P-Cug (Coimbra) Biblioteca Geral da Universidade MM 0012

Archive
P-Cug (Coimbra) Biblioteca Geral da Universidade
Shelfmark
MM 0012
Siglum

P-Cug MM 0012

Source type
Polyphonic book
Subcategory of source
Choirbook
Category
polyphony
Completeness
complete or nearly complete
Document type
manuscript
Origin
Coimbra, Mosteiro de Santa Cruz
Main place of use
Coimbra, Mosteiro de Santa Cruz
Provenance
Coimbra, Mosteiro de Santa Cruz
Date
[c.1540-c.1550]
Contents

10 Alleluias; 5 Benedicamus Domino; 13 Canticles; 4 Credos; 3 Doxologies; 4 Fabordões; 1 Gloria; 6 Hymns; 1 Kyrie; 2 Marian antiphons; 8 Masses (3 incomplete); 1 Mass responses; 14 Motets; 1 Response; 1 unidentified (=74)

Composers
Anonymous
Pires, Vasco
Escobar, Pedro de
Paiva, Heliodoro de, Dom
Peñalosa, Francisco de
Bento, Dom
Bruxel
Moran, Luis
Josquin des Prez
Tordesillas
Ribera, Antonio de
Roselli, Pietro
Mouton, Jean
Urrede, Juan de
Anchieta, Juan de
Mondéjar / Díaz
Alba, Alonso (Pérez) de
Illario
Type of script
Late Gothic
Type of notation
Mensural (white)
Decoration

Calligraphic initials in black or red ink added by music scribes and others. Boxed coloured initials, fols. 35v & 37r. Elaborate initials drawn with Escobar's mass sine nomine (fols 53v-60r)

Inscriptions

Latin canonic instructions in Credo of Salve regina mass, fol. 8v; 'Dom Bento can. Regul.', fol. 35v; 'DE.PENHALOSA', fol. 37v; 'Escouar', fols. 53v, 54r; 'DE RIBEIRA' / 'RIBEIRA', fols. 90v-91r; 'Luis Morangam', fols. 121v-133r, 134v, 139r, 146v-157v, 209v; 'Joam Monton', fols. 140v-145v; 'Ex incerto autore', fols. 159v-160v; 'De penhalosa', fols. 161v-165v; 'Uasco pirez', fols. 166v-170v; 'Joannes vtrede', fols. 173v-179r

Material
Paper
Condition of document

Poor in places; dampness has discoloured the top half of all folios; considerable ink corrosion. Modern attempts at restoration by pasting tracing paper to some folios has exacerbated problem

Page layout

Choirbook format, 523 x 390 mm.

Foliation/Pagination

i + 209; original ink foliation, fols. 1-35, 37-210; fol. 36 is missing

Gathering

All gatherings now loose owing to poor condition of manuscript. Rees observes that the present gatherings were organised after the intial copying of the music was completed

Watermarks

Chain-line measurements show that paper types are related; watermarks fall into two groups (cf. Rees 1995, p. 191). 7 paper types; 8 watermarks. Paper 1 has Briquet's sirene (mermaid) type; paper 4 has mark almost identical to Briquet #9597 (cf. Rees 1995, pp. 371-72, 390-93).

Bindings

Old, broken (possibly original) covers of dark brown blind-tooled leather over heavy wooden boards; 5 metal bosses on each cover (front and back), and remains of leather ties

Remarks

Incomplete tabula added at start of manuscript after c.1560 (cf. Rees, p. 185). Eight copyists worked on this manuscript which was conceived as a single unit. Uniform musical and textual scripts; evidence of close collaboration between the group. Pages originally left blank between pieces were mostly filled in later. Musical and textual scripts of the different scribes uniform. Index at beginning of manuscript, foliation, and titles added after manuscript completed at a later time, by a scribe of P-Cug MM 9 (see Rees). There is evidence that the manuscript was continued to be used by the cappella of Santa Cruz after 1560. Not all the music was texted

References

RIBEIRO, Mário de Sampaio, Os manuscritos musicais n.os 6 e 12 da Biblioteca Geral da Universidade de Coimbra: Contribuição para um catálogo definitivo, Achegas para a história da música em Portugal 5 (Coimbra, Biblioteca Geral da Universidade, 1941)

REES, Owen, Polyphony in Portugal c. 1530 – c. 1620: Sources from the Monastery of Santa Cruz, Coimbra (New York & London, Garland, 1995), pp. 185-94, 371-72, 390-93

KREITNER, Kenneth, 'Spain Discovers the Mass', Journal of the Royal Musical Association, 2014, 139/2, pp. 261-302

Description author/s
Bernadette Nelson
Indexed by
Bernadette Nelson
Reviewed by
João Pedro d'Alvarenga