Main corpus copied by six or seven scribes; two other scribes (including Raffaele Sozi) made additions during 16th century. Main corpus copied in Naples or vicinity, possibly at Benedictine monastery of Sts. Severino and Sossio (AtlNP). Owned in 1556 by the merchant, politician, and amateur musician Raffaele Sozi (1529-89), of Perugia (inscription on new f. 31: 'YHS MARIA. A° DI M.D.LVI. … RAPHAEL SOCIUS'); Sozi added several short pieces and rudimentary notes on music theory and notation.
| Archive | Biblioteca Comunale Augusta, Perugia, Italy (I-PEc) |
|---|---|
| Shelfmark | MS 431 (G 20) |
| 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 | 213 x 143 mm |
| Other Identifiers |
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| Notations |
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| Copyists | |
| Relationships |
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| External Links | |
| Provenance |
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| Contents | Contains 135 compositions, 55 from 32 composers, 80 are anonymous. |
General Description
Binding
Original covers of dark brown leather stamped with four-pointed star design
Watermark
(1) Briquet #7698 (also found in MonteA 871); (2) Briquet #8940; (3) Briquet #11960 (AtlNP).
Notation
black void mensural
Foliation
Original foliation in red ink on upper center versos, 6-7 + 13-164 (ff. 1-5 and 8-12 now missing; last 9 folios and one folio between ff. 35/36 unnumbered). New pencil foliation on upper right rectos, 1-26 + 26bis-163, includes all extant folios.
Decoration
Inked calligraphic initials in red, gold, purple, and brown
Surface
paper
RISM Description
RISM
XVe/XVIe s. 163 ff. (+ 4ff. de garde parchemin, tirés d'un ms. à écriture gothique du XlIIe s.) Papier, 215 x 145 mm. Foliotation ancienne au v des ff.: 6-164 et foliotation moderne au r: 1-163, ne tenant pas compte des ff. qui mq. c'est-à-dire: 5 ff. initiaux et 5 ff. entre 2 et 3 (foliotation ancienne 8 à 13). Les ff. 26v (n. ch. ancien), 32 (42), 37 (47), 153 (163) sont blancs. Notation mesurée blanche. 6 portées par p. Au bas des ff. 31 (41), 153 à 157 (163 à [167]) petit traité musical élémentaire copié postérieurement comme le calendrier liturgique du f. 163v. Capitales ornées à la plume avec profils de visages. Reliure ancienne cuir brun.
Ce ms. copié en Italie à la fin du XVe s. présente le même filigrane (cor de poste) que I-MC 871 qu'on a coutume de situer dans la dernière décennie du siècle et dont le rapproche en outre l'écriture musicale du scribe ainsi que nombre de pièces sur textes semblables et la constitution des cahiers, ce qui permet de supposer avec vraisemblance une origine napolitaine au ms. de Perouse. Le no 26 ainsi que les canons nos I à VIII ont été copiés au XVIe s. aux pages restées vides dans le ms. primitif, probablement dans les années 1550, alors que le ms. appartenait à Raphael Socius (Raffaele Sozi), riche marchand de Pérouse qui, en 1561 fonda dans cette ville l'Accademia degli Unisoni. Il y est lui-même représenté par les canons nos III et IV et par le petit traité musical qui commence au f.31 (41): «Jesus Maria. Anno Dei MDLVI. Regole della musica. Raphael Socius.» qui continue aux ff. 153 à 157 et 160v avec en marge du f. 154 (164) la date 1557. En dehors de ces adjonctions tardives, le ms. primitif présente une grande unité dans le style de l'écriture musicale, mais avec quelques variantes dans le style des capitales ornées (nos 35 à 58) en même temps que dans l'écriture des textes, sans que l'on puisse affirmer qu'il s'agisse d'un autre scribe, les deux styles étant quelquefois appliqués à une même pièce (nos 79, 89). Certains noms de compositeurs se bornant à un monogramme, diversement déchiffré, restent mystérieux. Cependant, à la suite de J. Wolf, qui a édité quelques pièces sous ce nom, on a interprété ici le monogramme des nos 21 à 23 comme un sigle désignant H. Isaac, bien que A. Atlas pense qu'il s'agirait plutôt de Icart (AtlasOT).
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.
