Copied by Johannes Stengl (inscription on f. 234). Five motets served as Mass models; but the 8 masses are copied first, then the 2 Magnificats & finally the 6 motets.. Copied in Regensburg.
| Archive | Bischöfliche Zentralbibliothek, Regensburg, Germany (D-Rp) |
|---|---|
| Shelfmark | C 99 |
| Image Availability | DIAMM does not have images of this source. |
| Surface | Paper |
| Numbering System | Foliation |
| Measurements | 408 x 285 mm |
| Other Identifiers |
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| Notations |
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| Copyists |
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| Provenance |
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| Contents | Contains 53 compositions, 41 from 11 composers, 12 are anonymous. |
General Description
Binding
Original covers of light brown tooled leather over cardboard.
Watermark
(1) eagle; (2) resembles Briquet #1243
Liminary Note
Title page on f. II: 'Missae Octo / Quatuor vocum / una cum Motetis / a praestantiss: Mu/sicis composite. / 1548.
Notation
black void mensural
Date
1548 (date on title page and f. 234)
Ruling
Staff height 24
Foliation
Original ink and new pencil foliation, I-III + 1-234 ('104,' '128,' '149' omitted; '131' applied to two consecutive folios)
Decoration
Large inked initials, some in calligraphic style, others in plain block style.
Index
Original index on f. III lists all pieces in order of appearance, except that Magnificats are listed between penultimate and last motet, instead of following the Masses.
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.
8 Masses, 2 Magnificats, 6 motets = 16
(Divitis)-1, (Hellinck)-2, Hellinck [Lupus]/(Senfl/Verdelot)-1, Richafort-2, Richafort/(Lupus)-1, (Mouton)-2, (Sermisy)-1, (Willaert)-1, Willaert/(Obrecht)-1, anon-4
iii + 232 paper folios, 408 x 285. Original ink and new pencil foliation, I-III + 1-234 ("104," "128," "149" omitted; "131" applied to two consecutive folios). Original covers of light brown tooled leather over cardboard. Original index on f. III lists all pieces in order of appearance, except that Magnificats are listed between penultimate and last motet, instead of following the Masses. Copied by Johannes Stengl (inscription on f. 234). Staff height 24. Large inked initials, some in calligraphic style, others in plain block style. Watermarks: (1) eagle; (2) resembles Briquet #1243. Title page on f. II: "Missae Octo / Quatuor vocum / una cum Motetis / a praestantiss: Mu/sicis composite. / 1548." Five motets served as Mass models.
1548 (date on title page and f. 234). Copied in Regensburg.
Vol 4
Composers: Add "(Rein)-1"; change "anon-4" to "anon-3."
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‡ denotes primary source study
Windh, John Ernfrid. 1971. Early Lutheran Masses. University of Illinois, Unpublished D.M.A. thesis. Pages: 145-6 [erroneously referred to as MS 722]. Notes: 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: 157. Notes: contents list (partial); concordances (partial); incipits (partial).
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DIAMM, 2016
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. General Description; Binding Note; Watermark Note; Liminary Note; Notation Note; Date Note; Ruling Note; Foliation Note; Decoration Note; Contents Note; Surface Note
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