P-AR (Arouca) Museu Regional de Arte Sacra do Mosteiro de Arouca Res. Ms. 032

Displaying 1 - 41 of 41
Source Folio Incipit Feast Office Genre Position
P-AR Res. Ms. 032 001v-002r Domine ad adjuvandum me festina (Deus rp Anonymous
P-AR Res. Ms. 032 002v-004r Donec ponam (Dixit dominus) PS Anonymous
P-AR Res. Ms. 032 004v-008r Magna opera domini (Confitebor tibi domine) PS Anonymous
P-AR Res. Ms. 032 004v-008r Potens in terra (Beatus vir) PS Anonymous
P-AR Res. Ms. 032 011v-015r Sit nomen domini (Laudate pueri) PS Anonymous
P-AR Res. Ms. 032 014v-015r Textless H Anonymous
P-AR Res. Ms. 032 015v-016r Textless H Anonymous
P-AR Res. Ms. 032 016v-017r Os lingua mens sensus (Nunc sancte) H Gouveia, Simão dos Anjos de
P-AR Res. Ms. 032 017v-023r Anima mea (Magnificat, tone 6) Ca Morales, Cristóbal de
P-AR Res. Ms. 032 023v-029r Anima mea (Magnificat, tone 1) Ca Anonymous
P-AR Res. Ms. 032 029v-030r Benedicamus domino BD Fernandes, Aires
P-AR Res. Ms. 032 029v-030r Benedicamus domino BD Fernandes, Aires
P-AR Res. Ms. 032 030v-032r Domine hysopo (Asperges me) A Mendes, Manuel
P-AR Res. Ms. 032 032v-034r Egredientem de templo (Vidi aquam) A Anonymous
P-AR Res. Ms. 032 034v-045r [Missa sine nomine] Mi Oliveira, António de
P-AR Res. Ms. 032 045v-056r Missa Sobre O gram Senhora Mi Brasil
P-AR Res. Ms. 032 056v-057r Alleluia Al Velez, Francisco
P-AR Res. Ms. 032 057v-058r Alleluia Al Gouveia, Simão dos Anjos de
P-AR Res. Ms. 032 058v-059r Alleluia Al Mendes, Manuel
P-AR Res. Ms. 032 059v-060r Alleluia Al Oliveira, António de
P-AR Res. Ms. 032 061v-063r Multiplicasti gentem (Populus qui ambulabat) Ca Anonymous
P-AR Res. Ms. 032 064v-067r Laetare Hierusalem Ca Anonymous
P-AR Res. Ms. 032 067v-071r Urbs fortitudinis nostrae Ca Anonymous
P-AR Res. Ms. 032 072v-074r Alleluia Al Anonymous
P-AR Res. Ms. 032 074v-075r Alleluia Al Anonymous
P-AR Res. Ms. 032 075v-076r Alleluia Al Azevedo, João Leite de
P-AR Res. Ms. 032 076v-077r Benedicamus Domino BD Anonymous
P-AR Res. Ms. 032 077v Alleluia Al Anonymous
P-AR Res. Ms. 032 078v-080r [Missa sine nomine] Mi Anonymous
P-AR Res. Ms. 032 081v-088r Anima mea (Magnificat, tone 8) Ca Anonymous
P-AR Res. Ms. 032 088v Domine ad adjuvandum me festina (Deus rp Anonymous
P-AR Res. Ms. 032 089v-092r Super flumina babilonis (tone 4) PS Anonymous
P-AR Res. Ms. 032 092Av-093Ar Sancta Maria ora pro nobis Li Anonymous
P-AR Res. Ms. 032 092v-093Ar Quia visitavit (Benedictus dominus) Ca Martins, Francisco
P-AR Res. Ms. 032 093r Mortem autem crucis (Christus factus est) W Anonymous
P-AR Res. Ms. 032 093r Kyrie eleison W Anonymous
P-AR Res. Ms. 032 093v-096r Et erexit (Benedictus dominus) Ca Anonymous
P-AR Res. Ms. 032 095v-096r Benedicamus domino BD Anonymous
P-AR Res. Ms. 032 096v-098r Pupili facti sumus (Heu heu Domine) Anonymous
P-AR Res. Ms. 032 098v-100r Alleluia Al Anonymous
P-AR Res. Ms. 032 100v-103r Inclina cor meum (Beati immaculati) PS Anonymous
Siglum: 
P-AR Res. Ms. 032
Shelfmark: 
Res. Ms. 032
Source type: 
Subcategory of book: 
Category: 
Document type: 
Date: 
c. 1610-20
Century: 
Type of notation: 
Type of script: 
Material: 
Cursus: 
Tradition: 
Contents: 
9 Alleluias, 2 Antiphons, 4 Benedicamus Domino, 8 Canticles, 3 Hymns, 1 Litany, 3 Masses, 1 Planctus, 6 Psalms, 1 Preces, 3 Versicles (= 41)
Foliation: 
i+103+i. The number sequence is complete, although there are signs of torn folios in the two final gatherings
Gathering: 
14 gatherings a8 (ff.1r - 8v); b8 (ff. 9r-16v); c8 (ff. 17r-24v); d8 (ff. 25r-32v); e8 (ff. 33r-40v); f8 (ff. 41r-48v); g6 (ff. 49r-54v); h6 (ff. 55r – 60v); i8 (ff. 61r-68v); j8 (ff. 69r-76v); k6 (ff. 77r-82v); l8 (-1) (ff. 83r-89v); m8 (-1) (ff. 90r-96v); n8(-1) (ff. 97r- 103r)
Page layout: 
Choirbook format; 358 X 245mm
Condition of document: 
Some folios show signs of exposure to humidity (guard leaf and ff. 1v-16r); torn folios (guard-leaf and folio 1r); ink corrosion in the second half of the book (especially between ff. 62v-87v)
Watermarks: 

