P-BRad (Braga) Arquivo Distrital 964


P-BRad MS 964

Source type
Subcategory of source
Document type
17th - early 18th cent.
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).
Type of script
Type of notation
‘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 ).
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.

Page layout

Open score and keyboard score, 325 x 210 mm.


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).


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.

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).

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.

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).

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.

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