P-Cug (Coimbra) Biblioteca Geral da Universidade MM 0242

MM 0242

P-Cug MM 0242

Source type
Subcategory of source
Document type
Concordances suggest most of the copying was completed by c.1560, though one of the paper types is also found in P-Cug, MM 70 (post-1570; see Rees (1995), pp. 379, 381–2)

Modern pencil inscription/ signature top fol. 001r: F Macedo. (Identifed as Francisco Lopes Lima de Macedo, c. 1859-1939; see Estudante (2019)). Main heading in MS, in additional to titles above pieces: ‘Vermudo Pera Tanger’ (fol. 81r); ‘Obras pera Tanger de Antonio cabeçon o cego’ (fol. 102r)

Condition of document


Page layout

score format


184 + i fols


Irregular gathering structure comprised of 23 gatherings. The following collation, revising slightly the collation shown in Rees (1995), pp. 339-41 (Table 14), is based on an examination conducted in November 2020: A8 (fols. 1–8) Aa1 (fol. 9) B8 (fols.10–17) C8 (fols.18–25) D6 (fols. 26–31) E8 (fols. 32–39) F10 (fols. 40–49) G6 (fols. 50–55) H8 (fols. 56–63) I8 (fols. 64–71) J8 (fols. 72–79) K8 (fols. 80–87) L14 (fols. 88–101) M8 (fols. 102–109) N6 (fols. 110–114; N4 removed with stub fragments pasted to fol. 113) O8 (fols. 115–120; O2 and O7 removed leaving stubs, which explains why the music on fol. 116 is incomplete) P8 (fols. 121–127; P2 removed leaving stub) Pa1 (fol. 128) Q8 (fols. 129–136) (Q3–6 are of a different paper type compared to the surrounding leaves) R14 (fols. 137–150) S6 (fols. 151–155; fol. 151 is a single leaf pasted to fol. 152) T4 (fols. 156–158; T4 was removed; T1 is loose) U8 (fols. 159–167) V10 (fols. 168–177) W8 (fols. 178–[185]).

16 watermarks; 16 paper types: cf Rees (1995), pp. 339, 408-11

Soft light beige leather covers (original?)

With the exception of most of the copying on fols. 122r-125r, the MS is the work of a single copyist also responsible for most of the copying on fols. 001v-025r, 033r-035v, 053v-054v, 061r-065v, 070r-117v, 119v-122r, 123r-123v and 126v-127v of P-Cug MM 48. The copyist wrote (in the first person, while remaining anonymous) an inscription at the rear of MM 48 indicating that he had begun to give lessons in keyboard playing to three of his colleagues at Santa Cruz de Coimbra in June 1559. The MS contains mainly a4 vocal works, apparently copied for study purposes (see Rees, 1995). A smaller quantity of instrumentally conceived music has also been included, mainly collected in two groups (fols 001-040v and 101v-119v). Top and bottom edges of folios trimmed after 1973 (Rees, p. 325). This may have obscured original foliation. At least one folio missing from MS between fols 062 and 063, fol. 089, and between fols 115 and 116. Lower corners of first three folios torn off. Along with P-Cug MM 228 and MM 229, MM 242 was acquired by the organist Francisco Lopes Lima de Macedo (c.1859-1939) in the nineteenth century. It remained in private hands until it was acquired in the 1940s (with financial backing from the Acção Cultural das Fábricas Aleluia (Carlos Aleluia) by Mário Sampayo Ribeiro (1898-1966) for the Polyphonia-Schola Cantorum choir, which donated it to the BGUC. (Label pasted inside front cover reads: POLYPHONIA (SCHOLA CANTORUM), with inscription: ‘oferta da Acção Cultural das Fábricas Aleluia, de Aveiro’)

ANGLÉS, Higinio (ed.), La Música en la Corte de Carlos V, Monumentos de la Música Española 2 (Barcelona, Consejo Superior de Investigaciones Científicas, Instituto Español de Musicología, 1944) [= MME 2]

KASTNER, Macario Santiago, ‘Los manuscritos musicales n. 48 y 242 de la Biblioteca General de la Universidad de Coimbra’, in Anuario Musical, vol. 5, Barcelona: Instituto Español de Musicología, 1950, pp. 78-96

BROWN, H.M., Instrumental Music Printed Before 1600: A Bibliography (Cambridge, MA, 1965) [= BrownI]

