E-TZ Archivo Ms. 2/3

Archivo Capitular de la Catedral, Tarazona, Spain

manuscript of polyphony: Early- to mid-16th century

Archive Archivo Capitular de la Catedral, Tarazona, Spain (E-TZ)
Shelfmark Archivo Ms. 2/3
Image Availability DIAMM does not have images of this source.
Surface Paper
Numbering System Foliation
Measurements 570 x 400 mm
Other Identifiers
  • CCM: TarazC 2
  • CCM: TarazC 3
Notations
  • black void mensural
External Links
Provenance
  • Seville? Spain
Contents 191 pieces from 27 composers
General Description

Choirbook. Between c. 1570 and 2003 the book was divided into two manuscripts (Ms 2: 1-67, 217-234, 243-300; Ms. 3: 68-217, 235-242). In 2002 the 2 books were re-united into a single 300-folio volume. 2 bifolios (58-61) now form E-Bbc M1167; the final folio (300) is missing. Copied by a single scribe, who also wrote most of SevC 5-5-20 (Charles Manns). Probably copied in Seville or Toledo; though most recently Ros-Fabregas has argued for the ms being compiled in Tarazona.

Cristina Urchueguía
Watermark

eagle (not in Briquet)

Cristina Urchueguía
Notation

black void mensural

Cristina Urchueguía
Ruling

Staff height 24

Cristina Urchueguía
Foliation

Original ink foliation on upper right rectos, i-lvii; lxii-ccc (many original numbers following 'lxvii' crossed out or altered by later hands in unsuccessful attempts to produce consistent foliation). Modern pencil foliation, 1-130, on lower right rectos of what was TZ 2 (folio between 42/43 first numbered '47,' later altered to '41a'); and I + 1-89; 100-176 ('90-99' omitted) on what was TZ 3; also a second modern pencil foliation, 1-167, on lower right rectos of ex-TZ 3.

Following re-binding into one volume, yet another pencil foliation has been added in lower right rectos, re-using the TZ 2 foliation up to fol. 65 (including 47bis), and running to 297.

Cristina Urchueguía
Decoration

Inked calligraphic initials

DIAMM, 2019
Index

Original index on new ff. 1-3 lists pieces in order of appearance, and reflects organization of contents prior to division into two manuscripts: (1) hymns; (2) Magnificats; (3) Asperges; (4) 3-voice Masses; (5) 4-voice Masses; (6) Salves; (7) Alleluias; (8) 3-voice motets; (9) 4-voice motets; (10) Lamentations; (11) Deo gratias.

Cristina Urchueguía
Surface

paper

Cristina Urchueguía
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.

Tarazona MS 3

16 Masses, 1 Requiem Mass (incomplete), 9 Mass Proper sections (2 incomplete), 4 motets (1 incomplete) = 30

A. Alba-9, A. Alba-Escobar-P. Fernández-Peñalosa-1, Almorox-1, Anchieta-1, Anchieta-Escobar-1, Escobar-6, P. Fernández-1, Peñalosa-6, Periquin-1, Quixada-1, A. Ribera-1, Tordesillas-1

167 paper folios, 554 x 397. TarazC 2 and TarazC 3 originally a single manuscript of 300 folios; rebound as two separate manuscripts in late 16th century. Original ff. 68-226 and 235-242 now TarazC 3; ff. 58-61 and f. 300 lost; remaining folios now TarazC 2. Original ink foliation on upper right rectos, lxviii-ccxxvi + ccxxxv-ccxlii, crossed out and replaced by modern pencil foliation, I + 1-89; 100-176 ("90-99" omitted). Second modern pencil foliation, 1-167, on lower right rectos. Late 16th century covers of brown leather over wooden boards. Original index now included in TarazC 2 (new ff. l'-2); see TarazC 2 entry for details. Copied by a single scribe, who also wrote TarazC 2 and most of SevC 5-5-20 (Charles Manns). Staff height 24. Inked calligraphic initials. Watermark: eagle (not in Briquet). Missing parts for incomplete pieces now in TarazC 2.

Early 16th century. Probably copied in Seville.

DIAMM, 2019
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.

Tarazona MS 2

1 Requiem Mass section (incomplete), 2 Mass Proper sections (incomplete), 14 Magnificats (2 incomplete), 20 hymns, 4 Lamentations, 50 motets (1 incomplete) = 91

A. Alba-12, Anchieta-5, Anchieta/(Peñalosa)-1, Compère [Luyset]-1, P. Diaz-1, Escobar-18, Escobar/(Peñalosa)-1, Illario-2, Josquin-1, Marlet-1, R. Morales-1, Peñalosa-33, Peñalosa/(Josquin)-1, Porto-1, A. Ribera-2, A. Ribera/(Anchieta/Compère/Peñalosa)-1, Sanabria-2, J. Segovia-1, Tordesillas-S, F. Torre-1, Wreede-1, anon-1

iii + 128 paper folios, 554 x 397. TarazC 2 and TarazC 3 originally a single manuscript of 300 folios; rebound as two separate manuscripts in late 16th century. Original ff. 68-226 and 235-242 now TarazC 3; ff. 58-61 and f. 300 lost; remaining folios now TarazC 2. Original ink foliation on upper right rectos, i-lvii; lxii-lxvii; ccxliii-ccxcix; ccxxvii-ccxxxiiii [sic] (many original numbers following "lxvii" crossed out or altered by later hands in unsuccessful attempts to produce consistent foliation). Modern pencil foliation, 1-130, on lower right rectos (folio between 42/43 first numbered "47," later altered to "41a"). Late 16th century covers of brown leather over wooden boards, with brass edges; clasps missing.

Original index on new ff. 1-3 lists pieces in order of appearance, and reflects organization of contents prior to division into two manuscripts: (1) hymns; (2) Magnificats; (3) Asperges; (4) 3-voice Masses; (5) 4-voice Masses; (6) Salves; (7) Alleluias; (8) 3-voice motets; (9) 4-voice motets; (10) Lamentations; (11) Deo gratias. Copied by a single scribe, who also wrote TarazC 3 and most of SevC 5-5-20 (Charles Manns). Staff height 24. Inked calligraphic initials. Watermark: eagle (not in Briquet). Missing parts for most incomplete pieces now in TarazC 3.

