E-Tc Ms. 18 (part 1)

Archivio y Biblioteca Capitulares de la Catedral Metropolitana, Toledo, Spain

manuscript of polyphony: 1543-6

Archive	Archivio y Biblioteca Capitulares de la Catedral Metropolitana, Toledo, Spain (E-Tc)
Shelfmark	Ms. 18 (part 1)
Image Availability	DIAMM does not have images of this source.
Surface	Parchment
Numbering System	Foliation
Measurements	700 x 500 mm
Other Identifiers	CCM: ToleBC 18(1)
Notations	black void mensural
Copyists	Pérez, Martín Music Buitrago, Francisco de Illuminator
Relationships	Tavera, Juan (patron) Toledo Cathedral (copied at)
External Links	Musica Hispanica: Spanish Early Music Manuscripts Database Books of Hispanic Polyphony
Provenance	Toledo Cathedral , Toledo, Spain
Contents	16 pieces from 3 composers

General Description

Composite of portions of two separate manuscripts, bound together in late 16th century.

Part I: 62 folios of an original 126 from a choirbook of 1546 (ff. lxiii-ciii from same manuscript now = Part II of ToleBC 25; ff. ciiii-cxxvi from same manuscript now = Part I of ToleBC 34).
Part II: 34 folios of an original 120 or more (ff. cii-cxiiii from same manuscript now = Part III of ToleBC 34; other folios lost).

Both manuscripts copied by Martín Pérez (NooneT). Copied in Toledo, for use by cathedral choir.

DIAMM, 2017

Physical Description

Some folios mutilated due to removal of decorative initials.

DIAMM, 2017

Binding

Original covers of brown leather over wooden boards; metal clasps missing

DIAMM, 2017

Notation

black void mensural

DIAMM, 2017

Date

Part I: 1544-6 (NooneT); Part II: 1543 (date in manuscript).

DIAMM, 2017

Foliation

Part 1: Original foliation in red ink, i-lxii (ff. ciiii-cxxvi from same manuscript now = Part I of ToleBC 34; other folios lost). Part II: riginal foliation in red ink, i-xxv; xxxii-xl (ff. cii-cxiiii from same manuscript now = Part III of ToleBC 34; other folios lost).

DIAMM, 2017

Decoration

Illuminated miniatures; painted initials and inked initials in black, gray, gold, green, red, blue, and burgundy. Attributions and voice designations sometimes appear within decorative scroll designs. Coat of arms of Juan Tavera, Archbishop of Toledo 1534-45, on f. 1' of Part II. Decoration is work of Francisco de Buitrago (NooneT).

DIAMM, 2017

Index

First page of each manuscript bears original index listing all pieces, grouped by genre, with attributions.

DIAMM, 2017

Surface

parchment

DIAMM, 2017

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.

Part I: 3 Magnificats, 3 psalms, 7 hymns, 2 sets of Lamentations, 2 motets (1 incomplete) = 17.* Part II: 6 Magnificats (2 incomplete), 1 Magnificat fragment = 7.** Total for manuscript = 24

Of total contents listed in original index, 4 Magnificats and portions of 1 canticle are now in Part I of ToleBC 34; 1 Te Deum, 4 psalms, 6 hymns, and 4 motets are now lost. *Of total contents listed in original index, 2 complete Magnificats and fragments of 2 other Magnificats are now in Part III of ToleBC 34; 7 additional Magnificats are now lost.

Basurto-1, C. Festa-2, Josquin-2, Morales-1, Torrentes-l8

(Composers of lost works: Gascongne? [Gascon]-1, Lhéritier-1, Morales-16, Peñalosa-2, Rabaneda-1, Torrentes-1)

ii + 96 parchment folios, 700 x 500. Composite of portions of two separate manuscripts, bound together in late 16th century—

Part I: 62 folios of an original 126. Original foliation in red ink, i-lxii (ff. ciiii-cxxvi from same manuscript now = Part I of ToleBC 34; other folios lost).

