D-Lr Mus.ant.pract.K.N.144 (1)

Ratsbücherei, Lüneburg, Germany

partbook: c. 1590

Archive Ratsbücherei, Lüneburg, Germany (D-Lr)
Shelfmark Mus.ant.pract.K.N.144 (1)
Image Availability DIAMM does not have images of this source.
Surface Paper
Numbering System None
Format landscape
Measurements 165 x 219 mm
Other Identifiers
  • CCM: LuneR 144
Copyists
Relationships
External Authorities
Provenance
  • Lüneburg, Germany
Contents 179 pieces from 47 composers
General Description

A Discantus partbook from a set originally of five volumes. Seven repertorial sections in each book ('Prima Pars,' 'Secunda Pars,' etc.). Although the Quintus is missing, most pieces are complete in 4vv or less - only 6 pieces in the Prima Pars and 3 pieces in sections 6-7 are in 5vv. Some pieces composed in rhythmic style of the humanistic ode. There are many concordances with D-B Mus. ms. 40241.

Copied in Lüneburg, as didactic gift for Franciscus von Witzendorff III (b. 1578), by his tutor, Joannes Velbonius of Braunschweig. Dated 1590, but some pieces added subsequently. Owned by members of Witzendorff family until 18th century; probably included in collection of books bequeathed by Hieronymus von Witzendorff to Lüneburg city library in 1711.

DIAMM, 2023
Extent

D. i + 174 + i ff; A. i + 185 + i ff.; T. i + 188 + i ff.; B. 186ff.

DIAMM, 2023
Binding

Original covers of white leather tooled with initials 'F.W.' (= Franciscus Witzendorff), date '1590,' and voice designations.

DIAMM, 2017
Watermark

Resembles Briquet #15948

DIAMM, 2017
Liminary Note

Several Latin poems appear on 'Prima Pars' title page in each book

DIAMM, 2017
Notation

not indicated

DIAMM, 2017
Dedication

Dedicatory inscription to Franciscus von Witzendorff III at beginning of D book

DIAMM, 2017
Ruling

Staves generally in red ink, with clefs & mensural signs in green ink

DIAMM, 2017
Foliation

Other numberings: Original ink numbering of pieces in each book (section I: 1-13; II: 1-19; III: 1-13; IV: 1-16; V: 1-16; VI: 1-13; VII: 1-10); modern pencil numbering continues count of pieces from end of original numbering (I: 14-18, 18a-21; II: 20; III: 14-21; IV: 17-19; V: 17-22; VI: 14-43; VII: 11, 11a, 12) and duplicates many original numbers.

DIAMM, 2017
Foliation

Pieces originally numbered; 'Sexta Pars' has original ink pagination, 1-78. New pencil foliation D: 1-149; A: 1-151; T: 1-140; B: 1-145 omits flyleaves and some blank folios.

DIAMM, 2017
Decoration

Small plain initials, titles, original piece numbers, clefs, mensural signs, and closing notes generally in green ink.

DIAMM, 2017
Index

Original indices at beginning of sections I (D and T books), II (D book), and III (D book) list only pieces with original numbers. Original indices at beginning of section VI (T and B books) list pieces in original layer and some later additions, in order of appearance.

DIAMM, 2017
Surface

paper

DIAMM, 2017
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.

1 psalm, 1 hymn, 69 motets, 10 Latin/German sacred pieces, 67 German sacred pieces, 12 German secular pieces, 1 textless piece = 161

M. Agricola-7, (Alder/Senfl)-1, Bel-1, Bertram-1, Burck-21, Burck/(Vulpius)-1, Clemens non Papa-5, (Clemens non Papa/Manchicourt)-1, Crecquillon-1, E. Dedekind-2, (Donato)-1, Dressler-5, Eccard-3, Eccard/(Burck)-1, (Figulus)-1, (Fine)-1, (Freundt)-1, Händl-5, Heil-1, Ivo de Vento-3, Lassus-11 + 1?, Lechner-9, (Didier Lupi Second)-1, Maillard-1, (Manchicourt/Sandrin)-1, Morel-1, Palladius-6, Pierre-1, C. Praetorius-5, Regnart-2 + 1?, Reiner-1, Scandello-4, (Schramm)-1, Schröter-1, (Sermisy)-1, (Steurlein)-1, Tollius [Tolpii]-1, (Vulpius)-1, (Walter)-2, (Zirler)-1, anon-44

4 paper partbooks of an original 5 (D-i + 174 + i folios, A-i + 185 + i, T-i + 188 + i, B-186), 165 x 219. New pencil foliation (D: 1-149; A: 1-151; T: 1-140; B: 1-145) omits flyleaves and some blank folios. Seven repertorial sections in each book ("Prima Pars," "Secunda Pars," etc.); "Sexta Pars" has original ink pagination, 1-78. Original ink numbering of pieces in each book (section I: 1-13; II: 1-19; III: 1-13; IV: 1-16; V: 1-16; VI: 1-13; VII: 1-10); modern pencil numbering continues count of pieces from end of original numbering (I: 14-18, l8a-21; II: 20; III: 14-21; IV: 17-19; V: 17-22; VI: 14-43; VII: 11, 11a, 12) and duplicates many original numbers. Original covers of white leather tooled with initials "F.W." [= Franciscus Witzendorff], date "1590," and voice designations. Original indices at beginning of sections I (D and T books), II (D book), and III (D book) list only pieces with original numbers. Original indices at beginning of section VI (T and B books) list pieces in original layer and some later additions, in order of appearance. Copied by Joannes Velbonius of Braunschweig, a household tutor employed by the Witzendorff family of Lüneburg. Staves generally in red or green ink; small plain initials, titles, original piece numbers, clefs, mensural signs, and closing notes generally in green ink. Dedicatory inscription to Franciscus von Witzendorff III at beginning of D book; several Latin poems appear on "Prima Pars" title page in each book. Watermark resembles Briquet # 15948. Some pieces composed in rhythmic style of the humanistic ode.

Ca. 1590, with additions during 1590's. Copied in Lüneburg, as didactic gift for Franciscus von Witzendorff III (b. 1578), by his tutor, Joannes Velbonius of Braunschweig. Owned by members of Witzendorff family until 18th century; probably included in collection of books bequeathed by Hieronymus von Witzendorff to Lüneburg city library in 1711.

Vol 4

Composers: Change "Clemens non Papa-5" to "Clemens non Papa-7"; change "(Donato)-1" to "(Donato/Willaert)-1''; change "Scandello-4" to "Scandello-6"; add "(Tritonius)-1"; change "anon-44" to "anon-39."

