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Ottaviano PetrucciCatalogue Raisonne$

Stanley Boorman

Print publication date: 2005

Print ISBN-13: 9780195142075

Published to Oxford Scholarship Online: September 2011

DOI: 10.1093/acprof:oso/9780195142075.001.0001

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Bibliographical Descriptions

Bibliographical Descriptions

Chapter:
(p.453) Chapter Seventeen Bibliographical Descriptions
Source:
Ottaviano Petrucci
Author(s):

Stanley Boorman

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195142075.003.0018

Abstract and Keywords

Within a given entry, the details for the earliest extant edition (with all its copies) are presented first, followed by discussion of cancel leaves for that edition. Any subsequent edition, or any partial reprinting, which Ottaviano Petrucci regarded as part of this issue—and which, as a result, musicologists have traditionally associated with it—is then presented under the same overall entry. This method produces some inconsistencies. The various editions that carry different dates are entered at different places in this catalogue. In addition, some “new” editions that have survived without colophon are entered at their presumed date. It also means the insertion of a first edition of Innocentius Dammonis's Laude during 1506. The justification for this decision lies in Petrucci's evident practice of re-dating editions that he produced in Venice, as well as first Fossombrone editions of Venetian titles.

Keywords:   extant edition, cancel leaves, Ottaviano Petrucci, Innocentius Dammonis, Laude, Venice, Fossombrone

Within a given entry, the details for the earliest extant edition are presented first, followed by discussion of cancel leaves for that edition. Any subsequent edition, or any partial reprinting, which Petrucci regarded as part of this issue—and which, as a result, musicologists have traditionally associated with it—is then presented under the same overall entry.

This method produces some inconsistencies. The various editions (of frottole and chanson volumes, in particular) that carry different dates are entered at different places in this catalogue. In addition, some “new” editions that have survived without colophon (and therefore date) are entered at their presumed date: this applies, for example, to the second editions of Josquin's I Missarum, Ghiselin's Misse, and the first book by Bossinensis. It also means the insertion of a first edition of Dammonis's Laude during 1506. The justification for this decision lies in Petrucci's evident practice of re-dating editions that he produced in Venice, as well as first Fossombrone editions of Venetian titles. (There seems to be one exception to this rule, in the Fossombrone edition of Bossinensis's first book.)

In Fossombrone, however, he abandoned this practice during 1514. Therefore, different editions (mostly of sacred music) were produced with the same date. These editions, and almost all “cancels”, are entered with the first printing, under the same number, which should not produce much inconvenience, for I have made as many cross-references as I can to explain the relationships of different entries.

For each edition or cancel, an entry proceeds from the description of an ideal copy to the description of the individual extant copies. Entries in the bibliography are arranged in the following manner:

(p.454) REFERENCE DATA

  1. 1. Running number. This sequence includes all titles and editions definitely or plausibly printed and published by Petrucci.

  2. 2. The running number is followed by a short title and composer's name. Both are conventional in form, merely acting as identifiers of the book discussed.

  3. 3. The following line includes the official date of the edition to be described, followed by a RISM number. This number is entered solely for identification purposes: since more than one issue and edition can be found under the same RISM number, or two numbers can represent a single title, the number can be no more than a locator for the average user, and an easy means of association between these entries and discussions elsewhere in the literature.

  4. 4. When more than one printing is included in an entry, an overview of editions or cancels is supplied: on occasion, this may include notes on the distribution of copies between editions.

  5. 5. If there is more than one printing, a line follows indicating the edition being described first.

IDEAL COPY

  1. 6. A transcription of the principal title-page, with all others insofar as they are different, with an indication of the folios from which they have been transcribed. Abbreviated letters in the source are indicated here by italics: omitted letters are placed within parentheses.

  2. 7. This is always followed by a transcription of the colophon and register, with an indication of the folio on which they appear.

  3. 8. A transcription of any other introductory matter—dedication, instructions for the lute, etc. A transcription of the Tavola, if it is of significance, or the details are markedly different from those given on the pages and recorded here under the Contents.

  4. 9. An indication of the format, the number of folios and the collation of an ideal copy.

  5. 10. Indication of the style and pattern of signatures, with a listing of all variants and omissions. After a pattern example of the signatures, an opening bracket leads to a description of its use: thus “[$4 • - A1 • + B5” indicates that all gatherings are signed on folios 1–4, with the exception of A1, and with the addition of B5.

  6. 11. The original foliation, with all anomalies: “t.r.r.” indicates “top right recto” as the place of the numbering.

  7. 12. When there is a running head line, this is indicated next. For some books, details of nonrecurrent headings are also given.

  8. 13. Part names. When these are not part of the running head line, but appear within the page (as they normally do in the choirbook format favoured by Petrucci for secular music), the next entry gives an analysis of the pattern of spelling and placing of these names, as an aid to the analysis of patterns of content and typesetting.

  9. 14. Fonts. This is a fairly mechanical entry for most volumes. It records whether Petrucci's normal music font is used; it records the number of staves per page with their basic dimensions; and it lists the text fonts used in each volume.

    (p.455) The details of stave measurements are as follows: the lengths are extremes, unless there is some significant pattern to be described. The height is recorded as three numerals, e.g., 10–91–110: the height of the lowest stave on a page (from bottom to top, usually at the righthand end)—the height from the bottom to the top of the second stave—the height of a complete set of staves. (This allows for a measurement of the height of the single stave, as well as of the spacing between staves.) When there are recurring patterns of stave arrangement throughout a volume, that is reserved for discussion under “Technical comments,” either at the level of the ideal copy, at the level of the individual copy, or in the final commentary.

    The text identifications refer to the basic descriptions of the text fonts given in chapter 15.

  10. 15. Textual comments: these usually consist of unusual spelling errors, or similar textual oddities.

  11. 16. Technical comments: these include any comments on special sorts, or on matters of technical procedure that can be seen in copies of this title.

  12. 17. In-house corrections. This lists all the corrections I believe to have been made in the printing shop and to be the result of Petrucci's desire to improve his editions. The format followed is as follows:

    folio number. stave number (lower case roman numerals). note number (arabic numerals): notation before the change and notation after (using italics for the rhythmic value and Helmholtz's signs for the pitch): copies concerned.

    Notes are counted continuously along a line, with each note in a ligature being counted: rests and other signs are not counted.

    l = longa; b = breve; sb = semibreve; m = minim; sm = semiminim; f = fusa; sf = semifusa; r = rest; d = dotted; c.o.p. = ligature cum opposite proprietate.

    Thus:] A5v. iv.14: ma1sbc2, erased and entered in brown ink: D-Mbs, GB-Lbl [indicates that the fourteenth note on the fourth stave of A5 v was printed as a minima at a1: this was corrected as described, to a semibreve at c2, and the correction survives in the copies in Munich and London.

    The format for tabulatures is slightly different:

    folio number (arabic numerals). stave number (roman). bar number (arabic). vertical event [ = chord] (arabic number): notation before change and notation after. The notation is indicated by showing the whole event from the bottom of the stave upward: thus, 24//2/ indicates that a figure 2 is on the bottom line, a 4 on the next line, and a 2 on the fifth, with no indication on the others, producing (with a G tuning) a chord of d, f#', a'. The signs for 10, 11, and 12 (using an “x” with the necessary number of points above it) are here presented as arabic numerals. The sign • is used to indicate the point that appears below a chord in many tabulatures. Rhythm signs are given before the chord and follow our normal understanding of their values, using | for a sb.

    The phrase “stamped in” means that I believe Petrucci used a type sort, inked, to stamp in the symbol named.

  13. 18. Contents. This accounts for all pages of each volume and part, including blanks. Wherever possible, the details of text incipits are taken from the cantus (p.456) part, and follow the orthography in the same manner as the transcription of title pages. Minor variations between parts are not listed, although all differences of attribution or significant spelling are included for books printed in separate parts: in choirbook format, these differences have not seemed to be so important.

    The designated folio is followed by an indication of stave if the item does not start at the head of the page. An asterisk at this point indicates that the item begins somewhere other than at the beginning of the stave.

    All compositions are assumed to be for four voices, unless otherwise indicated.

    Concordant sources are not listed here: the intent of this list is to indicate what may be found in the source, and how it is spelled there. For concordances, the reader is directed to Part III, where all citations, including those to Petrucci's editions, are found in one place.

INDIVIDUAL COPIES. FOR EACH COPY, DATA FOR ITEMS 19 TO 27 MAY BE GIVEN:

  1. 19. Library; call number; state of completeness.

  2. 20. Size of the page of a copy.

  3. 21. The distribution of watermarks in the copy. The marks are referred to by the numbers explained in chapter 15. Since each mark spans the top edge of two folios, originally adjacent on the sheet, each cited occurrence of a mark normally involves two folio numbers, separated by a dash, thus A6–3. These are always given with the top of the mark indicated first. Where only part of the mark appears, on one page, there will be no number on the other side of the dash: thus A-3 indicates that the top of the mark is not present on folio 6, either because the mark was trimmed off in binding, or because folio 6 is a cancel folio. All marks in the lower outer corner, which I have indiscriminately called “countermarks”, appear on only one folio.

  4. 22. Textual comments. Any necessary remarks about individual readings in the copy, whether of text or of music.

  5. 23. Technical comments. These will include any evidence of technical details only to be seen (or only noticed by the writer) in the copy under description.

  6. 24. Corrections and changes. These are divided into ones plausibly made in the printing shop, and ones clearly made after the copy left the shop.

    The discovery of these variants is an ongoing process: my examination of each new copy of any of these titles has always yielded new minor changes, so far undetected in previous copies. On returning to earlier copies, however, once alerted and looking for them I have often found the same changes. This listing must therefore be regarded as only an indication of what I have seen to date and not an exclusive checklist. It is probable that an examination of any one copy with the list of variants in all copies at hand would yield more changes than listed here.

  7. 25. Binding: this does not aim to be a technical description of the binding, much less an attempt at placing it. It gives general comments and associates the binding with others where that can be easily done. It will also indicate a) other volumes bound with this one, and b) the presence of flyleaves or paste-downs.

  8. (p.457) 26. Provenance. For a study of printed music, this is exceedingly important. Unfortunately, the evidence for most of these volumes is sketchy, and there are many leads which I have chosen not to follow up, rather than take another lifetime on the present study.

  9. 27. The description of each copy ends with any bibliographical citations of that copy. Library catalogues are usually not listed, but assumed: exhibition catalogues or an article on the discovery of a book will be found here.

At this point the process will resume for the next surviving copy, repeating items 19 to 27.

After all copies of this edition or impression have been discussed, the next edition, impression, or series of cancels is introduced; the process then returns to step 6, above, though some of the categories may not be relevant. This is again followed by a discussion or listing of each copy.

  1. 28. After the description of each edition, cancel, and copy comes a listing of other, now lost, copies whose ownership was once known.

  2. 29. Other early references are listed next, among them citations in, for example, Gesner or Zacconi, with modern bibliographical references.

  3. 30. Other editions of the book are listed, with catalogue entry numbers when printed by Petrucci; otherwise RISM numbers are given.

  4. 31. The analytical part of each entry ends with a bibliography. This does not pretend to cover all the references to the music contained in a book, or indeed all those to the book itself. For many of Petrucci's volumes, such a listing would be very long. Instead, it is divided into five sections:

    1. (a) standard musical reference works: Sartori, Petrucci; Brown, Instrumental; Jeppesen, La Frottola; Vogel, Bibliografia;

    2. (b) standard (non-musical) bibliographical references: Isaac, Index; Sander, Livre; Index Aureliensis; Essling, Livre; etc.;

    3. (c) facsimiles of the whole volume. Here may also be included some reproductions of individual pages, if they are easily accessible or valuable;

    4. (d) editions of the volume as a whole, normally excluding editions of parts of the book;

    5. (e) literature specifically on the book as a whole. Literature on specific copies tends to be cited at the end of the description of the copy, rather than here.

  5. 32. Commentary. This addresses any issues of significance, either bibliographical, historical, or repertorial, which arise from the evidence presented. For example, here is laid out the evidence suggesting that the music printed in the second book of Laude came from Venetian confraternities; a discussion of the paper and bibliographical evidence suggesting that Ghiselin's book of masses was printed as a special commission; the analysis of implications of traits indicating the transition from triple to double impression; or the evidence for dating an undated printing, edition, or cancel.

    Among the comments at the end of each entry I include some samples of detailed data, measurements of stave lines, and the like, which would take up too much space in the standard description or in one of the earlier chapters.

* * *

(p.458) A few general conventions need to be noted:

  1. 1. I have followed the then-conventional order of partbooks, always placing the Tenor second in descriptions, followed by Altus and Bassus.

  2. 2. A colon followed by a closing bracket, thus, :] is used to indicate that what precedes is comment, and what follows is a quotation from the specified document or source. If further comment is needed after the quotation, the bracket is reopened. For example:

    Signatures:] A II [$4 or On the first fly-leaf:] Lumley [written in dark brown ink

    This formulation also allows me to indicate when there is punctuation at the end of the quoted material.

  3. 3. I have invariably used signatures to locate every item: many books do not have foliation or pagination, and those that do often present errors. In each case, I use a “correct” signing, so that errors on Petrucci's page (though listed) are not used for description.

  4. 4. Certain lengthy texts appearing in more than one book are not repeated each time: this applies to the dedicatory letters in the Odhecaton A, to the instructions pages in the lute volumes, and to the privilege printed in many of the Fossombrone titles. Each appears only the first time, while variants (including changes in line ends) are listed subsequently.

  5. 5. In the same manner, I have not usually given a detailed list of contents for cancels and later impressions, unless the manner of arranging or presenting the contents is visually distinct.

  6. 6. As I have explained, it is impossible to make a clear distinction between in-house manuscript corrections and changes made by later owners or users. I have tended to be conservative here, normally including in a list of changes only those that appear in more than one copy, and in a very similar manner. It is likely, therefore, that some of the changes found under individual copies would have been made by one of Petrucci's men: the reverse is also probably true.

  7. 7. It should be noted that, in a number of instances, full stops have not taken ink in individual copies. For some reason, this is particularly pronounced in head lines. Nonetheless, the description of these entries uses the full stop: exceptions, where the stop is in blind, are usually noted under the individual copies.

  8. 8. Conventional signs adopted here:

    • | a line end in transcribed material;

    • • used to separate items in a sequence, for example of manuscript corrections or bibliographical citations.

No. 1. Odhecaton A

[1501] RISM 1501

There are three individually dated editions of this book. The unique copy of this first edition survives incomplete and includes two later impressions of sections, as well as parts from the second edition. (p.459) This bibliography separates the other editions, entering them under the appropriate dates (as Nos.5 and 14), since they are given distinct dates. The various layers of the first edition are treated here: those parts of the unique copy at Bologna which are of the second edition are discussed there.

First Edition

A1r] Harmonice Musices | Odhecaton | A

N8r] [this folio, which certainly carried the colophon, does not survive

A1v] OctauianusPetrutiusforosemproniensisHieronymoDonato patricio | Veneto Felicitatem.1

NOVERAM iam pridem te summum uirum Hieronyme: [ummum patronum. Extant enim ingenii | tui monumenta egregia: quibus tuarum uirtutum quasi effigiem dum intuemur sic animis nostris | imprimeris et inheres: ut cum de disciplinis: et bonis artibus [ermo incidit: uel cogitatio subit: | statim occurras. Sed et Bartholomæus Budrius utraque lingua clarus: & tui [tudio[i[[imus 5me | a[[idua predicatione tuarum laudum: quamque caste [anctiora illa totius philo[ophiæ [tudia musice | temperes: in admiratione tui ita confirmauit: ut mihi non esset diu deliberandum: cui potissimum | meas delicias: meos amores committerem: cui perpetuo dedicarem. Non pridem uir clari[[ime | animaduerteram rei impre[[oriæ artifices certatim ex omnibus disciplinis noui aliquid quottidie | proferre: musicam uero illam numerosam siue discantum malis sine qua non deum 10optimum | maximum propiciamus: non nuptiarum solennia celebramus: non conuiuia: non quicquid in uita iucum|dum transmittimus: ab hisdem opificibus neglectam iacere. Mox edoctus ingeniosissimos ui-|ros difficultate uictos sepius ab inceptis de[titi[[e hoc ego erectus [i me quoque po[[em tollere | humo: latinum uero nomen et Venetum imprimis: ubi hæc parta & perfecta forent: hac quoque | nostri inuenti gloriola uirum uolitare per ora: consilio usus ipsius Bartholomei 15uiri optimi | rem sum: puto feliciter agre[[us: tam arduam: quam iucundam: quam publice profuturam mortalibus. Si | quidem diuinus ille plato: eas demum beati[[imas fore ciuitates iudicauerit in quibus ado-|le[centes [olida hac: qualemque ipse [ecutus cæteris uideris prescripsisse: musica delectati: sordi-|dis illis uoluptatibus renunciauerint. Quod breui futurum nobis maxime sperandum. Commoda | enim carminum huiusmodi occasione ingenui adolescentes 20inuitati: et dicatura ipsa in admira-|tionem tui erecti: adimitationemquoque non degeneriemulatione excitabuntur. Paululum mo|do sentiant tibi industriam nostram non improbari. Vale ac nos nostraque quo potes patrocino libens | tutare. Venetiis decimo octavo cal. iunias. Salutis anno. MDI. 23

A2r]Bartholomúus Bndrius Iustinopolita. Hieronymo donato patricio Veneto. S.1

SOLEO Hieronyme clarissime ac omnium bonarum artium cumulo eminentissime: tacita ad-|miratione: qua hominum ingenia prosequor iucundissime affici: huiusque declarandæ quamuis | occasionem auidissime arripere. ita enim sentio & conscientiæ: & professionis testimonio (quod | possum) ingrati animi ac malignitatis crimen effugere. Quod tum cæteris: tum uero tibi impri-|mis 5maxime probatum uelim. quem ita admiramur: ita suspicimus: ut contemplatione tui receptis|simum illud quasi oraculum. αλλ' οϋπωδαμα πáυτα Өεοί δό | αυ αύөςωποιοι [apienti[[imi uatis animum | delusisse uideatur: illud uero haud quaquam pulcherrime. n. in te. | οФό τι χρημ' ώυөρωπο| omnia. n. tibi | pariter cum sapientia. quæ ne singula prosequitur. & tui pudoris: & meæ imbecillitatis ratio facit: cum | & alioqui suscepti negotii amplissimum mihi fructum proposuerim: si nouus hic tuæ 10 urbis fœ|tus: communem patriam tecum nobilitaturus: me quoque deprecatore in chorum tuarum musarum re|cipiatur. quem fœcunda parens ingeniorum natura iam diu parturiens. post aliquot abortustan | demOctauianipetrutiisolertissimiuiriopesubnixa:omnibusnumeris absolutissimum edidit | dignus profecto & hic uir: quem omnes admirentur: uel ob hoc: qui rem pulcherrimam sepe a sum|mis ingeniis infeliciter tentatam solus perfecerit: dignus: quem tu ita 15suscipias. ut & cæteri in-|telligant: eidem non plus ingenii in nouo inuento perficiendo: quae iudicii (p.460) in patrocinio deligen|do superfuisse. En igitur tibi primitiæ camenarum prouentus: ex uberrimo: ac numerosissimo | seminario Petri Castellani e predicatorum familia: religione: & musicæ disciplina memoratissi|mi. cuius opera: & diligentia centena hæc carmina repurgata: & professione summorum aucto|rum: & imprimis quetibi dicata inuidia maiora: tuis auspiciis publicum captura 20dimittimus.

A2v Tavola in four columns

A quatro.

Jay pris amours. Japart

A.tre.

Me doibt.

51.

24.

Male bouche

52.

Aue maria. Folio

4. James iames.

39. Ales regres: Agricola

54. Ma bouche rit.

54.

Amours amours

12. Je nay dueul.

43. Ales regres: hayne.

63. Mes pensees.

65.

Adieu mes amours.

17. Jay pris amours. Busno is

Ales mon cor.

71. Mater patris.

68.

Amours amours amours

45. Benedictus Yzac.

83. Malor me bat.

69.

Alons ferons la barbe.

26. Je ne demande.

48. Cela sans plus: Josquin.

67. Madame helas.

72.

Amor fait molt.

20. Lenzotta mia.

10. Crions noel.

82. Mon souuenir

91.

A cordes moy.

34. Lo seraie dire.

32. De tous biens: bourdon.

80. Margaritte.

92.

Alaudienche.

36. Le seruiteur.

38. Disant adiu madame.

93. Mais que se fust.

93.

Brunetta.

99. La turatu

101 Est il possible.

79. O uenus bant.

85.

Bergerette sauoyene.

8. Mon mignault

20. Fortuna per ta cruelte.

66. Pensif mari.

49.

Cest mal charche.

13. Meskin es hu.

103. Fortuna dun gran tempo.

81. Pius que de uous.

0.

Cela sans plus.

15. Nunqua fue pena maior.

7. Garisses moy

64. Royne de fleurs.

61.

Dit le bourguignon

27. Nostre cambriere.

35. Gentil prince.

93. Roy de ciel.

91.

De tous biens.

21. Nous somes delorde

41. Helas: Yzac

56. Se mieulx.

57.

De tous biens. Josquin

23. Pour que non.

18. Helas: Tinctoris.

58. Si dedero.

62.

De tous biens. Josquin.

103. Pour quoy ie ne puis dire

Ha traitre anours.

93. Siator on mablamee.

77.

E qui la dira

14. re.

19. Jay bien a huer.

96. Tant ha bon oeul.

74.

Gratieuse.

20. Rompeltier.

28. La morra.

50. Tandernaken.

75.

Hor oires.

6. Se congie pris. Japare

25. L homme banni.

53. Uenus regres.

59.

Helas. Caron.

16 Tmeskin uas iunch.

30. La stangetta.

55. Uenus tu ma pris.

94.

Helas ce nest pas.

22. Tan bien mi son pensa.

37. La plus de plus.

70.

Helas qui il est amon gre

33. Tsat een meskin.

97. Le corps.

73.

Ho logeron nous.

46. Uray dieu damours.

.19. Le grans regres.

79.

Je cuide.

5. Ung franc archier.

31. Le renuoy.

84.

Jai pris amours

9. Uostre bargeronette.

47 Lalfonsina.

88.

Je ne fay plus.

11.

Le eure e uenue.

89.

Format and collation: Choirbook: landscape quarto-in-eights. 104 folios: A–N8, on the evidence of later editions

Signatures: Aiii [$4 • -A1, A2

Foliation: top centre recto:] [1–3], 4–8, [9–16, a later impression], 17–25, [26, lost], 27–30, [31–32, lost, 33–40, a later impression], 41–48, [49–50, lost], 51–54, [55–57, lost], 58–63, [64, missing], 65–74, [75–78, a later impression], 79–80, [81–95, later impression, 96–104, lost]

No running heads • The composers' names are found in the head-line

Part-names:

recto:]

Contra Bassus

[A4–8, C1–D1, D3–6, F1–8

Contra

[G3–6, H2–7, J1–K2, K7–8

[Nil:

A1–3

verso:]

Tenor

[A3–4,6,8, C1–D1, D3–6, F1–8, G3–6, H2–7, J1–K2, K7–8

Tenor Tenor

[A5,7

[Nil:

A1–2

(p.461) When the data from the cancels and second edition sheets are added to this, they produce a remarkably clear group of captions, with no errors or strange uses of letters. The layout is simple and is retained consistently throughout

Fonts: Music: Petrucci's normal music type

Staves: six per page: 10–91–110 high, 175 mm long: short staves normally appear at the top of each verso

Text: Rotonda, used for all incipits, etc • Roman, used on A1v-2r only • Greek, on A2r, only: Aldus Manutius's fourth Greek font

Textual comments: A2r: The name Budrius reads] Bndrius • In the Tavola the numerals for the folios are all (except for three, to Nos.16, 101, and 47) in arabic, with following points. As with the part-names in the book, there is no use of a “5” for a final “s”

Technical comments: Type, probably a row of fusas, was used as bearer sorts on A1r and K6r • The sixth stave was sometimes completely uninked, or only partially inked • The initial capital “D” is omitted on C6v • No inset was left in the stave for the initial letter on F1v or F3v • The signature on K1r is above v, though music goes onto vi

There appear to be no in-house corrections

Contents: presented for the whole volume, on the basis of the surviving Tavola and the evidence of the later editions: the third column gives the page number to be found on the recto of the relevant opening:

A1r

[Title]

A1v

[Dedication]

A2r

[Letter from Budrius]

A2v

[Tavola]

A3r

[blank staves]

1 A3v

4 AUe maria gratia plena

De orto

2 A4v

5 JE cuide se ce tamps me dure

[Congiet/Japart]

3 A5v

6 HOr oires une chanzon

à5

[Anon.]

4 A6v

7 NUnqua fue pena maior

[Urrede]

5 A7v

8 BRunette

à5

Jo.Sthokem

[Tav:] Brunetta

6 A8v

9 JAy pris amours

[Anon.]

7 B1v

[Tav:] Lenzotta mia

[Japart]

8 B2v

[Tav:] Je ne fay plus

[Busnois]

9 B3v

[Tav:] Amours amours

[Hayne]

10 B4v

[Tav:] Bergerette savoyene

[Josquin]

11 B5v

[Tav:] E qui le dira

[Isaac]

12 B6v

[Tav:] Cest mal charche

[Agricola]

13 B7v

[Tav:] Helas [que pourra devenir]

[Tav:] Caron

14 B8v

17 [A:] Adieu mes amours

[Josquin]

15 C1v

18 POr quoy non

Pe.de la rue.

[Tav:] Pour que non

16 C2v

19 POr quoy ie ne puis dire

Jo.Sthokem

[T:] Uray diu damours

[Tav:] Pour – [and] Uray dieu damours

17 C3v

20 MOn mignault

[Busnois]

[T, A, Tav:] Gratieuse

18 C4v

21 DIt le bourguygnon

[Anon.]

19 C5v

22 HElas ce nest pas sans rayson

Sthokhem

20 C6v

23 De tous biens playne

[Hayne]

[A headed:] Si placet

21 C7v

24 JAy pris amours

Japart

22 C8v

25 SE congie pris

Japart

[Tav:] Japare.

23 D1v

AMours amours

Japart

24 D2v

27 [A:] Cela sans plus

[Japart]

25 D3v

28 ROmpeltier

Ja.Obreht

26 D4v

29 ALons ferons la barbe

Compere

27 D5v

30 TMeiskin

Jsac

[Tav:] Tmeiskin uas iunch

28 D6v

VNng franc archier

Compere

29 D7v

[Tav:] Loseraie dire

[Anon.]

30 D8v

[Tav:] Helas que il est a mon gre

[Japart]

31 E1v

[Tav:] Amor fait mult [/ Il est de

[Japart]

bonne heure / Tant que vostre argent]

32 E2v

[Tav:] Nostre cambriere

[Ninot]

33 E3v

[Tav:] Acordes moy

[Busnois]

34 E4v

[Tav:] Tan bien mi son pensa

[Japart]

35 E5v

[Tav:] Le seruiteur

[Busnoys]

36 E6v

[Tav:] James james

[Mouton]

37 E8v

41 [A:] Nous sommes [de lordre]

[Compere]

38 F2v

43 JE nay dueul

Agricola

39 F4v

45 JAy prius amours tout au rebours

Busnoys

[Tav:] Jay pris amours

[Tav:] Busno|is.

40 F5v

46 HE logeron nous

[Isaac]

[Tav:] Ho …

41 F6v

47 VOstre bargerenette

Compere

42 F7v

48 JE ne demande aultre de gre

Busnoys

43 F8v

PEnsif mari

à3

Ja.Tadinghen

44 G1v

[Tav:] La morra

à3

[Isaac]

45 G2v

51 [CT:] Me doibt

à3

[Compsre]

46 G3v

52 MAle bouche

à3

Compere

47 G4v

53 LHome banni

à3

Agricola

48 G5v

54 ALes regrets

à3

Agricola

49 G6v

[55] LA stangetta

à3

Uuerbech

50 G7v

[Tav:] Helas

à3

[Tav:] Yzac

51 G8v

[Tav:] Se mieulx

à3

[Compsre]

52 H1v

58 [CT:] Helas

à3

[Tav:] Tinctoris.

53 H2v

59 VEnis regrets

à3

Compere

54 H3v

60 MA bouche rit

à3

Okenghem

55 H4v

61 ROyne de fleurs

à3

Alexander

56 H5v

62 SI dedero

à3

Alexander

57 H6v

63 ALes regres

à3

Hayne

58 H7v

GArisses moy

à3

Compere

59 H8v

65 [CT:] Mes pensees

à3

[Compsre]

60 J1v

66 FOrtuna per ta cruelte

à3

Uincinet

61 J2v

67 CEla sans plus

à3

osquin

[Tav:] Josquin.

62 J3v

68 MAater patris

à3

Brunel

63 J4v

69 MAlor me bat

à3

Okenghen

64 J5v

70 LA plus des plus

à3

Josquin

65 J6v

71 ALes mon cor

à3

Alexander

66 J7v

72 MAdame helas

à3

Josquin

67 J8v

73 LE corps

à3

Compere

[CT:] Corpusque meum licet

68 K1v

74 TAnt ha bo[n] oeul

à3

Compere

69 K2v

75 TAnder naken

à3

Obreht

70 K4v

[Tav:] Si a tor on ma blamee

à3

[Anon.]

71 K5v

[Tav:] Les grans regres

à3

[Hayne]

72 K6v

79 [CT:] Est possible

à3

[Anon.]

[Tav:] Est il possble

à3

73 K7v

80 DE tous biens

à3

Pe.bourdon [Tav:] bourdon.

74 K8v

[81] FOrtuna dum gran tempo

à3

Josquin

75 L1v

[Tav:] Crions noel

à3

[Agricola]

76 L2v

[Tav:] Benedictus

à3

[Tav:] Yzac

77 L3v

[Tav:] Le renuoy

à3

[Compsre]

78 L4v

[Tav:] O uenus bant

à3

[Josquin]

79 L5v

[Ma seule dame] [Omitted from the Tavola]

à3

[Anon.]

80 L7v

[Tav:] Lalfonsina

à3

[Ghiselin]

81 L8v

[Tav:] Le eure e uenue [/Circumdederunt]

à3

[Agricola]

82 M1v

[Tav:] Puis que de uous

à3

[Anon.]

83 M2v

[Tav:] Mon souuenir

à3

[Hayne]

84 M3r

[Tav:] Roy de ciel [/Regina celi]

à3

[Compsre]

85 M3v

[Tav:] Margaritte

à3

[Anon./Josquin]

86 M4v

[Tav:] Ha traitre amours

à3

[Stockhem]

87 M5r

[Tav:] Mais que se fust

à3

[Compsre]

88 M5v

[Tav:] Uenus tu ma pris

à3

[de Orto]

89 M6v

[Tav:] Disant adiu madame

à3

[Compsre]

90 M7r

[Tav:] Gentil prince

à3

[Anon.]

91 M7v

[Tav:] Jay bien a huer

à3

[Agricola]

92 M8v

[Tav:] Tsat een meskin

[Obrecht]

93 N2v

[Tav:] Alaudienche

[Hayne]

94 N4v

[Tav:] La turatu

[Bruhier]

95 N6v

[Tav:] De tous biens

à4 ex 3

[Tav:] Josquin

96 N7v

[Tav:] Meskin es hu

[Obrecht]

N8r

[probably Colophon; Register; device]

N8v

[probably blank]

(p.462) (p.463)

(p.464) Extant copy:

I-Bc, Q51. The incomplete remains of this copy are bibliographically sophisticated. The following table gives the extant leaves and their place in the history of this title:

Folios:

A1–8

B1–8

C1–8

C1–8 D1,3–6

D2,7–8

E1–8

F1–8

G1–2,7–8

G3–6

H1,8

Edition, etc.:

1

2

1

1

Lost

1a

1

Lost

1

Lost

H2–7

J1–8

K1–2,7–8

K3–6

L1–2,7–8

L3–6

M1–7

M8

N1–8

1

1

1

1b

1b

2

2

Lost

Lost

Impressions 1a and 1b are seen here as part of the first edition and are described below, as Cancels 1 and 2. Edition 2 is described in full later, at 14.i.1503 (No.5).

Size of page: 164 × 237 mm.

Watermarks:

Folios:

A2–1

A5–6

C2–1

C4–3

D6–5

F1–2

F3–4

G4–3

H2-

H3–4

J6–5

J8–7

K7–8

Mark:

1

1

2

2

2

1

1

1

2

2

2

2

1

Later changes: 16th-century ms foliation:] 1–14, [15–30 ₃ D6], [31–38 ₃ E8], 39–63[ ₃ J7]. This implies that folio D2 was then present, but that D7–8, G1–2, G7–8, H1 and H8 were already missing • J6r.i.43–44: ligature, B,a → A,a, erasure and manuscript

Binding: 19th-century marbled boards • One fly-leaf and one paste-down at each end Bibliography: Boorman, “First” • Fava, Primo, pp. 36–37 (exhibition catalogue, Bologna, 1929) • Fenlon and Dalla Vecchia, Venezia, pp. 71–72 (exhibition catalogue, Venice, 2001) • Gaspari, Catalogo, iii, p. 200 • Haberl, “Drucke”, pp. 50–55

No. 1a. Cancel sheets 1.

There exists only gathering E printed at this stage

Signatures:] EII [$4 • E4 signed] E IIIi

Foliation: 23 [recte 33], 34–40

Part-names: in the left margin, to be read vertically from the top:

recto:]

Altus Baſſus

[E1–8

verso:]

Tenor

[E1–8

Textual comments: The wrong initial [D] is printed on E8v

Technical comments: The problems with the imposition of the outer sheet, revealed by the choice of stave at the start of E7v, are discussed in Boorman, “First”

For other details see the description of the first edition, above

Contents:

30 E1r

23 [ = 33] [A:] Helas que il eſt a mon gre

[Compère]

31 E1v

34 AMor fait mult tant que argen dure

[Japart]

[T:] Il eſt de bonne heure ne

[B:] Tant que uostre argent dura

32 E2v

35 NOſtre cambriere ſi mala

[Ninot]

33 E3v

36 ACordes moy ceque yepenſſe

[Busnois]

33 E3v

37 TAn bien miſon penſa

Japart

35 E5v

38 LE ſeruiteur

Buſnoys

36 E6v

39 JAmes iames iames

[Mouton]

37 E8v

41 DOus ſommes de lordre de ſaynt babuyn [recte Nous … ]

Compere

(p.465) Extant copy:

I-Bc, Q51. These sheets are bound up as part of the copy described above

Watermarks: No.2 on ff.E2–1 E4–3

Later changes: Manuscript foliation, following on from that in the first edition folios:] 31–38

Bibliography: Boorman, “First”

No. 1b. Cancel sheets 2.

Two sheets, K inner and L outer, are extant from this stage. They make up K3–6 and L1, 2, 7, 8

Signatures:] K III [$4

Foliation: 75–78; 81–82, 87–88

Part-names: in the left margin, to be read vertically from the top:

recto:]

Contra

[K3–6, L1–2, L7–8

verso:]

Tenor

[K3–6, L1–2, L7–8

Technical comments: These cancel pages have abandoned the use of inset staves to leave space for an initial letter

For other details, see the description of the first edition, above

Contents:

69 K3r

75 [CT:] Tander naken

à3

[Obrecht]

70 K4v

77 SI a tort on ma blamee

à3

[Anon.]

71 K5v

78 LEs grans regres

à3

[Hayne]

72 K6v

79 ESt possible quelhome peult

à3

[Anon.]

74 L1r

81 [CT:] Fortuna

à3

[Josquin]

75 L1v

82 CRions nouel

à3

Agricola

76 L2v

[83] BEnedictus

à3

Jsac

79 L7r

87 [Ma seule dame-ending

à3

[Anon.]

80 L7v

88 LA alfonsina

à3

Jo.ghiselin

81 L8v

[89] LEeure e venue

à3

Agricola

Extant copy:

I-Bc, Q.51. These sheets are bound up with the rest of the Bologna copy, described above No watermarks are visible

Later changes: L1r: Three-voiced setting, apparently of a frottola, added in manuscript

Bibliography: Boorman, “First”

Lost copies: The copy in the Fugger collection may have been of this edition (Schaal, “Musik-bibliothek”, I/70)

(p.466) Early references: Reference to one of the editions, not necessarily this one, was made by Bolduanus, Draudius, and Gesner. Their texts are transcribed in chapter 20

Other editions: The second edition is of 14.i.1503 (No.5), and includes some sheets from the Bologna copy described above: B1–8, L3–6 and M1–7 • The third is of 25.v.1504 (No.14)

Bibliography:

  1. (a) Sartori, Petrucci, No.1 • Brown, Instrumental, 15011 • Jeppesen, Frottola, Pe. A • Vogel, Bibliografia, 15011

  2. (c) Note that the published facsimiles are not of this copy

  3. (d) Hewitt, Odhecaton

  4. (e) Becherini, “Alcuni” • Blackburn, “Petrucci” • Boorman, “First” • Castellani, “Petrucci” • Catelani, “Bibliografia” • Cauchie, “A propos” • Cauchie, “Odhecaton” • Disertori, “Margine” • Fétis, “Note” • Haberl, “Drucke” • Marix, “Odhecaton” • Reese, “First” • Vogel, “Erste”

Commentary:

  1. 1. Many of the bibliographical complexities of this volume have been sorted out in recent years: see Boorman, “First”, and Boorman, Petrucci (1976), pp. 144–49. There seems to be no good reason to believe that the first extant printing was not Petrucci's first effort. The problems he encountered with layout and arrangement of the contents, as well as the pristine state of the blocks and typographical material, suggest that he was new to printing polyphony. Despite this, the artistic level and the details of presentation show a very high level of both design and presswork. Petrucci's craftsmen cannot themselves have been new to printing, but merely to the present repertoire. Further, the dedication to Donato offers not only the present volume, but also all future books from the press. This, while explaining the absence of dedications in other musical volumes, also tends to argue that this was indeed the first title printed by Petrucci.

  2. 2. It is reasonable to assume that the book was published soon after the date of the dedicatory letter—early summer of 1501. Certainly, the first edition appeared before the first of the Canti B, in February 1502: indeed, it must have appeared some time before, for the first set of cancel leaves also predates that second title. But we cannot assume, as do many writers, that it appeared on the date of the dedication. (See, for example, Geldner, Inkunabelkunde, p. 128.) It is true that the Tavola appears on the outer sheet of gathering A, and that this sheet, including the dedication, was therefore almost certainly printed last. However, given that this book is the first from Petrucci's shop, it seems to me more likely that the dedication was written before any presswork began: the book would therefore probably have appeared at sometime early in the summer of 1501.

  3. 3. Bonnie Blackburn (in “Lorenzo”) has pointed out that the form of the date in the dedication is not correct, that “18 Kalends June” did not exist in a Roman calendar. However, it is relatively easy to find other similar errors in printed books of the period, and there is no proposed alternative reading of the printed date which would allow for a simple error on the part of the typesetter.

  4. 4. The fact that this volume is labelled with the letter A, even in the earliest edition, is suggestive. It may be that Petrucci was doing no more than signal that this was indeed the first ever volume of printed polyphony. However, it seems more likely that he and his backers were already thinking in terms of subsequent volumes in the series, those now labelled Canti B and Canti C, for instance. This argument is reinforced by the probability that the three large initials, A, B, and C, were designed and cut at the same time. The issue is discussed further in chapter 1.

  5. (p.467) 5. Other transcriptions of the dedication and letter by Budrius can be found in Catelani, “Bibliografia”, pp. 9–15 (with Italian translation); Haberl, “Drucke”, pp. 50–52; Sartori, Petrucci, pp. 34–35; Vernarecci, Petrucci, 48–55 (with Italian translation).

  6. 6. There is some evidence, in the layout, the spacing of incipits and of the introductory text, and in the arrangement of rests and other notational features, to suggest that the compositor was working from copies that were sometimes in a different layout. This also resulted in occasional overcrowding and other infelicities of spacing. These are all corrected or improved in the later editions.

  7. 7. Mardersteig, “Aldo” states that Petrucci used a fount cut by Francesco Griffo for the Roman type used in the dedications. Since the Greek fount is one from Aldus' press, also cut by Griffo, this argues that Petrucci had the support of the more famous publisher, as well as of Scotto.

  8. 8. This book uses a series of short staves to provide an inset for the initial letters. These staves, which would normally occur as the first on a verso, in fact do not always appear in the correct place. This supports an argument that the staves were printed separately, thus implying a triple-impression process. For an analysis of the anomalies, see Boorman, “First”.

  9. 9. The six gatherings of four-voiced pieces are followed by six of three-voiced, and a final single gathering of four-voiced works. It appears that Petrucci and Castellanus planned the volume as a series of discrete fascicles, each made up of complete gatherings. Indeed, the first two layers end on a final recto, which could have allowed for a colophon and device on the last verso of the gathering. However, the generous spacing for many pieces argues that Petrucci was not actually sure how much music could fill an opening: he could even have saved an opening on occasion.

  10. 10. It is possible that the last gathering represents a later addition to the planned volume. It contains a small group of four-voiced pieces, destroying the clear earlier structure of four-voiced works followed by three-voiced. Marginal support for this might be seen in the inclusion of one piece by Bruhier—otherwise only represented in Petrucci's work by a single piece early in Canti B. More significant is the point that Canti B also moves from a layer of four-voiced works to one of pieces for three. Therefore, when printing the Odhecaton A, Petrucci may have asked for one more gathering of music, and Castellanus then produced four-voiced pieces.

    Despite the loss of gathering N from the first edition, there is no reason to believe that these pieces were only added to the second edition. With the possible exception of Dammonis' volume of laude, there is no place in Petrucci's re-editions where he changed the musical contents of the first edition.

  11. 11. The pattern of ascriptions in the index is of some interest for the view that Petrucci's editor (and by extension purchasers of the volume) apparently had of the importance of authorship, as compared with the need to identify pieces sufficiently clearly. The works with composer's names in the Tavola are those where more than one piece has the same textual incipit, with two exceptions: Se congie pris of Japare (sic) and the Benedictus by Isaac. The implications of this pattern for the manner in which chansons were transmitted are discussed in Chapter Eight.

  12. 12. The assumption has been, until recently, that the compositions were all vocal, with the corollary that the performers would have known the texts well enough. Sartori, Bibliografia, p. 38 suggests that the extensive ranges of some parts implies a use per cantare e suonare. More generally, the pattern of texting found here is by no means uncommon, and has led to a discussion about the probability of instrumental performance, or of contrafacta. For discussion of this issue, see Chapter Nine.

  13. 13. The history of awareness of this edition is interesting. Catelani, seems to have been the first to mention it, and his references were taken over in Fétis, “Note” and Gianandrea, “Ottaviano”, (p.468) and published with acknowledgement in Haberl, “Drucke”. A detailed listing of various opinions about the surviving copies and their dates is given in Sartori, Petrucci, pp. 39–41.

  14. 14. The first cancel must be dated before the appearance of Petrucci's second book, the Canti B of February 1502, for it still uses the shorter staves which would allow for initial letters. The staves were abandoned after this cancel, perhaps because Petrucci's craftsmen still had problems with ensuring that the impressions with content (music or text) were imposed to correspond with the placing of the shorter staves in their forme.

