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Page 1: The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources

The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known FlemishSourcesAuthor(s): ROBERT STEVENSONSource: Fontes Artis Musicae, Vol. 20, No. 3 (1973 September-Dezember), pp. 87-107Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23506741 .

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Page 2: The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources

87

ROBERT STEVENSON (LOS ANGELES)

The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources

Relying on the Archivo General de Palacio, Madrid, Felipe II, Inventario general de

bienes y alajas, t. I, Archivo 235, fols. 253—255 (Libros de canto del servicio de la

capilla), Vander Straeten published so long ago as 1888 the inventory of Philip II's

choirbooks. Signed November 9, 1602, at Valladolid by the vice-chapelmaster Géry de Ghersem (1572/1573—1630),1 this inventory listed ten Josquin Masses in one vellum

choirbook bound in black leather with brass-tipped clasps, seven Masses in another, the

Pange lingua in a third; five Josquin Masses in a large choirbook copied on paper, and

an unspecified number of his Masses beginning with the Gaudeamus in another; besides

his Salve a 5 in one miscellany, Praeter rerum in another, and In exitu Israel de Egypto in still a further choirbook.2 All this music so little appealed to the vice-chapelmaster from Tournai brought to Madrid as a boy chorister in January of 1586 that in his

November 9, 1602, report he advised selling the whole lot. "Even the still serviceable

books are old and worn," complained Ghersem—who having decided that "this is

ancient music no longer in vogue" had already called in assessors before signing the

inventory. They had evaluated at a mere 1000 ducats a polyphonic library resplendent not only with the above mentioned Josquin items but with glories by two dozen others

(La Rue alone was represented in ten books; the Spaniards Morales, Escobedo, In

fantas, Pastrana, Ceballos, and Guerrero in another nine). Among the books so "an

cient" in 1602 that Ghersem was willing to see them sold for mere salvage paper was

none other than Guerrero's second book of Masses published sumptuously at Rome only

two decades earlier. As mete recompense for Ghersem's musical sacrilege, only one

work still today survives intact from his own ever busy pen—and ironically that one

work is a canonic Mass based on a Guerrero motet. Himself so keenly conscious of the

competition with his Flemish forebears that he advised disposing of every great name

before his own generation, Ghersem set an example to be followed by his pupil and

successor in the Royal Chapel at Brussels, Charles Caulier, who immediately banished

Ghersem from the repertory upon taking the reins in 1630.3

Not Spanish musical impiety but Flemish explains the loss of Philip's 201 choirbooks.

In Libros de canto de la Capilla de Felipe II, in: Musica Sacro-Hispana, X/6—10, 1917

(June, pp. 92—95; July, 109—111; August—September, 123—126; October—November,

154—156; December, 189—190) Alfonso Andres listed book by book the contents.

Alphabetically by author, Philip's library included the following foreign composers:

Agricola (129), Arcadelt (189), Benedictus de Opitiis (26, 68, 92, 99, 151, 168, 187),

Berchem [Jachet] (183), Brumel (102), Canis (46, 152,153), Genet = Carpentras (191),

Danckerts (106), Claudin (162, 179), Clemens non papa (140, 151), Courtois (115),

Crecquillon (116, 145, 172), Divitis (89), Févin (82), Gascongne (75), Gombert (164,

1 Biographical data in Paul Becquart, Musiciens néerlandais à la cour de Madrid. Philippe Rogier et

son école (1560—1647) (Brussels: Palais des Académies [Académie royale de Belgique, Classe des

Beaux-Arts, Mémoires, XIII/4], 1967), pp. 89—116. 2 Edmond Vander Straeten, La musique aux Pays-Bas avant le XIXe siècle (Brussels: Schott frères, 1888),

VIII, 365 (12), 367 (35), 369 (56), 376 (21), 380 (31), 370 (58), 372 (13), 378 (10). 3 Becquart, op. cit., p. 111.

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Page 3: The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources

88 R. STEVENSON : THE TOLEDO MANUSCRIPT

167), Hellinck (69, 72, 85, 176, 199, 181), Isaac (90, 150), Jachet of Mantua (137), Josquin (7, 30, 65, 81, 83, 127, 146, 152, 173), La Hele (200), La Rue (3, 4, 27, 31, 65, 71, 76, 87, 122, 170), Mouton (29, 67, 175), Palestrina (194), Richafort (154), and Verdelot (177).

Equally lost are the choirbooks, including Josquin items, that once belonged to Philip's sister Juana (1535—1573) who was mother of Sebastian of Portugal, and to his aunt

Maria de Austria (died at Cigales [Spain] December 18, 1558) who governed the Low

Countries from 1531 to October 25, 1555. Known as the Reina de Hungria (in 1523

she married Ludwig II, king of Hungary and Bohemia 1516—1526), she returned to

Spain for her last three years, leaving a musical library that when tallied October 16,

1571 ([Inventario de los bienes muebles de la Reina de Hungria, hermana de Carlos V

["inventory of the movable goods of the Queen of Hungary, Charles V's sister"]) in

cluded a "black leather book with five Josquin Masses" and another "with fifteen

Masses by Josquin and others."4 Before death, she had already presented her niece

Juana with "a small red leather bound book copied on paper containing Josquin's songs in French."5 This chansonnier shows up in the inventory of Juana's estate taken in

1573. Juana's effects included also a choirbook "with Josquin's fifteen Masses."6 Valued

by the assessor at 466 maravedis, Josquin's "fifteen Masses" rated the same as Morales's

book I or book II. Carpentras's Masses and motets were valued higher, at 612 maravedis.

A small vellum book containing music by the Princess Juana's erstwhile music preceptor, Bartolome de Quebedo7—bound in crimson and blue taffeta with the royal arms

stamped on one leaf and eight other richly illuminated leaves — was valued highest, at

3000 maravedis.8

Cataloguing of musical treasure in Spanish church archives did not begin in earnest

until the 1920's. Therefore, the Flemish repertory lost during earlier Peninsular wars

can only be guessed at. One archive that ought certainly to boast Josquin treasures, if

only the monastery library had not been pillaged during the Napoleonic era (1811) and the later Carlist struggle, is that at Montserrat. Paraphrasing and collating with his

other writings what René B. Lenaerts wrote in Niederländische polyphone Musik in der

Bibliothek von Montserrat, in: Festschrift Joseph Schmidt-Görg zum 60. Geburtstag

(Bonn, Beethovenhaus, 1957), pages 196—201, we discover how rich still remains the

Montserrat archive in works by Josquin's contemporaries. After stressing the primacy of the primatial cathedral, Lenaerts thus pays tribute to Montserrat's wealth.

Among seven Spanish archives still holding Netherlandish musical treasure, the Toledo

Cathedral chapter library takes first rank. Second, despite all accidents of history, comes

Montserrat. The contents of the sixteenth-century choirbooks numbered 765 to 788 still today

4 Cristôbal Pérez Pastor, Noticias y Documentos relativos a la Historia y Literatura espanolas (Madrid: Sucesores de Hernando, 1914 [Memorias de la Real Academia Espanola, XI]), p. 313. Her musical instruments included dos laudes con sus cajas, que son una partida de quatro laudes ("two lutes with their cases, which belong to a set of four lutes"), un clavicordio de una partida de très, una flauta pequena de una partida de quatro, and un fagote contra alto metido en una caja (ibidem, p. 311). 5 Ibidem, p. 337: "Un libra pequeno de papel y mano, de canto de ôrgano en froncés, de fosquin, de C an ci o n e s, que dio la Reyna [de Hungria], con cubiertas de papelàn y cuero Colorado; tasado en 136 [maravedis■]." ô Ibidem, p. 335 (item 34): "Un libro de canto de ôrgano de molde, con las quince M i s a s de fosquin." 7 Elected Toledo chapelmaster December 5, 1553; died August 31, 1569. See Felipe Rubio Piqueras, Müsica y Musicos Toledanos. Contribuciôn a su estudio (Toledo: Sucesor de J. Pelâez, 1923), p. 58. 8 Jaime Moll Roqueta, Libros de müsica e instrumentas musicales de la princesa Juana de Austria, in: Anuario Musical XX—1965 (1967), p. 14.

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Page 4: The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources

R. STEVENSON : THE TOLEDO MANUSCRIPT 89

testify to a notable Netherlands repertory. Some of these formerly belonged to the Encarnacion

Convent in Madrid. MS 765 (143 leaves, parchment) contains two Masses and other works

by Benedictus (Mary of Hungary's chapelmaster, 1539—1542; followed her to Spain, 1551). In MS 766 (173 leaves, folios 6—18 parchment, the rest paper) are to be found two Masses

by Mathurin Forestier. Beginning at folio 36 comes La Rue's Missa de Sancta Cruce a 5 and

at 78 Jacques Barbireau's hitherto unregistered Missa de venerabili Sacramento a 4 (tenor =

Homo quidam). MS 769 (166 leaves, paper) includes some polytextual Magnificats (nos. 2 =

Doulce mémoire en plaisir consommée; 18 = Je prens en gré; 25 = C'est une dure départie, Pour ung plaisir, and C'est a grand tort). Twelve of the 25 Magnificats in MS 769 are ascribed

to Benedictus, seven to Clemens non papa, and also some to Mouton. MS 771 (163 leaves,

paper) includes besides two Masses by Benedictus (Pardonne moy a 4 is also in 765), one

each by Johannes Lupi (plus oultre), Gascongne (Es haet ein sinn), Moulu (Stephane gloriose), and Hesdin (brevis). MS 772 contains ten motets and four Masses by Manchicourt (Reges terrae congregati sunt, Veni Sancte Spiritus, both a 6; Pro defunctis, De diva virgine Maria, both a 5).

The two most famous Netherlandish sources at Montserrat, choirbooks 773 and 776 contain

respectively nine Masses by La Rue and eight by "Lupus" (one is by Johannes Lupi = Veni

sponsa Christi a 5, the rest by Lupus Hellinck). Of Hellinck's seven Masses, In te Domine

speravi is based on his own motet. Francisco Guerrero's In te Domine speravi [1566] echoes

passages from the same motet, the popularity of which in Spain is further attested by Valderrabâno's [1547] and Cabezon's [1578] intabulations. Both Hellinck's self-parody and

his Gombert-based Ego sum qui sum a 5 are MS 776 unica.

Between 1936 and 1938 was lost, misplaced, or stolen a 300-folio Toledo Cathedral

vellum choirbook catalogued in 1923 and 1925 by Rubio Piqueras.

Liber generationis Iosquin fols. 1 — 7

Anima mea Courtois 00 H ti.

