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Friday, 13 April 2018
Manuscript facsimiles and facsimiles of & primary sources, together with a selection
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[Bolzano] I manoscritti liturgico-musicali di Bolzano (secoli XIII-XIX). A cura di Giulia Gabrielli.
Bibliotheca Mediaevalis, 3. Lucca, 2015. 21 x 26 cm. $75 [item no.9434]

[Cambridge, Corpus Christi, Ms. 473] The Winchester Troper. Facsimile Edition and Introduction by Susan Rankin.
Early English Church Music, 50. London, 2007. 30 x 43 cm. 104, 102 pp. The Winchester Troper, compiled in the early 11th century and added to until the early 12th, was originally copied out and used at Winchester Cathedral. It is regarded a seminal text for the study of Anglo-Saxon musical and liturgical practice. The introduction explains how and why the book was made, and how its liturgical contents were designed. Studies of the hands of over 50 text scribes are accompanied by the first full account of Anglo-Saxon musical notation, and a study of the most innovative element of the collection, a series of 174 organa, representing a musical practice not recorded elsewhere in Europe before the 13th century. Hardbound. $259 (more info... ) [item no.8906]

[Cortona, Biblioteca del Comune e dell’Accademia Etrusca, MS no.91] Il Laudario di Cortona. Cortona. Biblioteca del Comune e dell’Accademia Etrusca, ms. 91. A cura di Francesco Zimei e Marco Gozzi.
Venite a Laudare, 1. Lucca, 2015. 21 x 26 cm. 342 pp + commentary. Full-color facsimile of a mid to late 13th c. manuscript produced by the Brotherhood of Santa Maria delle Laude at the Church of San Francesco. This important source transmits 66 lauds —46 with text and music—and is one of the few cases with texts and music together. While the majority of the lauds are Marian in nature they also refer to Francisanism, morality subjects, and the liturgical calendar such as Nativity, Epiphany, Easter, Pentecost or specific saints (Vol. 2—Commentary—will be published in 2017) $195 (more info... ) [item no.9433]

[Giunta Gradual] Il graduale Giunta, Venezia 1572. Con facsimile integral dell’esemplare conservato presso la Biblioteca Laurence Feininger di Trento nel CD-ROM allegato.
Monumenta Liturgiae Cantus, 2. Lucca, 2013. 18 x 24 cm, xxxii, 320 pp, CD. Line-cut reproduction of the Venice, 1572 edition, one of many service books by the venerable publisher Lucantonio Giunta il giovane. Inaugurates the series “Monumenta Liturgiae et Cantus”, a series that will present facsimiles accompanied by commentaries of all the liturgical books issued by Giunta. Wrappers. $42 [item no.9353]

[Kiel, Universitätsbibliothek, S.H. 8 A.8°] The Offices & Masses of St. Knud Lavard (✝1131) (Kiel, Univ. Lib. MS S.H. 8 A.8°). Reproduced in Facsimile, Transcribed and Edited by John Bergsagel. Volume 1: Facsimile; Vol. 2: Edition. With an Essay on the Historical Background by Thomas Riis.
Musicological Studes, 65/17. Ottawa, 2010. 21 x 30, 2 vols, viii, 145, 72 pp. Full color reproduction of MS Kiel, Universitätsbibliothek S.H. 8 A 8°, compiled around 1202. Preserves the music for the complete monastic cycle of the Office of the Translation of St. Knud Lavard (25 June), as well as for the feast of his Passion (7 January), together with the proper items of their respective Masses..There can be little doubt that it records the words and music that were sung at the Translation of St. Knud Lavard on 25 June, 1170, and that the liturgical celebration of the Feast of the Passion, which was his major feast throughout the Middle Ages, was composed at the same time by the same composer (or team). This remarkable document is probably the earliest music composed in Denmark. Hardbound. $265 [item no.9190]

[León, Catedral de Santa María de Regla, ms.8] Liber antiphonarium de toto anni circulo a festivitate sancti Aciscli usque in finem Cathedralis Ecclesae Legionensis in Hispania codex signatus nr. VIII : Librum Ikilani Abbati. Curavit: Ismael Fernández de la Cuesta.
Madrid, 2011. 25 x 35 cm, 620 pp. Full color facsimile of a 11th century MS containing all the chants for the mass and office in calendar order, plus the chants for feast days and Sundays. It is the most important musical codex of the hispanic liturgy and one of the most representative musical codices of the West. At the same time it is the only complete visigothic mozarabic antiphonary that has survived. $148 (more info... ) [item no.9385]