Early 16th century. Probably copied in Seville.

Vol 4

Composers: Delete "Porto-l"; change "Escobar-18" to "Escobar-19."

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)
1v–3 index - -

index

Appears on: 1v–3
4v–5 Veni redemptor omnium Escobar
Appears on: 4v–5
Genres: Hymn
Source Attribution: Escobar
5v–6 Hostis Herodes Escobar
Appears on: 5v–6
Genres: Hymn
Source Attribution: Escobar
6v–7 Vexilla regis prodeunt ao. dalva
Appears on: 6v–7
Genres: Hymn
Source Attribution: ao. dalva
7v–8 Ad coenam Agni providi Sanabria
Appears on: 7v–8
Genres: Hymn
Source Attribution: Sanabria
8v–9 Jesu nostra redemptio Penalosa
Appears on: 8v–9
Genres: Hymn
Source Attribution: Penalosa
9v–10 Beata nobis gaudia alonso dalva
Appears on: 9v–10
Genres: Hymn
Source Attribution: alonso dalva
10v–11 Veni creator Spiritus ao. dalva
Appears on: 10v–11
Genres: Hymn
Source Attribution: ao. dalva
11v–12 O lux beata Trinitas Penalosa
Appears on: 11v–12
Genres: Hymn
Source Attribution: Penalosa
12v–13r Pange lingua gloriosi (I) Jo. Vrede y Urreda
Appears on: 12v–13r
Genres: Hymn
Source Attribution: Jo. Vrede y Urreda
13v–14 Sacris solemniis Penalosa
Appears on: 13v–14
Genres: Hymn
Source Attribution: Penalosa
14v–15 Ut queant laxis ao. Dalva
Appears on: 14v–15
Genres: Hymn
Source Attribution: ao. Dalva
15v–16 Hi sunt olivae duae Escobar
Appears on: 15v–16
Genres: Hymn
Source Attribution: Escobar
16v–17 Ave maris stella Escobar
Appears on: 16v–17
Genres: Ave maris stella, BVM, Hymn
Source Attribution: Escobar
17v–18 Ave maris stella Escobar
Appears on: 17v–18
Genres: Ave maris stella, BVM, Hymn
Source Attribution: Escobar
18v–19 Tibi Christe splendor Ao. dalva
Appears on: 18v–19
Genres: Hymn
Source Attribution: Ao. dalva
19v–20 Christe redemptor omnium conserva Ao. dalva
Appears on: 19v–20
Genres: Hymn
Source Attribution: Ao. dalva
20v–21 Exultet caelum laudibus Escobar
Appears on: 20v–21
Genres: Hymn
Source Attribution: Escobar
21v–22 Deus tuorum militum Escobar
Appears on: 21v–22
Genres: Hymn
Source Attribution: Escobar
22v–23 Sanctorum meritis Penalosa
Appears on: 22v–23
Genres: Hymn
Source Attribution: Penalosa
23v–24 Iste confessor Domini sacratus Escobar
Appears on: 23v–24
Genres: Hymn
Source Attribution: Escobar
24v–27 Magnificat octavi toni. Et exultavit [Pedro do] Porto
Appears on: 24v–27
Genres: BVM, Canticle, Magnificat
Source Attribution: [Pedro do] Porto
27v–29 Magnificat. Et exultavit [K.583] Jo. ancheta
Appears on: 27v–29
Genres: BVM, Canticle, Magnificat
Source Attribution: Jo. ancheta
29v–32 Magnificat. Et exultavit Jo. Segovia
Appears on: 29v–32
Genres: BVM, Canticle, Magnificat
Source Attribution: Jo. Segovia
32v–35 Magnificat primi toni. Anima mea [K.960] Penalosa
Appears on: 32v–35
Genres: BVM, Canticle, Magnificat
Source Attribution: Penalosa
35v–38 Magnificat quarti toni. Et exultavit [K.962] Penalosa
Appears on: 35v–38
Genres: BVM, Canticle, Magnificat
Source Attribution: Penalosa
38v–42 Magnificat quarti toni. Et exultavit [K.963] Penalosa
Appears on: 38v–42
Genres: BVM, Canticle, Magnificat
Source Attribution: Penalosa
42v–46 Magnificat sexti toni: Et exultavit [K.965] p.losa
Appears on: 42v–46
Genres: Magnificat
Source Attribution: p.losa
46v–48 Magnificat octavi toni. Et exultavit [K.966] p.losa
Appears on: 46v–48
Genres: BVM, Canticle, Magnificat
Source Attribution: p.losa
48v–51 Magnificat octavi toni: Et exultavit [K.967] p.losa
Appears on: 48v–51
Genres: BVM, Canticle, Magnificat
Source Attribution: p.losa
51v–54 Magnificat 4 toni. Et exultavit Ro. Morales
Appears on: 51v–54
Genres: BVM, Canticle, Magnificat
Source Attribution: Ro. Morales
54v–57 Magnificat. Anima mea Anto.o Marleth
Appears on: 54v–57
Genres: BVM, Canticle, Magnificat
Source Attribution: Anto.o Marleth
57v–59v Magnificat sexti toni: Et exultavit [K.584] -
Appears on: 57v–59v
Genres: Magnificat
General Note

incomplete: lacks ending - this can be found at the beginning of E-Bbc M1167, a bifolio extracted from this ms

[-] - - Anonymous

[Unknown Title]

Appears on: [-]
60r–62 Magnificat sexti toni. Et exultavit -
Appears on: 60r–62
Genres: BVM, Canticle, Magnificat
General Note

incomplete: lacks beginning - this can be found at the end of E-Bbc M1167, a bifolio extracted from this ms

