Music for Lent and Holy Week: Motets, Passions, Responsories for Tenebrae, Misc.
Old, not original, covers of brown blind-tooled leather over boards added during rebinding between 1937 and 1941. This has severely disrupted original collation
ii + 63 + ii
Four paper types identified (Rees 1995, pp. 373-74; 385-96), showing 4 watermarks. Watermark 1 similar to Briquet #7576
Type of notation:
Edges of folios have red colouring similar to P-Cug MM 25 Black calligraphic initials; rubrics in red ink.
Inscriptions and marks:
Many items headed with inscriptions denoting festal/ liturgical occasion in red ink (first half of MS, up to and including the first Passion (St Matthew) setting) and black ink (the remainder). (F.72V): Annotations + inscription in formal hand: 'Cantemus domino canticum nouum sicut cantaban patres / nostri in gaudio et exultatione qui laetitia'
Original ink foliation (illegible where folios have suffered corrosion), from f. 7r. Folios 1-6, 17, 29, 42, most of f.43 are missing (cf Rees 1995, p. 205). Last original fol. found in box of fragments by Rees. Modern pencil foliation, 1-14, 14-33, 35-62; last folio unnumbered. Two men responsible for compilation of manuscript who closely collaborated (cf Rees 1995, p.208). Scribal work suggests that some of the music might have been composed by Pedro de Cristo; this is also suggested by stylistic analysis of the pieces. Text of second Passion (St Matthew) setting (f.43r seq.) written in red-brown ink. Indexation in PEM is from Rees's reconstruction of Inventory based on the original ordering of folios, and not according to modern sequence and folio numeration. (In its current form, a number of folios are in wrong positions, and sections of manuscript have become separated.)
REES, Owen, Polyphony in Portugal c. 1530 – c. 1620. Sources from the Monastery of Santa Cruz, Coimbra, New York & London: Garland, 1995, pp. 205-11, 373-74, 395-96
Submitted by Bernadette Nelson — Tue, 2013-04-30 00:20