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.
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 |
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| Notations |
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| Relationships |
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| External Links | |
| Provenance |
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| Contents | Contains 15 compositions, 14 from 8 composers, 1 is anonymous. |
General Description
Notation
black void mensural
Date
Early 16th century (MME); before 1507 (ElúsA)
Foliation
Original foliation, i-xxviii (excludes first folio; f. xvi now missing)
Decoration
Inked calligraphic initials.
Index
Incomplete original index on verso of first folio; pieces grouped as 'Salves' and 'Motetes de la Salve.'
Surface
paper
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.
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‡ 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, vol. 5. 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, 2: 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