I-TRbc MS 1374 [87] (Trent 87)

Museo Provinciale d'Arte, Castello del Buonconsiglio, Trento, Italy

manuscript of polyphony: 1430-40

Archive Museo Provinciale d'Arte, Castello del Buonconsiglio, Trento, Italy (I-TRbc)
Shelfmark MS 1374 [87] (Trent 87)
Image Availability DIAMM does not have images of this source. Please refer to the external links for image availability.
Surface Paper
Numbering System Foliation
Measurements 310 x 210 mm
Other Identifiers
  • RISM: I-TRbc 87
  • CCM: TrentC 87
  • olim (Former shelfmark): Trent 87
Notations
  • black void mensural
  • coloration in black full
  • coloration in red
Copyists
External Links
Provenance
  • Basel/Strasbourg, Switzerland?
  • Ciney, Namur, Belgium?
  • Venezia, Italy?
Contents Contains 192 compositions, 122 from 28 composers, 70 are anonymous.
General Description

Composite of at least three originally separate manuscripts or portions of manuscripts: Part I = ff. 1-166 and 197-200 (once joined with new ff. 146-241 of TrentC 92); Part II = ff. 167-196 and 201-218 (once joined with new ff. 242-264 of TrentC 92); Part III = ff. 219-265. Some fascicles in each part may have been separately produced and independently used before being bound together, but all fascicles within each part generally interrelated by repertory, paper, and scribes. Main scribe of Part I identified by WrighT as Johannes Lupi, a musician and priest active in and around Trent between 1447 and his death in 1467; Lupi also copied ZwettlB s.s. and most of Part II of TrentC 92. Four additional scribes in Part I, one of whose hands also appears in Part II of TrentC 92; inscription 'Puntschucherh' on f. 161 is scribal explicit, not name of scribe (FlotzB). Ff. 167'-174 in Part II copied by a single scribe, whose hand is apparently unique to this section (HammMS). Part III possibly copied by H. Battre. Parts I-II possibly copied in Venice or vicinity (DTO), or perhaps in Basel-Strasbourg region (WrighCT). Part III copied in Ciney, Namur province (WhiBS). Parts I-II once formed portions of two separate manuscripts. Some gatherings from both former manuscripts now part of TrentC 92; about 1440, gatherings other than those incorporated into TrentC 92 were reordered and combined to form present Parts I-II by Johannes Lupi (see above), who may also have been responsible for joining present Part III to Parts I-II. Sometime after manuscript reached Trent, Pullois Mass (ff. 167'-174) probably added on staves originally left blank (all other folios in Part II have blank staves only). Manuscript transferred to Vienna in 1891, but returned to Trent following World War I.-

DIAMM, 2017
Binding

Original covers of tooled leather over wooden boards

DIAMM, 2017
Watermark

Part I: (1) resembles Briquet #11702 (two additional variants not in Briquet; same mark also appears in Part II of TrentC 92); (2) resembles Briquet #11882 (three additional variants not in Briquet; same mark also appears in Part II of TrentC 92); (3) three-peaked mountain in circle (not in Briquet; same mark also appears in Part II of TrentC 92); (4) generally resembles Briquet #7890; (5) resembles PiccardO XI, 99; (6) generally resembles Briquet #6387 (WrighCT). Watermark in Part II: three-peaked mountain surmounted by cross (not in Briquet; same mark also appears in Part III of TrentC 92). Watermarks in Part III: (1) Briquet #389; (2) Briquet #5955 (WhiBS).

DIAMM, 2017
Notation

black void mensural with black full coloration (red coloration on f. 239v only)

DIAMM, 2017
Ruling

red staves on ff. 155-166

DIAMM, 2017
Foliation

265 ff

DIAMM, 2017
Foliation

Modern foliation, 1-265

DIAMM, 2017
Decoration

Inked calligraphic initials.

