 conductus
whose first part is for 3 voices, second part for 2; 3 organa dupla (Benedicamus
settings); 1 conductus for 2 voices; 1 organum duplum (Benedicamus
setting); 28 conductus for 2 voices; tropes for 1 Agnus for 2 voices; 49
conductus for 2 voices; tropes for 1 Agnus for 2 voices. Fasc.10 (ff.185–92
[168–75]): 3 monophonic conductus (first lacks beginning because of missing
quaternion); tropes for 6 monophonic Sanctus for week’s cycle of Lady Masses;
tropes for 6 monophonic Agnus for the same; 1 explicit (by a certain
Walterus) set to music (15th-century addition). Fasc.11 (ff.193–214 [176–97];
all music for Lady Mass for two voices): tropes for 7 Kyries; 1 troped Gloria;
9 alleluias; 1 tract; 14 sequences; 8 offertories and tropes; tropes for 4
Sanctus; tropes for 3 Agnus.
Date and provenance: compiled c1240
(different sections at different times) for, and possibly in, St Andrews,
Scotland (chapter of cathedral formed by canons of Augustinian priory since
1144), where its presence is attested by a 14th-century explicit (f.64
[56]). Taken from St Andrews in 1553 by Marcus Wagner (with other Scottish MSS
including D-W Guelf.499 Helmst. (Heinemann catalogue 538) from Arbroath,
whose fly-leaves also contain polyphony) for Flacius Illyricus. Bought from
Flacius’s widow by Count Heinrich Julius of Brunswick-Wolfenbüttel and
presented to his newly founded University of Helmstedt (suppressed 1810).
MGG2 (‘Notre Dame und
Notre-Dame-Handschriften’ [incl. facs. of f.13 (17)]); Ludwig (1910), 7; J.H.
Baxter: An Old St. Andrews Music Book (London, 1931/R) [facs.1];
J. Handschin: ‘Conductus-Spicilegien’, AMw, ix (1952), 101–19; RISM,
B/IV/1 (1966), 97–171; Flotzinger, 220; E.H. Roesner: The Manuscript
Wolfenbüttel, Herzog-August-Bibliothek, 628 Helmstadiensis: a Study of its
Origins and of its Eleventh Fascicle (diss., New York U., 1974); E.
Roesner: ‘The Origins of W1’, JAMS, xxix (1976), 337–80; J.
Brown, S. Patterson and D. Hiley: ‘Further Obsevations on W1’, Journal
of the Plainsong & Mediaeval Music Society, iv (1981), 53–80; M.
Everist: ‘From Paris to St. Andrews: the Origins of W1’, JAMS,
xliii (1990), 1–42; M. Staehelin, ed.: Die mittelalterliche Musikhandschrift
W1: Vollständige Reproduktion des ‘Notre Dame’-Manuskripts der
Herzog August Bibliothek Wolfenbüttel Cod. Guelf. 628 Helmst. (Wiesbaden,
1995) [facs.]Wolfenbüttel, Herzog August Bibliothek, Guelf.1099 Helmst.
(Heinemann catalogue 1206) [W2]. 255 ff. (18 × 13 cm);
modern foliation 1–218, 218a, 219, 219a, 220–53; f.211 should
follow f.215; the 33 gatherings are mainly quaternions, leaves are missing at
the beginning and after ff.5, 46 and 133. Scribes: 10 fascicles usually
distinguished since Ludwig (1910); according to Everist (1989, p.101), the MS
in its present state is the work of 6 or 7 scribes: scribe 1 wrote fasc.1;
scribe 2 (perhaps the same as 1) wrote fascs.2, 4 and 5; scribe 3 wrote the
first gathering of fasc.3 (ff.31–38v) and fasc.6; scribe 4 wrote the
second gathering of fasc.3 (ff.39–46v); scribe 5 wrote fasc.7; scribe 6
wrote fasc.8; scribe 7 wrote fascs.9 and 10. Notation: square (modal);
steep angle of the pen for currentes; there are a few mensural ligature
forms: to the 10 instances of ligatures cum opposita proprietate cited
by L. Dittmer, MD, ix (1955), p.42, n.8, may be added 6 on f.8v;
both ascending and descending long-breve binaria may be seen on f.51v,
line 7. Date and provenance: probably Parisian, middle of 13th century
(Everist, 1989); like D-W 628, this MS passed through the hands of
Flacius Illyricus.
Contents: fasc.1 (ff.1–5): end of an organum
quadruplum; a clausula for 4 voices. Fasc.2 (ff.6–30): 12 organa tripla.
Fasc.3 (ff.31–46): 10 conductus for 3 voices. Fasc.4 (ff.47–62): 15 organa
dupla for the Office. Fasc.5 (ff.63–91): 35 organa dupla, of which
30 are for Mass, 1 is the Easter processional antiphon Crucifixum in carne,
and 4 are Benedicamus settings. Fasc.6 (ff.92–122): 12 conductus for 2
voices. Fasc.7 (ff.123–44): ff.123–133v contain 12 motets for 3 voices
(the end of the last is missing) with one Latin text for the upper voices,
which are notated in score with the tenor at the end; ff.134–138v
contain 5 motets for 3 voices (the start of the first is missing) with one
French text, notated like the previous group; ff.138v–144v
contain 9 conductus for 2 voices (the last without music, space for 2 staves
per line of text). Fasc.8 (ff.145–92): ff.145–155v contain 19 Latin
motets (one in 2 sections) for 2 voices, ordered alphabetically by first letter
of motetus text; ff.155v–178 contain another alphabetical series of 29
Latin motets for 2 voices, within which are found Perotinus’s monophonic Beata
viscera, 2 motets for 3 voices (2 texts, successive notation), and after
the second of these, which is based on the Mors melisma, texted versions
of the duplum parts of 2 extracts from each of Perotinus’s organa quadrupla
Viderunt and Sederunt; ff.178–190 contain another alphabetical
series of 28 Latin motets for 2 voices, within which is a Latin motet for 3
voices (2 texts, notated successively); ff.190–192v contain 7 Latin
motets for 2 voices; between ff.145 and 157 7 French motetus incipits are
written in red ink in the margin, referring to Latin counterparts on those
pages. Fasc.9 (ff.193–210, 212–15, 211): 22 French motets for 3 voices with 2
texts, notated successively, but including one with a Latin triplum and one
with a French texted tenor; for one the triplum was never entered; also 1
French motet for 4 voices with 3 different texts. Fasc.10 (ff.216–18, 218a,
219, 219a, 220–253v): ff.216–222 contain 19 French motets for 2
voices, arranged alphabetically; ff.222–248 contain another alphabetical series
of 60 French motets for 2 voices; ff.248v–252 contain 8 French motets
for 2 voices, the start of another alphabetical series; ff.252–253v
contain 3 French motets for 2 voices, possibly the end of an alphabetical series.
MGG2 (‘Notre Dame und
Notre-Dame-Handschriften’ [incl. facs. of f.16r]); Ludwig (1910), 157;
F. Gennrich: Bibliographie der ältesten französischen und lateinischen
Motetten, SMM, ii (Darmstadt, 1957); L. Dittmer: Faksimile-Ausgabe der
Handschrift Wolfenbüttel 1099 Helmstadiensis (1206) (Brooklyn, NY, 1960)
[facs.]; RISM, B/IV/1 (1966), 171–202; G.A. Anderson: The Latin Compositions
in Fascicules VII and VIII of the Notre Dame Manuscript Wolfenbüttel Helmstedt
1099 (1206) (Brooklyn, NY, 1968–76) [edn, trans. and commentary]; Everist
(1989)Florence, Biblioteca Medicea Laurenziana, Plut.29.1 [F].
441 ff. (23·2 × 15·7 cm); old foliation i–cclv, beginning after a front leaf
bearing a full-page illustration on the verso, which reveals that former
ff.49–64, 94, 185–200 and 255–6 are missing; modern system (used in all studies
of the MS) continues the original foliation from 356 to 476, ignoring further
lacunae after f.398 and f.414; most recent foliation 1–441; unusually large
gatherings, mainly of 7–11 bifolios. Scribes: 1 hand throughout, except
for added mensural music ff.252v–254v and an added monophonic
conductus ff.451r–v. Illumination: Johannes Grusch
atelier, Paris (Branner), whose work is also found in F-R 277 (Rouen
missal, 1231–45), Pn lat.15613 (Paris breviary, c1250), Pn
lat.9441 (Paris missal, c1250). Notation: square (modal, except
for the mensural additions ff.252v–254v; the added conductus
ff.451r–v distinguishes unusually clearly between normal and
duplex longs).
Contents: since Ludwig (1910) 11 fascicles
are usually distinguished. Fasc.1 (ff.1–13): 3 organa quadrupla, 3
conductus for 4 voices (actually pairs of conductus for 2 voices set one above
the other), 9 clausulas for 3 voices (for the first the top part was never
entered). Fasc.2 (ff.14–47): 26 organa tripla, 5 clausulas for 3 voices,
3 organa tripla (the third incomplete because of missing quaternion).
Fasc.3 (ff.65–98): 55 organa dupla for the Office, of which 19 are
settings of Benedicamus Domino or Domino. Fasc.4 (ff.99–146): 61 organa
dupla for the Mass. Fasc.5 (ff.147–84): 462 clausulas for 2 voices. Fasc.6
(ff.201–62): 59 conductus for 3 voices, of which 2 are based on the upper
voices of clausulas and have the clausula tenors appended, and an organum
triplum Benedicamus with one text for the upper parts; 2 textless
mensural pieces, the second incomplete, both found incomplete elsewhere (see
G.A. Anderson, JAMS, xxvi, 1973, p.293). Fasc.7 (ff.263–380): 130
conductus for 2 voices. Fasc.8 (ff.381–98): 26 Latin motets for 3 voices in which
the top voices share the same text and are written in score, the tenor
following at the end. Fasc. 9 (ff.399–414): 43 Latin motets, all for 2 voices
except 3 for 3 voices, where the top voices have different texts and are
written successively. Fasc.10 (ff.415–62): 83 monophonic Latin conductus.
Fasc.11 (ff.463–76): 60 monophonic Latin rondeaux.
Date and provenance: most probably written
in Paris in the 1240s. The latest datable piece in the main hand is Aurelianis
civitas (f.439v) which relates to incidents in Orléans in 1236. The
added Sol eclypsim patitur (f.451) is a lament for Ferdinand III ‘El
Santo’ of León and Castile (d 1252), nephew of Blanche of Castile. The
MS later belonged to Piero di Cosimo de’ Medici (d 1469); first book (Antiphonarium)
now in one of the cases of books on mathematics in his son’s library.
MGG1 (‘Florenz’, §D; H. Husmann); Ludwig
(1910), 57; H. Spanke: ‘Das lateinische Rondeau’, Zeitschrift für
französische Sprache und Literatur, liii (1929–30), 113–48; F. Gennrich: Bibliographie
der ältesten französischen und lateinischen Motetten, SMM, ii (Darmstadt,
1957); RISM, B/IV/1 (1966), 610–788; L. Dittmer: Firenze,
Biblioteca-Mediceo-Laurenziana, Pluteo 29.1 (Brooklyn, NY, 1966–7)
[complete facs.]; R.A. Baltzer: ‘Thirteenth-Century Illuminated Miniatures and
the Date of the Florence Manuscript’, JAMS, xxv (1972), 1–18; R.
Branner: ‘The Johannes Grusch Atelier and the Continental Origins of the
William of Devon Painter’, Art Bulletin, liv/2 (1972), 24; G.A.
Anderson: ‘The Rhythm of the Monophonic Conductus in the Florence Manuscript as
Indicated in Parallel Sources in Mensural Notation’, JAMS, xxxi (1978),
480–89; R.A. Baltzer: Le ‘Magnus Liber Organi’ de Notre-Dame de Paris,
v: Les clausules à deux voix du manuscrit de Florence, Biblioteca
Medicea-Laurenziana, Pluteus 29.1, fascicule V (Monaco, 1995); E.H.
Roesner: Antiphonarium, seu, Magnus liber de gradali et antiphonario: Color
Microfiche Edition of the Manuscript Firenze, Biblioteca Medicea Laurenziana,
Pluteus 29.1: Introduction to the ‘Notre-Dame Manuscript’ F, Codices
illuminati medii aevi, xlv (Munich, 1996)Munich, Bayerische
Staatsbibliothek, Mus.ms.4775 (gallo-rom.42), and fragments once
in the private library of Johannes Wolf, Berlin [MüA]. Leaves or
photographs of leaves from four gatherings, plus two small strips and two small
pieces of parchment, which survive from a codex or codices of about 15 × 11 cm;
some of them form D-Mbs Mus.ms.4775 (facs. in Dittmer, 1959), and the
rest were in Johannes Wolf’s library, destroyed in World War II; photographs of
these leaves exist in Paris (F-Pn Vma 1446; facs. in Dittmer, 1966).
Dittmer called the remains of any one gathering a ‘complex’. Complex A: all or
parts of each leaf of a quaternion; complex B: all of 2 outer bifolios of a
ternion; complex C: remains of 1 bifolio, probably the outer member of a
binion; complex D: almost all the outer bifolio of a ternion. Everist (1989,
p.138) believes C did not originally belong with the rest.
Contents: remains of Latin and French motets,
organa dupla, Latin and French songs. Complex A: 21 Latin and 7 French
motets for 2 voices. Complex B (all music for 2 voices): 3 versions (1 French,
2 Latin) of the same motet; 2 French textings each of 2 other motets; 4 French
motets. Complex C: 3 organa dupla. Complex D: a French lai, a conductus
for 3 voices, a monophonic conductus and French song. On the 2 strips: another
monophonic conductus and a French song.
Date and provenance: probably mid-13th
century, Paris.
F. Ludwig: ‘Die Quellen der Motetten ältesten
Stils’, AMw, v (1923), 184–222, 273–315, esp. 189; L. Dittmer: Eine
zentrale Quelle der Notre-Dame Musik/A Central Source of Notre-Dame Polyphony
(Brooklyn, NY, 1959) [facs. of extant MS]; RISM, B/IV/1 (1966), 87ff; L.A.
Dittmer: ‘The Lost Fragments of a Notre Dame Manuscript in Johannes Wolf’s
Library’, Aspects of Medieval and Renaissance Music: a Birthday Offering to
Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 122–33
[with facs. of lost MS]Madrid, Biblioteca Nacional, 20486 (formerly
Hh 167, and before that Toledo Cathedral 930/33.23) [Ma]. 142 ff.
(16·5 × 11·5 cm); leaves are missing after ff.4 and 106; foliation by W. Meyer
(1907). Scribes: except for the first 4 folios and the added piece on
f.122v, the codex was written by 1 scribe and 1 notator. Notation:
square (modal). Date and provenance: middle or 3rd quarter of 13th
century, from Spain.
Contents: ff.1–4: additions in various
hands, some lines of text lacking music; among them are a rhymed offertory for
3 voices and a conductus for 2 voices. Ff.5–24 (all music for 4 voices): begins
in the middle of a version of Perotinus’s organum quadruplum Sederunt
where a text is provided under the duplum; followed by 3 textings of the
section on ‘misericordia’; there follow Viderunt and Sederunt
without added texts, and the Mors clausula. Ff.25–65: 22 conductus for 2
voices. Ff.66–106: 20 conductus for 2 voices, 8 Latin motets (5 for 3 voices, 3
for 2 voices, some without tenors). Ff.107–22: 11 conductus for 2 voices; the
hocket In seculum for 2 voices is added on f.122v. Ff.123–42: a
mixture of conductus and motets, the latter often without tenors, the tenors
without names when they are present; the mixed group includes 5 conductus for 2
voices and 2 monophonic conductus, 5 motet duplum parts, and both upper voices
of a double-text motet and a single-text motet originally for 3 voices; there
follow 13 motets and 2 conductus for 2 voices.
Ludwig (1910), 125; H. Husmann: ‘Die Motetten der
Madrider Handschrift und deren geschichtliche Stellung’, AMf, ii (1937),
173–84 [edn of 6 motets from last fasc.]; L. Dittmer: Faksimile-Ausgabe der
Handschrift Madrid 20486 (Brooklyn, NY, 1957); RISM, B/IV/1 (1966), 245ff.;
J. Pumpe: Die Motetten der Madrider Notre-Dame-Handschrift (Tutzing, 1991)Paris,
Bibliothèque Nationale de France, lat.15139 [StV]. Originally over
300 ff. of which ff.3–46 are now missing and ff.47–175 elsewhere; ff.255–93 (18
× 10 cm) contain music; 16th-century foliation by Claude de Grandrue of St
Victor. Structure (music section): a binion, 2 single leaves, 2
quaternions and a single leaf for music for 2 voices, a binion for music for 3
voices, a ternion for organa dupla, a final ternion for clausulas. Scribes:
the music on ff.259–60, 267–8 and 293 is in later hands; so are the motet text
incipits entered beside the clausulas, and the composition treatises in the
margins (see Ludwig, 1910, for a detailed discussion). Notation: the
main notator frequently used rhomb-ternaria; lower element of podatus
slightly tilted; rhomb-ternaria also appear in the added prosa on ff.267v–268
in conjunction with as the only clef; the added
responsory and prosula on ff.268r–v have clivis and podatus
without tails, usually found thus in north-east French MSS; Stenzl (p.113) and
Flotzinger (p.287) argued against the widely held view first advanced by Y.
Rokseth (Polyphonies du XIIIe siècle, Paris, iv, 1939, p.70) that
unorthodoxies in the modal notation of the clausulas resulted from their being
motets stripped of their texts (see also Frobenius and Smith). Date and
provenance: middle or third quarter of 13th century, provenance unknown; it
has so far proved impossible to link the unusual liturgical and secular
repertory of the MS decisively with any one date or institution; in the late
14th century it was at St Quentin, in the early 16th at St Victor, Paris.
Contents: ff.255–258v: 2 monophonic
conductus, 1 Latin motet for 2 voices. Ff.259–260v: 1 conductus for 3
voices, 1 motet for 2 voices (music incomplete), both additions. Ff.261–277: 10
conductus for 2 voices and, added at the end of the first gathering, a
monophonic prosa for St Andrew and responsory for the BVM with prosula;
across the foot of the leaves of the first gathering were written composition
treatises in French (‘Quiconques veut deschanter’, already begun on f.263, but
abandoned) and Latin (‘Quando due note’ and ‘Gaudent brevitate moderni’).
Ff.278–281v: 3 conductus and 1 Benedicamus for 3 voices, and 1 organum
triplum. Ff.282–287v: 10 organa dupla. Ff.288–293v: 40
clausulas, the first 2 for 3 voices, the rest for 2 voices.
Ludwig (1910), 139; F. Gennrich: Sankt Viktor
Clausulae und ihre Motetten (Darmstadt, 1953, 2/1963) [facs. of ff.288r–293r];
E. Thurston: The Music in the St Victor Manuscript, Paris lat. 15139
(Toronto, 1959) [facs. of all music]; J. Smits van Waesberghe, ed.: The
Theory of Music from the Carolingian Era up to 1400, i; a Descriptive
Catalogue of MSS, RISM, B/III/1 (1961), 122; RISM, B/IV/1 (1966), 420ff; E.
Thurston: ‘A Comparison of the St. Victor Clausulae with their Motets’, Aspects
of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese,
ed. J. LaRue and others (New York, 1966/R), 785–802; Flotzinger, 272; R.
Falck: ‘New Light on the Polyphonic Conductus Repertory in the St. Victor
Manuscript’, JAMS, xxiii (1970), 315–26 [edn of Benedicamus]; J.
Stenzl: Die vierzig Clausulae der Handschrift Paris Bibliothèque Nationale
Latin 15139 (Saint Victor-Clausulae) (Berne, 1970) [edn of clausulas];
W. Frobenius: ‘Zum genetischen Verhältnis zwischen Notre-Dame-Klauseln und ihre
Motetten’, AcM, xliv (1987), 1–39; N.E. Smith: ‘The Earliest Motets:
Music and Words’, JRMA, cxiv (1989), 141–63
Sources, MS, §IV:
Organum and discant
BIBLIOGRAPHY
F. Ludwig: Repertorium
organorum recentioris et motetorum vetustissmi stili,
i: Catalogue raisonné der Quellen, pt.1: Handschriften in Quadrat-Notation (Halle, 1910); repr.
with preface by L. Dittmer in Musicological Studies, vii (1964); pt.2: Handschriften in Mensural-Notation, ed. F.
Gennrich, SMM, vii (1961) [partial
edn]; ed. M. and S. Lütolf, Musicological Studies, xxvi (1978) [complete edn];
ii: Musikalisches Anfangs-Verzeichnis des nach Tenores
geordneten Repertorium, ed. F. Gennrich, SMM, viii (1962); repr. with preface by L. Dittmer in
Musicological Studies, xvii (1972)
F. Ludwig: ‘Die geistliche nichtliturgische, weltliche einstimmige und die
mehrstimmige Musik des Mittelalters bis zum Anfang des 15. Jahrhunderts’, AdlerHM
H. Spanke: ‘St. Martial-Studien’, Zeitschrift
für französische Sprache und Literatur, liv (1930–31), 282–317, 385–422; lvi (1932–3),
450–78
H. Anglès: La música a
Catalunya fins al segle XIII (Barcelona, 1935/R)
E. Gröninger: Repertoire-Untersuchungen
zum mehrstimmigen Notre Dame-Conductus (Regensburg, 1939/R)
H. Husmann, ed.: Die drei-
und vierstimmigen Notre-Dame-Organa: kritische Gesamtausgabe (Leipzig, 1940/R)
A. Geering: Die Organa
und mehrstimmigen Conductus in den Handschriften des deutschen Sprachgebietes
vom 13. bis 16. Jahrhundert (Berne, 1952)
H. Husmann: ‘The Origin and Destination of the Magnus liber organi’, MQ, xlix (1963), 311–30
H. Husmann: ‘The Enlargement of the Magnus liber organi and the Paris
Churches St. Germain l’Auxerrois and Ste. Geneviève-du-Mont’, JAMS, xvi (1963), 176–203
E.H. Sanders: ‘Peripheral Polyphony of the 13th Century’, JAMS, xvii (1964), 261–87
K. von
Fischer:
‘Neue Quellen zur Musik des 13., 14. und
15. Jahrhunderts’, AcM, xxxvi (1964), 79–97
M. Gushee: Romanesque
Polyphony: a Study of the Fragmentary Sources (diss.,
Yale U., 1965)
G. Reaney, ed.: Manuscripts
of Polyphonic Music: 11th–Early 14th Century, RISM,
B/IV/1 (1966)
R. Flotzinger: Der
Discantussatz im Magnus Liber und seiner Nachfolge
(Vienna, 1969)
S.A. Fuller: Aquitanian
Polyphony of the Eleventh and Twelfth Centuries (diss.,
U. of California, Berkeley, 1969)
G.A. Anderson: ‘Notre Dame and Related Conductus: a Catalogue Raisonné’, MMA, vi (1972), 153–229; vii (1975), 1–81
G. Chew: ‘A Magnus Liber Organi Fragment at Aberdeen’, JAMS, xxxi (1978), 326–43
S. Fuller: ‘The Myth of “Saint Martial” Polyphony: a Study of the Sources’,MD, xxxiii (1979), 5–26
R. Falck: The Notre
Dame Conductus: a Study of the Repertory (Henryville,
PA, 1981)
H. Tischler: The Earliest
Motets (to circa 1270): a Complete Comparative Edition
(New Haven, CT, 1982)
M. Everist: ‘A Reconstructed Source for the Thirteenth-Century Conductus’, Gordon Athol Anderson, 1929–1981, in
memoriam (Henryville, PA, 1984), 97–118
J. Grier: Transmission
in the Aquitanian Versaria of the Eleventh and Twelfth Centuries (diss., U. of Toronto, 1985)
G.A. Anderson: Notre-Dame
and Related Conductus: opera omnia, x: Two-Part Conductus in Related Sources
(Henryville, PA, 1988)
J. Grier: ‘The Stemma of the Aquitanian Versaria’, JAMS, xli (1988), 250–88
H. Tischler: The Parisian
Two-Part Organa: the Complete Comparative Edition
(Stuyvesant, NY,1988)
H. van der
Werf: Integrated Directory of Organa, Clausulae, and Motets of the Thirteenth
Century (Rochester, NY, 1989)
M. Everist: Polyphonic
Music in Thirteenth-Century France: Aspects of Sources and Distribution (New York, 1989)
J. Grier: ‘Some Codicological Observations on the Aquitanian Versaria’, MD, xliv (1990), 5–56
T. Karp: The
Polyphony of Saint Martial and Santiago de Compostela
(Oxford, 1992)
H. van der
Werf: The Oldest Extant Part Music and the Origin of Western Polyphony (Rochester, NY, 1993)
W. Arlt: ‘Stylistic Layers in Eleventh-Century Polyphony’,
Music in the Medieval English Liturgy, ed. S. Rankin and D. Hiley (Oxford, 1993), 101–41
E.H. Roesner: Le ‘Magnus
Liber Organi’ de Notre-Dame de Paris, i: Les quadrupla et tripla de Paris (Monaco, 1993)
For further bibliography see Organum
and discant: bibliography.
Sources, MS
V. Early motet
1. General.
2. Principal
individual sources.
BIBLIOGRAPHY
Sources, MS, §V: Early
motet
1. General.
The
most important genre of polyphonic music of the 13th century in France was the Motet, which increasingly
overshadowed the older and declining genres of organum, troped organum,
conductus and clausula. Most of the major late 13th-century sources of French
polyphony, therefore, contain mainly motets.
The
chief sources in the early layer of MSS preserving motets (those whose notation
has no discrete form for a single semibreve) are: F-CSM 3.J.250; GB-Lbl
Eg.2615 (2); D-W 628; I-Fl Plut.29.1; D-Mbs Clm 16444; E-Mn
20486; D-Mbs Mus.ms.4775; W 1099; F-Pn fr.12615; Pn
fr.844. (For the last two sources in this group, see §III; for others see §IV.)
F-CSM 3.J.250 is a fragment containing six motets, GB-Lbl Eg.2615
(2) preserves two and D-W 628 contains six in their alternative versions
as conductus (i.e. without tenor). I-Fl Plut.29.1 preserves 25 conductus
motets (where the two top parts have the same text) and one troped organum in
its eighth fascicle as well as 40 motets for two voices (tenor and motetus) and
three double motets (two upper voices with different texts, and tenor) in the
ninth fascicle, while the fragmentary D-Mbs Clm 16444 transmits 16
motets and E-Mn 20486 contains 32. D-Mbs Mus.ms.4775 and the
fragments from Johannes Wolf’s private collection, remains of the same large
codex, preserve a total of 36 motets. They and D-W 1099 (which has more
than 200 motets in fascicles 7–10) are the first sources to contain both Latin
and French motets. The Artesian chansonniers F-Pn fr.12615 and fr.844
contain respectively 87 and 41 French motets.
The
scribes of the earliest sources preserving conductus motets (e.g. F-CSM
3.J.250 and GB-Lbl Eg.2615 (2)) not only wrote the upper voices ‘in
score’, like those of a conductus, but placed the motet text under the tenor,
which forms the bottom voice of these three-part scores but whose ligature
notation generally does not convey the exact rhythm of the upper voices. This
atavistically wasteful and unfunctional notation was soon given up in favour of
writing the melismatic tenor (usually in ligatures) at the end of the texted
upper voice (or voices, in the case of conductus motets), as in I-Fl
Plut.29.1, E-Mn 20486, D-Mbs Mus.ms.4775 and W 1099. The
voices of double motets were notated successively (triplum, motetus, tenor). As
the progenitor of the early motet was the Clausula, a genre which, in turn, had
its origin in the chant settings of the Parisian Magnus liber, early motet sources still
arranged pieces in the liturgically appropriate order of their tenors (e.g. the
eighth fascicle of I-Fl Plut.29.1, and D-Mbs Mus.ms.4775). But
when the motet gave up its connection with church and liturgy, alphabetical
arrangement, by motetus incipit, became usual (D-W 1099).
Six
major continental MSS of the later 13th and early 14th centuries are described
in detail below: F-Pn n.a.fr.13521; MOf H196; D-BAs
Lit.115; E-BUlh; I-Tr Vari 42; F-Pn fr.146. The more
prominent minor sources of polyphony belonging to this group are the Parisian GB-Lbl
30091, containing 14 motets of which three are unica (see RISM, B/IV/1, 1966,
pp.516–18 and M. Everist, French 13th-Century Polyphony in the British
Library: a Facsimile Edition of the Manuscripts Additional 30091 and Egerton
2615 (Folios 79–94v), London, 1988), D-DS 3471 (‘Wimpfener
Fragmente’, c1300), containing 15 motets and six or seven other pieces,
mostly fragmentary (see RISM, B/IV/1, 1966, pp.75–9 and Everist, 1989, 282–7)
and F-Pn fr.25566 of the 1290s, which contains the works of Adam
de la Halle,
including his 16 polyphonic rondeaux and five motets (see RISM, B/IV/1, 1966,
pp.395–401 and M. Everist, ‘The Polyphonic Rondeau c1300:
Repertory and Context’, EMH, xv (1996), 59–96).
Numerous
concordances show motet sources to be considerably interdependent and yet reveal
a remarkable geographical dissemination of the motet repertory of the 13th
century.
Sources, MS, §V: Early
motet
2. Principal individual sources.
Paris, Bibliothèque Nationale de France, n.a.fr.13521 (‘La
Clayette’) [Cl]. 419 parchment ff. (26·5 × 18·4 cm; written space: 21·2
× 13·6 cm), 22 of which contain music. Foliation: pencil pagination, no
later than 18th century (only odd-numbered pages are marked on recto of every
folio), and a recent foliation in copying ink pencil; music on pp.729–72
(ff.369–390v). Structure: music fascicle, which apparently
survives in its entirety, consists of 3 gatherings of 8, 8 and 6 ff. Scribes:
no change of hand in the music section. Notation and layout: 14 red
5-line staves per page, except the first which has 13; notation uses
‘Franconian’ symbols for single longs, breves and semibreves, but still nearly
always uses ligatures of the ‘Notre Dame’ type, i.e. cum proprietate et
perfectione, no matter what rhythmic patterns they are intended to convey;
like the rest of the MS, the music pages are divided into 2 columns; the motet
voices are written continuously, beginning with the highest, i.e. in the
traditional layout of earlier 13th-century sources (I-Fl Plut.29.1, D-W
1099, etc.). Date (music section): either 1260s or a scribal copy of c1300
preserving the notation of its earlier exemplar. Provenance: Ile de
France or vicinity; known to have been owned by the Marquis Claude-Alexis de
Noblet of La Clayette (Saône-et-Loire, nr Mâcon), to whose ancestors it may
have belonged since the 14th century (Rosenthal, 1953, pp.108, 105). Lost after
1773, until rediscovered by H. Omont (Solente, p.226) or A. Rosenthal
(Rosenthal, 1953, p.108) and acquired by the Bibliothèque Nationale in Oct
1952.
Contents: the MS, ‘an entire library of
l3th-century writings’ (Meyer, 1890, p.2), contains 55 motets in the music
section: 1 Latin triple motet, 6 Latin double motets, 7 French triple motets,
26 French double motets, 2 French motets for 2 voices (existing in another
source as double motets), 5 macaronic triple motets and 8 macaronic double
motets (Latin motetus, French triplum), i.e. 13 four-voice motets, 40
three-voice motets and 2 two-voice motets. One of the Latin 3-voice motets
(f.370r) is exceptional, since its tenor (Anima iugi) is not a
plainchant cantus firmus, but the lowest voice of the final cauda of a
pre-existing conductus (Relegentur ab area), which was detached from the
conductus and given a text of its own; the three voices of the motet appear in I-Fl
Plut.29.1 as the three stanzas of a non-strophic monophonic conductus. Date
of music: first half – mostly second quarter – of the 13th century; a few
compositions show Perotinus’s influence; some may date from as late as the
1260s. Contents are comparable in age to the ‘old corpus’ of F-MOf, with
which it shares many concordances, though the notation here appears less
advanced.
P. Meyer: ‘Notice sur deux anciens manuscrits
français’, Notices et extraits des manuscrits, xxxiii (1890), 1; Ludwig
(1910); Ludwig (1923), 196; Y. Rokseth: Polyphonies du XIIIe siècle: le
manuscrit H196 de la Faculté de médecine de Montpellier (Paris, 1935–9),
iv, 72–3; A. Rosenthal: ‘Le manuscrit de La Clayette retrouvé (Bibl. nat.
nouv.acq.fr.13521)’, AnnM, i (1953), 105–30; S. Solente: ‘Le grand
recueil La Clayette à la Bibliothèque nationale’, Scriptorium, vii
(1953), 226–34; L. Schrade: ‘Unknown Motets in a Recovered Thirteenth-Century
Manuscript’, Speculum, xxx (1955), 393–412; M. Bukofzer: ‘The Unidentified
Tenors in the MS La Clayette’, AnnM, iv (1956), 255–8; H. Husmann:
‘Annales musicologiques’, Mf, ix (1956), 202–6; Gennrich, p.xxvi; F.
Gennrich, ed.: Ein altfranzösischer Motettenkodex, SMM, vi (1958)
[facs.]; L. Dittmer, ed.: Paris 13521 and 11411, Publications of
Medieval Musical Manuscripts, iv (Brooklyn, 1959) [facs.]; MGG1 (‘La
Clayette’, A. Rosenthal); RISM, B/IV/1 (1966), 436; G.A. Anderson: ‘Motets of
the Thirteenth-century Manuscript La Clayette’, MD, xxvii (1973), 11–40,
and xxviii (1974), 5–37; G.A. Anderson, ed.: Motets of the Manuscript La
Clayette, CMM, lxviii (1975); Everist (1989), 149–53, 265–7; MGG2
(‘La Clayette’, K. Kügle)Montpellier, Bibliothèque Inter-Universitaire,
Section Médecine, H196 [Mo]. Originally 402 parchment ff. (19·2 ×
13·6 cm, written block 12·8 × 7·7 cm), of which 400 survive, a bifolio with
ff.303 and 308 having been lost before gatherings were made. Foliation:
4 series, all of which omit the first 5 folios containing the original table of
contents up to f.333, including ff.303 and 308: (1) original ink Roman numerals
ff.1–333, including 303 and 308; ff.18 and 19 erroneously numbered 19, 18; (2)
ink Arabic numerals 1–48 on ff.350–97, many of which have been cut away; (3)
ink Arabic numerals 334–97 continuing and completing original foliation; (4)
pencil Arabic numerals 1–333 not allowing for missing ff.303 and 308, hence
ending on f.335. Structure: all gatherings are quaternions except the
first, a bifolio, the second, a ternion, and ff.239–45 (one leaf cut away before
foliation). 8 fascs.: ff.1–22, 23–62, 63–86, 87–110, 111–230, 231–69, 270–349,
350–97, representing an original ‘old corpus’ of fascs.2–6 and 2 major layers
of additions, (a) fascs.1 and 7, along with additions to fascs.3 and 5,
and (b) fasc.8 along with additions to fasc.7. The additions carefully
reproduce critical features of the original format. Scribes: several;
precise number of text and music hands not determined (Rokseth); Jacobsthal
distinguished 14 text hands, while Wolinski finds 11. Most significantly, all
of fascs.2–6, with the exception of later appx to 3 and 5, are the work of one
text scribe and notator; fasc.1 has a single notator; the main section of
fasc.7 is the work of a single scribe and notator; and fasc.8 is the work of a
single scribe and notator. Notation and layout: 6–8 red 5-line staves
per page; the notation of the ‘old corpus’ is ‘pre-Franconian’ (generally modal
ligatures, rhythmically differentiated single notes, undifferentiated rests),
while that of fasc.8 is Franconian and that of fasc.7 nearly so. The layout of
the motet voices differs from that in the older sources. The 4 voices of the
triple motets (fasc.2): 2 sets of double columns on facing pages. Double motets
of the old corpus: triplum on verso, motetus on recto, tenor across bottom of
both pages. The upper voices of the double motets of fascs.7 and 8 are written
in 2 not necessarily equal columns per page, a system presumably invented
because of the uneven text distribution in Petronian and similar motets, though
often the greater amount of triplum text also caused the end of that voice to
be written across the entire page. Only in fasc.8, however, are the voices (of
all but 4 motets) laid out so that all reach the bottom of a page
simultaneously. Performance by reading, rather than from memory, here becomes a
possibility, as a result of the innovations of Franconian notation. Date:
fascs.2–6, 1270s (Rosketh and RISM, c1280); fascs.1 and 7, plus the
additions to 3 and 5, very end of 13th century (Branner: late 13th century,
Everist: 1280s); fasc.8, very early years of the 14th century (Branner and
Everist: c1300). As a controversial alternative to the picture of a
manuscript compiled in discrete stages of activity a decade or more apart,
Wolinski posits a single campaign of copying fascs.1–7 as an entity in the
1260s or 1270s, with fasc.8 perhaps also as early as the 1270s; not widely
accepted, her theory has radical implications for the development of the motet,
musical notation and music theory in the second half of the 13th century
(Wolinski, 1992, pp.299–301). Provenance: Paris. Nothing is known of its
ownership before the 1570s or 1580s (Everist, 1989, pp.115–18; Wolinski, 1992,
pp.287–8), when it was in the possession of Estienne Tabourot of Dijon.
Contents: There are 336 polyphonic
compositions, of which 8 lack music (therefore not included in RISM inventory),
5 are duplications and 3 are contrafacta; several survive incomplete. Mo
(F-MOf H196) is the largest medieval motet MS extant; all compositions
but those in the first fascicle (nos.1–10) and the first compositions of the
fifth and eighth fascicles (nos.64 and 286) are motets. Nos.1 and 286 are
conductus settings of a versicle trope, nos.2, 3 and 64 are 2 modal versions of
a hocket for 3 voices with a texted quadruplum added to nos.2 and 3, no.4 is a Benedicamus
in conductus style, no.5 is a hocket and nos.6–10 are organa, at least 2 of
them by Perotinus. Each motet fascicle is dedicated principally to one genre:
in the ‘old corpus’ fasc.2: 16 French and 1 Latin triple motets; fasc.3: 11
macaronic motets (Latin motetus, French triplum); fasc.4: 22 Latin double
motets; fasc.5: 100 French double motets (plus 1 Provençal, 1 French-Provençal
and 1 French-Latin); fasc.6: 75 French motets for 2 voices. The appx to fasc.3:
4 motets for 2 voices (2 Latin, 2 French); the appx to fasc.5: 1 macaronic
motet (French-Latin). Fasc.7: 39 double motets (26 French, 7 Latin, 3
Latin-French, 3 French-Latin), at least 2 of them by Petrus de Cruce; appx to
fasc.7: (a) 8 French double motets; (b) 1 Latin double motet, 1
Latin motet for 2 voices, 1 French-Latin double motet; fasc.8: 42 double motets
(21 French, 16 Latin, 4 Latin-French, 1 French-Latin). Date of music:
the whole of the 13th century.
G. Jacobsthal: ‘Die Texte der Liederhandschrift
von Montpellier H.196’, Zeitschrift für romanische Philologie, iii
(1879), 526–56; iv (1880), 35–64, 278–317; O. Koller: ‘Der Liederkodex von
Montpellier’, VMw, iv (1888), 1–82; F. Ludwig: ‘Die 50 Beispiele
Coussemaker’s aus der Handschrift von Montpellier’, SIMG, v (1903–4),
177–224; P. Aubry: Recherches sur les ‘Tenors’ français (Paris, 1907);
P. Aubry and A. Gastoué: Recherches sur les ‘Tenors’ latins (Paris,
1907); Ludwig (1910), 345–408, 421ff; Ludwig (1923), 193ff; Besseler (1926),
137ff; Y. Rokseth: Polyphonies du XIIIe siècle: le manuscrit H196 de la
Faculté de médecine de Montpellier (Paris, 1935–9) [facs., edn and
commentary]; G. Kuhlmann: Die zweistimmigen französischen Motetten des Kodex
Montpellier, ii (Würzburg, 1938) [edn of fasc.6]; J. Handschin: ‘The Summer
Canon and its Background, II’, MD, iii (1949), 55–94; v (1951), 65–113;
Apel, 284ff, 315ff; L. Dittmer: ‘The Ligatures of the Montpellier Manuscript’, MD,
ix (1955), 35–55; Gennrich, pp.xxx–xxxii; MGG1 (‘Montpellier-Handschriften’,
G. Reaney); RISM, B/IV/1 (1966), 272–369; F. Mathiassen: The Style of the
Early Motet (Copenhagen, 1966); E. Apfel: Anlage und Struktur der
Motetten im Codex Montpellier: Annales Universitatis Saraviensis
(Heidelberg, 1970); R. Branner: Manuscript Painting in Paris during the
Reign of St Louis: a Study of Styles (Berkeley, 1977); H. Tischler, ed.: The
Montpellier Codex (Madison, WI, 1978–85), iv; M. Wolinski: The
Montpellier Codex: its Compilation, Notation and Implications for the
Chronology of the Thirteenth-Century Motet (diss., Brandeis U., 1988);
Everist (1989), 110–34; M. Wolinski: ‘The Compilation of the Montpellier
Codex’, EMH, xi (1992), 263–301; Roesner (1993), lxxvii–lxxviii; Everist
(1994), 8–12; MGG2 (‘Montpellier Handschriften’, D. Hiley)Bamberg,
Staatsbibliothek, Lit.115 (formerly Ed.IV.6) [Ba]. 80
parchment ff. (26·3 × 18·6 cm; written block 18·7 × 13·6 cm). Foliation:
modern pencil. Structure: 10 uniform quaternions. Scribes: same
music hand for ff.1–64v, same text hand for ff.1–62v; different
later hands for second section. Notation and layout: mostly 10 five-line
staves per page; the notation is ‘Aristotelian’ (see Magister
Lambertus); the pages are generally divided into 2 columns for triplum and
motetus, with the tenor running across the bottom of the page (see Motet, fig.5). Date:
Fourth quarter of the century for copying of first section, early 14th century
for the second (Norwood, 1979, 1986, 1990). Provenance: Paris or Ile de
France, at least for copying of first section (Norwood, 1979, 1986, 1990).
Contents: ff.1–64v, contains 100
double motets, of which 44 are Latin, 47 French and 9 macaronic (Latin motetus,
French triplum), on ff.1–62, notated in parts, plus an appx on ff.62v–64v
with 1 conductus setting of a versicle trope and 7 hocket clausulas in score.
All but 1 of the compositions are for 3 voices; the other (ff.57v–58)
has triplum, motetus and 2 tenors. The motets are arranged alphabetically by
first letter (only) of the motetus; within each letter division the order is:
Latin, macaronic, French. The second section of 2 quaternions, ff.65–80,
contains the Practica artis musice by Amerus, ff.65–79;
an anonymous treatise on cantus mensurabilis, f.79r–v; and
2 further motets, f.80r–v. These are all later additions. Date
of Music: repertory characteristic of period, c1260–90.
P. Aubry: Cent motets du XIIIe siècle publiés
d’après le manuscrit Ed.IV.6 de Bamberg (Paris, 1908) [facs., edn and
commentary for ff.1–64v]; Ludwig (1923), 198, 220; MGG1
(‘Bamberger Handschrift’, H. Husman); Apel, 302ff; Gennrich, p.xxv; RISM,
B/IV/1 (1966), 56ff; G.A. Anderson, ed.: The Compositions of the Bamberg
Manuscript, CMM, lxxv (1977); C. Ruini, ed.: Ameri Practica Artis
Musicae (1271), CSM, xxv (1977); G.A. Anderson: ‘The Notation of the
Bamberg and Las Huelgas Manuscripts’, MD, xxxii (1978), 19–67; P.L.P.
Norwood: A Study of the Provenance and French Motets in Bamberg,
Staatsbibliothek, Lit.115 (diss., U. of Texas, Austin, 1979); RISM, B/III/3
(1986), 13–14; M. Huglo: ‘Le traité de Cantus Mensurabilis du manuscrit
de Bamberg’, Pax et sapientia: Studies in Text and Music of Liturgical
Tropes and Sequences in Memory of Gordon Anderson, ed. R. Jacobsson
(Stockholm, 1986), 91–5; P. Norwood: ‘Performance Manuscripts from the
Thirteenth Century?’, College Music Symposium, xxvi (1986), 92–6;
Everist (1989), 149–53; P.P. Norwood: ‘Evidence Concerning the Provenance of
the Bamberg Codex’, JM, viii (1990), 491–504; Roesner (1993),
lxxviii–lxxix; MGG2 (‘Bamberg Handschriften’, R. Stephan)Burgos,
Monasterio de Las Huelgas [Hu]. 170 parchment ff. (26 × 18 cm;
written space varies: 23·5 × 13 cm to 15·3 × 13·2 cm). Foliation: modern
ink (1906); 2 successive folios numbered 124. Structure: 19 gatherings;
1–16 (ff.1–148v) all originally quinions, but the fourth (only outer
bifolio remaining) and the eighth (innermost bifolio missing) are defective.
17–19 (ff.149–168v) were originally written as 2 more quinions, but at
present are bound as a quaternion, a ternion and a half, and a bifolio with 2
single folios, to be read in the order 149–52, 161, 166–7, 160, 162, 165,
153–6, 163, 164, 168; 169 is a fly-leaf. Scribes: 1 hand for the main
part of the MS (ff.1–7v, 8v–152v, 157–159 first staff, 161r–v,
166–167v); a later hand entered the isolated part on f.8, and according
to Anglès 11 further and later hands wrote the remaining pages from 153 on. Notation
and layout: the red 5-line staves are distributed 6 per page for ‘score’
notation and 7–11 (ff.100v–101) for part notation; the notation is
Franconian with certain idiosyncratic modifications; each of the shorter double
motets is accommodated on 1 page, while the longer ones are notated as in Mo,
i.e. triplum on the verso, motetus on the recto, tenor at foot of page. Date:
main part c1300 (Dittmer, MGG1, who disproved the date c1325
given by Anglès and by Reaney, RISM); later additions c1325. Provenance:
MS was written for, and has remained in, the Cistercian convent of Las Huelgas.
Contents: 45 monophonic pieces (20
sequences, 5 conductus, 10 Benedicamus tropes) and 141 polyphonic
compositions, 1 of which (no.10 in Anglès edn) lacks music (therefore excluded
from inventory in RISM). The comprehensive polyphonic repertory consists
of conductus (including 1 Credo), Latin motets (for 2 voices, conductus motets
and double motets), 1 solmization exercise, Sanctus settings, Kyrie, Gloria,
Sanctus and Agnus tropes, solo portions of 3 graduals and 3 alleluias, 1
offertory trope, several Benedicamus Domino and Benedicamus
tropes, and sequences. Date of music: mainly later 13th century, but
including works composed in the first half of the century (Notre Dame
repertory); additions: first quarter of 14th century.
H. Anglès: El còdex musical de Las Huelgas
(Barcelona, 1931/R) [facs., edn and commentary]; J. Handschin: ‘The
Summer Canon and its Background’, MD, iii (1949), 55–94; v (1951),
65–113; Apel; Gennrich, p.xxviii; H. Anglès: La música de las cantigas de
Santa María del Rey Alfonso el Sabio, v/iii/1, (Barcelona, 1958), 91–8; MGG1
(‘Las Huelgas’, L.A. Dittmer); RISM, B/IV/1 (1966), 210ff; M. Lütolf: Die
mehrstimmigen Ordinarium Missae-Sätze vom ausgehenden 11. bis zur Wende des 13.
zum 14. Jahrhundert, i (Berne, 1970), 262–83; G.A. Anderson: ‘The Notation
of the Bamberg and Las Huelgas Manuscripts’, MD, xxxii (1978), 19–67; D.
Vega Cernuda: ‘El códice de Las Huelgas: estudio de su técnica polifónica’, RdMc,
i (1978), 9–60; G.A. Anderson, ed.: The Las Huelgas Manuscript, CMM,
lxxix (1982); Roesner (1993), lxxix–lxxx; MGG2 (‘Las Huelgas’, M. Gómez)Turin,
Biblioteca Reale, Vari 421 [Tu]. 125 parchment ff. (23 × 16.2 cm),
the last 45 of which contain music. Foliation: apparently once an
independent motet collection, then bound into a large codex E.73, the music is
now found in a MS that is the last of 4 that came into being in the 18th
century when E.73 was split up into MSS 46, 43, 42(2) and 42(1), in that order.
The first section of MS 42(1), containing St Jerome’s commentaries on the
Bible, is foliated 169–248 as a continuation of M2 42(2). The second section,
containing the liber motetorum, has 5 unnumbered folios (usually
referred to as A–E), 40 folios with old red ink Roman numerals, 1 unnumbered paper
fly-leaf at the front and another at the back. Scribes: no change of
hands apparent in music section. Notation and layout: Franconian
notation, on 8 red 5-line staves to each page, except for the first 3 pieces
(ff.A–E), which are notated on 6 staves. Distribution of parts as in Ba
(D-BAs Lit.115) and Mo. Date: c1300. Provenance:
abbey of St Jacques, Liège (title on f.1); still there in 1667 as part of MS
E.73.
Contents: ff.A–E: 3 conductus for 3 voices;
f.Ev: original table of contents; ff.1–40: 31 double motets (24 French,
6 macaronic, 1 Latin). Date of music: mostly late 13th century.
Ludwig (1923), 205; Besseler (1926), 142; A. Auda:
Les ‘motets wallons’ du manuscrit de Turin: Vari 42 (Brussels, 1953)
[facs., edn. and commentary]; Gennrich, pp.xxxiv–xxxv; RISM, B/IV/1 (1966),
801–07; P. Norwood: ‘Performance Manuscripts from the Thirteenth Century?’, College
Music Symposium, xxvi (1986), 92–6Paris, Bibliothèque Nationale de
France, fr.146 [Fauv]. 102 parchment ff. (46·2 × 33 cm; written
block average 33·5 × 23·8 cm). Foliation: 4 unnumbered leaves at the
beginning and 6 at the end, 2 folios lettered A and B, first section of MS
numbered I–XLVIII (fig.33); 2 leaves inserted at a slightly later date between
ff.28 and 29 numbered in 19th-century hand (28bis and 28ter), the
remainder, ff.49–88, in more recent Arabic numerals. Scribes: 1 hand for
first section of MS (except ff.28bis and 28ter); another hand for
musical portion of second section (ff.57–62v). Date: 1316,
perhaps 1316–18 (Roesner, Avril and Regalado, 1990, p.49). Provenance:
Paris.
Contents: 4 main sections. The first,
ff.I–XLV, contains an edition by Chaillou de Pesstain of the Roman
de Fauvel, for whose music (except that on ff.28bis and 28ter)
fly-leaf B is the original index (fly-leaf A contains an unrelated French
poem). The second section, ff.XLVI–XLVIII and 49–55v, has ‘Plusiers Diz
de mestre Geoffroi de Paris’. The third section, ff.57r–62v, contains
monophonic compositions by Jehannot de l’escurel, including
15 ballades, 11 rondeaux (1 also in a 3-part arrangement), 5 virelais and dits
entés. The fourth section, ff.63–88, has a rhymed chronicle covering the
period from 1300 to 1316. Date of music: of the Roman de Fauvel
early 13th century to 1315–16; of L’Escurel, c1300. Composer: Philippe
de Vitry; 2 motets and 1 detached motet triplum are attributable to him.
Leech-Wilkinson posits authorship of several motets in the Roman to an
as yet anonymous ‘Master of the Royal Motets’.
Wolf (1904), 40ff; P. Aubry: Le Roman de Fauvel
(Paris, 1907) [facs.]; Wolf (1913–19), i, 278ff; Ludwig (1923), 278; Besseler
(1925), 176, and (1926), 187–219; Apel, 325ff, 449; MGG1 (‘Fauvel’, F.
Gennrich); L. Schrade, ed.: The Roman de Fauvel; The Works of Philippe de
Vitry; French Cycles of the Ordinarium Missae, PMFC, i (1956) [34
polyphonic pieces]; Gennrich, pp.xxvi–xxvii; RISM, B/IV/2 (1969),
163–72; E.H. Sanders: ‘The Early Motets of Philippe de Vitry’, JAMS,
xxviii (1975), 24–45; E.H. Roesner: ‘The Making of Chaillou de Pesstain’s
edition of the Roman de Fauvel’, L’Europa e la musica del Trecento:
Congresso IV: Certaldo 1984 [L’Ars Nova italiana del Trecento, vi
(Certaldo, 1992)], 287–313; E.H. Roesner, F. Avril and N. Regalado, eds.: Le
Roman de Fauvel in the Edition of Mesire Chaillou de Pesstain (New York,
1990) [facs. and commentary]; H. Tischler and S.N. Rosenberg, eds.: The
Monophonic Songs in the Roman de Fauvel (Lincoln, NE, 1991); J.C. Morin: The
Genesis of Manuscript Paris, Bibliothèque Nationale, fonds français 146, with
Particular Emphasis on the Roman de Fauvel (diss., New York U., 1992); MGG2
(‘Fauvel’, K. Kügle); D. Leech-Wilkinson: ‘The Emergence of ars nova’, JM,
xiii (1995), 285–317; P. Helmer, ed.: Le Premier et le Secont livre de
Fauvel (Ottawa, 1997); M. Bent and A. Wathey, eds.: Fauvel Studies:
Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de
France, MS français 146 (Oxford, 1998)
Sources, MS, §V: Early
motet
BIBLIOGRAPHY
WolfH
J. Wolf: Geschichte
der Mensural-Notation von 1250–1460 (Leipzig, 1904/R)
F. Ludwig: Repertorium
organorum recentioris et motetorum vetustissimi stili
(Halle, 1910), i: Catalogue raisonné der Quellen, pt.1: Handschriften in Quadrat-Notation (R1964) with preface by L. Dittmer; pt.2: Handschriften in Mensural-Notation, ed. F.
Gennrich, SMM, vii (1961); ii: Musikalisches Anfangs-Verzeichnis, ed. F.
Gennrich, SMM, viii (1962) (R1964 with preface by L. Dittmer)
F. Ludwig: ‘Die Quellen der Motetten ältesten Stils’, AMw, v (1923), 185–222, 273–315 (repr. in SMM, vii, 1961)
H. Besseler: ‘Studien zur Musik des Mittelalters, I: Neue Quellen des 14. und
beginnenden 15. Jahrhunderts’, AMw, vii (1925), 167–252;
‘II: Die Motette von Franko von Köln bis Philipp von
Vitry’, AMw, viii (1926), 137–258
W. Apel: The Notation
of Polyphonic Music, 900–1600 (Cambridge, MA, 1942, 5/1961; Ger. trans., rev. 1970)
F. Gennrich: Bibliographie
der ältesten französischen und lateinischen Motetten,
SMM, ii (1957)
G. Reaney, ed.: Manuscripts
of Polyphonic Music: 11th – Early 14th Century, RISM,
B/IV/1 (1966)
M. Everist: Polyphonic
Music in Thirteenth-Century France: Aspects of Sources and Distribution (New York, 1989)
H. Van der
Werf: Integrated Directory of Organa, Clausulae, and Motets of the
Thirteenth Century (Rochester, NY, 1989)
E.H. Roesner and M. Huglo, eds.: Le magnus
liber organi de Notre-Dame de Paris, i: Les quadrupla et tripla de Paris (Monaco, 1993)
M. Everist: French
Motets in the Thirteenth Century: Music, Poetry and Genre (New York, 1994)
Sources, MS
VI. English polyphony 1270–1400
1. General.
2. The Worcester
Fragments.
