F-Pnm NAF 4379 (Seville Chansonnier (part))

Bibliothèque nationale de France, Département des Manuscrits, Paris, France

manuscript of polyphony: Part I: ca. 1470-85; Part II: early 15th century; Part III: ca. 1433; Part IV: late 15th century

Archive	Bibliothèque nationale de France, Département des Manuscrits, Paris, France (F-Pnm)
Shelfmark	NAF 4379 (Seville Chansonnier (part))
Surface	Paper
Numbering System	Foliation
Measurements	207 x 154; 210 x 143; 210 x 143; 220 x 150 mm
Other Identifiers	CCM: ParisBNN 4379 Other catalogues/source: PC olim (Former shelfmark): F-Pn nouvelles acquisitions françaises 4379 Alternative names: SevC 5-1-43
Notations	black full mensural black void mensural coloration in black full
Copyists	scribal concordance [70] Text and Music
Relationships	Seville Cathedral (owner) Colon, Fernando (1488–1539) (owner)
External Links	images (Gallica) IIIF Manifest
Provenance	Napoli (Naples)? Italy
Contents	99 pieces from 22 composers

General Description

Images shown are on the Gallica IIIF server.

Composite of four separate and unrelated manuscripts first bound together in 1885: Part I = new ff. 1-42 (originally part of same manuscript as SevC 5-1-43); Part II = ff. 43-60; Part III = ff. 61-68; Part IV = ff. 69-92.

Part I copied by two main scribes and two additional scribes, all of whose hands also appear in SevC 5-1-43. Part II copied by a single scribe. Part III (tenor only of each composition) copied mostly by two scribes, one of whom (the copyist of ff. 61-64) also wrote OxfBC 213 (SchoopO); piece in black notation at top of f. 64' is later addition by a third scribe. Part IV copied by two main scribes and two additional scribes.

Part I probably copied in Naples, but Roman origin also possible (AtlCG); Part II copied in Italy (DufayO); Part III probably copied in Venice or vicinity (see SchoopO for discussion of relationship of Parts II-III to OxfBC 213); Part IV copied in Italy (DufayO) or Spain (MME).

Part I and SevC 5-1-43 once formed single manuscript, purchased in Rome in 1515 by Fernando Colón (1488-1539), son of the navigator; manuscript listed as #2526 in surviving catalogue ('Registrum B') of Colón's books. A virtual reconstruction of this complete manuscript is here. Parts II-IV also possibly owned by Colón, who bequeathed his library (the so-called 'Fernandina' or 'Colombina') to his nephew Luis. Collection passed to chapter of Seville Cathedral in 1552.

Part I of present manuscript (and probably Parts II-IV) removed from Colombina in 1884, and taken to Paris; all four items acquired by Bibliothèque Nationale in 1885, and rebound in present arrangement.

DIAMM, 2017

Physical Description

Some folios damaged by ink corrosion, but music still legible. Later trimming of many folios obliterated some attributions and most of a Roman numeral foliation in Part I

DIAMM, 2017

Binding

Rebound in modern covers of green morocco leather, with inscription 'CHANSONS A TROIS VOIX' stamped in gold on spine

DIAMM, 2017

Watermark

Only fragments of watermarks visible-Part I: (1) resembles Briquet #3387; (2) generally resembles Briquet #4413. Part II: three-peaked mountain. Part III: (1) generally resembles Briquet #6296; (2) bow and arrow. Part IV: (1) extended hand with six-petalled flower; (2) crown(?).

DIAMM, 2017

Notation

black full mensural, with black full black void coloration; black void mensural with black full black full coloration

DIAMM, 2017

Ruling

Staff height 14.5 in Part I, Part II, and ff. 65'-68' of Part III; 13.5 on ff. 61-65 of Part III; 16.0 in Part IV.

DIAMM, 2017

Foliation

Part 1: Remnants of Roman numeral foliation; modern ink foliation, 1-92 on upper right rectos. Two additional numbering systems in original manuscript to which Part I once belonged: (1) Original ink foliation on lower right rectos uses letters to designate gatherings, Arabic numbers to designate folios within gatherings. Foliation extended from 'a1' through 'r8' in original manuscript of 188 folios; (2) Original ink numbering of pieces on upper right rectos, 1-164 (numbers sometimes mistakenly construed as foliation).

Original folios now in Part I of ParisBNN 4379 include e2-e11, f4-f12, g1, h2-h11, n2-n12, o1; eight original folios (a10, b6-b10, f3, g2) lost at an unknown time; remaining folios now SevC 5-1-43.

DIAMM, 2017

Decoration

Part I has inked calligraphic initials coloured with a light yellow wash and decorated with faces, flower and leaf designs. No initials or decoration in Parts II-III. Part IV has inked calligraphic initials, less elaborate than those in Part I.

DIAMM, 2017

Index

No index in ParisBNN 4379, but incomplete alphabetical index of Part I found at beginning of SevC 5-1-43.

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.

PARIS. Bibliothèque Nationale, Département des Manuscrits. Nouvelles Acquisitions Françaises. MS 4379 [see also SevC 5-1-43]

Part I: 35 French secular pieces, 3 Italian secular pieces, 1 Dutch secular piece, 1 piece with mixed text incorporating many transliterations of Hebrew words, 4 quodlibets = 44 (7 incomplete, but missing parts for 6 of these are found in SevC 5-1-43). Part II: 13 French secular pieces, 3 Italian secular pieces = 16. Part III: 3 motets (T only), 12 French secular pieces (T only), 5 Italian secular pieces (2 with T only, 1 with fragmentary D only) = 20. Part IV: 1 Gloria, 1 Magnificat, 2 motets, 1 Benedicamus domino, 8 French secular pieces (1 with D only), 2 Spanish secular pieces, 1 textless piece (D only) = 16. Total for manuscript = 96

Part I: (Bedingham)-1, (Bedingham/Dufay)-1, (Bedingham/ Dufay-anon)-1, (Bedingham/Dunstable)-1, (Bedingham/Dunstable-anon)-1, (Binchois)-2, (Binchois-anon)-1, (Binchois-anon-Bedingham/Dunstable)-1, (Binchois/Frye)-1, (Busnois-anon)-1, (Busnois/Caron)-1, (Caron/Morton)-1, (Dufay)-3, (Hayne van Ghizeghem)-2, (Molinet)-1, Morton-1, (Ockeghem)-2, Phillipet de Pres-1, anon-21. Part II: (Binchois)-2, (Ciconia)-3, (Dufay)-2, (Fontaine)-1, (Franchois)-1, (Grossin)-1, (A. Lantins)-2, anon-4. Part III: (Binchois)-4, (Ciconia)-1, (Dufay)-4, (Grossin)-1, (A. Lantins)-4, (Vide)-1, anon-5. Part IV: (Basiron)-1, (Busnois)-1, (Dufay)-1, Madrid-2, Wreede-2, anon-9

iii + 92 + iii paper folios, of varying sizes (see below). Composite of four separate and unrelated manuscripts first bound together in 1885: Part I = new ff. 1-42, measuring ca. 207 x 154 (originally part of same manuscript as SevC 5-1-43); Part II = ff. 43-60, 210 x 143; Part III = ff. 61-68, 210 x 143; Part IV = ff. 69-92, 220 x 150. Some folios damaged by ink corrosion, but music still legible. Later trimming of many folios obliterated some attributions and most of a Roman numeral foliation in Part I. Modern ink foliation, 1-92, on upper right rectos.

