Set of 9 parchment bifolios removed from bindings in the Archives de la Marne and stemming from a codex of the school of Notre Dame in Paris. The number of a gathering has been preserved in the middle of the last folio, namely XXIX, which suggests this was originally a large codex. The 18 folios now extant come from three different gatherings : f. 1-4 formed the middle of a gathering, f. 5-6 the second or third bifolio of a gathering, and f. 7-18 a complete gathering of 12 folios. Polyphony is mainly in the third gathering. Probably written in the Paris area for the monastery of Marchiennes.
F-CECad 3. J. 250
Archives départementales de la Marne, Châlons-en-Champagne, France
fragment: second quarter 13th century
| Archive | Archives départementales de la Marne, Châlons-en-Champagne, France (F-CECad) |
|---|---|
| Shelfmark | 3. J. 250 |
| Image Availability | DIAMM does not have images of this source. |
| Surface | Parchment |
| Numbering System | Foliation |
| Measurements | 152 x 112 mm |
| Other Identifiers |
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| Notations |
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| Relationships |
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| Provenance |
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| Contents | Contains 10 compositions, 10 are anonymous. |
General Description
Notation
square Notre Dame
Date
preservation of the motets in three-part score is indicative of an early date.
Ruling
9 red five-line staves per page
Foliation
relatively modern foliation at t.r.r.; does not always correspond to the present arrangement of the pages: the present f. 7-14v are numbered from 11-14 and then 7-10.
Decoration
Initials are in red-blue and vice versa
Surface
parchment
RISM Description
RISM B/IV 1: A set of 9 parchment bifolios removed from bindings in the Archives de la Marne and stemming from a codex of the school of Notre Dame in Paris. The ms meas. 152 x 112 mm. and is notated in square notes of Notre Dame type on 9 red five-line staves per page. Initials are as usual in red-blue and vice versa. The number of a gathering has been preserved in the middle of the last folio, namely XXIX, which suggests this was originally a large codex. The 18 folios now extant come from three different gatherings : f. 1-4 formed the middle of a gathering, f. 5-6 the second or third bifolio of a gathering, and f. 7-18 a complete gathering of 12 folios. It should be noted that the relatively modern foliations at t.r.r. do not always correspond to the present arrangement of the pages: the present f. 7-14v are numbered from 11-14 and then 7-10. The polyphony is mainly in the third gathering, the monodies consisting of sequences or motet voices. The date of the ms has been established as some time during the second quarter of the 13th century. It was probably written in the Paris area for the monastery of Marchiennes. The preservation of the motets in three-part score is indicative of an early date. There are no organa in the fragments which remain of this source, but in a large codex these may well have been lost entirely. The importance of the Chalons fragments lies in their Ile-de-France origin, for many of the Notre Dame sources come from outside France, W2 from Scotland, Ma from Spain, etc.
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‡ denotes primary source study
Dittmer, Luther A. 1960. Publications of Mediaeval Musical Manuscripts Il: Wolfenbüttel 1099. Publications of Mediaeval Music Manuscripts, vol. 2. Brooklyn: Institute of Mediaeval Music. Pages: f. 187v-188 + 188v-189 + 196v-197, 149-150 and 125-126 + 135-136 (facsimiles of nos. 2, 3 and 5 after W2) f. 381-381v, 378v-379 (facsimile of nos. 2 and 3 after C/).
Gennrich, Friedrich. 1958. Ein altfranzösischer Motetten-Kodex. Faksimile-Ausgabe der Handschrift La Clayette, Paris, Bibliothèque Nationale, nouvelle acquisition francaise 13521. Pages: f. 381-381v, 378v-379 (facsimile of nos. 2 and 3 after C/).
Hourlier, Dom J, and Jaques Chailley. 1956. Cantionale Catha-launense. Mémoires de la Société d'Agriculture, Commerce, Sciences et Arts du département de la Marne, 71 (2e Série - Tome 30): . Pages: opp. 142 (facsimile of f. 15v); 141ff.
Rokseth, Y. 1935+1939. Les Polyphonies du XIVe siecle. 4 vols. Pages: I-II, nos. 36, 57 and 52 (facsimile and transcription of nos. 2, 3 and 5 after Mo); IV, 227, 258, 261 f.
Anglès, Higinio. 1931. El Còdex musical de las Huelgas. 3 vols. Pages: II-III, nos. 93, 140, 104 + 137 (facsimile and transcription of nos. 2, 3 and 5 after Hu); I, 251, 263, 296, 298.
Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 5: 185-222, Vol. 5 (1924) 273-315. Pages: 199, 209, 211, 213, 290-293.
Ludwig, Friedrich. 1910. Repertorium organorum recentioris et motetorum vetustissimi stili. I. Catalogue raisonné. 1. Handschriften in Quadratnotation. Halle: Niemayer.
Aubry, Pierre. 1908. Cent Motets du XIIIe siècle. 3 vols. Pages: I-II, nos. 74, 45 and 75 (facsimile and transcription of nos. 2, 3 and 5 after Ba); III, 83, 97f.
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Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description