Benedicta es coelorum Regina Iosquin 18V— 23

Missa de [Beata Virgine] Iosquin des près 23v— 45

Et exultavit J. Richafort 45v— 52

In principio erat verbum Iosquin des près 52v— 57

Missa Verbum Domini J. Mouton 57v— 85

Praeter rerum Seriem Iosquin 85v— 89

Et exultavit J. Mouton 89v— 98

Pater noster Iosquin 98v—103

Passio Domini nostri a la Venture9 [= Antoine de Longueval] 103V—114

Missa Tua est potentia J. Mouton 114V—135

Ego sum qui sum J. Richafort 135V—139

Et exultauit-Psalmus 4 toni 139V—145

Ascendens Christus in altum ffeuim [= Févin] 145V—151

Missa ferialis [a 5] ffeuim 151V—173

Et exultavit, quarti toni 173V—179

Tempus meum ffeuim 179V—183

Anima mea Mouton 183V—194

9 "Alaventura" in: Codices Polifônicos Toledanos. Estudio critico de los mismos con motivo del VII

Centenario de la Catedral Primada (Toledo: n.p., 1925), pp. 60—61, and Müsica y Musicos Toledanos,

pp. 28—29. Relying on an identification by Smijers, René B. Lenaerts signaled Obrecht as the composer of the passion. See his Les Manuscrits polyphoniques de la Bibliothèque Capitulaire de Tolède, in:

Kongress-Bericht, Internationale Gesellschaft für Musikwissenschaft fünfter Kongress 1952 (Amsterdam:

Vereniging voor Nederlandse Muziekgeschiedenis, 1953), p. 280. According to Lenaerts's numbering, this choirbook is Codex 22 (among 34). As catalogued by Rubio Piqueras (Côdices Polifônicos Toledanos,

up. 44—45) Codex 22 contains exclusively passions, Office of the Dead music, and other short liturgical nieces by Alonso Lobo, Ginés de Boluda, Cristobal de Morales, and one other Spanish composer.

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Page 5: The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources

90 R. STEVENSON : THE TOLEDO MANUSCRIPT

Repleti sunt omnes Adrien Thibault 194V—199 Missa Nigra sum M. Gascomgne 199V—222 Et exultauit-Psalmus V toni 222v—231

Qui habitat in adiutorio Iosquin des près 231v—235 Homo quidam Richafort 235V—239 Missa Benedictus Dominus Mouton 239V—261 Et exultauit-Psalmus Pe. Terrache [= Pierquin Therache] 261V—265 Puer natus Mouton 265V—267 Aue caro Christi N. Baldobin [= Bauldeweyn] 267V—269 Salue lux mundi [2da pars of Aue caro Christi] 269V—271 Missa Requiem aeternam 271V—286 In exitu Israel de Egypto Iosquin des près 286V—294

Quem dicunt homines Richafort 294V—298 In diuina vissione Adrien Thibault 298V—300

Rubio Piqueras (elected Toledo Cathedral organist January 26, 191810) described the

above manuscript.11 Freely paraphrased, his comments read thus:

On view in the same hall where visitors are shown vestments and embroidery is an artistic treasure worthy of everyone's admiration—a large polyphonic choirbook containing works

by nine French or Flemish composers, Noel Bauldeweyn [died 1529], Jean Courtois [fl. 1540], Antoine de Févin [ca. 1470—1511/1512], Matthieu Gascongne [fl. 1518], Josquin des Prez, Jean Mouton [d. 1522], Jean Richafort [ca. 1480—1548], Pierquin Therache [Lorraine chapelmaster 1492—152712], and Adrien Thibault [1496—1546], Among a total of 33 items in this 300 folio choirbook, five lack author ascriptions. Josquin des Prez, with eight ascriptions, is the most frequently represented composer; Mouton comes next with six; then Févin and Richafort with three each. Févin's Ascendens Christus in altum published in the first volume of Hilarion Eslava's Lira sacro-hispana [1869] is a unicum in this manuscript.13 Thibault [= Pickart] —

Charles V's chapelmaster 1526—154014 — outranked the famous Gombert, who was merely "master of the boys."15 But apart from Thibault's two motets in the present manuscript, no music by him survives.16

Because the text challenges a composer's ingenuity, Josquin's Liber generationis (Matthew 1.1—16) deserves pride of place in this sumptuous vellum codex. Not only such original strokes as the changes of meter, texture, and pace for "Urias's wife" and "the transmigration of Babylon" but also the consummate spacing of cadences, make this motet, classed by Glareanus as hypophrygian, a masterpiece of art fully capable of sustaining Josquin's reputa tion as the "inventor of modern harmony." So far as the 21 illuminations scattered through the codex are concerned their exquisiteness goes beyond all praise.

To Rubio Piqueras fell also the honor of being the first to publish a volume-by volume catalogue of the still extant 34 Toledo polyphonic choirbooks, Codices Poli

fônicos Toledanos: Estudio critico de los mismos con motivo del VII centenario de la

10 Müsica y Musicos Toledanos, pp. 70—71 (born 1881, at Valera de Arriba [Cuenca], he had served at Badajoz Cathedral as organist-choirmaster before coming to Toledo). 11 Slight improvements have been silently introduced into our compressed paraphrase of the three paragraphs in Müsica y Müsicos Toledanos, pp. 27—28. 12 Tarazona Cathedral MS 3, fols. 181v—191, has his Missa Fortuna desperata a 4 (MME, I, 124). 13 B. Kahmann, Antoine de Fevin. II. A Bibliography, in: Musica Disciplina V (1951), p. 145. 14 Joseph Schmidt-Görg, Nicolas Gombert Kapellmeister Kaiser Karls V. Leben und Werk (Bonn: Ludwig Röhrscheid, 1938), p. 67. 15 Straeten, op. cit., VII, 310: on May 14, 1537, he was the "vénérable et discret maistre Adryen Thiebault, dit Pickart, presbtre, maistre de la chapelle de l'empereur, nostre sire." ia Schmidt-Görg, op. cit., p. 68.

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R. STEVENSON : THE TOLEDO MANUSCRIPT 91

Catedral Primada (Toledo: n.p., 1925). Now a "rare" item to be found in only a few

privileged libraries such as the Bibliothèque nationale and the Library of Congress, Rubio Piqueras's 1925 opus reproduces verbatim the preliminary table of contents

originally included in each volume (where found). For such choirbooks as T 10, the

index of which ascribes to Moulu a work given at the opening to Verdelot, or T 18, the

index to the second foliation of which lists works by Garcia de Basurto, L'Héritier,

Morales, and Ravaneda no longer to be found in the truncated second gathering, Rubio

Piqueras's easy method leads the user of his catalogue astray. Also, he made no attempt to verify ascriptions—some of which are patently wrong (for instance Sancti Dei omnes

in T 13 is by Mouton, not Josquin) nor to identify compositions now anonymous in a

given volume because some vandal has cut the top of the leaf to collect illuminations

or because the original index, if there ever was one, is now lacking.

For greater utility, our new catalogue itemizes contents in a master list organized

below alphabetically by composer. Thanks are tendered the longtime illustrious Toledo

Cathedral canon-archivist, don Juan Rivera Recio, for his amiable permission to con

struct the present catalogue during a protracted series of visits to the cathedral in the

Spring of 1971. During the same Spring Jan Olof Rudén kindly permitted examination

of several manuscripts at the Uppsala University Library, among them Vokalmusik i

Handskrift Collectiones 76b, 76ç, 76e, and 76f. Works from these Collections are

itemized below under the abbreviation U. At the top of folio 2V of U 76b appears this

indication of former ownership : "t Gillesson pbr trécen diocs est verus possessor istius

volu)s." If properly read, this sixteenth-century inscription means that a priest named

Thomas Gillesson of Troyes diocese was the "true owner" of the volume. The abbre

viation C Nks 1848 occasionally used below signals the manuscripts referred to in

Edward R. Lerner's edition of Agricola's Opera Omnia, V (American Institute of

Musicology, 1970) as Copenhagen Kongelige Bibliotek MS 1848 bis. Items 3, 11, 21, 22

(twice), 28 (twice), 33 (twice), 43, 73, 75, and 76 in this fifth volume of the Lerner edition acknowledge the Ny kgl. Sml. 1848, 2° manuscript inscribed "Bibliothèque S,e

Hélène" (microfilm in Paris Bibliothèque nationale) as one of their sources.

Aliseda, Jerönimo de

Popule meus quid feci tibi, a 5. T 7, fols 159v—162. See José Lôpez Calo, La mûsica en la

Catedral de Granada en el siglo XVI (Granada: Fundacion Rodriguez Acosta, 1963) II, xv.

The son of Santos de Aliseda, Jeronimo [Sanchez] de Aliseda succeeded his father as

Granada Cathedral chapelmaster, serving from 1580 to 1591 (in which latter year he died).

Aliseda, Santos de

Aspice Domine, a 5. T 7, fols. 121v-[123]. Chapelmaster of Granada Cathedral 1557—1580,

Santos de Aliseda is represented in Toledo Choirbook 7 by at least 16 motets, all of which

except Aspice Domine are duly listed in La mûsica en la Catedral de Granada II, xv. The

eleven not included in the present inventory because pages are now stuck (1971): Dixit

Dominus paralytico a 5, Estote fortes in bello a 5, Heu mihi a 6, Homo natus de muliere a 6,

In illo tempore dixit... Audistis a 6, Iste est qui ante Deum a 4, Ne projicias me in tem

pore senectutis a 5, Obsecro Domine mitte quem missurus est a 5, Puer qui natus est a 5,

Surrexit pastor bonus a 4, Transeunte Domino clamabat caecus a 6. Lopez Calo locates

the beginnings of these respectively at fols. 153v, 185v, 140v, 143v, 146v, 191v, 121v, 165v,

177v, i87v, and 15lv. Hodie in monte, a 6. T 7, fols. 149v— [152],

'

O bone Jesu illumina oculos meos, a 5. T 7, fols. 162v—165. This "tribute" to Loyset Com

père begins with the familiar Compère incipits reworked in a new imitative point.

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Page 7: The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources

92 R. STEVEN SON : THE TOLEDO MANUSCRIPT

Sub tuum presidium confugimus sancta Dei genitrix, a 6. T 7, fols 137*—140.

Super flumina Babylonis, a 5. T 7, fols. 117v—119.

Ambiela, Miguel de

Antiphona per annum, a 4; Antiphona tempore paschali, a 4. T 2, fols. [0]*—2, 2V—5. A native of La Puebla de Albortön (Saragossa), Ambiela was baptized there September 29, 1666. After service as chapelmaster at Lérida (1686—1688), Jaca, El Pilar (Saragossa), and Descalzas Reales at Madrid, he was elected Toledo Cathedral chapelmaster March 22, 1710. He took office the following July 6, and died at Toledo March 29,1733. See H. Angles and J. Pena, Diccionario de la Müsica Labor (1954) I, 60, and F. Rubio Piqueras, Mûsica y Musicos Toledanos (1923), p. 54.

