I-Bc Q.15

Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy

complete choirbook: 15th century, copying completed 1440

Archive	Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy (I-Bc)
Shelfmark	Q.15
Surface	Other
Numbering System	None
Measurements	280 x 200 mm
Other Identifiers	RISM: I-Bc15 RISM: BL CCM: BolC Q15 olim (Former shelfmark): Liceo Musicale 37
Notations	black full mensural coloration in black void coloration in red full
Relationships	Musart, Guillelmus (compiler) Gonzaga, Gianfrancesco (1395–1444) (composition(s) in honour of) Steno (composition(s) in honour of) Mocenigo (composition(s) in honour of) Foscari (composition(s) in honour of) Carrara, Stefano (composition(s) in honour of) Michiel, Albano (composition(s) in honour of) Marcello, Pietro (composition(s) in honour of) Malipiero, Francesco (composition(s) in honour of) Zabarella, Francesco (composition(s) in honour of) Correr, Antonio (composition(s) in honour of) Contarini, Giovanni (composition(s) in honour of) Dati, Leonardo (composition(s) in honour of) Malatesta da Pesaro, Pandolfo (composition(s) in honour of) Malatesta, Cleofe (composition(s) in honour of) Eugenius IV (1383–1447) (composition(s) in honour of) Emperor Sigismund (1368–1437) (composition(s) in honour of)
External Links	images 14th-century French music notation tutorials Transcribed texts
Provenance	Padua, Italy Vicenza, Italy Piacenza? Northern Italy, Italy
Contents	327 pieces from 56 composers

General Description

This manuscript is the largest international anthology of polyphonic music of the early 15th century. It was compiled in the Veneto, in Padua 1420-5 (stage I) and Vicenza 1430-35 (stages II-III), all copied by a single (unidentified) scribe. Later additions include one textless song and a partial index compiled by Guillelmus Musart.

Contents: 323 compositions excluding one Gloria and three motets on bifolios which duplicate items within the volume and now serve as flyleaves: 3 Introits, 16 Kyries (including one chant), 61 Glorias, 44 Credos (one duplication: 31 = 88), 10 Sanctus, 8 Agnus, 109 motets, 12 laude (Italian and Latin), 19 French songs, 1 textless song (later addition), 25 hymns, 9 Magnificats, 3 sequences.

The first half of the manuscript is mainly devoted to the Mass Ordinary, the second mostly to motets. Songs appear only as late additions in stage I, laude as additions at stage III. Most of the Mass Ordinary sections are grouped into cycles (some composite: 6 whole and two partial cycles) or Gloria-Credo pairs, some of which are linked compositionally, others apparently at the compiler’s initiative.

The motets include compositions in honour of Gianfrancesco Gonzaga, the Venetian doges Steno, Mocenigo and Foscari, the prelates Stefano Carrara, Albano Michiel, Pietro Marcello, Francesco Malipiero, Francesco Zabarella, Antonio Correr, Giovanni Contarini; the Dominicans and Leonardo Dati; Pandolfo Malatesta da Pesaro, Cleofe Malatesta; Eugenius IV, Eugenius and the Emperor Sigismund. Q15 can be associated with the humanist circle around the Venetian patrician bishop Pietro Emiliani of Vicenza, which drew on a high level of local musical competence that was continued under his successor, bishop Franceso Malipiero.

About 50 composers are represented, including native Italians, the first significant English imports to the continent, and composers from the north who were sought after and made their careers in Italy. The following numbers are approximate, allowing for attributions that are contested or from other sources: Alanus 1, Antonio da Cividale 5, Antonio Romano 6, Benet 2, Benoit 1, Binchois 5, Binchois/(Dunstaple) 1, (Bodoil) 1, Bosquet 2, Brassart 8, Brassart/ (J. Legrant) 1, (Cameraco) 1, Carmen 2, Christoforus de Monte 2, Ciconia 17, Cordier 2, Du Fay 68-71, Dunstaple 4, Sarto 2, T. Fabri 1, Feragut 6, Fontaine 2, (Forest) 1, Gemblaco [Franchois] 7-9, Gervasius de Anglia 1, Grenon 3, Grossin 4, Hasprois 1, Francus de Insula 1, A. de Lantins 23, H. de Lantins 6, G. Legrant 2, Limburgia 46-50, Loqueville 5, Luca 1, Matheus de Brixia 1, Natalis 1, Passet/(Césaris) 1, Power 3-6, Reson 4, Rondelly 1, Rubeus 2, Ruttis 1, Salinis 8, Tapissier 1, Velut 4, Vide 1, Briquet 1, Zacara da Teramo 12, N. Zacarie 1. Some 30 pieces are given anonymously, of which about 10 have been attributed and are included in the above counts.

About half the compositions are unique; some others are shared with and complemented by the slightly younger Veneto manuscripts Bologna, Biblioteca Universitaria 2216 and Oxford, Canon. misc. 213, as well as numerous concordances in Aosta 15 and the Trent codices. Q.15 is the most important source for the works of Zacara and Ciconia and for the early mass and motet compositions of Guillaume Du Fay, many of them unica (nearly a quarter of the manuscript). Du Fay's Missa Sancti Jacobi can be linked to the circle in which Q.15 was compiled.

Margaret Bent, 2009

Physical Description

Of the 343 folios, only 131 leaves survive from stage I, which was similar in size to the present book; the loss of perhaps 200 leaves is attested by earlier foliations and 92 capital letters cut from it, to be pasted into the later form of the book that we now have. Fragments of music on the backs of these letters provide rich material on changing repertory and tastes of the interventive compiler over a 15-year period, and earlier datings (before 1425) for compositions only known from later copies, sometimes in different versions. The discarded folios were replaced by new repertory and by pieces recopied from the older book often with editorial changes and in different order. The manuscript thus now embodies two overlapping, superimposed anthologies, with a third of their physical material in common, and perhaps half their repertory. These findings are especially important for Du Fay, to whose new mass and motet compositions the compiler seems to have had prompt access over a long period. Two illuminations survive from stage I, one from stage II. Du Fay’s Missa Sancti Jacobi initated work on stage II, c. 1430, and survives as a plenary cycle only here.

Margaret Bent, 2009

Watermark

Five different watermarks occur on the paper folios; some of these are also found in TrentC 87, TrentC 92, and MunBS Lat. 14274 (KanP). For a full codicological study and reference materials, see Margaret Bent, Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition. 2 vols. (Lucca: Lim Editrice, 2009)

Margaret Bent, 2009

Notation

black full mensural with red and black void coloration.

Margaret Bent, 2009

Foliation

Four different numberings are in current use, usually without indication of which system is being used. For a conversion chart and proposal for distinguishing the numberings, see Bent 2009. The piece numbering in the inventory uses the system by de Van, and the foliation uses the more modern arabic foliation, not the original roman.

Margaret Bent, 2009

Foliation

1-342

Margaret Bent, 2009

Decoration

About a third of the pieces have ornamented initials

Margaret Bent, 2009

Surface

mostly paper, but some parchment

Margaret Bent, 2009

DIAMM Note

Four different sets of foliations. Please specify which version when requesting images.

Margaret Bent, 2009

DIAMM Note

Recordings of repertoire from I-Bc Q.15 may be found on these albums:

Ensemble Ars Italica - Musica del XV Secolo in Italia - Tactus 40012201 [1991] Mala Punica - Sidus Preclarum. Ciconia: Complete Motets - Erato 3984-21661-2 [1998] The Clerks' Group - Dufay: Sacred music from Bologna Q15 - Signum 023 [2002] La Reverdie - Guillaume Du Fay: Missa Sancti Jacobi - Arcana 342 [2006] Le Miroir de Musique - Johannes de Lymburgia: Gaude felix Padua - Ricercar 402 [2019]

DIAMM, 2022

RISM Description

RISM BIV/5

XVe s., 351ff. Papier et parchemin, 276 x 200 mm.

Foliotation ancienne en chiffres romains ou arabes, complétée sporadiquement par une foliotation moderne. La numérotation des pièces ajoutée par Martini est souvent fautive et ne sera pas prise en compte ici. Les ff. 177v (au début du ms.), 120/14, 120/20, 167v à 169, 178v, 179, 187, 206/1 sont blancs. Le f. 168 mq. Les ch. 111 et 112 employés deux fois. Les ch. 172 à 177 sautés dans la foliotation. Notation mesurée noire. 7 à 9 portées par p. Initiales enluminées en coul. L'encre ayant rongé le papier, certains incipit sont illisibles.

Ms. de la collection du P. Martini qui en donne 3 fois la description dans son catalogue (cf. Bibliographie, Ms. Misc. H. 83). Pour constituer le ms. actuel, il semble que l'on ait d'abord détruit un ms. ancien dont on a coupé les capitales rouges ou bleues pour les coller sur le nouveau ms. Sur l'une d'elles actuellement décollée, on peut voir sur l'envers quelques notes de musique de la même écriture que le ms. qui nous est parvenu. Curieusement, les capitales originales (c'est-à-dire qui n'ont pas été collées) sont absolument semblables à celles provenant de l'ancien ms. (qui ont été collées). Certains chiffres romains de la foliotation ont été transformés lors de cette réfection du ms.: CIX est devenu CXI, CVI est devenu CVIII, etc. Il s'agit donc de la copie conforme d'un ms. plus ancien dont on a bouleversé l'ordre de certains cahiers et auquel on a ajouté ensuite quelques pièces. Quoiqu'il en soit, dans le ms. actuel on peut distinguer trois étapes: J rédaction primitive.

2 premier enrichissement du répertoire et transcription sur parchemin des feuillets usés.

3 fusion avec un autre répertoire plus récent, transcription sur papier des feuillets usagés, insertion de pièces profanes aux bas des p. restées libres. On a coutume de considérer ce ms. comme provenant de Piacenza (Ambros, Besseler) comme l'indique le P. Martini lui-même (Ms. Mise. H. 83, f. 96) qui le dit «venuto da Piacenza in occasione del Capitolo dei Reverendi Canonici di S. Salvatore portatomi dal P. Monari dell'ordine sudetto nel maggio 1757.» Cependant, certains détails iconographiques (lettre ornée du n° 273), la biographie de quelques-uns des compositeurs (Ciconia, D. Luca, P. Rubeus, Christoforus de Monte, Matheus de Brixia) ainsi que les allusions historiques de certains motets (nos 206, 243, 245, 256, 273) ont pu faire supposer que le ms. aurait été commencé pour la cathédrale de Padoue, sans que l'on puisse préciser où il a subi ensuite enrichissements et transformations (Clercx). Il fut en tout cas constitué pour l'usage d'une église comme le montre le riche répertoire de musique religieuse ordonné suivant la destination liturgique, tandis que les chansons sont dispersées au hasard. Les 328 pièces (les nos 1, 31, 216, 217, 218 étant copiés en double) constituent un répertoire qui peut se situer entre 1400 et 1435 environ, Dufay avec 62 pièces et Johannes de Lymburgia avec 48, suivis par Ciconia avec 18 et Arnold de Lantins avec 17, étant les mieux représentés. D'autre part, le style de la notation ne permet pas de dater le ms. après 1440.

On a suivi la foliotation (ancienne ou récemment complétée) telle qu'elle apparaît actuellement sur le ms., substituant cependant les ch. arabes aux ch. romains.

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Répertoire International des Sources Musicales

Census Catalogue of Music Description

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.

4 Masses, 13 Kyries, 57 Glorias, 40 Credos, 8 Sanctus, 4 Agnus, 9 Magnificats, 24 hymns, 118 motets, 11 laude, 19 French secular pieces, 1 Italian secular piece = 308

(Many of the Mass Ordinary sections are grouped into composite Masses and pairs)

Alain-2, Anglia-3, Antonio da Cividale-5, Antonio Romano-6, Benet-2, Benoit-1, Binchois-5, Binchois/(Dunstable)-1, Bosco [Bosquet]-2, Brassart-8, (Cameraco)-1, Carmen-3, Christoforus de Monte-2, Ciconia-13, Cordier-2, Dufay-69, Dunstable-4, Dusart [Sarto]-2, T. Fabri-1, Feraguti-6, Fontaine-2, (Forest)-1, Franchois-7, Gervasius de Anglia-1, Grenon-3, Grossin-3, Hasprois-1, Francus de Insula-1, A. Lantins-17, H. Lantins-4, H. Lantins/(Dufay)-3, G. Legrant-3, Limburgia-42, Loqueville-6, Luca-1, Matheus de Brixia-1, Natalis-1, Passet/(Césaris)-1, Power-3, Reson-4, Rondelly-1, Rubeus-2, Ruttis-1, Salinis-8, Tapissier-1, Velut-4, Vide-1, Villeroye [Briquet]-1, Zachara da Teramo-11, Zacharia-1, anon-33

342 folios, mostly paper but with some parchment folios as outer or middle bifolios of a gathering, 280 x 200. An old system of foliation in Roman numerals skips fascicles 11-12 and 20 (which have their own foliation), and ends with f. 318; another system of figures preceded by the letter "N" evidently represents an attempt to number the pieces, but it is quite inaccurate; modern foliation, 1-43, 43bis-190, 192-342. Rebound in new covers. Incomplete original index on first folio. Black mensural notation, with red and white coloration. Copied by a single scribe (Bent). About a third of the pieces have ornamented initials. Five different watermarks occur on the paper folios; some of these are also found in TrentC 87, TrentC 92, and MunBS Lat. 14274 (KanP).

Ca. 1420-35 (Bent). Probably copied in Padua or Vicenza (see ClercxJC, CoxM). Padre Martini acquired the manuscript from Piacenza in 1757.

Vol 4

Composers: Change " Insula-1" to "Francus de Insula-1." Physical: Copied by a single scribe (Bent).

Date/provenance: Ca. 1420-35 (Bent). Probably copied in Padua or Vicenza (see ClercxJC, CoxM).

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Click an entry to see more information about that item.

