IIIF Manifest
Three repertorial layers-I: ff. 1-46, 47'-52' (Italian Trecento works); II: ff. 46'-47, 53-85' (mostly French works from second half of 14th century + 2 keyboard pieces); III: ff. 89'-119 (French pieces and 1 Italian piece from first half of 15th century). Layers I-II copied by one main scribe (an Italian) and two additional scribes, one Italian, the other probably a Frenchman working in Italy (WilCR, but cf. also FischMP, who distinguishes three main scribes and two additional scribes in these layers, and NádasP, who attributes ff. 35'-37 and keyboard pieces on ff. 85-85' to a separate and distinct scribe not distinguished as such by WilCR and FischMP); Layer III copied at later time on different paper by different scribe, probably a Frenchman working in Italy. Probably copied in Padua (WilCR) or Venice (FischR). Owned in 19th century by a certain Signor Reina of Milan. Purchased by Auguste Bottée de Toulmon (1797-1850), librarian of Paris Conservatory of Music, at sale of Reina's library in 1834; passed to Bibliothèque Nationale after Bottée de Toulmon's death.
F-Pnm NAF 6771 (Codex Reina)
Bibliothèque nationale de France, Département des Manuscrits, Paris, France
manuscript of polyphony: 14th - 15th century
| Archive | Bibliothèque nationale de France, Département des Manuscrits, Paris, France (F-Pnm) |
|---|---|
| Shelfmark | NAF 6771 (Codex Reina) |
| Image Availability | The images on this record are linked using IIIF. |
| Surface | Paper |
| Numbering System | Foliation |
| Measurements | 271 x 213 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 218 compositions, 77 from 25 composers, 141 are anonymous. |
General Description
Binding
Modern covers of black leather, with gold title on spine.
Watermark
Layers I-II: (1) resembles Briquet PI. C, #21; (2) resembles Briquet #11890; (3) bell; (4) resembles Briquet #788, #791, #799. Layer III resembles Briquet #4614.
Notation
black full Italian Trecento, with some black full/red French mensural and black full/black void mensural. Italian keyboard tablature (no. 184-185)
Ruling
black or red 6-line staves
Foliation
1-122
Foliation
Modern foliation on upper right rectos, 1-131, includes modern flyleaves at end (ff. 120-124 now missing); new ff. 1-84 also have original ink foliation on upper left versos, i-xxviiii + 30-84.
Decoration
Red inked Gothic initials in Layer III; other pieces mostly without initials or ornamentation.
Index
Original index of French pieces in Layer II (see below) on new ff. 126'-127; pieces grouped alphabetically by first letter of text, with subgrouping under each letter by order of appearance. Original index of other pieces possibly extant at one time, but subsequently lost. Modern index on new ff. 130-131 lists all pieces in order of appearance.
Surface
Paper
RISM Description
RISM B/IV 3: 14./15. Jh.; 122 Blätter Papier + 4 moderne Nachstoßblätter, 271 x 213 mm Moderne Foliierung von f. 1-131 (f. 120-124 fehlen, f. 128-131 Nachstoßblätter); originale Foliierung von f. I-XXVIIII und f. 30-84, auf der Verso-Seite). Je Seite 8 Sechsliniensysteme, ab f. 89: 7 Sechsliniensysteme - Notation: Nr. 1-90 und 93-105 schwarze italienische Trecentonotation; Nr. 91, 92 und 106-183 schwarze, zum Teil schwarz-rote, französische Mensuralnotation; Nr. 186-220 schwarze, zum Teil schwarz-weiße (hohle) Mensuralnotation; Nr. 184/185 italienische Tasteninstrumente - Tabulaturnotation - Die Wasserzeichen betreffend siehe K. v. Fischer in MD XI (1957), 39. - Einband: 19. Jh.; schwarzer Ledereinband mit Goldtitel auf dem Rücken.
