I-IV MS CXV (115) (Ivrea Codex)

Biblioteca Capitolare d'Ivrea, Ivrea, Italy

complete choirbook: 14th century

Archive	Biblioteca Capitolare d'Ivrea, Ivrea, Italy (I-IV)
Shelfmark	MS CXV (115) (Ivrea Codex)
Image Availability	DIAMM does not have images of this source.
Surface	Parchment
Numbering System	Foliation
Measurements	320 x 225 mm
Other Identifiers	RISM: I-IV RISM: Iv Other catalogues/source: Iv
Notations	Ars Nova
Copyists	Ecclesia, Jacometus de Text and Music Pellicier, Jehan Text and Music
Relationships	Clement VI (reference to person in text) Borghezio, Gino (discovered by) ? Papal Palace (copied at)
External Links	14th-century French music notation tutorials Transcribed texts
Provenance	Avignon? France
Contents	88 pieces from 15 composers

General Description

Consists mainly of motets (37) and mass pieces (25) with some secular songs (11 Rondeaux and Virelais and 4 chaces); there are also 2 two-part discants with different texts in each voice, 2 textless pieces and a motet-like quodlibet. Besseler discerns two mains hands: the first for the main pieces on folios 1v-35v and 36v-37, the second for those on folios 37v-51, while other hands seem to have added pieces not belonging to the corpus. The manuscript seems to have been written for practical use, since there is no useless ornament; it is also well worn. Single motet parts are usually written across whole pages, the Tr on the verso and the Mot on the recto, though mass movements and old motets may be written with the pages divided into two by a line down the middle. Short secular songs and other shorter works are usually written in the space left at the bottom of pages occupied by larger works. Discovered by Borghezio in 1921; appears to have been in Ivrea since the 14th century. Its liturgical connections and central French repertoire, together with direct references to Pope Clement VI, suggest an origin in Avignon shortly after 1360. It might have been brought to Ivrea by one of the three French priests mentioned in the records there between 1361 and 1384.

DIAMM, 2017

Physical Description

Because the binding is missing, folios 1 and 64v are very worn and practically illegible. Almost complete, though the corner of fol. 5 has been torn off. The first five fascicles clearly belong together, but it is not clear whether some pages are missing between the fifth and sixth fascicles.

DIAMM, 2017

Binding

missing

DIAMM, 2017

Notation

Ars Nova: semiminims occur in only three pieces, often together with the dragma. The plica is still to be found and red notes appear occasionally, though white notes are also employed.

DIAMM, 2017

Ruling

11 red five-line staves per page

DIAMM, 2017

Foliation

64 ff

DIAMM, 2017

Foliation

Modern foliation, with the exception of a VI at the top right-hand corner of fol. 26, marking the sixth folio of the third fascicle

DIAMM, 2017

Surface

parchment

DIAMM, 2017

DIAMM Note

Inventory corrected from Kügle 1997.

DIAMM, 2017

RISM Description

RISM B/IV 2: A parchment manuscript measuring 320 x 225 mm. and consisting of 64 folios divided into 6 fascicles of 5, 5, 6, 4, 6, and 6 bifolios. The binding is missing, so that folios 1 and 64v of this wholly musical manuscript are very worn and practically illegible. There are eleven red five-line staves per page and the notation is Ars Nova. The foliation is modern with the exception of a VI at the top right-hand corner of fol. 26, marking the sixth folio of the third fascicle. The manuscript was discovered by Borghezio in 1921 and appears to have been in Ivrea since the 14th century. Its liturgical connections and central French repertoire, together with direct references to Pope Clement VI, suggest an origin in Avignon shortly after 1360, whence it may have been brought to Ivrea by one of the three French priests mentioned in the records there between 1361 and 1384. The first five fascicles belonged together from the start, but it is not clear whether some pages are missing between the fifth and sixth fascicles. Besseler believes that two main hands were concerned in copying the manuscript, the first for the main pieces on folios 1v-35v and 36v-37, the second for those on folios 37v-51, while other hands seem to have added pieces not belonging to the corpus. The manuscript consists mainly of motets (37) and mass pieces (25) with a sprinkling of secular songs (11 Rondeaux and Virelais and 4 chaces). 2 two-part discants with different texts in each voice, 2 textless pieces and a motet-like quodlibet complete the picture. The manuscript gives evidence of having been written for practical use, since there is no useless ornament and moreover the codex is well worn. Single motet parts are usually written across whole pages, the Tr on the verso and the Mot on the recto, though mass movements and old motets may be written with the pages divided into two by a line down the middle. Short secular songs and other shorter works are usually written in the space left at the bottom of pages occupied by larger works. The manuscript is almost complete, though the corner of fol. 5 has been torn off. Semiminims occur in only three pieces, often together with the dragma. The plica is still to be found and red notes appear occasionally, though white notes are also employed. The Solus Tenor already occurs in 4 pieces. Composers' names are almost entirely absent, but IV is nevertheless the main source of Philippe de Vitry's works, and, although many compositions remain anonymous, there are four motets by Machaut and single works are traceable to various less known men, particularly from the ms F-APT 16 bis, a slightly later Avignon source.

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Répertoire International des Sources Musicales

