D-Bkk MS 78.C.28 (Margherita Castellani's songbook, Niccolini chansonnier)

Staatliche Museen der Stiftung Preussischer Kulturbesitz. Kupferstichkabinett., Berlin, Germany

manuscript of polyphony: c. 1465; early 1470s (Gallagher)

Archive Staatliche Museen der Stiftung Preussischer Kulturbesitz. Kupferstichkabinett., Berlin, Germany (D-Bkk)
Shelfmark MS 78.C.28 (Margherita Castellani's songbook, Niccolini chansonnier)
Image Availability DIAMM does not have images of this source. Please refer to the external links for image availability.
Surface Parchment
Numbering System Foliation
Measurements 246 x 160 mm
Other Identifiers
  • CCM: BerlSM TS.C.28
  • olim (Former shelfmark): Hamilton 451
Notations
  • black void mensural
Copyists
Relationships
External Links
Provenance
  • Napoli (Naples), Italy
Contents 48 pieces from 11 composers
General Description

One scribe copied the music for the main part of the manuscript; the Mass (ff. 51'-62) is a later addition, in a mid-16th century Italian hand (JepFR). Copied in Naples (Rifkin, Allan Atlas), but illuminated at Florence (ReidB). Probably intended as a gift for Margherita Castellani and Bernardino Niccolini upon the occasion of their marriage. The manuscript remained in the Niccolini family library in Florence until the late 18th century, when it was acquired by William Beckford of England. Upon Beckford's death in 1844, the manuscript went to the library of his son-in-law, Alexander Douglas, Duke of Hamilton, where it bore the numbers 'HB 223' and '451.' When the Hamilton library was sold at auction in 1882, the manuscript was acquired by the Prussian government, and deposited in the Kupferstichkabinett. It was temporarily transferred to Celle during World War II. Contrary to Besseler's statement in MGG (III, 900), the manuscript survived the war undamaged (ReidB). Close repertorial connections with EscSL IV.a.24 (AtlCM).

DIAMM, 2017
Binding

Original blue velvet covers.

DIAMM, 2017
Notation

black void mensural

DIAMM, 2017
Foliation

New pencil foliation, 1-71 (one folio numbered twice).

DIAMM, 2017
Decoration

The initials and illumination (in gold, blue, red, purple, and green) were done in Florence, possibly at the workshop of the brothers Gherardo and Monte di Giovanni del Fora (ReidB). The coats of arms on f. 2' are those of the Castellani and Niccolini families, prominent in 15th-century Florence.

DIAMM, 2017
Surface

parchment

DIAMM, 2017
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 Kyrie-Gloria-Sanctus Mass (a later addition), 1 French secular piece (text added by a later hand), 41 textless pieces = 43. Concordant sources show that the textless pieces are mostly French chansons; there are also a few Italian and Spanish secular pieces and 2 Latin motets.

(Basin)-1, (Bedingham)-1, (Bedingham/Dufay)-1, (Bedingham/Dunstable)-1, (Bedingham/Frye)-1, (Binchois)-2, (Binchois/Frye)-1, (Dufay)-1 + 2?, (Frye)-1, (J. Legrant)-1, (Morton)-1, (Pullois)-3, anon-26

i + 70 + i parchment folios, 246 x 160. Ff. l'-2 and 62'-70' are blank. New pencil foliation, 1-71 (one folio numbered twice). Original blue velvet covers. No index. One scribe copied the music for the main part of the manuscript; the Mass (ff. 51'-62) is a later addition, in a mid-16th century Italian hand (JepFR). The initials and illumination (in gold, blue, red, purple, and green) were done in Florence, possibly at the workshop of the brothers Gherardo and Monte di Giovanni del Fora (ReidB). The coats of arms on f. 2' are those of the Castellani and Niccolini families, prominent in 15th-century Florence.

Ca. 1465 (ReidB). Copied in Naples (Rifkin, Allan Atlas), but illuminated at Florence (ReidB). Probably intended as a gift for Margherita Castellani and Bernardino Niccolini upon the occasion of their marriage. The manuscript remained in the Niccolini family library in Florence until the late 18th century, when it was acquired by William Beckford of England. Upon Beckford's death in 1844, the manuscript went to the library of his son-in-law, Alexander Douglas, Duke of Hamilton, where it bore the numbers "HB 223" and "451." When the Hamilton library was sold at auction in 1882, the manuscript was acquired by the Prussian government, and deposited in the Kupferstichkabinett. It was temporarily transferred to Celle during World War II. Contrary to Besseler's statement in MGG (III, 900), the manuscript survived the war undamaged (ReidB). Close repertorial connections with EscSL IV.a.24 (AtlCM).

