US-Cn Case MS VM1578.M91 [Discantus]

Newberry Library, Chicago, United States

partbook: 1526-9

Archive Newberry Library, Chicago, United States (US-Cn)
Shelfmark Case MS VM1578.M91 [Discantus]
Image Availability DIAMM does not have images of this source. Please refer to the external links for image availability.
Surface Paper
Numbering System None
Measurements c. 140 x 225 mm
Other Identifiers
  • CCM: ChiN M91
Notations
  • black void mensural
Copyists
Relationships
External Links
Provenance
  • Firenze (Florence), Italy
Contents 79 pieces from 14 composers
General Description

A Discantus partbook from a set of five volumes; 4 are part of M91, the Altus is in England (GB-SC Recusant Library, R0279, RFF3). Copied by the same scribe as BolC Q21 (Mitchell Brauner); this copyist was probably Gianpiero Masacone, who wrote FlorD 4, 11, 27, and 28 (Rifkin).

The sixty compositions are copied in three series: 14 four-voiced motets; 16 five- and six-voiced motets; and 30 four-, five- and six-voiced madrigals.

Copied in Florence; presented to Henry VIII of England, apparently as a gift from the city of Florence. In the early 17th century, the books were in the possession of the Catholic recusant Francis Tregian the Younger (1574-1619), who copied a madrigal from them into LonBLE 3665, and a motet into NYorkP 4302. Nothing is known of the subsequent history of the books until the 19th century.

At some point, the Altus became separated from the rest of the books; it had already passed into other hands by the time the remaining books of the set were acquired, late in the 19th century, by the singer and organist William Hayman Cummings (1831-1915). Two years after Cummings' death, the books were purchased at auction by the book dealer Bernard Quaritch. Quaritch listed the books for sale in 1919, 1931, and again in 1935, at which time they were purchased by the Newberry Library. (On the rediscovered Altus book, see SlimRT and the entry for SuttonO 4.)

DIAMM, 2023
Extent

130 leaves

DIAMM, 2017
Binding

Original covers of morocco leather (D-dark red, T-brown, B-black, Q-dark brown) with ornamental decorations and voice designations stamped in gilt on front and back; one of the stamps was also used on the covers of FlorC 2495 and FlorBN Magl. 122-5 (SlimGM); another was used on the covers of BolC Q21.

DIAMM, 2017
Watermark

A pair of crossed arrows within a circle below a six-pointed star, close to Briquet #6305, dating c. 1524-5

DIAMM, 2022
Notation

black void mensural

DIAMM, 2017
Ruling

4 staves per page for motets, 3 staves per page for madrigals

DIAMM, 2022
Foliation

Other numberings: Original numbering of pieces, I-XIV for 4-voice motets, I-XVI for 5- and 6-voice motets, I-XXX for madrigals in 4, 5, and 6vv

DIAMM, 2022
Foliation

Modern pencil foliation

DIAMM, 2017
Decoration

Large illuminated initials with floral and gilt border work mark the first piece in each of the three series, in each book; secondary initials are also illuminated. These and other decorations are the work of Giovanni Boccardi (1460-1529) (SlimGM). Edges of leaves decorated with gilded and gauffered (embossed) designs (Fenlon/Haar)

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.

30 motets, 30 Italian secular pieces = 60

(Arcadelt/Verdelot)-1, (Conseil)-1, (A. Ferrabosco I/Verdelot)-1, (Jaquet of Mantua/Lafage/Sermisy)-1, (Jhan of Ferrara)-1, (Josquin/Verdelot)-1, (Lhéritier)-3, (Richafort/Verdelot)-1, (Sermisy)-2, (Silva)-1, (Verdelot)-30 + 13?, (Willaert)-3, anon-1

