| Archive | Seminario Maggiore, Biblioteca, Aosta, Italy (I-AO) |
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| Shelfmark | Cod. 15 (Aosta Manuscript) |
| Surface | Mixed Paper and Parchment |
| Numbering System | Mixed Foliation and Pagination |
| Measurements | 272 x 202 mm |
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| Provenance |
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| Contents | Contains 181 compositions, 145 from 29 composers, 36 are anonymous. |
In four sections, each of which was copied by several scribes: I, ff. 13-48; II, ff. 49-158; III, ff. 1-12 and 159-258; IV, ff. 259-280. Folios 1-3 contain the treatise Libellus cantus mensurabilis of Johannes de Muris.
The first section (ff. 13–48) is written in one main hand on a single paper type and contains Introits, Kyries, Glorias, and Credos arranged in strict liturgical order. Tthe second (ff. 49–158) continues this liturgical organization with movements from the entire Mass Ordinary but features at least two other scribes and several different paper types. The third section (ff. 1–12 and 159–258) shares some of the same scribes and paper types with the second, but its repertory is a mixture of sacred genres and it has no overarching organizational scheme. The fourth (ff. 259–281) is the most distinct of the parts: two new scribes have copied a unique repertory of ceremonial motets and mass movements on at least three different paper types. (Barron)
Sections II and III share several scribes. One of the scribes of section III was responsible for bringing sections I-III together, drawing up the index, and adding the numbering; section IV was added soon afterwards. Section I was copied in Bologna; sections II and III were copied in the Basel-Strasbourg area; section IV was copied at Innsbruck. Some of the pieces were probably used by the chapels connected with the Council of Constance (1414-8) and the Council of Basel (1431-49); the repertory in section IV is from the imperial court chapel at Innsbruck.
Inscription on f. 2: “Rolandus Viottus, Pvt.” (Roland Viôt was Provost at Mont Joux, now the monastery of Great St. Bernard Pass, from 1610-44).
By the 17th century, the manuscript was in the library of the Priory of St. Jacquême at Aosta, residence of the Provosts of the monastery at Great Saint Bernard Pass. The present Seminary library was founded with books formerly belonging to the Priory, and stands on the site of the now demolished Priory.
The upper margins and parts of the upper lines of music in ff. 1-35 were badly waterstained, probably as the result of a fire in the Seminary library in 1798. These folios were reinforced, and the damaged sections removed, at the time the manuscript was restored in 1958, with the unfortunate loss of even more music. Section IV has been trimmed to its present size, with some loss also.
Original covers of brown calf over boards were removed and discarded after restoration in 1958; new covers of brown calf, tooled in gold, over boards.
(1) resembles Briquet #2640; (2) resembles Briquet #12993-4; (3) resembles Heitz X, 104; (4) resembles Heitz XVI, 203; (5) resembles Briquet #13023-7; (6) resembles Briquet #4626; (7) resembles PiccardO VII, 525-6; (8) resembles Heitz VII, 7 and PiccardO I, 309; (9) resembles Briquet #2774; (10) resembles Heitz I, 4; (11) resembles PiccardO XII, 358 and Briquet #14758; (12) resembles PiccardO XII, 359 and Briquet #14759 (CobinA).
Black full mensural
Original partial pagination; modern foliation, 1-281 (130 omitted) at foot of page (also omits the two small slips of paper numbered 267/268 which have been bound into the ms). Third foliation top right corner 1-283, with a blank folio inserted and numbered 130, which includes the two slips 267/268.
Other numberings: Original partial numbering of pieces
Section I has black inked initials, Italian Gothic style, in at least two hands; section II has some initials in red or blue, others in black ink, in more or less elaborate style, some pieces without initials; section III shares some of the same initials as section II in black ink, while pieces toward the end of the section are without initials; section IV is completely without initials.
Original index of pieces through f. 258, arranged by type of piece, on ff. 3'-4.
paper; ff. 55-56, 105-106, and 118-119 are parchment.
RISM B/IV 5: XVe s. 283ff., papier (parchemin aux ff. 55, 56, 105, 106, 118, 119), 280 x 200 mm.
