E-Sc 5-1-43 (Seville Chansonnier)

Biblioteca Capitular y Colombina (housed in the Institución Colombina), Seville, Spain

manuscript of polyphony: c. 1470-1485

Archive	Biblioteca Capitular y Colombina (housed in the Institución Colombina), Seville, Spain (E-Sc)
Shelfmark	5-1-43 (Seville Chansonnier)
Surface	Paper
Numbering System	Foliation
Measurements	209 x 157 mm
Other Identifiers	CCM: SevC 5-1-43 olim (Former shelfmark): PC 1 (olim Z Tab.135, No 33) see also ParisBNN 4379
Relationships	Seville Cathedral (owner) Colon, Fernando (1488–1539) (owner)
External Links	Musica Hispanica: Spanish Early Music Manuscripts Database Books of Hispanic Polyphony
Provenance	Napoli (Naples)? Italy
Contents	Contains 139 compositions, 58 from 26 composers, 81 are anonymous.

General Description

Copied by three main scribes and three additional scribes; four of the scribal hands also appear in Part I of Paris F-Pn 4379. Probably copied in Naples, but a Roman origin is also possible (AtlCG). Forty-two folios were removed from the present manuscript in 1884, and taken to Paris where they were acquired by the Bibliothèque nationale in 1885 and are now Part I of F-Pn 4379. This MS and Part I of F-Pn 4379 once formed a single manuscript, which was purchased in Rome in 1515 by Fernando Colón (1488-1539), son of the navigator. The manuscript was listed as #2526 in one of the surviving catalogues ('Registrum B') of Colón's books. Colón bequeathed his library (the so-called 'Fernandina' or 'Colombina') to his nephew Luis; the collection passed to the chapter of Seville Cathedral in 1552. A virtual reconstruction of this complete manuscript is here.

DIAMM, 2017

Physical Description

Eight original folios lost at an unknown time; 42 folios of original corpus now preserved separately as Part I of ParisBNN 4379 (PlamS; see below). Edges of folios trimmed, obliterating some attributions and most of a Roman numeral foliation.

DIAMM, 2017

Binding

covers of white parchment; 17th century

DIAMM, 2017

Watermark

presumably include those found in Part I of ParisBNN 4379: (1) resembles Briquet #3387; (2) generally resembles Briquet #4413.

DIAMM, 2017

Notation

not indicated

DIAMM, 2017

Foliation

Roman numeral foliation. Original ink foliation on lower right rectos uses letters to designate gatherings, Arabic numbers to designate folios within gatherings. Foliation extended from 'a1' through 'r8' in original manuscript of 188 folios. Original folios now in Part I of ParisBNN 4379 include e2-e11, f4-f12, g1, h2-h11, n2-n12, and o1; original ff. a10, b6-b10, f3, and g2 lost; remaining folios form present manuscript. Modern foliation by Higinio Anglès, 1-138. Original ink numbering of pieces, 1-164, on upper right rectos (several inconsistencies; numbers sometimes mistakenly construed as foliation)

DIAMM, 2017

Decoration

Inked calligraphic initials coloured with light yellow wash; some initials decorated with faces.

DIAMM, 2017

Index

Incomplete alphabetical index on new ff. 1-2, followed by short musical treatise on ff. 2'-5'

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.

3 motets, 92 French secular pieces (3 without text), 22 Italian secular pieces (1 without text), 4 German secular pieces, 2 Dutch secular pieces, 1 quodlibet, 4 textless pieces = 128 + 1 duplicate = 129 (16 incomplete, but missing parts for 6 of these are found in Part I of ParisBNN 4379)

A. Agricola-2, (Basin)-1, (Bedingham/Dunstable)-1, (Binchois-anon)-1, Busnois-14, (Busnois/Caron)-1, (Busnois/Compère/ Mureau)-1, (Busnois/Ockeghem)-1, (Caron)-6, (Caron/Morton) -1, (Compère/Tinctoris)-1, (Convert)-1, (Cornago)-1, (Dufay)-2, (Frye)-1, (Hayne van Ghizeghem)-2, (Japart)-1, (Josquin)-3, (Josquin/Lannoy)-1, (Joye)-1, (Martini)-3, (Morton)-1, (Ockeghem)-1, (Ockeghem-anon)-2, Pietrequin? [name mostly cut off]/ (A. Agricola)-1, (Senfl?)-1, (Tinctoris)-1, (Touront)-1, (Vincenet) -1, Weerbecke [Gaspar]/(Josquin)-1, Zuny-1, anon-71

138 paper folios of an original 188, 209 x 157. Eight original folios lost at an unknown time; 42 folios of original corpus now preserved separately as Part I of ParisBNN 4379 (PlamS; see below). Edges of folios trimmed, obliterating some attributions and most of a Roman numeral foliation. Three additional numbering systems-(1) Original ink foliation on lower right rectos uses letters to designate gatherings, Arabic numbers to designate folios within gatherings. Foliation extended from "a1" through "r8" in original manuscript of 188 folios. Original folios now in Part I of ParisBNN 4379 include e2-e11, f4-f12, g1, h2-h11, n2-n12, and o1; original ff. a10, b6-b10, f3, and g2 lost; remaining folios form present manuscript. (2) Original ink numbering of pieces, 1-164, on upper right rectos (several inconsistencies; numbers sometimes mistakenly construed as foliation). (3) Modern foliation by Higini Anglès, 1-138.

New ff. 6-9', 37, 47-47', 48', and 123 have blank staves only. Present covers of white parchment date from 17th century. Incomplete alphabetical index on new ff. 1-2, followed by short musical treatise on ff. 2'-5'. Copied by three main scribes and three additional scribes; four of the scribal hands also appear in Part I of ParisBNN 4379. Inked calligraphic initials colored with light yellow wash; some initials decorated with faces. Watermarks presumably include those found in Part I of ParisBNN 4379: (1) resembles Briquet #3387; (2) generally resembles Briquet #4413.

Ca. 1470-85 (see discussions in AtlCG, SchavP). Probably copied in Naples, but Roman origin also possible (AtlCG). SevC 5-1-43 and Part I of ParisBNN 4379 once formed a single manuscript, which was purchased in Rome in 1515 by Fernando Colón (1488-1539), son of the navigator; manuscript listed as #2526 in one of the surviving catalogues ("Registrum B") of Colón's books. Colón bequeathed his library (the so-called "Fernandina" or "Colombina") to his nephew Luis; collection passed to chapter of Seville Cathedral in 1552. Forty-two folios removed from present manuscript in 1884, and taken to Paris; acquired by Bibliothèque Nationale in 1885 (now Part I of ParisBNN 4379).