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Folio / Pages	Composition / Item title	Source attribution	Composers (? Uncertain)
1	Kyrie [Tro] Sol justitiae	-	Anonymous
Kyrie [Tro] Sol justitiae Anonymous Appears on: 1 Genres: Mass Ordinary, Troped Kyrie Voice: Tenor Languages: none Clef: no clef Voice: [no designation] Languages: Latin, Greek Clef: no clef Voice Text: Kyrie [Tro] sol iustitie General Note Since Besseler's list in BesselerS I, this piece has not been assigned a number like the other pieces, because it is mainly illegible; tendor identical with t of the Kyrie, and related to the tenor of the Agnus III of the 'Sorbonne Mass' (F-Pim 1r and 2v); cf AH, 27, 78 Layout parts
1v–2	O Philippe Franci qui generis / O bone dux indolis optime	-	Anonymous
O Philippe Franci qui generis / O bone dux indolis optime Anonymous Appears on: 1v–2 Genres: Motet Voice: [no designation] Languages: none Clef: c4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: O bone dux indolis optime Voice: [no designation] Languages: Latin Clef: c1 Voice Text: O Philippe Franci qui generis Layout parts Item Bibliography Seay, Albert. 1965. Music in the Medieval World. Pages: [facs.] 136.
2v–3	Altissonis aptatis viribus modulando / Hin principes qui presunt saeculi	-	Anonymous
Altissonis aptatis viribus modulando / Hin principes qui presunt saeculi Anonymous Appears on: 2v–3 Genres: Motet Voice: [no designation] Languages: none Clef: c4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Altissonis aptatis viribus modulando Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Hin principes qui presunt seculi Voice: [no designation] Languages: none Clef: c4 Layout parts
2v–3	Amis, tont dous vis	-	Moulins, Pierre des
Amis, tont dous vis Moulins, Pierre des Appears on: 2v–3 Genres: Chanson Voice: Contratenor Languages: none Clef: c4 Voice: Triplum Languages: French Clef: c2 Voice Text: Amis, tont dous vis Voice: Tenor Languages: none Clef: c5 Layout parts
3v–4	Febus mundo oriens, girans / Lanista vipereus ibi fundens / Cornibus equivocis pascens	-	Anonymous
Febus mundo oriens, girans / Lanista vipereus ibi fundens / Cornibus equivocis pascens Anonymous Appears on: 3v–4 Genres: Motet Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Cornibus equivocis pascens Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Lanista vipereus ibi fundens Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Febus mundo oriens, girans Layout parts Item Bibliography Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: 1, [facs.] plate 59.
3v–4	Dix et sept, sinc, trese, quatorse et quinse	-	Machaut, Guillaume de (ca. 1300–1377)
Dix et sept, sinc, trese, quatorse et quinse Machaut, Guillaume de (ca. 1300–1377) Appears on: 3v–4 Genres: Rondeau Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: French Clef: c3 Voice Text: Dix et sept, sinc, trese, quatorse et quinse Voice: Contratenor Languages: none Clef: c5 Layout parts
4v–5	Impudenter circuivi solum / Virtutibus laudabilis, moribus / Alma redemptoris mater	-	Vitry, Philippe de (1291–1361)
Impudenter circuivi solum / Virtutibus laudabilis, moribus / Alma redemptoris mater Vitry, Philippe de (1291–1361) Appears on: 4v–5 Genres: Alma redemptoris mater, BVM, Motet Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Virtutibus laudabilis, moribus Voice: Contratenor Languages: none Clef: c3 Voice: Triplum Languages: Latin Clef: c1 Voice Text: Impudenter circui[t]vi solum Voice: Tenor Languages: Latin Clef: c3 Voice Text: [Alma redemtporis mater] Voice: Solus Tenor Languages: none Clef: c3 Layout parts
5v–6	Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater	-	Vitry, Philippe de (1291–1361) (?)
Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater Vitry, Philippe de (1291–1361) (?) Appears on: 5v–6 Genres: Alma redemptoris mater, BVM, Motet Voice: Tenor Languages: Latin Clef: c3 Voice Text: Alma redemptoris mater Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Apta caro plumis ingenii Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Flos virginum, decus et species Voice: Contratenor Languages: none Clef: c3 Layout parts
5v–6	Dantur officia burce consilio / Quid scire proderit nova et vetera	-	Anonymous
Dantur officia burce consilio / Quid scire proderit nova et vetera Anonymous Appears on: 5v–6 Genres: Motet Voice: Triplum Languages: Latin Clef: no clef Voice Text: Dantur officia burse consilio General Note incomplete: Tr and T lost with bottom of f. 5v Layout parts
6v–7	Ida capillorum matris / Portio nature, precellentis / Ante tronum trinitatis	-	Helene, Henri (?) Pusiex, Egidius de (?)
Ida capillorum matris / Portio nature, precellentis / Ante tronum trinitatis Helene, Henri (?) Pusiex, Egidius de (?) Appears on: 6v–7 Genres: Motet Voice: Contratenor Languages: none Clef: c4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Ida capillorum matris Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Portio nature, precellentis Voice: Tenor Languages: Latin Clef: c3 Voice Text: Ante tronum [trinitatis] Layout parts
6v–7	Quiconques veut d’amour joïr	-	Anonymous
Quiconques veut d’amour joïr Anonymous Appears on: 6v–7 Genres: Rondeau Voice: [no designation] Languages: French Clef: c3 Voice Text: Quiconques venit d'amours joïr Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Layout parts
7v–8	Post missarum sollempnia, divina / Post misse modulamina, post verbi	-	Anonymous
Post missarum sollempnia, divina / Post misse modulamina, post verbi Anonymous Appears on: 7v–8 Genres: Motet Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Post misse modulamina, post verbi Voice: Contratenor Languages: none Clef: c3 Voice: Solus Tenor Languages: none Clef: c3 Voice: Tenor cum Contratenore Languages: none Clef: c3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Post missarum sollempnia, divina Layout parts
7v	Combien que lointemps aie esté de vous	-	Anonymous
Combien que lointemps aie esté de vous Anonymous Appears on: 7v Genres: Motet Voice: Tenor Languages: none Clef: c3 Voice: [no designation] Languages: French Clef: c2 Voice Text: Comben que loyntemps aye esté de vous Voice: Contratenor Languages: none Clef: c3 Layout parts
8v–9	Vos quid admiramini virgines / Gratissima virginis species quam decorat	-	Vitry, Philippe de (1291–1361)
Vos quid admiramini virgines / Gratissima virginis species quam decorat Vitry, Philippe de (1291–1361) Appears on: 8v–9 Genres: Motet Voice: Tenor Languages: Latin Clef: c5 Voice Text: Gaude, gloriosa Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Vos quid admiramini virgines Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Gratissima virginis species quam decorat Voice: Solus Tenor Languages: none Clef: c4 Voice: Solus Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c5 Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: (26), [facs.] plates 158-159.
8v–9v	Besier e acoler qui m'estort	-	Anonymous
Besier e acoler qui m'estort Anonymous Appears on: 8v–9v Genres: Motet Voice: [no designation] Languages: French Clef: c1 Voice Text: Besier e acoler qui m'estort Voice: Tenor Languages: none Clef: c4 Layout parts
9v–10	Flos ortus inter lilia quorum radix / Celsa cedrus ysopus effecta / O quam magnus pontifex	-	Vitry, Philippe de (1291–1361)
Flos ortus inter lilia quorum radix / Celsa cedrus ysopus effecta / O quam magnus pontifex Vitry, Philippe de (1291–1361) Appears on: 9v–10 Genres: Motet Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Celsa cedrus ysopus effecta Voice: Tenor Languages: Latin Clef: c4 Voice Text: Quam magnus pontifex Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Flos ortus inter lilia quorum radix Layout parts
10	Talent m'a pris de chanter cum fa lo coqut	-	Anonymous
Talent m'a pris de chanter cum fa lo coqut Anonymous Appears on: 10 Genres: Canon Voice: [no designation] Languages: Latin Voice Text: Talent m'a pris de chanter cum fa lo coqut General Note reference to No. 66 incorrect, should be 65 Layout parts Item Bibliography Hoppin, Richard H. 1978. Medieval Music. New York: W. W. Norton. Pages: [facs.] 369.
9v–10	Prima neuma … Octava [neuma] / Hec sunt coniuncte	-	Anonymous
Prima neuma … Octava [neuma] / Hec sunt coniuncte Anonymous Appears on: 9v–10 Voice: [no designation] Languages: Latin Voice Text: Prima neuma … Octava [neuma] / Hec sunt coniuncte
10v–11	Martyrum gemma latria, tyranni / Diligenter inquiramus Quintini preconia / A Christo honoratus	-	Machaut, Guillaume de (ca. 1300–1377)
Martyrum gemma latria, tyranni / Diligenter inquiramus Quintini preconia / A Christo honoratus Machaut, Guillaume de (ca. 1300–1377) Appears on: 10v–11 Genres: Motet Voice: [no designation] Languages: Latin Voice Text: Martirum gemma latria, tiranny Layout parts
11	Tant que mon coeur ara durée / Sur l'erbette croist la violette	-	Anonymous
