P-BRad (Braga) Arquivo Distrital 964

Displaying 1 - 100 of 311
Source Folio Incipit Feast Occasion Genre Cantus ID
P-BRad MS 964 001r-001v 5 Versos de 1o. Tom por D MI Instr Anonymous
P-BRad MS 964 001v–002v 5 Versos de 3o. Tom por A MI Instr Anonymous
P-BRad MS 964 002v–003v 6 Versos de 4o. Tom por E MI Instr Anonymous
P-BRad MS 964 003v–004r 5 Versos de 6o. Tom por F MI Instr Anonymous
P-BRad MS 964 004v–005r 5 Versos de 8o. Tom por G MI Instr Anonymous
P-BRad MS 964 005r–006r [9] Outros Versos mais fáceis para Instr Anonymous
P-BRad MS 964 006r–006v [5] Versos de 8o. Tom a compasso Instr Anonymous
P-BRad MS 964 007r–007v [5] Kyries [de] 1o. Tom MI Instr Anonymous
P-BRad MS 964 007v–008r [5 Kyries de] 1o. Tom re em MI Instr Anonymous
P-BRad MS 964 008r [2 Versos de] 1o. Tom Instr Anonymous
P-BRad MS 964 008v [2 Versos] Sobre Ave maris stella Instr Anonymous
P-BRad MS 964 008v–009v [5] Kyries de 2o. Tom MI Instr Anonymous
P-BRad MS 964 009v–010r [5 Kyries de] 2o. Tom MI Instr Anonymous
P-BRad MS 964 010r–010v [5 Versos de] Terceiro Tom fa em Instr Anonymous
P-BRad MS 964 010v–011r [Verso] para a Antifona Instr Anonymous
P-BRad MS 964 011r–011v [5 Kyries de] 4o. Tom por E MI Instr Anonymous
P-BRad MS 964 011v–012r [5 Kyries de] 4o. Tom MI Instr Anonymous
P-BRad MS 964 012r–012v [5 Versos de] 5o. Tom. C sol Instr Anonymous
P-BRad MS 964 013r–013v [6 Versos de] 5o. Tom. por B-quadrado Instr Anonymous
P-BRad MS 964 013v–014r [4 Versos de] 5o. Tom para cantochã Instr Anonymous
P-BRad MS 964 014r–014v [6] Versos de 5o. Tom para Magnificat V Instr Anonymous
P-BRad MS 964 015r–015v [5 Versos de] 6o. Tom Instr Anonymous
P-BRad MS 964 015v–016r [5] Kyries de 7o. Tom ut em MI Instr Anonymous
P-BRad MS 964 016v–017r [6 Versos de] Sétimo Tom fa V Instr Anonymous
P-BRad MS 964 017r–017v [5 Versos de] 8o. Tom por G Instr Anonymous
P-BRad MS 964 017v–018v [6] Versos de 8o. Tom para Magnificat V Instr Anonymous
P-BRad MS 964 018v–019r [2] Versos para se tangerem depois de Instr Anonymous
P-BRad MS 964 019v–022r Fantasia de 2o. Tom Instr Araújo, Pedro de
P-BRad MS 964 022r–024v Fantasia de 4o. Tom Instr Araújo, Pedro de
P-BRad MS 964 024v–027r Fantasia de 8o. Tom Instr Araújo, Pedro de
P-BRad MS 964 027r–029r Meio Registo terçado de trê Instr Araújo, Pedro de
P-BRad MS 964 029r–31v Obra de 2o. Tom por B-quadrado Instr Araújo, Pedro de
