One main scribe and one other scribe for the music; at least 3 scribes wrote the texts. The main scribe copied the franco-flemish secular pieces and also the Spanish pieces. The text of the Spanish pieces, however, was entered by a different scribe. The manuscript is ordered systematically by forms and decreasing number of parts: sacred pieces beginning with masses, franco-flemish secular pieces, duos and Spanish secular pieces. The manuscript may have originated close to the Chapel of the Catholic kings. Entry on fol. 227v: Don Rodrigo. This could be linked to Don Rodrigo de Tordesillas, the executor of Queen Isabel; however, there is no final proof for this assumption. Was transferred to the Cathedral archive of Segovia in around1525 by the Alcázar.
E-SE Ms. s. s. (Segovia Codex; Cancionero musical de Segovia; Cancionero del Alcázar)
Archivo Capitular de la Catedral, Segovia, Spain
manuscript of polyphony: 1500-3
| Archive | Archivo Capitular de la Catedral, Segovia, Spain (E-SE) |
|---|---|
| Shelfmark | Ms. s. s. (Segovia Codex; Cancionero musical de Segovia; Cancionero del Alcázar) |
| 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 | 291 x 215 mm |
| Other Identifiers |
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| Notations |
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| Relationships |
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| External Links | |
| Provenance |
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| Contents | Contains 239 compositions, 201 from 47 composers, 38 are anonymous. |
General Description
Physical Description
Missing folios: i-iii, vi-viii, ciiii-cix, cxi, cxcix, ccvi, ccxviii-ccxxi, ccxxiii.
Binding
Original parchment cover: title on the cover: Canto de organo.
Watermark
hand with double-banded cuff and six-petalled flower (generally resembles Briquet #11154; facsimile in BakerU)
Liminary Note
inked inscription "Canto de organo" on front
Notation
black void mensural
Foliation
Original foliation in ink v-ccxxviii, original gathering signatures ('Lagenzählung')
Decoration
Partly decorated with ornamented initials, partly the space intended for the initials was left blank
Surface
paper
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.
9 Masses (1 incomplete), 1 Christe, 1 Gloria, 1 Credo, 4 Magnificats, 1 Magnificat section, 1 Te Deum, 8 hymns, 2 Lamentations, 43 motets (2 incomplete), 2 litanies, 2 Spanish sacred pieces, 51 French secular pieces (1 incomplete), 33 Dutch secular pieces (1 incomplete), 35 Spanish secular pieces, 6 Italian secular pieces (1 incomplete), 4 textless pieces (1 with incipit "Cayphas"; 1 with incipit "Moyses") = 204
Adam II-2, A. Agricola-16, A. Agricola/(Aulenus/Cuvenor)-1, A. Agricola/(Brumel)-1, A. Agricola/(Ghiselin)-1, (A. Alba)-1, Anchieta-7, Anchieta/(Compère/Peñalosa/A. Ribera)-1, Anchieta/(Peñalosa)-1, Barbireau/(Isaac/Obrecht)-1, (Binchois-anon)-1, Brumel-4, Brumel/(Isaac)-1, Brumel/(Mouton)-1, Busnois-2, Caron-1, Compère-10, Compère/(A. Agricola)-2, Compère/(Busnois/Mureau)-1, Compère-Martini-1, Compère/(Tinctoris)-1, Compère/(Vaqueras)-1, Eline-3, Eline/(J. Agricola)-1, (Encina)-8, (Enrique/Wreede)-1, Farer-1, Ferdinandus et frater eius*/(A. Agricola/Isaac)-1, (Gijón)-1, Hayne van Ghizeghem [Scoen Heyne]-4, Hayne van Ghizeghem/(Ockeghem)-1, Isaac-17, Isaac/(Barle)-2, Isaac/(Martini)-1, Isaac/(Rubinet)-1, Josquin-5, Josquin/(A. Agricola)-1, Josquin-(Busnois)-1, Joye/(Japart/Josquin)-1, (Lagarto)-1, Martini-2, Martini/(Busnois)-1, Marturia-1, Mondéjar-1, Obrecht -28, Obrecht/(Isaac/Japart)-1, Obrecht/(Stoltzer)-1, Obrecht-(Virgilius)-1, Pipelare-3, Pipelare/(La Rue)-1, Roellrin-3, Tinctoris-7, (F. Torre)-4, Wreede-1, anon-40
'See BakerU I, 56-7 for discussion of this attribution.
