GB-Eu 64 [Tenor] (Dunkeld Music Book, Douglas-Fisher partbooks)

University Library, Edinburgh, Scotland

partbooks: c. 1560

Archive University Library, Edinburgh, Scotland (GB-Eu)
Shelfmark 64 [Tenor] (Dunkeld Music Book, Douglas-Fisher partbooks)
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 269 x 192 mm
Other Identifiers
  • olim (Former shelfmark): Dunkeld Antiphonary
Notations
  • black void mensural
Copyists
Relationships
External Links
Provenance
  • Scotland
Contents 19 pieces from 13 composers
General Description

Five partbooks of a set originally of six volumes, bound together (in order: A, Sex, T, Q, D). One scribe copied the motets; another scribe copied the Masses, on different paper. Copied in Scotland, possibly at Lincluden, a college housed in a former Benedictine monastery, near Dumfries, Kirkcudbrightshire. Inscription on f. Ill: 'Robert dowglas with my hand at the pen William fische[ar].' Robert Douglas (ca. 1530-1609), the possible original owner of the manuscript, was appointed Provost of Lincluden College in 1547. He was at the University of Paris during most of the 1550's. Upon his return to Lincluden in 1557, he probably brought with him three Attaingnant prints of 1542, from which some of the motets in this manuscript were copied.

An inscription on f. 1, in the hand of the 19th-century Scottish antiquarian David Laing, states: 'Antiphonarium in usum Ecclesiae Dunkeldensis'; this reference to Dunkeld Cathedral (in Perthshire) as the place of origin and use of the manuscript may have resulted from Laing's misreading of a contemporary inscription, in which he interpreted the abbreviation 'Linklden' (= Lincluden) as 'Dunklden' (= Dunkeldensis) (ElliottCM).

The manuscript was in the University Library at Edinburgh by 1695.

DIAMM, 2017
Physical Description

Some damp-staining. There are several folios missing from the ends of volumes 1, 4 and 5 resulting in the loss of part of the Mass Cantate Domino (& perhaps accounting for the loss of most parts of Ashwell's Mass).

DIAMM, 2023
Binding

Modern covers of yellow calfskin.

DIAMM, 2017
Watermark

WillsherM states 'from the watermark we learn that the paper is of early 16th-century Normandy make' - an observation not confirmed by others.

DIAMM, 2023
Notation

black void mensural

DIAMM, 2017
Foliation

Two sets of foliation; the first counts only folios with music, the second includes the original parchment covers of the books

DIAMM, 2017
Decoration

Initials in red ink

DIAMM, 2023
Surface

paper, except for parchment folios at beginning, end, and between each of the partbooks. The motets and masses are copied on different paper; although the bifolio f. 114/121, in the motet section, is of the same type as that used for the masses (WarwickD).

