Details of music used in Voices Appeared

Table A4: 1


Reference in modern edition


Performance Pitch



Je me complains– Guillaume Dufay (c. 1398–1474): contrafact lyrics by Christine de Pizan from La Ditié de Jeanne d’Arc.

CMM1/6, 108 (sung complete).

Ox 213, fol.18, ascr. ‘Guillermus dufay’ (partly cut off), followed by date: ‘1425 adi. 12 Iujo’ (unicum).

Down a major 6th

Musica fictaand corrections provided by David Fallows in private communication.


Salve Regina– Hymbert [Hubertus] de Salinis (b.1378/84; fl. 1403–9)

CMM11/7, 56–59. First part only, i.e. bb.1–53.

Bol Q15, fol.236v–237 (unicum)

Down major 3rd

Troped Salve regina with additional words Virgo mater ecclesiae, etc.


Salve Sancta parens– Gilles Binchois (c. 1400–1460)

Kaye, no. 46a, 236–238, bb. 1–69 (i.e. without doxology).

Ao 15, fol.8v–9

Tr 90, fol.62v–63

Tr 93, fol.91v–92

Up minor 3rd

Fauxbourdon setting of Salve sancta parens (verse: Sentiant omnes) Introit for votive Mass of Blessed Virgin Mary.


Sanctus– Gilles Binchois

Kaye, no. 20, pp. 131–134, bb. 1–49 only (i.e. Sanctus text + Hosanna).

Ao 15, fol.147–148 (unicum)

At written pitch

Editorial text underlay for T and CT ignored.


Chant – Sancte Michael

[Versus of Alleluia for the Feast of St Michael and all Angels.]

Graduale Triplex, 609

In C, starting on D


Chant – Stetit angelus.

[Offertory for the Feast of St Michael and all angels.]

Graduale Triplex, 610

In F, beginning on F


Imera dat hodierno– Estienne Grossin (fl. 1418–1421)

CMM, 11/3, 59–61, bb. 4–19.

Ox 213, fol.48v–49, ascr. ‘Grossim le parisiis’

Bol Q15, fol.210v–211, ascr. ‘grosin’

Bu 2216, fol.44v–45, ascr. ‘Grossim’

Munich 14274, fol.80v–81

Paris 4379, fol.63v (tenor only)

Tr 92, fol.124v–125

At written pitch

In honour of the Holy Spirit. T and CT provided with incipit text only.


Whispered text with interjection of ‘traditur’.


Grossin – Imera dat hodierno

(See cue 7) bb.41 (last beat) – 58.

As above (see cue 7)

As above


Gloria– Johannes Le Grant (fl. c. 1420–40)

CMM, 11/2, 77, bb. 7–24.

Bol Q15, fol.101v–103

Ao 1, fol.36v–37, ascr. ‘Jo. le gt’.

At written pitch

‘The hitherto unnoticed attribution of this Gloria in the Q15 index to Brassart (though anonymous in both Q15 copies) competes with the Aosta attribution to Jo. Le Grant.’ Bent, Margaret Bologna Q15: The Making and Remaking of a Musical Manuscript v.1: Introductory Study (Lucca, Lim Editrice, 2008), 181. Tenor and contratenor untexted in source but texted for Voices Appeared.


O Redemptor sume carmen– Anonymous

EECM VIII, 89–96.

Eg 3307, fol.25–28v. Manuscript notated in score format. Strophes in 3vv, 2vv and 4vv with plainchant interpolations (unicum).

Down minor 3rd

Strophes of sequence performed as follows:

a)  Plainchant refrain

b)  Polyphonic refrain

c)  Verse 2

d)  Plainchant refrain

e)  Verse 8 (bb. 175–182)

f)   Polyphonic refrain

g)  Plainchant refrain


Salve sancta parens– Gilles Binchois

See cue 3.

See cue 3

Down minor 3rd

See cue 3.


O Regina clementissima– Richard Loqueville (d. 1418)

CMM 11/3, 24, bb.1–16.

Munich 14274,fol.22v (unicum)

At written pitch

Antiphon of the BVM, though Reaney suggests it may be a contrafactum of a rondeau, CMM 11/3, viii.


De tristesse– Gautier Libert (fl. 1423–8)

CMM, 11/2, 93, bb.1–10.

Ox 213, fol.121v, ascr. ‘gualtier’.

At written pitch

Dated 1423 in Ox 213.


Vexilla Regis– Guillaume Dufay

CMM, 1/5, 46–47.