Reina ist der Name des ersten bekannten, in Mailand lebenden Besitzers der Handschrift von dem sie 1834 an Botté de Toulemont und von diesem an die Bibliothek Nationale Paris weitergegangen ist. Die Niederschrift dieser für die italienische und französische Musik des 14./15. Jh. zentralen Quelle erfolgte um 1400, beziehungsweise um 1430/40 in Nord-Ost-Italien, im Raume von Padua-Venedig. Die handschrift gliedert sich in 9 Faszikeln und einige eingeschobene Blätter (f. 85-88, 109/110). Anhand des Repertoires und der 4 (Wilkins) oder 6 Hände (v. Fischer) läßt sie sich in vier Hauptgruppen aufteilen: I. 1.-4. Faszikel (f. 1-48v) und 5. Faszikel (1. Teil, f. 49-52v): italienische Trecentowerke, redigiert um 1400. - II. 5. Faszikel (2. Teil, f. 53-62v) und einige in Teil I nachgetragene Werke: französische und 1 flämisches Werk, eingetragen um 1410. - III. 6. und 7. Faszikel (f. 63-85v): französische Stücke, sowie 3 italienische, davon 2 in Tabulatur, redigiert um 1400 (nach Wilkins von derselben Hand wie Teil I geschrieben). - IV. 8. und 9. Faszikel (f. 89v-119): französische Werke und 1 italienisches Stück der Dufay-Zeit, redigiert zwischen 1430 und 1440. Auf f. 126v/127r: Originalindex von derselben Hand wie Teil IV. - Während der italienische Teil zahlreiche Konkordanzen mit den zentralen Trecentoquellen, vor allem aber auch mit den Paduaner-Fragmenten (I-Pu) und mit Cod. Lucca (I-Las184) aufweist, zeigen die französischen Werke der Teile II und III Verbindungen vor allem mit Cod. Chantilly (F-CH), Modena (I-MOe5.24) und Straßburg (F-Sm222). Teil IV weist mehrere Konkordanzen zu Handschrift GB-Ob213 auf. - Leer sind die folgende Blätter: 41v-42v, 86r-88v, 119v und 125r-126v.
This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of any of this content without permission may result in legal action.
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 6771 ("Reina Codex")
1 French sacred piece, 111 French secular pieces, 103 Italian secular pieces,
2 Dutch secular pieces, 2 pieces in keyboard score* =219 + 1 duplicate
tenor = 220
*Copied on ff. 85-85'. First piece is arrangement of Landini's "Questa fanciulla"; second is arrangement of anonymous virelai "Je voys le bons tens venir," whose vocal model appears onf. 67.
(Alain)-1, (Antonello da Caserta)-2, Arrigo [Henrici]-1, (Bartolino da Padua)-25 + 2?, Bartolomeo da Bologna [d. B. de Bononia]-1, J. Bianchy-2, Binchois-3, (Borlet-anon)-1, Dufay-9, (Egidius) -1, (Filippo da Caserta)-1, (Filippo da Caserta/Galiot)-1, Fontaine-1, (Franciscus)-2, (Giovanni de Florentia)-3, (Goscalch)-1, (Grimace)-1, Grenon-3, (Jacopo da Bologna)-20 + 2?, (Johannes Baçus Correçarius de Bononia)-1, (Landini)-20 + 2?, (J. Legrant)-1, (Machaut)-8, (Molins)-1, Paolo da Firenze? [Dompni pauli]-1, Petrus de Vigiliis-anon-1, (Pykini)-1, (Selesses)-2, anon-98
i + 122 + iv paper folios, 271 x 213. Modern foliation on upper right rectos, 1-131, includes modern flyleaves at end (ff. 120-124 now missing); new ff. 1-84 also have original ink foliation on upper left versos, i-xxviiii + 30-84. New ff. 41'-42', 86-89, 119', 125-126, 127'-129', and 131' are blank, or have blank staves only. Modern covers of black leather, with gold title on spine. Original index of French pieces in Layer II (see below) on new ff. 126'-127; pieces grouped alphabetically by first letter of text, with subgrouping under each letter by order of appearance. Original index of other pieces possibly extant at one time, but subsequently lost. Modern index on new ff. 130-131 lists all pieces in order of appearance.
Black mensural notation on black or red 6-line staves, with red or black void coloration. Three repertorial layers-I: ff. 1-46, 47'-52' (Italian Trecento works); II: ff. 46'-47, 53-85' (mostly French works from second half of 14th century + 2 keyboard pieces); III: ff. 89'-119 (French pieces and 1 Italian piece from first half of 15th century). Layers I-II copied by one main scribe (an Italian) and two additional scribes, one Italian, the other probably a Frenchman working in Italy (WilCR, but cf. also FischMP, who distinguishes three main scribes and two additional scribes in these layers, and NádasP, who attributes ff. 35'-37 and keyboard pieces on ff. 85-85' to a separate and distinct scribe not distinguished as such by WilCR and FischMP); Layer III copied at later time on different paper by different scribe, probably a Frenchman working in Italy. Red inked Gothic initials in Layer III; other pieces mostly without initials or ornamentation. Watermarks in Layers I-II: (1) resembles Briquet PI. C, #21; (2) resembles Briquet #11890; (3) bell; (4) resembles Briquet #788, #791, #799. Watermark in Layer III resembles Briquet #4614.