Assumpta est. T 23, fols. 117*—118. New gathering begins at 115* [= 250*]). Beata es Virgo Maria Dei Genitrix. T 23, fols. 119*—121. Exaltata est. T 23, fols. 115* [= 250*]—117. Fortem virili pectore laudemus omnes, a 4. T 24, fols. 90*—92. Text by Cardinal Silvio Antoniano (1540—1603). Designated "Himn. Santa Sabina" at 90*. Hodie Maria Virgo. T 23, fols. 122*—124. Miles superni, a 4. Himn. Sant. Agapito. T 24, fols. 98*—100. Same music used in Fortem virili pectore, T 24, 90*—92. Miris modis repente, a 4. Himn. Sancti Petri Ad vincula. T 24, fols. 95*—98. Missa Assumpta est, a 4. T 2, fols. 19*—29. Like the other seven Ambiela Masses in T 2, founded on his own motet of the same name. The source motets (except for Sicut myrrha) are not to be found in T 2, despite the Index Motetum designating them at folios 116, 118, 119, 120, 122, 123, 125, 127. Instead they appear in T 23. Ambiela dedicated what is now T 2 to the cardinal-archbishop of Toledo, Diego de Astorga y Céspedes. Missa Beata es Virgo Maria, a 4. T 2, fols. 42*—57. Missa Exaltata est, a 4. T 2, fols. 3*—19. Missa Hodie Maria Virgo, a 4. T 2, fols. 74*—87. Missa Paradisi porta, a 4. T 2, fols. 87*—101. Missa Quae est ista, a 4. T 2, fols. 101*—114. Missa Sacris solemnijs, a 4. T 2, fols. 57*—74. Missa Sicut myrrha, a 4. T 2, fols. 29*—42. Paradisi porta. T 23, fols. 124*—126.

Quae est ista qui ascendit. T 23, fols. 126*—128. Sacris solemnijs. In Fest. Corp.s Xpti. T 23, fols. 121*—122. Sicut myrrha, a 4. T 23, fols. 118*—119. Stabat Mater dolorosa, a 4. T 25, fols. 83*—[ ]. Leaves stuck together prevent ascertaining last folio number.

Anonymous Dixit Dominus Domino meo, a 4. T 21, fols. 90*—94. Listed as "fabordones" for all eight tones in the prefatory Index. Tones 3 and 7 in 0 mensuration, rest in c. Erraui sicut ouis qui periit-Delicta iuuentutis mee, a 4. T 13, fols. 16*—21. Preceding motet

by Escobedo, following by Morales.

Kyries de tinieblas, a 4. T 21, fols. 47*—53. Text begins: Kyrie eleison. Qui passurus aduenisti propter nos. Vita in ligno moritur infernus et mors lugens spoliatur. Christus Deus Dominus. At 48*—49: Christe eleison Qui expansis in cruce manibus traxisti omnia secula. Fols. 49*—50: Te qui vinciri . . . Domine miserere, a 3. Fols. 50*—51: Kyrie . . . Factus est obediens vsque ad mortem. 51*—52: Kyrie... Christe. 52*—53: Qui prophetice... Laetabundus exultet fidelis chorus-Cedrus alta Libani conformatur hyssopo. U 76ç, fols. 67*—70. Not the same sequence as the similarly entitled anonymous work a 4 in Jena CB XXXIII, fols. 51*—54, this learned work a 4 opens with a canon for the two upper voices that continues lengthily before entry of the lower pair at "Exultet fidelis chorus." The secunda pars, written in double canon, shifts to <t3 near the end.

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R. STEVENSON : THE TOLEDO MANUSCRIPT 93

Lamentationes, a 6 and a 5. T 8, fols. 102v—116. The first leaf or leaves of the Good

Friday set a 6 are gone. Cogitauit Dominus a 6 at 102v—103, Teth a 6 103v—104, Jerusalem 107v—108. Quarti toni. Saturday set a 5, 108v—116, begins with De lamentatione. Next:

Heth, Teth, Jod, Jerusalem. Tone VI. Probably locally composed around 1590.

Lamentationes, a 6. T 8, fols. 101v—117. Sabbatho set begins at 108v. Last leaf cut (upper

half). Missa a 4. U 76ç, fols. 25v—32. Same as in Jena CB VII, 17v—29, and in Turin: Biblioteca

Nazionale qm III 59, beginning at 69v.

Missa, a 5. T 33, fols [0]v—26. Labeled "Quam pulcra es" in Index, later hand. Not

Berchem, Clemens, nor Gombert, but a Mass of their generation. Missa de Teria, a 4. Kyrie and Sanctus only. T 24, fols. 44*—49. Agnus, probably of same

Mass, at 55v—57.

Missa In te Domine speravi, a 5. T 8, fols. 67 = old cccxxvii (altus and bassus of last

Kyrie)—90. This paper gathering belongs neither to what precedes it or follows it in T 8.

Sanctus starts at old cccxlvv.

[Passion according to St. Mark.] T 22, fols. 23v—37. Probably written 1580—1600 by a

Spanish composer.

[Passion according to St. Matthew.] T 22, fols. lv—12. Probably by a Spanish composer

writing 1580—1600.

Qui posuit fines tuos. Octauus tonus cum iiij vocibus De nra seiiora. Fabordôn. T 8, fols.

95v—99. Probably by Ginés de Boluda.

Quis vestrum habebit amicum, a 4. T 24, fols. 49v—55.

Rey a quien Reyes adoran. U 76b, fol. 15SV. Repeated on 159v upside down in a better

copy. Preceding each of these lute intabulations the copyist has written "Vilancicos fol. 34."

The vocal original from which the intabulation was made shows up at 34v of the 1556

Venetian imprint that now exists uniquely in the Uppsala University Library, and that was

used by Jesus Bal y Gay for the transcriptions published at Mexico City with the title

Cancionero de Upsala (1944). At the top of fol. 35 in the 1556 original, the intabulator

has inserted four headless notes (8th, 16th, 8th, 16th) counterparting the rhythm of the

opening phrase. Sumens illud aue, a 5. Second strophe of Ave maris Stella. T 8, fols. 99v—100. Monstra te,

a 3, fourth strophe, at lOOv—101. Probably by Ginés de Boluda.

Teresica hermana. U 76b, fol. 159 (bottom, upside down). Lute transcription of measures

62 (beginning "Una noche sola yo bien dormiria") to end, followed by the whole of

Llaman a Teresica = Cancionero de Upsala (Mexico City: El Colegio de México, 1944),

pp. 94—99. In the Venice 1556 edition from which the Cancionero de Upsala was transcribed

(catalogued at Uppsala University Library Utl. vok. mus. tr. 611), this villancico comes at

fol. 31v. Whoever made the lute intabulation at fol. 159 of U 76b prefaced it with "fol.

31," thus proving that he owned the same Venetian imprint from which the 1944 Can

cionero de Upsala was transcribed. At the top of fol. 31v in the copy of the 1556 Venetian

imprint now surviving uniquely at Uppsala appears a two-line legend, now mostly undeci

pherable because of binder's trimming. Rafael Mitjana read this note before trimming

0Cancionero de Upsala [1944], p. 69, item XXXVI). Enough of the note is still visible to

confirm that he rightly took it to say that Teresica hermana was included in Enrlquez de

Valderrâbano's Silva de Sirenas (Valladolid, 1547) at LXXXIX —where indeed it does

appear. The intabulation in U 76b calls for several accidentals different from those sug

gested by Jesus Bal y Gay in the 1944 edition. On page 96 instead of F# in the top voice

of measure 86, the tablature reads Fl]; instead of Bt) in the tenor of m. 87 the tablature

requires Bt; instead of Fjf in m. 95 the tablature asks for Ft;; in mm. 98—99 the tablature

has Bt where Bal y Gay suggests Bl]. The tablature requires Et in both tenor and bass of

m. 11 on p. 97 and keeps calling for Bfcj in the tenor of mm. 13—14. The tablature requires

El] (conflicting with Et in the tenor) in the last note of the alto in bar 24, p. 98; Fjf for the

first note in the alto in m. 25. The tablature again calls for Et—El] conflict in bar 32.

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94 R. STEVENSON : THE TOLEDO MANUSCRIPT

Ardanaz, Pedro de

Regali nuntio fortis lberie Hermenegilde, a 4. The second word in Urban VIII's original

hymn reads "solio." Elected Toledo chapelmaster June 15, 1674, Ardanaz took office

August 3. He died at Toledo October 11, 1706.

Bauldeweyn, Noel

Missa a 6.2 tiples, 2 tenors, 2 basses. T 33, fols. 50v—69. Only one Agnus O mensuration

(ends "dona nobis pacem"). Benedictas at fols. 68bv—68c, Agnus at 68v—69. Subtitled

Quam pulchra [es] in four other sources (see Ed. H. Sparks, The Music of Noel Baulde

weyn [New York: American Musicological Society, 1972], p. 133). Missa In Diapason

= Missa En Douleur et tristesse, a 5. T 16, fols. 84v—106. Concords with Jena Choirbook 8, fols. 26v—44.

Berchem, Jachet Missa Mort [et] merci, a 5. T 28, fols. 70v—98. Ti A Te Te B, Movements end on A

(alternately E). No Agnus. Published twice in collections dominated by Morales: Qvinqve Missae Moralis Hispani, ac Jacheti (Venice: Girolamo Scotto, 1540) and Qvinqve Missarvm harmonia diapente (Venice: Antonio Gardane, 1547).

Bernai Gonçalez Veni creator spiritus a 4. T 12, fols. 58v—59. With the same music freshly written for

every other strophe, this same Pentecost hymn turns up in T 24, fols. 113v—125.

Boluda, Ginés de

A solis ortu usque ad occasum. Tabordôn a 4. Responsorium de Laudate pueri Dominum. Octavus tonus. T 8, fols. 91v—95. Suscitans a terra at 92v—93, Gloria Patri a 4 at 93v—94, Gloria Patri a 5 at 94v—95.

Asperges me hyssopo. T 25, fols. lv—2. Missa de feria, a 4. T 21, fols. 3V—5. Consists of Kyrie, Sanctus through Osanna, Benedic tus and Agnus. Extremely simple music.

Qui pasces inter lilia. Hymnus in festo Sancte Leocadie. T 12, fols. 54v—55.

Qui posuit fines tuos-Mittit cristalum-Non fecit taliter (a 5)-Sicut (a 6, only Ti 1 A 1 and Te here, other voices lost). T 8, fols. 95v—98. "De nra senora."

Quoniam ipse liberavit me, a 4. Tabordôn. T 22, fols. 80v—81.

Carpentras = Genet, Elzéar Missa Al ombre dung buissonet, a 4. T 32, fols. 94v—118. Concords with Liber Primvs Missarvm (Avignon: Jean de Channay, 1532), fols. B5V—G4. Missa Encore hay ie iouer, a 4. T 32, fols. 78v—94. Concords with Liber Primvs Missarvm, fols. Olv—Q2, Missa Tors seulement, a 4. T 19, fols. 38v—71. Published fourth among five masses in his 1532 collection dedicated to Pope Clement VII.