3. Other individual
sources.
BIBLIOGRAPHY
Sources, MS, §VI:
English polyphony 1270–1400
1. General.
It is an indication of the lamentable state of preservation of
medieval English polyphony that, strictly speaking, a report on its MS sources
has to be negative; no integral codex written in the British Isles between the
Winchester Troper (GB-Ccc 473) and the Old Hall MS (Lbl
Add.57950) is extant, aside from the Scottish D-W 677. (Some commonplace
books with music entries are intact as such.) Yet how significant a role
polyphonic music played in medieval England, at least from the 13th century on,
is indicated by the quantity of surviving scraps, fly-leaves, paste-downs,
stray leaves, and isolated jottings. Several of the MSS of which only
fragmentary leaves remain were sizable codices, some of them numbering over 200
pages (Lefferts, 1986, pp.159–61). While all of them are in more or less
tattered and scattered condition, ‘England has in fact more sources of medieval
polyphony than any other country’ (G. Reaney, xv, 1961, p.15). Only in settings
of vernacular poetry does medieval England seem to have been eclipsed by other
countries. There are very few, their occurrence is isolated, and the MSS are
therefore not specifically cited below (see Dobson and Harrison, 1979,
particularly for GB-Cu 5943 and see Wathey, 1993, for GB-Lbl
41340(H)).
The sources that preserve Latin polyphony may be divided into two
groups, containing (1) compositions, most or all of which date from the 13th century,
and (2) 14th-century compositions. There are five main categories into which
the repertory of the first group can be divided: (a) sequences, tropes,
conductus, and rondelli (see Rondellus); (b) motets on a pes
(see Pes (i)); (c) chant settings; (d) troped chant
settings; and (e) motets on a cantus firmus. In many of the sources
specimens of several of these categories are found without strict separation
from one another. This applies primarily to the so-called Worcester Fragments
(see §2) as well as to lesser sources, such as GB-Ob CCC497 (two
scribes), F-Pn fr.25408, GB-Ob Mus.c.60, and USCu 654 App.
Some of the sources that preserve only one category are GB-Ob Bodley
257, Owc, Ob CCC489, Ob Wood 591 (category a); Ctc
0.2.1 (category e). Of course, in view of the fragmentary condition of
the sources there are relatively few concordances (about a dozen); yet they
attest the dissemination of much of the repertory, the more so as two
compositions (Worcester Fragments nos.53 and 67, ed. in PMFC, xiv, nos.56 and
57) exist in three versions. While little or nothing is known about the points
of origin of a number of sources other than the Worcester Fragments, enough information
is available to prove that the geographic spread of English polyphony embraced
many widely separated centres and areas, including both France (F-MOf
H196 nos.59–61, ed. in PMFC, xiv, nos.79, 77, 78) and a Cistercian abbey in
Yorkshire (US-Cu 654 App.). No comprehensive discussion of the MSS
exists; lists of compositions and sources in Losseff (1994) and Summers and
Lefferts (forthcoming).
The repertory of the 14th century falls into three main groups:
motets (increasingly based on a cantus firmus, rather than a pes);
cantilenas (see Cantilena (i)); and discant settings for three voices
of cantus firmi (many of them choral chants). As in the 13th century, many
sources mix two or all of the genres. The main fragmentary sources are GB-Lwa
33327; Lbl 24198; Onc 362; Cpc 228; Lbl Sloane
1210; Lbl 62132A; Cgc 727/334; Cgc 543/512; B-Br
II266; GB-Ob Hatton 81; DRc C.I.20; Ob e Mus.7; Lpro
23; Lbl Arundel 14; and Ob Barlow 55. Onc 362, Ob e
Mus.7 and DRc C.I.20 transmit motets almost exclusively (the latter two
also including some continental motets of the 14th century), Lwa 33327, Ob
Hatton 81 and Lbl 24198 entirely so. Despite the fact that the contents
of these MSS range from a total of five items (Ob Hatton 81) to a total
of only 21 (Onc 362), there is a surprising number of concordances,
which relate Ob Hatton 81, Ob e Mus.7 and DRc C.I.20 to
one another; another such group consists of Cpc 228., Lbl Sloane
1210, B-Br II266, Lbl 62132A, GB-Cgc 727/334, Cgc
543/512 and several lesser sources. Some of these, as well as Onc 362
and Lwa 33327, are also related to the Worcester Fragments. The sources
cited all date from the first half or the middle of the 14th century (Lwa
33327 probably goes back to the last decade of the 13th). Later MSS are even
more fragmentary, they continue to transmit mostly motets, discant settings and
cantilenas. Among them, the most significant include Occ 144, Ir
50/22/13/15, Lpro E 163/22/1/24, US-NYpm 978 and Lbl
40011B; the last, written on paper using white void notation, is now dated
about or just before 1400 (Bent, 1987). The most comprehensive listing of
sources is Summers, 1990, which is supplemented by Wathey, 1993. Some items of
possibly late 14th or early 15th century origin are given in RISM, B/IV/4, Census-Catalogue
and Curtis and Wathey, 1994.
While it is awkward to present formal descriptions of such
fragmentary remains, a description of the Worcester Fragments as well as
accounts of the musical contents of 12 MSS are nevertheless given below, in the
hope that a general picture will be discernible. All listed sources contain ten
or more polyphonic pieces (Lbl Harl.978 has fewer but its list indicates
164 other compositions), an arbitrary criterion of selection from many points
of view, but one which does in fact allow inclusion of MSS which are
representative in content.
Sources, MS, §VI:
English polyphony 1270–1400
2. The Worcester Fragments.
The Worcester Fragments consist of over fifty folios from nine or
more separate volumes, only three of which are represented by a substantial
number of pages. This material survives today in three separate collections of
parchment leaves (fly-leaves etc.) not corresponding directly to any one of the
medieval volumes: GB-WO Add.68 (olim Worc), Ob
Lat.lit.d.20 and Lbl Add.25031. RISM incorporates the third of
these into the second, which is likewise given the sigillum Worc,
although it is listed and inventoried separately from the first. The reason for
this unusual procedure is complex. Recognizing the relatedness of some leaves,
between 1925 and 1952 attempts were made at the Bodleian Library to reconstruct
one or more MSS of English medieval polyphony by combining certain Bodleian
fragments (from three different MSS) with photographic copies of the four
folios of Lbl Add.25031 and of most of the fragments collected in WO
Add.68. This curious aggregate, designated as Ob Lat.lit.d.20 and
containing nearly twice as many photographs as it does originals, forms the
basis of Dittmer’s edition (MSD, ii, 1957) and of RISM’s listing; the
last 32 of the 109 items of the edition are transcriptions of those polyphonic
contents of WO Add.68 (20 leaves) that were not incorporated as
photographs into Ob Lat.lit.d.20, and only the fragments containing them
are listed under WO Add.68 in RISM.
WO Add.68 contains both monophony and polyphony. The leaves or
groups of leaves containing polyphonic compositions are as follows (asterisks
indicate photographic copies in Ob Lat.lit.d.20): nos.ix*, x*, xi*, xii,
xiii*, xviii, xix, xx, xxviii*, xxix, xxx, xxxi*, xxxii and xxxv* (fig.32; no.xxxv is composed of six leaves that in the 1920s
were removed from Omc 100, and transferred to WO Add.68). Their
relationship with the Oxford and London sources is shown by similarities in
musical style and genre, palaeographic factors (including certain notational
devices), size of leaves, medieval foliation (where present), and the evident
original adjacency of certain leaves now preserved in different sources.
At least the first 21 leaves of the ‘factitious’ (RISM) MS Ob
20, as at present constituted, evidently came originally from one volume,
though only eight of them are Bodleian originals, while of the remainder
(photographs) nine are contained in four different items of WO Add.68
and four are in Lbl Add.25031. Dittmer (MSD, ii, pp.13–14) suggested
that the music of Ob Lat.lit.d.20 might have come from as few as two or
as many as five different volumes; it is probable that the first volume (ff.1–21
or 22 – about half of them discontinuous and most of them preserving the
original foliation) was separate, while ff.25–32 (or 33) plus ff.34–5 and
ff.23–4 plus ff.36–9 may originally have been parts of two further volumes.
Well over a dozen different hands (including palimpsests) can be distinguished
in the Worcester Fragments (see Wibberley, 1976 and Losseff, 1994). For a
description of the compositions as well as probable dates of the sources and
the music, see Worcester polyphony. Nothing definite is known
about provenance, though the preservation in Worcester of so relatively large a
number of leaves makes it reasonable for scholars to have assumed that most of
the polyphony was written or at least used there. New fragments from the same
complex of medieval sources have been found by Summers (now identified as WO
Add.68, frag.xxxix/1 and 2).
Worcester, Cathedral Library, Add.68 [Worc].
Fly-leaves and bindings from various MSS in Worcester Cathedral Library, plus 6
leaves formerly Omc 100 (transferred to Worcester in the 1920s). The
folio numbers of those fragments included as photocopies in Ob
Lat.lit.d.20 (as used by Dittmer and RISM) are given in parentheses:
frag. IX: 1 leaf (f.27); X: 2 leaves (ff.1–2); XI: 2 leaves (ff.20–21); XII: 1
leaf; XIII: 4 leaves (ff.36–9); XVIII: 2 leaves; XIX: 6 leaves; XX: 2 leaves;
XXVIII: 4 leaves (ff.8–11); XXIX: 4 leaves; XXX: 4 leaves; XXXI: 1 leaf (f.7);
XXXII: 1 leaf; XXXIV: 1 strip; XXXIVa–c: 3 strips; XXXV: 6 leaves
(formerly Omc 100; ff.26, 29–33). The strips XXXIV and XXXIVa–c
were disregarded by Dittmer. Strips xxxix/1 and 2 were recently identified by
Summers; for these, see Wathey, 1993Oxford, Bodleian Library, Lat.lit.d.20
[Worc]. Fragments gathered together from various MSS in the Bodleian.
Their original shelf-mark and the number of their leaves, followed by their
foliation as now interspersed with photocopies (used by Dittmer and RISM),
are Auct.F inf.1, 3: 8 leaves (ff.12–19); Hatton 30: 1 leaf (f.22); Bodley 862:
3 leaves (ff.23–5); Bodley 862 (covers): l leaf (f.27a); Bodley 862:1
leaf (f.28); Bodley 862: 2 leaves (ff.34–5).London, British Library,
Add.25031 [Worc]. 3 ff. (17 x 17·5 cm, 23·5 x 18 cm, 23·5 x 18 cm)
and 2 strips (now mounted one above the other) in the front of miscellaneous
tracts, letters etc., preceded by four modern paper leaves. The first two
parchment leaves bear an old ink foliation XIII, XIIII. Modern pencil foliation
1–4. The correct order is as follows (foliation in Ob Lat.lit.d.20 indicated
in brackets): f.1r–v with the second strip of f.4r–v
underneath it [ff.3r–v and 6 r–v, second strip],
f.2r–v [f.4r–v], f.3v–r [f.5r–v],
f.4v–r, first strip [f.6r–v, first strip]. The
original foliation of ff.3 and 4 (xv and xvi) has been cut off. The first of
the two strips is erroneously indicated as reverse in RISM, while in
Dittmer (MSD, ii, p.18) it is listed as staff 7 of the folio to which it
originally belonged.
Sources, MS, §VI:
English polyphony 1270–1400
3. Other individual sources.
London, British Library, Harl.978 [LoHa].
170 ff (19 x 13 cm), of which the first four and last four are fly-leaves, the
outside ones paper, the other six parchment; after the first four fly-leaves an
l8th-century paper fly-leaf has been inserted. Foliation: 3 systems,
none including the eight outer fly-leaves. First series begins with parchment
leaves, running 1–3, 5–9, unnumbered folio, 10–35, 58–182. The 18th-century
fly-leaf was then added and numbered 1*. Ff.58–182 of the first system then
refoliated in modern pencil (British Museum) as 36–160. A final British Museum
pencil system refoliated the 18th-century fly-leaf and the parchment leaves as
1–162. Notation: music (ff.2–15) in more than one hand (not yet precisely
differentiated: Handschin, p.67) but all roughly contemporaneous; most breves
in monphony and polyphony are rhomboid. Date: music c1250 or soon
after. Provenance: Reading Abbey (Benedictine); whether it remained
there until the dissolution of the abbey, and how the 1st Earl of Oxford
acquired it, are unknown.Contents: a gathering of music on ff.2–13v;
a second gathering containing solmization exercises on ff.14–15 and a calendar
of Reading Abbey (entries for Jan–Feb only); on ff.15v–21v; list
of contents of a lost MS containing 164 sacred polyphonic compositions,
belonging to W. de Wintonia (see Wintonia,
W. de), in a hand nearer the end of the 13th century, on ff.160v–161.
The rest of the MS does not relate to the date or contents of the music or
list. Music on ff.2–13v: 4 monophonic cantilenas; 3 estampies
(untexted) for 2 voices; l conductus for 3 voices, with both Latin and a unique
French text, followed by the neuma (in modal rhythm) of which the conductus
tenor is an arrangement; 1 monophonic cantilena; the famous ‘Summer Canon’.List
on ff.160v–161: the list is headed ‘Ordo libri W. de Wintonia’
and begins with a setting of the Marian Gloria trope Spiritus et alme
entitled ‘Responsorium R. de Burgate’ (Ludwig read ‘Responsorium
de virgine’) (see Burgate, R. de). There
follow settings of 7 other Marian tropes, including 2 Regnum, 1
responsory, 3 alleluia tropes and 1 alleluia. Next comes a cycle of 37 alleluia
settings for important feasts and Lady masses; this list is headed ‘Postea Responsoria
W. de Wic’, which attribution has been expanded to ‘W. de Wicumbe’ (see
Wycombe, W. de). There follow 38 ‘Cunductus’,
13 ‘Moteti cum una littera et duplici nota’
(presumably conductus motets), 18 ‘Moteti cum duplici littera’(double
motets), 2 ‘Item moteti cum duplici nota’
(presumably additional conductus motets), 48 ‘Item cum duplici littera’
(additional double motets).
Wooldridge and Hughes, i (London, 1897),
pls.12–22 [facs.]; F. Ludwig: Repertorium organorum recentioris et motetorum
vetustissimi stili (Halle, 1910), 267ff; J. Wolf: ‘Die Tänze des
Mittelalters’, AMw, i (1918), 10–42 [edns of 3 estampies]; W.
Apel: The Notation of Polyphonic Music 900–1600 (Cambridge, MA, 1942,
5/1953), 247 [facs.]; HAM, i (1946), nos.41–2; J. Handschin: ‘The Summer Canon
and its Background, I’, MD, iii (1949), 55–94; v (1951), 65–113; B.
Schofield: ‘The Provenance and Date of “Sumer is icumen in”’, MR, ix
(1949), 81–6; L.A. Dittmer: ‘An English Discantuum Volumen’ ,MD,
viii (1954), 19–58, C. Parrish: The notation of Medieval Music (New York
and London,1958), pls. xxxii–xxxiii, xliii [facs.]; RISM, B/IV1 (l966), 505–8;
H. Besseler and P. Gülke: Schriftbild der mehrstimmigen Musik,
Musikgeschichte in Bildern, iii/5 (Leipzig, 1973), 44–7; C. Hohler:
‘Reflections on some Manuscripts Containing 13th-Century Polyphony’, Journal
of the Plainsong and Mediaeval Music Society, i (1978), 2–38; PMFC, xiv (1979),
nos.4a, 4b, 16, 17, 18, appx.23a, appx.23b; Lefferts (1986), 161–5; T. McGee: Medieval
Instrumental Dances (Bloomington, IN, 1989), nos.39–41 [edn of 3 dances];
Loseff (1994), 82–4; Summers and Lefferts (forthcoming) [facs]Oxford,
Bodleian Library, Corpus Christi College, 497 [OCC497]. 7 ff.
(various sizes, some only narrow strips), once fly-leaves of Ob CCC86,
now separated; gap of at least one leaf between f.4 and f.5. Notation: 4
sets of 3 red 5-line staves per page, with 4 brown 4- or 5-line staves added in
the wide lower margin of ff. 3v–4, 5v–6. Non-mensural notation
except for the motet additions, which are in 13th-century English mensural with
rhomboid breve. Date: third quarter of 13th century, additions last
quarter; Provenance: unknown.Contents: 2 Latin-texted Kyries (no
cantus firmus), 9 conductus in score, 2 motets in parts; all for 3 voices. 1
item omitted in RISM between no.7 and no.8; RISM no.13 is monophonic. Two
pieces have concordances with 13th-century Parisian MSS.L.A. Dittmer: ‘Beiträge
zum Studium der Worcester-Fragmente’, Mf, x (1957), 29–39; RISM, B/IV/1
(1966), 582–6; M. Lütolf: Die mehrstimmigen Ordinarium Missae-Sätze vom
ausgehenden 11. bis zur Wende des 13. zum 14. Jahrhundert (Berne, 1970)
[edns of 2 pieces]; PMFC, xiv (1979), nos.18, 23–4, 42, 82, appxs. 2–4;
Anderson (1979–88), ii, no.F33 and ix, nos.O25–O32; Losseff (1994), 42–9;
Summers and Lefferts (forthcoming) [facs.]Cambridge, Trinity College, O.2.1
(catalogue: 1105) [CbT]. 262 ff. (22·9 x 16·4 cm), of which the first two
and last two are unnumbered paper fly-leaves. Two more front fly-leaves are
foliated I–II. Music on ff.I–II, 229–30. Notation: English mensural with
rhomboid breve on 12 red 5-line staves per page. The two upper parts have the
same text and are written in score; the unlabelled tenor or tenors follow
separately. Date of music: third quarter of 13th century. Provenance:
main MS from Ely Cathedral priory (Benedictine) c1200.Contents: 9
conductus motets, all but 1 fragmentary, 1 (possibly 2) for 4 voices (2 tenors,
of which 1 has a cantus firmus). The last 3 pieces are well known from
continental sources. The first composition is erroneously listed as two
separate pieces in RISM.J. Handschin: ‘The Summer Canon and its Background,
II’, MD, iii (1949), 55–94; v (1951), 65–113; RISM, B/IV/1 (1966), 482–5
[lists edns of continental pieces made from other MSS]; PMFC, xiv (1979),
no.75, appxs. 24–5; Summers and Lefferts (forthcoming) [facs]Oxford,
Bodleian Library, Mus.c.60 [OM 60]. Miscellany of which only ff.79–85
(various sizes) and f.86 (26·7 x 19·7 cm, cut in half) and f.104r–v
are medieval and contain music; f.86 comes from a mid-15th century continental
MS and will not be further described here. Notation: ff.79–80, 81–85v
square notation without semibreves or minims, on the whole reflecting the
precepts of Johannes de Garlandia f.104r–v uses 13th-century
English mensural with rhomboid breve espressing sevond mode. F.80v uses
semibreves. Generally 9 red 5-line staves per page. Date: late 13th
century, f.81 slightly earlier, f.80v first half of the 14th century. Provenance:
unknown (two concordances with the Worcester Fragments).Contents: 13
pieces. Ff.79–85 (RISM nos.3 and 4 area a single item). 2 troped introits, 2
Kyrie tropes (one a fragmentary motet setting, the other in cantilena style
without cantus firmus), 1 Gloria (no cantus firmus), 2 Gloria tropes (one a
fragmentary motet setting, thother in 4-voice score and attributed by Dittmer
and Sanders to R. de Burgate), 1 troped responsory, 1
conductus, 1 pes motet with 2 texted parts and 2 tenors, Fragments of 3
motets. Most of these pieces are incomplete, with voices missing. On f.104r–v,
1 fragmentary motet.L.A. Dittmer: ‘An English Discantuum Volumen’, MD,
viii (1954), 19–58; L.A. Dittmer: ‘Beiträge zum Studium der
Worcester-Fragmente’, Mf, x (1957), 29–39; E.H. Sanders: ‘Cantilena and
Discant in 14th-century England’, MD, xix (1965), 7–52 [edn. of 1
piece]; RISM, B/IV/1 (1966), 566–70; M. Lütolf: Die mehrstimmigen Ordinarium
Missae-Sätze vom ausgehenden 11. bis zur Wende des 13. zum 14. Jahrhundert
(Berne, 1970) [3 facs., edn of 2 pieces]; PMFC, xiv (1979), nos.44, 59, 67,
appx. 15; P.M. Lefferts and M. Bent: ‘New Sources of English Thirteenth and
Fourteenth-Century Polyphony’, EMH, ii (1982), 338–42 [with facs. and
partial edn of f.104r–v]; Summers (1983), pls. 161–7 [facs.];
Summers and Lefferts (forthcoming) [facs.]Chicago, University Library, 654
App [US-Cu]. 4 ff. (c26 × 20 cm), cut across the middle and
trimmed (from a probable original size of c30 × 20cm) to make 16
fly-leaves around another MS, now kept separately. Notation: late
English mensural with rhomboid breve, on 11 or 12 red 5-line staves, one nearly
always cut away. Date: c1290. Provenance: Meaux Abbey
(Cistercian), near Beverley, east Yorkshire.Contents: 10 compositions
for 3 voices. One of the upper voices is missing in each of the three
compositions on f.1. The remaining pieces are a Gloria trope with another
texted part and a tenor, a motet whose upper voices share the same text, 3
rondelli, and 2 pieces containing rondellus or voice-exchange sections.R.L.
Greene: ‘Two Medieval Musical Manuscripts: Egerton 3307 and some University of
Chicago Fragments’, JAMS, vii (1954), 1–34; L.A. Dittmer: The Worcester
Fragments, MSD, ii (1957), 169 [edn of In excelsis gloria]; L.A.
Dittmer: Worcester Add.68, Westminster Abbey 33327, Madrid, Bibl. Nac. 192,
Publications of Mediaeval Musical Manuscripts, v (New York, 1959), 44 [facs. of
part of In excelsis gloria]; L.A. Dittmer: Oxford Latin Liturgical D
20, London Add. Ms. 25031, Chicago, Ms. 654 App., Publications of Mediaeval
Musical Manuscripts, vi (New York, 1960) [complete facs., edns of all but In
excelsis gloria]; E. Apfel (1959) [edns of 5 pieces]; RISM, B/IV/1
(1966), 813–16; PMFC, xiv (1979), nos.32–6, 73, 76; Wathey (1993), 60–62
[concordance in GB-Lwa frag.3/1]; Summers and Lefferts (forthcoming)
[facs.]Oxford, New College, 362 [ONC]. Medieval liturgical
fragments collected from various bindings, of which one group of 10 ff. (32·1 x
21·5 cm, some reduced by excisions) contains music. It bears an old red ink
foliation (lxx–lxxi, lxxvi–lxxvii, lxxxi–lxxxiii, lxxxviii–xc) and a modern
pencil foliation (82–91, incorrect, to be read in the order 84–9, 82–3, 90–91).
Notation: 11 red 5-line staves per page; Petronian notation except for
three added pieces (nos.18–20) on ff.90v, 91 which employ down-tailed
semibreves (no.18) and minims (no.19). Score notation for nos.13, 19–20,
otherwise parts written separately. Date: c1320 (Harrison). Provenance:
unknown.Contents: 21 compositions: 1 motet for 4 voices with 3 texted
upper voices and a French tenor; 2 motets for 4 voices with 2 texted upper
voices and 2 tenors (one with one French text for the tenors); 1 motet for 3
voices with a French tenor; 8 motets (several fragmentary, some for 4 voices);
2 voice-exchange motets for 3 voices; 1 rondellus for 3 voices; 1 Regnum
trope for 4 voices (motet); 1 Gloria trope for 3 voices; 1 antiphon for 3
voices (motet); 1 respond for 4 voices (motet with 2 texted upper voices); 2
discant settings for use before a lection.E. Apfel: (1959) [edns of 10 pieces];
Harrison (1960); RISM, B/IV/ 1 (1966), 588–93; F Ll. Harrison: ‘Ars Nova
in England: a New Source’, MD, xxi (1967), 67–85; T. Göllner: Die
mehrstimmigen litrugishen Lesungen (Tuzing, 1969), 132–3, 325–6 [facs. and
commentary]; PMFC, xiv (19790, no.42; PMFC, xv (1980), nos.1–10, 17; Harrison
and Wibberley (1981), pls.80–99 [facs.]; PMFC, xvi (1983), nos.32, 41–2, 99,
101–2; Summers (1983), pls. 197–9 [facs.]; Lefferts (1986); Wathey (1993), 6–8
[concordance in GB-AB 22875E]Cambridge, Gonville and Caius College,
543/512 [CGC]. 270 ff (25·5 x 18·3 cm) of which the first four and
last four are unnumbered modern paper fly-leaves. Foliation: 1–262,
partly old ink, partly modern pencil (the old foliation is three numbers
higher). Music on ff.246v–249rand 252v–262. Notation:
Petronian, 8–10 four- or five-line staves per page. Monophonic additions in
three further hands on f.248, including white mensural notes. The motets are
written in parts, the remainder in score. Date: c1330. Provenance:
texts on f.249v refer to East Anglia and bishops of Norwich, the last
entry in the main hand naming William de Hermyn (1325–36).
Contents: 14 items: 6
motets (one for 4 voices, with 2 tenors, the remainder for 3 voices); 2
rondelli for 4 voices; 5 cantilenas (in the usual double-versicle form of the
sequence), 3 for 3 voices, 2 for 2 voices; and 1 isolated motet part.
J. Handschin: ‘The Summer Canon and its
Background, II’, MD, v (1951), 65–113 [edn. of 1 piece]; E. Apfel (1959)
[edns. of 7 pieces]; M. Bukofzer: ‘Popular and Secular Music in England to
1470’, NOHM, iii (1960/R), 107–28, 165–213; E.H. Sanders: ‘Tonal
Aspects of 13th-century English Polyphony’, AcM, xxxvii (1965), 19–34
[edn of 1 piece]; RISM, B/IV/1 (1966), 468–71; PMFC, xiv (1979), 57; PMFC, xv
(1980), nos.25–8, 33; Harrison and Wibberley (1981), pls.120–42 [facs.]; PMFC,
xvi (1983), 97–8; Summers (1983), pls.16–20 [facs.]; PMFC xvii (1986),
nos.19–21, 36–8; Lefferts (1986)London, British Library, Sloane 1210 [Sl].
144 ff. (21 x 14 cm), numbered 1, 1bis, 2–143. Ff.1, 1bis, 138–43
are fly-leaves with music.Notation: various hands; 9–11 brown or red 4-
or 5-line staves per page. Notation styles include those with dots of division,
signum rotundum, minims, semibreves with left-hand oblique descending
tail. Date: c1330. Provenance: early owners include John
Gigur, magister at Tattershall collegiate chapel.Contents: 14
pieces: Kyrie trope for 3 voices, Gloria for 3 voices, Credo for 3 voices,
alleluia for 2 voices, hymn for 3 voices (only the Credo and the hymn have been
shown to be cantus firmus settings), 3 motets for 3 voices; 6 cantilenas, 3 for
3 voices and 3 for 2.N. Dufourcq, ed.: Larousse de la musique (Paris.,
1957), ii, 208 [1 facs.]; HarrisonMMB [edn of 1 piece]; E. Apfel (1959)
[4 facs., edns of 2 pieces]; Harrison (1960); E.H. Sanders: ‘Cantilena and
Discant in 14th-century England’, MD, xix (1965), 7–52 [edn of 1 piece];
RISM, B/IV/2 (1969), 229–34; PMFC, xv (1980), nos.12–14; Harrison and Wibberley
(1981), pls.23–38 [facs.]; PMFC, xvi (1983), nos.7, 34, 43, 74, 89; Summers
(1983), pls.63–8 [facs.]; PMFC xvii (1986), nos.25, 28, 30, 31, 34–5; Lefferts
(1986); Wathey (1993), 97–9, 125 [two concordances, one in facs.]; C. Page: ‘An
English Motet of the 14th Century: Two Contemporary Images’, EMc xxv
(1997), 7–32 [edn of one piece and facs. of two concordances]London, British
Library, Add. MS 62132A (formerly Leeds Central Library, Archives Department,
MS Vyner 6120; formerly Studley Royal, Fountains Abbey MS 23. 232 ff. (21·5
x 14·5 cm), the first of which is blank and unnumbered; the rest has modern
pencil foliation 1–231. A miscellaneous collection with music at the end on two
parchment bifolia from different gatherings, ff.228–31, to be read in the order
230, 229 (or 229, 230, see Bent, 1987), 228, 231. Pages were lost between the
bifolia after cantilenas were copied but before responsories were entered. Notation:
Ars Nova notation on 12 red 5-line staves per page; in the three added cantus
firmus settings the middle voice is notated in red ink on a 4-line staff even
though in two of the compositions it is the lowest voice that sings the chant.
Semibreves occasionally made major with downward tail or swallow tail. Date:
first third of the 14th century (Bent, 1987, suggests 3rd quarter). Provenance:
Fountains Abbey (Cistercian), north Yorkshire, at least by the mid-15th
century.Contents: 6 cantilenas, 1 sequence (in discant), 3 responsories
(verses only, in discant) all for 3 voices and in score notation.H.K. Andrews
and R.T. Dart: ‘Fourteenth-century Polyphony in a Fountains Abbey MS Book’, ML,
xxxix (1958), l–12 [facs. of 3 ff., edn of 1 piece, edns of all texts]; D.
Stevens: ‘The Second Fountains Fragment: a Postscript’, ML, xxxix
(1958), 148–53; E. Apfel (1959) [edns of 2 pieces]; RISM, B/IV/2 (1969),
275–9; PMFC, xvi (1983), nos.80, 84, 86; Summers (1983), pls.46–53 [facs.];
PMFC, xvii (1986), nos.22, 34, 41–4; Bent (1987) [facs. and commentary]Oxford,
Bodleian Library, e Mus.7 [EMus]. 277 ff. (36·5 x 23·2 cm), numbered
i–xii, 1–540 (old pagination, probably 17th century), and I–VI, 1–271 (modern
foliation). Ff.I–VI and 266–71 are fly-leaves, of which ff.I–II and 270–71 are
paper and blank, and ff.III–VI and 266–9 are parchment and contain music. Notation:
front fly-leaves Franconian and Petronian, the rest Ars Nova notation; 12 or 13
red 5-line staves per page. Date: mid-14th century. Provenance:
Bury St Edmunds (Benedictine).Contents: 18 pieces. Front leaves hold 11
(item no.1 in RISM is actually two fragmentary compositions): 1 motet with 2
texted upper voices and 2 tenors, 1 antiphon for 4 voices (a voice-exchange
motet for 2 tenors and 2 texted upper voices, probably intended as a Benedicamus
substitute), 6 motets for 3 voices, 1 untexted composition (?Kyrie) for 3
voices, Regnum trope for 3 voices (motet), 8 motets or fragments (for 3
or 4 voices). Rear leaves hold 7: a fragmentary voice-exchange motet for 4
voices, an untexted discant composition in score (Kyrie) for 3 voices, and 5
motets or framents (3-voice works). Or the latter, 2 have a French text (1 in
the the tenor), and 1 other (isorythmic) has a concordance in I-IV
115.J., J.F.R. and C. Stainer, i (1901), pls.x–xv [facs. of 3 pieces], ii
(1901) [edn of 1 piece]; M.F. Bukofzer: Studies in Medieval and Renaissance
Music (London and New York, 1950), 17–33 [edns of 2 pieces]; Harrison
(1960); F.Ll. Harrison: Motets of French Provenance, PMFC, v (1968)
RISM, B/IV/2 (1969), 257–61; P.M. Lefferts: ‘The Motet in England in the
Fourteenth Century’, CMc, no.28 (1979), 55–75; PMFC, xv (1980); Harrison
and Wibberley (1981), pls.46–61 [facs.]; OMFC, xvi (1983), nos.18–24, 32;
Summers (1983), pl.157 [facs. of f.267]; Lefferts (1986)Durham, Cathedral
Library, C.I. 20. [DRc20] 340 ff. (34 x 22·2 cm). Music on the 4
fly-leaves at the beginning and the four at the end (ff.1–4, 366*–369). Notation:
ff.1–4, late Petronian notation; f.4v, 2 pieces in score in French Ars
Nova notation; ff.366*–369 French Ars Nova notation. Ff. 1–4v, 12 brown
5-line staves per page, ff.366*–369, 13. Date: mid-14th century. Provenance:
main MS bought mid-15th century for Durham by prior John Wessyngton (explicit
on f.5).Contents: Front leaves: 4 motets for 3 voices including one with
a French tenor, 1 motet for 4 voices, 2 isolated motet part; f.4v, 2
chant settings in discant style, for 3 voices (cantus firmus, if any, of the
second is unknown so far). Rear leaves: 10 3-voice motets, 6 of French
provenance, including two by Philippe de Vitry.F.Ll. Harrison: Motets of
French Provenance, PMFC, v (1968) F.Ll. Harrison: ‘Ars Nova in
England: a New Source’, MD, xxi (1967), 67–85; PMFC, xv (1908),
nos.29–35; Harrison and Wibberley (1981), pls.149–64 [facs.]; PMFC, xvi (1983),
nos.70, 75; Summers (1983), pl.39 [facs. of f.4v]; Lefferts (1986) RISM,
B/IV/2 (1969), 218–22 [lists edns of continental motets made from other
sources]Oxford, Bodleiaen Library, Barlow 55 [Ob 55]. Miscellany
of 13 ff. of various sizes, modern pencil foliation. Music on ff.4–5 (21 x 13·8
cm). Notation: Ars Nova notation, except for last line of f.5, a later
addition which is in 15th-century white notation (Si quis amat;
concordance in Cu 5943, f.163r). Top two staves cut off, leaving
1 red 5-line staff and 3 sets of 3 red 5-line staves; text in red ink except on
f.5v. Date: 14th century. Provenance: unknown.Contents:
8 settings for the Mass Ordinary, in varying states of incompleteness, 1
alleluia, 1 cantilena. All compositions for 3 voices, some in discant style,
some in cantilena style.E. Apfel (1959) [3 facs., edns of 2 pieces]; RISM,
B/IV/2 (1969), 248–51; Harrison and Wibberley (1981), pls.40–43 [facs.]; PMFC,
xvi (1983), nos.22, 24, 46, 59, 62, 77; Summers (1983), pls.153–65 [facs.];
PMFC, xvii (1986), no.4b
Sources, MS, §VI:
English polyphony 1270–1400
BIBLIOGRAPHY
general
HarrisonMMB
H.E. Wooldridge and H.V. Hughes, eds.: Early
English Harmony (London, 1897–1913/R)
J. , J.F.R. and C. Stainer, eds.: Early
Bodleian Music, i–ii (London, 1901)
A. Hughes: Medieval
Polyphony in the Bodleian Library (Oxford, 1951) [see also review by M.F. Bukofzer, JAMS, v (1952), 53–6]
E. Apfel: Studien zur
Satztechnik der mittelalterlichen englischen Musik
(Heidelbert, 1959)
F.Ll. Harrison: ‘English Church Music in the Fourteenth Century’,
NOHM, iii (1960/R), 82–106
G. Reaney: ‘Some Little-Known Sources of Medieval Polyphony in England’, MD, xv (1961), 15–26
G. Reaney, ed.: Manuscripts
of Polyphonic Music: 11th – Early 14th Century, RISM,
B/IV/1 (1966)
M. Bent: ‘New and Little-known Fragments of English Medieval Polyphony’, JAMS, xxi (1968), 137–56
G. Reaney, ed.: Manuscripts
of Polyphonic Music (c1320–1400), RISM, B/IV/2 (1969)
N. Ker: Medieval
Manuscripts in British Libraries (Oxford, 1969–92)
K. von
Fischer and M. Lütolf: Hadscriften
mit mehrstimmiger Musik des 14., 15. und 16. Jahrhunderts, RISM, B/IV/4 (1972)
M. Bent: ‘The Transmission of English Music 1300–1500: some Aspects of Repertory
and Presentation’, Studien zur
Tradition in der Musik: Kurt von Fischer zum 60. Geburtstag, ed. H.H. Eggebrecht and M. Lütolf (Munich, 1973), 65–83
E.J. Dobson and F.Ll. Harrison, eds.: Medieval
English Song (London, 1979)
Census-Catalogue
of Manuscript Sources of Polyphonic Music, 1400–1550, RISM, i (1979–88)
G.A. Anderson, ed.: Notre-Dame
and Related Conductus (Henryville, PA, 1979–88)
E.H. Sanders, ed.: English
Music of the Thirteenth and Early Fourteenth Centuries,
PMFC, xiv (1979)
F.Ll. Harrison, ed.: Motets of
English Provenance, PMFC, xv (1980)
F.Ll. Harrison and R. Wibberley, eds.: Manuscripts
of Fourteenth Century English Polyphony: a Selection of Facsimiles, EECM, xxvi (1981)
I. Fenlon, ed.: Cambridge
Music Manuscripts, 900–1700 (Cambridge, 1982)
W.J. Summers, ed.: English
Fourteenth-Century Polyphony: Facsimile Edition of Sources Notated in Score, Münchner Editionen zur Musikgeschichte, iv (Tutzing, 1983)
F.Ll. Harrison, E.H. Sanders and P.M. Lefferts, eds.: English
Music for Mass and Offices, PMFC, xvi–xvii (1983–86)
P.M. Lefferts: The Motet in
England in the Fourteenth Century (Ann Arbor, 1986)
M. Benet, ed.: The
Fountains Fragments (Kilkenny, 1987) [facs.]
W.J. Summers: ‘English 14th-Century Polyphonic Music: an Inventory of the Extant
Manuscript Editions’, JM, viii (1990), 173–226
A. Wathey, ed.: Manuscripts
of Polyphonic Music: in British Isles, 1100–1400
(Munich, 1993) [suppl. 1 to RISM,
B/IV/1–2]
G. Curtis and A. Wathey: ‘Fifteenth-Century English Liturgical Music: a List of the Surviving
Repertory’, Research Chronicle, xxvii (1994), 1–69
N. Losseff: The Best
Concords: Polphonic Music in Thirteenth-Century Britain
(New York, 1994)
W.J. Summers and P.M. Lefferts: English
Thirteenth-Century Polyphonic Music: a Facsimile Edition of the Manuscript
Sources, EECM (forthcoming)
the worcester fragments
J.K. Floyer and S.G. Hamilton: Catalogue of
Manuscripts Preserved in the Chapter Library of Worcester Cathedral (Oxford, 1906)
A. Hughes, ed.: Worcester
Medieval Harmony of the Thirteenth and Fourteenth Centuries (Burnham, Bucks., 1928),
21–5, l43–4
N.R. Ker: Medieval
Libraries of Great Britain: a List of Surviving Books
(London, 1941, 2/1964)
I. Atkins and N.R. Ker: Catalogus
librorum manuscriptorum bibliothecae Wigorniensis, made in 1622–23 by Parrick
Young, Librarian to King James I (Cambridge, 1944)
L.A. Dittmer: The
Worcester Fragments, MSD, ii (1957)
L.A. Dittmer: ‘The Dating and the Notation of the Worcester Fragments’, MD, xi (1957), 5–11
L.A. Dittmer, ed.: Worcester
Add.68, Westminster Abbey 33327, Madrid, Bibl. Nac. 192,
Publications of Mediaeval Musical Manuscripts, v (Brooklyn, NY, 1959)
L.A. Dittmer, ed.: Oxford,
Latin Liturgical D 20, London Add. MS 25031, Chicago MS 654 app., Publications of Mediaeval Musical Manuscripts, vi (Brooklyn, NY, 1960)
E.H. Sanders: ‘Duple Rhythm and Alternate Third Mode in the 13th Century’, JAMS, xv (1962), 249–91
E.H. Sanders: Medieval
English Polyphony and its Significance for the Continent (diss., Columbia U., 1963), ii/B, n.35
G. Reaney, ed.: Manuscripts
of Polyphonic Music: 11th – Early 14th Century, RISM
B/IV/1 (1966), 541ff, 595ff
D. Stevens: ‘The Worcester Fragments’, MT, cxvi (1975), 784–5
R. Wibberley: English
Polyphonic Music of the Late Thirteenth and Early Fourteenth Centuries: a
Reconstruction, Transcription and Commentary (diss., U.
of Oxford, 1976)
PMFC, xiv (1979) [edn of 44
of the 109 numbered items in Dittmer, 1957, and RISM]
Harrison and
Wibberley (1981), pl.205, 212 [facs.]
W.J. Summers: ‘Unknown and Unidentified English Polyphonic Music from the Fourteenth
Century’, RMA Research Chronicle, xix (1983–5), 57–67
N.R. Ker, ed.: Medieval
Manuscripts in British Libraries, iv (Oxford, 1992), 682–91
Wathey (1993), 93–5 [Add.
MS 68, Frag. xxxix/1–2]
Losseff (1994), 69–82,
146–56
Summers and
Lefferts (forthcoming) [facs. of all, with reconstruction of remains of three
principal volumes]
Sources, MS
VII. French polyphony, 1300–1420
1. General.
2. The Machaut
manuscripts.
3. Principal
individual sources.
BIBLIOGRAPHY
Sources, MS, §VII:
French polyphony 1300–1420
1. General.
The French repertory of the Ars Nova and Ars Subtilior survives in
about 85 sources containing more than 600 polyphonic compositions (this figure
includes 35 French works by Italian composers but excludes the 228 unique
compositions in the Cyprus MS I-Tn J.II.9). Some 150 mass movements, 11
hymns, 74 motets, 1 hocket, 171 ballades, 102 rondeaux, 89 virelais, 4 chaces,
3 canons, 4 polyphonic lais and 2 chansons have survived complete and are
available in modern edition; to these may be added 43 monophonic works by
Machaut, and a large number of fragments. Few of the central sources are now
complete. However, there is a large number of MSS and fragments from outlying
countries – principally Italy, but also from Catalonia and England, and from
the north and east border regions of France – and these provide evidence of the
wide spread of French culture and music. Most of the sources are now located in
France (25), Italy (21) and Spain (18), with some in Belgium, England and
Germany; there are a few others in the Netherlands, Switzerland, the USA,
Poland and the Czech Republic. Inventories and descriptions of nearly all these
sources are in RISM, B/IV/1–2 (with supplement) and B/IV/3–4, and additional
information concerning the early 15th century can be found in the Census-Catalogue
of Manuscript Sources of Polyphonic Music, 1400–1550, ed. C. Hamm and H.
Kellman, RMS, i (1979–88). The principal sources were known to Ludwig and
Besseler.
Whereas the Italian sources of the period have their contents
arranged in order of composers, the French sources are predominantly
categorized by forms, although this order often tends to become obscured by
miscellaneous additions. The repertory has in part survived anonymously, but 50
French composers and 12 Italian are named in ascriptions. Most of these,
however, are represented by only one or two works. The music of the 14th
century was notated in separate parts: in the early stages motets and mass
movements were often laid out in two columns on a single page, the tenor at the
foot spanning the two columns; later they were set out on facing pages. In song
compositions the voices were laid out sometimes in columns in older MSS (see
fig.34) but usually one under the other: cantus, tenor
and contratenor; the position of the triplum varied.
The MSS of French origin have between seven and fifteen 5-line
staves to a page, depending on size. MSS intended for practical use tended to
retain the quarto format of 13th-century sources. Most MSS have nine or ten
staves per page with an average size of 30 × 20 cm. For costly illuminated MSS
folio format was preferred: the largest are the fragment F-Pn
n.a.fr.23190 (Trém; formerly F-SERc), notated in 1376 by a royal
scribe, which measures 49 × 32·5 cm, and the Roman de Fauvel of 1316 (in
which red notes appear for the first time), measuring 46·2 × 33 cm (fig.33). With regard to the contents, pieces in F-Pn
fr.571 (where the minim is distinguished clearly from the semibreve for the
first time) and GB-Lbl Add.41667 (McV), and two fragments in
rotulus form in F-Pn Pic.67 and B-Br 19606, are all related to
the latest works in F-Pn fr.146, as are also the earliest instrumental
compositions from GB-Lbl Add.28550. After B-Tc 476 – the MS
containing the Mass of Tournai – there is a break in the surviving MS
tradition, which is in part bridged by the five large Machaut MSS (see §2) and
the southern French I-IVc (see §3) as well as a number of smaller
contemporary sources: F-Pn fr.2444, Pim, AS 983, CA
1328 (CaB), Pn n.a.fr.23190, TLm 94, E-Bbc 971 (BarcC),
GB-DRc 20, Ob e Mus.7, Cmc Pepys 1594 (Pep), CH-BEsu
218 (Mach K), BEsu 421 (Bern A), Fcu 260, D-Nst
25, NL-Lu 342A, Lu 2515, US-NYpm 396 (Morg) and R
44 (BF). Alongside works of the early Ars Nova these MSS contain a
repertory – not yet very complex in rhythm – from the second third of the
century.
Much more numerous are sources containing late 14th- and early
15th-century works, more in the style of the Ars Subtilior, together with
earlier pieces. Apart from F-APT 16bis (see §3), these sources
are rarely wholly French in content or origin. Even the two principal sources, F-CH
564 and I-MOe α.M.5.24 (see §3), contain a handful of works
composed in Spain and Italy respectively. Of Italian sources with French
sections or added pieces the most important is F-Pn n.a.fr.6771 (PR,
‘Codex Reina’) with 80 such works (43 ballades, 29 virelais, 8 rondeaux – see
§VIII, 2). Another, Pn it.568 (Pit), has 29 French additional
pieces; and I-Fn Panciatichiano 26 (FP) has 26, of which 8 are
concordances with F-CH 564 evidently copied from the same intermediary
source (see §VIII, 2). Here, as in the instrumental versions in I-FZc
117 (Fa), the French pieces are generally copied only with text
incipits.
A number of French pieces appear in Italian fragments from Bologna
(I-Bu 596), Cividale del Friuli (I-CF 98), Grottaferrata (I-GR
16 and 197), Lucca and Perugia (I-La 184; PEc 3065; facs. of both
MSS ed. J. Nádas and A. Ziino, 1990), Padua (I-Pu 658, 1115, 1475 and GB-Ob
Canon.pat.lat.229), Parma (I-PAas 75), Pistoia (I-PS 5) and Udine
(I-UDc 290). The harp notation – so far unique – of US-Cn 54
appears to be of Italian origin. By contrast US-BE 744 and Wc
M2.1.C6a14 are French. The Spanish sources E-Bbc 853, Boc 2 and G
are related in content to F-APT. The extensive fragments from Leiden (NL-Lu
2720) and Utrecht (Uu 37) comprise a predominantly French repertory with
an admixture of Netherlands works. The part-copy of F-Sm 222 (see §3)
together with the related CZ-Pu XI E 9 and the fragments D-Nst 9
contain a mixed repertory of French and German works.
Sources, MS, §VII:
French polyphony 1300–1420
2. The Machaut manuscripts.
Paris, Bibliothèque nationale, fr.1584 [A],
1585[B], 1586 [C], 9221[E], 22545–6
[F–G] and US-Nyw, without shelf-mark (formerly in the possession
of the Marquis of Vogüé) [Vg].F-Pn fr.1586, with illuminations
dating from 1350–56 (Avril, 118–24), is less complete than the other sources,
but contains the oldest repertory. (For theories, now generally accepted,
regarding the chronology of Machaut’s works based on the differing number of
pieces in the various MSS see G. Reaney: ‘Towards a Chronology of Machaut’s
Musical Works’, MD, xxi, 1967, p.87.) It comprises 226 parchment folios
(30 x 2 cm), with an 18th-century ink foliation; the musical section occurs on
ff.148v–225, contains 94 pieces, of which 56 are polyphonic, and falls
into 2 sections: the first (ff.148v–186v) has 23 monodic virelais
(3 without music), 16 polyphonic ballades and 9 monophonic lais (1 without
music); the second section (ff.186v–225), less organized, has another 8
polyphonic ballades and 9 rondeaux, 5 virelais (none polyphonic) and 6
monophonic lais, and 19 motets.New York, Wildenstein Collection, without
shelf-mark, an older MS, possibly dating from about 1370–72 (Avril, 124–6),
may well present the next-oldest repertory. It comprises 390 parchment folios
(32 x 9 cm; originally 392 folios, copied complete in F-Pn fr.1585),
with medieval foliation. It was in the possession of the Count of Foix by the
15th century at the latest (‘J’ay belle dame assouvie’, probably the Foix
motto, is on a preliminary leaf in a 15th-century hand). It originally
contained the mass and 125 other musical items: 15 lais, 23 motets, 38
ballades, 17 (now only 15) rondeaux, 31 virelais and the hocket.F-Pn
fr.1584, 1370–77 (Avril, 126–7), comprises 501 parchment folios (30.6 x 22 cm),
494 with medieval foliation plus seven at the beginning containing the original
index and Machaut’s prologue to his works. It contains two more ballades, five
more rondeaux and two more virelais than the preceding manuscript, Vg.F-Pn
fr.1585 is a paper copy of US-NYw: 395 folios (29 x 21 cm), also dating
from 1370–72. (Two folios are missing – the first of lais and penultimate of
virelais – and f.321 is misbound as f.309.)F-Pn fr.22545–6, in 2
volumes, is the largest of the Machaut sources and is apparently to be dated in
the 1390s; it was at one time at the convent of Discalced Carmelites in Paris.
It comprises 200 and 164 parchment folios respectively (35.5 x 26 cm), with a
possibly 18th-century foliation (fig.34). It presents Machaut’s entire musical
output with the exception of 1 ballade and 2 lais.F-Pn 9221, dating from
about 1400, belonged originally to John, Duke of Berry, and was in the
possession of the dukes of Burgundy from 1420 to 1467 (fig.4 above). It
comprises 238 parchment folios (40·6 x 30 cm), with medieval red ink foliation.
It contains all Machaut’s works except for 1 motet, 3 lais and 8 virelais, but
with many musical and textual variants and in no apparent orderly arrangement;
about half of the music was copied from F-Pn fr.1585. Unusually, the music for
parts of the Voir dit is copied within the poem.F. Ludwig, ed.:
Guillaume de Machaut: Musikalische Werke (Leipzig, 1926–54/R);
PMFC, ii–iii (1956/R) [both edns have descriptions]; F. Avril: ‘Les
manuscsrits enluminés de Guillaume de Machaut: essai de chronologie’, Guillaume
de Machaut: Reims 1978, 117–33; L. Earp: Guillaume de Machaut: a Guide
to Research (New York, 1995) [incl. detailed descriptions of MSS]. For
further bibliography see Machaut, Guillaume de.
Sources, MS, §VII:
French polyphony 1300–1420
3. Principal individual sources.
Chantilly, Musée Condé, 564 (formerly
1047) [Ch]. 64 parchment ff. (38·7 × 28·6 cm), preceded by 8
19th-century paper folios containing an essay on the MS (by J.G. Flammermont). Foliation:
ff.9–12 (modern), 13–72 (medieval: scribe B). Structure: basic corpus
ff.13–72 (5 senions, with original first gathering missing or misplaced as
gathering 3), with added leaves ff.9–12 including an index of the basic corpus
(9v–10) and 2 pieces by Baude Cordier dedicated to owners of MS (11v–12).
Scribes: ff.13–72 scribe A (elegant but incorrect hand, 6-line staff,
possibly Italian but with French or Spanish features, obviously unfamiliar with
material copied and unable to understand the French texts), ff.9–12 scribe B
(French hand, who also added some names of composers in the basic corpus,
5-line staff). Date and provenance: basic corpus late 14th century from southern
France (Reaney, Apel, Green), or early 15th-century Italian copy of late
14th-century material or exemplar on 5-line staff (Ludwig, Besseler, Günther),
the latest possible date for which is 1393–5 (date of no.38 on Mathieu de Foix,
successor of Gaston Fébus, married to the daughter of John I of Aragon. Gacian
Reyneau, who served in the royal chapel at Barcelona from 1398 to 1429, is
represented by 1 work, a rondeau in the simpler early 15th-century style). The
old corpus might have been written for the young prince represented twice on
f.37 (MGG1, ii, pl.34, facs. facing 1057), a drawing possibly made on
what was originally the first page of the MS: he has an eagle on his helmet and
a round shield which excludes the French nobility; but the French dedication
pieces by Cordier and the 2 fleurs de lis on f.11v suggest
French-speaking owners. Added leaves early 15th century (Reaney, Günther) or
not later than 1398, based upon the identification of Baude Cordier with Baude
Fresnel, chamber valet to Philip the Bold of Burgundy, who was at Avignon in
1395 but died in 1397 or 1398 (Wright, Greene, Strohm). MS was owned by the
Florentine family of Francesco d’Altobianco degli Alberti in 1461 (inscription
f.9). It might have been written for his father or his uncle Niccolò, who was
banished from Florence in 1401 and died in France. MS remained in private
Florentine collections until 1861 and was then brought to Chantilly, where the
purple velvet binding was added for the Duke of Aumale, who obtained the MS through
the sculptor Bigazzi in Florence.
Contents: 112 polyphonic compositions (1
twice): 13 motets (last gathering), 70 ballades, 17 rondeaux, 12 virelais. Date
of music: basic corpus c1350–95: Ars Subtilior repertory 1375–95 by
papal singers from Avignon and musicians employed by the Duc de Berry and at
the Foix and Aragon courts (highly complex pieces with notational intricacies),
but the older French repertory post-1350 is also represented; on the added
leaves 2 dedicatory pieces by Baude Cordier. Composers: basic corpus 34,
including Solage (10 pieces), Philippus de Caserta (7), Trebor (6), Vaillant,
Matheus de Sancto Johanne (5), Cuvelier, Jaquemin de Senleches (4), Grimace,
Guido, Machaut, Susay (3), Galiot, Magister Franciscus, Hasprois (2), all others
(1).
Editions: CMM, xxxix (1965) [all motets]; PMFC, v
(1968) [all motets]; CMM, liii/1–3 (1970–72) [all chansons of basic corpus]; G.
Reaney, ed.: CMM, xi/1 (1955) [pieces by Cordier]; CMM, xi/2 (1959) [songs by
Hasprois and Johannes Haucourt]; F. Gennrich: Musikwissenschaftliche
Studien-Bibliothek, iii–iv (1963 [16 facs. pages]; PFMC, xvii–xviii (1981–2)
[all chansons]; PMFC, xxi (1987) [appx with new 4-voice version of no.100]; Y.
Plumley and A. Stone, eds.: facs. of complete MS (in preparation)
G. Reaney: ‘The Manuscript Chantilly, Musée Condé
1047’, MD, viii (1954), 59–113; x (1956), 55–9 (‘Postscript’) [inventory
and description]; U. Günther: ‘Datierbare Balladen des späten 14.