DIAMM, 2017

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
61–61v Ave virgo gloriosa stella sole clarior [Certon]
Appears on: 61–61v
Genres: Motet
Source Attribution: [Certon]
Voice: Tenor
Languages: Latin
Voice Text: Ave virgo gloriosa stella sole clarior
61v–62 Inviolata integra et casta es Maria II: Te nunc flagitant devota corda III: O benigna O regina que sola [Certon]
Appears on: 61v–62
Genres: Motet
Source Attribution: [Certon]
Voice: Tenor
Languages: Latin
Voice Text: Inviolata integra et casta es Maria II: Te nunc flagitant devota corda III: O benigna O regina que sola
62–63 O florens rosa mater Domini speciosa II: Genitrix virgo mater salutis excuset [Lupi]
Appears on: 62–63
Genres: Motet
Source Attribution: [Lupi]
Voice: Tenor
Languages: Latin
Voice Text: O florens rosa mater domini speciosa II: Genitrix virgo mater salutis excuset
63–64 Virgo clemens et benigna jugi laude digna II: Felix et beata deo fecundata [Lupi]
Appears on: 63–64
Genres: Motet
Source Attribution: [Lupi]
Voice: Tenor
Languages: Latin
Voice Text: Virgo clemens et benigna iugi laude digna II: Felix et beata deo fecundata
64–64v Pater noster qui es in caelis / Ave Maria gratia plena [Certon]
Appears on: 64–64v
Genres: Ave Maria, Motet
Source Attribution: [Certon]
Voice: Tenor
Languages: Latin
Voice Text: Pater noster qui es in celis/Ave Maria gracia plena
65 O Maria stans sub cruce triumphante [Sermisy]
Appears on: 65
Genres: Motet
Source Attribution: [Sermisy]
Voice: Tenor
Languages: Latin
Voice Text: O Maria stans sub cruce triumphante
65v–66 Ad nutum Domini nostrum dicantis honorem II: Ut vitium virtus operiret gratia [Lupi]
Appears on: 65v–66
Genres: Motet
Source Attribution: [Lupi]
Voice: Tenor
Languages: Latin
Voice Text: Ad nutum domini nostrum dicantis honorem II: Ut vicium virtus operiret gracia
66v Regina caeli laetare Alleluia II: Resurrexit sicut dixit Alleluia [Certon]
Appears on: 66v
Genres: Motet, Regina caeli laetare
Source Attribution: [Certon]
Voice: Tenor
Languages: Latin
Voice Text: Regina celi letare alleluya II: Resurrexit sicut dixit alleluya
66v–67v Benedicta es caelorum regina et mundi 23.13 (2p. Per illud ave prolatum; 3p. Nunc mater exora natum) [Josquin]
Appears on: 66v–67v
Genres: Motet
Source Attribution: [Josquin]
Voice: Tenor
Languages: Latin
Voice Text: Benedicta es celorum regina et mundi 23.13 II: Per illud ave prolatum III: Nunc mater exora natum
67v–68 Vidi civitatem sanctam Jerusalem novam [Gombert/Wilder]
Appears on: 67v–68
Genres: Motet
Source Attribution: [Gombert/Wilder]
Voice: Tenor
Languages: Latin
Voice Text: Vidi civitatem sanctam Ierusalem novam
68v Descendi in ortum meum ut viderem poma [Jaquet of Mantua]
Appears on: 68v
Genres: Motet
Source Attribution: [Jaquet of Mantua]
Voice: Tenor
Languages: Latin
Voice Text: Descendi in hortum meum ut viderem
68v–70 Infelix ego omnium auxilio destituti II: Ad te igitur piissime Deus tristis [Rore/Willaert]
Appears on: 68v–70
Genres: Motet
Source Attribution: [Rore/Willaert]
Voice: Tenor
Languages: Latin
Voice Text: Infelix ego omnium auxilio destitutus II: Ad te igitur piissime deus tristis
70–71v Surge Petre et indue te vestimentis tuis (2p. Si diligis me Symon Petre pasce oves) [Jaquet of Mantua]
Appears on: 70–71v
Genres: Motet
Source Attribution: [Jaquet of Mantua]
Voice: Tenor
Languages: Latin
Voice Text: Surge Petre et indue te vestimentis tuis II: Si diligis me Symon Petre pasce oves
71v–72 Ave virgo gratiosa [gloriosa] stella sole clarior [Jaquet of Mantua/Vermont]
Appears on: 71v–72
Genres: Motet
Source Attribution: [Jaquet of Mantua/Vermont]
Voice: Tenor
Languages: Latin
Voice Text: Ave virgo gloriosa stella sole clarior [= Ave virgo gratiosa]
72v–74 Salve celeberrima virgo Dei genitrix II: Haec est illa dulcissima que sanctarum [Lupi]
Appears on: 72v–74
Genres: Motet
Source Attribution: [Lupi]
Voice: Tenor
Languages: Latin
Voice Text: Salve celeberrima virgo dei genitrix II: Hec est illa dulcissima que sanctarum
Layout

2 voice parts, on versos & rectos

74v–76 Te sanctum Dominum in excelsis laudant omnes II: Cherubin quoque ac seraphin sanctus Anon. Anonymous
Appears on: 74v–76
Genres: Motet
Source Attribution: Anon.
Voice: Tenor
Languages: Latin
Voice Text: Te sanctum dominum in excelsis laudant omnes II: Cherubin quoque ac seraphin sanctus
Layout