4 paper partbooks of an original 5 (D-130 folios, T-126, B-129, Q-69), ca. 140 x 225. (SuttonO 4 is the altus book of this set). Modern pencil foliation; original numbering of pieces, I-XIV for a first series of motets, I-XVI for a second, I-XXX for the Italian secular pieces. Original covers of morocco leather (D-dark red, T-brown, B-black, Q-dark brown) with ornamental decorations and voice designations stamped in gilt on front and back; one of the stamps was also used on the covers of FlorC 2495 and FlorBN Magl. 122-5 (SlimGM); another was used on the covers of BolC Q21. Copied by the same scribe as BolC Q21 (Mitchell Brauner); this copyist was probably Gianpiero Masacone, who wrote FlorD 4, 11, 27, and 28 (Rifkin). Large illuminated initials with floral and gilt border work mark the first piece in each of the three series, in each book; secondary initials are also illuminated. These and other decorations are the work of Giovanni Boccardi (1460-1529) (SlimGM).

1527-9. Copied in Florence; presented to Henry VIII of England, apparently as a gift from the city of Florence. In the early 17th century, the books were in the possession of the Catholic recusant Francis Tregian the Younger (1574-1619), who copied a madrigal from them into LonBLE 3665, and a motet into NYorkP 4302. Nothing is known of the subsequent history of the books until the 19th century. At some point, the altus became separated from the rest of the books; it had already passed into other hands by the time the remaining books of the set were acquired, late in the 19th century, by the singer and organist William Hayman Cummings (1831-1915). Two years after Cummings' death, the books were purchased at auction by the book dealer Bernard Quaritch. Quaritch offered the books for sale in 1919, 1931, and again in 1935, at which time they were purchased by the Newberry Library. (For information about the history of the recently rediscovered altus book, see SlimRT and the entry for SuttonO 4).

Vol. 4

Composers: Change "(Willaert)-3" to "(Willaert)-2"; add "(Obrecht/Willaert)-1."

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)
1–2v Quousque non reverteris pax [Sermisy]
Appears on: 1–2v
Genres: Motet
Source Attribution: [Sermisy]
Voice: [no designation]
Languages: Latin
Voice Text: Quousque no reverteris pax
2v–4v O clemens o pia - 1a pars (of 2): O clemens o pia virgo [Lhéritier]
Appears on: 2v–4v
Genres: Motet
Source Attribution: [Lhéritier]
Voice: [no designation]
Languages: Latin
Voice Text: O clemens, o pia virgo II: Noli virgo inviolata
4v–6 O clemens o pia - 2a pars (of 2): Noli virgo inviolata -
Appears on: 4v–6
Genres: Motet
6–7 Aspice Domine (1) - 1a pars (of 2): Aspice Domine de sede sancta tua [Sermisy/Lafage/Jachet of Mantua]
Appears on: 6–7
Genres: Motet
Source Attribution: [Sermisy/Lafage/Jachet of Mantua]
Voice: [no designation]
Languages: Latin
Voice Text: Aspice, Domine, de sede sancta tua
General Note

1a pars only

7–8v Pater noster (4vv) - 1a pars (of 2): Pater noster qui es in caelis [Obrecht/Willaert]
Appears on: 7–8v
Genres: Motet
Source Attribution: [Obrecht/Willaert]
Voice: [no designation]
Languages: Latin
Voice Text: Pater noster
General Note

