P-BRad (Braga) Arquivo Distrital 964
P-BRad MS 964
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.
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 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.
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.