1 Mass, 1 Sanctus-Agnus pair, 4 Kyries, 2 Credos, 8 Magnificats, 9 hymns (1 without text), 5 motets, 2 litanies, 1 Benedicamus domino, 11 laude, 47 Italian secular pieces (1 without text), 18 French secular pieces (1 without text), 2 Spanish secular pieces (1 without text), 8 canons, 10 textless pieces = 129
Aeduardus of Ortona-2, Barri or Ivo de Vento? [Ivo]-1, (Busnois)-1, (Busnois/Caron)-1, Busnois/(Isaac)-1, Caritatis-1, (Caron)-1, (Dufay?)-1, Dux Burgensis-1, (Frye)-1, Guglielmo [M. Gulielmus; = Guglielmo Ebreo?]-1, (Hayne van Ghizeghem)-2, Isaac-2, LeoX-2, M.B.-1, M.P.-1, M. of Ortona [Fr. M. de Ortona; F.M.; M.]-15, (Martini)-1, Morton-2, Morton/(Basin)-1, Morton/(Caron)-1, Morton/(Enrique)-1, (Obrecht)-1,* Oriola-2, P.-1, Seraphinus-2, Sozi [R.S.]-2, Symonet le Breton [Magister Symon] -1, Touront [Cecus]-2, (Vincenet)-1, Wreede/(Enrique)-1, Ycart [M.Ic]-3,anon-72
- "Helas" (à2, new ff. 90'-91) appears in VatG XIII.27 as à3 motet, "Nee mihi nee tibi," ascribed to "Virgilius." See AtlCG I, 132 and BakerU, 53 for discussion and other concordances.
164 paper folios, 213 x 143. Four parchment flyleaves removed from this manuscript after World War II now preserved separately as MS 3275 in this library (not MS 3277, as stated by HernonP). Original foliation in red ink on upper center versos, 6-7 + 13-164 (ff. 1-5 and 8-12 now missing; last 9 folios and one folio between ff. 35/36 unnumbered). New pencil foliation on upper right rectos, 1-26 + 26bis-163, includes all extant folios. Original covers of dark brown leather stamped with four-pointed star design. No index. Main corpus copied by six or seven scribes; two other scribes (including Raffaele Sozi) made additions during 16th century. Inked calligraphic initials in red, gold, purple, and brown. Watermarks: (1) Briquet #7698 (also found in MonteA 871); (2) Briquet #8940; (3) Briquet #11960 (AtlNP).
1480-90, probably ca. 1485 (AtlNP), with additions during mid 16th century. Main corpus copied in Naples or vicinity, possibly at Benedictine monastery of Sts. Severino and Sossio (AtlNP). Owned in 1556 by the merchant, politician, and amateur musician Raffaele Sozi (1529-89), of Perugia (inscription on new f. 31: "YHS MARIA. A° DI M.D.LVI. … RAPHAEL SOCIUS"); Sozi added several short pieces and rudimentary notes on music theory and notation.
Vol 4
Provenance: Possibly of Franciscan, rather than Benedictine origin (Giulio Cattin).
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‡ denotes primary source study
Curtis, Gareth R K, and Andrew B Wathey. 1994. Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory. Royal Musical Association Research Chronicle, 27: 1-69.
Atlas, Allan W. 1985. Music at the Aragonese Court of Naples. Cambridge. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Atlas, Allan W. 1983. The Foligno Fragment: Another Source from FifteenthCentury Naples. Datierung und Filiation von Musikhandschriften der Josquin-Zeit, Wolfenbütteler Forschungen, vol. 26. Wiesbaden. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Atlas, Allan W. 1981. Conflicting Attributions in Italian Sources of the Franco-Netherlandish Chanson, c. 1465-c. 1505: A Progress Report on a New Hypothesis. Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, Cambridge. Notes: contents list (partial); concordances (partial); transcriptions (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, xxvi-xxvii, xxxi, xxxiii-xxxvi, 13-4, 40-2, 45-6, 62-4, 70-6, 92-104. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Atlas, Allan W. 1981. Review of Perkins, Leeman L: and Garey, Howard (eds.): "The Mellon Chansonnier" (New Haven and London, 1979). Journal of the American Musicological Society, 34: 132ff. Pages: 139-40. Notes: physical description; mention of MS; discussion.
Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians. London. Pages: III, 722; XIII, 378. 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: III, 43-44.
Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier. New Haven and London. Pages: II, 172-3, 259-60, 321-3. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.
Fallows, David. 1978. Robert Morton's Songs: A Study in Styles in the Mid-Fifteenth Century. University of California at Berkeley, Unpublished Ph.D. dissertation. Pages: 496, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Atlas, Allan W. 1977. The Accademia degli Unisoni, a music Academy in Renaissance Perugia. A Musical Offering: Essays in Honor of Martin Bernstein, 5-23. New York. Pages: 6ff. Notes: physical description; mention of MS; discussion.