62v–65 Magnificat septimi toni. Et exultavit -
Appears on: 62v–65
Genres: BVM, Canticle, Magnificat
65v–66 Asperges me Domine isopo et mundabor Escobar
Appears on: 65v–66
Genres: Asperges me, Motet
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Asperges me Domine hysopo
66v–68 Asperges me Domine isopo et mundabor Escobar
Appears on: 66v–68
Genres: Asperges me, Motet
Source Attribution: Escobar
68v–70 Vidi aquam egredientem de templo Alonso Dalba
Appears on: 68v–70
Genres: Motet
Source Attribution: Alonso Dalba
70v–71 Vidi aquam egredientem de templo Alonso |Dalba
Appears on: 70v–71
Genres: Motet
Source Attribution: Alonso |Dalba
71v–78 Missa Sine nomine: Kyrie Quixada
Appears on: 71v–78
Genres: Kyrie eleison, Mass Ordinary
Source Attribution: Quixada
71v–78 Missa Sine nomine: Gloria -
Appears on: 71v–78
Genres: Gloria (et in terra pax), Mass Ordinary
71v–78 Missa Sine nomine: Credo -
Appears on: 71v–78
Genres: Credo (patrem omnipotentem), Mass Ordinary
71v–78 Missa Sine nomine: Sanctus -
Appears on: 71v–78
Genres: Mass Ordinary, Sanctus [& Benedictus]
71v–78 Missa Sine nomine: Agnus Dei -
Appears on: 71v–78
Genres: Agnus Dei, Mass Ordinary
78v–85 Missa Sine nomine: Kyrie alonso dalva
Appears on: 78v–85
Genres: Kyrie eleison, Mass Ordinary
Source Attribution: alonso dalva
78v–85 Missa Sine nomine: Gloria -
Appears on: 78v–85
Genres: Gloria (et in terra pax), Mass Ordinary
78v–85 Missa Sine nomine: Credo -
Appears on: 78v–85
Genres: Credo (patrem omnipotentem), Mass Ordinary
78v–85 Missa Sine nomine: Sanctus -
Appears on: 78v–85
Genres: Mass Ordinary, Sanctus [& Benedictus]
78v–85 Missa Sine nomine: Agnus Dei -
Appears on: 78v–85
Genres: Agnus Dei, Mass Ordinary
85v–92 Missa Sine nomine: Kyrie -
Appears on: 85v–92
Genres: Kyrie eleison, Mass Ordinary
85v–92 Missa Sine nomine: Gloria -
Appears on: 85v–92
Genres: Gloria (et in terra pax), Mass Ordinary
85v–92 Missa Sine nomine: Credo -
Appears on: 85v–92
Genres: Credo (patrem omnipotentem), Mass Ordinary
85v–92 Missa Sine nomine: Sanctus -
Appears on: 85v–92
Genres: Mass Ordinary, Sanctus [& Benedictus]
85v–92 Missa Sine nomine: Agnus Dei -
Appears on: 85v–92
Genres: Agnus Dei, Mass Ordinary
92v–102 Missa del Ave Maria peregrina: Kyrie, Gloria (2 partes), Credo (3 partes), Et incarnatus (3 voces), Sanctus with Pleni (3 voces), Benedictus (3 voces), Agnus I, Agnus II, Agnus III Penalosa
Appears on: 92v–102
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Penalosa
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
102v–112 Missa Por la mar: Kyrie: Gloria: 2 partes. Credo: 5 partes Qui pro: 2 voces, Et incarnatus: 3 voces, Crucifixus: 5 voces. Sanctus mit: Pleni: 3 voces, Benedictus: 4 voces. Agnus I. Agnus II. Penalosa
Appears on: 102v–112
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Penalosa
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
112v–122 Missa El ojo: Kyrie: Gloria: 3 partes Domine: 3 voces.Credo: 6 partes Qui pro: 2 voces. Sanctus with: Pleni: 3 voces, Benedictus: 3 voces. Agnus. p.losa
Appears on: 112v–122
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: p.losa
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

Appears on: [-]
122v–132 Missa L'homme armé: Kyrie: Gloria: 2 partes. Credo: 2 partes. Sanctus mit: Pleni: 3 voces, Benedictus: 3 voces. Agnus I. Agnus II: p.losa
Appears on: 122v–132
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: p.losa
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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132v–142 Missa Adieu mes amours: Kyrie: Gloria: 2 partes. Credo: 2 partes. Sanctus with: Pleni: 3 voces, Benedictus: 3 voces. Agnus I. Agnus II. Penalosa
Appears on: 132v–142
Genres: Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Penalosa
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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142v–150 Missa Nunca fue pena mayor: Kyrie, Christe (3 voces), Gloria (3 partes), Credo (3 partes) Qui pro: 2 voces. Sanctus with Pleni (3 voces), Osanna, Agnus Penalosa
Appears on: 142v–150
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Penalosa
[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[Unknown Title]

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150v–158 Missa Sine nomine (I): Kyrie, Gloria (2 partes), Credo (2 partes), Sanctus with: Pleni, Osanna, Benedictus (3 voces), Agnus I, Agnus II (5 voces) An. de ribera
Appears on: 150v–158
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: An. de ribera
153v–155 Missa Sine nomine (I): Gloria -
Appears on: 153v–155
Genres: Gloria (et in terra pax), Mass Ordinary
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
158v–169 Missa Sine nomine: Kyrie, Christe: 3 voces, Gloria (3 partes), Credo (3 partes), Sanctus with Pleni (3 voces), Benedictus (3 voces), Agnus I, Agnus II Escobar
Appears on: 158v–169
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Escobar
[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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169v–179 Missa quarti toni: Kyrie: Gloria: 2 partes. Credo: 3 partes Qui pro: 3 voces. Sanctus mit: Pleni: 3 voces, Benedictus: 3 voces. Agnus. -
Appears on: 169v–179
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

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179v–189 Missa Fortuna desperata: Kyrie, Christe (3 voces), Gloria (2 partes), Credo (2 partes), Sanctus with Pleni (3 voces), Benedictus (3 voces), Agnus I. Agnus II Periquin
Appears on: 179v–189
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Periquin
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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189v–198 Missa Sine nomine (II): Kyrie, Gloria (2 partes), Credo (2 partes), Sanctus with: Pleni, Osanna, Benedictus (3 voces), Agnus I, Agnus II (5 voces) Tordesillas
Appears on: 189v–198
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Kyrie eleison, Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Tordesillas
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

