F-Pnm Latin 11411

Bibliothèque nationale de France, Département des Manuscrits, Paris, France

recent compilation of fragments: late 13th century

Archive Bibliothèque nationale de France, Département des Manuscrits, Paris, France (F-Pnm)
Shelfmark Latin 11411
Image Availability The images on this record are linked using IIIF.
Surface Parchment
Numbering System None
Measurements 250 x 150 mm
Other Identifiers
  • RISM: P11411
  • olim (Former shelfmark): F-Pn fonds latin 11411
Notations
  • square
External Links
Provenance
  • England
Contents 5 pieces from 1 composers
General Description

Fragments of varying size and date. The polyphonic music is on f. 44-45v, a bifolio, possibly the middle of a gathering. Except for no. 5, all the music is written in score. DittmerCl, 7 suggests that the bifolio is of English origin: the setting of 3 pieces from the Ordinary of the mass, the binary movement of no. 3, and the use of short melodic sequences as in no. 2 are significant.

DIAMM, 2017
Binding

modern Bibliothèque Nationale type with parchment spine and mottled paper covers over pulp boards.

DIAMM, 2017
Notation

late 13th century type: no Ars Nova traits; semibreves do not occur individually.

DIAMM, 2017
Surface

parchment

DIAMM, 2017
RISM Description

RISM B/IV 1: A recent compilation of parchment ms fragments of varying size and date (some late pieces are on paper). The binding is of modern Bibliothèque Nationale type with parchment spine and mottled paper covers over pulp boards. Altogether there are 141 folios plus 2 modern paper flyleaves at both front and back. The polyphonic music is on f. 44-45v, a parchment bifolio of the early 14th century meas. 250 x 150 mm. It is possibly, but not certainly, the middle of a gathering. Except for no. 5, all the music is written in score. DittmerCl, 7 suggests that the bifolio is of English origin, and certainly the setting of 3 pieces from the Ordinary of the mass, the binary movement of no. 3, and the use of short melodic sequences as in no. 2 are significant. The notation belongs to the later 13th rather than the 14th century, for there are no Ars Nova traits, and even semibreves do not occur individually.

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Répertoire International des Sources Musicales

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
44 Sanctus & benedictus - Anonymous

Sanctus & benedictus

Anonymous
Appears on: 44
Genres: Mass Ordinary, Sanctus [& Benedictus]
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Sanctus, Sanctus, Sanctus, dominus deus
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Sanctus, Sanctus, Sanctus, dominus deus
Layout

score
44v Agnus Dei - Anonymous

Agnus Dei

Anonymous
Appears on: 44v
Genres: Agnus Dei, Mass Ordinary
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Agnus dei, qui tollis peccata mundi
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Agnus dei, qui tollis peccata mundi
Voice: [no designation]
Languages: Latin
Clef: c4
Voice Text: Agnus dei, qui tollis peccata mundi
Layout

score
45 Agnus Dei - Anonymous

Agnus Dei

Anonymous
Appears on: 45
Genres: Agnus Dei, Mass Ordinary
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Agnus dei, qui tollis peccata mundi
Voice: [no designation]
Languages: Latin
Clef: c4
Voice Text: Agnus dei, qui tollis peccata mundi
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Agnus dei, qui tollis peccata mundi
Layout

score
45v Crimina tollis, aspera mollis / Vulnera sanas, ardua planas / Sordida mundas, cuncta fecundas [appears also with contrafactum: Regula moris, mater honoris / Respice flentes, perfice / Luget aperte mortua] - Anonymous

Crimina tollis, aspera mollis / Vulnera sanas, ardua planas / Sordida mundas, cuncta fecundas [appears also with contrafactum: Regula moris, mater honoris / Respice flentes, perfice / Luget aperte mortua]