Cassellas, Jayme Ad regias agni dapes, a 4. T 24, fols. 125v—128. Elected Toledo chapelmaster November 13, 1733, he took office the following June 21. Retired September 3, 1762, he died April 27, 1764. Although represented by only four a cappella hymns in the Toledo numbered libros de facistol series, he filled ten stout folios with his orchestrally accompanied villancicos and other seasonal music. Still extant in Toledo capitular archive, these latter volumes include also occasional guest items by Philip V's chapelmaster Francesco Corselli.

Defensor aime Hispaniae, a 4. In festo sancti Jacobi Himn. T 24, fols. 104v—107. Exultet orbis gaudiis, a 5. Commune Apostolorum. T 24, fols. 107v—110. Tristes erant Apostoli, a 4. De Apostoles Tempore Paschali. T 24, fols. 128v—131.

Ceballos, Rodrigo de Exaltata est-Sancta Dei genitrix, [a 4]. T 7, fols. 13v—17. Hec dies, [a 4], T 7, fols. 205v—206. Hortus conclusus-Veni sponsa mihi, [a 4], T 7, fols. 9V—13. Published as two separate

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R. STEVENSON : THE TOLEDO MANUSCRIPT 95

motets in Juan B. de Elûstiza and Gonzalo Castrillo Hernandez, Antologia musical (Bar celona: Librerfa Litürgica, 1933), pp. 144—150. Missa Simile est regnum, [a 4]. T 7, fols. 268v—292. Missa Tertii toni, a 4. T 7, fols. 292v—313. Concords with the Mass listed as item 7 in

Choirbook 1 at Guatemala Cathedral and as item 11 in the Jacaltenango Choirbook. See David Pujol, Polifonla espahola desconocida conservada en al Archivo Capitular de

Guatemala y de la Iglesia parroquial de Santa Eulalia de Jacaltenango, in: Anuario Musical XX—1965 (1967), pp. 4, 10.

Missa Veni Domine, [a 4]. T 7, fols. 315v—336.

Salve Regina, [a 4]. T 7, fols. 201v—[210]. Veni Domine et noli tar dare, [a 4]. T 7, fols. 31v—35.

Champion, Nicolas

Missa supra Maria Magdalena, a 5. T 28, fols. lv—29 (headed "Delà Magdalena"). Con cords with Jena Choirbook 8, fols. 66v—84 (see Karl Erich Roediger, Die geistlichen Musilc

handschriften der Universitäts-Bibliothek Jena: Notenverzeichnis [Jena: Frommannsche

Buchhandlung, 1935], p. 20*).

Clemens non papa Maria Magdalene et altera Maria, a 5. U 89, fol. 25v. Pater peccaui in celum-Quanti mercenarii, a 4. T. 13, fols. 34v—38. In K. Ph. Bernet Kem

pers' edition (Opera omnia IX [1960], p. ii), he mentions not having seen the Toledo copy (for which he gives wrong folio numbers).

Colin, Pierre

Missa Tant plus de bien, a 4. T 27, fols. 45v—59. Ti A Te B; last Agnus a 5 (two tiples). Concords with Liber octo missarvm (Lyons: Jacques Moderne, 1541), third Mass. On fol. 1 of this Toledo Choirbook 27 have been copied Colin's Missa Tant plus de bien, last Agnus, altus and bassus —identifiable as such from the concordance of the same voices to be

found at fol. 59.

Compère, Loyset Ave Maria ... Virgo serena. T 21, fols. 58v—62. Ludwig Finscher's transcription, Opera omnia IV (1961), follows Chigi C VIII 234, and takes no account of T 21. La saison en est, a 3. C Nks 1848, p. 396, where this rondeau is ascribed to Agricola. However, three other manuscript sources give it to Compère. See Agricola, Opera Omnia

V, p. lxxxvii.

Dictes moy toutes vos pensees, a 3. C Nks 1848, p. 137.

O genitrix gloriosa, a 4. C Nks 1848, pp. 286—287. Although "Richaffort" is listed as com

poser at the top of this opening, the work is published as Compere's in his Opera Omnia

IV, 29—31, on the strength of the attribution in Motetti A (1502).

Conseil, Jean In die tribulationis a 5. T 17, fols. [26v]—32. Ti A A Te B. Ps. 76.3 [Vulgate numbering]. First leaf ripped out. Attributed to "Concilio" in the Index. Ends on A.

Tempus faciendi Domine, a 7. T 13, fols. 76v—81. Ti A A Te Te B B. Ps. 118.126 (Vulgate). Tenor II sings a Pfundnoten ostinato ("O clemens").

Dressler, Gallus

Amen, amen dico vobis. U 89, fol. 59v.

Escobar, Pedro de

Clamabat autem mulier Cananea, a 4. T 21, fols. 56v—58. "1549" in colored initial, top voice.

Escobedo, Bartolomé de

Erraui sicut ouis quae periit-Delicta iuuentutis mee, a 4. T 13, fols. 16v—21. Prima pars

published by Hilarion Eslava in Lira sacro-hispana I, i, 152—155.

Exurge quare, obdormis Domine-Quoniam humiliata est in puluere, a 4. T 13, fols. 10v—16.

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Page 11: The Toledo Manuscript Polyphonic Choirbooks and some other lost or little known Flemish Sources

96 R. STEVEN SON : THE TOLEDO MANUSCRIPT

First pars ends on A, second on D. Prima pars published from the Toledo source in Lira

sacro-hispana I, i, 148—151.

Immutemur habitu in cinere-Iuxta vestibulum et altare, a 4. T 17, fols. 82v—88. Two flats

in signature. Low E|> and Afc in bass on 88. Prima pars in Lira sacro-hispana I, i, 143—147.

Festa, Costanzo

Magnificat Quinti toni. Odd verses. T 18, fols. lv—7. Et misericordia a 3. Pfundnoten

plainsong in top voice of Déposait. Followed by even verses, T 18, fols. 7V—14. Fecit duo, Sicut locutus a 3. Odd and even verses edited in Opera omnia II (1968), pp. 46—58, by Alexander Main. T 18 discussed at p. xxv. Facsimile of first opening, p. xxxi (top band

illegible in facsimile).

Févin, Antoine de

Missa de Feria, a 5. T 28, fols. 29v—57. "Cano in Diatesaron" heads 29v, 32v; altus space

(vacant) at 32 headed "Quere ultimü kyrie cötra Tenorë"; tenor at 31v headed "Canon In

diapente." Other canonic rubrics interlard the remainder of this well-known Mass.

Missa de feria, a 5. U 76b, fols. 50v—60. This is the same Mass as the one just listed, T 28, fols. 29v—57. The same Mass recurs in U 76c, fols. 17v—25.

Sancta Trinitas, a 4. T 13, fols. 25v—29. This same favorite motet turns up also in U 76ç, fols. 71V—72.

Fresneau,Jean Ha quil mennuye, a 3. C Nks 1848, p. 46. Anonymous in the Copenhagen source, this

bergerette is attributed to Fresneau in Paris, Bibliothèque nationale MS f. fr. 2245, fols.

18V—19.

Gardane, Antonio

Missa Si bona suscepimus, a 4. T 19, fols. 18v—38. An aeolian parody, no accidentais.

Published in Liber decern Missarvm, à praeclaris et maximi nominis Mvsicis contextus:

nuperrimè adiunctis duabus Missis nunquam hactenus in lucem emissis (Lyons: Jacques Moderne, 1540).

Gascoing, Johannes Missa Mijn hert heft

= Myn hert heeft, a 4. U 76ç, fols. 49v—51. Same as in Jena CB II,

fols. 97v—108.

Gero, Iehan

[= Mestre Iam]

Confitebor Deo Patri omnipotenti et beate Marie-Deo precor ideo-Misereatur nostri, a 6. T 13, fols. 81v—89, Ti A A Te Te B. First pars ends on D, second on A, third on D. One flat in signature.

Gombert, Nicolas Dulcis arnica dei, a 4. T 10, fols. 97v—99. Emendemus "y su buelta" [= Peccauimus], a 5. Ti A Te Te B. T 10, fols. 7V—81.

Guerrero, Francisco

Hostis Herodes impie. T 25, fols. 55v—57.

Jesu nostra redemptio. Hymnus de Ascensione. T 25, fols. 60v—62.

[Liber magnificarum.] Tones I through VIII, each with the Anima mea set followed by the Et exultavit. T 4. The 99 parchment leaves, ten staves to a page, evince hard use. Many capitals have been cut by nineteenth-century vandals. Missa Congratulamini mihi. T 26, fols. 59v—78. Missa de beata Virgine (1582). T 11, fols 84v—100. Missa De la Batalla escoutez. T 26, fols. 37v—59. Missa Dormendo un giorno. T 11, fols. 33v—49. Missa Ecce Sacerdos magnus. T 26, fols. [0]v—18. Missa Inter vestibulum. T 11, fols. 49v—65. Missa Iste sanctus, a 4. T 11, fols. 19v—33.

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R. STEVENSON : THE TOLEDO MANUSCRIPT 97

Missa Puer qui natus, a 4. T 11, fols. [0]v—19. Missa Sancta et immaculata. T 26, fols. 18v—37.

Missa Simile est regnum celorum, a 4. T 11, fols. 65v—84.

Quicunque Christum queritis. Hymnus in Transfiguratione. T 25, fols. 77v—[83]. Ut queant Iaxis. T 25, fols. 69v—71.

Vexilla regis. Hymnus de Passione. T 24, liov—113.

Guerrero, Pedro

Quinque prudentes virgines, a 4. T 7, fols. 199v—201. Also in T 7 but now not locatable

because pages are stuck together: Gloria et honore, Haec est Virgo sapiens.

Haquinet Inuiolata intégra et casta, a 3. C Nks 1848, p. 374.

O salutaris hostia, a 4. C Nks 1848, p. 364.

Hayne van Ghizeghem Ales regretz, a 3. C Nks 1848, p. 414.

Les grans regretz, a 3. C Nks 1848, p. 95. Anonymous in this source. Credited to Agricola in Brussels, Bibliothèque Royale MS 11239, fols. 7v—8. Assigned to Hayne in three other

reliable manuscript sources. See Agricola, Opera Omnia V, p. lxxxix.

[Hellinck], Lupus In te Domine speravi-Quoniam fortitudo mea, a 5. T 17, fols. 88v—104. First published in

the 1532 Motetti del Fiore, book 2, this C Major motet inspired Palestrina's parody a 6

published posthumously in his Book 9 (1599).

Isaac, Heinrich

Fille vous auez mal garde le pan dauant, a 4. C Nks 1848, p. 400. Same chanson repeated at p. 424.

Missae: Charge de deul, Comme feme, La Spagna, Misericordias domini, Quant jay au cor.

Discantus only. U 76e.

Or mauldist soys je, a 3. C Nks 1848, p. 447. This is not his already published Maudit soit.

Jachet [of Mantua]

Aspice Domine-Iam non est q. consoletur, a 5. SAATB. T 10, fols. 6v—11.

Da pacem Domine in diebus nostris, a 7. T 13, fols. 72v—76. Ti Ti A A Te Te B.