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198v–199 Missa Rex Virginum: Kyrie Tropus: Rex virginum Escobar
Appears on: 198v–199
Genres: Mass Ordinary, Troped Kyrie
Source Attribution: Escobar
199v–205 Missa Rex Virginum: Et in terra pax [Gloria] [Tro] Spiritus et alme p.losa
Appears on: 199v–205
Genres: Mass Ordinary, Troped Gloria
Source Attribution: p.losa
199v–205 Missa Rex Virginum: Credo: 2 partes. p.losa
Appears on: 199v–205
Genres: Credo (patrem omnipotentem), Mass Ordinary
Source Attribution: p.losa
205v–206 Missa Rex Virginum: Sanctus with: Pleni: 3 voces, Osanna. p.hrs [Pedro Hernandes]
Appears on: 205v–206
Genres: Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: p.hrs [Pedro Hernandes]
206v–207 Missa Rex Virginum: Agnus ao. pz dalva [Antonio Perez d'Alva]
Appears on: 206v–207
Genres: Agnus Dei, Mass Ordinary
Source Attribution: ao. pz dalva [Antonio Perez d'Alva]
207v–213 Missa nuestra Señora / Missa Rex Virginum: Kyrie [Trope: Rex virginum amator] -
Appears on: 207v–213
Genres: Kyrie eleison, Mass Ordinary
207v–213 Missa nuestra Señora / Missa Rex Virginum: Gloria [Trope: Spiritus et alme] Jo. ancheta
Appears on: 207v–213
Genres: Gloria (et in terra pax), Mass Ordinary
Source Attribution: Jo. ancheta
207v–213 Missa nuestra Señora / Missa Rex Virginum: Credo Jo. ancheta
Appears on: 207v–213
Genres: Credo (patrem omnipotentem), Mass Ordinary
Source Attribution: Jo. ancheta
213v–215 Missa nuestra Señora / Missa Rex Virginum: Sanctus Escobar
Appears on: 213v–215
Genres: Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Escobar
213v–215 Missa nuestra Señora / Missa Rex Virginum: Agnus Dei scobar [sic]
Appears on: 213v–215
Genres: Agnus Dei, Mass Ordinary
Source Attribution: scobar [sic]
215v–225 Missa pro defunctis / Missa Requiem aeternam: Introitus,: Kyrie, Graduale, Offertorium, Sanctus with Pleni, Osanna I, Benedictus, Osanna II, Agnus I, Agnus II, Tractus. only Cantus, Tenor. Escobar
Appears on: 215v–225
Genres: Agnus Dei, Gradual, Introit, Kyrie eleison, Offertory, Requiem, Sanctus [& Benedictus]
Source Attribution: Escobar
[-] - - Anonymous

[Unknown Title]

Appears on: [-]
[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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[-] - - Anonymous

[Unknown Title]

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225v–226 Ne recorderis dirige dum veneris / Kyrie eleison f. la torre
Appears on: 225v–226
Genres: Responsory, Verse
Source Attribution: f. la torre
226v–227 Libera me Domine quando caeli dum veneris Jo. ancheta
Appears on: 226v–227
Genres: Motet
Source Attribution: Jo. ancheta
227v–230 Salve regina mater misericordiae P. Escobar
Appears on: 227v–230
Genres: Marian antiphon, Motet, Salve Regina
Source Attribution: P. Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Salve regina
230v–234 Salve regina Jo. Ancheta
Appears on: 230v–234
Genres: Marian antiphon, Motet, Salve Regina
Source Attribution: Jo. Ancheta
Voice: [no designation]
Languages: Latin
Voice Text: Salve Regina
234v–235r Alleluia. Vidimus stellam eius in oriente ao.. dalva
Appears on: 234v–235r
Genres: Alleluia, Proper
Source Attribution: ao.. dalva
Voice: [no designation]
Languages: Latin
Voice Text: Alleluia. Vidimus stellam
235v–236 Alleluia. Angelus Domini descendit ao. dalva
Appears on: 235v–236
Genres: Alleluia, Proper
Source Attribution: ao. dalva
236v–237 Alleluia. Ascendo ad patrem ao. dalva
Appears on: 236v–237
Genres: Alleluia, Proper
Source Attribution: ao. dalva
237v–238 Alleluia. Deus verus / Veni sancte spiritus alonso dalva
Appears on: 237v–238
Genres: Alleluia, Proper, Veni sancte spiritus
Source Attribution: alonso dalva
238v–239 Alleluia. O adorando trinitas alonso dalva
Appears on: 238v–239
Genres: Alleluia, Proper
Source Attribution: alonso dalva
239v–240 Alleluia. Caro mea vere est cibus Escobar
Appears on: 239v–240
Genres: Alleluia, Proper
Source Attribution: Escobar
240v–241 Alleluia. Assumpta est Maria alonso dalva
Appears on: 240v–241
Genres: Alleluia, Proper
Source Attribution: alonso dalva
241v–242 Alleluia. Nativitas tua alonso dalva
Appears on: 241v–242
Genres: Alleluia, Proper
Source Attribution: alonso dalva
242v–243 Alleluia. Primus ad Sion dicet ecce Escobar
Appears on: 242v–243
Genres: Alleluia, Proper
Source Attribution: Escobar
243v–244 Unica est columba mea Peñalosa
Appears on: 243v–244
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Unica est columba mea

Item Bibliography

Preciado, Dionisio (editor). 1986-2000. Francisco de Peñalosa. Opera Omnia. 4 vols. Madrid. Pages: (1) [facs] 74.

