F-Pnm Latin 3549

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

chant book with added polyphony: 12th and early 13th century

Archive Bibliothèque nationale de France, Département des Manuscrits, Paris, France (F-Pnm)
Shelfmark Latin 3549
Image Availability The images on this record are linked using IIIF.
Surface Mixed Paper and Parchment
Numbering System Foliation
Measurements 195 x 140 mm
Other Identifiers
  • RISM: StM-B
  • olim (Former shelfmark): F-Pn fonds latin 3549
Notations
  • Aquitanian diastematic neumes
Relationships
External Links
Provenance
Contents 19 pieces from 1 composers
General Description

The most important music section of this MS runs from f. 149-169. A different, much neater hand takes over from f. 167v-168, but f. 168v-169 contains somewhat later additions. The polyphony in score is, as usual at this period, in two parts, which are separated by a red line. The clefs are c, f and g. Most compositions can be classified as conductus, though no. 3 is perhaps best described as an organum.

DIAMM, 2017
Binding

identical with StM-A. StM-B is clearly from St. Martial itself, since the librarian Bernart Itier had the volume bound in 1205 and before that he wrote his name with the designation succentor in 1198 on f. 22.

DIAMM, 2017
Notation

Aquitanian point

DIAMM, 2017
Ruling

5 accolades of 2 generally four-line dry-point staves per page; single stave (nos. 18 and 19)

DIAMM, 2017
Foliation

relatively modern foliation at t.r.r.; the four parchment flyleaves at the front are unfoliated

DIAMM, 2017
Decoration

Carolingian minuscule script employs red initials

DIAMM, 2017
Surface

iv parchment + ii paper + 169 parchment + ii paper

DIAMM, 2017
RISM Description

RISM B/IV 1: A 12th and early 13th century parchment manuscript meas. 195 x 140 mm. as a whole and containing 169 folios + 2 unnumbered paper flyleaves each end. The foliation at t.r.r. is relatively modern, and has to be supplemented by 4 unnumbered parchment flyleaves at the front. The binding is identical with StM-A. StM-B is clearly from St. Martial itself, since the librarian Bernart Itier had the volume bound in 1205 and before that he wrote his name with the designation succentor in 1198 on f. 22. The musically important part of the ms runs from f. 149-169 and dates from the second half of the 12th century. A different, much neater hand takes over from f. 167v-168, but f. 168v-169 contains somewhat later additions. The Carolingian minuscule script employs red initials and Aquitanian point notation on 5 accolades of 2 generally four-line dry-point staves per page. The two motets nos. 18 and 19 are exceptions, since the two parts are written in an unusual manner on a single stave. The polyphony in score is, as usual at this period, in two parts, which are separated by a red line. The clefs are c, f and g. Most compositions can be classified as conductus, though no. 3 is perhaps best described as an organum.

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Répertoire International des Sources Musicales

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
149–v Veri solis radius et sol pleni - Anonymous

Veri solis radius et sol pleni

Anonymous
Appears on: 149–v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Veri solis radius et sol pleni
150v–151v Per partum virginis - Anonymous

Per partum virginis

Anonymous
Appears on: 150v–151v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Per partum virginis
General Note

a brief section is monodic, from "Qui pro nobis" o "gloria"
151v–152 Viderunt Hemanuel - Anonymous

Viderunt Hemanuel

Anonymous
Appears on: 151v–152
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Viderunt Hemanuel
152–153 O primus homo coruit - Anonymous

O primus homo coruit

Anonymous
Appears on: 152–153
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: O primus homo coruit
General Note

stanzas IV and V monodic
153–153v Senescente mundano filio - Anonymous

Senescente mundano filio

Anonymous
Appears on: 153–153v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Senescente mundano filio
153v–154 Nuptialis hodie dies celebratur - Anonymous

Nuptialis hodie dies celebratur

Anonymous
Appears on: 153v–154
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Nuptialis hodie dies celebratur
154–154v Omnis curet homo promere cantica - Anonymous

