D-AN VI.g.18

Staatliche Bibliothek, Ansbach, Germany

manuscript of polyphony: 1566-7

Archive Staatliche Bibliothek, Ansbach, Germany (D-AN)
Shelfmark VI.g.18
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 566 x 410 mm
Other Identifiers
  • CCM: AnsbachS 18
Notations
  • black void mensural
Copyists
Relationships
External Links
External Authorities
Provenance
Contents 47 pieces from 8 composers
General Description

Copied mostly by Friedrich Lindner (inscription inside front cover), in service 1565-74 at Ansbach court chapel. Two additional scribes: first worked together with Lindner on some pieces; second added last motet on ff. 171'-175. Copied in Ansbach, for use by court chapel of Georg Friedrich, Margrave of Ansbach-Brandenburg (1543-1603).

DIAMM, 2017
Binding

Original covers of brown leather stamped in gold with date 1566 and title 'Cantiones sex et quinqué vocum'; remnants of green ribbon ties.

DIAMM, 2017
Watermark

(1) resembles Briquet #1243; (2) salt shaker (see Briquet #2169ff for general pattern)

DIAMM, 2017
Notation

black void mensural

DIAMM, 2017
Date

1566-7 (dates in manuscript).

DIAMM, 2017
Ruling

Staff height 32 (29 on ff. 171'-175)

DIAMM, 2017
Foliation

Original ink foliation, 1-175 omitting 96

DIAMM, 2017
Decoration

Large green and red inked initials in plain block style; foliation, voice designations, and rubrics in red ink.

DIAMM, 2017
Index

Original index on ff. [ii'-iii] lists pieces in order of appearance (index now incomplete; f. [iii] partly torn away).

DIAMM, 2017
Surface

paper

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.

23 motets

Clemens non Papa-1, Hoyoul-1, Lassus-16, Le Maistre-2, Meiland-1, Riccio-1, Wert/(Lassus)-l

iv + 175 paper folios, 566 x 410. Original ink foliation, 1-175. Original covers of brown leather stamped in gold with date 1566 and title "Cantiones sex et quinqué vocum"; remnants of green ribbon ties. Original index on ff. [ii'-iii] lists pieces in order of appearance (index now incomplete; f. [iii] partly torn away). Copied mostly by Friedrich Lindner (inscription inside front cover), in service 1565-74 at Ansbach court chapel; see general index for other manuscripts copied by the same scribe. Two additional scribes: first worked together with Lindner on some pieces; second added last motet on ff. 171'-175. Staff height 32 (29 on ff. 171'-175). Large green and red inked initials in plain block style; foliation, voice designations, and rubrics in red ink. Watermarks: (1) resembles Briquet #1243; (2) salt shaker (see Briquet #2169ff for general pattern).

1566-7 (dates in manuscript). Copied in Ansbach, for use by court chapel of Georg Friedrich, Margrave of Ansbach-Brandenburg (1543-1603).