Atlas, Allan W. 1977. On the Neapolitan Provenance of the Manuscript Perugia, Biblioteca Comunale Augusta, 431 (G 20). Musica Disciplina, 31: 45ff. Notes: physical description (partial); contents list; concordances; mention of MS; discussion.
Thompson, James (editor). 1976. Les Oeuvres Completes de Philippe (?) Caron. Transcription et Notes Critiques de James Thomson. Brooklyn: Institute of Mediaeval Music. Pages: II, ii-ff, 167-70, 175-8. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).
Atlas, Allan W. 1975-6. The Cappella Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C. G.XIII.27). Musicological Studies, vol. 27. Brooklyn. Pages: I, 82ff, passim. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Hernon, Michael A. 1972. Perugia MS 431 (G20): A Study of the Secular Italian Pieces. George Peabody College for Teachers, Unpublished Ph.D. dissertation. Notes: physical description; contents list; concordances (partial); transcription (partial); facsimile (partial); texts (partial); mention of MS; discussion.
Seay, Albert. 1971. The Conditor Alme Siderum by Busnois. Quadrivium, 12: 225-34. Pages: 225f.
Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica, vol. XL/2, XLI/1, & XLII/1. 3 vols. Copenhagen. Pages: II, passim. Notes: physical description; contents list (partial); concordances (partial); facsimile (partial).
Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: 156. Notes: physical description (partial); contents list (partial); concordances (partial); incipits (partial).
Damilano, Don Piero. 1963. Fonti musicali della lauda polifonica intorno alla metà del sec. XV. Collectanea Historiae Musicae III, Pages: 65.
Plamenac, Dragan. 1956. A Postscript to 'The "Second" Chansonnier of the Biblioteca Riccardiana'. Annales Musicologiques, 4: 261-5. Pages: 262f.
Brooks, Catherine V. 1951. Antoine Busnois as a Composer of Chansons. New York University, Unpublished Ph.D. dissertation. Pages: I, frontispiece, 163-4, 167; II, 228-9. Notes: contents list (partial); concordances (partial); incipits (partial); transcription (partial); facsimile (partial).
Bukofzer, Manfred F. 1950. Studies in Medieval and Renaissance Music. Pages: 195-210. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Bukofzer, Manfred F. 1950. A Polyphonic basse dance of the Renaissance. Studies in Medieval and Renaissance Music, 190ff. New York: W. W. Norton and Co. Pages: 195ff.
Ghisi, Federico. 1942. Frammenti di un Nuovo Codice Musicale dell'ArsNova Italiana e due Saggi Inediti di Cacce del Secondo Quattrocento. La Rinascita, 5: 72-103. Pages: 96-103. Notes: facsimile (partial); texts (partial); mention of MS; discussion.
Ghisi, Federico. 1942. Bruchstücke einer neuen Musikhandschrift der italienischen Ars Nova und zwei unveröffentlichte Caccien der zweiten Hälfte des 15. Jahrhunderts. Archiv für Musikforschung, 7: 17ff. Pages: 30 f (= Frammenti. Concerne le n° 81).
Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola. Madrid (later Barcelona, later Rome). Pages: I, 132; X, 23-4; XIV, 27. Notes: physical description (partial); contents list (partial); concordances (partial).
Torrefranca, Fausto. 1939-42; Reprint: Bologna 1972. II segreto del Quattrocento. Milano. Pages: 296f.
Ghisi, Federico. 1937. Canti Carnascialeschi nette Fonti Musicali del XV e XVI Secolo. Florence. Pages: 193-4, Fig. C. Notes: physical description; contents list; incipitsst of contents (partial); facsimile (partial).
Jeppesen, Knud (editor). 1927. New York, 1965 (reprint, with new remarks by the editor). Der Kopenhagener Chansonnier: Das Manuskript Thott 291s der Königlichen Bibliothek Kopenhagen. Copenhagen and Leipzig. Copenhagen and Leipzig. Pages: lxiv-ff, passim. Notes: physical description; contents list (partial); concordances (partial).
Wolf, Johannes. 1913-9; Reprinted: Hildesheim, 1963. Handbuch der Notationskunde. Leipzig. Pages: I, 386-7, 458. Notes: physical description (partial); transcription (partial); facsimile (partial).
Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich. Graz and Vienna. Pages: XIV/XV.30; XXVIII, 132-3, 173, 201. Notes: physical description (partial); contents list (partial); concordances (partial); transcriptions (partial).
Mazzatinti, Giuseppe. 1890-. Inventari dei Manoscritti delle Biblioteche d'Italia. Forlì and Florence. Pages: V, 130-1. Notes: physical description; contents list.
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Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description
Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description