  15. 15. The second series of cancels follows this rejection of the shorter staves. Unfortunately, no watermark is visible in the unique copy of these sheets. They can therefore only be dated on the strength of the condition of the type and blocks of initials. On this basis, it appears that the cancel sheets were printed after Motetti A, but before the Misse Josquin, that is, during the summer of 1502.

No. 2. Canti B

5.ii.1501/2 Rism 15022

First edition

A1 r ] Canti.B. numero | Cinquanta | B

G8 r ] Impressum Uenetijs per Octauianum Petrutiu m Forosempronien|sem die 5 Februarij Salutis1anno 1501 Cu3 priuilegio inuictissi|mi Dominii Uenetiarum quae nullus po ssit cantum FiguratumIm|primere sub pena in ipso priuilegio contenta. | Registrum ABCDEFG. Omnes quaterni. | [Petrucci's device]

A1v Tavola: in two columns]

A quatro

Mon pare ma mariee

.21

A qui direlle sa pensee

19

Min morghen

.22

Amour5 me troct sur la pance

.37

Mon pere ma done mari

.45

Auant auant.

.41

Noe noe

.29

Bon temps

18.

Or sus bouier.

.40

Basies moy. Josquin.

.38

Pour quoy fu fait.

.37

Basies moy .Asei.

.41

Reuellies vous

.13

Cenest pas.

.11

Se suis trop ionnette.

.10

Celasans plus. Obreht

.71

Tous les regre5

.26

Cela sans plus. Lannoy

.20

Uirgo celesti

.3

Coment peult hauer yoye

.23

Uray dieu qui me confortera

8

Coment peult.

.24

Ueci la dan se.

.27

Dung aultre amer.Orto

.28

Una moza

.30

En chambre polie

.14

Uavilment

.39

Ela la la.

.31

Atre

E dunt reuenis vous

.33

Aue ancilla

.42

Fors seule ment.

.32

Adieu fillette

.49

Fortuna dun gran tempo. Deuigna

36

Aqui dirage

52

Helas helas. Ninot

.25

Chanter ne puis

50.

Jay pris amours.Obreht

.4

De tous biens. Ghiselin

46

Je suis amie

.15

En amour5

54

Jay pris amours .Japart

.34

Je vous emprie

51

Je cuide: de tous biens

.35

Je despite tous

55

Lomme arme

.2

La regretee

53

Lourdault.

.9

Le grant desir

56

Lautrier qui passa

.12

Si sumpsero

43

Mon mari ma deffamee

.16

(p.469) Format and collation: Choirbook: landscape quarto-in-eights. 56 folios: A–G8

Signatures:] A II [$4• -A1

Foliation: t.r.r.:] [1], 2–31, 32 [with inverted “2”], 33–40, 35 [recte41], 42–46, 37 [recte47], 48–55, [56]

No running heads. Composers' names and rubrics for canons in the head-line

Part-names:

recto:]

Tenor Altus Baſſus

[A2

Altus Baſſus

[A3-C3, C5-D3, D5-E1, E3,5,7, F5

Contra Contra

[C4

Contra Baſſus

[D4, E4

Altus Contra

[E2

Tenor Altus Baſſus

[E6

Tenor Baſſus

[E8-F1

Contra

[F2–4, F6-G7

[Nil:

A1, F8

verso:]

Tenor | Secu ndus [and] Tenor | Primus

[A2

Tenor

[A3-D2, D4-E4,6, F1-G6

Tenor Contra

[E3, G7

Tenor Altus Baſſus

[E5,7

Tenor Baſſus

[E8

[Nil:

A1, D3, G8

Founts: Music: Petrucci's normal music type

Staves: six per page, 178 mm long: 10–91–111 mm high

Text: Rotonda throughout • Roman numerals used in the colophon

Textual comments: No capital letters on A2r[intentionally] or F1r[A]

Technical comments: Uninked minims used as bearer sorts on A1rand F7r: either minims orsemiminims on D4r • Uninked staves have left a blind impression on G8r • For comments on the arrangement of the voice-parts, see below

No apparent in-house changes

Contents:

A1r

[Title]

A1v

[Tavola]

1

A2r

Lomme arme [Headed:] Canon. Et ſic de ſingulis

Joſquin

2

A2v

VIrgo celeſti

à5

Compere.

3

A3v

JAy pris amours

Obreht.

A5v

2/ Jay pris amours

4

A7v

VRay dieu qui me confortera

[Anon.]

5

A8v

LOurdault lourdault

Compere.

6

B1v

SE ſui5 trop ionnette

[Anon.]

7

B2v

CE neſt p. 5

Pe.de.la rue.

8

B3v

LAutrier qui paſſa

Buſnoys.

9

B4v

REuellies vous

[Anon.]

10

B5v

EN chambre polie

[Anon.]

11

B6v

JE ſiuis amie du forier

[Anon.]

12

B7v

MOn mari ma deffamee

.De. Orto.

13

B8v

CEla ſans plus

à4 ex 2

.Obreht In missa

14

C1v

BOn temp5

[Anon.]

15

C2v

A Qui direlle ſa penſe [A:] … penſee

[Anon.]

16

C3v

CEla ſans plus

[Anon.] [Tavola:] Lannoy

17

C4v

MOn pere ma mariee

[Anon.]

18

C5v

[M]Yn morghen ghaf [Tavola:] Min morghen

[Anon.]

19

C6v

COment peult hauer ioye

à4 ex 3

.Josquin.

20

C7v

COmment peult

[Anon.]

21

C8v

HElas helas helas

.Ninot.

22

D1v

TOus les regres

Pe.de la rue

23

D2v

VEci la danſe barbarj

Uaqueras.

24

D3v

DUng aultre amer

De Orto [Tavola:] .Orto

[T:] Quartus confortatiuus

[CT, B:] Obelus quinis ſedibus ipse volat

25

D4v

NOe noe noe

.Brumel.

26

D5v

VNa moza falle yo

[Anon.]

27

D6v

E La la la [T, B:] Fates lui bona chiera

[Anon.]

28

D7v

FOrs seulement

Pe.de.la rue

29

D8v

ET dont reuenis vous

Compere

[Tavola:] E dunt reuenis vous. [A:] Et dunt …

30

E1v

JAy pris amours [Headed:] Fit aries piscis in licanosypathon:

à4 ex 3

.Japart

31

E2v

JE cuide [T, B:] De tous biens

apart. .35

32

E3v

FRanch cor qua ſtu

.De.Uigne.

[A:] Fortuna

[Tavola:] Fortuna dun gran tempo. Deuigna

33

E4v

AMours me trotent ſur la pance

Lourdoys.

34

E6r

BAſies moy

à4 ex 2

Josquin

35

E6v

VAuilment

Obreht.

36

E8r

OR ſus orsus bouier [Headed:] In ſubdiateſſaron

à4 ex 3

.Bulkyn.

37

E8v

BAſies moy [Headed:] Fuga in diateſſaron [Tav:] A sei

à6 ex 3

[Anon.]

38

F1r

AUant auant [Headed:] In subdiateſſaron

à4 ex 3

[Anon.]

39

F1v

AUe ancilla trinitatis

à3

Brumel.

40

F2v

SI ſumpſero

à3

Obreht.

41

F4v

MOn pere ma dona mari

à3

[Anon.]

42

F5v

DE tous biens

à3

Ghiselin.

43

F6v

POur quoy fu fiat ceſte empriſe

à3

[Anon.]

F7v

2/ Pour quoy fu fiat ceſte empriſe [Omitted from the Tavola]

44

F8v

ADieu fillette de regnon

à3

[Anon.]

45

G1v

CHauter ne puis

à3

Compere.

46

G2v

JE vous emprie

à3

Agricola.

47

G3v

AQui dirage mes pensees

à3

[Anon.]

48

G4v

LA regretee

à3

.Hayne.

49

G5v

EN amours que cognoiſt:

à3

Brumel

50

G6v

JE deſpite tous

à3

.Brumel.

51

G7v

LE grant deſir

à3

Compere.

G8r

[Colophon; Privilege; Device]

G8v

[blank]

——

(p.470)

(p.471) Extant copy

I-Bc, Q.52. Complete

Page size: 165 × 237 mm.

Watermarks: Mark 1 on folios A5–6, A7–8, B2–1, B4–3, C6–5, C8–7, D6–5, D8–7, E6–5, E8–7, F5–6, F8–7, G4–3 and G8–7

Technical comments: A spacing sort for text appears on F5r•The stave patterns show aprogression through the book • In a number of cases, the last stave of a page is not inked: this becomes more frequent, including almost whenever possible, towards the end of the book, and implies that the staves were printed after the music formes

Later changes: Folio numbers have been corrected on F1rand F7r, in the hand employed forfoliation in the Bologna copy of Odhecaton A (No.1)

Binding: 19-century marbled boards (with the same paper as that found in the copy ofOdhecaton A)•One paste-down and one fly-leaf, both modern, at the front: one modern paste-down and one 18th-century fly-leaf at the back

Provenance: This copy is cited in Martini's letters to Chiti of 2.iv.1746, 7.v.1746, and 22.vii.1746 (See Martini, Carteggio, pp. 177, 190 and 204; and Schnoebelen, Padre, Nos.1245 and 1250, pp. 144–145) • The evidence of manuscript foliation suggests that this was originally owned and bound with the Bologna copy of Odhecaton A

Bibliography: Fava,Primo, p. 37 (exhibition catalogue, Bologna, 1929) •Fenlon and Dalla Vecchia, Venezia, p. 72 (exhibition catalogue, Venice, 2001) • Gaspari, Catalogo, iii, p. 200 • Haberl, “Drucke”, pp. 55–57

Lost copies: A copy was owned by Colón (Chapman, “Printed”, No.5)

Early references: The citations by Bolduanus, Draudius, and Gesner are quoted in chapter 20. It is (p.472) interesting that Draudius gives a date for his edition, whereas the others do not specify either edition

Other editions: A second edition was published in 1503 (No.10, below)•A third came from thepress of Schöffer in Mainz, dated 7.ii.1513

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No.544 • Sartori, Petrucci, No.2 • Vogel, Bibliografia, 15021

  2. (c) Petrucci, Canti B

  3. (d) Hewitt, Canti B

  4. (e) Boorman, Petrucci (1976), p. 149 • Catelani, “Di due” • Hewitt, “Chansons”

Commentary:

  1. 1. The pattern of distribution of parts on the page confirms the trend, already evident in the first book (although it is less clear here) towards settling the four-part layout as S and T on the verso, with A and B on the recto: the only exceptions are on C3v-4r and E3v-4r (with two Contras), and D3v-D4r (with Contra and Bassus). In a similar manner, the majority of the three-voiced pieces retain the Contra and Tenor designations.

  2. 2. The variations in scoring and in naming the parts seem to suggest that much of the music was collected (by Castellanus) from a relatively small number of sources. (The following deliberately excludes the names of composers, so that the pattern of distribution can be clearly seen.)

    Four-voiced works

    taking a whole opening:

    taking one page:

    Tenor, Altus, Bassus:

    A3v-C3r

    A2r

    Tenor, Contra, Contra:

    C3v-4r

    Tenor, Altus, Bassus:

    C4v-D3r

    Tenor, Contra, Bassus:

    D3v-4r

    Tenor, Altus, Bassus:

    D4v-E1r

    Tenor, Altus, Contra:

    E1v-2r

    Tenor, Altus, Bassus:

    E2v-E3r, E4v-E5r, E6v-E7r

    E5v-6r, E7v

    Tenor, Altus, Bassus:

    F4v-F5r

    Three-voiced works

    Tenor, Contra:

    F1v-F4r, F5v-G7r

    G7v

    Tenor, Bassus

    E8r, E8v, F1r

    Other pieces:

    Tenor, Tenor, Altus, Bassus:

    A2v-3r

    Tenor, Contra, Contra, Bassus:

    E3v-4r

    This should imply that, however many sources were used for the layers leading to E3r (and I believe that there was more than one), the rest of the edition was collected from a number of sources, each adding only one or two pieces.

  3. 3. The scoring also presents a pattern similar to that of the Odhecaton A, in which four-voiced pieces precede those for three. In this instance, there are considerably more works for four, already initiating a change which will be much more pronounced in Canti C, with its more modern repertoire. It is interesting that there is a small batch of canonic pieces in close proximity. They may well have come from the same prior source.

  4. 4. Apparently, Petrucci ran off enough staves at one time to cover several sheets. The first set of staves was enough for five sheets, as far as the outer of gathering C: the second also appears on five sheets, from inner C to inner E, while the third was used for the last four sheets, gatherings (p.473) F and G. Since the lowest stave is occasionally not inked, it is likely that he ran the staves last, after the music (and probably the text) for each set of gatherings was prepared and printed.

  5. 5. The pattern of adding points to page numbers on the Tavola is very erratic, suggesting that a number of aspects of house practice were not yet settled. In the next book, Motetti A, practice is much more consistent.

  6. 6. The pattern of attributions in the Tavola corresponds to that found in Odhecaton A, and again reflects the presence of popular settings, or of cases where known settings existed from the hand of more than one composer.

  7. 7. This book was originally assigned to 1501, for example in Gianandrea, “Ottaviano”, pp. 125– 126, raising problems with the dating of the known copies of the Odhecaton A.

No. 3. Motetti A

9.v.1502 RISM 15021

First edition

A1r] Canti.B. numero | Cinquanta | B

G8r]Impressum Uenetijs per Octauianu3 Petrutium Forosempronien|sem die 9 Februarij Salutis1anno 1502 Cu3 priuilegio inuicti[[i|mi Dominii Uenetiarum quae nullus possit cantum FiguratumIm|primere sub pena in ipso priuilegio contenta. | Registrum ABCDEFG. Omnes quaterni. | [Petrucci's device]

A1v

Tavola: in one column]

Aue maria. Josquin.

3.

Adonay

16.

Aue maria. Compere.

28.

Aue maria

35.

Aue stella matutina. Brumel

36.

Aue domina ſancta maria. Gaspar

39.

Aue vera caro xpi

44.

Aue ſtella matutina. Gaſpar.

52.

Anima mea. Ghiselin

53.

Benedicta sit creatrix

19.

Crux triumphans

9.

Christi mater aue

51.

Deſcendi in ortum meum

14.

Dung aulter amer: Uictime

17.

Da pacem

46.

De tous biens. Joſquin

56.

Ecce video.

25.

Ibo mihi. Gaſpar.

38.

La ſpagna. Ghiſelin.

32.

Mater digna dei. Gaſpar

55.

O genitrix glorioſa

5.

O quaz glorifica. Agricola

15.

O florens roſa.

34.

O pulcherrima. Gaſpar.

41.

Propter grauamen.

11.

Quis numerare queat: Da pacem

47.

Regina celi

20.

Surge propera. Pinarol.

7.

Scile fragor.

27.

Stella celi.

42.

Uirgo maria

22.

Uidi ſpecioſa.

43.

Uirgo dej trono.

50.

Uirgo prudentiſſima Joſquin

8.

(p.474) Format and Collation: Choirbook: landscape quarto-in-eights. 56 folios: A–G8

Signatures:].AII. [$4•-A1•The second point is raised (perhaps an inverted sort) on C1–2, D2–3,E1–4 and F1–4

Foliation: t.r.r.:] [1], 2–55, [56]

No running head-line

Part-names: entered in left margin, reading vertically from top to bottom:

recto:]

Altus [and] Baſſus

[A3–B6, B8–C6, D3–G1, G3–G7

Baſſus

[B7

Contra

[C7–D2, G2

[Nil:

A1–2, G8

verso:]

Tenor

Tenor [A2–G6

Tenor et Contra

[G7

[Nil:

A1, G8

Fonts: Music: Petrucci's music type

Staves: six per page: ca.165 mm long, 10–92–112.5 mm high

Text: Rotonda throughout

Technical comments: This book already abandons the shorter staves, which Petrucci had used inthe Odhecaton A to leave space for initials • The stave patterns indicate that there were only two formes of staves available during the printing of this volume. All of gatherings A, B, and G are printed with one set (on both sides of the sheet) and C-F with the other set • Uninked fusas were used as bearer sorts on folio D1r • Part of the unused sixth stave has taken ink on folios D1r and G2r, suggesting an inaccurately cut frisket • The evidence of the use of quadrate descending c.o.p. ligatures of two pitches a tone apart suggests that there were no more than 40 such sorts in the case: 39 are used in gathering C, while there are places on folio C4r where more could have been used, especially in the Bassus. The same analysis may be valid for ascending one-step c.o.p. ligatures: 48 are used in gathering C, although many had been used in B also

No evident in-house corrections

Contents:

A1r

[Title]

A1v

[Tavola]

1 A2r

[untexted canon: the rubrics read] Canon: misericordia ? veritas obuiauerunt sibi: [and] Canon. iusticia ? pax obsculate sunt:

[Anon.]

2 A2v

AVe maria gratia plena

Josquin.

3 A4v

O Genitrix gloriosa mater

[Compsre]

A5v

2/ Ave virgo glorioſa

4 A6v

SUrge propera amica mea

.Jo.de pinarol.

5 A7v

VIrgo prudentiſſima

Joſquin

6 A8v

CRux triumphans decus potentiam

Compere.

B1v

2/ Jesus nomen dignuz

7 B2v

PRopter grauamen ſ tormentuz

Compere.

B3v

2/ Memento nostri

8 B5v

DEſcendi in ortum meuz

[Anon.]

9 B6v

O Quam glorifica

à3 Agricola

10 B7v

ADonay ſanctiſſime domine deus

Gaſpar

11 B8v

DUng aultre amer

.Josquin

[T:] Victime paſcali

C1v

2/ De tous biens / Dic nobis

12 C2v

BEnedicta ſit creatrix

[Josquin]

13 C3v

REgina celi letare

.Brumel.

C4v

2/ Resurrexit ſicut dixit

14 C5v

VIrgo maria non est tibi simili5

.Gaspar.

15 C6v

O Florens roſa [untexted]

à3 .Jo.ghiselin.

16 C8v

ECce video celos apertos: [untexted]

à3 .Craen.

17 D2v

SCile fragor

.Compere.

D3v

2/ Su ſcipe dei mater

18 D4v

AVe maria gratia plena … benedicta tu

.Compere.

D5v

2/ Sancta michael ora pro nobis

19 D7v

LA ſpagna [untexted]

.Jo ghiselin:

20 E2v

AVe maria gratia plena … benedicta tu

[Craen]

21 E3v

AVe ſtella matutina

Brumel

E4v

2/ Tu es area compluta

22 E5v

IBo mihi ad montem

Gaſpar

23 E6v

AVe domina sancta maria

Gaſpar.

E7v

2/ Tu peperiſti creatorem

24 E8v

[A:] O pulcherima mulierum

.Gaspar.

25 F1v

STella celi extirpauit

[Anon.]

26 F2v

VIdi ſpecioſam

Gaſpar

27 F3v

AVe vera caro christi

[anon.]

F4v

2/ Salve sancta caro dei

28 F5v

DA pacem domine

[Anon.]

29 F6v

QVis numerare queat

à5 ex 4 Compere

[T:] Da pacem

F7v

2/ AUdivit / [S:] Da pacem

F8v

3/ FUndat prece5 / [T:] Da pacem

30 G1v

VIrgo dei troni digna [untexted]

à3 Tinctoris

31 G2v

Chriſti mater aue

Gaſpar

32 G3v

AVe ſtella matutina

Gaſpar

33 G4v

ANima mea liquefacta est

Ghiſelin

G5v

2/ Tulerunt palium meum

34 G6v

MAter digna dei

[Weerbeke]

[Tav:] Gaſpar

35 G7v

De tous biens [untexted]

Josquin [lower voices only]

G8r

[Colophon: Register: Device]

G8v

[blank]

——

(p.475)

(p.476) Extant Copy:

I-Bc, Q53. Complete

Page size: 165×235 mm.

Watermarks: Twin marks in the lower outer corner:

A2

A6

B3

B7

C4

E3

G7

(no other marks visible)

4

4

4

4

3

3

3

Later changes: A number of 19th-century annotations on the index —mostly of composers'names

Binding: Bound with eleven folios of 19th-century printed manuscript paper, containing scoresof Josquin's Ave Maria “a car= 3”, Tinctoris' Virgo dei trono, Pinarol's Surge propera, and Gaspar's Adonay sanctissime. The last is signed:] Fortunato Santini li 12 Febraio 1850 • Bound in 19th-century marbled boards • One fly-leaf and one paste-down at each end, on wove paper. The back fly-leaf has a watermark of] P L MMA[paper edge

Provenance: Presumably owned by Santini, but in Bologna by 1866, when Ambros saw it•G8v, inverted:] questo libro e de giovan batista ventura

Bibliography: Fava,Primo, p. 37 (exhibition catalogue, Bologna, 1929) •Haberl, “Drucke”, pp. 92–94

Lost copies: A copy was in the Fugger collection (Schaal, “Musikbibliothek”, I/74)

Early references: It is not clear which is the edition of this title referred to in German citations, byBolduanus, Draudius, and Gesner, all quoted in chapter 20. The assumption by Krummel, Bolduanus, No.618, that the author was referring to Odhecaton A seems unlikely: I take it to be a reference to the present volume, especially in the light of the point, well made in Sartori, Petrucci, p. 46, that this was long thought to be the earliest Petrucci edition

Other editions: Printed by Petrucci, 13.ii.1505 (No.19, below)

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No.2337 • Sartori, Petrucci, No.3 • Brown, Instrumental, 15021

  2. (b) Brunet, Manuel, iii, 1924

  3. (c) Petrucci, Motetti A

  4. (d) Drake, First • Sherr, 16-Century, i

  5. (e) Brown, “Mirror” • Brunet, Manuel, iii, p. 2 • Catelani, “Di due” • Schmid, Petrucci, pp. 28–33

Commentary:

  1. 1. This edition was long thought to be the first production of Petrucci. Caffi (Storia, ii, p. 205) said as much in 1755, and the same line was therefore taken by several subsequent scholars, including Schmid among music historians, and Brunet among bibliographers.

  2. (p.477) 2. The pattern of ascriptions in the Tavola follows that of the Odhecaton A, in that many pieces apparently did not need an attribution. It may be that this is another piece of evidence in favour of Howard Brown's argument (Brown, “Mirror”) that the volume was intended for private devotion. Further on this, see chapter 9.

  3. 3. The evidence of the division of staves by gatherings might argue for a division between two typesetters. In practice, though, with the staves being printed separately, this has no bearing on whether two men were involved in setting the content. It may imply that Petrucci had access to two presses and was able to print the two sets of staves simultaneously.

  4. 4. Virgo prudentissima, the last piece in the Tavola, appears to have been added after other works beginning with the letter “V”. More probably, the Tavola was made up last (as usual), and from the other sheets already printed. The addition of this last piece would then result from it also being on the outer sheet of gathering A.

  5. 5. With the abandoning of the shorter staves for the heads of pieces, Petrucci produced a result in which the decorative initials were overlaid by stave lines. This represents his first artistic compromise, and apparently the only one for a number of years.

No. 4. Josquin: Misse

27.ix.1502 RISM J666

There is a cancel for the inner sheet of F, and later Venetian and Fossombronese editions (Nos.30 and 62)

First Edition

A1r] Misse Josquin | Lomme arme. Super voces musicales | La.sol.fa.re.mi. | Gaudeamus. | Fortuna desperata. | Lomme arme. Sexti toni. | S

D1r] T

F1r] A

J1r] B

K9r] Impressum Uenetijs per Octauianum Petrutium Forosemproni|ensem die 27. setembris anno 1502 Cu priuilegio inuictissimi Do|minij Uenetiarum quae nullus possit cantum Figuratum Impri|mere sub pena in ipso priuilegio contenta. | RegistrumABCDEFGHJKOmnes. quaterni. praeterEque est | ternus H duernus K quinternus | [Petrucci's device]

Format and collation: Partbooks: landscape quarto-in-eights. [S] 24 folios: A–C8; [T] 14 folios: D8E6; [A] 20 folios: F-G8H4; [B] 18 folios: J8K10

Signatures:] AIIII [$4 • A1 • K5 signed] K 5 • K3 signed] k iii • K4 signed] K iiii

No foliation or pagination: no running heads

Fonts: Music: Petrucci's normal music type

Staves: Six per page: 174–176 mm long, 10–92.5–111.5 or 10–91.5–112 high.

Text: Rotonda throughout

Textual comments: D6r.iii.text:] Qui tullis [D-B, P-Ln and US-CA • K5r.iii.text:] Pleni snut [for sunt: D-B • K7v.iv.text:] Santtus [D-B

Technical comments: Capital letters missing on D1v [K], D2v [P], D4r [K and E], D4v [P], D5r (p.478) [S], D5v[A], D8r[E], E2r[A], F8r[A], F8v[E], J2v[P], J7v[A], J8r[K and E], K2v[A], K5v[A] K6r[K], and K8r[A]. There are none missing in the Superius part • Only five staves are inked on A6r, C4v, E5rand E6r• The manner in which the m.s.for perfect tempus and major prolation shows the dot in two positions argues that the sort was on a small body, which could be inverted • Final points do not always take ink • The additional text on C4vis printed over the second stave • Similarly, text is printed over K5v.vi • The tail directions are sometimes strange: see B2vand B5v

This edition has clear evidence of blind impressions from type, used as bearer sorts. A row of c.o.p.ligatures was used on H4r, and lies at right angles to the staves. The sequence is clearest on the copies at D-B and I-Bc, and seems to be as follows: 2 oblique ligatures descending a 2nd; 5 quadrate, descending a 3rd; 3 ascending a 4th; 5 ascending a 5th; 2 quadrate descending a 6th; 1 oblique, descending a 2nd; 2 quadrate descending a 3rd; two more descending a 4th; a final ligature perhaps a ternaria; one minim with a down tail • A similar long row of notes printed in blind on H3vcan be clearly seen in the copy at D-B: this begins with 34 m, followed by one c.o.p. ligature ascending a 3rd, one sb, one custos, and one c.o.p. ligature ascending a 5th. A row of notes was used for the same purpose on C4v: reading from the right, they begin m,m,b,m,m,b,sb,m,m, [etc.]. A clear example is in the copy at P-Ln. There is a similar row on E5r, visible in the copies at I -Mc and US-CA • Two rows of notes printed in blind on J1r, both about 66 mm long, one perhaps with twenty-six notes in it, are clearly visible in the copy at I-Fm

In-house corrections:

Stop-press corrections: A5v.iii.start: two rests from imperfect l to perfect l, by a stop-presscorrection in D-B, in manuscript in P-Ln, and uncorrected in I-Bc

After press-work: A5v.iii.start: mensuration sign from ¢ to cut circle 2: P- Ln•B3r.iii.46:sba' → dsba': the note erased, except for the right corner, converted to a dot, and stave lines touched up in brown ink, and a new sb stamped in: D-B, I-Bc and P-Ln • D8r.iii.end: custos e' → sbd' and changed end of custos; erasure and new note stamped in: D-B, I-Mc, P-Ln, and US-CA • D8r.iv.start: sbd' erased: D-B, I-Mc, P-Ln, and US-CA • G5v.v.25: sb, g → f, erased and stamped in: D-B and I-Bc • G5v.v.37: colored sb, e' → f': erased and stamped in: D-B and I-Bc • J8v.iii.19: f → e, top erased and new base: D-B, I-Bc, and I-Mc • K3v.iv.after 15: erasure perhaps of a mg: D-B, I-Bc, and I-Fm

The following may also have been an in-house correction: K7r.iv.after rests after bar line: erased high b flat: D–B, I–Bc, and I–Mc

Rubrics: A5v:] Clama ne cesses•B7v:] Crescat In duplum•B7v.iii, reading down:] Resolutio•B8r.iii-iv, reading up:] Resolutio • B8v.iii, reading down:] Resolutio • C6v:] Fuga ad minimam: • D1v.iii-iv, reading down:] Resolutio. • D2r.iv, reading down:] Resolutio. • D2v.iii, reading down:] Resolutio. • D3v.ii, reading down:] Resolutio. • D6r:] Undecies canito pausas | linquendo priores

Contents: The contents for the inner sheet of F are taken from the cancel leaves:

A1r

D1r

F1r

J1r

[Title]

1

A1v

D1v

F1v

J1v

Josquin super voces musichales

A2r

D2r

F2r

J2r

[Gloria]

A3r

D2v

F3r

J2v.v

[Credo]

A4r

D3r

F4r

J3v.iv

[Sanctus]

A5r

D3v

F4v.iv

J4v

[Agnus]

2

A6r

D4r.iii

F5v

J5v

Josquin. La.sol.fa.re.mi.

A6v

D4r.v

F5v.iv

J5v.iii

[Gloria]

A7v

D4v.iii

F6v

J6r.iii

[Credo]

A8v

D5r.iii

F7v

J7r

[Sanctus]

B1v

D5v.iii

F8r.iii

J7v.v

[Agnus]

3

B2r

D6r

F8v

J8r

Josquin super gaudeamus

B2v

D6r.iii

F8v.v

J8r.iv

[Gloria]

B3v

D6v

G1v

J8v.v

[Credo]

B5r

D6v.v

G3r

K2r

[Sanctus]

B5v

D7r.iv

G3v

K2v.iii

[Agnus]

4

B6r

D8r

G4r

K3r.iii

Josquin fortuna de sperata

B6v

D8r.iii

G4v

K3v

[Gloria]

B7v

D8v

G5r.iii

K4r.iii

[Credo]

C1r

E1v

G6r.iii

K5r

[Sanctus]

C2r

E2r.iv

G6v

K5v.v

[Agnus]

5

C2v

E3r

G7r

K6r.iv

Josquin. [L'homme arme sexti toni]

C3r

E3r.iv

G7v

K6v

[Gloria]

C4r

E3v.v

G8v

K7r

[Credo]

C5v

E4v.iv

H1v.iv

K7v.v

[Sanctus]

C6r

E5r

H2r.ii

K8r.v

[Agnus]

6

C7r

E5v

H3r

K8v

Josquin.de.pres. [A:] Ecce tu pulchra es

K9r

[Colophon; Register; Device]

C7v-8v

E6v

H4r-v

K9v-10v

[blank]

(p.479) Extant copies:

The copy listed in RISM as at US-R is in fact of the 1516 edition (No.62).

D–B, Mus.ant.pract.D224. Four parts, complete. The inner sheet of F is a cancel, for which seebelow.

Size of page: 241×171 mm.

Watermarks: No.3 on A5, A8, B6, B7, C1, C4, D2, E6, F7, G1, G6, H1, J1, J5, K1, and K3 • No.5 on D4

Technical comments: F8v.iii: a text spacing sort, before the wordKyrie, measuring 3.8₃0.3mm • G2r.iii: the words] Verte folio [printed in the stave area, clearly show from their inking that they were printed with the music • G5v.v.rest after 9: perhaps meant to be a sb, is actually an inverted sm • The use of music sorts as bearers, revealing blind impressions, is clear on folios C4v, H3v, H4r, and J1r. The details are given above • K9r, the uninked staves used as furniture went through the press before the colophon, and were retained for K10r, as was the colophon, both uninked

Corrections and changes:

In-house: A5v, B3r, D8r, D8r, G5v, J8v, and K3v: see above

Later: Inscriptions on title pages of lower voices:] Misse Josquin•For the Sanctus of thefirst mass, in each voice part, there are small brown strokes to indicate each complete perfect sb: folios A4v, D3r, F4v and J4r • A7v.i.m.s.: line drawn through the circle, in brown ink • D8v.vi.after 45: rests sb,mb,sb,m, in ink • F1v.v.40: m d → e, with brown “ears” to the note-head • G5v.v.4: dmd': the dot erased • K7r.iv.after rests after bar line: erased high b flat

Binding: 19th-century white leather, with a gold serpentine rule? One paste-down and one fly -leaf at each end of each part

(p.480) Provenance: With the library's copies of Misse Obreht (1503, No.6), Misse Ghiselin (1503, No.9), Misse La Rue (1503, No.11), and Misse Agricola (1504, No.13): all have similar annotations on the title-pages of the lower voices, in the same hand

I-Bc, Q.54. Superius, Altus, and Bassus, complete. F3–6 is a cancel sheet, for which see below.

Size of pages: 170₃237: Bassus 162₃237 mm.

Watermarks: The twin marks are particularly clear in this copy:

A5

A7

B2

B6

C1

C6

F2

G5

G8

H1

J1

J4

K4

K5

K10

3a

3a

3a

3a

3b

3b

3b

3a

3a

3b

3a

3a

3b

3b

3a

Technical comments: The text spacing sort on J8v.vi corresponds to that in the copy at I-Fm

Corrections and changes:

In-house: J8vand K3v: see above

Later: 16th-century manuscript pagination: [S] 149–172; [A] 149–163; [B] 133–150•C3r.i.47–54: 16th-century inking, with ginger ink, of poorly impressed note-heads • K7r.iv.after rests after bar-line: erased high b flat

Binding: Modern slip-case • Fore-edges are coloured: Superius and Bassus are brown; Altus isgreen

Provenance: Martini • On the evidence of the manuscript pagination, this was originally to befound with the Bologna copy of La Rue's masses

Bibliography: Fenlon and Dalla Vecchia, Venezia, pp. 73–74 • Haberl, “Drucke”, p. 94 I-Fm, R.u.115 3. Bassus, complete

Size of page: 164×232 mm.

Watermarks: No.3 on J6, K3 and K6• No.5 on J8 and K1

Technical comments: The order of printing certain pairs of formes can be detected from theinking on some folios: J2v before J2r; J7r before J7v; J8v before J8r; perhaps K1v before K1r; probably K6v before K6r • K9r, the uninked staves used as furniture went through the press before the colophon, and were retained for K10r, as was the colophon, both uninked • The use of music sorts as bearers, revealed by blind impressions, is clear on folio J1r • Text spacing sorts: J8v.vi: 0.6 × 1.2 mm; K2v.ii: 0.6 × 4.1 mm: both seem to suggest that the edges of the sorts were higher, from the clearer inking • There is clear evidence of the text moving within the forme, probably during presswork, at the end of J8r.v

Corrections and changes:

In house: K3v: see above

Later: modern stamped foliation, b.r.r.:] 32–49

Binding: with the Petrucci edition of Agricola's masses (No.13) Provenance: From the Landau-Finaly collection

Bibliography: Damerini,Esposizione, pp. 25–26 (exhibition at Florence, 1949); Fanelli,Musica I-Mc, S.B.178/9a. Tenor and Bassus, complete

Page size: 169×134 and 169×135 mm.

Watermarks: No.3 on D7 and K8• No.5 on D6, E2, J5, J7 and K9

Technical comments: Many of the technical details, such as of blind impressions, are as in thecopy at I-Fm

Corrections and changes: In-house: D8r and J8v: see above

Later: Modern pencil foliation: 35–48 and 51–68•D1v.iii.28:col.lscratched void•D2v.v.2:mb → c', by a large circle in brown ink• D3v.v.before 34: a flat or signum •E3r.ii.5 back: sbc' colored in brown ink • E3r.iii.3: sba c' • K7r.iv.after rests after bar line: erased high b flat

(p.481) Binding: with Josquin,II Missarum(No.22)

Provenance: Mantua, Sta Barbara•perhaps Ferrara, the chapel of Cardinal Ippolito d'Este Bibliography: Damerini,Esposizione, pp. 25–26 (exhibition at Florence, 1949)•Lockwood, “Adrian”, p. 99 • Prizer, “Cappella”

p-Ln, Res.377. Superius and Tenor, lacking C8. Many pages have small patches on them, occasionallyobliterating some material

Page Size: 164×235 mm.

Watermarks: No.3 on A6, A8, C5, C7, D1 and E5•No.5 on B1, B5, C5 and D4 Technical Comments: C4v: row of notes used as bearers: reading from the right they begin

m,m,b,m,m,b, sb, m,m, etc. The same pattern may appear on A6r.vi • In many places, large pieces of furniture, marked with an X, have taken ink and impressed. See, for examples, A2r.v-vi; A3r.vi; A4r.v-vi, etc. • D6r.top margin: two furniture sorts, one certainly, and the other probably, 8.5 mm wide; both at least 2.5 mm high • Evidence of three impressions: D1v: the music indents more than the text, and text more than the staves: the music was last • Stave lengths are given in the commentary

Corrections and changes:

In-house: A5v, B3rand D8r: see above

Later: Early 16th-century foliation in the Tenor, t.r.r.:] [1], 2–7, [7a], 8–12, [13, torn cornerto the folio] • The masses are numbered in the inner margin of each partbook, in a 19th- century pencil • A2r.iii.above 24: brown ink custos, f” • A3r.iv.right end: patch where something has been removed, possibly in an attempt to change f b,fa • A4r.ii.41: g', msb: tail partly erased • A5v.iii.start: part of clef and first rests erased and redrawn in brown ink: the clef not changed, the two rests from imperfect l to perfect l • A7v.i.m.s.: line through the circle, in brown ink • D1v.iii.28: col.l scratched void • D1v.iii.m.s.: line through the circle, in brown ink • D2r.i.40: signum, in brown ink • D2r.iv.40 [ ₃ resolutio]: signum, in brown ink • D3v.v.above 35: a signum, in grey-brown ink • D8v.vi.after 45: rests sb, mb, sb,

Binding: Of the 19th or early 20th century•One paste-down with a conjugate, of patternedpaper, at each end. At the front there is also a leaf (probably of the 18th century), with watermark] A C G

Provenance: On A1rand D1r] de Alcobac¸a Gerez•D1r: the stamp of] LIVRARIA DE AL-CABACA • Front fly-leaf has a 19th-century note, signed] J de R • These books belonged to the Cistercian abbey of Alcobac¸a until the suppression of the monasteries in 1834

Bibliography: Stevenson, “Josquin”, p. 225

US-CA, Mus.786.2.501(2). Tenor, lacking E6 Page Size: 162×223 mm.

Watermarks: No.3 on E1• No.5 on D5 and D7

Technical comments: D6r, in top margin: two furniture sorts, one certainly, and the otherprobably, 8.5 mm wide: both at least 2.5 mm high • E5r: a line of minims used as bearers, at two pitches a fifth apart • There is clear evidence that this book was printed from three impressions: D1v: the music indents more than the text, and text more than the staves • D5v and D7r: text printed over the staves • Stave lengths are given in the commentary

Corrections and changes: In-house D8r: see above

Later: D1v.iii.28:col.lscratched void•D2r,lower outer corner: 3min manuscript•D8v.vi.after 45: rests sb, mb, sb, m, in ink

Binding and Provenance: With Josquin,III Missarum(1514, No.54)

(p.482) No. 4a. Cancel.

A single sheet, for F3–6

Signatures:] FIII [$4

Other bibliographical details as above

——

Extant copies:

D–B, Mus.ant.pract D224. For the rest of this copy, see above

Watermark: No.6 on F4–3

I-Bc, Q54. For the rest of this copy, see above Watermark: No.6 on F6–5

Textual comments: F4v.iii.end: text:] vtsuspra

Technical comments: Stave lengths here confirm a pattern of two sets of staves:

3r

4v

5r

6v

4r

3v

6r

5v

177

176

178

177

180

181

181

182

Lost copies: A copy was apparently once owned by Bottrigari, for Gaspari's transcription of his notesmentions the year. See chapter 20 • The copy cited in the catalogue of Joâo IV may be of a Venetian edition, or possibly from Petrucci's Fossombrone edition, but is more likely to have been printed by Pasoti and Dorico in Rome.

Early references: This is unlikely to be the edition referred to Gesner. Bernstein, “Gesner”, No.137, argues that the reference could be to the third book, and I suspect it to refer to the 1526 edition • Doni probably followed Gesner: see chapter 10.

Other editions: This title was reprinted more than once by Petrucci, beginning in 1506: see Nos.30and 62, below • It was further reprinted, from copies of one of the 1516 editions, by Pasoti and Dorico in 1526, RISM J669

Bibliography:

  1. (a) Rosaria Boccadifuoco, Biblbiografia, No.1192 • Sartori, Petrucci, No.4

  2. (d) This edition was used by Smijers for his collected Josquin edition • See also the New Josquin Edition

  3. (e) Elders, “Problème” • Haas, “Josquin” • Noble, “Petrucci” • Sartori, “Nuove”, p. 177 • Winterfeld, Gabrieli, i, p. 200 • See also the citations in chapter 14, for a ghost edition in the same year

Commentary:

1. The decision to launch into a volume of masses must have been a serious one for Petrucci. All three earlier volumes had been aimed at a similar market, but this represented a significant change. The implications are either that Petrucci or his partners believed that they could reach enough new purchasers, or that the book was promoted by an outsider. My reasons for believing the second to be the case are discussed in chapter 9.

2. The long gap between the previous book and this one was only partially filled by the cancel sheets for the Odhecaton A. No doubt, some of the delay was occasioned by the transition to partbooks, with the different approach to layout implied by the much longer individual movements.

(p.483) 3. Three impressions were certainly used for the first edition, and the staves were printed separately. In addition, the text printed over the staves on C4v and K5v was evidently not set in the same forme as the music.

4. Apparently Petrucci introduced a second set of staves during this edition. Although individual staves can be traced through the book (for example, the damaged stave-end on H3v.vi can be seen on other sheets), yet the pattern of stave lengths on J1–8 shows that different sets were in use:

1r

2v

7r

8v

2r

1v

8r

7v

3r

4v

5r

6v

4r

3v

6r

5v

D-B

177

178

176

177

177

178

176

177

178

178

177

178

177

178

177

I-Bc

176

174

176

175

176

175

176

174

177

174

176

173

176

174

175

I-Fm

175

174

173

174

175

175

173

173

175

173

173

173

174

175

173

Allowing for paper shrinkage, this shows different patterns in the different copies:

D-B

α

α

α

ß

I-Bc

ß

ß

ß

ß

I-Fm

α

α

ß

α

This evidence not only demonstrates that there was more than one set of staves: it also confirms that the staves cannot have been printed with either the text or the music. They were run off at a separate run, probably employing two presses at the same time.

There is similar evidence in the P-Ln copy of the higher partbooks, showing for example, the presence of one set in which one of the inner staves “2v” or “3r” was slightly longer:

1r

2v

7r

8v

2r

1v

8r

7v

3r

4v

5r

6v

4r

3v

6r

5v

A

178

177

177

177

177

178

176

178

178

177

176

178

178

177

177

B

177

177

178

177

177

176

178

177

177

177

176

177

178

178

178

177

C

176

178

178

-

177

177

176

177

177

177

178

177

178

176

D

177

178

176

176

177

178

176

176

178

177

177

177

177

178

176

E

176

177

177

176

177

176

177

176

177

178

177

These figures can be compared with those for the Tenor gathering D at US-CA, which also shows the same pattern, despite the slight changes in paper shrinkage:

D

-

177

177

176

177

177

178

177

176

177

177

176

176

177

177

176

5. The order of impressions can sometimes be detected: the evidence of D1v, in the copies at P-Ln and US-CA, argues that the music was printed first.