Vol. 4

Composers: Add "(Plummer?)-1"; change "anon-26" to "anon-25."

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
2v–4r So ys emprentid -
Appears on: 2v–4r
Genres: Chanson
4v–5r Le serviteur hault guerdonné assovy -
Appears on: 4v–5r
Genres: Chanson, Rondeau
5v–6r Seigneur Leon - Benedictus qui venit -
Appears on: 5v–6r
Genres: Chanson, Contrafactum, Motet
6v–7r V... - Anonymous

V...

Anonymous
Appears on: 6v–7r
Genres: Chanson
7v–8r Mon coeur chante joyeusement -
Appears on: 7v–8r
Genres: Chanson
8v–9r Terriblement suis fortunée - Anonymous
Appears on: 8v–9r
Genres: Chanson
9v–10r Si j'ai votre grace requise - Anonymous
Appears on: 9v–10r
Genres: Chanson
10v–11r J... - Anonymous

J...

Anonymous
Appears on: 10v–11r
Genres: Chanson
11v–12r Se mon flagolet joli - Anonymous
Appears on: 11v–12r
Genres: Secular
12v–13r U... - Anonymous

U...

Anonymous
Appears on: 12v–13r
Genres: Chanson
13v–14r Par le regard de vos beaux yeux -
Appears on: 13v–14r
Genres: Chanson, Rondeau
14v–15r Las je ne puis oir nouvelle = Unicus Dei filius -
Appears on: 14v–15r
15v–16r Globus igneus = Quelque chose a venir -
Appears on: 15v–16r
Genres: Contrafactum
16v–17r D... - Anonymous

D...

Anonymous
Appears on: 16v–17r
Genres: Chanson
17v–18r N'aray je jamais mieux que j'ai -
Appears on: 17v–18r
Genres: Chanson
18v–19r Gentil madona de no me habandonare -
Appears on: 18v–19r
Genres: Italian secular
19v–20r Va t'en mon cuer -
Appears on: 19v–20r
Genres: Chanson, Rondeau
20v–21r Mon seul plaisir, ma douce joie -
Appears on: 20v–21r
Genres: Chanson
21v–22r Je ne me congnois - Anonymous

Je ne me congnois

Anonymous
Appears on: 21v–22r
Genres: Chanson
22v–23r Va tost mon amoureux desir -
Appears on: 22v–23r
Genres: Rondeau
23v–24r Ma dame de nom / Sur la rive de la mer - Anonymous
Appears on: 23v–24r
Genres: Chanson
24v–25r Par desplaisir tout plain d'anoy - Anonymous
Appears on: 24v–25r
Genres: Chanson
25v–26r J... - Anonymous

J...

Anonymous
Appears on: 25v–26r
Genres: Chanson
26v–27r He n'esse pas grant desplaysir -
Appears on: 26v–27r
Genres: Rondeau
27v–28r Galans et bons compagnons - Anonymous
Appears on: 27v–28r
Genres: Chanson
28v–29r A... - Anonymous

A...

Anonymous
Appears on: 28v–29r
Genres: Chanson
29v–30r Tout a par moi -
Appears on: 29v–30r
Genres: Chanson
30v–31r Q... - Anonymous

Q...

Anonymous
Appears on: 30v–31r
Genres: Chanson
31v–32r La douleur que je recoy - Anonymous
Appears on: 31v–32r
Genres: Chanson
32v–33r J'acompliray du bon cuer ma promesse - Anonymous
Appears on: 32v–33r
Genres: Rondeau
33v–34r, 35r-36v A Florence la joeuse cite / Helas la fille / En ma chambre - Anonymous
Appears on: 33v–34r, 35r-36v
Genres: Ballade
General Note

the song continues after the (inserted) 'Se ung peu' on 34v-35r

34v–35r Se ung peu desperance avoye -
Appears on: 34v–35r
Genres: Chanson
36v–37r Nos amys, vous vous abuses -
Appears on: 36v–37r
Genres: Chanson
37v–38r Viva viva rey Ferrando - 1a pars (of 2): Viva viva rey Ferrando - -
Appears on: 37v–38r
Genres: Song
38v–39r Viva viva rey Ferrando - 2a pars (of 2): Vagan todas luminaria - Anonymous
Appears on: 38v–39r
Genres: Song
39v–40r To iours = Tota jous (Toujours) - Anonymous
Appears on: 39v–40r
Genres: Chanson
40v–42r O rosa bella, o Deitatis cella (= O quam suavis est domina) -
Appears on: 40v–42r
Genres: Motet
42v–43r O rosa bella - Anonymous

O rosa bella

Anonymous
Appears on: 42v–43r
Genres: Italian secular
43v–44r P... - Anonymous

P...