207 paper folios of an original 228, 291 x 215. Original ink foliation on upper center rectos, v-ccxxviii (ff. i-iiii, vi-viii, ciiii-cix, cxi, cxcix, ccvi, ccxv, ccxviii-ccxix, ccxxi, ccxxiii now missing). Original covers of honey colored parchment (original wooden boards now lost); inked inscription "Canto de organo" on front. No index. Copied by one main scribe and two additional scribes (ff. ccvii-ccxxvi and ff. ccxxvi'-ccxxviii', respectively). Inked calligraphic initials on ff. v-v', ix-lii, xciiii'-xcvi, cx, cxxxiiii', and ccxxvii'; space left for decorative initials on other folios, but initials never added. Watermark: hand with double-banded cuff and six-petalled flower (generally resembles Briquet #11154; facsimile in BakerU).
Contents ordered as follows: (1) 4-voice Masses, Salve Regina settings, Magnificats, and motets; (2) 4-voice secular pieces; (3) 3-voice Masses, Magnificats, and motets; (4) 3-voice secular pieces and motets; (5) proportional duos; (6) sacred and secular works by Spanish composers.
1500-3, probably 1502 (BakerU). Probably copied in Toledo, for use at court of Isabella, Queen of Castile. Some repertory likely brought to Spain by entourage of Philip the Fair (son of Emperor Maximilian I and Mary of Burgundy) and his wife, Juana of Spain, in connection with 1502 tour. Manuscript probably deposited by Isabella in her Segovia palace library in 1503; "Don Rodrigo" mentioned on f. ccxxviii' may refer to Isabella's treasurer, Don Rodrigo de Tordesillas. Transferred ca. 1525 to cathedral library, adjacent to royal palace.
Vol 4
Composers: Change "Isaac-17" to "Isaac-16, Isaac/(Obrecht/Weerbecke)-1."
The inventory could not be loaded.
‡ denotes primary source study
‡ Fuhrmann, Wolfgang, and Cristina Urchuegúia (editors). 2019. The Segovia Manuscript: A European Musical Repertory in Spain, c. 1500. Studies in Medieval and Renaissance Music, vol. 20. Boydell Press. Notes: contents list; concordances; discussion; watermarks; dating.
Teuling, Arnold den (editor). 2015. De tous biens playne, by Roelkin (edition). http://ks.imslp.info/files/imglnks/usimg/b/b3/IMSLP357411-PMLP577239-RoeDetousbiens.pdf(Accessed: 2nd May 2018). Pages: 3-4. Notes: critical notes to edition provide concordances & discussion of identity of composers Roelkin & Elinc/Edelinck.
Kreitner, Kenneth. 2004. The Church Music of Fifteenth-century Spain. Woodbridge, Suffolk: Boydell Press. Pages: 80-103. Notes: chapter 6 discussed the church music in teh Segovia ms.
Bonda, Jan Willem. 1996. De meerstemmige Nederlandse liederen van de vijftiende en zestiende eeuw. Hilversum: Verloren. [= The Polyphonic Songs in Dutch of the Fifteenth and Sixteenth Centuries]. Pages: 46, 112-115. Notes: discusses identiy of the composer Roelkin.
Maas, Chris J (editor). 1983-. New Obrecht Edition. Utrecht. Pages: I,xi-ff; IV,xxvi-liii; V,xix-xx. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Hardie, Jane Morlet. 1983. The Motets of Francisco de Pehalosa and Their Manuscript Sources. University of Michigan, Unpublished Ph.D. dissertation. Pages: 6-7, 115, 143-4, 149, 167-8, 283-5. Notes: physical description; contents list (partial); concordances (partial); incipits (partial); texts (partial); mention of MS; discussion.
Buxton, Ralph W. 1981. Johannes Japart: A Fifteenth-Century Chanson Composer. Current Musicology, 31: 7-38. Pages: 10, 13-5, 31, 33. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Bernstein, Lawrence F. 1980. French Duos in the First Half of the Sixteenth Century. Studies in Musicology in Honor of Otto E. Albrecht, , 43-87. Kassel, Basel, and London. Pages: 51-7. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Baker, Norma Klein. 1978. An Unnumbered Manuscript of Polyphony in the Archives of the Cathedral of Segovia: Its Provenance and History. University of Maryland, Unpublished Ph.D. dissertation. Notes: physical description; contents list; concordances; incipits; facsimile (partial); transcriptiion (partial); mention of MS; discussion.
Kämper, Dietrich. 1978. Instrumentale Stilelemente bei Alexander Agricola. Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 28: 1-13. Pages: 3-4, 9. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.
Perales de la Cal, Ramón. 1977. Concionerò de la Catedral de Segovia: Edición Facsimilar del Còdice de la Santa Iglesia Catedral de Segovia. Segovia. Notes: physical description; contents list; concordances; facsimile; mention of MS; discussion; [includes reprint of material from MME I.
Staehelin, Martin. 1977. Die Messen Heinrich Isaacs. Publikationen der Schweizerischen Musikforschenden Gesellschaft Serie II, vol. 28/I-III. Bern and Stuttgart. Pages: I, xxxix, 30-4, 62, 76, 86-7; II, 58; III, 14, 46-7, 76-7, 88-9, 203. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.