6. The changes made in-house to folio D8r suggest a concern, found elsewhere in Petrucci's early editions, for completing a tactus on one line, rather than breaking it up over two lines.

7. The large number of missing initial letters was a direct result of the fact that Petrucci had had only one copy cut for most of the alphabet. If this book were a special commission, as I propose, the lack may not have concerned the patron or recipients, for it would find analogies in both manuscript and printed books of the time. It is significant for my view that this book was commissioned that Petrucci did not order new initials in time for the volume of Obrecht's masses, six months later.

8. The cancel leaves are very crowded in places: it seems likely that something was omitted in the first printing, for which no copy of these pages survives.

9. The dating of the cancel sheet is briefly addressed in chapter 5. There it is pointed out that paper 6 was not used before the middle of 1503, with the edition of Brumel. The stave measurements show that two sets were used, and this confirms that the sheet was printed after the editions of Brumel and Ghiselin in 1503. Finally, the initial letters on this sheet first appear in the edition of Brumel: their condition implies that the sheet was printed even later, probably during November or December of 1503.

(p.484) 10. The stave lengths for this cancel, given above, show that Petrucci had not yet adopted the “work and turn” process that was soon to become normal in his house. Again, if the book were a special commission, there would have been no reason to adopt any labour-saving device in its preparation.

11. The relatively spacious layout adopted for this edition continues the pattern of the first editions of secular music. However, this was abandoned in the later editions of this title, as it was soon to be for other mass books.

No. 5. Odhecaton A

14.i.1502/3 RISM 15032

Second Edition

A1 r] Harmonice Musices | Odhecaton | A

N8 r] Impressum Uenetiis per Octauianum Petrutium Forosemp ronie n|sem 1502 die 14 Januari. CuӠ priuilegio inuictissimi Dominij | Uenetiarum q uae nullus possit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | Registrum ABCDEFGHJKLMN. Omnes quaterni. | [Petrucci's device]

A1 v] Octauianus Petrutius foro semproniensis Hieronymo Donato patricio |Veneto Felicitatem. [etc. For variants with the first edition, see below, under “Textual Comments”

A2 r] Bartholomæus Budrius Iustinopolita. Hieronymo donato patricio Veneto. S. [etc. For variants with the first edition, see below, under extual Comments?

A2 v The Tavola is again arranged in four columns. There are few textual changes, most changes being to the presentation. Thus, “Tintori5”and “Roynedefleur5”arespelledwiththefinal “5”whichPetrucci begins to employ more often, and other words (among them “regres”) end with the long “s” which was normally reserved for use within words. Both suggest that the fount had lost a number of sorts of the short “s”. More obviously, the Tavola largely uses roman numerals to identify folios (- with the exception of those in the last column, which are primarily in arabic form). There does not seem to be a consistent pattern to the decision whether or not to use romannumerals: mostnumbersabove70are in arabic, as are most of those in the 40s, but there are exceptions. Both pieces of evidence, however, suggest that the Tavola was set up in columns, rather than in lines.

Format and collation: Choirbook: landscape quarto-in-eights. 104 folios: A–N8

Signatures: A IIII [$4 •-A1, A2

Foliation: top centre recto:] [1–3], 4–24, [25, stamped in later in the corner], 26–30, [31, also later], 32–103, [104]. The two later numbers are in the same forme

No running heads • Composers' names and si placet instructions appear in the head line

Part-names:

recto:]

Altus Baſſus

[A4-B3, B5-F8, N1-N2, N5–6

Bassus Altus

[B4

Contra

[G1-M2, M4,6,8, N7

Tenor Contra

[M3,5,7

Contra Bassus

[N3–4

[Nil:

A1–3, N8

verso:]

Tenor

[A3–4,6, A8-M1, M3,5, M7-N6

Tenor Tenor

[A5,7

Tenor Contra

[M2,4,6

Tenor Altus Baſſus

[N7

[Nil:

A1–2, N8

(p.485)

Note that the group of changes in gathering M follows the pattern of formes: single page pieces, with the extra lay-out problems, are on M2 v-3 r, M4 v- 5r, and M6 v-7 r - the outer formes for each sheet.

Fonts: Music: Petrucci's normal music type

Staves: six per page. See the Commentary to this edition

Text: Rotonda, “20” = 78 mm, “x” = 2.0.mm, on A2 v • Roman, for A1 v-2 r only • Greek, on A2 r: a different fount from those found in the first and third editions

Textual comments: A1v: the following textual changes are made from the first edition: line 6: sanctiora → santiora • 10: numerosam → numerosa: • 10: malis → malis. • 11: celebramus: → celebramus. → 13: ui- | ros: → ui | ros • 13: destitisse → destitisse: • 14: imp rimis: → imprimis: • 21: inuitati: → inuitari:

A2r: the following textual changes are made from the first edition: 1: Bndrius → Budrius • 12: iam diu → iamdiu • 18: religione: → religio ne: • 21: dimittimus. → dimitimus.

A5r.ii.start: a different reading in this edition • B8 r/C1 r: in this edition, the end of the page comes at a different place in the music • G5 v. text: the first “e” in “regrets” is inverted • H5 r. text: the Contratenor incipit reads] Royne de flenrs [sic] • Opening initials are lacking on C6v [D, where a small initial is present, as part of the text incipit] and E8 v [N]

Technical comments: When parts continue from verso to recto, the indication is sometimes omitted: a cross on each page appears on L1v-2r and L7v-8r. There is no sign on G1v-2r, G7v-8r, H4v-5r, H8v-J1r, J8v-K1r, or L8v-M1r • B4r.i.35–36: this ligature looks rather as if it was poorly cast from two single sorts • The short staves that allowed space for the opening initials are not used in this edition

In-house corrections: D1r: folio number 25 stamped in later • D7r: folio number 31 stamped in later

Rubrics: N7r. below CT:] Canon Petrus ɿ Joannes currit Jn puncto

Contents: The last column gives the folio numbers to be found in the Tavols:

A1r

[Title]

A1v

[Dedication]

A2r

[Letter from Budrius]

A2v

[Tavola]

A3r

[blank staves]

1

A3v

AUe maria gratia plena

De orto

iiii

2

A4v

JE cuide sece tamps me dure

[Anon.]

v.

3

A5v

HOr oires vne chanzon

à5

[Anon.]

vi.

4

A6v

NUnqua fue pena maior

[Anon.]

vii

5

A7v

BRunette

Ӡ5 ex 4

Jo.Sthokem

viii

[Tav:] Brunetta

6

A8v

JAy pris amours

[Anon.]

viiii

[A,B:] De tous biens

7

B1v

NEnciozza mia

Japart

x

[Tav:] Lenzotta mia

8

B2v

JE ne fay plus

[Anon.]

xi

9

B3v

AMours amours

Hayne

xii

10

B4v

BErgerette sauoyene

Josquin

xiii

11

B5v

E Qui le dira

[Anon.]

xiiii

12

B6v

CEst mal charche

Agricola

xv

13

B7v

HElas que poura deuenir

Caron.

xvi

[Tav:] Caron.

14

B8v

ADiu mes amours

Josquin

xvii

[A,B,Tav:] Adieu …

15

C1v

POr quoy non

Pe.de la rue.

xviii

[Tav:] Pour quoy non

16

C2v

POr quoy iene puis dire

Jo.Sthokem.

19

[T:] Uray diu damours

xviiii.

[Tav:] Pour …

17

C3v

MOn mignault

[Anon.]

xx

[T, A:] Gratieuse

C4v

DIt le bourguygnon

[Anon.]

xxi

19

C5v

HElas ce nest pas sans rayson

.Sthokem

22.

20

C6v

De tous biens playne

[Anon.]

xxiii

21

C7v

JAy pris amours

Japart.

24

[Tav:] Japart

22

C8v

SE congie pris

Japart.

xxv.

[Tav:] Japart

23

D1v

AMours amours

Japart

xxvi

24

D2v

CEla sans plus

[Anon.]

xxvii.

25

D3v

ROmpeltier

[Anon.]

xxviii

[Tav:] Ronpeltier

26

D4v

ALons ferons barbe

Compere

xxviiii

27

D5v

TMeiskin

[Anon.]

30.

[Tav:] Tmeskin uas iunch

28

D6v

VNg franc archier

Comper [sic]

xxxi

29

D7v

LO seray dire

[Anon.]

xxxii

[Tav:] Lo seraie dire

30

D8v

HElas que il est amongre

Japart

xxxiii

31

E1v

AMor fait mult tant que argen dure

[Anon.]

xxxiiii

[T:] Il est de bonne heure ne

[B:] Tant que nostre argent dure

32

E2v

NOstre cambriere si malade estoit

[Anon.]

xxxv

33

E3v

ACordes moy ceque yepensse

[Anon.]

xxxvi

34

E4v

TAn bien mison pensa

Japart

xxxvii

[Tav:] … mi sun

35

E5v

LE seruiteur

[Anon.]

xxxviii

36

E6v

JAmes iames iames

[Anon.]

xxxviiii

37

E8v

[N]Ous sommes de lordre de saynt babuyn

Compere

41

38

F2v

JE nay dueul

Agricola

xxxxiii

39

F4v

JAy prius amours tout au rebours

Busnoys:

45.

[Tav:] Jay pris amours

[Tav:] Busnois

40

F5v

HElogeron nous

[Anon.]

46.

41

F6v

VOstre bargerenette

Compere.

47

[Tav:] Vostre bargeronette

42

F7v

JE ne demande aultre de gre

Busnoys.

48.

43

F8v

PEnsif mari

à3

Ja.Tadinghen

49.

44

G1v

LA morra

à3

Yzac

50

45

G2v

ME doibt

à3

Compere.

51.

46

G3v

MAle bouche

à3

Compere.

lii

[T:] Circundederunt me

47

G4v

LHome banni

à3

Agricola

liii

48

G5v

ALes regrets

à3

Agricola

liiii

[Tav] Ales regres

49

G6v

LA stangetta

à3

[Anon.]

lv.

50

G7v

HElas

à3

Yzac

lvi

51

G8v

SE mieulx

à3

Compere

57.

52

H1v

HElas

à3

Tintoris.

lviii

53

H2v

VEnis regrets

à3

Compere

lviiii

54

H3v

MA bouche rit

à3

Okenghem

60.

55

H4v

ROyne de fleurs

à3

Alexander

lxi

56

H5v

SI dedero

à3

Alexander

62.

57

H6v

ALes regres

à3

Hayne

lxiii

58

H7v

GArisses moy

à3

Compere.

lxiiii

59

H8v

MEs pensees

à3

Compere.

lxv

60

J1v

FOrtuna per ta crudelte

à3

Uincinet

lxvi

61

J2v

CEla sans plus

à3

Josquin

lxvii

62

J3v

MAter patris

à3

Brunel

68.

63

J4v

MAlor me bat

à3

Okenghen:

69.

64

J5v

LA plus des plus

à3

Josquin

70.

65

J6v

ALes mon cor

à3

Alexander

71.

66

J7v

MAdame helas

à3

[Anon.]

72.

67

J8v

LE corps

à3

Compere

73.

[CT:] Corpusque meum licet

68

K1v

TAnt ha bo[n] oeul

à3

Compere

74.

69

K2v

TAnder naken

à3

Obreht

75.

70

K4v

SI a tort on ma blamee

à3

[Anon.]

77.

71

K5v

LEs grans regres

à3

[Anon.]

78.

[Tav:] Le grans regres

72

K6v

ESt possible que lhome peult

à3

[Anon.]

lxxviiii

[Tav:] Est il possible

73

K7v

DE tous biens

à3

Pe.bourdon

lxxx.

[Tav:] bourdon

74

K8v

FOrtuna dum gran tempo

à3

[Anon.]

81.

[Tav:] Fortuoa dun. . . [sic]

75

L1v

CRions nouel

à3

Agricola

82.

76

L2v

BEnedictus

à3

Jzac

83.

[Tav:] Yzac

77

L3v

LE renuoy

à3

Compere.

84.

78

L4v

O Uenus bant

à3

Josquin

85.

79

L5v

MA seule dame

à3

[anon.]

86.

80

L7v

LA alfonsina

à3

Jo.ghiselin:

88

81

L8v

LE eure e venue

à3

Agricola

89

[CT:] Circundederunt

82

M1v

PUis que de vous

à3

[Anon.]

90.

83

M2v

MOn souenir

à3

[Anon.]

91.

[Tav:] Mon souunir [sic]

84

M3r

ROyne du ciel

à3

Comper e

91.

[CT:] Regina celi

85

M3v

MArguerite

à3

[Anon.]

92.

[Tav:] Margaritte

86

M4v

HAtraytre amours

à3

Jo.stoken

93

[S:] Harraytre amours

87

M5r

MAis que ce fust

à3

Compere

93.

88

M5v

VEnus tu ma pris

à3

De Orto

94.

89

M6v

DIsant adiu madame

à3

[Anon.]

94.

[recte 95]

90

M7r

GEntil prince

à3

[Anon.]

95.

91

M7v

JAy bien ahuer

à3

Agricola

lxxxxvi

[CT:] Jay bien ahner [sic]

92

M8v

TSat een meskin

Obreht.

97.

93

N2v

ALa audienche

Hayne

99.

94

N4v

LAtura tu.

[Anon.]

101.

95

N6v

DE tous biens playne

à4 ex 3

[Anon.]

103

[Tav:] Josquin

96

N7v

MEskin es hu

[Anon.]

103.

N8r

[Colophon; Register; Device]

N8v

[blank]

(p.486) (p.487)

(p.488) Extant copies:

The copy listed in Vogel, Bibliografia, at I-TVcap as being of this edition is in fact off the third (No.14)

E–Sc, 12–1–29. Complete

Size of page: 234 × 165 mm.

Watermarks: No.3 on B1, B6, C1, C3, D4, E3, E7, F5, G7, H2, J8, L6 and M1 • No.5 on A2, A6, D8, F1, G5, H3, J5, K1, K3, L8, M3 and N2 • In one or two cases (D8 and M1, in particular), it is difficult to determine which of the two marks is represented

Technical comments: Text spacing sorts appear on A1 v. i. near end, measuring 3.2 × 0.5 mm; and on A2r, at the end of the page, measuring 4.0 × 0.6 mm • It is evident that Petrucci was still using three impressions: see, for example, the various inkings on B2v, F2v or F7v • There are many traces of the large pieces of furniture with an x-shaped design on the face: see, for example, D3v, E4r, E4v, E7v, E8r, F3v, G3r, G4r, L1r or M2r. The frequency of this suggests either an over-zealous inking, or poor cleaning of the forme between impressions. Given other evidence, I lean toward the latter • L5r.iii: the stave is present in blind for its whole length. It has taken hardly any ink

Corrections and Changes: In-house: see above

(p.489) Later: B6r.i.45: smcolsb, by erasing the tail • C6v. ii.custos: a → b, by erasing the head, and redrawing it, using a black ink

Binding: “encuadernación de la época en madera recubierta de piel negra repujada” (Anglés “Colombina”, p. 26, No.82). Leather-covered double-thickness boards, each with two panels within a floral border. Fittings for four clasps on each board. Rebacked • One paste-down and two flyleaves, of wove paper, at each end. Also at each end a fly-leaf of earlier paper, with a watermark of a gauntlet with a letter A in the palm and a flower above

Provenance: Has various call numbers associated with the Colombina collections: on A1r: 3049 [struck through and replaced by] 3051 [. Also] 6856 [and] 104 [and] C … GG … Tab. 175 … No … 12 [with the last numeral struck through and replaced by 30 • On the old fly-leaf: the call number 12 … 1 … 29 [and] Harmonice Musices Hyeronymi Donati. [with the name struck through, and replaced by] Petri Castellani • From the collection of Colón. Chapman believes that Colón bought this copy in Venice, in 1530

Bibliography: Anglés, “Colombina”, No.82 • Arboli y Farando, Biblioteca, ii, pp. 51–52 • Chapman, “Printed”, No.1

I-Bc, Q51. Five sheets only: B1–8, L3–6, and M1–8, lacking M8. These sheets form part of the copy of the first edition at I-Bc: for other details, see that copy (No.1), issued in 1501, above

Size of page: 164 × 237 mm.

Watermarks: No.3 on B2, B3 and M3: No. 5 on L4

US-NYp, Mus.Res.*MN/P497. Only one sheet, F1–2, 7–8. This forms part of a complete copy, described here under edition three (No.14), below

Page size: 162 × 221 mm.

Watermark: No.3 on F2

Lost copies: A copy was apparently once owned by Bottrigari. See chapter 20.

Early references: Zacconi, Prattica di Musica, f.84r • In addition, a number of the references cited under the first edition (No.1, above) might well be to this edition

Other editions: First edition: 1501 (No.1) • third edition: 1504 (No.14)

Bibliography:

In addition to the citations under entry No.1, see the following:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No.1729 (dated 1502) • Sartori, Petrucci No.5 • Brown, Instrumental, 15031 • Vogel, Bibliografia, 1503a

  2. (e) Hewitt, Odhecaton, pp. 6–8 • Jeppesen, “Neuentdeckten” • Marix, “Odhecaton” • Reese, “First” • Trend, “Musikschätze”, p. 503

Commentary:

  1. 1. The stave lengths and the reappearance of specific individual staves, taken together, imply that staves were kept in the forme from one sheet to the next, but that Petrucci only ran off enough paper for a few gatherings at a time. After each session, he seems to have dismantled the forme, since new patterns seem to emerge every few sheets. Thus the staves on the versos of A5–8 and B5 seem to be identical, as do those on the rectos of F1–4 and G1–2. In these cases, it seems that only one forme of staves was in use: the same may be true for the versos of J5–8, K5–8 and L6–8, or the rectos of J5–8, or of L3–4, M1 and M3–4. The figures that follow (from the copy at E-Sc), therefore, provide as much information on paper shrinkage as they do on the retention of (p.490) staves from forme to forme. (The two columns of single numbers indicate the papers for each sheet.)

    1r

    2v

    7r

    8v

    2r

    1v

    8r

    7v

    3r

    4v

    5r

    6v

    4r

    3v

    6r

    5v

    A

    5

    -

    -

    177

    175

    -

    -

    177

    176

    5

    176

    177

    178

    177

    177

    177

    177

    176

    B

    3

    177

    178

    178

    177

    176

    178

    178

    178

    3

    176

    176

    177

    176

    175

    177

    177

    176

    C

    3

    176

    177

    177

    176

    176

    177

    177

    176

    3

    177

    177

    177

    177

    176

    177

    177

    177

    D

    5

    176

    177

    177

    176

    176

    176

    178

    176

    3

    176

    177

    177

    176

    177

    177

    177

    176

    E

    3

    176

    177

    178

    176

    176

    177

    178

    176

    3

    176

    178

    177

    177

    177

    177

    177

    177

    F

    5

    177

    177

    178

    176

    176

    177

    178

    177

    3

    176

    177

    177

    176

    176

    177

    178

    176

    G

    3

    176

    177

    177

    176

    176

    177

    178

    177

    5

    177

    176

    178

    176

    176

    177

    178

    177

    H

    3

    176

    177

    177

    176

    176

    177

    177

    176

    5

    176

    177

    176

    176

    176

    176

    177

    176

    J

    3

    176

    177

    177

    176

    177

    176

    177

    176

    5

    176

    177

    177

    176

    176

    177

    177

    176

    K

    5

    177

    177

    [-]

    176

    177

    177

    176

    [-]

    5

    176

    177

    177

    175

    176

    176

    176

    176

    L

    5

    177

    177

    178

    175

    176

    177

    177

    175

    3

    176

    177

    177

    176

    176

    177

    177

    176

    M

    3

    177

    178

    178

    177

    177

    177

    178

    177

    5

    176

    176

    175

    176

    176

    177

    177

    176

    N

    5

    176

    177

    177

    -

    176

    177

    -

    176

    5

    176

    177

    177

    176

    176

    177

    177

    176

    Taken with the watermark evidence, this pattern might seem to suggest that there were two stages of printing the book, one exclusively on paper with watermark 3, and one with a mix of staves and watermark 5. However, there is no other evidence arguing against a single printing of all the surviving sheets. Secondly, the few sheets that survive in more than one copy do not always have the same mark. (Since these two marks are hardly to be distinguished, and may well have travelled together, this is not surprising.) Further, Petrucci already seems to have had more than one set of staves when printing the previous edition, the first of Josquin's masses. It is more likely therefore that this evidence represents only different stages of printing the staves, associated with the printing of the other material.

  2. 2. The same evidence does confirm that Petrucci was still using three impressions.

  3. 3. The Greek font used in this volume, on A2r, is different from that in the other two editions. It appears, as one would expect, that Petrucci borrowed the font from another printer. The typesetter apparently set up the Latin text of the rest of the page, leaving a space into which the Greek was to be fitted. The space is the same length in all three editions.

  4. 4. Some pieces of evidence suggest that more than one typesetter worked on this book. There is the pattern of layout of parts in gathering M; the two omitted folio numbers in gathering D; and the omission of signs for parts continuing from verso to recto. None of this is enough to prove the case, either way, though it is suggestive.

  5. 5. The two missing initials are both the result of necessity: in each case (C6v and E8v), the same initial had been required earlier in the same forme. Petrucci still had not made plans to order any further initials.

  6. 6. There are several changes of authorship between this and the first edition, which have been noted elsewhere (Hewitt, Odhecaton, p. 8; Sartori, Petrucci, p. 53):

    FIRST EDITION

    SECOND EDITION

    25

    D3v

    ROmpeltier

    Ja.Obreht

    [Anon.]

    27

    D5v

    TMeiskin

    Jsac

    [Anon.]

    35

    E5v

    LE seruiteur

    Busnoys

    [Anon.]

    49

    G6v

    LA stangetta

    Uuerbech

    [Anon.]

    66

    J7v

    MAdame helas

    Josquin

    [Anon.]

    74

    K8v

    FOrtuna dum gran tempo

    Josquin

    [Anon.]

    All these changes suggest what Petrucci (or Castellanus) wanted his readers to believe: that he (p.491) was taking care to assign correct and full authorship details wherever possible. This relates to the Letter that he would add in the first books of transcriptions by Spinacino (see chapter 8 above).

    The list given by Sartori is longer than necessary, for it includes works which were on the lost folios of the Bologna copy: for all these, the index happens not to give an author. They are the following:

    First edition: Tavola

    Second edition

    30

    D8v

    HElas que il est amongre

    [Anon.]

    Japart

    44

    G1v

    LA morra

    [Anon.]

    Yzac

    45

    G2v

    ME doibt

    [Anon.]

    Compere.

    59

    H8v

    MEs pensees

    [Anon.]

    Compere.

    92

    M8v

    TSat een meskin

    [Anon.]

    Obreht

    93

    N2v

    ALa audienche

    [Anon.]

    Hayne.

    Given the points that I have made above (in the discussion of the first edition) about the patterns of ascribing pieces to composers in the index to this volume, there is no reason to believe that these would have been treated differently in the different editions.

No. 6A. Obrecht: Misse

24.iii.1503 RISM O7

There is a cancel for the outer sheet of gathering A

Edition

A1r] Misse obreht. | Je ne demande. |Grecorum. | Fortuna desperata. |Malheurmebat. |Salue diua parens. | S

D1r] T

F1r] A

J1r] B

L3r] Impre ssum Uenetijs per Octauianum Petrutium Forosempronien|sem 1503 die 24 Martii. CuƷ priuilegio inuictissimi Dominij | Uenetiarum quae nullus possit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | Registrum ABDFGJK Quaterni EH Terni CL Duerni | [Petrucci's device]

Format and collation: Part-books: landscape quarto-in-eights. [S] 20 folios: A-B8C4; [T] 14 folios: D8E6; [A] 22 folios: F-G8H6; [B] 20 folios: JK8L4

Signatures:] A 2 [$4 • - A1, C3, C4, D1, D4, H4, L1, L2 • + F1 and J1

Foliation: t.r.r:] [S] [1], 2–4, 6 [recte 5], 6–18, [19–20]; [T] 21–26, 28–29 [recte 27–28], 29–33, [34]; [A] 35, [36], 37–56; [B] 57–74, [75–76] • This includes a correction from 25 to 21, 31 to 29 [recte 28], and 36 to 35: the patterns are given below • In addition, some folio numbers were probably usually present, but very poorly inked, perhaps because they sat very low in the forme. The numbers 19 and 20 are present in the copy at B-Br: the number 34 is barely visible in the same copy, and is present in that at D-B

No running heads or part-names

Fonts: Music: Petrucci's normal music type

(p.492) Staves: Six per page, 176 mm long, 10–92–112 mm high Text: Rotonda • Roman for dates in the colophon

Textual comments: A8r. ii. text:] Plni • G1r.i.text: Agnns dei

Technical comments: The book uses only one block for each initial, with the exception of an occasional type-letter. This results in many blank spaces where initials should have been used to open movements • E6r: the music of E5r was used as furniture for this page, and has shown in blind on the copies at D-B, D-Mbs, and I-Bc

In-house corrections: B4r. signature: stamped in later: all copies • B8r.iv.41–42: smb',sma' → sma',smb': the note-heads erased and two colored sb stamped in D-Mbs and I-Bc; as a stop-press correction in D-B • D1r.folio number: 25 → 21: the original number is in the copy at I-Mc: the change is in manuscript in the copies at D-B and I-Bc, and by stop-press correction in the copies at A-GÜ, A-Wn and B-Br D4.iii.16: e' c': a stop-press correction: D-B; partly erased and stamped-in: A-Wn; unchanged: D-Mbs • D8r.folio number: 31 → 29 by stop-press correction: the original number: I-Mc, and also D-Mbs, with the correct number 28 stamped over it; stop-press correction: A-GÜ, A-Wn, B-Br, D-B, and I-Bc F1.folio number: 36 in B-Br, D-Mbs, and I-Bc: corrected by a stop-press change to 35 in the copies at A-Wn, D-B • J1v.iv.last m: d → e, note head erased and a new sb stamped in: D-B, D-Mbs, I-Bc, and I-Mc • J4r.vi.last l: A → c, erased and stamped in: B-Br, D-B, D-Mbs, I-Bc, and I-Mc • L1v.ii.29: smm, by erasure of the tail in the copy at D-Mbs; by a stop-press change in the copies at D-B and I-Bc

Contents

A1r

D1r

F1r

J1r

[Title]

1

A1v

D1v

F1v

J1v

Obreh.t super Jene demande.

A1v.iv

D1v.iv

F1v.v

J1v.vi

[Gloria]

A3r

D2r

F2v.iii

J2v.iii

[Credo]

A4r.v

D2v

F4r

J3v.v

[Sanctus]

A5r.iv

D2v.i

F5r

J4v

[Agnus]

2

A6r.ii

D3r.v

F6r

J5r

Jaco: Obreht [T:] Grecorum

A6r.v

D3v.iii

F6v

J5r.v

[Gloria]

A7r.ii

D4r.ii

F7r.ii

J6v

[Credo]

A7v.vi

D4v.ii

F8r

J6v.vi

[Sanctus]

A8v.iv

D4v.iv

G1r

J7v.ii

[Agnus]

3

B1r.iii

D5r.iii

G1v

J8r.ii

Jacobus | obreht

[T:] fortuna desperata:

B1v.iii

D5r.vi

G2r.ii

J8v.ii

[Gloria]

B2v

D5v.iv

G2v.v

K1v.ii

[Credo]

B3r.iv

D6r

G3v.iii

K2r.iii

[Sanctus]

B4r

D6v

G4v.iii

K3r

[Agnus]

4

B4v.iii

D7r

G5v.iv

K4r

Ja.obreht super Malheur me bat:

B4v.vi

D7v

G6r.iii

K4r.v

[Gloria]

B5r.v

D8v

G7r

K5r.ii

[Credo]

B5v.iii

E1v

G8r

K6r

[Sanctus]

B5v.vi

E2r.iii

G8v.iii

K6v.iii

[Agnus]

5

B6v

E3r

H1v

K7r.iv

Ja.obreht. super salue diua parens

B6v.vi

E3r.v

H2r

K7v.ii

[Gloria]

B8r.i

E4r

H3r

K8r.v

[Credo]

C1r.i

E4v.iv

H4r

L1r.v

[Sanctus]

C2r.iii

E5v

H5r.iii

L2r.iii

[Agnus]

L3r

[Colophon; Register; Device]

C3r

[blank]

C3v-4r

E6r

H6r

L3v-4r

[blank staves]

C4v

E6v

H6v

L4v

[blank]

(p.493) Existing copies:

A-GÜ, s.s. Tenor, lacking folios D4, D5 and E6. The top outer corner of E5 has been cut away, to remove the initial letter on the verso.

Size of page: 165 × 235 mm.

Watermarks: No.5 on D3, D7 and E3

Corrections and changes:

In-house: D1r and D8r: see above

Later: D1r: signature in manuscript

Binding and Provenance: With Josquin, II Missarum (1515, No.59)

Bibliography: Federhofer, “Petrucci”

A-Wn, SA.77.C.13. Three complete parts, lacking the Bassus

Size of page: 162 × 229 mm.

Watermarks: No.3 on A6, C3, F2, F4, G6, and H2 • No.5 on A8, B5, B8, D5, D8, E5, G8, and H3

Corrections and changes:

In-house: B4r, D1r, D4r, D8r and F1r: see above

Later: manuscript numbering of movements:] 240–264 [in brown ink • Binder's marks on A1r

• D1r: manuscript signature added

Binding: Of the Austrian National Library

Provenance: From the later numbering, originally bound with Josquin, Misse (1506, No.30)

B-Br, Fétis 1639 A. Complete, except for folio H6, blank. For the cancel sheet, the outer of gathering

A, see below • This copy seems to have been cleaned, and in-house corrections largely removed.

Size of page: 158 × 228 mm.

Watermarks: No.3 on A6, B1, B3, C2 and D6 • No.5 on D2, E6, F2, F4, G1, G3, H4, J3, J7, K2, K4, and L4 • These are not very clear, and it is possible that some could be changed from 3 to 5 or vice-versa

Textual comments: L1r: signature lacking

Corrections and changes:

In-house: B4r, D1r, D8r and J4r: see above

Later: Manuscript foliation: [S:] 53–72 [including the cancel]; [T:] 37–40; [A:] 90–100, 111, 102–110, [111]; [B:] 47–65. Coupled with this, the printed numbers have been struck through in all but the Altus book, in a light brown ink • D2r: some touching-up of the notation in brown

Binding: Now in four mid-19th-century bindings of leather over boards. Each book has a red marker ribbon. The four books slip into a spine sleeve, with a label, which seems to be of an earlier date in the 19th century. The whole is now kept in a green slip-case • Marbled paste-downs conjugate with single flyleaves at each end. The fly-leaf is glued to the outer of two paper flyleaves: the inner paper fly-leaf at the front of the Cantus book has a mark reading] L & C 1857

(p.494) Provenance: Probably the Gaspari copy, probably bought by Fétis in Paris. • A recent owner has been a very heavy smoker • The set probably belonged with the copy of Brumel's masses, now in B-Bc, given the early foliation

Bibliography: Fétis, Biographie, vii, p. 14 • Potier, “Gaspari”, p. 24

D-B, Mus.ant.pract.O40. Complete

Size of page: 173 × 242 mm.

Watermarks: No.5 on A2, A5, B5, B8, C2, D1, D4, E2, F2, F6, G2, G5, H1, H4, J4, J8, K5, K8 and L1

Textual comments: Apparent corrections on folios D3v and D7r appear to be stains or defects in the paper.

Technical comments: D2r.ii.text: a spacing sort, measuring 4.8 × 0.6 mm • E6r.iii: music from E5r.iii was used as bearer sorts, and has printed in blind

Corrections and changes:

In-house: B4r, B8r, D1r, D4r, D8r, F1r, J1v, J4r, and L1v: see above

Later: A6r.above ii:] Jaco: Obreht [in manuscript • D1r:] Misse hobrecht [in manuscript • D1r: signature added in manuscript • F1r:] Misse hobrecht [in manuscript • G7v.iii.38: now gb: it may have had a short tail erased • J1r:] Misse hobrecht [in manuscript • L1v.ii.33: msm, in brown ink

Binding: 19th-century white leather with a gold serpentine rule as a border • One paste-down and one fly-leaf at each end of each book

Provenance: The additions on the title page seem to be in the same style as those in the Berlin copy of Josquin's first book

D-Mbs, 4o.Mus.pr.160/1. Complete

Size of page: 165 × 235–237 mm.

Watermarks:

A3

A8

B1

B4

C3

D2

D5

E3

E6

F4

F8

G4

G8

H5

J4

J8

K6

K8

L1

5

3

3

4

5

5

5

5

5

5

5

5

5

5

5

5

5

5

4

Technical comments: The music of some pages can be shown to have been printed before that of their versos: F8v before F8r; G8r before G8v; H1r before H1v

Corrections and changes:

In-house: B4r, B8r, D1r, D8r, F1r, J1v, J4r, and L1v: see above

Later: D1v: manuscript signature • D2v.vi.after 43: erased p.d. • H6r: later manuscript music, probably 16th-century, headed] Fuga • L1v.ii.33: msm, in brown ink • L3r.text: the word] pronien is expanded, above the abbreviation

Binding and Provenance: With I Missarum diversorum auctorum (1508, No.43)

I-Bc, Q.55. Complete • The Altus comes from a different set than the other books

Page size: Altus: 167 × 240 mm.; the other books: 162 × 240 mm.

A5

A8

B6

B8

C3

D1

D5

E1

F1

F4

G2

G5

H4

H6

J3

J8

K6

K7

L4

3

4

3

3

5

3

5

5

5

4

3

5

5

5

5

5

5

5

4

Technical comments: E6r: the music of E5r is used as bearer sorts for this folio

Corrections and changes:

In-house: B4r, B8r, D1r, D8r, F1r, J1v, J4r, and L1v: see above

Later: A2r-B1r: the folio numbers are erased. Manuscript foliation: [S] 94–113, [T] 60–73, [A] 51–72, [B] 80–99 • D1r: signature added in manuscript

Binding: Modern slip-case and folder • Fore-edges painted in gold (S, T, B) or green, perhaps originally gilded (A)

(p.495) Provenance: Martini • On the evidence of the manuscript pagination, this was originally to be found with the Bologna copy of Agricola's masses

Bibliography: This copy is cited in Martini's letters to Chiti of 7.v.1746 and 22.vii.1746. See Schnoebelen, Padre, Nos.1245 and 1250, pp. 144–145

I-Mc, S.B.178/6. Tenor and Bassus, complete

Page size: 169 × 234; 169 × 235 mm.

Watermarks:

D1

D6

E4

E5

J5

J7

K4

K8

L1

5

3

5

5

5

5

5

5

5

Textual comments:

Technical comments: D2v: the text on the staves was printed with the music • D5r.vi.end: partially inked] Verte folium [apparently retained in the forme from D6r

Corrections and changes:

In-house: J1v and J4r: see above

Later: modern pencil foliation: 1–14, and 1–20 • D1r: manuscript signature • L1v.ii.33: msm, filled in, in brown ink

Binding: with Josquin, II Missarum (No.22)

Provenance: Mantua, Sta Barbara • perhaps Ferrara, the chapel of Cardinal Ippolito d'Este

Bibliography: Exhibited in Florence in 1949. Damerini, “Esposizione”, p. 25

No. 6a. Cancel sheet

One copy exists of a cancel for A1, 2, 7, 8

A1 r] Misse obreht. | Je ne demande. | Grecorum. | Fortune desperata. | Mal heur me bact. | Salue diua parens. | S

This sheet has been reset throughout: other details correspond to those of the edition, described above

Existing copy:

B-Br, Fétis 1639 A. For the rest of this copy, see above

Watermark: No.3 on A2

Textual comment: The head-line for A1v reads] .Obreht super Jenedemande.

Lost copies: A copy was apparently once owned by Bottrigari. Gaspari, in transcribing Bottrigari's notes on his copies of Petrucci's editions, cites this edition • Colün owned a copy, bought in Milan in 1531 (Chapman, “Printed”, No.2) • A volume of Masses labelled “De Obrehet.”, and No.247, is cited in the library of Joào IV (Sampaio Ribeiro, Livraria, p. 50). It is more likely that this is of the Petrucci edition than that it is of the undated edition published by Mewes in Basel (for which, see Lodes, “Anderen”)

Early references: Gesner, as cited in chapter 20

Bibliography:

  1. (a) Sartori, Petrucci, No.6

  2. (c) Obrecht, Misse

  3. (d) Obrecht, Werken, i; Obrecht, Opera Omnia, i, fasc.1–5

  4. (e) Noblitt, “Problems” • Sartori, “Nuove”, p. 177

(p.496) Commentary:

  1. 1. The gathering structure for the Superius is a little strange. Given that the last two folios, C3–4, are completely blank, it would have been possible to print the book as two gatherings, A8B10. This would be the normal practice elsewhere in Petrucci's output. The evidence is that Petrucci was not yet casting off his material. Thus he did not know, as late as starting B5r, just how much space the rest of the music would take. This is supported by the frequency with which new masses (and not merely new movements) begin part way down a page.

  2. 2. The unwanted inking of the phrase] Verte folium [on D5r also argues that the music, at least, was set sequentially in the Tenor book.

  3. 3. The absence of so many initials follows the pattern of the first edition of Josquin's masses, of six months earlier: in that description, I suggest that the Obrecht book had not yet been planned, supporting the argument of chapter 9. However, this edition seems to have persuaded Petrucci that he had to own more than one copy of many letters, particularly if he were to continue publishing books of mass settings. Certainly, he had enough by the time of the Misse Brumel, dated only three months later.

  4. 4. It is not clear that the cancel is to be found in the Brussels copy, rather than in all the others. The Brussels title page has a unique spelling of the fourth mass, while the other copies have an anomalous head-line on A1v. However, since the typographical material seems to be in the same state for both copies, the cancel will have been printed immediately after the edition, at the very end of March or the beginning of April.

No. 7. Motetti B

10.v.1503 RISM 15031

There appears to be only one printing of this edition: however, see the remarks about gathering H, in the comments, below.

A1r] Motetti De passione De cruce De sacramento | De beata virgine et huiusmodi. | B

J8r] Impre ssum Venetijs per Octauianum Petrutiuᾷ Forosempronien|sem 1503 die 10 Maij. Cum priuilegio inuictissimi Dominij | Uenetiarum quae nullus possit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | Registrum ABCDEFGHJ Omnes quaterni | [Petrucci's device]

A1v]

Aue verum Josquin.

18

Aue domina.

36

Aue verum corpus Gaspar.

43

Aspice domine

45

Anima xpi.

46

Aue verum Gregoire.

56

Adoro te.

57

Aue maria Regis

60

Aue pulcherrima

61

Aue decus.

63

Aue maria Crispini

65

Domine non secunduӠ Deorto

22

Domine non secunduӠ Uaqueras

25

Domine non secunduӠJosquin

28

Gaude virgo.

66

Hec est illa.

64

Lauda syon.

38

OfficiuӠ de passione Josquin.

3

OfficiuӠ de cruce Compere

47

Parce domine Obreht

34

Pange lingua.

35

Parce domine Franci

37

Panis angelicus

42

Quis dabit.

70

SecunduӠ multitudinem

15

Sancta maria

62

Salue regina.

68

Tenebre.

17

Tulerunt dominum meuӠ

31

Tu solus Josquin.

58

(p.497) Format and collation: Choirbook: landscape quarto-in-eights. 72 folios: A–J8

Signatures:] AA II [$4 •- A1

Foliation: top right recto:] [1–2], 3–27, 28 (as stamped-in addition), 29–71, [72] No running head-lines

Part-names: in left margins reading verticallu from top to bottom:

recto:]

Tenor Altus Bassus

[A2

Altus Bassus

[A3-C1, C4-D1, D3-F3, F5-H2, H6-J2, J4, J6–7

Tenor

[C2–3, H5

Bassus

[D2 (Altus omitted)

[Nil:

F4, H3–4, J3, J5

verso:]

Tenor

[A2-B8, C3-F2, F4-H1, H5-J1, J3, J5–6

Contra

[C1–2, H4

Tenor Bassus

[D1

Bassus

[H3

[Nil:

F3, H2, J2, J4, J7

It is probable that some of these represent errors in inking or typesetting, rather than deliberate changes of pattern • J2v-3r and J4v-5r both have small type initials, acting like guide letters for illuminators

Fonts: Music: Petrucci's music type

Staves: Six per page: 173–175 mm long, 10–91–111.5 high

Text: Rotonda, used throughout: “20” × 77 mm • Roman, used for numerals in the colophon

The rotonda text fount includes the symbols for the abbreviated forms of tur (G2v, G3r, J6r), l with a line through it (H4r), and v with the line (virgo, H4v) • Brief counts of the appearance of some ligatures in the first gatherings reveals minimum numbers for different sorts of c.o.p. ligature: ascending 2nd: 34; ascending 3rd: 8; ascending 4th: 9; descending 2nd: 17; descending 3rd: 9

Textual comments: F1v.caption] Terminu3 [has the first “m” inverted: GB-Lbl, H-Bn • F3v-F4r: (p.498) the part names are lacking: F-Pn, GB-Lbl • H2v-H3r: the part names are lacking: F-Pn, GB-Lbl • No capital initial on H4r[A] • J2v-J3r: the part names are lacking: F-Pn, GB-Lbl • J4v-J5r: the part names are lacking: GB-Lbl

Technical comments: A3r.iv.10: the chord of a colb and a void b is printed from one impression: see the alignment of the individual components • G2v.i.text: after the word] tertiarum [there is an extraneous letter R on its side, apparently used as spacing, visible in the copies at GB-Lbl and H-Bn • H4r.i and H4v.i: space left for a large initial letter. The occurrence on H4r is rather problematic, for the Altus is not usually given a large capital. This opening contains music à3, and perhaps the typesetter decided that a large initial was therefore needed for the Tenor voice • There seem to have been only one forme of staves throughout: the evidence is most clear in the copy at GB-Lbl • Petrucci is still printing with three impressions: the distance of staves from text is very variable, when the same page in the copies at F-Pc and GB-Lbl is compared

In-house corrections:

Stop-press: A2r.folio number: added to I-Bc • D8r.folio number: 31 (GB-Lbl) → 32 (other copies)

Contents:

A1r

[Title]

A1v

[Tavola]

1

A2r

Non lotis manibus

Crispin

[Not in the Tavola.]

2

A2v

O Domine Jesu xpe … pendenteӠ

Josquin

[Tavola:] Officium de passione

A3v

2/ O domine … in cruce

A4v

3/ O domine … in sepulcro

A5v

4/ O domine … pastor bone

A6v

5/ O domine … propter illam

3

A7v

QUi velatus facie fuisti

Josquin

[Not in the Tavola]

A8v

2/ Hora que ductus

B1v

3/ In flageli5 potum felli5

B1v.ii

4/ Honor Ӡ benedictis

B2v

5/ In amara crucis

B3v

6/ Qui iacuisti mortuus

B4v

7/ Christum duceӠ redemit nos

4

B6v

SEcunduӠ multidunem dolorum meorum

[Anon.]