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

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
1–2 Domine Jesu Christe respicere digneris Clemens NP
Appears on: 1–2
Genres: Motet
Source Attribution: Clemens NP
2v–3 In me transierunt irae tuae et terrores Maillart
Appears on: 2v–3
Genres: Motet
Source Attribution: Maillart
3v–5 Timor et tremor venit in Nivem civitatem Clemens NP
Appears on: 3v–5
Genres: Motet
Source Attribution: Clemens NP
5–5v In principio erat verbum - 2a pars (of 3): Fuit homo missus Orlandi
Appears on: 5–5v
Genres: Motet
Source Attribution: Orlandi
General Note

only the 2a pars is copied

5v–6 Dum proeliaretur - 1a pars (of 2): Dum proeliaretur Michael archangelus Clemens NP
Appears on: 5v–6
Genres: Motet
Source Attribution: Clemens NP
6–6v Dum proeliaretur - 2a pars (of 2): Dum committeret bellum draco -
Appears on: 6–6v
Genres: Motet
General Note

It is not clear from Hartmann & RISM-online whether the 2a pars is copied.

6v–7v Factum est silentium in caelo dum draco Ivo de Vento
Appears on: 6v–7v
Genres: Motet
Source Attribution: Ivo de Vento
7v–8v Laudate Dominum in sanctis eius (4vv) Jacobus Hendel
Appears on: 7v–8v
Genres: Motet
Source Attribution: Jacobus Hendel
8v–9v Tota pulchra es amica mea et macula Cle: Morel
Appears on: 8v–9v
Genres: Motet
Source Attribution: Cle: Morel
10–11 Caro mea vere est - 1a pars (of 2): Caro mea vere est cibus et sanguis meus Berthe: le Bel
Appears on: 10–11
Genres: Motet
Source Attribution: Berthe: le Bel
11–11v Caro mea vere est - 2a pars (of 2): Hic est panis qui de caelo descendit -
Appears on: 11–11v
Genres: Motet
11v–12 Pater peccavi (4vv) - 1a pars (of 2): Pater peccavi in caelum et coram te -
Appears on: 11v–12
Genres: Motet
12v–13 Pater peccavi (4vv) - 2a pars (of 2): Quanti mercenarii in domo patris -
Appears on: 12v–13
Genres: Motet
13–14 Cor mundum - 1a pars (of 2): Cor mundum crea in me deus et spiritum T. Crequillon
Appears on: 13–14
Genres: Motet
Source Attribution: T. Crequillon
14–15 Cor mundum - 2a pars (of 2): Averte faciem tuam a peccatis meis -
Appears on: 14–15
Genres: Motet
General Note

it is not clear from Hartmann (or RISM-online) whether the 2a pars is copied

15v–17 Beati omnes qui timent Dominum Davidis Palladii
Appears on: 15v–17
Genres: Motet
Source Attribution: Davidis Palladii
17–18v Nisi Dominus aedificaverit Davidis Palladii
Appears on: 17–18v
Genres: Motet
Source Attribution: Davidis Palladii
18v–19v Omnia quae fecisti nobis Domine in vero Orlandi
Appears on: 18v–19v
Genres: Motet
Source Attribution: Orlandi
19v–20v In me transierunt irae tuae Orland:
Appears on: 19v–20v
Genres: Motet
Source Attribution: Orland:
20v–21 Benedicam Dominum - 1a pars (of 2): Benedicam Dominum in omni tempore semper Eiusdem (= Lassus)
Appears on: 20v–21
Genres: Motet
Source Attribution: Eiusdem (= Lassus)
21v–22 Benedicam Dominum - 2a pars (of 2): In Domino laudabitur anima mea -
Appears on: 21v–22
Genres: Motet
22v–23 Confitemini Domino (5vv) - 1a pars (of 2): Confitemini Domino et invocate nomen eius Orland:
Appears on: 22v–23
Genres: Motet
Source Attribution: Orland:
23–23v Confitemini Domino (5vv) - 2a pars (of 2): Narrate omnia mirabilia eius -
Appears on: 23–23v
Genres: Motet
23v–24v Angelus ad pastores ait annuntio vobis -
Appears on: 23v–24v
Genres: Motet
24v–25 Missus est angelus Gabriel - 3a pars (of 4): Dixit autem Maria ad angelum Orl[ando di Lasso]
Appears on: 24v–25
Genres: Motet
Source Attribution: Orl[ando di Lasso]
General Note

Only this 3a pars is copied

25v–26 Geh deinen Weg auf rechtem Steg -
Appears on: 25v–26
Genres: Motet
General Note

anonymous here, the piece is attributed to Lassus in Liegnitz 36 (Lublin N-3792 – N-3795) & Berlin 40210; also anon in 3 prints & Sammlung Bohn 15. For concordances and notes on the various attributions, see ZieglerS 2003

Item Bibliography

Ziegler, Reinald. 2003. Die Musikaliensammlung der Stadtkirche St. Nikolai in Schmölln/Thüringen. Repertoiregeschichtliche Studien und Katalog. Ein Beitrag zur Musiküberlieferung im 16. und 17. Jahrhundert in Mitteldeutschland. Tübinger Beiträge zur Musikwissenschaft.  Tutzing: Hans Schneider. Pages: I:191-2.

26–26v Freut euch ihr Christen, freut euch von Herzen sehr - Anonymous
Appears on: 26–26v
Genres: Motet
Concordances

RISM 1570-4: 5 (Eber, Etliche Geistliche vnd liebliche Gesenge I); RISM 1591-2:5 (Fuhrmann, Canilenae Latinae et Germanicae)

26v Ehre sei Gott in der Hohe - Anonymous
Appears on: 26v
Genres: Doxology
General Note

Identified as an 'Appendix' to the previous piece in the Altus book, and in Bassus 'sequens adiungatur' ("the following piece is added on") this doxology is not transmitted with the printed versions of 'Freut euch'; it is also scored for a different group of voices.

26v–27v Lapidabant Stephanum - 1a pars (of 2): Lapidabant Stephanum invocantem et dicentem C.N.P. [= Clemens non Papa]
Appears on: 26v–27v
Genres: Motet
Source Attribution: C.N.P. [= Clemens non Papa]
27v–28 Lapidabant Stephanum - 2a pars (of 2): Impetum fecerunt -
Appears on: 27v–28
Genres: Motet
30 Rector potens verax Deus [Veni creator spiritus] Martin.... [damaged]
Appears on: 30
Genres: Hymn
Source Attribution: Martin.... [damaged]
30v Summam quae doceant salutis [Vitam quae faciunt] Martini Agricolae
Appears on: 30v
Genres: Hymn
Source Attribution: Martini Agricolae
31 Tu verus in verbis Deus [Iam lucis orto sidere] Martini Agricolae
Appears on: 31
Genres: Hymn
Source Attribution: Martini Agricolae
31v Aufer immensam Deus aufer iram - Anonymous
Appears on: 31v
Genres: Motet
Concordances

Lubeck Mus A 217 (Bassus only) & several prints

31v–32 Nocte surgentes vigilemus omnes Martini Agricolae
Appears on: 31v–32
Genres: Motet
Source Attribution: Martini Agricolae
32v Qui super celsum resides Olympum (= Iam satis terris) -
Appears on: 32v
Genres: Motet
33 A Deo scirem nisi me creatum Joachimi à Burck civis Mulhusini
Appears on: 33
Genres: Motet
Source Attribution: Joachimi à Burck civis Mulhusini
General Note

This and the following 12 pieces are a group: "Sequuntur aliquot Odae Ludovici Helmboldi Mulhusini, suavibus harmoniis ornatae studio Joachimi à Burck civis Mulhusini." They were published in his Odae Sacrae I (1572), RISM A/I B 4961, nos. 1, 3, 5-10, 12-14, 17, 20.

Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

33v Curarum nihil invenitur expers [Joachim à Burck]
Appears on: 33v
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

34 Proh summe contemplata universi [Joachim à Burck]
Appears on: 34
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

34v Quid toties animam [Joachim à Burck]
Appears on: 34v
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

35–35v Beatus ille quisquis est ut Enos [Joachim à Burck]
Appears on: 35–35v
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

36–36v Sabbati colendi Deus autor est [Joachim à Burck]
Appears on: 36–36v
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

36v–37 Quantus homunicionis [Joachim à Burck]
Appears on: 36v–37
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

37v–38 Quam delicatuli sumus [Joachim à Burck]
Appears on: 37v–38
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

38v–39 Prudentes oculos habe [Joachim à Burck]
Appears on: 38v–39
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

39–39v Ter decem, ter et trecentos vixit Adamus annos [Joachim à Burck]
Appears on: 39–39v
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

40 Quid speciosa veste superbis? [Joachim à Burck]
Appears on: 40
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

40v–41 Quam mirabilis est [Joachim à Burck]
Appears on: 40v–41
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

41v–42 Vini potente Noa victus haustu [Joachim à Burck]
Appears on: 41v–42
Genres: Motet
Source Attribution: [Joachim à Burck]
Concordances

RISM A/I B 4961 (Burck, Odae Sacrae I)

42v–43 Dilexi quoniam exaudiet Dominus vocem - Anonymous
Appears on: 42v–43
Genres: Psalm
45 Dulcis memoria et suavis recordatio (= Doulce memoire) Clemens Marotus (text author)
Appears on: 45
Genres: Motet
Source Attribution: Clemens Marotus (text author)
45v Susanna se videns rapi stuprandam fraude (= Susanne un jour) -
Appears on: 45v
Genres: Motet
46 Cantate Domino (= Sta notte) Antonii Scandelli
Appears on: 46
Genres: Contrafactum, Motet
Source Attribution: Antonii Scandelli
46v–47 O caeli o terrae o maris (= S'io canto) Antonii Scandelli
Appears on: 46v–47
Genres: Contrafactum, Motet
Source Attribution: Antonii Scandelli
47–47v Cum sit omnipotens rector Olympi (= Madonna mia pieta) -
Appears on: 47–47v
Genres: Contrafactum, Motet
47v–48 Cum ignoremus Domini - Anonymous
Appears on: 47v–48
Genres: Motet
General Note

perhaps an unidentified contrafact, as it is surrounded by other contrafacta

48–48v Vere Deus qui pater es dilecti filii (= C'est a grand tort) -
Appears on: 48–48v
Genres: Contrafactum, Motet
48v–49 Jerusalem quae occidis - Anonymous
Appears on: 48v–49
Genres: Motet
General Note

perhaps an unidentified contrafact, as it is surrounded by other contrafacta

49–49v Quaerite primum regnum Dei - Anonymous
Appears on: 49–49v
Genres: Motet
General Note

perhaps an unidentified contrafact, as it is surrounded by other contrafacta

50–50v Lob sei dir Herr gesungen in Ewigkeit -- Veni novena turba psaltriarum (= O dolce vita) -
Appears on: 50–50v
Genres: Contrafactum, Motet
Concordances

also appears as "Veni novena turba" in RISM B/I 1580-7, no.23

51–51v Dulce commercium -
Appears on: 51–51v
Genres: Motet
Concordances

concordance in RISM A/I: S 2229 (= RISM B/I 1576-2), no.8

52 Laudate Dominum omnes gentes - Anonymous
Appears on: 52
Genres: Psalm
52v–53v In te Domine speravi non confundar (R. Quoniam fortitudo mea et refugium; Vs. In manus tuas Domine commendo spiritum - Anonymous
Appears on: 52v–53v
Genres: Psalm
53v–54 O lux beata trinitas - Anonymous
Appears on: 53v–54
Genres: Hymn
54–54v Benedicta sit - 2a pars (of 2): Laudate Dominum omnes gentes Joan: Tolpius (sic)
Appears on: 54–54v
Genres: Motet
Source Attribution: Joan: Tolpius (sic)
General Note

"Fuga 3. Vocum. Secundus Discantus in eodem post medium tempus. Bassus in subdiapason post mediam pausam per contrarium motum."

Concordances

Only this 2a pars is copied; the whole motet is printed in RISM A/I: T 913 (Jan Tollius, Moduli trium vocum, 1597)

54v–55 Cantate Domino (5vv) - 1a pars (of 2): Cantate Domino canticum novum quia mirabilia Orlandi
Appears on: 54v–55
Genres: Motet
Source Attribution: Orlandi
General Note

An arrangement as a bicinium of the 1a pars (only) of Lassus's motet, by Friedrich Lindner, as published in Bicinia sacra, RISM B/I: 1591-27,

55–55v Penitential psalms 5vv - 5. Domine exaudi orationem: (excerpt) Tota die exprobabant mihi) Orlandi
Appears on: 55–55v
Genres: Motet
Source Attribution: Orlandi
General Note

A bicinium, the 9th section of the penitential psalm extracted & arranged by Friedrich Lindner, and published in Bicinia sacra, RISM B/I: 1591-27

55v–56v Amici mei et proximi mei Jacob: Reineri
Appears on: 55v–56v
Genres: Motet
Source Attribution: Jacob: Reineri
Concordances

Lindner, Bicinia sacra, 1591

56v–57 Auditam fac mihi - 2a pars (of 4): Eripe me Domine Jacob: Hendel
Appears on: 56v–57
Genres: Motet
Source Attribution: Jacob: Hendel
Concordances

Only the 2a pars, extracted as a bicinium. Published in Bicinia sacra, RISM B/I: 1591-27; and as part of Gallus's Opus musicum

57–58 Jubilate Deo omnis terra servite Domino Hendl
Appears on: 57–58
Genres: Motet
Source Attribution: Hendl
General Note

The piece is omitted from the Tenor book (the 4th voice was perhaps in the Quintus).

