Composite of originally separate fascicles copied at different times. Copied by four main scribes, including the original owner, Hermann Poetzlinger (RumboldC); another of the main scribes also wrote f. 148bis of VienNB 5094 (WrdCE). Nine or ten additional scribes. Many motets are contrafacta of secular works. Copied in Vienna, Regensburg, and Leipzig (BraunschS). Original owner and compiler was the clergyman Hermann Poetzlinger (RumboldC). Probably bequeathed by Poetzlinger (d. 1469) to St. Emmeram Benedictine monastery at Regensburg, although manuscript not identifiable in lists of monastery's books prior to 1748 catalogue by Johann Baptist Kraus. Transferred to Bayerische Staatsbibliothek in 1811.
D-Mbs Clm. 14274 (Codex Sankt Emmeram)
Bayerische Staatsbibliothek, Munich, Germany
manuscript of polyphony: 15th century, c. 1440-50
| Archive | Bayerische Staatsbibliothek, Munich, Germany (D-Mbs) |
|---|---|
| Shelfmark | Clm. 14274 (Codex Sankt Emmeram) |
| Image Availability | DIAMM does not have images of this source. Please refer to the external links for image availability. |
| Surface | Mixed Paper and Parchment |
| Numbering System | Foliation |
| Measurements | 285 x 210 mm |
| Other Identifiers |
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| Notations |
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| Copyists |
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| Provenance |
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| Contents | Contains 305 compositions, 132 from 39 composers, 173 are anonymous. |
General Description
Physical Description
ff. 37-38 missing;159v not visible, glued to back flyleaf.
Binding
Original covers of leather over wooden boards (restored in 1966), with 18th-century inscription 'Cantus missae … 'on spine; metal edges and leather ties now missing
Watermark
(1) resembles PiccardWA V, 315; (2) resembles PiccardWA V, 316; (3-4) generally resemble Briquet #15622; (5) resembles PiccardO XII, 359; (6) resembles PiccardO XII, 358; (7) resembles PiccardO XIII, 225; (8-10) leopard (three forms, none in Briquet); (11) resembles PiccardWA I, 58; (12) resembles PiccardWA I, 60; (13) resembles PiccardT I, 266; (14) resembles PiccardT I, 252; (15-16) generally resemble Briquet #11696; (17-18) generally resemble Briquet #11662; (19) PiccardWE IV, 1117; (20) PiccardWE IV, 1116; (21-22) generally resemble Briquet #11881. See RumboldC for reproduction
Notation
black void mensural on 1-12v, 81v-99 & 100-158; black full mensural with red or black void coloration on 13-36, 39-81 & 99v-100 except for occasional Gothic chant and a few later additions in black void mensural.
Foliation
159 ff
Foliation
Original ink foliation, 1-140 (ff. 37-38 now missing); modern foliation, 141-159.
Decoration
Inked Gothic initials in red and black, some with filigree work.
Index
Incomplete original index on f. 159 (formerly glued to rear parchment flyleaf, but removed from flyleaf and fastened to verso of f. 158 in 1966); pieces grouped alphabetically by first letter of text, with subgrouping under each letter by order of appearance.
Surface
i parchment + 157 paper + i parchment
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.
Handschriften-Inkunabel-abteilung. MS Latinus monacensis 14274 (olim Mus. 3232a; Cim. 352c) ("St. Emmeram Codex")
33 Kyries, 16 Glorias (1 lost in modern times), 2 troped Glorias, 13 Credos, 8 Sanctus, 1 Sanctus-Agnus pair, 23 Mass Proper sections, 8 Magnificats, 16 psalm tone formulas, 25 office hymns, 1 processional hymn, 92 motets (1 lost in modern times), 2 sets of responses, 2 Latin/German sacred pieces, 3 German sacred pieces, 10 French secular pieces, 7 textless pieces = 262 + 4 duplicates = 266
(Antonio da Cividale)-2, Benet-2, Binchois-13, Blasius-1, Bosco [Bosquet]/(Nicolaus de Capua)-1, Brassart-4, Dufay-36, (Dunstable)-20, Dunstable/(Binchois)-2, Dunstable/(Dufay)-1, (Dunstable/Power)-1, Edlerawer-7, Forest-1, (Franchois)-3, Grossin-3, Kungsperger-3, (Landini)-1, A. Lantins-1, (R. Liebert)-3, Loqueville-1, (Machaut)-1, (Machaut/Vaillant)-1, (N. Merques)-1, Portugal(?)-1, Power [Leonellus]-2, Roullet-8, Rudolffi(?)-1, Sweitzl-1, Walonis-1, Waring-1, P. Wilhelmi-2 + 1?, Wiquardus-3 [one attribution erased], Zachara da Teramo [Zacharie]-1, anon-149
i parchment + 157 paper + i parchment folios, 285 x 210. Composite of originally separate fascicles copied at different times by different scribes. Original ink foliation, 1-140 (ff. 37-38 now missing); modern foliation, 141-159. Original covers of leather over wooden boards, with 17th-century inscription "Cantus missae saec. XV. C. XCIII" on spine; metal edges and leather ties now missing. Incomplete original index on f. 159 (now glued to rear parchment flyleaf); pieces grouped alphabetically by first letter of text, with subgrouping under each letter by order of appearance.