Tant que mon coeur ara durée / Sur l'erbette croist la violette Anonymous Appears on: 11 Genres: Motet Voice: [no designation] Languages: French Clef: c3 Voice Text: Sur l'erbette croist la violette Voice: [no designation] Languages: French Clef: c1 Voice Text: Tant que mon cuer ara durée Layout parts Item Bibliography Perz, Miroslaw. 1984. Zur Textunterlegungspraxis in der Mehrstimmigkeit des 14. und 15. Jahrhunderts und über einige in Polen Neu-und Wiedergefundene Quellen dieser Zeit. Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts: Vorträge des Gastsymposiums in der Herzog August Bibliothek Wolfenbüttel, 8. bis 12. September 1980, Göttinger Musikwissenschaftliche Arbeiten. edited by Miroslaw Perz, 327-49. Kassel: Bärenreiter. Pages: photo 1. Brewer, Charles Everett. 1982. A fourteenth-century polyphonic manuscript rediscovered. Studia Musicologica Academiae Scientiarum Hungaricae, 5-19. Pages: [facs.] plates III-IV.
11v–12	Almifonis melos cum vocibus matrem / Rosa sine culpe spina per quam patet	-	Vitry, Philippe de (1291–1361) (?)
Almifonis melos cum vocibus matrem / Rosa sine culpe spina per quam patet Vitry, Philippe de (1291–1361) (?) Appears on: 11v–12 Genres: Motet Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Almifonus melos cum vocibus matrem Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Rosa sine culpe spina per quam patet Layout parts
12	Rose sans per, de toutes	-	Anonymous
Rose sans per, de toutes Anonymous Appears on: 12 Genres: Motet Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: French Clef: c3 Voice Text: Rose sans per, de toutes Voice: Contratenor Languages: none Clef: c4 Layout parts
12v–13	Apollinis eclipsatur nunquam lux / Zodiacum signis lustrantibus / In omnem terram	-	Cluny, B. de
Apollinis eclipsatur nunquam lux / Zodiacum signis lustrantibus / In omnem terram Cluny, B. de Appears on: 12v–13 Genres: Motet Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Apollinis eclipsatur nunquam lux Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Zodiacum signis lustrantibus Voice: Tenor Languages: Latin Clef: c3 Voice Text: In omnem terram Layout parts
13v–14	Zolomina zelus virtutibus vitiorum / Nazarea que decora bonitate / Ave, Maria	-	Anonymous
Zolomina zelus virtutibus vitiorum / Nazarea que decora bonitate / Ave, Maria Anonymous Appears on: 13v–14 Genres: Motet Voice: Tenor Languages: Latin Clef: c4 Voice Text: Ave Maria Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Nazarea que decora bonitate Voice: [no designation] Languages: Latin Clef: c1 Voice Text: ZoIomina zelus virtutibus vitiorum Layout parts
14v–15	Cum statua Nabugodonosor metallina / Hugo princeps invidie / Magister invidie	-	Vitry, Philippe de (1291–1361)
Cum statua Nabugodonosor metallina / Hugo princeps invidie / Magister invidie Vitry, Philippe de (1291–1361) Appears on: 14v–15 Genres: Motet Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Hugo. Hugo, princeps invidie Voice: Tenor Languages: none Clef: c3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Cum statua Nabucodonasor metallina Layout parts
14v–15	Or sus, vous dormez trop, ma dame	-	Anonymous
Or sus, vous dormez trop, ma dame Anonymous Appears on: 14v–15 Genres: Motet Voice: Tenor Languages: none Clef: c3 Voice: [no designation] Languages: French Clef: c1 Voice Text: Or sus, vous dormes trop, ma dame Voice: Contratenor Languages: none Clef: c3 Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: (26), [facs.] plate 164.
15v–16	Tuba sacre fidei proprie / In arboris empiro prospere / Virgo sum	-	Vitry, Philippe de (1291–1361) (?)
Tuba sacre fidei proprie / In arboris empiro prospere / Virgo sum Vitry, Philippe de (1291–1361) (?) Appears on: 15v–16 Genres: Motet Voice: Tenor Languages: Latin Clef: c3 Voice Text: Virgo sum Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Tuba sacre fidei proprie Voice: [no designation] Languages: Latin Clef: c1 Voice Text: In arboris empiro prospere Layout parts
15v–16	Et in terra pax [Gloria]	-	Baralipton
Et in terra pax [Gloria] Baralipton Appears on: 15v–16 Genres: Gloria (et in terra pax), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus bone voluntatis Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c4 Layout parts
16v–17	Rachel plorat filios suos, Christi nuntios / Ha, fratres, ha, vos Domini, cum fides	-	Anonymous
Rachel plorat filios suos, Christi nuntios / Ha, fratres, ha, vos Domini, cum fides Anonymous Appears on: 16v–17 Genres: Motet Voice: Tenor Languages: none Clef: f3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Rachel plorat filios suos, Christi nuntios Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Ha, fratres, ha, vos domini, cum fides Layout parts
16v–17	Kyrie eleison	-	Anonymous
Kyrie eleison Anonymous Appears on: 16v–17 Genres: Kyrie eleison, Mass Ordinary Voice: [no designation] Languages: Greek Clef: c2 Voice Text: Kyrie leyson Voice: Tenor Languages: Greek Clef: f3 General Note (incompl.) Layout parts
17v–18	Colla iugo subdere curias sectari / Bona condit cetera bonum libertatis / Libera me de sanguinibus	-	Vitry, Philippe de (1291–1361) (?)
Colla iugo subdere curias sectari / Bona condit cetera bonum libertatis / Libera me de sanguinibus Vitry, Philippe de (1291–1361) (?) Appears on: 17v–18 Genres: Motet Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Bona condit cetera bonum libertatis Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Colla iugo subdere curias sectari Voice: Tenor Languages: Latin Clef: f3 Voice Text: [Libera me de sanguinibus] Layout parts
18	Et in terra pax [Gloria]	-	Sortes (?) Depansis (?)
Et in terra pax [Gloria] Sortes (?) Depansis (?) Appears on: 18 Genres: Gloria (et in terra pax), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c3 Voice Text: [Et in terra pax hominibus] Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus Voice: Tenor Languages: none Clef: c4 General Note T omitted except for "Amen"; second voice missing altogether Layout parts
18v–19	Tant a souttille pointure la tres gentille / Bien pert qu'en moi n’a dart point, mal / Cuius pulcritudinem sol et luna mirantur	-	Anonymous
Tant a souttille pointure la tres gentille / Bien pert qu'en moi n’a dart point, mal / Cuius pulcritudinem sol et luna mirantur Anonymous Appears on: 18v–19 Genres: Motet Voice: [no designation] Languages: French Clef: c1 Voice Text: Tant a souttille pointure la tres gentille Voice: Tenor Languages: Latin Clef: c4 Voice Text: Cuius pulcritudinem Voice: [no designation] Languages: French Clef: c2 Voice Text: Bien pert qu'en moy n'a dart point, mal Layout parts
19v–20	A vous, vierge de douçour, que j'aour / Ad te, virgo, clamitans venio, Dei mater / Regnum mundi	-	Anonymous
A vous, vierge de douçour, que j'aour / Ad te, virgo, clamitans venio, Dei mater / Regnum mundi Anonymous Appears on: 19v–20 Genres: Motet Voice: Tenor Languages: Latin Clef: c4 Voice Text: Regnum mundi Voice: Triplum Languages: French Clef: c1 Voice Text: A vous, vierge de douçour, que j'aour Voice: Motetus Languages: Latin Clef: c2 Voice Text: Ad te, virgo, clamitans venio, dei mater Layout parts
20v–21	Amours qui a le povoir de moi faire recevoir / Fauls Semblant m'a deceü / Vidi Dominum	-	Machaut, Guillaume de (ca. 1300–1377)
Amours qui a le povoir de moi faire recevoir / Fauls Semblant m'a deceü / Vidi Dominum Machaut, Guillaume de (ca. 1300–1377) Appears on: 20v–21 Genres: Motet Voice: [no designation] Languages: French Clef: c1 Voice Text: Amors qui a le poïr de moy f(r)ayre recevoir Voice: Tenor Languages: Latin Clef: c4 Voice Text: Vidi dominum Voice: [no designation] Languages: French Clef: c2 Voice Text: Faus Semblans m'a deceü General Note incipit s US-NYw 20 except that Tr's first five notes are a third higher, Mot's first note is a tone lower and T's ninth note is a long. Layout parts
21	Fortune faulce, perverse, veré m'a	-	Sancto Johanne, Matheus de (–ca. 1391)
Fortune faulce, perverse, veré m'a Sancto Johanne, Matheus de (–ca. 1391) Appears on: 21 Genres: Motet Voice: [no designation] Languages: French Clef: c3 Voice Text: Fortune fause, perverse, m'as Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Voice: Triplum Languages: none Clef: c1 Layout parts
21v	[Mass of Tournai]: Se grace n'est a mon maintien / Cum venerint miseri / Ite, missa est	-	[Master of the Royal Motets] (?)
[Mass of Tournai]: Se grace n'est a mon maintien / Cum venerint miseri / Ite, missa est [Master of the Royal Motets] (?) Appears on: 21v Genres: Motet Voice: [no designation] Languages: French Clef: c2 Voice Text: Se grace n'est a mon maintien Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Ite, missa est Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Cum venerint miseri Layout parts
22	Lés l’ormel a la turele chevauchay / Main se leva sire Garins li clos / Je ne chaindrai mais	-	Anonymous
Lés l’ormel a la turele chevauchay / Main se leva sire Garins li clos / Je ne chaindrai mais Anonymous Appears on: 22 Genres: Motet Voice: [no designation] Languages: French Voice Text: Les l'ormel / Ma[in] / Tenor (Je ny saindrai)
22v–23	Mon chant en plaint, ma chancon en clamour / Qui dolereus onques n'a cogneü / Tristis est anima mea	-	Anonymous
Mon chant en plaint, ma chancon en clamour / Qui dolereus onques n'a cogneü / Tristis est anima mea Anonymous Appears on: 22v–23 Genres: Motet Voice: [no designation] Languages: French Clef: c2 Voice Text: Mon chant em plaint, ma chanson en clamour Voice: Tenor Languages: Latin Clef: c4 Voice Text: Tristis est anima mea Voice: [no designation] Languages: French Clef: c2 Voice Text: Qui doloreus onques n'a cogneü Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: (26), [facs.] plate 164.