4: Trefoil/ellipse/bifoil [guard-leaf]~Gravell SPH.007.01, Heawood 3839, 3840, Melo nº 114; Fleur-de-lis/crown [f. 4r]~ 1627, 1629; “Pilgrim”~ P-Cug MM 8, MM 26, P-Ln L.C. 57 (Rees: 1995: 387, 396, 437) [f. 68r]; trefoil/ellipse/bifoil/letters [added bifolium]~Heawood 3809, Melo nº117

Bindings: 
Covers of light brown skiver
Decoration: 
No illuminations; Initials with simple decorative designs
Inscriptions: 

Latin voice names in some of the items until folio 60r.
ff. 2v-3r: “este mesmo verso se segue singello”; f. 3r: “seis dedos”; f. 5r: “hum dedo”; f. 12v: “Seguesse outro a cinquo”; f.13r: “outro a cinquo"; f. 15r “Hymnus”; f. 16r: “Hymnus” f. 16v-: “Hymnus”; f. 17v: “Tonus69”; f. 18f: “Tonus sextus”; f. 20r: “Altus tacet”; f. 24r: “primus tonus”; f. 25v: “tenor tacet”; f. 30r: “seis dedos no baixão”; f. 35r: “a 4”; f. 45v: “Sobre O gram senhora”; f. 60r: “mea mão no baixão”; ff. 70v e 71 r: “a seis”; ff. 72v- 73r: “a 4”; f. 73r: “primeiro falsete”; f. 87v: “este verso he deste magnificat atras”; f. 92v (ad.) “Bns das trevas”; f. 92v (ad.) “o?? Donde acaba o verso”; 93r: “por este verso se digam todosos mais do Bns acrescentando ou diminuindo mais ou menos pontos conforme o pedir a letra"; f. 93r: “na primeira contra baxa quinto trasto”; f. 92v-93r (ad.): “Ladainha pª sabbado mayor de Pascua; f.97r: “primeira corda segundo trasto”; f. 100v: “sup. ig. :A 4”; f.101r: “tempera por lamire; tange por ffau[t]”

Remarks: 

The book is clearly divided in two parts: the first, carefully written and with a concern for clarity and coherence of contents, always by the same scribe; the second clearly with much less concern with visual presentation and handwriting; it is possible to find three more hands, different from the one in the first section: one ff. 61v to 80r and 98v-103; a second one ff. 81v-87r and a third one ff. 87v-98r. Fols. 75v-76r consist of four part-book format folios for each of four voice parts pasted onto the existing folios. These are richly decorated: initials in red with elaborate filigree designs; drawings of several motifs of Nature are drawn in the heading of each voice (flowers in the superius primus and tenor, a bird in the altus)

References: 

D’ALVARENGA, João Pedro, “Manuscripts Oporto, Biblioteca Pública Municipal, MM 40 and MM 76-79: Their Origin, Date, Repertories and Context” in KNIGHTON, Tess & Bernadette NELSON (eds.), Pure Gold: Golden Age Sacred Music in the Iberian World: A Homage to Bruno Turner (De Musica, 15), Kassel, Edition Reichenberger, 2011, pp. 43-58
FERREIRA, Manuel Pedro, & Mara FORTU, “A música antiga nos manuscritos de Arouca: contribuição para um catálogo” in MELO, Ângela (coord.), O órgão do Mosteiro de Arouca: conservação e restauro do património musical, Vila Real - Arouca, Direcção Geral de Cultura do Norte, 2009, pp. 40-5
FERREIRA, Manuel Pedro, Antologia de Música em Portugal na Idade Média e no Renasci-mento, (2 vols.) Lisboa, Arte das Musas, 2008
FREITAS, Frederico de, “Os livros de Música do Museu de Arouca”, Novidades, 26 de Setembro, 1948 (suplemento Letras e Artes)
NELSON, Bernadette, 'Morales's Magnificats in Portugal and Some Anonymous Settings in Portuguese Sources: Questions of Style and Authorship, Revista Portuguesa de Musicologia n.s. 2/2, 2015, pp. 193-214
RIBEIRO, Mário Sampayo de, Sete «Alleluias», Inéditos (dum códice do Mosteiro de Arou-ca) apresentados por Mário de Sampayo Ribeiro, transcritos e interpretados por D. Mauro M. Fábregas, O.S.B., Porto, Ora & Labora, 1949-50
STEVENSON, Robert, “Some Portuguese Sources for Early Brazilian Music History”, Yearbook of the Inter-American Institute for Musical Research, IV, 1968, pp. 1-43
STEVENSON, Robert, Latin American Colonial Music Anthology, Washington, General Secretariat, Organization of American States, 1975