P-BRad MS 964 032r–034r Meio Registo de 2o. Tom dois Instr Araújo, Pedro de
P-BRad MS 964 034r–038v Obra de 6o. Tom sobre a Instr Anonymous
P-BRad MS 964 038v–041r Batalha de 6o. Tom Instr Araújo, Pedro de
P-BRad MS 964 041r–043r Obra de 6o. Tom Instr Araújo, Pedro de
P-BRad MS 964 043r–044v Obra de 8o. Tom Acidental ut Instr Cristo, João de
P-BRad MS 964 044v–045v [4] Kyries de 1o. Tom MI Instr Anonymous
P-BRad MS 964 045v–046r Coisa pertencente a Batalha Instr Anonymous
P-BRad MS 964 046r Outro princípio da Batalha Instr Anonymous
P-BRad MS 964 047r–050v Modo de Batalha com suas tré Instr Anonymous
P-BRad MS 964 051r–051v Scherzo di trombe Instr Anonymous
P-BRad MS 964 051v Modo de clarine Instr Anonymous
P-BRad MS 964 053r–054v [Obra de 5o. Tom] Instr Anonymous
P-BRad MS 964 055r–055v [Obra de 2o. Tom] Instr Anonymous
P-BRad MS 964 056r–059r Batalha de sexto tom Instr Araújo, Pedro de
P-BRad MS 964 060r–060v Outro Princípio de Batalha Instr Anonymous
P-BRad MS 964 060v–061v Outra obra Instr Anonymous
P-BRad MS 964 067r [Verso] Instr Anonymous
P-BRad MS 964 067v 2 Versos sobre Ave maris stella Instr Anonymous
P-BRad MS 964 067v [2 Versos de 7o. Tom] V Instr Anonymous
P-BRad MS 964 068r–069r Consonâncias de 1o. Tom Instr Araújo, Pedro de
P-BRad MS 964 069r [untitled] Instr Anonymous
P-BRad MS 964 070r–071v [Obra de] Primeiro Tom Instr Coutinho, Luís
P-BRad MS 964 071v Arpeggi Instr Anonymous
P-BRad MS 964 072r–073v Obra de 1o. Tom Instr Anonymous
P-BRad MS 964 074r–078r Obra de 1o. Tom dos bajos Instr San Lorenzo, Pedro de
P-BRad MS 964 079r–083v Obra de 1o. tono. Registro de Instr Bruna, Pablo
P-BRad MS 964 084r–089r Obra de 1o. tono. Registro de Instr San Lorenzo, Pedro de
P-BRad MS 964 090r–092r [Obra de] 1o. Tom Accidental Instr Anonymous
P-BRad MS 964 094r–095r [Obra] de 2o. Tom Instr Anonymous
P-BRad MS 964 095v–097v [Obra de] 6o. Tom Instr Anonymous
P-BRad MS 964 096r [untitled] Instr Anonymous
P-BRad MS 964 098r–099v Passo de 2o. Tom Instr Anonymous
P-BRad MS 964 100r–101r Fantasia pelo 2o. Tom Instr Anonymous
P-BRad MS 964 101v Fantasia de 5o. Tom Instr Anonymous
P-BRad MS 964 102r–103v Fantasia de 2o. Tom que vá Instr Anonymous
P-BRad MS 964 104r–106r Obra de 2o. Tom Instr Anonymous
P-BRad MS 964 112r–112v [Obra de] 5o. Tom Instr Anonymous
P-BRad MS 964 113r–113v [Obra] de 2o. Tom Instr Anonymous