5

B8v

TEnebre facte sunt

Gaspar

6

C1v

AVe veruӠ corpus natum

à3

Josquin

C1v.ii

2/ Vere passuӠ immolatum

C1v.iii

3/ Cuius latus perforatuӠ

C2v

4/ Esto nobis pregustatum

7

C3v

VErbuӠ caro factum est

Gaspar

[Not in Tavola]

C4v

2/ [T:] Cuius latus perforatuӠ

8

C5v

DOmine [T:] Non secunduӠ peccata nostra

De: Orto

C6v

2/ [A:] Domine [S:] Ne memineris

C7v

3/ Adiuua nos deus salutaris

9

C8v

[T:] Domine non secunduӠ peccata nostra

à2

Vaqueras

D1v

2/ Domine ne memineris

à2

D2v

3/ Adiuua nos deus salutaris

à4

10

D3v

DOmine Non secunduӠ peccata nostra

Josquin

D3v.ii

2/ Domine ne memineris

D4v

3/ Adiuua nos deus salutaris

11

D6v

TUlerunt dominum meum

[Pesenti]

D7v

2/ Scio enim quae redemptor

12

E1v

PArce domine parce populo tuo

Obreht

13

E2v

PAnge lingua gloriosi

[Anon.]

14

E3v

AVe domina sancta maria

[Anon.]

15

E4v

PArce domine parce populo tuo

[Anon.]

[Tavola:] Franci.

Brumel

16

E5v

LAuda syon saluatorem

E6v

2/ [A:] In hac mensa noui regis

E7v

3/ Sub diuersis speciebus

à2

E7v.i

4/ A sumente non concissus

à2

E7v.ii

5/ Sumunt boni sumunt mali

E7v.ii

6/ Fracto demum sacrum

E8v

7/ Ecce panis angelorum

E8v. ii

8/ Bone pastor panis vere

17

F1v

PAnis angelicus

Gaspar

18

F2v

AUe verum corpus natuӠ

Gaspar

19

F4v

ASpice domine quia facta est

. Pe. biaumont.

20

F5v

ANima xpi sanctifica me

Gaspar

21

F6v

IN nomine Jesu omne genuflectatur

Compere

[Tavola:] Officium de cruce

F7v

2/ Adoramus te christe

F8v

3/ Patris sapientia

G1v

4/ Hora prima ductus est

G2v

5/ Crucifige crucifige

G3v

6/ Hora sexta Jesus est in cruce

G4v

7/ Hora nona dominu5 Jesus

G5v

8/ De cruce deponitur

G6v

9/ Hora completorij datur

22

G7v

AUe verum corpus natum

Gregoire

23

G8v

ADoro te deuote latens

[Anon.]

24

H1v

TU solus que facis mirabilis

Josquin

H2v

2/ Nobis esset falatia

[S & B:] Dung aultre amer

25

H3v

AUe maria … benedicta tu

à3

Regis

26

H4v

[A]Ue pulcherrima regina

à3

Agricola

27

H5v

SSancta maria quesumus

[Anon.]

[other voices:] Sancta

28

H6v

AUe decu5 virginale

Jo.marti.

29

H7v

HEc est illa dulcis rosa

[Anon.]

30

H8v

AVe maria gratia plena … benedicta tu

Crispinns [sic]

31

J1v

GAude virgo mater xpi

[Anon.]

32

J3v

[T:] SAlue regina mater misericordie

[Anon.]

J4v

2/ Et iesuӠ benedictum

33

J5v

QUis dabit capiti meo aquam

[Isaac]

34

J7v

SIc vnda impellitur vnda

à5 ex 1

[?Moulu]

[Not in Tavola]

J8r

[Colophon; Register; Device]

J8v

[blank]

(p.499)

(p.500) Extant copies:

F-Pc, Rés.861. Lacks folios D1 and D8, and the lower outside corner of G1

Size of page: 164 × 231 mm.

Watermarks:

A1–2

B1

B4

F1

F6

H3

H8

J1

J4–3

6

4

4

3

3

14

3

5

6

Technical comments: J8v shows the impress of uninked staves kept in the forme • Spacing sorts for text: E7 v.below v: 3.85 × 0.4 mm; and for music: G2 v.iii.right end: 18.8 × 0.9 mm

Corrections and changes:

In-house: D4r and H1r: see above

Later: An index of the contents of the manuscript appendix has been added to A1v • Various marks on C2r, C3v, C6r in black ink • J8r: Folio number 72 in manuscript

Binding: with Ms. appendix, Rés.862 • In brown calf, rebacked (probably during the 19th century), with 4 medallions of a bust, facing left, surrounded by a laurel wreath, on each board (No medallion this small is recorded in Hobson, Humanists, though it is evidently in an Italian style, and probably from the 1510s or 1520s) • One paste-down and a modern fly-leaf at the front followed by an early fly-leaf with an Italian watermark of the 16th century: at the end, three flyleaves plus paste-down, all modern.

Provenance: A2r has the number 155 plus a poorly copied inscription in Greek • Conservatory accession number 32712

Bibliography: Bridgman, “Clandestins”

GB-Lbl, K.1.d.2. Complete

Page size: 169× 233 mm.

Watermarks:

A6

A7–8

B6

B7

C3

C7

D2

D4

E6

E7

F1

F5

G2

G3

H3

H8

J1

J5–6

3

6

3

5

5

3

3

3

3

5

5

5

3

3

14

14

3

6

Technical comments: G2v.i.text: see above • The pattern of only one set of staves, retained in the forme, is very clear in this copy. There is a general trend of deterioration, but this is not consistent, as should be expected from the use of one forme on both sides of the sheet • Spacing sorts for music: G2v.iii.right end: 18.8× 0.9 mm.

Textual comments: D8r: foliated 31

Corrections and changes:

In-house: D4r, F5v, H1r: see above

Later: C4v.i.29: sb, colored and scratched void, possibly not an error, but an unclean sort • (p.501) F1r.iv.17: leger line in brown ink • F1r.v.23: leger line in brown ink • H3v.vi.14: sb, c' → d', erased and drawn in black ink

Binding: Oak boards with a wide 1⁄2-leather spine, decorated with stamps and rolls in blind. Four damaged metal clasps • One early paste-down, pasted to the outer of a later bifolium, front and back

Provenance: J1 v: British Museum stamp, dated] 19 JY [18]94 • A1 r:] della Chiesa di … [with, written over the last word:] Doria

Bibliography: Johnson & Scholderer, Short-Title, p. 454 • Barclay Squire, “Petrucci”

H-Bn, ZR 523 (2). Lacking folios J1 and J8

Size of page: 169× 240 mm.

Watermarks:

A4

A7

B1

B3

C6

C8

D1

D5

E8

F1

F6

G1

G3

H4

J3

J7

3

3

3

3

3

3

3

[?]3

3

3

3

3

3

6

7

3

Textual comments: F1v. caption: the first “m” is inverted in] terminu3

Technical comments: In two places, what appears to be an erasure is actually the result of a small piece of extraneous material having been present during inking: D8v.v.8 and F4v.v.9 • G2v: see above • for stave lengths, see below

Corrections and changes:

In-house: D4r, E7v, H1r: see above

Later: A6r.v.custos: d→ e, very careful erasure and dark brown ink: it is possible that the original was printed at F, and a double layer of correction is present • F1r.iv.17: leger line in manuscript • F1v.v.23: leger line in manuscript • J2v.i.after 15: added sb rest, in light brown ink

Binding: With the library's copy of Motetti A of 1505 (No.19)

Provenance: On the title page is a seal stamp, now illegible, of a coat of arms, within a wreath • According to Professor Murányi, this came to the library from a priest at Pécs, in 1960

Bibliography: Murányi, “Unbekannte”, p. 292

I-Bc, Q56. Lacks folios A1 and A8

Page size: 165× 234 mm.

Watermarks:

A5

B4

B8

C2

C4

D1

F6

F8

G6

G8

H5–6

H8

J4

5

3

5

3

3

3

3

3

3

5

8

3

3

Technical comments: G2v.iii.right end: a spacing sort for music, 18.8 × 0.9 mm

Corrections and changes:

In-house: A2r, D4r and H1r: see above

Later: Ambros made an annotation on this copy when visiting Bologna in 1866

Binding: Contemporary black leather, with floral stamps: the central rosette wreath has been removed, and an eagle with wings outstretched has been drawn on the board in red • Three flyleaves and one paste-down, probably of the 18th-century, at the front

Bibliography: Fava, Primo, p. 37 (exhibition catalogue, Bologna, 1929) • Haberl, “Drucke”, pp. 95–96

Lost copies: A copy was apparently once owned by Bottrigari. Gaspari, in transcribing Bottrigari's notes on his copies of Petrucci's editions, gives] Mott. de Passione. 1503. [I-Bc, (I). P. 59, bifolio [1] • A copy is recorded in Colón's catalogue, as purchased in 1530, perhaps in Venice: see Chapman, “Printed”, No.3, p. 59 • A copy is recorded in Liepmannsohn's sale catalogue (p.502) No.162 of 1907: this is not the copy now in London, as had been suggested in Sartori, Petrucci, p. 58

Early references: Cited by Gesner: see chapter 20

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No.2345 • Sartori, Petrucci, No.7

  2. (e) Drake, First • Sartori, “Nuove”, p. 177 • Schmid, Petrucci, 28 • Vernarecci, Petrucci, p. 86

Commentary:

  1. 1. The following notes on stave lengths and formes come from the copy at H-Bn

    1r

    2v

    3r

    4v

    2r

    1v

    4r

    3v

    paper

    Ao

    176

    175

    175

    β/X

    177

    175

    175

    β

    4

    Ai

    178

    177

    174

    175

    X

    175

    178

    175

    175

    α

    4

    Bo

    175

    175

    175

    176

    τ

    178

    175

    175

    175

    β

    4

    Bi

    175

    174

    175

    174

    τ

    174

    176

    175

    175

    τ

    4

    Co

    175

    178

    175

    176

    α

    175

    177

    175

    175

    α

    4

    Ci

    174

    177

    175

    176

    α

    174

    177

    176

    176

    α

    4

    Do

    175

    178

    175

    175

    α

    174

    177

    175

    175

    α

    4

    Di

    174

    176

    176

    176

    τ

    174

    176

    175

    175

    α

    4

    Eo

    174

    177

    175

    175

    α

    174

    177

    175

    175

    α

    4

    Ei

    174

    177

    175

    176

    α

    174

    177

    176

    176

    α

    ?

    Fo

    174

    177

    175

    176

    α

    174

    177

    175

    175

    α

    4

    Fi

    174

    177

    175

    176

    α

    174

    177

    175

    176

    α

    4

    Go

    174

    177

    175

    176

    α

    174

    178

    175

    176

    α

    4

    Gi

    175

    177

    176

    176

    α

    174

    177

    176

    176

    α

    4

    Ho

    175

    177

    176

    177

    X

    174

    177

    177

    177

    α

    ?

    Hi

    175

    177

    176

    176

    α

    174

    177

    175

    176

    α

    7

    Jo

    [-]

    176

    175

    [-]

    X

    178

    [-]

    [-]

    175

    β

    4

    Ji

    174

    177

    175

    175

    α

    174

    177

    175

    176

    α

    7

  2. 2. Despite the patterns of papers, there appears to be only one extant printing for any sheet of this title. The anomalous appearance of paper 14 in gathering H, accompanied by papers 7 and 8 in other copies, raises the probability that these sheets were printed later. However, the outer sheet of H in the London copy seems to be of the same setting of type as that presented in the Bologna and Paris copies. It seems to me probable that these are later printings, true cancels, which happen to survive in every copy. However, I have found no concrete evidence for arguing that all three were printed later. These folios therefore remain part of the original printing, until further evidence surfaces.

  3. 3. There is interesting evidence in support of this position, as well as on the order of work, in the state of the initial letters: the letter A on C1v is in a better condition that in F2v, which corresponds to that on H3v and with subsequent uses. The T on B8v is in a better condition than that on D6v, itself better than that on H1v: however, the S on H5v appears to be in the same state as found elsewhere in the book. Similarly, the stave patterns do not suggest that these two gatherings H and J), or even the sheets using exceptional papers, are later than the rest of the book.

  4. 4. Large numbers of a pausa are used on certain pages: there are 39 on B1v and B2r with another on B7v; 30 on B8v with four more on B2v; and 52 on E3v-4r.

  5. 5. There are similarly large numbers of c.o.p. ligatures with intervals of a second on the inner sheet of B:

    outer forme

    inner forme

    ascending quadrate

    15

    16

    descending quadrate

    17

    21

    descending oblique

    2

    7

  6. (p.503) 6. The literature on this edition has tended to suggest that there were two sets of variant sheets. Barclay Squire, “Petrucci”, suggested that the Bologna and London copies are different: I have been unable to find such differences, admittedly without checking every single note. Similarly, Bridgman, “Clandestins” points out that the London and Paris title-pages are different: the only difference seems to lie in the addition, in the Paris copy, of an index to the manuscript appendix to this volume. Finally, Sartori, in his description of this book, suffered from a printing anomaly, in which several lines of his transcription of the London Tavola were displaced to the head of the list.

No. 8. Brumel: Misse

17.vi.1503 RISM B4643

A1r] Brumel | Je nay dueul | Berzerette sauoyene. | Ut re mi fa sol la | Lomme arme. | Victime paschali | S

D1r] T

E1r] A

H1r] B

J8r] Impres sum Uenetijs per Octauianum PetrutiuГ Forosempronien|sem 1505 die 17 Junij. Cum priuilegio inuictissimi Dominij | Uenetiarum q uae nullus possit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | Registrum ABEFHJ q ua terni D q ui ntern us CG duerni. [Petrucci's device]

Format and collation: Part-books: landscape quarto-in-eights. [S] 20 folios: AB 8 C 4; [T] 10 folios: D10; [A] 20 folios: EF 8G4; [B] 16 folios: HI8

Signatures: Aa II [$4? + D1, E1, H1, D5 (in form Dd IIIII)? + A1, C3, C4, G3, G4? J1 printed] Ji [at I-Bc

Foliation: [C] [1], 2–20; [T] 21–30; [A] 31–45, 36 [recte 46], 45–48 [recte 47–50]; [B] 49–63, [64] No running heads or part-names

Fonts: Music: Petrucci's normal music type Staves: Five line: ca.177 mm long, 10–92–112 mm high Text: Rotonda throughout

Textual comments: The initial letter P is missing from folio A3r? F5v.v.text:] Et iucarnatus

Technical comments: For the history of the printing of this book, and the change in technique during its production, see chapter 4

In-house corrections, after press-work: E4v.i.28: f→g, in brown ink: A-Wn and B-Bc? H8v.vi.43; a badly-impressed note head is touched up in brown ink: A-Wn and I-Mc

Contents:

A1r

D1r

E1r

H1r

[Title]

1

A1v

D1v

E1v

H1v

[T:] [Missa] Je nay dueul

A2r

D1v.v

E2r

H1v.vi

[Gloria]

A3r

D2r.v

E2v.iii

H2v

[Credo]

A4r.ii

D2v.v

E3v

H3r.iv

[Sanctus]

A5r

D3r.iii

E4r.iii

H3v.iii

[Agnus]

2

A5v

D3v.ii

E4v.iii

H4r.iii

[T:] [Missa] Berzerette Sauoyene

A5v.iii

D4r

E5r.ii

H4v

[Gloria]

A6v.ii

D4r.iii

E6r

H5r.iv

[Credo]

A7v.ii

D4v.iii

E7r.ii

H6r.ii

[Sanctus]

A8v.iii

D4v.v

E8r

H7r.ii

[Agnus]

3

B1v

D5r.ii

E8v.iii

H7v.iv

[T:] [Missa] Ut re mi fa sol la

B1v.vi

D5r.iii

F1r

H8r.ii

[Gloria]

B2v.iv

D5r.v

F1v.v

H8v.v

[Credo]

B3v.v

D5v.ii

F2v.v

11v.iv

[Sanctus]

B4v.iii

D5v.iv

F3v.iii

12r.v

[Agnus]

4

B4v.v

D6v

F4r.v

12v.iii

[T:] [Missa] Lomme arme

B5r.iv

D6v.iii

F4v.iv

13r

[Gloria]

B6r

D7r

F5v

13v.ii

[Credo]

B7r.ii

D7v

F6v

14v

[Sanctus]

B7v.iv

D7v.iii

F7r.iv

15r.ii

[Agnus]

5

B8r.iv

D7v.v

F7v.iv

15r.v

[T:] [Missa] Uictime pascali

B8v.iii

D8r

F8r.iii

15v.iii

[Gloria]

C1v

D8r.iv

G1r

16r.v

[Credo]

C2v

D8v.ii

G2r.ii

17r.ii

[Sanctus]

C3v

D9r

G3r

17v.ii 18r

[Agnus] [Colophon: Register: Device]

C4r

D9v-10v

G3v-4r

[blank staves]

C4v

G4v

18v

[blank page]

(p.504) Extant copies:

As Sartori, Petrucci, p. 63, points out, the reference by Fétis to a copy at I-Vnm is probably an error

A-Wn, S.A.78.C.10. Four partbooks, complete

Size of Page: 163 ×223 mm.

Watermarks:

A2–1

A3–4

B2–1

B3–4

C1–2

D1–2

D4–3

D5

D7

D10

E3

E8

6

6

6

6

6

6

6

7

7

7

9

9

F5

F8

G3

H6

H8

11

15

9

9

9

9

9

9

9

Technical comments: The state of the printer's device on 18 r is very close to that in the copy of Canti C at A-Wn

Corrections and changes:

In-house: H8 v: see above

Later: The pieces are numbered, in MS, in all books: 190–214 • In the Bassus, all the printed folio numbers have been struck through • Binding instructions can be seen on the inner margin of some folios, in brown ink, suggesting that at one time the first gathering of the Cantus book was the eighth in a series of books: c.f. A1 r, B1 r and C1 r • A3 r: a word seems to have been erased before the first word of text

Binding: Of the Austrian National Library

(p.505) Provenance: Given the piece numbering, the book was certainly at one time bound as part of a set opening with one of the library's copies of the first book of Josquin's masses (No.4)

Bibliography: This is probably the copy cited by both Eitner, Quellenlexikon, ii, p. 211, and Fétis, Biographie, as being at I-Vnm.

B-Bc, Litt.A, no.27.635. Superius and Altus complete: Tenor has only ff.D1–3 with the rest of the gathering supplied in manuscript: the Bassus, missing, is also present in a scrupulous manuscript facsimile • I am grateful to Prof. Anne Gross for examining this copy

Size: 153× 228 mm.

Watermarks:

A2–1

A3–4

B2–1

B3–4

B6

C3–4

D2

E3

E7

F5

F8

G3

6

6

6

6

9

6

9

9

9

9

9

9

Textual comments: F5 v: see above • The Bassus facsimile has the reading on J2 r also found in I-Bc

Corrections and changes:

In-house: E4v: see above

Later: D1–3.folio numbers: 21–23 struck through and 51–53 entered in brown ink, prior to the binding

Binding: Recent dark leather, with decoration: stamped on the front board with] Brumel • Messes [and the part-name • End-papers watermarked with a capital initial D

Provenance: Prof. Wagener, and thence to Prof. H. Strahl, of Giessen • Given the manuscript foliation, probably originally bound with the copy of Obrecht's masses (1503, No.6) now in the Bibliothèque royale in Brussels

Bibliography: Eitner, Quellenlexikon, ii, p. 211

I-Bc, Q57. Four partbooks, lacking only D10

Size: 162× 240 mm.

Watermarks:

A1–2

A8

A4–3

A5

B1–2

B8

B6–5

B3

C4–3

C1

D-9

D1

8

7

8

7

8

7

8

7

8

7

8

7

D4–3

D7

D5–6

E1

E5

F4

F7

G3

H5

H8

12

16

8

7

[7]

9

9

9

9

9

9

9

10

10

Textual comments: J2 r.end of page: for Verte] veert

Later changes: All parts have manuscript foliation: [S] 74–93; [T] 50–58; [A] 70–89; [B] 64–79 • Folio numbers are erased throughout the Superius, and to No.38 in the Altus

Binding: Modern wrappers of marbled paper • All fore-edges are painted gold

Provenance: Given the manuscript foliation, this was originally bound with the library's copy of Agricola masses (No.13) • Perhaps from Split

Bibliography: Martini's letters to Chiti of 7.v.1746 and 22.vii.1746 (see Schnoebelen, Padre, Nos.1245 and 1250, pp. 144–145)

I-Mc, S.B.178/8. Tenor and Bassus, both complete

Size of Page: 169× 234 mm.

Watermarks:

D1–2

D3

D6

D8–7

H3

H7

14

17

8

7

9

8

9

9

9

9

Corrections and changes:

In-house: H8 v: see above

Later: Modern pencil foliation: 25–34; 35–50, [51] • H7 v.v.45: f → g, the base of the note (p.506) erased and a new top drawn in brown ink • J3 v.i.penultimate: struck through in modern pencil

Binding: with Josquin, II Missarum (No.22)

Provenance: Mantua, Sta Barbara • perhaps Ferrara, the chapel of Cardinal Ippolito d'Este

Bibliography: This copy was exhibited in Bologna in 1949 (see Damerini, Esposizione, 25)

Lost copies: A copy was apparently once owned by Bottrigari (see chapter 10) • A different copy was owned by Gaspari (Potier, Gaspari), and lacked part of the Tenor: this is not the copy now at I-Bc • A copy was owned by Fétis: see his Biographie, vii, 14 • The copy listed as at D-B by Sartori does not seem to be either at D-B, or at PL-Kj

There are no other editions of this book

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No.515 • Sartori, Petrucci, No.8

  2. (d) Brumel, Opera Omnia

  3. (e) Boorman, “Work and turn” • EitnerQ, ii, 211 • Sartori, “Nuove”, p. 177 • Winterfeld, Gabrieli

Commentary:

  1. 1. Despite the patterns of watermarks in Cantus and Tenor, in which the copies at A-Wn and B-Bc appear to use different papers from those found at I-Bc and I Mc, this is apparently composed of only one printing. Part of the reason for the paper distribution is certainly that Petrucci was changing technique during this period, and that this book was interrupted to start the book of Ghiselin's masses. Further, paper 8 was only in use for a short time, and may have been bought with paper 6: both sometimes show the same countermark in the outer corner.

  2. 2. As a result, the pattern of paper use may suggest that Petrucci already had two presses available to him, and that each worked to its own stock of paper.

  3. 3. The significance of the change to paper 9, and of changes in stave patterns, during the production of this book, is discussed earlier in this book (see chapter 5), and in Boorman, “Work and Turn”. The stave patterns for the two books are as follows, where each numeral represents a particular page of staves:

    Forme

    Io

    Ii

    IIo

    IIi

    III

    Brumel

    A

    -234

    1234

    1234

    1234

    B

    1234

    1234

    1234

    1234

    C

    123-

    1234

    D

    12——

    1234

    1234

    1234

    1234

    E

    -534

    6789

    1534

    6789

    F

    1534

    6789

    1534

    6789

    G

    15——

    67——

    H

    -534

    6789

    1534

    6789

    I

    153-

    67–9

    1534

    6789

    Ghiselin

    A

    -789

    1534

    1634

    6789

    B

    678-

    1534

    6789

    1534

    6789

    C

    -53-

    6789

    1534

    6789

    6789

    D

    -534

    6789

    1534

    6789

    E

    1534

    6789

    1534

    6789

    F

    67——

    15–4

    G

    -789

    1534

    6789

    1534

    H

    678-

    15——

    6789

    1534

    6789

  4. (p.507) 4. This book is able to take advantage of the new set of initials prepared specifically for mass books. These initials, not available for the Obrecht edition (dated nearly three months earlier), must have been ordered after that book, when it became apparent that there would be more books of mass music.

  5. 5. Copies of this book were to be found in some early collections (that from S. Barbara, Mantua, or the Bologna copy, perhaps from Split). Nonetheless, it is notable that no early bibliography cites the book, and that Colón does not seem to have acquired it. Maybe it did not sell well: certainly there is no trace of a later printing.

No. 9. Ghiselin: Misse

15.vii.1503 RISM G1780

There are two editions of this title extant: for the second, no Bassus (and therefore no colophon or date) survives. For the actual date of the later edition, see below, at No.57

First Edition

A1r] Joannes ghiselin. | La bellasesiet | De les armes. | Gratieusa. | Narayge. | Jenay dueul. |S

C1r] T

D1r] A

G1r] B

H9v] Imp re s sum Uenetijs per Octauianum PetrutiuГ Forosemp ro nien|sem 1503 die 15 Julij. Cum priuilegio inuictis simi Dominij | Uenetiarum qu ae nullus pos sit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | RegistrumADEGquaterniBCHquinterni F duernus | [Petrucci's device]

Format and collation: Part-books: landscape quarto-in-eights. [S] 18 folios: A8 B 10; [T] 10 folios: C10; [A] 20 folios: DE8 F 4; [B] 18 folios: G 8H10

Signatures: Aa 3 [$4 • - A1, but - other titles • - F3, F4 • - B5, C5, H5 • A2 signed] Bb

Foliation: [S] [1–2], 3–18; [T] 19–28; [A] 26 [recte 29], 30–48; [B] 49–65, [66]. Note the corrections in various copies, listed below

No running heads

Fonts: Music: Petrucci's normal music type

Staves: six per page. For details, see the discussion under the previous entry (No.8), for Brumel's Masses

Text: Rotonda • Roman used for dates in the colophon

Textual comments: Capital letter omitted on C7v [P]

Technical comments: The stave patterns are clear and provide the data listed under Brumel: they have been taken from the copy at I-Ac • There is a peculiar reappearance of the practice of (p.508) occasionally using a two-stave capital letter, with two inset music lines, a practice Petrucci had effectively abandoned since the earliest volumes

In-house corrections: A2 r.signature: corrected signature, stamped in alongside the incorrect (I-Bc and PL-Kj), or as a stop-press correction (I-Ac and I-Bc) • B2 r.signature: stamped in later: PL-Kj • D1 r: stop-press correction to the folio number: PL-Kj • G6 r. iv. after 11: the mensuration sign ¢ is entered in brown ink: I-Ac, I-Bc, I-Fm, and I-Rvat

Contents:

Aa1r

Cc1r

Dd1r

Gg1r

[Title]

1

Aa1v

Cc1v.i

Dd1v

Gg1v

[Missa La bella se siet]

Aa2r.ii

Cc1v.vi

Dd2r

Gg2r

[Gloria]

Aa2v.iii

Cc2v

Dd2v.iv

Gg2v.iii

[Credo]

Aa3r.vi

Cc3r.ii

Dd3r.vi

Gg3r.v

[Sanctus]

Aa4r.iv

Cc3v.ii

Dd4r.vi

Gg4r.iii

[Agnus]

2

Aa5r.ii

Cc4r.iii

Dd5r.v

Gg4v.vi

[Missa de les armes]

Aa5v

Cc4r.iv

Dd5v.v

Gg5r.v

[Gloria]

Aa6r.vi

Cc4r.vi

Dd6v.iv

Gg6r.ii

[Credo]

Aa7v

Cc4v.iii

Dd7v.vi

Gg7r

[Sanctus]

Aa8r.v

Cc4v.iv

Dd8v.v

Gg8r

[Agnus]

3

Bb1r

Cc5r.v

Ee1v.v

Gg8v.iv

[Missa Gratieusa]

Bb1v

Cc5v

Ee2r.v

Hh1r.iii

[Gloria]

Bb2r.v

Cc6r

Ee3r.iv

Hh2r

[Credo]

Bb3r.vi

Cc6v.ii

Ee4v

Hh3r

[Sanctus]

Bb4r.vi

Cc6v.v

Ee5v

Hh3v.v

[Agnus]

4

Bb4v.v

Cc7r

Ee6r

Hh4r.v

[Missa Narayge]

Bb5r.iii

Cc7r.iv

Ee6r.v

Hh4v

[Gloria]

Bb5v.iii

Cc7v.iii

Ee6v.iv

Hh5r

[Credo]

Bb6v.ii

Cc8r.iii

Ee7v.iv

Hh5v.iv

[Sanctus]

Bb7r.iii

Cc8v

Ee8r.v

Hh6r.iv

[Agnus]

5

Bb7v

Cc8v.iii

Ee8v.iii

Hh6v

[Missa Je nay dueul]

Bb7v.v

Cc9r

Ff1r

Hh7r

[Gloria]

Bb8v

Cc9v

Ff1v.v

Hh7v.ii

[Credo]

Bb9r.iv

Cc9v.vi

Ff2v.v

Hh8r.v

[Sanctus]

Bb10r

Cc10riii

Ff3r.iii

Hh9r

[Agnus]

Hh9r

[Colophon; Register; Device]

Ff4r

[blank staves]

Bb10v

Cc10v

Ff4v

Hh10r-v

[blank]

Extant copies:

A-GÜ, s.s. Tenor book, lacking folio C2

Size of page: 165× 235 mm.

Watermarks: No.9 on C6, C7 and C10

Technical comments: C7v. i: a number of the colored notes appear to show void centres, as if poorly-inked void notes • The same is true on C9 v. v

Later changes: C10 r.i.m.s.: C over 3; the 3 erased

Binding and Provenance: With II Missarum Josquin (1515, No.59)

Bibliography: Federhofer, “Petrucci”

(p.509) I-Ac, Stamp.N.189 (2). Complete

Page Size: 168 × 232 mm.

Watermarks: The twin versions of mark 9 can be clearly distinguished: one, for example, is on D2, the other on D4

A1–2

A5–6

B5

B7

B9–10

C1

C8

D2

D4

E4

E8

F1

G3

G8

H3

H10

10

6

9

9

6

9

9

9

9

9

9

9

9

9

9

9

Corrections and changes:

In-house: A2 r and G6 r: see above

Later: A modern pencil foliation, bottom centre recto, continues from the volume of Agricola

Binding: With the library's copy of Agricola's masses (1504, No.13)

Provenance: San Francesco at Assisi

Bibliography: Petrucci, Missarum

I-Bc, Q58. Three partbooks, lacking the Tenor

Page size: 169 × 239 mm.

Watermarks:

A2–1

A7

A6–5

A3

B10–9

B1

B6

B7

D3

D8

E3

E7

F4

G5

G8

H6

H7

H10

6

7

6

7

6

7

9

9

9

9

9

9

9

9

9

9

9

9

Technical comments: H5 r: the signature line was printed with the text

Corrections and changes:

In-house: A2 r and G6 r: see above

Later: Manuscript foliation: [S] 93–110; [A] 93–112; [B] 3–100 • The printed foliation is lightly struck through in the Bassus, and perhaps also the Altus • E1 v.vi.mensuration sign after 30: the upper numeral is touched up, in brown ink

Binding: Slip case and folder, of marbled boards • All edges are coloured: [S and B] brown; [A] green

Provenance: Possibly originally bound with the library's copy of La Rue's masses (see table 10–5)

I-Fm, R.u.115 4. Bassus book, lacking folios H9 and H10

Page size: 164 × 232 mm.

Watermarks: No.9 on G5, G7, H1, H4 and H5: those on G5 and H5 represent one “twin”, with the other on the remaining sheets

Technical comments: G1 r: there seems to be no evidence of notes being used for furniture • G1 v and G2 r show smudges from the house, though in different directions • The order of work for staves and text shows in some places, as a result of deep impressions on one side of the leaf affecting the impression on the other: G7 r before G7 v; H4 r before H4 v and H6 r before H6 v; H7 r before H7 v • The stave pattern is very clear here: for details, see below

Corrections and changes:

In-house: G6 r: see above

Later: Modern stamped foliation, b.r.r.:] 50–65

Binding: With Agricola's masses (1504, No.13)

Provenance: From the Landau-Finaly collection

Bibliography: Fanelli,Musica

I-Rvat, Sist.235–238. Complete. The end of the Altus is badly damaged, with only fragments of the last folio

Size of page: 233–235 × 169 mm.

Watermarks: (p.510)

A3

A7–8

B1–2

B5

B4

C3

C5

C10

D4

D8

E3

E8

F3

G1

G3

H4

H10

9

10

6

9

9

9

9

9

9

9

9

9

9

9

9

9

9

Corrections and changes:

In-house: G2 r: see above

Later: Has manuscript foliation: S: 88–105; T: 58–67; A: 88–106B: 81–97

Binding and Provenance: with Josquin, I Missarum (1516, No.62)

Bibliography: Baini, Palestrina, i, p. 244, n. 234

Pl-Kj, Mus.ant.pract.G.535. Complete

Size of page: 171 × 238 mm.

Watermarks:

A2

A5

A7–8

B2

B7

B9–10

C2

C4

C6

D2

D5

E2

E3

F4

G5

G8

H1

H4

7

9

6

7

6

6

9

9

9

9

9

9

9

9

9

9

9

9

B5–6 and H5–6, without marks, seem to be on paper 10.

Textual comments: A8 r.v:] Agnns dei • The rubric] vt suspra [sic, is found on C3 v.ii; D4 r.v; D8v.iv; E5 r.vi; E8 r.iv; F3 r.ii; G4 r.ii; H5 r.iii • H3 r.i.last two are both m: the tails are present, though in blind

Technical comments: For the pattern of stave lengths, see the first part of this study, under chapter 3, and also the details entered in the preceding description, of the Misse Brumel

Corrections and changes:

In-house: A2 r, B2 r, D1 r: see above

Later: C1 r: in MS. in the hand of the Agricola additions:] Mis se Joannes ghiselin • C1 v.ii.15–16: probably m,msm,sm, colored by hand • C5 r.i.rubric: the “du” of “duplu3” is struck through and “tri” added above, probably in the hand found on C1 r • C9 v.vi.after 38: inserted b r, dark brown ink • C9 v.vi.after 39: erased b rest • D1 r: as on C1 r • G1 r: as on C1 r • G6 r.iv.after 11: m.s. added of cut C, dark brown ink • G6v.ii.31: m, f → g, note head erased and a new one drawn, dark brown ink

Binding: the binding and the end-papers are as the Krakow copy of Agricola's masses (1504, No.13)

Provenance: Ex Berlin

Lost copies: Copies of this edition were owned by Colón (Chapman, “Printed”, No.14) and Bottrigari. Other copies, owned by the Fuggers (Schaal, “Musikbibliothek”, No.I/49), by the chapel of Ottheinrich at Pfalz-Neuburg (Lambrecht, Heidelberger, i, p. 110), and by King John IV of Portugal (Sampaio Ribeiro, Livraria, p. 50) could have been of either edition • There was perhaps also a copy at Rome, S. Luigi dei Francesi. The inventory records a volume of] Messe sligate di Jo. Ghiselin [and later a] Misse Jois Ghiselin [See Perkins, “Notes”, 64

Early References: Cited by Gesner: see chapter 10

Other editions: A second edition, printed by Petrucci at Fossombrone, is listed here as No.57

Bibliography:

  1. (a) Rosaria Boccadifuoco, Biblbiografia, No.1610 • Sartori, Petrucci, No.9

  2. (c) Petrucci, Missarum

  3. (d) Ghiselin, Opera Omnia

  4. (e) Boorman, “Work and Turn” • Noble, “Petrucci”, the first to notice the presence of two editions, and to suggest an approximate date for the second • Sartori, “Nuove”, pp. 177–78

(p.511) Commentary:

  1. 1. There are enough blank staves in the Bassus to suggest that Petrucci might have been able to fit the contents of that part onto two normal 8-folio gatherings. The blanks are G6 r.vi; G7 v.vi; H2 v.vi; H4 v.vi; H6 v.v-vi; H7 v.vi; H8 v.v-vi. This may be evidence against casting-off text during the initial planning of the partbook

  2. 2. The change in the technical processes during the printing of this book has been discussed at length earlier in this volume (see chapter 4). Evidence from several copies of both this book and that by Brumel was laid out there. In addition, the detailed distribution of stave sets is shown at the end of the previous entry (No.8). Here, I give the measurements for the staves in the Krakow copy:

    Forme

    Outer

    1 r

    2 v

    3 r

    4 v

    Inner

    2 r

    1 v

    4 r

    3 v

    Sheet

    AI

    180

    179

    180

    α

    174

    176

    175

    175

    β

    AII

    174

    176

    176

    175

    β

    180

    180

    179

    180

    α

    BI

    179

    180

    179

    α

    174

    175

    175

    175

    β

    BII

    179

    180

    179

    180

    α

    173

    175

    175

    175

    β

    BIII

    178

    179

    178

    178

    α

    CI

    175

    175

    β

    178

    178

    179

    180

    α

    CII

    174

    176

    174

    174

    β

    179

    180

    179

    180

    α

    CIII

    179

    179

    178

    179

    α

    DI

    175

    174

    174

    β

    179

    179

    179

    179

    α

    DII

    174

    175

    175

    175

    β

    179

    179

    179

    180

    α

    EI

    174

    176

    175

    175

    β

    179

    180

    179

    180

    α

    EII

    179

    179

    179

    180

    α

    174

    176

    175

    175

    β

    FI

    179

    180

    179

    α

    175

    176

    175

    175

    β

    GI

    179

    180

    180

    α

    175

    176

    176

    175

    β

    GII

    180

    179

    179

    180

    α

    174

    176

    175

    175

    β

    HI

    179

    179

    179

    α

    176

    175

    β

    HII

    179

    179

    180

    180

    α

    174

    176

    175

    175

    β

    HIII

    179

    180

    179

    179

    α

    The Greek letters α and β distinguish the two obviously different patterns of stave lengths, one lying between 178 and 180 mm in length and the other between 174 and 176. The slight differences fall within the limits of variation in paper shrinkage: and the measurements for the Bassus copy at I-Fm conveniently demonstrate what those limits might be:

    Forme

    Outer

    1 r

    2 v

    3 r

    4 v

    Inner

    1 v

    2 r

    3 v

    4 r

    Sheet

    GI:

    178

    178

    179

    176

    174

    174

    175

    GII:

    178

    179

    178

    179

    175

    173

    175

    175

    HI:

    178

    179

    176

    174

    HII:

    178

    178

    178

    179

    175

    173

    174

    175

    HIII:

    178

    179

    178

    179

  3. 3. The Assisi copy shows evidence in a number of places that the staves of the inner forme were printed before those of the outer.

  4. 4. The anomalous use of paper 10 for two copies of the first sheet of paper (A outer) is matched by its appearance for single copies of two sheets in the Brumel edition: all seem to carry the settings of type found in other copies of those sheets.

  5. 5. The second edition lacks a Bassus part, and so carries no date. The evidence of the watermarks puts it clearly into Petrucci's Fossombrone production, probably at the end of 1514: in accordance (p.512) with Petrucci's normal practice, it probably carried a new date. It is therefore discussed in a separate entry, No.57.

No. 10. Canti B

4.viii.1503 RISM 1503 3

Second Edition

A1r] Canti. B. numero | Cinquanta. | B

G8r] Impressum Uenetijs per Octauianum Petrutiu3 Forosempronien|sem 1503 die 4 Augusti. Cum priuilegio inuictissimi Dominij | Uenetiarum quae nullus possit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | Registrum ABCDEFG Omnes quaterni. | [Petrucci's device]

A1v Tavola: in two columns]

A quatro

Mon pare ma mariee

xxi

A qui direlle sa pensee

19

Min morghen

22

Amour5 me troct sur la pance

37

Mon pere ma done mari

xxxxv

Auant auant.

41

Noe noe

29

Bon temps

xviii

Or sus bouier.

xxxx

Basies moy. Josquin.

38

Pour quoy fu fait.

xxxvii

Basies moy .Asei.

41

Reuellies vous

13

Cenest pas.

xi

Se suis trop ionnette.

x

Celasans plus. Obreht

xvii

Tous les regre5

26

Cela sans plus. Lannoy

20

Uirgo celesti

3

Coment peult hauer yoye

23

Uray dieu qui me confortera

8

Coment peult.

24

Ueci la dan se.

27

Dung aultre amer.Orto

28

Una moza

30

En chambre polie

xiiii

Uavilment

39

Ela la la.

xxxi

Atre

E dunt reuenis vous

xxxiii

Aue ancilla

xxxxii

Fors seule ment.

32

Adieu fillette

xxxxviiii

Fortuna dun gran tempo. Deuigna

36

Aqui dirage

2

Helas helas. Ninot

25

Chanter ne puis

50

Jay pris amours.Obreht

iiii

De tous biens. Ghiselin

xxxxvi

Je suis amie

xv

En amour5

liiii

Jay pris amours .Japart

xxxiiii

Je vous emprie

51

Je cuide: de tous biens

35

Je despite tous

lv

Lomme arme

2

La regretee

liii

Lourdault.

9

Le grant desir

lvi

Lautrier qui passa

xii

Si sumpsero

xxxxiii

Mon mari ma deffamee

xvi

Format and collation: Choirbook: landscape quarto-in-eights. 56 folios: A-G8

Signatures:] A II [$4 • - A1

(p.513) Foliation: t. r. r. :] [1], 2–8, 6 [ recte 9], 10–46, 48 [ recte 47], 48–55, [56] No running heads. Composers' names in the head line.

Part-names:

recto:]

Tenor Altus Baſſus

[A2

Altus Baſſus

[A3-C3, C5-D3, D5-E1, E3,5,7, F5

Contra Contra

[C4

Contra Baſſus

[D4, E4

Altus Contra

[E2

Tenor Altus Baſſus

[E6

Tenor Baſſus

[E8-F1

Contra

[F2–4, F6-G7

[Nil:

A1, F8

verso:]

Tenor | Secu ndus [and] Tenor | Primus

[A2

Tenor

[A3-D2, D4-E4,6, F1-G6

Tenor Contra

[E3, G7

Tenor Altus Baſſus

[E5,7

Tenor Baſſus

[E8

[Nil:

A1, D3, G8

Not surprisingly this follows the pattern of the first edition, with the omission of a “Tenor” on D3 v

Fonts: Music: Petrucci's normal music type

Staves: 6 per page: 180 mm long, 10–92–110 high

Text: Rotonda

Textual comments: For No. 24, the following rubrics: T:] Quartus consortatiuus [and A and B:] Obelus quinis sedibus ip s e volat

Technical comments: The pattern of arabic or roman numerals in the index is not strictly random: almost all entries between B2 and C2, all from F2 to F8, and G5–8 are in roman, but so are one or two others • Capital letter omitted on C5 v [M]

In-house corrections, after press-work: These are all in the unique copy: C6v. iv. 19: point is later addition, in type • D8v. v. 46: m c′ erased → m c′, m c′, rm in ginger ink • D8v. v. 50: m d′ erased: stave touched up in ginger ink

Contents: The last column gives the folio numbers as they appear in the Tavola:

A1r

[Title]

A1v

[Tavola]

1

A2r

Lomme arme [Headed:] Canon. Et sic de singulis

Josquin

.2

2

A2v

VIrgo celesti

à5

Compere.

.3

3

A3v

JAy pris amours

Obreht.

iiii

A5v

2/ Jay pris amours

4

A7v

VRay dieu qui me confortera

[Anon.]

8

5

A8v

LOurdault lourdault

Compere.

.9

6

B1v

SE ſui5 trop ionnette

[Anon.]

x

7

B2v

CE nest p. 5

Pe.de.la rue.

xi

8

B3v

LAutrier qui paſſa

Buſnoys.

xii

9

B4v

REuellies vous

[Anon.]