58v–59 Penitential psalms 5vv - 2. Beati quorum remissae sunt: (excerpt) Dixi confitebor adversum me -
Appears on: 58v–59
Genres: Motet
General Note

6th section of the penitential psalm, "Dixi confitebor adversum me", extracted as a tricinium

61–61v Allein nach dir Herr Jesu Christ (= Si pur ti guardo) -
Appears on: 61–61v
Genres: Contrafactum, Hymn
62–62v Mein Trost und Hülf' ist Gott allein -
Appears on: 62–62v
Genres: Motet
62v–63v Wer in der Welt recht leben will Davidis Palladii
Appears on: 62v–63v
Genres: Motet
Source Attribution: Davidis Palladii
63v–64 Auf dich allein du treuer Gott -
Appears on: 63v–64
Genres: Motet
64–65 Bewahr mich Herr und sei nicht fern -
Appears on: 64–65
Genres: Sacred Song
65–66 Der Herr ist mein Hirte David: Palladii
Appears on: 65–66
Genres: Motet
Source Attribution: David: Palladii
66–67 Da Jacob das Kleid ansah mit großem Schmerzen -
Appears on: 66–67
Genres: Motet
67–67v Christe du Lamm Gottes Davidis Palladii
Appears on: 67–67v
Genres: Motet
Source Attribution: Davidis Palladii
68–68v Ach Herr in deine Hande -
Appears on: 68–68v
Genres: Motet
68v–69 Lasset die Kindlein zu mir kommen Leonardus Scröterus (sic)
Appears on: 68v–69
Genres: Motet
Source Attribution: Leonardus Scröterus (sic)
69v–70 Gott ist mein licht und mein seligkeit -
Appears on: 69v–70
Genres: Motet
General Note

modern pencil attribution "M.Praetorius?"; like much of the music in this part of the book, the piece appeared anonymously in his 'Musae Sioniae' bk 7

70v Wer Gott vertraut hat wohl gebaut -
Appears on: 70v
Genres: Motet
General Note

Appears in Magdeburg's 'Tischgeseng' of 1572 and a number of later prints; but Magdeburg may be the text author rather than the composer

70v–71 Furchte dich nicht - 1a pars (of 2): Fürchte dich nicht ich bin mit dir Galli Dresleri
Appears on: 70v–71
Genres: Motet
Source Attribution: Galli Dresleri
71v–72 Furchte dich nicht - 2a pars (of 2): Ich stärke dich ich helfe dir auf -
Appears on: 71v–72
Genres: Motet
72–72v Betruebet sehr bin ich von Herzen (= Bon jour mon coeur) Orlandi
Appears on: 72–72v
Genres: Contrafactum, Motet
Source Attribution: Orlandi
72v–73v Nach Gsund' und Freud' - 1a pars (of 3): Nach Gsund' und Freud' steht mein Begier Leonardi Lechneri
Appears on: 72v–73v
Genres: Motet
Source Attribution: Leonardi Lechneri
73v–74 Nach Gsund' und Freud' - 2a pars (of 3): Erbarm' dich mein -
Appears on: 73v–74
Genres: Motet
74–74v Nach Gsund' und Freud' - 3a pars (of 3): O Herr mein Gott -
Appears on: 74–74v
Genres: Motet
74v–75 Auf dich trau ich mein Herr und Gott -
Appears on: 74v–75
Genres: Hymn
75v O Herre Gott - 1a pars (of 3): O Herre Gott in meiner noth ruff ich Jacobi Hendl
Appears on: 75v
Genres: Motet
Source Attribution: Jacobi Hendl
76 O Herre Gott - 2a pars (of 3): O Jesu Christ gestorben bist -
Appears on: 76
Genres: Motet
76v O Herre Gott - 3a pars (of 3): O heiliger Geist ein gröster heist -
Appears on: 76v
Genres: Motet
76v–77 Wer Gott vertraut zu aller Stund -
Appears on: 76v–77
Genres: Motet
77v–78 Gott der Vater wohn uns bei - Anonymous
Appears on: 77v–78
Genres: Motet
80 Danket dem Herrn denn er ist freundlich (= Vitam quae faciunt) -
Appears on: 80
Genres: Contrafactum, Motet
General Note

A contrafact of Tritonius's Horatian setting, from Odarum Horatii concentus (1532)

80v–81 Was mein Gott will das g'scheh allzeit (= Il me suffit) -
Appears on: 80v–81
Genres: Contrafactum, Motet
81v–82 Nun lasst uns Gott dem Herren -
Appears on: 81v–82
Genres: Chorale
Concordances

printed in RISM B/I: 1597-7 published by Musculus; & perhaps composed by him

82v–83 Lobet den Herren, den er ist sehr freundlich -
Appears on: 82v–83
Genres: Lied, Sacred Song
83v–84 Herzlich lieb hab ich dich o herr -
Appears on: 83v–84
Genres: Chorale
General Note

printed in RISM B/I: 1597-7 published by Musculus; & perhaps composed by him

84v–85 Mei'm lieben Gott ergeb' ich mich - Anonymous
Appears on: 84v–85
Genres: Motet
85v–86 Allein zu dir Herr Jesu Christ (= Le jaune et bleu) - Anonymous
Appears on: 85v–86
Genres: Contrafactum, Motet
Concordances

German contrafact text; the French chanson in in RISM B/I: 1528-7

86v–87 Von Gott will ich nicht lassen - Anonymous
Appears on: 86v–87
Genres: Motet
Concordances

printed in J Magdeburg, 'Tischgeseng', 1572

87v–88 Patientiam muss ich han und lieget mir nicht viel daran - Anonymous
Appears on: 87v–88
Genres: Lied
General Note

with text "Patientiam muß ich han und soll nicht viel liegen daran" in Das deutsche Kirchenlied

88v–89 Wenn wir in höchsten nothen sein -
Appears on: 88v–89
Genres: Hymn
89–89v Hats Gott versehn wer will uns wehrn -
Appears on: 89–89v
Genres: Chorale
General Note

printed in RISM B/I: 1597-7 published by Musculus; & perhaps composed by him (note-values here are halved vs the print)

89v–90 Herr Gott du bist von Ewigkeit -
Appears on: 89v–90
Genres: Motet
90v–91 Warumb betriebstu dich mein herz -
Appears on: 90v–91
Genres: Song
General Note

printed in Magdeburg's 'Tischgeseng' (1572); perhaps he is text authot, or perhaps composed the piece

91v–92 Ach Vater unser all (= Venus du und dein Kind) Jacobus Regnart
Appears on: 91v–92
Genres: Contrafactum, Motet
Source Attribution: Jacobus Regnart
General Note

with note in the ms: "Ein Vater vnser auff die Melodie Venus du vnd dein Kind &c."

92v Ach Satan wie oft krankest du - Anonymous
Appears on: 92v
Genres: Motet
93 Bei deinem Wort erhalt uns Herr - Anonymous
Appears on: 93
Genres: Motet
93v–94 Gelobet und gepreiset ei Gott Vater und Sohn (= Jungfrau eur wanckelmut) Jacobus Regnart
Appears on: 93v–94
Genres: Contrafactum, Motet
Source Attribution: Jacobus Regnart
93v–94 So wahr ich leb spricht Gott der Herr eiusdem (=Regnart)
Appears on: 93v–94
Genres: Motet
Source Attribution: eiusdem (=Regnart)
General Note

Although attributed to Regnart ("eiusdem"), the music is not found in Regnart's 3vv - unlike the previous 2 3vv Regnart contrafacta

