Codex Faenza

Last updated
Codex Faenza-folio80-Bel fiore danza.png

The Codex Faenza (Faenza, Biblioteca Comunale 117) abbreviated as "(I-FZc 117)", and sometimes known as Codex Bonadies, is a 15th-century musical manuscript containing some of the oldest preserved keyboard music along with additional vocal pieces. The Codex Faenza fully appeared in modern notation on Keyboard Music of the Late Middle Ages in Codex Faenza 117 (Corpus Mensurabilis Musicae, Band 57) by Dragan Plamenac, American Inst. of Musicology (1972). The manuscript is held at the Biblioteca Comunale di Faenza, near Ravenna, but a facsimile with commentary by Pedro Memelsdorff was published by LIM in 2013. [1]

The works of the manuscript are detailed below. The codes in the "Recordings" column are specified in the "Discography" section. The works added by Johannes Bonadies are specified with different color in the list.

FolioWorkVoicesComposerMusical formConcordancesRecordingsComments
12-3Kyrie2intabulationCLE, PUN
23v-5Gloria2intabulation
35v-6Kyrie3 John Hothbi Kyrie
46v-7Et exultavit spiritus meus4 Bernhard Ycart Magníficat
57v-8Et exultavit spiritus meus4Bernhard YcartMagníficat
68v-9Kyrie4Bernhard YcartKyrie
79v-11Et in terra pax hominibus4Bernhard YcartGloria
811vFuga trium temporum3anonymousfugaFuga without text
920v-21Cantus grecus Christus surrexit4anonymous
1027v-28Ora pronobis3 John Hothbi motet
1128v-29Ave regina3Johannes de Erfordiamotet
1229v-30Kyrie3Johannes de ErfordiaKyrie
1330v-31Sanctus3Johannes de ErfordiaSanctus
1436-36vIndescort2intabulationFON, FRADiminution based on the anonymous ballade A discort sont Desir et Esperance
1537-37vHont paur2intabulationSTU, ORG, TRE, UNI, FAE, FRA, EGB, CAMBased on a vocal work by Guillaume de Machaut
1637v-38vDe tout flors2intabulationSCB, MHS, EML, LIB, ORG, TRE, FAE, ALT, DIS, ECGBased on a vocal work by Guillaume de Machaut
1738v-39Aspire refus2intabulationESTUNI
1839-40Elas mon cuer2intabulationORG, UNI, POL
1940-40vDe ce fol penser2intabulationTFL, HAU, PAGBased on a vocal work by P. des Molins
2040v-41vJ'ay grant espoir2intabulationORG, UNI
2141v-42Constantia2intabulationFON, ORG, DUF, ECG, FER, GVO
2242-43Le ior2intabulationORG, UNI, POL, GOT, GVP
2343-43vIorlevie (Jour e jour la vie)2intabulationFRO
2443v-44vViuer ne puis2intabulation
2544v-46vElas mon cuor2intabulationSee #18 above.
2646v-48Deduto sey a quel che may2intabulationORGBased on a vocal work by Antonio "Zachara" da Teramo
2748v-49Or sus, vous dormés trop2intabulationAFR, MAR, NBC, ALB
2849v(untexted)2intabulationDUF, ECG, CPA
2950J'aime la biauté2intabulation
3050-50vIorlevie (Jour meur la vie)2intabulation= obra No 23
3150v-52Roseta che non canci mai colore2intabulationBased on a vocal work by Antonio 'Zachara' de Teramo
3252v-54Tupes2intabulation
3354Sangilio2intabulationVOI, CLE, AMC
3454-56(untexted)2intabulation
3556v-57Biance flour2intabulationRES, MUN, UNI
3657-58Benedicamus Domino2intabulationDUF, VOI, SIX, PUN
3759v-60Kyrie2Johannes BonadiesKyrie
3863Que est ista4John Hothbimotete
3963v-65Et exultavit spiritus meus3John HothbiMagnificat
4065v-66Et exultavit spiritus meus3Bernhard YcartMagnificat
4166v-67vEt exultavit spiritus meus3John HothbiMagnificat
4268-69vSoto l'imperio del posente prinçe2intabulationBased on a madrigal by Jacopo da Bologna
4369v-70vQualle leçe move2intabulationBased on a vocal work by Bartolino da Padova
4471-72La dolçce sere2intabulationNBC, LON, TETBased on a vocal work by Bartolino da Padova
4572-73O ciecho mondo2intabulationDUF, TRE, HUEBased on a vocal work by Jacopo da Bologna
4673-74vAquila altera2intabulationPAN, LIB, ORG, REV, TRE, UNI, TFO, BER, CLA, RAYBased on a vocal work by Jacopo da Bologna
4774v-77Inperial sedendo2intabulationRSUBased on a vocal work by Bartolino da Padova
4877-78Io me son uno che per le frasche2intabulationPAN, ORG, TRE, RIEBased on a vocal work by Jacopo da Bologna
4978-79Non na el so amante2intabulationRIC, PAN, GVO, TRE, PUNBased on a vocal work by Jacopo da Bologna on a text by Petrarch
5079-79vKyrie2intabulationSYN, DUF, MAR, PUN
5179v-80vChe pena questa2intabulationORG, ECG, FAEBased on a vocal work by Francesco Landini
5280v-81Bel fiore dança2intabulationDUF, UNI, ECG, LAM, NBE, MAR, BAM, WIT, PER, RIE, EMA, CIN, SIG, AFA, AMC, DEA
5381-81vNon arà may pietà questa mia dona2intabulationRES, BIN, UNI, ECGBased on a vocal work by Francesco Landini
5482-82vUn fior gentil2intabulationTREBased on a vocal work by Antonius 'Zachara' de Teramo
5582v-83vRosetta che non canbi may colore2intabulationBOL, LUC, PARTREBased on a vocal work by Antonius 'Zachara' de Teramo
--82v-83vRoseta che non canci mai2intabulationBased on a vocal work by Antonius 'Zacharias' de Teramo
5684Diva panthera3John Hothbimotete
5784v-85Tard' il mio cor3John HothbiSecular work in Italian
5885vAve sublime triumphale3John Hothbimotete
5986-86vAmor3John HothbiSecular work in Italian
6087Non so se'l e la mia culpa3Johannes de ErfordiaSecular work in Italian
6187vDoloroso mi tapinello io son3Johannes de ErfordiaSecular work in Italian
6288-90Kyrie2intabulationDGO, PUN
6390-92vGloria2intabulationSIX, PUN
6493-94(untexted)2intabulationDUF, PUN[Deus in adjutorium meum intende]
6594v(untexted)2intabulationECG, PUN
6695(untexted)2intabulationDUF
6795-95v(untexted)2intabulation
6896-96v(untexted)2intabulation
6996v-97 Ave maris stella 2intabulationDUF, VOI, SIX, TFO, EST, RVD, LEI, HUE, PUN, FOR
7097-97v Benedicamus Domino 2intabulationHUE