La foliotation ancienne en chiffres romains en haut des ff. est lacunaire et inutilisable; la foliotation moderne au coin inférieur droit: 1-281 utilisée jusqu’à présent, est devenue inexacte par l’adjonction récente de 2ff. supplémentaires chiffrés 267-268, ce qui a imposé une nouvelle foliotation au coin supérieur droit des ff. 1-283, la seule qui soit maintenant correcte. Les ff. 7v, 8, 11, 18 à 20, 48v, 78, 86v, 87, 99, 130v, 144v, 145, 266v, 267v, 268v, 269, 275v, 276, 278, 281v, 282 sont blancs. Notation mesurée blanche. 8 à 10 portées par p. La marge supérieure des ff. 1 à 47 ayant été sévèrement rongée, une partie de la musique a disparu en haut de p. Aux ff. 1-3: Q[uilibet in art]e practica mensurabilis cantus . . . secundum magistrum Johannem de Mûris . . . Aux ff. 3v-4: Table incomplète du ms. classée par genres suivant l'ordre du ms. primitif. Aux ff. 47v, 48, 244v, 245, 254, 256, 263v à 266: règles élémentaires de notation. Restauration récente, rehure moderne.
Ce ms. provient de l’ancienne bibliothèque du Prieuré Saint-Jacquème comme en fait foi le nom du prévôt Rolandus Viottius (Roland Viot, mort en 1644) inscrit au bas du f. 2. D’autre part, on lit au f. 254, d'une écriture différente: «Est libri Ursi Donzellier [Donzellizur?] possidet hunc libellum», ce personnage n’ayant pu jusqu’à présent être identifié (Amiet). Le recueil est constitué de 25 cahiers copiés par des scribes différents et qu'on peut classer en 4 groupes distincts:
1 Cahiers 2-A (ff. 13 à 48), belle écriture semi gothique italienne, capitales ornées à la plume, 10 portées par p.
2 Cahiers 5-13 (ff. 49-158) copiés par 2 scribes du nord de l’Italie, semble-t-il. Initiales coloriées rouge et bleu, 8 portées par p.
3 Cahiers 14-21 (ff. 159-258), écriture allemande souvent difficile, 8 ou 9 portées par p. Il est probable que ce scribe 3 a réuni les sections 1 et 2 avec la sienne, faisant précéder l’ensemble d’un premier cahier (ff. 1-12) contenant le traité de Jean de Mûris suivi de la table du ms. et de plusieurs pièces (nos 1 à 7), en ajoutant aussi quelques-unes aux pages restées libres des sections 1 et 2, en même temps qu’il procédait à la numérotation en chiffres romains du ms. ainsi constitué.
4 Cahiers 22-25 (ff. 259-283). Partie supplémentaire ajoutée par un 4e scribe après la compilation opérée par le scribe 3, si bien qu’aucune des pièces de cette section 4 ne figure à la table. Ecriture allemande peu soignée. Aucune capitale. 10 portées par p.- Enfin, les 2 fragments de p. foliotés 267 et 268 sont d’une écriture plus récente et portent au v° le tampon «Séminaire d’Aoste» (nos 188bis et 188ter).
Le ms. contient 197 pièces (en réalité 180, 17 ayant été copiées en double dans des cahiers différents), dont 129 parties de l’Ordinaire de la messe rangées par genre (séparant ainsi les différentes sections d’une même messe, sauf pour les nos 162-165 et 166-167) et 51 motets, antiennes, communions, introits, offertoires, séquences et Magnificat. On y compte 70 unica. Les compositeurs représentés sont parmi les plus importants du début du XVe s. et le style est caractéristique des quatre premières décennies du siècle, la plus grande partie datant des années 1420-1430. D’autre part, 3 motets peuvent être rattachés à une circonstance particulière et par là même datés avec précision: n° 1 en l’honneur de l’antipape Jean XXIII (1410-1415); n° 189 pour la mort de l’empereur Albrecht II (1439); n° 188 pour l’avènement de Friedrich III (1440). Quoiqu’il en soit, le nombre important d’unica des sections 3 et 4, parmi lesquels ces 3 motets officiels, laisse supposer que le ms. aurait pu subir sa compilation définitive pour l’usage, sinon de la chapelle impériale elle-même, du moins de quelque autre organisme semblable. M. Cobin suggère que les 3 premières sections auraient pu être compilées pour l’empereur Sigismond lui-même, la plus grande partie du répertoire ayant été rassemblée à l’occasion d’un Concile (de Bale, par ex.) tandis que la compilation finale aurait pu être commandée par Eneas Silvius Piccolomini, futur Pie II, qui aurait fait déposer le ms. à Aosta.
