A missal belonging originally to the Order of Teutonic Knights. The only polyphonic item in this source is the extremely popular Kyrie from Vatican Mass V for two voices in score (for incipit cf. ETw 44 3, but here the order of parts is reversed). After the Kyrie and Christe, a note indicates that the following Kyrie is identical with the first, while a further rubric reads: 'Istud potitur cantari etiam in diebus pro festis'. [f.158].

Blind tooled brown leather; secured with brown paper round the spine. The two original clasps are missing.

semi-Gothic script, Gothic neumes, Hufnagel. Uses simultaneous c and f clefs throughout (in common with other German sources like B As 41).

Red five-line staves; brown five and four line staves towards the end (ten per page)

unknown: one piece of music. Photocopy of catalogue reference enclosed.

modem pencil at t.r.r.

most initials are red, blue or both; some black initials with red ornaments towards the end

parchment

RISM B/IV 2: A parchment missal of the 14th century belonging originally to the Order of Teutonic Knights and meas. 202 x 147 mm. Its 315 folios are numbered in modem pencil at t.r.r. The script is semi-Gothic and the music mainly in very elegant Gothic neumes. At the end are some additions in Hufnagel notation. A five-line stave is used throughout, though at the end the staves vary between five and four lines, and there are ten of these staves per page. The ink is red for the staves of the corpus, brown for those at the end. Most of the initials are red, blue or both, but at the end there are some black initials with red ornament. There is a brown leather binding employing blind tooling. Some brown paper round the spine holds it together, while the two original clasps are missing. The only polyphonic item in this source is the extremely popular Kyrie from Vatican Mass V for two voices (for incipit cf. ETw 44 3, but here the order of parts is reversed). The simultaneous use of c and f clefs throughout is very common in German sources like B As 41. The polyphonic Kyrie, as usual in score, employs the characteristic bar-lines, which go right through both staves. After the Kyrie and Christe, a note indicates that the following Kyrie is identical with the first, while a further rubric reads: "Istud potitur cantari etiam in diebus pro festis". [f.158]

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