DIAMM

Digital Image Archive of Medieval Music

Source: F-CA MS B 1328

manuscript of polyphony , 13th and 14th centuries; provenance: France

Archive
Mediathèque Municipale (formerly Bibliothèque Municipale) [F-CA]
Shelfmark
MS B 1328
Date
13th and 14th centuries
Description

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External/additional data sources:

14th-century French music notation tutorials

transcribed texts, Selected images of all Cambrai MSS

RISM description:

RISM B/IV 2: 21 folios from at least 4 parchment manuscripts dating from the 13th and 14th centuries, and now arbitrarily collected together under one signature. Ludwig thinks 16 folios come from the same codex of the second half of the 14th century. If this is so, the motet section on f. 17-20 and f. 11 and 12 belongs to the same source as the secular songs (Ballades, Rondeaux and Virelais) on f. 2, 4, 7-10 and 13-15. Quite clearly in a different hand and from different mss are f. 5 and 6 (which should proceed in the reverse of the present order), f. 3, and f. 16 and 21. Fol. 5 and 6 contain a three-part Agnus and the well-known Ballade De ce que fol pense, which also appears as no. 23 in the main codex. The two folios in question employ a neater notation than the principal ms and their somewhat smaller page size meas. 225 x 165 mm. The Ars Nova notation is written on 8 red five-line staves per page (f. 5v in brown). The bottom of f. 6 is cut away. Fol. 16-21 are from a Gregorian codex and contain liturgical monodies on 9-10 red four-line staves per page. Fol. 3 meas. 225 x 158 mm. contains 4 known Rondeaux of Adam de la Hale in a pre-Franconian notation of the late 13th century with long-breve differentiation, c.o.p. ligatures and three-semibreve groups or breve + two-semibreve groups. As usual in this type of composition, there are 3 accolades of 3 red four-line staves per page in score with red or blue initials. Once again the present recto is really the verso and vice versa. Ludwig believes the mass section on f. 1 belongs to the main codex with the motets and secular songs. The motets are written in 2 cols., however, while the secular songs and mass pieces go straight across the page in the same Ars Nova notation. The various pages meas. as follows: f. 1: 305 x 237 mm., f. 2: 302 x 205 mm., f. 4: 244 x 185 mm., f. 7: 242 x 185 mm., f. 8: 303 x 208 mm., f. 9: 310 x 213 mm., f. 10: 316 x 220 mm., f. 11: 309 x 220 mm., f. 12: 303 x 227 mm., f. 13: 277 x 198 mm., f. 14: 275 x 187 mm., f. 15: 310 x 210 mm., f. 18: 283 x 233 mm. Fol. 17-20 form a consecutive pair of bifolios which are cut down at top and bottom, though f. 18 is complete at the top. The other pages are not quite as long. Fol. 19 and 20 are cut in half vertically, so that only the left col. of the motets remains. Since these 21 pages have been removed from various bindings, often without sufficient care, a number of pages which were formerly glued into bindings are now almost or completely illegible. These include f. 1v, 2v, 4v, 7, 8v, 9v, 11, 12, 13v, 14, 15. Finally, here are a few further details of the individual pages, which are now foliated in 19th century ink at t.r.r. Fol. 1 contains 11 (originally 12) red five-line staves per page and employs red initials. Fol. 2 employs red or blue initials and the same number of staves as f. 1. Fol. 4 is similar to f. 2 but cut down, so that only 8 staves remain. Fol. 7 is also a cut-down page like f.4, doubtless from the same ms. Fol. 8 is a larger piece again, but upside down. The recto bears an old folio number viii at t.m.r. Initials are red or blue, and there are 11 red five-line staves per page. Fol. 9 employs some red notes, again on 11 red five-line staves. On f. 11 the top stave is cut away; there were originally 12 red five-line staves per page, as on f. 12. Fol. 13 has now only 10 red five-line staves per page with red or blue initials. Fol. 15 contains 11 red five-line staves, f. 15v 10. Fol. 17-20 contained originally 12 staves.

