Copied by 8-10 scribes (KanP), including Franchino Gafori, who also copied ParmC 1158; scribal concordances with MilD 1, MilD 2, and MilD 4. The scribe who copied ff. 37-54, 57'-78, and 125'147 also wrote FlorC 2441 (RifSC). Most anonymous pieces probably by Gafori. Copied in Milan, for use by the cathedral choir; prepared under direction of Franchino Gafori, maestro di cappella from 1484 until his death in 1522.
I-Mfd MS 2267 (Librone 3)
Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale, Milano, Italy
partbook: Early 16th century
| Archive | Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale, Milano, Italy (I-Mfd) |
|---|---|
| Shelfmark | MS 2267 (Librone 3) |
| 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 | 487 x 340 mm |
| Other Identifiers |
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| Notations |
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| Contents | Contains 136 compositions, 70 from 12 composers, 66 are anonymous. |
General Description
Physical Description
Paper manuscript; fols. III (modern flyleaves), 1 (an ancient flyleaf numbered ‘3’ in pencil by a modern hand), 217, III’ (modern flyleaves). The manuscript consists of 217 fols.; the foliation, written by Gaffurius himself on the upper right margin of each recto, starts with ‘11’ (as the codex is acephalous) and ends with ‘227’. The format is ‘in folio’: 487 × 340. The gatherings do not seem to have been altered during the 1950s restoration: 1–2 (8), 3–8 (10), 9 (12), 10 (10), 11–12 (8), 13 (11, a quinternion with leaf inserted after the first six), 14 (an artificial quinternion in which the first and the last folios, devoid of conjoint leaves, are pasted together with the following and the previous folio respectively), 15–16 (8), 17–18 (10), 19–20 (8), 21–23 (10). The paper shows no watermarks and is homogeneous in the en-tire manuscript. The writing-block is 487 × 340 = 41 [383] 63 × 24 [266] 50, with 10 staves + 10 lines of text (fol. 19r; often a stave is added in the lower margin in order to complete a voice part); the ruling, normally without indentation, is in lead pencil for the vertical bounding lines and in ochre ink for the staves. A double 20-mm rastrum was used, with 18-mm spacings: six prick-holes are visible on the outer margin, one corresponding to each pair of staves and the sixth underneath the last stave. In some gatherings an additional series of five holes is also visible, for the lines of text. Fol. 1v is completely blank, whereas fols. 11r, 36v, 98v–99r, 116v–117r, 124v–125r, 171v–172r, 196v–198r, and 227v contain empty staves (at fol. 227v there are several sixteenth-century probationes pennae, mentioning a certain ‘Antonio Maria’). The modern cover (518 × 360) is in wooden boards and leather and neomedieval in taste, with two clasps, cornerpieces, and bosses, and the logo of the Veneranda. Fabbrica del Duomo embossed at the top of the front board. At the top of the spine it bears, imprinted in gold, the current shelfmark (3), at the bottom the previous one (2267) (Pantarotto 2021).
Two fragmentary, non-consecutive loose folios have been recovered in the Archive of the Veneranda Fabbrica (now placed in a folder with shelfmark ‘Librone 3bis’ and labelled ‘Fragment 1’ and ‘Fragment 2’). They were probably sent back to the Archive as attachments after the 1950s restoration of Librone 3, to which they seem to belong for the mise-en-page and the scribal hand. Fragment 1 is the upper part of a folio: it measures 328 × 336 and presents an irregular external margin; the original foliation is partially visible: a ‘2’ followed by a ‘4’ or ‘6’. The recto contains empty staves, while the verso contains the Cantus and the beginning of the Altus of an anonymous Magnificat (a total of eight staves are visible, of which the last four are incomplete because of the material loss on the right side of the page). Fragment 2 is, instead, the lower part of a folio; it measures 270 × 327 and presents an irregular external margin. The recto shows six staves (the last of which added in the lower margin), with the Bassus of the second part of a motet for St Catherine by Loyset Compère, Gaude prole regia. The verso is completely blank (Pantarotto 2021). A more thorough discussion of the fragments in Filippi 2021a.