Jahrhunderts’, MD, xv (1961), 39–61; xvi (1962), 151–74; U. Günther: ‘Das
Wort-Ton-Problem bei Motetten des späten 14. Jahrhunderts’, Festschrift
Heinrich Besseler, ed. E. Klemm (Leipzig, 1961), 163–78; U. Günther: ‘Eine
Ballade auf Mathieu de Foix’, MD, xix (1965), 69–81; U. Günther: ‘Zwei
Balladen auf Bertrand und Olivier du Guesclin’, MD, xxii (1968), 15–45
[1 facs. with transcr.]; RISM, B/IV/2 (1969), 128–60 [incl extensive
bibliography to 1960]; N.S. Josephson: ‘Vier Beispiele der Ars Subtilior’, AMw,
xxvii (1970), 41–58; G.K. Greene: The Secular Music of Chantilly Manuscript,
Musée Condé 564 (olim 1047) (diss., Indiana U., 1971); N.S. Josephson:
‘Rodericus, Angelorum psalat’, MD, xxv (1971), 113–26 [with
transcr.]; Hirshberg (1971); J. Bergsagel: ‘Cordier’s Circular Canon’, MT,
cxiii (1972), 1175–7; U. Günther: ‘Zitate in französischen Liedsätzen der Ars
Nova und Ars Subtilior’, MD, xxvi (1972), 53–68; R. Meylan: ‘Réparation
de la roue de Cordier’, MD, xxvi (1972), 69–71: W. Apel: ‘The
Development of French Secular Music during the Fourteenth Century’, MD,
xxvii (1973), 41–59; C. Wright: Music at the Court of Burgundy 1364–1419
(Henryville, 1979); U. Günther: ‘Sinnbezüge zwischen Text und Musik in Ars Nova
und Ars Subtilior’, Musik und Text in der Mehrstimmigkeit des 14. und 15.
Jahrhunderts: Wolfenbüttel 1980, 229–68; F. Leclercq: ‘Questions à propos
d’un fragment récemment découvert d’une chanson du XVIe siècle: une autre
version de “Par maintes fois ay owi” de Johannes Vaillant’, ibid., 197–228; A.
Tomasello (1983); T. Scully: ‘French Songs in Aragon: the Place of Origin of
the Chansonnier Chantilly, Musée Condé 564’, Courtly Literature: Culture and
Context: Dalfsen 1986, ed. K. Busby and E. Kooper (Amsterdam, 1990),
509–21; U. Günther: ‘Composers at the Court of the Antipopes in Avignon:
Research in the Vatican Archives’, Musicology and Archival Research:
Brussels 1993, 328–37; StrohmR; G. Di Bacco: ‘Documenti Vaticani per
la storia della musica durante il Grande Scisma (1378–1417), Quaderni
storici, no.95 (1997), 362–86Modena, Biblioteca Estense e Universitaria,
α.M.5.24 (olim lat.568) [Mod; Mod A]. 52
parchment ff. (28 ×19·8 cm). Foliation: 11–40 (original; used by
Pirrotta, Apel and Günther), ff.a, 1–10, 41–50 and z later added
accordingly (though gatherings 1 and 5, originally together, may have had a
different order: ff.1–5 as 6–10 and 41–5 as 1–5); 1–52 (modern; used by Wolf
and von Fischer). Structure: 5 quinions preceded and followed by half a
bifolium which has been used only on the inner pages; gatherings 2–4 form the
older corpus. Scribes: gatherings 2–4 written by A, gatherings 1, 5 and
a palimpsest f.16 written by B. Date and provenance: gatherings 2–4
contain a French repertory from the papal court at Avignon and near Genoa and
pieces from Milan, assembled during the council of 1409–10 in Pisa; the style
of miniatures suggests that the old corpus was written in Bologna about 1410;
gatherings 1 and 5 contain mainly works by Matteo da Perugia and may have been
written in Milan before his death (?1418).
Contents: 100 pieces: 12 mass movements, 1
hymn, 3 motets, 1 motet-like caccia, 36 ballades, 17 rondeaux, 19 virelais, 2
canons, 1 caccia, 2 madrigals and 6 ballatas. Date of music: mainly
1380–1418 plus well-known earlier pieces. Composers: Matteo da Perugia
(30 + 2 single parts, 7 doubtful works + 3 doubtful parts), Anthonello de
Caserta (8), Antonio Zachara da Teramo (5), Philippus de Caserta (4), Jaquenin
de Senleches (4), Machaut (4), Bartolino da Padova (3), Bartolomeo da Bologna
(2), Ciconia (2), Conradus de Pistoria (2), Egardus (2), Magister Egidius (2),
Johannes de Janua (2), Matheus de Sancto Johanne (2), Andreas Servorum (?
Andreas de Florentia), Blasius, Galiot, Grenon, Hasprois and Landini (each with
1 work).
Editions: F. Fano, ed.: La cappella musicale
del Duomo di Milano: le origini e il primo maestro di cappella, Matteo da
Perugia (Milan, 1956) [all mass movts and most songs by Matteo, incl. some
doubtful works and facs.]; CMM, xi/2 (1959) [2 songs by Hasprois]; CMM, xxxix
(1965) [nos.3, 11, 13]; N.S. Josephson, AMw, xxvii (1970), 41–58, esp.
56–8 [no.30]; CMM, liii (1970–72) [all French and Latin songs]; PMFC, xx (1982)
[23 ballades, 1 canon]; PMFC, xxiv (1985) [nos.45–6]; PMFC, xxxi (1987) [17
virelais]; PMFC, xxii (1989) [12 rondeaux]
U. Günther: ‘Das Manuskript Modena, Biblioteca
Estense, α.M.5, 24 (olim lat. 568 = Mod)’, MD, xxiv
(1970), 17–67: Hirshberg (1971); RISM B/IV/4 (1972), 950–81 [incl. bibliography
to 1970]; U. Günther: ‘Problems of Dating in Ars Nova and Ars Subtilior’, La
musica al tempo del Boccaccio e i suoi rapporti con la letteratura: Siena and
Certaldo 1975 [L’Ars Nova italiana del Trecento, iv (Certaldo,
1978)], 289–301; A. Ziino: ‘Magister Antonius dictus Zacharius de Teramo:
alcune date e molte ipotesi’, RIM, xiv (1979), 311–48; C. Berger: ‘“Pour
Doulz Regard…”: ein neu entdecktes Handschriftenblatt mit französischen
Chansons aus dem Anfang des 15. Jahrhunderts’, AMw, li (1994), 51–77; G.
Di Bacco and J. Nadás: ‘Verso uno “stile internazionale” della musica nelle
cappelle papali e cardinalizie durante il Grande Scisma (1378–1417): il caso di
Johannes Ciconia di Liège’, Collectanea I, ed. A. Roth (Vatican City,
1994), 7–74; A. Stone: Writing Rhythm in Late Medieval Italy: Notation and
Musical Style in the Manuscript Modena, Biblioteca Estense, α.M.5.24.
(diss., Harvard U., 1994)Paris, Bibliothèque Nationale de France, it.568
[Pit; P]: see §VIII, 2, belowParis, Bibliothèque Nationale de France,
n.a.fr.6771 (‘Codex Reina’) [PR; Rei; R]: see §VIII,
2, belowIvrea, Biblioteca Capitolare, 115 [Iv], 64 parchment ff.
(32 × 22·5 cm) without binding (outer leaves almost illegible). Foliation:
modern. Structure: 6 gatherings (5, 5, 6, 4, 6, 6 bifolia); main corpus
gatherings 1–5, with some folios possibly missing between gatherings 5 and 6. Scribes:
main corpus by 2 scribes, ff.1–37 and 37v–51 respectively; a third
scribe plus other hands fill in blank spaces and add gathering 6 (Besseler);
the Ars Nova notation used on red 5-line staff still contains plicas and uses
occasional red notes; semiminims, dragmas and black void notes occur only in 4
late additions. Date and provenance: main corpus started after 1365
(date of no.4: see PMFC, v), with late additions possibly from the 1370s; MS
generally considered to have originated in Avignon (because of many
concordances with F-APT 16bis), but an origin at the court of
Gaston Fébus more likely (nos.2 and 4 are unique dedicatory motets that mention
the nickname Fébus (hypothesis of Günther and Asper); different from APT:
motets precede mass movements, most pieces anon.); MS may have been brought
from southern France to Ivrea in the late 14th century, where it was discovered
by Borghesio in 1921. According to Kügle, the MS originated at Ivrea itself in
the 1390s and might have been written by Jacomet de Ecclesia and Jehan
Pellicier.
Contents: 81 compositions: 36 motets
(mainly ff.1v–27, 53–64), 1 motet-like quodlibet, 25 mass movements
(mainly 27v–51), 2 2-voice discants with different texts in each voice,
4 chaces, 6 rondeaux, 5 virelais, 2 2-pt textless pieces. Date of music:
1320–75. Composers: unascribed (with one exception): Philippe de Vitry
(probably 9 motets), Machaut (4 motets, 1 rondeau), Magister Heinricus,
Bararipton, Depansis, Matheus de Sancto Johanne, Chipre, Orles, Sortes, Loys
(all 1).
Editions: CMM, xxix (1962) [all mass music except
no.35]; PMFC, v (1968) [22 motets]; CMM, xxxix (1965) [3 motets]; CMM, liii/1–3
(1970–72) [10 chansons, 4 chaces]; PMFC, xxiii/a–b (1989–91) [all mass music
except Credo of the mass of Barcelona]; see also individual composers
H. Besseler, AMw (1925), 167–252, esp.
185–94 [with inventory]; F. Ludwig: ‘Die mehrstimmige Messe des 14.
Jahrhunderts’, AMw, vii (1925), 417–35, esp. 425–8; M.J. Johnson: The
Thirty-Seven Motets of the Codex Ivrea (diss., Indiana U., 1955); L.
Schrade: ‘A Fourteenth Century Parody Mass’, AcM, xxvii (1955), 13–39;
R. Jackson: ‘Musical Interrelations between 14th Century Mass Movements’, AcM,
xxix (1957), 54–64; MGG1 (‘Codex Ivrea’; G. Reaney); MSD, vii (1962);
RISM, B/IV/2 (1969), 282ff; U. Günther: ‘Problems of Dating in Ars Nova and Ars
Subtilior’, La musica al tempo del Boccaccio e i suoi rapporti con la
letteratura: Siena and Certaldo 1975 [L’Ars Nova italiana del Trecento,
iv (Certaldo, 1978)], 289–301; U. Asper: Die Handschriften Ivrea und Apt
(diss., U. of Zürich, 1976); A. Tomasello: ‘Scribal Design in the Compilation
of Ivrea Ms. 115’, MD, xlii (1988), 73–100; K. Kügle: ‘Codex Ivrea,
Bibl.capit.115: a French Source “Made in Italy”’, RdMc, xiii (1990),
527–61; K. Kügle: ‘A Fresh Look at the Liturgical Settings in Manuscript Ivrea,
Bibl.cap.115’, IMSCR XV: Madrid 1992 [RdMc, xvi (1993)], 2452–75;
K. Kügle: The Manuscript Ivrea, Biblioteca capitolare 115: Studies in the
Transmission and Composition of Ars Nova Polyphony (Ottawa, 1997)Apt,
Basilique Sainte-Anne, Trésor 16bis. 45 ff. (between 27 × 19·3 cm and 29 ×
21 cm), the first 37 parchment, the last 8 paper; Foliation: I–X, XI (=
ff.25–34, 37) (medieval), 1–45 (19th-century) and remnants of other early
systems. Structure: 6 gatherings (of 8, 8, 5, 16, 2 and 6 leaves
respectively) dividing into 2 main parts in the original order of gatherings
1–2–4, 3–5–6. Scribes: 8 different hands (Stäblein-Harder). Date:
1400–17 (Stäblein-Harder), gatherings 3 and 6 the earliest, gathering 4 the
latest.
Contents: 48 pieces (plus one later
addition), constituting together with I-IV the principal part of the
surviving repertory of the Avignon papal court (1377–1403): 35 Mass Ordinary
movements for 2, 3 or 4 voices (10 Kyries, 10 Glorias, 10 Credos, 4 Sanctus, 1
Agnus), 9 of them troped, 4 3-voice motets, and 10 3-voice hymns grouped
together at the end of gathering 2. Date of music: early 14th century to
early 15th. Composers: ranging in time from Philippe de Vitry (3 motets c1320–30)
to Cordier and Tapissier (after 1400), both unascribed, others being
Bararipton, Chassa, Chipre, Defronciaco, Depansis, Fleurie, Graneti, Guymont,
Loys, Murrin, Orles, Peliso, Perrinet, Sortes, Susay and Tailhandier.
Editions: PSFM, i/10 (1936) [complete, with 4
facs., but unreliable]; CMM, xi/1 (1955) [1 Gloria by Cordier, 1 Credo by
Tapissier]; PMFC, i (1956) [Vitry motets nos.9, 11, 13, Gloria splendor patris
and Credo of the mass of Barcelona]; CMM, xxix (1962), and MSD, vii (1962) [all
mass movts except the ‘Tournai’ Credo]; PMFC, xxiii/a–b (1989–91) [all mass
movts except those of the mass of Barcelona, all hymns]
A. Elling: Die Messen, Hymnen und Motetten der
Handschrift von Apt (diss., U. of Göttingen, 1924); H. Besseler, AMw
(1925), 167–252, esp. 201–5 [with inventory]; F. Ludwig, AMw, vii
(1925), 417–35, esp. 425–8; L. Schrade, AcM, xxvii (1955), 13–39, esp.
37–9; RISM, B/IV/2 (1969), 104–15; A. Tomasello (1983); K. Moll: Structural
Determinants in Polyphony for the Mass Ordinary from French and Related Sources
(ca.1320–1410) (diss., Stanford U., 1995)Strasbourg, Bibliothèque
Municipale, 222 (C.22) [Str]: MS destroyed by fire in 1870
(only a facs. of f.78v survives), but part-copied by Coussemaker in
1866. Original MS: 155 paper ff. (29 × 21 cm). Foliation and
structure: ff.1–11 (containing alphabetical index and five music
treatises), one unnumbered folio, ff.1–143 (containing music and a treatise on
plainchant) – all original foliation. Date and provenance: early 15th
century, probably finished by Heinrich Laufenberg; the date
1411 mentioned on f.142 (explicit of treatise) does not relate to the
MS, which contained, among its 47 later additions in void notation, works by Du
Fay and Binchois.
Contents: 207 compositions, 192 polyphonic,
15 monophonic, of which Coussemaker copied all the incipits, and 51 polyphonic
pieces entire; 25 have German texts, 88 French, 5 Italian and the remainder
Latin; there are 20 contrafacta. Forms: 37 mass movements (26 in full
black notation, 11 in black void), 11 early motets, 24 single-texted Latin
pieces, 88 chansons (61 full black, 27 void). Date of music: 1310–1450. Composers:
ascriptions to Alanus, Anthonius Clericus Apostolicus, Binchois, Bosquet,
Cameraco, Carlay, Climen, J. Cornelius, Du Fay, Egidius de Thenis, Grimace
(no.105), Henricus de Libero Castro (i.e. Freiburg), Heinrich Laufenberg (who
may be identifiable with the preceding), Henricus (Egidius de Pusiex), Henricus
Hessman de Argentorato, Lampens, Lantins, Libert, Merques, Nucella, Perrinet,
Phylomena, Richart (?Loqueville), Royllart, Zeltenpferd (those to Machaut,
Cesaris and Vitry are false); also by concordance Antonius de Civitate Austrie,
Borlet, Fontaine, Grenon, Hymbert de Salinis, Jaquemin de Senleches, Landini,
Machaut, Passet, Peliso, Pierre de Molins, Tailhandier, Vaillant, Vide, Vitry
and Zacara de Teramo.
Coussemaker’s study and part-copy of the MS is now
Brussels, Bibliothèque du Conservatoire Royal de Musique, 56.286. 152
paper ff. (29 × 23 cm). Foliation and structure: ff.1–80 (only rectos
used) include a description of the MS (ff.1–4), list of pieces in order as they
appeared in original MS (5–15), alphabetical index (16–25), copy of treatises
(26–77), list of pieces copied (78–80); 14 unnumbered folios plus pp.1–116 (MS
paper, recto and verso) contain a thematic index on 5-line staves, copies of 52
items (51 pieces) (pp.2–111, of which pp.2–38 and 109–11 are on 5-line staves
and 39–108 on 6-line: on p.39 Coussemaker noted ‘La ligne supérieure doit être
négligée’ – whether this applies to p.39 only or to all pages with 6-line staff
is unclear, though the incipits were copied consistently on 5-line staff).
Editions: CoussemakerS, iii, 35–46, 411–13,
413–15 [edns of treatises Liber musicalium, De musica mensurabili
and De minimis notulis]; PMFC, i (1956) [1 motet]; CMM, xi, 2 (1959)
[Gloria by Bosquet, ‘Patrem’ by Cameraco]; CMM, xxxix (1965), 4–7, 17–22, 57–65
[3 motets]; PMFC, v (1968), 24, 54, 141 [3 motets]; CMM, liii (1970–72) [15
chansons]; A. vander Linden, ed.: Thesaurus musicus (Brussels, 1973);
TM, ii (1977); PMFC, xx–xxii (1982–9) [chansons]; see also individual composers
C. van den Borren: Le manuscrit musical M.222
C.22 de la Bibliothèque de Strasbourg (XVe siècle) brûlé en 1870, et
reconstitué d’après une copie d’Edmond de Coussemaker (Antwerp, 1924)
[inventory]; RISM, B/IV/3 (1972), 550–92 [incl. bibliography to 1968]; L.
Welker: Musik am Oberrhein im späten Mittelalter: die Handschrift
Strasbourg, olim Bibliothèque de la Ville, C.22 (Habilitationsschrift, U.
of Basle, 1993)Turin, Biblioteca Nazionale Universitaria, J.II.9 [TuB].
Originally 159 parchment ff. (39 × 28·3 cm, but outer edges and inner margins
damaged by fire and water in 1904). Repertory survived intact. Foliation:
two foliations; both begin f.2, first in top right corner of recto, ending
f.158, second in centre of lower margin, to f.159; illuminated f.1 numbered in
pencil. The original front flyleaf, for a long time lost but refound, contains
an abstract from the Bull granting Pope John XXIII’s authorization for the
Office of St Hylarion, on the request of King Janus II of Cyprus. Structure:
17 gatherings, mostly quinternions, can be reconstructed using catchwords.
Music organized in 5 sections: (i) ff.1–28 (newly composed plainchant for the
Offices of St Hylarion and St Ann, 6 Mass Ordinaries); (ii) ff.29–57, 58 blank
staves (7 Gloria-Credo pairs and 3 other Glorias, all 3-voice); (iii) ff.59–97
(33 Latin and 8 French motets, mostly 3-voice); (iv) ff.98–139v (102
ballades, mostly 3-voice); (v) ff.143–158 (21 virelais, 43 rondeaux, blank
staves on ff.158v–159); 3 extra leaves inserted between (iv) and (v)
contain a 3-voice cyclic mass. Scribes: 1 or 2 (Hoppin) musical scribes
using 2 different custodes and Italian-French script in full black mensural
notation with red coloration, 3 text scribes, experts for French or Italian,
possibly different scribe for the chant section i and 1 illuminator. Date
and Provenance: 1413–20 at the court of the Lusignans in Nicosia, Cyprus;
MS possibly travelled with Anne de Lusignan, daughter of King Janus II of
Cyprus, in 1433 to Nice and then to Chambéry, where she was married to Ludovic
of Savoy.
Contents: see Cyprus:
medieval polyphony.
Editions: CMM, xxi/1–4 (1960–63) [all polyphony];
MSD, xix (1968) [all plainchant]; K. Kügle, I. Data and A. Ziino, eds.: Il
codice J.II.9 (Torino, Biblioteca nazionale universitaria) (Lucca, 1999)
[facs.]
H. Besseler, AMw (1925), 167–252, esp.
209–18 [with inventory]; R.H. Hoppin: ‘The Cypriot-French Repertory of the
Manuscript Torino Biblioteca Nazionale, J.II.9’, MD, xi (1957), 79–125;
R.H. Hoppin: ‘Reflections on the Origin of the Cyclic Mass’, Liber amicorum
Charles van den Borren (Antwerp, 1964), 85–92; RISM, B/IV/4 (1972),
1041–1105; A. Giaccaria, ed.: Manoscritti danneggiati nell’incendio del
1904: mostra di recuperi e restauri (Turin, 1986); The Cypriot-French Repertory
of the Manuscript Torino J.II.9: Paphos 1992 [incl. bibliography, 521–45].
For further bibliography see Cyprus: medieval
polyphony.
Sources, MS, §VII:
French polyphony 1300–1420
BIBLIOGRAPHY
MGG1 (‘Ars Nova’, §II, H.
Besseler)
J. Wolf: Geschichte
der Mensural-Notation von 1250–1460, i (Leipzig, 1904/R), 153–364; see also review by F.
Ludwig, SIMG, vi (1904–5), 597–641
H. Besseler: ‘Studien zur Musik des Mittelalters, I: neue Quellen des 14. und
beginnenden 15. Jahrhunderts’, AMw, vii (1925), 167–252;
‘II: die Motette von Franko von Köln bis Philipp von
Vitry’, AMw, viii (1926), 137–258
F. Ludwig, ed.: Guillaume de
Machaut: Musikalische Werke, ii (Leipzig, 1928/R)
G. Reaney: ‘New Sources of Ars Nova Music’, MD, xix (1965), 53–67
F.Ll. Harrison: ‘Ars Nova in England: a New Source’, MD, xxi (1967), 67–85
G. Reaney, ed.: Manuscripts
of Polyphonic Music (c1320–1400), RISM, B/IV/2 (1969) [incl. suppl. for B/IV/1]
J. Hirshberg: The Music of
the Late Fourteenth Century: a Study in Musical Style
(diss., U. of Pennsylvania, 1971),
7ff
K. von
Fischer and M. Lütolf, eds.: Handschriften
mit mehrstimmiger Musik des 14., 15. und 16. Jahrhunderts, B/IV/3–4 (1972)
D. Fallows: ‘L'origine du MS.1328 de Cambrai: note au sujet de quelques nouveaux
feuillets, et de quelques informations supplémentaires’,
RdM, lxii (1976), 275–80
A. Tomasello: Music and
Ritual at Papal Avignon 1309–1403 (Ann Arbor, 1983)
I. Lerch: Fragmente aus
Cambrai: ein Beitrag zur Rekonstruktion einer Handschrift mit
spätmittelalterlicher Polyphonie (Kassel, 1987)
M. Bent: ‘A Note on the Dating of the Trémoïlle Manuscript’, Beyond the Moon: Festschrift Luther
Dittmer, ed. B. Gillingham and P. Merkley (Ottawa, 1990), 217–42
E.H. Roesner, F. Avril and N.F. Regalado: Le Roman de
Fauvel in the Edition of Mesire Chaillou de Pesstain
(New York, 1990)
A. Wathey: Manuscripts
of Polyphonic Music: the British Isles, 1100–1400
(Munich, 1993) [suppl. for RISM
B/IV/1–2]
L. Earp: Guillaume de
Machaut: a Guide to Research (New York, 1995)
M. Bent and A. Wathey, eds.: Fauvel
Studies: Allegory, Chronicle, Music and Image in Paris, Bibliothèque Nationale
de France, MS français 146 (Oxford, 1998)
For further bibliography see RISM, B/IV/2–4.
Sources, MS
VIII. Italian polyphony, c1325–c1420
1. General.
2. Principal
individual sources.
3. Other fragments.
Sources, MS, §VIII:
Italian polyphony c1325–c1420
1. General.
The sources of Italian Trecento music, written between
approximately the mid-14th century and 1420, fall into two main groups: those
from Florence or Tuscany and those from northern Italy (namely Padua and
Milan/Pavia). A third group of fragmentary sources has more recently been shown
to be linked to the papal curia (a centre that was not geographically fixed,
moving after the beginning of the schism in 1378 from Rome to central Italy and
later through northern Italy). Altogether they contain over 600 madrigals,
cacce and ballatas, a few pieces of dance music, and about 50 liturgical pieces
and motets (of which many are only fragments). Of these, the pieces which
belong stylistically to the true Trecento repertory span a period of
composition from about 1325 to 1420. They are exclusively in Italian sources,
apart from a small number of southern German and east-central European ones.
In spite of innumerable concordances, there are almost no
immediate relationships among the principal Italian sources in the sense of
direct copying. This is made clear by the differing versions in which
particularly the older pieces of the repertory survive. The many fragmentary
sources are the sole remains of larger MSS. Only in a few cases do the
fragments belong to a common original MS: the Paduan sources (GB-Ob
Canon.lat.pat.229, I-Pu 684 and 1475; Pu 1115; Pu 658; Pu
675, 1106, 1225 and 1283), sources from Lucca and Perugia (La 184 and PEc
3065) and the Rossi and Ostiglia fragments (Rvat Rossi 215 and OS).
Identical scribal hands responsible for the copying of different sources are to
be found in La 184, US-CLwr and part of F-Pn it.568; as
well as in I-Fn F.5.5, another section of F-Pn it.568 and the
Ciliberti fragment; and among the Paduan fragments. The intabulations in I-FZc
117 and F-Pn n.a.fr.6771 (nos.184–5) form a source group of their own.
BIBLIOGRAPHY
J. Wolf: Geschichte
der Mensural-Notation von 1250–1460 (Leipzig, 1904/R), i, 228–73 [see also review by
F. Ludwig, SIMG, vi (1904–5), 597–641]
H. Besseler: ‘Studien zur Musik des Mittelalters’, AMw, vii (1925), 167–252; viii (1926), 137–258
S. Clercx: ‘Johannes Ciconia et la chronologie des mss. italiens, Mod.568 et Lucca
(Mn)’, L’Ars Nova: Wégimont 1955, 110–36
K. von
Fischer:
Studien zur italienischen Musik des Trecento und frühen
Quattrocento (Berne, 1956)
N. Pirrotta: ‘Novelty and Renewal in Italy: 1300–1500’, Studien zur Tradition in der Musik: Kurt von Fischer zum 60.
Geburtstag, ed. H.H. Eggebrecht and M. Lütolf (Munich, 1973), 49–63
E.C. Fellin: ‘Le relazioni tra i manoscritti musicali del Trecento’, RIM, viii (1973), 165–80
C.E. Brewer: The
Introduction of the ‘Ars Nova’ into East Central Europe: a Study of Late
Medieval Polish Sources (diss., New York U., 1984)
J. Nádas: The
Transmission of Trecento Secular Polyphony: Manuscript Production and Scribal
Practices in Italy at the End of the Middle Ages
(diss., New York U., 1985), 1–55
F. Facchin: ‘Le fonti di polifonia trecentesca italiana alla luce degli ultimi
ritrovamenti’, Fonti musicali
italiane, ii (1997), 7–33
G. Di Bacco and J. Nádas: ‘The Papal Chapels and Italian Sources during the Great Schism’, Papal Music and Musicians in Late Medieval
and Renaissance Rome, ed. R. Sherr (Oxford, 1998), 44–92
Sources, MS, §VIII:
Italian polyphony c1325–c1420
2. Principal individual sources.
Vatican City, Biblioteca Apostolica
Vaticana, Rossi 215 (‘Codex Rossi’; fig.35) [Rs;
R; VR] and Ostiglia, Opera Pia G. Greggiati, Biblioteca
Musicale, s.s. (‘Ostiglia fragment’): two fragments belonging to one
source. Originally at least 32 ff. (4 quaternions; c23 × 16·8 cm), of
which 14 parchment folios survive in Rvat (from between ff.8 and 18, and
after f.23) together with 10 inserted modern paper folios and modern flyleaves,
and 4 parchment folios in OS. Foliation: Rvat: i–viii,
xviii–xxiii; OS: xxv–xxvi, xxxi–xxxii (all original). Structure:
at least 4 distinct fascicles, of which the second is entirely lost; the
surviving folios are in a single hand. Date and provenance: mid- to late
14th century (Fischer c1350, Pirrotta c1370), from Padua-Verona
region; Rvat possibly came from the library of Cardinal Domenico
Capranica (1400–58), belonged in the 19th century to the Italian collector G.F.
de Rossi, passed at his death in 1854 to Jesuit libraries in Linz and thence
Vienna, and in 1922 to the Vatican.
Contents: the fragments together contain 37
pieces (Rvat 29, OS 8): Rvat has 22 madrigals (1 of which
is canonic), 1 caccia, 1 rondello, 5 monophonic ballatas; OS 8
madrigals. Date of music: c1325–55. Composers: all pieces
are anonymous, but concordances ascribe 2 to Piero and 2 to Giovanni da Cascia
(with 1 further ascription to him possible for no.1).
Editions: CMM, viii/2 (1960), 15–46 [excluding OS];
G. Vecchi, ed.: Il canzoniere musicale del codice Vaticano Rossi 215,
MLMI, iii/2 (1966) [facs. of the two sources together]; V. Guaitamacchi: Madrigali
trecenteschi del frammento ‘Greggiati’ di Ostiglia (Bologna, 1970); PMFC,
viii (1972); PMFC, ix (1978); N. Pirrotta, ed.: Il codice Rossi 215
(Lucca, 1992) [facs. with introduction]
J. Wolf: ‘Die Rossi-Handschrift 215 der Vaticana
und das Trecento-Madrigal’, JbMP 1938, 53–69 [Rvat]; O.
Mischiati: ‘Uno sconosciuto frammento appartenente al codice Vaticano Rossi
215’, RIM, i (1966), 68–76 [OS]; W.T. Marrocco: ‘The
Newly-Discovered Ostiglia Pages of the Vatican Rossi Codex 215: the Earliest
Italian Ostinato’, AcM, xxxix (1967), 84–91; RISM, B/IV/4 (1972), 981–4
[OS], 1020–27 [Rvat]; M.P. Long: Musical Tastes in
Fourteenth-Century Italy: Notational Styles, Scholarly Traditions, and
Historical Circumstances (diss., Princeton U., 1981), 210–12; N. Pirrotta:
‘“Arte” e “non arte” nel frammento Greggiati’, L’Ars Nova italiana del
Trecento, v, ed. A. Ziino (Palermo, 1985), 200–17Florence, Biblioteca
Nazionale Centrale, Panciatichiano 26 [FP (Fp); FN; Fl;
Panc]. 115 paper ff. (29·5 × 22 cm), with 2 modern flyleaves at front
and 3 at back (fig.36). Foliation:
1–5 (modern: index), i–cx (15th or 16th century). Structure: index (5
folios) followed by 11 gatherings, each of 5 bifolios (a quinion). Scribes:
the main corpus is in 4 (Nádas) or 5 (Campagnolo) hands, with additions made
both by the main scribes and by later scribes; the Italian notation (especially
when in duodenaria or octonaria) has in many cases been Frenchified and changed
according to the tastes of the copyists. Date and provenance: main
corpus: 1380–90 (Fischer, Campagnolo) or c1400 (Pirrotta, Nádas). The
additions fall into 3 (Nádas) or 5 (Fischer) groups: (1) directly after
completion of main corpus; (2) shortly after the main corpus; (3) 1400–20; (4)
after 1420; (5) 1430–50 (in void notation); the earliest of the Florentine
Trecento MSS, it belonged to the Florentine Panciatichi collection founded in
the 16th century by V. Borghini and extended by Panciatichi.
Contents: 185 pieces: 59 madrigals, 15
cacce, 85 ballatas, 15 French ballades, 9 rondeaux, 2 virelais; the main corpus
derives directly from a circle of composers associated with Landini; the
contents are as follows: 2-voice ballatas by Landini (gatherings 1–2), 3-voice
ballatas by Landini (gatherings 3–4), madrigals and cacce by Landini and
earlier composers (gatherings 5–9), mostly 3-voice madrigals by earlier
composers (gathering 10), French works (later additions and the whole of
gathering 11) of which 5 have concordances with F-CH 564. Date of music:
from 1340 to 1440–50. Composers: Landini (86), Jacopo da Bologna (22),
Giovanni da Cascia (18), Piero (8 or 9), Donato da Cascia (5), Gherardello da
Firenze (5), Lorenzo da Firenze (5), Machaut (5) and others.
Editions: PMFC, iv (1958), uses I-Fn 26 as
primary source; F.A. Gallo, ed.: Il codice musicale Panciatichi 26 della
Biblioteca Nazionale di Firenze (Florence, 1981) [facs. with introduction];
see also individual composers
Wolf, 244ff; N. Pirrotta: ‘Florenz’, §C, MGG1;
L. Schrade: Commentary to PMFC, iv (1958), 13–23; RISM, B/IV/4 (1972), 835–96; Census-Catalogue
of Manuscript Sources of Polyphonic Music, 1400–1550, RMS, i/1 (1979),
231–2; Long (1981), 179–90; J. Nádas: ‘The Structure of MS Panciatichi 26 and
the Transmission of Trecento Polyphony’, JAMS, xxiv (1981), 393–427;
Nádas (1985), 56–117; S. Campagnolo: ‘Il codice Panciatichi 26 della Biblioteca
Nazionale di Firenze nella tradizione delle opere di Francesco Landini’, ‘Col
dolce suon che da te piove’: studi su Francesco Landini e la musica del suo
tempo in memoria di Nino Pirrotta, ed. M.T.R. Barezzani and A. Delfino
(Florence, 1999), 77–119London, British Library, Add.29987 [Lo; L;
B]. 88 parchment ff. (26 × 19·5 cm) survive of an original MS of no
fewer than 185ff.; 6 flyleaves at front and 2 at back. Foliation: 98–185
(original, palimpsest), renumbered 1–85 (17th or 18th century); 2–88 (dating
from 1876). Structure: 11 gatherings, each of 8 folios. Scribes:
carelessly written MS, with 1 principal hand and several additional hands (2 of
which also copied I-Fc D.1175 and Fsl 2211; see Long, Nádas); at
some stage a separate hand corrupted many musical readings by adding
nonsensical rests and modifying the rhythms (see Gozzi). Date and provenance:
main corpus variously dated as late 14th to early 15th century (Reaney), very
early 15th century (Fischer) and c1425 (Pirrotta); southern Tuscany or
Umbria (Fischer) or possibly Florence (Reaney, Di Bacco); the MS may have been
mutilated at the beginning of the 16th century; the surviving section bears a
coat of arms of the Medici family; it was in the hands of Carlo Tomasini
Strozzi in the 17th century, then in a private library in Florence, and reached
the British Museum in 1876.
Contents: 119 pieces: 35 or 36 madrigals,
45 ballatas, 8 cacce, 15 estampies, 7 liturgical works (some
monophonic), 3 virelais, and other forms. Date of music: 1340–1400
(except no.118, which is much later). Composers: Landini (29), Niccolò
da Perugia (12 or 13), Jacopo da Bologna (7), Bartolino da Padova (5), Giovanni
da Cascia (5) and others.
Editions: MSD, xiii (1965) [facs., recto and verso
sides reversed]; J. ten Bokum: De dansen van het Trecento (Utrecht,
1967) [dances]; see also individual composers
Wolf, 268; G. Reaney: ‘The Manuscript London,
British Museum, Additional 29987 (Lo)’, MD, xii (1958), 67–91; RISM,
B/IV/4 (1972), 631–53; Long (1981), 171; C.C. Garforth: The Lo Manuscript
(diss., Northwestern U., 1983); Nádas (1985), 304; G. Di Bacco: ‘Alcune nuove
osservazioni sul codice di Londra (British Library, MS Additional 29987)’, Studi
musicali, xx (1991), 181–234; M. Gozzi: ‘Alcune postille sul codice Add.
29987 della British Library’, Studi musicali, xxii (1993), 249–77; G.
Carsaniga: ‘An Additional Look at London Additional 29987’, MD, xlviii
(1994), 263–97Paris, Bibliothèque Nationale de France, it.568 [Pit;
PN]. 150 parchment ff. (25·7 × 17·5 cm) with modern flyleaf at front and
back (fig.37). Foliation:
A–I (modern: original index) + i–cxl (original) + 141 (modern). Structure:
14 gatherings (all quinions), of which gatherings 6 and 8 (principally works of
Paolo da Firenze) are of later date and are late insertions. Scribes: at
least 3 (Fischer; 8 according to Nádas): A (Fischer; or A, B and E in Nádas:
gatherings 1–5, 7, 9–14); B (D in Nádas: gatherings 6 and 8, plus additions and
refoliation of the MS; same scribe as I-La 184, ff.70–72, and US-CLwr
ff.Ar–Br, Cv–Dv); C (several hands, according to
Nádas: additions to gatherings 1–5, 7, 9–14). Date and provenance:
gatherings 1–5, 7, 9–14 date from after 1400 (Fischer, Reaney) or c1405
(Günther), and gatherings 6 and 8 c1410 (Fischer) or 1406–8 (Günther,
Nádas); from Florence (perhaps the monastery of S Maria degli Angeli; Nádas,
1989), or Lucca or Pisa (Fischer). The MS belonged originally to the Capponi family,
and was perhaps written for them, was in the library of King Charles X of
France in the 19th century and passed from there to the Bibliothèque Nationale.
Contents: 199 pieces: 45 madrigals, 113
ballatas, 5 cacce, 10 French ballades, 13 rondeaux (includes 1 rondeau
refrain), 8 virelais, polyphonic settings of 5 movements from the Ordinary of
the Mass (no Kyrie but including Benedicamus). Date of music:
from 1340 to c1410. Composers: Landini (61), Paolo da Firenze
(32), Jacopo da Bologna (11), Niccolò da Perugia (6), Bartolino da Padova (5),
Gherardello da Firenze (5), Donato da Cascia (5) and others (these numbers do
not include the 31 ascriptions erased from the MS which concern in particular
the work of Paolo: see Günther, and Nádas, 1989). Of the 29 pieces that are
probably of French origin, 27 are anonymous and 19 have no text; there are 4
double concordances with F-CH 564; composers include Machaut (3 pieces)
and Pierre de Molins (2).
Editions: see individual composers
Wolf, 250ff; G. Reaney: ‘The Manuscript Paris, BN,
fonds italien 568 (Pit)’, MD, xiv (1960), 33–63; N. Pirrotta: Paolo
Tenorista in a New Fragment of the Italian Ars Nova (Palm Springs, CA,
1961); U. Günther: ‘Die “anonymen” Kompositionen des Manuskripts Paris, B.N.,
fonds it.568 (Pit)’, AMw, xxiii (1966), 73–92; U. Günther: ‘Zur
Datierung des Madrigals “Godi Firenze” und der Handschrift Paris, B.N., fonds
it.568 (Pit)’, AMw, xxiv (1967), 99–119; RISM, B/IV/3 (1972), 436–85; Census-Catalogue
of Manuscript Sources of Polyphonic Music, 1400–1550, RMS, i/3 (1984),
25–6; Nádas (1985), 216–90; J. Nádas: ‘The Songs of Don Paolo Tenorista: the
Manuscript Tradition’, In cantu et in sermone: for Nino Pirrotta, ed. F.
Della Seta and F. Piperno (Florence, 1989), 41–64Paris, Bibliothèque Nationale
de France, n.a.fr.6771 (‘Codex Reina’) [PR; Rei; R].
122 paper ff. (27·1 × 21·3 cm), with 4 modern flyleaves at back. Foliation:
2 systems: i–xxviiii [sic], 30–84 (on verso) (original); 1–131 (modern), of
which ff.120–24 are lacking, and ff.128–31 are flyleaves. Structure: 9
fascicles (different sizes), with inserted folios (ff.85–8), and leaves
representing the beginning of a tenth: fascs.8 and 9 are of a much later date. Scribes:
6 (Fischer) or 8 (Nádas) hands, which divide into four groups as follows:
section I, scribes S (Nádas; A in Fischer) and T (fascs.1–3), with 4 new hands
U, V, W (D in Fischer) and X (B in Fischer), who worked alongside S (fasc.4 and
first half of fasc.5); section II, scribe W (second half of fasc.5); section
III, scribes Y (fascs.6–7); section IV, scribe Z (F in Fischer; fascs.8–9, also
index). Date and provenance: sections I–III (with distinct layers of
copying and additions throughout), c1400–1410, section IV, 1430–40; from
north-east Italy (Padua-Venice region); the MS appeared for the first time in
the library catalogue of a Sig. Reina in Milan in 1834, was bought by A. Bottée
de Toulmon and passed at the latter’s death to the Bibliothèque Nationale.
Contents: 220 pieces (I: 105; II: 24; III:
56; IV: 35): 41 madrigals, 63 ballatas (including sicilianas in ballata form),
43 French ballades, 40 rondeaux (includes 8 rondeau refrains), 30 virelais, 2
chansons and 1 caccia; section I (including additions) contains Italian pieces
from the 14th century and the early 15th, sections II–III contain 80 French
works of the same period (43 ballades, 29 virelais, only 8 rondeaux or rondeau
refrains) together with 1 Flemish piece, and 3 Italian pieces of which 2 are in
tablature, section IV contains French pieces (almost all rondeaux), together
with 1 Italian, of the Du Fay period. Date of music: 1340–1430. Composers:
Bartolino da Padova (26 or 27), Jacopo da Bologna (20 or 22), Landini (20),
Machaut (7), Du Fay (9) and others.
Editions: CMM, xxxvi (1966) [52 French works from
sections II and III]; CMM, xxxvii (1966) [35 works in section IV]; CMM, liii/1
(1970) [71 French works from sections I–III]; for editions of Italian works see
individual composers
Wolf, 260ff; K. von Fischer: ‘The Manuscript
Paris, Bibl. Nat., nouv.acq.frç.6771’, MD, xi (1957), 38–78 [see also N.
Wilkins in MD, xvii (1963), 57–73, and K. von Fischer’s reply, MD,
xvii, 75–7]; U. Günther: ‘Bemerkungen zum älteren französischen Repertoire des
Codex Reina (PR)’, AMw, xxiv (1967), 237–52; RISM, B/IV/3 (1972),
485–549; Census-Catalogue of Manuscript Sources of Polyphonic Music,
1400–1550, RMS, i/3 (1984), 33–4; i/4 (1988), 464; Nádas (1985), 118–215;
J. Nádas: ‘The Reina Codex Revisited’, Essays in Paper Analysis, ed. S.
Spector (Washington, DC, 1987), 69–114Lucca, Archivio di Stato, 184
(‘Codex Mancini’) [Mn; Man; Manc; Luc], and
Perugia, Biblioteca Comunale Augusta, 3065: these two fragments belong to
one source (whereas, contrary to Ghisi, the Pistoia fragment, I-PS 5,
does not). Originally at least 102 ff. (c22 × 15 cm), of which 42
parchment folios survive in La (incl. 4 new leaves discovered in 1988 by
Nádas and Ziino, and other folios more recently found), and 6 parchment folios
in PEc. Foliation: La: (first 20 ff. lost), XX–LXXXV–[C]
(original), 1–72 (modern)); PEc: 2 systems, LVIII–LIX, LXXXI–LXXXIV
(original), and 1–6 (modern, incorrect). Structure: 7 surviving
fascicles (out of an estimated 11). Scribes: the main corpus is in a
single hand, the last 4 surviving folios contain 2 further hands, the second of
whom (ff.70–72), also worked on F-Pn it. 568 (fascs.6 and 8) and on US-CLwr
(ff.Ar–Br, Cv–Dv). Date and provenance: Main
corpus copied in northern Italy (?Padua) c1400, then probably at Bologna
or Pisa, and Florence (or Lucca), c1410, additions to c1430; PEc
was discovered in Perugia in 1935, La in Lucca by A. Mancini in 1938;
the leaves had served as covers to 15th- and 16th-century notarial acts.
Contents: the fragments together contain 85
pieces: 57 or 58 ballatas, 11 madrigals, 10 rondeaux, 3 virelais, 1 French
ballade, 1 canon. Date of music: 1365–1430. Composers: Bartolino
da Padova (12), Zacara da Teramo (12), Ciconia (9), Landini (8), Antonello da
Caserta (7), Antonius de Civitate (3) and others; the individual fascicles
evidently relate to specific composers: 2 fascicles to Bartolino, one and a
half to Zacara da Teramo, one each to Ciconia and Landini, half each to
Antonius de Civitate and Antonello da Caserta.
Editions: F. Ghisi: ‘Italian Ars Nova Music’, JRBM,
i (1946–7), 173–91; J. Nádas and A. Ziino, eds.: The Lucca Codex: Codice
Mancini (Lucca, 1990) [facs.] see also individual composers
N. Pirrotta and E. Li Gotti: ‘Il Codice di Lucca’,
MD, iii (1949), 119–38, iv (1950), 111–52; v (1951), 115–42; RISM,
B/IV/4 (1972), 929–47 [La], 1008–12 [PEc]; Census-Catalogue of
Manuscript Sources of Polyphonic Music, 1400–1550, RMS, i//2 (1982), 125–6;
i/3 (1984), 45–6; Nádas (1985), 336–61; J. Nádas and A. Ziino: ‘Two Newly
Discovered Leaves from the Lucca Codex’, Studi musicali, xxix (2000)Turin,
Biblioteca Nazionale Universitaria, T.III.2 (‘Codex Boverio’). 15 paper
folios (c30 ×30 cm), most of them damaged. Pagination: 1–26
(modern). Structure: 9 gatherings of varying sizes. Scribes: 2
main hands for the texts, possibly 2 for the music. Date and provenance:
1409–18, perhaps from a Franciscan monastery of Pisan-Bolognese obedience
(loyal to antipopes Alexander V and John XXIII) in northern Italy; it was
subsequently used as cover-strengthening material; it was purchased by the
Italian government from a private owner in 1991.
Contents: 39 pieces (mostly incomplete), and 5
more added later in the 15th century: 8 ballatas, 1 madrigal, 6 ballades, 3
rondeaux, 2 virelais, 11 Credos, 3 Glorias (2 troped), 1 Kyrie, 1 Sanctus, 2
motets (of which 9 or 10 songs and 13 mass movements are unica). Date of
music: c1400. Composers: Antonio Zacara da Teramo (7 or 8), Antonius de
Civitate (2), Frater Petrus de Sancto Severio (otherwise unknown), Antonello da
Caserta, Philippus de Caserta, Susay (1 each).
Editions: A. Ziino, ed.: Il codice T.III.2,
Torino, Biblioteca Nazionale Universitaria (Lucca, 1993) [facs. with
introduction]; (editions forthcoming in AcM)Florence, Biblioteca
Medicea Laurenziana, Med.Pal.87 (‘Codex Squarcialupi’) [Sq; Fl].
216 parchment ff. (40·5 × 28·5 cm), 2 original parchment flyleaves at the front
(independent of the rest of the MS), and 5 modern paper flyleaves (3 at the
front, 2 at the back). Foliation: i–cxvi (original). Structure:
20 gatherings of 3 to 10 bifolia each. Scribes: 1 hand for the texts, 3
(Fischer) or 4 (Nádas) very similar hands for the music. Date and provenance:
c1410–15 (Bellosi, Nádas), almost certainly from the Florentine
monastery of S Maria degli Angeli; it is not certain whether Paolo da Firenze
was involved in the preparation of the MS; it was in the possession of Antonio
Squarcialupi in the 15th century, passed thereafter via his nephew R. Bonamici
to Giuliano de’ Medici (1512–13), from there to the Biblioteca Palatina, and
then to the Biblioteca Medicea Laurenziana.
Contents: 353 (or 354) pieces (150 unica),
of which 2 appear twice: 115 madrigals, 12 cacce, 227 ballatas. Date of
music: 1340–1415. Composers: the pieces are arranged in
chronological order by composer: Giovanni da Cascia (12), Jacopo da Bologna
(28), Gherardello da Firenze (16), Vincenzo da Rimini (6), Lorenzo da Firenze
(17), Donato da Cascia (15), Niccolò da Perugia (36), Bartolino da Padova (37),
Landini (146), Egidius and Guilielmo de Francia (5 in all), Zacara da Teramo
(7), Andreas de Florentia (29); 16 folios have been left blank to accommodate
the music of Paolo da Firenze between Lorenzo and Donato, and 22 folios for
that of Jovannes Horganista de Florentia (Giovanni Mazzuoli) at the end. A
portrait of each composer appears with the ascription of his works.
Editions: J. Wolf, ed.: Der Squarcialupi-Codex
Pal.87 der Biblioteca Medicea Laurenziana zu Florenz (Lippstadt, 1955) [see
corrections by K. von Fischer, Mf, ix (1956), 77–89, and L. Schrade, Notes,
xiii (1955–6), 683 only]; F.A. Gallo, ed.: Il codice Squarcialupi
(Florence, 1992) [facs. with essays]; see also individual composers
Wolf, 228; B. Becherini: ‘Antonio Squarcialupi e
il codice Mediceo Palatino 87’, L’Ars Nova italiana del Trecento I: Certaldo
1959, 141–96; K. von Fischer: ‘Paolo da Firenze und der Squarcialupi-Kodex
(I-Fl 87)’, Quadrivium, ix (1968), 5–24; RISM, B/IV/4 (1972),
755–832, Nádas (1985), 362–458; F.A. Gallo, ed.: Il codice Squarcialupi
(Florence, 1992) [incl. J. Nádas: ‘The Squarcialupi Codex: an Edition of
Trecento Songs, ca 1410–15’, 19–86; L. Bellosi: ‘Il maestro del codice
Squarcialupi’, 146–57; M. Ferro Luraghi: ‘Le miniature’, 159–92; see also
reviews by M. Bent, EMH, xv (1996), 251–69; J. Haar, JAMS, xlix
(1996), 145–55]Florence, Archivio Capitolare di San Lorenzo, 211 [SL].
111 parchment folios (21·5 × 28·5), palimpsest; 6 16th-century leaves at the
end, 4 flyleaves (2 at the front, 2 at the back). Foliation: 1–88
(16th-century), 89–109 (modern); iii–clxxxviiii (original); therefore at least
80 ff. lost. Structure: no fewer than 19 gatherings (? all quinions), of
which at least 4 lacking (2, 6, 7, 13), and many incomplete and barely legible
owing to erasures. Scribes: only 1 hand (who also copied ff.82v–85
of GB-Lbl Add.29987). Date and provenance: c1420,
Florence. It is uncertain whether the MS belonged originally to the church of S
Lorenzo or came there from elsewhere; in the early 16th century the MS was
unbound and erased, then reassembled without regard for its original structure
and used as a register of the church properties. Its discovery was first
announced by Frank D’Accone in 1982.
Contents: about 110 pieces detected, of
which those by Giovanni Mazzuoli, his son Piero, and Ugolino of Orvieto are unica.
Date of music: c1340–1420. Composers: Jacopo da Bologna
(fascs.1–3), Giovanni da Cascia, Bartolino da Padova, Donato da Cascia
(fascs.3–9), Johannes Organista (Giovanni Mazzuoli; fascs.9–10), Landini
(fasc.11 and fascs.12–13, the latter mutilated), Paolo da Firenze (fasc.14);
French-texted repertory: Machaut, Grimace, Magister Franciscus, Senleches
(fasc.15, almost illegible); caccia section with other works (fasc.16), Petrus
Johannis (Piero Mazzuoli, organist at S Lorenzo, 1403–15; fasc.17, barely
legible), Ugolino of Orvieto (fasc.18, illegible), motets by Hymbertus de
Salinis, Jacopo, Vitry and others (fasc.19)
For editions see individual composers.
F.A. D’Accone: ‘Una nuova fonte dell’Ars Nova
italiana: il codice di San Lorenzo, 2211’, Studi musicali, xiii (1984),
3–31; J. Nádas: ‘Manuscript San Lorenzo 2211: some Further Observation’, L’Europa
e la musica del Trecento: Congresso IV: Certaldo 1984 [L’Ars Nova
italiana del Trecento, vi (Certaldo, 1992)], 145–68; Nádas (1985), 459–86
Sources, MS, §VIII:
Italian polyphony c1325–c1420
3. Other fragments.
Perugia, private collection of Galliano
Ciliberti [Cil]. 2 parchment folios
discovered in 1986 by Ciliberti. Scribes: only 1 hand, the same that
copied ballatas by Paolo da Firenze and Landini in F-Pn it.568 (ff.89v,
91v, 99–111) and the fragment I-Fn F.5.5 with 6 ballatas by
Landini (on which see M. Fabbri and J. Nádas: ‘A Newly Discovered Trecento
Fragment’, EMH, iii, 1983, pp.67–81; and Nádas, 1985, pp.209–305). Cil
transmits 12 ballatas by Paolo da Firenze, of which 4 are unica. Date
and provenance: first decade of the 15th century, from Umbria or Rome.B.
Brumana and G. Ciliberti: ‘Le ballata di Paolo da Firenze nel frammento “Cil”’,
Esercizi: arte, musica, spettacolo, ix (1986), 5–37; B. Brumana and G.
Ciliberti: ‘Nuove fonti per lo studio di Paolo da Firenze’, RIM, xxii
(1987), 3–33; J. Nádas: ‘The Songs of Don Paolo Tenorista: the Manuscript
Tradition’, In cantu et in sermone: for Nino Pirrotta, ed. F. Della Seta
and F. Piperno (Florence, 1989), 41–64Padua, Biblioteca Universitaria, 684
and 1475, Oxford, Bodleian Library, Canon.l.pat.229 [PadA]; Padua,
Biblioteca Universitaria 1115 [PadB]; 658 [PadC]; 675,
1106, 1225 and 1283 [PadD]; Stresa, Biblioteca Rosminiana, 14;
Padua, Biblioteca Universitaria, 656, Padua, Archivio di State,
Corp.soppr., S Giustina 553 and 14, collectively known as the Paduan
fragments. These fragments have now been shown to belong to the same family of
sources copied c1400 at the Benedictine abbey of S Giustina in Padua
(some of them even copied by the same scribe, Rolando da Casale).
G. Cattin: ‘Richerche sulla musica a S Giustina di
Padova all’inizio del I Quattrocento: il copista Rolando da Casale’, AnM,
vii (1964–77), 17–41; A. Hallmark: ‘Some Evidence for French Influence in
Northern Italy, c. 1400’, Studies in the Performance of Late Medieaval
Music: New York 1981, 193–225; F. Facchin: ‘Una nuova fonte trecentesca
nell’Archivio di Stato di Padova’, Contributi per la storia della musica
sacra a Padova, ed. G. Cattin and A. Lovato (Padua, 1993), 115–39Other
sources of ascertained northern provenance are: I-CF 63, 73, 98; GR
16 (from Padua), and GR; PAas 75 (from Milan/Pavia); TRc
1563; TRf 60 (from Padua)
M. Bent: ‘New Sacred Polyphonic Fragments of the
Early Quattrocento’, Studi musicali, ix (1980), 171–89; M. Gozzi: ‘Un
nuovo frammento trentino di polifonia del primo Quattrocento’, Studi
musicali, xxi (1992), 237–51
Beyond these, a number of recently-discovered (or
reinterpreted) sources can be related to the international repertory sung at
the papal chapel in Rome during the Great Schism: I-AT A.5; CT
1–2; the Egidi fragment (formerly MFA), FOLas (formerly FOLc),
s.s.;FROas 266–7; GR 197 and US-HA 002387; PL-Pa
174a; Wn F.I.378 (now lost) and III.8054 (formerly 52); and
others.
J. Palumbo: ‘The Foligno Fragment: a Reassessment
of Three Polyphonic Glorias, ca. 1400’, JAMS, xl (1987), 169–209; G.