Please send corrections or new information to diamm[at]music.ox.ac.uk for consideration by the editorial board

Provenance
France
Notation
Ars Nova notation
RISM
RISM 1

Bibliography

  • View Lerch, Irmgard: Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spätmittelalterlicher Polyphonie 2 vols., Göttinger Musikwissenschaftliche Arbeiten Vol. 11 (Kassel: Bärenreiter, 1987) [Reviewed by Marielle Popin in Revue de musicologie, 75 (1989). pp. 292–93.]
  • View Hamm, Charles; Kellmann, Herbert (eds.): Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550 5 vols., Renaissance Manuscript Studies Vol. 1 (Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag, 1979-1988)
  • View Günther, Ursula (ed.): 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 Vol. 39 (Neuhausen nr. Stuttgart: American Institute of Musicology, 1965) , XXXVff [Notes: none]
  • View Stäblein-Harder, Hanna: Fourteenth-Century Mass Music in France, Corpus mensurabilis musicae Vol. 29 (Neuhausen nr. Stuttgart: American Institute of Musicology, 1962) , I, 66f, 132f, 139f (transcription of CA 1328 2, 14 and 41); II, 51, 78, 81, 138, 167f, 169 [Notes: none]
  • View Günther, Ursula (ed.): Zehn Datierbare Kompositionen der Ars Nova (Hamburg: Selbstverlag des musikwissenschaftlichen Instituts der Universität Hamburg, 1959) , no. 6 (transcription of CA 1328 18) [Notes: none]
  • View Jackson, R: 'Musical interrelations between 14th century mass movements' Acta Musicologica 29 (1957), 54ff
  • View Reaney, Gilbert (ed.): Early Fifteenth-Century Music, Corpus mensurabilis musicae Vol. 11, 1-6 (Rome: American Institute of Musicology, 1955-83) , 102 ff (transcription of CA 1328 24 after ms Oxford, Bodleian Library, Canonici misc. 213) [Notes: none]
  • View Schrade, L: The Polyphonic Music of the Fourteenth Century 3 vols. (1954 -1956) [Commentary to Volumes II and III, edited by Leo Schrade (Monaco: Editions de L'Oiseau-Lyre, 1956 (typescript))] , I, 82ff, 85ff, 76ff (transcription of CA 1328 39, 42 and 47); II-III, Rondeau 7, Ballade 18 and motet 8 (transcription of CA 1328 29, 35 and 49) [Notes: none]
  • View Auda, A: Les "Motets Wallons" du manuscrit de Turin: Vari 42 2 vols. (1953) , I-H, motet 26 (facsimile and transcription of CA 1328 38 after I-Tu) [Notes: none]
  • View Apel, Willi (ed.): French Secular Music of the Late Fourteenth Century (Cambridge, Massachusetts: The Medieval Academy of America, 1950) , no. 69 (transcription of CA 1328 44); [Notes: none]
  • View Chailley, J: Adam de la Halle, Rondeaux a trois voix egales (1942) , nos. 1-4 (tran-scription of CA 1328 7-10) [Notes: none]
  • View Wolf, Johannes (ed.): Sing- und Spielmusik aus älterer Zeit. Beispielband zur allgemeinen Musikgeschichte (2nd edition Leipzig, 1931) , pl. 81 (facsimile of CA 1328 19 after CK-BEb 421) [Notes: none]
  • View Ludwig, Friedrich (ed.): Guillaume de Machaut: Musikalische Werke, 1-3 (Leipzig: Publikationen älterer Musik, 1926-9) [Vol. 4 completed by H. Besseler, 1943 (destroyed), repr. 1953] , I, Ballade 18 and Rondeau 7; III, motet 8 (transcription of CA 1328 35, 29 and 49); II, 20f and passim [Notes: none]
  • View Besseler, Heinrich: 'Studien zur Musik des Mittelalters: II. Die Motette von Franko von Köln bis Philipp van Vitry' Archiv für Musikwissenschaft 8 (1926), 137-258 , II, 254ff, 247ff, 250ff (transcription of CA 1328 37, 42 and 47) [Notes: none]
  • View Ludwig, Friedrich: 'Die Quellen der Motetten ältesten Stils' Archiv für Musikwissenschaft 5 (1923), 185-222, Vol. 5 (1924) 273-315. , 283ff [Notes: none]
  • View Gennrich, Friedrich: Rondeaux, Virelais und Balladen aus dem Ende des 12., dem 13. und dem ersten Drittel des 14. Jahrhunderts 2 vols. (1921, 1927) , I, 54ff (transcription of CA 1328 7-10); II, 50 (transcription of CA 1328 19) [Notes: none]
  • View Wolf, Johannes: Handbuch der Notationskunde (Leipzig, 1913-9; Reprinted: Hildesheim, 1963) , I, 354ff (transcription of CA 132815 = 23) [Notes: none]
  • View Coussemaker, C E H de: Histoire de l'harmonie au moyen-âge (1852)
  • View Coussemaker, Edmond de: Notice sur les collections musicales de la bibliothèque de Cambrai et des autres villes du département du Nord (Paris, 1843) , nos. 19, 20, 23, 24-25, 21, 22, 10-11, 12, 15, 16, 17, 18 and 26 (editions of texts of CA 1328 3, 4, 18,19, 20, 21, 25, 26, 27, 28, 33, 34 and 36) [Notes: none]