Two additional numbering systems in original manuscript to which Part I once belonged-(1) Original ink foliation on lower right rectos uses letters to designate gatherings, Arabic numbers to designate folios within gatherings. Foliation extended from "a1" through "r8" in original manuscript of 188 folios. Original folios now in Part I of ParisBNN 4379 include e2-e11, f4-f12, g1, h2-h11, n2-n12, o1; eight original folios (a10, b6-b10, f3, g2) lost at an unknown time; remaining folios now SevC 5-1-43. (2) Original ink numbering of pieces on upper right rectos, 1-164 (numbers sometimes mistakenly construed as foliation).

New ff. 20, 67-68, 69, and 84 have blank staves only. Rebound in modern covers of green morocco leather, with inscription "CHANSONS A TROIS VOIX" stamped in gold on spine. No index in ParisBNN 4379, but incomplete alphabetical index of Part I found at beginning of SevC 5-1-43.

All of Part II and one piece in Part III (f. 64') copied in black mensural notation, with black void coloration; all other music in white mensural notation, with black full coloration. Part I copied by two main scribes and two additional scribes, all of whose hands also appear in SevC 5-1-43. Part II copied by a single scribe. Part III copied mostly by two scribes, one of whom also wrote OxfBC 213 (SchoopO); piece in black notation at top of f. 64' is later addition by a third scribe. Part IV copied by two main scribes and two additional scribes. Staff height 14.5 in Part I, Part II, and ff. 65'-68' of Part III; 13.5 on ff. 61-65 of Part III; 16.0 in Part IV.

Part I has inked calligraphic initials colored with a light yellow wash and decorated with faces, flower and leaf designs. No initials or decoration in Parts II-III. Part IV has inked calligraphic initials, less elaborate than those in Part I. Only fragments of watermarks visible-Part I: (1) resembles Briquet #3387; (2) generally resembles Briquet #4413. Part II: three-peaked mountain. Part III: (1) generally resembles Briquet #6296; (2) bow and arrow. Part IV: (1) extended hand with six-petalled flower; (2) crown(?).

Part I: ca. 1470-85 (see discussion in AtlCG, SchavP). Part II: early 15th century. Part III: ca. 1433 (SchoopO). Part IV: late 15th century. Part I probably copied in Naples, but Roman origin also possible (AtlCG); Part II copied in Italy (DufayO); Part III probably copied in Venice or vicinity (see SchoopO for discussion of relationship of Parts II-III to OxfBC 213); Part IV copied in Italy (DufayO) or Spain (MME). Part I and SevC 5-1-43 once formed single manuscript, purchased in Rome in 1515 by Fernando Colón (1488-1539), son of the navigator; manuscript listed as #2526 in surviving catalogue ("Registrum B") of Colón's books. Parts II-IV also possibly owned by Colón, who bequeathed his library (the so-called "Fernandina" or "Colombina") to his nephew Luis. Collection passed to chapter of Seville Cathedral in 1552. Part I of present manuscript (and probably Parts II-IV) removed from Colombina in 1884, and taken to Paris; all four items acquired by Bibliothèque Nationale in 1885, and rebound in present arrangement.

Vol 4

Contents: In Part IV, change "8 French secular pieces" to "9 French secular pieces"; change "2 Spanish secular pieces" to "1 Spanish secular piece."

