E-Sc 5-5-20

Biblioteca Capitular y Colombina (housed in the Institución Colombina), Seville, Spain

non-music MS with interpolated music: Early 16th century

Archive Biblioteca Capitular y Colombina (housed in the Institución Colombina), Seville, Spain (E-Sc)
Shelfmark 5-5-20
Surface Paper
Numbering System Foliation
Measurements 285 x 225 (220 x 160, according toE) mm
Other Identifiers
  • CCM: SevC 5-5-20
  • olim (Former shelfmark): Z Tab. 137 No 25
Notations
  • black void mensural
Relationships
External Links
Provenance
  • Seville, Spain
Contents 16 pieces from 9 composers
General Description

Now bound as ff. 39-66 in a composite volume containing various non-musical and musical items, including theoretical treatise by Pietro de Cannuzi. Copied by one main scribe, with later additions by two different hands; main scribe also wrote TarazC 2 and TarazC 3 (Charles Manns). Probably copied in Seville. Acquired in 1533 by Fernando Colón (1488-1539), son of the navigator. See SevC 5-1-43 for subsequent history of Colón collection.

DIAMM, 2017
Notation

black void mensural

DIAMM, 2017
Date

Early 16th century (MME); before 1507 (ElúsA)

DIAMM, 2017
Foliation

Original foliation, i-xxviii (excludes first folio; f. xvi now missing)

DIAMM, 2017
Decoration

Inked calligraphic initials.

DIAMM, 2017
Index

Incomplete original index on verso of first folio; pieces grouped as 'Salves' and 'Motetes de la Salve.'

DIAMM, 2017
Surface

paper

DIAMM, 2017
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.

Miscellaneous writings, with polyphony: 15 motets (2 incomplete), 1 textless piece = 16

Anchieta-2, Anchieta/(Peñalosa)-1, (Brumel)-1, Escobar-1, Escobar/(Peñalosa)-1, Medina-1, Peñalosa/(Josquin)-1, Ponce-1, Ribaflecha-2 + 1?, anon-4

28 paper folios, 285 x 225 (220 x 160, according to MME), now bound as ff. 39-66 in composite volume containing various non-musical and musical items, including theoretical treatise by Pietro de Cannuzi. Original foliation, i-xxviii (excludes first folio; f. xvi now missing). Incomplete original index on verso of first folio; pieces grouped as "Salves" and "Motetes de la Salve." Copied by one main scribe, with later additions by two different hands; main scribe also wrote TarazC 2 and TarazC 3 (Charles Manns). Inked calligraphic initials.

Early 16th century (MME); before 1507 (ElúsA). Probably copied in Seville. Acquired in 1533 by Fernando Colón (1488-1539), son of the navigator. See SevC 5-1-43 for subsequent history of Colón collection.

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

051r

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
39v index - -

index

Appears on: 39v
41v–44 Salve regina mater misericordiae Medina
Medina, Fernand Perez de

Salve regina mater misericordiae

Medina, Fernand Perez de
Appears on: 41v–44
Genres: Motet, Salve Regina
Source Attribution: Medina
Voice: [no designation]
Languages: Latin
Voice Text: Salve regina
44v–46 Salve regina mater misericordiae Jo. Ponce
Ponce, Juan

Salve regina mater misericordiae

Ponce, Juan
Appears on: 44v–46
Genres: Marian antiphon, Motet, Salve Regina
Source Attribution: Jo. Ponce
Voice: [no designation]
Languages: Latin
Voice Text: Salve regina
46v–50 Salve regina Jo. Anchieta
Anchieta, Juan de (1462–1523)

Salve regina

Anchieta, Juan de (1462–1523)
Appears on: 46v–50
Genres: Antiphon, BVM, Salve Regina
Source Attribution: Jo. Anchieta
Voice: [no designation]
Languages: Latin
Voice Text: Salve Regina
50v–51 Virgo et mater quae filium Dei genuisti Jo. anchieta
Anchieta, Juan de (1462–1523)

Virgo et mater quae filium Dei genuisti

Anchieta, Juan de (1462–1523)
Appears on: 50v–51
Genres: Motet
Source Attribution: Jo. anchieta
Voice: [no designation]
Languages: Latin
Voice Text: Virgo et mater quae filium dei genuisti
51v–52 Sancta mater istud agas crucifixi 25.8 Penalosa
Penalosa, Francisco de
Despres, Josquin (ca. 1450–1521) (?)