23v–24	Douce playsence est d'amer loyalment, car autrement / Garison selon nature desire de sa doulor / Neuma quinti toni	-	Vitry, Philippe de (1291–1361)
Douce playsence est d'amer loyalment, car autrement / Garison selon nature desire de sa doulor / Neuma quinti toni Vitry, Philippe de (1291–1361) Appears on: 23v–24 Genres: Motet Voice: [no designation] Languages: French Clef: c2 Voice Text: Douce playsence est d'amer loyalment, car autrement Voice: [no designation] Languages: French Clef: c3 Voice Text: Garison selon nature desire de sa doulor Voice: Tenor Languages: Latin Clef: c3 Voice Text: Neuma quinti toni Layout parts
24v–25	Qui es promesses de Fortune se fie / Ha, Fortune, trop suis mis loing de port / Et non est qui adjuvat	-	Machaut, Guillaume de (ca. 1300–1377)
Qui es promesses de Fortune se fie / Ha, Fortune, trop suis mis loing de port / Et non est qui adjuvat Machaut, Guillaume de (ca. 1300–1377) Appears on: 24v–25 Genres: Motet Voice: [no designation] Languages: Latin Voice Text: Qui es promesses de Fortune se fie Layout parts
24v–25	Mor vient a moy	-	Anonymous
Mor vient a moy Anonymous Appears on: 24v–25 Voice: [no designation] Languages: French Voice Text: Mor vient a moy
25v–26	Se paour d’umble astinance par douce atrenpance / Dieux, tant desir estre amé de m’amis / Concupisco	-	Anonymous
Se paour d’umble astinance par douce atrenpance / Dieux, tant desir estre amé de m’amis / Concupisco Anonymous Appears on: 25v–26 Genres: Motet Voice: [no designation] Languages: French Clef: c4 Voice Text: Diex, tan desir estre amés de m'amour Voice: [no designation] Languages: French Clef: c3 Voice Text: Se paour d'umble astinance par douce atrenpance Voice: Tenor Languages: Latin Clef: f3 Voice Text: Concupisco Layout parts
26v–27	Li enseignement de Chaton, le sens / De touz les biens qu’Amors / Ecce tu pulchra es amica mea	-	Machaut, Guillaume de (ca. 1300–1377)
Li enseignement de Chaton, le sens / De touz les biens qu’Amors / Ecce tu pulchra es amica mea Machaut, Guillaume de (ca. 1300–1377) Appears on: 26v–27 Genres: Motet Voice: [no designation] Languages: French Clef: c3 Voice Text: De tous les biens qu'Amours Voice: [no designation] Languages: French Clef: c3 Voice Text: Si enseignament de Chaton, le sens Voice: Tenor Languages: Latin Clef: f3 Voice Text: [Ecce tu pulchra et amica mea] Layout parts
27v–28	Et in terra pax [Gloria]	-	Anonymous
Et in terra pax [Gloria] Anonymous Appears on: 27v–28 Genres: Gloria (et in terra pax), Mass Ordinary, Motet, Troped Gloria Voice: Tenor Languages: none Clef: f3 Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Clemens, deus, artifex, tota clementia Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in terra pax homonibus bone voluntatis Layout parts
28	Prenés l'arbre, Peyronelle, entre vous et Dan Symon	-	Anonymous
Prenés l'arbre, Peyronelle, entre vous et Dan Symon Anonymous Appears on: 28 Genres: Motet Voice: [no designation] Languages: French Clef: c1 Voice Text: Prenés l'arbre, Peyronelle, entre vous et Dan Symon Voice: Tenor Languages: none Clef: c3 Layout parts
28v–29	Et in terra pax [Gloria]	-	Anonymous
Et in terra pax [Gloria] Anonymous Appears on: 28v–29 Genres: Gloria (et in terra pax), Mass Ordinary Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: f3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax homonibus bone voluntatis Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax homonibus bone voluntatis Layout parts
28v–29	Princeps ecclesiae pastor ouilis	-	Anonymous
Princeps ecclesiae pastor ouilis Anonymous Appears on: 28v–29 Genres: Hymn Voice: [no designation] Languages: Latin Clef: no clef Voice Text: Princeps ecclesie pastor ouilis
29v–30	Et in terra pax [Gloria]	-	Anonymous
Et in terra pax [Gloria] Anonymous Appears on: 29v–30 Genres: Gloria (et in terra pax), Mass Ordinary Voice: Tenor Languages: none Clef: f3 Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Et in terra pax homonibus bone voluntatis Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in terra pax homonibus bone voluntatis Layout parts
30v–32	Patrem omnipotentem [Credo]	-	Anonymous
Patrem omnipotentem [Credo] Anonymous Appears on: 30v–32 Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem. Factorem celi Voice: Tenor Languages: none Clef: c4 Layout parts
32v–34	Patrem omnipotentem [Credo]	-	Anonymous
Patrem omnipotentem [Credo] Anonymous Appears on: 32v–34 Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem. Factorem celi Voice: Tenor Languages: none Clef: f3 Voice: Contratenor Languages: none Clef: c4 Layout parts
34v–35v	Patrem omnipotentem [Credo]	-	Anonymous
Patrem omnipotentem [Credo] Anonymous Appears on: 34v–35v Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: Tenor Languages: none Clef: c4 Layout parts
36	Kyrie Chipre (Kyrie eleison)	-	Chipre
Kyrie Chipre (Kyrie eleison) Chipre Appears on: 36 Genres: Kyrie eleison, Mass Ordinary Voice: [no designation] Languages: Greek Clef: c2 Voice Text: Kyrie leyson Voice: Tenor Languages: Greek Clef: c4 Voice Text: Kyrie leyson Voice: Quinta Languages: Greek Clef: c4 Voice Text: Kyrie leyson Layout score
36v–37	Et in terra pax (Gloria), [Tro] Qui sonitu melodia	-	Anonymous
Et in terra pax (Gloria), [Tro] Qui sonitu melodia Anonymous Appears on: 36v–37 Genres: Mass Ordinary, Troped Gloria Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in terra pax hominibus bone voluntatis. [Tro] Qui sonitu melodie Voice: Biscantus Languages: Latin Clef: c1 Voice Text: Qui sonitu General Note after the opening section, the Discantus is replaced by a ContraT Layout parts
36v–37	Biscantus de introitu / Contratenor / Amen	-	Anonymous
Biscantus de introitu / Contratenor / Amen Anonymous Appears on: 36v–37 Voice: [no designation] Languages: Latin Voice Text: Biscantus de introitu / Contratenor / Amen
37v–38	Petre Clemens tam re quam nomine / Lugentium siccentur occuli, plaudant	-	Vitry, Philippe de (1291–1361)
Petre Clemens tam re quam nomine / Lugentium siccentur occuli, plaudant Vitry, Philippe de (1291–1361) Appears on: 37v–38 Genres: Motet Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Petre Clemens tam re quam nomine Voice: Tenor Languages: none Clef: c3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Lugentium siccentur occuli, plaudant Layout parts
38v–39	Patrem omnipotentem [Credo]	-	Anonymous
Patrem omnipotentem [Credo] Anonymous Appears on: 38v–39 Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem. Factorem celi Voice: Tenor Languages: none Clef: c5 Voice: Contratenor Languages: none Clef: c4 Layout parts
39v–41	Basis prebens firmamentum / Jaspis virens flore virgineo	-	Anonymous
Basis prebens firmamentum / Jaspis virens flore virgineo Anonymous Appears on: 39v–41 Genres: Hymn Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Jaspis virens flore virgineo Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Basis prebens firmamentum Layout parts
41v–42v	Patrem omnipotentem [Credo]	-	Orles
Patrem omnipotentem [Credo] Orles Appears on: 41v–42v Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem. Factorem celi Voice: Tenor Languages: none Clef: c4 General Note "orles" Layout parts
43–44	Patrem omnipotentem [Credo]	-	Anonymous
Patrem omnipotentem [Credo] Anonymous Appears on: 43–44 Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem. Factorem celi Voice: Tenor Languages: none Clef: c4 General Note "vilhin"(?) Layout parts
44v–45v	Patrem omnipotentem [Credo]	-	Anonymous
Patrem omnipotentem [Credo] Anonymous Appears on: 44v–45v Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem. Factorem celi Voice: Tenor Languages: none Clef: c4 General Note "viala peyra" (?) Layout parts
46	Sanctus & benedictus	-	Anonymous
Sanctus & benedictus Anonymous Appears on: 46 Genres: Mass Ordinary, Sanctus [& Benedictus] Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Sanctus Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Sanctus Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Sanctus Layout parts
46v–47	Patrem omnipotentem [Credo]	-	Anonymous
Patrem omnipotentem [Credo] Anonymous Appears on: 46v–47 Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in unum dominum Voice: Tenor Languages: none Clef: c5 Voice: Tenor Languages: French Clef: c4 Voice Text: Guayrinet Layout parts
47v–48	[Mass of Barcelona] Patrem omnipotentem [Credo]	-	Sortes
[Mass of Barcelona] Patrem omnipotentem [Credo] Sortes Appears on: 47v–48 Genres: Credo (patrem omnipotentem), Mass Ordinary Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem. Factorem celi Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 General Note "de rege" Layout parts
48v	Et in terra pax [Gloria]	-	Anonymous
Et in terra pax [Gloria] Anonymous Appears on: 48v Genres: Gloria (et in terra pax), Mass Ordinary Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Et in terra pax hominibus Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in terra pax hominibus Layout parts
49–49v	Et in terra pax [Gloria] [Tro] Et verus homo Deus	-	Anonymous