Omnis curet homo promere cantica

Anonymous
Appears on: 154–154v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Omnis curet homo promere cantica
General Note

partly monodic
154v–156 Rex Salamon fecit templum - Anonymous

Rex Salamon fecit templum

Anonymous
Appears on: 154v–156
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Rex Salamon fecit templus
156–157 Arce siderea occurens unicus - Anonymous

Arce siderea occurens unicus

Anonymous
Appears on: 156–157
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Arce siderea occurens unicus
157–157v Inviolata Maria intacta permanens - Anonymous

Inviolata Maria intacta permanens

Anonymous
Appears on: 157–157v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Inviolata Maria intacta permanens
157v Laude jocunda melos turma persona - Anonymous

Laude jocunda melos turma persona

Anonymous
Appears on: 157v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Laude iocunda melos turma persona
General Note

only 3 double versicles
158 Alle caeleste necnon et perhenne luia - Anonymous

Alle caeleste necnon et perhenne luia

Anonymous
Appears on: 158
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Alle celeste necnon et perhenne luia
158v Victimae paschali laudes immolent Christiani - Anonymous

Victimae paschali laudes immolent Christiani

Anonymous
Appears on: 158v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Victime pascali laudes immolant
158v–159 Christo inclita candida - 1a pars (of 2): Christo inclita candida nostra canunt - Anonymous

Christo inclita candida - 1a pars (of 2): Christo inclita candida nostra canunt

Anonymous
Appears on: 158v–159
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Christo inclita candida
159v Rex omnipotens die hodierna - Anonymous

Rex omnipotens die hodierna

Anonymous
Appears on: 159v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Rex omnipotens die odierna
General Note

occasionally monodic
159v–160 Sancti spiritus adsit nobis - Anonymous

Sancti spiritus adsit nobis

Anonymous
Appears on: 159v–160
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Sancti spiritus adsit nobis
160–160v Adsit Johannis Baptiste solemnus noster chorus - Anonymous

Adsit Johannis Baptiste solemnus noster chorus

Anonymous
Appears on: 160–160v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: Adsit Johannis Baptiste sollemnus noster corus
166–166v Cedit tempus hiemale / Benedicamus Domino - Anonymous

Cedit tempus hiemale / Benedicamus Domino

Anonymous
Appears on: 166–166v
Genres: Benedicamus Domino, Motet
Voice: [no designation]
Languages: Latin
Voice Text: Cedit tempus hiemale
Voice: Tenor
Languages: Latin
Voice Text: Benedicamus domino
General Note

written as a monody, this early motet has the T melismas following each section of the Mot
166v–167 Stirps Jesse florigeram / Benedicamus Domino - Anonymous

Stirps Jesse florigeram / Benedicamus Domino

Anonymous
Appears on: 166v–167
Genres: Benedicamus Domino, Motet
Voice: Tenor
Languages: Latin
Voice Text: [Benedicamus domino]
Voice: [no designation]
Languages: Latin
Voice Text: Stirps Isse florigeram
General Note

written on a single stave, the T notes of this early motet are distinguished from the Mot by circles or semicircles round them
Composer Compositions
Anonymous
Composition Composers (? Uncertain) Folios / Pages
Adsit Johannis Baptiste solemnus noster chorus Anonymous 160–160v
Alle caeleste necnon et perhenne luia Anonymous 158
Arce siderea occurens unicus Anonymous 156–157
Cedit tempus hiemale / Benedicamus Domino Anonymous 166–166v
Christo inclita candida - 1a pars (of 2): Christo inclita candida nostra canunt Anonymous 158v–159
Inviolata Maria intacta permanens Anonymous 157–157v
Laude jocunda melos turma persona Anonymous 157v
Nuptialis hodie dies celebratur Anonymous 153v–154
O primus homo coruit Anonymous 152–153
Omnis curet homo promere cantica Anonymous 154–154v
Per partum virginis Anonymous 150v–151v
Rex omnipotens die hodierna Anonymous 159v
Rex Salamon fecit templum Anonymous 154v–156
Sancti spiritus adsit nobis Anonymous 159v–160
Senescente mundano filio Anonymous 153–153v
Stirps Jesse florigeram / Benedicamus Domino Anonymous 166v–167
Veri solis radius et sol pleni Anonymous 149–v
Victimae paschali laudes immolent Christiani Anonymous 158v
Viderunt Hemanuel Anonymous 151v–152
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Images © Bibliothèque Nationale, Paris