Folio / Pages	Composition / Item title	Source attribution	Composers (? Uncertain)
01v–02r	Et in terra pax [Gloria]	-	Brassart, Johannes (ca. 1400–1455) (?) Legrant, Guillaume (?)
Et in terra pax [Gloria] Brassart, Johannes (ca. 1400–1455) (?) Legrant, Guillaume (?) Appears on: 01v–02r Genres: Gloria (et in terra pax), Mass Ordinary Voice: Contratenor Languages: Latin Mensuration: [O] Clef: f4 Voice Text: Et in terra Voice: Tenor Languages: Latin Mensuration: [O] Clef: c4 Voice Text: Et in terra Voice: I Languages: Latin Mensuration: [O] Clef: c1 Voice Text: Et in terra pax hominibus, bonae voluntatis General Note This Gloria was copied early in stage III, without any red, on a single opening, the central bifolio removed from gathering XVII, with stage-II foliation but otherwise unused at stage II. This version (without Ct) is not indexed, is numbered but not listed by De Van, nor is it taken account of in Reaney's edition in CMM. It is the same piece as #80 (a late stage-III copy occupying two openings, with alternative 'alius contratenor'), which is attributed in the index to Brassart, a less likely attribution but nevertheless hitherto unremarked. It may form a pair with the Credo in Ao1 ff. 37v-39 (immediately following this Gloria) and Ao2 ff. 132v-135 (CMM 11/2, 82-89), both copies attributed to Jo. le Grant. 'Long' self-contained Amen. Copying Style Void coloration. Flagged semiminims. Fermatas on 'Criste', 'Amen'. Leger lines in Ct. Layout parts Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 77-81 (of Q15 #80).
03r	Missa: Salve sancta parens	Ar de lantins	Lantins, Arnold de (–1432)
Missa: Salve sancta parens Lantins, Arnold de (–1432) Appears on: 03r Genres: Introit, Proper Source Attribution: Ar de lantins Voice: I Languages: Latin Mensuration: [c-dot] Clef: c2 Voice Text: Salve sancta parens Voice: Contratenor Languages: Latin Mensuration: [c-dot] Clef: c4f2 Voice Text: Salve sancta parens Voice: Tenor Languages: Latin Mensuration: cut-c-dot Clef: f3c5 Voice Text: Salve sancta parens General Note A formal text script is used uniquely for this introit, the original first opening of the manuscript, with an illuminated S. #2, #3, #6, #7 may have been a complete Marian cycle into which the non-matching Ciconia Gloria–Credo pair was inserted. The double clefs, unusually, are not erased. The tenor /,c signature in all the Lantins movements of this cycle is exceptional; it moves entirely in breves, which equal the semibreves of the upper parts. Copying Style Red coloration. Flagged hooked semiminims. Red bars. Black sharp; red sharp on f with two black dots. T, Ct double clefs, not erased. Layout parts Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 1-3. Vatielli, Francesco, and Luigi Torri (editors). 1929. Mostra bibliografica musicale: Primo congresso internazionale di bibliografia e bibliofilia. Bologna, Archiginnasio, giugno 1929, exh. cat. Bologna. Pages: Edition: facs. facing p. 18.
03v–04r	Missa: Kyrie eleison	-	Lantins, Arnold de (–1432)
Missa: Kyrie eleison Lantins, Arnold de (–1432) Appears on: 03v–04r Genres: Kyrie eleison, Mass Ordinary Voice: Contratenor Languages: Latin, Greek Mensuration: [c-dot] Clef: c4 Voice Text: Kyrie eleison Voice: I Languages: Latin, Greek Mensuration: [c-dot] Clef: c2 Voice Text: Kyrie eleison Voice: Tenor Languages: Latin, Greek Mensuration: cut-c-dot Clef: c5 Voice Text: Kyrie eleison General Note For this cycle, and the mensuration, see notes on #2. Copying Style Red coloration. Flagged hooked semiminims. Red bars. Fermatas at some cadences. Repeat signs are double-stemmed semibreves flanked by paired red dots. T, Ct double clefs, F erased. Layout parts Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 4-10.
04v–06r	Et in terra pax [Gloria] [Tro] Spiritus et alme (II) [BH6]	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
Et in terra pax [Gloria] [Tro] Spiritus et alme (II) [BH6] Ciconia, Johannes (ca. 1370–1412) Appears on: 04v–06r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Jo ciconie Voice: II Languages: Latin Mensuration: [c-dot] Clef: c2 Voice Text: Et in terra pax hominibus Voice: I Languages: Latin Mensuration: [c-dot] Clef: c2 Voice Text: Et in terra pax hominibus Voice: Tenor Languages: Latin Mensuration: [c-dot] Clef: c4 Voice Text: Et in terra Voice: Contratenor Languages: Latin Mensuration: [c-dot] Clef: c4 Voice Text: Et in terra Copying Style No coloration. Red bars. T, Ct double clefs, F erased. Layout parts General Note Short (3-note) Amen followed by long Amen, both self-contained; style and layout suggest the long Amen was added later; long Amen of I (Amen de triplo) follows Tenor, short Amen precedes it. This Gloria does not match the Credo which follows in clefs, tonality, range or alternation, although upper voices are texted and have the same range, and alternate sections a2 and a3. Inessential (expendable) Ct added later, but at the same script stage. Signature ,c presumably preceding 'Qui tollis' in I on f. A4v is not clearly visible. This Gloria & the following Credo may have been inserted into this cycle, perhaps replacing matching movements by Lantins, no longer extant. Page turn at 'Qui sedes'. Both M4 and M5 are marked in Martini's inventory with pointing fingers. Item Bibliography Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #20. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 24 #6.
06v–08r	Patrem omnipotentem [Credo] [BH10]	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
Patrem omnipotentem [Credo] [BH10] Ciconia, Johannes (ca. 1370–1412) Appears on: 06v–08r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Jo ciconie Voice: II Languages: Latin Mensuration: [c-dot] Clef: c1 Voice Text: Patrem omnipotentem Voice: Tenor Languages: Latin Mensuration: [c-dot] Clef: c3 Voice Text: Patrem Voice: I Languages: Latin Mensuration: [c-dot] Clef: c1 Voice Text: Patrem omnipotentem Copying Style No coloration. Red bars. Sharp signs with and without two dots. Layout parts General Note Musical grounds for pairing this with the preceding Gloria (PMFC 24 #6) are negligible. See note to #4. Pairings have been suggested with PMFC 24 ##5, 7, 9. Self-contained long Amen only. Page turn at 'Et resurrexit'. Item Bibliography Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #26. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 24 #10.
08v–09r	Missa: Sanctus 'Marie filius'	Art de lantins	Lantins, Arnold de (–1432)
Missa: Sanctus 'Marie filius' Lantins, Arnold de (–1432) Appears on: 08v–09r Genres: Mass Ordinary, Sanctus [& Benedictus] Source Attribution: Art de lantins Voice: Tenor Languages: Latin Mensuration: cut-c-dot Clef: c3 Voice Text: Sanctus Marie filius Voice: Contratenor Languages: Latin Mensuration: [c-dot] Clef: c3 Voice Text: Sanctus Marie filius Voice: I Languages: Latin Mensuration: [c-dot] Clef: c2 Voice Text: Sanctus Marie filius General Note For this cycle, and the mensuration, see notes on #2. Small crosses above the stave mark the three Sanctus invocations in all three parts.Marked in Martini's inventory with a pointing finger. Copying Style Red coloration. Flagged hooked semiminims. Red bars. Sharp on b with two dots. Fermatas conclude the three Sanctus invocations. Layout parts Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 11-17.
09v–10r	Missa: Agnus Dei	Ar de lantins	Lantins, Arnold de (–1432)
Missa: Agnus Dei Lantins, Arnold de (–1432) Appears on: 09v–10r Genres: Agnus Dei, Mass Ordinary Source Attribution: Ar de lantins Voice: I Languages: Latin Mensuration: [c-dot] Clef: c1 Voice Text: Agnus Dei, qui tollis peccata mundi Voice: Contratenor Languages: Latin Mensuration: [c-dot] Clef: c3 Voice Text: Agnus Dei, qui tollis peccata mundi Voice: Tenor Languages: Latin Mensuration: cut-c Clef: c3 Voice Text: Agnus Dei, qui tollis peccata mundi General Note For this cycle, and the mensuration, see notes on #2. Third Agnus is cued ut supra. Copying Style Red coloration. Flagged hooked semiminims. Red bars. Layout parts Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 18-22.
09v–10r	Se ce n’estoit la tres doulce pensee	Anon	Anonymous
Se ce n’estoit la tres doulce pensee Anonymous Appears on: 09v–10r Genres: Rondeau, Song Source Attribution: Anon Voice: Contratenor Languages: French Mensuration: [c-dot] Clef: c3 Voice Text: Se ce nestoit Voice: Tenor Languages: French Mensuration: [c-dot] Clef: c3 Voice Text: Se ce nestoit Voice: I Languages: French Mensuration: [c-dot] Clef: c1 Voice Text: Se ce n’estoit la tres doulce pensee General Note I and T on recto, preceded by Ct on verso. Rondeau quatrain, decasyllables. Copying Style Void coloration. Flagged semiminims. Black bars. Layout parts
10v–11r	Missa sine nomine (Resvelliés vous): Kyrie eleison [Tro] Salvator noster	.G. du fay	Du Fay, Guillaume (1397–1474)
Missa sine nomine (Resvelliés vous): Kyrie eleison [Tro] Salvator noster Du Fay, Guillaume (1397–1474) Appears on: 10v–11r Genres: Kyrie eleison, Mass Ordinary Source Attribution: .G. du fay Voice: Tenor Languages: Latin, Greek Mensuration: [c-dot] Clef: c3 Voice Text: Kyrie eleison Voice: Contratenor Languages: Latin, Greek Mensuration: [c-dot] Clef: c3 Voice Text: Kyrie eleison Voice: I Languages: Latin, Greek Mensuration: [c-dot] Clef: c1 Voice Text: Kyrie eleison Copying Style Red coloration. Red bars. Sharps on f, c and d (for c) with two black dots; on c with one? and no dots. Layout parts General Note ##9, 10, 12, 14, 15 identified by Fallows 1982, 165-8, as Missa Resvelliés vous. It cannot be based on Du Fay's song, which is datable to 1423, at least two years after the copying of this mass; so at best the song may use material from the mass, as proposed by Fallows. No model for the mass is indicated in Q15, and indeed the song used as a page-filler within the mass (f. 14v-15) is not Resvelliés vous. PlanchartD accepts this relationship, but prefers not to name the mass after the song; rather, he thinks that Du Fay borrowed the striking 'Qui sedes' from the Gloria for the opening of his ceremonial song. Ven presents this mass mostly in two parts (I and T), but has a Ct for this movement only; it interpolates the tropes ‘salvator noster’, ‘emanuel nobiscum’ and ‘adonay magne deus’ in the three sections. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: 3/1. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.3 (1947). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #1.1 (with facs.).
11v–13r	Missa sine nomine (Resvelliés vous): Et in terra pax [Gloria]	.G. du fay	Du Fay, Guillaume (1397–1474)
Missa sine nomine (Resvelliés vous): Et in terra pax [Gloria] Du Fay, Guillaume (1397–1474) Appears on: 11v–13r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: .G. du fay Voice: I Languages: Latin Mensuration: [C] Clef: c1 Voice Text: Et in terra pax hominibus Voice: Contratenor Languages: Latin Mensuration: [C] Clef: c3 Voice Text: Et in terra Voice: Tenor Languages: Latin Mensuration: [C] Clef: c3 Voice Text: Et in terra Copying Style Some red coloration. Red bars. Sharps with two dots. Fermatas. Layout parts General Note See note on Kyrie (f. 10v). Long self-contained Amen only. In I, Ven places ‘Amen Amen Gloria sit semper tibi domine Yhesu Christe Amen Amen’ on the melisma following ‘patris’, and in the T ‘Amen Amen Amen’. Page turn at 'Qui sedes'. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/1. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.3 (1947). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #1.2. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 71-2 (incomplete, from Tr; Q15 concordance not noted).
13r	Kyrie Angelorum	Anon.	Anonymous
Kyrie Angelorum Anonymous Appears on: 13r Genres: Kyrie eleison, Mass Ordinary Source Attribution: Anon. Voice: I Languages: Latin, Greek Clef: c3 Voice Text: Kyrie angelor[um] General Note Chant. Not identified. Copying Style Square chant notation. Red bars. Repeat signs are red double-stemmed semibreves flanked by two dots. Layout parts
13v–15r	Missa sine nomine (Resvelliés vous): Patrem omnipotentem [Credo]	du fay	Du Fay, Guillaume (1397–1474)
Missa sine nomine (Resvelliés vous): Patrem omnipotentem [Credo] Du Fay, Guillaume (1397–1474) Appears on: 13v–15r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: du fay Voice: Tenor Languages: Latin Mensuration: [C] Clef: c3 Voice Text: Patrem Voice: Contratenor Languages: Latin Mensuration: [C] Clef: c3 Voice Text: Patrem Voice: I Languages: Latin Mensuration: [C] Clef: c1 Voice Text: Patrem omnipotentem Copying Style No coloration. Red bars. Sharps with two dots. Layout parts General Note See note on Kyrie (f. 10v). Amen not self-contained. Page turn at 'Et in spiritum'. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/1. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.3 (1947. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #1.3.
14v–15r	Belle teneis / La triquotee	Anon.	Anonymous
Belle teneis / La triquotee Anonymous Appears on: 14v–15r Genres: Rondeau, Song Source Attribution: Anon. Voice: I Languages: Italian Clef: c1 Voice Text: Belle teneis Voice: Contratenor Languages: French Clef: c4 Voice Text: La triquotee Voice: Tenor Languages: French Clef: c4 Voice Text: La triquotee General Note Rondeau quatrain, octosyllables. Tenor text, three decasyllabic lines. See Fallows 1999 for further bibliography. I and T on recto, Ct on preceding verso. See note on capital #71. Copying Style Void coloration. Flagged semiminims. Red bars. Sharp on c with single dot. Repeat signs in T and Ct. T, Ct double clefs, F erased. Layout parts
15v–16r	Missa sine nomine (Resvelliés vous): Sanctus	du fay	Du Fay, Guillaume (1397–1474)
Missa sine nomine (Resvelliés vous): Sanctus Du Fay, Guillaume (1397–1474) Appears on: 15v–16r Genres: Mass Ordinary, Sanctus [& Benedictus] Source Attribution: du fay Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Sanctus Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Sanctus ... Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Sanctus Copying Style Red coloration. Red bars. Sharps with one, two and no dots. A few fermatas at cadences without barlines. Layout parts General Note See note on Kyrie (f. 10v). Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/1. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.3 (1947). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #1.4.
16v–17r	Missa sine nomine (Resvelliés vous): Agnus Dei	du fay	Du Fay, Guillaume (1397–1474)
Missa sine nomine (Resvelliés vous): Agnus Dei Du Fay, Guillaume (1397–1474) Appears on: 16v–17r Genres: Agnus Dei, Mass Ordinary Source Attribution: du fay Voice: Tenor Languages: Latin Clef: c3 Voice Text: Qui tollis ... Voice: I Languages: Latin Clef: c1 Voice Text: (Agnus) Qui tollis ... Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Qui tollis ... Copying Style Red coloration. Red bars, also stage II. On verso (stage I), sharps with two dots, recto (stage II) with no dots. Layout parts General Note Publ. cf. AOs n° 107. See note on Kyrie (f. 10v) & Kyrie (f. 17v). Pasted capitals #48 and #63 were both cut from the stage-I f. R15 which was recopied at stage II. The pasted capital is a 'small' C (type Ib) with no music on the back, listed in the table of initials. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/1. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.3 (1947). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #1.5.
17v–18r	Kyrie eleison (KSA group)	du fay	Du Fay, Guillaume (1397–1474)
Kyrie eleison (KSA group) Du Fay, Guillaume (1397–1474) Appears on: 17v–18r Genres: Kyrie eleison, Mass Ordinary Source Attribution: du fay Voice: I Languages: Latin, Greek Clef: c2 Voice Text: Kyrie ... Voice: Tenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie ... Voice: Contratenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie ... Copying Style No coloration. Red bars. Repeat signs. Stage-I Ct double clefs, F erased. Layout parts General Note Three sections, Kyrie, Christe, Kyrie, each with triple repeat marks. Verso recopied at stage II, with I and T; stage-I Ct on recto with double clefs (F erased). Later-added text additions to the Ct (still within stage-I script) had started to make this a ninefold Kyrie by having three statements within each of the three musical sections, but were themselves later erased, presumably before the verso recopy, which has no sign of added text; the repeat signs for the Kyrie and Christe seem to be squashed in, perhaps later after the texting solution had been rejected. Uses pasted capital #1. See notes to Agnus (f. 16v), and pasted capitals #48 and #63. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/2. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 30;. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #2.1.
18v–19r	Et in terra pax [Gloria] 'Micinella'	.Z. Micinella	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Et in terra pax [Gloria] 'Micinella' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 18v–19r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: .Z. Micinella Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra ... Voice: II Languages: Latin Clef: c2 Voice Text: Et in terra ... Voice: Tenor Languages: none Clef: c4 Copying Style Red and red void coloration, Amen only. Red bars. Sharp with two dots. Repeat signs. T, Ct double clefs, F erased. Layout parts General Note Micinella.Long self-contained Amen. Does not meet the usual criteria for compositional pairing with the following Credo [but Fischer/Gallo & BaccoP argue for their being intended as a pair by Zacara - see bibliography]. See note on Sanctus (f. 21v) for a possible reason for the insertion of this Gloria and the Credo into a Du Fay mini-cycle. Atri, Q1 and Grot have (or had) Q15's voice II and Ct. However, all three agree in attesting some sectional voice reversal; all have Q15's voice I for 'Et in terra ... voluntatis' (Bent 1980a), possibly an original version from which Q15 is a minority variant. Variants in the Amen may also suggest part reversal. The acquisition of Lo82959 in 2007 was communicated to me by Nicolas Bell and has not yet been described in print. The verso of this single leaf (with a puzzlingly incomplete monophonic Sanctus on the recto) has I and T as in Q15. It is lavishly but amateurishly decorated with small gold-painted letters, rare in polyphonic sources; a similar gold capital is in the Zacar source Siena207. Reaney, New Grove (1980 edn), attributed the Gloria in Lbl Add. 29987, ff. 82v-83 to Zacara; Meyer 1981 (wrongly) lists it as a 3-voice arrangement of the Gloria Micinella, whereas Reaney had simply remarked on traits in common between the two works. Gaspari has added 'Tenore' in the side margin on the verso and 'Contratenore' on the recto. Item Bibliography Di Bacco, Giuliano, and John Nadas. 1998. The Papal Chapels and Italian Sources of Polyphony during the Great Schism. Papal Music and Musicians in Late Medieval and Renaissance Rome, edited by Giuliano Di Bacco and John Nadas, 44-92. Oxford: Clarendon Press. Pages: 56-58. Notes: links the 'Micinella' Gloria with the 'Cursor' Credo via the association of papal 'cursores' with the church of St Angelo de' Miccinelli. Fischer, Kurt von, and Franco Alberto Gallo (editors). 1985. Italian Sacred and Ceremonical Music (II) . Polyphonic Music of the Fourteenth Century. Monaco: Éditions de l'Oiseau-Lyre. Pages: II:3-16, 263-264. Notes: argues for the pairing of the 'Micinella' Gloria & 'Cursor' Credo. Günther, Ursula. 1970. Quelques remarques sur des feuillets récemment découverts à Grottaferrata. L'Ars Nova Italiana del Trecento III, 315-97. Nitschke, Wolfgang. 1968. Studien zu den Cantus-Firmus-Messen Guillaume Dufays. Berliner Studien zur Musikwissenschaft. Berlin. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #3. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:11/6, 31-4.
19v–21r	Patrem omnipotentem [Credo] 'Cursor'	.Z. cursor	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Patrem omnipotentem [Credo] 'Cursor' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 19v–21r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: .Z. cursor Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: (Credo) Patrem omnipotentem ... Voice: Tenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c2 Voice Text: (Credo) Patrem omnipotentem ... General Note 5 statements of T/Ct. T canon: 'primo sine pausis, secundo cum pausis, 3o converso (or 'contrario'?) de primo'; 2nd opening 'primo cum pausis, secundo sine pausis'. Ct: 'primo sine rubeis, secundo cum rubeis, 3o converso et dicitur semper cum pausis'; 2nd opening 'primo cum rubeis et semper cum pausis, secundo sine rubeis' (not 'pausis', as in Reaney). T, Ct, no opening rests. 'Sine pausis' refers to the omission of internal rests; the third T statement is as the first; the rubric presumably ought to read simply 'ut primo'. Similarly, the third Ct statement should omit the red notes, as in the first. Red notes are not mensurally significant and simply serve the canon, being marked for omission in some statements. Long self-contained Amen. Page turn at 'Et in spiritum'. Copying Style Red coloration, Ct only, not mensural; see notes. Red bars. Sharps with one or two dots. T, Ct double clefs, F erased. Layout parts Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #4. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 34-41.
21v–22r	Sanctus 'Vineux' (KSA group)	du fay	Du Fay, Guillaume (1397–1474)
Sanctus 'Vineux' (KSA group) Du Fay, Guillaume (1397–1474) Appears on: 21v–22r Genres: Mass Ordinary, Sanctus [& Benedictus] Source Attribution: du fay Voice: I Languages: Latin Clef: c2 Voice Text: Sanctus ... Voice: Tenor Languages: Latin Clef: c4 Voice Text: Sanctus ... Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Sanctus ... Copying Style No coloration. Red bars. Fermatas at some cadences without barlines. T, Ct double clefs, F erased. Layout parts General Note Chant sources for the Vineux T (also for the following Sanctus & Agnus) are Tournai, Bibliothèque capitulaire, MS 471, ff. 18v–19r (troped 'Qui vertice Thabor affuisti'), Lille, Archives départementales du Nord, MS 134, frag.12, f. 2r–v (from Cambrai; it shares a fascicle with the 'Missa ad tollendam schismam'); and Paris, Bibliothèque de l'Arsenal, MS 204, f. 22v (facsimile in WrightC 1989, 137). Another polyphonic setting of a Sanctus (troped 'Qui januas')–Agnus pair, sharing much material with each other and closely related to Du Fay's pair, is in Dijon, f. 3: see WrightC 1974, also Planchart 1993. PlanchartD suggests that the Vineux pieces reflect the early and still-schismatic years of the Council of Constance, which Du Fay may have visited from Cambrai, armed also with the Loqueville Sanctus Vineux; he also suggests that Zacar may have headed the Council chapel c. 1412-13, providing a reason for the interpolation of his Gloria and Credo (18v, 19v) into Du Fay's mini-cycle. Measured incipits in T. Marked in Martini's inventory with a pointing finger. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/2. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 33-4. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1948a, after p. 232. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #2.2; facs.
22v–23r	Sanctus 'Vineux' Tr: Qui januas mortis confregisti	Loqueville	Loqueville, Richard (–1418)
Sanctus 'Vineux' Tr: Qui januas mortis confregisti Loqueville, Richard (–1418) Appears on: 22v–23r Genres: Mass Ordinary, Sanctus [& Benedictus], Troped Sanctus Source Attribution: Loqueville Voice: II Languages: Latin Clef: [c1] Voice Text: Sanctus Voice: Contratenor Languages: Latin Clef: [c4] Voice Text: Sanctus Voice: Tenor Languages: Latin Clef: [c4] Voice Text: Sanctus Voice: I Languages: Latin Mensuration: o Clef: [c2] Voice Text: Sanctus Copying Style Sharps with one, two or no dots. Red triplet minims in I, no other coloration. Red bars. T, Ct double clefs, F erased. Concordances B-Tc 471 Layout parts General Note Tr: Qui januas morth confregisti [ = Tr: Qui vertici Thabor affuisti] Publ. cf. AOs n.105. Intonation and chant in T. For Vineux sources, see note to preceding Sanctus. Marked in Martini's inventory with a pointing finger. 'Sanctus vineus secundum loqueville'
23v–24r	Agnus Dei (KSA group)	du fay	Du Fay, Guillaume (1397–1474)
Agnus Dei (KSA group) Du Fay, Guillaume (1397–1474) Appears on: 23v–24r Genres: Agnus Dei, Mass Ordinary Source Attribution: du fay Voice: Tenor Languages: Latin Clef: c4 Voice Text: (Agnus) Qui tollis Voice: Contratenor Languages: Latin Clef: c4 Voice Text: (Agnus) Qui tollis Voice: I Languages: Latin Mensuration: [O] Clef: c2 Voice Text: (Agnus) Qui tollis Copying Style No coloration. Red bars. Sharps with dots, verso (stage I) only. Layout parts General Note See note to the paired Sanctus Vineux. Recto (Ct) recopied at stage II. See pasted capitals #1 and #3. This Agnus was followed by a Kyrie heading the following cycle, and the recopy undertaken in order to remove it. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: 1, Iv et V.
23v–24r	Jone gente	-	Hasprois, Johannes Symonis (fl. 1378-1428)
Jone gente Hasprois, Johannes Symonis (fl. 1378-1428) Appears on: 23v–24r Genres: Rondeau, Song Voice: II Languages: French Clef: c1 Voice Text: Jone gente Voice: Tenor Languages: French Clef: c3 Voice Text: Jone gente Voice: I Languages: French Mensuration: [c-dot] Clef: c1 Voice Text: Jone gente General Note Rondeau cinquain, octosyllables. No additional stanzas given. II and T recopied on stage-II recto; I original, on verso. Equal cantus parts.The nearly-vertical composer name in the left margin appears to date from stage I and cannot be attributed to trimming. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts
24v–25r	Et in terra pax [Gloria] [OH 31]	gervasius de anglia	Gervays, Claude (fl. c1400)
Et in terra pax [Gloria] [OH 31] Gervays, Claude (fl. c1400) Appears on: 24v–25r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: gervasius de anglia Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra General Note Long self-contained Amen, as in OH. The entire verso leaf was recopied, replacing two stage-I leaves, to eliminate a Kyrie from the beginning of this composite English cycle. Uses pasted capital #2. Copying Style Red coloration. Red bars. Layout parts
25v–26r	Patrem omnipotentem [Credo]	Johannes dunstaple anglicus	Dunstaple, John (ca. 1390–1453)
Patrem omnipotentem [Credo] Dunstaple, John (ca. 1390–1453) Appears on: 25v–26r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Johannes dunstaple anglicus Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Patrem Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: Patrem General Note The texted part labelled 'Contratenor' is a second, low, cantus part, not a true Ct by the English standards set in OH. Amen not self-contained. Copying Style Red coloration. One flagged semiminim. Red bars. Red sharp with dot. T, Ct double clefs, F erased. Layout parts
26v–27r	Sanctus	Jo benet Anglicus	Benet, John (–ca. 1458)
Sanctus Benet, John (–ca. 1458) Appears on: 26v–27r Genres: Mass Ordinary, Sanctus [& Benedictus] Source Attribution: Jo benet Anglicus Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Sanctus Voice: Tenor Languages: Latin Clef: c4 Voice Text: Sanctus Voice: I Languages: Latin Clef: c2 Voice Text: Sanctus Copying Style Red coloration. Red bars. Sharp with dot. T double clefs, F erased. Layout parts General Note Related to following Agnus, also to Benet's Gloria in Tr92 (ff. 165v-167v, #1521), published together with this Sanctus and Agnus in EECM 42, #1. Item Bibliography Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: facs. Wooldridge, Harry Ellis, and H V Hughes (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century. 2 vols. London: The Plainsong and Medieval Music Society. Pages: I.
27v–28r	Agnus Dei	Jo benet de anglia	Benet, John (–ca. 1458)
Agnus Dei Benet, John (–ca. 1458) Appears on: 27v–28r Genres: Agnus Dei, Mass Ordinary Source Attribution: Jo benet de anglia Voice: Tenor Languages: Latin Clef: c4 Voice Text: (Agnus) Qui tollis Voice: Contratenor Languages: Latin Clef: c4 Voice Text: partly texted Voice: I Languages: Latin Clef: c2 Voice Text: (Agnus) Qui tollis Copying Style Red coloration. Red bars. T, Ct double clefs, F erased. Layout parts General Note See note to preceding Sanctus. Item Bibliography Wooldridge, Harry Ellis, and H V Hughes (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century. 2 vols. London: The Plainsong and Medieval Music Society. Pages: II (facs.).
28v–30r	Et in terra pax [Gloria]	Anthonius Romanus	Romanus, Antonius
Et in terra pax [Gloria] Romanus, Antonius Appears on: 28v–30r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Anthonius Romanus Voice: Contratenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c2 Voice Text: Et in terra/Laudamus Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra/Laudamus Voice: Tenor Languages: none Clef: c4 Copying Style Red coloration. Flagged semiminims (some hooked). Red bars. Sharps with no, one or two dots. Some fermatas; non-adjacent fermatas in 'cum sancto'. T, Ct double clefs, F erased. Layout parts General Note Paired with Credo at 30v, well matched. Two very long Amens, self-contained, unus (a2, ,c) followed by chorus (a4, x). Honisch 2006 suggests that the original Amen may have been on the short figural melisma after 'patris', and this bipartite Amen added. II has duets only, Ct and T in tuttis only; an a versi setting (Bent 2004b). Page turn at 'Qui sedes'.
29v–30r	Helas emy madame	Ar de lantins (red)	Lantins, Arnold de (–1432)
Helas emy madame Lantins, Arnold de (–1432) Appears on: 29v–30r Genres: Rondeau, Song Source Attribution: Ar de lantins (red) Voice: I Languages: French Clef: c3 Voice Text: Helas emy madame Voice: Contratenor Languages: none Clef: c5 Voice: Tenor Languages: French Clef: c4 Voice Text: Helas emy madame General Note Rondeau quatrain, decasyllables. No additional stanzas given. See Fallows 1999 for further bibliography.I and T texted. Refrain text only underlaid. Copying Style Void coloration. Red and black bars. T, Ct double clefs, F erased. Layout parts
30v–32r	Patrem / Factorem	Anthonius Romanus	Romanus, Antonius
Patrem / Factorem Romanus, Antonius Appears on: 30v–32r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Anthonius Romanus Voice: I Languages: Latin Clef: c2 Voice Text: Patrem/Factorem Voice: II Languages: Latin Clef: c2 Voice Text: Patrem/Factorem Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Copying Style Red coloration (in upper parts only). Flagged semiminims. Red bars. Sharps with two or no dots. T, Ct double clefs, F erased. Layout parts General Note Paired with Gloria at 28v, well matched. II has duets only; Ct and T tuttis only. Very long self-contained Amen (a3; cf. #27, which has Amen a4), an a versi setting: see Bent 2004b, 2007a, where the Amen is misreported as also being a4. Page turn at 'Et resurrexit'.
32v–33r	Et in terra pax [Gloria]	baudet cordier	Cordier, Baude (fl. early 15 century)
Et in terra pax [Gloria] Cordier, Baude (fl. early 15 century) Appears on: 32v–33r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: baudet cordier Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style One red coloration group (Amen, II). Red bars. Sharp with two dots. Layout parts General Note Here paired with Credo at f.33, q.v. Both are a3, text in I only, same ranges, clefs and signatures and c mensuration. Long self-contained Amen in Gloria only (same in Apt). Sectional, tonal and especially stylistic differences weaken claims of a composed pairing. But Reaney (CMM 11/1) et al. suggest a pairing with Credo at f.49v (Tapissier), with which it shares clefs and signatures, mensural scheme and tonality. Both are in Apt, which does not scribally pair movements. The Tapissier Credo Amen in Apt is more similar than the Tapissier Amen in Q15 (f. 49v) to the Cordier Gloria Amen (Q15=Apt), qualifying them as a pair in Apt. See Palmer 1998 and note to #44.
33v–35r	Patrem omnipotentem [Credo]	.G. velut	Velut, Gilet
Patrem omnipotentem [Credo] Velut, Gilet Appears on: 33v–35r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: .G. velut Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Copying Style No coloration. Red bars. Sharps with one or two dots. Layout parts General Note = Credo at f.112v, where it is paired with Gloria at f.111v by Velut, q.v. See notes to Gloria at f.32v and Credo at f.49v for the low status of the pairing with the former. Reaney observes that in this copy (only) sharps approached from above have one dot, from below, two. Short (2-note) Amen only, self-contained. Page turn at 'Et resurrexit'. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 132-6.
33v–34r	Mon vrai desir	-	Anonymous
Mon vrai desir Anonymous Appears on: 33v–34r Genres: Rondeau, Song Voice: I Languages: French Clef: c4 Voice Text: Mon vray desir Voice: II Languages: French Clef: c4 Voice Text: Mon vray desir General Note Acrostic: marguerite. Rondeau quatrain, decasyllables. Full text completed after I; II also texted, equal voices. End of recto voice II on stave extension is trimmed off. Copying Style Void coloration. One red bar. I, II double clefs, F erased. Layout parts
35v–37r	Et in terra pax [Gloria] (iv/4) (Amen tropes Resurrexit dominus; Tu m’a monte)	.G. dufay	Du Fay, Guillaume (1397–1474)
Et in terra pax [Gloria] (iv/4) (Amen tropes Resurrexit dominus; Tu m’a monte) Du Fay, Guillaume (1397–1474) Appears on: 35v–37r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: .G. dufay Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: Latin Clef: c3 Voice Text: (partly texted) Voice: Tenor Languages: Latin Clef: c3 Voice Text: Et in terra Copying Style Red coloration. Red bars. Sharps with one or two dots. Fermatas for 'Jesu Christe' and short 'Amen'. Extra portions of (9th) staves on first opening. Layout parts General Note Paired with following Credo, well matched. Short self-contained Amen with fermatas, followed by very long self-contained Amen with trope, all texts unique to Q15: 'Resurexit dominus Alleluya/Et aparuit petro Alleluya': a common phrase most often found in the Peregrinus plays (PlanchartD). French trope texts added to Amen at stage II: 'tu ma monte su la pance et riens na fait /otre te reface dieu que ce ma fait'. (BU includes Q15's stage-I vernacular Credo trope, on which see note on Credo following, but not this one for the Gloria, added later; this may be significant.) The long Amen ('aliud Amen') is present in all sources except MuEm. Ao 62v has (textless) upper parts labelled primus and secundus discantus. In Ca11, short Amen precedes long Amen, also textless, no tropes. Ct in long Amen is grammatically inessential but is compositionally integrated with the imitative presentation of the trope. PlanchartD suggests that the two Amens are alternatives, one for most of the year, one for the Easter season, but that both may now be sung. Page turn at 'Quoniam'. M36 is marked in Martini's inventory with a pointing finger. 35', 36' have been added in modern pencil at the tops of ff. A35v, 36v.
37v–40r	Patrem omnipotentem [Credo] (iv/4) (Amen tropes Dic Maria, La vilanella)	.G. du fay	Du Fay, Guillaume (1397–1474)
Patrem omnipotentem [Credo] (iv/4) (Amen tropes Dic Maria, La vilanella) Du Fay, Guillaume (1397–1474) Appears on: 37v–40r Genres: Credo (patrem omnipotentem), Mass Ordinary, Troped Credo Source Attribution: .G. du fay Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Tenor Languages: Latin Clef: c3 Voice Text: Patrem Voice: Contratenor Languages: Latin, insufficient Clef: c3 Voice Text: (partly texted) Voice: II Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Red coloration and minim triplets. Flagged semiminims. Red bars. Sharps with one or two dots. Fermatas, also on breves and semibreves ('Ex Maria virgine'). Layout parts General Note Paired with preceding Gloria, well matched. Short self-contained Amen (4-note, with fermatas) followed by very long Amen, also self-contained, with tropes. Short Amen followed in all sources by long 'aliud Amen' as in the Gloria, except Ca11 where the short Amen is 'aliud' and follows the long. Only Ao is textless. Q15 texts, in I: 'Dic Maria quid fecisti postquam Jesum amisisti'; II: 'Matrem flentem sociavi, quam ad domum reportavi'; Ct: 'Et in terra me prostravi et utrumque deploravi'; T: 'O Maria noli flere, iam surexit Christus vere' (from the prose Surgit Christus cum trophaeo, AH 54, 366: PlanchartD). For all except the first of these, as a second row of underlay, ‘La vilanella non e bella se non la dominica’, apparently quoting an Italian song tune in all voices in turn, all texts added at stage I. BU thus varies the void-notation musical 'quotations': I, 'Dic Maria quod [q'd] fecisti postquam yhesus ammisisti'; II (informal script), ‘la vilanella non e bella se non la dominica'; T, no text; Ct (informal script), 'Et in terra me prostravi et utrumque adoravi'. Ca11, Ca6 long Amen texted 'O Maria virgo pia esto nobis propitia' (notated with '3', Q15 red) in all four voices, 'an all-purpose Marian trope' (PlanchartD), could be a Marian sequence (Honisch 2006). Ct in long Amen is grammatically inessential but is compositionally integrated with the imitative presentation of the trope. PlanchartD suggests that the two Amens are alternatives, one for most of the year, one for the Easter season, but that both may now be sung. Page turns at 'Crucifixus', 'Et unam'. M39 is marked in Martini's inventory with a pointing finger. 37' has been added in modern pencil at the top of f. A37v.
40v–41r	Et in terra pax [Gloria] (iv/3.1)	Hugo .de. lantins	Du Fay, Guillaume (1397–1474) (?) Lantins, Hugo de (fl. 1420-30)
Et in terra pax [Gloria] (iv/3.1) Du Fay, Guillaume (1397–1474) (?) Lantins, Hugo de (fl. 1420-30) Appears on: 40v–41r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Hugo .de. lantins Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Copying Style No coloration. Red bars. Sharps with two red dots. One sharp (end of I) has two red dots in black sharp. T, Ct double clefs, F erased. Layout parts General Note Paired with following Credo, well matched despite the different ascriptions. Accepted (by Besseler and others) as a work of Du Fay. Schoop 1971, 48-9, argues for authorship of Hugo de Lantins, as ascribed in Ao and Q15, where in both cases it is paired with Du Fay's Credo, and suggests that the Ox copyist 'corrected' the ascription on the wrong piece, Ox #124. Or was it ascribed to Du Fay in Ox on the assumption that pairs must be by the same composer? Fallows 1995a agrees with Schoop, but indexes this only as a work of Lantins, and the Gloria Ox #124, ff. 59v-60, attributed to Hugo, only as a work of Du Fay; although probably correct, this conceals the actual attributions. Fallows 1982, 175-7 suggests some kind of cooperation or rivalry between the two composers. Short (2-note) Amen, not self-contained.
41v–43r	Patrem omnipotentem [Credo]	.G. du fay	Du Fay, Guillaume (1397–1474)
Patrem omnipotentem [Credo] Du Fay, Guillaume (1397–1474) Appears on: 41v–43r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: .G. du fay Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: Patrem Voice: Tenor Languages: Latin Clef: c4 Voice Text: Patrem Copying Style No coloration. Red bars. Sharps with one or two dots. T, Ct double clefs, F erased. Layout parts General Note Paired with preceding Gloria, well matched despite the different ascriptions. Short 2-note Amen, not self-contained. Page turn at 'Et in spiritum'. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/3. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #3.2. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 73-4.
42v–43r	Un seul confort	[La]ntins	Lantins, Hugo de (fl. 1420-30) (?) Lantins, Arnold de (–1432) (?)
Un seul confort Lantins, Hugo de (fl. 1420-30) (?) Lantins, Arnold de (–1432) (?) Appears on: 42v–43r Genres: Rondeau, Song Source Attribution: [La]ntins Voice: I Languages: French Clef: c1 Voice Text: Ung seul confort Voice: Contratenor Languages: French Clef: c4 Voice Text: Ung seul confort Voice: Tenor Languages: French Clef: c4 Voice Text: Ung seul confort General Note Rondeau quatrain, decasyllables. Refrain only. All voices end with a semibreve. Copying Style Void coloration. Flagged semiminims. Red bars. Sharps with one or no dots. T, Ct double clefs, F erased. Layout parts Item Bibliography Borren, Charles van den (editor). 1950. Pièces polyphoniques profanes de provenance liégeoise (XVe siècle). Flores Musicales Belgicae, . Pages: Edition: 58 (as Hugo).
43v–43 bisr	Et in terra pax [Gloria]	Ar de lantins	Lantins, Arnold de (–1432)
Et in terra pax [Gloria] Lantins, Arnold de (–1432) Appears on: 43v–43 bisr Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Ar de lantins Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Red coloration. Flagged semiminims in major prolation, some hooked. Red bars. Fermatas ('Jesu Christe'). Layout parts General Note Paired with following Credo, well matched, except for its long self-contained Amen (unlike the Credo). Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 23-9.
43 bis v–45r	Patrem omnipotentem [Credo]	Ar de lantins	Lantins, Arnold de (–1432)
Patrem omnipotentem [Credo] Lantins, Arnold de (–1432) Appears on: 43 bis v–45r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Ar de lantins Voice: [no designation] Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Tenor Languages: none Clef: c3 Copying Style Red coloration. Red bars. Fermatas ('Amen'). Layout parts General Note Paired with preceding Gloria, well matched. Short (5-note) self-contained Amen with fermatas. Page turn at 'Et in spiritum'. Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 30-8.
44v–45r	Chanter ne scay ce poyse moi	Ar de la/ntins	Lantins, Hugo de (fl. 1420-30)
Chanter ne scay ce poyse moi Lantins, Hugo de (fl. 1420-30) Appears on: 44v–45r Genres: Rondeau, Song Source Attribution: Ar de la/ntins Voice: Tenor Languages: French Clef: c3 Voice Text: Chanter ne scay Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: French Clef: c1 Voice Text: Chanter ne scay General Note Rondeau quatrain, octosyllables. Full text completed after Ct. See Fallows 1999 for discussion of authorship and further bibliography. Only 'de Lantins' is visible, but he reads traces of Hugo; see also Schoop 1971, 48. 'Ar de la' was added at stage II to compensate trimmed ascription, the line break shown above by /; this is a primary witness for the binding that terminated stage I. Copying Style Void coloration. Flagged semiminims, void minim triplets. Red bars. Layout parts Item Bibliography Borren, Charles van den (editor). 1950. Pièces polyphoniques profanes de provenance liégeoise (XVe siècle). Flores Musicales Belgicae, . Pages: Edition: 56-7 (as Hugo.
45v–46r	Et in terra pax [Gloria]	.D. luca	Luca, D
Et in terra pax [Gloria] Luca, D Appears on: 45v–46r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: .D. luca Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Red coloration. Red bars. Layout parts General Note Irregularly paired with following Credo. Long self-contained Amen.
46v–48r	Patrem omnipotentem [Credo]	Feragut	Feragut, Beltrame
Patrem omnipotentem [Credo] Feragut, Beltrame Appears on: 46v–48r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Feragut Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Copying Style Red coloration and flagged semiminims in ,c. Red bars. Layout parts General Note Irregularly paired with preceding Gloria. Long self-contained Amen, also in BU (I and T only), where in I only it is preceded by an integral short (3-note) Amen. Page turn at 'Et in spiritum'. 46', 47' have been added in modern pencil at the tops of ff. A46v, 47v. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 81-7.
48v–49r	Et in terra pax [Gloria]	Tomas fabri scolaris tapisier	Fabri, Thomas
Et in terra pax [Gloria] Fabri, Thomas Appears on: 48v–49r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Tomas fabri scolaris tapisier Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Red coloration in Amen only, in ,c with flagged semiminims. Red bars. Layout parts General Note Paired with following Credo, well matched. See Palmer 1998 for this pairing, and notes to the Credo. The identification of Fabri as a pupil of Tapissier, with whose Credo this Gloria is paired, is a rare testimony from this period to a teacherly relationship; Tapissier's tutelage is documented from other sources (see New Grove II). Long self-contained Amen. 48' has been added in modern pencil at the top of f. A48v. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/1, 78-82.
49v–51r	Patrem omnipotentem [Credo]	Tapisier	Tapissier, Johannes (ca. 1370–ca. 1410)
Patrem omnipotentem [Credo] Tapissier, Johannes (ca. 1370–ca. 1410) Appears on: 49v–51r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Tapisier Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Red coloration in Amen only, in ,c with flagged semiminims. Red bars. Layout parts General Note Paired with preceding Gloria, well matched. Palmer 1998 notes musical links (cadential, textures, Amens and rhythmic patterns) with the Gloria; Endo 1999 suggests scribal editing to match the structure better to that of Gloria. Palmer suggests that the long self-contained Amen (in Q15 only) might be by Fabri (composer of the Gloria), replacing an original Tapissier Amen (allegedly the short Amen in Apt, more consistent in style with the Credo); it is disparate from the body of this Credo but similar to that of the Gloria, particularly its Amen; but more likely by the Q15 scribe. Otherwise there are strong grounds for pairing this with Cordier Gloria at f. 32v, matching in clefs, voicing, finals; also by same scribe in Apt, where they have similar Amens, that of Cordier being 'contained' in Tapissier's (Stäblein-Harder 1962, Palmer 1998). Page turn at 'Et in spiritum'. Item Bibliography Stäblein-Harder, Hanna. 1962. Fourteenth-Century Mass Music in France. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 1962 #52. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 23B #53, 244-9. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/1, 61-9.
51v–52r	Et in terra pax [Gloria]	Feragut	Feragut, Beltrame
Et in terra pax [Gloria] Feragut, Beltrame Appears on: 51v–52r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Feragut Voice: Tenor Languages: Latin Clef: c3 Voice Text: (partly texted)Domine Deus Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Red coloration in ,c. Red bars. Layout parts General Note Irregularly paired with following Credo, with which it corresponds in general alternation and mensurations, but not tonally. Long self-contained Amen.T texted for 'Domine deus'. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 70-73.
52v–54r	Patrem omnipotentem [Credo]	feragut	Feragut, Beltrame
Patrem omnipotentem [Credo] Feragut, Beltrame Appears on: 52v–54r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: feragut Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: Patrem Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Red coloration in ,c. Flagged (hooked) semiminims in ,c, Amen only. Red bars. Sharps with dot. Layout parts General Note Irregularly paired with preceding Gloria, with which it corresponds in general alternation and mensurations, but not tonally. Long self-contained Amen. Page turn at 'Et iterum'. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 74-80.
54v–55r	Et in terra pax [Gloria]	Ar de lantins	Lantins, Arnold de (–1432)
Et in terra pax [Gloria] Lantins, Arnold de (–1432) Appears on: 54v–55r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Ar de lantins Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style No coloration. Red bars. Fermatas ('Jesu Christe'). Layout parts General Note Paired with following Credo, well matched. 2-note Amen, not self-contained. Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 39-42.
55v–57r	Patrem Omnipotentem [Credo]	Art de lantins	Lantins, Arnold de (–1432)
Patrem Omnipotentem [Credo] Lantins, Arnold de (–1432) Appears on: 55v–57r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Art de lantins Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Copying Style No coloration. Red bars. Layout parts General Note Paired with preceding Gloria, well matched. 2-note Amen, not self-contained. Page turn at 'Et iterum'. Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 43-50.
55v–56r	Mon douce espoir mon souvenir	Ar [de] Lantins	Lantins, Arnold de (–1432) (?) Lantins, Hugo de (fl. 1420-30) (?)
Mon douce espoir mon souvenir Lantins, Arnold de (–1432) (?) Lantins, Hugo de (fl. 1420-30) (?) Appears on: 55v–56r Genres: Rondeau, Song Source Attribution: Ar [de] Lantins Voice: I Languages: French Clef: c1 Voice Text: Mon doulx espoir Voice: Tenor Languages: French Clef: c3 Voice Text: Mon doulx espoir Voice: Contratenor Languages: French Clef: c3 Voice Text: Mon doulx espoir Copying Style Void coloration. Red bars. Sharps with no dot. Layout parts General Note Rondeau quatrain, octosyllables. Ascription trimmed. 'Ar' replaced in red at stage II after trimming. See also the song at f. 44v. Filler for an opening containing a Credo by Arnold. Item Bibliography Borren, Charles van den (editor). 1950. Pièces polyphoniques profanes de provenance liégeoise (XVe siècle). Flores Musicales Belgicae, . Pages: Edition: 50-1.
57v–58r	Et in terra pax [Gloria]	le grant guilheme	Legrant, Guillaume
Et in terra pax [Gloria] Legrant, Guillaume Appears on: 57v–58r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: le grant guilheme Voice: Tenor Languages: Latin Clef: c4f2 Voice Text: Et in terra Voice: Contratenor Languages: Latin Clef: c4f2 Voice Text: Et in terra Voice: II Languages: Latin Clef: c3 Voice Text: Et in terra Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Red coloration. Red bars. Fermatas. Double clefs not erased. Layout parts General Note Irregular pairing with following Credo, also in Ox (see Fallows 1995b). Reaney (CMM 11/2 p. IV) proposes a more convincing pairing with the Credo Ao #80, 99v-102. Ao here does not pair movements. Endo 1999 suggests that Ao #80 was composed later to match this Gloria. For layout, signing and pairing see Bent 1996a, and 2004b for a versi status. Self-contained Amen (14 B + L), homophonic, 10-11 notes, with octave Ct cadence. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 53-5. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #18.
58v–59r	Patrem omnipotentem [Credo]	.le grant G.	Legrant, Guillaume
Patrem omnipotentem [Credo] Legrant, Guillaume Appears on: 58v–59r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: .le grant G. Voice: Tenor Languages: none Clef: c2 Voice: Contratenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: Patrem Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Red coloration. Red bars. Two fermatas. Layout parts General Note Irregularly paired with preceding Gloria, q.v. for the weak case for pairing. For layout, signing and pairing see Bent 1996a, and 2004b for a versi status. Long self-contained Amen (17 B + L). Mensurations reversed from the Gloria; tuttis are here in c. Ct has octave leaps. In Ox, the date 1426 is added later, Schoop 1971, 38; Boone 1999, 45. Page turns at 'Et resurrexit', 'Et iterum'. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 56-62. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #19, 127-33;.
60v–61r	Et in terra pax [Gloria]	loqueville	Loqueville, Richard (–1418)
Et in terra pax [Gloria] Loqueville, Richard (–1418) Appears on: 60v–61r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: loqueville Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c2 Voice Text: Et in terra pax/Laudamus Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra pax/Laudamus Copying Style Red coloration. Flagged semiminims in ,c. Red bars. T, Ct double clefs, F erased. Layout parts General Note Irregularly paired with following Credo, which is quite differently structured. Self-contained short (3-note) Amen with fermatas. Long Amen in Zwettl. II has duets only, Ct and T tuttis only. Order of voices on ZW f.77r is: I 'Et in terra' (duo), 'Laudamus', 'Gracias'; T 'Laudamus'; Ct 'Laudamus'; II 'Et in terra', 'Gracias'; Trompetta 'Et in terra', 'Gracias'. The trompetta is added to the duos. For trompetta and a versi status see Bent 2004b, Bent 2007a. Other parts completed on Zw 77v, but all fragmentary. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/3 #6.
61v–63r	Patrem	lovanio	Lovanio
Patrem Lovanio Appears on: 61v–63r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: lovanio Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c2 Voice Text: Patrem Voice: I Languages: Latin Clef: c2 Voice Text: Patrem Copying Style Red coloration. Red bars. T, Ct double clefs, F erased. Layout parts General Note Irregularly paired with previous Gloria, which is quite differently structured. Long self-contained Amen. Page turn at 'Et resurrexit'. Item Bibliography Hutchins, Robert Ralph. 1999. Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis and Hugo de Lantins. University of California, Los Angeles, Ph.D. Pages: Edition: 594-611.
63v–65r	Et in terra pax [Gloria]	H de salinis	Salinis, Hymbert de (ca. 1378–)
Et in terra pax [Gloria] Salinis, Hymbert de (ca. 1378–) Appears on: 63v–65r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: H de salinis Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Red and red void coloration. Red bars. Fermatas for 'Cum', 'dei patris Amen'. Layout parts General Note Paired with following Credo, well matched in alternation, cleffing, tonality, mensuration. 2-note self-contained Amen with fermatas. Trope text AH 47 p. 279, celebrating the end of the Schism, set as duets. Earlier thought to have been associated with the Council of Constance (Reaney CMM 11/7, p. IX); DiBacco/Nádas 1998 (and Bent 1998a, 29) instead propose Pisa 1409, when Salinis was present as a familiar of the new Pope and singer in his chapel, and this election was thought, prematurely, to end the Schism. 'Contratenor' inscribed on first opening (only), but no music was copied. 'Hugo' is the indexer's only obvious error; he may momentarily have confused Hugo de Lantins with Hubertus de Salinis, but correctly has 'Huberti' for the next occurrence. Page turn at 'Qui tollis'. M64 and 65 are marked in Martini's inventory with pointing fingers. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 34-40.
65v–67r	Patrem omnipotentem [Credo]	H de salinis	Salinis, Hymbert de (ca. 1378–)
Patrem omnipotentem [Credo] Salinis, Hymbert de (ca. 1378–) Appears on: 65v–67r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: H de salinis Voice: Tenor Languages: Latin Clef: c3 Voice Text: Patrem Voice: II Languages: Latin Clef: c1 Voice Text: Patrem Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Red coloration for imperfection and red void for sesquitertia. Red bars. Fermatas for 'Patrem', 'vitam venturi seculi Amen'. Layout parts General Note Paired with previous Gloria, well matched. Self-contained 2-note Amen with fermatas. Page turn at 'Et iterum'. See note on Gloria for pairing. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 41-6.
67v–69r	Et in terra pax [Gloria] 'Rosetta'	Zacar Rosetta	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Et in terra pax [Gloria] 'Rosetta' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 67v–69r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Zacar Rosetta Voice: Tenor Languages: Latin Clef: c5 Voice Text: (texted on first opening) Voice: I Languages: Latin Clef: b flat between 1/2 Voice Text: Et in terra Voice: Contratenor Languages: Latin Clef: c5 Voice Text: (texted on first opening) Copying Style Red coloration. Red bars. Double clefs, not erased. Layout parts General Note Irregularly paired with following Credo. Long self-contained Amen. Page turn at 'Qui tollis'.I, II texted. T and Ct texted on first opening; T but not Ct on second. Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #5. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 41-8.
69v–70r	Patrem omnipotentem [Credo] 'Scabioso'	Zacar Scabioso	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Patrem omnipotentem [Credo] 'Scabioso' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 69v–70r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Zacar Scabioso Voice: Tenor Languages: Latin Clef: c5 Voice Text: Patrem Voice: I Languages: Latin Clef: c3 Voice Text: Patrem Voice: Contratenor Languages: Latin, insufficient Clef: c5 Voice Text: ( texted on first and third.) Copying Style Red coloration. Red bars. Double clefs, not erased. Layout parts General Note Irregularly paired with previous Gloria. Long self-contained Amen. Parody of the ballata D’amor languire, identified by Nádas/Ziino 1990 from newly found leaves in Lucca. For the reading 'Scabioso' instead of the form Scabroso adopted hitherto, see Marchi 2000, ch. 7, 99-102, who points out that the music of 'Et incarnatus' quotes literally the opening of the piedi of the ballata, where the words are Grattar como rognoso, e non ò scabi. Discussed along with other 'borrowings' in Cuthbert 2004. Page turns at 'Et incarnatus', 'Qui cum patre'. No Martini number (71) was entered on the second opening. Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #1. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 48-57.
72v–74r	Et in terra pax [Gloria] 'Fior gentil'	Zacar Fior gentil	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Et in terra pax [Gloria] 'Fior gentil' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 72v–74r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Zacar Fior gentil Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c2 Voice Text: Et in terra Copying Style Red and red void coloration. Flagged semiminims. Red bars. Layout parts General Note Irregularly paired with following Credo. Unusual final cadence. Very long self-contained Amen. Page turn at 'Qui tollis'. Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #6. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 58-63.
74v–76v	Patrem omnipotentem [Credo] 'Deus Deorum'	Zacar deus deorum	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Patrem omnipotentem [Credo] 'Deus Deorum' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 74v–76v Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Zacar deus deorum Voice: Tenor Languages: Latin Clef: f4 Voice Text: Patrem Voice: I Languages: Latin Clef: c4f2 Voice Text: Patrem Voice: Contratenor Languages: Latin Clef: f4 Voice Text: Patrem Voice: II Languages: Latin Clef: c4f2 Voice Text: Patrem Copying Style Red coloration, including in recopied final recto. Flagged semiminims. Red bars. Double clefs, not erased. Layout parts General Note Irregularly paired with previous Gloria. Long self-contained Amen. Flat signatures in T and Ct erased. All parts texted. II has duets only, Ct and T in tuttis only. For a versi layout see Bent 2004b. Final recto of Ct was recopied at stage II without text and accidentals; see pasted capital #4. Uses pasted capital #3. Page turns at 'Et resurrexit', 'Et iterum', 'Confiteor'. Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #20. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 64-71.
76v–77r	Et in terra pax [Gloria]	Bosquet	Bosquet, Johannes (–ca. 1406)
Et in terra pax [Gloria] Bosquet, Johannes (–ca. 1406) Appears on: 76v–77r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Bosquet Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: none Clef: c3 Copying Style No coloration. Red bars, also in recopied recto. Layout parts General Note Attached to the following matching Gloria-Credo pair, with which it shares some features, tonality, cleffing and concision. The text is telescoped between upper parts of this very short setting. 2-note integral Amen. No Ct in Q15; recto recopied at stage II (with II and T). Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 23A #44, 182-3. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 4-7.
77v–78r	Et in terra pax [Gloria]	loqueville	Loqueville, Richard (–1418)
Et in terra pax [Gloria] Loqueville, Richard (–1418) Appears on: 77v–78r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: loqueville Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra/Laudamus Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra/Laudamus Copying Style No coloration. Red bars. Layout parts General Note Paired with following Credo, well matched, but the movements were united only at stage II. Amen not self-contained. The text alternates between upper parts of this short setting, labelled cursiva in Ox. The small pasted L on the recto may possibly have been cut from an earlier copy of the same Gloria (on account of the unusualness of Glorias starting at 'Laudamus'); this gathering was disturbed in order to insert this Gloria, uniting it with Loqueville's Credo #62; see note to #60. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/3 #8, 11-14. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #20,.
78v–79r	Patrem omnipotentem [Credo]	loqueville	Loqueville, Richard (–1418)
Patrem omnipotentem [Credo] Loqueville, Richard (–1418) Appears on: 78v–79r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: loqueville Voice: I Languages: Latin Clef: c1 Voice Text: Patrem/Factorem Voice: II Languages: Latin Clef: c1 Voice Text: Patrem/Factorem Voice: Tenor Languages: Latin Clef: c3 Voice Text: (some texting) Copying Style No coloration. Red bars. Layout parts General Note Paired originally with Bosquet Gloria at f. 76v and more suitably at stage II with Loqueville's at f. 77v, well matched. Amen not self-contained. The additional Ct (Ao) may not be compatible with II. Text is telescoped and alternated between I and II. Uses pasted capital #4. See pasted capital #8, cut from the replaced leaf f. R77. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/3 #9.
79v–80r	Et in terra pax [Gloria]	Hubertus de salinis	Salinis, Hymbert de (ca. 1378–)
Et in terra pax [Gloria] Salinis, Hymbert de (ca. 1378–) Appears on: 79v–80r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Hubertus de salinis Voice: Tenor Languages: Latin Clef: c3 Voice Text: (partial text) Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Red coloration ('Cum sancto' only). Red bars. Layout parts General Note Irregularly paired with following Credo, which it matches only in composer, cleffing and tonality, not in mensuration or scoring. Amen not self-contained. Q1 gives Q15's cantus I up to 'deprecationem nostram' and cantus II from 'Qui sedes' to the end, which, unlike Q15, places cantus I on top for the final cadence. Q1 also provides for fuller T texting (Bent 1980a). Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 47-9.
80v–82r	Patrem omnipotentem [Credo]	H. de salinis	Salinis, Hymbert de (ca. 1378–)
Patrem omnipotentem [Credo] Salinis, Hymbert de (ca. 1378–) Appears on: 80v–82r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: H. de salinis Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: II Languages: Latin Clef: c1 Voice Text: Patrem Voice: Tenor Languages: Latin Clef: c3 Voice Text: Patrem Copying Style No coloration. Fermatas on 'Patrem' and at the end; 'Amen' fermatas in II and T only. Layout parts General Note Irregularly paired with previous Gloria, which it matches only in composer, cleffing and tonality, not in mensuration or scoring. 2-note Amen, after fermata, not bar. Uses pasted capitals #5 and #6,both cut from the replaced middle leaf of these two openings, f. R80. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 50-5.
82v–83r	Et in terra pax [Gloria]	F. A. de civitato	Cividale, Antonius de
Et in terra pax [Gloria] Cividale, Antonius de Appears on: 82v–83r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: F. A. de civitato Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Copying Style Void coloration. Red bars. T, Ct double clefs, F erased. Tenor repeat signs. Layout parts General Note Paired with following Credo, with which it shares mensuration, tonality, cleffing and general style, well matched. T stated three times, other parts varied. The long self-contained Amen stands outside that structure. The index correctly expands the composer's name, demonstrating inside knowledge. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/5, 14-17.
83v–85r	Patrem omnipotentem [Credo]	Fr. Antonius de civitato	Cividale, Antonius de
Patrem omnipotentem [Credo] Cividale, Antonius de Appears on: 83v–85r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Fr. Antonius de civitato Voice: I Languages: Latin Clef: c2 Voice Text: Patrem Voice: Contratenor Languages: none Clef: c5 Voice: Tenor Languages: none Clef: c5 Copying Style Void coloration. Red bars. T, Ct double clefs, F erased. Extra (9th) stave on last recto. Layout parts General Note Paired with previous Gloria, with which it shares mensuration, tonality, cleffing and general style, well matched. Some recurrent T motives but no repetitions. Very long self-contained Amen. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/5, 18-24.
85v–86r	Et in terra pax [Gloria]	H. de lantins	Forest (?) Lantins, Hugo de (fl. 1420-30) (?)
Et in terra pax [Gloria] Forest (?) Lantins, Hugo de (fl. 1420-30) (?) Appears on: 85v–86r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: H. de lantins Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style No coloration. Two flagged seminimins in Ct. Red bars. Repeat signs. Layout parts General Note Paired with following Credo by short motto (Bukofzer 1950, 220) and more strikingly (Gossett 1966) by related T patterns stated X3 (Gloria) and X4 (Credo); well matched. Amen not self-contained. The attribution to Forest in the often unreliable MS MuEm seems less likely than Q15’s to Hugo de Lantins. Item Bibliography Hutchins, Robert Ralph. 1999. Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis and Hugo de Lantins. University of California, Los Angeles, Ph.D. Pages: Edition: 621-8, and with concordances, 629-52.
86v–87r	Patrem	Hugo de lantins	Lantins, Hugo de (fl. 1420-30)
Patrem Lantins, Hugo de (fl. 1420-30) Appears on: 86v–87r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Hugo de lantins Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Void coloration on recopied recto (one group only, Ct). Layout parts General Note Paired with previous Gloria, q.v.; well matched. Amen not self-contained. See pasted capital #7, cut from the replaced f. R86. T and Ct are mislabelled 'Et in terra' on the recopied recto. Item Bibliography Hutchins, Robert Ralph. 1999. Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis and Hugo de Lantins. University of California, Los Angeles, Ph.D. Pages: Edition: 653-64.
87v–89r	Et in terra pax [Gloria], [Tro] Gloria Laus Honor	Zacar	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Et in terra pax [Gloria], [Tro] Gloria Laus Honor Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 87v–89r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Zacar Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c3 Voice Text: Et in terra Voice: Contratenor Languages: Latin Clef: c3 Voice Text: (Ct texted with trope Gloria laus.) Copying Style Void coloration. Red bars. Two fermatas (on 'sanctus'). Layout parts General Note Irregularly paired with following Credo. Fermatas at 'Sanctus' only. Long self-contained Amen. Ct not relabelled on second opening. Uses pasted capital #7. Page turn at 'Qui tollis'. M88 and 89 are marked in Martini's inventory with pointing fingers.
89v–91r	Patrem omnipotentem [Credo] (III)	Zacar	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Patrem omnipotentem [Credo] (III) Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 89v–91r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Zacar Voice: II Languages: Latin Clef: c3 Voice Text: (Patrem) factorem Voice: I Languages: Latin Clef: c1 Voice Text: (Patrem) factorem Voice: Tenor Languages: Latin Clef: c3 Voice Text: (Patrem) factorem Layout parts General Note Irregularly paired with preceding Gloria. 2-note Amen with fermatas; additional long Amen (both self-contained) in Q15; long Amen only in ModA, Warsaw378. Incipit 'Patrem omnipotentem' in I, polyphony from 'Factorem'; T and Ct texted. Page turn at 'Et iterum'. Copying Style No coloration. Red bars. Fermatas on 'patris' and short 'Amen'. Item Bibliography Perz, Miroslaw (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia, . Pages: Edition: XIV, 395-403 (from Warsaw378). Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #21. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 77-85.
91v–93r	Et in terra pax [Gloria] [BH1]	Jo Ciconie	Ciconia, Johannes (ca. 1370–1412)
Et in terra pax [Gloria] [BH1] Ciconia, Johannes (ca. 1370–1412) Appears on: 91v–93r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Jo Ciconie Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c3 Voice Text: Et in terra Copying Style No coloration. Red bars. Layout parts General Note Paired with following Credo (at f. 93v), well matched. Self-contained long Amen, with longer ending than in Tr. Honisch 2006 thinks Tr may be original, commenting that the unique 'extended duet on the pentultimate note in the T ... is unparalleled in Ciconia's oeuvre, is stylistically dissimilar to the rest of the Amen', and may therefore have been extended by the Q15 scribe. Page turn at 'Qui sedes'. Item Bibliography Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #21. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 24 #1. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 1-2 (miscited as #94.).
92v–93r	L'aultre jour juer m'aloye	-	Insula, Francus de
L'aultre jour juer m'aloye Insula, Francus de Appears on: 92v–93r Genres: Chanson Voice: Contratenor Languages: French Clef: c3 Voice Text: lautre iour Voice: I Languages: French Clef: c1 Voice Text: lautre iour Voice: Tenor Languages: French Clef: c3 Voice Text: lautre iour General Note Eight-line balade, lines of 7 and 4 syllables. Full text, all three stanzas, follows Ct; Ox has only one stanza. See Fallows 1999 for further bibliography. Copying Style Void coloration. Red bars. Layout parts Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 24.
93v–96r	Patrem omnipotentem [Credo] [BH2]	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
Patrem omnipotentem [Credo] [BH2] Ciconia, Johannes (ca. 1370–1412) Appears on: 93v–96r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Jo ciconie Voice: II Languages: Latin Clef: c1 Voice Text: Patrem Voice: Tenor Languages: Latin Clef: c3 Voice Text: Patrem Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style No coloration. Red bars. Layout parts General Note Paired with preceding Gloria (at f. 91v), well matched. Long self-contained Amen. Item Bibliography Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #27. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 24 #2. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 3-6 (cited as #95).
96v–97r	Et in terra pax [Gloria] [BH3]	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
Et in terra pax [Gloria] [BH3] Ciconia, Johannes (ca. 1370–1412) Appears on: 96v–97r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Jo ciconie Voice: II Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Copying Style No coloration. Flagged semiminims in Amen in ,c Red bars. T, Ct double clefs, F erased. Layout parts General Note Irregularly paired with following Credo. 2-note Amen followed by very long Amen, unique to Q15, both self-contained. Ct: 'Laudamus te dicitur ter primo et secundo ut iacet tertio per semy'; no rubric for T, which must do likewise. As in 'Doctorum principem' at f. 299v, the need to alter a semibreve before another semibreve signals that this was originally conceived in Italian notation. Both pieces require the reinterpretation of the same notated tenor in imperfect and perfect mensurations. Item Bibliography Perz, Miroslaw (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia, . Pages: Edition: XIV, 332-9 (from Warsaw8054). Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #22. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 24 #3.
97v–98v	Patrem omnipotentem [Credo]	[J. DE CAMERACO]*	Cameraco (?) Semeriaco, Johannes de
Patrem omnipotentem [Credo] Cameraco (?) Semeriaco, Johannes de Appears on: 97v–98v Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: [J. DE CAMERACO]* Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Copying Style No coloration. Red bars. Layout parts General Note Irregularly paired with preceding Gloria. Short self-contained (2-note) Amen in Q15, long in Bar853, which is seriously mistranscribed in PMFC 23 due to a misunderstanding of coloration. The three versions differ considerably. All except the first verso was recopied, with textless Ct and T. Uses pasted capitals #8, #9. See pasted capitals #32 and #42 for stage-I copy. Strohm 1992, fn. 63 suggests that the unusual name of the papal singer Johannes de Semeriaco was 'corrected' to the familiar Latin name of Cambrai (Comeriaco, Cameraco). Coussemaker transcribed Stras only to 'erit finis', presumably the first opening? Q15 page turns at 'Et incarnatus', 'Et in spiritum'. Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 23B #62, 303-6. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 14-18;.
98v–100r	Et in terra pax [Gloria]	Antonius Romanus	Romanus, Antonius
Et in terra pax [Gloria] Romanus, Antonius Appears on: 98v–100r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Antonius Romanus Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra General Note Now entirely a stage-II recopy; pasted capital #22 attests its presence in stage I (with early script s-form), starting at the top of an opening. Long self-contained Amen. Page turn at 'Qui tollis'. Martini first wrote ‘N. 99’, deleted and replaced correctly by ‘100’. Copying Style No coloration. Red bars. Layout parts Item Bibliography Gallo, Franco Alberto (editor). 1965. Antonii Romani Opera. Antiquae Musicae Italicae Monumenta Veneta Sacra, . Pages: Edition: #6. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: CMM.
99v–100r	De bien amer quand l'ai enpris	P. fontaine	Fontaine, Pierre
De bien amer quand l'ai enpris Fontaine, Pierre Appears on: 99v–100r Genres: Rondeau, Song Source Attribution: P. fontaine Voice: I Languages: French Clef: c1 Voice Text: De bien amer Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 General Note Rondeau quatrain, octosyllables. See Fallows 1999 for more details. Fully recopied at stage II, probably replacing the stage-I song one page at a time, even though no longer physically attested at stage I, after which no songs were newly added. If newly added at stage II, this would be the only one, unlikely, given such a strong pattern. It follows a recopied Gloria. Copying Style Void coloration. Red bars. Layout parts General Note In this source, the piece is a fifth up from Oxford 213 (as in the Cantus of the Sevilla Chansonnier) and has a completely new Contratenor. (Clemens Goldberg, 2024) Item Bibliography Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: Edition: III #33.
100v–101r	Et in terra pax [Gloria]	grosin	Grossin, Estienne
Et in terra pax [Gloria] Grossin, Estienne Appears on: 100v–101r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: grosin Voice: Tenor Languages: Latin Clef: c3 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra General Note Endo 1999 suggests scribe was awaiting a true match but instead copied the old Credo, adjusting its sectional plan to match the Gloria. I (only) has extended Amen in Tr87, in addition to Q15's short Amen, which is not self-contained. Stage-III addition, no red, on unused but foliated stage-II opening. Copying Style Void coloration. Flagged semiminims. Ct on 6-line staves. Fermatas. Layout parts Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/3 #21. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 7-8.
101v–102r	Et in terra pax [Gloria]	-	Grossin, Estienne
Et in terra pax [Gloria] Grossin, Estienne Appears on: 101v–102r Genres: Gloria (et in terra pax), Mass Ordinary Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: none Clef: c3 Copying Style Void coloration. Void flagged semiminim triplets. Layout parts General Note Attributed in Q15 index only. Copied later than the preceding Gloria (f. 100v). 2-note Amen, not self-contained. Stage III (fine pen), no red, bridging from stage II to three substituted stage-III bifolios in the middle of gathering IX. Item Bibliography de Van, Guillaume. 1948. Inventory of Manuscript Bologna, Liceo Musicale, Q 15 (olim 37). Musica disciplina, 231-57. Pages: Facs.before p. 233.
102v–104r	Et in terra pax [Gloria]	-	Brassart, Johannes (ca. 1400–1455) (?) Legrant, Guillaume (?)
Et in terra pax [Gloria] Brassart, Johannes (ca. 1400–1455) (?) Legrant, Guillaume (?) Appears on: 102v–104r Genres: Gloria (et in terra pax), Mass Ordinary Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: f between 1/2 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra General Note = #1, q.v. This two-opening copy (stage III, fine pen), has an additional alius contratenor not present in the single-opening #1 (early stage III), nor in Ao; it does not participate in the figural self-contained Amen, but was completed editorially by Reaney. The hitherto unnoticed attribution of this Gloria in the Q15 index to Brassart (though anonymous in both Q15 copies) competes with the Aosta attribution to Jo. le Grant. Three substituted stage-III bifolios in the middle of gathering IX (R101-6) have stage-III roman foliation without red. Page turn at 'Qui tollis'. Copying Style Void coloration. Flagged semiminims. Ct uses leger line. Fermata (on 'criste' and 'Amen'). Layout parts Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: #6.
104v–105r	Et in terra pax [Gloria]	-	Gemblaco (Gembloux), Johannes Franchois de (?)
Et in terra pax [Gloria] Gemblaco (Gembloux), Johannes Franchois de (?) Appears on: 104v–105r Genres: Gloria (et in terra pax), Mass Ordinary Voice: Contratenor Languages: none Clef: f3 Voice: I Languages: Latin Clef: c3 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: f3 Voice Text: (Partly texted) Copying Style Void coloration. Fermatas. Layout parts General Note Paired with following Credo, well matched. This anonymous pair is attributed to Gemblaco by Feininger in DPLSER and Feininger 1975; discussed in detail by Gossett 1966, 222-31, as based on the same musical material (parody), but without reference to Feininger. 2-note self-contained Amen, variously notated (black, void, fermatas). One of only three Glorias left anonymous in the Q15 index. Late stage-III script, fine pen. Three substituted stage-III bifolios in the middle of gathering IX (R101-6) have stage-III roman foliation without red. Item Bibliography Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/11 (1952).
105v–107r	Patrem omnipotentem [Credo]	-	Gemblaco (Gembloux), Johannes Franchois de
Patrem omnipotentem [Credo] Gemblaco (Gembloux), Johannes Franchois de Appears on: 105v–107r Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: I Languages: Latin Clef: c3 Voice Text: (Patrem) factorem Voice: Contratenor Languages: none Clef: f3 Voice: Tenor Languages: none Clef: f3 Copying Style Void coloration and void triplets in circle. Flagged semiminims in ,c. Fermatas. Layout parts General Note Paired with preceding Gloria, well matched; q.v. for pairing, and modern attribution to Gemblaco. Very long self-contained Amen. Three substituted stage-III bifolios in the middle of gathering IX (ff. R101-6) have stage-III roman foliation without red. Late stage-III script, fine pen. Page turn at 'Et in spiritum'. Item Bibliography Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/11 (1952).
107v–108r	Et in terra pax [Gloria] (III)	-	Bosquet, Johannes (–ca. 1406) (?) Zacara da Teramo, Antonio (ca. 1350–ca. 1413) (?) Capua, Nicolaus de (?)
Et in terra pax [Gloria] (III) Bosquet, Johannes (–ca. 1406) (?) Zacara da Teramo, Antonio (ca. 1350–ca. 1413) (?) Capua, Nicolaus de (?) Appears on: 107v–108r Genres: Gloria (et in terra pax), Mass Ordinary Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: [no designation] Languages: none Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style No coloration. Layout parts General Note Irregularly paired with following Credo. Q15 has only voices I and II. Q15 shares shorter Amen with MuEm; BU for once has the longer Amen. MuEm and BU have all four parts, though with different contratenors. The editors of PMFC 23 favour Bosquet and therefore the MuEm version, suggesting that the different (and more lively) BU Ct, as well as the longer Amen, might have been added by Nicolaus de Capua.Stage-II copy with red; but the first verso (f. R106v) is a stage-III replacement without red. Martini indexes this as 'du vilage' but that must refer to the following Credo lower on the same opening. Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 23A #45, 184-9 [Bosquet]. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 7-12 [Bosquet].
107v–109r	Patrem omnipotentem [Credo], du vilage (Dominicale)	Patrem du vilage Zacar	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Patrem omnipotentem [Credo], du vilage (Dominicale) Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 107v–109r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Patrem du vilage Zacar Voice: I Languages: Latin Clef: c1 Voice Text: (Patrem) omnipotentem Copying Style No coloration. Layout parts General Note Irregularly paired with previous Gloria. Amen not self-contained. The filiation is discussed exhaustively in Memelsdorff 2004, with reference to other Zacara mass movements. The upper-voice ornamentations of Cop are judged to date from the 1440s. Stage-II copy with red; but the first verso (f. R106v) is a stage-III replacement without red. Two bifolios in the centre of this gathering were replaced with three, hence the stage-III change of the folio number from cv to cvii, raised by two thereafter until the duplication of cxi–cxii. The additional attribution to Zacar in the margin is in the hand of Gaspari. Page turns at 'Et incarnatus', 'Crucifixus'. Item Bibliography Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #22;. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 85-91. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 16-19 (Q15 concordance not noted).
109v–110r	Et in terra pax [Gloria]	grosin	Grossin, Estienne
Et in terra pax [Gloria] Grossin, Estienne Appears on: 109v–110r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: grosin Voice: [no designation] Languages: Latin Voice Text: Et in terra (= Gloria) Copying Style Void coloration. Layout parts General Note Irregularly paired with following Credo. Self-contained Amen. T notated for three statements with vertically aligned /xx signatures. No red (though some red show-through); early stage-III copy on stage-II opening. Item Bibliography Perz, Miroslaw (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia, . Pages: Edition: XIV, 228-32 (from Warsaw8054). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/3, 44-6;.
110v–111r	Patrem omnipotentem [Credo] [OH 83]	de anglia	Power, Leonel (–1445)
Patrem omnipotentem [Credo] [OH 83] Power, Leonel (–1445) Appears on: 110v–111r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: de anglia Voice: Contratenor Languages: Latin Clef: c5 Voice Text: Patrem Voice: Tenor Languages: none Clef: c5 Copying Style Red and red void coloration. Red void triplets. Flagged semiminims in both [x] and [,c]. Red bars. Layout parts General Note Irregularly paired with previous Gloria. Long Amen not self-contained. Ct texted, labelled later; not a true Ct and not so labelled in OH. Now entirely a stage-II recopy; presence in stage I is attested by pasted capital #52. Uses pasted capital #10. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 46/2 #83.
111v–112r	Et in terra pax [Gloria]	gilet velut	Velut, Gilet
Et in terra pax [Gloria] Velut, Gilet Appears on: 111v–112r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: gilet velut Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Copying Style Void coloration. Red bars. Layout parts General Note Irregularly paired with following Credo, q.v. Long self-contained Amen. Uses pasted capital #11. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 127-31.
112v–113v	Patrem omnipotentem [Credo]	gilet velut	Velut, Gilet
Patrem omnipotentem [Credo] Velut, Gilet Appears on: 112v–113v Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: gilet velut Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Copying Style No coloration. Red bars. Layout parts General Note = f. 33v. Recopied here presumably in order to effect an irregular pairing with previous Gloria by the same composer. See note to Gloria f. 32v for the unsuitability also of the earlier pairing. 2-note self-contained Amen. Uses pasted capitals #12, #13, #14. Page turn at 'Et in spiritum'. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 132-6.
113v–114r	Benedicamus Domino (I)	index: Du Fay	Du Fay, Guillaume (1397–1474)
Benedicamus Domino (I) Du Fay, Guillaume (1397–1474) Appears on: 113v–114r Genres: Benedicamus Domino, Motet Source Attribution: index: Du Fay Voice: I Languages: Latin Mensuration: [O] Clef: c1 Voice Text: Benedicamus domino Voice: Tenor Languages: none Mensuration: [O] Clef: c3 Voice: Contratenor Languages: none Mensuration: [O] Clef: c3 General Note Chant in festis solemnibus, identified by Besseler as GR Mass II, in T a fourth higher. PlanchartD notes that the chant is not a Benedicamus chant but an Ite missa est. The same tune, as the Benedicamus domino for Lauds on solemn feasts, appears in LU 124, AR 59 (variant) and LR 44. Page filler, added at late stage III (fine pen). Copying Style Void coloration, void semiminims. Fermata on penultimate. Layout parts Item Bibliography Planchart, Alejandro Enrique. 2018. Guillaume Du Fay. Cambridge: CUP. Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 9/1. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (5), 35. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #9. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 53, 24.
114v–115r	Et in terra pax [Gloria]	Ar de lantinis	Lantins, Arnold de (–1432)
Et in terra pax [Gloria] Lantins, Arnold de (–1432) Appears on: 114v–115r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Ar de lantinis Voice: I Languages: Latin Clef: c4 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: f4 Voice: Tenor Languages: Latin Clef: f4 Voice Text: Et in terra General Note Paired with following Credo, well matched. Like the immediately preceding Velut Credo (f.112v), this Lantins pair may have been recopied to effect this pairing. Long Amen, not self-contained. The end of the Amen differs in Q15, 3 breves longer than in BU. Widaman 1988 I, 181-211 argues that the BU copies of this Gloria-Credo pair may derive from Q15. See pasted capitals #45, #13, #58. Now entirely a stage-II recopy. Presence of this piece in stage I is attested by pasted capital #45, but it was probably not adjacent to #the Credo. Uses pasted capitals #15, #16, plus a 'T' of small status. Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas. Layout parts Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 51-72.
115v–117r	Patrem omnipotentem [Credo]	Ar de lantinis	Lantins, Arnold de (–1432)
Patrem omnipotentem [Credo] Lantins, Arnold de (–1432) Appears on: 115v–117r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Ar de lantinis Voice: I Languages: Latin Clef: c4 Voice Text: Patrem Voice: Contratenor Languages: none Clef: f4 Voice: Tenor Languages: Latin Clef: f4 Voice Text: Patrem Copying Style Void coloration. Flagged semiminims. Void triplets. Red bars. Fermatas. Layout parts General Note Paired with previous Gloria, q.v., well matched. Long Amen, not self-contained. Ending of Amen is different in Q15, 4 breves longer than in BU, recomposed by conservative BU scribe according to Widaman 1988, who also argues (I 181-211) that the BU copies of this Gloria -Credo pair may derive from Q15. T is texted. Pasted capitals #13 and #58 attest the presence of this Credo in stage I but not adjacent to the Gloria, q.v. for pairing and recopy. Uses pasted capitals #17, #18, #19, #20. Page turn at 'Cuius regni'. Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 73-109.
117v–118r	Et in terra pax [Gloria]	Jo franchois (de gemblaco added)	Gemblaco (Gembloux), Johannes Franchois de
Et in terra pax [Gloria] Gemblaco (Gembloux), Johannes Franchois de Appears on: 117v–118r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Jo franchois (de gemblaco added) Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Copying Style Void coloration. Red bars. Fermatas. Layout parts General Note Paired with following Credo, well matched; not adjacent in Ox, Ao. Long Amen is not self-contained, unlike the Amen(s) of the paired Credo, q.v. 'De gemblaco' was added in a separate operation from the attribution to Johannes Franchois, but by the same scribe, and probably soon afterwards. See Strohm 1990, 155. Uses pasted capitals #21, #22. Item Bibliography Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #13, 93-8.
118v–120r	Patrem omnipotentem [Credo]	Jo franchois	Gemblaco (Gembloux), Johannes Franchois de
Patrem omnipotentem [Credo] Gemblaco (Gembloux), Johannes Franchois de Appears on: 118v–120r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Jo franchois Voice: I Languages: Latin Clef: c1 Voice Text: (Patrem) factorem Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: (Patrem) factorem Copying Style Void coloration. Void triplets. Red bars. Fermatas. Layout parts General Note Paired with preceding Gloria, q.v., well matched. Short (5-note with fermatas) followed by long Amen (both self-contained), in Q15, which is stylistically matched to the body of the Credo; this long Amen is also in Ca11, Ca6, but without the short Amen. Ox has two short Amens only (the last 2 notes of the Q15 short Amen, then the first 3); Ao has this 3-note Amen followed by the long Amen. Uses pasted capitals #23, #24, #25. Page turn at 'Et in spiritum'. Item Bibliography Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #14-14bis, 99-109.
120v–121r	Et in terra pax [Gloria]	Jo de lymburgia	Lymburgia, Johannes de
Et in terra pax [Gloria] Lymburgia, Johannes de Appears on: 120v–121r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Jo de lymburgia Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c4 Copying Style Void coloration. Red bars. Layout parts General Note Paired with following Credo, well matched. 2-note Amen, not self-contained. Uses pasted capitals #26, #27, #28. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #4.
121v–123v	Patrem omnipotentem [Credo]	Jo de lymburgya	Lymburgia, Johannes de
Patrem omnipotentem [Credo] Lymburgia, Johannes de Appears on: 121v–123v Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Jo de lymburgya Voice: I Languages: Latin Clef: c2 Voice Text: Patrem Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Copying Style Void coloration and minim triplets. Flagged semiminims. Red bars. Fermatas at two cadences. Layout parts General Note Paired with preceding Gloria, well matched. 'Long' Amen not self-contained. Uses pasted capitals #29, #30, #31 for 'Et vitam'. Page turn at 'Crucifixus'. There appears to be a \| mark on 122v, at far left-hand edge of page. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #5.
124r	Kyrie Cum Jubilo in festis B.M.V. ou De domina	du fay	Du Fay, Guillaume (1397–1474)
Kyrie Cum Jubilo in festis B.M.V. ou De domina Du Fay, Guillaume (1397–1474) Appears on: 124r Genres: Kyrie eleison, Mass Ordinary Source Attribution: du fay Voice: I Languages: Latin, Greek Clef: c2 Voice Text: Kyrie Voice: Tenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Voice: Contratenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Copying Style Void coloration and semiminims. Layout parts General Note Threefold, sectional, no repetitions marked. GR IX (Melnicki 1954 #171), for Lady Masses, Marian feasts and commemorations. Late stage III, fine pen. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/18. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 9-10;. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11, IV.
124v–125r	Kyrie 'angelorum'	binchois (kyrie angelorum added)	Binchois, Gilles (ca. 1400–1460)
Kyrie 'angelorum' Binchois, Gilles (ca. 1400–1460) Appears on: 124v–125r Genres: Kyrie eleison, Mass Ordinary Source Attribution: binchois (kyrie angelorum added) Voice: Tenor Languages: Latin, Greek Clef: c3 Voice Text: Kyrie Voice: II Languages: Latin, Greek Clef: c1 Voice Text: Kyrie Voice: I Languages: Latin, Greek Clef: c1 Voice Text: Kyrie General Note For the signatures, see Bent 1996a, Bent 2000. Sectional repeats shown by vertically aligned signatures with and without strokes, three signatures for Kyrie, Christe, two for the last Kyrie, with separate final statement. Tr871 scribe gives musical incipit of Gloria Tr #1366 to signal pairing; MuEm and Tr871 lack 3rd section; for transmission see WrightP 1989, 153-7. Late stage III, fine pen. Copying Style Void coloration. Repeats indicated by aligned circle signatures with and without strokes. Layout parts Item Bibliography Kaye, Philip (editor). 1992. The Sacred Music of Gilles Binchois. Oxford. Pages: Edition: #9. Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/5 (1949; from Tr87). Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 48.