FERNANDES, Cremilde Rosado and KASTNER, Santiago (eds.), Antologia de Organistas do Século XVI, Portugaliae Musica 19 (Fundação Calouste Gulbenkian, Lisbon, 1969) [= PM 19]

KASTNER, Macário Santiago (ed.), Antonio de Cabezón und Zeitgenossen. Kompositionen für Tasteninstrumente, (Musikverlag W. Zimmermann, Frankfurt, 1973). [=Antonio de Cabezón und Zeitgenossen, ed. Kastner]

JACOBS, Charles (ed.), Gesamtausgabe der Werke von Antonio de Cabezón, vol. 5: Intabulationen und Opera Incerta (Institute of Mediaeval Music: Henryville, 1986). [= Cabezón, Gesamtausgabe, vol. 5]

REES, Owen, Polyphony in Portugal c. 1530 – c. 1620. Sources from the Monastery of Santa Cruz, Coimbra (New York & London: Garland, 1995), pp. 325-64; 408-11

NELSON, Bernadette, ‘The Chansons of Thomas Crecquillon and Clemens non Papa in Sources of Instrumental Music in Spain and Portugal, and Sixteenth-Century Keyboard Traditions’, in Beyond Contemporary Fame. Reassessing the Art of Clemens non Papa and Thomas Crecquillon, ed. Eric Jas, Turnhout: Brepols Publishers n.v., 2005, pp. 167-89 [= Nelson, ‘The Chansons of Thomas Crecquillon’]

DOBBINS, Frank, and HAM, Martin, ‘Thomas Crecquillon: Chansons – Principal Sources and Concordances’, in Beyond Contemporary Fame. Reassessing the Art of Clemens non Papa and Thomas Crecquillon, ed. Eric Jas, Turnhout: Brepols Publishers n.v., 2005, pp. 347-85

NELSON, Bernadette, ‘”D’oû vient cela?” – Franco-Flemish influences in English and Spanish keyboard music during the sixteenth century’, in Cinco Siglos de Música de Tecla Española | Five Centuries of Spanish Keyboard Music. ed. Luisa Morales (Garrucha: LEAL, 2007), pp. 47-69

DODERER, Gerhard, ‘Os manuscritos MM 48 e MM 242 da Biblioteca da Universidade de Coimbra e a presença de organistas ibéricos‘, in Revista de Musicología, vol. 34, no. 2 (2011), pp. 43-62

OLIVEIRA, Filipe M. de, ‘A génese do tento para instrumentos de tecla no testemunho dos manuscritos P-Cug MM 48 e MM 242 (com uma edição crítica dos ricercari de Jacques Buus e das suas versões recompostas)’, Dissertação de Doutoramento, Universidade de Évora, 2011 [= Oliveira, ‘A génese do tento’]

CRISÓSTOMO, Pedro, ‘António Carreira: 4 peças inéditas para orgão’, Masters thesis, 2 vols. (University of Évora, 2013). [= Crisóstomo, ‘António Carreira’]

OLIVEIRA, Filipe M. de, ‘Some aspects of P-Cug, MM 242: António Carreira’s keyboard tentos and fantasias and their close relationship with Jacques Buus’s ricercari from his Libro primo (1547)’, in Interpreting Historical Keyboard Music: Sources, Contexts and Performance, ed. Andrew Woolley and John Kitchen (Farnham: Ashgate, 2013), pp. 7-18.

OLIVEIRA, Filipe M. de, ‘The Verset and Fabordão Genres in The Context of Music Manuscript 242 from the Coimbra University Library’, Portuguese Journal of Musicology, new series, 2/1 (2015), pp. 41-60.

NELSON, Bernadette, ‘Bermudo’s masters and models of excellence for keyboard players in sixteenth-century Spain’, Revista de Musicologia 39/1 (2016), pp. 77-115

ESTUDANTE, Paulo, ‘História recente dos cartapácios da Universidade de Coimbra – Homenagem aos pioneiros da Musicologia Portuguesa’ / ‘Recent history of the cartapácios at the University of Coimbra – Tribute to the Pioneers of Portuguese Musicology’, Escola de Música da Sé de Évora: conferências, (Lisbon: Edições Colibri, 2019), pp. 105-137 / 139-178

Description author/s