.13

10

B5v

EN chambre polie

[Anon.]

xiiii

11

B6v

JE suis amie du forier

[Anon.]

xv

12

B7v

MOn mari ma deffamee

.De. Orto.

xvi

13

B8v

CEla sans plus

à4 ex 2

.Obreht In missa

xvii

14

C1v

BOn temp5

[Anon.]

xviii

15

C2v

A Qui direlle sa pense [A:] … pensee

[Anon.]

19

16

C3v

CEla sans plus

[Anon.] [Tavola:] Lannoy

.20

17

C4v

MOn pere ma mariee

[Anon.]

.21

18

C5v

[M]Yn morghen ghaf [Tavola:] Min morghen

[Anon.]

.22

19

C6v

COment peult hauer ioye

à4 ex 3

.Josquin.

.23

20

C7v

COmment peult

[Anon.]

.24

21

C8v

HElas helas helas

.Ninot.

.25

22

D1v

TOus les regres

Pe.de la rue

.26

23

D2v

VEci la danse barbarj

Uaqueras.

.27

24

D3v

DUng aultre amer

.

De Orto [Tavola:] .Orto

.28

25

D4v

NOe noe noe

.Brumel.

.29

26

D5v

VNa moza falle yo

[Anon.]

.30

27

D6v

E La la la [T, B:] Fates lui bona chiera

[Anon.]

xxxi

28

D7v

FOrs seulement

Pe.de.la rue

.32

29

D8v

ET dont reuenis vous

Compere

xxxiii

[Tavola:] E dunt reuenis vous. [A:] Et dunt …

30

E1v

JAy pris amours [Headed:] Fit aries piscis in licanosypathon:

à4 ex 3

.Japart

xxxiiii

31

E2v

JE cuide [T, B:] De tous biens

apart. .35

32

E3v

FRanch cor qua stu [T:] Fortuna dun gran tempo

.De.Uigne.

36

[Tavola:] Deuigna

33

E4v

AMours me trotent sur la pance

Lourdoys.

.37

34

E6r

BAsies moy

à4 ex 2

Josquin

.38

35

E6v

VAuilment

Obreht.

.39

36

E8r

ORsus orsus bouier [Headed:] In subdiatessaron

à4 ex 3

.Bulkyn.

xxxx

37

E8v

BAsies moy [Headed:] Fuga in diatessaron [Tav:] A sei

à6 ex 3

[Anon.]

.4i

38

F1r

AUant auant [Headed:] In subdiatessaron

à4 ex 3

[Anon.]

.4i

39

F1v

AUe ancilla trinitatis

à3

Brumel.

xxxxii

40

F2v

SI sumpsero

à3

Obreht.

xxxxiii

41

F4v

MOn pere ma dona mari

à3

[Anon.]

xxxxv

42

F5v

DE tous biens

à3

Ghiselin.

xxxxvi

43

F6v

POur quoy fu fiat ceste emprise

à3

[Anon.]

xxxxvii

F7v

2/ Pour quoy fu fiat ceste emprise [Omitted from the Tavola]

44

F8v

ADieu fillette de regnon

à3

[Anon.]

xxxxviiii

45

G1v

CHauter ne puis

à3

Compere.

50.

46

G2v

JE vous emprie

à3

Agricola.

5i

47

G3v

AQui dirage mes pensees

à3

[Anon.]

52

48

G4v

LA regretee

à3

.Hayne.

liii

49

G5v

EN amours que cognoist:

à3

Brumel

liiii

50

G6v

JE despite tous

à3

.Brumel.

lv

51

G7v

LE grant desir

à3

Compere.

lvi

G8r

[Colophon; Privilege; Device]

G8v

[blank]

(p.514)

(p.515) Extant copy:

F-Pc, Rés. 539. Complete

Page size: 160 × 221 mm.

Watermarks:

A4–3

A8–7

B5–6

B7–8

C3

C7

D5–6

D8–7

E2–1

E3–4

F1–2

F3–4

G1–2

G3–4

8

6

8

8

9

9

11

11

8

11

8

11

8

8

Technical comments: E5 v. above iv and below v: spacing sorts • F4 r: the folio number was printed with the text, not the music • G3 r and K1 r: text and staves printed together

Corrections and changes: In-house: see above

In-house: see above

Later: C3 v: headed] de Lannoy [in blue pencil • F1 v. iv. 2nd rest after 6: sb m, erasure and brown ink • F2v: manuscript direction hand —the same style as that in the Paris copy of Odhecaton A • F5 v. last note: f → g with partial erasure and the same ink as that found on F1 v • H3 v. iv. rest, was across the line: partial erasure and now sb

Binding: With the library's copy of Odhecaton A (1504, No. 14)

Provenance: On A1 r, Conservatoire stamp and accession number:] 21775 • From Seville and Colón: see Odhecaton A (No. 14), and Chapman, “Printed”, (No. 5)

Bibliography: Vernarecci, Petrucci, p. 86

Lost copies: A copy was originally owned by Bottrigari: see chapter 20

Early references: There is no reason to believe that some of the early references (cited in the description of the first edition) may not apply to this volume, especially since the first edition was not generally known before the 19th century

Other editions: The first edition of this title appeared in 1502 (No. 2)

Bibliography: In addition to the entries supplied for the first edition (No. 2), see

  1. (a) Rosaria Boccadifuoco, Bibliografia, No. 545 • Sartori, No. 10 • Nuovo Vogel 15031

  2. (d) Hewitt, Canti B is of the first edition

  3. (e) Cauchie, “Odhecaton” • Sartori, “Nuove”, p. 178

(p.516) Commentary:

  1. 1. It is tempting to suggest that the use of paper 11 for only four sheets in the middle of the volume represents a later impression of those sheets. This paper first appears elsewhere in the next book printed for Petrucci, the Misse La Rue, dated almost three months later. In that volume it is used consistently for the Altus and Bassus books, and not at all in the Cantus and Tenor. After that, it reappears during 1504 and 1505, as one of a number of papers which Petrucci was apparently buying at the time.

    If the four sheets in this book, Do, Di, Ei, and Fi, are indeed later, they presently show no evidence of it. This means that they can hardly be later than the end of 1503. The gap between the volume of La Rue masses and the appearance of Canti C is only a little over three months (including Christmas): the latter volume was very large, and would have taken much time; and I already believe that cancel sheets prepared for the Misse La Rue and the first book of Josquin's masses were printed during that time. It seems unlikely therefore that these sheets are later than the rest of the run of Canti B.

    Instead, it is better to argue that two presses (with two compositors) were working for Petrucci during the second half of 1503. They would have divided the work on Misse La Rue by partbooks. Given the nature of the repertoire in Canti B, it would have been possible to divide work up here by sheets.

  2. 2. If indeed two teams worked on this edition, it seems that each compositor set a line for the Tavola as he completed each piece. This is the most logical explanation of the pattern of numbers there. It would imply that most of the roman numerals were the work of one man, and the arabic produced by the other. However, this seems to be one of the situations envisioned in McKenzie, “Printers”, in which there is no simple logical explanation: such a division of work does not correspond with any other evidence, and (in particular) works against the pattern of paper use.

    At the moment, all that can be said is that there does not seem to have been a consistent pattern of house-practice at any level of detail.

No. 11. La Rue: Misse

31. x. 1503 RISM L718

There is a cancel for D3, 6, discussed below. In addition, there are slight traces of another later printing, in the survival of a few fragments

Edition

A1r] Miſ se Petri de la Rue. | Beate virginis | Puer natus | Sexti. Ut fa | Lomme arme | Nunque fue pena maior | S

C1r] T

D1r] A

F1r] B

G6r] Imp re ſſum Uenetijs per Octauianum PetrutiuГ Forosempronien|ſem 1503 die 31 Octobri5. Cum priuilegio inuictis simi Dominij | Uenetiarum q ua e nullus poſſit cantum Figuratum imprimere (p.517) | sub pena in ip so priuilegio contenta. | Registrum ABDEF q ua terni C quinternus G tern us. | [Petrucci's device]

Format and collation: Partbooks: landscape quarto-in-eights. [S] 16 folios: A-B8; [T] 10 folios: C10; [A] 16 folios: D-E8; [B] 14 folios: F8 G6

Signatures:] Aaa IIII [$4 • - A1, G4 • + C1, D1, F1 and C5 • C5 in the form] Ccc IIIII

Foliation: t. r. r. only [S]: [1], 2, [3], 4–6 [and none thereafter. See below for f. 3

There are no running heads: Petrucci had not yet adopted the pattern of including the part-name at the head of each page. The actual head lines are listed in the commentary, at the end of this entry

Fonts: Music: Petrucci's normal music type

Staves: Six per page: 175–80 mm long, 10–91. 5–112 mm high. Text: Rotonda throughout • Roman used for dates in the colophon

Textual comments: E6r. vi. text:] ɿ homo [is all inverted in most copies (see below) • G3 r. right margin, reading downwards:] Re solotio

Technical comments: A small capital letter is used on D4 v [P] • Bassus gathering F is the only place not to start a new mass at the top of a page, regardless of spacing. This suggests that Petrucci was gaining experience in calculating the length of musical text, and had realised that the book could be made to fit into 14 folios • The staves were certainly retained in the forme, from sheet to sheet: A3–4 matches A7–8, B3–4, B7–8, etc.

In-house corrections:

Stop-press corrections: C5 v. ii. text: “tu sobus” corrected to “tu solus”: GB-Lbl • C7r. i: the initial letter “K” stamped in later: GB-Lbl, PL-Kj and US-CA • E6r. vi. text:] the inverted text is corrected: E-Bc and I-Bc

Corrections after press-work: A3 r: folio number 3 stamped in, inverted: GB-Lbl, I-Bc, PL-Kj, and US-NH • F6 v. iii. 6 back: smm, by erasure: this correction appears in many copies: it may therefore have been undertaken in-house, although there is no way to demonstrate that

Contents:

A1r

C1r

D1r

F1r

[Title]

1

A1v

C1v

D1v

F1v

[Missa] De beata virgine

A1v.v

C1v.iii

D1v.v

F1v.iv

[Gloria]

A2v

C2r.ii

D2r.iv

F2r.iii

[Credo]

A3r.iv

C2v.iii

D2v.v

F2v.iv

[Sanctus]

A4r

C3r

D3v

F3r.v

[Agnus]

2

A4v

C3v

D4r

F3v.iii

[Missa] puer natus.

A4v.v

C3v.iii

D4r.v

F4r

[Gloria]

A5v

C4r

D4v.v

F4v

[Credo]

A6v

C4v

D5v

F5r.iii

[Sanctus]

A7r.iii

C4v.iii

D6r.ii

F5v.v

[Agnus]

3

A7v

C5r

D6v

F6r.iii

[Missa] Sexti. ut fa.

A7v.iv

C5r.iv

D6v.v

F6v

[Gloria]

A8v

C5v.iv

D7v

F7r

[Credo]

B1r.iv

C6r.ii

D8r.iv

F7v.iv

[Sanctus]

B1v.v

C6v

E1r

F8v

[Agnus]

4

B2v

C7r

E2r

G1r

[Missa] Lomme arme

B3v

C7v

E3r

G2r

[Credo]

B4r.vi

C8r.iii

E4r

G2v.iv

[Sanctus]

B5r.ii

C8v

E4v.iii

G3r.iii

[Agnus]

5

B6v

C9r

E5r

G3v

[Missa] Nunqua[m] fue pena maior

B7r

C9r.iv

E5v

G4r

[Gloria]

B7v.iii

C9v.ii

E6r.ii

G4v

[Credo]

B8r.iii

C10rii

E7r

G5v

[Sanctus]

G6r

[Colophon; Register; Device]

E8r

[blank staves]

B8v

C10v

E8v

G6v

[blank]

(p.518) Rubrics: C7r. head- line:] Re solutio ex basso • C7r, above ii:] Resolutio ex basso • C8 v, above iii:] Res olutio • G3 r. right margin, reading downwards:] Resolotio

Extant copies:

A-Wn, S. A. 77. C. 11. Superius, Tenor, and Altus, complete, with a 19th-century manuscript copy of the Bassus • This copy contains the cancel bifolium at D3, 6, for which see below.

Page size: 163 × 227 mm.

Watermarks:

A2–1

A3–4

A6

A7

B1–2

B3–4

B6

B8

C3

C5

C7–8

C10–9

D-4

D7–8

E5–6

E8–7

6

6

7

7

6

6

7

7

7

8

6

8

11

11

11

11

Textual comments:

Technical comments: The cancel is demonstrated by the distribution of the watermarks on D3 and D4, as well as the pattern of stave lengths:

A1–2

A3–2

A6

A8

B1

B4–3

B5

B8–7

C2–1

C4–3

C5-

D2–1

D4-

6

6

7a

7b

7a

6

7a

6

8

8

8

11a

11a

E1–2

E3–4

F2–1

F5–6

G1–2

G3-

11a

11b

11a

11b

11a

11b

Later changes: Movements numbered in later brown ink:] 215–238 • No apparent changes to the content • E1 r: a binding initial, perhaps “F”, at the top of the page

Binding: Of the Austrian National Library

Provenance: This must have been bound with the library's copy of the first book of Josquin's masses (1502, No. 4)

E-Bbc, M. 115 (6). Altus • This copy contains the cancel bifolium for D3, 6, see below

Page size: 174 × 230 mm.

Watermarks: No. 11 on D5-, D7–8, E4–3, and E7- 8

Corrections and changes: In-house: E6r: see above

In-house: E6r: see above

Later: E4 r. iv. 51: sb, f → e, erasure and black ink • E5 r. i. 1: perhaps was originally colored and has been scratched void

Binding: Bound with the library's copy of Josquin's first book (1516) (No. 62, below)

Provenance: E8 v. top left:] 56 [and below:] Aulimi quel | torato Auch

Bibliography: Pedrell, Cataàlech, No. 427

GB-CW, s. s. Altus partbook, complete. It has the cancel bifolio, D3, 6, discussed below

Watermarks: No. 11 on D1–2, D5-, E1–2 and E6–5

Technical comments: This copy is very close in its condition to that at I-Ac

Later correction: F6 v. iii. 6 back: smm, by erasure

(p.519) Binding and Provenance: With the first book of Josquin's masses (1516, No. 62)

GB-Lbl, K. 1. d. 1. Complete. This copy has the cancel bifolium D3, 6, discussed below

Page size: 159× 216 mm.

Watermarks:

A2

A5–6

A7–8

B2–1

B3–4

B6

B7

C1–2

C3

C5-

C8–7

D5-

D8–7

7

6

6

6

6

7

7

6

7

8

6

11

11

E2–1

E4–3

F4–3

F8–7

G-3

G5–6

11

11

11

11

11

11

The two letters for marks 7 and 11 indicate the presence of the twin marks

Textual comments: A2 r: folio number 2 was probably present but barely inked • B2 v. vi. text:] homib us

Technical comments: Spacing sort on the head-line of A7 v, and of F8 v • The poor impression of both text and staves on some folios confirms that these elements were printed at the same impression: cf. B3 v or C7v

Corrections and changes:

In-house: A3 r and C5 v: see above

Later: Pencil foliation in the Tenor:] 25–34 • E4 r. iv. 51: sb, f → e, erasure and black ink, carefully drawn • F6 v. iii. 6 back: smm, by erasure

Binding: Original boards with, on each board, two blind-stamped blocks, apparently placed separately within rolled borders, rebacked in 1928. Both blocks have a monogram, of a cross on a hill, with the initials I P. On the front board, the left block shows a statue of] LVCRESIA [between two columns and below a grape arbour. At the top is inscribed in roman:] IN-GENIVM VOLENS NIHIL NON [and at the foot, in italic:] Claruit aît inessia a n nis 528 [The right column has the date 1534 and the left a monogram. The right block shows a man looking up at a cross, with the words] Spes [at the top right, ] Chari|tas [at the left foot, and] Fides [at the center foot. In addition, the left side reads, in italic:] In te d omi ne spe|raui no n con|fundar in | eternum, | in iu stitia | tua libera | me & eri|pe me. P sal: | 70 [Around the border, in roman: QVONIAM IN | ME SPERAVIT LIBERABO | EVM PROTEG|AM EVM QVO Ec. PSA: 90 [These texts both follow the Septuagint. ] On the back board, the sequence of the two blocks is reversed. [The block has been identified as the work of Jacob Pandelaert, of Louvain, working in the mid-16th-century. See Goldschmidt, Gothic, No. 179 • One bifolium of marbled card at each end, with the outer sheet pasted down on the board, and the inner sheet pasted to the outer of a bifolium of laid paper fly- leaves

Provenance: See the notes on the binding

Bibliography: Johnson and Scholderer, Short-Title, p. 369

I-Ac, Stampati. No. 189(3). Complete. This copy has the cancel bifolium at D3, 6, for which see below

Page size: 168× 232 mm.

Watermarks:

A2

A4–3

A5

A7–8

B2–1

B4

B5–6

B7

C2–1

C4–3

C5-

C6-

D5-

D8–7

7

6

7

6

6

7

6

7

8

8

7

6

11

11

E6–5

E8–7

F4–3

F7–8

G-3

G6–5

11

11

11

11

11

11

Later changes: Modern manuscript foliation, continuing from the Agicola edition •

Binding: With Agricola's masses (No. 13)

Provenance: S. Francesco, Assisi

(p.520) Bibliography: Petrucci, Liber (facsimile)

I-Bc, Q. 59. Complete • This copy has the cancel leaf at D3, 6, for which see below

Page size: 169× 236 mm.

Watermarks:

C6

C8–7

C9–10

F5–6

F8–7

G1–2

G-4

8

8

8

11

11

11

11

Technical comments: Spacing sort on the head-line of A7 v • G1 r. iv-v: furniture visible

Corrections and changes:

In-house: A3 r, E6r: see above

Later: Manuscript pagination, [C] 37–52; [T] 2[7]-36, with a number of the second digits trimmed off; [A] in the 40s and 50s, almost all gone; [B] in the 30s and 40s • F6 v. iii. 6 back: smm, by erasure

Binding: Modern card wrappers, with paper fly- leaves. All within a folder of marbled card. Painted edges: S and B, brown; T and A, green

Provenance: Given the pagination, and edges, this was originally bound behind some now lost volumes, and before the library's copy of Obrecht's masses (No. 6)

I-Mc, S. B. 178/7. Tenor and Bassus, complete

Size of page: 169× 234 and 169× 235 mm.

Watermarks:

A2

A4

A5–6

A7–8

B2

B4–3

B5

B7–8

C2–1

C3

C-5

C8–7

C9

7

7

6

6

7

6

7

6

6

7

6

8

7

D5-

D7–8

E4–3

E8–7

F2–1

F4–3

G-3

G5–6

11

11

11

11

11

11

11

11

Technical comments: C7r. i: lacks the large initial K • F8 v. head-line: text spacing sort is visible, 3. 4 mm high • G1 r. iv-v: furniture has taken light impressions

Later corrections and changes: Modern pencil foliation:] 15–24; 21–34 • C7v. iv. rests before 3 back: sb → 2 sb, in light brown ink • F6 v. iii. 6 from end: smm, by erasure

Binding: with Josquin, II Missarum (No. 22)

Provenance: Mantua, Sta Barbara • perhaps Ferrara, the chapel of Cardinal Ippolito d'Este Bibliography: This copy was exhibited in Florence in 1949 (see Damerini, “Esposizione”, p. 25) and in London in 1981–82 (see Chambers and Martineau, Splendours ) • Prizer, “Capella”

I-Rvat, Sist. 235–238. Complete. This copy has the cancel leaf at D3, D6, for which see below

Watermarks:

C1–2

C3

C-5

C6

C7–8

C10

6

7

6

7

8

7

Later corrections and changes: Foliated [S] 52–67; [T] 34–43; [A] 54–69; [B] 51–64 • F6 v. iii. 6 from end: smm, by erasure

Binding and Provenance: with Josquin, I Missarum (1516, No. 62)

PL-Kj, Mus. ant. pract. L115. Complete. This copy has the cancel leaf at D3, 6, for which see below

Size of page: 171× 238 mm.

Watermarks:

A2

A4–3

A5

A7–8

B2–1

B4–3

B5

B7

7

6

7

6

6

6

7

7

(p.521) Technical comments: A7 r. i. rest after 34: not erased, merely poorly inked • The pattern of staves is significant, not only showing a pattern of “work-and-turn” production, but also certain other details: for the measurements, see the Commentary, below

Corrections and changes:

In-house: A3 r: see above

Later: B2 v. iii. above rest after 22: a small cross in brown ink. Similar crosses can be found on B2 v-4 r, C8 r -9 r, and E2 r -3 v. They are apparently rehearsal cues • C1 r: in a 16thcentury manuscript hand, also found on Misse Ghiselin:] Mis se petri de la rue • C4 r. iv. 9: touched up in dark brown, as a result of a poor impression • D1 r: as on C1 r • E4 r. iv. 51: sb, f→e, almost all erased, and new note drawn • F1 r: as on C1 r • F6 v. iii. 6 back: smm, by erasure

Binding: Berlin bindings, within a 19th-century slip-case. All partbooks bound in early 19thcentury parchment with gold rolled border • One fly-leaf and one paste-down at each end of each partbook

Provenance: From Berlin. The stamp, in red] Ex | Biblioth. Regia | Berolinensi. [appears on A1 v and C1 v

US-CA, Mus. 786. 2. 501 (3). Tenor, complete. This copy looks to have been washed at some time. See, for example, C5 r iii. 19–22, which have a number of brown spots around them, hinting at early manuscript changes. As printed, they read l g, l a, ligature b a+ b b

Size of page: 162× 223 mm.

Watermarks:

.De beata virgine

[D3r,3v

.Puer natus.

[D6r

.Pe de la rne. Sexti vt fa.

[D6v

Technical comments: For the stave lengths, see the end of this description.

In-house correction: C7r: see above

Binding and Provenance: With Josquin Missarum III (1514, No. 54)

US-NH, Music Deposit No. 52. Superius, complete

Size of page: 151× 221 mm.

Watermarks:

Forme

Outer

Inner

A I

176

175

175

180

180

180

180

II

174

176

175

175

180

179

180

179

B I

175

176

174

180

179

180

179

II

174

176

174

175

180

179

180

178

C I

180

179

176

174

175

175

II

179

179

178

179

176

174

175

174

III

179

180

179

180

D I

179

178

180

176

174

174

174

II

179

179

179

180

179

174

174

178

E I

178

179

178

174

174

174

173

II

179

179

178

180

175

174

175

174

F I

179

178

180

176

174

175

174

II

178

180

178

180

176

175

175

174

G I

179

180

178

176

176

176

II

179

180

178

179

Textual comments: A2 r: folio number 2 was probably present, but there is merely a smudge, apparently from the lower edge of the sort • B2 v. vi. text:] homib us

Technical comments: A7 v. head-line: the same spacing sort seen in the copy at I–Bc • B6 r. i. text: large spacing sort, ca. 2. 8 * 3. 5 mm.

Corrections and changes:

In-house: A3 r: see above

Later: A modern foliation has been started on the first two folios • B6 v. vi. text: there may be an erasure at the abbreviation for con in the word] c onſbſta n tiale m [ sic ]

Binding: Modern red leather, with gold rolls on the inside edges, and blind rules on the borders. • One modern paste-down and conjugate fly-leaf at each end, the fly-leaf pasted to the outer of two conjugate 18th- century flyleaves

Provenance: From the collection of Commer, via W. H. Cummings, via A. Rosenthal • A1 r: the bookplate of F. Commer, with a manuscript comment on Petrucci • Bought by the John Herrick Jackson Fund in 1963

Bibliography: Barclay Squire, “Petrucci”

(p.522) No. 11a. Cancel Bifolium For Folios D3 and D6

Most details correspond to those of the edition, as described above

Running heads:

C I

181

180

177

176

176

177

II

180

181

180

182

178

176

177

177

III

182

181

181

183

Technical comments: The pattern of points in the head-lines is different on these pages

Contents: As for the main edition, above

Extant copies:

For further details on all these copies, see above

A-Wn, S. A. 77. C. 11

Watermark: Mark 11 on D3-

Technical comments: Stave lengths are given below

E-Bc, M. 115 (6)

Watermark: Mark 11 on D6-

GB-CW, s. s.

Watermark: Mark 11 on D6-

GB-Lbl, K. 1. d. 1

Watermarks Mark 11 on D3-

Technical comments: Stave lengths are given below

I-Ac, Stamp.No.189 (3)

Watermark: Mark 11 on D6-

Technical comments: Stave lengths are given below

I-Bc, Q 59

Watermark: Mark 11 on D6-

Technical comments: Stave lengths are given below • The pattern of running heads is different on this sheet

I-Rvat, Sist.235–238

Watermark: Mark 11 on D6-

PL-Kj, Mus.ant.pract.L115

Watermark: Mark 11 on D3-

Technical comments: Stave lengths are given below

No. 11B. Fragmentary additional printing

Three fragments from a different printing survive in Fossombrone. They can be distinguished from the principal edition, as described below

Extant material:

I-FBR, s.s. Three fragments removed from bindings: parts of the lowest two systems of B3

Sizes: 32.5 × 67 mm; 27 × 23 mm; 30 × 30 mm.

No watermarks are visible

Textual comments: Several of the tails appear to go in the other direction to those of the main edition: the alignment of text and music is also different

(p.523) Provenance: These have probably been in Fossombrone since the beginning, and were remains of material disposed of after Petrucci finished his active career

Bibliography: Coviello, Tradizione

Lost copies: A copy existed in the Colón collection (see Chapman, “Printed”, No. 6, p. 59) • A copy was in the Fugger collection (see Schaal, “Musibibliothek”, No. I/61)

Early references: Gesner: see chapter 10

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No. 1827 • Sartori, Petrucci, No. 11

  2. (c) Coviello, Tradizione • Petrucci, Missarum

  3. (d) La Rue, Opera Omnia

  4. (e) Auda, “Transcription”

Commentary:

  1. 1. The pattern of paper use suggests that the book was divided between two sets of craftsmen, one of whom was responsible for the first two parts (Superius and Tenor), and the other for the Altus and Bassus. I have found no other bibliographical reason to assert this. It is notable however that paper 11 (used for Altus and Bassus) had already come into use during the printing of the previous book, Canti B, while the supply of the papers used for the Superius and Tenor seems to be exhausted with this title.

  2. 2. The pattern of staves in the formes of the copy at PL-Kj are indicative. The following measurements are of the length of the lowest stave on each page:

    A-Wn

    180

    181

    180

    181

    GB-Lbl

    179

    180

    178

    180

    I-Ac

    179

    181

    179

    181

    I-Bc

    180

    180

    180

    181

    PL-Kj

    179

    179

    178

    180

    There are three points to make:

    1. (a) this clearly shows the retention of staves in the skeleton forme, in sets which can be used without movement;

    2. (b) The pattern reverses at the beginning of gathering C. The patterns of watermarks in the various copies indicate that this does not represent a hiatus in production: it must therefore be a (p.524) reflection of the pattern of setting. I suspect that the inner formes of text usually went to the press first, following the normal pattern of sequential setting. Then the staves for the inner forme of BII would be ready before those of the outer: these staves would then be ready for the innermost forme of gathering C, that on CIII. Since this was only a half sheet, printed by work and turn, the pattern would necessarily shift.

    3. (c) The anomalous forme DII is not strictly so, but the result of the cancel.

  3. 3. The single gathering C at US-CA shows the same pattern, but, in its larger measurements, also indicates the extent to which paper shrinkage can affect the readings.

    recto:]

    Contra Baſſus

    [A3–6, A8-G1, G3,4, G6-J8, K3-L3, L5-M7, N1-Q7,R4

    Contra

    [G2,5, L4, R8, S8, T3, T7-V4, V6-V8, X3,5

    Contra Contra

    [K1,2

    Contra Contra Baſſus

    [M8

    [All three, some in the stave:

    Q8, R2,3

    Tenor Contra Bas sus

    [R1,5, T4,5

    Tenor Contra

    [R6,7, S1–7, X1,2

    Tenor

    [T1,2, T6, V5, X4

    [Nil:

    A1,2,7, R5, X6–8

    verso:]

    Tenor

    [A2–7, B1-F8, G2,3, G5-L2, L4-O1, O3-Q6, R7, S7,8, T2, T6-V3, V5–7, X2, X4–6

    Tenor Baſſus

    [G1,4, L3, R1

    Tenor Tenor

    [O2

    [all three, some in the stave:

    Q7,8, R2

    Tenor Contra Bas sus

    [R4

    Contra

    [T1,5, V4, X3

    [Nil:

    A8, R3,5,6, R8-S6, T3,4, V8-X1, X7,8

  4. 4. The head-lines, only comprising the name of the mass concerned, show every sign of being reset on each page. The following is taken from the copy at I-Ac (easily available in facsimile, as part of Petrucci, Liber. ) The variety of added full stops is notable, although a pattern can be discerned, of adding a stop between “Pe” and “de la rue”. Other points are more haphazard, although a comparison of copies shows that many were present but did not print. Any two copies will present a seeming variety of added and removed points, although they in fact contain the same setting of type.

    recto:] De beata virgine. [A2, F2,3 •. De. beata. vi rgine. [A3 • De beata virgine [A4, C2 • De. beatvir gine [C2 • De. beata virgine [D2 •. De beata vir gine. [D3

    . Puer. natus. [A5 • Puer natus [A6, 7, C4, F5 •. Pe. de la rue. Puer natus [D4 • Puer natus. [D5, F4, 6 •. Puer natus. [D6

    Sexti vt fa [A8, B2, C5, 6 • Sexti. vt fa [B1 • Sexti vt fa. [D7-E1, F7, 8

    Lo m me arme. [B3–5, E3, 4 • Lo m me arme [C7, 8 •. Lo m me arme. [G2, 3 • Pe. de la rue. Lo m me arme. [E2, G1

    Nu n qua. fue [B6 • Nu n qua fue [B7, C10 • Nu n qua fue. [B8, E6, 7, G5 • Nu n qua fue pene maior [C9 •. Nu n qua fue. [G4 • Pe. de la. rue. Nu n qua fue. [E5 [Nil A1, C1, D1, E8, F1, G6

    verso:] Pe. de. la. rue. De. beata. v ir gine. [A1 • De beata v ir gine [A2, 3, C2, D2 • De Beata v ir gine [C1 • Pe. de la rue De beata v ir gine [D1, F1 •. De beata v ir gine. [D3 • De beata v ir gine. [F2, 3

    . Pe. de la rue. puer natus. [A4 • Puer natus. [A5, D5, F4, 5 • Puer natus: [A6 • Puer natus [C3, 4 •. Puer. natus [D4

    . Pe de la rue. Sexti. vt fa. [A7 • Sexti vt fa [A8, C5, 6 • Sexti. vt fa. [B1, F8 • Sexti vt fa. [D7-E1, F6, 7 •. Pe. de la rue. Sextivt fa. [D6

    Pe. de. la rue. Lo m me arme [B2 • Lo m me arme [B3, C7, 8, E3 • Lo m me arme. [B4, E2, 4, G2 •. Lo m me ar me. [G1

    Pe. de la rue. Nu n qua fue pena maior: [B5 • Nu n qua fue. [B6, E5, 7, G4 • Nu n qua. fue [B7 • Nu n qua fue [C9 •. Nu n qua fue. [E6• Pe. de la rue. Nu n qa fue. [G3 • Nu n qua fue. [G5 [Nil B8, C10, E8, G6

    Despite the variety of solutions to be found here, it is clear that these head-lines could not have been kept in the forme as a normal practice. On the other hand, there were evidently occasions when the compositor left the heading in place: some cases of consecutive uses of the same style that appear above can also be shown to comprise exactly the same setting. Among these are, on rectos: B3 and 5, E6 and 7, and F4 and 6; and on versos: D2 and 3, E6 and 7, and F6 and 7. This shows that the compositors were aware of the possibility.

  5. 5. There are only two places in the volume where Petrucci does not begin a new mass on a new page: both fall in the Bassus, and allow that book to be printed on six folios, instead of seven (p.525) (requiring eight). This suggests that Petrucci's foreman might have begun to acquire the skill needed to cast off polyphonic music, and to calculate the required number of pages.

  6. 6. There are typographical reasons for asserting that the half-sheet D3, 6 was the cancel, rather than D4, 5:

    1. (i) folios 4 and 5 would not need the small initial P on 4 v, since the large initial (on D3, 6) would not be in use;

    2. (ii) the A on 3 v has some damage at the top of the letter, on both sides, when compared with elsewhere in the volume, suggesting that this page was printed later;

    3. (iii) while the stave lengths on D4, 5 follow the normal pattern, those on D3, 6 show a pattern of printing by work-and-turn. All extant copies have the same group of staves:

      A1r

      [Title]

      A1v

      [blank]

      A2r

      [Tavola]

      1

      A2v

      [T:] Aue regina celorum

      .Ja.Obreht.

      A3v

      2/ Funde preces ad filiuГ

      2

      A4v

      FOrseulement

      Ja.Obreht

      3

      A5v

      A6v

      TAnt que nostre argent durra [Tavola:] vostre

      Ja.Obreht

      5

      A7v

      LAmor de moy

      [Anon.]

      6

      B1v

      UNne playsante fillete

      Compere

      7

      B3v

      ET raira plus la lune

      Gregoire

      8

      B4v

      O Uenus bant

      [Anon.]

      9

      B6v

      GEntil galant de gerra

      [Anon.]

      10

      B7v

      MYn hert [Tavola:] Min

      De la rue.

      11

      B8v

      LE troys filles de paris

      De.orto.

      C1v

      2/ [No incipit]

      12

      C2v

      TOut a par moy

      Agricola

      C3v

      [2/] Faisans regres

      13

      C4v

      BEati pacifici [T,C,B:] De tous biens playne

      C.de. stappen.

      14

      C5v

      NUmqua fue pena maior [B headed:] Namqua

      [Anon.]

      C6v

      2/ E ſte cono ſcimiento

      15

      C7v

      FOrseulement

      G.Reingot. [Tav:] rengot

      16

      D1v

      CEst vag maues mal

      [Anon.]

      17

      D3v

      NA ſtu pas veu la mistondina

      [Anon.]

      18

      D4v

      VNe petite aquince [ = aquinee]

      [Anon.]

      19

      D6v

      TRes doulce fillete

      [Anon.]

      20

      D8v

      QUi ueult ioner de la queue [other vv:] iouer

      [Anon.]

      21

      E2v

      CHescun me crie

      [Anon.]

      22

      E4v

      MOn enfant

      [Anon.]

      23

      E5v

      FOrseulement

      Ghiselin

      24

      E7v

      SE congie pris

      [Anon.]

      25

      E8v

      JAy pris amours

      [Anon.]

      26

      F1v

      VNg franc archier

      [Anon.]

      27

      F2v

      HElas helas fault il

      [Anon.]

      28

      F3v

      GEntils galaus ananturiers [other vv:] galans avanturiers

      [Anon.]

      29

      F4v

      MOn mari ma defamee

      [Anon.]

      30

      F5v

      LOseraige dire se Jame per amoure

      [Anon.]

      31

      F7v

      POur quoy tant

      [Anon.]

      32

      F8v

      ALba celumba [other vv: ] columba

      Infantis

      33

      G1v

      ELogeron nous

      [Anon.]

      34

      G2v

      A Uous ie vieng

      [Anon.]

      35

      G3v

      FOrseulement

      [Anon.]

      36

      G4v

      FOrtuna dun gran tempo

      Japart

      37

      G5v

      LOier mi fault vag carpentier

      Japart

      38

      G6v

      JAy pris amours

      [Anon.]

      39

      G7v

      LE second Jour dauril

      [Anon.]

      40

      G8v

      LAutrier ie men aloye iouer

      [Anon.]

      41

      H1v

      ICh byn zo elende

      [Anon.]

      42

      H2v

      BErzeretta sauoyena

      [Anon.]

      43

      H3v

      ALeure que ie vous pri.x. [Headed:] Canon: Ad nonam canitur bassus hic tempore lapso: [B:]Resolutio ex supremo.

      Josquin.

      44

      H4v

      LE bon temps que iauoy

      [Anon.]

      45

      H5v

      SUr le pont dauignon [Capital U inverted]

      [Anon.]

      46

      H6v

      DAmer ie me veul intremetre

      .Jo.Fortuila.

      47

      H8v

      LAutre iour men cheuauchoye

      [Anon.]

      48

      J1v

      JEsey bien dire

      Josqnin [sic]

      49

      J2v

      MOn pere ma done mari

      Compere

      50

      J4v

      FOrtuna desperata

      .Jo.pinarol

      51

      J5v

      LA fleur de biaulte

      Jo.martini

      52

      J6v

      ET marion la brune

      [Anon.]

      53

      J7v

      [J]E ne me peus tenir damer

      [Anon.]

      54

      J8v

      FAult il que beur soy

      .Jo.martini

      55

      K2v

      GEntil galans de gerra

      Crispin.de stappen

      56

      K3v

      HElas le poure iohan [CT,B:] … ioan

      [Anon.]

      57

      K4v

      PAr vng iour de matinee

      Yzac.

      58

      K5v

      EN lombre dung bussinet [Tav:] Eulombre … bussiuet

      [Anon.]

      59

      K6v

      IL est de bone heure ne

      Jo.Japart

      [B:] Lomme arme

      60

      K7v

      DE tous biens

      Jo.Japart

      [above K8r:] Canon. Hic dantur antipodes.

      61

      K8v

      POur pas ser temps

      Jo.Japart

      [T:] Plu5 ne chasceray sans gans

      62

      L1v

      ELeue vous

      [Anon.]

      63

      L3v

      DE tous biens

      Agricola

      64

      L4v

      MOn ami mauoyt promis

      [Anon.]

      65

      L6v

      QUant vostre ymage

      [Anon.]

      66

      L7v

      VIrtutuГ explusus terris

      Crispinus de stappen

      67

      L8v

      DE tous biens planye [sic]

      [Anon.]

      68

      M1v

      JAy pris amours

      [Anon.]

      69

      M2v

      LA tourturella Jaco.Obreht

      70

      M3v

      UNe filleresse

      [Anon.]

      [T:] Uostre amour

      [CT:] Sil ya compagnon en la compagnie

      71

      M4v

      AMours ne st pas

      [Anon.]

      72

      M5v

      JE nay deul

      Okenghem

      73

      M6v

      JE ne suis mort ne nief

      [Anon.]

      74

      M7v

      VRay dieu damours

      à5

      Jo.Japart

      [CT1:] Sancte iouanes baptista

      [CT2:] Ora pro nobis

      75

      M8v

      QUis det vt veniat

      Agricola

      76

      N1v

      PRestes le moy

      Jo. Japart

      77

      N3v

      ROyne de ciel

      Compere

      N4v

      2/ [no incipit]

      78

      N5v

      NEnccioza

      Jo.martini

      79

      N6v

      DE vostre deul

      [Anon.]

      N7v

      2/

      [no incipit]

      80

      N8v

      QUe vous madame

      Agricola

      [B:] Je [sic] pace In idipsum

      81

      O1v

      COrps digne

      Busnoys

      [T, CT, B:] Dieu quel mariage

      82

      O2v

      JE suy dalemaygne

      à5

      [Anon.]

      83

      O3v

      COmme feme desconfortee

      [Anon.]

      84

      O5v

      VIlana che sa tu far

      [Anon.]

      85

      O6v

      DE tous biens

      [Anon.]

      86

      O7v

      JAy pris mon bourdon

      Sthokem

      87

      O8v

      ENtre vous galans

      [Anon.]

      [CT:] Je mi leuay hier au matin

      88

      P1v

      EN despit de la besogna

      [Anon.]

      [T:] Aduegna que aduenir poudra

      89

      P2v

      TRes doulx regart

      [Anon.]

      90

      P3v

      QUesta se chiama

      Jo.Japart

      91

      P4v

      SEruiteur soye

      Jo.Sthokem

      92

      P5v

      MAyntes femmes

      à4 ex 3

      Busnoys

      [S:] Canon: Odam si protham teneas in remis so diapason

      cum paribus ter augeas

      93

      P6v

      SIl vous playsist

      Jo.Regis

      94

      P7v

      JE sui dalemagne

      Jo.Sthokem

      95

      P8v

      LE desproueu infortune

      [Anon.]

      96

      Q1v

      ROsa playsant

      Philipon.

      97

      Q2v

      CEnt mille escuts

      [Caron]

      98

      Q3v

      TArt ara mon cor

      Molinet

      99

      Q4v

      PEtite camusete

      Okenghem

      100

      Q5v

      AYmy aymy

      [Anon.]

      101

      Q6v

      FOrtuna desperata

      [Anon.]

      102

      Q7v

      JAy bien nouri

      [Anon.]

      103

      Q8r

      VIure ou mourir

      [Anon.]

      104

      Q8v

      CElux qui font la gorre

      [Anon.]

      [T:] Il son byen pelles

      105

      R1r

      JE ne suis pas a ma playsache

      [Anon.]

      106

      R1v

      VNa musque de buscgaya

      à4 ex 3

      Josquin

      [Headed:] Quiescit qui supreme volat | Uenit post mequi in puncto clamat

      107

      R2r

      E Uray dieu que payne

      Compere

      108

      R2v

      EN vroelic

      [Anon.]

      109

      R3r

      LInken van beueren

      [Anon.]

      110

      R3v

      VIue le roy

      à4 ex 2

      Josquin

      111

      R4v

      EN lombre dung bis sonet

      à4 ex 2

      Josquin

      112

      R5r

      AUant a moy

      à4 ex 2

      [Anon.]

      [Headed:] Fuga in diates seron superius

      113

      R5v

      ALma redemptoris mater

      à3

      [Anon.]

      R6v

      2/ Uirgo prius

      [B:] Aue regina celorum

      114

      R7v

      LE seruiteur

      à3

      [Anon.]

      115

      R8v

      TArtara

      à3

      Yzac.

      116

      S2v

      JOli amonrs [sic]

      à3

      Jo.Ghiselin

      117

      S4v

      JOli amours

      à3

      :Cor:De:Uuilde:

      118

      S6v

      DE tous biens playne

      à3

      [Anon.]

      119

      S7v

      DE tous biens

      à3

      [Anon.]

      120

      S8v

      TAndet naken

      à3

      Agricola

      [T:] Tander naken

      121

      T2v

      COomme feme

      à3

      Agricola

      [T,CT:] Comme feme

      122

      T3v

      LA spagna

      à3

      [Anon.]

      123

      T5v

      SI ascendero in celum

      à3

      Nico.Craen

      124

      T6v

      FAuus distilans

      à3

      Jo.Ghiselin

      125

      T7v

      LA hault dalemaigne

      à3

      Mathurin

      126

      T8v

      TAnder naken

      à3

      Licide

      127

      V3v

      VUeit ghy

      à3

      [Anon.]

      128

      V4v

      SE mieulx ne vient damours

      à3

      Agricola

      129

      V5v

      LA bernardina

      à3

      Josquin.

      130

      V6v

      [U]Na maistresse

      à3

      Brumel

      131

      V7v

      VOstre a iamays

      à3

      Ghiselin

      [CT:] Je nay dueul

      132

      V8v

      SE iay requis

      à3

      Ghiselin.