Ca 29, fol.259v

Mod B, fol.6v–7

CS 15, fol.20v–23

Tr 92, fol.72

Mc 871, fol.27

At written pitch

Hymn In tempore passionis vv.1,2,5,6.


Te Deum– Anonymous

Musica Britannica: Mediæval Carols, 83 bb. 1–16.

Ritson, fol.26v–27

At written pitch

Carol Te Deum laudamus: O blesse god in trinite. Manuscript in score format.


Kyrie– Estienne Grossin

CMM 11/3, 42–3 (‘Tenor faulx bourdon’).

Ao 15, fol.54v–55 (unicum)

Down an octave

Two parts notated on facing manuscript pages (54v and 55), contratenor provided by fauxbourdon added a fourth below.

‘[T]here are no repetition signs in this piece, but the mensuration signs indicate that sections A and B are performed three times. Since C is a composite of A and B, it is to be assumed that this section too is performed three times, the second time in double diminution.’ CMM 11/3, xiii.

Instead, plainchant was interpolated thus:

A / Plainchant Kyrie / A (though at same speed) /

Christe plainchant / B / Christe plainchant /

C [final Kyrie].


Reading (lectio) from Epistle (intoned)

[recitation formula taken from the instructions on how to intone the prophecy.]

Liber Usualis, 102–103

Reciting note on F

Plainchant recitation formula.


Chant with fauxbourdonAudi, filia Sion

[fauxbourdon on Gradual plainchant for Feast of BVM.]

Graduale Triplex, 406

Arranged for performance by Donald Greig.


Praeceptibus salutaribus ... audemus dicere

Pater noster, qui es in coelis ... Amen

[Recitation formula for Toni orationis domenicae – the melodic pattern for intoning Sunday prayers.]

Graduale Triplex, 812


Gloria– Guillaume Le Grant

CMM11/2, 53–55, bb.1–59.

Ox 213, fol.104v–105, ascr. ‘Legrant guillaume’, in index as ‘Grant guillarmo’.

Ao 15, fol.63–64, ascr. ‘Grand guillerme’

Bol Q15, fol.56v, ascr. ‘Le grant guilheme’, paired with no 245.

MS 1379,fol.74v–75, ascr. ‘Legrant’

2-part sections sung down an octave; 3-part sections sung at written pitch.

A Gloria setting which alternates 2- and 3-part sections, with the 2-part sections sung an octave lower.


Gaude tu, baptista– Benoit (fl. 1436–55)

CMM11/3, 98–102, bb. 1–13, bb.14–40, then from b.55 (second beat) to the end.

Bol Q 15, no. 195 fol. 232v–233, ascr. ‘Benenoit’ (unicum)

Down a minor 7th

Grove Onlinesuggests it was composed in Ferrara in the 1440s in honour of John the Baptist (accessed 21 Oct 2017): ‘Since the motet is preserved in the interpolated fascicle 20 of [Bol Q 15], Besseler would doubtless date it after 1430 … In the first duet, the second voice is derived canonically from the first as indicated in the sign.congr. above 4 in the ms. and the words “fuga sex temporum” at the head of the page’. CMM 11/3, xxii–xxiii.


Salve Regina– Johannes Reson (fl. 1425–35)

CMM11/2, 111–114 (sung complete).

BU 2216, no. 61 fol. 40v–40

Bol Q15, fol. 201 v–202

At written pitch

Editorial notes in CMM 11/2 suggest tenor underlay, but here it is vocalised instead.


‘Qui tollis’ from Gloria – Guillaume Le Grant

See cue 20, bb. 49–73.

See cue 20

At written pitch

See cue 20


Agincourt Carol (Deo gracias, Anglia)– Anonymous

Musica Britannica: Mediæval Carols, 6.

Trinity, no. 7

Selden B26, no. 26

Down a minor 3rd

vv.1, 3, 5 only, with Latin burden.


Pour la douleur– Johannes Cesaris (fl. 1406–17)

CMM 11/1, 19, bb.1–13.

Ox 213, fol. 84v (unicum)

Down an octave

Double-texted, though text of cantus part applied to both parts in performance.


Chant – Ad te levavi oculos

[Tract for Third Sunday of Lent.]

Graduale Triplex, 97–98

In G mode, beginning on D


Chant – Epistle recitation:In illo tempore: Erat Jesus ejiciens daemonium

[Epistle for Third Sunday of Lent, the story of Jesus casting out devils.]

