Copied by two or three main scribes, including Giovanni Spataro; ff. 18'-19 copied by different hand (WeissB). Lute tablature on f. 1 is later addition by another scribe. Only incipits of text are given for most pieces. Copied in Bologna (WeissB).
I-Bc Q.18
Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy
manuscript of polyphony: Early 16th century
| Archive | Museo Internazionale e Biblioteca della Musica di Bologna, Bologna, Italy (I-Bc) |
|---|---|
| Shelfmark | Q.18 |
| Image Availability | DIAMM does not have images of this source. Please refer to the external links for image availability. |
| Surface | Paper |
| Numbering System | Foliation |
| Measurements | 170 x 240 mm |
| Other Identifiers |
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| Notations |
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| Copyists | |
| External Links | |
| Provenance |
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| Contents | Contains 92 compositions, 51 from 26 composers, 41 are anonymous. |
General Description
Physical Description
Folios 10, 47, and 56 are missing; manuscript is incomplete at end.
Binding
Original covers of brown tooled leather over boards, with blind-stamped ornamental designs.
Watermark
three-peaked mountain surmounted by cross (not in Briquet; see WeissB for discussion of other prints and manuscripts with similar marks)
Notation
black void mensural; lute tablature
Foliation
Original ink foliation, 1-93, on upper right rectos (excludes first original folio; ff. 10, 47, 56, and [94] now missing).
Decoration
No initials or decoration.
Surface
paper
DIAMM Note
The composition "In te, Domine, speravi" attributed doubtfully to Josquin Desprez has two different text-traditions; the first one, that of Petrucci's Frottole libro primo (1504), is a bilingual "frottola", a secular Italian music and poetic genre; its first two lines' reading is "In te, Domine, speravi | per trovar pietà in eterno". Instead "In te, Domine, speravi non confundar" is a contrafactum of the frottola linked with the german and protestant tradition of the musical text; its first appearance may be, I am not sure, Georg Rahw's Symphoniae iucundae atque adeo breves quatuor vocum (1538). I-Bc Q.18, F-Pn Cons. Rés. Vm7 676 and I-Fc MS Basevi 2441 - considering just those sources known to me - include the frottola, not the latin contrafactum.
RISM Description
RISM
XVIe s. 93ff. Papier, 170 x 240 mm.
Foliotation ancienne en ch. arabes. Les ff. 10, 47, 56 mq. Notation mesurée blanche. 6 portées par p. Au f. 1, tablature copiée postérieurement, portant les initiales S.M.C. Reliure ancienne veau estampé, dos refait.
Ce ms., probablement copié dans l'Italie du nord au début du XVIe s., est mentionné dans sa collection comme «un manoscritto antico» par le P. Martini qui en donne ensuite Vindice (cf. Bibliographie, Ms. Misc.H.83). Le filigrane (le Mont surmonté d'une croix) révèle un papier signalé à Bologne en 1482 (CM. Briquet, Les filigranes no 11712). D'autre part, aux paroles des 29 dernières pièces (nos 65 à 92) on peut reconnaître l'écriture de Spataro (à comparer avec I-Bsp XXXXV) ce qui pourrait indiquer que ce livre a été employé dans la schola du musicien alors qu'il était maître de chapelle à San Petronio de Bologne, c'est à dire de 1512 à sa mort en 1541. Les compositeurs que l'on peut identifier ne s'opposent pas non plus à ce que le ms. ait été copié dans les premières années du XVIe s, sans que l'on puisse affirmer avec certitude que cette copie ait été exécutée à Bologne même.
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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 Agnus, 26 motets, I Latin/Italian secular piece, 28 Italian secular pieces, 23 French secular pieces, 3 Flemish secular pieces, 2 Spanish secular pieces, 2 pieces with solmization incipits (including Isaac's "La mi 1a sol"), 4 textless pieces (identified from concordant sources as 1 Mass Ordinary section, 2 Italian secular pieces, and 1 French secular piece) = 90
(A. Agricola)-2, (Antenori)-1, (Brumel)-3, (Busnois)-1, (Cara)-1, (Caron)-2, (Compère)-3, (Compère/Obrecht)-1, (Congiet/Japart)-1, (Isaac)-9, (Josquin)-5, (Lurano)-1, (Malcort/Martini/Ockeghem)-1, (Obrecht)-2, (Pesenti)-1, Rubinet/(Compère/Stokhem)-1, (Tromboncino)-4, (Vincenet)-1, (Wreede)-1, anon-49
90 paper folios, 168 x 240. Ff. 10, 47, and 56 are missing; manuscript is incomplete at end. Original ink foliation, 1-93. Original covers of brown tooled leather over boards. No index. One of the two scribes has been identified by Sergio Paganelli as Giovanni Spataro. No watermarks visible. Only incipits of text are given for most pieces.
Early 16th century. Copied in Bologna.