Related Research Articles

<i>Ars subtilior</i> Musical style of the late middle ages

Ars subtilior is a musical style characterized by rhythmic and notational complexity, centered on Paris, Avignon in southern France, and also in northern Spain at the end of the fourteenth century. The style also is found in the French Cypriot repertory. Often the term is used in contrast with ars nova, which applies to the musical style of the preceding period from about 1310 to about 1370; though some scholars prefer to consider ars subtilior a subcategory of the earlier style. Primary sources for ars subtilior are the Chantilly Codex, the Modena Codex, and the Turin Manuscript.

<span class="mw-page-title-main">Organ tablature</span>

Organ tablature is a form of musical notation used by the north German Baroque organ school, although there are also forms of organ tablature from other countries such as Italy, Spain, Poland, and England. Portions of Johann Sebastian Bach's Orgelbüchlein are written in tablature, as are a great deal of the surviving manuscripts of the organ works of Dieterich Buxtehude and other north German organ composers of the Baroque era.

<span class="mw-page-title-main">Vergilius Augusteus</span>

The Vergilius Augusteus is a manuscript from late antiquity, containing the works of the Roman author Virgil, written probably around the 4th century. There are two other collections of Virgil manuscripts, the Vergilius Vaticanus and the Vergilius Romanus. They are early examples of illuminated manuscripts; the Augusteus is not illuminated but has decorated initial letters at the top of each page. These letters do not mark divisions of the text, but rather are used at the beginning of whatever line happened to fall at the top of the page. These decorated initials are the earliest surviving such initials.

<span class="mw-page-title-main">Chigi codex</span>

The Chigi codex is a music manuscript originating in Flanders. According to Herbert Kellman, it was created sometime between 1498 and 1503, probably at the behest of Philip I of Castile. It is currently housed in the Vatican Library under the call number Chigiana, C. VIII. 234.

<span class="mw-page-title-main">Codex Aureus of Lorsch</span> Latin illuminated Gospel Book

The Codex Aureus of Lorsch or Lorsch Gospels is an illuminated Gospel Book written in Latin between 778 and 820, roughly coinciding with the period of Charlemagne's rule over the Frankish Empire. Both the manuscript and the carved ivory panels from the cover are rare and important survivals from the art of this period.

<span class="mw-page-title-main">Squarcialupi Codex</span>

The Squarcialupi Codex is an illuminated manuscript compiled in Florence in the early 15th century. It is the single largest primary source of music of the 14th-century Italian Trecento.