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)
ii_v–iii index - -

index

Appears on: ii_v–iii
General Note

incomplete - half of f. iii has been torn out

0v–11 Beatus vir qui non abiit in consilio Orlandus
Appears on: 0v–11
Genres: Hymn
Source Attribution: Orlandus
Number of voices: 6
11v–16 In te Domine speravi (6vv) - 1a pars (of 2): In te Domine speravi non confundar Orlandus
Appears on: 11v–16
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
16v–21 In te Domine speravi (6vv) - 2a pars (of 2): Quoniam fortitudo mea et refugium -
Appears on: 16v–21
Genres: Motet
Number of voices: 6
21v–24 Beatus qui intelligit - 1a pars (of 2): Beatus qui intelligit super egenum et pauperem Orlandus
Appears on: 21v–24
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
24v–28 Beatus qui intelligit - 2a pars (of 2): Dominus opem ferat illi super lectum doloris -
Appears on: 24v–28
Genres: Motet
Number of voices: 6
28v–32 Lauda Jerusalem - 1a pars (of 4): Lauda Jerusalem Dominum lauda Deum tuum Orlandus
Appears on: 28v–32
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
32v–36 Lauda Jerusalem - 2a pars (of 4): Qui emittet eloquium suum terrae -
Appears on: 32v–36
Genres: Motet
Number of voices: 6
36v–38 Lauda Jerusalem - 3a pars (of 4): Emittet verbum suum et liquefaciet -
Appears on: 36v–38
Genres: Motet
Number of voices: 3
38v–41 Lauda Jerusalem - 4a pars (of 4): Non fecit taliter omni nationi -
Appears on: 38v–41
Genres: Motet
Number of voices: 6
41v–45 In monte Oliveti oravi ad patrem Orlandus
Appears on: 41v–45
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
Voice: [no designation]
Languages: Latin
Voice Text: In monte Oliveti, orabat [for 'oravit'] ad patrem
45v–49 Vexilla regis - 1a pars (of 4): Vexilla regis prodeunt fulget crucis Orlandus
Appears on: 45v–49
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
49v–53 Vexilla regis - 2a pars (of 4): Impleta sunt quae concinit David -
Appears on: 49v–53
Genres: Motet
Number of voices: 6
53v–54 Vexilla regis - 3a pars (of 4): Beata cuius brachiis secli pependit -
Appears on: 53v–54
Genres: Motet
Number of voices: 2
54v–58 Vexilla regis - 4a pars (of 4): O crux ave spes unica hoc passionis -
Appears on: 54v–58
Genres: Motet
Number of voices: 6
58v–61 Jesu nostra redemptio - 1a pars (of 4): Jesu nostra redemptio amor et desiderium Orlandus
Appears on: 58v–61
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
61v–64 Jesu nostra redemptio - 2a pars (of 4): Inferni claustra penetrans tuos -
Appears on: 61v–64
Genres: Motet
Number of voices: 6
64v–65 Jesu nostra redemptio - 3a pars (of 4): Ipsa te cogat pietas ut mala -
Appears on: 64v–65
Genres: Motet
Number of voices: 2
65v–68 Jesu nostra redemptio - 4a pars (of 4): Tu esto nostrum gaudium qui es -
Appears on: 65v–68
Genres: Motet
Number of voices: 6
68v–72 Locutus sum - 1a pars (of 2): Locutus sum in lingua mea notum fac Orlandus
Appears on: 68v–72
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
72v–76 Locutus sum - 2a pars (of 2): Fac mecum signum in bonum -
Appears on: 72v–76
Genres: Motet
Number of voices: 6
76v–79 Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me Orlandus
Appears on: 76v–79
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
79v–83 Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam -
Appears on: 79v–83
Genres: Motet
Number of voices: 6
83v–88 Fremuit spiritu Jesu - 1a pars (of 2): Fremuit spiritu Jesu Orlandus
Appears on: 83v–88
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
88v–92 Fremuit spiritu Jesu - 2a pars (of 2): Videns Dominus flentes -
Appears on: 88v–92
Genres: Motet
Number of voices: 6
92v–95 O mors - 1a pars (of 2): O mors quam amara est memoria homini Orlandus
Appears on: 92v–95
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
95v–99 O mors - 2a pars (of 2): O mors bonum est iuditium tuum -
Appears on: 95v–99
Genres: Motet
Number of voices: 6
99v–105 Quin praefers rebus bona Matth: Le Maistre
Appears on: 99v–105
Genres: Motet
Source Attribution: Matth: Le Maistre
Number of voices: 6
105v–109 Audi tellus - 1a pars (of 3): Audi tellus audi magni maris limbus Orlandus
Appears on: 105v–109
Genres: Motet
Source Attribution: Orlandus
Number of voices: 6
109v–111 Audi tellus - 2a pars (of 3): Ubi Plato ubi Porphirius ubi Tullius -
Appears on: 109v–111
Genres: Motet
Number of voices: 4
111v–114 Audi tellus - 3a pars (of 3): Ubi David rex doctissimus ubi Salomon -
Appears on: 111v–114
Genres: Motet
Number of voices: 6
114v–119 Adjuva me - 1a pars (of 2): Adjuva me Domine Matthaus Le Maistre
Appears on: 114v–119
Genres: Motet
Source Attribution: Matthaus Le Maistre
Number of voices: 5
119v–122 Adjuva me - 2a pars (of 2): Servus tuus ego sum -
Appears on: 119v–122
Genres: Motet
Number of voices: 5
122v–126 Concussum est mare - 1a pars (of 2): Concussum est mare et contremuit terra Clemens non Papa
Appears on: 122v–126
Genres: Motet
Source Attribution: Clemens non Papa
Number of voices: 5
126v–131 Concussum est mare - 2a pars (of 2): Factum est silentium in caelo dum draco committeret -
Appears on: 126v–131
Genres: Motet
Number of voices: 5
131v–135 Transeunte Domino - 1a pars (of 2): Transeunte Domino clamabat caecus ad eum Jacques de Wert
Appears on: 131v–135
Genres: Motet
Source Attribution: Jacques de Wert
Number of voices: 5