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)
1r	Pour prison ne pour maladie (S) / Passio Domini nostri (T)	-	Anonymous
Pour prison ne pour maladie (S) / Passio Domini nostri (T) Anonymous Appears on: 1r Genres: Quodlibet Layout The S of this piece is on f35v of Seville 5-1-43 (from which the folios making up the first section of this MS were torn)
1v–2r	O rosa bella (S) / In pace, Veni creator spiritus (T)	-	Anonymous
O rosa bella (S) / In pace, Veni creator spiritus (T) Anonymous Appears on: 1v–2r Genres: Quodlibet
2v–3r	Seule esgaree, Le maleuruex habandonne (S) / O rosa bella (T)	-	Anonymous
Seule esgaree, Le maleuruex habandonne (S) / O rosa bella (T) Anonymous Appears on: 2v–3r Genres: Quodlibet
3v–4r	Mon seuil plaisir (S) / La dolour que je rechoy, Leal en amours (T)	-	Anonymous
Mon seuil plaisir (S) / La dolour que je rechoy, Leal en amours (T) Anonymous Appears on: 3v–4r Genres: Quodlibet
4v–6r	Ma bouche rit et ma pensée pleure	-	Ockeghem, Jean de (ca. 1410–1497)
Ma bouche rit et ma pensée pleure Ockeghem, Jean de (ca. 1410–1497) Appears on: 4v–6r Genres: Chanson
6v–7r	Et deusse morir en servant ma dame	-	Anonymous
Et deusse morir en servant ma dame Anonymous Appears on: 6v–7r Genres: Chanson
7v–8r	Tart ara mon coeur sa plaisance	-	Molinet, Jehan
Tart ara mon coeur sa plaisance Molinet, Jehan Appears on: 7v–8r Genres: Chanson
8v–9r	Cados cados adonay cherubin	-	Anonymous
Cados cados adonay cherubin Anonymous Appears on: 8v–9r Genres: Chanson
9v–10r	Vostre rigeur trop importune	-	Anonymous
Vostre rigeur trop importune Anonymous Appears on: 9v–10r Genres: Chanson
10v	Se une fois puis recouvrir joie	-	Ghizeghem, Hayne van (ca. 1445–ca. 1497)
Se une fois puis recouvrir joie Ghizeghem, Hayne van (ca. 1445–ca. 1497) Appears on: 10v Genres: Chanson Layout S & residuum of Ct only; T & beginning of Ct are on the other half of the opening, now f36r in Seville 5-1-43
11r	L'a je bien frique / Galoises de Savoie / J'ayme une dame	-	Anonymous
L'a je bien frique / Galoises de Savoie / J'ayme une dame Anonymous Appears on: 11r Genres: Rondeau Layout T & Ct only
11v–13r	He Robinet - Trigalore - Par ung vert pré	-	Anonymous
He Robinet - Trigalore - Par ung vert pré Anonymous Appears on: 11v–13r Genres: Chanson
13v–14r	Comme femme desconfortée	-	Binchois, Gilles (ca. 1400–1460)
Comme femme desconfortée Binchois, Gilles (ca. 1400–1460) Appears on: 13v–14r Genres: Chanson
14v–15r	N'aray je jamais mieux que j'ai	Morton	Morton, Robert
N'aray je jamais mieux que j'ai Morton, Robert Appears on: 14v–15r Genres: Chanson Source Attribution: Morton
15v–16r	Pour quelque paine que j'ensure	-	Anonymous
Pour quelque paine que j'ensure Anonymous Appears on: 15v–16r Genres: Chanson
16v–17r	He fortune pourquoi suis fortunée	-	Anonymous
He fortune pourquoi suis fortunée Anonymous Appears on: 16v–17r Genres: Chanson
17v–18r	Amours amours trop me fiers de tes dars	-	Ghizeghem, Hayne van (ca. 1445–ca. 1497)
Amours amours trop me fiers de tes dars Ghizeghem, Hayne van (ca. 1445–ca. 1497) Appears on: 17v–18r Genres: Chanson
18v–19r	Tout a par moi	-	Frye, Walter (–ca. 1475) (?) Binchois, Gilles (ca. 1400–1460) (?)
Tout a par moi Frye, Walter (–ca. 1475) (?) Binchois, Gilles (ca. 1400–1460) (?) Appears on: 18v–19r Genres: Chanson
19v	Fausse langue Dieu te mauldie	-	Anonymous
Fausse langue Dieu te mauldie Anonymous Appears on: 19v Genres: Chanson General Note S only; remianing voices on folio missing when MS purchased by Colon.
20v	Vostre bruit et vostre grant fame	-	Du Fay, Guillaume (1397–1474)
Vostre bruit et vostre grant fame Du Fay, Guillaume (1397–1474) Appears on: 20v Genres: Chanson, Rondeau General Note S only; opposite page missing from both Paris 4379 & Seville 5-1-43
21r	Par le regard de vos beaux yeux	-	Du Fay, Guillaume (1397–1474)
Par le regard de vos beaux yeux Du Fay, Guillaume (1397–1474) Appears on: 21r Genres: Chanson, Rondeau Layout T & Ct only, Discantus is in the other part of the MS (Seville 5-1-43) at 49v
21v–22r	Gentil madona de no me habandonare	-	Bedingham, John (–ca. 1460)
Gentil madona de no me habandonare Bedingham, John (–ca. 1460) Appears on: 21v–22r Genres: Italian secular
22v–23r	Pour prison ne pour maladie	-	Binchois, Gilles (ca. 1400–1460)
Pour prison ne pour maladie Binchois, Gilles (ca. 1400–1460) Appears on: 22v–23r Genres: Chanson
23v–24r	Mon seul plaisir, ma douce joie	-	Du Fay, Guillaume (1397–1474) (?) Bedingham, John (–ca. 1460)
Mon seul plaisir, ma douce joie Du Fay, Guillaume (1397–1474) (?) Bedingham, John (–ca. 1460) Appears on: 23v–24r Genres: Chanson
24v–25r	Je ne pourroye plus celer	-	Anonymous
Je ne pourroye plus celer Anonymous Appears on: 24v–25r Genres: Chanson
25v–26r	Le serviteur hault guerdonné assovy	-	Du Fay, Guillaume (1397–1474)
Le serviteur hault guerdonné assovy Du Fay, Guillaume (1397–1474) Appears on: 25v–26r Genres: Chanson, Rondeau
26v–27r	Terriblement suis fortunée	-	Anonymous
Terriblement suis fortunée Anonymous Appears on: 26v–27r Genres: Chanson
27v–28r	J'ai pris amours	-	Anonymous
J'ai pris amours Anonymous Appears on: 27v–28r Genres: Chanson
28v–29r	Si j'ai votre grace requise	-	Anonymous
Si j'ai votre grace requise Anonymous Appears on: 28v–29r Genres: Chanson
29v–30r	Le malheureux abandonne	-	Anonymous
Le malheureux abandonne Anonymous Appears on: 29v–30r Genres: Chanson
30v	O rosa bella, o Deitatis cella (= O quam suavis est domina)	-	Dunstaple, John (ca. 1390–1453) (?) Bedingham, John (–ca. 1460) (?)
O rosa bella, o Deitatis cella (= O quam suavis est domina) Dunstaple, John (ca. 1390–1453) (?) Bedingham, John (–ca. 1460) (?) Appears on: 30v Genres: Motet Layout Discantus only; Ct & T on Seville 5-1-43 f.50r
31r	C'est temps perdu	-	Caron, Firminus (ca. 1460–ca. 1475) (?) Morton, Robert (?)
C'est temps perdu Caron, Firminus (ca. 1460–ca. 1475) (?) Morton, Robert (?) Appears on: 31r Genres: Chanson General Note Ct & T here; S is in Seville 5-1-43, f.99v
31v–32r	A ma premiere volente	-	Anonymous
A ma premiere volente Anonymous Appears on: 31v–32r Genres: Chanson
32v–33r	Tousjours me vient de mal en pis	-	Anonymous
Tousjours me vient de mal en pis Anonymous Appears on: 32v–33r Genres: Chanson
33v–34r	Qui ne le croit est il dampné	-	Anonymous
Qui ne le croit est il dampné Anonymous Appears on: 33v–34r Genres: Chanson
34v–35r	Je ne serai plus vert vestus	-	Pres, Philipert de
Je ne serai plus vert vestus Pres, Philipert de Appears on: 34v–35r Genres: Chanson
35v–36r	Ten is niet leden heide lanck	-	Anonymous
Ten is niet leden heide lanck Anonymous Appears on: 35v–36r Genres: Lied
36v–37r	Tart ara mon coeur sa plaisance	-	Molinet, Jehan
Tart ara mon coeur sa plaisance Molinet, Jehan Appears on: 36v–37r Genres: Chanson
37v–38r	Prochain de deul, longain de joye	-	Anonymous
Prochain de deul, longain de joye Anonymous Appears on: 37v–38r Genres: Chanson
38v–39r	Se brief je puis voir ma dame.	-	Busnoys, Antoine (ca. 1430–1492) (?) Caron, Firminus (ca. 1460–ca. 1475) (?)
Se brief je puis voir ma dame. Busnoys, Antoine (ca. 1430–1492) (?) Caron, Firminus (ca. 1460–ca. 1475) (?) Appears on: 38v–39r Genres: Chanson
39v–40r	D'un bon du coeur sans autre amer	-	Anonymous
D'un bon du coeur sans autre amer Anonymous Appears on: 39v–40r Genres: Chanson
40v–41r	Fortuna desperata - 1a pars (of 2): Fortuna desperata	-	Busnoys, Antoine (ca. 1430–1492) (?)
Fortuna desperata - 1a pars (of 2): Fortuna desperata Busnoys, Antoine (ca. 1430–1492) (?) Appears on: 40v–41r Genres: Italian secular
40v–41r	Fortuna desperata - 2a pars (of 2):	-	Busnoys, Antoine (ca. 1430–1492) (?)
Fortuna desperata - 2a pars (of 2): Busnoys, Antoine (ca. 1430–1492) (?) Appears on: 40v–41r Genres: Italian secular
41v–42r	Esprouver my fault elamy	-	Anonymous
Esprouver my fault elamy Anonymous Appears on: 41v–42r Genres: Chanson
42v	Ma maitresse - 1a pars (of 2): Ma maitresse et ma plus grande amie	-	Ockeghem, Jean de (ca. 1410–1497)
Ma maitresse - 1a pars (of 2): Ma maitresse et ma plus grande amie Ockeghem, Jean de (ca. 1410–1497) Appears on: 42v Genres: Chanson General Note S only, CT & T (& whole of 2a pars) in Seville 5-1-43, f. 100v-101r
43r	Belle vueilliés vostre mercy donner	-	Du Fay, Guillaume (1397–1474)
Belle vueilliés vostre mercy donner Du Fay, Guillaume (1397–1474) Appears on: 43r Genres: Chanson, Rondeau Voice: [no designation] Languages: French Voice Text: Belle vueillés vostre mercy donner General Note T and Ct only as facing page missing
43v–44r	Esse le mieux que puiseis fair	-	Anonymous
Esse le mieux que puiseis fair Anonymous Appears on: 43v–44r Genres: Chanson
44v–46r	Leggiadra (lizadra) donna ch'el mio cor contenti	-	Ciconia, Johannes (ca. 1370–1412)
Leggiadra (lizadra) donna ch'el mio cor contenti Ciconia, Johannes (ca. 1370–1412) Appears on: 44v–46r Genres: Ballata
46v–47r	O rosa bella / O dio d'amore - 1a pars (of 2): O rosa bella / O dio d'amore	-	Ciconia, Johannes (ca. 1370–1412)
O rosa bella / O dio d'amore - 1a pars (of 2): O rosa bella / O dio d'amore Ciconia, Johannes (ca. 1370–1412) Appears on: 46v–47r Genres: Italian secular
47v–48r	O rosa bella / O dio d'amore - 2a pars (of 2): Ay lassa me	-	Ciconia, Johannes (ca. 1370–1412)
