V-CVbav MS Barb. lat. 171

Biblioteca Apostolica Vaticana, Vatican City, Rome, Italy

non-music MS with interpolated music: 1st half of 15th century

Archive Biblioteca Apostolica Vaticana, Vatican City, Rome, Italy (V-CVbav)
Shelfmark MS Barb. lat. 171
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 328 x 170 mm
Other Identifiers
  • RISM: I-Rvat171
  • RISM: RB
  • CCM: VatB 171
  • olim (Former shelfmark): RISM lists Barb. lat. 171
  • olim (Former shelfmark): I-Rvat MS Barb. lat. 171
Notations
  • black full mensural
  • coloration in red
Relationships
External Links
Provenance
  • Italy
Contents 7 pieces from 1 composers
General Description

Ff. 223-225 are apparently the only surviving remnants of a choirbook whose folios originally measured c. 330 x 215, later trimmed for use as flyleaves in present volume. F. 223 now consists of two fragments, c. 95 x 215 and c. 80 x 215; f. 224 (blank or blank staves only) consists of two fragments, c. 95 x 135 and c. 80 x 135; f. 225 measures 328 x 170. Probably copied in northern Italy. Owned in 17th century by Francesco Barberini (1597-1679); Barberini collection passed to present library in 1902.

DIAMM, 2017
Physical Description

Flyleaves in very poor condition; some music now illegible

DIAMM, 2017
Binding

Rebound in modern half-linen covers, with leather spine

DIAMM, 2017
Notation

Black full mensural with red colouration.

DIAMM, 2017
Ruling

11 red five-line staves

DIAMM, 2017
Foliation

Modern foliation, 1-225.

DIAMM, 2017
Foliation

223rv, 225rv

DIAMM, 2017
Decoration

Small decorative initials.

DIAMM, 2017
Surface

Parchment

DIAMM, 2017
DIAMM Note

Cuthbert (p. 287) numbers the folios containing music separately as f. 1r to f. 3v. The numbering here follows the foliation in the manuscript, and this inventory excludes the blank staves that Cuthbert lists for f. 2r-v and f. 3v.

DIAMM, 2017
RISM Description

RISM B/IV 4: 15. Jh.; 225 Blätter Pergament, 328 x 170 mm. Jüngere Foliierung von f. 1-225. - Einband: 20. Jh.; Halbleinen mit Lederrücken.

Diese Handschrift aus der 1. Hälfte des 15. Jh. enthält medizinische Traktate. Musik steht nur auf den ursprünglichen Pergament-Deckblätter, die sich heute als f. 223-225 hinten in der Handschrift befinden: 1 Doppelblatt (einfaches Blatt: 95 x 215 mm) und 1 Blatt. (328 x 170 mm) Das ursprüngliche Format der vermutlich zur gleichen italienischen Handschrift des frühen 15. Jh. gehörenden Blätter betrug ca. 330 x 215 mm. Alle 3 Blätter sind schlecht erhalten und nur teilweise lesbar. Auf dem relativ am besten erhaltenen und wenig beschnittenen f. 225 stehen 11 rote Fünfliniensysteme mit schwarzer Mensuralnotation. Das stark beschnittene Doppelblatt f. 223/224 zeigt auch rote Noten (zur Abhebung der Stimmen) sowie die Bezeichnung D=Duo und C= Chorus. f. 224 und 225v sind leer.

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.

Répertoire International des Sources Musicales
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.

Medical treatises, with polyphony: 4 Glorias (fragmentary)

Anonymous

225 parchment folios, 328 x 170. Modern foliation, 1-225. Ff. 223-225 apparently the only surviving remnants of a choirbook whose folios originally measured ca. 330 x 215, later trimmed for use as flyleaves in present volume. F. 223 now consists of two fragments, ca. 95 x 215 and ca. 80 x 215; f. 224 (blank or blank staves only) consists of two fragments, ca. 95 x 135 and ca. 80 x 135; f. 225 measures 328 x 170. Flyleaves in very poor condition; some music now illegible. Rebound in modern half-linen covers, with leather spine. Polyphony on ff. 223-223' and f. 225, copied in black mensural notation on red staves, with red coloration. Small decorative initials.

Early 15th century (RISM). Probably copied in northern Italy. Owned in 17th century by Francesco Barberini (1597-1679); Barberini collection passed to present library in 1902.

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)
223 Troped Gloria fragment, beginning: “te, Benedicimus te, Adoramus te.” - Anonymous

Troped Gloria fragment, beginning: “te, Benedicimus te, Adoramus te.”

Anonymous
Appears on: 223
Genres: Gloria (et in terra pax), Mass Ordinary
Voice: [no designation]
Languages: Latin
Clef: c2
Voice Text: ... te benedicamus te Adoramus te ...
General Note

Probably missing one line of music. With troped, divisi duo sections, “O redentor noster pu[ri]ssime resspice nos tam[?] clementissime ut uiuam tecum purissime feliciter.” Ending: “Agnus dei filius patris. D.[uo] Alme de.” Single voice, C2.
223 Troped Gloria fragment - Anonymous

Troped Gloria fragment

Anonymous
Appears on: 223
Voice: [no designation]
Languages: Latin
Voice Text: Troped Gloria fragment
General Note

With full text: “...quos libriata [?] salutris [?], Jesu Christe. Cum sancto spiritu, in gloria Dei Patris. Am[en].” Single voice with red coloration indicating divisi, C2.
223v Gloria fragment, with full text: 'nostra. Qui sedes a dexteram Patris...' - Anonymous

Gloria fragment, with full text: 'nostra. Qui sedes a dexteram Patris...'

