D-As Tonkunst Schletterer 7 and 23

D-As Tonkunst Schletterer 7 and 23

Augsburg, Staats- und Stadtbibliothek, Tonkunst Schletterer 7 and 23. Two choirbooks of liturgical music. Ms. 23 contains music for the winter season (Christmas through Corpus Christi), and ms. 7 contains music for the summer season (Pentecost to Christmas). The coverage of the manuscripts overlaps from Pentecost through Corpus Christi.

Provenance: Copied by Johannes Dreher for the monastery of SS. Ulrich and Afra, Augsburg. Ms. 7 dated 1576 in the manuscript.

Published inventory: Clytus Gottwald, Die Musikhandschriften der Staats- und Stadtbibliothek Augsburg. Handschriftenkataloge der Staats- und Stadtbibliothek Augsburg. Wiesbaden, 1974. Pages 81-87.

DIAMM entries: (ms.7); (ms. 23)

Source of pieces in Choralis Constantinus II: Copied from a source based on the printer's exemplar. That source was probably at the monastery before the appearance of the print.

Choralis Constantinus II contents:

Ms. 23:

• Mass 1
  • Introit-Puer natus est (fol. 2v)
  • Alleluia-Dies sanctificatus (fol. 5v)
  • Sequence-Natus ante saecula (fol. 7v)
  • Communion-Viderunt omnes (fol. 11v)
• Mass 2
  • Introit-Vultum tuum (fol. 71v) - for Annunciation
  • Alleluia-Post partum virgo (fol. 16v)
  • Sequence-Laetabundus (fol. 18v)
• Mass 3
  • Introit-Ecce advenit (fol. 25v)
  • Alleluia-Vidimus stellam (fol. 28v)
  • Sequence-Festa Christi (fol. 30v)
  • Communion-Vidimus stellam (fol. 38v)
• Mass 4
  • Introit-Suscepimus Deus (fol.40v)
  • Alleluia-Post partum virgo (fol. 43v)
  • Sequence-Concentu parili (fol. 46v)
  • Communion-Responsum accepit Simeon (fol. 54v)
• Mass 5
  • Introit-Rorate coeli (fol. 67v)
  • Communion-Ecce virgo concipiet (fol. 70v)
• Mass 6
  • Introit-Resurrexi (fol. 96v)
  • Alleluia-Pascha nostrum (fol. 100v)
  • Sequence-Laudes salvatori (fol. 102v)
  • Communion-Pascha nostrum (fol. 111v)
• Mass 7
  • Introit-Viri Galilei (fol. 129v)
  • Alleluia-Dominus in Sina (fol. 131v)
  • Sequence-Summi triumphium (fol. 134v)
  • Communion-Psallite Domino (fol. 139v)
• Mass 19
  • Introit-Terribilis est (fol. 114v)
  • Alleluia-Vox exultationis (fol. 117v)
  • Communion-Domus mea (fol. 126v)

Ms. 7:

• Mass 8
  • Introit-Spiritus Domini (fol. 2v)
  • Alleluia-Veni Sancte Spiritus (fol. 5v)
  • Sequence-Sancti Spiritus adsit nobis gratia (fol. 8v)
  • Communion-Factus est repente (fol. 19v)
• Mass 9
  • Introit-Cibavit eos (fol. 44v)
  • Alleluia-Caro mea (fol. 46v)
  • Sequence-Lauda Sion (fol. 50v)
  • Communion-Qui manducat (fol. 62v)
• Mass 14
  • Communion-Dico vobis (fol. 103v) - for St. Afra
• Mass 15
  • Introit-Gaudeamus omnes (fol. 105v)
  • Alleluia-Assumpta est Maria (fol. 108v)
  • Sequence-Congaudent angelorum chori (fol. 111v)
• Mass 17
  • Introit-Laetabitur iustus (fol. 186v) - for St. Narcissus
  • Communion-Qui vult venire (fol. 193v)
• Mass 18
  • Alleluia-Nativitas (fol. 136v)
  • Sequence-Laudae digna (fol. 139v)
• Mass 21
  • Introit-Gaudeamus omnes (fol. 196v)
  • Sequence-Omnes sancti Seraphim (fol. 201v)
  • Communion-Amen dico vobis (fol. 207v)
• Mass 23
  • Introit-Gaudeamus omnes (fol. 186v) - for St. Afra
  • Communion-Beata viscera (fol. 144v) - for Nativity of the B.V.M.
• Mass 24
  • Communion-Beatus servus (fol. 83v) - for St. Ulrich
• Mass 25
  • Communion-Diffusa est gratia (fol. 119v) - for Assumption

Character of variants in Choralis Constantinus II pieces:

Where the end of a phrase has an accent on the antepenultumate syllable, the manuscript usually has a dotted minim and semiminim in one or two voices where the Choralis print has a semibreve or two minims. This distinctive cadential rhythm is not found in other sources based on the printer's exemplar, and so must have originated with this copy. In some cases, a semibreve cadential penultimate in the Choralis print is replaced by two minims, rather than a dotted minim and semiminim, when the text accent falls on the antepenultimate.

As noted above, the liturgical assignments of six pieces differ from those in the Choralis print.