{"pk":117,"url":"https:\/\/www.diamm.ac.uk\/sources\/117\/?format=json","display_name":"I-Bc Q.15","display_summary":"I-Bc Q.15; 15th century, copying completed 1440; This manuscript is the largest international anthology of polyphonic music of the early 15th century. It was compiled in the Veneto, in Padua 1420-5 (stage I) and Vicenza 1430-35 (stages II-III), all copied by a single (unidentified) scribe. Later additions include one textless song and a partial index compiled by Guillelmus Musart.\r\n\r\nContents: 323 compositions excluding one Gloria and three motets on bifolios which duplicate items within the volume and now serve as flyleaves: 3 Introits, 16 Kyries (including one chant), 61 Glorias, 44 Credos (one duplication: 31 = 88), 10 Sanctus, 8 Agnus, 109 motets, 12 *laude* (Italian and Latin), 19 French songs, 1 textless song (later addition), 25 hymns, 9 Magnificats, 3 sequences.\r\n\r\nThe first half of the manuscript is mainly devoted to the Mass Ordinary, the second mostly to motets. Songs appear only as late additions in stage I, *laude* as additions at stage III. Most of the Mass Ordinary sections are grouped into cycles (some composite: 6 whole and two partial cycles) or Gloria-Credo pairs, some of which are linked compositionally, others apparently at the compiler\u2019s initiative.\r\n\r\nThe motets include compositions in honour of Gianfrancesco Gonzaga, the Venetian doges Steno, Mocenigo and Foscari, the prelates Stefano Carrara, Albano Michiel, Pietro Marcello, Francesco Malipiero, Francesco Zabarella, Antonio Correr, Giovanni Contarini; the Dominicans and Leonardo Dati; Pandolfo Malatesta da Pesaro, Cleofe Malatesta; Eugenius IV, Eugenius and the Emperor Sigismund. Q15 can be associated with the humanist circle around the Venetian patrician bishop Pietro Emiliani of Vicenza, which drew on a high level of local musical competence that was continued under his successor, bishop Franceso Malipiero.\r\n\r\nAbout 50 composers are represented, including native Italians, the first significant English imports to the continent, and composers from the north who were sought after and made their careers in Italy. The following numbers are approximate, allowing for attributions that are contested or from other sources: Alanus 1, Antonio da Cividale 5, Antonio Romano 6, Benet 2, Benoit 1, Binchois 5, Binchois\/(Dunstaple) 1, (Bodoil) 1, Bosquet 2, Brassart 8, Brassart\/ (J. Legrant) 1, (Cameraco) 1, Carmen 2, Christoforus de Monte 2, Ciconia 17, Cordier 2, Du Fay 68-71, Dunstaple 4, Sarto 2, T. Fabri 1, Feragut 6, Fontaine 2, (Forest) 1, Gemblaco [Franchois] 7-9, Gervasius de Anglia 1, Grenon 3, Grossin 4, Hasprois 1, Francus de Insula 1, A. de Lantins 23, H. de Lantins 6, G. Legrant 2, Limburgia 46-50, Loqueville 5, Luca 1, Matheus de Brixia 1, Natalis 1, Passet\/(C\u00e9saris) 1, Power 3-6, Reson 4, Rondelly 1, Rubeus 2, Ruttis 1, Salinis 8, Tapissier 1, Velut 4, Vide 1, Briquet 1, Zacara da Teramo 12, N. Zacarie 1. Some 30 pieces are given anonymously, of which about 10 have been attributed and are included in the above counts.\r\n\r\nAbout half the compositions are unique; some others are shared with and complemented by the slightly younger Veneto manuscripts Bologna, Biblioteca Universitaria 2216 and Oxford, Canon. misc. 213, as well as numerous concordances in Aosta 15 and the Trent codices. Q.15 is the most important source for the works of Zacara and Ciconia and for the early mass and motet compositions of Guillaume Du Fay, many of them *unica* (nearly a quarter of the manuscript). Du Fay's *Missa Sancti Jacobi* can be linked to the circle in which Q.15 was compiled.","shelfmark":"Q.15","surface_type":"Mixed Paper and Parchment","date_statement":"15th century, copying completed 1440","source_type":"choirbook","measurements":"280 x 200 mm","type":"source","cover_image_info":{"url":"https:\/\/www.diamm.ac.uk\/cover\/5015\/?format=json","label":"126v","image_viewer_url":"#\/images?p=canvas%3Ahttps%3A%2F%2Fwww.diamm.ac.uk%2Fsources%2F117%2Fcanvas%2F5015%2F%3Fformat%3Djson"},"manifest_url":"https:\/\/www.diamm.ac.uk\/sources\/117\/manifest\/?format=json","inventory_provided":true,"is_virtual":false,"public_images":true,"open_images":false,"has_external_images":true,"has_external_manifest":false,"has_inventory":true,"diamm_has_images":false,"has_images":true,"archive":{"url":"https:\/\/www.diamm.ac.uk\/archives\/154\/?format=json","name":"Museo Internazionale e Biblioteca della Musica di Bologna","siglum":"I-Bc","city":"Bologna","country":"Italy","logo":"https:\/\/www.diamm.ac.uk\/media\/archives\/154.png","copyright":"\u00a9 Museo Internazionale e Biblioteca della Musica di Bologna (formerly Civico Museo Bibliografico Musicale; earlier Liceo Musicale), Bologna"},"sets":[],"provenance":[{"city":"Padua","country":"Italy","country_uncertain":false,"city_uncertain":false,"entity_uncertain":false,"region_uncertain":false},{"city":"Vicenza","country":"Italy","country_uncertain":false,"city_uncertain":false,"entity_uncertain":false,"region_uncertain":false},{"city":"Piacenza","country":"Italy","region":"Northern