125v	Kyrie 'orbis factor'	In dominicis diebus du fay	Du Fay, Guillaume (1397–1474)
Kyrie 'orbis factor' Du Fay, Guillaume (1397–1474) Appears on: 125v Genres: Kyrie eleison, Mass Ordinary Source Attribution: In dominicis diebus du fay Voice: I Languages: Latin, Greek Clef: c1 Voice Text: Kyrie Voice: II Languages: Latin, Greek Clef: c1 Voice Text: Kyrie Voice: Tenor Languages: Latin, Greek Clef: c3 Voice Text: Kyrie General Note Kyrie, Christe, Kyrie, sectional, no repeats indicated. GR XI (Melnicki 1954 #16), for Sundays in the use of the Roman curia (Kovarik 1975, MMMA 19, XIII). Late stage III, fine pen. Copying Style No coloration. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/16. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1, IV (no 12). Dèzes, Karl. 1927. Messen- und Motettensätze des 15. Jahrhunderts. Augsburg. Pages: Edition:.
126r–126v	Kyrie 'fons bonitatis'	du fay Kyrie fons bonitatis	Du Fay, Guillaume (1397–1474)
Kyrie 'fons bonitatis' Du Fay, Guillaume (1397–1474) Appears on: 126r–126v Genres: Kyrie eleison, Mass Ordinary Source Attribution: du fay Kyrie fons bonitatis Voice: Tenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Voice: Contratenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Voice: I Languages: Latin, Greek Clef: c1 Voice Text: Kyrie General Note Chant: Kyrie GR II, Melnicki 1954 #48, in voice I. Kyrie, Christe, Kyrie, sectional, no repeats indicated. Note the index variant, 'pietatis' not 'bonitatis'. Late stage III, fine pen. The added 'Martini' number 127 on f. A126 recto and 'seguito del..' to 127 on f. 126v appear to be by Gaspari, attempting to reconcile Martini's numeration of openings with piece numbers. Copying Style Void coloration and semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/10. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 1-2. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1, IV.
127r	Kyrie 'Rex genitor'	du fay In semiduplicibus maioribus	Du Fay, Guillaume (1397–1474)
Kyrie 'Rex genitor' Du Fay, Guillaume (1397–1474) Appears on: 127r Genres: Kyrie eleison, Mass Ordinary Source Attribution: du fay In semiduplicibus maioribus Voice: Contratenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Voice: Tenor Languages: Latin, Greek Clef: c3 Voice Text: Kyrie Voice: I Languages: Latin, Greek Clef: c1 Voice Text: Kyrie General Note Chant, paraphrased in voice I, is an Italian variant of Kyrie GR VI (Melnicki 1954 #47), for semiduplex feasts in the use of the Roman curia (Kovarik 1975, MMMA 19, XIII). PlanchartD reports that the Q15 rubric shows that in Du Fay’s time it was used for major semiduplex feasts; that Besseler failed to identify the chant because the opening melody uses the melody found in the modern Vatican books as Christe 5; that the Q15 scribe suppresed the chant in all the Kyries he copied; that since this particular Kyrie, in its Italian form, has the shape ABA CAC DED’, and since Du Fay’s setting paraphrases Kyrie 1 (A), Christe 2 (A) and Kyrie 5 (E), it is obvious, as Kovarik 1975 argued, that all Du Fay’s paraphrase Kyries were intended for alternatim performance, even though Q15 presents only Kyrie, Christe, Kyrie (sectional) with no repeats or chant indicated. Late stage III, fine pen. The added 'Martini' number 128 on f. A127 recto appears to be by Gaspari. Copying Style Void coloration and semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition:5/13. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 11-12. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:1, IV #18.
127v–128r	Kyrie Qui de stirpe regia	lymburgia	Lymburgia, Johannes de
Kyrie Qui de stirpe regia Lymburgia, Johannes de Appears on: 127v–128r Genres: Kyrie eleison, Mass Ordinary Source Attribution: lymburgia Voice: Tenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Qui de stirpe regia Voice: I Languages: Latin, Greek Clef: c2 Voice Text: Kyrie Qui de stirpe regia Voice: Contratenor Languages: none Clef: c4 General Note Kyrie. Rex virginum amator deus Marie decus eleyson Trope text: AH 47, 60-1. Sectional repeats shown by vertically aligned signatures (see notes to Binchois Kyrie f.124v) with and without strokes, two signatures for Kyrie (double row of text), one for Christe single text), two for the last Kyrie (double row of text) implying ninefold performance with alternatim. Late stage III, fine pen. Marked in Martini's inventory with a pointing finger; 'bis' supplied by Gaspari, and in his inventory. Copying Style No coloration. Void semiminims and triplets. Repeats indicated by aligned circle signatures with and without strokes. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition:II #1.
128v–129r	Et in terra pax [Gloria]	brasart	Brassart, Johannes (ca. 1400–1455)
Et in terra pax [Gloria] Brassart, Johannes (ca. 1400–1455) Appears on: 128v–129r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: brasart Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: f4 Voice: Tenor Languages: none Clef: f3 Copying Style Void coloration. Flagged semiminims. Fermatas ('Amen'). Layout parts General Note Apart from the Gloria at f. 1v/102v, this and the following piece are Brassart's only mass movements in Q15, different in range and musically unrelated except for the opening x mensuration. However, both have (unidentified but different) chant-like tenor parts. 5-note Amen with fermatas, not self-contained. Late stage III, fine pen. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:35/1 #14.
129v–132r	Patrem omnipotentem [Credo]	brasart	Brassart, Johannes (ca. 1400–1455)
Patrem omnipotentem [Credo] Brassart, Johannes (ca. 1400–1455) Appears on: 129v–132r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: brasart Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Patrem Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Void coloration and semiminims. Fermatas ('et homo factus est') and at one section end. Layout parts General Note Duets are not sectional, and are indicated only in Q15. T rests in duets for I and Ct. Unrelated to preceding Gloria, but paired as Ao #41 with Gloria Ao #40 ('Dunstable'), Rex seculorum (Endo 1999). See note to Gloria f. 128v. Long Amen, not self-contained. Page turns at 'Crucifixus', 'Et unam'. Late stage III, fine pen. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:35/1 #15 (with facs. of first opening.
132v–134r	Sanctus	du fay	Du Fay, Guillaume (1397–1474)
Sanctus Du Fay, Guillaume (1397–1474) Appears on: 132v–134r Genres: Mass Ordinary, Sanctus [& Benedictus] Source Attribution: du fay Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Sanctus Voice: Tenor Languages: Latin Clef: c4 Voice Text: Sanctus Voice: I Languages: Latin Clef: c2 Voice Text: Sanctus Layout parts Copying Style Void coloration and semiminims. General Note Plainsong incipit in T, Benedictus in I. Duos are all signed /x. T part of 'Qui venit' duo is below the following Agnus on f. 133v; Ct cue is on f. 134. PlanchartD reports that the music for the Agnus Dei which follows is a literal repetition of the first 58 bars of the Sanctus except for the perhaps inauthentic addition of two concluding measures in Tr92; the identity extends to the first two intonations of the Agnus Dei. No plainsong version of the T has been found, and probably none existed; PlanchartD argues that the intonations were surely written by Du Fay for this piece; they follow the exact pattern he used for the intonation of the Sanctus and Agnus Dei of the Missa sine nomine (f. 15v, 16v). Late stage III, fine pen. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition:5/6. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 64-7. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:1/4 #6.1;.
133v–134r	Agnus Dei	[G. DUFAY]	Du Fay, Guillaume (1397–1474)
Agnus Dei Du Fay, Guillaume (1397–1474) Appears on: 133v–134r Genres: Agnus Dei, Mass Ordinary Source Attribution: [G. DUFAY] Voice: Contratenor Languages: Latin Clef: c4 Voice Text: partial text Voice: Tenor Languages: Latin Clef: c4 Voice Text: partial text Voice: I Languages: Latin Clef: c2 Voice Text: Agnus dei General Note Contrafact of preceding Sanctus; see note to that piece. Duo (Agnus II) is signed /x. The Agnus is attributed only in the index. Note (on f. 134) the pasted stub of a removed but fully written leaf. Late stage III, fine pen. Copying Style Void coloration and semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/6. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:I, IV #6.2 and see #104;.
134v–136v	Sanctus 'Papale' Ave verum corpus	du fay	Du Fay, Guillaume (1397–1474)
Sanctus 'Papale' Ave verum corpus Du Fay, Guillaume (1397–1474) Appears on: 134v–136v Genres: Mass Ordinary, Sanctus [& Benedictus], Troped Sanctus Source Attribution: du fay Voice: I Languages: Latin Clef: c1 Voice Text: (Sanctus) Ave verum corpus Voice: II Languages: none Clef: c1 Voice: Contratenor Languages: Latin Clef: c4 Voice Text: (Sanctus) Ave verum corpus Voice: Tenor Languages: Latin Clef: c4 Voice Text: (partial text) General Note Agnus paired by Tr92 scribe is not in Q15; designation 'papale' in Tr92 only. Chant incipits preceding I (Sanctus), T (Benedictus), both void and measured, in C4b clef. Divisi notes. The duo voices are written consecutively in I; 'secundus contratenor' following Ct has the Ct 2 part unique to Q15 for Besseler's edition section D, followed (with clef change) by cantus II for section E, squashed in. Cantus II in Tr92 and Tr93 is notated within the Ct part, neither of which has the Contratenor secundus for section D. On f. 136, T music for Osanna is marked 'vacat' and rewritten on the following verso. Discussed in Fallows 1982, 180-1, and Planchart 1998, who notes that it was surely composed for the papal chapel when it had choirboys (1425-7). Note (on f. 135) the pasted stub of a removed but fully written leaf. F. 137 is blank. Page turns at 'Domine deus', 'Osanna'. Late stage III, fine pen. M135 and 136 are marked in Martini's inventory with pointing fingers. Copying Style Void coloration, intonation and semiminims. Fermata preceding 'Osanna'. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/7. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:1/4 #7.1. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition:14/15, 148-52.
137v–139r	Et in terra pax [Gloria] (iv/5)	G du fay [indexer]	Du Fay, Guillaume (1397–1474)
Et in terra pax [Gloria] (iv/5) Du Fay, Guillaume (1397–1474) Appears on: 137v–139r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: G du fay [indexer] Voice: Contratenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Void coloration. Flagged semiminims. Fermatas ('Jesu Christe'). Layout parts General Note Paired with following Credo, well matched. Very long self-contained Amen. Pasted capitals #15 and #54 attest the presence of this Gloria in stage I, as also was the matching Credo; but they were not adjacent, and must both have been single-opening copies without Ct. Ao index: 'Et in terra dufay cum uno medio’. Attribution in Q15 and index are both by the indexer only, but corroborated by Ao, Tr87, Tr92. Page turn at 'Qui tollis'. Late stage III, fine pen. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/5. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 48-51. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:1/4 #5.1.
139v–142r	Patrem omnipotentem [Credo] (iv/5)	[G. DUFAY]	Du Fay, Guillaume (1397–1474)
Patrem omnipotentem [Credo] (iv/5) Du Fay, Guillaume (1397–1474) Appears on: 139v–142r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: [G. DUFAY] Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c2 Voice Text: Patrem Copying Style Void coloration. Flagged semiminims. Fermatas ('Amen'). Layout parts General Note Paired with preceding Gloria, well matched. Short self-contained Amen, 2 + 3 notes, with fermatas. Pasted capital #25 attests the presence of this Credo in stage I, as also was the matching Gloria; but they were not adjacent, and must both have been single-opening copies without Ct. Page turns at 'Qui propter', 'Et in spiritum'. Late stage III, fine pen. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/5. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 51-6. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #5.2 (Tr90 does not lack cantus II as reported);.
142v	untexted	-	Anonymous
untexted Anonymous Appears on: 142v Genres: Song Voice: I Languages: none Clef: c1 Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 General Note Later scribe (Germanic hand), unidentified. See Bent 2004a. F. A143 blank. No Martini number on this opening. Layout parts
143v	Asperges me Domine (II)	binchois	Binchois, Gilles (ca. 1400–1460)
Asperges me Domine (II) Binchois, Gilles (ca. 1400–1460) Appears on: 143v Genres: Asperges me, Motet Source Attribution: binchois Voice: Contratenor Languages: Latin Mensuration: o Clef: f4 Voice Text: … secundum … sicut Voice: Tenor Languages: Latin Mensuration: o Clef: f4 Voice Text: … secundum … sicut Voice: I Languages: Latin Mensuration: o Clef: c4 Voice Text: (Asperges me) domine Copying Style Void coloration and semiminims. Repeats indicated by aligned circle signatures with and without strokes. Layout parts General Note See Bent 2000, Blachly 1995, Kirkman/Slavin 2000 for relationship to Kaye 1992 #29. Signatures aligned for repeats (see notes to Kyrie f.124v). Plainsong incipits and doxology in I, mensural notation mostly in breves; chant paraphrase in I. Late stage III, fine pen. Item Bibliography Bent, Margaret. 2000. The Use of Cut Signatures in Sacred Music by Binchois. Binchois Studies, edited by Margaret Bent, 277-312. Oxford. Kirkman, Andrew, and Dennis Slavin (editors). 2000. Binchois Studies. Oxford. Pages: Edition:. Blachly, Alexander. 1995. Mensuration and Tempo in 15th-Century Music: Cut Signatures in Theory and Practice. Columbia University, Ph.D. Kaye, Philip (editor). 1992. The Sacred Music of Gilles Binchois. Oxford. Pages: 178. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (14/15), 91-93.
144r	Mihi autem nimis	Introitus misse sancti iacobi G. du fay; R121v: Repiticio	Du Fay, Guillaume (1397–1474)
Mihi autem nimis Du Fay, Guillaume (1397–1474) Appears on: 144r Genres: Introit, Proper Source Attribution: Introitus misse sancti iacobi G. du fay; R121v: Repiticio Voice: Contratenor Languages: Latin Mensuration: [O] Clef: c4 Voice Text: Nimis honorati Voice: I Languages: Latin Mensuration: [O] Clef: c2 Voice Text: Nimis honorati Voice: Tenor Languages: Latin Mensuration: [O] Clef: f3 Voice Text: Nimis honorati Voice: II Languages: Latin Mensuration: [O] Clef: c2 Voice Text: Nimis honorati General Note Introit: plainsong introit for apostles (LU 1304) in T. Chant incipit of antiphon in T, of psalm and end of doxology in I. 'Repeticio': intonation in I, which also paraphrases introit for apostles. According to PlanchartD the repeticio is a second setting (a3) of the Introit. See also Planchart 1976, Bent 1999. This plenary mass was possibly assembled for the first time in Q15, c. 1430. Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences. Layout parts Item Bibliography Planchart, Alejandro Enrique. 2018. Guillaume Du Fay. Cambridge: CUP. Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/2. Bent, Margaret. 1999. Music and the Early Veneto Humanists. Proceedings of the British Academy (1998 Lectures and Memoirs), 101-30. Planchart, Alejandro Enrique. 1976. Guillaume Dufay's Masses: A View of the Manuscript Traditions. Papers read at the Dufay Quincentenary Conference, Brooklyn College, December 6-7, 1974, 26-60,150-1. Brooklyn. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Feininger, Laurence K (editor). 1947-48. Series I: Ordinarium missae (1948) & Series II: Poprium missae (1947). Monumenta Polyphoniae Liturgicae Sanctae Ecclesiae Romanae. Rome. Pages: Edition: (II.1), 31-33. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #2.1.
144v–145v	Missa Sancti Jacobi: Kyrie	[G. DUFAY]	Du Fay, Guillaume (1397–1474)
Missa Sancti Jacobi: Kyrie Du Fay, Guillaume (1397–1474) Appears on: 144v–145v Genres: Kyrie eleison, Mass Ordinary Source Attribution: [G. DUFAY] Voice: II Languages: Latin, Greek Clef: c2 Voice Text: Kyrie Voice: I Languages: Latin, Greek Clef: c2 Voice Text: Kyrie Voice: Tenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Voice: Contratenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie General Note Sectional, full through-composed nine-fold setting. Melody of Kyrie Vatican IV (Melnicki #18) paraphrased in I, sections 3, 6, 9. Ascribed to Du Fay only in the index, but it follows the attributed introit on the same opening. Duet parts for I, II notated successively within I, not within differently-cleffed Ct (see Bent 2004b). Tr87 lacks Kyrie 1; II and T (labelled 'pro tenore') conflated, in different order. Tr93/90 sections 3, 6, 9 only. No rests in T, Ct. Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition:3/2. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.4 (1949). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:1/2 #2.2.
145v–147r	Missa Sancti Jacobi: Gloria	-	Du Fay, Guillaume (1397–1474)
Missa Sancti Jacobi: Gloria Du Fay, Guillaume (1397–1474) Appears on: 145v–147r Genres: Gloria (et in terra pax), Mass Ordinary Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c4 Voice Text: (incipit) Voice: Contratenor Languages: Latin Clef: c4 Voice Text: (incipit) Voice: II Languages: Latin Clef: c2 Voice Text: Et in terra General Note Attribution of the Gloria to Du Fay is only in the index, but it directly follows the attributed Kyrie on the same opening, and the attribution of the mass on the first recto is taken to apply to the whole cycle. Long self-contained Amen. Duets cued in T and Ct and written successively within I, not within differently-cleffed Ct (see Bent 2004b). Page turn at 'Qui tollis'. Copying Style Void coloration and triplets. Flagged semiminims. Red bars. Fermatas. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/2. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.4 (1949). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:1/2 #2.3.
146v–148r	Missa Sancti Jacobi: Alleluia	du fay	Du Fay, Guillaume (1397–1474)
Missa Sancti Jacobi: Alleluia Du Fay, Guillaume (1397–1474) Appears on: 146v–148r Genres: Alleluia, Proper Source Attribution: du fay Voice: I Languages: Latin Mensuration: [O] Clef: c2 Voice Text: [A]lleluya Alleluya Voice: Tenor Languages: Latin Mensuration: [O] Clef: f3 Voice Text: Alleluya Voice: Contratenor Languages: Latin Mensuration: [O] Clef: c4 Voice Text: Alleluya Voice: II Languages: Latin Mensuration: [O] Clef: c2 Voice Text: Alleluya luya General Note Unidentified plainsong incipits in T; black for the Alleluia, void for the verse. 'du fay' appears at beginning of Alleluya, halfway down f.R123v, and is repeated on f. R124v for the verse Clarens stella (page turn). Duo cued in T but not Ct. Copying Style Void coloration and triplets. Red bars. Fermatas for Alleluia intonation and some cadences. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/2. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition:. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.4 (1949). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #2.4.
148v–150r	Missa Sancti Jacobi: Credo	du fay	Du Fay, Guillaume (1397–1474)
Missa Sancti Jacobi: Credo Du Fay, Guillaume (1397–1474) Appears on: 148v–150r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: du fay Voice: Contratenor Languages: Latin Clef: c4 Voice Text: (incipit) Voice: II Languages: Latin Clef: c2 Voice Text: Patrem Voice: I Languages: Latin Clef: c2 Voice Text: Patrem Voice: Tenor Languages: Latin Clef: c4 Voice Text: (incipit) General Note Duets written successively within I, not within differently-cleffed Ct (see Bent 2004b). Duos cued in T and Ct. The very long Amen is self-contained, except in Tr92, where the Amen differs and is continuous from the preceding section, which also differs from the other sources. The Q15 Amen is as in Ao and Tr87, but Tr87 has voice I only (on f. 153v) and omits Ct and T, filling the remainder of the opening with a Du Fay song. Both Amens appear to bear (fleeting) motivic connections to the body of the movement, showing the difficulty of assigning priority on such grounds (Honisch 2006). May have been in stage I; see pasted capital #52. Page turn at 'Et ascendit'. Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas ('Ex Maria virgine', 'Amen'). Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/2. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.4 (1949). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #2.5. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 76-9 (Q15 concordance not noted).
150v–151r	Missa Sancti Jacobi: In omnem terram (Offertory)	Offertorium sancti iacobi G. du fay	Du Fay, Guillaume (1397–1474)
Missa Sancti Jacobi: In omnem terram (Offertory) Du Fay, Guillaume (1397–1474) Appears on: 150v–151r Genres: Offertory, Proper Source Attribution: Offertorium sancti iacobi G. du fay Voice: Tenor Languages: Latin Mensuration: [c-dot] Clef: f3 Voice Text: In omnem terram Voice: I Languages: Latin Mensuration: [c-dot] Clef: c2 Voice Text: In omnem terram Voice: II Languages: Latin Mensuration: [c-dot] Clef: c2 Voice Text: In omnem terram Voice: Contratenor Languages: Latin Mensuration: [c-dot] Clef: c4 Voice Text: In omnem terram (partial text) General Note Chant offertory for apostles (LU 1327) from '[ter-]ram' to 'fines' paraphrased in T, down a 5th. T rests in duos. Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/2. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition:. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.4 (1949). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #2.6.
151v–152r	Missa Sancti Jacobi: Sanctus	du fay	Du Fay, Guillaume (1397–1474)
Missa Sancti Jacobi: Sanctus Du Fay, Guillaume (1397–1474) Appears on: 151v–152r Genres: Mass Ordinary, Sanctus [& Benedictus] Source Attribution: du fay Voice: II Languages: Latin Clef: c2 Voice Text: Sanctus Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Sanctus Voice: Tenor Languages: Latin Clef: f3 Voice Text: Sanctus Voice: I Languages: Latin Clef: c2 Voice Text: Sanctus General Note Sanctus chant Vatican II (LU 21, Thannabaur #203) paraphrased in T, in I in the duo; void chant incipits in T. Duos cued in T, Ct. Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/2. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.4 (1949). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #2.7.
152v–153r	Missa Sancti Jacobi: Agnus Dei	du fay	Du Fay, Guillaume (1397–1474)
Missa Sancti Jacobi: Agnus Dei Du Fay, Guillaume (1397–1474) Appears on: 152v–153r Genres: Agnus Dei, Mass Ordinary Source Attribution: du fay Voice: I Languages: Latin Clef: c2 Voice Text: (Agnus) Qui tollis Voice: II Languages: Latin Clef: c2 Voice Text: (Agnus) Qui tollis Voice: Contratenor Languages: Latin Clef: c4 Voice Text: (Agnus) Qui tollis Voice: Tenor Languages: Latin Clef: f3 Voice Text: (Agnus) Qui tollis Copying Style Void coloration. Red bars. Fermatas at some cadences. Layout parts General Note Publ. cf. AOs n° 106. Agnus chant Vatican XI (LU 48, Schildbach #220) paraphrased in T, with void chant incipit, and in I in the duo. Duos cued in Ct, not in T. Marked in Martini's inventory with a pointing finger. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/2. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.4 (1949). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #2.8.
152v–153r	Missa Sancti Jacobi: Communio - Vos qui secuti estis me	post communio du fay	Du Fay, Guillaume (1397–1474)
Missa Sancti Jacobi: Communio - Vos qui secuti estis me Du Fay, Guillaume (1397–1474) Appears on: 152v–153r Genres: Communion, Proper Source Attribution: post communio du fay Voice: Tenor Languages: Latin Mensuration: [O] Clef: c4 Voice Text: (Vos) qui secuti Voice: I Languages: Latin Mensuration: [O] Clef: c2 Voice Text: (Vos) qui secuti Voice: Tenor Languages: Latin Mensuration: [O] Clef: c4 Voice Text: (Vos) qui secuti General Note Plainsong of the communion for apostles (St Matthew, LU 1392, GR 448, GT 438) paraphrased in I, with void incipit. The Q15 designation 'post communio' is incorrect for 'communio'. Canon: 'Si trinum queras /a summo tolle figuras /et simul incipito /dyatessaron in subeondo'. Copying Style Void coloration. Red bars. Fermatas at some cadences. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 3/2. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition:. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.4 (1949). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/2 #2.9.
153v–155r	Et in terra pax [Gloria] [Kaye 1a]	binchois	Binchois, Gilles (ca. 1400–1460)
Et in terra pax [Gloria] [Kaye 1a] Binchois, Gilles (ca. 1400–1460) Appears on: 153v–155r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: binchois Voice: I Languages: Latin Clef: c4 Voice Text: Et in terra Voice: Tenor Languages: none Clef: f4 Voice: Contratenor Languages: Latin Clef: f4 Voice Text: Et in terra General Note Irregularly paired with following Credo. Very long Amen, not self-contained. For mensuration signs in the various sources, see Bent 2000, table 12.6. Q15's pairing with the Credo (also in Ox and Tr92) is weaker than with Kaye 1992 #1b (paired in Ca6), not present in Q15. Ca11 does not pair movements. That Credo is identical in structure and vocal scoring; musical motifs link the two movements. See also Kaye 1992, Bent 2004b, Endo 1999 and notes to paired Credo following. Duets are not self-contained, linking to sections a3 with terminal cadences (as in Credo Kaye #1b). 'Contratenor' so labelled on second opening only; it alternates Ct function with that of duets while the T rests. Uses pasted capitals #32, #33. Feininger published Kyrie (f.124v) and this Gloria-Credo with a Sanctus and Agnus as a 'missa de angelis'. Page turn at 'Qui sedes'. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Kaye, Philip (editor). 1992. The Sacred Music of Gilles Binchois. Oxford. Pages: Edition: #1a. Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/5 (1949; from Tr92. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #8, 53-62.
155v–157r	Patrem omnipotentem [Credo] 'Aversi' [Kaye 19]	binchois	Binchois, Gilles (ca. 1400–1460)
Patrem omnipotentem [Credo] 'Aversi' [Kaye 19] Binchois, Gilles (ca. 1400–1460) Appears on: 155v–157r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: binchois Voice: Contratenor Languages: none Clef: f4 Voice: Tenor Languages: none Clef: f4 Voice: I Languages: Latin Clef: c4 Voice Text: Patrem General Note Irregularly paired with preceding Gloria. Despite identical clefs, signatures, finals and similar ranges, the different vocal scoring alternation, texting, cadence pitches and mensural scheme and style weaken this pairing; see Kaye 1992, Bent 2000, Endo 1999 and note to the Gloria. Duets and sections a3 are self-contained. Very long self-contained Amen in Q15, Ca and Ox; much shortened in Tr92, which Palmer 1998 thinks is the original; Honisch and I disagree. Ox index labels this 'Aversi'. The scribe might have presented this as an a versi piece had it been in stage I; see Bent 2004b, and for texting and layout in other sources. Uses pasted capitals #34, #35, #36, #36a. The section 'Qui ex Patre' is quoted by Tinctoris, Proportionale musices III.2, from a 'libro ... regio' (royal book), as 'autenti triti irregularis': see Bent 2000, also (table 12.7) for mensuration signs in the various sources. Page turn at 'Et iterum'. Copying Style Void coloration and triplets. Flagged semiminims. Red bars. Layout parts Item Bibliography Kaye, Philip (editor). 1992. The Sacred Music of Gilles Binchois. Oxford. Pages: Edition: #19. Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/5 (1949; from Tr92). Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #9, 63-74.
157v–157r	Et in terra pax [Gloria]	Johannes francois (de gemblaco added)	Gemblaco (Gembloux), Johannes Franchois de
Et in terra pax [Gloria] Gemblaco (Gembloux), Johannes Franchois de Appears on: 157v–157r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Johannes francois (de gemblaco added) Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Copying Style Void coloration. Red bars. Fermatas at some cadences. Layout parts General Note Paired with Credo at f. 158v, well matched. 2-note Amen, not self-contained. 'De gemblaco' was added in a separate operation from the attribution to 'Johannes Francois', but by the same scribe, and probably soon afterwards; see note to the Credo. Uses pasted capitals #37, #38. Item Bibliography Igoe, James T. 1970. Johannes Franchois de Gembloux. Nuova Rivista Musicale Italiana, 3-50. Pages: Edition: 29-31.
157v–158r	Kyrie 'Cunctipotens genitor'	du fay	Du Fay, Guillaume (1397–1474)
Kyrie 'Cunctipotens genitor' Du Fay, Guillaume (1397–1474) Appears on: 157v–158r Genres: Kyrie eleison, Mass Ordinary Source Attribution: du fay Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin, Greek Clef: c2 Voice Text: Kyrie Copying Style Void coloration. Flagged semiminims. Fermatas on final Kyrie. Repeat signs. Layout parts General Note Publ. cf. AOs n» 20. Kyrie, Christe, Kyrie, sectional, repeat signs for full ninefold performance. Melody paraphrased in I: GR III (Melnicki 1954 #18). Early stage-III addition, no red. Item Bibliography Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 13. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #10.
158v–159r	Patrem omnipotentem [Credo] 'Alma redemptoris'	Johannes (de gemblaco added)	Gemblaco (Gembloux), Johannes Franchois de
Patrem omnipotentem [Credo] 'Alma redemptoris' Gemblaco (Gembloux), Johannes Franchois de Appears on: 158v–159r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Johannes (de gemblaco added) Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Void coloration. Red bars. Fermatas at some cadences. General Note T: Patrem. Alma redemptoris mater. Paired with Gloria at f. 157v, well matched. Amen not self-contained. 'De gemblaco' was added in a separate operation from the attribution to Johannes [Franchois], but by the same scribe, and probably soon afterwards. See note on the Gloria. Chant-based T is labelled 'Alma redemptoris mater'. Uses pasted capital #39. Marked in Martini's inventory with a pointing finger. Layout parts Item Bibliography Igoe, James T. 1970. Johannes Franchois de Gembloux. Nuova Rivista Musicale Italiana, 3-50. Pages: Edition: 21-8.
159v–160r	Et in terra pax [Gloria]	Johannes Reson	Reson, Johannes
Et in terra pax [Gloria] Reson, Johannes Appears on: 159v–160r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Johannes Reson Voice: Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c3 Copying Style No coloration. Red bars. Layout parts General Note Paired with following Credo, q.v., with which it agrees in clefs, signatures, mensurations, final, voices, despite different composer, well matched. Self-contained Amen. Uses pasted capitals #40, #41. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 109-11.
159v–161r	Patrem omnipotentem [Credo]	Johannes de lymburgia	Lymburgia, Johannes de
Patrem omnipotentem [Credo] Lymburgia, Johannes de Appears on: 159v–161r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Johannes de lymburgia Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Layout parts Copying Style No coloration. Fermata at one cadence. General Note Paired with prvious Gloria, well matched despite different composer. Hamm 1964 suggested that Lymburgia composed this Credo to go with Reson's Gloria (see also Reaney in C MM 11/2; the converse is less likely), which it follows lower on the same opening. 'Long' self-contained Amen. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #2.
161v–162r	Missa Admirabilis splendor: Kyrie eleison	Jo de lymburgia	Lymburgia, Johannes de
Missa Admirabilis splendor: Kyrie eleison Lymburgia, Johannes de Appears on: 161v–162r Genres: Kyrie eleison, Mass Ordinary Source Attribution: Jo de lymburgia Voice: Contratenor Languages: Latin, Greek Clef: c3 Voice Text: Kyrie Voice: I Languages: Latin, Greek Clef: c1 Voice Text: Kyrie Voice: Tenor Languages: Latin, Greek Clef: c3 Voice Text: Kyrie General Note ##127-31 grouped as a cycle; 'more of a composite Mass than a complete one' (Hamm 1965), differing in finalis, scoring and number of voices; Besseler 1931, 200 identified a network of headmotives that links them quite strongly, further discussed in Gossett 1966. Kyrie, Christe, Kyrie, sectional; threefold underlay within each section in I only yields full ninefold performance. T and Ct major prolation M = S of /x in I. Pasted capital K is 'small', not 'large pasted'. Copying Style Void coloration. Flagged semiminims in Ct. Red bars. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #11.
161v–163r	Missa Admirabilis splendor: Et in terra pax [Gloria]	Jo de lymburgia	Lymburgia, Johannes de
Missa Admirabilis splendor: Et in terra pax [Gloria] Lymburgia, Johannes de Appears on: 161v–163r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Jo de lymburgia Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c3 Voice Text: Et in terra Copying Style Void coloration. Red bars. Fermata at one cadence. Layout parts General Note ##127-31 grouped as a cycle; see note to the Kyrie. Amen not self-contained. Ct major prolation M = S of /x in I. Uses pasted capital #42. Page turn at 'Qui tollis'. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #12.
162v–164r	Missa Admirabilis splendor: Patrem omnipotentem [Credo]	Jo de lymburgia	Lymburgia, Johannes de
Missa Admirabilis splendor: Patrem omnipotentem [Credo] Lymburgia, Johannes de Appears on: 162v–164r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Jo de lymburgia Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: Patrem Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Void coloration, semiminims and triplets. Red bars. Fermatas at some cadences. Layout parts General Note ##127-31 grouped as a cycle; see note to the Kyrie. Amen not self-contained. Page turn at 'Qui propter'. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #13.
164v–165r	Missa Admirabilis splendor: Sanctus	Jo de lymburgia	Lymburgia, Johannes de
Missa Admirabilis splendor: Sanctus Lymburgia, Johannes de Appears on: 164v–165r Genres: Mass Ordinary, Sanctus [& Benedictus], Troped Sanctus Source Attribution: Jo de lymburgia Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: Sanctus Voice: Contratenor Languages: Latin Clef: c2 Voice Text: Sanctus Voice: I Languages: Latin Clef: c1 Voice Text: Sanctus General Note The Sanctus alone of the mass movements is troped 'Admirabilis splendor' Copying Style Void coloration and triplets. Red bars. Layout parts General Note ##127-31 grouped as a cycle; see note to the Kyrie. Of the two undifferentiated Ct parts, the upper is texted and more properly a cantus II, taking the duets with I, while T and Ct II rest. Most scoring changes coincides with a new mensuration sign. Uses pasted capital #43. Marked in Martini's inventory with a pointing finger. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #14.
165v–166r	Missa Admirabilis splendor: Agnus Dei	Johannes (de lymburgia added)	Lymburgia, Johannes de
Missa Admirabilis splendor: Agnus Dei Lymburgia, Johannes de Appears on: 165v–166r Genres: Agnus Dei, Mass Ordinary Source Attribution: Johannes (de lymburgia added) Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Agnus dei Voice: Tenor Languages: Latin Clef: c3 Voice Text: Agnus dei Voice: I Languages: Latin Clef: c1 Voice Text: Agnus dei Voice: Contratenor Languages: none Clef: c3 Copying Style No coloration. Red bars. Layout parts General Note ##127-31 grouped as a cycle; see note to the Kyrie. Of the two undifferentiated Ct parts, the upper is texted and really a cantus II, the lower expendable. Unlike the preceding Sanctus, no duets. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #15.
165v–167r	Et in terra pax [Gloria]	Jo de lymburgia	Lymburgia, Johannes de
Et in terra pax [Gloria] Lymburgia, Johannes de Appears on: 165v–167r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Jo de lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Copying Style No coloration. Flagged semiminims. Red bars. Long leger lines in Ct. Layout parts General Note Paired with following Credo, well matched. Long self-contained Amen. Uses pasted capital #44. Page turn at 'Qui tollis'. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #6.
166v–168r	Patrem (partially texted)	Jo de lymburgia	Lymburgia, Johannes de
Patrem (partially texted) Lymburgia, Johannes de Appears on: 166v–168r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Jo de lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Voice: Tenor Languages: Latin, insufficient Clef: c3 Voice Text: (partially texted) Voice: Contratenor Languages: none Clef: c3 Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences and 'Amen'. Layout parts General Note Paired with preceding Gloria, well matched, except that this has a self-contained 2-note Amen with fermatas. Page turn at 'Qui propter'. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #7.
168v–170r	Et in terra pax [Gloria] [Tro] Spiritus et alme	n. zacarie	Zacharie, Nicolaus
Et in terra pax [Gloria] [Tro] Spiritus et alme Zacharie, Nicolaus Appears on: 168v–170r Genres: Gloria (et in terra pax), Mass Ordinary, Troped Gloria Source Attribution: n. zacarie Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: Et in terra General Note 2-note Amen in Ct and T only, followed by long Amen in all parts, both self-contained. T is labelled only on recto continuation. Ber40582, now in Kraków, single-opening presentation, I, T not labelled, continued on missing recto, both parts texted. Uses pasted capitals #45, #46, #47. Page turn at 'Mariam sanctificans'. M168 and 169 are marked in Martini's inventory with pointing fingers. Copying Style Void coloration including void flagged semiminims. Void triplets in Amen. Flagged semiminims. Red bars. Layout parts Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 138-43.
169v–170r	Benedicamus Domino (II)	-	Du Fay, Guillaume (1397–1474)
Benedicamus Domino (II) Du Fay, Guillaume (1397–1474) Appears on: 169v–170r Voice: Tenor Languages: Latin Clef: f3 Voice Text: benedicamus domino Voice: Contratenor Languages: Latin Clef: f3 Voice Text: Benedicamus Voice: I Languages: Latin Clef: c2 Voice Text: Benedicamus domino General Note ModB has the chant response (overlooked by Besseler): it is the first Benedicamus domino for second vespers on solemn feasts, LU 125, transposed up a fifth and paraphrased in I (PlanchartD). Late stage-III addition, fine pen, no red. Copying Style Void coloration and semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique. 2018. Guillaume Du Fay. Cambridge: CUP. Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 9/2. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (5), 36. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #10.
170v–171v	Et in terra pax [Gloria] 'Spiritus et alme'	g. dufay [indexer]	Du Fay, Guillaume (1397–1474)
Et in terra pax [Gloria] 'Spiritus et alme' Du Fay, Guillaume (1397–1474) Appears on: 170v–171v Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: g. dufay [indexer] Voice: Tenor Languages: Latin Clef: c3 Voice Text: (partially texted) Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c3 General Note Plainsong alternation in T. Self-contained Amen. Attribution in Q15 and index by indexer only, corroborated by Tr92. Stage-III addition on opening left blank at stage II, no red except for foliation. Marked in Martini's inventory with a pointing finger. Copying Style Void coloration and for chant alternatim. Flagged semiminims. Fermatas, mostly for tropes. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/22. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #24. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 81-2;.
171v–172r	Et in terra pax [Gloria] 'in galli cantu'	-	Du Fay, Guillaume (1397–1474)
Et in terra pax [Gloria] 'in galli cantu' Du Fay, Guillaume (1397–1474) Appears on: 171v–172r Genres: Gloria (et in terra pax), Mass Ordinary Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: Latin Clef: c4 Voice Text: (partially texted) General Note Plainsong alternation in T, paraphrasing Mass XIV. No music provided in Q15 for Amen; word 'Amen' in I only. Tr92 provides an 11-note monophonic Amen in clef C4. Chant and polyphony are exactly out of phase with Tr92, ff. 91v-92 (CMM 1/4 #25), but the two settings cannot be merged (Hamm 1964, 76). This complementarity is reflected in Gaspari's note at the foot of f. A171: 'N.B. nelle due seguenti pagine trovasi la musica del coro non notata nelle presenti'. Not attributed by the main scribe; the Q15 indexer corroborates Tr92's attribution to Du Fay, adding the designation 'de feria'. Stage-III addition on opening left blank at stage II, no red except for foliation. Copying Style Void coloration, chant alternatim and semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/20. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 18-20. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #26.
172v–173v	Missa O pulcherrima: Kyrie verbum incarnatum	Missa (added) Ar de lantinis	Lantins, Arnold de (–1432)
Missa O pulcherrima: Kyrie verbum incarnatum Lantins, Arnold de (–1432) Appears on: 172v–173v Genres: Kyrie eleison, Mass Ordinary Source Attribution: Missa (added) Ar de lantinis Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin, Greek Clef: c1 Voice Text: Kyrie verbum incarnatum Voice: Tenor Languages: Latin, Greek Clef: c3 Voice Text: Kyrie verbum incarnatum Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences. Layout parts General Note This mass, headed 'Missa Ar de lantinis', previously known in the literature as Verbum incarnatum, was redesignated O pulcherrima by Strohm 1990 and Strohm 1993, 176-7, being related to Arnold's antiphon of that name, Q15 f.216v. Sectional, all nine statements composed and texted with trope. All movements have a clear headmotive; see the Sanctus and Agnus for their different notation. Index lists it as 'Kirrieleyson ar de lantins panis angelorum', which is the text of Kyrie 2. Widaman 1988 I, 221-35 observes that the unusual recto-verso layout of this and the following Gloria in Ox supports Reaney's case for Q15 copying from Ox. Redundant repeated sectional labels and signatures in Ox suggest copying from a bunched layout (Bent 2004b). Uses pasted capital #48. M172 and 173 are marked in Martini's inventory with pointing fingers. Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 111-35. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #1-1bis, 1-9.
173v–174r	Missa O pulcherrima: Et in terra pax [Gloria]	fuga trium temporum	Lantins, Arnold de (–1432)
Missa O pulcherrima: Et in terra pax [Gloria] Lantins, Arnold de (–1432) Appears on: 173v–174r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: fuga trium temporum Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: Et in terra Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas for 'Jesu Christe', 'Amen'. Extra (10th) stave on recto. Layout parts General Note Attribution of the Gloria to Lantins is only in the Q15 index, but it directly follows the attributed Kyrie on the same opening, and the attribution of the mass on the first opening is taken to apply to the whole cycle. Ox additionally attributes it in the index. See Kyrie f.172v, also for the designation O pulcherrima of this cycle, previously known as Verbum incarnatum. Self-contained Amen has 14 notes all with fermatas, in groups punctuated by breve rests. Ox punctuates less precisely; BU notates it without ligatures or rests, re-rehythmicised. Q15 and Ox only have the opening of the Gloria in canon ('fuga trium temporum' in Ox and Q15), with 'Tuba sub fuga'; BU has a shorter, non-canonic opening. Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #2-2bis, 10-15.
174v–176r	Missa O pulcherrima: Patrem omnipotentem [Credo]	Ar de lantinis	Lantins, Arnold de (–1432)
Missa O pulcherrima: Patrem omnipotentem [Credo] Lantins, Arnold de (–1432) Appears on: 174v–176r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Ar de lantinis Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: Patrem Voice: I Languages: Latin Clef: c1 Voice Text: Patrem Copying Style Void coloration (including void flagged). Flagged semiminims. Red bars. Fermatas for 'Amen' and one cadence. Layout parts General Note See Kyrie for the designation O pulcherrima of this cycle, previously known as Verbum incarnatum. Self-contained Amen has c. 14 notes all with fermatas, in groups punctuated by breve rests. Page turn at 'Et in spiritum'. Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 161-95. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #3-3bis.
175v–177r	Missa O pulcherrima: Sanctus [Tro: Qui hominem limo]	Ar de lantinis	Lantins, Arnold de (–1432)
Missa O pulcherrima: Sanctus [Tro: Qui hominem limo] Lantins, Arnold de (–1432) Appears on: 175v–177r Genres: Mass Ordinary, Sanctus [& Benedictus], Troped Sanctus Source Attribution: Ar de lantinis Voice: Tenor Languages: Latin Clef: c3 Voice Text: Sanctus Voice: I Languages: Latin Clef: c1 Voice Text: Sanctus Voice: Contratenor Languages: none Clef: c3 General Note See Kyrie for the designation O pulcherrima of this cycle, previously known as Verbum incarnatum. In both Ox and Q15, this movement and the Agnus are notated in /x in note values augmented in relation to the other movements, which are all in ,c in both sources. M175 and 176 are marked in Martini's inventory with pointing fingers. Layout parts Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences. Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: 196-220. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #4, 29-33.
176v–177r	Missa O pulcherrima: Agnus Dei	[AR. DE LANTINS]*	Lantins, Arnold de (–1432)
Missa O pulcherrima: Agnus Dei Lantins, Arnold de (–1432) Appears on: 176v–177r Genres: Agnus Dei, Mass Ordinary Source Attribution: [AR. DE LANTINS]* Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: (Agnus) Qui tollis Voice: I Languages: Latin Clef: c1 Voice Text: (Agnus) Qui tollis Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas ('dona nobis pacem'). Layout parts General Note Not attributed in MS or index, but it follows on the same opening from the attributed and related Sanctus, and is covered by the attribution of the whole 'missa'; see Kyrie, also for the designation O pulcherrima of this cycle, previously known as Verbum incarnatum. In both Ox and Q15, this movement and the Sanctus are notated in /x in note values augmented in relation to the other movements, which are all in ,c in both sources. Concordances GB-Ob 213 PS Item Bibliography Widaman, Jean. 1988. The Mass Ordinary Settings of Arnold de Lantins: A Case Study in the Transmission of Early Fifteenth-Century Music. Brandeis University, Ph.D. Pages: Edition: II 221-33. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century.* Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #5, 34-36.
177v–179r	Et in terra pax [Gloria] 'Ad ogni vento'	Zacar (ad ongni vento added)	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Et in terra pax [Gloria] 'Ad ogni vento' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 177v–179r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Zacar (ad ongni vento added) Voice: Tenor Languages: Latin Clef: c4 Voice Text: Et in terra Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Voice: II Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c4 General Note After 'Tu solus altissimus Jesu Christe': 'Valeamus cum sancto spiritu'. Long self-contained Amen. Uses pasted capitals #49, #50. Page turn at 'Quoniam'. Deletion in red on final recto. M178 is marked in Martini's inventory with a pointing finger. Copying Style Void coloration. Red bars. Layout parts Item Bibliography Perz, Miroslaw (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia, . Pages: Edition: XIV, 322-31 (from Warsaw8054). Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #8;. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 92-7 (for Melk, p. xli).
179v–180r	Et in terra pax [Gloria] 'Anglicana'	Zacar anglicana	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Et in terra pax [Gloria] 'Anglicana' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 179v–180r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Zacar anglicana Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 General Note Long self-contained Amen. Uses pasted capitals #51, #52. Copying Style Void coloration. Red bars. Layout parts Item Bibliography Perz, Miroslaw (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia, . Pages: Edition: XIV, 413-9 (from Warsaw378). Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 13 #9. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/6, 97-103.
180v–181r	Et in terra pax [Gloria] 'ad modum tubae'	G. du fay Ad habendum triplum fuga duo tempora	Du Fay, Guillaume (1397–1474)
Et in terra pax [Gloria] 'ad modum tubae' Du Fay, Guillaume (1397–1474) Appears on: 180v–181r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: G. du fay Ad habendum triplum fuga duo tempora Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: none Clef: c3 General Note Ct and T both marked 'ad modum tube'. Heading on verso above cantus I is 'Ad habendum triplum fuga duo tempora', and in index, 'cum fuga'. See Aosta for confirmation of the synonymy, here, of 'tuba' and 'trompeta'; see Bent 2007a. No signum for canonic entry in Q15. Two divisi notes in I for Amen, not self-contained. Uses pasted capital #53. Copying Style No coloration. Red bars. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/27. Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/3 (1949; no source specified; canonic cantus II in red). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #22. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 145-7.
181v–182r	Et in terra pax [Gloria]	-	Anonymous
Et in terra pax [Gloria] Anonymous Appears on: 181v–182r Genres: Gloria (et in terra pax), Mass Ordinary Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra/Laudamus Voice: II Languages: Latin Clef: c1 Voice Text: Et in terra/Laudamus Voice: Tenor Languages: none Clef: c3 Copying Style Void coloration. Red bars. Layout parts General Note Irregularly paired with Credo at f. 182v. Alternating text and melisma between the upper parts; possibly English (Hamm 1968), older Old Hall style (example Queldryk?) , but not a matching pair with the Credo, q.v. Self-contained Amen. Pasted capital #56 contains music from the original stage-I copy of the recto; pasted capital #54 may be the capital from the stage-I recto of this same anonymous Gloria. One of the few indexed pieces left anonymous by the indexer. Martini erroneously attributes it to Cordier, whose song fills the opening.
181v–182r	Se coeur damant (incipit texted)	baudet cordier	Cordier, Baude (fl. early 15 century)
Se coeur damant (incipit texted) Cordier, Baude (fl. early 15 century) Appears on: 181v–182r Genres: Rondeau, Song Source Attribution: baudet cordier Voice: Tenor Languages: French, insufficient Clef: c3 Voice Text: (incipit texted) Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: French Clef: c1 Voice Text: Se cuer damant General Note Rondeau quatrain, decasyllables. See Fallows 1999. Recto recopied at stage II, with full text following Ct. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Strohm, Reinhard. 1993. The Rise of European Music 1380-1500. Cambridge. Pages: Edition: 142. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/1, 8.
182v–184r	Patrem omnipotentem [Credo] 'Anglicus'	Anglicanum patrem	Bodoil, Jo. Anglia, Robertus de (fl. 1454-74) (?)
Patrem omnipotentem [Credo] 'Anglicus' Bodoil, Jo. Anglia, Robertus de (fl. 1454-74) (?) Appears on: 182v–184r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Anglicanum patrem Voice: I Languages: Latin Clef: c2 Voice Text: Patrem Voice: Tenor Languages: Latin Clef: c3 Voice Text: Patrem Voice: II Languages: Latin Clef: c2 Voice Text: Patrem General Note Irregularly paired with Gloria on preceding opening. Long Amen, not self-contained. Identified by the scribes of Q15 and Aosta as English, this Credo has been convincingly paired with the Gloria at f.192v, although they do not appear together in any manuscript. Trowell 1960 and Hamm 1968 accept the pairing and its Englishness; Curtis (EECM 42) accepts the pairing but (like Strohm 1993 and Lefferts 2003) questions its authorship/Englishness. Adjacence to the anonymous Gloria (f.181v) cannot count as a scribal pairing, as the Gloria (possibly English) originated in the first layer; there was extensive recopying in this gathering. See pasted capital #10, probably attesting presence in stage I. Uses pasted capital #55. Page turn at 'Et ascendit'. Copying Style No coloration. Red bars. Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: Edition: 42, appendix. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 61, 25-7 (Q15 concordance not noted).
184v–185r	Et in terra pax [Gloria] [BH8]	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
Et in terra pax [Gloria] [BH8] Ciconia, Johannes (ca. 1370–1412) Appears on: 184v–185r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Jo ciconie Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Copying Style No coloration. Red bars. Layout parts General Note Irregularly paired with following Credo. Self-contained long Amen, also in Warsaw8054. The same music is used for 'Laudamus' and 'Qui tollis', for 'Gratias' and 'Qui sedes'. These are written out in I to accommodate the different texts, but given as double incipits in T and Ct, where the music is notated only once. Uses pasted capital #56. Item Bibliography Perz, Miroslaw (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia, . Pages: Edition: XIV, 307-10 (from Warsaw8054). Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #23. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 24 #8. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: #12, 88-92.
185v–187r	Patrem omnipotentem [Credo] [BH11]	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
Patrem omnipotentem [Credo] [BH11] Ciconia, Johannes (ca. 1370–1412) Appears on: 185v–187r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Jo ciconie Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c3 Voice Text: Patrem Copying Style No coloration. Red bars. Layout parts General Note Irregularly paired with preceding Gloria. Self-contained long Amen. The only surviving stage-I mass movement with the T at the top of the recto above Ct. The number of cut Ts of recto status indicates that there must have been many more such, at least some of them from a dismantled mass section. Page turn at 'Et resurrexit'. Hole in parchment was repaired before copying. Item Bibliography Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #28. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: 24 #11.
187v–188r	Kyrie eleison (KGC group - iv/1)	Du fay	Du Fay, Guillaume (1397–1474)
Kyrie eleison (KGC group - iv/1) Du Fay, Guillaume (1397–1474) Appears on: 187v–188r Genres: Kyrie eleison, Motet Source Attribution: Du fay Voice: Tenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Voice: I Languages: Latin, Greek Clef: c2 Voice Text: Kyrie Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Kyrie Copying Style No coloration. Red bars. Fermatas at some cadences. F clefs erased. Layout parts General Note Publ. cf. AOs n° 26. Grouped with following Gloria & Credo, well matched. Full ninefold underlay, the thee main sections bounded by fermatas, not bars. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/1. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 24;. Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/1 (1947; no source specified). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #1.1.
187v–188r	Et in terra pax [Gloria] (KGC group - iv/1)	-	Du Fay, Guillaume (1397–1474)
Et in terra pax [Gloria] (KGC group - iv/1) Du Fay, Guillaume (1397–1474) Appears on: 187v–188r Genres: Gloria (et in terra pax), Mass Ordinary Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Et in terra Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Copying Style No coloration. Red bars. Fermatas ('Amen'). F clefs erased. Layout parts General Note Grouped with adjacent Kyrie & Credo, well matched. 2-note Amen with fermatas, not self-contained. One of very few Glorias not indexed; this very compact setting may have been missed as it does not start at the top of an opening. Although not separately ascribed, it follows directly from the preceding Kyrie. Hole in parchment was repaired before copying. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/1. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 25-6. Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/1 (1947; no source specified);. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #1.2 (with facs.).
188v–189r	Patrem omnipotentem [Credo] (KGC group - iv/1)	du fay	Du Fay, Guillaume (1397–1474)
Patrem omnipotentem [Credo] (KGC group - iv/1) Du Fay, Guillaume (1397–1474) Appears on: 188v–189r Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: du fay Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Patrem Voice: I Languages: Latin Clef: c2 Voice Text: Patrem Copying Style No coloration. Red bars. Fermatas ('Patrem', 'est', 'Amen'). F clefs erased. Extra stave on recto. Layout parts General Note Grouped with prceding Kyrie & Gloria, well matched. 2-note Amen with fermatas, not self-contained. Ct not labelled, as it is in Kyrie & Gloria. Extra stave enables single-opening copy. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/1. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: , II 26-9. Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/1 (1947; no source specified). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #1.3.
189v–190r	Et in terra pax [Gloria] [incipits]	N. natalis	Natalis, N
Et in terra pax [Gloria] [incipits] Natalis, N Appears on: 189v–190r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: N. natalis Voice: I Languages: Latin Clef: c1 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c4 Voice Text: Et in terra Voice: Contratenor Languages: Latin Clef: c4 Voice Text: (incipits) General Note ‘Et in terra pax hominibus’, marked ‘unus’, is (unusually) not a duet but measured monophony, continuing without a stave divider to ‘bone voluntatis’ (chorus), set for I and T. Other ‘unus’ passages are duets for I and Ct while T rests. 'Long' Amen, not self-contained. Uses pasted capital #57. Pasted capital #12 was cut from the original recto, here recopied; the pre-1425 stage-I copy of this Gloria preceded a Credo, perhaps the companion to this Gloria, or perhaps removed because it did not match. The following opening (with roman folio 168) is now blank (and has no Martini number) but provided with gold P on red, on the page (late); indented for a Patrem to follow this Natalis Gloria. This ‘single-work’ composer may be Nicolaus Natalis, maître de chant and succentor at St Lambert in Liège 1421-2 (see Planchart in MGG2 supp.). Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas at some cadences, 'Amen'. Layout parts Item Bibliography Hutchins, Robert Ralph. 1999. Polyphonic Mass Music by Some Early Fifteenth-Century Composers from the Diocese of Liege: Lovanio, Nicolaus Natalis and Hugo de Lantins. University of California, Los Angeles, Ph.D. Pages: Edition: 612-20.
191v–192r	Et in terra pax [Gloria] 'de quaremiaux'	Et in terra de quaremiaux dufay	Du Fay, Guillaume (1397–1474)
Et in terra pax [Gloria] 'de quaremiaux' Du Fay, Guillaume (1397–1474) Appears on: 191v–192r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Et in terra de quaremiaux dufay Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Tenor Languages: none Clef: f3 General Note 2-note Amen with fermatas, not self-contained. Uses pasted capitals #58, #59. Copying Style Void coloration and triplets. Red bars. Fermatas ('Amen'). Tenor repeats indicated by aligned signatures with and without strokes. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/23. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 31-2 (with facs.). Feininger, Laurence K (editor). 1947-. Documenta Polyphoniae Liturgieae Sanctae Ecclesiae Romanae. Roma. Pages: Edition: I/10 (1951). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #23.
192v–193r	Et in terra pax [Gloria] [Kaye 15]	binchois	Binchois, Gilles (ca. 1400–1460) (?) Bodoil, Jo. (?)
Et in terra pax [Gloria] [Kaye 15] Binchois, Gilles (ca. 1400–1460) (?) Bodoil, Jo. (?) Appears on: 192v–193r Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: binchois Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c3 Voice Text: (partially texted) Voice: II Languages: Latin Clef: c2 Voice Text: Et in terra Copying Style No coloration. Layout parts General Note 'Long' Amen, not self-contained. Trowell (New Grove II, s.v. Bodoil) attributes this Gloria to Bodoil, on grounds of its undisputed pairing with Credo at f.182v, q.v., which is attributed to J. Bodoil in Tr92. Strohm 1993, 245 rejects both the Binchois and English attributions for this pair and proposes instead a northerner in Italy. Late stage III addition on opening left blank at stage II, fine pen, no red except for foliation. Item Bibliography Kaye, Philip (editor). 1992. The Sacred Music of Gilles Binchois. Oxford. Pages: Edition: #15. Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: Edition: 42, appendix. Marix, Jeanne (editor). 1937. Les musiciens de la cour de Bourgogne au XVe siècle (1420-1467) : Messes, motets, chansons. Paris. Pages: Edition: 160-3.
193v–194r	Et in terra pax [Gloria] (iv/21)	-	Du Fay, Guillaume (1397–1474)
Et in terra pax [Gloria] (iv/21) Du Fay, Guillaume (1397–1474) Appears on: 193v–194r Genres: Gloria (et in terra pax), Mass Ordinary Voice: Contratenor Languages: Latin Clef: c5 Voice Text: (partially texted) Voice: I Languages: Latin Clef: c4 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c4 Voice Text: (partially texted) General Note Long self-contained homophonic Amen, 27 notes, all with fermatas. Not attributed in body of MS, but in the index only, corroborating Tr87. Late stage-III addition on opening left blank at stage II, fine pen, no red except for foliation. The following opening (ff. A194v-195) is blank (no Martini number), but carries the roman foliation 179. Copying Style Void coloration. Flagged semiminims. Many fermatas. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 5/25. Bockholdt, Rudolf. 1960. Die frühen Messenkompositionen von Guillaume Dufay. Tutzing. Pages: Edition: II 35-7. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/4 #21.
195v–196r	Salve sancta parens	lymburgia	Lymburgia, Johannes de
Salve sancta parens Lymburgia, Johannes de Appears on: 195v–196r Genres: Introit, Proper Source Attribution: lymburgia Voice: I Languages: Latin Clef: c2 Voice Text: sAncta parens Voice: Tenor Languages: Latin Clef: f3 Voice Text: sancta parens Voice: Contratenor Languages: Latin Clef: c4 Voice Text: salue sancta parens Copying Style No coloration. Flagged semiminims. Layout parts General Note Introit. Chant GR [87]. Intonation and chant in T. Grouped with the Kyrie & Gloria at ff. 196v, 197v, perhaps also that at 195v; see Hamm 1965 and Gossett 1966 on this group, probably the torso of an incompletely copied cycle using Marian chants and tropes, and for parallels with the Lantins group at the beginning of the MS. Stage-II foliation with red; no other red used. Script is early stage III. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #8. Gossett, Philip. 1966. Techniques of Unification in Early Cyclic Masses and Mass Pairs. Journal of the American Musicological Society, 205-31. Hamm, Charles E. 1965. The Reson Mass. Journal of the American Musicological Society, 5-21.
195v–196r	Kyrie O sacra virgo	-	Lymburgia, Johannes de (?)
Kyrie O sacra virgo Lymburgia, Johannes de (?) Appears on: 195v–196r Genres: Kyrie eleison, Mass Ordinary Voice: Tenor Languages: Latin, Greek Clef: f3 Voice Text: Kyrie o sacra virgo Voice: Contratenor Languages: Latin, Greek Clef: f3 Voice Text: Kyrie o sacra virgo Voice: I Languages: Latin, Greek Clef: c2 Voice Text: Kyrie o sacra virgo Copying Style Void coloration. Repeat signs. Layout parts General Note This follows Lymburgia's introit on the same page, copied at the same time, and may be covered by the same attribution. It precedes another Lymburgia Kyrie and may belong to the same cycle; see note to Salve sancta parens (f.195v). The first Kyrie has two repeat signs (except in Ct), the Christe none, the final Kyrie two, implying alternatim, with chant for invocations 2, 4, 6, 8 of a ninefold performance with each text stated three times. Stage-II foliation with red; no other red used. Script is early stage III.
196v–197r	Kyrie eleison	lymburgia	Lymburgia, Johannes de
Kyrie eleison Lymburgia, Johannes de Appears on: 196v–197r Genres: Kyrie eleison, Mass Ordinary Source Attribution: lymburgia Voice: Tenor Languages: Latin, Greek Clef: f3 Voice Text: Kyrie Voice: I Languages: Latin, Greek Clef: c2 Voice Text: Kyrie Voice: Contratenor Languages: Latin, Greek Clef: c4 Voice Text: Kyrie Copying Style No coloration. Void semiminims. Fermatas for some cadences. Layout parts General Note Chant GR 29*, Kyrie IX (with B flats) in T. Hamm 1965 suggests the scribe brought this together with the following Gloria, though not so intended by the composer. Sectional polyphony provided for two Kyries, two Christes, three Kyries, suggesting chant for only two sections. Grouped with Salve sancta parens (f. 195v) and the Gloria on next opening; see note to the former. The rare mensuration sign /,c occurs otherwise only in the Lantins mass at the beginning of the ms, the only other instance of Salve sancta parens followed by Kyrie and Gloria, also by a single composer. Stage-II foliation with red; no other red used. Script is early stage III. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #9.
197v–199r	Et in terra pax [Gloria] ('Spiritus et alme')	lymburgia	Lymburgia, Johannes de
Et in terra pax [Gloria] ('Spiritus et alme') Lymburgia, Johannes de Appears on: 197v–199r Genres: Gloria (et in terra pax), Mass Ordinary, Troped Gloria Source Attribution: lymburgia Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f3 Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Copying Style Void coloration. Red bars. Fermatas ('Amen'). Layout parts General Note Grouped with Salve sancta parens at f. 195v and the Gloria on preceding opening; see note to the former. 2-note self-contained Amen with fermatas. Duet tropes for I with Ct while T rests. The index gives no composer and no folio; however, this is the next Gloria in order. Another candidate for the indexed piece is the anonymous Gloria at f.203v, the last Gloria in the manuscript, perhaps more likely, as it is both anonymous and lacking an identifying trope. Stage II, with red. Page turn at 'Qui tollis'. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #10.
199v–201r	Magnificat sexti toni: Anima mea [K.749]	du fay	Dunstaple, John (ca. 1390–1453) (?) Binchois, Gilles (ca. 1400–1460) (?) Du Fay, Guillaume (1397–1474)
Magnificat sexti toni: Anima mea [K.749] Dunstaple, John (ca. 1390–1453) (?) Binchois, Gilles (ca. 1400–1460) (?) Du Fay, Guillaume (1397–1474) Appears on: 199v–201r Genres: BVM, Canticle, Magnificat Source Attribution: du fay Voice: I Languages: Latin Clef: c1 Voice Text: (Magnificat) anima mea Voice: Contratenor Languages: Latin Clef: c4 Voice Text: (Magnificat) anima mea Voice: Tenor Languages: Latin Clef: c4 Voice Text: (Magnificat) anima mea General Note Magnificat intonation (tone VI) in I. Kirsch 1966 #749. All verses set, through-composed. Late stage-III copy (fine pen) on openings left unused but foliated at stage II. No red. No Martini number on the second opening; he skips an opening between 197 and 198. Copying Style Void coloration and semiminims. Fermatas at some cadences. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 8/3. Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: No. 749. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #33. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 169-74;.
201v–202r	Magnificat octavi toni: Et exultavit spiritus meus [K.891]	lymburgia	Lymburgia, Johannes de
Magnificat octavi toni: Et exultavit spiritus meus [K.891] Lymburgia, Johannes de Appears on: 201v–202r Genres: BVM, Magnificat Source Attribution: lymburgia Voice: II Languages: Latin Clef: c1 Voice Text: Et exultavit Voice: Tenor Languages: Latin Clef: c4 Voice Text: (incipit) Voice: I Languages: Latin Clef: c1 Voice Text: Et exultavit Voice: Contratenor Languages: Latin Clef: c4 Voice Text: (incipit) General Note Versets pairsNo incipit; tone VIII in T. Kirsch 1966 #891. Even-numbered verses set, vv. 6 and 12 to the same music. Late stage-III copy (fine pen) on opening left unused but foliated at stage II. No red. Copying Style Void coloration. Flagged semiminims. Fermatas at one cadence. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #22. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #24, 46-50.
202v	Alma redemptoris mater	-	Forest
Alma redemptoris mater Forest Appears on: 202v Genres: Alma redemptoris mater, BVM, Motet Voice: I Languages: Latin Mensuration: c Clef: c1 Voice Text: Alma redemptoris (incomplete) General Note Sup. seul' Publ. cf. AOs n- 147Marian antiphon. First three staves of voice I only were copied; lacks T and Ct present in the other sources. It is a strange coincidence that another motet by Forest, Ascendit Christus, was incompletely copied in OH, also with an incomplete top part only. Late stage-III copy (fine pen) on opening left unused but foliated at stage II. No red. It has some of the metrical irregularity associated with some English composers including Forest and Power, a central duet for I and T. 'English cantilena' (Cumming 1999, 91-5). Presumably excluded by Cox because text has liturgical status. Copying Style Void semiminims. Layout parts Item Bibliography Cumming, Julie Emelyn. 1999. The Motet in the Age of Du Fay. Cambridge. Pages: Edition: 91-5. Burstyn, Shai. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation. Pages: Edition: #5. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 53, 34-5.
203v–205r	Et in terra pax [Gloria]	-	Anonymous
Et in terra pax [Gloria] Anonymous Appears on: 203v–205r Genres: Gloria (et in terra pax), Mass Ordinary Voice: I Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Tenor Languages: Latin Clef: c2 Voice Text: Et in terra Voice: Contratenor Languages: none Clef: c2 Copying Style Void coloration. Fermatas. Layout parts General Note Long self-contained Amen. The last Gloria entry in the index could refer to this or the one at f.197v, q.v. Copied earlier than most other pieces in gathering XVIII, where most openings were left blank at stage II to be filled at stage III. One of the few pieces with T copied above Ct; Ct added later, fine pen. Otherwise early stage-III script; no red except in foliation.
204v–205r	Recordare frater pie	lymburgia	Lymburgia, Johannes de
Recordare frater pie Lymburgia, Johannes de Appears on: 204v–205r Genres: Lauda Source Attribution: lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: Recordare frater pie Voice: II Languages: Latin Clef: c1 Voice Text: Recordare frater pie Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Recordare Voice: Tenor Languages: Latin Clef: c4 Voice Text: Recordare General Note Text: AH 50, 573-4. 13 stanzas, 2 underlaid, 11 more beneath. Refrain repeat specified after last stanza. Signatures correspond to scoring, refrain in /x a3 (I, T, Ct), followed by strophe ('Per quam sumus') in x a2 ('unus'), I and II notated successively within I, as in a versi compositions. Late stage-III script (fine pen). See Diederichs 1986, 143-4. Copying Style Void coloration. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 342-343;. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 343. Cattin, Giulio. 1958. Contributi alla storia della lauda spirituale: Sulla evoluzione musicale e letteraria della lauda nei secoli XIV e XV. Quadrivium, 45-75. Pages: Edition: 62-3.
205v–206r	Ostendit mihi	lymburgya	Lymburgia, Johannes de
Ostendit mihi Lymburgia, Johannes de Appears on: 205v–206r Genres: Responsory Source Attribution: lymburgya Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: Ostendit mihi Voice: Contratenor Languages: none Clef: c4 General Note Responsory: see Marbach 1907, 536. For chant see LA 227, LR 272. Cantilena motet. Presumably excluded by Cox because text has liturgical status. 'Alleluia' is set only at the end. Etheridge inserts the word at two other points. Cumming 1999: ‘cut-circle’. Late stage-III addition (fine pen) on opening left blank and foliated at stage II. Copying Style Void coloration. Fermata at one cadence. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2) 146.
206v–207r	Supremum est mortalibus bonum II: O sancta pax	du fay au faulx bourdon	Du Fay, Guillaume (1397–1474)
Supremum est mortalibus bonum II: O sancta pax Du Fay, Guillaume (1397–1474) Appears on: 206v–207r Genres: Motet Source Attribution: du fay au faulx bourdon Voice: I Languages: Latin Clef: c1 Voice Text: Supremum est mortalibus bonum Voice: II Languages: Latin Clef: c3 Voice Text: Supremum est mortalibus bonum Voice: Tenor Languages: Latin Clef: c4 Voice Text: Supremum General Note Names Eugenius IV and Sigismund. It has been reckoned to be for the Treaty of Viterbo, April 1433 in a chain of misreadings detailed in Fallows 1982, 280, n. 16, who correctly endorses (as does PlanchartD) the case for the entrance of Sigismund in Rome in May 1433 made by Pirro 1940, 70; Sigismund is here 'rex'; he was crowned Holy Roman Emperor on 31 May. See also Lütteken 1993, 289-91. Edition and translation of text in Holford-Strevens 1997, 140-1, 'pure French syllabism', in decasyllables. A texted 20-breve introductory duet, self-contained, demarcated with fermata is expanded to three voices by fauxbourdon, which unusually (though appropriately) is indicated in I rather than, as usual, in the T. Two different cantus firmi are used. The first (freely composed) presents two T color statements (with proportional instruction 4/3 for color 2) each of three 30-breve taleas (no isorhythm in I, Ct). Duets for I, II close each talea, except in taleas II and IV, which have fauxbourdon specified within I during T rests. The second (non-isorhythmic) c.f. paraphrases the first phrase of the antiphon Isti sunt duae olivae (12 B, up a fourth. 101-6), followed by 21 B with fermata chords for the names of Eugenius and Sigismund (107-9), 110-13 fauxbourdon, 114-20 free section for I, II, T. I has passages 'au faulx bourdon' during T rests, and a 22-B Amen. There is no music a4 except for an incompatible overlap of fb and 4-part writing at bar 71. An erasure at beginning of T adjusts spacing in order to insert rests which were at first omitted. T was prefaced by /x over 4/3, erased, now /x only. Q15 color 1 /x, color 2 4/3, MuEm 4/3 (in I, possibly /c/3), ModB c3. Q15 color 2 written identically (perhaps copied from 2 openings?) on the same folio (A206v) with 4/3 signature, as 'Residuum tenoris O sancta pax'. There are no overlaps to confirm successive mensural relationships, but the unusual signatures /c/3 and 4/3 are hard to explain except possibly as a tempo change (see Hamm 1964, 57 n.1), since the motet is organised in perfect tempus throughout. Mensuration and tempo further discussed in PlanchartO who observes that this is Du Fay’s first motet with II significantly lower than I and even crosses below the T. See Lütteken 1993, 320 ff., 407 ff., 478; Cox 1977 I, 34-9; Cumming 1999: ‘French isorhythmic; three-voice tenor motet’; 158-63 identifies its ‘multiple generic and subgeneric references’ and discusses the startling innovations suited to the sacred – secular confluence it celebrates. Allsen 1992 #98; 212-7 discuss postlude and fb passages, and dispute the rhetorical interpretation of Elders 1981. For important text variants see Rumbold/WrightP 2006, 107 n. 179. Early stage III, no red. Copying Style Void coloration. Void semiminims (BU flagged). Fermatas for 'Eugenius et rex Sigismundus'. Sharp with two dots. Extra (10th) staves on both pages, no rastrum. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 2/13. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 1-14;. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 59-63. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 2.5 (1948). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/1 #14. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 24-25.
207v–209r	Balsamus et munda / isti sunt agni novelli	du fay	Du Fay, Guillaume (1397–1474)
Balsamus et munda / isti sunt agni novelli Du Fay, Guillaume (1397–1474) Appears on: 207v–209r Genres: Motet Source Attribution: du fay Voice: I Languages: Latin Clef: c1 Voice Text: Balsamus et munda Voice: Tenor Languages: Latin Clef: c3 Voice Text: Balsamus et munda Voice: II Languages: Latin Clef: c1 Voice Text: Balsamus et munda Voice: Contratenor Languages: Latin Clef: c3 Voice Text: isti sunt agnj nouelli General Note T uses the first 18 notes of the Matins responsory Isti sunt agni novelli (LR 169, CAO 7012), for Saturday in albis. For papal distribution of agnus dei, 7 April 1431. Copied immediately after the later motet Supremum (#168), 1433. See Cox 1977 I, 39-42; Allsen 1992 #88, Turner 2002, Lütteken 1993, 286 ff., 312 ff., 413 ff., 440. Cumming 1999: ‘French isorhythmic’. On the occasion and performance of this work, see WrightC 1974. Two openings necessitated rewriting of the T. Color 1 (f. R191v), 'Tenor dicitur de modo perfecto et tempore imperfecto, simili modo retrogradendo' (perfect modus and imperfect tempus, then in retrograde); color 2 (f. R192v), 'Canon tenor dicitur per semi et eodem modo retrograditur accipiendo pro fine nigras' (diminished by half, forwards and then in retrograde, taking the black notes at the end). The T rhythm is arranged as fully retrogradable, a perfect rhythmic palindrome; thus, of two T color statements, each contains two identical taleas, of which the second reverses the pitches of the first. The second talea is reduced to half and retrograded in the same way, keeping the 'black' notes to the end. The final 2-note cadential ligature is here not black but void, perhaps indicating that this instruction was taken over without adjustment from a copy in void notation with a final black ligature. Within (but not between) each color the two taleas are isorhythmic in all parts. No introductory duet. Overlap from bar 85; upper voices in v while lower are still in x; sesquitertia at minim level. For /x in I, II at 92 and 111: S = M of major prolation. Early stage III, no red. Copying Style Void coloration. Flagged semiminims. Long freehand leger lines for the Ct on the rectos. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 2/2. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2) 15-27. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 54-58. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 2.2 (1948). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/1 #13.
208v–209r	Salve salus	lymburgia	Lymburgia, Johannes de
Salve salus Lymburgia, Johannes de Appears on: 208v–209r Genres: Lauda Source Attribution: lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: salue salus mea deus Voice: Tenor Languages: Latin Clef: c4 Voice Text: salue salus Voice: Contratenor Languages: Latin Clef: c4 Voice Text: salue salus mea deus General Note Text: Wackernagel 1877 I 123-4. 12 stanzas; refrain (first stanza) repeat specified after last stanza. See Diederichs 1986, 146-7. Late stage-III addition (fine pen). Copying Style No coloration. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 346-347. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2) 346. Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: Edition: II 56, III #35.
209v–210v	Tu nephanda prodigi / T: Emitat / Si inimicus meus / Emitat caelum	lymburgia	Lymburgia, Johannes de
Tu nephanda prodigi / T: Emitat / Si inimicus meus / Emitat caelum Lymburgia, Johannes de Appears on: 209v–210v Genres: Motet Source Attribution: lymburgia Voice: II Languages: Latin Clef: c1 Voice Text: Si inimicus meus Voice: Tenor Languages: Latin Clef: c3 Voice Text: Emitat celum Voice: I Languages: Latin Clef: c1 Voice Text: Tu nephanda prodigi/T: Emitat Voice: Contratenor Languages: none Clef: c3 General Note Three simultaneous texts throughout. Text of II paraphrases Psalm 54: 13-16 (Vulgate). The other two texts trope the same theme, usually defined generally as enemies of the Church, although addressed in the second person singular. Lewis 1994 links the T text to Numbers 16: 30, with resonances also in I and II, giving a revised reading of the text and relating it to psalm commentaries which see this passage as an anticipation of Judas's betrayal; she identifies and contextualises its anti-semitic thrust, including scorpion imagery, and links it to a 1434 Council of Basel decree restricting the rights of Jews. Word painting: dissonance in bars 29-31, where the cauda of cantus I matches the tail of the scorpion (Reaney, MGG VII, 102); bars 67-84, cantus II descends through an octave into hell, 'in infernum' (Cox, I, 47). Two different concurrent mensurations in second half, from bar 57 ('Hoc debet'): I, T, Ct in x, II in c. See Cox 1977, I, 42-9. Cumming 1999: ‘retrospective double-discantus’. Early stage III, no red. Copying Style Void coloration. Two flagged semiminims in Ct. '3' for 3/2, '2' for 2/1 proportions. Fermatas at some cadences. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 28-43. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 325. Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: Edition: VII Tafel 5.
210v–211r	Ave fuit prima salus	-	Du Fay, Guillaume (1397–1474) (?)
Ave fuit prima salus Du Fay, Guillaume (1397–1474) (?) Appears on: 210v–211r Genres: Lauda Voice: I Languages: Latin Clef: c2 Voice Text: Ave fuit Voice: Tenor Languages: Latin Clef: c4 Voice Text: Ave fuit Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Ave fuit General Note LuisiLG (2), 16; DiedeA, 320-321;Foschini 1898, 814; Diederichs 1986, 320 (from nearly identical version in BU), Milan version, 321. For a transcription of the version in MS Feininger, see Feininger 1975, 62. Facs. of Ven in Gallo/Vecchi 1968, pl. CXLI; facs. and transcription in Cambon 1975, 380-3. For a musically unrelated version in Florence, Bibl. Nat. Centrale II.XI.18, ff. 194v-195, in non-mensural cantus planus binatim, see Diederichs 1986, 123-6 (facsimiles 322-3). See also Diederichs 1986, 118-26. Late stage-III addition (fine pen). Copying Style No coloration. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 320-321. Luisi, Francesco. 1977. La Musica vocale nel Rinascimento. Torino: RAI Radiotelevisione Italiana. Pages: Edition: (2), 16;. Cambon, Elise M. 1975. The Italian and Latin Lauda of the Fifteenth Century. Tulane University, Unpublished Ph.D. dissertation. Pages: Edition: 380-3. Feininger, Laurence K. 1975. Eine neue Quelle zur Polyphonie des 15. Jahrhunderts. Festschrift Walter Senn zum 70. Geburtstag, 53-63. Munich and Salzburg. Pages: Edition: 62. Gallo, Franco Alberto, and Giuseppe Vecchi (editors). 1968. I più antichi monumenti sacri italiani. I: Edizione fotografica, Monumenta Lyrica Medii Aevi Italica, 3: Mensurabilia, 1. Bologna: Universita degli studi di Bologna. Pages: Edition: pl. CXLI. Foschini, Gaetano F. 1898. La musica all'Eposizione Generale Italiana di Torino 1898. Rivista musicale italiana, 786-836. Pages: Edition: 814.
211v–212r	Inclita stella maris	du fay	Du Fay, Guillaume (1397–1474)
Inclita stella maris Du Fay, Guillaume (1397–1474) Appears on: 211v–212r Genres: Canonic Source Attribution: du fay Voice: I Languages: Latin Clef: c2 Voice Text: Inclita stella maris Voice: Contratenor Languages: none Clef: c4 General Note II, fuga ex I: 'Est fuga de se canendo / de tempore perfecto / et simul incipiendo / et est concordans / sy placet absque contratenores'. Ct cum fuga: '[C]ontra concordans cum fuga et cuilibet per se'. Ct cum omnibus: 'Secundus contratenor concordans cum omnibus non potest cantari nisi pueri dicant fugam'. This is the only mensuration canon in Q15. Cumming 1999, 142 makes comparisons with other canonic cantus pieces and caccia procedure. The enormously important indication of the participation of boys in complex composed polyphony has been discussed, with other aspects of this piece, by Fallows 1983, 128-31. The canon can be sung alone, the parts functioning mutually as discant and tenor; or it can be sung with the 'Contratenor cum fuga' to make a three-part piece; or this Ct can be sung with either canonic part to make alternative (and rather unsatisfactory, though grammatically complete) two-part versions; or all four parts can be sung together. For the absence of a designated T see Bent 2007a. A small cross on the staff, looking rather like a deleted S rest, follows the first note of bar 64 (shown by Besseler as a signum), the exact midpoint of the motet (128 perfect breves plus final). Besseler fails to respect the simultaneous mensurations; the mensuration canon uses c and x; Ct I is signed x, Ct II c. PlanchartO notes its avoidance of cadences, and that Besseler placed this motet early because he did not like it. See Cox 1977, I 49-51. Commentary and edition/translation of text (continuous pentameters in four-line stanzas) in Holford-Strevens 1997, 120-2; it makes extensive use of rime equivoque (the same word with different meanings, or combinations of syllables that form a complete word used elsewhere. Uses pasted capital #60. '[C]ontra' had a small pasted capital, now lost, of which some decoration remains on the page. Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas. 8 6-line staves for I on verso. Extra (10th) stave on recto. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 1/21. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 44-65. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition:(1), 1-5. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.2 (1947). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition:1/1 #1.
212v–213r	Rite majorem Jacobum canimus / Artibus summis miseri reclusi	du fay	Du Fay, Guillaume (1397–1474)
Rite majorem Jacobum canimus / Artibus summis miseri reclusi Du Fay, Guillaume (1397–1474) Appears on: 212v–213r Genres: Motet Source Attribution: du fay Voice: II Languages: Latin Clef: c2 Voice Text: ARtibus summis miseri reclusi Voice: Contratenor Languages: Latin Clef: c4 Voice Text: ora pronobis dominum Voice: I Languages: Latin Clef: c2 Voice Text: Rite maiorem iacobum canimus Voice: Tenor Languages: none Clef: c4 Copying Style Void coloration. Red bars. T, Ct repeat signs. Extra (10th) stave on verso. Layout parts General Note On St James the Great. T: Ora pro nobis dominum, que te vocavit Jacobum. Acrostic: robertus auclou curatus sancti jacobi. Auclou, possibly the author of the text, was curate of St Jacques de la Boucherie in Paris 1425-7, and in 1426 secretary to Cardinal Louis Aleman, papal legate in Bologna, when Du Fay was also there. Possibly related to the Missa Sancti Jacobi, ff. 144-153 above, but see Planchart 1988, 129 on possible Bolognese provenance of c.f. and motet. See PlanchartD. Problems in this text (notably whether Jesus or John was intended in stanza 2) are elucidated by Holford-Strevens 1997, 99-102, edition and translation 117-20. Sapphic hendecasyllables in four-line stanzas with false quantities. Fallows 1982 notes large-scale voice-exchange in the upper voices. 'Tenor ora pro nobis dominum qui te vocavit Jacobum' and Ct both notated once with repeat signs and aligned mensuration signs ,c and x for two color statements with mensural transformation. No introductory duet. Each color contains two taleas, isorhythmic in all parts (within each color only) including the Solus tenor, which in this case is a lower-voice conflation only when T and Ct are sounding, but for the first 6 breves of each talea rather a trompetta-like part (see Bent 2007a). I (only) changes to /x for the end of each talea requiring S = M of ,c, and back again. See Cox 1977 I, 52-6, Allsen 1992, #96, Lütteken 1993, 302, 474. Cumming 1999: ‘French isorhythmic’. Uses pasted capital #61. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 2/11. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 65-80. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 38-45. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 2.6 (1948). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/1 #11.
213v–214r	Surrexit Christus hodie	Jo de lymburgya	Lymburgia, Johannes de
Surrexit Christus hodie Lymburgia, Johannes de Appears on: 213v–214r Genres: Hymn, Motet Source Attribution: Jo de lymburgya Voice: I Languages: Latin Clef: c2 Voice Text: Surexit xpus hodie Voice: Tenor Languages: Latin Clef: f3 Voice Text: Surexit xpus hodie Voice: II Languages: Latin Clef: c2 Voice Text: Surexit xpus hodie General Note Hymn text set as a motet. Hymn melody in T(?) and for Alleluia refrain marked 'Chorus semper respondens', presumably after every fourth stanza: 'Chorus alleluia' in I after stanza 4. Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘unus-chorus’. NosowR: the cantus firmus and refrain come from a sequence found among later 15th-century additions to Vicenza, Seminario vescovile, MS U.VIII.11, ff. 16v-17 (see Cattin 1970a for contents; Bent 1995 for the core of the MS as Bartolomeo Rossi’s bequest). NosowR clarifies the form: in Q15, the red bar lines in I show where to sing the refrain, the first time followed by ‘chorus Alleluya’. Lymburgia places the refrain after (4-line) strophes 2, 3, 5, 6, the Vicenza MS only after strophes 3 and 6. The Alleluya refrain itself is indicated at the very end of cantus I, signalled ‘Corus semper respondens’ in F3 clef, the T corresponding to the setting of the first two lines of the text (not four as in the Vicenza MS), presumably cueing the Alleluya refrain to be sung by all three parts. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 240.
214v–215r	Nova vobis gaudia / noua	grenon	Grenon, Nicolas
Nova vobis gaudia / noua Grenon, Nicolas Appears on: 214v–215r Genres: Motet Source Attribution: grenon Voice: II Languages: Latin Clef: c1 Voice Text: Noua vobis gaudia refero Voice: I Languages: Latin Clef: c1 Voice Text: Noua vobis gaudia refero Voice: Tenor Languages: Latin Clef: c3 Voice Text: noua Copying Style No coloration. Red bars. T repeat signs. Layout parts General Note For Christmas, with 'Noel' refrain. T chant unidentified, but similar to 5th-mode Kyrie of Mass VIII (LU 37). Two identical T color statements, each consisting of two nearly identical taleas, over which the equal cantus parts (single text) present four isorhythmic statements. 2-note Amen outside this structure. See Cox 1977 I, 57-9, Allsen 1992, #119, and 44-5 on layout of T; Noël refrains at end of each talea, with overlapping rhythmic modules in all voices, very similar to those in the piece at f. 296v, Brassart's Gratulemur cristicole. Cumming 1999: ‘French isorhythmic’. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 80-89. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (7), 31-33. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/7 #10. Marix, Jeanne (editor). 1937. Les musiciens de la cour de Bourgogne au XVe siècle (1420-1467) : Messes, motets, chansons. Paris. Pages: Edition: 233.
215v–217r	Pulcra es amica	Jo de lymburgia	Lymburgia, Johannes de
Pulcra es amica Lymburgia, Johannes de Appears on: 215v–217r Genres: Motet Source Attribution: Jo de lymburgia Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Pulcra es amica mea Voice: I Languages: Latin Clef: c1 Voice Text: Pulcra es amica mea Voice: Tenor Languages: Latin Clef: c3 Voice Text: Pulcra General Note Text: Song of Songs 6: 3-9. Cantilena motet. Cumming 1999: ‘cut-circle’. Presumably excluded by Cox because text has liturgical status. Uses pasted capitals #62, #63. Copying Style Void coloration. Flagged semiminims. Red bars.Fermata at one cadence. Layout parts Item Bibliography Lewis, Ann (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs. Antico Edition - Renaissance Church Music. Newton Abbot. Pages: Edition: 2. Burstyn, Shai. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation. Pages: Edition: 360. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 258.