Binding
Modern covers of tooled leather.
Watermark
No watermarks visible.
Notation
black void mensural notation
Foliation
Original ink foliation, 11-227
Decoration
Some inked ornamental initials
Index
Original index of Masses on verso of unnumbered parchment flyleaf at beginning.
Surface
ii paper + i parchment + 217 paper + ii paper
RISM Description
RISM
LIBRONE 3
(Ms. 2267)
I-Md 2267
XVe/XVIe s. 217 ff. + 1 f. limin. parchemin n. ch. Papier, 480 x 330 mm. Foliotation ancienne: 11-227. Les ff. 11r, 36v, 98v, 99, 116v, 117, 124v, 125, 171v, 172, 196v à 198, 227v sont blancs. Notation mesurée blanche. 10 portées par p. Au v. du f. limin. parchemin, table originale du ms. Initiales ornées à la plume.
Ce ms., copié ca. 1500 au moins par 8 scribes différents, sort du répertoire typiquement milanais avec 5 messes seulement de Gaffurio (et 5 messes et motets de Josquin), alors que la préférence est donnée avec 8 messes et motets à Alexander Copinus dont la carrière s'est déroulée à Florence. Le ms. comprend un cycle de motetti missales; la Missa Galeazescha de Compère (n° 22 1-8) probablement dédiée au duc Galeazzo Maria Sforza, ou, mais avec moins de probabilité, à son fils Gian Galeazzo.
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.
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.
7 Masses (2 without Kyrie), 8 G-C-S Masses, 1 Gloria-Credo pair, 1 Credo-Sanctus pair, 1 Gloria, 4 Magnificats, 4 Lamentations, 47 motets (some arranged in cycles, as substitutes for Mass sections), 1 textless piece = 74
A. Agricola-1, Brumel-2, Compère [Loyset]-10, (Compère/Richafort)-1, Coppinus-5, Gafori-8, Isaac-1, Josquin-5, (Josquin/Mouton)-1, (Notens)-1, (Prioris?)-1, anon-38
ii paper + i parchment + 217 paper + ii paper folios, 482 x 340. Original ink foliation, 11-227. Modern covers of tooled leather. Original index of Masses on verso of unnumbered parchment flyleaf at beginning. Copied by 8-10 scribes (KanP), including Franchino Gafori, who also copied ParmC 1158; scribal concordances with MilD 1, MilD 2, and MilD 4. The scribe who copied ff. 37-54, 57'-78, and 125'147 also wrote FlorC 2441 (RifSC). Some inked ornamental initials. No watermarks visible. Most anonymous pieces probably by Gafori.
Ca. 1500 (AMMM). Copied in Milan, for use by the cathedral choir; prepared under direction of Franchino Gafori, maestro di cappella from 1484 until his death in 1522.
Vol 4
Contents: Change "47 motets" to "45 motets"; change total of pieces from "74" to "72."
Composers: A. Agricola-1, Brumel-2, Compere [Loyset]-10, (Compère/Richa-fort)-1, Coppinus-4, Gafori-7 + 3?, Isaac-1, Josquin-5, (Josquin/Mouton)-1, (Notens)-1, (Prioris?)-1, (Rupsch)-1, (Weerbecke?)-1, anon-33
Physical: Copied by three main scribes; one of these also wrote portions of MilD 2 (HalpM), another also wrote FlorC 2441 (RifSC). Later additions by four other scribes, including Franchino Gafori, who also wrote ParmP 1158 and made additions in MilD 1, MilD 2, and MilD 4 (HalpM).
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Sets
Select a set to see its sources.
Mss. 2266-9 (Libroni 1-4)
Linked by Origin or Contents · 4 sources
‡ denotes primary source study
Filippi, Daniele V (editor). 2024. Loyset Compère. Ave, virgo gloriosa (Galeazescha): A Motetti Missales Cycle from the Milanese Libroni. Middleton (Wisconsin): A-R Editions.