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.
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.
19 Kyries, 40 Glorias, 30 Credos, 24 Sanctus, 16 Agnus, 3 Magnificats, 3 hymns, 45 motets = 180 + 17 duplicates = 197
Anglia-3, Benet/(Dunstable)-3, Berken-1, Binchois-24, Binchois/(Dunstable)-1, (Binchois/Dunstable)-1, Bloym [Blome]-1, Brabant-2, Brassart-12 + 1?, (Byttering)-1, Ja. de Clibano-1, Ja. de Clibano/(Binchois)-1, Dufay-25, Dufay/(Limburgia)-1, Dunstable-14, Dunstable/(Power)-1, (Dunstable/Power)-3, Dusart [Sarto]-3, Franchois-4, Grossin-11, H. Lantins/(Dufay)-1, G. Legrant [Grand Guillaume]-2, J. Legrant-2, Loqueville-3, (C. Merques)-1, Neweland-1, Power [Leonel]-9, Sovesby-1, (Sweitzl)-1, Vineux-1, Zacharia [Nicolaus]-1, anon-43
280 paper folios, 272 x 202. The upper margins and parts of the upper lines of music in ff. 1-35 were badly waterstained, probably as the result of a fire in the Seminary library in 1798. These folios were reinforced, and the damaged sections removed, at the time the manuscript was restored in 1958, with the unfortunate loss of even more music. Section IV has been trimmed to its present size, with some loss also. Original numbering system: partial pagination and partial numbering of pieces; modern pencil foliation, 1-281 (130 skipped); third foliation in modern ballpoint pen, with a blank folio inserted and numbered 130. Original covers of brown calf over boards were removed and discarded after restoration in 1958; new covers of brown calf, tooled in gold, over boards. Original index of pieces through f. 258, arranged by type of piece, on ff. 3'-4. The manuscript is in four sections, with several scribes active in each section, and sections II and III sharing several scribes: I, ff. 13-48; II, ff. 49-158; III, ff. 1-12 and 159-258; IV, ff. 259-280. One of the scribes of section III was responsible for bringing sections I-III together, drawing up the index, and adding the numbering; section IV was added soon afterwards. Section I has black inked initials, Italian Gothic style, in at least two hands; section II has some initials in red or blue, others in black ink, in more or less elaborate style, some pieces without initials; section III shares some of the same initials as section II in black ink, while pieces toward the end of the section are without initials; section IV is completely without initials. Twelve watermarks appear in the manuscript, with sections II and III sharing several: Briquet 2640; Briquet 12.993-994; Heitz 104; Heitz Plate XVI; Briquet 13.023-027; Briquet 4626; Piccard VII, 525-526; Heitz Plate VII, 71 and Piccard I, 309; Briquet 2774; Heitz Plate I, 4; Piccard XII, 358; Piccard XII, 359. Ff. 1-3 contain the treatise Libellus cantus mensurabilis of Johannes de Muris. Inscription on f. 2: “Rolandus Viottus, Pvt.” (Roland Viôt was Provost at Mont Joux, now the monastery of Great St. Bernard Pass, from 1610-44).
Compiled before 1446; the repertory dates from ca. 1414-43. Section I was copied in Bologna, ca. 1430-5; sections II and III were copied in the Basel-Strasbourg area, ca. 1435-43, and then brought together with section I; section IV was copied at Innsbruck, ca. 1443-6. Some of the pieces were probably used by the chapels connected with the Council of Constance (1414-8) and the Council of Basel (1431-49); the repertory in section IV is from the imperial court chapel at Innsbruck. By the 17th century, the manuscript was in the library of the Priory of St. Jacquême at Aosta, residence of the Provosts of the monastery at Great Saint Bernard Pass. The present Seminary library was founded with books formerly belonging to the Priory, and stands on the site of the now demolished Priory.