DIAMM, 2017
Surface

paper

DIAMM, 2017
RISM Description

RISM 5

Ces 7 manuscrits, dont les 6 premiers ont été révélés par Haberl en 1885 (cf. Bibliographie), tandis que le 7e ne fut découvert qu'en 1920 (R. von Ficker, in DTÖ 61 (XXXI) VIff) consituent une véritable famille indissoluble en ce qu'ils présentent tant de caractères communs qu'il semble logique d'en donner d'abord une description d'ensemble pour préciser ensuite les particularités de chacun d'eux en même temps que le dépouillement de leur contenu.

Ils fournissent un énorme répertoire en grande partie religieux, sans pour cela que la musique profane soit complètement négligée, qui va de Loqueville à Isaac et Compère, couvrant 25OOff. avec 1870 pièces environ, qui peuvent se dater entre 1420 et 1480. En 1921, R. Wolkan (cf. Bibliographie) avait émis l'opinion que ces mss. copiés à Vienne sous l'impulsion de Johann Hinderbach (né en 1418), secrétaire à la chancellerie impériale, auraient suivi celui-ci à Trente où, en 1455, il avait été nommé prévôt à la cathédrale puis porté à l'évêché en 1465. E. Wellesz va plus loin en les déclarant copiés, à Vienne d'abord puis à Trente, sur ordre de Hinderbach pour sa bibliothèque personnelle qui devait ensuite être donnée au chapitre de la cathédrale (Grove's Dictionary, 5th ed,. 1954). Cependant, comme on ne trouve dans ces mss. aucune pièce de circonstance de la vie de l'empereur Friedrich III, alors que les allusions à des personnages tridentins, même peu célèbres, y sont évidentes et que l'un des copistes Johannes Wiser occupa diverses charges à Trente de 1459 à 1490, il est logique de penser qu'ils ont plutôt été copiés, sinon tous à Trente même, du moins dans l'Italie du nord (cf. Bibliographie, Lunelli). Il est possible aussi qu'ils aient été acquis (en tout cas les plus anciens) par l'évêque de Trente Alexander Masowien, alors en relation avec Amédée VIII de Savoie pour la chapelle duquel ils auraient été copiés (cf. WardTS, p. 144). — On peut diviser ces 7 mss. en deux groupes: d'une part 87 et 92 qui sont les plus anciens, d'autre part 88, 89, 90, 91 et 93 qui sont légèrement postérieurs, 91 étant le plus récent. Le même papier et le même scribe, qui inscrit son nom Puntschucherh au bas du f. 161 du ms 87 (mais s'agit-il d'un nom? Cf. Flotzinger, Bibliographie TRbc 87) se retrouvent pour la première partie du ms. 87 (f. 1—218) et la deuxième partie du ms. 92 (f. 144—239), la relation entre les deux mss. étant de plus soulignée par le fait qu'un Kyrie de Binchois au f. 56v du ms. 87 (n° 34) est accompagné d'une mention renvoyant pour Y Et in terra suivant au premier f. du ms. 92 (n° 2). Ces deux mss. ont certainement été copiés avant 1450 dans l'Italie du Nord, tandis que l'on peut fixer approximativement la date de compilation des cinq autres entre 1445 et 1480, le scribe Johannes Wiser en ayant copié la plus grande partie à Trente même.

Ms. 87

XVe s. 265ff. Papier, 310X210 mm. Foliotation ancienne en eh. arabes en haut à droite des ff. et une foliotation supplémentaire au bas à droite des ff. marquant le début de quelques-uns des cahiers. Les ff. 24r et v, 30, 37, 43v à 45, 48v à 50v, 59v à 60v, 73, 79, 85, 86v, 87, 96v, 106, 123r et v, 131v à 132v, 167, 174v à 196v, 201 à 218v, 246v, 247 sont blancs. Au f. 97, Agnus dei, lv. seul' sur 2 lignes rayées ensuite par le scribe. Notation mesurée blanche (notes rouges au f. 239v). 9 et 10 portées par p.