2 voice parts, on versos & rectos

77–80 Missa Felix namque Anon. Anonymous

Missa Felix namque

Anonymous
Appears on: 77–80
Genres: Mass Ordinary
Source Attribution: Anon.
Voice: Tenor
Languages: Latin
Voice Text: [Missa Felix namque] [Felix Anna, in Sanctus of Tenor]
80–84 Missa Cantate Domino: GCSA Anon. Anonymous
Appears on: 80–84
Genres: Agnus Dei, Credo (patrem omnipotentem), Gloria (et in terra pax), Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: Anon.
Voice: Tenor
Languages: Latin
Voice Text: [Missa] Cantate domino [GCSA]
84–86v Missa Jesu Christe: GCS [Ashwell]
Appears on: 84–86v
Genres: Credo (patrem omnipotentem), Gloria (et in terra pax), Mass Ordinary, Sanctus [& Benedictus]
Source Attribution: [Ashwell]
Voice: Tenor
Languages: Latin
Voice Text: [Missa] Jhesu Christe [GCS]
Composer Compositions
Anonymous
Ashwell, Thomas (ca. 1478–ca. 1513)
Berchem, Jacques (ca. 1505–1567)
Certon, Pierre (–ca. 1572)
Despres, Josquin (ca. 1450–1521)
Gombert, Nicolas (ca. 1495–ca. 1560)
Lupi, Johannes (ca. 1506–1539)
Mantua, Jacquet de (1483–1559)
Rore, Cipriano de (ca. 1515–1565)
Sermisy, Claudin de (ca. 1490–1562)
Van Wilder, Phillip
Vermont, Pierre
Willaert, Adrian (ca. 1490–1562)
Composition Composers (? Uncertain) Folios / Pages
Ad nutum Domini nostrum dicantis honorem II: Ut vitium virtus operiret gratia 65v–66
Ave virgo gloriosa stella sole clarior 61–61v
Ave virgo gratiosa [gloriosa] stella sole clarior 71v–72
Benedicta es caelorum regina et mundi 23.13 (2p. Per illud ave prolatum; 3p. Nunc mater exora natum) 66v–67v
Descendi in ortum meum ut viderem poma 68v
Infelix ego omnium auxilio destituti II: Ad te igitur piissime Deus tristis 68v–70
Inviolata integra et casta es Maria II: Te nunc flagitant devota corda III: O benigna O regina que sola 61v–62
Missa Cantate Domino: GCSA Anonymous 80–84
Missa Felix namque Anonymous 77–80
Missa Jesu Christe: GCS 84–86v
O florens rosa mater Domini speciosa II: Genitrix virgo mater salutis excuset 62–63
O Maria stans sub cruce triumphante 65
Pater noster qui es in caelis / Ave Maria gratia plena 64–64v
Regina caeli laetare Alleluia II: Resurrexit sicut dixit Alleluia 66v
Salve celeberrima virgo Dei genitrix II: Haec est illa dulcissima que sanctarum 72v–74
Surge Petre et indue te vestimentis tuis (2p. Si diligis me Symon Petre pasce oves) 70–71v
Te sanctum Dominum in excelsis laudant omnes II: Cherubin quoque ac seraphin sanctus Anonymous 74v–76
Vidi civitatem sanctam Jerusalem novam 67v–68
Virgo clemens et benigna jugi laude digna II: Felix et beata deo fecundata 63–64

denotes primary source study

Warwick, Alistair. 1998. Another look at the Dunkeld Music Book. University of Surrey, MMus. https://alistairwarwick.com/content/dunkeld-music-book(Accessed: 14-2-2033).

Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians.  London. Pages: II, 807.

Elliott, Kenneth, and Frederick Rimmer. 1973. A History of Scottish Music.  London. Pages: 20.

Nugent, George Edward. 1973. The Jacquet Motets and Their Authors. Princeton University, Unpublished Ph.D. dissertation. Pages: I, 144ff.

Blackburn, Bonnie J. 1970. The Lupus Problem. University of Chicago, Unpublished Ph.D. dissertation. Pages: 365, passim.

Elliott, Kenneth. 1964. Church Musick at Dunkell. Music and Letters, 228-32.

Harrison, Frank Llewellyn. 1958, second ed. 1963. Music in Medieval Britain.  London: Routledge. Pages: 194.

Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music.  London. Pages: XV,xv; passim.

Willsher, Harry M. 1945. Music in Scotland During Three Centuries (1450-1750): Being Contributions Towards the History of Music in Scotland. University of St Andrews, Ph.D. Pages: 807. Notes: watermark.

Gal, Hans. 1941. Catalogue of Manuscripts, Printed Music and Books on Music Up to 1850 in the Library of the Music Department at the University of Edinburgh (Reid Library).  London. Pages: 2.

Borland, Catherine R. 1916. A Descriptive Catalogue of the Western Mediaeval Manuscripts in Edinburgh University Library.  Edinburgh. Pages: 113.

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DIAMM, 2016

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Notation Note; Surface Note