P-BRad MS 964 114r–115v Obra de 5o. Tom Instr Correa de Arauxo, Francisco
P-BRad MS 964 116r–117v Obra de 6o. Tom para o Instr Anonymous
P-BRad MS 964 117v Seguimento vagaroso, ou apresado de dois Instr Anonymous
P-BRad MS 964 118r–119v Obra de 6o. Tom Instr Anonymous
P-BRad MS 964 120r–122r Obra de 7o. Tom sobre o Instr Anonymous
P-BRad MS 964 122r Fuga Instr Anonymous
P-BRad MS 964 124r–125v [Obra de] 7o. Tom por G Instr Anonymous
P-BRad MS 964 126r–127r Obra de passo solto de 8o Instr Araújo, Pedro de
P-BRad MS 964 128r–129v Fantasia por 8o. Tom Instr Anonymous
P-BRad MS 964 130r–133v Tento de 8o. Tom de meio Instr Anonymous
P-BRad MS 964 134r–137v Obra de 8o. Tom Instr Araújo, Pedro de
P-BRad MS 964 137v–139r [Obra] de 2o. Tom Instr Araújo, Pedro de
P-BRad MS 964 140r–141r [Obra de] 8o. Tom Instr Anonymous
P-BRad MS 964 141v–142v [Obra de] 3o. [Tom] Instr Anonymous
P-BRad MS 964 145r–146v Outra Susana grosada a4 sobre a Instr Coelho, Manuel Rodrigues
P-BRad MS 964 146x1r Fiat cor meum et corpus meus A Raymundi, Daniel
P-BRad MS 964 146x1v Fiat cor meum et corpus meus A Raymundi, Daniel
P-BRad MS 964 147r–148r Amavit eum Dominus R Anonymous
P-BRad MS 964 148r–148v Amavit eum Dominus R Anonymous
P-BRad MS 964 148v–149r Elegit eam Deus R Anonymous
P-BRad MS 964 149v Jod. Manum suam Fer. 5 in Cena Dom. La Anonymous
P-BRad MS 964 149v Lamed. Matribus suis dixerunt … Mem. Cui Fer. 6 in Parasceve La Anonymous
P-BRad MS 964 150r–151v Amavit eum Dominus R Anonymous
P-BRad MS 964 151v Miserere mei R Anonymous
P-BRad MS 964 152r Miserere mei R Anonymous
P-BRad MS 964 152v–153r Tantum ergo [Pange Lingua] Fer. 5 in Cena Dom. H Anonymous
P-BRad MS 964 153v–155r Incipit lamentatio Fer. 5 in Cena Dom. La Anonymous
P-BRad MS 964 155r–156v De lamentatione jeremiae Fer. 6 in Parasceve La Anonymous
P-BRad MS 964 157r–157v Aleph. Ego vir videns Fer. 6 in Parasceve La Anonymous
P-BRad MS 964 158r–158v Aleph. Ego vir videns Fer. 6 in Parasceve La Anonymous
Archive: 
P-BRad (Braga) Arquivo Distrital
Siglum: 
P-BRad MS 964
Shelfmark: 
964
Source type: 
Polyphonic book
Subcategory of source: 
Open score
Category: 
polyphony
Completeness: 
complete or nearly complete
Document type: 
manuscript
Provenance: 
Santa Maria do Bouro, Mosteiro de Nossa Senhora da Assunção
Date: 
17th - early 18th cent.
Type of notation: 
Mensural (white)
Type of script: 
Modern
Material: 
Paper
Contents: 