Gospel of Saint Luke 11: 14–27

Intoned on G

A single voice sings the Epistle. At one point, individual voices joined in at set cue points coinciding with onscreen appearance of various priests, to produce a cacophony. When Joan relents, the voices cease.


Sanctus‘Vineux’ – Richard Loqueville (d. 1418)

CMM11/3, 18–21 (sung complete).

Bol Q 15, fol. 22v–23r (unicum)

Transposed down a fourth

Sanctus troped with extra text: Qui januas mortis confregisti. Based on the monophonic mensural chant known as ‘Vineux’. See Reinhard Strohm, The Rise of European Music: 1380–1500 (Cambridge: CUP, 1993), 152–3.


Sanctus– Fauxbourdon

Based on ‘Vineux’ Sanctus (see cue 28). Scored for three lower voices.

Arranged for performance by Donald Greig.


Ave verum corpus– Johannes Reson

CMM11/2, 116–117 (sung complete).

Bol Q 15, fol.219v–220 (‘Jo. Reson’) (unicum)

Down a major 6th

Eucharistic hymn text set as a motet.


Benedicta es Virgo– Reginaldus Libert fl. c. 1425–35)

CMM11/3, 72–75

bb. 1–69.

Tr 92,fol. 54v–56

At written pitch. Incipits down an octave.

Gradual from Missa de Beata Virgine.


Chant – Benedicite Dominum omnes angeli

[Introit for the Feast of St Michael and all angels.]

Graduale Triplex, 607

In F, beginning on C


Chant - Communion tone. In nomine patris / Gratia vobis / Ecce Agnus Dei

Communion tone, second salutation.

Graduale Triplex, 799

Standard communion tones.


Agnus Dei – Estienne Grossin

CMM, 11/3, pp. 57–8 (sung complete).

Ao 15, fol.157v–158 (unicum)

Down a 4th


Deo gracias– Gilles Binchois

Kaye no. 35, 188 (sung complete).

MS 1379,fol.86

Down a tone


Salve sancta parens– Reginaldus Libert

CMM11/3, pp. 64–5 (sung complete).

Ao 15, fol.157v–158 (unicum)

Transposed up a tone

Introit from Missa de beata Virgine.


De tristesse– Gautier Libert

See cue 13.

As cue 13

As cue 13


Francorum nobilitati– Beltrame Ferragut (fl. 1415–49)

CMM11/7, 93 bb.1–73.

Ox 213, fol.11v–12v (3vv)

BU 2216, fol.23v–23

Down a major 6th

‘On 14 January 1431 King Charles VII of France permitted Niccolò d’Este of Ferrara to quarter his arms with the French, an honour apparently referred to in the text of the motet Francorumnobilitati in which “B. Feragut” supplicates to join a prince’s service’. Grove Online (accessed 21 Oct 2017).


Descendi in hortum meum– Johannes de Lymburgia (fl. 1431)

Lymburgia: Four Motets, no. 2, 7–9 (sung complete).

Bol Q15, fol. 220v–221 (unicum)

Bb. 71–90 text changed and length of notes adapted to new word underlay.


Kyrie– Reginaldus Libert

CMM11/3, 66–69. 1st Kyrie bb. 1–14; 1st Christe bb. 38–47; final Kyrie bb. 95–114.

Tr 92, fol.51–52v (unicum)

At written pitch

9-fold polyphonic Kyrie from Mass of Our Lady, Missa de beata Virgine.


Chant – In nomine patrisand Psalm 126

Tone 2 recitation.

Liber Usualis, 176

Reciting note G

vv.1,2,3,5,8 (tone 2)


Amen from Credo – Johannes Franchois de Gemblaco (fl. c. 1415–30)

Polyphonia sacra, 108–9 (sung complete with bb. 31–35 sung twice).

Bol Q 15, fol. 118v–120

Ca 6, fol. 33v-4

Down a fifth

‘the jaunty “Amen” section of the Credo presented there as an appendix appears in all full sources apart from GB-Ob 213’, Grove Online(accessed 20 December 2017).


Jesu Salvator / Quo vulneratus est– Hymbert [Hubertus] de Salinis

Polyphonia Sacra, 276–277 (also in CMM 11/7, 60), sung complete.

Ox 213, fol. 81

Bol Q 15, No. 213 fol. 249v–250

Florence 2211, fol.62

Down an octave

Passion motet


De tristesse– Gautier Libert

See cue 13.