O rosa bella / O dio d'amore - 2a pars (of 2): Ay lassa me Ciconia, Johannes (ca. 1370–1412) Appears on: 47v–48r Genres: Chanson General Note 2p lacks Ct
48v–49r	Dolçe fortuna	-	Ciconia, Johannes (ca. 1370–1412)
Dolçe fortuna Ciconia, Johannes (ca. 1370–1412) Appears on: 48v–49r Genres: Italian secular Voice: [no designation] Languages: Italian Voice Text: Dolçe fortuna General Note Used as music for the lauda Dolze Signiore de' in Chigi 266, f. 120.
49v–50r	Benedicamus Domino = Va tent souspir je t'en supplie	-	Grossin, Estienne (?)
Benedicamus Domino = Va tent souspir je t'en supplie Grossin, Estienne (?) Appears on: 49v–50r Genres: Chanson, Contrafactum, Motet Voice: [no designation] Languages: French Voice Text: Va t’ent souspier je t’en supplie
50v–51r	Amours mercy - 1a pars (of 2): Amours mercy de trestout mon pooir	-	Binchois, Gilles (ca. 1400–1460)
Amours mercy - 1a pars (of 2): Amours mercy de trestout mon pooir Binchois, Gilles (ca. 1400–1460) Appears on: 50v–51r Genres: Chanson
51v–52r	Amours mercy - 2a pars (of 2): C'est une fois que je n'ay souvenir	-	Binchois, Gilles (ca. 1400–1460)
Amours mercy - 2a pars (of 2): C'est une fois que je n'ay souvenir Binchois, Gilles (ca. 1400–1460) Appears on: 51v–52r Genres: Chanson
52v–53r	Bon jour bon mois bon an et bonne estraine	-	Du Fay, Guillaume (1397–1474)
Bon jour bon mois bon an et bonne estraine Du Fay, Guillaume (1397–1474) Appears on: 52v–53r Genres: Chanson, Rondeau
53v–54r	Donnes confort a vostre amy	-	Anonymous
Donnes confort a vostre amy Anonymous Appears on: 53v–54r Genres: Chanson
54v–55r	Se ne prenés de moi pité	-	Lantins, Arnold de (–1432)
Se ne prenés de moi pité Lantins, Arnold de (–1432) Appears on: 54v–55r Genres: Chanson
55v–56r	Quant je mire vos doulce portraiture	-	Lantins, Arnold de (–1432)
Quant je mire vos doulce portraiture Lantins, Arnold de (–1432) Appears on: 55v–56r Genres: Chanson
56v–57r	Esse bien fait mon amy gratieux	-	Anonymous
Esse bien fait mon amy gratieux Anonymous Appears on: 56v–57r Genres: Chanson
57v–58r	Ce premier jour que commence l'année	-	Anonymous
Ce premier jour que commence l'année Anonymous Appears on: 57v–58r Genres: Chanson, Rondeau
58v–59r	Adieu m'amour [=ma dame] et ma maistresse	-	Binchois, Gilles (ca. 1400–1460)
Adieu m'amour [=ma dame] et ma maistresse Binchois, Gilles (ca. 1400–1460) Appears on: 58v–59r Genres: Chanson, Rondeau
59v–60r	Mon seul vouloir	-	Gemblaco (Gembloux), Johannes Franchois de
Mon seul vouloir Gemblaco (Gembloux), Johannes Franchois de Appears on: 59v–60r Genres: Rondeau, Song
60v	De bien amer quand l'ai enpris	-	Fontaine, Pierre
De bien amer quand l'ai enpris Fontaine, Pierre Appears on: 60v Genres: Rondeau, Song General Note Cantus only
61r	La belle se siet au piet de la tour	-	Du Fay, Guillaume (1397–1474) (?)
La belle se siet au piet de la tour Du Fay, Guillaume (1397–1474) (?) Appears on: 61r Genres: Chanson Voice: [no designation] Languages: French Voice Text: La belle General Note Tenor only
61r	Je me recommande humblement	-	Binchois, Gilles (ca. 1400–1460)
Je me recommande humblement Binchois, Gilles (ca. 1400–1460) Appears on: 61r Genres: Chanson General Note Tenor only
61r	Adieu m'amour [=ma dame] et ma maistresse	-	Binchois, Gilles (ca. 1400–1460)
Adieu m'amour [=ma dame] et ma maistresse Binchois, Gilles (ca. 1400–1460) Appears on: 61r Genres: Chanson, Rondeau General Note Tenor only
61v	Ave Regina caelorum (1)	-	Du Fay, Guillaume (1397–1474)
Ave Regina caelorum (1) Du Fay, Guillaume (1397–1474) Appears on: 61v Genres: BVM, Motet General Note Tenor only
61v	Je ne suy plus tel que soloye	-	Du Fay, Guillaume (1397–1474)
Je ne suy plus tel que soloye Du Fay, Guillaume (1397–1474) Appears on: 61v Genres: Chanson General Note Tenor only
62r	Bien viengnant, ma tresredoubtée	-	-
Bien viengnant, ma tresredoubtée - Appears on: 62r Genres: Rondeau General Note Tenor only
62v	Con lagrime bagnandome el viso	-	Ciconia, Johannes (ca. 1370–1412)
Con lagrime bagnandome el viso Ciconia, Johannes (ca. 1370–1412) Appears on: 62v Genres: Italian secular Voice: [no designation] Languages: Italian Voice Text: Con lagrime bagnandome General Note Tenor only
63r	Fugir non posso dal tuo dolze volto	-	Ciconia, Johannes (ca. 1370–1412) (?)
Fugir non posso dal tuo dolze volto Ciconia, Johannes (ca. 1370–1412) (?) Appears on: 63r Genres: Italian secular Voice: [no designation] Languages: Italian Voice Text: Fugir non posso dal tuo dolze volto General Note T only
63v	Imera dat hodierno	-	Grossin, Estienne
Imera dat hodierno Grossin, Estienne Appears on: 63v Genres: Motet Voice: [no designation] Languages: Latin Voice Text: Imera dat hodierno General Note Tenor only
64r	Espoir m'est venu conforter	-	Vide, Jacobus
Espoir m'est venu conforter Vide, Jacobus Appears on: 64r Genres: Chanson General Note Tenor only
64r	Amours servir et honnourer	-	Lantins, Arnold de (–1432)
Amours servir et honnourer Lantins, Arnold de (–1432) Appears on: 64r Genres: Chanson General Note Tenor only
64r	Bon jour bon mois bon an et bonne estraine	-	Du Fay, Guillaume (1397–1474)
Bon jour bon mois bon an et bonne estraine Du Fay, Guillaume (1397–1474) Appears on: 64r Genres: Chanson, Rondeau General Note Tenor only
64v	Adieu Adieu, mon joyeux souvenir	-	Binchois, Gilles (ca. 1400–1460)
Adieu Adieu, mon joyeux souvenir Binchois, Gilles (ca. 1400–1460) Appears on: 64v Genres: Chanson General Note Tenor only
64v	Esclave a deuil et forain de liesse	-	Lantins, Arnold de (–1432)
Esclave a deuil et forain de liesse Lantins, Arnold de (–1432) Appears on: 64v Genres: Chanson General Note Tenor only
65	Rendre me vieng a vous sauve la vie	-	Binchois, Gilles (ca. 1400–1460)
Rendre me vieng a vous sauve la vie Binchois, Gilles (ca. 1400–1460) Appears on: 65 Genres: Chanson General Note Tenor only
65	Tota pulchra es amica mea et macula II: Flores apparuerunt	-	Lantins, Arnold de (–1432) (?)
Tota pulchra es amica mea et macula II: Flores apparuerunt Lantins, Arnold de (–1432) (?) Appears on: 65 Genres: Motet Voice: [no designation] Languages: Latin Voice Text: Tota pulchra es amica mea et macula General Note Tenor only
65v–66	O luce	-	Anonymous
O luce Anonymous Appears on: 65v–66 Genres: Italian secular General Note Tenor only
66v	Per la mia cara o dolze amor	-	Anonymous
Per la mia cara o dolze amor Anonymous Appears on: 66v Genres: Italian secular General Note Tenor only
68v	Merce per dio	-	Anonymous
Merce per dio Anonymous Appears on: 68v Genres: Italian secular General Note Tenor only
69v–70r	Jamays per amors (= La la veudehô de muger ?)	-	Anonymous
Jamays per amors (= La la veudehô de muger ?) Anonymous Appears on: 69v–70r Genres: Chanson
70v–71r	Bien le conoys	-	Anonymous
Bien le conoys Anonymous Appears on: 70v–71r Genres: Chanson
71v–72r	Se n'ay secours de vous, ma dame	-	Anonymous
Se n'ay secours de vous, ma dame Anonymous Appears on: 71v–72r Genres: Chanson
72v–73r	On sele set	-	Anonymous
On sele set Anonymous Appears on: 72v–73r Genres: Chanson
73v–74r	Tant fort me tarde	-	Basiron, Philippe (ca. 1449–1491)
Tant fort me tarde Basiron, Philippe (ca. 1449–1491) Appears on: 73v–74r Genres: Chanson Concordances Concordance with Mureau's setting in I-Fn MS Magl. XIX.176? not checked.
74v–75r	Mille bonjours	-	Du Fay, Guillaume (1397–1474)
Mille bonjours Du Fay, Guillaume (1397–1474) Appears on: 74v–75r Genres: Chanson, Rondeau
75v–76r	Au retour de maladie	-	Anonymous
Au retour de maladie Anonymous Appears on: 75v–76r Genres: Chanson
76v–77r	Se je ne vous voye ma gente maistresse	-	Anonymous
Se je ne vous voye ma gente maistresse Anonymous Appears on: 76v–77r Genres: Chanson
77v–78r	Que je puisse sans votre grace	-	Anonymous
Que je puisse sans votre grace Anonymous Appears on: 77v–78r Genres: Chanson
78v–79r	Domine non secundum peccata nostra	-	Madrid, Juan Fernandez de
Domine non secundum peccata nostra Madrid, Juan Fernandez de Appears on: 78v–79r Genres: Tract Voice: [no designation] Languages: Latin Voice Text: Domine non secundum peccata nostra
79v–80r	Domine ne memineris	-	Anonymous
Domine ne memineris Anonymous Appears on: 79v–80r Genres: Motet
80v–81r	Quia pauperis	-	Anonymous
Quia pauperis Anonymous Appears on: 80v–81r Genres: Motet
81v–83r	[Gloria] Et in terra pax	-	Anonymous
[Gloria] Et in terra pax Anonymous Appears on: 81v–83r Genres: Gloria (et in terra pax), Mass Ordinary
83v–84r	Benedicamus Domino	-	Anonymous
Benedicamus Domino Anonymous Appears on: 83v–84r Genres: Benedicamus Domino, Motet Voice: [no designation] Languages: Latin Voice Text: Benedicamus domino
84v–85r	Secundum verbum tuum	Vaede	Urrede (Wrede), Juan de (fl. 1451-c1482)
Secundum verbum tuum Urrede (Wrede), Juan de (fl. 1451-c1482) Appears on: 84v–85r Genres: Motet Source Attribution: Vaede Voice: [no designation] Languages: Latin Voice Text: Secundum verbum tuum
85v–86r	Et gloriam plebis tue Israel	-	Anonymous
Et gloriam plebis tue Israel Anonymous Appears on: 85v–86r Genres: Motet
86v–92r	Magnificat 6 toni: Et exultavit	-	Urrede (Wrede), Juan de (fl. 1451-c1482)
Magnificat 6 toni: Et exultavit Urrede (Wrede), Juan de (fl. 1451-c1482) Appears on: 86v–92r Genres: Magnificat