Filippi, Daniele V. 2021b. Gaffurius's Paratexts: Notes on the Indexes of Libroni 1-3. Reopening Gaffurius's Libroni, edited by Daniele V. Filippi, 165-179. Lucca: Libreria Musicale Italiana.
Filippi, Daniele V. 2021a. The Making and the Dating of the Gaffurius Codices: Archival Evidence and Research Perspectives. Reopening Gaffurius's Libroni, edited by Daniele V. Filippi, 3-58. Lucca: Libreria Musicale Italiana. [Filippi 2021a].
Cassia, Cristina. 2021. Gaffurius at the Mirror: The Internal Concordances of the Libroni. Reopening Gaffurius's Libroni, edited by Cristina Cassia, 181-215. Lucca: Libreria Musicale Italiana.
Pantarotto, Martina. 2021. ‘Scripsi et notavi’: Scribes, Notators, and Calligraphers in the Workshop of the Gaffurius Codices. Reopening Gaffurius's Libroni, edited by Martina Pantarotto, 59-164. Lucca: Libreria Musicale Italiana.
Pavanello, Agnese. 2021. The Non-Milanese Repertory of the Libroni: A Potential Guide for Tracking Musical Exchanges. Reopening Gaffurius's Libroni, edited by Agnese Pavanello, 217-269. Lucca: Libreria Musicale Italiana.
Rossi, Francesco Rocco. 2021. Franchino Gaffurio compositore. I mottetti. Ivrea: LeMus.
Cassia, Cristina. 2019b. Catalogo dei Libroni gaffuriani. Codici per cantare. I Libroni del Duomo nella Milano Sforzesca, edited by Cristina Cassia, 291-389. Lucca: Libreria Musicale Italiana.
Filippi, Daniele V. 2019b. Where Devotion and Liturgy Meet: Reassessing the Milanese Roots of the "Motetti missales". Motet Cycles between Devotion and Liturgy, edited by Daniele V. Filippi, 53-91. Basel: Schwabe.
Cassia, Cristina. 2019a. La compilazione del Catalogo dei Libroni: problemi e osservazioni. Codici per cantare. I Libroni del Duomo nella Milano Sforzesca, edited by Cristina Cassia, 275-290. Lucca: Libreria Musicale Italiana.
Filippi, Daniele V. 2019a. Breve guida ai "motetti missales" (e dintorni). Codici per cantare. I Libroni del Duomo nella Milano Sforzesca, edited by Daniele V. Filippi, 139-169. Lucca: Libreria Musicale Italiana.
Schmidt, Thomas. 2019. The Coherence of the Cycle? The Notation of the "Motetti missales" in Manuscript and Print. Codici per cantare. I Libroni del Duomo nella Milano Sforzesca, edited by Thomas Schmidt, 171-186. Lucca: Libreria Musicale Italiana.
‡ Brown, Howard Mayer (editor). 1987. Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale (Librone 1-3). Renaissance Music in Facsimile, vol. 12. New York. Notes: contents list; discussion.
Brown, Howard Mayer. 1987. Florence MS Magl. IXI. 164, Facsimile reproduction, with introduction. Renaissance Music in Facsimile. Garland.
Halpern, Lynn Elise. 1986. The Motetti Missales Repertory Reconsidered. Journal of the American Musicological Society, 39: 491-523. Pages: 491-4, 509, 523. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Halpern, Lynn Elise. 1985. Motet and Mass-Motet Cycles in lhe Gafurius Codices. University of Illinois, Unpublished Master's thesis. Notes: physical description; contents list; concordances (partial); facsimile (partial); texts (partial); mention of MS; discussion.
Brown, Howard Mayer (editor). 1983. A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale MS Banco Rari 229. Monuments of Renaissance Music, vol. VII. Chicago and London. Pages: 189,240. Notes: contents list (partial); mention of MS; discussion.