Italy","country_uncertain":false,"city_uncertain":true,"entity_uncertain":false,"region_uncertain":false}],"relationships":[{"related_entity":{"name":"Musart, Guillelmus","url":"https:\/\/www.diamm.ac.uk\/people\/2780\/?format=json"},"uncertain":false,"relationship_type":"compiler"},{"related_entity":{"name":"Gonzaga, Gianfrancesco (1395\u20131444)","url":"https:\/\/www.diamm.ac.uk\/people\/2781\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Steno","url":"https:\/\/www.diamm.ac.uk\/people\/2782\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Mocenigo","url":"https:\/\/www.diamm.ac.uk\/people\/2783\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Foscari","url":"https:\/\/www.diamm.ac.uk\/people\/2784\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Carrara, Stefano","url":"https:\/\/www.diamm.ac.uk\/people\/2785\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Michiel, Albano","url":"https:\/\/www.diamm.ac.uk\/people\/2786\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Marcello, Pietro","url":"https:\/\/www.diamm.ac.uk\/people\/2787\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Malipiero, Francesco","url":"https:\/\/www.diamm.ac.uk\/people\/2788\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Zabarella, Francesco","url":"https:\/\/www.diamm.ac.uk\/people\/2789\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Correr, Antonio","url":"https:\/\/www.diamm.ac.uk\/people\/2790\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Contarini, Giovanni","url":"https:\/\/www.diamm.ac.uk\/people\/2791\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Dati, Leonardo","url":"https:\/\/www.diamm.ac.uk\/people\/2792\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Malatesta da Pesaro, Pandolfo","url":"https:\/\/www.diamm.ac.uk\/people\/2793\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Malatesta, Cleofe","url":"https:\/\/www.diamm.ac.uk\/people\/2794\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Eugenius IV (1383\u20131447)","url":"https:\/\/www.diamm.ac.uk\/people\/2795\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"},{"related_entity":{"name":"Emperor Sigismund (1368\u20131437)","url":"https:\/\/www.diamm.ac.uk\/people\/2796\/?format=json"},"uncertain":false,"relationship_type":"composition(s) in honour of"}],"copyists":[],"catalogue_entries":[],"contents_statement":"Contains 323 compositions, 298 from 55 composers, 25 are anonymous.","links":[{"type":4,"url_type":"External Images","link":"http:\/\/www.bibliotecamusica.it\/cmbm\/viewschedatwbca.asp?path=\/cmbm\/images\/ripro\/gaspari\/_Q\/Q015\/","link_text":"images"},{"type":3,"url_type":"Ancillary","link":"http:\/\/diamm.nsms.ox.ac.uk\/moodle\/","link_text":"14th-century French music notation tutorials"},{"type":3,"url_type":"Ancillary","link":"http:\/\/www.jechante.ex.ac.uk\/archive\/mstexts.xql?source=MSQ15","link_text":"Transcribed texts"}],"bibliography":[{"pk":7250,"prerendered":"Bent, Margaret<\/a>. 2016. Melchior or Marchion de Civilibus, prepositus brixiensis: new documents. Music and Culture in the Middle Ages and Beyond: Liturgy, Sources, Symbolism (Festschrift for Craig Wright),<\/em> edited by Margaret Bent<\/a>, 175-190. Cambridge: Cambridge University Press.","primary_study":false},{"pk":7248,"prerendered":"Bent, Margaret<\/a>. 2015. Orfeo: dominus presbiter Orpheus de Padua. \u2018Qui musicam in se habet\u2019: Studies in Honor of Alejandro Enrique Planchart,<\/em> edited by Margaret Bent<\/a>, 231-256. American Institute of Musicology.","primary_study":false},{"pk":7249,"prerendered":"Bent, Margaret<\/a>. 2014. Francesco Malipiero and Antonio da Roma \u2013 another musical connection? Mondo latino e civilt\u00e0 bizantina: Musica, arte e cultura nei codici del 1400,<\/em> edited by Margaret Bent<\/a>, 225-238. Padua: Cleup.","primary_study":false},{"pk":7247,"prerendered":"Bent, Margaret<\/a>. 2014. Libri de cantu in the early fifteenth-century Veneto: contents, use and ownership. Musikalische Repertoires in Zentraleuropa (1420\u20131450). Prozesse & Praktiken,<\/em> Wiener Musikwissenschaftliche Beitr\u00e4ge, vol. 26. edited by Margaret Bent<\/a>, 153-170. Vienna: B\u00f6hlau.","primary_study":false},{"pk":3679,"prerendered":"Bent, Margaret<\/a>. 2009. Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition.<\/em> 2 vols. Lucca: Lim Editrice.","primary_study":true},{"pk":3678,"prerendered":"Bent, Margaret<\/a>. 2007. Trompetta and Concordans Parts in the Early Fifteenth Century.<\/em> Music as Social and Cultural Practice: Essays in Honour of Reinhard Strohm,<\/em> edited by Margaret Bent<\/a>, 38-73. Woodbridge.","primary_study":false},{"pk":3675,"prerendered":"Bent, Margaret<\/a>. 2004. Divisi and a versi in early fifteenth-century mass movements. Antonio Zacara da Teramo e il suo tempo,<\/em> edited by Margaret Bent<\/a>, 95-137. Lucca: LIM.","primary_study":false},{"pk":3673,"prerendered":"Bent, Margaret<\/a>. 2003. Musicisti vicentini intorno al vescovo Pietro Emiliani. Quattrocento Vicentino. La Dedizione alla Serenissima tra Musica Cronaca e Storia,<\/em> edited by Margaret Bent<\/a>,  Vicenza: Conservatorio di Musica di Vicenza.","primary_study":false},{"pk":3641,"prerendered":"Bent, Margaret<\/a>. 