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)
10r	Le tasinet	-	Anonymous
Le tasinet Anonymous Appears on: 10r Genres: Chanson Number of voices: 2 of ?3 General Note Ct & T only
10v–12r	Chantes	-	Anonymous
Chantes Anonymous Appears on: 10v–12r Genres: Chanson Number of voices: 3
12v–13r	Pour fort amer et bien servir	-	Anonymous
Pour fort amer et bien servir Anonymous Appears on: 12v–13r Genres: Chanson Number of voices: 3
13v–14r	Tel fait semblant	-	Anonymous
Tel fait semblant Anonymous Appears on: 13v–14r Genres: Chanson Number of voices: 3
14v	La martinella	-	Martini, Johannes (ca. 1430–1497)
La martinella Martini, Johannes (ca. 1430–1497) Appears on: 14v Genres: Italian secular Number of voices: 2 of ?3 General Note S & part of Ct only - remainder was on missing folio between this & next piece
15r	Hau haula apres l'escoufle	-	Anonymous
Hau haula apres l'escoufle Anonymous Appears on: 15r Genres: Chanson Number of voices: 2 of 3 (S missing) General Note Ct & T only - S was on a missing folio between this & preceding piece
15v–16r	La parente nostre dame, la parente dominus	-	Anonymous
La parente nostre dame, la parente dominus Anonymous Appears on: 15v–16r Genres: Chanson Number of voices: 4
16v–17r	Bien soiez venu mon signoir	-	Anonymous
Bien soiez venu mon signoir Anonymous Appears on: 16v–17r Genres: Chanson Number of voices: 4
17v–18r	Ung plus que tous est en mon souvenir	-	Busnoys, Antoine (ca. 1430–1492)
Ung plus que tous est en mon souvenir Busnoys, Antoine (ca. 1430–1492) Appears on: 17v–18r Genres: Chanson Number of voices: 3
18v–19r	Madame faites moi savoir = Madame m'amie = Quanto magnus est	-	Basin, Adrien (–ca. 1498)
Madame faites moi savoir = Madame m'amie = Quanto magnus est Basin, Adrien (–ca. 1498) Appears on: 18v–19r Genres: Chanson Number of voices: 3
19v–20r	Se je garde bien vostre honneur	-	-
Se je garde bien vostre honneur - Appears on: 19v–20r Genres: Chanson Number of voices: 3
20v–21r	Se n'ay secours de vous, ma dame	-	Anonymous
Se n'ay secours de vous, ma dame Anonymous Appears on: 20v–21r Genres: Chanson Number of voices: 3
21v–22r	Je vous garde(s)	-	Anonymous
Je vous garde(s) Anonymous Appears on: 21v–22r Genres: Chanson Number of voices: 3
22v–23r	Le bien fet	-	Anonymous
Le bien fet Anonymous Appears on: 22v–23r Genres: Chanson Number of voices: 3 Concordances No connection with 'Hobreth's "Se bien fait" in Casanatense 2856, 160v-162r
23v–24r	O vie fortunee (O vive fortune) de diverses atemptans - Adieu fortune	-	Caron, Firminus (ca. 1460–ca. 1475)
O vie fortunee (O vive fortune) de diverses atemptans - Adieu fortune Caron, Firminus (ca. 1460–ca. 1475) Appears on: 23v–24r Genres: Chanson Number of voices: 3
24v–25r	Que pourroit plus faire	-	Morton, Robert
Que pourroit plus faire Morton, Robert Appears on: 24v–25r Genres: Chanson, Contrafactum Number of voices: 3
25v–26r	Je ne fais plus je ne dis ne escris = Au joli mois de may	-	Compère, Loyset (ca. 1445–1518) (?) Busnoys, Antoine (ca. 1430–1492) (?) Mureau, Gilles (?)
Je ne fais plus je ne dis ne escris = Au joli mois de may Compère, Loyset (ca. 1445–1518) (?) Busnoys, Antoine (ca. 1430–1492) (?) Mureau, Gilles (?) Appears on: 25v–26r Genres: Chanson Number of voices: 3
26v–27r	En bien faisant	-	Anonymous
En bien faisant Anonymous Appears on: 26v–27r Genres: Chanson Number of voices: 3
27v–28r	Nicht loss mich leib = Nicht loss mich orth entgelden	-	Anonymous
Nicht loss mich leib = Nicht loss mich orth entgelden Anonymous Appears on: 27v–28r Genres: Lied Number of voices: 3 Concordances = Glogauer Liederbuch no. 226 "Nicht loss mich orth entgelden"
28v–29r	Garde(s) vous donc	-	Anonymous
Garde(s) vous donc Anonymous Appears on: 28v–29r Genres: Chanson Number of voices: 3
29v–30r	Quel que paut que je soie.	-	Anonymous
Quel que paut que je soie. Anonymous Appears on: 29v–30r Genres: Chanson Number of voices: 4
30v–31r	La durion dure la durion dure et la dure.	-	Anonymous
La durion dure la durion dure et la dure. Anonymous Appears on: 30v–31r Genres: Chanson Number of voices: 4
31v–32r	O Fortune, trop tu es dure	-	Busnoys, Antoine (ca. 1430–1492)
O Fortune, trop tu es dure Busnoys, Antoine (ca. 1430–1492) Appears on: 31v–32r Genres: Chanson Number of voices: 3
32v–33r	A la chaza - 1a pars (of 2): A la chaza su ognun se spazza	-	Anonymous
A la chaza - 1a pars (of 2): A la chaza su ognun se spazza Anonymous Appears on: 32v–33r Genres: Canzon Number of voices: 4
33v–34r	A la chaza - 2a pars (of 2): Te qui balzam, te qui liom	-	Anonymous
A la chaza - 2a pars (of 2): Te qui balzam, te qui liom Anonymous Appears on: 33v–34r Genres: Canzon Number of voices: 4
34v–35r	Vilana che sa tu far	-	Anonymous
Vilana che sa tu far Anonymous Appears on: 34v–35r Genres: Italian secular Number of voices: 4
35v	Pour prison ne pour maladie (S) / Passio Domini nostri (T)	-	Anonymous
Pour prison ne pour maladie (S) / Passio Domini nostri (T) Anonymous Appears on: 35v Genres: Quodlibet Number of voices: 2 Layout This piece concludes on f1r of Paris 4379 (whose first section consists of folios torn out of this MS)
36r	Se une fois puis recouvrir joie	-	Ghizeghem, Hayne van (ca. 1445–ca. 1497)
Se une fois puis recouvrir joie Ghizeghem, Hayne van (ca. 1445–ca. 1497) Appears on: 36r Genres: Chanson Layout T & beginning of Ct only; S & residuum of Ct are on the other half of the opening, now f10v in Paris 4379
36v	Se trouver joye scavoie	-	Anonymous
Se trouver joye scavoie Anonymous Appears on: 36v Genres: Chanson Number of voices: 1 of 3 General Note Only S survives; remainder on missing folio lost before Colon acquired the MS
37v–38v	Ave regina caelorum I	-	Frye, Walter (–ca. 1475)
Ave regina caelorum I Frye, Walter (–ca. 1475) Appears on: 37v–38v Genres: BVM Number of voices: 3 Voice: [no designation] Languages: Latin Voice Text: Ave regina caelorum
39r	De tous biens plaine est ma maîtresse	-	Ghizeghem, Hayne van (ca. 1445–ca. 1497)
De tous biens plaine est ma maîtresse Ghizeghem, Hayne van (ca. 1445–ca. 1497) Appears on: 39r Genres: Chanson Number of voices: 2 of 3 (S missing) General Note S missing; folio lost & in neither Paris 4379 nor Seville 5-1-43
39v–40r	Helas que pourra devenir	-	Caron, Firminus (ca. 1460–ca. 1475)
Helas que pourra devenir Caron, Firminus (ca. 1460–ca. 1475) Appears on: 39v–40r Genres: Chanson Number of voices: 3
40v–41r	Salvator mundi - 1a pars (of 2): Salvator mundi salva nos omnes sancta	-	Anonymous
Salvator mundi - 1a pars (of 2): Salvator mundi salva nos omnes sancta Anonymous Appears on: 40v–41r Genres: Contrafactum Number of voices: 3 Voice: [no designation] Languages: Latin Voice Text: Salvator mundi salva nos omnes sancta
41v	Salvator mundi - 2a pars (of 2): Ut a malis omnibus	-	Anonymous
Salvator mundi - 2a pars (of 2): Ut a malis omnibus Anonymous Appears on: 41v Genres: Motet Number of voices: 3
42r	Yo agio pianto tanto	-	Anonymous
Yo agio pianto tanto Anonymous Appears on: 42r Genres: Italian secular Number of voices: 4
42v–43r	Je n'en pius plus se je ne meurs = Je m'en vois	-	Anonymous
Je n'en pius plus se je ne meurs = Je m'en vois Anonymous Appears on: 42v–43r Genres: Chanson Number of voices: 3
43v–44r	[textless]	-	Anonymous