244v–245 Ave Maria gratia plena Dominus tecum Ao. Dalva
Appears on: 244v–245
Genres: Ave Maria, Motet
Source Attribution: Ao. Dalva
Voice: [no designation]
Languages: Latin
Voice Text: Ave Maria gratia plena
245v–246 Stabat mater dolorosa Ao. Dalva
Appears on: 245v–246
Genres: Motet, Stabat Mater
Source Attribution: Ao. Dalva
Voice: [no designation]
Languages: Latin
Voice Text: Stabat mater dolorosa
246v–247 O Maria mater pia esto nobis recta via Escobar
Appears on: 246v–247
Genres: Motet
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: O Maria mater pia esto nobis recta via
247v–248 Sub tuum praesidium confugimus Escobar
Appears on: 247v–248
Genres: Motet
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Sub tuum praesidium
248v–249 Nigra sum sed formosa Peñalosa
Appears on: 248v–249
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Nigra sum sed formosa
249v–250 Adoro te Domine Jesu Christe Peñalosa
Appears on: 249v–250
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Adoro te domine Iesu Christe quem credo
250v–251 Ne reminiscaris Domine Peñalosa
Appears on: 250v–251
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Ne reminiscaris domine
251v–252 Sancta Maria succurre miseris Peñalosa
Appears on: 251v–252
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Sancta Maria succurre miseris
252v–253 Pater noster qui es in caelis Peñalosa
Appears on: 252v–253
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Pater noster qui es in caelis
253v–254 Emendemus in melius quae ignoranter Peñalosa
Appears on: 253v–254
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Emendemus in melius quae ignoranter
254v–255 Sancta mater istud agas crucifixi 25.8 Peñalosa
Appears on: 254v–255
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Sancta mater istud agas crucifixi
255v–256 Ave verum corpus natum de Maria virgine Peñalosa
Appears on: 255v–256
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Ave verum corpus natum
256v–257 O decus virgineum O dulcis domina -
Appears on: 256v–257
Genres: Motet
Voice: [no designation]
Languages: Latin
Voice Text: O decus virgineum O dulcis domina

Item Bibliography

Preciado, Dionisio (editor). 1986-2000. Francisco de Peñalosa. Opera Omnia. 4 vols. Madrid. Pages: (1) [facs.] 74.

257v–258 Inter vestibulum et altare plorabant Peñalosa
Appears on: 257v–258
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Inter vestibulum et altare plorabant
258v–259 Ave Maria gratia plena Dominus tecum An. de Ribera
Appears on: 258v–259
Genres: Ave Maria, Motet
Source Attribution: An. de Ribera
Voice: [no designation]
Languages: Latin
Voice Text: Ave Maria gratia plena
259v–260 Ave festiva ferculis Salomonis convivia 23.3 Jusquini
Appears on: 259v–260
Genres: Motet
Source Attribution: Jusquini
Voice: [no designation]
Languages: Latin
Voice Text: Ave festiva ferculis Salomonis convivia
260v–261 O domina sanctissima O piissima Peñalosa
Appears on: 260v–261
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: O domina sanctissima O piissima
261v–262 Precor te Domine - 1a pars (of 2): Precor te Domine Jesu Christe propter illam Peñalosa
Appears on: 261v–262
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Precor te domine Iesu Christe propter illam
262v–263 Deus qui manus tuas et pedes tuos Peñalosa
Appears on: 262v–263
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Deus qui manus tuas et pedes tuos
263v–264 Transeunte Domino Jesu caecus quidam secus Peñalosa
Appears on: 263v–264
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Transeunte domino Iesu caecus quidam secus

Item Bibliography

Preciado, Dionisio (editor). 1986-2000. Francisco de Peñalosa. Opera Omnia. 4 vols. Madrid. Pages: (1) [facs] 75.

264v–265 Domine Jesu Christe qui neminem vis Peñalosa
Appears on: 264v–265
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Domine Iesu Christe qui neminem vis
265v–266 Domine secundum actum meum noli me Peñalosa
Appears on: 265v–266
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Domine secundum actum meum noli me

Item Bibliography

Preciado, Dionisio (editor). 1986-2000. Francisco de Peñalosa. Opera Omnia. 4 vols. Madrid. Pages: (1), [facs.] 75.

266v–267 In passione positus Jesus qui pro nobis Peñalosa
Appears on: 266v–267
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: In passione positus Iesus
267v–268 Ave vera caro Christi quae in cruce Peñalosa
Appears on: 267v–268
Genres: Lauda
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Ave vera caro Christi quae in cruce
268v–269 Ave vere sanguis Domini nostri Jesu Peñalosa
Appears on: 268v–269
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Ave vere sanguis Domini nostri Iesu
269v–270 Ave regina caelorum Peñalosa
Appears on: 269v–270
Genres: Motet
Source Attribution: Peñalosa
Voice: [no designation]
Languages: Latin
Voice Text: Ave regina caelorum
270v–271 O sacrum convivium in quo Christus sumitur Ao. Dalva
Appears on: 270v–271
Genres: Motet
Source Attribution: Ao. Dalva
Voice: [no designation]
Languages: Latin
Voice Text: O sacrum convivium
271v–272 Clamabat autem mulier Cananaea ad Dominum Escobar
Appears on: 271v–272
Genres: Motet
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Clamabat autem mulier Cananaea ad dominum
272v–273 Patris sapientia veritas divina Antonio de Ribera
Appears on: 272v–273
Genres: Motet
Source Attribution: Antonio de Ribera
Voice: [no designation]
Languages: Latin
Voice Text: Patris sapientia veritas divina
273v–274 O bone Jesu illumina oculos meos Antonjo R(ibe)ra
Appears on: 273v–274
Genres: Motet
Source Attribution: Antonjo R(ibe)ra
Voice: [no designation]
Languages: Latin
Voice Text: O bone Iesu illumina oculos meos
274v–275 O admirabile commercium creator generis Illario
Appears on: 274v–275
Genres: Motet
Source Attribution: Illario
Voice: [no designation]
Languages: Latin
Voice Text: O admirabile commercium creator generis
275v–276 Ave sanctissimum et gloriosum / Ave verum Diaz
Appears on: 275v–276
Genres: Motet
Source Attribution: Diaz
Voice: [no designation]
Languages: Latin
Voice Text: Ave sanctissimum et gloriosum/Ave verum
General Note

KnightonMM suggests Pedro Diaz de Aux (or possibly Diego Diaz) as author of this piece: both served at the Aragonese court in the years around 1500

276v–277 Stabat mater dolorosa Escobar
Appears on: 276v–277
Genres: Motet, Stabat Mater
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Stabat mater dolorosa
277v–278 Virgo et mater quae filium Dei genuisti Jo. Ancheta
Appears on: 277v–278
Genres: Motet
Source Attribution: Jo. Ancheta
Voice: [no designation]
Languages: Latin
Voice Text: Virgo et mater quae filium dei genuisti
278v–279 O felix Maria que auctorem tuum Ao. Dalva
Appears on: 278v–279
Genres: Motet
Source Attribution: Ao. Dalva
Voice: [no designation]
Languages: Latin
Voice Text: O felix Maria que auctorem tuum
279v–280 Domine Jesu Christe qui hora diei ultima Jo. Ancheta
Appears on: 279v–280
Genres: Motet
Source Attribution: Jo. Ancheta
Voice: [no designation]
Languages: Latin
Voice Text: Domine Iesu Christe qui hora diei ultima

Item Bibliography

Rubio, P Samuel (editor). 1980. Juan de Anchieta. Opera Omnia.  Guipúzcoa. Pages: 78-82.