Ce ms. est constitué de la réunion de plusieurs cahiers copiés séparément et destinés à l'origine à rester indépendants, mais qui furent plus tard rassemblés et reliés pour former le volume actuel. La copie est pour la plus grande partie l'oeuvre d'un seul scribe (probablement Johannes Lupi), aidé parfois de quelques émules dont l'écriture est très voisine de la sienne. Seuls le 15e cahier (f. 167 à 174) et la «section Battre» (f. 219 à 265v) sont très nettement de mains différentes. Les motets de Dufay, Vassilissa ergo (n° 37) pour le départ de Cleophe Malatesta de Rimini en août 1420 et Ecclesie militantis (n° 53) pour l'élection du pape Eugène IV en mars 1431, peuvent servir d'indication pour une datation approximative du ms.

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Répertoire International des Sources Musicales
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.

TRENT. Museo Provinciale d'Arte, Castello del Buon Consiglio. MS 87

2 Masses, 2 Gloria-Credo pairs, 18 Kyries, 15 Glorias, 13 Credos, 8 Sanctus, 7 Agnus, 10 Mass Proper sections, 12 Magnificats, 10 office hymns, 1 processional hymn, 39 motets, 3 Benedicamus dominos, 30 French secular pieces, 1 Latin secular piece, 1 Italian secular piece, 1 German secular piece, 9 textless pieces = 182+5 duplicates = 187

Battre-9 + 12?, Benet-2 + 1?, (Benet/Dunstable)-1, Binchois-18 + 1?, Bloym-1, Bourgois-2, Brassart-9 + 1?, Braxatoris-1, Brugis -1, (Ciconia)-1 + 1?, Dufay-32 + 1?, Dufay/(Limburgia)-1, Dunstable-5, (Forest)-1, Grossin-2, Grossin/(Binchois)-1, J. Legrant-1, R. Liebert-1, Ludovico da Rimini-2 + 1?, N. Merques [C. de MerquesJ-1, Poignare [Pugnare]-1, Power [Leonellus]-3, (Pullois)-1, Roullet-7, Spierinck-1, Tyling-1 + 1?, Velut-1, Verben-1, Zachara da Teramo-1, anon-54

265 paper folios, 310 x 210. Composite of at least three originally separate manuscripts or portions of manuscripts: Part I = ff. 1-166 and 197-200 (once joined with new ff. 146-241 of TrentC 92); Part II = ff. 167-196 and 201-218 (once joined with new ff. 242-264 of TrentC 92); Part III = ff. 219-265. Some fascicles in each part may have been separately produced and independently used before being bound together, but all fascicles within each part generally interrelated by repertory, paper, and scribes. Modern foliation, 1-265. Blank staves only on ff. 24-24', 30, 37, 43'-45, 48'-50', 59'-60', 73, 79, 85, 86'-87, 96', 106, 121, 123-123', 131'-132', 167, 174'-196', 201-218', 246'-247. Original covers of tooled leather over wooden boards. No index.

White mensural notation with black coloration (red coloration on f. 239' only); red staves on ff. 155-166. Main scribe of Part I identified by WrighT as Johannes Lupi, a musician and priest active in and around Trent between 1447 and his death in 1467; Lupi also copied ZwettlB s.s. and most of Part II of TrentC 92. Four additional scribes in Part I, one of whose hands also appears in Part II of TrentC 92; inscription "Puntschucherh" on f. 161 is scribal explicit, not name of scribe (FlotzB). Ff. 167'-174 in Part II copied by a single scribe, whose hand is apparently unique to this section (HammMS). Part III possibly copied by H. Battre. Inked calligraphic initials.