As cue 13

As cue 13


Domine Deusfrom Gloria – Guillaume Le Grant

CMM, 11/2,bb.25–58 (see cue 9).

Gloria, 3vv (see cue 9)

At written pitch

Begins where cue 9 left off.


Agnus Dei– Reginaldus Libert

CMM11/3, 40, bb. 1–38.

Tr 92,fol. 63v

Munich 14274, fol.72

Down an octave

Agnus Deifrom Missa de beata Virgine. Contratenor derived from fauxbourdon.


De tristesse– Gautier Libert

See cues 13 and 39, above.



O mortalis homo, que moventur / O vos multi quibus honor datur / O pastores quibus committuntur –Franchois Lebertoul (fl. 1409–?1428)

CMM11/2, 47–48.

Ox 213, fol. 41v (unicum)

At written pitch

Ballade with multiple Latin texts.


Chant – Loquebantur variis linguis

[Plainchant responsory for Matins of the Feast of Pentecost.]

Liber Responsorialis, 118

In D mode, starting on F

Responsory after the second lesson at Matins of the Feast of Pentecost.


Agnus Dei– Gilles Binchois

Kaye no. 4b, 52–54, bb. 1–65 (first two Agnus Dei settings).

Ao 15, fol. 180v

Tr 90, fol. 267v–268

Tr 93, fol. 338v–339

At written pitch

Text added editorially to T and CT and observed here.


Eya dulcis adque/Vale placens peroratrix– Johannes Tapissier (b. c. 1370; d. before Aug 1410)

CMM11/1, 72–78 bb. 1–31.

Ox 213, fol.139v–140

Down a minor 3rd



Chant – Veni Creator spiritus

[Plainchant hymn for the Feast of Pentecost.] vv. 1, 2, 3, 4, 5, 7 (doxology).

Graduale Triplex, 848

In A mode, beginning on E


Gaude Dei genitrix– Anonymous

Polyphonia Sacra, 225–231(sung complete).

Ox 213, fol.10v–11

Non-isorhythmic motet. Prayer or intercessory motet to the Blessed Virgin.


Regina saeculi / Reparatrix– Anonymous

Polyphonia Sacra,146–149(sung complete).

Ox 213, fol.37v–38

‘N.B. Except in the final Amen, the five parts are conceived as completely isorhythmic, the succession of the rhythmic (non melodic) values being absolutely the same in division (b) as in division (a). Five-part writing is an exception in such an otherwise archaic piece. A [cadence to a] c-chord conclusion is rare at this time’. Polyphonia Sacra, xxxi.


Salve virgo virginum / Vita, via, veritas– Billart (fl. ?c. 1400)

Polyphonia Sacra, 159–166 (sung complete).

Ox 213, fol.114v–115

Antiphon motet. Several changes were made to the modern edition on the basis that the original manuscript was unreliable. ‘This is a work of exceptional mensural complexity and repeated harsh dissonances in the upper voices, optimistically described by Van den Borren as giving “some idea of improvised counterpoint, as it was practised in the fifteenth century”. The top voice has as its text one of the best-known glosses (Chevalier no. 18318) on the antiphon used in the tenor … Billart may well be identifiable with Aubert Billard (Albertus Billardi), a clerk and chaplain at Notre Dame, Paris, from 1392 to 1394.’ Grove Online (accessed 2 November 2016).


Je me complains piteusement– Guillaume Dufay, with contrafact lyrics by Christine de Pizan from La Ditié de Jeanne d’Arc

See cue 1, above

See cue 1, above

Down a major 6th

Table A4.2:details of modern editions used inVoices Appeared:

CMM 11/1

Early Fifteenth-Century Music, edited by Gilbert Reaney, Corpus Mensurabilis Musicae 11, vol. 1 (Rome: American Institute of Musicology, 1955).

CMM 11/2

Early Fifteenth-Century Music, edited by G. Reaney, Corpus Mensurabilis Musicae 11, vol. 2 (Rome: American Institute of Musicology, 1959).

CMM 11/3

Early Fifteenth-Century Music, edited by G. Reaney, Corpus Mensurabilis Musicae 11, vol. 3 (Rome, American Institute of Musicology, 1966).

CMM 11/7

Early Fifteenth-Century Music, edited by G. Reaney, Corpus Mensurabilis Musicae 11, vol. 7 (Neuhausen-Stuttgart: American Institute of Musicology, 1973).