Layers I-II: ca. 1400-10 or slightly earlier; Layer III: ca. 1430-40. Probably copied in Padua (WilCR) or Venice (FischR). Owned in 19th century by a certain Signor Reina of Milan. Purchased by Auguste Bottée de Toulmon (1797-1850), librarian of Paris Conservatory of Music, at sale of Reina's library in 1834; passed to Bibliothèque Nationale after Bottée de Toulmon's death.
The inventory could not be loaded.
‡ denotes primary source study
Nadas, John. 1981. The Structure of MS Panciatichi 26 and the Transmission of Trecento Polyphony. Journal of the American Musicological Society, 34: 393-427. Pages: 416, 418-9, 421, 423. Notes: contents list (partial); concordances (partial); discussion.
Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians. London. Pages: XVII,60,667. Notes: physical description; facsimile (partial).
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: Vol. 4; ParisBNN 6771.
Fischer, Kurt von. 1979. The Mass Cycle of the Trecento Manuscript F-Pn568(Pit). Essays on Music for Charles Warren Fox, 1-13. Rochester, N.Y. Pages: 184.
Pirrotta, Nino. 1972. New Glimpses of an Unwritten Tradition. Words and Music: The Scholar's View ... Compiled in Honor of A. Tillman Merritt, edited by Nino Pirrotta, 271-91. Cambridge, Massachusetts: Department of Music, Harvard University. Notes: physical description (partial); contents list (partial); transcription (partial); texts (partial); mention of MS; discussion.
Timm, Erika. 1972. Die Überlieferung der Lieder Oswalds von Wolkenstein. Germanische Studien, vol. 242. Lübeck and Hamburg. Pages: 160-3. Notes: physical description; contents list (partial); concordances (partial).
Apel, Willi (editor). 1970-72. French Secular Compositions of the Fourteenth Century. Corpus mensurabilis musicae, vol. 53. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I-III, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion.
Günther, Ursula. 1970. Das Manuskript Modena, Biblioteca Estense, a.M.5,24 (olimlat. 568 = Mod). Musica Disciplina, 24: 17-67. Pages: , Nr. 2, 3, 5 (Ue. von Nr. 151, 136, 182).
Petrobelli, Pierluigi. 1968. Some Dates for Bartolino da Padova. Studies in Music History: Essays for Oliver Strunk, edited by Pierluigi Petrobelli, 85-112. Princeton: Princeton University Press. Pages: 85,94-109. Notes: contents list (partial); concordances (partial); texts (partial); mention of MS; discussion.
Pirrotta, Nino. 1968. Musica polifonica per un testo attribuito a Frederico II. L'Ars Nova Italiana del Trecento, 109ff. Certaldo. Pages: Ue. von Nr. 61. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.
Günther, Ursula. 1967. Bemerkungen zum älteren französischen Repertoire des Codex Reina (PR). Archiv für Musikwissenschaft, 24: 237-52. Notes: contents list (partial); texts (partial); mention of MS; discussion.
Wilkins, Nigel E (editor). 1966. A Fifteenth-Century Repertory from the Cod. Reina. Corpus mensurabilis musicae, vol. 37. Neuhausen nr. Stuttgart: American Institute of Musicology. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.
Wilkins, Nigel E (editor). 1966. A Fourteenth-Century Repertory from the Cod. Reina. Corpus mensurabilis musicae, vol. 36. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: 52 Ue. aus Teil II und III; Ue. aller Stücke von Teil IV - Nr. 186-220. Notes: physical description (partial); contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.
Wilkins, Nigel E. 1965. A Madrigal in Praise of the Della Scala Family. Revue Belge de Musicologie, 14: 82ff. Pages: Ue. von Nr. 84.
Cattin, Giulio. 1964-77. II Copista Rolando da Casale. Nuovi Frammenti Musicali nell'Archivio di Stato. Annales Musicologiques, 7: 17-41. Pages: 33,36,40. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Gallo, Franco Alberto. 1964-77. Due 'Siciliane' del Trecento. Annales Musicologiques, 7: 43-50. Notes: contents list (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.