      133

      X1v

      BElle sur toute5

      à3

      Agricola

      [CT:] Tota pulcra es

      134

      X2v

      HElas hic moet my liden

      à3

      Ghiselin.

      135

      X3v

      VOus dont fourtune

      à3

      [Anon.]

      136

      X4v

      TOus les regrets

      à3

      [Anon.]

      137

      X5v

      LE seruiteur

      à2

      [T:] Le seruiteur

      Ja.Tadinghen

      138

      X6v

      LE seruiteur

      à2

      [T:] Le seruiteur

      .Hanart

      139

      X7v

      PRennes sur moy

      à3 ex 1

      Okenghem

      X8r

      [Colophon; Register; Device]

      X8v

      [blank]

  7. 7. The cancel bifolio must have been printed very soon after the edition. It survives in all copies, and the typographical material seems to be in much the same state as in the edition.

  8. 8. The fragmentary remains of another printing cannot be dated: coming as they do from the foot of a page, they do not contain watermarks or large initials. It is tempting to suggest that they were printed in Fossombrone (where they survive), rather than in Venice. However, that would presume a new edition: while there is the example of the new edition of Ghiselin, printed around New Year 1515, it is significant that no copy of such a La Rue edition survives, while the first edition was widely preserved.

No. 12. Canti C

10. ii. 1503/4 RISM 15043

A1r] Canti. C. N° cento | Cinquanta. | C

X8 r ] Imp re s sum Uenetijs per Octauianum PetrutiuГ Forosemp ro nien|sem 1503 die 10 Februarij. Cum priuilegio inuictis simi Dominij | Uenetiarum quae nullus pos sit cantum Figuratum imprimere| sub pena in ipso priuilegio contenta. | RegistruГ ABCDEFGHJKLMNOPQRSTUX Omnes quaterni. | [Petrucci's device]

A2r] [Tavola: in four columns, set in roman, with roman numerals, all with final points

Format and collation: Choirbook: landscape quarto-in- eights. 168 folios: A–X8

Signatures:] Aa II [$4 •-A1, Q3, Q4 • C2- C4, D2 signed with arabic numerals • Q5 and 6 signed] Qq III [and] Qq IIII • all J and U signed with the letters] Ji [and] Uv

Foliation: t. r. r. :] [1–2], 3–102, 101–102 [r ec te 103–104], 105–109, 1010–1022, 1025–1026 [r ecte 123–124], 1023–1024 [recte 125–126], 1027–1046, 147–150, 1051–1052, 153–167, [168] • For in-house corrections, see below

No running heads • Composers' names and references to second p artes appear in the head-line

Part names: in the left margin, to be read vertically from the top: (p.526)

A1–2

A3–4

B1

B3

B6–5

B8–7

C1–2

C4–3

D1–2

D5–6

E5–6

E7–8

12

12

7

7

6

6

11

11

11

11

11

11

F1–2

F6–5

G2–1

G4–3

H5–6

H8–7

J2

J4

K2

K5

L6

L8

6

6

6

6

6

6

9

9

9

9

9

9

M6

M7

N1

N4

O2

O4

P2

P5

Q2

Q4

R2–1

R3–4

9

9

9

9

9

9

9

9

13

13

6

6

R6

R7

S4–3

S7–8

T8–7

T3–4

V3–4

V7–8

X5–6

X7–8

7

7

11

11

11

12

12

12

12

12

The part-names seem to be erroneous on some of S8-T2

Fonts: Music: Petrucci's normal music type

Staves: six per page, 178 mm long, 10–92–112 high

Text: Other texts in Rotonda • Tavola in Roman

Textual comments: F8 v and M7 v: the text is spaced out as if the exemplar were texted • J1 v: ascription is to:] Josqnin • K7 v: Tenor text incipit is a line too high

Technical comments: Small capital letters used on A5 v [F] • No capital letter on J7 v [J], V6 v [V, guide letter present] • This is one of the volumes where extra notation and a second custos are entered after the final custos of a page • The music for O8 r was printed before O8 v, from evidence in the copies at F-Pc and I-TVcap • The inner sheet of gathering Q was apparently imposed with the two formes reversed, as indicated by both signatures and page numbers: see the Commentary below

In-house corrections:

Stop-press corrections: B4 r. folio number: 21 (F-Pc, I-TVcap) → 12 (A-Wn) • D2 v. iv. 21 and 37: both originally m and changed to sb: the change by stop- press correction in I-TVcap, and in manuscript in F-Pc • D5 r. folio number: 26 (I-TVcap) → 29 (A-Wn) • D7r. folio number: 32 (I-TVcap) → 31 (A-Wn) • M2 v. i. 23: bl: by stop-press in I-TVcap; by manuscript in F-Pc • T2 r. folio number: 1056 (I-TVcap) → 1046 (A-Wn, F-Pc) • T3 r. folio number: 1047 (F- Pc) → 147 (others) • T5 r. folio number: 1049 (F-Pc) → 149 (others)

Corrections after press-work: C4 r. iv. after 16: flat and m f → m f, m g, using original tails, and 2 sb stamped in over erased heads: F-Pc and I- TVcap • D3 v. i. 1: m e'→ m f', note head erasedand new one stamped in with type: A-Wn and I-TVcap • F1 r. iv-v. clefs: from F4, to F3, partly by erasure and partly with a sb stamped in: F-Pc; the new head is in manuscript: A-Wn and I- TVcap • G4 v. iv. 21–22: sb, sb stamped in over b, b: I-TVcap • L1 v. iv. 9–10: sb f, m f→ sb f, m rest, m f, sb f, with a stamped in note- head, and ginger ink: A-Wn • L7 r. v. 10: bl, by addition of tail in brown ink: A-Wn and I- TVcap • O4 v. iv. 19–22: b g, sb c, b g→ sb g, sb d, sb g, sb f, by erasure of the b g and sb c, and new note-heads stamped in withtype: A-Wn and I-TVcap • O4 v. iv. 20–22: dsb G, b c, b B → erased dot, and sb stamped in over each b, then touched up with brown ink: A-Wn • Q3 r, 4r: signatures added, in brown ink: A-Wn, F-Pc, and I-TVcap • Q4 r. iv. 20–22: originally dsb G, b c, b B; the dot erased and two sb stamped over the second and third notes, at the same pitches: I- TVcap • Q5 r, 6 r: signatures (p.527) struck through, in brown ink: A-Wn, F-Pc and I-TVcap • R3 r. v. 36–39: sm b, m c', sm d', m e': now all black notes, sb b, m c', sb d', m e', by erased tails, and black ink; stave-lines redrawn in ginger: I-TVcap • R8 r. v. final three chords: upper notes all printed normally; first two lower notes stamped in, and then colored with brown ink; last lower note drawn in brown ink: A-Wn and I-TVcap: F-Pc, four chords were created, as follows: the original notes were all void—b A, sb A, b G, l c: the others —b c, sb E, b B, b A (sharing the l tail) —are all stamped in: all currently black notes were filled in with ink • R8 r. vi. final three chords: lower three notes all printed, then colored with brown ink; first two upper notes stamped in, and final notes drawn in brown ink: A-Wn and I-TVcap. At F-Pn: from sb A, b B, b B. First two removed, and replaced by stamped in colored sb A, b B, with, above them stamped in 4 sb a, g, g, f. Then, in ginger ink, the following changes: low Aflat is filled in, upper notes have the rhythms changed to dsb, m, m, m and a final l A added, using part of the double-bar as a tail • T6 v. ii. 22–23: dm e,” sm d” → m d”, sm c”, erased note-heads and dot; new note-heads stamped in, with ginger ink dot and touched-up stave lines • V5 r. i. 33–34: struck through, in brown ink: A-Wn and I-TVcap

Contents

A1–2

A5–6

B3

B6–5

B8–7

C1–2

C3–4

D2–1

D3–4

E6–5

E7–8

11

12

7

6

6

11

11

11

11

11

11

11

F3–4

F7–8

G6–5

G7–8

H2–1

H4–3

J6

J7

K6

K8

L2

L5

6

6

11

6

6

6

9

9

9

9

9

9

M1

M5

N6

N8

O3

O8

P1

P6

Q2

Q4

R1–2

R6–5

9

9

9

9

9

9

9

9

13

13

6

6

S1–2

S5–6

T3–4

T7–8

V5–6

V7–8

X1–2

X3–4

11

11

12

12

12

12

12

12

(p.528) (p.529) (p.530)

(p.531) Extant copies:

A-Wn, 47. 355. Complete

Size of page: 159× 230 mm.

Watermarks:

A-2

A-6

B2

B3

B6–5

B7–8

C1–2

C3–4

D3–4

D8–7

E1–2

E3–4

F1–2

F4

11

12

7

7

6

6

11

11

11

11

11

11

6

7

F5–6

F8

G2

G3

G6–5

G7–8

H1

H4

H5–6

H8–7

J4

J7

K2

K6

6

7

7

7

6

6

7

7

6

6

9

9

9

9

L2

L5

M2

M5

N7

O5

O8

P3

P8

Q4

Q7

R2–1

R4–3

R5

9

9

9

9

9

9

9

9

9

13

13

6

6

7

R7

S6–5

S7–8

T5–6

T7–8

V2–1

V6–5

X6–5

X7–8

7

11

11

12

11

11

11

11

11

Technical comments: E2 v. i: text spacing sort • K6 v. vi. start: a music spacing sort, measuring 6. 0 x 8. 7 mm

Corrections and changes:

In-house: B4 r, D3 v, D7r, F1 r, L1 v, O4 v, Q3 r, 4 r, Q5 r, 6 r, R8 v. v, R8 r, V5 r: see above

Later: G4 v. iii. last: msb, by erasure of the tail • H4 r. iv. clef: descenders poorly impressed and redrawn in ink • H8 r. v. last note: lower part of note and stave line failed to take ink, and were touched up with brown ink • R3 r. iv. 47: sb, b → a, in black ink, perhaps stamped • R8 r. iv. custos: changed in brown ink

Binding: Late 17th-century, with the Imperial arms on the spine • At present there is a bifolium of grey paper at each end, one leaf used as a paste-down, and a white paper folio between it and the book

Provenance: From the Fugger collection. A piece of leather from an earlier binding, with the Fugger crest, is mounted inside the front board

Bibliography: Ambros, Geschichte, p. 196

F-Pc, Rés. 540. Complete

Page size: 160× 221 mm.

Watermarks: (p.532)

5r

4v

4r

5v

3r

6v

6r

3v

and

they were set as

and

6v

3r

3v

6r

4v

5r

5v

4r

Textual comments: A8 r: folio number is lacking

Technical comments: Evidence of the order of impressions: E6v music before E6r; K4 v text, stave and composer name in one impression; part name, capital and music in the other; O8 r music before O8 v • The initial letter “T” on Q3 v shows damage on later pages (R8 v, S8 v, T8 v, X4 v ). It is worst on A6 v —no doubt set last to include the Tavola • E2 v. i. incipit: a text spacing sort, 3. 9 * 0. 5 mm; sorts of the same size are to be seen on J2 r. iv, L8 r. iv, M7 r. i, and N6 v. iv • Q8 r. v. 5 and rest: apparently printed well, but covered with a piece of rag paper, perhaps while drying

Corrections and changes:

In-house: C4 r, D2 v. iv. 21 and 37, F1 r, L1 v, Q3 r, 4 r, Q5 r, 6 r, R8 r. v, R8 r. vi, T6 v, V5 r: see above

Later: D2 v. iv. before 18: added m rest, ginger ink • D2 v. iv. 24: sbm, ginger ink tail • D2 v. iv. before 34: added m rest, ginger ink • D2 v. iv. 40: sbm, ginger ink tail • D3 r. i. rests after 11: were sb, b, b, sb: second b erased • D3 r. iv. rests after 1: were l, l, l, l: last l changed to a b by erasure • G4 v. iii. last: msb, by erased tail • H1 v. v. penultimate:was black, centre erased • M2 v. i. 23:? bl, with black ink • S8 r. iii. after 42: rests were sb, m: l added, in ginger ink

Binding: With the library's copies of the third edition of Odhecaton A (No. 14, q. v. ) and the second edition of Canti B (No. 10)

Provenance: Has the Conservatoire stamp, acquisition number of 21775, on A1 r and X8 v • Seville and Colón: see Odhecaton A (third edition, No. 14) • Cited in Colón's catalogues (see Chapman, “Printed”, No. 7)

I-TVcap, Stampa Mus. n. 6. Complete

Size of page: 169 × 235 mm.

Watermarks:

A1r

D1r

F1r

H1r

[Title]

1

A1v

D1v

F1v

H1v

[Missa] Le ſeruiteur

A2r

D2r

F2r

H1v.v

[Gloria]

A3r

D2r.vi

F3r

H2v.ii

[Credo]

A4r

D2v.v

F4r.ii

H3v

[Sanctus]

A4v.v

D3r

F4v.iv

H4r.v

[Agnus]

2

A5v

D3v

F5v

H5r

[Missa] Je ne demande

A6r

D4r

F5v.vi

H5v

[Gloria]

A7r

D4v.v

F6v

H6r.iii

[Credo]

A8r

D5v

F7r.v

H7r

[Sanctus]

B1r

D6r

F8r.iv

H7v

[Agnus]

3

B1v

D6v

F8v

H8r

[Missa] Mal heur me bat

B2r

D6v.v

G1r.ii

H8r.vi

[Gloria]

B3r

D7r.v

G2r

J1r.iii

[Credo]

B4r

D8r.iv

G3r.iii

J2r

[Sanctus]

B5r

D8v

G4r.iii

J2v

[Agnus]

4

B5v.v

E1r

G5r

J3r.ii

[Missa] Primi toni

B6r

E1r.iii

G5r.iv

J3r.iv

[Gloria]

B6v

E1v.iv

G5v.iv

J3v.ii

[Credo]

B7v

E2v.iii

G6v.v

J4v

[Sanctus]

B7v.vi

E2v.vi

G7r.vi

J4v.vi

[Agnus]

5

B8r

E3r

G7v

J5r

[Missa] Secundi toni

B8v.iii

E3v

G8r.ii

J5v.i

[Gloria]

C2r

E4v

G9r

J6v

[Credo]

C3r

E5r.iii

G10r

J7r.iii

[Sanctus]

C3v.iv

E5v.iv

G10v.v

J7v.v

[Agnus]

J8r

[Colophon: Register: Device]

C4r

E6r

[blank staves]

C4v

E6v

J8v

[blank]

——

Technical comments: The same evidence of order of impressions found on O8 v in the copy at F-Pc • E2 v. i: a text spacing sort • K2 r: a text spacing sort at the level of the direction line

Corrections and changes:

In-house: C4 r, D3 v, G4 v, L7 r, O4 v, Q3 r, 4 r, 5 r, 6 r, V5 r: see above

Later: F1 r. iv and v. clef: C4 → C3, in black ink • G4 v. iii. last note: msb, by erasure • (p.533) H8 r. v: part of the last note and the stave line touched up in brown ink • J8 r. vi. clef and signature: C4and flat at c → F4and flat at B, in brown ink • R3 r. v. 34: erased m a • R3 r. v. 35–38: sm, m, sm, m, → sb, m, sb, m, all colored, by erasure • S8 r. iii. after 42: rests were sb, m: l drawn in ginger ink

Binding: 16th-century, corresponding to that of the library's copy of Odhecaton A (No. 14, q. v. ) • One paste-down at each end of the book

Provenance: Given to the Biblioteca Capitolare in 1700 by Canon Agapito Burchelliati (Sartori, Petrucci, p. 69)

Bibliography: dʼAlessi, “Cappella”, p. 187 • Cosenza, Biographical, p. 482 still repeats the report of Fumagalli, Lexicon, that this copy is of an otherwise lost 1500 edition

Lost copies: Sartori, Petrucci, p. 69, states that a copy of Vogel, Bibliothek with author's annotations reported a copy of this edition in a library at Bordeaux. This was quite plausibly the copy now in F-Pc: the Paris copy of the 1504 edition of Odhecaton A (originally owned byón) was reportedly bought from a dealer in Bordeaux. No other corrresponding copy has surfaced

Early references: Bolduanus, Draudius and Gesner: see chapter 20

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No. 546 • Sartori, Petrucci, No. 12; BrownI 15041; Jeppesen; Nuovo Vogel 15032

  2. (b) Brunet, Manuel, i, col. 1550

  3. (c) Petrucci, Canti C • The colophon is reproduced in Castellani, “Arte”, ii, p. 97

  4. (e) Cauchie, “Odhecaton” • Dalmazzo, Libro, p. 185 • Feétis, “Specimen”, p. 3 • Sartori, “Nuove”, p. 178

Commentary:

  1. 1. Fétis, “Specimen”, p. 3, asserts that this was the first book printed by Petrucci. He was followed in this by Dalmazzo, Libro, p. 185

  2. 2. This may be another case of a book created in layers: the watermark patterns tend to coincide with layers of content. See, for example, the change at the end of H, and perhaps one around gathering C. This may reflect the use of two teams of craftsmen in Petrucci's shop, since it would be relatively easy to divide up a repertoire of this sort.

  3. 3. The crowding in gathering R, so that some pieces need the music of lower voices to start in the middle of a line, is not characteristic of the Odhecaton series, which have tended to be generous of space. This again suggests that some of the work had been divided up in advance, and gathering S had been assigned to a different compositor, working simultaneously.

  4. 4. For gathering Q, it appears that both the signatures and the foliation were “wrong”, although only the signatures were corrected. Both formes seem to have been rotated when being set-up, i. e., the pages were inserted in the wrong sequence: instead of

    S

    T

    A

    B

    Agricola: Misse

    [0] 1–19

    [0] 1–13

    [0] 1–17

    [0] 1–15

    gold

    de Orto: Misse (1505, No.20)

    20–37

    14–29

    18–35

    16–33

    gold

    Gaspar: Misse (1507, No.32)

    38–55

    30–39

    36–53

    34–49

    gold

    Isaac: Misse (1506, No.31

    56–73

    40–49

    54–69

    50–63

    gold

    Brumel: Misse (1503, No.8)

    74–93

    50–58

    70–89

    64–79

    gold

    Obrecht: Misse (1503, No.6)

    94–113

    60–73

    80–99

    gold

    I Missarum diversorum (1508, No.43)

    114–129

    74–83

    112–127

    100–113

    gold

    Fragmenta missarum (1505, No.24)

    130–147

    84–98

    128–147

    114–131

    gold

    This is a simple enough error: but it seems to imply that the page numbers and signatures were left in the forme, and updated at the end of the process. If they had been set as part of the (p.534) text page, then they would have corresponded to the correct texts, and it would have been hard to get the result that survives.

  5. 5. Once again the pieces scored for three voices are collected separately, clearly reflecting a view of the distinction to be made betwee three- and four-voiced compositions. The same does not appear to hold true for those à5, although there are generally too few to be sure.

  6. 6. It is tempting to assert that Petrucci employed new and relatively inexperienced typesetters, beginning with this volume. Coupled with other features remarked here, there is a large number of in-house corrections, spread fairly evenly across the volume.

  7. 7. In fact, the list of in-house changes made after press work, given above, has been made comprehensive rather than restrictive. However, all these changes were almost certainly made in-house: it is also probable that many similar changes in other editions, which I have listed as “Later”, were also made before the copies left the house.

  8. 8. The practice of entering additional notation and a second custos, at the page turn, is common in this book. They can be found on A7 v -8 r, B1 v - 2 r, B4 v -5 r, C7v -8 r, D1 v - 2 r, D8v -E1 r, E2 v -3 r, E5 v - 6 r, F5 v -6 r, J2 v -3 r, L1 v - 2 r, O3 v -4 r, R8 v -S1 r, S2 v - 3 r, S4 v -5 r, S8 v -T1 r, T3 v - 4 r, T8 v -V1 r, and V1 v -V2 r. This represents all the occasions where (a) the music continues onto the next opening, and (b) there is no bar-line, corona, or signum congruentiae. The additional notation and custos are lacking on some openings that do have one of these features: C2 v -3 r (with a corona ), D4 v -5 r (with a signum ), L4 v -5 r (with a signum ), and N1 v -2 r (with a signum ).

No. 13. Agricola: Misse

23. iii. 1504 RISM A431

There is a cancel for a half-sheet in gathering H

Edition

A1r] Miſſe Alexandri agricole | Le seruiteur | Je ne demande | Mal heur me bat | Primi toni | Secundi toni | S

D1 r ] T

F1 r ] A

H1 r ] B

J8 r ] Impressum Uenetij5 per Octauianu3 Petrutiu3 Forosempronien|sem 1504 die 23 Martij. Cu3 priuilegio inuictissimi Dominij | Uenetiarum quae nullus possit cantum Figuratum imprimere | sub pena in ip so priuilegio contenta. | Registru3 ABDFHJ quaterni C duern us E ternus G quinternus | [Petrucci's device]

Format and collation: Partbooks: landscape quarto-in-eights. [C] 20 folios: AB8 C4; [T] 14 folios: D8 E6; [A] 18 folios F8 G10; [B] 16 folios: HJ8

Signatures:] AAA II [$4 • -A1, C3, C4, E3 •-G5 • G5 signed] GGG IIIII

No printed foliation or pagination

Headlines are not retained in the forme

Fonts: Music: Petrucci's normal music type

Staves: Five line: 175 or 180 mm long: 10–91. 5–112 mm high

(p.535) Text: Rotonda throughout

Textual comments: E2 r. head-line:] Prmi toni [in the copies at A-GÜ, I-Ac, I-Bc and PL-Kj • H7r. head-line: the letter e in “ne” is inverted

Technical comments: This edition uses demisemi fusas, on F2r

In-house corrections:

Stop-press correction: G8 r. head-line: Secnndi (I-Ac) → Secundi: I-Bc, I-Rsc and PL-Kj • H4 r. i. text:] Beuedictus (GB-Lbl, I-Bc and PL-Kj) → Benedictus (B-Br)

Corrections made after press work: A3 v. i. 40–41: c. o. p. ligature, b, c' → b, d', in brown ink: A-Wn, B-Br, I-Ac, I-Bc and I-Rvat; in black ink: I-Rsc and PL-Kj • A4 r. ii. 34–35: originally probably a sb b, now sb a, dsb b, in ginger ink: B-Br, I-Ac, I- Bc, I-Rvat and PL-Kj: at I-Rsc, the two notes are in black ink, and the dot in brown • A5 v. iv. 6; b c' → b d', stamped-in: A-Wn, I-Ac, I-Bc, I-Rsc, I-Rvat and PL- Kj: in brown ink at B-Br • A6 r. ii. 38–39; m b erased → sb c', m a stamped in, with a m tail added to the c' in brown ink: A-Wn, I-Bc I-Rsc and I-Rvat: at I-Ac, B-Br and PL-Kj, the changes are made in manuscript • E3 r. v. after 20: sb rest erased: A-GU, A-Wn, I-Ac, I-Bc, I-Rvat and PL-Kj: also at I-Rsc, where a brownink sb b has been entered • E3 v. ii. 23: sb g partly erased, sb f stamped in:all copies • F3 r. v. 26–27: from? sb g, sb f → sb a, sb f, in brown ink: I-Bc; the original notes struck through in brown ink: A-Wn, I-Ac and PL-Kj; the original notes erased: B-Br and I-Rvat; at I-Rsc, sb g, sb f are printed, and rung round and struck through in brown ink • F3 r. vi. 18: sbm, brown ink tail: B-Br, I-Ac, I-Bc, I-Rsc, I-Rvat and PL-Kj • F3 r. vi. 25: sbb, stamped-in change: B-Br and I-Rsc • F4 v. v. 30: colored dmsb, by erasure: at A-Wn, B-Br, I-Ac, I-Bc, I-Rsc, I-Rvat and PL -Kj • F4 v. v. 33: fsm by erasure: A-Wn, B-Br, I-Ac, I-Bc, I-Rsc, I-Rvat and PL-Kj • F5 v. v. 30–31, c. o. p. ligature: from f, b to f, d by erasure and black ink: I-Ac, I-Bc and PL-Kj; similarly in B-Br, I-Rsc and I- Rvat, though the ink is brown • F6 r. vi. m. s: brown ink “2” added: B-Br, I-Ac, I-Bc, I-Rsc, I-Rvat and PL-Kj • G4 r. iii. after38: rest m to sm with brown ink: I-Bc and I-Rvat; unchanged at B-Br • G5 v. vi. 14–15: originally one note, sb c: now two notes, a stamped-in sb d with a blackink m tail, and a stamped-in sb B: B-Br, I-Ac, I-Bc, I-Rsc, I-Rvat and PL-Kj • G8 r. iv. 10: sbm, with a black ink tail in the copy at I-Rvat, and as a stop-press change in the copy at I-Bc • J2 r. vi. right end:] Bn˜dict9 | tacet [: I-Bc and I-Fm;] Bn˜dictus | tacet [: B-Br, GB-Lbl, I- Ac, I-Rvat and PL-Kj;] Bn˜dictus tacet [: I-Rsc

Contents:

La Rue: Misse (1503, No.11)

37–52

27–36

[40s–50s]

[30s–40s]

Obrecht: Misse (1503, No.6)

51–72

Ghiselin: Misse (1503, No.9)

93–110

93–112

83–100

Gaspar: Misse (1507, No.32)

131–148

131–148

117–132

(p.536) Extant copies: The copy cited by Sartori as at D-B is now at PL-Kj

A-GÜ, s. s. Tenor, lacking E6

Size of page: 165 × 235 mm.

Watermarks: No. 11 on D2-, D5–6, E-4 and E-5 Textual comments: E2 r, the head-line reads] Prmi toni

Technical comments: D3 r: the signature is almost entirely uninked

Corrections and changes:

In-house: E3 r, E3 v: see above

Later: D6 r. v. 7: brown sm tail added to the pitch d

Binding and Provenance: With Josquin's Missarum II (1515, No. 59)

Bibliography: Federhofer, “Petrucci”

A-Wn, S. A. 77. C. 16. Lacks the Bassus, present in a 19th-century copy

Size of page: 163 × 229 mm.

Watermarks No. 11 on A3–4, A7–8, B2–1, B5–6, C3–4, D2–1, D3–4, E1–2, E3-, F2–1, F4–3, G2–1, G4–3, and G-6

Technical comments: Size of staves: 175–180 mm long: 10–92–113 mm high

Corrections and changes:

In-house: A3 v, A5 v, A6 r, E3 r, E3 v, F3 r, F4 v and F4 v: see above

Later: All movements numbered in manuscript, in brown ink: 165–188

Binding: of the Austrian National Library

Provenance: Given the manuscript numbering, presumably originally with Josquin: Misse (1502, No. 4)

B-Br, Fétis 1640 A. Three partbooks, lacking the Tenor. H2 and H7 are a cancel, for which see below

Size of page: 160 × 237 mm.

Watermarks: No. 11 on A2–1, A6–5, B2–1, B-4, C3–4, F5–6, F8–7, G3–4, G6- and G9–10 • No. 12 on H1-, H3–4, J1–2 and J3–4

Textual comments: F2v. i. text: mu n di has an inverted letter “m” • F4 v. i. text: Benadictus

Corrections and changes:

In-house: A3 v, A4 r, A5 v, A6 r, F3 r, F4 v, F5 v, F6 r, G4 r, G5 v, H4 r, H8 r, and J2 r: see above

Later: Manuscript foliation, t. r. r., in pale brown: 111–130; 113–130; 101–116 • A2 r. i-ii: much touching up of poor impressions • B1 v. ii: several poorly impressed colored notes (p.537) have been filled in, with black ink • F4 r. iii. 48: sb, f → a, erased and entered in grey ink • F5 v. ii. 5–6: sb, sbm, m, with brown ink tails • H8 v. iii. last note: A, bl, with a tail in brown ink

Binding: Modern half-leather over boards • One paste-down and two flyleaves at each end

Provenance: Perhaps the copy from Gaspari's collection (Potier, “Gaspari”) • Later owned by Fétis • Possibly connected with the library's copy of Obrecht's masses (1503, No. 6), on the basis of manuscript foliation

Bibliography: Fétis, Biographie, vii, p. 14 • Potier, “Gaspari”, p. 24

GB- CW. Altus, complete

Watermarks No. 11 on F3–4, F8–7, G3–4, G-6 and G10–9

Technical comments: This copy appears to be in the identical state to that of the copy at I-Ac, using the same leger- line patterns and even the same strengths of ink • G2 r and G4 r at the foot have used leading within the area of the last stave line, for the impression of the music

Binding and Provenance: With Josquin, I Missarum masses (1516, No. 62)

GB-Lbl, K. 1. d. 3. Bassus, complete. For the cancel, H2, 7, see below

Size of page: 156 × 217 mm.

Watermarks: No. 12 on H1-, H3–4, J5–6 and J7–8 • Both examples of the a mould of paper 12 have filled in rays, presumably from felt or something in the mould. This can also be seen in other uses of this paper

Corrections:

In-house: J2 r: see above

Later: H8 v. iii. last 2, joined together by a line to make a ligature, in pencil or charcoal • J1 r. v. 7: sb ra m, with a brown ink-tail

Binding: Modern British Museum binding of white parchment, with gold rolls and stamps, dated 1897 • There are marbled end-papers at each end, pasted to flyleaves

Provenance: Acquired by the British Museum, and dated 17 No [18]96, on J8 v

Bibliography: Johnson and Scholderer, Short-Title, p. 10

I-Ac (sf). Stampati N. 189 (1). Complete set of four partbooks. For H2 and H7, see the description of the cancel, below

Size of page: 232 × 168 mm.

Watermarks: No. 11 on A-43, A7–8, B1–2, C3–4, D6- 5, D7–8, E1–2, E-4, F6–5, F7–8, G2–1, G3–4 and G-5 • No. 12 on H1-, H5–6, J1–2 and J3–4

Textual comments: G8 r, the head-line reads] Secnndi toni

Technical comments: The evidence of leading found on ff. G2 r and G4 r of the copy at GB-CW is also clearly visible here

In-house Corrections: A3 v, A4 r, A5 v, A6 r, E3 r, E3 v, F3 r, F4 v, F4 v. v. 33, F5 v, J2 r: see above

Technical comment: Stave lengths, 175 or 180 mm. • Both staves and text have impressed poorly on parts of D5 r, E1 v and G7 r

Binding: This is the first of six books bound together, all editions printed by Petrucci: (1) This book; (2) Ghiselin: Misse (1503, No. 9); (3) La Rue: Misse (1503, No. 11); (4) Josquin: I Missarum (1516, No. 62); (5) Josquin: II Missarum (1515, No. 59); (6) Josquin: III Missarum (1514, No. 54) • Original leather boards, with a small repeating floral design, incorporating the part letter, all stamped, and with a special stamp in the centre of each board • Four holes for tie- strings on each board. The front board of the Cantus part is now detached • A paste-down at each end of each book

Provenance: The book belongs to the Convento of San Francesco, Assisi, and is in the care of (p.538) the Biblioteca Comunale. There is now the stamp of the Biblioteca Comunale on all first rectos

Bibliography: Petrucci, Missarum (facsimile)

I-Bc, Q60. Complete set of four partbooks. The cancel bifolium H2, 7 is discussed below

Size of page 162× 238 mm.

Watermarks: No. 11 on A3–4, A7–8, B1–2, B4–3, C1- 2, D3–4, D7–8, E1–2, E-3, F2–1, F4–3, G2–1, G3–4 and G-5 • No. 12 on H3–4, H8-, J3–4, and J7–8

Technical comments: The evidence of minimas used as furniture can be seen on D1 r • G2 r and G4 r, show leading within the area of the last stave-line, for the impression of the music

Corrections:

In-house: A3 v, A4 r, A5 v, A6 r, E3 r, E3 v, F3 r, F3 r, F4 v, F4 v, F5 v, F6 r, G4 r, G5 v, J2 r: see above

Later: Manuscript foliation in all part books, beginning on the second recto: [C] 1–19; [T] 1–13; [A] 1–17; [B] 1–15 • D6 r. v. 7: pale brown sm tail added to the pitch d

Binding: Now in modern card covers in a card folder • All the books have gold fore-edges • This book was apparently the first in a long series, all now at I-Bc, which were originally bound together. This is indicated by the sequences of manuscript folio numbers, as well as the painted edges of the pages:

folios

1/3r

2/4v

7/5r

8/6v

1/3v

2/4r

7/5v

8/6r

D outer

180

179

180

176

175

175

175

D inner

180

179

178

181

181

174

175

180

E inner

179

180

179

176

175

175

176

E inner

179

179

179

180

175

175

176

176

The Tenor series is lacking the last folio of the volume of Brumel: the Altus part for the Obrecht book does exist at I-Bc, but has a different series of manuscript numbers, and different coloured edges.

Of other copies at Bologna, the Superius, Altus, and Bassus of the first two books of Josquin's masses look, in their numbering, to belong to the same series, assuming that a single sheet divider was inserted before them: however, they have different coloured edges, brown for the Superius and Bassus, and green for the Altus:

Josquin: Misse (1502, No.4)

149–172

149–168

133–150

Josquin: Missarum II (1505, No.22)

173–188

169–180

151–166

It is more likely that these two books belonged with others, also painted in brown (Superius and Bassus) and green (Tenor and Altus), and even possibly with the copy of Gaspar's masses now at PL-Kj (red on Superius and Bassus, green on Altus):

A1–2

A4–3

A5

A8

B1–2

B3–4

B6

B8

C3–4

C5-

C8

C10–9

D1–2

D-4

6

6

7

7

6

8

7

7

6

8

7

8

11

11

E3–4

E8–7

F6–5

F8–7

G3-

G6–5

11

11

11

11

11

11

Provenance: This copy is cited in Martini's letters to Chiti of 7. v. 1746 and 22. vii. 1746 (See Schnoebelen, Padre, Nos. 1245 and 1250, pp. 144–45) • Old call numbers appear as follows: 34: in Tenor, Altus, and Bassus. This number was certainly originally 1034, for there are traces of old guard strips next to the surviving number; 767: in all books; 1034: in the (p.539) Superius • This is almost certainly the set of volumes bound together, described in a letter sent to Martini by Domenico Maria Cavallini, and dated from Venice on 8. iii. 1738. Schnoebelen, Padre, No. 1110, p. 125, quotes the relevant section: “… quattro Libri di Messe di Autori francesi stampati del 400 li Autori sono Alessandro Agricola, de Orto, Enrico Izac, Brumel, Obret, etc. Sono di une bellissima stampa, e molto ben conservati.” Schnoebelen's abstract of the letter suggests that these volumes came from Split, now in Croatia

I-Fm, R. U. 1151 (olim 4. A. VI. 1181). Bassus, lacking folios J1 and 8. H2, 7 is a cancel, for which see below

Size of pages: 164 × 232mm. • If watermark 12 was circular, then just over 10 mm were trimmed from the join between H3 and H4, and rather less from that between J3 and J4. That gives a minimum height to the sheet of ca. 339 mm.

Watermarks: No. 11 on J7- • No. 12 on H3–4, H8-, and J3–4

Technical comments: The width of some type sorts is indicated by the width of the inking on the lower edge of some occurrences: for example:- sb, H4 v. iii: 2. 4 mm; sb rest, H4 v. iii: 1. 4 mm • The height of the stave block may be 12 mm, from the ink left by it on H3 v. vi • Blank staves appear on H3 v. vi; H4 v. iv-vi; H5 r. v-vi; H6 v. vi; J6 r. vi; J7 v. vi • Two rows of notes (perhaps sm sorts) used as furniture on either side of the initial letter have left an impression on H1 r. The right colums seems to have 22 sorts, and the left is of about the same length • There may be some evidence as to which forme was printed first: e. g., furniture has printed ink on some folios only at the point of the impress of material from the other side of the folio. Thus J2 r was printed before J2 v

Corrections:

In-house: J2 r: see above

Later: J6 r. i. 40: flat sign above dsb b • 19th-century title of] Canto figurato da Messa • Modern foliation continues through the whole volume: for Agricola it comprises 1–14, with 15 on the following fly- leaf

Binding: Bound as the first of four books: (1. ) This book; (2. ) Josquin: II Missarum (1505, No. 22); (3. ) Josquin: Misse (1502, No. 4); (4. ) Ghiselin: Misse (1503, No. 9) Early leather panels, front and back, now mounted on modern boards: decorated with a simple daisy-pattern stamp and rolled rules, all in blind • Paste-downs are from a printed book, probably an incunable, using a roman type measuring “x” = 2. 7 and “20” = 125. The back paste-down includes a chapter heading:] Cap. si. In quos pr a ecipe sit humanitas | ex-ercenda. & in quibus liberalitatibus ima|ginariis perea n t op er a ' qu a e impe n sa pr a esta n 'tis • There is one fly-leaf between this and the contents • Three holes for a stab-binding are evident in gathering H and much of J

Provenance: On H2 v, the stamp of] DSA • On H1 r the old call number of] C3. I. 114 [with the date] 11. 6. [19]13 [probably that of acquisition by the Marucelliana, whose stamp is on the same page

Bibliography: Damerini, “Esposizione”, 26 (exhibition at Florence in 1949); Fanelli, Musica

I-Rsc, G. CS. 3. B. 30. Complete, except for last folio of Bassus

Size of page: 169 × 234 mm.

Watermarks: Mark 11 except in gatherings H and J, which have mark 12.

In-house Corrections: A3 v, A4 r, A5 v, A6 r, E3 r, E3 v, F3 r, F3 r, F3 r, F4 v, F4 v, F5 v, F6 r, G4 r, G5 v, G8 r, J2 r: see above

Binding: Dark leather, with decorative rolls, as a border and making a diamond shape within each. Also stamps of a vase in each corner • One paste-down and one fly-leaf at each end.

I-Rvat, Sist. 235–238. Complete. Folios H2 and H7 are cancel leaves

(p.540) Watermarks: No. 11 on A2–1, A5–6, B1–2, B5–6, C2–1, D6–5, D7–8, E4-, E6–5, F4–3, F8–7, G1–2, G-43 and G-1 • No. 12 on H1-, H3–4, J3–4, and J7–8

Textual comments: F4 v. i. the text includes:] Benadictus

Corrections and changes:

In-house: A3 v, A4 r, A5 v, A6 r, E3 r, E3 v, F3 r, F3 r, F4 v, F4 v, F5 v, F6 r, G4 r, G5 v, G8 r, J2 r: see above

Later: D2 v: stave lines touched up in ginger ink • D6 r. v. 7: pale brown sm tail added to the pitch d • F3 r. vi. 25: b to sb with black ink, and no erasure • G8 r. iv. 10: from sb a to m with a black ink tail • Manuscript foliation [S] 68–87; [T] 44–57; [A] 70–87, [B] 65–80

Binding and Provenance: with Josquin, I Missarum (1516, No. 62)

PL-Kj, Mus. ant. pract. A 100. Complete. Folios H2 and H7 are cancel leaves: see below

Size of page: 171 × 239 mm.

Watermarks: No. 11 on A2–1, A4–3, B1–2, B3–4, C2- 1, D2–1, D3–4, E-2, E4-, F2–1, F6–5, G2–1, G4–3 and G6- • No. 12 on H1-, H3–4, J1–2 and J4–3

Textual comments: D2 r. i. text:] Laudaus te • E2 r, the head-line reads] Prmi toni • F2v. i. text:] mu n di [, with an inverted “m” • F4 v. i. the text includes:] Benadictus • H2 r. iii. text:] pecacta •

Technical comments: G4 r: leading within the area of the last stave line, for the impression of the music • The evidence of minims used as bearers can be seen on D1 r • Only five staves are inked on E6r • Two rows of notes (perhaps semiminime ) used as bearers on either side of the initial letter have left an impression on H1 r

Corrections and changes:

In-house: A3 v, A4 r, A5 v, A6 r, E3 r, E3 v, F3 r, F3 r, F4 v, F4 v, F5 v, F6 r, G5 v, G8 r, J2 r: see above

Later: C2 v. ii. above 40: modern pencil cross • D1 r, above title letter:] Misse Allexandri agricola [in 16th-century brown ink, in the hand found in Misse Josquin (1502) • E2 v. i. 1: sbm, with a brown ink tail • F1 r: as D1r, except] allexandri • F4 r. iii. 48: sb, g→f, erasure and brown ink • F5 v. ii. 5–6: sb, sbm, m, with brown ink tails • G8 r. iv. 10: from sb a to m with a black ink tail • H1 v: as D1 r

Binding: Berlin bindings, within a 19th-century slip-case. All partbooks bound in early 19th-century parchment with gold rolled border • One fly-leaf and one paste-down at each end of each partbook

Provenance: From Berlin. The stamp, in red] Ex | Biblioth. Regia | Berolinensi. [appears on each title page • Probably originally with the D-B copy of Josquin, Misse (1502, No. 4)

No. 13A. Cancel Bifolio.

A half-sheet of the second paper appears in several copies, to replace the second bifolium of gathering H. The need for the cancel seems to have been seen very early on, for the new paper is consistent with that used for the last sheets of the book

Running heads:

Le seruiteur [H2 r -H2 v

. Je ne demande. [H7 r

Je ne demande [H7 v

Stop-press corrections: H2 r. iii. text: pecacta (PL-Kj) peccata (GB-Lbl) For other details, see the description of the edition, above

Extant copies: for each of the following copies, see above for details of the rest of the book

(p.541) B-Br, fétis 1640 A

Watermark: No. 11 on H-2

GB-Lbl, K. 1. d. 3.

Watermark: No. 11 on H-2

In-house correction: H2 r: see above

I-Ac (sf). Stampati N. 189 (1).

Watermark: No. 11 on H7-

I-Bc, Q60.

Watermark: No. 11 on H7-

I-Fm, R. u. 115 1.

Watermark: No. 11 on H7-

I-Rvat, Sist. 235–238.

Watermark: No. 11 on H-7

Pl-Kj, Mus.ant.pract. A 100

Watermark: No. 11 on H2-

Lost copies: Copies were owned by Colón (see Chapman, “Printed” No. 8), Fugger (Schaal, “Musikbibliothek”, I/47) and Bottrigari • A copy was owned by Fétis: see his Biographie, vii, 14

Early references: Gesner: see chapter 20

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No. 25 • Sartori, Petrucci, No. 13

  2. (c) Petrucci, Missarum

  3. (d) Agricola, Opera Omnia

  4. (e) Sartori, “Nuove”, p. 178

Commentary:

  1. 1. There seems to have been a real effort to correct as many copies as possible of this title. Most of the extant in-house corrections survive in most of the copies, and some show the pattterns of different types of correction which we have seen elsewhere, though less frequently. Note also the use of black ink for some of the corrections: this is unusual, and suggests that two people were involved in making some of the corrections. This may be an indication of a need for speed.