216v–217r	O pulcherrima mulierum	Ar de lantinis	Lantins, Arnold de (–1432)
O pulcherrima mulierum Lantins, Arnold de (–1432) Appears on: 216v–217r Genres: Motet Source Attribution: Ar de lantinis Voice: Tenor Languages: Latin Clef: c3 Voice Text: dilectus Voice: Contratenor Languages: Latin Clef: c3 Voice Text: o pulcerima Voice: I Languages: Latin Clef: c1 Voice Text: O pulcerima mulierum Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas on 'filie Jerusalem'. Layout parts General Note Marian antiphon. Text: Song of Songs, adapted from 5: 9, 10, 13, 16. Cantilena motet. Cumming 1999: ‘cut-circle’. Presumably excluded by Cox because text has liturgical status. Apparently the basis for Arnold's mass cycle (Strohm 1990): see note on the Kyrie at f.172v. T in BU is divided up and texted. Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #2. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 269-271.
217v–218r	Salve regina mater misericordiae	Jo reson	Reson, Johannes (?)
Salve regina mater misericordiae Reson, Johannes (?) Appears on: 217v–218r Genres: BVM, Motet, Salve Regina Source Attribution: Jo reson Voice: Tenor Languages: Latin Clef: c4 Voice Text: salue Voice: I Languages: Latin Clef: c2 Voice Text: SAlue regina Voice: Contratenor Languages: Latin Clef: c4 Voice Text: salue General Note Marian antiphon. BU lacks several portions near the end. See Cox 1982, 445-7. Presumably excluded by Cox 1977 because text has liturgical status. Cumming 1999: ‘continental cantilena’; 131 observes chant paraphrase in bars 1-8. Copying Style Void coloration. Fermatas. Layout parts Item Bibliography Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (2), 111-114.
217v–218r	In natali Domini Vs. Virgo mater peperit	-	Anonymous
In natali Domini Vs. Virgo mater peperit Anonymous Appears on: 217v–218r Genres: Lauda Voice: II Languages: Latin Clef: c1 Voice Text: Jn natale domini Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Jn nataly domini Voice: Tenor Languages: Latin Clef: f3 Voice Text: Jn nataly domini Voice: I Languages: Latin Clef: c2 Voice Text: Jn natali dominj General Note Refrain precedes strophe (’Virgo mater’). Settings of the same texts with similar musical incipits are in sources in Hradec Kralové and Brussels: see Diederichs 1986, 126-32. Late stage-III addition (fine pen). Copying Style No coloration. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 324-329. White, Richard James. 1975. The Battre Section of Trent Codex 87. Indiana University, Unpublished Ph.D. dissertation. Pages: Edition: (2), 5. Cattin, Giulio. 1968. Le composizioni musicali del ms. Pavia Aldini 361. L'Ars Nova italiana del Trecento, 1-21. Pages: Edition: 15. Besseler, Heinrich. 1952. The Manuscript Bologna Biblioteca Universitaria 2216. Musica Disciplina, 39-65. Pages: Edition: version 324, Tr87 327-8,. Wolf, Johannes. 1923), second, un-revised edition (Bückeburg und Leipzig: Kistner and Siegel 1927. Musikalische Schrifttafeln für den Unterricht in der Notationskunde. Leipzig. Pages: Edition: pl. 58 (facs. of f. 24).
218v–219r	O lux et decus / Amen	hugo (added) de lantinis	Lantins, Hugo de (fl. 1420-30)
O lux et decus / Amen Lantins, Hugo de (fl. 1420-30) Appears on: 218v–219r Genres: Motet Source Attribution: hugo (added) de lantinis Voice: [no designation] Languages: Latin Voice Text: o lux et decus Voice: I Languages: Latin Clef: c1 Voice Text: O lux et decus Voice: Contratenor Languages: Latin Clef: c3 Voice Text: o lux et decus Voice: Tenor Languages: Latin, Hebrew Clef: c3 Voice Text: Amen Copying Style Void coloration. Red bars. Layout parts General Note Text is an antiphon from a rhymed Office for St James the Great (variant form in AH 26, 129-31). Presumably excluded by Cox because text has liturgical status. Allsen 1993 reports how this motet was adapted and partly recomposed from the BU Christus vincit, set as laudes for the Doge Francesco Foscari, therefore not before April 1423. Cumming 1992, 346-53 discusses the three Foscari motets (including #206 and Christus vincit). Cumming 1999: ‘cut-circle’. Major prolation becomes tempus perfectum; the void breves of BU's second half in v become, in Q15, normal breves in c. Despite anomalies and contratenor revision in the BU copy, Allsen argues that it fits the laudes text better. He leaves open the question whether Hugo was also responsible for this revision as well as the original version. There is no obvious reason why a Foscari version should have been suppressed for Q15, as it contains other music for that doge (ff. 242v, 250v).Imitative cantilena motet. 2-note Amen. Uses pasted capital #64. General Note Christus vincit (in BU2216) re-worked here as O lux et decus Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #6. Allsen, Jon Michael. 1993. Intertextuality and Compositional Process in Two Cantilena Motets by Hugo de Lantins. Journal of Musicology, 174-202. Pages: Edition:. Allsen, Jon Michael. 1992. Style and Intertextuality in the Isorhythmic Motet, 1400–1440. University of Wisconsin-Madison, Ph.D. diss. Pages: Edition: 197-198. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: (2), 55.
219v–220r	Ave mater o Maria	Johannes de sarto	Sarto, Johannes de
Ave mater o Maria Sarto, Johannes de Appears on: 219v–220r Genres: Ave Maria, Motet Source Attribution: Johannes de sarto Voice: Contratenor Languages: Latin Clef: c3 Voice Text: tu in vale delictorum Voice: I Languages: Latin Clef: c1 Voice Text: Ave mater o maria Voice: Tenor Languages: Latin Clef: c3 Voice Text: salue virgo General Note To the Virgin Mary. Cantilena motet, florid style, similarities with Brassart, O flos fragrans (f.293v) (Peter Wright, New Grove II), which was copied later into Q15. Nosow 1992, 167 observes (citing Kurt von Fischer) that the first two lines quote a well-known lauda; he also compares the opening to that of Te dignitas presularis (f. 295v). See Cox 1977 I, 59-62, who observes that both uncut and cut signatures have the L-B coloration 'normally' associated with /x. Cumming 1999: ‘cut-circle’, and see 105-8; the change of mensuration comes at a different point in I. Such pieces offer some support for my arguments (Bent 1996a and subsequently) that cut signs do not necessarily prescribe diminution at this date. Final cadence divisi creates an interesting clash with T; Ct differs strongly from Tr92. Uses pasted capital #65. See WrightP 1992. Copying Style Void coloration. Flagged semiminims. Void minim triplets. Red bars. Fermatas on 'Salve virgo' and inconsistently for final cadence which also has void divisi in I. Layout parts General Note (Ct last phrase only texted / Ten partial text) Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #21. Cumming, Julie Emelyn. 1999. The Motet in the Age of Du Fay. Cambridge. Pages: Edition: 106-7. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 89-97.
220v–221r	Descendi in ortum meum / partial text	Johannes de lymburgia	Lymburgia, Johannes de
Descendi in ortum meum / partial text Lymburgia, Johannes de Appears on: 220v–221r Genres: Motet Source Attribution: Johannes de lymburgia Voice: Tenor Languages: Latin Clef: f4 Voice Text: Reuertere Reuertere Alleluya Voice: Contratenor Languages: Latin Clef: f4 Voice Text: et germinassent mala punica Voice: I Languages: Latin Clef: c3 Voice Text: DEscendi in ortum meum Layout parts General Note Text: Song of Songs 6: 10, 12 (used as a processional antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘continental cantilena; cut-circle’; 131 observes that parts of the chant are paraphrased in I. Uses pasted capitals #66, #67. Copying Style Void coloration. Red bars. Fermatas on 'Alleluya'. Item Bibliography Lewis, Ann (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs. Antico Edition - Renaissance Church Music. Newton Abbot. Pages: Edition: 7. Burstyn, Shai. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation. Pages: Edition: 376. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 253.
220v–221r	Spes nostra salus	de anglia	Bodoil, Jo. (?) Power, Leonel (–1445) (?)
Spes nostra salus Bodoil, Jo. (?) Power, Leonel (–1445) (?) Appears on: 220v–221r Genres: Motet Source Attribution: de anglia Voice: Contratenor Languages: Latin Clef: c4 Voice Text: spes nostra Voice: Tenor Languages: Latin Clef: c5 Voice Text: spes nostra Voice: I Languages: Latin Clef: c2 Voice Text: Spes nostra General Note Text: Trinity antiphon. Presumably excluded by Cox because text has liturgical status. Attributed to Power by Hamm 1968. This short, straightforward setting has no changes of scoring. 'English cantilena' (Cumming 1999). Some stage-III paper is anticipated in stage II; this, like the following two pieces, is a stage-II copy, with 9 staves, roman foliation. Darker ink than the preceding piece. Copying Style Void coloration for imperfection and sesquialtera. Red bars. Layout parts Item Bibliography Hamm, Charles E (editor). 1969-. Leonel Power: Complete Works. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 12-13. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 50/1 #9.
221v–222r	Benedicta es caelorum regina	de anglia	Power, Leonel (–1445) (?) Anglia, Robertus de (fl. 1454-74) (?)
Benedicta es caelorum regina Power, Leonel (–1445) (?) Anglia, Robertus de (fl. 1454-74) (?) Appears on: 221v–222r Genres: Motet Source Attribution: de anglia Voice: Tenor Languages: Latin Clef: c5 Voice Text: benedicta Voice: Contratenor Languages: Latin Clef: c4 Voice Text: benedicta Voice: I Languages: Latin Clef: c2 Voice Text: BEnedicta es celorum regina Copying Style Void coloration for imperfection, sesquialtera, minim triplets. Flagged semiminims. Red bars. Fermatas for 'Ave' only. Layout parts General Note Sequence text. Chant in middle voice, called 'Contratenor' in non-English sources. 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Duet for I and T ('Tu preclara') marked unus in I only; Ct has 'duo' instead of rests; final duet ('Per illud') not so signalled. Attributed to Power by Hamm 1968. The Continental sources set 'Benedicta' a3, 'Tu preclara' a2, omit 'Te Deus', set 'Sanctificant' a3, 'Per illud' a2, and omit the final 'Nunc mater', which must have been a3. The English source in poorly-aligned score also omits the final section but misplaces a setting of 'Te Deus' a2 at this point, before a missing folio. Transmission problems in this piece may be due both to copying from the unfamiliar format of score, and to anomalies in the English sources. For the transmission see WrightP 1989, 227-30. Although partly on paper III, this, like the pieces preceding and following, is a stage-II copy, with pasted capitals. Uses pasted capital #68. Some stage-III paper is anticipated in stage II. Item Bibliography Hamm, Charles E (editor). 1969-. Leonel Power: Complete Works. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 25-27. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 50, I. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 81.
222v	Martires Dei incliti / Martires Dei incliti	lymburgia	Lymburgia, Johannes de
Martires Dei incliti / Martires Dei incliti Lymburgia, Johannes de Appears on: 222v Genres: Motet Source Attribution: lymburgia Voice: Tenor Languages: Latin Clef: c3 Voice Text: Martires dei incliti Voice: I Languages: Latin Clef: c1 Voice Text: Martires dei incliti Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Martires dei incliti Copying Style Void coloration. Flagged semiminims. Layout parts General Note In honour of SS Leuntius and Carpophorus, patron saints of Vicenza (20 August). See Cox 1977 I, 62-5, with discussion of whether cut or uncut time is intended; as elsewhere, diminution cannot be objectively verified. Cumming 1999: ‘cut-circle’. On the last page of the gathering; f. R207 is blank. This is classed as an early stage-III copy, on the stage-III paper anticipated before the stage-II foliation was entered. Unlike preceding two pieces, it has no use of red. Item Bibliography Bent, Margaret. 2003. Musicisti vicentini intorno al vescovo Pietro Emiliani. Quattrocento Vicentino. La Dedizione alla Serenissima tra Musica Cronaca e Storia, edited by Margaret Bent, Vicenza: Conservatorio di Musica di Vicenza. Pages: Edition:. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 98-100. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 311. Gallo, Franco Alberto, and Giovanni Mantese. 1964. Ricerche sulle origine della cappella musicale del duomo di Vicenza. Venice. Pages: Edition: 80-2, with facs.
223v–224r	Congruit mortalibus (partially texted)	lymburgia	Lymburgia, Johannes de
Congruit mortalibus (partially texted) Lymburgia, Johannes de Appears on: 223v–224r Genres: Motet Source Attribution: lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: Congruit mortalibus Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Mortalibus plurimum Voice: Tenor Languages: Latin Clef: c3 Voice Text: Congruit mortalibus General Note For Giovanni Contarini, named as patriarch of Constantinople in 1409 by Gregory XII (who preceded him as patriarch), d. 1451. He studied at Oxford 1392-1398/9, Paris 1400-9, and was a brother-in-law of Pietro Emiliani, Bishop of Vicenza, whose deceased wife had been Contarena Contarini. See Cox 1977 I, 66-9. 2-note Amen. Cumming 1999: ‘cut-circle’. Late stage-III script (fine pen). Copying Style Void coloration and semiminims. Fermatas for 'O', 'Johannes Contarine', 'Amen', two cadences. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 101-109. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 315.
224v–226r	Salve vere gratialis / Salve vere gratialis	-	Lymburgia, Johannes de (?)
Salve vere gratialis / Salve vere gratialis Lymburgia, Johannes de (?) Appears on: 224v–226r Genres: Motet Voice: I Languages: Latin Clef: c1 Voice Text: Salve vere gracialis Voice: Tenor Languages: Latin Clef: c4 Voice Text: salue Voice: Contratenor Languages: none Clef: c4 General Note For Antonio Corario (Correr), nephew of Gregory XII, cardinal 1408; he replaced Pietro Marcello as bishop of Ceneda when Marcello moved to Padua 1409. Died by 31 March 1445. Martini annotates this: 'Ant Corario Cardinale/creato nel 1408 /morì nel 1445'. See Cox 1977 I, 69-76, for tentative attribution to Lymburgia, on grounds of style, and placing between two Lymburgia works, a suggestion originally made by Gaspari ('Lyburgia'). Cumming 1999: ‘cut-circle’. Late stage-III script (fine pen). Copying Style No coloration. Fermatas. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 110-121.
226v–227r	In hac die celebri	lymburgia	Lymburgia, Johannes de
In hac die celebri Lymburgia, Johannes de Appears on: 226v–227r Genres: Motet Source Attribution: lymburgia Voice: Tenor Languages: Latin Clef: c5 Voice Text: Jn hac die celebri Voice: I Languages: Latin Clef: c2 Voice Text: Jn hac die celebri Voice: Contratenor Languages: Latin Clef: c5 Voice Text: Jn hac die celebri General Note On St George. Note the unusual combination of flat signatures, here with F (not bb) final. See Cox 1977 I, 76-8. Cumming 1999: ‘cut-circle’. Copying Style No coloration. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 122-125. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 304.
227v–228r	Haec dies quam fecit	-	Anonymous
Haec dies quam fecit Anonymous Appears on: 227v–228r Genres: Gradual, Motet Voice: I Languages: Latin Clef: c2 Voice Text: Hec dies Quam fecit Voice: Contratenor Languages: Latin Clef: c5 Voice Text: Quam fecit dominus Voice: Tenor Languages: Latin Clef: c5 Voice Text: Quam fecit dominus General Note Easter Gradual. Chant paraphrased in I, intonation in void notes. Presumably excluded by Cox because text has liturgical status. New Grove II (article by Bent) notes that this is attributed to Lymburgia by modern scholars, but I cannot now trace the source of this claim. The piece should therefore remain anonymous, though it follows a series of works by, or probably by, Lymburgia. Late stage-III script (fine pen). Cumming 1999: ‘borderline’. Copying Style Void coloration. Flagged semiminims. Layout parts
228v–229r	Descendi in ortum / poma convallium si floruissent	-	Anonymous
Descendi in ortum / poma convallium si floruissent Anonymous Appears on: 228v–229r Genres: Motet Voice: II Languages: Latin Clef: c1 Voice Text: descendi in ortum meum Voice: I Languages: Latin Clef: c1 Voice Text: descendi in ortum meum Voice: Tenor Languages: Latin Clef: c3 Voice Text: Reuertere Voice: Contratenor Languages: Latin Clef: c3 Voice Text: poma conualium si floruissent General Note Text: Song of Songs 6: 10, 12 (used as a processional antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘devotional double-discantus’. Ct expendable and probably later. Late stage-III script (fine pen). Nosow 1992, 64-6 suggests possible authorship of C. de Monte. Copying Style No coloration. Fermatas. Extra (9th) stave on recto. Layout parts Item Bibliography Nosow, Robert. None. Ritual Meanings in the Fifteenth-Century Motet. Pages: Edition: 357. Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #15. Nosow, Robert. 1992. The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy. University of North Carolina, Ph.D. Pages: Edition: 357-62, without Ct. Burstyn, Shai. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation. Pages: Edition: 344.
229v–230r	Alma redemptoris mater (IJD3) II: Tu que genuisti III: Virgo prius ac posterius	<binchois> leonelle [indexer]	Dunstaple, John (ca. 1390–1453)
Alma redemptoris mater (IJD3) II: Tu que genuisti III: Virgo prius ac posterius Dunstaple, John (ca. 1390–1453) Appears on: 229v–230r Genres: Alma redemptoris mater, BVM, Motet Source Attribution: <binchois> leonelle [indexer] Voice: Tenor Languages: Latin Clef: c3 Voice Text: Alma Voice: I Languages: Latin Clef: c1 Voice Text: Alma redemptoris mater Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Alma Copying Style Void coloration and semiminims. Layout parts General Note Publ. cf. AOs n° 137Marian antiphon. Free chant paraphrase, mostly in I. 'Binchois' deleted and replaced by the indexer with 'Leonelle', yet another Binchois/English confusion (see Beata Dei at f. 311v). Duet ('Tu que') I and T (Ct rests). 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Late stage-III script (fine pen). Item Bibliography Hamm, Charles E (editor). 1969-. Leonel Power: Complete Works. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 28-30. Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music. London. Pages: Edition: 106-107. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 51-52.
230v–231v	Gaude virgo mater Christi II: Gaude Christo ascendente	du fay	Du Fay, Guillaume (1397–1474)
Gaude virgo mater Christi II: Gaude Christo ascendente Du Fay, Guillaume (1397–1474) Appears on: 230v–231v Genres: Motet Source Attribution: du fay Voice: II Languages: Latin Clef: c1 Voice Text: Gaude virgo mater Voice: Contratenor Languages: none Clef: c6 Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: Gaude virgo mater General Note Text is (sometimes) a sequence for the feast of the Seven Joys; see Planchart 1988b. Published as a sequence by Besseler in CMM 1, though through-composed, set as a cantilena motet. No chant used. Ct in both sources inessential and possibly inauthentic. See Nosow 1997, 112-16. Cumming 1999: ‘devotional double-discantus’. Late stage-III script (fine pen). '6 righe' annotation (Gaspari?). Copying Style Void coloration. Flagged semiminims. 6-line Ct on ff. A231r, 232r. Layout parts Item Bibliography Nosow, Robert. None. Ritual Meanings in the Fifteenth-Century Motet. Pages: Edition: 369. Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Nosow, Robert. 1992. The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy. University of North Carolina, Ph.D. Pages: Edition: 369-75 (without Ct). de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (5), 1-4. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #1.
231v–232r	Dilectoza cortesia	-	Anonymous
Dilectoza cortesia Anonymous Appears on: 231v–232r Genres: Lauda Voice: II Languages: Italian Clef: c2 Voice Text: Dilectoza cortesia Voice: I Languages: Italian Clef: c2 Voice Text: Dilectoza cortesia General Note Italian lauda/strambotto. Strophe in [x], preceding refrain ('Sancto Jesu amore', with fermatas), then continuing in /x. See Diederichs 1986, 99-101. Late stage-III script (fine pen). Copying Style No coloration. Fermatas. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 304-5.
232v–233r	Gaude tu baptista / Gaude tu baptista	fuga sex temporum Benenoit	(Sirede), Benoit
Gaude tu baptista / Gaude tu baptista (Sirede), Benoit Appears on: 232v–233r Genres: Motet Source Attribution: fuga sex temporum Benenoit Voice: II Languages: Latin Clef: c1 Voice Text: dum non natus extitisti Voice: Tenor Languages: Latin Clef: c3 Voice Text: dum non natus extitisti Voice: Contratenor Languages: Latin Clef: c3 Voice Text: GAude tu baptista cristi Voice: I Languages: Latin Clef: c1 Voice Text: GAude tu baptista cristi Copying Style Void coloration. Layout parts General Note John the Baptist, sequence text (AH 39, 173, from Cambrai missals). Anderson (in progress) addresses the theological symbolism of this work and suggests a scribal pairing with the preceding Du Fay motet (f.230v) on the source sequence (Gaude virgo mater Christi), an example of the scribe's habit of pairing or grouping works. In the opening duet, II is derived canonically from I (signum, and 'fuga sex temporum' indication); rests in II, which, however, could easily complete the canon in this equal-cantus motet (as in the pieces at ff.247v, 269v, 276v, 292v). Texted introductory duet is self-contained, demarcated with fermata; rests in T, Ct are repeated before color 2; the Amen also is within the structure. Each talea is prefaced by a texted duet for I and II, the first in canon, the second free. T, Ct are isorhythmic, 1 color, 2 taleas; upper parts not. The combination of isorhythm and canon is quite rare. See Cox 1977 I, 78-80, Allsen 1992, #67. Cumming 1999: ‘French isorhythmic’. Late stage-III script (fine pen). Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 126-136. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (3), 98-102.
233v–234r	Ave Jesu Christe	-	Anonymous
Ave Jesu Christe Anonymous Appears on: 233v–234r Genres: Motet Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Aue yhesu criste Voice: I Languages: Latin Clef: c1 Voice Text: Aue yhesu criste Voice: Tenor Languages: Latin Clef: c4 Voice Text: Aue yhesu criste General Note Music for the duos is presented successively (implying divisi) within I; T and Ct participate only in chorus. The scribe might have presented this as an a versi piece had it been in stage I; see Bent 2004b. The resulting length of part I requires its continuation on the recto, with T and Ct compactly beneath. Lauda text? Cumming 1999: ‘unus-chorus’. Late stage-III script (fine pen). Copying Style Void coloration. Extra (9th) stave on recto at stage III. Layout parts
234v–235r	Tota pulchra es amica mea et macula	lymburgia	Lymburgia, Johannes de
Tota pulchra es amica mea et macula Lymburgia, Johannes de Appears on: 234v–235r Genres: Motet Source Attribution: lymburgia Voice: II Languages: Latin Clef: c1 Voice Text: Tota pulcra es Voice: Contratenor Languages: Latin Clef: c4 Voice Text: veni veni veni veni Voice: Tenor Languages: Latin Clef: c4 Voice Text: veni venj venj Voice: I Languages: Latin Clef: c1 Voice Text: Tota pulcra es Copying Style No coloration. Void semiminims. Fermatas for 'Veni'. General Note Text: Song of Songs, adapted from 4: 7, 1, 6: 4, 6, 7: 11, 4: 7 (used as a processional antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Untexted introductory duet (not a melisma on the opening syllable), not demarcated from body of motet, wide-spaced echo imitation, in fact a written-out canon. Cumming 1999: ‘devotional double-discantus’. Late stage-III script (fine pen). Layout parts Item Bibliography Lewis, Ann (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs. Antico Edition - Renaissance Church Music. Newton Abbot. Pages: Edition: 13. Burstyn, Shai. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation. Pages: Edition: 366. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 279.
235v	Imnizabo regi meo	lymburgya	Lymburgia, Johannes de
Imnizabo regi meo Lymburgia, Johannes de Appears on: 235v Genres: Lauda Source Attribution: lymburgya Voice: I Languages: Latin Clef: c1 Voice Text: Jmnizabo regi meo Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Jmnizabo regi Voice: Tenor Languages: Latin Clef: c3 Voice Text: Jmnizabo General Note Refrain ('Imnizabo') precedes strophe ('Eya ergo'); refrain repeat specified after each of 17 stanzas. 2 stanzas underlaid, 15 more beneath. The last 2 text stanzas continue on f. R207 recto, confirming that gathering XX was already situated here during and not after copying; this is the only case, small but telling, where a stage-III gathering is bridged to the existing manuscript. See Diederichs 1986, 140-3. Late stage-III script (fine pen). Copying Style No coloration. One void semiminim. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 340-341. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: 2), 340.
236r	Regina caeli laetare	Jo de lymburgia	Lymburgia, Johannes de
Regina caeli laetare Lymburgia, Johannes de Appears on: 236r Genres: Motet, Regina caeli laetare Source Attribution: Jo de lymburgia Voice: I Languages: Latin Clef: c2 Voice Text: REgina celi letare Voice: Tenor Languages: Latin Clef: f2 Voice Text: letare General Note Marian Antiphon. Chant AR 57 (transposed) in I, with intonation (black notation). Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘continental cantilena’. Copied (or at least attributed) after foliation, therefore possibly one of the latest pieces to have a pasted capital. Uses pasted capital #69 for T. The 'R' is drawn on the page, approaching the style of the stage-I capitals, perhaps for the start of this gathering. Copying Style No coloration. Flagged semiminims. Red bars. Fermatas on intonation and one cadence. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 153.
236v–237r	Missus est Gabriel angelus ad Mariam	P. Rubeus	Rubeus, Petrus
Missus est Gabriel angelus ad Mariam Rubeus, Petrus Appears on: 236v–237r Genres: Motet Source Attribution: P. Rubeus Voice: I Languages: Latin Clef: c1 Voice Text: MIssus est Ad mariam Voice: Tenor Languages: Latin Clef: c3 Voice Text: missus desponsatam Voice: II Languages: Latin Clef: c1 Voice Text: GAbriel Angelus Ad mariam General Note Equal-cantus Italian motet with echo imitation at beginning. The two texts (essentially the same but with a differing central portion) blend the texts of two responsories (not antiphons, as previously thought), both prescribed for the Annunciation and for Advent: 'Missus est Gabriel angelus' (CAO 7170) and 'Suscipe verbum virgo Maria' (CAO 7744), making 'a polyphonic, texturally elaborate paraphrase of Luke I:26-32'; see the analysis and extensive discussion of context in Rothenberg 2004, also Nosow 1997, 116, who also reports (from PesceL 1987, I, 74-7) a confraternity-sponsored Annunciation procession in Treviso, where Rubeus/Rosso was active (variously as singer, canon and magister scolarum) between 1417 and his death in 1449 (details in Nosow, New Grove II), and a 1443 document citing a performance in procession of what must be this piece: 'et a messer pre piero rosso fé el canto se canta in +[croce] di via: missus est angelus Gabriel'. The motet was sung in the Annunciation procession at least in 1443, 1444 and 1447 (NosowR). On the confraternity see also Bryant/Pozzobon 1995, 49-52. For further discussion see Owens 2008, who cites (from PesceL 1987, II 597) Rosso's obligation in 1438 to teach a group of boys the ‘canto del agnol e de la Maria’, not the motet, but rather the play performed by boys in the Cathedral later that day. Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘Italian’. Uses pasted capitals #70, #71, #72. Given Rosso's likely birthdate c. 1393, the pasted M (#70) could possibly represent a stage-I copy of this motet. Copying Style Void coloration and triplets. Flagged semiminims. Red bars. Layout parts Item Bibliography Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (5), 96-98. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/5, 96-8.
237v–238r	Vergine bella	du fay	Du Fay, Guillaume (1397–1474)
Vergine bella Du Fay, Guillaume (1397–1474) Appears on: 237v–238r Genres: Motet Source Attribution: du fay Voice: Contratenor Languages: insufficient, Italian Clef: c4 Voice Text: (partially texted) Voice: Tenor Languages: insufficient, Italian Clef: c4 Voice Text: (texted in sections 2 and 3) Voice: I Languages: Latin Clef: c2 Voice Text: Virgene bella General Note (partially texted: in sections 2 and 3) General Note One of very few Petrarch settings before the late 15th century (others are by Ludovico de Arimino, Jacopo da Bologna). See Pirrotta 1966. The canzone form is rarely set to music, but presented as a motet (Planchart 1988b, Bent 1980b); Nosow 1992, 259-69 discusses the verse form, cites Carducci for lauda connections, and notes that O invidia and Passato è il tempo are other capoversi from Petrarch's Canzoniere. Fallows 1995a cites 'Sacrosancta immortale et degna spina' by Jacopo Brachali pistoiese (Vatican, Rossi 424 f. 208). Cumming 1999: ‘cut-circle’; 119-22 notes similarities to Du Fay’s balades Mon chier amy, Resvelliés vous, C’est bien raison, and Grossin’s Imera dat hodierno. Bujic 1991 addresses some difficulties Trecento composers might have had in setting the canzone form and shows how Dufay structured his setting according to the form of Petrarch's stanza. Petrarch's obsequies were observed annually by the Padua Chapter on 20 July. Bent 1999 suggests the 50th anniversary of his death in 1424 as a possible occasion for composition of this unusual text; the last (366th) canzone of the Canzoniere; 1424 was a leap year. Uses pasted capitals #73, #74. Pasted capital #72 almost certainly attests its presence in stage I, but with no obvious scope or reason for change. Martini annotates this: 'Le parole sono del Petrarca Canz. XLIX [sic]/morì nel 1374'. Copying Style Void coloration. Flagged semiminims. Fermatas at one cadence. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 1/24. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/6 #5;. Lisio, Giuseppe. 1893. Una stanza del Petrarca musicata dal Du Fay tratta da due codici antichi e le poesie volgari contenute in essi. Bologna. Pages: Edition: (from BU) and many early editions.
238v–239r	Tota pulchra es amica mea et macula II: Flores apparuerunt	Ar de lantinis	Lantins, Arnold de (–1432) (?)
Tota pulchra es amica mea et macula II: Flores apparuerunt Lantins, Arnold de (–1432) (?) Appears on: 238v–239r Genres: Motet Source Attribution: Ar de lantinis Voice: II Languages: Latin Clef: c1 Voice Text: Tota pulcra es Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: Latin Clef: c3 Voice Text: flores veni de lybano veni Voice: I Languages: Latin Clef: c1 Voice Text: Tota pulcra es General Note Text: Song of Songs, adapted from 4: 7, 1, 6: 4, 6, 7: 11, 4: 7 (used as a processional antiphon for Marian feasts). Cadential sketch on last stave, void notation with black coloration, possibly a variant for voice II, which cadences above I. Presumably excluded by Cox because text has liturgical status. Cumming 1999, 127-31: ‘cut-circle; declamation; double discantus’. Ox and BU are a3 with I, Ct, T. Only Q15 and MuEm are a4 with a second cantus that was clearly added to that texture; anomalies pointed out by Nosow 1992, 131-7. Uses pasted capital #75. Copying Style Void coloration and minim triplets. Red bars. Fermatas at one cadence. Layout parts Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #1C. Cumming, Julie Emelyn. 1999. The Motet in the Age of Du Fay. Cambridge. Pages: Edition: 128-9 (from BU. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 262-266.
239v–240r	Imera dat hodierno	grosin	Grossin, Estienne
Imera dat hodierno Grossin, Estienne Appears on: 239v–240r Genres: Motet Source Attribution: grosin Voice: Tenor Languages: Latin Clef: c4 Voice Text: Jmera dat hodierno Voice: I Languages: Latin Clef: c1 Voice Text: Imera dat hodierno Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Jmera dat hodierno General Note On the Holy Spirit. Through-composed. See Cox 1977 I, 80-1. Cumming 1999: ‘cut-circle; declamation’. Uses pasted capital #76. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 137-142. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: 59-61. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (14/15) 208-209.
240v–241r	Surge propera	Jo de lymburgia	Lymburgia, Johannes de
Surge propera Lymburgia, Johannes de Appears on: 240v–241r Genres: Motet Source Attribution: Jo de lymburgia Voice: II Languages: Latin Clef: c1 Voice Text: Surge propera Voice: I Languages: Latin Clef: c1 Voice Text: Surge propera Voice: Tenor Languages: Latin Clef: c3 Voice Text: surge Voice: Contratenor Languages: Latin Clef: c3 Voice Text: flores vox turturis audita General Note Text: Song of Songs 2: 10-13. Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘cut-circle; devotional double-discantus’. Copying Style No coloration. Red bars. Fermatas at one cadence. Layout parts Item Bibliography Lewis, Ann (editor). 1984. Johannes de Lymburgia. Four Motets. The Song of Songs. Antico Edition - Renaissance Church Music. Newton Abbot. Pages: Edition: 10. Burstyn, Shai. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation. Pages: Edition: 371. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 271.
241v–242r	Puer natus in Bethlehem	Jo de lymburgia	Lymburgia, Johannes de
Puer natus in Bethlehem Lymburgia, Johannes de Appears on: 241v–242r Genres: Motet Source Attribution: Jo de lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: Puer natus in bethlelem Voice: Contratenor Languages: Latin Clef: c3 Voice Text: puer natus in bethleem Voice: Tenor Languages: Latin Clef: c3 Voice Text: puer natus Voice: II Languages: Latin Clef: c1 Voice Text: Puer natus in bethlelem General Note Hymn text set as motet, equal cantus parts. No chant. Presumably excluded by Cox because text has liturgical status. Duet ('unus') for 'Trino uno sempiterno' only. Cumming 1999: ‘devotional double-discantus’. Uses pasted capital #77. Copying Style Void coloration. Red bars. Fermatas at some cadences. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 230.
242v–243r	Carminibus festos / O requies populi	Antonius Romanus	Romanus, Antonius
Carminibus festos / O requies populi Romanus, Antonius Appears on: 242v–243r Genres: Motet Source Attribution: Antonius Romanus Voice: II Languages: Latin Clef: c1 Voice Text: O requies populi Voice: Contratenor Languages: Latin Clef: c3 Voice Text: dux ventum francisce Voice: I Languages: Latin Clef: c1 Voice Text: CArminibus festos Voice: Tenor Languages: none Clef: c3 General Note For Francesco Foscari as doge, elected 15 April 1423. Celebrations on 23 April (St George's day), with which this may be associated; reference to 'turba' in II. See Cumming 1987, 308-19, Cumming 1992, 342-6. Text in hexameters. Equal-cantus. Cumming 1999: ‘Italian’. Ct would not have fitted on one opening with stage-I spacing, and may therefore have been added if this was a recopy. Cumming 1999 judged the Ct to be essential, on the basis of two pitch errors in Q15 (corrected in Reaney); but as in all other motets of this type it is grammatically inessential. Two sections, each of which moves from /x to c in I, II over ,c andc in T, Ct (inequality); possible notational translation of I, II from ,c with minim equivalence. Rhythmically identical in T, Ct (variations in cantus rhythms to accommodate text). ,cSee #215, #181 and Cox 1978 , 81-6, Allsen 1992, #130. Copying Style Void coloration. Red bars. Extra (10th) stave on both pages. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 143-154. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (6), 171-177. [No Author] 1931-. Acta Musicologica. International Musicological Society . Pages: Edition: (Mon.Ven.Sac.1), 7;.
243v–244r	Ave gemma claritatis	hugo de lantinis	Lantins, Hugo de (fl. 1420-30)
Ave gemma claritatis Lantins, Hugo de (fl. 1420-30) Appears on: 243v–244r Genres: Motet Source Attribution: hugo de lantinis Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: Latin Clef: c3 Voice Text: katerina virgo felix Voice: II Languages: Latin Clef: c1 Voice Text: Ave gemma claritas Voice: I Languages: Latin Clef: c1 Voice Text: Ave gemma claritas General Note Text based on two antiphons from a rhymed Office for St Catherine, Ave gemma claritatis (entire) and the last four lines of Inclita sancte virginis. Equal-discantus motet supported by T with inessential Ct. Introductory duet in wide-spaced non-overlapping echo imitation recites the same words and music to different T and Ct lines (as in some Ciconia motets) but with different melismatic cadences (ouvert/clos). Discussed in Nosow 1991, 251–4. See Cox 1977 I, 87-90, Allsen 1993. Cumming 1999: ‘devotional double-discantus’. Uses pasted capital #78. Copying Style Void coloration. Red bars. Layout parts Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #4. Nosow, Robert. 1991. The Equal-Discantus Motet Style after Ciconia. Musica disciplina, 221-75. Pages: Edition: 270-5. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 155-163;.
244v–245r	O felix flos florencia / O felix flos florencia / texted only in final section	Fr. Antonius de civitato	Cividale, Antonius de
O felix flos florencia / O felix flos florencia / texted only in final section Cividale, Antonius de Appears on: 244v–245r Genres: Motet Source Attribution: Fr. Antonius de civitato Voice: II Languages: Latin Clef: c1 Voice Text: GAude felix dominice Voice: Tenor Languages: Latin Clef: c3 Voice Text: o felix flos florencia Voice: I Languages: Latin Clef: c1 Voice Text: O felix flos florencia General Note For Florence, and Leonardo Dati, Minister General of the Dominicans, 1414. Izbicki 2000, 174-5: Dati’s sermon texts contain numerous references not only to patristic texts but also to classical texts and even some early figures of Renaissance humanism, including Petrarch and Boccaccio. Equal-cantus Italian motet with free accompanying T. Cumming 1999: ‘Italian’. All three parts join in the opening imitation See Cox 1977 I 91-3. Uses pasted capitals #79, #80. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 164-173. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (5), 25-28. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/5, 25-8.
245v–247r	Ad honorem sancte trinitatis	grenon	Grenon, Nicolas
Ad honorem sancte trinitatis Grenon, Nicolas Appears on: 245v–247r Genres: Motet Source Attribution: grenon Voice: II Languages: Latin Clef: c1 Voice Text: OElorum regnum supernum Voice: Contratenor Languages: Latin Clef: c4 Voice Text: ad honorem sancte trinitatis Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: AD honorem sancte trinitatis General Note For All Saints, Trinity. T, labelled only in Ox but not Q15, 'Isti semper celestibus', is unidentified, but similar to 'Homo quidam' (AM 1189). Introductory duet with wide-spaced echo imitation, equal cantus parts, melismatic on opening syllable, not self-contained, a lengthy written-out canon for I and II, outside the structure. Essential Ct. The perfect-modus T, on one opening in Ox, is there marked 'cise per [medium]' for the second statement, which in Q15 is rewritten on the second opening with /x. Ct in Q15 ('ut iacet') has repeat signs and is not recopied on the next opening. In fact T and Ct (despite 'Canon dicitur ut iacet') are notated to fit the written values of the second statement, with perfect modus and tempus for all parts. The first statement is also in perfect modus but must be read in augmentation in relation to the upper parts, of which two perfect breves relate to one T breve (2:1). Each T and Ct statement contains two isorhythmic taleas, which correspond to strict upper-part isorhythm, 2 statements within each section. In both sources the upper parts continue across the T repeat with no change of signature. The versions of Q15 and Ox have very closely related readings. Closely related in form to Du Fay's O gemma, lux et speculum; Allsen 1992, 280-1 suggests that Grenon's motet may have been a direct compositional response to Du Fay's. See Cox 1977, I 94-101, Allsen 1992, #117. Cumming 1999: ‘French isorhythmic’. Uses pasted capitals #81, #82. Copying Style Void coloration. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 174-187. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: 18-24. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 203-214.
246v–247r	Ave verum corpus	Jo Reson	Reson, Johannes
Ave verum corpus Reson, Johannes Appears on: 246v–247r Genres: Motet Source Attribution: Jo Reson Voice: I Languages: Latin Clef: c2 Voice Text: Ave verum corpus natum Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Aue verum corpus Voice: Tenor Languages: Latin Clef: c4 Voice Text: Aue verum corpus natum General Note Hymn text set as a motet. On the body of Christ. Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘borderline’. Uses pasted capital #83. Copying Style Void coloration. Red bars. Fermatas. Layout parts Item Bibliography Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (2), 114-116.
247v–249r	Sancte Sebastiane	du fay	Du Fay, Guillaume (1397–1474)
Sancte Sebastiane Du Fay, Guillaume (1397–1474) Appears on: 247v–249r Genres: Motet Source Attribution: du fay Voice: I Languages: Latin Clef: c2 Voice Text: SAncte sebastiane Voice: Tenor Languages: Hebrew Clef: c4 Voice Text: Amen Voice: Contratenor Languages: Latin Clef: c4 Voice Text: O quam mirram refulsit gracia Voice: II Languages: Latin Clef: c2 Voice Text: O Martir sebastiane Copying Style No coloration. Red bars. Layout parts General Note Invocation to St Sebastian against plague, possibly that in Padua of 1426-8. Erroneously dated 1437 by De Van (edition 1948, I.xiv); Besseler 1958 proposed 1429, when Du Fay was in Rome, corroborated by Hamm 1964, 41, noting plague outbreak in Rome that year; Besseler's edition later suggests 1420-6, Du Fay's Malatesta period. De Van discovered that the two cantus texts (like those of the pieces at ff. 212v, 289v) derive from the asymmetrical division of a longer poem, also that the Ct text was known. PlanchartO: the texts consist of two rhymed prayers found in numerous breviaries, collectaneae, and books of hours. See AH 33, ##191-2, RH III # 13708, and vol. V. I uses the first 29 and II the last 12 verses of one prayer, the Ct a second prayer in its entirety.) Q15 lacks 'O' for voice I, present in Ox. Texted canonic introductory duet notated within I, with signum; II has rests, though it could easily complete the canon of this equal-cantus motet (as in the pieces at ff. 232v, 269v, 276v292v). Two statements of the long T color, notated identically on both openings,both in major modus, but in ,x then /x, the mensural shift affecting only the single pair of minims in each talea. Each color contains three taleas, nearly isorhythmic in all parts within each color. No change of Ct mensuration confirms that the /x of the other parts for color 2 ('Amen') equates their S to its M, therefore that the T repeat is diminished to a third. Introductory duet and final cadence are outside this structure. The Ox incipit ‘Gloria et honore’ is probably erroroneous; no plainsong has been identified as the T c.f. (PlanchartO). See Besseler CMM 1/1 p. XIV for relationship to Du Fay's balade Resvelliés vous (1423: CMM 1/6 #11), and suggested Malatesta linkage yielding a date 1420-6. For this balade as a possible basis for the mass see notes to Du Fay's mass (f.10v). (See O gemma lux f.292v for the relationship to another balade.) Resvelliés vous indicates proportions by numerals within ,c. Cumming 1999: ‘French isorhythmic’. Double notes in I and II at bar 90 in Ox only. PlanchartO: a ligature at the same place in each talea is drawn incorrectly in both manuscripts as B–L instead of L–L. A later ‘correction’ in Ox 213 exaggeratedly elongates the first note of each ligature (rather than erasing the tail); noted but misinterpreted in Fallows 1995a. Besseler and De Van tacitly correct the error. See also Fallows 1982, Cox 1977 I, 102-9, Allsen 1992, #95, Lütteken 1993, 278 ff., 468. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 188-202. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition:(1), 24-29.
249v–250r	Jesu salvator saeculi / Quo vulneratus scelere	hubertus de salinis	Salinis, Hymbert de (ca. 1378–)
Jesu salvator saeculi / Quo vulneratus scelere Salinis, Hymbert de (ca. 1378–) Appears on: 249v–250r Genres: Motet Source Attribution: hubertus de salinis Voice: I Languages: Latin Clef: c1 Voice Text: Yhesu saluator seculi Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: Qvo vulneratus scelere General Note On the passion of Christ, or Holy Week. Equal-cantus motet, 2 voices over free accompanying T opening with echo imitation; alternating texted sections with lively syncopated melismas. See Cox 1977 I, 109-12: II paraphrases stanza 2 of the hymn Vexilla regis (LU, 575); T quotes the begininng of the hymn melody. Both texts have the form ababcdcd: 8 (Fallows 1995). Cumming 1999, 134-8 calls it a 'retrospective double discantus motet'. It headed the original form of Ox, and can perhaps be read as a salutation of new beginnings through Church councils; we know Salinis was at Pisa (Bent 1998a, 29). Pasted capital #73 was cut from the stage-I verso. Copying Style No coloration. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: 203-208. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (7), 60-61. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 276-277.
249v–250r	Ma seul amour et ma belle maistresse	briquet	Briquet (fl. early 15th century)
Ma seul amour et ma belle maistresse Briquet (fl. early 15th century) Appears on: 249v–250r Genres: Chanson, Rondeau Source Attribution: briquet Voice: Tenor Languages: French Clef: c3 Voice Text: Ma seul amour Voice: I Languages: French Clef: c1 Voice Text: Ma seul amour Copying Style Void coloration. Red bars. Layout parts General Note Rondeau quatrain, decasyllables. See Fallows 1999. Full text after I; Ox has refrain text only. Paris4917 T is simplified and untexted. Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/2, 13-14. Stainer, John F. R, Cécie Stainer, Edward W. B. Nicholson, and Stainer Sir John. 1898; reprinted as EBM I: 1966. Dufay and his Contemporaries: Fifty Compositions (Ranging from about A.D. 1400 to 1440) Transcribed from MS. Canonici misc. 213, in the Bodleian Library, Oxford, with an introduction by E.W.B. Nicholson, and a critical analysis of the music by Sir John Stainer. London. Pages: Edition: 82.
250v–252r	Plaude decus mundi / Venetum clarissima	xpoforus de monte	Monte, Christoforus de
Plaude decus mundi / Venetum clarissima Monte, Christoforus de Appears on: 250v–252r Genres: Motet Source Attribution: xpoforus de monte Voice: I Languages: Latin Clef: c1 Voice Text: Plaude decus mundi Voice: II Languages: Latin Clef: c1 Voice Text: Plaude decus mundi Voice: Tenor Languages: Latin Clef: c3 Voice Text: Plaude Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Plaudite decus Copying Style Void coloration. Red bars. Fermata before and after page turn. Layout parts General Note For doge Francesco Foscari, elected 4 April 1423. See also Carminibus festos at f. 242v. Equal-cantus Italian motet with inessential and somewhat problematic Ct. Brief echo imitation at beginning. The mensurations produce ABABA form. The bracketed mensurations (c x), occur in I and II over continuing x in T, Ct. Ciconian-style close sequential minim imitations. Close affinities shown by Cox 1977 I, 112-17. Texts in classical hexameters (Schmidt-Beste 1994, 94). Cumming 1999: ‘Italian’. Paired (by Cumming 1987, 304) with Romanus #206; p. 321, text in hexameters; see also Cumming 1992, 335-41, which refers to contemporary Venetian inscriptions, and claims that the date of Foscari's election is expressed in the music: 14 breves of c (for 1400); shift to ,c (2 times 3) for 'vigenisque tribus', 23. Pasted capital #84 was cut from the final stage-I recto; for the 'O' see #216. Martini annotates this, on f. A250v: 'Nel 1328 ritrovasi/tra i dogi un Francesco Dandolo', and on f. A251v: 'trovasi un Francesco /Foscari doge/nel 1422'. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 208-222. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 6-8.
252v–253r	O felix templum / O felix templum	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
O felix templum / O felix templum Ciconia, Johannes (ca. 1370–1412) Appears on: 252v–253r Genres: Motet Source Attribution: Jo ciconie Voice: II Languages: Latin Clef: c2 Voice Text: O felix templum Voice: Contratenor Languages: Latin Clef: c4 Voice Text: qui presul diui muneris Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: O felix templum Copying Style Void minim triplets. Red bars on verso. Extra (10th) stave on verso. Layout parts General Note For Stefano Carrara, son of Francesco Novello, administrator of the see of Padua from 1396; dedication of an altar to St Stephen 1400; perhaps for his induction as bishop, 1402, until the fall of the Carrara 1405. Wide-spaced non-overlapping echo imitation at beginning, each statement differently accompanied by T; echo imitation also for 'Stephane'. Not isorhythmic. See Cox 1977 I, 118-23. For a contrapuntal analysis, see Bent 2003a. Cumming 1999: ‘Italian’. The stage-II verso of this composite copy contains voice I and T, the late stage-III recto voice II (fine pen). The stage-II recto is now one of the rear flyleaves and includes an inessential and problematic Ct added at that stage and rejected at stage III: see O felix templum at f.341r. Pasted capital #92 attests a stage-I copy, whose spacing would have precluded a contratenor. Uses pasted capital #84, cut from the stage-I verso of this piece; pasted capital #64 faced it on the recto. Italian notation in Ox (without Ct) offers evidence for the original version. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 223-237. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 68-72;. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 243-248.
253v–254r	Venite adoremus Dominum / Salve sancta aeterna	-	Carmen, Johannes
Venite adoremus Dominum / Salve sancta aeterna Carmen, Johannes Appears on: 253v–254r Genres: Motet Voice: Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Venite adoremus dominum Voice: II Languages: Latin Clef: c1 Voice Text: salue sancta eterna trinitas Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Venite adoremus Copying Style Void coloration. An extra (9th) stave on both tightly filled pages. Layout parts General Note On God and the Trinity. Paired (by WrightC 1979, 131) with Tapissier's Eya dulcis (Ox #322); both pre-date 1417, the end of the Schism, to which they refer; perhaps even 1409 (Council of Pisa). Equal-cantus motet with essential Ct. The stage-I final flyleaf (see the Carmen at 341v) establishes presence in stage I; see also the notes to pasted capital #64. 'Carmen' is added in a later hand (Gaspari?). Complex non-coinciding isorhythm (see Allsen 1992). Two statements of T and Ct, not written out, repeats indicated. Each contains two differently rhythmicised color statements overlapped with three taleas. Of this total of six taleas, two are in each mensuration. For the shift from ,c to x the same number of minims are counted, but for the last two the T has no warning of the change to c. The cantus parts have paired isorhythmic taleas in the mensurations specified. T canon (Turner 2002, 175): 'Tibi color cantus bis pronunciandus unde duo primi [primi omitted in this recopy, present in Ox and at the Carmen at 341v] colores de maiori in tempore imperfecto. Ultimus cum primo de maiori [at f.341v illegible, Ox minori] in tempore inperfecto [both Q15 versions: Ox perfecto; Ox adds Item] secundus et ultimus de eadam in tempore inperfecto'. Ct canon: ‘Contratenor dicitur bis’ (f. R[225]); ‘Contratenor ad modum tenoris’ (f.341v): Allsen and Turner report readings incompletely. The essential Ct is consistent with presence of Solus T. See Cox 1977 I, 124-8, Allsen 1992, #77. Cumming 1999: ‘French isorhythmic’. Late stage-III script (fine pen). Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 238-255. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (1), 39-48. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 167-173.
254v–255r	Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram	Jo alani	Alanus, Johannes (fl. late 14th or early 15th century)
Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram Alanus, Johannes (fl. late 14th or early 15th century) Appears on: 254v–255r Genres: Motet Source Attribution: Jo alani Voice: II Languages: Latin Clef: c3 Voice Text: Fons citharizancium Voice: I Languages: Latin Clef: c1 Voice Text: sub arturo plebs uallata Voice: Tenor Languages: Latin Clef: c3 Voice Text: Jn omnem terram General Note Text of I enumerates 14 English musicians of the late 14th century; II is a history of music (Tubal, Pythagoras, Boethius, Gregory, Guido, Franco, to which J. Alanus appends his own name) and builds in the proportional relationship resulting from the mensurally derived color statements, 'bis sub emiolii normis recitatur', i.e. 9:6:4. For occasion and disputed dating see Trowell 1957, Bowers 1990, Bent 1977, 1998d, 200). See Cox 1977 I, 129-38, Allsen 1992 XI (p. 539). T to be read in the three successive mensurations which in the final c section, mistranscribed by Günther but correctly by Harrison, conflict with the ,c of I and II. The T is included as a music example, and named 'Sub Arturo', at the end of an early 15th-century Italian treatise in Florence, Biblioteca Medicea Laurenziana, MS Redi 71; ed. Carapetyan 1957. The stage-I final flyleaf establishes its presence in stage I. Here, the late stage-III verso (fine pen) faces the stage-I recto. Copying Style Void coloration and red bars on recto only. T repeat signs. Extra (9th) stave on recto. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 255-269. Günther, Ursula (editor). 1965. The Motets of the Manuscripts Chantilly, musée condé, 564 (olim 1047) and Modena, Biblioteca estense, a. M. 5, 24 (olim lat. 568). Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 49-52. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (5), 172-177. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 9-11.
255v–256r	Aurea flamigeri / Aurea flamigeri	Antonius Romanus	Romanus, Antonius
Aurea flamigeri / Aurea flamigeri Romanus, Antonius Appears on: 255v–256r Genres: Motet Source Attribution: Antonius Romanus Voice: II Languages: Italian Clef: c1 Voice Text: Avrea flamigeri Voice: I Languages: Italian Clef: c1 Voice Text: Avrea flamigeri Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 General Note For Gianfrancesco Gonzaga of Mantua; feted by Venetians 1414, 1432. It doubtless precedes his naming as marchese by Sigismund, 1432, and in any case was copied into Q15 well before 1425. Nosow 1992, 53 suggested the awarding of the papal golden rose, 1418, but now retracts this (pers. com.). Equal-cantus Italian motet with wide-spaced non-overlapping echo imitation at beginning. Cox 1977 I, 139-44 describes the form as semicircular, with the form ABCBD, prefaced by the opening duet. Cumming 1999: ‘Italian’. Text irregular, rhymed. Leofranc Holford-Strevens writes (pers. com.): ‘Since someone might suppose that “Aurea flammigeri iam excedis'”was the beginning of a hexameter (completed say “sidera caeli”) with a rough but not incredible elision ‘i(am)excedis’, it might be worth remarking that the text, despite a tendency to lines of six or seven syllables, exhibits neither metrum (classical quantitative metre) nor rhythmus (regulated syllable-count with or without attention to accent), and would pass for prose if it were not rhymed.’ Originally copied without Ct at stage I. The Ct was added at stage II, but proved too long for the space available; recopied on a pasteover (now lifted), also of four staves, but in more compressed form. In I, after the passage in v the restatement of the opening (unstated) mensuration should be x but is in fact ,,c, perhaps attesting that the scribe was directly transcribing from a major-prolation source. Copying Style Void coloration. Red bars. Extra stave on verso, two extra staves on recto, plus 4-stave pasteover. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 270-289. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (6), 177-183. [No Author] 1931-. Acta Musicologica. International Musicological Society . Pages: Edition: (Mon.Ven.Sac.1), 13.
256v–257r	Dominicus a dono	xpoforus de monte	Monte, Christoforus de
Dominicus a dono Monte, Christoforus de Appears on: 256v–257r Genres: Motet Source Attribution: xpoforus de monte Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: DOminicus A dono Voice: I Languages: Latin Clef: c1 Voice Text: DOminicus A dono General Note Da Col 2001 shows that this motet is not for St Dominic, but for someone (perhaps but not necessarily a Dominican) of that name. Christoforus de Monte (Feltre) was himself a Dominican. The text gives autobiographical information: Christoforus was born and raised in Feltre, and learned singing in the mountains that nurtured him. See Cox 1977 I, 145-8; Cumming 1999: 71, 80-2, ‘Italian’. Equal-cantus Italian motet; opens with echo imitation in I, II. Problematic Ct, probably added (Nosow and Cumming agree). Text in classical hexameters (Schmidt-Beste 1994, 94). Copying Style Void coloration. Flagged semiminims in Ct. Red bars. Layout parts Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #13. Cumming, Julie Emelyn. 1999. The Motet in the Age of Du Fay. Cambridge. Pages: Edition: 74-5. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 290-299.
257v–258r	Jesus postquam monstraverat / Jesus postquam monstraverat	matheus de brixia	Brixia, Matheus de
Jesus postquam monstraverat / Jesus postquam monstraverat Brixia, Matheus de Appears on: 257v–258r Genres: Motet Source Attribution: matheus de brixia Voice: Tenor Languages: Latin Clef: c3 Voice Text: Jhesus postquam monstraueat Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Jhesus postquam monstrauerat Voice: II Languages: Latin Clef: c1 Voice Text: Ihesus postquam monstraverat Voice: I Languages: Latin Clef: c1 Voice Text: Ihesus postquam monstraverat General Note Text is a processional hymn. Problematic Ct despite its participation in opening imitation. Equal-cantus Italian motet with wide-spaced non-overlapping echo imitation at beginning in I, II. Cumming 1999: ‘Italian’. See Cox 1977 I, 148-50. Copying Style Void coloration. Flagged semiminims. Red bars. Fermata for one cadence. Layout parts Item Bibliography Bent, Margaret. 2003. Musicisti vicentini intorno al vescovo Pietro Emiliani. Quattrocento Vicentino. La Dedizione alla Serenissima tra Musica Cronaca e Storia, edited by Margaret Bent, Vicenza: Conservatorio di Musica di Vicenza. Pages: Edition:. Nosow, Robert. 1991. The Equal-Discantus Motet Style after Ciconia. Musica disciplina, 221-75. Pages: Edition: (without Ct). Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 300-310. Gallo, Franco Alberto, and Giovanni Mantese. 1964. Ricerche sulle origine della cappella musicale del duomo di Vicenza. Venice. Pages: Edition: 73-9 (facs. ibid).
258v–259r	Ave verum corpus	H. de lantins	Lantins, Hugo de (fl. 1420-30)
Ave verum corpus Lantins, Hugo de (fl. 1420-30) Appears on: 258v–259r Genres: Motet Source Attribution: H. de lantins Voice: I Languages: Latin Clef: c1 Voice Text: Aue verum corpus natum Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Aue verum corpus natum Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Aue verum corpus natum Voice: Tenor Languages: Latin Clef: c4 Voice Text: Aue verum corpus natum General Note Hymn text set as a motet. On the body of Christ. Cantilena, extremely florid cantus. Cumming 1999: ‘cut-circle; transitional four-voice’.Presumably excluded by Cox because text has liturgical status. Most unusually, all voices are texted and both voices on the recto are labelled Contratenor; Allsen and I agree that both seem authentic. Some striking juxtapositions arise from logically-notated accidentals. Possibly related to the more modest Reson Ave verum at f.248v? Copying Style Void coloration and minim triplets. Flagged semiminims. Red bars. Extended fermata passages for invocations ('O dulcis' etc.) and 'Amen'. T, Ct double clefs, F erased. Layout parts Item Bibliography Nosow, Robert. None. Ritual Meanings in the Fifteenth-Century Motet. Pages: Edition: 349-356. Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #7. Nosow, Robert. 1992. The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy. University of North Carolina, Ph.D. Pages: Edition: 349-56, with both Contratenors.
259v–260r	Plasmatoris humani / Verbigine mater ecclesia	Nicolaus grenon	Grenon, Nicolas
Plasmatoris humani / Verbigine mater ecclesia Grenon, Nicolas Appears on: 259v–260r Genres: Motet Source Attribution: Nicolaus grenon Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Plasmatoris humani Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: UErbigine mater ecclesia General Note Easter. T unlabelled and unidentified, though clearly related to the Easter Gradual Haec dies, of which it uses the opening phrase, albeit disguised (Reaney, CMM 11/7, p. XVI). A single, fully notated color, with some approximate melodic correspondences but no rhythmic relationship between the two sections. T, Ct 2 taleas in each of the two sections, but with strong variants in the first three perfect longs of each talea of section I; section II, 2 identical taleas. The upper parts of each section fall into two strictly isorhythmic halves corresponding to the T, Ct taleas. In section I (unsigned) S of I, II = M of T, Ct. All parts are signed x for section II. See Cox 1997 I, 151-4; Allsen 1992 #120. Cumming 1999: ‘French isorhythmic’. Copying Style Void coloration (one group in T only). Red bars. Extra (9th) stave on both pages. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 311-322. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (7), 25-30. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 25-33.
260v–261r	Alma redemptoris mater II Et stella maris III Virgo prius	du fay	Du Fay, Guillaume (1397–1474)
Alma redemptoris mater II Et stella maris III Virgo prius Du Fay, Guillaume (1397–1474) Appears on: 260v–261r Genres: Alma redemptoris mater, BVM, Motet Source Attribution: du fay Voice: II Languages: Latin Clef: c3 Voice Text: Alma Redemptoris Voice: Tenor Languages: Latin Clef: c3 Voice Text: Alma Redemptoris Voice: I Languages: Latin Clef: c1 Voice Text: ALma Redemptoris General Note Marian antiphon. Chant in T. Ward 1998 writes: 'There are enough differences in the readings to make a common ancestor for the copies unlikely. The Leipzig version is accurate except for the failure to provide the necessary retorted C for the momentary passage in 4:3 diminution in the superius.' Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘continental cantilena’. Uses pasted capital #85. Copying Style Void coloration. Red bars. Fermatas for final invocations and a cadence. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 1/1. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (5), 115-117. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1, V #47.
261v–262r	Ave Regina caelorum (1)	du fay	Du Fay, Guillaume (1397–1474)
Ave Regina caelorum (1) Du Fay, Guillaume (1397–1474) Appears on: 261v–262r Genres: BVM, Motet Source Attribution: du fay Voice: I Languages: Latin Clef: c2 Voice Text: Ave Regina celorum Voice: II Languages: Latin Clef: c4 Voice Text: Ave regina celorum Voice: Tenor Languages: Latin Clef: c4 Voice Text: Ave regina celorum General Note Marian antiphon. Not based on chant. Ox Du Fay ascription over erasure of Arnoldus de Lantins (Boone 1990). Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘declamation’. Copying Style No coloration. Red bars. T, Ct double clefs, F erased. Layout parts Item Bibliography de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (5), 120. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #49.
261v–262r	Mon seul vouloir	Jo gemblaco	Gemblaco (Gembloux), Johannes Franchois de
Mon seul vouloir Gemblaco (Gembloux), Johannes Franchois de Appears on: 261v–262r Genres: Rondeau, Song Source Attribution: Jo gemblaco Voice: I Languages: French Clef: c2 Voice Text: Mon seul voloir Voice: Tenor Languages: French Clef: c4 Voice Text: Mon seul voloir Voice: Contratenor Languages: French Clef: c4 Voice Text: Mon seul voloir General Note Rondeau quatrain, decasyllables. See Fallows 1999. For reasons of available space, Ct is on the verso, I and T on recto. (Full) residual text is on blank stave above Ct. Copying Style Void coloration. Red bars. T, Ct double clefs, F erased. Layout parts Item Bibliography Borren, Charles van den (editor). 1950. Pièces polyphoniques profanes de provenance liégeoise (XVe siècle). Flores Musicales Belgicae, . Pages: Edition: 75.
262v–263v	O Maria virgo davitica virginum flos / O Maria maris stella plena gratie	-	Anonymous
O Maria virgo davitica virginum flos / O Maria maris stella plena gratie Anonymous Appears on: 262v–263v Genres: Motet Voice: I Languages: Latin Clef: c1 Voice Text: O maria virgo dauitica Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: O maria maris stella Copying Style No coloration. Red bars. Layout parts General Note Text of II: AH 20, 188. Both texts are those of Montpellier 52 f. 88v. Q15 replaces the last two words ('In veritate', which reflect the Mo T Veritatem) with 'mente sobria'; other variants are minor. The texts of Psallat chorus (f.279v) are also in fascicle 4 of Montpellier. Ao 169v-171 has an entirely different motet on text I, O Maria virgo davitica, with a different final couplet, three texted voices and a repeating (chant?) T (g a b a g f g d f g a b a g); if chant,it is unidentified. The second half of the motet rhythmically replicates the first, isorhythmic in all parts, plus final chord. Both Q15 and MuEm, anomalously, have I, II and solus tenor. Only Pad has the T and Ct in addition; the Ct is essential, as is characteristic of all solus tenor pieces. See Cox 1977 I, 154-7, Allsen 1992, #15. Cumming 1999: ‘Italian’. Cited in anonymous Breslau treatise (Ward 1981, 330). Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 323-329. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (12), 147-150.
262v	Et c'est assés pour m'esjouir	Jacobus vide	Vide, Jacobus
Et c'est assés pour m'esjouir Vide, Jacobus Appears on: 262v Genres: Chanson Source Attribution: Jacobus vide Voice: Tenor Languages: French Clef: c3 Voice Text: Et cest asses Voice: I Languages: French Clef: c2 Voice Text: Et cest asses General Note Rondeau quatrain, octosyllables. The final stanza is lacking in both Q15 and Ox. For reasons of available space, the T is on the verso and I on the recto. Fallows 1999 says '2 equal voices', but I goes higher, and the T is so labelled, rare in truly equal-voice works. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Marix, Jeanne (editor). 1937. Les musiciens de la cour de Bourgogne au XVe siècle (1420-1467) : Messes, motets, chansons. Paris. Pages: Edition: 19.
263v–264r	Ave Maria gratia plena / Ave Maria gratia plena	Johannes brasart	Brassart, Johannes (ca. 1400–1455)
Ave Maria gratia plena / Ave Maria gratia plena Brassart, Johannes (ca. 1400–1455) Appears on: 263v–264r Genres: Ave Maria, Motet Source Attribution: Johannes brasart Voice: Tenor Languages: Latin Clef: c4 Voice Text: O maria Voice: I Languages: Latin Clef: c2 Voice Text: Ave Maria gracia plena Voice: II Languages: Latin Clef: c2 Voice Text: O maria gracia plena Voice: Contratenor Languages: none Clef: c4 General Note Addressed to the Virgin Mary. The texts are new tropes and variants to the standard Ave Maria, used variously as antiphon, Alleluia verse, offertory and prayer. No use of chant has been identified. T and Ct repeat first 12 breves for the wide-spaced imitation of I and II (equal-cantus, different texts); T has two further isorhythmic statements of this talea, which is then restated twice in x (but not renotated) with slight mensural transformation. No upper-part isorhythm. See Cox 1977 I, 157-61, who draws attention to Tr87's variants, and Allsen 1992, #71. Cumming 1999: ‘French isorhythmic’. Copying Style Void coloration. Flagged semiminims. Red bars. Fermata at one cadence. T, Ct double clefs, F erased. Repeat sings T, Ct. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 330-337. Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (2), 13-15. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 35, II. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15 (VII) 95-97.
263v–264r	Par droit je suis bien complaindre et gemir	du fay	Du Fay, Guillaume (1397–1474)
Par droit je suis bien complaindre et gemir Du Fay, Guillaume (1397–1474) Appears on: 263v–264r Genres: Chanson, Rondeau Source Attribution: du fay Voice: I Languages: French Clef: c2 Voice Text: Par droit ie puis Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 General Note Rondeau quatrain, decasyllables. Full text, residue beneath I. See Fallows 1999 for further bibliography. The fuga is indicated in Q15 only by a signum. The canonic voices function mutually as cantus and tenor and are supported by two contratenors. Ox: 'fuga duorum temporum' and signa for canonic entry; 'Contratenor concordans cum fuga' and 'contratenor concordans cum omnibus'. Copying Style Void coloration. Red bars. T, Ct double clefs, F erased. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 10/46. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/6 #43. Stainer, John F. R, Cécie Stainer, Edward W. B. Nicholson, and Stainer Sir John. 1898; reprinted as EBM I: 1966. Dufay and his Contemporaries: Fifty Compositions (Ranging from about A.D. 1400 to 1440) Transcribed from MS. Canonici misc. 213, in the Bodleian Library, Oxford, with an introduction by E.W.B. Nicholson, and a critical analysis of the music by Sir John Stainer. London. Pages: Edition: 115-7.
264v–265r	Cuius fructus ventris / Te Maria rogitassem	-	Anonymous
Cuius fructus ventris / Te Maria rogitassem Anonymous Appears on: 264v–265r Genres: Motet Voice: Contratenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: TW maria rogitassem Voice: I Languages: Latin Clef: c1 Voice Text: Cvius fructus ventris ihesus Voice: Tenor Languages: none Clef: c3 General Note On the Virgin Mary. T canon: 'iste dicitur de modo perfecto et tempore perfecto'. The notated T color contains two taleas, each ending with melodic identity. Repeat signs notwithstanding, this T is to be performed one and a half times, stopping in the middle. This results in three isorhythmic taleas; upper voices correspond isorhythmically. Equal cantus parts. Cumming 1999: ‘French isorhythmic’. See Cox 1977 I, 161-4; Allsen #8; WrightC 1974, 310, n. 7. Allsen argues (1992, 46-7) that the unusual tenor form results from clear tonal planning by the composer. He reports that Dijon gives a superior reading of the text and music of I, and that Ao’s musical and textual readings are superior to those of Q15, and notes close stylistic resemblance to contemporary motets of Cypriot-French and Franco-Burgunduan provenance. Copying Style No coloration. Repeat signs. Red bars. Layout parts Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #8. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 338-345.
265v–266r	Salve regina (tro: Virgo mater ecclesiae)	.H. De salinis	Salinis, Hymbert de (ca. 1378–)
Salve regina (tro: Virgo mater ecclesiae) Salinis, Hymbert de (ca. 1378–) Appears on: 265v–266r Genres: BVM, Lauda, Motet, Salve Regina Source Attribution: .H. De salinis Voice: Tenor Languages: Latin Clef: c4 Voice Text: Salve regina Voice: I Languages: Latin Clef: c2 Voice Text: SAlue regina Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Salue regina Voice: II Languages: Latin Clef: c2 Voice Text: Slue Regina General Note Marian antiphon. Salve regina chant freely paraphrased in I. Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘unus-chorus’, but this is a special case of a versi scoring; see Bent 2004b. Four notated parts. First section a3. Duets for the tropes, four parts only for the exclamations and final phrase. Copying Style Void coloration. Red bars. Fermatas on invocations. T, Ct double clefs, F erased. Layout parts Item Bibliography Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (7), 56-59.
266v–267r	Ave mater / Ave mater pietatis	-	Anonymous
Ave mater / Ave mater pietatis Anonymous Appears on: 266v–267r Genres: Motet Voice: I Languages: Latin Clef: c1 Voice Text: Ave mater pietatis Voice: Tenor Languages: Latin Clef: c4 Voice Text: Aue mater Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Ave mater pietatis General Note See Cox 1977 I, 165-6. Cumming 1999: ‘cut-circle’. Layout parts Copying Style Void coloration. Flagged semiminims. Red bars. Fermatas for 'Vale pulcerrima florum'. Ct texted for fermata passage Item Bibliography Nosow, Robert. None. Ritual Meanings in the Fifteenth-Century Motet. Pages: Edition: 343. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 346-354.
267v–268r	Flos florum fons ortorum	G. Dufay	Du Fay, Guillaume (1397–1474)
Flos florum fons ortorum Du Fay, Guillaume (1397–1474) Appears on: 267v–268r Genres: Motet Source Attribution: G. Dufay Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Flos florum fons ortorum Voice: I Languages: Latin Clef: c1 Voice Text: Flos florum fons ortorum Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Flos florum fons ortorum General Note For the Virgin. Presence in stage I confirms Hamm's dating of this piece earlier than Besseler's. See Cox 1977 I, 166-70. Cumming 1999: ‘cut-circle’. Stylistic discussion in Nosow 1992, 152-61. The text survives in three late 15th-century German manuscripts; it may be a Germanic devotional poem that found its way to northern Italy via the Adriatic coast (cf. notes to Vasilissa ergo gaude for Germanic liturgical influence there); this piece may date from Du Fay’s Malatesta period, which tallies well with its presence in Q15 stage I, and in the melodic writing of the cantus, which recalls Resvelliéz vous (PlanchartO). Copying Style Void coloration. Minim triplets. Red bars. Fermatas for final phrase. Layout parts Item Bibliography Nosow, Robert. None. Ritual Meanings in the Fifteenth-Century Motet. Pages: Edition:363. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 355-362. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 6-7. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1, I.
268v–269r	Anima mea liquefacta est	Dufay	Du Fay, Guillaume (1397–1474)
Anima mea liquefacta est Du Fay, Guillaume (1397–1474) Appears on: 268v–269r Genres: Motet Source Attribution: Dufay Voice: II Languages: Latin Clef: c3 Voice Text: Anima mea liquefacta est Voice: Tenor Languages: Latin Clef: f4 Voice Text: Anima mea liquefacta est Voice: I Languages: Latin Clef: c3 Voice Text: Anima mea liquefacta est General Note Song of Songs 5: 6-8 (used as a processional antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Wide-spaced imitative opening, all three parts, with chant paraphrase in all parts. Cumming 1999: ‘continental cantilena; devotional double-discantus’. Uses pasted capital #86. Copying Style Void coloration. Red bars. Layout parts Item Bibliography de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (5), 113-114. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1, V. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 53 (XXVII).
269v–270r	Ave virgo lux Maria	Jo. Franchois	Gemblaco (Gembloux), Johannes Franchois de
Ave virgo lux Maria Gemblaco (Gembloux), Johannes Franchois de Appears on: 269v–270r Genres: Ave Maria, Motet Source Attribution: Jo. Franchois Voice: I Languages: Latin Clef: c2 Voice Text: Introitus Copying Style Void coloration. Signum for Introitus canon. Red bars. Repeat signs and aligned mensuration signs for lower parts. Fermatas for 'Amen'. Layout parts General Note Addressed to the Virgin Mary. The Sancta Maria chant is in the Ct (Magnificat antiphon, LU 1255). The T appears to carry yet another chant, not yet identified. T and Ct color in ,c containing two taleas is then repeated (written out) in c, i.e. with mensural transformation resulting in a reduction by one-third. I and II are isorhythmic within each pair of taleas. Introitus and final stand outside this scheme. 8 notated parts plus Introitus canon within I, indicated by a signum. 'Introitus' (so labelled) is untexted, self-contained (demarcated with bar). No rests in II, which starts with the texted portion, but could easily also complete the canon of this equal-cantus motet (as in the pieces at ff.232v, 247v, 276v, 292v). 'Trumpetta Introitus' is added as a third voice to the Introitus. The texted body of the motet can be performed a5 with I, II, 'Contratenor', 'Alius Tenor' and 'Tenor', or a4 with I, II, 'Solus Tenor' and 'Contratenor cum solo tenore'. Cumming 1999: ‘French isorhythmic’. See Cox 1977 I, 170-3; Bent 2007a on trompetta parts. Allsen 1992 #116; p. 508 he notes the many short imitative points in the upper voices. Strohm 1993, 243, suggests it was modelled on Pycard’s Gloria OH #28. Nosow accepts this (MGG 2, Johannes Franchois de Gemblaco) in discussing the mass music, and notes the possible identity of the composer with the ‘Jehan Francois’ named in Du Fay’s song He compagnons and thence links with other composers in Malatesta service. Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #9. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 363-366. Igoe, James T. 1970. Johannes Franchois de Gembloux. Nuova Rivista Musicale Italiana, 3-50. Pages: Edition: 34-40. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 76 (XL).
270v–271r	Apostolo glorioso / Cum tua doctrina / Andreas Christi famulus	du fay	Du Fay, Guillaume (1397–1474)
Apostolo glorioso / Cum tua doctrina / Andreas Christi famulus Du Fay, Guillaume (1397–1474) Appears on: 270v–271r Genres: Motet Source Attribution: du fay Voice: Tenor Languages: Latin Clef: c3 Voice Text: Cum tua doctrina Voice: Solus Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Apostolo glorioso Voice: II Languages: Latin Clef: c1 Voice Text: Apostolo glorioso Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Andreas cristi famulus Voice: Contratenor Languages: none Clef: c3 Copying Style Void coloration. Flagged semiminims. Red bars. Fermata at end of Introitus. Layout parts General Note For Pandolfo Malatesta, bishop of Patras, maybe for the restoration of the cathedral of St Andrew, 1426. Nosow 1992, 101-2 suggests 1424. Either date is consistent with Patras being the last place in Greece where Italian was spoken. Planchart 2008a shows that Du Fay was in Patras in late 1424, and posits that the motet was written instead for the installation of Pandolfo, adding the speculation that the text may be by Pandolfo’s father, known as ‘Malatesta dei Sonetti’. 'Introitus' (so labelled) opens with wide-spaced imitation between I and II, then Ct I and Ct II, all untexted; self-contained, demarcated with fermata. Solus T enters with Ct I and provides the normal basso seguente function. Two T color statements, the second diminished to a third: 'Et dicitur bis primo de modo perfecto de tempore imperfecto; secundus per tercium demptis primis pausis et nota sequente'. Each color contains two taleas which are isorhythmic in all parts within but not between the color statements. Introitus and final cadence stand outside this structure. Possibly a scribal pairing with Ave virgo (f.269v), with which it shares melismatic self-contained Introitus, so named, and additional parts; pairing may be strengthened (Nosow, pers. com.) by presence of Franchois at the Malatesta courts. Alternative performance solutions using the solus tenor are less obvious here than usual; if the ST must be used, it should probably be with I and II only. Edition and translation of text in Holford-Strevens 1997, 138-40. Cumming 1999: ‘French isorhythmic’, despite its Italian texts. See Cox 1997 I, 174-7. Allsen 1992 #87, Lütteken 1993, 400 ff., 438; Turner 2002. Uses pasted capital #87. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 379-395. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 33-38. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 22-23.
271v–272r	Regina caeli laetare	-	Power, Leonel (–1445) (?)
Regina caeli laetare Power, Leonel (–1445) (?) Appears on: 271v–272r Genres: Motet, Regina caeli laetare Voice: Contratenor Languages: Latin Clef: c4f2 Voice Text: letare Alleluya Alleluya Voice: Tenor Languages: Latin Clef: c4 Voice Text: letare Alleluya Voice: I Languages: Latin Clef: c2 Voice Text: REgina celi letare Alleluya General Note Text: Marian antiphon. Attributed to Power in Hamm 1968. Presumably excluded by Cox because text has liturgical status. 'English cantilena' (Cumming 1999). Uses pasted capitals #88, #89. Copying Style Red coloration (some red void) and intonation. Flagged semiminims. Red bars. Stage-I Ct double clefs, not erased. Layout parts Item Bibliography Hamm, Charles E (editor). 1969-. Leonel Power: Complete Works. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 17-19. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 50/1 #11.
272r	Se vous scavies	passet	Passet (?) Cesaris, Johannes (fl. 1406-17) (?)
Se vous scavies Passet (?) Cesaris, Johannes (fl. 1406-17) (?) Appears on: 272r Source Attribution: passet Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Voice: I Languages: French Clef: c2 Voice Text: Se vous scavies General Note Rondeau quatrain, decasyllables. See Fallows 1999 for further bibliography and for attribution: 'Reaney ... publishes this among the works of Cesaris but in the commentary (p. xiv) strongly favours Passet since he finds the work “too mediocre to have been written by” Cesaris.' I texted: remaining text below. Copying Style Void coloration. Flagged semiminims. Red bars. T, Ct double clefs, F erased. Layout parts Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/1, 26 (as Cesaris).
272v–273v	Salve regina	leonellus polbero	Power, Leonel (–1445)
Salve regina Power, Leonel (–1445) Appears on: 272v–273v Genres: BVM, Motet, Salve Regina Source Attribution: leonellus polbero Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Salue Regina salue Voice: Tenor Languages: Latin Clef: c3 Voice Text: Salue regina salue Voice: I Languages: Latin Clef: c1 Voice Text: SAlue regina General Note Text: Marian antiphon, with trope 'Virgo mater' set as duets. The 'versus' marking here denotes not a versi scoring, but the 'verses' of the trope. Chant paraphrase of Alma redemptoris mater in I. One of very few cases in stage I with an opening /x signature; relationship of inequality with [,c] of lower parts. 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Copying Style Void coloration. Flagged semiminims, some hooked. Red bars. Layout parts Item Bibliography Hamm, Charles E (editor). 1969-. Leonel Power: Complete Works. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 13-17. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 50/1 #10.
273v–274r	Or vois-je bien	Ar (added) de lantins	Lantins, Arnold de (–1432)
Or vois-je bien Lantins, Arnold de (–1432) Appears on: 273v–274r Genres: Rondeau, Song Source Attribution: Ar (added) de lantins Voice: Tenor Languages: French Clef: c4 Voice Text: Or voy je bien Voice: Contratenor Languages: French Clef: c4 Voice Text: Or voy je bien Voice: I Languages: French Clef: c2 Voice Text: Or voy je bien Copying Style Void coloration. Flagged semiminims. Red bars. T, Ct double clefs, F erased (except first mid-stave Ct F clef). Layout parts General Note Rondeau quatrain, decasyllables. 'Ar' added at stage II. See also the pieces at ff.44v, 55v (lower) for stage-II post-trimming additions of 'Ar'. Item Bibliography Borren, Charles van den (editor). 1950. Pièces polyphoniques profanes de provenance liégeoise (XVe siècle). Flores Musicales Belgicae, . Pages: Edition: 32-3.
274v–275r	Pie pater Dominice	fr Antonius de civitato	Cividale, Antonius de
Pie pater Dominice Cividale, Antonius de Appears on: 274v–275r Genres: Motet Source Attribution: fr Antonius de civitato Voice: I Languages: Latin Clef: c1 Voice Text: Pie pater dominice Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: O thoma lux ecclesie Voice: II Languages: Latin Clef: c1 Voice Text: O petre martir inclite Layout parts General Note Three texts for the Dominican saints Dominic, Peter Martyr and Thomas Aquinas. Equal-cantus Italian motet with free T and Ciconian hockets at the end, opening imitation I, II. Cumming 1999: ‘Italian’. See Cox 1977 I, 178-83. Ct added at stage III, on new extra stave; unlabelled and untexted. Copying Style No coloration. Red bars. Extra (9th) stave (stage III) on recto. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 396-407. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (5), 29-32.
275v–276r	Ducalis sedes inclita/Stirps […] veneti	Anthonius Romanus	Romanus, Antonius (?)
Ducalis sedes inclita/Stirps […] veneti Romanus, Antonius (?) Appears on: 275v–276r Genres: Motet Source Attribution: Anthonius Romanus Voice: Tenor Languages: Latin Clef: c4 Voice Text: Ducalis Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: Dvcalis sedes inclita Voice: II Languages: Latin Clef: c1 Voice Text: Stirps mocinico veneti General Note For Tommaso Mocenigo, elected Doge 7 January 1414; celebrations followed on 25 April, St Mark's Day. I[ntroitus] for opening melisma with echo imitation; equal-cantus. Additional (9th) stave on both pages. Ct (not in BU) added at stage I, but with great compression on additional 10th stave. Rewritten at stage II on 5-stave pasteover; no text or incipits. BU not only lacks Ct but is notated throughout in ,c, directly attesting notational translation in one direction or the other, probably by Q15. The doge's name is replaced by a capital 'N[omen]', a rare example at this period of recycling. See Cox 1977 I, 183-91, Cumming 1987, 290-304. Cumming 1999: ‘Italian’. Memelsdorff 1998 proposed that Fa #42 may be an intabulation of this or of a similar post-Ciconian motet. It uses a number of phrases that correspond to this motet, not, however, in the same order. Martini annotates this: 'Tomaso Mocenigo fu doge dal 1413 fino al 1422'. Copying Style Void coloration. Red bars. Extra (9th) stave on both pages, plus additional freehand stave on recto and pasteover. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 408-418;. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (6), 166-171;. [No Author] 1931-. Acta Musicologica. International Musicological Society . Pages: Edition: (Mon.Ven.Sac.1), 1.
276v–277r	Vasilissa ergo gaude	G. du fay	Du Fay, Guillaume (1397–1474)
Vasilissa ergo gaude Du Fay, Guillaume (1397–1474) Appears on: 276v–277r Genres: Motet Source Attribution: G. du fay Voice: II Languages: Latin Clef: c2 Voice Text: Cleophe clara gestis Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c2 Voice Text: UAsilissa ergo gaude Voice: Tenor Languages: Latin Clef: c4 Voice Text: Concupivit rex Copying Style No coloration. Red bars. T, Ct double clefs, F erased. Layout parts General Note For the wedding of Cleophe Malatesta and Theodore Paleologus, Mystra, January 1421, or before the bride left Rimini, 20 August 1420. See also Dabrowska 2005. Texted canonic introductory duet within I; self-contained, demarcated with bar. II has rests, though it could easily complete the canon of this equal-cantus motet (as in the pieces at ff.232v, 247v, 269v, 292v). T 'Concupivit rex', a single color. Apart from introductory duet and final cadence, the two halves of the motet are perfectly isorhythmic in all parts, i.e. without diminution. Ct is contrapuntally inessential but all four parts participate in Ciconia-like rhythmic imitations at the end of each half. Cumming 1999, 84: 'French isorhythmic motet' imitating Italian style; I would, rather, call it a tenor-based Italian motet. See Cox 1977, 191-4, Lütteken 1993, 267 ff., 482. Holford-Strevens 1997, 102-6 gives a magisterial re-edition and interpretation of this text. Allsen 1992, #99, and 113-15 notes that, despite its clearly Italian features, the rhythmic modules that close each half are identical in length and construction to those that close each talea of Rex Karole, an influential French motet of the preceding century. The chant phrase used as the color is completed in the two pitches of the cadential chords which stand outside the isorhythmic structure (Allsen 1992, 120). Fallows 1982 (1987 edition, p. 310) notes Benthem’s observations about number symbolism (number of notes) as meriting consideration. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 419-430. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 21-24. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (53), 30-32.
277v–278r	Petrum Marcello venetum / O Petre, antistes inclite	.Jo. ciconie	Ciconia, Johannes (ca. 1370–1412)
Petrum Marcello venetum / O Petre, antistes inclite Ciconia, Johannes (ca. 1370–1412) Appears on: 277v–278r Genres: Motet Source Attribution: .Jo. ciconie Voice: I Languages: Latin Clef: c1 Voice Text: PEtrum marcello venetum Voice: II Languages: Latin Clef: c1 Voice Text: O petre antistes inclite Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 General Note For Pietro Marcello, bishop of Padua, 16 November 1409-28, perhaps for his installation (PMFC 24, 207). I and II are isorhythmic. T canon: 'Canon tenores dicuntur sic: primo usque ad secundam talliam ut iacent; 2o diminuuntur resumendo et sic successive alie talie procedant'. T and Ct; normal statement followed immediately by diminution; second half of the motet repeats this pattern. The upper parts are also replicated in the two halves of the motet (isorhythmic). T and Ct 'ad longum' are provided. Ct is inessential but integrated, and better than some; accompanies brief opening duet before T entry. See Cox 1977 I, 194-200; Allsen 1992 #81; Allsen 2003, 60-4 (on ‘ad longum’ parts); Turner 1999, 120; Brown 1959. Cumming 1999: ‘Italian’. Copying Style Void coloration. Red bars. Extra (9th) stave, both pages. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 431-449. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 94-102.
278v–279r	Salve pater creator	Carmen	Carmen, Johannes
Salve pater creator Carmen, Johannes Appears on: 278v–279r Genres: Motet Source Attribution: Carmen Voice: II Languages: Latin Clef: c1 Voice Text: FElix et beata Voice: I Languages: Latin Clef: c1 Voice Text: SAlue pater creator omnium Voice: Tenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 General Note On God (Trinity) and the Virgin Mary. 3 color statements to 2 taleas; see Allsen 1992 for proportions, Turner 2002, 177 for canon: 'Tenor dicitur ter quari (for quere?) de prolatione sui moteti'. See Cox 1977 I, 200-3; Allsen 1992 #76, Allsen 2003, 54-7 (on ‘ad longum’ part). Cumming 1999: ‘French isorhythmic’. Copying Style No coloration. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 450-460. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (1), 48-54.
279v–280r	Psallat chorus in novo carmine / Eximie pater egregie, rector / Aptatur	Hubertus de salinis	Salinis, Hymbert de (ca. 1378–)
Psallat chorus in novo carmine / Eximie pater egregie, rector / Aptatur Salinis, Hymbert de (ca. 1378–) Appears on: 279v–280r Genres: Motet Source Attribution: Hubertus de salinis Voice: Contratenor Languages: Latin Clef: c3 Voice Text: psallat Voice: II Languages: Latin Clef: c1 Voice Text: Eximine pater et regie Voice: Tenor Languages: Latin Clef: c3 Voice Text: sancte lamberte Voice: I Languages: Latin Clef: c1 Voice Text: Psallat chorus in nouo carmine Copying Style Void coloration. Red bars. Fermatas ('sancte Lamberte'). Layout parts General Note On St Lambert, patron saint of Liège. The earlier theory, that Salinis came from Slins (Salinis) near the known musical centre of Liège, is more persuasive than Besançon (pace Nosow, New Grove II; further support for Besançon is given by Nosow in MGG 2). Both texts are adapted from a widely-circulated St Nicholas motet (Montpellier #60, fascicle 4) on the tenor Aptatur. 'Aptatur' ends both triplum and duplum parts in both versions, though the Salinis motet is no longer on that tenor. 'Domine Nicholae' and 'Hac die, Nicholae' in the two original texts are here replaced by 'Sancte Lamberte'; other variants are minor. Cumming 1999: ‘retrospective double-discantus’. Cf. also O Maria virgo at f.262v. See Cox 1977 I, 204-6. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 460-468. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (7), 62-64.
279v–280r	Par un regard	[Gem]blaco	Gemblaco (Gembloux), Johannes Franchois de