[Janequin, Clément] Or sus or sus vous dormez trops madame Joliete, a 3. Barcelona, Biblioteca Central, MS 454,

fols. 155v—157. Anonymous in this source and also in C Nks 1848, p. 440, Or sus or sus

gained a fourth voice and was published as Janequin's L'alouette in 1528. The version a 3, first printed anonymously in 1520, is his earliest published composition if actually Jane

quin's. See A. Tillman Merritt & F. Lesure, eds., Chansons polyphoniques (Monaco: Éditions

de L'Oiseau-lyre, 1965) I, 99-105, 182.

Josquin des Prez

Absolue quesumus Domine, a 6. T 21, fols. 118v—121. For Ti A A Te Te B, this unicum is

copied in blacks all the way through, every voice.

Agnus Voces Musicales (Clama ne cesses from L'Homme armé super voces musicales). T 21, fols. 43V—47.

Ave Maria, a 6. Canonic tenor. T 18, fols. 54v—56. Continuation of Pater noster at 51v—54.

Ave nobilissima creatura-Tibi domina gloriosa. T 13, fols. 89v—102. Not used in Smijers'

edition. Parts designated Ti A A Te B B. Tenor written in 02 (Pfundnoten "benedicta tu").

Baisjijes moy, a 6. C Nks 1848, p. 133.

Benedicta es celorum Regina, a 6. T 18, fols. 56v—62v. Incomplete because fol. 63 has been

torn out and in its stead inserted the index for a new gathering headed "Libro de magni

ficas." Benedicta es caelorum Regina, a 6. U 76ç, fols. 62v—64.

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98 R. STEVENSON : THE TOLEDO MANUSCRIPT

Cum sancto Spiritu, from De beata Virgine Mass. U 89, fol. 6V.

Faulte dargent. U 76ç, fols. 119v—120.

In illo tempore assumpsit Jesus duodecim discipulos suos, a 4. T 13, fols. 29v—34. Smijers edited this in Motetten V, Bündel xxii (1959), pp. 85—89.

In principio erat verbum, a 4. T 17, fols. lv—11. The second and third partes (Fuit homo

missus, Et verbum caro) begin at 4V—5 and 9V—10.

Inuiolata "y sus bueltas" [= 2da pars: Que nunc flagitant; 3a pars: Que benigna], a 5.

Ti A A Te B. T 10, fols. 53*-60.

Liber generationis. U 76ç, fols. 64v—67.

Ma bouche rit, a 5. U 76b, fols. 137*—139.

Missa Ad fugam. T 9, fols. 103v—127. Canons not resolved.

Missa Ave maris Stella. T 9, fols. 35v—54.

Missa Da pacem. T 19, fols. 92v—97v. Leaves gone after tiple and tenor of "Dominus Deus

Agnus Deus filius Patris." For an exhaustive discussion of the Toledo copy of Da Pacem, see E. H. Spark, op. cit., pp. 73—80 (facs. of fols. 93v and 96* at pp. 77—78). Missa De Beata Virgine, a 4. T 16, fols. 1*—20. Also in U 76b, fols. 97v—108, and in U 76c, fols. I*—10. Folio 8V of the latter source is headed "canö II fault tenner les quatre temps." Missa Paysans regretz. T 9, fols. 83v—103.

Missa Fortuna desperata. U 76b, fols. 87v—96.

Missa Gaudeamus, a 4. T 27, fols. 85v—114. Very little attempt at fitting text to music.

Missa Hercules Dux Ferrariae, a 4. T 27, fols. 26v—45. No attempt to fit text in tenor, fols.

29v ("Suscipe"), 30v ("Sanctus"). In Pleni duo (38V—39) no text is fitted in either altus

("Pleni sunt celi") or bassus ("Pleni"). In the Osanna, 39v—40, only that one word appears at the beginning of each of the four voices. Missa La sol fa re mi. T 19, fols. 71v—92. Missa L'Homme armé super voces musicales. T 9, fols. 4V—35. See also "Agnus Voces

musicales." The same Mass (complete) is in U 76ç, fols. 10v—17 ("Clama ne cesses" at

16v). Missa Malheur me bat. T 9, fols. 54v—83. Missa Pange lingua. T 16, fols. 20v—38.

Missus est Gabriel angélus, a 4. Ti A Te B. T 10, fols. 31v—34. Also in U 76ç, fols. 67*—68.

Pater noster, a 6. T 18, fols. 51v—54. Not ascribed at first opening, but in prefatory index. Ave Maria follows at 54*—56. Plusieurs regrets, a 5. C Nks 1848, p. 421. Also in U 76b, fols. 136*—137. Plus nulz regretz. U 76ç, fols. 117*—118. Praeter rerum seriem-Virtus sancti Spiritus, a 6. U 76b, fols. 117*—120. Stabat Mater "y su buelta," a 5. SATTB. T 10, fols. 11*—21. Also in U 76ç fols. 60*—62, in which source "Comme feme descofortee" is written above the tenor Pfundnoten. In C

Nks 1848, pp. 27—31, this work is copied a fourth lower than the pitches in Smijers' edition.

Victimae paschali. "y su buelta" [= Sepulchrum], a 6. Ti A A Te B B. T 10, fols. 60*—71.

La Rue, Pierre de

Aguillon serpëtin danger maitresse des bordes forger desloyalle femme, a 3. C Nks 1848,

p. 446.

Lassus, Orlandus

Missa ad imitationem moduli Surge propera, a 6. U 89.

Sancti mei, a 2. U 89, fol. 3*.

Susanne ung jour, a 5. U 89, fol. 56*.

Timor et tremor venerunt super me, a 6, followed by secunda pars, Exaudi Deus. U 89, fol. 8*.

Lebrung, Jean Saule Saule quid me persequeris, a 5. Ti A Te Te B. T 10, fols. 99*—101* (incomplete because later leaves have been ripped out). The Index credits this motet with a secunda

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R. STEVENSON : THE TOLEDO MANUSCRIPT 99

pars. In the prima pars, Tenor 1 sings a nine-note ostinato, separated by rests, to the text, "sancte Paule ora pro nobis."

L'Héritier, Jean Dum complerentur dies penthecostes erant omnes-Spiritus Domini repleuit orbem, a 4.

T 13, fols. 43v—50. Published 1969 in Opera omnia (Corpvs mensvrabilis mvsicae 48), pp. 52-60.

Visita quesumus Domine, a 4. T 17, fols. llv—15. According to Leeman L. Perkins, editor

of Johannes Lhériter, Opera omnia (Corpvs mensvrabilis mvsicae 48 [1969]), p. xxiii, Royal

College of Music 2037 and Bologna Q 20 attribute this motet to Jachet of Mantua. The

Index of T 17 gives it to "liritier." At the opening, the first five letters of the name are

cut out along with the illuminated initial leaving only "ier."

Lobo, Alonso

Acuerunt linguas suas sicut serpentis. [Ps. 139.4.] T 25, fols. 23v—24.

Aleph. Quomodo obscuratum est, a 4. T 25, fols. 6V—7. Followed by Beth. Pilij Sion; Gimel.

Sed et lamie; Daleth. Adhesit lingua; He. Qui nutriebantur; Vau. Que subversa est;

Jerusalem conuertere. T 25, fols. 6V—13.

Cum invocarem, a 4. Pabordon para complétas. [Ps. 4.] T 22, fols. 65v—66.

In te Domine speravi, a 4. T 25, fols. 40v—41.

Libera me Domine, a 5. Responso para el dia de finados. CCATB. Continues with Tremens,

Quando, Dies ilia, Dum veneris, Kirie eleison. T 24, fols. 77v—83.

Ne tradas me Domine. [Ps. 139.9.] T 25, fols. 24v—25.

Non det in commotionem pedem tuum, a 4. [Ps. 120.3.] T 25, fols. 20v—21. Followed by Gloria Patri, a 5 and Deo gratias, a 4. T 25, fols. 21v—23.

Non fecit taliter, a 5. [Ps. 147.20.] T 25, fols. 19v—20.

[Passion according to St. Luke.] T 22, fols. 38v—48. Begins: Ubi vis paremus (Lk. 22.9).

[Passion according to St.Mark, a 4.] T22, fols. 70v—79. Begins: Non in die festo (Mk. 14.2).

[Passion according to St. Matthew, a 5.] T 22, fols. 13v—27. Ti Ti A Te B. Begins: Non in

die festo (Matt. 26.5).

Qui posuit fines, a 4. [Ps. 147.14.] T 25, fols. 18v—19.

Urbs beata Jerusalem. T 25, fols. 26v—27. Gloria et honor Deo usquequo altissimo follows

at fols. 27v—28.

Vir linguosus non dirigetur in terra. [Ps. 139.12.] T 25, fols. 25v—26.

Lobo, Duarte

Audivi vocem de coelo, a 6. T 23, fols. 244v—248. Copied from his Plantin 1621 first book

of Masses. Pater peccavi in coelum, a 5. T 24, fols. 24iv—244. Copied from his Plantin 1621 Antwerp

publication.

Mestre lam, see Gero, Iehan

Morales, Cristobal de

Ad tante natiuitatis inuitemur, a 4. T 21, fols. 30v—31.

Agnus redemit oues-Mors et vita duelo conflixere mirando dux, a 4. T 21, 23v—25.

Andreas Christus famulus-Videns Andreas crucem, a 5. T 17, fols. 49v—54.

Antequam comedam suspiro-Nonne dissimulaui. T 13, fols. 38v—43.

Beati omnes qui timent-Ecce sic benedicetur, a 6. T 13, fols. 65v—72. Ti Ti A Te Te B.

Circundederunt me gemitus, a 5. Two tenors. T 21, fols. 34v—35. "1549" in bass capital

letter. Prefatory index calls this a "fabordôn" but at the opening this is headed '"Invita

torivm."

Clamabat autem mulier, a 5. T 17, fols. 40v—44. Ti Ti A Te B.

Et incarnatus est, a 5. Tone IV. T 16, fols. 106v—107. Attribution taken from the prefatory

index, not the opening. This is different from his canonic Et incarnatus in T 33.

Et incarnatus est, a 5. T 33, fol. 115v. Incomplete, tiple and tenor only. Headed "In

diapente," the canonic top voice enters (after three breves' rest) with f (breve)-e-f-g-g-g-g

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100 R. STEVENSON : THE TOLEDO MANUSCRIPT

(semibreves)-f (breve). Altus and bassus are gone (all leaves after IIS have been lost).The

ascription to Morales is taken not from fol. 115v but from the Index at fol. 1 ("Ef in

carnatus de morales, fol. cxvj"). Gloriosus confessor Domini-Et ideo cum Christo, a 5. T 17, fols. 44v—48. Ti A A Te B.

Hi sunt olive due. T 25, fols. 71v—[77].