Gialdroni and A. Ziino: ‘Due nuovi frammenti di musica profana del primo
Quattrocento nell’Archivio di Stato di Frosinone’, Studi musicali, xxiv
(1995), 185–208; G. Di Bacco and J. Nádas: ‘The Papal Chapels and Italian
Sources of Polyphony during the Great Schism’, Papal Music and Musicians in
Late Medieval and Renaissance Rome, ed. R. Sherr (Oxford, 1998),
44–92Finally, sources now found in central Italy (Marche) throw new light on
another possible centre of the cultivation of polyphony; see P. Peretti: ‘Fonte
inedite di polifonia mensurale dei secoli XIV e XV degli archivi di stato di
Ascoli Pieceno e Macerata’, Quaderni musicali marchigiani, iii (1996),
85–124
Sources, MS
IX. Renaissance polyphony
1. Introduction.
2. 15th-century
sources from northern Italy (and southern Germany).
3. 15th-century
English sources.
4. Carol manuscripts.
5. 15th-century French
manuscripts of sacred music.
6. Late 15th- and
early 16th-century German sources of Catholic music.
7. German lied
manuscripts.
8. Chansonniers.
9. Manuscripts of
Italian secular music.
10. Manuscripts of
Spanish secular music.
11. Mixed collections
of sacred and secular music.
12. Mensural music in
theoretical and didactic books.
13. Simple polyphony
in monophonic liturgical books.
14. Polish
manuscripts.
15. Central european
manuscripts.
16. Presentation
manuscripts.
17. Italian cathedral
and court manuscripts.
18. Vatican
manuscripts.
19. 16th-century
sources of sacred music from the British Isles.
20. 16th-century
German sources of Lutheran music.
21. 16th-century
German sources of Catholic music.
22. Spanish and
Portuguese cathedral manuscripts.
23. South and Central
American manuscripts.
24. Manuscript
additions to prints.
Sources, MS, §IX:
Renaissance polyphony
1. Introduction.
(i) General.
(ii) Early
15th-century manuscripts.
(iii) Late
15th-century manuscripts.
(iv) 16th-century
manuscripts.
BIBLIOGRAPHY
Sources, MS, §IX, 1:
Renaissance polyphony: Introduction
(i) General.
The printing of polyphonic music did not begin until 1501. Our
knowledge of the music of the entire 15th century is dependent on MS sources,
and, as prints preserve only a portion of the music in circulation in the 16th
century, MSS must be relied on for a substantial amount of that repertory also.
MSS can give more than just the music itself. Since about the
middle of the 20th century, musicologists have been devising and refining
techniques of MS study that are yielding valuable information on other aspects
of musical life during the Renaissance: the identification of various
repertories; the ways in which music was disseminated; the liturgical use of
polyphony; performing practice; and the social and economic milieu within which
various kinds of music were composed and performed. MSS can also provide useful
data for biographical studies of composers.
The singing of polyphonic music was practised in a rather limited
number of places in the early Renaissance: certain cathedrals and major
churches in Italy, England, France and possibly several other countries; courts
and court chapels of royalty and the nobility in these same countries; and some
monasteries and other religious establishments. Only a few musicians possessed
the skills necessary to perform from mensural notation; these musicians were
highly regarded and relatively well paid, and competition for their services
was keen. They were internationally famous and often worked in several
countries during the course of their careers.
By the end of the 15th century, the number of churches and courts
boasting musicians who could sing polyphony had increased significantly. This
growth was partly geographical, with polyphony now practised in Spain, Poland,
Bohemia, Hungary, the Alpine regions and various parts of Germany. It was also
partly the result of an increase in the number of establishments which
supported choirs. It became even more pronounced in the first decades of the
16th century, reaching a third level of proliferation: a much larger amount of
polyphonic music sung at a given church or court.
This is reflected in the number of MSS surviving from various
times during the Renaissance. The number of extant sources from the beginning
of the 15th century is quite small; it grows gradually during the course of the
century and then increases rapidly during the 16th. Several hundred MSS survive
from the 15th century; several thousand from the 16th. It is possible, of course,
that more of the earlier sources were lost or destroyed. However, everything
known about the music of this period suggests that the greater number of
16th-century sources reflects a real and dramatic increase in the amount of
polyphony being performed and is not simply due to accidents of preservation
favouring later sources.
Most MSS of Renaissance polyphony contain some pieces by the most
famous composers of the day, along with works by composers who were known only
regionally or locally. Although new MSS continue to be discovered every year,
it is rare for them to contain previously unknown pieces by such composers as
Du Fay or Josquin. For instance, the Aosta MS (see §2), discovered in the
mid-20th century, contains many pieces by Du Fay, but all were previously known
from other sources. This suggests that most of the significant repertory by the
most famous composers of the Renaissance has been recovered. But most new MS
discoveries add pieces by lesser-known composers, some found in no other sources.
Sources, MS, §IX, 1:
Renaissance polyphony: Introduction
(ii) Early 15th-century manuscripts.
For the first decades of the 15th century, most polyphony was
copied in black (solid or full) mensural notation (fig.38).
This represents a continuation of the style of notation used in French sources
of the previous century; there are also elements of Italian Trecento notation
in some sources, particularly those copied in northern Italy. Parchment was the
standard material on which copying was done. As the popularity of polyphony
spread and more MSS were needed, paper began to be used. Just at this time –
the third and fourth decades of the century – white (hollow or void) notation (fig.39) began to replace black notation. There are no
important differences between the two types, and the same piece is often found
in one MS in black notation and in another in white. The change must have come
about partly because solid black note heads tended to bleed through to the other
side of the paper, and eventually the corrosive action of the ink caused note
heads to drop out.
Three-part writing was the norm during this period. The most
common method of laying out these voices in a MS was in choirbook format, with
all voices of a composition copied on the two facing pages of an opening
(fig.39). The discantus (superius) voice was copied on the verso (left) side of
the opening, with the tenor and contratenor on the recto (right) side.
Sometimes one of the lower parts was copied under the discantus on the verso
side, and the other occupied the recto side alone. In a four-voice piece, the
tenor was usually copied on the verso side under the discantus, with the two
remaining voices on the recto.
A full text was almost always copied for the upper voice. Text may
or may not be found under the other voices. At times, only incipits of text
appear with the lower voices. In some carefully copied MSS, text appears in
certain sections of the lower voices and not in others.
Many English sources are copied in pseudo-score: the voices are
copied one under the other, in what resembles score notation, although the
notes are not aligned exactly (fig.38). This layout is especially common for
English pieces which are homorhythmic harmonizations of a chant melody.
The composer attribution, if given, was most often placed at the
beginning of the composition, at the top of the verso of the opening above the
superius voice. Many MSS were trimmed around the outer margins, after the music
had been copied, as part of the process of binding. In many cases, composers’
names have been lost in the process, and pieces originally labelled with the
name of the composer have unfortunately come down to us as anonymous works.
Space was often left on an opening after a piece had been copied
there, and this space was frequently used for another piece. Such additions
were sometimes made by the principal scribe, but more often were put in by
later scribes after the first copying had been done (fig.39): they can obscure
the original scribe’s plan of organization.
Some MSS of this time contain only sacred music, some both sacred
and secular. Secular pieces were sometimes planned to be an integral part of
the MS, as in I-Bu 2216 and GB-Ob Canon.misc.213, but more often
they were added on blank pages after the original layers of sacred works had
been copied.
Most sources of this period are composite MSS made up of several
sections copied independently of one another, perhaps at different places, then
brought together and bound at a later time. Within each section, the copying
often seems to have been done in a series of layers of similar or related
pieces – pieces by the same composer, pieces by composers of the same
nationality or pieces of the same type. Single pieces and groups of related
pieces were copied into fascicle-MSS (fascicles of one or more unbound
gatherings), and music seems to have been sung from, copied from and circulated
in this form. In certain circumstances, large MSS were copied from numbers of
such fascicle-MSS. This situation explains how several MSS may have many common
pieces, in readings that may be quite close, yet these pieces will appear in a
completely different order in the large MSS, and be mixed with other pieces not
shared among them.
MSS were copied for several quite different reasons. Some, of
course, were copied to be performed from. These are the largest, with both
music and text copied carefully and accurately, and texts placed with some
precision under certain musical phrases and even specific notes. There is
usually some clear organization of the contents, often by liturgical genre, and
mistakes made by the scribe are sometimes corrected. I-Bu 2216,
measuring 40 × 29 cm, with notes and words large enough to be seen by each of a
number of singers gathered around a lectern, is an example of this type. Others
are MOe α.X.1.11 and the Old Hall MS (GB-Lbl Add.57950).
Others appear to be anthologies, collections of pieces gathered by
some individual for his own use, or gathered at a church or chapel as a
repository of pieces to be drawn on as needed. These are smaller in dimensions,
often too small to be used for performance. They are often copied in a hasty or
careless fashion, with many uncorrected mistakes. Text underlay is casual, and
often there is no text at all; the contents are not arranged in systematic
fashion. D-Mbs Clm 14274 (formerly Mus.ms.3232a) and the later
Trent MSS are examples of this type.
Most of the large MS sources of the first half of the 15th century
are well known to scholars and students, as they were studied by scholars in
the late 19th and early 20th centuries. But several of them have been
thoroughly studied since the introduction of more refined methods of MS study
in recent decades. Much remains to be done: the date and provenance of the
various sections and layers within most sources need to be determined with more
accuracy, and MSS need to be linked with more certainty to specific musical
establishments where the singing of polyphonic music is known to have been
practised.
Sources, MS, §IX, 1:
Renaissance polyphony: Introduction
(iii) Late 15th-century manuscripts.
The last three or four decades of the 15th century brought some
important changes. There are more MSS, and fewer of them are composite ones.
MSS appear to be planned for more specific purposes, and the contents of any
given source tend to be more homogeneous.
It is from this time that we find more MSS devoted entirely or
largely to secular polyphony. There are physical differences between these and
sources from earlier in the century. The secular MSS are smaller, reflecting
the fact that this music was usually performed with a single singer or player
to a part. There is usually no text for the lower two or three voices, and
sometimes the upper voice as well is textless or has only a text incipit. Some
of these MSS are oblong rather than upright. And, for the first time, the
several voices are sometimes separated, with each one in its own small MS – the
first partbooks.
Sacred music continued to be copied into large choirbooks. A
gradual increase in the size of many of these reflects an increase in the size
of singing groups. An increase in the amount of polyphony sung at various
cathedrals and court chapels soon made it impossible for the entire polyphonic
repertory to be copied into a single MS. Thus we find from this time the first
groups of MSS planned and copied as sets. The earliest Sistine Chapel MSS and a
group of MSS copied for the Este court at Ferrara are early examples of this
practice.
The use of white mensural notation was virtually universal,
although it is not uncommon to find a chant-related voice part copied in square
or Gothic chant notation. Paper is the usual material on which these MSS were
copied. However, high-quality parchment or vellum was sometimes used,
especially for court or presentation MSS. Some of those were produced for
courts (such as the Este court at Ferrara) that prided themselves on the beauty
of their books and maintained workshops for their copying and illumination.
Others were copied for such important occasions as weddings or coronations or
were prepared as gifts from one court or individual to another. These books,
with their fastidious musical calligraphy and magnificently illuminated
miniatures, initials and ornamental borders, are among the most beautiful MSS –
musical or non-musical – of the entire Renaissance.
Sources, MS, §IX, 1:
Renaissance polyphony: Introduction
(iv) 16th-century manuscripts.
Many different types of MS survive from this period. There are
large, beautifully illuminated parchment choirbooks of masses and motets copied
for use at court chapels, such as B-Br 15075 (see fig.40),
D-Ju 3 and many other MSS copied at the Netherlands court at Brussels
and Mechelen. There are large paper choirbooks, modestly but clearly copied for
the use of choirs at cathedrals and churches, such as the large sets now at the
Biblioteca Capitolare in Treviso (fig.41) and the
Archivio Musicale of S Petronio in Bologna. There are sets of smaller partbooks
containing Italian and French secular pieces, such as I-Bc Q21 (fig.42), Fn Magl.XIX 99–102, Magl.XIX 122–5 and Fc
Basevi 2442. Polyphonic pieces were also copied into theoretical treatises, as
illustrations and examples. Students copied pieces of mensural music into their
notebooks, some of which survive. Polyphonic pieces in a simple style were
sometimes copied into chant MSS at monasteries and other religious
establishments, to be sung at major feasts. Finally, some MS collections of
polyphonic music (such as DK-Kk 1848 and CH-SGs 463) seem to have
been copied by or for private individuals, for their own use.
1501 saw the first printed collection of polyphonic music, the
famous Odhecaton A published by Ottaviano Petrucci in Venice. Within a
few decades, there were dozens of printed collections of polyphonic music in
circulation, containing both sacred and secular works. The advent of music
printing, however, did not mark the end of the copying of music into MSS. On
the contrary, MS production reached a peak during the first half of the 16th
century.
Many modern editions of music from this period are based on
printed sources only, often with no attempt made to examine MS sources and
collate them with the printed versions. Some editors have assumed that printed
sources are superior to MS sources. But recent comparative studies suggest that
MS sources from the first half of the 16th century are often superior to
printed ones in many details – the actual reading of notes, placement of text,
ligatures etc.
This raises the question of the relationship between MS and
printed sources of the 16th century, a question which can best be discussed if
one accepts that there were various MS types at this time.
It seems unlikely that printed editions of sacred music brought
out by Petrucci and his contemporaries were used as performance material. Wrong
notes and other errors are not uncommon, and such errors remain uncorrected.
Text underlay is not nearly so careful as in the best MS sources. Ligatures are
often broken into separate notes, probably for technical reasons. Furthermore,
if prints had been used for performance, at least several copies would have
been required, since the smallness of most early prints would have made it
impractical for a choir to read from a single copy. Yet multiple copies of the
same print are never found in archives of cathedrals and courts. Finally, while
many paintings from the Renaissance show church singers gathered around a
lectern singing from a MS choirbook, there are no pictures showing printed
music on the lectern.
It appears that printed music was one of the sources drawn upon
for the repertory copied into sets of MSS. When a church or court decided to
copy MSS for its own choir, various source materials were assembled. Liturgical
practice, and the role of polyphonic music in that practice, differed from
place to place. The copying was done in the order required for the new set of
MSS, not in the order in which pieces were found in the MS and printed sources
from which the copying was done. The polyphonic repertory might include Mass
Ordinary cycles; hymns, in temporal and sanctoral cycles; motets, often grouped
by feast; Magnificat introits and Magnificat settings; sets of
psalms, usually those sung at Vespers; Mass Proper cycles and sections; music
for Holy Week, the selection dictated by local practice; and music for Offices
other than Vespers. Thus prints functioned as collections from which pieces
could be copied into MSS, which were in turn used for the actual performance.
The situation is quite different with prints of secular pieces and
instrumental works. Most secular music was performed by one musician to a part,
and there is no practical reason why prints, even those in small format, could
not have been used for performance. The same is true of lute tablatures. In
fact, most MSS of secular and instrumental music are quite similar in format,
size and shape to printed books of this music. Paintings of lute players and of
small ensembles performing secular music show musicians reading from books
similar in shape and size to prints. A rather large part of the frottola,
chanson and madrigal literature from the first half of the 16th century has
been preserved in prints, suggesting that once this music was available in
printed collections there was little reason to copy it into MSS before it was
performed.
Prints became increasingly numerous and important in the second
half of the century. Many are large enough to be used for performance. Almost
the total output of such internationally famous composers as Palestrina, Lassus
and Victoria was printed. Such details as text placement become clearer and
less problematic in the printed sources. Thus modern editions of the works of
the major composers of the late 16th century based only on printed sources are
often quite satisfactory. This does not mean, however, that MSS from this time
are of no value to the scholar. They serve many purposes: sometimes they
complement the published music of even the most famous composers, by preserving
works not found in prints; they are often the only source of music by less
famous but nevertheless excellent composers; and they often contain pieces by
local composers whose music is found nowhere but in MSS copied for the church
or court where they served. Furthermore, MSS tell us much about the history of
polyphonic music of the late 16th century – where polyphony was sung, how
widely the music of certain composers was disseminated, how much polyphony was
sung in various places.
The bibliography that follows includes items referred to
repeatedly in the material below as well as MS studies selected as samples of
outstanding scholarship on topics treated in Renaissance MS studies – questions
of dating and provenance, analysis of fascicle structure, problems of
palaeography and notation and relationships between groups of sources, for
example. Note that all manuscripts mentioned below are more fully described in
the Census-Catalogue (1979–88) and that vol.iv contains updated material
on most sources described in the earlier volumes.
Sources, MS, §IX, 1:
Renaissance polyphony: Introduction
BIBLIOGRAPHY
GaspariC
MGG2 (‘Chorbuch’, M.
Just; ‘Quellen’, N. Schwindt)
StevensonRB
WolfH
F.X. Haberl: Bibliographischer
und thematischer Musikkatalog des päpstlichen Kapellarchives im Vatikan zu Rom (Leipzig, 1888/R)
J. Wolf: Geschichte
der Mensural-Notation von 1250–1460 (Leipzig, 1904/R)
H. Besseler: ‘Studien zur Musik des Mittelalters, I: neue Quellen des 14. und
beginnenden 15. Jahrhunderts’, AMw, vii (1925), 167–252;
‘II: die Motette von Franko von Köln bis Philipp von
Vitry’, AMw, viii (1926), 137–258
E. Droz, Y. Rokseth and G. Thibault, eds.: Trois
chansonniers français du XVe siècle (Paris, 1927/R)
K. Jeppesen, ed.: Der
Kopenhagener Chansonnier (Copenhagen, 1927, 2/1965)
K.E. Roediger: Die
geistlichen Musikhandschriften der Universitätsbibliothek Jena (Jena, 1935)
W. Apel: The Notation
of Polyphonic Music, 900–1600 (Cambridge, MA, 1942, 5/1961; Ger. trans., rev. 1970)
C. Gerhardt: Die Torgauer
Walter-Handschriften: eine Studie zur Quellenkunde der Musikgeschichte der
deutschen Reformationszeit (Kassel, 1949)
M.F. Bukofzer: Studies in
Medieval & Renaissance Music (New York, 1950)
D. Plamenac: ‘A Reconstruction of the French Chansonnier in the Biblioteca
Colombina, Seville’, MQ, xxxvii (1951),
501–42; xxxviii (1952), 85–117, 245–77
A. Geering: Die Organa
und mehrstimmigen Conductus in den Handschriften des deutschen Sprachgebietes
vom 13. bis 16. Jahrhundert (Berne, 1952)
G.R. Pätzig: Liturgische
Grundlagen und handschriftliche Überlieferung von Heinrich Isaacs ‘Choralis
Constantinus’ (diss., U. of Tübingen, 1956)
H. Kellman: ‘The Origins of the Chigi Codex: the Date, Provenance, and Original
Ownership of Rome, Biblioteca Vaticana, Chigiana, C.VIII.234’, JAMS, xi (1958), 6–19
J. Llorens: Capellae
Sixtinae codices (Vatican City, 1960)
E.E. Lowinsky: ‘Early Scores in Manuscript’, JAMS, xiii (1960), 126–73
C. Hamm: ‘Manuscript Structure in the Dufay Era’, AcM, xxxiv (1962), 166–84
C. Hamm: ‘The Reson Mass’, JAMS, xviii (1965), 5–21
M. Picker: The Chanson
Albums of Marguerite of Austria (Berkeley, 1965)
C. Petzsch: Das
Lochamer-Liederbuch: Studien (Munich, 1967)
M. Bente: Neue Wege
der Quellenkritik und die Biographie Ludwig Senfls
(Wiesbaden, 1968)
K. Jeppesen: La frottola (Århus and Copenhagen, 1968–70)
T. Göllner: Die
mehrstimmigen liturgischen Lesungen (Tutzing, 1969)
G. Chew: ‘The Provenance and Date of the Caius and Lambeth Choirbooks’, ML, li (1970), 107–17
H. Schoop: Entstehung
und Verwendung der Handschrift Oxford, Bodleian Library, Canonici misc. 213 (Berne, 1971)
H.C. Slim: A Gift of
Madrigals and Motets (Chicago, 1972)
M. Perz: Sources of
Polyphony up to c.1500, AMP, xiii (1973)
J. Rifkin: ‘Scribal Concordances for some Renaissance Manuscripts in Florentine
Libraries’, JAMS, xxvi (1973), 305–26
M. Staehelin: ‘Möglichkeiten und praktische Anwendung der Verfasserbestimmung an
anonym überlieferten Kompositionen der Josquin-Zeit’, TVNM, xxiii/2 (1973), 79–91
T. Noblitt: ‘Die Datierung der Handschrift Mus.ms.3154 der Staatsbibliothek München’, Mf, xxvii (1974), 36–56
D. Crawford: Sixteenth-Century
Choirbooks in the Archivio Capitolare at Casale Monferrato, RMS, ii (1975)
A. Atlas: The Cappella
Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C.G.XIII.27) (Brooklyn, NY, 1975–6)
L. Litterick: The
Manuscript Royal 20.A.XVI of the British Library
(diss., New York U., 1976)
M.W. Cobin: The Aosta
Manuscript: a Central Source of Early-Fifteenth-Century Sacred Polyphony (diss., New York U., 1978)
Census-Catalogue
of Manuscirpt Sources of Polyphonic Music, 1400–1550, RMS, i (1979–88)
C.E. Barret: A Critical
Edition of the Dijon Chansonnier: Dijon, Bibliothèque de la ville, MS 517
(ancien 295) (diss., George Peabody College, 1981)
H.M. Brown, ed.: A Florentine
Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca
Nazionale Centrale, MS Banco Rari 229, MRM, vii (1983)
L. Lockwood: Music in
Renaissance Ferrara, 1400–1505 (Oxford, 1984)
J. Kmetz: Die
Handschriften der Universitätsbibliothek Basel: Katalog der Musikhandschriften
des 16. Jahrhunderts (Basle, 1988)
P. Wright: The Related
Parts of Trent, Museo Provinciale d’Arte, MSS 87 (1374) and 92 (1379) (New York, 1989)
A. Roth: Studien zum
frühen Repertoire der päpstlichen Kapelle unter dem Pontifikat Sixtus’ IV.
(1471–1484) (Vatican City, 1991)
J. Kmetz: The
Sixteenth-Century Basel Songbooks: Origins, Contents and Contexts (Berne, 1995)
M. Fromson: ‘The Sixteenth-Century Motet: an Update on Published Catalogues and
Indexes in Progress’, Notes, lii (1995–6), 45–54
R. Sherr: Papal Music
Manuscripts in the Late Fifteenth and Early Sixteenth Centuries, RMS, v (1996)
H. Kellman, ed.: The Treasury
of Petrus Alamire: Music and Art in Flemish Court Manuscripts, 1500–1535 (Ghent, 1999)
Sources, MS, §IX:
Renaissance polyphony
2. 15th-century sources from northern Italy (and southern Germany).
A large majority of musical sources surviving from the first half
of the 15th century comes from northern Italy and from southern Germany. To
some extent this reflects the vagaries of MS preservation; Rome and Cambrai,
for example, are known to have been centres of polyphonic music at this time,
yet only two MSS have survived from Cambrai and none at all from Rome. But
certainly the area around Cambrai experienced the composition of more
polyphonic music than any other part of Europe, with the possible exception of
England, and the presence there of the most renowned composer of the day,
Guillaume Du Fay, was no mere accident.
The earliest sources, which show a continuation of Trecento
tradition in style, repertory and notation, are unfortunately fragmentary.
Grottaferrata, Badia Greca, Biblioteca,
collocazione provvisoria 197. 13 paper ff., c31·4 ×
21·8 cm. 5 Glorias, 5 Credos and several other works (mostly fragmentary or
incomplete) by Ciconia, Zacara and other composers. Originated at S Giustina in
Padua, c1415.
U. Günther: ‘Quelques remarques sur des feuillets
récemment découverts à Grottaferrata’, L’Ars Nova italiana del Trecento:
Convegno II: Certaldo and Florence 1969 [L’Ars Nova italiana del
Trecento, iii (Certaldo, 1970)], 315–97; RISM, B/IV/4 (1972), 923–6Cividale
del Friuli, Museo Archeologico Nazionale, 63, 79 and 98. Some 10 mass
Ordinary sections by Antonius de Civitate Austrie, Rentius de Ponte Curvo,
Philippus de Caserta, Sortes and Zacara da Teramo on parchment flyleaves, dating
from the early 15th century (see RISM, B/IV/4, 1972, pp.749–52).Siena,
Archivio di Stato, fragments 326–7. Portions of 4 mass Ordinary sections by
Zacara and several anonymous secular pieces, in black and red mensural notation
(see K. von Fischer: ‘Una ballata trecentesca sconosciuta: aggiunte per i
frammenti di Siena’, L’Ars Nova italiana del Trecento: convegni di studio
1961–1967, ed. F.A. Gallo (Certaldo, 1968), 39–47).
The first surviving large collections are copied in black mensural
notation and contain many pieces by Du Fay. They date from after his arrival in
Italy; probably copied in the third to fifth decades of the century, they
contain pieces written over a period of some 50 years, some dating back to the
end of the 14th century. They are in choirbook format, with most of the pieces
written in three voices and copied to occupy a whole opening in the MS. This
often left considerable space at the bottom of the opening, space used for
later additions to the MS, sometimes obscuring the original plan of the
collection. Of the four sources described below, only the second (I-Bu
2216) appears to have been designed for and used as a performance MS; it has
the largest dimensions, the staves and notes are large enough to have been read
by a number of singers grouped at a lectern, and many of the folios show
unmistakable signs of use and frequent turning. The others apparently came into
existence as anthologies or collections.
Du Fay is represented by far more pieces than any other composer.
The others are Frenchmen and Italians; a few compositions by English composers
begin to appear in the later MSS.
Venice, Biblioteca Nazionale Marciana,
7554 (formerly IX.it.145). 202 parchment ff., 10 × 6·5
cm. 2 distinct sections: ff.1–85 (7 gatherings of 6 bifolios each, plus an
additional folio; black and red mensural notation); ff.86–202 (16 gatherings,
some of 4 and some of 2 bifolios; mixture of monophony and polyphony, copied in
square black and red notation with some mensural elements). Original foliation
goes as far as f.36, taken up by a more modern hand. The MS originated in a
Franciscan establishment in Venice, probably c1430–40. Formerly in the
library of the Somaschi della Salute, it was acquired by the Marciana in the
early 19th century. The unusually small format suggests that it was an
anthology, not a performance MS.
First part contains 9 mass Ordinary sections, 37
motets, liturgical pieces, laude and 2 textless pieces, by Du Fay (8),
Binchois (2), Benoit and Hymbert de Salinis. 5 2-part laude on ff.31–4
are by a ‘poor friar’ (frate pauperculus). Second part has 23 motets,
liturgical pieces and laude, all anonymous. Chief source for Italian laude
of the period: those in first part written in style of early Du Fay period,
those in second part in the style of ‘primitive’ polyphony, with many parallel
perfect intervals and other ‘crudities’.
H. Besseler: ‘Studien zur Musik des Mittelalters,
I: neue Quellen des 14. und beginnenden 15. Jahrhunderts’, AMw, vii
(1925), 167–252, esp. 236; K. Jeppesen: ‘Die mehrstimmige italienische Lauda am
Anfang des 16. Jahrhunderts’, IMSCR I: Liège 1930, 155–7; K. Jeppesen:
‘Ein venezianisches Laudenmanuskript’, Theodor Kroyer: Festschrift, ed.
H. Zenck, H. Schulz and W. Gerstenberg (Regensburg, 1933), 69–76; G. Cattin:
‘Il manoscritto Venet. Marc. Ital.IX, 145’, Quadrivium, iv (1960), 1–60Bologna,
Biblioteca Universitaria, 2216 [BU]. ii + 57 + ii paper ff., 40 × 29
cm. Early ink pagination and later pencil foliation, modern covers of white
leather over boards. Restored and rebound apparently several times, most
recently in 1969. First 40 folios were copied, in black mensural notation, some
time before 1440, probably in the vicinity of Venice or Padua; remaining folios
copied shortly after 1440, perhaps in Brescia. MS remained in Brescia until
mid-18th century, when it was transferred to the Biblioteca dei Canonici
Regolari di S Salvatore in Bologna, and then to Bu (after 1798).
31 mass Ordinary sections, 19 motets, 21 French
and Italian secular pieces, 11 laude and several miscellaneous
liturgical pieces, by Du Fay (11), Arnold de Lantins (7), Reson (7), Vala (5),
Binchois (3), Feragut (3), Dunstaple (2), Grossin (2), Ciconia, Grenon and
others. MS planned and copied in 4 sections, beginning of each marked by a
large red calligraphic initial: Kyries and Glorias (ff.1–16); Credo, Sanctus
and Agnus settings (ff.17–32); motets (ff.33–48); and secular pieces
(ff.49–57).
H. Besseler: ‘The Manuscript Bologna Biblioteca
Universitaria 2216’, MD, vi (1952), 39–65 [inventory]; Hamm, JAMS,
xviii (1965), 5–21; F.A. Gallo, ed.: Il codice musicale 2216 della
Biblioteca universitaria di Bologna, MLMI, 3rd ser., Mensurabilia, iii
(1968–70) [facs.]; RISM, B/IV/2 (1991), 89–94; J. Palumbo-Lavery: ‘Bologna,
Codex Bu’, MGG2Bologna, Civico Museo Bibliografico Musicale, Q15 (formerly
37) [BL]. 342 ff., mostly of paper but with some outer or middle
bifolios of gatherings of parchment, 28 × 20 cm (fig.1 above). An old foliation
system in Roman numerals skips gatherings 11–12 and 20; another numbering system
attempts to number the pieces, but is inaccurate and incomplete; a modern
foliation, 1–342, omits one folio but uses the same number for two others.
Rebound and restored, with new covers; f.1 has an incomplete original index.
One scribe copied ff.1–250 and 341–2; possibly two other scribes,
contemporaneous with the main scribe, completed the copying. MS copied in black
mensural notation. Copied probably at Padua: an original layer of c1420–25
was partly reconstructed and expanded, c1430–35, with much new material.
Padre Martini acquired it in 1757 from Piacenza.
4 masses, 122 mass Ordinary sections, 118 motets,
24 hymns, 9 Magnificat settings, 19 French secular pieces, 11 laude,
by Du Fay (69), Johannes de Lymburgia (42), Ciconia (13), Arnold de Lantins
(17), Salinis (8), Antonius Romanus (6), Brassart (8), Feragut (6), Franchois
(7), Loqueville (6), Zacara da Teramo (11), Antonius de Civitate Austrie (5),
Binchois (5), Dunstaple (4) and others. 33 pieces remain anonymous. Gatherings
1–3 and 13–18 contain complete and composite mass Ordinary cycles, 3–10 contain
Gloria-Credo pairs, 11–12 are added gatherings with mass Ordinary sections,
18–27 contain motets, 27–8 have hymns and 29 has sequences and Magnificat
settings. The secular pieces and other brief compositions are later additions,
on space left blank at bottoms of folios.
G. Gaspari: Catalogo della biblioteca del Liceo
musicale di Bologna, iv (Bologna, 1905/R), 239–45; G. de Van: ‘An
Inventory of the Manuscript Bologna Liceo Musicale, Q 15 (olim 37)’, MD,
ii (1948), 231–57; M. Bent: ‘A Contemporary Perception of Early
Fifteenth-Century Style: Bologna Q15 as a Document of Scribal Editorial
Initiative’, MD, xli (1987), 183–201; RISM, B/IV/5 (1991), 15–33; M.
Bent: ‘Bologna, Q15’, MGG2Munich, Bayerische Staatsbibliothek, Clm 14274
(formerly Mus.ms.3232a) [Em]. 158 paper ff., 28·5 × 21 cm.
Original covers of leather over board. MS composed of 13 gatherings; 2–7 copied
in black mensural notation, 1 and 8–13 in white mensural notation. Hands of at
least 14 different scribes can be detected, and 9 different watermarks have
been identified. Has the nature of an anthology, containing pieces written over
a period of almost 75 years (from the last decades of the 14th century to
almost the middle of the 15th). Begun in Vienna, c1435, as the private
anthology of Hermann Pötzlinger, who in 1443 took it to the Benedictine
cloister of St Emmeram, Regensburg, where it was further expanded. Relative
smallness and lack of musical or liturgical organization suggest that it was
not a performance MS but a continuing collection.72 mass Ordinary sections, 125
motets and liturgical pieces, c33 hymns, 8 Magnificat settings,
13 secular pieces and 21 textless pieces, by Du Fay (42), Binchois (11),
Roullet (8), Dunstaple, Liebert, Grossin, Brassart, Leonel Power, Loqueville,
Landini, Antonius de Civitate Austrie and others. At least 15 contrafacta have
been identified.K. Dèzes: ‘Der Mensuralcodex des Benediktinerklosters Sancti
Emmerami zu Regensburg’, ZMw, x (1927–8), 65–105; D.
Braunschweig-Pauli: ‘Studien zum sogenannten Codex St. Emmeram’, KJb,
lxvi (1982), 1–48; I. Rumbold: ‘The Compilation and Ownership of the “St
Emmeram” Codex’, EMH, ii (1982), 161–235Several other MSS in black
notation from this period have survived only as fragments. D-Mbs
Mus.ms.3224 is a collection of fragments from a single MS, originally measuring
c28 × 19 cm. 4 mass Ordinary sections, 4 motets, 3 secular pieces, 2
hymns and 1 textless piece remain (most incomplete); composers identified
include Du Fay, Brollo, Christoforus de Monte and Ray. de Lantins (see Census-Catalogue,
iv, 444–5). I-Bc Q1 (no.23) is a single parchment folio containing 2
incomplete Glorias, one by Salinis and the other anonymous. It is the only
remnant of a north Italian MS roughly contemporary with and perhaps comparable
to Bc Q15 (see O. Mischiati: ‘Uno sconosciuto frammento di codice
polifonico quattrocentesco’, CHM, iv (1966), 179–83).
Black notation gave way to white about 1430 in Italy, a little
later in France and later still in England. The change may have come about as a
result of the increasing use of paper, rather than parchment, for the copying
of MSS; the concentration of ink in filled-in note heads tended to eat through
paper, which was fast becoming cheaper than parchment (if less durable). But it
may also have resulted from the growing need to copy large quantities of
polyphony at speed. The practice of polyphonic music was becoming more common
as the 15th century unfolded, more MSS were being copied at more places, and
parchment was simply too difficult to obtain and too expensive, although it
continued to be used for chant MSS. Polyphonic music was considered to be
ephemeral, chant eternal.
Among the most important MSS in white notation before and around
the mid-century are the following:
Oxford, Bodleian Library, Canon. misc.213. 140 paper
ff., 29·8 × 21·5 cm. 10 gatherings, preceded by an original index. Gatherings
5–8 the oldest, and include a few pieces copied in black notation; gatherings
9–10 slightly later; 1–4 copied last. 9 works have dates, ranging from 1422 to
1436; it is not clear whether these indicate the date of copying. Probably
copied in Venice, in third and fourth decades of the century.
325 pieces made up of 187 rondeaux, 10 virelais,
38 ballades, 3 chansons, 25 ballatas, 21 mass Ordinary sections, 37 motets, 1 Magnificat
and 3 laude, by Du Fay (52), Binchois (29), Hugo de Lantins (20), Arnold
de Lantins (20), Vide (7), Cordier (7), Fontaine (7), Brollo (6), Cesaris (6),
Loqueville (6), Grenon (5), Guillaume Legrant (5), Ciconia (4) and others. Some
60 pieces remain anonymous; some 220 are unica. The oldest gatherings (5–8)
contain mostly French secular pieces, some dating back to the late 14th
century; gatherings 9–10 have many pieces by Du Fay and the Lantins; the latest
gatherings (1–4) contain most of the motets and mass Ordinary sections, with
many chansons.
J., J.F.R. and C. Stainer: Dufay and his
Contemporaries (London, 1898/R); C. van den Borren, ed.: Polyphonia
Sacra: a Continental Miscellany of the Fifteenth Century (Burnham, Bucks.,
1932, 2/1963); G. Reaney: ‘The Manuscript Oxford, Bodleian Library, Canonici
Misc.213’, MD, ix (1955), 73–104 [inventory]; Schoop (1971); D. Fallows:
Oxford, Bodleian Library MS. Canon.misc.213 (Chicago, 1995) [facs. and
description]Aosta, Seminario Maggiore, 15 (formerly A1 D
19) [Ao]. 280 paper ff., 27·2 × 20·2 cm. Upper parts of many folios
damaged, and trimming to present size has resulted in loss of many composer
attributions and even some music. An original numbering system in ink is
inconsistent and incomplete; 2 modern foliations: 1 in pencil (skipping f.130)
and 1 in ballpoint pen. Original covers of brown leather over boards removed
and discarded when MS restored in 1958, replaced by new covers of brown
leather, tooled in gold, over boards. An original index of pieces up to f.258
is arranged by genre. First section (ff.13–48) perhaps copied in Bologna, c1428–32;
second (ff.49–158), c1430–35, and third sections (ff.159–258 + 1–12),
1435–42, share common scribes and watermarks, and were probably copied in the
Basle-Strasbourg area; fourth section (ff.259–80) may have been copied at the
imperial court at Innsbruck, c1435–42. One of the scribes of second and
third sections brought these together with first section and added the index
and first numbering system; fourth section added later, and the composite MS
transferred to the library of the priory of St Jacquême at Aosta, then to the
present library.
129 mass Ordinary sections, 45 motets, 3 hymns and
3 Magnificat settings, by Du Fay (26), Binchois (24), Brassart (13),
Dunstaple (14), Leonel Power (9), Franchois (4), Benet (3), Grossin (11),
Loqueville (3), Sarto (3), Guillaume Legrant (2), Brabant (2), Blome, Zacara
and others. 35 pieces remain anonymous. Entire gatherings and fascicles devoted
to layers of music by English composers, which may have been taken to the
Continent during the Council of Konstanz (1414–18) and/or the Council of Basle
(1431–49).
G. de Van: ‘A Recently Discovered Source of Early
Fifteenth Century Polyphonic Music’, MD, ii (1948), 5–74; Hamm, AcM,
xxxiv (1962), 166–84; Cobin (1978); S. Meyer-Eller: Musikalischer Satz und
Überlieferung von Messensätzen des 15. Jahrhunderts: die Ordinariumsvertonungen
der Handschriften Aosta 15 und Treint 87/92 (Munich, 1989); Wright (1989);
RISM, B/IV/5 (1991), 3–14; T. Sasaki: ‘The Dating of the Aosta Manuscript from
Watermarks’, AcM, lxiv (1992), 1–16Modena, Biblioteca Estense e
Universitaria, α.X.1.11 [ModB]. i + 139 (of an original 150) +
i paper ff., 41·2 × 28·5 cm (fig.39). Original foliation of inked Roman
numerals, and a modern pencil foliation. Covers of brown leather over boards,
dating from 19th century; portions of an original index remain, with musical
incipit for each piece. Originally 15 gatherings of 5 bifolios each; only 3 of
the original 10 folios of the first gathering (which included only the index)
remain. Bulk of the MS copied by a single scribe, c1440–50, probably for
the Este court in Ferrara; various pieces added from time to time on blank
folios and at bottoms of pages.
71 motets, 29 hymns, 22 brief liturgical works and
9 Magnificat settings, by Du Fay (48), Dunstaple (31), Binchois (13),
Leonel Power (8), Forest, Plummer, Benoit, Fedé, Benet and others. Only 9 of
the 131 pieces are anonymous. Apparently all for Vespers, and organized in 5
sections: hymns (beginning on f.1); miscellaneous liturgical pieces (f.21v);
Magnificat settings (f.31); antiphons and motets by continental
composers (f.51); and motets by English composers (f.81). The most important
surviving source of English motets (contains 51).
A.B. Scott: Coherence and Calculated Chaos: the
English Composers of Modena, Biblioteca Estense, X.1.11 (lat.471) (diss.,
U. of Chicago, 1969); C. Hamm and A.B. Scott: ‘A Study and Inventory of the
Manuscript Modena, Biblioteca Estense, α.X.1.11 (ModB)’, MD, xxvi
(1972), 101–43; Lockwood (1984)
Several sources in white notation have survived in incomplete or
fragmentary form. The largest and most interesting of these is I-La 238:
56 parchment folios (46 × 33 cm) recovered from covers of various books prove
to be parts of a single MS, containing in its present form 14 masses, nine motets
and three Magnificat settings, many incomplete. There are works by Du
Fay (2), Petrus de Domarto, Frye, Heyns, Martini, Stone and Plummer; the first
mass, elaborately decorated with ornate initials, is by Henricus Tik. The MS
also contains 17 anonymous pieces, some apparently by English composers. (See
R. Strohm: ‘Ein unbekanntes Chorbuch des 15. Jahrhunderts’, Mf, xxi
(1968), 40–42; StrohmM; RISM, B/IV/5 (1991), 228–30) A somewhat earlier
incomplete MS, dating from 1440–50, is A-Z s.s., consisting of five
paper folios, 39 × 29 cm, with six Glorias (all but one incomplete) by
Loqueville, Roullet, Grossin and Verben (see K. von Fischer: ‘Neue Quellen zur
Musik des 13., 14. und 15. Jahrhunderts’, AcM, xxxvi (1964), 79–97;
Wright, 1989). I-Mb AD.XIV.49, comprising 12 paper folios (21·4 × 14·5
cm) bound into a non-musical MS, has a Sanctus-Agnus pair and a motet by Leonel
Power, and an anonymous hymn (see N. Bridgman: ‘Un manuscrit milanais’, RIM,
i (1966), 237–41).
Trent, Castello del Buonconsiglio, Monumenti e Collezioni
Provinciale, 1374–1379 (formerly 87–92) and Trent, Biblioteca Capitolare
(‘Trent Codices’), referred to by the sigla I-TRmp 87 (=1374) to I-TRmp
92 (=1379) and I-TRcap (‘Trent 93’). These manuscripts contain an
immense repertory spanning the first 75 years of the 15th century and form the
largest and most important collection from the entire century. TRmp
87–92 were discovered by F.X. Haberl in the chapter library of the Cathedral of
Trent and first discussed in his monumental monograph on Du Fay, Bausteine
für Musikgeschichte, i (Leipzig, 1885). They were removed in 1891 to the
Hofbibliothek in Vienna, where they were studied by Guido Adler and others.
DTÖ, xiv–xv, Jg.vii (1900/R), contains a discussion and thematic incipit
catalogue of the 1585 compositions in these six MSS and a transcription of
several pieces in them. Additional transcriptions are in DTÖ, xxii, Jg.xi/1,
DTÖ, xxxviii, Jg.xix/1, and DTÖ, liii, Jg.xxvii/1. The MSS were returned to
Trent in 1918, and in 1920 a seventh MS belonging to the same set (Trent 93)
was discovered. DTÖ, lxi, Jg.xxxi, gives an incipit catalogue of this source
and some transcriptions; DTÖ, lxxvi, Jg.xl, and cxx have still more
transcriptions. The manuscripts underwent a complete restoration in 1975.
The seven MSS, copied on paper, are c30 × 20 cm. TRmp
87 (23 gatherings, 265 folios) and TRmp 92 (22 gatherings, 264 folios)
are the oldest of the set, having been copied c1435–50 at several places
in northern Italy and Piedmont. They were apparently brought to Trent as a
collection of fascicles and bound into large MSS when the other five were
bound. The fascicles were at that time divided up equally to make the two MSS,
and some originally belonging together were split between the two. Four
distinct layers can be identified.
Gatherings 15–17 and 19 of TRmp 87, and 22–3 of TRmp
92. The first layer contains the earliest repertory in all of the Trent MSS:
early mass Ordinary sections and motets by Du Fay; pieces by Grossin, Zacara da
Teramo, Brassart, Vide, Verben, Ludvicus de Arimino and Tyling; and a
scattering of pieces by such English composers as Dunstaple.
Gatherings 1–9 and 11–12 of TRmp 87 and 13–20 of TRmp
92. The large second section, with common scribes, paper and watermarks, has
mass Ordinary sections, motets, hymns and Magnificat settings, by Du
Fay, Binchois, Brassart, Liebert, Velut, Merques, Grossin and others, and a
number of English pieces by Dunstaple, Leonel Power, Forest and Benet. A series
of clearly differentiated layers can be detected.
Gatherings 22–3 of TRmp 87. The paper, scribe and
watermarks in the third section are of a sort found nowhere else in the Trent
MSS. Magnificat settings, mass sections, hymns and motets are scattered
in no apparent order. Nine pieces are attributed to H. Battre, otherwise
unknown, and there is one attribution each to Du Fay and Binchois; the
remaining pieces are anonymous. Watermarks and repertory suggest an origin
somewhere in north-east France.
Gatherings 1–12 of TRmp 92. The fourth section is
unrelated, in paper, scribe and watermarks, to the other Trent MSS. Its
contents form essentially a series of mass introits, each followed by a mass
Ordinary cycle, though this original organization is obscured in places by
pieces added later. Wright (1989) has shown that this section is related to the
second and third sections of AO 15 and that it probably originated in
the circle of Felix V, in the Savoy-Basle region.
The remaining five MSS were mostly copied in Trent 1445–75; the
principal scribe was Johannes Wiser, from Tione, 32 km west of Trent. TRmp
90, the earliest of the group, is made up of 39 gatherings comprising 465
folios. Gatherings 1–6 contain introits, 6–9 Kyries, 9–10 Glorias, 15–19
Credos, 20–24 Sanctus and Agnus settings, 26 French secular pieces, 27–8 and
33–9 masses, 32–3 music for Vespers, and the rest miscellaneous works. Du Fay
is the most widely represented composer, followed by Pullois, Binchois,
Brassart, W. de Rouge and Johannes Legrant. There are a number of English
pieces, by Leonel Power, Dunstaple, Benet, Bedyngham and Plummer; most are
anonymous, but many are clearly by English composers.
Trent 93 has 33 gatherings, 382 folios. The first 30 gatherings
almost exactly duplicate TRmp 90 – the same pieces are in the same order
and Trent 93 was plainly used as its exemplar. Gathering 31 has mostly textless
pieces, 32 German and French secular works, and 33 mostly hymns. Almost all of
the pieces in the last three gatherings are anonymous; the few attributions are
to such obscure composers as Opilionis and Villete.
TRmp 88, the next copied, has 35 gatherings with a total of 422
folios. The first ten gatherings contain mass Ordinary sections, mostly
arranged in cycles, as do gatherings 22–8 and 31–5. Mass Propers, also arranged
in sets, are found in gatherings 10–19 and 30, vesper hymns in gathering 20, Magnificat
settings in gathering 29, and miscellaneous pieces in the rest. There are very
few composer attributions; the identified pieces are by Du Fay, Ockeghem,
Touront, Domarto, Cornago and a few others (the repertory is thus somewhat
later than that of the preceding MSS). Feininger (1947) attributed a large
number of mass Proper cycles to Du Fay on stylistic grounds.
TRmp 89 (36 gatherings, 425 folios) is organized differently.
Gatherings 1–7, 10, 14, 18 and 22–35 are taken up with mass Ordinary cycles,
usually one to each gathering; Magnificat antiphons occupy gatherings
8–13; and 16 has seven vespers hymns. This MS apparently existed originally as
a series of fascicle-MSS: independent groups of folios containing a single
composition, or a set of related pieces, with the outer two pages blank. These
were later brought together, bound as a single MS, and additional pieces were
copied on some of the blank folios. Most pieces are anonymous. Among identified
composers are Touront, Busnoys, Du Fay (late works only), Barbingant, Hermannus
de Atrio and Martini; the repertory comes from mid-century and slightly after.
TRmp 91 (22 gatherings, 259 folios) was the last of the set to be
copied. Mass Ordinary cycles and sections take up gatherings 1–3, 5–7, 9–16 and
19–22, Magnificat settings and hymns 16–18; the other sections contain
miscellaneous pieces copied in no apparent order. Again there are few composer
attributions, but the presence of pieces by Vincenet, Faugues, Busnoys, Touront
and Martini suggests that the repertory is even later than that of TRmp
89.
Though these MSS have been known to scholars for almost a century,
much work has been done only in more recent years: identifying more of the many
hundreds of anonymous pieces; more precise dating; determination of why they
were copied, and to what use they were put; investigation of liturgical
practice of the time as revealed in these sources. It seems unlikely that they
were performance MSS, particularly TRmp 88–91, because of their size,
the careless nature of much of the copying and the many errors that would seem
to make it impossible to sing from them. They appear to be a vast anthology,
possibly reflecting the polyphonic repertory of churches and court chapels in
northern Italy and southern Germany, probably including the imperial court.
L. Feininger, ed.: Documenta polyphoniae
liturgicae, 1st ser., i (Rome, 1947); T. Ward: ‘The Structure of the Manuscript
Trent 92–1’, MD, xxix (1975), 127–47; M. Bent, ed.: Four Anonymous
Masses, EECM, xxii (1979); N. Pirrotta and D. Curti, eds.: I codici
musicali trentini [I]: Trent 1985; Wright (1989); S.E. Saunders: The
Dating of the Trent Codices from their Watermarks (New York, 1989); A.P.
Leverett: A Paleographical and Repertorial Study of the Manuscript Trento,
Castello del Buonconsiglio, 91 (1378) (diss., Princeton U., 1990); RISM,
B/IV/5 (1991), 461–547; M. Gozzi: Il Manoscritto Trento, Museo Provenciale
d’Arte, cod. 1377 (Tr 90) (Cremona, 1992); P. Wright, ed.: I codici
musicali trentini [II]: Trent 1994; MGG2 (‘Trenter Codices’; R.
Strohm); complete facs. edn pubd by Vivarelli & Gullà (Rome, 1969–70)Florence,
Biblioteca Nazionale Centrale, Magl.XIX 112bis. i + 80 + paper ff., 29 ×
20.5cm. Contains 22 motets, 18 hymns, 9 Magnificat settings, 1 psalm and
1 textless piece, by Janue (16), Du Fay (6), Binchois (3), Dunstaple (3),
Leonel Power (2), Frye and Quadris; 17 pieces remain anonymous. As Antonius
Janue, an otherwise unknown composer, is represented in this MS by more pieces
than any other composer, it has been suggested that he may have copied it or
supervised the copying. Giazotto (1951) reported a document with a record of
payment to him at the Genoese ducal palace in 1456 and concluded that the MS
itself was of Genoese provenance.Besseler, AMw, vii (1925), 167–252; R.
Giazotto: La musica a Genova nella vita pubblica e privata dal XIII al XVIII
secólo (Genoa, 1951); R. Loyan: The Music in the Manuscript Florence,
Biblioteca Nazionale Centrale, Fondo Magliabechiano XIX, 112bis (diss., U.
of California, Berkeley, 1973); RISM, B/IV/5 (1991), 155–8
Sources, MS, §IX:
Renaissance polyphony
3. 15th-century English sources.
The destruction and loss of English sources of polyphony of the
15th century has been so grievous that much of the musical history of that time
must be pieced together from incomplete and often fragmentary remains of MSS
and from inferences drawn from other groups of sources.
One important source from the early part of the century (GB-Lbl
Add.57950, described below; see also Old Hall Manuscript) survives nearly complete
(for Ob Selden B.26 see §4). Otherwise, only fragments remain (most
described and transcribed by A. Hughes in English Sacred Music (excluding
Carols) in Insular Sources, 1400–c1450, diss., U. of Oxford, 1963); among
them are Lbl Add.40011 B (the ‘Fountains Fragment’), which originated at
Fountains Abbey in Yorkshire and contains 16 mass Ordinary sections and motets
(see Bukofzer, 1950, pp.86–112, and RISM, B/IV/4, 1972, pp.653–9). The
University Library at Cambridge has a number of fragments, including Add.5943 (c1400),
with 18 pieces; Add.5963; Ff.6.16; and Kk.1.6. Such fragments attest to the widespread
singing of polyphonic music in England in the early 15th century.
London, British Library, Add.57950 (formerly
Old Hall, St Edmund’s College, Ware, Herts.) (‘Old Hall MS’; fig.38). 112
parchment ff., 41·6 × 27·6 cm. Some folios lost, with an unknown number of
complete pieces, and parts of others. Covers and foliation modern. Repertory c1370–1420;
copied for the chapel of the Duke of Clarence, later taken to the Chapel Royal.
2 pieces by ‘Roy Henry’, who was possibly Henry V (1413–22). Black mensural
notation, with many pieces written in pseudo-score. By far the largest
surviving source from the first half of the century; it must have been copied
for use by a large group of singers.
40 Glorias, 35 Credos, 27 Sanctus, 19 Agnus, 18
antiphons, 8 motets, by Leonel Power (21), Damett (9), Cooke (8), Sturgeon (7),
Pycard (7), Typp (7), Chirbury (4), Oliver (3), Dunstaple, Forest and others.
51 pieces remain anonymous.
Andrew Hughes and M. Bent: ‘The Old Hall
Manuscript’, MD, xxi (1967), 97–147; Andrew Hughes and M. Bent, eds.: The
Old Hall Manuscript, CMM, xlvi (1969–73); RISM, B/IV/4 (1972), 675–725
Only two sacred polyphonic MSS of substantial size survive from
the remainder of the century: GB-Lbl Eg.3307 (see §4 below) and Cmc
Pepys 1236.
Cambridge, Magdalene College, Pepys 1236. 128 paper
and parchment ff., 18 × 12·5 cm. Originated in Kent c1459–65. Copied in
black mensural notation. 117 pieces (80 motets, 25 mass Proper sections, 11
hymns, 1 Lamentation) by Tuder (6), Banaster (2), Haute (2), Corbrand (2),
Nesbet, Frye, Fowler and Garnesey; 101 are unidentified. Apparently a local or
regional repertory, following the Sarum rite.
F.Ll. Harrison: ‘Music for the Sarum Rite’, AnnM,
vi (1958–63), 99–144; S. Charles: ‘The Provenance and Date of the Pepys MS
1236’, MD, xvi (1962), 57–71; S. Charles, ed.: The Music of the Pepys
MS 1236, CMM, xl (1967); see also description by R. Bowers, Cambridge
Music Manuscripts, 900–1700, ed. I. Fenlon (Cambridge, 1982), 111–14
In view of the unparalleled extent to which English music was
admired and imitated during the middle of the 15th century, it is unfortunate
that no complete MSS, or even substantial fragments, survive in England from
this time. Typical fragmentary sources are:
Cambridge, Emmanuel College Library, 300. Remnants of
4 paper ff., now 14 × 21 cm, cut in half for use as flyleaves for a printed
book; they contain 3 incomplete Kyries by Dunstaple. See RISM, B/IV/2 (1966),
209–10London, British Library, Add.54324. 6 paper ff. originally c35
× 29 cm, cut to form part of the binding of an illuminated psalter c1440–50;
3 Kyries, 1 Gloria and 4 motets, by Dunstaple, Plummer and Du Fay.
M. and I. Bent: ‘Dufay, Dunstable, Plummer – a New
Source’, JAMS, xxii (1969), 394–424Cambridge, University Library,
Pembroke 314. 4 parchment ff., originally c41 × 29 cm, containing
parts of 5 mass Ordinary sections, 3 motets and 3 English sacred pieces, by
Dunstaple (3) and Wyvell; 7 pieces remain unidentified.