280v–281 Ave Maria gratia plena - 1a pars (of 2): Ave Maria gratia plena Dominus tecum Luyset [Compère]
Appears on: 280v–281
Genres: Ave Maria, Motet
Source Attribution: Luyset [Compère]
Voice: [no designation]
Languages: Latin
Voice Text: Ave Maria gratia plena
281v–282 Ave Maria gratia plena - 2a pars (of 2): Sancte Michael ora pro nobis ad Dominum -
Appears on: 281v–282
Genres: Motet
282v–283 Te ergo quaesumus tuis famulis subveni Ao. Dalva
Appears on: 282v–283
Genres: Motet
Source Attribution: Ao. Dalva
Voice: [no designation]
Languages: Latin
Voice Text: Te ergo quaesumus tuis famulis subveni
283v–284 Memorare piissima opprobria et crudeles Escobar/[Peñalosa]
Appears on: 283v–284
Genres: Motet
Source Attribution: Escobar/[Peñalosa]
Voice: [no designation]
Languages: Italian
Voice Text: Memorare piissima opprobria et crudelis
284v–285 Regina caeli laetare alleluia Escobar
Appears on: 284v–285
Genres: Marian antiphon, Motet, Regina caeli laetare
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Regina caeli laetare alleluia
285v–286 Beatus es et bene tibi erit Escobar
Appears on: 285v–286
Genres: Motet
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Beatus es et bene tibi
286v–287 Conceptio tua Dei genitrix Ylario
Appears on: 286v–287
Genres: Motet
Source Attribution: Ylario
Voice: [no designation]
Languages: Latin
Voice Text: Conceptio tua dei genitrix virgo
287v–288 Lilium sacrum virgo gloriosa regina mundi Senabria
Appears on: 287v–288
Genres: Motet
Source Attribution: Senabria
Voice: [no designation]
Languages: Latin
Voice Text: Lilium sacrum virgo gloriosa regina mundi
288v–291 Lamentatio Jeremiae: Et factum est (feria quinta) Penalosa
Appears on: 288v–291
Genres: Lamentations
Source Attribution: Penalosa
291v–294 Lamentatio Jeremiae: Aleph. Quomodo obtexit caligine (feria sexta) Penalosa
Appears on: 291v–294
Genres: Lamentations
Source Attribution: Penalosa
294v–297 Lamentatio Jeremiae: Quomodo obscuratum est (Sabbato sancto) Penalosa
Appears on: 294v–297
Genres: Lamentations
Source Attribution: Penalosa
297v–299 Lamentations: Recordata est Tordesillas
Appears on: 297v–299
Genres: Lamentations, Motet
Source Attribution: Tordesillas
Voice: [no designation]
Languages: Latin
Voice Text: Benedicamus domino
299v Absolve Domine animas omnium fidelium Escobar
Appears on: 299v
Genres: Motet
Source Attribution: Escobar
Voice: [no designation]
Languages: Latin
Voice Text: Absolve Domine
General Note