Vol 4
Contents: 1 Mass, 1 Gloria-Credo pair, 1 Credo-Sanctus pair, 19 Kyries, 38 Glorias, 27 Credos, 22 Sanctus (2 fragmentary), 15 Agnus, 15 Mass Proper sections, 3 Magnificats, 3 hymns, 30 motets = 175 + 17 duplicates = 192
Composers: Anglia-3, Benet-2, Benet/(Dunstable)-1, Binchois-24, Binchois/ (Dunstable)-1, (Binchois/Dunstable)-1, Bloym [Blome]-1, Brabant-2, Brassart -14 + 1?, Brassart/Dusart-2,* (Byttering)-1, Ja. de Clibano-1, Ja. de Clibano/ (Binchois)-1, Dufay-26, Dufay/(Limburgia)-1, Dunstable-12, Dunstable/ (Power)-1, (Dunstable/Power)-3, Dusart [Jo. Sarto]-1, (Forest)-1, Franchois-4, Grenon or Zacharia? [ Nicolao]-1,** Grossin-11, H. Lantins/(Dufay)-1, G. Legrant [Grand Guillaume]-2, J. Legrant-2, Loqueville-3, (N. Merques)-1, Neweland [Nelbeland]-1, Power [Leonel]-7, Power/(Dunstable)-1, (Schweikl)-1, Soursby-1 + 2?, Verben-1, Vineux-1, anon-35
*Two Introits originally attributed in index to "Brassart," but scribe later crossed out these attributions and added "Sarto" [= Dusart]. **Text of motet "Argi vices Polyphemus" on ff. 4'-7 names "Nicolao" in context which suggests he composed the music. VanAM suggested Nicola Zacharia as probable composer, but CobinA proposes Nicolas Grenon as alternative possibility.
Physical: Ff. 55-56, 105-106, and 118-119 are parchment. Watermarks: (1) resembles Briquet #2640; (2) resembles Briquet #12993-4; (3) resembles Heitz X, 104; (4) resembles Heitz XVI, 203; (5) resembles Briquet #13023-7; (6) resembles Briquet #4626; (7) resembles PiccardO VII, 525-6; (8) resembles Heitz VII, 7 and PiccardO I, 309; (9) resembles Briquet #2774; (10) resembles Heitz I, 4; (11) resembles PiccardO XII, 358 and Briquet #14758; (12) resembles PiccardO XII, 359 and Briquet #14759 (CobinA).
78
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‡ denotes primary source study
Barron, Dana B. 2017. Continental Scribes and the Reception of Fifteenth-Century English Mass Music: A Case Study of the Aosta Manuscript. Indiana University, Ph.D.
Wright, Peter. 2017. A Deleted Sanctus in the Aosta Codex. Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 67: 11-29.
Wright, Peter. 2014. The Transmission of English Liturgical Music to Central Europe c. 1430–1445. Musikalische Repertoires in Zentraleuropa (1420–1450): Prozesse und Praktiken der Aneignung musikalischer Repertoires in Zentraleuropa, ca. 1420, edited by Peter Wright, 83–112. Vienna.
Bent, Margaret. 2013. The Trent 92 and Aosta indexes in context. I codici musicali trentini del quattrocento: Nuove scoperte, nuove edizioni e nuovi strumenti informatici, edited by Margaret Bent, 63-81. Lucca: LIM.
Wright, Peter (editor). 2013. Fifteenth-Century Liturgical Music, VIII: Settings of the Gloria and Credo. Early English Church Music, vol. 55. London: Stainer and Bell for the British Academy.
Wright, Peter. 2011. A Gloria Newly Attributed to Byttering. Essays on Renaissance Music in Honour of David Fallows: Bon jour, bon mois, et bonne estrenne, edited by Peter Wright, 170-7. Woodbridge.
Bent, Margaret. 2007. Trompetta and Concordans Parts in the Early Fifteenth Century. Music as Social and Cultural Practice: Essays in Honour of Reinhard Strohm, edited by Margaret Bent, 38-73. Woodbridge.
Wright, Peter (editor). 2006. Fifteenth-Century Liturgical Music, V: Settings of the Sanctus and Agnus dei. Early English Church Music, vol. 47. London.
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.