Part II: 34 folios of an original 120 or more. Original foliation in red ink, i-xxv; xxxii-xl (ff. cii-cxiiii from same manuscript now = Part III of ToleBC 34; other folios lost).

Some folios mutilated due to removal of decorative initials. Original covers of brown leather over wooden boards; metal clasps missing. First page of each manuscript bears original index listing all pieces, grouped by genre, with attributions. Both manuscripts copied by Martín Pérez (NooneT); see general index for other manuscripts copied by the same scribe. Illuminated miniatures; painted initials and inked initials in black, gray, gold, green, red, blue, and burgundy. Attributions and voice designations sometimes appear within decorative scroll designs. Coat of arms of Juan Tavera, Archbishop of Toledo 1534-45, on f. 1' of Part II. Decoration is work of Francisco de Buitrago (NooneT).

Part I: 1544-6 (NooneT); Part II: 1543 (date in manuscript). Copied in Toledo, for use by cathedral choir.

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–14	Magnificat quinti toni (all verses) [K.768]	Constantio Festa	Festa, Costanzo (ca. 1485–1545)
Magnificat quinti toni (all verses) [K.768] Festa, Costanzo (ca. 1485–1545) Appears on: 1v–14 Genres: BVM, Canticle, Magnificat Source Attribution: Constantio Festa Voice: [no designation] Languages: Latin Voice Text: [Magnificat] V. tono: Anima mea dominum General Note the odd verses ('Anima mea' etc) from Festa's setting on ff. 1v-7, the even verses ('Et exultavit' etc) on ff. 7v-14
14v–22	Lamentations - Et factum est postquam in captivitatem; II: Aleph. Quomodo sedet sola civitas; III: Beth. Plorans ploravit in nocte; IV: Gimel. Migravit Iudas propter afflictionem; V: Jerusalem convertere ad Dominum Deum	Torrentes	Torrentes, Andres de
Lamentations - Et factum est postquam in captivitatem; II: Aleph. Quomodo sedet sola civitas; III: Beth. Plorans ploravit in nocte; IV: Gimel. Migravit Iudas propter afflictionem; V: Jerusalem convertere ad Dominum Deum Torrentes, Andres de Appears on: 14v–22 Genres: Lamentations, Motet Source Attribution: Torrentes Voice: [no designation] Languages: Latin, Hebrew Voice Text: [Lamentations] Et factum est postquam in captivitatem Aleph. Quomodo sedet sola civitas Beth. Plorans ploravit in nocte Gimel. Migravit Iudas propter afflictionem Hierusalem convertere ad dominum deum
22v–30	Lamentations - Aleph. Quomodo obscuratum est aurum; II: Beth. Filii Sion inclyti et amicti auro; III: Gimel. Sed et lamie nudaverunt mammam; IV: Deleth. Adesit lingua latentis ad palatum; V: Jerusalem convertere ad Dominum Deum	[Torr]entes	Torrentes, Andres de
Lamentations - Aleph. Quomodo obscuratum est aurum; II: Beth. Filii Sion inclyti et amicti auro; III: Gimel. Sed et lamie nudaverunt mammam; IV: Deleth. Adesit lingua latentis ad palatum; V: Jerusalem convertere ad Dominum Deum Torrentes, Andres de Appears on: 22v–30 Genres: Lamentations, Motet Source Attribution: [Torr]entes Voice: [no designation] Languages: Latin, Hebrew Voice Text: [Lamentations] Aleph. Quomodo obscuratum est aurum Beth. Filii Sion inclyti et amicti auro Gimel. Sed et lamie nudaverunt mammam Deleth. Adesit lingua latentis ad palatum Hierusalem convertere ad dominum deum
30v–36	Magnificat septimi toni: Anima mea [K.1110]	Torrentes	Torrentes, Andres de
Magnificat septimi toni: Anima mea [K.1110] Torrentes, Andres de Appears on: 30v–36 Genres: BVM, Canticle, Magnificat Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: [Magnificat] VII to[no]: Anima mea dominum
36v–37	Urbs beata Jerusalem dicta pacis visio; II: Nova veniens de caelo nunciali thalamo	Torrentes	Torrentes, Andres de
Urbs beata Jerusalem dicta pacis visio; II: Nova veniens de caelo nunciali thalamo Torrentes, Andres de Appears on: 36v–37 Genres: Motet Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: [Urbs beata Jerusalem dicta pacis visio] 2 Nova veniens de celo nunciali thalamo
