Manuscript in poor state before rebinding between 1537 and 1541 when original order of pieces disrupted, and some folios lost. The modern number sequence does not entirely reflect the internal ordering of the pieces.
Rebound c.1937-1941 using old covers similar to those re-binding MM 3, MM 6, MM 7, MM 8, MM 9, MM 26, MM 44
ii + 205 + ii fols. At least eight folios missing. Last original folio discovered by Rees in box of fragments.
Modern red ink foliation, ff.1-25; modern pencil foliation, ff.26-50, 50 bis, 51-183, 183 bis, 184-202; last folio not bound in with manuscript at re-binding. The modern number sequence does not entirely reflect internal ordering of the pieces in choirbook, particularly after f.33. The folios from some masses may be found scattered out of sequence elsewhere in the manuscript (see descriptions of each of the items). Cf Rees 1995, pp.136-7. [Note: ff.22v-23r & 37v-38r not yet included in photo gallery.]
Unclear. Original order of pieces disrupted with modern re-binding; new tight binding has made identification of fascicles virtually impossible. Rees distinguishes three types of paper used (all similar), but with differing measurements for margins and staves (cf Rees 1995: 136-37)
3 types of paper; 2 main watermarks. Paper 2 has mark similar to Briquet #9835, and related to marks found in contemporary Netherlandish music manuscripts preserved in 'sHertogenbosch (cf Rees 1995, pp.141, 368 & 383).
Choirbook format. 565 x 380 mm
Type of notation:
Elaborate calligraphic initials for Kyries throughout book, many in red ink, others in black or bitonal
Inscriptions and marks:
'Pie memorie' next to composers' names: Mouton (ff.1v & 88v) and Noel Bauldeweyn (f.158v).
This is the only known surviving 16th-century choirbook of probable Netherlandish origin in Portugal.