Wright, Peter. 2003. The Ownership of the Aosta Codex. Manoscritti di polifonia nel Quattrocento europeo: atti del convegno internazionale di studi, Trento, Castello del Buonconsiglio, 18-19 ottobre 2002, edited by Peter Wright, 57-64. Trent: Provincia autonoma di Trento, Soprintendenza per i beni librari e archivstici.
Bent, Margaret. 1998. Early Papal Motets. Papal Music and Musicians in Late Medieval and Renaissance Rome, edited by Margaret Bent, 5-43. Oxford University Press.
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.
Wright, Peter. 1994. A New Attribution to Brassart? Plainsong and Medieval Music, 3: 23-43.
Wright, Peter. 1992. Johannes Brassart and Johannes de Sarto. Plainsong and Medieval Music, 1: 41-61.
Wright, Peter. 1989. The Related Parts of Trent, Museo Provinciale d'Arte, MSS 87 (1374) and 92 (1379): A Paleographical and Text-Critical Study. New York: Garland.
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.
Strohm, Reinhard. 1985. Music in Late Medieval Bruges. Oxford. Pages: 94-5,116-7,213-4. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Cobin, Marian W. 1978. The Aosta Manuscript: A Central Source of Early Fifteenth-Century Sacred Polyphony. New York University, Unpublished Ph.D. dissertation. Notes: physical description; contents list; concordances; transcription (partial); facsimile (partial); texts (partial); mention of MS; discussion.
Cobin, Marian W. 1976. The compilation of the Aosta Manuscript, a working hypothesis. Papers read at the Dufay quincentenary Conference. Brooklyn College, December 6-7, 1974, 76ff.
Cuyler, Louise. 1973. The Emperor Maximilian I and Music. London. Pages: 10-2.
Etheridge, Jerry Haller. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss. Pages: I,7,11 II.xxxiv. Notes: contents list (partial); concordances (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, 163, passim; VIII, xx.
Hamm, Charles E. 1968. A Catalogue of Anonymous English Music in Fifteenth-Century Continental Manuscripts. Musica Disciplina, 22: 47-76. Pages: 51,64-76.
Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: 119.
Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae, vol. 35. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I,xviii; II,xii; I,xxix.
Mixter, Keith E. 1965. Johannes Brassart: A Biographical and Bibliographical Study, II. Musica Disciplina, 19: 99-108. Pages: 99-100.
Parris, Arthur. 1965. The sacred works of Gilles Binchois. Bryn Mawr College, Ph.D. Dissertation. Pages: 92-4.
Hamm, Charles E. 1962. Manuscript Structure in the Dufay Era. Acta Musicologica, 34: 166-84. Pages: 168,176-84.
Federhofer, Hellmut (editor). 1954-. Musik Alter Meister. Graz. Pages: XIII,[xiv].
Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: I,559-60.
Van, Guillaume de. 1948. A Recently Discovered Source of Early Fifteenth Century Polyphonic Music. Musica Disciplina, 2: 5-74.
This form is used to make comments on a source. If you wish to notify us of a correction to the record, you should use the "Contribute a change" form instead.
The title of the piece on 269v–270r should read "inclite", not "indite". To the bibliography of that piece should be added Peter Wright, “Johannes Brassart and Johannes de Sarto,” Plainsong and Medieval Music 1 (1992): 41–61, where the question of authorship is addressed.
Contributions to this record are recorded here. If you wish to contribute information or a correction to this record, use the "Contribute a Change" link. This will then be reviewed by DIAMM staff and, if accepted, your contribution will be acknowledged here.
Gloria f. 270v. & Credo f. 271v are in every respect a linked pair of movements: now marked as such.
258v-259v & 282v-283v: Christi nutu sublimato. Added bibliography item, Saucier, Catherine: Reading Hagiographic Motets: Christi nutu sublimato, Lamberte vir inclite, and the Legend of St. Lambert in: Journal of the Alamire Foundation, Volume 6, Issue 1, Mar 2014, p. 84 - 111
DIAMM inventory shows "no designation" label for all voices. However, most of the tenor and contratenor voices bear these labels! DIAMM inventory now updated to show all specific Tenor/Ct labels on the voices; clefs (and mensurations where marked) have also been added , and voice texts amended as needed.