94v–95 Christe qui lux es, et dies / Christe der du bist Tag und Licht - Anonymous
Appears on: 94v–95
Genres: Hymn
95v–96 Da Jesus an dem Kreuze stund Christopho: Praetori:
Appears on: 95v–96
Genres: Motet
Source Attribution: Christopho: Praetori:
96v–97v Patris sapientia veritas divina / Christus der uns selig macht Euricius Dedeki:
Appears on: 96v–97v
Genres: Motet
Source Attribution: Euricius Dedeki:
97v–98 Danket dem Herren denn er ist sehr freundlich Lech:
Appears on: 97v–98
Genres: Motet
Source Attribution: Lech:
100 Veni redemptor gentium ostende partum Martinus Agricola
Appears on: 100
Genres: Hymn
Source Attribution: Martinus Agricola
100v A solis ortu cardine Martini Agricolae
Appears on: 100v
Genres: Hymn
Source Attribution: Martini Agricolae
101 Von Himmel kam der Engel Schar David Palladius
Appears on: 101
Genres: Motet
Source Attribution: David Palladius
101v–103 Christum wir sollen loben schon - Anonymous
Appears on: 101v–103
Genres: Motet
Concordances

printed by Eitner 1544; Eber "Etliche Geistliche und liebliche Gesenge" 1570; Fuhrmann 1591

103v–104 Puer natus in Bethlehem unde gaudet / Ein kind geborn zu Bethlehem -
Appears on: 103v–104
Genres: Hymn
104v–105 Gelobet seist Du, Jesu Christ, dass Du Mensch -
Appears on: 104v–105
Genres: Chorale, Sacred Song
105v–106 Allein Gott in der Höhe sei Ehr - Anonymous
Appears on: 105v–106
Genres: Motet
General Note

modern ascription in pencil (wrongly) to Leonhard Schröter

General Note

modern asciptionr in pencil (wrongly) to Leonhard Schröter

106v–107 In dulci jubilo - Anonymous

In dulci jubilo

Anonymous
Appears on: 106v–107
Genres: Hymn
107v–108 Herr Christ der einig Gottes Sohn -
Appears on: 107v–108
Genres: Chorale, Sacred Song
108–109 Das alte Jahr vergangen ist, wir danken dir -
Appears on: 108–109
Genres: Motet, Sacred Song
109v Fortiter elapsum - 1a pars (of 2): Fortiter elapsum texit Christiani praetorii
Appears on: 109v
Genres: Motet
Source Attribution: Christiani praetorii
110 Fortiter elapsum - 2a pars (of 2): Avertitque favens -
Appears on: 110
Genres: Motet
110v Grates nunc omnes / Dank sagen wir - 1a pars (of 2): Grates nunc omnes reddamus Domino Deo / Dank sagen wir alle Gott - Anonymous
Appears on: 110v
Genres: Motet
General Note

Annotated 'Fuga in diapason post unum tempus' - but the part copied is the same in both books! (The canon is not written out)

110v Grates nunc omnes - 2a pars (of 2): Huic oportet / Den sollen wir alle - Anonymous
Appears on: 110v
Genres: Motet
111 Rex regum - 1a pars (of 2): Rex regum Dominus dominorum Christiani praetorii
Appears on: 111
Genres: Motet
Source Attribution: Christiani praetorii
111v Rex regum - 2a pars (of 2): Huic pateant urbes -
Appears on: 111v
Genres: Motet
112 Jetzt sprosst herfür aus Davids Stämmelein (4vv) -
Appears on: 112
Genres: Sacred Song
112v–113 Nun komm der Heiden Heiland Autore M. Joh. Heil F. R. L L. ad D. Thom:
Appears on: 112v–113
Genres: Hymn
Source Attribution: Autore M. Joh. Heil F. R. L L. ad D. Thom:
113v–114 Das alte Jahr vergangen ist -
Appears on: 113v–114
Genres: Motet
114v–115 Uber's Gebirg Maria geht -
Appears on: 114v–115
Genres: Motet
115v–116 Der Zacharias ganz verstummt -
Appears on: 115v–116
Genres: Motet
115v–116 Der Heiland offenbaret -
Appears on: 115v–116
Genres: Motet
117v–118 Der heiligen Dreifaltigkeit Fest Joach: à Burck
Appears on: 117v–118
Genres: Motet
Source Attribution: Joach: à Burck
118v–119 Der Heilig Geist vom Himmel kam Joh: Eccardi Mulhusini
Appears on: 118v–119
Genres: Motet
Source Attribution: Joh: Eccardi Mulhusini
119v Ecce quomodo - 1a pars (of 2): Ecce quomodo moritur justus et nemo percipit Jacobi Hendl
Appears on: 119v
Genres: Motet
Source Attribution: Jacobi Hendl
General Note

Hartmann's catalogue does not indicate that the 2a pars is present

120 Ecce quomodo - 2a pars (of 2): In pace factus est locus eius -
Appears on: 120
Genres: Motet
General Note

Hartmann's catalogue does not indicate that the 2a pars is present

120v–121 Herr Jesu Christ wahr'r Mensch und Gott - Anonymous
Appears on: 120v–121
Genres: Motet
121v–122 Ich weiss, dass mein Erlöser lebt Joach: a Burgk
Appears on: 121v–122
Genres: Hymn
Source Attribution: Joach: a Burgk
General Note

"Epitaphium hertzogk Johann Wilhelms zu Sachsenn &c unter S. F. D. Namen begriffen" i.e. the initial letters of the verses make an acrostic of his name

122v–123 Surrexit Christus Dominus / Erstanden ist Herr Jesu Christ Christophori Praetorii
Appears on: 122v–123
Genres: Motet
Source Attribution: Christophori Praetorii
General Note

Two pieces of music are copied across the opening, both sharing the same text. Hartmann ascribes both to Praetorius; RISM assumes the ascription does not apply to the second setting.

122v–123 Surrexit Christus Dominus / Erstanden ist Herr Jesu Christ - Anonymous
Appears on: 122v–123
Genres: Motet
General Note

Two pieces of music are copied across the opening, both sharing the same text. Hartmann ascribes both to Praetorius; RISM assumes the ascription does not apply to the second setting.

123v–124 Ach wir armen Sunder compositum per Joannem Bertramum, Cantorem Lunaeburg:
Appears on: 123v–124
Genres: Motet
Source Attribution: compositum per Joannem Bertramum, Cantorem Lunaeburg:
124v O Lamm Gottes unschuldig - Anonymous
Appears on: 124v
Genres: Motet
Concordances

Magdeburg 'Tischgeseng' 1572

125 O Christ der du bist vom Tod auferstanden Joachim à Burgk
Appears on: 125
Genres: Motet
Source Attribution: Joachim à Burgk
125v–126 Surrexit Christus hodie alleluia / Erstanden ist der heilige Christ - Anonymous
Appears on: 125v–126
Genres: Motet
Concordances

Praetorius 'Musae Sioniae' V (1607), 131

126v Jesus Christus unser Heiland - Anonymous
Appears on: 126v
Genres: Hymn
Concordances

printed in "Psalmodia, hoc est Cantica Sacra", Nuremberg 1553, edited by Lucas Lossius, p.295; there notated in hufnagel

General Note

The following setting (by Dedekind) uses the Tenor melody from this bicinium as its DIscantus. Hartmann's catalogue identifies both under the same piece-number.