37v–39	Conditor alme siderum aeterna lux; II: Qui condolens interitu mortis perire 7 Laus honor virtus gloria deo patri	Torrentes	Torrentes, Andres de
Conditor alme siderum aeterna lux; II: Qui condolens interitu mortis perire 7 Laus honor virtus gloria deo patri Torrentes, Andres de Appears on: 37v–39 Genres: Hymn Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: [Conditor alme siderum aeterna lux] 2 Qui condolens interitu mortis perire 7 Laus honor virtus gloria deo patri
39v–40	Christe redemptor omnium conserva tuos; II: Beata quoque agmina caelestium	Torrentes	Torrentes, Andres de
Christe redemptor omnium conserva tuos; II: Beata quoque agmina caelestium Torrentes, Andres de Appears on: 39v–40 Genres: Motet Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: [Christe redemptor omnium conserva tuos] 2 Beata quoque agmina celestium
40v–41	Celsi confessoris festum venerandum; II: Laudibus canoris nobis est instandum	Torrentes	Torrentes, Andres de
Celsi confessoris festum venerandum; II: Laudibus canoris nobis est instandum Torrentes, Andres de Appears on: 40v–41 Genres: Motet Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: [Celsi confessoris festum venerandum] 2 Laudibus canoris nobis est instandum
41v–43	Nova resultet gaudia novitate solem; II: Uni trinoque Domino sit salus virtus	Torrentes	Torrentes, Andres de
Nova resultet gaudia novitate solem; II: Uni trinoque Domino sit salus virtus Torrentes, Andres de Appears on: 41v–43 Genres: Motet Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: Nova resultet gaudia novitate solem 7 Uni trinoque domino sit salus virtus
43v–44	In festo Leocadie quod celebratur hodie; II: Haec Toletana nobilis fuit sancta	Torrentes	Torrentes, Andres de
In festo Leocadie quod celebratur hodie; II: Haec Toletana nobilis fuit sancta Torrentes, Andres de Appears on: 43v–44 Genres: Motet Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: [In festo Leocadie quod celebratur hodie] 2 Hec Toletana nobilis fuit sancta
44v–45	Hostis Herodes impie Christum venire	Torrentes	Torrentes, Andres de
Hostis Herodes impie Christum venire Torrentes, Andres de Appears on: 44v–45 Genres: Motet Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: Hostis Herodes impie Christum venire
45v–47	Levavi oculos meos Non det in comotionem pedem tuum	Torrentes	Torrentes, Andres de
Levavi oculos meos Non det in comotionem pedem tuum Torrentes, Andres de Appears on: 45v–47 Genres: Psalm Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: Ps. 120: [Levavi oculos meos] Non det in comotionem pedem tuum
47v–50	Eripe me Domine Acuerunt linguas	Torrentes	Torrentes, Andres de
Eripe me Domine Acuerunt linguas Torrentes, Andres de Appears on: 47v–50 Genres: Psalm Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: Ps. 139: [Eripe me domine] Acuerunt linguas
50v–51	In convertendo Dominus Tunc dicent	Torrentes	Torrentes, Andres de
In convertendo Dominus Tunc dicent Torrentes, Andres de Appears on: 50v–51 Genres: Psalm Source Attribution: Torrentes Voice: [no designation] Languages: Latin Voice Text: Ps. 125: [In convertendo dominus] Tunc dicent
51v–56	Pater noster (2p. Ave Maria) 20.9	Jusquin	Despres, Josquin (ca. 1450–1521)
Pater noster (2p. Ave Maria) 20.9 Despres, Josquin (ca. 1450–1521) Appears on: 51v–56 Genres: Ave Maria, Motet Source Attribution: Jusquin Voice: [no designation] Languages: Latin Voice Text: Pater noster qui es in celis 20.9 II: Ave Maria gratia plena dominus tecum
56v–62v	Benedicta es caelorum regina et mundi 23.13 (2p. Per illud ave prolatum; 3p. Nunc mater exora natum)	Iusquin	Despres, Josquin (ca. 1450–1521)
Benedicta es caelorum regina et mundi 23.13 (2p. Per illud ave prolatum; 3p. Nunc mater exora natum) Despres, Josquin (ca. 1450–1521) Appears on: 56v–62v Genres: Motet Source Attribution: Iusquin Voice: [no designation] Languages: Latin Voice Text: Benedicta es celorum regina et mundi 23.13 II: Per illud ave prolatum III: Nunc mater exora natum [incomplete at end] General Note incomplete: remainder is on first folio of ToleBC25