1a pars only

8v–10v Qui confidunt - 1a pars (of 2): Qui confidunt in Domino [Lhéritier]
Appears on: 8v–10v
Genres: Motet
Source Attribution: [Lhéritier]
Voice: [no designation]
Languages: Latin
Voice Text: Qui confidunt in Domino II: Benefae, Domine
10v–12v Qui confidunt - 2a pars (of 2): Benefac Domine -
Appears on: 10v–12v
Genres: Motet
12v–14v Ascendens Christus - 1a pars (of 2): Ascendens Christus [Lhéritier]
Appears on: 12v–14v
Genres: Motet
Source Attribution: [Lhéritier]
Voice: [no designation]
Languages: Latin
Voice Text: Ascendens Christus II: Ascendo ad patrem
14v–16v Ascendens Christus - 2a pars (of 2): Ascendo ad patrem -
Appears on: 14v–16v
Genres: Motet
16v–18 Gaudeamus omnes in Domino diem festum [Verdelot]
Appears on: 16v–18
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Gaudeamus omnes in Domino
18v–19v Congratulamini mihi omnes (4vv) - 1a pars (of 2): Congratulamini mihi [Willaert]
Appears on: 18v–19v
Genres: Motet
Source Attribution: [Willaert]
Voice: [no designation]
Languages: Latin
Voice Text: Congratulamini mihi omnes II: Recedentibus discipulis
20–21 Congratulamini mihi omnes (4vv) - 2a pars (of 2): Recedentibus discipulis suis -
Appears on: 20–21
Genres: Motet
21v–22v Victimae paschali - 1a pars (of 2): Victimae paschali laudes immolent Christiani [Verdelot]
Appears on: 21v–22v
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Victimae paschali II: Sepulcrum Christi
22v–24 Victimae paschali - 2a pars (of 2): Sepulcrum Christi viventis et gloriam -
Appears on: 22v–24
Genres: Motet
24–25 Ad Dominum cum tribularer - 1a pars (of 2): Ad Dominum cum tribularer clamavi et exaudivit [Verdelot]
Appears on: 24–25
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Ad Dominum cum tribularer II: Heu mihi
25v–26v Ad Dominum cum tribularer - 2a pars (of 2): Heu mihi Domine qui incolatus meus -
Appears on: 25v–26v
Genres: Motet
26v–27 Hesterna die - 1a pars (of 2): Hesterna die Dominus natus est in terris [Verdelot]
Appears on: 26v–27
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Hesterna die Dominus II: Heri enim
27v–28 Hesterna die - 2a pars (of 2): Heri enim rex noster trabea carnis -
Appears on: 27v–28
Genres: Motet
28–29 Ecce tu pulchra - 1a pars (of 2): Ecce tu pulchra es Anon. Anonymous
Appears on: 28–29
Genres: Motet
Source Attribution: Anon.
Voice: [no designation]
Languages: Latin
Voice Text: Ecce tu pulchra es II: Favus distillans labia tua
29–31 Ecce tu pulchra - 2a pars (of 2): Favus distillans labia tua - Anonymous
Appears on: 29–31
Genres: Motet
31–32v O Domine Jesu Christe deprecor te [Verdelot?]
Appears on: 31–32v
Genres: Motet
Source Attribution: [Verdelot?]
Voice: [no designation]
Languages: Latin
Voice Text: O Domine Jesu Christe deprecor te
32v–33 Joseph sancte [Verdelot?]
Appears on: 32v–33
Genres: Motet
Source Attribution: [Verdelot?]
Voice: [no designation]
Languages: Latin
Voice Text: Joseph sancte
51–52v Si bona suscepimus de manu Domini [Verdelot/Richafort]
Appears on: 51–52v
Genres: Motet
Source Attribution: [Verdelot/Richafort]
Voice: [no designation]
Languages: Latin
Voice Text: Si bona suscepimus
52v–54 In te Domine speravi - 1a pars (of 2): In te Domine speravi [Verdelot]
Appears on: 52v–54
Genres: Motet, Te Deum
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: In te Domine speravi II: Educes me
54–54v In te Domine speravi - 2a pars (of 2): Educes me de laqueo -
Appears on: 54–54v
Genres: Motet
55–57 O dulcissime Domine Jesu Christe respicere [Verdelot]
Appears on: 55–57
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: O dulcissime Domine Jesu
57–58 Ave gratia plena [Verdelot]
Appears on: 57–58
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Ave gratia plena
58–59 Ave regina caelorum - 1a pars (of 2): Ave regina caelorum ave domina [de Silva]
Appears on: 58–59
Genres: BVM, Motet
Source Attribution: [de Silva]
Voice: [no designation]
Languages: Latin
Voice Text: Ave regina caelorum II: Gaude gloriosa
59–60 Ave regina caelorum - 2a pars (of 2): Gaude gloriosa -
Appears on: 59–60
Genres: Ave regina caelorum, BVM, Motet
60–61v Quare fremuerunt - 1a pars (of 3): Quare fremuerunt [Sermisy]
Appears on: 60–61v
Genres: Motet
Source Attribution: [Sermisy]
Voice: [no designation]
Languages: Latin
Voice Text: Quare fremuerunt II: Ego autem III: Et nunc reges
61v Quare fremuerunt - 2a pars (of 3): Ego autem constitutus sum -
Appears on: 61v
Genres: Motet
General Note