Table of contents

  • View 1 1 Patrem omnipotentem [Credo]
  • View 2 1v Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater   - ? Philippe de Vitry (Philippus, Vitriaco)
  • View 3 3 Lés l’ormel a la turele chevauchay / Main se leva sire Garins li clos / Je ne chaindrai mais
  • View 4 3v indescipherable
  • View 5 3v-4 Se paour d’umble astinance par douce atrenpance / Dieux, tant desir estre amé de m’amis / Concupisco
  • View 6 4v Benedicamus Domino [Tro] uni deo
  • View 7 5 Colla jugo subdere curias sectari / Bona condit cetera bonum libertatis / Libera me de sanguinibus   - ? Philippe de Vitry (Philippus, Vitriaco)
  • View 8 14-14v illegible
  • View 9 6 Par maintes fois ay oy recorder   - Jacob Vaillant (Jehan, Johannes, Vaillant, Vayllant, Valentis, Valhant)
  • View 10 6v Flos ortus inter lilia quorum radix / Celsa cedrus ysopus effecta / O quam magnus pontifex   - ? Philippe de Vitry (Philippus, Vitriaco)
  • View 11 7 Fortune mere a dolour et nourice / Ma dolour ne cesse pas ains est / Dolor meus
  • View 12 7v Vos quid admiramini virgines / Gratissima virginis species quam decorat   - ? Philippe de Vitry (Philippus, Vitriaco)
  • View 13 2v Flos virginum … Discutiendo gesta David praemia. / Neuma quinti toni
  • View 14 2 Qui es promesses de Fortune se fie / Ha, Fortune, trop suis mis loing de port / Et non est qui adjuvat   - Guillaume de Machaut (Machau, Machault, Guillelmus de Machandio, Mascandio; Wilhelmi de Maschaudio)
  • View 15 8 Pour ce que je ne puis mie ou vous m’avez, douce amie   - Guillaume de Machaut (Machau, Machault, Guillelmus de Machandio, Mascandio; Wilhelmi de Maschaudio)
  • View 16 8 Petit gueredon me rent dur   - Adam de la Halle (Adam, Adan de la Hale, le Bossu, le Boscu, d'Arras)
  • View 17 19v Li dous regars de ma dame me fait   - Adam de la Halle (Adam, Adan de la Hale, le Bossu, le Boscu, d'Arras)
  • View 18 8v Tristour et merancolie
  • View 19 9 Espoirs me duit a mon plus grant besoin / Revieng, espoir, confort … endormie.
  • View 20 9 Ma soulas, plainsance, ne laissiés pas
  • View 21 9v ...ce ne... qui me cong....   - Pierre des Molins (Perotus de Molyno)
  • View 22 10 s’il mest il trop bien avis ce que mon coeur a compris
  • View 23 10 Dame dragme de confort, me vueilliés
  • View 24 10v Avoir autre ne vaurois
  • View 25 10v Dame dragme de confort, me vueilliés
  • View 26 11 Quiconques veut d’amour joïr
  • View 27 11 Donne moi de ton pain bis / J’oy les clés Marion sonner a sa cainture / Alons commenchier la feste