RISM, B/IV/2 (1966), 597ffCoventry, The
Coventry Corporation, A.3. 2 parchment ff., now 38·7 × 26·7 cm, serving as
flyleaves for a book of legal records written in Coventry in the 15th and 16th
centuries, containing parts of the Gloria and Credo of an unidentified mass,
and the Agnus of the Missa ‘Caput’.
M. Bukofzer: ‘Caput Redivivum: a New Source
for Dufay’s Missa Caput’, JAMS, iv (1951), 97–110Cambridge
(MA), Harvard University, Houghton Library, Incun.8948. 2 parchment ff.,
now 28·3 × 20·5 cm, bound as flyleaves for a collection of religious fables and
historical incidents printed at Deventer, containing fragments of several
Kyries and 3 Glorias, two of which are by Dunstaple.
E. Kovarik: ‘A Newly-Discovered Dunstable
Fragment’, JAMS, xxi (1968), 21–33
However, such fragments are not the only sources of English music
of this period. Hundreds of pieces by Dunstaple and his contemporaries are
found in such continental sources as I-AO 15, TRmp 87, 90, 92 and
Fn Magl.XIX 112bis. A particularly rich source is MOe
α.X.1.11, with no fewer than 51 motets by English composers (see §2
above).
In addition there are many anonymous pieces in continental sources
that are most certainly by English composers; they may be identified from
groupings of pieces in MSS, by stylistic features or by characteristic melodic
figures (see C. Hamm: ‘A Catalogue of Anonymous English Music in
Fifteenth-Century Continental Manuscripts’, MD, xxii (1968), 47–76; G.
Curtis and A. Wathey: ‘Fifteenth-Century English Liturgical Music: a List of
the Surviving Repertory’, RMARC, no.27 (1994), 1–69).
Sources, MS, §IX:
Renaissance polyphony
4. Carol manuscripts.
The 15th-century Carol was a distinctively English genre. With
its English, Latin and macaronic texts, its unique mixture of sacred and
popular elements and its distinctive musical style, the carol represents a high
point in the history of late medieval English polyphony. Although about 500
carol texts survive, only about 130 have music. Most of these are preserved in
four MSS of English provenance; the entire musical repertory is edited by J.
Stevens, MB, iv (1952, 2/1958, where there is also a description of the MSS),
and in MB, xxxvi (1975).
Cambridge, Trinity College Library,
0.3.58. A parchment roll, 200·7 × 7·8 cm, consisting of 3 sections
sewn together. A single scribe copied 13 anonymous carols on one side, in white
mensural notation with red coloration; a later hand added Latin Offices on the
reverse side. Copied during the first half of the 15th century, perhaps in East
Anglia, the roll contains the earliest surviving carol repertory.
J. Fuller Maitland, ed.: English Carols of the
Fifteenth Century: from a Ms. Roll in the Library of Trinity College, Cambridge
(London, 1891)Oxford, Bodleian Library, Arch.Selden B.26. 5 unrelated
items bound together, of which only first part relevant. 31 parchment ff., 25·6
× 18 cm, numbered 3–33, containing 32 anonymous carols. Black mensural notation
with red coloration; occasional black void and red void notes. Both score and
choirbook formats used. Not precisely dated, but probably rather later than GB-Ctc
roll. Greene argued for an origin in Worcester.
J., J.F.R. and C. Stainer, eds.: Early Bodleian
Music: Sacred & Secular Songs together with other MS. Compositions in the
Bodleian Library, Oxford, ii (London, 1901/R) [incl. full facs. and
edn]; R.L. Greene: A Selection of English Carols (Oxford, 1962), 176ffLondon,
British Library, Eg.3307. ii modern paper + 83 original parchment + iii
modern paper ff., 29·8 × 21·5cm. First 5 folios have been cut out. Modern
foliation, 6–88; modern maroon leather binding. Black notation with red
coloration; some void notes in both red and black. Mostly in score format, but
ff.6–7 and ff.72v–77 in choirbook format. Decorated initials and
illuminations. One scribe copied most of the MS, but a few pieces are in
different hands. Bukofzer (1950) and Greene (1954) suggested Meaux Abbey in
Yorkshire as the probable place of origin, but Schofield (1946) and McPeek
(1963) argued that the MS was probably copied at St George’s Chapel, Windsor.
McPeek dated the MS between 1430 and 1444.
Contents in 2 sections. First part contains 1
mass, 6 processional hymns, 2 Passions and 9 motets. Second part contains 32
carols, 1 textless piece in carol form, 1 motet and 1 Latin drinking-song. All
anonymous.
B. Schofield: ‘A Newly Discovered 15th-Century
Manuscript of the English Chapel Royal’, MQ, xxxii (1946), 509–36;
Bukofzer (1950), 113–75; R. Greene: ‘Two Medieval Musical Manuscripts: Egerton
3307 and some University of Chicago Fragments’, JAMS, vii (1954), 1–34;
G. McPeek: The British Museum Manuscript Egerton 3307 (London, 1963)London,
British Library, Add.5665 (‘Ritson MS’). vi + 148 + v mixed parchment and
paper ff., c25·8 × 18 cm. 2 sets of foliation. Black and white mensural
notation with red coloration. Both choirbook and score formats used, but most
of the carols in score. 5 sections, distinguished by repertory, notation and
scribal hands. Miller dated the MS c1460–1510; the carols form the
earliest layer and were probably copied by 1475. Probably originated at a
Franciscan monastery in Devon, but designed to be used at services at which the
laity were present. Thomas Pack may have played a role in the compilation and
copying. MS later owned by the antiquarian Joseph Ritson, who donated it to the
British Museum in 1795.
In addition to 44 carols, MS contains 3 masses, 1
Kyrie-Gloria pair, 1 Latin-English Te Deum, 1 canticle, 1 Office hymn, 2
processional hymns, 23 motets (1 monophonic), 3 English sacred pieces, 16
English secular pieces and 1 French secular piece. Only composers named in
carol section are Smert and Trouluffe. Other composers represented are Pack,
John Cornysh, Mowere, Haute, Norman, Petyr, Turges, Henry VIII, T.B. and W.P.
[?William Pasche].
C. Miller: A Fifteenth-Century Record of
English Choir Repertory: B.M. Add.Ms.5665: a Transcription and Commentary
(diss., Yale U., 1948); J. Stevens, ed.: Early Tudor Songs and Carols,
MB, xxxvi (1975)
Sources, MS, §IX:
Renaissance polyphony
5. 15th-century French manuscripts of sacred music.
The earliest source of polyphony in France in the 15th century, F-APT
16bis, almost certainly originated in the circle of the papal residence
at Avignon during the period of the Great Schism (1377–1417; see §VII, 3,
above). APT 9 contains a single hymn in black mensural notation added to
a book made up of a calendar of Apt Cathedral, a hymnal and a psalter. Two more
hymns in black notation (one by Du Fay) are preserved in a fragment of a
parchment folio discovered in CH-BSPh 8; this is described in J. Stenzl:
‘Un fragment de Dufay au Grand-Saint-Bernard’, Revue musicale de Suisse
romande, xxiv/1 (1971), 5–7. Another fragmentary source in black notation
is F-Dm 2837, discovered in 1971 in the binding of the incunabulum Vocabularis
breviloquus (Basle, 1480). These four parchment folios measuring 31 × 21
cm, dating from c1420 and preserving six anonymous sacred and secular
works, are described in C. Wright: ‘A Fragmentary Manuscript of Early
15th-Century Music in Dijon’, JAMS, xxvii (1974), 306–15.
Cambrai Cathedral had an active musical life for much of the 15th
century. There Du Fay sang and studied as a boy, under Loqueville, before he
went to Italy. Only two MSS have survived:
Cambrai, Médiathèque Municipale, 6. i + 36 + i
parchment ff., 50 × 33·5 cm. Copied in black material notation, with original
foliation, at Cambrai Cathedral c1440.
3 Kyries, 5 Glorias, 5 Credos and 3 hymns, by Du
Fay (7), Binchois (2) and Franchois (1); 6 pieces remain anonymous.
Besseler, AMw, vii (1925), 167–252; L.
Curtis: ‘The Origins of Cambrai, Bibliothèque Municipale Manuscript 6 and its
Relationship to Cambrai 11’, TVNM, xliv (1994), 6–35Cambrai,
Médiathèque Municipale, 11. i + 49 + i parchment ff., 48·6 × 36 cm. Copied
in black mensural notation, at the same time and place as CA 6.
5 Kyries, 7 Glorias, 7 Credos, by Du Fay (7),
Binchois (5), Franchois (1) and Dunstaple (1); 5 pieces are anonymous. L.
Curtis, ed.: Cambrai Cathedral Choirbook (Peer, 1992) [facs.]; see also
bibliography for CA 6
These two choirbooks are unusually large for the time, in fact the
largest preserved from the first half of the century. This indicates something
about the size of the choir at Cambrai. Most pieces in these sources are
concordant between the two MSS. Each contains a monophonic mass Ordinary cycle
and several other monophonic liturgical pieces, written in black mensural
notation.
Though the singing of polyphony continued at Cambrai for the rest
of the century, and documents attest to the payment of money to scribes to copy
music (in many cases the actual pieces copied are named), the only other source
from Cambrai with polyphony is CA 29 (formerly 32) made up of assorted
calendars, psalters, litanies and the like, to which have been added 13 hymns
(two by Du Fay) at various points.
Sources from the second half of the century are few and
fragmentary. The most important is:
Copenhagen, Kongelige Bibliotek, Frag.17,
I. 12 paper ff., originally c27 × 21 cm, mutilated and
in poor condition. Copied 1450–70, possibly in the Auvergne.
1 Gloria, 2 Credos, 5 motets, 3 French secular
pieces, by Du Fay (3) and Zacara da Teramo (1); 8 pieces unidentified.
H. Glahn: ‘Ein Kopenhagener Fragment aus dem 15.
Jahrhundert’, Natalicia musicologica Knud Jeppesen septuagenario collegis
oblata, ed. B. Hjelmborg and S. Sørensen (Copenhagen, 1962), 59–100; J. van
Benthem: ‘Ein verstecktes Quodlibet …’, TVNM, xxiii/1 (1973), 1–11
Another fragment that may have originated in France is D-MERa
13b. This single parchment folio, c40 × 30 cm, contains two
motets, two incomplete ones and a hymn, by Du Fay and anonymous composers. K.
von Fischer (‘Neue Quellen zur Musik des 13., 14. und 15. Jahrhunderts’, AcM,
xxxvi (1964), 79–97) described this fragment and suggested that it might be of
Burgundian origin, or from Cambrai. F-AM 162 is a composite MS of
presumably French origin; among its contents are 16 motets and several other
polyphonic pieces, some copied c1500. Obrecht and Prioris are the only
composers identified. See H. Hofmann-Brandt: ‘Eine neue Quelle zur
mittelalterlichen Mehrstimmigkeit’, Festschrift Bruno Stäblein, ed. M.
Ruhnke (Kassel, 1967), 109–15; RISM, B/IV/3 (1972), 429–34
Sources, MS, §IX:
Renaissance polyphony
6. Late 15th- and early 16th-century German sources of Catholic
music.
The principal MSS in this category number only about 15, but their
contents form an impressively extensive repertory. Most of these large paper
choirbooks contain at least 200 folios, and one has 472. About half of the MSS
contain between 100 and 200 pieces each – mass Ordinary and Proper and Magnificat
settings, hymns and motets. Although many internationally famous composers of
the period are represented, there is a significant number of anonymous works
and works by local composers – Raber, Notens, Aulen, Flordigal, Rupsch,
Gerstenhaus, Egidius Rossely, Bartholomeus Frank and others – who remain
largely obscure.
All but two of the 15 MSS originated in what is now central or
eastern Germany. (D-Mbs 3154 is from Innsbruck, and PL-Wu Mf.2016
is of Silesian or Bohemian provenance. The last-named MS is included in this
section because of its close relationship to D-B 40021 and Lu
1494.) Most of the MSS were copied for the use of cathedrals, collegiate
churches or monastic institutions; two sources, Mbs 3154 and Lu
1494, were compiled by or for private individuals.
An examination of the gathering structure, scribal hands,
watermarks and repertorial organization of the MSS makes it clear that many
were originally copied in separate fascicles which were only later bound
together. The MSS were obviously intended for practical use rather than
ostentatious display; although some of them have modest decoration, their
outward appearance is plain and unimpressive when compared with the sumptuously
illuminated presentation MSS made for the nobility and high ecclesiastical
officials. Nevertheless, the German sources are for the most part clearly and
accurately copied and are in fairly good condition.
Munich, Bayerische Staatsbibliothek,
Mus.ms.3154 (‘Chorbuch des Nikolaus Leopold’). 472
paper ff., 32 × 22 cm; 19 folios missing from the beginning. Original and new
foliation; 19th-century numbering of pieces. Copied by many different scribes
over a long period, c1466–c1511; over 30 different watermarks.
Compiled for Nicolaus Leopold, an Innsbruck schoolmaster.
65 masses, mass pairs or mass sections (Proper and
Ordinary), 11 Magnificat settings, 1 psalm, 10 hymns, 2 motet cycles and
72 motets, with a few secular works and textless pieces. Composers represented
are Martini (7), Obrecht (6), Isaac (5), Josquin, Alexander Agricola, Aulen,
Busnoys, Compère, Antoine de Févin, Finck, Ninot le Petit, Paulus de Broda, Raber,
Veye, Jung and a few others whose identity has not been established, or whose
authorship is in doubt.
T. Noblitt: ‘Das Chorbuch des Nikolaus Leopold
(München, Staatsbibliothek, Mus.ms.3154): Repertorium’, AMw, xxvi
(1969), 169–208; T. Noblitt: ‘Die Datierung der Handschrift Mus.ms.3154 der
Staatsbibliothek München’, Mf, xxvii (1974), 36–56; T. Noblitt, ed.: Der
Kodex des Magister Nicolaus Leopold, EDM, 1st ser., lxxx–lxxxiii (1987–96)
[complete edn]Berlin, Staatsbibliothek zu Berlin Preussischer Kulturbesitz,
Mus.ms.40021 (formerly Z21). 296 paper ff., 31·5 × 21·3 cm. Mostly
original foliation; original covers of white tooled leather on boards, with
leather spine and ornamental brass clasps. Copied by several scribes, c1490–1500.
Exact circumstances of origin not established. Fétis discovered the MS in 1848
at Halberstadt Cathedral, and it has been assumed that it originated there.
However, the repertory suggests close connections with the court of Frederick
the Wise, Elector of Saxony; it is also possible that some of the paper used in
the MS was produced at Torgau. Furthermore, Just (‘Ysaac de manu sua’,
GfMKB: Kassel 1962, 112–14) showed that the MS was bound in Leipzig.
Possibly source originally copied, assembled and bound in Saxony (Torgau and
Leipzig) and sent to Halberstadt after its completion.
30 masses or mass sections (Ordinary and Proper),
10 Magnificat settings, 2 Te Deum settings, 28 hymns, 53 motets,
7 German sacred pieces and a few secular or textless pieces. Composers named
are Adam von Fulda, Alexander Agricola, Aulen, B.H., Beham, Busnoys, E.O.,
Finck, Flordigal, Gerstenhaus, Hofhaimer, Isaac, Jacobit, Josquin, Reneri and
Volckmar. Pieces by Barbireau, Compère, Ghiselin, Obrecht and Weerbeke have
been identified from concordances. MS closely related to D-Lu 1494 and PL-Wu
Mf.2016.
M. Just: Der Mensuralkodex Mus.ms.40021 der
Staatsbibliothek Preussischer Kulturbesitz Berlin (Tutzing, 1975); M. Just,
ed.: Der Kodex Berlin 40021, EDM, 1st ser., lxxvi–lxxviii (1990–91)
[complete edn]Warsaw, Biblioteka Uniwersytecka, Mf.2016 (formerly
Breslau, Musikalisches Institut bei der Universität Breslau). ii + 156
paper ff., 33 × 23 cm. New pencil foliation; covers of new pasteboard over
original wood. Feldmann (1932) dated MS c1500 and suggested a monastery
in Silesia or possibly Bohemia as the place of origin.
95 pieces (three are duplicates), including 9
masses or mass sections, 6 Magnificat settings, 15 hymns, 3
Lamentations, 45 motets, 2 Latin secular pieces, 1 German secular piece and 11
textless pieces. A few of the Latin pieces have additional German texts. Only
composers named in MS are Aulen, Flordigal, Bartholomeus, Isaac, M.S. and
Egidius Rossely. Works by Adam von Fulda, Alexander Agricola, Josquin, B.H.,
Compère, Ockeghem, Rupsch and Weerbeke have been identified from concordances.
F. Feldmann: Der Codex Mf. 2016 des
Musikalischen Instituts bei der Universität Breslau: eine palaeographische und
stilistische Beschreibung (Breslau, 1932)Leipzig,
Universitätsbibliothek, 1494 (‘Apel Codex’). 260 paper ff., 31 × 21 cm.
Compiled by Magister Nikolaus Apel some time between c1492 and 1504,
during the time he was a student and, later, a junior faculty member at Leipzig
University.
172 pieces, almost all liturgical; repertory
closely related to that in D-B 40021 and PL-Wu Mf.2016.
R. Gerber, ed.: Der Mensuralkodex des Nikolaus
Apel, EDM, 1st ser., xxxii–xxxiv (1956–75)Jena, Universitätsbibliothek,
30, 31, 32, 33, 34, 35, 36, and Weimar, Bibliothek der Evangelisch-Lutherischen
Kirchengemeinde, A. This group of pre-Reformation MSS, interrelated by
common scribes and repertory, was copied for All Saints Church in Wittenberg, c1500–20.
Except for a few scattered folios, MSS all copied on paper, and average c43
× 30 cm; original covers of brown or grey-brown tooled leather.
Contents exclusively settings of the Ordinary and
Proper of the Mass, except for D-Ju 34, which contains 8 Magnificat
settings, 117 psalms (some set to the same music), 35 hymns and 31 motets in
addition to a mass Proper cycle. Only two of the sources have composer
attributions: Ju 33 names Rener (8 pieces), and Ju 36 names Rener
(4), Isaac (3), Josquin and Mouton. Of the pieces in the Weimar MS, about a
third have been identified as Isaac’s works. Other composers in this group who
have been identified from concordances include Alexander Agricola, Compère,
Brumel, Obrecht, Weerbeke, Ghiselin, Orto, Pipelare and Martini, but each is
represented by only a few works. Gerken (1969) suggested that many of the
pieces in Ju 30 and Ju 35 may be by Rener.
The Ju paper MSS discussed here are not to
be confused with another set of MSS at the same library (Ju 2–5, 7–9,
12, 20–22; all but Ju 21 on parchment), which contain different
repertory and originated at the Netherlands court at Brussels and Mechelen.
Roediger (1935); R.E. Gerken: The Polyphonic
Cycles of the Proper of the Mass in the Trent Codex 88 and Jena Choirbooks 30
and 35 (diss., Indiana U., 1969); J. Heidrich: Die deutschen Chorbücher
aus der Hofkapelle Friedrichs des Weisen: ein Beitrag zur mitteldeutschen
geistlichen Musikpraxis um 1500 (Baden-Baden, 1993)Wrocław,
Biblioteka Uniwersytecka, I F 428 (‘Viadrina Codex’). 251 paper ff., 40 ×
28 cm. Green covers. MS formerly in the ‘Viadrina’ Library of the University of
Frankfurt an der Oder, founded in 1506; the university and its library were
moved to Breslau (now Wrocław) in 1811. Staehelin dated the MS c1510–30
and suggested that it originated somewhere in mid- or eastern Germany, perhaps
at Frankfurt an der Oder itself.
72 pieces, including 13 masses, 2 mass Ordinary
sections, 5 mass Proper sections, 6 Magnificat settings, 13 hymns, 22
motets, 3 German sacred pieces, 1 German secular piece and 7 textless pieces.
All anonymous, but a few composers have been identified from concordances:
Compère (3), Isaac (3), Adam von Fulda, Brumel, Josquin, Obrecht and Senfl.
M. Staehelin: Der Grüne Codex der Viadrina:
eine wenig beachtete Quelle zur Musik des späten 15. und frühen 16.
Jahrhunderts in Deutschland (Mainz, 1971)Dresden, Sächsische
Landesbibliothek, Mus.1/D/505 (formerly Annaberg 1248) and
Mus.1/D/506 (formerly Annaberg 1126). These 2 choirbooks were copied
c1510–30 for the use of the Annen-Kirche, Annaberg, a town in the
Erzgebirge, which divides what is now Germany from the Czech Republic. MSS
taken to D-LDl in 1968, at which time they received new numbers (owing
to a mislabelling of a widely circulated microfilm of these sources, the
correct call numbers given above are frequently confused).
Dl 1/D/505 (315 paper ff., 39·4 × 28 cm)
contains 166 pieces, including 15 mass Ordinary cycles or sections, 93 mass
Proper sections, 5 Magnificat settings, 2 Te Deum settings, 2
psalms, 10 hymns, 1 Passion, 34 motets, 1 German sacred piece and 3 textless
pieces. Composers named are Alexander Agricola, Brumel, Compère, Ghiselin,
Isaac, Josquin, Martini, Obrecht, Raber and Pierre de La Rue, to whom is
ascribed the ubiquitous Passion elsewhere attributed variously to Longueval,
Obrecht and A laVenture. Works by Adam von Fulda, Finck, Rener and Stoltzer
have been identified from concordances; Ninot le Petit and Isaac have conflicting
attributions.
Dl 1/D/506 (261 paper ff., 40·8 × 28·9 cm)
contains 162 pieces, including 38 masses or mass Ordinary sections, 73 mass
Proper sections, 8 Magnificat settings, 38 hymns, 4 motets and 1
textless piece. All anonymous; only a few composers identified, each
represented by only one or two works: Alexander Agricola, Brumel, Compère,
Josquin, Isaac, Notens and Raber (some with conflicting attributions).
T. Noblitt: ‘Manuscript Mus.1/D/505 of the
Sächsische Landesbibliothek Dresden (olim Annaberg, Bibliothek der St.
Annenkirche, Ms.1248)’, AMw, xxx (1973), 275–310; T. Noblitt:
‘Manuscript Mus.1/D/506 of the Sächsische Landesbibliothek, Dresden (olim
Annaberg, Bibliothek der St. Annenkirche, Ms.1126)’, MD, xxviii (1974),
81–127; W. Steude: Untersuchungen zur mitteldeutschen Musiküberlieferung und
Musikpflege im 16. Jahrhundert (Leipzig, 1978)
Sources, MS, §IX:
Renaissance polyphony
7. German lied manuscripts.
MS sources of German secular polyphony during the 15th and 16th
centuries usually have heterogeneous contents in which the German pieces are
intermingled with Latin sacred and French secular works. Only from the
appearance of the earliest printed partbooks of German song in the second decade
of the 16th century does there appear to have been any homogeneous repertory of
German secular polyphony represented as such in the sources. During the 15th
century the sources tended either to include a large number of contrafacta from
French and Italian music (as in the Wolkenstein MSS) or extremely mixed
compilations of music from all parts of Europe but including a fairly small and
distinct German song repertory. Most of the songs in the 16th-century MSS are
also to be found in printed books: the sources listed here are important either
because of their scribe, because of the repertory they represent, or because
they contain an unusually large proportion of unpublished music.
In German MSS it is usually true to say that size is directly
related to the degree of formality. The large Wolkenstein sources (like their
contemporary sources of monophonic song, the Jena and Colmar MSS, see §III) are
presentation volumes, whereas the medium-sized MSS of Senfl (D-Mbs 3155)
or pseudo-Wagenrieder (Mu 328–31 and A-Wn 18810) are evidently
attempts to record and define a repertory, and the smallest MSS (D-Mbs Cgm
810 and CH-Bu F.X.1–4) are designed as private collections.
Innsbruck, Universitätsbibliothek, (s.s.)
(‘Wolkenstein-Rodeneck Codex’). ii + 48 parchment ff., 49 × 34 cm. Modern and
original foliation; original covers of white leather over boards; original
index. Copied 1432–45 under direction of Oswald von Wolkenstein, a bust of
whom appears on f.1v. A closely related source is A-Wn Vind.2777,
containing 19 polyphonic lieder (all by Oswald) along with monophonic pieces.
81 monophonic and 37 polyphonic German songs
mostly by Oswald von Wolkenstein.
J. Schatz and O. Koller, eds.: Oswald von
Wolkenstein: Geistliche und weltliche Lieder, DTÖ, xviii, Jg.ix/1 (1902/R);
H. Moser and U. Müller, eds.: Oswald von Wolkenstein: Abbildungen zur
Überlieferung, I: Die Innsbrucker Wolkenstein-Handschrift B (Göppingen,
1972) [complete facs.]; L. Weler: ‘New Light on Oswald von Wolkenstein: Central
Euopean Traditions and Burgundian Polyphony’, EMH, vii (1987), 187–226Berlin,
Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Mus.40613 (‘Lochamer
Liederbuch’ and Fundamentum organisandi of Paumann). 46 paper ff., c21·5
× 15·5 cm, enclosed in 2 parchment leaves (originally the covers). Brown tooled
leather covers added some time after 1582; these have ornamental borders,
several coats-of-arms associated with Nuremberg families and the inscriptions
‘Discantus’ and ‘15 BA 82’. Both the leather and the original parchment covers
were retained when MS was rebound and restored in modern times. Copied c1452–60
at Nuremberg, probably by associates of the blind organist Conrad Paumann. Main
scribe may have been Frater Jodocus von Windsheim.
41 German secular pieces (only 9 polyphonic), 3
monophonic Latin contrafacta of secular works, 1 monophonic textless piece and
3 texts with no music. All anonymous: attributions can be made to Binchois (1
tenor), the Monk of Salzburg (1) and Oswald von Wolkenstein (1). The Fundamentum
organisandi of Paumann, bound together with the songbook, contains 32
keyboard pieces in tablature, most probably by Paumann.
W. Salmen: Das Lochamer Liederbuch: eine
musikgeschichtliche Studie (Leipzig, 1951); C. Petzsch: Das Lochamer
Liederbuch: Studien (Munich, 1967); W. Salmen, ed.: Das Lochamer
Liederbuch, DTB, Sonderreihe, ii (1972)Munich, Bayerische
Staatsbibliothek, Cgm 810 (formerly Mus.ms.3232; Cim.351a) (‘Schedel
Liederbuch’). ii + 170 paper ff., 15 × 10·5 cm. Original foliation, original
covers of leather over boards. Compiled and copied mostly by Hartmann Schedel
(1440–1514), a prominent physician and humanist. Schedel began copying c1460,
as a student in Leipzig; he made later additions at intervals during the next
decade while living at Augsburg and Nuremberg.
1 Magnificat, 17 motets, 74 German secular
pieces, 19 French secular pieces, 1 Italian secular piece and 17 textless
pieces, by Barbingant, Bedyngham, Binchois, Brollo, Du Fay, Frye, Ockeghem,
Pullois, Touront and others.
B. Wackernagel, ed.: Das Liederbuch des Dr.
Hartmann Schedel: Faksimile, EDM, 1st ser., lxxxiv (Kassel, 1978); N.
Böker-Hell, H. Heckmann and I. Kindermann, eds.: Das Tenorlied: mehrstimmige
Lieder in deutschen Quellen 1450–1580, ii (Kassel, 1982) [thematic index];
M. Kirnbauer: ‘Schedelsches Liederbuch’, MGG2; M. Kirnbauer: Hartmann
Schedel und sein Liederbuch (diss., U. of Basle, 1998)Kraków, Biblioteka
Jagiellońska, Mus.40098 (formerly Berlin, Preussische
Staatsbibliothek) (‘Glogauer Liederbuch’). 3 paper partbooks, in oblong
octavo, c15·5 × 21 cm (among the earliest partbooks known). One main
scribe copied the MS c1480, perhaps at Glogau Cathedral in Silesia (now
Głogów, Poland).
294 pieces: 2 mass Ordinary sections, 18 mass
Proper sections, 18 Office hymns, 1 processional hymn, 120 motets (some are
contrafacta of French secular works), 4 German sacred pieces, 4 Latin secular
pieces, 63 German secular pieces, 1 Italian piece, 1 Slavonic piece, 3
quodlibets, 59 textless pieces (including dances and other pieces with German
titles; some have been identified as French chansons). Composers represented
include Attamasch, Barbingant, Bebrleyn, Brollo, Busnoys, Caron, Du Fay,
Martini, Obrecht, Rubinus, Tinctoris and Touront (most of the pieces, however,
remain anonymous).
H. Ringmann and others, eds.: Das Glogauer
Liederbuch, EDM, 1st ser., iv (1936); viii (1937); lxxxv–lxxxvi (1981)
[complete edn]; J.A. Owens, ed.: Kraków, Biblioteka Jagiellónska, Glogauer
Liederbuch, RMF, vi (1986) [facs.]Munich, Bayerische Staatsbibliothek,
Mus.ms.3155. iv + 133 paper ff., 13·5 × 20·5 cm (oblong). Ff.104v–133v
are blank. Original covers of dark brown tooled leather. Two distinct sections,
distinguished by different paper and scribal hands. First part (to f.86) dates
from c1520 and includes Senfl works composed at the court of Maximilian
I; this part was probably copied by Senfl himself before his departure from the
court, or shortly after. Second part (ff.86v–104) dates from c1525–35
and includes Senfl repertory composed at the Munich Hofkapelle. 1 scribe copied
most of this section, probably at Munich; last 3 pieces are later additions in
another hand.
97 German secular pieces (3 without text), most by
Senfl. Among other composers represented are Hofhaimer, Isaac and Rener.
Bente (1968); N. Böker-Heil, H. Heckmann and I.
Kindermann, eds.: Das Tenorlied: mehrstimmige Lieder in deutschen Quellen
1450–1580, ii (Kassel, 1982) [thematic index]; R. Birkendorf: Der Codex
Pernner (Augsburg, 1994)Basle, Öffentliche Bibliothek der Universität,
F.X.10. 1 paper partbook, c11 × 16 cm. A date in the MS is difficult
to read, but may be MDXX. One of several MSS in the Basle University Library
which originated within the circle of Bonifacius Amerbach (1495–1562), the Basle
humanist and scholar.
27 German secular pieces and 1 Italian secular
piece. Barbireau (1), Busnoys (1) and anonymous.
Kmetz (1988); Kmetz (1995)Vienna,
Österreichische Nationalbibliothek, Mus.18810 (formerly A.N. 35.E.126).
5 paper partbooks, 15·2 × 21 cm (oblong). Original covers of tooled leather,
with date 1524. Scribe was probably not Lukas Wagenrieder, Senfl’s copyist
(Schneider). Closely related by repertory, scribe and watermarks to D-Mu
8o 328–31 (formerly Cim.44c). Both sources probably originated
in Augsburg.
6 motets, 3 German sacred pieces, 49 German
secular pieces, 8 French secular pieces, 3 Flemish secular pieces, 1 Italian
secular piece, 16 textless pieces (all of the preceding with text incipits or
titles only), by Blanckenmüller, Hofhaimer, Isaac, Josquin, Pierre de La Rue,
Rener, Senfl (25) and others.
Bente (1968), 264ff, esp. 269–70; C. Gottwald: Die
Musikhandschriften der Universitätsbibliothek München (Wiesbaden, 1968),
83–92 [Mu source only]; N. Böker-Heil, H. Heckmann and I. Kindermann,
eds.: Das Tenorlied: mehrstimmige Lieder in deutschen Quellen 1450–1580,
ii (Kassel, 1982) [thematic index]; J.O. Robison: ‘Vienna, Austrian National
Library, Manuscript 18810: a Repertory Study and Manuscript Inventory with
Concordances’, RMARC, no.19 (1983–5), 68–84; M. Schneider, ed.: Collection
of German, French and Instrumental Pieces: Wien, Österreichische
Nationalbibliothek MS 18810 (Peer, 1987) [complete facs. with introduction
and inventory]Basle, Öffentliche Bibliothek der Universität, F.X.1–4. 4
paper partbooks, 9·7 × 15·3 cm. New pencil foliation; original and new
numbering of pieces. Original covers of brown tooled leather, with gold
imprinting. Dates from 1522 to 1524 appear; the latter, however, may refer to
dates of composition rather than copying. Hoffmann-Erbrecht (Thomas
Stoltzer: Leben und Schaffen, Kassel, 1964, p.165) dated the MS c1540.
4 motets, 102 German sacred and secular pieces and
13 French secular pieces, by Cesar, Dietrich, Greitter, Isaac (10), Josquin,
Pierre de La Rue, Senfl (at least 10), Wüst (10) and others.
Kmetz (1988); Kmetz (1995); J. Kmetz: ‘The
Compilation and Ownership of Basel University Library Manuscript F X 1–4’, Gestalt
und Entstehung musikalischer Quellen im 15. und 16. Jahrhundert, ed. M.
Staehelin (Wiesbaden, 1998), 133–47Iserlohn, Evangelische Kirchengemeinde,
Varnhagen-Bibliothek. Fragments recovered from binding of incunabulum IV 36
F124. 5 paper partbooks, 8 × 12 cm. About a third of original contents now
missing, judging from the original index, found in a binding of a Herbarius
(Mainz, 1485); most of the missing folios, like the index folios, were probably
used for book bindings. Dated 1544, probably copied at Augsburg or Nuremberg.
The first 33 songs were copied directly from Egenolff’s Reutterliedlin
(RISM 153511).
9 motets, 102 German sacred and secular pieces and
90 textless pieces, by Alexander Agricola, Arthopius, Bosch, Lemlin, Senfl,
Susato and others.
G. Sowa: ‘Die Liederhandschrift 1544: Manuskript
Iserlohn (Westfalen)’, AMw, xxiv (1967), 266–82Basle, Öffentliche
Bibliothek der Universität, F.X.21. 1 paper partbook, 7·4 × 10·4 cm.
Original foliation; new pencil numbering of items, 1–118 (some are texts only).
New covers of white parchment on cardboard. MS consists of several layers,
dating from c1529 to 1575. Latest layer copied by Ludwig Iselin
(1559–1612), a nephew of Basilius Amerbach, son of the humanist Bonifacius
Amerbach.
1 mass section, 3 motets, 93 German sacred and
secular pieces and 2 Italian secular pieces, by Dietrich, Finck, Isaac, Senfl,
Sicher and others.
Kmetz (1988); Kmetz (1995)
Sources, MS, §IX:
Renaissance polyphony
8. Chansonniers.
The Franco-Flemish chanson was intensively cultivated in Italy as
well as in France and the Low Countries during the second half of the 15th
century and the first years of the 16th. The prominent role of Italian
patronage in the dissemination of this large repertory is underscored by a
collation of the surviving MS sources, which brings to light the surprising
fact that most are of Italian rather than French provenance.
These MSS have more or less similar physical characteristics. They
are in small choirbook format (average c19 × 14 cm), usually upright
rather than oblong, with one chanson copied on each opening. The discantus part
and one or more underlaid stanzas of text appear on the verso side of the
opening, with the tenor and contratenor parts opposite on the recto. The tenor
and contratenor usually have text incipits only, and in some Italian sources
all the parts have only incipits of text. Although French texts naturally
predominate, most chansonniers contain some pieces with Italian, Flemish or
Spanish texts, along with one or more Latin motets. Many of these MSS provide visual
as well as musical delights: they are neatly and elegantly (though not always
accurately) copied, with illuminated initials and miniatures cleverly and
beautifully decorated with whimsical or grotesque faces and other motifs.
Among the best known of these sources are the ‘Central French’
chansonniers, a group of related MSS containing a repertory that belongs
primarily to France. Once thought to come from Flanders or the Burgundian
court, they are now shown to be from Paris and the areas along the Loire Valley
occupied by the French royal court (see P.M. Higgins: Antoine Busnois and
Musical Culture in Late Fifteenth-Century France and Burgundy (diss.,
Princeton U., 1987), and L. Perkins: ‘Modern Methods, Received Opinion and the
Chansonnier’, ML, lxix (1988), 356–64)
Dijon, Bibliothèque Municipale, 517 (formerly
295). 204 parchment ff., 17·5 × 12·8 cm; original covers of tan leather
over boards. The main scribe also copied DK-Kk Thott 291 and portions of
US-Wc M2.1 L25 Case; a second scribe, who copied the last 3 pieces, also
worked on I-Fr 2794. Plamenac dated the MS c1470–75.
160 French secular pieces and 1 textless piece;
attributions to Busnoys (30), Ockeghem (10), Barbingant, Caron, Compère, Hayne
van Ghizeghem and Tinctoris. Composers identified from concordances include
Bedyngham, Dunstaple, Binchois, Boubert, Convert, Delahaye, Du Fay, Michelet,
Molinet, Morton and Simon le Breton.
D. Plamenac, ed.: Dijon: Bibliothèque publique,
manuscrit 517, Publications of Mediaeval Musical Manuscripts, xii (Brooklyn,
NY, 1970) [see also review by M. Picker, JAMS, xxvi (1973), 336–40];
Barret (1981)Copenhagen, Kongelige Bibliotek, Thott 291, 8°. 49
parchment ff., 17 × 12 cm. The scribe also copied most of F-Dm 517 and
portions of US-Wc M2.1 L25 Case. Jeppesen (1927) dated the MS 1470–80.
34 French secular pieces, all anonymous;
identified composers include Busnoys (5), Convert (3), Basiron, Delahaye, Hayne
van Ghizeghem, Michelet, Molinet, Morton, Ockeghem, Prioris and Simon le
Breton. 1 of the pieces is a Sermisy chanson, added later by another hand.
Jeppesen (1927)Washington, DC, Library of
Congress, M2.1 L25 Case (‘Laborde Chansonnier’; fig.11b above). 151
parchment ff., 12·6 × 9·2 cm. MS in several layers, probably copied c1465–80.
First layer has scribal and repertorial connections with D-W Thott 287;
second layer in same hand that copied DK-Kk 291 and most of F-Dm
517; 1 of the scribes in third layer also appears in I-Fr 2794.
103 pieces, by Frye, Caron, Basiron, Joye,
Convert, Du Fay, Busnoys, Ockeghem, Tinctoris, Hayne van Ghizeghem, Compère,
Prioris and Delahaye.
H. Bush: ‘The Laborde Chansonnier’, PAMS 1940,
56–79; M. Gutiérrez-Denhoff: ‘Untersuchungen zu Gestalt, Entstehung und
Repertoire des Chansonniers Laborde’, AMw, xii (1984), 113–46; C. Goldberg:
Das Chansonnier Laborde (Frankfurt, 1992); D. Fallows: A Catalogue of
Polyphonic Songs, 1415–1480 (Oxford, 1999)Wolfenbüttel, Herzog August
Bibliothek, Guelf.287 Extravagantium. 70 parchment ff., 14·8 × 10·4 cm. The
main body of the manuscript has a heavy overlap, in both repertory and
readings, with the first section of US-Wc M2.1 L25 Case. Prepared for
the royal courtier Estiene Petit, whose name emerges from the first letters of
nos.2–13, probably c1467.
56 pieces, mostly French chansons, all anonymous.
Identified composers include Du Fay (6), Ockeghem (6), Busnoys (4), Frye,
Convert, Binchois, Basiron, Morton, Prioris and Hayne van Ghizeghem.
M. Gutiérrez-Denhoff: Der Wolfenbütteler
Chansonnier …: Untersuchungen (Wiesbaden, 1985); M. Guiérrez-Denhoff, ed.: Der
Wolfenbütteler Chansonnier, MusikalischeDenkmäler, x (Mainz, 1988)
[complete edn]; D. Fallows: ‘“Trained and Imersed in All Musical Delights”:
Towards a New Picture of Busnoys’, Antoine Busnoys: Notre Dame, IN, 1992,
21–50
Other chansonniers of French provenance from the second half of
the 15th century are: F-Pn Rés.Vmc 57, Chansonnier Nivelle de la
Chaussée (67 pieces), and I-Fr 2794 (60 chansons and 8 Latin pieces). Of
somewhat later date (c1490–1510) are the following: F-Pn fr.2245
(23 chansons by Alexander Agricola, Fresneau, Hayne van Ghizeghem, Josquin,
Mureau, Ockeghem, Prioris and others); Pn fr.1597 (67 pieces by
Alexander Agricola, Brumel, Compère, Du Fay, Hayne van Ghizeghem, Josquin,
Prioris and others); GB-Lbl Roy.20 A.xvi (28 chansons); and Harl.5242
(31 chansons).
A beautifully illuminated chansonnier with a unique format is F-Pn
Rothschild 2973 (‘Chansonnier Cordiforme’; fig.11a).
It consists of 72 parchment folios bound in red velvet, shaped in the form of a
heart. Copied probably in Geneva before 1477, the MS is the work of a single
scribe, and was compiled for Jean de Montchenu. It contains 14 Italian and 30
French secular pieces, all anonymous. Identified composers include Du Fay,
Bedyngham, Busnoys, Ockeghem, Morton and Binchois.
E. Kottick: ‘The Chansonnier Cordiforme’,
JAMS, xx (1967), 10–27; E.L. Kottick, ed.: The Unica in the
Chansonnier Cordiforme, CMM, xliii (1967); G. Thibault and D. Fallows, eds.
Chansonnier de Jean de Montchenu (Paris, 1991) [complete edn]
The Aragonese court in Naples was most probably a focal point for
the cultivation of the French chanson in that region. Although only a few of
the Neapolitan MSS described below can be linked conclusively with the
Aragonese court itself, Atlas (1975–6) was able to establish their Neapolitan
provenance quite convincingly, using evidence derived from a collation of
concordances and a comparison of variant readings of the same pieces in
different sources.
San Lorenzo de El Escorial, Real
Biblioteca del Monasterio, IV.a.24. iii + 137 + iii paper ff.,
21·1 × 14·2 cm. Hanen (1983) dated the MS c1460–74, and identified 4
principal scribes.
122 pieces, including 89 French and 24 Italian
secular works. Composers named are Pullois (7), Braxatoris, Domarto, Dunstaple,
Horlay, Johannes Legrant, Morton and Ockeghem. Other identified composers
include Binchois (8), Du Fay (6), Basin, Bedyngham, Cornago and Frye.
E. Southern: ‘El Escorial, Monastery Library, Ms.
IV.a.24’, MD, xxiii (1969), 41–79; E. Southern, ed.: Anonymous Pieces
in the MS El Escorial IV.a.24, CMM, lxxxviii (1981); M.K. Hanen: The
Chansonnier El Escorial IV. a.24 (Henryville, PA, 1983)New Haven, Yale
University, Beinecke Rare Book and Manuscript Library, 91 (‘Mellon
Chansonnier’; fig.11c
above). 81 parchment ff., 19·2 × 13·5 cm. Copied by a single scribe, c1476.
57 pieces, mostly with French texts, but also
including a few works with Spanish, Latin, Italian and English texts. Among
composers represented are Busnoys (15), Vincenet (4), Du Fay (4), Ockeghem (3),
Joye, Tinctoris, Frye, Caron, Regis, Morton, Barbingant and Hayne van
Ghizeghem.
M. Bukofzer: ‘An Unknown Chansonnier of the 15th
Century’, MQ, xxviii (1942), 14–49; edn by L. Perkins and H. Garey (New
Haven and London, 1979)Other Neapolitan sources, copied mostly during the
1480s, include I-Bc Q16, MC 871, pp.247–435, and E-Sc
5-1-43 (some leaves of which are now F-Pn n.a.fr.4379).
The surviving chansonniers of Florentine provenance are generally
inferior in their treatment of the French texts. Much of the time only incipits
are given, and even these are often quite corrupt. However, the musical
readings in these sources are of very high quality.
Berlin, Staatliche Museen Preussischer
Kulturbesitz, Kupferstichkabinett, 78.C.28 (formerly
Hamilton 451). i + 70 + i parchment ff., 24·6 × 16 cm. Original blue velvet
covers. Reidemeister (1973) showed that the illumination and decoration were
done at a Florentine workshop, and that the MS was presented as a wedding gift
to a Florentine couple, Margherita Castellani and Bernardino Niccolini, c1465.
Atlas argued, on the basis of repertory and date, that the MS was nevertheless
copied in Naples; but Fallows and Warmington offer overwhelming arguments for
Florentine origin.
43 pieces, all but two textless, and all
anonymous. Concordances show that the textless pieces are mostly French
chansons; identified composers include Basin, Bedyngham, Du Fay, Binchois,
Frye, Morton and Pullois.
P. Reidemeister: Die Handschrift 78 C 28 des
Berliner Kupferstichkabinetts (Munich, 1973); A.W. Atlas: ‘La provenienza
del manoscritto Berlin 78.C.28: Firenze o Napoli?’, RIM, xiii (1978),
10–29; D. Fallows: ‘Polyphonic Song in the Florence of Lorenzo’s Youth, ossia
the Provenance of the Manuscript Berlin 78.C.28: Naples or Florence?’, La
musica a Firenze al tempo di Lorenzo il Magnifico: Florence 1992, 47–61; F.
Warmington: ‘The Missing Link: the Scribe of the Berlin Chansonnier in
Florence’, ibid., 63–8Vatican City, Biblioteca Apostolica Vaticana, C.G.XIII
27 (‘Codex Medici’). vi + 119 + vi paper ff., 23·2 × 17 cm. Original covers
of brown morocco leather with portrait of Julius Caesar and the inscription
‘DIVI IVLI’. Copied for Giuliano de’ Medici, youngest son of Lorenzo de’
Medici; the Medici coat-of-arms appears within an initial on the first opening
with music.
108 pieces, including 83 French and 10 Italian
pieces. Composers named are Alexander Agricola (15), Isaac (12), Baccio
[Bartolomeo degli Organi], Basiron, Caron, Compère, Felice, Fresneau, Arnulfo
G[iliardi], Hayne van Ghizeghem, Japart, Josquin, Lannoy, Martini, Molinet,
Mureau, Obrecht, Virgilius, Ockeghem, Pietrequin, Stokem and Enrique [Urrede].
Atlas (1975–6)Florence, Biblioteca Nazionale
Centrale, Banco Rari 229 (formerly Magl.XIX 59). v parchment + 325
paper + i parchment ff., 24 × 17 cm. Brown tooled leather covers. Elaborately
illuminated, especially the parchment folios at the beginning, which include a
portrait formerly believed to be that of the composer Johannes Martini; H.M.
Brown suggested that the portrait is actually that of Alessandro Braccesi, the
owner of the MS (see fig.43).
268 pieces, including 163 pieces with French
incipits or titles and 20 textless pieces which have French texts in other
sources; also included are Italian and Flemish secular pieces and a few Latin
motets. Among composers represented are Alexander Agricola (26), Isaac (23),
Martini (21), Busnoys (20), Caron (10), Compère, Congiet, Josquin, Lannoy,
Mureau, Obrecht, Regis, Robinet, Stokem and Tinctoris.
Brown (1983) [complete edn]Paris, Bibliothèque
Nationale de France, fr.15123 (‘Pixérécourt Chansonnier’). 197 parchment
ff., 18 × 12 cm. Atlas (1975–6) noted the absence of works by Isaac, and
concluded that the MS must have been copied in the early 1480s, antedating
Isaac’s arrival in Florence in 1484. H.M. Brown believed the MS was produced in
the same scribal workshop as I-Fn B.R.229.
170 French, Italian, Spanish and Latin pieces, by
Busnoys (21), Caron, Ockeghem, Compère, Cornago, Du Fay, Morton and Ycart.
Atlas (1975–6)Florence, Biblioteca Nazionale
Centrale, Magl.XIX 178. vii + 78 +i paper ff., 11·4 × 16·5 cm (one of the
earliest oblong chansonniers).
73 pieces, including 62 French chansons (several
are textless in this source), along with Italian, Flemish, Spanish and Latin
pieces. Attributions to Alexander Agricola (22), Josquin (11), Isaac (9),
Compère, Du Fay, Hayne van Ghizeghem, Japart, Martini, Obrecht, Pietrequin,
Stokem and Gaspar [van Weerbeke]. Identified composers include Busnoys, Caron,
Lannoy, Molinet, Ockeghem and Urrede.
RISM, B/IV/5 (1991), 181–95 [inventory]; W.J.
Powers: The Music Manuscript Fondo Magliabechi XIX.178 of the Biblioteca
nazionale centrale, Florence: a Study in the Changing Role of the Chanson in
Late Fifteenth-Century Florence (diss., Columbia U., 1994)Other chanson
sources which are definitely or probably of Florentine provenance include Bc
Q17 (formerly 148), Fn Magl.XIX 176 and Fr 2356.
Two sources which originated in northern Italy should also be
mentioned. The first, I-Rc 2856 (formerly O.V.208), contains the
combined arms of the d’Este and Gonzaga families, suggesting a connection with
the marriage of Isabella d’Este and Francesco Gonzaga (February 1490) though
Wolff (1970) and Lockwood (1984) argue for a date closer to 1480. Copied mostly
by one scribe, the MS contains 124 pieces, including 105 French chansons, in
addition to Flemish, Italian and Latin pieces. Composers represented are
Martini (23), Alexander Agricola (16), Busnoys (11), Hayne van Ghizeghem (9),
Caron (7), Compère (6), Ockeghem (5), Josquin (5) and others. Bc Q18
(formerly 143) was probably copied in Bologna; one of the scribes has been
identified as Giovanni Spataro, who is known to have worked there. The MS
contains 90 pieces, including 28 Italian and 23 French secular pieces, all
anonymous except for one problematic attribution to ‘Rubinet’ which appears in
the space normally devoted to the text incipit. Composers identified from
concordances include Alexander Agricola, Brumel, Busnoys, Cara, Caron, Compère,
Isaac, Josquin, Lurano, Obrecht, Pesenti, Tromboncino, Urrede and Vincenet.
A.S. Wolff: The Chansonnier Biblioteca
Casanatense 2856: History, Purpose, and Music (diss., North Texas State U.,
1970); Lockwood (1984); S.F. Weiss: ‘Bologna Q 18: Some Reflections on Content
and Context’, JAMS, xli (1988), 63–101
The continued popularity of the chanson in Italy well into the
second and third decades of the 16th century is reflected in sources such as I-CT
95–6 (whose tenor partbook is in F-Pn n.a.fr.1817), probably copied for
Giuliano de’ Medici, and I-Fc Basevi 2442, thought to have been written
out for Filippo Strozzi. In France itself few MSS containing chansons seem to
have been copied after the 1540s, presumably because printing had by then
become sufficiently viable economically to compete effectively. Chansons also
circulated in MS in England from the early years of the century; the first
source to transmit the repertory would appear to be GB-Cmc Pepys 1760,
copied in France during the second decade for the English royal house. This and
other early 16th-century MS sources of continental music sent to England at
this time were prepared as diplomatic gifts, but by the second half of the
century chansons also begin to occur in non-royal sources, suggesting a
widening of patronage and the growth of musical literacy (see also §19 below). The libraries of Henry Fitzalan, Earl of
Arundel, and the Norfolk gentleman Edward Paston both included MSS containing
chansons, and a source such as the Winchester Partbooks (WCc 153), dated
1564–6, is quite typical of English taste in its transmission of the works of
Sermisy and his followers long after they had ceased to be popular in France
(see the summary in J.A. Bernstein: ‘An Index of Polyphonic Chansons in English
Manuscript Sources, c.1530–1640’, RMARC, no.21 (1988), 21–36). The
Italian influence on English musical life of the period has often been
emphasized, but the chanson also continued to play an important role until the
mid-17th century.
Sources, MS, §IX:
Renaissance polyphony
9. Manuscripts of Italian secular music.
Du Fay and some of his contemporaries occasionally set Italian
texts, but it was not until well into the second half of the 15th century that
substantial numbers of Italian secular pieces began to appear. At first these
are found in MSS containing mostly French secular compositions, or in sources
with mixed contents. Some 40 Italian pieces are in I-MC 871, a source
dating from about 1480. E-E IV.a.24, a chansonnier, has 25 Italian
works; 24 are in Sc 7-1-28; 21 in F-Pn fr.15-123; and 15 in I-Fn
Magl.XIX 176. These pieces are by such non-Italians as Caron, Bedyngham, Du Fay
and Cornago, and are not yet in any distinctive Italian style.
The first MSS devoted largely or completely to Italian secular
music appeared in the final years of the 15th century and the first decades of
the 16th. Their repertory is similar to that of the printed collections of
frottolas of the early 16th century, with which these MSS share many common
pieces and composers; but several hundred pieces are found only in MSS. This is
music for solo singers and players, and the books are quite small. Most of them
are oblong; they are among the first MSS in this shape. Some of them predate
the first Petrucci prints, and it seems likely that the characteristic oblong
shape of the latter was modelled after these MSS, which were certainly known to
Petrucci. Some of the important MSS of this sort are:
Modena, Biblioteca Estense e
Universitaria, α.F.9.9. 8 parchment + 72 (of an
original 100) paper ff., 11·1 × 16·6 cm. Text underlaid only for top voice.
Beautifully copied and illuminated, with miniatures of birds and various plants
on many pages; original covers of brown leather tooled with gold. Original
index gives names of pieces on folios now missing. Dated 1496; copied probably
in Padua.
82 Italian songs (of an original 100) for 2–4
voices, by Franciscus Venetus [Francesco d’Ana], Giovanni Brocco and Crispinus.
Composers of only 10 are known, from attributions and concordances. 18 of the
82 are incomplete because of loss of folios.
F. D’Accone, ed.: Modena, Biblioteca Estense e
Universitaria, MS alpha F.9.9, RMF, xiii (1987); G. La Face Bianconi: Gli
strambotti del codice estense α.F.9.9 (Florence, 1990)Florence,
Biblioteca Nazionale Centrale, Banco Rari 230. 151 paper ff. (of an
original 200), 14·8 × 22·1 cm. Original ink foliation, bound in modern white
parchment covers. Copied by a single scribe, this MS contains almost all known
secular works by the Florentine composers Coppinus, Bartolomeo degli Organi and
Serragli. Copied in Florence c1500.
156 Italian secular pieces for 2–4 voices (40
incomplete because of missing folios), by Coppinus, Giacomo Fogliano, Isaac,
Lurano, Serragli, Bartolomeo degli Organi, Cara, Tromboncino and others; 99
anonymous.
F. D’Accone, ed.: Florence, Biblioteca
Nazionale Centrale MS Banco Rari 230, RMF, iv (1986); RISM, B/IV/5 (1991),
1295–203Paris, Bibliothèque Nationale de France, Fonds du Conservatoire,
Rés.Vm7676. 116 paper ff., 24 × 17 cm. Original first gathering
missing, original foliation 9–125. Simple red and blue initials are the only
attempt at ornamentation in this unpretentious book, probably for performance.
Copied by Lodovico Milanese, for use at Ferrara or Mantua, in 1502.
N. Bridgman: ‘Un manuscrit italien du début du
XVIe siècle à la Bibliothèque nationale’, AnnM, i (1953), 177–267;
Jeppesen (1968–70), ii, 84ff, 176–81; F. Lesure, ed.: Manuscrit italien de
frottole (1502) (Geneva, 1979) [facs]
Jeppesen’s La frottola, ii (Copenhagen, 1969), is a
detailed bibliography of frottola MSS to which one further source can now be
added, I-Rvat vat.mus.571, mostly devoted to motets. Among the more
important of these sources are Mt 55, Vnm IV.1795–8, Fn B.