Discantus tacet in this pars

61v–62v Quare fremuerunt - 3a pars (of 3): Et nunc reges -
Appears on: 61v–62v
Genres: Motet
63–63v Ecce Dominus veniet et omnes sancti eius [Willaert]
Appears on: 63–63v
Genres: Motet
Source Attribution: [Willaert]
Voice: [no designation]
Languages: Latin
Voice Text: Ecce Dominus veniet
63v–64v Recordare Domine - 1a pars (of 2): Recordare Domine [Verdelot]
Appears on: 63v–64v
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Recordare Domine II: Adjuva nos
64v–65 Recordare Domine - 2a pars (of 2): Adjuva nos Deus -
Appears on: 64v–65
Genres: Motet
65–66 Salve Rex pater - 1a pars (of 2): Salve Rex pater misericordiae [Verdelot?]
Appears on: 65–66
Genres: Motet
Source Attribution: [Verdelot?]
Voice: [no designation]
Languages: Latin
Voice Text: Salve, Rex, pater II: Eya ergo, advocate noster
General Note

Fenlon (La diffusion...) used this song to propose a slightly-earlier (c. 1526) dating for the ms.

Item Bibliography

Fenlon, Iain. 1981. La diffusion de la chanson continentale dans les manuscrits anglais entre 1509-1570. La chanson de la Renaissance,  University of Tours. Pages: 178-80. Notes: dating of the song.

66v–67 Salve Rex pater - 2a pars (of 2): Eya ergo, advocate noster -
Appears on: 66v–67
Genres: Motet
67v–68v Ego sum qui sum - 1a pars (of 2): Ego sum qui sum et consilium meum [Conseil]
Appears on: 67v–68v
Genres: Motet
Source Attribution: [Conseil]
Voice: [no designation]
Languages: Latin
Voice Text: Ego sum II: Stetit Jesus
69–69v Ego sum qui sum - 2a pars (of 2): Stetit Jesus in medio discipulorum suorum -
Appears on: 69–69v
Genres: Motet
70–71v Eripe me, Domine, ab homine malo [Verdelot?]
Appears on: 70–71v
Genres: Motet
Source Attribution: [Verdelot?]
Voice: [no designation]
Languages: Latin
Voice Text: Eripe me, Domine, ab homine malo
71v–72 Da pacem Domine in diebus nostris [Verdelot?]
Appears on: 71v–72
Genres: Motet
Source Attribution: [Verdelot?]
Voice: [no designation]
Languages: Latin
Voice Text: Da pacem, Domine in diebus nostris
72–73v Sancta Maria virgo virginum 25.7 [Verdelot/Josquin]
Appears on: 72–73v
Genres: Motet
Source Attribution: [Verdelot/Josquin]
Voice: [no designation]
Languages: Latin
Voice Text: Sancta Maria virgo virginum 25.6
73v–74v Congregati sunt - 1a pars (of 2): Congregati sunt inimici nostri et gloriantur [Verdelot]
Appears on: 73v–74v
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Congregati sunt inimici nostri II: Disperge illos
74v–75 Congregati sunt - 2a pars (of 2): Disperge illos in virtute tua - with c. f. Da pacem Domine -
Appears on: 74v–75
Genres: Motet
75v–76v Deus in nomine tuo - 1a pars (of 3): Deus in nomine tuo salvum me fac [Verdelot]
Appears on: 75v–76v
Genres: Motet
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Deus, in nomine tuo II: Ecce enim III: Averte mala
76v Deus in nomine tuo - 2a pars (of 3): Ecce enim Deus adjuvat me -
Appears on: 76v
Genres: Motet
General Note