Par un regard Gemblaco (Gembloux), Johannes Franchois de Appears on: 279v–280r Genres: Rondeau, Song Source Attribution: [Gem]blaco Voice: Contratenor Languages: French Clef: c4 Voice Text: Par ung regart Voice: Tenor Languages: French Clef: c4 Voice Text: Par ung regart Voice: I Languages: French Clef: c2 Voice Text: Par ung regart Copying Style Void coloration. Red bars. T, Ct double clefs, F erased. Layout parts General Note Rondeau quatrain, decasyllables (or rondeau sixain, see Fallows 1999). 'de Gemblaco' written in later – by Martini? Item Bibliography Borren, Charles van den (editor). 1950. Pièces polyphoniques profanes de provenance liégeoise (XVe siècle). Flores Musicales Belgicae, . Pages: Edition: 74. Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: Edition: III #34.
280v–281r	In pharaonis atrio (2p. Nescit quo fit)	-	Anonymous
In pharaonis atrio (2p. Nescit quo fit) Anonymous Appears on: 280v–281r Genres: Motet Voice: I Languages: Latin Clef: c1 Voice Text: In pharaonis atrio Voice: Contratenor Languages: Latin Clef: c5 Voice Text: In pharaonis atrio Voice: Tenor Languages: Latin Clef: c5 Voice Text: In pharaonis atrio General Note See Cox 1977 I, 207-10. Cumming 1999: ‘declamation’. Copying Style No coloration. Red bars. T, Ct, double clefs, F erased. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 469-473.
281r	J'aime bien celui qui s'en va	fontaine	Fontaine, Pierre
J'aime bien celui qui s'en va Fontaine, Pierre Appears on: 281r Genres: Chanson Source Attribution: fontaine Voice: Tenor Languages: French Clef: f4 Voice Text: Jaime bien Voice: Contratenor Languages: French Clef: f4 Voice Text: Jaime bien Voice: I Languages: French Clef: c4 Voice Text: Jaime bien General Note Rondeau quatrain, octosyllables, in a woman's voice. See Fallows 1999 for further bibliography. Bent 1998c takes this song as a paradigmatic example of how dyadic primacy and Ct instability are often poorly reflected in modern editions; it was copied in one MS (Ox) with I and T, in another (Q15) with Ct, in yet another (EscA) with an entirely different Ct, attributed by Besseler 1950, 49 to Du Fay. Strohm 1993, 148-9 thinks that the trompetta-like alternative Ct parts to Fontaine's songs, including this, are by him and date from the 1410s, despite the early date of the Q15 Ct. The Q15 attribution has a tilde over the letter t, significance uncertain. Copying Style Void coloration. Red bars. F clefs in I erased. Layout parts Item Bibliography [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/6 #86. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 22, 100 (Tr87).
281v–282r	Verbum tuum	Jo Rondelly	Rondelly, Jo
Verbum tuum Rondelly, Jo Appears on: 281v–282r Genres: Motet Source Attribution: Jo Rondelly Voice: Tenor Languages: Latin Clef: c3 Voice Text: Verbum tuum Voice: II Languages: Latin Clef: c1 Voice Text: IN cruce te prouidens Voice: I Languages: Latin Clef: c1 Voice Text: UErbum tuum uerbum sane General Note On Easter and the Cross. T (probably not chant) written in full, stated four times, mensurally reinterpreted in each statement. Echo imitation at the beginning, interlude after second T statement and short postlude; final statement combines upper-voice /x over T in ,c. Formally similar to a simpler Italian motet, Deo gratias conclamemus in D-Mbs3224 (Allsen 1992, 93-4, 533-4). See Cox 1977 I, 210-13; Allsen 1992 #131. 'French isorhythmic motet' (Cumming 1999). Copying Style No coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Allsen, Jon Michael (editor). 2009. Motets and Cantilenas in Early 15th-Century Italy. Recent Researches in the Music of the Middle Ages and Early Renaissance. Madison: A-R Editions. Pages: Edition: #10. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 474-481.
282v–283r	Magne Deus potentiae	Jo brasart	Brassart, Johannes (ca. 1400–1455)
Magne Deus potentiae Brassart, Johannes (ca. 1400–1455) Appears on: 282v–283r Genres: Motet Source Attribution: Jo brasart Voice: II Languages: Latin Clef: c1 Voice Text: Genus regale esperie Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: iste dicitur Voice: I Languages: Latin Clef: c1 Voice Text: Magne deus potencie General Note For a pope or other magnate? T canon: 'Tenor iste dicitur bis, primo de modo et tempore perfectis, secundo per tercium sed prime pause non dicuntur'. 'Tenor ad longum' added at stage II (script, no red). Accordingly, the first statement consisting of three taleas is restated in diminution to a third, omitting the rests of the introductory duet, which stands outside this scheme. Opening melisma on first syllable of that duet, not self-contained, with wide-spaced echo imitation. No upper-part isorhythm. 'Deus' is often given as 'decus' (including in CMM) from a misread erasure of the same words (I: 'gne deus potenci', II: 'nus rega') in order to reposition the syllables. For the problematic dating, see Lütteken 1993, 286 ff., where he acknowledges that presence in Q15 must place it no later than the early 1430s. In fact, its presence in the first layer dates it before 1425. Bent 1998a, 34-5, rejects earlier ideas that it was for the 1431 coronation of Eugenius IV and suggests a possible papal connection with Martin V during Brassart’s Rome visit 1424-5. Cumming 1999: ‘French isorhythmic’. See Cox 1977 I, 213-16; Allsen 1992 #73. Allsen 2003, 52-4 (on ‘ad longum’ part). Copying Style No coloration. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (3), 482-490. Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (2), 24-26. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 35/2 #10.
283v–284r	O flos in divo / Sacris pignoribus	R. Loqueville	Loqueville, Richard (–1418)
O flos in divo / Sacris pignoribus Loqueville, Richard (–1418) Appears on: 283v–284r Genres: Motet Source Attribution: R. Loqueville Voice: II Languages: Latin Clef: c2 Voice Text: SAcris pignoribus Voice: Tenor Languages: Latin Clef: c4f2 Voice Text: Jste dicitur Voice: I Languages: Latin Clef: c2 Voice Text: O flos in diuo General Note On St Ivo. Color contains 2 taleas, the second in retrograde; two different taleas. T canon: 'Iste dicitur sicut iacet; 2o retrogradendo'. See Cox 1977 I, 216-21; Allsen 1992 #125. Cumming 1999: ‘French isorhythmic’. Copying Style Void coloration. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 491-497. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (3), 21-23.
284v–285r	O virum omnimoda veneratione / O lux et decus tranensium / O beate Nicolae supplicum vota suscipe	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
O virum omnimoda veneratione / O lux et decus tranensium / O beate Nicolae supplicum vota suscipe Ciconia, Johannes (ca. 1370–1412) Appears on: 284v–285r Genres: Motet Source Attribution: Jo ciconie Voice: I Languages: Latin Clef: c1 Voice Text: O virum omnimoda Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: O lux et decus Voice: Contratenor Languages: Latin Clef: c3 Voice Text: o beate nicholae General Note On St Nicholas of Trani. Equal-cantus Italian motet with wide-spaced non-overlapping echo imitation at beginning, each statement differently accompanied by T. See Cox 1977 I, 221-4. Dated 1394 (by Di Bacco/Nádas 1994). Cumming 1999: ‘Italian’. Problematic Ct present in all three sources, with interesting variants. The sign / is on the recto, over 'O lux'. Copying Style No coloration. Red bars. Red staves on recto. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 498-507. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 81-84.
285v–286r	O beatum incendium [= Aler m'en veus]	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
O beatum incendium [= Aler m'en veus] Ciconia, Johannes (ca. 1370–1412) Appears on: 285v–286r Genres: Contrafactum Source Attribution: Jo ciconie Voice: I Languages: Latin Clef: c4 Voice Text: O beatum incendium Voice: II Languages: Latin Clef: c4 Voice Text: O beatum incendium General Note See Cox 1977 I, 224-7. Latin contrafactum of Aler m'en veus. Cumming 1999: ‘borderline 2v’. Copying Style No coloration. Red bars. Red staves on verso. I, II double clefs, F erased. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 508-515. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 112-113.
286v–287r	O Padua sidus preclarum	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
O Padua sidus preclarum Ciconia, Johannes (ca. 1370–1412) Appears on: 286v–287r Genres: Motet Source Attribution: Jo ciconie Voice: Tenor Languages: Latin Clef: c5c4 Voice Text: O padua sidus preclarum Voice: II Languages: Latin Clef: c2 Voice Text: O padua sidus preclarum Voice: I Languages: Latin Clef: c2 Voice Text: O padua sidus preclarum General Note See Cox 1977 I, 228-30. For a contrapuntal analysis, see Bent 2003a. Equal-cantus Italian motet. Cumming 1999: ‘Italian’. Copying Style No coloration. Minim triplets originally flagged, converted by erasure to void unflagged. Added (9th) stave, both pages. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 516-529. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 73-76.
287v–288r	Venecie mundi splendor	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
Venecie mundi splendor Ciconia, Johannes (ca. 1370–1412) Appears on: 287v–288r Genres: Motet Source Attribution: Jo ciconie Voice: Tenor Languages: Latin Clef: c3 Voice Text: Jtalie Voice: II Languages: Latin Clef: c1 Voice Text: Michael qui stena domus Voice: I Languages: Latin Clef: c1 Voice Text: UEnecie mundi splendor General Note For Michele Steno, doge from 1 December 1400; maybe not inaugural, Padua still being under Carrara rule, but from 3 January 1406, when Zabarella made an oration, and handed to the Doge the emblems of the Signoria in a ceremony in piazza S. Marco, a possible occasion for this motet. Equal-cantus Italian motet. See Cox 1977 I, 231-5, Cumming 1987, 264-80 referring to contemporary Venetian sculpture; Cumming 1999: ‘Italian’. Copying Style Void coloration. Flagged semiminims. Minim triplets originally flagged, converted by erasure to void unflagged. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 530-538. Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #40, facs. pl. IX. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 77-80.
288v–289r	O Petre Christi discipuli / O Petre Christi discipuli	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
O Petre Christi discipuli / O Petre Christi discipuli Ciconia, Johannes (ca. 1370–1412) Appears on: 288v–289r Genres: Motet Source Attribution: Jo ciconie Voice: I Languages: Italian Clef: c4f2 Voice Text: O petre cristi discipule Voice: II Languages: Italian Clef: c4f2 Voice Text: O petre cristi discipule General Note See Cox 1977 I, 235-8. Possibly a contrafactum, though Nosow 1992, 191-4 argues that it is original. He and Di Bacco/Nádas 1994, 33 suggest that it is addressed to three Peters: St Peter, protector of the new Pisan Pope Alexander V, 1409 (Pietro Filargo), and a third Peter, Pietro Marcello, bishop of Padua from 1409. The Padua connection, based on Ciconia’s presence there, and presumed in PMFC 24, 209, is superseded in Bent 1998a, 25, where the third Peter is proposed as Pietro Emiliani, bishop of Vicenza from 1409 and a protegé of Filargo. Cumming 1999: ‘borderline 2v’. Copying Style Void coloration. Flagged semiminims. Red bars. Double clefs, not erased. 7 6-line staves on both pages. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 539-545. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 114-116.
289v–290r	Ut per te omnes celitus / Ingens alumnus Padue	Jo ciconie	Ciconia, Johannes (ca. 1370–1412)
Ut per te omnes celitus / Ingens alumnus Padue Ciconia, Johannes (ca. 1370–1412) Appears on: 289v–290r Genres: Motet Source Attribution: Jo ciconie Voice: I Languages: Latin Clef: c2 Voice Text: Ut per te omnis celitum Voice: Tenor Languages: none Clef: c4f2 Voice: II Languages: Latin Clef: c2 Voice Text: Ivgens alumpnus padue Copying Style No coloration. Red bars. T double clefs F erased. Layout parts General Note On St Francis, Francesco Zabarella and Franciscans. First words in Ox: 'Ut te per omnes'; Q15: 'Ut per te omnis'. See f.299v for Ciconia's other Zabarella motet. The two halves of the motet are rhythmically replicated, i.e. isorhythmic in all parts. Inessential Ct (C4) present in Ox only (presumably added to a composition originally without it). Ligaturing at end of T changed by erasure from the paired S of Ox to groups of three S (two in ligature, one separate); neither would work in pure Italian notation. See Cox 1977, 238-42, Allsen 1992 #82, Cumming 1987, 220-9, with reference to the relationship between San Francesco and Francesco Zabarella, especially in Padua. Cumming 1999: ‘Italian’. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 546-555. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 103-107. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 180-185.
290v–291r	Summe summi tu patris	Gillet velut	Velut, Gilet
Summe summi tu patris Velut, Gilet Appears on: 290v–291r Genres: Motet Source Attribution: Gillet velut Voice: I Languages: Latin Clef: c2 Voice Text: Svmme summy tu patris vnice Voice: II Languages: Latin Clef: c2 Voice Text: Svmma summy tu matris filij Voice: Tenor Languages: Latin Clef: c4f2 Voice Text: Summe summy tu patris vnice / Voice: Contratenor Languages: Latin Clef: c4f2 Voice Text: Summe summy / General Note The opening of T and Ct are repeated, but giving different words (double underlay) for 'patris/matris' coinciding with their appearance in the upper parts. Introductory duet with wide-spaced melismatic echo imitation of I and II (on first syllable, not self-contained). Thereafter, Ct has some of II's text, T of I. See Cox 1977 I, 243-8. Cumming 1999: ‘retrospective double-discantus’. Copying Style No coloration. Fermatas for final phrase. Red bars. Repeat signs within T, Ct. T, Ct double clefs, F erased. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 556. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (2), 145-148. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (14/15), 221.
291v–292r	Prevalet simplicitas / Prevalet simplicitas	Ar de Ruttis	Ruttis, Ar de
Prevalet simplicitas / Prevalet simplicitas Ruttis, Ar de Appears on: 291v–292r Genres: Motet Source Attribution: Ar de Ruttis Voice: I Languages: Latin Clef: c1 Voice Text: Praevalet simplicitas Voice: II Languages: Latin Clef: c1 Voice Text: Prevalet simplicitas Voice: Tenor Languages: none Clef: c3 General Note See Cox 1977 I, 248-9. Cumming 1999: ‘retrospective double-discantus’. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (3), 565-570. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 278-279.
291v–292r	Caro mea vere est / Caro mea vere est	P. Rubeus	Rubeus, Petrus
Caro mea vere est / Caro mea vere est Rubeus, Petrus Appears on: 291v–292r Genres: Motet Source Attribution: P. Rubeus Voice: I Languages: Latin Clef: c1 Voice Text: Caro mea vere Voice: II Languages: Latin Clef: c1 Voice Text: Caro mea vere Voice: Tenor Languages: Latin Clef: c3 Voice Text: carnem General Note Alleluia verse, Corpus Christi. Presumably excluded by Cox because text has liturgical status. Equal-cantus Italian motet, echo imitation at opening. Copying Style Void coloration. Flagged semiminims. Red bars. Layout parts Item Bibliography Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (5), 99-100.
292v–293r	O gemma lux et speculum	dufay	Du Fay, Guillaume (1397–1474)
O gemma lux et speculum Du Fay, Guillaume (1397–1474) Appears on: 292v–293r Genres: Motet Source Attribution: dufay Voice: Tenor Languages: Latin Clef: f3 Voice Text: beatus nicolaus Voice: Contratenor Languages: none Clef: f4 Voice: II Languages: Latin Clef: c2 Voice Text: SAcer pastor barensium Voice: I Languages: Latin Clef: c2 Voice Text: O gemma lux et speculum Copying Style Void coloration. Flagged semiminims. Red bars. Repeat signs. Layout parts General Note On St Nicholas of Bari (Myra). T: Antiphon for Vespers and Lauds for St Nicholas: Beatus Nicolaus adhuc puerulus multe ieiunio maceratus corpus. Facs. PM XII, 42 (CMM 1/1 p. xiv). Dated in the 1420s (see Cox 1977, I 250-3; Allsen 1992 #94; Lütteken 1993, 462 and elsewhere). Allsen 1992, 268-80: probable compositional relationship with the St Nicholas motet by Hugo de Lantins Celsa sublimatur/Sabine presul with which this is paired in Ox. Edition and translation of text in Holford-Strevens 1997, 125-9; irregular accentual iambics. Untexted opening melisma on first syllable, continuing with text, canonic introductory duet, indicated by signum, self-contained, demarcated with fermata. II has rests, though it could easily complete the canon of this equal-cantus motet (as in the pieces at ff.232v, 247v, 269v, 276v). T canon: 'Qui dicitur sic: primo de modo perfecto et tempore imperfecto maioris prolacionis. 2o tantummodo primus color resumitur de minori imperfecto, servando modum, primis pausis demptis'. One and a half color statements, the first divided into two taleas, isorhythmic in all parts. T of color 2 diminished by one third by mensural transformation, but with no upper-voice repetition or internal isorhythm. Introductory duet and final cadence stand outside this scheme. Ct inessential but integrated. Cumming 1999: ‘French isorhythmic’. Melody and rhythm are similar to the balade Je me complains (Ox date 1425, also with flagged semiminims; CMM 1/6 #1) cf. CMM 1/1, p. xiv and comments to Sancte Sebastiane (f.247v). Uses pasted capital #90. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 571-584. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 29-33.
293v–294r	O flos fragrans	Jo brasart	Brassart, Johannes (ca. 1400–1455)
O flos fragrans Brassart, Johannes (ca. 1400–1455) Appears on: 293v–294r Genres: Motet Source Attribution: Jo brasart Voice: Tenor Languages: Latin Clef: c3 Voice Text: pia virgo maria Voice: Contratenor Languages: Latin Clef: c3 Voice Text: flos Voice: I Languages: Latin Clef: c1 Voice Text: o flos fragrans iam vernalis General Note See Cox 1977 I, 254-5. Cumming 1999: ‘cut-circle’. See WrightP 1992 and #276. Copying Style Void coloration. Red bars. Fermatas ('pia virgo Maria'). Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: c. Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (2), 3-5. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (14/15), 102-104.
294v	Ave mater nostri redemptoris	Jo de lymburgia	Lymburgia, Johannes de
Ave mater nostri redemptoris Lymburgia, Johannes de Appears on: 294v Genres: Motet Source Attribution: Jo de lymburgia Voice: Tenor Languages: Latin Clef: c3 Voice Text: Aue mater nostri Redemptoris Voice: I Languages: Latin Clef: c1 Voice Text: aue mater nostri redemptoris Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Ave mater nostri redemptoris Copying Style No coloration. Flagged semiminims. Red bars. Layout parts General Note On the Virgin. Excluded by Cox presumably on (dubious) grounds of liturgical status of text. Cumming 1999: ‘cut-circle’. One of only three works by or possibly by Lymburgia preserved outside Q15 (the others are Veni dilecte at ff. 304v and the anonymous Magnificat at f.336v). Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 291. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (14/15), 213-215.
294v–295r	Salve virgo regia	lymburgia	Lymburgia, Johannes de
Salve virgo regia Lymburgia, Johannes de Appears on: 294v–295r Genres: Lauda Source Attribution: lymburgia Voice: I Languages: Latin Clef: c2 Voice Text: Salue virgo regia Voice: II Languages: Latin Clef: c4 Voice Text: salue virgo regia Voice: Tenor Languages: Latin Clef: c4 Voice Text: salue virgo regia General Note Refrain precedes strophe ('Ecce mundi'). 5 stanzas (1 underlaid, 4 beneath), refrain repeat not specified. Added at late stage III (fine pen) below a stage-II piece. See Diederichs 1986, 145-6. Copying Style No coloration. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 344-5. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: 2), 349. Cattin, Giulio. 1958. Contributi alla storia della lauda spirituale: Sulla evoluzione musicale e letteraria della lauda nei secoli XIV e XV. Quadrivium, 45-75. Pages: Edition: 64.
295v–296r	Te dignitas praesularis / O Martine (2p. Exaudire nos)	Jo brasart	Brassart, Johannes (ca. 1400–1455)
Te dignitas praesularis / O Martine (2p. Exaudire nos) Brassart, Johannes (ca. 1400–1455) Appears on: 295v–296r Genres: Motet Source Attribution: Jo brasart Voice: I Languages: Latin Clef: c1 Voice Text: tE dignitas presularis Voice: Tenor Languages: Latin Clef: c3 Voice Text: tE dignitas presularis Voice: Contratenor Languages: Latin Clef: c3 Voice Text: o martine Copying Style Void coloration. Red bars. Fermatas on 'O Martine'. Layout parts General Note The end of this text quotes an antiphon for St Martin (Mixter in CMM 35/2, p. xv). Nosow 1992, 116 and Bent 1998a discuss this as composed for Martin V, as well as for St Martin, Bent adding it and Brassart’s Magne deus (f.282v) to the list of motets composed for popes but not for their coronations. The restatement of the opening mensuration x after the fermatas is not taken to imply a change. See Cox 1977 I, 255-7. Cumming 1999: ‘cut-circle’. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (3), 594-602. Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (2), 8-10. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 83-84.
296v	Gratulemur Christicole - 1a pars (of 2): Gratulemur Christicole / Gratulemur Christicole / Gratulemur Christicole	Jo brasart	Brassart, Johannes (ca. 1400–1455)
Gratulemur Christicole - 1a pars (of 2): Gratulemur Christicole / Gratulemur Christicole / Gratulemur Christicole Brassart, Johannes (ca. 1400–1455) Appears on: 296v Genres: Cantio, Lauda, Motet Source Attribution: Jo brasart Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Gratulemur xpicole Voice: I Languages: Latin Clef: c2 Voice Text: Gratulemur xpicole Voice: Tenor Languages: Latin Clef: c4 Voice Text: Gratulemur xpicole Copying Style No coloration. Void semiminims. No red. Layout parts General Note For Christmas; imitative 'noe' close both refrain and stanzas. Allsen 1992, 48-9, n. 31 observes close musical similarity between these and the ending of each talea of Grenon’s Christmas motet, Nova vobis gaudia (f.214v), in each case with a rhythmic sequence using similar modules. Opening refrain 'Gratulemur' is to be repeated after each of 7 quatrain stanzas, the last 6 of which are written under II. This strophic form with refrain is otherwise found in Q15 only in laude; so classified in Nosow 1992, 116 and Cumming 1999, 321 n. 12.Wright (New Grove II) calls it 'cantio'. See Cox 1977 I, 257-60, processional hymn, refrain before and after each stanza. Early stage III, no red. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (3), 603-606. Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (2), 1-2.
296v–297r	Gratulemur Christicole - 2a pars (of 2): Dilecto Jesu Christo	-	Brassart, Johannes (ca. 1400–1455)
Gratulemur Christicole - 2a pars (of 2): Dilecto Jesu Christo Brassart, Johannes (ca. 1400–1455) Appears on: 296v–297r Genres: Motet Voice: II Languages: Latin Clef: c1 Voice Text: dilecto yhesu cristo Voice: I Languages: Latin Clef: c1 Voice Text: dilecto yhesu cristo Copying Style No coloration. Layout parts General Note Strophe in [x] precedes refrain ('Cantare iubilare vo per suo amore') in /x. See Diederichs 1986, 101-5; very similar to Dilectoza cortesia (f.231v). Late stage III (fine pen). A later, musically unrelated setting of the same text in Pavia 361 #10, ff. 10v-11, is published in Cattin 1968, 16-17 and Diederichs 1986, 308-9. Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 306-7. Cattin, Giulio. 1968. Le composizioni musicali del ms. Pavia Aldini 361. L'Ars Nova italiana del Trecento, 1-21. Pages: Edition: 16-17.
297v–298r	Recordare virgo mater (Introitus)	lymburgia	Lymburgia, Johannes de
Recordare virgo mater (Introitus) Lymburgia, Johannes de Appears on: 297v–298r Genres: Motet, Offertory, Proper Source Attribution: lymburgia Voice: I Languages: Latin Clef: c2 Voice Text: Introitus Recordare virgo mater Voice: II Languages: Latin Clef: c2 Voice Text: Introitus Recordare virgo mater General Note Trope text: AH 49, 321; troped Offertory. Stanza 2: 'Ab hac familia'. Presumably excluded by Cox because text has liturgical status. 'Introitus' (so labelled) is untexted, non-canonic, self-contained, demarcated with bar. No T. 'Concordans de Recordare sy placet' is an optional accompaniment to an equal-cantus 2-part piece. Rests are given for the internal duets but not for the Introitus. Copying Style No coloration. Red bars. Fermatas on 'suscipe pia'. Divisi in I, final cadence. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 18.
298v–299r	Excelsa civitas vincencia	feraguti	Feragut, Beltrame
Excelsa civitas vincencia Feragut, Beltrame Appears on: 298v–299r Genres: Motet Source Attribution: feraguti Voice: I Languages: Latin Clef: c1 Voice Text: excelsa ciuitas vincencia Voice: Contratenor Languages: Latin Clef: c4 Voice Text: eya eya beata Voice: Tenor Languages: none Clef: c3 General Note For Francesco Malipiero, bishop of Vicenza, May 1433. After this date, his name was erased and that of his predecessor (Pietro Emiliani) substituted; finally, the indexer visibly deleted Emiliani's name and restored that of Malipiero. Seeing only this last correction, earlier scholars believed that the motet was originally written for Emiliani in 1409 and recycled for the new bishop. Fallows expands Ox attribution to 'Beltrame' as in Ox #5. See Cox 1977 I, 261-5, Bent 1987, Bent 1999. Cumming 1999: ‘cut-circle’. Copying Style Void coloration. Red bars. Fermatas on final phrase. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 607-613. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (7), 90-92. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 249-252.
299v–300r	Doctorum principem / Melodia suavissima / Vir mitis	io ciconia	Ciconia, Johannes (ca. 1370–1412)
Doctorum principem / Melodia suavissima / Vir mitis Ciconia, Johannes (ca. 1370–1412) Appears on: 299v–300r Genres: Motet Source Attribution: io ciconia Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: Melodia suauissima cantemus Voice: I Languages: Latin Clef: c1 Voice Text: Doctorum principem super ethera Voice: Contratenor Languages: Latin Clef: c3 Voice Text: vir mitis Copying Style Void coloration for final T Ct ligatures only, following repeat signs; aligned mensuration signs T, Ct. No red. Layout parts General Note For Francesco Zabarella (see also Ut per te omnia, f.289v). 3 T statements repeated in different mensurations. As in the Gloria at f.96v, the need to alter a semibreve before another semibreve signals that this was originally conceived in Italian notation. The scribe compensated for this with an instruction to override the French rule: 'Et dicitur primo imperfecto 2o perfecto minori semper ultima semibrevis alteratur 3o imperfecto minori'. Both pieces require the reinterpretation of the same notated tenor in imperfect and perfect mensurations. There is no isorhythm; I withdraw the classification of this motet as isorhythmic in PMFC 24. Cumming 1999: ‘Italian’, but not as she states, ‘double-statement', as there is no replication comparable to the others in this subgenre; nor is it 'isorhythmie proportionelle' (Clercx 1960); the threefold mensural transformation is neither isorhythmic nor proportional. The drone-creating Ct is inessential and problematic. See Cox 1977 I, 265-71; Allsen 1992 #80; Turner 2002, 176; Cumming 1987, 230–41. Early stage III, no red except for foliation. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 614-628. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 89-93.
300v–301r	Albane misse caelitus / Albane doctor maxime	Ciconia [within text, and by Gaspari]	Ciconia, Johannes (ca. 1370–1412)
Albane misse caelitus / Albane doctor maxime Ciconia, Johannes (ca. 1370–1412) Appears on: 300v–301r Genres: Motet Source Attribution: Ciconia [within text, and by Gaspari] Voice: Tenor Languages: none Clef: c3 Voice: II Languages: Latin Clef: c1 Voice Text: Albane doctor maxime Voice: I Languages: Latin Clef: c1 Voice Text: Albane misse celitus Voice: Contratenor Languages: none Clef: c3 General Note For Albane Michiel, bishop of Padua, 1406-9, possibly his first entry. The two halves of this motet are isorhythmic in all parts. Ct, although integrated into the rhythmic and melodic repetition scheme (see Brown 1964, 104), is inessential and problematic. Non-imitative opening duet (equal-cantus) before T entry. See Cox 1977 I, 271-4; Allsen 1992 #79. For details of the ascription, see PMFC 24, 206. Ciconia's name is given within the text, and supplied in the top margin by Gaspari, the copyist having left it anonymous. Cumming 1999: ‘Italian’. Uses illuminated pasted capital #91, depicting the martyrdom of St Christopher, which has nothing to do with the subject of Ciconia's motet on which it was re-used. Early stage III, no red except for foliation; the only such to have a pasted capital, and in this case the only pasted illumination. Copying Style No coloration. No red. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 629-646. Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: Edition: #39, facs. pl. X. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 85-8.
301v–302r	Sanctus itaque patriarcha / Sanctus itaque patriarcha	de civitato	Cividale, Antonius de
Sanctus itaque patriarcha / Sanctus itaque patriarcha Cividale, Antonius de Appears on: 301v–302r Genres: Motet Source Attribution: de civitato Voice: Contratenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c1 Voice Text: sanctus itaque patriarcha leuncius Alexandriam Voice: Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: SAnctus itaque patriarcha leuncius alexandriam General Note On St Leuncius of Brindisi and Trani, not the patron saint of Vicenza. Equal-cantus Italian motet with free accompanying tenor. Although the (inessential) Ct was copied at the same time as the other parts it creates awkward dissonance and doublings and can be omitted. See Cox 1977 I, 274-6. Cumming 1999: ‘Italian’. Early stage III, no red except for foliation. Copying Style No coloration. No red. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 647-655. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (5), 33-35.
302v–303r	Summus secretarius	Jo brasart	Brassart, Johannes (ca. 1400–1455)
Summus secretarius Brassart, Johannes (ca. 1400–1455) Appears on: 302v–303r Genres: Motet Source Attribution: Jo brasart Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c2 Voice Text: summus Voice: I Languages: Latin Clef: c2 Voice Text: summus secretarius General Note Lütteken 1993, 364 questions the older view that it was addressed to a papal secretary, and judges an imperial destination equally likely. Nosow 1992, 117 suggests the Holy Spirit; however, the paraphrase of John 1.1 refers to Christ, the verbum, symbolized by the sun, who cannot be a ‘summus secretarius’. See Cox 1977 I, 276-80, who reports Mixter’s 1961 suggestion that it could instead be addressed to St John the Evangelist, who is ‘irroratus gnarius / misticis fluentis’. Cumming 1999: ‘other double-discantus’. No T repetitions. Early stage III copy, no red except for foliation. Copying Style Void coloration. No red. Extra (10th) stave (stage-III) on recto. Layout parts Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (3), 656-669. Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (2), 32-35. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 235.
303v	O quam mirabilis progenies	io sarto	Sarto, Johannes de
O quam mirabilis progenies Sarto, Johannes de Appears on: 303v Genres: Motet Source Attribution: io sarto Voice: Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: O quam mirabilis progenies Voice: Contratenor Languages: Latin Clef: c3 Voice Text: habrae Copying Style Void coloration. No red. Layout parts General Note Cantilena, florid style, Virgin Mary and her ancestors. See Cox 1977 I, 280-1. Cumming 1999: ‘cut-circle’. Early stage-III copy, no red except for foliation. For links with O flos fragrans (f.293v), see WrightP 1992. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 670-676. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (14/15), 215-217.
303v–304r	Alleluia. Katherina	-	Anonymous
Alleluia. Katherina Anonymous Appears on: 303v–304r Genres: Lauda Voice: II Languages: Latin Clef: c2 Voice Text: Alleluya katerina Voice: I Languages: Latin Clef: c2 Voice Text: Alleluya katerina General Note Probably for St Catherine of Siena, who campaigned for the return of the papacy from Avignon to Rome before the Schism. See Diederichs 1986, 105-7. Added at late stage III (fine pen). Copying Style No coloration. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 310-11 (formal scheme, 312-13).
304v	Si nichil actuleris / In pretio pretium	hubertus de salinis	Salinis, Hymbert de (ca. 1378–)
Si nichil actuleris / In pretio pretium Salinis, Hymbert de (ca. 1378–) Appears on: 304v Genres: Motet Source Attribution: hubertus de salinis Voice: Tenor Languages: none Clef: c4 Voice: II Languages: Latin Clef: c2 Voice Text: Jn precio precium Voice: I Languages: Latin Clef: c2 Voice Text: sJ nichil actuleris Copying Style Void coloration. Layout parts General Note See AH 20, 10. Like Psallat chorus (f.279v), the texts are taken from a 13th-century composition, two stanzas of a conductus (F, f. 227r-v; not known to Cox 1977 I, 281-3); II has stanza 1 (first 5 words: Ovid, Fasti 1. 217), which is also in Fauvel (Dahnk 1935, 34, Paris f. fr. 146 f. 5); I has stanza 2, with an additional last line. II imagines a contemporary reception of Homer and Croesus; Homer's literary prowess would now mean nothing, while Croesus' wealth would bring him friendship, praise and honour (Reaney, CMM 11/7, p. xviii). Equal cantus parts set the two texts with nearly simultaneous syllabification over a free accompanying tenor. Cumming 1999: ‘retrospective double-discantus’. Early stage-III copy, no red except for foliation. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 677-681. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (7), 65-66.
304v–305r	Veni dilecte mi	lymburgia	Du Fay, Guillaume (1397–1474) (?) Lymburgia, Johannes de
Veni dilecte mi Du Fay, Guillaume (1397–1474) (?) Lymburgia, Johannes de Appears on: 304v–305r Genres: Motet Source Attribution: lymburgia Voice: Tenor Languages: Latin Clef: c4 Voice Text: Venj Voice: Contratenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: Veni dilecte my Copying Style No coloration. Fermata at one cadence. Layout parts General Note Text: Song of Songs 7: 11, 8: 2, 3: 4, 8: 2 (used as an antiphon for Marian feasts). Presumably excluded by Cox because text has liturgical status. Surely by Lymburgia; one of only three works by or possibly by him preserved outside Q15 (the others are Ave mater at f.294v and the anonymous Magnificat at f.336v), neither with attribution to him. Cumming 1999: ‘declamation’. Early stage-III copy, no red except for foliation. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 288. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 102.
305v–306r	Regina caeli laetare (2p. Resurrexit sicut dixit)	dunstaple	Dunstaple, John (ca. 1390–1453)
Regina caeli laetare (2p. Resurrexit sicut dixit) Dunstaple, John (ca. 1390–1453) Appears on: 305v–306r Genres: Lauda, Motet, Regina caeli laetare Source Attribution: dunstaple Voice: Tenor Languages: Latin Clef: c3 Voice Text: letare Voice: Contratenor Languages: Latin Clef: c3 Voice Text: letare Voice: I Languages: Latin Clef: c1 Voice Text: REgina celi letare General Note Marian antiphon. Chant incipit in I (void). No change of scoring. 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Stage-III copy, late (fine pen), bridging gatherings, despite gold capital. The roman foliation 277 is in the hand of Gaspari. EEH II, 127: “It has not been found possible to fit the three parts of these motets to one another”. Copying Style Void coloration and intonation. Void semiminims. Extra staves (10th on stage-II verso, 9th on stage-III recto), both stage-III additions. Layout parts Item Bibliography Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music. London. Pages: Edition: 101-103. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 49-50.
306v–307r	Ave regina / Ave regina	leonel	Power, Leonel (–1445)
Ave regina / Ave regina Power, Leonel (–1445) Appears on: 306v–307r Genres: BVM, Motet Source Attribution: leonel Voice: Ifirhliod Languages: none Clef: c1 Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c2g4 Voice: I Languages: Latin Clef: c1 Voice Text: Aue regina celorum General Note Publ. cf. AOs n° 146Marian antiphon. Presumably excluded by Cox because text has liturgical status. Cumming 1999: ‘other double-discantus’. Notably long pointing finger on recto for end of Ct. Late stage III (fine pen). The roman foliation 278 is in the hand of Gaspari. Copying Style Void coloration including flagged semiminims. Void semiminims in c, flagged in ,c. Layout parts Item Bibliography Hamm, Charles E (editor). 1969-. Leonel Power: Complete Works. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 9-11. Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: Edition: (8), 5-6. Stainer, John F. R, Cécie Stainer, and Edward W. B. Nicholson. 1901, 1913. Early Bodleian Music I-II (1901); Early Bodleian Music III. Pages: Edition: (2), 89.
307v–308r	Magne dies laetitiae	lymburgia	Lymburgia, Johannes de
Magne dies laetitiae Lymburgia, Johannes de Appears on: 307v–308r Genres: Hymn Source Attribution: lymburgia Voice: Contratenor Languages: Latin Clef: c4 Voice Text: puer in fide Voice: I Languages: Latin Clef: c2 Voice Text: Magne dies leticie Voice: Tenor Languages: Latin Clef: c3 Voice Text: Puer in fide claruit Voice: [no designation] Languages: Latin Voice Text: puer in fide Copying Style No coloration. Void semiminims. Layout parts General Note Two alternative settings of the even verses 2, 4, 6 are provided, one with Ct and one with fauxbourdon. Odd-numbered verses (1, 3, 5, 7) in unrhythmicised chant (which, unlike the settings of 2, 4, 6, has a flat signature); Ward 1980, 399. T 'au faulx bourdon si placet'; Ct 'sine faulx bourdon'. Ct is copied between and not below I and T, as in Sanctorum meritis f. 325v. This hymn stands apart from the rest of the hymn cycle (ff.314v-327), but on the same bifolio as Lymburgia's Christe redemptor f.315v, possibly pointing to a Lymburgia core to the cycle, confirmed by shared characteristics with the cycle despite its separation (Anderson 2006, 350). Late stage III (fine pen). Martini annotates the first stave, left-hand margin: 'canto fermo'. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #25. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II 25.
307v–308r	Verbum caro factum est	lymburgia	Lymburgia, Johannes de
Verbum caro factum est Lymburgia, Johannes de Appears on: 307v–308r Genres: Lauda Source Attribution: lymburgia Voice: Tenor Languages: Latin Clef: c3 Voice Text: Verbum caro factum est Voice: I Languages: Latin Clef: c1 Voice Text: Verbum caro factum est Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Verbum caro factum est General Note Text: Wackernagel 1877 I, 163-5. Refrain 'Verbum caro' [x] , precedes strophe ,c ('In hoc anny') ,c. After refrain, 2 verses underlaid in I, 7 more beneath. See Diederichs 1986, 147-8. Copied using recto of opening left blank but foliated at stage II. No red. Late stage III (fine pen). Copying Style Void coloration. Flagged semiminims. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 351.
308v–309r	O Maria maris stella / texted only for duet / partial text	lymburgia	Lymburgia, Johannes de
O Maria maris stella / texted only for duet / partial text Lymburgia, Johannes de Appears on: 308v–309r Genres: Motet Source Attribution: lymburgia Voice: Tenor Languages: Latin Clef: c3 Voice Text: Audi seruos te [...]antes Voice: I Languages: Latin Clef: c1 Voice Text: o Maria mari stella Voice: Contratenor Languages: Latin Clef: c3 Voice Text: vena venie Copying Style Void coloration. Fermatas at some cadences. Layout parts General Note On the Virgin. Text: AH 20, 188, nevertheless included by Cox 1977 I, 283-5. For this text, see O Maria (f.262v); Lymburgia here preserves the ending 'in veritate'. Cumming 1999: ‘cut-circle’. x marks re-entry of chorus after duet for I and Ct. Ct deemed illegible. Pasted flap (now lifted) at foot of page: 'de mantua ... franciscus', not in hand of Q15 scribe. Early stage-III script, no red. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 682-688. Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 297.
309r	Gaude flore virginali / Gaude flore virginali / Gaude flore virginali	-	Anonymous
Gaude flore virginali / Gaude flore virginali / Gaude flore virginali Anonymous Appears on: 309r Genres: Lauda Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Gaude flore virginali Voice: I Languages: Latin Clef: c2 Voice Text: Gaude flore virginali Voice: Tenor Languages: Latin Clef: c3 Voice Text: Gaude flore virginali General Note New Grove II (article by Bent) notes that this is attributed to Lymburgia by modern scholars, but I cannot now trace the source of this claim. The piece should therefore remain anonymous. Nearly identical version with text 'Gaude virgo mater Christi' in MS Feininger; versions in FlorPan27 and Ven also have this text. Late stage III (fine pen). See Diederichs 1986, 111-118. Copying Style No coloration. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 316-319. Luisi, Francesco. 1977. La Musica vocale nel Rinascimento. Torino: RAI Radiotelevisione Italiana. Pages: Edition: (2), 48. Feininger, Laurence K. 1975. Eine neue Quelle zur Polyphonie des 15. Jahrhunderts. Festschrift Walter Senn zum 70. Geburtstag, 53-63. Munich and Salzburg. Pages: Edition: 60.
309v–310r	O baptista mirabilis	lymburgia	Lymburgia, Johannes de
O baptista mirabilis Lymburgia, Johannes de Appears on: 309v–310r Genres: Motet Source Attribution: lymburgia Voice: Tenor Languages: Latin Clef: c4 Voice Text: O baptista Voice: I Languages: Latin Clef: c2 Voice Text: O baptista mirabilis Voice: Contratenor Languages: Latin Clef: c4 Voice Text: O baptista General Note On St John the Baptist. Deemed illegible. See Cox 1977 I, 285-6. Cumming 1999: ‘cut-circle’. Early stage-III script, no red. Copying Style Void coloration. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 309.
309v–310r	In tua memoria / In tua memoria	-	Lantins, Arnold de (–1432)
In tua memoria / In tua memoria Lantins, Arnold de (–1432) Appears on: 309v–310r Genres: Lauda Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: Jn tua memoria Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Jn tua memoria General Note Refrain precedes strophe ('Qui ad te'). See Diederichs 1986, 152-5. Late stage-III (fine pen). Copying Style Flagged semiminims. Layout parts Item Bibliography Diederichs, Elisabeth. 1986. Die Anfänge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts. Münchner Veröffentlichungen zur Musikgeschichte. Tutzing. Pages: Edition: 350-352. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 267-268.
310v–311r	Gaude felix padua	lymburgia	Lymburgia, Johannes de
Gaude felix padua Lymburgia, Johannes de Appears on: 310v–311r Genres: Motet Source Attribution: lymburgia Voice: Contratenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: Gaude felix padua Voice: Tenor Languages: none Clef: c3 General Note On St Anthony of Padua. Music deemed illegible. Cumming 1999: ‘cut-circle’. Early stage-III script, no red. Copying Style No coloration. Fermatas. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: (2), 31.
311v–312r	Beata Dei genitrix (2p. Subveni clamantibus 3p. Sola sine exemplo)	binchois	Dunstaple, John (ca. 1390–1453) Binchois, Gilles (ca. 1400–1460) (?)
Beata Dei genitrix (2p. Subveni clamantibus 3p. Sola sine exemplo) Dunstaple, John (ca. 1390–1453) Binchois, Gilles (ca. 1400–1460) (?) Appears on: 311v–312r Genres: Motet Source Attribution: binchois Voice: Tenor Languages: none Clef: c5 Voice: I Languages: Latin Clef: c3 Voice Text: Beata dei geni [...] Voice: Contratenor Languages: none Clef: c5 Copying Style Void coloration and semiminims. Triplet minims marked '9'. Layout parts General Note Marian antiphon. 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Short non-self-contained duet for T, Ct. Alma redemptoris f. 229v is another case of Binchois/English confusion. Lower parts clefless, bb final. Early stage-III script, no red. Item Bibliography Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music. London. Pages: Edition: 108-109. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 61-63.
312v–313r	Sub tuam protectionem	dunstable	Dunstaple, John (ca. 1390–1453)
Sub tuam protectionem Dunstaple, John (ca. 1390–1453) Appears on: 312v–313r Genres: Motet Source Attribution: dunstable Voice: Tenor Languages: Latin Clef: c4 Voice Text: sub tuam Voice: [no designation] Languages: none Voice: Contratenor Languages: Latin Clef: c4 Voice Text: sub tuam Et Voice: I Languages: Latin Clef: c2 Voice Text: Sub tuam proteccionem General Note Marian antiphon. Duet ('Et propter') for I, T, signalled by 'duo' in Ct; other sources supply an awkward Ct for this passage, which is not in two keyboard arrangements in the Buxheim organ book no. 40, ff. 17v-18v, and no. 158, ff. 86r-v (MB 8 #51a, 51b). 'English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Early stage-III script, no red. EEH II, 127: “It has not been found possible to fit the three parts of these motets to one another”. Copying Style Void coloration and semiminims. Fermata before duet. Layout parts Item Bibliography Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music. London. Pages: Edition: 125-126. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (14/15), 198-201.
313v–314r	Quam pulchra es et quam decora	dunstable	Egidius (?) Dunstaple, John (ca. 1390–1453) (?)
Quam pulchra es et quam decora Egidius (?) Dunstaple, John (ca. 1390–1453) (?) Appears on: 313v–314r Genres: Motet Source Attribution: dunstable Voice: Hoquetus Languages: Latin Clef: c2 Voice Text: Quam pulcra es Voice: Tenor Languages: Latin Clef: c4 Voice Text: Quam pulcra es Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Quam pulcra es General Note Text: Song of Songs 7: 6-12 (used as a processional antiphon for Marian feasts). No duets; breve rest before 'Veni' (fermatas). ‘Declamation; English cantilena' (Cumming 1999). Presumably excluded by Cox because text has liturgical status. Early stage-III script, no red. For the attribution see Bent 1980, Fallows 1994, WrightP 2000. Copying Style Void coloration. Void semiminims in x. Flagged in ,c. Fermatas on 'Veni' and one cadence. Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: Edition: II, 127-9. Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music. London. Pages: Edition: 112-113. Wooldridge, Harry Ellis, and H V Hughes (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century. 2 vols. London: The Plainsong and Medieval Music Society. Pages: Edition: I, pll. 59-60. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 190-1.
314v–315r	O beate sebastiane	du fay	Du Fay, Guillaume (1397–1474)
O beate sebastiane Du Fay, Guillaume (1397–1474) Appears on: 314v–315r Genres: Motet Source Attribution: du fay Voice: I Languages: Latin Clef: c1 Voice Text: O beate sebastiane Voice: Contratenor Languages: Latin Clef: c3 Voice Text: sebastiane Voice: Tenor Languages: Latin Clef: c3 Voice Text: sebastiane Copying Style Void coloration. Flagged semiminims. Fermatas on 'Sebastiane'. 6-line staves for Ct on recto. Layout parts General Note Text is a variant of a widely known antiphon for St. Chrysogonus that went back to the Old Roman repertory, (Vatican, Biblioteca Apostolica Vaticana, Archivio di San Pietro B 79, f. 172v) but was used in the Gregorian repertory as a vespers antiphon for St. Denis (CAO 3999) as well for a number of other martyrs. Du Fay’s motet does not make any reference to the plainsong, but the nature of the text supports the hypothesis made by Hamm/Scott 1972, 102, 114-5 that the motet was intended to be interpolated into the Vespers of St. Sebastian. (All this from PlanchartO?) One of very few pieces in Q15 (cf. Supremum est f.206v) with an initial /x signature, in I only (and not in ModB); all parts organised in x throughout, with S equivalence, no other signatures, nor in ModB. Besseler transcribes without further reduction. See Cox 1977 I, 286-9, and Berger 1989. Cumming 1999: ‘cut-circle’. Early stage-III script, no red. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 1/23. Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 689-695. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (1), 10-11. de Van, Guillaume (editor). 1947-9. Guglielmus Dufay, Opera Omnia. Corpus Mensurabilis Musicae. 4 vols. Rome. Pages: Edition: 1.6 (1947). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/1 #4.
314v–315r	Conditor alme siderum	In adventu domini du fay	Du Fay, Guillaume (1397–1474)
Conditor alme siderum Du Fay, Guillaume (1397–1474) Appears on: 314v–315r Genres: Hymn Source Attribution: In adventu domini du fay Voice: I Languages: Latin Clef: c2 Voice Text: Conditor alme siderum Voice: [no designation] Languages: Latin Voice Text: Qui condolens Voice: Tenor Languages: Latin Clef: c4 Voice Text: Conditor alme siderum General Note Ward 1980, 184. MMMA 1, no. 23.2. Verses 2, 4, 6 ('Te ...'), set (fauxbourdon), chant for verses 1, 3, 5 ('Occasum ..', set in Q15 only), 7 ('Laus ...' - this is v. 5 in CS15 and ModB). T 'au faulx bourdon'. Anderson 2006, 330-3 suggests that this hymn, the only one that does not begin at the top of a page, was an afterthought, or not yet available at the inital copying of hymns in Q15; indeed, the slightly finer script might confirm this. ModB gives chant for vv. 1, 3, 6, and sets 2, 4, 7 (5). The hybrid setting in CS15 occupies ff. 2v-5; Du Fay's I and T are given on 4v for the final verse ('Laus', v .7, which is chant in Q15), with indications on f. 5 that the final verse is to have Ct in fauxbourdon. Early stage-III script, no red. Gaspari's catalogue lists this as '311 bis', though he did not add that within the manuscript. Copying Style No coloration. Void semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/1. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #11. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 161.
315v–316r	Criste redemptor ... Ex patre	In natale dominj lymburgia	Lymburgia, Johannes de
Criste redemptor ... Ex patre Lymburgia, Johannes de Appears on: 315v–316r Source Attribution: In natale dominj lymburgia Voice: Tenor Languages: Latin Clef: c3 Voice Text: Criste redemptor omnium Voice: I Languages: Latin Clef: c1 Voice Text: Criste redemptor omnium Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Criste redemptor omnium Copying Style No coloration. Void semiminims. Layout parts General Note Ward 1980, 163-5. MMMA 1, no. 71. 7 stanzas all set in polyphony; stanza 7 (Gloria tibi) is not underlaid but marked 'ut supra'. Otherwise, each pair of stanzas is newly composed, in each of the three mensurations, making this the most elaborate hymn in the cycle. Unrelated to Du Fay's setting; unusual in setting the Amen. Some inconsistency of notated rests between lines of the hymn led Etheridge to mistranscribe semiminims as sesquitertia. If Conditor alme (f.314v) was indeed a later addition, this becomes the first hymn of the Q15 cycle, rather than an addition to it, as has been suggested. It precedes Du Fay’s fauxbourdon setting of the same text (f.316v), and sets the chant (AR 255) 'slowly and squarely in the tenor and up a fourth (in F, but with no flat in the tenor signature)'; Anderson 2006, 338. Early stage-III script, no red. Roman foliation 287 is in the hand of Gaspari. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #24. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #19, 28-9.
316v–317r	Christe redemptor omnium . Tu lumen tu splendor (Christmas setting)	In natale dominj du fay	Du Fay, Guillaume (1397–1474)
Christe redemptor omnium . Tu lumen tu splendor (Christmas setting) Du Fay, Guillaume (1397–1474) Appears on: 316v–317r Genres: Motet Source Attribution: In natale dominj du fay Voice: [no designation] Languages: Latin Voice Text: criste redemptor Voice: Tenor Languages: Latin Clef: c4 Voice Text: Tu lumen tu splendor patris Voice: I Languages: Latin Clef: c1 Voice Text: Criste redemptor omnium Copying Style No coloration. Void semiminims. Layout parts General Note Ward 1980, 162. MMMA 1, no. 71. Verses 2, 4, 6 set (fauxbourdon), chant for verses 1, 3, 5, 7 (likewise ModB). Musically identical with Christe redemptor f. 322v which likewise has no contratenor. T 'au faulx bourdon'. Du Fay’s fauxbourdon setting was evidently here appended, as a scribal pairing, to Lymburgia’s more elaborate setting at f.315v, which was probably in place earlier and is musically unrelated (Anderson 2006, 338). The hybrid setting in CS15 occupies ff. 5v-8; Sherr 1996 also claims v. 6 as Du Fay's, although it is neither so attributed nor corresponding. Early stage-III script, no red. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/2 (version 1). Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #11, 14. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #12a. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 160-1 (Q15 not there cited).
317r	Hostis Herodes impie	In epiphania dominj du fay	Du Fay, Guillaume (1397–1474)
Hostis Herodes impie Du Fay, Guillaume (1397–1474) Appears on: 317r Genres: Hymn Source Attribution: In epiphania dominj du fay Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Jbant magi quam uiderant Voice: Tenor Languages: Latin Clef: c4 Voice Text: Jbant magi Voice: I Languages: Latin Clef: c between 4/5 Voice Text: hostis herodes impie Voice: [no designation] Languages: Latin Voice Text: Jbant magi General Note Ward 1980, 298. MMMA 1, no. 53. Verses 2, 4 set, chant for verses 1, 3, 5 (likewise ModB). The hybrid setting in CS15 occupies ff. 8v-10. Tr92 underlays vv. 1, 2 only. Early stage-III script, no red. Roman foliation 288 is in the hand of Gaspari, as is '313 bis', corresponding to his catalogue. Copying Style Void coloration. Void semiminims. Layout parts Item Bibliography Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: (2), 19. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: V 42-43. Blume, Friedrich (editor). 1929-. Das Chorwerk. Berlin/Wolfenbüttel. Pages: Edition: (49), 6-7. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (14/15), 162.
317v	Ad cenam agni	In octava pasce lymburgia	Lymburgia, Johannes de
Ad cenam agni Lymburgia, Johannes de Appears on: 317v Genres: Motet Source Attribution: In octava pasce lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: Ad cenam agni prouidi Voice: Tenor Languages: Latin Clef: c3 Voice Text: Ad cenam agni prouidi Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Ad cenam ajni prouidi General Note Ward 1980, 2a, 2b. MMMA 1, no. 3. Odd-numbered verses set, 1 and 5 a3 (free); 3 and 7 in fauxbourdon, chant in cantus. T 'au falx bordon'. Even-numbered verses are to be supplied in chant (not provided). This implies a double alternatim: two distinct polyphonic realisations in alternation with implicit chant. Du Fay's setting of this hymn is not in Q15, but elsewhere (two dovetailed settings in ModB, one with Ct, one fauxbourdon); this and others perhaps deliberately omitted by Q15 scribe (Anderson 2006, 345-6). Early stage-III script, no red. Copying Style No coloration. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #23;. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #20, 32.
318r	Jesu nostra redemptio	In asencione domini du fay	Du Fay, Guillaume (1397–1474)
Jesu nostra redemptio Du Fay, Guillaume (1397–1474) Appears on: 318r Genres: Hymn Source Attribution: In asencione domini du fay Voice: I Languages: Latin Clef: c1 Voice Text: Jhesu nostra redempcio Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Que te uicit clemencia Voice: Tenor Languages: none Clef: c4 General Note Ward 1980, 364. MMMA 1, no. 513. Verses 2, 4, 6 set, chant for verses 1, 3 and 5 (ModB sets 2, 4). Early stage-III script, no red. Roman foliation 289 is in the hand of Gaspari, as is 314 bis, corresponding to his catalogue. Copying Style Void coloration. Void semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/8. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #18.
318v	Veni creator spiritus	In pentecoste dufay	Du Fay, Guillaume (1397–1474)
Veni creator spiritus Du Fay, Guillaume (1397–1474) Appears on: 318v Genres: Hymn, Veni creator spiritus Source Attribution: In pentecoste dufay Voice: I Languages: Latin Clef: c1 Voice Text: Venj creator spiritus Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Qui paraclitus diceris Voice: Tenor Languages: none Clef: c3 General Note Qui paraclitus diceris Ward 1980, 622. MMMA 1, no. 17. Verses 2, 4, 6 set, chant for verses 1, 3, 5, 7 (likewise ModB). The hybrid setting in CS15 occupies ff. 29v-32. Early stage-III script, no red. Copying Style No coloration. Void semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/9. Loyan, Richard K. 1973. The music in the manuscript Florence, Fondo Magliabechiano XIX. 112bis. University of California, Ph.D. Dissertation. Pope, Isabel. 1964. The musical manuscript Montecassino N879 [sic; recte 871]. Anuário Musical, 123-53. Pages: Edition: ms 871. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1, V #19 (with facs.). Wolf, Johannes. 1931); American reprint: 'Music of earlier times. Vocal and instrumental examples; 13th century to Bach'. (New York, 1946. Sing-und Spielmusik aus älterer Zeit. Leipzig. Pages: Edition:. Dèzes, Karl. 1927. Messen- und Motettensätze des 15. Jahrhunderts. Augsburg. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15 (VII) 167-8 (Q15 not there cited).
319r	O lux beata	In festo sancte trinitatis du fay	Du Fay, Guillaume (1397–1474)
O lux beata Du Fay, Guillaume (1397–1474) Appears on: 319r Genres: Hymn Source Attribution: In festo sancte trinitatis du fay Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Te mane laudum carmine Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: O Lux beata trinitas General Note Ward 1980, 418. MMMA 1, no. 22. Verses 1, 3 set (CS15, v. 2). Q15 has chant for v. 2, placed after the polyphonic voices; ModB sets only v. 1, followed by chant for v. 2. The hybrid setting in CS15 occupies ff. 32v-34; it is not specified for Trinity but 'in diebus ferialibus sabbati' (Anderson 2006, 347). Unexplained fragment of a freehand stave in right-hand margin. Early stage-III script, no red. '315 bis' supplied by Gaspari, corresponding to his catalogue. Copying Style No coloration. Void semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/10. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #20 (with facs.). Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 164.
319v	Lucis creator optime	In dominicis diebus feraguti	Feragut, Beltrame
Lucis creator optime Feragut, Beltrame Appears on: 319v Genres: Hymn Source Attribution: In dominicis diebus feraguti Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c3 Voice Text: Lucis creator optime General Note Ward 1980, 388; cf. LU 256. Odd-numbered verses 1, 3, 5 set (in fauxbourdon). T 'au faulx bourdon'. Even-numbered verses to be supplied in chant (not provided); cf. Benoit's setting in ModB ff. 16v-17, which provides plainsong for alternate (odd-numbered) verses. Like Lymburgia's Christmas and Easter hymns, this has no chant, and likewise sets the odd-numbered verses. Benoit's setting in ModB sets the even verses; it was probably composed by this time but not included in Q15 (Anderson 2006, 348-9). Early stage-III script, no red. Copying Style No coloration. Void semiminims. Layout parts Item Bibliography Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: , II #21, 34. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 100-101.
320r–320v	Pange lingua gloriosi corporis misterium	-	Du Fay, Guillaume (1397–1474)
Pange lingua gloriosi corporis misterium Du Fay, Guillaume (1397–1474) Appears on: 320r–320v Genres: Hymn Voice: [no designation] Languages: Latin Voice Text: Verbum caro panem uerum Voice: I Languages: Latin Clef: c1 Voice Text: Pange lingua gloriosi Voice: [no designation] Languages: Latin Voice Text: Verbum caro panem uerum Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Pange lingua gloriosi Voice: Tenor Languages: Latin Clef: c4 Voice Text: Nobis Copying Style Void coloration. Layout parts General Note Ward 1980, 451. MMMA 1, no. 56. Text by Aquinas. Verses 2, 6 set (v. 4 in ModB but not Q15), chant for verses 1, 3, 5. The T is followed by 'nobis', the first word of v. 2. This and Jesu corona (f.327v) are the only Du Fay hymns unascribed in Q15. 'Verte folium' is written on the stave after I and ‘verte residuum’ after the Ct, perhaps to direct to chant verses not there repeated or an indication to continue singing the polyphony for v. 4. Although it appears to be distinct compositionally and in transmission, #302 may interact with #302a not only because of the 'verte folium/verte residuum’ indications and missing verses, but also the transferral of the chant in #302a to an inner voice, which changes the final of the hymn, but, at the same time, keeps the chant at pitch to reconnect with the chant of #302. It was possible to perform them together as another 'double' conception of alternatim by different composers and one compiler (Anderson 2006, 341-4). The hybrid setting in CS15 occupies ff. 34v-37 but vv. 4 and 6 are different harmonisations, v. 4 with melody in the T. See note to #302a. Early stage-III script, no red. 'N316 bis' supplied by Gaspari, corresponding to his catalogue. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/11. Anderson, Michael Alan. 2006. The Organization and Complexes of the Q 15 Hymn Cycle. Studi musicali, 327-61. Pages: Edition: fig. 7. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #15, 21-2. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #21. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 165.
321r	Urbs beata Jerusalem. Nova veniens e caelo	In dedicacione ecclesie du fay	Du Fay, Guillaume (1397–1474)
Urbs beata Jerusalem. Nova veniens e caelo Du Fay, Guillaume (1397–1474) Appears on: 321r Genres: Hymn Source Attribution: In dedicacione ecclesie du fay Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Noua ueniens Voice: I Languages: Latin Clef: c2 Voice Text: Vrbs beata iherusalem General Note Ward 1980, 567. MMMA 1, no. 140. Verses 2, 4 set, chant for verses 1, 3, and 6 (ModB vv. 1, 3, 5). This is one of only four hymns of the 19 attributed to Du Fay that sets at least one even verse in monophony (Anderson 2006, 334 n. 12). PlanchartO: the version of Q15, and the way verse 6 is entered in ModB, open the possibility that Du Fay originally set a version of the hymn without the verse 5 found in most chant books, and thus his ‘verse 6’ in Q15 would be verse 5 of the version he first set, following his usual practice. The hybrid setting in CS15 occupies ff. 68v-70. Early stage-III script, no red. 'N317 bis' supplied by Gaspari, corresponding to his catalogue. Copying Style Void coloration (Ct). Void semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/12. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #22 (and app. #57, 57a).
321v	Ave maris stella Sumens illud ave	[G. DUFAY]	Du Fay, Guillaume (1397–1474)
Ave maris stella Sumens illud ave Du Fay, Guillaume (1397–1474) Appears on: 321v Genres: Ave maris stella, BVM, Motet Source Attribution: [G. DUFAY] Voice: I Languages: Latin Clef: c1 Voice Text: Aue maris stella Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Aue maris stella Voice: Tenor Languages: Latin Clef: c4 Voice Text: sumens illud aue Copying Style No coloration. Void semiminims. Layout parts General Note Two performance options: with fauxbourdon, or with alternative contratenor. ModB and CS15 offer only the latter option; MuEm (St Emmeram) and BU 2216 offer the faulxbourdon version. Tr90 provides another alternative Ct & T (not by Du Fay?) to go with Du Fay's Cantus. General Note Ward 1980, 83. MMMA 1, no. 67. Verses 1, 3, 5, 7 set, chant for verses 2, 4, 6. Besseler's edition uses Q15, but follows ModB's opposite arrangement of the verses, making it consistent with Du Fay's other hymns. The T 'au faulx bourdon' is followed immediately by the chant for the even-numbered verses, which is in turn followed by a Ct 'sine faulx bourdon', written later, also transmitted in ModB, evidently a later-added alternative to the fauxbourdon setting, but not notably independent of it. The contratenor was presumably added after the hymn was 'fixed' in the fauxbourdon version (Anderson 2006, 336), a stage-III addition (in later script, fine nib) to a work already in stage-III. PlanchartO distinguishes four versions of the hymn: 1) this fauxbourdon version, reflected also in BU and MuEm; 2) this version with contratenor; 3) the version with contratenor in ModB, largely identical to this, but reversing which verses are set to polyphony and which in chant; this version is reflected in CS 15; 4) the version of Tr 92, with new T and Ct, most likely a variant of version 2. This hymn, Pange lingua at f.320r and Jesu corona at f.327r are not ascribed to Du Fay in Q15. The hybrid setting in CS15 occupies ff. 41v-46. Early stage-III script, no red. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/13. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #13, 17-18. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1, V #23 and app. #58. Blume, Friedrich, and Kurt Gude (editors). 1929-79. Das Chorwerk. Wolfenbüttel/Berlin. Pages: Edition: 49.
322r	Christe redemptor omnium ... Conserva (v/24a) with fauxbourdon	In honore omnium sanctorum du fay	Du Fay, Guillaume (1397–1474)
Christe redemptor omnium ... Conserva (v/24a) with fauxbourdon Du Fay, Guillaume (1397–1474) Appears on: 322r Genres: Fauxbourdon/faburden, Hymn Source Attribution: In honore omnium sanctorum du fay Voice: I Languages: Latin Clef: c1 Voice Text: Criste redemptor omnium Voice: Tenor Languages: Latin Clef: c4 Voice Text: beata quoque agmina Copying Style No coloration. Void semiminims. Layout parts General Note MMMA 1, no. 71. Verses 2, 4, 6 set (fauxbourdon), chant for verses 1, 3, 5, 7. Musically the same as Christe redemptor at f.316v, conflated with this as Ward 1980, 162, likewise no Ct. T 'au faulx bourdon'. This and the adjacent setting (f.322v) of Christe redemptor … Conserva, both by Du Fay, both have the plainchant entered, apparently to avoid a page turn (not the case for Pange lingua f.320). The same chant melody forms the basis of the Christmas hymn Christe redemptor … Ex patre (f.316v). The cantus and T are also identical in Du Fay’s fauxbourdon settings of these two hymns, though the music was recopied to accommodate the different texts (Anderson 2006, 338). Early stage-III script, no red. 'N318 bis' supplied by Gaspari, corresponding to his catalogue. Item Bibliography Bent, Margaret. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition. 2 vols. Lucca: Lim Editrice. Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/14 (version 3). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #24a.
322v	Christe redemptor omnium/conserva (v/24b)	In honore omnium sanctorum du fay	Du Fay, Guillaume (1397–1474)
Christe redemptor omnium/conserva (v/24b) Du Fay, Guillaume (1397–1474) Appears on: 322v Genres: Hymn Source Attribution: In honore omnium sanctorum du fay Voice: I Languages: Latin Clef: c1 Voice Text: Criste redemptor omnium Voice: Tenor Languages: Latin Clef: c3 Voice Text: beata quoque agmina Voice: II Languages: Latin Clef: c1 Voice Text: beata quoque agmina Copying Style No coloration. Void semiminims. Layout parts General Note MMMA 1, no. 71. Verses 2, 4, 6 set, chant for verses 1, 3, 5, 7 (likewise ModB). Ward 1980, 152. Chant in cantus II, at the same pitch as the upper voice of the fauxbourdon setting of the same text at f.322, recopied to avoid page turn (Anderson 2006, 338-9). Newly composed cantus I, higher in range than 'II', is positioned below (and possibly copied later than) a new T, different from f.322, but placed first in CS15 and ModB. Tr921 has I, T, II; Tr922 has chant, I, T, II. This elaborated setting is much more widely disseminated than the fauxbourdon at f.322. The hybrid setting in CS15 occupies ff. 50v-53.Uses the same chant as Christe redemptor ... Ex Patre (f.316v); the cantus and T of these fauxbourdon settings are also identical, but recopied to accommodate the different texts. See pieces at ff.315v, 316v. Early stage-III script, no red. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/14 (version 4). [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #24b. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 160 (Q15 not there cited).
323r	Tibi Christe splendor Patris	In honore angelorum du fay	Du Fay, Guillaume (1397–1474)
Tibi Christe splendor Patris Du Fay, Guillaume (1397–1474) Appears on: 323r Genres: Hymn Source Attribution: In honore angelorum du fay Voice: Tenor Languages: Latin Clef: f3 Voice Text: Collaudamus uenerantes Voice: I Languages: Latin Clef: c2 Voice Text: Tibi criste splendor patris General Note Ward 1980, 556. MMMA 1, no. 112. Fauxbourdon setting only for vv. 2, 4, chant for verses 1, 3. PlanchartO: stylistically this piece appears to be one of Du Fay’s earliest fauxbourdon settings, simple and unpretentious, but apparently lost in transmission, being absent from the later recensions of Du Fay’s hymn cycle. In ModB, the absence of a hymn for the angels was apparently noticed only later, when two settings of Tibi Christe splendor were clumsily added (ff. 11v-13 = 14v–16), not by Du Fay; CS 15 also has two later, unique settings. Early stage-III script, no red. 'N319 bis' supplied by Gaspari, corresponding to his catalogue. Copying Style No coloration. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/15. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #12, 15-16. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #25.
323v	Ut queant Iaxis (Nuntius celso veniens)	In honore sancti iohannis baptiste du fay	Du Fay, Guillaume (1397–1474) (?)
Ut queant Iaxis (Nuntius celso veniens) Du Fay, Guillaume (1397–1474) (?) Appears on: 323v Genres: Motet Source Attribution: In honore sancti iohannis baptiste du fay Voice: I Languages: Latin Clef: c2 Voice Text: vt queant laxis resonare fibris Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Nuncius celso ueniens olimpo Voice: Tenor Languages: none Clef: c4 General Note Ward 1980, 592. Verses 2, 4 set, chant for verses 1, 3, 5 (likewise ModB). Chant paraphrased in I (MMMA 1, no. 151) is the hymn melody used by most Italian hymnals, but is not the melody from which the solmization syllables were derived (PlanchartO).The hybrid setting in CS15 occupies ff. 37v-39. Early stage-III script, no red. Copying Style No coloration. Void semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/16. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #26. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 167.
324r	Aurea luce et decore roseo	In honore apostolorum petri et pauli dufay	Du Fay, Guillaume (1397–1474)
Aurea luce et decore roseo Du Fay, Guillaume (1397–1474) Appears on: 324r Genres: Hymn Source Attribution: In honore apostolorum petri et pauli dufay Voice: I Languages: Latin Clef: c1 Voice Text: Aurea luce et decore roseo Voice: Contratenor Languages: Latin, Italian Clef: c4 Voice Text: Janitor celi doctor orbis pariter Voice: Tenor Languages: none Clef: c4 General Note Ward 1980, 66. AH 51, 216-7. MMMA 1, no. 152. Verses 1, 3, 5 set 'Aurea', 'jam bone', 'sit trinitati'), chant for verse 2 ('Janitor'); ModB sets vv. 1, 5, chant for v. 2. This is one of only four hymns of the 19 attributed to Du Fay that sets at least one even verse in monophony (Anderson 2006, 334 n. 12). PlanchartO: all the hymns that have an ‘even verse’ in the polyphony in Q 15 appear to have missing verses, so that the even verse in the polyphony was really an odd verse in Du Fay’s setting; verse 5 of the ‘official’ text is in no source, and what seems to be missing in Q15 is really a second chant verse (found in CS 15). The hybrid setting in CS15 occupies ff. 39v-42. First Ct stave extends into the margin. Early stage-III script, no red. 'N320 bis' supplied by Gaspari, corresponding to his catalogue. Copying Style Void coloration. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/17. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #27.
324v	Exultet caelum laudibus [2 versions, with Ct or with faulxbourdon]	In honore apostolorum du fay	Du Fay, Guillaume (1397–1474)
Exultet caelum laudibus [2 versions, with Ct or with faulxbourdon] Du Fay, Guillaume (1397–1474) Appears on: 324v Genres: Hymn Source Attribution: In honore apostolorum du fay Voice: Tenor Languages: Latin Clef: c4 Voice Text: vos secli iusti iudices Voice: I Languages: Latin Clef: c2 Voice Text: Exultet celum laudibus Voice: Contratenor Languages: Latin Clef: c4 Voice Text: uos secli General Note Ward 1980, 231a, 231b. MMMA 1, no. 114. Verses 2, 4, 6 set, chant for verses 1, 3, 5 (likewise ModB). Although presented as a single setting, this embodies two alternative versions: (1) cantus and T 'au faulx bourdon', (2) an alternative tenor fitting the same cantus, followed by a Ct. ModB has the same two versions, with the fauxbourdon setting placed second (Anderson 2006, 339-40). For a 'Contratenor secundus duffay' to a different setting of this hymn, see CMM I/5, appendix I #52. The hybrid setting in CS15 occupies ff. 53v-56. Early stage-III script, no red. Copying Style Void coloration. Void semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/18. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #28a, #28b.
325r	Deus tuorum militum (Hic nempe mundi gaudia)	In natale unius martiris du fay	Du Fay, Guillaume (1397–1474)
Deus tuorum militum (Hic nempe mundi gaudia) Du Fay, Guillaume (1397–1474) Appears on: 325r Genres: Hymn Source Attribution: In natale unius martiris du fay Voice: [no designation] Languages: Latin Voice Text: hic nempe Voice: I Languages: Latin Clef: c1 Voice Text: Deus tuorum militum Voice: Tenor Languages: Latin Clef: c4 Voice Text: hic nempe mundi gaudia Copying Style No coloration. Void semiminims. Layout parts General Note Ward 1980, 208. MMMA 1, no. 115. All three voices of Deus tuorum are identical in Jesu corona (f.327). Verses 2, 4 set., chant for verses 1, 3, 5 (likewise ModB). T 'au faulx bordon'. The hybrid setting in CS15 occupies ff. 56v-8; f. 57 has new T and Ct for Du Fay's cantus. PlanchartO notes and edits the two derived hymns that use Du Fay’s cantus SPietro and CS15. Early stage-III script, no red. 'N321 bis' supplied by Gaspari, corresponding to his catalogue. Item Bibliography Bent, Margaret. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition. 2 vols. Lucca: Lim Editrice. Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/19. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #29, and app. #59, #60.
325v–326r	Sanctorum meritis Hi sunt quos retinens	du fay In natale plurimorum martirum	Du Fay, Guillaume (1397–1474)
Sanctorum meritis Hi sunt quos retinens Du Fay, Guillaume (1397–1474) Appears on: 325v–326r Genres: Hymn Source Attribution: du fay In natale plurimorum martirum Voice: Contratenor Languages: Latin Clef: c4 Voice Text: hij sunt quos retinens Voice: Tenor Languages: none Clef: c4 Voice: I Languages: Latin Clef: c1 Voice Text: SAnctorum meritis inclita gaudia Copying Style Void coloration and semiminims. Layout parts General Note Ward 1980, 548. MMMA 1, no. 70. Verses 2, 4, 6 set, chant for verses 1, 3, 5 likewise ModB). T continues on last stave of 326 recto. See also Magne dies (f.307v), where the Ct is likewise placed between and not following I and T (Anderson 2006, 336 n.16). The hybrid setting in CS15 occupies ff. 58v-62. Early stage-III script, no red. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/20. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #30. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 166.
326r	Iste confessor (Qui pius prudens)	In natale confessorum du fay	Du Fay, Guillaume (1397–1474)
Iste confessor (Qui pius prudens) Du Fay, Guillaume (1397–1474) Appears on: 326r Genres: Motet Source Attribution: In natale confessorum du fay Voice: I Languages: Latin Clef: c2 Voice Text: Jste confessor dominj sacratus Voice: Tenor Languages: Latin Clef: c4 Voice Text: Qui pius prudens General Note Ward 1980, 344. MMMA 1, no. 146. Verses 2, 4 set, chant for verses 1, 3, 5 (likewise ModB). Chant melody shared with Virginis proles (f.326v). T 'au faulx bordon'. The hybrid setting in CS15 occupies ff. 62v-6; PlanchartO judges as excellent the second CS15 arrangement using Du Fay’s cantus. See notes to #314. Early stage-III script, no red. 'N322 bis' supplied by Gaspari, corresponding to his catalogue. Copying Style Void coloration and semiminims. Layout parts Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/21. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #31 and app. #61. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: 14/15, 163.
326v	Virginis proles	In natale virginum in noct' et in vespere lymburgia	Lymburgia, Johannes de
Virginis proles Lymburgia, Johannes de Appears on: 326v Genres: Hymn Source Attribution: In natale virginum in noct' et in vespere lymburgia Voice: Tenor Languages: Latin Clef: c4 Voice Text: hec tua uirgo Voice: I Languages: Latin Clef: c2 Voice Text: Virginis proles Copying Style No coloration. Void semiminims. Layout parts General Note Ward 1980, 692. Verses 2, 4 set (fauxbourdon), chant for verses 1, 3, 5. T 'au faulx bordon'. Ward 1972, 177 notes that the text is found in Verona, but that the melody (Stäblein 146) does not occur in Italian sources. Perhaps composed as a partner to Du Fay's Jesu corona (f. 327) for the same feast, sharing range and cleffing; use of chant is unusual or anomalous for Lymburgia. This piece serves as a linchpin for a small sequence or 'complex' in the hymn cycle; it shares the melody of Iste confessor (f.326), but is also connected (in a redundant way) with Jesu corona (f.327) as both are for the common of virgins (Anderson 2006, 340-41). Early stage-III script, no red. Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: , II #28. Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #18, 27.
327r	Jesu corona virginum (Qui pascis inter lilia)	-	Du Fay, Guillaume (1397–1474)
Jesu corona virginum (Qui pascis inter lilia) Du Fay, Guillaume (1397–1474) Appears on: 327r Genres: Motet Voice: I Languages: Latin Clef: c1 Voice Text: Jhesu corona uirginum Voice: Tenor Languages: Latin Clef: c4 Voice Text: Qui pascis inter lilia General Note Ward 1980, 208. MMMA 1, no. 115. Music is identical to #311. Verses 2, 4 set, chant for verses 1, 3, 5 (likewise ModB, with different v.5 used in CMM).T 'a faulx bourdon'. Q15 v. 5 is 'Deo patri sit gloria'. The hybrid setting in CS15 occupies ff. 66v-8. Early stage-III script, no red. N323 bis' is written in pencil in a later hand, neither Martini's, Gaspari's, nor the same as the pencil foliation. Copying Style No coloration. Void semiminims. Layout parts Item Bibliography Bent, Margaret. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition. 2 vols. Lucca: Lim Editrice. Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 7/22. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #31a (and app. #62, #63).
327v–328v	Letabundus exultet fidelis	de nativitate dominj prosa du fay	Du Fay, Guillaume (1397–1474)
Letabundus exultet fidelis Du Fay, Guillaume (1397–1474) Appears on: 327v–328v Genres: Sequence Source Attribution: de nativitate dominj prosa du fay Voice: Tenor Languages: Latin Clef: c4 Voice Text: Regem Voice: [no designation] Languages: Latin Voice Text: Regem Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Regem regum Voice: I Languages: Latin Clef: c1 Voice Text: Letabundus Copying Style No coloration. Void semiminims. Layout parts General Note Alternatim setting, with polyphony for the second of each pair of verses. Chant in I and T. Parts are grouped on the page by verse ('bunched', see Bent 2004b). See Hamm 1964, 77. Planchart 2008b removes the modern attributions to Du Fay of the other sequences in Q15 (Veni sancte f.329, Mittit ad virginem f.339v), leaving this as the only one, which he posits as the first of a cycle started in his Rome years. Early stage-III script, no red. Item Bibliography Planchart, Alejandro Enrique (editor). 2009. Guillaume Du Fay, Opera Omnia. Grove online. Pages: Edition: 6/1. de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (5), 5-7. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 1/5 #2.
329r–330r	Veni sancte spiritus et emitte caelitus	prosa de sancto spiritu	Du Fay, Guillaume (1397–1474) (?)
Veni sancte spiritus et emitte caelitus Du Fay, Guillaume (1397–1474) (?) Appears on: 329r–330r Genres: Sequence, Veni sancte spiritus Source Attribution: prosa de sancto spiritu Voice: Tenor Languages: Latin Clef: c4 Voice Text: veni sancte pater Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Veni pater pauperum Voice: I Languages: Latin Clef: c1 Voice Text: Veni sancte spiritus Voice: [no designation] Languages: Latin Voice Text: veni pater General Note This Q15 setting not only follows a sequence with an uncontested attribution to Du Fay, but conforms to nearly all his other settings in starting the alternation with chant and placing it in I; the chant paraphrase closely matches that in voice II of Du Fay's attributed setting inTr92 #1453 (ff. 100v-101), CMM 1/5 #6, to which this is in opposite phase by setting the stanzas not set there, i.e., the second of each pair, a procedure out of line with his normal practice. De Van 1948a treated this anonymous composition as an ascribed work, followed by Hamm 1964, 77. See Fallows 1982, 230, Planchart 1998, 106-9, who leave the attribution open, partly because the verses set seemed to complement Du Fay’s attributed setting of this prose. But now Planchart 2008b shows that the scoring of the two versions is incompatible and argues against Du Fay’s authorship. Stage-III script, no red. Copying Style Void coloration and semiminims. Layout parts Item Bibliography de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: (5), 18-20. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (53), 29-30.
330v–333r	Magnificat primi toni: Anima mea Dominum [K.887]	lymburgia	Lymburgia, Johannes de
Magnificat primi toni: Anima mea Dominum [K.887] Lymburgia, Johannes de Appears on: 330v–333r Genres: BVM, Canticle, Magnificat Source Attribution: lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: (Magnificat) anima mea Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: English Voice Text: O Lord bow downe Voice: Contratenor Languages: none Clef: c4 General Note Tone I and incipit in I, all verses set. Kirsch 1966 #887. Stage-III script, no red. Copying Style Void coloration for semiminims and minim triplets. Fermatas for plainsong incipit. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #18.
332v–334r	Magnificat secundi toni: Et exultavit spiritus meus [K.888]	de 2 tono lymburgia	Lymburgia, Johannes de
Magnificat secundi toni: Et exultavit spiritus meus [K.888] Lymburgia, Johannes de Appears on: 332v–334r Genres: BVM, Canticle, Magnificat Source Attribution: de 2 tono lymburgia Voice: Tenor Languages: Latin Clef: f3 Voice Text: (Magnificat) Et exultavit Voice: I Languages: Latin Clef: c2 Voice Text: (Magnificat) Et exultavit General Note Tone II specified, incipit with F3 clef precedes I in C2, paraphrase in T. Kirsch 1966 #888. Even-numbered verses set; 'Tenor au faulx bourdon'. Stage-III script, no red. Copying Style Void coloration for intonation and semiminims. Fermatas for some cadences. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #19.
333v–334r	Magnificat sexti toni: Et exultavit spiritus meus [K.889]	de sexto tono lymburgia	Lymburgia, Johannes de
Magnificat sexti toni: Et exultavit spiritus meus [K.889] Lymburgia, Johannes de Appears on: 333v–334r Genres: BVM, Canticle, Magnificat Source Attribution: de sexto tono lymburgia Voice: Tenor Languages: none Clef: f3 Voice: I Languages: Latin Clef: c1 Voice Text: (Magnificat) Et exultavit General Note Plainsong incipit in I; tone VI in T. Even-numbered verses set. Kirsch 1966 #889. No fauxbourdon indicated. Stage-III script, no red. Copying Style No coloration. Void intonation. Flagged semiminims. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #20.
334v–336r	Magnificat octavi toni: Anima mea Dominum [K.890]	lymburgia [intonations a3]	Lymburgia, Johannes de
Magnificat octavi toni: Anima mea Dominum [K.890] Lymburgia, Johannes de Appears on: 334v–336r Genres: BVM, Canticle, Magnificat Source Attribution: lymburgia [intonations a3] Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: (Magnificat) anima mea General Note Kirsch 1966 #890. Tone VIII. All verses set, including measured incipit a3 with fermatas. Stage-III script, no red. Copying Style Void coloration. Flagged semiminims, also in /x. Fermatas on measured incipit, all parts. Layout parts Item Bibliography Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: Edition: II #21.
336v	Magnificat octavi toni: Anima mea Dominum [K.373]	-	Lymburgia, Johannes de (?)
Magnificat octavi toni: Anima mea Dominum [K.373] Lymburgia, Johannes de (?) Appears on: 336v Genres: BVM, Canticle, Magnificat Voice: I Languages: Latin Clef: c1 Voice Text: (Magnificat) anima mea Voice: Tenor Languages: none Clef: c3 Voice: Contratenor Languages: none Clef: c2 General Note Versets imp.Attribution suggested by Meinholz 1956, 13. Measured incipit in I. Tone VIII. Odd-numbered verses set. Kirsch 1966 #373, who suggests (fn. 216, 219) that this setting may be complementary to the other Magnificat on the opening. Stage-III script, no red. Copying Style Void coloration. Flagged semiminims. Layout parts
336v–338r	Magnificat octavi toni: Et exultavit spiritus meus [K.377]	lymburgia	Lymburgia, Johannes de (?)
Magnificat octavi toni: Et exultavit spiritus meus [K.377] Lymburgia, Johannes de (?) Appears on: 336v–338r Genres: BVM, Magnificat Source Attribution: lymburgia Voice: I Languages: Latin Clef: c1 Voice Text: Et exultavit Voice: Contratenor Languages: none Clef: c2 Voice: Tenor Languages: none Clef: c4 Copying Style Void coloration. Fermatas at some cadences. Layout parts General Note Attribution suggested by Meinholz 1956, 13. Even-numbered verses set. No intonation. Tone VIII. Kirsch 1966 #377, who suggests (fn. 216, 219) that this setting may be complementary to the other Magnificat on the opening. Only two other works by Lymburgia are preserved outside Q15 (#265 and #279). MuEm has large initial signature,c in margin. Stage-III script, no red.
338v–339r	Magnificat secundi toni: Et exultavit spiritus meus [K.763]	feragut [indexer]	Feragut, Beltrame
Magnificat secundi toni: Et exultavit spiritus meus [K.763] Feragut, Beltrame Appears on: 338v–339r Genres: BVM, Magnificat Source Attribution: feragut [indexer] Voice: I Languages: Latin Clef: c2 Voice Text: Et exultavit Voice: Tenor Languages: none Clef: f3 General Note Versets pairsEven-numbered verses set. No intonation; no chant provided for odd verses. Kirsch 1966 #763: tone III or VIII, rejecting suggestions for II or VI (fn. 383). Embellishments with up- and down-stemmed minims inserted later in both parts, some marked with a cross. Attribution depends solely on the Q15 indexer. Late stage-III script (fine pen), no red. Copying Style No coloration. Fermatas for (two-note) 'Amen'. Layout parts Item Bibliography Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: Edition: II #25, 51-4. [No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: Edition: 11/7, 102-105.
339v–340v	Mittit ad virginem	prosa de beata virgine	Du Fay, Guillaume (1397–1474) (?) Merques, Nicolas (?)
Mittit ad virginem Du Fay, Guillaume (1397–1474) (?) Merques, Nicolas (?) Appears on: 339v–340v Genres: Sequence Source Attribution: prosa de beata virgine Voice: Tenor Languages: Latin Clef: c5 Voice Text: fortem Voice: I Languages: Latin Clef: c1 Voice Text: Mittit ad uirginem Voice: Contratenor Languages: Latin Clef: c4 Voice Text: fortem expediat Voice: [no designation] Languages: Latin Voice Text: fortem Copying Style Void coloration and semiminims. Flagged semiminims for 'Virgo suscepit' verse only. Layout parts General Note Attributed by Hamm 1964, 78, partly on the grounds that both Q15's other sequences, Letabundus and Veni sancte (f.327v, 329) are both by Du Fay; but the latter has no early attribution, and Gaude virgo (f. 230v) is a cantilena motet setting of a sequence text. Planchart 2008b argues against this attribution and provides extensive discussion, also of the revisions of the Tr92 version. Text attribution to Abelard is disputed in AH 54, 298. Voice parts are grouped by verse. Alternatim setting: polyphony for the second of each pair of verses. Tr92 rewrites the chant in mensural notation. Late stage-III script (fine pen), no red. (Carapetyan photos are numbered 326 for this piece.) Item Bibliography Planchart, Alejandro Enrique. 1972. Guillaume Dufay's Masses: Notes and Revisions. The Musical Quarterly, 1-23. Pages: Edition: 2008b (from Tr92).
341r	O felix templum / O felix templum	-	Ciconia, Johannes (ca. 1370–1412)
O felix templum / O felix templum Ciconia, Johannes (ca. 1370–1412) Appears on: 341r Genres: Motet Voice: Contratenor Languages: Latin Clef: c4 Voice Text: consone fano nouo Voice: II Languages: Latin Clef: c1 Voice Text: O felix templum Jubila Copying Style No coloration. Void minim triplets. Red bars. Additional (10th) stave and portion of an 11th stave (freehand). Layout parts General Note This is the first leaf (stage II) of a composite parchment bifolio, pasted to a conjugate from stage I, removed from its original location in gathering XXII, where it was replaced with a stage-III recopy, and is used as end flyleaves. This rejected recto includes a contratenor, added here at stage II, then discarded; not present in the copies of this motet at stages I or III. Ciconia’s name does not appear on this recto. See f.252v for concordances, pasted capitals and other information. The number 337 bis is written in pencil in a later hand, neither Martini's, Gaspari's, nor the same as the pencil foliation. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 223-237. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (24), 68-72. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 243-248.
341v–342r	Venite adoremus Dominum / Salve sancta aeterna	Carmen	Carmen, Johannes
Venite adoremus Dominum / Salve sancta aeterna Carmen, Johannes Appears on: 341v–342r Genres: Motet Source Attribution: Carmen Voice: I Languages: Latin Clef: c1 Voice Text: UEnite adoremus dominum Voice: II Languages: Latin Clef: c1 Voice Text: SAlue sancta eterna trinitas Voice: Tenor Languages: Latin Clef: c3 Voice Text: venite adoremus Voice: Contratenor Languages: none Clef: c3 Layout parts General Note See f.253v for concordances and variants in verbal canon, and other information, and note to O felix (f.341). Uses pasted capital #92. See comments for pasted capitals #64, which contains music from the discarded stage-I verso, on the back of capital O (for O felix templum). Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 238-255. Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: Edition: (1), 39-48. Borren, Charles van den (editor). 1932; 2nd rev. edn., London, 1962. Polyphonia sacra: A Continental Miscellany of the Fifteenth Century. Nashdom Abbey, Burnham, Bucks., and London: Plainsong and Mediaeval Music Society. Pages: Edition: 167-173.
342v	Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram	Jo. Alani	Alanus, Johannes (fl. late 14th or early 15th century)
Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram Alanus, Johannes (fl. late 14th or early 15th century) Appears on: 342v Genres: Motet Source Attribution: Jo. Alani Voice: II Languages: none Clef: c3 Voice: I Languages: Latin Clef: c1 Voice Text: SVb arturo plebs vallata Copying Style No coloration. Extra (9th) stave. Layout parts General Note See f.254v for concordances and other information; and see note to O felix (f.341). Uniquely here, the Martini number lacks the preceding ‘N.’ and may be in another hand. Item Bibliography Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: Edition: (2), 255-269. Günther, Ursula (editor). 1965. The Motets of the Manuscripts Chantilly, musée condé, 564 (olim 1047) and Modena, Biblioteca estense, a. M. 5, 24 (olim lat. 568). Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Edition: 49-52. Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Edition: (5), 172-177. Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: Edition: (76), 9-11.