242v-244r, Gloria Byttering? Removed erroneous bibliography links. Note that this piece has no concordance with Old Hall.
Pointed out that in the anonymous Credo on fols. 233v-234r the tenor is notated only once but must be sung twice in original values according to the other voices, and twice in half values – while in Cobin's edition of the piece (as no. 26) this is not realised the edition's second half is therefore not correct.
228v Sanctus: The tenor is labeled "da gaudiorum premia" as the preceding Credo. It is clearly a pair and thus almost certainly by Dunstable
The Agnus of Power's Mass (225v-226) is for 3vv - only Agnus II is a duo
Added concordance (with text Hostis herodes) for Dufay's "A solis ortus:" (f. 219r, )
added bibliography note to Agnus dei (f. 216v-217r), edited in Cobin, Aosta Nr. 23
201v-202r, Gloria. There is a fuga of the upper voices, so that the piece is in 4vv. The canon is fuga in IIIorum temporum. The piece is edited in Cobin, Aosta Nr. 23
added concordance for f. 198v Gloria Spiritus et alme Dunstable, at Trento 92 f. 69v
f. 193v Descendi in ortum: no source indicates Dunstable as its author; and DIAMM indicates an attribution to Power instead. Composer therefore changed from Dunstaple to ?Power.
f. 190v-191r Lumen ad revelacionem: only the first strophe is identical with Cappella Sistina 46, the rest is completely different
Corrected concordances/compositions for f.190 A solis ortus. The 3vv composition here has only the concordance in Trent 92, f. 139. A different 5vv composition is in Trent 88 etc.
f. 171 seq and f. 173 seq: Binchois Gloria and Credo are for four voices (not three); each has two contratenores which are not labeled in Aosta, in other sources the second contratenor is labeled "concors".
Separated out the two Agnus Dei settings on 161v-162: the first by Binchois with Tent 92 concordance, the second by Clibano with Trent 93 concordance
Corrected misidentification of music on 153v-154. The Dunstable Sanctus is on two openings (Sanctus-Osanna on 152v-153, Benedictus-Osanna on 153v-154), and at the bottom of 153v the troped Tenor (only) of Sanctus vineux is copied
Confirmed trope for Agnus f. 156v
Separated the two Grossin Agnus settings on f. 156v-158; these are two distinct pieces, not concordances.
Added concordance in Trent 87 for f. 145v-146, Sanctus by Dunstaple
Corrected composition at f. 145v-146 = Sanctus by Dunstaple
Corrected composition at f. 142v - not a Salve regina but a Credo
Added note to Loqueville Credo (f. 124v) clarifying that this is the only source with a contratenor bassus - probably not by Loqueville.
Gloria with Tenor iacet granum (f.82v): added concordances with Trent 87, f. 31v-33r and f. 141v-142r, and bibliography refernce to Wright, according to whom Johannes Lupi copied it from Aosta.
44v-45r, Gloria Brassart: the tropus is NOT spiritus et alme but "et sancte spiritus" so as to complete the trinity!
Noted that Gemblaco's Credo starts already on fol. 28v, not only on fol. 29v, as previously stated here (the superius beginning on fol. 28v). Also pointed out that the tenor does not display the Alma redemptoris text (as the version of this piece later in the manuscript, on fols. 117v-19 does - and also the version in Bologna Q 15).
27v-28r: Duday's Kyrie (De martyribus / In diebus Dominicis / Orbis factor) does not have any of these titles here nor a voice text
The Kyrie from the Missa Sine nomine (Resveillez-vous) is NOT troped in this source - nor in most others. The only source with this tropus is I-Vnm MS It. IX. 145 where it is unique.
Pointed out that the Sanctus on fol. 228v is by Dunstaple (not by de Sarto, as previously stated).
Motet at 169v-171 incorrectly listed as "O Maria virgo pia" - correctly "O Maria virgo davitica" (and 'concordance' with St Emmeram removed).
The Patrem omnipotentem on folios 238v-240 of this source is the same Credo as attributed to 'Lyonel' (Leonel Power) in the Old Hall Manuscript (GB-Lbl Add. MS 57950, folio 61v). In the Old Hall manuscript, only the top part is preserved, but all three parts appear in this source.
Bibliography updated
NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description