Discantus tacet in this pars

76v–77v Deus in nomine tuo - 3a pars (of 3): Averte mala inimicis meis -
Appears on: 76v–77v
Genres: Motet
77v–78v Nil maius - 1a pars (of 2): Nil maius superi vident [Verdelot?]
Appears on: 77v–78v
Genres: Motet
Source Attribution: [Verdelot?]
Voice: [no designation]
Languages: Latin
Voice Text: Nil maius superi vident II: ille Musarum naufragos
78v–79 Nil maius - 2a pars (of 2): Ille Musarum naufragos -
Appears on: 78v–79
Genres: Motet
81–82 Con l'angelico riso a me negasti [Verdelot]
Appears on: 81–82
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Con l'angelico riso
82–83 Deh quanto e dolc'amor [Jhan of Ferrara]
Appears on: 82–83
Genres: Madrigal (Italian)
Source Attribution: [Jhan of Ferrara]
Voice: [no designation]
Languages: Italian
Voice Text: Deh quanto e dolc'amor
83v–84 Donna leggiadra e bella che con le vostre [Verdelot]
Appears on: 83v–84
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Donna leggiadr'et bella
84–85 Amor io sento l'alma (II) [Verdelot]
Appears on: 84–85
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Amor io sento l'alma
85v–86v I vostri acuti dardi [Verdelot]
Appears on: 85v–86v
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: I vostri acuti dardi
86v–87v O dolce notte [Verdelot]
Appears on: 86v–87v
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: O dolce nocte
87v–88 Quanta dolceça, amore Anon./[Verdelot?]
Appears on: 87v–88
Genres: Madrigal (Italian)
Source Attribution: Anon./[Verdelot?]
Voice: [no designation]
Languages: Italian
Voice Text: Quanta dolceça, amore
88v–89v Se ben 'li occhi mia infermi Anon./[Verdelot?]
Appears on: 88v–89v
Genres: Madrigal (Italian)
Source Attribution: Anon./[Verdelot?]
Voice: [no designation]
Languages: Italian
Voice Text: Se benvli occhi mia infermi
89v–91 Quanto sia lieto il giorno nel qual [Verdelot]
Appears on: 89v–91
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Quanto sia lieto
91–92 Chi non fa prova, amore Anon./[Verdelot?]
Appears on: 91–92
Genres: Madrigal (Italian)
Source Attribution: Anon./[Verdelot?]
Voice: [no designation]
Languages: Italian
Voice Text: Chi non fa prova, amore
92v–93 Si suave è l'inghanno Anon./[Verdelot?]
Appears on: 92v–93
Genres: Madrigal (Italian)
Source Attribution: Anon./[Verdelot?]
Voice: [no designation]
Languages: Italian
Voice Text: Si suave è l'inghanno
93v–94 Con lagrime e sospiri [Verdelot/Arcadelt]
Appears on: 93v–94
Genres: Madrigal (Italian)
Source Attribution: [Verdelot/Arcadelt]
Voice: [no designation]
Languages: Italian
Voice Text: Con lacrim'et sospir'
94–95v Madonna, per voi ardo e voi non me 'l credete [Verdelot]
Appears on: 94–95v
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Madonna, per voi ardo
95v–96 Piove da gli occhi della donna mia [Verdelot]
Appears on: 95v–96
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Piove da li occhi
96v–97 Ognun si duol d'amore io me ne lodo Anon./[Verdelot?]
Appears on: 96v–97
Genres: Madrigal (Italian)
Source Attribution: Anon./[Verdelot?]
Voice: [no designation]
Languages: Italian
Voice Text: Ognum si duol' d'amore
97v–98 La bella donna a cui donast' il core [Verdelot]
Appears on: 97v–98
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: La bella donna
98v–99v Afflicti spiriti mei non sperate giamai [Verdelot]
Appears on: 98v–99v
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Latin
Voice Text: Afflicti spiriti mei
100–101 Donna che sete tra le donne bella [Verdelot]
