GB-Odiamm Virtual Reconstruction of Cambrai fragments (F-CA(n))

DIAMM Virtual Manuscript Archive, Oxford, England

Reconstruction of dispersed fragments in a single library: 14th century

Archive DIAMM Virtual Manuscript Archive, Oxford, England (GB-Odiamm)
Shelfmark Virtual Reconstruction of Cambrai fragments (F-CA(n))
Surface Parchment
Numbering System Foliation
Measurements c300/310 x 220/235 mm
Notations
  • Ars Nova
Provenance
  • France
Contents 26 pieces from 5 composers
General Description

Described by Lerch, following FallowsCA, and labelled by her F-CA(n) i.e. neu/new. It contains a number of otherwise unknown 14th century motets and mass movements, alongside some well-known ones.

A collection of pages, originally bifolios from a single 14th-century manuscript, which were re-used as guard pages in a number of different manuscripts & incunabula still held in the Cambrai collection. The largest group of fragments, held as MS B 1328, were removed and assembled into a portfolio prior to 1891; the remainder are still within the books where they were re-used: manuscript C647; and incunabula B56, B144, B145, B165, B166.

As well as the pastedowns, images include the 'mirror-image' offsets of the glued-down side of the fragments, which remained on the inside of the covers from which the fragments had been detached, sometimes in a more legible state than the fragments themselves.

The reconstruction of the surviving gatherings of the original manuscript fragments follows that in Lerch's thesis.

gatherings, after lerch

DIAMM, 2020
Physical Description

F-CA(n) itself has no physical existence.

As the pages which form the reconstruction were formerly glued into bindings as pastedowns, removing them left parts or all of the sides which were glued down almost illegible. Some, however, can be 'read' from their 'mirror images' left in the books from which they were removed - see FallowsCA.

DIAMM, 2020
Notation

Ars Nova

DIAMM, 2020
Ruling

Most folios have 8 five-line staves per page, in red or brown ink.

DIAMM, 2020
Foliation

1-16v, as described by Lerch. See MS B 1328 for a cross-reference between the various foliations used for the fragments which form part of that ms.

DIAMM, 2020
DIAMM Note

Pages from a number of manuscripts and incunabula are used in this reconstruction. Full information, bibliography, etc is provided in the entries on those sources.

DIAMM, 2020

(2v offset) F-CA Inc. B 145, back cover

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
(1r) F-CA Inc. B 165, ii recto Deus in se notus / Deus in adjutorium - Anonymous
Appears on: (1r) F-CA Inc. B 165, ii recto
Genres: Conductus, Motet
(1v) F-CA Inc. B 165, ii verso–(2r) F-CA Inc. B 145, i recto [Mass of Tournai]: Et in terra pax [Gloria] -
Appears on: (1v) F-CA Inc. B 165, ii verso–(2r) F-CA Inc. B 145, i recto
Genres: Gloria (et in terra pax), Mass Ordinary
(2r) F-CA Inc. B 145, i recto–(3r) F-CA Inc. B 56, i recto Et in terra pax [Gloria] - Anonymous
Appears on: (2r) F-CA Inc. B 145, i recto–(3r) F-CA Inc. B 56, i recto
Genres: Gloria (et in terra pax), Mass Ordinary
(3r) F-CA Inc. B 56, i recto Bien dire et sagement parler et sur soymeismes regarder - Anonymous
Appears on: (3r) F-CA Inc. B 56, i recto
Genres: Ballade
(3v) F-CA Inc. B 56, i verso–(4r) F-CA Inc. B 166, i recto Et in terra pax (Gloria), [Tro] Qui sonitu melodia - Anonymous
Appears on: (3v) F-CA Inc. B 56, i verso–(4r) F-CA Inc. B 166, i recto
Genres: Mass Ordinary, Troped Gloria
(4v) F-CA Inc. B 166, i verso–(6r) F-CA Inc. B 56, ii verso (original recto) [Mass of Barcelona] Patrem omnipotentem [Credo] -
Appears on: (4v) F-CA Inc. B 166, i verso–(6r) F-CA Inc. B 56, ii verso (original recto)
Genres: Credo (patrem omnipotentem), Mass Ordinary
(6r) F-CA Inc. B 56, ii verso (original recto) Iste confessor Domini / Iste confessor Domini / Iste confessor Domini - Anonymous
Appears on: (6r) F-CA Inc. B 56, ii verso (original recto)
Genres: Hymn
(6v) F-CA Inc. B 56, ii recto (original verso)–(7) Saghen saghen saghen dat - Anonymous
Appears on: (6v) F-CA Inc. B 56, ii recto (original verso)–(7)
Genres: Motet
(7v) offset - F-CA Inc. B 145, front cover C... / F... / Tenor - Anonymous
Appears on: (7v) offset - F-CA Inc. B 145, front cover
Genres: Motet
General Note

only the offset survives for this page (apart from a small fragment of the guard=page left stuck to the binding when it was removed. The guard-page has apparently been lost.