Composer	Compositions
(Sirede), Benoit	Gaude tu baptista / Gaude tu baptista – 232v–233r
Alanus, Johannes (fl. late 14th or early 15th century)	Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram – 254v–255r Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram – 342v
Anglia, Robertus de (fl. 1454-74)	(?) Benedicta es caelorum regina – 221v–222r (?) Patrem omnipotentem [Credo] 'Anglicus' – 182v–184r
Anonymous	Alleluia. Katherina – 303v–304r Ave Jesu Christe – 233v–234r Ave mater / Ave mater pietatis – 266v–267r Belle teneis / La triquotee – 14v–15r Cuius fructus ventris / Te Maria rogitassem – 264v–265r Descendi in ortum / poma convallium si floruissent – 228v–229r Dilectoza cortesia – 231v–232r Et in terra pax [Gloria] – 181v–182r Et in terra pax [Gloria] – 203v–205r Gaude flore virginali / Gaude flore virginali / Gaude flore virginali – 309r Haec dies quam fecit – 227v–228r In natali Domini Vs. Virgo mater peperit – 217v–218r In pharaonis atrio (2p. Nescit quo fit) – 280v–281r Kyrie Angelorum – 13r Mon vrai desir – 33v–34r O Maria virgo davitica virginum flos / O Maria maris stella plena gratie – 262v–263v Se ce n’estoit la tres doulce pensee – 09v–10r untexted – 142v
Benet, John (–ca. 1458)	Agnus Dei – 27v–28r Sanctus – 26v–27r
Binchois, Gilles (ca. 1400–1460)	Asperges me Domine (II) – 143v (?) Beata Dei genitrix (2p. Subveni clamantibus 3p. Sola sine exemplo) – 311v–312r (?) Et in terra pax [Gloria] [Kaye 15] – 192v–193r Et in terra pax [Gloria] [Kaye 1a] – 153v–155r Kyrie 'angelorum' – 124v–125r (?) Magnificat sexti toni: Anima mea [K.749] – 199v–201r Patrem omnipotentem [Credo] 'Aversi' [Kaye 19] – 155v–157r
Bodoil, Jo.	(?) Et in terra pax [Gloria] [Kaye 15] – 192v–193r Patrem omnipotentem [Credo] 'Anglicus' – 182v–184r (?) Spes nostra salus – 220v–221r
Bosquet, Johannes (–ca. 1406)	Et in terra pax [Gloria] – 76v–77r (?) Et in terra pax [Gloria] (III) – 107v–108r
Brassart, Johannes (ca. 1400–1455)	Ave Maria gratia plena / Ave Maria gratia plena – 263v–264r (?) Et in terra pax [Gloria] – 102v–104r (?) Et in terra pax [Gloria] – 01v–02r Et in terra pax [Gloria] – 128v–129r Gratulemur Christicole - 1a pars (of 2): Gratulemur Christicole / Gratulemur Christicole / Gratulemur Christicole – 296v Gratulemur Christicole - 2a pars (of 2): Dilecto Jesu Christo – 296v–297r Magne Deus potentiae – 282v–283r O flos fragrans – 293v–294r Patrem omnipotentem [Credo] – 129v–132r Summus secretarius – 302v–303r Te dignitas praesularis / O Martine (2p. Exaudire nos) – 295v–296r
Briquet (fl. early 15th century)	Ma seul amour et ma belle maistresse – 249v–250r
Brixia, Matheus de	Jesus postquam monstraverat / Jesus postquam monstraverat – 257v–258r
Cameraco	(?) Patrem omnipotentem [Credo] – 97v–98v
Capua, Nicolaus de	(?) Et in terra pax [Gloria] (III) – 107v–108r
Carmen, Johannes	Salve pater creator – 278v–279r Venite adoremus Dominum / Salve sancta aeterna – 253v–254r Venite adoremus Dominum / Salve sancta aeterna – 341v–342r
Cesaris, Johannes (fl. 1406-17)	(?) Se vous scavies – 272r
Ciconia, Johannes (ca. 1370–1412)	Albane misse caelitus / Albane doctor maxime – 300v–301r Doctorum principem / Melodia suavissima / Vir mitis – 299v–300r Et in terra pax [Gloria] [BH1] – 91v–93r Et in terra pax [Gloria] [BH3] – 96v–97r Et in terra pax [Gloria] [BH8] – 184v–185r Et in terra pax [Gloria] [Tro] Spiritus et alme (II) [BH6] – 04v–06r O Padua sidus preclarum – 286v–287r O Petre Christi discipuli / O Petre Christi discipuli – 288v–289r O beatum incendium [= Aler m'en veus] – 285v–286r O felix templum / O felix templum – 252v–253r O felix templum / O felix templum – 341r O virum omnimoda veneratione / O lux et decus tranensium / O beate Nicolae supplicum vota suscipe – 284v–285r Patrem omnipotentem [Credo] [BH10] – 06v–08r Patrem omnipotentem [Credo] [BH11] – 185v–187r Patrem omnipotentem [Credo] [BH2] – 93v–96r Petrum Marcello venetum / O Petre, antistes inclite – 277v–278r Ut per te omnes celitus / Ingens alumnus Padue – 289v–290r Venecie mundi splendor – 287v–288r
Cividale, Antonius de	Et in terra pax [Gloria] – 82v–83r O felix flos florencia / O felix flos florencia / texted only in final section – 244v–245r Patrem omnipotentem [Credo] – 83v–85r Pie pater Dominice – 274v–275r Sanctus itaque patriarcha / Sanctus itaque patriarcha – 301v–302r
Cordier, Baude (fl. early 15 century)	Et in terra pax [Gloria] – 32v–33r Se coeur damant (incipit texted) – 181v–182r
Du Fay, Guillaume (1397–1474)	Agnus Dei – 133v–134r Agnus Dei (KSA group) – 23v–24r Alma redemptoris mater II Et stella maris III Virgo prius – 260v–261r Anima mea liquefacta est – 268v–269r Apostolo glorioso / Cum tua doctrina / Andreas Christi famulus – 270v–271r Aurea luce et decore roseo – 324r Ave Regina caelorum (1) – 261v–262r (?) Ave fuit prima salus – 210v–211r Ave maris stella Sumens illud ave – 321v Balsamus et munda / isti sunt agni novelli – 207v–209r Benedicamus Domino (I) – 113v–114r Benedicamus Domino (II) – 169v–170r Christe redemptor omnium . Tu lumen tu splendor (Christmas setting) – 316v–317r Christe redemptor omnium ... Conserva (v/24a) with fauxbourdon – 322r Christe redemptor omnium/conserva (v/24b) – 322v Conditor alme siderum – 314v–315r Deus tuorum militum (Hic nempe mundi gaudia) – 325r Et in terra pax [Gloria] 'Spiritus et alme' – 170v–171v Et in terra pax [Gloria] 'ad modum tubae' – 180v–181r Et in terra pax [Gloria] 'de quaremiaux' – 191v–192r Et in terra pax [Gloria] 'in galli cantu' – 171v–172r Et in terra pax [Gloria] (KGC group - iv/1) – 187v–188r Et in terra pax [Gloria] (iv/21) – 193v–194r (?) Et in terra pax [Gloria] (iv/3.1) – 40v–41r Et in terra pax [Gloria] (iv/4) (Amen tropes Resurrexit dominus; Tu m’a monte) – 35v–37r Et in terra pax [Gloria] (iv/5) – 137v–139r Exultet caelum laudibus [2 versions, with Ct or with faulxbourdon] – 324v Flos florum fons ortorum – 267v–268r Gaude virgo mater Christi II: Gaude Christo ascendente – 230v–231v Hostis Herodes impie – 317r Inclita stella maris – 211v–212r Iste confessor (Qui pius prudens) – 326r Jesu corona virginum (Qui pascis inter lilia) – 327r Jesu nostra redemptio – 318r Kyrie 'Cunctipotens genitor' – 157v–158r Kyrie 'Rex genitor' – 127r Kyrie 'fons bonitatis' – 126r–126v Kyrie 'orbis factor' – 125v Kyrie Cum Jubilo in festis B.M.V. ou De domina – 124r Kyrie eleison (KGC group - iv/1) – 187v–188r Kyrie eleison (KSA group) – 17v–18r Letabundus exultet fidelis – 327v–328v Magnificat sexti toni: Anima mea [K.749] – 199v–201r Mihi autem nimis – 144r Missa Sancti Jacobi: Agnus Dei – 152v–153r Missa Sancti Jacobi: Alleluia – 146v–148r Missa Sancti Jacobi: Communio - Vos qui secuti estis me – 152v–153r Missa Sancti Jacobi: Credo – 148v–150r Missa Sancti Jacobi: Gloria – 145v–147r Missa Sancti Jacobi: In omnem terram (Offertory) – 150v–151r Missa Sancti Jacobi: Kyrie – 144v–145v Missa Sancti Jacobi: Sanctus – 151v–152r Missa sine nomine (Resvelliés vous): Agnus Dei – 16v–17r Missa sine nomine (Resvelliés vous): Et in terra pax [Gloria] – 11v–13r Missa sine nomine (Resvelliés vous): Kyrie eleison [Tro] Salvator noster – 10v–11r Missa sine nomine (Resvelliés vous): Patrem omnipotentem [Credo] – 13v–15r Missa sine nomine (Resvelliés vous): Sanctus – 15v–16r (?) Mittit ad virginem – 339v–340v O beate sebastiane – 314v–315r O gemma lux et speculum – 292v–293r O lux beata – 319r Pange lingua gloriosi corporis misterium – 320r–320v Par droit je suis bien complaindre et gemir – 263v–264r Patrem omnipotentem [Credo] – 41v–43r Patrem omnipotentem [Credo] (KGC group - iv/1) – 188v–189r Patrem omnipotentem [Credo] (iv/4) (Amen tropes Dic Maria, La vilanella) – 37v–40r Patrem omnipotentem [Credo] (iv/5) – 139v–142r Rite majorem Jacobum canimus / Artibus summis miseri reclusi – 212v–213r Sancte Sebastiane – 247v–249r Sanctorum meritis Hi sunt quos retinens – 325v–326r Sanctus – 132v–134r Sanctus 'Papale' Ave verum corpus – 134v–136v Sanctus 'Vineux' (KSA group) – 21v–22r Supremum est mortalibus bonum II: O sancta pax – 206v–207r Tibi Christe splendor Patris – 323r Urbs beata Jerusalem. Nova veniens e caelo – 321r (?) Ut queant Iaxis (Nuntius celso veniens) – 323v Vasilissa ergo gaude – 276v–277r Veni creator spiritus – 318v (?) Veni dilecte mi – 304v–305r (?) Veni sancte spiritus et emitte caelitus – 329r–330r Vergine bella – 237v–238r
Dunstaple, John (ca. 1390–1453)	Alma redemptoris mater (IJD3) II: Tu que genuisti III: Virgo prius ac posterius – 229v–230r Beata Dei genitrix (2p. Subveni clamantibus 3p. Sola sine exemplo) – 311v–312r (?) Magnificat sexti toni: Anima mea [K.749] – 199v–201r Patrem omnipotentem [Credo] – 25v–26r (?) Quam pulchra es et quam decora – 313v–314r Regina caeli laetare (2p. Resurrexit sicut dixit) – 305v–306r Sub tuam protectionem – 312v–313r
Egidius	(?) Quam pulchra es et quam decora – 313v–314r
Fabri, Thomas	Et in terra pax [Gloria] – 48v–49r
Feragut, Beltrame	Et in terra pax [Gloria] – 51v–52r Excelsa civitas vincencia – 298v–299r Lucis creator optime – 319v Magnificat secundi toni: Et exultavit spiritus meus [K.763] – 338v–339r Patrem omnipotentem [Credo] – 52v–54r Patrem omnipotentem [Credo] – 46v–48r
Fontaine, Pierre	De bien amer quand l'ai enpris – 99v–100r J'aime bien celui qui s'en va – 281r
Forest	Alma redemptoris mater – 202v (?) Et in terra pax [Gloria] – 85v–86r
Gemblaco (Gembloux), Johannes Franchois de	Ave virgo lux Maria – 269v–270r (?) Et in terra pax [Gloria] – 104v–105r Et in terra pax [Gloria] – 157v–157r Et in terra pax [Gloria] – 117v–118r Mon seul vouloir – 261v–262r Par un regard – 279v–280r Patrem omnipotentem [Credo] – 105v–107r Patrem omnipotentem [Credo] – 118v–120r Patrem omnipotentem [Credo] 'Alma redemptoris' – 158v–159r
Gervays, Claude (fl. c1400)	Et in terra pax [Gloria] [OH 31] – 24v–25r
Grenon, Nicolas	Ad honorem sancte trinitatis – 245v–247r Nova vobis gaudia / noua – 214v–215r Plasmatoris humani / Verbigine mater ecclesia – 259v–260r
Grossin, Estienne	Et in terra pax [Gloria] – 109v–110r Et in terra pax [Gloria] – 101v–102r Et in terra pax [Gloria] – 100v–101r Imera dat hodierno – 239v–240r
Hasprois, Johannes Symonis (fl. 1378-1428)	Jone gente – 23v–24r
Insula, Francus de	L'aultre jour juer m'aloye – 92v–93r
Lantins, Arnold de (–1432)	Et in terra pax [Gloria] – 54v–55r Et in terra pax [Gloria] – 114v–115r Et in terra pax [Gloria] – 43v–43 bisr Helas emy madame – 29v–30r In tua memoria / In tua memoria – 309v–310r Missa O pulcherrima: Agnus Dei – 176v–177r Missa O pulcherrima: Et in terra pax [Gloria] – 173v–174r Missa O pulcherrima: Kyrie verbum incarnatum – 172v–173v Missa O pulcherrima: Patrem omnipotentem [Credo] – 174v–176r Missa O pulcherrima: Sanctus [Tro: Qui hominem limo] – 175v–177r Missa: Agnus Dei – 09v–10r Missa: Kyrie eleison – 03v–04r Missa: Salve sancta parens – 03r Missa: Sanctus 'Marie filius' – 08v–09r (?) Mon douce espoir mon souvenir – 55v–56r O pulcherrima mulierum – 216v–217r Or vois-je bien – 273v–274r Patrem Omnipotentem [Credo] – 55v–57r Patrem omnipotentem [Credo] – 43 bis v–45r Patrem omnipotentem [Credo] – 115v–117r (?) Tota pulchra es amica mea et macula II: Flores apparuerunt – 238v–239r (?) Un seul confort – 42v–43r
Lantins, Hugo de (fl. 1420-30)	Ave gemma claritatis – 243v–244r Ave verum corpus – 258v–259r Chanter ne scay ce poyse moi – 44v–45r (?) Et in terra pax [Gloria] – 85v–86r Et in terra pax [Gloria] (iv/3.1) – 40v–41r (?) Mon douce espoir mon souvenir – 55v–56r O lux et decus / Amen – 218v–219r Patrem – 86v–87r (?) Un seul confort – 42v–43r
Legrant, Guillaume	(?) Et in terra pax [Gloria] – 102v–104r (?) Et in terra pax [Gloria] – 01v–02r Et in terra pax [Gloria] – 57v–58r Patrem omnipotentem [Credo] – 58v–59r
Loqueville, Richard (–1418)	Et in terra pax [Gloria] – 60v–61r Et in terra pax [Gloria] – 77v–78r O flos in divo / Sacris pignoribus – 283v–284r Patrem omnipotentem [Credo] – 78v–79r Sanctus 'Vineux' Tr: Qui januas mortis confregisti – 22v–23r
Lovanio	Patrem – 61v–63r
Luca, D	Et in terra pax [Gloria] – 45v–46r
Lymburgia, Johannes de	Ad cenam agni – 317v Ave mater nostri redemptoris – 294v Congruit mortalibus (partially texted) – 223v–224r Criste redemptor ... Ex patre – 315v–316r Descendi in ortum meum / partial text – 220v–221r Et in terra pax [Gloria] – 165v–167r Et in terra pax [Gloria] – 120v–121r Et in terra pax [Gloria] ('Spiritus et alme') – 197v–199r Gaude felix padua – 310v–311r Imnizabo regi meo – 235v In hac die celebri – 226v–227r (?) Kyrie O sacra virgo – 195v–196r Kyrie Qui de stirpe regia – 127v–128r Kyrie eleison – 196v–197r Magne dies laetitiae – 307v–308r (?) Magnificat octavi toni: Anima mea Dominum [K.373] – 336v Magnificat octavi toni: Anima mea Dominum [K.890] – 334v–336r (?) Magnificat octavi toni: Et exultavit spiritus meus [K.377] – 336v–338r Magnificat octavi toni: Et exultavit spiritus meus [K.891] – 201v–202r Magnificat primi toni: Anima mea Dominum [K.887] – 330v–333r Magnificat secundi toni: Et exultavit spiritus meus [K.888] – 332v–334r Magnificat sexti toni: Et exultavit spiritus meus [K.889] – 333v–334r Martires Dei incliti / Martires Dei incliti – 222v Missa Admirabilis splendor: Agnus Dei – 165v–166r Missa Admirabilis splendor: Et in terra pax [Gloria] – 161v–163r Missa Admirabilis splendor: Kyrie eleison – 161v–162r Missa Admirabilis splendor: Patrem omnipotentem [Credo] – 162v–164r Missa Admirabilis splendor: Sanctus – 164v–165r O Maria maris stella / texted only for duet / partial text – 308v–309r O baptista mirabilis – 309v–310r Ostendit mihi – 205v–206r Patrem (partially texted) – 166v–168r Patrem omnipotentem [Credo] – 121v–123v Patrem omnipotentem [Credo] – 159v–161r Puer natus in Bethlehem – 241v–242r Pulcra es amica – 215v–217r Recordare frater pie – 204v–205r Recordare virgo mater (Introitus) – 297v–298r Regina caeli laetare – 236r Salve salus – 208v–209r Salve sancta parens – 195v–196r (?) Salve vere gratialis / Salve vere gratialis – 224v–226r Salve virgo regia – 294v–295r Surge propera – 240v–241r Surrexit Christus hodie – 213v–214r Tota pulchra es amica mea et macula – 234v–235r Tu nephanda prodigi / T: Emitat / Si inimicus meus / Emitat caelum – 209v–210v Veni dilecte mi – 304v–305r Verbum caro factum est – 307v–308r Virginis proles – 326v
Merques, Nicolas	(?) Mittit ad virginem – 339v–340v
Monte, Christoforus de	Dominicus a dono – 256v–257r Plaude decus mundi / Venetum clarissima – 250v–252r
Natalis, N	Et in terra pax [Gloria] [incipits] – 189v–190r
Passet	(?) Se vous scavies – 272r
Power, Leonel (–1445)	Ave regina / Ave regina – 306v–307r (?) Benedicta es caelorum regina – 221v–222r Patrem omnipotentem [Credo] [OH 83] – 110v–111r (?) Regina caeli laetare – 271v–272r Salve regina – 272v–273v (?) Spes nostra salus – 220v–221r
Reson, Johannes	Ave verum corpus – 246v–247r Et in terra pax [Gloria] – 159v–160r (?) Salve regina mater misericordiae – 217v–218r
Romanus, Antonius	Aurea flamigeri / Aurea flamigeri – 255v–256r Carminibus festos / O requies populi – 242v–243r (?) Ducalis sedes inclita/Stirps […] veneti – 275v–276r Et in terra pax [Gloria] – 98v–100r Et in terra pax [Gloria] – 28v–30r Patrem / Factorem – 30v–32r
Rondelly, Jo	Verbum tuum – 281v–282r
Rubeus, Petrus	Caro mea vere est / Caro mea vere est – 291v–292r Missus est Gabriel angelus ad Mariam – 236v–237r
Ruttis, Ar de	Prevalet simplicitas / Prevalet simplicitas – 291v–292r
Salinis, Hymbert de (ca. 1378–)	Et in terra pax [Gloria] – 63v–65r Et in terra pax [Gloria] – 79v–80r Jesu salvator saeculi / Quo vulneratus scelere – 249v–250r Patrem omnipotentem [Credo] – 80v–82r Patrem omnipotentem [Credo] – 65v–67r Psallat chorus in novo carmine / Eximie pater egregie, rector / Aptatur – 279v–280r Salve regina (tro: Virgo mater ecclesiae) – 265v–266r Si nichil actuleris / In pretio pretium – 304v
Sarto, Johannes de	Ave mater o Maria – 219v–220r O quam mirabilis progenies – 303v
Semeriaco, Johannes de	Patrem omnipotentem [Credo] – 97v–98v
Tapissier, Johannes (ca. 1370–ca. 1410)	Patrem omnipotentem [Credo] – 49v–51r
Velut, Gilet	Et in terra pax [Gloria] – 111v–112r Patrem omnipotentem [Credo] – 112v–113v Patrem omnipotentem [Credo] – 33v–35r Summe summi tu patris – 290v–291r
Vide, Jacobus	Et c'est assés pour m'esjouir – 262v
Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	Et in terra pax [Gloria] 'Ad ogni vento' – 177v–179r Et in terra pax [Gloria] 'Anglicana' – 179v–180r Et in terra pax [Gloria] 'Fior gentil' – 72v–74r Et in terra pax [Gloria] 'Micinella' – 18v–19r Et in terra pax [Gloria] 'Rosetta' – 67v–69r (?) Et in terra pax [Gloria] (III) – 107v–108r Et in terra pax [Gloria], [Tro] Gloria Laus Honor – 87v–89r Patrem omnipotentem [Credo] 'Cursor' – 19v–21r Patrem omnipotentem [Credo] 'Deus Deorum' – 74v–76v Patrem omnipotentem [Credo] 'Scabioso' – 69v–70r Patrem omnipotentem [Credo] (III) – 89v–91r Patrem omnipotentem [Credo], du vilage (Dominicale) – 107v–109r
Zacharie, Nicolaus	Et in terra pax [Gloria] [Tro] Spiritus et alme – 168v–170r