incomplete: the final folio (f.300) of the ms is missing

Composer Compositions
Alba, Alonso Perez de (ca. 1480–ca. 1520)
Almorox, Juan Alvarez de (fl. c1482)
Anchieta, Juan de (1462–1523)
Anonymous
Compère, Loyset (ca. 1445–1518)
Despres, Josquin (ca. 1450–1521)
Diaz (Pedro Diaz de Aux?)
Escobar, Pedro de
Fernandez, Pedro (ca. 1480–1574)
Guerrero, Francisco
Illarius, Johannes
Madrid, Juan Fernandez de
Marlet, Antonius
Mondejar, Alonso de
Morales, Cristóbal de (ca. 1500–1553)
Morales, Ro(drigo?}
Penalosa, Francisco de
Quadris, Johannes de
Quexada [Quesada]
Ribera, Antonio de
Sanabria, Juan de
Segovia, Juan de
Therache, Pierrequin de (ca. 1470–1528)
Tordesillas, Pedro Hernandez de
Torre, Francisco de la
Urrede (Wrede), Juan de (fl. 1451-c1482)
Yñiguez, Pedro
Composition Composers (? Uncertain) Folios / Pages
Absolve Domine animas omnium fidelium 299v
Ad coenam Agni providi 7v–8
Adoro te Domine Jesu Christe 249v–250
Alleluia. Angelus Domini descendit 235v–236
Alleluia. Ascendo ad patrem 236v–237
Alleluia. Assumpta est Maria 240v–241
Alleluia. Caro mea vere est cibus 239v–240
Alleluia. Deus verus / Veni sancte spiritus 237v–238
Alleluia. Nativitas tua 241v–242
Alleluia. O adorando trinitas 238v–239
Alleluia. Primus ad Sion dicet ecce 242v–243
Alleluia. Vidimus stellam eius in oriente 234v–235r
Asperges me Domine isopo et mundabor 65v–66
Asperges me Domine isopo et mundabor 66v–68
Ave festiva ferculis Salomonis convivia 23.3 259v–260
Ave Maria gratia plena - 1a pars (of 2): Ave Maria gratia plena Dominus tecum 280v–281
Ave Maria gratia plena - 2a pars (of 2): Sancte Michael ora pro nobis ad Dominum 281v–282
Ave Maria gratia plena Dominus tecum 244v–245
Ave Maria gratia plena Dominus tecum 258v–259
Ave maris stella 16v–17
Ave maris stella 17v–18
Ave regina caelorum 269v–270
Ave sanctissimum et gloriosum / Ave verum 275v–276
Ave vera caro Christi quae in cruce 267v–268
Ave vere sanguis Domini nostri Jesu 268v–269
Ave verum corpus natum de Maria virgine 255v–256
Beata nobis gaudia 9v–10
Beatus es et bene tibi erit 285v–286
Christe redemptor omnium conserva 19v–20
Clamabat autem mulier Cananaea ad Dominum 271v–272
Conceptio tua Dei genitrix 286v–287
Deus qui manus tuas et pedes tuos 262v–263
Deus tuorum militum 21v–22
Domine Jesu Christe qui hora diei ultima 279v–280
Domine Jesu Christe qui neminem vis 264v–265
Domine secundum actum meum noli me 265v–266
Emendemus in melius quae ignoranter 253v–254
Exultet caelum laudibus 20v–21
Hi sunt olivae duae 15v–16
Hostis Herodes 5v–6
In passione positus Jesus qui pro nobis 266v–267
Inter vestibulum et altare plorabant 257v–258
Iste confessor Domini sacratus 23v–24
Jesu nostra redemptio 8v–9
Lamentatio Jeremiae: Aleph. Quomodo obtexit caligine (feria sexta) 291v–294
Lamentatio Jeremiae: Et factum est (feria quinta) 288v–291
Lamentatio Jeremiae: Quomodo obscuratum est (Sabbato sancto) 294v–297
Lamentations: Recordata est 297v–299
Libera me Domine quando caeli dum veneris 226v–227
Lilium sacrum virgo gloriosa regina mundi 287v–288
Magnificat 4 toni. Et exultavit 51v–54
Magnificat octavi toni. Et exultavit 24v–27
Magnificat octavi toni. Et exultavit [K.966] 46v–48
Magnificat octavi toni: Et exultavit [K.967] 48v–51
Magnificat primi toni. Anima mea [K.960] 32v–35
Magnificat quarti toni. Et exultavit [K.962] 35v–38
Magnificat quarti toni. Et exultavit [K.963] 38v–42
Magnificat septimi toni. Et exultavit 62v–65
Magnificat sexti toni. Et exultavit 60r–62
Magnificat sexti toni: Et exultavit [K.584] 57v–59v
Magnificat sexti toni: Et exultavit [K.965] 42v–46
Magnificat. Anima mea 54v–57
Magnificat. Et exultavit 29v–32
Magnificat. Et exultavit [K.583] 27v–29
Memorare piissima opprobria et crudeles 283v–284
Missa Adieu mes amours: Kyrie: Gloria: 2 partes. Credo: 2 partes. Sanctus with: Pleni: 3 voces, Benedictus: 3 voces. Agnus I. Agnus II. 132v–142
Missa del Ave Maria peregrina: Kyrie, Gloria (2 partes), Credo (3 partes), Et incarnatus (3 voces), Sanctus with Pleni (3 voces), Benedictus (3 voces), Agnus I, Agnus II, Agnus III 92v–102
Missa El ojo: Kyrie: Gloria: 3 partes Domine: 3 voces.Credo: 6 partes Qui pro: 2 voces. Sanctus with: Pleni: 3 voces, Benedictus: 3 voces. Agnus. 112v–122
Missa Fortuna desperata: Kyrie, Christe (3 voces), Gloria (2 partes), Credo (2 partes), Sanctus with Pleni (3 voces), Benedictus (3 voces), Agnus I. Agnus II 179v–189
Missa L'homme armé: Kyrie: Gloria: 2 partes. Credo: 2 partes. Sanctus mit: Pleni: 3 voces, Benedictus: 3 voces. Agnus I. Agnus II: 122v–132
Missa nuestra Señora / Missa Rex Virginum: Agnus Dei 213v–215
Missa nuestra Señora / Missa Rex Virginum: Credo 207v–213
Missa nuestra Señora / Missa Rex Virginum: Gloria [Trope: Spiritus et alme] 207v–213
Missa nuestra Señora / Missa Rex Virginum: Kyrie [Trope: Rex virginum amator] 207v–213
Missa nuestra Señora / Missa Rex Virginum: Sanctus 213v–215
Missa Nunca fue pena mayor: Kyrie, Christe (3 voces), Gloria (3 partes), Credo (3 partes) Qui pro: 2 voces. Sanctus with Pleni (3 voces), Osanna, Agnus 142v–150
Missa Por la mar: Kyrie: Gloria: 2 partes. Credo: 5 partes Qui pro: 2 voces, Et incarnatus: 3 voces, Crucifixus: 5 voces. Sanctus mit: Pleni: 3 voces, Benedictus: 4 voces. Agnus I. Agnus II. 102v–112
Missa pro defunctis / Missa Requiem aeternam: Introitus,: Kyrie, Graduale, Offertorium, Sanctus with Pleni, Osanna I, Benedictus, Osanna II, Agnus I, Agnus II, Tractus. only Cantus, Tenor. 215v–225
Missa quarti toni: Kyrie: Gloria: 2 partes. Credo: 3 partes Qui pro: 3 voces. Sanctus mit: Pleni: 3 voces, Benedictus: 3 voces. Agnus. 169v–179
Missa Rex Virginum: Agnus 206v–207
Missa Rex Virginum: Credo: 2 partes. 199v–205
Missa Rex Virginum: Et in terra pax [Gloria] [Tro] Spiritus et alme 199v–205
Missa Rex Virginum: Kyrie Tropus: Rex virginum 198v–199
Missa Rex Virginum: Sanctus with: Pleni: 3 voces, Osanna. 205v–206
Missa Sine nomine (I): Gloria 153v–155
Missa Sine nomine (I): Kyrie, Gloria (2 partes), Credo (2 partes), Sanctus with: Pleni, Osanna, Benedictus (3 voces), Agnus I, Agnus II (5 voces) 150v–158
Missa Sine nomine (II): Kyrie, Gloria (2 partes), Credo (2 partes), Sanctus with: Pleni, Osanna, Benedictus (3 voces), Agnus I, Agnus II (5 voces) 189v–198
Missa Sine nomine: Agnus Dei 71v–78
Missa Sine nomine: Agnus Dei 78v–85
Missa Sine nomine: Agnus Dei 85v–92
Missa Sine nomine: Credo 71v–78
Missa Sine nomine: Credo 78v–85
Missa Sine nomine: Credo 85v–92
Missa Sine nomine: Gloria 71v–78
Missa Sine nomine: Gloria 78v–85
Missa Sine nomine: Gloria 85v–92
Missa Sine nomine: Kyrie 71v–78
Missa Sine nomine: Kyrie 78v–85
Missa Sine nomine: Kyrie 85v–92
Missa Sine nomine: Kyrie, Christe: 3 voces, Gloria (3 partes), Credo (3 partes), Sanctus with Pleni (3 voces), Benedictus (3 voces), Agnus I, Agnus II 158v–169
Missa Sine nomine: Sanctus 71v–78
Missa Sine nomine: Sanctus 78v–85
Missa Sine nomine: Sanctus 85v–92
Ne recorderis dirige dum veneris / Kyrie eleison 225v–226
Ne reminiscaris Domine 250v–251
Nigra sum sed formosa 248v–249
O admirabile commercium creator generis 274v–275
O bone Jesu illumina oculos meos 273v–274
O decus virgineum O dulcis domina 256v–257
O domina sanctissima O piissima 260v–261
O felix Maria que auctorem tuum 278v–279
O lux beata Trinitas 11v–12
O Maria mater pia esto nobis recta via 246v–247
O sacrum convivium in quo Christus sumitur 270v–271
Pange lingua gloriosi (I) 12v–13r
Pater noster qui es in caelis 252v–253
Patris sapientia veritas divina 272v–273
Precor te Domine - 1a pars (of 2): Precor te Domine Jesu Christe propter illam 261v–262
Regina caeli laetare alleluia 284v–285
Sacris solemniis 13v–14
Salve regina 230v–234
Salve regina mater misericordiae 227v–230
Sancta Maria succurre miseris 251v–252
Sancta mater istud agas crucifixi 25.8 254v–255
Sanctorum meritis 22v–23
Stabat mater dolorosa 245v–246
Stabat mater dolorosa 276v–277
Sub tuum praesidium confugimus 247v–248
Te ergo quaesumus tuis famulis subveni 282v–283
Tibi Christe splendor 18v–19
Transeunte Domino Jesu caecus quidam secus 263v–264
Unica est columba mea 243v–244
Ut queant laxis 14v–15
Veni creator Spiritus 10v–11
Veni redemptor omnium 4v–5
Vexilla regis prodeunt 6v–7
Vidi aquam egredientem de templo 68v–70
Vidi aquam egredientem de templo 70v–71
Virgo et mater quae filium Dei genuisti 277v–278