[textless] Anonymous Appears on: 43v–44r Number of voices: 4
44v–45r	Helas le bon temps que j'avoie (= Helas Abraham)	-	Tinctoris, Johannes (ca. 1435–1511) (?) Compère, Loyset (ca. 1445–1518) (?)
Helas le bon temps que j'avoie (= Helas Abraham) Tinctoris, Johannes (ca. 1435–1511) (?) Compère, Loyset (ca. 1445–1518) (?) Appears on: 44v–45r Genres: Chanson Number of voices: 3
45v–46r	Cent mille escus quand je voldroie	-	Caron, Firminus (ca. 1460–ca. 1475) Busnoys, Antoine (ca. 1430–1492) (?)
Cent mille escus quand je voldroie Caron, Firminus (ca. 1460–ca. 1475) Busnoys, Antoine (ca. 1430–1492) (?) Appears on: 45v–46r Genres: Chanson Number of voices: 3
46v	Helas madame 27.13	-	Despres, Josquin (ca. 1450–1521)
Helas madame 27.13 Despres, Josquin (ca. 1450–1521) Appears on: 46v Genres: Chanson Number of voices: 1 of 3 (S only) General Note S only; other parts on leaf missing when MS purchased by Colon
48r	O hertzen trost	-	Anonymous
O hertzen trost Anonymous Appears on: 48r Genres: Lied Number of voices: 2 of 4 General Note Ct & Bassus only
49r	Tousjour my souvient	-	Anonymous
Tousjour my souvient Anonymous Appears on: 49r Genres: Chanson Number of voices: 2 of (3?) General Note Ct & T only, S lost before ms acquired by Colon
49v	Par le regard de vos beaux yeux	-	Du Fay, Guillaume (1397–1474)
Par le regard de vos beaux yeux Du Fay, Guillaume (1397–1474) Appears on: 49v Genres: Chanson, Rondeau Number of voices: 3 General Note S here; Ct & T in Paris 4379 (f.21r)
50r	O rosa bella, o Deitatis cella (= O quam suavis est domina)	-	Dunstaple, John (ca. 1390–1453) (?) Bedingham, John (–ca. 1460) (?)
O rosa bella, o Deitatis cella (= O quam suavis est domina) Dunstaple, John (ca. 1390–1453) (?) Bedingham, John (–ca. 1460) (?) Appears on: 50r Genres: Motet Number of voices: 3 General Note Ct & T only; Discantus on Paris 4379 f.30v
50v–51r	Puisque je vis le regard gratieux	-	Anonymous
Puisque je vis le regard gratieux Anonymous Appears on: 50v–51r Genres: Chanson Number of voices: 3
51v–52r	D'un aultre aimer mon coeur s'abesseroit	-	Busnoys, Antoine (ca. 1430–1492) (?) Ockeghem, Jean de (ca. 1410–1497) (?)
D'un aultre aimer mon coeur s'abesseroit Busnoys, Antoine (ca. 1430–1492) (?) Ockeghem, Jean de (ca. 1410–1497) (?) Appears on: 51v–52r Genres: Chanson Number of voices: 3 Concordances This copy adds a 'bassus ab alio' (i.e. by another composer) which is an alternative for the original Ct
52v–53r	Le despourveu infortune = Tanto e l'affanno	-	Caron, Firminus (ca. 1460–ca. 1475)
Le despourveu infortune = Tanto e l'affanno Caron, Firminus (ca. 1460–ca. 1475) Appears on: 52v–53r Genres: Chanson Number of voices: 3
53v–54r	Seul en amours.	-	Anonymous
Seul en amours. Anonymous Appears on: 53v–54r Genres: Chanson Number of voices: 3
54v–55r	Cela sans plus et plus hola	-	Despres, Josquin (ca. 1450–1521) (?) Lannoy, Colinet de
Cela sans plus et plus hola Despres, Josquin (ca. 1450–1521) (?) Lannoy, Colinet de Appears on: 54v–55r Genres: Chanson Number of voices: 3
55v–56r	M'a vostre coeur mis en oubli - 1a pars (of 2): M'a vostre coeur mis en oubli	-	Busnoys, Antoine (ca. 1430–1492)
M'a vostre coeur mis en oubli - 1a pars (of 2): M'a vostre coeur mis en oubli Busnoys, Antoine (ca. 1430–1492) Appears on: 55v–56r Genres: Chanson Number of voices: 3
55v–56r	M'a vostre coeur mis en oubli - 2a pars (of 2): Se vostre doulx coeur me renonce	-	Busnoys, Antoine (ca. 1430–1492)
M'a vostre coeur mis en oubli - 2a pars (of 2): Se vostre doulx coeur me renonce Busnoys, Antoine (ca. 1430–1492) Appears on: 55v–56r Genres: Motet Number of voices: 3
56v–57r	S'il convient que je preigne congie	-	Anonymous
S'il convient que je preigne congie Anonymous Appears on: 56v–57r Number of voices: 3
57v–58r	Jaqueline si attende	-	Busnoys, Antoine (ca. 1430–1492)
Jaqueline si attende Busnoys, Antoine (ca. 1430–1492) Appears on: 57v–58r Genres: Chanson Number of voices: 3
58v–59r	De votre amour suis tant empris	-	Anonymous
De votre amour suis tant empris Anonymous Appears on: 58v–59r Genres: Chanson Number of voices: 3
59v–60r	De vostre deul - 1a pars (of 2): De vostre deul sui desplaisant	-	Anonymous
De vostre deul - 1a pars (of 2): De vostre deul sui desplaisant Anonymous Appears on: 59v–60r Genres: Chanson Number of voices: 3 Concordances Same setting in 'Canti C' (Petrucci 1504) 102v-104r
59v–60r	De vostre deul - 2a pars (of 2): Pour quoy	-	Anonymous
De vostre deul - 2a pars (of 2): Pour quoy Anonymous Appears on: 59v–60r Genres: Chanson Number of voices: 3
60v–61r	S'il estoit vrai ce que je pense	-	Anonymous
S'il estoit vrai ce que je pense Anonymous Appears on: 60v–61r Genres: Chanson Number of voices: 3
61v–62r	Fortune par ta cruaulte	-	Vincenet, Johannes (–ca. 1480)
Fortune par ta cruaulte Vincenet, Johannes (–ca. 1480) Appears on: 61v–62r Genres: Chanson, Contrafactum, Motet Number of voices: 3
62v–63r	Ce qu'on fait a quatimini	-	Joye, Gilles
Ce qu'on fait a quatimini Joye, Gilles Appears on: 62v–63r Genres: Chanson Number of voices: 3
63v–64r	Se mieulx ne vient, d'amours peu me contente	-	Convert, P
Se mieulx ne vient, d'amours peu me contente Convert, P Appears on: 63v–64r Genres: Chanson Number of voices: 3
64v–65r	Les treves d'amours	-	Anonymous
Les treves d'amours Anonymous Appears on: 64v–65r Genres: Chanson Number of voices: 3
65v–67r	Le serviteur hault guerdonne	-	Anonymous
Le serviteur hault guerdonne Anonymous Appears on: 65v–67r Genres: Chanson Number of voices: 3 Concordances = Petrucci 'Canti C' 135v-136r Shares a S with the Dufay setting
67v–68r	Chiere dame coutoise et lye	-	Anonymous
Chiere dame coutoise et lye Anonymous Appears on: 67v–68r Genres: Chanson Number of voices: 3
68v–69r	Nostre dame fleur de jonette.	-	Anonymous
Nostre dame fleur de jonette. Anonymous Appears on: 68v–69r Genres: Chanson Number of voices: 3
69v–70r	Vous n'avés poient le coeur certain	-	Caron, Firminus (ca. 1460–ca. 1475)
Vous n'avés poient le coeur certain Caron, Firminus (ca. 1460–ca. 1475) Appears on: 69v–70r Genres: Chanson Number of voices: 3
70v–71r	Ci dit on benedicite = Laudem demus parvulo	-	Busnoys, Antoine (ca. 1430–1492)
Ci dit on benedicite = Laudem demus parvulo Busnoys, Antoine (ca. 1430–1492) Appears on: 70v–71r Genres: Chanson, Contrafactum, Motet Number of voices: 3
71v–72r	Filles a marier, ne vous maries ja	-	Anonymous
Filles a marier, ne vous maries ja Anonymous Appears on: 71v–72r Genres: Chanson Number of voices: 4
72v–73r	Faictez moy ce bien	-	Anonymous
Faictez moy ce bien Anonymous Appears on: 72v–73r Genres: Chanson Number of voices: 3
73v–74r	Tresdolce paticiere	-	Anonymous
Tresdolce paticiere Anonymous Appears on: 73v–74r Genres: Chanson Number of voices: 3
74v–75r	Quelque pauvre homme	-	Busnoys, Antoine (ca. 1430–1492)
Quelque pauvre homme Busnoys, Antoine (ca. 1430–1492) Appears on: 74v–75r Number of voices: 3
75v–76r	Quant viendra - 1a pars (of 2): Quant viendra la foy desiree	-	Anonymous
Quant viendra - 1a pars (of 2): Quant viendra la foy desiree Anonymous Appears on: 75v–76r Genres: Chanson Number of voices: 3
76v–77r	Quant viendra - 2a pars (of 2): J'ay obey ame souffert	-	Anonymous