Vol 4
1 Agnus, 1 Mass Ordinary section (without text), 2 Mass Proper sections, 17 motets (1 incomplete), * 9 pieces with other Latin incipits (mottoes, classical names, solmization syllables, etc.), 2 laude, 1 Latin/Italian secular piece (without text), 30 Italian secular pieces (2 incomplete; 2 without text), 22 French secular pieces (1 incomplete; 1 without text), 3 Dutch secular pieces, 2 Spanish secular pieces (1 incomplete), 1 textless piece (incomplete) = 91
Despite their apparent motet text incipits, some of these pieces are probably non-liturgical instrumental compositions (WeissB).
(A. Agricola)-1, (A. Agricola/Ghiselin)-1, (Antenori)-1, (Brumel) -3, (Busnois)-2, (Cara)-1, (Cara/Tromboncino)-1, (Caron)-2, (Compère)-3, (Compère/Obrecht)-1, (Congiet/Japart)-1, (Enrique/ Wreede)-1, (G.F.)-1, (Isaac)-9, (Josquin)-5, (Lurano)-1, (Malcort/ Martini/Ockeghem)-1, (Martini)-1, (Obrecht)-1, (Pesenti)-1, Rubinet/(Compère/Stokhem)-1, (Tromboncino)-5, (Vincenet)-1, anon-46
í + 91 paper folios, 168 x 240. Original ink foliation, 1-93, on upper right rectos (excludes first original folio; ff. 10, 47, 56, and [94] now missing). Original covers of brown leather over boards, with blind-stamped ornamental designs. No index. Copied by two or three main scribes, including Giovanni Spataro (Sergio Paganelli; see general index for other manuscripts attributed to Spataro); ff. 18'-19 copied by different hand (WeissB). Lute tablature on f. 1 is later addition by another scribe. No initials or decoration. Watermark: three-peaked mountain surmounted by cross (not in Briquet; see WeissB for discussion of other prints and manuscripts with similar marks). Many pieces have text incipits or titles only.
Ca. 1502-6 (WeissB). Copied in Bologna (WeissB).
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‡ denotes primary source study
Weiss, Susan Forscher. 1985. The Manuscript Bologna, Civico Museo Bibliografico Musicale, Codex Q 18 (olim 143): A Bolognese Instrumental Collection of the Early Cinquecento. University of Maryland, Unpublished Ph.D. dissertation. Notes: physical description; contents list; concordances; incipits; transcription (partial); texts (partial); facsimile (partial); mention of MS; discussion.
Brown, Howard Mayer. 1983. A 'New' Chansonnier of the Early Sixteenth Century in the University Library of Uppsala: A Preliminary Report. Musica Disciplina, 37: 171-233. Pages: 197,199-200,206-7. Notes: contents list (partial); concordances (partial).
Brown, Howard Mayer (editor). 1983. A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale MS Banco Rari 229. Monuments of Renaissance Music, vol. VII. Chicago and London. Pages: 133,144,183,210ff. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Buxton, Ralph W. 1981. Johannes Japart: A Fifteenth-Century Chanson Composer. Current Musicology, 31: 7-38.
Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies, vol. 1-5. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag. Pages: I, 72.
Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier. New Haven and London. Pages: II,153,259-60. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.
Baker, Norma Klein. 1978. An Unnumbered Manuscript of Polyphony in the Archives of the Cathedral of Segovia: Its Provenance and History. University of Maryland, Unpublished Ph.D. dissertation. Pages: 293ff, passim. Notes: contents list (partial); concordances (partial); incipits (partial).
Boorman, Stanley. 1977. The 'First' Edition of the Odhecaton A. Journal of the American Musicological Society, 30: 183-207. Pages: 199-207.
Staehelin, Martin. 1977. Die Messen Heinrich Isaacs. Publikationen der Schweizerischen Musikforschenden Gesellschaft Serie II, vol. 28/I-III. Bern and Stuttgart. Pages: I,xix-xx,28-34,62,86-7; II1,49. Notes: physical description; contents list (partial); concordances (partial).
Gallico, Claudio. 1976. Josquin's Compositions on Italian Texts and the Frottola. Josquin des Prez: Proceedings of the International Josquin Festival-Conference ... 21-25 June 1971, 446-54. London, New York, and Toronto. Pages: 451.
Atlas, Allan W. 1975-6. The Cappella Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C. G.XIII.27). Musicological Studies, vol. 27. Brooklyn. Pages: I,61ff,237. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Just, Martin. 1975. Der Mensuralkodex Mus. ms. 40021 der Staatsbibliothek Preussischer Kulturbesitz Berlin: Untersuchungen zum Repertoire einer deutschen Quelle des 15. Jahrhunderts. Würzburger Musikhistorische Beitrage, vol. 1. Tutzing. Pages: II,48-9,80,119-20,148. Notes: contents list (partial); concordances (partial).
Lerner, Edward R (editor). 1974-. Henrici Isaac (ca. 1450-1517): Opera Omnia. Corpus mensurabilis musicae, vol. 65. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: Vl.xxxii-xxxiii, 184; VII,xix-xxi. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Prizer, William Flaville. 1974. Marchetta Cara and the North Italian Frottola. University of North Carolina, Unpublished Ph.D. dissertation. Pages: II, 13,24,29. Notes: physical description (partial); contents list (partial); concordances (partial).