The Liber Usualis. With Introduction and Rubrics in English. Edited by the Benedictines of Solesmes.
Great Falls MT, 2007. 13 x 19 cm, 2010 pp. Reprint of the Declée, 1952 edition. The Liber Usualis or Book of Common Use—Missae et Officii: Pro Dominicis et Festis cum Cantu Gregoriano—is usually associated with the Gregorian chant propers sung at Mass, but its usefulness doesn't end there: it is a practical combination of the various official liturgical-musical books of the Roman Rite (e.g., Kyriale, Graduale Romanum, Cantorinus, Officium Hebdomodae Sanctae Instauratus) used for both chanting the various parts of the Divine Office and the Holy Sacrifice of the Mass. It also contains a wealth of ancient Latin hymns, ad libitum Kyriale modes, litanies and even the Ordo Missae (the Ordinary, Prefaces and Canon of the Mass) allowing it to be used in place of a daily missal during Mass. The Liber further explains the names of the various components of Gregorian chant, the method for properly rendering it according to the “Solesmes method”, how to chant the Lessons, Epistles and Gospels, a section on general rubrics for applying the calendar and classification system in addition featuring important particular rubrical notes as necessary (e.g., for the ceremonies of Ash Wednesday), a general index as well as alphabetical indexes for the various parts of the propers, antiphons, psalms (even a numerical index for these), canticles, and hymns. Buckram, with 7 ribbons bound in for page markers. $119 [item no.9184]

Linz, Upper Austrian State Library (olim Bundesstaatliche Studienbibliothek), Codex 290 (183). Introduction and Indices by Martin Czernin.
Publications of Mediaeval Musical Manuscripts, 34. Ottawa, 2006. 23 x 30 cm, 2 vols, ii, 183, 881 pp. Halftone of the “Breviarium Monasticum”, written during the second half of the 12th c. at the scriptorium of the Benedictine abbey of Kremsmünster. The abbey, the second oldest in Austria, was established in 777 as a colonial and missonary center by Tassilo III, duke of Bavaria and a member of the Agilofing family. The MS contains both the liturgical texts for the daily canons of the monks of Kremsmünster of the late 12th c following the rite Hirsau and the melodies of nearly all chants notated in adiastematic German neumes. Hardbound. $396 [item no.8777]

Manuscripts of English Thirteenth-Century Polyphony. Facsimile Edition by William J. Summers and Peter M. Lefferts.
Early English Church Music, 57. London, 2016. 30 x 43 cm. 340 pp. The third facsimile collection to be published by Early English Church Music, Volume 57 attests to the quality and depth of the polyphonic traditions during the long reigns of Henry III and his son Edward I, when the music of English high culture achieved a technical autonomy from the common international Anglo-French repertoire of the period. Assembling within the covers of one publication a set of facsimiles of the extant remains of native origin, it comprises images of more than 60 sources of 13th-c. polyphony, including the Reading rota, the conductus-rondellus Flos regalis, and the Worcester fragments, here reunited from three codices. The large page layout adopted enables almost all the MSS to be reproduced at full size for direct comparison of different sources, layouts and dimensions. Buckram. $275 (more info... ) [item no.9516]

[Milan, Biblioteca dell’Università Cattolica del S. Cuore, ms. catt. 5] L’“Antiphonarium letaniarum” ambrosiano del 1492. A cura di Giacomo Baroffio e Eun Ju Kin e una presentazione di Ellis Sada.
Bibliotheca Mediaevalis, 1 Lucca, 2008. 20.5 x 28 cm, xxxii, 150 pp. Deluxe full-color reproduction of a late 15th-c. Ambrosian processional. This beautifully executed "Antiphonale of the Litanies" in characteristic Ambrosian script was acquired by Catholic University of the Sacred Heart in 1970, gift of Father Oblati di Rho. It contains the antiphons of the Rogation week according to the Milanese ritual, a complex liturgical intinerary celebrated on Monday, Tuesday and Wednesday after Ascension, that is, at the beginning of the week preceeding Pentecost. The liturgy provided the singing of the antiphons during the processional itinerary where both congregation and clergy participated. The procession lasted 3 days and went to 30 churches; 13 churches during the first day and 11 and 12 (or 14) the following days. The book was written in 1492 by Antonio de Lampugnano, commissioned by Cristoforo de Camponibus, a canon of S. Maria della Scala. The later provided to include the music according to the canonic calligraphy of the gothic Lombard notation used exclusively in the liturgical Ambrosian books. The only historiated miniature, at the beginning of the litanies, shows St. Ambrosio seated with the mitre and pallium. Two miniatures signal the beginning of the second and third days of the litanies. The topographic index confirms the local character of the chants. The majority of them are transmitted solely in the books of the Ambrosian rite; few are common with the Roman tradition and probably derived from it. Hardbound. $280 (more info... ) [item no.9015]