Quant viendra - 2a pars (of 2): J'ay obey ame souffert Anonymous Appears on: 76v–77r Genres: Chanson Number of voices: 3
77v–78r	Un grand pauvre homme insanne = Se yense an mains [Se j'eusse en mains?]	-	Busnoys, Antoine (ca. 1430–1492)
Un grand pauvre homme insanne = Se yense an mains [Se j'eusse en mains?] Busnoys, Antoine (ca. 1430–1492) Appears on: 77v–78r Genres: Chanson Number of voices: 3 General Note Title here: Un grand pons
78v–79r	O Fortune, trop tu es dure	-	Busnoys, Antoine (ca. 1430–1492)
O Fortune, trop tu es dure Busnoys, Antoine (ca. 1430–1492) Appears on: 78v–79r Genres: Chanson Number of voices: 3 General Note Title here: O Fortune tu es trop dure
79v–80r	Au pauvre par necessité	-	Busnoys, Antoine (ca. 1430–1492)
Au pauvre par necessité Busnoys, Antoine (ca. 1430–1492) Appears on: 79v–80r Genres: Chanson Number of voices: 3
80v–81r	Coda di volpe (Der fochs schwantcz)	-	Anonymous
Coda di volpe (Der fochs schwantcz) Anonymous Appears on: 80v–81r Genres: Italian secular Number of voices: 3 Concordances also in Glogauer Liederbuch as 'Die fochs schwantz'
81v–82r	Adieu Adieu, la seigneurie	-	Anonymous
Adieu Adieu, la seigneurie Anonymous Appears on: 81v–82r Genres: Chanson Number of voices: 3
82v–83r	Se j'ay demeure longue espace	-	Anonymous
Se j'ay demeure longue espace Anonymous Appears on: 82v–83r Genres: Chanson Number of voices: 3
83v–84r	Vostre regard tant fort m'enflamme	-	Anonymous
Vostre regard tant fort m'enflamme Anonymous Appears on: 83v–84r Number of voices: 3
84v–85r	Ma tres souveraine princesse	-	Busnoys, Antoine (ca. 1430–1492)
Ma tres souveraine princesse Busnoys, Antoine (ca. 1430–1492) Appears on: 84v–85r Genres: Chanson Number of voices: 3
85v–86r	Vostre regard si treffort m'a feru	-	Tinctoris, Johannes (ca. 1435–1511)
Vostre regard si treffort m'a feru Tinctoris, Johannes (ca. 1435–1511) Appears on: 85v–86r Genres: Chanson Number of voices: 3
86v–87r	Pourtant se mon voloir	-	Caron, Firminus (ca. 1460–ca. 1475)
Pourtant se mon voloir Caron, Firminus (ca. 1460–ca. 1475) Appears on: 86v–87r Genres: Chanson Number of voices: 3
87v–88r	Se mon service vous plaisoit	-	Anonymous
Se mon service vous plaisoit Anonymous Appears on: 87v–88r Genres: Chanson Number of voices: 3
88v–89r	O gloriosa regina mundi succurre nobis	-	Touront, Johannes (ca. 1450–ca. 1475)
O gloriosa regina mundi succurre nobis Touront, Johannes (ca. 1450–ca. 1475) Appears on: 88v–89r Genres: Motet Number of voices: 3 Voice: [no designation] Languages: Latin Voice Text: O gloriosa regina mundi succurre nobis
89v–90r	Vive Carloys	-	Caron, Firminus (ca. 1460–ca. 1475)
Vive Carloys Caron, Firminus (ca. 1460–ca. 1475) Appears on: 89v–90r Genres: Secular Number of voices: 3
90v–91r	J'ai mains de biens - 1a pars (of 2): J'ai mains de biens que s'il n'en estoit nuls	-	Busnoys, Antoine (ca. 1430–1492)
J'ai mains de biens - 1a pars (of 2): J'ai mains de biens que s'il n'en estoit nuls Busnoys, Antoine (ca. 1430–1492) Appears on: 90v–91r Genres: Chanson Number of voices: 3
90v–91r	J'ai mains de biens - 2a pars (of 2): [untexted]	-	Busnoys, Antoine (ca. 1430–1492)
J'ai mains de biens - 2a pars (of 2): [untexted] Busnoys, Antoine (ca. 1430–1492) Appears on: 90v–91r Genres: Chanson Number of voices: 3
91v–92r	Dieu, gard la bone sans reprise	-	Du Fay, Guillaume (1397–1474)
Dieu, gard la bone sans reprise Du Fay, Guillaume (1397–1474) Appears on: 91v–92r Genres: Chanson, Rondeau Number of voices: 3 General Note Title here: Dieu gard supran
92v–93r	Vive le roy	-	Busnoys, Antoine (ca. 1430–1492) (?)
Vive le roy Busnoys, Antoine (ca. 1430–1492) (?) Appears on: 92v–93r Genres: Chanson Number of voices: 3
93v–94r	Moro perche non dai fede	-	Cornago, Juan de
Moro perche non dai fede Cornago, Juan de Appears on: 93v–94r Genres: Italian secular Number of voices: 3
94v–95r	Aime qui vouldra = Der Fochsschwanz = O lux luminis	-	Anonymous
Aime qui vouldra = Der Fochsschwanz = O lux luminis Anonymous Appears on: 94v–95r Genres: Chanson, Contrafactum Number of voices: 3
95v–96r	Vrai dieu d'amours	-	Anonymous
Vrai dieu d'amours Anonymous Appears on: 95v–96r Genres: Chanson Number of voices: 3
96v–97r	Myn hert lyt smert so langher so meer	-	Anonymous
Myn hert lyt smert so langher so meer Anonymous Appears on: 96v–97r Genres: Lied Number of voices: 3
97v–98r	Amours me tient en son demaine	-	Anonymous
Amours me tient en son demaine Anonymous Appears on: 97v–98r Genres: Chanson Number of voices: 3
98v–99r	Ha, que ville et abominable	Busnois	Busnoys, Antoine (ca. 1430–1492)
Ha, que ville et abominable Busnoys, Antoine (ca. 1430–1492) Appears on: 98v–99r Genres: Chanson Source Attribution: Busnois Number of voices: 3
99v	C'est temps perdu	-	Caron, Firminus (ca. 1460–ca. 1475) (?) Morton, Robert (?)
C'est temps perdu Caron, Firminus (ca. 1460–ca. 1475) (?) Morton, Robert (?) Appears on: 99v Genres: Chanson Number of voices: 3 General Note S only here; Ct & T are in Paris 4379, f.31r
100r	Ma maitresse - 1a pars (of 2): Ma maitresse et ma plus grande amie	-	Ockeghem, Jean de (ca. 1410–1497)
Ma maitresse - 1a pars (of 2): Ma maitresse et ma plus grande amie Ockeghem, Jean de (ca. 1410–1497) Appears on: 100r Genres: Chanson Number of voices: 3 General Note Ct & T only; S in Paris 4379, f. 42v
100v–101r	Ma maitresse - 2a pars (of 2): Hellas, de vous	-	Ockeghem, Jean de (ca. 1410–1497)
Ma maitresse - 2a pars (of 2): Hellas, de vous Ockeghem, Jean de (ca. 1410–1497) Appears on: 100v–101r Genres: Chanson Number of voices: 3
101v–102r	La belle fille par matin s'est levee	-	Anonymous
La belle fille par matin s'est levee Anonymous Appears on: 101v–102r Genres: Chanson Number of voices: 4
102v–103r	De Rome vient le pelerin	-	Anonymous
De Rome vient le pelerin Anonymous Appears on: 102v–103r Genres: Chanson Number of voices: 4
103v–104r	L'autrier la pieca - 1a pars (of 2): L'autrier la pieca / Trop suis jonette / En l'ombre	Busnois	Busnoys, Antoine (ca. 1430–1492)
L'autrier la pieca - 1a pars (of 2): L'autrier la pieca / Trop suis jonette / En l'ombre Busnoys, Antoine (ca. 1430–1492) Appears on: 103v–104r Genres: Chanson Source Attribution: Busnois Number of voices: 4 Concordances This is NOT the same piece as "L'autrier qui passa" (Busnoys) from Petrucci's 'Canti C'
104v–105r	L'autrier la pieca - 2a pars (of 2): Pour lui faire chiere Robin s'advanca	-	Busnoys, Antoine (ca. 1430–1492)
L'autrier la pieca - 2a pars (of 2): Pour lui faire chiere Robin s'advanca Busnoys, Antoine (ca. 1430–1492) Appears on: 104v–105r Genres: Chanson Number of voices: 4
105v–106r	Benedicta semper = Je ne demande - 1a pars (of 2): Benedicta semper sancta sit trinitas = Je ne demande autre degre	-	Busnoys, Antoine (ca. 1430–1492)
Benedicta semper = Je ne demande - 1a pars (of 2): Benedicta semper sancta sit trinitas = Je ne demande autre degre Busnoys, Antoine (ca. 1430–1492) Appears on: 105v–106r Genres: Chanson Number of voices: 4
106v–107r	Benedicta semper = Je ne demande - 2a pars (of 2): [motet text] = O d'estre avec vous	-	Busnoys, Antoine (ca. 1430–1492)
Benedicta semper = Je ne demande - 2a pars (of 2): [motet text] = O d'estre avec vous Busnoys, Antoine (ca. 1430–1492) Appears on: 106v–107r Genres: Chanson Number of voices: 4