  2. 2. The lengths of staves show clearly the pattern of formes in use, as the following samples (from the copy at I-Bc) indicate:

    Io

    Ii

    IIo

    IIi

    1r

    2v

    7r

    8v

    2r

    1v

    8r

    7v

    3r

    4v

    5r

    6v

    4r

    3v

    6r

    5v

    F

    175

    175

    175

    180

    180

    180

    180

    175

    175

    175

    175

    178

    180

    178

    180

    H

    175

    175

    180

    175

    175

    175

    175

    175

    175

    175

    175

    180

    180

    178

    180

    J

    175

    175

    175

    180

    180

    180

    175

    175

    175

    175

    180

    180

    178

    180

    This indicates that there were certainly three, and probably four, sets of staves: one, probably a pair of formes, had staves that were all 175 mm long; forme three had staves measuring 180 mm; and a final forme had staves of 178 and 180 mm (as used on 3 v, 4 r, 5 v, 6 r ).

  3. 3. The central half-sheet in gathering G (ff. 5–6) has staves 175 mm in length on all pages, confirming that it was printed with work and turn: this may be the first occurrence of the technique in Petrucci's output.

  4. (p.542) 4. The stave -lengths for the bifolio H2, 7 confirm that it was a cancel, also printed by work and turn:

    2r

    7v

    7r

    2v

    1r

    8v

    8r

    1v

    I-Bc

    175

    175

    175

    175

    180

    175

    175

    I-Fm

    175

    175

    175

    175

    180

    175

    175

    PL-Kj

    176

    175

    174

    175

    180

    175

    176

    The related figures for the outer bifolio confirm that all three copies were printed with the two formes of staves that should be expected. It is only the inner that is anomalous.

  5. 5. There is some typographical evidence that supports this conclusion: the initial “A” appearing on H7 v is not found elsewhere in the book; the treatment of note-tails is unusual on both H2 and H7, in that virtually all are up-tails, regardless of where the note lies on the stave.

  6. 6. Head-lines were certainly not kept in the forme, as the following tabulation confirms:

    Alexander: Le seruiteur [F1 v • Alexander. Leseruiteur. [H1 v •. Le seruiteur. [A1 v -2r, A3v-4r, H3r-H4v • Le seruiteur [A2v-3r, A4v-5r; D1v-D3r; F2r-F5r; H2r-H2v

    . Alexander. . Jene. demande. [A5v • Alexander: Je ne demande. [F5v •. Alexa n der Je ne demande. [H5r •. Jene. demande. [A6r •. Je ne. demande. [A6v-7r, A8r-A8v •. Je ne demande. [D3v-4r, D5v-6r; H5v-H7r •. Je nedeman de [F6v • Je ne. demande. [A7v, B1r • Je ne demande. [F7v-Fr • Je ne demande [D4v-5r; F6r, F7r; H7v

    Alexander Mal heur me bat [B1v; H8r • Alexander: Mal heur me bat [F8v • Mal heur me bat [B2r-B5v; D6v-8v; G1r-G2v, G3v-G4r •. Mal heur me bat. [G3r, G4v; J1r-J2v •. Mal heur me bat [H8v

    Alexander: Primi toni [E1r; G5r •. Alexan der Primi toni [J3r •. Primi toni. [E1v •. Prmi toni. [E2r • Primi toni [B6r, B7r; E2v; G5v-G6v; J3v-J4v • Primi tonj [B6v, B7v • Primi ton [G7r

    . Alexander. Secundi toni. [E3r • Alexander Secondi toni [B8r; G7v •. Secundi. toni. [E5v

    . Secundi toni. [G9v-G10r; J5r-J6r, J6r-J7v • Secondi toni [B8v • Secandi toni [C1r • Secundi toni [B8v, C1v-C3v; E4v-5r; G8r, G9r • Secnndi toni [J6v • Secundi toni. [E3v; G10v • Secun di toni [E4r; G8v

    Nil: A1r, C4r-C4v; D1r, E6r- E6v; F1r; H1r, J8r-J8v

  7. 7. The cancel must have been printed very soon after the completion of the book. The paper is not used much, appearing occasionally in the editions that bracket this edition, Canti C and Odhecaton A. I suspect that the cancel was printed after the Odhecaton, given the use of thedifferent initial “A”.

No. 14. Odhecaton A

25. 5. 1504 RISM 15042

Third Edition

A1r] Harmonice Musices | Odhecaton | A

N8r] Impre ssum Venetij5 per Octauianu3 Petrutiu3 Forosempronien | sem 1504 die 25 Maij. Cu3 priuilegio inuictis simi Dominij | Venetiarum quae nullus pos sit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | Registru3 ABCDEFGHJKLMN Omnes qua terni. | [Petrucci's device]

(p.543) A1 v] Octauianus Petrutius forosemp ro niensis Hieronymo Donato patricio | Veneto Felicitatem. [etc. For variants with the first edition, see below, under “Textual Comments”

A2r] Bartholomæus Budrius Iustinopolita. Hieronymo donato patricio Veneto. S. [etc. For variants with the first edition, see below, under “Textual Comments”

A2r The Tavola is again in four columns: almost all the numerals are now in arabic characters

Format and collation: Choirbook: landscape quarto-in-eights. 104 folios: A-N8

Signatures:] A IIII [$4 • —A1, A2 • There is apparently a capital “N” to the left of the signature on C1 r

Foliation: top centre recto:] [1–2], 3–20, 21 [both elements inverted], 22, 23 [the “2” inverted], 24–61, 62 [the “2” inverted], 63–83, 48 [ recte 84], 85 [86], 87–103, [104] • For details of variations in this pattern, see below, “In-house corrections”

No running heads: composers' names appear in the head-line

Part-names:

recto:]

Altus Ba⌠⌠us

[A4-F8, N1–2,5–6

Contra

[G1-M2, M4,6,8, N7

Tenor Contra

[M3,5,7

Contra Ba⌠⌠us

[N3–4

[Nil:

A1–3, N8

verso:]

Tenor

[A3–4,6, A8-G8, H2-M1,3,5, M7-N6

Tenor Tenor

[A5,7

Teno

[H1

Tenor Contra

[M2,4,6

Tenor Altus Ba⌠⌠us

[N7

[Nil:

A1–2, N8

Fonts: Music: Petrucci's normal music type

Staves: six per page: 176 mm long, 10–92–113 long

Text: Rotonda; Roman for A1 v-2 r; Greek, only on A1 v, using a new font

Textualcomments: A1 v: the following textual changes are made from the first edition: line 1: Petrutius → petrutius • 9: animaduertera m → animaduerteram • 10: qua no n → qua non • 13: de[titi[[e → d[stiti[[e: • 15: quoq ue → quoque • 16: publice → publice. • 18: ado-|le [centes → ado = |lescentes • 18: qualemq ue ip [ e → qualemque ipse • 19: delectati: [ordi-|dis → delectati sordi|dis • 23: patrocino → patrocinio

A2 r: the following textual changes are made from the first edition: 1: Bndrius → Budrius • 4: con [cientiæ: → con [cie n tiæ: • 4: professio n is → profe[[ionis • 8: i n te. → inte. • 9: cu m | → cum | • 11: i n chorum → i n. chorum • 12: re|cipiat ur. quem → re[|cipiat ur. que m • 12: parturiens. → parturiens: • 12: aliquot → aliquod • 13: tan|dem → ta n -|dem • 14: ab[oluti[[imu m → ab[oluti[[imum • 14: admirentur: → admire n tur: • 16: [u[cipias. → [u[cipias: • 16: in-|telligant: → in * |telligant: • 17: delige n |do → deligen|do • 18: Ca[tellani → Ca[tella n i • 18: mu[icæ → mu[icæ • 19: dilige n tia → diligentia •:

Composer ascriptions do not consistently have final points: they are found on the versos of B1, 7, C1, 2, 5, 7, 8, F6, 7, G4, and H1. The ascription on L7 v has a final colon

C4 v-5r. text incipits to No. 18: [S, T:] Dit le burguygnon [A:] Dit le bourgyugnon [B:] Dir le bourguygnon [where the “b” and second “u” are inverted • D4 r. Incipits:] Rompletier [spelled (A):] Rompletir [and (B):] Rompltir

Technical comments: A1 v. line 1: spacing sort at right end • C4 v. below v: a series of tops of sortbodies (p.544) , probably spacing sorts corresponding to the notation above, have taken ink. They give measurements for the widths of some sorts and spacers. They are visible in all copies except I-TVcap • C6v. initial: lacking; supplied to the text • The sixth stave is increasingly seldom inked as the book progresses: this occurs on the following rectos: G4, H1, 2, 4, 7, J2–8, K3, 5–8, L1, 3–7, M2, 4, 6 • The stave pattern is far from clear: it appears that staves were not kept consistently in the forme. However, the fifth stave on many rectos seems to be the same block

In-house corrections:

Stop-press changes: A1v. 9. first word: from] temis [(F-Pc) to] meas [other copies • A4 r. page number (missing in I-TVcap): added in F-Pc, US-NYp, US-Wc • A7 v. v. 14: sb c' → sb e', using black ink: F- Pc and I-TVcap • C5 r. folio number: usually inverted but the second numeral has been corrected: I-TVcap • D1 r. page number:] 31 [F-Pc, I-TVcap, US-Wc] → 25 [US-NYp • D7r. page number:] 25 [F-Pc, US-Wc → nil, I-TVcap] → 31 [US-NYp] • H2 r. signature: [nil → ] H [US-NYp, US-Wc] • H5 v. head-line:] Alexander [the second “e” is inverted only in I-TVcap and US-NYp, and corrected in US-Wc • N8 r. colophon: reads] Ferosemp ro niensem [with the first “e” inverted: F-Pc; corrected by a stop- press change: other copies

Other corrections: B3 r. i. mensuration sign: omitted and stamped in later: F-Pc, I-TVcap, US-NYp, US-Wc • C1 r, uv, text;] Adien mes … [with an apparent attempt at correcting the first word: F-Pc and I-TVcap • D2 v. iv. 14: e → f, in manuscript: I-TVcap, US-NYp and US-Wc; with a stamped -in note-head: F-Pc • D5 r. iv. 45: e → d, in manuscript: I-TVcap and US-NYp • F5 v. v. last: f → g, in manuscript: I-TVcap, US-NYp and US-Wc • L6 r. folio number: 86 stamped in: F-Pc, US-NYp and US-Wc • N4 r. iv. 33: sb f, m c → m c, sb f, by erasure and stamped-in sb: US-NYp

Contents: The last column gives the folio numbers as found in the Tavola:

A1r

[Title]

A1v

[Dedication]

A2r

[Letter from Budrius]

A2v

[Tavola]

A3r

[blank staves]

1

A3v

AUe maria gratia plena

De orto

iiii

2

A4v

JE cuide sece tamps me dure

[Anon.]

5

3

A5v

HOr oires vne chanzon

à5

[Anon.]

6

4

A6v

NUnqua fue pena maior

[Anon.]

7

5

A7v

BRunette

à5

Jo.stokem

8

[Tav:] Brunetta

6

A8v

JAy pris amours

[Anon.]

9

7

B1v

NEnciozza mia

Japart.

x

[Tav:] Lenzotta mia

8

B2v

JE ne fay plus

[Anon.]

xi

9

B3v

AMours amours

Hayne

xii

10

B4v

BErgerette savoyene

Josquin

xiii

11

B5v

E Qui le dira

[Anon.]

xiiii

12

B6v

CEst mal charche

Agricola

xv

13

B7v

HElas que poura deuenir

Caron. [Tav:] Caron.

xvi

14

B8v

ADiu mes amours

Josquin

xvii

15

C1v

POr quoy non

Pe.de larue.

xviii

[Tav:] Pour quoy non

16

C2v

POr quoy iene puis dire

.Jo Sthokem.

19

[T:] Uray diu damours xviiii

[Tav:] Pour … [and] Veray …

17

C3v

MOn mignault

[Anon.]

20

[T, A:] Gratieuse

20

18

C4v

DIt le burguygnon

[Anon.]

xxi

19

C5v

HElas ce nest pas sans rayson

.Sthokem.

22

20

C6v

De tous biens playne

[Anon.]

23

21

C7v

JAy pris amours

Japart.

24

[Tav:] Japart

22

C8v

SE congie pris

.Japart.

25

[Tav:] Japart

23

D1v

AMours amours

Japart

xxvi

24

D2v

CEla sans plus

[Anon.]

27

25

D3v

ROmpeltier

[Anon.]

28

26

D4v

ALons ferons barbe

Compere

29

27

D5v

TMeiskin

xxx

[Tav:] Tmeskin uas iunch

28

D6v

VNg franc archier

Compere

xxxi

29

D7v

LO seray dire

[Anon.]

xxxii

30

D8v

HElas que il Eſt amongre

Japart

xxxiii

31

E1v

AMor fait mult

[Anon.]

34

[T:] Il Eſt de bonne heure ne

[B:] Tant que nostre argent dure

32

E2v

NOstre cambriere si malade estoit

[Anon.]

xxxv

33

E3v

ACordes moy ceque ye pensse

[Anon.]

36

34

E4v

TTan bien mison pensa

Japart

xxxvii

35

E5v

LE seruiteur

[Anon.]

xxxviii

36

E6v

JAmes iames iames

[Anon.]

39

37

E8v

[N]Ous sommes de lordre dsaynt babuyn

Compere

41

38

F2v

JE nay dueul

.Agricola.

43

39

F4v

JAy pris amours tout au rebours

Busnoys

45

[Tav:] Busnois

40

F5v

HE logeron nous

[Anon.]

46

41

F6v

VOstre bargeronette

.Compere.

47

42

F7v

JE ne demande aultre degre

Busnoys.

48

43

F8v

PEnsif mari

à3

Ja.Tadinghen

49

44

G1v

LA morra

à3

Yzac

50

45

G2v

ME doibt

à3

Compere

51

46

G3v

MAle bouche

à3

Compere

lii

47

G4v

LHome banni

à3

.Agricola.

53

48

G5v

ALes regrets

à3

Agricola

54

49

G6v

LA stangetta

à3

[Anon.]

55

50

G7v

HElas

à3

Yzac

56

51

G8v

SE mieulx

à3

Compere

57

52

H1v

HElas

à3

Tintoris.

58

53

H2v

VEnis regrets

à3

Compere

59

54

H3v

MA bouche rit

à3

Okenhe

60

55

H4v

ROyne de fleurs

à3

Alexander

lxi

56

H5v

SI dedero

à3

Alexander

62

57

H6v

ALes regres

à3

Hayne

63

58

H7v

GArisses moy

à3

Compere

64

59

H8v

MEs pensees

à3

Compere

65

60

J1v

FOrtuna per ta crudelte

à3

Uincinet

66

61

J2v

CEla sans plus

à3

Josquin

67

62

J3v

MAter patris

à3

Brumel

68

63

J4v

MAlor me bat

à3

Okenghen.

69

64

J5v

LA plus des puls

à3

Josquin

70

65

J6v

ALes mon cor

à3

Alexnder

71

66

J7v

MAdame helas

à3

[Anon.]

72

67

J8v

LE crops [T:] Le corps

à3

Compere

73

[CT:] Corpusque meum licet

68

K1v

TAnt habo[n] oeul

à3

Compere

74

69

K2v

TAnder naken

à3

Obreht

75

70

K4v

SI a tort on ma blamee

à3

[Anon.]

77

71

K5v

LEs grans regres

à3

[Anon.]

78

72

K6v

Eſt possible que lhome peult

à3

[Anon.]

79

[Tav:] Eſt il possible

73

K7v

DE tous biens

à3

[Anon.]

80

[Tav:] Bourdon

74

K8v

FOrtuna dum gran tempo

à3

[Anon.]

81

75

L1v

CRions nouel

à3

Agricola

82

76

L2v

BEnedictus

à3

Jzac

83

[Tav:] Yzac

77

L3v

LE renuoy

à3

Compere

84

78

L4v

O Uenus bant

à3

Josquin

85

79

L5v

MA seule dame

à3

[anon.]

86

80

L7v

LA alfonsina

à3

.Jo.ghiselin:

88

81

L8v

LE eure e venue

à3

Agricola

89

[CT:] Circundederunt

82

M1v

JAy bien ahuer

à3

Agricola

90

83

M2v

MOn souenir

à3

[Anon.]

91

84

M3r

ROyne du ciel

à3

Compere

91

[CT:] Regina celi

85

M3v

MArguerite

à3

[Anon.]

92

86

M4v

HAtraytre amours

à3

.Jo.stoken

93

87

M5r

MAis que ce fust

à3

Compere

93

88

M5v

VEnus tu ma pris

à3

De Orto

94

89

M6v

DIsant adiu madame

à3

[Anon.]

94

[recte 95]

90

M7r

GEntil prince

à3

[Anon.]

95

91

M7v

PUis que de vous

à3

[Anon.]

90

[recte 96]

92

M8v

TSat een meskin

Obreht

97

93

N2v

ALaudienche

Hayne

99

94

N4v

LAtura tu

[Anon.]

101

95

N6v

DE tous biens playne

à4 ex 3

[Anon.]

103

[Tav:] Josquin

96

N7v

MEskin es hu

[Anon.]

103

[recte 104]

N8r

[Colophon; Register; Device]

N8v

[blank]

(p.545) (p.546)

(p.547) Extant copies:

E-Bprivate. I have not been able to trace this copy, which was formerly in the Medinaceli collection, in Madrid

F-Pc, Rés. 538. Complete

Page size: 160 × 221 mm.

Watermarks:

A3–4

A7–8

B1–2

B3–4

C3–4

C7–8

D3–4

D8–7

E3–4

E7–8

F5–6

F7–8

G2–1

G5–6

11

11

11

11

11

11

12

12

11

11

11

11

11

11

H4–3

H8–7

J2–1

J5–6

K1–2

K5–6

L2–1

L5–6

M1–2

M4–3

N1–2

N3–4

11

11

11

11

11

11

11

11

11

11

11

11

Textual comments: A1 v. first word: meas] temis

Technical comments: D7v. iv. 2: A piece of furniture, implying three impressions

Changes and corrections:

In-house: A4 r, A7 v, B3 r, C1 r, D2 v, L6 r and N8 r: see above

Later: A8r.ii.7: b c′ → sb a″ by erasure • A series of manuscript additions on the versos of B7, B8, C6, G1, G6, G7, H3, H5, J1, J3, L2, and L3

Binding: Modern red leather, with gold-stamped flower heads and petals, and gold rolls. The same binding contains Canti B (1503) and Canti C (1504) • Three end- papers of marbled paper at each end, the outer one used as a paste-down

Provenance: Bought from the bookseller Léfébure of Bordeaux in 1879. Léfébure claimed to have acquired it from a Spaniard named Miro • On the other hand, Gianandrea, “Ottaviano”, p. 124 asserts that Weckerlin bought the copy in Spain • This is the former Colón copy (see Chapman, “Printed”, No. 9), reaching Paris with copies of Canti B and Canti C, as suggested by Sartori (Petrucci, pp. 77 and 80) and Fallows

Bibliography: Weckerlin, “Bibliothèque”, pp. 372–400 (listing the three books of the series as if one) • Bridgman “Clandestins”

I-TVcap. lacks folio N8

Size of page: 169 × 235 mm.

Watermarks:

A5–6

A8–7

B2–1

B3–4

C2–1

C6–5

D3–4

D7–8

E1–2

E6–5

F3–4

F7–8

G3–4

G7–8

11

11

11

11

12

12

11

11

11

11

12

12

11

11

H2–1

H6–5

J4–3

J7–8

K4–3

K8–7

L4–3

L7–8

M5–6

M7–8

N4–3

N7-

11

11

11

11

11

11

11

11

11

11

11

11

(p.548) Technical comments: Several pieces of spacing sorts can be seen on A1 v: they confirm that the text type was not leaded

In-house corrections and changes: A1 v, A7 v, B3 r, C1 r, D1 r, D2 v, D5 r and F5v: see above

Binding: as the Treviso copy of Canti C

Provenance: Inside the front board:] Vincislao Bressa Tv°

Bibliography: Catelani, “Bibliografia” • Castellani, Arte, pp. 96–97 (facsimiles of A1 r and A3 v ), and p. 65, fn • Rosaria Boccadifuoco, Bibliografia, No. 1731 dates this copy 1505

US-NYp, Mus. Res. *MN/P497. Complete • The outer sheet of gathering F is from the second edition, and is described there (No. 5, above)

Page size: 162 × 221 mm.

Watermarks:

A1–2

A5–6

B3–4

B7–8

C5–6

C7–8

D4–3

D8–7

E2–1

E4–3

F5–6

G2–1

G5–6

11

11

11

11

12

12

11

11

11

11

12

11

11

H1–2

H3–4

J2–1

J5–6

K1–2

K5–6

L1–2

L3–4

M4–3

M7–8

N1–2

N4–3

11

11

11

11

11

11

11

11

11

11

11

11

Technical comments: A3 r: clear blind impression of musical sorts, as in the copy at US-Wc • The music for A8 v was printed before the line of furniture on A8 r, itself probably printed with the music of that page • E1v was later through the press than for the copy now at I-TVcap

Changes and corrections:

In-house: A1 v, A4 r, B3 r, D1 r, D2 v, D5 r, D7r, F5 v, H2 r and N4 r: see above

Later: A8 r. i. custos: a → b, in manuscript • L8 r. iv. 6: colsb scratched void

Binding: Early parchment, originally painted white, with two leather tie strings. On the spine:] Musica de adgecaton • One end paper at each end, with a stub of the conjugate inside the adjacent gathering. The final end paper has a watermark of a gauntlet with a star above

Bibliography: Reese, “First”

US-Wc, M1490. P4 Case. Complete

Watermarks:

A5–6

A8–7

B5–6

B8–7

C1–2

C3–4

D5–6

D7–8

E1–2

E6–5

F1–2

F3–4

G5–6

G7–8

11

11

11

11

12

12

11

11

11

11

12

12

11

11

H1–2

H6–5

J3–4

J7–8

K6–5

K8–7

L5–6

L8–7

M1–2

M3–4

N3–4

N8–7

11

11

11

11

11

11

11

11

11

11

11

11

Technical comments: The width of some sorts can be seen: on D4 r. iv: sb, 2. 5 mm; b, 3. 25 mm; sbr, 0. 1 mm. • A3 r: clear blind impression of musical sorts, as in the copy at US-NYp • H5 r. iv. after flat: vertical space, 18. 85 mm high gives the total space between staves, and indicates the amount of kerning • L4 r. vi: rows of sm used as bearer sorts in the area of the stave: 20 at one pitch, and 25 one pitch higher • L6 r: as L4 r

Corrections and changes:

In-house: A1 v, A4 r, A7 v, B3 r, D2 v, F5 v, H2 r, H5 v and L6 r: see above

Later: A1 v: manuscript parentheses around two entries • K2 v: note values written above the music, in manuscript • L2 v. i. iv: addition of 2b rest before other rests, in both voices • L3 r. i: 2b rest added, in manuscript • L3 r: addition of a fourth voice, with a manuscript extra stave

Binding: Early brown calf, with four holes for tie-strings on each board • One early fly-leaf and one later at the front. None at the back

Provenance: From the Gottschalk collection • Inside front cover:] Pgongs/˜ [(presumably a (p.549) dealer's price code), followed by the Library of Congress accession number and the date 20 Jy [19]43 • On A1 r is an inscription in Greek

Bibliography: Barksdale, Printed, No. 69 (Toledo exhibition, 1957)

Lost copies: Reese, “First”, p. 47, reports another copy, at J. C. Adler of Berlin, and thence to Munich

Early references: It is possible that some of the references cited under the first edition refer in fact to this edition

Other editions: 1501 (No. 1) • 14. i. 1503 (No. 5)

Bibliography:

In addition to the citations under entry No. 1, see the following:

  1. (a) Rosaria Boccadifuoco, Bibliografia, Nos. 1730–1731 • Sartori, Petrucci, No. 14 • Brown, Instrumental, 15042 • Vogel, Bibliografia, 15041

  2. (c) Boorman, Harmonice • Petrucci, Harmonice (of the copy at I-TVcap) • Petrucci, Odhecaton (of the copy at US-Wc)

  3. (e) Hewitt, Odhecaton, pp. 6–8 • Marix, “Odhecaton” • Reese, “First”

Commentary:

  1. 1. The Greek text on A2r is again set in a different fount. As before, the typesetter, when he set up the page, left a space for its insertion: in this instance however, the fount has a significantly narrower body-width, and white space is left at the end of the phrase.

  2. 2. Apparently, the introductory texts were set from a copy of the first edition, rather than from the second. There is some evidence that the music was also copied from the first edition. This implies that Petrucci kept a “house- copy”, into which corrections and errors could be noted, for any future edition. The same conclusion can be reached about the editions of I Motetti de la Corona.

  3. 3. Despite the pattern of watermarks in gatherings C and F, those sheets seem to have been set in type at the same time as the rest of the book. In each case, there are initials which can be seen to have deteriorated by the time they are used in later gatherings.

No. 15. Motetti C

15. ix. 1504 RISM 15041

There is a cancel bifolium for Cantus ff. C1 and C8, discussed below

The copy in HR-Ssf (Bassus book) has not been consulted

Edition

S:A1r] Motetti. C. | C

T:A1r] T

A:A1r] A

B:A1r] B

(p.550) B:D8r ] Imp re ssum Uenetijs per Octauianum Petrutiu3 Forosemp ro niensem 1505 die 15 | Sete m bris. Cum priuilegio inuctissimi [ sic ] Dominij Uenetiarum q uae nullus possit ca n tu* | Figuratum imprimere sub pena in ipso priulegio [ sic ] contenta. | Registrum.

. +A. +B. +C. +D. +A. +B. +C. +D. +A. +B. +C. +D. | +A. +B. +C. +D. Om n es q ua terni p rae ter. +D. alti q ui e[t q ui ntern us. Nota q uae q ue libet | pa r s di[tinguit ab alia p er rubrices: quia pars: tenoris: habet: tenor: pars alti habet | altus 7 [ic de [ingulis | [Petrucci's device]

1 v of each partbook: Tavola: reset for each book. The following is taken from the Bassus:

Aue maria de Joſquin

2.

Miſſus Eſt de Joſquin

7.

Aue celo rum domina

2.

Miſſus Eſt.

14.

Alma redempto ris.

15.

Miles mire probitati5

15.

Aue regina celorum: O decus

16

Miſerere mei

22.

Aue maria: O bone ɿ dulcis.

14

Magnus es tu domine

3.

Mittit ad virgine3

30.

Beata dei genitrix.

7.

O bone ɿ dulcis: Pater noster: Aue maria

14.

Concede

8.

O decus in nocentie: Aue regina

16.

CiuitateГ

12.

O ſacruГ conuiuiuГ

17.

Confitemini.

19.

O admirabile

18.

O dulciſſime

20.

Dauitica.

6

Pſalite noe

10.

Ergo ſancti martires.

8.

Pater noster: Aue maria: O bone ɿ dulcis

14.

Profitentes

21.

Factu3 eſt autem.

4.

Planxit autem

23.

Filie regu3 in honore.

21.

Requie3

9.

Gloria laus.

26.

Reſpice me in felice3

20.

Gaudeammus.

27.

Rogamus te

25.

Gaude virgo mater xpi

27.

Gaude quia magi dona.

27.

Si oblitus

11.

Gaude quia tui nati.

28.

Sancti dei omnes

18.

Gaude que poſt ipsum.

28.

Sibona ſuſcepimus

22.

Saluatoris mater pia

30.

Huc omnes pariter.

29.

Tota pulcra es

5.

In violata.

25.

Trinita5 deitas

20.

Inlectulo.

31.

Virgo precellen5

17.

Liber generationis.

3.

Ut hemerita

12.

Format and collation: Landscape format: quarto- in-eights. [S:] 32 folios: A-D8; [T:] 32 folios: A- D8; [A:] 34 folios: A-C 8D10; [B:] 32 folios: A-D8 • For the Altus foliation, see below

Signatures:] - A IIII [$4 • + DIIIII • + S:A 1 • A: C4 signed B IIII (and corrected); D4 signed D III

Foliation: top centre recto:] [S] [1], 2–32; [T] [1], 2–25, 25 [ recte 26] 27–32; [A] [1], 2–30, 29–32 [ recte 31–34]; [B] [1], 2–31, [32]

(p.551) Running heads:

recto:

S:]

Supranus

[A2-B8, C3,5,7, C8-D8

Snp ranus

[C1

Supranus

[C2,4,6

[Nil:

A1

T:]

Tenor

[A2-D8

[Nil:

A1

A:]

Al tus

[A2, A4-C3,5, C7-D10

Altus

[C4,6

[Nil:

A1,3

B:]

Baſſus

[A2-D4, D6,7

[Nil:

A1, D5,8

verso:

S:]

Supranus

[A2-B8, C1,2,4,6, C8-D7

Supranus

[C3,5,7

[Nil:

A1, D8

T:]

Tenor:

[A2-D7

[Nil:

A1, D8

A:]

Al tus

[A2-C2, C4, C6-D9

Al tus

[C3,5

Nil:

A1, D10

B:]

Baſſus

[A2-C1, C3-D4, D6,7

Beſſus

[C2

Baſſus

[D5

[Nil:

A1, D8

Fonts: Music: Petrucci's normal music type

Staves: Six per page: 175–179 mm long, 10–91. 5–112 long

Text: Rotonda, “x” = 2. 0 mm, “20” = 76 mm • Title font: “x” = 12. 3 mm.

Textual comments: This volume shows the habit of adding extra notes after the first custos on many rectos: it follows a complex pattern of: custos, Verte, notation, custos: S: A6, B1, B6, C2, C5; T: A6, B1, B4, D4; A: A6, A7, B7, C1, C2, C4; B: A5, B4, B7, C3; • Initial letters are omitted on Superius C8 v [M] and Bassus A7 r [B] • S:A8 v. text] C on nede [ sic ] • A number of movements are very sparsely texted, often with no more than an incipit

Technical comments: The Tavola appears to have been reset for each partbook • The evidence of the watermarks in each book suggests simultaneous work on all books by different men. For a detailed discussion, see below • The pattern of starting a number of pieces or partes on new pages results in a large number of blank last staves on preceding pages: 24 such pages can be found in the Superius book, for example. In contrast to the practice in other, later titles, however, these blank staves are here inked and impressed • The pattern of use of capital letters here confirms their uniqueness: thus the letter M on (Superius) C1 v cannot reappear on C7v (the other forme for that sheet); nor the O of (Superius) C3 v on C4 r; the capital letter B on (Bassus) A1 r cannot appear on A7 r, where in fact the initial is omitted entirely • The evidence of stave lengths (given below for the copy at I-Vnm) shows that the half-sheet at the centre of gathering D (Altus) was printed by work-and-turn

In-house corrections: S: B1 v. vi. 53: sb a' erased: D-Mbs, D-W, GB-Lbl (both: very carefully done in K. 1. d. 4), I-Bc, I-Vnm, US-Tm • B3 v. iii. 13: g', sbm, with erased tail, and addition of m rest in brown ink: D-Mbs, D-W, GB-Lbl (both), I-Bc, I-Vnm, US-Tm • B4 r. vi. 50–52: originally (p.552) l g', double bar: now reads b g' with an erased tail, b f', l g', double bar: in the copy at D-W, thesecond note is in manuscript and the third and bar-lines are stamped in; in both copies at GB-Lbl, and at I-Bc and I-Vnm, all is in manuscript. In other copies the b f' has a corona: at D-Mbs and US-Tm, all is stamped in, with type • B8v. iii. 22: sbm, with tail added in the same brown ink: D-Mbs, GB-Lbl (both), I-Bc, US-Tm • C4 r. iii. 2: bl, with a brown ink up-tail: D-Mbs, GB-Lbl (both), I-Bc, I-Vnm

T: B3 v. vi, last 3: probably originally l g, l d: now b vg with erased tail, b a and corona stamped in, b gstamped in with a l tail in brown ink, and double bar; line and staves touched up in brown ink: D-Mbs, D-Mu, D-W, I-VENsl • B6 v. iv. 34: sbm, with a tail in brown ink: D-Mbs and D-Mu • B6 v. iv. 41: mdsb, by erasure and a dot in brown ink: D-Mbs and D-Mu • B6 v. iv. 51: m g → f, erased note-head, stamped in new sb, and a brown ink link to the original tail: D-Mbs, D-Mu • B6 v. v. 9: d' → c', erased and stamped in: D-Mbs, D-Mu • B7 v. i. k. s: a flat to b flat, erasure and brown ink: D-Mbs, D- W

A: Foliation:] 1–28, 29, 30, 29–32: I-FPfanan, I-VENsl and SI-Ka: corrected in the othercopies • B7 r. vi. end: sb f', b g' and the word Verte were removed in a stop-press correction: they were present (now erased) in the copies at D-W and I-FPfanan, SI-Ka, while that at I-Vnm was printed after a partial correction (with the word Verte again erased) • C1 r. iv. 42–43: dm, smsb, colsb, colm, by erasure and stamped in notes: D-Mbs, D-W, I-FPfanan, I-Vnm, I-VENsl • C1 r. iv. 46–47: dm, → sm sb, colsb, colm, by erasure and stamped in notes: D- Mbs, D-W, I-FPfanan, I-Vnm, I-VENsl • C1 v. i. 33–37: a rule on either side: in brown ink in I-Vnm: in addition, a repeat sign above, printed in the copy at D-Mbs, and in manuscript in that at D-W: in the copies at I-FPfanan, I-VENsl and SI-Ka, both the rule and the repeat sign are printed • C4 r. signature: B IIII → C IIII, by stop-press correction: D-W and I-FPfanan • C4 v. v. 53–56: a brown ink rule on either side: stamped in double bar and repeat dots, below the stave, in the copies at D-Mbs, I -FPfanan, I-Vnm, I-VENsl and SI-Ka; above the stave in that at D-W • D3 r. i: the m. s. was stamped in later: I-VENsl • D8v. i: between 5 and 6 from the end: sm, d', stamped in: I-VENsl

B: A4 r. iv. 6: b, G→A, as a stop- press correction. The original form exists in copies at D-Mbs and I- VENsl, with an in-house stamped-in correction: the revised version is in the copy at D-Mu • B5 r. ii. 11: m, d → e, erased and a new note-head stamped in: D-Mbs, D-Mu, I-Vnm, I-VENsl • B7 r. i. 48: m, a → dm, b: erasure, new note-head stamped in, and the dot added in brown ink: D-Mbs, D-Mu, D-W, I-Vnm, I-VENsl: in the copy at D-W, the erasure has left a hole in the page, resulting in a replacement of a m A on the other side of the sheet • B7 v. i. 13: G → F, erasure and stamped in: D-Mbs, D-Mu, I-Vnm • B7 v. iii. 1–2: dm, smdsb, m, by erasures and a new stamped-in second note: D-Mu, D-Mbs, D-W, HR-Ssfa, I-Vnm, I-VENsl • C1 v. iii. 25: b, d, stamped in, though there is no evidence of an erasure: I-VENsl • C4 r. iii. 2: bl, with a brown ink up-tail: D-Mbs, I-Vnm • C4 v. iv. 1 ?b? A → sb G, erasure and new note stamped in: D-Mu, D-Mbs, I-Vnm • C7v. i-v. signatures: c → B, partial erasure and new brown ink heads: D-Mbs, D-Mu, D-W, I-Vnm • C7v. i. 3: b, b → a, erased and new note stamped in: D-Mbs, D-Mu, D-W, I-Vnm, I-VENsl • C8 r. i. signature: c → B, partial erasure and new brown ink top: D-Mbs, D-Mu, D-W I-Vnm, and I-VENsl • D3 v. v. last l: E → b G and a l tail, brown ink: D-Mbs, D-Mu and I-VENsl • D6 r. i. 6–7: signum above 7 struck through, and entered above 6 in brownishgrey ink: D-Mbs, D-Mu and I-VENsl

Rubrics: The rubrics for the Tenor part of Ut heremita solus read as follows:

Entered in the stave of each part, between the notes:]

Ue […] bes […] es […] te […] es go […] p er so que

[Below the prima pars is entered, laid out in this manner:]

Canon‖

(p.553) pervtraq3 | Quamlib3 inspicias notulam qua claue locetur |

parte | Tunc denique socios in eadem concine tentos |

Pro qual littera duo tu tempora pausa

Canon Sed vere prolationes non petunt pausationes Sed sunt signa generis:

[Below the secunda pars, in two long lines:]

Canon | Littera5 caute notabis pro qual3 tu pauſabi5 vnius pauſa3 tempori5

| Sed vere prolationes non petunt pausationes sed sunt signa generis

Contents: Ascriptions appear only in the first gathering of the Cantus

S

T

A

B

A1r

A1r

A1r

A1r

[Title]

A1v

A1v

A1v

A1v

[Tavola]

1

A2r

A2r

A2r

A2r

AVe Maria

.Josquin.

2

A2v

A2v

A2v

A2v

AVe celorum domina

.Brumel.

3

A3r

A3r

A3r

A3r

LIber generationis

.Josquin.

A3v

A3v

A3v

2/ Salomon autem à3

A3v

A4r

A4r

A4r

3/ Et poſt tranſmigrationem

4

A4r

A4v

A4v

A4v

FActum eſt autem

.Josquin.

A4v

A4v.iv

A4v.v

A4v.iv*

2/ Qui fuit heli

A5r

A5v

A5v

A5r.iii*

3/ Qui fuit obeth

5

A5v

A6r

A6r

A5v.iii

TOta pulchra es

.Nico.

Craen

A5v.iv

A6r.iv

A6r.iv*

A5v.vi*

2/ Flores aparuerunt

6

A6r.iii

A6v.iii

A6v.iv

A6r.iv

DAvidica ſtirpe maria

[Anon.]

A6v.i

A7r

A7r.iii

A6v.i

2/ Ergo omnium mulierum

7

A7r

A7v

A7v.iii

A7r

BEata dei genitrix

[Anon.]

A7r.iv

A7v.iii

A8r.i

A7r.iii

2/ Ora pro populo

8

A7v

A8r

A8v

A7v

MIſſus eſt angelus gabriel

.Josquin.

[A.B:] … gabriel angelus

[Tav:] Miſſus Eſt de Josquin

9

A8r

A8v

B1r

A8r

ERgo ſancti martires

[Agricola]

10

A8v

B1r

B1v

A8v

COncede nobis domine

[Anon.]

B1r

B1r.iii

B2r

A8v.iii

2/ Electi dei pontifices

11

B1r.v

B1v.ii

B2v

B1r.ii

REquiem eternam

[Obrecht]

B1v.ii

B1v.iii

B2v.v

B1v

2/ [no text]

12

B2v

B2r

B3v

B2r

PSalite noe iudei credite

[Ninot]

B3r

B2v

B4r

B2v

2/ Puer nobis na ſcitur

13

B3v

B3r

B4v

B3r

SI oblitus fuero

[Ninot]

B4r

B3v

B5r

B3v

2/ Decantabant populus

14

B4v

B4r

B5v

B4r

CIuitatem iſtam

[Anon.]

B5r

B4r.v

B6r

B4r.v

2/ Tua Eſt potentia

15

B5v

B4v.iv

B6v

B4v.iv

UT heremita ſolus

[Ockeghem]

[Text incipit only]

[T:] Expecto donec veniat

B6r.iii

B5r

B7r.iii

B5v

2/ [no text]

[T:] Expecto donec veniat

16

B7r

B5v

B7v.iv

B6r.iii

O Bone et dulcis domine

[Josquin]

[T:] Pater noſter

[B:] Ave Maria gratia plena

17

B7v

B5v.iv

B8r.iv

B6r.iii

Miſſus Eſt angelus

[Josquin]

B7v.v

B6r.i

B8v.ii

B6v

2/ Splendor inextinguibilis

18

B8v

B6v

C1r.iv

B7r

ALma redemptoris mater à3

[Isaac]

C1r

B6v.iii

C1v.iii

B7r.v

2/ Tu que genuisti

19

C1v

B7r

C2r.iii

B7v.iv

MIles mire probitatis

[Anon.]

C1v.iv

B7v

C2v.ii

B8r.i

2/ In nocte scis

20

C2r.iii

B8r

C3r

B8v

O Decus innocentie

[Anon.]

[T, B:] Ave regina celorum

C2r.v

B8r.ii

C3r.iii

B8v.ii

2/ O mater egregie

21

C2v.iii

B8r.iv

C3v

C1r

VIrgo precellens

[Anon.]

C2v.iv

B8r.v

C3v.ii

C1r.ii

2/ Anna te mundo genuit

C3r

B8v

C3v.iv

C1r.iii

3/ Pacis in terris

C3r.iii

B8v.ii

C3v.v

C1r.iv

4/ Ergo te nostre

C3r.v

B8v.iv

C4r

C1r.vi

5/ Jam mine fere fileant

22

C3v

C1r

C4r.iii

C1v.ii

O Sacrum conuiuium

[Anon.]

[T:] QUi pacem ponit

23

C4r

C1v

C4v.ii

C2r

O Admirabile commercium

[Anon.]

24

C4r.v

C2r

C5r

C2r.v

SAncti dei omnes

[Mouton]

C4v.iv

C2v

C5v

C2v.iii

2/ Chriſte audi nos

25

C5r.iv

C3r

C6r

C3r.iii

COnfitemini domino

[Anon.]

C5v.ii

C3v

C6r.v

C3v.i

2/ Qui diuiſit mare rubrum

26

C6r.ii

C4r

C6v.iv

C4r

REſpice me in felicem

[Anon.]

27

C6v

C4v

C7r.iii

C4v

TRinitas deitas

[Anon.]

C6v.iv

C4v.iii

C7v

C4v.iii

2/ Tu uertux ɿ apex

[T, A, B: no text]

28

C7r

C5r

C7v.iv

C5r

PRofitentes unitatem

[Compère]

C7r.iv

C5r.v

C8r

C5r.iv

2/ Digne loque de perſonis

29

C7v

C5v.ii

C8r.iv

C5v

FIlie regum in honore tuo

[Anon.]

C7v.iii

C5v.iii

C8v

C5v.iii

2/ In ueſtitu de aurato

30

C7v.vi

C6r

C8v.iv

C6r

MIſerere mei

[Anon.]

31

C8r.iii

C6v

D1r

C6v

SI bona ſuſcepimus

[Anon.]

C8r.vi

C6v.iv

D1r.iv

C6v.iii

2/ [T:] Adesto domine

32

C8v.iii

C7r

D1v.ii

C7r

MAgnus es tu domine

[Josquin]

D1r

C7r.iii

D1v.iv

C7r.iv

2/ Tu pauperum refugium

33

D1r.iv

C7v

D2r.ii

C7v

PLanxit autem Dauid

[Josquin]

D1v.ii

C8r

D2v

C7v.vi

2/ Montes gelboe

D1v.v

C8r.iii

D2v.iii

C8r.iii

3/ Sagitta ionathe

D2r.ii

C8v.ii

D3r.ii

C8v.ii

4/ Doleo super te

34

D2v

D1r

D3v

D1r

ROgamus te pijſſima

[Isaac]

[T:] O Maria O regina

D2v.iii

D1r.i

D3v.iv

D1r.iv

2/ O Maria O regina

35

D3r

D1r.iv

D4r

D1v

INuiolata integra

[Anon.]