Reaney, Gilbert. 1964-77. Music in the Late Medieval Entremets. Annales Musicologiques, 7: 51-65. Pages: 62-4. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Wilkins, Nigel E. 1964. A critical edition of the French and Italien texts and music contained in the Codex Reina. University of Nottingham, Ph.D. dissertation.
Fischer, Kurt von. 1963. Reply to N. E. Wilkins' Artide on the Codex Reina. Musica Disciplina, 17: 75-7. Notes: Discussion of the MS.
Wilkins, Nigel E. 1963. The Codex Reina: A Revised Description. Musica Disciplina, 17: 67-73. Pages: Faksimile von Nr. 55-57, 84, 88, 89, 107, 108, 130-133, 202 und Originalindex). - Für alle weiteren Ausgaben und Faksimiles, die vor 1956 erschienen sind, vergleiche K. v. Fischer, The Manuscript Paris, Bibl. Nat. Nouv. Acq. Frç. 6771, in MD XI (1957), 53-77 (Inventar der Handschrift mit Angabe der Editionen und Faksimiles der einzelnen Stücke); dort auch Faksimile von Nr. 81-83, 129, 130, 198. Notes: facsimile (partial); mention of MS; discussion.
Fischer, Kurt von. 1958-1961. Drei unbekannte Werke von Jacopo da Bologna und Bartolino da Padua? Miscelánea Homenaje a Mons. H. Anglès, vol. 1, pp. 265–81. Barcelona: Consejo Superior de Investigaciones Cientificas. Pages: 265ff.
Fischer, Kurt von. 1958. Trecentomusik-Trecentoprobleme: Ein kritischer Forschungsbericht. Acta Musicologica, 30: 179-99. Pages: 184,193. Notes: physical description; mention of MS; discussion.
Schrade, Leo. 1958. Übertragungen der Werke Landinis. Pages: Ue. der Werke Landinis.
Fischer, Kurt von. 1957. The Manuscript Paris, Bibl. Nat., Nouv. Acq. Frç. 6771 (Codex Reina = PR). Musica Disciplina, 11: 38-78. Notes: physical description; contents list; concordances; facsimile (partial); mention of MS; discussion.
Günther, Ursula. 1957. Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14. Jahrhunderts, dargestellt an Virelais, Balladen und Rondeaux von Guillaume de Machaut sowie datierbaren Kantilenensätzen seiner Zeitgenossen und dierekten Nachfolger. University of Hamburg, Ph.D. dissertation.
Parrish, Carl. 1957. The Notation of Medieval Music. New York. Pages: 173-7,181, Plates LV, LX. Notes: facsimile (partial); transcriptiion (partial); discussion.
Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Commentary to Vols. II-III, 48, passim; Commentary to Vol. IV, 33ff, passim; VI,173ff, passim; VIII,203ff, passim; IX,195ff, passim; X,150ff, passim; XI,169ff, passim; XVIII,149-51,159; XIX,183,191-3; XX,247ff, passim. Notes: Dcontents list (partial); concordances (partial); transcriptions (partial).
Fischer, Kurt von. 1956. Studien zur italienischen Musik des Trecento und frühen Quattrocento. Publikationen der Schweizerischen Musikforschenden Gesellschaft, vol. Serie II, Vol. 5. Bern: Paul Haupt. Pages: 14,18ff, 95-6, passim. Notes: contents list (partial); concordances (parial); discussion.
Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae, vol. 11, 1-6. Rome: American Institute of Musicology. Pages: II, xxxvii, lxviii, 70-1; V, xix, 46-7; VII,xiv-xv,xxii, 1-3,6-7. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).
Pirrotta, Nino (editor). 1954-1998. The Music of Fourteenth Century Italy. Corpus mensurabilis musicae, vol. 8 (1-5). Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I,iv,viii; II,iv,x-xi,46-60,62-3; III,vii; IV,iv-x, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).
Schrade, Leo (editor). 1954 -1956. The Polyphonic Music of the Fourteenth Century. 3 vols. Pages: Ue. der Werke von Machaut.
Marrocco, W. Thomas. 1954. The Music of Jacopo da Bologna. University of California Publications in Music, vol. 5. Berkeley and Los Angeles: University of California Press. Pages: 6,9,53-5,76-7,114-5,145,159. Notes: physical description (partial); contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial).
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: 59f.