The Rossi Codex is a music manuscript collection of the 14th century. The manuscript is presently divided into two sections, one in the Vatican Library and another, smaller section in the Northern Italian town of Ostiglia. The codex contains 37 secular works including madrigals, cacce and, uniquely among trecento sources, monophonic ballatas. The codex is of great interest for trecento musicologists because for many years it was considered the earliest source of fourteenth-century Italian music. Although other pre-1380 sources of secular, polyphonic, Italian music have now been identified, none are nearly so extensive as the Rossi Codex.

<span class="mw-page-title-main">Music of the Trecento</span> Period of Italian music in the 1300s

The Trecento was a period of vigorous activity in Italy in the arts, including painting, architecture, literature, and music. The music of the Trecento paralleled the achievements in the other arts in many ways, for example, in pioneering new forms of expression, especially in secular song in the vernacular language, Italian. In these regards, the music of the Trecento may seem more to be a Renaissance phenomenon; however, the predominant musical language was more closely related to that of the late Middle Ages, and musicologists generally classify the Trecento as the end of the medieval era. Trecento means "three hundred" in Italian but is usually used to refer to the 1300s. However, the greatest flowering of music in the Trecento happened late in the century, and the period is usually extended to include music up to around 1420.

<span class="mw-page-title-main">Codex Magliabechiano</span> Mid-16th century pictorial Aztec codex

The Codex Magliabechiano is a pictorial Aztec codex created during the mid-16th century, in the early Spanish colonial period. It is representative of a set of codices known collectively as the Magliabechiano Group. The Codex Magliabechiano is based on an earlier unknown codex, which is assumed to have been the prototype for the Magliabechiano Group. It is named after Antonio Magliabechi, a 17th-century Italian manuscript collector, and is held in the Biblioteca Nazionale Centrale, Florence, Italy.

Intabulation, from the Italian word intavolatura, refers to an arrangement of a vocal or ensemble piece for keyboard, lute, or other plucked string instrument, written in tablature.

<span class="mw-page-title-main">Venetus A</span> 10th-century manuscript

Venetus A is the more common name for the 10th century AD manuscript codex catalogued in the Biblioteca Marciana in Venice as Codex Marcianus Graecus 454, now 822. Its name is Latin for "Venetian A."

Egardus was a European Medieval composer of ars subtilior. Almost no information survives about his life, and only three of his works are known. A certain "Johannes Ecghaerd", who held chaplaincies in Bruges and Diksmuide, may be a possible match for Egardus. The extant works—a canon and two Glorias—appear to be less complex than music by mid-century composers, possibly because they date from either very early or very late in Egardus' career.

The Trent Codices are a collection of seven large music manuscripts compiled around the middle of the 15th century, currently kept in the northern Italian city of Trent. They contain mostly sacred vocal music composed between 1400 and 1475. Containing more than 1,500 separate musical compositions by 88 different named composers, as well as a huge amount of anonymous music, they are the largest and most significant single manuscript source from the entire century from anywhere in Europe.

Antonello da Caserta, also Anthonello de Casetta, Antonellus Marot, was an Italian composer of the medieval era, active in the late 14th and early 15th centuries.

<span class="mw-page-title-main">Pluteo 29.1</span>

Pluteo 29.1, also known as Pluteus 29.1, or simply the Florence Manuscript, is an illuminated manuscript in the Laurentian Library of Florence.

<span class="mw-page-title-main">Biblioteca comunale Luciano Benincasa</span>

The Biblioteca comunale Luciano Benincasa is located in Ancona, Italy, in the Palazzo Mengoni-Ferretti, at the central Piazza del Plebiscito.

The Modena Codex is an early fifteenth-century Italian manuscript of medieval music. The manuscript is one of the most important sources of the ars subtilior style of music. It is held in the Biblioteca Estense library in Modena.

<span class="mw-page-title-main">Laudario di Cortona</span>

The Laudario di Cortona is a musical codex from the second half of the 13th century containing a collection of laude.

<span class="mw-page-title-main">Biblioteca Classense</span>

The Biblioteca Classense is the public library of Ravenna, Italy.

<i>Anseïs de Carthage</i>

Anseïs de Carthage is a thirteenth-century chanson de geste. It is preserved in four manuscripts, though some are fragmentary. It is a sequel to the Chanson de Roland, and is set against the background of the Reconquista of Spain. It was written between 1230 and 1250, and consists of about 11000 rhymed decasyllables. A prose version of the tale is preserved in a manuscript of the late fifteenth century, with the title La cronique associée de Charlemaine très loable et Anseis icy coupplée. The first printed edition of the chanson is that of Johann Alton in 1892.

References