[Milan, Museo Diocesano s.n. “Antifonario ambrosiano”; olim Vendrogno in Val Muggiasca] L’antifonario di Muggiasca. A cura di Giacomo Baroffio.
Bibliotheca Mediaevalis, 2. Lucca, 2014. 17 x 25 cm, 3 vols, 584, 596, 384 pp. Ambrosian chant, non-Roman chant cultivated within the historical boundaries of the archdiocese of Milan including the cities of Bergamo, Brescia, Pavia, Piacenza & Vercelli, has a complex history. It has been pointed out that its syllabic chants exhibit even more rigidity than equivalent Gregorian examples, yet at the same time its melismatic chants can burst forth with unusual excesses comparable to those of ancient Hispanic chant. Unlike sources transmitting the Roman tradition the Ambrosian manuscripts preserve chants of the mass together with those for the office. The antiphonary of Muggiasca, a wonderful 14th-c. manuscript—reproduced here for the first time in facsimile (full-color, in reduced format), is considered by scholars to be one of the three most important sources of Ambrosian chant. Wrappers. $298 (more info... ) [item no.9422]

[Montecassino, Archivio della Badia, ms. 542] Montecassino, Archivio dell'Abbazia, Ms. 542. Antiphonaire, 12eme siècle. Katarina Livljanić.
Paléographie Musicale, I/23. Solesmes, 2014. 4˚, 194 pp. Facsimile, in color, of a 12th c. antiphoner from Monte Cassino. Beneventan notation on dry-point staff, the manuscript is devoted almost entirely to chants of the Gregorian tradition. Introduction and inventory by Katrina Livljanić. Wrappers. $126 (more info... ) [item no.9343]

[Moscow, Tretiakov Gallery, K-5349] [Typografskij Ustav. Typicon with a Kondakarion (Late XI - early XII Century). Edited by B.A. Uspenskij.]
Moscow, 2006. 20 x 27 cm, 3 vols, 254, 453, 255 pp; 1 DVD. “The Tipografskij Ustav”, one the oldest Slavonic music manuscripts. is written in two musical notations, both of Byzantine origin. Especially interesting is the so-called kondakarion notation which has not yet been deciphered (only five mss with this notation are known). The monument presents a unique combination of Typicon and Church hymns with pictures on margins which are interesting examples of pre-Mongolian Russian art. The publication is of interest for specialists in Byzantine studies, liturgical studies, hymnography, musical studies and art history. Vol. I consists of a halftone facsimile of the manuscript, vol. II provides a transcription with glossary and commentary, Vol. III presents a collection of studies concerning different aspects of the manuscript. All texts in Russian. Hardbound. $364 [item no.8788]

[Mozarabic chant, Toleldo rite] Los cantorales mozárabes de Cisneros. Catedral de Toledo. Edición facsimilar coordinada por Ángel Fernández Collado, Alfredo Rodríguez e Isidoro Catañeda Tordera.
Primatialis Ecclesiae Toletanae Memoria, 11. Toledo, 2011. 20 x 29 cm, 2 vols, xi, 903 pp. The general definition of Mozarabic chant is the repertoire used by Christians of modern Spain and Portugal living under Muslim rule. Following the reconquest of Toledo in 1085 the Mozarabic rite was gradually replaced by the Roman rite. There were exceptions, one notable example is the remarkable action taken by Cardinal Ximenes de Cisneros (1436-1517) to print in 1500 and 1502—on parchment—a “mozarabic” missal & breviary, followed by a complete repertoire of chants. Although the intention was to revive and restore the Mozarabic tradition this was a tall order: mozarabic chant was largely an oral tradition, and because the mss and notation that were available to Cisneros' editors was at best ambiguous, the Cardinal’s musicians had no choice but to invent at times and use elements of Gregorian chant in their "restoration". This fascinating publication produced by the Spanish Musicological Society allows us for the first time to see and compare the “restored” texts with some of the ancient manuscripts and to form a better understanding of what exactly Cisneros created. It provides a complete facsimile of the 4 printed music volumes—Cantoral Mozárabe Cisneros I, II, III & IV—comprising 796 pp, as well as relevant pages from genuine Mozarabic mss dating from the 10th to the 14th c. Introduction in Spanish with complete index of chants. 2 vols, wrappers. $120 (more info... ) [item no.9392]