Composition	Composers (? Uncertain)	Folios / Pages
Ad cenam agni	Lymburgia, Johannes de	317v
Ad honorem sancte trinitatis	Grenon, Nicolas	245v–247r
Agnus Dei	Benet, John (–ca. 1458)	27v–28r
Agnus Dei	Du Fay, Guillaume (1397–1474)	133v–134r
Agnus Dei (KSA group)	Du Fay, Guillaume (1397–1474)	23v–24r
Albane misse caelitus / Albane doctor maxime	Ciconia, Johannes (ca. 1370–1412)	300v–301r
Alleluia. Katherina	Anonymous	303v–304r
Alma redemptoris mater	Forest	202v
Alma redemptoris mater (IJD3) II: Tu que genuisti III: Virgo prius ac posterius	Dunstaple, John (ca. 1390–1453)	229v–230r
Alma redemptoris mater II Et stella maris III Virgo prius	Du Fay, Guillaume (1397–1474)	260v–261r
Anima mea liquefacta est	Du Fay, Guillaume (1397–1474)	268v–269r
Apostolo glorioso / Cum tua doctrina / Andreas Christi famulus	Du Fay, Guillaume (1397–1474)	270v–271r
Asperges me Domine (II)	Binchois, Gilles (ca. 1400–1460)	143v
Aurea flamigeri / Aurea flamigeri	Romanus, Antonius	255v–256r
Aurea luce et decore roseo	Du Fay, Guillaume (1397–1474)	324r
Ave fuit prima salus	Du Fay, Guillaume (1397–1474) (?)	210v–211r
Ave gemma claritatis	Lantins, Hugo de (fl. 1420-30)	243v–244r
Ave Jesu Christe	Anonymous	233v–234r
Ave Maria gratia plena / Ave Maria gratia plena	Brassart, Johannes (ca. 1400–1455)	263v–264r
Ave maris stella Sumens illud ave	Du Fay, Guillaume (1397–1474)	321v
Ave mater / Ave mater pietatis	Anonymous	266v–267r
Ave mater nostri redemptoris	Lymburgia, Johannes de	294v
Ave mater o Maria	Sarto, Johannes de	219v–220r
Ave regina / Ave regina	Power, Leonel (–1445)	306v–307r
Ave Regina caelorum (1)	Du Fay, Guillaume (1397–1474)	261v–262r
Ave verum corpus	Reson, Johannes	246v–247r
Ave verum corpus	Lantins, Hugo de (fl. 1420-30)	258v–259r
Ave virgo lux Maria	Gemblaco (Gembloux), Johannes Franchois de	269v–270r
Balsamus et munda / isti sunt agni novelli	Du Fay, Guillaume (1397–1474)	207v–209r
Beata Dei genitrix (2p. Subveni clamantibus 3p. Sola sine exemplo)	Dunstaple, John (ca. 1390–1453) Binchois, Gilles (ca. 1400–1460) (?)	311v–312r
Belle teneis / La triquotee	Anonymous	14v–15r
Benedicamus Domino (I)	Du Fay, Guillaume (1397–1474)	113v–114r
Benedicamus Domino (II)	Du Fay, Guillaume (1397–1474)	169v–170r
Benedicta es caelorum regina	Power, Leonel (–1445) (?) Anglia, Robertus de (fl. 1454-74) (?)	221v–222r
Carminibus festos / O requies populi	Romanus, Antonius	242v–243r
Caro mea vere est / Caro mea vere est	Rubeus, Petrus	291v–292r
Chanter ne scay ce poyse moi	Lantins, Hugo de (fl. 1420-30)	44v–45r
Christe redemptor omnium . Tu lumen tu splendor (Christmas setting)	Du Fay, Guillaume (1397–1474)	316v–317r
Christe redemptor omnium ... Conserva (v/24a) with fauxbourdon	Du Fay, Guillaume (1397–1474)	322r
Christe redemptor omnium/conserva (v/24b)	Du Fay, Guillaume (1397–1474)	322v
Conditor alme siderum	Du Fay, Guillaume (1397–1474)	314v–315r
Congruit mortalibus (partially texted)	Lymburgia, Johannes de	223v–224r
Criste redemptor ... Ex patre	Lymburgia, Johannes de	315v–316r
Cuius fructus ventris / Te Maria rogitassem	Anonymous	264v–265r
De bien amer quand l'ai enpris	Fontaine, Pierre	99v–100r
Descendi in ortum / poma convallium si floruissent	Anonymous	228v–229r
Descendi in ortum meum / partial text	Lymburgia, Johannes de	220v–221r
Deus tuorum militum (Hic nempe mundi gaudia)	Du Fay, Guillaume (1397–1474)	325r
Dilectoza cortesia	Anonymous	231v–232r
Doctorum principem / Melodia suavissima / Vir mitis	Ciconia, Johannes (ca. 1370–1412)	299v–300r
Dominicus a dono	Monte, Christoforus de	256v–257r
Ducalis sedes inclita/Stirps […] veneti	Romanus, Antonius (?)	275v–276r
Et c'est assés pour m'esjouir	Vide, Jacobus	262v
Et in terra pax [Gloria]	Brassart, Johannes (ca. 1400–1455) (?) Legrant, Guillaume (?)	01v–02r
Et in terra pax [Gloria]	Romanus, Antonius	28v–30r
Et in terra pax [Gloria]	Cordier, Baude (fl. early 15 century)	32v–33r
Et in terra pax [Gloria]	Lantins, Arnold de (–1432)	43v–43 bisr
Et in terra pax [Gloria]	Luca, D	45v–46r
Et in terra pax [Gloria]	Fabri, Thomas	48v–49r
Et in terra pax [Gloria]	Feragut, Beltrame	51v–52r
Et in terra pax [Gloria]	Lantins, Arnold de (–1432)	54v–55r
Et in terra pax [Gloria]	Legrant, Guillaume	57v–58r
Et in terra pax [Gloria]	Loqueville, Richard (–1418)	60v–61r
Et in terra pax [Gloria]	Salinis, Hymbert de (ca. 1378–)	63v–65r
Et in terra pax [Gloria]	Bosquet, Johannes (–ca. 1406)	76v–77r
Et in terra pax [Gloria]	Loqueville, Richard (–1418)	77v–78r
Et in terra pax [Gloria]	Salinis, Hymbert de (ca. 1378–)	79v–80r
Et in terra pax [Gloria]	Cividale, Antonius de	82v–83r
Et in terra pax [Gloria]	Forest (?) Lantins, Hugo de (fl. 1420-30) (?)	85v–86r
Et in terra pax [Gloria]	Romanus, Antonius	98v–100r
Et in terra pax [Gloria]	Grossin, Estienne	100v–101r
Et in terra pax [Gloria]	Grossin, Estienne	101v–102r
Et in terra pax [Gloria]	Brassart, Johannes (ca. 1400–1455) (?) Legrant, Guillaume (?)	102v–104r
Et in terra pax [Gloria]	Gemblaco (Gembloux), Johannes Franchois de (?)	104v–105r
Et in terra pax [Gloria]	Grossin, Estienne	109v–110r
Et in terra pax [Gloria]	Velut, Gilet	111v–112r
Et in terra pax [Gloria]	Lantins, Arnold de (–1432)	114v–115r
Et in terra pax [Gloria]	Gemblaco (Gembloux), Johannes Franchois de	117v–118r
Et in terra pax [Gloria]	Lymburgia, Johannes de	120v–121r
Et in terra pax [Gloria]	Brassart, Johannes (ca. 1400–1455)	128v–129r
Et in terra pax [Gloria]	Gemblaco (Gembloux), Johannes Franchois de	157v–157r
Et in terra pax [Gloria]	Reson, Johannes	159v–160r
Et in terra pax [Gloria]	Lymburgia, Johannes de	165v–167r
Et in terra pax [Gloria]	Anonymous	181v–182r
Et in terra pax [Gloria]	Anonymous	203v–205r
Et in terra pax [Gloria] 'ad modum tubae'	Du Fay, Guillaume (1397–1474)	180v–181r
Et in terra pax [Gloria] 'Ad ogni vento'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	177v–179r
Et in terra pax [Gloria] 'Anglicana'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	179v–180r
Et in terra pax [Gloria] 'de quaremiaux'	Du Fay, Guillaume (1397–1474)	191v–192r
Et in terra pax [Gloria] 'Fior gentil'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	72v–74r
Et in terra pax [Gloria] 'in galli cantu'	Du Fay, Guillaume (1397–1474)	171v–172r
Et in terra pax [Gloria] 'Micinella'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	18v–19r
Et in terra pax [Gloria] 'Rosetta'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	67v–69r
Et in terra pax [Gloria] 'Spiritus et alme'	Du Fay, Guillaume (1397–1474)	170v–171v
Et in terra pax [Gloria] ('Spiritus et alme')	Lymburgia, Johannes de	197v–199r
Et in terra pax [Gloria] (III)	Bosquet, Johannes (–ca. 1406) (?) Zacara da Teramo, Antonio (ca. 1350–ca. 1413) (?) Capua, Nicolaus de (?)	107v–108r
Et in terra pax [Gloria] (iv/21)	Du Fay, Guillaume (1397–1474)	193v–194r
Et in terra pax [Gloria] (iv/3.1)	Du Fay, Guillaume (1397–1474) (?) Lantins, Hugo de (fl. 1420-30)	40v–41r
Et in terra pax [Gloria] (iv/4) (Amen tropes Resurrexit dominus; Tu m’a monte)	Du Fay, Guillaume (1397–1474)	35v–37r
Et in terra pax [Gloria] (iv/5)	Du Fay, Guillaume (1397–1474)	137v–139r
Et in terra pax [Gloria] (KGC group - iv/1)	Du Fay, Guillaume (1397–1474)	187v–188r
Et in terra pax [Gloria] [BH1]	Ciconia, Johannes (ca. 1370–1412)	91v–93r
Et in terra pax [Gloria] [BH3]	Ciconia, Johannes (ca. 1370–1412)	96v–97r
Et in terra pax [Gloria] [BH8]	Ciconia, Johannes (ca. 1370–1412)	184v–185r
Et in terra pax [Gloria] [incipits]	Natalis, N	189v–190r
Et in terra pax [Gloria] [Kaye 15]	Binchois, Gilles (ca. 1400–1460) (?) Bodoil, Jo. (?)	192v–193r
Et in terra pax [Gloria] [Kaye 1a]	Binchois, Gilles (ca. 1400–1460)	153v–155r
Et in terra pax [Gloria] [OH 31]	Gervays, Claude (fl. c1400)	24v–25r
Et in terra pax [Gloria] [Tro] Spiritus et alme	Zacharie, Nicolaus	168v–170r
Et in terra pax [Gloria] [Tro] Spiritus et alme (II) [BH6]	Ciconia, Johannes (ca. 1370–1412)	04v–06r
Et in terra pax [Gloria], [Tro] Gloria Laus Honor	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	87v–89r
Excelsa civitas vincencia	Feragut, Beltrame	298v–299r
Exultet caelum laudibus [2 versions, with Ct or with faulxbourdon]	Du Fay, Guillaume (1397–1474)	324v
Flos florum fons ortorum	Du Fay, Guillaume (1397–1474)	267v–268r
Gaude felix padua	Lymburgia, Johannes de	310v–311r
Gaude flore virginali / Gaude flore virginali / Gaude flore virginali	Anonymous	309r
Gaude tu baptista / Gaude tu baptista	(Sirede), Benoit	232v–233r
Gaude virgo mater Christi II: Gaude Christo ascendente	Du Fay, Guillaume (1397–1474)	230v–231v
Gratulemur Christicole - 1a pars (of 2): Gratulemur Christicole / Gratulemur Christicole / Gratulemur Christicole	Brassart, Johannes (ca. 1400–1455)	296v
Gratulemur Christicole - 2a pars (of 2): Dilecto Jesu Christo	Brassart, Johannes (ca. 1400–1455)	296v–297r
Haec dies quam fecit	Anonymous	227v–228r
Helas emy madame	Lantins, Arnold de (–1432)	29v–30r
Hostis Herodes impie	Du Fay, Guillaume (1397–1474)	317r
Imera dat hodierno	Grossin, Estienne	239v–240r
Imnizabo regi meo	Lymburgia, Johannes de	235v
In hac die celebri	Lymburgia, Johannes de	226v–227r
In natali Domini Vs. Virgo mater peperit	Anonymous	217v–218r
In pharaonis atrio (2p. Nescit quo fit)	Anonymous	280v–281r
In tua memoria / In tua memoria	Lantins, Arnold de (–1432)	309v–310r
Inclita stella maris	Du Fay, Guillaume (1397–1474)	211v–212r
Iste confessor (Qui pius prudens)	Du Fay, Guillaume (1397–1474)	326r
J'aime bien celui qui s'en va	Fontaine, Pierre	281r
Jesu corona virginum (Qui pascis inter lilia)	Du Fay, Guillaume (1397–1474)	327r
Jesu nostra redemptio	Du Fay, Guillaume (1397–1474)	318r
Jesu salvator saeculi / Quo vulneratus scelere	Salinis, Hymbert de (ca. 1378–)	249v–250r
Jesus postquam monstraverat / Jesus postquam monstraverat	Brixia, Matheus de	257v–258r
Jone gente	Hasprois, Johannes Symonis (fl. 1378-1428)	23v–24r
Kyrie 'angelorum'	Binchois, Gilles (ca. 1400–1460)	124v–125r
Kyrie 'Cunctipotens genitor'	Du Fay, Guillaume (1397–1474)	157v–158r
Kyrie 'fons bonitatis'	Du Fay, Guillaume (1397–1474)	126r–126v
Kyrie 'orbis factor'	Du Fay, Guillaume (1397–1474)	125v
Kyrie 'Rex genitor'	Du Fay, Guillaume (1397–1474)	127r
Kyrie Angelorum	Anonymous	13r
Kyrie Cum Jubilo in festis B.M.V. ou De domina	Du Fay, Guillaume (1397–1474)	124r
Kyrie eleison	Lymburgia, Johannes de	196v–197r
Kyrie eleison (KGC group - iv/1)	Du Fay, Guillaume (1397–1474)	187v–188r
Kyrie eleison (KSA group)	Du Fay, Guillaume (1397–1474)	17v–18r
Kyrie O sacra virgo	Lymburgia, Johannes de (?)	195v–196r
Kyrie Qui de stirpe regia	Lymburgia, Johannes de	127v–128r
L'aultre jour juer m'aloye	Insula, Francus de	92v–93r
Letabundus exultet fidelis	Du Fay, Guillaume (1397–1474)	327v–328v
Lucis creator optime	Feragut, Beltrame	319v
Ma seul amour et ma belle maistresse	Briquet (fl. early 15th century)	249v–250r
Magne Deus potentiae	Brassart, Johannes (ca. 1400–1455)	282v–283r
Magne dies laetitiae	Lymburgia, Johannes de	307v–308r
Magnificat octavi toni: Anima mea Dominum [K.373]	Lymburgia, Johannes de (?)	336v
Magnificat octavi toni: Anima mea Dominum [K.890]	Lymburgia, Johannes de	334v–336r
Magnificat octavi toni: Et exultavit spiritus meus [K.377]	Lymburgia, Johannes de (?)	336v–338r
Magnificat octavi toni: Et exultavit spiritus meus [K.891]	Lymburgia, Johannes de	201v–202r
Magnificat primi toni: Anima mea Dominum [K.887]	Lymburgia, Johannes de	330v–333r
Magnificat secundi toni: Et exultavit spiritus meus [K.763]	Feragut, Beltrame	338v–339r
Magnificat secundi toni: Et exultavit spiritus meus [K.888]	Lymburgia, Johannes de	332v–334r
Magnificat sexti toni: Anima mea [K.749]	Dunstaple, John (ca. 1390–1453) (?) Binchois, Gilles (ca. 1400–1460) (?) Du Fay, Guillaume (1397–1474)	199v–201r
Magnificat sexti toni: Et exultavit spiritus meus [K.889]	Lymburgia, Johannes de	333v–334r
Martires Dei incliti / Martires Dei incliti	Lymburgia, Johannes de	222v
Mihi autem nimis	Du Fay, Guillaume (1397–1474)	144r
Missa Admirabilis splendor: Agnus Dei	Lymburgia, Johannes de	165v–166r
Missa Admirabilis splendor: Et in terra pax [Gloria]	Lymburgia, Johannes de	161v–163r
Missa Admirabilis splendor: Kyrie eleison	Lymburgia, Johannes de	161v–162r
Missa Admirabilis splendor: Patrem omnipotentem [Credo]	Lymburgia, Johannes de	162v–164r
Missa Admirabilis splendor: Sanctus	Lymburgia, Johannes de	164v–165r
Missa O pulcherrima: Agnus Dei	Lantins, Arnold de (–1432)	176v–177r
Missa O pulcherrima: Et in terra pax [Gloria]	Lantins, Arnold de (–1432)	173v–174r
Missa O pulcherrima: Kyrie verbum incarnatum	Lantins, Arnold de (–1432)	172v–173v
Missa O pulcherrima: Patrem omnipotentem [Credo]	Lantins, Arnold de (–1432)	174v–176r
Missa O pulcherrima: Sanctus [Tro: Qui hominem limo]	Lantins, Arnold de (–1432)	175v–177r
Missa Sancti Jacobi: Agnus Dei	Du Fay, Guillaume (1397–1474)	152v–153r
Missa Sancti Jacobi: Alleluia	Du Fay, Guillaume (1397–1474)	146v–148r
Missa Sancti Jacobi: Communio - Vos qui secuti estis me	Du Fay, Guillaume (1397–1474)	152v–153r
Missa Sancti Jacobi: Credo	Du Fay, Guillaume (1397–1474)	148v–150r
Missa Sancti Jacobi: Gloria	Du Fay, Guillaume (1397–1474)	145v–147r
Missa Sancti Jacobi: In omnem terram (Offertory)	Du Fay, Guillaume (1397–1474)	150v–151r
Missa Sancti Jacobi: Kyrie	Du Fay, Guillaume (1397–1474)	144v–145v
Missa Sancti Jacobi: Sanctus	Du Fay, Guillaume (1397–1474)	151v–152r
Missa sine nomine (Resvelliés vous): Agnus Dei	Du Fay, Guillaume (1397–1474)	16v–17r
Missa sine nomine (Resvelliés vous): Et in terra pax [Gloria]	Du Fay, Guillaume (1397–1474)	11v–13r
Missa sine nomine (Resvelliés vous): Kyrie eleison [Tro] Salvator noster	Du Fay, Guillaume (1397–1474)	10v–11r
Missa sine nomine (Resvelliés vous): Patrem omnipotentem [Credo]	Du Fay, Guillaume (1397–1474)	13v–15r
Missa sine nomine (Resvelliés vous): Sanctus	Du Fay, Guillaume (1397–1474)	15v–16r
Missa: Agnus Dei	Lantins, Arnold de (–1432)	09v–10r
Missa: Kyrie eleison	Lantins, Arnold de (–1432)	03v–04r
Missa: Salve sancta parens	Lantins, Arnold de (–1432)	03r
Missa: Sanctus 'Marie filius'	Lantins, Arnold de (–1432)	08v–09r
Missus est Gabriel angelus ad Mariam	Rubeus, Petrus	236v–237r
Mittit ad virginem	Du Fay, Guillaume (1397–1474) (?) Merques, Nicolas (?)	339v–340v
Mon douce espoir mon souvenir	Lantins, Arnold de (–1432) (?) Lantins, Hugo de (fl. 1420-30) (?)	55v–56r
Mon seul vouloir	Gemblaco (Gembloux), Johannes Franchois de	261v–262r
Mon vrai desir	Anonymous	33v–34r
Nova vobis gaudia / noua	Grenon, Nicolas	214v–215r
O baptista mirabilis	Lymburgia, Johannes de	309v–310r
O beate sebastiane	Du Fay, Guillaume (1397–1474)	314v–315r
O beatum incendium [= Aler m'en veus]	Ciconia, Johannes (ca. 1370–1412)	285v–286r
O felix flos florencia / O felix flos florencia / texted only in final section	Cividale, Antonius de	244v–245r
O felix templum / O felix templum	Ciconia, Johannes (ca. 1370–1412)	252v–253r
O felix templum / O felix templum	Ciconia, Johannes (ca. 1370–1412)	341r
O flos fragrans	Brassart, Johannes (ca. 1400–1455)	293v–294r
O flos in divo / Sacris pignoribus	Loqueville, Richard (–1418)	283v–284r
O gemma lux et speculum	Du Fay, Guillaume (1397–1474)	292v–293r
O lux beata	Du Fay, Guillaume (1397–1474)	319r
O lux et decus / Amen	Lantins, Hugo de (fl. 1420-30)	218v–219r
O Maria maris stella / texted only for duet / partial text	Lymburgia, Johannes de	308v–309r
O Maria virgo davitica virginum flos / O Maria maris stella plena gratie	Anonymous	262v–263v
O Padua sidus preclarum	Ciconia, Johannes (ca. 1370–1412)	286v–287r
O Petre Christi discipuli / O Petre Christi discipuli	Ciconia, Johannes (ca. 1370–1412)	288v–289r
O pulcherrima mulierum	Lantins, Arnold de (–1432)	216v–217r
O quam mirabilis progenies	Sarto, Johannes de	303v
O virum omnimoda veneratione / O lux et decus tranensium / O beate Nicolae supplicum vota suscipe	Ciconia, Johannes (ca. 1370–1412)	284v–285r
Or vois-je bien	Lantins, Arnold de (–1432)	273v–274r
Ostendit mihi	Lymburgia, Johannes de	205v–206r
Pange lingua gloriosi corporis misterium	Du Fay, Guillaume (1397–1474)	320r–320v
Par droit je suis bien complaindre et gemir	Du Fay, Guillaume (1397–1474)	263v–264r
Par un regard	Gemblaco (Gembloux), Johannes Franchois de	279v–280r
Patrem	Lovanio	61v–63r
Patrem	Lantins, Hugo de (fl. 1420-30)	86v–87r
Patrem (partially texted)	Lymburgia, Johannes de	166v–168r
Patrem / Factorem	Romanus, Antonius	30v–32r
Patrem omnipotentem [Credo]	Dunstaple, John (ca. 1390–1453)	25v–26r
Patrem omnipotentem [Credo]	Velut, Gilet	33v–35r
Patrem omnipotentem [Credo]	Du Fay, Guillaume (1397–1474)	41v–43r
Patrem omnipotentem [Credo]	Lantins, Arnold de (–1432)	43 bis v–45r
Patrem omnipotentem [Credo]	Feragut, Beltrame	46v–48r
Patrem omnipotentem [Credo]	Tapissier, Johannes (ca. 1370–ca. 1410)	49v–51r
Patrem omnipotentem [Credo]	Feragut, Beltrame	52v–54r
Patrem Omnipotentem [Credo]	Lantins, Arnold de (–1432)	55v–57r
Patrem omnipotentem [Credo]	Legrant, Guillaume	58v–59r
Patrem omnipotentem [Credo]	Salinis, Hymbert de (ca. 1378–)	65v–67r
Patrem omnipotentem [Credo]	Loqueville, Richard (–1418)	78v–79r
Patrem omnipotentem [Credo]	Salinis, Hymbert de (ca. 1378–)	80v–82r
Patrem omnipotentem [Credo]	Cividale, Antonius de	83v–85r
Patrem omnipotentem [Credo]	Cameraco (?) Semeriaco, Johannes de	97v–98v
Patrem omnipotentem [Credo]	Gemblaco (Gembloux), Johannes Franchois de	105v–107r
Patrem omnipotentem [Credo]	Velut, Gilet	112v–113v
Patrem omnipotentem [Credo]	Lantins, Arnold de (–1432)	115v–117r
Patrem omnipotentem [Credo]	Gemblaco (Gembloux), Johannes Franchois de	118v–120r
Patrem omnipotentem [Credo]	Lymburgia, Johannes de	121v–123v
Patrem omnipotentem [Credo]	Brassart, Johannes (ca. 1400–1455)	129v–132r
Patrem omnipotentem [Credo]	Lymburgia, Johannes de	159v–161r
Patrem omnipotentem [Credo] 'Alma redemptoris'	Gemblaco (Gembloux), Johannes Franchois de	158v–159r
Patrem omnipotentem [Credo] 'Anglicus'	Bodoil, Jo. Anglia, Robertus de (fl. 1454-74) (?)	182v–184r
Patrem omnipotentem [Credo] 'Aversi' [Kaye 19]	Binchois, Gilles (ca. 1400–1460)	155v–157r
Patrem omnipotentem [Credo] 'Cursor'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	19v–21r
Patrem omnipotentem [Credo] 'Deus Deorum'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	74v–76v
Patrem omnipotentem [Credo] 'Scabioso'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	69v–70r
Patrem omnipotentem [Credo] (III)	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	89v–91r
Patrem omnipotentem [Credo] (iv/4) (Amen tropes Dic Maria, La vilanella)	Du Fay, Guillaume (1397–1474)	37v–40r
Patrem omnipotentem [Credo] (iv/5)	Du Fay, Guillaume (1397–1474)	139v–142r
Patrem omnipotentem [Credo] (KGC group - iv/1)	Du Fay, Guillaume (1397–1474)	188v–189r
Patrem omnipotentem [Credo] [BH10]	Ciconia, Johannes (ca. 1370–1412)	06v–08r
Patrem omnipotentem [Credo] [BH11]	Ciconia, Johannes (ca. 1370–1412)	185v–187r
Patrem omnipotentem [Credo] [BH2]	Ciconia, Johannes (ca. 1370–1412)	93v–96r
Patrem omnipotentem [Credo] [OH 83]	Power, Leonel (–1445)	110v–111r
Patrem omnipotentem [Credo], du vilage (Dominicale)	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	107v–109r
Petrum Marcello venetum / O Petre, antistes inclite	Ciconia, Johannes (ca. 1370–1412)	277v–278r
Pie pater Dominice	Cividale, Antonius de	274v–275r
Plasmatoris humani / Verbigine mater ecclesia	Grenon, Nicolas	259v–260r
Plaude decus mundi / Venetum clarissima	Monte, Christoforus de	250v–252r
Prevalet simplicitas / Prevalet simplicitas	Ruttis, Ar de	291v–292r
Psallat chorus in novo carmine / Eximie pater egregie, rector / Aptatur	Salinis, Hymbert de (ca. 1378–)	279v–280r
Puer natus in Bethlehem	Lymburgia, Johannes de	241v–242r
Pulcra es amica	Lymburgia, Johannes de	215v–217r
Quam pulchra es et quam decora	Egidius (?) Dunstaple, John (ca. 1390–1453) (?)	313v–314r
Recordare frater pie	Lymburgia, Johannes de	204v–205r
Recordare virgo mater (Introitus)	Lymburgia, Johannes de	297v–298r
Regina caeli laetare	Lymburgia, Johannes de	236r
Regina caeli laetare	Power, Leonel (–1445) (?)	271v–272r
Regina caeli laetare (2p. Resurrexit sicut dixit)	Dunstaple, John (ca. 1390–1453)	305v–306r
Rite majorem Jacobum canimus / Artibus summis miseri reclusi	Du Fay, Guillaume (1397–1474)	212v–213r
Salve pater creator	Carmen, Johannes	278v–279r
Salve regina	Power, Leonel (–1445)	272v–273v
Salve regina (tro: Virgo mater ecclesiae)	Salinis, Hymbert de (ca. 1378–)	265v–266r
Salve regina mater misericordiae	Reson, Johannes (?)	217v–218r
Salve salus	Lymburgia, Johannes de	208v–209r
Salve sancta parens	Lymburgia, Johannes de	195v–196r
Salve vere gratialis / Salve vere gratialis	Lymburgia, Johannes de (?)	224v–226r
Salve virgo regia	Lymburgia, Johannes de	294v–295r
Sancte Sebastiane	Du Fay, Guillaume (1397–1474)	247v–249r
Sanctorum meritis Hi sunt quos retinens	Du Fay, Guillaume (1397–1474)	325v–326r
Sanctus	Benet, John (–ca. 1458)	26v–27r
Sanctus	Du Fay, Guillaume (1397–1474)	132v–134r
Sanctus 'Papale' Ave verum corpus	Du Fay, Guillaume (1397–1474)	134v–136v
Sanctus 'Vineux' (KSA group)	Du Fay, Guillaume (1397–1474)	21v–22r
Sanctus 'Vineux' Tr: Qui januas mortis confregisti	Loqueville, Richard (–1418)	22v–23r
Sanctus itaque patriarcha / Sanctus itaque patriarcha	Cividale, Antonius de	301v–302r
Se ce n’estoit la tres doulce pensee	Anonymous	09v–10r
Se coeur damant (incipit texted)	Cordier, Baude (fl. early 15 century)	181v–182r
Se vous scavies	Passet (?) Cesaris, Johannes (fl. 1406-17) (?)	272r
Si nichil actuleris / In pretio pretium	Salinis, Hymbert de (ca. 1378–)	304v
Spes nostra salus	Bodoil, Jo. (?) Power, Leonel (–1445) (?)	220v–221r
Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram	Alanus, Johannes (fl. late 14th or early 15th century)	254v–255r
Sub Arturo [Arcturo] plebs vallata / Fons citharizantium ac organizantium / In omnem terram	Alanus, Johannes (fl. late 14th or early 15th century)	342v
Sub tuam protectionem	Dunstaple, John (ca. 1390–1453)	312v–313r
Summe summi tu patris	Velut, Gilet	290v–291r
Summus secretarius	Brassart, Johannes (ca. 1400–1455)	302v–303r
Supremum est mortalibus bonum II: O sancta pax	Du Fay, Guillaume (1397–1474)	206v–207r
Surge propera	Lymburgia, Johannes de	240v–241r
Surrexit Christus hodie	Lymburgia, Johannes de	213v–214r
Te dignitas praesularis / O Martine (2p. Exaudire nos)	Brassart, Johannes (ca. 1400–1455)	295v–296r
Tibi Christe splendor Patris	Du Fay, Guillaume (1397–1474)	323r
Tota pulchra es amica mea et macula	Lymburgia, Johannes de	234v–235r
Tota pulchra es amica mea et macula II: Flores apparuerunt	Lantins, Arnold de (–1432) (?)	238v–239r
Tu nephanda prodigi / T: Emitat / Si inimicus meus / Emitat caelum	Lymburgia, Johannes de	209v–210v
Un seul confort	Lantins, Hugo de (fl. 1420-30) (?) Lantins, Arnold de (–1432) (?)	42v–43r
untexted	Anonymous	142v
Urbs beata Jerusalem. Nova veniens e caelo	Du Fay, Guillaume (1397–1474)	321r
Ut per te omnes celitus / Ingens alumnus Padue	Ciconia, Johannes (ca. 1370–1412)	289v–290r
Ut queant Iaxis (Nuntius celso veniens)	Du Fay, Guillaume (1397–1474) (?)	323v
Vasilissa ergo gaude	Du Fay, Guillaume (1397–1474)	276v–277r
Venecie mundi splendor	Ciconia, Johannes (ca. 1370–1412)	287v–288r
Veni creator spiritus	Du Fay, Guillaume (1397–1474)	318v
Veni dilecte mi	Du Fay, Guillaume (1397–1474) (?) Lymburgia, Johannes de	304v–305r
Veni sancte spiritus et emitte caelitus	Du Fay, Guillaume (1397–1474) (?)	329r–330r
Venite adoremus Dominum / Salve sancta aeterna	Carmen, Johannes	253v–254r
Venite adoremus Dominum / Salve sancta aeterna	Carmen, Johannes	341v–342r
Verbum caro factum est	Lymburgia, Johannes de	307v–308r
Verbum tuum	Rondelly, Jo	281v–282r
Vergine bella	Du Fay, Guillaume (1397–1474)	237v–238r
Virginis proles	Lymburgia, Johannes de	326v

