Closely related to ParisBNF 15123, VatG XIII.27, RomeC 2856, and FlorBN Magl. 178. Copied in Florence; once owned by the Braccesi family of Florence (coat of arms on f. iv'). The opening fascicle alternates the works of Isaac & Martini, maestri di capella at Florence & neighbouring Ferrara at this time (LockRF).
I-Fn MS Banco Rari 229
Biblioteca Nazionale Centrale, Florence, Italy
manuscript of polyphony: 1492-3
| Archive | Biblioteca Nazionale Centrale, Florence, Italy (I-Fn) |
|---|---|
| Shelfmark | MS Banco Rari 229 |
| Image Availability | DIAMM does not have images of this source. Please refer to the external links for image availability. |
| Surface | Mixed Paper and Parchment |
| Numbering System | Foliation |
| Measurements | 240 x 170 mm |
| Other Identifiers |
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| Notations |
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| Copyists |
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| Relationships |
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| External Links | |
| Provenance |
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| Contents | Contains 268 compositions, 176 from 40 composers, 92 are anonymous. |
General Description
Binding
Brown tooled leather covers, with 'Sonate di vari autori' stamped on spine.
Liminary Note
homage to Ramos on f. 3': "Mundo et musice et totus concentus Bartholomeus Ramis."
Notation
black void mensural
Foliation
Modern foliation
Decoration
All folios have illuminated initials; the parchment folios at the beginning and end have elaborate illuminations laid over a solid, deep-blue background, including a portrait which is probably that of Alessandro Braccesi, the owner of the manuscript (Howard M. Brown); miniatures and initials attributed to the brothers Gherardo and Monte de Giovanni del Fora, who worked in Florence between 1470 and 1495 (BragardM); ParisBNF 15123 was also decorated by the same workshop. Edges of folios are painted gold and bear tooled designs. F. iii' has a circular canon with an homage to Ramos written inside: 'Mundo et musice et totus concentus Bartholomeus Ramis.'
Surface
v parchment + 325 paper + i parchment
RISM Description
RISM
XVe s. 325ff. (+ 5ff. limin. en parchemin ch. I-V). Papier, 235 x 177 mm. Foliotation moderne au bas des ff. Les ff. 1, 195v à 200v, 291 à 325v. sont blancs. Notation mesurée blanche. 8 portées par p. Miniatures et marges ornées or et coul. aux ff. IIv, IIIv, IVv et V. Capitales ornées en couleurs jusqu'au f. 180v. Tranches dorées. Rehure ancienne cuir estampé, dos refait portant par erreur „Sonate di vari autori."
Ce ms. («Provenienza Gaddi no 1024») a toujours été considéré comme ayant été compilé à Florence aux environs de 1491-1492 pour la famille Braccesi dont les armoiries figurent au f. IVv. Mais H. M. Brown a démontré récemment que le recueil fut d'abord préparé pour Mathias Corvin, puis à sa mort en 1491 racheté par Lorenzo Medici qui l'aurait finalement offert à Alessandro Braccesi. Brown pense aussi que le portrait au f. V, considéré jusqu'à présent comme celui de Johannes Martini, serait plus probablement celui de Braccesi lui-même. En tout cas, celui-ci ayant quitté Florence pour Rome en 1494, le ms. n'aurait pu être copié après cette date. D'autre part, Gherardo et Monte di Giovanni del Fora auxquels sont attribuées les miniatures, tinrent un atelier à Florence de 1470 à 1495. Enfin, les deux compositeurs les mieux représentés, Isaac et Agricola avec plus de 20 pièces chacun, étaient à Florence entre 1491 et 1492. Au f. III, un canon circulaire porte l'inscription «Mundo et musica et totus concentus Bartolomeus Rami», avec, à l'intérieur du cercle les injonctions pour la résolution du canon données par le théoricien Ramos de Pareja qui avait d'ailleurs séjourné à Florence entre 1482 et 1487 (Seay). Parmi les 268 pièces (en majorité ch. françaises), à côte d'Isaac et Agricola, on trouve J. Martini avec 21 pièces et aussi un grand nombre d'autres musiciens franco-flamands comme Collinet de Lannoy (n° 98), chantre à S. Giovanni en 1490, et "ietrequin lui aussi à S. Giovanni dont les adieux à Florence (n° 146) ont dû être composés en 1492, date où il disparaît des archives.