Composer	Compositions
Anonymous	A ma premiere volente – 31v–32r Au retour de maladie – 75v–76r Benedicamus Domino – 83v–84r Bien le conoys – 70v–71r Bien viengnant, ma tresredoubtée – 62r Cados cados adonay cherubin – 8v–9r Ce premier jour que commence l'année – 57v–58r D'un bon du coeur sans autre amer – 39v–40r Domine ne memineris – 79v–80r Donnes confort a vostre amy – 53v–54r Esprouver my fault elamy – 41v–42r Esse bien fait mon amy gratieux – 56v–57r Esse le mieux que puiseis fair – 43v–44r Et deusse morir en servant ma dame – 6v–7r Et gloriam plebis tue Israel – 85v–86r Fausse langue Dieu te mauldie – 19v He Robinet - Trigalore - Par ung vert pré – 11v–13r He fortune pourquoi suis fortunée – 16v–17r J'ai pris amours – 27v–28r Jamays per amors (= La la veudehô de muger ?) – 69v–70r Je ne pourroye plus celer – 24v–25r L'a je bien frique / Galoises de Savoie / J'ayme une dame – 11r Le malheureux abandonne – 29v–30r Merce per dio – 68v Mon seuil plaisir (S) / La dolour que je rechoy, Leal en amours (T) – 3v–4r O luce – 65v–66 O rosa bella (S) / In pace, Veni creator spiritus (T) – 1v–2r On sele set – 72v–73r Per la mia cara o dolze amor – 66v Pour prison ne pour maladie (S) / Passio Domini nostri (T) – 1r Pour quelque paine que j'ensure – 15v–16r Prochain de deul, longain de joye – 37v–38r Que je puisse sans votre grace – 77v–78r Qui ne le croit est il dampné – 33v–34r Quia pauperis – 80v–81r Se je ne vous voye ma gente maistresse – 76v–77r Se n'ay secours de vous, ma dame – 71v–72r Seule esgaree, Le maleuruex habandonne (S) / O rosa bella (T) – 2v–3r Si j'ai votre grace requise – 28v–29r Ten is niet leden heide lanck – 35v–36r Terriblement suis fortunée – 26v–27r Tousjours me vient de mal en pis – 32v–33r Vostre rigeur trop importune – 9v–10r [Gloria] Et in terra pax – 81v–83r
Basiron, Philippe (ca. 1449–1491)	Tant fort me tarde – 73v–74r
Bedingham, John (–ca. 1460)	Gentil madona de no me habandonare – 21v–22r Mon seul plaisir, ma douce joie – 23v–24r (?) O rosa bella, o Deitatis cella (= O quam suavis est domina) – 30v
Binchois, Gilles (ca. 1400–1460)	Adieu Adieu, mon joyeux souvenir – 64v Adieu m'amour [=ma dame] et ma maistresse – 58v–59r Adieu m'amour [=ma dame] et ma maistresse – 61r Amours mercy - 1a pars (of 2): Amours mercy de trestout mon pooir – 50v–51r Amours mercy - 2a pars (of 2): C'est une fois que je n'ay souvenir – 51v–52r Comme femme desconfortée – 13v–14r Je me recommande humblement – 61r Pour prison ne pour maladie – 22v–23r Rendre me vieng a vous sauve la vie – 65 (?) Tout a par moi – 18v–19r
Busnoys, Antoine (ca. 1430–1492)	(?) Fortuna desperata - 1a pars (of 2): Fortuna desperata – 40v–41r (?) Fortuna desperata - 2a pars (of 2): – 40v–41r (?) Se brief je puis voir ma dame. – 38v–39r
Caron, Firminus (ca. 1460–ca. 1475)	(?) C'est temps perdu – 31r (?) Se brief je puis voir ma dame. – 38v–39r
Ciconia, Johannes (ca. 1370–1412)	Con lagrime bagnandome el viso – 62v Dolçe fortuna – 48v–49r (?) Fugir non posso dal tuo dolze volto – 63r Leggiadra (lizadra) donna ch'el mio cor contenti – 44v–46r O rosa bella / O dio d'amore - 1a pars (of 2): O rosa bella / O dio d'amore – 46v–47r O rosa bella / O dio d'amore - 2a pars (of 2): Ay lassa me – 47v–48r
Du Fay, Guillaume (1397–1474)	Ave Regina caelorum (1) – 61v Belle vueilliés vostre mercy donner – 43r Bon jour bon mois bon an et bonne estraine – 52v–53r Bon jour bon mois bon an et bonne estraine – 64r Je ne suy plus tel que soloye – 61v (?) La belle se siet au piet de la tour – 61r Le serviteur hault guerdonné assovy – 25v–26r Mille bonjours – 74v–75r (?) Mon seul plaisir, ma douce joie – 23v–24r Par le regard de vos beaux yeux – 21r Vostre bruit et vostre grant fame – 20v
Dunstaple, John (ca. 1390–1453)	(?) O rosa bella, o Deitatis cella (= O quam suavis est domina) – 30v
Fontaine, Pierre	De bien amer quand l'ai enpris – 60v
Frye, Walter (–ca. 1475)	(?) Tout a par moi – 18v–19r
Gemblaco (Gembloux), Johannes Franchois de	Mon seul vouloir – 59v–60r
Ghizeghem, Hayne van (ca. 1445–ca. 1497)	Amours amours trop me fiers de tes dars – 17v–18r Se une fois puis recouvrir joie – 10v
Grossin, Estienne	(?) Benedicamus Domino = Va tent souspir je t'en supplie – 49v–50r Imera dat hodierno – 63v
Lantins, Arnold de (–1432)	Amours servir et honnourer – 64r Esclave a deuil et forain de liesse – 64v Quant je mire vos doulce portraiture – 55v–56r Se ne prenés de moi pité – 54v–55r (?) Tota pulchra es amica mea et macula II: Flores apparuerunt – 65
Madrid, Juan Fernandez de	Domine non secundum peccata nostra – 78v–79r
Molinet, Jehan	Tart ara mon coeur sa plaisance – 36v–37r Tart ara mon coeur sa plaisance – 7v–8r
Morton, Robert	(?) C'est temps perdu – 31r N'aray je jamais mieux que j'ai – 14v–15r
Ockeghem, Jean de (ca. 1410–1497)	Ma bouche rit et ma pensée pleure – 4v–6r Ma maitresse - 1a pars (of 2): Ma maitresse et ma plus grande amie – 42v
Pres, Philipert de	Je ne serai plus vert vestus – 34v–35r
Urrede (Wrede), Juan de (fl. 1451-c1482)	Magnificat 6 toni: Et exultavit – 86v–92r Secundum verbum tuum – 84v–85r
Vide, Jacobus	Espoir m'est venu conforter – 64r