‡ denotes primary source study

Davison, Archibald Thompson, and Willi Apel (editors). 1966. Historical Anthology of Music. Vol. I. Oriental, Medieval and Renaissance Music.  Cambridge, Massachusetts. Pages: no. 27a (transcription of StM-B 3).

Stäblein, Bruno. 1963. Modale Rhythmen im Saint-Martial-Repertoire. Festschrift Friedrich Blume zum 70 Geburtstag,

Zaminer, Frieder. 1959. Der Vatikanische Organum-Traktat (Ottob. lat. 3025). Pages: 148ff.

Husmann, Heinrich. 1955. Die mittelalterliche Mehrstimmigkeit. Pages: no. 2 (transcription of StM-B 16).

Finscher, Ludwig. 1949-79. Motette. I. Von den Anfängen bis Ciconia. Die Musik in Geschichte und Gegenwart, 1st Edition, . Pages: 642 (facsimile of opening of StM-B 19); 638f.

Husmann, Heinrich. 1949-79. Notre-Dame-Epoche. Die Musik in Geschichte und Gegenwart, 1st Edition, . Pages: 1704 (facsimile off. 159v).

Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600.  Cambridge, Massachusetts. Pages: 211 (facsimile of StM-B 3).

Schneider, Màrius. 1935. Geschichte der Mehrstimmigkeit. 2 vols. Pages: nos. 118, 119, 120, 123, 126 + 127, 131 (transcription of StM-B 17, 2, 7, 1, 13 and 19); 84ff.

Spanke, Hans. 1930-1931. St. Martial-Studien. Zeitschrift für französische Sprache und Literatur, 282ff,385ff. Pages: 304ff, 385ff, 396f.

Spanke, Hans. 1928-1932. Die Londoner St. Martial-Conductushandschrift', and Anglès, H: 'La música del Ms. de Londres, British Museum, Add. 36881. Butlletí de la Biblioteca de Catalunya, 280ff. Pages: 289ff (texts of StM-B 1, 2, 4 and 7 after StM-D), 307f (transcription of StM-B 7 after StM-D).

Handschin, Jacques. 1924 (1925). Über den Ursprung der Motette. Bericht über den musikwissenschaftlichen Kongreß in Basel 1924, Pages: 196 (transcription of StM-B 19); 191ff.

Ludwig, Friedrich. 1910), 101ff; Die mehrstimmige Musik des 14. Jahrhunderts in <em>SIMG</em> IV (1902. Die mehrstimmige Musik des 11. und 12. Jahrhunderts. Bericht über den III. Kongreß der IMG, 16ff. Pages: 105ff.

Ludwig, Friedrich. 1910. Repertorium organorum recentioris et motetorum vetustissimi stili. I. Catalogue raisonné. 1. Handschriften in Quadratnotation.  Halle: Niemayer. Pages: 12.

Blume, C, and Guido Maria Dreves (editors). 1886-1922; Reprinted: Frankfurt am Main 1961; Indices 1978. Analecta Hymnica Medii Aevi. 55 vols. Leipzig. Pages: VII, 183, 98, 118, 72 (texts of StM-B 11, 12, 14 and 15), XX, 13, 86, 225, 153, 20, 43, 125, 246 (texts of StM-B 1-4, 6, 7,18 and 19), XXXIX, 85 (text of 9).

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Monday, 23 January, 2017

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