Images © Museo Internazionale e Biblioteca della Musica di Bologna (formerly Civico Museo Bibliografico Musicale; earlier Liceo Musicale), Bologna

‡ denotes primary source study

Bent, Margaret. 2016. Melchior or Marchion de Civilibus, prepositus brixiensis: new documents. Music and Culture in the Middle Ages and Beyond: Liturgy, Sources, Symbolism (Festschrift for Craig Wright), edited by Margaret Bent, 175-190. Cambridge: Cambridge University Press.

Bent, Margaret. 2015. Orfeo: dominus presbiter Orpheus de Padua. ‘Qui musicam in se habet’: Studies in Honor of Alejandro Enrique Planchart, edited by Margaret Bent, 231-256. American Institute of Musicology.

Bent, Margaret. 2014. Francesco Malipiero and Antonio da Roma – another musical connection? Mondo latino e civiltà bizantina: Musica, arte e cultura nei codici del 1400, edited by Margaret Bent, 225-238. Padua: Cleup.

Bent, Margaret. 2014. Libri de cantu in the early fifteenth-century Veneto: contents, use and ownership. Musikalische Repertoires in Zentraleuropa (1420–1450). Prozesse & Praktiken, Wiener Musikwissenschaftliche Beiträge. edited by Margaret Bent, 153-170. Vienna: Böhlau.

‡ Bent, Margaret. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition. 2 vols. Lucca: Lim Editrice.

Bent, Margaret. 2007. Trompetta and Concordans Parts in the Early Fifteenth Century. Music as Social and Cultural Practice: Essays in Honour of Reinhard Strohm, edited by Margaret Bent, 38-73. Woodbridge.

Bent, Margaret. 2004. Divisi and a versi in early fifteenth-century mass movements. Antonio Zacara da Teramo e il suo tempo, edited by Margaret Bent, 95-137. Lucca: LIM.

Bent, Margaret. 2003. Musicisti vicentini intorno al vescovo Pietro Emiliani. Quattrocento Vicentino. La Dedizione alla Serenissima tra Musica Cronaca e Storia, edited by Margaret Bent, Vicenza: Conservatorio di Musica di Vicenza.

Bent, Margaret. 1996. The early use of the sign Ø. Early Music, 199-225.

Curtis, Gareth R K, and Andrew B Wathey. 1994. Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory. Royal Musical Association Research Chronicle, 1-69.

Bent, Margaret. 1987. A Contemporary Perception of Early Fifteenth-Century Style: Bologna Q15 as a Document of Scribal Editorial Initiative. Musica Disciplina, 183-201.

Bent, Margaret, and Anne Hallmark (editors). 1985. Complete Works of Johannes Ciconia. Polyphonic Music of the Fourteenth Century. Monaco: Éditions de l'Oiseau-Lyre. Pages: XXIV.1-17,30-5,44-7,54-67,73-107, 112-6,167-9,198-9,201,203-9,216,220-6. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).

Staehelin, Martin. 1983. Bemerkungen zum Verhältnis von Werkcharacter und Filiation in der Musik der Renaissance. Datierung und Filiation von Musikhandschriften der Josquin-Zeit, Wolfenbütteler Forschungen. 199-215. Wiesbaden. Pages: 202,208-9. Notes: contents list (partial); facsimile (partial); mention of MS; discussion.

Cox, Bobby Wayne. 1981. 'Pseudo-Augmentation' in the Manuscript Bologna, Civico Museo Bibliografico Musicale, Q 15 (BL). The Journal of Musicology, 419-48. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Bent, Margaret. 1980. New Sacred Polyphonic Fragments of the Early Quattrocento. Studi Musicali, 171-89. Pages: 171-5. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag. Pages: I, 69.

Finscher, Ludwig. 1979. Zum Verhältnis von Imitationstechnik und Textbehandlung im Zeitalter Josquins. Renaissance-Studien: Helmuth Osthoff zum 80. Geburtstag, Frankfurter Beiträge zur Musikwissenschaft. 57-72. Tutzing. Pages: 48ff, passim.

Cobin, Marian W. 1978. The Aosta Manuscript: A Central Source of Early Fifteenth-Century Sacred Polyphony. New York University, Unpublished Ph.D. dissertation. Pages: I, 102ff, 145-51,336-51, passim. Notes: physical description; contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.

Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: I-II. Notes: physical description; contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion.

Kemp, Walter H. 1976. The Manuscript Escorial V.III.24. Musica Disciplina, 97-129. Pages: 102-4,121.

Cavicchi, Adriano. 1975. Sacro e profano, Documenti e note su Bartolomeo da Bologna e gli organisti della cattedrale di Ferrara nel primo quattrocento. Rivista Italiana di Musicologia, 46ff, and 11 (1976), 178–81. Pages: 63.

Hagopian, Viola L. 1973. Italian Ars Nova Musik: A Bibliographic Guide to Modem Editions and Related Literature. 2nd ed. Berkeley, Los Angeles, and London. Pages: 59-60.

Wright, Craig M. 1973. Tapissier and Cordier: New Documents and Conjectures. The Musical Quarterly, 177-89. Pages: 184-5.

Burstyn, Shai. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation. Pages: 344-8,360-78,403-5, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: I-II. Notes: physical description (partial); contents list (partial); concordances (partial); incipits (partial); transcription (partial); mention of MS; discussion.

Schoop, Hans. 1971. Entstehung und Verwendung der Handschrift Oxford Bodleian Library, Canonici misc. 213. Publikationen der Schweizerischen Musikforschenden Gesellschaft Series II. Bern and Stuttgart. Pages: 70f.

Bent, Margaret, Ian D Bent, and Brian Trowell (editors). 1970. John Dunstable complete works. Musica Britannica. London. Pages: VIII [rev. ed.], 15-6,101-3,106-9, 112-3,125-6,184ff. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Reaney, Gilbert. 1969. Text Underlay in Early Fifteenth-Century Musical Manuscripts. Essays in Musicology in Honor of Dragan Plamenac on His 70th Birthday, 245-51. Pittsburgh.

Ward, Tom Robert. 1969. The Polyphonic Office Hymn from the Late Fourteenth Century Until the Early Sixteenth Century. University of Pittsburgh, Unpublished Ph.D. dissertation. Pages: 21-5, passim.

Hamm, Charles E. 1968. A Catalogue of Anonymous English Music in Fifteenth-Century Continental Manuscripts. Musica Disciplina, 47-76. Pages: 50,64-76.

Davis, Shelley. 1967 (XXXIX)-1968 (XL). The Solus Tenor in the 14th and 15th Centuries. Acta Musicologica, 44-64(XXXIX)-176-8(XL). Pages: passim.

Riemann, Hugo, Wilibald Gurlitt, and Hans Heinrich Eggebrecht (editors). 1967. Musik Lexikon: Zwölfte völlig neubearbeitete. 3 vols. Mainz. Pages: III, 765.

Gossett, Philip. 1966. Techniques of Unification in Early Cyclic Masses and Mass Pairs. Journal of the American Musicological Society, 205-31.

Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: 29-81. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Kenney, Sylvia W. 1966. In Praise of the Lauda. Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, 489-99. New York. Pages: 493-5.

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: 124.

Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: l, xxx.

Gallo, Franco Alberto (editor). 1965. Antonii Romani: Opera. Monumenta Veneta Sacra. Bologna. Pages: vii-x, xv, 1-41. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Hamm, Charles E. 1965. The Reson Mass. Journal of the American Musicological Society, 5-21.

Mixter, Keith E. 1965. Johannes Brassart: A Biographical and Bibliographical Study, II. Musica Disciplina, 99-108. Pages: II XIX, 100.

Gallo, Franco Alberto, and Giovanni Mantese. 1964. Ricerche sulle Origini della Cappella Musicale del Duomo di Vicenza. Civiltà Veneziana, Saggi. Venice and Rome. Pages: 20-2,24-5,30,56-60,69-82. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Damilano, Don Piero. 1963. Fonti musicali della lauda polifonica intorno alla metà del sec. XV. Collectanea Historiae Musicae III, Pages: 62, 76-89.

Borren, Charles van den. 1962. L'Enigme des 'Credo de Village'. Hans Albrecht in Memoriam, 48-54. Kassel. Pages: 49.

Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: I, 67-71.

Ficker, Rudolf von. 1960. The transition on the Continent. New Oxford History of Music, 150ff. Pages: 150.

Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1959. Johannes Ciconia et la chronologie des manuscrits italiens, Mod. 568 et Lucca (Mn). L'Ars nova: Recueil d'études sur la musique du XIVe siècle, 110-130. Paris: Les Belles Lettres. Pages: 124ff.

Trumble, Ernest. 1959. Fauxbourdon: An Historical Survey. Musicological Studies. Brooklyn. Pages: 14ff, passim.

Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae. Rome: American Institute of Musicology. Pages: VI, passim; VII, xvi-xx.xxiii-xxvi, 25-59, 62-6,70-87,90-2,100-5. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).

Federhofer, Hellmut (editor). 1954-. Musik Alter Meister. Graz. Pages: XIII, [xiii].

Besseler, Heinrich. 1950; Reprinted: 1974. Bourdon und Fauxbourdon, Studien zum Ursprung der niederländischen Musik. Leipzig. Pages: 4, passim.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: II, 95-8; II,852,1431, Tafel 6; 111,1891-2; IV, Tafel 27 and 77; VI, Tafel 37; VII, Tafel 5; XIV, Tafel 53.

Van, Guillaume de. 1948. Inventory of Manuscript Bologna, Liceo Musicale, Q 15 (olim 37). Musica Disciplina, 231-57. Pages: avec facs. des ff. 19v-20, l00v-101. Notes: contents list; concordances.

Besseler, Heinrich. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv für Musikwissenschaft, 167-252. Pages: 234-5.

Torchi, Luigi. 1906. I Monumenti dell'antica musica francese a Bologna. Rivista Musicale Italiana, 451-505,575-615. Pages: 487-99.

Gaspari, Gaetano (compiler). 1905. Catalogo della biblioteca del Liceo musicale di Bologna compilato da Gaetano Gaspari: compiuto e pubblicato da Dr Raffaele Cadolini, aggiunto al bibliotecario. 4 vols. Bologna. Pages: IV ,239-45.

Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: I,197-8; III,82-6,177-84; II,54-6, 133-8.

Wooldridge, Harry Ellis, and H V Hughes (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century. 2 vols. London: The Plainsong and Medieval Music Society. Pages: I, plates 49-60; II, 116-29.

Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: LXXVI, passim.

Lisio, Giuseppe. 1893. Una stanza del Petrarca musicata dal Du Fay tratta da due codici antichi e le poesie volgari contenute in essi. Bologna.

Haberl, Franz Xavier. 1885-88. Bausteine für Musikgeschichte. 3 vols. Leipzig. Pages: I, 79ff.

Ambros, August Wilhelm. 1880-82. Geschichte der Musik. 2. Auflage. 5 vols. Leipzig. Pages: III passim.

Public Comments

This form is used to make comments on a source. If you wish to notify us of a correction to the record, you should use the "Contribute a change" form instead.

Nicole Schwindt

Thursday, 1 June, 2023

The spelling of fol. 44v in the inventory must be "Chanter ne scay ce poise moy" ("Chanter ne scay ce poyse moy" is the spelling in GB-Ob, Canon misc. 213, fol. 32v).

Michael Stone

Sunday, 9 January, 2022

The external links to the description of I-Bc Q.15 [https://www.diamm.ac.uk/sources/117] contain an error:

The YouTube link "discussion of the MS with performance recordings" [http://www.youtube.com/watch?v=MzPgM9OReV8] is related to a recording of repertoire from I-Bc Q.11: Ensemble Korymbos - Exit Rosa: Chants for the Nuns from Manuscript Q.11 of Bologna - Tactus 280002 [2011]

Recordings of repertoire from I-Bc Q.15 may be found on these albums:

Ensemble Ars Italica - Musica del XV Secolo in Italia - Tactus 400001 [1991] Mala Punica - Sidus Preclarum. Ciconia: Complete Motets - Erato 3984-21661-2 [1998] The Clerks' Group - Dufay: Sacred music from Bologna Q15 - Signum 023 [2002] La Reverdie - Guillaume Du Fay: Missa Sancti Jacobi - Arcana 342 [2006] Le Miroir de Musique - Johannes de Lymburgia: Gaude felix Padua - Ricercar 402 [2019]

Contributions to this record are recorded here. If you wish to contribute information or a correction to this record, use the "Contribute a Change" link. This will then be reviewed by DIAMM staff and, if accepted, your contribution will be acknowledged here.

Clemens Goldberg

Tuesday, 9 January, 2024

De bien amer (99v-100r) is a fifth up from Oxford 213 (as in the Cantus of the Sevilla Chansonnier) and has a completely new Contratenor. Explanatory note added to the item (though unfortunately notes are currently not displaying properly).

Michael Stone

Monday, 10 January, 2022

Provided list of recordings with music from MS

Karen Cook

Thursday, 26 April, 2018

Reported issue with inventory status.

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description

Répertoire Internationale des Sources Musicales

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description

I-Bc Q.15

Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy

complete choirbook: 15th century, copying completed 1440

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