Antiphon (2), Canticles (20), Hymn (1), Instrumental items (263), Lessons (7), Lamentations (8), Responsories (6), Villancicos (4) (=311). The instrumental items are divided mainly into organ versets for the offices and the mass, mostly organised into sets (90), some of which are copied more than once (see Notes for individual entries), other contrapuntal genres of organ music, including obras, tentos, and fantasias (78), and miscellaneous airs notated in two-stave keyboard score for harp or harpsichord (94).

Composers: 
Araújo, Pedro de
Bruna, Pablo
Clarke, Jeremiah
Coelho, Manuel Rodrigues
Corelli, Arcangelo
Correa de Arauxo, Francisco
Coutinho, Luís
Cristo, João de
Gautier, Pierre
Lully, Jean-Baptiste
Pasquini, Bernardo
Purcell, Henry
Raymundi, Daniel
San Lorenzo, Pedro de
Scarlatti, Alessandro
Foliation/Pagination: 
243 foliated leaves + 4 outside of the foliation sequence (fols. [i-iii], [146a]); original, brown-ink foliation includes some gaps, showing there were once 259 foliated leaves: 108–111 and 231–237 were removed after binding, leaving stubs; leaves 62–66 were removed before the manuscript was bound, to judge from the lack of stubs. Some leaves contain stave lines but with no music notated or are blank (i.e. fols. 46v, 52r–52v, 69v, 89v, 92v–93v, 106v–107v, 123r–123v, 127v, 139v, 143r–144r, 211v–215r and 259v).
Gathering: 
The manuscript is divisible into 32 ‘fascicles’ (Fascicles A–FF), some consisting of only one or two bifolios, others of multiple gatherings. Most of the paper was used in a conventional manner as bifolios. However, some of it was rotated 90 degrees and used as upright sheets, which were folded and bound into the manuscript horizontally (i.e. fascicles E and EE and a portion of Fascicle AA). The makeup of each fascicle is as follows:* Fascicle A (fols. [i–iii]: two nested bifolios with the final leaf removed); Fascicle B (fols. 1–6: three nested bifolios); Fascicle C (fols. 7–46: A–C8, D10 (D4 and D7 removed), E8); Fascicle D (fols. 47–52: three nested bifolios); Fascicle E (fols. 53–55: three upright sheets); Fascicle F (fols. 56–59: two nested bifolios); Fascicle G1 (fols. 60–61: a bifolio attached to Fascicle G2); Fascicle G2 (fol. 67: a single leaf); Fascicle H (fols. 68–69: a bifolio); Fascicle I (fols. 70–71: a bifolio); Fascicle J (fols. 72–73: a bifolio); Fascicle K (fols. 74–89: A6, B8 (B5–8 removed), C2 (C1 removed), D8 (D5–8 removed)); Fascicle L (fols. 90–93: two nested bifolios); Fascicle M (fols. 94–97: two nested bifolios); Fascicle N (fols. 98–99: a bifolio); Fascicle O (fols. 100–101: a bifolio); Fascicle P (fols. 102–103: a bifolio); Fascicle Q (fols. 104–119: A4, B2, C2 (removed), D2 (removed), E2, F2, G2); Fascicle R (fols. 120–123: two nested bifolios); Fascicle S (fols. 124–125: a bifolio); Fascicle T (fols. 126–127: a bifolio); Fascicle U (fols. 128–129: a bifolio); Fascicle V (fols. 130–133: two nested bifolios); Fascicle W (fols. 134–139: three nested bifolios); Fascicle X (fols. 140–142: a single leaf and bifolio); Fascicle Y (fols. 143–144: a bifolio); Fascicle Z (fols. 145–146: a bifolio); Fascicle AA (fols. [146a]–215: A2, B6, C–D2 (C2 removed), E–F1 (upright sheets), G–H2 (H2 removed), I6, J–M10 (M10 removed), N12 (N2 and N11–12 removed); Fascicle BB (fols. 216–222: A2 (second leaf of this bifolio removed), B6); Fascicle CC (fols. 223–224: a bifolio); Fascicle DD (fols. 225–230: three nested bifolios); Fascicle EE (fols. 238–252: fifteen upright sheets originally grouped with six or seven other sheets that were removed); Fascicle FF (fols. 253–259: A1, B6). ------------------------------------------------------------------------------------------------------ *Gatherings or bifolios are assigned a letter, e.g. in Fascicle C ‘A–C8, D10 (D4 and D7 removed)’ means that the first three gatherings (A–C) have 8 leaves, while the fourth and seventh leaves of the fourth gathering (D), which originally had 10 leaves, have been removed.
Page layout: 
Open score and keyboard score, 325 x 210 mm.
Condition of document: 
The volume is kept in a modern folder in a disbound state together with the boards and a fragment of the spine from the original binding. At least 16 leaves are missing (see Foliation/Pagination). Some leaves are poorly preserved due to their having been folded or because of ink corrosion.
Watermarks: 