107v–108r	Maintes femmes - 1a pars (of 2): Maintes femmes m'ont dit souvent	-	Busnoys, Antoine (ca. 1430–1492)
Maintes femmes - 1a pars (of 2): Maintes femmes m'ont dit souvent Busnoys, Antoine (ca. 1430–1492) Appears on: 107v–108r Genres: Chanson Number of voices: 4 Concordances Petrucci 'Canti C' 117v-118r Layout 3vv written out, canons in 1a & 2a pars for the 4th voice. In 'Canti C' the 4th voice is written out
108v–109r	Maintes femmes - 2a pars (of 2): Dont je ne sui pas eperdu	-	Busnoys, Antoine (ca. 1430–1492)
Maintes femmes - 2a pars (of 2): Dont je ne sui pas eperdu Busnoys, Antoine (ca. 1430–1492) Appears on: 108v–109r Genres: Chanson Number of voices: 4
109v–110r	Je pris amours a ma devise	-	Anonymous
Je pris amours a ma devise Anonymous Appears on: 109v–110r Genres: Chanson Number of voices: 4 Concordances Petrucci 'Canti C' 89v-90r
110v–111r	Seydt ich dich herz lieb meyden mues	-	Anonymous
Seydt ich dich herz lieb meyden mues Anonymous Appears on: 110v–111r Genres: Lied Number of voices: 4 Concordances This is NOT the same piece as the similarly-titled one in the Schedelsches Liederbuch, Cgm. 810, f. 134v-135r
111v–112r	Fatti bene - 1a pars (of 2): Fatti bene asto meschino	-	Anonymous
Fatti bene - 1a pars (of 2): Fatti bene asto meschino Anonymous Appears on: 111v–112r Genres: Canzon Number of voices: 4
112v–113r	Fatti bene - 2a pars (of 2): O madona, um bochonzino	-	Anonymous
Fatti bene - 2a pars (of 2): O madona, um bochonzino Anonymous Appears on: 112v–113r Genres: Canzon Number of voices: 4
113v–114r	Une mosche de Bischaye 28.35	-	Despres, Josquin (ca. 1450–1521)
Une mosche de Bischaye 28.35 Despres, Josquin (ca. 1450–1521) Appears on: 113v–114r Genres: Chanson Number of voices: 4
114v–115r	Io son maistro barileto	-	Anonymous
Io son maistro barileto Anonymous Appears on: 114v–115r Genres: Italian secular Number of voices: 4
115v–116r	Fatte bene asto meschino	-	Anonymous
Fatte bene asto meschino Anonymous Appears on: 115v–116r Number of voices: 4 Concordances Same S and (parts of) T as the version in Cons. Rés. Vm7 676 & Pixerecourt. NOT the same piece as the one at f.111-113 above
116v	So stato nel inferno tanto tanto	-	Anonymous
So stato nel inferno tanto tanto Anonymous Appears on: 116v Genres: Lauda Number of voices: 3
117r	Lo giorno mi consumo suspirando	-	Anonymous
Lo giorno mi consumo suspirando Anonymous Appears on: 117r Genres: Italian secular Number of voices: 3
117v	Quanto mi dolse la nigra partita	-	Anonymous
Quanto mi dolse la nigra partita Anonymous Appears on: 117v Genres: Italian secular Number of voices: 3
118r	Serà nel core mio doglia et tormento	-	Anonymous
Serà nel core mio doglia et tormento Anonymous Appears on: 118r Genres: Italian secular Number of voices: 3
118v	Curte cascurte la mia trista	-	Anonymous
Curte cascurte la mia trista Anonymous Appears on: 118v Genres: Italian secular Number of voices: 3
119r	Sospirar cor mio	-	Anonymous
Sospirar cor mio Anonymous Appears on: 119r Genres: Italian secular Number of voices: 3
119v	La morte che spavento	-	Anonymous
La morte che spavento Anonymous Appears on: 119v Genres: Italian secular Number of voices: 3
120r	Chore cum l'aqua, care mie vicine	-	Anonymous
Chore cum l'aqua, care mie vicine Anonymous Appears on: 120r Genres: Italian secular Number of voices: 3
120v–121r	Bien bien	-	Anonymous
Bien bien Anonymous Appears on: 120v–121r Genres: Chanson Number of voices: 3
121v–122r	[textless] (possibly"Et bien bien il m'en souviendra")	-	Anonymous
[textless] (possibly"Et bien bien il m'en souviendra") Anonymous Appears on: 121v–122r Genres: Chanson Number of voices: 4
122v	[textless]	-	(Zuny?), Georgius
[textless] (Zuny?), Georgius Appears on: 122v Genres: Chanson Number of voices: 1 of (3?) General Note beginning of S only
123v–124r	C'est mal serché votre avantage (I)	-	Agricola, Alexander (ca. 1445–1506)
C'est mal serché votre avantage (I) Agricola, Alexander (ca. 1445–1506) Appears on: 123v–124r Genres: Chanson Number of voices: 3
124v–125r	[textless]	-	Anonymous
[textless] Anonymous Appears on: 124v–125r Number of voices: 4
125v–127r	Helas madame que feray-je?	-	Therache, Pierrequin de (ca. 1470–1528) (?) Agricola, Alexander (ca. 1445–1506) (?)
Helas madame que feray-je? Therache, Pierrequin de (ca. 1470–1528) (?) Agricola, Alexander (ca. 1445–1506) (?) Appears on: 125v–127r Genres: Chanson Number of voices: 3
127v–128r	J'ay mon cueur	-	Anonymous
J'ay mon cueur Anonymous Appears on: 127v–128r Genres: Chanson Number of voices: 3
128v–129r	Famene um pocho = Questa se chiama	-	Japart, Jean
Famene um pocho = Questa se chiama Japart, Jean Appears on: 128v–129r Genres: Italian secular Number of voices: 4 General Note Appears in Petrucci's 'Canti C' (115v-116r) as "Questa se chiama" by Japart. Title here: "Famene um pocho de quella mazacrocha"
129v–130r	Belle simple	-	Anonymous
Belle simple Anonymous Appears on: 129v–130r Genres: Italian secular Number of voices: 3
130v–131r	Lenchioza [Nenccioza] mia balarina	-	Martini, Johannes (ca. 1430–1497)
Lenchioza [Nenccioza] mia balarina Martini, Johannes (ca. 1430–1497) Appears on: 130v–131r Genres: Italian secular Number of voices: 4 Concordances Appears in Petrucci 'Canti C' 101v-102r, attr to Jo. Martini
131v–132r	O zano, bello zano, caza fora le capre	-	Anonymous
O zano, bello zano, caza fora le capre Anonymous Appears on: 131v–132r Genres: Italian secular Number of voices: 4
132v	D'ung aultre amer (duo)	-	Anonymous
D'ung aultre amer (duo) Anonymous Appears on: 132v Genres: Quodlibet Number of voices: 2 General Note Ockeghem's Superius with a new Tenor, as a duo
133r	D'ung aultre amer (duo)	-	Anonymous
D'ung aultre amer (duo) Anonymous Appears on: 133r Genres: Quodlibet Number of voices: 2 General Note Ockeghem's Tenor, with a new Superius
133v–134r	Cavalcha Sinisbaldo tuta le note	-	Anonymous
Cavalcha Sinisbaldo tuta le note Anonymous Appears on: 133v–134r Genres: Italian secular Number of voices: 4
134v–135r	Che fa la ramanzina	-	Anonymous
Che fa la ramanzina Anonymous Appears on: 134v–135r Genres: Frottola Number of voices: 4 General Note Not Compere's setting; nor the version in Magl XIX 164-167 (no.35) & the Cortona (Medici) partbooks (no.28)
135v–136r	O Venus bant / O vierich brant 27.29	Gaspar	Despres, Josquin (ca. 1450–1521) (?) Weerbecke, Gaspar van (ca. 1445–ca. 1516) (?)
O Venus bant / O vierich brant 27.29 Despres, Josquin (ca. 1450–1521) (?) Weerbecke, Gaspar van (ca. 1445–ca. 1516) (?) Appears on: 135v–136r Genres: Song Source Attribution: Gaspar Number of voices: 3
136v–137r	C'est trop sur amours entrepriz (= C'est mal serché (II))	-	Agricola, Alexander (ca. 1445–1506)
C'est trop sur amours entrepriz (= C'est mal serché (II)) Agricola, Alexander (ca. 1445–1506) Appears on: 136v–137r Genres: Chanson Number of voices: 3
137v–138r	Paix et joie vous envoie dieulx	-	Anonymous
Paix et joie vous envoie dieulx Anonymous Appears on: 137v–138r Genres: Chanson Number of voices: 4
138v	Se je m'en plains j'ai bien raison	-	Anonymous
Se je m'en plains j'ai bien raison Anonymous Appears on: 138v Genres: Chanson Number of voices: 2 (of 3/4?) General Note Only S & T survive