(8r) F-CA Inc. B 165, i recto Helas j'ai longtemps / Plain sui d'amere / Infelix - Anonymous
Appears on: (8r) F-CA Inc. B 165, i recto
Genres: Motet
(8v) F-CA Inc. B 165, i verso Super cathedram Moisi latitat / Praesidentes in tronis saeculi / Ruina - Anonymous
Appears on: (8v) F-CA Inc. B 165, i verso
Genres: Motet
(9r) F-CA Inc. B 144, i recto Cede locum cede fortuna perpere / Nam sum qui fueram / Beati qui persecutionem - Anonymous
Appears on: (9r) F-CA Inc. B 144, i recto
Genres: Motet
(9v) F-CA Inc. B 144, i verso–(10r) F-CA MS B 1328, 1r Patrem ab eterno / Patrem omnipotentem / Talis est - Anonymous
Appears on: (9v) F-CA Inc. B 144, i verso–(10r) F-CA MS B 1328, 1r
Genres: Mass Ordinary, Motet, Troped Credo
(10v) F-CA MS B 1328, 1v–(11r) F-CA MS B 1328, 3r Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater -
Appears on: (10v) F-CA MS B 1328, 1v–(11r) F-CA MS B 1328, 3r
Genres: Alma redemptoris mater, BVM, Motet
(11r) F-CA MS B 1328, 3r Lés l’ormel a la turele chevauchay / Main se leva sire Garins li clos / Je ne chaindrai mais - Anonymous
Appears on: (11r) F-CA MS B 1328, 3r
Genres: Motet
(11v) F-CA MS B 1328, 3v Cum statua Nabugodonosor metallina / Hugo princeps invidie / Magister invidie -
Appears on: (11v) F-CA MS B 1328, 3v
Genres: Motet
(11v) F-CA MS B 1328, 3v–(12r) F-CA MS B 1328, 4r Se paour d’umble astinance par douce atrenpance / Dieux, tant desir estre amé de m’amis / Concupisco - Anonymous
Appears on: (11v) F-CA MS B 1328, 3v–(12r) F-CA MS B 1328, 4r
Genres: Motet
(12v) F-CA MS B 1328, 4v–(13r) F-CA MS B 1328, 5r Benedicamus Domino [Tro] uni deo - Anonymous
Appears on: (12v) F-CA MS B 1328, 4v–(13r) F-CA MS B 1328, 5r
Genres: Benedicamus Domino, Troped benedicamus
(13r) F-CA MS B 1328, 5r Colla iugo subdere curias sectari / Bona condit cetera bonum libertatis / Libera me de sanguinibus -
Appears on: (13r) F-CA MS B 1328, 5r
Genres: Motet
(13v) F-CA MS B 1328, 5v ... / Fors perversa rotam / Tenor - Anonymous
Appears on: (13v) F-CA MS B 1328, 5v
Genres: Motet
(14r) F-CA MS B 1328, 6r Par maintes fois / ... / Ave Maria - Anonymous
Appears on: (14r) F-CA MS B 1328, 6r
Genres: Motet
(14v) F-CA MS B 1328, 6v Flos ortus inter lilia quorum radix / Celsa cedrus ysopus effecta / O quam magnus pontifex -
Appears on: (14v) F-CA MS B 1328, 6v
Genres: Motet
(15r) F-CA MS B 1328, 7r Fortune mere a dolour et nourice / Ma dolour ne cesse pas ains est / Dolor meus - Anonymous
Appears on: (15r) F-CA MS B 1328, 7r
Genres: Motet
(15v) F-CA MS B 1328, 7v Vos quid admiramini virgines / Gratissima virginis species quam decorat -
Appears on: (15v) F-CA MS B 1328, 7v
Genres: Motet
(16r) F-CA MS B 1328, 2v (original recto) Floret cum vana gloria novitatum / Florens vigor ulciscendo / Neuma quinti toni - Anonymous
Appears on: (16r) F-CA MS B 1328, 2v (original recto)
Genres: Motet
(16v) F-CA MS B 1328, 2r (original verso) Qui es promesses de Fortune se fie / Ha, Fortune, trop suis mis loing de port / Et non est qui adjuvat -
Appears on: (16v) F-CA MS B 1328, 2r (original verso)
Genres: Motet
Composer Compositions
Anonymous
Machaut, Guillaume de (ca. 1300–1377)
Sortes
Vitry, Philippe de (1291–1361)
[Master of the Royal Motets]