Composition	Composers (? Uncertain)	Folios / Pages
[Gloria] Et in terra pax	Anonymous	81v–83r
A ma premiere volente	Anonymous	31v–32r
Adieu Adieu, mon joyeux souvenir	Binchois, Gilles (ca. 1400–1460)	64v
Adieu m'amour [=ma dame] et ma maistresse	Binchois, Gilles (ca. 1400–1460)	58v–59r
Adieu m'amour [=ma dame] et ma maistresse	Binchois, Gilles (ca. 1400–1460)	61r
Amours amours trop me fiers de tes dars	Ghizeghem, Hayne van (ca. 1445–ca. 1497)	17v–18r
Amours mercy - 1a pars (of 2): Amours mercy de trestout mon pooir	Binchois, Gilles (ca. 1400–1460)	50v–51r
Amours mercy - 2a pars (of 2): C'est une fois que je n'ay souvenir	Binchois, Gilles (ca. 1400–1460)	51v–52r
Amours servir et honnourer	Lantins, Arnold de (–1432)	64r
Au retour de maladie	Anonymous	75v–76r
Ave Regina caelorum (1)	Du Fay, Guillaume (1397–1474)	61v
Belle vueilliés vostre mercy donner	Du Fay, Guillaume (1397–1474)	43r
Benedicamus Domino	Anonymous	83v–84r
Benedicamus Domino = Va tent souspir je t'en supplie	Grossin, Estienne (?)	49v–50r
Bien le conoys	Anonymous	70v–71r
Bien viengnant, ma tresredoubtée	-	62r
Bon jour bon mois bon an et bonne estraine	Du Fay, Guillaume (1397–1474)	52v–53r
Bon jour bon mois bon an et bonne estraine	Du Fay, Guillaume (1397–1474)	64r
C'est temps perdu	Caron, Firminus (ca. 1460–ca. 1475) (?) Morton, Robert (?)	31r
Cados cados adonay cherubin	Anonymous	8v–9r
Ce premier jour que commence l'année	Anonymous	57v–58r
Comme femme desconfortée	Binchois, Gilles (ca. 1400–1460)	13v–14r
Con lagrime bagnandome el viso	Ciconia, Johannes (ca. 1370–1412)	62v
D'un bon du coeur sans autre amer	Anonymous	39v–40r
De bien amer quand l'ai enpris	Fontaine, Pierre	60v
Dolçe fortuna	Ciconia, Johannes (ca. 1370–1412)	48v–49r
Domine ne memineris	Anonymous	79v–80r
Domine non secundum peccata nostra	Madrid, Juan Fernandez de	78v–79r
Donnes confort a vostre amy	Anonymous	53v–54r
Esclave a deuil et forain de liesse	Lantins, Arnold de (–1432)	64v
Espoir m'est venu conforter	Vide, Jacobus	64r
Esprouver my fault elamy	Anonymous	41v–42r
Esse bien fait mon amy gratieux	Anonymous	56v–57r
Esse le mieux que puiseis fair	Anonymous	43v–44r
Et deusse morir en servant ma dame	Anonymous	6v–7r
Et gloriam plebis tue Israel	Anonymous	85v–86r
Fausse langue Dieu te mauldie	Anonymous	19v
Fortuna desperata - 1a pars (of 2): Fortuna desperata	Busnoys, Antoine (ca. 1430–1492) (?)	40v–41r
Fortuna desperata - 2a pars (of 2):	Busnoys, Antoine (ca. 1430–1492) (?)	40v–41r
Fugir non posso dal tuo dolze volto	Ciconia, Johannes (ca. 1370–1412) (?)	63r
Gentil madona de no me habandonare	Bedingham, John (–ca. 1460)	21v–22r
He fortune pourquoi suis fortunée	Anonymous	16v–17r
He Robinet - Trigalore - Par ung vert pré	Anonymous	11v–13r
Imera dat hodierno	Grossin, Estienne	63v
J'ai pris amours	Anonymous	27v–28r
Jamays per amors (= La la veudehô de muger ?)	Anonymous	69v–70r
Je me recommande humblement	Binchois, Gilles (ca. 1400–1460)	61r
Je ne pourroye plus celer	Anonymous	24v–25r
Je ne serai plus vert vestus	Pres, Philipert de	34v–35r
Je ne suy plus tel que soloye	Du Fay, Guillaume (1397–1474)	61v
L'a je bien frique / Galoises de Savoie / J'ayme une dame	Anonymous	11r
La belle se siet au piet de la tour	Du Fay, Guillaume (1397–1474) (?)	61r
Le malheureux abandonne	Anonymous	29v–30r
Le serviteur hault guerdonné assovy	Du Fay, Guillaume (1397–1474)	25v–26r
Leggiadra (lizadra) donna ch'el mio cor contenti	Ciconia, Johannes (ca. 1370–1412)	44v–46r
Ma bouche rit et ma pensée pleure	Ockeghem, Jean de (ca. 1410–1497)	4v–6r
Ma maitresse - 1a pars (of 2): Ma maitresse et ma plus grande amie	Ockeghem, Jean de (ca. 1410–1497)	42v
Magnificat 6 toni: Et exultavit	Urrede (Wrede), Juan de (fl. 1451-c1482)	86v–92r
Merce per dio	Anonymous	68v
Mille bonjours	Du Fay, Guillaume (1397–1474)	74v–75r
Mon seuil plaisir (S) / La dolour que je rechoy, Leal en amours (T)	Anonymous	3v–4r
Mon seul plaisir, ma douce joie	Du Fay, Guillaume (1397–1474) (?) Bedingham, John (–ca. 1460)	23v–24r
Mon seul vouloir	Gemblaco (Gembloux), Johannes Franchois de	59v–60r
N'aray je jamais mieux que j'ai	Morton, Robert	14v–15r
O luce	Anonymous	65v–66
O rosa bella (S) / In pace, Veni creator spiritus (T)	Anonymous	1v–2r
O rosa bella / O dio d'amore - 1a pars (of 2): O rosa bella / O dio d'amore	Ciconia, Johannes (ca. 1370–1412)	46v–47r
O rosa bella / O dio d'amore - 2a pars (of 2): Ay lassa me	Ciconia, Johannes (ca. 1370–1412)	47v–48r
O rosa bella, o Deitatis cella (= O quam suavis est domina)	Dunstaple, John (ca. 1390–1453) (?) Bedingham, John (–ca. 1460) (?)	30v
On sele set	Anonymous	72v–73r
Par le regard de vos beaux yeux	Du Fay, Guillaume (1397–1474)	21r
Per la mia cara o dolze amor	Anonymous	66v
Pour prison ne pour maladie	Binchois, Gilles (ca. 1400–1460)	22v–23r
Pour prison ne pour maladie (S) / Passio Domini nostri (T)	Anonymous	1r
Pour quelque paine que j'ensure	Anonymous	15v–16r
Prochain de deul, longain de joye	Anonymous	37v–38r
Quant je mire vos doulce portraiture	Lantins, Arnold de (–1432)	55v–56r
Que je puisse sans votre grace	Anonymous	77v–78r
Qui ne le croit est il dampné	Anonymous	33v–34r
Quia pauperis	Anonymous	80v–81r
Rendre me vieng a vous sauve la vie	Binchois, Gilles (ca. 1400–1460)	65
Se brief je puis voir ma dame.	Busnoys, Antoine (ca. 1430–1492) (?) Caron, Firminus (ca. 1460–ca. 1475) (?)	38v–39r
Se je ne vous voye ma gente maistresse	Anonymous	76v–77r
Se n'ay secours de vous, ma dame	Anonymous	71v–72r
Se ne prenés de moi pité	Lantins, Arnold de (–1432)	54v–55r
Se une fois puis recouvrir joie	Ghizeghem, Hayne van (ca. 1445–ca. 1497)	10v
Secundum verbum tuum	Urrede (Wrede), Juan de (fl. 1451-c1482)	84v–85r
Seule esgaree, Le maleuruex habandonne (S) / O rosa bella (T)	Anonymous	2v–3r
Si j'ai votre grace requise	Anonymous	28v–29r
Tant fort me tarde	Basiron, Philippe (ca. 1449–1491)	73v–74r
Tart ara mon coeur sa plaisance	Molinet, Jehan	7v–8r
Tart ara mon coeur sa plaisance	Molinet, Jehan	36v–37r
Ten is niet leden heide lanck	Anonymous	35v–36r
Terriblement suis fortunée	Anonymous	26v–27r
Tota pulchra es amica mea et macula II: Flores apparuerunt	Lantins, Arnold de (–1432) (?)	65
Tousjours me vient de mal en pis	Anonymous	32v–33r
Tout a par moi	Frye, Walter (–ca. 1475) (?) Binchois, Gilles (ca. 1400–1460) (?)	18v–19r
Vostre bruit et vostre grant fame	Du Fay, Guillaume (1397–1474)	20v
Vostre rigeur trop importune	Anonymous	9v–10r