135v–139 Transeunte Domino - 2a pars (of 2): Et ait illi Jesus quid vis ut faciam -
Appears on: 135v–139
Genres: Motet
Number of voices: 5
139v–144 De ore prudentis procedit mel alleluia Orlandus
Appears on: 139v–144
Genres: Motet
Source Attribution: Orlandus
Number of voices: 5
144v–148 In te Domine speravi - 1a pars (of 2): In te Domine speravi non confundar in aeternum Balduinus Hoyou:
Appears on: 144v–148
Genres: Motet
Source Attribution: Balduinus Hoyou:
Number of voices: 5
148v–154 In te Domine speravi - 2a pars (of 2): Quoniam fortitudo mea et refugium meum es tu -
Appears on: 148v–154
Genres: Motet
Number of voices: 5
154v–157 Alleluia. Vox laeta personat - 1a pars (of 2): Alleluia. Vox laeta personat Orlandus
Appears on: 154v–157
Genres: Alleluia, Motet
Source Attribution: Orlandus
Number of voices: 5
157v–160 Alleluia. Vox laeta personat - 2a pars (of 2): Alleluia. Praegaudio resultant -
Appears on: 157v–160
Genres: Alleluia
Number of voices: 5
160v–164 Quis est homo qui timet Dominum? Orlandus
Appears on: 160v–164
Genres: Motet
Source Attribution: Orlandus
Number of voices: 5
164v–167 Haec est vita aeterna ut congnoscant te J. Meilandus
Appears on: 164v–167
Genres: Motet
Source Attribution: J. Meilandus
Number of voices: 5
167v–169 Tibi laus, tibi gloria - 1a pars (of 2): Tibi laus, tibi gloria, tibi gratiarum actio Orlandus
Appears on: 167v–169
Genres: Motet
Source Attribution: Orlandus
Number of voices: 5
169v–171 Tibi laus, tibi gloria - 2a pars (of 2): Da gaudiorum praemia da gratiarum munera -
Appears on: 169v–171
Genres: Motet
Number of voices: 5
171v–175 Derelinquat impius viam suam Theodorus Riccius
Appears on: 171v–175
Genres: Motet
Source Attribution: Theodorus Riccius
Number of voices: 5
Composer Compositions
Anonymous
Clemens non Papa, Jacob (ca. 1510-ca. 1556)
Hoyoul, Balduin
Lassus, Orlande de (ca. 1532-1594)
Le Maistre, Mattheus (ca. 1505-1577)
Meiland, Jacob (1542-1577)
Riccio, Teodoro
Wert, Giaches [Jaches] de (1535-1596)
Composition Composers (? Uncertain) Folios / Pages
Adjuva me - 1a pars (of 2): Adjuva me Domine 114v–119
Adjuva me - 2a pars (of 2): Servus tuus ego sum 119v–122
Alleluia. Vox laeta personat - 1a pars (of 2): Alleluia. Vox laeta personat 154v–157
Alleluia. Vox laeta personat - 2a pars (of 2): Alleluia. Praegaudio resultant 157v–160
Audi tellus - 1a pars (of 3): Audi tellus audi magni maris limbus 105v–109
Audi tellus - 2a pars (of 3): Ubi Plato ubi Porphirius ubi Tullius 109v–111
Audi tellus - 3a pars (of 3): Ubi David rex doctissimus ubi Salomon 111v–114
Beatus qui intelligit - 2a pars (of 2): Dominus opem ferat illi super lectum doloris 24v–28
Beatus qui intelligit - 1a pars (of 2): Beatus qui intelligit super egenum et pauperem 21v–24
Beatus vir qui non abiit in consilio 0v–11
Concussum est mare - 1a pars (of 2): Concussum est mare et contremuit terra 122v–126
Concussum est mare - 2a pars (of 2): Factum est silentium in caelo dum draco committeret 126v–131
De ore prudentis procedit mel alleluia 139v–144
Derelinquat impius viam suam 171v–175
Fremuit spiritu Jesu - 1a pars (of 2): Fremuit spiritu Jesu 83v–88
Fremuit spiritu Jesu - 2a pars (of 2): Videns Dominus flentes 88v–92
Haec est vita aeterna ut congnoscant te 164v–167
In monte Oliveti oravi ad patrem 41v–45
In te Domine speravi (6vv) - 1a pars (of 2): In te Domine speravi non confundar 11v–16
In te Domine speravi (6vv) - 2a pars (of 2): Quoniam fortitudo mea et refugium 16v–21
In te Domine speravi - 1a pars (of 2): In te Domine speravi non confundar in aeternum 144v–148
In te Domine speravi - 2a pars (of 2): Quoniam fortitudo mea et refugium meum es tu 148v–154
Jesu nostra redemptio - 1a pars (of 4): Jesu nostra redemptio amor et desiderium 58v–61
Jesu nostra redemptio - 2a pars (of 4): Inferni claustra penetrans tuos 61v–64
Jesu nostra redemptio - 3a pars (of 4): Ipsa te cogat pietas ut mala 64v–65
Jesu nostra redemptio - 4a pars (of 4): Tu esto nostrum gaudium qui es 65v–68
Lauda Jerusalem - 1a pars (of 4): Lauda Jerusalem Dominum lauda Deum tuum 28v–32
Lauda Jerusalem - 2a pars (of 4): Qui emittet eloquium suum terrae 32v–36
Lauda Jerusalem - 3a pars (of 4): Emittet verbum suum et liquefaciet 36v–38
Lauda Jerusalem - 4a pars (of 4): Non fecit taliter omni nationi 38v–41
Locutus sum - 1a pars (of 2): Locutus sum in lingua mea notum fac 68v–72
Locutus sum - 2a pars (of 2): Fac mecum signum in bonum 72v–76
O mors - 1a pars (of 2): O mors quam amara est memoria homini 92v–95
O mors - 2a pars (of 2): O mors bonum est iuditium tuum 95v–99
Quin praefers rebus bona 99v–105
Quis est homo qui timet Dominum? 160v–164
Tibi laus, tibi gloria - 1a pars (of 2): Tibi laus, tibi gloria, tibi gratiarum actio 167v–169
Tibi laus, tibi gloria - 2a pars (of 2): Da gaudiorum praemia da gratiarum munera 169v–171
Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me 76v–79
Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam 79v–83
Transeunte Domino - 1a pars (of 2): Transeunte Domino clamabat caecus ad eum 131v–135
Transeunte Domino - 2a pars (of 2): Et ait illi Jesus quid vis ut faciam 135v–139
Vexilla regis - 1a pars (of 4): Vexilla regis prodeunt fulget crucis 45v–49
Vexilla regis - 2a pars (of 4): Impleta sunt quae concinit David 49v–53
Vexilla regis - 3a pars (of 4): Beata cuius brachiis secli pependit 53v–54
Vexilla regis - 4a pars (of 4): O crux ave spes unica hoc passionis 54v–58