Staehelin, Martin. 1977. Die Messen Heinrich Isaacs. Publikationen der Schweizerischen Musikforschenden Gesellschaft Serie II, vol. 28/I-III. Bern and Stuttgart. Pages: I, xxix-xxx, 28, 60, 76, 86; III, 46-8. Notes: physical description; contents list (partial); concordances (partial).
Atlas, Allan W. 1975-6. The Cappella Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C. G.XIII.27). Musicological Studies, vol. 27. Brooklyn. Pages: I, 222-6. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
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,xxxii-xxxiii, 78-104. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Rifkin, Joshua. 1973. Scribal Concordances for Some Renaissance Manuscripts in Florentine Libraries. Journal of the American Musicological Society, 26: 305-26. Pages: 306. Notes: physical description; mention of MS; discussion.
Noblitt, Thomas L. 1968. The Ambrosian Motetti Missales Repertory. Musica Disciplina, 22: 77-103. Pages: 79ff. Notes: contents list (partial); mention of MS; discussion.
D'Accone, Frank A (editor). 1967. Collected Works of Alessandro Coppini, Bartolomeo degli Organi, Giovanni Serragli and three anonymous works. Corpus mensurabilis musicae, vol. 32. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: xxii, xxvii, 52-8, 73-117. Notes: contents list (partial); transcription (partial); texts (partial).
D'Accone, Frank A. 1967. Alessandro Coppini and Bartolomeo degli Organi: Two Florentine Composers of the Renaissance. Analecta Musicologica, 4: 38-76. Pages: 64-71. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.
Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: 478-80. Notes: physical description (partial); contents list (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: 146-7. Notes: contents list (partial); incipits (partial).
Finscher, Ludwig. 1964. Loyset Compere: Life and Works. Musicological Studies and Documents, vol. 12. American Institute of Musicology. Pages: 26-7, 43-6, 89ff, passim. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Noblitt, Thomas L. 1963. The Motetti Missales of the Late Fifteenth Century. University of Texas at Austin, Unpublished Ph.D. dissertation. Pages: 3-5, 7-8, 11, 208-9, passim. Notes: physical description (partial); contents list (partial); concordances (partial); texts (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: II, vii, 78-93. Notes: contents list (partial); concordances (partial); transcriptions (partial).
‡ Migliavacca, Luciano, Angelo Ciceri, and Amerigo Bortone (editors). 1958-1969. Archivium musices metropolitanum mediolanense. Veneranda Fabbrica del Duomo di Milano. Pages: A. Bortone, in AMMM I, Iff Census II, 152-153. Notes: physical description; contents list; concordances (partial); transcription; facsimile (partial); mention of MS; discussion.
Finscher, Ludwig (editor). 1958-. Loyset Compere: Opera Omnia. Corpus mensurabilis musicae, vol. 15. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I, iii; II, i-iii, vii, l-25. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.
‡ Sartori, Claudio. 1957. La Cappella Musicale del Duomo di Milano: Catalogo delle Musiche dell'Archivio. Milan. Pages: 50-8. Notes: physical description; contents list.
Finscher, Lutz (editor). 1955-. Franchinus Gafurius: Collected Musical Works. Corpus mensurabilis musicae, vol. 10. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I, passim; II, [iii]. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Sartori, Claudio. 1953. II Quarto Codice di Gaffurio non e del Tutto Scomparso. Collectanea Historiae Musicae, 25-44. Notes: physical description (partial); mention of MS; discussion.
Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: II, 1346. Notes: physical description (partial).
‡ Jeppesen, Knud. 1931. Die 3 Gafurius-Kodizes der Fabbrica del Duomo, Milano. Acta Musicologica, 3: 14-28. Notes: contents list; concordances; mention of MS; discussion.
Smijers, Albert (editor). 1927-56. Werken van Josquin des Prez: Missen. Amsterdam. Pages: V, viii-ix; VI, v; VII, vi-vii. Notes: contents list (partial); concordances (partial).
Smijers, Albert (editor). 1926-64. Werken van Josquin des Prez: Motetten. Amsterdam. Pages: IV, vii, ix; XX, xi. Notes: physical description; contents list (partial); concordances (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
Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description