1996. The early use of the sign \u00d8. Early Music,<\/em> 24\/2: 199-225.","primary_study":false},{"pk":4342,"prerendered":"Curtis, Gareth R K<\/a>, and Andrew B Wathey<\/a>. 1994. Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory. Royal Musical Association Research Chronicle,<\/em> 27: 1-69.","primary_study":false},{"pk":3604,"prerendered":"Bent, Margaret<\/a>. 1987. A Contemporary Perception of Early Fifteenth-Century Style: Bologna Q15 as a Document of Scribal Editorial Initiative. Musica Disciplina,<\/em> 41: 183-201.","primary_study":false},{"pk":4607,"prerendered":"Diederichs, Elisabeth<\/a>. 1986. Die Anf\u00e4nge der mehrstimmigen Lauda vom Ende des 14. bis zur Mitte des 15. Jahrhunderts.<\/em> M\u00fcnchner Ver\u00f6ffentlichungen zur Musikgeschichte, vol. 41.  Tutzing.","primary_study":false},{"pk":4360,"prerendered":"Bent, Margaret<\/a>, and Anne Hallmark<\/a> (editors). 1985. Complete Works of Johannes Ciconia.<\/em> Polyphonic Music of the Fourteenth Century, vol. 24.  Monaco: \u00c9ditions de l'Oiseau-Lyre.","primary_study":false,"pages":"XXIV.1-17,30-5,44-7,54-67,73-107, 112-6,167-9,198-9,201,203-9,216,220-6","notes":"contents list (partial); concordances (partial); transcriptions (partial); texts (partial)"},{"pk":2292,"prerendered":"Staehelin, Martin<\/a>. 1983. Bemerkungen zum Verh\u00e4ltnis von Werkcharacter und Filiation in der Musik der Renaissance. Datierung und Filiation von Musikhandschriften der Josquin-Zeit,<\/em> Wolfenb\u00fctteler Forschungen, vol. 26. 199-215. Wiesbaden.","primary_study":false,"pages":"202,208-9","notes":"contents list (partial); facsimile (partial); mention of MS; discussion"},{"pk":893,"prerendered":"Cox, Bobby Wayne<\/a>. 1981. 'Pseudo-Augmentation' in the Manuscript Bologna, Civico Museo Bibliografico Musicale, Q 15 (BL). The Journal of Musicology,<\/em> 1: 419-48.","primary_study":false,"notes":"contents list (partial); concordances (partial); mention of MS; discussion"},{"pk":609,"prerendered":"Bent, Margaret<\/a>. 1980. New Sacred Polyphonic Fragments of the Early Quattrocento. Studi Musicali,<\/em> 9: 171-89.","primary_study":false,"pages":"171-5","notes":"contents list (partial); concordances (partial); mention of MS; discussion"},{"pk":42,"prerendered":"Hamm, Charles E<\/a>, and Herbert Kellman<\/a> (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550.<\/em> Renaissance Manuscript Studies, vol. 1-5. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, H\u00e4nssler Verlag.","primary_study":false,"pages":"I, 69"},{"pk":1108,"prerendered":"Finscher, Ludwig<\/a>. 1979. Zum Verh\u00e4ltnis von Imitationstechnik und Textbehandlung im Zeitalter Josquins.<\/em> Renaissance-Studien: Helmuth Osthoff zum 80. Geburtstag,<\/em> Frankfurter Beitr\u00e4ge zur Musikwissenschaft, vol. 11. 57-72. Tutzing.","primary_study":false,"pages":"48ff, passim"},{"pk":868,"prerendered":"Cobin, Marian W<\/a>. 1978. The Aosta Manuscript: A Central Source of Early Fifteenth-Century Sacred Polyphony. New York University, Unpublished Ph.D. dissertation.","primary_study":false,"pages":"I, 102ff, 145-51,336-51, passim","notes":"physical description; contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion"},{"pk":892,"prerendered":"Cox, Bobby Wayne<\/a>. 1977. The Motets of MS Bologna, Civico Museo Bibliografico Musicale, Q 15. North Texas State University, Ph.D. dissertation.","primary_study":false,"pages":"I-II","notes":"physical description; contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion"},{"pk":1509,"prerendered":"Kemp, Walter H<\/a>. 1976. The Manuscript Escorial V.III.24. Musica Disciplina,<\/em> 30: 97-129.","primary_study":false,"pages":"102-4,121"},{"pk":2733,"prerendered":"Cavicchi, Adriano<\/a>. 1975. Sacro e profano, Documenti e note su Bartolomeo da Bologna e gli organisti della cattedrale di Ferrara nel primo quattrocento. Rivista Italiana di Musicologia,<\/em> 10: 46ff, and 11 (1976), 178\u201381.","primary_study":false,"pages":"63"},{"pk":1293,"prerendered":"Hagopian, Viola L<\/a>. 1973. Italian Ars Nova Musik: A Bibliographic Guide to Modem Editions and Related Literature. 2nd ed.<\/em>  Berkeley, Los Angeles, and London.","primary_study":false,"pages":"59-60"},{"pk":2522,"prerendered":"Wright, Craig M<\/a>. 1973. Tapissier and Cordier: New Documents and Conjectures. The Musical Quarterly,<\/em> 59: 177-89.","primary_study":false,"pages":"184-5"},{"pk":784,"prerendered":"Burstyn, Shai<\/a>. 1972. Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs. Columbia University, Unpublished Ph.D. dissertation.","primary_study":false,"pages":"344-8,360-78,403-5, passim","notes":"contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion"},{"pk":4110,"prerendered":"Etheridge, Jerry Haller<\/a>. 1972. The Works of Johannes de Lymburgia. Indiana University, Ph.D. diss.","primary_study":false,"pages":"I-II","notes":"physical description (partial); contents list (partial); concordances (partial); incipits (partial); transcription (partial); mention of MS; discussion"},{"pk":2191,"prerendered":"Schoop, Hans<\/a>. 1971. Entstehung und Verwendung der Handschrift Oxford Bodleian Library, Canonici misc. 213.