Watermarks in Part I: (1) resembles Briquet #11702 (two additional variants not in Briquet; same mark also appears in Part II of TrentC 92); (2) resembles Briquet #11882 (three additional variants not in Briquet; same mark also appears in Part II of TrentC 92); (3) three-peaked mountain in circle (not in Briquet; same mark also appears in Part II of TrentC 92); (4) generally resembles Briquet #7890; (5) resembles PiccardO XI, 99; (6) generally resembles Briquet #6387 (WrighCT). Watermark in Part II: three-peaked mountain surmounted by cross (not in Briquet; same mark also appears in Part III of TrentC 92). Watermarks in Part III: (1) Briquet #389; (2) Briquet #5955 (WhiBS).

Ca. 1430-40, with one addition ca. 1465. Parts I-II possibly copied in Venice or vicinity (DTO), or perhaps in Basel-Strasbourg region (WrighCT). Part III copied in Ciney, Namur province (WhiBS). Parts I-II once formed portions of two separate manuscripts. Some gatherings from both former manuscripts now part of TrentC 92; about 1440, gatherings other than those incorporated into TrentC 92 were reordered and combined to form present Parts I-II by Johannes Lupi (see above), who may also have been responsible for joining present Part III to Parts I-II. Sometime after manuscript reached Trent, Pullois Mass (ff. 167'-174) probably added on staves originally left blank (all other folios in Part II have blank staves only). Manuscript transferred to Vienna in 1891, but returned to Trent following World War I.

Italian, French and English composers represented by Mass propoer sections, magnificats, office hymns, motets and other sacred and secular French, Latin, Italian and German pieces. A composite of at least three originally separate MSS or portions of MSS.

Vol 4

Date: Ca. 1430-45, with additions to ca. 1465.

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

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‡ denotes primary source study

Bent, Margaret. 2004. Divisi and a versi in early fifteenth-century mass movements. Antonio Zacara da Teramo e il suo tempo, edited by Margaret Bent, 95-137. Lucca: LIM.

Bent, Margaret. 1996. The early use of the sign Ø. Early Music, 24/2: 199-225.

Curtis, Gareth R K, and Andrew B Wathey. 1994. Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory. Royal Musical Association Research Chronicle, 27: 1-69.

Fallows, David. 1986. Songs in the Trent Codices: An Optimistic Handlist. I codici musicali trentini a cento anni dalla loro riscoperta: Atti del convegno 'Laurence Feininger, la musicologia come missione', 170-9. Trent. Notes: contents list (partial); concordances (partial); facsimile (partial).

Ward, Tom Robert. 1986. The Office Hymns of the Trent Manuscripts. I codici musicali trentini a cento anni dalla loro riscoperta: Atti del convegno 'Laurence Feininger, la musicologia come missione', 112-29. Trent. Pages: 113ff, 119, 122. Notes: contents list (partial); facsimile (partial); mention of MS; discussion.

Wright, Peter. 1986. The Aosta-Trent Relationship Reconsidered. I codici musicali trentini a cento anni dalla loro riscoperta: Atti del convegno 'Laurence Feininger, la musicologia come missione', 138-57. Trent. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Wright, Peter. 1986. The Related Parts of Trent, Museo Provinciale d'Arte, Mss. 87 (1374) and 92 (1379): A Paleographical and Text-Critical Study. University of Nottingham, Ph.D. dissertation. Notes: physical description (partial); contents list (partial); concordances (partial); mention of MS; discussion.

Bent, Margaret. 1981. Some Criteria for Establishing Relationships Between Sources of Late-Medieval Polyphony. Music in Medieval and Early Modem Europe: Patronage, Sources and Texts, edited by Margaret Bent, 295-317. Cambridge: Cambridge University Press. Pages: 303.

Curtis, Gareth R K. 1981. Jean Pullois and the Cyclic Mass-Or a Case of Mistaken Identity? Music and Letters, 62: 41-59. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies, vol. 1-5. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag. Pages: III, 222-3.

Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier.  New Haven and London. Pages: II, 179-80, 396-7. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Ward, Tom Robert. 1979. The Polyphonic Office Hymn from 1400 to 1520: A Descriptive Inventory. RMS, vol. 3.  American Institute of Musicology. Notes: contents list (partial); concordances (partial); incipits (partial).