R. 337, and GB-Lbl Eg.3051 which, as Staehelin has shown, has the first
12 gatherings of a once complete MS, some of the remainder of which survives as
US-Wc M2.1 M6 Case (see M. Staehelin: Schweizer Beiträge zur
Musikwissenschaft, i, 1972, pp.55–81). These MSS are usually paper, though
occasionally parchment is used. Several, such as I-Vnm IV.1795–8, are
partbooks and are among the earliest MSS in this format. By the time that the
early madrigal began to be copied, partbooks had become the norm, and some
parts of the repertory were copied in Florence by known scribes and circulated
in MS before being printed (see I. Fenlon and J. Haar, RIM, xiii, 1978,
pp.212–42).
The more central sources of Italian secular music of this period
include I-Fc Basevi 2495, MOe γ.L.11.8, Bc Q21 (see
C. Gallico, ed.: Un canzoniere musicale italiano del Cinquecento,
Florence, 1961, a study and partial edition), and US-Cn Case VM 1578
M91. The latter, four of an original set of five, have been completed by the
discovery of the altus book at Oscott College, Sutton Coldfield, England (the
‘Newberry-Oscott Partbooks’; see C. Slim: ‘A Royal Treasure at Sutton
Coldfield’, EMc, vi, 1978, pp.57–74). Copied on parchment and delicately
illuminated, they are the most elaborate of the early madrigal sources, and on
the basis of a palaeographical and textual analysis, Slim (A Gift of
Madrigals and Motets, Chicago, 1972) has convincingly shown that they were
copied, illuminated and bound in Florence, and were probably presented to Henry
VIII of England around 1527–9. See also H.C. Slim: Ten Altus Parts at Oscott
College, Sutton Coldfield (n.p., 1978).
The number of MSS containing secular Italian pieces decreases
dramatically after the mid-century, but it would be a mistake to assume that
later sources are without textual significance: the decrease itself partly
reflects the increasing power of printing. The surviving compilations fall into
two groups. Sources such as I-VEaf 220 and MOe mus.F.1358 contain
specialized repertories that were never printed. The former was prepared, as
were the printed anthologies Il lauro secco and Il lauro verde,
for presentation to the Mantuan soprano Laura Peverara some time in the early
1580s (see E. Kenton: ‘A Faded Laurel Wreath’, Aspects of Medieval and
Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and
others New York, 1966/R, pp.500–18; A. Newcomb: ‘The Three Anthologies
for Laura Peverara 1580–1583’, RIM, x, 1975, pp.329–45); the latter is
Ferrarese and contains some of the repertory of the Concerto delle donne.
Other collections, such as F-Pn Rés.Vma 851 (the ‘Bourdeney MS’; see O.
Mischiati: ‘Un’antologia manoscritta in partitura del secolo XVI: il MS.
Bourdeney della Bibliothèque Nationale di Parigi’, RIM, x, 1975,
pp.265–328; A. Newcomb: ‘The Anonymous Ricercars of the Bourdeney Codex’, Frescobaldi
Studies: Madison, WI, 1983, 97–123; A. Newcomb: The Ricercars of the
Bourdeney Codex, RRNR, lxxxix, 1991) or I-CNM 1 and 2, served as
commonplace-books copied from printed sources. Scores such as the Bourdeney MS
sometimes served for instructional rather than practical use, and this is
certainly true of Fn Ant. di Galileo 9, copied by Vincenzo Galilei,
which reflects his own preoccupation with theories of dissonance (on scores in
general see E. Lowinsky: ‘Early Scores in Manuscript’, JAMS, xiii, 1960,
pp.126–73). Quite exceptional is B-Bc 27.731, begun in the 1530s and
added to subsequently. One of the later sections includes five madrigals by
Alessandro Striggio (i) for the second and third intermedii performed
with G.B. Cini’s comedy La vedova in Florence in 1569, which do not seem
to have survived in printed sources (see J. Haar: ‘Madrigals from Three
Generations: the MS Brussels, Bibl. du Conservatoire Royal, 27.731’, RIM,
x, 1975, pp.242–64).
The laude repertory, which from the earlier 15th century
was sometimes represented in larger choirbooks (such as I-Bc Q15, GB-Ob
Canon.misc.213 and I-Fn Magl.XIX 112bis), occasionally took up
substantial sections of MSS (as in Vnm 7554) in the years before the
publication of Petrucci’s two large collections (1507, 1508). However several
MSS in the years around 1500 contained representative samples of the repertory,
among them Fn Panciatichiano 27 and UDc 165. Material of this
kind appears in the Benedictine MSS of around 1500, particularly Cape Town,
South African Library, Grey 3.b.12 (see G. Cattin: ‘Nuova fonte italiana della
polifonia intorno al 1500’, AcM, xlv (1973), 165–221, and G. Cattin,
ed.: Italian Laude & Latin Unica in MS Capetown, Grey 3.b.12, CMM,
lxxvi, 1977). Laudi continued to be disseminated in MSS throughout the
16th century. Among the most important later sources are I-Fn Palat.173,
four volumes of laudi assembled and written out by the Florentine
theologian and composer Serafino Razzi.
Sources, MS, §IX:
Renaissance polyphony
10. Manuscripts of Spanish secular music.
The earliest secular Spanish pieces of the 15th century are found
in MSS of mixed contents dating from the second half of the century; among these
are: F-Pn fr.15123, I-MC 871 and E-SE s.s. But most of the
repertory is preserved in three large collections from the late 15th and early
16th centuries. In format and general appearance, these resemble certain
chansonniers of the time. They are in small choirbook format, usually with the
three or four voices of a piece written on a single opening. Their smallness
reinforces the notion that this music was to be performed with a single
musician to each part, as it would have been impossible for more than three or
four performers to group themselves around a book of this size.
Seville, Institución Colombina, 7-1-28 (‘Cancionero
de la Colombina’; CMC). 98 paper ff. (of an original ?107), 21·8 × 15cm. Copied
by several different scribes, the MS shows signs of use. In the library of
Fernando Colón by 1534. Copied late 15th century, probably for use at the court
of some prince or duke, possibly in Seville. 95 pieces (16 incomplete) for 2–4
voices, by Triana (20), Cornago (6), Urrede (3), Madrid, Torre, Belmonte and
others. Mostly settings of Spanish texts, though some in Latin. F-Pn
n.a.fr.4379, ff.69–92, were almost certainly once part of the same manuscript.
G. Haberkamp: Die weltliche Vokalmusik in
Spanien um 1500 (Tutzing, 1968); M. Querol Gavaldá, ed.: MME, xxxiii
(1971); D. Fallows: ‘I fogli parigini del Cancionero musical e del
manoscritto teorico della Biblioteca Colombina’, RIM, xxvii (1992),
25–40Madrid, Palacio Real, Biblioteca, II-1335 (formerly 2-I-5)
(‘Cancionero Musical de Palacio’; CMP). 227 (of an original 304) paper
ff., 19 × 14 cm. This large MS, which originally contained as many as 550
pieces, may have been copied for the court of King Ferdinand of Spain, or for
the Duke of Alba, in the late 15th and early 16th centuries. 463 pieces (mostly
Spanish secular works) for 3–4 voices, by Torre, Encina, Escobar, Millán,
Gabriel, Badajoz, Peñalosa, Anchieta, Urrede, Mondéjar, Alonso and others. More
than half remain anonymous.
Music ed. H. Anglès, MME, v (1947), x (1951); text
ed. J. Romeu Figueras, MME, xiv (1965)Elvas, Biblioteca Municipal, 11793.
101 paper ff., 14.5 × 10 cm. In 2 sections: the first, originally 104 ff. (but
ff.1–39 have been lost), contains the musical settings; the second, of 36 ff.,
contains texts with no music. Copied c1530–45, in Portugal. Once in the
possession of João Joaquim de Andrade (1790–1859). 65 Spanish and Portuguese
secular pieces for 3–4 voices, some by Encina and Escobar. 59 remain anonymous.
M. Joaquim, ed.: O cancioneiro musical e
poético da Biblioteca Públia Hortênsia (Coimbra, 1940); G. Miranda, ed.: The
Elvas Songbook, CMM, xcviii (1987); M.P. Ferreira, ed.: Cancionero da
Biblioteca Publia Hortensia de Elvas (Lisbon, 1989) [facs.]
Some other song sources from Portugal more recently discovered
include: P-Ln C.I.C. 60 (Census-Catalogue, iv, 422), with one
song in Portuguese, alongside 18 in Castilian; and F-Peb Jean Masson 56
(Census-Catalogue, iv, 464), with 97 Castilian pieces and 30 in
Portuguese. These two are transcribed in Vilancetes, cantigas e romances do
seculo XVI, ed. M. Morais, PM, xlvii (1986). MS 3391 in the Museu Nacional
de Arqueologia e Etnologia (formerly the Museum Etnológico Doutor Leite de
Vasconcelos) in Belém, Lisbon, is transcribed in Cancioneiro musical de
Belém, ed. M. Morais (Lisbon, 1988); it is dated 1603, though its repertory
apparently dates from the 1580s; it contains 18 songs, of which 17 are in
Castilian, one in Portuguese.
Little music of this sort is found in MSS from the middle decades
of the 16th century. E-V 17, with 19 secular pieces by such composers as
Robledo scattered among motets and French and Italian secular compositions, is
an exception. MSS from the end of the century are more common. Typical is:
Barcelona, Biblioteca de Catalunya, 588/2. 3 paper
partbooks (of an original 4), 15·8 × 21·8 cm. The original parchment covers
were cut from a 14th-century gradual. Copied 1580–1600, in Spain, possibly
Barcelona. 20 Spanish secular pieces for 3–4 voices by Albrech i Ferrament
(Vila) (12) and Flecha (6); 2 remain anonymous.
H. Anglès, ed.: Mateo Flecha: Las ensaladas
(Barcelona, 1955)
Other Spanish secular pieces from this period are found in Madrid,
private library of Bartolomé March Servera, R.6829 (861) and R.6832 (862)
(formerly E-Mmc 13230 and 607) and Bbc 588/1.
Sources, MS, §IX:
Renaissance polyphony
11. Mixed collections of sacred and secular music.
A general homogeneity of contents characterizes MSS from the late
15th century and the first half of the 16th. Admittedly, most sources of
secular music from this period also contain a few pieces with sacred Latin
texts. It is also common to find several secular pieces in predominantly sacred
sources: for example, I-Tn Riserva musicale I.27 contains 12 French
chansons in addition to its principal contents of masses, Magnificat
settings, hymns and motets. But MSS in which substantial numbers of sacred and
secular pieces are more or less intermingled are relatively rare. For the most
part, these miscellaneous collections are anthologies compiled for the private
use of individual musicians or well-to-do members of the merchant or
professional classes.
In many earlier sources with mixed sacred and secular contents,
the individual gatherings were obviously copied at different times and places
by many different scribes, and only later brought together. But most of the
sources under discussion here seem to have been copied by only one or two main
scribes over a relatively short period of time. Thus the heterogeneity of their
contents clearly reflects the intentions of the original compilers.
As one would expect, these MSS show little uniformity in format or
size; typically, they are larger than the late 15th-century chansonniers, but
smaller than contemporary choirbooks used in cathedrals and court chapels. In
contrast to the sumptuously illuminated parchment books prepared for the high
nobility, these mixed collections are all copied on paper, and decoration
(where it exists) is relatively modest. (The principal exception to this is F-CA
125–8, discussed below.) Visual attractiveness was obviously not the prime
consideration for the scribes who copied the music in these sources. The
calligraphy, with a few exceptions, is inelegant and undistinguished, though
legible.
Among the most important of these collections are the following:
Perugia, Biblioteca Comunale Augusta, 431 (formerly
G.20). 163 paper ff., 21.3 × 14·3 cm. Original and modern foliation;
original covers of brown stamped leather. Most of MS probably copied in the
Neapolitan area, near the end of the 15th century. By the 1550s apparently in
the possession of Raffaele Sozi [Socius] (1529–89), a Perugian merchant and
chronicler, who added several pieces, along with several pages of theoretical
material.
133 pieces (2 are duplicates), including mass
Ordinary sections, Magnificat settings, hymns, motets, French chansons,
Italian frottolas and laudi, Spanish secular pieces and textless pieces.
French pieces mostly by well-known composers such as Caron, Morton, Hayne van
Ghizeghem, Busnoys, Du Fay, Obrecht and Isaac. Most other pieces probably the
work of local composers, judging from the cryptic attributions such as F.M.,
M., M. Ie., M.P. and P.
Jeppesen (1968–70), ii, pp.xxxvi, 89, 190–93; M.A.
Hernon: Perugia MS 431 (G20): a Study of the Secular Italian Pieces
(diss., George Peabody College for Teachers, 1972); A. Atlas: ‘On the
Neapolitan Provenance of the Manuscript Perugia Biblioteca Comunale Augusta,
431 (G20)’, MD, xxxi (1977), 45–105Copenhagen, Kongelige Bibliotek,
Ny kongelige samling 1848, 2o. i + 226 + i paper ff., c28·5
× 20 cm. Modern pagination; rebound in modern covers. Probably copied at Lyons,
c1525, by a certain ‘Charneyron’, whose name appears at several places
in the MS.
278 pieces (23 are duplicates), including French
chansons, mass Ordinary sections, Magnificat settings, hymns, motets and
other pieces. Composers named are Alexander [Agricola], Maistre Jaques Danvers
[Barbireau], Dulot, Ghiselin, Haquinet, Isaac, Janequin, Johannes de Sancto
Martino, Maioris and Richafort. Other identified composers include Adam von
Fulda, Compère, Antoine de Févin, Fresneau, Hayne van Ghizeghem, Josquin,
Ockeghem, Obrecht, Sermisy and Willaert.
H. Glahn: ‘Et fransk musikhåndskrift fra
begyndelsen af det 16. århundrede’, Fund og forskning, v–vi (1958–9),
90–109; P.W. Christoffersen: French Music in the Early Sixteenth Century:
Studies in the Music Collection of a Copyist of Lyons, the Manuscript Ny kgl.
Samling 1848 2° in the Royal Library, Copenhagen (Copenhagen, 1994)St
Gallen, Stiftsbibliothek, 463 (‘Tschudi Liederbuch’). 2 paper partbooks
bound together in one volume of 142 ff., 15·2 × 21·6 cm. New foliation;
original numbering of pieces. Compiled and copied by the Swiss chronicler
Aegidius Tschudi (1505–72); Loach (1969) proposed a date of c1540.
187 pieces, including mass Ordinary sections,
hymns, motets and secular pieces with German, French, Italian and Spanish
texts. Among composers named in the MS are Adam von Fulda, Brumel, Compère,
Ghiselin, Isaac, Josquin, Mouton, Obrecht, Richafort, Senfl and Wannenmacher.
Tschudi arranged the pieces systematically, by mode, genre and number of
voices. The modal classification of the pieces reflects Tschudi’s preoccupation
with the theoretical concepts of Glarean, with whom he studied briefly in
Basle.
D.G. Loach: Aegidius Tschudi’s Songbook (St.
Gall MS 463): a Humanistic Document from the Circle of Heinrich Glarean
(diss., U. of California, Berkeley, 1969)Cambrai, Médiathèque Municipale,
125–8 (formerly 124). 4 paper partbooks, each of iv + 146 + iii ff.,
20 × 28·5 cm. Original foliation; original brown leather covers. MS differs
from other sources described in this section in that its margins and initials
are elaborately decorated. Copied in 1542, for Zeghere van Male (1504–1601), a
Bruges merchant.
229 pieces, including masses, motets, French,
Flemish and Italian secular pieces, and textless works. Composers named in the
MS or identified from concordances include Claudin [de Sermisy] (17), Gheerkin
de Hondt (16), Benedictus [Appenzeller] (15), Richafort (8), Gombert (8), Lupi
(8), Mouton (6), Willaert (6), Josquin (5), Jean de Hollande (5), Courtois (3),
Crecquillon (2), Janequin (2), Lapperdey (2), Lupus (2), Verdelot (2), Alaire
(2), Clemens non Papa, Gascongne, Hellinck and Pipelare.
G. Diehl: The Partbooks of a Renaissance
Merchant: Cambrai, Bibliothèque municipale, MSS 125–128 (diss., U. of
Pennsylvania, 1974)
Sources, MS, §IX:
Renaissance polyphony
12. Mensural music in theoretical and didactic books.
Throughout the Renaissance, theoretical treatises and other
writings with a didactic purpose often include music as illustrative or
interpolated material. This music is frequently taken from existing pieces, and
is often useful in giving information about pieces that have not otherwise
survived, or in helping solve problems of authenticity or chronology. For
example, Tinctoris’s quotation of several sections of a polyphonic mass for St
Anthony, in his Proportionale, helps establish that Du Fay was the
composer.
Other pieces seem to have been written specifically for the
treatises in which they are found, as examples of contrapuntal technique,
proportions or mensural practice. They are often of a quite complex nature,
and, since their function was didactic, they should not be taken as samples of
the sort of music customarily performed. The size of the books reinforces this:
they are so small that the music could not have been read by even a small
number of musicians grouped around one. The following are typical:
Faenza, Biblioteca Comunale Manfrediana,
117. 96 parchment ff., 24·8 × 17·5 cm. An original layer of
keyboard intabulations copied in northern Italy c1410–20; see D.
Plamenac, ed.: Keyboard Music of the Late Middle Ages in Codex Faenza 117,
CMM, lvii (1972) for a discussion and transcription. 22 pieces in white
mensural notation copied into the MS, with several treatises by Johannes
Bonadies, at the Carmelite monastery of S Paolo, Ferrara, in 1473–4. These
pieces appear only here; some use complex series of proportional signs.
6 settings of sections of the mass Ordinary, 5 Magnificat
settings, 5 motets, 1 setting of a Greek text, 4 Italian secular pieces, 1
textless fuga, by Hothby (9), Johannes de Erfordia (5), Ycart (5) and Bonadies
(1).
A. Seay, ed.: The Musical Works of John Hothby,
CMM, xxxiii (1964); RISM, B/IV/4 (1972), 898–920Bologna, Biblioteca
Universitaria, 2573. 190 parchment ff., 23·8 × 16·8 cm. Elegantly copied
with florally ornamented initials and borders. Contains 9 treatises by
Tinctoris. Motet Virgo Dei copied on the first two folios; the other 22
pieces are musical illustrations for the treatise De arte contrapuncti
and were most probably written by Tinctoris. Though complete compositions, they
are unknown outside this treatise.
L. Frati: ‘Codici musicali della Reale Biblioteca
Universitaria di Bologna’, RMI, xxiii (1916), 219–42, esp. 230; RISM,
B/IV.5 (1991), 94–6Bologna, Civico Museo Bibliografico Musicale, A71 (formerly
159). vii + 152 + vi paper ff., 21·5 × 14·5 cm. Contains 6 treatises on
music (three by Guillermo de Podio, two by Gaffurius, one anonymous);
polyphonic pieces found between treatises, or as musical examples within the
treatises. Several motets use complex series of proportions. Copied 1510–15,
possibly for use at the Spanish College in Bologna.
7 motets, 2 French secular pieces and some 25
brief pieces illustrating mensural proportions and contrapuntal techniques, by
Tinctoris, Marlet, Josquin, Silva and Willaert. Only 6 pieces can be attributed.
B.J. Blackburn: ‘A Lost Guide to Tinctoris’s
Teachings Recovered’, EMH, i (1981), 29–116
Other MSS of this sort are I-PEc 1013, containing five
textless works for two and three voices in a source (copied Venice, 1509)
otherwise taken up with treatises on music; Fn Pal.472, with 13
anonymous musical examples for treatises by Hothby and Ramis de Pareia (see
F.A. Gallo: ‘“Cantus planus binatim”: polifonica primitiva in fonti tardive …’,
Quadrivium, vii (1966), 79–89); D-B Mus.theor.1175, containing several
treatises, with some 40 musical examples by such composers as Josquin and
Isaac; and GB-Lbl Add.4911, with 56 short didactic pieces and more than
150 excerpts from pieces by such composers as Tallis and Josquin, as examples
in The Art of Music collectit out of all Ancient Doctouris of Music,
written c1580 by an anonymous Scotsman: see J.D. Maynard, An
Anonymous Scottish Treatise on Music from the Sixteenth Century (diss.,
Indiana U., 1961). See also J. Maynard: ‘Heir Beginnis Countering’, JAMS,
xx (1967), 182–96, and K. Ruhland: Der mehrstimmige Psalmvortrag im 15. und
16. Jahrhundert (diss., U. of Munich, 1975).
Sources, MS, §IX:
Renaissance polyphony
13. Simple polyphony in monophonic liturgical books.
Not only did the amount of polyphony sung in cathedrals, chapels
and courts increase at a dramatic rate during the 15th and 16th centuries, but
also the practice of singing polyphony spread to places where it had not been
in use before. This happened, for example, in various small monasteries,
convents and other modest religious establishments where there was no tradition
of polyphonic music and no training in the complexities of mensural notation,
but where there was nevertheless the desire to embellish certain religious
ceremonies with music in parts.
Sources giving evidence of this practice are liturgical books for
the Mass or Office containing monophonic liturgical music or liturgical texts,
with certain pieces notated to be sung in two or three voices. Since this was
music to be sung by people with no knowledge of mensural notation, it was
written down in a system with which they were familiar – the same as was used
for chant. In some places this was square black notation, in some Hufnagelschrift
or stroke notation, in others even more ancient forms of chant notation. The
music is quite simple in style, usually homorhythmic, often with extensive use
of parallel motion. Chants selected for embellishment by part-singing are often
those for one of the most important feasts of the church year, such as
Christmas or Holy Week.
Such music is found in MSS dating from throughout the 15th and
16th centuries. All of it is anonymous; some may date from as early as the 14th
century, though it is impossible to determine this from the musical style,
which remains the same throughout the Renaissance. The geographical spread is
wide; Benedictine and Franciscan establishments were particularly fond of this
music.
It is simple, modest music, in no way comparable to the complex
polyphonic works written and sung in chapels and cathedrals in Italy, France,
the Low Countries and Spain, where there were professional choirs,
chapelmasters, scribes, and even schools for the training of boys in the
intricate art of Renaissance polyphony. The following MSS are typical:
Munich, Bayerische Staatsbibliothek, Clm
5511. 83 parchment ff., 32·5 × 23·5 cm. Modern foliation;
original covers of brown tooled leather over boards. Originated in Diessen,
Bavaria, c1400.4 polyphonic items for Christmas, in Gothic chant
notation, on ff.60–64v; preceded by lection texts and followed by a
monophonic Lamentation.
Geering (1952), 13 only; RISM, B/IV/3 (1972),
373–4Munich, Bayerische Staatsbibliothek, Cgm 716. 205 paper ff., 21·3 ×
15·5 cm; original covers of white leather over boards; partial original
foliation (cancelled), modern foliation 1–205. This collection of monophonic
and polyphonic Marian songs, in black Gothic notation, was copied at the
Benedictine Abbey of Tegernsee in 1430.
19 2-voice Marian pieces; all but 1 have different
texts in the 2 voices. Not clear in all cases that the two voices go together.
Also monophonic antiphons, sequences and songs, mostly to the Virgin, most in
Latin but some in German. Entire MS, polyphony and monophony alike, copied by a
single scribe.
Geering (1952), 18 only; J.A. Emerson: ‘Über
Entstehung und Inhalt von MüD’, KJb, xlviii (1964), 33–60; RISM, B/IV/3
(1972), 354–9Cividale del Friuli, Museo Archeologico Nazionale, LVII.
362 parchment ff., 39 × 26·5 cm. 16th-century covers of brown leather over
boards, with metal clasps. Antiphoner from Cividale Cathedral, 15th century.
4 polyphonic items at various places in the
antiphoner, copied in square black and red notation, with some mensural
elements.
RISM, B/IV/4 (1972), 746–8Kraków, Archiwum i
Biblioteka Krakowskiej Kapituły Katedralnej, 58 (‘Gosławski
Cantionale’). 188 parchment ff., 37·5 × 28 cm. Original covers of white leather
over boards. Copied in 15th century, once in possession of Johanne
Gosławski, a canon of Kraków.
A setting, 1–4 voices, of the Liber
generationis on ff.261–91; otherwise monophonic contents include Passions,
Lamentations, antiphons for Passion Week, responses etc. Copied in black
rhomboid notation, with some mensural elements.
Göllner (1969); RISM, B/IV/4 (1972), 1144Vienna,
Österreichische Nationalbibliothek, Mus.15501 (formerly A.N.38.A.7)
(‘Kuttenberger Codex’). 252 parchment ff., 68 × 46 cm. Original covers of brown
tooled leather. Gradual from St Jacob’s Cathedral in Kutná Hora (Kuttenberg),
copied late 15th or early 16th century.
2 polyphonic Credos, written in same Bohemian
chant notation as rest of book. Monophonic contents include mass Ordinary items
(up to f.62v), antiphons, mass Propers (ff.62v–149v),
sequences (ff.150v–250).
RISM, B/IV/3 (1972), 1131Bologna, Biblioteca
Universitaria, 2866. ii + 319 + iii paper ff., 15·3 × 10·8 cm. Modern
foliation; original covers of brown leather over boards. Copied by ‘Presbiter
Simon’ at the Dominican abbey of S Salvatore, Bologna; dated 1515.
2 2-voice settings of Benedicamus Domino.
Black and red chant notation, with mensural elements. The book is a Diurnum
dominicanum.
R. Strohm: ‘Neue Quellen zur liturgischen
Mehrstimmigkeit des Mittelalters in Italien’, RIM, i (1966), 77–87;
RISM, B/IV/4 (1972), 741St Gallen, Stiftsbibliothek, 546. 409 paper ff.,
41 × 27 cm. Copied at the Benedictine abbey at St Gall 1507–14, by P. Joachim
Cuontz.
2-voice settings of the Sanctus and Agnus on ff.76v–77;
otherwise monophonic sequences, mass Propers, etc. Copied in Hufnagelschrift.
Geering (1952), 21 only; RISM, B/IV/3 (1972),
125–6Zwickau, Ratsschulbibliothek, XCIV, 5. 104 paper ff., 30·8 × 21·cm;
original covers of leather over boards; modern foliation. This ‘Lektionar’ was
copied in the early 16th century in Zwickau.
2 settings of the Liber generationis and 2
other polyphonic settings of liturgical texts, in Gothic chant notation.
Otherwise monophonic passions, antiphons etc.
Göllner (1969); RISM, B/IV/3 (1972), 405–7Haarlem,
Bisschoppelijk Museum, 21. 232 parchment ff., 38·3 × 28·1 cm. Modern pencil
foliation; modern covers of leather. 15th-century gradual from northern
Netherlands, diocese of Utrecht; once in the possession of the parish church in
Enkhuizen.
4 polyphonic mass Ordinary sections (1 Kyrie, 1
Credo, 2 Sanctus), in square black and primitive white notation, added to last
folios early 16th century.
Geering (1952), 24 only; RISM, B/IV/4 (1972),
1112–13
Sources, MS, §IX:
Renaissance polyphony
14. Polish manuscripts.
No country has suffered such severe losses of MS sources as has
Poland. Much of its musical history has to be pieced together from widely
scattered and often fragmentary sources. There are a few remnants of polyphony
in Poland before 1400; facsimiles and discussions of these may be found in Perz
(1973).
The two major sources from the 15th century, written in black
mensural notation, are linked by common watermarks and repertory. Repertory,
concordances, notation and watermarks suggest strong ties with northern Italy,
possibly Padua:
Warsaw, Biblioteka Narodowa, III 8054 (formerly
Krasiński 52). 205 paper ff., 30·4 × 22 cm. Ff.1–172 contain sermons,
histories and various treatises, all in Latin. Ff.173–205, containing music,
were apparently an independent collection originally. Latter section copied in
Poland, c1420–30; several texts refer to Kraków, and Mikołaj
Radomski (composer of 7 compositions) was Polish, the first known composer of
polyphonic music in the country.
36 mass sections, motets and brief liturgical
pieces by Mikołaj Radomski, Grossin, Ciconia, Nicholas of Ostrorog, Zacara
da Teramo and Egardus. 16 pieces remain anonymous.
M. Perz: ‘Die Einflüsse der ausgehenden
italienischen Ars Nova in Polen’, L’Ars Nova italiana del Trecento: Convegno
II: Certaldo and Florence 1969 [L’Ars Nova italiana del Trecento,
iii (Certaldo, 1970)], 465–83; Perz (1973), p.xxii, 37–102Warsaw, Biblioteka
Narodowa, Lat.F.I.378. 34 paper ff., 29 × 21·5 cm, probably a fragment of a
much larger MS. Copied in Poland c1440; numerous contemporary
annotations in Polish. In the Zaluski Library in the 18th century, transferred
to St Petersburg in the 19th, brought back to PL-Wn in the 20th. Missing
since 1944; photographic copy (incomplete) made by Maria Szczepańska
remains.
16 Glorias and Credos and 2 motets by Ciconia,
Mikołaj Radomski and Zacara da Teramo. 6 remain anonymous.
M. Perz: ‘Die Einflüsse der ausgehenden
italienischen Ars Nova in Polen’, L’Ars Nova italiana del Trecento: Convegno
II: Certaldo and Florence 1969 [L’Ars Nova italiana del Trecento,
iii (Certaldo, 1970)], 465–83; Perz (1973), p.xxvi, 103–60
No important or complete sources remain from a period of more than
a century after these two MSS. The work of such Polish composers of the first
half of the 16th century as Mikołaj z Krakowa is known only from two organ
tablatures.
A single paper folio dating from the 16th century (Kp 1689)
has a three-part setting of the strophic song Zdrowa bucz Maria. This is
the first known polyphonic setting of a Polish text.
Several MSS copied in Kraków in the late 16th and early 17th
centuries preserve the repertory of the royal chapel (mixed voices) and the
Rorantist Chapel at Wawel Cathedral (male voices). Polish and foreign composers
are represented; much of the foreign music is by earlier composers, such as
Jacotin, Lhéritier, Cadéac, Hesdin etc. Copies of French prints from the time
of Attaingnant, known to have been in Kraków in the 16th century, were probably
the source of some of this repertory. The earliest known MS in this group is:
Kraków, Archiwum Państwowe, D25–7. 3 paper
partbooks (DcAB) of an original 5, c16 × 20 cm. Copied in Kraków; dates
range from 1573 to 1597. At least 12 scribes, some of whom worked in the 17th
century. The original covers of brown tooled leather have the Polish eagle on
the front. The T partbook from this set (Q is lost) is Pu 192.
47 motets, 12 masses and several miscellaneous
pieces, by Sebastian z Felsztyna, Krzysztof Borek, Tomasz Szadek, Moulu,
Morales, Certon, Paligoni etc. More than half of the pieces remain
unidentified.
Z. Szweykowski, ed.: Katalog tematyczny
rękopiśmiennych zabytków dawnej muzyki w Polsce, i/1 (Kraków,
1969)
Sources, MS, §IX:
Renaissance polyphony
15. Central european manuscripts.
(i) Czech Republic and Slovakia.
The 15th and 16th centuries witnessed the development in Bohemia
of a rich and varied tradition of polyphonic music, in some ways quite
different from the international polyphonic style of other countries in western
Europe. Fragments, flyleaves and pieces of simple polyphony copied into
monophonic books survive to chronicle the early stages of this polyphony (the
following MSS are described more fully in RISM, B/IV/3, 1972).
CZ-Pu XIV G 46, a 14th-century MS of chants for Mass and various Office
Hours, has a simple two-voice Amen written in German-Bohemian neumes of the
Metz school. Pnm XVI C 7, a missal of the late 14th century, has a back
flyleaf containing a portion of a three-voice setting of the Liber
generationis, written in early Bohemian Gothic chant notation. Pak E
LXVI, a book of sermons and lives of the saints, has as flyleaves – front and
back – two parchment bifolios, apparently remnants of a sizable collection of
polyphonic music from the 14th or early 15th century (four sections of a
two-voice Jube Domine and a monophonic Lamentation remain, in
German-Bohemian neumatic chant notation of the Metz school). Bm, G 12, a
Roman missal of the 15th century, contains a single piece of polyphony, a
three-voice setting of the Liber generationis written in Bohemian chant notation.
Pnm XII A 1 is a gradual in two sections, the first dated 1390 and the
second 1473; a three-voice setting of the Liber generationis in Bohemian
chant notation is found in the first part, two two-voice Credos in the second;
the MS originated in Prague or Plzeň; VB, 42, a processional and
gradual copied in 1410 at the cloister in Vyšší Brod, has 13 pieces of
two-voice polyphony in simple black mensural notation, clustered at the end of
the book.
The final section (ff.145–83) of the last-named MS is a cantional
– a collection of monophonic sacred songs, mixed with some simple polyphonic
pieces – which became the most characteristic type of Bohemian source during
the Renaissance. The earliest known large MS of this sort is the Jistebnice
Cantional:
Prague, Národní Muzeum, Hudební
Oddělení, II C 7. i + 123 ff., 33 × 22 cm. Modern leather
covers, no index. Contents are a mixture of monophonic songs, written in
Bohemian Gothic chant notation, and 2-voice polyphonic pieces in simple black
mensural notation. Copied perhaps in Prague, c1420, it comes from the
circle of the radical Hussite group of Jan Zelinský, who attempted to suppress
the old Latin liturgy.
6 two-voice pieces with vernacular texts, 7 in
Latin; some texts by Jan Hus, others by Jan Čapek. Also 64 monophonic
songs; many became popular, and some were made into polyphonic pieces later in
the century. All pieces, polyphonic as well as monophonic, anonymous.
D. Orel: Der Mensuralkodex Speciálník
(diss., U. of Vienna, 1914), 23ff; RISM, B/IV/3 (1972), 210–12A slightly later
source is Pnm XII F 14, a gradual copied in the middle of the 15th
century, possibly in Jistebnice, containing 3 2-voice settings of Latin texts
(see RISM, B/IV/3, 219–20). Pnm K Vš.376 is a cantional copied in the
second half of the 15th century for Prague Cathedral; it has l3 polyphonic
pieces, several for 3 voices (see RISM, B/IV/3, 1972, 235–8).
Cantionals are usually graduals, with monophonic and polyphonic
music for the Mass (see Cantional). Many of them were copied for use by
lay fraternity choirs, which played an important role in the musical life of
Bohemia from the 14th century to the 17th. The polyphony sung by these groups
was simple in style and notation, at least until the later 16th century, and
much of it was of Utraquist origin. The repertory was a limited and soon a
retrospective one, with the same pieces found time and again in various MSS.
The Franus Cantional is a central and representative source:
Hradec Králové, Muzeum Východních
Čech, II A 6. 367 parchment ff., 66 × 43 cm. Original
foliation, 16th-century covers of white tooled leather over boards. Copied 1505
for the use of a lay fraternity associated with the church of the Holy Spirit
in Hradec Králové. Presented to the church by Johannes Franus.
72 motets and liturgical pieces, 9 mass Ordinary
sections, 2 Bohemian sacred pieces – all anonymous. Book laid out in 6
sections: Kyrie, Gloria, Sanctus settings (ff.2–44); a gradual (48–118); Credos
(118–27); sequences (130–240); monophonic and polyphonic sacred songs
(241–310); cantilenas or motets (311–67). Polyphonic pieces include 7 mass
Ordinary settings in first part, in chant or black mensural notation, 2 Credos
in second part, 23 2- and 3-voice pieces in black mensural notation in fifth
part, and 51 pieces for 2–4 voices in sixth part. Many in the last section are
polytextual motets. Most written in black mensural notation, but some in white,
including motets by Josquin and Ghiselin. Most later cantionals drew on the
same repertory as the compiler of this MS.
D. Orel: Der Mensuralkodex Speciálník
(diss., U. of Vienna, 1914), 43ff; J. Černý: ‘Soupis hudebních
rukipisů muzea v Hradci Králové, MMC, no.19 (1966), 9–240; RISM,
B/IV/3 (1972), 141–63
The following are typical of similar sources of the 16th century:
Prague, Národní Muzeum, Hudební
Oddělení, XIII A 2. i + 384 paper ff., 48·5 × 32 cm.
Original covers of white tooled leather over boards, with metal clasps. Like
most gradual-cantionals, a large choirbook, large enough for both monophony and
polyphony to be sung by a medium-sized choir grouped around a lectern.
Inscription inside front cover states that book was copied in 1512 in the
central Bohemian town of Výskytná by Martin Bakalář of Kolín.
17 mass Ordinary sections (Sanctus and Agnus), 36
motets and liturgical pieces, one Bohemian sacred song – all anonymous. 33
motets, many polytextual, grouped in last section of book, ff.356–84. 27 pieces
concordant with the Franus Cantional.
D. Orel: Der Mensuralkodex Speciálník
(diss., U. of Vienna, 1914), 52ff; RISM, B/IV/3 (1972), 220–30Klatovy,
Okresní Muzeum a galerie, C3/403. Gradual-cantional copied by Johannes
Táborský in 1537 for the church of St Mary in Klatovy. 549 paper ff., 41 × 28
cm, laid out in the same 6 sections as the Franus Cantional (see above).
Polyphonic pieces are mostly Sanctus settings and motets; all 45 anonymous, and
only two are unica. 31 are concordant with the Franus Cantional alone.Prague,
Národní Muzeum, Hudební Oddělení, I A 17 (‘Solnice Gradual’). 320
paper ff., 43 × 28 cm. Copied for the lay fraternity choir of Solnice in the
second quarter of the 16th century, it contains 22 pieces of 2- and 3-voice
polyphony in black mensural notation scattered among monophonic songs and
chants. All texts in Czech. MS particularly handsome, with an elaborately
illuminated initial and floral borderwork on the first folio and notes written
in gold, red and blue; beginnings of other sections of the MS have similar
initials, miniatures and borderwork. The original covers of white tooled
leather over boards have metal clasps. Inscription on f.182 by Samuel Soukeník,
town clerk of Solnice, confirms its presence and use in that town.Teplice,
Oblastni Vlastivědné Muzeum, B, is another cantional copied by
Táborský c1560 for the choir of a lay fraternity in Teplice.
There are many similar cantionals, some dating from as late the
early 17th century. They are described and inventoried in RISM, B/IV/3 (1972).
In addition, MSS of polyphonic music more similar to those of
western Europe survive in the Czech Republic. These are written largely or
completely in white mensural notation, the repertory is more international, and
these sources contain only polyphony, rather than a mixture of homophony and
polyphony. The earliest date from the late 15th century:
Prague, Strahov Monastery (Památnik
Národního Písemnictví), D.G.IV.47. ii + 307 + ii paper ff., 21·2 × 15·5 cm.
Original covers of light brown tooled leather over boards, with metal hinges
and clasps, partly restored when it was rebound and restored after World War
II. Copied neatly and clearly, but simply; most initials missing, ones present
are modest block letters with occasional floral decoration. 1 scribe planned
the MS and copied most of it, leaving blank folios at the ends of several
sections; a second scribe assembled the various gatherings in the order known
today, added pieces in places left blank, and copied and inserted several
additional gatherings. Arranged in 5 sections: introits (ff.1–46); mass
Ordinary sections (47–175); liturgical pieces for use in various Office Hours,
at Marian devotions, in processions, and at other points during Mass (176–257);
Office hymns (258–86); Magnificat settings (287–306). Judging by its
relative smallness and systematic ordering, the MS appears to have been copied
as a repository of polyphonic pieces, or for the private use of some
individual, rather than as a book to be sung from by a choir. Copied c1480,
most probably in eastern Silesia or Bohemia.
87 mass Ordinary sections, 6l hymns, 51 introits,
14 Magnificat settings, 94 motets and liturgical pieces, 19 textless
works, 5 pieces with vernacular texts, by Touront (14), Philipus Francis (7),
Pullois (6), Standley (6), Frye, Flemmik, Barbingant, Vincenet, Batty, Cornago
and Brollo. 283 pieces remain unidentified; the presence of so many pieces
unknown elsewhere suggests that there was an active school of composition
wherever the MS was copied.
D. Plamenac: ‘Browsing through a Little-Known
Manuscript’, JAMS, xiii (1960), 102–11; R. Snow: The Manuscript
Strahov D.G.IV.47 (diss., U. of Illinois, 1968)Hradec Králové, Muzeum
Východních Čech, II A 7 (‘Codex Speciálník’). i + 305 + i paper ff.,
38 × 28 cm. Modern pencil pagination, 1–609; original numbering system by
fascicle signature and folio number within fascicle. Original covers of light
brown tooled leather over boards, with decorative metal studs and metal clasps.
Original index, pp.606–8. Copied in both white and black mensural notation,
with a few pieces written in Bohemian Gothic chant notation. At least 10
scribes wrote down the music over a considerable period of time in the late
15th and early 16th centuries, probably in Prague. MS shows signs of
considerable wear; probably a practical MS, used for performance by a church
choir. An inscription states that it was sent as a gift to the church of St
Peter in 1611.
15 mass Ordinary cycles and part cycles, 35 mass
Ordinary sections, 2 mass Proper cycles, 139 motets and liturgical pieces, 5
Czech sacred pieces, 5 textless works, by Touront (5), Josquin (3), Ghiselin,
Alexander Agricola, Barbingant, Klička, Gontrášek, Pullois and others.
Some of the mass Ordinary sections have text partly in Czech. More than 150
pieces unidentified and found in no other surviving MSS; many of these may be
by local composers.
D. Orel: Der Mensuralkodex Speciálník
(diss., U. of Vienna, 1914); J. Pohanka: Dějiny české hudby v
příkladech (Prague, 1958), 35ff; J. Černý: ‘Soupis hudebních
rukopisů muzea v Hradci Králové’, MMC, no.19 (1966), 9–240, esp. 40
The copying and singing of masses and motets by foreign composers
and the writing of new pieces in international style by native composers became
quite popular in parts of Czechoslovakia in the second half of the 16th
century. But most of this repertory was copied into partbooks rather than
choirbooks, and with the loss and destruction of so much music during the 17th
and 18th centuries, most sets of partbooks survive in incomplete form.
Hradec Králové, Muzeum Východních
Čech, Literární Archiv, II A 29. Bassus partbook, 351 paper
ff., 21 × 15·5 cm. Only surviving book of this set. Modern pencil foliation,
also an original numbering system, A–R9; covers of brown tooled leather. Copied
by a number of scribes, with dates ranging from 1556 to 1562. From collection
of lay fraternity choir of the church of the Holy Spirit in Hradec Králové.
284 motets and liturgical pieces, 8 Czech sacred
pieces, 2 textless pieces, by Clemens non Papa (20), Paminger (7), W. Ottho
(4), Hellinck (4), Josquin (3), Caspar Copus (3), Crecquillon, Gombert, Hesdin,
Christian Hollander, Phinot, Polonus, Senfl, Werrecore and many others. Some
215 pieces not identified; many may be by local composers.
J. Černý: ‘Soupis hudebních rukopisů
muzea v Hradci Kráklové’, MMC (1966), esp. 56Hradec Králové, Muzeum
Východních Čech, Literární Archiv, II A 20. B partbook containing 4
masses with settings of both Ordinary and Proper and other complete and partial
mass Ordinary cycles; Isaac, Obrecht and Compère are the only identified
composers. MS II A 23 of the same collection is an A partbook of a set copied
1574–1602 for the choir of the lay fraternity of the church of the Holy Spirit.
Contains 25 mass Ordinary or mass Proper cycles and some additional part cycles
and separate items, by Rychnovský (9), Spongopeus Gistebnicenus, Knöfel,
Scandello, Trojan Turnovský and Junecius a Roclina. MSS II A 24 (a cantus
partbook), II A 16a–b (Dc, B partbooks), II A 25 (a B partbook), II A 27
(a T partbook) and II A 18a–b (A, B partbooks) all contain mass Ordinary
and Proper music, by such composers as Spongopeus Gistebnicenus, Albinus,
Chrysoponus Gevicenus, Knöfel and Costanzo Porta – all in incomplete form.
A rare choirbook survives in Prague:
Prague, Národní Muzeum, Hudební
Oddělení, 151–2. 262 paper ff., 56·2 × 42 cm. Original
covers of leather over cardboard. Simply but clearly copied, with no
illumination or ornamentation. 2 clearly differentiated sections, the first of
154 folios, the second of 108. Copied in the late 16th or early 17th century.
11 mass Ordinary cycles for 5–8 voices, by
Philippe de Monte, Philipp Schoendorff, Luython, Regnart and others. 2 masses
anonymous and unidentified.
J. Snížková: ‘Kutnohorský sborník msí ze sklonku
16. století’ [the Kutná Horá collection of masses from the end of the 16th
century], Časopis Národní ho muzea, cxli (1972), 49–55
(ii) Hungary.
Scattered remnants attest to some activity in polyphonic music in
Hungary during the 15th century. 20 motets in Gothic and black mensural
notation survive in H-Bn (MS Division) Lat.534; this source (described
in B. Rajeczky, ‘Ein neuer Fund zur mehrstimmigen Praxis Ungarns im 15.
Jahrhundert’, SMH, xiv, 1972, pp.147–68) comes from the Szepes area of
medieval Hungary, now in Slovakia. Seven other motets are found in Lat.243 of
the same collection, a gradual-cantional of the first half of the 15th century
from Nagyszombat [now Trnava], described in RISM, B/IV/4 (1972). A setting of
the Liber generationis and a motet to be sung at the end of a St
Matthew Passion are in the 15th-century MS H-Efko 1.178 (formerly
L.II.7; described by B. Rajeczky, ‘Spätmittelalterliche Organalkunst in
Ungarn’, SMH, i, 1961, pp.15–28). Six folios recovered from the bindings
of two printed books in the Dominican Library in Košice [Hung. Karsa] contain
14 pieces by Walter Frye and other composers of the second half of the century;
these leaves (described by B. Rajeczky, ‘Mittelalterliche Mehrstimmigkeit in
Ungarn’, Musica antiqua Europae orientalis: Bydgoszcz and Toruń 1966,
223–36) are now in SK-BRu and BRmp (?lost).
Though the Hungarian court undoubtedly heard polyphonic music in
the 16th century, no evidence remains of any spread of this practice to
churches and regional secular circles. A large and important collection of MSS
and printed volumes of the second half of the century was moved from Bártfa
(now Bardejov, Czech Republic) to the National Library in Budapest in 1915,
when this region was still part of Hungary, but this ‘Bártfa Collection’ comes
from a German-speaking community that had embraced the Reformation, and is
discussed in §20 below. This set of sources is
discussed in B.M. Fox: A Liturgical-Repertorial Study of Renaissance
Polyphony in Bártfa Mus.Pr. 6 (a-d), National Széchényi Library, Budapest
(diss., U. of Illinois, 1977).
Sources, MS, §IX:
Renaissance polyphony
16. Presentation manuscripts.
The lavishly produced MS was, of course, not a new phenomenon in
the Renaissance; there were even luxurious polyphonic music MSS from earlier
periods – the Roman de Fauvel and certain of the Machaut MSS are obvious
examples, while many chant MSS from religious foundations and court chapels
were lavishly illuminated. But it was during the Renaissance that the idea of a
beautiful MS as a worthy gift for a prince or to celebrate a noble wedding
became more common; and it was also at this time that the idea spread to
polyphonic music MSS. Such MSS have often survived, for they were destined to become
part of the library of the recipient and were often treasured by later owners
and scholars as rare examples of the art of their preparers, scribes,
illuminators and binders. Some are mentioned elsewhere in this article, for
example the MSS containing the music of Oswald von Wolkenstein (§7 above).
Other MSS, containing the arms or emblems of noble families or individuals, may
well have been prepared as gifts for them (e.g. I-Rvat C.G.XIII 27 and Rc
2856: see §8 above). In such cases, however, it is difficult to distinguish
between volumes that may have been prepared to commissions from the future
owner and others intended as gifts to him. However, a source like the
Chansonnier Cordiforme (F-Pn Rothschild 2973: see §8 above) was probably
intended as a gift (see fig.11a above).
Reference has been made elsewhere to some MSS prepared within one
scriptorium which seems to have been responsible for a large number of
political presentation MSS – that of the court circle of the Netherlands. Some
of the scribes have been identified and associated with a large number of
surviving MSS, apparently prepared for courts and individuals all over Europe
(for details of the copyists and their work see Alamire,
Pierre). Work
on special music MSS apparently began around 1500 and continued for about 30
years. Not all the MSS copied were especially luxurious or necessarily for
presentation. Some must have been direct commissions, perhaps including those
for Raimund Fugger (eight MSS all on paper and lightly decorated, A-Wn)
or for the Marian Brotherhood at ’s-Hertogenbosch (NL-SH). While these
tend to be less heavily decorated than others, it is clear that they are
written in the same hands and they show similar patterns of layout and
organization. All are the product of an expensive workshop and are in
themselves valuable documents.
Other sources from this scriptorium seem to have been prepared
specifically as presentation documents: they carry the coats-of-arms of the
recipient and sets of initials, they are decorated with fine illuminations, and
occasionally the selection of music shows some plan. This last does not apply
only to MSS written in this circle: one, copied in Rome, lists the pieces in
the opening table of contents in such an order as to form an acrostic (I-Fl
Acq. e doni 666: see E.E. Lowinsky, The Medici Codex of 1518, MRM,
iii–v, 1968). In some MSS from the Alamire group of scribes, the first work in
the volume is chosen to represent the dedicatee, or to interest him. The MS GB-Lbl
Roy.8.G vii opens with a motet by Mouton, where the names of the saints have
been changed to George, Henry and Katharine. This clearly indicates an English
destination; moreover, these names are written over erasures of the names of
Louis and Anne, the originals in the motet, perhaps indicating some change of
plan for the MS.
London, British Library, Roy.8 G.vii. 64
parchment ff., 37 × 26 cm, with leather boards. Copied by 2 scribes of the
Alamire workshop, and presented to Henry VIII of England.
34 Latin works of which 28 are motets, by Josquin
(5), Mouton (4), Févin (3), La Rue (3), Ghiselin, Isaac, Le Brung, Strus and
Thérache, with 14 anonymous.
H. Kellman, ed.: London, British Library, MS
Royal 8 G.vii, RMF, ix (1987); Kellman (1999)
Among the other recipients of MSS from this scriptorium were Pope
Leo X (I-Rvat C.S.34, 36 and 160), the Emperor Maximilian I (A-Wn
Mus.15495), Wilhelm IV of Bavaria (D-Mbs 6, 7 and 34), Frederick the
Wise (several MSS at D-Ju, listed in §6 above), João III of Portugal (B-Br
15075), Anne of Bohemia (I-Rvat Pal.lat.1976–9) and perhaps Emperor
Charles V (E-MO 766, 733, and the Mechelen choirbook). Most of these are
lavishly produced on fine parchment, and bear the marks of being special
commissions. One or two other similar MSS cannot be certainly placed as gifts
or political presentations; among these is perhaps the most lavish of them all:
Vatican City, Biblioteca Apostolica
Vaticana, Chigi C.VIII.234. 289 parchment ff., 36·3 ×
27·8 cm. Red velvet binding. Probably prepared for Philippe Bouton, and copied
by the Netherlands scribe B, perhaps Martin Bourgeois. It was probably in Spain
early in its history, for it carries a table of contents in Spanish. Later
owned by Pope Alexander VI.
40 pieces, including 20 masses, 1 Credo and 19
motets, by Ockeghem (15), Regis (5), Compère (4), Josquin (2), La Rue (2),
Agricola, Barbireau, Brumel, Busnoys, Févin, Weerbeke, Isaac, Madrid and
Mouton, with 3 anonymous.
H. Kellman, JAMS, xi (1958), 6–19; H.
Kellman, ed.: Vatican City, Biblioteca Apostolica Vaticana, MS Chigi C VIII
234, RMF, xxii (1987); F. Fitch: Johannes Ockeghem: Masses and Models
(Paris, 1997); H.-J. Winkler: ‘Bemerkungen zur Handschrift Vatikan, Biblioteca
Apostolica Vaticana, Chigi C VIII 234’, Gestalt und Entstehung musikalischer
Quellen im 15. und 16. Jahrhundert, ed. M. Staehelin (Wiesbaden, 1998),
65–74; Kellman (1999)For other sources surviving from this scriptorium and
further bibliography see Alamire, Pierre.
Sources, MS, §IX:
Renaissance polyphony
17. Italian cathedral and court manuscripts.
By the last decades of the 15th century the repertory of
polyphonic music sung by choirs at cathedrals, churches and court chapels had
reached such a size that single MSS would no longer suffice. Sets of
choirbooks, of large enough dimensions to be read from by a choir of as many as
two dozen singers, were planned and executed; the copying of such sets took
place over a period of years, decades, or even longer. The contents would be
thought of as a single repertory, to be added to as new sources were gathered
and new music was written. This process sometimes stretched out for a century
or more, but the early MSS of the set were usually kept as part of the
repertory, even after the music in them went out of fashion.
One of the largest such sets was copied for the use of the papal
choir at the Vatican, from the last two decades of the 15th century until well
into the 17th; see §18 below.
An early set of large choirbooks forming a single repertory was
copied in Ferrara for the choir of the Este court chapel. As befitted such an
important and art-loving court, these books were copied on parchment and were
handsomely illuminated:
Modena, Biblioteca Estense e
Universitaria, α.M.1.13. 224 parchment ff., 55·8 ×
38·5 cm, with elaborate initials and borderwork in the style of the Este school
of MS illumination. Original index; restored and rebound, probably in the 19th
century. Copied at Ferrara when Johannes Martini was maestro di cappella,
probably c1480.18 mass Ordinary cycles, the last incomplete, by Martini
(9), Faugues (2), Du Fay, Caron, Vincenet, Domarto and Weerbeke; 2 remain
unidentified.
Lockwood (1984)
I-MOe α.M.1.2 (173 parchment ff., 54·5
× 39·5 cm) belongs to the same set and was copied slightly later. 6 of its 10
masses are by Obrecht, so it may date from the years of his service at Ferrara.
Fragments of a third mass MS survive in MOs; its 3 parchment folios
preserve portions of masses XII and XIV of what must have been a companion-book
to the above 2. MOe α.M.1.11–12 also belong to this set. These 2
books are of unusual interest in that they contain music for 2 choirs, to be
sung antiphonally, the earliest surviving source giving unambiguous evidence of
this practice. Composed respectively of 116 and 110 parchment ff. measuring
56·4 × 40 cm, they contain music for Holy Week: 34 psalms, 8 hymns, 4 Magnificat
settings and 2 Passions. Most anonymous, but some attributed to Martini and
Brebis, both of whom were in the service of the Este court. Archival evidence
places the copying of these 2 books in 1479. Probably originally part of a
larger set of MSS. Music for Vespers is missing, and 1 or more volumes of
motets.
The set of choirbooks copied at Milan Cathedral under the
direction of Gaffurius between about 1490 and 1510 provides perhaps the most
coherent and extensive repertory for any church in those years. There is room
for dispute about how far that repertory is retrospective and reflects the
music of Galeazzo Maria Sforza’s court in the 1470s.