<\/em> Publikationen der Schweizerischen Musikforschenden Gesellschaft Series II, vol. 24.  Bern and Stuttgart.","primary_study":false,"pages":"70f"},{"pk":1663,"prerendered":"Bent, Margaret<\/a>, Ian D Bent<\/a>, and Brian Trowell<\/a> (editors). 1970. John Dunstable complete works.<\/em> Musica Britannica, vol. VIII.  London.","primary_study":false,"pages":"VIII [rev. ed.], 15-6,101-3,106-9, 112-3,125-6,184ff","notes":"contents list (partial); concordances (partial); transcriptions (partial)"},{"pk":2065,"prerendered":"Reaney, Gilbert<\/a>. 1969. Text Underlay in Early Fifteenth-Century Musical Manuscripts.<\/em> Essays in Musicology in Honor of Dragan Plamenac on His 70th Birthday,<\/em> 245-51. Pittsburgh.","primary_study":false},{"pk":2503,"prerendered":"Ward, Tom Robert<\/a>. 1969. The Polyphonic Office Hymn from the Late Fourteenth Century Until the Early Sixteenth Century. University of Pittsburgh, Unpublished Ph.D. dissertation.","primary_study":false,"pages":"21-5, passim"},{"pk":1300,"prerendered":"Hamm, Charles E<\/a>. 1968. A Catalogue of Anonymous English Music in Fifteenth-Century Continental Manuscripts. Musica Disciplina,<\/em> 22: 47-76.","primary_study":false,"pages":"50,64-76"},{"pk":961,"prerendered":"Davis, Shelley<\/a>. 1967 (XXXIX)-1968 (XL). The Solus Tenor in the 14th and 15th Centuries. Acta Musicologica,<\/em> 39 & 40: 44-64(XXXIX)-176-8(XL).","primary_study":false,"pages":"passim"},{"pk":3138,"prerendered":"Riemann, Hugo<\/a>, Wilibald Gurlitt<\/a>, and Hans Heinrich Eggebrecht<\/a> (editors). 1967. Musik Lexikon: Zw\u00f6lfte v\u00f6llig neubearbeitete.<\/em> 3 vols. Mainz.","primary_study":false,"pages":"III, 765"},{"pk":1239,"prerendered":"Gossett, Philip<\/a>. 1966. Techniques of Unification in Early Cyclic Masses and Mass Pairs. Journal of the American Musicological Society,<\/em> 19: 205-31.","primary_study":false},{"pk":2945,"prerendered":"Kanazawa, Masakata<\/a>. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols.","primary_study":false,"pages":"29-81","notes":"physical description; contents list (partial); concordances (partial); mention of MS; discussion"},{"pk":1514,"prerendered":"Kenney, Sylvia W<\/a>. 1966. In Praise of the Lauda.<\/em> Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese,<\/em> 489-99. New York.","primary_study":false,"pages":"493-5"},{"pk":2958,"prerendered":"Kirsch, Winfried<\/a>. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.<\/em>  Tutzing.","primary_study":false,"pages":"124"},{"pk":709,"prerendered":"Mixter, Keith E<\/a> (editor). 1965-71. Johannis Brassart: Opera Omnia.<\/em> Corpus mensurabilis musicae, vol. 35.  Neuhausen nr. Stuttgart: American Institute of Musicology.","primary_study":false,"pages":"l, xxx"},{"pk":2111,"prerendered":"Gallo, Franco Alberto<\/a> (editor). 1965. Antonii Romani: Opera.<\/em> Monumenta Veneta Sacra, vol. I.  Bologna.","primary_study":false,"pages":"vii-x, xv, 1-41","notes":"contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion"},{"pk":1309,"prerendered":"Hamm, Charles E<\/a>. 1965. The Reson Mass. Journal of the American Musicological Society,<\/em> 18: 5-21.","primary_study":false},{"pk":1759,"prerendered":"Mixter, Keith E<\/a>. 1965. Johannes Brassart: A Biographical and Bibliographical Study, II. Musica Disciplina,<\/em> 19: 99-108.","primary_study":false,"pages":"II XIX, 100"},{"pk":1170,"prerendered":"Gallo, Franco Alberto<\/a>, and Giovanni Mantese<\/a>. 1964. Ricerche sulle Origini della Cappella Musicale del Duomo di Vicenza.<\/em> Civilt\u00e0 Veneziana, Saggi, vol. 15.  Venice and Rome.","primary_study":false,"pages":"20-2,24-5,30,56-60,69-82","notes":"contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion"},{"pk":947,"prerendered":"Damilano, Don Piero<\/a>. 1963. Fonti musicali della lauda polifonica intorno alla met\u00e0 del sec. XV. Collectanea Historiae Musicae III,<\/em>","primary_study":false,"pages":"62, 76-89"},{"pk":2543,"prerendered":"Borren, Charles van den<\/a>. 1962. L'Enigme des 'Credo de Village'.<\/em> Hans Albrecht in Memoriam,<\/em> 48-54. Kassel.","primary_study":false,"pages":"49"},{"pk":4075,"prerendered":"Clercx-Lejeune, Suzanne<\/a>, and Suzanne Clercx<\/a>. 1960. Johannes Ciconia, un musicien li\u00e9gois et son temps.<\/em> Acad\u00e9mie Royale de Belgique, Classe des Beaux-Arts: M\u00e9moires: Collection in-4, II s\u00e9rie, vol. X, fasc. 1a\/1b. 2 vols. Brussels: Palais des Acad\u00e9mies.","primary_study":false,"pages":"I, 67-71"},{"pk":2823,"prerendered":"Ficker, Rudolf von<\/a>. 1960. The transition on the Continent. New Oxford History of Music,<\/em> 3: 150ff.","primary_study":false,"pages":"150"},{"pk":4899,"prerendered":"Clercx-Lejeune, Suzanne<\/a>, and Suzanne Clercx<\/a>. 1959. Johannes Ciconia et la chronologie des manuscrits italiens, Mod. 568 et Lucca (Mn). L'Ars nova: Recueil d'\u00e9tudes sur la musique du XIVe si\u00e8cle,<\/em> 110-130. Paris: Les Belles Lettres.","primary_study":false,"pages":"124ff"},{"pk":2396,"prerendered":"Trumble, Ernest<\/a>. 1959. Fauxbourdon: An Historical Survey.<\/em> Musicological Studies, vol. 3.  Brooklyn.","primary_study":false,"pages":"14ff, passim"},{"pk":2057,"prerendered":"Reaney, Gilbert<\/a> (editor). 