Appears on: 100–101
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Donna che sete
101–102 Lasso che se creduto havesse a qualch'amante [Verdelot]
Appears on: 101–102
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Lasso, che se creduto
102v–103v Dentr' al mio cor' Anon./[Verdelot?]
Appears on: 102v–103v
Genres: Madrigal (Italian)
Source Attribution: Anon./[Verdelot?]
Voice: [no designation]
Languages: Italian
Voice Text: Dentr' al mio cor'
103v–105 Liet' è madonna [Verdelot]
Appears on: 103v–105
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Lietv è madonna
105–106v Madonna, qual certeça [Verdelot]
Appears on: 105–106v
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Madonna, qual certeça
107–108 Cortese alma gentile [Verdelot?]
Appears on: 107–108
Genres: Madrigal (Italian)
Source Attribution: [Verdelot?]
Voice: [no designation]
Languages: Italian
Voice Text: Cortese alma gentile
108v–109 Madonna, io v'amo et taccio [Verdelot]
Appears on: 108v–109
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Madonna, io v'amo et taccio
110–111 Altro non è el mio amor ch'el proprio [Verdelot]
Appears on: 110–111
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Altro non è el mio amorv...inferno
111–113 Italia mia ben che'l parlar sia indarno [Verdelot]
Appears on: 111–113
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Italia mia, bench' el parlar'
113–114 Donna, se fera stella [Verdelot]
Appears on: 113–114
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Donna, se fera stella
114v–115 Pur troppa, donna [Verdelot]
Appears on: 114v–115
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Pur troppa, donna
115v–117 Quando nascesti, Amore [Verdelot]
Appears on: 115v–117
Genres: Madrigal (Italian)
Source Attribution: [Verdelot]
Voice: [no designation]
Languages: Italian
Voice Text: Quando nascesti, Amore
117v–118v Ultimi miei sospiri che mi lasciate [Verdelot/A. Ferrabosco]
Appears on: 117v–118v
Genres: Madrigal (Italian)
Source Attribution: [Verdelot/A. Ferrabosco]
Voice: [no designation]
Languages: Italian
Voice Text: Ultimi mei sospiri
Composer Compositions
Anonymous
Arcadelt, Jacques (ca. 1507–1568)
Conseil, Jean (ca. 1498–1534)
Despres, Josquin (ca. 1450–1521)
Fage, Jean de la
Ferrabosco, Alfonso (the elder) (1543–1588)
Ferrara, Maistre Jhan of (ca. 1485–1538)
Lheritier, Jean (ca. 1480–ca. 1551)
Obrecht, Jacobus (ca. 1457–1505)
Richafort, Jean (ca. 1480–ca. 1550)
Sermisy, Claudin de (ca. 1490–1562)
Silva, Andreas de (ca. 1475–ca. 1522)
Verdelot, Philippe (ca. 1480–ca. 1532)
Willaert, Adrian (ca. 1490–1562)
Composition Composers (? Uncertain) Folios / Pages
Ad Dominum cum tribularer - 1a pars (of 2): Ad Dominum cum tribularer clamavi et exaudivit 24–25
Ad Dominum cum tribularer - 2a pars (of 2): Heu mihi Domine qui incolatus meus 25v–26v
Afflicti spiriti mei non sperate giamai 98v–99v
Altro non è el mio amor ch'el proprio 110–111
Amor io sento l'alma (II) 84–85
Ascendens Christus - 1a pars (of 2): Ascendens Christus 12v–14v
Ascendens Christus - 2a pars (of 2): Ascendo ad patrem 14v–16v
Aspice Domine (1) - 1a pars (of 2): Aspice Domine de sede sancta tua 6–7
Ave gratia plena 57–58
Ave regina caelorum - 1a pars (of 2): Ave regina caelorum ave domina 58–59
Ave regina caelorum - 2a pars (of 2): Gaude gloriosa 59–60
Chi non fa prova, amore 91–92
Con l'angelico riso a me negasti 81–82
Con lagrime e sospiri 93v–94