D3r.i

D1r.vi

D4r.ii

D1v.ii

2/ Que es effecta

D3r.ii

D1v

D4r.iii

D1v.iii

3/ O mater alma chriſti

D4r.iv

D1v.v

4/ Suſcipe pia laudem à2

D3r.iii

D1v.i

D4r.v

D1v.vi

5/ Noſtra ut pura pectora

D3r.iv

D1v.ii

D4v

D2r.i

6/ Te nunc flagitant

D3r.v

D1v.i

7/ Tua per precata à2

D3r.vi

D1v.iii

D4v.ii

D2r.ii

8/ Nobis concedas

D3v

D1v.iv

D4v.iv

D2r.iii

9/ O benigna

D3v.ii

D1v.v

D4v.v

D2r.iii

10/ O regina

D3v.ii

D2r

D4v.vi

D2r.v

11/ O Maria

D3v.ii

D2r.i

D5r

D2r.v

12/ Que ſola inuiolata

36

D3v.iv

D2r.iii

D5r.ii

D2v

GLoria laus et honor

[Anon.]

D4r

D2r.iv

D5r.iii

D2v.ii

2/ Iſrael es tu

D4r.ii

D2v

D2v.ii

3/ Cetus in excelſis à3

D4r.iv

D2v.iii

D5r.v

D2v.iv

4/ Plebs hebrea

37

D4v

D3r

D5v.ii

D3r

GAudeamus omnes

[Anon.]

D4v.v

D3r.v

D6r

D3v

2/ Gaude uirgo mater

D5r

D3v

D6r.iii

D3v.iii

3/ Gaude quia magni dona

D5r.iii

D3v.iv

D6r.v

D4r

4/ Gaude quia tui nati

D5v

D4r

D6v.iii

D4v

5/ Gaude que poſt ipſum

38

D6r

D4r.v

D7r

D5r

HUc omnes pariter

[Anon.]

D6r.ii

D4v.ii

D7r.iv

D5r.iv

2/ Splendor quo regitur

39

D6r.iv

D5r

D7v.ii

D5v

O Dulciſſiuma pulcra

[Anon.]

[S:] … plucra

D6v

D5r.iii

D7v.iv

D5v.iii

2/ O mea ſponſa de libano

40

D6v.iv

D5v

D8r

D6r

MIttit ad uirginem

[Josquin]

D7r.iii

D6r

D8v

D6r.iv

2/ Accede nuntia

[T:] Accide

41

D7v

D6v

D9r

D6v

SAluatoris mater pia

[Anon.]

D8r

D7r

D9v

D7r

2/ O maria ſtella matris

D8r.iii

D7r.iii

D9v.iii

D7r.iii

3/ Aue uirgo meo

42

D7v

D10r

D7v

IN lectulo meo à3

[Anon.]

D8r

[Colophon; Register; Device]

D8r

[blank staves]

D8v

D8v

D10v

D8v

[blank]

(p.554)

(p.555) Extant copies:

D-Mbs, 4o.mus.pr.160/2. Complete. This copy has the cancel at Superius C1, 8, discussed below Size of page: 165 or 167 × 235 mm.

Watermarks:

S:

A3–4

A7

B3–4

B7–8

C-2

C4–3

T:

A5–6

A7-

B3–4

B8–7

C2–1

C6–5

11

14

11

11

11

11

11

14

11

11

11

11

A:

A5–6

A1

B2–1

B6–5

C2–1

C5–6

B:

A6–5

A7

B3–4

B8–7

C5–6

D1

11

14

11

11

11

11

14

14

11

11

11

14

Textual comments: A: B5r.ii: the word] cantoribus [did include the “a”: it has printed, but only in blind? B: A5v: the erased version may suggest that the typesetter did not understand the notational practice of the proportion 03 in the exemplar

(p.556) Technical comments: S: A1r shows the impress of uninked staves used as furniture • B2r: only five staves were inked • D7r: the text was printed before the text of D7vT: A2v, the music was printed before the staves

Corrections and changes:

In-house: S: C4r, B1v, B3v, B4r, B8v; T: B3v, B6v (4 changes), B7v; A: foliation, C1r (2 changes), C1v, C4v; B: A4v, B5r, B7r, B7v (2 changes), C4r, C4v, C7v (2 changes), C8r, D3v, D6r: see above

Later: T: B1v.ii.10: brown ink sb over printed b, both colored • B6v.iv.50: msb, by erasure • C2v.iv.4: sbm, with added tail • C8r.vi. near end: a modern pencil mark through a point • C8v.iv.6: fsm, by erasure

A: A3v.i.17: a black ink line through the tail to strike it out: the line and the rest of the tail later erased • B4r.ii.22: dot erased from sb • B4v.i.23:?msm, in very pale brown ink • B7r.vi.r end: Verte erased • D4r.iv.36: b written above the sb, in 16th-century brown ink • D4r.iv.39: sb written above the b, in the same ink • D5r.v.after bar-lines:] cetus tacet [in brown ink • D6v.v.first rests: sb, l, l, lsb, l, l, b, by erasure • D8v.i.before 5 from end: smd', in brown ink and untidy

B: A5v.i. first rests: l to b, sb, sb, by erasure and additions in brown ink • A5v. i. v: db: the dot erased • A6r. iii. right end:] de Vorda [in 16th-century dark ink • C1r. ii.10: ?sm m • C4v. iii. custos: A → G, in brown ink • D1v.v.16–18: sb, b + b in ligature: below first a b, below the last a sb, both in ginger ink • D2r. iii.4: l → b, by erasing the tail

Binding: With Missarum diversorum I (1509, No.43)

Provenance: With Missarum diversorum I (1509) • An inscription on Cantus A1r perhaps reads] Soranus moncill

D-Mu, Cim.44m (2). Tenor and Bassus, complete

Size of page: 171 × 229 and 168 × 233 mm.

Watermarks:

T:

A3–4

A2

B6–5

B7–8

C1–2

C5–6

B:

A2

A4–3

B4–3

B8–7

C1-

C6–5

D8

11

14

11

11

11

11

14

11

11

11

3

11

14

Technical comments: B: C4r.ii: text spacing sort, 3.9 × 2.7 mm • The part-names seem to have been printed with the staves: c.f. B: D4r

Corrections and changes:

In-house: T: B3v, B6v (4 changes); B: A4r, B5r, B7r, B7v (2 changes), C4v, C7v (2 changes) and C8r: see above

Later: T: Three ascriptions against the Tavola • Modal indications are entered against the pieces • A3r.iii.15 from the end: added signum, black ink • A3v.iii.34: added signum, black ink • A3v/4r.top, and A4v/5v.top:] Secunda | Pars [and] Tertia pars [in an early hand, but not that of the modal indications • A8v.i.7.8: ligature: b,a → g,f, probably in the hand of the modal indication on the same page • B6v.headline:] Henricus Isaac [perhaps in Glarean's hand • C8v.iv.6: fsm, by erasure • D5v.head:] Petrus de Therache [perhaps in Glarean's hand

B: A3r.iii: signum below stave in black ink • A3v.iii: signum below stave in black ink • A4r.iii: another signum, entered below 13, erased and re-entered below 18 • A7r.ii.6 back: has a black ink “V” before it • B7r.heading:] Isaac [as in the Tenor • B7v.iv.right:] No 77 [in brown ink • C7v.iii.8 from end: signum in black ink • D2r.iii.4: lb, by erasure of tail • D3v.v.last l: ?F or ?A → bG and a l tail, brown ink • D6r.i.6.7: signum above 7 struck through, and entered above 6, in brownish-grey ink

Binding: With Missarum diversorum I (1509, No.43)

(p.557) Provenance: Glareanus • Egenolph

D-W, 2.8.Musica-2.8.3.Musica (3). Complete. This copy includes the cancel bifolium at C1, 8, for which see below

Size of page: 173 × 244 mm.

Watermarks:

S:

A6–5

A7

B2–1

B4–3

C4–3

C-7

D5

D8–7

T:

A5–6

A7

B4–3

11

14

11

11

11

11

3

11

11

14

11

B8–7

C5–6

C7–8

D3

D8–7

A:

A2

A4–3

B5–6

B7–8

C4–3

C8–7

D2

D8

11

11

11

3

11

14

11

11

11

11

11

3

11

B:

A6–5

A7

B2–1

B4–3

C6–5

C7

D3

D7–8

11

14

11

11

11

3

3

14

Textual comments: B: D4v.first word:] Gande

Technical comments: The recurring use of staves remaining in the forme is evident in this copy: f.6v of all gatherings shows the same pattern, identical with that of 8v for all gatherings except B:C and D, where it is to be found on f.7vC: A1r uses staves as uninked furniture • T: C3v.iv: spacing sort for the music

Corrections and changes:

In- house: S: B1v, B3v, B4r; T: B3v, B7v; A: foliation, B7r, C1r (2 changes), C1v, C4v; B: B7r, B7v, C7v (2 changes) and C8r: see above

Later: S: A1v.Tavola: added ascription] ijsaac [not in the hand of the ownership ascription. The same hand enters the composer's name on the Tavola and relevant folio of each partbook, as listed below • B8v.head-line:] ijsaac [in brown ink

T: A1v.Tavola: added ascription] ijsaac [in brown ink • B3r.ii.32: sb, probably merely over-inked, scratched void • B6v.head-line:] ijsaac [in brown ink • C7v.head-line:] 2.Regni j. [brown ink

A: A1v.Tavola: added ascription] ijsaac [in brown ink • A3v.i.17: line through tail • B4r.ii.22: f', dsbsb, by erasure • C1r.head-line:] ijsaac [in brown ink • C4r.signature: corrected • D5r.v.right margin: written] Cetus tacet [in ink

B: A1v.Tavola: added ascription] ijsaac [in brown ink • B7r.head-line:] ijsaac [in brown ink

Binding and Provenance: With Fragmenta Missarum (1505, No.24)

GB-Lbl, Hirsch.III.984. Cantus, complete. For the cancel leaves C1 and C8, see below

Size of page: 158× 227 mm.

Watermarks: No.11 on A3–4, B1–2, B6–5, C-2 and C5–6 • No.14 on A7

Textual comments: A8v:] Connede [sic]

Technical comments: A1r and A1v both show the impress of uninked staves • B2r: spacing sorts, about the size of ems, have impressed in the space of the bottom stave

Corrections and changes:

In-house: B1v, B3v, B4r, B8v, C4r: see above

Later: C1v.ii.after 26: sb rest, in brown ink • C8r.iii.22: g' → a', by erasure and black ink

Binding: 16th-century Italian calf over boards. Stamped with seven copies of a maze design, in a cruciform pattern, within a border made of a repeated stamp, all in blind • Two conjugate end-papers at each end, with a watermark of a wheel (width 5.4 mm) on the first of each pair

Provenance: From the Hirsch collection • Inside the front board:] E.S.126a

Bibliography: Johnson and Scholderer, Short-Title, p. 454; Meyer and Hirsch, Katalog, iii. 984

(p.558) GB-Lbl, K.1.d.4. Cantus, complete. For the cancel leaves C1 and C8, see below

Size of page: 167 × 232 mm.

Watermarks: No.11 on A3–4, B1–2, B3–4, C3–4 and C-7 • No.14 on A7–8 • No.3 on D3

Textual comments: A8v:] Connede [sic].

Technical comments: This copy is very close in condition to the other partbook at GB-Lbl • A1r and A1v both show the impress of uninked staves

Corrections and changes:

In-house: B1v, B3v, B4r, B8v, C4r: see above

Later: There are several MS headings to pages, all in the same hand: A3v:] tertia pars [A4r:] Luca.3. prima pars [A4v:] Secunda pars [A5r:] Tertia pars [and B8v:] ISAAC • C8r.iii.22: g' → a', by erasure and black ink

Binding: Contemporary parchment over boards: three tie strings • One fly-leaf, conjugate with a paste-down, at each end

Provenance: British Museum stamp on D8v:] 19 JY [19]62 [ • Earlier call numbers: inside front board:] 4'78 [and on f.[i]v:] A.633

Bibliography: Johnson and Scholderer, Short-Title, p. 454

HR-Ssf. This copy has not been seen

Technical comments: C2r lacks the opening initial • pieces of text furniture appear on A4v, B2r, B7v (head-line) and C4r • Inking is inconsistent in several places

Corrections and Changes:

In-house: B7v: see above

Later: Modern foliation, 33–64

Binding: Bound with Motetti IV (No. 21)

I-Bc, Q.61. Cantus, complete. For the cancel C1, 8, see below

Size of page: 170 × 236 mm.

Watermarks: No.11 on A4–3, B1–2, B6–5, C-2, C6–5 and D3–4 • No.14 on A8

Technical comments: The impress of uninked staves on A1r and A1v

In-house corrections and changes: B1v, B3v, B4r, B8v and C4r: see above

Binding: Same modern wrapper and folders as found in the Bologna copy of Agricola's masses

Provenance: Old call no. 1005

Bibliography: Fava, “Primo”, p. 38 (exhibition in Bologna in 1929) • Vernarecci, Petrucci p. 103

I- FPfanan. Altus, complete.

Size of page: 158 ₃ 228 mm.

Watermarks: No.11 on B1–2, B5–6, C5–6 and C8–7 • No.14 on A8 • No marks in gathering D

Corrections and changes:

In-house: B7r, both on C1r, C1v, C4r and C4v: see above

Later: Modern foliation, including the first fly-leaf • A2v.iv.20: the stave-line is touched up, and the sb may have been changed, perhaps from e' to the present d' • D5r.v.over the clef:] cot9 tacet [in pale brown ink, but not in Petrucci's style • D6v.v.rests after 9: the last rest, lb

Binding: Bound with the Contratenor Primus of the Motetti a cinque (No.46) • Italian binding, perhaps Venetian, first half of the 16th-century, with a new spine • one paste-down and one fly-leaf at each end, both modern

Provenance: bought from a Parisian dealer in the 1960s • Front fly-leaf verso has a call-mark of] F-I-3

I-Vnm, Mus.200–202. Cantus, Altus and Bassus, complete. Cantus C1, 8 is a cancel: see below • It (p.559) is possible that there is also a cancel at Bassus ff.D1, 8. The only evidence for this is the pattern of stave-lengths, and perhaps the pattern of chainlines in the paper. Since this evidence is not conclusive, these two folios are described here

Size of page: 170 × 236 mm.

Watermarks:

C:

A4–3

A7–8

B1–2

B4–3

C-2

C5–6

D3

A

A3–4

A7

B5–6

B8–7

C1–2

11

14

11

11

11

11

3

11

14

11

11

11

C5–6

D2

D7

B:

A2

A6–5

B1–2

B6–5

C4–3

C1

11

3

3

14

11

11

11

11

14

Technical comments: For the stave measurements in this copy, see below

Corrections and changes:

In-house: S: B1v, B3v, B4r, C4r; A: foliation, B7r, C1r (2 changes), C1v, C4r; B: B5r, B7r, B7v (2 changes), C4r, C4v, C7v (2 changes) and C8r: see above

Later: S: C8r.iii.22: b, g' → a', erased and black ink • A: A3v.i.17; line through tail • C4r.signature corrected

Binding: From the Austrian National Library • One paste-down and one fly-leaf at each end

Provenance: The A-Wn call number] SA.77.C.24 [inside the front board is partly concealed by the new I-Vnm call number: an A-Wn library stamp appears in the books (cf. Coggiola, “Ricupero”) • There are also the numbers A.N.47.D.24, with the number 47 changed to 24, and the whole struck through and replaced by 35.E.121

Bibliography: Fenlon and Dalla Vecchia, Venezia, p. 76 (exhibition catalogue, Venice, 2001)

I- VENsl, s.s. Tenor, Altus, and Bassus books, complete, though defective. Skillfully restored by the Abbazia di Viboldone. I am grateful to Massimo Gentili Tedeschi for arranging my access to this copy

Size of page: 167 × 237 mm.

T:

A5–6

A7

B6–5

B7–8

C2–1

C4–3

D4

A:

A3–4

B1–2

B3–4

C1–2

C5–6

11

14

11

11

11

11

11

11

11

11

11

11

D6-

B:

A2–1

A4–3

B2–1

B4–3

C5–6

D1-

11

14

14

11

11

11

14

Textual comments: T: C6r: foliation reads] 2 • B: a damaged m tail, with a pronounced curve to the left, can be seen in several places, including B4v and C6v

Technical comments: B: C4r.ii: a text spacing sort, measuring c.4 × 2 mm.

Corrections and changes:

In- house: T: B3v; A:: C1r, C1v, C4v and D3r; B: A4v, B5r, B7r, B7v, C1v, C4v, C7v, C8r, D3v, and D6r: see above

Later: T: B4v.iv.34: sbm, with up-tail in ginger ink • B4v.iv.41: e', mdsb, with an erased tail, and a ginger ink point • B4v.iv.50–51: originally 2m, g, f: the first has the tail erased, and the second the note-head erased, implying sbg • D8 is largely missing: the recto shows clefs on staves iii–v, and the start of a word below stave iv: all in ginger ink

A: C3v.ii.35: erased sb, f' • D5r.v: added word in brown ink] Cotratnor • D6v.v.rests after 9: sb,l,l,l: last lb, by erasure • D9v.ii.9: the ink line through the note was an accident: see the blot in the next system • D10v: at the top of the page is a single stave with a four-voiced cadential figure: it presents three chords in black notation, on c, f and d. This appears to be in a later 16th-century hand

(p.560) B: A3v.iii.after 16: an added m, g, in a different brown ink from that used elsewhere • D2r.iii.4: lb. by erasure

Binding: Original leather covers to boards are glued to a modern binding. Each carries the part-initial in gold on the front and back, inside plain panels, probably stamped • Originally three tie-strings for each board, leaving merely holes in the boards • The boards themselves are detached and loose, apparently made of about 12 layers of paper • An original fly-leaf bifolio for the Tenor is also detached: one for the Bassus is bound in

Provenance: A: fly-leaf:] Antonius nomine | Petrus Hunc possidet | Librum | de Musonis [and] Hunc possidet librum Antonius nomine | petrus de Musonis • D10v:] Hic liber interest mea[?] prebiteri petri Antonio bataliensis de Musonis | de Mugiascha

B: fly-leaf:] 1523 Ildi 9. a nov 22 de Julio novite D. pre Thiburtío Bre´billa rector de Sto | Georgio in rauagnate. • B: D4r, foot:] Hic liber possidetur a presbitero petro Antonio bataliensi de Musonis | de Mugiascha

Muggiasca is the present name of the area around the town of Vendrogno, taking its name from a nearby Mount Múggio, and lying east of the Lecco branch of Lake Como. Rovagnate is a small town between Lecco and Milan

SI-Ka, s.s. Altus, complete.

Size of page: 169 × 239 mm.

Watermarks: No.11 on A4–3, B2–1, B3–4, C2–1 and C6–5 • No.14 on A7–8 • No.3 on D1

Technical comments: A2v: the music was printed before the text • A number of text spacing sorts are visible, e.g. on A4v.v and C5v • B1r: the head-line was printed with the text and staves

Corrections and changes:

In-house: B7r, C1v and C4v: see above

Later: B4r.ii.22: dsb, f: the dot erased • B5v.iii.53: after the note, a dividing rule, in pale brown ink • D4v.vi.4: the original note,?m, g': now filled in and a small black sb, f' added after, all in black ink • D5r.v, above bar-lines and m.s.:] Contratenor [in brown ink

Binding and Provenance: Bound behind an Altus of Motetti Libro quarto (1505, No.21)

US- Tm, Acc.55.30. Cantus, complete. For the cancel leaves, see below

Size of page: 169 × 238 mm.

Watermarks: No.11 on A-43, B1–2, B5–6, C-2, and C3–4 • No.14 on A7–8 • No.3 on D2 and D3

Corrections and changes:

In-house: B1v, B3v, B4r, and B8v: see above

Binding: 19th-century red half-leather over marbled paper boards. The spine stamped in gold with a fleur-de-lys and] MOTET | TI | SEC. | XVI • At each end a marbled paper paste-down and conjugate fly-leaf. At the front, a further fly-leaf, perhaps 18th-century, with a mark of a double turreted tower and the letters] M S

Provenance: Inside the front board, the bookplate of Landau-Finaly, and the number 6419 • A price in Lire appears on D8r • Bought by Toledo from the auction XXV (26.v.1955) of L'Art Ancien S.A. of Zurich, Lot no.582

Bibliography: Exhibited at Toledo, OH, in 1957. See Barksdale, Printed, No.70, with one page illustrated

No. 15a. Cancel

A bifolium printed as a cancel for Cantus folios C1 and C8

(p.561) Technical comments: The stave lines show a consistent layout, indicating that the half-sheet was printed by work and turn

In-house corrections: C1v.ii.after 26: a second sb rest was added in a stop-press correction: the uncorrected version is at GB-Lbl (both copies), I-Bc and US-Tm (all with a manuscript correction, probably made in house), and the corrected is in the copy at D-Mbs • C8r.iii.22: sbb, a manuscript change in the copies at D-W, I-Bc and I-Vnm, but stamped-in in the copies at D-Mbs, GB-Lbl (both copies), and US-Tm

Extant copies: For the rest of each copy, see the descriptions above

D-Mbs, 4 o .Mus.pr.160/2

No watermark visible.

In-house changes: C1v and C8r: see above

D-W, 2.8.Musica (3)

Watermark: No.14 on C8.

In-house changes: C8r: see above

GB-Lbl, Hirsch.III.984

No watermark visible.

In-house changes: C1v and C8r: see above

GB-Lbl, K.1.d.4

No watermark visible.

Technical comments: C8v lacks its initial capital letter [M].

In-house changes: C1v and C8r: see above

I-Bc, Q.61

Watermark: No.14 on C8

In-house changes: C1v and C8r: see above

I-Vnm, Mus.200

Watermark: No.14 on C8

In-house changes: C8r: see above

US-Tm, Acc.55.30

No watermark visible

In-house changes: C1v and C8r: see above

Lost copies: A copy was bought by Colón in Rome, ii.1513 (Chapman, “Printed”, No.10) • There was a copy in the Fugger collection (Schaal, “Musikbibliothek”, No.I/51)

Early references: Aaron cites this book specifically, in chapter 6 of his Trattato (1525) (see Judd, “Reading”)

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No.2354 • Sartori, Petrucci, No.15

  2. (b) Brunet, Manuel, iii, cols.1924–1925

  3. (c) Petrucci, Motetti C

  4. (d) Sherr, 16th-Century, ii

  5. (e) Adamson, Petrucci • Jeppesen, “Neuentdeckte”, p. 76 • Sartori, “Nuove”, pp. 178–81

(p.562) Commentary:

  1. 1. The evidence of the distribution of papers argues that the four part-books were set simultaneously.

    Sheet

    Copy

    AI

    AII

    BI

    BII

    CI

    CII

    DI

    DII

    DIII

    Superius:

    D-Mbs

    14

    11

    11

    11

    11

    11

    D-W

    14

    11

    11

    11

    11

    11

    11

    3

    GB-Lbl (1)

    11

    14

    11

    11

    11

    11

    GB-Lbl (2)

    11

    14

    11

    11

    11

    11

    3

    I-Bc

    14

    11

    11

    11

    11

    11

    11

    I-Vnm

    14

    11

    11

    11

    11

    11

    3

    US-Tm

    14

    11

    11

    11

    11

    11

    3

    3

    Tenor:

    D-Mbs

    14

    11

    11

    11

    11

    11

    D-Mu

    14

    11

    11

    11

    11

    11

    D-W

    14

    11

    11

    11

    11

    11

    11

    3

    Altus:

    D-Mbs

    14

    11

    11

    11

    11

    11

    D-W

    14

    11

    11

    11

    11

    11

    3

    3

    I-Vnm

    14

    11

    11

    11

    11

    11

    3

    3

    Bassus:

    D-Mbs

    14

    14

    11

    11

    11

    11

    14

    D-Mu

    14

    11

    11

    11

    3

    11

    14

    D-W

    14

    11

    11

    11

    3

    11

    3

    3

    I-Vnm

    14

    11

    11

    11

    14

    11

    I suspect that two typesetters were involved, one having responsibility for the first two parts, and the other dealing with Altus and Bassus. In both cases, the outer sheet of gathering A will have been sent to the press last (whenever the bulk of it was set in type), for it contains the Tavola with folio numbers. This helps to explain the presence of paper 14 here and in the cancel, as well as at the end of the Bassus. This paper was, in any case, new to Petrucci.

  2. 2. The appearance of paper 3 and an apparently unmarked paper, late in the book, represents no more than a shift in paper stock as paper 11 ran low. The change in papers occurs at different places, with the Altus and Bassus running out of paper 11 first. This also suggests two presses, probably working one for each typesetter. After the stock of paper 11 was exhausted, the pressesapparently used up various other stocks, for different copies have different papers for the same sheets, in the same settings.

    Further, it is not possible to argue that either paper represents a later series of cancels. They both appear on the outer sheet of the Bassus gathering D, which includes the colophon carrying this date.

  3. 3. The pattern of setting in this manner explains the foliation mistake in the Altus: the numbers were retained from one part to the next, and no allowance was made for the extra half-sheet needed in that part-book.

  4. 4. The pattern of staves in the Venice copy shows that there were probably only two formes in use for this title:

    α)

    179 180 179 181:

    S: AIo; AIIo; BIo; BIIo; CIo; CIIo; DIo; DIIo

    A: AIo; AIIo; BIo; BIIo; CIo; CIIo; DIo; DIIo; DIII

    B: AIo; AIIo; BIo; BIIo; CIi; CIIo; DIi; DIIo

    β)

    176 176 176 175

    S: AIi; AIIi; BIi; BIIi; CIi; CIIi; DIi; DIIi

    A: AIi; AIIi; BIi; BIIi; CIi; CIIi; DIi; DIIi

    B: AIi; AIIi; BIi; BIIi; CIo; CIIi; DIo; DIIi

    The detailed measurements are as follows: (p.563)

    1r

    2v

    7r

    8v

    2r

    1v

    8r

    7v

    3r

    4v

    5r

    6v

    4r

    3v

    6r

    5v

    S:

    A

    180

    179

    181

    177

    176

    176

    179

    181

    179

    180

    176

    176

    175

    176

    B

    179

    180

    179

    181

    176

    176

    175

    176

    179

    181

    179

    181

    175

    176

    175

    176

    C

    179

    180

    179

    181

    176

    181

    179

    176

    179

    181

    179

    181

    176

    176

    175

    177

    D

    179

    180

    179

    176

    176

    176

    177

    179

    180

    179

    180

    176

    176

    176

    176

    A:

    A

    179

    179

    18

    177

    176

    177

    179

    180

    179

    181

    176

    176

    175

    176

    B

    179

    181

    180

    179

    176

    176

    176

    177

    179

    181

    179

    181

    176

    177

    176

    177

    C

    [—]

    180

    180

    [—]

    176

    [—]

    [—]

    176

    180

    180

    179

    181

    175

    176

    175

    176

    D

    (9r

    10v)

    (10v

    9r)

    (7r

    8v)

    (8r

    7v)

    179

    180

    179

    176

    176

    176

    176

    179

    180

    179

    181

    176

    176

    175

    176

    (5r

    5v

    6r

    6v)

    179

    180

    179

    181

    B:

    A

    180

    179

    181

    176

    176

    176

    179

    181

    179

    181

    176

    176

    175

    176

    B

    180

    181

    179

    181

    176

    176

    176

    176

    179

    181

    179

    181

    176

    176

    175

    176

    C

    176

    176

    176

    176

    179

    181

    179

    181

    180

    180

    179

    180

    175

    176

    175

    176

    D

    176

    176

    176

    179

    176

    181

    179

    180

    179

    180

    176

    176

    176

    177

    The pattern suggests a very simple and straightforward sequence of work throughout the book, consisting of the alternation of two formes, with a minor change at the end of the Bassus. That this change is not very significant can be inferred from the point already made, that the first sheet of gatherings A of all books were printed last, coupled with the fact that the normal sequence returns for these sheets.

    It is rather surprising that only two formes of stave should be used throughout a volume. However, there is relatively little text set for this repertoire (and, indeed, some pages have no more than a verbal incipit), so that the setting of a page with staves already in the forme and few words of text would take very little time, especially when put beside the time required for setting the music. It is therefore plausible that each forme of text could have been set and run off during the setting of the same forme of music.

  5. 5. One significant implication of the use of only two formes of staves is that it seems to require some measure of casting-off. In fact, there is some other evidence to support this idea. The late setting of the outer sheet of each gathering A is supported by the distribution of the music on those pages. Each partbook begins every part of the motets on a fresh page as far as folio A4v, despite the waste in unused staves (five each in Superius and Bassus): the same pattern prevails for folios A7–8. However, the middle of the gathering shows a very different pattern. In each voice, parts begin in the middle of lines and pieces in the middle of pages. The evidence suggests that an attempt at casting off was made, leaving folios A1, 2, 7, 8 unset. The material for the middle four folios (the inner sheet) was set, loosely at first, but increasingly tightly towards the end. (Neither the Altus or the Bassus has any blank staves on these folios.) There is similar, though much weaker, evidence from the later gatherings. It is possible, too, that the pattern of the adoption of paper 3 implies cast-off text and setting by formes in gatherings D of each part-book.

  6. 6. The same pattern of staves indicates that the half-sheet at the centre of Altus gathering D was printed by work and turn, using the forme with long staves.

  7. 7. The one anomaly in the chart of stave lengths lies in the Cantus outer sheet of gathering C, where there was evidently a cancel. The following lists two additional copies for that bifolio:

    C1r

    C8v

    C1v

    C8r

    C2r

    C7v

    C2v

    C7r

    GB-Lbl

    177

    178

    177

    178

    174

    173

    178

    177

    I-Bc

    178

    178

    178

    179

    175

    175

    180

    178

    I-Vnm

    179

    181

    179

    181

    176

    176

    179

    179

    (p.564) This is a classic example of the effect of producing a work-and-turn cancel bifolium. The stave-lengths on C2, 7 show the patterns of a set of long staves backed by a set of shorter ones, that characterise Petrucci's work at this stage. The patterns for C1, 8 imply the same set of staves on both sides.

  8. 8. There seems to be a surprising number of penitential and “release-from-trouble” motets. Among them, in particular, is the anonymous No.14, whose text refers to a city in trouble. Civitatem istam tu circunda domine et angeli tui custodiant muros eius. Exaudi domine populum tuum cum misericordia avertatur furor tuus domine a populo tuo et a civitate sancta tua. An obvious candidate for such an anonymous work would be Venice itself, still reeling from the effects of the naval battle of Zonchio, and facing increasing hostility from the great powers.

  9. 9. A number of works or partes are very poorly texted. There is no text beyond an incipit, for example, for the Bassus of No.11, or the second pars of No.10.

  10. 10. The presence of a four-part figure, looking like a falsobordone sequence, on the last folio of the Altus of the books at I-VENsl, suggests that these books were used in a performing institution. Since the books were in small hill-towns east of Lake Como, certainly by 1523, and have been there ever since, it seems that polyphony may have been practised in these towns: with the music notated at the back of a book of complex settings, we can not restrict that polyphony to simple cantus planus binatim and falso bordone. The notation is certainly from later in the 16th-century, and is possibly in the same ink as the addition to the Bassus G3v, and the blot on the Altus D9v.

No. 16. Frottole I

28.xi.1504 RISM 15044

There are cancel sheets for A inner, B outer and E outer, described below

Edition

A1r] Frottole libro | primo.

G8r] Impressum Venetiis per Octauianum Pe-|trutium Foroſempronienſem. Die. xxviii. No-| uembris Salutis anno M. ccccciiii. Cum pri-|uilegio inuictiſſimi Dominii Venetiarum quae nul | lus poſſit cantum Figuratum imprimere ſub | pena in ip ſo priuilegio contenta. | Regiſtrum. | ABCDEFG Omnes quaterni. | [Petrucci's device]

A1v] [Tavola:] Numero ſeſantadoi

Format and collation: Choirbook: landscape quarto-in-eights. 56 folios: A-G8

Signatures:] Aii [$4 • -A1

Foliation:] [I], II-LV, [LVI]

Composers' names appear in the head-line

Part-names: in the left margin, to be read downwards from the top of the page:

recto:]

Tenor Altus Baſſus

[A2, B5–6, B8, F4–7

Altus Baſſus

[A3-B4, B7, C1-F3, F8-G7

[Nil:

A1, G8

verso:]

Tenor

[A2-B3, B6, B8-F2, F7-G6

Tenor Altus Baſſus

[B4–5, B7, F3–6, G7

[Nil:

A1, G8

(p.565) Fonts: Music: Petrucci's normal music type

Staves: In theory, six per page, 178–180 mm long, 10–92.5–113 high: in practice almost always only five staves are printed

Text: Roman, for all except title: “x” = 1.7.mm, “20” = 57 mm.

Textual comments: A8r: the text reads] uenduto [and] ſ peranza • B8r. text: queſta

Technical comments: The appearance of a small type initial for the start of a composition on F4ris the result of having only one “I” in the case, which had been used on F3v • The staves are consistently used in two formes throughout the volume: there is some evidence that gathering A was printed last, at least for the impression of staves and text • The composer's names are at a consistent height above the staves, and may have been part of that forme, with texts

In-house corrections: B2r. iv. 33: added in ink: both copies • B2r.v.5 and 9: touched up in brown ink: both copies • B2r.v.18: signum in brown ink: both copies

Contents: The final column shows the folio number as entered in the Tavola:

A1r

[Title]

A1v

[Tavola]

1

A2r

ALma ſuegliate hormai

IO.BROC.

ii

2

A2v

OIme el cor oime la teſta

MARCVS CARA VERO.

iii

3

A3v

NOn e tempo daſpectare

M.C.

iiii

4

A4v

DEfecerunt donna hormai

M.C.

v

5

A5v

O Mia cieca e dura ſorte

M.C.

vi

6

A6v

HOr uenduto ho la ſperanza

M.C.

vii

7

A7v

SE non hai perſerueranza

M.C.

viii

8

A8v

SE de fede hor uengo a meno

M.C.

ix

9

B1v

IO non compro piu ſperanza

M.C.

x

10

B2v

IN eterno io uoglio amarte

M.C.

xi

11

B3v

GLie pur gionto el giorno aime

M.C.

[A:] Non ual aqua al mio gran foco

12

B4v

VDite uoi fineſtre

M.C.

xiii

13

B5r

Si come chel biancho cigno

M.C.

xiii

[S:] COme chel biancho …

14

B5v

CHi me dara piu pace

M.C.

xiiii

15

B6r

PIeta cara ſignora

M.C.

xiiii

16

B6v

DEh si deh no deh ſi

M.C.

xv

17

B7v

LA fortuna uoi coſſi

M.C.

xvi

18

B8r

AYme che doglia e queſta

IOANNES BROCCHVS VERO.

xvi

19

B8v

SCopri lingua el cieco ardore

BARTHOLOMEVS TRVMBONCINVS VERO.

xvii

[T, A, B:] Scopri o lingua

20

C1v

NOn ual aqua al mio gran foco

B.T.

xviii

21

C2v

SE ben hor non ſcopro

B.T.

xix

22

C3v

SE mi e graue el tuo partire

B.T.

xx

[Tav:] Se mi e grato …

23

C4v

VAle diua mia ua in pace

B.T.

xxi

24

C5v

POi chel ciel contrario

B.T.

xxii

25

C6v

CRudel come mai potesti

B.T.

xxiii

26

C7v

DEh perdio non me far torto

B.T.

xxiiii

27

C8v

POi che lalma per fe molta

B.T.

xxv

28

D1v

EL conuera chio mora

B.T.

xxvi

29

D2v

BEn che amor mi faccia torto

B.T.

xxvii

30

D3v

[T:] DAl lecto me leuaua

MICHAEL.

xxviii

[S: line 2] ALhor quando

31

D4v

AH partiale e cruda morte

B.T.

xxix

32

D5v

LAqua uale al mio gran foco

MICHAEL.

xxx

33

D6v

PIu che mai o ſoſpir fieri

B.T.

xxxi

34

D7v

A La guerra

B.T.

xxxii

35

D8v

ARdo e bruſcio e tu noi ſenti

MICHAEL PESENTVS VERO.

xxxiii

36

E1v

DIme un pocho che uol dire

MICHAEL.

xxxiiii

37

E2v

SEmpre le come eſſer sole

MICHAELIS Cantus & u

xxxv

38

E3v

POi chel ciel e la fortuna

MICHA. C. & V.

xxxvi

39

E4v

SIo ſon ſtato a ritornare

MICHA. C. & V.

xxxvii

40

E5v

O Dio che la brunetta mia

MICHA. C. & V.

xxxviii

41

E6v

FVggir uoglio el tuo bel uolto

MICHA. C. & V.

xxxix

42

E7v

SI me piace el dolce foco

MICHA. C. & V.

xl

[Headed:] A uoce mutate

43

E8v

QVesta e mia lho fatta mi

MICHAELIS C. & V.

xli

44

F1v

AIhme chio moro

MICHA.

xlii

45

F2v

NOn mi doglio gia damore

MICHA.

xliii

46

F3v

IN hoſpitas per alpes

MICHA.

xliiii

47

F4r

INteger uitae ſceleriſque

MICHA.

xliiii

48

F4v

PAſſando per una rezolla

MICHA.

xlv.

49

F5r

TRiſta e noioſa ſorte

MICHA.

xlv.

50

F5v

SE in tutto hai destinato

MICHA.

xlvi.

51

F6r

BEn mille uolte al di

MICHA.

xlvi.

[Headed:] MODVS DICENDI

CAPITVLA.

52

F6v

VNa legiadra donna

MICHA.

xlvii.

53

F7r

TV te lamenti a torto

MICHA.

xlvii.

54

F7v

VIeni hormai non piu tardar

MICHA.

xlviii.

55

F8v

ADio ſignora adio

MICHA.

xlix

56

G1v

IN te domine ſperaui

IOSQVIN DASCANIO

l

57

G2v

DOnna aſcolta el tuo amatore

D. ANTONIO RIGVM.

li

58

G3v

SE me amaſti quanto io te amo

GEORGIVS DE LA PORTA VERO.

lii

59

G4v

NAqui al mondo per ſtentare

FRANCISCVS ANNA VENETVS.

liii

60

G5v

SE me e grato el tuo tornare

PHILIPPVS DE LVRANO

liiii

61

G6v

VOglio gir chiamando morte

GEORGIVS LVPPATVS

lv

62

G7v

POi che per fede mancha

ANTONIVS CAPREOLVS BRIXIENSIS

lv

G8r

[Privilege; Colophon; Device]

G8v

[blank]

(p.566) Extant copies:

A-Wn, S.A.77.C.2 (1). Complete. Three sheets, A inner, B outer, and E outer, are cancels, and aredescribed below

Size of page: 166 × 237 mm.

(p.567) Watermarks: No.11 on A2–1, B3–4, C1–2, C4–3, D6–5, D7–8, E6–5, F4–3, F8–7, G3–4 and G7–8

Textual comments: B8r. text: queſta

Technical comments: Six staves only printed on D3v-4r, G5r and G6v-7r; four staves on F3v-7r and G1r

In-house Corrections: B2r: see above

Binding: Fugger binding. On front board:] FROTT: L: PR • One fly-leaf and conjugate pastedown at each end, bearing a watermark also found in the Fugger copies of Josquin's masses

Provenance: From the Fugger collection

Bibliography: Fenlon and Dalla Vecchia, Venezia, pp. 74–75 (exhibition catalogue, Venice, 2001)

D-Mbs, Rar.878/1. Complete

Size of page: 159 × 228 mm.

Watermarks: No.11 A6–5, B2–1, B6–5, C4–3, C7–8, D2–1, D4–3, E2–1, E6–5, F2–1, F5–6, G4–3 and G8–7

Technical comments: B8r: the part name Bassus has not taken ink properly • D2r. i. text: spacing sort, measuring 2.7 × 1.3 mm • F2r. signature line: spacing sort, measuring 2.8 × 0.8 mm • G2v: extra text printed with the music, on the evidence of the quality of impression

Corrections and changes:

In-house: B2r: see above

Later: Modern pencil foliation:] 1–56 • B2r.v.21: apparently m tail erased and redrawn, brown ink • B2r.v.26: l, B → d, erasure and brown ink • B4v. iii. 13: smm, by erasure • B6v. v. before 13 from end: bar-line in grey-brown ink • C4r. i. before 8 from end: bar-line in grey-brown ink • F4r. i. after 6 from end: rule in grey ink • F4r. ii. 5 from end: m, tail struck through, and rule on either side of notes 4 and 5, grey ink • F4r. iii. 4 and 5 from end: 2m tails struck through, grey ink • F4r.iv.after last note: sbg and initials • G5r. iv. after 4 from end and before rule: sbA, in grey-brown ink

Binding: Books 1–9 of frottole are bound together in two volumes (1–5 and 6–9) in original dark calf Bavarian bindings, with rolls and flowers in the corner • One modern paste-down and conjugate fly-leaf, plus one early fly-leaf at front

Provenance: Bookplate of the Elector of Bavaria's library inside front board • Bookplate of the Duke of Bavaria, dated 1618, inside back board • Earlier call nos: Mus. Inc. 4; 4—.Mus.pr.120; Mus.N. 74

E-Mprivate. I have not been able to consult this copy, which is apparently bound with copies of the second and third books of frottole, and a manuscript of Spanish secular music

No. 16a. Cancel.

Sheets For A Inner, B Outer and E Outer: Contents and Layout As Above

Technical comments: Only four staves are inked on B7v • Minims used as bearer sorts for the musical forme at the level of the sixth stave on B7r, and perhaps also on other rectos • The differences between the original version of these pages and the cancel are mainly technical: the most obvious are the redistribution of the material on B7v so that there is no blank stave between the Tenor and the Altus, and the changed initials on B8r, B8v and E7v

Textual comments: A5r. iv: the addition of the word “Defecerunt” • For textual changes from the first issue of these sheets, see Schwartz, Ottaviano

For other details, see above

(p.568) Extant copy:

A-Wn, S.A.77.C.2 (1). Three sheets, A inner, B outer and E outer. For the rest of the volume, see above

Watermarks: Paper 23 on A5, B2 and E8

In-house Corrections: B2r. iv. 33: added, in ink• B2r.v.5 and 9: touched up in brown ink

• B2r.v.18: signum in brown ink

For other details, see above

Lost copies: Colón had a copy:] Frotole li°. p°. n°. 62. V. 1504. 4a [Chapman, “Printed”, No.11 • According to Fétis, a copy was owned by a Herr Butsch, bookseller of Augsburg, and another was in Landsberg

Bibliography:

  1. (a) Rosaria Boccadifuoco, Bibliografia, No.1451 • Sartori, Petrucci, No.16; Jeppesen, La Frottola, Pe I; Vogel, Bibliografia, 15041

  2. (b) Brunet, Manuel, ii, col.1412

  3. (d) Cesari, Frottole (1954); Schwartz, Ottaviano

  4. (e) Jeppesen, La Frottola, i, 15–19 and 78–81 • Vogel, Bibliothek, p. 604, lists minor variants in the copy at A-Wn, which “prove it a later publication”. The same information is in Schwartz, Ottaviano, p. v and Jeppesen, La Frottola, i, 16

Commentary:

  1. 1. This publication launches a new aspect of Petrucci's output, that of the series of frottole volumes which occupied him intensively at times, and were to become a significant part of his normal activities. This first volume should therefore give us some idea of the