Sancta mater istud agas crucifixi 25.8

Penalosa, Francisco de
Despres, Josquin (ca. 1450–1521) (?)
Appears on: 51v–52
Genres: Motet
Source Attribution: Penalosa
Voice: [no designation]
Languages: Latin
Voice Text: Sancta mater istud agas crucifixi
52v–53 Ecce Maria venit ad templum - Anonymous

Ecce Maria venit ad templum

Anonymous
Appears on: 52v–53
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Ecce Maria venit ad templum
54v–55 Memorare piissima opprobria et crudeles Escobar
Penalosa, Francisco de (?)
Escobar, Pedro de (?)

Memorare piissima opprobria et crudeles

Penalosa, Francisco de (?)
Escobar, Pedro de (?)
Appears on: 54v–55
Genres: Motet
Source Attribution: Escobar
Voice: [no designation]
Languages: Italian
Voice Text: Memorare piissima opprobria et crudelis
General Note

Incomplete, f. xvi (between 54 & 55) missing with the loss of the opening for Ct & Bas, and the end of Sup & Ten
55v–56 Clamabat autem mulier Cananaea ad Dominum Escobar
Escobar, Pedro de

Clamabat autem mulier Cananaea ad Dominum

Escobar, Pedro de
Appears on: 55v–56
Genres: Motet
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Clamabat autem mulier Cananaea ad dominum
56v–57 Domine Jesu Christe qui hora diei ultima Ancheta
Penalosa, Francisco de (?)
Anchieta, Juan de (1462–1523)

Domine Jesu Christe qui hora diei ultima

Penalosa, Francisco de (?)
Anchieta, Juan de (1462–1523)
Appears on: 56v–57
Genres: Motet
Source Attribution: Ancheta
Voice: [no designation]
Languages: Latin
Voice Text: Domine Iesu Christe qui hora diei ultima
57v–58 Mater patris et filia mulierum laetitia (anon)
Brumel, Antoine (ca. 1460–ca. 1513)

Mater patris et filia mulierum laetitia

Brumel, Antoine (ca. 1460–ca. 1513)
Appears on: 57v–58
Genres: Sequence
Source Attribution: (anon)
Voice: [no designation]
Languages: Latin
Voice Text: Mater patris et filia mulierum laetitia
58v–59 Quam pulchra es - 1a pars (of 2): Quam pulchra es amica mea (anon)
Ribaflecha, Martin de

Quam pulchra es - 1a pars (of 2): Quam pulchra es amica mea

Ribaflecha, Martin de
Appears on: 58v–59
Genres: Motet
Source Attribution: (anon)
Voice: [no designation]
Languages: Latin
Voice Text: Quam pulchra es amica mea
General Note

incomplete, Bassus missing
59v–60 Quam pulchra es - 2a pars (of 2): Aperi mihi soror mea -
Ribaflecha, Martin de

Quam pulchra es - 2a pars (of 2): Aperi mihi soror mea

Ribaflecha, Martin de
Appears on: 59v–60
Genres: Motet
General Note

untexted, but annotated 'hui[us] hoperis' (i.e. part 'of this [the previous] work').
60v–61 Vox dilecti mei Ribafrecha
Ribaflecha, Martin de

Vox dilecti mei

Ribaflecha, Martin de
Appears on: 60v–61
Genres: Motet
Source Attribution: Ribafrecha
Voice: [no designation]
Languages: Latin
Voice Text: Vox dilecti mei
61v–62 Anima mea liquefacta est (anon)
Ribaflecha, Martin de (?)

Anima mea liquefacta est

Ribaflecha, Martin de (?)
Appears on: 61v–62
Genres: Motet
Source Attribution: (anon)
Voice: [no designation]
Languages: Latin
Voice Text: Anima mea liquefacta est
63v–65 Salve regina mater misericordiae Ribafrecha
Ribaflecha, Martin de