1955-83. Early Fifteenth-Century Music.<\/em> Corpus mensurabilis musicae, vol. 11, 1-6.  Rome: American Institute of Musicology.","primary_study":false,"pages":"VI, passim; VII, xvi-xx.xxiii-xxvi, 25-59, 62-6,70-87,90-2,100-5","notes":"contents list (partial); concordances (partial); transcriptions (partial); texts (partial)"},{"pk":1661,"prerendered":"Federhofer, Hellmut<\/a> (editor). 1954-. Musik Alter Meister.<\/em>  Graz.","primary_study":false,"pages":"XIII, [xiii]"},{"pk":2668,"prerendered":"Besseler, Heinrich<\/a>. 1950; Reprinted: 1974. Bourdon und Fauxbourdon, Studien zum Ursprung der niederl\u00e4ndischen Musik.<\/em>  Leipzig.","primary_study":false,"pages":"4, passim"},{"pk":1665,"prerendered":"Blume, Friedrich<\/a> (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklop\u00e4die der Musik.<\/em>  Kassel.","primary_study":false,"pages":"II, 95-8; II,852,1431, Tafel 6; 111,1891-2; IV, Tafel 27 and 77; VI, Tafel 37; VII, Tafel 5; XIV, Tafel 53"},{"pk":2404,"prerendered":"Van, Guillaume de<\/a>. 1948. Inventory of Manuscript Bologna, Liceo Musicale, Q 15 (olim 37). Musica Disciplina,<\/em> 2: 231-57.","primary_study":false,"pages":"with facs. of ff. 19v-20, l00v-101","notes":"contents list; concordances"},{"pk":652,"prerendered":"Besseler, Heinrich<\/a>. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv f\u00fcr Musikwissenschaft,<\/em> 7: 167-252.","primary_study":false,"pages":"234-5"},{"pk":2384,"prerendered":"Torchi, Luigi<\/a>. 1906. I Monumenti dell'antica musica francese a Bologna. Rivista Musicale Italiana,<\/em> 13: 451-505,575-615.","primary_study":false,"pages":"487-99"},{"pk":4129,"prerendered":"Gaspari, Gaetano<\/a> (compiler). 1905. Catalogo della biblioteca del Liceo musicale di Bologna compilato da Gaetano Gaspari: compiuto e pubblicato da Dr Raffaele Cadolini, aggiunto al bibliotecario.<\/em> 4 vols. Bologna.","primary_study":false,"pages":"IV ,239-45"},{"pk":2491,"prerendered":"Wolf, Johannes<\/a>. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen.<\/em> 3 vols. Leipzig.","primary_study":false,"pages":"I,197-8; III,82-6,177-84; II,54-6, 133-8"},{"pk":998,"prerendered":"Wooldridge, Harry Ellis<\/a>, and H V Hughes<\/a> (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century.<\/em> 2 vols. London: The Plainsong and Medieval Music Society.","primary_study":false,"pages":"I, plates 49-60; II, 116-29"},{"pk":930,"prerendered":"Adler, Guido<\/a> (editor). 1894-1970. Denkm\u00e4ler der Tonkunst in \u00d6sterreich.<\/em>  Graz and Vienna.","primary_study":false,"pages":"LXXVI, passim"},{"pk":2978,"prerendered":"Lisio, Giuseppe<\/a>. 1893. Una stanza del Petrarca musicata dal Du Fay tratta da due codici antichi e le poesie volgari contenute in essi.<\/em>  Bologna.","primary_study":false},{"pk":2894,"prerendered":"Haberl, Franz Xavier<\/a>. 1885-88. Bausteine f\u00fcr Musikgeschichte.<\/em> 3 vols. Leipzig.","primary_study":false,"pages":"I, 79ff"},{"pk":2613,"prerendered":"Ambros, August Wilhelm<\/a>. 1880-82. Geschichte der Musik. 2. Auflage.<\/em> 5 vols. Leipzig.","primary_study":false,"pages":"III passim"}],"identifiers":[{"identifier":"I-Bc15","type":2,"identifier_type":"RISM"},{"identifier":"BL","type":2,"identifier_type":"RISM"},{"identifier":"BolC Q15","type":3,"identifier_type":"CCM"},{"identifier":"Liceo Musicale 37","type":5,"identifier_type":"olim (Former shelfmark)"}],"notations":[{"name":"black full mensural"},{"name":"coloration in black void"},{"name":"coloration in red full"}],"authorities":[],"notes":[{"note":"This manuscript is the largest international anthology of polyphonic music of the early 15th century. It was compiled in the Veneto, in Padua 1420-5 (stage I) and Vicenza 1430-35 (stages II-III), all copied by a single (unidentified) scribe. Later additions include one textless song and a partial index compiled by Guillelmus Musart.\r\n\r\nContents: 323 compositions excluding one Gloria and three motets on bifolios which duplicate items within the volume and now serve as flyleaves: 3 Introits, 16 Kyries (including one chant), 61 Glorias, 44 Credos (one duplication: 31 = 88), 10 Sanctus, 8 Agnus, 109 motets, 12 *laude* (Italian and Latin), 19 French songs, 1 textless song (later addition), 25 hymns, 9 Magnificats, 3 sequences.\r\n\r\nThe first half of the manuscript is mainly devoted to the Mass Ordinary, the second mostly to motets. Songs appear only as late additions in stage I, *laude* as additions at stage III. Most of the Mass Ordinary sections are grouped into cycles (some composite: 6 whole and two partial cycles) or Gloria-Credo pairs, some of which are linked compositionally, others apparently at the compiler\u2019s initiative.\r\n\r\nThe motets include compositions in honour of Gianfrancesco Gonzaga, the Venetian doges Steno, Mocenigo and Foscari, the prelates Stefano Carrara, Albano Michiel, Pietro Marcello, Francesco Malipiero, Francesco Zabarella, Antonio Correr, Giovanni Contarini; the Dominicans and Leonardo Dati; Pandolfo Malatesta da Pesaro, Cleofe Malatesta; Eugenius IV, Eugenius and the Emperor Sigismund. Q15 can be associated with the humanist circle around the Venetian patrician bishop Pietro Emiliani of Vicenza, which drew on a high level of local musical competence that was continued under his successor, bishop Franceso Malipiero.