Composer	Compositions
Despres, Josquin (ca. 1450–1521)	Benedicta es caelorum regina et mundi 23.13 (2p. Per illud ave prolatum; 3p. Nunc mater exora natum) – 56v–62v Pater noster (2p. Ave Maria) 20.9 – 51v–56
Festa, Costanzo (ca. 1485–1545)	Magnificat quinti toni (all verses) [K.768] – 1v–14
Torrentes, Andres de	Celsi confessoris festum venerandum; II: Laudibus canoris nobis est instandum – 40v–41 Christe redemptor omnium conserva tuos; II: Beata quoque agmina caelestium – 39v–40 Conditor alme siderum aeterna lux; II: Qui condolens interitu mortis perire 7 Laus honor virtus gloria deo patri – 37v–39 Eripe me Domine Acuerunt linguas – 47v–50 Hostis Herodes impie Christum venire – 44v–45 In convertendo Dominus Tunc dicent – 50v–51 In festo Leocadie quod celebratur hodie; II: Haec Toletana nobilis fuit sancta – 43v–44 Lamentations - Aleph. Quomodo obscuratum est aurum; II: Beth. Filii Sion inclyti et amicti auro; III: Gimel. Sed et lamie nudaverunt mammam; IV: Deleth. Adesit lingua latentis ad palatum; V: Jerusalem convertere ad Dominum Deum – 22v–30 Lamentations - Et factum est postquam in captivitatem; II: Aleph. Quomodo sedet sola civitas; III: Beth. Plorans ploravit in nocte; IV: Gimel. Migravit Iudas propter afflictionem; V: Jerusalem convertere ad Dominum Deum – 14v–22 Levavi oculos meos Non det in comotionem pedem tuum – 45v–47 Magnificat septimi toni: Anima mea [K.1110] – 30v–36 Nova resultet gaudia novitate solem; II: Uni trinoque Domino sit salus virtus – 41v–43 Urbs beata Jerusalem dicta pacis visio; II: Nova veniens de caelo nunciali thalamo – 36v–37