Composer	Compositions
(Zuny?), Georgius	[textless] – 122v
Agricola, Alexander (ca. 1445-1506)	C'est mal serché votre avantage (I) – 123v–124r C'est trop sur amours entrepriz (= C'est mal serché (II)) – 136v–137r (?) Helas madame que feray-je? – 125v–127r
Anonymous	A la chaza - 1a pars (of 2): A la chaza su ognun se spazza – 32v–33r A la chaza - 2a pars (of 2): Te qui balzam, te qui liom – 33v–34r Adieu Adieu, la seigneurie – 81v–82r Aime qui vouldra = Der Fochsschwanz = O lux luminis – 94v–95r Amours me tient en son demaine – 97v–98r Belle simple – 129v–130r Bien bien – 120v–121r Bien soiez venu mon signoir – 16v–17r Cavalcha Sinisbaldo tuta le note – 133v–134r Chantes – 10v–12r Che fa la ramanzina – 134v–135r Chiere dame coutoise et lye – 67v–68r Chore cum l'aqua, care mie vicine – 120r Coda di volpe (Der fochs schwantcz) – 80v–81r Curte cascurte la mia trista – 118v D'ung aultre amer (duo) – 132v D'ung aultre amer (duo) – 133r De Rome vient le pelerin – 102v–103r De vostre deul - 1a pars (of 2): De vostre deul sui desplaisant – 59v–60r De vostre deul - 2a pars (of 2): Pour quoy – 59v–60r De votre amour suis tant empris – 58v–59r En bien faisant – 26v–27r Faictez moy ce bien – 72v–73r Fatte bene asto meschino – 115v–116r Fatti bene - 1a pars (of 2): Fatti bene asto meschino – 111v–112r Fatti bene - 2a pars (of 2): O madona, um bochonzino – 112v–113r Filles a marier, ne vous maries ja – 71v–72r Garde(s) vous donc – 28v–29r Hau haula apres l'escoufle – 15r Io son maistro barileto – 114v–115r J'ay mon cueur – 127v–128r Je n'en pius plus se je ne meurs = Je m'en vois – 42v–43r Je pris amours a ma devise – 109v–110r Je vous garde(s) – 21v–22r La belle fille par matin s'est levee – 101v–102r La durion dure la durion dure et la dure. – 30v–31r La morte che spavento – 119v La parente nostre dame, la parente dominus – 15v–16r Le bien fet – 22v–23r Le serviteur hault guerdonne – 65v–67r Le tasinet – 10r Les treves d'amours – 64v–65r Lo giorno mi consumo suspirando – 117r Myn hert lyt smert so langher so meer – 96v–97r Nicht loss mich leib = Nicht loss mich orth entgelden – 27v–28r Nostre dame fleur de jonette. – 68v–69r O hertzen trost – 48r O zano, bello zano, caza fora le capre – 131v–132r Paix et joie vous envoie dieulx – 137v–138r Pour fort amer et bien servir – 12v–13r Pour prison ne pour maladie (S) / Passio Domini nostri (T) – 35v Puisque je vis le regard gratieux – 50v–51r Quant viendra - 1a pars (of 2): Quant viendra la foy desiree – 75v–76r Quant viendra - 2a pars (of 2): J'ay obey ame souffert – 76v–77r Quanto mi dolse la nigra partita – 117v Quel que paut que je soie. – 29v–30r S'il convient que je preigne congie – 56v–57r S'il estoit vrai ce que je pense – 60v–61r Salvator mundi - 1a pars (of 2): Salvator mundi salva nos omnes sancta – 40v–41r Salvator mundi - 2a pars (of 2): Ut a malis omnibus – 41v Se j'ay demeure longue espace – 82v–83r Se je garde bien vostre honneur – 19v–20r Se je m'en plains j'ai bien raison – 138v Se mon service vous plaisoit – 87v–88r Se n'ay secours de vous, ma dame – 20v–21r Se trouver joye scavoie – 36v Serà nel core mio doglia et tormento – 118r Seul en amours. – 53v–54r Seydt ich dich herz lieb meyden mues – 110v–111r So stato nel inferno tanto tanto – 116v Sospirar cor mio – 119r Tel fait semblant – 13v–14r Tousjour my souvient – 49r Tresdolce paticiere – 73v–74r Vilana che sa tu far – 34v–35r Vostre regard tant fort m'enflamme – 83v–84r Vrai dieu d'amours – 95v–96r Yo agio pianto tanto – 42r [textless] – 124v–125r [textless] – 43v–44r [textless] (possibly"Et bien bien il m'en souviendra") – 121v–122r
Basin, Adrien (-ca. 1498)	Madame faites moi savoir = Madame m'amie = Quanto magnus est – 18v–19r
Bedingham, John (-ca. 1460)	(?) O rosa bella, o Deitatis cella (= O quam suavis est domina) – 50r
Busnoys, Antoine (ca. 1430-1492)	Au pauvre par necessité – 79v–80r Benedicta semper = Je ne demande - 1a pars (of 2): Benedicta semper sancta sit trinitas = Je ne demande autre degre – 105v–106r Benedicta semper = Je ne demande - 2a pars (of 2): [motet text] = O d'estre avec vous – 106v–107r (?) Cent mille escus quand je voldroie – 45v–46r Ci dit on benedicite = Laudem demus parvulo – 70v–71r (?) D'un aultre aimer mon coeur s'abesseroit – 51v–52r Ha, que ville et abominable – 98v–99r J'ai mains de biens - 1a pars (of 2): J'ai mains de biens que s'il n'en estoit nuls – 90v–91r J'ai mains de biens - 2a pars (of 2): [untexted] – 90v–91r Jaqueline si attende – 57v–58r (?) Je ne fais plus je ne dis ne escris = Au joli mois de may – 25v–26r L'autrier la pieca - 1a pars (of 2): L'autrier la pieca / Trop suis jonette / En l'ombre – 103v–104r L'autrier la pieca - 2a pars (of 2): Pour lui faire chiere Robin s'advanca – 104v–105r M'a vostre coeur mis en oubli - 1a pars (of 2): M'a vostre coeur mis en oubli – 55v–56r M'a vostre coeur mis en oubli - 2a pars (of 2): Se vostre doulx coeur me renonce – 55v–56r Ma tres souveraine princesse – 84v–85r Maintes femmes - 1a pars (of 2): Maintes femmes m'ont dit souvent – 107v–108r Maintes femmes - 2a pars (of 2): Dont je ne sui pas eperdu – 108v–109r O Fortune, trop tu es dure – 78v–79r O Fortune, trop tu es dure – 31v–32r Quelque pauvre homme – 74v–75r Un grand pauvre homme insanne = Se yense an mains [Se j'eusse en mains?] – 77v–78r Ung plus que tous est en mon souvenir – 17v–18r (?) Vive le roy – 92v–93r
Caron, Firminus (ca. 1460-ca. 1475)	(?) C'est temps perdu – 99v Cent mille escus quand je voldroie – 45v–46r Helas que pourra devenir – 39v–40r Le despourveu infortune = Tanto e l'affanno – 52v–53r O vie fortunee (O vive fortune) de diverses atemptans - Adieu fortune – 23v–24r Pourtant se mon voloir – 86v–87r Vive Carloys – 89v–90r Vous n'avés poient le coeur certain – 69v–70r
Compère, Loyset (ca. 1445-1518)	(?) Helas le bon temps que j'avoie (= Helas Abraham) – 44v–45r (?) Je ne fais plus je ne dis ne escris = Au joli mois de may – 25v–26r
Convert, P	Se mieulx ne vient, d'amours peu me contente – 63v–64r
Cornago, Juan de	Moro perche non dai fede – 93v–94r
Despres, Josquin (ca. 1450-1521)	(?) Cela sans plus et plus hola – 54v–55r Helas madame 27.13 – 46v (?) O Venus bant / O vierich brant 27.29 – 135v–136r Une mosche de Bischaye 28.35 – 113v–114r
Du Fay, Guillaume (1397-1474)	Dieu, gard la bone sans reprise – 91v–92r Par le regard de vos beaux yeux – 49v
Dunstaple, John (ca. 1390-1453)	(?) O rosa bella, o Deitatis cella (= O quam suavis est domina) – 50r
Frye, Walter (-ca. 1475)	Ave regina caelorum I – 37v–38v
Ghizeghem, Hayne van (ca. 1445-ca. 1497)	De tous biens plaine est ma maîtresse – 39r Se une fois puis recouvrir joie – 36r
Japart, Jean	Famene um pocho = Questa se chiama – 128v–129r
Joye, Gilles	Ce qu'on fait a quatimini – 62v–63r
Lannoy, Colinet de	Cela sans plus et plus hola – 54v–55r
Martini, Johannes (ca. 1430-1497)	La martinella – 14v Lenchioza [Nenccioza] mia balarina – 130v–131r
Morton, Robert	(?) C'est temps perdu – 99v Que pourroit plus faire – 24v–25r
Mureau, Gilles	(?) Je ne fais plus je ne dis ne escris = Au joli mois de may – 25v–26r
Ockeghem, Jean de (ca. 1410-1497)	(?) D'un aultre aimer mon coeur s'abesseroit – 51v–52r Ma maitresse - 1a pars (of 2): Ma maitresse et ma plus grande amie – 100r Ma maitresse - 2a pars (of 2): Hellas, de vous – 100v–101r
Therache, Pierrequin de (ca. 1470-1528)	(?) Helas madame que feray-je? – 125v–127r
Tinctoris, Johannes (ca. 1435-1511)	(?) Helas le bon temps que j'avoie (= Helas Abraham) – 44v–45r Vostre regard si treffort m'a feru – 85v–86r
Touront, Johannes (ca. 1450-ca. 1475)	O gloriosa regina mundi succurre nobis – 88v–89r
Vincenet, Johannes (-ca. 1480)	Fortune par ta cruaulte – 61v–62r
Weerbecke, Gaspar van (ca. 1445-ca. 1516)	(?) O Venus bant / O vierich brant 27.29 – 135v–136r