\r\n\r\nAbout 50 composers are represented, including native Italians, the first significant English imports to the continent, and composers from the north who were sought after and made their careers in Italy. The following numbers are approximate, allowing for attributions that are contested or from other sources: Alanus 1, Antonio da Cividale 5, Antonio Romano 6, Benet 2, Benoit 1, Binchois 5, Binchois\/(Dunstaple) 1, (Bodoil) 1, Bosquet 2, Brassart 8, Brassart\/ (J. Legrant) 1, (Cameraco) 1, Carmen 2, Christoforus de Monte 2, Ciconia 17, Cordier 2, Du Fay 68-71, Dunstaple 4, Sarto 2, T. Fabri 1, Feragut 6, Fontaine 2, (Forest) 1, Gemblaco [Franchois] 7-9, Gervasius de Anglia 1, Grenon 3, Grossin 4, Hasprois 1, Francus de Insula 1, A. de Lantins 23, H. de Lantins 6, G. Legrant 2, Limburgia 46-50, Loqueville 5, Luca 1, Matheus de Brixia 1, Natalis 1, Passet\/(C\u00e9saris) 1, Power 3-6, Reson 4, Rondelly 1, Rubeus 2, Ruttis 1, Salinis 8, Tapissier 1, Velut 4, Vide 1, Briquet 1, Zacara da Teramo 12, N. Zacarie 1. Some 30 pieces are given anonymously, of which about 10 have been attributed and are included in the above counts.\r\n\r\nAbout half the compositions are unique; some others are shared with and complemented by the slightly younger Veneto manuscripts Bologna, Biblioteca Universitaria 2216 and Oxford, Canon. misc. 213, as well as numerous concordances in Aosta 15 and the Trent codices. Q.15 is the most important source for the works of Zacara and Ciconia and for the early mass and motet compositions of Guillaume Du Fay, many of them *unica* (nearly a quarter of the manuscript). Du Fay's *Missa Sancti Jacobi* can be linked to the circle in which Q.15 was compiled.","author":"Margaret Bent, 2009","type":1,"pk":1150,"note_type":"General Description"},{"note":"Of the 343 folios, only 131 leaves survive from stage I, which was similar in size to the present book; the loss of perhaps 200 leaves is attested by earlier foliations and 92 capital letters cut from it, to be pasted into the later form of the book that we now have. Fragments of music on the backs of these letters provide rich material on changing repertory and tastes of the interventive compiler over a 15-year period, and earlier datings (before 1425) for compositions only known from later copies, sometimes in different versions. The discarded folios were replaced by new repertory and by pieces recopied from the older book often with editorial changes and in different order. The manuscript thus now embodies two overlapping, superimposed anthologies, with a third of their physical material in common, and perhaps half their repertory. These findings are especially important for Du Fay, to whose new mass and motet compositions the compiler seems to have had prompt access over a long period. Two illuminations survive from stage I, one from stage II. Du Fay\u2019s *Missa Sancti Jacobi* initated work on stage II, c. 1430, and survives as a plenary cycle only here.","author":"Margaret Bent, 2009","type":5,"pk":1155,"note_type":"Physical Description"},{"note":"Five different watermarks occur on the paper folios; some of these are also found in TrentC 87, TrentC 92, and MunBS Lat. 14274 (KanP). For a full codicological study and reference materials, see Margaret Bent, *Bologna Q15. The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition*. 2 vols. (Lucca: Lim Editrice, 2009)","author":"Margaret Bent, 2009","type":8,"pk":1154,"note_type":"Watermark"},{"note":"black full mensural with red and black void coloration.","author":"Margaret Bent, 2009","type":10,"pk":1157,"note_type":"Notation"},{"note":"Four different numberings are in current use, usually without indication of which system is being used. For a conversion chart and proposal for distinguishing the numberings, see Bent 2009. The piece numbering in the inventory uses the system by de Van, and the foliation uses the more modern arabic foliation, not the original roman.","author":"Margaret Bent, 2009","type":14,"pk":1152,"note_type":"Foliation"},{"note":"1-342","author":"Margaret Bent, 2009","type":14,"pk":1153,"note_type":"Foliation"},{"note":"About a third of the pieces have ornamented initials","author":"Margaret Bent, 2009","type":15,"pk":1158,"note_type":"Decoration"},{"note":"mostly paper, but some parchment","author":"Margaret Bent, 2009","type":17,"pk":1156,"note_type":"Surface"},{"note":"Four different sets of foliations. Please specify which version when requesting images.","author":"Margaret Bent, 2009","type":18,"pk":1149,"note_type":"DIAMM Note"},{"note":"Recordings of repertoire from I-Bc Q.15 may be found on these albums:\r\n\r\nEnsemble Ars Italica - Musica del XV Secolo in Italia - Tactus 40012201 [1991]\r\nMala Punica - Sidus Preclarum. Ciconia: Complete Motets - Erato 3984-21661-2 [1998]\r\nThe Clerks' Group - Dufay: Sacred music from Bologna Q15 - Signum 023 [2002]\r\nLa Reverdie - Guillaume Du Fay: Missa Sancti Jacobi - Arcana 342 [2006]\r\nLe Miroir de Musique - Johannes de Lymburgia: Gaude felix Padua - Ricercar 402 [2019]","author":"DIAMM, 2022","type":18,"pk":30799,"note_type":"DIAMM Note"},{"note":"RISM BIV\/5\r\n\r\nXVe s., 351ff. Papier et parchemin, 276 x 200 mm.