Set: Tarazona 2/3

Type: Source bound in separate volumes

No images available

E-Bbc MS 1167

No images available

E-TZ Archivo Ms. 2/3

denotes primary source study

Kreitner, Kenneth (editor). 2007. Two Early Morales Magnificat Settings. 21-61. Notes: magnificats in Valladolid 5 & Tarazona 2/3.

Roldán, Eva Esteve. 2006. Manuscrito musical 2-3 de la Catedral de Tarazona. Estudio historiografico. Revista Aragonesa de Musicologia, 131-172. Notes: contents list; discussion.

Jiménez, Juan Ruiz. 2005. Infunde amorem cordibus: an early 16th-century polyphonic hymn cycle from Seville. Early Music, 619-638. Notes: contents list (partial); transcription (partial); mention of MS; discussion.

Calahorra Martínez, Pedro (editor). 1995. Autores hispanos de los siglos XV-XVI de los Ms. 2 y 5 de la catedral de Tarazona. Polifonia Aragonesa.  Zaragoza. Notes: contents list (partial); transcription (partial).

Hardie, Jane Morlet. 1983. The Motets of Francisco de Pehalosa and Their Manuscript Sources. University of Michigan, Unpublished Ph.D. dissertation. Pages: 42-52, 128ff, 169-70, 184, 196ff, 270ff, 316ff. Notes: physical description; contents list (partial); concordances (partial); incipits (partial); transcription (partial); texts (partial); mention of MS; discussion.

Ward, Tom Robert. 1979. The Polyphonic Office Hymn from 1400 to 1520: A Descriptive Inventory. RMS.  American Institute of Musicology. Pages: 59ff, passim. Notes: contents list (partial); concordances (partial); incipits (partial).

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. Pages: 49-51, 342-4, 347-8, 351, 358, 406-8. Notes: contents list (partial); concordances (partial); incipits (partial); mention of MS; discussion.

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.  Tutzing. Pages: 165. Notes: physical description (partial); contents list (partial); concordances (partial); incipits (partial).

Sevillano, Justo. 1961. Catálogo musical del Archivo Capitular de Tarazona. Anuário Musical, 149-76. Pages: 150-4. Notes: physical description; contents list.

Stevenson, Robert. 1960. Spanish Music in the Age of Columbus.  The Hague. Pages: 84, 136, 151-2, 172, 177, 180, 189, 193, 203. Notes: contents list (partial); concordances (partial).

Kastner, Macario Santiago (editor). 1959-. Portugaliae Musica.  Lisbon. Pages: XXXVII,xxix, 1-8. Notes: contents list (partial); transcription (partial).

Gerber, Rudolf. 1953. Spanische Hymnensätze um 1500. Archiv für Musikwissenschaft, 165-84. Pages: 166ff. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik.  Kassel. Pages: I, 1383-4; II, 1344; XII, 985. Notes: mention of MS; facsimile (partial).

Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola.  Madrid (later Barcelona, later Rome). Pages: I, 122-3. Notes: physical description (partial); contents list.

Anglès, Higinio. 1941. La Música Espanola desde la Edad Media hasta Nuestros Dias. Catálogo de la Exposición Histórica,  Barcelona. Pages: 29. Notes: physical description (partial).

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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