The paper types can be summarised as follows:* Watermark A: Arms of Genoa (elaborate rampart griffons) / SP / DA (Fascicles A (fols. [i–iii]), D (fols. 47–52), Y (fols. 143–144), AA (fols. 146–156, 159–161, 178–215), DD (fols. 225–230) and FF (fols. 253–259)); Watermark B: Arms of Genoa / AA (Fascicle B (fols. 1–6)); Watermark C: Posthorn / LC (as countermark) (Fascicle C (fols. 7–46)); Watermark D: Arms of Genoa / [?]M / C (Fascicle E (fols. 53–55)); Watermark E: Arms of Genoa / LM / serpent (Fascicle F (fols. 56–59)); Watermark F: circles / AA (Fascicle G1 (fols. 60–61)); Watermark G: Arms of Genoa / [?]AA (Fascicle G2 (fol. 67)); Watermark H1: Arms of Genoa / MD / T (Fascicles H (fols. 68–69), N (fols. 98–99), P (fols. 102–103) and V (fols. 130–133)); Watermark H2: Arms of Genoa / M[?]D / I (Fascicle EE (fol. 242)); Watermark I1: Latin cross / [?]RB (Fascicle I (fols. 70–71)); Watermark I2: Latin cross (Fascicle Z (fols. 145–146)); Watermark J1: heraldic eagle / circles / CIB / 8 (Fascicles J (fols. 72–73), M (fols. 94–95), Q (fols. 104–107), BB (fols. 218–221) and CC (fols. 223–224)); Watermark J2: heraldic eagle / circles / CIB / V (Fascicle M (fols. 94–95)); Watermark K: Arms of England / DIEV & MON DROIT / AJ (Fascicle K (fols. 74–89)); Watermark L1: circles / LD (Fascicle L (fols. 90–91)); Watermark L2: Latin cross / GAD / serpent (Fascicles L (fols. 92–3) and S (fols. 124–125)); Watermark L3: Latin cross / AD/ [?]S (Fascicle R (fols. 120–123)); Watermark M: Arms of Genoa / CC (Fascicle O (fols. 100–101)); Watermark N: Latin cross / CR (Fascicle T (fols. 126–127)); Watermark O: Arms of Genoa / AN / M (Fascicle U (fols. 128–129)); Watermark P: Arms of Genoa / OO / 6 (Fascicle W (fols. 134–139)); Watermark Q: Arms of Genoa / [?]B / heart (Fascicle X (fols. 140–142)); Watermark R: Arms of Genoa / GC / C (Fascicle AA (fol. 157)); Watermark S: Arms of Genoa / [?]GBD / [?]4; Watermark T: Arms of Genoa AM / S / 3 (Fascicle AA (fols. 162–177)); Watermark U: circles / CB / 2 (Fascicle BB (fols. 217, 222)); Watermark V: Latin cross / [?]GRC / C (Fascicle EE (fol. 238, 243, 244, 246)); Watermark W: Arms of Genoa / GBM / I (Fascicle EE (fols. 239, 241, 242, 245, 247–252)).
------------------------------------------------------------------------------------------------------
*The description of watermark figures follows WZIS terminology (https://www.wasserzeichen-online.de/wzis/index.php).

Bindings: 
The binding has been separated from the volume and, although the boards are preserved, just a small fragment of the spine now exists. Its 18th-century brown-leather boards have gilt-tooled edges and pastedowns featuring a gold-on-red design of swirling vegetation, peacocks and eagles. Doderer (1974) records that the spine, when it was intact, was tooled with the words 'LIVRO DE OBRAS DE ORGÃO'. This cannot be seen on the extant spine fragment.
Inscriptions: 

‘Val este Livro trinta mil r(ei)s 30000.’ and ‘Da livraria de Bouro [= the Convento / Mosteiro de Santa Maria do Bouro]’ are written on fol. [i]r. The first of these inscriptions appears to be in the hand of the main copyist of the music, Hand A (see Remarks ).

Remarks: 

The manuscript contains three principal repertories: keyboard music in contrapuntal genres notated in open score, including liturgical organ music (i.e. versets intended for alternatim performance of psalms, hymns and canticles), sacred vocal music mostly for voice and continuo, and miscellaneous airs notated in two-stave keyboard score (where keyboard score is used this is indicated in the Notes for individual items). Much of it was copied by a single individual, Copyist A1/A2, whose hand exists in two variants, one with a pair of vertical strokes through the bass clef (A1) and one without these strokes (A2). Altogether there are 13 music copyists represented, summarised as follows: Copyist A1: Fascicles C (fols. 7–46), E (fols. 53–55), J (fols. 72–73), M (fols. 94–97), Q (fols. 104–119), R (fols. 120–123), V (fols. 130–133), W (fols. 134–139, with Copyist F), BB (fol. 216v only, with A2 forms in surrounding pages) and EE (fols. 238–252); Copyist A2: Fascicles B (fols. 1–6), D (fols. 47–52), G1 (fol. 67), H (fols. 68–69), N (fols. 98–99), O (fols. 100–101), AA (fols. 146–215), most of BB (fols. 216–222), CC (fols. 224–224v), DD (fols. 225–230) and FF (fols. 253–259); Copyist B: Fascicle F (fols. 56–59); Copyist C: Fascicle G1/G2 (fols. 60–61; fol. 67); Copyist D: Fascicle I (fols. 70–71); Copyist E: Fascicle K (fols. 74–89); Copyist F: Fascicles L (fols. 90–93), S (fols. 124–125), W (fols. 134–139, with Copyist A1), Copyist G: fol. 122r (a short fragment); Copyist H: Fascicle T (fols. 126–127); Copyist I (Fascicle U (fols. 128–129); Copyist J: Fascicle X (fols. 140–142); Copyist K: Fascicle Z (fols. 145–146); Copyist L: Fascicle CC (fols. 223–224); Copyist M: Fascicle EE (bottom of fol. 240v only).