denotes primary source study

Gottwald, Clytus. 1974. Die Musikhandschriften der Staats- und Stadtbibliothek Augsburg. Handschriftenkataloge der Staats- und Stadtbibliothek Augsburg, vol. I.  Wiesbaden. Pages: 176, 178. Notes: contents list (partial); concordances (partial).

Butler, Bartlett Russell. 1970. Liturgical Music in Sixteenth-Century Nürnberg. A Socio-Musical Study. University of Illinois, Unpublished Ph.D. dissertation. Pages: 576-8. Notes: mention of MS; facsimile (partial).

Gottwald, Clytus. 1964. Codices Musici (Cod. Mus. Fol. I 1-71). . Die Handschriften der Württembergischen Landesbibliothek Stuttgart, vol. Reihe I, Band 1.  Wiesbaden. Pages: 3ff. Notes: contents list (partial); concordances (partial).

Boetticher, Wolfgang. 1958. Orlando di Lasso und seine Zeit. 1532-1594. Repertoire-Untersuchungen zur Musik der Spätrenaissance, vol. I.  Kassel and Basel. Pages: 819. Notes: physical description (partial).

Schmidt, Günther. 1956. Die Musik am Hofe der Markgrafen von BrandenburgAnsbach.  Kassel and Basel. Pages: 19. Notes: mention of MS.

Bruner, Ludwig. 1913. Katalog der K. Regierungsbibliothek in Ansbach.  Ansbach. Pages: 236. Notes: mention of MS.

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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; 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