Mostly good, but with some considerable erosion in various parts of the manuscript (especially ff.47-51,53, 85-91, 98-105) causing difficulty in reading the notation
Old (possibly original) covers of brown tooled leather,with remains of leather ties
i + 123 + I. Modern pencil foliation for first 9 fols, followed by original ink foliation.
Several gatherings formed by cutting bifolios at inner edges which were then repasted. Cf Rees 1995, Table 8 (pp. 222-223) for complete analysis of gathering structure. Folios at start of MS with music possibly by Dom Bento had different origin. Original foliation begins after this section. (For further details on scribal procedure, cf Rees 1995, 221.) Scribe of opening section employed three pages from flyleaves of original manuscript to complete his work.
8 paper types; 4 watermarks. For details, cf Rees 1995, pp. 374-75, and pp. 399-400.
Choirbook format. 388 x 278 mm.
Type of notation:
A number of the pieces in this manuscript have illustrated initials and decorative marginalia drawn in pen & ink; also calligraphic initials
Inscriptions and marks:
Flyleaf at beginning of MS: 'Liuro da Comunidade de S. +. Inscriptions f.116: 'João'; 'P. Paulo Lopes'. There are inscriptions with modal designations/ transpositions, indicating participation of the organ for motets on ff.19v-21r, 23v-24r, 37v-40r. Other inscriptions noted with items. These include of modal position in a few motets (ff.19v-21r, 23v-24r, 37v-40r)
Upper edges of folios trimmed by 10mm or more. At least one folio missing from end of manuscript. (cf Rees 1995, 215). First folio discovered in another manuscript by Manuel Joaquim. Modern pencil foliation for first 9 fols + original ink foliation.
History of the compilation of this manuscript is complex. Several parts of the existing choirbook formerly existed as independent manuscripts (cf Rees 1995, 221). However, recurrence of similar paper-types indicates that all parts of MM 32 to which original foliation applied (with the exception of the first ten folios) had similar origins. Bulk of MM 32 copied in mid 16th century. Folios at start of MS with music possibly by Dom Bento had later origin (after c. 1560). Scribe of opening section employed three pages from flyleaves of original manuscript to complete his work. Original foliation begins after this section. (For further details on scribal procedure, cf Rees 1995, 221.) However, no coherent scheme for compilation of main corpus of manuscript apparent. Difficulty in determining number of scribes involved.
It would appear that MM 32 was not specially compiled as a choirbook for chapel use, owing to difficulty in reading some of the notation and script, although there are inscriptions indicating the participation of the organ for motets on ff.19v-21r, 23v-24r, 37v-40r. Rees posits that the manuscript largely served for teaching purposes (cf Rees 1995 224). There are numerous concordances between MM 32 and other Coimbra manuscripts – especially MM 6, MM 9 and MM 12. Some pieces were copied from Gardane's first and second books of Fior de Motetti (RISM 1539/12 and 1539/6)). MM 32 also acted as exemplar for items in P-Cug MM 48. There is a large number of motets in this manuscript. This manuscript, along with P-Cug MM 6 and MM 12, with which there are many concordances, is an important repository of imported works, notably by Spanish composers.
REES, Owen, Polyphony in Portugal c. 1530 – c. 1620. Sources from the Monastery of Santa Cruz, Coimbra, New York & London: Garland, 1995, pp. 215-27, 374 & 399-400.
KREITNER, Kenneth, The Church Music of FIfteenth-Century Spain, Woodbridge: Boydell & Brewer, 2004.
Submitted by Bernadette Nelson — Mon, 2013-04-29 13:06