Composition	Composers (? Uncertain)	Folios / Pages
[textless]	Anonymous	43v–44r
[textless]	(Zuny?), Georgius	122v
[textless]	Anonymous	124v–125r
[textless] (possibly"Et bien bien il m'en souviendra")	Anonymous	121v–122r
A la chaza - 1a pars (of 2): A la chaza su ognun se spazza	Anonymous	32v–33r
A la chaza - 2a pars (of 2): Te qui balzam, te qui liom	Anonymous	33v–34r
Adieu Adieu, la seigneurie	Anonymous	81v–82r
Aime qui vouldra = Der Fochsschwanz = O lux luminis	Anonymous	94v–95r
Amours me tient en son demaine	Anonymous	97v–98r
Au pauvre par necessité	Busnoys, Antoine (ca. 1430–1492)	79v–80r
Ave regina caelorum I	Frye, Walter (–ca. 1475)	37v–38v
Belle simple	Anonymous	129v–130r
Benedicta semper = Je ne demande - 1a pars (of 2): Benedicta semper sancta sit trinitas = Je ne demande autre degre	Busnoys, Antoine (ca. 1430–1492)	105v–106r
Benedicta semper = Je ne demande - 2a pars (of 2): [motet text] = O d'estre avec vous	Busnoys, Antoine (ca. 1430–1492)	106v–107r
Bien bien	Anonymous	120v–121r
Bien soiez venu mon signoir	Anonymous	16v–17r
C'est mal serché votre avantage (I)	Agricola, Alexander (ca. 1445–1506)	123v–124r
C'est temps perdu	Caron, Firminus (ca. 1460–ca. 1475) (?) Morton, Robert (?)	99v
C'est trop sur amours entrepriz (= C'est mal serché (II))	Agricola, Alexander (ca. 1445–1506)	136v–137r
Cavalcha Sinisbaldo tuta le note	Anonymous	133v–134r
Ce qu'on fait a quatimini	Joye, Gilles	62v–63r
Cela sans plus et plus hola	Despres, Josquin (ca. 1450–1521) (?) Lannoy, Colinet de	54v–55r
Cent mille escus quand je voldroie	Caron, Firminus (ca. 1460–ca. 1475) Busnoys, Antoine (ca. 1430–1492) (?)	45v–46r
Chantes	Anonymous	10v–12r
Che fa la ramanzina	Anonymous	134v–135r
Chiere dame coutoise et lye	Anonymous	67v–68r
Chore cum l'aqua, care mie vicine	Anonymous	120r
Ci dit on benedicite = Laudem demus parvulo	Busnoys, Antoine (ca. 1430–1492)	70v–71r
Coda di volpe (Der fochs schwantcz)	Anonymous	80v–81r
Curte cascurte la mia trista	Anonymous	118v
D'un aultre aimer mon coeur s'abesseroit	Busnoys, Antoine (ca. 1430–1492) (?) Ockeghem, Jean de (ca. 1410–1497) (?)	51v–52r
D'ung aultre amer (duo)	Anonymous	132v
D'ung aultre amer (duo)	Anonymous	133r
De Rome vient le pelerin	Anonymous	102v–103r
De tous biens plaine est ma maîtresse	Ghizeghem, Hayne van (ca. 1445–ca. 1497)	39r
De vostre deul - 1a pars (of 2): De vostre deul sui desplaisant	Anonymous	59v–60r
De vostre deul - 2a pars (of 2): Pour quoy	Anonymous	59v–60r
De votre amour suis tant empris	Anonymous	58v–59r
Dieu, gard la bone sans reprise	Du Fay, Guillaume (1397–1474)	91v–92r
En bien faisant	Anonymous	26v–27r
Faictez moy ce bien	Anonymous	72v–73r
Famene um pocho = Questa se chiama	Japart, Jean	128v–129r
Fatte bene asto meschino	Anonymous	115v–116r
Fatti bene - 1a pars (of 2): Fatti bene asto meschino	Anonymous	111v–112r
Fatti bene - 2a pars (of 2): O madona, um bochonzino	Anonymous	112v–113r
Filles a marier, ne vous maries ja	Anonymous	71v–72r
Fortune par ta cruaulte	Vincenet, Johannes (–ca. 1480)	61v–62r
Garde(s) vous donc	Anonymous	28v–29r
Ha, que ville et abominable	Busnoys, Antoine (ca. 1430–1492)	98v–99r
Hau haula apres l'escoufle	Anonymous	15r
Helas le bon temps que j'avoie (= Helas Abraham)	Tinctoris, Johannes (ca. 1435–1511) (?) Compère, Loyset (ca. 1445–1518) (?)	44v–45r
Helas madame 27.13	Despres, Josquin (ca. 1450–1521)	46v
Helas madame que feray-je?	Therache, Pierrequin de (ca. 1470–1528) (?) Agricola, Alexander (ca. 1445–1506) (?)	125v–127r
Helas que pourra devenir	Caron, Firminus (ca. 1460–ca. 1475)	39v–40r
Io son maistro barileto	Anonymous	114v–115r
J'ai mains de biens - 1a pars (of 2): J'ai mains de biens que s'il n'en estoit nuls	Busnoys, Antoine (ca. 1430–1492)	90v–91r
J'ai mains de biens - 2a pars (of 2): [untexted]	Busnoys, Antoine (ca. 1430–1492)	90v–91r
J'ay mon cueur	Anonymous	127v–128r
Jaqueline si attende	Busnoys, Antoine (ca. 1430–1492)	57v–58r
Je n'en pius plus se je ne meurs = Je m'en vois	Anonymous	42v–43r
Je ne fais plus je ne dis ne escris = Au joli mois de may	Compère, Loyset (ca. 1445–1518) (?) Busnoys, Antoine (ca. 1430–1492) (?) Mureau, Gilles (?)	25v–26r
Je pris amours a ma devise	Anonymous	109v–110r
Je vous garde(s)	Anonymous	21v–22r
L'autrier la pieca - 1a pars (of 2): L'autrier la pieca / Trop suis jonette / En l'ombre	Busnoys, Antoine (ca. 1430–1492)	103v–104r
L'autrier la pieca - 2a pars (of 2): Pour lui faire chiere Robin s'advanca	Busnoys, Antoine (ca. 1430–1492)	104v–105r
La belle fille par matin s'est levee	Anonymous	101v–102r
La durion dure la durion dure et la dure.	Anonymous	30v–31r
La martinella	Martini, Johannes (ca. 1430–1497)	14v
La morte che spavento	Anonymous	119v
La parente nostre dame, la parente dominus	Anonymous	15v–16r
Le bien fet	Anonymous	22v–23r
Le despourveu infortune = Tanto e l'affanno	Caron, Firminus (ca. 1460–ca. 1475)	52v–53r
Le serviteur hault guerdonne	Anonymous	65v–67r
Le tasinet	Anonymous	10r
Lenchioza [Nenccioza] mia balarina	Martini, Johannes (ca. 1430–1497)	130v–131r
Les treves d'amours	Anonymous	64v–65r
Lo giorno mi consumo suspirando	Anonymous	117r
M'a vostre coeur mis en oubli - 1a pars (of 2): M'a vostre coeur mis en oubli	Busnoys, Antoine (ca. 1430–1492)	55v–56r
M'a vostre coeur mis en oubli - 2a pars (of 2): Se vostre doulx coeur me renonce	Busnoys, Antoine (ca. 1430–1492)	55v–56r
Ma maitresse - 1a pars (of 2): Ma maitresse et ma plus grande amie	Ockeghem, Jean de (ca. 1410–1497)	100r
Ma maitresse - 2a pars (of 2): Hellas, de vous	Ockeghem, Jean de (ca. 1410–1497)	100v–101r
Ma tres souveraine princesse	Busnoys, Antoine (ca. 1430–1492)	84v–85r
Madame faites moi savoir = Madame m'amie = Quanto magnus est	Basin, Adrien (–ca. 1498)	18v–19r
Maintes femmes - 1a pars (of 2): Maintes femmes m'ont dit souvent	Busnoys, Antoine (ca. 1430–1492)	107v–108r
Maintes femmes - 2a pars (of 2): Dont je ne sui pas eperdu	Busnoys, Antoine (ca. 1430–1492)	108v–109r
Moro perche non dai fede	Cornago, Juan de	93v–94r
Myn hert lyt smert so langher so meer	Anonymous	96v–97r
Nicht loss mich leib = Nicht loss mich orth entgelden	Anonymous	27v–28r
Nostre dame fleur de jonette.	Anonymous	68v–69r
O Fortune, trop tu es dure	Busnoys, Antoine (ca. 1430–1492)	31v–32r
O Fortune, trop tu es dure	Busnoys, Antoine (ca. 1430–1492)	78v–79r
O gloriosa regina mundi succurre nobis	Touront, Johannes (ca. 1450–ca. 1475)	88v–89r
O hertzen trost	Anonymous	48r
O rosa bella, o Deitatis cella (= O quam suavis est domina)	Dunstaple, John (ca. 1390–1453) (?) Bedingham, John (–ca. 1460) (?)	50r
O Venus bant / O vierich brant 27.29	Despres, Josquin (ca. 1450–1521) (?) Weerbecke, Gaspar van (ca. 1445–ca. 1516) (?)	135v–136r
O vie fortunee (O vive fortune) de diverses atemptans - Adieu fortune	Caron, Firminus (ca. 1460–ca. 1475)	23v–24r
O zano, bello zano, caza fora le capre	Anonymous	131v–132r
Paix et joie vous envoie dieulx	Anonymous	137v–138r
Par le regard de vos beaux yeux	Du Fay, Guillaume (1397–1474)	49v
Pour fort amer et bien servir	Anonymous	12v–13r
Pour prison ne pour maladie (S) / Passio Domini nostri (T)	Anonymous	35v
Pourtant se mon voloir	Caron, Firminus (ca. 1460–ca. 1475)	86v–87r
Puisque je vis le regard gratieux	Anonymous	50v–51r
Quant viendra - 1a pars (of 2): Quant viendra la foy desiree	Anonymous	75v–76r
Quant viendra - 2a pars (of 2): J'ay obey ame souffert	Anonymous	76v–77r
Quanto mi dolse la nigra partita	Anonymous	117v
Que pourroit plus faire	Morton, Robert	24v–25r
Quel que paut que je soie.	Anonymous	29v–30r
Quelque pauvre homme	Busnoys, Antoine (ca. 1430–1492)	74v–75r
S'il convient que je preigne congie	Anonymous	56v–57r
S'il estoit vrai ce que je pense	Anonymous	60v–61r
Salvator mundi - 1a pars (of 2): Salvator mundi salva nos omnes sancta	Anonymous	40v–41r
Salvator mundi - 2a pars (of 2): Ut a malis omnibus	Anonymous	41v
Se j'ay demeure longue espace	Anonymous	82v–83r
Se je garde bien vostre honneur	-	19v–20r
Se je m'en plains j'ai bien raison	Anonymous	138v
Se mieulx ne vient, d'amours peu me contente	Convert, P	63v–64r
Se mon service vous plaisoit	Anonymous	87v–88r
Se n'ay secours de vous, ma dame	Anonymous	20v–21r
Se trouver joye scavoie	Anonymous	36v
Se une fois puis recouvrir joie	Ghizeghem, Hayne van (ca. 1445–ca. 1497)	36r
Serà nel core mio doglia et tormento	Anonymous	118r
Seul en amours.	Anonymous	53v–54r
Seydt ich dich herz lieb meyden mues	Anonymous	110v–111r
So stato nel inferno tanto tanto	Anonymous	116v
Sospirar cor mio	Anonymous	119r
Tel fait semblant	Anonymous	13v–14r
Tousjour my souvient	Anonymous	49r
Tresdolce paticiere	Anonymous	73v–74r
Un grand pauvre homme insanne = Se yense an mains [Se j'eusse en mains?]	Busnoys, Antoine (ca. 1430–1492)	77v–78r
Une mosche de Bischaye 28.35	Despres, Josquin (ca. 1450–1521)	113v–114r
Ung plus que tous est en mon souvenir	Busnoys, Antoine (ca. 1430–1492)	17v–18r
Vilana che sa tu far	Anonymous	34v–35r
Vive Carloys	Caron, Firminus (ca. 1460–ca. 1475)	89v–90r
Vive le roy	Busnoys, Antoine (ca. 1430–1492) (?)	92v–93r
Vostre regard si treffort m'a feru	Tinctoris, Johannes (ca. 1435–1511)	85v–86r
Vostre regard tant fort m'enflamme	Anonymous	83v–84r
Vous n'avés poient le coeur certain	Caron, Firminus (ca. 1460–ca. 1475)	69v–70r
Vrai dieu d'amours	Anonymous	95v–96r
Yo agio pianto tanto	Anonymous	42r

