Royal 11 E. xi: Difference between revisions
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'''Royal 11 E. xi''' is a manuscript now housed in the British Library, produced in 1516 for [[Henry VIII]] and his household. The elaborate illuminations are in a heavily Flemish style and the music therein (including the English but continentally influenced [[Sampson]], and Henry VIII's new Italian privy chamber organist, [[Benedictus de Opiciis]]) both reflect the fashions of the period. | '''Royal 11 E. xi''' is a manuscript now housed in the British Library, produced in 1516 for [[Henry VIII]] and his household. The elaborate illuminations are in a heavily Flemish style and the music therein (including the English but continentally influenced [[Sampson II|Sampson]], and Henry VIII's new Italian privy chamber organist, [[Benedictus de Opiciis]]) both reflect the fashions of the period. | ||
The scribe of the manuscript is otherwise uncertain, but scholars have argued that [http://en.wikipedia.org/wiki/Pierre_Alamire Alamire] is its creator. The evidence is scant (although the hand is very close to Alamire's when compared to his work in other manuscripts), although the first (otherwise blank) page contains the inscription "Me fieri ac componi fecit PO" (PO caused me to be created and put together), "PO" perhaps and abbreviation of the Flemish version of Alamire's name, combined with the upside-down "v" and cross above it ("t") that connect the two letters, perhaps signifying P[eter] v[an] t[en] [H]o[ve]. | {{PubDatePlace|1516|Manuscript| }} | ||
The scribe of the manuscript is otherwise uncertain, but scholars have argued that [http://en.wikipedia.org/wiki/Pierre_Alamire Alamire] is its creator. The evidence is scant (although the hand is very close to Alamire's when compared to his work in other manuscripts), although the first (otherwise blank) page contains the inscription "Me fieri ac componi fecit PO" (PO caused me to be created and put together), "PO" perhaps and abbreviation of the Flemish version of Alamire's name, combined with the upside-down "v" and cross above it ("t") that connect the two letters, perhaps signifying P[eter] v[an] t[en] [H]o[ve]; however, it may also be the commission of P[etrus de] O[piciis], the father of the composer [[Benedictus de Opiciis]] whose work is included in this manuscript. | |||
==Contents== | ==Contents== | ||
| Line 20: | Line 22: | ||
|- | |- | ||
|align=right| ''2. | |align=right| ''2. | ||
| {{NoComp|Psallite felices|Sampson}} | | {{NoComp|Psallite felices|Sampson II}} | ||
| {{ss|Sampson}} | | {{ss|Sampson II}} | ||
|align=center| 4 | |align=center| 4 | ||
| | | | ||
| Line 29: | Line 31: | ||
| {{ss|Benedictus|de Opiciis}} | | {{ss|Benedictus|de Opiciis}} | ||
|align=center| 4 | |align=center| 4 | ||
| | | One of only two surviving motets by de Opiciis | ||
|- | |- | ||
|align=right| ''4. | |align=right| ''4. | ||
| {{NoComp|Quam pulchra es|Sampson}} | | {{NoComp|Quam pulchra es|Sampson II}} | ||
| {{ss|Sampson}} | | {{ss|Sampson II}} | ||
|align=center| 5 | |align=center| 5 | ||
| | | | ||
|- | |- | ||
|align=right| ''5. | |align=right| ''5. | ||
| {{NoComp| | | {{NoComp|Haec est praeclarum vas|Sampson II}} | ||
| {{ss|Sampson}} | | {{ss|Sampson II}}* | ||
|align=center| 4 | |align=center| 4 | ||
| Only attributed to Sampson, authorship otherwise uncertain | | *Only attributed to Sampson II, authorship otherwise uncertain | ||
|- | |- | ||
|align=right| ''6. | |align=right| ''6. | ||
| {{NoComp|Beati omnes qui timent Dominum|Jacotin}} | | {{NoComp|Beati omnes qui timent Dominum|Jacotin}} | ||
| {{ss|Jacotin}} | | {{ss|Jacotin}}* | ||
|align=center| 3 | |align=center| 3 | ||
| | | *Only attributed to Jacotin in this source, but confirmed by at least two others as being by him. However, it may be the work of Sampson II, the lack of attribution in this source of ''Haec est praeclarum vas'' perhaps pointing to the pieces which follow ''Quam pulchra es'' as being his work. | ||
|} | |} | ||
==Works at CPDL== | |||
{{MultiPubList|seq,com,gen,subg,vo,voices|1516}} | |||
==External links== | ==External links== | ||
* View images of the manuscript at [http://www.diamm.ac.uk/ The Digital Image Archive of Medieval Music] | * View images of the manuscript at [http://www.diamm.ac.uk/jsp/Source.jsp?navToggle=1&sourceKey=2031/ The Digital Image Archive of Medieval Music] | ||
* View score transcriptions at [http://www.cmme.org/?page=database&view=projects&num=1 CMME.org] | * View score transcriptions at [http://www.cmme.org/?page=database&view=projects&num=1 CMME.org] | ||
[[Category:Music publications]] | [[Category:Music publications]] | ||
[[Category:Renaissance choral collections]] | [[Category:Renaissance choral collections]] | ||
[[Category:Manuscripts]] | |||
Latest revision as of 15:36, 23 November 2020
Royal 11 E. xi is a manuscript now housed in the British Library, produced in 1516 for Henry VIII and his household. The elaborate illuminations are in a heavily Flemish style and the music therein (including the English but continentally influenced Sampson, and Henry VIII's new Italian privy chamber organist, Benedictus de Opiciis) both reflect the fashions of the period.
Publication date and place: 1516 Manuscript.
The scribe of the manuscript is otherwise uncertain, but scholars have argued that Alamire is its creator. The evidence is scant (although the hand is very close to Alamire's when compared to his work in other manuscripts), although the first (otherwise blank) page contains the inscription "Me fieri ac componi fecit PO" (PO caused me to be created and put together), "PO" perhaps and abbreviation of the Flemish version of Alamire's name, combined with the upside-down "v" and cross above it ("t") that connect the two letters, perhaps signifying P[eter] v[an] t[en] [H]o[ve]; however, it may also be the commission of P[etrus de] O[piciis], the father of the composer Benedictus de Opiciis whose work is included in this manuscript.
Contents
| No. | Title | Composer | Parts | Notes |
|---|---|---|---|---|
| 1. | Salve radix | Anonymous | 4 | "The Rose Canon" - two canonic spirals at the upper fourth which contain two voices each |
| 2. | Psallite felices | Sampson II | 4 | |
| 3. | Sub tuum praesidium | Benedictus de Opiciis | 4 | One of only two surviving motets by de Opiciis |
| 4. | Quam pulchra es | Sampson II | 5 | |
| 5. | Haec est praeclarum vas | Sampson II* | 4 | *Only attributed to Sampson II, authorship otherwise uncertain |
| 6. | Beati omnes qui timent Dominum | Jacotin* | 3 | *Only attributed to Jacotin in this source, but confirmed by at least two others as being by him. However, it may be the work of Sampson II, the lack of attribution in this source of Haec est praeclarum vas perhaps pointing to the pieces which follow Quam pulchra es as being his work. |
Works at CPDL
| No. | Title | Composer | Genre | Subgenre | Vo. | Voices |
|---|---|---|---|---|---|---|
| 1 | Salve radix (The Rose Canon) | Anonymous | Sacred | Motets | 4 | SATB |
| 3 | Sub tuum praesidium | Benedictus de Opiciis | Sacred | Motets | 4 | ATTB |
External links
- View images of the manuscript at The Digital Image Archive of Medieval Music
- View score transcriptions at CMME.org