Editions
Transcription du ms. entier: BrownAF.
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.
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.
2 motets, 163 French secular pieces, 1 French/Latin secular piece (with Latin incipit only in this manuscript), 15 Italian secular pieces, 1 Flemish secular piece (many of the preceding have text incipits or titles only), 86 textless pieces = 268 (Of the textless pieces, the following have been identified from concordant sources: 5 Mass Ordinary sections, 3 motets, 20 French secular pieces, 4 Flemish secular pieces, 3 Italian secular pieces, 1 German secular piece = 36)
A. Agricola-23, A. Agricola/Rompere)-1, (A. Agricola/Compere)-2, A. Agricola/(Fresneau)-1, (A. Agricola/Fresneau)-1, A. Agricola/(Ghiselin/Isaac)-1, J. Agricola/(Elive)-1, Barle-2, (Basin)-1, (Bosfrin)-1, Busnois-18, Busnois/(Caron)-1, Busnois/ (Compère/Mureau)-1, (Busnois/Hayne van Ghizeghem)-2, (Busnois/Japart)-1, Caron-8, Caron/(Busnois)-2, Caron/(Dusart)-1, (Caron/Morton)-1, Compère-6, (Compère/Pietrequin)-1, (Compère/Tinctoris)-1, Congiet-1, Congiet/(Japart)-1, (Dufay)-1, (Fresneau/Hayne van Ghizeghem)-1, (Hayne van Ghizeghem)-4, Hémart-1, Isaac-23, (Isaac/Japart/Obrecht)-1, Japart-4, Japart/ (Busnois/La Rue [Pirson])-1, Japart/(Josquin/Joye)-1, Josquin -4, Josquin/(A. Agricola)-1, (Joye)-2, Lannoy/(Josquin)-1, Martini-20, Martini/(Isaac)-1, Martini/(Malcort/Ockeghem)-1, Mureau [Murian]-1, Obrecht-3, (Obrecht-Virgilius)-1, (Phillipet de Pres)-1, Pietrequin/(La Rue)-1, Planquard-1, Regis-1, Rubinet-5, Rubinet/(Isaac)-1, (Stokhem)-2, Stokhem/(Compère/Rubinet)-1, Tinctoris-1, (Vincenet)-1, (Weerbecke)-4, anon-98
v parchment + 325 paper + i parchment folios, 240 x 170. Modern foliation. Brown tooled leather covers, with "Sonate di vari autori" stamped on spine. No index. All folios have illuminated initials; the parchment folios at the beginning and end have elaborate illuminations laid over a solid, deep-blue background, including a portrait which is probably that of Alessandro Braccesi, the owner of the manuscript (Howard M. Brown); miniatures and initials attributed to the brothers Gherardo and Monte de Giovanni del Fora, who worked in Florence between 1470 and 1495 (BragardM); ParisBNF 15123 was also decorated by the same workshop. Edges of folios are painted gold and bear tooled designs. F. iii' has a circular canon with an homage to Ramos written inside: "Mundo et musice et totus concentus Bartholomeus Ramis." The manuscript is closely related to ParisBNF 15123, VatG XIII.27, RomeC 2856, and FlorBN Magl. 178.
1492-3 (RifPB). Copied in Florence; once owned by the Braccesi family of Florence (coat of arms on f. iv').
Editions
Transcription du ms. entier: BrownAF.