Anonymous
Appears on: 223v
Genres: Gloria (et in terra pax), Mass Ordinary
Voice: [no designation]
Languages: Latin
Clef: c2
Voice Text: ... [se-]des ad dexteram patris miserere ...
Voice: [no designation]
Languages: Latin
Clef: no clef
Voice Text: ... Qui sedes ad dexteram patris ...
General Note

With full text: “nostra. Qui sedes a dexteram Patris, miserere nobis. Quoniam tu solus sanctus. Tu solus dominis. Tu lus [sic] altissimus.” Single voice, possibly tenor, F-clef fragment, probably F3. Also, offsetting from the front (former) pastedown.

Layout

parts
223v Troped Gloria fragment - Anonymous

Troped Gloria fragment

Anonymous
Appears on: 223v
Voice: [no designation]
Languages: Latin
Voice Text: Troped Gloria fragment
General Note

illegible beginning. Ending: “Qui sedes ad dexteram Patris, miserere nobis. Quoniam ...s sanctus. Tu solus Dominus. Qui semper gl...a debetu[r?]. Tu solus.” Single voice, C2.
224 [blank staves] - -

[blank staves]

Appears on: 224
225 Et in terra pax [Gloria] [Tro] Clementie ... la Judetur in rubro - Anonymous

Et in terra pax [Gloria] [Tro] Clementie ... la Judetur in rubro

Anonymous
Appears on: 225
Genres: Mass Ordinary, Troped Gloria-Credo
Voice: [no designation]
Languages: Latin
Voice Text: [Et in terra ...Clementie pax bajula ...] Tu solus dominus.
General Note

No denomination of first voice, second voice labeled “Tenor.” Identifiable as [Contratenor] and Tenor of Gloria: Clementie Pax, concordant with Padua 1475
225 Gloria fragment - Anonymous

Gloria fragment

Anonymous
Appears on: 225
Genres: Gloria (et in terra pax), Mass Ordinary
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Et in terra pax hominibus bone voluntatis ...
General Note

Beginning, “Et in terra pax.” Ending: “In gloria Dei, Patris.” Single voice, C3.

Layout

parts
Composer Compositions
Anonymous
Composition Composers (? Uncertain) Folios / Pages
Et in terra pax [Gloria] [Tro] Clementie ... la Judetur in rubro Anonymous 225
Gloria fragment Anonymous 225
Gloria fragment, with full text: 'nostra. Qui sedes a dexteram Patris...' Anonymous 223v
Troped Gloria fragment Anonymous 223
Troped Gloria fragment Anonymous 223v
Troped Gloria fragment, beginning: “te, Benedicimus te, Adoramus te.” Anonymous 223

‡ denotes primary source study

Voicu, Sever J. None. Note sui palinsesti conservati nella Biblioteca Apostolica Vaticana. Miscellanea Bibliothecae Apostolicae Vaticanae, 454.

Lindgren, Lowell, and Margaret Murata (editors). 2018. The Barberini Manuscripts of Music. Studi e Testi.  Biblioteca Apostolica Vaticana. Pages: 3-4.

‡ Cuthbert, Michael Scott. 2014. Church Polyphony Apropos of some Old Fragments in Rome. L'ars nova italiana del Trecento, 167-181.

Cuthbert, Michael Scott. 2006. Trecento fragments and Polyphony beyond the codex. Harvard University, Ph.D. Pages: 284-297.

Bent, Margaret. 1979. Review of PMFC XII. Journal of the American Musicological Society, 561-77. Pages: 576.

Schlager, Karlheinz (editor). 1971-. Répertoire International des Sources Musicales. Series A/I.  Kassel. Pages: B IV/4,1018-20.

Layton, Billy Jim. 1960. Italian Music for the Ordinary of the Mass 1300-1450. Harvard University, Unpublished Ph.D. dissertation. Pages: 72,362-3.

Anglès, Higinio. 1954. Una nueva version del Credo de Tournai. Revue Belge de Musicologie, 97ff. Pages: 41.

Bukofzer, Manfred F. 1950. Studies in Medieval and Renaissance Music. Pages: 178-9.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik.  Kassel. Pages: I,706; XI,764.

Van, Guillaume de. 1938. Monuments de l'Ars Nova.  Paris. Pages: iv, vi.

Besseler, Heinrich. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv für Musikwissenschaft, 167-252. Pages: 228.

Ludwig, Friedrich. 1925. Die mehrstimmige Messe des 14. Jahrhunderts. Archiv für Musikwissenschaft, 417ff. Pages: II, 24.

Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 185-222, Vol. 5 (1924) 273-315. Pages: 201.

Bannister, Enrico Marriott. 1913. Monumenti Vaticani di paleografia musicale latina. Codices e Vaticanis selecti phototypice expressi. 2 vols. Leipzig. Pages: I, 185.

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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