Anonymous
Appears on: 45v
Genres: Motet
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Crimina tollis, aspera
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Crimina tollis, aspera
Voice: [no designation]
Languages: Latin
Clef: c3
Voice Text: Crimina tollis, aspera
Layout

score
45v Psallat chorus in novo carmine / Eximie pater egregie, rector / Aptatur - Anonymous

Psallat chorus in novo carmine / Eximie pater egregie, rector / Aptatur

Anonymous
Appears on: 45v
Voice: Tenor
Languages: Latin
Clef: c3
Voice Text: [Aptatur]
Voice: [no designation]
Languages: Latin
Clef: c1
Voice Text: [P]sallat corus in novo carmine
Voice: [no designation]
Languages: Latin
Clef: c2
Voice Text: [E]ximie pater egregie, rector
General Note

first four staves only of Tr and Mot

Layout

parts
Composer Compositions
Anonymous
Composition Composers (? Uncertain) Folios / Pages
Agnus Dei Anonymous 44v
Agnus Dei Anonymous 45
Crimina tollis, aspera mollis / Vulnera sanas, ardua planas / Sordida mundas, cuncta fecundas [appears also with contrafactum: Regula moris, mater honoris / Respice flentes, perfice / Luget aperte mortua] Anonymous 45v
Psallat chorus in novo carmine / Eximie pater egregie, rector / Aptatur Anonymous 45v
Sanctus & benedictus Anonymous 44
These images are from an external IIIF service and are not hosted by DIAMM.

Images © Bibliothèque Nationale, Paris

‡ denotes primary source study

Dittmer, Luther A. 1959. Publications of Mediaeval Musical Manuscripts IV: Paris 13521 and 11411. Publications of Mediaeval Music Manuscripts.  Brooklyn: Institute of Mediaeval Music. Pages: 59ff, 65ff (facsimile and transcription of nos. 1-5); 6ff.

Geering, Arnold. 1952. Die Organa und mehrstimmigen Conductus in den Handschriften des deutschen Sprachgebietes vom 13. bis 16. Jahrhundert.  Bern. Pages: 2ff, 9, 23f, 36, 51, 64.

Anglès, Higinio. 1936. La Música a Catalunya fins al segle XIII. Pages: 260.

Rokseth, Y. 1935+1939. Les Polyphonies du XIVe siecle. 4 vols. Pages: I-III, no. 60 (facsimile and transcription of no. 5 after Mo); IV, 56f, 262.

Anglès, Higinio. 1931. El Còdex musical de las Huelgas. 3 vols. Pages: II-III, no. 23 (facsimile and transcription of no. 4 after Hu and Barcelona, Biblioteca del Orfeo Catala, 1; facsimile of the latter in AnglesHu I, 79), no. 123 (facsimile and transcription of no. 5 after Hu); I, 78ff, 90, 135f, 282.

Wagner, Peter. 1931. Kirchenmusikalisches Jahrbuch. Pages: 10 (transcription a 4 of no. 4 after Osnabriick, a late source of c. 1500 in Hufnagel notation and white notes; the fourth voice is a late addition).

Handschin, Jacques. 1927-28. Zur Frage der melodischen Paraphrasierung im Mittelalter. Zeitschrift für Musikwissenschaft, 513-59[also12(1929-30),192]. Pages: 535 (transcription of no. 4 after Barcelona, Bibl. del Orfeo Catala, 1).

Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 185-222, Vol. 5 (1924) 273-315. Pages: 203, 301.

Wagner, Peter. 1913. Geschichte der Messe. Pages: 32 (transcription after Maig no. 1).

Ludwig, Friedrich. 1910. Repertorium organorum recentioris et motetorum vetustissimi stili. I. Catalogue raisonné. 1. Handschriften in Quadratnotation.  Halle: Niemayer. Pages: 395.

Aubry, Pierre. 1908. Cent Motets du XIIIe siècle. 3 vols. Pages: I-II, no. 30 (facsimile and transcription of no. 5 after Ba); III, 76.

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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