CMM 1/5

Guillelmi Dufay opera omnia, edited by H. Besseler, Corpus Mensurabilis Musicae 1, vol. 5 (Rome: American Institute of Musicology, 1966).

CMM 1/6

Guillelmi Dufay opera omnia, edited by H. Besseler, Corpus Mensurabilis Musicae (Rome: American Institute of Musicology, 1964), revised, David Fallows, 1994. Also consulted, David Fallows, The songs of Guillaume Dufay: critical commentary to the revision of Corpus Mensurabilis Musicae, ser. 1, Volume 6(Neuhausen-Stuttgart: American Institute of Musicology, 1995).


The Sacred Music of Gilles Binchois, edited by Philip Kaye (Oxford: OUP, 1991).

MB 4

Musica Britannica, vol. 4: Mediæval Carols,edited by John Stevens (London: Stainer and Bell, 1951).


Early English Church Music,vol. VIII: Fifteenth-Century Liturgical Music, I: Antiphons and Music for Holy Week and Easter, edited by Andrew Hughes (London: Stainer and Bell, 1963).

Polyphonia Sacra

Polyphonia Sacra: A Continental Miscellany of the Fifteenth Centuryedited by Charles van den Borren (Burnham and London: Plainsong and Mediæval Music Society, 1932).

Lymburgia: Four Motets

Johannes de Lymburgia. Four Motets [from] The Song of Songs, edited by Ann Lewis (Newton Abbot: Antico Editions, 1984).

Graduale Triplex

Graduale Triplex (Paris-Tournai: Abbaye Saint-Pierre de Solesmes,1979).

Liber Responsorialis

Liber Responsorialis (Paris-Tournai: Abbaye de Saint-Pierre de Solesmes, 1895).

Liber Usualis

Liber Usualis (Paris-Tournai: Abbaye Saint-Pierre de Solesmes,1961).

Table A4.3:details of manuscript sources of music used in Voices Appeared


Manuscript details


Scribe(s) and Date(s)

Number of compositions/


Ox 213

Oxford, Bodleian Library, MS. Canonici. misc. 213

Veneto, Venice, Italy

Single scribe. David Fallows suggests that copying began in 1428 and was completed in 1436. David Fallows, Bodleian Library, Manuscript, Canon. Misc. 213, with an introduction and inventory by David Fallows (Chicago: University of Chicago Press, 1995), 20.


Bol Q15

Bologna, Museo Internazionale e Biblioteca della Musica di Bologna (formerly Civico Museo Bibliografico Musicale): MS Q15 (olim.37)

Padua and Vicenza, Italy

Single scribe. Stage 1 compiled in Padua, 1420–1425, Stage 2 in Vicenza 1430–1435.


Ao 15

Aosta, Seminario Maggiore, MS 15 (olim: A1; D19)

Strasbourg, France

Innsbruck, Austria

Bologna, Italy

Basel, Switzerland

Several scribes. Section 1 copied and complied in Bologna, c. 1430–5; sections II and III copied in the Basel-Strasbourg area, c. 1435–43; Section 4 copied at Innsbruck, c. 1443–6


Tr 90

Trento, Museo Provinciale d’Arte, Castello del Buonconsiglio, MS 90 (1377)


Copied by several scribes, including Johannes Wiser. c. 1460. Copied in Trent, apparently from Tr 93


Tr 92

Trento, Museo Provinciale d’Arte, Castello del Buonconsiglio, MS 92 (1379)


Part 1 by one main scribe, with additions by 5 or 6 others, in Basel-Strasbourg region c.1430–1440. ‘Main scribe of Part II identified by Wright as Johannes Lupi, a musician and priest active in and around Trent between 1447 and his death in 1467’. (accessed 20 October 2017)


Tr 93

Trento, Biblioteca Capitolare / Museo Diocesano, MS 93 (MS BL)


Part I copied by several scribes, perhaps including Johannes Wiser.


BU 2216

Bologna, Biblioteca Universitaria, MS 2216

Venice, Italy

First 40 folios before 1440; fol. 41–57 after 1440. Pieces added in white notation after 1450. Fol. 1–40 copied in the vicinity of Venice; remaining folios copied in Brescia.


Paris 4379

Paris, Bibliothèque Nationale nouvelles acquisitions françaises [n.a.f.], 4379


Composite of four separate and unrelated manuscripts first bound together in 1885. Part I probably copied in Naples, but Roman origin Part II copied in Italy; Part III probably copied in Venice or vicinity (one of the scribes worked on Ox 213); Part IV copied in Spain (MME).