Anonymous
Appears on: 43v–44r
Genres: Chanson
44v–45r Hora cridar "Oime" posso ben io - Anonymous
Appears on: 44v–45r
Genres: Chanson
45v–46 B... - Anonymous

B...

Anonymous
Appears on: 45v–46
Genres: Chanson
46v–47 N... [2a pars?] - Anonymous

N... [2a pars?]

Anonymous
Appears on: 46v–47
Genres: Chanson
47v–49 Ave regina caelorum I -
Appears on: 47v–49
Genres: BVM
Voice: [no designation]
Languages: Latin
Voice Text: Ave regina caelorum
49v–50v O pulcherrima mulierum -
Appears on: 49v–50v
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: O pulcherrima mulierum surge propera
General Note

Only the first part and the superius of the second part.

51v–52v Mass: Kyrie - Anonymous

Mass: Kyrie

Anonymous
Appears on: 51v–52v
Genres: Kyrie eleison, Mass Ordinary
53r–60r Mass: Et in terra pax [Gloria] - Anonymous
Appears on: 53r–60r
Genres: Gloria (et in terra pax), Mass Ordinary
60v–62r Mass: Sanctus - Anonymous

Mass: Sanctus

Anonymous
Appears on: 60v–62r
Genres: Mass Ordinary, Sanctus [& Benedictus]
62v–70v [blank staves] - -

[blank staves]

Appears on: 62v–70v
Composer Compositions
Anonymous
Basin, Adrien (–ca. 1498)
Bedingham, John (–ca. 1460)
Binchois, Gilles (ca. 1400–1460)
Du Fay, Guillaume (1397–1474)
Dunstaple, John (ca. 1390–1453)
Frye, Walter (–ca. 1475)
Lantins, Hugo de (fl. 1420-30)
Legrant, Johannes
Morton, Robert
Pullois, Johannes
Composition Composers (? Uncertain) Folios / Pages
A Florence la joeuse cite / Helas la fille / En ma chambre Anonymous 33v–34r, 35r-36v
A... Anonymous 28v–29r
Ave regina caelorum I 47v–49
B... Anonymous 45v–46
D... Anonymous 16v–17r
Galans et bons compagnons Anonymous 27v–28r
Gentil madona de no me habandonare 18v–19r
Globus igneus = Quelque chose a venir 15v–16r
He n'esse pas grant desplaysir 26v–27r
Hora cridar "Oime" posso ben io Anonymous 44v–45r
J'acompliray du bon cuer ma promesse Anonymous 32v–33r
J... Anonymous 10v–11r
J... Anonymous 25v–26r
Je ne me congnois Anonymous 21v–22r
La douleur que je recoy Anonymous 31v–32r
Las je ne puis oir nouvelle = Unicus Dei filius 14v–15r
Le serviteur hault guerdonné assovy 4v–5r
Ma dame de nom / Sur la rive de la mer Anonymous 23v–24r
Mass: Et in terra pax [Gloria] Anonymous 53r–60r
Mass: Kyrie Anonymous 51v–52v
Mass: Sanctus Anonymous 60v–62r
Mon coeur chante joyeusement 7v–8r
Mon seul plaisir, ma douce joie 20v–21r
N'aray je jamais mieux que j'ai 17v–18r
N... [2a pars?] Anonymous 46v–47
Nos amys, vous vous abuses 36v–37r
O pulcherrima mulierum 49v–50v
O rosa bella Anonymous 42v–43r
O rosa bella, o Deitatis cella (= O quam suavis est domina) 40v–42r
P... Anonymous 43v–44r
Par desplaisir tout plain d'anoy Anonymous 24v–25r
Par le regard de vos beaux yeux 13v–14r
Q... Anonymous 30v–31r
Se mon flagolet joli Anonymous 11v–12r
Se ung peu desperance avoye 34v–35r
Seigneur Leon - Benedictus qui venit 5v–6r
Si j'ai votre grace requise Anonymous 9v–10r
So ys emprentid 2v–4r
Terriblement suis fortunée Anonymous 8v–9r
To iours = Tota jous (Toujours) Anonymous 39v–40r
Tout a par moi 29v–30r
U... Anonymous 12v–13r
V... Anonymous 6v–7r
Va t'en mon cuer 19v–20r
Va tost mon amoureux desir 22v–23r
Viva viva rey Ferrando - 1a pars (of 2): Viva viva rey Ferrando - 37v–38r
Viva viva rey Ferrando - 2a pars (of 2): Vagan todas luminaria Anonymous 38v–39r

denotes primary source study

Gallagher, Sean. 2007. The Berlin Chansonnier and French Song in Florence, 1450-1490: A New Dating and Its Implications. Journal of Musicology, 339-364. Notes: contents list; concordances; date.