Congratulamini mihi omnes (4vv) - 1a pars (of 2): Congratulamini mihi 18v–19v
Congratulamini mihi omnes (4vv) - 2a pars (of 2): Recedentibus discipulis suis 20–21
Congregati sunt - 1a pars (of 2): Congregati sunt inimici nostri et gloriantur 73v–74v
Congregati sunt - 2a pars (of 2): Disperge illos in virtute tua - with c. f. Da pacem Domine 74v–75
Cortese alma gentile 107–108
Da pacem Domine in diebus nostris 71v–72
Deh quanto e dolc'amor 82–83
Dentr' al mio cor' 102v–103v
Deus in nomine tuo - 1a pars (of 3): Deus in nomine tuo salvum me fac 75v–76v
Deus in nomine tuo - 2a pars (of 3): Ecce enim Deus adjuvat me 76v
Deus in nomine tuo - 3a pars (of 3): Averte mala inimicis meis 76v–77v
Donna che sete tra le donne bella 100–101
Donna leggiadra e bella che con le vostre 83v–84
Donna, se fera stella 113–114
Ecce Dominus veniet et omnes sancti eius 63–63v
Ecce tu pulchra - 1a pars (of 2): Ecce tu pulchra es Anonymous 28–29
Ecce tu pulchra - 2a pars (of 2): Favus distillans labia tua Anonymous 29–31
Ego sum qui sum - 1a pars (of 2): Ego sum qui sum et consilium meum 67v–68v
Ego sum qui sum - 2a pars (of 2): Stetit Jesus in medio discipulorum suorum 69–69v
Eripe me, Domine, ab homine malo 70–71v
Gaudeamus omnes in Domino diem festum 16v–18
Hesterna die - 1a pars (of 2): Hesterna die Dominus natus est in terris 26v–27
Hesterna die - 2a pars (of 2): Heri enim rex noster trabea carnis 27v–28
I vostri acuti dardi 85v–86v
In te Domine speravi - 1a pars (of 2): In te Domine speravi 52v–54
In te Domine speravi - 2a pars (of 2): Educes me de laqueo 54–54v
Italia mia ben che'l parlar sia indarno 111–113
Joseph sancte 32v–33
La bella donna a cui donast' il core 97v–98
Lasso che se creduto havesse a qualch'amante 101–102
Liet' è madonna 103v–105
Madonna, io v'amo et taccio 108v–109
Madonna, per voi ardo e voi non me 'l credete 94–95v
Madonna, qual certeça 105–106v
Nil maius - 1a pars (of 2): Nil maius superi vident 77v–78v
Nil maius - 2a pars (of 2): Ille Musarum naufragos 78v–79
O clemens o pia - 1a pars (of 2): O clemens o pia virgo 2v–4v
O clemens o pia - 2a pars (of 2): Noli virgo inviolata 4v–6
O dolce notte 86v–87v
O Domine Jesu Christe deprecor te 31–32v
O dulcissime Domine Jesu Christe respicere 55–57
Ognun si duol d'amore io me ne lodo 96v–97
Pater noster (4vv) - 1a pars (of 2): Pater noster qui es in caelis 7–8v
Piove da gli occhi della donna mia 95v–96
Pur troppa, donna 114v–115
Quando nascesti, Amore 115v–117
Quanta dolceça, amore 87v–88
Quanto sia lieto il giorno nel qual 89v–91
Quare fremuerunt - 1a pars (of 3): Quare fremuerunt 60–61v
Quare fremuerunt - 2a pars (of 3): Ego autem constitutus sum 61v
Quare fremuerunt - 3a pars (of 3): Et nunc reges 61v–62v
Qui confidunt - 1a pars (of 2): Qui confidunt in Domino 8v–10v
Qui confidunt - 2a pars (of 2): Benefac Domine 10v–12v
Quousque non reverteris pax 1–2v
Recordare Domine - 1a pars (of 2): Recordare Domine 63v–64v
Recordare Domine - 2a pars (of 2): Adjuva nos Deus 64v–65
Salve Rex pater - 1a pars (of 2): Salve Rex pater misericordiae 65–66
Salve Rex pater - 2a pars (of 2): Eya ergo, advocate noster 66v–67
Sancta Maria virgo virginum 25.7 72–73v
Se ben 'li occhi mia infermi 88v–89v
Si bona suscepimus de manu Domini 51–52v
Si suave è l'inghanno 92v–93
Ultimi miei sospiri che mi lasciate 117v–118v
Victimae paschali - 1a pars (of 2): Victimae paschali laudes immolent Christiani 21v–22v
Victimae paschali - 2a pars (of 2): Sepulcrum Christi viventis et gloriam 22v–24