White mensural notation on ff. 1-12', 81-99, and 100-158; black mensural notation with red or black void coloration on ff. 13-36, 39-81, and 99'-100 (except for occasional Gothic chant notation and a few later additions in white mensural notation). Copied by at least 13 scribes, one of whom also copied f. 148bis of VienNB 5094 (WrdCE). Inked Gothic initials in red and black, some with filigree work. Watermarks: (1) scales (similar but not identical to Briquet #2410); (2) scales in circle; (3) three-peaked mountain; (4) three-peaked mountain in circle; (5) anvil; (6) pillar; (7) ox head with six-petalled flower; (8) animal (cat?); (9) human head. Many motets are contrafacta of secular works.
Ca. 1440-50 (Ward). Presumably copied at St. Emmeram Benedictine monastery in Regensburg (DèzE); three gatherings possibly copied at Augustinian convent of St. John the Baptist and St. John the Evangelist in Munich (WrdCE). Owned since mid 18th century by St. Emmeram monastery in Regensburg; transferred to Bayerische Staatsbibliothek in early 19th century.
Vol 4
Composers: Change "Kungsperger-3" to "Kungsperger-3 + 1?"; change "Rudolffi(?)-1" to "Rudolf von Heringen [Rudolffi]-1"; change "Sweitzl-1" to "Schweikl [Sweikl]-1"; change "anon-149" to "anon-148."
Physical: i parchment + 157 paper + i parchment folios, 288 x 209. Original ink foliation, 1-140 (ff. 37-38 now missing) + modern foliation, 141-159. Original covers of leather over wooden boards (restored in 1966), with 18th-century inscription "Cantus missae . . ."on spine; metal edges and leather ties now missing. Incomplete original index on f. 159 (formerly glued to rear parchment flyleaf, but removed from flyleaf and fastened to verso of f. 158 in 1966); pieces grouped alphabetically by first letter of text, with subgrouping under each letter by order of appearance.
White mensural notation on ff. 1-12', 81'-99, and 100-158; black mensural notation with red or black void coloration on ff. 13-36, 39-81, and 99'-100 (except for some Gothic chant notation and a few later additions in white mensural notation). Copied by four main scribes, including the original owner, Hermann Poetzlinger (RumboldC); another of the main scribes also wrote f. 148bis of VienNB 5094 (WrdCE). Nine or ten additional scribes. Inked Gothic initials in red and black, some with filigree work. Watermarks (see RumboldC for reproductions): (1) resembles PiccardWA V, 315; (2) resembles PiccardWA V, 316; (3-4) generally resemble Briquet #15622; (5) resembles PiccardO XII, 359; (6) resembles PiccardO XII, 358; (7) resembles PiccardO XIII, 225; (8-10) leopard (three forms, none in Briquet); (11) resembles PiccardWA I, 58; (12) resembles PiccardWA I, 60; (13) resembles PiccardT I, 266; (14) resembles PiccardT I, 252; (15-16) generally resemble Briquet #11696; (17-18) generally resemble Briquet #11662; (19) PiccardWE IV, 1117; (20) PiccardWE IV, 1116; (21-22) generally resemble Briquet #11881.
Date/provenance: Ca. 1436-48 (RumboldC); ca. 1436-59 (BraunschS). Copied in Vienna, Regensburg, and Leipzig (BraunschS). Original owner and compiler was the clergyman Hermann Poetzlinger (RumboldC). Probably bequeathed by Poetzlinger (d. 1469) to St. Emmeram Benedictine monastery at Regensburg, although manuscript not identifiable in lists of monastery's books prior to 1748 catalogue by Johann Baptist Kraus. Transferred to Bayerische Staatsbibliothek in 1811.
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‡ denotes primary source study
Kirnbauer, Martin. 2001. Hartmann Schedel und sein “Liederbuch”. Bern.
Earp, Lawrence M. 1995. Guillaume de Machaut: A Guide to Research. New York and London: Garland.
Curtis, Gareth R K, and Andrew B Wathey. 1994. Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory. Royal Musical Association Research Chronicle, 27: 1-69.
Schmid, Bernhold. 1985. Chansonsatz und rhythmische Einstimmigkeit: Zu einer Gloria-Komposition aus dem St. Emmeram-Codex der Bayerischen Staatsbibliothek München. Musik in Bayern, 30: 27-37. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Strohm, Reinhard. 1983. Zur Datierung des Codex St: Emmeram (Clm 14274): ein Zwischenbericht. Datierung und Filiation von Musikhandschriften der Josquin-Zeit, Wolfenbütteler Forschungen, vol. 26. 229-38. Wiesbaden. Notes: physical description (partial); mention of MS; discussion.