Melin, William (editor). 1976. Johannes Tinctoris: Collected Works. Corpus mensurabilis musicae, vol. 18. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: x, xiii-xiv, 128-9, 135-46. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Thompson, James (editor). 1976. Les Oeuvres Completes de Philippe (?) Caron. Transcription et Notes Critiques de James Thomson. Brooklyn: Institute of Mediaeval Music. Pages: II, iii, xi-xii, 175-8. Notes: contents list (partial); concordances (partial); transcriptions (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.xxxii-xxxiii.xlix, 185-6; VII,xix-xxi. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Nagle, Sister Mary Ellen. 1972. The Structural Role of the Cantus Firmus in the Motets of Jacob Obrecht. University of Michigan, Unpublished Ph.D. dissertation. Pages: 10-7, 176, passim. Notes: physical description (partial); contents list (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.
Hudson, Barton (editor). 1969-72. Antoine Brumel: Collected Works. Corpus mensurabilis musicae, vol. 5. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I, xxiii; V, xxviii, l-3; VI, xvi, xxvii-xxviii, 1-6, 79, 87-8. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Smijers, Albert, Myroslaw Antonowycz, and Willem Elders (editors). 1969. Werken van Josquin des Prés: Supplement. Amsterdam. Pages: 30-5. Notes: transcription (partial).
Cross, Ronald (editor). 1966-. Matthaeus Pipelare: Opera Omnia. Corpus mensurabilis musicae, vol. 34. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I, xiii-ff, 7-8, 34-5; III, xi, 71-93. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Lerner, Edward R (editor). 1961-70. Alexandrí Agricola: Opera Omnia. Corpus mensurabilis musicae, vol. 22. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I, i; III, xvi, 88-93; IV, xv-xvi; V, x-ff, 60ff. Notes: contents list (partial); concordances (partial); transcriptions (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: I, 370. Notes: physical description; contents list (partial); concordances (partial).
Stevenson, Robert. 1960. Spanish Music in the Age of Columbus. The Hague. Pages: 136-44, 183, 194, 201ff. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Meier, Bernhard (editor). 1954-7. Jacobi Barbireau: Opera Omnia. Corpus mensurabilis musicae, vol. 7. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: II, ii, 11-2. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Smijers, Albert, and M van Crevel (editors). 1953-. Jacobus Obrecht, Opera Omnia. Amsterdam. Pages: I, fasc. 3, xv-xvi. Notes: physical description; contents list (partial); concordances (partial).
Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola. Madrid (later Barcelona, later Rome). Pages: I, 95-102, 106-12, passim; II, 25-32 X, 32-3; XIV, 26-30. Notes: physical description; contents list; concordances; transcription (partial).
Anglès, Higinio. 1941. La Música Espanola desde la Edad Media hasta Nuestros Dias. Catálogo de la Exposición Histórica, Barcelona. Pages: 29, Facs. 18. Notes: physical description; facsimile (partial).
Anglès, Higinio. 1936. Un manuscrit inconnu avec polyphonie du Xve siècle conservé à la cathédrale de Ségovie (Espagne). Acta Musicologica, 8: 6ff. Notes: physical description; contents list; concordances.
Anglès, Higinio. 1933. Die spanische Liedkunst im 15. und am Anfang des 16. Jahrhunderts. Theodor Kroyer-Festschrift zum sechzigsten Geburtstage am 9. September 1933, Regensburg. Pages: 68. Notes: physical description.
Smijers, Albert (editor). 1925-68. Werken van Josquin des Prez: Wereldlijke Werken. Amsterdam. Pages: IV, x, xv-xviii, 27-9. Notes: contents list (partial); concordances (partial); transcriptions (partial).
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William Kempster
Thursday, 15 January, 2026
Corrected composition at 193v, which is the Agricola/Therache "Helas madame que feray-je?", not "Helas de vous me doy complaindre" (the latter being the second half of the bergerette "Se je vous eslonge" in Magl. 178)
Clemens Goldberg
Tuesday, 9 September, 2025
Pointed out that 'J'ay prijs amours' on fol. 118v is NOT concordant with Isaac's setting in Florence 178, fols. 2v-4r (as previously state here), being only the Superius und Tenor of the original chanson, transposed down a tone.
Edward Tambling
Friday, 12 May, 2023
Separated the 4vv Salve regina by Obrecht, apparently unique to this source, from the 6vv setting in D-Mbs Mus. MS 34 and D-Rp C 98
Clemens Goldberg
Saturday, 12 February, 2022
image link added
Clemens Goldberg
Saturday, 12 February, 2022
Note that 118v Jay pris amours is only Superius and Tenor; also separated 3vv & 4vv versions of the song in Isaac's worklist
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