Cattin, Giulio. 1973. Nuova Fonte Italiana della Polifonia intorno al 1500 (MS. Cape Town, Grey 3.b.l2). Acta Musicologica, 45: 165-221. Pages: 179ff. Notes: contents list (partial); concordances (partial).
Schlager, Karlheinz (editor). 1971-. Répertoire International des Sources Musicales. Series A/I, vol. Einzeldrucke vor 1800. Kassel. Pages: Bologna, Civico Mus. bibi. mus., Ms. Misc. H. 83, f. 52 (p. 29).
Atlas, Allan W. 1971. Rome, Biblioteca Apostolica Vaticana, Cappella Giulia XIII. 27, and the Dissemination of the Franco-Netherlandish Chanson in Italy, c. 1460-c. 1530. New York University, Unpublished Ph.D. dissertation. Pages: 463-4.
D'Accone, Frank A. 1970. Some Neglected Composers in the Florentine Chapels, ca. 1475-1525. Viator, 1: 263-88. Pages: 272.
Hudson, Barton (editor). 1969-72. Antoine Brumel: Collected Works. Corpus mensurabilis musicae, vol. 5. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I,xvii; V,xxxiii-xxxiv,xxxviii. Notes: contents list (partial); concordances (partial); discussion; cussion of the MS.
Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica, vol. XL/2, XLI/1, & XLII/1. 3 vols. Copenhagen. Pages: II, 10 et 108f.
Brawley, John Gray, Jr. 1968. The Magnificats, Hymns, Motets, and Secular Compositions of Johannes Martini. Yale University, Unpublished Ph.D. dissertation. Pages: I, 73ff, passim; II,25. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Hewitt, Helen Margaret (editor). 1967. Ottaviano Petrucci: Canti B Numero Cinquanta Venice, 1502. Monuments of Renaissance Music, vol. II. Chicago and London. Pages: 11, passim.
Finscher, Ludwig. 1964. Loyset Compere: Life and Works. Musicological Studies and Documents, vol. 12. American Institute of Musicology. Pages: 50-2.
Just, Martin. 1963. Heinrich Isaacs Motetten in Italienischen Quellen. Analecta Musicologica, 1: 1-19. Pages: 3, 6.
Lerner, Edward R (editor). 1961-70. Alexandrí Agricola: Opera Omnia. Corpus mensurabilis musicae, vol. 22. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: IV.xv-xvi; V.lxviii-lxix.
Picker, Martin. 1960. The Chanson Albums of Marguerite of Austria: Manuscripts 228 and 11239 of the Bibliothèque Royale de Belgique, Bruxelles. University of California at Berkeley, Unpublished Ph.D. dissertation. Pages: I,349-50. Notes: physical description; contents list (partial); concordances (partial).
Rehm, Wolfgang (editor). 1957) & Vol. VI: Mehrstimmige Lamentationen aus der ersten Hälfte des 16. Jahrhunderts, Massenkeil, G (ed.) (1965) & Vol. VII-VIII. Heinrich Isaac Messen, Staehelin, Martin (ed.) (1970-1973. Die Chansons von Gilles Binchois (1400-1460). Musikalische Denkmäler, vol. II. Pages: Staehelin, VIII, 144 AtlasTC, 237.
Schmitz, Arnold (editor). 1955-. Musikalische Denkmäler. Mainz. Pages: VIII,144,171-2. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.
Hewitt, Helen Margaret (editor). 1942. Harmonice Musices Odhecaton A. Studies and Documents, vol. 5. Cambridge, Massachusetts: Mediaeval Academy of America. Pages: 115, passim. Notes: contents list (partial); concordances (partial).
Jeppesen, Knud. 1935. Die Mehrstimmige Italienische Laude um 1500. Leipzig and Copenhagen. Pages: Ixiii-lxiv. Notes: physical description; contents list; incipitsst of contents (partial).
Smijers, Albert. 1935. Vijftiende en zestiende eeuwsche Muziekhandschriften in Italië met werken van Nederlandsche Componisten. Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 14: 165-81. Pages: 170 (identifications incompl. et pas toujours exactes).
Torchi, Luigi. 1906. I Monumenti dell'antica musica francese a Bologna. Rivista Musicale Italiana, 13: 451-505,575-615. Pages: 502ff.
Gaspari, Gaetano. 1890-1943. Catalogo della Biblioteca del Liceo musicale di Bologna. 5 vols. Bologna. Pages: III, 4.
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Giacomo Pirani
Tuesday, 17 November, 2020
Note re: In te, Domine, speravi on ff. 12v-13 - that it matches the text in Petrucci's Frottole libro primo (1504). And also that this is followed by the composition 'Se'l mi dole esser gabato' on ff. 13v-14.
Laura Dümpelmann
Tuesday, 15 September, 2020
Incorrect composition on f. 51v-52 - changed to 'De tous biens plaine'
Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description
Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description