\r\n\r\nFoliotation ancienne en chiffres romains ou arabes, compl\u00e9t\u00e9e sporadiquement par une foliotation moderne. La num\u00e9rotation des pi\u00e8ces ajout\u00e9e par Martini est souvent fautive et ne sera pas prise en compte ici. Les ff. 177v (au d\u00e9but du ms.), 120\/14, 120\/20, 167v \u00e0 169, 178v, 179, 187, 206\/1 sont blancs. Le f. 168 mq. Les ch. 111 et 112 employ\u00e9s deux fois. Les ch. 172 \u00e0 177 saut\u00e9s dans la foliotation. Notation mesur\u00e9e noire. 7 \u00e0 9 port\u00e9es par p. Initiales enlumin\u00e9es en coul. L'encre ayant rong\u00e9 le papier, certains incipit sont illisibles.\r\n\r\nMs. de la collection du P. Martini qui en donne 3 fois la description dans son catalogue (cf. Bibliographie, Ms. Misc. H. 83). Pour constituer le ms. actuel, il semble que l'on ait d'abord d\u00e9truit un ms. ancien dont on a coup\u00e9 les capitales rouges ou bleues pour les coller sur le nouveau ms. Sur l'une d'elles actuellement d\u00e9coll\u00e9e, on peut voir sur l'envers quelques notes de musique de la m\u00eame \u00e9criture que le ms. qui nous est parvenu. Curieusement, les capitales originales (c'est-\u00e0-dire qui n'ont pas \u00e9t\u00e9 coll\u00e9es) sont absolument semblables \u00e0 celles provenant de l'ancien ms. (qui ont \u00e9t\u00e9 coll\u00e9es). Certains chiffres romains de la foliotation ont \u00e9t\u00e9 transform\u00e9s lors de cette r\u00e9fection du ms.: CIX est devenu CXI, CVI est devenu CVIII, etc. Il s'agit donc de la copie conforme d'un ms. plus ancien dont on a boulevers\u00e9 l'ordre de certains cahiers et auquel on a ajout\u00e9 ensuite quelques pi\u00e8ces. Quoiqu'il en soit, dans le ms. actuel on peut distinguer trois \u00e9tapes: J r\u00e9daction primitive.\r\n\r\n2\tpremier enrichissement du r\u00e9pertoire et transcription sur parchemin des feuillets us\u00e9s.\r\n\r\n3\tfusion avec un autre r\u00e9pertoire plus r\u00e9cent, transcription sur papier des feuillets usag\u00e9s, insertion de pi\u00e8ces profanes aux bas des p. rest\u00e9es libres. On a coutume de consid\u00e9rer ce ms. comme provenant de Piacenza (Ambros, Besseler) comme l'indique le P. Martini lui-m\u00eame (Ms. Mise. H. 83, f. 96) qui le dit \u00abvenuto da Piacenza in occasione del Capitolo dei Reverendi Canonici di S. Salvatore portatomi dal P. Monari dell'ordine sudetto nel maggio 1757.\u00bb Cependant, certains d\u00e9tails iconographiques (lettre orn\u00e9e du n\u00b0 273), la biographie de quelques-uns des compositeurs (Ciconia, D. Luca, P. Rubeus, Christoforus de Monte, Matheus de Brixia) ainsi que les allusions historiques de certains motets (nos 206, 243, 245, 256, 273) ont pu faire supposer que le ms. aurait \u00e9t\u00e9 commenc\u00e9 pour la cath\u00e9drale de Padoue, sans que l'on puisse pr\u00e9ciser o\u00f9 il a subi ensuite enrichissements et transformations (Clercx). Il fut en tout cas constitu\u00e9 pour l'usage d'une \u00e9glise comme le montre le riche r\u00e9pertoire de musique religieuse ordonn\u00e9 suivant la destination liturgique, tandis que les chansons sont dispers\u00e9es au hasard. Les 328 pi\u00e8ces (les nos 1, 31, 216, 217, 218 \u00e9tant copi\u00e9s en double) constituent un r\u00e9pertoire qui peut se situer entre 1400 et 1435 environ, Dufay avec 62 pi\u00e8ces et Johannes de Lymburgia avec 48, suivis par Ciconia avec 18 et Arnold de Lantins avec 17, \u00e9tant les mieux repr\u00e9sent\u00e9s. D'autre part, le style de la notation ne permet pas de dater le ms. apr\u00e8s 1440.\r\n\r\n\r\n\r\nOn a suivi la foliotation (ancienne ou r\u00e9cemment compl\u00e9t\u00e9e) telle qu'elle appara\u00eet actuellement sur le ms., substituant cependant les ch. arabes aux ch. romains.\r\n\r\n**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.**","author":"R\u00e9pertoire International des Sources Musicales","type":97,"pk":1148,"note_type":"RISM Description"},{"note":"4 Masses, 13 Kyries, 57 Glorias, 40 Credos, 8 Sanctus, 4 Agnus, 9 Magnificats, 24 hymns, 118 motets, 11 laude, 19 French secular pieces, 1 Italian secular piece = 308\r\n\r\n(Many of the Mass Ordinary sections are grouped into composite Masses and pairs)\r\n\r\nAlain-2, Anglia-3, Antonio da Cividale-5, Antonio Romano-6, Benet-2, Benoit-1, Binchois-5, Binchois\/(Dunstable)-1, Bosco [Bosquet]-2, Brassart-8, (Cameraco)-1, Carmen-3, Christoforus de Monte-2, Ciconia-13, Cordier-2, Dufay-69, Dunstable-4, Dusart [Sarto]-2, T. Fabri-1, Feraguti-6, Fontaine-2, (Forest)-1, Franchois-7, Gervasius de Anglia-1, Grenon-3, Grossin-3, Hasprois-1, Francus de Insula-1, A. Lantins-17, H. Lantins-4, H. Lantins\/(Dufay)-3, G. Legrant-3, Limburgia-42, Loqueville-6, Luca-1, Matheus de Brixia-1, Natalis-1, Passet\/(C\u00e9saris)-1, Power-3, Reson-4, Rondelly-1, Rubeus-2, Ruttis-1, Salinis-8, Tapissier-1, Velut-4, Vide-1, Villeroye [Briquet]-1, Zachara da Teramo-11, Zacharia-1, anon-33\r\n\r\n342 folios, mostly paper but with some parchment folios as outer or middle bifolios of a gathering, 280 x 200. An old system of foliation in Roman numerals skips fascicles 11-12 and 20 (which have their own foliation), and ends with f. 318; another system of figures preceded by the letter \"N\" evidently represents an attempt to number the pieces, but it is quite inaccurate; modern foliation, 1-43, 43bis-190, 192-342. Rebound in new covers. Incomplete original index on first folio. Black mensural notation, with red and white coloration. Copied by a single scribe (Bent). About a third of the pieces have ornamented initials. Five different watermarks occur on the paper folios; some of these are also found in TrentC 87, TrentC 92, and MunBS Lat. 14274 (KanP).