Vol 4
Contents: 8 Mass Ordinary sections (without text), 6 motets (5 without text), 1 motet-chanson (with Latin incipit only), 182 French secular pieces (22 without text), 16 Italian secular pieces (2 without text), 8 Dutch secular pieces (5 without text), 1 German secular piece (without text), 46 textless pieces = 268
Composers: Change "J. Agricola/(Elive)-1" to "J. Agricola/(Eline)-1"; change "Barle-2" to "Barle/(Isaac)-2"; add "(Brumel)-3"; change "Caron-8" to "Caron-9"; change "Caron/(Busnois)-2" to "Caron/(Busnois)-1"; add "(Dux Burgensis)-1"; change "Martini-20" to "Martini-21"; remove "Martini/ (Isaac)-1"; change "anon-98" to "anon-94."
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‡ denotes primary source study
Maas, Chris J (editor). 1983-. New Obrecht Edition. Utrecht. Pages: I,xii-xvi; V,xix-xx. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
‡ 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. Notes: physical description; contents list; concordances; texts; transcription; efacsimile (partial); mention of MS; discussion.
Bernstein, Lawrence F. 1982. Notes on the Origin of the Parisian Chanson. The Journal of Musicology, 1: 275-326. Pages: 285,296,317-8,321. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.
Brown, Howard Mayer. 1982. Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance. Journal of the American Musicological Society, 35: 1-48. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion.
Atlas, Allan W (editor). 1981. Robert Morton: The Collected Works. Masters and Monuments of the Renaissance, vol. 2. New York. Pages: xxiii,xxix-xxx,62-4. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians. London. Pages: XVII, 683. Notes: facsimile (partial).
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, 219-220.
Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier. New Haven and London. Pages: I,10-5; II,159, 214ff, passim. Notes: physical description; contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.
Brown, Howard Mayer. 1978. A Guardian God for a Garden of Music. Essays Presented to Myron P. Gilmore, Florence. Notes: physical description (partial); contents list (partial); facsimile (partial); mention of MS; discussion.
Gore, Glenn Leon. 1978. The Works of Philippe Basiron (Philippon?): Transcription and Commentary. West Virginia University, Unpublished Ph.D. dissertation. Pages: I, 29-30, 115; II,xv-xvii. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Sherr, Richard Jonathan (editor). 1978. Bertrandi Vaqueras: Opera Omnia. Corpus mensurabilis musicae, vol. 78. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: xiv, 152-3. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Boorman, Stanley. 1977. The 'First' Edition of the Odhecaton A. Journal of the American Musicological Society, 30: 183-207. Pages: 199-201, 206. Notes: transcription (partial); mention of MS; discussion.
Hudson, Barton (editor). 1977. Hayne van Ghizeghem: Opera Omnia. Corpus mensurabilis musicae, vol. 74. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: xvii-xviii,xxiv,xxxiii-xlviii. Notes: mention of MS; contents list (partial); concordances (partial).
Staehelin, Martin. 1977. Die Messen Heinrich Isaacs. Publikationen der Schweizerischen Musikforschenden Gesellschaft Serie II, vol. 28/I-III. Bern and Stuttgart. Pages: I,xxii-xxiii,30-4, 62,86-7; II,58; III,70,88-9. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.
Atlas, Allan W. 1976. The Cappella Giulia chansonnier. (Rome, Biblioteca Apostolica Vaticana, CG. XII-27). Musicological Studies, vol. XXVII, 1-2. Brooklyn. Pages: 248.
Brown, Howard Mayer. 1976. The Performance and Interpretation of Josquin's Secular Music [Workshop]. Josquin des Prez: Proceedings of the International Josquin Festival-Conference 21-25 June 1971, London, New York, and Toronto. Pages: 665-8. Notes: transcription (partial).
Harrán, Don. 1976. Burney and Ambros as Editors of Josquin's Music. Josquin des Prez: Proceedings of the International Josquin Festival-Conference... 21-25 June 1971, 148-77. London, New York, and Toronto. Pages: 172, 177. 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: VI,x,xlix, 186-8; VII.xix-xxi. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Brown, Howard Mayer. 1973. On the performance of fifteenth-century chansons. Early Music, 1: 3-8. Notes: concordances (partial); transcription (partial); mention of MS; discussion.