Incipit lamentatio, a 5 (two tenors). T 21, fols. 5V—6. Next: Aleph Quomodo, 6V—8; Prin

ceps, 7V—8; Plorans a 4 (top voice silent), 8V—9; Omnes amici a 5, 9V—10; Gimel a 5

Migrauit a 3, 10v—12; Daleth Vie Sion lugent, 12v—14 ; Heth Facti sunt hostes, 14v—17; Hierusalem conuertere, 17v—18.

Inclina Domine aurem tuam-ln die tribulationis mee-Confitebor, a 4. T 13, fols. 50v—64.

In illo tempore assumpsit Jesus duodecim discipulos, a 4. T 7, fols. 174v—176.

In illo tempore cum turba plurima conuenirent et de ciuitatibus properarent ad eum, dixit

per similitudinem, a 4. T 7, fols. 172v—174. Sower and the seed parable, Luke 8.4.

Inter natos mulierum-Fuit homo missus, a 4. T 17, fols. 78v—82.

Israel es tu rex Dauidis, a 4. 3 tiples and bassus. T 22, fols. 81v—83. At 83v—84, 84v—85,

85v—86, are copied for the same voices: Cetus in excelsis, Kyrie-Christe-Kyrie, and Qui

prophetice. Possibly these are his also.

Juizio fuerte sera dado y muy cruel de muerte, a 4. T 21, fols. 29v—30. Attributed to

Morales in prefatory Index but not at opening. Lamentabatur lacob-Prosternens, a 5. T 17, fols. 32v—40. Ti A A Te B.

Magnificat Primi toni. Anima mea verses. T 34, fols. 104v—109, first foliation. Unmentioned in Monumentos de la Müsica Espanola XVII (1956), p. 52, item 21.

Magnificat Primi toni, even-verse. T 34, fols. lv—7, second foliation. Concordant with MME,

XVII, 8—16. Secundi toni even-, Tertii odd-, Quarti odd-, Quinti odd-, Quinti even-, Sexti

odd-, Sexti even-, Septimi odd-, and Septimi even- follow at fols. 7V—14, 14v—20, 20v—26,

26v—31, 31V—39, 39V-45, 45v_5iv (last leaf of secula gone), 102v—108 and 108v—114 (third gathering). Concordant with MME, XVII, 25—33, 34—40, 50—56, 65—74, 75—83, 84—90, 91—99, 100—108, and 108—114, but not mentioned in Anglés's list of sources.

Magnificat Primi toni, a 4. Anima mea and Quia respexit,plus Et misericordia (tenor only). T 18v (second foliation), fols. 38v—40v. Leaves lost after 40. This is the Magnificat on which

Enrfquez de Valderrâbano based his Fantasia VIII (Silva de sirenas, 1547). For a modern

transcription of the vihuela fantasia, see Monumentos de la Müsica Espanola XXII (1965), pp. 82—84. Anglés alludes to this truncated Morales Magnificat in MME, XVII (1956), p. 52. The Index in T 18*, fol. 1, mentions 16 Magnificats — five by Torrentes (three sur

vive), four by Morales (only this truncated specimen survives), three by Penalosa, one each by Rabaneda (Tone I), Gascogne (VI), L'Héritier (IV), the latter three at folios xlvij, liij, lxxv. With all leaves after 40 gone, anything said about the Magnificats by Penalosa

(Tones IV, III, and VI at fols, lxxxiiij, xc, and xcvj) or about those by Rabaneda, Gascogne, and L'Héritier, would be idle guess. All that Anglés writes at MME, XVII, 52, item 20,

concerning Morales's Tone IV at fols. "68v—69," VII at "2v—103" [sic] and VII at "7V—108"

[sic] is erroneous. Thinking his microfilm of T 18* "defective," he allowed himself to be deceived by the Index (T 18*, fol. 1). Magnificat Quarti toni, even-verse. T 34, fols. 120v—126, first foliation. Concordant with

MME, XVII, 57—64, but an unmentioned source.

Magnificat Tertii toni, even-verse. T 34, fols. 114v—120, first foliation. MME, XVII, 41—49. Source mentioned by Anglés in the literary introduction, p. 52, item 21. Missa Aspice Domine. T 31, fols. lv—25. Missa Ave maris Stella, a 5. CATTB. T 29, fols, lv—30. Missa Benedicta es caelorum regina. T 31, fols. 49v—69. Missa De beata Virgine, a 5. CAATB. T 29, fols. 30v—65. Missa de Nuestra Sehora = Missa de beata Virgine, a 4. T 27, fols, lv—24. Pasteovers of the tropes at fols. 4V—5 call for omission of both text and music. Osanna at fol. 20 is O f .

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R. STEVENSON : THE TOLEDO MANUSCRIPT 101

Missa cortilla (= fa re ut fa sol la). T 28, fols. 57v—70.

Missa Gaude Barbara. T 31, fol. 69v—92. Missa L'Homme armé, a 4 (quarti toni). T 31, fols. 92v—112.

Missa Mille regretz, a 6. T 28, fols. 98v—127. Ti A A Te Te B. Concords with 1544 printed version.

Missa pro defunctis, a 5. T 21, fols. 97v—118. Concords with second book, 1544.

Missa Quern dicunt homines, a 5. CCATB. T 29, fols. 65v—96.

Missa Si bona suscepimus, a 6. T 33, fols. 8iv—115.

Missa Tu es vas electionis. T 31, fols. 25v—49.

Missa Vulnerasti cor meum. T 27, fols. 58v—85.

Missus est Gabriel-Quae cum audisset. T 17, fols. 21v— [26], Leaf 26 has been pulled out.

Nobis datus nobis natus, a 4. T 25, fols. 64v—65. Ascription taken from prefatory Index, not from opening. Facsimile, showing added instrumental part (creating some octaves and

fifths) in Theodor Kroyer, Zur Chiavetten-Frage, in: Festschrift für Guido Adler (Vienna:

Universal-Edition, 1930), between pp. 114—115. Since the 1920's when Kroyer's photo was

shot, the edges of folios 64v—65 have been terribly damaged and the manuscript mostly ruined by having been allowed to stand in water.

Officium defunctorum, a 4. T 22, fols. 104v—134. Regem cui omnia at 124v—125 headed

Morales. Concords with Felipe Pedrell, ed., Hispaniae schola musica sacra I [Christopherus

Morales] (Barcelona: Juan Bta Pujol, 1894), pp. 1—19.

O sacrum convivium-Mens impletur, a 5. T 17, fols. 54v—59. Ti A A Te B. In contrast with

Morales's preceding motets in T 17 (Sancta et immaculata, Missus est Gabriel, Lamentaba

tur, Clamabat autem, Gloriosas confessor, Andreas), all of which are in (t, O sacrum con

vivium is in c.

Regina celi letare, a 4. T 21, fols. 25v—27.

Regina celi letare, a 5. T 21, fols. 27*—29. Two tiples, second following first in unison

canon (top part marked Fvga). Salua nos Stella maris, a 5. Canonic tiple. T 21, fols. 31v—32.

Salve regina, a 5. T 17, fols. 59v—68. Eya ergo at 63v—64, Et Jesum at 64v—65. Mensuration:

c (not his customary <t). Sancta et immaculata-Benedicta tu. T 17, fols. 15v—21

Simile est regnum celorum homini patrifamilias-Cum sero autem factum esset, a 4. T 7, fols. 168V—172. The parody source of both Ceballos's Missa Simile est regnum in the same

choirbook at 268v—292, of Guerrero's like-named Mass, and of the Mass a 5 beginning at

folio lOv in the Newberry Library Case MS VM 2147, C 36, vol. 1.

Solemnis urgebat. T 25, fols. 62v—[69], Te supplices exaudias. T 25, fols. 76v—77. Tu es Petrus-Quodcumque, a 5. T 17, fols. 74v—78. Ti Ti A Te B, $. Ostinato in Tiple 2.

Verbum iniquum et dolosum-Quo rogante te, a 5. T 17, fols. 68v—74. Ti A A Te B. Two

flats in signature, <fc. Vidi aquam-Egredientem de templo, a 4. T 21, fols. 19v—23. Gloria Patri and Sicut erat

at 2iv—22, Alleluia at 22v—23. Alternating plain chant. Date "1549" in E of Egredientem.

Morel, Clément

Tota pulchra es, a 4. U 89, fol. 64v.

Moulu, Pierre

Quam pulchra-Lilia distilantia-O arnica mea, a 4. T 10, fols. 23v—28. Ascribed to Moulu

in the index to T 10 but to Verdelot at the top of fol. 23v.

Mouton, Jean Illuminare Jerusalem, a 6. U 76c, fols. 72v—73.

Missa de Alamania = Regina mearum, a 4. U 76ç, fols. 41*—49.

Missa Dictes moy toutes voz pensees. T 16, fols. 38v—62. This Mass, the cantus firmus of

which is based on the tenor in Loyset Compère's Dictes moy, is in Minor's edition, II, 1—50.

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102 R. STEVENSON : THE TOLEDO MANUSCRIPT

Missa Quern dicunt homines. T 19, fols. lv—18. Published in Corpus Mensurabilis Mvsicae

43 (1969), pp. 40-64.

Missa Tua est potentia. U 76b, fols. 67v—77v+36r (which takes the place of 78'). Same

Mass in U 76ç, fols. 31v—41.

Quaeramus cum pastoribus-Ubi pascuas. U 76c, fols. 74v—75.

Sancti Dei omnes, a 4. T 13, fols, lv—io. Although published as Josquin's in Motetten XX

(1957), pp. 27—36, and still accepted as Josquin's by Leeman L. Perkins in 1969 (Corpus mensurabilis mvsicae 48, p. xlv), this F Major motet in four partes is misattributed to

Josquin in T 13.

Tua est potentia, a 5. U 76ç, fols. 75v—76.

Navarro, Juan Ave maris Stella. T 24, fols. 57v—68. Solue vincla reis at 60v—61.

Credidi propter quod locutus. T 24, fols. 24v—30. Deus tuorum militum. T 24, fols. 68v—77.

Domine probasti me. T 24, fols. 14v—24.

Jesu dulcis memoria. T 24, fols. 86v—88.

Lauda Jerusalem, a 4. T 24, fols. 8V—14.

Laudate Dominum, a 5. T 8, fols. lv—7. In dominica prima adventus.

Laudate pueri, a 4. T 24, fols. [0]v—8 Memento Domine Dauid. T 24, fols. 30v—38.

Regis superni nuntia, a 4. T 24, fols. 88v—90. Designated "Himn. Santa Teresa Quat. Vocib.s" at 88v, this four-strophe hymn of unknown authorship was added to the Breviary

by Urban VIII. Although attributed to Navarro, this must be an adaptation if the music

is truly his.

Te Joseph celebrent. T 24, fols. 84v—86.

Voce mea ad Dominum clamavi. [Ps. 141.] T 24, fols. 38v—44.

Obrecht

Missa Si dedero, Discantus only. U 76e.

Ockeghem, Johannes

Dung aultre amer. C Nks 1848, p. 145.