Images © Biblioteca Capitular y Colombina, Seville

Set: Seville Chansonnier

Type: Fragments of a whole

E-Sc 5-1-43 (Seville Chansonnier)

F-Pnm NAF 4379 (Seville Chansonnier (part))

‡ denotes primary source study

Curtis, Gareth R K, and Andrew B Wathey. 1994. Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory. Royal Musical Association Research Chronicle, 27: 1-69.

Atlas, Allan W. 1981. Conflicting Attributions in Italian Sources of the Franco-Netherlandish Chanson, c. 1465-c. 1505: A Progress Report on a New Hypothesis. Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, Cambridge. Pages: 260-2,269-71,278,281,283. Notes: contents list (partial); concordances (partial); transcriptions (partial); Discussion of the MS.

Atlas, Allan W. 1981. Review of Perkins, Leeman L: and Garey, Howard (eds.): "The Mellon Chansonnier" (New Haven and London, 1979). Journal of the American Musicological Society, 34: 132ff. Pages: 139-40. Notes: physical description; mention of MS; discussion.

Atlas, Allan W (editor). 1981. Robert Morton: The Collected Works. Masters and Monuments of the Renaissance, vol. 2. New York. Pages: xxiii,xxvi-xxvii,xxxi,xxxvi, 3-4,62-4,77-85,89-92. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Boorman, Stanley. 1981. Limitations and Extensions of Filiation Technique. Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, edited by Stanley Boorman, 319-46. Cambridge: Cambridge University Press. Pages: 326-39. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Bernstein, Lawrence F. 1980. French Duos in the First Half of the Sixteenth Century. Studies in Musicology in Honor of Otto E. Albrecht, , 43-87. Kassel, Basel, and London. Pages: 48-50. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.

Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies, vol. 1. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag.

Davis, Dennis Michael. 1979. The Structure and Contents of Munich, Bayerische Staatsbibliothek Codex Lat. Mon. 5023. University of Illinois, Unpublished Master's thesis. Pages: 92,94,132. Notes: mention of MS; contents list (partial); concordances (partial); incipits (partial).

Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier. New Haven and London. Pages: I,15; II, 176-7, 214ff, passim. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Pope, Isabel, and Masakata Kanazawa (editors). 1978. The Musical Manuscript Montecassino 871: A Neapolitan Repertory of Sacred and Secular Musk of the Late Fifteenth Century. Oxford. Pages: 549,569ff, passim. Notes: contents list (partial); concordances (partial); texts (partial); mention of MS; discussion.

Schavran, Henrietta. 1978. The Manuscript Pavia, Biblioteca Universitaria, Codice Aldini 362: A Study of Song Tradition in Italy Circa 1440-1480. New York University, Unpublished Ph.D. dissertation. Pages: I, 49-57, 78ff, 332-4. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Atlas, Allan W. 1977. On the Neapolitan Provenance of the Manuscript Perugia, Biblioteca Comunale Augusta, 431 (G 20). Musica Disciplina, 31: 45ff. Pages: 45,48-9,82ff. Notes: mention of MS; contents list (partial); concordances (partial).

Atlas, Allan W. 1975-6. The Cappella Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C. G.XIII.27). Musicological Studies, vol. 27. Brooklyn. Pages: I, 73ff, 257. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Hanen, Martha Knight. 1973. The Chansonnier El Escorial, Ms. IV.a.24. University of Chicago, Unpublished Ph.D. dissertation. Pages: 24,37-9,256-8,267. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

‡ Moerk, Alice Anne. 1971. The Seville Chansonnier: An Edition of Seville 5-1-43 and Paris N.A.FR. 4379 (Pt 1). West Virginia University, Ph.D. Dissertation. Notes: physical description; contents list; concordances; texts; discussion.

Bernstein, Lawrence F. 1969. Cantus Firmus in the French Chanson for Two and Three Voices, 1500-1550. New York University, Unpublished Ph.D. dissertation. Pages: 129-33. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.

Osthoff, Wolfgang. 1969. Theatergesang und Darstellende Musik in der Italienischen Renaissance. Münchner Veröffentlichungen zur Musikgeschichte, vol. 14. Tutzing. Pages: I, 25-6,42-4; II,18,50-4. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica, vol. XL/2, XLI/1, & XLII/1. 3 vols. Copenhagen. Pages: II, 196-7; III,75,91-3. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Plamenac, Dragan. 1965. The Two-Part Quodlibets in the Seville Chansonnier. The Commonwealth of Music, 163-81. London and New York. Notes: contents list (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Picker, Martin. 1964. Newly Discovered Sources for In Minen Sin. Journal of the American Musicological Society, 17: 133-43. Pages: 138-42. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.

Plamenac, Dragan. 1962. Facsimile Reproduction of the Manuscripts Sevilla 5-1-43 & Paris N. A. Fr. 4379 (Pt. 1). Publications of Medieval Musical Manuscripts, vol. 8. Brooklyn. Notes: physical description; contents list (partial); concordances (partial); facsimile.

Lerner, Edward R (editor). 1961-70. Alexandrí Agricola: Opera Omnia. Corpus mensurabilis musicae, vol. 22. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: V,xxiii-xxvi,xciv-xcv, 125-7. Notes: contents list (partial); concordances (partial); transcriptions (partial).

‡ Plamenac, Dragan. 1951-1952. A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville. The Musical Quarterly, 37-38: (37) 501-542, (38) 85-117, 245-77. Notes: physical description; contents list; concordances; facsimile (partial); mention of MS; discussion.

Brooks, Catherine V. 1951. Antoine Busnois as a Composer of Chansons. New York University, Unpublished Ph.D. dissertation. Pages: I,130ff, 160ff; II,58,106-9,185-90,210-4. Notes: contents list (partial); concordances (partial); incipits (partial); transcription (partial); texts (partial); mention of MS; discussion.

de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae, vol. 1. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: VI,xxi,lix. Notes: physical description (partial); contents list (partial); concordances (partial).

Anglès, Higinio. 1947. La música conservada en la Biblioteca Colombina y en la Catedral de Sevilla. Anuário Musical, 2: 3ff. Pages: 8. Notes: physical description.

‡ Anglès, Higinio. 1929. El 'Chansonnier Français' de la Colombina de Sevilla. Estudis Universitaris Catalans, 14: 227ff. Notes: physical description; contents list; concordances (partial); inventory; facsimile (partial).

Jeppesen, Knud (editor). 1927. New York, 1965 (reprint, with new remarks by the editor). Der Kopenhagener Chansonnier: Das Manuskript Thott 291s der Königlichen Bibliothek Kopenhagen. Copenhagen and Leipzig. Copenhagen and Leipzig. Pages: lxxiii,lxxxvii-ff. Notes: physical description; contents list (partial); concordances (partial).

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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