Et in terra pax [Gloria] [Tro] Et verus homo Deus Anonymous Appears on: 49–49v Genres: Gloria (et in terra pax), Mass Ordinary, Motet Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Et in terra pax hominibus [Tro] Et verus homo deus Voice: [no designation] Languages: Latin Clef: f3 Voice Text: Et in terra pax hominibus [Tro] Et verus homo deus Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Et in terra pax hominibus [Tro] Et verus homo deus Layout parts
50–51	Et in terra pax [Gloria] [Tro] Spiritus et alme	-	Anonymous
Et in terra pax [Gloria] [Tro] Spiritus et alme Anonymous Appears on: 50–51 Genres: Gloria (et in terra pax), Mass Ordinary, Motet Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus [Tro] Spiritus et alme Voice: [no designation] Languages: Latin Clef: c5 Voice Text: Et in terra pax hominibus [Tro] Spiritus et alme Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Et in terra pax hominibus [Tro] Spiritus et alme Layout parts
51v–52	Tres douce compains, leves sus	-	Anonymous
Tres douce compains, leves sus Anonymous Appears on: 51v–52 Genres: Canon Voice: [no designation] Languages: French Clef: c4 Voice Text: Tres dous compains, leves sus General Note canon for 3 voices Layout parts
52	Talent m'est pris de chanter cume le coqu	-	Anonymous
Talent m'est pris de chanter cume le coqu Anonymous Appears on: 52 Genres: Canon Voice: Canon Languages: French Clef: c3 Voice Text: Talent m'est pris de chanter cume le coqu Voice: Canon Languages: French Clef: c3 Voice Text: Talent m'est pris de chanter cume le coqu Voice: Canon Languages: French Clef: c3 Voice Text: Talent m'est pris de chanter cume le coqu General Note canon for 3 voices Layout parts
52v	Se je chant mains que ne suel	-	Le Grant
Se je chant mains que ne suel Le Grant Appears on: 52v Genres: Chace Voice: [no designation] Languages: French Clef: c4 Voice Text: Se je chant mains que ne suelh General Note reference to 16 is redirected back to i-iv 66. It doesn't look very identical to me. Layout parts
53	Fortune mere a dolour et nourice / Ma dolour ne cesse pas ains est / Dolor meus	-	Anonymous
Fortune mere a dolour et nourice / Ma dolour ne cesse pas ains est / Dolor meus Anonymous Appears on: 53 Genres: Motet Voice: [no designation] Languages: French Clef: c2 Voice Text: Ma doulour ne cesse pas ains est Voice: [no designation] Languages: French Clef: c2 Voice Text: Fortune mere a doulour et norrice Voice: Tenor Languages: Latin Clef: c4 Voice Text: Dolour meus Layout parts
53v–54v	Kyrie [Tro] rex angelorum, lux / Clemens pater, conditor / Kyrie eleison	-	Anonymous
Kyrie [Tro] rex angelorum, lux / Clemens pater, conditor / Kyrie eleison Anonymous Appears on: 53v–54v Genres: Mass Ordinary, Troped Kyrie Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: Latin, Greek Clef: c2 Voice Text: Kyrie [Tro] Rex angelorum, lux Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Clemens pater, conditor Layout parts
53v–54v	[untexted, unidentified]	-	-
[untexted, unidentified] - Appears on: 53v–54v Genres: unknown Voice: [no designation] Languages: none Voice Text: Textless entry
55	O canenda vulgo per computa / Rex quem metrorum depingit / Rex regnum	-	Vitry, Philippe de (1291–1361)
O canenda vulgo per computa / Rex quem metrorum depingit / Rex regnum Vitry, Philippe de (1291–1361) Appears on: 55 Genres: Motet Voice: Contratenor Languages: none Clef: c4 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: O canenda vulgo per computa Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Rex quem metrorum depingit Voice: Tenor Languages: Latin Clef: f3 Voice Text: [Rex regum] Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: (26), [facs.] plate 160.
55v	In virtute nominum / Decens carmen edere / Clamor meus	-	Vitry, Philippe de (1291–1361)
In virtute nominum / Decens carmen edere / Clamor meus Vitry, Philippe de (1291–1361) Appears on: 55v Genres: Motet Voice: [no designation] Languages: Latin Clef: c2 Voice Text: In virtute nominum Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Decens carmen edere Voice: Tenor Languages: Latin Clef: f3 Voice Text: Clamor meus Voice: Contratenor Languages: none Clef: c4 Layout parts
56	Kyrie [Tro] Sol justitiae	-	Anonymous
Kyrie [Tro] Sol justitiae Anonymous Appears on: 56 Genres: Mass Ordinary, Troped Kyrie Voice: [no designation] Languages: Latin, Greek Clef: c3 Voice Text: Kyrie [Tro] sol iustitie Voice: Tenor Languages: none Clef: c4 General Note incompl. Layout parts
56v–57	Amer, Amours, est l'achoison pour quoy / Durement au coeur me blece / Dolor meus	-	Vitry, Philippe de (1291–1361) (?)
Amer, Amours, est l'achoison pour quoy / Durement au coeur me blece / Dolor meus Vitry, Philippe de (1291–1361) (?) Appears on: 56v–57 Genres: Motet Voice: [no designation] Languages: French Clef: c1 Voice Text: Amer, Amours, est l'achoison pour quoy Voice: [no designation] Languages: French Clef: c3 Voice Text: Durement au cuer me blece Voice: Tenor Languages: Latin Clef: c3 Voice Text: Dolour meus Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: (26), [facs.] plate 157.
57v–58	Trop ai dure destinée, mal fu / Par sauvage retenue suis tenue	-	Anonymous
Trop ai dure destinée, mal fu / Par sauvage retenue suis tenue Anonymous Appears on: 57v–58 Genres: Motet Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: f3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Par sauvage retenue suy tenue Voice: [no designation] Languages: French Clef: c1 Voice Text: Trop ay dure destinée, mal fu General Note Tenor and Contratenor incomplete Layout parts
58v–59	Umblemens vos pri merchi	-	Anonymous
Umblemens vos pri merchi Anonymous Appears on: 58v–59 Genres: Canon, Motet Voice: [no designation] Languages: French Clef: c5 Voice Text: Umblemens vos pri merchi General Note canon for 3 voices Layout parts
59v–60	L'amoureuse flour d'esté qui en sa novolté / En l'estat d'amere tristour	-	Anonymous
L'amoureuse flour d'esté qui en sa novolté / En l'estat d'amere tristour Anonymous Appears on: 59v–60 Genres: Motet Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: French Clef: c1 Voice Text: L'amoureuse flour d'esté qui en sa novelleté Voice: [no designation] Languages: French Clef: c2 Voice Text: En l'estat d'amere tristour Layout parts Item Bibliography Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music. London: Stainer & Bell. Pages: (26), [facs.] plate 161.
60v	Clap, clap, par un matin s'en aloit / Sus, Robin, alons au molin, clap, clap	-	Anonymous
Clap, clap, par un matin s'en aloit / Sus, Robin, alons au molin, clap, clap Anonymous Appears on: 60v Genres: Motet Voice: [no designation] Languages: French Clef: c3 Voice Text: Clap, clap, par un matin s'en aloit Voice: Tenor Languages: none Clef: f3 Voice: [no designation] Languages: French Clef: c3 Voice Text: Sus, Robin, alons au molin, clap, clap Layout parts Item Bibliography Gallo, Franco Alberto, and Giuseppe Vecchi (editors). 1968. I più antichi monumenti sacri italiani. I: Edizione fotografica, Monumenta Lyrica Medii Aevi Italica, 3: Mensurabilia, 1. Bologna: Universita degli studi di Bologna. Pages: [facs.] plates CX-CXI.
61	Kyrie [Tro] Sol justitiae	-	Anonymous
Kyrie [Tro] Sol justitiae Anonymous Appears on: 61 Genres: Mass Ordinary, Troped Kyrie Voice: Tenor Languages: none Clef: c4 Voice: [no designation] Languages: Latin, Greek Clef: c3 Voice Text: Kyrie [Tro] sol iustitie General Note Tenor incompl. Layout parts
61v–62	Je commence me canchon / Et je seray li segons / J'ai pastez chaud	-	Anonymous
Je commence me canchon / Et je seray li segons / J'ai pastez chaud Anonymous Appears on: 61v–62 Genres: Motet Voice: [no designation] Languages: French Clef: c3 Voice Text: Je comence ma chançon Voice: Tenor Languages: French Clef: f3 Voice Text: Solés viex Voice: [no designation] Languages: French Clef: c3 Voice Text: Et je seray li segons Layout parts
61v–62	Illumina occulos meos (text only)	-	Anonymous
Illumina occulos meos (text only) Anonymous Appears on: 61v–62 Voice: [no designation] Languages: Latin Voice Text: Illumina occulos meos (text only)
62v–64	Sanctus [Tro] Salva nos / Sanctus [Tro] sanans fragilia	-	Anonymous
Sanctus [Tro] Salva nos / Sanctus [Tro] sanans fragilia Anonymous Appears on: 62v–64 Genres: Mass Ordinary, Troped Sanctus Voice: [no designation] Languages: Latin Clef: f3 Voice Text: Sanctus [Tro] Salva nos Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Sanctus [Tro] Salva nos Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Sanctus [Tro] Salva nos Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Sanctus [Tro] sanans fragilia Layout parts
64	[untexted]	-	-
[untexted] - Appears on: 64 Genres: unknown Voice: [no designation] Languages: none Clef: f3 Voice: [no designation] Languages: none Clef: c2 General Note textless Layout parts
64	[untexted]	-	-
[untexted] - Appears on: 64 Genres: unknown Voice: [no designation] Languages: none Clef: f3 Voice: [no designation] Languages: none Clef: c2 General Note textless Layout parts
64v	Credo (patrem omnipotentem)	-	Anonymous
Credo (patrem omnipotentem) Anonymous Appears on: 64v Voice: [no designation] Languages: Latin Voice Text: Credo (patrem omnipotentem)