\r\n\r\nCa. 1420-35 (Bent). Probably copied in Padua or Vicenza (see ClercxJC, CoxM). Padre Martini acquired the manuscript from Piacenza in 1757.\r\n\r\nVol 4\r\n\r\nComposers: Change \" Insula-1\" to \"Francus de Insula-1.\" Physical: Copied by a single scribe (Bent).\r\n\r\nDate\/provenance: Ca. 1420-35 (Bent). Probably copied in Padua or Vicenza (see ClercxJC, CoxM).","author":"Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550","type":98,"pk":1151,"note_type":"Census Catalogue of Music Description"}],"contributions":[{"pk":84801,"summary":"Annotated the Bosquet Gloria to indicate sources for composer attributions","contributor":"Clemens Goldberg","updated":"Tuesday, 27 January, 2026"},{"pk":84748,"summary":"image rotation fixed","contributor":"Michael Cuthbert","updated":"Wednesday, 19 November, 2025"},{"pk":84731,"summary":"Magnificat ocatvi toni 336v-338r: this piece has no attribution [incorrect attribution to 'lymburgia' in DIAMM removed]","contributor":"Clemens Goldberg","updated":"Tuesday, 4 November, 2025"},{"pk":84729,"summary":"annotated Gaude virgo (230v-231r ) to indicate that, as the countertenor is certainly not by Dufay, the label o the two entries for this voice (\"Righe\") might be the composer's name.","contributor":"Clemens Goldberg","updated":"Tuesday, 4 November, 2025"},{"pk":84662,"summary":"294v-295r, Ave virgo is copied on both pages, Salve virgo regia is complete on page 295r","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84684,"summary":"Foliation corrected for Du Fay's Christe redemptor","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84644,"summary":"297v-298r Recordare virgo : added 'voice' info for the third \"si placet\" voice","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84685,"summary":"f. 296v Dilecto Jesu Christo incorrectly shown as 2a pars of Brassart's Gratulemur Christicole: the two pieces now separated","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84692,"summary":"Corrected foliation for Zacara's 'scabioso' Credo","contributor":"Clemens Goldberg","updated":"Monday, 28 July, 2025"},{"pk":84481,"summary":"De bien amer (99v-100r) is a fifth up from Oxford 213 (as in the Cantus of the Sevilla Chansonnier) and has a completely new Contratenor. Explanatory note added to the item (though unfortunately notes are currently not displaying properly).","contributor":"Clemens Goldberg","updated":"Tuesday, 9 January, 2024"},{"pk":84210,"summary":"Provided list of recordings with music from MS","contributor":"Michael Stone","updated":"Monday, 10 January, 2022"},{"pk":83525,"summary":"Reported issue with inventory status.","contributor":"Karen Cook","updated":"Thursday, 26 April, 2018"},{"pk":81959,"summary":"NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description","credit":"Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550","updated":"Monday, 23 January, 2017"},{"pk":80280,"summary":"NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description","credit":"R\u00e9pertoire Internationale des Sources Musicales","updated":"Monday, 23 January, 2017"}],"commentary":{"public":[{"pk":2366,"comment":"There is a complete edition of this source in original and modern keys:\r\nhttps:\/\/www.goldbergstiftung.org\/bologna-q-15\/\r\n","author":"Clemens Goldberg","updated":"Wednesday, 3 December, 2025"},{"pk":2340,"comment":"The spelling of fol. 44v in the inventory must be \"Chanter ne scay ce poise moy\" (\"Chanter ne scay ce poyse moy\" is the spelling in GB-Ob, Canon misc. 213, fol. 32v).","author":"Nicole Schwindt","updated":"Thursday, 1 June, 2023"},{"pk":2324,"comment":"The external links to the description of I-Bc Q.15 [https:\/\/www.diamm.ac.uk\/sources\/117] contain an error:\n\nThe YouTube link \"discussion of the MS with performance recordings\" [http:\/\/www.youtube.com\/watch?v=MzPgM9OReV8] is related to a recording of repertoire from I-Bc Q.11:\nEnsemble Korymbos - Exit Rosa: Chants for the Nuns from Manuscript Q.11 of Bologna - Tactus 280002 [2011]\n\nRecordings of repertoire from I-Bc Q.15 may be found on these albums:\n\nEnsemble Ars Italica - Musica del XV Secolo in Italia - Tactus 400001 [1991]\nMala Punica - Sidus Preclarum. Ciconia: Complete Motets - Erato 3984-21661-2 [1998]\nThe Clerks' Group - Dufay: Sacred music from Bologna Q15 - Signum 023 [2002]\nLa Reverdie - Guillaume Du Fay: Missa Sancti Jacobi - Arcana 342 [2006]\nLe Miroir de Musique - Johannes de Lymburgia: Gaude felix Padua - Ricercar 402 [2019]","author":"Michael Stone","updated":"Sunday, 9 January, 2022"}]}}