Composition	Composers (? Uncertain)	Folios / Pages
Benedicta es caelorum regina et mundi 23.13 (2p. Per illud ave prolatum; 3p. Nunc mater exora natum)	Despres, Josquin (ca. 1450–1521)	56v–62v
Celsi confessoris festum venerandum; II: Laudibus canoris nobis est instandum	Torrentes, Andres de	40v–41
Christe redemptor omnium conserva tuos; II: Beata quoque agmina caelestium	Torrentes, Andres de	39v–40
Conditor alme siderum aeterna lux; II: Qui condolens interitu mortis perire 7 Laus honor virtus gloria deo patri	Torrentes, Andres de	37v–39
Eripe me Domine Acuerunt linguas	Torrentes, Andres de	47v–50
Hostis Herodes impie Christum venire	Torrentes, Andres de	44v–45
In convertendo Dominus Tunc dicent	Torrentes, Andres de	50v–51
In festo Leocadie quod celebratur hodie; II: Haec Toletana nobilis fuit sancta	Torrentes, Andres de	43v–44
Lamentations - Aleph. Quomodo obscuratum est aurum; II: Beth. Filii Sion inclyti et amicti auro; III: Gimel. Sed et lamie nudaverunt mammam; IV: Deleth. Adesit lingua latentis ad palatum; V: Jerusalem convertere ad Dominum Deum	Torrentes, Andres de	22v–30
Lamentations - Et factum est postquam in captivitatem; II: Aleph. Quomodo sedet sola civitas; III: Beth. Plorans ploravit in nocte; IV: Gimel. Migravit Iudas propter afflictionem; V: Jerusalem convertere ad Dominum Deum	Torrentes, Andres de	14v–22
Levavi oculos meos Non det in comotionem pedem tuum	Torrentes, Andres de	45v–47
Magnificat quinti toni (all verses) [K.768]	Festa, Costanzo (ca. 1485–1545)	1v–14
Magnificat septimi toni: Anima mea [K.1110]	Torrentes, Andres de	30v–36
Nova resultet gaudia novitate solem; II: Uni trinoque Domino sit salus virtus	Torrentes, Andres de	41v–43
Pater noster (2p. Ave Maria) 20.9	Despres, Josquin (ca. 1450–1521)	51v–56
Urbs beata Jerusalem dicta pacis visio; II: Nova veniens de caelo nunciali thalamo	Torrentes, Andres de	36v–37

Set: B. 18

Type: Source bound in separate volumes

No images available

E-Tc Ms. 18 (part 1)

No images available

E-Tc Ms. 18 (part 2)

‡ denotes primary source study

Diego Pacheco, Cristina. 2016. Cristóbal de Morales en Espagne: ses premières œuvres et le manuscrit de Valladolid. 304. Lyon: Symétrie Recherche.

Noone, Michael John. 2002. Cristóbal de Morales in Toledo, 1545-6: ToleBC 25 and 'New' Works by Morales, Guerrero, Lobo, Tejeda and Ambiela. Early Music, 341-363. Notes: contents list (partial); concordances (partial); reconstruction of original choirbooks dispersed between ToleBC 18, 25, 34.

Reynaud, François. 1996. La Polyphonie Tolédane et son milieu des premiers témoignages aux environs de 1600. Paris/Turnhout.

Noone, Michael John. 1982. Andrés de Torrentes (1510-1580), Spanish Polyphonist and Chapelmaster: Opera Omnia, Biography and Source Study. University of Sydney, Unpublished Masters dissertation. Pages: I, 12, 38, 44, 47-8, 55, 68-82, plate III II, #11-6, 31-3, 41-7, 50-1. Notes: physical description; contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Stevenson, Robert. 1973. The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources. Fontes Artis Musicae, 87-107. Pages: 96ff. Notes: contents list (partial).

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: 167. Notes: physical description (partial); contents list (partial); concordances (partial); incipits (partial).

Main, Alexander, and Albert Seay (editors). 1962-. Costanza Festa: Opera Omnia. Corpus mensurabilis musicae. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: II, xvii-xviii, xxv, xxxi. Notes: contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.

Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola. Madrid (later Barcelona, later Rome). Pages: I, 131 XVII, 52. Notes: physical description (partial); contents list (partial).

Smijers, Albert (editor). 1926-64. Werken van Josquin des Prez: Motetten. Amsterdam. Pages: XI, vii XII, xxii. Notes: physical description; contents list; concordances (partial).

Rubio Piqueras, Felipe. 1925. Códices Polifónicos Toledanos. Toledo. Pages: 34-7. Notes: physical description (partial); contents list.

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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; Physical Description Note; Binding Note; Notation Note; Date 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

E-Tc Ms. 18 (part 1)

Archivio y Biblioteca Capitulares de la Catedral Metropolitana, Toledo, Spain

manuscript of polyphony: 1543-6

General Description

Physical Description

Binding

Notation

Date

Foliation

Decoration

Index

Surface

Census Catalogue of Music Description

General Note

General Note

Set: B. 18

Type: Source bound in separate volumes

DIAMM, 2016

Monday, 23 January, 2017

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Monday, 23 January, 2017