Composer	Compositions
Anonymous	A vous, vierge de douçour, que j'aour / Ad te, virgo, clamitans venio, Dei mater / Regnum mundi – 19v–20 Altissonis aptatis viribus modulando / Hin principes qui presunt saeculi – 2v–3 Basis prebens firmamentum / Jaspis virens flore virgineo – 39v–41 Besier e acoler qui m'estort – 8v–9v Biscantus de introitu / Contratenor / Amen – 36v–37 Clap, clap, par un matin s'en aloit / Sus, Robin, alons au molin, clap, clap – 60v Combien que lointemps aie esté de vous – 7v Credo (patrem omnipotentem) – 64v Dantur officia burce consilio / Quid scire proderit nova et vetera – 5v–6 Et in terra pax (Gloria), [Tro] Qui sonitu melodia – 36v–37 Et in terra pax [Gloria] – 27v–28 Et in terra pax [Gloria] – 29v–30 Et in terra pax [Gloria] – 48v Et in terra pax [Gloria] – 28v–29 Et in terra pax [Gloria] [Tro] Et verus homo Deus – 49–49v Et in terra pax [Gloria] [Tro] Spiritus et alme – 50–51 Febus mundo oriens, girans / Lanista vipereus ibi fundens / Cornibus equivocis pascens – 3v–4 Fortune mere a dolour et nourice / Ma dolour ne cesse pas ains est / Dolor meus – 53 Illumina occulos meos (text only) – 61v–62 Je commence me canchon / Et je seray li segons / J'ai pastez chaud – 61v–62 Kyrie [Tro] Sol justitiae – 56 Kyrie [Tro] Sol justitiae – 1 Kyrie [Tro] Sol justitiae – 61 Kyrie [Tro] rex angelorum, lux / Clemens pater, conditor / Kyrie eleison – 53v–54v Kyrie eleison – 16v–17 L'amoureuse flour d'esté qui en sa novolté / En l'estat d'amere tristour – 59v–60 Lés l’ormel a la turele chevauchay / Main se leva sire Garins li clos / Je ne chaindrai mais – 22 Mon chant en plaint, ma chancon en clamour / Qui dolereus onques n'a cogneü / Tristis est anima mea – 22v–23 Mor vient a moy – 24v–25 O Philippe Franci qui generis / O bone dux indolis optime – 1v–2 Or sus, vous dormez trop, ma dame – 14v–15 Patrem omnipotentem [Credo] – 43–44 Patrem omnipotentem [Credo] – 46v–47 Patrem omnipotentem [Credo] – 30v–32 Patrem omnipotentem [Credo] – 34v–35v Patrem omnipotentem [Credo] – 38v–39 Patrem omnipotentem [Credo] – 44v–45v Patrem omnipotentem [Credo] – 32v–34 Post missarum sollempnia, divina / Post misse modulamina, post verbi – 7v–8 Prenés l'arbre, Peyronelle, entre vous et Dan Symon – 28 Prima neuma … Octava [neuma] / Hec sunt coniuncte – 9v–10 Princeps ecclesiae pastor ouilis – 28v–29 Quiconques veut d’amour joïr – 6v–7 Rachel plorat filios suos, Christi nuntios / Ha, fratres, ha, vos Domini, cum fides – 16v–17 Rose sans per, de toutes – 12 Sanctus & benedictus – 46 Sanctus [Tro] Salva nos / Sanctus [Tro] sanans fragilia – 62v–64 Se paour d’umble astinance par douce atrenpance / Dieux, tant desir estre amé de m’amis / Concupisco – 25v–26 Talent m'a pris de chanter cum fa lo coqut – 10 Talent m'est pris de chanter cume le coqu – 52 Tant a souttille pointure la tres gentille / Bien pert qu'en moi n’a dart point, mal / Cuius pulcritudinem sol et luna mirantur – 18v–19 Tant que mon coeur ara durée / Sur l'erbette croist la violette – 11 Tres douce compains, leves sus – 51v–52 Trop ai dure destinée, mal fu / Par sauvage retenue suis tenue – 57v–58 Umblemens vos pri merchi – 58v–59 Zolomina zelus virtutibus vitiorum / Nazarea que decora bonitate / Ave, Maria – 13v–14 [untexted, unidentified] – 53v–54v [untexted] – 64 [untexted] – 64
Baralipton	Et in terra pax [Gloria] – 15v–16
Chipre	Kyrie Chipre (Kyrie eleison) – 36
Cluny, B. de	Apollinis eclipsatur nunquam lux / Zodiacum signis lustrantibus / In omnem terram – 12v–13
Depansis	(?) Et in terra pax [Gloria] – 18
Helene, Henri	(?) Ida capillorum matris / Portio nature, precellentis / Ante tronum trinitatis – 6v–7
Le Grant	Se je chant mains que ne suel – 52v
Machaut, Guillaume de (ca. 1300–1377)	Amours qui a le povoir de moi faire recevoir / Fauls Semblant m'a deceü / Vidi Dominum – 20v–21 Dix et sept, sinc, trese, quatorse et quinse – 3v–4 Li enseignement de Chaton, le sens / De touz les biens qu’Amors / Ecce tu pulchra es amica mea – 26v–27 Martyrum gemma latria, tyranni / Diligenter inquiramus Quintini preconia / A Christo honoratus – 10v–11 Qui es promesses de Fortune se fie / Ha, Fortune, trop suis mis loing de port / Et non est qui adjuvat – 24v–25
Moulins, Pierre des	Amis, tont dous vis – 2v–3
Orles	Patrem omnipotentem [Credo] – 41v–42v
Pusiex, Egidius de	(?) Ida capillorum matris / Portio nature, precellentis / Ante tronum trinitatis – 6v–7
Sancto Johanne, Matheus de (–ca. 1391)	Fortune faulce, perverse, veré m'a – 21
Sortes	(?) Et in terra pax [Gloria] – 18 [Mass of Barcelona] Patrem omnipotentem [Credo] – 47v–48
Vitry, Philippe de (1291–1361)	(?) Almifonis melos cum vocibus matrem / Rosa sine culpe spina per quam patet – 11v–12 (?) Amer, Amours, est l'achoison pour quoy / Durement au coeur me blece / Dolor meus – 56v–57 (?) Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater – 5v–6 (?) Colla iugo subdere curias sectari / Bona condit cetera bonum libertatis / Libera me de sanguinibus – 17v–18 Cum statua Nabugodonosor metallina / Hugo princeps invidie / Magister invidie – 14v–15 Douce playsence est d'amer loyalment, car autrement / Garison selon nature desire de sa doulor / Neuma quinti toni – 23v–24 Flos ortus inter lilia quorum radix / Celsa cedrus ysopus effecta / O quam magnus pontifex – 9v–10 Impudenter circuivi solum / Virtutibus laudabilis, moribus / Alma redemptoris mater – 4v–5 In virtute nominum / Decens carmen edere / Clamor meus – 55v O canenda vulgo per computa / Rex quem metrorum depingit / Rex regnum – 55 Petre Clemens tam re quam nomine / Lugentium siccentur occuli, plaudant – 37v–38 (?) Tuba sacre fidei proprie / In arboris empiro prospere / Virgo sum – 15v–16 Vos quid admiramini virgines / Gratissima virginis species quam decorat – 8v–9
[Master of the Royal Motets]	(?) [Mass of Tournai]: Se grace n'est a mon maintien / Cum venerint miseri / Ite, missa est – 21v