Milan, Archivio della Veneranda Fabbrica
del Duomo, Sezione Musicale, Librone 1 (formerly 2269),
Librone 2 (formerly 2268), Librone 3 (formerly 2267), Librone 4 (formerly
2266). All paper: ii +189 + ii ff., 63·5 × 45 cm; i + 211 + i ff., 64·5 ×
45 cm; iii + 217 + ii ff., 48·2 × 34 cm; 144 burnt fragments, originally c40
× 30 cm. All include the hand of Gaffurius; other scribes include one who
copied I-Fc Basevi 2441. Librone 1 includes the date 1490, which could
be a starting-date; Librone 3 contains music copied from a print of 1505; the
severely damaged Librone 4 seems to be the latest.
335 works by Gaffurius (87), Compère (40),
Weerbeke (29), Josquin (11), Martini (5), Coppini (5), Brumel (3), Isaac (3),
Agricola, Arnulfus, Binchois, Du Fay, Notens, Obrecht, Prioris, Pullois,
Spataro and Tinctoris.
K. Jeppesen: ‘Die 3 Gafurius-Kodices der Fabbrica
del Duomo, Milano’, AcM, iii (1931), 14–28; C. Sartori: ‘Il quarto
codice di Gaffurio non è del tutto scomparso’, CHM, i (1953), 25–44; A.
Ciceri and L. Migliavacca, eds.: Liber capelle ecclesie maioris: quarto
codice di Gaffurio, AMMM, xvi (1968) [facs. of Librone 4]; L.H. Ward: ‘The Motetti
Missales Repertory Reconsidered’, JAMS, xxxix (1986), 491–523; H.M.
Brown, ed., Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione
musicale, librone 1–3, RMF, xii (1987). Most of the music in the Gaffurius
codices is edited in AMMM.
The church of S Petronio in Bologna is of great historical
importance in Italy. It was often used for ceremonies involving visiting
dignitaries, and it also became a musical centre. The archives record activity
in polyphonic music in the 15th century; during the 16th, a succession of
excellent musicians, including Giovanni Spataro, held the post of ‘maestro de
canto’. It continued to be in the forefront of musical activity in the 17th
century with its concerted masses and other types of early Baroque music.
The treatment accorded the various kinds of musical MSS copied
there during the Renaissance reflected general attitudes in the 15th and 16th
centuries. Many chant MSS were copied at S Petronio during this time; they were
beautifully illuminated, on parchment, and were carefully preserved in the
church archives. Some polyphonic music was copied there in the 15th century,
but it came to be considered obsolete with changes in musical style during the
era of Josquin and was destroyed. The only remnants are parts of 30 folios cut
up and used in the binding of MSS of the following century: these paper folios
contain four masses and a Magnificat (see C. Hamm: ‘Musiche del
Quattrocento in S. Petronio’, RIM, iii (1968), 215–32). The copying of a
new set of paper MSS began in the first decades of the 16th century, under the
direction of Spataro, continuing through the remainder of the century; even the
earliest MSS of this set were preserved in the archives when musical style
changed again.
Most of the earliest MSS in this set are incomplete:
Bologna, Basilica di S Petronio, Archivio
Musicale, A.XXIX. 28 paper ff. of an original 73, 58 ×
43·5 cm. An original ink foliation, 1–73, from which it can be seen that
ff.13–38, 44–8, 50–61 and 69 are missing, with resultant loss of some complete
pieces (listed in the original index) and parts of others. The original covers
are of dark green parchment over pasteboard. Copied 1512–27, partly by Spataro;
a testament written by him in 1527 lists this MS.
5 mass Ordinary cycles, 2 Credos and 4 motets, by
Josquin, Richafort, Mouton and Ghiselin. 4 masses and 2 motets listed in the
index are missing because of the loss of folios.
L. Frati: ‘Per la storia della musica in Bologna
dal secolo XV al XVI’, RMI, xxiv (1917), 449–78, esp. 459; F. Tirro: Renaissance
Musical Sources in the Archive of San Petronio in Bologna, i: Giovanni
Spataro’s Choirbooks (Neuhausen, 1986)3 other MSS copied at least in part
by Spataro date from before 1527. The 71 (of an original 150) ff. of I-Bsp
A.XXXI contain 7 mass Ordinary cycles and a number of Ordinary sections by
Josquin (5), Brumel, Moulu, Verdelot, Alberti, Lafage and Roselli. Bsp
A.XXXVIII has music for the mass Ordinary and 10 motets, by many of the same
composers. Bsp A.XXXXVI contains music for Vespers: 24 Magnificat
settings and 19 psalms. 10 pieces are by Jacquet of Mantua, others by De Silva,
Mouton, Morales, Antoine de Févin, Carpentras, Roselli and Eustachio Romano.
The repertory to this point consisted almost
entirely of mass Ordinaries and music for Vespers. More than half of the pieces
have not yet been identified. It has been suggested that Spataro himself wrote
some of these, but this hypothesis is difficult to prove.
Spataro also copied most of I-Bsp A.XXXXV,
a collection dating from after 1527 containing 42 hymns, 13 motets and
liturgical pieces, 3 Magnificat settings, 5 canticles and 1 psalm –
again music for Vespers. Willaert (12), Spataro (5), Jacquet of Mantua (2),
Lhéritier, Morales and Mouton are among the composers identified, but 42 pieces
are anonymous. Bsp A.XXI, the largest of the choirbooks, with dimensions
of 61·5 × 42 cm, has 62 folios, each consisting of 2 sheets of heavy paper
glued together for extra strength. It preserves 3 sets of 9 responsories each
for Holy Week, all anonymous, and a hymn by Willaert added in another hand. It
probably dates from the mid-16th century; the title-page bears the date 1585, but
this may be the date of restoration of the MS.
Bsp I.XXV, also from the mid-16th century,
has 6 masses and 3 hymns, 3 by Berchem and another 3 by Jacquet of Mantua. It
was copied in a somewhat different style from that of the other S Petronio MSS,
with elaborate, illuminated initials and floral borders. Bsp A.XXX adds
3 masses and 9 Magnificat settings to the repertory. Bsp A.IL has
4 cycles of 4 psalms each (all may be by Phinot) and 9 Magnificat
settings – again a vesper collection. Bsp A.XXXVI and A.XXXVII contain
still more music for Vespers, 2 Magnificat settings and 8 psalms for
double choir. Bsp A.XXVII has 7 anonymous psalms.
Another group, copied shortly after mid-century,
consists of Bsp A.XLVIII, dated 1552, with 7 mass Ordinary cycles; Bsp
A.XXXIX, with 34 motets (arranged according to the liturgical calendar) by such
composers as Mouton, Jacquet of Mantua, Penet, Gombert and Conseil; and Bsp
A.XXIV, with 8 anonymous Magnificat settings.The copying of MSS
continued in the second half of the century. Bsp A.XXXV has a collection
of hymns, Bsp A.XXIII contains another set of mass Ordinary cycles, Bsp
A.XXX has more Magnificat settings, Bsp A.XXXXIII is a large
collection of hymns and Bsp A.XXXXIIII preserves psalms for two choirs.
Almost all of this music is anonymous, and perhaps much of it is by local
composers. It was copied to supply the choir with new repertory, more recent
pieces set to the same texts as pieces already in the collection. But the older
MSS were kept in the church and probably still used. By the end of the 16th
century S Petronio had at least 40 choirbooks of polyphonic music spanning the
entire century.
Another typical repertory is preserved at the cathedral in Casale
Monferrato. These MSS are described, inventoried and discussed in Crawford
(1975). The earliest books in this collection date from the second decade of
the century:
Casale Monferrato, Duomo, Archivio
Dapitolare, M (D). i + 107 paper ff., 46 × 33
cm. Original covers of leather over pasteboard, no index, no original numbering
system. The coat-of-arms of the Marquisate of Monferrato is found on f.1; the
large black-ink calligraphic initials often contain grotesque human heads. The
masses making up the largest and earliest layer were copied 1515–18, the motets
were added later, probably 1538–c1545.
11 masses, 1 Credo, 4 motets, by De Silva (3),
Bruhier (2), Josquin, Mouton, Prioris, La Rue and Jacquet of Mantua; 5 pieces
remain unidentified. 6 of the masses, including the 1 by Mouton opening the
collection, are unica.I-CMac L(B) was copied at about the same time as
the first layer of CMac M(D). It contains 5 masses, 3 Credos and 5
motets (added later), by Barra, Moulu, Mouton, Ninot le Petit and others. The 2
MSS share a common scribe. CMac P(E), with several scribal concordances
with L(B), dates from 1521–c1526; many of its physical aspects resemble
those of the above 2 sources. Like them, it is chiefly a collection of mass
Ordinary cycles, 8 on ff.1–63. Remainder is a mixed collection of 9 motets, 2
hymns and several additional mass Ordinary sections. Among the composers
represented are Moulu, Willaert, Antoine de Févin, Janequin, Madis and De
Silva.
Having assembled a sufficiently large collection of Mass music,
the scribes next turned to motets:
Casale Monferrato, Duomo, Archivio
capitolare, D (F). + 128 paper ff., 46·5 × 32·5
cm. Original covers of leather over boards, original ink foliation. Copied at
Casale Monferrato by at least 17 scribes, several the same as those in the
earlier MSS. A first layer, up to f.66, dates from 1521–c1526, remainder
copied 1538–c1545.
61 motets, 2 Magnificat settings and 3
hymns, by Cellavenia (7), Lhéritier (7), De Silva (4), Mouton, Richafort,
Jacquet of Mantua, Morales, Sermisy, Costanzo Festa, Cadéac and others.Two
other MSS were devoted largely to motets. I-CMac N(H), copied 1538–c1545
by some 9 scribes, has 38 motets, 6 psalms, 4 Magnificat settings, 4
masses, 2 requiem masses and several miscellaneous pieces. Among the composers
are Jacquet of Mantua (12), Maistre Jhan (10), Willaert (7), Lhéritier, De
Silva and Cellavenia (4). CMac C, also dating from 1538–c1545,
has 22 motets, 21 hymns, 9 Lamentations and various other pieces. There are
scribal concordances with the above MSS. Jacquet of Mantua and Costanzo Festa
are both represented with 9 pieces, others are by Morales, Berchem, Richafort,
Willaert, Sermisy and Arcadelt. Some of the 30 anonymous pieces may well be by
local composers.
A seventh MS in the set, CMac G, contains
11 Magnificat settings (8 by Costanzo Festa, 3 by Morales) and several
other pieces. Several MSS survive from the latter part of the century.
The creation of these MSS was a cooperative
venture, with as many as 60 people sharing in the copying. As in the set at S
Petronio, mass Ordinary cycles were copied first, then motets, and finally
music for Vespers – hymns, psalms and Magnificat settings.
Similar sets of choirbooks are found elsewhere in Italy, mostly in
the north. 13 MSS containing music spanning the entire 16th century are in the
Biblioteca e Archivio Capitolare of Modena Cathedral. These are described and
inventoried in D.E. Crawford: Vespers Polyphony at Modena’s Cathedral in the
First Half of the Sixteenth Century (diss., U. of Illinois, 1967). Another
large and important set, in the Archivio Musicale dell’Opera di S Maria del
Fiore in Florence, was largely unavailable to scholars until late in the 20th
century. No catalogue is yet available, but their contents are summarized in
the Census-Catalogue, iv, 377–83.
The Biblioteca Estense in Modena preserved several MSS copied for
the Este family in Ferrara in the 16th century:
I-MOe
α.N.1.2, copied in 1534 by Jean Michel de Francia, is a collection of 9
masses and 12 motets by such composers as Mouton, Berchem, Josquin, Willaert
and Hesdin. The first piece, a mass by Maistre Jhan, celebrates the occasion of
Ercole II becoming Duke of Ferrara. MOe C.313, a set of partbooks, has
78 motets for 4 and 5 voices, by Willaert (36), Jacquet of Mantua (16),
Cipriano de Rore (12), Contini (5) and others. MOe C.314 is a
companion-set of partbooks with 43 motets for 6 and 7 voices, by the same
composers. MOe α.N.1.1 is a large choirbook, 73·6 × 51·5 cm, with 5
mass Ordinary cycles by Dalla Viola (3), Luzzaschi and Willaert.
These, and a handful of smaller MSS at the Biblioteca Estense and
elsewhere, are the only remnants of what we know from contemporary inventories
to have been an extensive set of books copied at the Este court in the 16th
century.
Numerous single MSS, or small groups of them, which in physical
structure and contents are similar to individual MSS in sets of the kind just
described, are found in various libraries and archives. They are large paper or
parchment choirbooks with homogeneous contents that could have been part of a
larger repertory, and they may be surviving members of sets of cathedral or
court MSS. Typical are:
Florence, Biblioteca Nazionale Centrale,
II.I.232 (formerly Magl.XIX 58). 200 paper
ff., 42·5 × 30·2 cm, probably copied in Florence c1515. Contains 65
motets and several miscellaneous pieces, by Josquin (17), Mouton (12), Isaac
(11), Obrecht, Compère, Brumel, Carpentras and others.
A.M. Cummings: ‘A Florentine sacred Repertory from
the Medici Restoration’, AcM, lv (1983), 267–332; RISM, B/IV/5 (1991),
203–8Florence, Biblioteca Nazionale Centrale, II.I.350 (formerly
Magl.XXXVI 113). 90 paper ff., 39·5 × 28·7 cm, copied in Florence c1520
for the church of S Egidio. 31 Lamentations, 21 motets, 5 canticles and 2
psalms, by Carpentras (14), Pisano (18–20), Brumel and several other composers.
F. D’Accone: ‘Bernardo Pisano: an Introduction to
his Life and Works’, MD, xvii (1963), 115–35; RISM, B/IV/5 (1991),
213–16Berlin, Staatsbibliothek zu Berlin Preussischer Kulturbesitz,
Mus.ms.40091. 157 paper ff., 52 × 39 cm, probably copied for the church of
S Luigi dei Francesi in Rome in 1515–20. 8 masses, by Josquin, Pipelare, De
Silva, Divitis and Misonne.
M. Staehelin: ‘Zum Schicksal des alten
Musikalien-Fonds von San Luigi dei Francesi in Rom’, FAM, xvii (1970),
120–27Cividale del Friuli, Museo Archeologico Nazionale, 53 and 59. MS
53 has 14 masses, by Mouton, Sermisy, Willaert, Richafort, Manchicourt and
others; MS 59 contains 29 motets, 8 Magnificat settings, 3 masses, and a
scattering of other pieces, by Jacquet of Mantua, Lurano, Mouton, Compère,
Isaac, Josquin etc. These two choirbooks were copied c1540 for the
collegiate church of S Maria Assunta in Cividale.Milan, Biblioteca
Ambrosiana, E 46. 88 parchment ff., 45·8 × 43·8 cm. 9 masses, by Josquin,
Divitis, Morales and Pierre de La Rue. Watermarks on paper flyleaves similar to
several from Lucca in second quarter of 16th century; an inscription on a
flyleaf records that MS was sold to an unnamed library in 1596, by Paulo da
Lucca. Could be the surviving member of a set of court MSS.
Bergamo, Biblioteca Civica Angelo Mai,
1207 D, 1208 D and 1209 D. Copied between 1524 and 1545
for S Maria Maggiore in Bergamo. Contain mostly motets, psalms and other
liturgical pieces. Other MSS with masses and more music for Vespers probably
once belonged with this set but are now lost. Gasparo Alberti, a local maestro
di cappella, is the most widely represented composer and other Italians,
including Maffoni, Laurus and Fogliano, who worked in the area, are included.
D. Crawford and S. Messing: Gaspar de Albertis’
Sixteenth-Century Choirbooks at Bergamo, RMS, vi (1994)Florence,
Biblioteca Nazionale Centrale, II.I.285 (formerly Magl.XIX 56). 210
paper ff., 42·6 × 28 cm, containing sets of Lamentations by Arcadelt, Costanzo
Festa, Morales, Carpentras, Verdelot and others. Copied in Florence; dated
1559.
B. Becherini: Catalogo dei manoscritti musicali
della Biblioteca nazionale di Firenze (Kassel, 1959), 18–19; G. Bunshaft: Biblioteca
nazionale centrale, Manuscript II.I.285 (Magliabecchi XIX.56) (diss., U. of
Illinois, 1969)Rome, Basilica di S Giovanni in Laterano, Archivio Musicale,
61. Dated 1575 on the first folio, this 156-folio choirbook contains the
cycle Hymni per totum annum by Costanzo Festa and 27 other hymns by
Carpentras, Palestrina, Matelart and others including Annibale Stabile, who may
have copied – or directed the copying of – this MS.
G. Haydon: ‘The Lateran Codex 61’, IMSCR VII:
Cologne 1958, 126–31Pistoia, Basilica di S Zeno, Archivio Capitolare,
Biblioteca Musicale, 215 and 216. MS 215, a choirbook of 131 paper ff., 48
× 37 cm, has antiphons for Holy Week, 27 responsories for Triduum sacra,
Lamentations and psalms, by Simone, Rampollini, Corteccia, Ruffo, Carpentras
and Morales. MS 216 has psalms, hymns and Magnificat settings – a
vespers repertory – by Simone, Ruffo and Lassus. The two were copied c1600.
M. Fabbri: ‘Una preziosa raccolta di musica sacra
Cinquecentesca’, CHM, iv (1966), 103–23
Repertories continued to be planned and copied in the second half
of the 16th century. One of the largest is at the cathedral in Treviso, north
of Venice. A great deal is known about this set: it was catalogued, and each MS
briefly described and given a letter (A–Y), shortly after 1595; the archivist,
Giovanni d’Alessi, made an incipit catalogue of the remaining MSS some time
before World War II, giving each book a number – only seven of the original
books had been lost; local scribes used to record not only the year, but also
the day and sometimes even the hour when they completed the copying of an
individual piece or group of pieces. With so much information, it is possible
to reconstruct the various steps in the copying of this repertory.
Though there is archival evidence of polyphony at the cathedral in
the late 15th century and the first half of the 16th, the earliest surviving
sources date from just after mid-century. Four MSS were copied in 1552–4. Two,
B and D, were lost; the other two, I-TVd 1(A) and TVd 2(C), were
inventoried by d’Alessi. Along with about half the cathedral’s MSS, they were
destroyed during a bombing of the town in 1944, but from d’Alessi’s cataloguing
we know that 1(A) contained 13 mass Ordinary cycles (4 by Jacquet, 3 by
Morales, 1 each by Hesdin, Jan Nasco, Gombert, Maistre Jhan, Cipriano de Rore
and Willaert) and 2(C) had ten additional masses (3 by Gombert, 2 by Lupus, 1
each by Bruhier, Maistre Jhan, Ciera and Nasco).
Thus mass Ordinaries are again the first items copied, and it is
no surprise that the next source, TVd 3(E), has music for Vespers
comprising some 50 hymns. This one was also destroyed in the bombing, but
d’Alessi’s catalogue enables us to identify Nasco, Willaert, Olivetus and Ciera
as composers of some of the hymns. TVd G contained more vespers music – Magnificat
settings and psalms – but it was lost before the 20th century.
Next comes a group of MSS containing motets, copied 1557–61, with
some additions c1567. The first three, TVd 4(F), 5(H) and 6(I),
were lost in 1944, but from d’Alessi’s work it can be determined that the
motets were ordered according to the liturgical calendar. TVd 4(F) had
75 motets for feasts falling between August and December, the 50 in TVd
5(H) are for the months of May to July, and the 44 of TVd 6(I) for
January to April. The number of motets for each feast varies with their
importance. In TVd 5(H), for instance, there are 14 motets for the feast
of the Holy Cross (3 May), 12 for Corpus Christi, 13 for John the Baptist (24
June), 2 for Mary Magdalene (22 July) and 3 for St Luke (18 October).
The next in the set is the earliest extant MS:
Treviso, Biblioteca Capitolare del Duomo,
7(K). 106 paper ff., 71·2 × 35·5 cm. Rather poor condition.
An opening fly leaf has an original table of contents, grouping motet titles by
feasts and identifying these. Copied in Treviso, mostly 1558–61, with some
additions in 1569.
46 motets and 5 psalms, by Willaert, Jacquet,
Lassus, Phinot, Niccolò Patavino, Lupus, De Silva, Richafort, Gombert, Maistre
Jhan and others. The motets are for various feasts, both fixed and movable, for
April, May and June: Easter; the feast of St Liberalis (patron saint of
Treviso); Philip and James; Corpus Christi; St Honofrius; St Vitus, St Modestus
and St Crescentia; Peter and Paul; St Theonisti, St Thabre and St Thabrathe;
John the Baptist.
G. d’Alessi: La cappella musicale del duomo di
Treviso (1300–1633) (Vedelago, 1954), 184–6, 209ffI-TVd 8(L), with
some 55 motets for Advent, Christmas, and other feasts of December and early
January, completes this 5-choirbook set of motets.
These eight MSS gave the cathedral choir a basic polyphonic
repertory – a number of settings of the mass Ordinary, music for Vespers, and a
collection of motets for the most important feasts. MSS continued to be copied,
with more music of the same sort, and also polyphony for occasions for which
none had yet been copied.
I-TVd 9(M) is a
collection of 9 masses, none duplicating ones already in the repertory. TVd
11a-b (P), copied in 1557, contain the first music for double choir
to be found in this set: 38 psalms by Willaert, Jacquet, Niccolò Patavino and
Olivetus. TVd 12a-b (Q) have 21 psalms for double chorus, all
anonymous save for 1 attributed to Francesco Portinaro. The repertory already
contained psalms; these new ones for 2 choirs were probably reserved for feasts
of the highest importance.
TVd 13(R) contains 43 hymns, including many
by Willaert. Some of the latter are not found in his printed collection. TVd
14(T) has antiphons. It is likely that a polyphonic antiphon was sung when the Magnificat
or psalm that followed was also to be sung polyphonically, and a study of the
contents of this MS should identify the feasts for which this was done.
A cycle of 8 Magnificat settings, anonymous
but possibly by Ruffo, makes TVd 15(V). TVd 16(X) has 8 masses,
the first 6 by Jacquet and the last 2 by Chamaterò, and TVd 19(N) also
contains 8 masses by Pierre Colin, and several miscellaneous pieces.
The copying of this repertory was completed by 1568. Another
scribe added more pieces, mostly by local composers, between 1568 and 1570,
taking care to copy these in the proper places. The repertory was contained in
unbound fascicles to this point. Between 1570 and 1574 these fascicles were
bound into the larger MSS that exist today, and foliation was added. Margins
were trimmed in the process, with the loss of many composer attributions at the
tops of folios.
This process did not signal the end of copying of polyphonic music
at Treviso. I-TVd 20, containing sets of Lamentations by Maistre Jhan
and Nasco, and TVd 21, with a requiem mass and other funeral music, were
copied in 1572. TVd 22 has psalms for double choir, to be sung at Terce
and Compline. TVd 23, containing eight masses by Jacquet of Mantua, was
not copied at Treviso. It duplicates some pieces already in the Treviso
repertory, and must have been brought to the cathedral from elsewhere. TVd
24 has more vesper psalms for double choir, TVd 25 (hymns) was not
copied at Treviso, and TVd 26 contains Magnificat settings for
two choirs.
The assembling and copying of this enormous repertory occupied the
various copyists at Treviso for almost half a century. It affords a lively view
of the extremely rich and varied polyphonic practice in Italian cathedrals in
the later 16th century.
Description or even mention of the many more sets and single MSS
of this sort is beyond the scope of the present article. But one more large
repertory, which has not yet been studied thoroughly, should be mentioned. Some
200 MSS and prints were assembled at the ducal chapel of S Barbara in Mantua
during the reign of Guglielmo Gonzaga (1550–85). Sold in 1850, at least part of
the collection is now in the library of the Milan Conservatory.
The MS music in this set was copied from the founding of S Barbara
in 1565 to c1630. A 19th-century inventory lists 53 choirbooks of masses
(MSS and prints are counted together), 33 choirbooks of motets, 31 books of
psalms and hymns and an additional 20 collections of partbooks. Among the
hundreds of polyphonic pieces from the late 16th century found in the MSS now
in Milan are masses by Palestrina, Isnardi, Wert, Rovigo, Striggio, Gastoldi,
Guglielmo himself and many other composers. Many of these are unica. See K.
Jeppesen: ‘Pierluigi da Palestrina, Herzog Guglielmo Gonzaga und die
neugefundenen Mantovaner-Messen Palestrinas’, AcM, xxv (1953), 132–79.
Sources, MS, §IX:
Renaissance polyphony
18. Vatican manuscripts.
The papal choir was the most important musical establishment of
the 15th century, numbering among its members many of the leading composers of
the time. Even though we have lists of the singers in the choir, and we know of
certain pieces performed by it, no MSS known to have originated there or even
used there before the last two decades of the century have been identified.
The choir increased in size from fewer than a dozen singers early
in the century to 24 by the 1480s. There were no boys in the choir after 1441;
the upper parts were taken by specially trained men. The Cappella Sistina or
Sistine Chapel, built by Pope Sixtus IV (1471–84), became the home of the papal
choir, and a group of some hundreds of MSS preserved there apparently reflects
the repertory of the papal choir from the last decades of the 15th century up
to the beginning of the 19th. These were first inventoried and described in
Haberl (1888), more thoroughly (though still with inaccuracies) in Llorens
(1960). Since the 1970s the production of the first 100 years or so of Vatican
MSS has been carefully examined: the two earliest choirbooks in Roth (1991);
the MSS from the papacies of Alexander VI and Julius II in R.J. Sheer: The
Papal Chapel ca.1492–1531 and its Polyphonic Sources (diss., Princeton U.,
1975) and Sherr (1996); the first generation of the permanent music scriptorium
in J.J. Dean: The Scribes of the Sistine Chapel, 1501–1527 (diss., U. of
Chicago, 1984); and the output of the prolific scribe Johannes Parvus in M.P.
Brauner: The Parvus Manuscripts: a Study of Vatican Polyphony, ca.1535 to
1580 (diss., Brandeis U., 1982).
Even the earliest of these MSS are in large choirbook format,
larger than any other known sources of the time, large enough for two dozen or
so papal singers grouped around a lectern to read from a single MS. The oldest
of these sources contain cyclic masses and some separate sections of the mass
Ordinary:
Vatican City, Biblioteca Apostolica
Vaticana, C.S.14. 171 paper ff., 57·5 × 42·2 cm.
17 masses and 2 Kyries, by Du Fay (3), Regis (2),
Weerbeke, Busnoys, Caron, Ockeghem and others.Vatican City, Biblioteca
Apostolica Vaticana, C.S.51. 215 paper ff., 55·5 × 40·5 cm. Arms of Pope
Innocent VIII (1484–92) on f.196v. First part of MS is older, and may have
been copied under Sixtus IV.
17 masses and 7 mass Ordinary sections, by Caron
(3), Basiron (3), Vaqueras (2), Busnoys (2), Martini (2), Vincenet, Weerbeke
and others.
These two choirbooks were copied together, but not at the papal
chapel itself, though they were probably made to order for the choir. Their
place of origin is disputed (Naples, Florence and Venice have been proposed),
but the date is fairly well agreed as being between the mid-1470s and about
1480. More masses and a few motets were copied, this time within the chapel, in
I-Rvat C.S.35 during the late 1480s and early 1490s.
Haberl (1888); Llorens (1969); Roth
(1991); Sherr (1996)
The repertory of the papal choir, as represented in the preserved
sources, was expanded during the reign of Alexander VI (1492–1503) to include
music for Vespers (hymns, Magnificat settings and motets):
Vatican City, Biblioteca apostolica
vaticana, C.S.15. 269 paper ff., 55 × 41·7 cm.
28 hymns, 14 Magnificat settings and 41
motets and antiphons by Du Fay (21), Compère (5), Josquin (4), Martini (3),
Weerbeke (3), Orto (2), Brumel (2), Busnoys, Regis and anonymous. Hymns grouped
in temporal and sanctoral cycles, Magnificat settings ordered by tone,
antiphons mostly Marian. Inclusion of so many pieces by Du Fay (who had died
about 2 decades earlier) is remarkable, and is an early instance of the
retrospective orientation of much of the Vatican repertory.
Similar MSS continued to be copied under the pontificate of Julius
II (1503–13) by the scribe Johannes Orceau (fl 1497–1512). I-Rvat
C.S.23 adds 14 masses, 3 Credos and a Gloria to the Sistine repertory; C.S.42
has 45 motets, arranged according to the church year; C.S.44 contains 11 Magnificat
settings (arranged by tone) and 5 motets; and C.S.49 has 12 masses and a Salve
regina. The most frequently copied composer was Josquin. In these and later
MSS pieces or groups of pieces were first copied as separate folios or
fascicles, perhaps even sung from in this form, and only later bound together
into large MSS. However, the fact that there is almost no duplication of pieces
in the Vatican sources suggests that they were conceived of as a collection at
a fairly early date, and copyists of later MSS were quite aware of what music
was already in the collection. New pieces were copied as they came to hand, or
as musical tastes changed.
During the reign of the Medici pope Leo X (1513–21) the scribe
Claudius Gellandi and some associates added some 33 masses, 7 mass sections and
47 motets. Mouton is now the best-represented composer, and the music of
Willaert, Festa and Richafort enters the repertory. Gellandi was the sole or
chief copyist of the mass MSS Rvat C.S.16, 26 and 45 (all of which
contain Leo’s insignia in their decoration), and fascicles of his work appear
in other chorbooks. Extreme in its complication, and extending from the time of
Leo’s predecessor Julius II into that of his successor Clement VII (1523–34),
is:
Vatican City, Biblioteca Apostolica
Vaticana, C.S.46. 159 paper ff., 55·5 × 42 cm.
18th-century leather covers over boards. 5 scribes: Orceau (6 pieces), Gellandi
(23), the chief scribe of I-Fl Acq. e doni 666 (3), an assistant also
active with Gellandi in Fl Acq. e doni 666 (1), and Claudius Bouchet (fl
c1523–7) (9); the earliest pieces were copied c 1508–9, and the
MS was assembled by Bouchet (who numbered the folios) just before the Sack of
Rome in May 1527. No decoration, though there is space for painted initials on
the first opening.
41 motets and 1 Nunc dimittis setting with
antiphon Lumen ad revelationem, by Mouton (7), Carpentras (4), De Silva
(3), Festa (3), Josquin (3), Richafort (2), Basiron, Compère, Ockeghem,
Willaert and others (6 anon.).
J.J. Dean, ed: Vatican City, Biblioteca
Apostolica Vaticana, Cappella Sistina MS 46, RMF, xxi (1986) [facs.]; J.
Dean, ‘The Evolution of a Canon at the Papal Chapel’, Papal Music and
Musicians in Late Medieval and renaissance Rome: Washington DC 1993, 138–66
Quite different are Rvat C.S.34, 36 and 160, also from the
time of Leo X, but stemming from the Alamire workshops of the
Habsburg-Burgundian court of Margaret of Austria (above §16). They contain
pieces by such previously unrepresented composers as Pierre de La Rue.
The pontificate of Clement VII (1523–34) was a troubled one,
marked by the Sack of Rome in 1527; Rvat C.S.55 was the only MS chiefly
copied during his reign. But the accession of Paul III (1534–49) marked an era
of renewed vigour. Dating from this period are such MSS as:
Vatican City, Biblioteca Apostolica
Vaticana, C.S.18. 197 paper ff., 65 × 46 cm. Copied by
Johannes Parvus, c1539; large initials and miniatures by Vincent
Raymond. Stemma of Paul III at beginning.
30 hymns, 8 Magnificat settings, 4 Benedicamus
Domino and 2 Magnificat antiphons, all by Costanzo Festa. 2
anonymous antiphons at the end are later additions.
Rvat C.S.13 (8
masses, 7 motets), C.S.17 (6 masses, 5 Marian antiphons), C.S.19 (6 masses, 9
motets), C.S.24 (26 motets, antiphons and sequences) and C.S.154 (4 masses),
all copied by Parvus with illumination by Vincent Raymond and Apollonio
Bonfratelli, date from the reign of Paul III.
Parvus continued as the chief scribe at the Vatican throughout the
pontificates of Julius III and Pius IV, until about 1580. Typical of MSS from
this period is:
Vatican City, Biblioteca apostolica vaticana,
C.S.38. 163 paper ff., 63·5 × 46 cm. Copied by Parvus, with
initials and miniatures by Apollonio Bonfratelli, in 1563. Stemma of
Pius IV.
39 motets, by Josquin (7), Mouton (4), Verdelot
(3), Palestrina, Jacquet of Mantua, De Silva, Morales, Clemens non Papa and
others.
I-Rvat C.S.38 shows again the retrospective nature of the Vatican
repertory: Josquin, represented by more pieces than any other composer, had
been dead almost half a century when the MS was copied. It may have been
intended to replace music that had worn out through frequent performance.
More than a dozen MSS copied by Parvus towards the middle of the
century form the majority of sources preserved from this time. With his
retirement and death, Luca Orfei became the principal scribe for a repertory
now dominated by the music of Palestrina and his contemporaries. An example is:
Vatican City, Biblioteca Apostolica
Vaticana, C.S.30. 161 paper ff., 74 × 49·5 cm. This is
the maximum size for Vatican MSS. Copied 1594 by Orpheo, during the pontificate
of Clement VIII.
6 masses, by Palestrina (3), Animuccia (1), Nanino
(1) and Ameyden (1)
With the onset of the 17th century and its revolutionary changes
in musical style, the Vatican became one of the bastions of musical
conservatism. The papal choir continued to sing Renaissance music into the 17th
century, and scribes continued to copy MSS in mensural notation. I-Rvat
C.S.43, for example, copied in 1619, contains 38 offertories by Palestrina, a
selection from the 68 published in 1593. C.S.96, copied in 1630, contains 5
motets by Palestrina and 2 hymns by Allegri. C.S.92, copied in 1669, contains
the Missa ‘Vidi speciosam’ by Victoria. An extreme case – though not the
only one – is C.S. 313, including Morales’s Lamentabatur Jacob, copied
in 1794
Pope Julius established a choir in the Cappella Giulia, in S
Pietro, in 1512. The formation of this group ensured that there would be
polyphonic music sung in the Vatican even when the choir of the Cappella
Sistina was absent from Rome; it also served as a proving and training ground
for singers who might some day become members of the papal choir in the
Cappella Sistina. The choir of the Cappella Giulia numbered about a dozen
singers, all of them male. The early repertory survives in a set of five MSS, which
are described and inventoried in J.M. Llorens: Le opere musicali della
Cappella Giulia (Vatican City, 1971).
Vatican City, Biblioteca Apostolica
Vaticana, C.G.XII.2. 345 paper ff., 55 × 41 cm. Copied by
several different scribes, most of whom copied MSS for the Cappella Sistina,
towards the end of the reign of Leo X, with additions from the 1570s or 1580s.
Original foliation begins with xv; an original first fascicle containing 1 mass
has been lost along with 4 masses later in the MS.
14 masses and 2 motets, by Josquin (3), Mouton
(3), Costanzo Festa (2), Antoine de Févin (2), Pierre de La Rue and others.
J.J. Dean: The Scribes of the Sistine Chapel,
1501–1527 (diss., U. of Chicago, 1984)
Apparently this MS with settings of the Ordinary of the Mass was
copied first, followed soon afterwards by four additional MSS supplying music
for Vespers and Holy Week:
Vatican City, Biblioteca apostolica
vaticana, C.G.XII.4. 161 paper ff., 67·8 × 50·5 cm. Copied
in Rome for the Cappella Giulia in 1536. Carries the arms and emblems of the
Della Rovere family, the family of Pope Julius II, the founder of the chapel.
Motets for 4–6 voices, by Sermisy (8), Lhéritier
(7), Berchem (4), Maistre Jhan (4), Josquin (4), Verdelot (3), Costanzo Festa
(3), Gombert (2), Willaert (2) and others.I-Rvat C.G.XII.5, copied
probably in 1539, contains Magnificat cycles by Costanzo Festa and
Carpentras; C.G.XII.6, from the same year, has 45 hymns by Festa, Carpentras
and others; C.G.XII.3, from 1543, has Lamentations and other music for Holy
Week by Costanzo Festa, Carpentras, Morales, Escribano and Charles
d’Argentille.
One final, and much earlier, MS surviving at the Vatican should be
mentioned:
Vatican City, Biblioteca Apostolica
Vaticana, Archivio del Capitolo di S Pietro B 80. 249 parchment
ff., 35·6 × 25·6 cm. Copied 1474–5 at S Pietro, with additions to 1500. There
are 13 gatherings, alternating 6 and 4 bifolios; the main body of the MS, and
the oldest, begins with gathering 5 (f.38); the first four gatherings (ff.1–37)
are a somewhat later addition. Contents may represent repertory of papal choir
from a time several decades before any of the other MSS described and mentioned
above were copied. Contains music for Mass and Vespers, as do later Vatican
MSS. Since it is a much smaller MS than the later Vatican sources, it was
either copied for use by a smaller choir or was a repository of pieces not
intended to be sung from.
15 masses, 20 hymns, 14 Magnificat
settings, 20 antiphons, by Du Fay, Binchois, Caron, Dunstaple, Barbingant, Pullois
and others. This is the oldest and largest layer of compositions; two
additional masses and several motets by Du Fay, Compère and Josquin are in the
first four fascicles, and additional hymns and other brief pieces were added by
a number of hands at various places.
C.A. Reynolds, ed.: Vatican City, Biblioteca
Apostolica Vaticana, San Pietro B80, RMF, xxiii (1986) [facs.]; C.A.
Reynolds: Papal Patronage and the Music of St Peter’s, 1380–1513
(Berkeley, 1995)
Sources, MS, §IX:
Renaissance polyphony
19. 16th-century sources of sacred music from the British Isles.
The violent upheavals attending the Reformation resulted in the
destruction of many MS sources of sacred polyphony. MSS with Latin texts were
destroyed by anti-Catholic forces, while those with English texts met the same
fate during periods of Catholic resurgence. Calvinist hostility towards
elaborate polyphonic music was also responsible for reducing the number of
sources which have come down to us. Some important sources, however – both
Latin and English – survived the vicissitudes of religious conflict; an
inventory of the repertory appears in M. Hofman and J. Morehen: Latin Music
in British Sources, c1485–c1610 (London, 1987).
The principal sources of Latin sacred music in England from c1490
to 1530 are three large parchment choirbooks:
Windsor, Eton College Library, 178 (‘Eton
Choirbook’). iv + 126 + iv parchment ff. of an original 224, 59·5 × 42·5 cm.
Modern and original foliation. Leather covers, probably from the second half of
the 16th century, stamped with the Tudor rose, portcullis, fleur-de-lis, and
H.R. (the initials of the binder). Black mensural notation with red coloration
(void semiminims and fusae). The MS was copied (1490–1502) for use at
Eton College. The coat-of-arms of the college, and of its provost Henry Bost,
are found in decorated initials in the MS.
Of the 93 pieces listed in the original index, 29
are now missing and some others are incomplete. They include 9 Magnificat
settings, 1 Passion and 54 motets, by Browne (10), Davy (9), Walter Lambe (8),
Robert Wilkinson (7), Cornysh (5), Horwood (4), Fayrfax (2), Fawkyner (2),
Huchyn (2), Kellyk (2), Turges (2), Banaster, Brygeman, Hacomplaynt, Hampton,
Holynborne, Hygons, Nesbet, Sturton, Sutton, Sygar and William Stratford.
Baldwyn, Dunstaple and Mychelson are also listed in the index, but their works
are now missing.
F. Ll. Harrison: ‘The Eton Choirbook: its
Background and Contents’, AnnM, i (1953), 151–75; MB, x–xii (1956–61)
[edn]; M. Williamson: The Eton Choirbook: its Historical and Institutional
Background (diss., U. of Oxford, 1995)London, Lambeth Palace Library, 1
(‘Lambeth Choirbook’). i + 94 parchment ff., 67 × 46·8 cm. Modern foliation;
covers of brown leather on boards. Probably copied during 1520s by Edward
Higgins, the MS was intended for use at St Stephen’s, Westminster.
7 masses, 4 Magnificat settings and 8
motets. Fayrfax (8 pieces) and Sturton (1) are named in the MS; Ludford (2) and
Walter Lambe (1) have been identified from concordant sources.
M.R. James and C. Jenkins: A Descriptive
Catalogue of the Manuscripts in the Library of Lambeth Palace (Cambridge,
1930–32), 1; Chew (1970); D. Skinner: ‘Discovering the Provenance of the Caius
and Lambeth Choirbooks’, EMc, xxv (1997), 245–66Cambridge, University
Library, Gonville and Caius Coll.667/760 (‘Caius Choirbook’). 95 parchment
ff., 71·5 × 48 cm (some slightly smaller). Original pagination, 1–189, but
usually only odd-numbered pages bear numbers. Rebound in new cardboard corners
with dark green leather spine. Black notation, with white coloration. Initials
and miniatures in blue, red, gold, green, white, brown and yellow. Probably
copied by Edward Higgins at St Stephen’s, Westminster, during late 1520s; the MS
was later presented to Salisbury Cathedral.
10 masses and 5 Magnificat settings, by
Fayrfax (6), Ludford (5), Cornysh, Pasche, Prentyce and Turges.
M.R. James: A Descriptive Catalogue of the
Manuscripts in the Library of Gonville and Caius College (Cambridge,
1907–8), 663–4; M.E. Lyon: Early Tudor Church Music: the Lambeth and Caius
Manuscripts (diss., U. of California, Berkeley, 1957); Chew (1970); D.
Skinner: ‘Discovering the Provenance of the Caius and Lambeth Choirbooks’, EMc,
xxv (1997), 245–66
By the middle third of the 16th century large choirbooks were
replaced by octavo-size partbooks, both upright and oblong. Three important
sets of partbooks with Latin repertory from this period are:
Oxford, Bodleian Library,
Mus.Sch.e.376–81 (‘Forrest-Heyther Partbooks’). 6 paper
partbooks; 376–80 are 19·2 × 23·4 cm; 381 measures 14·5 × 19·5 cm. Bound in
leather covers stamped with royal arms supported by greyhound and dragon or
griffin, also a large Tudor rose. Date: early 1530s.
18 masses by Alwood, Ashwell, Aston, Fayrfax,
Merbecke, Norman, Sheppard, Taverner, Tye and others. Sexta book contains 3
anthems added by a later hand; the other parts for these pieces are in GB-Ob
Mus.Sch.D.212–16.
J.D. Bergsagel: ‘The Date and Provenance of the
Forrest-Heyther Collection of Tudor Masses’, ML, xliv (1963), 240–48; J.
Milsom, ed.: Oxford, Bodleian Library, MSS. Ms.Sch.e.376–381, RMF, xv
(1986)Cambridge, University Library, Peterhouse 471–4 (formerly 31–2,
40–41) (‘Henrician Partbooks’). 4 paper partbooks, 28 × 19·8 cm. Original
foliation; new covers of brown leather on boards. Date: 1539–41.
19 masses, 7 Magnificat settings and 45
motets, by Fayrfax (11), Taverner (12), Ludford (7), Aston (5), John Mason (4),
Tallis (4), Alen, Appleby, Bramston, Merbecke, Norman, Pasche, Tye, Whytbroke
and others.
A. Hughes: Catalogue of the Musical Manuscripts
at Peterhouse, Cambridge (Cambridge, 1953), pp.viii–x, 2–6; N. Sandon: ‘The
Henrician Partbooks at Peterhouse, Cambridge’, PRMA, ciii (1976–7),
106–40London, British Library, Add.17802–5 (‘Gyffard Partbooks’). 4
paper partbooks, 21 × 13·8 cm. Modern foliation skips some blank folios; some
original foliation, but erratic. Modern maroon leather binding. Most of the
copying probably done between 1553–8, during reign of Queen Mary; some possibly
as early as c1540 and as late as c1580. Pieces grouped in
liturgical categories, within which they are arranged in order of the seniority
of their composers. Inscriptions in the MS indicate that the books were once
owned by a certain Philip Gyffard, whose identity is uncertain.
12 masses, 7 Kyries, 1 mass Proper cycle, 13 mass
Proper sections, 5 Magnificat settings, 1 Te Deum, 2 psalms, 2
Office hymns, 4 processional hymns, 1 Passion and 46 motets, by Sheppard (19),
Taverner (10), William Mundy (7), Tallis (7), Tye (6), Blitheman (3), Thomas
Knight (3), Robert Johnson, i (2), Van Wilder (2), Alcock, Appleby, Bramston,
John Mundy, Okeland, Robert White, Whytbroke and others.
R. Bray: ‘British Museum Add.Mss.17802–5 (the
Gyffard Partbooks): an Index and Commentary’, RMARC, no.7 (1969), 31–50;
D. Mateer: ‘The Compilation of the Gyffard Partbooks’, RMARC, no.26
(1993), 19–43; D. Mateer: ‘The “Gyffard” Partbooks: Composers, Owners, Date and
Provenance’, RMARC, no.28 (1995), 21–50
Two MSS containing music of the Anglican liturgy are of particular
interest because of their early dates. They were copied c1546–8, and
therefore antedate the Act of Uniformity and the first prayer book (1549). GB-Lbl
Roy.App.74–6 consists of three paper partbooks, c19 × 28 cm, containing
three hymns and a Magnificat (all in English), 22 anthems, and a number
of shorter settings of Anglican service music, with some other secular vocal
and instrumental music. Tallis is the only composer named in the vocal part of
the MS. See A. Hughes-Hughes: Catalogue of Manuscript Music in the British
Museum, i (London, 1906), 1, 179, 396–7; J.H. Blezzard: The Sacred Music
of the Lumley Books (diss., U. of Leeds, 1972). Ob Mus.Sch.e.420–22
(‘Wanley Partbooks’) consists of three paper partbooks of an original four
(tenor book missing), 18 × 27 cm, containing about 90 sacred pieces with
English texts. These include ten settings of the complete Office of Holy
Communion, five morning and evening canticles, three settings of the Lord’s Prayer
and other anthems. No composers are named in the MS, but the following have
been identified from concordant sources: Tallis (3), Sheppard (2), Taverner
(2), Okeland (2), Caustun (1), Robert Johnson, i (1) and Whytbroke (1). See J.
Wrightson: The ‘Wanley’ Manuscripts: a Critical Commentary (New York,
1989).
Anglican music from the second half of the 16th century is
preserved in Lbl Add.30480–84, a set of five paper partbooks, 14·1 ×
19·7 cm, containing 2 services, 11 service sections, 24 anthems, 10 Latin
motets and 27 instrumental pieces. Composers named are Tye (9), Tallis (6),
Adams, Bulman, Caustun, Feryng, Fractynge, Sebastian Hollander, Robert Johnson,
i, Mundy, Parsley, Partyne, Sheppard, Taverner, Robert White, Whytbroke and Van
Wilder. See A. Hughes-Hughes: Catalogue of Manuscript Music in the British
Museum, i (1906), 3–4, 265, 397–8; iii (1909), 202, 219, 232.
Latin sacred music did not die out during the reign of Elizabeth
I; it continued to be cultivated in some university circles (where Latin texts
presented no barriers to comprehension), and in private Catholic
establishments. Elizabeth’s warm relations with Byrd and others of her Catholic
subjects demonstrated her willingness to tolerate recusancy, provided it was
practised with due discretion and not intermingled with disloyalty to the
crown. The three MSS listed below document the continuing survival of Catholic
music in England during the late 16th century:
Chelmsford, Essex County Record Office, D/DP Z6/1.
1 paper partbook (bassus) of i + 71 ff., 20·8 × 28 cm. Original foliation;
original covers of brown tooled leather on boards, with remnants of two string
ties. The name ‘Iohn Petre’ is stamped on the cover. Collection probably copied
c1590 by a scribe in the employ of Edward Paston (1550–1630), a
collector of music prints and MSS, whose estate was near Norwich. The MS may
have been a gift from Paston to Sir John Petre (1549–1613) of Ingatestone,
Essex, a neighbour and a patron of Byrd.
1 mass, 1 Magnificat, 2 Lamentations, 66
motets and 2 fantasias. As in other 16th-century sacred music sources of
English provenance, English composers predominate: Byrd (20 pieces), Tallis
(8), Taverner (6), Sheppard (2), Fayrfax (2) and others are represented. Some
continental composers also included: Crecquillon (4 pieces), Vaet (3), Philippe
de Monte (2), Palestrina (2), Rivulo (2), Gombert (1), Lassus (1) and a few
others of lesser renown.
GB-CF D/DP Z6/2 is a paper partbook,
physically similar to Z6/1, but containing 2 parts instead of 1 (bassus appears
on verso of each opening, tenor on recto). Repertory similar to that of Z6/1,
but also includes 19 French chansons.
E. Fellowes: Tudor Church Music: Appendix with
Supplemental Notes (London, 1948/R), 5ff; P. Brett: ‘Edward Paston
(1550–1630): a Norfolk Gentleman and his Musical Collection’, Transactions
of the Cambridge Bibliographical Society, iv (1964–8), 51–69 [further
information about Paston, with list of other MSS from his collection]
The presence of the French secular works in GB-CF Z6/2 underlines
the fact that the MS originated in private circles rather than official
ecclesiastical establishments. By contrast, another important collection of
Latin sacred music dating from c1580–1600 was copied at St George’s
Chapel, Windsor. The MS consists of five paper partbooks of an original six, in
oblong octavo, bound together with the print RISM 15753; the books
are now catalogued as Och 979–83. Copied by John Baldwin, the books were
later owned by Henry Aldrich, whose collection of prints and MSS was bequeathed
to Christ Church, Oxford, in 1710. Their contents are a mass, a Magnificat,
two Te Deum settings, a canticle, 36 psalms, 28 hymns, 7 Lamentations,
88 motets and several miscellaneous pieces, by Sheppard (41), Byrd (32), Tallis
(16), Robert White (16), William Mundy (15), Taverner (10), Robert Parsons (8),
Baldwin (4), Tye (4) and others. See R. Bray: ‘The Part-Books Oxford, Christ
Church, Mss 979–83: an Index and Commentary’, MD, xxv (1971), 179–97.
Although a considerable number of MSS of sacred music must have
been copied in Scotland during the 16th century, few have survived:
Edinburgh, National Library of Scotland,
5.1.15 (‘Scone Antiphoner’; ‘Carvor Choirbook’). 180 paper ff., 38
× 27·7 cm. New foliation added after 1950. Rebound in morocco covers in 1957.
Red and blue illuminated initials. Most of the MS is in one hand, and was
formerly thought to have been copied c1503–20 at Scone Abbey
(Augustinian) in Perthshire, but is now believed to have been compiled at the
Scottish Chapel Royal at Stirling. First mass and last motet added c1550
by another hand.
9 masses, 6 Magnificat settings and 9
motets, by Carvor (7), Fayrfax (2), Cornysh (1), Du Fay (1), Lambe (1), Nesbet
(1) and anonymous (only Carvor’s name appears in the MS).
D. Stevens: ‘The Manuscript Edinburgh, National
Library of Scotland, Adv.Ms.5.1.15’, MD, xiii (1959), 155–67; I.P.
Woods: The Carvor Choirbook (diss., Princeton U., 1984)Edinburgh,
University Library, 64 (formerly Db.I.7) (‘Dunkeld Antiphoner’;
‘Dowglas-Fischear Partbooks’). 5 partbooks bound together in a single volume of
137 paper ff. (except for a few parchment ff. at the beginning, end and between
each partbook), 27 × 19 cm, with modern covers of yellow calfskin. Designation
of MS as ‘Dunkeld Antiphoner’ based on erroneous belief that it originated at
Dunkeld Cathedral, in Perthshire. However, Elliott showed that the books
probably originated at Lincluden, a college housed in a former Benedictine
monastery, near Dumfries. The original owner was Robert Douglas, provost of the
college, whose name appears in an inscription on f.111. Date: c1557.
2 masses, 1 mass fragment and 16 motets. No
composers named, but following identified from concordances: Certon (4), Lupi
(4), Jacquet of Mantua (3), Ashwell, Sermisy, Josquin, Willaert (with
conflicting attribution to Rore) and Philip Van Wilder (with conflicting
attribution to Gombert).
K. Elliott: ‘“Church Musick at Dunkell”’, ML,
xlv (1964), 228–32
Sources, MS, §IX:
Renaissance polyphony
20. 16th-century German sources of Lutheran music.
The sharp antagonism and mutual anathematizing that characterized
Lutheran-Catholic theological disputes did not carry over to any great extent
to music. The most obvious denominational difference was the emphasis on
congregational singing in the Lutheran church, but Luther never intended that
hymn singing should completely replace the singing of more elaborate polyphonic
music by trained choirs. His admiration for Netherlands-style polyphony in general,
and the music of Josquin and Senfl in particular, fostered a climate favourable
to performance of a considerable amount of music by Catholic composers. The
masses, Magnificat settings and motets of Josquin, Senfl, Isaac and
Lassus are just as well represented in 16th-century Lutheran sources as are the
compositions of such Protestant composers as Walter, Ducis, Resinarius and
Hähnel. Moreover, although music by the latter group of composers was generally
less elaborate, it does not differ greatly from the style of the Netherlanders:
textual matters – the revision or excision of doctrinally offensive texts and
the translation of some Latin texts into German – rather than musical
considerations differentiated the early Lutheran liturgical repertory from the
Catholic. Even here the distinctions are sometimes vague, so that it becomes
impossible to determine with certainty whether a source is Lutheran or
Catholic.
An important set of definitely Lutheran MSS is a group of
choirbooks and partbooks dating from c1540–50, copied by and under the
direction of Johann Walter (i) for the chapel at Torgau in Saxony. These MSS
are related by common scribes and repertorial similarities. They are described
and inventoried in Gerhardt (1949). For a study of these and other Lutheran
sources, see J. Windh: Early Lutheran Masses (diss., U. of Illinois,
1971).
Nuremberg, Germanisches National-Museum,
83795 (formerly M369m) tenor. 1 paper partbook, 275
ff., 20·5 × 15 cm. Covers of tooled leather over boards, with picture of Luther
on the front and Melanchthon on the back. The main scribe was Johann Walter
(i). The first folio contains the inscription ‘Hat myr verehret meyn guter
freund/herr Johann Walter/Componist Musice/zu Torgaw/1530/dem Gott
gnade/Martinus Luther’. Gerhardt argued that the inscription was spurious.
5 mass Ordinary cycles, 8 mass Ordinary pairs or
sections, 20 mass Proper sections (mostly introits and sequences), 9 Magnificat
settings, Te Deum, 11 psalms, 9 hymns, 3 Passions, 39 motets and 24
German sacred pieces, by Walter (58), Roselli, Isaac, Josquin, Senfl,
Richafort, Compère, Dietrich, Finck, Gombert, Hellinck, Rener and others,
arranged more or less in order of the principal feasts of the liturgical
year.The other MSS in this group are: D-Ngm 83795 (formerly M369m)
bassus, a partbook of 254 paper ff., 22 × 16·5 cm, which does not belong to the
same set as the tenor partbook catalogued under the same number, but contains
related repertory; Weimar, Bibliothek der Evangelisch-Lutherischen
Kirchengemeinde, B, a choirbook of 178 paper ff., 48 × 32·6 cm; Gotha,
Forschungsbibliothek, Chart.A98, a choirbook of 341 paper ff., 41 × 27 cm,
with a dedicatory title-page from Walter to Johann Friedrich I, Elector of
Saxony, dated July 1545; Kraków, Biblioteka Jagiellońska, Mus.40013
(formerly Berlin, Preussische Staatsbibliothek), a choirbook of 382
paper ff., 47·3 × 35·5 cm; and Mus.40043, 4 paper partbooks, c25
× 15 cm.