Images © Bibliothèque Nationale, Paris

Set: Seville Chansonnier

Type: Fragments of a whole

E-Sc 5-1-43 (Seville Chansonnier)

F-Pnm NAF 4379 (Seville Chansonnier (part))

‡ denotes primary source study

Cuthbert, Michael Scott. 2006. Trecento fragments and Polyphony beyond the codex. Harvard University, Ph.D.

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, 144-6,210-2. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Baumann, Dorothea. 1984. Silben- und Wortwiederholungen im italienischen Liedrepertoire des späten Trecento und frühen Quattrocento. Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts: Vorträge des Gastsymposiums in der Herzog August Bibliothek Wolfenbüttel, 8. bis 12. September 198, Göttinger Musikwissenschaftliche Arbeiten. edited by Dorothea Baumann, 77-91. Kassel: Bärenreiter. Pages: 77-92.

Brown, Howard Mayer (editor). 1983. A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale MS Banco Rari 229. Monuments of Renaissance Music. Chicago and London. Pages: 191,210,212ff,224, passim. Notes: physical description (partial); contents list (partial); concordances (partial); mention of MS; discussion.

Hanen, Martha Knight. 1983. The Chansonnier El Escorial IV.a.24: Commentary and Edition. Musicological Studies. 3 vols. Henryville, Ottawa, and Binningen. Pages: I, 30, 36-8, 163-70; II1,442-5. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

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: 202,211. Notes: contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.

Atlas, Allan W. 1981. Review of Perkins, Leeman L: and Garey, Howard (eds.): "The Mellon Chansonnier" (New Haven and London, 1979). Journal of the American Musicological Society, 132ff. Pages: 139-40. Notes: physical description; mention of MS; discussion.

Atlas, Allan W. 1981. Conflicting Attributions in Italian Sources of the Franco-Netherlandish Chanson, c. 1465-c. 1505: A Progress Report on a New Hypothesis. Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, Cambridge. Pages: 260-2,269-71,278,281,283. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Atlas, Allan W (editor). 1981. Robert Morton: The Collected Works. Masters and Monuments of the Renaissance. New York. Pages: xxiii,xxvi-xxvii,xxxi,xxxvi,3-4,62-4,77-85,89-92. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Boorman, Stanley. 1981. Limitations and Extensions of Filiation Technique. Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, edited by Stanley Boorman, 319-46. Cambridge: Cambridge University Press. Pages: 326-39. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Bernstein, Lawrence F. 1980. French Duos in the First Half of the Sixteenth Century. Studies in Musicology in Honor of Otto E. Albrecht, , 43-87. Kassel, Basel, and London. Pages: 48-9. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians. London. Pages: IX,627-8. Notes: contents list (partial); transcription (partial); facsimile (partial).

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: III, 29; IV, 43.

Davis, Dennis Michael. 1979. The Structure and Contents of Munich, Bayerische Staatsbibliothek Codex Lat. Mon. 5023. University of Illinois, Unpublished Master's thesis. Pages: 92, 94, 133-4, 150-1. Notes: mention of MS; contents list (partial); concordances (partial); incipits (partial).

Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier. New Haven and London. Pages: I,15; II,169,176-7, 254ff, passim. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Fallows, David. 1978. Robert Morton's Songs: A Study in Styles in the Mid-Fifteenth Century. University of California at Berkeley, Unpublished Ph.D. dissertation. Pages: 76,433-4,458,497. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Gore, Glenn Leon. 1978. The Works of Philippe Basiron (Philippon?): Transcription and Commentary. West Virginia University, Unpublished Ph.D. dissertation. Pages: I,27-8, 108-11; Il, xviii. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Hoppin, Richard H. 1978. Medieval Music. New York: W. W. Norton. Pages: 495.

Pope, Isabel, and Masakata Kanazawa (editors). 1978. The Musical Manuscript Montecassino 871: A Neapolitan Repertory of Sacred and Secular Musk of the Late Fifteenth Century. Oxford. Pages: 489,547ff, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Kemp, Walter H. 1976. The Manuscript Escorial V.III.24. Musica Disciplina, 97-129. Pages: 112,118. Notes: mention of MS; contents list (partial); concordances (partial).

Thompson, James (editor). 1976. Les Oeuvres Completes de Philippe (?) Caron. Transcription et Notes Critiques de James Thomson. Brooklyn: Institute of Mediaeval Music. Pages: II, iv, 170,194-5. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Atlas, Allan W. 1975-6. The Cappella Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C. G.XIII.27). Musicological Studies. Brooklyn. Pages: I,164,178,180,183-5,192-6,212-3,257. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Pirrotta, Nino. 1972. Ricercare e variazioni su "O rosa bella". Studi Musicali, 59-77.

Moerk, Alice Anne. 1971. The Seville Chansonnier: An Edition of Seville 5-1-43 and Paris N.A.FR. 4379 (Pt 1). West Virginia University, Ph.D. Dissertation. Notes: physical description; contents list; concordances; texts; 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: 72-85, Taf. 1-2. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Bernstein, Lawrence F. 1969. Cantus Firmus in the French Chanson for Two and Three Voices, 1500-1550. New York University, Unpublished Ph.D. dissertation. Pages: 129-30. Notes: contents list (partial); mention of MS; discussion.

Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica. 3 vols. Copenhagen. Pages: II,86-7,182-3. Notes: physical description; contents list (partial); concordances (partial).

Günther, Ursula. 1966. Die 'anonymen' Kompositionen des Manuskripts Paris, B.N., fonds it. 568 (Pit). Archiv für Musikwissenschaft, 73-92.

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: 155. Notes: physical description; contents list (partial); concordances (partial); incipits (partial).

Plamenac, Dragan. 1965. The Two-Part Quodlibets in the Seville Chansonnier. The Commonwealth of Music, 163-81. London and New York. Notes: contents list (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Plamenac, Dragan. 1962. Facsimile Reproduction of the Manuscripts Sevilla 5-1-43 & Paris N. A. Fr. 4379 (Pt. 1). Publications of Medieval Musical Manuscripts. Brooklyn. Notes: physical description; contents list (partial); concordances (partial); facsimile.

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,54-7,79; II,11-2,15-8, 63-7,73-7. Notes: contents list (partial); concordances (partial); incipits (partial); transcription (partial); mention of MS; discussion.

Schmitz, Arnold (editor). 1955-. Musikalische Denkmäler. Mainz. Pages: II,13*,55,62ff. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Reaney, Gilbert. 1955. The Manuscript Oxford, Bodleian Library, Canonici Misc. 213. Musica Disciplina, 73-104. Pages: 88ff. Notes: contents list (partial); concordances (partial).

Plamenac, Dragan. 1953. New light on the Codex Faenza 117. Bericht über den internationalen Kongress für Kirchenmusik in Bern, 1952, Publikationen der schweizerischen musikforschenden Gesellschaft. 310–326. Bern: Paul Haupt. Pages: 310-326.

Pirrotta, Nino. 1952. Paolo Tenorista, fiorentino 'extra moenia'. Estudios Dedicados a Menéndez Pidal III, edited by Nino Pirrotta, 577-606. Madrid: Consejo superior de investigaciones scientificas. Pages: 577-606.

Plamenac, Dragan. 1951-1952. A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville. The Musical Quarterly, (37) 501-542, (38) 85-117, 245-77. Notes: physical description (partial); contents list; concordances; facsimile (partial); mention of MS; discussion.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: X,800-1; XII,984. Notes: physical description (partial).

de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: V.xli; VI, passim. Notes: physical description (partial); contents list (partial); concordances (partial).

Plamenac, Dragan (editor). 1947-. Johannes Ockeghem: Collected Works. American Musicological Society. Pages: II,xxxvii,116. Notes: contents list (partial); transcription (partial).

Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola. Madrid (later Barcelona, later Rome). Pages: I, 107-10,118; X,19-20,23. Notes: physical description; contents list (partial); concordances (partial).

Blume, Friedrich (editor). 1929-. Das Chorwerk. Berlin/Wolfenbüttel. Pages: XIX,4; XLV,13-4. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Jeppesen, Knud (editor). 1927. New York, 1965 (reprint, with new remarks by the editor). Der Kopenhagener Chansonnier: Das Manuskript Thott 291s der Königlichen Bibliothek Kopenhagen. Copenhagen and Leipzig. Copenhagen and Leipzig. Pages: lxxi,lxxviii-lxxix. Notes: physical description; contents list (partial); concordances (partial).

Besseler, Heinrich. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv für Musikwissenschaft, 167-252. Pages: 232-3. Notes: contents list (partial); concordances (partial).

Wolf, Johannes (editor). 1908-21. Reprint: Farnborough, England, 1968. Werken van Jacob Obrecht. Leipzig and Amsterdam,. Pages: XV/XVI,xix-xx,92-4. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.

Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: I,211-3. Notes: physical description; contents list (partial); concordances (partial).

Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: XIV/XV,30; XXVIII, 190-1,196-8. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Delisle, Leopold. 1891. Bibliothèque Nationale. Manuscrits Latins et Français Ajoutés aux Fonds des Nouvelles Acquisitions pendant les Années 1875-1891. Paris. Pages: 127-30. Notes: physical description; contents list.

Omont, Henri (editor). 1868-1902. Bibliothèque Nationale: Catalogue Général des Manuscrits Français. Paris. Pages: XVI,177. Notes: physical description.

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Michael Cuthbert

Monday, 21 December, 2020

The music on f 45v/46r "Tu say che honesto" is the second half of the previous piece "Lizadra donna" by Ciconia; separate composition "Tu say che.." deleted, extent of & images for Lizadra donna extended to include 45v/46r

Scott Metcalfe

Thursday, 6 August, 2020

"Rendre me vieng" moved from f. 65v to f. 65.

Scott Metcalfe

Thursday, 6 August, 2020

"Merce per dio" moved to 68v, not 67v. (67v-68 are blank.) Basiron added as composer of "Tan fort me tarde" on 73v-74 – it is ascribed to “Phelippon” in RCas (see Fallows, Catalogue, p. 380).

François-Pierre Goy

Tuesday, 3 March, 2020

Archive name updated (belatedly!!) to ' Bibliothèque nationale de France'; siglum altered to that of the manuscript dept, F-Pnm. Shelfmarks for items in the Manuscripts department changed to read F-Pn fond français -> F-Pnm Français F-Pn fonds italien -> F-Pnm Italien F-Pn fonds latin -> F-Pnm Latin F-Pn nouvelles acquisitions françaises -> F-Pnm NAF F-Pn nouvelles acquisitions latines -> F-Pnm NAL F-Pn collection de Picardie -> F-Pnm Picardie F-Pn Coll. Roths. MS 2973 -> F-Pnm Rothschild 2973

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