Korth, Hans-Otto, Helmut Hell, and Jutta Lambrecht. 1997. Die Signaturengruppe Mus ms. 40000 ff. Folge 1: Handschriften des 15. - 19. Jahrhunderts in mensuraler und neuerer Notation. Katalog. Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Kataloge der Musikabteilung, Erste Reihe.  München.

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, 1-69.

Atlas, Allan W. 1985. Music at the Aragonese Court of Naples.  Cambridge. Pages: l 19,149-50,233. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Gutiérrez-Denhoff, Martella. 1985. Der Wolfenbütteler Chansonnier Wolfenbüttel, Herzog August Bibliothek Codex Guelf. 287 Extrav.: Untersuchungen zu Repertoire und Überlieferung einer Musikhandschrift des 15. Jahrhunderts und ihres Umkreises. Wolfenbütteler Forschungen.  Wiesbaden. Pages: 54-6,,301-3,307,311,313. Notes: physical description (partial); contents list (partial); concordances (partial); mention of MS; discussion.

Hanen, Martha Knight. 1983. The Chansonnier El Escorial IV.a.24: Commentary and Edition. Musicological Studies. 3 vols. Henryville, Ottawa, and Binningen. Pages: I,34-5,38,164-70. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Atlas, Allan W (editor). 1981. Robert Morton: The Collected Works. Masters and Monuments of the Renaissance.  New York. Pages: xxiii,xxvi-xxvii,xxxii,77-85. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier.  New Haven and London. Pages: II, 152, 280ff, passim. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Pope, Isabel, and Masakata Kanazawa (editors). 1978. The Musical Manuscript Montecassino 871: A Neapolitan Repertory of Sacred and Secular Musk of the Late Fifteenth Century.  Oxford. Pages: 98,442-8,541,557ff. Notes: contents list (partial); concordances (partial); texts (partial).

Reidemeister, Peter. 1973. Die Chanson-Handschrift 78 C 28 des Berliner Kupferstichkabinetts: Studien zur Form der Chanson im 15. Jahrhundert. Berliner Musikwissenschaftliche Arbeiten.  Munich. Notes: physical description; contents list; concordances; transcription (partial); incipits (partial).

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: 456-9. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Trowbridge, Lynn Mason. 1971. The Burgundian Chanson: An Index and Analysis of Incipits by Application of Electronic Data Processing. University of Illinois, Unpublished Master's thesis. Pages: 18-9, 106. Notes: physical description (partial); contents list (partial); concordances.

Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica. 3 vols. Copenhagen. Pages: II, 9, 102-3. Notes: physical description; contents list (partial); concordances (partial).

Southern, Eileen. 1968. Foreign Music in German Manuscripts of the 15th Century. Journal of the American Musicological Society, 258-85. Pages: 272, 280ff. Notes: mention of MS; concordances (partial).

Plamenac, Dragan. 1954. An Unknown Composition by Dufay? The Musical Quarterly, 190-200. Notes: concordances (partial); facsimile (partial).

Plamenac, Dragan. 1954. Une Composition Inconnue de Dufay? Revue Belge de Musicologie, 75-83. Pages: 76ff; 82-3. Notes: concordances (partial); mention of MS; discussion; transcription (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: lxxiv. Notes: physical description.

Wolf, Johannes. 1913-9; Reprinted: Hildesheim, 1963. Handbuch der Notationskunde.  Leipzig. Pages: I, 446. Notes: mention of MS.

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Clemens Goldberg

Tuesday, 30 May, 2023

Noted that no source mentions Plummer as the compose of 'Terriblement' (fol. 8v-9r).

Clemens Goldberg

Tuesday, 30 May, 2023

Spelling of the title for the piece on fol. 34v–35 (Se ung peu desperance avoye) corrected to the Old-French version.

Clemens Goldberg

Thursday, 31 March, 2022

Pointing out that on fols 45v-47r there are two anonymus unica (not by Ockeghem), probably prima and secunda pars, and also that 'Ave regina caelorum' on fols 47v-49r is by Frye.

Clemens Goldberg

Thursday, 31 March, 2022

Pointing out that 'O pulcherrima mulierum' on fols 49v-50v consists of only the first part and the superius of the second part.

Clemens Goldberg

Tuesday, 29 March, 2022

inventory corrected 33v-36r: two pieces intertwined, 33v-34r and 35r-36v 'A Florence...'; 34v-35r 'Se ung peu desperance avoye'

Clemens Goldberg

Tuesday, 8 March, 2022

Pour une suis confortee is not only 2v-3r but extends over 2v-4r (part 1 and part 2)

Clemens Goldberg

Monday, 7 March, 2022

image link provided

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