München, Bayerische Staatsbibliothek, Clm 14965b. The Tonary of Frutolf of Michelsberg [ff.34-73v]. Introduction and Index by Rebecca Maloy.
Publications of Mediaeval Musical Manuscripts, 32. Ottawa, 2006. 22 x 28 cm, 68, 80 pp. Halftone of the second of two tonaries transmitted in MS 14965b, securely attributed to Frutold of Michelsberg (d. 1103) based on close textual parallels between it and the “Breviarum de musica”. The tonary, long recognized as one of the most important larger German tonaries, presents a complete list of Mass and Office chants, sequences and processional antiphons. Cloth. $130 [item no.8688]

[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol.I: Rondeaux et virelais I. Edition par Cécile Beaupain et Germana Schiassi sous la direction de Raphaël Picazos.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 1. Bologna, 2011. 4º, 127 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $73 [item no.9225]

[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol. II: Ballades I Introductory Texts, Poetic Texts and Critical Notes in French and English.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 2. Bologna, 2013. 24 x 32 cm, 232 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $92 [item no.9322]

[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol. III: Ballades II Introductory Texts, Poetic Texts and Critical Notes in French and English.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 3. Bologna, 2014. 24 x 32 cm, 236 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $97 [item no.9368]

[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol. IV: Ballades III Introductory Texts, Poetic Texts and Critical Notes in French and English.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 3. Bologna, 2016. 24 x 32 cm, 224 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $85 [item no.9528]

[Osnabrück, Diözesanarchiv, Inv. Nr. Ma 101] Codex Gisle — Gradual of Gisela von Kerssenbrock.
Lucerne, 2014. 35.5 x 26 cm, 344 pp. Of the approximately 500 mss copied by nuns that survive from medieval Germany, none stands out quite like “Codex Gisle”, a Gradual in courtly gothic style with about 1500 Gregorian chants adorned with 53 historiated initials. It gets its name from the Cistercian nun Gisela von Kerssenbrock who, according to the memorial inscription on fol. 1 (in an early 14th c. hand), copied and illuminated it sometime before 1300 for her convent of Marienbrunn in Rulle near Osnabrück. Already known to art connoisseurs through a fine but partial collotype facsimile published in 1926 with the participation of the art historian Martin Wackernagel, the manuscript will now be given its due worth in a complete and exacting fine arts facsimile by Quaternio Verlag of Lucerne. Deluxe edition of 480 copies bound with tooled leather and metal bosses and clasps. (more info... ) [item no.9345]

[Oxford, Bodleian Library, canon. lit. 342] Missale beneventanum notatum ecclesiae cathedralis ragusii. Oxford, Bodleian Library—MS. Canon. Liturg. 342.
Dubrovnik, 2011. 22 x 30 cm, 173, 256 pp. Beautiful full-color facsimile of a 12th c. notated missal from the Cathedral of Saint Mary in Dubrovnik. Though the MS has been in the possession of the Bodleian Library since 1817—part of the sizable collection acquired from the estate of the Jesuit Matteo Luigi Canonici—scholars realized early on of its connection with the city of Dubrovnik based on the inclusion of prayers in honor of three local otherwise unknown martyrs from Kotor: Peter, Andrew and Lawrence. Another connection with Dubrovnik is the cult of St. Blaise. The missale survives with 122 parchment leaves although it is estimated that about a quarter of its original content has been lost. The texts of the MS were copied in rounded Dalmatian Benevantan script, while the music notation to be sung by the ‘scholae cantorum’ is written in cursive Beneventan notation of the Dalmatian style (the Italian version has more detailed liquescent neumes). As the missal is the only book of rites which assembles in one place everything necessary to conduct the Mass this source is of great interest for the history of Dubrovnik Cathedral at a time when each Catholic diocese organized its own liturgy by importing, according to local conditions, adapted texts and rubrics of the Roman rite and adding particular features of its own liturgical traditions. Edited by Miho Demovic; with parallel texts in English. Facsimile volume hardbound, commentary in wrappers; slipcase with reproduction of a page of the original. $185 (more info... ) [item no.9369]