Apel, Willi (editor). 1950. French Secular Music of the Late Fourteenth Century. Cambridge, Massachusetts: The Medieval Academy of America. Pages: 3-5,27-8,83',92-3*,120-1*,126*, Plate VI. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); texts (partial); mention of MS; discussion.
Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: I, 705; VI 634-6; XI, 179-81. Notes: physical description; contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.
Fischer, Kurt von. 1949-79. Codex Reina. Die Musik in Geschichte und Gegenwart, 1st Edition, 11: col.179ff.
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: VI. Notes: physical description (partial); contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); texts (partial).
Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600. Cambridge, Massachusetts. Pages: 376-8,380-1,418,420-2; Appendix, Nos. 49, 60. Notes: facsimile (partial); transcriptiion (partial); discussion.
Ellinwood, Leonard. 1941. The Conductus. Musical Quarterly, 27: 165ff. Pages: XIXff.
Ellinwood, Leonard (editor). 1939. The Works of Francesco Landini. Cambridge, Massachusetts: The Mediaeval Academy of America. Pages: xix-xx, Plate VII, 311-6, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.
Marix, Jeanne (editor). 1937. Les musiciens de la cour de Bourgogne au XVe siècle (1420-1467) : Messes, motets, chansons. Paris. Pages: Nr. 4, 6, 7, 10 ,71, 76 (Ue. von Nr. 188, 189, 201, 208, 216, 218).
Ludwig, Friedrich (editor). 1926-9. Guillaume de Machaut: Musikalische Werke, 1-3. Leipzig: Publikationen älterer Musik. Pages: I,23ff; II,24-5*, passim. Notes: Dcontents list (partial); concordances (partial); 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: I, 207, 233.
Ludwig, Friedrich. 1925. Die mehrstimmige Messe des 14. Jahrhunderts. Archiv für Musikwissenschaft, 7: 417ff. Pages: II, 24*f. und öfter.
Droz, Eugénie, and Geneviève Thibault. 1924. Poètes et musiciens du XVe siècle. Documents artistiques du XVe siècle, vol. I. Paris.
Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 5: 185-222, Vol. 5 (1924) 273-315. Pages: 283, 284, 285 (je Anm.).
Wolf, Johannes. 1913-9; Reprinted: Hildesheim, 1963. Handbuch der Notationskunde. Leipzig. Pages: I, 292, 352, 354, 428 und II, 253/254.
Ludwig, Friedrich. 1905. Studien über die Geschichte der mehrstimmigen Musik im Mittelalter. II. Ein mehrstimmiges St. Jakobs-Offiziumdes 12. Jahrhunderts. Kirchenmusikalisches Jahrbuch, 19: . Pages: 616.
Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: Um 166, 160-7, passim; II, 101-3 260 ff. Notes: physical description; contents list; concordances (partial); transcription (partial); facsimile (partial); mention of MS; discussion.
Ludwig, Friedrich. 1902-3. Die mehrstimmige Musik des 14. Jahrhunderts. Sammelbande der Internationalen Musikgesellschaft, 4: 16-69. Pages: 53ff.
Omont, Henri (editor). 1868-1902. Bibliothèque Nationale: Catalogue Général des Manuscrits Français. Paris. Pages: XVII,38. Notes: physical description.
Marrocco, W. Thomas. None. Marrocco ? Pages: Ue. der Stücke von Giovanni und Jacopo.
Raugel, F. None. 46 Pieces Pour Orgue Ou Harmonium D'anciens Auteurs Francais Et Etrangers . Paris. Pages: 5 (Ue. von Nr. 184).
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Thomas Engel
Tuesday, 27 January, 2026
Added missing composition on f. 17v : Bartolinus’ three-voice ballata “El no me giova” (cf. Sq f.114v).
Maria Christina Cleary
Monday, 16 December, 2024
"Aqil' altera" confirmed as the setting by Jacopo da Bologna, and concordances with other copies added
Philippa Ovenden
Thursday, 7 March, 2024
Chi tempo a et per vilta tempo is on fol. 16 (not 15v)
Scott Metcalfe
Thursday, 6 August, 2020
Qui veut mesdire (ff. 101v-102) is not anonymous, but by Binchois -- in fact, there is an ascription at the top of f. 101v.. Attribution therefore recorded & Binchois added as composer.
Karen Cook
Friday, 16 March, 2018
Changed work of the Gosalch piece on f. 79 to "En nul estat". Voice text gives a slightly different text "Car nul estat."
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