Set: Case MS VM1578.M91

Type: Partbooks

denotes primary source study

Fenlon, Iain. 1981. La diffusion de la chanson continentale dans les manuscrits anglais entre 1509-1570. La chanson de la Renaissance,  University of Tours. Pages: 178-180. Notes: dating of ms (1526 as earliest date).

Fenlon, Iain, and James Haar. 1978. Fonti e Cronologia dei Madrigali di Costanzo Festa. Revista Italiana di Musicologia, 212-42. Pages: 221ff. Notes: mention of ms; identification of scribe.

Slim, H Colin. 1978. Ten Altus Parts at Oscolt College, Sutton Coldfield.  Santa Ana: Privately printed for the author. Notes: transcription (partial); mention of MS; discussion.

Slim, H Colin. 1978. A Royal Treasure at Sutton Coldfield. Early Music, 57-74. Notes: transcription (partial); mention of MS; discussion.

Nugent, George Edward. 1973. The Jacquet Motets and Their Authors. Princeton University, Unpublished Ph.D. dissertation. Pages: I, 143. Notes: concordances (partial).

Weidensaul, Jane Bennett. 1973. Early 16th-Century Manuscripts at Piacenza: A Progress Report. Current Musicology, 41-8. Pages: 42. Notes: mention of MS.

Slim, H Colin. 1972. A Gift of Madrigals and Motets.  Chicago and London. Notes: physical description; contents list; concordances; texts; facsimile (partial); mention of MS; discussion; additional bibliography.

Perkins, Leeman L (editor). 1969. Johannis Lhéritier: Opera Omnia. Corpus mensurabilis musicae.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I, xli, passim. Notes: physical description; mention of MS; discussion; concordances (partial).

Böker-Heil, Norbert. 1967. Die Motetten von Philippe Verdelot.  Frankfurt am Main. Pages: 246, passim. Notes: mention of MS; concordances (partial).

Hersh, Donald Lee. 1963. Verdelot and the Early Madrigal. University of California at Berkeley, Unpublished Ph.D. dissertation. Pages: 281-2. Notes: physical description; mention of MS; discussion.

Lowinsky, Edward E. 1950. A Newly Discovered Sixteenth-Century Motet Manuscript at the Biblioteca Vallicelliana in Rome. Journal of the American Musicological Society, 173-232. Pages: 198, passim. Notes: mention of MS; concordances (partial).

de Ricci, Seymour, and W. J. Wilson. 1935-40. Supplement, 1962. Census of Medieval and Renaissance Manuscripts in the United States and Canada.  New York. Pages: Supplement, 148. Notes: physical description.

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Julie Cumming

Saturday, 13 August, 2022

image link to Newberyy books added; and link to the online catalogue for the Oscott Altus book

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