126v Jesus Christus unser Heiland Euri: Dedekin:
Appears on: 126v
Genres: Hymn
Source Attribution: Euri: Dedekin:
General Note

uses the tenor melody of the Lossius piece above as Discantus; only the first 5 notes of it are (re-)written in the Discantus

127–127v Ich bin die aufferstehung und das leben -
Appears on: 127–127v
Genres: Motet
127v–128v Congratulamini mihi omnes qui diligitis Clemens NP
Appears on: 127v–128v
Genres: Motet
Source Attribution: Clemens NP
128v–130 Tulerunt Dominum meum et nescio ubi Jean Pierre
Appears on: 128v–130
Genres: Motet
Source Attribution: Jean Pierre
130–130v Vespera nunc [jam] venit nobiscum Christo maneto -
Appears on: 130–130v
Genres: Motet
131v–132 Ascendit Christus hodie / Gefahren ist der heil'ge Christ - Anonymous
Appears on: 131v–132
Genres: Motet
132v–133 Spiritus sancti gloria / Des heil'gen Geistes reiche Gnad - Anonymous
Appears on: 132v–133
Genres: Motet
133v Veni maxime spiritus Martinus Agricola
Appears on: 133v
Genres: Motet
Source Attribution: Martinus Agricola
133v Veni maxime spiritus - Anonymous
Appears on: 133v
Genres: Motet
General Note

Another setting of teh text following the Agricola version

General Note

Another setting of the text following the Agricola version

134 Quando Christus ascenderat / Da Christus aufgefahren war Christophori Praetorii
Appears on: 134
Genres: Motet
Source Attribution: Christophori Praetorii
134v–135 Viri Galilaei quid aspicitis in caelum -
Appears on: 134v–135
Genres: Motet
135v–136 Zu dieser oesterlichen Zeit lasst fahren alle Traurigkeit Joh: Eccardi Mulhusini
Appears on: 135v–136
Genres: Motet
Source Attribution: Joh: Eccardi Mulhusini
136v–137 Der Heiland ist erhoehet -
Appears on: 136v–137
Genres: Motet
137v–138 Gen Himmel fahrt der Herre Christ Joh: Eccardi
Appears on: 137v–138
Genres: Motet
Source Attribution: Joh: Eccardi
138v Der Heiland hoch erhaben -
Appears on: 138v
Genres: Motet
140–141 Ach du edler Rebensaft wie wünsch' ich mir so oft -
Appears on: 140–141
Genres: Lied
141v Musica Klang lieblicher Gsang Leonardi Lechneri
Appears on: 141v
Genres: Lied
Source Attribution: Leonardi Lechneri
Concordances

Lechner 'Dreistimmige deutsche Lieder I', 1576, no.17

142 Jagen Hetzen und Federspiel bringen dem Herzen Freuden viel Lechneri
Appears on: 142
Genres: Lied
Source Attribution: Lechneri
Concordances

Lechner 'Dreistimmige deutsche Lieder II', 1577, no.5

142v Geduld um Schuld will haben ich Lechneri
Appears on: 142v
Genres: Lied
Source Attribution: Lechneri
Concordances

Lechner 'Dreistimmige deutsche Lieder II', 1577, no.17

143 Gut Singer und ein Organist Lechneri
Appears on: 143
Genres: Lied
Source Attribution: Lechneri
Concordances

Lechner 'Dreistimmige deutsche Lieder I', 1576, no.1

143v Durch Wald und Tal gar mannig mal Leonardi Lechneri
Appears on: 143v
Genres: Lied
Source Attribution: Leonardi Lechneri
Concordances

Lechner 'Dreistimmige deutsche Lieder II', 1577, no.1

144 Patientiam muss ich han wohlan -
Appears on: 144
Genres: Lied
Concordances

Lechner 'Dreistimmige deutsche Lieder II', 1577, no.8

144v–145 Wer sich allein auf Gluck verlat Leonardi Lechneri
Appears on: 144v–145
Genres: Lied
Source Attribution: Leonardi Lechneri
Concordances