Cobin, Marian W. 1978. The Aosta Manuscript: A Central Source of Early Fifteenth-Century Sacred Polyphony. New York University, Unpublished Ph.D. dissertation. Pages: I, 103ff, 152-70,336-54, passim. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Cox, Bobby Wayne. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation. Pages: 1,32,157-61,191-4,243-8,254-6. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion.

Spilsted, Gary. 1976. Toward the Genesis of the Trent Codices: New Directions and New Findings. Studies in Music from the University of Western Ontario, 1: 55-70. Notes: physical description; mention of MS; discussion.

Dangel-Hofmann, Frohmut. 1975. Der Mehrstimmige Introitus in Quellen des 15. Jahrhunderts. Würzburger Musikhistorische Beitrage, vol. 3.  Tutzing. Pages: 138,221, passim. Notes: physical description; contents list; incipitsst of contents (partial); incipits (partial); mention of MS; discussion.

Flotzinger, Rudolf. 1975. Buntschucherh-Explicit. Festschrift Walter Senn zum 70. Geburtstag, 89-92. Munich and Salzburg. Notes: physical description; mention of MS; discussion.

White, Richard James. 1975. The Battre Section of Trent Codex 87. Indiana University, Unpublished Ph.D. dissertation. Some publications wrong cite the title as 'The Battre Fascicle of the Trent Codex 87'. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion.

Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: VI, ii; II, xxxiv. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Tischler, Hans. 1971. A Three-Part Rondellus in Trent MS 87. Journal of the American Musicological Society, 24: 449-57. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.

Bent, Margaret, Ian D Bent, and Brian Trowell (editors). 1970. John Dunstable complete works. Musica Britannica, vol. VIII.  London. Pages: VIII [rev. ed.], 1,31-3,140-2, 183ff. Notes: contents list (partial); concordances (partial); transcriptions (partial).

[No Author] 1969-70. Codices Musicales Tridentini.  Rome. Pages: DpLpCpFpDis.

Feininger, Laurence K. 1969. II Codice 87 del Castello del Buonconsiglio di Trento. Quadrivium, 10/2: 49-80. Notes: contents list; incipits.

Ward, Tom Robert. 1969. The Polyphonic Office Hymn from the Late Fourteenth Century Until the Early Sixteenth Century. University of Pittsburgh, Unpublished Ph.D. dissertation. Pages: 33-42,288fr, passim. Notes: contents list (partial); concordances (partial); incipits (partial); mention of MS; discussion.

Nitschke, Wolfgang. 1968. Studien zu den Cantus-Firmus-Messen Guillaume Dufays. Berliner Studien zur Musikwissenschaft, vol. 13.  Berlin. Pages: I, 30ff, passim. Notes: contents list (partial); mention of MS; discussion.

Riemann, Hugo, Wilibald Gurlitt, and Hans Heinrich Eggebrecht (editors). 1967. Musik Lexikon: Zwölfte völlig neubearbeitete. 3 vols. Mainz. Pages: Sachteil 12. Aufl. Quellen, 772.

Göllner, Theodor. 1967. Notationsfragmente aus einer Organistenwerkstatt des 15. Jahrhunderts. Archiv für Musikwissenschaft, 24: 170-7. Pages: 172, Abb. 2a. Notes: contents list (partial); concordances (partial); facsimile (partial).

Gülke, Peter (editor). 1967. Johannis Pullois: Opera Omnia. Corpus mensurabilis musicae, vol. 41.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: xiv-xv, 1-8,13-23. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Loyan, Richard K (editor). 1967. Canons in the Trent Codices. Corpus mensurabilis musicae, vol. 38.  Neuhausen nr. Stuttgart: American Institute of Musicology. Notes: contents list (partial); transcription (partial); texts (partial); mention of MS; discussion.

Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: I,94-107, passim; II,13,62-4,70-6. Notes: physical description; contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.  Tutzing. Pages: 170. Notes: contents list (partial); concordances (partial); incipits (partial).

Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I,xii-xiii,xviii,xxv,xxviii,31-5,56-66; II,xiii-xxi,5-7,39-43. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial).

Parris, Arthur. 1965. The sacred works of Gilles Binchois. Bryn Mawr College, Ph.D. Dissertation. Pages: I,ii,81-6,94; II,89ff, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Hamm, Charles E. 1964. A Chronology of the Works of Guillaume Dufay Based on a Study of Mensural Practice.  Princeton. Pages: 4-5,26-7,49-55,66-73,79-86,92-5, 101,117-9,165-78. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Planchart, Alejandro Enrique (editor). 1964. Missae Caput. Collegium Musicum, vol. 5.  New Haven. Pages: 158ff (TRbc 88, 89, 90 et 93).

Damilano, Don Piero. 1963. Fonti musicali della lauda polifonica intorno alla metà del sec. XV. Collectanea Historiae Musicae III, Pages: 63.

Hamm, Charles E. 1962. Manuscript Structure in the Dufay Era. Acta Musicologica, 34: 166-84. Pages: 166,168-74,183. Notes: physical description (partial); contents list (partial); mention of MS; discussion.

Kulleseid, Eleanor Ransom. 1962. The Sacred Music of Gilles Binchois. Columbia University, Unpublished Master's thesis. Pages: 118ff, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Trowell, Brian. 1961. Anonymous English Pieces in Trent 87. Music and Letters, 42: 96-7. Pages: [disputes some conclusions of HamG]. Notes: physical description; mention of MS; discussion.

Ficker, Rudolf von. 1960. The transition on the Continent. New Oxford History of Music, 3: 150ff. Pages: 150f.

Hamm, Charles E. 1960. A Group of Anonymous English Pieces in Trent 87. Music and Letters, 41: 211-5. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Bukofzer, Manfred F. 1958. Changing Aspects of Medieval and Renaissance Music. The Musical Quarterly, 44: 1-18. Pages: passim.

Gottlieb, Louis Edward. 1958. The cyclic masses of Trent Codex 89. University of California, Los Angeles, Ph.D. Dissertation. Pages: I,192-202. Notes: physical description; mention of MS; discussion.

Schmitz, Arnold (editor). 1955-. Musikalische Denkmäler.  Mainz. Pages: II,20,62ff. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Federhofer, Hellmut (editor). 1954-. Musik Alter Meister.  Graz. Pages: XIII,viii,x,4-10. Notes: contents list (partial); transcription (partial); texts (partial).

Westrup, Jack A (editor). 1954-. New Oxford History of Music.  London, New York, and Toronto. Pages: III, 150-1, 219. Notes: physical description; mention of MS; discussion.

Disertori, Benvenuto. 1954. La frottola nella storia della musica. Monumenta N.I., Cremona, Instituta et monumenta, Serie I. 9ff. Pages: xv-xvi. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.

Besseler, Heinrich. 1950; Reprinted: 1974. Bourdon und Fauxbourdon, Studien zum Ursprung der niederländischen Musik.  Leipzig.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik.  Kassel. Pages: I,707; II,1337; VI.1022; XIII,666-73. Notes: physical description (partial); contents list (partial); facsimile (partial); mention of MS; discussion.

de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I-II, IV-VI, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); transcription; exts of pieces (partial); mention of MS; discussion.

[No Author] 1947-. Corpus mensurabilis musicae. The American Institute of Musicology. 110 vols. A-R Editions, Inc. Pages: 38.

Stephan, Wolfgang. 1937. Die Burgundisch-Niederländische Motette zur Zeit Ockeghems.  Kassel.

Lunelli, Renato. 1927. La patria dei codici musicali tridentini. Note D'Archivio per la Storia Musicale, 4: 116-28. Notes: physical description; mention of MS; discussion.