Oxford, Bodleian Library, MS. Selden Supra 27. Prosaire-Tropaire de Heidenheim. Edited by Dujka Smoje.
Publications of Mediaeval Musical Manuscripts, 33. Ottawa, 2006. 22 x 28 cm, 112, 214 pp. Halftone of a small-format codex containing a collection of sequences, proses and tropes, written in the mid-11th c. at the Monastery of Heidenheim in the diocese of Eichstätt. Its physical size and repertoire suggest that it was meant to be used as a private handbook of a cantor. The folios show signs of everyday use and there are later corrections and additions by several hands from the 12th and 13th c. The ms consists two clearly delimited parts: the prosarium (66 sequences and proses, and two additional sequences at the end of the book; and the troparium, with 492 pieces, including five parts of a Missa Graeca. Cloth. $220 [item no.8696]

[Paris, Bibl. Nationale, nouv. acq. lat. 1871] Tropaire séquentiaire prosaire prosulaire de Moissac. Édition, introduction et index par Marie-Noël Colette.
Publications de la Société française de Musicologie, I/27. Paris, 2006. 24 x 32 cm, 116, 360 pp. The Abbey of Moissac is renowned in our time for the splendor of its monastery; since the 11th century it stood out for the quality of its intellectual and musical life which was reflected in its mss. The present “tropaire-prosaire” is a beautiful sample of this, representing the literary and musical production of its time in the west of France. This work is also one of the first mss that was copied according to a musical notation perfectly legible thanks to a rigorous system of note placement around a reference line. It transmits chants with poetic texts whose beauty seduces not only specialists in literature, history or music, but also singers and the public. The facsimile fills a lacuna since reproductions up to now have mainly addressed the gradual and antiphonary, almost ignoring—for such an important epoch—the prose and trope repertoire. This edition of Paris BN nouv. acq. lat. 1871 in full color, combined with modern indices of texts and melodies, makes it possible to appreciate the relationship between these compositions and the chants to which they were joined in the Middle Ages. Wrappers. $245 (more info... ) [item no.8723]

[Salamanca, Archivo de la Catedral, ms 2631] Codex Calixtinus de Salamanca.
Burgos, 2012. 27 x 37 cm, 246 pp + commentary. Students and scholars of the camino are now fortunate to have a second facsimile of Codex Calixtinus, based on the Salamanca copy. Known as Ms. S, and copied around 1325 in Santiago de Compostela, this counts as one of four complete (long) versions of the Jacobus compilation and at the same time one of four that are illustrated. According to M. Alison Stones the meagerness of Jacobus transmissions is a bit baffling—compared to about 200 sources for the Historia Turpini (Book IV), so the facsimile of the Salamanca source is all the more welcome. Telltale aspects of Ms. S show it has a slightly different lineage from Ms. C, and in that way the text and illustrations offer the historian new insights and challenges. Salamanca comes down to us without title page and the initial portrait of Pope Calixtus has been vandalized, however, other than this the manscript is beautifully executed and adorned with 5 stunning illuminations, 1 of them a whole page. Although Salamanca provides full texts for the chants for the office and mass of St. James, the compiler didn't get around to enter the pitches for the chant around the a single reference line (usually C or F). Limited edition of 898 copies. Artisan binding in full leather with gold decoration on spine, pasted etikette and buckram-leather covered slipcase. (more info... ) [item no.9323]

[Skara, Skara Stifts- och landsbibliotek] Skaramissalet. Studier, edition, översättning och faksimil av handskriften i Skara. Christer Pahlmblad.
Skrifter utbivna av Stifts- och landsbiblioteket. Skara, 2006. 24 x 32 cm, 450 pp. This fascinating MS known as the "Skara Missal" was compiled around 1150-1170. Only about one eighth of the more than 300 leaves of the original Skara Missal survives. This fact makes any definitive statement of its provenance difficult; not even its association with the diocese of Skara (the oldest in Sweden) can be proven as the first bibliographic record linking it to this diocese dates from the 18th century. The structure and selection of its prayers reveal connections with sources in Fulda, Winchcombe, Echternach, as well as with some Northern French MSS (Poitiers, Bec, & Chartres). The chants are written in an early square notation of an unmistakable Norman character. The decorations of the Skara Missal consist of 2 full-page illuminations depicting the Maiestas Domini and the Crucifixum, 4 large initial letters and a large number of simpler ones. The illuminations share many elements with models than come from the environs of Saint-Amand and Tournai. The style of the figures and certain idiosyncratic traits, such as the shape of the mandorla surrounding the Maiestas Domini cannot be found among the works produced by continental scriptoria, and indicates the possibility of a Scandinavian illuminator. The established contacts of the Skara region with Norway, and the fact that it is generally assumed to be highly probable that a fully equipped scriptorium did not exist in Skara itself during the middle of the 12th c., lend credence to the theory that this beautiful Missal, the oldest surviving MS of its type in Scandinavia and one of the prize possessions of the Skara Stifts- och landsbibliotek, was produced in Norway. $108 (more info... ) [item no.8760]