Palestrina

Kyries from Missa Papae Marcelli, a 6. U 89, fol. 6V.

Kyrie s from Missa vt re mi fa sol la. U 89, fol. 7».

Passereau

Ce fut amours. U 76ç, fol. 152.

Pastrana, Pedro de

Domine memento mei dum veneris in regnum tuum, a 4. T 21, fols. 84v—87.

Penalosa, Francisco de

Domine Jesu Christe, a 4. T 21, fols. 73v—75. Like his other motets in T 21, a soulful work in c2.

Emendemus in melius, a 4. T 21, fols. 67v—69. Altus starts, in Ç. All other voices in c2.

Soprano begins with 29'/2 breve rest.

In passione positus, a 4. T 21, fols. 75v—78.

Inter vestibulum et altare, a 4. T 21, fols. 94v—96. Exceptionally, two flats in signature, G minor in Omensuration. Memorare piissima, a 4. T 21, fols. 78v—82, "1549" in bassus initial. O Domina sanctissima, a 4. T 21, fols. 64v—67. Mensuration: c2.

Pater noster, a 4. T 21, fols. 71v—73.

Precor te Domine, a 4. T 21, fols 87v—90. Not listed in prefatory Index. Sancta Mater istud agas. T 21, fols. 62v—64. Published as Josquin's in the 1969 Supplement.

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R. STEVENSON : THE TOLEDO MANUSCRIPT 103

Tribularer in nescirem, a 4. T 21, fols. 69v—71.

Versa est in luctum, a 4. T 21, fols. 82v—84.

Pevernage, Andreas

Saluatorem-Expectamini, a 6. U 89, fols. 68v—69.

Phinot, Dominique Jam non dicam vos servos, a 8. U 89, fols. 23v—24. O sacrum convivium, a 8. U 89, fols. 22v—23.

Videns Dominus Fientes sorores Lazari-Et prodiit ligatis, a 5. T 7, fols. 155v—[159].

Porta, Costanzo

Dilectatio mea mihi. U 89, fol. 63v.

Quebedo, Bartolomé de

Asperges quatuor et quinque vocum. T 9, fols. [0]v—4. Last Asperges, 03, SSATB.

Ave verum corpus. Tiple and tenor. Rest gone because the book ends here. T 12, fol. 118v.

Mensuration: <f3. Victimae paschali laudes. In die resurrectionis. T 12, fols. lllv—118. Mensuration: $3.

Ribera, Bernardino de

Ascendens Christus in altum, a 8. T 6, fols. 63—66. Both the first and last leaves (62 and 67) are gone. Beata Mater et innupta, a 6. T 6, fols. 84v—87. At folio 87v has been added in a later hand

an anonymous fabordon, Domine quando veneris, having nothing to do with this manuscript. Conserva me Domine, a 6. T 6, fols. 74v—80. Gloriose virginis Marie ortum dignissimum, a 5. T 6, fols. 69—74. First leaf (68) gone. Hodie completi sunt dies, a 5. In die sancti pentecostes. T 6, fols. 92v—98. This is the first

item in T 6 that has escaped the vandal's knife, and can be transcribed without guesswork.

Magnificats a 4, Tones I, II, III, Anima mea set followed in each tone by Et exultavit verses.

T 6, fols. 107V—114, ll4v—120 [115 gone]; 120v—128, 128v—133 [134—136 ripped out]; 137—141; 141V—146 [142, 147, 148 torn out]. In Gloria of Tone I (112V-114) Ribera makes

Altus 2 the leader of a three-in-one canon (based on the tone formula). Sicut erat a 8 of

Tone I consists of four written voices, each the dux of a canon. Both Gloria Patri a 7 and

Sicut erat (number of voices uncertain because of the loss of fol. 134) vaunt elaborate

canons. So does the Gloria a 6 of Tone III (fols. 139v—141). The following verses are scored

a 3 : Ef misericordia and Esurientes of I, Déposait of II, Suscepit of III. Pfundnoten in altus

of Fecit II cite the tone formula.

Magnificats, Tone IV, odd verses followed by even. T 6, fols. 149—159. Due to the loss of

147 and 148, the odd-verse set starts with a truncated Quia respexit. In both Et misericordia and Suscepit verses, the bassus sings the tone in Pfundnoten. The altus has it in the

Esurientes verse. However, the unison canon between bassus 1 and 2 in the Sicut erat

verses does not cite the tone.

Missa De beata Virgine, a 4. T 6, fols. 2—28. Like all his other major works in T 6, mutilat

ed. Not only did vandals find the beauty of the illuminated capitals irresistible, but also

whole pages of this manuscript —which in its original state was doubtless one of the most

stunning visually in the entire Toledo polyphonic corpus. Ribera anachronistically included

the Spiritus et aime (fols. 6V—7) and Mariam gubernans tropes. The Resolutio (fol. 24) of

the canon in the Benedictas a 5 begins as a Pfundnoten ostinato consisting of the breves

in the cantus, sung retrograde. Below the cantus (fol. 23v) appears this explanatory legend :

"Cantus vnius euntis et alterius preeuntis ad finem cum breui. Retro euntisq3 ad princi

pium cum semibreui cum mora in medio numerando pausas non numeratas partes." Filling folios 24v—26, this Benedictus (CCATB) illustrates Ribera's tendency to expend learning on sections of the Mass not usually reserved for erudite display. Missa De beata Virgine, a 5. T 6, fols. 30 [28 and 29 ripped out]—60 [61 and 62 gone also]. Extant portions begin with Christe. Like his Lady Mass a 4, this one incorporates the

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104 R. STEVENSON : THE TOLEDO MANUSCRIPT

tropes forbidden by Trent. The Osanna contains a canon at the octave (fols. 55v—56),

compas mayor. Throughout the polytextual Credo, one voice or another keeps repeating in

breves and semibreves the March 25 antiphon "Ave Maria gratia plena: Dominus tecum:

benedicta tu in mulieribus. Alleluia."

O quam speciosa festiuitatis, a 6. T 6, fols. 80v—84. Folio 81 of this motet for the Transla tion of St. Eugenius has been ripped out.

Regina coeli laetare, a 5. T 6, fols. 89—92. Incomplete, because some vandal tore out

folio 88.

Rex autem Dauid cooperto capite. Dnica vi. post octauas corpus chri. T 6, fols. 103v—107.

Virgo prudentissima, a 5. T 6, fols. 99v—103. One of only three transcribable motets in

this heinously mutilated book.

Riccio, Theodoro

Hie est precursor. U 89, fol. 33v.

Richafort, Jean Emendemus in melius-Peccauimus cum patribus nostris, a 4. U 76ç, fols. 91v—93.

Jam non dicam vos servos, a 5. U 76ç, fols. 85v—86.

Quem dicunt homines, "y su buelta" [= 2da pars: Petre diligis], a 4. Ti A Te B. T 10, fols. 34v—40. Also, U 76ç, fols. 87v—89.

Salve Regina, a 5. U 76ç, fols. 81v—84. Eya ergo (a 4) and Et Jesum (a 5) at 83v—84. Fol. 82 blank.

Rosell [y Argelagos], Juan Subvenite Sancti Dei, a 4. ("Recomendacicm de Alma.") T 1, fols. 95v—96, followed by Suscipientes at 96v—97, Oferentes earn at 97v—98, and Suscipiat at 98v—99. Simplistic music. Elected Toledo Cathedral chapelmaster April 19, 1763, Rosell took office May 9. He died at Toledo March 30, 1780.

Sancta Maria, Jorge de

[Passion according to St. Luke.] T 22, fols. 57v—64. Begins: Ubi vis paremus (Lk. 22.9).

Jorge de Santa Maria was master of the seises during Torrentes's third term. On Decem ber 24, 1578, the Toledo Cathedral chapter awarded six dozen chickens for the Christmas villancicos that he composed that year (Adas Capitulates XVI [1575—1580], fol. 256). [Passion according to St. Mark.] T 22, fols. 49v—56. Begins: Non in die festo (Mk. 14.2) and concludes: Et alie multe que simul cum eo ascenderant lherosalymam (Mk. 15.41). Mostly a 4, the short sections end on A, until the last verse (ending on G).

Sandrin, Pierre Doulce memoire, a 4. U 89, fol. 34v.

Sermisy, Claudin de

Cest a grant tort, a 4. U 76ç, fol. 133v. Cest une dure départie, a 4. U 76ç, fol. 133. Contre raison vous mestes fort, a 4. U 76ç, fol. 134. Il est jour dit lalouette, a 4. U 76ç, fol. 147.

Jay contente ma volonte, a 3. U 76ç, fol. 148.

Jouyssance vous donneray, a 4. U 76ç, fol. 145. Le content est riche a 4. U 76ç, fol. 145v. Secourez moy madame par amours, a 4. U 76ç, fol. 143v. Si jay pour vous, a 4. U 76ç, fol. 146v.

Vivray je toujours, a 4. U 76ç, fol. 150v.

Torre, Francisco de la

Ne recorderis, a 4.11, fols. 83v—84, followed by Dirige at 84v—85, Dum veneris at 85v—86,

Kyrie at 86v—87, Libera me at 87v—88, Quando celi at 88v—89. Only about 15 notes per part are copied on each page of this 1778 Office of the Dead manuscript. Same music in the 1549 manuscript T 21, fols. 121v—124 (date "1549" in tiple initial).

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R. STEVENSON : THE TOLEDO MANUSCRIPT 105

Torrentes, Andrés de

Acuerunt linguas suas sicut serpentes, a 4. Tone VIII. Pabordôn. Gloria in skipping ternary meter. T 18, fols. 47v—50.

Aleph a 4, Quomodo obscuratus est, Dispersi sunt a 4; Beth a 5, Tilij Sion inclyti a 5; Gimel a 4 (tenor opens with same theme as did Aleph); Sed et lamic nudauerût a 4; Daleth, Adhesit lingua latentis; Paruuli a 3; lerusalem a 6. Although earlier sections of this

Lamentation set ended on G, lerusalem closes on C. Change of texture from section to

section is a hallmark of Torrentes's style. T 18, fols. 14v—22.

Alme Vincenti veneranda, a 4. Himnus Sancti Vincenti. T 24, fols. 101v—104.

Asperges me Domine, a 4. Both this and the Miserere mei Deus that follows start with

tenor plainchant. T 10, fols. 40v—42.

Aurea luce et decore. Hymnus In festo Apostolorum Petri et Pauli. T 12, fols. 61v—62.

Indexed "Janitor celi" (first line of second quatrain). Beata quoque, a 4. In festo omnium sanctorum. T 18, fols. 39v—40.

[Deus tuorum militum. Hymnus in festo sancti Eugenij et Decollatio sancti Joannis baptiste. 8° tono.] Indexed under first line of second strophe, Hic nempe mundi. T 12, fols. 52v—53.

Part 2, Laus et perennis gloria, 53v—54.