  • View 28 19v Or tost assez vous assemblés
  • View 29 11v Alison Alison diste donc
  • View 30 12 Ne celle amour ne puet estre menour car vostre suy du tout sans deshonnour
  • View 31 12 Un fait d’armes veul annunchier de Robin encontre Restraingne Bregier qui se fait
  • View 32 12v Tant doucement suy pris
  • View 33 12v …du mieundre endroit
  • View 34 13 Par mon serement, Plaisance, quand je ne vous vois
  • View 35 13 Que puet faire un coeur dolent / Ce n’est une merveilles s’un coeur est
  • View 36 13v Se vous n’estes pour mon guerredon   - Guillaume de Machaut (Machau, Machault, Guillelmus de Machandio, Mascandio; Wilhelmi de Maschaudio)
  • View 37 13v Plaisant regard
  • View 38 14v ... douce figure
  • View 39 14 En gage de retourner, tres belle et bonne
  • View 40 14 Pour vous reveoir, douls amis, en tel destreche
  • View 41 15v De petit peu, de nient volenté   - Guillaume de Machaut (Machau, Machault, Guillelmus de Machandio, Mascandio; Wilhelmi de Maschaudio)
  • View 42 15-15v En remirant vo douce pourtraiture / AMours m’a fait
  • View 43 16-18v ...ce ne... qui me cong....   - Pierre des Molins (Perotus de Molyno)
  • View 44 16 J’aime Qui? Vous. Moy! Voire, douce figure   - Paullet
  • View 45 16v Et je ferai li secons, respont li biaus Robichons
  • View 46 16v Venés a nueches sans detri / Vechi l’ermite, dame, qui vois resolva
  • View 47 17-17v Agnus Dei
  • View 48 17 Qant doucement
  • View 49 19 Hareu, li maus d’amer m’ocist   - Adam de la Halle (Adam, Adan de la Hale, le Bossu, le Boscu, d'Arras)
  • View 50 19 Fines amouretes ai, diex, si   - Adam de la Halle (Adam, Adan de la Hale, le Bossu, le Boscu, d'Arras)
  • View 51 19v Je muir, je muir d’amourete, las   - ? Philippe de Vitry (Philippus, Vitriaco) / ? Adam de la Halle (Adam, Adan de la Hale, le Bossu, le Boscu, d'Arras)
  • View 52 20-21 Beata gens cuius est Dominus Deus
  • View 53 20-21 Alleluia. Veni sancte spiritus
  • View 54 20v Spiritus Domini replevit orbem terrarum
  • View 55 21 Confirma hoc Deus
  • View 56 21 Factus est
  • View 57 21v Salve santca parens Officium de BVM
  • View 58 21v Benedicta et venerabilis Officium de BMV
  • View unallocated in inventory Cum statua Nabugodonosor metallina   - Philippe de Vitry (Philippus, Vitriaco)
  • View unallocated in inventory Donne moi de ton pain bis / J’oy les clés Marion sonner a sa cainture / Alons commenchier la feste

Relationships

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