Composition	Composers (? Uncertain)	Folios / Pages
[Mass of Barcelona] Patrem omnipotentem [Credo]	Sortes	47v–48
[Mass of Tournai]: Se grace n'est a mon maintien / Cum venerint miseri / Ite, missa est	[Master of the Royal Motets] (?)	21v
[untexted, unidentified]	-	53v–54v
[untexted]	-	64
[untexted]	-	64
A vous, vierge de douçour, que j'aour / Ad te, virgo, clamitans venio, Dei mater / Regnum mundi	Anonymous	19v–20
Almifonis melos cum vocibus matrem / Rosa sine culpe spina per quam patet	Vitry, Philippe de (1291–1361) (?)	11v–12
Altissonis aptatis viribus modulando / Hin principes qui presunt saeculi	Anonymous	2v–3
Amer, Amours, est l'achoison pour quoy / Durement au coeur me blece / Dolor meus	Vitry, Philippe de (1291–1361) (?)	56v–57
Amis, tont dous vis	Moulins, Pierre des	2v–3
Amours qui a le povoir de moi faire recevoir / Fauls Semblant m'a deceü / Vidi Dominum	Machaut, Guillaume de (ca. 1300–1377)	20v–21
Apollinis eclipsatur nunquam lux / Zodiacum signis lustrantibus / In omnem terram	Cluny, B. de	12v–13
Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater	Vitry, Philippe de (1291–1361) (?)	5v–6
Basis prebens firmamentum / Jaspis virens flore virgineo	Anonymous	39v–41
Besier e acoler qui m'estort	Anonymous	8v–9v
Biscantus de introitu / Contratenor / Amen	Anonymous	36v–37
Clap, clap, par un matin s'en aloit / Sus, Robin, alons au molin, clap, clap	Anonymous	60v
Colla iugo subdere curias sectari / Bona condit cetera bonum libertatis / Libera me de sanguinibus	Vitry, Philippe de (1291–1361) (?)	17v–18
Combien que lointemps aie esté de vous	Anonymous	7v
Credo (patrem omnipotentem)	Anonymous	64v
Cum statua Nabugodonosor metallina / Hugo princeps invidie / Magister invidie	Vitry, Philippe de (1291–1361)	14v–15
Dantur officia burce consilio / Quid scire proderit nova et vetera	Anonymous	5v–6
Dix et sept, sinc, trese, quatorse et quinse	Machaut, Guillaume de (ca. 1300–1377)	3v–4
Douce playsence est d'amer loyalment, car autrement / Garison selon nature desire de sa doulor / Neuma quinti toni	Vitry, Philippe de (1291–1361)	23v–24
Et in terra pax (Gloria), [Tro] Qui sonitu melodia	Anonymous	36v–37
Et in terra pax [Gloria]	Baralipton	15v–16
Et in terra pax [Gloria]	Sortes (?) Depansis (?)	18
Et in terra pax [Gloria]	Anonymous	27v–28
Et in terra pax [Gloria]	Anonymous	28v–29
Et in terra pax [Gloria]	Anonymous	29v–30
Et in terra pax [Gloria]	Anonymous	48v
Et in terra pax [Gloria] [Tro] Et verus homo Deus	Anonymous	49–49v
Et in terra pax [Gloria] [Tro] Spiritus et alme	Anonymous	50–51
Febus mundo oriens, girans / Lanista vipereus ibi fundens / Cornibus equivocis pascens	Anonymous	3v–4
Flos ortus inter lilia quorum radix / Celsa cedrus ysopus effecta / O quam magnus pontifex	Vitry, Philippe de (1291–1361)	9v–10
Fortune faulce, perverse, veré m'a	Sancto Johanne, Matheus de (–ca. 1391)	21
Fortune mere a dolour et nourice / Ma dolour ne cesse pas ains est / Dolor meus	Anonymous	53
Ida capillorum matris / Portio nature, precellentis / Ante tronum trinitatis	Helene, Henri (?) Pusiex, Egidius de (?)	6v–7
Illumina occulos meos (text only)	Anonymous	61v–62
Impudenter circuivi solum / Virtutibus laudabilis, moribus / Alma redemptoris mater	Vitry, Philippe de (1291–1361)	4v–5
In virtute nominum / Decens carmen edere / Clamor meus	Vitry, Philippe de (1291–1361)	55v
Je commence me canchon / Et je seray li segons / J'ai pastez chaud	Anonymous	61v–62
Kyrie [Tro] rex angelorum, lux / Clemens pater, conditor / Kyrie eleison	Anonymous	53v–54v
Kyrie [Tro] Sol justitiae	Anonymous	1
Kyrie [Tro] Sol justitiae	Anonymous	56
Kyrie [Tro] Sol justitiae	Anonymous	61
Kyrie Chipre (Kyrie eleison)	Chipre	36
Kyrie eleison	Anonymous	16v–17
L'amoureuse flour d'esté qui en sa novolté / En l'estat d'amere tristour	Anonymous	59v–60
Li enseignement de Chaton, le sens / De touz les biens qu’Amors / Ecce tu pulchra es amica mea	Machaut, Guillaume de (ca. 1300–1377)	26v–27
Lés l’ormel a la turele chevauchay / Main se leva sire Garins li clos / Je ne chaindrai mais	Anonymous	22
Martyrum gemma latria, tyranni / Diligenter inquiramus Quintini preconia / A Christo honoratus	Machaut, Guillaume de (ca. 1300–1377)	10v–11
Mon chant en plaint, ma chancon en clamour / Qui dolereus onques n'a cogneü / Tristis est anima mea	Anonymous	22v–23
Mor vient a moy	Anonymous	24v–25
O canenda vulgo per computa / Rex quem metrorum depingit / Rex regnum	Vitry, Philippe de (1291–1361)	55
O Philippe Franci qui generis / O bone dux indolis optime	Anonymous	1v–2
Or sus, vous dormez trop, ma dame	Anonymous	14v–15
Patrem omnipotentem [Credo]	Anonymous	30v–32
Patrem omnipotentem [Credo]	Anonymous	32v–34
Patrem omnipotentem [Credo]	Anonymous	34v–35v
Patrem omnipotentem [Credo]	Anonymous	38v–39
Patrem omnipotentem [Credo]	Orles	41v–42v
Patrem omnipotentem [Credo]	Anonymous	43–44
Patrem omnipotentem [Credo]	Anonymous	44v–45v
Patrem omnipotentem [Credo]	Anonymous	46v–47
Petre Clemens tam re quam nomine / Lugentium siccentur occuli, plaudant	Vitry, Philippe de (1291–1361)	37v–38
Post missarum sollempnia, divina / Post misse modulamina, post verbi	Anonymous	7v–8
Prenés l'arbre, Peyronelle, entre vous et Dan Symon	Anonymous	28
Prima neuma … Octava [neuma] / Hec sunt coniuncte	Anonymous	9v–10
Princeps ecclesiae pastor ouilis	Anonymous	28v–29
Qui es promesses de Fortune se fie / Ha, Fortune, trop suis mis loing de port / Et non est qui adjuvat	Machaut, Guillaume de (ca. 1300–1377)	24v–25
Quiconques veut d’amour joïr	Anonymous	6v–7
Rachel plorat filios suos, Christi nuntios / Ha, fratres, ha, vos Domini, cum fides	Anonymous	16v–17
Rose sans per, de toutes	Anonymous	12
Sanctus & benedictus	Anonymous	46
Sanctus [Tro] Salva nos / Sanctus [Tro] sanans fragilia	Anonymous	62v–64
Se je chant mains que ne suel	Le Grant	52v
Se paour d’umble astinance par douce atrenpance / Dieux, tant desir estre amé de m’amis / Concupisco	Anonymous	25v–26
Talent m'a pris de chanter cum fa lo coqut	Anonymous	10
Talent m'est pris de chanter cume le coqu	Anonymous	52
Tant a souttille pointure la tres gentille / Bien pert qu'en moi n’a dart point, mal / Cuius pulcritudinem sol et luna mirantur	Anonymous	18v–19
Tant que mon coeur ara durée / Sur l'erbette croist la violette	Anonymous	11
Tres douce compains, leves sus	Anonymous	51v–52
Trop ai dure destinée, mal fu / Par sauvage retenue suis tenue	Anonymous	57v–58
Tuba sacre fidei proprie / In arboris empiro prospere / Virgo sum	Vitry, Philippe de (1291–1361) (?)	15v–16
Umblemens vos pri merchi	Anonymous	58v–59
Vos quid admiramini virgines / Gratissima virginis species quam decorat	Vitry, Philippe de (1291–1361)	8v–9
Zolomina zelus virtutibus vitiorum / Nazarea que decora bonitate / Ave, Maria	Anonymous	13v–14