Besseler, Heinrich. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv für Musikwissenschaft, 7: 167-252. Pages: 239f.

Ficker, Rudolf von. 1924. Die frühen Messenkompositionen der Trienter Codices. Studien zur Musikwissenschaft, 11: 3ff.

Wolkan, Rudolf. 1921. Die Heimat der Trienter Musikhandschriften. Studien zur Musikwissenschaft, 8: 5-8. Notes: physical description; mention of MS; discussion.

Adler, Guido. 1909. Über Textlegung in den 'Trienter Codices'. Riemann-Festschrift. Gesammelte Studien Hugo Riemann zum sechzigsten Geburtstage, 51ff. Leipzig. Pages: 51ff.

Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich.  Graz and Vienna. Pages: 14/15 (VII), p. XIIIff; 38 (XIX), p. VIIff.

Haberl, Franz Xavier. 1885-88. Bausteine für Musikgeschichte. 3 vols. Leipzig. Pages: I, 87ff.

Haberl, Franz Xavier. 1885. Wilhelm du Fay, Monographische Studie über dessen Leben und Werke. Vierteljahrsschrift für Musikwissenschaft, 1: 397-530. Pages: 484-6. Notes: physical description (partial); contents list (partial); mention of MS; discussion.

Public Comments

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Clemens Goldberg

Friday, 22 May, 2026

119v-120r, Dufay Donnes lassault: this is the only 3 voices version and poses less problems then the 4 voices versions. I seems to me that this is the original version.

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Clemens Goldberg

Monday, 20 July, 2026

Ecclesiae militantis (85v, 95v) is a 5vv motet not 4vv (as description makes clear)

Clemens Goldberg

Wednesday, 15 July, 2026

252v In seculo: as pointed out by Hans Tischler there is a superius and a tenor conisting of four elements, rearranged in a way to create three lower voices. The piece thus is a four voice "rondellus".

Clemens Goldberg

Tuesday, 14 July, 2026

247v: Gloria Battre: confirmed that superius has the additional word "altissimus" after "domine fili unigenite jesu christe"

Clemens Goldberg

Monday, 13 July, 2026

243: Sanctus; the second and third Sanctus are not two voiced, the tenor is obviously lacking.

Clemens Goldberg

Monday, 13 July, 2026

244v, Agnus Battre: this is a three voice piece

Clemens Goldberg

Tuesday, 7 July, 2026

There is an additional Kyrie on fol. 230r which cannot belong to the preceding Kyrie angelorum as it is in a different mode. This is also the reason why it cannot be simply an alternate Kyrie. The style, hovever, is quite similar to the Kyrie by Binchois and could be composed by him for another complete work. [This matches with the anonymous Kryie listed by R. White lists as no. 15 ('The Battre Fascicle', pp. 51-52).]

Clemens Goldberg

Tuesday, 7 July, 2026

Pointed out that the ascription of O sacrum convivium is merely conjectural (based on R. White's arguments), as there is no mention of a composer.

Clemens Goldberg

Tuesday, 7 July, 2026

Magnificat octavi toni, on fol. 228: as in the Magnificat secundi toni (on fols. 225-225v) a fauxbourdon is implied.

Clemens Goldberg

Monday, 6 July, 2026

225r, Magnificat secundi toni: although it is not mentioned expressly it most certainly is meant to be performed with faux bourdon. Description of the item adjusted accordingly.

Clemens Goldberg

Thursday, 2 July, 2026

219v-220r: Conditor alme. Amended description of the item to clarify that the 5 voices make 2 alternative versions of the hymn, sharing the Ct of the first. The second version replaces the superius of the first with the contratenor, transposed up a fourth, and a new contratenor and tenor. The following hymn should be considered as a third version, they all belong together.