References: 

KASTNER, Macário Santiago, ‘Tres libros desconocidos con música orgánica en las Bibliotecas de Oporto y Braga’, Anuario Musical, 1 (1946), pp. 143–151.

KASTNER, Macário Santiago (ed.), Manuel Rodrigues Coelho, Flores De Musica Pera o Instrumento de Tecla & Harpa, Portugaliae Musica (Lisbon, Fundação Calouste Gulbenkian) 1 (1959; second edition: 1976) and 3 (1961) [= PM 1/3]

SPEER, Klaus (ed.), Fr. Roque da Conceição: Livro de Obras de Órgão, Portugaliae Musica 11 (Fundação Calouste Gulbenkian, Lisbon, 1967). [= PM 11]

DODERER, Gerhard (ed.), Otto pezzi per strumenti a tastiera: di compositori della scuola di Bernardo Pasquini (Milan, Suvini Zerboni, 1973).

DODERER, Gerhard (ed.), Obras Selectas para Órgão. MS 964 da Biblioteca Pública de Braga, Portugaliae Musica 25 (Fundação Calouste Gulbenkian, Lisbon, 1974). [= PM 25]

DODERER, Gerhard, Orgelmusik und Orgelbau im Portugal des 17. Jahrhunderts: Untersuchungen an Hand des Ms. 964 der Biblioteca Pública in Braga (Schneider, Tutzing, 1978).

KASTNER, Macário Santiago, Três compositores lusitanos para tecla, séculos XVI e XVII: António Carreira, Manual Rodrigues Coelho, Pedro de Araújo (Fundação Calouste Gulbenkian, Lisbon, 1979).

DODERER, Gerhard (ed.), Pedro de Araújo: Ausgewählte Werke, Organa Hispanica 9 (Willy Müller, Heidelberg, 1984). [= OH 9]

NELSON, Bernadette, ‘The integration of Spanish and Portuguese organ music within the liturgy from the latter half of the sixteenth to the eighteenth century’, DPhil thesis, University of Oxford, 1987.

CEA GALÁN, Andrés, ‘Pablo Bruna según Fray Pedro de San Lorenzo: perpectivas para la interpretación de la música de los organistas aragoneses del siglo XVII’, Nassare: Revista aragonesa de musicologia, 16/1 (2000), pp. 9–34.

ROCHA, Edite, ‘Manuel Rodrigues Coelho “Flores de Música”: problemas de interpretação’, PhD thesis, Universidade de Aveiro, 2010.

SILVA, Sérgio Rodrigues da, ‘Os tentos de meio-registo e as batalhas de Pedro de Araújo: questões de autoria e edição crítica’, Masters dissertation, Universidade de Évora, 2010.

VAZ, João (ed.), Manuel Rodrigues Coelho, Flores de Musica (1620). Vol. I: Tentos (1st–4th tone) (Bologna, Ut Orpheus, 2019), Vol. II: Tentos (5th-8th tone), Susanas (Bologna, Ut Orpheus, 2021). [= Flores de Musica, ed. Vaz]

WOOLLEY, Andrew, ‘From arrangements to new compositions: seventeenth-century French dance music in Portuguese and Spanish keyboard sources to 1720’, De musica disserenda, 16/1 (2020), pp. 9–35.

Indexed by: 
Andrew Woolley
Description author/s: 
Andrew Woolley
Reviewed by: 
Bernadette Nelson