Salve regina mater misericordiae

Ribaflecha, Martin de
Appears on: 63v–65
Genres: Marian antiphon, Motet, Salve Regina
Source Attribution: Ribafrecha
Voice: [no designation]
Languages: Latin
Voice Text: Salve regina
Composer Compositions
Anchieta, Juan de (1462–1523)
Anonymous
Brumel, Antoine (ca. 1460–ca. 1513)
Despres, Josquin (ca. 1450–1521)
Escobar, Pedro de
Medina, Fernand Perez de
Penalosa, Francisco de
Ponce, Juan
Ribaflecha, Martin de
Composition Composers (? Uncertain) Folios / Pages
Anima mea liquefacta est
Ribaflecha, Martin de (?)
61v–62
Clamabat autem mulier Cananaea ad Dominum
Escobar, Pedro de
55v–56
Domine Jesu Christe qui hora diei ultima
Penalosa, Francisco de (?)
Anchieta, Juan de (1462–1523)
56v–57
Ecce Maria venit ad templum Anonymous 52v–53
Mater patris et filia mulierum laetitia
Brumel, Antoine (ca. 1460–ca. 1513)
57v–58
Memorare piissima opprobria et crudeles
Penalosa, Francisco de (?)
Escobar, Pedro de (?)
54v–55
Quam pulchra es - 1a pars (of 2): Quam pulchra es amica mea
Ribaflecha, Martin de
58v–59
Quam pulchra es - 2a pars (of 2): Aperi mihi soror mea
Ribaflecha, Martin de
59v–60
Salve regina
Anchieta, Juan de (1462–1523)
46v–50
Salve regina mater misericordiae
Medina, Fernand Perez de
41v–44
Salve regina mater misericordiae
Ponce, Juan
44v–46
Salve regina mater misericordiae
Ribaflecha, Martin de
63v–65
Sancta mater istud agas crucifixi 25.8
Penalosa, Francisco de
Despres, Josquin (ca. 1450–1521) (?)
51v–52
Virgo et mater quae filium Dei genuisti
Anchieta, Juan de (1462–1523)
50v–51
Vox dilecti mei
Ribaflecha, Martin de
60v–61

Images © Biblioteca Capitular y Colombina, Seville

‡ denotes primary source study

Hardie, Jane Morlet. 1983. The Motets of Francisco de Pehalosa and Their Manuscript Sources. University of Michigan, Unpublished Ph.D. dissertation. Pages: 115-7, 133, 137ff, 283-5, 291-3. Notes: physical description; contents list (partial); concordances (partial); incipits (partial); transcription (partial); texts (partial); mention of MS; discussion.

Baker, Norma Klein. 1978. An Unnumbered Manuscript of Polyphony in the Archives of the Cathedral of Segovia: Its Provenance and History. University of Maryland, Unpublished Ph.D. dissertation. Pages: 342-4, 420. Notes: contents list (partial); concordances (partial); incipits (partial).

Stevenson, Robert. 1976. Josquin in the Music of Spain and Portugal. Josquin des Prez: Proceedings of the International Josquin Festival-Conference ... 21-25 June 1971, 217-46. London, New York, and Toronto. Pages: 220. Notes: mention of MS.

Hudson, Barton (editor). 1969-72. Antoine Brumel: Collected Works. Corpus mensurabilis musicae.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: V, xxii, xxxiii-xxxiv. Notes: contents list (partial); concordances (partial).

Stevenson, Robert. 1960. Spanish Music in the Age of Columbus.  The Hague. Pages: 136ff, 142-4, 152, 172, 180-3, 186-9, 192-3. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Reese, Gustave. 1959. Music in the Renaissance.  New York. Pages: 578. Notes: mention of MS.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik.  Kassel. Pages: XII, 984. Notes: mention of MS.

Anglès, Higinio. 1947. La música conservada en la Biblioteca Colombina y en la Catedral de Sevilla. Anuário Musical, 3ff. Pages: 9-10 [erroneously referred to as MS 16-5-20]. Notes: physical description; contents list.

Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola.  Madrid (later Barcelona, later Rome). Pages: I, 129. Notes: physical description; contents list.

Elústiza, Juan B de, and Gonzalo Castillo Hernandez. 1933. Antología Musical. Siglo de Oro de la Música Litúrgica en España. Polifonía Vocal de los siglos XV y XVI.  Barcelona. Pages: xxiv-xxvii, 1-36. Notes: physical description; contents list; transcription (partial); mention of MS; discussion.

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Jonatan Alvarado

Saturday, 8 January, 2022

Yhe untexted piece in 59v–60 identified as the seconda pars of Ribafrecha’s “Quam pulchra es”.

DIAMM, 2016

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. General Description; Notation Note; Date Note; Foliation Note; Decoration Note; Contents Note; Surface Note

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