Braunschweig-Pauli, Dagmar. 1982. Studien zum sogenannten Codex St. Emmeram: Entstehung, Datierung und Besitzer der Handschrift München, Bayerische Staatsbibliothek, Clm 14274 (Olim Mus. ms. 3232 a). Kirchenmusikalisches Jahrbuch, 66: 1-48. Notes: physical description; contents list; concordances (partial); facsimile (partial); mention of MS; discussion.
Rumbold, Ian. 1982. The Compilation and Ownership of the 'St Emmeram' Codex (Munich, Bayerische Staatsbibliothek, Clm 14274). Early Music History, 2: 161-235. Notes: physical description; contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.
Braunschweig-Pauli, Dagmar. 1981. Neue Ergebnisse zum Codex St. Emmeram. Kirchenmusikalisches Jahrbuch, 65: 1-5. Notes: contents list (partial); mention of MS; discussion.
Strohm, Reinhard. 1981. European Politics and the Distribution of Music in the Early Fifteenth Century. Early Music History, 1: 305-23. Pages: 310-1, 319-20. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Ward, Tom Robert. 1981. A Central European Repertory in Munich, Bayerische Staatsbibliothek, Clm 14274. Early Music History, 1: 325-43.
Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies, vol. 1-5. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag.
Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier. New Haven and London. Pages: (II, 165-6,393-5.
Ward, Tom Robert. 1979. The Polyphonic Office Hymn from 1400 to 1520: A Descriptive Inventory. RMS, vol. 3. American Institute of Musicology.
Cobin, Marian W. 1978. The Aosta Manuscript: A Central Source of Early Fifteenth-Century Sacred Polyphony. New York University, Unpublished Ph.D. dissertation. Pages: I,102ff, 170-3,336-54, passim.
Černý, Jaromír. 1975. Petrus Wilhelmi de Grudencz: Neznámy Skladatel Doby Dufayovy v Ceskych Pramenech. Hudební Veda, 12: 195-238. Pages: 229,232-3.
Dangel-Hofmann, Frohmut. 1975. Der Mehrstimmige Introitus in Quellen des 15. Jahrhunderts. Würzburger Musikhistorische Beitrage, vol. 3. Tutzing. Pages: 138,146-9,181ff,245-50,259-61, passim.
Ruhland, Konrad. 1975. Der Mehrstimmige Psalmvortrag im 15. und 16. Jahrhundert: Studien zur Psalmodie auf der Grundlage von Faburdon, Fauxbourdon und Falsobordone. Ludwig-Maximilians-Universität (Munich), Ph.D. dissertation. Pages: 157-93. Notes: contents list (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.
Timm, Erika. 1972. Die Überlieferung der Lieder Oswalds von Wolkenstein. Germanische Studien, vol. 242. Lübeck and Hamburg. Pages: 135ff, 160-1.
Bent, Margaret, Ian D Bent, and Brian Trowell (editors). 1970. John Dunstable complete works. Musica Britannica, vol. VIII. London. Pages: VIII [rev. ed.],xxiv,14,184,187,195-7.
Hamm, Charles E (editor). 1969-. Leonel Power: Complete Works. Corpus mensurabilis musicae, vol. 50. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: l,xxi,xxiv.
Kanazawa, Masakata. 1966. Polyphonic music for Vespers in the fifteenth century. Harvard University, Ph.D. Dissertation, 2 vols. Pages: I,86-91; II,60,68-9,77.
Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: 150-1.
Mixter, Keith E (editor). 1965-71. Johannis Brassart: Opera Omnia. Corpus mensurabilis musicae, vol. 35. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I,xviii,xxiv,xxvi-xxvii; Il,xiii,xvi,l.
Gennrich, Friedrich. 1965. Abriss der Mensuralnotation des XIV. und der ersten Hälfie des XV. Jahrhunderts. Musikwissenschaftliche Studien-Bibliothek, vol. 3-4. Langen bei Frankfurt. Pages: 54-5.
Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae, vol. 11, 1-6. Rome: American Institute of Musicology. Pages: II,xiii; III,xi-ff,24; V, xvii,47-53; VI,ix,xxii-xxiii.
Schmitz, Arnold (editor). 1955-. Musikalische Denkmäler. Mainz. Pages: II,13*,4-5,28, 62ff.
Besseler, Heinrich. 1950; Reprinted: 1974. Bourdon und Fauxbourdon, Studien zum Ursprung der niederländischen Musik. Leipzig. Pages: 2-8,19,48,109,186.
Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: II,1339; III,1327-9, Tafel 22; V,1141; VI,1022-3; IX,902-3).
de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae, vol. 1. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I, IV-VI, passim.
Dèzes, Karl. 1927-8. Der Mensuralcodex des Benediktinerklosters Sancti Emmerami zu Regensburg. Zeitschrift für Musikwissenschaft, 10: 65-105.
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Clemens Goldberg
Saturday, 24 January, 2026
35v-36r Gloria Bosquet: added the voice designations for lower two voices: Tenor and Contratenor
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