‡ denotes primary source study

Bent, Margaret. 1998. Early Papal Motets. Papal Music and Musicians in Late Medieval and Renaissance Rome, edited by Margaret Bent, 5-43. Oxford University Press.

Kügle, Karl. 1997. The Manuscript Ivrea, Biblioteca Capitolare 115: Studies in the Transmission and Composition of Ars Nova Polyphony. Wissenschaftliche Abhandlungen/Musicological Studies. Ottawa: The Institute of Mediaeval Music.

Earp, Lawrence M. 1995. Guillaume de Machaut: A Guide to Research. New York and London: Garland.

Kügle, Karl. 1993. The Manuscript Ivrea, Biblioteca capitolare 115: Studies in the Transmission and Composition of Ars Nova Polyphony. New York University, PhD Dissertation.

Kügle, Karl. 1990. Codex Ivrea, Bibl. cap. 115: A French Source 'Made in Italy'. Revista de musicología, 527-561.

Günther, Ursula (editor). 1965. The Motets of the Manuscripts Chantilly, musée condé, 564 (olim 1047) and Modena, Biblioteca estense, a. M. 5, 24 (olim lat. 568). Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: nos.l, 3,14 (transcription of IF 31,7 and 9); XlXff, XXIVff, LVIIff;.

Stäblein-Harder, Hanna. 1962. Fourteenth-Century Mass Music in France. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I (complete transcription of all IV mass pieces except IV35: see table of contents in Stablein-Harder II for precise mention of which works are from IV; facsimile of IV f. 36v-37 at beg. of vol. I); II.

Borren, Charles van den. 1957. Missa Tornacensis: The Tournai Mass. Pages: 32f (transcription of IV 35).

Jackson, Roland. 1957. Musical interrelations between 14th century mass movements. Acta Musicologica, 54ff.

Reaney, Gilbert, André Gilles, and Jean Maillard. 1956. The Ars Nova of Philippe de Vitry. Musica Disciplina, . Pages: 5ff.

Schrade, Leo. 1956. Philippe de Vitry: Some New Discoveries. Musical Quarterly, 330ff.

Johnson, M. 1955. The Motets of the Codex Ivrea. Indiana University, Ph. D. Pages: II (complete transcription of IV motets); I.

Schrade, Leo. 1955. A Fourteenth Century Parody Mass. Acta Musicologica, 13ff.

Schrade, Leo (editor). 1954 -1956. The Polyphonic Music of the Fourteenth Century. 3 vols. Pages: I, 72-109,129-131,150-155; II, 134f, 157ff; III, 8ff, 160f (transcription of IV 38, 13, 23, 29, 25, 6, 51, 8, 69, 35, 60, 39, 33, 17, 5).

Schrade, Leo. 1954. The Mass of Toulouse. Revue Belge de Musicologie, 84ff.

Stäblein-Harder, Hanna. 1953. Die Messe von Toulouse. Musica Disciplina, 105ff.

Pirrotta, Nino. 1946. Per l'origine e la storia della "caccia" e del "madrigale" trecentesco. Rivista Musicale Italiana, 305–23; 49 (1947), 121–42. Pages: II, 305-323.

Van, Guillaume de. 1938. Monuments de l'Ars Nova. Paris. Pages: OL 2-3 (transcription of IV 32 and 24).

Gastoué, Amédée (editor). 1936. Le manuscrit de musique polyphonique du trésor d'Apt. 10 vols. Paris: La société française de musicologie. Pages: nos. I, V, VII,XII,XVI,XXXIX-XLIII, XLVI (transcription of IV 63, 49,50,30, 6,61,26,55, 29, 8, 60).

Ficker, Rudolf von. 1933. DTO. 76. Pages: 4ff (transcription of IV 23).

Kammerer, Friedrich. 1931. Die Musikstücke des Prager Kodex XI E 9. Veröffentlichungen des Musikwissenschaftlichen Institutes der Deutschen Universität in Prag. Augsburg: Dr. Benno Filser Verlag [also Brünn: Rudolf M. Rohrer Verlag]. Pages: 137ff, 145ff (transcription of IV65 and 3); 25ff, 56ff.

Ludwig, Friedrich (editor). 1926-9. Guillaume de Machaut: Musikalische Werke, 1-3. Leipzig: Publikationen älterer Musik. Pages: I, 66;II, 17b-18a III, 30ff, 55ff, 68 ff (transcription of IV 5, 39, 33, 17.

Besseler, Heinrich. 1926. Studien zur Musik des Mittelalters: II. Die Motette von Franko von Köln bis Philipp van Vitry. Archiv für Musikwissenschaft, 137-258. Pages: I, 249-252; II, 245-258 (transcription of IV 38, 66, 25, 29, 13, 7); I, 185ff; II, 187ff.

Ludwig, Friedrich. 1925. Die mehrstimmige Messe des 14. Jahrhunderts. Archiv für Musikwissenschaft, 417ff. Pages: 419, 425ff.

Borren, Charles van den. 1924. Le Manuscrit Musical M. 222 C. 22 de la Bibliothèque de Strasbourg (XV Siècle) Brûlé en 1870, et Reconstitué d'après une Copie Partielle d'Edmond de Coussemaker. Antwerp: E. Secelle. Pages: 67f, 89f, 97, lllf, 119ff, 129ff, 136f, 142f.

Elling, Alwin. 1924. Die Messen, Hymnen und Motetten der Handschrift von Apt. Göttingen University.

Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 185-222, Vol. 5 (1924) 273-315. Pages: 281ff.

Public Comments

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Natalie Coverley

Saturday, 18 November, 2023

Thank you for this! It was quite a helpful reference point for an essay I am writing at the moment...

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Julia Craig-McFeely

Thursday, 17 August, 2023

MS B 1328: Pagination (3v) added for Hugo princeps / Cum statua Ivrea: Vitry's 'Hugo princeps / Cum statua' added on 14v-15 de la Halle's "Je muir" left in inventory at 14v-15 pro tem, pending confirmation it was incorrectly inventoried there

Debra Lacoste

Thursday, 24 February, 2022

"Répertoire Internationale..." corrected to "Répertoire International..."

Répertoire Internationale des Sources Musicales

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description