Tallin, Eesti Ajaloomuuseum (Tallin, Historical Museum), MS 237.1.228a (XIX.184; 240750. Herausgegeben von / Edited by Victoria Goncharova.
Publications of Mediaeval Musical Manuscripts, 35. Ottawa, 2008. 27 x 40, xli, 630 pp. Halftone of a Antiphonal-Gradual from Preetz (near Kiel), copied c. 1525. Written in in “Hufnagel” script, Ms 237.1.228a is a witness to the liturgical practice of one of the largest and most influential Benedictine convents in Schleswig-Holstein. Hardbound. $305 [item no.8965]


Antifonale Ambrosiano. Commune di Milano, Arcidiocesi di Milano. Servizio per la Pastorale liturgica.
Milan, 2011. 17 x 23 cm, 271 pp, audio CD. Wrappers. $53 [item no.6751]

Psallite domino. Canti la messa.
Lucca, 2/ 2006. 12º, xxviii, 236 pp. Edition by the monks of Solesmes, approved by the Concilio Ecumenico Vaticano II and edited according to the Costituzione Sacrosanctum Concilium and and the “Graduale simplex” (1975). In traditional quadratic notation. Hardbound. $44 [item no.6627]

Songs in British Sources c.1150-1300. Transcribed and Edited by Helen Deeming.
Musica Britannica, XCV. London, 2013. 4º, lx, 226 pp. Modern critical edition. Partly as a result of the nature of their manuscript transmission, songs from the period 1150 to 1300 have remained unknown or unnoticed with the exception of Sumer is icumen in and Angelus ad virginem. The rich variety of content in MB95 is therefore an important corrective and addition to our knowledge of the period, and is evidence for a vigorous interest in the cultivation and preservation of song in the 12th and 13th centuries. Not all the songs edited here originated in Britain, but their presence in MSS of British origin suggests that all were at least sung here. Most items are found uniquely in single music sources, or with text-only concordances, and around half are published for the first time. Buckram. $175 [item no.6757]


Bouckaert, Bruno. Cantus 21. Mémoires du chant. Le livre de musique d’Isidore de Séville à Edmond de Coussemaker. Sous la direction de Bruno Bouckaert. Contributeurs: Florence Albaret, Véronique Denolf, Sandrine Dumont, Nele Gabriëls, Valérie Guéant, Barbara Haggh-Huglo, Thiphaine Hébert, Sofie Taes, Bruno Bouckaert, Johan Eeckeloo, Michel Huglo, Gilbert Huybens, Pierre-Jacques Lamblin, Christian Meyer, Damien Top.
Cantus 21: Patrimoine Musical du Nord de la France. Neerpelt, 2007. 24 x 29 cm, 240pp. From 19 Nov. 2005 to 18 Feb. 2006 four exhibitions, entitled “Cantus21. Patrimoine musical du Nord de la France”, were organized in Cambrai (Maison Falleur/Médiathèque municipale), Douai (Bibl. municipale and Musée de la Chartreuse) and Bailleul (Musée Benoît-De-Puydt). This exceptionally beautiful and illustrated publication is the scholarly outcome of this event containing detailed descriptions of, and commentaries on more than 150 manuscripts, prints, treatises and archival documents. 2 sections are dedicated mainly to plainchant sources and liturgical manuscripts, one elaborates on sources of polyphony and music theory from the North of France and a final section is dedicated to Charles Edmond Henri de Coussemaker (1805-1876), who was a pioneer in listing and studying music sources from the North of France. A lot of attention is paid to his vast private collection (more than 1600 books, prints and mss) and to the large number of pieces which found their way into the collections of the Brussels Royal Library and the Library of the Brussels Royal Conservatory. Wrappers. $59 (more info... ) [item no.8928]