Et factum est postquam, a 4, followed by Aleph Quomodo a 5, Princeps a 3; Beth a 4, Plorans a 5, Non est qui consoletur a 5; Gimel a 4, Migrauit a 5, Habitauit inter gentes a 5, Omnes a 3; Hierusalem a 5. Although early sections of this Lamentation set end on E, Hierusalem closes on C. T 18, fols. 14v—22. Hec Toletana nobilis fuit sancta laudabilis, a 4. In festo Sancti Leocadie. <t3 throughout. T 18, fols. 43v—44.

Hostis Herodes, a 4. In epiphania dni. T 18, fols. 44v—45.

[Hy sunt quos retinens. Hymnus in Communi Plurimorum marytrum.] Indexed under first

line of second quatrain, this is the hymn beginning Sanctorum meritis inclyta gaudia. T 12, fols. 56v—57.

In exitu Israel de Egypto. T 12, fols. 42v—49. In exitu Israel de Egypto, a 4. T 21, fols. 35v—41. Begins plainchant, then polyphony at

"Domus lacob."

Israel es tu rex Dauidis, a 4 (three tiples and bassus). T 21, fols. 32v—34. Lauda Jerusalem. Odd verses. Tones I, II, III, IV, VI, VIII. T 12, fols. 23v—27, 27v—30, 30v

—34, 34V—38, 38V—39, 39v_42. Laudate pueri. Odd verses. Tones I a 4, II a 5, IV a 4, V a 4, VI a 4 and a 5 (Gloria), VIII

a 4 (two Glorias, both a 4). T 12, fols, lv—4, 4v—7, 7v—12,12v—15,15v—19, 19v—23.

Laudibus canoris, a 6. De S. Illeföso (= Ildefonso). T 18, fols. 40v—41.

Magnificat Octavi toni, a 4. T 18* (second foliation), fols. 7v—13. Quia fecit a 3 (Ti Ti A). Tecit potentiam a 5 (fuga in diapente), Esurientes a 3 (A Te B), Sicut locutus a 5 (Ti Ti A

Te B), Sicut erat duo (Ti A). Both Esurientes and Sicut erat end on C. Compas mayor. Tone

reminiscence in Tecit but not in final duo.

Magnificat Primi toni, a 4. Even verses. T 18* (second foliation), fols. lv—7. Esurientes a 3.

Every movement ends on G (one flat in signature). Compas mayor. Magnificat Primi toni, a 4. Odd verses plus verse 12. T 18*, fols. 19v—25v. According to the

Index (T 18*, fol. 1), this Tone I Magnificat is by Basurto. The red band heading fol. 19v

gives it to the three-term Toledo maestro de capilla who died in 1580. Leaves from 25v

(Sicut erat tiple, tenor tacet) to 32 gone. Déposait and Gloria end on D, previous move

ments and Suscepit on A. Et misericordia a 3 (Ti Ti A), Deposuit a 5 (Ti A A Te B),

Suscepit a 3 (A Te B) Gloria a 5 (Ti Ti A Te B). Movements all in compas mayor. Stylisti

cally Torrentes, not Basurto.

Magnificat Quarti toni, a 4. Even verses. T 18*, fols. 13v—19. Esurientes a 3 (A A B). Tecit,

Esurientes, and Sicut locutus end on A, Sicut erat on E. All blacks from "et in secula" (3) to end, but otherwise compas mayor.

Magnificat Quarti toni, a 4. T 18*, fols. 32v—38. Even verses. Different from Quarti even

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106 R. STEVENSON : THE TOLEDO MANUSCRIPT

verse at T 18*, fols. 13v—19. Et exultavit and Sicut erat (duo for Ti A) end on E, other

verses on A. Quia fecit a 3 (Ti Ti A), Esurientes a 3 (A Te B), Sicut locutus a 5 (Ti Ti A

Te B). Minimal reference to tone formula.

Magnificat Septimi toni. All six verses of this Anima mea end on A. Whereas in his

Lamentations <t was the rule, c is a frequent mensuration in Torrentes's Magnificats. Only the Suscepit of this Magnificat (Pfundnoten in tenor) and Gloria Patri (same) call for «t. Et misericordia reduces to three voices, Gloria augments to five. T 18, fols. 30v—36.

Magnificat Tertii toni. Et exultavit. T 34, fol. 114v (third gathering). Ti and Te. Rest gone.

Magnificats in all eight tones, odd verses only, a 4 (Gloria of Tone I a 6, Ti Ti A A Te B). T 12, fols. 62V—68, 68v—74, 74v—77, 77v—83, 83v—90, 90v—97, 97v—101, 10lv—104.

[Maria soror Lazari. Hymnus in festo S. Marie Magdalene.] Although indexed under first

line of the second quatrain (first quatrain begins: Lauda mater ecclesia), the text at the

opening is that of the last quatrain, Uni Deo sit gloria. T 12, fols. 50v—51.

Missa De Beata Virgine, a 5. T 33, fols. 69v—81. Concludes with Cum Sancto Spiritu, fols.

80v—81, in 03. Qui tollis shifts from c to <f3 to ç. Spiritus aime trope at fols. 73v—74,

Mariam sanctificans, gubernans, coronans at 75v—76, 79v—80.

Missa super Nisi Dominus, a 4. T 16, fols. 62v—84. Pleni sunt a 3 (elaborate runs in bass,

tenor silent). In Osanna, bass sings an ostinato (in breves). Separated by four or two

breves rest the ostinato figure starts thus: D-F-GA-D; D-F-GA-D; A-c-de-A. Later on,

he descends stepwise from D, repeating the same four-note figure on each degree. Through out this Osanna, (fols. 78v—79), other parts are in 0/ bass in <t. Last Agnus, a 5, adds

another bass.

Non det in commotionem pedem tuum, a 6. Ti Ti A Te B (tenor clef), B (baritone clef). Tone VIII. Pabordôn. Gloria Patri in galloping triple meter. T 18, fols. 45v—47.

Noua resultet gaudia-Vni trinoque domino, a 4. In festo sancti Eugenij. Shifts to «3 at

"palma ecclesie" and continues in same mensuration throughout second part. Tone VIII.

T 18, fols. 4iv—43.

Noua veniens, a 4. In dedicatione ecclesie. T 18, fols. 36v—37.

O sapientia, a 4. T 21, fols. 41v—42. Labeled Hymno and credited to Torrentes in prefatory Index but not at opening.

[Pater superni luminis. Hymnus in festo S. Marie Magdalene. Ad vesperas.] T 12, fols.

49V-50.

Qui condolens-Laus honor, a 4. In natiuitate dni nri. T 18, fols. 37v—39.

[Qui pius prudens humilis. Hymnus in Communi Unius Confessons.] Indexed under first

line of second quatrain, this is the hymn beginning Iste confessor dominis sacratus. T. 12, fols. 57v—58.

Tibi Christe splendor Patris, a 4. T 21, fols. 96v—97. Not credited at opening, but Torren

tes's according to the prefatory Index.

Tristes erant apostoli. Hymnus in festo S. Joannis ante portam latinam. T 12, fols. 59v—61.

Tunc dicent inter gentes. Tone VIII. Pabordon. Gloria in ternary meter at same opening. T 18, fols. 50v—51.

Veni Creator Spiritus, Hymnus a 4. T 21, fols. 42v—43.

Verdelot, Philippe Missa sobre filomena, a 4. T 33, fols. 26v—48. Published third in Liber primvs missarvm

qvinqve, cvm qvatvor vocibvs (Venice: Girolamo Scotto, 1544). O salutaris ostia, a 6. Ti Ti A Te Te B. T 10, fols. 92v—97.

Quam pulchra "y su buelta" [secunda pars: Lilia distillantia; tertia pars: O arnica mea], a 4. Ti A Te B. T 10, fols. 23v—28. The Index credits this motet in three partes to

"Petrg molu," but the composer's name in the red band heading fol. 23v reads Verdelot.

Si bona suscepimus, a 5. T 17, fols. 94v—99. Ti A Te Te B. The source for Morales's parody. Sancta Maria succurre miseris, a 4. U 76ç, fols. 93v—94. This is the motet on which

Gombert based his Iikenamed parody Mass.

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R. STEVENSON : THE TOLEDO MANUSCRIPT 107

Sancta Maria virgo, a 6. SAATBB. T 10, fols. 1*—6.

Tanto tempore vobiscum, a 4. T 10, fols. 21v—23.

Tu es Petrus, a 4. Ti A Te B. T 10, fols. 28*—31. Both the Index and the blue band at the top of fol. 28* give this motet to "Laurus."

Victoria, Tomas Luis de

Magnificat Primi toni. Odd verses. T 30, fols. 65*—71. Concordant with Opera omnia III

(1904), pp. 1—5. Primi toni, even-verse, follows at fols. 71*—76 (Opera omnia III, 6—10);

Quarti toni, odd at 76*—82 (III, 32—36), Quarti toni even at 82*—89 (III, 37—41); Octaui

toni, odd, 89*—95 (III, 71—75), Octaui, even, 95*—101 (III, 76—80). Missa Ascendens Christus in altum, a 5. T 8, fols. 27*—47.

Missa Ave maris Stella, a 4. T 30, fols. 1*—19.

Missa Gaudeamus, a 6. T 30, fols. 41*—64. Gaudeamus text copied in Altus II on 42.

Miss« Quarti toni, a 4. T 8, fols. 8*—26.

Missa Vidi speciosam, a 6. T 8, fols. 48*—66.

Nisi Dominus, a 8. T 30, fols. 102*—105. Victoria's double choir setting of Psalm 126 was

published in the Opera omnia VII (1911), 43—52. Toledo lacks the organ part. Salve Regina, a 8 (1576). T 30, fols. 107*—114. Concordant with Opera omnia VII (1911),

120—130, except that the first alternate Et lesum a 4 (fols. 110*—111, CCAA) comes from

the 1572 Salve a 6 (VII, 116—118), and the second alternate Et lesum (113*—114, CCAB)

was not published in VII.

Villar

Pater noster qui es in celis, a 4. T 21, fols. 53*—56. "1549" in colored initial of bassus.

Vivanco, Sebastian de

O quam suavis est, a 4. T 23, fols. 235*—241. The first 234 pages in T 23 consist of

Vivanco's printed motets. At folio 235 begins a parchment gathering. Samuel Rubio

published a transposition of the present motet in his Antologia polifônica sacra (Madrid:

Coculse, 1954) I, 293-298.

Weerbecke, Gaspar van

Missae: Aue regina coelorum, E trop penser, Octaui tonj, O Venus bandt, Se mieulx ne

vient. Discantus only. U 76e.

Willaert

Congratulamini-Recedentibus discipulis, a 4. C Nks 1848, pp. 72—77.

Hellas ma mere, a 5. U 76ç, fols. 128*—129. "Madame" replaces the "ma mere" found in

the Bayerische Staatsbibliothek concordance.

La rousee du moy de mai, a 5. U 76ç, fols. 116*—117. Concordant with Bayerische Staats

bibliothek, Mus. Mss. 1508, no. 96.

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