Eg 3307

London, British Library, Egerton MS 3307


One main scribe with two others. Fallows argues, in a forthcoming book on the carol tradition, for connections with the Exeter area, as is the case for Ritson (see below). He also suggests that at least six of the carols in Egerton predate 1422.



London, British Library, Add. MS 5665


One main scribe and 15 others. David Fallows argues in a forthcoming book that the earliest layer dates from the 1440s, which includes the carols. Later sections were copied after the accession of Henry VIII to the throne in 1509. He suggests that Ritson’s first layer might be associated with Exeter Cathedral in the 1430s.



Modena, Biblioteca Estense Universitaria, MS alpha X.1.11

Court chapel of Leonello d’Este (Marquis of Ferrara), Ferrara, Italy

Copied by one main scribe, with later additions by four other scribes. c. 1440–8 (main layer), with additions c. 1450–60 and c. 1471–80. MS may have originated within the papal chapel during the Council of Florence (1439 – 1445) before being transferred to Ferrara.


Ca 6

Cambrai, Médiathèque Municipale (formerly Bibliothèque Municipale), MS D 6


c. 1430–40. Mostly concordant with Ca 11.


Ca 11

Cambrai, Mediathèque Municipale (formerly Bibliothèque Municipale), MS D 11


c. 1430–40. Copied for the cathedral at Cambrai by a single scribe, who also copied Cambrai 6.


Ca 29

Cambrai, Mediathèque Municipale (formerly Bibliothèque Municipale), MS 29


Date 1381 appears on fol. 258. The polyphonic hymns were added c. 1435–50


CS 15

Biblioteca Apostolica Vaticana, MS Capp. Sist. 15


Composite of earlier separate fascicles, assembled in Rome c. 1495-1500



Cambridge, Trinity College, MS O.3.58 (Agincourt Roll)


First half of the fifteenth century.

13 carols

Selden B26

Oxford, Bodleian Library, MS. Arch. Selden B. 26 [olim: MadanSC 3340]


Fallows argues for a copying date of 1435–1440, though much of the repertoire contained is over 20 years old at the time and contests earlier arguments about provenance: ‘it originated away from the main centres of music-making in England at the time’. (My thanks to David Fallows for providing me with a draft manuscript.)


Florence 2211

Florence, Archivio di San Lorenzo, MS 2211


Early fifteenth century. The manuscript is often described as a palimpsest as the music was erased to allow it to be used as an administrative ledger. Frank D’Accone first reported the importance of the manuscript in 1982 but only with developments in multispectral imaging has more detailed and accurate study been made possible. High-quality images are available in Andreas Janke,and John Nádas, The San Lorenzo Palimpsest. Florence, Archivio del Capitolo di San Lorenzo Ms. 2211. Ars Nova. 2 vols. (Lucca: Libreria Musicale Italiana, 2016).


Munich 14274

Munich, Bayerische Staatsbibliothek, Clm. 14274 (Sankt Emmeram Codex)

St. Emmeram Benedictine monastery, Bavaria, and Regensburg, Germany.

Composite of originally separate fascicles copied at different times. Copied by four main scribes, including the original owner, Hermann Poetzlinger. Nine or ten additional scribes c. 1440–50. Copied in Vienna and Regensburg, 1440–1450. See Ian Rumbold and Peter Wright, Hermann Pötzlinger’s Music Book: The St Emmeram Codex and its Contexts (Woodbridge: Boydell Press, 2009).


Mc 871

Montecassino, Biblioteca dell’Abbazia, MS 871


Composite of several originally separate fascicles bound together in the late seventeenth century. The main scribe was probably a Benedictine monk at monastery of San Michele Arcangelo de Planciano in Gaeta or monastery of San Severino and Sossio in Naples, working sometime between 1480 and 1500. The manuscript includes non-musical portions from the thirteenth and fourteenth centuries, and most of the music is from the period from 1430–80.


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You are listening to O tres piteulx / Omnes amici 'Lamentatio sancte matris ecclesie Constantinopolitane', a track from our latest release on Hyperion of music by Guillaume Dufay, one of the most important composers of the fifteenth century. It is a lament on the fall of Constantinople to the Turks in 1453. It's one of the group's favourite pieces, a gentle and affecting piece that features both French and Latin texts, the latter from the Book of Lamentations. You can hear more on the Hyperion website, read the engaging liner notes, and order or download tracks or the entire album in a number of formats.