Composition Composers (? Uncertain) Folios / Pages
... / Fors perversa rotam / Tenor Anonymous (13v) F-CA MS B 1328, 5v
[Mass of Barcelona] Patrem omnipotentem [Credo] (4v) F-CA Inc. B 166, i verso–(6r) F-CA Inc. B 56, ii verso (original recto)
[Mass of Tournai]: Et in terra pax [Gloria] (1v) F-CA Inc. B 165, ii verso–(2r) F-CA Inc. B 145, i recto
Apta caro plumis ingenii / Flos virginum, decus et species / Alma redemptoris mater (10v) F-CA MS B 1328, 1v–(11r) F-CA MS B 1328, 3r
Benedicamus Domino [Tro] uni deo Anonymous (12v) F-CA MS B 1328, 4v–(13r) F-CA MS B 1328, 5r
Bien dire et sagement parler et sur soymeismes regarder Anonymous (3r) F-CA Inc. B 56, i recto
C... / F... / Tenor Anonymous (7v) offset - F-CA Inc. B 145, front cover
Cede locum cede fortuna perpere / Nam sum qui fueram / Beati qui persecutionem Anonymous (9r) F-CA Inc. B 144, i recto
Colla iugo subdere curias sectari / Bona condit cetera bonum libertatis / Libera me de sanguinibus (13r) F-CA MS B 1328, 5r
Cum statua Nabugodonosor metallina / Hugo princeps invidie / Magister invidie (11v) F-CA MS B 1328, 3v
Deus in se notus / Deus in adjutorium Anonymous (1r) F-CA Inc. B 165, ii recto
Et in terra pax (Gloria), [Tro] Qui sonitu melodia Anonymous (3v) F-CA Inc. B 56, i verso–(4r) F-CA Inc. B 166, i recto
Et in terra pax [Gloria] Anonymous (2r) F-CA Inc. B 145, i recto–(3r) F-CA Inc. B 56, i recto
Floret cum vana gloria novitatum / Florens vigor ulciscendo / Neuma quinti toni Anonymous (16r) F-CA MS B 1328, 2v (original recto)
Flos ortus inter lilia quorum radix / Celsa cedrus ysopus effecta / O quam magnus pontifex (14v) F-CA MS B 1328, 6v
Fortune mere a dolour et nourice / Ma dolour ne cesse pas ains est / Dolor meus Anonymous (15r) F-CA MS B 1328, 7r
Helas j'ai longtemps / Plain sui d'amere / Infelix Anonymous (8r) F-CA Inc. B 165, i recto
Iste confessor Domini / Iste confessor Domini / Iste confessor Domini Anonymous (6r) F-CA Inc. B 56, ii verso (original recto)
Lés l’ormel a la turele chevauchay / Main se leva sire Garins li clos / Je ne chaindrai mais Anonymous (11r) F-CA MS B 1328, 3r
Par maintes fois / ... / Ave Maria Anonymous (14r) F-CA MS B 1328, 6r
Patrem ab eterno / Patrem omnipotentem / Talis est Anonymous (9v) F-CA Inc. B 144, i verso–(10r) F-CA MS B 1328, 1r
Qui es promesses de Fortune se fie / Ha, Fortune, trop suis mis loing de port / Et non est qui adjuvat (16v) F-CA MS B 1328, 2r (original verso)
Saghen saghen saghen dat Anonymous (6v) F-CA Inc. B 56, ii recto (original verso)–(7)
Se paour d’umble astinance par douce atrenpance / Dieux, tant desir estre amé de m’amis / Concupisco Anonymous (11v) F-CA MS B 1328, 3v–(12r) F-CA MS B 1328, 4r
Super cathedram Moisi latitat / Praesidentes in tronis saeculi / Ruina Anonymous (8v) F-CA Inc. B 165, i verso
Vos quid admiramini virgines / Gratissima virginis species quam decorat (15v) F-CA MS B 1328, 7v

denotes primary source study

Lerch, Irmgard. 1987. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spätmittelalterlicher Polyphonie. Göttinger Musikwissenschaftliche Arbeiten. 2 vols. Kassel: Bärenreiter.

Fallows, David. 1976. L'origine du ms. 1328 de Cambrai. Revue de musicologie, 275-80.

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