Lechner 'Dreistimmige deutsche Lieder II', 1577, no.6

145v–146 Vinum quae pars verstehst du das Ivonis de Vento
Appears on: 145v–146
Genres: Lied
Source Attribution: Ivonis de Vento
146–146v Mancher der spricht im Maien Ivonis de Vento
Appears on: 146–146v
Genres: Lied
Source Attribution: Ivonis de Vento
147–148 Ich weiss mir ein festes gebautes haus Ant: Scandell:
Appears on: 147–148
Genres: Song
Source Attribution: Ant: Scandell:
148v–149v Ein treues Herz in Ehren - Anonymous
Appears on: 148v–149v
Genres: Lied
Composer Compositions
Agricola, Martin (ca. 1486–1556)
Alder, Cosmas (1500–1550)
Anonymous
Baston, Josquin (fl. 1542–63)
Bertram, Johann
Burck, Joachim à (1546–1610)
Clemens non Papa, Jacob (ca. 1510–ca. 1556)
Crecquillon, Thomas (ca. 1505–ca. 1557)
Dedekind, Euricius
Donato, Baldassare (ca. 1529–1603)
Dressler, Gallus
Eccard, Johannes (1553–1611)
Figulus, Wolfgang (ca. 1525–1589)
Fine, Arnoldus de
Freundt, Cornelius (1535–1591)
Handl (Gallus), Jacobus (1550–1591)
Heil, Joh[ann]
Lange, Gregor (ca. 1540–1587)
Lassus, Orlande de (ca. 1532–1594)
Le Bel, Barthelemy
Lechner, Leonhard
Lupi (II), Didier
Magdeburg, Joachim
Maillard, Jean (fl. c1538–1570)
Manchicourt, Pierre de
Meiland, Jacob (1542–1577)
Morel, Clement
Musculus [or Meusel], Balthasar
Palladius, David
Pierre, Jean
Praetorius, Christian
Praetorius, Christoph
Regnart, Jacob (ca. 1540–1599)
Reiner, Jacob
Sandrin, Pierre (ca. 1490–ca. 1560)
Scandello, Antonio
Schramm, Melchior
Schroeter, Leonhard
Senfl, Ludwig (ca. 1486–ca. 1543)
Sermisy, Claudin de (ca. 1490–1562)
Steurlein, Johannes
Tollius, Joannes
Tritonius, Petrus
Vento, Ivo de
Walter, Johann (1496–1570)
Willaert, Adrian (ca. 1490–1562)
Zirler, Stephan (ca. 1518–1568)
Composition Composers (? Uncertain) Folios / Pages
A Deo scirem nisi me creatum 33
A solis ortu cardine 100v
Ach du edler Rebensaft wie wünsch' ich mir so oft 140–141
Ach Herr in deine Hande 68–68v
Ach Satan wie oft krankest du Anonymous 92v
Ach Vater unser all (= Venus du und dein Kind) 91v–92
Ach wir armen Sunder 123v–124
Allein Gott in der Höhe sei Ehr Anonymous 105v–106
Allein nach dir Herr Jesu Christ (= Si pur ti guardo) 61–61v
Allein zu dir Herr Jesu Christ (= Le jaune et bleu) Anonymous 85v–86
Amici mei et proximi mei 55v–56v
Angelus ad pastores ait annuntio vobis 23v–24v
Ascendit Christus hodie / Gefahren ist der heil'ge Christ Anonymous 131v–132
Auditam fac mihi - 2a pars (of 4): Eripe me Domine 56v–57
Auf dich allein du treuer Gott 63v–64
Auf dich trau ich mein Herr und Gott 74v–75
Aufer immensam Deus aufer iram Anonymous 31v
Beati omnes qui timent Dominum 15v–17
Beatus ille quisquis est ut Enos 35–35v
Bei deinem Wort erhalt uns Herr Anonymous 93
Benedicam Dominum - 1a pars (of 2): Benedicam Dominum in omni tempore semper 20v–21
Benedicam Dominum - 2a pars (of 2): In Domino laudabitur anima mea 21v–22
Benedicta sit - 2a pars (of 2): Laudate Dominum omnes gentes 54–54v
Betruebet sehr bin ich von Herzen (= Bon jour mon coeur) 72–72v
Bewahr mich Herr und sei nicht fern 64–65
Cantate Domino (5vv) - 1a pars (of 2): Cantate Domino canticum novum quia mirabilia 54v–55
Cantate Domino (= Sta notte) 46
Caro mea vere est - 1a pars (of 2): Caro mea vere est cibus et sanguis meus 10–11
Caro mea vere est - 2a pars (of 2): Hic est panis qui de caelo descendit 11–11v
Christe du Lamm Gottes 67–67v
Christe qui lux es, et dies / Christe der du bist Tag und Licht Anonymous 94v–95
Christum wir sollen loben schon Anonymous 101v–103
Confitemini Domino (5vv) - 1a pars (of 2): Confitemini Domino et invocate nomen eius 22v–23
Confitemini Domino (5vv) - 2a pars (of 2): Narrate omnia mirabilia eius 23–23v
Congratulamini mihi omnes qui diligitis 127v–128v
Cor mundum - 1a pars (of 2): Cor mundum crea in me deus et spiritum 13–14
Cor mundum - 2a pars (of 2): Averte faciem tuam a peccatis meis 14–15
Cum ignoremus Domini Anonymous 47v–48
Cum sit omnipotens rector Olympi (= Madonna mia pieta) 47–47v
Curarum nihil invenitur expers 33v
Da Jacob das Kleid ansah mit großem Schmerzen 66–67
Da Jesus an dem Kreuze stund 95v–96
Danket dem Herren denn er ist sehr freundlich 97v–98
Danket dem Herrn denn er ist freundlich (= Vitam quae faciunt) 80
Das alte Jahr vergangen ist 113v–114
Das alte Jahr vergangen ist, wir danken dir 108–109
Der Heiland hoch erhaben 138v
Der Heiland ist erhoehet 136v–137
Der Heiland offenbaret 115v–116
Der Heilig Geist vom Himmel kam 118v–119
Der heiligen Dreifaltigkeit Fest 117v–118
Der Herr ist mein Hirte 65–66
Der Zacharias ganz verstummt 115v–116
Dilexi quoniam exaudiet Dominus vocem Anonymous 42v–43
Domine Jesu Christe respicere digneris 1–2
Dulce commercium 51–51v
Dulcis memoria et suavis recordatio (= Doulce memoire) 45
Dum proeliaretur - 1a pars (of 2): Dum proeliaretur Michael archangelus 5v–6
Dum proeliaretur - 2a pars (of 2): Dum committeret bellum draco 6–6v
Durch Wald und Tal gar mannig mal 143v
Ecce quomodo - 1a pars (of 2): Ecce quomodo moritur justus et nemo percipit 119v
Ecce quomodo - 2a pars (of 2): In pace factus est locus eius 120
Ehre sei Gott in der Hohe Anonymous 26v
Ein treues Herz in Ehren Anonymous 148v–149v
Factum est silentium in caelo dum draco 6v–7v
Fortiter elapsum - 1a pars (of 2): Fortiter elapsum texit 109v
Fortiter elapsum - 2a pars (of 2): Avertitque favens 110
Freut euch ihr Christen, freut euch von Herzen sehr Anonymous 26–26v
Furchte dich nicht - 1a pars (of 2): Fürchte dich nicht ich bin mit dir 70v–71
Furchte dich nicht - 2a pars (of 2): Ich stärke dich ich helfe dir auf 71v–72
Geduld um Schuld will haben ich 142v
Geh deinen Weg auf rechtem Steg 25v–26
Gelobet seist Du, Jesu Christ, dass Du Mensch 104v–105
Gelobet und gepreiset ei Gott Vater und Sohn (= Jungfrau eur wanckelmut) 93v–94
Gen Himmel fahrt der Herre Christ 137v–138
Gott der Vater wohn uns bei Anonymous 77v–78
Gott ist mein licht und mein seligkeit 69v–70
Grates nunc omnes - 2a pars (of 2): Huic oportet / Den sollen wir alle Anonymous 110v
Grates nunc omnes / Dank sagen wir - 1a pars (of 2): Grates nunc omnes reddamus Domino Deo / Dank sagen wir alle Gott Anonymous 110v
Gut Singer und ein Organist 143
Hats Gott versehn wer will uns wehrn 89–89v
Herr Christ der einig Gottes Sohn 107v–108
Herr Gott du bist von Ewigkeit 89v–90
Herr Jesu Christ wahr'r Mensch und Gott Anonymous 120v–121
Herzlich lieb hab ich dich o herr 83v–84
Ich bin die aufferstehung und das leben 127–127v
Ich weiss mir ein festes gebautes haus 147–148
Ich weiss, dass mein Erlöser lebt 121v–122
In dulci jubilo Anonymous 106v–107
In me transierunt irae tuae 19v–20v
In me transierunt irae tuae et terrores 2v–3
In principio erat verbum - 2a pars (of 3): Fuit homo missus 5–5v
In te Domine speravi non confundar (R. Quoniam fortitudo mea et refugium; Vs. In manus tuas Domine commendo spiritum Anonymous 52v–53v
Jagen Hetzen und Federspiel bringen dem Herzen Freuden viel 142
Jerusalem quae occidis Anonymous 48v–49
Jesus Christus unser Heiland Anonymous 126v
Jesus Christus unser Heiland 126v
Jetzt sprosst herfür aus Davids Stämmelein (4vv) 112
Jubilate Deo omnis terra servite Domino 57–58
Lapidabant Stephanum - 1a pars (of 2): Lapidabant Stephanum invocantem et dicentem 26v–27v
Lapidabant Stephanum - 2a pars (of 2): Impetum fecerunt 27v–28
Lasset die Kindlein zu mir kommen 68v–69
Laudate Dominum in sanctis eius (4vv) 7v–8v
Laudate Dominum omnes gentes Anonymous 52
Lob sei dir Herr gesungen in Ewigkeit -- Veni novena turba psaltriarum (= O dolce vita) 50–50v
Lobet den Herren, den er ist sehr freundlich 82v–83
Mancher der spricht im Maien 146–146v
Mei'm lieben Gott ergeb' ich mich Anonymous 84v–85
Mein Trost und Hülf' ist Gott allein 62–62v
Missus est angelus Gabriel - 3a pars (of 4): Dixit autem Maria ad angelum 24v–25
Musica Klang lieblicher Gsang 141v
Nach Gsund' und Freud' - 1a pars (of 3): Nach Gsund' und Freud' steht mein Begier 72v–73v
Nach Gsund' und Freud' - 2a pars (of 3): Erbarm' dich mein 73v–74
Nach Gsund' und Freud' - 3a pars (of 3): O Herr mein Gott 74–74v
Nisi Dominus aedificaverit 17–18v
Nocte surgentes vigilemus omnes 31v–32
Nun komm der Heiden Heiland 112v–113
Nun lasst uns Gott dem Herren 81v–82
O caeli o terrae o maris (= S'io canto) 46v–47
O Christ der du bist vom Tod auferstanden 125
O Herre Gott - 1a pars (of 3): O Herre Gott in meiner noth ruff ich 75v
O Herre Gott - 2a pars (of 3): O Jesu Christ gestorben bist 76
O Herre Gott - 3a pars (of 3): O heiliger Geist ein gröster heist 76v
O Lamm Gottes unschuldig Anonymous 124v
O lux beata trinitas Anonymous 53v–54
Omnia quae fecisti nobis Domine in vero 18v–19v
Pater peccavi (4vv) - 1a pars (of 2): Pater peccavi in caelum et coram te 11v–12
Pater peccavi (4vv) - 2a pars (of 2): Quanti mercenarii in domo patris 12v–13
Patientiam muss ich han und lieget mir nicht viel daran Anonymous 87v–88
Patientiam muss ich han wohlan 144
Patris sapientia veritas divina / Christus der uns selig macht 96v–97v
Penitential psalms 5vv - 2. Beati quorum remissae sunt: (excerpt) Dixi confitebor adversum me 58v–59
Penitential psalms 5vv - 5. Domine exaudi orationem: (excerpt) Tota die exprobabant mihi) 55–55v
Proh summe contemplata universi 34
Prudentes oculos habe 38v–39
Puer natus in Bethlehem unde gaudet / Ein kind geborn zu Bethlehem 103v–104
Quaerite primum regnum Dei Anonymous 49–49v
Quam delicatuli sumus 37v–38
Quam mirabilis est 40v–41
Quando Christus ascenderat / Da Christus aufgefahren war 134
Quantus homunicionis 36v–37
Qui super celsum resides Olympum (= Iam satis terris) 32v
Quid speciosa veste superbis? 40
Quid toties animam 34v
Rector potens verax Deus [Veni creator spiritus] 30
Rex regum - 1a pars (of 2): Rex regum Dominus dominorum 111
Rex regum - 2a pars (of 2): Huic pateant urbes 111v
Sabbati colendi Deus autor est 36–36v
So wahr ich leb spricht Gott der Herr 93v–94
Spiritus sancti gloria / Des heil'gen Geistes reiche Gnad Anonymous 132v–133
Summam quae doceant salutis [Vitam quae faciunt] 30v
Surrexit Christus Dominus / Erstanden ist Herr Jesu Christ 122v–123
Surrexit Christus Dominus / Erstanden ist Herr Jesu Christ Anonymous 122v–123
Surrexit Christus hodie alleluia / Erstanden ist der heilige Christ Anonymous 125v–126
Susanna se videns rapi stuprandam fraude (= Susanne un jour) 45v
Ter decem, ter et trecentos vixit Adamus annos 39–39v
Timor et tremor venit in Nivem civitatem 3v–5
Tota pulchra es amica mea et macula 8v–9v
Tu verus in verbis Deus [Iam lucis orto sidere] 31
Tulerunt Dominum meum et nescio ubi 128v–130
Uber's Gebirg Maria geht 114v–115
Veni maxime spiritus 133v
Veni maxime spiritus Anonymous 133v
Veni redemptor gentium ostende partum 100
Vere Deus qui pater es dilecti filii (= C'est a grand tort) 48–48v
Vespera nunc [jam] venit nobiscum Christo maneto 130–130v
Vini potente Noa victus haustu 41v–42
Vinum quae pars verstehst du das 145v–146
Viri Galilaei quid aspicitis in caelum 134v–135
Von Gott will ich nicht lassen Anonymous 86v–87
Von Himmel kam der Engel Schar 101
Warumb betriebstu dich mein herz 90v–91
Was mein Gott will das g'scheh allzeit (= Il me suffit) 80v–81
Wenn wir in höchsten nothen sein 88v–89
Wer Gott vertraut hat wohl gebaut 70v
Wer Gott vertraut zu aller Stund 76v–77
Wer in der Welt recht leben will 62v–63v
Wer sich allein auf Gluck verlat 144v–145
Zu dieser oesterlichen Zeit lasst fahren alle Traurigkeit 135v–136