Another group of 6 related sets of paper partbooks from Wittenberg
is identified in W. Steude: Untersuchungen zur mitteldeutschen
Musiküberlieferung und Musikpflege im 16. Jahrhundert (Leipzig, 1978). All c20
x 15 cm and all copied by the same scribe (c1545–70).
Budapest, Országos Széchényi Könyvtár (National
Széchényi Library),Bártfa 22–3. MS 22 consists of 1 paper partbook
(T 104 ff. and Q 15 ff.); MS 23 is a bassus partbook (128 ff.). Two books not
from the same set, but preserve similar repertory. Brought to National Library
in 1915 from St Aegidi, Bártfa (now Bardejov, Czech Republic), and restored.
Mass Ordinary cycles, pairs and sections, Magnificat
settings, motets and German sacred pieces by Ducis, Eckel, Finck, Josquin,
Senfl, Stoltzer, Walter and others.
H. Albrecht: ‘Zwei Quellen zur deutschen
Musikgeschichte der Reformationszeit’, Mf, i (1948), 242–85Other MSS in
this group are Dresden, Sächsische Landesbibliothek, Mus.1/D/3 (formerly
B.1270) and Mus.1/D/4 (formerly B.1276); Zwickau, Ratsschulbibliothek,
LXXXI, 1, and CVI, 5. These sources contain Latin motets and German
sacred pieces by Bergholz, Crecquillon, Reusch, Scandello, Senfl, Baston,
Stoltzer and others. The Dresden MSS are described and inventoried in W.
Steude: Die Musiksammelhandschriften des 16. und 17. Jahrhunderts in der
Sächsischen Landesbibliothek zu Dresden (Leipzig and Wilhelmshaven, 1974).
The Sächsische Landesbibliothek in Dresden is now the repository
for a large number of Lutheran MSS brought into Dresden from city or church
libraries in nearby towns such as Glashütte, Grimma, Meissen, Löbau, Pirna and
Marktschellenberg. Copied during the second half of the 16th century and the
first decades of the 17th, these MSS are mostly partbooks averaging c15
× 20 cm; there is also a set of eight large choirbooks (c50 × 35 cm)
from Pirna. Many of these MSS are in poor condition as a result of ink
corrosion and water damage, and can no longer be used. However, descriptions
and lists of their contents can be found in the Steude catalogue (1974)
mentioned above. See also L. Hoffmann-Erbrecht: ‘Die Chorbücher der Stadtkirche
zu Pirna’, AcM, xxvii (1955), 121–37.
Music for the use of the Württemberg royal court chapel at
Stuttgart (Lutheran from the early 1530s) is contained in a set of large
choirbooks now at the Württembergische Landesbibliothek. The books are
approximately 40–50 × 38–40 cm, with covers of leather over cardboard. Most
date from 1538 to c1570; the three principal scribes are Nikolaus
Peuschel, Johann Chamerhueber and Heinrich Leitgeb. Mass Ordinaries and Propers
are contained in MSS I 27–8, I 32, I 37–8, I 40 and I 44–6. Psalms, Passions
and Magnificat settings are found in MSS I 26, I 29 and I 39. Motets are
found in MSS I 25, I 34–6 and I 41–3. MS I 24 contains hymns. Composers
represented are Finck, Isaac, Josquin, Jacquet, Rener, Resinarius, Senfl,
Stoltzer, Walter and others. The MSS are described and inventoried in C.
Gottwald: Codices musici Cod.mus.fol.I 1–71, Die Handschriften der
Württembergischen Landesbibliothek Stuttgart, 1st ser., i (Wiesbaden, 1964).
A set of large choirbooks now in the Universitätsbibliothek at
Erlangen (MSS 473/1–4) preserves a Lutheran repertory, much of which was
apparently copied from prints of Rhau, Petreius, Formschneider and others. The
original set apparently included at least seven volumes, as MS 473/3 bears the
inscription ‘Septimus Tomus’ on its cover. The books average c46 × 31
cm; MSS 473/1–3 have original covers of white leather over boards, tooled with
allegorical figures, busts and ornaments; MS 473/4 has modern cardboard covers.
All were copied between 1538 and 1548, by Johannes Hartung (father-in-law of
the composer Caspar Othmayr), at the Cistercian monastery at Heilsbronn
(between Nuremberg and Ansbach). The apparent anomaly of a Protestant repertory
originating from a Cistercian monastery is explained by the fact that the
cloister had gradually been infiltrated by Lutheran ideas during the first
decades of the Reformation. Sympathetic to Lutheran ideas, but desiring to
retain the monastic principle at the convent, the abbot Johannes Schopper
founded a Lateinschule as a means of recruiting and training novices. Included
in the curriculum was the performance of liturgical polyphony. The repertory
preserved in these MSS is almost certainly the one performed by the
Lateinschule of the monastery. The books contain 248, 325, 305 and 237 paper
folios respectively; the pieces are arranged approximately in order of the
feasts of the liturgical year. Mass Propers and Ordinaries, Magnificat
settings, hymns, motets and a few German sacred pieces are included, a total of
128 pieces. Composers represented are Dietrich, Resinarius, Senfl, Isaac,
Josquin, Paminger, Hähnel, Walter and others. See F. Krautwurst: ‘Die
Heilsbronner Chorbücher der Universitätsbibliothek Erlangen (Ms. 473, 1–4)’, Jb
für Fränkische Landesforschung, xxv (1965), 273–324; xxvii (1967), 253–82.
Rostock, Universitätsbibliothek,
Mus.Saec.XVI-49 (1–6). 6 paper partbooks (D 226
ff., A 244, T 235, B 224, Q 84, S 50), with the unusually large dimensions of
33·3 × 21·7 cm. Very good condition, no signs of use. Original covers of dark
brown leather. Copied by Jacob Praetorius (i) in Hamburg (largely from Rhau
prints); title-page dated 1566.
25 masses, 34 mass Proper sections, 24 Magnificat
settings, 8 Te Deum settings (1 in German), 23 psalms, 43 hymns and 47
motets, by Crecquillon, Dietrich, Finck, Hähnel, Isaac, Josquin, Rener (17),
Senfl, Resinarius (33), Stoltzer, Walter (17) and others. MS carefully and
systematically arranged; pieces grouped according to liturgical categories
(masses, introits, hymns etc.).
L. Hoffmann-Erbrecht: ‘Das Opus musicum des Jacob
Praetorius von 1566’, AcM, xxviii (1956), 96–121Leipzig,
Universitätsbibliothek, Thomaskirche 49 (formerly III, A.17–20). 4
paper partbooks (D 313 ff., A 343, T i + 299, B 324), 29·3 × 19·6 cm; the
covers of white tooled leather bear the initials ‘I.R.M.’ and the date 1558.
The books, copied by many different scribes, were probably made in Leipzig, for
use of the Thomaskirche.
271 pieces, almost exclusively liturgical,
including mass Proper and Ordinary settings, Magnificat settings (one
with interspersed German and Latin sacred pieces) and motets, along with other
liturgical pieces and a few secular works. Composers represented are Martin
Agricola, Breitengraser, Clemens non Papa, Isaac, Josquin, Obrecht, Senfl, Stoltzer,
Walter, Willaert and many others.
W. Orf: Die Musikhandschriften Thomaskirche
Mss. 49/50 und 51 in der Universitätsbibliothek Leipzig (Wilhamshaven,
1977); [see also review by L. Youens, TVNM, xxix (1979), 59–62]; L.
Youens: Music for the Lutheran Mass in Leipzig, Universitätsbibliothek, MS.
Thomaskirche 49/50 (diss., Indiana U., 1978)
One final MS which deserves mention is the so-called Eisenacher
Cantorenbuch in the Eisenach Stadtarchiv (without call number). Formerly in the
Carl-Alexander-Bibliothek, this choirbook of 345 paper folios, 49·6 × 36 cm,
was copied by Wolfgang Zeuner at Eisenach during the 1540s. Although the
repertory is entirely Latin, the Lutheran orientation of the MS is evident in
the absence of graduals, offertories and communions, and in the numerous
concordances with the Torgau Walter MSS. The first part of the collection
consists of mass Proper sections arranged according to the liturgical calendar,
along with separate Kyries, Glorias and seasonal hymns. After a gap of 30 blank
folios, the MS resumes with Magnificat settings, hymns, psalms and
motets by Senfl, Rein, Hähnel, Musa and Walter. The collection as a whole
contains a considerable amount of music for Vespers, a characteristic which it
shares with many other Lutheran sources.
O. Schröder: ‘Das Eisenacher
Cantorenbuch’, ZMw, xiv (1931–2), 173–8
Sources, MS, §IX:
Renaissance polyphony
21. 16th-century German sources of Catholic music.
In striking contrast to the small number of 15th-century MSS of
Catholic music from German-speaking areas, 16th-century sources from these
areas are extremely numerous. Almost all of the MSS discussed in this section
were intended for practical use by the musical establishments of cathedrals,
monasteries or court chapels. Although a few of them have impressive
illuminated decorations, most are plain and unostentatious in appearance. With
few exceptions, they are now in libraries at or near their places of origin;
relatively few have an extensive history of transfers from one owner to
another. The following survey is arranged geographically.
(i) Aachen.
(ii) Augsburg.
(iii) Munich.
(iv) Nuremberg.
(v) Regensburg.
(vi) Vienna.
Sources, MS, §IX, 21:
16th-century German sources of Catholic music
(i) Aachen.
From the Rhineland area of western Germany come three choirbooks,
copied between c1567 and c1579. The main scribe was probably
Johannes Mangon, succentor of the Krönungsstift choir at Aachen
Cathedral, where German kings were crowned until 1531. The books (in D-AAm)
measure c39 × 26 cm; the original covers of tooled leather on boards are
still present, though much of the leather has deteriorated.
The first choirbook contains 19 masses,
all by Mangon himself. The second contains 98 motets by Mangon (45), Clemens
non Papa (20), Lassus (6), Crecquillon (5), Michael Guilelmus (3), Lambertus de
Monte (2), Simon Moreau (2), Franziscus de Rivulo (2), Chastelain, Cleve,
Maillard, Adamus de Ponta and anonymous. The third choirbook contains Marian
antiphons, hymns, Magnificat settings and other liturgical pieces. The
principal composer is again Mangon (42 pieces); 1 piece is by Ludovicus
Episcopius, another by Lambertus de Monte; the remaining 22 pieces are
anonymous.R. Pohl: Die Messen des Johannes Mangon (Cologne, 1961), 81ff
Sources, MS, §IX, 21:
16th-century German sources of Catholic music
(ii) Augsburg.
The liturgical books of the monastery of St Ulrich and St Afra in
Augsburg are important sources of late 16th-century Catholic music. This group
includes about 20 choirbooks of polyphony, in addition to other books
containing only chant. The MSS are now part of the ‘Tonkunst Schletterer’
collection at the Staats- und Stadtbibliothek in Augsburg. All are very large
choirbooks (c58 × 43 cm) containing 200–300 or more paper folios; the
covers are of pigskin on boards. Most of the books have title-pages (beautifully
illuminated in silver, gold and other colours) with pictures of SS Wolfgang,
Afra, Ulrich and other saints, as well as the emblems of the monastery and its
abbot. Most of the primary and secondary initials were printed from woodblocks.
The books bear dates ranging from 1572 to 1614, and were copied by several
scribes, among whom were Johannes Dreher and Gregor Gastel or Hastel.
The books containing polyphony are As
9, 17, 18, 19 (mass Ordinary cycles); D-As 6, 7, 22, 23 (mass Proper
settings); As 4 (mostly motets); As 1, 8, 14, 20, 24, 25 (Magnificat
settings, psalms or other music for Vespers); and As 21 (Offices for the
dead). Among composers represented are Lassus, Vaet, Utendal, Scandello,
Philippe de Monte, Handl, Andrea Gabrieli, Aichinger, Jacob Regnart, Gosswin,
Ivo de Vento, Kerle, Crecquillon, Daser, Clemens non Papa, Christian Erbach,
Sebastian Hollander, Palestrina, Blasius Ammon, Morales, Gastoldi, Lechner,
Eccard, Viadana, Gastel or Hastel and Ippolito Chamaterò.C. Gottwald: Die
Musikhandschriften der Staats- und Stadtbibliothek Augsburg (Wiesbaden,
1974)
Sources, MS, §IX, 21:
16th-century German sources of Catholic music
(iii) Munich.
A large and extremely valuable group of 16th-century choirbooks
preserves polyphonic music used at the Bavarian ducal court at Munich during
the time its musical chapel was being directed by such composers as Senfl,
Daser and Lassus. The MSS, numbering about 60, are now in the Bayerische
Staatsbibliothek in Munich. The present call numbers, which group the books in
descending order of size, are not to be confused with a different and unrelated
set of serial numbers assigned to the same MSS by Maier (1879), who first
described and inventoried these sources. More recently, the collection has been
discussed by Bente (1968), who provided information on scribal hands,
watermarks, bindings, gathering structure and dating, as well as a collation of
the present call numbers with Maier’s.
The relevant MSS are all of paper. (The few on parchment are
splendidly illuminated ‘presentation’ MSS, most of which did not originate at
the Munich court: see §16.) Although some of the paper has been damaged by ink
corrosion, most folios are still legible and usable. The original covers are of
leather over boards, tooled or stamped with various ornamental patterns and
figures. The copying was done by several scribes, including Lukas Wagenrieder
(Senfl’s principal copyist), Johann Pollet, Hans Mayr, Peter Steydl and, quite
possibly, Senfl himself.
Earliest sources in this group (c1510–30)
include D-Mbs Mus.ms.1 (1 mass for 12 voices by Brumel, with the names
of the singers in Lassus’s hand), Mus.ms.3 (8 masses by Isaac), Mus.ms.10 and
12 (motets by Senfl and Josquin), Mus.ms.31 (mass Ordinary and Proper settings
by Isaac), Mus.ms.53 (Credos by Isaac, Brumel, La Rue and Compère) and several
others. Senfl himself may have copied some of the fascicles of these MSS while
at the imperial court of Maximilian I, and then brought them to Munich in 1523.
Mus.ms.35–8 contain Senfl’s Opus musicum of
1531, which consists of 144 mass Proper settings for the liturgical year,
arranged in cycles by feasts. About a third of the pieces are actually by
Isaac; some of these also appear in his better-known collection of mass Proper
settings, the Choralis constantinus. Also dating from c1531 are
Mus.ms.5 (masses by La Rue, Senfl and Bauldeweyn), and Mus.ms.25 (mass Propers
and motets by Sermisy, Senfl and Lebrun).
MSS dating from 1540s to 1560s include: Mus.ms.2
(masses by Jacquet of Mantua), Mus.ms.9 (masses by Daser, Lassus and Rore),
Mus.ms.11 (Magnificat settings, masses and motets by Flori and Lassus),
Mus.ms.16 (motets by Daser, Jacquet of Mantua, Lupi, Mouton, Rore, Senfl,
Sermisy, Verdelot, Willaert and Zarlino), Mus.ms.29 (mass Proper cycles by
Daser, Isaac and Jacotin [?Godebrye]), Mus.ms.43 (Magnificat settings
and motets by Le Maistre, Mahu, Walter and anonymous) and Mus.ms.47 (masses by
Bruck, Daser, Isaac, La Rue and Senfl).
Among the numerous MSS copied during the 1570s and
1580s are the following: Mus.ms.51 (masses by Courtois, Gosswin, Lassus and Ivo
de Vento), Mus.ms.54 (masses by Andrea Gabrieli, Lassus and others),
Mus.ms.2746 (masses by Daser, Andrea Gabrieli, Gosswin, Lassus and Lockenburg),
Mus.ms.21, 23, 48, 56 and 2748 (Magnificat settings by Lassus and
others), Mus.ms.55 (hymns by Lassus and anonymous), Mus.ms.2745 (Lamentations
by Lassus) and Mus.ms.15, 49, 50 and 2744 (motets by Lassus).
J.J. Maier: Die musikalischen Handschriften der
K. Hof- und Staatsbibliothek in Muenchen (Munich, 1879); Bente (1968); M.
Bente and others, eds.: Katalog der Musikhandschriften, i: Chorbücher
und Handscriften in Chorbuchartiger Notierung (Munich, 1989)
Sources, MS, §IX, 21:
16th-century German sources of Catholic music
(iv) Nuremberg.
Another group of late 16th-century German sources preserves music
for use at the church of St Aegidi in Nuremberg during the time Friedrich
Lindner was Kantor (1574–97). Originally about 25 large (average c53 ×
37 cm) paper MSS, at least 18 have survived major fires and wartime bombing
attacks. Copied by or under the direction of Lindner himself, they are known as
the ‘Lindner choirbooks’. The coat-of-arms of the Paumgärtner family of
Nuremberg is tooled on the original leather covers of almost all of the books;
apparently the Paumgärtners provided financial support for the preparation of
the MSS.
Although the Lindner choirbooks were copied for use in a Lutheran
church, they are discussed here because the liturgical repertory represented in
them is virtually indistinguishable from that in use at contemporary Catholic
churches. Nuremberg had been firmly aligned theologically with Lutheranism
since 1524, but a half-century of Protestantism produced relatively few radical
changes in the liturgical practices of Nuremberg’s churches, and the city
continued to be a major centre for the publication of liturgical music by
internationally famous Catholic composers. The Lindner choirbooks strongly
reflect this cosmopolitan flavour. With one minor exception, all of the pieces
are in Latin. Furthermore, most of the feasts of the Catholic rite (including
Marian feasts) are represented, and Catholic composers predominate
overwhelmingly. The Lindner choirbooks thus form a counterpart to the Erlangen
MSS (see §20), which originated in a nominally Catholic monastery but contain
distinctively Lutheran repertory.
11 of the Lindner choirbooks are now in D-Nla:
Fenitzer IV.2o 227, St Egidien 19, 27 and 33 (masses); Fenitzer IV.2o
222 and 226, St Egidien 20, 28 and 29 (motets); Fenitzer IV.2o 224
and St Egidien 30 (vespers music). Six MSS are in Ngm: 8820 Q (masses);
8820 B, 8820 N and 8820 X (motets); 8820 Z (masses and motets); 8820 T (Magnificat
settings). One of the mass MSS is now in B, where it bears the call
number Mus.40023 (formerly Z 23). All of the MSS in Nuremberg libraries are
described and inventoried by Rubsamen (1957).
Much of the repertory was apparently copied from contemporary
prints. As copies of some of these prints are no longer extant, the Lindner
choirbooks are unique sources for a substantial number of pieces. Among the
composers represented are Lassus (especially prominent), Rore, Ruffo,
Palestrina, Ingegneri, Philippe de Monte, Jacquet of Mantua, Andrea and
Giovanni Gabrieli, Riccio, Vecchi, Porta, Vaet, Annibale Padovano, Clemens non
Papa, Crecquillon, Phinot, Willaert, Utendal, Regnart, Formellis, Ivo de Vento
and Kerle. Only in D-Nla Fenitzer IV.2o 224 do a few
Protestant composers – Walter, Resinarius and Hähnel – appear.
W. Rubsamen: ‘The International
“Catholic” Repertoire of a Lutheran Church in Nürnberg (1574–1597)’, AnnM,
v (1957), 229–327
Sources, MS, §IX, 21:
16th-century German sources of Catholic music
(v) Regensburg.
Three sets of mid-16th-century partbooks containing Latin sacred
music are now in the Butsch collection of the Bischöfliche Zentralbibliothek at
Regensburg, where they bear the call numbers 211–15, 216–19 and 220–22. Carl
Proske, the founder of the library, purchased them from Butsch Antiquariat in
Augsburg in 1858. These three Butsch MSS contain 138 motets and 12 masses or
mass fragments, in addition to 11 German sacred pieces. Although the presence
of the German pieces might seem to suggest a Lutheran milieu, Windh (1971)
concluded that the denominational orientation and liturgical status of these
sources remains unclear. For one thing, the pieces in D-Rp B.211–15 are
arranged more or less alphabetically by text, with pieces by the same composer
grouped together – i.e. the ordering is non-liturgical. Furthermore, Catholic
composers – Josquin, Isaac, Arcadelt, Lupi, Sermisy, Hellinck, Mouton,
Ockeghem, Stoltzer, Bruck and Willaert – overwhelmingly dominate the
collection. A knowledge of the exact provenance of these MSS would obviously
help clarify their liturgical role, but definitive information is still
lacking. Some earlier scholars assigned the books to Protestant Saxony;
Hoffmann-Erbrecht (1974), reversing his earlier opinion, suggested probable
connections with the Catholic court of the Habsburg Emperor Ferdinand at
Salzburg and Vienna. (Several composers who served at that court are well
represented in these sources.)
P. Mohr: Die Handschrift B 211–215 der
Proske-Bibliothek zu Regensburg (Kassel, 1955); J. Windh: Early Lutheran
Masses (diss., U. of Illinois, 1971), 110ff; L. Hoffmann-Erbrecht:
‘Stoltzeriana’, Mf, xxvii (1974), 18–36
The Bischöfliche Zentralbibliothek also contains many other
choirbooks and partbooks with sacred polyphony from the mid- to late 16th
century. Proske included them in the series Antiquitates Ratisbonenses (usually
abbreviated A.R.); the catalogue numbers assigned to them correspond to
repertorial and liturgical layers rather than to the number and format of the
books themselves. Thus A.R.849–52 is not a set of four partbooks, but a single
choirbook with four repertorial layers. It appears that most of these MSS,
unlike the Butsch group, originated in Regensburg itself or in the vicinity.
Copied mostly during the 1570s, they share common scribes and watermarks, and
preserve a large repertory of masses, Magnificat settings, psalms, hymns
and motets. Rubrics are usually supplied and the pieces are grouped by feasts.
Among the choirbooks are A.R.838–43
(pieces for Advent, Nativity and Epiphany), 844–8 (Quadragesima and Holy Week)
and 849–52 (Easter). Sets of partbooks include A.R.853–4 and 855–6 (Nativity),
857–60 (Purification and Annunciation), 861–2 (St John the Baptist and St Michael),
863–70 (Quadragesima and Holy Week), 871–4 (Easter), 875–7 (Ascension), 878–82
(Pentecost), 883–6 (Trinity), 893 (motets for weddings) and 930–39 (Advent and
Nativity). Composers include Clemens non Papa, Cleve, Phinot, Crecquillon,
Gombert, Ivo de Vento, Kerle, Lassus, Regnart, Senfl, Stoltzer, Utendal, Wert,
Willaert, Paminger, Isaac, Sixt Dietrich, Berchem, Lechner, Manchicourt, Mouton
and many others.
Antiquitates musicae ratisbonenses
[handwritten catalogue of prints and MSS in Rp]; G. Haberkamp and J.
Reutter: Bischöfliche Zentralbibliothek Regensburg: Thematischer Katalog der
Musikhandschriften (Munich, 1989–90)
Sources, MS, §IX, 21:
16th-century German sources of Catholic music
(vi) Vienna.
Numerous MSS in the Österreichische Nationalbibliothek in Vienna
contain Catholic liturgical music from the mid- to late 16th century. The
following are representative:
Vienna, Österreichische
Nationalbibliothek, Suppl.Mus.15500. 338 paper folios, 47 × 32·5
cm; the original tooled leather covers have metal corners, buckles and clasps.
Copied by several scribes, the MS bears the date 1544 on the first folio.
Kirsch (1961) concluded that the source was of German provenance, but was
unable to fix an exact place of origin. Except for 2 introits, the 45 pieces
are all settings for the Office: Magnificat and Te Deum settings,
psalms and motets or other liturgical pieces. Trimming of folios at the top has
probably obliterated some composers’ names, but attributions to Berchem, Sixt
Dietrich, Finck, Lhéritier, Lupus, Richafort, Senfl, Sermisy, Stoltzer, Menon
(Tugdual) and Willaert are still legible. Composers identified from
concordances are Caen, Josquin, Couillart, Du Hamel, Ducis, Jonckers and
Morales.
W. Kirsch: ‘Ein unbeachtetes Chorbuch von 1544 in
der Österreichischen Nationalbibliothek Wien’, Mf, xiv (1961), 290–303
The remaining Vienna MSS listed below are a few of the many
sources which preserve repertory from one of the most important musical
establishments in 16th-century Europe – the imperial court chapel, located
variously at Vienna and Prague (under Maximilian I, it was also in Augsburg and
Innsbruck).
A-Wn Mus.15506, 15946, 15950,
15951 and 16194, copied during the late 16th century, contain mostly settings
of the Ordinary of the Mass. 198, 235, 275, 217 and 142 folios respectively, c56
× 41 cm. Composers represented are Cleve, Gatto, Lassus, Lambert de Sayve,
Annibale Padovano, Regnart, Philippe de Monte, Clemens non Papa, Crecquillon,
Janequin, Manchicourt, Vaet and others.
Wn Mus.16703, 16704 and 16705 are motet
sources. Each contains c300 folios, 46 × 36·5 cm. Composers represented
include Andrea Gabrieli, Gatto, Lassus, Annibale Padovano, Costanzo Porta,
Orfeo and Orazio Vecchi, Viadana, Cleve, Christian Hollander, Palestrina,
Regnart, Wert, Blasius Ammon, Jacobus de Bruck, Giovannelli, Handl, Rinaldo del
Mel, Merulo and Lambert de Sayve.
J. Mantuani, ed.: Codicum musicorum:
Cod.15501–19500, Tabulae codicum manu scriptorum … in Bibliotheca Palatina
Vindobonensi asservatorum, ix–x (Vienna, 1897–9/R); L.P. Pruett:
‘Sixteenth-Century Manuscripts in Brussels, Berlin and Vienna: Physical
Evidence as a Tool for Historic Reconstruction’, Manuscrits de musique
polyphonique originaires des anciens Pays-Bas; Manuscrits de musicque
polyphonique conservés en Belgique, ed. C. Ballman, M. Cornaz and H.
Vanhulst, RBM, l (1996), 73–92
Sources, MS, §IX:
Renaissance polyphony
22. Spanish and Portuguese cathedral manuscripts.
(i) Spain.
(ii) Portugal.
Sources, MS, §IX, 22:
Renaissance polyphony: Spanish and Portuguese cathedral manuscripts
(i) Spain.
The earliest Spanish sources of sacred music, dating from the very
late 15th century and the beginning of the 16th, are choirbooks of medium size
with music for Mass and Vespers often mixed with secular pieces. Music by foreign
composers dominates the repertory, though an increasingly large number of
pieces by Spanish composers is found. These books may have been copied for
private use, or they may have been used in cathedrals and other churches where
polyphony was sung, at a time when the polyphonic repertory of a Spanish choir
was still of a size to be contained in a single MS. If some of them do
represent the type of choirbook used in Spanish churches at this time, their
modest dimensions suggest that Spanish choirs were not yet as large as those in
Italy, England or Germany.
The following MSS are typical:
Barcelona, Biblioteca de Catalunya, 454. 190 paper
ff., 30·7 × 22·4 cm. Original foliation, original covers of black leather over
boards, an incomplete original index. Copied by some 15 scribes, over a period
of many years. Copying started in late 15th century and continued well into the
16th; dates between 1525 and 1535 are found at various places in later sections
of the MS. Of Spanish origin, though its exact provenance has not been
determined.
6 masses, 11 Magnificat settings, 3 psalms,
9 hymns, 1 Lamentation, 1 Passion, 53 motets, 26 Spanish pieces and 10 textless
pieces, by Francisco de Peñalosa (7), Compère (5), Matheo Flecha, i (5),
Mondéjar (4), Josquin (4), Anchieta (3), Brumel, Baena, Morales, Weerbeke,
Pastrana, Aldomar and others. Some 60 pieces remain anonymous. Music for Mass,
Vespers (Magnificat settings, hymns, psalms) and a selection of motets,
probably to be sung at Mass or Vespers, for the most important feasts of the
church.
F. Pedrell: Catàlech de la Biblioteca musical
de la Diputació de Barcelona, ii (Barcelona, 1909), 155ff; H. Anglès: La
música en la corte de los Reyes Católicos, MME, i (1941), 112–15; E.
Ros-Fábregas: The Manuscript Barcelona, Biblioteca da Catalunya, M.454
(diss., CUNY, 1992)Barcelona, Biblioteca Orfeó Catalá, 5. ii + 69 + ii
paper ff., 33·8 × 23·8 cm. Modern pencil foliation, added after some folios had
been lost from beginning of MS; no index, black pasteboard covers probably from
19th century. MS in 2 distinct parts: the first, ff.1–52, dates from the late
15th century and contains 6 Flemish masses; the second part, ff.53–69, is of
Spanish origin, dating from the early 16th century, and contains much Spanish
music.
6 masses, 6 mass Ordinary sections, 8 motets, 4
textless pieces, by Josquin, Isaac, Plaja, Cotes, Francisco de Peñalosa and
others.
H. Anglès: La música en la corte de los Reyes
Católicos, MME, i (1941), 115 onlyBarcelona, Biblioteca de Catalunya,
681. ii + 101 + ii paper ff., 37·4 × 26·5 cm. Modern pencil foliation,
modern cardboard covers, no index; rebound in late 18th or early 19th century,
when it was trimmed, with loss of almost all composer attributions. Originated
in Vich, near Barcelona, in first half of 16th century.
4 masses, 2 mass Ordinary sections, 3 Magnificat
settings, 4 psalms, 2 hymns, 1 Lamentation, 25 motets, by Josquin, Lhéritier,
Anchieta, Morales and others. 35 of the 42 pieces are unidentified.
F. Pedrell: Catàlech de la Biblioteca musical
de la Diputació de Barcelona, i (Barcelona, 1908), 246; H. Anglès: La
música en la corte de los Reyes Católicos, MME, i (1941), 134–5Segovia,
Catedral, Archivo Capitular, s.s. (formerly 18). 228 paper ff., 29·1
× 21·5 cm. Possibly originated at the Real Alcázar de Segovia. Copied in a
series of layers, late 15th–early 16th centuries.
9 masses, 4 mass Ordinary sections, c30
motets, 5 Magnificat settings, several Lamentations, and some 150
Flemish, French, Italian and Spanish secular pieces, by Obrecht (c20),
Alexander Agricola, Compère, Josquin, Johannes Martini, Tinctoris, Encina,
Anchieta, Mondéjar and others. The Spanish secular pieces are grouped in the
back, beginning at f.207, introduced by the inscription ‘Aqui comiensan las
obras castellanas’.
H. Anglès: ‘Un manuscrit inconnu avec polyphonie
du XVe siècle’ conservé à la cathédrale de Ségovie, AcM, viii (1936),
6–17; H. Anglès.: La música en la corte de los Reyes Católicos, MME, i
(1941), 106–12; R. Perales de la Cal, ed.: Cancionero de la Catedral de
Segovia (Segovia, 1977) [facs.]; N.K. Baker: An Unnumbered Manuscript of
Polyphony in the Archives of the Cathedral of Segovia: its Provenance and
History (diss., U. of Maryland, 1978); V. de Lama de la Cruz: Cancionero
musical de la Catedral de Segovia (Valladolid, 1994)
The amount of polyphony sung in churches increased during the 16th
century in Spain, as elsewhere. A single MS no longer sufficed to contain this
larger repertory, and sets of MSS began to be copied. The largest and most
handsome set was copied in Toledo for the use of the cathedral choir. These MSS
are large, beautifully decorated parchment choirbooks, many bearing the
coat-of-arms of Cardinal Siliceo (1489–1557), Archbishop of Toledo. The set was
begun in the early 1540s, when Torrentes was maestro de capilla,
continued through Morales’s tenure at Toledo (1545–7), and was completed in the
early 1560s. Morales, Josquin and Torrentes are the most widely represented
composers in this set of some 20 MSS. The earliest contained masses:
Toledo, Archivo y Biblioteca Capitulares
de la Catedral Metropolitana, 16. 107 parchment ff., 72·8 × 52
cm. Original covers of brown leather over thick boards, original foliation,
original index on a parchment folio from a chant MS pasted inside front cover.
Elaborate, beautifully illuminated initials begin each piece, more modest
secondary initials resemble tinted woodblock prints. Dated 1542, the MS is
numbered ‘2’ inside front cover in an old hand – apparently the second of this
set copied. A note on f.106v in the hand of Andrés de Torrentes,
‘maestro de Capilla di esta Santa Iglesia de Toledo’, attests that ‘este
cuaderno’ is correct.
6 masses, 1 of them fragmentary, by Josquin (2),
Mouton, Torrentes, Bauldeweyn and Morales.
F. Rubio Piqueras: Códices polifónicos
toledanos (Toledo, 1925) [description and inventory of surviving MSS]; R.
Stevenson: ‘The Toledo Manuscript Polyphonic Choirbooks and some other Lost or
Little Known Flemish Sources’, FAM, xx (1973), 87–107 [contents listed
in alphabetical order]; M. Noone: ‘A Manuscript Case-Study: the Compilation of
a Polyphonic Choirbook’, Companion to Medieval and Renaissance Music,
ed. T. Knighton and D. Fallows (London, 1992), 239–46E-Tc 19, 32 and 33,
containing among them 14 masses by Josquin, Mouton, Carpentras and Morales,
complete this first set of masses copied 1542–4. Next came Tc 18, with
music for Vespers. A first section of 62 folios contains hymns, psalms, a few
motets and a Te Deum; only 41 folios of an original 115 remain of the
second section, labelled ‘Libro de Magnificat’. Dated 1545, this book was
probably also copied before Morales came to Toledo. Composers include Josquin,
Torrentes, Costanzo Festa, Morales, García de Basurto and Francisco de
Peñalosa. Though undated, Tc 10 – with 19 motets by Josquin, Gombert,
Verdelot, Richafort, Jacquet and others – probably also dates from this period.
Tc 25, a collection of 36 pieces for
Vespers in slightly smaller format (68 × 48 cm), is the only book to bear a
date (1546, on f.38v) from the period of Morales’s tenure. Some were
copied later; f.76v is dated 1549. Badly damaged by water, with most of
the folios stuck together, it cannot be used today. Two other MSS in this
smaller format were also copied in 1549. Tc 21 has rather mixed contents
of motets and music for Holy Week, almost all by Spanish composers – Francisco
de Peñalosa (11), Morales (7), Torrentes (5), Boluda, Escobar, Pastrana and
Francisco de la Torre. Tc 34 is a collection of 15 Magnificat
settings by Morales and Torrentes.
A number of MSS are dated between 1550 and 1558.
The first is a motet collection:Toledo, Archivo y Biblioteca Capitular, 17.
99 parchment ff., 72 × 50 cm. Handsomely illuminated and decorated; a
coat-of-arms, probably of Cardinal Siliceo, has been cut out of the first
folio. Original index. The date 1550 is found in the initial of the tenor voice
on f.1v.
17 motets, by Morales (11), Josquin, Jacquet,
Conseil, Escobedo, Lupus and Verdelot.Tc 27 (1550) has 5 masses by
Morales and Josquin. Tc 28 (1552) has 5 more masses, by Morales, Berchem
and Antoine de Févin. Tc 13 (1554) contains 15 motets, by such composers
as Morales, Josquin, Escobedo, Clemens non Papa and Jacquet. Tc 9
(1558), a collection of 5 masses by Josquin, has an inscription on f.127v
attesting that it was ‘firmado y rubricado’ by the maestro de capilla,
Bartholomé de Quevedo.
Tc 29 (1558) has 3 masses by Morales. Tc
31, with 5 more masses by Morales, is undated but probably from this period, as
is also Tc 12, with its collection of psalms, hymns and Magnificat
settings by Torrentes, Bernal and Quevedo.
There are MSS from later in the 16th century. Tc
6 has masses, motets and Magnificat settings by Bernardino de Ribera,
who became maestro de capilla in 1563 and may have brought this book
with him. Pieces by the most famous Spanish composers of the later 16th century
– Guerrero, Victoria, Ceballos – are found in Tc 36, 11, 8 and 20, among
others. These later MSS were added to the collection at Toledo not as
replacements for the pieces found in the earlier set, which continued to be
popular throughout the 16th century, but as supplements to this repertory.
Though the art of polyphony was known and practised in Spain from
the 15th century (the chapels of Charles V and Philip II were famous for their
choirs and composers, and Spanish singers were sought for the papal choir), the
practice of singing polyphonic music did not spread from a handful of
internationally orientated courts and cathedrals until the second half of the
16th century. Polyphonic, mensurally notated music continued to be composed,
copied and sung throughout the 17th century and into the 18th. The nature of
the repertory was conservative and retrospective.
A number of MSS are preserved at the Escorial, the royal monastery
and residence north of Madrid:
San Lorenzo de El Escorial, Real
Biblioteca del Monasterio , 2. 97 ff. of heavy paper, 82·8
× 56·8 cm. Original foliation, original index, original covers of thick black
leather over boards, with ornamental brass studs. Rubrics identify feast for
which each piece was sung. Copied in 1604, for the choir at the Escorial, this
enormous choirbook is perhaps the largest known from the entire Renaissance.
4 masses and 38 motets, by Palestrina (24), Rogier
(10), Castillo, Ceballos, Lobo and Alfonso Ferrabosco.
C. Benito: Catalogo del Archivo de música del
Escorial (1875) [unpublished handwritten catalogue, in Mn]Other
choirbooks in this set are almost as large. E-E 3, with 33 motets and 3
Credos by Palestrina, Guerrero, Morales, Aguilera de Heredia and others,
measures 81 × 56·8 cm. E 1, copied in 1607, has 8 Passions and 8 motets
for Holy Week, by Castro, Guerau, Villanueva, Morales, Castellon, Valladolid
and Soler.
Other MSS in this set were copied during the same
period (E 4 and 5); others much later. E 6, a choirbook of 119
paper ff., 52 × 35·2 cm, contains 5 masses by Palestrina – copied in 1747. E
8 was copied in 1786 by Pablo Ramoneda and his pupil Gaspar Castillo; its 88
folios contain a mass, a Passion and 20 motets, by Palestrina, Soler, Ayden and
Torres. These later books were probably copied as replacements for earlier MSS
that were worn out from several centuries of use, and their smaller format
reflects a considerable decrease in the number of singers at the Escorial.A set
of 17 MSS copied between the late 16th century and the 18th is found in the
Archivo Capitular of Tarazona Cathedral. The music is largely by Spanish
composers, with many pieces by Francisco de Peñalosa, Escobar, Alonso de Alba
and Juan de Anchieta. Palestrina is the most widely represented foreign
composer; E-TZ 4, for example, has a cycle of 25 of his hymns, and TZ
10 contains 16 Magnificat settings. The later MSS in this set
demonstrate again how the copying of Renaissance polyphony continued in Spain
throughout the 17th century and into the 18th. These archives also hold several
chantbooks from same period, and 34 prints of the 16th and 17th centuries.
J. Sevillano: ‘Catálogo musical del Archivo
capitular de Tarazona’, AnM, xvi (1961), 149–76Among the 18 MSS of polyphony
in the Archivo del Músical of Valladolid Cathedral are 3 paper choirbooks of
sacred music by Guerrero, Vivanco, Navarro, Morales, Josquin and many of their
contemporaries (V 1, 2 and 5), and 3 single partbooks (from 3 different
sets) with motets by such composers as Navarro, Robledo, Ceballos, Lassus,
Willaert, Crecquillon, Guerrero, Josquin, Verdelot, Jacquet of Mantua and
Gombert (V 15, 16 and 17). The other MSS are from the 17th and 18th
centuries.
H. Anglès: ‘El Archivo musical de la catedral de
Valladolid’, AnM, iii (1948), 59–108A single MS without call number, now
in the Parroquia de Santiago in Valladolid, is of considerable interest. Its
155 paper ff., measuring 40 × 27 cm, contain some 50 motets, 2 masses, a
requiem mass, a Passion and a Lamentation, by Ceballos, Juan Navarro, Anchieta,
Pedro Guerrero, Morales, Francisco Guerrero, Montanos, Villalar and Alejo
Martin. The MS originated in Seville and is a valuable source of pieces from
that region of Spain. It is dated 1616, with the name ‘Diego Sanchez’ found at
beginning.
J.B. Elústiza and G. Castrillo Hernández: Antología
musical: siglo de oro de la música litúrgica de España (Barcelona, 1933),
pp.xix–xxivThe earliest MSS in the set in the Archivo de Música of the Capilla
Real in Granada come from the very end of the 16th century. E-GRcr 3, a
paper choirbook of 149 ff., measuring 49·5 × 36·5 cm, contains 39 motets and 2
psalms by Ceballos, Morales and unidentified composers. GRcr 5, dated
1598 and sharing a common scribe with GRcr 3, is a set of partbooks –
rare in cathedral repertories – with some 60 motets by Cotes (25), Morales,
Aranda, Jerónimo de Aliseda, Guerrero, Morales, Quevedo and others. Of the MSS
copied in the 18th century, GRcr 8 again illustrates the conservative
nature of Spanish church music. Copied in 1785, it contains 35 motets and a
dozen other pieces, by Guerrero, Duarte Lobo, Victoria, Cotes, Jerónimo de
Aliseda and other composers of the late 16th and early 17th centuries – copied
not as curiosities from a past age, but in Renaissance mensural notation to be
sung by the choir.
J. López-Calo: ‘El archivo de música de la Capilla
real de Granada’, AnM, xiii (1958), 103–28; J. López-Calo: La música
en la Catedral de Granada en el siglo XVI (Granada, 1963)Single MSS surviving
from late 16th and the 17th centuries may be remnants of similar cathedral
sets. Several are in a collection of the Hispanic Society in New York. US–NYhsa
**HC 380/861, 117 paper ff. measuring 57 × 44 cm, has 7 masses, by Palestrina,
Morales, Martín de Villanueva and Alonso Lobo. The Duke of Lerma’s coat-of-arms
is impressed on the leather covers, and the MS may have originated at the
collegiate church of S Pedro de Lerma. NYhsa **HC 380/870 is a
collection of 17 Magnificat settings and 6 motets, by Morales, Ceballos
and Philippe Rogier. It is a handsome book of 123 paper ff., 58·5 × 43 cm, with
original covers of dark brown leather tooled in gold, over boards. Dated 1608
at bottom of index, it may be from Burgos. These MSS, and two others from same
period, are described in R. Stevenson: Spanish Cathedral Music in the Golden
Age (Berkeley and Los Angeles, 1961/R)Madrid, private library of
Bartolomé March Servera, R.6832 (862) (formerly Biblioteca de la
Casa Ducal de Medinaceli, 607). i + 408 + i paper ff. measuring 29·4 × 20·8
cm. Much smaller than the usual Spanish choirbook of the time and an
interesting if atypical late 16th-century Spanish MS. The single scribe wrote
in a clear though undistinguished hand; no illumination, no decorated initials.
Too small to have been sung from in a cathedral and too plain to have been a
presentation MS, it appears to have been copied for the use of someone with an
interest in music. The layout is unusual for the time. First a set of 25
motets, on ff.1v–41v, by Morales, Mouton, Verdelot, Richafort,
Penet, Andreas Lopez, Gombert, Layolle and García de Basurto. Then 16 Magnificat
settings by Morales, ff.43–93v, with 2 anonymous Magnificat
settings added. A set of 23 masses follows, on ff.101–379v. All of
Morales’s printed masses are here, and an additional 2 found in no printed
collections. A group of 11 Spanish secular pieces was copied at the end, some
time later. It contains virtually all of Morales’s masses and Magnificat
settings; many of the motets in the first section are those used as models for
his parody masses.
H. Anglès, ed.: Cristóbal de Morales: Opera
omnia, MME, xi (1952), 57ff
Many more sets of MSS of this period survive in Spain – in
Seville, Alquézar, Zaragoza, Avila, Barcelona, Pastrana etc. – and many more
undoubtedly await discovery. Much work remains to be done, in locating sources,
identifying anonymous pieces, and working with archival records of musical
activity, before the curious history of Spanish Renaissance music is fully
known.
Sources, MS, §IX, 22:
Renaissance polyphony: Spanish and Portuguese cathedral manuscripts
(ii) Portugal.
The main surviving set of choirbooks in Portugal originates from
the monastery of S Cruz in Coimbra. The oldest of the set dates from the early
16th century:
Coimbra, Biblioteca Geral da
Universidade, M.12. i + 209 + i paper ff., 52·3 × 39 cm.
Original covers of tan tooled leather decorated by metal studs, original
foliation, incomplete original index on front fly leaf. In poor condition, with
many loose folios and much damage from ink corrosion. Copied in the early 16th
century.
8 masses, 12 Magnificat settings, 1
canticle, 2 psalms, 6 hymns, 35 motets, by Morangam, Francisco de Peñalosa,
Escobar, Vasco Pires, Paiva, Mouton, Pregador, Bento, Anchieta and others. More
than half the pieces remain unidentified.
S. Kastner, ed.: Inventário dos inéditos e
impressos musicais (Coimbra, 1937); M. de Sampayo Ribeiro: Os
manuscritos musicais nos. 6 e 12 da Biblioteca Geral de Universidade de Coimbra
(Coimbra, 1941)Other MSS in the set come from the late 16th century, some from
the 17th. Repertory becomes less international, dominated by Spanish composers
and by several local musicians. P-Cug 3 has 6 masses, 3 Lamentations and
4 motets, all but 1 of the pieces anonymous. Cug 9 also has mixed
contents – 6 masses, 25 motets, 2 Magnificat settings etc. – by such
composers as Morangam, Pregador, Vasco Pires, Bruxel, Paiva and Santa María.
Only Morangam with 6 pieces and Morales, Francisco de Peñalosa and Vasco Pires
with 1 each have been identified in Cug 32, with its 51 motets, 9 Magnificat
settings and 7 miscellaneous pieces. More than half the pieces in Cug
34, with its 28 Mass sections and motets for the Office of the Dead, have been
identified.
O. Rees: Polyphony in Portugal, c1530–c1620:
Sources from the Monastery of Santa Cruz, Coimbra (New York, 1995)
Sources, MS, §IX:
Renaissance polyphony
23. South and Central American manuscripts.
The earliest surviving MS sources of polyphony in this part of the
world date from the last quarter of the 16th century. Most of them seem to have
been in use at large metropolitan cathedrals and churches, though a few
belonged to smaller parish churches and missions established among the Indians.
At first there was a one-way flow from Spain; maestros de capilla and
other musicians went to the New World, taking with them the repertory of
Spanish churches of the time, in MSS and printed collections of music.
Renaissance polyphony continued to be sung throughout the 17th century and into
the 18th, as in Spain; much of the repertory was retrospective, and a certain
amount of it was composed in the New World by musicians who had emigrated from
Spain.
Among the earliest surviving sources are:
Bogotá, Archivo de la Catedral, s.s. (‘Gutierre
Fernández Hidalgo Choirbook’). c102 paper ff., c40 × 30 cm,
copied for use at the cathedral in Bogotá during the period that Fernández
Hidalgo (c1547–c1623) was maestro de capilla (1584–8).
Psalms, Magnificat settings (9) and motets
by Fernández Hidalgo (13), Ceballos (6), Victoria, Guerrero and others.
Remnants of another choirbook, c39 × 28 cm, copied at the same time,
preserve masses (at least 5), Magnificat settings (at least 10) and
motets, by Ceballos (8), Morales (7), Fernández Hidalgo and others. Many of the
pieces remain unidentified.
StevensonRB, 3ffGuatemala City,
Catedral, Archivo capitular, 2. 259 paper ff., 43 × 28 cm. Copied at the
Cathedral of Guatemala City in the 17th century. MS in 2 sections: ff.1–79
contain vesper hymns; ff.80–259, Magnificat settings and vespers motets.
MS 3 in this set, copied at various times from the 16th century to the 19th,
contains mostly motets (53). MS 1 has 12 masses and 15 motets, and was copied
in the 1760s; a note on f.1 explains that some of the masses were copied from a
collection first copied for the cathedral by Gaspar Fernandes in 1602.
26 Magnificat settings, 35 hymns and 13
motets, by Guerrero (20), Morales (16), Bermúdez (12), Palestrina, Ceballos and
others.
D. Pujol: ‘Polifonía española desconocida
conservada en el Archivo capitular de la Catedral de Guatemala’, AnM, xx
(1965), 3–10; StevensonRB, 65ffThe earliest MS surviving in Mexico City
seems to be one owned by Octaviano Valdés, canon of Mexico City Cathedral; its
139 folios contain masses, motets and a few hymns by Palestrina, Lobo, Colin
and others (StevensonRB, 131–2). The so-called ‘Códice del Convento del
Carmen’, with masses, Magnificat settings and motets by Juan de Lienas,
Victoria and Guerrero, is discussed in J. Bal y Gay: Tesoro de la música
polifónica en México (México, 1952). This MS seems to have disappeared, but
a microfilm is owned by the Library of Congress in Washington. The ‘Franco
Codex’, a beautifully illuminated parchment MS of 89 folios containing 14 (of
an original 16) Magnificat settings by Hernando Franco, was copied in
1611. This source is described and transcribed in S. Barwick: The Franco
Codex of the Cathedral of Mexico (Carbondale, IL, 1965); see also StevensonRB,
134. Originally housed in the cathedral, it has been moved to the Viceregal
Museum at Tepotzotlán.A set of 20 choirbooks is in Puebla Cathedral, with music
by Morales, Guerrero, Victoria, Palestrina, Hernando Franco, Lobo, Juan
Navarro, Torres, Rogier and others. Much of this vast repertory remains
anonymous. See R. Stevenson: ‘Sixteenth and Seventeenth Century Resources in
Mexico’, FAM, i (1954), 69–78; ii (1955), 10–15; continued as
‘Sixteenth- through Eighteenth-Century Resources in Mexico’, FAM, xxv
(1978), 156–87, and StevensonRB, 208ff
Among MSS now in the USA are:
Chicago, Newberry Library, Case VM
2147.C36 (#4). iii + 102 + i paper ff., 38·5 × 27 cm. Copied
probably at the Convento de la Encarnación, Mexico City, in the 17th century.
Original ink foliation, original covers of brown leather tooled in gold,
original index. One of set of 6 related choirbooks acquired by the Newberry
Library in 1899.
2 masses, 1 requiem mass, 3 Magnificat
settings, 4 psalms, 8 hymns, 12 motets, by Guerrero (8), Morales (2) and
others. Many are anonymous and not yet identified.
R. Stevenson: ‘Mexican Colonial Music Manuscripts
Abroad’, Notes, xxix (1972–3), 203–14; R. Stevenson: ‘Catalogue of the
Newberry Library Mexican Choirbooks (Case MS VM 2147 C36)’, Inter-American
Music Review, ix/1 (1987–8), 65–73The Lilly Library of Indiana University
in Bloomington acquired in 1969 a set of MSS first studied and filmed by
Stevenson in San Miguel Acatán, Guatemala, in 1963, apparently copied for use
at missions of Santa Eulalia, San Juan Ixcoi and San Mateo Ixtatán. Rather
crudely copied, by local musicians, they contain a wide range of pieces, from
masses and motets by Compère, Mouton, Sermisy and Isaac to a few polyphonic
settings of vernacular (Indian) texts. Typical is:Indiana University,
Bloomington, Lilly Library, Latin American MSS, Guatemala, Music 2. 19
paper ff., 31·5 × 21·5 cm. Poor condition with many folios missing or damaged.
Original covers of crude brown leather, probably deerskin, secured by three
leather thongs at the spine. Copied in 1582 at Santa Eulalia, Guatemala.
1 Kyrie, 1 Magnificat, 3 psalms, 5 motets,
2 vernacular pieces, 1 French secular piece, 3 textless pieces, by Isaac,
Sermisy and unknown composers. Only 2 of the 16 pieces have been identified.
StevensonRB, 50ff
Sources, MS, §IX:
Renaissance polyphony
24. Manuscript additions to prints.
A not inconsiderable amount of polyphonic music has come down in a
rather curious form: as hand-copied music added to printed collections. Some of
this music is also found elsewhere; some is unique to these sources.
Sometimes music has been copied on to pages (or parts of pages)
left blank in printed books of music. F-Pc Rés.41 is a copy of the 1532
print Liber primus missarum Carpentras. The verso of the folio on which
one mass ends is left blank, as is the recto of the folio on which the
following one begins. Thus there are four blank openings separating the five
masses, and four motets (three by Josquin, one by Mouton) have been copied in
these places, one on each opening.
In other cases, additional folios (cut to the same size as the
folios of the print) have been bound into the print, and additional music has
been copied on to these. F-Pc Rés.862 consists of 16 paper folios
measuring 22·3 × 16·6 cm added to a copy of Petrucci’s Motetti B (RISM
15031). A cycle of 20 hymns and a Magnificat by Gaffurius
occupy the MS section. One can see from a handwritten addition to the printed
index at the beginning of the book that there were originally 14 more MS
folios, containing three Magnificat settings and eight motets. The MS
addition was probably made in Milan c1505, though the hymns follow the
standard Italian tradition rather than the Milanese.
N. Bridgman: ‘Manuscrits clandestins: à
propos du Ms. Rés. 862 de la Bibliothèque nationale de Paris, fonds du
Conservatoire’, RdM, liii (1967), 21–7
Some MS additions are quite substantial in size:
Budapest, Orszáagos Széchényi Könyvtár (National
Széchényi Library) , Bártfa Mus.pr.1. 40 paper ff., 15·5 × 20 cm,
added to a copy of the superius partbook of RISM 15455. It may be
assumed that each of the other partbooks of the set (now lost) contained
similar MS additions. The pieces were copied at various times from c1555
to 1610 and after. This book was in the church of St Aegidi, Bártfa (now
Bardejov, Czech Republic) until 1915, when it was brought to the National
Library in Budapest.
1 mass Ordinary cycle, 11 Kyries, 5 Glorias,
settings of various mass Propers, 4 Magnificat settings, 18 motets, by
Michael Praetorius (15), Isaac (5), Lassus (4), Rener, Handl, Finck, Knöfel and
others. Many other prints in this collection have similar MS additions.
O. Gombosi: ‘Die Musikalien der Pfarrkirche zu St.
Aegidi in Bártfa’, Musikwissenschaftliche Beiträge: Festschrift für Johannes
Wolf, ed. W. Lott, H. Osthoff and W. Wolffheim (Berlin, 1929/R),
38–47
These are samples. There are many others, and probably more wait
to be discovered.
Once pieces of polyphony were copied into prints, they shared the
same function as the music already there. The motets added to F-Pc
Rés.41 were copied into a print in moderately large choirbook format, c41
× 27·5 cm, large enough to have been used by a number of singers grouped around
a lectern. If the masses were sung from this print, so were the added motets.
Likewise the partbook in Budapest could have been used for performance – of the
pieces added in MS as well as the printed ones. On the other hand, the Petrucci
print (Pc Rés.862) probably served as a collection from which pieces
could be copied into MSS, pieces selected from the MS addition as well as the
print.
Pieces added by hand to a printed collection often give clues as
to where that particular copy of the print was used.