Staehelin, Martin. 1973. Möglichkeiten und praktische Anwendung der Verfasserbestimmung an anonym überlieferten Kompositionen der Josquin-Zeit. Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 23: 79-91. Pages: 84. Notes: mention of MS.
Drake, George Warren James. 1972. The first printed book of motets, Petrucci's Motteti A numero trentatre (Venice 1502) and Motetti de Passione De cruce De sacramento De beata virgine et huius modi B (Venice 1503): A critical study and complete edition. University of Illinois, Ph.D. Dissertation. Pages: 167. Notes: physical description; mention of MS; discussion.
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: 483-4. Notes: physical description; mention of MS; discussion; concordances (partial).
D'Accone, Frank A. 1970. Some Neglected Composers in the Florentine Chapels, ca. 1475-1525. Viator, 1: 263-88. Pages: 271, passim. Notes: mention of MS.
Smijers, Albert, Myroslaw Antonowycz, and Willem Elders (editors). 1969. Werken van Josquin des Prés: Supplement. Amsterdam. Pages: 55-60. Notes: transcription (partial).
Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica, vol. XL/2, XLI/1, & XLII/1. 3 vols. Copenhagen. Pages: II, 53-4. Notes: physical description; contents list; incipitsst of contents (partial).
Pannella, Liliana. 1968. Le composizioni profane di una raccolta fiorentina del cinquecento. Revista Italiana di Musicologia, 3: 3-47. Pages: 41-7. Notes: concordances (partial).
Wangermée, Robert. 1968. Flemish Music and Society in the Fifteenth and Sixteenth Centuries. New York. Pages: Plates 17, 83. Notes: facsimile (partial).
Bragard, Anne-Marie. 1966. Un manuscrit florentin du quattrocento: le Magi. XIX, 59 (B.R. 229). Revue de Musicologie, 52: 56-72. Notes: contents list; discussion.
Karp, Theodore. 1966. The Secular Works of Johannes Martini. Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, 455-73. New York. Pages: 455ff. Notes: mention of MS.
Just, Martin. 1963. Heinrich Isaacs Motetten in Italienischen Quellen. Analecta Musicologica, 1: 1-19. Notes: concordances (partial).
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, v-ff, 24-5, 30-1, 41-2, 48-50, 97, 122. Notes: concordances (partial); transcription (partial).
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: 353-4. Notes: physical description; contents list; concordances (partial).
Becherini, Bianca. 1959. Catalogo dei manoscritti musicali della Biblioteca Nazionale di Firenze. Kassel. Pages: 22-9. Notes: physical description; contents list.
Finscher, Ludwig (editor). 1958-. Loyset Compere: Opera Omnia. Corpus mensurabilis musicae, vol. 15. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: V, [ix]. Notes: facsimile (partial).
Seay, Albert. 1956. Florence: The City of Hothby and Ramos. Journal of the American Musicological Society, 9: 193-5. Pages: 193-5. Notes: mention of MS.
Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: IV, 396; X, Tafel 108. Notes: physical description; contents list; concordances (partial); facsimile (partial).
Becherini, Bianca. 1948. Mostre Italiane: Cimeli musicali alla 'Mostra d'arte Fiamminga e Olandese' in Firenze. La Bibliofilia, 50: 219-35. Pages: 219-31. Notes: physical description; contents list; concordances (partial); incipits (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: 172-3. Notes: contents list (partial).
Jeppesen, Knud (editor). 1927. Der Kopenhagener Chansonnier, das Manuskript Thott 2918 der Königlichen Bibliothek Kopenhagen. Kopenhagen/Leipzig. Notes: contents list; XXII.
Wolf, Johannes. 1913-9; Reprinted: Hildesheim, 1963. Handbuch der Notationskunde. Leipzig. Pages: I, 450. Notes: physical description; contents list; incipitsst of contents (partial).
Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: XXVIII, 171-2. Notes: physical description; contents list; concordances (partial).
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Carlo Bosi
Thursday, 17 September, 2020
external image link added
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