Clemens Goldberg

Monday, 22 June, 2026

added missing concordance in Trent 93 for the Pullois Kyrie at 167v

Clemens Goldberg

Wednesday, 17 June, 2026

164v Credo du village: the piece is incomplete, it stops at "et unam sanctam"

Clemens Goldberg

Wednesday, 17 June, 2026

164r, Iste confessor: DIAMM indicates this is concordant with the setting in Glogau, but it is not, that setting is completely different. Concordance removed.

Clemens Goldberg

Tuesday, 16 June, 2026

158v, Elizabeth Zacharie: Cantus 2 at the beginning is in exact canon using the text of Cantus 1. At the start of the isorhythmic part there is a completely different text relating the life of John the Baptist. It starts "Lingua pectus concordes clangite"

Clemens Goldberg

Tuesday, 16 June, 2026

156v Las aymi: this has a 2-ex-1 canon and is thus a three voice piece.

Clemens Goldberg

Tuesday, 16 June, 2026

added concordance for f. 155r, Credo by Grossin, = Aosta f. 106v-108r.

Clemens Goldberg

Saturday, 6 June, 2026

140r, Je me : this is not identical with Fontaine's chanson in Escorial A, Oxford and Bologna Q 15. The only link is the tenor which is also in a different mensura and melodic shape and rhythm. The Trent tenor is probably a variation and a new composition of the aforementioned chanson.

Clemens Goldberg

Monday, 25 May, 2026

f. 133r, "Oncques" je neussse pense: the original reads clearly and most convincingly "en piesse" (variant of en piece) meaning "for a certain time". The difference is important. "Onques" meaning "in the past" as a finished time span, "en piesse" opening the time for the rest of the text.

Clemens Goldberg

Monday, 25 May, 2026

Benet, Kyrie Deus creator (f.130r): the piece has four voices as the upper voice is treated as a 2 ex 1 canon. The entrance distance varies. The capital S on f. 130v-131r was probably meant for another piece conceived earlier for this place, but the music is the Christe and Kyrie of this piece, though texts are lacking.

Clemens Goldberg

Sunday, 24 May, 2026

Merged Asperges f. 124 with the following piece, of which it is a part in other sources

Clemens Goldberg

Monday, 18 May, 2026

f. 109r: Du pist mein Hort: added concordance with the Latin contrafactum Qui latuit in virgine in St. Emmeram

Clemens Goldberg

Monday, 18 May, 2026

105r-105v, Sanctus, Leonel Power: added concordance with Aosta f. 257v-258r

Clemens Goldberg

Friday, 15 May, 2026

added missing concordance with Aosta (f.194v-195r) for Sanctus f.103v-104v

Clemens Goldberg

Sunday, 10 May, 2026

Added missing concordance for "Mourir me voy" (Libert) f. 87v-88r, also in Oxford 213, Nr. 161, where it is fully texted. Important variants, especially in the Contratenor, second half is completely different.

Clemens Goldberg

Thursday, 2 April, 2026

143r is not a single piece but at least five different voices - either separate fragmens or as a sort of sketch.

Clemens Goldberg

Friday, 27 March, 2026

Merged the 3 copies of Dunstaple's Agnus (Tr 87 f. 23v & 139v and Tr 92 209v) as one composition

Clemens Goldberg

Tuesday, 24 March, 2026

18v-20r, Agnus, is connected to the preceding Sanctus.

Clemens Goldberg

Tuesday, 24 March, 2026

f. 17r, Sanctus: the piece is labelled on the foregoing page as "anglicanus" thus providing a hint of authorship

Clemens Goldberg

Tuesday, 24 March, 2026

All pieces from 16r to 22v are shown as 2vv, but all are in fact in 3vv!

Clemens Goldberg

Saturday, 27 May, 2023

Corrected title of Binchois' "L'amy de ma dame est venu"

Peter Urquhart

Thursday, 26 November, 2020

Distinguished the scribe of Trent 87 from the later composer.

Karen Cook

Monday, 12 March, 2018

Fixed broken image links.

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

Répertoire Internationale des Sources Musicales

Monday, 23 January, 2017

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