Set: Mus. ant. pract. K.N. 144 (1-4)

Type: Partbooks

No images available

D-Lr Mus.ant.pract.K.N.144 (1)

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D-Lr Mus.ant.pract.K.N.144 (2)

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D-Lr Mus.ant.pract.K.N.144 (3)

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D-Lr Mus.ant.pract.K.N.144 (4)

denotes primary source study

Youens, Laura. 1978. Music for the Lutheran Mass in Leipzig, Universitätsbibliothek, MS. Thomaskirche 49/50. Indiana University, Unpublished Ph.D. dissertation. Pages: 789. Notes: contents list (partial); concordances (partial).

Beebe, Ellen Scott. 1976. Mode, Structure, and Text Expression in the Motets of Jacobus Clemens non Papa: A Study of Style in Sacred Music. Yale University, Unpublished Ph.D. dissertation. Pages: 87-9. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Dehnhard, Walter. 1971. Die deutschen Psalmmotette in der Reformationszeit. Neue Musikgeschichtliche Forschungen.  Wiesbaden. Pages: 129. Notes: contents list (partial); concordances (partial).

Gottwald, Clytus. 1964. Codices Musici (Cod. Mus. Fol. I 1-71). . Die Handschriften der Württembergischen Landesbibliothek Stuttgart.  Wiesbaden. Pages: 4. Notes: contents list (partial); concordances (partial).

Kempers, Karel Philippus Bernet. 1964. Bibliography of the Sacred Works of Jacobus Clemens non Papa. Musica Disciplina, 85-150. Pages: 113,120,144. Notes: contents list (partial); concordances (partial).

Hartmann, Karl-Günther. 1960. Die Handschrift KN 144 der Ratsbücherei zu Lüneburg. Die Musikforschung, 1-27,459. Notes: physical description (partial); contents list; concordances; mention of MS; discussion.

Boetticher, Wolfgang. 1958. Orlando di Lasso und seine Zeit. 1532-1594. Repertoire-Untersuchungen zur Musik der Spätrenaissance.  Kassel and Basel. Pages: 827. Notes: mention of MS.

Riedel, Johannes. 1951. Leisen Formulae: Their Polyphonic Settings in the Renaissance and Reformation. University of Southern California, Unpublished Ph.D. dissertation. Pages: 35-6. Notes: physical description (partial); contents list (partial).

Welter, Friedrich. 1950. Katalog der Musikalien der Ratsbücherei Lüneburg.  Lippstadt. Pages: 35-6, passim. Notes: physical description (partial); contents list; incipits (partial).

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Monday, 23 January, 2017

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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